popwreckoning

The Echo wasn’t very crowded. It’s quaint charm can be attributed to its ability to produce raw intimacy. Band members flit about in the audience; a casual convening of art and music enthusiasts enjoying a subtle night out provides an easy listening atmosphere for eager ears.

A Canadian quartet opens the show to a meager, but silently growing, crowd and approaches the challenge with enthusiasm. Their name is Hot Panda, and it’s their first time in California. They joke about their disappointment over the absence of Jake Gyllenhaal from the attendees (apparently he had been invited on their blog), and theatrically set the stage for their experimental, up-tempo, and often uncouth experimental indie pop. The lead singer’s voice is interesting; reminiscent of Isaac Brock of Modest Mouse. It’s slightly aggressive, high-pitched, and often indiscernible, but so entertaining simultaneously. Their spontaneity seemed to know no bounds as they frolicked about on stage, dramatically gesturing with various instruments and endearingly asking “Panda, ready?” prior to the introduction of a new song. Their sweet-sounding din was melodious and trance-like; a reflection of their synchronicity. Their band members are also extremely down to earth (a trait I observed when I floated over to their merch corner to praise them for their didactic performance. They offered me a copy of their vinyl EP How Come I’m Dead, which I intend to review, and have available for the next installment of Scratch’d Vinyl.

Although the Hot Panda set was enthralling, the second act was the band I had been anxiously anticipating all evening. I have been an avid Rumspringa listener since my brilliant friends took me to a gig they played with Edward Sharpe and the Magnetic Zeroes in 2009. But the band I was about to be privy to was of a completely different caliber. The Rumspringa I had previously known and loved was comprised of two members: a guitarist and lead vocalist (Joey) and drummer (Itaru). But this Rumspringa was completely transformed, minus one constant, Joey. Prior to the opening of the venue, I had a chance to meet the new band members–Andrew, Cecilia, and Cardo–during a very casual interview I conducted with them in an alley off of Sunset Boulevard. The interview will be available on PopWreckoning in the coming days. I anxiously awaited their set with a cigarette, contemplating how different their sound would actually be after discussing it with them before their sound check.

And in all honesty, they surprised me. Not that they were less groovy, but they were a little heavier melodically in a voluptuous manner. Cecilia’s back-up vocals and additional guitar riffs give their music a sensuous undertone, and the addition of bass adds a sinister and intriguing foundation for their funky psychedelic rock. Joey’s croons are as whimsical and as spine-tingling as they’ve ever been, but with the accompaniment of sound much different from the Rumspringa of old.

They are indeed, a completely different band, and I would definitely recommend catching the four-some hard at work.

The greatest of artists are usually the ones who speak from their soul: rather than the mouths of others, from observations of the superficial aspects of life, or, from the angle of what is believed to be popular or appealing. Anya Marina portrayed this quality in her upcoming EP, Spirit School, an accumulation of dissident tracks that lay off the beaten path of what she intended to fit into her upcoming full-length album. Despite their bohemian nature, these songs deserved their own debut considering Anya’s intent to just…write.

The idea for Spirit School, is based off of the concept of being in an environment where you can embrace and expand your soul in a ready and willing nature. This idea seemed fitting for Anya because, over the course of touring, she realized that life on the road, as a musician, can in fact be an educational facet for the mind and spirit to intertwine amongst themselves. These songs represent this ideal in clarity due to Anya’s perseverance in writing her own songs and feeling confident in the lyricism these tracks would embody.

Spirit School is a multifarious culmination of electro-pop gems. The beat on each track is not merely repeated, but tweaked and amped throughout the track. Her seductive lyricism compliments many of the songs well, transporting you to a low-key nightclub with a subtle cocktail in your hand, but your body’s energy exhibiting the “she needs to move” complex. The beat builds tension within itself, despite its speed or rhythm. And right when you think she is just laying a beat, she throws in some acoustic guitar, a little percussion, and some slight keyboard…and we’re back to square one indie/alternative pop.

Her voice is reminiscent of a more sophisticated Tegan & Sara (with a little less whine, and one less vocalist), especially in the title track Spirit School. But, her vocals also possess a more breathy and intimate sound than the aforementioned comparison.

The closing track is a remix of Satellite Heart, a track that was recorded for the Twilight: New Moon Saga. This beat differs slightly from the other melodies displayed in the album, featuring more of a vibe that you might acquire from listening to The Postal Service. Several indie artists aided Anya in the recording of this album, including: Courtney Taylor-Taylor of the Dandy Warhols, Michael Lerner of Telekinesis and Sam Fogarino of Interpol who contributed the remix of Satellite Heart featured at the end of the album.

