On the corner of Santa Monica Blvd and North Doheny Street sits the unassuming Troubadour in all of its sublime glory. The LA streets were bustling with constant traffic and bright, almost neon, lights as a crowd began to form in front of the bolted door. At 8 o’clock on the dot the door was opened and the crowd came trickling past the yellow lit bar and down to the open doors that read “Stage Room”. This was the room that held the magic, the same room that past concert-goers would meet Bob Dylan and Elton John amongst others. Tonight it was House Band and Eggy.
Pictured: The House Band’s percussive jellyfish. They used creative instruments to create a unique and chaotic sound when improvising.
Crossing from the bar to the blue-lit stage, House Band pushed themselves onto the platform and readied themselves for their diverse performance. The band itself is relatively new, only having played together for 6 months. Yet, their playing is anything but novice. They took the stage by storm, sweeping the audience and captivating them with their eclectic music. In total they only played a few songs, however each one was amazingly improvised and took you on a journey through different genres and even musical instruments. One song began with a percussion solo played on jellyfish chimes before progressing into a jazz-rock fusion symphony of sounds. The band worked together perfectly and fed off of each other’s energy, enhancing their playing and the motifs they created. This fall they’ll be releasing their debut album. They ended their performance with a swift “thank you” to the audience before removing themselves from the stage and heading back into the crowd.
Time passed quickly as the stage hands fixed the stage for the main event and the lights changed back to blue while fusion played above us. T-shirts with “EGGY” etched on the back were scattered through the crowd. Then the audience erupted in cheers and the 4-member band made their way onto the stage. The minute the first note rang from the guitar, the crowd lulled and began their descent into a blend of frenzied movements. Eggy is regarded as another 4-piece jam band. Their music style consisted of a fusion between multiple genres: funk, psychedelic rock, and classic rock. One of the most surprising facts to those who have never experienced Eggy live is that the singer of the band wasn’t the front man, rather it was the member all the way in the back: the drummer. Although, every member took a turn singing whether it be for background vocals or a solo song that they wrote. The entire set was full of songs that anyone could dance to and grabbed the attention of every audience member. Even if this was their first ever west coast performance, Eggy was able to keep concert-goers engaged and knew how to get the audience excited with their musical choices and changes, even throwing light-up balloons into the crowd. Overall, this concert was a must-see, and if Eggy is ever in your city mark the date and make sure to book your tickets!
Smashing Pumpkins, Stone Temple Pilots, Rival Sons Deliver Outstanding Performances at Toyota Amphitheatre
By K. Chastain / Photography by K. Chastain
(Pictured: Smashing Pumpkins frontman Billy Corgan welcomes the crowd at the Toyota Amphitheatre in Wheatland.)
In a season where we are all doing our best to escape the Northern California heat, there are few things better than watching a beautiful concert surrounded by the cool evening air. Lining up early at the Toyota Amphitheatre in Wheatland, thousands of eager fans waited to see the Smashing Pumpkins on their World is a Vampire Tour along with openers Stone Temple Pilots and Rival Sons this past Monday. The peaceful farming community of Wheatland served as the perfect reprieve from the bustling city of Sacramento, and the doors of the amphitheatre opened into a seemingly magical place where fans could connect with one another and enjoy refreshments as they cheered on each band in succession.
The first band to take the stage, Rival Sons, hailed from Long Beach, CA, not far from our radio station’s headquarters in Irvine. Bringing their unique brand of musicality to the Toyota Amphitheatre, singer Jay Buchanan warmed up the crowd and drew a significant amount of dancing and cheering from the pit. As rock-and-roll veterans, their band had been performing since 2006 and their experience translated into the success of their dynamic performance. From their upbeat and heavy-hitting song “Mirrors” to slow burners such as “Rapture,” Rival Sons showcased their diverse catalog, much to the audience’s enjoyment. They effortlessly maintained a unique sound while preparing the crowd to welcome the coming acts onstage.
(Pictured: Stone Temple Pilots deliver an energetic performance to an excited pit of fans, opening for the Smashing Pumpkins.)
Next up were the Stone Temple Pilots from San Diego, CA, who graced the stage with energy and enthusiasm. Playing many of their highlights from the 1992 release Core, which ranged from the upbeat opener “Wicked Garden” to the soft and moody “Plush,” longtime STP fans were rewarded with some of their favorite classics from the band. Stone Temple Pilots’ newer work served as a perfect transition to the Smashing Pumpkins, with energetic songs like their 2010 track “Meadow” pairing perfectly with the flashing stage lights, engaging new listeners alongside longtime fans.
(Pictured: Stone Temple Pilots singer Jeff Gutt engages and smiles with the audience.)
Lead singer Jeff Gutt drew in the crowd with his strong lead vocals and entertaining monologues between songs, brandishing his microphone stand victoriously in the air as he sang. Fellow bandmates Dean DeLeo on guitar, Robert DeLeo on bass and Eric Kretz on drums incorporated engaging solos that blended effortlessly with the rhythm of the band’s tracks. As the sun began to set, Stone Temple Pilots continued on to thank their supporters for having them back in the Toyota Amphitheatre for the first time since 2020. They closed out their set with “Trippin’ on a Hole in a Paper Heart” and “Sex Type Thing,” affirming their dedication and excellence in the world of rock-and-roll.
(Pictured: The Smashing Pumpkins prepare to deliver a showstopping performance.)
