On Sunday August 7th two acts from SoCal came to Columbus, Ohio to invade Natalie’s Musical Hall and Kitchen bringing along the desert heat with mirages, illusions, psychedelic sounds and noisy cool garage rock. L.A. Witch and Death Valley Girls spent the summer burning up the road, clocking the miles, leaving crowds in their wake feeling like they experienced audio peyote. Hallucinogens weren’t needed for the punk-inspired affair but the free spirit and rebellion of past decades were present in notes and vocal echoes. In a vintage old-school swirl of nostalgic noise and modern manic music two bands brought forth the free-will-style of the ‘60s, and ‘70s garage rock to modern stages. Given the inner sanctum, the music oddly complimented the classic Star Trek,super galactic interstellar planetary decor..
Formed in 2011 in the hot, hazy shade of southern Cali, L.A. Witch was conjured and cauldrons have been bubbling steady sense. Though some spells may have been cast, no deals with the other side have been invoked yet, we’re assuming.
Guitarist/vocalist Sade Sanchez, bassist Irita Pai and drummer Ellie English brought an early, haunting allure with a unique, decadent combination of pulp fiction and Hollywood Babylon, playing a seductive set with three releases so far with most of the set coming from albums Play with Fire and L.A. Witch. They opened the noise rock garage getting all the second hand fumes out for an intense contact buzz.
It was a nice matchbook set, giving familiar fans a nice dose of known tunes while first timers were exposed to the ghostly echoes and feedback of Sanchez, the quiet deep-chorded presence of Pai and backbone of English. It was an early evening flavorful hit of their sound and synergy.
The witches emerged ready to begin the evening’s trip. No bummer-ride here just a nice collection of killer audio buzz suitably started with “Kill Baby Tonight” oozing a dark, murky lucidity as deep chords twanged out psychedelic images and mega-heated mirages. It was time to tune in and drop out. No pyro was used or needed for “Firestarter,” sounding like the dark side of the Go Go’s. “Brian’s” opening dreamy chords came out treacherous like quicksand, luring in and pulling down.
“Untitled” had a more rockin’ vibe, like a country gal’s invitation to her back-road country cult. Like watching Hee Haw in purgatory knowing damnation’s coming after the last laugh ends. “I Wanna Stop” declared freedom over one’s body, saying one’s anatomy is their temple or sacrificial alter.
“Motorcycle Boy” was a cheery tune built for the road, saluting the hell-raiser, Ghost Rider and all way-ward souls that departed along the way; with the mirrored reflection tell-tale of “Drive Your Car” behind it.
“Dark Horse” was a unique canteen mix of old west cathedral vibes and fairy-tale folk playing while “Baby in Blue Jeans” sprayed the vintage west coast Babylon soaked breeze with its seductive warm weathered spell. The ‘60s and ‘70s are still remembered by youth even when on the road
“True Believers” rocked out with independent spunk and attitude while “Get Lost” got a little grind-house vintage and nostalgic. “Starred” was a tidal wave of Hendrix-like feedback sounding the show’s final screeching guitar cackle.
With Bonnie Bloomgarden and Larry Schemel guiding the way, Death Valley Girls are rocking three records so far, Glow in the Dark, Darkness Rains and Under the Spell of Joy. From punk to the garage to occult-like lyrics and other worldly inspirations they’ve taken their brand of sun blazed sound across the country and friendly barren wastelands in between.
Vocalist/guitarist/keyboardist Bloomgarden also played a mean Wednesday Addams meets demented southern hells-bells dolly dearest. Like a limber doll in black she would later tear through the crowd like a possessed child on speed and sugar. The group brought forth their version of a twisted, and warped musical experience.
“Abre Camino” started the musical mind-meld as the treacherous haze of guitar chords and feedback began. Static-like echoes and mind bending notes reached across the crowd, beckoning come closer with guitars and drums beating a ceremonial pace. “Street Justice” sang and screamed of vintage haunted house spooks and creeps while witchery and hill-top desert cult sermons rang out for “More Dead.”
“Death Valley Boogie” fuzzied up guitars and limber, swinging notes circled and fused the stage. Like hula-hooping in a ring of fire. “What are the Odds” livened up a twisted, charming beach party while “Seis, Seis, Seis” played the devil in disguise or Diablo in another tongue.
Disco” was Saturday Night at 2001 Odyssey, sounding more like a garage carnival.
Go Go’s Be Damned “I’m a Man Too” is the best audio makeup tutorial ever! In a song and video, only fit for a Stooge, “Disaster (Is what we’re After) had its meat, ketchup and Pop too.
“Electric High” was a psychedelic, collage-montage, car crash of crowd cardio.
Near the end Bloomgarden went out into the crowd. Climbing furniture for sudden, on the spot guest vocals and impromptu meet and greets with an eager crowd that didn’t want the show to tend.
Images by Mike Rtichie
