After a decade under his belt, it’s safe to say that Travis Barker knows what he’s doing. The OC fair grounds were turned into an art-lover’s paradise. As soon as you stepped through the entrance to the convention, your ears were met with the hypnotizing buzz of the tattoo guns, and there was so much to see that it was hard to decide where to look first. Continue reading…
I have an ambiguous relationship with God(s).
While on one hand I steadfastly believe organized religion to be mostly a terrible thing, I’m aware that the community that religion can foster can be beneficial. Historically, however, people have used that faith in one particular deity or another to draw lines and fight wars, rather than reach out and encompass their fellow man. And the deities have mostly kept out of it, either too ignorant, absent, trusting, or sadistic have been content to let us sort it all out for ourselves. This, of course, has been used, along with innumerable other arguments that are tough to contradict, as evidence that “God is dead” – either that they never existed or they buggered off or we killed them. Most of the time I fall on this side of things: religion is in general harmful, the divine is irrelevant because I have seen no concrete evidence of its existence and there are few arguments that I find satisfactory to explain it’s existence.
“The Unmoved First Mover”/Intelligent Design argument I always thought kind of nicely solved the pesky problem of there being science and everything – that some infinitely intelligent being just kinda set everything up like the most intricate 11-dimensional line of dominoes and then went “flick.” Its an argument that’s tough to argue with when one doesn’t understand how to explain the big bang.
“At first there was nothing, which exploded,” as Terry Pratchett once said.
The other argument for the existence of the divine is, of course, Lake Street Dive.
And I meant that with total (semi) seriousness. Lake Street Dive, who I saw for the first time this week at the Theater at the Ace Hotel, are clearly too perfect to have come from a cold, unfeeling, and uncaring universe neutral to the existence of humanity.
Lake Street Dive are a moderately successful soul/jazz/pop band that formed in Boston a number of years ago. Each member, an expert at their respective instruments, updated the New Orleans-influenced jazz-soul sounds of Ella Fitzgerald, Sarah Vaughn, Chet Baker, Sam Cooke, and Otis Redding, mixing it with a heavy dose of disco, pop, and rock and roll. What they’ve done just over the three records and one EP that I have heard (there are several LP’s in their oeuvre which are nigh impossible to find) is create some of the most soulful contributions to modern music that is infinitely enjoyable.
I often openly question why music, as a medium, didn’t just give up after Freddie Mercury died. People like Bridget Kearney, Mike Calabrese, Mike Olson, and the incomparable Rachael Price, are the answer.
Ms. Price came sashaying out at the Ace, clad in a flow-y pink retro jumpsuit that took the audience’s breath away. Believe me when I say this as a cishet man who gasped in pleasure when Jon Forte walked out in a tux when I saw him open for K’Naan and drooled when I shot Lenny Kravitz last year at KAABOO. I know what an audience – straight, gay, or whatever – loses its breath. And it was lost before Lake Street Dive launched into “Bad Self Portraits.”
We were never to regain it.
Pulling from all over their last three LP’s, as well as a couple covers featured on their Fun Machine EP, Lake Street Dive left the audience breathless, dancing, screaming, and shaken. To my infinite pleasure, LSD’s set wears its old soul influences on its sleeve. I always thought it an amazingly beautiful gesture when someone like Solomon Burke or Al Green–people who’s talent is legendary and who packed houses just on their own names–would then point to the members of their band, name them, and give them each a moment to stand out in front of the crowd as their own. In LSD, each member is similarly equally valued in their live show, each given a chance to shine despite Rachael Price’s frontwoman status. Bridget Kearney’s upright bass solo, in particular, is something to behold (woman can absolutely shred). Multi-instrumentalist Mike Olson, however, creates a quiet presence in the background, often at a slight remove, holding playing the trumpet or guitar masterfully but with little fanfare.
Belting out a string of room-filling soul/rock one does miss the quieter sound of some jazz and soul and, sure enough, halfway through their show LSD took a break to go acoustic for a couple of songs, before launching back into some of their most pop-influenced tracks off their 2016 full-length Side Pony.
Look, I’m not entirely sure of the existence of god, but I had a borderline religious experience watching Lake Street Dive play. There are few things in this world which I consider truly heavenly, but Lake Street Dive were clearly sent from on-high.
Earlier this year, one of our favorite local duos Novelties hinted that they were working with Toronto-based indie electronic trio closely on an upcoming collaboration. The new track “Away With Me” dropped today and it blends the dark pop we’ve come to love from Novelties with closely’s indie electronica. Take a listen below.
“Away With Me” takes off with dreamy vocals swirling around pulsating percussion. Kelly Mylod and Sophie Noire’s ethereal voices blend with Michael Cranston’s to create hypnotic melodies, begging to “take you away with me.” The tempo seamlessly changes throughout as they experiment with the lush orchestration, resulting in the perfect relaxing summer track.
We’ll keep our eyes peeled for more soothing electronic/indie tracks from both of these groups!
There are few guitarists of this generation that are as notable as John 5. Perhaps most famously known as Rob Zombie’s current guitarist, John 5 has a strong following of his own. Performing at the Whisky with his side project, John 5 and the Creatures, he was a delight to see up close and personal. Continue reading…
Photo credit: Kane Hibberd
When a young artist such as Alex Lahey releases her debut EP on a revered label to an incredibly positive reception, fellow up-and-comers may find themselves a little envious. But don’t be fooled, Lahey has been working at this for as long as she can remember, and her solo effort just happened to be the project that propelled her to universal acclaim.
We love Matthew Koma here at the Blog. He’s a multi-talent: a master (and GRAMMY-winning) songwriter, a producer, a vocalist, and a DJ. Well, get ready, because this musical aficionado will be performing two acoustic sets in LA this month! He’ll be gracing the Hotel Café stage on March 20th and 29th, so be sure to grab your tickets while you still can.
