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L.A. WITCH Announce North American Tour In Support of Long-Awaited Debut Album

L.A. WITCH have announced a North American tour in support of their long-awaited debut album, which drops September 8th on Suicide Squeeze Records!

Stream “Baby In Blue Jeans” on Soundcloud and catch them on tour all over in the coming months:

L.A. WITCH TOUR DATES:
08.04.17 – Palm Springs, CA @ Ace Hotel
08.31.17 – Los Angeles, CA @ Levitt Pavillionin MacArthur Park – Album Release Show

09.04.17 – Groningen @ Vera
09.05.17 – Amsterdam @ Paradiso
09.06.17 – Ghent @ Kinky Star
09.07.17 – Berlin @ Kantine am Berghain
09.08.17 – Köln @ Burger Invasion: Cologne
09.09.17 – Hamburg @ Burger Invasion @ Molotow
09.11.17 – Olten @ Le Coq D’Or
09.13.17 – Zurich @ Gonzo Club
09.14.17 – Clermont-Ferrand @ Le Baraka
09.16.17 – Paris @ Le Batofar
09.17.17 – Lille @ DIY Cafè
09.18.17 – Bristol @ The Crofters Right
09.19.17 – Brighton @ Acid Box
09.20.17 – London @ Moth Club
09.21.17 – Glasgow @ Mono
09.22.17 – Liverpool @ Psych Festival
09.23.17 – Rotterdam @ Rotown

10.02.17 – San Francisco, CA @ The Chapel
10.03.17 – Santa Cruz, CA @ The Catalyst
10.05.17 – Arcata, CA @ Miniplex
10.06.17 – Portland, OR @ Mississippi Studios
10.07.17 – Vancouver, BC @ Fox Cabaret
10.08.17 – Seattle, WA @ Chop Suey
10.09.17 – Bellingham, WA @ The Shakedown
10.11.17 – Reno, NV @ Jub Jubs
10.15.17 – Joshua Tree, CA @ Desert Daze
10.17.17 – Albuquerque, NM @ Sister Bar
10.18.17 – El Paso, TX @ Monarch
10.20.17 – Dallas, TX @ Club Dada
10.21.17 – Austin, TX @ Sidewinder
10.22.17 – Houston, TX @ Walters Downtown
10.23.17 – New Orleans, LA @ Ace Hotel
10.25.17 – Orlando, FL @ HENOA Contemporary Center
10.26.17 – Miami, FL @ Churchills Pub
10.27.17 – St Petersburg, FL @ The Bends
10.28.17 – Atlanta, GA @ Drunken Unicorn
10.29.17 – Asheville, NC @ Mothlight
10.30.17 – Richmond, VA @ Cary St Café
10.31.17 – Baltimore, MD @ Metro Gallery

11.02.17 – Philadelphia, PA @ PhilaMOCA
11.03.17 – Brooklyn, NY @ St Vitus
11.04.17 – Asbury Park, NJ @ The Saint
11.06.17 – Boston, MA @ Middle East Upstairs
11.07.17 – Montreal, QC @ The Ritz
11.08.17 – Toronto, ON @ Garrison
11.09.17 – London, ON @ Call The Office
11.10.17 – Columbus, OH @ Ace of Cups
11.11.17 – Detroit, MI @ UFO Factory
11.12.17 – Chicago, IL @ Beat Kitchen
11.13.17 – Minneapolis, MN @ 7th Street Entry
11.14.17 – Davenport, IA @ The Mill
11.16.17 – Denver, CO @ Lost Lake
11.17.17 – Salt Lake City, UT @ Urban Lounge
11.18.17 – Las Vegas, NV @ Emerge Music + Impact Conference

ABOUT 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 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.”

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 8th, 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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