The video for ‘The Lines’ features ASL interpreter and dancer, Lark Detweiler. On the video, director Sydney Mills says: “The ASL featured in the video is a unique expression of the emotions in Sade Sanchez’s lyrics, personally interpreted and translated by Detweiler. The song ‘The Lines’ features repeating lyrics, but Detweiler wanted to explore the many ways ASL can represent “lines”—tracing the shape of a person, drawing a boundary between two people, or even shooting an arrow toward the stars—each reflecting how humans redefine and interact with lines in unique ways.

“By interpreting language into movement, we can express something deep about the struggles of being alive, stuck with a body beyond our control with feeling that can’t always been expressed with words alone. Some of us have to sing. Some play music. Some dance. Some sign. In ‘The Lines,’ Detweiler is a warrior apostle, calling us toward a realm where the raw, blaring sounds of L.A. Witch ignites both ecstasy and the rebellion of true expression.”

On the track, member Sade Sanchez shares: “’The Lines’ for me is a key song in terms of production on this album and the shift in our sound. We used a lot of effects we hadn’t utilized as much before like Chorus, Flanger, and string machines including the Solina and Roland VP330. This is the link between our surfy, California garage influences and our faster, colder influences…You could even say our more European influences.”

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On the track, Sade Sanchez of L.A. Witch said “A part of the energy in our new album is a result to being able to record in a different city that we all love, which is so different from home. Recorded at Motorbass studios in Paris, 777 is considered to be an “angel” number. It’s a song about the willingness to die for love in the process of serving it or suffering for it. It’s about loyalty to the very end. Filled with chorus and guitar dive, it was one of our favorite songs to record and we can’t wait to play it live.”

L.A. Witch have always exuded an aura of effortless cool, whether it manifested as the Americana noir and laconic back-to-basics rock n’ roll of their self-titled debut or the blistering austere adventurism of their sophomore album Play With Fire. The band—comprised of Sade Sanchez (guitar/vocals), Irita Pai (bass), and Ellie English (drums)—began as an informal affair, but the sultry and beguiling reverb-draped songs they created caught on with the public, moving the project beyond the insular space of the band’s friends and peers in Southern California into the broader world. On their latest album, DOGGOD, the trio push their craft beyond their previous creative and geographical confines, opting to craft the material in Paris, recording the tracks at Motorbass Studio on the Rue de Martyrs. DOGGOD explores broader swaths of sonic terrain, employs a greater arsenal of tones, and probes larger existential and cosmic themes, all while retaining the band’s signature sense of the forbidden, the forsaken, and the foreboding.

DOGGOD is a way of tackling the universal riddle tangled in the spiritual nature of love and devotion. “I feel like I’m some sort of servant or slave to love,” says Sanchez. “There’s a willingness to die for love in the process of serving it or suffering for it or in search of it… just in the way a loyal, devoted servant dog would.” The album title is a palindrome fusing together DOG and GOD—an exaltation of the submissive and a subversion of the divine. It’s a nod to the purity of dogs and an acknowledgement of their unconditional love and protective nature that’s at odds with the various pejoratives associated with the species. “There is this symbolic connection between women and dogs that expresses women’s subordinate position in society,” Sanchez explains. “And anything that embodies such divine characteristics never deserved to be a word used as an insult.”

DOGGOD:

1. Icicle
2. Kiss Me Deep
3. 77
4. I Hunt You Pray
5. Eyes Of Love
6. The Lines
7. Lost At The Sea
8. DOGGOD
9. SOS

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