Echo Park Rising
Echo Park Rising Music Festival will return once again to overflow the streets ofEcho Park with an eclectic mix of diverse music and comedy, seasoned performers and emerging homegrown talent all coming together for one weekend to celebrate the spirit of music, art and entertainment in the community of Echo Park.
There are hobbies, and then there are lifestyles. The former tends to come with the non-committal ambiguity of something to merely pass the time, to fool the world that something is giving you an identity - while the latter takes the urgency of emergency, of pre-destined presence that is already encoded in one’s own DNA.
For Warren Thomas - undisputed harbinger of debauched Zen and man behind Southern California’s elegantly-wasted country act The Abigails - it would be an emergency if it didn’t come so damn easy; as there are certain people that just can’t be anything else besides legends in real-time. “It just kinda comes naturally to me,” he told L.A. Record. “You know what they say: ‘Country music is just the white man’s blues,’ and Satan’s always lurkin’ in the shadows and I’ve been around the block a few times now. So I’d say it all kinda makes sense.”
After cutting his jagged-teeth for ten years leading the Doors-esque GRAND ELEGANCE and a brief stint on percussion with kindred spirits THE GROWLERS, Warren picked up a guitar in summer of 2011 and learned all five-chords for the first time – and wasted no time to record a full album perfectly crafted, mean-spirited yet somehow vulnerable classics that surprised everyone except his inner circle who knew this day was inevitable. “Songs Of Love And Despair” was co-released by Burger and Mono Records in 2012 and sold out quickly – proving that the Abigails brand of LEE HAZLEWOOD/GUN CLUB/COUNTRY TEASERS-inspired cruelty was filling a void that was screaming to be sewed up.
By the time the tireless gigging in support of the debut was in full swing, Warren already had his next round of tarnished golden-bullets in the chamber. “Tundra” is almost savant in its creaky perfection – an album slightly heavier on the ballad side that makes it easier to soak up all the bottlenecking wisdom throughout. Never has impending doom felt so comforting – Warren was gifted the distinction of effortless, story-telling baritone (once thought only reserved for icons like LEONARD COHEN and NICK CAVE) that oozes out speakers and consumes a room as he spins tales of his misadventures with minor glimmers of accidental redemption on songs like “29” and “The Calm Before The Storm”, while “The One That Let Me Go” ventures into ROGER MILLER territory where its hinge on zaniness swings in defiance. The Abigails take on Leon Payne’s “It’s Nothing To Me” and make it their own as it begins with a chilling, non-fiction answering machine message from Warren calling his engineer from a jail in Boise before crashing into a haunting twang-tangled fuck-all, confirming all of Warren’s confident threats that this may be his masterpiece. Until the next one…
A House for Lions
“The modern rock genre is in serious need of some fresh new faces. Enter A House For Lions.” - L.A. Times
“L.A.’s A House for Lions showed off a robust rock sound at Rusty’s on Wednesday, adding garage ferocity to the softer, ‘90s-influenced alt-rock of debut EP ’I Want Us to Be Remembered’. - Billboard.com
Daniel Norman, singer/songwriter of A House for Lions, is a music lover who never intended to become a musician. But while hitchhiking through Germany, a melody and a few words popped into his head and never left: “we'll write a book worth reading!” - the first line of what would become the first song Daniel ever wrote and A House for Lions' statement of purpose, “Let Back”. In that moment, he realized it might be possible to get off of the fence and create a project of his own; at least, it would be fun to try.
In early 2010 he found just that in an unlikely group of strangers. Adding guitarist and designer Mike Nissen, bass player Eric McCann and drummer Joe Luisi, A House for Lions has developed a sound that according to The Deli Magazine “manages to blend the sleeker side of angsty 90s rock with the laid-back instrumentation and heart-string pulling melodies you might expect from an alt-country band”.
Within six months of forming the band had recorded their first EP I Want Us To Be Remembered, with LA producer Raymond Richards (Local Natives) and were off and running. From there the band garnered rave reviews from the LA Times and Billboard.com and many more, made impressive debuts at CMJ and SXSW and established themselves as one of Los Angeles' most promising young bands.
The band's debut full-length album made with Grammy Award-winning producer Tom Biller (Silversun Pickups, Elliot Smith, Fiona Apple) will be released 06.24.14 on Randm Records, home to the cult status Lost Ark Studio.
Amanda Jo Williams
Amanda Jo Williams knew she was going to get out of her tiny town of Hogansville, Georgia, she just didn’t quite know how-- until one day a model scout plucked the gangly, dark haired beauty out of the crowd. Quickly, Amanda Jo had landed amid the buzzing energy of New York City, a place so inspiring she realized she definitely wasn’t going to sit still for a photographer’s lens. On a whim, she and a friend hitchhiked up to Woodstock, NY, where Amanda met a man who would bring her two gifts-- the gift of playing music, and the gift of her twin girls. Suddenly Amanda had found herself was pregnant with Ginger and Hominy, and recording her new songs as fast as she could write them. Finding her calling set her heart afire with new dreams, and the experience, she recounts, felt entirely natural. “It made me feel good, free, and like I could go places I hadn’t been,” she says. “I felt like it was gift I received from something much larger, like I had something honest to grow.”
While in Woodstock, Amanda formed the band Army Of Love, with whom she would go on to release four records. Being prolific comes naturally to Amanda, she finds the creation of the songs as effortless as breathing. “I just strum chords and whatever is on my mind and heart just flows out,” says the thirty-year-old artist. When she talks, it’s in a strong southern drawl swirled into a high pitch coo, like a little girl or a fairy nymph. And when Amanda Jo Williams sings, it can sound as soft as a mother singing her children to sleep, or as primal as the call of an Indian across a wild plain. In fact, Native American culture resonates with Amanda, and its heartbeat threads through her sonic landscape. ‘”I think,” says Amanda, “I was an Indian in my past life.” And certainly, now, when she sings in the present she embodies a native, raw, open presence, and plays music with no pretense. Her creation mode is about “always being spontaneous,” she says, “it’s about whatever’s being channeled. It’s about feeling good, being free, being open, very childlike.” And, she adds, “it’s always about love.”
Five years ago, Amanda gave birth to her son Jack, published a book, Grace Light Warrior, and released her first record, the critically acclaimed, cult-adored, punkabilly cosmic country offering Yes I Will, Mr. Man. (Which so nice they released it twice : Stereotype, 2006, White Noise of LA, 2009). Upon review of Yes I Will, Coke Machine Glow said this; "This is unequivocally the best country album I've heard in years. I get just as much pleasure out of it as I get from Emmy Lou Harris or Gram Parsons or (gasp) Johnny Cash." Despite all her efforts, the Universe didn’t seem to have the same immediate plans for Amanda’s music as she did, and soon the young artist and mother found herself sweeping her dreams to the side and enrolling in Nursing School.
But while playing a residency at LA’s famed Spaceland, Amanda knew she had to stay dogged after her dream a music, and make use of the gift she was given. She decided then and there, she says, “to do music and not look back or neglect it,” she says. “I did what I had to do, because everyone has their own gift, when you find it you run with it cause you have to. If everyone was not afraid to use their gift for themselves and the world there would more peace,” she says.
Amanda is nothing if not a mercurial artist. She can go from sticky to sweet on the turn of a dime. Point in case: this year’s solo release Mary’s Big Feet, (April) will lull the children to sleep with exotic, out-of-this-world dreams, but her group effort with her band, The Bear Eats Me (upcoming release), will wake the kids in the middle of the night for a boot-stomping, moon-invoking dance party on the back porch. The lofi, ghostly, Mary’s Big Feet reveals the artist’s softer, yearning side with songs about like “Homeheart” and “Waiting for You” which address “her muse.” On the other end of the spectrum, The Bear Eats Me is chock full of catchy rockabilly band numbers, with multi-layered recordings featuring cherubic choruses and good ol’ honky tonk, dusty jukebox rock.
The way she talks about her life’s adventures (and she’s had plenty for her 31 years) sounds like she plays in the world as if it’s a giant Candyland game board. Like we all live in a mythical forest with endless possibilities, some of us just don’t know it yet.
With her music career burgeoning more than ever, Amanda now spends her time back and forth between Woodstock and Los Angeles, filming creative and mysterious mini plays, or “playdates” with her kids and friends, and performing her songs whenever she can, and as much as she can. Her live shows feel a little like attending a punk country-themed channeling mixed with the suspense and crafty theatrics of your first puppet show. Don’t be surprised if she’s playing on fifty buck toy guitar or her backing band is rounded out by characters named Feather, 5-Track, the Crooked Cowboy, or even one of her three children, for that matter.
While the experience of Amanda Jo Williams’ music is at once like nothing you’ve ever heard, it sometimes evokes some legendary saucy and soulful comparisons: like Hank Williams Jr, Joanna Newsome, Melanie or June Carter, Victoria Williams and Lucinda Williams as well. When you mention influences though, Amanda shrugs. “Oh, she says. “That’s nice. I like all those people, it’s just I’m just being me.” Citizen LA summed up well what “being Amanda” is all about: “On a mission to spread fire and music, Amanda's driven and infectious songs and honest way have entranced both communities of experimental folk musicians and audiences across Los Angeles.” Today, Los Angeles. Tomorrow, the world.
Bart Davenport is a Bay Area native and something of a legend here. Davenport was in The Loved Ones and is the always dancing frontman from Honeycut, a disco-rock band featured at the very first Treasure Island Music Festival. Bart's '60s and '70s tinged R&B dance rock will get just about anyone moving, from power-poppers to slow-jammers. He's like our own Mick Jagger, and even with only an acoustic guitar, you will be sure to enjoy yourself immensely at a live show. This year, Bart has put out a solo album, Searching for Bart Davenport, with acoustic covers of songs by the likes of Love, David Byrne, Kings of Convenience and more.
Amidst the blood, cocaine, and Botox soaked tapestry of Los Angeles, the members of Batwings Catwings hail from all over the US and converge upon the wasteland of Southern California to give those who are willing a reason to shake and sweat.
Batwings Catwings is fronted by the tiny, yet fierce dance commander Dana Poblete, an everygirl with the ability to entrance audiences from Los Angeles to the hell mouths of Mexico’s border towns with her frenetic energy and deceptively powerful howl. Backing her is guitarist Ray Santillan, a master of the squelch who wields his axe and sequencers with the devastating accuracy. On the drums is L.A. blogger Clay Johnson, who cut his teeth drumming for about every metal band on the northern Midwest’s arctic front. Josh Crampton rounds out the lineup on bass, diversifying the sound even further with his smoothness and shoegaze influences.
After their successful first EP "Peacock Collection" from earlier in 2011 and a bangin official showcase at SXSW they are primed for another release October 24, 2011 on Gravy Records out of the UK. It will be their first 7", which is named "Radio". They recorded again at L.A.’s hot spot Infrasonic Studios (No Age, Best Coast, Fools Gold, Abe Vigoda, Wavves) by Eric Nordhauser and Pete Lyman. With a tinge of sarcasm, they are self-proclaimed as "modernist punk" – noisy as hell with a angle of pop and a nod to the punk rock roots of the L.A. underground bands they love so much.
In February 2010, R. James, A. McKeegan and M.Gibson formed the progressive band BETTY WHITE, embarking on a six-month journey of writing & recording a 6-song EP entitled “Nosebleed.”
