Posts Tagged ‘Los Angeles’

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The Apparition / Melt the Arms is the third release from Los Angeles band Flat Worms (Tim Hellman, Justin Sullivan, Will Ivy) released on New York’s Famous Class Records. The 7″ single follows their debut LP on Castle Face records. These songs were recorded with Ty Segall in his home studio during a global heatwave.

“The dream was an apparition.”  Teju Cole Open City

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Back again and this time with a killer new 7” from LA rippers Flat Worms. We’ve been hounding these guys to do a record ever since their first 7” dropped back in 2016, so we are thrilled to have them on board now. Flat Worms consist of Will Ivy (Dream Boys, Wet Illustrated), Justin Sullivan (Night Shop, Kevin Morby, The Babies) and Tim Hellman (Oh Sees). Their debut LP on Castle Face dropped last year and the boys have been touring like mad men ever since.

Releases October 12th, 2018
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Some nice sitar and Farfisa action going on, here… good pop sensibilities, too..

Los Angeles Psych rockers Triptides have just made their finest album yet !. After the acclaimed Azur (2015) and Afterglow (2017), Triptides are back with their sixth album! With Visitors, the LA based band are probably delivering their most accomplished album yet. Visitors deepens the exploration started with Azur, digging more profoundly into fifty years of psychedelic pop music with the band’s trademarked pristine elegance of melody.

However, the finer production and musical arrangements this time round show a real advance in the band’s ability to capture on record what they offer live: the songs of Glenn Bringman & Josh Menashe never chimed so beautifully or with such mature accomplishment.

L.A.’s Triptides have psychedelia down to a science” (LA Record, US), “This artefact is something especially nice to have and hold and sit alongside The Young Sinclairs, Silver Factory and Allah-Las in your collection. They deserve far more attention than has come along so far” (Shindig)

“The romance that is begining with Triptides will last more than this summer”. (Rock & Folk)

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The LP contains 10 songs pressed but CD and Digital contains the full album (12 songs)
Those who wants the two additionnal songs on vinyl can take the Limited edition 7″ (CRM022 Heavy Cloud / My Friend).

Released April 6, 2018

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

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It’s the exact brand of 40-drinking, skate-punk, crunchy guitar-riffing sort of debauchery for which we’ve come to know and love Fidlar. The lyrics are short and simple so you can still sing-scream them while you’re flailing in the pit—if you can remember “Hello / Goodbye / Are you high?” you’ll be good to go. The track also comes with a music video that is equal parts so-so quality concert footage and DIY editing.

“Alcohol” single

At the core of Death Valley Girls, vocalist/multi-instrumentalist Bonnie Bloomgarden and guitarist Larry Schemel channel a modern spin on Fun House’s sonic exorcisms, ZZ Top’s desert-blasted riffage, and Sabbath’s occult menace. On their third album Darkness Rains, Death Valley Girls churn out the hypercharged scuzzy rock every generation yearns for, but there is a more subversive force percolating beneath the surface that imbues the band with an exhilarating cosmic energy.

Death Valley Girls ‘Darkness Rains’ out October 5th, 2018

Beyond-beyond excited to present to you “Disaster (Is What We’re After)” from our new record, Darkness Rains, out October 5th on Suicide Squeeze Records. Video starring Iggy Pop and directed by Kansas Bowling,

The Kansas Bowling-directed clip is a direct homage to a scene in Danish filmmaker Jørgen Leth’s 1982 film, 66 Scenes of America, in which Andy Warhol eats a hamburger. Iggy Pop of course puts his own spin on the simple activity, nodding along to Death Valley Girls’ infectious rocker and even taking a healthy, low-carb approach halfway through when he discards one of the buns.

