Posts Tagged ‘California’

Valley Queen comes from the Neil Young school of great music. The LA outfit has been around for fewer than five years, though listening to their music, you might think your vinyl-junkie friend picked one of their records out of a pile next to Fleetwood Mac and Hendrix. They have a classic Southern grit that makes you crave a sweet tea. They have defined their sound with a bluesy twang on guitar, driving thump on bass, and a soulful Southern vocal in their singer. The latest tease of the band’s long awaited debut album portends the Los Angeles quartet finally realizing their full potential. They’ve never sounded better than they do on “In My Place” — especially vocalist Natalie Carol, has a real powerful voice, and the band’s folk pop has gained comparisons to Fleetwood Mac .She wrestles with the wreckage of her faith and self-perception while anxiously considering her own youth “floating on great expectations” and “choking on grand illusions.”

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Alyeska at the Hi Hat in 2016 (Photo by Zane Roessell)Alyeska the L.A. indie trio fronted by Montana native Alaska Reid, have been cultivating their cherub rock for a couple of years, taking a big step in 2016 to travel east to record with producer John Agnello (Dinosaur Jr., the Whigs, Kurt Vile, Sonic Youth, the Thermals, among others). And while a couple of Alyeska’s previous singles possess some arresting, beyond-her-years moments, the latest, “Tilt-A-Whirl,” is a straightforward, sweetly innocent tune drawn from her small-town upbringing and favorite carnival ride. The song will appear on Aleska’s EP “Crush,” due March 3rd, Reid said where the song premiered, that it is “an ode to the small county fair in my town. My friends and I would look forward to going every year, we’d see boys we had crushes on, and scream about the creepy carnies or the way your feet turned black with dirt in your yellow flip flops. … The dirt in the midway was pocked with pools of vomit and discarded glow sticks and the carnies would spray you with giant squirt guns, trying to lure you into playing their game. … It was sort of a running joke, that it was your ‘coming of age’ if you got squirted in the chest by the carnies. I just wanted to convey the sparkle and the excitement of when I was young against the neon glow of the county fair as well as the grit and the darkness lurking around the edges.”

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Six years ago, Valley Queen’s front woman Natalie Carol drove to Los Angeles on a whim, looking to expand her musical horizons. After a lonely and frustrating year, she was on the verge of returning home when she happened upon an acoustic jam session where she met guitarist David Donaldson. Carol was immediately reminded of the comfort and friendliness of her Arkansas roots; the perfect environment for musical creation. She could hear traces of her hometown influences in his riffs: Zeppelin, Duane Allman, and Muddy Waters. The two began collaborating, exchanging ideas and drawing in other like-minded musicians. “It gave us all something to rest our heads upon, a musical family that became a home for us all,” says Carol. Today, Valley Queen is a hybrid of southern rock and Motown, with traces of 1970s canyon rock. “Carnival”, the A- side on their debut 7” produced by Lewis Pesacov (Best Coast, FIDLAR, Fool’s Gold), embodies these influences sings about creating a supportive artistic community in Echo Park. The B-side “Make You Feel” is a bluesy slow jam about young love.

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Natalie Carol – Lead Vocals/Rhythm Guitar
Neil Wogensen – Bass/Vocals
Shawn Morones – Guitar/Vocals
Gerry Doot – Drums

As the long term percussionist of The Brian Jonestown Massacre, Joel Gion has helped pioneer the current Psychedelic Rock movement. Now as a songwriter, he steps up to the mic to deliver his own tunes

Released January 27, 2017
Written by Joel Gion
Joel Gion: vocal, rhythm guitars, maracas, tambourine
Collin Hegna: bass, guitar, backing vocals
Paul Dillon: guitars
Brian Gardner: drums
Written by Joel Gion

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California native, Ty Segall has kept busy since emerging onto the lo-fi indie scene with his self-titled debut in 2008. Since then, the 29-year-old musician has released an album a year for the past 10 years and that’s not even including his various side projects, including Fuzz, Broken Bat and Epsilons. With his new, album, which is also self-titled, Segall pays homage to the wide spectrum of ’60s rock.
When he first emerged, Ty Segall’s music could have been described as a chaotic symphony of distortion. Since then, he has experimented with various sounds as he’s grown as an artist. In 2017, he replaced the muddy guitar riffs and lo-fi vocals with a much cleaner and crisp sound. Segall uses this to showcase a solid classic rock project.

The production on Ty Segall highlights the heavy riffs on tracks like “Break A Guitar” and “The Only One.” These styles encompass the majority of the album; however, the softer ballads shine brightest. “Orange Color Queen” and “Take Care (To Comb Your Hair)” leave the listener yearning for a full album with a similar sound, adding to an aesthetic that reminds listeners of the days of Jefferson Airplane and T.Rex .
While the album is aesthetically pleasing, not much stands out or leaves a permanent impression. It would have been interesting to see Segall tackle this album with a theme or concept in mind.  The production is terrific but scattered.
While it won’t impress listeners looking for something new from Segall, the album will please those happy with his existing songbook and classic rock and roll, in general. Ty Segall has shown that he is capable of a producing a wider range of sounds successfully. Ty Segall is officially released today.

From Meg Duffy’s Hand Habits Debut LP out February 10th, 2017 on Woodsist Records.

