Alright, I'm gonna come out and say it: Sleeper Agent is hot.  They've recently released their first kick-ass album, Celebrasion, they just played Coachella, they're in the middle of touring their sweet Kentucky faces off, and, thanks to the band's ruthless energy, they make it seem pretty effortless.  Now that that's out, I have another confession: I am (still) in love with Ben Kweller.  Since his first solo album Sha Sha came out 10 years ago (what?) to the recent release of his new album, Go Fly a Kite, it's been pretty much nonstop adoration, and I am happy to report that is in fact still awesome and gorgeously talented.

Sleeper Agent and Ben Kweller made a great combination of acts.  Both bands have the ability to swing sweetly between minor-chorded, messy, loud garage tunes and major-chorded, earnest pop songs--all while somehow maintaining a single, cohesive musical identity.  Seeing this concert made me appreciate the unique fluidity that these bands have, and I can only assume the quality is a reflection of the artists' open minds, laid back personalities, and insatiable curiosity.

Okay. The Sleeper Agent set. Here we go.  They begin their chaotic explosion of a performance with "Love Blood." Already, since I last saw them play in September at the Bootleg Theater, they are more adjusted to the spotlight and take a more commanding presence of the stage.  They have matured. Their next song is "Force a Smile."  The crowd is dancing a lot--this is unusual, in my experience, for Los Angeles.  Lead singer Alex Kandel addresses this later, pleasantly surprised that her band's energy is translating to stuffy hipsters. The music is not much different from the record, except that it is live and deafening and the bass thumps in your skin and the minute changes or errors or whatever in the songs you love make it alive and that much better.  I believe German idealist philosopher and cultural critic Walter Benjamin refers to this as the "Aura." It's that undeniable energy that comes with an original-- something not mechanically reproduced--like seeing the Mona Lisa in person.  Anyways.

The next song is "Proper Taste." While the afro-headed Scott Garner lays kindergarten keys over punky guitar riffs, I take delight in their lack of commercial image. In my head I realize how godawfully prentious this is, but I continue regardless, thinking how about much I like that they're not wearing matching clothes and that they don't have some grand theme to their performance. (Still interior monologue) But, neither does Ben Kweller. Or a lot of bands. Portugal. the Man doesn't. White Denim doesn't. Ok but they are all awesome. Who does? The Killers. They all wore skinny ties at one point. Florence and the Machine has that whole haute hippie thing going. But I love the Killers. And Florence. This is stupid. I have arrived at no conclusion other than this is fresh and pure and I am in a great moment which, although it's not, seems devoid of all political and economic motive. Back to the music.

The band cranks out "Shuga Cane" and a cover of the xx's "VCRs."  I love "VCRs." When is the xx coming out with a new album? I need to Google this. Damn, this is a cool take on this song.  It's like the xx for people doing cocaine.  Can you imagine someone on cocaine listening to the xx album? Hilarious. This is more like it.  Alex is going all Yeah Yeah Yeahs all over this track and I love it.  I think how a band covers a song is a good measure of that band.  Sleeper Agent flung their grit all over this track like Jackson Pollock on a blank canvas.

"Psst...Tony...we're so hot right now..."

On the inevitable crowd favorite, "Get It Daddy."  I am slightly sick of this song from too much mix cd action and radio play, however, that glorious Aura steps in and breathes new life into this song until I am giddy as a damn schoolgirl beneath its filthy presence. They play "Some White Blinds" (definitely a standout on Celebrasion). Imagine that bassline TIMES A ZILLION. That rollicking riff in the chorus? TIMES A GAJILLION. This is deep. They immediately switch into sentimental pop mode for "That's My Baby."

It is now that I scribble my third "Alex is f***ing awesome" note to myself, and I decide, in a Joycean epiphany, that Alex is the Katniss Everdeen of music (sorry I'm not sorry). YES. She is the strong and independent female lead who holds her own amidst the masses of grungy, menacing (a convenient mental construction) males who dominate the music scene.  She is not sexed up. She garners attraction based on her electric grit, her unwavering strength, and her confident humility. She guides co-vocalist/guitarist Tony onstage like Katness guides Peeta throughout The Hunger Games narrative. Her ability to rock out with the best parallels Katniss' ability to wield weapons and kick ass.  But, both Alex and Katniss don't strive to prove themselves powerful via masculine-identified actions (rocking out and using weapons); rather, they show that those abilities are cool and all, but, so what?  It's that delicious nonchalance that makes both these girls so magnetic.  Anyways, enough with my feminist digression.

