Show Review: Chromeo @ The Palladium

After a 4-year hiatus, the Funklordz return

August 13th, 2018
Lesley Park
Category: Lead Story, Review

It’s hard to believe it’s been four years since I last caught Chromeo. Fresh off the heels of the release of 2014’s White Women, their memorable stop at The Shrine had the City of Angels dancing to their signature blend of electro-funk well into 1 in the AM.

In the intervening years since, the Canadian duo have relocated to this fair city of ours and followed up White Women with the infectiously catchy Head Over Heels, an album chock-full of feel-good funk anthems that were seemingly crafted especially for summer parties which boasts even more collaborative efforts than its already-loaded predecessor.

Friday’s sold out show at The Palladium was a testament to how dearly missed the self-proclaimed Funklordz were. Any shred of dubiousness that may have existed in that department was quickly drowned out by the deafening chants of “Chromeo-oh oh” sung in time by the audience as Dave 1 and P-Thugg took the stage.

The appropriately-titled “Come Alive” kicked off the 1.5-hour dance party. Although co-collaborator Toro y Moi was (sadly) no where to be found during it, the crowd didn’t seem too disheartened. A couple songs later, “Bonafied Lovin'” launched everyone into a frenzy that didn’t stop until the pair had stopped playing.

Mind you, at this point there were still 14 songs to go.

Although it was to be expected that Chromeo classics “Fancy Footwork” and “Jealous (I Ain’t With It)” elicited extremely vocal responses from the crowd, I was surprised by how well-prepared the crowd came to belt out newer tracks like “Juice” and “Bad Decision” considering that Head Over Heels was only just released two months ago.

Many valid criticisms can be made about LA crowds generally, but I’m happy to report than none of those stereotypes were present this time around. The stifling, 3,700-capacity Palladium was packed with singing, writhing bodies that were thoroughly engaged from start to finish. It’s been a good long while since I enjoyed a show with a crowd this good (though to be fair, it’s hard not to be engaged when you have a frontman like Dave 1 who is as charismatic on stage as he is musically talented).

If you’re playing songs that fall anywhere under the gigantic umbrella of dance music and if you work under the assumption that there is no truer metric how good your live shows are than your ability to turn a venue into a temperature and humidity level equivalent of a Bikram Yoga class, Chromeo passes with flying colors. It’s impossible to have anything but an amazing night with them unless you’re deathly allergic to fun.

Here’s hoping that the next stop in LA doesn’t take another four years to come to fruition.

More info:


Interview with David Newman

Composer will conduct Star Wars in Hollywood

August 3rd, 2018
Melissa Karlin

David Newman might be one of the film industry’s most prolific and flexible composers, having scored everything from Galaxy Quest and Matilda to last year’s wild ride, Girls Trip. But next week, he’ll be stepping up to the conductor’s stand to lead the LA Phil into a galaxy far, far away. Beginning August 7th, David will be conducting live orchestral screenings of Star Wars: A New Hope (on August 7 and 10) and The Empire Strikes Back (on August 9 and 11). This mini-series is a culmination of the musician’s career, through his own compositions, his experiences conducting live film screenings in the past and his passion for film music history.

He is the son of legendary film composer Alfred Newman, who wrote the 20th Century Fox Fanfare AND created the standardization of how film scores synch with music which today is still called the Newman System. Think that’s cool? The musical legacy doesn’t end there. His brother Thomas Newman, is also a film composer; his sister is Maria Newman, a classical composer; his cousin is I Love LA and the voice of the singing bush in The Three Amigos himself, Randy Newman. Oh, and David was a violinist on the E.T. score. If it’s film music, David has probably seen and heard it all. He’s a huge champion of the medium as an art form, and through these screenings he works to elevate its perceptions.

We talked with David about the performances, his approach to film scores, the perception of film composition versus traditional classical composition and took a little dive into film music history.

How do you approach the Star Wars scores as a conductor?

You approach them like any other score. Though I have a fair amount of experience conducting, you have to learn the music, plus consider the added difficulty of doing live movies: synchronization. It’s critically import to synchronize the music as well as to perform the music beautifully. So it’s my role to ensure it is synchronized and be there for the orchestra, providing what they need from myself as conductor. I’ve done this a lot and I’ve scored over 100 movies, but still I find I have to practice and practice and study it or I just cannot get through it. I tend to be really careful with it, as much as I can and take it really seriously. I take it very seriously.

Do you find that there are aspects of the score you try to pull out to make it your own? Or are you trying to stay to the original as you can?

