Kenneth Pattengale @ Hotel Cafe 11/25/09

As published by LA RECORD:

Where a twentysomething white kid from almost-suburban small town Eagle Rock got the soul of an old Delta blues player is anyone's guess. Kenneth Pattengale displayed his love of traditional American music combining elements of blues, Tom Waits, and good ol' fashioned country & western at Hotel Café Nov. 25. The show kicked off a monthlong residency celebrating the release of his seventh album, Speak!, and pulled in a decent size crowd—though Butch Walker held the headline spot that night, those ticketholders had to wait outside until Kenneth cleared the stage before allowed into the venue. With a five-piece band featuring fiddle, upright bass, accordion/keys, acoustic guitar and lap steel guitar (and sometimes percussion provided by Kenneth's stomping foot), Kenneth delivered impassioned vocals recalling Tom Waits, Bob Dylan, and at times even Louis Armstrong. His music has an Americana feel without the mama-ran-off-with-my-brother-in-law lyrics, instead telling uplifting stories such as his dream of always wanting a daughter. "I feel like I'm trying to rush through this set," he said toward the end of the show, knowing there was a full queue outside awaiting entrance for the next act. "That is the wrong approach. I should revel in my time up here." You can experience the revelry at the official record release show Dec. 2, at noon Dec. 5 for an interview and live performance on KCRW, and throughout the month during his residency at Hotel Café. A free copy of Speak! will be given out at every performance.

—Linda Rapka

Jason Falkner @ Spaceland 11/7/09

As published by LA Record:

It’s no secret I have a bias when it comes to Jason Falkner. As webmistress of the powerpop master’s unofficial website for the past eight years and having attended nearly all of his L.A. shows within that span, I consider myself something of a Falkner connoisseur. It’s a harrowing task having to review one of your favorite artists, because you actually have more of a propensity to critique them. There’s no wiggle room; I know full well when Jason is in top form, and when he’s not. What’s more, since Jason spends most of his time producing (just this year he’s completed records with cult favorite Daniel Johnston, Dutch artist Anne Soldaat and put out his own self-produced album, All Quiet on the Noise Floor), he only plays a handful of shows any given year — most of which are in Japan, to the vexation of his loyal local following. An L.A. show has become something of a sacred event, so it was no surprise that Saturday’s sold-out show at Spaceland was as packed as I’ve ever seen. Opener buzz artist Nico Stai pulled in quite a draw and primed the crowd with his no nonsense rockage.

Admittedly, I was nervous when Jason took to the stage, knowing that as a working reporter for the evening I had to be brutally honest, no matter what. A third of the way through opening song “Honey” from his sophomore album Can You Still Feel?, I knew I need not fear a thing. The band was the tightest I’ve heard in nearly a decade. Jason is known for an ever-revolving roster of backing band mates (save for steadfast drummer Petur Smith, who’s commanded the kit since 2005), but this time all familiar faces graced the stage with guitarist Andy Blunda, who joined on last year, and bassist Jeff Lee from the 2005 lineup along with Smith. But it wasn’t just about the band. Unabashed about hitting those album-perfect high notes on the vocals and delivering guitar solos with abandon, Jason gave a rejuvenating performance compared to his more cautiously subdued performances of recent years—as noted after the show by his brother Ryan (aka Beck’s spazzo dance man, Juice). The set was chock full of goodies off his new album, which is currently only available as a Japanese import. Tunes like “Emotion Machine,” “Evangeline” and “Counting Sheep” seemed already familiar to plenty of audience members, as did Be Bop Deluxe cover “Jet Silver and the Dolls of Venus” and resurrected early ’90s demo “My Home is Not a House” from his days with The Grays (Jon Brion, Buddy Judge, Dan McCarroll). He also pulled out rarely performed chestnuts “Hectified” from his 1996 debut Author Unknown and “The Plan” from his sophomore 1999 release. Upon his return from a brief tour of Japan and Shanghai, Jason plans another L.A. appearance at the Echo in December. Take it from me, bias notwithstanding, it will be a good one.

—Linda Rapka

Jarvis Cocker @ the Wiltern 7/27/09

As published by LA RECORD:


I have seen the true King of Pop, and he’s not much like Michael Jackson — although they did once cross paths at the 1996 BRIT Awards when Jackson did his best to impersonate Jesus Christ during a performance of his “Earth Song,” and Jarvis Cocker and Pulp mate Peter Mansell stormed the stage. (Jarvis repeatedly shook his bum at Jackson and was later detained by police on suspicion of assault. He was never charged.) In his first proper L.A. concert since playing Coachella two years ago, Jarvis proved his monarchical status at the Wiltern on July 27. With not one Pulp tune for safety, Jarvis culled the set entirely from his own solo library, relying heavily on recently released sophomore album Further Complications—including the Stooges-inspired “Angela,” the purely joyful rocker “Further Complications” and the sax-driven “Homewrecker!” And he reached all the way back to 2007 with songs off his debut Jarvis for the swaggering pop perfection of “Don’t Let Him Waste Your Time,” the deliciously “Crimson and Clover”-like “Black Magic” and the punk-thrasher “Fat Children.” As a dancer, he’s peerless, though he ain’t no moonwalker: Jarvis jerked about his freakishly long limbs with stone-cold geeky conviction. The band sounded so good and brought such a euphoric new dimension to the tracks that I couldn’t even hate Loud Drunk Guy behind me. He drowned out Jarv’s between-song quips with declarative bellowing. (“Stella makes you get in a FIGHT!” “Come ON, Jar-vis!” “Homewrecker!!!”) But anyone who sings along to Jarvis song—every single one, mind you—with such passion has to be a good guy, right? Jarv closed out the show out with “You’re in My Eyes (Discosong),” the final track off the new record, which was augmented by an actual disco ball shooting wondrous flickers of light into the audience. (P.S. I don’t know what the guy from the Weekly is talking about, saying the audience was not familiar with the material. Everyone around me—dead center in the pit—was singing along. If you don’t believe me, just ask L.D.G.)

