Originally posted on The Scenestar

Live: Albert Hammond Jr. @ Spaceland

ARTICLE BY GREG CARUSO
PHOTO BY VALERIE JODOIN-KEATON

JULY 11 | SILVERLAKE—A funny thing happened to Albert Hammond Jr. on the way to Spaceland on Friday: On his way in from New York, the airport lost some of his instruments. Seeing that he had a show to play, this was just not his night. Anticipation was pretty high upon arriving at Spaceland, though, this was quite typical for a Friday night at the hipster-laden venue. Even at 11:30 p.m., the band’s “start time,” the line still went down the street, filled with folks hoping to be granted entrance into the sold-out event. Opening up the show with remarks about his unfortunate conundrum, the band still seemed stoked to perform tonight, starting with “101” from Albert’s first solo effort, Yours to Keep.

Keeping it cool in the packed and sweaty venue, Hammond and his band tore through a majority of new songs from recently released ¿Cómo Te Llama?, which in Spanish means “what’s your name?” Despite some technical problems due to the lack of instruments, the show was a successful live test of new material. New songs such as “GfC” and “Victory at Monterey” had some good hooks in signature Hammond fashion. And despite a consistently depleting crowd, the show featured favorite newer tunes “Borrowed Time” and “Miss Myrtle,” the latter closing the main set. Both tunes had an almost Police-style reggae feel to them, with “Borrowed Time” featuring some very nice licks from Marc Philippe Eskenazi, who also doubles as the band’s keyboardist with exceptional skill given the switchbacks.

At the evening’s close, the band played “Feed Me Jack,” the closing track on¿Cómo Te Llama?, which in theory might have been clever, but it didn’t quite play like that to the now two-thirds full Spaceland. Having space to dance is great and all, but not when everyone just stands and stares at either the stage, their significant other or their new iPhone, which is sadly always the case at venues like Spaceland. The set, clocking in at about 60 minutes, gave everyone only a taste Albert Hammond Jr. Hopefully, his next stop will give us a full meal.

Posted by thescenestar on Jul 18, 2008 at 08:32 AM in Music, Reviews, Show Reviews |Permalink

Live: King Khan & The Shrines @ Echo

Originally posted on The Scenestar

Live: King Khan & The Shrines @ Echo

ARTICLE BY GREG CARUSO
PHOTOS BY JAMES HUDDLESTON

JULY 10 | ECHO PARK—...And on the eighth day, He created King Khan & The Shrines. This is what came to mind upon walking out of the Echo after King Khan’s performance Thursday. Rock? Check. Funk? Check. Punk? Check. Psychedelic erotic gospel? A resounding check! Fearless frontman King Khan is of Indian descent, but originally hails from Montreal. His current band, The Shrines, is an outfit from Germany, where King Khan has been cultivating his musical stylings for close to 10 years. To say that the group is unique would be a gross understatement. Aside from Khan, who boasts a James Brown on LSD-like appearance and frequently changes his wardrobe, the group consists of a raucous four-piece horn section, a nutty organ player, drums and percussion, guitar and bass and one flailing, go-go dancing cheerleader named Bamboorella—Gogo Queen of the Underworld.

The Shrines appeared on stage to give their leader a proper opening jam as an introduction, which then launched into “Land of the Freak,” one of many amazing songs from What Is?!, the group’s 2007 release on Hazelwood Records. “Freak” is an infectious organ and guitar-driven number that was perfect to kick this night off. “Le Fils De Jaques Dutronc” was introduced by Khan as being a French song he wrote in Montreal. With ’60s-flavored guitar licks, the song translates to “The Son of Jacques Dutronc,” a French actor/songwriter who defined “freakbeat” in the late ’60s. After a nice Iggy Pop reference by both Khan and his guitarist, “I Want to Be a Girl” was performed, which was quite fitting for its Iggy Pop flair, making you smile at the band’s versatility and ability to pay such tribute to music they absolutely adore.

Some friends from New Orleans joined the band on stage to bang on things and shake their asses. Khan then spoke about Arthur Lee and his band Love, saying, “If you don’t know who Arthur Lee is, you’re 98% asshole.” That statement brought chuckles of pride from those in the know (my own as well, of course), but there was mostly laughs of embarrassment. Hopefully, folks will educate themselves. The song “I See Lights” was dedicated to Mr. Lee, and the spit that flew from Khan’s mouth before the song was dedicated to the audience ... multiple times. “Every time I look deep inside the darkness of your mind/Every time I feel/Every time I blast through the glory of your eyes” are some of the lyrics from “Lights,” which was a real crowd favorite. The New Orleans friends, who turned out to be just married, helped out with some vocals on the next tune, which I could not identify, but was envious of them nonetheless.

