Posts Tagged ‘Allah-Las’

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Los Angeles four-piece Allah Las are releasing a new album, LAHS, on October 11th via Mexican Summer. This week they shared another song from the album, “Prazer Em Te Conhecer,” via a video for the track. Drummer Matt Correia sings the song in Portuguese and the title translates to “Nice to Meet You.” A press release says the song “evokes George Harrison while also sounding like a rare 45 from a Brazilian flea market.” Correia also directed the video, which seems to have been filmed on Super-8 and perhaps shot in various cities on tour.

Previously Allah Las shared the album’s first single, “In the Air,” via a Weekend at Bernie’s-inspired video for the track that featured a cameo from Kirin J Callinan. Then they shared another song from the album, “Polar Onion,” via an animated video for the track.

The band features drummer Matt Correia, bassist Spencer Dunham, and guitarists Miles Michaud and Pedrum Siadatian. They started the album in their own studio in Los Angeles before producer/engineer Jarvis Taveniere (Woods) was “brought in to help polish it off.” The album’s title is “a reference to a common misspelling of the band’s name.” The band’s last album was 2016’s Calico Review.

This release on Mexican Summer finds the band turning in their most cohesive and ambitious work yet – a record inspired less by time, but by place.

The Allah Las seem to be transmitting from a place not found on any map. Those familiar with the band’s work will recognize their skillful melding of melodies and moods, but through that lens we see them venturing into new, exciting territories. Indeed, their growth not just as songwriters, but as performers, arrangers, and producers – is clearly audible. With LAHS we not only discover what souvenirs they’ve brought back for us; they’re inviting us aboard and taking us along for the ride.

Correia had this to say about the album in a previous press release: “We’ve been traveling a lot the past couple years and I think that played a role in influencing the broader variety of songs on this record…. LAHS to me feels like a soundtrack to the past five years or so. A sort of audio postcard to anyone who wants to listen.”

Allah Las –  from the new album LAHS, out October 11th on Mexican Summer.

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19 cool and breezy contemporary pop psych tunes by 18 of 2018’s hottest acts … Including Mystic Braves, Allah-Las, Tony Molina, Dungen & Woods, Cloud, Send Medicine, The Love-Birds, Doug Tuttle, and ten more of your independent popular psychedelic rock favorites.


Running Time: 1 hour, 4 seconds


  1. Under Control (3:17) — Mystic Braves | Los Angeles
  2. Soul Doctors (2:24) — Dragon Rapide | Clermont Ferrand, France
  3. Terra Ignota (3:23) — Allah-Las | Los Angeles 
  4. Smith & 9th (3:27) — The Essex Green | Brooklyn
  5. Love or Solution (3:20) — The Coral | Merseyside, UK
  6. A Message from Your Heart (3:01) — Doug Tuttle | Boston 
  7. Nothing I Can Say (1:10) — Tony Molina | California
  8. He’s Back (2:46) — The Valderamas | Rennes, France
  9. Hit My Head (2:47) — The Love-Birds | San Francisco
  10. All The Things That Happen To Me (3:45) — The Molochs | California
  11. Kieff Richards (3:02) — Kieff | Leiden, Netherlands
  12. The Sweet Lie (3:17) — Garcia Peoples | Rutherford, NJ
  13. Just for the Taste (3:47) — Dungen & Woods | Stockholm / Brooklyn
  14. Look Inside Your Mind/Losin’ Touch (2:25) — Tony Molina | California
  15. The Magician (3:51) — The Babe Rainbow | Byron Bay, Australia
  16. Happer’s Laugh (3:32) — Cloud | Los Angeles
  17. Corduroy (3:41) — Send Medicine | Los Angeles
  18. Backseat Driver (3:12) — White Denim | Austin
  19. How Psychedelic of You (3:59) — Kelley Stoltz | San Francisco


Though prolific, Los Angeles jangle-pop heroes Allah-Las are men of few words. At least, Then again, it’s hard to blame them, as they’ve had to do a lot more interviews than normal in the last couple months for all the wrong reasons: The band made international news recently for being faced with a terror threat at a tour stop in Rotterdam. They all ultimately made it out safe, as did their fans, but one can’t blame them for being shaken, much less for not wanting to talk about it any more than necessary.