—Linda Rapka

PJ Harvey & John Parish @ the Wiltern 6/27/09

My review as published by LA RECORD:

Polly Jean Harvey reaffirmed her undeniable prowess with sometime collaborator John Parish at the Wiltern Saturday night. Possessing a mystique and attitude far greater than her slight stature suggests, PJ carried the show with her dominating vocals, which were accentuated by irreverent movements clearly powered by the thralls of performance ecstasy. Everything about the stage set-up informed the audience that we were witnessing more than a mere rock show—instead, an event of theatric proportions. Similarly dressed from head to toe in sophisticated black, the band fused together into a singular unit. Each song was a world of its own, a point driven home by curtain-call-closing-lights-out after each and every song, followed by bows from each member of the band. PJ's back-and-forth between sporadic spoken word, angelic coo and primal scream worked particularly well with the current band setup, and especially with the backing music of John Parish. Thirteen years after their last collaboration, the pair took on a separate-but-equal approach to the recently released A Woman A Man Walked By, with Parish composing all the music and Harvey writing all lyrics. Even the weakest moments on the album — the unsexy barking of "I want your fucking ass!" on "April," the meandering melody of "Cracks in the Canvas" — commanded full attention in live form. The stellar standout performances of "Black Hearted Love," "The Chair" and "Leaving California" solidified that the pair's collaboration works best live.

—Linda Rapka

Ratatat @ the Palladium 4/4/09

Photo by Tim Drummond


As published by LA Record:


Having seen New York’s rock-driven electronic powerhouse Ratatat seven times (and counting), I’ve come to expect nothing short of greatness from guitarist Mike Stroud and bassist/synthman Evan Mast. No surprises at this show; the duo delivered their usual rock solid, booty-grinding performance. The Palladium, having recently undergone yet another renovation, is becoming an increasingly annoying venue (bag checks and full-body pat downs, seriously?). Regular concertgoers and press alike were subject to impolite security restricting floor access even to those of us with appropriate wristbands. But if you’re not averse to chatting up heavyset men in yellow jackets, you’ll end up having a good time in front of the stage. Before Ratatat delivered their highly anticipated set, the crowd suffered through the ridiculous white-boy rapping of Despot (“I eat donuts with grown-ups”… wha?) and was growing increasingly impatient during Tussle’s tepid not-so-experimental electronic set, the end of which was droned out by ravenous chants of “RATATAT! RATATAT!” from die-hards on the floor.

Gracing the stage a full half-hour late, the duo proved worth the wait. They started strong with the bombastic “Shiller” off their latest album, LP3, and never let up. The audience was almost as interesting as the show itself—mistaking the Palladium for Coachella Valley, a mysterious dude with an endless supply of water bottles wandered through the crowd squirting liquid into the gaping mouths of people apparently unconcerned with what else might be contained within the free water. Ratatat delivered favorites like “Crips” and “Loud Pipes” from their 2004 self-titled debut, “Wildcat” and “Lex” from their sophomore release Classics, and “Mirando” and “Shempi” from their latest. The set was full of material old and new—“full” being the operative word. My feet were shrieking bloody murder by the end of the looooong hour-and-a-half set, and by the time “17 Years” exploded from the stage, I was ecstatic—not only because it’s my fave Ratatat tune, but because it always signals the end of the show.

The Raconteurs @ the Greek 9/22/08

As published by LA Record:

Southern flavored ’70s-style rock was the order of the evening when the Raconteurs played the Greek last Monday, the first of their pair of shows at the outdoor hilltop venue. Sitting underneath the stars on the first autumn night of the year with gritty, rootsy blues rock wafting through the air, it felt like we’d been transported to the band’s home base of Nashville — all that was missing was a bonfire. (Though probably not the best idea in the tinder town that is Griffith Park.) Jack White, the undeniable star of the band, has a stage presence so big it’s amazing anyone else can share the same space. Fellow axeman Brendan Benson’s reserved nature served as a perfect complement to White’s blistering guitar, which didn’t spend too much time apart from the pitch shifter and “talking guitar” distortion pedals. The band’s other half — bass- and banjo-wielding Jack Lawrence and drummer Patrick Keeler, both members of garage revivalists the Greenhornes — held their own along with newcomer Mark Watrous taking over on keys and fiddle as member number five on this tour. The band was tight and the sound was perfect — kept at an ear-friendly 95 decibels by decree of the Greek — and though many of the tunes off the band’s latest release Consolers of the Lonely sound pretty much the same, that sameness was well enjoyed when infused with the energy of a live performance. When introducing “Steady, As She Goes,” White jested that the song “was a big hit for us in 1974.” If I hadn’t known better, I wouldn’t have got the joke. The band would be right at home amidst the many blues-tinged rock groups splashed on the cover of Rolling Stone that year.

—Linda Rapka

Ratatat @ the Henry Fonda 9/10/08

As published by LA RECORD:

"Bodies in motion" can best describe the packed house as New York’s energetic electronic/synth instrumental powerhouse Ratatat took over the stage on night two of their double-play at the Henry Fonda. Guitarist Mike Stroud and bassist/synthman Evan Mast have amassed a formidable following over the past few years by driving massive guitar riffs and fuzzy bass lines over synth-based, tape-looped beats. Incrementally adding band members to each tour, an all-time high of four musicians shared the stage, with additional bodies appearing behind drums and extra synths. Once again the lineup included human perpetual motion machine Jacob Morris, whose upper extremities (massive-fro topped head included) have been flailing about with wild intensity throughout entire Ratatat sets the past several tours. The extra manpower on stage added a valuable element to the duo’s already amazing live shows, which only show to profit from the use of real instruments over pre-recorded sounds. The energy of the four musicians seemed to rub off on the crowd, which jumped up and down in a collective human blob up until the very last note, expelling the occasional unified outburst when familiar songs from previous albums such as “Wildcat,” “Lex” and “Loud Pipes” were played. The visual portion of the show included background projections of the music videos for each track, featuring new ones off the band’s fifth, more dance-oriented release (third album proper not counting Ratatat’s two hip-hop remix albums), “LP3.” Notable new videos included “Miranda,” mixing scenes from a hackneyed Schwarzenegger flick with visuals of people catching on fire and exploding and flying hundreds of feet into the air all in perfect synch with the music, and “Flynn” showing the ridiculous Paul Simon 1986 music video “You Can Call Me Al” featuring none other than Chevy Chase.

-Linda Rapka

Eric Idle's "Not the Messiah" @ the Hollywood Bowl

Eric Idle Still a Very Naughty Boy

Monty Python legend teams up again with John Du Prez
for first-ever comic oratorio 'Not the Messiah'

by Linda Rapka, Overture Managing Editor


For something indeed completely different, Monty Python star Eric Idle and longtime collaborator John Du Prez presented the first-ever comic oratorio, "Not the Messiah (He's a Very Naughty Boy)," which made its West Coast premiere at the Hollywood Bowl Aug. 1 and Aug. 2.

Making an unlikely pair of Handel's holy oratorio "Messiah" and '70s cult Python film "Life of Brian," the satire on classic oratorio form features Idle as narrator and self-proclaimed "bariton-ish" vocalist joined onstage by Du Prez and soprano Shannon Mercer, mezzo-soprano Jean Stilwell, tenor William Ferguson and baritone Theodore Baerg, as well as the Los Angeles Philharmonic, Pacific Chorale, Los Angeles Scots Pipe Band – along with the occasional singing sheep, kilted bagpiper and keyboard-operated leaf blower.