Since moving to Los Angeles Black Apples have spent their time building an impressive resumé. They've performed at the Silverlake Jubilee, Sunset Junction and Conjunction Junction music festivals; they've shared the stage with Guitar Wolf, Cap'n Jazz and Mark Sultan (among many others).The band headlined an impressive month long residency at LA's popular music venue, The Echo, and toured the American west. They have been featured in major music publications and blogs including, LA Record, Brand X, LA Weekly, OC Weekly, the Deli and Brooklyn Vegan.
The band has its roots in brotherhood—Campbell and Andrew Scarborough grew up in New York in what Campbell describes as a creative household. The brothers honed their skills at various venues in the five boroughs before moving out west to Los Angeles.
The brothers continue to draw on their influences, familial and otherwise, to create infectious music laced with what they call "Psychedelic Motown Surf." It's accessible yet demanding, strangely catchy and growing in popularity. As the dust settles amid broken guitars, line-up changes, marathon recording sessions, blown out amps and sold out venues, the Black Apples look toward a broad horizon. Their debut self-titled album is available now on iTunes and on vinyl. A new 2 song 7” Cover Up Yourself is slated to come out August 7th and they will be in and out of the studio all summer recording their 2nd LP.
With deep roots in South and Central America, Buyepongo draw heavily from the Latino musical culture. Taking their cues from traditional "roots" music of Colombia, Haiti, Belize, Honduras and the Dominican Republic. Buyepongo create a very vibrant polyrhythmic sound by seamlessly fusing merengue, punta, and cumbia. The group's pulse and power is built around the drum and guacharaca(pronounced: wah cha rah ca) giving them an upbeat tropical flare.
Buyepongo is an infectious sonic explosion of blaring horns and syncopated accordion licks. Tight booming bass lines transcend you from the inner city, to a sunny island surrounded by sky blue ocean. Your soul then succumbs to the slaps of the conga as you become hypnotized by the melodious harmonies being sung. You are now in a tropical haven. Get Ready To Dance!
This is Calvin Love: He started a punk band in the northern Canadian city of Edmonton at the age of thirteen. The oppressively long, dark, and cold winters kept him indoors making madcap music while summer nights found him tearing up the sleepy streets with rock ‘n’ roll fueled adrenaline. Friends would say he was born with a rebel heart.
After the early years, he left town and has been on the road for the last five years touring dive bars and clubs throughout the US, playing in various bands in and out of Los Angeles. During this time, he managed to create a collage of visions, sounds, and scattered tracks while writing and recording in his bedroom studio, motels, bus stations, or wherever the road happened to lead.
This is Calvin’s first foray into a solo career. Armed with a 4-track, mics, computer machine, keyboards and guitar, Calvin has laid down his debut record New Radar, due to be released this fall on Autumn Tone Records. With backing influences of pop and dance music of the 50’s and 60’s, as well as the punk/electronic/new wave of the late 70’s and 80’s, Calvin Love’s music is a sonic escape into psychological mysteries and enlightened tales of love and death.
For what it’s worth, Calvin’s interests lie in photography, aesthetics, the paranormal, technological adaptations, pirates, The Goonies, zombie apocalypse, Jarmusch, strange states, dancing girls, sleepless nights, D.I.Y., Iggy, Bowie, tombs, hitchhiking,
Clipping: make party music for the club you wish you hadn't gone to, the car you don't remember getting in, and the streets you don't feel safe on; are phantom broadcasts bleeding into Power 106 as you drive out of range; are twenty different rappers looking into one broken mirror, talking to themselves all at once; are classic west coast rap music out of the tradition where sounding different wasn't cause for fear. Formed in 2009, initially as a remix project, Clipping acquired a vocalist in 2011 and began pursuing music-making at the intersection of gangster rap, music concrète and harsh noise. One of the producers also composes film music under his name, Jonathan Snipes, and pop songs under the name Captain Ahab. The other one makes noise as Rale. The rapper fronts a hip hop group called The Getback under his real name, Daveed Diggs.
"An amalgam of Bowie, Queen, synth-pop, disco, psych... -and the introspection of a sensitive oddball who’s been told many times he doesn’t fit in, but is actually more normal than most people.” -BLURT
Cosmonauts are a California-based band known for their simple, physically powerful songs and punishing stage volume. Cosmonauts were formed in 2009 by guitarists Alexander Ahmadi and Derek Cowart, natives of Fullerton in Orange County. They met when a mutual friend staged a house show and the two ended up jamming together. As Cowart told a reporter, "It was almost the same fashion as when the Clash approached (Joe) Strummer. 'I like you, but I hate your band,' is pretty much what Alex told me. I was like, 'That's alright. I hate my band, too.'" Teaming with bassist James Sanderson III and drummer Cole Devine, the four became Cosmonauts, and began hashing out powerful, drone-inspired guitar jams inspired by Spacemen 3, Sonic Youth, and the Velvet Underground. The group also discovered a simple way to get its trademark thick, reverb-heavy sound: using old amps and driving them as loud as possible. (As Cowart says, "The Kinks didn't get their tones from pedals, they just blew out their amps. It sounds cooler that way.") A few months after their first shows, Cosmonauts released their first album, a cassette-only offering issued by the label/record shop Burger Records that hit the street in the summer of 2010. Cosmonauts soon set out on their first tour, landed a spot at the South by Southwest Music Conference, and began releasing fresh material at a steady pace, including the cassette-only New Psychic Denim EP and a handful of 7" singles. In 2011, Cosmonauts' debut album was reissued on vinyl by Chicago's Permanent Records, and the band's many singles were compiled on a cassette-only collection, Natalie Wilson's Arm. Their second full-length, If You Wanna Die Then I Wanna Die, was released in 2012, and in 2013 the group reunited with Burger to release a third album, Persona Non Grata. - MARK DEMING
"Their raucous set was like if the Velvet Underground had turned to the MC5 at their Boston Tea Party concert in 1968 and, instead of insulting them, had turned and made love to them—and that was how Lou Reed wound up wearing that dog collar. I couldn't make out a single lyric, but did they really close the set with 'Little Honda?'" --LA RECORD
"Swirling, distorted psych, bulldozed along by pounding primitive drums, fuzzed out vocals, all glued together with a heavy spaced out guitar drone. If that ain't the ingredients for record of the month my name is Prince Bloody William. Imagine if you will the best of THEE OH SEES jamming deep with MOON DUO, with the aid of some sort of retro type drug that only Brace Belden knows the name of and you would almost be right on the money. Heavy, without losing one single hook, repetitive without being the least bit boring and shamelessly stepped in the glory years of acid rock without being a boring regurgitating hipster. Be warned, this record will give you a contact high." --Maximum Rock N Roll #337
This five piece is what some might call a San Diego “Super Group” – comprised of players from other bands including The Vision of a Dying World, The Paddle Boat, Black Mamba, and Cousins. The immense musical talent in this line up is apparent in Cuckoo Chaos’ live show. These players are tight, energetic, and show personality that is rare in a climate of “cool kids” stoic expression in indie music theses days. In 2010 they won “Best Alternative Band” at the San Diego Music Awards and are currently finishing their highly anticipated debut full length record.
Dante vs Zombies
“Sure, they have these Dick Dale-the-Cramps surfing guitars, these unexpected turns inside their 60s-inspired pop hooks, these jumpy rhythms sometimes injected by exotic tempos, but, like the antics of their frontman, the sound often explodes in all directions and miraculously safely lands on its feet…”
Shriek your greetings to the new kings and queens of The Spaghetti Western Jungle anthem; the hungry dictators of Not-Quite-Gentrified-Ghetto-Pop. Dante Vs Zombies materialized out of thick air in September 2009 and in that thin slice of time have become surreal outlaws of the live “Sing n-Dance-along”.
Reactionary pundits counter that they forced Buddy Holly and Screamin’ Jay Hawkins to play on the first Siouxsie And The Banshees album. Level headed moderates (aka trembling cowards) point out that this is the only possible mutant baby of its members which feature key players from The Starlite Desperation, Jail Weddings, Swahili Blonde, Raw Geronimo, The Detroit Cobras, Brass Tax, Easy Action and We Break Cameras. (Proponents of the “factoid” seem to enjoy pointing
out that they probably live in the eastern portion of Los Angeles).
Beginning with their first two releases (Yes I’m Stalking You/Branded By Nuns and Oblivion/The Bible Belt on Infrasonic ) DVZ has assured The Conglomerates that they will assassinate, by messy beheading , at least two backwards assumptions about music no longer being fun or universal, and will relentlessly continue the terror on a regular basis, until the
so-called “world” complies with their vision, or ends up on it’s knees.
Either outcome is acceptable. If you still don’t believe them, meditate upon the following :
Dante White-Aliano (The Starlite Desperation,Swahili Blonde, Detroit Cobras, Raw Geronimo, Gabriel Hart and the 4th Wall, Lost Kids): vocals, guitar, marimba, percussion Jeff Ehrenberg (The Starlite Desperation, Easy Action): drums, percussion, vocals Gabriel Hart (Jail Weddings, The 4th Wall, Starvations): guitar, vocals Jada Wagensomer (Jail Weddings, Brass Tax): bass, vocals Matt Polley (We Break Cameras): guitar, vocals
Laena Geronimo (Raw Geronimo, Swahili Blonde, The Starlite Desperation, The Like): bass, violin, percussion, vocals, keyboard
Consider yourself informed.
The Dead Ships
A lot has happened for The Dead Ships in the short time that they’ve been together. They quickly became the most talked-about live show in L.A., picked up airplay on radio giant KROQ where their song “Big Quiet” spent five weeks in the number one slot on the station’s star-making Locals Only show. The Ships were hand-picked by Goldenvoice to perform at Coachella 2016 and LA WEEKLY named them the city's best band. Now, with the release of their debut full-length album, it’s time for the rest of the world to get to know The Dead Ships. Produced by Broken Social Scene’s Brendan Canning, the soulful garage rock four-piece has put together a fiery collection of songs that showcase McCluskey’s engaging yowl and an unrelenting drive that never lets up on the gas pedal.https://soundcloud.com/nevado/the-dead-ships-first-mistakessingle-version
DJ Soda Pop
On an unseasonably warm Spring day, Megan Gold skipped 5th & 6th period during her junior year of high school and headed to the new coffee bar to hang out with her punk rock friends in Tacoma, WA. It was then that she first met Robbie Williamson. He made her coffee & when he looked at her with startlingly blue eyes, she entered through a porthole. A wormhole. A vortex.
In time, Robbie dropped his bass and picked up a QY70 and later, Logic. Stomping around wet Seattle streets, tape man in place, Megan found what she was looking for in Robbie's beats. She kissed her Ronnie Wood, Patti Smith, and Plastic Ono Band records good bye for now.
She didn't want to sing in another dude rock band. She wanted to feel her spine being realigned with magic sonic combinations. Suddenly, every sound that every single thing around her made was a possibility via this new noise He was making.
Luckily, they were at the same party with a gypsy DJ's their future. They were sick of the redundant dicklessness all around them. It was like the beach scene in the original Planet of The Apes with the Statue of Liberty poking out of the sand. Get me outta here! So they set out to make music that sounds like paint hitting a Pollock with beats that would make the African king in a Basquiat painting get loose, and Elvis make out with PJ Harvey in a dark corner. That was a while ago.
Since then these two Dreamers have painstakingly honed their sound and the result is an electrical storm of punk rock and minimal techno. Dreamers strive to push the electronic envelop while staying true to their anti homogenization heritage. Williamson's driving, angular production coupled with Gold's haunting tenor make for a Souxsie meets Modeselektor double feature.