The Dig are LA-bound. Set to appear at The Echo on Saturday, March 18, their new album Bloodshot Tokyo is out now. It’s a collection of ear worms that evokes an MGMT hybrid of Oracular Spectacular and the unexpected, psych out of its follow up, Congratulations. Maybe add in a dash of The Flaming Lips, for good measure.
Highlights include the radio-ready track, “Jet Black Hair,” thumpy underwater glam rock in “Bleeding Heart (You Are The One),” and the never ending free fall in the chorus of “Simple Love.”
LA Music Blog caught up with singer and guitarist David Baldwin to talk about The Dig’s history, Bloodshot Tokyo, and the NYC band’s relationship with Los Angeles.
Some of The Dig’s band members have been together for quite awhile. When, where, and how did you meet? Have you always been known as The Dig?
Emile (Mosseri) and I met when we were about 11 years old in the suburbs outside New York City. We went to the same middle school, and started playing music together. We were in a Rage Against the Machine cover band, which was the first thing we did. In high school we started a funk band together, and that’s when we met Erick (Eiser). We were all about 15. Then we met Mark (Demiglio) in New York around 2011. So it’s been about 6 years as the current unit.
Why the “Bloodshot Tokyo” title?
We had spent a couple years on the album. There was one song in there that didn’t make it on to the final record. But it was title of the song that we thought best captured the feel of the album.
I read that at your album release show in Brooklyn, the band tossed black wigs in to the audience for your performance of “Jet Black Hair.” Was that a one shot deal, or should The Echo be ready for wigs?
Yeah, we’re actually gonna do that again at a couple more shows. But it’s starting to get a bit pricey!
The new album is, in a way, one that I would dub a melancholy party album. Does that resonate?
Yeah that’s pretty accurate. There is generally a mellow quality to the way our vocals sound, so that juxtaposed with trying to make it sound a bit more fun than our last releases. Maybe it’s the mix of going through funky and soul influences, and our singing in a more mellow category.
You played The Satellite in 2014. Have you played any other LA venues or had any memorable gigs here in town?
LA’s been a place where we have had a lot of really fun shows. The Bootleg Theater is always been a really fun place to play for us. And we had a great show at El Rey with Ben Kweller. Obviously that is an amazing venue. We’ve gotten in to a few different rooms there that we like a lot.
The show at The Echo is an early set. What can fans expect?
One thing that will be cool is that we are playing with some friends of ours. Our really good friend Boone Howard is going to be playing that night. He is incredible and has amazing songs. We’re doing a run of shows with him, and that is one of the first ones. That’ll be really great. We will be playing a lot of new stuff. Most of the new stuff. Definitely some stuff from the past couple of releases too, but slanted towards the new record. There may be some wigs involved too.
What do you like to do when passing through LA?
We all have some family out there, which is always cool to get to hang with them. Also, our manager and friend Rob lives there. So getting to see family and friends. And the last time we were there, we shot an infomercial for the new album, which was a nice way to spend our time off in LA – creating something for the band.
For more information: The Dig
For tickets to the show this Saturday at The Echo, click here.
Please note that this is an early show with a ticket time of 5:30pm. Support acts are Nico Yaryan and Boone Howard.
On the eve of SXSW, tried and true Austin veterans Spoon migrated to LA for an hour long set at Apogee Studios in Santa Monica. The performance and an interview with Anne Litt will be broadcast on KCRW’s Morning Becomes Eclectic on Wednesday, March 22.
The opening couple of tunes came off of Spoon’s forthcoming ninth album, Hot Thoughts, which will be released on March 17. Front man Britt Daniel moved about the crowded stage during bouncy opener, “Do I Have to Talk You Into It,” and then proceeded to take on the angular new single and title track, “Hot Thoughts.”
On “Inside Out,” Daniel lost his guitar, took the mic in hand and exhibited his indie rock strut over twinkling keys. One of Spoon’s best works, “The Beast and Dragon, Adored” lead track from 2005’s Gimme Fiction came next, shifting from its head bobbing lurch to end with the sage wisdom, “When you believe they call it rock and roll.” The song, like some others in their repertoire, evoke thoughts of what a modern day Beatles might sound like.
“I Ain’t The One” started up with a sparse and lounge-y R&B vibe, but then took a turn for something meaner, and then another for a fuzzed out outro. This is certain to be one of the best tracks on Hot Thoughts.
Details from the mid-set interview discussion between Litt and Daniel will be saved for the broadcast, but included some of the back story on writing the new material, a great story about the band playing with a Spoon cover band in Maine, and revealed which band member is their “sexy cabana boy.”
On to the second set, “Can I Sit Next to You” is fit to be another highlight from the new album. The tune contains excellent minimalist flourishes of electronica, and is to the gills with an attitude that was exemplified in real time as bassist Rob Pope took a swig from a can of beer mid-song.
In “Small Stakes,” Spoon reached all the way back to 2002. There was “Panama”-like intro and an exponential build that culminated with Daniel raising the body of his guitar to his shoulder, looking down the neck as if it were the barrel of a gun.
By the time we reached the encore closing selection of the breakup banger, “Rainy Taxi,” Daniel and co. had the room properly revved up. As if speaking directly to the LA crowd, with a return to ATX imminent, Daniel defiantly sang, “As the sun goes fading in the west, there’s an army east that’s rising still.”
KCRW’s Apogee Sessions featuring Spoon Setlist
Do I Have to Talk You Into It
The Beast and Dragon, Adored
I Saw the Light
I Ain’t the One
Rent I Pay
Can I Sit Next to You
My Mathematical Mind
For more information: