Saturday 09.05.09: Otik Records Presents TANDEMORO / THE VOYEURS / THE BREAK UPS

Tandemoro || Listen || Watch

Tandemoro is an energetic indie-rock band with a strong Motown influence. They are based in Los Angeles. Their live show is a dance party both on stage and in the crowd. Fronting the band is guitarist and singer, Mike Griffin (also from the bands Western States Motel and Alaskan Summer). Tandemoro includes Paul Cartwright on bass, Shannon McKinnon on the drums, and Sean O’Malley and Fanny Penny on background vocals and percussion. The band is currently touring in support of their most recent EP, Mexican Motown, while writing and recording material for their third LP, Zimbabwe Nights.

with:
The Voyeurs
The Breakups

Plus Special Guests

8:30pm / $5 / 21+

Wednesday 09.16.09: CLUB NME with DIANE BIRCH / GOBLIN CABIN / EVAN WAY

Diane Birch || Listen || Watch (10pm set time)

Diane Birch is a piano-playing preacher’s daughter with a shameless love for Sixties and Seventies soul and singer-songwriter pop. Her welterweight voice is strong and fetching, and with help from Joss Stone’s producers and top-shelf players, she nails some vintage sounds. “Fools” conjures Carole King, “Nothing but a Miracle” echoes Aretha, “Valentino” borrows clicky-clacky grooves from the Dixie Cups’ “Iko Iko.” Birch doesn’t much update her sources: “Ariel” feels like an old Elton John tune even though she’s referencing personal Web pages. But the melodies stick, and girl’s got taste; she’s good company for a flashback. – Rolling Stone

with:
Goblin Cabin
Evan Way (of Parson Red Heads)

8:30pm / $12 / 21+

Thursday 10.15.09: BLK JKS with THE GROWLERS / MACK WINSTON AND THE REFLECTIONS

Blk Jks || Listen || Watch || MP3

This strange, fascinating EP dramatizes the desperate fumbling for order amid chaos. Produced by the Secret Machines’ Brandon Curtis, the South African quartet generates a grimy whirlwind of noise containing everything from prog rock to dub reggae to folk, with somber singer Lindani Buthelezi fighting to be heard over fractured melodies and jagged rhythms. Offering more questions than answers, he groans, “Where did it all go wrong?” on “Lakeside,” then mutters, “What am I here for?” on the title track. BLK JKS’ cliché-free strategy would sustain a terrific full-length, hopefully soon. – Spin

with:
The Growlers || Listen || Watch
Mack Winston & The Reflections || Listen

8:30pm / $10 advance, $12 Day of show / 21+

Wednesday 11.11.09: CLUB NME with THE DUTCHESS AND THE DUKE / GREG ASHLEY (of Gris Gris) / SEVEN SATURDAYS

The Dutchess and The Duke || Listen

“Campfire punks” Jesse Lortz and Kimberly Morrison, are releasing a new batch of tunes on Hardly Art called Sunset/Sunrise. It’s the follow-up to last year’s stellar introductory LP, She’s the Dutchess, He’s the Duke, and you can expect it October 6th. “Hands” interweave the duo’s vocals nicely over a Spanish guitar-esque waltz. Then they stoke the percussive fire for a bit and relax for the song’s glowing sunset (how appropriate). D&D recorded the analog-loving LP earlier this year with Gris Gris’ Greg Ashley in his Oakland studio, The Creamery. – Under The Radar

with:
Greg Ashley (of Gris Gris)
Seven Saturdays

8:30pm / $8 advance, $10 Day of Show / 21+

Saturday 11.21.09: MALBEC / ST. LEONARD’S / LOQUAT / OH MY STARS

Malbec || Listen || Watch || MP3

Every time I open my music player, I find myself heading back to what I know best- Bright Eyes, Death Cab, or Radiohead. But if you told me you find Miike Snow’s “Faker” a definite song to repeat, I’d say a chance on Malbec is one worth taking. Think the mellow vibe, similar background, but with a touch of something that makes you feel like you want to be in a cozy home.

What’s so heart stealing about this band? Every song on their released free EPs, The Answering Machine, does not disappoint, especially if the listener is looking for some mellow vocals and guitar with a touch of synth. As the band created music, they released at the very same time. The Answering Machine EPs come in a series of 5 downloads, each with a little of the band’s personality shown with the tracks that are simply messages that would be left on, well, an answering machine. The full length album, Dawn of Our Age, does not fail either. Touches of trumpet even appear to semi-liven up the beat while maintaining the relatively slow and relaxing yet foot tapping beat.

These past few weeks I find myself listening to Malbec on the 24/7 basis. In the recent months the song “Summer” has skillfully made its way the top 25 played list on my music player. If there’s anything you get out of this summer, it’s finding enjoyment out of the little things of summer- popsicles, lazy days, or Malbec. – AW Music

With:
St. Leonard’s
Loquat || Listen
Oh My Stars

8:30pm / $10 adv, $12 doors / 21+

Sunday 11.29.09: NEIL HAMBURGER / ANDY KINDLER / TIM HEIDECKER

Neil Hamburger

If Neil Hamburger wasn’t the Funniest Man in America, why would the record company keep letting him make so many albums? Can’t answer that question, can you? No, it’s beyond dispute, he is the funniest. End of debate. Don’t even mention Jack Kevorkian, Neil is waaaaay, waaaaaaaay more side-splittingly hilarious, and he’s a much bigger bummer. And he’s got a million of ‘em – why, if one of his jokes falls flat or makes you groan or feel like gagging, or say the next 80 or 90 “gags” don’t exactly make you howl with uproarious laughter, just wait, because Neil will pounce with just a killer, killer line that will make you pee in your pants and nudge the guy next to you so he spills his drink (and when he hits you, that’ll be funny too). You’ll be glad you shelled out your money and chose to spend your time, on a Sunday night, no less, with America’s funny man, Neil Hamburger. – LA Weekly

with:
Andy Kindler
Tim Heidecker

8:30pm / $8 / 21+

Monday 11.30.09: Monday Night Residency – THE HAPPY HOLLOWS / THE PITY PARTY / TWILIGHT SLEEP / TRAPS, PS

The Happy Hollows || Listen || Watch

Just because we all love the Yeah Yeah Yeahs doesn’t mean we don’t have a place in our hearts for another one-girl, two-boy band with slightly skewed aesthetics and an organic, visceral sound. Case in point: Our simply ecstatic disposition regarding the news of the release of the first full-length effort of The Happy Hollows.

The Los Angeles noise-pop trio is fronted by wild woman Sarah Negahdari, who Wired Magazine called a “killer hybrid of Kim Deal, PJ Harvey and Emily Haines”. Titled Spells, this full-length effort comes fresh off the heels of 2008’s Imaginary EP and both were produced by David Newton, formerly of the Mighty Lemon Drops.

And while other female-led groups may have steered away from the noise-pop ferocity, Negahdari and company are going full force with an album chock full of effects, distortion and feedback, all built from the shredtastic and primal shows that the band, and especially Negahdari, put on. Despite their force, however, The Happy Hollows knows how to bring the love and show off some smiles with a side of snark and effervescent vocal work. – Consequence of Sound

with:
The Pity Party || Listen
Twilight Sleep
Traps, PS

8:30pm / FREE / 21+

Monday 11.23.09: Monday Night Residency – THE HAPPY HOLLOWS / DIOS / ONE TRICK PONY / REAL ESTATE

The Happy Hollows || Listen || Watch

Just because we all love the Yeah Yeah Yeahs doesn’t mean we don’t have a place in our hearts for another one-girl, two-boy band with slightly skewed aesthetics and an organic, visceral sound. Case in point: Our simply ecstatic disposition regarding the news of the release of the first full-length effort of The Happy Hollows.

The Los Angeles noise-pop trio is fronted by wild woman Sarah Negahdari, who Wired Magazine called a “killer hybrid of Kim Deal, PJ Harvey and Emily Haines”. Titled Spells, this full-length effort comes fresh off the heels of 2008’s Imaginary EP and both were produced by David Newton, formerly of the Mighty Lemon Drops.

And while other female-led groups may have steered away from the noise-pop ferocity, Negahdari and company are going full force with an album chock full of effects, distortion and feedback, all built from the shredtastic and primal shows that the band, and especially Negahdari, put on. Despite their force, however, The Happy Hollows knows how to bring the love and show off some smiles with a side of snark and effervescent vocal work. – Consequence of Sound

with:
Dios
One Trick Pony || Listen

Real Estate
After several excellent singles, New Jersey’s Real Estate deliver on their full-length debut with a rich collection of evocative and haunting songs. They share tones with North Jersey indie rock titans Yo La Tengo and the Feelies, but they filter those influences through warm impressions of oldies radio. And despite the summery song titles and the beach balling associations that might follow these guys around, this music transcends the notion of seasons. It’s an album with songs about beaches that sounds best in the fall. This isn’t the kind of debut that hints at any limits in terms of sound, technical gifts, and most importantly, time. – Pitchfork 8.5

8:30pm / FREE / 21+

Monday 11.16.09: Monday Night Residency – THE HAPPY HOLLOWS / THE DRUMS / EVAN WAY / RANDOM PATTERNS

The Happy Hollows || Listen || Watch

Just because we all love the Yeah Yeah Yeahs doesn’t mean we don’t have a place in our hearts for another one-girl, two-boy band with slightly skewed aesthetics and an organic, visceral sound. Case in point: Our simply ecstatic disposition regarding the news of the release of the first full-length effort of The Happy Hollows.

The Los Angeles noise-pop trio is fronted by wild woman Sarah Negahdari, who Wired Magazine called a “killer hybrid of Kim Deal, PJ Harvey and Emily Haines”. Titled Spells, this full-length effort comes fresh off the heels of 2008’s Imaginary EP and both were produced by David Newton, formerly of the Mighty Lemon Drops.

And while other female-led groups may have steered away from the noise-pop ferocity, Negahdari and company are going full force with an album chock full of effects, distortion and feedback, all built from the shredtastic and primal shows that the band, and especially Negahdari, put on. Despite their force, however, The Happy Hollows knows how to bring the love and show off some smiles with a side of snark and effervescent vocal work. – Consequence of Sound

with:
The Drums || Listen
Evan Way (of Parson Red Heads)
Random Patterns

8:30pm / FREE / 21+

Monday 11.09.09: Monday Night Residency – THE HAPPY HOLLOWS / THE SOFT HANDS / THE WIDOW BABIES / CASXIO

The Happy Hollows || Listen || Watch

Just because we all love the Yeah Yeah Yeahs doesn’t mean we don’t have a place in our hearts for another one-girl, two-boy band with slightly skewed aesthetics and an organic, visceral sound. Case in point: Our simply ecstatic disposition regarding the news of the release of the first full-length effort of The Happy Hollows.

The Los Angeles noise-pop trio is fronted by wild woman Sarah Negahdari, who Wired Magazine called a “killer hybrid of Kim Deal, PJ Harvey and Emily Haines”. Titled Spells, this full-length effort comes fresh off the heels of 2008’s Imaginary EP and both were produced by David Newton, formerly of the Mighty Lemon Drops.

And while other female-led groups may have steered away from the noise-pop ferocity, Negahdari and company are going full force with an album chock full of effects, distortion and feedback, all built from the shredtastic and primal shows that the band, and especially Negahdari, put on. Despite their force, however, The Happy Hollows knows how to bring the love and show off some smiles with a side of snark and effervescent vocal work. – Consequence of Sound

with:
The Soft Hands
The Widow Babies || Listen
Casxio || Listen

8:30pm / FREE / 21+

Monday 11.02.09: Monday Night Residency – THE HAPPY HOLLOWS / PEPPER RABBIT / DIRT DRESS / SPECIAL GUESTS

The Happy Hollows || Listen || Watch

Just because we all love the Yeah Yeah Yeahs doesn’t mean we don’t have a place in our hearts for another one-girl, two-boy band with slightly skewed aesthetics and an organic, visceral sound. Case in point: Our simply ecstatic disposition regarding the news of the release of the first full-length effort of The Happy Hollows.