If you’re conducting a Beethoven symphony or a Mahler symphony or Shostakovich symphony, in my view it is not your role as a conductor to bring your own aesthetic to it. That’s going to happen naturally because we are all human beings but that to me shouldn’t be the focus. The focus should be to try to figure out what the composer wanted and to give the performance what the composer intended. In the case of conducting symphonic concerts, there are often times not a tremendous amount of original documents and performances to let a conductor know what it should be. You just have to kind of figure out what you think happened.

With a film, the music is put precisely where it is intended to be put by the composer and there’s a document because you can watch the movie and see it. You try to get as close as you can to the original soundtrack in terms of where the music exists. If for example, there is an explosion and the music is building up to the explosion, then there is a hit on the explosion or it leads right up to it and then there’s silence letting the explosion exist in and of its self, I would consider that really important. Whether I wanted to do it or not, whether I felt like I had to go too fast to get there or something like that, it wouldn’t occur to me to do anything other than to try to do what the composer intended. You hear so much about conductors making a Beethoven symphony their own and of course that’s true because we are human beings and we can’t completely replicate something else. But I believe in the Toscanini approach: that it is my job to be in in service of the composer. That’s my aesthetic and it was the aesthetic that my father, Alfred Newman, espoused even though he was conducting a lot of his own music as well. As a conductor, you’re not this magical dictator. You have to be there for the orchestra and in these coded ways, communicate what they need to do.

But the other odd thing about film is when you work in film, as I do and a lot of us do, obviously John (Williams) more than anyone, you learn that film is a very exacting, demanding collaborator. There’s a sense of collaborating with something that isn’t really collaborating back with you. And everyone is struggling to do the right thing: to find the right sound effects, to have the dialogue at the right level and that goes for the music too and the timing and everything. There’s a lot of competition for sound in a movie, but ultimately, a film needs what it needs.

Because of that, these performances are an immensely exciting endeavor. We’re starting right at the beginning of a movie and going the whole way through without stopping. It’s so festive and the audience feels so positive about it…it’s a wonderful gift and you really feel that on stage with the orchestra. The performance has an element of danger, and dare I say, like rock and roll, you just don’t know what’s going to happen. It can fall off the rails pretty easily, but that can be really exciting too.

Do you think that has something to do with the space? You’re at the Hollywood Bowl which is totally different than a concert hall.

Yes, it’s the space, people are watching a movie with other people which quite ironically has become the exception rather than the rule. And of course Star Wars was made when the only way you could see it was go to the movie theatre. The summer Star Wars came out I saw it with my brother, five times in Westwood.

So, this series is aiming to almost bring back the spectacularity of film in a performative sense?

Yes, but what you’re adding is a liveness, alongside the intimacy of the experience. So the audience is feeling the liveness even if most people will be solely focused on the film. They may not be actively watching the players play, or me conduct but that’s the whole point. That’s why you don’t want to veer too far off course because it’s veered off enough as it is due to the fact that it’s live and in a big room. It’s different enough. It doesn’t need any huge interpretation of it, it needs a performance of it.

Do you think there’s a reason why the Star Wars scores have been so enduring to the public and film music?

I think that it’s a matter of timing. If you look at the history of film and film music, it isn’t very long. Talking films only began to really take off around 1930. Before that you might have silent film with a small accompaniment, usually just a piano or an ensemble. But in about 9 years, the art form of film music matured dramatically and in 1939, we have the big sweeping scores of Gone With the Wind and Wuthering Heights and Wizard of Oz. Then you get to the 60s when the studio system broke up and television began to rise. Then we had music more like Mancini and Alex North, it’s a little more jazzy, it uses pop songs, it doesn’t use big orchestras and until Jaws in 1975. But then…we get Star Wars, which arrives like a comet. And Star Wars is when they wheeled out the THX, Dolby sound systems…we had never heard anything like it. I cannot describe it to you…I was like 22 years old and the sound like went through your entire body. That first scene when the starship comes across the screen with the big subwoofers and all the sound and the music going…

My other thought about Star Wars, and I’m not sure if I’m right about this or not, that the force theme…the idea of the force is like a secular religious concept. It’s just this thing. It’s a force and no one is in charge of the force. It’s just such a brilliant. I think the grandiosity and the hubris of the three parts are the analog to Dante and Wagner, all these really romantic era and medieval era complete world views…Star Wars is a complete world view. And it just hit the zeitgeist.

The movie wouldn’t have been the same without the theme, it was just a perfect storm. So the music was helped in its popularity by the movie and obviously the movie was helped in its popularity by the music.

Do you think that the score influenced how film scores were approached following?

