Category: SHOWS

Make American Green Again: The Great American Smoke Out

Janky Smooth Central Command September 25, 2018

Words and Photos by: Maggie St. Thomas Master rap artist Snoop Dogg celebrated 25 years of Doggystyle, his debut album on Death Row Records. Produced in 1993 by Dr. Dre with cover artwork by Mr. Joe Cool, Doggystyle sold almost a million copies within its first week of being released. While taking the sold-out arena back to the days of old school hip hop using the microphone as a time machine with heavy weights Cypress Hill, Bone Thugs-N-Harmony, and adding a heavy dose of hazy funky infusion with Slightly Stoopid and reggae legend Don Carlos. Though the words on the flier read that Wu Tang Clan, Berner, and Warren G were scheduled to perform, so were the words ‘line-up subject to change.’ It didn’t seem to matter as the legends murdered the stage, and if you were a participant in that hot-boxed arena at The Great American Smokeout you got more than your money’s worth. Musical Youth, Afroman, Kottonmouth Kings and DJ Quik were also featured performers of the night, but let’s concentrate on the headliners. related content: The Queens Converge At Outside Lands 2018 Cypress Hill opened with “Band of Gypsies” taking our minds to strange and welcome places. B-Real took the stage mixing his helium style rap lyrics with Sen Dog’s rhymes performing their anthems like “How I

Nirvana Leads to Nothing… at the Regent

Rob Shepyer September 25, 2018

90’s alternative music is having an organic and overlooked revival that is making for some of the best rock and roll of this decade. Whether it be the post-grunge sounds of Culture Abuse or the hardcore infused shoegaze of Nothing, you should get into these bands before you miss the boat. related content: NOTHING Unhinge Echoplex Audience By Bending Sonic Waves Having just released an album and made the cover of Revolver magazine, Nothing is riding a wave at the moment with a cult-like following of hardcore kids that fell in love with gaze. This new album, “Dance on the Black Top” is for my money, the band’s best. You’d think that would make this Part Time Punks show at The Regent something magical to me but such wasn’t exactly the case. Nothing isn’t a bad live band, they’re just hit or miss. Hit or miss because something is missing. What great live music does, which is suspend your thinking mind and connect everyone by making them forget themselves, Nothing achieves this phenomenon better on record than in performance. It’s a big deal when Part Time Punks moves from the Echo or Echoplex to the Regent and opening up the

Riot Fest 2018: The Riot Still Rages

Janky Smooth Central Command September 22, 2018

Words and Photos by: Meghan Breedlove This past weekend in Chicago, Riot Fest 2018 wrapped up their 13th year and Janky Smooth was there to capture some of the scenes from the weekend. Even though Riot Fest shared some devastating news regarding Blink 182’s cancellation (due to health issues) a few short days before the festival, Riot Fest was able to recover quickly by booking Weezer, Taking Back Sunday, and Run the Jewels. related content: How Riot Fest Chicago 2016 Survived The Misfits Subpar Performance Even with Blink 182’s absence, there was no shortage of their songs, with multiple Blink 182 covers sung over the weekend to honor the band, with both Weezer and Young the Giant covering “All the Small Things”. The festival layout was somewhat cozy, with five stages of proximity, a freak show, a variety of carnival rides, and of course pretty much any fried food your heart desired. Overall, Riot Fest 2018 was a major success despite some last minute lineup changes, so here is a recap of my adventure in Chicago this past weekend. related content: Jawbreaker At Riot Fest: The Moment I Stopped Hating Pop Punk Day 1 I first arrived at the festival

Color Me Punk: Rubella Ballet Plays First L.A. Show Since 1985 at Echoplex

Rob Shepyer September 20, 2018

Rubella Ballet comes from a time when there weren’t as many boxes for you to cram bands into. There was punk, metal, and a few subgenres in between. They were associated with the anarcho movement, namely Crass, in England in the late 70’s and 80’s but musically, their albums show more diversity than any label could commit them to. Their songs and look represented the essence of anarchy. Rebellion, even against itself. When everyone wore black, they wore Day-Glo. When everyone played fast, short songs, they experimented with slower rhythms and more nuanced arrangements. Singer Zilla Minx and guitarist Sid Ation still know how to get weird. For all these young kids born after Rubella Ballet’s heyday, this was a show unlike anything they had ever seen. Rubella Ballet’s latest album, Danger of Death, brought them back to Los Angeles to play Part Time Punks at the Echoplex for the first time since 1985. Along with a few death rock, anarcho, and post punk bands, their combined effort made for a very special night of music. related content: Gene Loves Jezebel Play Immigrant In Its Entirety At Part Time Punks Gig Spain’s Fatamorgana was the first to take the stage. Made

