Category: SHOWS

One Friday Night in Hell Part 4: Os Mutantes at Union

Grace Dunn July 14, 2018

Beads of sweat, sans regret. Move your body to the voodoo rhythm of Bat Macumba on the most sweltering summer night in Los Angeles. I admit it felt too perfect a circumstance for the universe to combine this delectable lineup of Os Mutantes and L.A. Drones in the melting pot that is Union Night club. I remember looking up the show in advance thinking: “Why did a legendary sixties band choose a low key venue far out from the usual popular venues in LA?” I figured perhaps I haven’t explored the venue’s history enough to give it credit. I had been to Union Nightclub years earlier for a show or two, but never since. Either way, I looked forward to this because I missed their set back in 2013 at Carson Creek Ranch for Austin Psych Fest. Moving forward, I knew I wanted a refreshing night of music to dance and thoroughly enjoy movement with the musicians. I couldn’t foresee the added heat of the night making it almost unbearable to move even with the fans blowing into the audience. All I ever saw whenever I would visit the venue in the past was how rowdy the crowd was waiting for an electronic

One Friday Night in Hell Part 3: Lethal Amounts Presents The Zeros at El Cid

Rob Shepyer July 13, 2018

Let me give you a bit of advice, when Pure Trash is booked, you attend. The bands start late, around midnight when most of the shows throughout the city have already ended. Then with bands like The Zeros playing, you’d have to be a fucking idiot to miss out. It’s the ultimate goto destination for nights you never want to end. That’s where I wound up on this especially hellish Friday last week. After Show Me The Body, Twitching Tongues, and Vein then after Das Bunker’s Das Ich show at Los Globos. related content: One Friday Night In Hell Part 1: Show Me The Body, Twitching Tongues, And Vein At The Regent I made Downtown and Echo Park my bitch that night, cruising for a bruising and testing myself to see how hard I can party. After hardcore and industrial, the Zeros were the relief I needed, loose, raw and most of all fun punk rock that didn’t take itself too serious. Perfect tunes for Pure Trash. related content: One Friday Night In Hell Part 2: Das Ich At Los Globos The Flytraps opened up the night, more happily unhinged than they usually are, like they had a license to

One Friday Night in Hell Part 2: Das Ich at Los Globos

Rob Shepyer July 12, 2018

The second floor of Los Globos feels a bit like a bomb shelter. Claustrophobic, musty, crumbling. The perfect setting for industrial music. You want to dance among the urban decay. You’ll feel the music more. This hellish Friday night had taken us from a hardcore concert to Das Bunker at Los Globos where we saw all sorts of black clothed boys and girls dancing in a way too complicated to ever imitate. Mechanical yet fluid, industrial dancing can be meme’d and joked about but never replicated by an amateur. related content: One Friday Night In Hell Part 1: Show Me The Body, Twitching Tongues, And Vein At The Regent Inva//id was first to take the stage as the hungry dancers packed in toward the stage to get a good glimpse of the band shadows dancing under the strobe light. I had seen this group once before, last year at Das Bunker’s anniversary show, where Das Ich also played. They harken back the better days of Ministry’s Twitch era and early Skinny Puppy works back when it was still horror movie music you could dance to. Christopher Rivera’s grizzled vocal style gives every twist your body makes some kind of apocalyptic,

One Friday Night in Hell Part 1: Show Me The Body, Twitching Tongues, and Vein at the Regent

Rob Shepyer July 11, 2018

Last Friday was when all this heatwave insanity started. I swear, bad weather in Los Angeles isn’t routine, it’s regional illness, like the flu. And with the temperature outrageously into the hundreds during the day, nighttime didn’t spell any relief for us with our without a sun to shine. A kid could be driven to do crazy things without air conditioning. They could find themselves getting into all sorts of trouble, trying to find a cooler place to hang. All the shows that were booked throughout the city on Friday ended up being havens from the boiling streets and so all the troublemakers were let indoors, to cause street havoc in the damn music halls. Weeks ago, Dillon and I decided to test ourselves on this outing and try to cover as many shows as possible. They were scheduled perfectly to hop between. The first of show of the night was fittingly hardcore at the Regent. No matter what happens there, the music would get our blood pumping to prepare us for any kind of band or audience we could come across that night. Code Orange’s sold out miniature festival of a bill featured enough amazing bands that I didn’t

