Posts Tagged ‘Los Angeles’

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It’s not that Spanish Love Songs are sad,  Sure, the California-based band’s jangling, heartfelt punk rock exudes the feeling of returning home to your shitty town for a family gathering, and guitarist/vocalist Dylan Slocum’s lyrics are full of crushing phrases that sum up the overbearing weight of the world. But neither feel self-indulgent or emotionally manipulative — instead, they just point out the honest-to-God truths of what it is to struggle in the modern day. And maybe that’s overwhelmingly depressing, but maybe that says more about the world than Spanish Love Songs.

Losers 2, the new single from Spanish Love Songs off of their upcoming album “Brave Faces Everyone”, tells it like it is, and rips your heart out accordingly. From the opening vignette of staring at the house you grew up in that you can no longer afford to own post-financial crisis, to the classic Spanish Love Songs bridge in which Dylan solemnly sings, ‘You know, if we weren’t bailed out every time by our parents, we’d be dead,’ the track is a throttling series of truths that cut deep into the millennial psyche.

This is another case of taking what we do well and trying to focus it outwards,” says Dylan. “I’ve had plenty of people ask why the songs continue to get bleaker and bleaker, but I feel like the answer is pretty obvious. This is the world we know. It’s the world I see my friends stuck in, and that I’ve seen my family stuck in. Everyone works themselves to the bones to just survive. Not to say that we’re not incredibly privileged — I’m aware — but I wanted to look outward and just acknowledge that for the roughly 99 per cent of us, life is an endless grind,

Band Members
Dylan Slocum – Guitar and Vocals
Kyle McAulay – Guitar
Trevor Dietrich – Bass
Ruben Duarte – Drums
Meredith Van Woert – Keys
Brave Faces Everyone is out February 7th via Pure Noise Records

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On their first album in 22 years, semi-grungy and orchestral power-poppers That Dog (usually stylized as “that dog.”) make a stupendous return that ranks easily among their best work, from the hard-rocking “Just the Way” and “If You Just Didn’t Do it,” to the more tender approach of “Your Machine” and “Bird on a Wire.” Titles like “When We Were Young” and of course the title-track, “Old LP” are no doubt in-jokes about the long gap between records, but the former is a sunny mid-tempo number with impressive vocal harmonies, while the latter is the true highlight of the record, as it is a very heartfelt tribute to the Haden sisters’ father, famous jazz bassist and bandleader, Charlie Haden, who died in 2014.

Really, the title-track of this record is one of the most ambitious and beautifully soaring songs of the year. With its intricate arrangement and insistent melody, it is truly award-worthy. This whole album was made with love and it shows.

After twenty-two years, it’s here: “Old LP”, is the fourth full-length from legendary guitar pop group that dog., and the first since 1997’s Retreat From the Sun. In some ways, it finds the three members of that dog.—guitarist/vocalist Anna Waronker, bassist/vocalist Rachel Haden, and drummer Tony Maxwell—picking up where they left off. Across its eleven songs, there are interlocking vocal melodies, hooks-on-hooks, and Waronker’s signature guitar tuning.

There’s the unshakeable tension between sweetness and dissonance, between dark and light, between life-or-death seriousness and tongue-in-cheek wordplay. But with two decades of life experience behind them, the dynamics of that dog. are now notably more stark and sophisticated, layered and multi-dimensional.

Band Members
Anna Waronker, Rachel Haden, and Tony Maxwell

The new album, “Old LP” released, October 4

glassbeach

The sound of Glass Beach is a fusion of our diverse range of influences including 1960s jazz, new wave, early synthesizer music, and emo, but all presented with the harshness and irreverence of punk music. we embrace the trend towards genrelessness caused by the increasing irrelevance of record labels and democratization of music brought about by the internet and enjoy playing with musical boundaries even to the point of absurdity

“The First Glass Beach Album” is like peak-eccentricity of Montreal reimagined as peak-audacity fourth-wave emo.  Or maybe if the Unicorns wrote a post-rock symphony about a jazz band that goes to war with a synth-pop band. Narrated in a histrionic whine by the artist formerly known as Casio Dad, it includes songs called “classic j dies and goes to hell, Pt. 1″ and “Yoshi’s Island” and “Soft!!!!!!!” and, naturally, “Glass Beach.” It’s a lot.

This album began with demos written in 2015 & 2016 when i first moved to Los Angeles and spent almost a year living on my friend’s couch. I met Jonas and William on facebook after they heard the Casio Dad album on their college radio station in Minnesota and we eventually ended up moving into an apartment together in North Hollywood. after showing them the new demos I had been writing, Jonas and William decided to join the band, playing bass and drums respectively, and we spent the next three years refining the demos into songs.

