LIVE REVIEW: Lolipalooza @ The Echoplex (Echo Park, CA)

After opening a Los Angeles storefront for their mostly cassette-based label last summer, the founders of Lolipop Records clearly wanted to go big in terms of celebrating its birthday. Thus, the first-ever Lolipalooza took over the Echoplex last weekend, flooding the popular venue with stylish music junkies whose passion for dream pop, surf rock, and seventies psych throwbacks clearly matched the label’s own. The all day festival featured over thirty bands, including acts from like-minded labels Burger Records and Pizza Party Music. There were three different stages – one upstairs, one downstairs, and one on the Echo outdoor patio. With the constant stream of live music happening, it was nearly impossible to review each and every wonderful band, but there were some definite standouts.

So Many Wizards, a local four piece with a strange ability to meld surf and shoegaze, played on the dynamic of break-neck cymbal crashes and mellow, jangly guitar, the changes of rhythm within songs adding an overall complexity to their poppy song structure. Of the lyrics I was able to catch, I’m pretty sure I heard the phrase “being fucked by love;” even if it was just my imagination it’s a great summary of their general sound. Wandering to the next stage, I caught a set by Corners, whose surf-tinged synth pop had a dirtier and crunchier spin. Fans from the crowd joined them on stage, shimmying like go-go dancers around the band. Out on the Echo Patio, I was introduced to Adult Books, a lo-fi punk outfit featuring Daniel Quintanilla, one of Lolipop’s founders. Their fast-paced set, which was fed by their exquisite sense of interesting rhythm, got the pizza eating, cat-shirt wearing crowd very riled up. People were crowd surfing and hanging off the poles meant to keep the outdoor tent standing.

One of my personal favorites of the day was  Santa Barbara-based band called Dante Elephante. As a huge fan of 2012 release German Aquatics, I was elated to hear them play sunny, easy-going surf jams like “All the Time,” as well as the record’s title track. Krunch, Rube, Chips, and Johnny, as their names might imply, are pretty laid-back dudes, but they’re also wildly talented musicians with clever and sharp songwriting skills that made for a moving set built upon instantly catchy and hummable guitar licks and lively drums.

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Dante Elephante
Dante Elephante

I made sure to be in the very front row at the outdoor patio for Santoros – I’d been friendly with them ever since my band played a house show with them in Santa Cruz. Santoros has no fewer than seven members and has been gaining fans and notoriety at a rapid pace amongst both Burger and Lolipop Record fans. During conversations with the band members, they’ve mentioned that bands like Shannon and the Clams (who were slated to play later that evening) and The Growlers have influenced them greatly. Their set created a hyperactive energy that rippled through the crowd, causing the packed house to jump, twist, and shake. For their encore song they performed their classic jam “She Doesn’t Love Me Anymore” from 2012 release Ancestros, announcing that a new album is currently underway.

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Santoros
Santoros

As the sun started to set, another Lolipop Record favorite, Froth, played a killer set. Consisting of four members, Froth’s sound is an attractive combination of grunge-rock and lo-fi garage surf music with a hint of sixties pop thrown into the mix. The smooth and deep voice of singer JooJoo Ashworth is a perfect contrast to the gritty, yet crisp sound of the guitar. Although their usual omnichord player Jeff Fribourg was “modeling in Paris” (according to Ashworth) JooJoo’s sister took over and rocked all of his parts. Following Froth were audience favorites Shannon and the Clams, and the special “secret” guest of the evening, Thee Oh Sees. Both bands unsurprisingly delivered incredible, rollicking performances that ended the already stellar evening on an ever higher note. With labels like Lolipop cementing themselves as quirky tastemakers, here’s hoping they’ve got more successful years (and Lolipaloozas!) ahead of them.

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Froth
Froth

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VIDEO REVIEW: Kimbra “90s Music”

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A still from Kimbra’s latest music video, “90s Music”.

About a month ago, Kimbra released her latest song, “90s Music” in preparation for her sophomore album The Golden Echo, out Aug. 19 in the U.S. via Warner Bros. Records. The official music video for the track that followed a few weeks later is so loaded with nostalgic imagery and bubblegum goodness that it has taken me this long to process everything into a coherent review that does not just include me flailing about and emitting high-pitched squeals.

To many, Kimbra might be known as “that one girl who was on that one Gotye song that really blew up” but to others, she’s the singer-songwriter from New Zealand who released a stunning debut album in 2011 that was full of retro vibes and soul-pop perfection. Vows showcased Kimbra’s vocal and songwriting prowess and her music videos and live performances revealed her eclectic style and confident yet quirky dancing. The album climbed to the top 5 in charts in both New Zealand and Australia and in the US, it reached the top 20 on the Billboard 200. She was slated to tour with Janelle Monáe, an artist also known for her eccentric style, but it was cancelled after Monáe fell ill. It’s a damn shame that all we have to remind us of what could’ve been is this swoon-worthy promo video for the tour, but we’ll take what we can get.