The Los Angeles noise-pop trio is fronted by wild woman Sarah Negahdari, who Wired Magazine called a “killer hybrid of Kim Deal, PJ Harvey and Emily Haines”. Titled Spells, this full-length effort comes fresh off the heels of 2008’s Imaginary EP and both were produced by David Newton, formerly of the Mighty Lemon Drops.

And while other female-led groups may have steered away from the noise-pop ferocity, Negahdari and company are going full force with an album chock full of effects, distortion and feedback, all built from the shredtastic and primal shows that the band, and especially Negahdari, put on. Despite their force, however, The Happy Hollows knows how to bring the love and show off some smiles with a side of snark and effervescent vocal work. – Consequence of Sound

with:
Pepper Rabbit
Dirt Dress
Special Guests

8:30pm / FREE / 21+

Wendesday 11.18.09: Club NME with THE HIDDEN CAMERAS / GENTLEMAN REG / GENERATIONALS

The Hidden Cameras || Listen || Watch

The Hidden Cameras know all about dynamics – whether over the course of a song or a full album, their ability to ebb and flow, to build and drop, is masterful. “Ratify the New” begins like a spiritual cleansing, a lengthy purging drone to clear your head and thoughts, before the Gregorian vocal is revealed, all the while its ritualistic percussion building and building until the song reaches a fever pitch. It feels like a tantric release – bigger than just a pop song; more like stumbling across something strange and beautiful and sacred playing out in a field in the middle of the night. – Popmatters

With:
Gentleman Reg || Listen
Generationals || Listen

8:30pm / $10 adv, $12 doors / 21+

Wednesday 09.30.09: Club NME with PAPER ROUTE / TOY HORSES

Paper Route || Listen

This Nashville group was one of our “Under the Radar” picks recently, thanks to its dreamy, synth-laden debut EP, “Are We All Forgotten”—since then, the guys have toured with indie buzz bands Young Love and Passion Pit, and landed a major-label deal. Oddly endearing, and yet equally puzzling. Live, the group kicks hard, with a percussive element that veers the band toward an emo-punk sound with a splash of synths. On record, Paper Route are all about the keyboards and mixing soulful vocals with ’80s New Wave—most effectively in “Be Healed.” Meanwhile, the guitars are muted, save for the jangly and distorted bursts on “Wish.” Overall, the album’s slight lack of edits (each song languishes about for maybe a minute too long) and the programmed feel to the tracks prevent it from converting “promising” into “mini-masterpiece.” Fans of the Postal Service, Coldplay and (obscure ’90s alert!) Satchel, however, may be smitten. – Metromix

with:
Toy Horses || Listen

Adam Franklin and Tom Williams are ukulele fuelled melodic indie duo ‘Toy Horses.’ Leaving their hometown of Cardiff for Texas, they’ve already wooed crowds at this year’s SXSW, most notably picking up support from radio KCRW’s Nic Harcourt, arguably America’s most influential DJ, credited for spring boarding the careers of the likes of Coldplay and Dido in the states. They’ve been praised by the BBC’s Tom Robinson and Steve Lamacq and have recently recorded new tracks in Nashville with Ken Coomer (Wilco) and Tim Marks (Taylor Swift), 2009 has been a good year. Their song ‘But What About The Future’ name checks Doctor Who, Stephen Fry, Rugrats, Seagulls and being too drunk to get on a plane. It also won them 2nd place in the Billboard World Song Contest. Just on the right side of quirkiness and pop sensibility, in the tradition of Libertines and Kooks. You wonder how long before Tom’s electric ukulele gets it’s airing on Jools Holland. – Liverpool Echo

8:30pm / $8 / 21+

Thursday 09.24.09: ONE ESKIMO / THE IVY WALLS / SQUARE ON SQUARE

One Eskimo || Listen || Watch (10:30pm set time)

Kandi, the second single from Kristian Leontiou’s One eskimO concept is a track with a lot going for it. A melody that flickers rewardingly from mournful to heartening and a silver-slick production provided by Faithless’s Rollo provides a rock solid base. Leontiou, an East Londoner of Cypriot descent adds his delicately sweet soulful vocals to mix and then throws in a guitar lick as toe tappingly consistent as a Lemon Jelly loop.

Pure bred rockers may turn their nose up at the cutesy animations and Leontiou’s hauntingly feminine tones. Those with longer attention spans however stand to be rewarded with a friend worth clinging to on a rainy winters night. – Winston’s Zen

with:
The Ivy Walls
Square on Square

8:30pm / $8 advance, $10 doors / 21+

Wednesday 09.23.09: Club NME with THE LONELY FOREST / SHILOE

The Lonely Forest || Listen || Watch

The Lonely Forest were introduced to the world as John Van Deusen and the Lonely Forest—a piano-heavy pop project from Anacortes that was fronted by an endearingly awkward teenager (Van Deusen) and his swoon-worthy voice. After an impressive EP (and a quick snip on the name), the Lonely Forest released their debut, Nuclear Winter, in 2007. It was a solid effort, sure, but it was still dripping with youthfulness (it was a concept record about witnessing the end of the world… or something). But now the boys are proving they’re all grown up with their newest (and strongest) release yet. On their second full-length, We Sing the Body Electric!, they’ve dropped all the conceptual crap and started to rock—while still showcasing Van Deusen’s fantastic voice, of course. – The Stranger

With:
Shiloe || Listen
Resident DJs Dia & Solid Todd spinning

8:30pm / $8 / 21+

Wednesday 10.14.09: Club NME with PEGGY SUE / SKY LARKIN / NEW ROMAN CANDLES

Peggy Sue || Listen || Watch

Headliners Peggy Sue are just back from recording their debut album in New York and it’s fair to say there’s a certain amount of expectation around the, now packed, Borderline. However there’s no suggestion of nervousness as Rosa and Katy along with drummer Olly burst into opening song Once We Were Strangers bristling with verve. They quickly follow with new single Lover Gone, a wistful two-minutes lamenting an ended relationship. After the comparative sedateness of the opening acts Peggy Sue’s set is powerful and lusty and using their most powerful instrument, Rosa and Katy’s voices, demand the crowd’s attention. They match Regina Spektor in quirky vocal gymnastics and even channel CocoRosie as their voices interweave and dance around each other. The set ends with smiles all round and their voices echoing around the room “The sea, the sea flows for me” – Peggy Sue have set sail and on this evidence they’re going to good places. – Londonist

With:
Sky Larkin || Listen
New Roman Candles

8:30pm / $8 / 21+

Friday 10.09.09: When You Awake & Loudvine present O’DEATH / SLANG CHICKENS / FRONTIER RUCKUS

O’Death || Listen || Watch

Their name might conjure skull rings and stringy hair (it was actually plucked from a traditional Carolina folk song popularized by bluegrass kingpin Ralph Stanley), but O’Death’s pitchforks-at-the-campfire frenzy may be even more sinister than their moniker implies. Mixing the lawlessness of Hank Williams with the Gypsy fervor of Gogol Bordello, the band’s second album is a scrappy, vaguely deranged, country-punk mélange that goes down like an impeccably mixed mint julep: sweet until it burns. – Spin

with:
Slang Chickens || Listen
Frontier Ruckus || Listen

8:30pm / $8 advance, $10 day of show / 21+

Friday 09.11.09: REGGIE WATTS / ANDY KINDLER / RORY SCOVEL / NICK THUNE

Reggie Watts || Listen || Watch

Described as “Reggie Watts: Supercomedian. Faster than a speeding punchline” (Seattle Times), Reggie Watts regularly performs to thrilled crowds throughout the US and Europe. Combining looped vocals created live on stage with his unique brand of improvised comedy, Watts’ is a show definitely not to be missed by comedy or music fans alike.

In his unique sets, Reggie’s subjects range from ancient history, technology, magic, spirit elves, dragons, mythology and theology to pop culture. The music incorporates hip-hop, trip-hop, 80′s pop alternative, nu-metal and classical opera, no two songs are ever the same. Reggie loves to disorientate and confuse people in the most entertaining way. An experience I would highly recommend. Very unique and individual. A very talented man. Extreme, hilarious and very entertaining. – Three Weeks

With:
Andy Kindler
Rory Scovel || Listen
Nick Thune

8:30pm / $10 adv, $12 doors / 21+

Friday 11.13.09: HEADLIGHTS / ANNI ROSSI / POMEGRANATES

Headlights || Listen || Watch || MP3

Here’s how it opens: with a steady humming organ, a twinkle of guitars and — shooting upward from the darkness — a soaring, pleading vocal. It’s dramatic and it’s perfect, the kind of introit bigger bands break their backs trying to create. The second record from Illinois trio Headlights is full of casual beauty, moments of pop elegance that arrive with natural grace rather than with blunt force and blaring fanfare.

Some Racing was recorded in a farmhouse outside Champaign, IL, and the songs it contains are, appropriately, airy and utterly cloudless. Vocalists Tristan Wraight and Erin Fein sing like they’re sharing secrets: their voices are low and cottony, gliding gently over lacy guitars and blinking vibraphone. Even when the tempo escalates — “April 2″ is shoved along by a walloping backbeat — the voices remain subdued.

The songs themselves are shimmering marvels; they don’t hurtle so much as hydroplane, speeding forward a few inches above the ground. Fein’s voice is light and cherry-flavored, and she drizzles it slowly across the length of each composition. Some Racing is the perfect tonic for fans of the small statement, a record for people who wished the world was full of more groups like The Field Mice. It’s music that’s meek but gorgeous, the quiet girl in the corner with the red lips and the pale skin who’s smiling and whispering over and over: “Hey. C’mere for a second.” – E-Music

With:
Anni Rossi || Listen
Pomegranates || Listen

8:30pm / $10 adv, $12 doors / 21+

Friday 10.23.09: Aquarium Drunkard Presents KURT VILE & THE VIOLATORS / WHITE ARROWS / UNDER THE ASBURY

Kurt Vile & The Violators || Listen || Watch || MP3

Kurt Vile (real name, no gimmicks) has seemingly absorbed a lifetime’s worth of FM rock, and the ghosts of Bruce Springsteen, Bob Seger, and others glimmer under the surface of his woozy, homemade bedroom pop. Vile recorded the majority of these songs on his own, and the sputter of the cheap drum software and the murmuring vocals testify to the kind of guy who doesn’t want to wake up his parents upstairs. Nonetheless, even in this sleepy, abstracted form, there is no mistaking the widescreen Tom Pettyisms of “Freeway”, from the wry hiccup of the vocal to the sunshower of jangling guitars that accompanies the track. Constant Hitmaker, his 2008 debut on Gulcher, snagged the ear of an attentive few, and now it is being reissued along with God Is Saying This To You, a limited edition LP, on vinyl. The sound of God Is Saying This To You is slightly cleaner and clearer than the bleary, sound effects-addled Constant Hitmaker, but that only means Vile sounds like he’s singing from the bottom of a mineshaft this time instead of from the ocean floor. And it still feels like you’re eavesdropping: Vile delivers every line in an amiable mumble, the sort of voice you use when you’re humming something to yourself and only know every other word: “Hey girl, come on over, that’ll be just fine. Two packs of red apples for the ride home,” he murmurs over and over again on “Red Apples”, and it sounds like the half-remembered chorus of some John Mellencamp song.