As the stars slowly began to emerge in the night sky, it was time for the legendary Smashing Pumpkins to take the stage. Originating from Chicago, IL, the band was established in 1988 and later reunited in 2008 under the leadership of frontman Billy Corgan. Drawing on their lauded catalog, the group hooked their eager audience immediately with the punchy track “The Everlasting Gaze,” easing into the softer songs “Today” and “Disarm” before turning up the energy with “Purple Blood.” Guitarist and co-founder of the band James Iha performed a beautiful acoustic duet of “Tonight, Tonight” with Corgan, before which the pair remarked their amazement at being involved in the Smashing Pumpkins for nearly 37 years. The song brought a hushed admiration upon the crowd, resonating from the front of the house to the highest seats of the amphitheatre.
(Pictured: Smashing Pumpkins guitarist James Iha shines onstage.)
While many of the band’s most notable tracks from the 1995 Grammy-nominated album Mellon Collie and the Infinite Sadness were featured in their setlist, including “Bullet with Butterfly Wings” and “1979,” the Smashing Pumpkins did not hesitate to include some of their newer songs from 2012’s Oceania and 2020’s CYR. Corgan’s humor and humility shone through his monologues between songs, allowing the band’s seamless performance to speak for itself on “Empires” and “Cherub Rock” as fans eagerly jumped and cheered along in the stands. Several songs also featured impressive interludes on guitar and drums, complimenting Corgan’s vocals and adding depth to the set. Closing the show with the timeless “Zero,” the Smashing Pumpkins delivered an incredible finale to their loyal fans and made a lasting impression on newer and older generations alike.
(Pictured: Corgan and his bandmates captivate the audience while surrounded by the brilliant light displays of the Toyota Amphitheatre.)
A college radio DJ reviews some of the hidden gems of underground alternative rock released this year.
1. Sophia Bel - Anxious Avoidant
Michigan-born Québécoise artist Sophia Bel released her debut album this year, Anxious Avoidant, which showcases her soft and emotional vocals over a genre-spanning folk-rock landscape. Focusing on the themes of love, attachment, and the desire for connection amidst the difficult circumstances of a pandemic-afflicted world, Bel's intricate lyrics evoke the intimacy of a diary entry yet maintain a professional level of polish. From the spacey, synth-heavy hit “You're Not Real You're Just A Ghost” to the softer, folk-influenced ballad “I Won't Bite,” every track on this album has something a little different to offer its listeners. With its candid, youthful approach to the weighty topics of love and missed connections, Bel is able to deliver a mature and emotional story in a colorful, radio-friendly package.
2. SASAMI - Squeeze
An artist of many talents, Los Angeles-based SASAMI presents us with an intense yet beautiful collection of songs on Squeeze. Released earlier this year, SASAMI’s sophomore album draws inspiration from softer folk sounds while incorporating the heaviness of metal and hard rock. Capturing the power and brooding darkness of the nu-metal genre while maintaining a faithfulness to the melodic and narrative elements of country, Squeeze fuses these genres in unexpected and beautiful ways. From the power ballad “The Greatest” to the lamenting, chaotic “Sorry Entertainer,” SASAMI showcases her range of expression on this brilliant release.
3. Yumi Zouma - Present Tense
New Zealand-based collaborative project Yumi Zouma has released their seventh album, Present Tense, this year. Embodying their dreamy, shoegaze-inspired sound, this album is easy for new listeners to approach. From the catchy, hopeful track “In The Eyes of Our Love” to the softer and more dissonant “Astral Projection,” there is a delicate and pensive rhythm that runs throughout this album. Fans of their previous instrumentals will not be disappointed, as Yumi Zouma consistently delivers the dreamy sound they have become well-known for. The evolution of their music is evident in the experimental direction of some of their new tracks, as in the simplicity of “Razorblade” and the beautifully layered “If I Had the Heart for Chasing.”
4. Momma - Household Name
The Los Angeles rock outfit Momma returns triumphantly on the album Household Name. Drawing clear influence from 90's rock, this album delivers catchy and driving garage rock sounds with underlying poppy, upbeat melodies. The hit “Medicine” shows off the band's capacity to craft grooving, memorable riffs, while the more confessional “Rockstar” is vulnerable yet empowering in its lyrics about the beginning stages of forming a band. The album also slows into more tender, introspective tracks like “Brave” and “Rip Off.” Equal parts melodic and brash, this album brilliantly touches on the moodiness of decades past without losing its originality.
5. Carla Geneve - Learn to Like It
Carla Geneve, who hails from Western Australia, brings us some of the most beautifully crafted lyricism of the year on her debut full-length album Learn to Like It. Weaving an intricate narrative from start to finish, each track immerses us in the gritty depths of our emotions while delivering a consistently clean folk-inspired sound. Some of the tracks, such as the high-energy “Dog Eared,” opt for the use of grungier electric guitar, while the softer ballad “The Right Reasons” sounds acoustically raw and real. The album thoughtfully explores themes of isolation, self-discovery and the desire for connections, which figure prominently on tracks like “Brisbane” and “Brighter than Blue.”
Tegan & Sara, Tomberlin Deliver Heartfelt Melodies to House of Blues Anaheim
By K. Chastain / Photography by K. Chastain
As the lights dim and the house goes quiet, the soft sound of acoustic guitar strings fills the air. Any lingering conversations in the audience begin to die out as every ear turns toward the main stage of the House of Blues Anaheim. The duo of Sarah Beth Tomberlin and multi-instrumentalist Adelyn Strei enchant the audience with the yearning, delicate track “Any Other Way” as their respective instruments layer beautifully throughout the opening verse of the ballad. Tomberlin, who’s been performing mononymously under her last name since 2018, holds a steady pace on guitar while her soft vocals carry intimate and personal lyrics. Strei’s agile solo on clarinet rings throughout the audience during the song’s interlude, building up momentum towards the chorus.
