Grizzly Bear at The Wiltern

I posted my review for this incredible show over at Radio Free Silver Lake. Photo is by Doug Kresse.

Go have a look:

http://radiofreesilverlake.typepad.com/rfsl/2009/06/show-review-grizzly-bear-at-the-wiltern.html#more

whrabbit

A Real Friday the 13th, (June 5, actually)

Reflecting on the evening of Friday, June 5, 2009, I must mention the obvious misalignment of the stars, or something, that led to an unfortunate series of mishaps. I understand there was an accident involving motorists and pedestrians outside The Echo, the Taco Zone truck was attacked by thugs with Molotov cocktails, burning the roof and Web in Front's Travis had his car impounded, stranding him and friends, requiring Captain (Bronson) Marvel to spring to the rescue.

Meanwhile, over at Pehrspace, we were cocooned against the onslaught of bad karma outside, as Elaine Layabout's third Hella Hipster Hoedown was another barn-burner of a show. A rootin'-tootin', foot-stompin' array of bands charged the evening with enough positive energy to drive demons away.

This was also an important trial run for Pehrspace, who were closed down earlier in the week for excessive noise and unacceptable parking lot behavior. We obviously passed, as there were no complaints, but in retrospect, I think we dodged a bullet, as bad luck seemed to envelope the city that night.

First up was Last of the Blacksmiths, from San Francisco, whose live sound immediately reminded my of Pinback, with that laid back sound, plunking guitar and bass and the gentle, vocal harmonies, blended until smooth. It was great to meet the band members and pick up a couple of CDs. Their music on the recordings, seems simpler and more direct, whereas their live sound was intricate and delicately balanced.

Slang Chickens play loud, raucous, blaring garage/punk and had such a good time performing the feeling was infectious. But it was Telegraph Canyon (picture at right by Hal Samples) who really captured my attention with their sweeping orchestral sound, wrapped up in dusty Southwestern ambiance. Beautifully balancing guitar, banjo and vocals with violin and piano, writer/singer Chris Johnson conducted his band through a set of melodically creative, lyrically inventive songs. I picked up their Tour Release 2009 EP and, sure enough, it's a winner. Telegraph Canyon are a band to watch for.

Being an evening of unexpected events, the next thing I knew, I was being whisked off to Mr. T's Bowl in Highland Park to catch the late set by The Monolators. I later learned they had not been immune to the strange karma out there, as Ashley Jex's bass was damaged by a misplaced foot. In spite of that, she played valiantly and, truth be told, The Monolators gave an electrifying performance as Eli was all over the place at once. On stage, off stage, on the floor...everywhere but the ceiling.

On Tuesday night, June 9, Steve Sigl, of The Happy Casualties dragged me back to Mr. T's Bowl to see his other band, a new project called The Shoenberg Knifefight Ensemble, who have recently been hitting the clubs. I hardly know where to begin, as the sound is totally different from Casualties, the centerpiece being the theatrical, extravagant lead singer, John Rickel, whose odd, tourette -like behavior commanded your attention. I've never seen Steve play guitar like that before and it was inspiring. In fact the whole band, Troy Westover on keys, Steve Rosenthal on bass and Doug Boyle on drums played with a ferocious intensity.

I loved the song about their friend and compatriot, "Victor Ferrari", but how can you not like a song with a title like "Phantom of the Copa Cabana". It was interesting to contrast Steve Sigl's songwriting for The Happy Casualties, which is straightforward rock and roll, with his songs for The Shoenberg Knifefight Ensemble, which are quirky and inventive, with more than a hint of flamboyance. He can write an engaging, attractive melody and then hang irony-laced lyrics on top. I once heard someone describe Broadway composer, Stephen Sondheim's music and lyrics as whipped cream with razor blades inside. The same applies here.