Things simmered down a bit during “Shiver Down my Spine,” a slower number that showcased a soulful, Motown side of the band, but that didn’t last long; “Welfare Bread” was just around the corner. “You don’t have to pay your bills anymore now/You just have to eat my welfare bread.” You have to love the tongue-in-cheek snipe at America here. Done in ’60s pop fashion, the track is a standout on What Is?!. “Burnin’ Inside,” from Mr. Supernatural, the band’s 2004 release with Hazelwood, tore up the crowd with its burning organ hooks. Now seemed the time for Khan to ask the crowd if we liked gospel music, and at this point of frenzied happiness, if he asked us to have sex with him, we’d scream, “Yes!” “Well, we’re gonna do a little psychedelic erotic gospel for you,” he said. They then launched into more of a performance than an actual song. With screaming saxophones, droning organs and writhing body movements, Khan & The Shrines preached about climbing into his girl’s vagina one body part at a time. Upon arrival inside, he saw “a bright light” and then re-birthed himself. The band carried on in a more psychedelic fashion that killed! It made me very glad that Khan embraces LSD in his life.

After name dropping The Spits and dedicating a song to them, The Shrines launched into a punk bender that had everyone smiling at their presentation. For the encore, the band was back on with a shirtless Khan who was wearing what seemed to be a cheap knock-off of a Darth Vader helmet. No one expected them to bust out a cover of David Bowie’s “Jean Genie.” Hands were up and asses were shaking, as King Khan sang directly to the crowd, and The Shrines unabashedly threw down their grooves. At long last came what would be their finale, filled with funk, soul and heart. As sweaty as the crowd, The Shrines beat and bopped through their last tune, as King Khan and his sax player plunged through the crowd, playing and walking all the way to the Echo’s soundboard, where they concluded the evening.

As a lover and respectful admirer of all musical genres, I can honestly say that King Khan & The Shrines is a group that is simply not to be missed in a live setting. The amount of energy and style that’s exuded between all participants and the bond that’s formed from singing and dancing together is really magical. Vice Records recently released a compilation called The Supreme Genius of King Khan & The Shrines. Once this sentence is over, whether it be by hook or crook, you should have this album in your collection, and them in your upcoming show radar.

For more photos from the show, check out The Scenestar’s photo gallery.

Posted by thescenestar on Jul 15, 2008 at 10:04 AM in Music, Reviews, Show Reviews |Permalink

Live: Langhorne Slim @ Troubadour

Originally posted on The Scenestar

ARTICLE BY GREG CARUSO
PHOTOS BY JAKE MA

MAY 14 | WEST HOLLYWOOD—Upon listening to Langhorne Slim’s new album, Langhorne Slim, one can’t help but conjure up images of Bob Dylan performing his legendary folk music, or Ben Harper slaying with his sharp-as-a-knife vocals and poignantly truthful lyrics. There are even hints of a post-Beatles John Lennon in Langhorne’s raspy voice, as well as a little Mick Jagger in the way he swaggers on stage. All in all though, Langhorne Slim is not another folk-rock wannabe waiting in the rafters for his turn in the spotlight. Instead, Langhorne commands the spotlight, as I witnessed at the Troubadour, where he and his band, the War Eagles, took to the stage. No one would drop the names I mentioned if they didn’t have such a memorable presence.

Hailing from Langhorne, Penn., Slim and his band, which consists of Malachi DeLorenzo on drums and Paul Defiglia on bass, treated the crowd to a wide variety of musical stylings, which not only meshed together beautifully, but carved out what seems to be Langhorne Slim’s niche: folkabilly. Opening with “Hello Sunshine,” off of Langhorne Slim, the crowd couldn’t help but anticipate how the boys would dazzle us next. DeLorenzo, playing on a three-piece kit with a ride and hi-hat, continuously impressed us with his Keith Moon-style of frenzied playing. Notwithstanding Defiglia on an upright bass, at times bringing out his bow.