Vile has talked in interviews about his various odd jobs (he sings about operating a forklift on Constant Hitmaker) and his single, unfruitful semester in community college, and it rounds out the portrait suggested by his music: that of the talented but aimless kid in high school, the one who smoked pot every day but read philosophy textbooks in his free time, the sort of guy who identified viscerally with the borrowed blue-collar sentiments of classic rock radio. Kurt Vile channels this hangdog charm effortlessly, scrawling wayward little vocal melodies like the one on “Breathin Out” with the ease of a hesher Bob Pollard. Sections of Constant Hitmaker are bogged down with a few too many pedals-and-loops sound collages, but for most of the ride, Constant Hitmaker/God Is Saying This To You ambles dreamily along a perfect midway point between the disorientingly weird and the comfortingly familiar. – Pitchfork

with:
White Arrows
Under The Asbury

8:30pm / $8 adv, $10 doors / 21+

Wednesday 10.21.09: Club NME with CHOIR OF YOUNG BELIEVERS / BUDDY / MAKE MOON

Choir of Young Believers || Listen || Watch

When listening to Denmark’s Choir of Young Believers, it’s hard not to imagine an army of white-clad singers with arms outstretched, their voices raised in holy polyphony—in fact, the Danish group is the brainchild of one 26-year-old Jannis Noya Makrigiannis. For years, Jannis moved in the underground circles of the Copenhagen indie scene. After the breakup of his old band in 2006, he moved to the Greek island of Samos and began developing his own solo material. Jannis returned to Copenhagen and, gathering musicians and friends around him, formed Choir of Young Believers, an orchestral-pop project marked by magisterial melodies, dark lyrical concerns, and a healthy dose of cathedral-grade reverb.

The songs on Choir of Young Believers’ debut album This Is for the White in Your Eyes mix modest folk arrangements with ambitious, grandiose indie pop, cooled with a stoic Nordic distance and glowing with an inner light. Musical nods to Roy Orbison, The Beach Boys, Pixies, and Hank Williams abound, but Jannis and his Choir Of Young Believers have forged their own neck-tinglingly singular sound. Live, the Choir takes many different shapes and sizes. Jannis often performs as a duo with a guitar or a piano and cello; other times, up to eight people fill the stage, playing everything from strings and horns to percussion and bells. The one constant is Jannis’ voice: clear, mournful, stretching to the heavens. – Ghostly International

With:
Buddy
Make Moon
Resident DJs Dia & Solid Todd Spinning

8:30pm / $8 / 21+

Thursday 10.08.09: A HAWK & A HACKSAW / DAMON & NAOMI / THE GRIZZLY OWLS

A Hawk & A Hacksaw || Listen || Watch

Delivrance is a collection of songs as much as it is a vast travelogue of the duo’s journeys through Budapest, Turkey, Israel, Transylvania, and so on. What’s most compelling about Delivrance is that the music isn’t so much indicative of one particular region. The album full of history, knowledge, and a love for the people Barnes and Trost met along the way.

The album opens with “Foni Tu Argile,” a Greek composition traditionally played on bouzouki. Barnes and Trost transform the number into a rousing, foot-stomping celebration in the minor key. Continuing in this vein, “Kertesz” begins with the rattling siren call of Balogh’s cimbalom and Barnes’s propulsive accordion before launching into a full on polka attack complete with Trost’s nimble violin playing. Trost’s own composition, “Vasalisa Carries a Flaming Skull Through the Forest,” is a standout, and not just because of its provocative name. Cimbalom, violin, and accordion wheeze and whir in disjointed harmony as Trost conducts a distinct sense of unease, almost to suggest that what may be even creepier than Vasalisa’s flaming skull is what may be lurking in the darkness behind her. It may be an upsetting image were the track — and the album as a whole — not such an engaging, joyous experience. – Prefix Mag

With:
Damon & Naomi || Listen
The Grizzly Owls || Listen

8:30pm / $12 / 21+

Sunday 08.23.09: Otik Records presents a Sunset Junction After-Party with THE DAMSELLES / LES BLANKS / DEAD PONIES / SO MANY WIZARDS

The Damselles || Watch

With:
Les Blanks || Listen
Dead Ponies
So Many Wizards

FREE / 8:30pm / 21+

Monday 10.19.09: Monday Night Residency – KROQ “Locals Only” Presents LIGHT FM / HIS ORCHESTRA / THE MEETING PLACES / LOST LAKE

Light FM

Born in the clutches of art school angst and bitter Chicago winters, Light FM began as a beacon of hope for song writer Josiah Mazzaschi ­ a poppy bouquet of cheerful songs with meaningful yet dark lyrics heavy on retro synths and grand orchestration. Quickly gaining a name in the Chicago indie music scene as one of Chicago’s most promising new bands and being compared to The Cars, The Cure, Pink Floyd and The Rentals. Light FM’s first release, “This is the Beginning of my Golden Age” was heralded as “the post-punk antidote to radio’s latest disease” (Time Out), a band that “pushes the bounds of sonic experimentation while at the same time making their songs catchy and accessible.” (Daily Herald)

When Light FM moved to LA and released “Black Magic Marker” on Devil in The Woods Records, the band’s accessibility, emotional depth and high production value soon attracted popular Hollywood shows like “Gossip Girl”, “The Hills”, “The Dollhouse”, and “One Tree Hill”. Returning to his indie roots, Mazzaschi is currently self-releasing his third album, aptly titled “Let There be Light FM” ­ with the promotional support of Myspace Records “Friends and Family” program. Full of “sticky melodies, crunchy, fuzzed-out guitars and synths on steroids” (buzzbands.la) Light FM is returning to the stage with a residency at Spaceland in LA in October, also sporting a new lineup. After playing SXSW, the band took a break and regrouped with bassist/singer Nicole Fiorentino (Veruca Salt, Spinerette), drummer Byron Reynolds (Sea Wolf, Everest, Possom Dixon), and keyboardist/singer Sophia Male. “Let There Be Light FM” will be available on iTunes October 13, 2009.

with:
His Orchestra
The Meeting Places
Lost Lake

8:30pm / FREE / 21+

Sunday 10.18.09: HellYa!Night with MICHAEL RUNION / HAIM / THE PINK SNOWFLAKES / TWO GUNS

Michael Runion || Listen || Watch

Michael Runion grew up in Ventura CA, playing bass for crust and punk bands in thrall to the likes of Polvo and Unwound. After moving to Los Angeles and paying his rent by selling ‘zines and founding lauded silk screen clothing company Deathcamp (whose clothes have been worn by 50 Cent, Justin Timberlake, Will Smith and a whole host of other B list celebrities you have never heard of). As opposed to being a straight company Deathcamp was more a loose collection of artists, creatives, hipsters and hangers on all living out of a squat in East LA that soon became infamous locally.

This sense of collective pursuit of artistic integrity combined with a strong sense of communal living heavily informed the way that Michael would go on to create himself, constantly giving all he could both as an individual and in group situations. Wander around LA and on any given corner on any given day and there will be someone who has sang with, written with, shared a stage or a bar stool with Michael Runion more than willing to recount at least one tale of how he can capture and captivate in seconds. – Name Me Someone That’s Not A Parasite

With:
Haim
The Pink Snowflakes || Listen
Two Guns

8:30pm / FREE / 21+

Sunday 09.13.09: ADAM MARSLAND’S CHAOS BAND / THE ANNY CELSI BAND / THE JEFF MERCHANT BAND

Adam Marsland & His Chaos Band || Listen

Recently described in SPIN magazine as “a high-energy cross between Brian Wilson, Paul Stanley, and Elton John,” Adam Marsland’s restless muse has touched on rock, punk, baroque pop, soul and roots through the course of nine albums and 25 tours. When his label collapsed, he went totally underground, touring for 2 1/2 years and selling thousands of albums out of the back of a 1994 Toyota Tercel. Gradually, Marsland’s brutally honest, complex but catchy songs attracted a new audience, culminating when the 2008 compilation DAYLIGHT KISSING NIGHT: ADAM MARSLAND’S GREATEST HITS peaked at No. 17 on amazon’s rock chart.

In 2008 Adam completed his return to full-time music-making with a 20 track album called “Daylight Kissing Night – Adam Marsland’s Greatest Hits,” released on March 18, 2008. The CD immediately sold out across the U.S., followed by a traditional media campaign and a 40-date national tour in the summer. Upon returning home from tour he immediately started intense recording sessions for his first new original album in five years, GO WEST. With two discs and a whopping 23 tracks, GO WEST will be released on August 18, 2009.

With:
The Anny Celsi Band || Listen
The Jeff Merchant Band || Listen

8:30pm / FREE / 21+

Thursday 09.03.09: HE’S MY BROTHER SHE’S MY SISTER / SPIRIT VINE / CROOKED COWBOY & THE FRESHWATER INDIANS / FORT WIFE

He’s My Brother, She’s My Sister || Watch

Your favorite tap dancing, stand up bass thumping, crazy percussion playing, hollow-body guitar strumming, tambourine slapping, sing along family band.
He’s My Brother She’s My Sister infuse humor, old time rock & roll, cowboy country, haunted melodies, and alleyway rhythms into an undeniable sound. Includes members from popular local rock & rollers Lemon Sun and surging avant-garde theater group Post Fact Productions. A unique and inspiring act, not to be missed.

also w/ fabulous psychedelic female fronted rock & roll from Spirit Vine
& the revered experimental cowboy rock expressions of…Crooked Cowboy & The Freshwater Indians
and Fort Wife

8:30pm / $8 / 21+

Tuesday 08.11.09: TIC TIC BOOM / THE SWEET KILL / CITY CITY / ODD MODERN

Tic Tic Boom || Watch

with:
The Sweet Kill
City City
Odd Modern || Listen

8:30pm / FREE / 21+

Thursday 10.22.09: BRAKESBRAKESBRAKES / EZRA FURMAN & THE HARPOONS / RACHEL GOODRICH

BrakesBrakesBrakes || Listen || Watch

Brighton-based supergroup Brakes impress once again with this extraordinary blast of 60s-tinged rock’n'roll. Referencing The Beatles, The Byrds, Ride and Smashing Pumpkins, the quartet’s third LP is a riotous journey through the last four decades of left-field guitar-pop. From the wry psych-rock of ‘Don’t Take Me To Space(Man)’ to the catchy bubblegum of ‘Oh! Forever’, it’s a delightfullt diverse indie gem. Formed in 2003 by Thomas and Alex White (The Electric Soft Parade), Eamon Hamilton (British Sea Power) and Marc Beatty (The Tenderfoot), Brakes released their debut album, Give Blood, in 2005 to widespread critical acclaim. Album of the year in Rough Trade’s shops, it was a fine introduction to the band. Now signed to local South Coast imprint Fat Cat (home to Frightened Rabbit and The Balky Mule), the quartet continues to go from strength to strength. A furious blend of folk, punk, country, grunge, pop and soul, Touchdown is Brakes’ most well rounded album to date. Bold, intelligent and enjoyable, it’s the work of a band operating at the peak of its creative powers. Both fiercely original and knowingly referential, it has the makings of a contemporary Brit-rock classic. – Rock ‘N Reel

With:

Ezra Furman & The Harpoons || Listen

If you’re Ezra Furman, you’re right out of college and the man in the grey suit threatens to steal your soul, so you fend off encroaching suburbia with a batch of new tunes. On his second album of jittery, willfully naive folk-punk, Furman plays the alienated romantic geek, employing a wobbly sense of pitch to better effect than anyone since the early Violent Femmes. “We Should Fight,” the great howling mess of an opener, sets the tone, all raw guitars and protestations of uncompromising humanity. The rest of the songs—alternating between strident rockers and swooning ballads—are overwrought, goofy, achingly sincere and totally original. Even his failures are charmingly his own, like the damaged sea chantey that erupts in the middle of “The Dishwasher,” an otherwise meandering folk ballad. Real life will intrude soon enough for Furman. Thankfully, he appears committed to spending the interim bashing out songs, working on his poet-laureate credentials and celebrating the sheer, giddy wonder of being young and alive. – Paste Magazine

plus:
Rachel Goodrich

8:30pm / $10 adv; $12 doors / 21+

Saturday 10.03.09: YOU ME & IOWA / RADARS TO THE SKY / THE VELTEXANS

You Me & Iowa || Listen || Watch || Mp3

Fueled by superb playing and an oddly appealing space-Viking theme (don’t ask, just check their MySpace), You Me & Iowa deliver a smart pop record with their first full length release, The Adventures of You Me & Iowa. Led by Andrew Carroll’s light vocals, the band sits comfortably between The Beach Boys and Of Montreal, skirting the psychedelic electronica of the latter and erring on the side of a Harvard educated version of the former. (See “Valhalla,” likely a reference to the mythological home of the Norse gods. Wagner would be proud.) Like an older, slightly more cynical Vampire Weekend, these boys fill this album to the brim with catchy hooks, tight harmonies and snappy guitar riffs.