The Driftwood Singers
The Driftwood Singers unassumingly take the stage and sing songs that could have been written ages ago but were more likely written in the last few weeks. Just barely in their 20′s The Driftwood Singers are prolific writers immersed in the folk tradition building on songs and stories that at their heart are observations of the human condition in all it’s gruesome variations and beautiful splendor.
Constantly on the road since beginning the band nearly two years ago at the age of 19, playing all over the country and Canada, The Driftwood Singers are quite a surprising contrast to what one might expect from two kids born and raised in the heart of Los Angeles. They prove that one can love the Carter Family and traditional music and still be firmly in the present with songs as vibrant and alive as any we’ve heard and an attitude that embraces the anti-elitist and DIY ethos of the punks we love
Their debut, 5-song EP, Look! beautifully exemplifies their determination. After experimenting with some big studios and becoming frustrated with the intervals of multi-tracking and the stale output of Protools, they decided one night to pare everything down to its stark essence and begin recording it on a Sony Walkman which they did by laying it on their living room table and pressing record. What’s captured is the immediacy of their performances and what they call “the transparency of sound”.
How can you go wrong with songs of death and hope, murder and love, lechery and splendor, transcendence and cruelty and all points in between! We’re looking forward to being a part The Driftwood Singers story as it winds it’s way through the hills, hollers, canyons and caves out of the shadows of the blue ridge mountains of Pocahontas, West Virginia to wide open starlit skies of Joshua Tree, California.
dublab is a 501c3 non-profit/community supported web radio station and creative collective dedicated to the growth of progressive music, arts and culture. We have been broadcasting independently since 1999. More than 300,000 international listeners connect to our streams & podcasts monthly. dublab's mission is to share beautiful music via the world's best djs. What you hear on dublab crosses g
enres and defies classification. Unlike traditional radio, the dublab djs have total freedom of selection. You will experience many different sounds but find they all have the same soulful root. We have extended our creative action to include art exhibits, film projects, event production and record releases. The dublab echo continues to expand across the Earth.
ED VERTOV (Pro-tez, Mount Analog)
ED KARAPETYAN was born in Moscow in 1977 and moved to Los Angeles in 1998, where he went to school to pursue his dream to become a filmmaker, but in 2003 Ed and his old time friend Anton Kubikov of SCSi-9 (Kompakt) decided to set up an international electronic music record label PRO-TEZ RECORDS. It was launched in 2005 and became first Russian /American exclusive Kompakt label. Now the record label is getting world wide recognition and with number of releases proved to be an exquisite music vessel for young and never heard before musicians.Ed also works at Amoeba Record store in Hollywood where he is deeply involved in electronic music department , keeps djing around LA and making music which will come out one day.
ERAS' upcoming release Portals exists in a unique space giving equal reverence to both the DIY noise scene of The Smell and the leftfield hip-hop beats of the Low End Theory/Brainfeeder scene. The LA-based producer already has plenty of acclaim bubbling underground with a few well-received limited releases to his name and pumping out dark, trance-inducing remixes for artists like Death Grips, Gazelle Twin, and Chelsea Wolfe. With his latest Portals, ERAS seems primed for a wider audience.
Almost as if it was a double EP, ERAS embraces the vinyl format with a dualistic approach to the record as if it were two sides of a coin. In a striking new direction, Portals' first side explores new territory for ERAS with lush textures, warm pads, and agile celestial synth melodies all pushed to the forefront. The fingerprints of his previous work are there with an underlying tension and mystery, but it treads along into familiar territory as well with a pastoral, futuristic hymn quality recalling Boards of Canada and/or M83 more so than the more punk, beat induced Throbbing Gristle-isms we've heard from him in the past.
From the first few seconds of the flipside's opener "Oath", the howling drones of sacred musics and tribal war drums clearly signal a more sinister intent for the second side of Portals. Also surprising, the foreboding distorted glitch atmospheres of "Coma" give way to a steady beat wrapped in dark, warped R&B vibes. As if the b-side has taken you to the dark corridors in an underworld of sound, it is consistent in tone and restraint but also full of interesting juxtapositions whether it's layering expansive shoegaze over meticulously edited breakbeats or power electronics held together by subtle chord arrangements.
With the nature of the dualistic release, it would be inappropriate to assign any sort of genre to the music on Portals but fans of the classic Warp catalog, Editions Mego releases, even the new generation of witchier dark electronics will find a lot to like in ERAS' latest
Lee Briante of The Far West
"Technically pure, slightly jaded, no-nonsense and honest with stellar storytelling for the every-man." The Far West came together in early 2010, each member having left other bands to pursue a unique sound they weren't getting elsewhere. Robert Black, hailing from Texas has played in dozens of bands from the plains all the way to the coasts (in both directions). In his Texas days he backed a number of bands in all day BBQ hoedowns and late night jam sessions. He even had a band share a bill with Townes Van Zandt. In Los Angeles, after working as a session bassist for several LA bands like Leslie & The Badgers, West of Texas & many others, he met singer Lee Briante. Briante comes from the fertile Hudson Valley of NY, by way of the rolling hills of Western Mass. His parents instilled a deep love of music in him from a very early age, taking him to see a wide variety of music like Arlo, Pete Seegar, Charlie Daniels and many others. Memories of rowdy irish bands burning through bow rosin in low ceiling riverside taverns stand out in his mind. Lee has been playing in bands since he was 15 or so, among others he played in the Northampton, MA ambient band paris., the Boston band 1986 and the LA based Queen Victoria. Ready to start a project of his own he made contact with Robert Black by posting a simple craigslist ad that consisted of nothing more then a Waylon Jennings video. James Williams is the bands lone CA native. He brings his unique style to the band, playing organ, piano and keys,
He has played in Biirdie, the breakups, and SpongeBob SquarePants and the Hi-Seas. and performed live on KTLA Morning News, KXLU, and KCRW's Morning Becomes Eclectic with Nick Harcourt. On top of all this, he was the recipient of his high school's Louis Armstrong Jazz Award Virgina born guitarist Brian Bachman had been playing in several bands in LA, but after sharing a bill with The Far West, he wanted in. TFW wanted him too and once the timing worked out Brian joined up and added a depth and excitement to the sound that was greatly needed. After seeing Alabama native Alan F. Rogers drum in a downtown LA bar The Far West knew they had to have him. It turned out Alan was looking for something just like The Far West, and after some mutual appreciation smoke blowing, the lineup was solidified.
Once The Far West came together they got right to work, gigging all across Southern California in places like The Echo, Pappy & Harriets, Hotel Cafe, Cowboy Palace Saloon, Taix, Silverlake Lounge & many more. The American Legion Post 416 in encinitas had become a familiar venue to them and it was here that over 3 days in December 2010 The Far West recorded an album of original songs with he help of Engineer/ Producer Colin Mclean. Done live-to-tape with minimal overdubs this record captures the live energy and beautiful tone of the Legion Post. The boys have been gigging ever since, making stops at the 2011 & 2012 SXSW festival in Austin & countless jukejoints across the southwest. They're proud to share stages with their contemporaries like Mike Stinson, Brennan Leigh, Broken Numbers Band, David Serby, The Americans, Tony Gilkyson, JD McPherson and many more.
"At one level, this is garage rock … But the music on Peace, Victory and the Devil breaks out of those constraints, not as if it's struggling but as if it's shrugging off any concern for rules, as if it's easy to pioneer a new sound.
Whether [Jones] is channeling spirits, or whether Feeding People is simply a band of spirited musicians all pulling together to make her glossolalia of gloom the official soundtrack for these apocalyptic times, Peace Victoy and the Devil will make you want to stockpile this album and hole up in your bunker to await the band's next revelation."
— Dan Collins, LA Record
"...the trio weaves together threads of psych-rock, dark surf and other stylish effects-laden hues to craft a sound that's haunting, moody and loud. Dealing in a neo-Velvets kind of blackness, their name is apt if they mean the kind of fever you get in the night."
Fire In The Hamptons
Descending from the heavens (with an arrival point somewhere directly skyward of Los Angeles, California) looms Fire In The Hamptons: A tribal entity that has come to provide the Earth with the soundtrack for celestial lovemaking. Floating in the wind somewhere above the inner vivid-enchantment of a music industry that has become increasingly affected and tediously defined, lead Vocalist Zack Hampton and co-conspirator Bert Selen have come to let loose a shelling of aroused sonification and youthful menace by means of elegantly slung spears of desire. On stage the concept transforms into a four piece band consisting of Aaron Bilyeu on drums, Ian Dowd on lead guitar and Emvy Venti on synth/ piano. A colorful array of remixed styles, from the polyphonic buzz of the early 80’s synthesizers to intricately strummed delayed guitar lines all riding on the back bone of deep house thumping kicks inspires and arranges the sound of this electric-indie-rock band. For all intents and purposes, FITH is an auditory haven for the soul romping, hunger driven children of the sun. We are the fire.
On a cool California night in 2008, old friends Luke Top and Lewis Pesacov stood under the starry sky at a wedding reception and dreamt of what it would be like to play music like Mahmoud Ahmed did in 1970's Ethiopia, or what it would feel like to channel the great Soukous players of the Congo from the heyday of Diblo Dibala. Quickly materializing into a venerable gang of up to 15 musicians, 2009 saw the release of the band's debut self-titled album. The first single "Surprise Hotel" was quick to leave fans powerless under it's unique harnessing of a summertime feeling.
The sophomore album, "Leave No Trace" landed in 2010, refining the band's sound and stripping back the lineup to a permanent 5 members; Luke, Lewis, Garrett Ray, Brad Caulkins, and Salvador Placencia. With this new stronghold of a lineup, the band launched a multitude of US and European tours that ranging from appearances at Glastonbury, Reading, Leeds and ACL Fest to sharing the stage with legendary desert rockers Tinariwen at the historic Hollywood Bowl. The end of 2012 found the band supporting the Red Hot Chili Peppers in arenas across the UK as well as in Tel Aviv, for one of the largest concerts in Israel's history.
In 2013 the band eased out of a long and demanding touring schedule to focus on writing new material. With 5 years of experience behind them, this was a great opportunity to further hone in on the band's identity and songwriting. "I'm In Love", the first single from the new album is a joyous ode to Calypso rhythms, Reggae funk, Nigerian disco, and hints of classic American R&B and Motown. The familiar FG sound will be immediately apparent: Garrett Ray's syncopated beat, Salvador Placencia's spirited slaps, Lewis Pesacov's funky guitar licks, Brad Caulkins' graceful keyboard, and Luke Top's rousing yelps and thumping bass lines. If you listen closely you will hear the sound of a 5 piece band that has traveled the world together and is ready, once again, to make you dance.
"I'm In Love" single b/w "I'm In Love" (Poolside Remix) releases worldwide 09/08 on the band's own record label, Grand Gallop.
Fort King, nom de guerre for Ryan Fuller, a songsmith who grew up in Ocala, FL and resides in Los Angeles. Steeped in old folk traditions and country blues like Mississippi John Hurt, his outsider view of LA life made him something of a citified crooner of New Weird Americana. "Black Palms" is a dirge of nascent teen suicide in a country setting. "Osceola" highlights the psychology of the Seminole Indian warrior, much as Neil Young chronicled new world holocausts in his "Cortez, the Killer." Heartbreak is also a theme and Ryan's fingerpicking and soft delivery have invited comparison to Elliott Smith.
