How To Fight Records, Dramaturgy and Feed Your Head present a Show at Mr. T's Bowl on Friday, November 20

SHOW REMINDER




Here's the promotion I put up on Radio Free Silver Lake to support this show. Please come out, it should be a great night.

"Old friends and party favorites, Manhattan Murder Mystery, headline a show I'm co-presenting with Dramaturgy and How To Fight Records, at Mr. T's Bowl. The reverb drenched distortions from Kill Kill Kill, the stripped down, minimal post punk of Meho Plaza, who are releasing an EP, Made of Gold, tonight. The Ross Sea Party, perform pretty indie pop tunes with distinctive vocals and '60's style rock and blues is provided by The Downtown Train in a widely varied line up that's sure to please everyone."

whrabbit

Art At A Gallery

Elaine Layabout put together a show that really deserved to be in an art gallery, because all four bands displayed an artistry uncommon for a single band in an evening's line up. But for all four bands to inspire and invigorate was something very special.

By the end of the evening of November 12, 2009, the audience was punch-drunk, not from alcohol (alright maybe some alcohol) but from soaring spirits and aural satisfaction. As the evening began with a sound check by Tommy Santee Klaws (at right) that was inspirational, it provided a hint of what was to come. Even the sound check struck the early attendees silent.

This was my first trip to the Gallery 2023 which can only be reached by being squirted out the back end of downtown Los Angeles. Quite a trip on subway and bus, but so worth it I would do it again in a heartbeat. It's one of L.A.'s secret treasures. This was also the second Thursday of the month, meaning it was also the night of L.A.'s downtown Artwalk, which may partially account for the excellent crowd that came to the show. Excellent in number and excellent in quality.

I was glad so many were on hand to witness Tommy Santee Klaws. I've been singing the praises of this band for over a year now and I'm thrilled to see people are finally catching on and a following is developing.

Beginning at ten, I realized this was going to be a long night and I might as well relax and sink into it. An excellent sound mix and the beauty of their voices and the huge sound of the full band had the audience in a trance in an instant. There appears to be no end to Tommy's songwriting resources as they always include brand new material on their set lists. The music is like honey to the ears with lyrics that their upright bassist, Tom Paige, described to me as "dark-folk". I like the term.

I can't get enough of this band and their swift set was over way too soon. But it has been a little while since I've seen them with Dirk Doucette on drums and his drums were louder and more powerful than ever and it ramped up the music a notch on every song. I've never heard the songs with so much punch before.

Next up was Austin's Monahans, who performed a tight, melodic set of their distinctly powerful indie rock with it's driving beat and carefully executed vocals. I'd never heard them before, but since, have learned how many in the local music scene have played with them or admire their work. I must pick up their recordings and see them again when they are in town.

The real lure of this show was the opportunity to see Telegraph Canyon (below) for the third time. It is a testament to the quality of this remarkable band that, in spite of persistent sound problems and the fact they didn't play my favorite song, "A Light In the Field", this was still one of the best sets I've seen by any band this year.

They swept the audience off their collective feet and won a slew of new fans this night with their fully realized genre-spanning atl-country indie. I first encountered them at Elaine Layabout's third Hella Hipster Hoedown at Pehrspace last June, picked up a couple of CD's, met the band and became addicted to their superb CD, The Tide and the Current. By the next time I saw them (September 11, American Legion Hall 206) I knew every note and every word of their songs, so to hear them so fully realized live was both reassuring and a revelation.

They sang "Into the Woods", "Shake Your Fist" (my other favorite song), "Safe On the Outside" with Austin Green clackity-clacking away on the drum casing. The highlight, I think, was the beautiful "Reels and Wires" which pulls you in with Chris Johnson's (pictured at left) evocative vocals, when the song drops into a reverie of choir vocals and Tamara Cauble's stunning, plucked violin which completely washes over you to hypnotize by it's conclusion.

Eschewing the mikes on a couple of songs, to hear a full, orchestral band, playing in complete harmony and perfect balance, as they stood right in front of me was an experience I will treasure for all my days. That sounds dramatic, but that's how it was. Every member of this band seems an accomplished musician so I'll name them. They are: Chris Johnson, lead guitar and vocal, banjo; Tamara Cauble, violin; Andrew Skates, organ, piano, mandolin; Chuck Brown, Bass; Eric Wolfe, electric guitar; Austin Green, drums. They all play and sing more than I've listed, but you get the idea.

