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transientrandom-noisebursts:

TICKET GIVEAWAY | Transient Random-Noise Bursts with Announcements on KXSC

Tune in to the premier episode of Transient Random-Noise Bursts with Announcements on kxsc tonight from 11pm-12am at KXSC.org/listen for your chance to win a pair of tickets to see anamanaguchi and meishismile playing at El Rey this Friday!

If you’re into a white girl’s questionable taste in hip-hop, I’ll be taking over Dr. Moreau’s Island tonight from 10pm-11pm

(via vviggitywack)

superpaigeshowshow:

TICKET GIVEAWAY | Guided by Voices @ The Fonda 6/13
by Goldenvoice and kxsc
Los Angeles, CA
Rules:
Must be Following superpaigeshowshow and kxsc
Reblog to enter
Reblog as much as you want
Winner will be chosen by 10pm PST on Thursday 6/12
photo by Daniel Coston via gbv.com

superpaigeshowshow:

TICKET GIVEAWAY | Guided by Voices @ The Fonda 6/13

by Goldenvoice and kxsc

Los Angeles, CA

Rules:

Winner will be chosen by 10pm PST on Thursday 6/12

photo by Daniel Coston via gbv.com

(via vviggitywack)

Tomorrow night at El Mercado Paloma OffRadar presents Funk Casserole!

From 8:30-11:30pm join in the jam or just jam out to a funk casserole served with jazz, hip-hop, and a side of latin percussion!

THE JAM IS OPEN AND INVITES ALL MUSICIANS TO BRING THEIR A-GAME. RAPPERS, SINGERS, SPOKEN-WORD POETS - THIS MEANS YOU TOO!

Check out the event at http://on.fb.me/1nKfOo0

The Men - Tomorrow’s Hits: The Men have come a long way stylistically since Open Your Heart, let alone since the abrasive, disorienting punk/noise rock of Immaculada. While Open Your Heart saw a new incorporation of classic rock and country influence, Tomorrow’s Hits is much more straightforward. In fact, it explores even more uncharted territory, delving deep into roots and heartland rock. The influence of Rock and Roll pioneers is everywhere; there’s the blue collar essence of Bruce Springsteen, the Americana swagger of Tom Petty, the folk swing of electric Bob Dylan, and an occasional horn section reminiscent of the Rolling Stones. Not to mention that Mark Perro’s unrequited wail possesses the same sort of impassioned and deliberate carelessness of Paul Westerberg’s. And though the album has just less than ten tracks, the diversity of songs makes up for it—Another Night has a danceable, Stones-esque groove, Going Down and Different Days sound like a garag-y, early Replacements, the piano ballad Sleepless, and my personal favorite, the ballsy, drunken mess of Pearly Gates. It has a purity of Rock and Roll that is still refreshing somehow, which is hard to come by these days. Another aspect unique to it is that sort of wears its heart on its sleeve; its fun, cathartic, proud, confident, but not too glamorous, and even a little sad in a sweet way, tapping into the very human elements of rock and roll that keeps the genre from ever truly dying. J CLIFFY 

Recommended Tracks: “Pearly Gates”, “Different Days”, and “Another Night” 

Afghan Whigs - Do to the Beast: The Afghan Whigs are old. Like older-than-my-parents old. Sure, age brings musical maturity, and The Afghan Whigs have certainly matured since the release of their last record in the late nineties. However, I do not like listening to music that sounds like it was made for people of Mitt Romney’s generation, and “Do To The Beast” is that kind of music: soft alt rock sprinkled here and there with country flair that NPR totally digs (they did – you can Google their early review of the album). Many of the songs are unbelievably slow, mellow, and kind of depressing (namely “Lost in the Woods”, “Can Rova”, and “It Kills” that sounds like a song by The Fray). Another half of the album sound uncannily similar to music by Kings of Leon, especially “Royal Cream”, “These Sticks”, and “Parked Outside.” I cannot decide whether “The Lottery” sounds more like U2 or KOL, but I am not sure that it matters; for our purposes, we can agree that it is a hybrid of different middle-aged man music. “Matamoros” does not fit into either of the above two categories of condemnation, but the whiny guitar melody is just a little too cheesy for my taste. However, despite all this reproach, a couple songs are not that bad: “I Am Fire” has a cool, dominant drum melody, and “Algiers” sounds like it could be the soundtrack to a shootout in a Western film. Even “Parked Outside” is decent despite its unoriginality, but I would try out the other two (mentioned above) first. ASHLEY