As the opener for Tegan and Sara’s highly-anticipated Crybaby tour, in which the Canadian sister duo would be debuting their album of the same name, Tomberlin’s performance was a welcome surprise. In their deliberate and candidly honest approach to performing live, Tomberlin and Strei showcase the same kind of sincerity that first drew me to Tegan and Sara’s music. Integrating several songs from her new release i don’t know who needs to hear this, Tomberlin performed “sunstruck” and “happy accident” to the delight of fans, who swayed back and forth to the slow-paced yet intensely emotional rhythm.
There were even a few humorous moments shared between the performers and audience when the stage lighting was deliberately changed to green to reflect the subject matter of her song “stoned.” Masterfully toeing the line between hope and hopelessness, Tomberlin’s heavier lyrics were also lightened by her heartfelt monologues in between songs, which engaged the crowd and warmed up the venue for the arrival of Tegan and Sara.
Suddenly, the stage was alight in soft blue and purple tones, and the familiar ice-cream cone logo on the cover of Crybaby sparked to life overhead. After Tomberlin’s gentler melodies, the crowd was ready to jump along to Tegan and Sara’s opening song, “Stop Desire” from their 2016 album Love You to Death. The sisters smiled at their loyal fans as they took the stage with Sara on electric guitar and Tegan on vocals, but both proved their versatility as musicians as the night continued.
Debuting some of the most popular songs from their new album, such as “I Can’t Grow Up” and “Faded Like a Feeling,” their fans eagerly danced to their high-energy tracks and swayed along to their slower ballads. Tegan picked up the electric guitar for a special performance of “Boyfriend,” an anthem that solidified their iconic status within the LGBTQ+ community. Sara later took the lead on acoustic guitar while performing the emotional song “Walking With a Ghost.”
Both sisters were candid with their audiences about the struggles that had gotten them to this point, including the realization that they were LGBTQ+ and the process of creating relationships and families while going on tour. After sharing such personal experiences, Tegan and Sara’s performance of “Yellow” only became more emotionally meaningful. Despite the weighty resonance their songs held with many of the audience members, their smash hit “Closer” lightened the atmosphere as a triumphant encore.
Neon Lights and Spectacular Sights Abound at Desert Daze 2022
By K. Chastain / Photography by K. Chastain
As I walk up to the sandy shore of Lake Perris, it feels too good to be true. The sun is just beginning to set, casting ripples of shimmering light onto the surface of the lake. This place is truly an oasis in the place you would least expect to find it – southeast of Los Angeles, out of reach of the sprawling city – and I always look forward to coming here each year. I’m joined by thousands of eager attendees who are spending the weekend camping here overnight, often traveling hours or even flying out to make sure they don’t miss the festival experience. And, as the sun sinks below the skyline and the sand starts to cool under my feet, I understand why.
The beach has been full of eager swimmers for most of the day, but many of them are now laying on towels scattered between the art installations that tower overhead. These massive sculptures are starting to shine even brighter under the darkening sky, and I can clearly make out the coiled shapes of neon lights bent into interesting shapes and refracting through glass panels. Old television sets flicker to life with oversaturated displays, and as a group of friends hurries past the display on the way to the main stage, their image is briefly displayed on each TV screen. These art installations are not just meant to be present among the attendees, but they were intentionally placed here by local artists such as Slim Reaper Light Show with the purpose of being interacted with. Some of them offer unique backdrops for photos, while others seem to beckon guests to sit on them or even walk through them as if they were portals to another dimension. And as I spot the main stage through a nested series of rainbow silhouettes, I realize that in a way, they are.
On the beachside stage, the graceful silhouette of UK-based singer Nilüfer Yanya emerges against a shimmering backdrop of rainbow lights. The stage lights draw everyone away from the water and towards the most intimate of the three stages at the festival as Yanya produces an electric guitar and begins to play. The opening riff of one of her most famous songs, “Keep on Callin’,” rings out across the beach as the crowd huddles closer together to share this special and intimate moment with Yanya. The British singer’s deep, soothing vocals wash over the crowd as she plays her way through much of her new album PAINLESS, which features a unique blend of folk and grunge rock. As the sky darkens, Yanya reaches the final song in her set, “Crash,” which she delivers with enthusiasm and energy to keep the audience excited for the next act.
Without missing a beat, Desert Daze’s second stage, also called ‘The Block,’ lights up in the distance. I realize Men I Trust, a spacey electronic trio from Canada, will be performing in just a few minutes and quickly make my way towards the center of the festival grounds. Emma Proulx, the lead singer and distinctive voice of the band, is adjusting her microphone, and I’m thankful they hadn’t started without me. As the crowd shuffles towards the main stage, a man prepares to stand on a surfboard while several others in the audience start to lift him up.
He’s somehow managing to balance himself, being passed around by the audience as if he were cutting through a real wave as the band starts to play the grooving bassline of “Sugar.” I couldn’t help but laugh behind my camera at the situation, as I had never expected a band with such a mellow sound to inspire crowd-surfing. Eventually, after the crowd calms down a bit, Men I Trust continues on to play some of their most beloved songs, including the dreamy “Show Me How” and my personal favorite, “I Hope to Be Around,” in which supporting member Dragos contributes incredible solos on keyboard. The audience huddles and sways under brilliant purple and white lights as their set finally comes to an end with the upbeat yet pensive “Say Can You Hear.”
As much as I am tempted to linger, I know that yet another band will be coming to play on the third stage at the festival. The solo project of Australian artist Kevin Parker, more widely known as Tame Impala, will be playing a special set that includes the entirety of his album Lonerism, originally released back in 2012 but still beloved as a cult classic. After glancing over the impressive variety of local vendors, I stop by my favorite vegan food truck just in the nick of time to see Tame Impala preparing to take the stage. Desert Daze’s largest stage, nicknamed ‘The Moon,’ has an impressive display prepared to accompany the arrival of such a renowned musical guest.
