Posts Tagged ‘Los Angeles’

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Here are some demos of our songs off our latest album, “Devour You”. I made them in one of the bedrooms of my two bedroom apartment, while my mom and brother (and the landlord who’s room is directly under my room) were sleeping. I would get home from my girlfriends house at about 11pm and start recording, waking everyone up. I get most of my ideas for songs late at night for some reason, and if I record something that I think is really good, I drive to Tim’s house and force him to wake up and get tacos with me so he can hear it. Some demos I spend more time on then others. ‘I Dont Need You’ was pretty much one take for everything, ‘No More Pennies’ I spent more time on because I really wanted to capture the whole idea. Usually the next morning I wake up and record the drums and sometimes lyrics, and then I send the songs to the band. Its always really nerve-wracking showing people songs at this stage because you don’t know what they’re gonna think of them, but it feels really good when everyone immediately likes it. That was the case for ‘No More Pennies’ and ‘I Dont Need You’. When everyone agreed they liked them, Arrow came over and sang on them and the band started learning the songs. We changed some things here and there and turned them into real Starcrawler songs.


I always like listening to demos of songs I really like and hearing the creative process of how things go from bedroom recordings to records. – Henri


Emma Charles back when she was still taking classes at Berklee College of Music. She has since relocated to Los Angeles, and now shares her endearing style of folk pop with a gorgeous, nostalgia-inflected video for new single “Connecticut.”

This is the title track from a 4-song EP that came out last month, produced by Doug Schadt, who has worked with both Shaed and Maggie Rogers. Emma delivers a heartfelt performance that maps out an emotional journey from her hometown on the East Coast to a new life in California. A hushed, guitar-based melody provides an evocative backdrop for Emma’s riveting vocal performance and a wistful exploration of the connection between memory and regret. At the intersection of self-examination and roots-Americana the organic sound of Emma Charles never fails to captivate, as we collectively stand witness to an emergent star who surrenders her full heart with every passionate song.

Big sounding acoustic guitars, and a soft emotional vocal is the sound of “Connecticut”  by Emma Charles. This ambient track is the closing song of Emma Charles’ new EP released in late February. The song has a calming energy and feels like the soundtrack of a long drive, of traveling thousands of miles on a long highway. The lyrics dive into the emotions of leaving a small Connecticut hometown for something much bigger. It’s about self-discovery and exploration. It’s hard to ignore Emma Charles’ poetic lyrics and imagery. This sound is truly a gem in today’s music industry!

Emma Charles sets the mood for driving across America in her new song “Connecticut.” Song written by Emma Charles and Doug Schadt

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Father John Misty has surprise-dropped a new live album on Bandcamp, titled “Off-Key in Hamburg”. The singer-songwriter, born as Joshua Michael Tillman, will donate all proceeds from the album to MusiCaresCOVID-19 Relief Fund, which benefits the musicians and music industry professionals who have been most impacted by the ongoing coronavirus pandemic.

Off-Key in Hamburg sees FJM and his band joined by the Neue Philharmonie Frankfurt Orchestra during their August 8th, 2019 performance at the Hamburg Elbphilharmonieon in Hamburg, Germany. Though the album does not contain any new material, it marks Father John Misty’s first release since 2018’s God’s Favorite Customer.

The album contains tracks from the 2018 release, as well as older tracks as well. “Nancy From Now On”, for example, appears on the first Father John Misty release, 2012’s “Fear Fun”. Listen to the entire album below and click here to purchase directly from the Father John Misty Bandcamp page.


released March 23, 2020

Recorded Live at the Hamburg Elbphilharmonie on August 8, 2019 with the Neue Philharmonie Frankfurt.

