Yo La Tengo - The Fonda (5/9/13)

 I've let way too much time go by since my last post, so I'll do a recap of the month of May, fast and dirty. This is Part 1. Catching up with influential bands of the past thirty years has been one of the highlights of coming back to music after so long. There's lots of back story to discover and it seem to be a never ending supply. This month gave me the opportunity to discover Yo La Tengo, who played a show at The Fonda Theatre while touring their new album, Fade, on May 9.

It's hard not to feel stupid for having never heard of them before, but that's the case. Anyway, I bought the album, loved it and got a ticket for the show. As has been the case with Swervedriver,  Pavement, My Bloody Valentine, Grandaddy and some others, they still perform at the top of their game and each show was a window into the influences that effect so many of the bands I love today.

This show was split into two acts, one with James McNew, Georgia Hubley and Ira Kaplan performing an acoustic set covering the quieter songs from the new album and then returning after a brief intermission to play as the Yo La Tengo full band.

I've had Fade long enough that the songs have already entered my subconscious so I was lost in a dream as they performed the beautiful and hypnotic trio of songs: "The Point of It","Cornelia and Jane" and "I'll Be Around". Even a beautiful cover of The Beach Boys'  "I Can Hear Music". I was especially happy for this format as it allowed them to play my favorite song from the album, "Ohm" twice. First as a quiet, rhythmic chant and secondly as a full-on guitar raga with a tribal beat. That song has a commanding power.

During intermission the stage was bathed in a red light as seen above. Coming back with "Stupid Things" after a break, this was the lengthier portion of the program which included many songs from earlier in their career. Songs with which I'm not yet familiar but I loved on first hearing. "Before We Run" is the Fade album closer that burrows deep down inside you as it winds down slowly to it's hushed ending that seems to scale down to a tiny spot in the center of your brain.

The audience was another one of those great Los Angeles audiences made up of a lot of musicians and dedicated music fans that brings out the best in performers. The waves of appreciation flowed back and forth between listener and artist enveloping one in it's warm glow. A towering concert.

whrabbit

photos by Brad Roberts

Josh Tillman at The Satellite and The Veils at The Echo

Gotta get a couple of reviews out before a recent onslaught of shows overtakes me again. Thursday, May 9th was the Yo La Tengo show at The Fonda which I fully expected to be transported off-earth during, and I wasn't disappointed. But let me get two other shows out of the way.

I go back a ways with JoshTillman, first as the drummer in Fleet Foxes, then as a solo artist. His first few solo releases, as J. Tillman, featured a folk singer very much in the Fleet Foxes vein of wintry Northwest American folk/roots music, with a whispery vocal style reminiscent of Sam Beam, of Iron and Wine, or Vetiver. I purchased his early solo albums and saw him perform, with his back up band, at The Echo and The Troubadour in 2009 and 2010. They were lovely, laid-back sets with a soft, folky flavor. After I heard that he had left Fleet Foxes and was re-locating to Los Angeles, I went to see him again at Bootleg Bar in 2011 and witnessed an enormous change.

Gone was the backing band and in it's place stood the solitary Josh Tillman (as he was now calling himself) with just a guitar. He opened his mouth and out came a commanding and confident vocalist who had not only found his proper singing voice, but he revealed himself to be a writer of extraordinary personal depth laced with biting humor. I was so impressed with these open, rambling monologues about life, love, bad girlfriends and psychological disorders that I spoke to him afterwards and commented about the thrilling new direction in his work and he confirmed that was, indeed, the case.

I didn't hear about him for a while as he was creating a new persona/music group and calling it Father John Misty. I kept seeing shows crop up locally for this new band and didn't bother to do enough research to find out it was Tillman in another guise. Consequently I missed all his initial local shows at places like Bootleg and even a show at Hollywood Forever and when I finally did catch up and realized this was Josh's new band, all the rest of his local dates were sold out.

