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Kickstand Productions Presents!

L.A. Witch, Moonwalks, Pussy Foot

Events

Aug 30 Thu
L.A. Witch, Moonwalks, Pussy Foot9:00 PM | Doors: 8:00 PM
Beat KitchenChicago, IL
Age Limit: 17+

L.A. Witch

In the dimly lit interior of a small nightclub, where the stale smell of a thousand
extinguished cigarettes drowns out the smell of spilt beer and broken dreams, a
band plays against a backdrop of cheap golden tinsel. Outside, palm trees line the
night’s horizon. In the years to come, the streets will swell into highways and
interstates, but for now Los Angeles is still a young city growing daily with
transplants from across the United States, all looking for a new life. It’s still a city
largely cut off from the rest of the country, and in the years before the Manson
family forever tarnishes the infinite hope of the Western enclave and before the
Hell’s Angels of Altamont interrupt rock n’ roll’s peaceful trajectory with
unprecedented violence, there is still a dreamy California sound for those dark
rooms suffused with neon light. The three women of L.A. Witch wouldn’t be born for
several decades, but their sound transports you back to those warm Californian
nights in smoky rooms.
The name is a partial misnomer. Though the band hails from Los Angeles, they do
not partake in any sort of witchcraft. Yet their ability to conjure a specific time and
place through their sound does suggest a kind of magic. On their eponymous debut
album, L.A. Witch’s reverb-drenched guitar jangle and sultry vocals conjure the
analog sound of a collector’s prized 45 from some short-lived footnote cult band.
The melodies forgo the bubblegum pop for a druggy haze that straddles the line
between seedy glory and ominous balladry; the production can’t afford Phil
Spector’s wall-of-sound, but the instruments’ simple beauty provides an economic
grace that renders studio trickery unnecessary; the lyrics seem more descendent of
Johnny Cash’s first-person morality tales than the vacuous empty gestures of pre-fab
pop bands. This isn’t music for the masses; it’s music for miscreants, burnouts,
down-and-out dreamers, and obsessive historians.
Album opener “Kill My Baby Tonight” is the perfect introduction to the band’s
marriage of ‘60s girls-in-the-garage charm and David Lynch’s surreal exposés of
Southern California’s underbelly. Sade Sanchez’s black velvet vocals disguise the
malicious intent of this murder ballad, with the thumping pulse of bassist Irita Pai,
the slow-burn build of drummer Ellie English, and Sanchez’s desert guitar twang
helping beguile the listener into becoming a willing accomplice to the narrator’s
crimes. “Brian” follows the opening track with a similarly graceful, if not somewhat
ominous, slow-mo take on a well-worn jukebox 7”. It’s a vibe that permeates the
entire album, from the early psychedelic hue of 13 th Floor Elevators on tracks like
“You Love Nothing”, through the motorik beat and fuzzed-out licks of “Drive Your
Car”, to the grittier permutation of Mazzy Star’s sleepy beauty on “Baby In Blue
Jeans”.
L.A. Witch was recorded at Hurley Studios in Costa Mesa and mixed in Highland
Park, Los Angeles, though early incarnations of several songs from the album
originally surfaced on limited edition singles released over the last several years.
The band’s initial aspirations were humble. “We never really thought we would or
could release an album,” the band says. “We were really just finding each other and
finding our sound.” But after touring nearly non-stop for the last three years, L.A.

Witch developed a singularly seductive, haunting, and wistful sound that enamored
the garage rock, dream pop, psych, and broader indie communities. Suicide Squeeze
Records is proud to release their debut album on September 8 th , 2017. L.A. Witch is
available on CD, digital formats, and 1500 LPs on translucent pink vinyl with a
download card.

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