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

Last Week in Rock

I had a pretty spectacular week of good music last week which I wanted to post about before it became a distant memory. It all started with my first trip to McCabe's Guitar Shop to see Jorma Kaukonen (on right in photo) play the first of four performances at the legendary venue on February 1 (and 2nd). As a founding member and lead guitarist for Jefferson Airplane, he was one of the first rock-god guitarists I ever saw. I continued to be a fan through his years with The Airplane, Jefferson Starship and his band with bassist Jack Cassidy, Hot Tuna, but it's been a good 35 years since I'd seen him play. That fact was emphasized by the presence of so many old-time rock and roll fans everywhere I looked.

Accompanied by a friend from back home in Ohio, Barry Mitterhoff (at left, above), on mandolin and guitar, he strode through a memorable set of classic blues/folk tunes, highlighted by fondly remembered songs like the opener "Too Many Years" from the underrated Jefferson Airplane reunion album of 1989 and used as the title song on his solo album of 1998. Also "Hesitation Blues" from the first Hot Tuna album released in 1970, shortly after Volunteers was released, and from his classic solo album, Quah, I think he sang "I Am The Light of This World". At 72, what his vocals have lost in the range of his younger years, has grown in character and depth, yet his finger picking is as limber, flexible and awe-inspiring as that which made him famous. Like a visit with an old friend who still has a youthful soul, I felt like I was in a warm cocoon, viewing my past, my present, and my future, all at the same time.

If I do say so myself, I hosted a pretty fantastic show on the following night (Saturday, Feb. 2) for Feed Your Head night at Lot 1. The evening was built around the return of George Glass to the concert stage after taking a year off, so I was already excited about that. The bill came together in fits and starts - first one, then another of the bands could...then couldn't, so I was scrambling a bit as the date approached ending up with a bill that was so accidental and so diverse that it was one of the surprisingly best shows I've had.

I was able to rely on Jonny Polonsky (at left) to jump in on a moment's notice to open the night and, since this was the third time he's played my show, I knew I would get a solid set to start the show. With his remarkable songwriting skills, his mastery of the guitar and a voice that can range from a strangled cry to a full-on shriek, yet never off-key, he is a definite triple-threat.

The Mid Cities took the next spot and I have not seen this band nearly enough. This is one talent-heavy band that delivers on all fronts. Similar to their brother/band, The Californian, with their great hooks in classic indie rock songs played with passion and polish by John Graney on guitar and harmony vocals, Jake Gideon on an assortment of instruments (and occasional back-up vocals) and the definitive drumming of Michael Hopkins. The lead in this band is taken by Jonathan Price, who commands the band skillfully with his solid songwriting and inventive and amusing lyrics sung in a clear strong voice. A bit more classically oriented than the surfy twang of The Californian, The Mid Cities (above and below) nonetheless make their own musical statement

In the year since I last saw George Glass, is it possible they're even better than before? That was my impression. Last time I saw them they were playing one of the Seasons residency nights at The Echo last January. Nick Ceglio (at left) has been busy writing lots of new material and fine-tuning songs I first heard when they last played. Like "AM Radio" which is about as catchy as a song can get with it's spirited refrain that makes everyone want to sing along.

The winding, twisting melodies Nick composes conform perfectly to his quirky and clever lyrics. Ably assisted by bass player Pete DiBiasio, who also contributes some surprisingly pitch-perfect harmonies (since he does not consider himself a singer), Nathan Kondor on drums who propels the music forward, and Todd McLaughlin on second guitar, filling out the sound with dynamic dimensions. I look forward to their forthcoming new album if it's anything like their live performance (viewed above).

I took a chance on the final artist of the night. When I couldn't get Omar Velasco to play, he recommended a friend of his who was in town from Brooklyn, NY who performs under the name The Sky White Tiger. Even though it was the end of the night, Louis Schwadron (AKA Sky White Tiger) kept a large crowd dancing and grooving to his one-man dance machine music. Electronic beats, prerecorded samples and his wizardry with the keyboard form the wall of sound behind his amusing and interesting lyrics. When he steps out from behind the board and dances around the room, even making the wall decorations a part of his band, the effect was intoxicating and excited the whole room. This was the most powerful closing act I've yet presented and I thank both Omar Velasco and Sky White Tiger for bringing this to L.A.