Idle and Du Prez began their collaboration 30 years ago with "Life of Brian." In the wake of the success of the hit musical "Spamalot," the pair comes full circle with their new madcap musical satire, which premiered in 2007 and has since traveled the globe.

"Not the Messiah" revives the story of Brian Cohen, a Jewish boy born a few mangers down from Jesus who is mistaken for the Messiah. The original spoof of the New Testament caused an uproar when it was released for its lampooning of organized religion. "Not the Messiah" adds another layer with a jab against the current U.S. administration: this time around Brian joins not the anti-Roman People's Front of Judea, but a mob of ancient power-seeking Republicans.

The score consists mainly of new material composed by Du Prez, though there were no shortage of Python references. The show commenced with Sousa's "The Liberty Bell (the familiar theme to "Monty Python's Flying Circus"), gave a wink wink, nudge nudge to the classic "Lumberjack Song" and nodded to a line in the team's first film "The Meaning of Life" with the tune "O God You are So Big," ending appropriately with a fireworks and bagpipes singalong to "Life of Brian's" unforgettable closing number sung by Idle as he lay hanging upon a crucifix, "Always Look on the Bright Side of Life."

The rest of the score is a formidable pastiche of practically every musical genre under the sun: doo-wop, gospel, Baroque, pop, country and western, Broadway, Welsh hymns, hip hop, Greek chorus and mariachi, with Idle consistently throwing surprising tidbits into the mix. "Hail to the Shoe!", a spoof of Handel's "Hallelujah," has Idle beatboxing like a rap star, and "Individuals" takes an unexpected turn when he appears onstage in full-on Bob Dylan regalia replete with acoustic guitar, harmonica, and indiscernible mumbled speech.

With Brian and Judith's duet simulating an orgasm gone Baroque and the revealing of Brian's mum's not-so-chaste past, "Not the Messiah" proves at times to be a bit naughty. And while some of the pop culture references seem outdated and irrelevant, the timely allegorical warning against the unrestrained tyranny of a Republican-run government during one of the most heated Presidential campaigns in U.S. history makes up for it.

The jumbling of religion, politics and sex with comedy in "Not the Messiah" covers all the bases of contentious subject matter in a sure attempt by Idle to get the sparks of controversy flying, as so often happened in his Python days – proving he's still quite a very naughty boy himself.


Originally published by Professional Musicians, Local 47 Overture, September 2008 (download PDF).

Nick Lowe/Robyn Hitchcock @ the El Rey 4/11/08 (review)

As published by LA Record:

When I heard that Robyn Hitchcock was coming back to town as co-headliner with Nick Lowe at the El Rey, the first thing I did was cash in on my fabulous L.A. RECORD connections to score tickets. The second thing I did was miss his entire set. I arrived at 10 pm, which on a Friday night by L.A. standards is pretty damn prompt, to find that not only had Robyn come and gone, but I'd already even missed Nick Lowe's first couple of tunes. Not being all that familiar with Lowe's stuff – except of course for his standards "Cruel to Be Kind" and "(What's So Funny 'Bout) Peace, Love, and Understanding" – I disappointedly resigned myself to sit through his set and try to enjoy myself. After listening to him play a couple of tunes of just him and acoustic guitar, I was sure that was not going to happen. But as the evening wore on, I found myself increasingly entranced by the 50-something Englishman's simple yet heartfelt melodies and story-like lyrics of life and love. Though sponsored by Indie 103, it felt like more of a KCRW crowd, the audience comprising faux-hipsters in their late twenties who allowed their parents to tag along, all singing to every song, completely enamored with Lowe. The highlight for me was the encore, when both Lowe and Hitchcock took the stage together and performed a number of surprising old covers, including the little-known 1963 tune "Hungry For Love" by Johnny Kidd & the Pirates, "Peggy Sue" by Buddy Holly and the Beatles' "If I Fell." (LL)

L.A. Record Player #1 @ Charlie O's 10/11/07

As published in L.A. Record:

An astrologer told L.A. RECORD's Phil Hoelting that he shouldn’t be a writer—instead, he should focus on producing events. Phil, though you know I love your brilliant words, I must say that your astrologer is on to something. Phil organized the first-ever L.A. RECORD Player night at Charlie O’s, and the event—taking place on the bottom floor of downtown’s historic, haunted Alexandria Hotel, featuring a killer line-up of Long Beach’s finest, and, importantly, offering $2 PBRs all night long (of which I was a most willing partaker)–could not have been more awesome. I arrived a little late, unfortunately missing Blank Blue (Nobody and Niki Randa and drummer Andreas). But sweet Jesus—Crystal Antlers more than made up for my tardiness. It’s pretty much useless to try to sum up their genius in words, as they are an act that MUST be experienced live, but here goes: possessed with an inexplicable energy at once manic and controlled, the band’s hypercharged garage-y soul blends insanity with melody in a way only an ensemble comprised of two keyboardists (one of which was Mars Volta’s Ikey Owens) and two drummers could…and they’re quite possibly the only band who could get me to venture outside of my Silver Lake/Echo Park/Hollywood bubble to catch a show way out in Long Beach. Closing out the evening were Free Moral Agents, also featuring Owens, who threw it down hard with droney trip/hip hop-laden funky soul-filled soundscapes. I don’t recall much after this, as I meandered a few blocks down to the now-closed speakeasy that’s doomed to become the future site of a gas station or parking garage. But this much I know: the night was nothing but good times. (LL)

Eagle Rock Music Festival (preview) 10/6/07

As previewed for L.A. Record:

Putting the local back in local music fest, the Eagle Rock Music Festival features 40 northeast Los Angeles bands with a lineup as eclectic as the communities from which they hail. Curated by the Center for the Arts and now in its 9th year, the fest will present two main stages of global and indie music, along with more than 12 other venues hosting an array of artists spanning every musical genre known to man and hipster. On the Emerging Main Stage will be Highland Park indies the Monolators, Bodies of Water, and Teddy’s Cheer Club as well as L.A. favorites the Pity Party, Cambodian/modern pop fusionists Dengue Fever, and the impossibly energetic Under the Influence of Giants. Grammy-nominated Latin jazz artist Chuchito Valdés will grace the Global Stage, flying in all the way from Cancun as one of the evening’s only non-local performers. Also up on the world stage are Eagle Rock’s jazz/funk fusion quartet Tuesday Night Squad, Parisian chanteuse Jessica Fichot, and hip hop/reggae soulsters Black Shakespeare. The other 12 venues will host punk (the Mormons, the Mama Suki, Virginia City Revival), dub and IDM (Ded Pigeons, Dub 8), hard rock (the Front, DC4), experimental (Hecuba, weyou., Mia Doi Todd/Andres Renteria), psychobilly (the Curs), tropical folk-pop (Princeton), flamenco (Rondalla Club of L.A.), zydeco (Bennie & the Swamp Gators), interactive metal percussion (GLANK), and a reggae ice-cream truck (INI Sound System). In addition to the insane amount of music, other entertainment will include belly dancing, spoken word, martial arts demonstrations, sound and puppetry shows, capoeira arts, and hoop dancing. Get ready for a wonderful evening of neighborly camaraderie… that is, if you’re not going to that other festival. (LL)