The backdrop lights up with psychedelic visuals to accompany the entrancing combination of Parker’s synthesizers and the echoing, resonant instrumentals from his touring band members. Saturated, colorful images of rolling hills and ocean waves affirm the feeling that the audience has been transported to a rare oasis somewhere far away. As Parker reaches the most widely beloved track on Lonerism, “Feels Like I Only Go Backwards,” the crowd begins to sway and sing the lyrics back to him. Tame Impala continue onward, playing through the songs in their original album order, until they reach the grooving, upbeat track “Elephant.”
Both Parker and the crowd seem to revel in the sudden burst of energy resulting from the uptempo bassline in the otherwise laid-back set. Mixing in a few of his newer tracks after finishing his playthrough of Lonerism, Parker also plays selections from Currents and The Slow Rush to complete his performance. The indie classic “The Less I Know the Better” has everyone dancing instantly, while the more relaxed “Borderline” helps the audience start to wind down as the festival comes to a close.
But it’s not over just yet. The stars are shining overhead, and they’re ready to turn in after such an impressive performance and begin to shuffle back to their campsites. They’re also excited, because it’s all going to happen again tomorrow.
In a year where many of us have adjusted to living through our home computers, the music industry has changed considerably due to the constant uncertainty and life-altering change created by the pandemic. Despite being a difficult year for musicians around the world -- canceled concerts and tours, merchandise production delays, and less access to in-person collaboration -- many of the bands we have supported through indie radio and media outlets have managed not only to survive the pandemic, but produce some pretty fantastic music to get us all through it.
As an indie-garage-surf-punk record purveyor, college radio host here at KUCI, concert photographer, and blogger, I've listened to more than my fair share of music this year, especially now that I've had the time and availability to do so. To finally give my roommates and close family members a break from my musical tirades, I've compiled my favorite albums of 2021 below and shared a bit more about what makes each such an inspiring and beautiful example of the creativity that is possible even in one of the world's darker times.
10. Sweet Nobody - We're Trying Our Best
One of my favorite bands here in the local music scene is the Long Beach-based four piece group Sweet Nobody, whose songs feature the upbeat vocals of Joy Deyo against a sunny and sometimes grungy surf-rock backdrop. Their highly anticipated album We're Trying Our Best was released after anticipation from lead singles "Five Star Diary" and "Young in Love," marking a new chapter both sonically and thematically for the band since their 2017 release Loud Songs for Quiet People, which has been a DJ favorite here at the station. The standout track for me on this album was "Not a Good Judge," which allows Deyo's lyrics to shine with the accompaniment of a simpler and more refined instrumental. Meanwhile, tracks like "White Lies" affirm that the band has retained their punk spirit through the inclusion of sharper, more intense guitars and catchy riffs.
9. Merpire - Simulation Ride
Filled with beautiful, heart-wrenching lyrics, Australian artist Merpire's Simulation Ride found a special place in my music library this year. Taking inspiration from equal parts rock and folk, lead singer Rhiannon Atkinson-Howatt beautifully navigates an array of weighty topics on this record through a radio-friendly approach, yet maintains an experimental spirit that makes her music hard to pin down into a single category. Tackling ideas related to mental health, relationships, and many more universally relevant topics, Merpire creates a shimmering guitar-driven soundscape that allows listeners to reflect within themselves and find sympathy in the situations of others. From the enthusiastic chorus on her opener, "Village," to the fun and lilting "Dinosaur," there are plenty of moments on this album to keep you humming along. However, tracks like the slow-burning "Heavy Feeling" and "Yusiimi" provide equal room for contemplation and depth to flourish between the lines.
8. Pale Waves - Who Am I?
Next up on our list is Pale Waves' Who Am I?, which I predict may become the next great coming-of-age rock album. The instrumentals are highly evocative of the early 2000's, but with a refreshing and modern twist through the addition of sharp yet pensive vocals by lead singer Heather Baron-Gracie. The Manchester, UK-based band released the album back in February of this year, yet it remains an instant classic among indie rock fans due to its encouragement of self-reflection in the face of uncertainty. "Change" is a song that embodies the spirit of the record, taking us back to Avril Lavigne-era pop punk while encouraging us to find a new resonance for the timeless theme of the continually evolving self. "She's My Religion" was eagerly embraced by the LGBTQ+ community as an anthem for its intimate, yearning lyricism. Other standout songs such as "Run To" further lean into Pale Waves' trademark surf-rock sound, which can also be heard on their previous album My Mind Makes Noises.
7. Middle Kids - Today We're the Greatest
Middle Kids makes a triumphant return to their pop-folk style of songwriting on Today We're the Greatest. The three-piece band from Sydney, Australia have created an upbeat yet contemplative tracklist, featuring highlights such as "R U 4 Me?" and "Questions." Integrating an even more varied backdrop of acoustic and electric guitars, shimmering brass and piano, Middle Kids imbues their new album with a certain approachability and friendliness that translates easily to the radio. Even their slower and more serious ballads, such as title track "Today We're the Greatest," are uplifted by singer Hannah Joy's rich and inspiring vocals. The songs on this album strike a particular balance between the simplicity of routine and the complexity associated with change, most notable in tracks like "Stacking Chairs" which discusses the moments that fall between the highlights in our lives but still deserve to be acknowledged and celebrated.
6. Sleigh Bells - Texis
Sleigh Bells' first album-length release in 4 years, Texis marks a significant development in their approach to songwriting while staying true to the unconventional pop-punk spirit their fans have come to love. Infusing their signature hard-hitting guitars with punchy, electronic undertones on opening track "SWEET75," Alexis Krauss' shimmering vocals are juxtaposed against a more chaotic background that develops into a colorful punk anthem. As the album continues, the arpeggiated hook of "Locust Laced" accelerates into an industrially driven yet catchy chorus. Sleigh Bells' masterful negotiation of traditional punk songwriting with the addition of more futuristic electronic elements keeps Texis fresh, novel and exciting, while maintaining its radio-friendliness.