Live Desolation: Khemmis at the Echoplex

Dillon Vaughn July 10, 2018

Performing an album in it’s entirety is generally reserved for bands with monumental releases; devoting a night to a single release shows confidence in the structure and integrity of the album as a whole and seemingly elevates the title and importance of the gig from a show to an “event.” Doubling down on the critical success of their previous releases, Khemmis performed their new album Desolation in full recently at the Echoplex for the first night of a very short run of intimate album release shows in LA, Chicago, and Denver. related content: Los Angeles Strikefest At The Regent: By Die-Hards, For Die-Hards Desolation was something I avoided listening to before the show as I wanted my first experience to be in a live setting. I had only seen Khemmis once before – at last year’s Psycho Las Vegas – and while a late afternoon festival set time doesn’t generally lend as well to showcasing a bands strength as a headlining set does, their performance was still something that cemented me as a fan and remains a highlight of the weekend. That being said, the LA event did not disappoint. Beginning the night with a powerful performance of Hunted’s title

Voluntary Electrocution: Le Shok at Alex’s Bar

Jessica Moncrief July 9, 2018

Le Shok has sent shock waves along the California coast since playing a secret show at Zebulon, performing at their official reunion at Burger Boogaloo and most recently, with a home town show at Alex’s Bar in Long Beach last Friday. The show was announced in conjunction with the “We Are Electrocution” group art show at 4th Street Vine, as well as a Burger Records repressing of their seminal album. With an all-star support line-up of local favorites such as Terminal A, The Tissues, and Assquatch, it’s no wonder many fans, myself included, were left scrambling on social media event threads trying to get our grubby hands on a ticket after the show sold out in a cool 4 hours. Promises of blow jobs and death threats for tickets littered the event page in the days leading up to the show, proving the loyalty and lengths people were willing to go to relive the punk nostalgia of nearly 2 decades past. For all of you that were fortunate enough to cop a ticket, enjoy relieving the joy and insanity of the night and if you are one of the sad fucks that didn’t make it in (like I almost was), here are some photos of

The Mighty Mighty Bosstones See The Next Wave Coming at the Regent

Janky Smooth Central Command July 7, 2018

Halfway through The Mighty Mighty Bosstones set at the Regent in Los Angeles, California, vocalist Dicky Barrett boasted that the band had booked two “new” ska bands as openers for the gig from two different countries- Mexico and the U.K. He went on to remark that we are now entering a “Fourth Wave of Ska Music.” This follow up commentary begged two questions: the first being whether or not we truly experiencing a “Fourth Wave” and, secondly, if so, is this something we should be celebrating? related content: Finally, A Ska Review: Less Than Jake At Teragram “The Fourth Wave of Ska” is indeed a terminology which is beginning to be thrown around lately. In fact, Angel City Records recently released a compilation of 24 current ska groups titled “Birth Of the Fourth Wave of Ska,” with a heavy emphasis on bands who pay homage to the soul, R&B, and Motown roots of the First Wave of ska born in the 60’s in Jamaica. If the Fourth Wave is to be defined by a return to ska’s 60’s roots, neither of the Bosstones’ opening bands would truly fit into the category. Mexico’s Los Kung Fu Monkeys would not only be disqualified by the

Los Angeles Strikefest at the Regent: By Die-hards, For Die-hards

Dillon Vaughn July 6, 2018

Festival season is here and California has no shortage of options for niche entertainment seekers; from Arroyo Seco Weekend and Smokin’ Grooves to Burger Boogaloo and Summertime in LB, whatever musical religion you subscribe to has it’s fair share of representation. Delving into the true deep-cut side of things, there’s one fest that stands out as the real assembly for die-hards: Los Angeles Strikefest. Created and lovingly curated by the heavy hitting Church of the 8th Day and Nightforce Productions (a new face in the LA metal scene) version 1.0 of Strike Fest didn’t pull any punches and delivered three nights of bucket-list worthy acts. related content: The De-Evolution of Burger Boogaloo The first evening was the shortest of the three but remained far from being a pre-show. Fans were treated to sets from Los Angeles’ own media darlings Dread and Blade Killer, Matt Harvey (of Exhumed) performing in both Pounder and the reunion of Dekapitator, and a very hyped and rare performance by Detroit’s Demon Bitch. Closing out the night was Nasty Savage, the band serving one of the most direct examples of bleeding for the art. Warned by security to watch for “flying glass and metal and shit”