(With a slight excited laugh) They absolutely, positively did. I was playing violin in the studios from 1976 to about 82, so like I played violin on E.T., so I was there when this stuff was happening. After 77, every friggen movie had to have a huge, adventure score. Anything that was science fiction or swashbuckler, it had to have this Star Wars thing. Movies follow these trends. And as a composer, you write some music and you want it to go one way, but the movie demands that it goes another way, what do you do? You have to go the way of the movie, don’t you?

You worked in film orchestras when you were coming up and you’re from a very musical family, particularly in the world of cinema, is there something about conducting these kind of film scores like Star Wars that have this kind of legacy attached to them that almost feels like home for you?

Yeah, I mean most of the ones that I’ve been doing now, you know E.T., West Side Story, Raiders of the Lost Ark, you know they’re all blockbusters of my youth. But I’ve also done the recent Star Trek movies, and I’ve done my own, I’ve done Matilda as a live event. I’m working on doing Galaxy Quest as a live event. It’s my hope that we’ll be able to do a little more esoteric films and they’ll be included in the projects of the LA Phil and the New York Phil into their yearly schedule here and there. That’s kind of not what’s happening now, they are mainly big blockbusters.

Is there anything in particular that you are excited to present with this particular series?

Our goal right now is to perform it as well as possible with as much energy as possible. I’ve done all four Star Wars movies that can be performed live now. I premiered them in New York last year over a month, we did all four of them. That was really exciting for me. Quite frankly, 10 or 15 years ago this would have all been unthinkable anyway. My Dad would have thought this is insane and all those guys who invented this in the 30s, would have thought that there was no possibility what’s-so-ever that this would have ever happened. But there are so many film concerts world-wide now. There’s not an orchestra around that is not doing a film concert at least once a season.

Film music is classical music that is responding to a visual, but I’ve always understood it as an accessible introduction to this world for a lot of people because it’s a very popular medium. People may feel daunted by Mahler who they don’t have any context for and so these kinds of concerts are a way for them to get in – to experience the heart and soul of a live orchestra and which might inspire them to want to experience these other classical players. Do you find that when you’re approaching, even your own compositions because you are writing film music, there is an idea of this accessibility?

So the way this is done is that the orchestra rents Star Wars. They get the video, they get the parts, they get a video guy to run it and a producer from the production company and they rent it for a certain amount of money. And then they present the concert. It’s the same process to rent Bartok, or Stravinsky or whatever else they play in a season. I think there is a percentage of people who come back, I don’t know if they have actually figured out how to galvanize that, but that would be my hope. Billions of people around the world have seen Star Wars way more than have ever been to a concert, and they are therefore familiar with the music and you are absolutely right, the hardest thing for a new concert goer is their unfamiliarity with the music. Especially if the music is a little bit thorny and difficult. To someone who has never heard Mahler, it feels like really long, it takes forever and it’s “boring”, but all these things go away once you have some familiarity with it. Familiarity is a huge problem for getting new audiences into a concert hall, and they would be instantly familiar with Star Wars, or E.T. or Jurassic Park or whatever, plus there’s a visual component to it. I think that it could be a potentially powerful marketing tool, but I don’t think to this point we are far enough along.

The Hollywood Bowl has a real sense of place in Los Angeles, so when you play here, do think that there is anything that ties the music to the city or is there something about it that inspires you as you’re conducting to be in the heart of Los Angeles, outside, with the orchestra? Especially for a film music concert as the industry permeates everything does that inspires you in anyway?

Well, I’m just thrilled that the LA Phil has taken the lead on this, they really did in this live movie stuff as they should. This all developed in Hollywood. In the 1930s, all the ex-pats left to escape that horrible era in Europe and came here. There was a huge intellectual community here and that’s how film music developed during the depression in that kind of soup. And there were horrible things written about film music by people like Britten and all kinds of other composers at the time. It was always horribly looked down upon, without really any citing of examples.

It’s incumbent upon our city and our institutions to at least present this stuff to be vetted. I think the LA Phil is doing what it should and I’m so happy and honored to be any part of it. John Williams really started this in the 80s with the Boston Pops, and I’ll bet that was so hard, even for him. Orchestras were grumpy and kind of mean about it. We had to chip away at it little by little by little by little by little by little, but little by little, it got less and less problematic, but very slowly. And I’m just so happy that this has happened because I want a light to be shown on the art of film music because it’s an amazing art form. You have to look at this kind of music, based on the music within the context itself.

John’s scores for Star Wars are brilliant. At these performances, you’re not able to get up and pause. There’s no stopping the flow of it. And I’m so pleased that the LA Phil has taken this as a cause for them. And I’m just so happy to be a part of it.