Spirit School will become available to the public on November 15.

Recent months have seen the acquisition of various records that have been intensely sought after by yours truly for quite some time now. Not merely by referral, but for the sake of re-visiting the previous musical tendencies of these artists and their intentions pertaining to content and musical composition.

The first of these coveted new finds is the Killers’ debut studio album, Hot Fuss, first issued in 2004. A number of trips to Amoeba yielded little success in my quest for this album (their Killers’ section was limited to Human and Sawdust at the time). I finally encountered a special edition set in the clearance section at Hot Topic. While not the most conspicuous resource for vinyl, they surprisingly have an interesting selection. The best deal on the White Stripes’ album, Under the Great White Northern graces it’s racks, and at one point, it was the only retail outlet (that I knew of), that housed Blink 182’s Dude Ranch (I also purchased my vinyl edition of Enema of the State from them, which, as it turns out, is twice as glorious as the first time I heard “What’s My Age Again” on the radio as a pre-teen).
Not only did I obtain a ridiculously hard to find record, but it came with a cute little band tee and was less than $20. Despite not being the biggest Killers’ fan throughout their rise to stardom, a live, acoustic version of Mr. Brightside and a surprisingly melodic track featuring Lou Reed of the Velvet Underground entitled “Tranquilize,” intrigued me enough to re-continue exploration.
Brandon Flowers’ voice is riveting; every inimitable detail is stressed emphatically as the record spins. Through frequent usage of this particular record, I have come to love and acknowledge other Killers’ tracks that I never really heeded before, for example, “Andy Is a Star” and “Jenny Is a Friend of Mine,” as well as, increased my love for the constant Killers’ tracks in my life. The heart-wrenching lyricism of “Mr. Brightside,” the melodic, soul-stirring qualities of “All These Things That I’ve Done,” and the foot-tapping ecstasy that follows “Somebody Told Me” are brought to the forefront, rather than hidden behind digital snapshots of music. The dramatic atmosphere provoked by the Killers’ in this album is delightful, and I am grateful for the re-introduction in a bolder and brighter light; a representation less tarnished by abused air time and excessive VH1 coverage.

At a younger age, I had a slight obsession with Death Cab for Cutie; ultimately, I realized that the obsession stemmed from my adoration for the talented Ben Gibbard. The hype caused by the Postal Service that swept through my high school prompted my “non-comformist” self to back away from the insanity, but I would eventually return after hearing some of Ben Gibbard’s solo album Home (featuring Andrew Kenny, lead singer of American Analog) last summer. I found a copy of the Postal Service’s debut album, Give Up, at Amoeba, but it was much too expensive ($29.99) for my threadbare wallet to support that endeavor. After months of waiting to possibly score a second-hand record, I stumbled into a 2 disc special edition set at an Urban Outfitters (another unexpected place for record hunters to frequently locate records). Disc one contained the actual album, while disc two was composed of covers, remixes, and a couple bonus tracks. I got a good deal on it considering it had been removed from the original packaging, but the price before it was discounted was still much cheaper than the only copy available at Amoeba.

This compilation of tracks is quite distinguishable from Gibbard’s previous exploits with Death Cab For Cutie. The electronica driven album is a thrilling adventure in itself. Fraught with romantic and sophisticated lyrics; Gibbard’s soaring, soft, and gentle vocals embroider the, more often than not, upbeat and intricate tempo on this record. The book of lyrics that accompanied the album only provoked me to become even more immersed in the greatness of their masterpiece, and the more I listen to it, the more I crave for the rumors of a second Postal Service album release to be closer to the truth then reality depicts it to be. The gems off of this album are the usual Postal Service classics, like “Such Great Heights,” “Brand New Colony,” and “Sleeping In;” but the covers are just as mesmerizing. The Shins’ rendition of “We Will Become Silhouettes” was ethereal and sublime, and Iron and Wine gave “Such Great Heights” a slower, but interesting twist.

Although hesitant at first to purchase these finds, I realized later that I not only scored, but I had gained a new respect for record hunting. There is no “skip forward” button on a turntable; the album is heard exactly the way it was made; which is the way it should be (at least for audiophiles like myself). Some other notable acquisitions that I would recommend for re-exploration via analog would be: Lil Wayne’s Tha Carter III (2008), Broken Bells’ self-titled debut album (2010), Wu-Tang Clan’s Enter the Wu-Tang (1993), and Notorious BIG’s Life After Death (1997).

