Corridor @ The Echo

CORRIDOR plays at the ECHO tonight, June 30th.
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Happy Birthday Alessi's Ark

Alessi Laurent-Marke finally turns 21 today. You are old now like the rest of us.
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Glastonbury 2011

Glastonbury was this past weekend. We were not there, but these bands were:













All photos by ANGEL CEBALLOS
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Anika "No One's There"

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The Black Angels @ Carson Daly

The Black Angels are on Carson Daly tonight, Monday June 27th.
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The Black Lips @ The Glasshouse

The Black Lips

The Black Lips

Cerebral Ballzy, PERSONAL & THE PIZZAS

@ The Glasshouse, Saturday June 25th 8pm

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Middle Class @ Echoplex


MIDDLE CLASS / KID CONGO and The Pink Monkey Birds /

GRANT HART (founding member of Husker Du) / The Urinals @ Echoplex

Middle Class

A few weeks ago, Frontier Records announced that for their 30th anniversary, they were hosting a show featuring a reunion by Santa Ana hardcore pioneers Middle Class.

The label (which released punk classics such as The Circle Jerks’ Group Sex,” The Adolescents self-titled blue album, and Suicidal Tendencies’ self-titled release) had reissued Middle Class’ seminal 1979 EP, Out of Vogue.

Soon after, members of the band (which broke up in 1982) refused interviews, saying the label was premature in announcing their reunion, as they were only “99.9 percent” sure that they were performing.

But OC punk history was made Friday when the reunion of hardcore originators the Middle Class went from 99.9 happening to 100 percent on as the foursome practiced in an undisclosed location for its first show in nearly three decades.

The Middle Class 2.0 includes original members Jeff Atta (vocals), Mike Atta (guitar) and Mike Patton (bass) and Matt Simon, the group’s second drummer. Original skinsman Bruce Atta-now a college professor-was asked to participate but “couldn’t put in the time,” said brother Mike.
The six-stringing Atta also said the group is hoping to get approximately 15 practices before taking the stage in less than two months. Currently, the band is hoping for a 45-minute retrospective set comprised of songs from its two singles and a few tracks from 1982′s full-length Homeland.

Depending on who you talk to, the band is regarded as either the first or second hardcore band ever (some say it’s Black Flag) thanks to the 1979 EP Out of Vogue, a four-song aural assault that took the Ramones’ penchant for downstrumming and sped it up to then-unheard speeds. This will be their first live show in since then.

For now, the Middle Class reunion (which will also feature The Adolescents, Flyboys, The Pontiac Brothers and Rikk Agnew) is shaping up to be a one-time thing, but Mike Atta said that could-or could not-change. OC Weekly

Kid Congo and The Pink Monkey Birds || Listen || Watch
Anyone who ever played with LA blues punks The Gun Club should be afforded the status of rock’n’roll legend. The fact that Brian Tristan – aka Kid Congo Powers – followed such a feat by playing with both The Cramps and Nick Cave & The Bad Seeds means the man is beyond mere mortal categorisation.
This is Powers’ second album with The Pink Monkey Birds, and it sees him returning to his roots with a set of raw and raucous garage rock so primitive that it was actually recorded through the shitty PA of a high school gymnasium somewhere in the Midwest. You can just imagine the scene – a B-movie called something like Hell On Wheels and directed by Roger Corman, with a motley crew of leather-clad juvenile delinquents roaring off on their motorbikes after causing a rumpus at the prom; The Pink Monkey Birds’ ‘Hitchhiking’ is blasting over the top.
But this is not just a collection of straight-up garage nuggets, there are nods to Powers’ Chicano roots with
a cover of Thee Midniters’ spectacularly dumb ‘I Found A Peanut…’ and, courtesy of bassist Kiki Solis and drummer Ron Miller, there’s a real groove here. ‘Funky Fly’ (actually a cover of a track from Bo Diddley’s obscure ‘Black Gladiator’ album) and ‘Black Santa’ sound like The Jon Spencer Blues Explosion circa ‘Orange’, without the added annoyance of someone shouting “blooooze explosion!” every five seconds, while ‘Bobo Boogie’ and ‘Kris Kringle Ju Ju’ strut like The Meters in their prime. In short, on ‘Dracula Boots’ Kid Congo Powers has once again found the juicy jugular of soul-fired, funked-up rock’n’roll. You’d be foolish not to take a bite. NME

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Keren Ann "My Name Is Trouble"

Keren Ann plays at McCabes tonight, Jue 24th, and Luckman Fine Arts tomorrow, June 25th.
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Peter Murphy

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Zola Jesus "Manifest Destiny"

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Zola Jesus @ Make Music Pasadena

(photo: Angel Ceballos)

Zola Jesus headlines Make Music Pasadena tonight @ 10pm, June 18th.
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The Hundred In The Hands @ Satellite

(photo: Angel Ceballos)

The Hundred In The Hands plays The Satellite tonight June 17th.
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The Black Lips invade LA

(Photo: Angel Ceballos)

The Black Lips invade LA and bring their "flower-punk" to the people. It is the flower-punk revolution! I am not sure what flower-punk is, but it sounds unhealthy, yet necessary. So make sure you catch one of their THREE big shows at Detroit Bar, Glasshouse and Henry Fonda. Just the other day they were in Vancouver during the Hockey Riot, so they have stories to tell and songs to play! See you there.

