Posts Tagged ‘Los Angeles’

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Vide Noir was written and recorded over the past two years at Lord Huron’s Los Angeles studio and informal clubhouse, Whispering Pines, and was mixed by Dave Fridmann (The Flaming Lips/MGMT). Singer, songwriter and producer Ben Schneider found inspiration wandering restlessly through his adopted home of L.A. at night. A true multi-media artist, Schneider has once again created an adorned world to inhabit within Vide Noir: the album is accompanied by a wealth of imagery, films and immersive experiences crafted to expand upon its narratives and themes.

Music video by Lord Huron performing Wait By The River. © 2018 Whispering Pines Studios Inc., under exclusive license to Republic Records, a division of UMG Recordings,

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You may now listen to “Perfume”, the latest single off our “Perfume EP”. Perhaps you’ve heard us play it live the last couple of tours and been like “what the heck iz that song?” well now you know!
Smells like 30 new minutes of new music via seven new electric hues, shocks of light that flagrantly provoke the dark, a posy’s clutch of purple, fuchsia, green and snowy white that curl against the stench of plague. With “Perfume”, Wand presents olfactory events that recall futures and pasts.
releases May 25th, 2018
Band Members
Sofia Arreguin,
Evan Burrows,
Robbie Cody,
Cory Hanson,
Lee Landey,

Triptides “Visitors” is their sixth album , This L.A.-by-way-of-Indiana band exhibits no discernable drop in quality, delivering another gloriously trippy slice of bedroom psych-pop. The duo of Glenn Brigman and Josh Menashe hold true to their vision of re-creating the swirling sounds of late-’60s U.K. groups like Tomorrow and Pink Floyd, Instead, there’s a rock-hard toughness under the jangling 12-string guitars, biting six-strings, and wistful voices that gives the album a kick and provides a very solid foundation from which to launch their tuneful flights of fancy. And the songs are quite fanciful, whether the band are in full daydream mode like on songs “Saturday Far Away” or “My Friend” or rollicking gently as on “All My Life,” or kicking up paisley swirls on rockers like “Mary Anne” their melodies are sweet and the hooks are sharp.

This album seems a little more cleaned up than some of their earlier work, but they still show a mastery at crafting echoing, atmospheric sounds that complement their tunes perfectly. The new twist to their approach brings the band a step or two out of the bedroom and lends an air of professionalism to the record. It’s not far from the sound bands like Plasticland or the Rain Parade had in the ’80s, and that’s high praise. Those bands conjured up the sounds of their psychedelic heroes without sounding like slavish imitators, they used modern recording techniques wisely, and they got a full, rich sound most bands in the ’60s couldn’t come close to. Triptides do all those things too, and against the odds, they keep getting better. Visitors is their best-sounding record to date and anyone with even a passing interest in psych-pop should start here, then work back through the rest of the band’s impressive catalog.

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Triptides are :

Glenn Brigman : Vocals, guitars, farfisa, mellotron, drums, sitar, electric harpsichord, tambourine
Josh Menashe : Vocals, guitars, bass, farfisa, flute, piano
Modeste Cobián : Flute on Mary Anne and Heavy Cloud
Dylan Sizemore : Backup vocals on Sunday In The Park
Recorded and mixed by Triptides in Los Angeles, CA

From the album Visitors out on 6th of April 2018 on Requiem Pour Un Twister

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Los Angeles-via-Portland singer-songwriter Sharaya Summers is hyperaware of the suffering going on around her, and feels it all to the core. In her newest single “Easy Life,” Summers sings about being handed a good life, but being so burdened by the pain of others. This is a song of empathy, even tinged with a bit of guilt. With influence pouring out from Laurel Canyon songwriting, along with dreamy guitars and reverb-drenched vocals, “Easy Life” is an unmistakably easy listen. But underneath these layers, there is a subtext of desperation and disillusionment. Summers sings, “Tell me to believe that there’s meaning/ That it all works out in the end.” As she makes this plea, Sharaya Summers still manages to deliver a glimpse of hope. Be on the lookout for her EP set to be released later this year.

