Posts Tagged ‘Los Angeles’

Valley Queen front woman Natalie Carol leads a band reminiscent of Fleetwood Mac and My Morning Jacket with evocative vocals. Neil Wogensen (Bass & Vocals), Shawn Morones (Lead Guitar & Vocals) and Gerry Doot (drums), enrich the songs with energy, excitement and emotion.
In 2016, the band released the singles “In My Place” and “High Expectations” on Canvasback Music/Atlantic Records to wide acclaim, and have played lauded shows at an array of venues,
Pranav Trewn from Stereogum praised that Valley Queen has “never sounded better than they do on “In My Place,” and Bob Boilen from NPR’s All Songs Considered believes that “Valley Queen comes from the Neil Young school of great music.”
March 2017 marks the debut of Valley Queen’s premiere EP, featuring their newest songs produced by Lewis Pesacov (Best Coast, Nikki Lane, Fool’s Gold, FIDLAR). The songs show the band’s sonic evolution since their first release, and will set the stage for an exciting year to come.

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Valley Queen are,

Natalie Carol – Vocals/Guitar
Shawn Morones – Guitar/Vocals
Neil Wogensen – Bass/Vocals
Gerry Doot – Drums

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Now this is what a modern L.A. band should sound like. Born from one of the nation’s most saturated scenes, Cherry Glazerr manages to make you feel like getting kicked out of a Silver Lake bar, only to make your way to Echo Park for last call, then a 2am taco truck, only to accept the fate of your hangover the next day, but be ready to do it all over again while wearing the same clothes. All of the jams on the group’s latest LP, Apocalipstick, have nasty shreds and dizzying effects. “Nuclear Bomb” builds into a menacing crescendo before descending into madness, while “Only Kid On The Block” is a powerful climax for the trio.

Cherry Glazerr – “Nuclear Bomb” from ‘Apocalipstick’ out on January 20th, 2017 on Secretly Canadian

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Los Angeles indie-pop powerhouse Local Natives released a new video today for “Dark Days,” the latest single off their 2016 album “Sunlit Youth”. The video finds the band in Asia, South America, and the Pacific Islands, goofing around in the sunny settings of where they recorded the record last year. “Growing up in Southern California, we didn’t have many days without sun,” . “‘Dark Days’ brought to mind good memories of swimming on rainy days and sneaking out to your girlfriend’s house.” Flush with light-leaks and sepia-toned saturation, the song and video capture the album’s languid leisure as its songwriters sit perched in hammocks and its bassist crashes against ebullient waves

An instant rise to fame would be an understatement when it comes to Los Angeles singer/songwriter Billie Eilish. Her debut single ‘Ocean Eyes’, uploaded just a year ago for an upcoming dance recital, gained quick recognition from ears around the globe.

The track was praised for its whimsical and emotive structure, pouring soulful lyrics and gentle instruments into listeners’ minds, hearts and souls. With no EP or tour announcement as of yet and still being able to hold 40 million streams under her belt, Billie Eilish is quickly becoming a household name within the alternative genre.

And now she’s back on our airwaves and fresher than ever with her latest release ‘Bellyache’. It shows us a slightly different side to this gifted vocalist as she delves into a world of floating vocals and unique sounds that spice up her musical direction

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Slutever are the punk rock Romy and Michelle: The twenty-somethings make grungy music that’s as equally influenced by radical 90s feminism as it is by Lisa Frank stickers and Britney’s shaved head. Last year, high school BFFs Rachel Gagliardi and Nicole Snyder left Philly for Los Angeles and set out to make their two-piece band Slutever into “the most famous band ever to never release a full length.” That said, each of their singles is such a sludged-out banger that if any band can skirt by on EPs alone for the rest of their lives, it’s Slutever. They’ve already played packed shows with people like Babes in Toyland, Kate Nash, Colleen Green, and Girlpool.

Even with a sound as grimy and DIY as their bleach blonde roots, Slutever are all about the mainstream; Kardashians, selfie sticks, minions—they fucking love it. And honestly, thank god. All we need is another super serious and high falutin punk band. What’s interesting though is how Slutever run their unabashed obsession with pop culture through a meat grinder, like a Barbie doll after you’ve ripped all the limbs off.

 

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Valley Queen comes from the Neil Young school of great music. The LA outfit has been around for fewer than five years, though listening to their music, you might think your vinyl-junkie friend picked one of their records out of a pile next to Fleetwood Mac and Hendrix. They have a classic Southern grit that makes you crave a sweet tea. They have defined their sound with a bluesy twang on guitar, driving thump on bass, and a soulful Southern vocal in their singer. The latest tease of the band’s long awaited debut album portends the Los Angeles quartet finally realizing their full potential. They’ve never sounded better than they do on “In My Place” — especially vocalist Natalie Carol, has a real powerful voice, and the band’s folk pop has gained comparisons to Fleetwood Mac .She wrestles with the wreckage of her faith and self-perception while anxiously considering her own youth “floating on great expectations” and “choking on grand illusions.”

