With synth-pop slowly overtaking the indie music scene, Craft Spells takes a nostalgic approach to the popular genre. The musical project of California native Justin Vallestros first came on the scene in 2009 before releasing their debut album, Idle Labor, in 2011. Their new EP, Gallery, the first release from the outfit since that debut, is an indie tribute to the ’80s with a modern twist and a rather chill, West Coast-esque vibe.
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The skit “Classical Teacher” on Tenacious D’s third and latest offering, Rize of the Fenix, yields an underlying sentiment: Jack Black, frustrated that he and partner Kyle Gass aren’t the best band in the world yet, references how much better they can be over Arcade Fire, a band whose indie roots and rise to multiple Grammy wins has all but changed the face of what we consider rock anymore. Really, if Arcade Fire is all the youngsters are listening to these days and music fans are constantly exposed to indie up-and-comers that are continually changing the game, where (and how) does Tenacious D fit in? How can the “D” capitalize on a market that has existed for so long without another Ronnie James Dio or AC/DC?
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On Thursday night, the intimate Bootleg Bar showcased Lovedrug’s triumphant return to Los Angeles after a four year break. Diehard fans came to Westlake in full force, packing the limited space between the stage and the rows of tables accommodating lovers of PBR and Tecate.
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If I have one major issue with modern punk music, it’s the inherent conservatism. For all the posturing and sloganeering, most modern punk is about as cutting edge and diverse as graffiti art. It tends to be posing for the sake of cool rather than for any real passionate cause. Fortunately, Off! is cut from a different cloth. Just take a look at that line up. There’s former members of Burning Brides in there. The drummer used to be in both Hot Snakes and Rocket From The Crypt, arguably the best and most under-appreciated American punk rock band of the last two decades. And the frontman is none other than Keith Morris, formerly of the legendary Black Flag and Circle Jerks. Maybe we should be kneeling before these guys rather than standing as they come on stage. This is musical royalty we’re talking about.
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Three albums into their career, Baltimore duo Beach House has managed to entrance us with their inescapable dream pop stylings (not that anyone would ever want to escape from it, mind you). Their dizzying sounds have easily worked in Beach House’s favor: Teen Dream was indubitably my favorite album of 2010, thanks in part to the elegance of Victoria Legrand’s vocals; the ethereal, melodic constructions she and Alex Scally produced; and the mesmerizing strength of the album’s lyrical content. Most fans and critics also agreed, leaving one to wonder how Beach House could possibly follow up an album already considered their best offering.
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The artwork of Santigold’s sophomore release Master of My Make-Believe effectively represents her newfound role as the Xena, Warrior Princess of the music biz. Just one look and you know this chick could unequivocally school you in pretty much anything, whether it’s lyrical craftsmanship or kicking ass with a scepter. Continue reading…
On May 3rd, a line of diverse concertgoers wrapped around the block outside of the swanky Avalon, eager to pack in for a sold-out show featuring one of Britain’s biggest and brightest male voices, James Morrison. Morrison’s soulful, sincere music attracted a huge crowd in the heart of Hollywood, and none of his fans went home disappointed.
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I’ve made no secret of my admiration for Los Angeles’ own Dead Sara — currently touring in support of their self-titled debut album — so when the opportunity came to catch the band opening for Chevelle at Club Nokia, I jumped at it. The chance to interview the Emily Armstrong and company ahead of the show — well, that is just the icing on the cake.
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I’m beginning to believe that anything producer Nigel Godrich touches turns to gold. I’m not suggesting this hypothesis just because every association he’s had with Radiohead‘s Thom Yorke has been incredible; he’s also helped to produce and engineer some of the most memorable albums from artists like Beck and Travis, and he even contributed to the score of Edgar Wright’s cult classic Scott Pilgrim Vs. The World. Luck would have it that Yorke stumbled upon Brooklyn indie rockers Here We Go Magic at the annual Glastonbury Festival, which eventually led them into the studio to work with Godrich on their third album.
That touch of his to Here We Go Magic’s A Different Ship has resulted in the album destined to become the most splendid listen and personal favorite of 2012.
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As the crowd files in and The Gibson Amphitheatre gradually fills up, even a cursory glance around the room would leave an onlooker with no doubt as to what sort of show this is going to be. First clue: between 99 and 99.5 percent of the audience is clad in black. Second clue: there are a lot of guitar amplifiers on that stage. A lot. Third clue: the gigantic faux stained glass backdrop set up behind said stage in anticipation of the opening set by Ghost. This will be a metal show. And Ghost are metal. So metal that they threaten to make co-headliners Mastodon and Opeth — two of the most beloved and respected bands in the modern metal scene — look like a gaggle of party hearty garage rockers by comparison. No mean feat.
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