“We’re strong believers in opti-mysticism and connecting with people through rock n’ roll,” Death Valley Girls said of the video. “Having Iggy dig our music was more than amazing for us. When [director] Kansas told us she had a dream about recreating the ‘Andy Warhol Eating a Hamburger’ short film but with Iggy starring for our music video, we were cautiously excited about the possibility. Next thing we know we’re in Miami with Iggy himself, and a rock n’ roll dream became reality!”
Album opener “More Dead” is a rousing wake up call, with a hypnotic guitar riff and an intoxicating blown-out solo underscoring Bloomgarden’s proclamation that you’re “more dead than alive.” The pace builds with “(One Less Thing) Before I Die”, a distillate of Detroit’s proto-punk sound. At track three, Death Valley Girls hit their stride with “Disaster (Is What We’re After)”, a rager that takes the most boisterous moments off Exile On Main Street and injects it with Zeppelin’s devil’s-note blues. Darkness Rains retains its intoxicating convocations across ten tracks, climaxing with the hypnotic guitar drones and cult-like chants of “TV In Jail On Mars”.

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Releases October 5th, 2018

For all the appeal of Lord Huron’s elegiac, ethereal Americana, Fleet Foxes and Bon Iver were ahead of them in a very crowded field. So after two albums of hymnal beauty with acoustic guitars – and the track, The Night We Met,  the Michigan band led by Ben Schneider have changed course.

Now on a major label, the songs no longer conjure up vast rural or mountainous landscapes but the even more widescreen spaces of the cosmos. The title means “black void”, and vast swaths of reverb and echo (sculpted by Flaming Lips’ producer Dave Fridmann) create a celestial wall of sound; many of the songs have astral themes or metaphors. Writing on bass guitar has given the music a more powerful chassis, from Killers-like throb to subtle funk. Any remaining acoustic guitars have been blasted beyond recognition.

With their first release on a major label, Los Angeles based band Lord Huron are more popular than ever. Their third album Vide Noir is beloved by critics and fans alike and we welcome them for a live set in the midst of a nationwide headlining tour.

Lord Huron has morphed from the solo project of Ben Schneider to a full-fledged band and their sound has grown with it. It’s a bountiful collection of texture and rhythm from one of our favorite american bands.

Schneider’s best songs tap into the desolate beauty of the loner, who now has a much bigger universe to get lost in

Musicians: 
Ben Schneider – lead guitar/lead vocals
Mark Barry – drums
Thomas Renaud – guitar/backup vocals
Miguel Briseno – bass
Brandon Walters – guitar/backup vocals
April Boyce – keys/backup vocals

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Pkwy is a garage-y indie rock band from Los Angeles whose first single “Come on Baby, Let’s Go” was featured in many a music blog. This week they dropped a brand new track called “Punisher” and announced the upcoming release of their debut EP Giant.

Whereas “Come on Baby, Let’s Go” was a sparse, minimal indie slow-jam, “Punisher” is uptempo and features lush, shreddy guitar power chords and pummeling percussion. The song opens slowly and slithers along as the instrumentation snowballs and eventually crescendos into a huge, thrashy ending climax. It’s a cathartic garage-rock song with lyrics full of vibrant imagery and heavy on the matter-of-fact slacker vibes: “Slackers are acting tough/ Born in Los Angeles/ Light up a Camel Crush just for fun/ Just for fun…” Overall, it’s an impressive sonic leap forward for pkwy, and a perfect single for those low-stakes summer hang-out vibes.

The band hasn’t yet announced an official release date for Giant yet, but recently indicated that it’s coming out “soon.” .

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Released July 20th, 2018

Los Angeles band The Feels, are desribed as  “Psych punk future rock+roll post-everything melody music,” goes the effusive run-on sentence, “from LA.” it closes. Even as someone paid to write about how music sounds, feels, and fits into the grand scheme of things, I can’t think of any better way to describe Feels, so I’m going to go with that.

Fronted by Laena Geronimo previously of the band Raw Geronimo  Feels’ self-titled debut came out in 2016 on Castle Face Records and was produced by Ty Segall. The rest of the band is made up of Shannon Lay (backup vocals, guitar), Amy Allen (bass), and Michael Rudes (drums), to compose a formidable four-piece who play the kind of garage rock that makes talk of rock being “dead” sound downright ridiculous. The record is just nine songs and twenty-nine minutes long, but it’s still impressive enough to cement them as one of LA’s best new bands. Given their last record came out two years ago, the band is ripe to release some new music.

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Band Members
Laena Geronimo,
Shannon Lay,
Michael Rudes,
Amy Allen,

Later this month, The Feels are playing a free show in downtown Los Angeles on July 28, check out Feels’ debut album .