SlimThings really got cooking when the band launched into “Mary,” a 1½-minute song from first LP When the Sun’s Gone Down. The song turned into a jam so rollicking that it got the crowd reeling and dancing. “Can I Get a Yeah?” Langhorne asked mid-tune. “YEAH!” the crowd roared, respondent and clear. At times strutting in his too-tight pants and dropping to his knees, Langhorne shows he really knows how to play to and with the audience. When introducing “Hummingbird,” a ballad about two lovers, he spoke about endorsing political candidates and snidely remarked that Hillary Clinton helped him write it. He later went on to say he would not endorse anyone at that time, but knew for a fact that Hillary had a lovely singing voice. Very playful of him!

At the first mention of the evening’s end, the band launched into “I Will,” from Sun’s Gone Down. It’s a tune that has as much country and bluegrass roots as it does funk and soul. “Can I get a yeah?” he screamed. “YEAH!” we screamed yet again. This was followed by a very throaty rendition of “I Ain’t Proud” and an uppity sing-along of “She’s Gone,” which closed the set.

For the encore, Langhorne grabbed his ax and knelt down between mics. Inaudible to anyone but those at the very front, he spoke about being so happy to be there and that he was going to close things out. He began to play “Rebel Side of Heaven,” the current Langhorne Slim single, sans mic and amp. Not often are artists this comfortable, but I think that’s what makes Langhorne Slim so likeable. He’s fearless and confident on stage, and given the recent video for “Rebel,” uninhibited and playful. The band then joined him on stage to say goodnight to the evening with “I Love to Dance.” To us, it was a perfect way to end the night—by dancing.

Architecture in Helsinki @ Echo

Originally posted on The Scenestar

APRIL 23 | ECHO PARK—Initially, this evening’s closing act was billed as a “special guest,” but as we all know, many cyber heads cajoling on the Internet always find ways to debunk or spoil any one’s secret. Tonight’s special guest was the beloved Architecture in Helsinki!

The evening kicked off with Eastside darlings The Happy Hollows. Seeing this feisty trio is always a treat because they not only bring the rock, but they always make it look like so much fun. Adding to her finger-tapping rhythms and exceptional guitar work, lead singer/guitarist Sarah Negahdari bops around the stage like a hipster version of Toni Basil (of “Oh Mickey, you’re so fine, you’re so fine you blow my mind” fame). Unlike Ms. Basil, however, The Happy Hollows have no chance of being a one-hit wonder. Along with bassist Charlie Mahoney and drummer Chris Hernandez, both exchanging vocal cues with Negahdari, the trio treated their fans to a 45-minute set that saw them blaze through 11 songs from their growing repertoire.

The Ruby Suns began setting up right after the Hollows finished their set. It turns out that this band is the brainchild of Ryan McPhun, former drummer of The Brunettes and current drummer for tonight’s special guest, Architecture in Helsinki. Featuring a variety of looping drums and instruments, McPhun and his crew of two lovely ladies created richly textured sounds, which seemed to emanate from a variety of influences. The band performed a very impressive set, but despite their lush vibrations, holding the attention of the crowd was just too daunting. One might say the Suns are too slow, but this doesn’t mean that their songs as a whole falter entirely. One remarkable highlight was the band’s closing song, “Tane Mahuta,” featuring Helsinki’s Jamie Mildren on trombone.

Architecture in Helsinki has always been known to put on a blistering live show. Their barrage of instrumentation, as well as their enthusiastic stage presence, has been drawing in crowds for years. Tonight’s pre-Coachella show was by no means any different. The impressive group arrived on stage amidst heavy applause in the packed Echo. Starting with “Do the Whirlwind” from 2005’s In Case We Die, the group blasted through a wide assortment of selections from their catalog. One thing that can be taken away from a Helsinki show is that their musicianship seems to transcend their overall studio work. Songs such as “Wishbone” and “Hold Music” were taken to glorious levels. The band also treated fans to two covers, “Beef in a Box” by IQ and “Break My Stride” by Matthew Wilder. The evening ended with an epic “Heart It Races,” which left the tuckered crowd sweaty and happy. Fans at Coachella undoubtedly felt the same way.

Particle | 03.14.08 | Los Angeles

Originally posted on Jambase

By: Greg Caruso

Particle :: 03.14.08 :: El Rey Theater :: Los Angeles, CA

Robby Krieger with Particle :: 03.15 by Mike SherryParticle has gone through a lot of transformations. Some for the better and some for the worse. On this Friday evening, however, something truly different happened. They managed to fuse beloved tunes by another famous L.A. act, The Doors, with they're own brand of space-porn flair and psychedelic fervor.