Foxygen is the bi-coastal songwriting duo of Sam France (vocals, Olympia, Wash., 22 years old) and Jonathan Rado (guitar/keyboards, NYC, 22). They are the raw, de-Wes Andersonization of The Rolling Stones, Kinks, Velvets, Bowie, etc. that a whole mess of young people desperately need. They create a sometimes-impressionistic, sometimes-hyper-real portrait of sounds from specific places and times. Yet, it never comes across as anything but absolutely modern music. They bring the manic, freewheeling qualities of an artist like Ariel Pink to those aforementioned influences to make for one of the most refreshing listens of the year. They are the real deal and total savants. Their albums are love letters to vinyl collections. Jagjaguwar is proud to share with you Foxygen's bedroom masterpiece, Take the Kids Off Broadway.
The Los Angeles based band Future Ghost originally formed in November of 2008.
Several months earlier, in the Spring of 2008, Tomas moved from San Francisco to Los Angeles with high hopes of the city's music scene. Upon relocating, he heard that Kim had recently moved to LA as well. He knew immediately that he needed to add her into the equation as the band's bassist and vocalist.
Tomas and Hellweg knew each other from previous bands in their hometown of Beaumont, TX, which made for an organic fit.
The drummer Brandon Hardy, was added through an acquaintance from work as the final essential member to create the band.
Future Ghost is currently working on their first full-length album which will be released in early 2012.
Their combination of tropical flavor and pre-punk elements dispersed on the stage and poured from the speakers. Bassist Daniel Denton kept a cool demure, but still served too much rhythmic bass for the crowd to handle. The mere image of the smiles on their faces helped show that they too enjoyed themselves just as much as the crowd dancing below." - LA Weekly
Los Angeles' Gothic Tropic introduces some hard edges to the playful world of psych-pop. The brainchild of Cecilia Della Peruti, Gothic Tropic keeps the vibe playful, but measured and dark with a unique lead guitar and vocal style that recalls catchy elements of pre-punk 70s acts such as Television, and Can.
Cecilia Della Peruti was born in New Jersey and lived with her father, composer and jazz player Carl Della Peruti. She moved to LA at age 11 to live with mother Juliana Gondek, who's performed as vocal soloist with many orchestras worldwide, and has collaborated with such musical luminaries as Aaron Copland and Leonard Bernstein. Cecilia has worked with Joseph Gordon-Levitt for HitRecordTV and collaborates with Ryan Adams, Jon Sortland of Broken Bells, and has received interest from Yeah Yeah Yeahs' Karen O as a session player and developing artist. LA native and bassist Daniel Denton's signature style has greatly contributed to Gothic Tropic's experimental sound. Having played in early Metric, Denton's bass writing is dynamic and vigorous. He also currently collaborates with Chelsea Wolfe and others. Born and raised in Ohio, drummer Rhys Detrow studied jazz performance and drum set in NYC, and moved to LA in 2010. He's since been gigging in different projects and joined Gothic Tropic in January 2014.
Greg’s finely-crafted, highly personal songs are influenced by his love of artists like Willie Nelson, Bob Dylan, Lucinda Williams and Neil Young, and his delivery – marked by his clear and soulful voice – is completely without affectation. A rare and special thing these days. Since inheriting his father’s old Harmony guitar and a stack of songbooks as an early teenager, Greg has been steeped in the roots of American music, and it shows.
Hands can be so many things: welcoming, scolding, loving, clenched into a fist. With Hands as your name, you have to both capture emotion and prove that the music you create with your own is worthy of the moniker. Luckily these Hands are up to the challenge.
Hands makes music like a rip tide, swirling in overlapping loops and riffs, slowly enveloping you. The group’s members – Geoff Halliday, Ryan Sweeney, Sean Hess and Alex Staniloff – craft their hypnotic sound from a single dropping note that builds into a reverberating roar that crashes over you like a wave. It’s a mesmerizing trick that they pull off on their debut LP, Synesthesia. Building off the success of their Massive Context EP (Small Plates) released in 2012 and a 7” to be released on White Iris in January, songs like “Videolove” and “Trouble” show Hands’ innate ability to blend instruments and electronics into a deep texture that moves ethereally through genres. Hands moves from rock to synth-pop to skyrocketing stadium anthem, often within the same song. The interplay of Sweeney’s esoteric guitar riffs, Hess’ technical tempos, Staniloff’s thumping bass and Halliday’s soaring vocals and affected keyboards help Hands build a dynamic atmosphere, where a lesser band would only manage empty atmospherics.
A relative newcomer to the LA scene, Hands began as a two-piece from Philadelphia before Halliday and Sweeney headed west and added the low and thump of Hess and Staniloff. The band made a mark on the scene immediately, quickly playing packed shows across the country including stops at SXSW, CMJ and Deluna Fest, headlining Echo Park Rising, sessions with Daytrotter, and a west coast jaunt with Maps and Atlases. Hands’ ability to win over fans with their feverish live show and dance-party-ready sound has already earned them opening spots for the likes of Deerhoof, DeVotchKa, Foster the People, and Kimbra as well as playing shows to sold out crowds at venues across LA.
For now, Hands’ graceful and danceable indie rock is still under the radar, as evidenced by their spot in TIME Magazine’s “11 Bands You Don’t Know (But Should)” List, but they are quickly rising to the surface, bringing their melodies and thumping beats with them. Over the past year, Hands has built a devoted following for their evolving palette of sounds, soaring melodies, and complex looping song structures. With overwhelming responses to first listens of the record and Hands hitting the road for most of 2013, surely this is the year that Hands will start to make waves. Big big waves.
The Herbert Bail Orchestra
The Herbert Bail Orchestra creates musical narratives that are epic tales. Taking the listener on a journey through the dark heart of the American West, emerging with a silver lining of hope and optimism. One of LA Weekly's BEST CONCERTS TO SEE IN LA. "A DANCEABLE WILD WEST SHOWDOWN, if sheriffs and outlaws resorted to dance-offs instead of gun duels." says K. Beachum of Violent Success. "RICH IN STORYTELLING…." says Kevin Bronson of BuzzBandsLA. "FOOT STOMPING FOLK" says the Las Vegas Weekly. Formed in 2011 by longtime friends and creative collaborators A. Frattolillo & A. Katz, Herbert Bail now acts as a collective alter ego for a band of 9 strong players. Featuring instrumentation from acoustic guitar, accordion, fiddle, horns and banjo to the electric guitar, keyboard, bass, drums and percussion. "Great orchestration" says LA Record. A. Frattolillo, singer- songwriter, "almost sounds like Tom Waits and Neil Diamond had a voice baby" says MySpoonful, "bottom line: Herbert Bail leaves you amazed."
igh Places is Mary Pearson and Rob Barber. Mary and Rob met while Mary was completing a music degree in bassoon performance and Rob was working in visual art, teaching lithography and etching at an art school. Both were performing as solo musicians at the time. Mary relocated to New York from Michigan in late spring 2006, and the two soon after began collaborating under the name High Places. The name refers to a place where one has a better vantage point and can gain broader perspective; it references a love for mountains, rooftops, and of course metaphorical "high places." The duo has an "exquisite corpse" style of songwriting where they exchange ideas back and forth, challenging one another's expectations, pushing songs to new places, or more aptly, new heights. They began by releasing a number of singles as well as contributing songs to a few compilations. These early and varied works were collected and released in July of 2008 as 03/07-09/07 in advance of tours with Deerhunter and No Age.
Since its inception, High Places has created a signature sound out of using bass-heavy, yet crisp beats, lilting vocal melodies, syncopated rhythmic lines performed on folk percussion instruments, guitar duets turned into treated samples, and percussive lines created from the manipulation of household objects. The songwriting is expansive and fluid, all the while managing to be concise. Overall, the compositions are settled and assured. High Places gravitates toward the organic over the electronic, and that natural aesthetic adds warmth and intimacy to the recordings.
In a live setting, the band creates their layered recordings with Mary singing and simultaneously manipulating her vocals with various delay and reverb pedals, while playing some hand percussion, recorders, and creating and controlling various loops. Rob handles the drums triggering a variety of percussive sounds with his drum pads, as well as playing hand percussion, wooden blocks with contact mics, and singing some ambient vocals. High Places' self-titled debut was recorded by Rob and Mary in their apartment in Brooklyn's Fort Greene neighborhood between January and May of 2008. They employed a wide variety of instruments to make this album ranging from the more traditional: 12 string guitar, banjo, shakers and rattles, bass, bells and Kalimba, to the inventive: plastic bags, mixing bowls, wood blocks and other common household objects. The album has a contemplative and organic lyrical tone emphasized by the themes of goodness manifested in nature, hardship and wonder as necessities to human existence and growth. Additionally, the idea of maturation and development is further accented through the recurring mention of trees and their extending, enveloping branches. Rob created the High Places artwork by using photos taken by both band members. The images are drawn from nature but all have a subtle, mystical, "golden" motif, a fitting frame for the album's recurring themes.
The holloys: The ones with wings can travel through time. The ones with antlers have psychic mind. The ones with leaves know how to fly. The ones with fur got the laser eyes. The holloys come from Lake Land, a parallel dimension to ours. When The holloys come into our three dimensional world they enter into various forms and functions. Some of their manifestations are audible within the songs you hear here. The holloys attract people, places and things to translate its information. A person, location or object may be a porthole for the holloy to enter, occupy or pass through, making the subject a temporary conduit for their emergence. On almost all occasions The holloys only pass through a subject that is "open" to the relationship. Therefore some people places or things will consciously welcome The holloys regularly while others won't. There have never been reports of any long term negative effects due to this phenomenon.
Hour Of The Time Majesty Twelve (HOTT MT) is an experimental pop group based in Los Angeles. Together they create gritty realms of psychedelic fantasy that reflect the dusty shimmer of east hollywood. Since their formation in 2012, the group has collaborated on recordings with: The Flaming Lips, Ariel Pink, Erykah Badu, and Ke$ha, They have also opened for: The Flaming Lips, Bat For Lashes and Galaxie 500.
Jasper Dickson Revue
Jules and Verne
Kera and the Lesbians
Kera and the Lesbians, hailing from San Diego and currently residing in Los Angeles, lovingly refer to their musical style as 'bipolar folk'. Bipolar in the sense that in one song drummer Michael will pound his drums, expelling his demons with sheer force, while Kera croons and screams and serenades, enchanting all within earshot. Eamon's guitar playing is reminiscent of sleepy desert afternoons, spent on porches accompanied by the smell of leather and aging wood, while Phil's bass lines get the crowd moving and grooving. Brandon's use of brass is at once warm and rounded, but so tactfully manipulated that it inevitably raises goosebumps. The lyrics more literally embody the band's polarity, telling tales of anxiety, friendship, insanity and ill-fated love, from Kera's very unique point of view.
This is a band to see live. Kera's passion is tangible, at times bringing the crowd to tears, but most consistently keeping a dancing crowd completely enraptured, hanging onto every word her very expressive being has to sing. She brings heaps of charm to the set, with her joking between songs and her Elvis-like dance moves, it's obvious that she and the whole band live for this. Their range has allowed them to perform with a diverse list of acts including Devendra Banhart, Best Coast, and Crystal Castles.
The band has a definite DIY work ethic, having self released two EPs, and a debut coming out early 2014. They also do their own booking and artwork internally. Their newest single 'NAILBITER' is a manic blues track covering one of Kera's most aggravating habits and instilling in the listener a mounting feeling of tension that it mercifully relieves, while still giving a taste of the madness of obsession.