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Sharaya Summers, tells a story of disillusionment, dysfunction and discovery. As her debut single ‘Light of the Moon’ rapidly gained over half a million streams on Spotify, she prepares to release her full EP in mid 2018.

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Last autumn Los Angeles-based musician Miya Folick released a new EP, Give It To Me, which was lauded asamong the best EPs Of 2017. Today, Folick has followed that up with a brand-new song called “Deadbody” which was co-written by her and Justin Raisen. It’s a skeletal track that builds to a towering chorus where Folick gets to show off her capacious voice: “Over my dead body,” she sings, booming drums behind her. It’s a wall of pure power. Here’s what she had to say about the song:

I wrote ‘Deadbody’ after reading article after article about people’s exploitation by people and power structures, and then talking to my friends about our own heavy experiences. I felt defeated by the weight and pervasiveness of the system we are fighting. I needed something to sing that felt hopeful but fierce. I wanted to growl and be demanding and defiant. ‘Deadbody’ was meant for me and you to sing together, to make us feel empowered, strong, and exhilarated by our own resilience.

Deadbody came from a place of frustration. I needed something to sing that felt hopeful but fierce. I wanted to growl and be demanding and defiant. I wanted something clear and stark. I made Deadbody for you and me to sing together, to remind us of our power, our strength, and our resilience. I want you to sing it loud and hold it in your heart. I made it for you

Thank you so much to my producer team @justinraisen @yves_above_so_below @lukeniccoli and to @terriblerecords for making this with me. And thanks to Waverly Mandel for the beautiful artwork.

Starcrawler: Tim Franco, left, Henri Cash, Arrow de Wilde and Austin Smith

Hailing from Los Angeles, Starcrawler formed two years ago when lead vocalist Arrow de Wilde first met drummer Austin Smith. Shortly thereafter, guitarist Henri Cash and bassist Tim Franco joined the band. The group is known for their squalling riffs, thundering beats and incendiary performances, fronted by de Wilde’s otherworldly magnetism. The band have captivated audiences throughout their performances at this year’s music festivals.

This past May, 18-year-old Arrow de Wilde graduated from L.A.’s Grand Arts High School—but it wasn’t easy getting there. Leading up to her final days as a high schooler, de Wilde’s band, Starcrawler, was getting busier and busier: playing shows alongside groups like Ho99o9 and The Lemon Twigs, being featured by publications after their amazing live shows, and spending late nights in the studio with their producer, Ryan Adams.

Starcrawler’s debut single “Ants” b/w “Used To Know” is out now on Rough Trade Records on 7″ vinyl.

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The West Coast Pop Art Experimental Band were an American psychedelic rock band formed in Los Angeles, California in 1965.Their first album for Reprise was the best of the groups career, in large part because it was the most song-oriented. The group created music that possessed an eerie, and at times sinister, atmosphere, and contained material that was bluntly political, childlike, and bizarre. It was still plenty weird, almost to the point of stylistic schizophrenia, but when you got down to it, much of the record was comprised of fairly catchy songs in the neighborhood of two and three minutes long.

At times they sounded like reasonably normal, fairly talented Byrds-like folk-rockers with tracks like “Transparent Day,” P.F. Sloan “Here Where You Belong” and others, a Kinks-like garage band (“If You Want This Love” and at others, a fey Baroque pop outfit (the orchestrated “Will You Walk With Me”). There was an undercurrent of unsettling weirdness and even paranoia, though, in some cuts with otherwise pleasing tunes, like “Shifting Sands,” with its sizzling distorted guitars; “I Won t Hurt You,” with its heartbeat bass and disconnected vocals and “Leiyla,” where a standard teen garage rocker suddenly gets invaded by spoken dialog that seems to have been lifted from a vampire B-movie.

The cover of Frank Zappa’s “Help, I’m a Rock” flung them into freakier pastures, emulated convincingly on the group original “1906,” an apt soundtrack to a bummer acid trip with its constant spoken refrain, “I don’t feel well.”

