In her video for “Fist in a Honeypot,” Mignon cuts a regal figure, decked out like a Marie Antoinette for late stage capitalism. With Benjamins dripping from her cage skirt, and more bills doubling as a fan, she sips tea and spits out lines like, “money to cheat for/they rob you.” Both the costume, made by the singer herself, and the song are a commentary on today’s “let them eat cake” elite.
“It’s about people having too much money,” Mignon says with a laugh about what she describes as the most anti-capitalist of her new batch of songs.
The first time I heard Fenian, the new album from Kneecap, was at a listening party in January. It was a private thing- mainly press and industry, I think- in the back room of an LA pub where the album played once and I spent the bus ride home scribbling notes about the album’s clubby flow, its nods to ‘90s hip-hop- there’s definitely a Wu-Tang energy in there – and the killer drum ’n’ bass track in the middle of Fenian. This isn’t an overstatement or the result of a hype-buzz, but I was genuinely excited for the new album.
The second time I heard Fenian was roughly three months later, on the album’s May 1 release date. In between, I had amassed the digital singles- the album’s title track is now one of my current favorites to play when I DJ at Underground– and scrolled through enough posts that half my Instagram timeline would have me convinced that this is the most anticipated album of the year. TBH, I’m not sure if that’s the case for anyone but myself. But, whatever. Fenian is top-tier album.
This Friday, May 1, Klub Nocturno is back at Catch One with five rooms for dancing. I’ll be in the new wave vs. darkwave room this time around, which is also where you’ll find Joy Division Night. So, you’ll be getting a heavy dose of Joy Division (and New Order) in addition to the usual mix of darkwave, new wave and post-punk bangers. Tickets are available now on Dice for this 21+ bash.
As for the rest of this weekend and early next week, keep reading for my recommendations.
Spanish new wave revenge tale Poppers is available now on streaming and physical release.
Poppers isn’t what you think. Or, at least, it isn’t what I thought, when I noticed the movie on Night Flight’s homepage recently. I figured it would be an Italo disco-fueled sex romp trimmed in leather. The film’s opening scene, where a chiseled, dark-eyed hunk lathers himself in the shower, gave false confirmation of my suspicions. All too quickly, the scene, and the tone shifted. That would happen multiple times in the first handful of minutes into the film, until it becomes clear that what we actually have here is a Spanish new wave revenge romp clad in leather, but with no actual poppers in sight. To be honest, the title still leaves me scratching my head. Do poppers mean something else in 1980s Spain? No sé.
Released in 1984, Poppers, from what I read, languished in obscurity until relatively recently. Last year, the film was released in the U.S. as part of Severin’s box set Exorcismo: Defying a Dictator & Raising Hell in Post-Franco Spain and it’s now streaming on multiple platforms. If you’re into post-punk cinema oddities- think Liquid Sky,Decoder orDer Fan– you should check out Poppers. It’s more a thriller than a horror film, albeit one with some nods to giallo.
Westside delivery bots spotted from the E Line platform (Pic: Liz O.)
“I can’t really hate the robots,” I say to my husband, about a half-mile or so into a walk up Sawtelle. We’ve passed a smattering of delivery bots already. The one in front of me is a green, doe-eyed model named Noor. “When I see them, I think of Wall-E.”
Almost immediately, déjà vu hit. Did we have this conversation before somewhere closer to home? Maybe near 7th Street, where downtown’s IRL bot armies tend to congregate? “I know I’m being emotionally manipulated,” I add. I’m anthropomorphizing the tech that’s contributing humanity’s demise. Or, something like that. I can’t bring myself to hate the robots, but they are definitely harbingers of doom.
Album covers on view at Human Resources for Cumbia de mi Tierra. The exhibition closes this weekend. (Photo: Liz O.)
No DJ gigs for me this weekend, but I have some LA clubs, concert and movie recommendations for you, including Art Brut, Strange Boutique and The Cribs live, the Quay Brothers and rare Soviet animation in theaters and more. Keep reading for the details. (And, in case you’re wondering, my next gig is Friday, May 1 at Klub Nocturno.)
