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.”
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.
Protesting outside City Hall, March 7, 2026 (Pic: Liz O.)
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.”
Cover for Jawbreaker by Sam Quealy. Get this album!
Thanks to everyone who hit the dance floor in the new wave vs. darkwave room at Nocturno last night. Was very happy to see you dancing to “Londontown” by Sam Quealy. Wasn’t sure if I was going to play that or not last night, so I’m glad it went over well. Her album, Jawbreaker, is overloaded with bangers. Give it a listen when you have the chance. Lots of Depeche Mode in last night’s set, because that was the theme, plus new music from Night Ritualz, a few of last year’s club hits from the likes of Sextile, Pixel Girl, N8NOFACE, French Police and Alice Glass, lots of throwbacks from Soft Cell to Ladytron and more. Set list is below and, as always all songs from the past year link back to other references on this blog.
The Black Watch live at The Barkley in South Pasadena (Press photo by Lee Gentile)
At some point in the middle of a conversation with the black watch founder John Andrew Fredrick and producer Rob Campanella the subject shifts to Fredrick’s flip phone. Or, really, it shifts to Fredrick’s unease with technology. “I’m a very right brained kind of person who thinks that technology is killing us,” he says as we sit on the back patio of the Echo Park bookstore/cafe Stories, “and I don’t want to be the sort of person who is staring at a phone all the time or going on Tinder or anything along those lines at all.”
That’s fair. Technology probably is killing us and scrolling is tedious. Plus, Fredrick’s flip phone has become a conversation-starter in its own right. “It’s a way to make people chuckle. They want to touch it and consider me a relic, which is fine. I don’t care,” he says.
“Brian Wilson isn’t the only guy who just wasn’t made for these times,” he adds. “I was not either.”
I’ll be back in the new wave vs. darkwave room at Klub Nocturno this Friday, March 6. If you haven’t been to Nocturno before, it’s a five-room party at Catch One where you can dance to anything from Boy Harsher to Los Angeles Azules throughout the course of the night. It does tend to sell out in advance, so the sooner you get your tickets, the better. You can do that right now on Dice.
As for the rest of the weekend, plus early next week, keep reading for my recommendations.
The March, 2026 edition of Beatique is ready for you now. Head over to Mixcloud, or tune into the embed here, for an hour and five minutes of music that includes The Smiths, Peaches, Charli XCX, Godspeed You! Black Emperor and lots more. You’ll have to listen for the full track list, but I’ve linked to related articles here, including interviews with some of the artists featured in this episode.
Last night was The Smiths x Joy Division Night at Club Underground. It was also the release of Gorillaz new album, The Mountain, which features multiple contributions from my all-time favorite guitarist, Johnny Marr, so I kicked off the open-to-close set downstairs with “Casablanca,” from Gorillaz, featuring Mr. Marr and bassist/dapper punk Paul Simonon.
“How Soon Is Now?” was going to be the last song, but I underestimated how long it is. Then “Unloveable” was going to be the last song, but I could totally squeeze in “Please Please Please Let Me Get What I Want” after that because it’s only two minutes, so that was going to be the last song. Then the crowd asked for one more, so you got a bonus track, “Morrissey” by Robbie Williams. It’s on his new album, Britpop. Totally in theme. Anyhow, set list is below. Songs from the past year or so link back to previous mentions on the blog.
If your taste in music lives at the intersection of 1980s alternative, 1990s Britpop and 2000s indie- and if we know each other IRL, there’s a good chance it is- then this is your week for new music. Heavenly just dropped their first full-length album in 30 years! Plus, Voxtrot has released their first new album since the MySpace era. And, of course, you know Gorillaz are back. Reviews for all three albums , plus the latest album from Jupe Jupe, a Seattle band who really gets why people still love the new wave bangers, are below.
Lapêche’s new album, Autotelic, is out now. (Photo: Nicole Miller)
For Krista Holly Diem of Lapêche, a dance background came in handy when it was time to make the video for “Happy 4U,” from the band’s recently released third album, Autotelic. “The subject matter of the song is pretty heavy and I wanted to do something that was kind of silly and danceable in a way, almost in a way where you’re dancing and crying at the same time,” she says on a recent video call from Salt Lake City, where Krista and her husband, Lapéche bassist Dave Diem, are based.
