Xeno And Oaklander
As a musical act, XENO & OAKLANDER (Sean McBride and Liz Wendelbo) conflate a rich love of analog synths, melody, and mythology with eloquent nuance and a nod to the heritage they draw from. While that construct is the duo’s immediate kiss and crush, there’s a deeper importance to their collaboration which began in 2004. As evidenced in their debut Vigils (2004), McBride and Wendelbo’s artistic dynamic is more than just a mutual love for electronics but a contrast between architectural precision and painterly expression. From the film scores to the traditional albums they’ve recorded in their Brooklyn studio, they’ve both spurred and fostered the global synth wave revival through a commitment to analog-only production and performance as well as a strident respect for the medium. On their latest album 'Hypnos' and first for the Dais imprint, the duo leveraged the talents of visual artist and live sound engineer Egan Frantz to mix the album. It’s a touch that adds both punch and balance, allowing their inherent conceptual voices to converge into a collage with defined edges and warm, synapses of frequency and beat.
SRSQ (pronounced seer-skew) is the solo project of Kennedy Ashlyn (vocalist/keyboardist of Them Are Us Too). Creative voids aren’t filled, but rather holes left that push the edges of the present into new realms of consciousness. SRSQ’s pulse began after the death of Kennedy’s closest friend and TAUT collaborator Cash Askew, a casualty in the sudden and tragic Oakland Ghost Ship Fire of 2016. Driven by loss, SRSQ became the vehicle for Kennedy’s transformative process, exploring nuance, nostalgia, reflection, and reconciliation, manifesting in the aural landscape of 'Unreality,' her stunning debut on LA's remarkable Dais Records label.
CHASMS was formed in 2011 by Jess Labrador and Shannon Madden. Following 2016's 'On the Legs of Love Purified' and the recent "Divine Illusion" single, the band's latest LP for the Felte labe, 'The Mirage' pushes the band's ethereal sound into the murky depths of dub. Marking a sonic shift for the project, 'The Mirage' finds the duo trading in chaotic bursts of noise for understated minimalism that's still characteristically melancholic and potent with emotion. Labrador's drum production is as deft as ever with an expanded range of electronic samples and tape-delay-induced polyrhythms. Layered with Madden's persistently dubby bass, Labrador's sparse guitar and gliding soprano float above a labyrinth of hypnotic sequences. These dub-laced dirges signify growth within the band, heard in their command of repetition, space, and effects to build a pervasive mood that's often utterly heartbreaking.
Part Time Punks
PART TIME PUNKS is a club that takes over noted Echo Park live music venue, The Echo on 1822 Sunset, every Sunday night. The night focuses heavily on DIY and Indie vinyl coming out of the U.S., UK and Europe from 1977 to the present: Punk, Post-Punk, Synth-Punk, Synthpop, Minimal Synth, Dark/Cold/Minimal Wave, NDW, Industrial, New Wave, No Wave, C86, Indiepop, Twee, Shoegaze, Baggy and even Krautrock…
Fawns Of Love
If you've listened to the Part Time Punks radio show in the last year or two, then you'll already know that FAWNS OF LOVE are one of PTP's favorite new bands. And PTP isn't the only one. Paste proclaimed the band “a dreampop gem,” Flood called the debut album Who Cares About Tomorrow “perfectly woozy,” evoking “the soft gauze of Cocteau Twins and Slowdive,” Magnet said it “drifts along dreamily,” and The Big Takeover noted the “obsessive joy in Fawns of Love’s take on shoegaze.” 'Permanent,' the second full-length, released in January on Test Pattern Records is one of the year's very best.