Exquisite Silence

Show reviews, photos, and album reviews for the Southern California music scene

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Red Hot Chili Peppers @ The Fonda Theatre (Live Review)

When The Red Hot Chili Peppers announced a "localchella" show at the smallest club they have played in years, it was no surprise that music fans all over were losing their minds. Thousands of people flocked to Ticketmaster to get a chance to see the band play a hometown gig before their headlining performance to close out the Coachella Valley Music and Arts Festival. Unfortunately, only a small amount of fans would be able to snag tickets to this seemingly once in a lifetime show.

A good sign of the magnitude of these gigs is to look at the line forming outside the venue on the day of show. To test this out, there was definitely no shortage of people that were lined up more than five hours before the doors even opened to the public. Fans got there so early that they were greeted by Chad Smith and other members of the band wandering the parking lot before soundcheck. These small club shows are not only special for the fans, but also for the bands. This was even apparent with OFF!, the Los Angeles based punk band that opened the show. OFF! are no strangers to the Red Hot Chili Peppers, as Keith Morris shared several nostalgic stories of their long time relationship dating back to their teenage years. OFF! seemed at home, and in their element as they displayed their roots for the eager crowd that probably could have cared less who was on the stage.  After an extensive setlist of over 20 songs, the band was off stage and mass exodus of middle aged fans from the bar to the main floor had begun. A mix between rabid fans and casual concertgoers filled the floors of the Fonda until the checkered ground was completely engulfed.

Lights down. The show is on. Flea, Chad Smith and newest Chili Pepper member, Josh Klinghoffer take the stage. the band opens with an extended intro of Monarchy of Roses, which almost seems like a onstage, preshow warm up for the band as Flea can be seen stretching in the corner and Josh is flailing around the stage to test out his perimeters for the night. In no time, Anthony rushes the stage like a hurricane to belt out the distorted opening lines. It was apparent that the band was back home in a big way.

But as the night progressed, the magic was dwindling. The band was on point musically, but it felt like watching a group of mice trapped in a box. It was apparent that this arena rock band had really dedicated their style to fit that mold. The band was confined to a smaller stage, with limited lights and no video screens. The set, which contained a majority of new songs, also showcased music from a good deal of their back catalog.

There was something left to be desired with this performance, however. It was, afterall, a warm up performance; but the effort was lacking for the most part. The newer material from their latest release 'I'm With You' lacks a certain emotion that the band once had. There's no telling if this lack of soul comes from having to replace longtime guitarist John Frusciante, or if they were simply worn out from extensive touring behind the album. All criticism aside, this night was certainly one to remember for everyone in attendance. Who knows if there will be another chance to catch these pioneers of rock music in a place so small ever again.

Red Hot Chili Peppers setlist 4/9/13

Monarchy of Roses

Can't Stop

Otherside

Factory of Faith

Blood Sugar Sex Magik

Snow ((Hey Oh))

The Adventures of Raindance Maggie

Universally Speaking

Me & My Friends

Soul to Squeeze

Ethiopia

By the Way

----

Freaky Styley

Around the World

Give it Away

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Matt Costa - Self Titled (album review)

February 21, 2013

Brushfire Records is no stranger to compiling great singer/songwriters on their label. When one thinks of Brushfire they immediately associate the sound with early Jack Johnson and Matt Costa albums. Over the last decade the label and its artists have stretched the boundaries of what once was seen as a standard sound.

Matt Costa has been on the label since 2005 when he released his debut 'Songs We Sing.' Nearly a decade later and Costa has just released his fourth LP with the label. Each of his pieces has had a distinct thematic feel to it, which has set his songwriting apart from other artists. Costa's previous album 'Mobile Chateau' opened the door to a whole new spectrum of sound which reinvented early rock and pop music from the 1950s and 60s. With the new self titled release, it seems as though Costa has combined each of his past albums into one matured album.

The album opens with an orchestral introduction on 'Loving You,' and spills over into 'Early November.' This motif is sprinkled throughout the record which defines a new facet to his ongoing catalog of music. However, he does not stray too far from his roots as he slows things down with 'Eyes For You,' featuring his wife on backing vocals. The album hits its peak with the lead single, 'good times,' which features the typical Matt Costa-esque sing along style that can be seen throughout his career. He caps off the first half of the album with 'Shotgun,' a nod to his last album with that 60s pop feel. It is what happens after the jump that sets this album apart from the others. 