Thematically this album differs a lot from “he’s not with us anymore”, rather than focusing so much on internal feelings, this album looks outside, in an attempt to capture the external world in all its good, all its bad, and especially all its confusion. it revels in the lack of a focused narrative, portraying multiple perspectives at once and changing moods on a whim.

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The Band:

william white – drums, vocals
jonas newhouse – bass, vocals
tony sanders – trumpet on track 1 and 5
daxe schaeffer – vocals
j mcclendon – guitar, keys, synth/drum programming, theremin, trumpet on track 14, lead vocals,
Released May 18th, 2019

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There’s no shortage of L.A. indie-rockers doing variations on psychedelic pop/rock/folk, but few have created a document so lush and cinematic as singer-guitarist Dylan McKenzie and bassist Jonathan Schwarz. Their debut comes a full seven years since their first release; its handcrafted feel owes to the production of Tim Carr and Gregory Uhlmann of Fell Runner, as well as the duo. Serpentine melodies, strings, aching harmonies and rich imagery added up to an uncommonly understated beauty. Enjoy this one in quietude.

Derde Verde’s new album ‘Slow Light’ – out October 11th

Lomelda nails it with this album lots of killer melodies and harmonies linked to poignant lyrics, Just some of the most simple, gorgeous, heartbreaking — and shortest — songs I’ve heard in a long, long time. My new album ’M for Empathy’ is mostly things said or shoulda said, heard or shoulda. Much of it, and it’s just a lil, came to me, or outta me, outta a deepening silence. Something you can hear a lot of I hope. It let me voice again. It also let me not, and only sing as much as I wanted, which is important too. Making peace with the word in me, just a lil, all my might.

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at Lazybones Studio in Silsbee, TX
January 26-28, 2019

Performed and produced by Hannah Read, Tommy Read at Lazybones Studio in Silsbee, TX
January 26-28, 2019.

After a two-year hiatus, Froth are back with their most fully realized work to date, ​”Duress”. Co-produced with longtime friend and collaborator Tomas Dolas (Oh Sees/Mr. Elevator) at his analog-focused Studio 22 in Cypress Park, CA, the record is unapologetically experimental yet undeniably accessible – combining some of the band’s strongest hooks with left-field sounds and unexpected flourishes of electronica. Joo Joo Ashworth has matured into a talented producer in his own right, communicating his singular vision through studio technique as much as his angular, Verlaine-inspired guitar sound. As always, the rhythm section of Jeremy Katz and Cameron Allen displays a tightness and sense of mutual understanding only achieved through years of friendship and extensive touring.

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“Duress” sees the band stepping outside the shadow of their influences and into something wholly their own. It’s an impressive and self-assured statement from a group only just entering their prime

Band Members
JooJoo Ashworth- Guitar/VOX
Jeremy Katz- Guitar/bass
Cameron Allen- Drums
released June 7th, 2019

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Before we end out the year, please make sure you get acquainted with Los Angeles-indie artist, Celeste Tauchar who goes by talker. She has just released a super grungy song titled “Learning the Feeling.” The song is slow in pace with electronic sounding drums and dark sounding guitar riffs. The vocal tone is standout and melodies seem to fit in with the likes of The Foo Fighters, Nirvana, and Eve Minor. The song is off of a 2-song release that also contains a track called “Keep Me Safe.” It’s a softer sounding pop song compared to “Learning The Feeling.” Both songs show off the singers immense vocal talent and range. We are very excited to hear what’s next from talker.

“Learning The Feeling” by talker out now on Common Ground Records

Brittany Howard, best known for fronting the band Alabama Shakes, will release her debut solo album, “Jaime”, on September. 20th on ATO Records. She says this track is “is a song I deeply want to share to help others realize loving and being loved by God doesn’t have to look the same for everyone.”

With her soulful vocals and impassioned electric guitar playing, Brittany Howard is known as a blues-rock powerhouse, and the lead singer and rhythm guitarist for Alabama Shakes. She also just released her debut solo album “Jaime”. Howard was inspired to create the album after taking a cross-country trip from Nashville to Topanga, Calif., where she recorded it. “I wrote this record as a process of healing. Every song, I confront something within me or beyond me. Things that are hard or impossible to change, words and music to describe what I’m not good at conveying to those I love, or a name that hurts to be said: Jaime,” Howard says.