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Alyeska at the Hi Hat in 2016 (Photo by Zane Roessell)Alyeska the L.A. indie trio fronted by Montana native Alaska Reid, have been cultivating their cherub rock for a couple of years, taking a big step in 2016 to travel east to record with producer John Agnello (Dinosaur Jr., the Whigs, Kurt Vile, Sonic Youth, the Thermals, among others). And while a couple of Alyeska’s previous singles possess some arresting, beyond-her-years moments, the latest, “Tilt-A-Whirl,” is a straightforward, sweetly innocent tune drawn from her small-town upbringing and favorite carnival ride. The song will appear on Aleska’s EP “Crush,” due March 3rd, Reid said where the song premiered, that it is “an ode to the small county fair in my town. My friends and I would look forward to going every year, we’d see boys we had crushes on, and scream about the creepy carnies or the way your feet turned black with dirt in your yellow flip flops. … The dirt in the midway was pocked with pools of vomit and discarded glow sticks and the carnies would spray you with giant squirt guns, trying to lure you into playing their game. … It was sort of a running joke, that it was your ‘coming of age’ if you got squirted in the chest by the carnies. I just wanted to convey the sparkle and the excitement of when I was young against the neon glow of the county fair as well as the grit and the darkness lurking around the edges.”

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Six years ago, Valley Queen’s front woman Natalie Carol drove to Los Angeles on a whim, looking to expand her musical horizons. After a lonely and frustrating year, she was on the verge of returning home when she happened upon an acoustic jam session where she met guitarist David Donaldson. Carol was immediately reminded of the comfort and friendliness of her Arkansas roots; the perfect environment for musical creation. She could hear traces of her hometown influences in his riffs: Zeppelin, Duane Allman, and Muddy Waters. The two began collaborating, exchanging ideas and drawing in other like-minded musicians. “It gave us all something to rest our heads upon, a musical family that became a home for us all,” says Carol. Today, Valley Queen is a hybrid of southern rock and Motown, with traces of 1970s canyon rock. “Carnival”, the A- side on their debut 7” produced by Lewis Pesacov (Best Coast, FIDLAR, Fool’s Gold), embodies these influences sings about creating a supportive artistic community in Echo Park. The B-side “Make You Feel” is a bluesy slow jam about young love.

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Natalie Carol – Lead Vocals/Rhythm Guitar
Neil Wogensen – Bass/Vocals
Shawn Morones – Guitar/Vocals
Gerry Doot – Drums

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The band hailing from Los Angeles  are a special kind of hazy fuzzed out evening. Like the moments before a storm here they feel eery and exciting. New track ‘Brian’ is proof of that. Recently signed to Suicide Squeeze Records the trio seem to have something special up their sleeve.

‘Brian’ is a slow burner. It reverbs across the cavernous heated airspace and drags the star shine with it. Feeling at times moody and untouchable it softens at the edges and lets you in to a smoky and darkened descent with a smile on its face.

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This new slice of their reverb-soaked punk sounds with a new single ‘Brian’! The band will be headlining a full UK and European tour in February and March.

It’s easy to forget that just a few decades ago, the only viable means for penetrating the golden glamour of Los Angeles was via the dusty trail of Route 66. And just as the arteries of the interstate latched onto the thumping heart of California, so too came the amplified sounds of a new restless generation. There was acid on the streets and revolution in the air, but there were also Hell’s Angels in the alleys and Manson’s family on the desert periphery. It was an age of innocence, beauty, and opportunity, with an underbelly of lawlessness and depravity. And it had a soundtrack.

It’s impossible to listen to L.A. Witch and not hear echoes of that time. The sound of dusty neon and the first dim-lit bars of Sunset ring out with every reverb-drenched note. The juxtaposition of Hollywood allure and Skid Row desperation throbs in every three-chord riff. And the perilous wager of temptation lies in every sultry vocal melody. Yes, L.A. is the land of sunshine, but it also harbors a certain kind of dangerous magic. And no one seems to understand that more clearly than the three women of L.A. Witch. Whether they’re conjuring the downtrodden cowpunk of The Gun Club, the seedy metropolitan balladry of Velvet Underground, or the beefed-up blues of Black Sabbath, L.A. Witch remind us of that exhilarating revelation that a city can elevate you just as quickly as it can grind you into the dirt.

The Wells Fargo Theater, Los Angeles, 26th January 1995

While Joni Mitchell had made a few one-off appearances around this time, she hadn’t actually committed to a tour in more than a decade. Secondly, Turbulent Indigo was the revered singer-songwriter’s first album in three years, and first for Reprise Records since 1971. So Joni Mitchell s informal show in the Griffith Park facility’s Wells Fargo Theater was promoted by local triple-A station KCSA-FM and featured a selection of nearly two hundred invited guests. Here, Mitchell confirms once again that she’s an artist with a promising future as well as a celebrated past. Never one to rest on her illustrious laurels, she opens with Refuge of the Roads from Hejira, before making her way through a loosely thematic set of songs emphasizing her recent oeuvre.

I was surprised to see this product which is a radio concert from January 1995. Anything new from Joni Mitchell is worthy of investigation and here she was promoting the Turbulent Indigo album in front of just 200 invited guests and prize winners at the Wells Fargo Theatre in Los Angeles with a, for this period, rare fully acoustic performance. It’s an intimate setting which informs some of the inter-song stories, charmingly told and revealing too. To hear Joni live from this period is a treat indeed, with “Refuge Of The Roads”, “Hejira” and “Song For Sharon” being especially welcome to these ears. The concert is clear, though with evident background hiss and a radio ident towards the end between tracks, revealing its origins, and at 72 minutes good value too. For someone who has spent many happy hours listening to “Miles Of Aisles” and “Shadows And Light” finally hearing a later concert to compare these with is a find. Recommend for any Joni Mitchell fans.

Track listing

1. Refuge of the roads
2. Being Roy (rap)
3. Sex kills
4. Moon at the window
5. Night ride home
6. Loves cries
7. Yvette in English
8. Cherokee Louiseq
9. Sunny Sunday (rap)
10. Hejira
11. Just like this train
12. Happiness is the best facelift
13. Song for Sharon


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