The Band:
Daniel Bailey – Drums
Chris Dixie Darley – Guitars, Keytar, Vocals
Kyle Flynn – Keyboards
Corey Lareau – Tenor Saxophone, Flute, Clarinet
Kelly Pratt – Trumpet, Flugelhorn, Flute, Alto Saxophone
Eli Thomson – Bass, Synth Bass
Jon Titterington – Piano
David Vandervelde – Guitars, Keys, Vocals

Debut release on Kevin Morby’s new imprint with Woodsist Records. Shannon Lay’s “Living Water” is an instant classic. Recorded by Emmet Kelly (Cairo Gang, Bonnie Prince Billy, Ty Segall) in his Los Angeles home studio, this is an album where you can hear the room reacting to the music taking shape around it.

Shannon has a voice that transcends time and space. You can’t tell if she’s old or new, if she’s sitting next to you, on a mountain top, or down in some canyon. Already her second LP to be released in 2017, Shannon is a prolific songwriter, one who lives and breaths melody and with guitar skills to boot. Despite it’s 14 tracks, “Living Water” comes in well under 40 minutes, but like Pink Moon or Just Another Diamond Day before it, this is music so potent it exists outside the realms of time – but in a world specific only to itself and the new feelings it creates.


Shannon has been dominating the local scene in Los Angeles over the past two years, leaving everyone who witnesses completely breathless. Having just finished a tour with Ty Segall, Shannon is set to support Kevin Morby on a national tour this fall.”

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Arthur Lee (1945-2006) – 1960s – Born on March 7th, 1945, Arthur Lee would have celebrated his 75th birthday this week… Lee was the lead singer and front man of Los Angeles Rock band Love. He formed the band in 1965 with old classmate Johnny Echols, along with Bryan Maclean (guitar, vocals), Ken Forssi (bass), and Alban Pfisterer (on the first album). Building up a sizable following at Hollywood area clubs, the band came to the attention of Elektra Records at the Whisky-a-Go-Go and was offered a recording contract. Love’s first hit was a cover of the Manfred Mann’s “My Little Red Book,” a Burt Bacharach/Hal David composition, culled from Love’s self-titled first album released in 1966. The follow-up, “De Capo,” 1967 was released a month before “The Doors,” debut album which was also issued on Elektra Records with both engineered by Bruce Botnick. While the Doors debut climbed to #2 nationally on the strength of the chart-topping single, “Light My Fire,” “De Capo,” managed to reach only #80, but contained the band’s biggest selling single “7 and 7 Is.” Whether the Doors’ success impacted Love is debatable but the band’s third album “Forever Changes,” was its masterpiece, and is rightly considered one of the finest albums of the ’60s – and arguably one of the best rock albums ever.

It contained a song for the ages “Alone Again Or,” with its glorious guitar intro and the sublime horn solo at the bridge. The album was Lee’s crowning achievement ranking #40 on Rolling Stone magazine’s list of the 500 Greatest Albums of All Time. It was to be the last album with the original group. There would be three more albums with different personnel, and Lee would carry off and on with a reconstituted Love up until his passing in 2006. If you want to understand Lee’s genius as a songwriter and musician, listen to these three albums to hear other brilliant songs such as “Orange Skies,” “She Comes in Colors,” Signed D.C. and “Red Telephone.” Lee never got his due owing to many issues, but make no mistake, he was one of the seminal Rock musicians from the ‘60s.

Arthur Lee & Love– 2003 – “Alone Again Or,” Originally on one of the singular albums of the 1960s “Forever Changes,” this sublimely beautiful song of heartbreak will yet tear your heart apart. Demonstrating that he had lost none of his prodigious talent, Lee leads Love in a powerfully touching rendition of one of his signature songs made all the more poignant because Lee would pass from this world just three years later from complications surrounding Leukemia treatments in his hometown of Memphis, Tennessee on August 3, 2006. he was 61. If you can make it through the trumpet solo without shedding a tear…To truly feel this song, turn it up…This is a truly epic performance.

First of 3 songs performed by Arthur Lee and Love in 2003. This song and “You Set The Scene” are from a US presentation of “Later.. with Jools Holland” on the Ovation Network.

