Leonard Cohen Tribute
Celebrating the words and music.
Book of Changes, the new album by Guy Blakeslee as ENTRANCE, is a poetic song cycle about the seasons of the heart, tracing an emotional journey through longing and emptiness to peace and redemption. The record achieves a seamless melding of the personal, political and philosophical, a vibrant document of an artist hitting a creative stride and discovering an expansive new sound. The adventurously produced collection of songs is reminiscent of Townes Van Zandt's ruminative lyricism and the gypsy flavored orchestral explorations of Arthur Lee and Love, uniquely channeled through Blakeslee's 21st Century approach to the spiritual dimensions of American songwriting in a way that gives an old form new power.
Book of Changes was written and recorded by Blakeslee over the course of a restless year of travel, touring and transformation. The album took shape in 11 different studios in Los Angeles and London, produced by Blakeslee and mixed by multi-instrumentalist David Vandervelde (Father John Misty, Jay Bennett) at Elliott Smith's New Monkey Studios in Van Nuys, California. Additional mixing came from Chris Coady (Future Islands, Cass McCombs) who lent his talents to the song "Always the Right Time." Grammy nominated engineer Sarah Register (David Bowie, The Shins) mastered Book of Changes.
On the new recording, Blakeslee is joined by several very talented friends including longtime collaborator Paz Lenchantin (Pixies, Silver Jews) and percussionist Frank Lenz (Pedro the Lion, The Weepies) as well as vocalists Jessica Tonder and Lael Neale and the drummers Derek James and Will Scott. The accompanying art by critically acclaimed artist Amanda Charchian captures Blakeslee with freshly blossomed orchids.
Strings, pianos, xylophones, bells and dreamy female voices swirl around fluid basslines and fingerpicked acoustic guitars. At the heart of these songs is a voice, which holds an intensity of emotion that can only come from the depths of the soul. From the devotional pop of "Always the Right Time" and the western bolero of "I'd Be A Fool" through the stark blues of "The Avenue" and the dark romantic flamenco of "Molly," Blakeslee's singing carries the narrative with heart-stopping force. Each unfolding chapter touches a new emotional nerve, from the Lee and Nancy style sway of "Winter Lady" and the apocalyptic film noir piano dirge "Leaving California" to the anthemic album closer "Revolution Eyes," which dissolves in a stormy melt of piano and bells as the listener is swept away on an ecstatic wave of liberation and joy. While at moments the ghost of rock 'n' roll is invoked, for the most part this is something more fragile and ethereal; music from a half-remembered dream, strange and familiar at the same time.
When asked about the impetus for the new sound and style, Blakeslee replied:
"I desperately wanted to get back to the essential nature of 'SONG' - as opposed to a 'track'… Most music that is released nowadays is really a track, not a song - it would be impossible for one person with an instrument to sit down in a room and perform it… So it was important that this album begin from actual songs that I could sing with a guitar or a piano… all of the textures and sounds I added along the way are the icing on the cake to expand the experience for the listener, but at the heart is a real song, a basic text of words and a melody. I want to do my part to see that tradition isn't lost. I believe there's still a lot of power in a song."
- Paul Carlin
“The first time I saw Shannon my heart was broken into a million pieces. I had known her from her wonderful punk band Feels as the lead guitarist who shouted back up, but I wasn’t sure what to expect from her performing solo. But there she was – at a small bar in Los Angeles to maybe 15 people watching while she sat in a chair with an electric guitar on her knee, orange hair covering her face and a picture of Bart Simpson projected behind her. She began her set and my heart stopped the moment her voice leaped into the air – and I did what I do in those rare situations – I recorded it. I pulled out my phone, opened up the voice memos and recorded her whole set (the last time I had done this was three years earlier while watching Kris Kristofferson and Harry Dean Stanton do duets set at Cinefamily). After her performance I was in complete awe and wasn’t sure how to approach her to convey how much I loved it. Suddenly Shannon, an acquaintance from around town, had exposed her super power and I felt instantly star struck in her presence. “I recorded your set so I could listen to it again” I told her, and then to my surprise I found myself saying “let me put out your record” and after convincing Jeremy at Woodsist to do a collaborative release with me, here it is.
Living water is an instant classic. Recorded by Emmet Kelly (Cairo Gang, Bonnie Prince Billy, Ty Segall) in his Los Angeles home studio, this is an album where you can hear the room reacting to the music taking shape around it. Shannon has a voice that transcends time and space. You can’t tell if she’s old or new, if she’s sitting next to you, on a mountain top, or down in some canyon. Already her second LP to be released in 2017, Shannon is a prolific songwriter, one who lives and breaths melody and with guitar skills to boot. Despite it’s 14 tracks, Living Water comes in well under 40 minutes, but like Pink Moon or Just Another Diamond Day before it, this is music so potent it exists outside the realms of time – but in a world specific only to itself and the new feelings it creates.