'Laura Lee' opens up the intricate finger pickings that are seldom seen in Matt Costa's work. This song is more than just a delicate sound, however, it was a journey into a different place mentally. Music that you can get lost in is something that many artists strive to achieve, but rarely do. The journey carries over into 'Silver Sea,' which showcases a sound that is most fitting for the song title. The next few tracks survey a sun soaked spring afternoon, reaching all the proper crevices; highlighted by the shortest, yet most perfect melodically structured song, 'Sacred Hills.'

Overall, this is not the type of album that someone would rave about. But the cycle of songs and the overall musicianship begs for the record to keep on turning. Matt Costa's self titled is not one that defines his career, but it certainly shows his maturity as a songwriter. Throw this thing on for a warm afternoon and you should have no problems.

Matt Costa

Self Titled

Brushfire Records

6/10

Notable Songs: Loving You, Sacred Hills

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Top 20 albums of 2012

1) Grizzly Bear - Shields ( http://spoti.fi/UFRsup  ) 2) Frank Ocean - Channel Orange ( http://spoti.fi/OGMpoT  ) 3) Tame Impala - Lonerism ( http://spoti.fi/PTtVTp  ) 4) Jack White - Blunderbuss ( http://spoti.fi/ImElXo  ) 5) The XX - Coexist ( http://spoti.fi/OQA4kh ) 6) Beach House - Bloom ( http://spoti.fi/LDsQhp  ) 7) Everest - Ownerless ( http://spoti.fi/KWO262  )   8) Metric - Synthetica ( http://spoti.fi/NjhbI1  ) 9) Divine Fits - A Thing Called Divine Fits ( http://spoti.fi/PM2jTd ) 10) Alberta Cross - Songs of Patience ( http://spoti.fi/RGyrs7  ) 11) Django Django - self titled ( http://spoti.fi/RE8XOf  ) 12) Magic Wands - Aloha Moon ( http://spoti.fi/KHmE8E  ) 13) Gary Clark Jr. - Blac and Blu ( http://spoti.fi/QMEWpr ) 14) Alt J - An Awsome Wave (http://spoti.fi/OC4t9z ) 15) Miike Snow - Happy To You (spoti.fi/JIr5fe ) 16) Half Moon Run - Dark Circles (http://spoti.fi/RSp6xe ) 17)  Diiv - Oshin (http://spoti.fi/NDFhMR ) 18) 2:54 - self titled (spoti.fi/MYrSiY ) 19) Kendrick Lamar - Good Kid M.A.A.D City (http://spoti.fi/RQqEFg ) 20) Ultraista - self titled (http://spoti.fi/SZSSwC)

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Green Day - Uno (Album Review)

September 27, 2012

Releasing one album in one year can be an overwhelming experience for some bands. Now imagine releasing three albums in the span of four months. Sounds like it might be more of a pain than a reward. For 90s punk rockers, Green Day, this task seems like it was accepted with open arms. After announcing the trilogy of albums that were to come, Green Day fans were left in waiting. Would these be gigantic rock records like American Idiot? Would it be a diverse mix of songs like 21st Century Breakdown? All bets are off when it comes to a Green Day album; and it is a good thing no bets were taken on the first installment of this trilogy.

Uno is the closest that the band has been to their roots...since their roots were planted. At first listen, the diehard Green Day fans will rejoice at the level of pop punk intensity found in these songs. Tracks like 'Let Yourself Go' and 'Stay the Night' are all out mosh pit jams. The most logical comparison would come from their 1994 hit album, Dookie. This album is certainly a departure from the sound that Green Day has acquired over the past decade with songs like 'Boulevard of Broken Dreams,' 'Wake Me Up When September Ends,' and '21 Guns.' The band even tweaks their sound this time around with the playful track, 'Kill the DJ.'

