Posts Tagged ‘CA’

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This is another great hit from one of my favorite groups on the planet at the moment…The Death Valley Girls. Just listen to “Electric High”and you’ll know why I rant on about them so much, the vocals!!, the guitars!!, the drums!! they got it all going on, scorching rock ‘n’ roll that demands to be on every playlist you need….Death Valley Girls feels less like a band and more like a travelling caravan. At their core, vocalist/multi-instrumentalist Bonnie Bloomgarden and guitarist Larry Schemel channel Death Valley Girls’ modern spin on Fun House’s sonic exorcisms, early ZZ Top’s desert-blasted riffage, and Sabbath’s occult menace.

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The 1st time I listened to The Death Valley Girls, I was hooked. Driving and pounding blues spilling all over the place and that voice is killer . Rock n Roll at its primeval explosion. This debut is mandatory listening to anyone who digs music. Simply superb. and…they got into answering the questions so there are a few videos for you to watch but don’t forget to listen to this excellent debut album for fans of Bo Diddley, Iggy/Stooges, Black Sabbath, MC5, Velvets, Little Eva, Godzilla, Alice Cooper, Mississippi Fred McDowell, 1977, 1966 , Roky Erickson, Seeds, Electric Eels, Lester Bangs…

Their record is out now! on Lolipop Records,
Death Valley Girls – “Electric High” (7″) Only 50 Pressed on Cherry Red wax !!!.
www.lolipoprecords.com

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Two veterans of those only-slightly-demeaning Best Albums of the year You May Have Missed lists, Field Medic and Great Grandpa vocalist Al Menne teamed up this month for a Run for Cover–released single that feels like a victory lap in the wake of their pair of Generally Best Albums released in 2019. The underproduced track is reduced to Kevin Patrick’s ramshackle guitar and distinct vocals, occasionally harmonizing with those of Menne.

“talkin johnny & june (your arms around me)” by Field Medic featuring Al from Great Grandpa out now via Run For Cover Records

The brand new studio album from L.A.’s premiere psych band, The Warlocks! ,The Warlocks started because of the their mutual love of all things Rock and Roll. We love a lot of the 60s, 70s and some 80s inspired music. We are not a retro band though. We all always try new stuff and from time to time hit something great.

This ambitious album tells a single story, of two star-crossed lovers who commit a bank heist together, over the course of 10 gorgeous, dense layered guitar tracks spiced with keyboards and reinforced with powerful bass and percussion grooves!, Holy shit, I have a few versions of we don’t need money on demo and unreleased recordings, but how cool to hear it fully formed! love that heavy fuzz bass and beat. amazing! Love the whole thing.

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The Rough Justice of The Warlocks’ The Chain, The longtime L.A. psych-rockers’ tenth studio album is released on April 3rd, 2020
“Creamy, dreamy, glass breaking-style storytelling” is how Bobby Hecksher describes the psychedelic-rock sound of The Warlocks’ tenth full-length studio album, The Chain, on Cleopatra Records.
“We’re telling a story this time,” Hecksher says about the album’s ripped-from-the-headlines concept, which he says had been percolating for a few years before it suddenly came to him with the delirious intensity of a fever-soaked dream, like that “out-of-body experience you get at a show when you’re drenched in sweat and suddenly feel so alive.”
That concept, Hecksher says, is based around “a Bonnie & Clyde-ish twenty-something couple who rob a bank but get caught and then are cast down the bottomless pit of our justice system. The main characters, Rocky and Diamond, come from different means and thus have very different outcomes. It’s a loose collection of ‘you got fucked and swept under the rug’-type feelings revealed amid happy songs about their relationship, provided as a kind of relief
Band Members
Bobby Hecksher,
JC Rees,
Jason “Plucky” Anchondo,
Earl V. Miller,
Chris DiPino,

Will be available on both CD and limited edition colored vinyl in your choice of PURPLE or SILVER! vinyl
released April 3rd, 2020

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There’s a no-wave anxiety pulsing through French Vanilla’s sound — through the punchy saxophone and bass, and singer Sally Spritz’s vocal delivery — but also California sunshine.

Their second album playfully asks cutting questions about identity, society and power dynamics on songs like “Lost Power” and “Bromosapien”, taking a sense of humor to the struggle. The songs have a punk sense of rebelliousness but also come off like the start of an eternal dance party.

Music video by French Vanilla performing Suddenly.  Danger Collective from the album How Am I Not Myself?

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The debut EP from Los Angeles-based rockers finds the perfect balance between a blissful retreat and a fury-filled indictment of society’s ills. While “Lullaby No. 13” and “Headstones” opt for the former, “Generation Sick” and “Decoration/Currency” carry the pitchfork and torch for the latter. “Generation Sick” is a seething punk-pop tirade about men who abuse their power (“I had a dream where I screamed / I don’t wanna see another man in my life / What do you think that means”), and “Decoration/Currency” denounces the superficiality of the entertainment industry.