The De-Evolution of Burger Boogaloo

Rob Shepyer July 5, 2018

Just like in my last Boogaloo review, Janky Smooth apologizes for the opinions herein and advise that anyone below the age of 18 or with an aversion to graphic language, obscenity, or humor, should not continue reading. related content: Burger Boogaloo 2017: The Ballad of John and Iggy Burger Boogaloo 2017 was so good that when we left Mosswood Park last July, we didn’t think 2018’s festival could possibly be better. After all, what band could out-punk Iggy Pop? What sort of headliner could possibly drive the festival further in its evolution? Were they going to bring David Buoy back from the dead? Total Trash productions was clever though, they knew they had to think outside the box if they wanted to make Burger Boogaloo California’s undisputed champion of festivals. So what did they do? They realized that progress doesn’t necessarily have to move forward like we’d expect. No, the answer was De-Evolution. And in the spirit of this movement backward, to the primordial swamp we once infested and called home, what was once the Gone Shrimpin’ stage in 2017, an ode to foot fetishes, was now Toxic Paradise. A mutant stage with tentacles and eyeballs sticking out of the

Attaining the Supreme: Shelter at the Constellation Room

Rob Shepyer June 28, 2018

What is the function of music? Is it to make you dance? To emotional move you? Or is it to inform you? In Shelter‘s case, they provide a special form of information for the audience. Not of the political or personal variety, but rather of the spiritual. Spiritual information that will make your soul feel full. Attain enough of this spiritual information, through study, meditation, and yoga, and you might be rewarded with the “Supreme”. What exactly is the Supreme? It is something beyond beauty and the sublime, it is a state of being that language fails to describe, but perhaps music stands a chance in translating the Supreme into sound and performance. The first band I arrived to see was Berthold City, a band started by the guitarist of my favorite hardcore bands, Strife’s Andrew Kline. Even in their fourties, this band was jumping around wildly, with bodies that hadn’t suffered the usual damage dealt by the typical rock and roll lifestyle. The songs had a sweeping, hardcore feel and though the turnout was small this early in the evening and the audience was a bit stiff, we all felt connected to the music and each other. With songs

Arroyo Seco: The Nostalgic, the Timeless, and the Real

Rob Shepyer June 27, 2018

Read this in the voice of Paul Mooney: Arroyo Seco is so white that it makes Stagecoach look like Smokin’ Grooves Festival. related content: Black Is Beautiful: Smokin’ Grooves Festival At The Queen Mary All kidding aside, this festival gave me more food for thought and introspection than any concert I had been to all year. The music add me think about getting old and how to stay eternally young. Neil Young made me think that humanity, as a whole, has lost some vital realness. Day 1 Arriving too early on Saturday, I moseyed onto the festival grounds under a burning white sun that would turn all of Los Angeles a brittle pink. Dipping my feet into the music, I wandered about the stages catching glimpses of Maxim Ludwig, who sounded as close to adult/dad rock as I’m ever willing to listen to or Typhoon, a band from Portland that sounds and looks exactly what I imagine most bands from Portland sound and look like: Fiddles, beards, tattoos, and beanies. I enjoyed the bands, just not enough to stay at a stage until I found a nice shady spot under a tree to watch some good, ol’ fashioned rock and roll

The Horrific Beauty of A Place To Bury Strangers: APTBS at the Regent

Grace Dunn June 26, 2018

A Place To Bury Strangers grant you access into their dome of ear deafening delights. Oliver Ackermann, Dion Lunadon and Lia Simone are the gatekeepers seething with energetic enthusiasm like a rabid dog foaming at the mouth. Upon arriving to The Regent, the first thing one ought to check for at this gig is the merch table. Why you say? It’s not often you find custom made pedals from one of the band members. First comment I hear from some guy, “They’re cheaper to buy here than online.” He turns to the lady merch keeper and asks, “You guys take card?”. related content: The First Real Day Of Summer: Hinds At The Teragram On top of the usual merch from touring bands, you can buy ‘Death By Audio’ (DBA) effects pedals crafted by lead singer/guitarist wizard Oliver Ackermann. There is great inspiration that has been spurred from his DIY pedal company. The documentary ‘Goodnight Brooklyn’ directed by Matthew Conboy gives great insight into the glorious history that raised out of the beginnings of DBA. It builds up the expectation for each wild APTBS performance. I settle into the crowd 10 minutes before their set time. Random enough, I look around the arches of the

Category: SHOWS

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