5. Wednesday - Twin Plagues
One of the most versatile and genre-bending albums on this list, Twin Plagues expertly explores the extremes of rock, showcasing both grungy noise-rock jams and soft ballads on its tracklist. Wednesday's frontwoman Karly Hartzman is earnest and brash in her vocals, lending honesty and heart to even the harder-hitting noise-rock tracks on this album such as "Handsome Man" and "Toothache". One of the standout songs from Twin Plagues, "How Can You Live if You Can't Love How Can You if You Do," named after its particularly emotive hook, encompasses the feeling of tenderness and yearning for connection in its juxtaposition with hopelessness. There are calmer moments to be found on songs like "Gary's," which presents stylized images of everyday life and manages to paint a complex picture of a person through simpler and more relatable verses.
4. Yves Tumor - Heaven to a Tortured Mind
One of the more pop-influenced albums on this list, Heaven to a Tortured Mind served as a breakout album for Miami, Florida based artist Yves Tumor. Featuring the catchy opener "Gospel for a New Century," the album blends jazzy horns, grooving basslines, dynamic riffs and shimmering synthesizers into a multi-genre masterpiece. Their uniquely soulful and smoky vocals contribute to their lyrical approach in addressing the darker side of love and connection. This is most apparent on tracks like "Romanticist" and "Kerosene!" which are upbeat and easy to listen to yet contain raw and gritty undertones, both sonically and lyrically. Several tracks are also on the softer, dreamier side, like "Strawberry Privilege," and serve as a conduit for a quieter sense of rumination, emotionality and self-reflection on the record.
3. IAN SWEET - Show Me How You Disappear
As one of the more experimental albums on this list, it was hard to connect with every song on IAN SWEET's Show Me How You Disappear on the first playthrough. However, the more I times I listened to this record, the more I felt connected to each and every song and felt impressed by singer Jilian Medford's lyricism and approach to songwriting. Incorporating more electronic elements, such as reverberating beats and loops, into her singer-songwriter influenced brand of punk, IAN SWEET turns over a new leaf in songs like "Sword" and "Drink The Lake" while retaining the same inventive yet simplified approach to songwriting that fans are accustomed to. Songs like "Power" and "Dumb Driver" are quietly assertive and independent, while somehow managing to maintain the dreamy feeling of in-betweenness and uncertainty. Show Me How You Disappear strikes a delicate balance between self and other, exploring the divide between reality and the fictions we often create inside our own minds.
2. Japanese Breakfast - Jubilee
One of the most musically adaptable artists on this list, Japanese Breakfast returned this year with the triumphant debut of her album Jubilee. Frontwoman Michelle Zauner, who also recently published a New York Times bestselling memoir, Crying in H Mart, crafts a resonant soundscape on Jubilee that is evocative of its joyous title while dipping into the darker side that often follows moments of happiness. "Paprika," the opening track on the album, is resplendent with horns, strings, and upbeat drums that welcome listeners with warmth. In contrast, the harsher and more dissonant "Sit" discusses falling for an illusory idea and losing the humanity and warmth that is the reality of another person in a relationship. Zauner's intentional soundscaping is most impressive on the hit single "Be Sweet," which features moments of lightness and hope in its chorus yet retains an assertiveness in its verses that demands more than the bare minimum in a relationship.
Pom Pom Squad - Death of a Cheerleader
And last, but certainly not least, is Pom Pom Squad's masterpiece of a record, Death of a Cheerleader. Lead singer Mia Berrin's breakout album features the song "Head Cheerleader," which explores feminist topics and explores the trope of the cheerleader. Taking inspiration from coming-of-age classics, the aesthetic of Death of a Cheerleader allows listeners to consider traditional femininity in a different light as Berrin adds lyrical depth and musical complexity to create a more introspective yet assertive persona. A masterful blend of high-energy, lovestruck rock as showcased on "Red With Love" and moody, resentful ballads such as "Second That" guide us through the highs and lows of romance, and the trajectory of the album affords us a certain rawness and intimacy that is a staple of Pom Pom Squad's style. Rounded out with a refreshing cover of Joan Jett's "Crimson and Clover," Berrin demonstrates her band's musical aptitude as well as her own strength as a writer on this record.
Alfa Mist’s Bring Backs Live Tour Opens in Glasgow
Past the high street through to the Victorian-era industrial buildings of the east end of Glasgow, the crowd at St Luke’s was buzzing in anticipation of Alfa Mist’s jazz and hip-hop blended performance Tuesday night. Kicking off the UK & Ireland live tour of his latest album, Bring Backs, the band of instrumentalists sent their improvisationally syncopated sounds through the former church’s crafted acoustics to the chic urban crowd. Amidst the backdrop of two massive 19th century stained-glass windows on either side of an equally grand pipe organ, accompanying Alfa Mist on stage were Jamie Leeming on the guitar, Kaya Thomas-Dyke on the bass and vocals, Jas Kayser on the drums, and Johnny Woodham on the trumpet.
Known for his self-taught mastery of the keys, the keyboardist-producer-MC showed us that beyond being a multihyphenate, he is a multi-instrumentalist having punctuated the performance by picking up some strings and continuing on with the jam session that the improvisational genre spurred out of everyone on stage. From jazz to hip hop, spittin’ out beats and boppin’ behind the keys, the bandleader’s naturally laidback demeanour played out on stage as a laissez-faire and supportive collaborative energy amplifying the voices of the peoples up there with him.