I felt totally electrified by this point and then Restavrant came on to blow my mind one more time. What is this junk-house rock and roll amalgamation they play? Where, in their devious little brains, does it come from? It's like rock-a-billy. new wave, punk, folk, disco, with a heady dose of psychedelia that is completely original. Identified as Troy Olaf Murrah and J State on their myspace page, I assume J is the one on the percussion where any and every metallic or wooden object became fair game for his rapid fire drum sticks, which looked more like clubs. Troy is the singer and guitarist and keeps the whole thing from flying off the rails. Don't miss this band.

whrabbit

Feed Your Head presents it's 3rd Show

I am happy to announce a show presented by How To Fight Records, Dramaturgy and Feed Your Head, with a bunch of great bands including one of my personal favorites, Manhattan Murder Mystery.

Will post more details later:


whrabbit

Le Loup at The Echo (10/28/09)

I'd been looking forward to this show for a long time, ever since last April (2008) to be exact. That was the first time Le Loup played L.A. and I was a new fan who was thrilled by the energy and quirky creativity Sam Simkoff and his band displayed.

The songs off the first album were mighty strange and yet hypnotically enticing. Not unlike Ed Droste of Grizzly Bear, it seems Sam Simkoff first recorded his material all by himself and the need for a band came later, and like Grizzly Bear, he surrounded himself with equally gifted musicians, forming a collaborate effort.

That show was also at The Echo and I think there were seven members of the band them. But however many, it was a celebration of music and tribal beats and dancing. Sam is one of the best dancer/singers I've seen. And when four or so members of the band circle around the second drum set (up front) and bang away, well, it just goes right through you.

The band was quiet for over a year while they worked on their second album, Family, which was released September 22, and what a revelation that was. The band, whose current lineup includes Christian Ervin, Michael Ferguson, Robert Sahm and Jim Thomson, has congealed and is now writing songs that are tightly structured gems with an astonishing array of influences and lyrics that are intelligent and thought-provoking . Nothing, it seems, is off limits.

The first song, "Saddle Mountain" starts off like a Gregorian chant and moves into the rhythm and pattern of Renaissance dance music. Unbelievable. Layering on drums and a variety of percussion, the whole thing suddenly makes you want to dance.

Another song, "Morning Song" begins like a Muslim call to prayer and segues into an African tribal chant, or a jug band, but always the top priority is melody and these song stick in your head like they won't let go. Sometimes the vocal choir effects remind me of Grizzly Bear or even Fleet Foxes, but then banjo picking or a tribal beat starts up and they're in a territory all their own. The music is nothing if not unpredictable, constantly keeping you guessing. I think it's brilliant songwriting.

The whole interior of The Echo just melted away the minute they began as they played many of the best songs from Family and a couple of the most amazing songs from the first CD, The Throne of the Third Heaven of the Nations' Millennium General Assembly like "Outside of This Car, the End of the World" and "We Are Gods! We Are Wolves!".

Apart from Sam's vocals occasionally not being loud enough, generally the sound was excellent, especially on the vocal patterns and harmonies when everybody was singing. Using pre-recorded samples for some of the more complex numbers made the band seem larger than they are.

A modest crowd was, nonetheless hugely enthusiastic and demanded an encore, which I was grateful for. I could have listened to them for three hours.

whrabbit

his Orchestra at the Light FM Residency

On Monday, October 19, 2009, I headed on over to Spaceland, not only to see Light FM and to pick up their new CD, Let There Be Light FM, but to see his Orchestra (at right). I happened on this band much the same way as I discovered Division Day, and in the very same venue. Walking into Spaceland to see the headliner a couple of years ago, I ran into Division Day midway through their set and was immediately transfixed by the gorgeous sound emanating from the stage and the hook-laden inspiration of their writing.

I snapped up the CD, Beartrap Island then and there and it became one of my favorites of the year. I only saw part of their set, but became obsessed with trying to see them again, yet as the weeks turned into months, I was foiled time and again by competing concerts. I have since seen them many times. Same thing with his Orchestra.

I went to see The Wooden Birds on May 28th, this year, and walked into the last three or four songs by h.O. and was flabbergasted by the music. I remember looking around to see if anyone else was noticing and saw Spaceland full of people staring, mouths agape, at the band on stage.

I recall the spectacular harmony vocals and the furious sawing away of three band members on violins. It was sublime and electrifying. I picked up their CD Field Guide To the Wilds, and upon first listening, decided this was one of the best bands I've heard. For so young a group, they play and perform with a passion and joy and solid professionalism most groups can only hope to emulate.