Summer has arrived and Los Angeles is ready to provide the entertainment (as it always is) with the events that are characteristic of the season. From raves to music festivals, there’s no end to the insanity.

by Dana Hawley

HARD will be presenting MIA and N*E*R*D at Los Angeles State Historic Park July 17th, along with a music festival and summer tour in August. Hollywood Bowl will be boasting such acts as Kings of Leon and Dave Matthews Band, and other assorted venues will be presenting Wolf Parade, Pinback and MGMT. But what about those of us who yearn for the intimacy and wish to avoid the crowds, $70 tickets, and unreasonable parking?

Thank God for the underground, and Los Angeles has a plentiful amount of space for it to thrive. Looking for a low-key show over a cup of coffee? Drover Shy may be the answer. A one-man act, Emory Davis totes his story-telling acoustic tracks at various open mics around Los Angeles, including Time Warp Music, An Urban Coffeehouse, Travel Cafe and Café Muse. The gentle instrumentation of his songs is accentuated nicely by his deep, emotional vocals. His music is a gentle reminder of the soul searching blues that prevailed in previous, yet glorious musical eras. Although Drover Shy has not released an EP as of yet, Emory is hard at work putting together a compilation of gems by the end of the month.

When asked why musician was his career choice, Emory replied, “It seems like the most natural thing…writing songs, making music, and performing.” His influences include Moondoggies, Bon Iver, Sufjan Stevens, and Fleet Foxes. For a night of easy listening, you can check up on his shows via his various social networking pages .*

Swinging indie pop is a typical mainstay on the more low-maintenance musical arenas and Chasing Kings is just that type of band. This quartet from the Malibu/Los Angeles area is sincere and diligent in their musical efforts. With a collection of songs they fine-tuned and recorded with producer Tony Berg (producer of Phantom Planet’s Raise the Dead album) for their debut album The Current State of Our Future, they have waltzed their way into the curious ears of many Los Angeles natives, as well as those who got the pleasure of seeing them on their DIY tour across the country in fall of 2009. Their catchy melodies, eclectic riffs, and unique vocals create one hell of a show, and leave a lasting impression that most cannot demand in a live performance. Their charismatic indie has caused such a stir that it brought them to SXSW 2010 and ushered in gigs at the Bootleg Theatre with Hot Hot Heat, the Troubador, Spaceland, and a KROQ Locals Only Show with Seawolf at Roxy Theatre. Upcoming shows include the House of Blues in Anaheim on July 8th, and a free show at the Hammer Museum for KCRW’s “I Like to Rock” series. They hope to release a new album by 2011. For more information on the Chasing Kings you can visit their Twitter, Facebook, Myspace, and website.**

My final suggestion for the upcoming months of musical mayhem? Rumspringa. These local favorites have been traipsing around the greater LA area for quite some time and have acquired some legitimate notoriety along the way. The recent duo turned quartet, plays a funky, psychedelic, dance-worthy rock that is not only brilliantly orchestrated, but worded impeccably. I had the pleasure of seeing them live at the Unknown Theatre some months back, and the show was exactly how I had wanted to spend my evening: a small, but ornate venue, quite a few people, but not too many, and all of them affixed in the throes of ecstasy over these boys and their talent. Their live showcase is not only charming, and eloquent, but seductive and mesmerizing. They have already released a couple EPs, all of which I would recommend immediately, and not only are they awesome, but usually so are the bands accompanying them (White Arrows, Mississippi Man, and Edward Sharpe & the Magnetic Zeroes among them). Despite usually having a plethora of shows in or around the vicinity of Los Angeles, Rumspringa is currently on tour, however, their 4th show of the tour will be at the 3 of Clubs on August 5th. Tour stops include San Diego, Las Vegas, San Francisco and Costa Mesa. For a full tour schedule, and other various details, check out their array of social networking sites.***

*Drover Shy: myspace | facebook
**Chasing Kings: myspace | facebook | twitter | blog
***Rumspringa: myspace | facebook | website | tumblr | twitter

It is not an unknown fact that vinyl records are a staple in the world of music. But during the evolution of musical media, the vinyl record was largely overlooked in a commercial sense due to the convenience of digital media such as compact discs and mp3s. Despite this decline in popularity, which was initiated circa the early 1990s, the vinyl enterprise has slowly, but surely, made a significant comeback amongst quite a few minority markets.

So what’s so great about vinyl?