Two days later I decided I had to go see Gliss in the first night of their February Monday residency at Los Globos because I had just purchased their new CD, Langsom Dans, and I wanted to hear it live. It's been a couple of years since I saw them last and tonight there was no instrument swapping with Martin Klingman staying behind the drums, while singing in his "let's streeeeeetch this word out as looooong as we can" style which can make an eight letter word into a five syllable sound. Victoria Cecilia (below) has assumed center stage, next to her keyboard, as her vocals appear to have become the lead vocals in most of the new songs, and I'm all for that. She has a winning and seductive voice that is perfectly complimented by Martins yearning vocals.

"Weight of Love", "Black is Blue", "Kite in the Sky" and "Blur" are beautiful songs and they gave them stunning live recreations. David Reiss (who was absent the last time I saw them) was happily back and his guitar and bass playing is vital to the perfect balance they achieve between hard-driving rock and roll and some kind of ethereal dream rock.

This was only the first of their residency night and I recommend you attend one while you have the chance. This album could put them over into the big time.

whrabbit

Pinback at El Rey (1/17/13)

I walked out of the El Rey theatre Thursday night (Jan. 17th) realizing that there is a good reason that Pinback is my very favorite band. And they proved it without question at this show. This was the thirteenth time I've seen them and I think it was the very best of all. Since 2005, when I first heard the song "Fortress" and they almost immediately became my favorite band, no one has been able to knock them from that position. I had worried if I might ever see them perform live, though in the prodigious writings I found about them, there seemed to be a general opinion that their live shows were a bit sloppy and never came very close to what they sound like on record.

I listened to a few recordings of their early shows and I realized I would need to temper my anticipation and see their live act as a different version of their sound with all the music played faster than the recorded versions. They were still touring on the strength of the Summer in Abaddon album when I first saw them at the Avalon on May 30, 2006. They had assembled a traveling band that emulated their sound reasonably well, and though the songs were all played very fast, I was still awed by the musicianship of Rob Crow's guitar and vocals and Zach Smith's wizardry on the bass.

By the time of the release of their next great album, Autumn of the Seraphs in 2007, they looped in and around town a number of times as they toured twice for promotion. I attended the first public performance on that tour on July 28, 2007 at The Grove in Anaheim, got the album signed by both Rob and Zach at the September Amoeba Music in-store they held, went to see them at The Wiltern, saw a Christmas program they were part of that year at Avalon and when they came back and played Avalon again on Rob's birthday, Feb. 21, 2008.

They pull musicians from other San Diego bands like Kenseth Thibideau and members of Jade Shader, generally maintaining their 'live' performance sound which I saw a few more times. Then in 2010 something cropped up called Pinback presents the Rob and Zach Show for which I was lucky enough to attend the first show down at the Detroit Bar. This was just Rob and Zach on guitar and bass, with a bank of recording and looping devices allowing them to control all the different layers of the music themselves thereby recreating their recorded sound to a surprising degree. Unfortunately for subsequent fans, they had to end that tour a few nights later when Zach's wife had their first baby a little ahead of schedule and he scurried home.

Throughout these years, I went to see all their many offshoot projects like Goblin Cock, Three Mile Pilot, Optiganally Yours and Rob Crow's solo career, and as these were often in smaller venues like Spaceland or The Echo, I was able to meet them and actually have some conversations with them. It has meant a lot to me to be able to express to artists I admire, just how much their music means to me even though I have probably come off as a tongue-tied clod on occasion.

So, naturally I was surprised when the curtains parted at El Rey on Pinback last Thursday and it was just Rob and Zach and their regular touring drummer, Chris Prescott, on stage. After a false start which shorted out Smith's bass, up came a most unusual song to lead with, "Victorius d" from the 2003 EP Offcell. The song is mostly Zach and showed off his vastly improved vocal skills as well as his virtuoso bass plucking. He also impressed with his keyboard (above).