Stand out tracks on the album include “Goldfish” with its gorgeous guitar intro, “Tommy Hall” and “Margaret Mourning,” minus the synthesizer at the beginning which doesn’t seem to quite lock in with the rest of the band. “Margaret Mourning” is also notable with one of the best melodies on the album and the lovely guest vocals by Ashley Powell. Drummer Tony Benedetti keeps the whole affair together with inventive drumming and lays down a few good danceable grooves with bassist Ryan Julio.

Lyrically, You Me & Iowa find themselves a little less than focused, but maybe that’s the point. Adrift and more than a little tired of it all, You Me & Iowa hide a sense of longing in their well-packaged, sunny-day pop tunes. On “Valhalla,” Carroll croons, “Six hundred years, we have come so long and come so far. Bye, bye. Bury me.” If The Adventures… is any indication of things to come, history will do anything but bury You Me & Iowa. – Amplifier Magazine

with:
Radars to the Sky
The Veltexans || Listen

8:30pm / $8 adv; $10 doors / 21+

Sunday 09.20.09: HellYa! night with BY SUNLIGHT / SHIRLEY ROLLS / LAST AMERICAN BUFFALO / CHRIS GARNEAU

By Sunlight || Listen

By Sunlight play an impressive brand of angular indie-rock. They strive very hard to create intelligent and forward thinking music that doesn’t come off as snobbish. Originally located in Sacramento, CA, they went by the name Bridges for several years and released a stellar debut album, The Underscore. Then in the summer of 2007, the relocated to Seattle, re-tooled the line-up, and in early 2008, changed their moniker to By Sunlight. Now, we also have their wonderful Self-Titled album to appreciate as well.

The album features 6 tracks and weaves on elegantly for 40 minutes. It’s very hard to pinpoint their unique sound. They combine the experimental elements of Codeseven and Death Cab For Cutie (at least Narrow Stairs Death Cab) with the quirky eccentricities of Mellowdrone or Dismemberment Plan. It’s really endearing how they can take their technical prowess and make it accessible and even gorgeously catchy. This is especially evident on “Collapse To Begin.” Sadly for collectors, a hard version of the album has yet to be produced. But, it can be purchased for peanuts from all of the major digital media outlets and their website. It’s worth every penny, and I highly recommend. – Rabbit Hole Music

With:
Shirley Rolls || Listen
Last American Buffalo || Listen
Chris Garneau || Listen

8:30pm / FREE / 21+

Tuesday 09.29.09: Filter presents THE 88 / QUAZAR AND THE BAMBOOZLED / PIERRE DE REEDER / OH DARLING

The 88 || Listen || Watch

L.A.-based power-pop three-piece the 88 has had one of those somewhat standard-issue, out-of-the-mainstream careers, compensating for club-sized semi-popularity by lucratively licensing songs to everything from “Gossip Girl” to “How I Met Your Mother,” making them one of the best-liked big-city bands no one has ever heard of. “Not Only…But Also,” is their third full length and first for a major label.

The 88 are best when they’re following the sing-songy formula that’s landed them in many a love-scene montage: “Love You Anytime” powers off on a simple-yet-effective guitar riff and a plaintive, Muse-ish piano melody, while “Waiting for a New Drug” drops a myriad of ‘70s-era “whoa-ohs” in between dynamic drops and four-on-the-floor builds.The album’s highlight, the jaunty “Coming Home,” has already been featured in commercials for both Sears and Target. – Metromix Baltimore

With:
Quazar & The Bamboozled
Pierre De Reeder
Oh Darling || Listen

8:30pm / $10 / 21+

Tuesday 09.22.09: Filter presents THE 88 / EXTRA / ADELINE & THE PHILISTINES / AM

The 88 || Listen || Watch

L.A.-based power-pop three-piece the 88 has had one of those somewhat standard-issue, out-of-the-mainstream careers, compensating for club-sized semi-popularity by lucratively licensing songs to everything from “Gossip Girl” to “How I Met Your Mother,” making them one of the best-liked big-city bands no one has ever heard of. “Not Only…But Also,” is their third full length and first for a major label.

The 88 are best when they’re following the sing-songy formula that’s landed them in many a love-scene montage: “Love You Anytime” powers off on a simple-yet-effective guitar riff and a plaintive, Muse-ish piano melody, while “Waiting for a New Drug” drops a myriad of ‘70s-era “whoa-ohs” in between dynamic drops and four-on-the-floor builds.The album’s highlight, the jaunty “Coming Home,” has already been featured in commercials for both Sears and Target. – Metromix Baltimore

With:
Extra || Listen
Adeline & The Philistines
AM

8:30pm / $10 / 21+

Tuesday 09.15.09: Filter presents THE 88 / HANNE HUKKELBERG / JEREMIAH STREETER / SIMON LYNGE

The 88 || Listen || Watch

L.A.-based power-pop three-piece the 88 has had one of those somewhat standard-issue, out-of-the-mainstream careers, compensating for club-sized semi-popularity by lucratively licensing songs to everything from “Gossip Girl” to “How I Met Your Mother,” making them one of the best-liked big-city bands no one has ever heard of. “Not Only…But Also,” is their third full length and first for a major label.

The 88 are best when they’re following the sing-songy formula that’s landed them in many a love-scene montage: “Love You Anytime” powers off on a simple-yet-effective guitar riff and a plaintive, Muse-ish piano melody, while “Waiting for a New Drug” drops a myriad of ‘70s-era “whoa-ohs” in between dynamic drops and four-on-the-floor builds.The album’s highlight, the jaunty “Coming Home,” has already been featured in commercials for both Sears and Target. – Metromix Baltimore

With:
Hanne Hukkelberg || Listen
Jeremiah Streeter
Simon Lynge || Listen

8:30pm / $10 / 21+

Tuesday 09.08.09: Filter presents THE 88 / THE SECRET 6 / THE DOUGLAS LEE / DOGWEED

The 88 || Listen || Watch

L.A.-based power-pop three-piece the 88 has had one of those somewhat standard-issue, out-of-the-mainstream careers, compensating for club-sized semi-popularity by lucratively licensing songs to everything from “Gossip Girl” to “How I Met Your Mother,” making them one of the best-liked big-city bands no one has ever heard of. “Not Only…But Also,” is their third full length and first for a major label.

The 88 are best when they’re following the sing-songy formula that’s landed them in many a love-scene montage: “Love You Anytime” powers off on a simple-yet-effective guitar riff and a plaintive, Muse-ish piano melody, while “Waiting for a New Drug” drops a myriad of ‘70s-era “whoa-ohs” in between dynamic drops and four-on-the-floor builds.The album’s highlight, the jaunty “Coming Home,” has already been featured in commercials for both Sears and Target. – Metromix Baltimore

with:
The Secret 6
The Douglas Lee
Dogweed

8:30pm / $10 / 21+

Tuesday 09.01.09: Filter presents THE 88 / DANIEL BRUMMEL / THE FRENCH SEMESTER / EUGENE AND THE 1914

The 88 || Listen || Watch

L.A.-based power-pop three-piece the 88 has had one of those somewhat standard-issue, out-of-the-mainstream careers, compensating for club-sized semi-popularity by lucratively licensing songs to everything from “Gossip Girl” to “How I Met Your Mother,” making them one of the best-liked big-city bands no one has ever heard of. “Not Only…But Also,” is their third full length and first for a major label.

The 88 are best when they’re following the sing-songy formula that’s landed them in many a love-scene montage: “Love You Anytime” powers off on a simple-yet-effective guitar riff and a plaintive, Muse-ish piano melody, while “Waiting for a New Drug” drops a myriad of ‘70s-era “whoa-ohs” in between dynamic drops and four-on-the-floor builds.The album’s highlight, the jaunty “Coming Home,” has already been featured in commercials for both Sears and Target. – Metromix Baltimore

With:
The French Semester || Listen
Eugene & The 1914
Daniel Brummel

8:30pm / $10 / 21+

Sunday 09.27.09: Comedy Night with DRAGON BOY SUEDE / THE TULSA SKULL SWINGERS

Dragon Boy Suede || Watch

They say the average man thinks about sex once every six seconds…these rhymes will hold them over for the other five. Dragon Boy Suede got his start by recording songs on the home computer in his kitchen. He burned some discs for friends. Heads nodded and laughter erupted. His friends played the discs for other people. The other people were like “Who the fuck is this?” His friends were like “Dragon Boy Suede”. The other people were like “Burn me a copy. NOW”. The virus continued to spread. Welcome to the world of Dragon Boy Suede – hilarious rap music, jokes and whatever the hell else he happens to throw in there. The main thing people say about it is that it puts them in a good mood.

with:
The Tulsa Skull Swingers

8:30pm / 21+

Tuesday 08.25.09: MELLOWDRONE / WHITE ARROWS / SQUARE ON SQUARE

Mellowdrone || Listen || Watch

It has also been awhile since I checked in with Mellowdrone. I last caught up with them in February of 2008 at Spaceland. Jonathan Bates (Vocals/Bass) was busy touring with M83 as an extra guitar player which briefly sidetracked Mellowdrone’s recording progress.

The new album Angry Bear seems to be worth the wait judging by their engaging performance at the Knitting Factory. I have become more comfortable watching Jonathan shred on his Peavey Bass instead playing guitar in the prior iterations of Mellowdrone. Jonathan attacks his bass like a guitar while dialing in a super fuzzed out tone.

I long have theorized that Mellowdrone derived their name after a lyric from a Failure song and this memory was stirred when I heard the sonic similarities of the track that included the lyrics of “Angry Bear”. Tony Dematteo had his Fender Jaguar switching between a textural fuzz and spacey overdrive tones. Mellowdrone have expanded their lineup by adding an additional guitarist who kept things in a Fender state of mind with his Telecaster.

Mellowdrone unveiled a handful of new tracks like “Big Winner” and “Esmeralda” that are primed and ready for inclusion on any cinema noir soundtrack. Angry Bear will be released on August 25th on Coming Home records. – Amateur Chemist

With:
White Arrows
Square on Square

8:30pm / $8 / 21+

Thursday 08.13.09: I WAS A LOVER, DELOREAN WAS A DEALER (Record release show) / VOICE ON TAPE / MOTHERS OF GUT / DALMACIO VON DIAMOND AND THE ENOCHIAN KEYS

I Was A Lover, Delorean Was A Dealer || Listen

It is perhaps a sound one wouldn’t expect from a sunny southern California beach town: Gloom. I Was a Lover DeLorean Was a Dealer isn’t gloomy in the sense of being overtly heavy or even being in the hardcore circuit at all. This sound, a reverb-dunked, taut and eerie indie rock sound that purposely avoids the cliches the group could easily fall into, is experimental only to a point. Fans need not worry of being alienated or scared off. As one newspaper summed up, this Ventura quartet is “Eccentric but familiar, enigmatic yet accessible,” (VC Reporter, 2/12/09).

