Posts Tagged ‘L.A Witch’

L.a. witch octubre clean version

Produced by Gregg Foreman (Cat Power, Delta 72). L.A. Witch’s eponymous debut album tapped into the allure of warm nights on the West Coast while hinting at the loneliness and lawlessness of living on the periphery of a country founded on a dark past. The three-piece composed of Sade Sanchez, Irita Pai, and Ellie English culled sounds from the outlaws of warmer climes, whether it was 13th Floor Elevators’ lysergic rock n’ roll or the cool hand fatalism by The Doors on songs like The End. It’s an album transmitting subdued revelry while also smirking at the inevitable consequences of the night.

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There is no better season for these kinds of songs than the autumn, when the promises of summer have abated and the nights of reckoning grow longer. L.A. Witch seized the moment by revisiting some of their early tracks and reshaping them into Octubre, a five-song EP that delves deeper into their darker side.

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At Last the long wait is over! The dark, the broody, the brilliant L.A. Witch have finally released their debut full-length LP, simply titled ‘L.A. Witch’ -not to be confused with their 2013 EP also entitled ‘L.A. Witch’– and to borrow an old cliche, it’s all killer.

The entirety of the album is drenched with luscious reverb and a sedating drone that calls hints of Greg Sage’s Wipers all while remaining true to the untouchable L.A. Witch sound -think 60s garage/ splatter movie soundtrack/southern swamp rock with pop sensibilities.

Tracks ‘You Love Nothing’ ‘Get Lost’ and ‘Drive Your Car’ are tracks that have all appeared elsewhere in the L.A. Witch back catalogue but each one slips seamlessly into this collection of nine individual masterpiece’s. Each track is a standalone, there’s no doubting that, however each track also seems to intertwine, to mesh a series of fragmented magic dripping with sweetly sinister overtones into one gigantic orgiastic feast that you know is probably bad for your health, but hey, your gonna dive right in anyway.

Kill My Baby Tonight’. The album opener kicks off with a blissful swamp/country twang before singer/guitarist Sade Sanchez ominously, somewhat unexpectedly, promises that she’s “gonna hurt her baby tonight”. Which isn’t actually that surprising at all considering the obvious influences the all-girl trio take from the cult-horror cinema of the 1970’s. The imagery is all over their work and with Sanchez’s swooning, seductive but murderously intent vocal, bassist Irita Pai’s stalking, premeditated Geezer Butler/horror creep drone and drummer Ellie English’s night-crawling Clifton James on PCP footstep creep, well you know damn well that once in the L.A. Witch web, you ain’t getting outta here alive. And death’ll be slow too. Real slow.

But hey, if death was guaranteed a soundtrack like ‘Kill My Baby Tonight’ and other killer tracks from this brilliant debut LP, well, sign me up Grim Reaper! I’m half-way there. So, so, so good. Gets better with every listen. The vibe of this album is phenomenal, feels simultaneously old school and very fresh. Definitely one of my favourite albums from this year.

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L.A. Witch’s self-titled debut LP is out now on Bandcamp and is released by Suicide Squeeze Records.

The Californian trio pack up their reverb and garage-psych and pile it all into this debut album that drips with reverbed guitars and sultry vocals of Sade Sanchez.

Opener ‘Kill My Baby Tonight’ is the perfect introduction to the band’s 60s girls-in-the-garage style and David Lynch’s surreal exposés of Southern California’s underbelly. ‘Brian’ reveals similar slow-mo psych leanings, while the motorik beat and fuzzed-out licks of ‘Drive Your Car’ and step-on-the-gas speed of ‘Feel Alright’ sit equally well with the dreamier delight of the langorous ‘Baby In Blue Jeans’ providing a seductive, haunting, and engaging sound that encompasses garage rock, dreampop, psych, and beyond.

L.A. WITCH — ‘HEART OF DARKNESS
from the debut L.A. WITCH EP [March 18, 2014/MANIMAL]

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The National return with their much anticipated seventh album, produced by Aaron Dessner, with additional production by Matt Berninger and Bryce Dessner. The album was mixed by Peter Katis and recorded at Aaron’s Long Pond studio in Hudson Valley, NY.

While in some ways it’s typically National-sounding, they’ve definitely added some new elements to their sound. Opening track “Nobody Else Will Be There” is a stripped back ballad with melancholic piano, and Matt’s distinct vocals, but the electronics pulsing away in the background are a sign of what’s to come with the album.