This was an evening curated by John Huerta of Seasons, and being a man of impeccable taste, the other bands were none too shabby either. I saw some of The Seizure and Luna is Honey, both of whom performed energetically and I even picked up a Luna is Honey CD, which is quite good.

whrabbit

Brightblack Morning Light and Others

I've been introduced to and reacquainted with a bunch of bands over the last few weeks, like Deep Sea Diver, The Faraway Places, Local Natives and Greater California, and one of the best was his Orchestra, who I saw open for The Wooden Birds May 28 at Spaceland.

I picked up their CD, Field Guide To the Wilds, and it has given me endless hours of listening pleasure. It's sublime indie pop. his Orchestra opened for Dead Meadow last year at Echoplex in November and I remember being impressed at the time, but I didn't follow up, so they fell off my radar. That won't happen again.

I really wanted to write about the Brightblack Morning Light show at the Eagle Rock Center For the Arts on May 29, 2009, but have been too swamped to write, until now. I also wanted to show some photos shot by Lisa Svenson, a fellow concertgoer. There couldn't have been a better venue for this band than this fabulous 1914 mission revival historical building. Once the band took the stage and filled the auditorium with fog so thick you could barely see the person next to you. Which is kind of perfect considering the introspective nature of the music.

The swelling, lugubrious dirge-like pace maintained by Rachael Hughes moody keyboard, coupled with the somnambulant vocals of Nathan Shineywater (at left) sent the entire room into a trance that lasted for the two hours they played. The minute the familiar sound they create washes over the room, people were either sitting or lying on the floor and stayed that way until the end. They play extended versions of song that sound familiar from their albums resulting in about six songs over the course of the two hours. There's an elemental simplicity in the delivery of the music that sometimes makes it seem like just an alternate version of inhaling and exhaling. The beat seems to match human breathing patterns. All I could think of was molasses rolling uphill in sub-zero temperatures.

Wonderful back up singers and instrumentalists rounded out the sound, though I did miss the horn section that appears on their recorded work. They're back in town for a show at El Rey on June 27, opening for Rodriguez, and this band's sound could easily fill a venue that size.

Fol Chen had a great bon voyage show at The Echo on June 4, 2006, before they took off for their first ever shows in London. But first Karin Tatoyan burned down the house with a fiery set that was as electrifying as it was emotional. Fortunately I've seen her enough times so the songs are becoming familiar (we need a CD) and they become more powerful the more you hear them. I was honestly moved to the brink of tears more that once. There an unbearable beauty in her voice that is transportive. She had the audience enthralled.

Then Fol Chen launched into a set highlighting their biggest and best hits. No doubt, the set list they'll use to wow London, and all the songs sounded in top form. But the startling highlight was the great singer who came on stage to sing "The Idiot" with only Adam on guitar. It was hair-raising and the crowd went wild for it.

whrabbit

Upcoming and Current for June

This summer is setting itself up fine to become a pretty memorable concert season. Just keeping up with all the shows that pop onto the radar is a semi-full time job. Just last week The National announced a show at The Wiltern on August 29. Had to get a ticket for that.

In fact it's going to drag me back to that venue for the third time this summer. And The Wiltern is not my favorite place to see bands, so it proves how devoted I am to Grizzly Bear (June 19, picture below by Lane Coder)...my god that's only two weeks away...and Elbow (July 22), still touring on the strength of their great CD, The Seldom Seen Kid.

Grizzly Bear's newest, Veckatimest, is easily one of the best CD's of the year and I can't wait to hear it live. I have to confess, I've seen this band every time they've played L.A., beginning with Spaceland on Sept. 26, 2006 (for about 30 people), and I don't intent to stop, now that they play for 3000. Their show at Walt Disney Concert Hall on March 1, 2008 is burned into my memory forever.

