LA Pop/Rock Trio
Share acoustic driven new single “Water”
Debut LP Water out June 14 on Suicide Squeeze
LA pop/rock trio SadGirl have shared their new single “Water” the title trackfrom their debut LP Water out June 14 on Suicide Squeeze (The Coathangers, L.A. Witch, Death Valley Girls ), which premiered on Flood Magazine, who described it as “Sgt. Pepper meets Arctic Monkeys vibe, made personal with a lo-fi feel, strummed acoustic guitars, and subtly symphonic flourishes.”
“Water” is a sparse acoustic song driven by SadGirl guitarist/vocalist Misha Lindes’ reflective vocals. It’s about realizing your own mortality and changing nature.
“This is probably one of the most honest / personal songs I’ve written. It was initially just a home demo I recorded for myself, and when I finished tracking it had kind of opened up a new creative door for me musically. It’s my favorite song on the record and also probably the saddest song on the record. It’s about self reflection and being honest with your self and asking yourself if what’s made you happy in the past still makes you feel the same way.”
The band have already shared album tracks “Miss Me,” a classic tormented love song that transports the listener back to wholesome slow dances at a previous generation’s sock hop, only to be subverted by a chorus of “miss me with that bullshit.” And the video for “Chlorine”, a melancholy ballad inspired by Otis Redding and John Waters.
SadGirl are acutely aware of that reality, and their analog rock n’ roll has always somehow managed to approximate the relentless optimism of the pioneer spirit, but they’ve also exuded some degree of self-awareness of the anodyne properties of vintage pop. With their new album Water, the Los Angeles trio taps into the romantic and nostalgic spirit of their native city while exuding a time-tested authenticity suggesting that they’ve had a peek behind the curtain of the manicured lawns, glitzy boulevards, and relentless sunshine.
Water was pieced together out of a series of recording sessions from the last two years using a variety of tape machines in a variety of environments—from living rooms to proper studios. Taken as a whole, they capture a band summoning the spirit of their surroundings in all its peaks and valleys. It’s a record steeped in the pop world of the past in order to create a contrast with our modern age. It’s a sugar-coated reminder of what we’ve lost, what we’ve never had, and what we’ll eventually lose.
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