At face value, this album is the most appropriate thing any fan could ask for. A little bit of the old, and a little bit of the new. There are no surprises in these songs, but they will certainly catch the listener off guard. Its almost like your favorite band from the 90s has gotten back together and made an album for old times sake. The only difference is that Green Day has remained a solid presence in the industry making music that defines the evolution of styles, tastes, and attitudes. Could this be the ascent back to the top for Green Day? It is a little early to tell, but the release of the rest of trilogy will make things more clear. Look out for the answers on November 13th, and January 15th.

Green Day

Uno

Reprise Records

7/10

Noteworthy Tracks: 'Let Yourself Go,' 'Sweet 16'

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Grizzly Bear - Shields (Album Review)

September 20, 2012

Shields, Grizzly Bear's fourth LP, is not the most aptly titled album that has ever been created. In fact, it seems as though the band is not shielding themselves from anything in this album; if that is idea they were going for. Now in their eighth year as a band, Grizzly Bear is in full control of their sound. In comparison to their other albums, this effort is much more free form. Veckatimest was a particularly uniform "pop" heavy album, while Yellow House carried a set of spacious harmonies. Shields, on the other hand, showcases a little bit of everything we have come to consider "classic" Grizzly Bear, with some added bonuses.

Right from the start, it is apparent that this album was centered on a collective effort, more so than the others. Each member of the four piece band has their moment to shine on the album. The level of work put into the chorus' on the songs is unmatched by any of their other albums. 'The Hunt,' and 'Yet Again' showcase this chorus centered approach. They also connect with their newly planted pop roots in songs like 'A Simple Answer,' and 'Gun-Shy.' But as with all of their albums, there is a curve ball to be caught by the listener.

In albums past, drummer Chris Bear would be able to throw some accents into songs like 'I live With You' and 'Southern Point;' Just adding enough noise to make his mark on this music. However, Shields is a like a tiger being let out of the cage for percussion. It is as if the albums prior to this one were just the warm up to the wrath that is released. The album is is full of brilliantly laced drum sections from front to back. From the slowest of accented beats to the biggest of roaring booms, the percussion is the main thing that sets this album apart. 'Sleeping Ute' and 'Yet Again' are great examples of this new found freedom behind the drum kit. Adding a cherry to the top of everything, Chris Bear and company finish the album off with a seven minute jam titled 'Sun In Your Eyes,' which can be described in no other way than completely and utterly epic.

It can certainly be said that Shields has pushed the boundaries on what we considered to be a standard Grizzly Bear album. In the four year break since their release of Veckatimest, the band has ultimately grown into something far more mature than anyone could have ever imagined. With this release, they have now set the bar on the type of craftsmanship needed to construct a brilliant piece of work. And with that kind of wrap up, the last line on their album fits now, more than ever. "I'm never coming back."

Grizzly Bear

Shields

Warp Records

9/10

Noteworthy Tracks: 'Sleeping Ute,' 'The Hunt,' 'Sun In Your Eyes'

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Playlist for the Fall

Taking the step from summer to winter can be pretty daunting. Luckily, Fall creates the perfect buffer zone to acclimate us to the changes. Why not have a playlist to go along with that Fall mood?

1) Alt J-- Fitzpleasure 2) Alberta Cross- Come on Maker 3) Beach House-- Troublemaker 4) Daniel Rossen-- Silent Song 5) Death Cab for Cutie-- Doors Unlocked and Opened 6) Deer Tick-- Baltimore Blues No. 1 7) Dirty Projectors-- Offspring are Blank 8) Django Django-- Default 9) Edward Sharpe and the Magnetic Zeros-- That's What's Up 10) Everest-- Far Off, Away 11) Frank Ocean-- Sweet Life 12) Grizzly Bear-- Sleeping Ute 13) Kurt Vile-- Peeping Tomboy 14) Lotus Plaza-- Strangers 15) Magic Wands-- kaleidoscope Hearts 16) Metric-- Synthetica 17) Miike Snow-- Archipelago 18) Milo Greene- 1957 19) Monsters of Folk-- Goodway 20) Of Monsters and Men-- From Finner 21) Papa-- Let's Make You Pregnant 22) Radiohead-- 2+2=5 23) Real Estate-- Out of Tune 24) Sea Wolf-- Old Friend 25) Snakadaktal-- Air 26) St. Vincent-- Neutered Fruit 27) Tame Impala-- Apocalypse Dreams 28) Temper Trap-- Rabbit Hole 29) White Rabbits-- I'm Not Me 30) The XX-- Angels

