Posts Tagged ‘Los Angeles’


Having conquered a variety of genre albums in recent years, the genre this time around is that there isn’t a genre—just a dedication to the sanctity of the music and music alone.

Ty Segall has only tweeted once since 2014. He averages about one Facebook post per three months—and even then, it’s almost exclusively advertising a show. Every “Ty Segall” Instagram account is a fan-made page with a couple dozen photos or fewer. He’s not on Snapchat. His website is updated with only bare-bones contact info, a couple videos, and a simple discography. Even his current label, Drag City Records, doesn’t post its catalog to Spotify or Apple Music or Tidal, thereby making it impossible to hear the majority of Segall’s studio albums via any streaming service. Ty Segall indeed embraces an old-school rock and roll sensibility, from a firm belief in the sanctity of the full-length record to his fuzz-heavy analog aesthetic. But, more accurately put, he merely holds one specific thing in much higher regard than the influence of changing business models or technological advances: personal freedom.

Freedom’s Goblin is the latest among many Ty Segall albums: 19 tracks strong, filling four sides of vinyl nonstop, with an unrestricted sense of coming together to make an album. It wants you to get your head straight — but first, the process will make your head spin! Back in the Twins days, we talked about the schizophrenia of Ty’s outlook; today, it’s super-dual, with loads of realities all folding back on each other. On any given side, we’re tracking five or six full-blown personalities, unconcerned with convention or continuity.

This is Freedom’s Goblin — one track engendering, the next one oppressing, violence up in the mix — a look at everything around that Ty used to make the songs.  The songs came in the flow of the year: days of vomit and days of ecstasy and escape too, and days between. The rulebook may have been tossed, but Freedom’s Goblin is thick with deep songwriting resources, be it stomper, weeper, ballad, screamer, banger or funker-upper, all diverted into new Tydentities — each one marking a different style. Freedom’s Goblin wears a twisted production coat: tracks were cut all around, from L.A. to Chicago to Memphis, whether chilling at home or touring with the Freedom Band. Five studios were required to get all the sounds down, engineered by Steve Albini, F. Bermudez, Lawrence “Boo” Mitchell and of course, Ty himself.

The goal was getting free, embracing any approach necessary to communicate new heights and depths, new places for the fuzz to land among octaving harmonies, dancefloor grooves, synths, saxes and horns, jams, post-Nicky-Hopkins r’n’b electric piano vibes, children-of-the-corn psycho-rebellions, old country waltzes and down-by-the-river shuffles. Basically, the free-est pop songs Ty’s ever put on tape. And one about his dog, too! .

We all want our Freedom. The freedom to love or to be alone; to be pretty or pretty ugly; the freedom to turn the other cheek or to turn up the volume. And of course, the freedom to make just about any kind of song you think will free people when they hear it. But there’s that goblin of freedom too — and once you let it out of the bottle, it can fuck with you, so . . . take it or leave it. Go away or go all the way in. Live free and die! BUT be careful what you wish for .  .

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1 Fanny Dog
2 Rain
3 Every 1’s A Winner
4 Despoiler Of Cadaver
5 When Mommy Kills You
6 My Lady’s On Fire
7 Alta
8 Meaning
9 Cry Cry Cry
10 Shoot You Up
11 You Say All The Nice Things
12 The Last Waltz
13 She
14 Prison
15 Talkin’ 3
16 The Main Pretender
17 I’m Free
18 5 Ft. Tall
19 And, Goodnight


Los Angeles based singer songwriter Jesse Jo Stark releases the new video for Deadly Doll. Combining vintage horror with rockabilly, the sensual crooner is turning heads. The latest track was produced by Jason Lytle (Grandaddy, Band of Horses) and co-written with Chris Garcia (Lana Del Rey, Demi Lovato). Moreover, she kicked off the new year opening for Jane’s Addiction at Belly Up in LA.


Pretty much all you need to know about Death Valley Girls can be summed up by the line from the 1975 sexploitation film Switchblade Sisters that became the band’s unofficial slogan: “Everybody’s gotta be in a gang.” All those images of leather-clad, grime-covered, rebellious fun that such a phrase evokes are just what the Los Angeles quartet personifies. It’s slightly crazy, completely sexy, and just frightening enough that you want nothing more than to be inducted into the club.

Luckily, Death Valley Girls are sending an open invitation with their sophomore record, Glow in the Dark. On Burger Records, the follow-up to 2014’s Street Venom plays like a beacon from space sent to incite a cultural mutiny. Tracks like “Love Spell” and “Disco” beckon the listener to shed the chains of repressive modesty in favor of letting loose in the neon light of the night. “Horror Movie” and “I’m a Man Too” strike out at the definitions laid down by a society enslaved to consumerism and clearly delineated classifications. All of it bursts out in surfy proto-punk layered with sugary shrill harmonies that cut through the garage door like so many steel studs.


If the message of the album isn’t clear enough, this band delivers  “Join the experience that will cosmically unite the living and turn on the dead. The battle is now, Be part of the revolution. Glow in the dark.

A Los Angeles /Santiago, Chile-based quartet lead by two sweet-singing girls who manage to combine the noisy darkness of shoegaze with “scream-in-your-face” punk rock and ethereal-sounding pop – in a very original way.