Kind Hearts & Coronets
"A modern-day psychedelic cabaret show — pretty melodies, enthusiastic harmonic choruses and a fantastic horn, blended to orchestral pop perfection." -LA Weekly
Kissing Cousins is an all girl band from Los Angeles, California. As the main creative outlet for songwriter Heather Bray Heywood, Kissing Cousins has had a variety of female musicians comprise the lineup. Most of whom were friends prior to joining the band as part of the greater East Side Los Angeles music scene. Heywood's songwriting is stark, baroque, and often sexually charged. With haunting melodies over noisy guitars and pounding rhythms, Kissing Cousins' music belies the sweet appearance of their name and image.
While the last record, Pillar Of Salt, produced by Richard Swift, took a decidedly lo-fi approach, the new EP / double 7 inch Unfortunate End is heavier, darker, and meaner. Produced By S Foye, the music utilizes more experimental instrumentation like Autoharp strummed through delay pedals and drum machines played manually through distorted amps. There is still plenty of reverb soaked vocals, vicious guitar tones, and stomping drums, but for the first time, the songs twist and turn within time signatures and tempos.
Lyrically, the songs explore the unfortunate ends of 4 different female protagonists. Heywood, who grew up in rural Alabama the daughter of southern ministers, drew heavily from personal experience to create stories reminiscent of the classic southern gothic literary cannon of Faulkner and O'Conner. But where they had only words, Heywood's music is just as responsible for telling these stories. With Unfortunate End Heywood and Kissing Cousins continue in a long tradition of redefining what it is to be in a "girl band" and what it is to sound feminine, southern, and ultimately, unique.
Their video, which stars Eric Stoltz (yes, that Eric Stoltz) is HERE.
"If the crackling, Pavement-informed indie rock on LA Font's  album 'The American Leagues' feels like a breath of fresh air compared to all the noisy navel-gazing on the scene right now, it's because songwriter Danny Bobbe probably still feels like an outsider. Bobbe moved from Montana to L.A. just two years ago, and his prickly songs have the feel of a wiseguy who suddenly finds himself planted in hipster heaven (if not a homeless haven) and who responds by flaming, with guitar and in verse. It's reminiscent of other local favorites such as Rademacher, the Henry Clay People and Death to Anders, though none of them nails a baseball metaphor as LA Font does in the title track." – Kevin Bronson, Buzzbands.la
Lavender Diamond is a Los Angeles-based Folk/country-pop quartet known for its light-hearted, often winsome sound; its simple, romantic lyrics; and the charismatic, whimsical stage presence and ethereal vocals of frontwoman Becky Stark.
The debut album from Los Angeles-based Lavender Diamond is a tour-de-force of gorgeous melody and uplifting sentiment. Led by the shining, charismatic spirit Becky Stark, Lavender Diamond bring a punk-rooted DIY aesthetic to their enormously entertaining and heartfelt - and vaguely subversive - blend of 60s enthusiasm and 70s-style songwriting. Produced by Thom Monahan (Pernice Brothers, Devendra Banhart), Imagine Our Love pulls together elements of folk, pop, country, performance art, children's music, and protest anthems to make one of the most original musical statements we've heard in years.
Lavender Diamond began in 2003 as a character Becky created for a traveling operetta. As a solo artist, she released a 7" single and full-length CD (both long out of print). 2004 saw Becky playing country songs with guitarist Jeff Rosenberg (who left the band shortly after recording this album), classical arias and tin pan alley tunes with pianist Steve Gregoropoulos, and voice and drum psychedelic doo-wop with drummer Ron Rege Jr.; she proposed they all unite and form one band together, and Lavender Diamond as we know it was born. In 2005, they released The Cavalry Of Light EP (re-released by Matador in January 2007), which features the live favorite "You Broke My Heart," a series of vocal and piano crescendos that burns itself into your brain with its persistence and simplicity.
Becky Stark started singing in church, studied classical singing as a teenager, and first performed at a rock concert with the children's choir at the Moscow Music Peace Festival in 1989, opening for the band Skid Row. She studied Semiotics and Russian literature at Brown University and left before graduating to join the Merce Cunningham Dance Conservatory. She eventually landed in LA, where she found a wildly broad-minded musical community and vibrant theater, film, and comedy scenes. Ron is a noted cartoonist, illustrator and author of the classic graphic novel "Skibber Bee-Bye." His artwork adorns the CD cover and booklet. Steve is a classical composer, and among other feats, played in Boston band The Wild Stares and composed a full-length ballet for the Oscar Wilde story "The Selfish Giant".
Though Becky's influences range from Prince to Linda Ronstadt to Lightning Bolt, her songs have the immediacy of nursery rhymes or church music. Her crystalline soprano soars over rhythmic, insistent piano-guitar-drums instrumentation which is striking for both its rawness and its orchestral sweep. By turns celebratory ("Open Your Heart", "Here Comes One"), plaintive ("I'll Never Lie Again", "When You Wake For Certain"), playful ("Garden Rose," "My Shadow Is A Monday"), and stunningly mantric ("Like An Arrow", "Oh No"), Imagine Our Love carries a common message of hope, change, thinking with your heart, and the unique emotional power of music.
Line & Circle
Line & Circle was born of the collaboration between Brian J. Cohen (vocals, guitar) and Brian Egan (keyboards) -- Ohio natives who met in the Midwest before departing for Los Angeles.
With two critically acclaimed singles under their belts, Line & Circle returned from a west coast tour last summer with a wealth of new material. Looking to capture the rhythmic urgency and emotional restlessness of these new songs, the group, which also includes guitarist Eric Neujahr, drummer Nick Cisik, and bassist Jon Engelhard, quickly entered the studio with producer Lewis Pesacov (Best Coast's "Crazy For You"), who also produced the band's earlier singles.
Recorded live to tape in Los Angeles and mixed in Philadelphia, Line & Circle's self-titled EP is the result of these sessions, comprising three new compositions: "Wounded Desire," "Mesolithic," and "Beauty Is Exhausting."
With particular attention paid to atmosphere and negative space, basic tracks were completed quickly during the initial two-day recording session, leaving time for the group to experiment with sonic nuances including cutting and layering tape loops. As with the band's singles, there are musical nods to early 4AD dream pop and chiming I.R.S. Records-era guitar rock, woven around Cohen's melodically rich vocals.
The band is currently finishing recording and mixing its debut LP in Philadelphia with Brian McTear (The War On Drugs) and Jonathan Low (The National). The album also features production from Pesacov.
The Lonely Wild
Rarely does a young band emerge with a combination of skills, talents and vision fully developed. But the LA-based quintet The Lonely Wild is that true gem who’s writing and arranging talents are only surpassed by its members’ ability to work seamlessly as a singular, dynamic voice.
Formed in 2010, The Lonely Wild is the brainchild of Andrew Carroll who had moved to Los Angeles to study writing, music and film. Carroll and multi-instrumentalist Ryan Ross met in school and quickly discovered that their skills as composers and arrangers complimented one another’s abilities. The two added lead guitarist Andrew Schneider, vocalist/multi-instrumentalist Jessi Williams and drummer Dave Farina to round out the mix – each a friend or fellow LA performer bringing their own unique background and talent.
Picking up solid momentum from their critically acclaimed debut EP, Dead End, The Lonely Wild quickly made a name for themselves in and around greater LA with fans such as Nic Harcourt (KCSN), Chris Douridas (KCRW) and Kevin Bronson (BuzzBands LA) on board. The band continued to hone their dynamic live performance through a series of high-profile shows opening for John Doe, Damien Rice, The Elected, Laura Marling and Lord Huron in addition to their highly successful residency at Silverlake’s famed Satellite.
In early 2012, the band holed up in The Hangar in Sacramento for a weeklong recording session. Working through consecutive 16, 18 and 24 hour days to produce what would ultimately become The Sun As It Comes, an album filled with gut-wrenching emotion, fragile beauty, and explosive energy. “It was a true labor of love,” Carroll says, “and a sheer force of will, that allowed us to finish this record. We all knew it was the most important artistic statement we had ever made, so we had to pull out all the stops.”
The epic single “Buried In The Murder” is a sonic voyage that perhaps best showcases The Lonely Wild’s unique and genre-defying sound. Carroll’s lyrics act almost as a confession of guilt for playing a part in corruption, greed and entitlement. With an arrangement reminiscent of a classic western, the song allows The Lonely Wild to truly showcase their unique ability to perform each part with bombastic confidence as a singular unit. No one voice outshines the other; no member more important – collaboration rarely found in a developing band.
Slated for an April 2013 release via their own Ursa Major Recordings (distributed and marketed by Thirty Tigers/RED), The Lonely Wild’s The Sun As It Comes is a record that reflects upon the times in which we live while taking the listener on a sonic journey of impressive heights.
Manhattan Murder Mystery
"every Manhattan Murder Mystery show is like a battle royal. A wonderful, scummy battle royal." -Radio Free Silverlake.
Mark W. Lennon & the Southern Tier
Los Angeles based, North Carolina native Mark W. Lennon releases his his full length debut album, Home of the Wheel.
Compared to 2009’s much talked about EP, Down the Mountain, Home of the Wheel has a raw - stripped down sound, due in part to producer Marvin Etzioni. A former member of Lone Justice, Etizoni (who has worked with Steve Earle, Counting Crows and Lucinda Williams) helped Lennon creat
e an album centering on well-crafted songs of lost love, reflection and longing for the South.
Lennon’s twang-tinged voice is authentic sounding and he has the ability to deliver a positive spin on even the most melancholy sentiments. His honest and personal lyrics evoke imagery deeply rooted in his southern upbringing and family history, that seamlessly transition from depression era themes to modern day introspective on his conflict with life in Los Angeles.
“We just took the reigns off without much of a plan on Down the Mountain, which led to more of a jam style record. With Home of the Wheel, we shaved it to the bone,” Lennon says joking about the record. “Marvin had me so far out of my comfort zone, I didn’t know which way we were coming or going.”
Home of the Wheel is an eclectic hodgepodge of Americana styles that will appeal to any musical taste. It ranges from Woody Guthri-esque folk “Home of the Wheel” to Gram Parsons-ish Country “California Calling,” to Desire era Dylan (“The River Stays the Same,” “Cold Mountain Steel” which feature Scarlett Rivera on fiddle), as well as rock “Stop and Go,” bluegrassy “These Times Better” and harmonic pop “Look for the Walls.”
"County, folk and Appalachian strains combine in sweet and sour melancholic tunes, some aided by ex-Dylan fiddle player Scarlet Rivera, that, like the lovely and poignant 'Before the Fall,' mine a rich vein of dusky and affecting Americana."
"Mark W. Lennon may be a new name to most people but there is no reason he should or likely to stay that way because his music has a mass of wealth to offer....a man who can and does out sing Ryan Adams and all those alt-country acts that have for years been heaped with praise"
"Listening to Mark W. Lennon’s new release Home of the Wheel, I felt as if I was transported back to depression era America without leaving 2011...
His sound is now complete and he is establishing himself as a rising star in the roots music community of the area. Look for the buzz to get louder on future releases. Mark W. Lennon’s music needs to be heard."
"As much as his personality carries over to his songwriting, it also translates into who he is as a performer. And in an industry driven by image, it is clear that he isn’t trying to be anyone other than himself.
But what is perhaps most unique about Lennon, is his ability to write sentimental songs that maintain a hopeful innocence, which is something that is rare to find in an artist."