Considering the relatively recent loss of both Particle guitarists (Scott Metzger and Ben Combe) and a general lack of positive momentum as of late, I went into the El Rey Theater pessimistic, and I wasn't the only one. With serious questions as to how the band would adapt under the circumstances, they came out as a trio performing "Denmark." But instead of disappointment, seeing this configuration drove the point home that perhaps they should remain this way. They don't need a singer, or a guitarist for that matter. With just the core of Eric Gould (bass), Darren Pujalet (drums) and Steve Molitz (keys), their sound reaches dizzying heights. This has become more and more apparent over their years of rotating guitar players.

However, this isn't to say that the right guitar or the right voice wouldn't add to the overall dynamic. Doors guitarist Robby Krieger and singer Adam Iscove (AllRise) made this point clear as they came out and launched into a re-imagined "L.A. Woman." Hit after hit was churned out over the course of the evening including rarities like "Peace Frog," "Not to Touch the Earth" and the oft-covered Bo Diddley tune "Who Do You Love?" All of that on top of the standard Doors radio staples.

Molitz and Krieger's chemistry was incredibly impressive. Sure they've played together and are more than familiar, but the way Krieger was reacting to Particles' style, matching each of their licks with the complimentary noodling of a master, was still somewhat of a shock. Adding to the excitement, Iscove wasn't a Jim Morrison mimicker like Ian Astbury (The Cult) during the 21st Century Doors debacle; rather, he was very subtle in a way that let the lyrics flow through him.

The biggest surprise of the evening came when the band dropped the combo of "Roadhouse Blues" into "The Other One." Molitz has been doing the Phil Lesh thing as of late, but to see Robby Krieger jamming out to a Dead tune was truly a treat.

The crowd reaction throughout proved that the night's experiment, the second installment of a three date mini-tour featuring Krieger, was a complete success. The fitting finale was "The End," where the band twisted and turned through the multi-layered song in a way that would've made Jim proud.

Live: The Submarines @ Troubadour

Originally posted on The Scenestar

ARTICLE BY GREG CARUSO
PHOTO BY LESLIE KALOHI

MARCH 24 | LOS ANGELES— Blake Hazzard may just be the cutest and bubbliest thing to hit the Troubadour stage in a long while. Her band, The Submarines, played to a packed crowd Monday night in support of Ireland’s Bell X-1, and at first, it was hard to tell whom the crowd was there to see given the openers’ warm reception. Despite that, the trio on stage had the crowd in the palms of their hands from note one.

Accompanying Blake Hazzard on stage is one Jack “Jack Drag” Dragonetti, her musical counterpart and husband. Together, along with newfound drummer Jason Stare, they dazzled us not only with songs from their debut album Declare a New State, but also impressed us even more with a multitude of songs off of their forthcoming album, Honeysuckle Weeks.

After tonight’s performance, to say that one shouldn’t be excited for the May 13 release of Honeysuckle is laughable. Songs like “Xavia” and “You, Me and the Bourgeoisie” resonated not only with the room’s fantastic sound, but to everyone’s eardrums. Compared to State’s tracks, you can hear that the band is really trying to expand stylistically and lyrically. Not to say that State’s songs don’t match up at all; they do entirely. It just seems like the band has raised the bar higher for themselves, which is something every musician should do … especially in a live setting, and even more so at the Troubadour.

Though The Submarines’ sound isn’t anything new or groundbreaking, Hazzard’s and Dragonetti’s lyrics are quite poignant and fresh. And their chemistry is undeniable. Drummer Stares’ licks matched up quite well with the duo’s already established vibe, and I must say that the animal-style hair was a big plus in the groove factor, as was Hazzard’s glockenspiel and melodyhorn horn solos. As a whole, the evening’s performance was a success, and The Submarines deserve it and more in the coming months.

Wombats @ Spaceland, 3/11/08

Originally posted on Losanjealous

Three blokes from Liverpool walk onto a tiny stage in Silverlake. What ensued next was a combination of witty English banter - ranging from the discussion of refried beans, a mole on the ass of a teddy bear, and various species of marsupials - and poppy songs about moving, girls, movies…and girls. What more could you want really?

The Wombats consist of: Matthew Murphy on vocals, guitar and keys, Dan Haggis on drums and background vocals, and Tord Øverland-Knudsen on bass and vocals. With five singles out across the world (two of which cracked the UK’s top 20), the band has hit stateside to tour behind The Wombats Proudly Present: A Guide to Love, Loss & Desperation.

