SEXWITCH is/was a collaboration album between the English psychedelic rock band named Toy, and Bat for Lashes, which is the singer/songwriter Natasha Khan’s stage name. There’s only been one album released under the SEXWITCH band name, which is the group’s self-titled debut album from 2015, but Toy and Natasha Khan had worked together in the past. The album is labeled under the krautrock and psychedelic folk genres on the band’s Wikipedia page, so I’m pretty interested to give this one a listen. Just before I got into the recent run of experimental folk albums from the last week or so, I had a bit of a run or progressive rock and krautrock albums, and this album seems like it might be a combination of those things. According to the band/album’s Wikipedia page, the album consists of covers of 1970s psychedelic and folk songs from Iran, Morocco, Thailand, and the US. I’m pretty stoked to give this album a listen, so with that said, I’m going to jump on into the listening experience.
“Ha Howa Ha Howa” starts with an interesting mixture of droning tones that almost sound like you just started up an old, warped VHS from the 1980s. Oh wow, a really groovy, interesting beat comes into the soundscape that really has an African feel in the syncopation of the beat. The vocals almost sound entranced, even as they continually hook me into the listening experience. Oh wow, the lyrics gradually morph into some English words that continue with the entrancing theme of the track. I really dig the sharpness of the distortion of the electric guitar that gradually comes into the soundscape. Oh wow, the bass line changes up a tone around the middle of the track, but continually sounds like it is further hypnotizing the listener as it seems to travel about the background of the soundscape. The soundscape has a really interesting mystique that seems to infuse old folk songs from the middle east with a heavy dose of modern psychedelia. I’m digging this track a lot. Oh wow, the rhythm section fades out at the end of the song and all that’s left is the droning VHS-sounding synths from the beginning of the track. Great tune, and I’m excited to hear more.
“Helelyos” gets grooving right away with a syncopated, chugging beat and bass line. The drums and bass remind me of the psychedelic pop band from Wales called Islet. I really dig the distorted, psychedelic accentuations from the electric guitars. The lyrics seem to be a blend of English and another language that I can’t recognize. I can sort of hear the krautrock influences, especially near the end of the track. Great tune.
“Kassidat El Hakka” starts out with a mellow, droning synth, which is soon joined by a sort of discordant guitar line that is echoed by a flute on the other side of the soundscape. Oh wow, there’s a darkness in the lyrics and overall presentation of the track that I’m really digging. The song sounds like one that might be part of a soundtrack for an epic action sequence in a movie, with the instrumentation mellowing and intensifying along with the action a scene of some sort. There’s a lot of forward feeling movement in the instrumentation combined with what sounds to be a sense of urgency. Oh wow, a wave of synths starts coming through the soundscape that remind me a lot of the sound of krautrock of the 1970s, and becomes nearly shamanic in nature with the intense beat of the track, which provides that sense of urgency in the track. I’m really digging this song so far. The band and album name, SEXWITCH, seems to be an accurate description of what this song sounds like, especially as the vocals alternate between what sounds to be labored breathing and high pitched cackling. Oh wow, a really mellow, higher-pitched synth starts coming into the soundscape, almost serving as a guiding light among the intense sounds of the song. Wow, awesome track.
“Lam Plearn Klew Bao” starts out with some really mellow keyboards/organ, while some other notes from what sound to be a piano gradually come in to accentuate the keyboard/organ melody. There’s also a very light droning in the background, which seems to gradually become more intense. Holy smokes, a big-sounding, mellow bass line comes into the soundscape set to what sounds like a smooth jazz swing in the drums. Oh wow, the vocals have such a mellow and entrancing sound that complements the smooth style of the rest of instrumentation in the track. I feel like I’ve been pulled quite deep into the listening experience that is this album at the moment. Great track.
“Ghoroobaa Ghashangan” starts with a mellow droning bass tone, and soon gets into a super sweet movement with some tight drums, a groovy bass line, and some nearly funky guitar accentuations that sort of sound like Arctic Monkeys meets Black Pumas meets Vulfpeck. There’s a really interesting darkness in the track that reminds me of the 1960s Los Angeles area psychedelic rock outfits like The Doors. Oh wow, the layers of vocals on both sides of the soundscape almost sound like they’re reaching deeper into a cauldron while simultaneously casting a spell. I’m really digging this track so far. Wow, great tune.
“War in Peace” is a cover of the haunting tune originally by Alexander “Skip” Spence, I think. Oh wow, that haunting sound is present in this track. Wow, this track somehow feels the both the tightest and most flowing song thus far, while having an epic-sounding conclusory feel at the same time. Wow, I love the vocals and guitar work in this track. The overall sound feels like a sort of haunted psychedelic surf rock track. Holy smokes, the jam starts building up momentum as the tune nears the end, getting tighter and quicker as the vocals seem to continually reach new heights. Wow, the end of the track has a sort of uncomfortable, chaotic feel, which reinvigorates that haunting sound from earlier in the track. Wow, great song, and a great way to finish the album.
Holy smokes, this album is great. I just looked up whether or not it’s feasible to get a copy of the record on vinyl, but the cheapest copy runs for about $267 on Discogs. I could hear a lot of influence from the krautrock bands of the 1970s as the album continued, while the overall presentation had a very modern and very unique feel. There’s almost a haunting presence throughout the album, which becomes quite present in the last track. There’s also what sounds to be a bit of an occult rock sound that I really dig as well. If you’re a fan of krautrock from the 1970s, and you enjoy the occult rock stylings of groups like Psychedelic Witchcraft, and/or you dig a dark modern psychedelic rock sound, then you might want to consider checking out this album. If you do decide to give this album a listen, I sincerely do hope that you enjoy the listening experience at least as much as I did.
-A