I was doubly sorry when I picked up the Father John Misty CD, Fear Fun, and found one of the best new records and best new bands of the year, and that it had happened right under my unsuspecting nose. These were the very songs I had heard a year before in an acoustic format at the Bootleg. It was all so fresh and original and musically addictive that I'm still playing it all the time. When the listing for Har Mar Superstar, Josh Tillman and Rocky Business at The Satellite appeared, for a show on April 25th, I snapped up a ticket even though I didn't know if the full Father John Misty band was sneaking a secret show in the small local club or if it was going to be another solo show. Either way, I wouldn't have cared, I just had to see him and hear these new songs live again.

And what a great opportunity it was. Word apparently hadn't gotten out too far and the club was crowded but not packed, giving me the chance to get a position right up front. His wry humor is on display right from the start when he waits patiently for the rest of his band to come on stage, even though this is a solo set. Speaking to him outside afterward, he confessed that it's a lot easier to perform this way. I could tell he appreciated it after the long months he's just come back from on tour as Father John Misty.

The set consisted of some new songs and solo acoustic versions of Misty favorites "Hollywood Forever Cemetery", "I'm Writing a Novel" and the confessional "Everyman Needs A Companion". I still long to see full-band versions of these songs, but they stand strong as solo numbers, perhaps even gaining something in their personal revelatory nature.

This emerging artist is one of the most original writers in the scene right now with his wonderfully sardonic humor lacing all his lyrics which occasionally touch on the profound. The sense of a liberated performer is extremely gratifying to an audience left too often with the feeling of watching bands grow mechanical from repetition. I have the feeling that Josh Tillman will continue to evolve and grow, no matter how long he continues to perform.

The following night, April 26th, I went to The Echo to see one of my favorite English bands, The Veils (actually British, by way of New Zealand), who are touring for their latest album, Time Stays, We Go. Lead singer, Finn Andrews, has fascinated me since I first heard his band in 2007 and their album Nux Vomica, which was a critical favorite, convinced me to go see this haunting and powerfully soulful singer when The Veils next came to town to play a two night gig at Hotel Cafe (Aug 16, 17, 2007). I attended both nights and was stunned both times. He puts an intensity into his singing and playing that is even more impressive in person than it is on recordings. The strained vulnerability in his voice is moving as an expression of bare-naked emotion.

By the time they came back through town with Sun Gangs in 2008, they had grown to fit into Echoplex, but I was surprised they hadn't really taken off as I had expected they would and by 2009, The Veils were playing Spaceland. I recall that was a particularly good show. Then they slowed down a bit, producing only an EP and engaged in limited touring for a few years, not coming to America at all.

At one point during their set at The Echo on Friday, April 26, Finn confessed that they'd been through a rough patch for a while, not really sure whether to continue the band or not, kind of at a cross roads. So they came back to L.A. and recorded this new album in Laurel Canyon and Time Stays, We Go was released in April.

It reveals a more mature band, working at full strength, but with a focus and positive musical spirit that could find the band a broader audience. The intense vocals are still there, but it feels like a more collaborative effort resulting in a solid and musically diverse album.

Playing songs from the earlier albums also showed a different spin as familiar songs were given new life with fresh orchestrations and pacing, like "Sit Down By The Fire". From the new record, some favorites were "Birds", "Through The Deep, Dark Woods" and "The Pearl" which presented some of the new sweeping orchestrations played by the band that includes a strong brass section, percussion,  flowing keyboard and second guitar and bass. Finn also said how good it felt to be back in L.A. and back on stage and The Veils sound like they will be around for a lot longer.

whrabbit

Some Upcoming Shows

In the midst of a chaotic week, somehow I manage to be hosting two shows over the next few days. And what shows they are. On Saturday, May 4, Feed Your Head presents Judson on a return to the local stage, and with a local star-studded cast of musicians including Rob Danson of Many Embers and Fort King on electric guitar, Eli Reyes on drums, Nancy Kuo on violin, and Mateo of Manhattan Murder Mystery on keys (that will be beautiful).

I've had a little difficulty in putting this one together but want to thank Shannon Inouyi of Emerson Star for jumping at the chance to play and committing early. Emerson Star played one of my favorite events last year when I hosted the November 1012 Lot 1 show and they just floored me with their super-tight harmonies and instantly catchy tunes. I look forward to the opportunity to hear Shannon solo, though he plays with electric guitar.

