I See Hawks In L.A., Chaparral, Loch and Key, Angelica Rockne

Spaceland Presents

I See Hawks In L.A.

Chaparral

Loch and Key

Angelica Rockne

Thu December 6, 2018

9:00 pm

The Love Song

Los Angeles, CA

Free

This event is 21 and over

I See Hawks In L.A.
I See Hawks In L.A.
Formed in 2000 by Rob Waller and brothers Paul and Anthony Lacques during a philosophical discussion and rock throwing session on an East Mojave desert trek, I See Hawks In L.A. wrote their first batch of songs and then sought advice from local country rock guru David Jackson, sideman with John Denver, Dillard and Clark, and Emmylou Harris.

Jackson set up a few mics and recorded Rob and Paul, playing along on bass. This demo turned into featured songs on the Hawks eponymous debut on now-defunct Ethic Records, featuring legendary fiddler Brantley Kearns (Dwight Yoakam, Dave Alvin, Hazel Dickens). The CD established the Hawks signature sound: high lonesome three part harmonies, twang guitar and unadorned acoustic arrangements, with lyrics musing on mortality, whales, and the geography of pre-apocalyptic L.A. I See Hawks In L.A. received rave reviews, made the F.A.R. Alternative Country Chart, and continues to get regular airplay. With its experimental spirit and wide ranging musical influences, the record tweaks some traditionalists. But most agree that the Hawks have broken new ground.

The Hawks hadn't planned on much more than back porch songwriting and beer drinking, but the buzz prompted them into live performing, and they quickly rose to the top of heap in the brand new Los Angeles alternative country scene. Bassist Paul Marshall (Strawberry Alarm Clock, Hank Thompson, Rose Maddox) threw in with the Hawks after sitting in at Ronnie Mack's Barndance in Burbank, and after brother Anthony left to pursue documentary film making fulltime, drummer Shawn Nourse (Dwight Yoakum, James Intveld) signed on for a trip to Texas and SXSW and never left. Kickass electric shows all over SoCal, from House of Blues to the Cinema Bar, garnered the Hawks two L.A. Weekly Best Country Artist awards in 2002 and 2003.

The Hawks second CD, "Grapevine," was released on the summer solstice 2004, and immediately went to #1 on the F.A.R. Chart, lingered in the Americana Chart's top 100 for months, and hit #2 on XM Radio's X Country station in January '05. Rave reviews and a national audience followed the Hawks 28 city Summer '04 tour, from a state prison in Vermont to a Mississippi roadhouse to the Cactus Cafe and KUT's Eklektikos in Austin, to Hempfest in Seattle. Summer of '05 West Coast and Rockies tours brought the Hawks to the woods, and the woods to the Hawks.

The Hawks' third CD, "California Country," with guest spots from Chris Hillman, Rick Shea, Cody Bryant, Danny McGough, Tommy Funderburk, and other SoCal roots brethren, is a leap forward and backwards, both more progressive and aggressive on the electric/psychedelic front, and more stripped down on the acoustic numbers. Tackling subjects like despair in Disney World, blackjack in Jackpot, hippie parenting, donkeys, and Senator Robert Byrd from West Virginia, "California Country" brings more bluegrass, Phase 90 country psychedelia, and steel driven honky tonk to the Hawks sonic empire.

Summer 2006 brought the Hawks to 30 states, England, and Scotland, performing 57 shows to intimate living room audiences, honky tonks, and big outdoor festivals. Co-billed with some of their favorite artists--Lucinda Williams, Ray Wylie Hubbard, Dave Alvin, The Blasters, Cross Canadian Ragweed, Chris Hillman, Bernie Leadon, everybodyfields, Tony Gilkyson, Randy Weeks, The Meat Puppets, and Mike Stinson--the Hawks feel a strong sense of community with the roots country tribe.

In May 2008 the Hawks released "Hallowed Ground," with guest spots from fiddlers Dave Markowitz and Gabe Witcher, pedal steeler Dave Zirbel, and forays into Celtic music, Tex Mex, and more of the Hawks psychedelic country rock and folk textures and harmonies. "Hallowed Ground" hit #1 on the FAR Chart, #4 on the Euro Chart, and got lots o' great reviews.