The awe-inspiring talent of Amanda Palmer (below) will be on full display at The Troubadour on June 25 and the audience will be dazzled into a state of ecstasy, as usual. I can't wait. She's so inspiring she makes me want to be a better writer. Check out her blog if you wonder. Last time I saw her she promised she and Brian Viglione would be back before the end of the year as The Dresden Dolls. I'll be there, too.

mewithoutYou (below) are a band no one I know knows about. I find the lead singer, writer Michael Weiss is an astonishing poet and that alone would be worthy of attention, except that his delivery is so extreme and odd, and oddly compelling. I saw a video of "Paper Hanger" way back when I first got back into music through music videos on Refused TV in 2005. (Does anyone know what happened to that wonderful show?) I have many episodes on tape but I kept watching this song over and over and over. I don't even think I liked the song the first few times I heard it, but something about the weird spastic guy doing the singing/talking/grumbling intrigued me, once I got over the similarity to Ed Grimley ("I must say").

He was the real deal. This act was genuine and I was hooked. I researched the band and found they are considered a religious band. Overcoming my prejudice, I bought their album, Catch For Us the Foxes, and discovered a work of art. mewithoutYou are also incredible musicians, but I've been particularly impressed with drummer Richard Mazzotta. I've seen them twice and each time I think I saw some of the finest drumming I've ever seen. They're at El Rey on June 20.

Handsome Furs is an interesting band I've seen once before. Led by Dan Boeckner of Canada's Wolf Parade, this offshoot band is worth exploring for the quirky, intelligent songwriting. Dan sings in that distinctive Wolf Parade-voice, but here it's matched with electronica and a more direct approach. It's a perfect match up with The Monolators at Echoplex on June 11, as Eli Charkoff employs a similar vocal approach. It will be great to contrast the two remarkable singers.

Residencies by Castledoor at Spaceland and Oliver Future at The Echo will continue to rule Monday nights. But Castledoor have the enchanting Deep Sea Diver on Monday, June 15, and on June 22, Local Natives, who impressed me at their set with Gangi last month, so that may tip the scales for me. Avi Buffalo's only L. A. date this month is Monday, June 8 at midnight at the Echoplex, so run downstairs right after Oliver Future upstairs.

Another favorite of mine, Tommy Santee Klaws, play Saturday, June 6, at Crane's Hollywood Tavern, and Sunday the 14th at Gallery 2023. Alaskan Summer are a band I must check out since Douglas Summer is also the voice of his Orchestra, who have recently become an obsession of mine.

I got to know Brooklyn's Chairlift (photo at left by Katie Chanler) a couple of years ago at the Silver Lake Lounge and really loved their music. They're coming back for a couple of dates, one at The Echo on June 18, and the other at the Getty Courtyard on Saturday, June 20. Also Viva Voce who are a couple who play guitar and drums and both sing creating a dense, swirling phantasmagoria. They play The Echo on June 17.

I wanted to write about the whole summer, but better take it month by month. There's too much going on and a lot more shows will pop up this month alone. I'll leave it there for now.

whrabbit

Avi Buffalo Residency Concludes at The Echo

As I arrived at The Echo on Tuesday, May 26, 2009, I was struck by the beautiful noise coming out of the venue even before I went in. The doorman said the first band had just gone on. I bolted inside to be overwhelmed at the gorgeous jangle of the many instruments assembled on stage.
It was Divisadero (above), and I was there early to see them play live, as I'm going to post a review over at Radio Free Silver Lake, of their CD Lefty, being re-released this very day on JAXART Records, I also wanted to speak to a couple of band members to get their thoughts. But when I walked in they were furiously hammering and sawing away on their instruments and the music was sublime. I think it was "The Boxer's Daughter".

Their dense swirling wash of sound was hypnotic, as they spun through selection from Lefty. Lead singer, Marco Montesclaros, vocals were pitched just right. On record, his vocals are carefully laid into the fabric of sound at just the right level and this must be duplicated live. I've heard them when Marco's voice was too loud and it threw the whole balance off, or too soft and he gets lost. This night was just right, and, apart from some clicking sounds, Ashley Jex pointed out to me, when the band got very loud, I found the mix to be, overall, very good.