This would be only my second exposure to the band live, and now I not only knew the music, but every single lyric. Douglas took the stage alone, to begin with a simple acoustic folk song, but before long was joined by Whitney at the keyboard who sang harmonies. A guy dancing in front climbed on stage and donned a guitar, another climbed up on stage and sat at the drums and gradually his Orchestra took shape on stage.

The first song was unfamiliar, but every bit as good as all their other compositions. Which is to say excellent. Every song lifted me higher and my opinion of the band rose accordingly. they sang "Black Coffin", "Hybernation" and my favorite, "Interesting End of the Day" from the CD, among a selection of early material I'd never heard. But it was the finale of "Since I" that was so powerful and theatrically extravagant that set my heart soaring. I can't believe how perfect this band sounds. his Orchestra are just one of life's special things.

I'll talk about Light FM's wonderful set when I review their new CD, Let There Be Light FM at Radio Free Silver Lake next Tuesday.

whrabbit

In A Reflective Mood

Sorry to neglect my Feed Your Head fans, but this year is accelerating at such a rapid pace, I'm struggling to keep up. Never in the wildest dreams of my youth could I have imagined that, approaching 60, I would be having the time of my life, and that it would involve rock and roll.

Caught up in this whirlwind of a current music scene that is so vibrant and inspiring, discovering how much I love writing has been a revelation and had given me more fulfillment than, perhaps, anything else I've ever done.

Music always had a powerful hold over me. I'm told by family that I was rocking back and forth, hour after hour, to the same record, over and over, by the age of three, and by four, I was consciously amassing favorite records. But, never having the confidence, or believing I had any talent to pursue music, I tried and failed at various instruments, though whenever we visited a house with a piano, I would go right for it. We had a piano in our house until I was about 14, but I couldn't get the hang of piano lessons, so I taught myself to play my favorite songs by ear. (I'm sure in a most perfunctory way). I never entertained the notion of a life's pursuit of music and thus, I gravitated to the visual arts, where I have made a home for myself to this day.

But I remained a constant music listener, constant in that it filled nearly every waking hour of my existence well into my thirties, with current music recceeding further and further into the background during the 1980's. I blame it on Reagan. Music just lost it's relevance for me and I lost interest. From 1990 to 2005 I probably heard all of 6 different new rock songs in that span and didn't look any further.

Since I fell down this rock and roll rabbit hole on August 1, 2005, (I remember the moment), of course, I have been educated by people, and, indeed there were pockets of greatness here and there in the bleak landscape. But distribution was so fucked up back then by the major labels and corporations that indie music was hard for an ordinary person to find. Or purposely squelched.

What's happening now seems so different than anything that's gone before, partly because nobody knows where it's going, or even how long this creative energy level can be maintained by so many talented artists at the same time. But the controls are off, and the boundaries have been knocked down, and there's a spirit of cooperation that bodes well for the future. It's why I've become a believer in the theory that, as far as rock and roll is concerned, the best is not in the past, but in the future. When I discovered this, after observing for about a year, I became determined to be a part of it, to try to contribute something. So I started blogging.

Tonight I begin a run of five show in five days (if I can hold out), from Darker My Love tonight at Echoplex, to Grizzly Bear (below) on Tuesday at the Palladium. I'll keep you posted.

WOO HOO!

Just heard that Avi Buffalo have signed with Sub Pop Records. Congratulations on a well deserved placemant to my friends, Avi, Sheridan, Rebecca and Arin.

whrabbit

September - Various Shows and Sets

So many memorable shows and events have been happening lately that I can't keep up. Never did I expect what writing a music blog would bring. Every day there seems to be more opportunity, another path to follow, more people to meet, more fun to be had. The friends I've made in the music community are best surprise of all. Kind of revives my faith in humanity. (Provided I can continue to avoid tea-baggers and other knuckle-draggers.) Glen Hansard and Marketa Irglove of The Swell Season, above.

September has been a good month for shows beginning with Mew wowing a sold out crowd at The Troubadour on the 1st, followed by Division Day 's record release show the following night at Spaceland. The Happy Hollows spectacular performance was next, on the 4th, for their own release party for Spells, which was also a party to remember.

On Sunday, Sept. 6th, I attended the Rodgers and Hammerstein concert at the Hollywood Bowl, which was specifically set up to honor the film versions (and their orchestrations) of the original Broadway shows. (scene from The King and I above) They showed selections from the films with the orchestral tracks removed, and the Hollywood Bowl Orchestra provided live underscoring, conducted by the son of Alfred Newman (one of the original orchestrators) David Newman. It was like dying and going to Rodgers and Hammerstein heaven for someone who was raised on these things.

