This Friday, March 27, is The Strokes Night at Club Underground. Both rooms of Grand Star Jazz Club will be open, with Larry G. and I on the decks, so you’ll get a solid dose of The Strokes, plus the Underground mix of indie, post-punk, Britpop, synthpop, new wave, darkwave and more. Advance tickets are available now. See you on the dance floor this Friday night. Doors are at 9:30 p.m. and it’s 21+.
Keep reading for my recommendations for the rest of this weekend and early next week.
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For singer/guitarist Ramesh Srivastava, there are distinct eras of Voxtrot, the band he fronts. The first he references centers around the band’s 2005 EP, Raised by Wolves, where he sings about his first major love and heartbreak. “To me, those songs are very clearly that and don’t really have much poetic diffusion,” he says on a recent video call. With the band’s self-titled album, released nearly 20 years ago now, Srivastava sang about the pressure he says he felt being in a group with a record deal and big opportunities before them. “It was a very challenging time, so I feel like that album is lyrically mostly about my psychology. It’s not really about other people,” he explains.
Emerging from Austin, Voxtrot’s first run coincided with the rise of music blogs, file-sharing and early social networks like Friendster and MySpace, what people now might fondly refer to as “the good internet.” The band gained a buzz online, as well as in traditional media, with the EPs leading towards their 2007 album. While a couple singles followed the debut full-length, Voxtrot split in 2010.
A 2022 reunion and successful tour led to recording Voxtrot’s recently-released full-length, Dreamers in Exile. In the 12 years that passed between the band’s first and second lives, plenty changed, including Srivastava’s lyrical approach. “Now, I feel that I try to talk a lot about my own experience, to talk about my experience, being gay and of mixed race and how weird it is to be that and be from Texas and how hard it is to be that anyway,” he says. “I try to talk about my unique human experience, but also constantly bringing in stories and references of people and works of art that inspire me.”
He adds, “I’m really into creating a world that is both deep and meaningful, but is also aesthetically enjoyable.”
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Ladytron released a new album, Paradise, yesterday. I gave it a first listen on Bandcamp yesterday and knew immediately that I had to get it and had to play “I See Red” at Underground for Girl Power Nite. The whole album is fantastic. It’s also long and I’ve only listened through it one-and-a-half times at this point, so I don’t have much to say about it yet.
The other new song in last night’s set is “Strings of Terror” by Sam Quealy, who you really need to hear if your taste in music is dance pop-meets-clubby performance art. Stacey Q-meets-Chicks on Speed is the comparison I used in my review. Anyhow, you can also hear “Strings of Terror” on this month’s Beatique mix.
Set list is below. Songs from the past year or so link back to other references on the blog.
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Jefferson Davis looks like he’s been clocked. The oversized, bronze statue of the onetime president of the Confederacy is laid out on the floor of the Geffen Contemporary at MOCA. He’s splotched and tagged with paint, dried pink streams running down the length of the statue like blood. Walk up close and you’ll see that the top of his head has been pounded flat. An outstretched arm, partially severed from the shoulder, may have once given him the appearance of a savior. Now, it looks like he the one who needs saving. I study the hulking figure for a few moments, snap a couple photos and continue through the museum. Some monuments are better left down for the count.
Monuments, a collaboration between MOCA and The Brick that’s on view at the Geffen Contemporary through May 3, is an exhibition juxtaposing decommissioned monuments with contemporary art to explore U.S. post-Civil War history. The Jefferson Davis statue, which was dedicated in 1907, lived in Richmond, Virginia, where it was part of a whole complex of Confederate monuments. In 2018, a local commission in Richmond recommended its removal, but that didn’t happen until two years later, when the statue was paintbombed and toppled during protests following the murder of George Floyd.
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March is Women’s History Month and, this Friday, March 20, we’re celebrating at Club Underground with Girl Power Nite. Both floors of Grand Star Jazz Club will be open, with Larry G. and I will be DJing all night. I’m playing in the theme room, where you’ll hear everyone from Siouxsie and the Banshees to Elastica to Le Tigre to Boy Harsher to Wet Leg. A bonus: for those of you who are going to see Peaches and Pixel Grip at the Bellwether on Friday night, you can get into Underground for just $5 if you show your ticket at the door, so definitely plan to stop by after the show. Advance tickets are available now.