The answer to that question varies for many, but for myself, it lies in the thrill of the chase, and vinyl’s ability to capture, store, and re-emit sound.  The plethora of vinyl records that reside in our immediate vicinities is amazing; the majority of it lies undiscovered, yet in the most obvious places.

One time, I bought one of Led Zeppelin’s greatest albums for $1. It was sitting in a cardboard box at a Goodwill, and despite it’s somewhat worn sleeve, it plays beautifully. There’s something about hearing a band exactly as they sounded decades ago leaking out of the grooves of a record that makes your skin crawl with admiration. The sound quality of vinyl seeps a nostalgic air into the room.

We can thank analogue media for this atmosphere. Vinyl is an analogue device that captures the exact sound waves being conjured by the recording artists in question, and etches an exact replica of it into the record grooves. Digital recordings, are merely snapshots of the sound waves, and can only try to match those sounds.

As a music enthusiast, I take delight in the intricacies in tracks, melodies and the chills that a real vocalist can send up your spine with the vibrations that echo from their voice box. Live shows are my favorite medium because it is the best example of an artist/band’s energy, synchronicity, skill, and ability to entertain. So far, the closest I have come to having an exact replica of that particular experience is via my record collection. The realism in the grooves of a record is so potent; it provokes the listener to be drawn into the outpouring of sound, its cunning details, and its hidden treasures. Through collecting old and new vinyl, I have discovered a renewed love of sound that is very different from the passion that I possessed in my teens for compilation of compact discs and cassettes.

Scratch’d Vinyl will be a post on my vinyl exploits and other vinyl record related material. My hope is to provide a little glimpse into the world of a vinyl collector and encourage those who share this enthusiasm to pursue it. With that said, I will leave you with a quote from the bassist of Pearl Jam, Jeff Ament:

“Our first record didn’t come out on vinyl, so I think that might have had something to do with actually being in a position to make sure that it came out in vinyl this time. It sounds way better.”

…To be continued…

In the depths of Hollywood lies a door, and through this door lies a venue that totally befits its name: the Unknown Theater.

By Sophia Schorr-kon

Amidst the hustle and bustle of Hollywood, this unmarked door is placed in the discreet residential shadows just off of La Brea and is only distinguishable by a throng of smokers loitering outside of it. The Unknown’s underground façade is charming and eloquent; it’s a place where what is considered classy rests slightly off the beaten path of mainstream culture. The theater, which features a quaint lobby next to the bar, chandeliers composed of christmas lights and seating for a little over forty in front of the stage, was packed with indie enthusiasts, who obviously must have had some sort of insider knowledge of the local scene to have shown up at the right time at such a low-key venue (I was informed by friends of mine who religiously attempt to catch multiple Rumspringa shows while they are in town of this particular event).

The openers, White Arrows, are another member of the local scene, and are stylistically similar to their headliners in their rhythmic qualities and their mature, vintage influenced rock. To be blunt, they were brilliant, and I am personally looking forward to catching them more often on the LA circuit. But as much as I enjoyed White Arrows, Rumspringa absolutely blew my mind tenfold.

The first Rumspringa performance that I was blessed to be held privy to was last April. They were opening for Edward Sharpe and the Magnetic Zeroes. To see their transition from opening to headlining is awesome and just validates their establishment as a well-respected band amongst these parts. Almost everyone was on their feet and dancing throughout the entire set, sashaying dreamily to the glorious rhythm and blues that emanated from the infamous duo. The majority of their set was comprised of tracks off of their upcoming album Sway, so named after the title track (and obviously their ability to make their audience do just that), and is set for release towards the beginning of the summer.

Despite some minor mic difficulties, the band was on beat and swinging the entire show, even going as far as to comment on how “lovely” and “splendid” their faithful, enthusiastic patrons were. Their lead singer is probably one of my favorite voices in the biz right now. His voice carries so much soul in every note; it gives the listener a nostalgic aftertaste in their mouth: a reminder of a time when the greatest names in R&B/Soul were still touring, alive, and kicking. The drummer was just as soulful: merely a frenzy of fingers, wrists, locks of hair and intricate drum fills as he sat silently behind his kit.

The duo ended the night with fan favorite, “Shake ’em Loose Tonight,” and it is very difficult to explain to you, just how epic that is live. It is definitely recommended that you find 10 or 15 dollars and partake the dance-worthy madness for yourself.

Top 3 Albums of 2009:

• Manchester Orchestra- Mean Everything To Nothing
• Edward Sharpe & the Magnetic Zeroes- Self-Titled
• Atmosphere- Leak At Will

Best Show of 2009:

• Edward Sharpe & the Magnetic Zeroes, Rumspringa and Starfucker

Most Anticipated in 2010:

• Another Atmosphere tour! I wanted to see them live SO badly.