As a woman who appreciates the drums, I was stoked to see Jas Kayser completely in the zone, her sound coming through so strongly independent yet harmonious. Starting the show, Jamie Leeming let the crowd know that this was the first time their music would be performed to a live audience. Riffing and jamming—his chords, her beats, and the bassline, they were up there creating the dynamic energy that warmed up the crowd and started off the night of indescribably genre-bending music. With Kaya Thomas-Dyke’s mellow vocalisations on “People” adding to the soft nature of the tune, a recorded poetry reading by Hilary Thomas superimposed on their crowd-pleasing performance of “Bumper Cars”, and Alfa Mist’s distinctly London gritted rap vocals, the performance was one I would excitedly describe as progressive jazz, its enlivened jazz roots brought to life by the brassy stylings of Glasgow’s own, Johnny Woodham.
As much as the music was the centrepiece of the show, I would be remiss if I neglected the fabulous job done by the lighting and stage crews. It wasn’t an over-the-top spectacle by any means but their use of spotlighting, colour combinations, and, if I remember correctly, mist effects absolutely added to the mood of the show in such a beautiful and perfectly-sized space. Whether the decorated balcony window was a nod to Alfa Mist and Emmavie’s Epoch album art or if it is original building art, I’ll likely never know but the choice to accentuate this impressive feature was such a creative and interactive design choice that speaks to Alfa Mist’s collaborative exploration of performativity, musicality, and artistic expression that, especially in this performance, was an intoxicating delight on the senses.
Luckily for everyone in the SoCal area, as part of the North American leg of the Bring Backs Tour, Alfa Mist is set to perform at the Lodge Room in Highland Park on May 18, 2022.
DRAMA, the Dynamic Duo that's Redefining Pop Music
- Marcus Carrillo
Last Tuesday, I had the honor of attending and photographing DRAMA’s performance at the OC Observatory. This show was one of the last stops on their US tour. The OC Observatory sits on a humble corner in Santa Ana. I got there fairly early in the night, took the opportunity to join the few concertgoers already at the rails. As I stood at the rails waiting for the show to begin, I was oblivious to the crowd forming behind me. Every now and then before DRAMA took the stage, I would glance back and see that more people had come in. When DRAMA finally took the stage and I heard the crowd cheer with excitement did I finally see how much a crowd this band was able to pull on a seemingly ordinary Tuesday night.
DRAMA’s on-stage performance was nothing short of enlightening and utterly refreshing. In a pop landscape where so much emphasis is placed on moody exteriors and heavy solemn, DRAMA’s presence and sound gives pop music the dynamic space it deserves. Their music is uplifting and vibrant. While the lyrics might tell stories of heartbreak, the production sends a rush of energy through the crowd. What’s fascinating about DRAMA is how easily they’re able to blend genres together. The production draws influence from house, pop, and R&B with Via Rosa’s voice intertwining itself with the production and lyrics to deliver pop music at its best. It’s not surprising DRAMA was able to draw such a large crowd. As a fan, myself, the energy on stage didn’t fall short.
I had first heard DRAMA’s music last year, while I was on a trip to San Diego with friends. As we drove down the coast, a steady beat and luscious chords flooded the car. As the sun began to set, Via Rosa (The lead singer of DRAMA) voice flooded the car, it was sweet, and tender, detailing a love that no longer belongs to her (The song was Billy). Ever since that moment, DRAMA’s music is something i look towards when i want to reminisce on old memories, or make new ones.
Seeing DRAMA live, i was utterly blown away. Not only did they sound amazing live, but their energy and magic didn’t falter in front of an audience. Sometimes lives performances don‘t carry the same weight as the recording, but DRAMA’s talent is undeniable.
Some notable performances of the night and songs you should definitely listen to are: Dark Rain (One of their latest releases), Billy, You’ve done enough, Gimme Gimme and Nine One One.
Dear Boy Brings an Electrifying Performance to The Troubadour, Oct 9th 2021
- Marcus Carrillo
On Saturday night, October 9th, Dear Boy took the stage to deliver an exciting and refreshing performance to an intimate audience at the Troubadour in Los Angeles.
The Troubadour, which sits on Santa Monica Blvd, just south of the heart of Weho has been a longtime venue of up-and-coming Los Angeles artists.
Dear Boy recently released their latest EP The Strawberry in 2019, the band is composed of Ben Grey, Austin Hayman, Lucy Lawrence & Keith Cooper. The band draws inspiration from post-punk alternative and British synth-pop with an undoubtedly easy LA sound. Their refreshing youthful sound is reflected in their performance.
As I entered the building, I was flooded with a feeling that only venues the Troubadour can evoke. Smaller concert spaces where you’re no further than 20ft from the stage provide an unparalleled sense of intimacy, freedom, and comradery. The special feeling of knowing that you and a handful of people share an adoration so strong, that you were destined to stand in the same room. The air was a hazy flog-filled mix of faces, strobe lights, laughter, and song. The electric energy of Santa Monica Blvd finds its way into the Troubadour.
In their live performances, Dear Boy’s music flows seamlessly into one another, a distinct declaration of their sound and identity. Ben Grey, the lead singer of the band, commanded the stage with bright and animated energy. Notable songs of the night included (On my) Mind, Semester and Heaven Moves. The performance slowed for a heart-wrenching and ever so the personal performance of Alluria, and was brought up to sped again with an unexpectedly delightful cover of There She Goes. Dear Boy has hit the nail right on the head and found a sonic space amoungst their influences that pays homage to punk and brit pop, all the while maintaining a relax LA sound. Nothing feels forced with Dear Boy.
Like many artists taking to the stage for the first time in 2 years, we could sense how grateful Dear Boy was to be performing again, smiles were stamped on each band member's face as they performed onstage. If you haven't already, I strongly suggest you take a listen.