Playing for just over an hour, the boys tore through “Moving to New York”, “Let’s Dance to Joy Division”, “Backfire at the Disco” and “Kill the Director”, which, as they tell it, is written about their loathing of the film “The Holiday”.

The sounds throughout the evening came off very fresh, at times a bit too “Arctic Monkey-ish”, but still very enjoyable for a non-packed night at Spaceland. The crowd was quite enthusiastic, and it was nice to see a fair amount of people actually dancing.

Photos by James Huddleston.

Black Mountain @ Troubadour, 2/05/08

Originally posted on Losanjealous

Anticipation inside The Troubadour was buzzing. I, myself, had been waiting three years to see Black Mountain. All the friends I had brought with me were as ready as I was. The crowd swelled around us, as did the celebrity quotient. Drea De Matteo and Shooter Jennings were there. As was Chris Robinson, Rick Rubin, and the brothers Gallagher (Oasis). We were all grins as they took to stage playing “Stormy High”, the opening track off of their second album, Into the Future.

Seeing Amber Webber at the head of the stage was delightful. Her vocals are featured more prominently on the new album. This is an admirable decision by the band’s “leader” Stephen McBean. I had always felt she was too much of a background player on the band’s self-titled debut. Webbers’ vocals rose to a shine early during the very spooky, mood-drenched “Queens Will Play”…a taste of more to come.

Jeremy Schmidt, the man on keys, has a style that’s transfixing. It’s almost as if Ray Manzereck was fused with John Paul Jones. His playing is not overly brooding, but just enough to set the tone of where the band is trying to take us. His synth work is like a vessel we’re encapsulated in. You’re somewhat frightened, yet relatively snug and warm. This especially takes precedence during the epic “Wucan” taking place later in the set. It’s a song that really shows the strong points of all members of the band. McBean’s Osbourne-like vocals coupled with Webbers’ complimentary backing tones are perfect. Bassist Matt Camirand goes back and forth between subtle rhythms to reverb-drenched notes, driving the song in an irresistible direction.

Webbers’ quivering vocal work on “Tyrants” conjures up memories of a young and radiant Grace Slick. Played live it comes off as a drivingly epic tune. This was a mid-set song that got the crowd absolutely reeling, crisscrossing back and forth between ballad and pure rock and roll. Webber and McBean trade off lyrics like pure soul mates. Drummer Joshua Wells starts off the epic jam with so much force, only to restrain himself abruptly for the slower portions. All night he delivered. Any drummer in the crowd, including myself, would concur .

Thankfully the Troubadour crowd got a breather during a very beautiful rendition of “Stay Free”, a more acoustic ballad between McBean and Webber. This led way into the frenzy of “Druganaut”. To hear Webber sing the ringing lyrics “Lighten up the sky” is a sight to see. Coupled with her rocking out to the whole bands’ licks…it would make any man swoon.

What can one say about “Bright Lights”? It’s like they harnessed the ghost of Sergio Leone and shook it until Rock and Roll came out of it. On the album it clocks in at 16 minutes plus, but at the show, for us, it clocked in at who the hell knows. I was so entranced by the magnitude of how the band meshed with each other; a fluidity that I haven’t seen in a long time. Pulsating drones from McBean, Schmidt, and Camirand took the crowd over like stream-of-consciousness held together by Wells’ constantly shifting backbeats. The song took the audience on a journey that could rival any that Pink Floyd could muster–at least these days. In the end, Webbers’ and McBean’s vocals were that of a multitude of evil archangels screaming to be let back into heaven.

I looked back at the crowd at this point for validation. What I saw was exactly that. Everyone was into it–wanting more as much as I. After “Wucan” came “No Hits”, a song I had come to find out at the show had been remixed by the amazing U.N.K.L.E. recently. “No Hits” has a driving beat that flawlessly accentuated by the rhythm section. The crowd clapped right along throughout the various drums and ambient noise provided by Wells, Schmidt and Camirand.

I’ve been going to the world famous Troubadour for a long time now (close to 15 years) and in that time, I’ve gotten to know the staff there pretty well. Never before have I seen Michael, a Troubadour bouncer for 24 years, get up on-stage to welcome a band back for an encore. The crowd went apeshit as Black Mountain came back on-stage, thanking the crowd for supporting them. They closed the show with “Don’t Run Our Hearts Around”. We thanked them by going all out. After the show I spoke with Alisha, a bartender that’s been there for some time. I asked her what she thought of the show, and she simply replied, “I’m fucking speechless.”

I couldn’t have agreed more.