popwreckoning

Songs For Joplin started as an idea to help a tragedy-stricken town. By pursuing his interest in both music and social media, Zach Becker began to accumulate interest in a music sampler to benefit relief efforts. The idea gained momentum with the help of Twitter as a friend of his, singer-songwriter Derek Webb retweeted Becker’s original request asking musicians to donate songs. The response was overwhelming and in a matter of days, Becker and friends had a name for their project as well as an album of songs to back it. The album includes many local St. Louis artists (Union Tree Review, Sleepy Kitty, Beth Bombara) as well as others from Nashville and Los Angeles. It was released on Noisetrade on June 3 and has already achieved over 400 downloads and $1300 in donations, placing it in the top ten most popular downloads.

The day before the album released, Zach was interviewed by local news blog the Riverfront Times, garnering even more interest in an already rapidly growing idea. Album artwork was made, as were promotional designs and a website thanks to St. Louis design studio Rampant Creative Group. Fliers were printed and would be passed out at the coming Riverfront Times Music Showcase.

“Social media has played a huge role in the success of this little idea, and we ask that you help us maintain that momentum by tweeting and sharing this with your friends. With the album now available for download, we are all excited to see how successful it is as a means of getting money into the hands of those who can help the people of Joplin. All profits from the album downloads will be given to the Heart of Missouri United Way, in order to help relief efforts through their “United for Joplin” campaign. With your help, Songs for #Joplin can be a success. Please donate and download the album, and help to rebuild a community.”

Visit www.songsforjoplin.com for more information.

Download the album directly from Noisetrade here: www.noisetrade.com/songsforjoplin

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.

After a month-long tour in the U.S., London band Klaxons are set to appear at Filter Magazine’s Culture Collide Festival on Oct. 7 in LA alongside such acts as Tokyo Police Club, Black Lips, White Lies, and Sea Wolf, just to name a few.

Having just released their new album Surfing the Void, Klaxons will be playing one of the final shows of their U.S. tour in Seattle tomorrow at Chop Suey with Baby Monster, then two more shows in California after the Culture Collide Festival at the Echo. For more information on how to get tickets to any of those shows, go to http://www.klaxons.net/

Once they leave the golden state, Klaxons will embark on a long few legs of a European tour starting in the UK and ending with a couple festivals in Australia.

Tour dates:
10/5/10- Chop Suey – Seattle
10/7/10- Great American Music Hall – San Francisco
10/8/10- Filter Magazine Culture Collide Festival – Los Angeles
10/9/10- Troubadour – West Hollywood
10/21/10- Bristol University Anson Rooms – Bristol
11/11/10- Manchester Academy – Manchester
11/12/10- UEA – Norwich
11/13/10- O2 Academy – Bournemouth
11/14/10- Rock City – Nottingham
11/16/10- HMV Forum – London
11/20/10- HMV Institute – Birmingham
11/21/10- Barrowlands – Glasgow
11/22/10- O2 Academy – Leeds
11/23/10- Tripod – Dublin
11/26/10- Astra – Berlin
11/27/10- Amager Bio – Copenhagen
11/29/10- Luxor – Koeln
11/30/10- Melkweg – Amsterdam
12/2/10- Maggazzini Generali – Milan
12/30/10- Falls Festival – Lorne, Melbourne
12/31/10- Falls Festival – Marion Bay, Tasmania
1/3/11- Southbound Festival – Brusselton, Perth
1/6/11- Sunset Sounds Festival – Brisbane

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

For two sold-out nights, Londoners The xx proved that a minimalist approach can work, when it’s done well.

Having just arrived on the scene in 2009, The xx have earned a great deal of buzz and, judging by the crowd response, a sizable faction of ardent fans. Appearing shy, unassuming and a bit goth in their solid black attire, Oliver Sim on vocals and bass, Romy Madley Croft on vocals and guitar and Jamie Smith on percussion played to a packed house at San Francisco’s Great American Music Hall.

To start the show, I was excited to see Phantogram, a New York duo that I have been hearing so much about lately. I had heard about comparisons to Portishead, influences from Serge Gainsbourg and descriptions of their energetic live show. Based upon the crowd response, I don’t think I am alone in my assertion that the performance was a disappointment. The band’s point of reference seems good but there was simply no cohesion and each track seemed sloppier than the one before. There was no trace of an energetic live show and their lighting, which consisted of little more than the incessant, annoying flash of strobes, certainly didn’t help things.