On the softer side, “Headstones” opens with candy-coated indie-pop, but that sugar is quickly melted by their dogged, collective punk chant. Its crisp melodies and agile motor offer just as much therapeutic refuge as their beatific lyrics of escapism

Band Members
Vera Ellen: Lead Guitar & Vocal
Libby Hsieh: Bass & Vocal
Sierra Scott: Guitar & Vocal
Virginia Pettis: Drums & Vocal

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We discovered the Frankie and The Witch Fingers at the Psych Fest in 2018 and they blew our brains out. They recently toured and left a good feeling with the presentation of their latest album ” ZAM “, a one-hour cucumber that combines many influences ranging from King Gizzard and The Lizard Wizard to Psychedelic Porn Crumpets , but with that Californian drop of a first-timer Ty Segall or the always effective Thee Oh Sees .

The quartet formed by Dylan Sizemore (voice and guitar), Shaughnessy Starr (drums), Josh Menashe (guitar) and Alex Bulli (bass) combine all this and more, wrapping your skull with songs that drag you to an ambiguous feeling of psychodelia and intergalactic dance in equal parts. Their band recently released their fifth album..

The main attraction of Frankie and the Witch Fingers is their explosive performance. With their rowdy and visceral approach to live shows, each member brings their own devilry to induce an experience of bacchanal proportions.

Using absurd lyrical imagery—soaked in hallucination, paranoia, and lust—the band’s M.O. strikes into dark yet playful territory. This sense of radical duality is astir at every turn, in every time signature change. Airy vocal harmonies over heavily serrated riffs. Low-key shamanic roots under vivid high-strangeness. Rambling stretches and punctuated licks. Cutting heads and kissing lips. All this revealing a stereophonic schizophrenia that has flowed throughout their body of work: an ebb & flow of flowery-poppy horror. The band’s latest incarnation is primed to break new sonic ground, edging into the funky and preternatural. Just when you think the trip couldn’t get any weirder, Frankie and the Witch Fingers cranks up the dial, shatters the mundane, and
summons new visions.

Band Members:
Dylan Sizemore – Vox/Guitar
Shaughnessy Starr – Drums
Josh Menashe – Guitar/FX
Alex Bulli – Bass

“ZAM” is out now via NYC’s Greenway Records

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“This album is representative of my life over the past couple years, so it’s a statement of who I am as a songwriter,” says Molly Tuttle. “I love songwriting and I love listening to songwriters and I love singing, so I think this album puts those two — singing and songwriting — in the forefront more than what I’ve done in the past.”

For someone with her serenely disciplined, inquisitive intellect, it probably worked to Tuttle’s advantage that she was schooled from a young age, as many bluegrass prodigies are, in family-band, fiddle-camp and communal-jam environments, receiving one-on-one instruction from her Bay Area music-teacher father. Tuttle was encouraged to pore over the sophisticated techniques of flatpicking legends Clarence White, Doc Watson and Tony Rice, and also grew fascinated with the riveting, spindly lead lines that David Rawlings has played in his old-timey singer-songwriter duo with Gillian Welch. A few years at Berklee College of Music further expanded Tuttle’s horizons with extensive studies of theory and contemporary songwriting, as well as encounters with other virtuosic, broad-minded young musicians. In Nashville, she wound her way through bluegrass, progressive acoustic, singer-songwriter, Americana and folk-pop circles, picking up collaborators and recognition in each.

Tuttle wrote or co-wrote every song on “When You’re Ready”, including “Million Miles,” an unfinished song started by Steve Poltz and Jewel in the 1990s that Poltz mentioned in a songwriting session with Tuttle. Her most personal songs, Tuttle says, usually flow out when she’s alone. But she’s also learned a lot about the writing process by working with others, she says. And there’s nothing like a set time and place, and someone else’s presence, to get things moving.

“I think usually when I get writer’s block it’s because I’m just vetoing my own ideas,” she explains, “so that’s when co-writing really helps me break out of my headspace that I’m in and start writing and become less precious with the writing.”

A number of other accomplished female writer-instrumentalists with expansive sensibilities emerged just a few years ahead of her — among them Abigail Washburn, Sierra Hull, Aoife O’Donovan, Sarah Jarosz and Sara Watkins, the last three collectively known as I’m With Her. But Tuttle has had to flesh out for herself what it looks like to do the thing that she alone does: shaping tuneful introspection around her flatpicking abilities on the guitar, a lead instrument that’s still strongly male-identified. (She was the first woman to even be nominated as the International Bluegrass Music Association’s Guitarist of the Year, and has won the category two years in a row.)