Spotify playlist here: http://spoti.fi/RR0jvN

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Red Hot Chili Peppers @ The Staples Center (Live Review)

August 16, 2012

Homecoming shows are the same, whether you are a garage band or an arena rock band. There is something that is special about playing to a group of people you know, or live around, especially after being on the road touring for a long time. One of the most anticipated homecomings of the year happened last weekend at The Staples Center. After having to reschedule their North American tour in February, The Red Hot Chili Peppers were back on the stage for a sold out two night stay in the heart of Los Angeles.

The Chili Peppers most recent release is already over a year old, but the tracks are all still fresh in a live setting. The last time they visited the Los Angeles area is was almost 6 years to the day; So how do you please the fans who have been waiting so long? Certainly the Chili Peppers have an extensive list of classic hits, so they really cannot go wrong in any direction that they steer. Not only was this the first show in quite some time, it was also the first show with new guitarist Josh Klinghoffer. From the start, Klinghoffer bounced around the stage fitting in perfectly amongst the rest of the band who are 20 years older than him. After all, the Chili Peppers were started when Klinghoffer was just four years old.

The show started with Monarchy of Roses, some of Klinghoffer's own Chili Peppers work. The night never slowed from that point on. Ripping through their back catalog, the band stayed with crowd favorites before opening up to the rhythm heavy "Throw Away Your Television." This was one of the first opportunities to see how the band interacted in a jam setting, which the Chili Peppers have become famous for. There were no big changes here though; if you were to close your eyes, you might still think that John Frusciante was up on the stage playing with the band.

The highlight ultimately came during the 1992 hit, "Under the Bridge." Even though there were 20,000 people in the room, this was one of the most intimate parts of the night. Anthony Kiedis sounded as vulnerable as ever as he sang about the personal struggles that defined his life. In the middle of the song, the crowd shouted "Sometimes I feel like my only friend is the city I live in, the city of Angels," this was enough to give everyone in the arena the chills. The band then ended the main set with a mini string of hits including "Californication," "Suck My Kiss," and "By The Way." However, the show was far from over.

After an extended break, the band was back and accompanied by two extra drum sets on either side of the stage. Donning a lakers flag over flea's amp, and a fresh number 12 Dwight Howard Lakers jersey on Klinghoffer, the Chili Peppers were cementing their love for everything Los Angeles. The encore started with an extended jam by Chad, Flea, and Josh. Even though Kiedis does not play an instrument in the band, his overall stage presence and crowd interaction is a vital part in the instrumentation of the band. Straight out of the jam they played the oldest song of the set, "Sir Psycho Sexy," which probably flew over most of the crowds heads, as they were no where near being born at the time when that was released. The encore even saw room for, "Ethiopia," one of the tracks from their new album. However, a few songs into their encore and the two drum sets on the side of the stage were still not used, creating some suspicion.

The air was finally cleared when the band invited a few special people up to the stage for the final song. Cliff Martinez and Jack Irons joined the band for "Give It Away," displaying the true evolution of the band. The Chili peppers have gone through many members in their 29 year history, and it is refreshing to see that they can still invite back some of the older members for a memorable night, even if for one song. 29 years of rocking can definitely show its effects on some bands, but the Chili Peppers are not one of them. It can be debated that the Chili Peppers are the kings of Los Angeles, but it definitely can not be debated that they put a lifelong imprint on the city and the face of music.

Red Hot Chili Peppers Setlist. August 12, 2012, Staples Center

Monarchy of Roses

Dani California

Can't Stop

Scar Tissue

Look Around

Throw Away Your Television

If You Have To Ask

Hard To Concentrate

The Adventures of Raindance Maggie

Me and My Friends

Wet Sand

Under the Bridge

Suck My Kiss

Californication

By The Way

------

Magic Johnson (Snippet)

Band Jam

Sir Psycho Sexy

They're Red Hot (Robert Johnson Cover)

Ethiopia

Give it Away (w/ Jack Irons and Cliff Martinez)

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Jack White @ The Shrine Auditorium (Live Review)

August 13, 2012

The man, the myth, the legend: Jack White. Jack White is arguably one of the hardest working men in the music industry and it shows in each of his endeavors. Constantly surrounded by music, White has been able to create a masterpiece of a catalog and a name for himself as he is headlining festivals all over the world. Taking time away from each of his projects, Jack White has made one of the years best albums as a solo artist. Since its release in April, 'Blunderbuss' has brought White on the road in an extensive tour. Two months ago he was debuting this new material at a small two-date span at the Wiltern, now he has come back around again to play two more days at the Shrine Auditorium. 