As for the rest of this weekend, and early next week, here are my recommendations.
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For Drew Miller, one word sums up the themes that attract Boiled in Lead to traditional tunes: Darkness.
Darkness extends to the Celtic punk band’s name too. Boiled in Lead is derived from an Irish song, “The Two Sisters,” specifically a version associated with Clannad and is a reference to the punishment that befell a murderous sibling. “In 1983, that seemed like a really good name for a punk rock band doing folk music,” the bassist explains.
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Grrrl Gang spends a lot of time online. “It’s just too much sometimes, to be honest,” says bassist Akbar Rumandung. But, the inspiration for the band’s latest release, Online 24/7, hit IRL via a photoshoot at a friend’s gallery. One shot of the Indonesian punk band, taken through a window with a sticker that read, “Online 24/7” on it, stood out. It looked as though people were watching the band through their phones.
“That photo it reflects what we actually feel as a band nowadays,” says Rumandung on a recent video call from Jakarta, “where people try to categorize us through social media through what they see about us through social media, where they don’t actually know us, they don’t actually understand what this band is actually about.” It also, coincidentally, fit the music that Rumandung’s bandmates, Angeeta Sentana and Edo Alventa, had been writing, which reflected what they were seeing online. “Before that, we didn’t know what we should name the maxi-single. There are so many options, but we didn’t feel it yet,” Rumandung adds. “After the photos… we knew that this was our title for the maxi-single.”
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Andrew Becker awoke from a dream with a phrase “the house that kept Hemingway alive” in his head. “Did I make that up or did I read that?” he wondered. So, the LA-based musician, who records as Human Potential, looked around and found an article about the house in Idaho where Hemingway lived until he died of suicide in 1961.
“Out of the four or five houses that he lived in, that’s the only one that is not open to tourism,” says Becker on a recent video call, rain visibly beating against the window of his home in Highland Park. “I found that interesting. Then there are stories about all these people making pilgrimages to the house and trying to climb the fence and get in.”
(more…)Go see Sirât. It’s not widely screening in LA right now, but it is playing at Alamo Drafthouse, which is where I saw the Spanish film, through next Wednesday. The movie is about a Spanish man, his son and their dog traveling in Morocco to find his daughter, who has disappeared into the desert rave scene some months earlier. A war breaks out, the ravers decamp to the south of the country and the father and son follow them deeper into the desert.
There’s a lot going on in Sirât and I don’t want to spoil it for anyone, so the one thing that I will mention is that the sound design is exceptional. The score is frequently diegetic, meaning that it’s the music the characters in the film hear, and it interacts with their surroundings in both clever and realistic ways. For example, you can hear the crackle of techno pouring through busted speakers and the way a song fades into the wind when you’re driving in the middle of nowhere with the windows open. This all adds to the story, but you need to hear it for yourself.
Sirât is a beautiful, and heavy, film that will stick with you after you leave the theater. See it with someone else so that you can talk about it afterwards. Like I said, it looks like Alamo is the only place in L.A. showing Sirât this weekend and next week, but it’s right in the middle of downtown, literally above a Metro station where four trains converge, so it’s a fairly convenient for most people. Plus, they have half-priced screenings on Tuesday and bottomless popcorn, which is a plus even if you have to order from your phone now. In Orange County, Sirât is playing at The Frida, which is also an excellent movie theater and is walking distance from the Metrolink stop in Santa Ana. Plus, Metrolink has$10 day passes on the weekends, a good option if gas prices have you reconsidering plans right now.
But, wait, there are more recommendations below.
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As the Santa Ana winds whipped through Los Angeles, downtown protestors clung to signs that read, “Invest in peace not the Pentagon” and “War crimes don’t hide sex crimes.” A string of activists spoke on the steps of City Hall. They led us in a run of chants all of which could be summarized in one point: end the wars.
Before walking to the Saturday afternoon protest, I listened toHelp (2), the War Child compilation album that came out on Friday, for the second or third time. On it, Depeche Mode covers “Universal Soldier,” written by Buffy Sainte-Marie in the early 1960s. It’s a striking condemnation of war made all the more ominous when performed as a dark, synthpop song. Listen closely and you might swear you hear jets in the background. Even if you’re only playing the song in the background, you can’t miss the resignation in Dave Gahan’s voice when he delivers the closing line, “this is not the way we put the end to war.”
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