When I asked Judson (at right) to perform for this show, he instantly agreed and I can't even begin to thank him for all the work he put forth to make this a big night. He even lined up a super special guest who I'm not at liberty to disclose at the moment (keep checking this column). And it's been so long since I've heard Judson perform that he and his new ensemble will get my full attention. Happy Cinco de Mayo indeed!!!

This show will be co-presented with All Scene Eye, a fairly recently formed co-op with the following stated purpose: "All Scene Eye is a collective of arts and music organizations that seek to better the creative and event promotion communities through sharing resources and good vibes on a massive level". I'm happy to be presenting with them.


The Sixth Son (below) begins a monthly residency at Los Globos, appropriately enough, on Monday, May Sixth, and I was asked to present so I will don two hats and present as Feed Your Head and Radio Free Silver Lake. I also have first hand knowledge of just how good Neil Mallick, and whatever band he puts together, is. The first time I saw him was at a show hosted by Rebecca Balin at 3 of Clubs last October when his only accompaniment was a guy on a saxophone. A sax and an electric guitar might seem like an odd duet, but the sounds they made were uncanny and it was a completely involving set highlighted by Neil's remarkably flexible voice coupled with his powerful, Hendrix-influenced raging guitar.

I immediately grabbed him for a Feed Your Head show at Lot 1 in November. At another show I hosted in December, The Sixth Son had become a band, joined by various audience members which turned into a musical free-for-all and a highly memorable night. When he played for a recent show in April it was as a solo, so I can say with confidence, no matter how many (or any) other musicians he plays with, he always delivers a surprising, and remarkably skillful set. And everyone always has a good time.

This show also features three other favorite local acts, Fort King, Judson (again, hooray!) and that performer who can make the stage cry "uncle!", Matthew Teardrop. This is almost too much fun for a Monday night. Come on down and join us. What a coincidence, here we all are at Thanksgiving last year.

whrabbit

The Happy Casualties at Lot 1 Residency - April 24, 2013

Feed Your Head proudly presented the fourth and final night of the residency at Lot 1 that introduced a newly revamped The Happy Casualties (above) to the world. I've known this band for a while now and seen them through many iterations, but with this line up they appear to have struck just the right combination. With Janet Ramirez taking the lead vocals the band now frequently soars off into the stratosphere with the Casualties' usual Rock and Roll thunder providing a firm and musically potent foundation. Stephen Sigl's songs have a new, tightly wound power both in lyrics and composition that seems more focused and self assured in a style they call "Illuminati Puppet Rock".

But first there was an opening set by Bonorath (that's Bo Bory of Downtown/Union as a solo) and it was very impressive to see this singer, whose vocals are often buried in the dynamic sound of his full band, summon the courage to sing alone with his guitar. It makes extra demands on the music itself and Bo's lyrics are up to the added scrutiny.

Many songs were familiar from the Downtown/Union repertoire, but here sounded more emotional and personal. I was particularly intrigued by his final song which was based on his own experiences in Cambodia as a child and the historical upheaval he experienced. It's tale of terror, violence and flight reminds me of the Arcade Fire song "Haiti" about Régine Chassagne's similar situation, whose sad commonality is not restricted to a single location.

I spoke to Bonorath afterward about it and he related the story of his family's middle-of-the-night getaway from their home in Cambodia and their ultimate arrival in California. A harrowing tale. His ability to express all this in song is clearly his release and I'm happy he shares it with us. Oh, and he's a pretty descent guitar player on top of that.

My buddies, Haunted Summer were on second and I stayed to listen to a few song before I had to huddle in a pow-wow business meeting (music is a demanding mistress). But from what I heard it is getting stronger and more definite each time I see then. The sexy, head trip music of Bridgette and John seems to take shape somewhere in the space between your ears. They feed you all their hypnotic sounds and leave your brain and senses to figure it out and put it all together making you feel like a collaborator. It's feeding your head in the finest sense. (Look, in the photo above, they made the lights melt!) Just about the time you pass Saturn you lose all earthly connections. Here's a link to some Haunted Summer music.