Everything about Jack White's shows are unique. Having such tour heavy schedule, he gives his backing band some slack. He takes not one, but two bands on the road with him. Some nights he will play with an all male band called "Los Buzzardos", other nights it will be with an all woman band called "The Peacocks." When Jack rolled into the Shrine for the second night of his stay, he brought the girls with him.

Ultimately, Jack's shows are so unique because he plays a little bit off of each of his four projects. He opened the set with the guitar heavy "Dead leaves on the Dirty Ground" from the White Stripes fame, which most likely caught the audience by surprise. Supporting a new release, it would be a treat to get anything other than his debut album. Jack had other plans on the night, however. Toning down the electric guitar playing, Jack took to the keyboard on several new songs and brought out the acoustic guitar for others. Something seemed different about the show on this particular night though. His engagement with the music and the band members was at a low throughout much of the performance. On other occasions it would not be out of place for White to get so into the music that he falls over the drum set, leaving cymbals to fall to the floor mid song. Tonight, there was no over the top effort to shred his way through the ceilings of the famed Shrine Auditorium. Half way through the set things began to change, however.

The intensity that everyone had been craving for was beginning to show through new songs like "I Guess I Should Go To Sleep," and "Take Me With You When You Go." The atmosphere only got more lively from there. The transition from "Steady As She Goes," into "Blue Blood Blues," into "I'm Slowly Turning Into You" and closing with a jammed out version of "Ball and Biscuit" was perhaps the highlight of the night. But for those going in with high expectations, it may have been too little, too late for the energy to pick up. During parts of the show it seemed more like a Peacocks performance, rather than a Jack White show, which is very uncharacteristic of him. Off nights happen all the time, and it might have been one of those nights for Jack White. Even on his off nights, he is able to captivate the audience and control the stage unlike anyone in the music business at this moment in time. In the end, it seemed like everyone was content just being able to watch Jack White stand on the stage for a while as he sang a lifetime worth of classics that will never get old.

Jack White Setlist August 11, 2012 @ The Shrine Auditorium

I'm Shakin' (Intro Music)

Dead Leaves on the Dirty Ground

Missing Pieces

Love Interruption

Top Yourself

Weep Themselves to Sleep

Cannons/Sixteen Saltines

Hypocritical Kiss

Hotel Yorba

Two Against One

We're Going To Be Friends

Blunderbuss

I Guess I Should Go To Sleep

Take Me With You When You Go

Steady As She Goes

Blue Blood Blues

I'm Slowly Turning Into You

Ball and Biscuit

-------

My Doorbell

Freedom at 21

Seven Nation Army

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Real Estate @ The Henry Fonda Theatre (Live Review)

August 13, 2012

Summer time is arguably one of the best times of the year to catch quality shows all over the Los Angeles area. Bands thrive off of the carefree feeling of touring all summer to fans that are eager to see them. Every so often there comes a band that fits that summer mold just perfectly, in this case it was New Jersey natives, Real Estate, stopping by the Henry Fonda Theatre.

Real Estate embodies all that is right about summer, through their music. They are not the type of band to crank out an album full of top notch singles, but they can certainly create an album that flows throughout and leaves you hitting the repeat button. Through their two releases they have maintained a sound that symbolizes a sun-burned day at the beach; creating simple rhythms paired with memorable indie surf rock guitar riffs.

The band opened the set with the first track off of their self-titled debut album, then jumped into a string of songs from their most recent release, titled 'Days'. Most of the audience attention came from the newer tracks, but there were a select few longtime loyal fans in the crowd that let their voices be heard for the older songs. As the set progressed a noticeable difference was starting to show, however. The newer songs were straight and to the point, while older songs were expanded into longer jams. Songs like "Suburban Dogs" and "Fake Blues" were maximized to their full potential in the form of ten minute instrumentals. The band was then off the stage.