I Was a Lover has managed to find its spot in southern California, completing its full-length debut album, Strong Drink is Raging, on the eve of a trip across the country.

Pieced together in 2005 in Ventura, the group played through several incarnations but remained focused on its vision: playing what it loved best about independent music but avoiding pre-cut paths that previous bands had set before. In 2009, the group began to find its direction by avoiding the doubling of instruments — instead layering guitar, saxophone, organs, pianos and an upfront rhythm, each falling into its own sonic channel behind singer Christopher Bykowski’s trouble-stirring and haunted vocals. On stage, the group also presents itself in the visual sense, preferring to stray away from the obligatory indie-rock attire and present the unexpected along with its manic stage presence.

With:
Voice On Tape
Mothers of Gut
Dalmacio Von Diamond & the Enochian Keys

8:30pm / $5 / 21+

Sunday 08.02.09: LOST LIBRARIES / RADIO FREQ! / SO MANY WIZARDS / SOL GIANT

Lost Libraries

The Lost Libraries is a five-piece band based out of Los Angeles, California. They formed out of the ashes of their previous musical efforts (Shoot Out The Lights, Golden Arms, Brian Jonestown Massacre) with the common goal to create something different from anything they’ve done before. They are currently preparing the release of their debut five-song EP entitled Safety In Slumber, which will be available July 2009. The EP was engineered, produced and mixed by Mike Terry (Foo Fighters, BRMC, Ash, Earlimart), & The Lost Libraries at Elliott Smith’s former recording studio, New Monkey, in Van Nuys, CA.

Safety In Slumber is the first markings of what the group anticipates to be a growing body of work. While initial listens may show signs of rock influences, the more you dig into the layers of the music going on, the more you’ll start to see where genre lines start to blur. The guitars bleed out shoegaze-esque atmosphere and brit-pop melodies reminiscent of Ride and The Stone Roses. The rhythm section tap into unexpected changes while piling on post-rock bombast in the essence of Mogwai and Grizzly Bear. Tying the two cross sections together, the pianos, violins and vocals teeter on the line of post-punk and moody indie-rock; bringing to mind elements of The Cure, The National or as alt-rocker Ryan Adams described the band “…kind of like The Walkmen, but with bigger, hookier choruses.” The end result is an EP that reflects small elements of rock history, but is bent on progressing with its future.

with:
Radio Freq!
So Many Wizards
Sol Giant

8:30pm / FREE / 21+

Friday 08.22.09: Sunset Junction After-party with BENJI HUGHES / THE BELLE BRIGADE

Benji Hughes || Listen

He looks like an Allman brother, sings like Beck and suffers the dating travails of George Costanza. But on his sprawling double-CD debut, Benji Hughes is unmistakably — and always hilariously — his own man. The North Carolina-and-Tennessee-reared artist specializes in laugh-out-loud vignettes about hipster culture, with catchy, eccentrically arranged songs that straddle folk, lounge, electro, synth rock and a half-dozen other styles. There are tales of concertgoing and shrooming (“I Went With Some Friends to See the Flaming Lips”) and starry-eyed odes to unattainable hotties (“Tight Tee Shirt”). Hughes sings in the drowsy voice of a slacker, but he has a poet’s ear for telling details, and his mountain-man beard hides a wry smile. When Hughes’ drolleries and hopeless romanticism combine, the effect can be sublime. In the stately “All You’ve Got to Do Is Fall in Love,” he croons, “Wouldn’t it be sweet if you could be in love with me/The way that I’m in love with you?/It’s so easy to do/All you’ve got to do is fall in love with me.” Hughes’ logic — like his tunes and his wit — is unimpeachable. – Rolling Stone

With:
The Belle Brigade

8:30pm / $10 adv, $12 doors ; $6 dollars with Sunset Junction stamped wristband / 21+

Friday 08.21.09: Sunset Junction Pre-party with BENJI HUGHES / B.R.A.M

Benji Hughes || Listen

He looks like an Allman brother, sings like Beck and suffers the dating travails of George Costanza. But on his sprawling double-CD debut, Benji Hughes is unmistakably — and always hilariously — his own man. The North Carolina-and-Tennessee-reared artist specializes in laugh-out-loud vignettes about hipster culture, with catchy, eccentrically arranged songs that straddle folk, lounge, electro, synth rock and a half-dozen other styles. There are tales of concertgoing and shrooming (“I Went With Some Friends to See the Flaming Lips”) and starry-eyed odes to unattainable hotties (“Tight Tee Shirt”). Hughes sings in the drowsy voice of a slacker, but he has a poet’s ear for telling details, and his mountain-man beard hides a wry smile. When Hughes’ drolleries and hopeless romanticism combine, the effect can be sublime. In the stately “All You’ve Got to Do Is Fall in Love,” he croons, “Wouldn’t it be sweet if you could be in love with me/The way that I’m in love with you?/It’s so easy to do/All you’ve got to do is fall in love with me.” Hughes’ logic — like his tunes and his wit — is unimpeachable. – Rolling Stone

With:
B.R.A.M

8:30pm / $10 adv, $12 doors / 21+

Saturday 08.01.09: COMPANY OF THIEVES / ENDLESS HALLWAY / LAKES

Company of Thieves || Listen || Watch

Now Hear This… not only the name of a Billboard column but a serious announcement: Company Of Thieves is truly THE new band to check out. They have yet to release their physical debut album Ordinary Riches, however the buzz on their digital is undeniable. Not only have they been on Last Call With Carson Daly, but their single “Oscar Wilde” won them the 2007 New York Songwriters Circle contest.

It took me awhile to try and identify the spot on the “music spectrum” that Thieves would fall. My findings? Nothing. I cannot figure out the right genre in which to to stick them. They defy categorization and that is something that can take years for bands to do. For me, they’d be the genre that goes perfect in a bar, with a piano in the corner, wooden walls and the lights dimmed just slightly.

“Old Letters” starts the album in a Fiona Apple mode. With drawn out words/notes, minimal guitar and drums that thrash, this song rocks with its own style of sensuality. “In Passing” continues that sensual feeling, but kicks it up with an electric guitar and some excellent riffs. “Oscar Wilde”, the token single, comes in at the #3 spot. With this song, the feeling’s a bit lighter. Want a soundtrack for running through a field of daisies? I can see this song working for that. There’s some definite and obvious mass appeal. If I take it upon myself to skip down to a favorite, I’d go to “Even In The Dark.” This song is even LIGHTER than “In Passing,” if you can believe it. It’s very mellow and very calming. It’s as though a bit more emphasis was put on the lyrics for this song. Or at least more emphasis on the ability to hear and feel them. Genevieve’s amazing voice hits some great octaves and shines through. The powerfulness near the end makes you wonder if there was some heartbreak factored into the composition of this song. “The Fire Song” has so much depth to it; it’s almost hard to keep up. Between the tempo changes, the volume changes and even the changes in Genevieve’s style of singing, this song is incredible. Her whispers midway through definitely bring up some goose-bumps. “New Letters” ends the album, and very appropriately I might add, and as “Old Letter” started with a Fiona influence, “New Letters” followed suit. This song is so soft, easily a Company Of Thieves lullaby. Sure it rocks out at the end, guitars blazing and all, but the general feeling could drift you to sleep. – Hybrid Magazine

With:
Endless Hallway || Listen
Lakes || Listen

8:30pm / $8 adv, $10 doors / 21+

Thursday 08.06.09: SPINDRIFT (Legend of God’s Gun Vinyl Release) / ASSEMBLEHEAD IN SUNBURST SOUND / MAGIC MIRROR / ALL BABES ARE WOLVES

Spindrift || Listen

Truly out-of-sight, the seven-piece band celebrates the outlaw spirit with spooky, tripped-out variations on Ennio Morricone’s spaghetti Western tradition. Live, they swirl and tremble like a lucid dream, banging a gong and shaking their tambourines for rattlesnake effect, jamming until the audience feels engulfed by a sandstorm (of course, it helps if it’s an outdoor concert and the wind is already fierce). Spindrift founder Kirpatrick Thomas (who holds together portions of the band’s East and West Coast factions) recently recorded a soundtrack to Mike Bruce’s bizarre concept film Legend of God’s Gun, which is like the original Ocean’s 11 with psychedelic rockers replacing tony rat packers. Visually schizophrenic, Gun follows a preacher turned gunslinger who travels to Playa Diablo to avenge his true love’s death. Trippy shoot-’em-ups ensue. Go west! – Salt Lake City Weekly

With:
The Assemblehead In Sunburst Sound
Magic Mirror
All Babes Are Wolves

8:30pm / $8 / 21+

Friday 08.14.09: SHELLSHAG / SCREAMING FEMALES / PROTECT ME / SIGNALS (members of the Mae Shi)

Shellshag || Listen || Watch

Theres only two people in Shellshag. Shell and Shag. Shell plays guitar and sings while Shag plays drums standing up and also sings. She has bells sewn on her belt and ankles, so there’s lots of frantic wiggling to coax the noise out of them. They both sing into a mic stand they built themselves that’s shaped like a Y, so they face each other while they play. They’re known for putting on shows that bring the house down, sometimes literally. You can always expect some crowd surfing, things being thrown accross the room, and the singing along that sometimes threatens to drown them out. The end of their show usually results in the two of them either building a sculpture out of their instruments, amps, and themselves, or completeley smashing Shag’s drums. Shellshag’s approach to art and music far exceeds the edge of the stage and the walls of the club, and as a very active entity within the American music scene, Shellshag on stage and Shellshag off stage are one in the same. Shellshag’s intentions are not to sell an illusion, but rather to interact directly with the world of music while remaining true to themselves and the creative lifestyle they have built over 15 years of D.I.Y. recording and performing. – Johnny Nopants

With:

Screaming Females || Listen || Watch

Bred in one of the country’s strongest DIY punk communities, the New Brunswick, New Jersey-based trio Screaming Females have actually got only one shrieking lady. Her name is Marissa Paternoster, and she is 2009’s answer to Sleater-Kinney’s 2006 breakup, using her throaty pipes and serious chops to channel that trio’s femme-shredder legacy to a new generation. The band’s pint-size leader — whose signature stage attire includes a mandarin Sergeant Pepper-style dress and a bowl haircut covering her eyes — is known for ripping until her fingers bleed. Screaming Females’ third full-length and first-ever label release Power Move is packed with fuzzy riffs and gritty, epic solos layered over Mike Rickenbacker’s disciplined bass lines, with drummer Jarrett Dougherty’s fierce beats pushing it all forward. The LP gets poppy on “Bell” and psychedelic on “Skull,” but Paternoster’s core influences (”I listen to Sleater-Kinney and the Pixies”) shine through. – Rolling Stone

plus:
Protect Me
Signals (members of the Mae Shi)

8:30pm / $8 / 21+

Sunday 08.30.09: NEIL HAMBURGER / J.P. INCORPORATED (formerly PLEASEEASAUR) / BRENDON WALSH / ERIK CHARLES NIELSEN

Neil Hamburger

If Neil Hamburger wasn’t the Funniest Man in America, why would the record company keep letting him make so many albums? Can’t answer that question, can you? No, it’s beyond dispute, he is the funniest. End of debate. Don’t even mention Jack Kevorkian, Neil is waaaaay, waaaaaaaay more side-splittingly hilarious, and he’s a much bigger bummer. And he’s got a million of ‘em – why, if one of his jokes falls flat or makes you groan or feel like gagging, or say the next 80 or 90 “gags” don’t exactly make you howl with uproarious laughter, just wait, because Neil will pounce with just a killer, killer line that will make you pee in your pants and nudge the guy next to you so he spills his drink (and when he hits you, that’ll be funny too). You’ll be glad you shelled out your money and chose to spend your time, on a Sunday night, no less, with America’s funny man, Neil Hamburger. – LA Weekly