Subhumans @ Knitting Factory 9/4/07 (review)

As published in L.A. Record:

Arriving at the sold-out Subhumans show last night already donning no fewer than 20 bruises on my person before the show even began (Labor Day weekend in Havasu, need I say more?), I figured not much more harm could be done and positioned myself in the pit. The band originally formed in England in 1980 and sounded as tight and angst-ridden as ever, confirming their status in the upper echelon of punk. The setlist was mainly culled from the band's early archive with favorites like "I Don't Wanna Die," "Drugs of Youth," "Peroxide," "Mickey Mouse is Dead" and "Subvert City" with singer Dick Lucas offering mini tirades in his nearly unintelligible cockney accent between songs, mostly deriding the superficiality and laziness so prevalent in our fair city. My personal highlights from the show were "Rats" off the EP of same name and "I Don't Wanna Die" from their full-length 1982 debut, a song which has always sounded best live. Though the songs were recorded before most of the all-ages audience was born, a majority of the pierced and spiky heads knew every single word, proving that kids today really are capable of appreciating good shit. They closed out their set with the powerful "Religious Wars," inciting ridiculously stupid crowd dives off the balcony and intensifying the vigorousness of the pit slamming to its pique. Amazingly, and somewhat perplexingly, I went home with only as many bruises as I arrived with. (LL)

No Age, Moris Tepper @ the Troub 8/23/07

As published in L.A. Record:

Local duo No Age is what the early Velvet Underground would've sounded like if Lou Reed were a happy punker (just try and listen to the rhythm of "Everybody's Down" and not think of VU). Guitarist Randy Randall and singer/drummer Dean Spunt blast LOUD, raw, enthusiastic, experimental punk rockage fused with melodic pop, using fuzzed-out guitars over incessantly pounding drums with layer upon layer of cymbal crashes and feedback loops and angst-ridden lyrical mantras like "Well, I hate you/ I hate you/my life's alright without you" and "Everybody's down/every soul in every town/everybody's got me going oooh-ahhh ooh-ahh ooh-ahh oooh," and yes, I realize this is a run-on sentence, but it pretty much sums up the intense whirlwind feel of a No Age show. Though the Troubadour crowd is notorious for exploring how motionless it can be at any given time, expect to see manic crowd surfing at any other venue No Age plays. As for the evening's openers: I completely missed the Mae Shi (sorry guys) and Moris Tepper, whom I try to see at every opportunity, was amazingly kick-ass as expected, though I missed (damnit!) all but the three last songs.

Strawberry Alarm Clock @ the Pig and Whistle 8/1/07

As published in L.A. Record:

At the sunshine-pop end of the psychedelic spectrum, '60s legends Strawberry Alarm Clock played in the cozy backroom of the Pig 'n Whistle in Hollywood at the Mods & Rockers closing-night party presented by the American Cinematheque. The band originally formed in Glendale in 1967, landing a chart-topping hit with the charmingly upbeat "Incense & Peppermints" and going through more line-up changes than any other band in history before calling it quits four years later. Though various members briefly reunited and toured in the '80s, the lineup this eve included five original members with the addition of one new guitar player. Not phased by the venue's obligatory technical sound problems, the band proved that they were no mere one-hit wonders, kicking things off the right way with "Tomorrow," followed by rockin' renditions of "Paxton's Back Street Carnival," "Sit With The Guru" and, of course, "Incense & Peppermints." Their gear was as impressive as their performance: George Bunnell's 1962 pre-CBS Fender Precision bass immediately caught my eye, which incidentally he later mentioned was purchased as a throwaway from John Entwistle's bass collection for a paltry $400 in the '70s. I must also mention that I really fucking love this town. Only in Hollywood would I bump into some long-lost buttrocker friends strung out on speedballs in a room full of aging hippies listening to a live performance of "Rainy Day Mushroom Pillow"...

The Pity Party, Eskimohunter @ Spaceland 7/30/07

The Pity Party





Eskimohunter



As published in L.A. Record:

I have what some might describe as an unhealthy obsession with local duo The Pity Party, so when I heard they would be playing one of my favorite venues on my birthday, there was no question where I’d be celebrating my turning a quarter of a century old. After trying for a ridiculous 45 minutes to close out our tab at Red Lion, we rushed over to Spaceland only to be met with an ENORMOUSLY long line at the valet. I had to check my palm pilot to make sure it was indeed a Monday night – I hadn’t seen a line that long since a Cold War Kids show a few months back. Since it was my birthday, I felt it gave me leeway to hop out of the car and leave my friends to deal with the parking madness while I ran in to enjoy the sounds of The Pity Party. Though I’ve seen them probably a dozen times, every single one of their performances still leaves me gaping in awe at their utter amazingness. Drumkit front and center, the lovely Heisenflei pulls triple-duty, playing drums and keys while managing the lead vocals, at some points even taking on percussion duties using a maraca as a drumstick. Alongside her, Maurice-Robert busts out gritty guitar riffs while providing supporting harmonies. Their experimental and refreshingly unique sound evocatively blends the artsy rawness of Nico-era Velvet Underground with surprisingly loud intensity for a two piece. I’m really glad that others are catching on– when they drove into “Dronebots and Peons for Eons and Eons” (my favorite track off their self-titled EP), half the crowd sang along with them. Too awesome. Up next was Eskimohunter, whose heavy fuzzy hooks, shoegazey organs, catchy melodies and amazing stage lighting were the perfect way to mellow out an increasingly intoxicated birthday girl.

Moris Tepper @ The Echo 7/16/07

As published in L.A. Record:

Holy god, Moris Tepper is my new hero. Though familiar to me as former guitarist of Captain Beefheart and colleague of PJ Harvey, Tom Waits, Robyn Hitchcock and Frank Black, I had never before heard his solo work. And to think I almost missed out on last night's show, nearly falling into a lame TV-induced coma on my couch. But thanks to my friend Keith, I was jolted back to the realm of the conscious upon receipt of an intriguing cellular text message: "are you going to the echo tonight? I saw him with beefheart the night I was born." Now I had no choice but to go, if not just to find out what the hell he was talking about.