Highlights included "Understand We Have No Understanding" and "Lefty's Lament" featuring Josh on electric saw. Speaking to Pauline Lay and Josh McCool after the set, I learned this was the first time Divisadero had played The Echo. I'll bet they're invited back real soon, as the crowd loved them.


Greater California (at left) were the next band and they impressed me with their solid playing and strong songs. In fact, they sound like a headlining band. Lot's of variety in the music, with sunny pop, undercut by big slices of psychedelia played on a wide array of instruments, with band members sometimes playing two or three of them within the same song.


The crowd seemed into it, but by the time Avi Buffalo took the stage, there was a restless element in the audience. To be sure, there was the faithful army of Avi regulars present, but

Avi Buffalo's reputation is beginning to precede them. There was undoubtedly a presence of those who have heard this band is the next BIG thing and had no interest in the music, only in being somewhere perceived to be"cool". Word has definitely gotten out as this was the biggest crowd of the entire residency.

Tonight's program was a "greatest hits" set that focused on their biggest crowd-pleasers, from "What's In It For" to "Where's Your Dirty Mind" with plenty of opportunities for Avi to get crazy and shred his guitar in between. The whole set was beautifully balanced and most got into it, but the constant din of conversations, where there should have been none, was frustrating for fans like myself...and for the band.

In spite of that, I would call the night a success, owing to the devotion of Avi Buffalo's many friends and fans. Actually toward the end of the set, I moved way down front and it pretty much obliterated most of the chatter and I noticed a marked improvement in my perception of the show. I wish I'd been down front for the full set. This is the first residency I've seen all installments of, and I can't think of a band more worthy.


There was a decided moodiness in the city that night and things were a little tense as I was making my way to The Echo on the bus, earlier . The L.A. riot police were out in full force at most major intersections expecting protests to the abominable State Supreme Court decision to let Prop 8 stand. It won't stand forever, it's defeat is ultimately inevitable. Just goes to show what happens when the Christian Taliban is allowed too much access into society or government. That always becomes, forgive the term, an "unholy" alliance.

whrabbit

Gangi Wrap Up Residency at Spaceland

It was great to have the day off on Monday, May 25, 2009, so I was primed for the Gangi show at Spaceland that night. Also wanted to prepare myself for a week in which I could go out every night, there's so many good shows.

As soon as I got off the bus and began heading up Silver Lake Blvd. Scott Schultz caught up to me and he's brimming with good news, the basics of which I revealed in my last column. I'm so excited for him and for the city of Los Angeles.

I saw Lyle Nesse, half of Gangi, as I was going into the club and congratulated him on the residency. He told me last week's installment had been a highlight. I'm sorry I missed it. I asked what's next for Gangi, and he said he and Matt will be hibernating for a little while to finish up their next album.

Local Natives are a local band that play poppy indie pop, avoiding the saccharine by really strong playing and clever songwriting. (Pictured above in a photo by Benjamin Hoste) They also go for four-part harmonies, similar to Fleet Foxes, which they achieve quite readily. I was impressed enough to pick up their EP, which features a good sample of their range and includes their beautifully sung cover of "Warning Sign" by Talking Heads, which they performed to perfection in concert.

Gangi literally blew Spaceland off earth with their set. Going back to the original arrangements of "Ground", "Subject Positions " and a rousing rendition of "Animals" that had Matt Gangi leaping around on the counter tops, they sounded great and powerful. Then they launched into an astounding version of the new song, "Gun Show" and it's concussive beat which ultimately blew the sound out. It cut their set down to five songs, but each was delivered with such precision and passion, everyone in the very large crowd was impressed.

I waited around a little while, but it began to look like the sound was gone for the evening, so everyone politely cheered the band one more time and I made for the exit. I hope the Gangi boys aren't too disappointed, and on the last night of their residency, because what they gave us was pure gold. Above, the guys are seen hibernating and working on their next album (I suppose) in a shot by Sarah Forbes Keough.

whrabbit

Fort King at pehrspace and Other Notes

The above photo is from the pehrspace website, and it was the first thing I ever saw of the club, before my first visit there last year. You would never know that it is the site of some of the finest evenings I've had seeing live music in L. A. It's tucked back behind that short palm tree in the far corner. I just wanted to show how the most amazing things can happen in the most unlikely places.

