It’s a Sunday night on the eve of the autumn equinox, and I can think of no better place to see L.A. Witch than in the dark crypt that is Stereo. Yin and yang… sweet and sour… the fact that the band originally comes from a place so bright and sun-bathed in light makes me stop to consider how this music can come from such a place. Music seemingly made at night… made for the shadows.

Live, the music is hypnotic, entrancing and incredibly seductive. Dark layers of ethereal vibrations engulf your body like a shield protecting you from the barbs of life. Themes of love and desire that are at the same time precariously balanced on the edge of disaster.

In their earlier form, L.A. Witch very much reminded me of Mazzy Star, The Brian Jonestown Massacre and other garage-psych outfits such as Kurt Vile.

The new album DOGGOD is different, and that reflects directly in this incredible gig scenario. Uniquely individual, intense and yet laid-back. Heartfelt, behind-the-beat vocals that are euphoric and yet almost accusatory… romantic storytelling… yet almost pleading.

The evolution of the band is no doubt due to Sade Sanchez now being based in Paris and all that that may mean in terms of her life and environment. It may also be due to the five-year gap between albums. Whatever the reason, the transformation is arresting.

As you would expect, the magnificent new album features in its totality and yes, thankfully, there is still space for older tracks like I Wanna Lose, which remains an essential milestone. To hear that riff live is almost a devotional experience.

New songs Icicle, 777 and Lost at Sea are huge. SOS is just incredible—listen to the lyrics and you will understand: such desire and pleading cloaked in confused optimism.

The mainly back-lit stage at Stereo surprisingly lends itself perfectly to the shadowy, gothic feel of tonight’s show, and the mix of very minimal instrumentation fills the room with waves of sound that have space, intensity and menace. Sade’s seductive Vox rig is perversely bewitching and the riffs created timeless. Ellie’s singular drumming and Irita’s bass are not only a lesson in how to play but also when to play. All of this is augmented with shimmering synth and guitar provided by tour buddy Tara. Such an incredible performance… utterly mesmerising.

The palindrome title of DOGGOD sums up the whole experience and is without doubt explicit in its intent. An extraordinary gig from start to finish, challenging human themes of life, love and ever-present tragedy.

As one of the lines goes: “I’m not alone or afraid to die.”

Words to live by.

Words: Nick Tamer

Images: Chris Hogge