Once I got there I was immediately transfixed by the amazing sounds coming from the stage – raw, impassioned and loud. Along with a phenomenal bass player and amazing drummer (whose names I regrettably didn’t catch), Moris' set flowed in and out of genres, from garagey punk to artsy blues rock to country and back again, executed with exceptional skill and precision.

After that beyond amazing set I finally heard the story behind the lovely text message that praise to God and all Creation got my ass to the show. After a Captain Beefheart show at the Whiskey one December night in 1980, Keith’s parents went happily home, only to leave again a short while later to the hospital and welcome their new baby into the world. Joyous an occasion as it was, they couldn't help but be somewhat bummed to have to give up their Beefheart tickets for the following night's show. So they gave their tickets to some friends along with an LP to be signed by the band. Transcribed with messages like "To the mother" and "Love over Reagan '80," it still hangs on their wall.

Os Mutantes @ the El Rey 7/13/07

As published in L.A. Record:

I must admit that I have a rather strong affinity for aging rockers from the psychedelic era. They always seem genuinely happy to still be making music, and '60s Brazilian tropicalia legends Os Mutantes were no exception at last Friday’s El Rey show. Having made a surprise return to the official Brazilian charts this year with their Top 40 hit "Balada do Louco" (a song originally released in 1972), the band returned to the States for their second-ever U.S. micro tour, playing just four dates.

Though original singer Rita Lee was absent, replaced by the very able Zélia Duncan, the rest of the band's founding members – adorable keyboardist Arnaldo Dias Baptista, his perma-grinned brother/guitarist Sérgio, and drummer Ronaldo Leme – were happy as could be, laughing and dancing throughout the entire set. Along with a handful of young musicians to round out the act, the entire Mutantes ensemble appeared to enjoy performing just as much as the audience enjoyed listening.

Admittedly, halfway during the show I grew increasingly anxious that all I’d be hearing from my favorite '60s band from Brazil were their still enjoyable but notably sub-par prog tunes from the early '70s. Thankfully, they were saving the good stuff for last, playing psychedelic favorites like "Baby," "Bat Macumba," and my very favorite Mutantes song, the fuzzed-out and highly tropicalia tinged "A Minha Menina," which they saved as the closing number before the encoures, as if just for me. And aside from the sloppily drunken guy behind me who kept slurring out loud complaints about how "that stupid fat ass security dude" was ruining his show by not allowing him to continue stumbling about all over the aisles in a vain attempt to dance, everyone at the show seemed to have a thoroughly delightful time.

Albert Hammond Jr. @ HOB 5/21/07

Squealing teens and Hollywood B-listers were in full force at the House of Blues for the solo stylings of Albert Hammond Jr. As published in L.A. Record:

The Strokes’ guitarist has built himself quite a following with the release of Yours to Keep, an album full of songs rejected by his bandmates. This is pretty surprising, since tunes like “In Transit” and “Everyone Gets a Star” would sound right at home on any given Strokes album. Sure, they’re more sunny, more radio friendly—but they still have a bit of a New York edge that keeps them from vaulting into emo, off-kilter vocals notwithstanding. Playing against a huge backdrop of the album’s cover art, the band seemed right at home amidst the tranquil, sun-kissed river scene with its flowers and bunnies—the perfect compliment to the light, poppy, carefree music. Though there’s nothing really innovative going on here, Hammond can write a damn catchy pop tune. As long as you’re not seeking out the Strokes, you should find him head-boppingly pleasant. And if he’s cool enough for Macaulay Culkin and Seth Green, he must be cool enough for you.

Dos @ The Smell 5/20/07

When I found out that Dos was coming to town, it was like when a little kid impatiently waiting for Christmas morning, when every passing second felt excruciatingly long. I got my first taste of Dos when I heard their haunting bass-only version of Billie Holiday's "Don't Explain" for the first time over a decade ago. A friend of mine in Georgia sent it to me as a Real Audio file, and aside from the song title I knew nothing about the people behind the song except that they were a married couple. Nearly a decade later, by sheer happenstance I was surfing through Mike Watt's website and happened upon some info on a side project of his called Dos. Lo and behold, it turned out to be the same duo. Mike Watt, Kira Roessler, two basses. That's it. Though it doesn’t sound like much, the musical energy sparked between the duo is nothing short of phenomenal. I was so excited that I even pitched to preview the show for L.A. Record, which I did.

Dos formed as Mike Watt's first-ever side project in 1985 during the days of The Minutemen, for whom Mike played bass. Earlier that year Black Flag opened for a few Minutemen shows, and Mike asked their bassist, Kira Roessler, if she'd be interested in jamming in a two-bass-only situation. When Minutemen frontman D. Boon tragically died in December of that year, Kira saw how important it was for the devastated Mike to keep playing, so they started jamming two-bass stuff and forming songs from the jams they'd previously done. The two bass lovers eventually became lovers themselves and married. Though they later divorced, the pair never abandoned Dos and have collaborated on and off to this day, playing scattered, far-and-few-between gigs. Feeling incredibly fortunate to have stumbled upon this one-off date, I'd been counting down the days until the show.

As expected, the duo's performance was amazing. The surprisingly large crowd gathered in a semi-circle surrounding the duo, who performed not on the stage in back, but on the main floor near the entrance. Kira was adorable as she hopped about the makeshift stage while Mike just stayed put, decidedly focusing all of his energy on his fat bass lines. After their set, they were sweet as could be, signing autographs and talking with fans. If you hear about another Dos show coming up, drop any plans you may already have and go see them.

Bedtime For Toys @ The Scene 5/19/07

When you go to a Bedtime For Toys show, you best bring your dancin' shoes. I missed the first two shows of their residency at The Scene but am sooo very glad I made it to this one. These Toys throw down a serious party. Skillfully blending synth funk, '80s, hip hop and rock topped with Marchelle's sultry vocals and Sam's blazing guitar riffs with Toussaint on keys and throwing down beats, Kenan soulfully pounding the skins and Jenni rockin the bass, BFT knows how to paaaaartay! Wounded Cougar (aka Beck's backing band) closed out the night, but BFT definitely stole the show.

I was hoping Sam would rock those leather pants to work today, but no dice...