Most of the coverage rightfully focuses on her precise and skillful playing, not her gender. But out in the world, the ghosts of “pretty good for a girl” still linger. Tuttle’s had a few “uncomfortable moments,” she says, like being skipped over in jams when she was younger or encountering teachers who “just didn’t know what to do with having a female guitar student.”

“I think what I mostly get sometimes from people is surprise or, ‘Oh, I feel extra attention on me because I’m a woman playing guitar,’” she says. “People definitely still focus on the fact that I’m a woman, which, in a perfect world I’d like to just be seen as a guitar player, not a woman guitar player.”

On When You’re Ready, Tuttle applies remarkable precision to her pursuit of clarity. That’s even a central theme of her lyrics: consciously reckoning with indecision or intuition, honestly acknowledging incompatibility, cultivating intimacy based on people seeing each other for who they are. With handsomely crafted melodies that gently insinuate themselves into the memory, she wrote some of the 11 songs alone and others in collaboration with kindred spirits like Sarah Siskind, Maya de Vitry and Kai Welch. (Tuttle’s choice of producer, Ryan Hewitt, has worked on rootsy pop projects by The Lumineers and The Avett Brothers, and her cast of guest pickers and vocalists includes Hull, Jason Isbell, Billy Strings, Nat Smith and Butterfly Boucher, all of whom speak to the flexibility she’s cultivating.)

There are moments when Tuttle bends ancient-sounding modal, Appalachian scales to her ideas, like during the slow-burning folk-rocker “Sit Back and Watch It Roll” and “Take the Journey,” a tune percussively propelled by her innovative use of frailing banjo techniques on guitar. She’s made her playing just as much a point of interest as her breathy singing. During the wistful “Make My Mind Up,” she takes liberties with both her vocal and guitar phrasing, singing dreamy curlicues that give way to cascading, bluesy six-string runs. In “Sleepwalking,” which features a cursive, atmospheric string arrangement, she exhales long, lilting lines over her crisp, rolling, arpeggiated guitar pattern.

Tuttle’s quivering, staccato delivery of the winsome hook in “Don’t Let Go” showcases her affinities for folk-pop. It wouldn’t be a stretch to call “Light Came In (Power Went Out)” the album’s power-pop track, thanks to her sly, sticky vocal syncopation over the simple, driving groove. Though she cedes the foreground to an electric guitarist for most of it, her precise acoustic notes burst through during an instrumental vamp, hurtling forward in a startlingly different rhythmic cadence. As with all of Tuttle’s licks, every imaginative note rings clear.

new album ‘When You’re Ready’ out April 5, 2019 on Compass Records

SAINT MESA – ” Throne “

Posted: March 22, 2019 in MUSIC
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There is an overwhelming darkness just beneath the surface of “Throne”, the new single by Saint Mesa. 21 year old singer-songwriter, multi-instrumentalist, and producer from Mission Viejo, CA. Described effectively as “Chilean American Dark Folk”, the act is largely brought together by the enigmatic frontman who plays all the instruments on the track. With every listen, we felt more and more compelled to write about it. It has a stark originality that reminds us of artists like Damien Jurado and Foals.

The band are set to release their sophomore EP later this year, and we look forward to hearing more of the creative and dark tinged folk rock gems.

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Nocturne EP is out now! I’ve been working on this EP for the past like two years, I’m so incredibly excited to release it. It’s been one of the most challenging pieces of music to put together.

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Angelo De Augustine writes and records music in Thousand Oaks, California — a suburb north of Los Angeles, where he grew up. His self-released debut album, “Spirals of Silence”, and 3-song EP follow-up, “How Past Begins”, earned praise from The FADER, Stereogum, Vogue, My Old Kentucky Blog, and more. His next project “Swim Inside The Moon” Written in the aftermath of a devastating breakup, Angelo De Augustine’s hushed journal of the stream-of-consciousness thoughts that fill the silence when a gaping hole opens up, revealing that there never really was anything else. De Augustine whispers intimately.

 

“Swim Inside the Moon” out now

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The music Cleo Tucker and Harmony Tividad release as Girlpool occupies a transient space. Their constant evolution makes it perfectly impossible to articulate exactly where their project falls within the contemporary musical canon; this is one of the many reasons Girlpool’s music is so captivating.
Never before has a group’s maturation been so transparently attached to the maturation of its members. This is due in large part to the fact that Girlpool came into existence exactly when Girlpool was supposed to come into existence: at the most prolific stage of the digital revolution. Both online and in the flesh, Tividad and Tucker practice radical openness to the point where it may even engender discomfort; this is exactly the point where it becomes clear why theirs’ is such a special project: they accept the possibility of discomfort—Chaos—and show you how to figure out why you might feel it. This is achieved through their ability to empathize as best friends and partners in creation, with the intention of making music that provokes.

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Our new album ‘What Chaos is Imaginary’ will be released 2.1.2019 on Anti Records

Release date:8th January 2019