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Regret’s is the worst thing ever? If you’re not careful, that shoulda-woulda-coulda will eat you alive, or at the very least, make you lose your mind for a bit . Goon’s Kenny Becker knows all about that, as detailed in the band’s tops new standalone track “Enter Bethel Admissions,” .

Though the track’s title is just a play on the song’s E-B-A chord progression, its lyrics delve into the madness of missed opportunities and past mistakes. Couched in the LA outfit’s signature scuzzy shimmer and Becker’s alternately lackadaisical and pleading vocals, it’s ultimately uplifting—both heartbreaking and gentle as Becker sings, “I won’t beat up myself, about it…I wanna show my tremor.” It’s less an affirmation than a Hail Mary.

Here’s what Becker said about the tune, which lands alongside the Partisan re-release of LA grunge-gaze outfit’s Dusk of Punk/Happy Omen double EP today.

I was dealing with this intense regret that used to come up a lot. It was usually centered around this girl from college that I botched things with before they even began. Actually it’s the same girl that also inspired a couple tunes from our upcoming LP. It was a crazy type of regret, I kinda thought my brain was broken sometimes. It seemed like every day I could very tangibly feel my life going further and further down some wrong path because I missed a crucial opportunity with her that I was “meant” to take years earlier. I’m happy to say that I’m now very over it, but it fucked me up good for a while.

So with all that in mind, I made Enter Bethel Admissions as sort of pleading with myself to not get down on myself for any of that stuff. However, despite my desire to not cause myself harm for things that are out of my control or are in the unchangable past, I still very much end up seeking that harm in other ways, which is the desire for a metaphorical “tremor” in the choruses.

Band Members
kenny becker + drew eccleston + christian koons + caleb wicker

Alice Bag’s Blueprint album is a lesson in archetypes. In the 1970s, the Chicana L.A. punk pioneer of The Bags proclaimed herself a “Violence Girl”: a woman who, like certain chrome alloys, becomes only more unbreakable when tempered with fire. On Blueprint, Bag paints complex portraits of nameless (brown by default) individuals with characteristic pith and violence-girl riffs. On “Invisible,” a man who drinks too much holds himself together for his daughter and craves invisibility, a state many immigrants inhabit to survive, only to remain invisible to the American public eye. On “The Sparkling Path,” Bag alludes to escape by suicide, urging a message of survival beyond the kind of Maslow-diagnosed magical thinking for the oppressed who seek fulfillment beyond a lack of food, water and, most pressing of all, shelter. And on “77,” she enlists the help of Kathleen Hanna (Bikini Kill) and Alison Wolfe (Bratmobile) to inhabit the working women of 9 to 5 and tie up their male boss.

In other songs, Bag is herself again, defending her blue hair against chismosas on “Se Cree Joven” or delivering the starkest gut punch against self-loathing in “Etched Deep”: “All that rubbing at the pages / Won’t make them white,” she says to us and to our history. There’s no performative Twitter-shock at the plight of brown people on this album. There’s only the solemn self-vindication of a woman too long kept in the dark by ostensibly radical punk. “White justice,” after all, “just isn’t just.” 

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Righteous, angry, punky, inspiring songs that evidence both vitality and deep wisdom & experience. Protest music in the best possible sense.

With Joy, Ty Segall & White Fence’s new collaborative set of songs accelerate wildly from where we last found them, sharing one debaucherous mind. Their hits are like mementos buried in the ground, crawling up from the earth with attractive deformity – an auditory return to Salem’s Lot with fresh, mutated sounds bubbling from beneath the surface!
The new album drops July 20th and whatta Joy it is! Patience is a virtue, good things come to those who wait blah, blah, blah— all that’s totally overrated, and it’s why the Presley/Segall hive-mind is dropping “Body Behavior” today, no waiting required! “Body Behavior” absolutely rips, a shock-and-aaahh-hell-yeah clocking in at just over two minutes! It’s damn catchy, some of the purest post-punk-pop imaginable that only two of the most prolific living musicians can offer! Activating the undeniable chemistry you’ve come to love from Ty and Tim, “Body Behavior” roughs up the edges with jagged results that hurt Too good – but we know you can handle it!

Listen to “Body Behavior” now and hang on for the release of Joy, coming July 20th

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