It was not before long when the band returned for an encore to the crowd shouting "U-S-A!" (it was during the Olympics, after all). Maybe this signifies that Real Estate is amongst the quintessential summer bands for teens in the US. Either way, the band joyfully came back to the stage to play two more songs from their debut album, finishing with an extended jam version of "Suburban Beverage." Do bands need to have perfectly catchy albums to succeed in the music industry any more? It did not appear so during this hour and a half set. Real Estate's music is more about living in the moment, for the audience and the band members alike. Even if no one ran from the venue exclaiming that this was the best show of the summer, they could definitely chalk it up as a memorable one nonetheless. Listening to perfect summer tunes, on a hot August night, what could be better?

Real Estate Setlist 8/3 @ The Henry Fonda Theatre

Beach Comber

Easy

Municipality

Green Aisles

Out of Tune

-New Song-

It's Real

Younger Than Yesterday

Suburban Dogs

Wonder Years

In My Car

Kinder Blumen

Fake Blues

All The Same

----------

Green River

Suburban Beverage

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Alberta Cross w/ Everest @ The Troubadour (Live Review)

August 12, 2012

There is nothing more that a concert goer can ask for other than a perfect lineup. Having a few of your favorite bands share the stage is something that can be very special. Alberta Cross are no strangers to putting together a perfect tour package for their fans. Touring alongside everyone from Hacienda to Dead Confederate, the indie blues rockers have come to perfect the small club environment. Through the release of their two albums, the band has stopped by the Troubadour in West Hollywood on numerous occasions. Most recently they brought their new album 'Songs of Patience' to the infamous venue with touring buddies, Everest.

Aaron Lee Tasjan started the night taking to the stage by himself. He ripped through a set of blues jams, bringing out the slide guitar when necessary. His energy was high and he could not care less that he was playing to a crowd of ten people, including the bartenders in the back of the club.

As Tasjan wrapped up his set, the Troubadour began to fill up in anticipation of Everest's set. Being from Los Angeles, Everest has a small following of loyal fans, who can be seen at any of their hometown shows; This was no different on the night. The band started out with the first track off of their new album, titled "Rapture." The beginning of the set then followed with more songs from 'Ownerless.' It was only noticeable that these new tracks packed more of a punch than the typical Everest songs. The band was more in free form as the rhythm section was scaling the power of the guitars and vice versa. The band looked in their element in this new "harder" rocking vibe. Staying loyal to the long time fans, the band retreated to older songs, which almost seemed like a greatest hits set. "Let Go," "Rebels in the Roses," and "House of 9's" rounded out the set to created a perfect mix of songs from each of their three albums.

Recovering from the sound explosion of Everest, the crowd filled in the empty areas around the stage for Alberta Cross. The bar was certainly set high by Everest, but Alberta Cross had exactly what everyone needed to complete the perfect night of music. Opening their set with their new single "Magnolia," the band looked and sounded better than ever. The new album also shows a different side to the band. Like the new Everest album, the new Alberta Cross displays a laid back "summer" feel. From the whistling tunes on "Magnolia" to the harmonies on "Lay Down," Alberta Cross was putting the crowd in a daze with the beginning of their set. The middle of the set marked the transition into older material as they played songs from their debut album and EP. All songs alike, the crowd gave them all the attention that they deserved. The most memorable part of the set came towards the end where they kicked into overdrive and brought out the guitar heavy tunes like "ATX" and a Rolling Stones cover of "Bitch." The amps were turned to 11, and no one cared that they would not be able to hear anything for a few hours after the show. All that mattered was the musical spectacle that was unfolding before them. With a climb to the top, the band ended their set on major high note, and were off the stage en route to the next stop on their itinerary. Packing a great album, and a solid live show, the two bands have to be excited for what the road ahead has in store for them. 

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The XX @ The Henry Fonda Theater (Live Review)

July 24, 2012

The XX gained popularity on the festival circuit in 2010. With extensive touring behind their self-titled debut, the British indie pop group took the United States by storm. However, as of late, the band has retreated to silence in order to work on their sophomore effort, to be released this fall. After over two years off, The XX were back in action at The Henry Fonda Theater last Tuesday.