They play "Get Burned," in which the band reaffirms that this is the perfect blend of garage and pop--just enough garage to feel totally underground and cool, and just enough pop to dance like a freak. They play "Bottomed Out" and finish big with "Be My Monster." Alex summons the crowd to the front to share the last song's "Aye-eee-aye-ee-ah-ah-ah-ahs" with her while Gardner rim-shots the crap out of a solo snare drum he has brought on stage.  Every member of the band is drenched in sweat as the curtain closes.

Ben Kweller (far right) and his band

(NOTE: I will not write as much about Ben as I did about Sleeper Agent, seeing as Ben is a) not exactly a "new band" and b) he cannot be accurately summated in any amount of words.)

After a brief set change and sound check, Ben Kweller takes the stage.  He looks like a cherubic Shaun White with his floppy red curls and swollen cheeks.  He plays songs from his new album Go Fly A Kite (released February 7, 2012 and following 2009's Changing Horses) and he plays old songs such as "Sundress," "Wasted and Ready," "Commerce, TX," and "On My Way."  He sits before a piano to play a tear-jerking rendition of "Thirteen" and I note this mentally as a big moment in my short life.

On stage and in person, Ben exudes the most honest charm you have ever seen, and his brightly colored love for music has not faded over his 19 plus years of being in the business.  He, like Sleeper Agent, is a musical pendulum, swinging from blaring power riffs to rainy, tragic keys to folky acoustic strums.

By the time he finishes his encore with an extended, spastic version of "Penny on the Train Track," it is clear that in whatever style he chooses, Ben injects a bright naivete, despite his musical wisdom.  This is important. It is how he and his songs remain alive after man years. His eyes never close and his mind never settles and, because of this, his love never dies. And, because of this, neither does mine.

Ok, I'll be honest. I'm a little bitter about not going to Coachella this year.  Having gone the past two years, I'm no stranger to that pre-Coachella feeling: in a few weekends I'll be yearning for the desert sun, the overpriced food, the kick-ass people, and, most importantly, the kick-ass music.  So, while I'm busy resenting enthusiastic Facebook status updates and you're busy galavanting about the Empire Polo Grounds, I ask of you only one favor: go see Sleeper Agent.

You might've heard of Sleeper Agent from their recent hits, "Get It Daddy" and "Get Burned."  "Get It Daddy," an upbeat, dance-around-in-your-room kind of track, was an iTunes free single of the week and was #14 on Rolling Stone's 50 Best Singles of 2011.  Furthermore, they were featured on Rolling Stone last summer as a Band to Watch. The band hails from Bowling Green, Kentucky and made their way up through the rankings by playing loud, noticeable sets at SXSW.  They eventually caught the attention of Matt & Brad Shultz of Cage The Elephant and ended up touring the US with the band (not to mention making some hilarious videos). So, with that kind of publicity, it's safe to say that these Kentucky-bred kids are on their way to rock stardom. And the next stop on that road? Playing Coachella, obviously.

In case you didn't read my review of Brian Lopez's recently released album, Ultra, go now, oh foolish one, and read it.  There. Well done. Thus, in case you didn't notice, Brian Lopez is, indeed, awesome. And now, as you arrive at the top of this interview, you, in the privacy of your own mind, are tirelessly thanking me for bringing you more about this wonderful man and lovely album. You're welcome, dear reader. But I have one more request: after you read this, go and listen (oh, listen!) to that album (if you haven't already), that buttery voice! And you will smile, and all will be right in the world.

Yeah.  Also, get stoked L.A. because tonight and tomorrow night Brian will be playing shows in town--tonight at the Echoplex, tomorrow night at The Hotel Cafe.  Details and more tour info below!

Claire Gallagher: So, Brian, you’re from Tucson.  Has growing up there influenced your music at all?

Brian Lopez: As i've gotten older I've realized exactly how bizarre Tucson is. The desert is such a weird place - humans have no business living here.  It's a desperate environment filled with dwellers and survivalists. At the same time, there is an exotic beauty that is exclusive to the Sonoran Desert. Desolate, desperate, yet beautiful. In that sense, I feel my music is parallel.

CG: Who are some of your biggest musical (or other) influences?

BL: I have a lot of songs that are about, or stem from Barcelona, Spain. I lived there when I was 21.  Best time of my life. Its a fascinating place -- vibrantly colorful and vivacious.  Also, any poetry from Tucson poet, Shelly Taylor seems to get my tongue wrapped in an inspiring way. 

CG: What made you decided to pursue a solo career outside of your other band, Mostly Bears?

BL: I actually just started playing solo acoustic gigs on guitar and piano as a way to make extra cash. I didn't want to have to get a real job. I'd play at resorts and clubs, and people seemed to really love it.  I added an upright bass eventually...then strings...then I started getting offers to play larger shows.  Sooner than later, I had a damn solo project to nurture.  Coincidentally (or perhaps not so coincidentally), around the same time, Mostly Bears was deteriorating. And it hasn't been until recently, that I have been able to focus exclusively on my solo project.