For ticket information:

Star Wars: A New Hope @ The Hollywood Bowl
The Empire Strikes Back @ The Hollywood Bowl

KOLARS is playing Echo Park Rising

and you should absolutely not miss it.

July 31st, 2018
Lex Voight
Category: Lead Story, News

Kolars is what rock and roll should be. They’re exciting, they’re deliberate, they’re flashy, they’re loud, they’re innovative, and they absolutely refuse to let you stand still.
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Parmore at the Forum

with Foster the People!

July 20th, 2018
Lex Voight

Paramore are, at this point, an institution. Its been a good 14 years since the emo-pop stalwarts broke onto an unsuspecting world during pop punk/emo’s mid 00 heydey. And while they maintained their course and trajectory for a while, keeping pace with more “seasoned” bands like Fall Out Boy and My Chemical Romance, it has been a long time since they surpassed the former and outlived the latter. Now its been a year since their genre-eschewing effort After the Laughter, and they sold out Inglewood’s Forum the other night and put on one hell of a show.
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A conversation with Barenaked Ladies

The Canadian and 90’s legends play Friday!

June 12th, 2018
Lex Voight

As a kid, Barenaked Ladies were one of the few bands my whole family could agree on. Rock Spectacle (Live) and Stunt scored most of our family road trips. I remember that on more than one occasion, my parents were forced to drive down the highway, suffering in silence as my little sister and I competed to see who’d memorized more lyrics to “One Week.”
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The Bones of JR Jones: LAMB Session

Hot off of his new record release!

June 6th, 2018
Lex Voight

The Bones of JR Jones recently released his fourth project, Ones to Keep Close. The largely solo endeavor has plugged in and expanded, his once quiet and introspective songs, often mournful and heartfelt, have taken on a hard blues edge. While the influence of the delta blues and americana still rings through, the Chicago blues sound has a much bigger influence on this record, to stellar results.
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Review: The Distillers @ The Observatory

The Distillers vs. The World That Didn’t Change

May 7th, 2018
Lex Voight

“Why do you go away? So that you can come back. So that you can see the place you came from with new eyes and extra colors. And the people there see you differently, too. Coming back to where you started is not the same as never leaving.”– Terry Pratchett
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Preview: Dessa at the El Rey

Dessa is coming to break and mend your heart.

May 5th, 2018
Lex Voight

Doomtree’s MVP Dessa is coming to the El Rey on Wednesday, May 9th. The songstress is touring in support of her triumphant third full length Chime (though that “third” is arguable, counting her stellar reimaginings of her work). Chime is already easily one of the best records of the year; full of her deeply humanist, heart-rendingly empathetic songwriting.

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BETABLOCK3R Debut Music Video “Make You Happy”

Upbeat, electro-funk single off upcoming EP

April 29th, 2018
Mary Bonney
Category: Lead Story, News

It’s been two years since duo BETABLOCK3R released new music, but fans will forgive their long-awaited return upon hearing the opening funky synth bass and slow-rising celestial chords of their single “Make You Happy”. BETABLOCK3R have also released their first-ever music video, debuting their futuristic look and sound from their upcoming EP Monolith, one of two EPs due out this summer. Check out the video below:

A former Featured Artist, BETABLOCK3R have returned with their slick production value and infectious melodies. Self-proclaimed pair of perfectionists Chris Boulous and Ryan George crafted another upbeat, dance-ready hit filled with painfully emotional lyrics. “It’s a song about the unhealthy desire to feel wanted at any cost,” BETABLOCK3R told the LA Music Blog. “We filmed in the city because it’s a dark and gritty place full of these types of stories.” 

Boulous’s velvety vocals ask, “Don’t I make you happy? Tried to save you, instead you’re feeling sad,” as George’s atmospheric guitar cascades through layered synth textures driven by hypnotic rhythm. The clean black and white aesthetic of this video, produced by BETAWAVE Media Group, is reminiscent of similar synth-wave troupe The 1975 and the nu-disco, synth-pop melodies harken Chromeo.

“Make You Happy” also debuts BETABLOCK3R’s look – sleek, futuristic partially covered faces rather than going fully incognito à la Deadmau5 or current top 40 darling Marshmello.

BETABLOCK3R are gearing up for a busy summer, releasing each song off Monolith until the EP’s release. Another EP will follow before the men prepare for live performances. If their shows are half as electrifying as their music, it’s only a matter of time until this duo gets audiences dancing nationwide.

For more information on BETABLOCK3R:
Official site
Facebook page