With:
J.P. Incorporated (formerly Pleaseeasaur) || Listen
Brendon Walsh
Erik Charles Nielsen

8:30pm / $8 / 21+

Tuesday 08.18.09: THE MINOR CANON / THE GROWNUP NOISE / BLANK BLUE / JUSTIN JANER QUARTET

The Minor Canon || Watch

There’s no shortage of musicians who toot their horns in Silver Lake. Ah, but those who play horns — they’re noticeable. Take the Minor Canon, a six- or seven-piece (depending on the night) that have been crowding onto club stages to dispense a brassy orchestral pop that, while no threat to make the Top 40 charts, ought to find its way into the hands of an indie filmmaker in need of a soundtrack. Singer-songwriter Paul Larson has roots in the indie scene that date back to the ’90s, when he was a member of Strictly Ballroom with Chris Gunst (Beachwood Sparks) and Jimmy Tamborello (the Postal Service, Dntel). In fact, Larson contributes guitar work to the forthcoming Dntel album “Dumb Luck,” which was out in April. “No Good Deed Goes Unpunished,” the Minor Canon’s initial foray into the shadows of pop melancholy, was self-released on Feb. 20, and even at its birth the debut album has a history, since it was recorded at the Silver Lake house where the Postal Service’s “Give Up” took shape (and, Larson points out, where the movie “Heathers” was written. – Buzzbands LA

With:
The Grownup Noise || Listen
Blank Blue || Listen
Justin Janer Quartet

8:30pm / $5 / 21+

Wednesday 08.12.09: Club NME with SKY PARADE / DISSOLVER / IZZY THE ESKIMO / NICK JAGO

Sky Parade || Listen || Watch

I’ve recently stumbled across an amazing band that delivers the most captivating psychedelic 60’s-style rock that I’ve heard in a long time. They’re called Sky Parade and I don’t believe that there is any possible way to dislike this band. Lead vocalist Tommy Dietrick was also in Brian Jonestown Massacre and it’s definitely in a similar vein of high energy retro rock ‘n roll revivalism. I don’t yet have their new album “Love Is Forever” but from what I’ve heard, this is a band that could certainly develop into being one of my favourites. Just sampling the songs they have posted on their myspace page sets me in a “my mind is blown” state of mind. You’ve got to hear the song “Free My Love” which is a must for fans of the aforementioned BJM as well as Stone Roses, Love and Rockets or The Verve. Apparently, their first album “Fire In The Sky” was relatively successful for an indie release. After hearing what I’ve heard recently, it’s unfortunate that I didn’t get to know this band sooner but I’m looking forward to hearing them even more in the future. – It’s Not The Band I Hate, It’s Their Fans

With:
Dissolver
Izzy The Eskimo
Nick Jago
Resident DJs Dia and Solid Todd spinning

8:30pm / $5 / 21+

Wednesday 08.19.09: Club NME with MAX TUNDRA / DEATH KIT / VERY

Max Tundra || Listen || Watch

On the contrary, Tundra’s show was everything a true fan could have hoped for. He smartly played around his catalog and tore through old gems like “Lysine,” from his 2002 album “Mastered by Guy at the Exchange,” as well as tunes from his latest release, like the infectiously-catchy “Which Song.” Tundra gave an audience not entirely savvy to his music a varied taste of his limited but impressive body of work. Skittering beats and MIDI horn bits piled out of the PA at rapid fire.

But the best part about seeing him live was watching what he did with these computer-generated themes. Bolting between keyboard solos, various percussion instruments, a Stratocaster guitar, his diva-inspired vocals on the mic and little 5-yard-radial laps around the stage, his spectacle radiated the essence of sheer joy. These antics, coupled with his clever and polite banter in that charming British accent and a couple of covers, tongue squarely in cheek (try Rogers and Hemmerstein’s “So Long, Farewell”), made the whole thing seem like a cartoon. – The Denver Post

With:
Death Kit
Very
Resident DJs Dia and Solid Todd spinning

8:30pm / $8 adv, $10 doors / 21+

Wednesday 08.19.09: GREAT NORTHERN @ pershing square

Great Northern || Listen || Watch

On the cover of Great Northern’s debut album, Trading Twilight for Daylight, sits a barren tree backed by an arctic landscape. Such a dormant image is ironic considering the band’s lively and articulately layered sound, with traditional instrumentation being complemented by the likes of strings, brass, and other orchestral elements that are often considered too complex or overbearing to even visit the usually simplistic world of indie pop. Demonstrating the ability to take risks, Great Northern are one of the more capable bands of their element I have heard lately. Based out of Los Angeles, Great Northern was formed due to the strong friendship of pianist Rachel Stolte and guitarist Solon Bixler, both proficient songwriters and lead vocalists. – Obscure Sound

Pershing Square
532 South Olive Street
Los Angeles, CA 90013

7pm / FREE / All ages

Wednesday 08.12.09: OLIN & THE MOON @ pershing square

Olin & The Moon || Listen || Watch

Three Idaho boys bring their rural charm to the Los Angeles scene with a little help from a pretty face along the way. Olin and the Moon’s self-titled album is a promising start for these old friends as they attempt to stand out from the crowd they’ve chosen to surround themselves with.

Drummer Marshall Vore allows the band to reside confidently in between the overtly fast and the unconsciously mellow, while singer David LaBrel shines with storytelling skills that stand up to the likes of Bright Eye’s Conor Oberst. Invoking images of a rock star retiring to the moon, “Moon Man” is like a monotone ballad version of “Ziggy Stardust.” In “Home,” the band conjures up fond memories of simple farm life protecting innocent love: “I wanna take you to the trees / Where the forest and the farm lands meet … Where you can lay out on the grass all day / Where it is safe.” Songs like these benefit from acoustic guitar strums, heavenly bells and sweet piano undertones.

Tracks like “Oh Bells” and “Song of the Summer” are focused more around the band’s own experiences on the road as musicians, referencing sound guys and getting drunk while singing. Olin and the Moon’s adolescent drive comes via David LaBrel’s brother Travis and his powerful lead guitar. His chord formations draw in ears to his trickling melodies — most notably on “Changin’“ and “Take It To Hell” — but they often overtake the songs, drowning out Erica Wheeler’s bass and David LaBrel’s vocals.

Olin and the Moon desperately strive to engage listeners in music that expresses their love for the art form; with an album like this, they just might succeed. – Performer Mag

Pershing Square
532 South Olive Street
Los Angeles, CA 90013

7pm / FREE / All ages

Wednesday 08.05.09: LUKE TOP @ pershing square

Luke Top || Listen || Watch

Do you love your friends “more than lightning?” Are they “much more than a passing storm?” If so, perhaps they are also Friends with Luke Top and you can all connect for brunch, or form another band. It seems that everything Luke Top does seats a party of at least ten, be it with Fool’s Gold or this project, which also involves Fool’s Lewis Pesacov, Giant Drag’s Micah Calabrese, Cass McCombs, and Matt Popieluch and Ariel Rechtshaid of Foreign Born, to name a few—almost like a disease, each of these guys spreads his germs around town in different bands and projects. But rather than bring us any closer to swine flu, Luke Top’s music wants to make happy. It’s the sound of driving nowhere on a sunny afternoon. Opener “Lord, Save Me From This Valley” starts the car, then “Infant Rose” pulls the top down, shaking off a few leaves and dried berries before we hit the coastal highway. We arrive at title track, “Friends,” in third gear, jangling tambourine, handclaps, and vocal harmonies. While instruments pile up over the course of the album, adding horns and strings and even some nature sounds to the blend, every note fits in a streamline design: the road is clear, the car is clean, and the passengers smile behind their sunglasses. – LA Record

Pershing Square
532 South Olive Street
Los Angeles, CA 90013

7pm / FREE / All ages

Thursday 08.27.09: CROCODILES / PENS / GRAFITTI ISLAND

Crocodiles || Watch

When we gathered up our favorite artists’ year-end lists No Age included Crocodiles’ “Neon Jesus” as one of their top 10 “shredders” of ’08: “[Crocodiles are] a great new band from San Diego. This song is a real good kinda early eighties electro punk pop jam. It is super catchy.” All true, but something No Age didn’t mention is that it also sounds — in a great way — like Velvet Underground-swinging Jesus & Mary Chain. And if you take a look at one of the sunglasses-with-attitude photos of ex-Prayers/The Plot to Blow Up the Eiffel Tower’s Charles Rowland (guitar, synth) and Brandon Welchez (vocals, programming), there’s more to it than just the sound. The below picture’s pretty colorful, but songs like “I Wanna Kill” and “Summer Of Hate” are more shades of gray, despite the hooks (in the same way the brothers Reid can make rain, psycho candy, and darklands sounds so inviting). It also shouldn’t be surprising that they’ve posted Crystal Stilts on their Skull Kontrol blog. Sound comparisons aside, the two recently followed fellow Southern California distortion lover Wavves, signing a two album deal with Fat Possum. The first one, Summer Of Hate, is out in May. We have No Age’s beloved “Neon Jesus” along with “I Wanna Kill” and “Summer Of Hate.” Dig into the feedback. – Stereogum

With:
PENS || Listen
Grafitti Island

8:30pm / $10 / 21+

Wednesday 08.26.09: Club NME with FRUIT BATS / DEATH VESSEL / A B & THE SEA

Fruit Bats || Listen || Watch

Fruit Bats were greeted by a very house when they hit the stage. They opened with a song from 2005’s Spelled in Bones, “Canyon Girl”, and then played a few newer songs, but not before bandleader Eric Johnson asked for permission first, saying “We’ll play some old shit, I promise” and joking that they would “play all four albums in a row, plus a mystery album of your choosing.” After a solid set of newer songs (some of which they also performed during KEXP’s Bay Area broadcast), they pulled out a few revamped classics, such as “Seaweed” (with added harmonica) and “The Little Acorn.” They followed up with a few more new songs that were equally impressive. Behind Eric Johnson’s distinctive voice, a change in style was prevalent in the new music. Although he never gives up the band’s signature pop and twang elements, the songs were a bit more sprawling and mined a similar vein of classic rock as Grand Archives and before that Neil Young. Fruit Bats finished with a couple of classics, including “The Rainbow Sign” and “When U Love Somebody.” It was a great show, and we’re looking forward to the next time Fruit Bats hit town… and to the new album we hope to see later this year! – KEXP

With:
Death Vessel || Listen
A B & The Sea

8:30pm / $12 adv, $15 doors / 21+

Sunday 08.09.09: Manimal Vinyl presents WARPAINT / CAROLINE WEEKS (of Bat for Lashes) /CORRIDOR / UNIVERSE

Warpaint || Watch

If you’re feeling bold, you might point out the possibility of Warpaint usurping Chan Marshall’s throne. As Cat Power delves deeper into “covers only” madness, it wouldn’t seem too out of step for another talented dream-pop songstress (or in this case, songstresses) with a penchant for slow-dissolve acoustic lilt and smoky harmonies to divert your attention. Warpaint’s “Billie Holiday” is in fact half of a cover, borrowing large chunks of the Smokey Robinson-penned 1964 classic, “My Guy” (a hit for Mary Wells) and rerouting the original’s giddiness to adopt a sort of apathetic haze that’s very much in need of a Xanax, or perhaps the victim of one too many. What Warpaint contribute otherwise (lullaby verses that give a shout-out to Lady Day, arresting vocal blending) is memorable, as the track conjures a palpable atmosphere, its subtle mix overseen by Red Hot Chili Pepper John Frusciante. Instead of employing any sort of trendy gimmick, Frusciante has the good sense to lay things bare and let the voices, arrangements, and guitars speak plainly, hinting at what’s found on the remainder of their Exquisite Corpse EP. – Pitchfork

With:
Caroline Weeks || Listen
Corridor
Universe

8:30pm / $8 / 21+

Monday 08.17.09: Filter, Aquarium Drunkard & KROQ Locals Only present Monday Residency with LOCAL NATIVES / VOXHAUL BROADCAST / SOKO / THE LONELY H

Local Natives || Listen || Watch

Watching California’s Local Natives perform Sunday night at DC’s Black Cat was like standing on the outskirts of a drum circle. Out of the band’s six musicians, five contributed to the heavy tribal-influenced pounding and clacking of drum sticks. The only instrument used more often was the voice—something every band member contributed at one point, whether it was singing or shouting during the climactic breakdown of the energetic “Sun Hands.”