Head Like a Kite @ Cinespace 5/8/07

As published at Losanjealous.com:

Dim Mak parties almost really do feel like the touch of death. Their outdated website tells you to RSVP, you have to wait in line though the place is empty, and even though door guy #1 is checking names, door guy #2 inevitably gives you shit and you end up having to sweet talk your way into getting in at the advertised price, leaving you mentally exhausted before you even get in the place. But nevermind all that. My last Dim Mak experience was atypically enjoyable, all because of two dudes from Seattle who actually give a damn about the art they’re putting out there.

Head Like a Kite (aka Dave Einmo with Trent Moorman) gave an inspired performance at Cinespace on one of their last dates of a month-long cross-country tour. A multimedia-phile’s dream, the duo churned out lush indie soundscapes infused with bright blipping beats, packing the stage tight with an insane amount of gear – a sampler, some synths, guitars, a drum kit as well as an electronic drum setup – while playing against a large-screen backdrop fielding Super 8 projections of Dave’s old home movies (“Look!” he laughed early during the set, “You can see my dad’s butt right…. now!”). They also encouraged audience participation by handing out party poppers before their set. And though the room wasn’t exactly packed – the Steve Aoki-loving scenesters opted to dance to 50 Cent next door – the band gave a stellar performance to their small but enthusiastic crowd.

When a band actually gives a damn about their performance and their audience (they myspaced each one of their buddies with personalized messages inviting them to shows in their town), that means something to me. Something big. And that’s exactly what I anticipate Head Like a Kite to become. Something big, something genuine, and something inspiring in the music scene, not only as a dope-ass band, but as an example of what more artists should strive to be.

Syd Barrett night @ Bordello 4/19/07

As published in L.A. Record:

I discovered Syd at the tender age of 12, having caught the tail-end of “Baby Lemonade” on KXLU. For a long time, I held him to be a treasured unknown, an obscure artist—my secret find. That is, of course, until I learned that he was the founder of Pink freakin’ Floyd. Bordello’s Syd night featured 20 local bands doing one song each; I arrived later than planned and was happy to find the place packed with fellow lovers of the peculiar genius, though unfortunately I had just missed Eleni Mandell (I hear she did a lovely rendition of “Feel” on the ukulele). The DJ blasted classic Syd tunes between bands, and I mean blasted – I needed my earplugs more in-between sets than when the bands were playing. The first band I caught was the hippyish Big Search, which performed a dead-on rendition of “The Scarecrow” off Piper at the Gates of Dawn. Up next were Mezzanine Owls with “No Good Trying.” Kicking off their performance by asking the audience, “So who loves Sid Vicious?!” the funnymen in Kennedy delivered a great disco version of “Gigolo Aunt,” and the cheeky buggers mixed in Dark Side of the Moon’s “Time” in the middle of it all. The Moon Upstairs performed a super-chill version of another Piper track, “Matilda Mother.” The Pity Party was up next, having just raced over from a gig earlier that evening. I didn’t think a Barrett song could get any spookier until I heard their hypnotizing version of “Baby Lemonade.” Hubcaps closed out the evening with a medley of “Lucy Leave,” “Candy and a Currant Bun” and “Interstellar Overdrive.”

The Fold's 10th Anniversary show w/ Silversun Pickups, The Pity Party, Castledoor 4/17/07

The Pity Party





Silversun Pickups

Photos by Brian Dreisbach


As published in L.A. Record:

The Silverlake Lounge was the hipster - er, rather, hip place to be last night for The Fold’s 10-Year Anniversary show at the Silverlake Lounge. The celebration featured performances by Fold staples The Pity Party, Castledoor, and, though it wasn’t much of a secret, "special guest" Silversun Pickups.

The Pity Party kicked things off the right way with a most awesome set of rawkage. For the uninitiated, Heisenflei and Maurice-Robert make up The Pity Party, or The Best Band in L.A. as I like to call them. With her drumkit set up front and center, the lovely Heisenflei pulled triple duty, furiously pounding the drums and keys while managing the lead vocals. Always in shorts and barefoot, witnessing Heisenflei’s lanky white legs stomp furiously around while her long fiery red curls fly about her face is quite a show in itself. As if this weren't entertaining enough to watch, Maurice-Robert churned out raw guitar riffs constantly tapping away at the plethora of pedals beneath his feet while providing screaming backing vox. The duo delivers an experimental and refreshingly unique sound to the indie rock milieu, evocatively blending the artsy rawness of Nico-era Velvet Underground with the punky sophistication of early Pixies with the loud intensity of Trail of Dead, featuring smart and inspired lyrics to boot. I always have way too much fun seeing them perform, and their extended 45-minute set was a treat.

Up next was Castledoor, whose six members could barely cram themselves onto the stage. Though Nate was quite the crowd pleaser and the entire band showed great energy and enthusiasm, I just couldn’t get into the band’s brand of hippie pop. With The Pity Party having just revved up the crowd to party mode, my friend Brian and I agreed that the cutesy set delivered by Castledoor should have been reserved for the opening slot.

It was approaching midnight, and by this point the place had completely filled up. I overheard as one unfortunate couple was denied entrance as the place had reached capacity. Ever so hopeful, the guy asked if they could wait outside to see if anybody left. Slowly shaking her head, the door girl replied, "No one’s going to leave."

By midnight everyone in the crowd had haphazardly compacting themselves into the first three feet from the stage awaiting the Silversun Pickups. It was great to see the band return to the stage where they honed their chops over the years. Frontman Brian Aubert lovingly commented, "It sounds just as shitty as ever up here!" They started their set by plowing into a sonic rendition of "Well Thought Out Twinkles." This was the first time I saw the band live (and yes, I am fully aware that as an Echo Park native there is no excuse for this, thank you) and I was so glad to catch them at the intimate Silverlake Lounge where I’d missed them about 4,749 times before.

Chris Guanlao attacked his kit so aggressively that the long jet-black mop on his head was entirely soaked by the third song. Man, this guy can fucking PLAY. I still don’t know how he managed to so effortlessly hit his crash hanging a good two feet over his head. Brian flailed about all over the stage all night while Nikki thumped at her bass keeping to her own little space. Sitting at the keys, Joe was hidden from my vantage point, but from the sounds of things he was rocking it hard.

Having just got off tour with Snow Patrol, the band surprised the audience by welcoming Pablo Wilson to the stage. Met with a typically tepid Silver Lake welcome, Brian urged the crowd to show some more love. "Come on guys, he came all the way from Scotland!" eliciting laughs and the appropriate level of applause. Slinging a guitar this eve, the Snow Patrol bassist joined in for a kickass version of "Lazy Eye" complete with heavy extended codas. This was apparently the very favorite song ever of the girl in back of me, as the song’s first few chords triggered her to plow through me and my friend (whose lovely photographs accompany these words) so she could dance in the front row, nearly knocking his pricey SLR to the floor. Luckily, disaster was averted and no ass-kicking was necessitated.

