Whether or not it’s the cynicism that comes from residing within the shadow of Hollywood or the crushing boredom of it being sunny on a regular basis, there’s one thing about Southern California that makes it a haven for goths. That morbid streak runs all through the self-titled full-length from L.A. Witch, a garage-rock trio whose music sounds prefer it must be blaring from a ghostly Thunderbird because it disappears into the midnight mist.
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Frontwoman Sade Sanchez’s voice has a narcotic haze to it, one which turns the album’s opening strains, “I’m going to harm my child tonight / If he don’t come residence on time,” into the wail of a vengeful spirit. Smoky, sinister, otherworldly takes on traditional surf, storage, and lady group sounds are the spine of L.A. Witch’s sound, buoyed by the occasional sassy rockabilly riff—just like the one which drives the kiss-off to an over-affectionate creep on “Untitled”—or a psychedelic guitar solo, just like the one which bridges “You Love Nothing.”
The members of L.A. Witch toured for 3 years straight earlier than recording a correct debut, and the lived-in ease that comes from lengthy months spent taking part in collectively on the highway comes by means of within the tight cohesion of Ellie English’s heavy, pounding drumming and Irita Pai’s propulsive bass. However the band’s years of expertise are maybe finest mirrored in Sade Sanchez’s guitar work, which elevates songs just like the dream-pop of “Child In Blue Denims” and album nearer “Get Misplaced” by reducing by means of the haze with clarion assurance. On their debut, the three bizarre sisters in L.A. Witch have conjured up a horny, enigmatic album that appears ahead by trying again.