I’ve written before that the Local Natives are a mellifluous harmony-driven group. After seeing them perform live, that almost seems like an understatement. The band is a vocal group that performs like a small orchestra; a contemporary Zombies that might not be as pretty, but plays with more bite. Precise instrumentation—that comes in the form of a keyboard, bass, violin, and two guitars—mimics and riffs on the melodies sung by the band’s core of singers: the mustached and guitar-swinging Taylor Rice, the deftly reserved Ryan Hahn, and the bearded Kelcey Ayer with his seemingly whale-sized lungs.

Nearly every moment of the performance featured some sort of collaboration. During the band’s two best songs, “World News” and “Airplanes,” that collaboration was seamless with the various voices and instruments delivering a tightly woven tapestry of choral soul and marching band-sized percussion. Whether it was the cover of the Talking Heads’ “Warning Sign” or “Stranger Things”—which at one point was broken down to nothing but vocals and hand-clapping by all six musicians—the Local Natives delivered a clear vision of songs uniquely their own. – Everybody Taste

With:
Voxhaul Broadcast
Soko
The Lonely H

8:30pm / FREE / 21+

Monday 08.24.09: Filter, Aquarium Drunkard, & KROQ Locals Only present Monday Residency with LOCAL NATIVES / THE PARSON REDHEADS / RED ARROW MESSENGER / FLYING TOURBILLON ORCHESTRA

Local Natives || Listen || Watch

Watching California’s Local Natives perform Sunday night at DC’s Black Cat was like standing on the outskirts of a drum circle. Out of the band’s six musicians, five contributed to the heavy tribal-influenced pounding and clacking of drum sticks. The only instrument used more often was the voice—something every band member contributed at one point, whether it was singing or shouting during the climactic breakdown of the energetic “Sun Hands.”

I’ve written before that the Local Natives are a mellifluous harmony-driven group. After seeing them perform live, that almost seems like an understatement. The band is a vocal group that performs like a small orchestra; a contemporary Zombies that might not be as pretty, but plays with more bite. Precise instrumentation—that comes in the form of a keyboard, bass, violin, and two guitars—mimics and riffs on the melodies sung by the band’s core of singers: the mustached and guitar-swinging Taylor Rice, the deftly reserved Ryan Hahn, and the bearded Kelcey Ayer with his seemingly whale-sized lungs.

Nearly every moment of the performance featured some sort of collaboration. During the band’s two best songs, “World News” and “Airplanes,” that collaboration was seamless with the various voices and instruments delivering a tightly woven tapestry of choral soul and marching band-sized percussion. Whether it was the cover of the Talking Heads’ “Warning Sign” or “Stranger Things”—which at one point was broken down to nothing but vocals and hand-clapping by all six musicians—the Local Natives delivered a clear vision of songs uniquely their own. – Everybody Taste

With:
The Parson Red Heads || Listen
Red Arrow Messenger
Flying Tourbillon Orchestra || Listen

8:30pm / FREE / 21+

Monday 08.31.09: Filter, Aquarium Drunkard, & KROQ Locals Only present Monday Residency with LOCAL NATIVES / FUN / AUSHUA

Local Natives || Listen || Watch

Watching California’s Local Natives perform Sunday night at DC’s Black Cat was like standing on the outskirts of a drum circle. Out of the band’s six musicians, five contributed to the heavy tribal-influenced pounding and clacking of drum sticks. The only instrument used more often was the voice—something every band member contributed at one point, whether it was singing or shouting during the climactic breakdown of the energetic “Sun Hands.”

I’ve written before that the Local Natives are a mellifluous harmony-driven group. After seeing them perform live, that almost seems like an understatement. The band is a vocal group that performs like a small orchestra; a contemporary Zombies that might not be as pretty, but plays with more bite. Precise instrumentation—that comes in the form of a keyboard, bass, violin, and two guitars—mimics and riffs on the melodies sung by the band’s core of singers: the mustached and guitar-swinging Taylor Rice, the deftly reserved Ryan Hahn, and the bearded Kelcey Ayer with his seemingly whale-sized lungs.

Nearly every moment of the performance featured some sort of collaboration. During the band’s two best songs, “World News” and “Airplanes,” that collaboration was seamless with the various voices and instruments delivering a tightly woven tapestry of choral soul and marching band-sized percussion. Whether it was the cover of the Talking Heads’ “Warning Sign” or “Stranger Things”—which at one point was broken down to nothing but vocals and hand-clapping by all six musicians—the Local Natives delivered a clear vision of songs uniquely their own. – Everybody Taste

With:
Fun (Feat. members of the Format) || Listen
Aushua || Listen

8:30pm / FREE / 21+

Thursday 08.20.09: MOTHER MOTHER / SING ORPHEUS / BALLERINA BLACK

Mother Mother || Listen || Watch

O My Heart opens appropriately with its title track, an introductory song heavy on the rhythm section and simpler lyrics than the rest of the record. The bands picks up its hyperbole on “Body”, which begins with staccato violins and vocals and effortlessly merges into a lullaby chorus. “Ghosting” and “Try to Change” boast acoustic plucking Iron And Wine would be jealous of, with the latter incorporating interesting vocal changes Regina Spektor would find promising. The main members of Mother Mother are not afraid of sharing lead vocal duties. This is strongly evident on album closer “Sleep Awake”, a track that, with its sweet pitchy female vocal track, recalls so many of the lullabye ending nineties altrock albums as much as a Decemberists album track.

The album is one of those rare jewels that saves its best stuff for the seond side. “Hayloft” is a standout track, and not only because it demands attention like a petulant toddler in its terrible twos. The instrumentalism is even tighter than the rest of the album’s already deeply pocketed sound, and the vocal work is some of the most exciting in recent history. “Wrecking Ball” combines old timey bluegrass with dance beats to the effect of creating a haunting three minute long hook. “Arms Tonight” is a high school sweet love song no summer record should be without, however it retains its cred with poetic comparisons of love to death and a solid off beat.

With each release, Mother Mother shows their growth potential paying dividends. It certainly does not hurt that they have left themselves so much evolutionary slack; not only can each album go in any direction, every song can. Look for Mother Mother to take off in the very near future, especially with guilty pleasure hooks like candy and television commercial friendly tracks (apparently that is how indie bands know they’ve made it nowadays, see: Iron and Wine, Throw Me the Statue, The Shins). In all, the record is a solid choice to finish out your summer with. – Radio Exile

With:
Sing Orpheus || Listen
Ballerina Black || Listen

8:30pm / $8 / 21+

Monday 08.10.09: Monday Residency with LOCAL NATIVES / RED CORTEZ / SWIM PARTY / RADEMACHER

Local Natives || Listen || Watch

Watching California’s Local Natives perform Sunday night at DC’s Black Cat was like standing on the outskirts of a drum circle. Out of the band’s six musicians, five contributed to the heavy tribal-influenced pounding and clacking of drum sticks. The only instrument used more often was the voice—something every band member contributed at one point, whether it was singing or shouting during the climactic breakdown of the energetic “Sun Hands.”

I’ve written before that the Local Natives are a mellifluous harmony-driven group. After seeing them perform live, that almost seems like an understatement. The band is a vocal group that performs like a small orchestra; a contemporary Zombies that might not be as pretty, but plays with more bite. Precise instrumentation—that comes in the form of a keyboard, bass, violin, and two guitars—mimics and riffs on the melodies sung by the band’s core of singers: the mustached and guitar-swinging Taylor Rice, the deftly reserved Ryan Hahn, and the bearded Kelcey Ayer with his seemingly whale-sized lungs.

Nearly every moment of the performance featured some sort of collaboration. During the band’s two best songs, “World News” and “Airplanes,” that collaboration was seamless with the various voices and instruments delivering a tightly woven tapestry of choral soul and marching band-sized percussion. Whether it was the cover of the Talking Heads’ “Warning Sign” or “Stranger Things”—which at one point was broken down to nothing but vocals and hand-clapping by all six musicians—the Local Natives delivered a clear vision of songs uniquely their own. – Everybody Taste

With:
Red Cortez || Listen
Swim Party || Listen
Rademacher

8:30pm / FREE / 21+

Wednesday 08.05.09: Club NME with THE CAPSHUNS / SHILOE / QUEEN KWONG / THE BIXBY KNOLLS

The Capshuns

Silver Lake quartet the Capshuns have been busy making new recordings in the Eagle Rock studio of producer Kiyoshi Graves, and a sneak preview reveals the same infectious, ’60s-influenced power pop that earned them a tour last year with Swedish lads Mando Diao. Well, that and maybe writing a cool song called “Swedish Lads,” which appeared on 2008’s “Made of Castles” EP. Songwriters Patrick Thomas and Ryan Herbert cultivate an affection for Britpop-style hooks, and this single makes me curious for what’s coming next. – Buzz Bands

With:
Shiloe || Listen
Queen Kwong || Listen
The Bixby Knolls

8:30pm / $5 / 21+

Monday 08.03.09: Filter, Aquarium Drunkard & KROQ Locals Only Present: Monday Residency with LOCAL NATIVES / THE UNION LINE / THE OUTLINE / WE BARBARIANS

Local Natives || Listen || Watch

If Win Butler ever sets aside his well-worn copy of Born to Run and starts obsessing over Remain in Light-era Talking Heads, Local Natives might have cause to sue for royalties—the rippling waves of nervy New Wave, jittery tinges of world music and the cascading crush of wild-hearted rock ‘n roll generated by the L.A. six-piece on Monday night hop-scotched from sonically referencing Byrne and Butler to skipping a few steps ahead in their own challenging and highly catchy direction, with songs like the sidewinding rumble of “Sun Hands” filling the extremely packed Silverlake Lounge with a sound that fused bluesy rock, vocal-heavy indie and an off-kilter and arresting brand of rhythmically-charged tribal pop.