Porter Robinson Delivers a Joyous and Emancipating Performance to Los Angeles Audience
- Marcus Carrillo
(above photo provided by Carlo Cavaluzzi)
Porter Robinson fans have been anxiously awaiting the release of his sophomore album since he took a 7-year hiatus from releasing music. With the release of Nurture, fans were given an insightful and vulnerable look into the world and life of Robinson. Fans were given a glimpse into his struggles with artistry and purpose as a musician, his relationship with his parents, his love for his girlfriend, and his appreciation for life.
When it came time to tour and deliver a show, there was no hesitation on Porter’s end to create a life-changing and liberating experience for his fans through music.
On a warm October evening, Porter Robinson and guests gathered at the Historic Los Angeles State Park to enjoy two memorable nights of dance and celebration. Droves of friends descended onto the landmark, gliding over the grass, laughing and taking pictures as the Los Angeles skyline stood tall and brilliant in the distance. As the sun began to set, a buzz entered the air as concertgoers anxiously awaited the man they came to see. Robinson wasn’t the only person in a room to have taken a hiatus from music, for this could very likely be the first concert many audience members have attended since the start of the pandemic in 2020. As the lights dimmed, all eyes turned towards the stage as it illuminated the faces of hundreds of Los Angeles residents.
(above photo provided by Carlo Cavaluzzi)
Porter starts the concert with one of his first hits, Sad Machine. From the first notes, we are instantly brought into his world, bright, energetic, and hopeful; whatever dread had surrounded Porter has been released in the music. With each bouncing note, the energy of the audience builds until the beat drops and the crowd seems to float in the air as strobe lights illuminated their waving hands. Porter has done what he does best: create an environment where his audience feels free of judgement and enveloped in celebration.
Some notable mentions and songs of the night included Blossom, which was an earnest and honest composition dedicated to his girlfriend (who he says he “would not have Nurture without”). The way Porter played each note with such tenderness and softness was a public demonstration of the adoration he has for such a profound love in his life.
Another tear-jerkingly emotional moment was his song Mother, which as Robinson explained, is dedicated to his parents, who he has come to realize through the process of growing up that they are human too and are capable of mistakes.
In Nurture, we find Porter's sound grounded and free, his onstage presence light, commanding, youthful, and pensive. With each glance into the crowd, we see disbelief that this is his life, and the crowd returns that same look with smiles as they experience a grateful appreciation for life and music.
(above photo provided by Andrew Gomez)
The Nurture tour is an experience that teaches us to appreciate life. To appreciate community, how unpredictably beautiful life can be, and how strong we are as people. Porter has taken something so meaningful and honest and delivered it in a way that not only creates memories but changes the perspective of those who enter the world he so carefully nurtured himself.
If you have the opportunity to experience a Porter Robinson show, please do, and bring some friends with you!
Strawberry Army and the Creative Power of Punk Youth
By K. Chastain / Photography by K. Chastain
A concert photographer's account of the Orange County twin-fronted surf-punk band Strawberry Army's journey, from underground warehouse shows to the big stage of The Observatory in Santa Ana.
When I began learning how to photograph concerts, I didn't start at the height of luxury. I found myself pressed against a small stage at local warehouses or fighting for space at house parties. But there was such a charm and an excitement to feeling the heat and intensity of a hundred young, punk kids crammed into a small space as I fought to get a good shot. Mostly because I felt at home among them, as I was only nineteen myself when I started getting involved in the local music scene. In the moment, I remember when I stumbled upon my first punk show, which happened not too far away from where I am now, at a little place called Malone's in Santa Ana. I remember scouring the back of a strip mall for about ten minutes just to find the entrance to the place, it was so well-hidden. But all the local high school and college punks knew where to find it. This was because it was one of the only venues at the time that would rent its stages to up-and-coming bands and people that were still learning the ropes of live performances.
As the lights dim and the stage slowly begins to fill with fog, I see a pair of outlines emerge from the sides of the curtain. It's the Long Beach based duo of Zoë and Rio Infante, the lead singer and bassist of the band Strawberry Army, respectively; they're also identical twins, but tonight they're dressed in completely different styles. Rio's sparkly top and dark eye makeup makes her look like the epitome of a young Courtney Love, and Zoë's flowy white gown reminds me a lot of Stevie Nicks on the cover of Bella Donna. The two sisters approach their microphones and I wonder what song they'll play first.
The first time I ever saw them perform was about two years prior, at the very same dive bar, Malone's, where I found myself entranced by the local punk scene. This is probably the third time I've heard them sing live, though this is certainly the most upscale spot I've seen them tour so far. They have a new guitarist, Darren Kaiser, I notice, since the last time I saw them. As they begin to play I can feel the speakers thrum from where I'm standing; I have one arm resting against the stage, steadying my camera for the moment the stage lights flash back to life.
The first time I ever saw the surf-punk duo, I was only armed with my cell phone camera and an array of edgy, grungy, light-leak photo filters. But that didn't stop me from taking pictures of the bands that night like crazy, mostly because I had never seen anything like them before. Growing up north of the Bay Area in California, we didn't have such a widespread manifestation of the self-starting mentality these young artists seemed to embody, and I found venues like these to be much harder to come by whenever I went home from college. Moving almost eight hours south of my hometown completely changed the setting and community of people I was surrounded by, and I had a hard time truly finding friends that would accept the creative, offbeat side of who I was. That is, until I stumbled into the punk scene. I line up my camera and get ready for the show to begin.