Is there anything Brittany Howard can’t do? Between Alabama Shakes (arguably the most acclaimed and commercially successful roots-rock band of the past decade), Bermuda Triangle (her Americana trio with Becca Marncari and Jesse Lafser), her hard-edged solo project Thunderbitch, the Alabama-born, Los Angeles-based singer/songwriter, guitarist, and producer has proven herself an adaptable force of nature, as an individual as well as a team player. “Jaime”, her breathtaking solo debut, is the most definitive proof of that to date. With her written accounts of life pre-Alabama Shakes—which she subsequently translated into song—supplying the thematic foundation, Howard delivers a powerful (and powerfully-sung) display of profound empathy, parlaying autobiographical intimacy into unflinching social protest. “I am dedicated to oppose those whose will is to divide us and who are determined to keep us in the dark ages of fear,” she vows adamantly on album highlight “13th Century Metal,” a curious hybrid of spoken word and electronica; “I hear the voices of the unheard / Speak for those who cannot speak / And shelter the minds that carry a message.” Judging from this album, we’re in good hands.

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Starting with a further track from Brittany Howard’s the stirring and inspired “He Loves Me,” from her upcoming solo debut Jaime.She named the album after her sister who passed away when they were both teenagers. The music is a celebration of the human spirit.

She shared one last pre-release song from the album, “13th Century Metal.” She has also shared a video of her performing the song live, Previously Howard had shared Jamie’s first three singles, “History Repeats,” “Stay High, and “He Loves Me,” as well as a video of her performing “He Loves Me” live. 

Howard’s sister inspired the album’s title. She taught Howard to play piano and write poetry, but passed away from cancer when the sisters were teenagers.

“The title is in memoriam, and she definitely did shape me as a human being,” says Howard in a press release. “But, the record is not about her. It’s about me. I’m pretty candid about myself and who I am and what I believe. Which is why I needed to do it on my own.”

In regard to branching out with a solo album, Howard had this to say: “I turned 30 and I was like, ‘What do I want the rest of my life to look like?’ Do I want to play the same songs until I’m 50 and then retire, or do I do something that’s scarier for me? Do I want people to understand me and know me, do I want to tell them my story? I’m very private, but my favorite work is when people are being honest and really doing themselves.”

From the debut solo album “Jaime” set for released on September 20th, 2019.

Love—in all its forms—is Brittany Howard’s compass on Jaime, her solo debut. Resting comfortably in rootsy soul, rock, R&B, and hints of funk, Howard makes a case for optimism without ever saying the word itself. She celebrates heady romance on the easygoing ”Stay High,” and with “13th Century Metal,” she offers a clear-eyed manifesto of empathy as she pledges to build a better world. She even approaches spirituality from a position of grace, painting herself as a sinner in the hands of a forgiving God on “He Loves Me.” By sharing her open heart, Howard encourages anyone listening to do the same.

 

French Vanilla use slick and bouncy saxophone punk to explore new love and new identities with songs that feel as bold as the outsized subject matter deserves. Every left-field rhythmic breakdown, every zig-zagging blast of saxophone, every oddball post-punk chord change is shot through with infectious wonder. Always a super charismatic and well-recorded band, “How Am I Not Myself” takes French Vanilla’s sound into an even more stylish stratosphere for a record that sounds like it came from Planet Claire—or at least, some far groovier utopian future where the patriarchy has been smashed and everyone is free to be their true selves. But despite its self-declared quest for outrageous self-actualization, this is outward facing music. How Am I Not Myself wants you to believe wholeheartedly in your own magical self, whether that’s in front of a crowd or in front of the bedroom mirror.

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Reminds me of Martha and the Muffins mixed with a pinch of the B-52s and my ears love it!

All songs written and performed by French Vanilla (Ali Day, Greg Shilton, Sally Spitz and Daniel Trautfield).

Corey Cunningham has studied his forebears—The Smiths, Cocteau Twins, Pale Saints—so well that he could ghostwrite for them. The Magic Bullets and Terry Malts alum returns to his newest solo moniker, Business of Dreams, to pen a collection of could’ve-been singles primed for Britain’s ‘80s synth-pop boom. Ripe for Anarchy amplifies the era’s perennial pop sigh into full-blown existentialism, resulting in songs like “My Old Town” and “N.R.E.A.M,” which spiral outward beautifully under the sheen of glittering synth hooks and breezy acoustic guitar.

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With his new album “Ripe For Anarchy,” Cunningham has honed the songwriting with an eye towards regret, existence, and perseverance. “When I’m gone you won’t cry for me, focus on the moment, be free,” he sings on “Chasing That Feeling.” And that’s the mantra here: it’s time to let go. “The album is about living in the moment, shedding neurosis, and the desire to discard the general societal malaise we’ve been roped into.”