In a performance that was by turns controlled and intricate, then frenzied and howling like a red state revival set to afropop and indie, Local Natives turned in an eclectic, energetic set that more than lived up to any ‘net-based hype (like this) while surely generating more (like this) with a sweaty and explosive stage show that married hooks and melodies to mad, genre-hopping pop freakouts (which, thanks to the band’s own sound man, sounded as pristine and clear as rock music can get in a venue like the sardine-canned Silverlake Lounge, which typically sounds muffled and muddy). If you like your concert reviews to count the negatives, I’ll say that they could’ve played longer than their brisk 35-minute set; however, seeing as how Local Natives have a whole month to make their case, there’s nothing wrong with a succinct opening statement when your musical argument is as good as theirs. – Web In Front

With:
The Union Line
The Outline || Listen
We Barbarians || Listen

8:30pm / FREE / 21+

Saturday 08.08.09: SATURDAYS OFF THE 405 with THE DODOS / DJ TURQUOISE WISDOM @ Getty Center Courtyard

The Dodos || Listen

The Dodo’s were the lone support band and are another act to appear out of nowhere in 2008. Their Visiter album was a revelation and definitely the best example of combining african and indie rhythms from the recent crop of releases trading in that area. As a three piece they conjured up a tight and fierce sound with driving intertwined polyrhythms and percussive guitar. The vocals of Meric Long soared urgently and melodically over the coordinated racket though the soundman could have brought his voice more to the fore in the mix. On songs like ‘Fools’ The Dodos showed they could combine the chiming vocals with clockwork drums and folky blues guitar to capture the audience’s attention. I’m sure many would have been checking out the Dodos online the next day. – Doubtful Sounds

With:
DJ Turquoise Wisdom

Getty Center Courtyard
1200 Getty Drive
Los Angeles, CA 90049

7pm / FREE / all ages

Saturday 08.29.09: THE WARLOCKS / THE USELESS KEYS / THE BLACK APPLES

The Warlocks || Listen || Watch

However, what you and I may consider to be average would be a million miles away from Hecksher and co., as song titles like ‘Standing Between The Lovers Of Hell’ and ‘There Is A Formula To Your Despair’ suggest. With the current shoegaze revival in full swing, they’ve probably chosen the right time to unleash The Mirror Explodes, although one accusation no one could ever level at The Warlocks would be to brand them as calculated mercenaries; far from it in fact, as their refusal to build on the (near) commercial success of album number two Phoenix seven years ago evidently demonstrates.

Despite their being a more mellow aura throughout the record, there’s still a gnawing level of intensity, not to mention the band’s legendary three-guitar assault. New bassist Jana Risher also brings a more dominant, brooding kind of menace to their already cataleptic sound, transforming the aforementioned ‘Standing Between The Lovers Of Hell’ and closing epic ‘Static Eyes’ into orgasmic trance-like epilogues that shift between drone and dirge effortlessly.

Gone are the days when songs like ‘Baby Blue’ or ‘Hurricane Heart Attack’ could be considered radio-friendly in a perverse parallel universe. None of the eight pieces of music here fit into that vein in any way shape or form. ‘Red Camera’ and ‘Slowly Disappearing’ both evoke morbid fantasies (or should that be nightmares?) yet prove richly engaging, while the penultimate surge of ‘Frequency Meltdown’ – the now customary instrumental jam that The Warlocks include on nearly all of their albums – is possibly their most incisive to date, a swirling six-minute opus that mixes Sound Of Confusion-era Spacemen 3 dynamics with a structure reminiscent of the first Doors record. That this record will probably go largely ignored by many is rather sad. Though no longer flavour of the month in ‘cool’ circles, as far as The Warlocks are concerned it’s business as usual, and The Mirror Explodes is up there with their finest works to date. – Drowned in Sound

With:
The Useless Keys || Listen
The Black Apples

Get tickets for both Warlock shows below at Ticketweb for only $20

8:30pm / $12 / 21+

Friday 08.28.09: THE WARLOCKS / THE MORNING AFTER GIRLS / GLISS

The Warlocks || Listen || Watch

However, what you and I may consider to be average would be a million miles away from Hecksher and co., as song titles like ‘Standing Between The Lovers Of Hell’ and ‘There Is A Formula To Your Despair’ suggest. With the current shoegaze revival in full swing, they’ve probably chosen the right time to unleash The Mirror Explodes, although one accusation no one could ever level at The Warlocks would be to brand them as calculated mercenaries; far from it in fact, as their refusal to build on the (near) commercial success of album number two Phoenix seven years ago evidently demonstrates.

Despite their being a more mellow aura throughout the record, there’s still a gnawing level of intensity, not to mention the band’s legendary three-guitar assault. New bassist Jana Risher also brings a more dominant, brooding kind of menace to their already cataleptic sound, transforming the aforementioned ‘Standing Between The Lovers Of Hell’ and closing epic ‘Static Eyes’ into orgasmic trance-like epilogues that shift between drone and dirge effortlessly.

Gone are the days when songs like ‘Baby Blue’ or ‘Hurricane Heart Attack’ could be considered radio-friendly in a perverse parallel universe. None of the eight pieces of music here fit into that vein in any way shape or form. ‘Red Camera’ and ‘Slowly Disappearing’ both evoke morbid fantasies (or should that be nightmares?) yet prove richly engaging, while the penultimate surge of ‘Frequency Meltdown’ – the now customary instrumental jam that The Warlocks include on nearly all of their albums – is possibly their most incisive to date, a swirling six-minute opus that mixes Sound Of Confusion-era Spacemen 3 dynamics with a structure reminiscent of the first Doors record. That this record will probably go largely ignored by many is rather sad. Though no longer flavour of the month in ‘cool’ circles, as far as The Warlocks are concerned it’s business as usual, and The Mirror Explodes is up there with their finest works to date. – Drowned in Sound

With:
The Morning After Girls || Listen
Gliss || Listen

Get tickets for both Warlock shows below at Ticketweb for only $20

8:30pm / $12 / 21+

Sunday 08.16.09: HellYa! Night with THE MONOLATORS / ALASKAN SUMMER / SCARLET SYMPHONY / TANDEMORO

The Monolators || Listen || Watch

Doing their best to find the Venn Diagram intersection between Buddy Holly, Jonathan Richman, and, say, Win Butler is the L.A.-based quintet the Monolators, all the while skating somewhere along that fine line that (sometimes) separates garage rock from indie pop. Backed by speeded up, bottom-heavy Cricket rhythms, vocalist Eli Chartkoff here employs an endearing sort of yelling/singing to express the defiant disappointment of the unlucky in love.

Keeping this from becoming just another edgy bit of indie angst is the band’s forcefully choreographed primitivism, driven by tom-toms, handclaps, a feverish bass line, and reverb-laced guitar squawks. As a group they never stray too far from their inner Buddy Holly: check out how the 30-second instrumental break in the center of the song (beginning at 1:13) begins with the band flying in different directions only to coalesce (1:31) into full Cricket mode. These are some of rock’n'roll’s most primal rhythms. They still work because they never stopped working; we just sometimes stop paying attention. This is song is less homage than reminder.

The Monolators began life in 2002 as a trio, stripped down at one point to a husband-wife duo (Eli and his wife Mary), and now appear to be a five-piece. You’ll find “I Must Be Dreaming” on the CD Don’t Dance, the band’s third, which was released this past fall. – Fingertips Music

With:
Alaskan Summer || Listen
Scarlet Symphony || Listen
Tandemoro || Listen

8:30pm / FREE / 21+

Saturday 08.15.09: Aquarium Drunkard presents LE SWITCH / ROADSIDE GRAVES / WORLD RECORD / FLASHING RED LIGHTS

Le Switch || Listen

Aaron Kyle sings as if he’s never five minutes from his last whiskey, or five minutes from his next, occasionally lurching into a down-deep growl you wouldn’t think could come from an angular white dude in a collared shirt and old browline spectacles.

But it’s that voice, and the woeful tales it conveys, that have endeared L.A. fans to the distinctly vintage soul-pop of Le Switch. “We’re not the fashion police,” Kyle says. “I think if you write a good song, people are going to respond, no matter whether it’s gonna end up in Vice magazine. Besides, I’d trade soul for cool any day.”

Le Switch’s sound, which nods to the likes of Leon Russell, Dr. John and Randy Newman, first began to take shape when Kyle fell in with drummer Joe Napolitano in 2005. Maria DeLuca (trumpet, viola, vocals) joined next, and by the time keyboardist Josh Charney and bassist Christopher Harrison had come on board, Kyle was eager to “make the Leon Russell or Harry Nilsson album we wanted to make,” he says. “Everybody in this band listens to a huge assortment of ’60s and ’70s music — there’s not a lot of new music I can drive with.” – LA Times

With:
The Roadside Graves || Listen
The World Record || Listen
Flashing Red Lights || Listen

8:30pm / $8 adv, $10 doors / 21+

Tuesday 08.04.09: SEXTUS / THE SHORE / IO PERRY / RED CAR / THE HOLLISTON STOPS / GARLAND

Sextus || Watch

So is it worth the wait? Well mostly yes. The guitar work is outstanding and is reminicent of Imperial Drag for sure. I felt the album builds up a bit too slowly, albeit dramatically. The opening intro, brings to mind heavier guitar rock of Steve Hackett or even Yngwie Malmsteen. The point being, you play this music loud. “Wild To Make You Mine” is the most Imperial Drag-like, full of intricate guitar flourishes and layered solos and vocals. This can backfire a bit on “Mystery of O” which sounds like a mashup of both Queen and The Propellerheads. It’s not bad, but so dense with sonic detail, we lose the vocals and melody at times. Mid way through the album it hits it’s stride with the awesome “On The Freak Side” and becomes a real R-rated adventure with “Tricki Tina.” The gems are sprinkled throughout with “Break of Morning” and the raunchy “Ballmi” (Yes, it’s exactly what you think it is). The lyrical wordplay here would make even Prince blush. So overall, Sextus lives up to his name (don’t play this around the kiddies) and fans of Jellyfish, or Imperial Drag will lick it up. – Powerpop-a-holic

With:
The Shore
IO Perry || Listen
Redcar || Listen
The Holliston Stops
Garland

8:30pm / $8 / 21+

Saturday 08.08.09: CASIOKIDS / THE WAVE PICTURES / SLOW CLUB

Casiokids || Listen || Watch

I always say, if you want some enormously danceable, minimalist Afro-funk and space-disco (with a donk on it), then you need to reach out to beardy Norwegians, for it is only they who are capable of making records as brilliantly lunatic as this. For a start, it’s entirely instrumental; for another start, it is propelled along its golden path by the single greatest synth noise in the history of electricity and wires; and, for a third start, it’s all over in less than three minutes. Everything lovable about popular music is here and it has a video to accompany it that is both mentally compelling and sort of hilarious. Casiokids: you rule in all sorts of wonderful new ways. – The Guardian UK

With:
The Wave Pictures || Listen
Slow Club

8:30pm / $8 adv, $10 doors / 21+

Friday 08.07.09: THE BLACK HEART PROCESSION / CIRCUS MINOR / THIS IS NOT MY LIFE

The Black Heart Procession || Listen

San Diego’s Black Heart Procession traffics in spectral, timeless music; it could be the audio backdrop for Edgar Allen Poe’s “The Tell-Tale Heart,” the score to a Fritz Lang silent film, or the soundtrack to some post-apocalyptic landscape. Since their debut, 1, in 1998, Black Heart has been steadily filling out their sound, which seemed initially constructed of nothing more than ghostly synth washes, reductive basslines, saw moans, keyboards, and singer Pall A. Jenkins’ yearning vocals (their second record, 1999′s 2, was almost percussion free). By 2002′s murder mystery narrative, Amore del Tropico, Black Heart had added a Latin twist and varied the funereal pace of their earlier records by emphasizing the guitars and punching up some songs until they practically rocked. Amore’s greatest conceit was sustaining Black Heart’s essence while adding layers of additional sonic textures from a host of contributing musicians. But Amore proved difficult to replicate live, so Black Heart’s co-founders and main songwriters — Jenkins and multi-instrumentalist Tobias Nathaniel — trimmed the contributing roster for the next record, leaving only themselves, drummer Joe Plummer (Magic Magicians, Modest Mouse) and Album Leaf members Jimmy LaValle (bass) and Matt Resovich (violin) to concoct The Spell together as a band. While such a shift could have signaled a return to pre-Amore minimalist sonics, The Spell is instead a pitch-perfect blend of Black Heart past and present, and a recording as accomplished as any that navigates similarly dark seas. – All Music Guide

With:
Circus Minor || Listen
This Is Not My Life

8:30pm / $15 / 21+