I’ve found that in the last year I’ve become more and more drawn to really great electro pop. I’m not talking anything they’re playing on your local top 40 station. I mean, really great, original, unique stylings. That is everything that French electro pop diva Owlle brings to the table. Her icy etherial sound mixed with playful synth tinkering falls somewhere between a brooding Ellie Goulding and a more playful Lykki Li.
She recently released the Ticky Ticky Remix EP with remixes by Team Ghost, Grum, Strip Steve and Moonlight Matters. Of the three “Ticky Ticky” remixes, I prefer the first by Strip Steve with it’s vocal glitches. Then, the EP ends with a remix of “Disorder” which I would argue even outdoes the original.
“Capsize” from BBDLP1 out September 26 on Coming Home Records
If you live in Los Angeles and you haven’t been to one of Big Black Delta’s shows yet, you’d be making a huge mistake by missing the last night of their residency at The Satellite tonight. I’ve been to a few already and the live show is incredible–no house lights, just a multi-colored light board synchronized with the music. Jonathan Bates (aka Big Black Delta) slinking around the stage with the mic chord slung over his shoulders twiddling with his laptop and, let’s not forget, two female drummers with full kits frame either side of the stage–Mahsa Zargaran and Amy Wood. It’s 35 minutes of pure energy and once you’ve emerged from the pool of vibrations, you will be converted.
Plus, some perks of this last show: today marks the release of Big Black Delta’s debut LP BBDLP1. They’ll be selling their limited-edition colored vinyl tonight, which I think is pretty damn sexy.
Also, highly-buzzed band Letting Up Despite Great Faults will be playing just before BBD so get there early!
9.26 Los Angeles, CA @ The Satellite (Free Residency, BBD record release party)
12 pm – Echoes de Luxe
11 pm – Big Black Delta
10 pm – Letting Up Despite Great Fault
9 pm – Death Kit
And in case you’re a new fan, download the older EP for free…
Upon arriving at the large canyon where Pacific Festival: OC was situated, my first thought was “where is everyone?” Even though the festival had already been going on for about an hour before my photographer Tamea and I got there, there was no line getting in and barely anyone wandering around the grounds. We staked out the place, crossing through the main stage area, through the array of still-close food trucks, to a giant dirt lot pulsing with electronic beats.
Gotta Dance Dirty’s AROD was positioned in a colorful Teepee-of-a-stage and grooving to white headphones behind a laptop and a turntable or two. Everything felt like the wrong setting. The crowd was sparse and the sun was bright overhead in what looked plainly like a desert, but the tunes were dark, hot, and wet. AROD is the girl at the club who is drunk and sweaty but too far gone to care. The samples were a whirlwind of textures, never leaning too house or aggressive–just a good time. Or rather, it would have been given the right place and crowd. He was just a victim of festival scheduling, but still made a good impression.
Sneaking into the artist lounge to take a break from the sun and re-collect, we were happy to discover, THERE WAS HUMMUS. Once we had come up with a game plan, we set out for the Pacific stage where Superhumanoids was up next. (more…)
I’ve recently been introduced to the amazing musical project of Teddy Briggs from Sacramento, CA–Appetite. The music on Appetite’s recent album Scattered Smothered Covered plays with rhythms and silly melodies with dark themes. It’s really fascinating and I was so enraptured with it that I wanted to ask Teddy, the creator, a few questions.
S: First off, Appetite. Why the name? Does it mean something for the concept of the musical project or was it just something fun?
Teddy: I was trying to think of cool band names (as usual) and I thought of Appetite. I liked the way it sounded and then thought about what it might mean. I think I initially related to the idea of hunger in making music, being hungry in part to be heard but also hungry to just make music no matter what, even if no one heard it. Now I find even more potential meanings for the name, which is my favorite thing about words and language in general, meanings morph with time and context.
“Botany’s debut Feeling Today explores the cosmic nexus of shimmering psychedelia, blissed-out pop, and instrumental hip-hop, as he turns recycled sounds into something thoroughly modern.”
Adding on to my love for music from Texas is Botany, calling home “somewhere between Denton and Austin.” I’ve been obsessed with “Feeling Today” by Botany (aka Spencer Stephenson) for almost a year and now the containing EP will finally be released on August 16th and doesn’t disappoint. The Feeling Today EP slices together noise samples into a beautiful amalgamation. Each sound trickles together and blends like similar shades of watercolor. “Feeling Today” feels like morning light on an empty city street. It gives a sense of brightness. In its simplicity, Botany is intensely beautiful and deeply personal.
Los Angeles’ shoegaze-y electronic rock band Letting Up Despite Great Faults have a new EP Paper Crush coming out on August 2nd on Old Flame Records.the band is the brainchild of founder member Mike Lee. Starting with piano, bass and guitar, Lee started exploring sampling and sequencing after rooming with two DJs in college. Lee along with band mates Kent Zambrana, Chris Gregory, Matt Salas, and Caitlin Dwyer, as a live band integrate electronic and acoustic drums on stage. You can catch them live at The Echo in LA on Monday on Active Child’s residency. If you’re awesome, I’ll see you there!
Checked out Kids of 88 tonight at The Satellite and my feelings are mixed. The beats were heavy and probably the best part of the set, creating a sick vibe their bio describes as “a cross between a late 80s police drama intro theme and a sophisticated super hussy.” The electro melody coming from the laptop and keyboard were certainly danceable, if just a little too simplistic. The drum beats were redundant, but I guess that runs true in the electro/dance genre. The lyrics are sleazy, but in a sultry delectable way. My main gripe is with frontman Sam McCarthy. His vocals were strained and weak, wavering on and off pitch at random. Totally unaware of his lack of vocal control, Sam rocked his body with total confidence in his sensuality, demanding attention to his bony hipster frame writhing on stage. The music was great and would make the perfect soundtrack to an awesome dance party, but watching them somehow pissed me off.