Arthur Lee’s 1981 solo album is re-pressed by Friday Music on CD.  The late Love frontman provided the liner notes for this album, on which he revisited “7 and 7 Is” and paid tribute to his band with “I Do Wonder.”

As a visionary and leader of the 60s iconic band Love, Arthur Lee’s prolific words and music continue with this second solo release. Out of print for over three decades, Friday Music is proud to offer another installment of the Love & Arthur Lee Remaster Series . Includes the fan favorite One, a new take on 7 & 7 Is and a nod to Love with I Do Wonder. Featured players include the late seventies Love and the late great guitarist Velvert Turner. Original liner notes by Lee as well as definitive remastering by Love archivist Joe Reagoso.

Steve Wynn says “The Regulator” is a microcosm of The Dream Syndicate’s new album “The Universe Inside”. “It was just a formless, trippy mass as we all started playing together,’ says Wynn. “There was an early 70’s drum machine—a Maestro Rhythm King, the same model used on Sly Stone’s “There’s A Riot Goin’ On”—with Dennis locking in and setting the pace. Stephen grabbed an electric sitar because it was the first thing he saw. Jason and I were kicking pedals on like lab monkeys in a laboratory and Mark was a lightning rod, uniting all of those elements into one tough groove. I collected a list of random, unconnected lyric ideas that I kept on my phone. I tried them all out in random order in my home studio just to see how they would feel and that one-take test run is the vocal you hear! There’s just so much lightning-in-a-jar, first take excitement on this record.”

The Dream Syndicate is:
Steve Wynn – lead vocals, guitar, harmonica
Jason Victor – guitar
Chris Cacavas – keyboards
Mark Walton – bass guitar
Dennis Duck – drums

Special guests: Stephen McCarthy (electric sitar, guitar, six-string bass, pedal steel, backing vocals)

“The Regulator” by The Dream Syndicate from the album ‘The Universe Inside,’ available April 10th

What happens when an abrasive rock trio trades guitars for synths, cranks up the beats and leans into the everyday anxieties of simply being a functioning human in the 21st century? The answer is Uneasy Laughter, the sensational second Sub Pop Records release from Los Angeles-based Moaning.

Vocalist/guitarist Sean Solomon, bassist/keyboardist Pascal Stevenson and drummer Andrew MacKelvie have been friends and co-conspirators amid the fertile L.A. DIY scene for more than a decade. They are also immersed in other creative pursuits — Solomon is a noted illustrator, art director and animator, while Stevenson and MacKelvie have played or worked behind the boards with acts such as Cherry Glazerr, Sasami and Surf Curse. On Uneasy Laughter, they’ve tackled challenges both personal and universal the only way they know how: by talking about how they’re feeling and channeling those emotions directly into their music.

Release Date March 20th, 2020

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Best Coast have always been a delightful embodiment of catharsis. The California rock duo of Bethany Consentino and Bobb Bruno have been rattling off intensely personal guitar pop songs since their 2010 classic debut “Crazy For You”, but their new album, “Always Tomorrow”, out now via Concord Records, provides a different kind of catharsis.

A decade ago, Best Coast were the definition of a hype band. Every cool blog was raving about them, they had A-list actors in their music videos, they toured the world and even Cosentino’s cat became famous. But beyond their sun-soaked, emotional indie rock songs and cloud of fame, Consentino was having trouble dealing with success. After their 2015 album California Nights, she isolated herself, feeling miserable and creatively uninspired. But then a song fell out of her, which became the golden ticket she needed. It was called “Everything Has Changed,” and it envisioned a healthier version of herself, one that was much more in tune with her physical and emotional needs.

In late 2017, she decided to make that song a reality by becoming sober. Her creative gears eventually began to turn again, and she brought in guitarist Bobb Bruno to write songs with her for the first time. He sent music for her to write to, and four of his songs ended up on their new album Always Tomorrow. Ultimately, it’s a record about embracing your full self, flaws and all, even if it’s for the first time—in Cosentino’s case, she feels like she’s finally found herself at the age 33.

