The single Just Don't Try/ Plain (Bubblegum) introduced Witch Hazel as American shoegazers, but Cough Syrup (Sonic Swirl) instead placed them among the disciples of the velvety pop of the Beach Boys, Association, Love, and Left Banke.

Landlocked (Flydaddy, 1995) is thus a personal apotheosis of Kevin Coral—composer, arranger, and multi-instrumentalist (guitar, keyboards)—whose slightly old-fashioned talent tends to overshadow both the technical skill of the quintet, the fact that the fifth member is a trumpeter (Dave Butterbaugh), and the fact that drummer Ray Carmen is one of the most creative around (he also recorded a solo album on which he plays all the instruments himself).
Because of Coral’s baroque production, the group’s sound recalls progressive rock (especially the velvety Caravan) and many “mild-mannered” psychedelic-era bands, in addition to the usual Beach Boys and assorted shoegazers. The symphonic effect of Secrets Of The Spider World harks back to early Genesis, and the album’s tour de force, Hideous Sun Demon, launches into seven minutes of top-class progressive rock. The most painstakingly crafted songs are festivals of eccentricity: in the hypnotic Lemon Grove Kids a fairy-tale refrain alternates with a chamber-music interlude with violin and a scorching guitar riff that they later recycle; Rosewater Crescent offers a 1920s-style ditty reminiscent of Pearls Before Swine; Pink Grapefruit Cocktail thrives on the contrast between the twangy strumming of a country guitar and the elegant lines of a classical violin. At times it is mainly the starring role of a particular instrument that defines a piece’s harmony: the trumpet in the atmospheric pop-jazz of Chinese Apples, the little organ in the sprightly folk-rock of Autumnal Void, the violent feedback in the My Bloody Valentine-style lysergic chant of Honey Stick. Everywhere soft harmonies reign, whispered melodies drift in blatant trance, and clouds of cotton candy swell. From those shimmering swamps suddenly emerge memorable little songs, such as the sweet waltz of Peking Opera Blues.

The EP Beeswax (Get Go) doesn’t change direction, remaining anchored in Brian Wilson’s baroque pop (There's Always Vanilla) and the most melodic shoegazers (Now).

The six-song mini-album It's All True (Camera Obscura, 1998) is another excessive tribute to ornate pop, like a delirious version of Brit-pop. This is cake with layers of Phil Spector and Ennio Morricone. Hawthorne, Fontaine and The Secret Grave Girl are worthy of the album.

Witch Hazel's second album, This World Then The Fireworks (Hidden Agenda, 2002), sinks in a swamp of lame and derivative pop melodies that, at best, hark back to psychedelic folk-rock (Music Becomes Vibration) and to pop-jazz balladry (Blue City). The delicate and dreamy Ballad Of Constance Money is emblematic of how they can't capitalize on their own intuitions. The meticulous arrangements (notably Jason Richardson's trumpet) and Kevin Coral's confessional lyrics and are not enough to turn tender emotions (whether real or artificial) into artistic experience. Mostly it's a tedious parade of trivial melodies and mismatched orchestrations. The three brief instrumental interludes fare a lot better than the songs.

Ray Carmen also released the solo albums Duet Yourself (1990) and Nothing Personal (1991).

Ray Carmed resurfaced in the Librarians With Hickeys that released Long Overdue (2020), Handclaps & Tambourines (2022), and How To Make Friends By Telephone (2024).