Tag Archives: indie dance

It’s Marie Davidson vs. Big Tech on City of Clowns

Marie Davidson City of Clowns album cover

Is there an album title better suited for 2025 than City of Clowns, the latest from Marie Davidson? Just this week, Meta dropped some Instagram users into a new level of doomscroll hell, Jeff Bezos decided that WaPo’s opinion page would push “personal liberties and free markets,” and I can’t even keep up with the New Adventures of Trump and Musk. These dudes are a bunch of fucking clowns with far too much power over our daily lives. 

But, enough about politics, let’s get the music, right? Sorry, that’s not going to happen with City of Clowns. Influenced by Shoshana Zuboff’s book, The Age of Surveillance Capitalism, the not-so-subtle theme throughout Marie Davidson’s new album is the control that Big Tech wields over us. Take “Demolition” as an example, when Davidson whispers, “I want your data” in a flirtatious voice, like the platform that’s going to seduce you into handing over the details of your life that you don’t even share with your closest confidantes.

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L.A. Duo Optometry Returns With Sophomore Album, Lemuria

Optometry Lemuria album cover
Lemuria is the second full-length album from L.A.-based duo Optometry

Read Beatique’s interview “Fear is the Mind Killer: Inside the World of Optometry”

Lemuria, the sophomore album from Optometry, has the best closer I’ve heard in a long time, so we’re going to start this review at the end. “Never Coming Back” is in the vein of what’s considered post-punk right now. It has a running-for-your-life tempo (over 160 bpm for those of you who keep track of these things), a gloomy synth and a “Ceremony” sad guitar. It’s dark— really, it sounds like the cliff-hanger ending of a TV show— but also danceable and it’s become my favorite track on the album, which is out today on Palette Recordings.

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Splash! at The Mermaid Is Sunday + More Clubs, Concerts and Movie Screenings Happening in L.A. 2/20/25 – 2/26/25

Splash at The Mermaid DJ Liz O. February 23, 2025

This Sunday, February 23, I’m back at The Mermaid in Little Tokyo for Splash! Catch me in the DJ booth from 8 p.m. until close, playing a little bit of everything. Seriously. Check out my previous playlists to see what has made it into my sets for this night without genres.  The Mermaid is located at 428 E. 2nd Street in Little Tokyo. There’s street and lot parking, plus the venue is just a block or so away from Metro’s A/E station in Little Tokyo. There’s no cover, but The Mermaid is 21+. 

As for the rest of this week, and early next week, some highlights include Kool Keith at The Paramount on Thursday, David Longstreth and Dirty Projectors on Friday and Saturday, DIIV in Ventura on Monday and Bon Entendeur at The Fonda next Wednesday. 

Not surprisingly, there are loads of great movies back in the theaters this week, including screenings of Chungking Express at multiple theaters, The Juniper Tree at Philosophical Research Society on Saturday night and much more, so keep scrolling to get the list. 

Continue reading Splash! at The Mermaid Is Sunday + More Clubs, Concerts and Movie Screenings Happening in L.A. 2/20/25 – 2/26/25

On 3 AM (La La La), Confidence Man Offers a ’90s Throwback With a Twist

Confidence Man 3 am La La La album cover

I was on the treadmill the first time I listened to 3 AM (La La La), the latest album from Confidence Man, walking at 3.5 miles an hour, a brisk pace, but not quite enough to keep up with the strobelight pulse of songs like “I Can’t Lose You” and “Control.” Maybe I could have stepped up my own speed to a run, or at least a jog, but I didn’t feel like it, so I kept walking off beat, waiting to see if the vibe would shift somewhere over the course of an album that, four songs in, was  starting to sound a little too much like a late ‘90s Eurodance throwback. 

Confidence Man is the Australian four-piece fronted by Janet Planet and Suga Bones and backed by the veiled and cloaked individuals Reggie Goodchild and Clarence McGuffie. I first heard them during lockdown when someone DMed me Yuksek’s track “Gorgeous,” which features Confidence Man. Two years later, the band released Tilt, their second full-length, which quickly became a personal favorite. “Angry Girl” is the song that has appeared most often in my sets since 2022 because it has a dance punk vibe that works very well at L.A. clubs and it mixes seamlessly with The Rapture’s “House of Jealous Lovers.” But, the thing that made Tilt one of my favorite albums of that year was that it was super cheeky and the music was all over the place, kind of like a cross between Bis and Chicks on Speed back at the turn of the millennium. Given the new album’s title, which definitely alludes to both KLF (“3 AM Eternal”) and maybe also references ATC (“Around the World (La La La La La)”), it seemed like Confidence Man would continue that vibe. Fifteen minutes into 3 AM (La La La), though, I started to think that the spirit driving TILT was lacking on this album. 

If I were tuned into Spotify, I would have just skipped through tracks or moved on to another album, but I actually purchased 3 AM (La La La) and downloaded it without hearing more than a couple preview Reels on Instagram. I had to stick it out for the whole album. 

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Future Islands at The Shrine, September 18, 2024

Future Islands live at The Shrine in Los Angeles on Wednesday, September 18, 2024 (photo: Liz Ohanesian)
Future Islands live at The Shrine on September 18, 2024 (pic: Liz O.)

I saw the first Future Islands fan rush the stage at the end of “Corner of My Eye,” which closed out the band’s main set at The Shrine on Wednesday night. The way I remember it, which may or may not be 100% accurate, Samuel T. Herring was singing “thank you, thank you.” Someone in a plaid shirt ran up from audience’s right hand side and embraced the singer. Security appeared. Herring said something along the lines of, it’s okay. Later on, when Future Islands and openers Oh, Rose were in the midst of a “Vireo’s Eye” dance party during the encore, I saw two more people hop on to the stage, where they were promptly chased off by security. It was a déjà vu-inducing scene for me, and maybe for anyone else in the crowd who has been to a Morrissey show. 