I didn't know what to expect when I went to pehrspace on Friday night, May 22 to see a band I only just recently heard about. It was at the Tommy Santee Klaws show at Hyperion Tavern a couple of weeks ago when Donna Jo introduced me to their friend, Ryan Fuller, who gave me the CD, Naked Shadows, by his band, Fort King. I figured it would be worth a listen.

I've been obsessed with it for two weeks. Beautiful, melancholy ballads with a strong instrumental sense that recalls French film soundtracks of the '70's. I'm particularly reminded of the score by Arie Dzierlatka for the brilliant, melancholy Alain Resnais 1980 film Mon Oncle d'Amerique.

His use of the cello, played by Catherine Campion, is so subtle and underplayed, it's almost subliminal. I also wondered how his voice, low key and wistful, would translate live. So I was off to pehrspace to see if anyone else knew about this band.

Not expecting to find anyone I knew, I walked right in the door to see Matthew Teardrop and Ian Baumeister manning the admissions. It was a good night from that point on. I snuck in to hear Willow Willow perform a lovely set of two-part harmonies perfectly mixed by Pauline Lay, as usual. Recently relocated from the Bay area, they sing sweet songs with a country flavor, that are quirky enough to get the attention of the indie crowd.

Before they went on I got to have a nice chat with Catherine and Ryan, and tell them how much I'm enjoying the CD. When Fort King (at right) took to the stage, they treated the audience to a set of many of the best cuts off the album. What really pleased me was how Ryan sounded just like his recordings. This requires very careful playing and singing and Ryan on guitar, complimented by Catherine's spare use of the cello, for maximum effect, play with an admirable precision. Tonight they had the accompaniment of Aaron Robinson on dobro, which added a subtle air of country to the sound.

The beautifully understated lyrics fit the gently moving music so well, voice and instrument occasionally reaching a beautiful compositional counterpoint. The recorded versions include many wonderful sound effects that weren't present live, but the music is so strong on it's own, I didn't miss them.

"House Finch", "To the Moon", "Antique Dreams" were all played stunningly. The instrumental, "Tabanata", was a high point for me, and I always applaud a band with the courage to play an instrumental at a rock show. Good to see a band live up to the promise of their recorded work, and then some. I think most of the audience felt the same.

Also, congratulations to our friend, photographer Scott Schultz, who has been getting attention lately for his remarkable Skid Row photographs (see above). First, L.A. Record articles, then the Huffington Post radio interview, and now, tapped by the L.A. County Commission for the Arts to put on a music and arts festival at the Ford Amphitheatre on July 26 to raise funds for programs benefiting the Skid Row residents. There is also much more beyond this, including allocating funds for assisting the homeless through the arts, the support of "Food Not Bombs" and a coalition of South Central Farmers. It sounds so worthy and deserving of support, I'll do what I can.

Just wanted to mention a few CD's that I'm really enjoying lately. First, the Fort King CD, Naked Shadows I recommend for it's songwriting and evocative and moving melodies. Out of the Rain, the Thunder and the Lightning by The Faraway Places is

gaining rapidly in my estimation. I love the range of influences from

The Kinks to The Beatles to The Brian Jonestown Massacre and their songs are stuck on constant rotation in my brain right now.

I got a copy of The Rhone Occupation's Would It Kill You To Talk This Out? EP from Jacob and I thinks that's pretty good as well, catchy songs and terrific vocals. Still getting to love Swoon by Silversun Pickups more and more. Those songs really grow on you. I picked up 2007's Soul Variations by AM when I saw them at Spaceland a week ago, in anticipation of their upcoming release. The song "Stepping Stone" is a real winner. And, of course, the Avi Buffalo Echo residency self release, which at last gave us something to hold in our hands.

whrabbit