CG: What has been a personal high and a personal low about your musical career so far? Any particular moments of awesomeness or embarrassing blunders?

BL: I feel like right now, having struggled with music for over a decade, I am experiencing my personal high .  Having had a promising young rock band and seeing it all fall apart before your eyes--coming close many times, only to fail--well, now I'm here under my own birth name, a bit older and wiser, writing and recording music that I wrote, myself.  And people are paying attention more than ever. THAT feels good. And it seems like more than ever I'm being asked to collaborate with other artists. I just played with Instituto Mexicano de Sonido in Mexico City, as a hired guitarist.

CG: What was the recording process for Ultra like?

BL: I wanted to make an album that was filled with my DNA.  Not forced or contrived or artificially clever.  Something that had a “timeless” quality about it and would endure sea changes.  Something that is “forever” as opposed to “of the moment.” And Ultra is what I came up with--it has been the easiest musical venture I've ever taken part of in my life, by far. I had been listening to a lot of Roy Orbison, Patsy Cline, and Sam Cooke at the time and wanted to emulate some of the “timeless” qualities in their music.  We recorded all of the drums, bass, piano, and rhythm guitars live, for example.  So there is an organic vibe due to that.  Also i made it a point to NOT use any digital instrumentation. No drum samples, no vocoders, midi synth....nothing that you would hear in almost every single modern recording these days. NO! It all had to be analog.  All organic.  Even the church bells on the album are real! This is something that I felt really strongly about --it is my way of saying “fuck you” to the current indie rock climate and all of the gimmick-ery that ensues.

CG: Was there any tension between balancing Ultra's young, indie feel and the more traditional, classic, Latino elements?

BL: No, not all. I just wrote what I liked and recorded it how I wanted to hear it. I did it all for me…I'm selfish!  Nothing is contrived or calculated. There was no feeling in the room of "this song needs to be more latin" or "this song needs to appeal to the hipsters in Silverlake" etc, etc.  It is what it is--music that is filtered through my personality and background. Es lo que hay.

CG: What do you think you would be doing right now if you weren’t a musician? What did you want to be when you were a kid?

BL: I certainly would be a teacher or educator of some type if I wasn't doing the music thing.  In fact, I'm a certified substitute teacher and have been teaching at Job Corps the past 2 months (I'm answering these interview questions at school, SHHH!). Anyhow, I LOVE teaching. Not middle schoolers though -- those kids are assholes. Only high school or college age.

As for when I was a kid ? Well, I come from a basketball playing household. My dad was a college head coach here in Tucson, so you can bet my brother, sister, and I were all into sports growing up. I was pretty good baller too--when I was a kid I had grand visions of playing ball professionally, sure.  But as I got older and didn't get much taller or bigger, basketball became less of a reality.  I took a 4 year music scholarship at University of Arizona rather than accepting any of the junior college basketball offers i had at the time. And now, here I am.

CG: How do you feel about being described (in your bio on funzalorecords.com) as “a musical octopus, fluid, ambidextrous, and adaptable”? Is being an octopus (at least being compared to one) a cool thing? (I imagine it would be…)

BL:  I actually don't like that quote. I'm going to send my label an email and have them update that shit.

CG: What’s next for you?

BL: I have shows lined up throughout the summer between the U.S. and Europe. Lots of touring.  In between time I will be writing and recording and perhaps making a cameo appearance here and there as a substitute teacher....for good measure.

Show and Tour info:

April 3rd (tonight!) at 8:30pm, opening for Heartless Bastards
The Echoplex
$15.00 adv; $18.00 day of show; $19.00 walk up day of show
18+

April 4th at 9:30pm
The Hotel Cafe
$10-$12.50
21+

Other U.S. dates*:

04/05/12 - The Fillmore - San Francisco, CA
04/06/12 - WOW Hall - Eugene, OR
04/07/12 - The Media Club - Vancouver, BC
04/08/12 - Aladdin Theater - Portland, OR
04/09/12 - The Crocodile - Seattle, WA
04/11/12 - Neurolux - Boise, ID
04/13/12 - Belly Up - Aspen, CO
04/14/12 - Bluebird Theater - Denver, CO
04/15/12 - Santa Fe Brewing - Sante Fe, NM

*with Heartless Bastards

Click here for more details, links, and European tour dates!

Los Angeles band RACES is hitting the scene with their first full-length album, Year of the Witch. Formed in 2009, RACES have distinguished themselves through their alternative, orchestral, rolling melodies and awesomely spastic moments of fuzzed-up, garage instrumentals.