Recommended Tracks: “Algiers”, “I Am Fire”, and “Parked Outside”

SOHN - Tremors: I was eager to review ‘Tremors’ because I thought I was getting my hands on something really interesting. While it doesn’t cease to intrigue from time to time, it certainly doesn’t captivate in the manner that I was expecting. Vienna based singer-songwriter/producer Christopher Taylor (aka SOHN) has amalgamated an array of stuttering beats, auto-tuned vocal loops, and ambient textures that struggle to find catharsis. It’s almost there—close to the surface but it doesn’t quite come up for air, missing the emotional release that would have been achieved if Taylor’s diverse blend of sounds were cogently brought together rather than swirl incoherently in an airy sonic sphere. My attention was grasped for about the first fourth of ‘Tremors,’ but then it quickly dissipated into the same monotonous, scattered structure of escalating arpeggios and modulated synth patterns. I didn’t really start paying attention again until the second to last track, the confessional ‘Lessons.’ It is also hard not to be reminded of James Blake when listening to ‘Tremors.’ Taylor’s production techniques, often polished and well thought out, are very comparable to Blake’s in that they both grasp an abstract form of indie/electronic R&B. Yet Blake seems to surpass Taylor when it comes to true authenticity. Blake’s vocal approach is extremely dynamic; his inflections can be both guttural and ethereal, densely baritone for one phrase and then glide up effortlessly to a weightless falsetto for the next. Taylor, while not exactly inadequate as a vocalist, does not however offer anything show stopping. Rather his voice, often times unmelodious, sort of just wavers in between triplet rhythms like a stranger pacing awkwardly through a crowd. Moreover, Blake has a much more rich and in depth understanding of music composition; while Blake’s songs set a mood, build, climax, and gracefully exit, SOHN’s feel as if they begin and end in the same place, like showing a film to an audience midway through or giving someone a half eaten candy bar. All criticism aside, there is no doubt that Christopher Taylor is talented. While probably not used to its full capacity, his voice is still listenable, his production still quality, and there are still a handful of imaginative warm spots. Just don’t go into it expecting the music to be as epic as the earth-porn on the album cover. JIMMY CLIFF

Recommended Tracks: “The Wheel”, “Bloodflows”, “Lessons”

Teebs - E S T A R A N:Four years after his debut LP on Brainfeeder, Teebs is back with E S T A R A, offering up 40 minutes of wistful, ambient tunes with some guest appearances including Jonti and Prefuse 73. I’ve got to say, the cover art (which I’m 99% sure Teebs created himself) is a great description of the auditory experience. Layers of sounds from live instruments and the digital world, crackling, birds chirping, vocal samples, and at the forefront, something pretty is always flourishing and drifting into my ears. “Holiday,” which features a vocal contribution from Stones Throw’s Jonti, is a lush, dreamy (I’ll have to refrain from re-using those words in describing other tracks) four minutes that sounds like a forest in spring, a light morning mist, wildflowers blooming. “SOTM” spends a minute and a half building a tender, nostalgic mood, until the beat comes in and it becomes a positively head-bobbing track, and as busy as the rhythm is, the sentimentality is preserved. “Piano Days” and “Piano Months” are, uh, piano-centric, and among the album’s most enjoyable moments. They float, echo, and show Teebs doing more with less. While E S T A R A is certainly a pleasant listen, some of the tracks are ultimately forgettable. The collaborative tracks are all consistent strong points, however, and gee willikers, I love Lars Horntveth’s bass clarinet at the end of “Wavxxes.” FRESH NICK