The xx, on the other hand, conveyed exactly the opposite effect. Stacking detached, hazy vocals and thumping bass parts along with “live” drum machine beats, each sound seemed as it were specifically selected to enhance the vibe. Sounding like something that Robert Smith, Ian Curtis and Peter Hook might have cooked up in long-forgotten shed during the wee hours of night, The xx delivered an hour-long set consisting of most of the songs from their eponymous 2009 album. From the syncopated, overlapping lyrics of “Crystalised” to the half-awake “Islands” and “Shelter” the band gave the crowd a peek into their natural, more-mature-than-it-should-be style. The set continued with “VCR,” the R&B influenced “Basic Space” before closing with an energetic version of “Infinity.”

The show felt very intimate, as if the crowd was voyeuristically peeking into their dilapidated practice space while the band played simply for their own late-night enjoyment. That’s really what is so striking about The xx and their music: it’s seductive and tense there’s nothing pretentious about it. You’re left feeling fortunate that you’ve experienced it unfolding before you, as if it could vanish in an instant. Showing the band’s great mastery of restraint, all of the parts have an organic space between them, letting the tracks breathe and evolve in a very satisfying way.

It’s certainly impressive to see such a young band have such a brilliantly realized sound. Making unique noise from pedestrian instruments, these newcomers just might be on to something.

From the Anniversary to Dri and now to Extra Classic, Adrianne Verhoeven can’t stop making music and we can’t stop loving it.

The former Kansas City performer is hard at work in San Francisco, putting the finishing touches on Extra Classic’s debut. Alongside Verhoeven in Extra Classic are Alex Delanda, Josh Adams, Jake Blanton (formerly of Ghosty) and Dustin Kinsey (The New Amsterdams).

While waiting on this release, we invite you to sample the band by checking out their tune “Congo Rebel.”

.“Congo Rebel”

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.

Princeton will play a special Chanukkah themed show in LA on Dec. 12 with guests Parson Red Heads. The show will feature surprise collaborations and eight hand-picked Chanukkah gifts to be given out to audience members over the course of the evening.

The show will also serve as a homecoming show for the band, who have just recently wrapped up a three-month tour supporting Ra Ra Riot, Art Brut and OK GO.

In addition to the show announcement, the band just released a new video for “Calypso Gold,” which you can view here:

Princeton: website | myspace | @ sxsw | @ black cat

Sycamore Meadows, the latest release from Butch Walker, is the only album of his that I don’t own. The only one that I did not run out to the store and buy on its release date or pre-order online. I hadn’t even heard anything off of the record other than the lead single, “The Weight of Her” and I had only heard it once. After hearing him play it in its entirety last week, I have come to the conclusion that I am a complete and total fool. It seems with this record, Walker has finally come into his own.

However, I’m not here to review Sycamore Meadows. We’ve already done that. I’m here to tell you how night 3 of Walker’s Wednesday night residency at the Hotel Café went. And it was lovely. Though it was much more mellow than the previous week (Walker himself even compared the last Wednesday to the effects cocaine and the current Wednesday to the effects of heroin), it was still a treat.

The highlight of the night was Butch’s special guest—his doctor. Apparently after a recent check-up, Dr. Stephen Patt mentioned to Walker that he played a few instruments and consequently spent his night onstage accompanying the show on a multitude of stringed instruments including, but not limited to upright bass and lap steel. It seemed as though there was some difficulty getting Dr. Patt properly amplified, but once he was, his little extras made a big difference.

For his weekly cover, Walker chose the lesser known Patsy Cline classic “I’ve Got Your Picture.” After hearing a gentleman known as “The Hardest Working Man in Karaoke” perform this at a West Hollywood karaoke joint the previous week, the song was fresh in my mind. Walker’s rendition was positively heartbreaking. I will forever be touched by the way his voice and facial expressions lead one to believe that he might actually break down in tears during his ballads, and though the song was not his own, he gave it no less feeling.

The upcoming final Wednesday of Butch Walker’s residency is fast approaching, and I have no clue what to expect. Quite honestly, I don’t think he does either. I can only hope that it’s as captivating and exciting as I’ve known his shows to be in the past. As much as I love low-key, subdued Butch, I love high-energy, interactive and silly Butch more. I’d love to hear a few songs off of Left of Self-Centered, the oft forgotten first solo album, as well as a multitude of Marvelous 3 gems. Hopefully on the last night, Butch will also take time to come out and rub elbows with his fans. I’ve always admired the love and respect he’s given those to spend their time and money coming to see him play. However, the last three weeks, I haven’t once seen him emerge from his “Performers Only” green room and mingle with the crowd. But to be quite honest, if that’s the only real complaint he’s getting from me, he’s doing pretty damn well.

Butch Walker: website | myspace | Sycamore Meadows review | interview with | @ grog shop | @ hotel cafe: night 1 | @ hotel cafe: night 2