This was counter balanced by the heroic blast of rock and roll provided by The Happy Casualties. If you think you've heard this band before, you owe it to yourself to go see them again, because they are really on a roll right now. Confident, almost brazen, they command the stage with a strut and determination to envelope you in their blast of hot rock. Look forward to the new record they're working on. It could be a game-changer. Congratulations!

Sorry I had to duck out before the final band, Circus Atari Acrobats, because it sounds like more in the genre of "Illuminati Puppet Rock", which, as if you couldn't tell, is a genre I like. This is a week of night-after-night shows so I had to leave, as I must pace myself...or die.

Meanwhile, Todd sat alone at the bar...er, wait a minute...

whrabbit

Many Embers And History Collide On April 18, 2013 At Taix Lounge

I feel like I'm taking a one, two punch in the gut this week as a native Bostonian, beginning with the tragic bombing at the Boston Marathon on Monday, and this evening, Thursday, I hear about the seemingly random shooting of a campus police officer on at M.I.T. (where I worked for five years in the 1970s). There's speculation of a connection to the Marathon bombing since hundreds of police and F.B.I. officials descend on the scene and it looks suspicious. Then I have to leave for a show, feeling like I'm leaving a movie before it's over. Little did I know that the whole situation was about to blow open.

I grabbed the Sunset bus over to Taix Lounge to see the second show by that new upstart band, Many Embers, at the "Mad For Sadness" weekly show that goes on every Thursday night. In February, Rob Danson debuted his new project as a solo act (photo from that night at left), with a little accompaniment by Nick Ceglio and Kaitlin Wolfberg, where the bearded singer charmed his audience and actually got them to sing along, even though the music was brand new. I had enjoyed the EP that he'd self-released, but hearing the songs live made me realize what treasures they are. In this acoustical format the focus was on the relentless tumble of lyrics and their complex construction. Concentration is required to fully appreciate. The audience ate it up.

On Thursday, I thought I was just going to a little set by a friend's band, but it turned out to be a show worth writing about, happening as it did on a night that turned out to be one of great historical significance. It just felt good walking into this warm room at Taix, and running into a cluster of friends packed at the entrance. That, and a beer, helped offset some of the day's drama.

But it was the music that transported me out of myself and when Rob started with a new song that was bursting with rapid-fire lyrics, you had to let everything go and just LISTEN. Despite the bar chatter, he persisted and sang two songs alone, the second being "Counterbalance". Now, shorn of facial hair (see above), his expressions are more readable heightening the raw emotion of the songs.

Inviting the rest of his current line up on stage, the whole mood changed as the music took on a delicately orchestrated indie/chamber feel. Being used to the inclusion of drums on the recordings their absence here puts the emphasis on the composition themselves. Kaitlin Wolfberg brought her usual expertise to the highly varied violin parts, bringing with it a tremendous amount of pathos.   Adam Villanueva and his skilled bass playing were pointed out to me by Rob when we sat watching Seasons play in this very room a couple of weeks ago. I think I've underestimated his talent because in Seasons, he's just another part of that gorgeous tapestry of sound, but when you listen closely the rock steady quality of his playing shines through. Todd McLaughlin on mandolin, guitar and banjo brings his versatility to every band he's in, and here his contribution is crucial.

Rob's Death To Anders compatriot and leader of his own top-notch band, George Glass, is Nicholas Ceglio, and I've been watching these two perform together for the last five years, and their symbiotic musical relationship has morphed and changed so now they sing like two halves of a perfect unit. Rob's gargled baritone vocals and Nick's sweet choir-boy croon seem an unlikely mix, but surprisingly when singing together one sound picks up where the other leaves off.

A highlight was the lead song off the album, "A Lot To Learn" which Rob had played for me late last year when he had just completed it, and I was blown away by the unexpected direction his music was taking. Both an indictment and an appreciation of having a music career in this city, it's a beautiful, truthful song, and here with full accompaniment, sans drums, it really took off. It stunned the room into silence and I think everyone was impressed that there's a new, great band on the horizon. Bravo Rob and company.

