Photos by Kelsey Hart
The siren song of the open road has long beckoned generations of wild spirits to tear across the vast expanses of blacktop that crisscross this country like the veins of some great and untamable beast. Astride iron stallions these modern-day ronin pursue the very essence of existence in an all-or-nothing quest for freedom on the fringes of society; no gods, no masters, just man and machine on the open road. L.A. Witch subvert the solitary mythos of the traditional motorcycle narrative on their latest single, “Motorcycle Boy” into a tragic expression of devotion to the restless outcasts compelled to practice the thundering art of rebellion.
On its surface “Motorcycle Boy” seems a straightforward love song, but beneath the veneer of pining affection is an undercurrent of anxious melancholy that colors the poetry with shades of black as deep and heavy as a weathered leather jacket. “’Motorcycle Boy’ is about falling in love with that misfit or rebel and the fear of losing them to the road forever,” says frontwoman Sade Sanchez about the core concept of the song, a sentiment that is a very real part of life for those that love a biker. The inherent danger is a key part of the allure of riding, a high speed test of skill and reflex balanced on a razor’s edge of unpredictability. One wrong move, one rough patch, and yet another road warrior joins their brethren in v-twin Valhalla. The rider knows this and still chooses to chase with abandon the primal rush hiding behind every bend along Mulholland Drive, but those left behind are saddled with the burden of knowledge that each time motorcycle boy gears up to ride may be the last.
Hollywood has long romanticized bikers fueled by ionic performances from Brando, Fonda, McQueen, and many others, but most always the handsome rebel behind the handlebars dominates the narrative. “A lot of the inspiration came from motorcycle cinema” says Sanchez about the writing of “Motorcycle Boy,” but L.A. Witch have never been a band to take the easy route when putting their perspective on the challenges of personal or romantic relationships. This track is no different. Deftly shifting focus away from the traditional moto-antihero’s saga, L.A. Witch tell a new story within the mythos of motorcycle culture, the story of the wives and mothers and children left behind to watch burning taillights recede into the distance and the lingering uncertainty that hangs like the metallic smell of exhaust fumes long after the bike has disappeared from view. Steel eyed and resolute, Sanchez’s vocals are heavy with the burden of unwavering devotion, but expressive of the immense strength required to stand proudly in loving support of a partner’s ideals.
Stylistically, director Ambar Navarro dug deep into the rich history of motorcycle culture’s cinematic representation to craft a visual narrative that expands upon the themes of the original song. Retro titles, sweeping vehicular shots, and breathtaking vistas of endless open country set the stage for a simmering hellride as a doomed motorcycle boy races along blacktop hotly hounded by a trio of mysterious riders before meeting his fate at the end of the world.
Black and white footage gradually gives way to vibrant color images as the pursuing Valkyries coalesce from wavering Ronnie specters to leather-clad acolytes of adrenaline fulfilling a pilgrimage to roadside memorial in honor of the fallen rebel soul they once chased. A blooming celebration of life amid the arid desert, the camera pans across the memorial’s offerings, lingering upon a patch that reads “My Daddy Rides A Harley-Davidson,” reframing the trio as blood heirs to the fraternity of the road, a lineage of outlaws forever destined to chase an ideology to the very end.
“We really love to be involved in everything we put out because not only does it help tell the story of the music, but we also want it to be an accurate and true representation of ourselves” says bassist Irita Pai about the production of the “Motorcycle Boy” video, but challenges presented by COVID-19 prevented the level of collaboration the band would normally engage in with a director. Navarro, a skilled visual artist who has proven her chops producing vibrant videos for artists including The Paranoyds and Soccer Mommy, came up with much of the concept. “We decided to entirely trust [her]”, says Sanchez, giving Navarro control of every aspect of production all the way down to scheduling wardrobe fittings. “She nailed it,” adds Pai “she really understood our aesthetic and point of view.”
“When you look back at motorcycle culture, a lot of the people who helped shape what it is today were rebels, misfits and outcasts. People looking for a sense of freedom” says Sanchez, and the unique perspective L.A. Witch and Ambar Navarro present helps set “Motorcycle Boy” apart from the pack, a creative work that celebrates the independence of the true biker spirit by recognizing the impact an unconventional lifestyle has on those that love the rebellious.
L.A. Witch’s latest album Play With Fire is available on Bandcamp and streaming on Spotify. Follow L.A. Witch on Instagram
