LA WITCH. The Cluny

Canceled

The Cluny,

36 Lime Street, Newcastle upon Tyne NE1 2PQ · Newcastle Upon Tyne

How to find us

Meet in the main Cluny bar area from 7pm.

Location image of event venue

Details

THE CLUNY PRESENTS:

L.A. WITCH

WITH SUPPORT FROM

The Noise & The Naive

DETAILS

Date: Tue 2 Jul

Venue: The Cluny

Advance tickets: £12.00

Doors: 8pm

Curfew: 11pm

Tickets can be purchased by clicking on the following LINK;

https://thecluny.com/listing/l-a-witch/

I will aim to get a ticket once a few people have posted an RSVP.

I think this band is different and brilliant. Please hear them by clicking on the LINKS below;

https://youtu.be/_oiP__FQAjs

https://youtu.be/SOgcoVE35xg

https://youtu.be/_ptoDcHHsJk

https://youtu.be/ZTUY2OyIRfM

Heres a review of LA WITCH from last year.

LA Witch review – California nightmares from rising goth-garage trio

Headrow House, Leeds
With their black clothes and even darker moods, this Los Angeles band create musical film noir – but work best when they let some light in

Dave Simpson

Mon 2 Apr[masked] EDT

As they have comically had to explain in interviews, LA Witch aren’t really witches. However, popping the “W” question is perhaps understandable given their music is so dark. The three Los Angeles twentysomethings, who aren’t averse to wearing black, tap into the sleazy City of Angels underbelly that has inspired everyone from Raymond Chandler to the Red Hot Chili Peppers. The first words sung by vocalist/guitarist Sade Sanchez – every inch the LA rock chick in plastic trousers and coal-black eyeliner – are “I see the darkness in your eyes”, addressed to the nihilist character in You Love Nothing. The following Kill My Baby Tonight uses the perennial “If I can’t have you, no one can” murder motive to create a musical film noir.

More about Sunset nightmares than California Dreaming, their slowcore garage/surf-rock mixes Mazzy Star eeriness with Cramps or Jesus and Mary Chain-style guitar twangs. Ellie English’s pounding Velvet Underground-ish drumming and Irita Pai’s sea-dredging basslines provide a convincing rhythm. They’re certainly not the first band to realise the atmospheric power of lots of reverb, but some of the detail of their eponymous 2017 debut can get lost in the aural fog. Similarly, Sanchez’s vocals are a convincing Nico monotone but can become samey.
So it’s just as well that they find a different gear. Good Guys rattles along like the Brix Smith-era Fall; the sore post-breakup wound of Get Lost tears open with a scorching solo from Sanchez. And an as yet untitled new song sprinkles in pop sensibility, lets sunshine into their shadows, and suggests that somewhere in this gothic haze lies a darker negative of a 60s