Michael Davis With Lions
Baseball is a game of patience. It is a game of details. Michael Davis is a die-hard baseball fan (his team is the St. Louis Cardinals in case you were wondering). Like the sport, Davis' musical career has been much about patience and trusting his instinct. While living in St. Louis, Michael recorded his debut album It is your corner, an introspective record that seemed to find the perfect balance of calm and tension. The album was followed by Brothers And Sisters EP, a batch of songs that eventually led to his move to Los Angeles. While on the West Coast, Michael learned not to "call his shot" too early in the game. He honed his craft playing a handful of shows with the likes of Dawes and A.A. Bondy, trusting that a slow and steady build was more important than a quick rise-and-fall from the top. His songwriting can be at times haunting, and recent solo performances caught the attention of some of the top musicians in the LA, including Nik Freitas, an esteemed songwriter who is also known for his work in Conor Oberst's Mystic Valley Band, and as a touring member of Broken Bells. With an excitement for his new batch of songs, and Freitas in the producer's chair, Michael hit the studio to record what would become Real Love, his first release as Michael Davis With Lions. The album finds Davis' wonderfully honest songwriting taking a sonic leap, resulting in his best and most dynamic work. With Real Love on the horizon, and a slew of upcoming LA dates, it appears that patience may be paying off, the bases are loaded, and Davis is up to bat.
Mothers Of Gut
"Los Angeles-based band Mothers of Gut offer a sprawling, cerebral blend of psychedelia and Krautrock-influenced experimental rock. The group, led by singer and multi-instrumentalist Aaron Freeman, formed in 2007 and employed a rotating lineup of musicians before solidifying in 2010 with guitarist William Davies (Duhkha), keyboardist/effects manipulator Kristina Collantes, bassist Ryan Bergmann (Duhkha), and drummer Dave Gasper (Narwhal Party)."
Crafted from old bones and new hardware, Moomaw builds shaky songs that remain intimate while drifting and charging off in to masked territory, the sound of waves on the beach bleeding into the hissing of the highway. With the love of lyric and the joy of risk, Moomaw finds those places where delicate folk meets heedless disco, stumbling out into avant noise and ambience before returning home to heartbreaks and vision quests. Hear synthesizers and hand percussion, drum machines and ukelele, vocal loops and musical saw join in chorus with grace and humility.
Is an inspired and supportive outlet encouraging artists to do what they do best... BE CREATIVE. Founded by Nicole Turley in 2011.
Upon releasing their six-song debut EP Don’t Worry, You’ll Be Here Forever online for free last fall, Los Angeles’ NO had the city abuzz. Now with a slew of much-talked about performances and local acclaim under their belts, NO will be releasing the EP on 12” vinyl on February 14 through Origami Vinyl. Limited to 500 copies, pre-orders are available now through the Origami Vinyl Online Shop. Local tastemaker Buzzbands LA exclaimed: “Judging from the gravitas in NO’s first single “Stay With Me”…. redemption is but a life-affirming anthem away.” Yvynyl declared: “Bradley Hanan Carter’s vocals seem to fill the bowels of Echo Park, Los Angeles. The deep timbre announces the romantic vision of yearning with conviction in the same fashion of baritone voiced Matt Berninger of The National.”
Don’t Worry, You’ll Be Here Forever is currently available as a free download via the band’s website and the lead single “Another Life” is available as an MP3 to post and share. NO will be touring the west coast in February in support of the album. In March they will return to their hometown LA for a month-long Monday night residency at The Echo before heading to Austin for the SXSW Music Festival. All shows are listed below.
The romanticism and desolation of Los Angeles breeds restlessness in its people. It’s a brooding temperament best captured by Echo Park’s NO – a band that feels it in their bones, with the kind of fevered anticipation for something more. Frontman Bradley Hanan Carter’s baritone vocals speak to the tension between the wanting and waiting, waiting for love or for some kind of order or sense to how it all works. Their track, “Stay With Me” is a ballad of calculated pleas one of slow, delicate movements. It’s being in love with someone, and hoping for some kind of stillness in the unpredictability of love. He asks, “Wasn’t there a place for me/inside your heart?” It’s all the words you’d ever want your lover to say, the fantastic notion of running away, the return to youth, when everything was uncomplicated and wonderful.
NO began as a response to the limiting idea behind the word – in an effort to reclaim it and reinterpret it as more than just an antithesis to possibility. These are sing-along songs, hymnal and anthematic; born out of a desire to connect with the greater collective of young people seeking their truth, adventure, love. There are remnants of odes to Bill Callahan, The National, and Arcade Fire—epic, atmospheric drums that pulsate, buttered bass tones, melodic choruses.
It’s not about naivety; it’s about not being calloused by a city of strangeness and strangers. Something the band knows quite well. The band itself is composed of near-veterans, all claiming a vast history with various bands, solo efforts, defunct projects, cities-travelled, loves made and lost. The core of NO first emerged mid 2010 when through a chance meeting at a local breakfast diner, Sean and Bradley started sharing songs they had both been working on. Shortly after Joseph started coming around too, and after many months of creating, and finding Reese and Mike, it seemed there would be no choice not to finish whatever it was they were starting.
NO marvels at the growing pains of a vibrant city, in all of it’s aching limbs and veins that run down dead ends. The interplay between hope and despair weaves itself throughout the collection of six songs in their debut EP Don’t Worry, You’ll Be Here Forever a sentiment that suggests that wherever “here” might be, it’s a good place to start.
Noah and the Megafuna
“There’s something about being named Noah that makes you dream apocalyptically.”
When frontman Noah Lit was faced with the collapse of his former indie rock band Oliver Future, he took what he saw as the only next logical step, put aside the electric guitar, and dive into the world of acoustic gypsy jazz. As he dug deeper into the dizzying scales, arpeggios and antiquated chords and patterns, Lit found a concealed wealth of songs surfacing in a form that quickly became Noah And The MegaFauna. His new sound: a clamorous whiskey filled raucous of sing-a-longs on the eve of destruction. Noah’s new song writing inspiration had him calling upon the diversity of his record collection and creating a combination of influences that while once were founded in rock bands like The Kinks, Radiohead and The Beatles, now also included jazz artists Django Reinhardt, Charles Mingus, Louis Armstrong and genre benders Tom Waits, Bob Dylan, Jacques Brel and Leonard Cohen. Simply put by Noah himself, “Anthems for a Stateless Nation is a humble attempt at making a record that sounds like my record collection.” What resulted is a narrative caravan through moments of torrential downpours and shiftless shadows followed by the blissful warmth of a calm you hope will stay for good.
Once Noah Lit’s pen took on this ambitious new task he quickly enrolled longtime friend and accomplished producer Adam Lasus (Clap Your Hands Say Yeah, Yo La Tengo, Clem Snide) to help build his dynamic vision. Quickly joined by the efforts of his brother and long time collaborator Joshua Lit (Oliver Future) on backing vocals, piano and accordion and a rhythm section of Shiben Battacharaya on upright bass, Chris Lovejoy on drums and Travis Knight on percussion, the record took it’s first breathe at Lasus’ Los Angeles studio Fireproof Recording in November of 2010. With each track growing rapidly and naturally into a lush bed of guitar driven gypsy pop Noah soon enlisted his younger brother Gabriel Lit in New York City to provide horn and string arrangements as well as play clarinet and bass clarinet on the record. In order to best capture his new eight piece horn section and the severely talented violinist Wen Chang, Noah sought out a special environment and traveled to New York City to record with friend and producer Joe Rogers (Kelli Scarr, The Shivers, Moby) at his unique studio space Silence Breaks atop a elementary school in the South Bronx. The devastating horn section, littered with New York City’s best young, up and coming jazz musicians screamed, squawked and honked in moments of fury and passion and harnessed a warmth and subtly in quieter moments that also balanced well with the cinematic air provided by the vast array of female guest vocalists. Amongst the record’s guest vocalists are Kat Edmonson, Marianne Dissard, Emily St. Amand-Poliakoff and Mindy Gaspar. Also lending their talents are world renowned gypsy guitarist Gonzalo Bergara playing bandoneon and lead guitar and Steve Ferrone (Tom Petty and the Heart Breakers, George Harrison) playing drums. The end result is a dramatic dialogue recounting a tale of pre, and post-apocalyptic displacement, wandering, panic and ultimate redemption laced within the narrative of a dark folk record.
The nine piece live band has now become a force that goes even beyond the record. Lighting up bars and clubs in Los Angeles and New York City, the band has made fans and followers on both coasts. In fall of 2011 they were invited and filmed for Judd Apatow’s new movie This is 40. The band blew away Paul Rudd, Chris O’Dowd and Apatow who exclaimed “Now I have to rewrite the movie for you all!” Rewrites aside, the song Moan All Night, will be featured in the film and the band playing it live will be in the DVD extras. When they stopped into WNYC’s Soundcheck with John Schafer, after the first song John gleefully exclaimed “The folks downstairs in the Archives called up to say, they heard you through the floor!” and Noah quipped back “That’s hard to do with acoustic instruments.” The band went on to play a sold out show at the prestigious, Joe’s Pub.
Noah And The MegaFauna’s “Anthems for a Stateless Nation” is nightmare pop, a modern day allegory of Noah’s Arc, a narrative tale of global warming, indie folk with jazz for a right hook, a big band swinging, a small gypsy ensemble moaning, a convergence of influence and orchestration that represents the ever shrinking world we live in, a wanderer’s diary played on instruments that can be carried on your back, a singer/songwriter/indie/gypsy/jazz record that dares it’s player’s to growl, squawk, squeak, and squeal, and it’s listeners to climb aboard for an eclectic but determined vision of the future.
Noah And The MegaFauna’s “Anthems for a Stateless Nation” was proudly be released on the Brooklyn based indie label Silence Breaks on October 18th, 2011, the band is on tour this summer.
LA native Kevin Litrow's one-man band, N O W, invents a vibrant new and unique pop sound infusing electronics with the spiritual soul of gospel. With influences ranging from Sun Ra to the Beach Boys, from Can to Suicide, Kevin takes the listener on a journey to unfound sonic territory. His upcoming album, "L I T R O N I X", is recorded and produced by Brian Mckinley (Black Bananas, RTX) and mastered by Dan West at Victory Way. N O W 's newest single "Livin the Good Life" represents the challenge of striving to be a decent person while receiving the benefits of a privileged life. N O W inspires the audience with exceptional live performance and captivates the listener with blissful and invigorating modern rock sounds of this very moment. Kevin is a true pioneer. Celebrate his sound N O W.
Ocha La Rocha
Ocha La Rocha is the brainchild of the highly prolific Atlanta-based singer/songwriter, Johnny La Rocha. Formed in 2004 with Kris Sampson (Ponderosa, New West Records), the project has supported several major artists, been featured in a variety of movies and television shows, and has released two full lengths and an EP. The most recent album, "Ocha Scores", produced by Chris Barber (Ryan Adams, Courtney Love), is set to be released in 2012 in digital and on 180 gram collector's vinyl. As a preview, the band has conceived an entirely new format and released two tracks as a digital 7" on their website, www.ochalarocha.com. The release will be supported by a May tour with Spindrift.
Oh Boy Les Mecs
Electronic and Analog noisesmiths informed by: science fiction-forests- Northern lights-night swims in the ocean-future past present perfect dreamscapes- impulse narcotic purchases (no return policy)- and alien sightings in the desert (or the hope thereof).