There’s little anyone can do to prepare  for the sensory overload that is “90s Music;” Kimbra’s last single from Vows, “Come into My Head,” shares elements of having a fresh take on soul throwback, with lots of trumpets and funky bass, but is practically minimalist by comparison. On this latest single, auto-tuned references to 90’s pop stars like Aaliyah, Mariah Carey and TLC sound like a cassette tape rewinding several decades, Kimbra’s forceful voice squeezed into a rapid-fire falsetto.

On “90s Music,” there’s little hint of the somebody we used to know, and that’s why I’m 100% in love with this song. It’s a delight to see her pushing musical boundaries, exploring new styles and dabbling in wordplay, and having fun as well. Both the song and the video work well as an homage to a Lisa Frank-ified era, but at its core, we see how absolutely enamored Kimbra is with music, making it, and performing it, and it’s infectious.

The video seethes with an uncontainable energy: all bright colors, animated Trapper Keeper patterns, kinetic dancing reminiscent of Missy Elliott’s bombastic offerings. Kimbra’s crazy wardrobe takes some definite cues from the “Supafly” rapper, her over-the-top outfits paired with vibrant makeup and equally uniquely dressed backup dancers. Not only does this correlation bring out some of the hip-hop influence at work on the track, it successfully references the hey day of the big-budget, blockbuster videos that dominated MTV’s TRL and cast performers as larger than-life superstars, from Biggie and Puff in “Mo’ Money, Mo’ Problems” to Gwen Stefani in No Doubt’s “Spiderwebs” video, to Busta Rhymes in… well, everything. But Kimbra is smart when it comes to stylistic appropriation, updating her brand of nostalgia when necessary, and providing ample shout-outs to her major sources of inspiration. Throughout it all, Kimbra’s carefree spirit, dynamic originality and exceptional talent take center stage.

You can pre-order The Golden Echo on iTunes and get an instant download of “90s Music,” “Love in High Places” and “Nothing But You.” These songs are sure to top every summer jam playlist, but don’t be surprised if the album becomes a critical favorite of 2014.

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ALBUM REVIEW: Cold Beat “Over Me”

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As far as I’m concerned, Hannah Lew–though she plays the bass–is first and foremost a vocal magician. Admittedly that’s because of her work with Grass Widow, the wondrously spooky San Francisco female trio that operates as a kind of tapestry, weaving all three of its members voices together. The result? A cloud of effortlessly harmonized soprano that rises up over post-punkish, surfer-rockish, guitar jangling. The voices are so effervescent that the harmony they make is weightless, and they’re so firmly interlocked that they sound like one big instrument.

They aren’t, though. Lew, who has been writing songs both on her own and with Grass Widow for years, began performing as Cold Beat in 2013 in order to develop on independent voice to run alongside her collaborative one. The full-length Cold Beat debut Over Me, while not quite our first taste of what Lew sounds like solo–she put out a two-song EP called Worms last November–is the first chance we’ve had to see her experiment with her full range as a songwriter.

While she was making it, Lew envisioned Over Me as a catharsis album tinged with paranoia. “Mirror,” the first single to be released, represents Cold Beat at the height of its over caffeinated anxiety, and the blood-letting doesn’t stop with high-energy freak outs. “Abandon,” coming squarely in the middle of the record, plunges us down low to new depths of bleak self-loathing, and then dissolves mid-track into an understated and moody instrumental breakdown. It’s worth noting, by the way, that while the album is unmistakably trauma-centric, I’m extrapolating each track’s particulars from the way the music sounds, not what the words are saying. Cold Beat’s lyrics, like Grass Widow’s, are often difficult to understand, beyond being ominous.

In fact, maybe the blurry lyrics have something to do with the sense of distance you can hear in Lew’s voice. She’s constantly far off on the horizon; she’s aloof in the most punk rock possible way. She soars like a flying superhero across the convulsing, repetitive music beneath her. Her voice is ethereal but bloodless, and about halfway through this album, it occurs to me that the lack of three voices on Over Me translates to a subtle lack of humanness. The aesthetic is aces, after all. The contrast of a faraway voice over a cleverly collaged mashup of retro and DIY sounds, the vague sense of anguish–all fantastically rendered.. The problem lies in that, though both vocals and music are compelling, one is forever floating above the other. Put more plainly: I like Over Me for its loveliness, but it doesn’t hook me by the guts.

Over Me is out on July 8th on Hannah Lew’s own label Crime On The Moon. Preorder your copy here! Check out the subtly bizarre video for “Mirror” below:

Cold Beat – Mirror from Renny McCauley on Vimeo.