I didn’t want to write a song about you, yeah/ In case it was too good to be true” is a genius opening line to a song (True), with its multiple meanings and reflexive ironies. You can hear that Bethany Cosentino is proud of it, because she really drags out its delivery, almost to the point that its punchy brilliance is lost. What’s disappointing about Best Coast’s first album in five years is that not much else feels as shocking or powerfully true.

This is Cosentino’s first set of sobriety songs, but not enough of the shame or damage that must have attended her decision to give up drinking informs the duo’s politely executed indie rock. “If everything’s OK/ Then what the hell do I complain about?”, from the outstanding song Everything Has Changed, says it all. Written at one of Cosentino’s low ebbs, tormented by writer’s block and booze, it flags an issue that is wrestled with yet never resolved by this solid but unchallenging album. Great art doesn’t have to come from a place of great discomfort, but it often helps. Always Tomorrow always chooses cosseting its audience over confronting more painful truths.

Best Coast recently released “Different Light,” the opening track from duo Bethany Cosentino and Bob Bruno’s fourth studio album, “Always Tomorrow”. One of the most-anticipated albums of this month, Always Tomorrow follows Best Kids (2018) and California Nights (2015). It was produced by Carlos de la Garza (M83, Paramore) with assistance from Justin Meldal-Johnsen.

Best Coast performs “Different Light” LIVE at Phaser Control Recording Studio in San Diego, California for a 91X X-Session.

new album ‘Always Tomorrow’ out February 21st, 2020:

Chris Cohen has plied the inside and outside folds of pop musical possibility since at least 1978, when he first set infant drumstick to skin at the tender age of three, initiating decades of sonic experimentation across multiple bands and nearly a dozen recordings. Chris Cohen’s songs initially sound easy. They’re each tiny jewels that unfurl at a leisurely pace, but dig a little deeper and you’ll reach a melancholy core

Chris Cohen, releases his third solo album, it was written and recorded in his Lincoln Heights studio and at Tropico Beauties in Glendale, California over the course of the last two years. Cohen would sing melodies into his phone, fleshing them out on piano, then constructing songs around the melodies, and later, adding lyrics and other instrumentation with the help of Katy Davidson (Dear Nora), Luke Csehak (Happy Jawbone Family Band), Zach Phillips, and saxophonist Kasey Knudsen, among others. It is his most straightforward album yet, but it is also the conclusion of an unofficial cycle that began with Overgrown Path.


CC is my favourite. His songwriting and voice and arrangements are so delicate. The drumming is so pure and jazzy, and it has some very fun lyrics and themes. ‘Making grilled cheese for dinner in an RV by the sea’.

“Sweet William” is the third single from Chris’s Cohen self-titled album, out March 29th, 2019.

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All this time I thought you were a leader. It turns out you’re only a deleter.” The lead single off Grouplove’s upcoming fourth album “Healer” is a raucous boost of energy . I don’t even care who or what “Deleter” is about: With its heavy pulse and unrelenting beat, the song is a much-needed injection of sonic fuel. Lead singer Christian Zucconi belts a fierce, pointed, yet relatively vague critique on the failures of leadership without calling out any one “leader” in particular; rather, the portrait he paints is one that we, “the people,” may use for our redress:

There’s no two ways about “Deleter”: Grouplove’s first song of the decade is an explosive protest packed with passion and zeal, the kind of invigorating music that just might get folks up, out of their collective funk, 

In the meantime, I’ll be patiently awaiting the full-on intensity of Grouplove’s new album Healer, out this March. With over a decade under their belt, it’s clear this band still has so much to say, and so many ways left to say it.

Band Members
Christian Zucconi, Ryan Rabin, Hannah Hooper, Andrew Wessen

‘Healer’ available March 13th!