HAIM opened the night as a sister group from the valley. Their uproarious harmonies and classic rock style guitar solos certainly made a name for themselves amongst the audience of XX fans. Even though HAIM did not fit the typical bill for an opener of the XX, they were able to win the crowd over with their sheer talent. While some of the crowd was left confused the billing, most were left as instant fans by the spectacle that just unfolded. Their set finished with a bang, as all the members of the band broke out into a drum solo. They then filed into the crowd to catch a glimpse of the headliners for the night.

Being away from the scene for so long did not effect The XX, or their popularity. The set opened with their slow, spacious new single 'Angels' off their upcoming release,Coexist.The opening chords could not even be heard inside the small Fonda Theater, as the crowd was making their voices heard for the British trio who has been gone for so long. The first half of their set showcased most of their debut album, keeping things slow for the most part. The band even reworked some of their older songs into new tunes that were stripped down. 'Crystalised' worked off the silence in the room to create a hauntingly quiet new version, which worked well in a live setting. This was only the calm before the storm, however.

The second half of the set was the time to show off some of the new tunes. All rumors were audibly confirmed that the new album would have a more dance club centered feel to it. A new upbeat side to the band was released on the crowd, which came with a very positive reaction. Jamie XX was in his element has he ran back and fourth between his set up of instruments making beats that were rattling the Fonda floor. After playing most of their debut, and a good serving of their upcoming album, the band finished their set by taking it down a few notches with the crowd favorite, 'Stars.'

Overall, the night was very well rounded. Each member of the band was able to find their niche amongst the performance, which made it that much better. Romy Madley-Croft used every crevice of the Fonda to display her spacious guitars, Oliver Sim captured the crowd with his deep voice and glares into the darkness, and Jamie XX took production to a whole other level to make a name for himself in the rhythm section. Honorable mention also goes to the lighting and visuals, which definitely defined the show in different ways, and made several songs much more interactive.

As Coexist is ready to make an appearance in September, the band looks much more comfortable in their skin. Their live show is visibly greatly improved, and their sound has matured. The band will be back to Los Angeles in October on a proper tour, where they are sure to create more of a stirrup in the SoCal music industry.

The XX setlist @ The Henry Fonda Theater 7/23/12

Angels

Islands

Heart Skipped a Beat

Fiction

Basic Space

Crystalised

Fantasy

Shelter

Infinity

VCR

Reunion

Sunset

Night Time

Swept Away

------

Intro

Tides

Stars

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Sea Wolf @ The Constellation Room (Live Review)

July 24, 2012

It was no ordinary July night on the way to the Sea Wolf show in Orange County. Rain fell all over the city as a warm humidity threw a curve ball to the summer concert vibe. Pulling into The Observatory was no different, however. The line to get in was long, and teenagers lined the parking lot looking for anyone with extra tickets, this was going to be a show that no one wanted to miss.

Geographer started the night with their spin on dance-driven songs, featuring a number of different instruments, including cello and guitar. Despite numerous technical difficulties, the band was able to power through a showcase of their two album catalog.Opening their set with 'Original Sin', they set the bar on what was to come. Highlighting their set was songs like 'Paris,' 'Verona,' and 'Kites.' The trio thanked the crowd for being attentive during one of their first shows in quite some time. Soon enough, they were off the stage and the setup for sea wolf began.

The banter was alive in the room as the crew made way for Sea Wolf's racks of guitars and multiple keyboards. The stage was filled to the point of organized clutter with the instruments of Alex Brown Church and company. Running a little off schedule, Sea Wolf took the stage and blistered through the beginning of their set which featured songs from both their debut and sophomore releases. It was in the middle of the set where Church confessed to the crowd that this was the first show in almost three years, and that the creaks were still alive in their sound, although there was no evidence of such throughout the set. The second half of the set featured two new songs from their upcoming album,Old World Romance,out on September 11th. 'Miracle Cure' and 'Old Friend' fit perfectly into the set of hits from their back catalog, and they band looked thrilled to be playing new material. The night ended on the encore which featured the stripped down 'Orion & Dog' and perhaps their one claim to fame, 'You're a Wolf.'