Brian thanked Fold proprietor Scott Sterling and shared the story of why Scott started The Fold a decade ago - sweet, sweet revenge. After a bad breakup, he vowed to establish a venue where his ex-girlfriend would never play. When asked if he’d let her play there today, Scott simply answered: "No." Here’s to another decade with The Fold (without Scott’s ex-girlfriend).

Robyn Hitchcock @ Spaceland 4/12/07

As published in L.A. Record:

This experience should have been a disaster: I’d planned to meet up with a friend who never showed. Sleepy openers Sean Nelson & His Mortal Enemies weren’t even close to being my cup of tea, forcing me to spend nearly two hours in the smoking lounge silently watching a series of excruciatingly boring billiards games. During the show, I didn’t recognize one single song in the entire set. But Robyn Hitchcock & the Venus 3 turned out to be one of the best shows I’ve ever seen. Robyn made his way to the stage sporting a brightly colored, flowery button-down shirt that only an English rocker of his caliber could rock without eliciting laughter and piteous head-shaking. From the moment the band began, I and the rest of the enthusiastic audience were completely entranced. Robyn’s signature sound is an inimitable blend of sophisticated pop melodies and nasally vocals that evoke John Lennon mixed with cheeky, smart and eerily bizarre lyrics that recall Syd Barrett. Aside from Soft Boys stuff, I own a grand total of two Hitchcock albums, so when taking into account his massive creative output—which rivals Elvis Costello—it wasn’t much of a shocker that the only song I recognized in the entire set was a Bob Dylan cover. However, the tight playing of the star-studded backing band (R.E.M.’s Peter Buck, Young Fresh Fellows’ frontman Scott McCaughey and Ministry’s Bill Rieflin) and Robyn’s unique vocals, exquisite guitar playing and off-the-wall banter kept me immersed the entire night. I’ll definitely be popping by Sea Level soon to pick up my long-overdue copy of "Ole! Tarantula," and I’ll definitely be awaiting Robyn’s next visit to our fair city.

The Horrors, The Willowz @ Cinespace 3/20/07

I'd planned to check out The Horrors and The Willowz with a friend of mine at the Dim Mak 3-year anniversary show, but at the last minute he informed me he'd be unable to make it. Not feeling up to a solo adventure on this particular eve, I got myself cozy on the couch and was just about ready to pass out when Aubrey called. At the request of The Horrors, she was invited to shoot the show and asked if I wanted to tag along. I took this as a sign from the heavens and headed to Hollywood.

We arrived at Cinespace to find the line wrapped around two - yes, two - city blocks. Even though it was a Dim Mak party, and even though it was Bloc Party related, this I was not expecting. Hmm. We pushed our ways past the throng of people crowding the bouncer and Aubrey told him we needed to get in. We were on the list. We would miss the band and not be able to shoot if we didn't get in. In a grand gesture, he waved his arm among the pulsating throng and chuckled, "Everybody's on the list!" A few moments later our Plan B arrived. A member of one of the band's playing that night arrived with his entourage, and about a dozen kids cooler than everyone else were shuffled in by the bouncer with open arms. Aubrey funneled in amongst them, grabbed my arm, and in we went.

We managed to catch the last half of blues/glam/psychedelic rockers The Willowz before London's The Horrors went on. Mixing '60s garage punk, '80s hardcore and a heavy dose of adrenaline, those U.K. boys are as intense as they are talented. The band's freaked-out video for "Sheena is a Parasite" speaks for itself.

After their set Bloc Party were supposed to go on, but neither of us really cared to stay for that. I'd def recommend checking out The Horrors the next time they roll through town.

Malajube @ the Echoplex 3/3/07

(Photo courtesy of 12-596/icecreamman.com)

My first proper assignment for Losanjealous couldn't have been more splendid. I was expecting a good show out of French-Canadian rockers Malajube, but they really blew me away. And though I didn't manage to get any decent photos of my own, among the swarming mob of SLR-slingers in the front row I managed to make friends. Greg, who was there shooting for Ice Cream Man, graciously allowed me use of his photos. As posted at losanjealous.com:

This past Saturday was my first time venturing into The Echo’s ominous downstairs space, The EXPLX. I must say, despite its massive space and zero level of light, it’s quite cozy. I especially like the high stage, which makes for good viewing wherever you are in the club.

I arrived just as Southern rockers Snowden began their set. By the number of SLRs clicking away in the front row, it was evident that every single blogger in Los Angeles was at this show. Snowden was frantically energetic and a pleasure to experience live, especially for that one guy in the front twitching around in an awkward attempt at dancing. Got to give him credit for at least moving, not just standing there with arms folded, eyes closed and head down in the universal hipster stance denoting he was “feeling” the music.

After Snowden’s wonderfully raw set, any doubt that I’d arrived in Hipsterville was removed when Peter Bjorn & John’s “Young Folks” came on and was greeted with a massive cheer as drunk girls began fumbling in failed attempts to whistle to the catchy intro and dance at the same time. But no matter. Once Montreal’s sassy quintet Malajube took the stage, such vain attempts at hipster coolness ceased when the rawkage began.

The young French Canadians seemed to be excited to be in glamorous Los Angeles for the first time. They made some jokes about the fakeness of our city, told us we were all beautiful and had movie star faces, and then went off on a weird tangent about how we should get fake boobs on our knees. I’ll give them the benefit of the doubt and assume something was lost in translation.

Once the music started, however, any hint of lameness melted away. To say that Malajube’s set was high energy would be the understatement of the century. The band’s loud guitars, driving drum beats and harmoniously synthy keys churned out a seamless blend of punky rock and indie pop chock full of sugary hooks. The way the lead guitarist and keyboardist took turns playing off each others vocals was nothing short of brilliant.

Did I mention they sing in French? Très sexy.

Clinic at the Troub 3/2/07

Famous for donning surgical masks and scrubs on a stage decorated with old medical equipment, Liverpudlian quartet Clinic makes music that sounds as if it were created in a dank abandoned hospital (think Lars von Trier's "The Kingdom").

Courtnay and I arrived at the Troubadour last Friday in time to catch a most boring set by Sea Wolf. With all those people on stage you'd think there'd be a little more action, but they were as dull and lifeless as the Troub's notoriously lackadaisical audience.

However, all hints of boredom ceased once Clinic took the stage. I was blown away when I saw them a couple of years ago and was again this time 'round. Donning their regular surgical masks, with monk-like scrubs and mysterious top hats, the band's unique brand of stark garage-tinged rock blended with haunting grooves cured what ailed. Really. I have a wisdom tooth growing in, and during their set the otherwise incessant pain vanished (although, to be fair, the vodka may have helped some.)