I hear the first few high-energy bars of “Orange Box 559” echo through the speakers and settle on the eager crowd. I remember that this was the very song that completely sold me on this band. It's fast, upbeat, catchy, and somehow hard to forget. Sometimes when groups are in their early warehouse beginnings, they are still in the process of deciding on their creative direction. Every time you see them they look and sound a little bit different than the last time. It's exciting to see Strawberry Army up here; their vocals sound even stronger now but they still maintain the same edgy, grungy charm that drew me to their music in the first place. Their harmonies are resonant, showcasing both sisters’ voices while they dance across every inch of the stage, reaching out for their fans' outstretched hands.
As the song ends and a new one begins, I keep my camera trained on the charismatic Zoë, who spontaneously slides to the front of the stage so that she can sing directly to a fan in the front row. Rio strums the soft bassline of “It Doesn't Matter” while her sister takes the lead on the dreamy vocals of the song. As she sways gracefully I keep my eye trained on the viewfinder, trying to capture every moment of their performance. That's the thing about concert photography: you never know what is going to happen during a live performance. When you're taking pictures of people who are in their element, jumping around, and constantly in motion onstage, what's there one minute could be gone the next. This rule applies not just to how the band is posed, but everything -- from the lighting to the motion of the crowd -- is only ever temporary.
I sigh, relieved that I managed to catch Zoë's sudden stunt on camera. That's always my goal when I'm shooting from the photo pit, to capture the essence of the artist's vibrant character and to make them shine. But to capture action down to the millisecond is no easy feat. Thankfully, The Observatory, where I'm shooting now, has much more professional lighting than any of the dimly-lit warehouses where I started out. It's moments like these where I'm glad I learned how to use a camera in the most difficult circumstances possible -- taking impromptu lessons from a fellow DJ here at KUCI Irvine -- and went into my first warehouse shoot almost completely without a clue as to what I was doing. I let my intuition lead: what looked good? What patterns were the lights flashing in? Were there ladders or stairs I could climb to see the stage from a different angle? I recall the rush of adrenaline generated by running around, pointing the camera this way and that; feeling the thrill and enthusiasm of the performance kept me going.
Concert photography became to me over time the means of documenting the spontaneous, secretive world of youth punk. Now, almost a year after I had started my journey, I was able to capture Strawberry Army's next big steps in the music industry as well. Being young myself, only a year or two older than the twins onstage, makes tonight feel even more special since I'm able to bring the perspective of someone in the midst of creative-self discovery. I'm also able to frame young women in rock through the lens of a feminist gaze as I too begin to make a name for myself in the entertainment industry as a behind-the-scenes professional, navigating the pressures of a male-dominated field like professional photography. Among the flashing lights and the crowd going wild behind me, I never forget that I'm here tonight to help them shine.
New in Jazz - Three Short Stories by the Bartosz Hadala Group
Three Short Stories by the Bartosz Hadala Group creates a conversation through jazz instrumentals with featured artists Michael Manring and João Frade. The group believes that jazz music exists as a conversational medium that transcends speech. Stories, arguments, points, counter-points, exclamations, and laments all exist within the rhythmic nature of jazz. As such, many of the tracks featured on the album function as a call-and-response to the previous track in both tone and sound.
Despite an instrumentally minimalistic approach, each track effectively relays all of the aforementioned conversational aspects flawlessly, naturally flowing from one into the next. The result of this meticulous arrangement style makes for a truly unique listening experience.
Three Short Stories exists as an example of what can be accomplished by a collective of veteran musicians. Using only a small core of instruments, the group was able to effectively craft a superb album.
Music Office Finds - Love Hates What You Become by Lost Under Heaven
Industrial glitch meets big POP energy. If Nina Hagen, Marilyn Manson, MUSE, and Swiss indie-pop group Bilderbuch had a baby, this is what it would sound like. Screeches, drops, electro-effects, and noise reimagine a bitchin’ 90’s seether sound. Well done! Start with track 1 and work your way through; you will be surprised, but not disappointed.
Incontre by Massimo Biolcati represents the gold standard for jazz cover albums. Biolcati sets out to cover a wide variety of songs (not particularly restrained by the jazz genre), while also contributing unique originals. In doing so, the album is able to keep the listener interested by pairing the familiar with the new. Covers include particularly unique songs such as Charlie Chaplin’s “Smile” and 80s pop hit “Everybody Wants to Rule the World” by Tears For Fears. By covering these particular songs in a jazz instrumental style, listeners are able to re-experience familiar classics in a fresh and exciting way. As such, Biolcati and company add their distinct styles to these treasured classics.
All of the album’s tracks consist of jazz instrumentals. As is the case with most jazz instrumentals, the artists rely on very few instruments to accomplish their goals. The album especially makes use of the bass, saxophone, piano, organ, and drums. However, despite the minimalistic set of instruments, the album effectively replicates the style and flair of the original songs; the artists’ musical prowesses are on full display.
Incontre exists at the pinnacle of both jazz and cover albums. The addition of songs not in the jazz genre, as well as original tracks, allows listeners to enjoy a uniquely diverse and holistic experience. This combination in addition to the album’s masterful composition and sound makes it a must-listen.
Love feedback? Get your crunchy munch on with Pengo. Replace your bass with a deep throbbing crackle. Heavy, industrial, synthesizer-pedal modulator driven, psychedelic rock. Track 6 is the oddball out, delivering pleasant, mellow fare. For the full Pengo effect, try track 1 or 5.
Job's Trials is smooth, with a chronological, biblical story in between tracks. The melodious nature of a passionate crooning intertwined with an intentional drumbeat, it is truly harmonious jazz.
Music Office Finds is a series of introductions to albums found in the depths of KUCI that you might have missed.
Oh so dreamy. Vibing, dizzying, sensual vocals perfectly matched with a cloudy, atmospheric, and throbbing bass. Float away with Luxury’s dream metal and let those sensitive drums massage out any kinks in your aural canal. Try out track 3.
RIYL: Metallic Falcons, Velour 100, The Violet Burning