Most Overrated of 2009:

• Lady Gaga

Favorite Musical Memory of the Decade:

• Rivers Cuomo smashing his acoustic guitar during a rendition of “Undone (the Sweater Song)”

Dinowalrus: diverse, delectable, din. Their debut album falls under “all of the above”: a 10-track disc that takes you to another dimension: a soundtrack for intergalactic space travel accompanied by a climactic assortment of resonating audio sensations.

The drum ‘n’ drone trio out of Brooklyn, draws their interesting and unique sound from a palette of rad, cult-like sub-genres including, but not limited to: noise/glam, experimental and drone/electronica. While the trio gravitates around a drone and loud percussion foundation, their album draws its character from their relatively spontaneous musical instincts.

The album begins with an eerie array of peculiar, repetitive, almost cosmic noises along with tambourines and faint vocals that yelp erratically throughout the minute long instrumental track entitled, “East German Western.” The strange nature of this track motivates the listener to wonder where the album is going to take them (and it will probably be further than they had originally anticipated…at least cognitively). The noise/glam aspects of their distorted guitars and crashing percussion add a mellow layer to the hectic electronica that ensues.

The trio uses several “devices” to conjure their otherworldly noise; this category consists of an analogue synth, an optical theremin, and a sampler. The vocals add an irregular accent with their heavily echoed and slightly incomprehensible properties. The album was refreshing and revolutionary, considering its influences were derived from a relatively grey area in music history. % was thoroughly enjoyable, but those most notable were, the ultra groovy “Cage Those Pythons,” “BEAD,” the beautifully melodic “Haze On the Mobius Strip,” and the suddenly thrilling, “Electric Car, Gas Guitar.”

Dinowalrus – “BEAD”

% is out January 16, 2009 on Kanine Records.

Dinowalrus: website | myspace

An intimate gathering of Weezer fans greeted me at the entrance of the Hollywood Palladium in eager anticipation of KROQ Presents Weezer and Wax. The line twisted around the block; garnished by Weezer tee shirts and multi-colored converses. Controlled chaos reigned supreme; courtesy was common, but the amount of positive energy was outrageous, unharnessed, and completely apparent.

The Palladium housed the crowd comfortably (I had enough room to air guitar solo to “My Name Is Jonas”) and by the time Wax ascended the stage, the balconies were teeming with anxious fans. For those who are unfamiliar with Wax, I don’t blame you. This particular show was their first live set in 14 years, and marks the reunion of Weezer and Wax sharing the same bill since they toured the same LA circuit in ’92 (Both bands moved to LA the same year). But, it sure didn’t seem as if they had lost their touch over the past decade plus. Their ska-studded set was energetic and efficient, despite the fact that the crowd hadn’t the faintest idea where this band had materialized from (I would guess the 90’s from the sound of their set).

But, the main attraction was yet to come, and it was blatantly acknowledged in the restless arena as Wax put up the Weezer “W” and gracefully bowed offstage. In between sets, the energy level heightened considerably. A horde of little girls donning Weezer gear skipped gleefully around the Palladium chanting the headliner’s moniker, and a roar went up in the arena once a KROQ crony had sufficiently introduced the band. And then there was Rivers. Rivers Cuomo has to be one of the greatest entertainers I have ever had the courtesy of observing from two feet away mid-performance. His gestures were overdramatized, leaving girls squealing with every awkward lunge of his limbs.

Appearing in matching white sweat suits, the band also sported a minor change of roster: drummer Pat Wilson armed himself with a bass for the set so that accomplished drummer, Josh Freese, could join them on electric drums (Freese has played with A Perfect Circle, The Vandals, Devo, and NIN). Their performance was nothing less than fantastic. Rivers made use of several props (a trampoline, a football, and his water, just to name a few), and smashed his acoustic guitar at the end of “Undone” after dragging it behind him while crawling on the brink of the stage. Rivers definitely glows in all of his delightfully geeky splendor. The set list included several unexpected covers including Black Sabbath’s “War Pigs” and Blur’s “Song 2,” as well as, several new tracks off of their new album Raditude (one of which included a guest appearance by Sara Bareilles for a duet with Rivers). The band is swiftly heading East in support of the new album; their next show is scheduled for December 1st at the Aragon Ballroom in Chicago.

Weezer: website | myspace | @ maryland heights | Raditude review