Proving that these Brits put on a good show, some in the crowd were even (gasp) dancing! An amazing feat at the Troubadour, to be sure...

Tribute to the Kinks, Love and the Byrds at Safari Sam's 2/22/07

Last night couldn't have been more adorable.

Depite the rain, psychedelic rock lovers from all over the city came out to Safari Sam's for this month's Club Tribute! series celebrating the music of The Kinks, Love and The Byrds.

Jess and I arrived during Naughty Bird's lo-fi set. The trio's lead singer, Solvej, belted out her impressive vox with the gusto of The Gossip's Beth Ditto.

Up next were the Beatle-boot, retro-suit donning boys of The New Fidelity. Needless to say, they looked absolutely delicious, and their retro sound went perfectly with the theme of the evening.

Velvet Ratio (aka Andrew Scott and a female partner whose name I didn't catch) then took it down a notch with an acoustic set. Andrew performed a gorgeous rendition of "Alone Again Or" which in itself was worth the price of admission (that is, had I paid - thanks for the listage, Amber!). At the end of their short set, the duo gave out long-stem red roses in memory of the great Arthur Lee to those of us in the audience who weren't too timid to go up and get one.

Next, Silver Lake locals The Digs went all out in psychedelic garb, performing mainly Kinks tunes.

Kind Hearts & Coronets took the stage at midnight, but after their amazing set Jess and I were too tired to stay for the final act. But though I left early, I was entirely impressed how each band went all out and truly made the show worthy of being called a tribute to three of my favorite '60s bands.

Camper Van Beethoven/Cracker at Safari Sam's 2/14/07

I couldn't think of a better way to spend the day after Valentine's than to celebrate my love of Camper Van Beethoven and its extended family.

Hailing from Santa Cruz, Camper Van Beethoven formed in 1983 and quickly gained a large cult following with their violin-infused blend of pop, acid rock, ska, punk, folk and country. After disbanding in 1990, singer David Lowery founded Cracker, best known for their massive radio hit, "Low."

Last night Matt and I arrived at Safari Sam's having just missed the openers (sorry, Kind Hearts & Coronets). Cracker took the stage first, and I - a devout CVB fan - patiently waited through their hour-plus-long set to hear my beloved Camper tunes (although hearing longtime favorite "Low" live was a treat).

After a short intermission, David Lowery (guitar, lead vox), Frank Funaro (drums) and Victor Krummenacher (bass) again took the stage, this time alongside Jonathan Segel (violin) and with Greg Lisher replacing John Hickman on lead guitar. Each member a master of his instrument, the band was even more phenomenal than anticipated. Hearing CVB's exquisite cover of "Pictures of Matchstick Men" was the absolute highlight of the evening.

The band ended an amazing set complete with double encores, and upon leaving I was shocked to see that it was already 1 am! Though the bands had played for over three hours, we left wanting more. I'm definitely going to do my best to make it to this year's Cracker/Camper Van Beethoven Campout.

Dosh @ The Echo 2/1/07

One more post for the day. Just wanted to mention I saw an amazing show at The Echo last night: Dosh. Martin Dosh, that is. He makes funky jazzy experimental ambient music that's real purty. And he's from Minneapolis, no less! (Minnesotans make my heart smile.)

DC4 @ the Cat Club 1/28/07

When it comes to keeping it in the family, DC4 doesn't fuck around. Comprised of Duncan brothers Jeff (former Odin and Armored Saint guitarist), Matt and Shawn, DC4 is fiercely dedicated to kicking out pure, hard rock. Having recently added British guitarist Rowan Robertson (of Dio and Vast fame) to their metal-loving family, DC4 played the Cat Club on Sunday night in celebration of Jeff's b-day.

I've known the Duncans for a long time, as they're the brothers of my friend, the lovely Ginger, whom I've known since our days spent in junior high giggling about boys, learning to play our geetars, and making fun of, well everyone. And hot damn, these boys can rock. I hadn't seen them live since their last show about two years ago. They played their forthcoming new album in its entirety to the packed club. Introduced by birthday boy Jeff as "the newest member of the band, and of the family," new guitarist Rowan Robertson absolutely shredded it up. Matt, Jeff and Shawn were stellar, as expected.

Stupid me didn't wear my earplugs. I'm going to go deaf at 30 if I keep this up.

Library Bar / Tsk Tsk & The Colour @ Spaceland 1/25/07

This evening was supposed to start off by playing with toys a the Kidrobot Mega Event at The Standard downtown, but after Maxx informed us that the line was around the block, we opted for the Library Bar instead. I arrived with my photographer friend, the infamous Brian Dreisbach, who, of course, had camera in tow. He provided the pictorial documentation of our awesome evening.

Image set #1: At the Library Bar

weird lamp hanging as seen in the ceiling mirror:


the beautiful bar and the beautiful Maxx:


Brian and I left a couple hours later to meet up with my friend Jess at Spaceland to see Tsk Tsk. Sweetheart Kathleen put me and my friends on the guestlist (thanks again!). We caught most of The Colour's set, who was performing the final night of their residency. Early Stones comparisons are not amiss with the band, whose lead singer has that Jagger swagger down pat.

The retro groove continued at midnight with Tsk Tsk. Featuring one of the best guitar players in the city, the fat, fuzzy grooves churned out by axe-master Cheryl, bassist Sean and drummer Steve set the perfect backdrop for frontwoman Kathleen, who belts out sweet and powerful vocals with a sexy self-assuredness reminiscent of PJ Harvey.


Image set #2: The Colour










Image set #3: Tsk Tsk








Visit Brian's website, getyourmacon.com/space, for more amazing photos from the show. Then go check out the bands: thecolour.tv, myspace.com/tsktsk

The Pity Party @ Silverlake Lounge 1/22/07

Ever since seeing them at The Echo in November, I have been thoroughly obsessed with The Pity Party and have been impatiently awaiting their Silverlake Lounge residency this month. I caught them on Jan. 8 and was devastated to have missed them the following week due to having acquired the worst stomach flu in the history of humanity. Luckily I caught this third one. I met up with a few friends, and during the middle of the set was shocked at how many more familiar faces kept pouring in. I must have ran into a dozen of my lovely friends.

Word.

Needless to say, it was just as spectacular as expected. Openers Mere Mortals were spectacular, and everyone there (well, most everyone - damn you, Moe) LOVED The Pity Party and plans on catching them next week. As I didn't get the chance to last time, I was glad to finally thank Marc and Julie proper for sending me their EP and zine (how sweet are they?!). If you haven't yet seen them live, don't miss next Monday!! You will thank me forever. Fo' reals.