With that in mind, we instead discussed the release of their new album Covers #1 , An album of cover songs recast in the band’s particular style—with guitarist Pedrum Siadatian. Therein, the band tackles deep cuts by legends such as George Harrison and Television, as well as a couple songs by performers whose songs are all deep cuts: Further and Kathy Heideman. The EP is due out November 3rd via Mexican Summer, and Allah-Las are due to appear at the Desert Daze festival in Joshua Tree .

The band recently were interviewed

Is there any intended thematic unity between the songs on Covers #1?

The idea was just to cover songs we liked with our production style.

What is it about these particular songs that made you feel like they’d be a good match for that production style?

We were able to quickly envision where we could take the songs. With the George Harrison song in particular, we heard a classic jangly pop song that was swept up in the production trends of ’80s.

Do you think these covers will work their way into your live set very often?

No, not often. It was more of a recording endeavor with these than anything.

You cover “J.O. Eleven,” a track by obscuro ’90s indie rock band Further. You can barely find evidence of Further online; one would have to, say, sift around in an old stream of a radio show to even dig up the original track. When and how did y’all first come across them?

We’re buddies with OG members Brent and Darren Rademaker, and we used to work with the drummer, Kevin Fitzgerald, at Amoeba [Music] years ago, before he moved to Alaska. “J.O. Eleven” was always floating around in MP3 form between friends, but it was hard to get a physical copy because it was only included on a rare Italian pressing of their record Golden Grimes. We did our best to emulate the original because it’s so good to begin with; the only problem with the original is that there’s a distracting loud buzz from one of the amps on the recording.

It should be noted that the guy who wrote it, Josh Schwartz, passed away recently, after a battle with ALS, and a lot of friends, fans, and fellow musicians are going back and revisiting the amazing body of work he left behind. Hopefully this cover will bring more attention to the great music he made over the years with Further, Summer Hits, Beachwood Sparks, and Painted Hills.

That’s a very sad thing. Are you all longtime fans of Schwartz’s music? I know his work is pretty widely beloved—a friend of mine traveled across the country from NYC several times over the years to see him perform, in various iterations—but I’m sure that’s doubly true in your neck of the woods. Without getting too personal, what does his music mean to you, or to the band in general?

For me, he was special because he had a timeless writing style. He was really good at reinterpreting the past and making it fresh again, and that’s a realm that we’re working in, as well.

Is there a band that you would not only never cover, but which you think should never be covered by anyone because the songs are too sacred and/or dependent on the specific individuals who made the originals?

I don’t think anyone should ever cover [The Velvet Underground’s] “Pale Blue Eyes.”

Why’s that? Because of Lou Reed‘s performance? The recording? What is it about it that makes it untouchable?

Because no cover could ever touch the original. I’ve cried to it. Sacred territory!

One more, extremely important question: Who does the best cover of “It’s All Over Now, Baby Blue”?

Them. FL

Psych-rock revivalists Allah-Las have long incorporated the shimmering guitar tones and sensuous pop hooks of the genre’s forebears into their own music, and they continue to wear their influences proudly with a new cover of George Harrison’s “Fish on the Sand,” .

The Los Angeles quartet recorded the song for their upcoming Covers #1 EP, the first in a series of EPs that will pay homage to their favorite classics as well as new tunes they discovered during recording sessions. Eschewing more obvious selections from Harrison’s early ’70s output — think All Things Must Pass cut “If Not for You” — the band chose to rework a track off the former Beatle’s more straightforward comeback album, 1987’s Cloud Nine.

“‘Fish on the Sand’ is an often overlooked gem from the Dark Horse’s Cloud Nine record and one that we felt could sound good produced with a more moody, B-side style,“ singer and guitarist Miles Michaud says. Indeed, the band strips the song of Jeff Lynne’s glossy production and re-imagines the track as a languid, late-’60s psych-rock exploration — not unlike The Beatles’ own work from the time.

Allah-Las -“Fish On The Sand” [George Harrison]

Allah-Las are returning with Covers #1, which is the first in a series of EPs that will delve into the heart and soul of their sound and influence, as well as some that are just near to their hearts. The band sets off to play George Harrison’s “Fish On The Sand,” Kathy Heideman’s “The Earth Won’t Hold Me”, Further’s “JO Eleven”, and Television’s “Hard On Love”. The EP will be released on Mexican Summer Records on November 3rd, 2017 as limited edition 10” encased in a high quality embossed jacket and through all digital formats.