GØGGS a-go-go at the Teragram Ballroom

Jonathan Reyes September 19, 2018

Is it C.F.M or Ty Segall, the Muggers, Freedom Band, Parliament? I don’t even think they know half the time. I think they show up to a venue, in this case it was The Teragram Ballroom and whoever gets the mic first decides which band is performing that night. related content: New Album Review: GØGGS is Damn Good Gravy On The Ty Segall Catalog There is one way to tell and that’s when Chris Shaw saunters over with that thousand yard stare. You know right away you’ve got GØGGS. Which is just enough time to make your peace with your teeth because the energy he infects the crowd with is fucking bonkers. It’s not often that you get a band that can be so intense but maintain the musicality they obviously work so hard on. They could easily just do the one band and call it a day. The branches of the tree of creativity that they come from stick out in so many unique ways. But they don’t let complacency tempt them into mediocrity and fans respond with pits that don’t neutralize after the first song, they keep their phones away because how could a cellphone ever capture what

The Sax Maniac Cometh: James Chance and the Contortions at Zebulon

Rob Shepyer September 17, 2018

Zebulon was the stage of choice for James Chance’s return to Los Angeles since his monumental last appearance at the Echoplex, his first show here in 34 years. Something about James is a magnet for young Los Angeles beats, punks, eccentrics, hipsters, and anyone down with it. So, for two nights, James took the Zebulon by storm, regaling us with tunes as diverse in age as the audience. related content: James Chance and the Contortions Play First Show In L.A. Since 1984 I try to make it out to any James Chance or No Wave performance in the area because unlike so many scenes that have come and gone, this small fixture of New York 70’s culture never lost its intrigue or cool. Combining nihilism, stream of consciousness poetry, black and white cinema, all into one off-kilter, jarring jazz-punk style, No Wave is the ultimate stand against musical orthodoxy. Anything goes because James says so, that was the mantra for this night of music. Traps PS opened up with some cool post punk vibes that wrung the audience out with plenty of dancing and sweaty rhythm. Reminding me of such greats as Gang of Four, Traps PS features perhaps Los

Prophets of Doom: Yob and Acid King at Teragram

Rob Shepyer September 14, 2018

In times of social decay, metalheads thirst for one specific strain of heavy music to level their peeking frustrations and fears simply by crushing them equal to all other feelings. Call it masochistic but with all the suffering in the world, being enveloped by riffs so heavy that your teeth tremble in your gums, actually treats the pain. So, give us heavy, crushing guitars. Give us slow riffs that stretch longer than life lines. Give us drums that crash like thunder in storms too thick to see through. Give us doom, impending, loud, and full of sorrow. Doom is the sonic version of the abyss we stare into and see our reflections in. No American doom band today is quite as powerful live as Yob. Not since Saint Vitus has this subgenre seen such soul within it. I take plenty of bands into account when I make this bold verdict and if you disagree then leave me with my opinions to a solitary death and purple satin upholstered casket. related content: Pallbearer & Gatecreeper Stop At Echoplex Reminds Us- Guitar Solos Matter Doom lyrics in reviews aside, Church of the 8th Day booked another monstrous show with Yob, Acid Bath,

Sleepy Bangers/Hard Lullabies: The Book of Love at Teragram

Rob Shepyer September 10, 2018

Over the last few years, The Book of Love has been playing shows to celebrate their three decades long career. Los Angeles, as a city that means so much to their career, was the one city that was missing from their tour schedule until Friday night’s show at the Teragram ballroom presented by Lethal Amounts. related content: We All Scored At Lethal Amounts’ Pure Trash With Sylvain Sylvain Philadelphia Synth-pop duo, The Book of Love is made up of nightingale siren Susan Ottaviano and Electro-maestro Ted Ottaviano. What’s amazing about the group is their musical formula of taking synth lullabies and turning them into hard, dance floor bangers. This was “dream pop” before pop knew how to dream. The destined-duo are unrelated but their families trace back to the same Italian village. From start to finish, the crowd of 80’s kids was bopping and dancing madly to the music. People were making out like mad during the set. The band even seemed to have their own gaggle of groupies. The audience was in step for the whole show, eating out of Susan’s palm as her heavenly, serene voice swept over them. Songs that resonated hardest with the audience were “Alice