It was a fitting end to the night because, nearly two hours earlier, when Future Islands kicked off the show with “King of Sweden,” I thought, this vibe is so Morrissey. Herring has a different style of performance than Moz— there’s a good amount of HIIT-level cardio happening during a Future Islands show— but he also taps into a similar level of intensity that is infectious. The teenage girls in front of me bopped up and down excitedly. The totally ordinary looking dudes a few rows in front morphed into dancing machines. I wondered if anyone would rush the stage. It took a while, but they did. 

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Happening in L.A.: July 11 – July 17

Yeah Yeah Yeahs x Siouxsie Nite at Club Underground in Los Angeles with DJs Larry G and Liz O. on Friday, July 12, 2024

This Friday, I’m back at Club Underground with Larry G. for Yeah Yeah Yeahs x Siouxsie Nite. Both floors of Grand Star Jazz Club will be open and tickets are available now. Party starts at 9:30 p.m. and it’s 21+. Find the Grand Star at 943 N. Broadway inside Chinatown’s Central Plaza next to the Bruce Lee statue.

Click here for more info on Yeah Yeah Yeahs x Siouxsie Nite at Club Underground. 

As for the rest of the weekend and into next week, your options include Pearl and the Oysters’s free show at Levitt Pavilion on Saturday. Also happening Saturday is Razorcake’s annual chili cook-off at Footsies and Décadanse’s tribute to Francoise Hardy at the Grand Star. On Monday, Ed Harcourt is playing at The Stowaway, which is a very intimate venue. Tuesday night, my favorite Schwarzenegger movie, The Running Man, screens at Vidiots in Eagle Rock. There’s plenty more happening in L.A. too. Check out the list below. 

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Here’s What I Played at Decadanse x Underground on July 5, 2024

Photo of full dance floor at Club Underground at Grand Star Jazz Club in Chinatown, Los Angeles on July 5, 2024
The scene at Grand Star Jazz Club for Decadanse x Underground on July 5, 2024

Decadanse x Underground was such a great time and I’m happy to have been a part of it. DJs Pierrot and Fifi LaRoux played French pop on vinyl downstairs. Larry G. and I brought the indie vibes upstairs. We switched off on the controllers about every half hour or so. 

“Amour Ex Machina,” from L’Impratrice’s new album, Pulsar, did pretty well for my first time playing it out. “Digitalism in Cairo,” the Digitalism track that samples “Fire in Cairo” by the Cure, made a reappearance after many years. People probably don’t recall it was a big track back in the ‘00s. 

Anyhow, I’ll be back at Underground next Friday, July 12, for Siouxsie x Yeah Yeah Yeahs Nite. Tickets are already available on Restless Nites, Dice and Eventbrite

Check out my set list from Decadanse x Underground at Grand Star Jazz Club on July 5, 2024.

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This 12-Year-Old School of Seven Bells Song Still Hits Like It’s New

School of Seven Bells Ghostory on vinyl
My vinyl copy of School of Seven Bells’ 2012 album, Ghostory.

When a song isn’t instantly recognizable, you can see it on the faces in the crowd. They’ll shoot befuddled glances around the room, scope the scene and see how many people look like they know it. They half-dance, as if they’re still deciding whether or not to stay on the floor. 

In the DJ booth, this is a tense moment because there are a few ways that the scenario can play out. They might leave the dance floor, taking a handful of people with them. Or, someone who is equally bold and clueless might come up to the booth with the “play something I know” request. In the best possible instances, they stick with the groove and keep moving.

I see people cast the “I don’t know this song, should I dance?” glance whenever I play “Low Times” by School of Seven Bells. The song is 12 years old, and I’ve been playing it for just as long, but it still hits as if it were new. Even though it’s not a song that people automatically know, they keep dancing. Every time, the crowd grows and energy builds alongside the heart-pounding rhythm and breathless vocals. 

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Here’s What I Played at Club Underground on Friday, June 14, 2024

Actors In Real Life single cover
Cover of Actors single for “In Real Life.”

I forgot to take pics last night at Underground. It happens. But, it was another fun night on Friday, the memories of which become hazy after playing music for four hours. I do, however, recall that I really like the way Actors latest single, “In Real Life,” sounds with Roxy Music’s song “More Than This.” It makes sense in my head because Actors always sounded less like a “darkwave”  or “postpunk” band to me and more like people who have listened to a lot of Roxy Music, Bowie, Japan and Duran Duran. But, that doesn’t mean that two songs will go well together and I never know for sure until I try it. 

(Just in case you’re wondering, all my sets are improvised, but, when you’ve been DJing since you were 18 and you’re now a far cry from that, you have a good feel for which songs go together and which ones don’t.)

Also new to my set is “Hechizos” by Glass Spells, which you might have heard me play on Dublab last week. If not, you can click on this link to the archive of the show. Glass Spells are from San Diego and are currently on tour, but, unfortunately, don’t have an L.A. date. However, they will be at the Observatory in Santa Ana on July 17. Check Glass Spells’ website for other upcoming tour dates. The other new addition to my set is Boy Harsher’s remix of Chelsea Wolfe’s song “House of Self-Undoing,” which I love. Anyhow, here’s the set list.  

Continue reading Here’s What I Played at Club Underground on Friday, June 14, 2024