All the usual elements are there, intricate guitars, delicate piano keys, scatter-shot drums and of course Matt’s mumbling/crooning baritone, but a new layer of electronics bubbling away in the mix adds a new dimension to their sound. As with the last couple of albums, it features mostly fairly downtempo ballads but they do ramp things up from time to time: “Day I Die”, “They System Only Dreams In Total” and the big rock-out track of the album, “Turtleneck”. It’s taken a few listens to get into it, but it’s definately their best album yet.

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Although L.A. Witch hail 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 analogue 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 13th 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’.

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The Waterboys release their brand-new studio double album Out Of All This Blue; their first for BMG Records, with whom they recently signed. Out Of All This Blue is The Waterboys most exploratory recording yet, comprising 23 songs with Mike Scott’s trademark sharp lyrics set to pop music with echoes of classic R&B, country, soul and funk and underpinned by modern hiphop production values and rhythms. String and brass sections were arranged and conducted by Trey Pollard of The Spacebomb Collective. Mike Scott says of the record: “Out Of All This Blue is 2/3 love and romance, 1/3 stories and observations. I knew from the beginning I wanted to make a double album, and lucky for me – and I hope the listener – the songs just kept coming, and in pop colours.”

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Following the release of the critically celebrated Midwest Farmer’s Daughter, Margo Price returns with four fresh, gutsy originals that further explore themes of duality, loss and redemption that expand her musical pallet. The four new tracks are being released as a two-piece 7’’ bundle “EP” – a Third Man Records first.

“Paper Cowboy” (written by Matt Gardner) is a whip-smart anthem tailor-made for the blistering summer festival circuit that touches cosmic country territory with a four minute jam that hits a listener like heaven. Meanwhile, “Good Luck” (For Ben Eyestone) is a bittersweet farewell that stands as a perfect fit for when the credits start to roll, the sun takes seat and the world signs off…

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The song Old Heads is a sci-fi space anthem to technology that constantly replaces itself, proving both necessary and unnecessary at the same time. It’s also a jangly pop gem, a trip through the fantastical that is ultimately warm and relatable. This remarkable coexistence is one of many achievements of Chad VanGaalen’s Light Information, his sixth record on Sub Pop. For an album that’s about “not feeling comfortable with really anything,” as VanGaalen says, Light Information is nonetheless a vivid, welcoming journey through future worlds and relentless memories. The rich soundscapes and sometimes jarring imagery could only come from the mind of a creative polymath – an accomplished visual artist, animator, director, and producer, VanGaalen has scored television shows, designed puppet characters for Adult Swim, directed videos for Shabazz Palaces, Strand of Oaks, METZ, Dan Deacon, and The Head and the Heart, and produced records for Women, Alvvays, and others. While alienation has always been a theme of VanGaalen’s music, Light Information draws on a new kind of wisdom – and anxiety – gained as he watches his kids growing up. “Being a parent has given me a sort of alternate perspective, worrying about exposure to a new type of consciousness that’s happening through the internet,” he says. Throughout the dark-wave reverb of Light Information are stories of paranoia, disembodiment, and isolation – but there’s also playfulness, empathy, and intimacy. The product of six years’ work, going back even before 2014’s Shrink Dust, Light Information emerged from the experimental instruments that fill VanGaalen’s Calgary garage studio. As always, VanGaalen wrote, played, and produced all of the music on Light Information (save Ryan Bourne’s bass part on Mystery Elementals and vocals on Static Shape from his young daughters Ezzy and Pip), and designed the cover art.

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The second album from Alvvays, Antisocialites, is set for release on Transgressive Records. Across ten tracks and thirty-three minutes, the Toronto-based group dive back into the deep end of reckless romance and altered dates. To write Antisocialites, Rankin traveled to Toronto Island, working in an abandoned schoolroom by day and sleeping a few feet from shore at night. “I carried a small PA on the ferry in a wheelbarrow,” she recalls. “Every morning I would listen to my favourite records on the beach, then I’d write melodies and record demos in the classroom.”

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The Dream Syndicate are at the foundation of contemporary alternative music because back in 1981 at a time when most bands were experimenting with new technology, they choose to bring back the guitar. Their seminal album The Days of Wine and Roses (1984) has been cited as influential by artists from Nirvana to The Black Crowes. The Dream Syndicate are at the foundation of contemporary alternative music because back in 1981 at a time when most bands were experimenting with new technology, they choose to bring back the guitar. Their seminal album The Days of Wine and Roses (1984) has been cited as influential by artists from Nirvana to The Black Crowes. Known for their incredible live performances, the band toured with everyone from R.E.M. to U2, before splitting up in 1988. In 2012 after years apart in solo projects, front man Steve Wynn reunited The Dream Syndicate to perform at a charity festival in Spain. The reunited band took everything in baby steps. A few shows here and there—including a still talked-about set at Wilco’s Solid Sound Festival. The shows were exciting—for both the band and the eagerly awaiting fans, many of whom weren’t even alive when the band were around the first time.