We are Slowkiss – a 4-piece band – 2 girls and 2 dudes. We make alternative punk rock music, and we do our best to ‘bring it’ for our audience at every show we play and on every song we record.
ULTRAVIOLET is our brand new EP – five explosive songs that will surprise you in the best of ways. Big drums, a wall of guitars, growling bass and aggressive-yet-sweet vocals that will melt your ears. The EP artwork was done on canvas by the great Chilean painter Juan Vade, and it turned out so beautiful and eye-catching that we feel it was meant to be printed.

Slowkiss has a series of tour dates in Southern California throughout October 2017!


Using guitars, vocals and sparse electronic elements, Prism Tats pulls from various visual and musical inspirations to create waking dream sub-realities that devastate and elate. Prism Tats is the musical moniker of Garett van der Spek, who’s originally from South Africa but now based in LA. He released his self-titled debut album in 2016, followed by last year’s 11:11 EP, and he’s notably opened shows for such indie vets as Guided by Voices and Nada Surf. He’s now set to release a new full-length, Mamba, on March 2 via ANTI-Records, which was produced by Chris Woodhouse, who’s worked with Thee Oh Sees, Ty Segall, The Intelligence, and others.


Like the other bands Woodhouse works with, Prism Tats channels classic garage rock with a knack for pop hooks and a bit of psychedelia. You can hear that for yourself on Mamba‘s lead single “Daggers,”

The new album ‘Mamba’ comes out 03.02.18 via ANTI- Records.

Moaning - S/T

Moaning is a band defined by its duality. The abrasive post-punk trio comprised of LA DIY veterans, Sean Solomon, Pascal Stevenson, and Andrew MacKelvie, began nearly a decade after the three started playing music together. Their impassioned debut album comes born out of the member’s experiences with love and distress, creating a sound uniquely dark and sincere. Although the band is just breaking out of their infancy, Moaning’s sleek and cavernous tone emphasizes the turmoil of the era they were born into. One where the endless possibility for art and creation is met with the fear and doubt of an uncertain future.

Two never-before-released songs recorded during the same sessions as Jay Som’s breakout debut “Everybody Works”, which landed on Best of 2017 lists from nearly everyone this year including Pitchfork, NPR, Stereogum, Rolling Stone, Entertainment Weekly, Billboard, and a slew of others.

Musically, these tracks would have been equally at home on that record, as they highlight how Melina Duterte has “perfected that tricky balance between polished ambition and lo-fi charm.”

“Both of these tracks were made during the spring of 2016 – the first demo stages for Everybody Works. They were fun to write and record but felt out of place on the track​ ​list during the finalization of the album. These tracks remain close to my heart and I’m really grateful they’re finally out in the world.” – Melina Duterte


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A step beyond the cookie-cutter garage-rock or proto-punk bands populating the scene, the teenage trio of Isabelle Fields, Eva Chambers and Anastasia Sanchez released their four-song debut on Innovative Leisure in April. The have one hand in the past. The other they use to playfully thumb their nose at you. Sort of reminds me of Plumtree, another all-female indie rock band. I don’t know anything about Pinky Pinky, this EP appeared on my feed and now on my collections because it simply sounds great.

This sound pulls directly from the raw, nitty-gritty nature of 60’s psychedelic rock, a musical era that had its heyday nearly four decades before the girls were even born. However, this, along with their fully-realized aesthetic, may be precisely why Pinky Pinky could be the ones to put rock back at the forefront of cool.


Debut EP from Pinky Pinky, a 3-piece Proto-Prog inspired rock band out of Los Angeles featuring teenagers Isabelle Fields (17, Guitar), Eva Chambers (17, Bass) and Anastasia Sanchez (19, Vocals/Drums).

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A product of their hometown’s DIY scene, this Los Angeles trio have spent the past couple of years creating moody guitar music that draws on shoegaze, slacker-rock and post-punk. They’ve already whetted appetites for their upcoming debut album with a series of driving, dirge-like, deadpan tunes.

Los Angeles band Moaning recently toured with Sub Pop labelmates Metz, though they’re a new enough band that they’re likely being introduced to most listeners with the release of their upcoming debut album. And though they certainly have the energy and intensity to fit in comfortably alongside an aggressive, intense band like Metz, there’s a sexier, darker undercurrent of vintage post-punk in what they do that sets them apart. Throttling intensity plus sinister grooves? Sounds like Moaning has some serious potential.

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For those of you asking for the whereabouts of rock and roll in 2017, look no farther than LA’s Warbly Jets“Alive”, the opening track from their debut, is a confident declaration of their stubborn existence while being a Dandy Warhols style rock tune – fun, catchy, and rocking. “The Lowdown” was the first track we heard from the guys and it is a perfect example of all they do so well. Distorted guitars, thriving bass, and classic rock drums all build to a swelling piece of rock goodness. Being total fans of the grit rock of acts like Black Rebel Motorcycle Clubmade this album a no brainer for us to fall in love with. The four-piece outfit has a sound that transcends the dingy clubs they played in ’17 and will continue to grow tighter as audiences continue to fall in love with them. The sense of epic is not lost on them either. Closer “Getting Closer (Than I Ever Have)” is the perfect way to end with a gospel choir and hopeful rock anthems.