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Though the band hails from Los Angeles, they do not partake in any sort of witchcraft. Yet their ability to conjure a specific time and place through their sound does suggest a kind of magic. On their eponymous debut album, L.A. Witch’s reverb-drenched guitar jangle and sultry vocals conjure the analog sound of a collector’s prized 45 from some short-lived footnote cult band. The melodies forgo the bubblegum pop for a druggy haze that straddles the line between seedy glory and ominous balladry; the production can’t afford Phil Spector’s wall-of-sound, but the instruments’ simple beauty provides an economic grace that renders studio trickery unnecessary; the lyrics seem more descendent of Johnny Cash’s first-person morality tales than the vacuous empty gestures of pre-fab pop bands.

This isn’t music for the masses; it’s music for miscreants, burnouts, down-and-out dreamers, and obsessive historians. Album opener Kill My Baby Tonight is the perfect introduction to the band’s marriage of ‘60s girls-in-the-garage charm and David Lynch’s surreal exposés of Southern California’s underbelly. Sade Sanchez’s black velvet vocals disguise the malicious intent of this murder ballad, with the thumping pulse of bassist Irita Pai, the slow-burn build of drummer Ellie English, and Sanchez’s desert guitar twang helping beguile the listener into becoming a willing accomplice to the narrator’s crimes. Brian follows the opening track with a similarly graceful, if not somewhat ominous, slow-mo take on a well-worn jukebox 7”. It’s a vibe that permeates the entire album, from the early psychedelic hue of 13th Floor Elevators on tracks like You Love Nothing, through the motorik beat and fuzzed-out licks of Drive Your Car, to the grittier permutation of Mazzy Star’s sleepy beauty on Baby In Blue Jeans.

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Starcrawler!! Need we say anymore?? , Got a feelin these LA punks are going to feel right at home in the Pit!

Starcrawler are a Los Angeles rock band who formed two years ago when lead vocalist Arrow de Wilde first met drummer Austin Smith. Shortly thereafter, she found guitarist Henri Cash at her Echo Park high school and LA native Tim Franco (bass). They play with squalling riffs and thundering beats, and their incendiary performances, fronted by de Wilde’s otherworldly magnetism, recalls nothing as much as a youthful amalgam of the Cramps, the Yeah Yeahs Yeahs, and Alice Cooper.

They released their debut single “Ants” in 2017 and London DJ Matt Wilkinson quickly discovered the track and played it on his Beats One show, after which the track made its way to Zane Lowe and Sir Elton John, both of which spun the track repeatedly. The band made several trips to the UK and Europe over the remainder of the year and opened for bands such as the Foo Fighters and Black Lips in the USA. Starcrawler  released their debut album on January 19th, 2018 recorded with Ryan Adams in his Pax AM studio in Hollywood. It features their present single “I Love LA” and is out everywhere on Rough Trade / Beggars.

Spend 13 minutes with Starcrawler and you will NEVER BE THE SAME.

The young punks of Starcrawler have been lighting up L.A. with their famously fun and ferocious live shows, and now they’re catching ears across the country with their self-titled debut album, produced by Ryan Adams.

Songs performed Love’s Gone Again, I Love LA ,Used to Know, Ants

Kilo Tango is the Jane to your Daria, that stylishly cynical best friend that always has your back and who’s way cooler than your actual older sister. A Florida native now residing in Los Angeles, it’s no wonder lead singer Katie Mitchell has truly mastered the sandy, glimmering garage pop sound so fitting for both seaside landscapes.

Surf rock siren and Kilo Tango frontwoman Katie Mitchell’s music is atmospherically a day at Malibu circa 1960s. Her knack for capturing Americana-centric heartbreak feelings wax and wane from dreamy boy-meets-girl romanticism to kick him to the curb. This track combines Mitchell’s specialties and tells the story of a brooding bad boy she knows is no good.

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Written by Katie Mitchell
Vocals/Rhythm Guitar: Katie Mitchell
Lead Guitar: Nick Chacon
Bass: Zachary Mouton