Thursday, June 23rd: Black Lips @ Detroit Bar

Friday, June 24th: Black Lips @ The Music Box

Saturday, June 25th: Black Lips @ The Glasshouse

The Black Lips interview 2007
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Wildbirds & Peacedrums @ Satellite TONIGHT

Wildbirds & Peacedrums play the Satellite on TONIGHT Wednesday, June 15th
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Ringo Deathstarr @ Glasshouse

Ringo Deathstarr is playing the Glasshouse tonight, June 15th.
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Brendan Perry Interview

Brendan Perry
Interview by Alexander Laurence

Brendan Perry has been involved in the music world almost 35 years. He was born and raised in East London, but his family moved to Auckland when he was still young. During that time the punk scene in New Zealand took off and Perry joined his first band The Scavengers. After two years they changed their name to The Marching Girls. By 1981, he had met Lisa Gerrard and formed Dead Can Dance and relocated back to London. They ended up on the 4AD label and becoming one of its most successful acts, releasing eight albums from 1984 to 1996. There was an international tour in 2005, which included a sold out night at the Hollywood Bowl. Brendan Perry also has two solo records to his credit: Ete Of The Hunter (1999), and Ark (2010). Brendan Perry has been touring with Robin Guthrie of Cocteau Twins. Perry still lives in Ireland with his family. I got to talk to him recently about touring, the music scene, and new Dead Can Dance music in 2012.

Brendan Perry and Robin Guthrie will be playing in Los Angeles at the El Rey on Monday, June 13th.


AL: How is the weather up there in Vancouver?

BP: It’s overcast, but I have been sitting in the venue all day.

AL: How many people are in the band?

BP: Five including myself. I have two keyboard players, bass, drums, and myself on vocals and guitar. Most of the band have been playing with me a while. We must have done sixty gigs since April of last year.

AL: When did you have the idea of touring with Robin Guthrie?

BP: It was an idea by the tour agent in the United States. Robin Guthrie has his own three piece band. They play with films. When I first started thinking about touring the Ark album in the States, we agreed upon a double headlining tour with Robin Guthrie. I have known him for years and it seemed like a no-brainer.

AL: The last time I saw you play was when Dead Can Dance played the Hollywood Bowl in 2005. What have you been doing since that time?

BP: You were at that gig? After we did the Dead Can Dance tour, we had some money to refurbish my home studio at Quivvy Church. I was tweaking and playing around with new gear. There was technical stuff and writing. That process took maybe two or three years.

AL: Do you see yourself as a person who adapts to the new technology or are you an old school person?

BP: I am open to any school really. I have used computer sequencers since they have become commercially available. I used the first Yamahas in 1982. I have embraced all the technology advances. That is self-evident on the album Ark. There is a heavy use of samplers and synthesizers on the album.

AL: Many people in the 1980s used regular recording studios. Now it is possible for everyone to have a home studio.

BP: We have had a home studio for twenty five years. It was just the first three albums that we recorded in someone else’s studio. Once we had enough income, we took the recording budget for the fourth album, The Serpent’s Egg, and invested it in a small studio. Recording technology had improved by leaps and bounds by that time. The smart people built their own studio at that time. The best analogy is the difference between renting and owning a house. Your money is going to go much further if you own your own studio. You will see more rewards. More important, it empowers you, because you can take your time with your own studio.

AL: When you start writing an album like Ark, are you trying to get across ideas, or are you trying to find exciting sounds?

BP: Yeah. Generally music is a stimulant. You play and see what comes through. There is a zeitgeist moment in those few years. I was very into what was happening with the world media and ecological issues. That becomes infused with the music I was making. It becomes amorphous and sponge-like.

AL: Do you like words for their sounds or is there storytelling?

BP: Usually the music comes first. It has shape and lends itself to progressions. Whether it be classic verse, chorus, verse, middle eight, and so on. Once the lyrics come through, the subject matter becomes clearer. The music is shaped around the lyricism and poetry. There is a shift in emphasis in the songwriting process.

AL: You have this dramatic voice. Did that work against you when you were doing the punk band The Scavengers?

BP: My voice has evolved over time. Back in the early days the dramatic voice wasn’t there. It wasn’t part of my sonic arsenal as it were. It was a slow evolution from punk, to post-punk, to alternative music.