The next step was to see if the excitement and newfound chemistry would extend to the studio. From the first day of recording it was apparent that the band was making an album that would live up its history and take their story into the present. Wynn says, “In a way it feels like if The Days of Wine and Roses would have been made in 2017. Which is to say that it’s true to what we did before but it’s also a whole new thing.”

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“Up until 2014 I was an investigator’s assistant in a public law office. I can’t tell you exactly what my job was on account of I signed a shut your mouth agreement around the time I quit for stress related reasons. But what I can say is that I dealt with corruption and badness perpetrated at the highest levels of authority, daily. I clocked all these leads and I made a file. Because these aren’t things you keep in the dark. You shine a light on the badness and you strive to understand it.

“From a dossier on all things delicate and beautiful and sadly human. Crimes of passion and victims of love. All contained in 10 hot songs. Who’s the culprit? I’ve got my inklings and you can get your own. But first you need to listen to the thing, take it all in, stick photos to your walls and connect them with string, measure footprints in the yard, wear a suit made of reeds, track the migration patterns of birds, intercept whispered transmissions, learn to eat spiders with a hunting knife, sleep in air ducts, make the case.

“Here it is, my album: ‘Forced Witness’.” – Alex Cameron

Album features guest appearances by Brandon Flowers (The Killers), Angel Olsen and Weyes Blood.

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Neil Young will open his archive and release Hitchhiker, an unreleased new studio album. The 10-track acoustic solo album was recorded in Malibu, CA at Indigo Studio in 1976. The original session was produced by Young’s long-time studio collaborator David Briggs.

Recorded between Zuma and American Stars and Bars as a solo album in a single session, the resultant performances are truly breathtaking and passionate. The simplicity of a single voice and guitar captured here is as pure and powerful as it gets, with only Young, Briggs and actor Dean Stockwell in the room at the time of recording. A few of the songs would not appear on vinyl until years later. Some have never been heard, included in the original sessions for Neil Young and Crazy Horse’s “Dume” another unreleased record of original sessions that yielded the classic album, Zuma. When the Hitchhiker album was recorded, none of the included songs had ever been released and many of the performances of the songs were the first ever. This is truly an album of original performances

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Experiencing one emotion at a time is a luxury of the past. Think back to that moment at the women’s march or the pro-science rally, when you spied a small child holding a handmade sign that read “I love naps but I stay woke” or “Boys will be boys good humans” or “May the facts be with you.” How adorable! How upsetting! How the hell are they going to make it to adulthood in this toxic environment? Deerhoof is right there with you.

They recognize that we are simultaneously living in two worlds, one a maniacal, mainstream monoculture hell-bent on driving humankind into extinction, the other a churning underground teeming with ideas and dogged optimism and the will to thrive and survive. Mountain Moves refutes the former by ecstatically celebrating the latter. Though Deerhoof have often made albums from start to finish with virtually no input from the outside world, now is not the time for artists to operate in isolation. Mountain Moves throws the doors wide op en. Working quickly, the band invited myriad guests to participate, some of them dear friends, others practically strangers. They are of different ages, different nationalities, different disciplines.

The only common thread was that each and every artist on Mountain Moves doesn’t fit into a single, neatly-defined category – and doesn’t wish to. If Mountain Moves were a movie, it would be a double feature, Journey to the Center of the Deerhoof and Escape from Planet Deerhoof, shown side-by-side simultaneously. The record epitomizes the band at its very best, exploring new realms between the poles of independence and invention. It also serves as a welcoming point of entry for new listeners outside Deerhoof’s traditional orbit, an opportunity to bring even more voices into the communal conversation. We’re all in this together.

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Acclaimed Norwegian singer songwriter and producer Susanne Sundfør releases her highly anticipated new album ‘Music For People In Trouble’ through Bella Union Records.

Sundfør’s most poignant and personal album to date, ‘Music For People In Trouble’ marks her out as one of the most compelling artists in the world.

The album was inspired by a journey Susanne made in a bid to re-connect, travelling across continents to contrary environments and politically contrasting worlds from North Korea to the Amazon jungle.