This collection will only be release physically through vinyl as a 10″.

Allah-Las release the first cover track from their forthcoming Covers EP #1, adding their take on Kathy Heidman’s “The Earth Won’t Hold Me.”

The EP will be released on Mexican Summer on November 3rd, 2017 as a limited edition 10” encased in a high quality embossed jacket and through all digital formats. This is the first in a series of EPs exploring tunes near and new to the group, featuring covers of Kathy Heideman’s “The Earth Won’t Hold Me,” George Harrison’s “Fish On The Sand,” Further’s “JO Eleven,” and Television’s “Hard On Love.”

Recorded at the legendary Valentine Recording Studios, in the bowels of Studio City in L.A., the Allah-Las immersed their already-written tunes in the aural baths of their idols. The ghost notes of forgotten magnetic tape snippets and the reverberations of Beach Boy harmonies permeates the vibe of the band’s third record, Calico Review. Utilizing vintage equipment in a room with a lot of recording history, the band—as perhaps the most ardent (or at least celebrated) arbiters of the ‘60s style rock revival today—were able to tap into the past in a more obvious way than with their previous two records, 2014’s Worship the Sun and 2012’s self-titled Allah Las debut. Additionally, songwriting duties were dispersed generously between the four members of the band for Calico Review, making the record their first entirely collaborative jigsaw.


Allah-Las is a very self-assured and accomplished album and belongs in the record collection of anyone with a soft spot for the melodic Psych-Pop/West Coast Rock of the 1960s. While there is a lot of emphasis on atmosphere and “period charm”, there’s so much more to Allah-Las than that. The songs themselves are extremely well-written, arranged and played, instruments ranging from chiming 12-string electric guitars and thumping bass to quietly assertive drums, tambourine, maracas, bongo drums, and the obligatory organ and shakers, all wrapped in the appropriate amount of reverb. these evocative songs conjure up images of southern California, the beach, the sea, youthful romanticism, sunsets, and late night bonfires.

lunar fest

Tinariwen // Wilko Johnson // PUBLIC SERVICE BROADCASTING // Bootleg Beatles // The Sun Ra Arkestra/ The Fall – Re-mit // The Amazing Snakeheads // Julian Cope // Radiophonic Workshop // Allah-Las // Sylvan Esso // Goblin – Claudio Simonetti’s // The Pretty Things // Orlando Julius // The Heliocentrics // Syd Arthur // Jane Weaver // Mark Radcliffe // My Brightest Diamond // Robyn Hitchcock // Mike Heron // Trembling Bells // Zun Zun Egui // Midnight Bonfires // The Ouse Valley Singles Club // Rhino & The Ranters // Benjamin Folke Thomas // The Drink // Whyte Horses // Whispering Knights // PLANK // DAISY VAUGHAN // MATTHEW EDWARDS & THE IMPERSONATORS // BYRON HARE // SAMS BROTHER

The Lunar Festival is a newcomer to the scene,  and one of the earlier festivals at the start of the season, brought to us by the organisers of other Midlands events like Moseley Folk festival.  It may not have the scale of the more established boutique gatherings, but its eccentric theatrical line-up marks it out as a special event in the festival year.  Set near the birthplace of Nick Drake, this intimate family festival joins the dots across everything from funk and soul to jazz and African sounds, electronic space explorations, psych and indie.  Alongside new talent, last year saw the eccentric brilliance of Arthur Brown and  The Polyphonic Spree; this year we’re treated to performances from idiosyncratic rebels Julian Cope and Wilko Johnson. There may not be as much in a way of additional entertainment, but the music line-up and its beautiful farm setting (complete with bemused horses, donkeys, pigs and cows) make for a very special experience that can endure the calamities of June weather.

Music highlights: Allah-Las, The Fall, Jane Weaver, Julian Cope, Pretty Things, Public Service Broadcasting, Sun Ra Arkestra, Tinariwen, Wilko Johnson

Tickets and full line-up information:

The full line up is nearly complete which will be announced in late January along with the days that the artists will be performing! We are hugely excited about this announcement as its looking very special indeed!