Shannon has been dominating the local scene in Los Angeles over the past two years, leaving everyone who witnesses completely breathless. Having just finished a tour with Ty Segall, Shannon is set to support Kevin Morby on a national tour this fall.” – Kevin Morby, Birmingham, Alabama, June 8th 2017
Photo by Abby Banks
Honey Child is a Heroine Folk project from Los Angeles led by Opera Singer Claire McKeown (Dirt Bird, Afternoons), with Dayna Richards (Seasons), Jacquelyn Thropay (The Ross Sea Party), Aimee Jacobs (Burning of Rome, Strawberry Moons) Cynthia Zitter, and Claire Boutelle.
We are celebrating the release of our first official music video for ‘Gotta Wait Another Night’ directed by Dawn Garcia (Destroyer, TV of the Radio) and produced by Cheeky Films. The video is a celebration of a night day in our beloved Los Angeles.
‘Gotta Wait Another Night' was recorded at Eastwest studios in the famed studio 3 (pet sounds room), which allowed for a wonderland of toys to play with. We used ribbon microphones, the echo chamber, Hammond organ, Steinway grand piano, tracked the orchestra live, added a heavenly string section, even ran the lead vocals through a Leslie. Vocals and Orchestra/band arranged by Claire Mckeown and coproduced with Ethan Walter.
Self-proclaimed German doom-pop singer currently signed to Sumerian Records.
Babies On Acid is a group that plays experimental thriftstore folk. Our music is focused on songwriting and melody with dynamic arrangements and trans-genre instrumentation. We spotlight strong melodies with a hard bent on experimentation that can become a mishmash of multiple styles and genres especially when recorded. We are as of now all from the South Bay of Los Angeles and have currently 5 members: Jeronimo (Joel Jerome) Morales acoustic/electric guitar and vocals, Umberto (Kevin) Morales bass, Gabriel Garnica 2nd guitar, Lawrence Alexander percussion and sax, and Jason Hanakeawe drums.
Lael grew up in rural Virginia
studied Literature & Environmental Philosophy at St. Mary's College of Maryland
she currently lives in Los Angeles
Laena "Geronimo" Myers-Ionita paints emotion in sounds, vibrantly unfolding into the sonic landscape. Acutely sensitive intuition heavily steeped in technical skill and rounded out by years of experience forms her arsenal. She confidently affects.
As a classically-trained violinist with more than twenty years of consistent study under her belt, Laena is well-versed in sight-reading and working with other string players, and provides full technical reliability. A deep emphasis on tone pervades her work. She studied violin privately under highly-respected Russian and German instructors, and throughout her adolescence performed regularly with The Youth Symphony of Southern Oregon and later The Los Angeles Junior Philharmonic. Laena's classical violin work has been featured live and on recordings in symphonies, various chamber group configurations and as a solo performer.
Laena is most often sought out for her improvisational strengths however, applying her classical skills toward contemporary sounds and ideas. She works primarily with bands, songwriters, producers, and performance artists and dedicates her talents to best serve the artistic intent at hand in a fluid, familiar way. She has an extraordinary talent for memorization, playing 'by-ear' and also charting out sheet music on the spot- abilities that prove invaluable when working with artists who have ideas of what they want but lack the language to convey them. These skills extend beyond violin to other instruments as well, and Laena is often called in as a clutch electric bass or guitar player on recording sessions, one-off gigs and tours.
When she's not channeling your muse, Laena is busy writing songs and performing locally and abroad with her own band FEELS. She lives and works in Los Angeles, CA.
photo by Arianna Basco
Ever wary of the evil eye, the title of Imaad Wasif's Dzi comes from The Tibetan Book of The Dead. Pronounced 'zee,' the word translates to "shine, brightness". Characterized by Wasif’s psychonautic sound, it's a marked departure from the acoustic guitar and folk rock style established by The Voidist and veers more into the uncharted territory of indoproto-dream metal.
Influenced and inspired by the likes of James Blake, Florence Welch and Nina Simone. Described as "cinematic pop for widescreen ears' by Kevin Bronson of Buzz Bands LA, Daniels voice and style of songwriting garnered quick recognition in the North Bay music scene when he began in 2005. The band currently resides in downtown Los Angeles
"Los Angeles via Columbus, Ohio singer-songwriter Vug Arakas paints a washed-out portrait of love and desperation on his new EP Restless. At the heart of each of the four songs is a reflection of Los Angeles. Arakas’ LA is an unusual and personal place - a city of smog and gray sunlight and starless skies, the LA that lives inside the ones who spend their whole lives searching and never quite finding whatever it is the west had once promised. Each melody on Restless is a longing for a new home in a strange city, a memorial for nights forgotten, a prayer that somehow, in a country of uncertainty, in a city of ephemerality, something or someone will actually last.”
DEATH HAGS is the multifaceted project of composer/multi-instrumentalist Lola Jean. Mixing French and English lyrics, catchy melodies and guitar riffs with minimal electronic sounds, DEATH HAGS can take many forms on stage, from solo electronic sets to full band performances.
Following a first single “Metal Teeth” released on Burger Records, a European tour and performances at SXSW 2018 as an official artist, DEATH HAGS will release her next single “Earthbound” on November 9, 2018 and a 12” EP including remixes and extended versions in January 2019.
She is currently working on a multimedia project and collaborating on tracks with Hunter Burgan of AFI.