There are few albums in my recent memory that have the transportive power of Wormslayer, the latest from English rock band Kula Shaker. Throughout its eleven songs, the album takes listeners into tales of devil’s bargains, bloodsucking villains and unassuming heroes. And, like all good fairytales, Wormslayer has its roots in the here and now, with songs like “Good Money” and “Charge of the Light Brigade” riding a lyrical line between social commentary and fantasy.
For their eighth album, Kula Shaker’s classic lineup (Vocalist and guitarist Crispian Mills, Hammond organist Jay Darlington, bassist Alonza Bevan and drummer Paul Winter-Hart) primarily recorded live and with analog equipment, the end result being an album that captures a similar urgency that’s steeped in the songs’ lyrics. Meanwhile, Mills’ brought together elements of “The Winged Boy,” a story that he had previously been developing as a film, and manifest in the song of the same name, as well as “Good Money” and “Shaunie,” with references to WB Yeats and dragon lore for the lyrical content. While Wormslayer may not be a concept album in the strictest sense, it does flow like a battle between good and evil, particularly when the tension mounts on the eight-minute title track. In an email interview, Mills shared some insight into the making of Wormslayer and explained who the worm and wormslayer(s) are.
Come Closer, the debut album from Tomora, was released on Friday and I’m already way into it. Tomora is Tom Rowlands from the Chemical Brothers and Norwegian singer Aurora and, if you’re into either/both of those artists, you have to hear it. Come Closer pulls a lot of different elements from across the club music spectrum and, in the process, becomes something so strange and cool and completely different from what’s been dominating dance music for the past five or so years. I went with “Somewhere Else,” the second single from the album, last night at Underground and it did pretty well for a first spin. There were more people on the dance floor when the song neared its end than when it began, so it will probably stick around in my sets. That ‘do do do” Aurora sings is such an earworm of the classic rave “It’s a Fine Day” variety. I love it.
Last night was Darkwave night at Underground, but I’ve been meaning to play something off Fcukers’ album, Ö, for a minute and I figured that “if you want to party, come over to my house” was electroclash-y enough to work with the crowd. Basically, if they were into Green Velvet— and they were— then they would get Fcukers. The song went over really well, which is a bit unsurprising given how much the resale price are for tickets to the duo at The Fonda. The whole album is killer. I’m impressed at how Fcukers basically fit the arc of a raging party into an album that’s less than a half-hour.
The set list for last night is below. Songs from 2025 and 2026 link back to other references on the blog. Thanks for dancing!
Flower Day by Diego Rivera and a sculpture of Chicomecoatl at LACMA David Geffen Galleries. (Photo: Liz O.)
There’s no right way to travel through the new David Geffen Galleries at LACMA. I just happened to see Flower Day, a Diego Rivera painting where calla lilies are piled high on the shoulders of a vendor, as soon as I walked into the museum. Nearby was a small statue of the Aztec goddess Chicomecoatl. This seemed like a good place to start, so I began to walk an open pathway beyond the ancient Colima sculpture of a dog that stands guard, through a collection of works that’s some 2000 years old and into a passage of Latin American paintings from the 19th and 20th centuries.
Quickly, though, the art around me looked more familiar, more like the L.A. I know. I was in a nook with rafa esparza’s adobe wall sculpture, …we are the mountains in front of me. To my right was one George Rodriguez’s photos from the Chicano movement. I turned my head slightly to the left and spotted a Smiths t-shirt out of the corner of my eye. That has to be one of Shizu Saldamando’s drawings, I thought. It was.
This Friday, April 17, is Darkwave Nite at Club Underground. Both rooms of Grand Star Jazz Club will be open with Larry G. playing indie Britpop and more in one room, while I’ll be spinning darkwave, synth, electro, post-punk, etc. in the other room. Will you dance to new Ladytron? Maybe some ADULT.? Sextile and Pixel Grip? Come down and find out. Advance tickets are available now.