AL: I saw this movie about Scott Walker.

BP: I was in the DVD. I was in the extras in the bonus disc. The film fucked up so there’s only the audio. I helped the director Stephen Kijak make acquaintances with various people who were influenced by Scott Walker and you can see that in their work. Unfortunately there were many people in the film who debt to Scott Walker is not apparent to me. .

AL: Were you influenced by Scott Walker and when were you aware of him?

BP: I became aware of him through Julian Cope’s compilation The Godlike Genius of Scott Walker. I heard it in 1980. From that moment on I was hooked. When I was a child I was familiar with the Walker Brothers. They had some dark wonderful songs. They had some stunning songs like “Mrs. Murphy” and “Archangel.”

AL: What about Peter Hammill?

BP: I am not so familiar with Peter Hammill.

AL: When people see you on this tour, you are going to play only songs from Ark?

BP: I will also be playing some new songs that I will be recording in Ireland in the Fall. Hopefully that will be coming out early next year.

AL: There are some people who are very faithful to the music of Dead Can Dance. What do you think of these hardcore fans?

BP: I love them. They are wonderful. They have allowed me and Lisa to fulfill part of our dreams. They have let us focus on music most of our lives. It’s what we love to do.

AL: You were involved with Ivo Watts-Russell and 4AD most of your career. How would describe that relationship, and how are things different when you deal with a record label today?

BP: We had an unusual relationship with 4AD. It was unusual even with the indie labels of that time. Ivo was like a benign grandparent. It was really up to the bands how much freedom they really wanted. Ivo gave as much freedom possible, and we took most of it. He was a guiding light and he was there for advice. He helped us where we didn’t have any experience. There was a great mutual respect. There was a great ethos. All the bands got along with each other. It was a big family and those were great days in the 1980s and the early 1990s.

AL: Whereas now many of these bands are starting their own labels, and looking for distribution deals.

BP: Yeah. There is no sense of development. You do one or two albums and if it doesn’t fly, then you are looking elsewhere. There was a dialogue with 4AD that you don’t have with labels today. Labels today are not intimate. Indie labels feel corporate. Whatever they say, they are still based on corporate models but on a smaller scale. And they are dying out. Labels are like white elephants. They are redundant. I think in ten years they won’t exist.

AL: Are you inspired by new bands or are you yourself your best inspiration?

BP: I am not too excited by new groups. I keep hearing hybrids. Some work. Most don’t work. There is a lack of good singers. There is a lack of intelligent lyricism. That is a serious vacuum. I decided about three years ago that while I still have my general health, that I would dedicate ten or fifteen years to doing music again. As long as I have the energy, I want to make as much music as I can. This winter I am going to get together with Lisa and do another Dead Can Dance record. We should finish it by summer, and by fall 2012, we should be doing another Dead Can Dance tour. Between that and my own work that should keep me busy for the next decade or so.

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Alessi's Ark "The Robot" in Boston

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Glasvegas @ Troubadour tonight

Glasvegas and Gliss play the troubadour June 8th. Glasvegas is also on KCRW.
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Angel Ceballos Photography

Jessica Lea Mayfield

The Greenhornes

Architecture In Helsinki

Crystal Stilts

All photos by Angel Ceballos
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Glasvegas @ Great American SF

Glasvegas is playing SF tonight with GLISS on June 7th.
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Band of Skulls @ Bootleg tonight

Band of Skulls are playing tonight at bootleg theater, June 6th
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Nite Jewel @ Del Monte Speakeasy tonight

Nite Jewel show at the Del Monte Speakeasy in Venice, CA. 52 Windward Ave right by the beach!! 11 pm tonight June 4th
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Gliss @ Neumos tonight

Gliss plays Neumos (Seattle) with Glasvegas tonight, June 4th.
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Adventures in Killing the Radio Star

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Agnes Obel

Agnes Obel’s New EP, iTunes Live From Paris,
Out Today!

Agnes Touring The U.S. in June!
Dates in NYC, LA, Philadelphia, D.C., San Francisco,
Seattle and Portland!

Listen to Agnes’ Take on Elliott Smith’s
“Between the Bars” HERE!

Appearing on KCRW’s Morning Becomes Eclectic
June 3rd!

“It’s a rarity: a new album that…is great from beginning to end.”
- Chris Douridas, KCRW

“Obel's music is as sparse as the snow-swept Scandinavian backcountry, and mostly scored for piano, voice and an occasional cello or harp. Yet it brims with a barely concealed passion that has helped make her quiet riot-in-the-heart album a huge European seller. "
- Time Magazine

“…offers a stark, minimalist palette reminiscent of Cat Power and Joanna Newsom.”
– Details

Danish songwriter/composer Agnes Obel is proud to release her latest EP, iTunes Live from Paris today. Recorded at the iTunes Opera Store in Paris and sold exclusively through Apple, the EP features some of Agnes’ classic tracks from her debut record, Philharmonics, as well as Agnes’ haunting take on Elliott Smith’s “Between The Bars.” Click HERE to hear the track on Soundcloud (feel free to post and share).