Recommended Tracks: “Hi Hat”, “Piano Days”, “Piano Months”, “Wavxxes”

These New Puritans - Field of Reeds: This wonderful record was released pretty quietly last year, but I’m so glad it’s being reissued for college radio spins because it made my Top 10 list at year’s end. On Field of Reeds, weirdo art-rockers These New Puritans have pretty much removed “rock” from the equation entirely, replacing angsty shouts and guitar squall with sighing clarinet and mournful trumpet. The neoclassical sound on display here is highly reminiscent of Talk Talk’s masterpieces from the late 80’s and early 90’s (by the way, if you haven’t heard Spirit of Eden yet, please thank me after your spiritual reawakening), from the nearly unintelligible vocals to the ominous sense of space that pervades the album. Field of Reeds invites you to places that music doesn’t often venture to and then explores those settings in unconventional ways. This is often a quiet record, but don’t mistake it for easy listening or background music. “Fragment Two”, for instance, begins with a catchy piano hook that effortlessly skips between 3/4 and 4/4 time. The song veers between time signatures with a practiced unease as the song unspools itself; the arrangement feeds off its own dizzying energy, with motifs being passed from piano to violin, violin to French horn, French horn to voice. These tracks were clearly fussed over for an unimaginable period of time before being put to tape, as evidenced by the intricacy of the songwriting. Listening to a 30-second sample of this music is useless, as context is so essential to its power. There are no verses or choruses to latch on to here, only moments: the achingly beautiful horn harmonies on “This Guy’s in Love with You” (a wistful half-cover of the Herb Alpert tune), the thick, stagnant synth hovering over the outro of “V (Island Song)”, the surprisingly excellent kazoo (!) melody on the title track. I want to build a nest inside these moments. They stir up those well-worn feelings of joy, uncertainty, loneliness, and yearning in ways I’ve never heard before – and I’d like to think they help me understand the complexity of those emotions a bit better. TL;DR: Field of Reeds reminds me of why I love music so dearly. ZN

Recommended Tracks: “This Guy’s in Love with You”, “V (Island Song), “Fragment Two”

Head over to gzusc tonight at 7:30pm to see The Downtown Collective at the KXSC Sample Showcase! More info here

!
Damaged Bug - Hubba BubbaRetro synth psych experiments from Thee Oh Sees’ John Dwyer, who I guess counts as an LA artist now that he’s very publicly cut off all ties with San Francisco, citing its gentrification-induced soullessness. SF is too soulless so you move to…Los Angeles? Sure ok whatever. Anyway, he made this record that kinda sounds like a stoned, burnt out, disheveled Gary Numan. It drags sometimes and seems hesitant to go fully cosmic on a lot of its songs but there’s definitely some worthwhile stuff in there, particularly towards the end of the record when the tempos slow down and it feels like melting under the twin suns of Tatooine.
RIYL: Garage rock, Gary Numan, Dune

Perfect Pussy - Say Yes to LoveI guess I should preface this review by admitting that, as an angsty girl myself, I am biased towards bands with angry female vocalists, and to put it simply, Bikini Kill/L7/Bratmobile/(fill in your favorite riot grrrl band here) have nothing on Perfect Pussy. A combination of hardcore influences with a noise rock-driven sound reminiscent of early Dinosaur Jr. (i.e. “You’re Living All Over Me”), “Say Yes to Love” ranges from blaringly aggressive to surprisingly melodic. Opening with the hard-hitting tracks “Driver” and the somewhat discordant “Bells,” Perfect Pussy quickly asserts its raw power and dynamism, but in “Big Stars” and “Interference Fits,” the more distinct guitar melody demonstrate the band’s artistry and ability to be more than just another loud punk band. However, as a first studio album, “Say Yes to Love” has some anticipated shortcomings, namely that half of “Advance Upon the Real” is little more than static noise. Oh,  and “VII” does not jibe with the rest of the record at all – it is not even in the same genre, leaning more on the side of earsplittingly distorted, electronic-dominated post-rock than punk. But hey, if that’s your thing, play that track. Anyway, this solid debut definitely deserves some airtime despite its few faults. ASHLEY H.