Elaine Layabout hosted one helluva "Hella Hipster Hoedown" featuring eight scheduled bands, including Crooked Cowboy, Les Blanks and Country Pizza!, but it was Telegraph Canyon (above), who took the stage near midnight, that played a near perfect set of their beautifully written rock. Hailing from Texas, they were here a couple of months ago for another hoedown, but since seeing them then, I got hooked on their wonderful CD, The Tide and The Current. Now, I knew the material and to hear them deliver such a powerful and serious performance, it was almost humbling. They really impressed those present and we were still talking about it days later.

On Saturday, the 12th, I saw an impressive show by Brendan Benson at The Troubadour, that opened with a set by Frank Fairfield that had the crowd cheering. From the 17th to the 20th I took in four shows in four days beginning with the Sea Wolf/Afternoons/Sara Lov night at The Troubadour and back to the same venue the following night for Everest and The Parson Red Heads which made for two nights on the West Side of sterling East Side indie rock.

Friday was the Release party for Cobra Lilies, hosted by Elaine, again at the Legion 206 in Highland Park, which included a fashion show that involved murder, and a wonderfully hypnotic, oddball set from Amanda Jo Williams followed by a set by Tommy Santee Klaws (above) that showed the uninitiated what I have been raving about the last few months. This is one amazing band with a wholly unique sound that left people breathless.

Sunday was the engrossing show at the Masonic Lodge of Hollywood Forever Cemetery with The Swell Season where Glen Hansard and Marketa Irglova enchanted a great Los Angeles audience in one of the best shows of the year. I reviewed it for Radio Free Silver Lake.

I got to present my second show last Friday, September 25, together with Dramaturgy, featuring The Faraway Places, who delivered their '60's influenced indie rock with great style and conviction, following a real audience grabbing set of Creedence Clearwater Revival covers by Ramble Scramble that had the rather large crowd dancing. The Health Club I enjoy more and more each time I see them and their assured playing is what makes this post-punk garage band stand out.

Sunday, The 25th Annual Abbot Kinney Festival in Venice was my first time at this event and I have to confess, I barely saw the Festival itself, positioning myself in front of the Brooks Little Radio Stage from Dios through Edward Sharpe and The Magnetic Zeros and saw five remarkable bands in a row. Dios sang wonderful songs from their latest CD, and sounded revitalized by the new material. Followed by a tight set by a three member version of The Parson Red Heads (Sam, Brett and Evan, in photo) who sang beautiful three-part harmonies. French singer/now indie rocker, Soko, was a real surprise, giving us country-tinged psychedelic rock that I fell for on the spot. Eskimo Hunter play a kind of easy, melodic indie rock style that is probably my favorite and I was glad to finally see this band and, as of now, they are the band I want to see again immediately. Really beautiful music.

Edward Sharpe and The Magnetic Zeros (above photo by Michael Camacho for LAist)were a revelation. Just before they took the stage, there was a sudden rush of media that flooded the stage. The buzz on this band must be huge and I must say, judging from this performance, the rush is justified. An electric set was performed, with Edward, not 16 inches from my face at times and it was a superb way to get to know them. I saw them once before at El Cid at 1 AM the night of the '08 Sunset Junction and they played for about 14 friends that night. A LOT has happened since then.

Blitzen Trapper finally played the set I've been waiting to see them play on Monday, Sept 28, at El Rey. Seeing them last year at a packed, hot Echo was a great introduction, but not ideal. I wasn't close enough, though I loved the music. Last July at the Hollywood Bowl, they were undone by the requirement that the opening bands play softly, and across a gulf of indifferent concertgoers. So this show was what Blitzen Trapper are all about. The photo a right is from the Glass House, shot by Doug Kresse. A string of unforgettable songs, great sound, great lights. They play irresistibly rocking songs, occasionally pausing for a song of quiet reflection that is so lovely and profound, there is no lapse in audience concentration. Highlight brilliant new songs from their EP, Black River Killer, the new songs were my favorites of the night, though "God and Suicide" is still one of my favorite songs of all. I'll write a fuller review of this show later.

The month ended with Kevin Bronson's First Anniversary celebration of his Buzzbands blog with a show by Eastern Conference Champions and Voxhaul Broadcast, each releasing EP's at the same event. Both are bands I've heard about over and over, but have neglected to see before, and both were absolutely electric. Terrific songwriting and musicianship with charismatic lead singers, they had the large turnout primed and enthusiastic. Congratulations to Kevin and the most comprehensive music blog in town.

Now we move on to October and what may be the busiest month of the year.

whrabbit