Agnes Obel is also preparing for her first full U.S. in June. Agnes’ new tour will feature extensive runs along the east and west coast (see full tour dates below). And to kick off her tour, Agnes will also be performing on KCRW’s signature daily music show, Morning Becomes Eclectic on Friday, June 3rd.

The last year has been a whirlwind for Agnes Obel. Since releasing her debut record, Philharmonics on PIAS America earlier this year, the Danish songstress has turned heads worldwide. Stripped down and centered around her evocative voice, Philharmonics has stood out as a fan and critic favorite. Comparing Agnes to artists like PJ Harvey, Joanna Newson and even Roy Orbison, Agnes has earned praise from a wide range of critics, including Time Magazine, KCRW, Details, Perez Hilton, and NYLON. Anges has also has become something of a phenomenon overseas, going platinum (100.000 albums) in France, double platinum in Denmark, and sold out venues across Europe.

Agnes Obel Tour Dates:
6/4: SANTA MONICA, CA @ ­McCabe's
6/6: HOLLYWOOD, CA @ Hotel Cafe 8pm
6/6: LOS ANGELES, CA @ Bardot - Chris Douridas’ It’s A School Night
6/7: SAN FRANCISCO, CA @ Rickshaw
6/9: PORTLAND, OR @ Alberta Rose Theatre
6/10: SEATTLE, WA @ Freemont Abbey Center
6/13: WASHINGTON, DC @ Sixth & I
6/14: NEW YORK, NY @ Joe's Pub
6/15: PHILADELPHIA, PA @ Tin Angel
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Brendan Perry US Tour

Brendan Perry (Dead Can Dance) On US Tour NOW
Co-Headlining With Robin Guthrie (Cocteau Twins)
ARK LP Out Now On The End Records

“Ark is the first Perry music in 11 years and it doesn't disappoint. Offering a compelling distillation of Dead Can Dance's evocative sound, it feels like a labour of love, with the bulk of the eight tracks meticulously composed.” - Irish Independent

"It is nice to know that there are still people out there willing to buck the industry trend and produce music that is fresh and unique."- www.allvoices.com

"Ark, Brendan Perry's second solo album, sees him returning to his sublime Dead Can Dance sensibilities and the well of inspiration proves deep. The lyrical poetry, vaulting vocals, impressive instrumentation and overarching vision combine to make Ark a highly unusual and thoroughly satisfying work.” - Hot Press
Brendan Perry’s second solo album Ark is now available in North American on The End Records. It is Perry's first studio album in eleven years. As one half of Dead Can Dance for nearly three decades, Brendan’s music remains highly regarded and influential on a global scale helping to redefine new musical genres.

Brendan Perry is now on a North American co-headline tour with Robin Guthrie. In addition to performing select tracks from his catalogue and Ark, Perry will also be debuting brand new material on this tour.

Recorded in his studio in Ireland, Ark is a solo album in the truest sense, with Brendan playing every instrument, writing all the lyrics and being the sole creative force across the eight tracks. Most of the instrumentation on Ark is derived from samples and synthesisers, and is predicated on a theory of creating ambient, almost soundtrack based accompaniment to the lyricism of the songs. In its range of influences, the album also encompasses music from all four corners of the globe to create a global soundtrack for global themes.

While Ark is not a concept album, it does combine themes which run throughout. The lyrics of opener ‘Babylon’ focus on the current conflicts within the Middle East. ‘The Bogus Man’ and ‘This Boy’ put a human face on those charged with waging war on behalf of self serving political interests. While such dystopian themes could be seen to make for a very bleak experience, Ark is shot through with an emotional warmth and a belief in the redemptive power of humanity from which the album title is derived. Ark is not just a refuge from a world on the brink of self destruction, but also a journey towards a better society and a more altruistic way of life.

North American Tour

06.01.2011 Paradise Rock Club - Boston, MA
06.03.2011 Le National - Montreal, QC
06.04.2011 Opera House - Toronto, ON
06.05.2011 Metro - Chicago, IL
06.08.2011 Nuemos - Seattle, WA
06.09.2011 Venue - Vancouver, BC
06.10.2011 Doug Fir Lounge - Portland, OR
06.12.2011 Bimbos 365 Club - San Francisco, CA
06.13.2011 El Rey Theatre - Los Angeles, CA
06.14.2011 Belly Up - Solana Beach, CA
06.16.2011 The Metropolitan Theatre - Mexico City, MX

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