Through The Woods Into Deep Water


“Through The Woods Into Deep Water” from Darmstadts trio Wight is the follow-up to last years debut “Wight Weedy Wight”. The idea of creating a heavy rock album that breaks the boundaries of the stoner rock genre gave birth to a recording of almost 60 minutes of playing time.

“Through The Woods Into Deep Water” was recorded live in the studio during two sessions in August and November 2011. The album was produced by Rene Hofmann (Fat&Holy Records, guitarist and vocalist of Wight), engineered and recorded by Jorge Medina and Lolo Blumler and mastered by Tony Reed (guitarist of Mos Generator and Stone Axe, producer of Saint Vitus etc).

The cover artwork was painted by Arik Roper who has worked with bands such as Sleep, High On Fire and Weedeater.


  • A1 | 06m21s – Kiss your friends goodbye
  • A2 | 06m32s – I spit on your grave
  • B1 | 11m19s – Southern Comfort & Northern Lights
  • B2 | 03m32s – Halfway To Infinity
  • C1 | 09m51s – Master Of Nuggets
  • C2 | 06m46s – You!
  • D1 | 01m59s – Big Dose
  • D2 | 03m50s – On A Friday
  • B3 | 08m18s – Through The Woods Into Deep Water


  • 200 copies black vinyl
  • 200 transparent green
  • 100 transparent blue marbled
  • 180g high quality vinyl pressed in Germany
  • great artwork by ARIK ROPER
  • 60×30 cm insert/poster (frontside: full artwork / backside: lyrics)
  • 300gsm spot-lacquered gatefold cover
  • handnumbered

Sample Song.

The press wrote.

Lovingly pinched from The Obelisk: “Clear-headed” probably isn’t a fitting descriptor for something so fuzzed out as Through the Woods into Deep Water, but in trying to sum up the progression of German stoner trio Wight on their second album, nothing else quite fits. The Darmsdadt three-piece made their debut early in 2011 with the Sabbathian heavy psych of Wight Weedy Wight, and for all the potential that record showed, the follow-up seems to be the band taking their sound to a new level.

What that means, essentially, is a more professional approach all around and a firmer idea of what they want their style to be. Hence “clear-headed.” Available through Bilocation Records as a limited double-vinyl or in a Fat and Holy Records CD digipak edition of 500 with a foldout poster of the Arik Roper artwork, the physical presentation of Through the Woods into Deep Water is just one way in which the band has developed from their already impressive beginnings.

The nine-track / 58-minute release shares in part with its predecessor the recording work of Jorge Medina – Lorenz “Lolo” Blümler also engineered five of the songs – and there are sonic consistencies on account of that, but on the whole the mix is better and guitarist / vocalist Rene Hofmann, oft-sunglassed bassist / saxophonist Peter-Philipp Schierhorn (also of black metallers Fallen Tyrant) and drummer Michael Kluck have more of a sense of what they want to do as a band.

Songs blend elements from modern European heavy jamming, as on the thoroughly-percussed, thoroughly-soloed instrumental opening stretch of the 11:20 ‘Southern Comfort and Northern Lights’, with classic heavy rock boogie and shuffle – see ‘Master of Nuggets’ – and the organic live feel of the first album is maintained even as Hofmann layers solos over top of each other and he and Schierhorn come together in sub-harmony for creepy opener ‘Kiss Your Friends Goodbye’,  giving a sense of foreboding to what might otherwise just seem to be stonerly shenanigans and weighted jamming.

Not to say that stonerly shenanigans and weighted jamming aren’t part of it and a big part at that –Wight maintain a lighthearted atmosphere even in darker moments like the opener or the somber acoustic interlude ‘Halfway to Infinity’ – but altogether, Through the Woods into Deep Water is a more professional record than was Wight Weedy Wight on nearly every level. More importantly, it’s among the best representations of next-gen heavy rock and psych that I’ve heard this year.

The band’s songwriting purpose is clearly established, but a loose vibe is maintained, and even as Kluck crashes to emphasize the dooming plod of ‘Kiss Your Friends Goodbye’ and the creepy lines, “My lap will be your graveyard/Kiss your friends goodbye”, are repeated in a manner reminiscent of a thicker take on The Kings of Frog Island, there’s something laid back in Wight’s mood that doesn’t take away as much from the threat as makes it even more vague and mysterious.

JJ Koczan