Recommended Tracks: “Driver”, “Big Stars”, “Interference Fits”

Mystic Braves - Mystic Braves: Hazy psych garage w/ some cool country-ish influenced as well (rolling drums and basslines!). Sounds a lot like some lost 60s band. All the tracks kind of sound the same but good now that the weather is getting hot.

RIYL: 13th Floor Elevators, The Doors

Cloud Nothings - Here and Nowhere Else: Ohio’s Cloud Nothings returns to form on “Here and Nowhere Else.” With time the group has become more concise and powerful, cropping their typical output down to a solid eight song collection. CN also whittled down their lineup in the past year, becoming a formidable (though notably more basic) trio. They retain their signature machinegun momentum, with a Ramones-worthy flurry of down-strumming and bass drum kicks. While 2012 standout “Attack on Memory” was a large departure from their earlier releases, the band has backtracked a bit to approximate a sound encompassing their entire catalog. Songs like “I’m Not Part of Me” retain their intensity but blend in catchy, snarled hooks. LONGHAIR NICK

Recommended Tracks: “I’m Not Part of Me”, “Just See Fear”, “Psychic Trauma”

St. Vincent - St. Vincent: I think I use the word groovy in just about every review I write, but this one has the official NWA groove approval. Little Annie is all grown up and she’s laying down some thick glittery jam. This is ART rock, sometimes more about the art than the rock, with Annie jerking wildly onstage as if possessed by some glam demon. Her live show is no doubt a performance, and not just of the music. But, the music on this album manages to shine through the chichi. One might say that these songs are more electronic based with the keyboard often taking up the main decipherable element of the song, but when she does decide to crank up the geetar it’s hard-hitting, catchy riffs as usual. “Bring Me Your Loves” is a good example. The other big difference for me is in content - “Oh, what an ordinary day. Take out the trash, masturbate”. There’s a lot of sexuality in these songs, and it’s sort of surprising considering Annie’s cutesy, child-like nature (Disney movies were once one of her major lyrical influences). This may be a stretch, but I would say she’s becoming the Lana Del Rey of alternative music. And don’t hate on Lana. Oh, and I’m pretty sure Rattlesnake and Digital Witness are the same song; I feel so bad for that keyboardist. SHILL

Recommended Tracks: “Rattlesnake”, “Birth in Reverse”, “Bring Me Your Loves”

The Men - Tomorrow’s HitsThe Men have come a long way stylistically since Open Your Heart, let alone since the abrasive, disorienting punk/noise rock of Immaculada. While Open Your Heart saw a new incorporation of classic rock and country influence, Tomorrow’s Hits is much more straightforward. In fact, it explores even more uncharted territory, delving deep into roots and heartland rock. The influence of Rock and Roll pioneers is everywhere; there’s the blue collar essence of Bruce Springsteen, the Americana swagger of Tom Petty, the folk swing of electric Bob Dylan, and an occasional horn section reminiscent of the Rolling Stones. Not to mention that Mark Perro’s unrequited wail possesses the same sort of impassioned and deliberate carelessness of Paul Westerberg’s. And though the album has just less than ten tracks, the diversity of songs makes up for it—Another Night has a danceable, Stones-esque groove, Going Down and Different Days sound like a garag-y, early Replacements, the piano ballad Sleepless, and my personal favorite, the ballsy, drunken mess of Pearly Gates. It has a purity of Rock and Roll that is still refreshing somehow, which is hard to come by these days. Another aspect unique to it is that sort of wears its heart on its sleeve; its fun, cathartic, proud, confident, but not too glamorous, and even a little sad in a sweet way, tapping into the very human elements of rock and roll that keeps the genre from ever truly dying. J CLIFFY

Recommended Tracks: "Pearly Gates", “Different Days”, “Another Night”