Born to Portuguese immigrants in the San Francisco Bay Area, Mark Matos was the first American branch on his family tree and the son of one of California’s most popular Portuguese radio DJ’s. Settling in Tucson AZ in the early part of the century, he began performing under the banner of Campo Bravo with a rotating collective of musicians that included future members of Dr. Dog, Golden Boots, Jesse Sykes & The Sweet Hereafter, and a bit of cross pollination with Howe Gelb‘s Giant Sand congregation. After a couple of self released efforts, Campo Bravo released Goodbye, Oklahoma on KEEP Recordings in 2006 and followed with a national tour, supporting Darla Records’ The Lowlights. Matos disbanded Campo Bravo and relocated to San Francisco, CA shortly thereafter where he lived in a residential hotel on Polk Street and began work on a group of songs that would eventually make up Denver Lights & Eagle Rock Dreamer, Matos’ “lost” album recorded with members of Bad Weather California, Conor Oberst & The Mystic Valley Band, The Csars, and Nathaniel Rateliff in Denver and Los Angeles in 2007. The album was scheduled to be released on Italian imprint Awful Bliss before the label abruptly closed it’s doors and, without an American label at the time and no financial backing, Matos’ Denver Lights… was shelved as he moved on to other projects, notably the formation of Mark Matos & Os Beaches.
MM & OB signed to San Francisco’s Porto Franco Records in 2008 and released Words Of The Knife in 2009, a record that featured Dave Mihaly (Jolie Holland), Tom Heyman (Court & Spark, Girls), Ben Reisdorph, Aaron Keirbal (Rupa & The April Fishes), Matt Adams (The Blank Tapes), and Charith Premawrdhana (Classical Revolution String Quartet), among others, signaling the beginning of a new chapter in Matos’ story. The record got some attention, charting at places like KVRX in Austin, TX and KUSF in San Francisco, and some kind words from respectable rock ‘n’roll purveyors like Crawdaddy, All Music Guide, and The Bay Bridged. The anticipated follow up would take longer than expected and come at a cost. After parting ways with his long time guitarist and severing ties with his producer, Matos instilled the help of gonzo recording engineer Charles Gonzalez, Iggy & The Stooges’ sax man Steve Mackay, Matt Adams (The Blank Tapes), Nathan Sabatino (Dr. Dog producer/engineer), and New, Improved Studio‘s Eli Crews (Beulah) to complete the record.
The album’s journey took Matos from San Francisco to Tucson to LA and back to Oakland. In between he took the name Trans Van Santos, began an intensive study of psychedelics, and after a support gig with Akron/Family and a memorable evening as a member of Howe Gelb’s Melted Wires (with Grandaddy‘s Jason Lytle, PJ Harvey‘s John Parrish, members of Calexico and Victoria Williams) he returned to San Francisco and formed a west coast rock ‘n’ roll roadshow called the Family Folk Explosion, which has been raising roofs and shooting stars ever since.
Mr. Matos, in his various disguises, has performed at legendary venues like San Francisco’s Great American Music Hall, Cafe Du Nord, and Bottom Of The Hill, The Harmony Music Festival and Club Congress (Tucson, AZ), and a thousand dive bars across America to boot. He has shared bills with M. Ward, Neko Case, Mother Hips, Jackie Greene, Flaming Lips, Laura Viers, Bill Callahan, Okkervil River, and Akron/Family. He has played with members of Grandaddy, Giant Sand, Iggy & The Stooges, Phil & Friends, Dr. Dog, Rogue Wave, Conor Oberst & The Mystic Valley Band, and the beautiful Victoria Williams. He calls his music Americalia, a tip of the hat to Brazil’s late 1960′s Tropicalia movement and to the dust bit Americana lineage of which he is just a spoke in the wheel.
Pageants is the new project featuring Rebecca Coleman from Avi Buffalo and Devin O’Brien.
When I saw the band perform at the Bootleg Theatre a few months ago, it was a duo performing with a drum machine. The crowd was small, but the attendees were telling. Mostly writers and other music industry folks. One listen to the band reveals why.
Gorgeous soaring vocals with a familiar garage-y sound lending some credibility to the current surge in female-fronted indie rock. The vocals are key for me because while a lot of the other bands mining the same territory are pretty great, the precious and fragile vocals can wear thin.
Coleman summons a delivery that belies her age. Barely into her 20s, there is a soothing confidence of someone who has had the benefit of experience with a great band, as well as an eagerness to break out and create their own thing. This is it.
The songs are wonderful. Layers of mellow guitars, hooky melodies and Coleman’s infectious croon.
I love it when I come upon a band in its early stages, as do most music enthusiasts. Sometimes the evolution is as interesting the music they produce. I’m eagerly watching for Pageants next move.
– Chuck P
Radio Sombra DJs
A community based radio station in Boyle Heights. For La Raza, By La Raza, Worldwide
Thee Rain Cats
Thee Rain Cats are coming to our lives direct from outskirts of Disneyland. These guys have formed their own sound called "technicolor rock" that reminds me of Tame Impala and 90's britpop in Californian style. While I was listening to their cheerful and relaxing music I imagined myself lying on the beach in the 90's LA, high on mushrooms checkin' out hot chicks on roller-skates. You should try it.
Laena Geronimo's brain child. Songs written, demos recorded. February 2011 band members were sought out amongst hyper talented musically obsessed friends. By March the resulting six-piece began playing out. Citing obscenely vast influences from the smashing of rocks to Paganini violin solos.
We enjoy sunset walks on the beach, nerding out, and making people excited.
The Record Company
-escaped St.Louie juvy only after learning how to drum on a pute and some junk ... with the consistency of a machine, but the soul of a delusional Celtic warrior.
T.O.M. (other guy-guitar/words/noises)
-son of an ex-Ukrainian gypsy popqueen who carried the jumpiness of her native music along with her during their move to Texas....then, passed it on to T.O.M.... A lot of Hawaiian slide albums were played on the house stereo.
Whiteside and T.O.M.’s bond blossomed with the mutual fondness of cheap beer and butts
"Robert DeLong seems like one of those kids beamed here from a future world where all threads of music have been stitched together into some kind of vibrant cloth. His hybrid of electronica samples from pop, folk, house, dubstep and glitch... " -Kevin Bronson Buzzbands.la
DeLong's fluid live show effortlessly blends classic songwriting with futuristic technology: Wii-motes, Sega controllers, MIDI-interfaces, and drum pads blend into a fluid and original live experience.
With his live set festival ready, full length album set to drop before the end of 2012 and radio play across North America for his first single "Happy," Robert DeLong is ready to make you dance. "Does This Change How you feel?"
RT N’ THE 44′S
RT N' THE 44s is a Folk Noir band created by singer/songwriter RT Valine. Founded in 2009, the band originated in Los Angeles, CA alongside local bands Leslie and the Badgers, Spindrift, Gwendolyn , and Ruthann Friedman. Using instruments crafted from tin, 2x4's and salvaged parts, RT has stated that RT N' THE 44s was born out of "an attempt to make listenable music from junk". They have been described as a "vintage country band with dark obsessions". The band is often seen busking at various locations throughout Los Angeles and Pasadena in the tradition of Woody Guthrie and Cisco Houston. As members of the New LA Folkfest the band has performed with John C. Reilly, Tom Brosseau, T-Model Ford, and Red Simpson, among other notable acts. RT N' THE 44s performs annually at The Roots Roadhouse Festival and Autry National Center. The band has recorded three full length albums for the independent label Rabid Rabbit Records, and has been featured "live in studio" on KUCI's Freedom Radio Program
ermita is the debut recording by guitarist, Ryan Ayers. It features ten original tracks, composed over the past six years, which draw upon techniques from both the classical and acoustic fingerstyle worlds but applies them to accessible song structures. From the driving rhythms of senghi and ebb a bit, to the sweet and melodic after after, to the ethereal and expansive title track, ermita is a record that showcases the diverse sonic world of the solo acoustic guitar.
Los Angeles-based collective Salt Petal is invigorating audiences and critics alike with a tropical surf-dance sound in a category all it’s own. A cross-border combination of Argentinian folk, Brazilian tropicalia, Cumbia and up tempo Indie Rock blurs ethnic and musical boundaries, bringing to mind Blondie, Os Mutantes, Gal Costa, Los Autenticos Decadentes, and 60′s rock and roll. The band’s sound is one of the freshest to come out of Los Angeles, showcasing deep South American rhythms with vibrant Indie Pop harmonies and textures.
The band was founded by Autumn Harrison and Rodrigo Gonzalez, upon realizing that the sound they were trying to find in concerts didn’t exist yet in Los Angeles. They started playing in small cafes and the response prompted them to invite talented musician friends to tour and begin playing large stages with them. The group now has a rotating number of between 5 and 10 performers.
Salt Petal has played high profile venues and festivals such as SXSW, Los Angeles Times’ Festival of Books, Echo Park Rising, Chinatown Summer Nights and Make Music Pasadena, performing alongside well-known artists including Lila Downs, Grimes, Hello Seahorse!, Robert DeLong, We Are Scientists, La Santa Cecilia, Dengue Fever, Les Nubians, Pilar Diaz, Las Cafeteras, Chicano Batman, members of Blondie and Jane’s Addiction and more. Their videos have been featured on MTV Tr3s and have been written up in Billboard.com. They recently won a battle of the bands competition voted on by panelists from the BBC, Songlines Magazine and the World Music Network. They were featured on a related broadcast and will be part of an upcoming Rough Guide compilation.
In March 2013, Salt Petal released their sophomore album titled “Sea Monster.” The album is produced by indie mastermind Raymond Richards (Local Natives, Avid Dancer, Henry Clay People) and mastered by Mark Chalecki (Los Abandoned, Le Butcherettes).
Andy Siara (Henry Clay People) + Claire McKeown (Shadow Shadow Shade
" Highland Park's Seasons really pile on the shimmering keyboards, fuzz-heavy guitars, saturated synths, loads of effects pedals and an occasional beating laptop, accordion or harmonica riffing in the background. Their sound is full and showy, building up to great heights then lilting low into soft, cuddly breakdowns."- Wendy Gilmartin (LA WEEKLY)
Soft Swells. Sure it’s a band name (in fact, it’s this band’s name), but it is also a surfing term. Tiny, easy to ride waves that beginners keep an eye out for to build their aquatic confidence up. But what happens when you outgrow those small waves? Do you stop surfing? Or do you step up and try to tackle the biggest waves the ocean has to offer? Tim Williams, the mastermind behind Soft Swells (the band) has been moving towards this moment for years now. Tim started Soft Swells in an effort to reach new heights, and over the course of a full length and an EP, the music has gotten more sophisticated, and the sound of the band has gotten bigger. So if the band’s previous work could be described as soft swells, than their new album Floodlights is like an enormous tidal wave from an action movie. Absolutely everything about the band has gotten bigger. Where once there was just Tim with the help of producer/keyboardist Dave Lynch and a lot of studio magic, there is now a fully formed band.
In a (successful) experiment to capture the fun and excitement of their live shows on record, Tim brought a motley group of wildly talented musicians together in the studio to lay down all the tracks. Most of the record was tracked by producer Dave Lynch (the other Dave Lynch) at The Electric Zoo in Eastbourne UK, with Soft Swells’ touring bass player and multi-instrumentalist Christopher Pappas at Tim’s side, and a guest appearance by resident UK drummer Phil Wilkinson (Jake Bugg, Brian Eno). As if that wasn’t enough, Misty Boyce (Sara Bareilles), Jonathan Visger (Dale Earnhardt Jr Jr) and Soft Swells’ touring guitarrist Kyle Frederickson all contributed their talents via satellite. Well, via email.