Meg Duffy, aka Hand Habits, is a singer, songwriter and guitarist from Upstate New York. She has been putting her time in on the road and in the studio over the past two years with pacific northwest band Mega Bog, and the Kevin Morby Band, making an impression on everyone she comes across with her natural charisma and uncharted talent as a multi-instrumentalist. But let Wildly Idle (Humble Before The Void) be her open invitation to the world to step inside and take a much deeper look into who Duffy actually is. Tracked in an Upstate New York living room, then finished in her current home in Los Angeles

It is appropriate that this album was recorded by Meg herself – for Meg, who has an acute ear for detail, has touched every corner, has seen every vision ’til its end. Because of this, Wildly Idle feels incredibly intimate, like a secret between her and the listener. It hits soft, like warm water, and before you know it it is all around you – a bath, and Meg’s whisper has made its way inside you. Like many bedroom debuts before it (Microphones, Jessica Pratt, Little Wings, Grouper) let this be the first of many to come, for Meg has music in her touch  and this is only the beginning. But let us not look to the future now, but instead stand alongside her, our trust in her will, both humble before the void, with her first chorus as the mission statement; ‘hold you like a flower, hold you like an hour glass’.”- Kevin Morby

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Terry Malts’ third album, Lost At The Party, is a long time coming, 3 years to be precise. But the time was spent well. Between stints of touring and local shows, Bassist/vocalist Phil Benson and guitarist/vocalist Corey Cunningham wrote and re-wrote songs over the course of a year in Los Angeles where Cunningham had moved since the release of their last album, 2013’s “Nobody Realises This Is Nowhere”.

The idea was to broaden the Terry Malts concept and create a kaleidoscopic pop album that has a mixture of moods, each song turning to a different sound inspired by the records the band have loved over the years. The driving punk (Buzzcocks, The Undertones) that has been a cornerstone of the group’s sound sits snugly with songs steeped in indie-pop and power-pop (The Chills, Dwight Twilley).

Once the band was ready to record they enlisted Monte Vallier (Soft Moon, Weekend, Swell) to co-produce at his Ruminator Audio studio in San Francisco. It is the group’s first album recorded in a studio. 2012’s “Killing Time” & “Nobody Realizes This Is Nowhere” were both recorded in various practice spaces by guitarist Corey Cunningham and the group was intent on shaking the lo-fi tag.

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The freedom of the studio allowed the band to expand on their sound with the addition of 12-string electric guitars, piano, organ, and sound effects. From driving opener “Used To Be” through jangling ballad “Gentle Eyes” to first single “Seen Everything” and haunting closer “When The Nighttime Comes,” Terry Malts have put the augmented sonic palette in the service of some of their strongest tunes yet. The resulting album, Lost At The Party, is a lovingly-crafted love letter to pop music in all it’s forms.

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Frankie and the Witch Fingers are a swift kick in the ass for garage psych. Their hooks are sharper, the production isn’t vintage for the sake of vintage, and the recorded material captures the energy of the band’s eccentric live performances perfectly. That’s exactly what they do once again on their new album, Heavy Roller.-Heavy Roller is the descendent of “Helter Skelter,” “Sweet Jane,” “The 99th Floor” (and a bunch of other echodelic Texan rockers) and even some Syd Barrett-via-Robyn Hitchcock psychedelia, especially as you get deeper into the album. Put them on opening slots for Night Beats, White Fence or the Growlers and they’d be on the road for a year.

The key thing to know about these retro psych rockers is that their hooks are snappy, their guitars and organ rebound up and down like championship ballers and you can hear many influences, past and present, with everything in their style that includes Beatles, 13th Floor Elevators, Flamin’ Groovies and Thee Oh Sees. From the big soaring “Fuzz God” to the hypnotic closing keeper “Merry Go Round,” Frankie and the Witch Fingers consistently keep things moving, interesting and memorable. If old school or new school psych rock is your thing, Heavy Roller should be added to your list to pick up!”

Frankie and the Witch Fingers are The Band :

Mind – Dylan Sizemore ,Limbs – Josh Menashe, Eyes – Alex Bulli,Soul – Glenn Brigman

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Empty Cellar Records is proud to release the newest album by Magic Trick,“Other Man’s Blues”. This offering from the band finds songwriter, Tim Cohen at a crossroads. It was written and recorded during a year that split his time between two lives, in two worlds. The newer of these worlds was on a horse ranch in the northern Arizona desert where he and his partner spent their first year with their newborn daughter. The other was the music world. The latter took place on the road, on tour with Magic Trick or with the Fresh & Onlys. And in the case of Other Man’s Blues, it took place for one week at Phil Manley’s Lucky Cat Studios in San Francisco.

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Tim arrived at the studio with a color-coded composition book of songs he’d been writing while bouncing to and fro. This book would have to suffice in lieu of rehearsal time with the 13 other musicians who appear on the tracks. About half of the tracks feature James Kim on drums, the other half James Barone (Beach House). Alicia Van Heuvel (Aislers Set) and Paul Garcia split time on bass. Joel Robinow (Once and Future Band / Danny James) contributes on keys. Emmett Kelly (The Cairo Gang / The Muggers / The Double) provides a couple stunning guitar solos. There are omnipresent vocal harmonies from Alicia, Noelle Cahill and Anna Hillburg, the latter of whom also plays some trumpet. San Francisco standbys Dylan EdrichTom Heyman, and Marc Capelle all contribute. It was a loose, largely improvised affair.

 

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.
The Warlocks were founded in 1998 in Los Angeles by Bobby Hecksher, who has led the band from strength to strength ever since. After seeing their debut in 2000 with a self titled EP released on Bomp! Records, The Warlocks followed up with the full length Rise and Fall in 2001. Since then, the band have released the neo-classics Phoenix, Surgery, Heavy Deavy Skull Lover, The Mirror Explodes & Skull Worship. All of which have lent to the bands worldwide cult status and a loyal fanbase that eagerly await The Warlocks’ next spell.

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