Thanking the audience several times, Church looked to be back in his element on the stage. The tightness of the band and the crispness of Church's vocals created a intimately perfect night for fans that are loyal to the band. With a short two-date tour to tide the band and the fans over til the album release, everyone looked hopeful for the future. Old World Romance will be a much anticipated release, leaving fans looking forward to news on a proper tour.

Sea Wolf Setlist 7/12/12 @ The Constellation Room

The Traitor

Winter Windows

Dew in the Grass

Black Leaf Falls

White Water, White Bloom

Miracle Cure

Middle Distance Runner

The Rose Captain

Old Friend

Turn the Dirt

Wicked Blood

Black Dirt

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Orion & Dog

You're a Wolf

[exquisitesilence-blog]

Everest - Ownerless (Album Review)

July 13, 2012

Now days, very few bands take a genuine approach to the music industry and all its power. Many bands put out albums on a consistent basis without attaching a feeling to them; This is not the case with the LA based rock group, Everest. Originally scouted by none other than Neil Young, Everest has been on the scene since their 2008 debut album,Ghost Notes.Four years later they are now releasing their third studio album, titledOwnerless. Everest has stayed afloat in the business by doing residencies all over the United States ranging from West coast to the East coast, and everywhere in between.

Ownerlessis an album that is aptly titled by the guys in Everest. It is unlike their previous LPs, in that it is much more spacious and simplified. It does, however, have that nostalgic Everest feel to it. Tracks like ‘Into The Grey’ and ‘Rapture’ capture the familiar side to the band, while others like ‘Raking Me Over The Coals,’ ‘Hungry Ghost,’ and ‘Ownerless’ showcase a more free form version of the band. Hazy rhythms and faint guitar help to create an album that is a perfect fit to an already strong discography.

Even though this is not an album that will project the band onto a more popular stage, it is an extremely well written and thought out album, which displays their position at this time. Being ownerless, Everest has taken the scenic route to an album that will excite old fans and possibly incite enjoyment in a new crowd. At the end of this month they will open up for Alberta Cross at the Troubadour in West Hollywood, where they are sure to be showcasing some of this new material.

Everest

Ownerless

ATO Records

6/10

Noteworthy Tracks: ‘Rapture,’ ‘Never Disappoint,’ ‘Into The Grey’

[exquisitesilence-blog]

Metric - Synthetica (Album Review)

June 12, 2012

Coming off of their 2009 dance heavy album, Fantasies, Metric is at it again. Synthetica, their current release, is not a far stretch from the nostalgic Metric sound. However, it does appear to be deeper on a musical and lyrical level. One of the most noticeable things about the album is the beginning and ending. Upon first listen, 'Artificial Nocturne' is one of the strongest tracks, and arguably the best way they could have started the album. This track's slow building anthem would be a perfect opener on their current tour. The closing track, 'Nothing But Time,' ties the album together with the lyric "I've got nothing but time, so the future is mine." This creates a positive look on the success of the album and a bright outlook on what is next for the band.

The middle of the album is designed as it should be, with a collection of all things Metric. Showcasing their sounds, 'Speeding the Collapse,' the lead single 'Youth Without Youth,' and the title track 'Synthetica' hone in on the Fantasies era. The upbeat drums with guitar/synth mixtures make for solid tracks. Synthetica also shows the slower side of Metric with songs like 'Clone' and 'The Wanderluster,'  which features guest vocals by Lou Reed. Through all of the good songs there is, however, a slow point in the album. 'The Void' and 'Lost Kitten' seem to take on the generic pop sound that gets lost in translation with the flow of the album as a whole. While not benefiting the album in any way, these tracks do nothing to harm what Metric has already built up.

Overall, Synthetica is a very solid release from Metric, and a nice follow up to their last album. This album can be enjoyed by longtime Metric fans, or fans that are just starting to delve into their discography. It will be interesting to see how Synthetica fits amongst the rest of their set in their upcoming Fall tour where they stop at the Greek Theater in Los Angeles in October.

Metric

Synthetica

Mom+Pop/Metric Music International

7.5/10

Noteworthy Tracks: Artificial Nocturne, Synthetica, Speed the Collapse