In Summer 2008 the Hawks did a brief but memorable tour of Northern Ireland and the Down On The Farm festival in Norway.

Rob Waller and Paul Lacques had two songs on the Grammy nominated CD from Texas roots supergroup Polka Freakout. Hallowed Ground was featured in the HBO series True Blood, as two yuppies drained the blood from an aging vampire. This inspiring brush with big media has left the band with a warm fuzzy glow.

Look for the acoustic version of the band in February 2009 at the Folk Alliance national conference in Memphis. As always, the band is working on songs for a new CD. They're trying to shake their eco apocalyptic vision and lyrics theme, but it's no use. At least the reality of the times is catching up with the songs.

The Hawks have been featured performers in concert series including: The Ash Grove 50th Anniversary at UCLA, Sunset Junction (Silverlake), downtown L.A.'s California Plaza series, Seattle Hempfest, the Skirball Center, Old Town School of Folk Music Chicago, Joe's Pub in Manhattan, McCabes, The Folk Music Center, and the Getty Museum.

In 2003 The Hawks scored a "Modern Marvels" for the History Channel, a documentary on American cattle ranching from its roots in 19th century Texas to modern mega-factory-farms. The Hawks made soundscapes with old time fiddle, dobro, and jawharp, and brought the music to modern times with some Merle Haggard's Strangers-type country stomp and some space age (al la "Jetsons") guitar and human beat box.

In their past musical lives, in bands ranging from 60's psychedelia, hardcore bluegrass, avant garde polka, world beat, circus, cabaret, 80's country and world beat, to experimental guitar instrumental music, the Hawks members have scored a feature film and several documentaries, provided songs, and appeared in countless movies and television shows, including, in rough chronological order:

film:
Beyond The Valley Of The Dolls, McCabe And Mrs. Miller, Tapeheads, Far Out Man,
Just One Of The Guys, Chain Of Desire, Blood Ties, Hacks, Condo Painting, Fools Gold,
Heart of the Sea: Kapolioka’ehukai

network and cable TV:
Crime Story, Shasta McNasty, Modern Marvels: Gadgets, Modern Marvels: Coffee,
Plastic Surgeryland (VH-1)

The Hawks can usually be found in their native habitats: The Cinema Bar in Culver City, Ronnie Mack's Barn Dance, McCabes, Folk Music Center in Claremont, The Grand Old Echo, Pappy and Harriets and Gramfest in the high desert, and Ben Vaughn's Wonder Valley Music Fest at the Palms bar, even further out in the middle of nowhere; at acoustic house concerts, and any dive that will take them, from Seattle to San Diego, and all the Sans and Santas in between.
Chaparral
Chaparral
A group born out of the “Casual up the Coast” sessions, Chaparral explore the slower side of fun while maintaining a boogie first priority. The Falmouth Packet referred to the boys as “great American bookish soul”, the Royston Crow proclaimed the boys to be “the saviors of suggestion rock” and the Banbury Cake made the bold statement “these yanks would give Marillion a real run for their money with their pro attitude”.

Chaparral is:
Kip Boardman (Tony Gilkyson/Watson Twins)
Steve Didelot (American Music Club/Mark Eitzel)
Sean Hoffman (American Music Club/Bedroom Walls)
Angelica Rockne
Angelica Rockne
Recorded at Tim Green’s studio in Grass Valley with Blake Severn on guitar and bass, Neil Layton on drums and keys, and Pete Grant on pedal steel, the album was recorded over a span of six months in 2016. The arrangements are performances — earnest, unencumbered, and deeply reverential to both the classiness of the Byrd’s “Sweetheart of the Rodeo” and the guts of T.Rex’s “Electric Warrior.” Rockne’s voice is of it’s own dimension. There’s a delicacy in delivery that’s reminiscent of 60s songwriters, coupled with moments of something totally unhinged, psychedelic, and point-blank rock & roll. More consistent though is her unequivocal emotiveness, that can be described as nothing other than classically country. This is an album with an undeniable permanence. There’s a history to this music that’s perhaps more emotional and sensory than actually historic — something felt, something sensed, a mistaken nostalgia maybe for something that’s right here in the present, happening in all the quiet, dark corners of this country.

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