Moving on to probably my favorite song from their new album, "True North" (which I felt certain they would not perform since it is their first song to require a string section), a string section magically appeared at the back of the stage in the form of two musicians from opening band Judgement Day. Pinback with strings is really something to hear! Not only is the song an amazingly complex construction but when accompanied by the strings which are alternately sawing away or adding a slow steady background I was already near tears at the sheer beauty of what I was hearing. These are the rarest of concert moments when the feeling of ecstasy overwhelms and the world seem to come to a standstill.

The songs soared, and our spirits soared right along with them. It was like the culmination of everything I love about this band all there on display, right in front of you. Their music is so calming and reassuring to me that by now whenever I hear even one note of their music, I am overtaken by a wave of calm and peace. Or maybe it was the sweet, strong scent of marijuana that was as heavy as I've ever experienced at El Rey. It altered reality. Rob Crow was in fine form as he swigged heartily from a never ending supply of beer, but never losing the slightest sharpness in his playing and singing. Even after he tumbled out into the audience for a little surfing (below), he still missed not one note.

They have one of the strongest song catalogs to pull from so the set had no low points. Every song was a masterful demonstration of why they are so good at what they do. Regular favorites like "Fortress", "Sender", "Penelope" and "From Nothing To Nowhere" sounded sharper and better than ever with the clearest back and forth vocals I've ever heard from them live.

They even played unexpected slower songs which they never do live and the result was so close to the recordings that sometimes I thought I was hearing a different band interpret their music. "Loro", "Good To Sea" and "Boo" were gorgeous played at the correct tempo. But for all the classics I'll have to admit my favorite songs were the new songs.

I now may view Information Retrieved as the best Pinback album yet and many of the songs sounded even better in their live versions. The above mentioned, "True North", as well as "Glide" (and its great rear projections, above), "Proceed To Memory", "A Request" "Sherman", the beautiful "Diminished", all were carefully and faithfully reproduced with the added pleasure of seeing them enjoy themselves so much. And this all took place the night after another great El Rey show with Calexico, which I reviewed and posted at Radio Free Silver Lake.

whrabbit

Daniel Ahearn and the Jones and Auditorium at Los Globos (1/15/13)

Hitting the concert trail again Tuesday I bundled up and headed out to the Sunset bus and, just like Monday, rode out to Sunset and Parkman, this time to go to the caverous, cold (freezing really) Los Globos to hear some good music. But this show was upstairs, where I have never been and it was actually quite cozy. It's low ceiling and wide audience space reminded me of the old Hollywood Knitting Factory (which I still miss), but it's character as a bar room did make for some pretty distracting background chatter.

Nevertheless, Daniel Ahearn and the Jones (at right) wooed the audience with a startling collection of tunes that ranged from simple folk tunes to majestically complex compositions that actually reminded me of Arcade Fire. Mindy Jones has a finely tunes vocal instrument that sounds pitch-perfect as she either weaves intricate harmonies or lets loose with a belting lead. Daniel Ahearn really impressed me when I first heard this band at The Echo last February when they opened for Breathe Owl Breathe (a wonderful show!), and I noticed the similarity of timbre and tone to the voice of Joey Burns of Calexico. In an interesting coincidence I saw Calexico the following night (Wednesday) and I'll review that tomorrow (or soon).

Daniel had sent me the link to their latest song, "Make It Right" and it gave me a hint of what I was to hear from the stage that night, but I was unprepared for just how good it was. This is real quality stuff and I advise checking it out. They are playing next week on Thursday at The Echo.

Auditorium appeared whthout two of their regular singers, but it was an opportunity to enjoy Spencer Berger's vocals without any of the solid backup he usually gets. And he has such a strong vocal personality that it was a pleasure to hear the songs in such unadulterated renditions. One had to be impressed at the songwriting skills that make the music just bounce along, becoming unforgettable in the process.

When last I saw the band at The Satellite the sound mix had been a little off, with Berger's vocals overpowering the rest of the band and altering the delicate vocal harmonies. Here Spencer sounded just right, in perfect balance with the rest of the performers. It was just a little show that came up out of the blue and it made for a very enjoyable night out.

whrabbit