L.A Witch Image
Metascore
83

Universal acclaim - based on 7 Critic Reviews What's this?

User Score
7.8

Generally favorable reviews- based on 6 Ratings

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  • Summary: This is the debut full-length release for the Los Angeles trio of Sade Sanchez, Ellie English and Irita Pai.
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Score distribution:
  1. Positive: 7 out of 7
  2. Mixed: 0 out of 7
  3. Negative: 0 out of 7
  1. Sep 8, 2017
    83
    On their debut, the three weird sisters in L.A. Witch have conjured up a sexy, enigmatic album that looks forward by looking back.
  2. Sep 8, 2017
    80
    Tasteful and tactful enough to use their wide range of influences, this is an impressive body of work that upholds the finest garage tradition: missed completely by the majority, but obsessed over and taken straight to heart by those who can’t resist their records a little on the rougher side.
  3. Sep 8, 2017
    80
    L.A. Witch's dreamy, gothic take on garage rock is more about atmosphere than message, but you'll find plenty of devil in their details.
  4. Sep 14, 2017
    80
    There’s not a sound out of place or misstep, just swooning narcotic allure and bad attitude throughout what will be one of the year’s major debuts.
  5. Mojo
    Sep 27, 2017
    80
    L.A. Witch is brief, ultra-basic, not particularly varied and all the better for it. [Nov 2017, p.97]
  6. Sep 11, 2017
    75
    It’s short, powerful, and set to turn your insides out.
  7. 70
    Their self-titled debut is one that bubbles with retro rock fuelled passion.
Score distribution:
  1. Positive: 1 out of 1
  2. Mixed: 0 out of 1
  3. Negative: 0 out of 1
  1. Jan 7, 2018
    9
    Away from the sunny California sky but still drunk by the heat, L.A. WITCH's girls deliver their aggressive, inviting self-titled album markedAway from the sunny California sky but still drunk by the heat, L.A. WITCH's girls deliver their aggressive, inviting self-titled album marked by post-gothic aesthetics and garage rock and flirting openly with dream pop and psychedelic rock. Produced over a period of three years, the album offers a cult about a relationship that has come to an end, the turbid vocals and the instrumental produce a rather seductive sound evoking a blurry atmosphere and the letters, although they are direct, flee from the conventional one, causing good experience.
    Transiting between possession and guilt, two of the album's greatest hits "Kill My Baby Tonight" and "Brian" open the album in a dazzling way. "Untitled" is a request for detachment, "You Love Nothing" is the perfect complement justifying the previous track, this sequence well portrays the confused feelings after the relationship ends. "Drive Your Car" begins the second part of the album evoking memories and feelings of acceptance as in "Baby in blue jeans" being even more evident in the second track. "Fell alright" ends this sequence. The high point of the album, the addictive "Good Guys" stays in the mind even after its end, short say in passing, but remarkable. Finally, "Get Lost" closes the album in a satisfactory way as an anthem of autonomy and independence.
    In general the work evolves well and cohesively, each track works seamlessly with each other without overlapping and without failing to convey the message. The band defines itself as "a singularly seductive, scary and melancholic sound" and I have to agree with that.
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