"Clattering drums, grimy growling guitars and more Southern-gothic kudzu-festooned atmosphere than you can slice with a machete." - Queen City Nerve
"Kind of gothic and doomy, with an edgy sinfulness just below the surface" - Razor Cake
"The band cranks the spooky psych up to nearly Australian levels on the first side." - Flagpole
"The band seems looser and more patient than its ever been, allowing songs space and sprawl that seems more like a meditative exploration of the Boo Hag dynamic..." - Free Times
"Unlike previous albums, which were straight-to-the-point swamp-rock albums, this one is much more dynamic. The band keeps it quiet and tense for parts of the album, letting the big moments really explode in a black-magic-inspired flury." - Charleston City Paper
"Both the new incarnation of the band and the recording work of Jay Matheson have pushed the limits of what a South Carolina rock record can be." - SC Music Guide
Ballads from the Bordello
"Dirty New Orleans tinged folk punk. A melange of Tom Waits, Woody Guthrie, and Bayou spirit, distorted and crackling through 1930s bounciness. Banjos, guitars, tubs and more are blown and plucked with aplomb beneath a shady announcer's call." - Issues 43 - Commodity Fetish Records
"The seven originals on “Ballads” sound like covers of long-forgotten early 20th century music. Recorded in a barn in the North Carolina mountains, they draw on ragtime, traditional folk and arcane Americana. There’s no studio polish, just wailing vocals, acoustic guitar, upright bass from Pocket Buddha’s Darren Woodlief and ramshackle rhythms from Tempo’s self-made suitcase drum kit." Free Times
PunkNews.org: "Boo Hag have created an excellent fusion of genres that subvert Southern spiritual identity and experience without being self-consciously anachronistic."
Tuner Music Magazine: "Visions of Pentecostal snake-handlers, and sweaty summer sermons come into mind. There’s an encroaching anxiety in the album, almost a “fight or flight” mentality that looms."
Free Times: "laced with unnerving backwoods field recordings and hazy static, the songs find Saul howling in a way that could suggest purgative gesticulations or possessed ravings, as pounding riffs and rhythms fade in and out of focus."
The Revue: "They call their music “swamp punk”, but no matter the categorization their music is flat out awesome, such as their single, “The Further”. Coming in at a tight 2 minutes and 29 seconds, this song is a mini-riot with its grimy guitar, feverish drum line."
Maximum RockNRoll described The Further as “old timey, stomping rockabilly with some surf music flourishes.” (September 2017 issue)
Free Times: Voodoo Rockers Deliver Charismatic, Unhinged Rock 'n' Roll with Panache.
SC Music Guide: on singer Saul Seibert: “His vocals don’t preach to the choir; they exhort the congregation, like a swamp punk version of Spencer Moody or his spiritual predecessor, Iggy Pop.”
Scene SC: "It’s a maddening listen, full of short blasting songs with colorful lyrical imagery, screamed, howled, and yelped over gritty guitar and driving drums."
Marie Laveau/Hokus Pokus
Razorcake: Big hole, two song 45 from a band outta South Carolina with a very swampy, dark Americana sound. Sounds like they might have a few Tav Falco records and the Dex Romweber discography in their collections. Very well done for the style and if you like your garage tunes swampy and dark, this would be a great record to add. - Mike Frame
Subvert/Control: Truly, with the assistance of cannabis and Laveau, they have “found the light.”
Free Times: "With the four songs on this 7-inch, they step up from the bog, slick back their dirty hair, and rip out some lean garage rock."
SC Music Guide: " The title track flirts with everything under the sun from 50’s style doo wop/ rockabilly to dixieland jazz, with singer Saul Seibert’s reverbed-out old school guitar attaining maximum surfiness, while drummer Scott E. Tempo’s beats are measured for total bayou atmosphere."
Charleston City Paper: "The emphasis on raw speed (it only took three hours to record Crawfish) makes the EP a punchy listen. “Ghost” is a primitive slap that channels England and the deep South, similar to “Cut & Paste,” while both “Crawfish” and “Shadows” slow things up a bit to a New Orleans blues tone."