Magick Man: Killing Joke at the Regent

Rob Shepyer September 7, 2018

Killing Joke is a band that cannot be pigeon-holed. The moment you call them a post-punk band, they put out an industrial album. But within either camp, they were always the misfits of the bunch. Their post-punk was more rhythmic and off-kilter than their peers and their industrial was more lyrical and poetic than the average black leather electro act. Then you have a lead singer like Jaz Coleman, a true enigma. Most singers paint pictures from their own personal experiences but often times with Killing Joke, their songs take on the perspective of eternity. And what I mean by that is, Jaz would step out of his shoes and trousers and into the shoes of time itself, watching human history and making connections we can’t see through his lyrics. related content: The Growlers Reclaim Castle Beach Goth And All Is Right With The World Again One of the rarest acts you could ever see play in America, these English gentleman of the dark arts came out with an album called Pylon in 2015, which they planned to tour in the US, playing the Regent. As fate would have it though, Illness befell the band and they cancelled all their American

Long Live The Funk: George Clinton and Parliament Funkadelic at the Observatory

Jessica Moncrief September 6, 2018

George Clinton has come a long way since forming The Parliaments as a teenager in a barbershop in Plainfield. Since the beginning of his career, the legendary godfather of funk has been making music and inspiring young creatives for more than 6 generations. In April of this year, he announced that he would be bidding farewell to the stage with a world wide tour in 2018. While the news is saddening, hanging up his hat in style with around 50 golden years of touring seems more than appropriate. While walking up to The Observatory I heard a group of teenage girls chatting when one exclaimed, “This is the best ever, my heart is so full right now!” I’m sure it was the molly talking, but I couldn’t help but reminisce about my own first time seeing Parliament in 1998. Some shows change the course of your history much like Parliament has for the modern face of music, seeing George Clinton had a huge impact on my personal passion for live music as well and happened to actually be my very first show to be guest-listed. related content: Summertime In The LBC: Love Letter To A City That Doesn’t Always

Groveling Before the Gods of Grind: Napalm Death at Teragram

Rob Shepyer September 5, 2018

Of all the epic metal shows Church of the 8th Day has ever put on, Napalm Death at the Teragram has got to be my favorite. The creators and gods of Grindcore, Napalm Death, changed music forever by goofing on certain elements that other genres wouldn’t dare experiment with at the time in 1981. Partially a farce, Grindcore didn’t care about what lyrics their growls were actually belting out and whether they actually matched-up with what was written. They would also do something as absurd as write songs under 10 seconds long. This was so groundbreaking at the time that the band generated mainstream attention by people that were just curious about how such a strange and shocking art form could exist. related content: Satyricon’s Final Los Angeles Show At The Regent: A Night Too Blackened To Forget Underneath this musical insanity and humor, Napalm Death has always carried the most serious political messaging behind their extreme sound. Their first album Scum opens up just the same way their Teragram set did, with “Multinational Corporations” going into “Instinct of Survival” which is a very confrontational, diagnosis of the world’s disease. Greedy, self-serving, corporations making money off of people’s plight and dying.

The Daytona Experience: Pusha T at the Observatory

Rob Shepyer September 4, 2018

2018 has been an amazing year for rap. We’ve seen the return of Slim Shady, five Kanye West produced albums, and one of the most volatile rap beefs to ever occur in the game with Pusha T completely destroying Drake. Along with making a star fall, Pusha T created my favorite album of the year, the first of the five Kanye produced albums of 2018, Daytona. related content: Summertime In The LBC: This Is Your Dad’s Hip Hop From the very beginning, when the album cover was released and we saw Whitney Houston’s addiction exploited for art with a photograph of her drug strewn bathroom as the cover, Daytona garnered controversy and hype. Then with “Infared”, the last track on the short, seven song album taking shots at Drake, nucleur heat was generated between the two rap Gods. For the first time in a long while, traditional rap stabbed through trap’s control of hip hop media. Finally, there was a ray of hope that hip hop could rekindle its golden years when the metric of quality was lyricism and beef elevated everyone in the game. So Pusha took shots at Drake with “Infared” then Drake came back with “Duppy Freestyle” and Pusha

Category: SHOWS

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