As soon as I arrived home that night and turned on the TV, Watertown, Massachusetts was under siege, and the whole night took on that surreal quality that lasted well into the next night. The pastoral beauty of the Many Embers set contrasted with the anxiety and violent activity going on around Boston at the same time was a mind-fuck and I'm still not sure if my feet have landed back on the ground.

whrabbit

NO at The Library at The Redbury - April 17, 2013

An unexpected surprise greeted me as I attended the first Wednesday at The Library at The Redbury that I have ever been to, on Wednesday night, April 17. I walked up to this new structure on Vine Street, next to the Avalon (where I attended my first concert in 25 years: Super Furry Animals in November, 2005) at an address that used to be an empty lot. I heard music pounding down onto the pavement as I walked up to the front door of The Redbury, that told me I was in the right place. I supposed that I would spent the evening alone, as sometimes the Hollywood audience can be thin on Eastsiders, but immediately I ran into Paulie and Cristal Pesh, an unexpected and pleasant surprise, along with discovering a nice new venue.

I have wanted to attend one of the shows here since it was a venue I'd never seen, and it is so close to my home, that I decided that NO was a good enough reason to introduce myself. (NO above) I'd seen a report that Aztec Roosevelt was actually Incan Abraham, but I foolishly didn't make a point of getting there on time. But when door opens at 6:30, there's little I can do since I work till 6 most days. I got there just as Incan Abraham (aka: Aztec Roosevelt) were finishing their set and I'm sorry to have missed it. This is a band that I'm very excited about as the last time I saw them at The Satellite they blew me away. Fortunately, I got to hook up with Spencer Mandel later in the evening for a brief chat and a request for them to play one of my Lot 1 shows.

Wardell played next (good singers, tight band), and after a couple of songs I decided to explore some of the nooks and crannies of The Redbury and see if I really was in a library. The bands play on the outdoor rooftop that sits between the twin towers that house the hotel portion of the building. Even though the structure is new, it has a vintage feel. The indoor bar is in the "library" portion of the layout. That's "library" in the Hollywood sense of the word. Fake books, artfully arranged on shelves with candles (electronic?), and even a full body skeleton standing between some shelves. It kind of had a "Davy Jones Locker" feel. Pool tables and clusters of seating areas dot the room.

Bradley Hanan Carter (NO's lead singer, at right) came up to me to chat and I was so surprised and pleased that he knew who I was I got a little tongue tied, but I held it together. I have long wanted some of their recorded work, so I asked to buy a CD. Then it was their turn to perform and as I have missed many of their recent shows, this was like discovering them all over again. I had a grin pasted on my face from beginning to end.

Bradley, with his gruff baritone and natural stage swagger, can't help but bear comparison to The National, and the music has a similar dark tone, but what sets them apart is their songwriting that stands on par with that famous band. There's a hint more pop in NO's songs, but a similar urgency and restlessness keeps the music just edgy enough. And the rest of the band more than hold up their end. Their playing is polished and passionate, never mechanical, and they sing harmonies that make the songs soar.

Among the numbers I recognized from the set when I got home and played their Don't Worry You'll Be Here Forever EP: "Another Life", "Big Waves" and "Stay With Me". Popularity and fame already appear to be stalking this band and their engaging and charismatic stage presense will serve them well. Get these guys out on tour, NOW! This was a nice evening in a great new venue and the mix of the Hollywood crowd with East side music lovers struck just the right balance. It was all over by 9:45, making for an early night and helping me to be sure to get over to Taix Lounge tonight (Apr. 18th) for Many Embers at 10:30. MUST SEE MORE SHOWS! MUST WRITE MORE!

whrabbit

 

Feed Your Head presents Haunted Summer at Casey's

I am so proud to present this show with Haunted Summer and HOTT MT. Come on out a see what all the excitement is about.

From the first night of their Casey's residency:

whrabbit