“We are living in a time of great changes. Everything is moving so rapidly, sometimes violently, sometimes dauntingly. I think a lot of people experience anxiety these days. I wanted to address these emotions on the album.” – Susanne Sundfør

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Third album for all female Melbourne psych-rock icons. Love from Pitchfork, Spin, Stereogum, GvsB. Iconic Australian psych rock quintet Beaches return with epic double LP Second Of Spring – Chapter Music’s first double album by a single artist. Beaches’ much-loved second album She Beats brought the band international acclaim in 2013. Featuring guitar by German motorik hero Michael Rother (Neu, Harmonia), the album earned raves from Pitchfork, Stereogum, Gorilla Vs Bear, Spin and elsewhere.

Second Of Spring takes Beaches even further out, to where the pyramid meets the eye – an enveloping sonic landscape filled with extended instrumentals, overdriven psych-outs and propulsive pop nuggets. The album was recorded in Melbourne with engineer/producer John Lee (Totally Mild, Lost Animal). Artwork is by the band‘s Ali McCann, with design by renowned artist Darren Sylvester. Beaches’ self-titled 2008 debut was shortlisted for the Australian Music Prize, and included in glossy coffee table book 100 Best Australian Albums.

The band released a standalone 12″ on New York lab el Mexican Summer in 2010. They have toured the US twice, playing SXSW and Austin Psych Fest, and shared stages with Roky Erickson, Deerhunter, The Cult, Thee Oh Sees, Lightning Bolt, Mogwai, Best Coast and more. Already revered as sprawling, swirling psych overlords, Second Of Spring is Beaches‘ undeniable magnum opus.

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Listening to L.A. Witch is like willingly being put under a spell. One that transports you to California in the late ’60s, when the air was ripe with magick and the music was felt, not just heard. Los Angeles has always been a home for misplaced souls, and L.A Witch has the sound to go with it, dripping with nostalgia, heavy reverb, and glamour.

With Sade Sanchez’s crooning vocals and melodic guitar, Irita Pai’s pulsing bass, and Ellie English’s striking drums, L.A. Witch’s eponymous debut full-length album is a tour through an unseen Californian landscape.

Released on September 8th through Suicide Squeeze Records, coming after almost three consecutive years of touring for the band, who never expected to release a full-length. “All the songs on this album are songs that we’ve written over the few years that we’ve been a band. We were just excited to find each other, we weren’t thinking, ‘Oh, labels and albums.’ So when we were writing, we weren’t writing necessarily for an album, we were kind of just writing. So this is going to be some of our favorite and best songs,” the band says.

The band refers to their sound as “dark and fuzzy,” the sort of music that would soundtrack a cinematic murder spree, as proven by the album intro “Kill My Baby,” or just a late-night drive through Hollywood, as with “Drive Your Car,” windows down and neon lights twinkling. This is the sort of album that transports you to an unfamiliar place that feels familiar, with a sound that’s both evocative of and nostalgic for the golden days of rock ‘n’ roll.

The album, which was recorded at Hurley Studios in Costa Mesa in three days between tours, has soul to it a grit and energy that can’t be fabricated. “It was really hard [recording this] because in that little bit of time, you’re doing something that’s such a permanent thing and you want to nitpick it because you’re your own worst critic and you want it to be perfect. And maybe there is such thing, but in our mind, it’s never going to be perfect,” the band says. But these so-called imperfections are what makes the album so much fun to listen to. Whether you’re blasting “Baby in Blue Jeans,” a slower ballad that gives Lana Del Rey a run for her denim, or “Good Guys,” with its spiky and punctuated chorus, these songs are best left unpolished, exposing the dark underbelly to sunny Californian life.

Technically, there’s no underlying theme to the assemblage of the album, though the down and dirty and inherently rebellious spirit of these songs make a statement with each play, especially when seen and heard in person. The three women all have their own distinct sense of style, in what could be described as a hodgepodge of “mod goth glam rock.” They’re reminiscent of iconic bands like The Cramps, whose unapologetic aesthetic and sound created an experience one had to see to believe. Their sartorial inspiration also comes from icons like Johnny Thunder and “his suit era,” Kurt Cobain and his “just not giving a fuck” attire, and Jeffrey Lee Pierce and his “gothic cowboy” style.

