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.
Based in Brighton, UK. Thyla majestically blend glassy distorted guitar tone with driving rhythms and lilting ethereal melodies; front women Millie Duthie brings crystal like beauty to Thyla’s blend of dynamic alt-rock. Herself, Danny Southwell, and Dan Hole met at college in early 2015 and found instant musical companionship but it wasn’t until guitarist Mitch Duce joined, that the band found their sound. They spent much of late 2016 reimagining their centre and writing and recording new music that garners a distaste for the stale state of the industry.
Four piece indie garage rock band from Birmingham inspired by The Pixies, The Oh Sees and The Black Keys.