This impressive roster of personnel leaves Soft Swells sounding invigorated, like a whole new band. A big, stadium sized band to be exact. Drums shake, organs swell, guitars rock and vocals soar. This is no longer a band trying to figure out how to replicate the sound of their albums on stage, because they brought the stage to the studio. With Modern Outsider Records driving the release, the future of Floodlights looks long and bright. But Tim’s new air of confidence isn’t just due to the stellar lineup, but also because of his recent marriage to the love of his life, Sabrina, who is a constant encouragement to Tim to take chances, and to do what she knows he is capable of.
Thurston Moore of Sonic Youth has said “once the music leaves your head it’s already compromised.” That’s fine if you feel like music is an entirely personal endeavor for the artist. Tim certainly doesn’t feel that way. “I don’t think a song or recording is completed until it hits someone’s ears… The experience is only complete when a listener gives their input – a smile, a foot tapping, a head nodding or whatever reaction a person has.”
son ark arrived in Los Angeles by way of Roanoke Virginia (which lays exactly between The Grand Ole Opry and Apollo Theatre) when they heard a rumor that Sam Philips was rebuilding Muscle Shoals on the west coast. Since then, son ark has been filling establishments across Los Angeles with their unmistakably unique brand of Americana roots rock and with lyrics that tell tales of bygone eras and heartbreaking love lost, son ark longingly reminds us of days gone by. The songs are not antiques, though. Influenced by the likes of Gillian Welch and David Rawlings, Patsy Cline, Andrew Bird, and Led Zeppelin, son ark tells their tales in a decidedly contemporary way.
On a misty winter night filled with bourbon and peace pipes Spirit Vine was born inside of a Wooden Ship in Echo Park. Inspired by Howlin' Wolf, Big Mama Thornton, and any sentient bold enough to imprint their ideas into the human psyche, five spirits embarked on a sojourn to create music with soul, that howls, coos, and crys like the spirit of the wind. Often drawing comparisons to Jefferson Airplane, Janis Joplin, and Shocking Blu Spirit Vine have been playing the Los Angeles circuit for the past year in L.A.'s underground with some of the finest accessories to rock and roll the city has to offer. They were named "artist of the day" on Indie 103.1 and their music has received play on Indie 103.1. In 2009 Spirit Vine released their EP " Golden" in January and embarked on a full US tour in March and early summer.
Inspired by working class heros and the light of the eternal flame, Spirit Vine's grass roots mentality will ensure that they are a force not to be reckoned with! Look out!
Stones Throw DJs
Stones Throw DJs
Strangers Family Band
Psychedelic four piece based in Los Angeles with influences pulling from Syd Barrett, Satanic Majesties, Brian Jones, Beatles, Pet Sounds, Pretty Things, and United States of America.
Explosion Pop from the Bay Area, California.
Tommy Santee Klaws
"One of LA’s most original voices, Tommy Santee Klaws, has just completed their 9th release, 'Of Light,' out September 2012 on Outpost Records.
In true TSK fashion 'Of Light' combines that lilting, high voice with the startling phrasing, the plinkity-plink of a toy piano or the wheeze of a child's whistle, braced by a deep thunderous baritone vocal, add the visceral thump of the tall upright bass and the usual assortment of guitars, drums, violin and mandolin, all wrapped up in strange, sad, yet oddly optimistic compositions and you get a sense of the overwhelming and joyous presence of Tommy Santee Klaws. Although 'Of Light' treads more on the circle of life; from love, death and light, it will not disappoint any longtime TSK fan.
Tommy Santee was born in California, but settled in Thailand with his family, where his parents were missionaries for Assemblies of God. By his early teens, his family had relocated Tommy and brother Sam (who is also an integral part of TSK) back to the US. Like his music, unpredictability and adventure seem to have marked his early life. With a tumultuous childhood, music became a refuge and savior for Tommy and with this early discovery it was without a doubt what his life had in store for him, but music, with a sense of ease and purposeful direction.
This band, by appearing to simplify the elements of a rock band and adding seemingly disparate accompaniment, is actually forging a whole new baroque/chamber/folk style of their own that is quite moving and complex."
TS and The Past Haunts
Formed out of the demise of Boston indie/punk rock royalty, TS & The Past Haunts came to be through mutual friends sharing common interests. Travis Shettel (TS/Totally Travis), guitarist, singer and ring-leader of the band Piebald, met The Duke Spirit (Shangri-La Records) when he was invited to take on tour manager duties for the band during one of their first US tours. Acting as a US Ambassador-of-sorts for the band, a friendship was formed and The Duke Spirit soon learned of Travis' musical past. After asking TS to join them both on the road and in the studio playing keys and percussion, it would only be a matter of time before they would return the favor. Travis and The Duke Spirit knuckled down in between their tours of Australia and the UK and recorded a handful of his songs; learning, writing and recording along the way.
Since the Dukes have their own schedules full with... well, The Duke Spirit, Travis wanted an outlet to perform the songs live. The recordings with The Dukes were a catalyst for the formation of a true band. He found his rhythm section in Ben (drums) and Heather (bass) Heywood, a married duo who front bands of their own (Summer Darling and Kissing Cousins, respectively). The power trio version of TS & THE PAST HAUNTS has been busy; playing shows and writing songs. In the very near future, they will be heading north to Sacramento to record a full length album with Robert Cheek at the tape-op darling studio, The Hangar. They plan to record live to capture the energy and rawness of their live performances. The new batch of songs are energized blasts of dark rock that still maintain pop sensibilities
The UkuLady is a comedic musical entertainer for kids, adults, robots & adorable woodland creatures!
On paper Vex Ruffin's music is simple: an untrained punk musician who uses a few basic instruments in uncomplicated ways, he calls the style 'minimalist.' Although it may not seem like it upon first listen, Vex's music is rooted in sampling and hip hop beat-making culture. The SP 303 sampler provides the drums and other sounds, a purchase inspired by Madlib.
Vex is the first and only artist signed to Stones Throw Records on the strength of an unsolicited demo sent through the mail. Peanut Butter Wolf recalls, "It was kind of a fluke that I listened. I just liked the drawing on the cover so I decided to check it out. I called the phone number on the CD and Vex thought I was his friend playing a practical joke."
These days, Vex is playing shows around LA and OC as a 3-piece band while getting ready for his debut EP release on Stones Throw in July and his full length at the end of 2011. He just played his dream gig at The Smell and is now ready for Coachella and 106 & Park.
We are often told to make the most of each day, but VOXHAUL BROADCAST took this mantra to the extreme. Originally from Orange County, CA, the quartet recorded and mixed their 2008 debut EP Rotten Apples live. In one day. The result harnessed a sound that reflects a range of influences from James Brown and Al Green to The Beatles and Donovan.
VB followed up Rotten Apples with a promo-only EP, Fact Fiction and Turquoise in 2009 and after a move to Silver Lake, VOXHAUL BROADCAST are now the fastest rising band in LA.
They currently have 6 songs in rotation on US & UK radio and will be touring all summer to build steam for the release of their appropriately titled upcoming debut full-length, Timing Is Everything. Produced by Grammy Award winning producer Tom Biller (Silver Sun Pickups, Seawolf, Liars) with additional production from Chris Thorne (Blind Melon), Timing Is
Everything showcases a growth in songwriting and pristine production while still holding on to the band’s trademark blend of r&b, rock and soul.
LA Times Magazine’s June 2010 “Music Issue” recently picked Voxhaul Broadcast as one of LA’s ‘Best New Indie Bands’ by ultimate tastemaker Nic Harcourt. Nic was the first to put VB on air on his Sunday KCRW show, and over the past six months has kept eight different tracks in rotation. In July 2010, VOXHAUL BROADCAST was featured on KCRW’s influential radio program "Morning Becomes Eclectic,” a program recognized nationally as a primary outlet for promoting a wide range of music ahead of the curve.
Jason Bentley, KCRW Music Director and host of “Morning Becomes Eclectic” said of the appearance, “We are all very excited about this up and coming local band. The audience response to their performance on ‘Morning Becomes Eclectic’ has been outstanding. It’s a rare and special pleasure to be part of a formative moment in a band’s career. We’ve been playing their various EPs and we’re confident that whatever sound and style they pursue on their
debut full length will bring them success.”
VOXHAUL BROADCAST tunes are also making their way across the pond, spending 7 weeks on the UK’s NME Radio playlist with the track “Fact or Fiction” at the end of 2009. Chris Martin from NME Radio declared, "I f***ing love this track (‘Fact or Fiction’) by Voxhaul Broadcast. Someone sign them!"
VOXHAUL BROADCAST has showcased at SXSW, CMJ, Sundance, Noisepop Pop Fest in San Francisco, been featured on DAYTROTTER (w/ a second session booked for later this summer)and won the title of ‘Best Indie Band’ at Milwaukee’s Summerfest. They recently headlined KCRW’s “I LIKE TO ROCK” showcase at the Hammer Museum in LA and have been confirmed as an early-announced artist for FILTER Magazine's Culture Collide Festival in October.
Keep an eye out for the rest of 2010 as VOXHAUL BROACAST cross the U.S.
Wake Up Lucid
Wake Up Lucid doesn’t make nice. Not musically, anyway. The band of cousins — Ryan, Ian and Jamie Baca — mete out scuzzy blues you imagine sprung from gear that barely works, seething with emotion and crackling with defiance toward those who would water down rock ’n’ roll for the digital age. After thundering onto the scene with the EPs “Look Alive People” and “Sugar,” the Bacas found an ally in producer Joe Cardamone (the Icarus Line), who worked with them on their debut full-length (due in August). The album is titled, fittingly, “Feel It,” and the title track implores you to do just that: Feel it, ’cause it’s going to hurt a little. – Kevin Bronson (Buzzbands.la)
Walter’s from LA, but his music would be more comfortable in the Appalachian Mountains, or Baton Rouge, or Austin. He plays an odd mix of americana, bluegrass, honky tonk and hippy folk. If this wasn’t recorded in a shack up in the mountains it certainly should have been.
Warships are an indie pop band from Los Angeles. The quintet's mix of laid back pop grooves and earnest, playful song-craft is a contrast to many of their contemporaries. Soon after forming, they attracted the attention of producer Raymond Richards (Local Natives), and enlisted the help of mixing engineer Darrell Thorp (Beck, Air), to create a forthcoming debut that is full of heady lyrics, and haunting choruses dressed in dreamy atmospherics.
What Hands Are For
A new musical endeavor from Sam Martin and Simon Katz from Iglu and Hartly. Inspired by the Herman Wouk novel of the same name, Youngblood Hawke was born out of late night creative musings between longtime friends Sam Martin and Simon Katz. Exhausted by two years of touring with their band Iglu and Hartly and the general turbulence that comes with music industry success, Martin and Katz looked for a more simple creative outlet where they could write and share music with friends and family without commercial pressures. Katz's longtime friend Tasso Smith moved to Los Angeles from Texas to join the band when he heard the first demos, and Alice Tomerlin Beretta, who was a key part of the original songwriting sessions, joined as well. To round out the lineup they recruited drummer and friend Nik Hughes.
Youngblood Hawke captures the sound of 5 friends in mid-journey. It is the snapshot of a state of mind where, one mountain has been climbed, and there are more in the distance. But for right now, the view is beautiful.