Although it’s easy to assume L.A. Witch has been put in a box for being an all-woman band, they think about it differently. This is a band that isn’t meant to be put in any category, especially not one that denotes gender for the sake of it. To simply think of L.A. Witch as a “girl rock band” severely underestimates their scope and talent. To put them in a box is to beg them to break out of it. “Personally, I don’t pay attention to gender, I pay attention to what you’re actually doing,” Sanchez says “I’ve never been phased by, ‘Oh that’s a girl doing this, or a girl managing a band.’ I don’t necessarily agree that it’s a male-dominated industry. I think there’s a lot of women involved, and there just hasn’t been as much attention on them as there is now. I don’t know if it’s a fashion thing, I don’t know what it is.”

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After a few years in the making, L.A. Witch is setting the scene to cast their spell. With tours across the United States and Europe this year (see the details below), not to mention their debut full-length, the three-piece is finally weaving their magick with their old-school southern California charm. As for what we can expect from the band going forward, the answer is pretty simple. A sophomore album in the future, plenty of more touring, and the sort of dark rock that tempts you to unleash your inner vixen.

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UK DATES
SEPTEMBER
18 Bristol, The Crofters Rights
19 Brighton, Acid Box
20 London, Moth Club
21 Glasgow, Mono
22 Liverpool, Psych Festival

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If you’ve never before been surfing or had a wheat grass smoothie or participated in a cult like ritual in the spooky hills above Los Angeles, L.A Witch’s “Kill My Baby Tonight” will have you signing up for all three before you can say Joan Didion. The goth-pop trio’s debut album is inspired by 1960s-era Hollywood — a time when caftans were all the rage and serial killers were on the loose. Listen to “Kill My Baby Tonight” as you wander out into the sunset for a cleansing bonfire.

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L.A. Witch
“L.A. Witch” CD/LP/DIG
Release Date: September 8, 2017
Label: Suicide Squeeze Records

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L.A. Witch back in March last year and the threesome have signed to Suicide Squeeze Records for the release of their eponymous debut album.

Reverb-drenched guitar jangle and”Haunted surf rock, road trip blues and 60’s-sounding psychedelia” with sultry vocals conjure the analogue 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.

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Band Members
SADE / IRITA / ELLIE

L.A. Witch
“L.A. Witch” CD/LP/DIG, Release Date: September 8th, 2017 . Label: Suicide Squeeze Records
www.facebook.com/lawitches

L.A WITCH – ” Brian “

Posted: November 22, 2016 in MUSIC
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Sade Sanchez, Irita Pai and Ellie English make up the garage surf punk trio L.A. Witch, who are back with another 7″ vinyl packed to the brim with punk and roll surf sludge. L.A. Witch have that ‘driving down a lone dirt road at 2 AM’ vibe, embracing the often overlooked dark side of the 50s and early 60s. Think Kenneth Anger’s Scorpio Rising, the leather-clad Bettie Page and the bloody-knuckled growl from the school of early Link Wray. If L.A. Witch is surf rock, then they’re the soundtrack right before a shark attack.

Greenway Records has a gorgeous splatter 7″ housed in a screenprinted sleeve for $12. If you’ve ever purchased one of Greenway’s deluxe singles, you know it’s worth every penny. Still, if your wallets are hurting, there’s another colorway on ‘desert sand’ brown for $8. You can even snag both of them in a package deal as well. There is no digital release for this. Vinyl only!

One of the most exciting garage rock acts we’ve stumbled across lately, L.A. Witch are today unleashing a back to back onslaught of guitar driven mayhem with their new double ‘A Side’ titled ‘Drive Your Car’/ ‘Ain’t Comin Home’ out locally via Smack Face Records.

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Often copping comparisons to early Gun Club, The Black Angels, and Brian Jonestown Massacre, the Los Angeles based all-girl trio have been relentless on their campaign to achieve garage rock glory, appearing alongside The Kills, at festivals Levitation Fest, Beach Goth, and Burgerama, whilst also sharing line-ups with fellow So-Cal garage souls The Growlers, and Aussies own Gooch Palms.

Oscillating between moody post-punk, fuzzed out guitar rock and blues-punk balladry, the trio really know how to capture and manipulate your attention. Check out the double A side below and if you like what you hearing pop by band’s Facebook page for more info.

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Los Angeles garage trio L.A. Witch follow up last year’s ‘Kill My Baby Tonight’ with this absolute banger of a track: ‘Drive Your Car’.

Released on February 12th via Ruined Vibes/Black Mass Recordings, the girls – Sade Sanchez (vocals/guitar), Irita Pai (bass/vocals), Ellie English (drums) – pull out all the stops, and go full throttle on a welter of chugging riffs and reverbed vocals in the style of a Black Rebel Motorcycle Club meet Joan Jett.