This LP is the follow up to their Big Broom EP and limited edition 7” featuring songs “Living Cruel and Rude” and “Big Broom.”  I first caught on to this band when I saw them give an absolutely killer performance at School Nights at Bardot.  Following in the same many-membered-vein as groups such as Edward Sharpe and the Magnetic Zeroes, this six piece band was cohesive, creative, and sound damn good.  Their music was folky but dark, ethereal but dissectible, and sad but melodic and fun. It was a winning combination, and I was hooked.  Unfortunately, I only had three songs—“All for You,” “Hope and Gloom,” and “Big Broom”—to rotate on repeat.  Now, with the full-length I have 11 gorgeous tracks to lull me into reverie.

The album kicks off with “All for You,” setting the stage for the entire album’s relaxed, swingy tempos. The second track, “Don’t Be Cruel,” introduces the sadness that colors the entire album, and by the following song, “In My Name,” minor chords and harsher, fuzzy sounds, bring that sadness into a delicious anger. “The Knife” starts off innocently enough with lines such as “when you stood on the stage/wearing that little white dress/a thousand silver horses raced through my chest”, then slowly grows into one of the aforementioned spastic moments with a ridiculous, loud, and straight grungy interlude.

The album peaks with “Big Broom.”  The song’s great use of balance: heavy bass line’s balance high, dreamy backup vocals; steady rhythms are interrupted by brief, tension-building pauses.  Even the form and the content address each other—the song’s sweeping sound mirrors the lyrical story of being swept clean. Let’s just say this song is definitely one of my top picks of 2012 so far. From there, the album winds down with “Lies,” an easy tune with another great moment of sonic spasm, the more hopeful, multi-paced “Song of Birds,” and closing track “Year of the Child,” which shortly and simply rounds out the album.

Year of the Witch keeps to its themes of sadness, loss, but evolves with its hope for rebuilding.  Perhaps my only complaint is that the songs don’t seem to evolve in the same way: while the details certainly distinguish the tracks, RACES’ formula of sweeping, grand-gestured songs can get repetitive at times.

Overall, the album is lovely in the saddest kind of way, like the end of (500) Days of Summer or Death Cab for Cutie’s Transatlanticism. If you’re going through a break up right now, listen to Year of the Witch. That said, if you like good music, listen to this album.

Also, catch RACES on tour for the album--check tour dates here.  Their next show will be the album release show this Friday at the Echo in LA.

Yellow Ostrich will take on Los Angeles (fresh off SXSW) next week with their show at the Bootleg Theater.  If you haven't heard of Yellow Ostrich, know that they're much more cool cat than big bird; that is, their music is innovative and interesting--expect a unique use of of vocals and strangely catchy rhythms over a bright, indie-garage sound.  They'll be playing in support of their brand new album, Strange Land. Released on March 6th, this is the band's sophomore effort, and it certainly has carried the band from a one-man (Alex Schaaf), self-produced (lots of looping) bedroom project to professional, kick-ass, three piece rock outfit.  Strange Land is out on Seattle-based label Barsuk (Death Cab for Cutie, Ra Ra Riot, Rilo Kiley, Nada Surf), and you can purchase it here or stream it here.  The band has also released a Noisetrade sampler (it's free, but you're encouraged to leave a tip!) with tracks from 2011's The Mistress and the new album.

Though I have yet to see Yellow Ostrich live,  I'm super excited to see them based on their records alone (wonder what they'll do with looped vocals...). See them for yourself at the Bootleg Theater next Wednesday (3/21). Details are below.

Who: Yellow Ostrich (11pm) with MMoth (9pm) and BlackS& (10pm)
When: Wednesday, March 21st--doors open at 8, show starts at 9
Where: The Bootleg Theater, Los Angeles, CA (Event link)
Age: 21+

Brian Lopez, a soulful, curly-headed, Tucson-raised singer-songwriter has made his way on to my music radar and left a great first impression with his first solo, full-length album, album, Ultra.  Branching out from his role as the leader of experimental three-piece group Mostly Bears (which, according to Wikipedia, [awesomely] sounds like "Radiohead circa 1996 getting in a gang-fight with Arcade Fire"), he brings a southwestern Latino charm into his melodic and orchestral yet laid-back and indie-vibed music, all while crafting a subtle dance between passion and weariness, overwhelming love and exhaustive sadness.

The boys of fun.--lead singer/songwriter Nate Ruess, Jack Antonoff, and Andrew Dost--are back with their second studio album,  Some Nights, which drops today.  As a long time Nate Ruess fan, from his Format days, I feel qualified and obligated to review this record.  People who are just beginning to listen to fun. might be put off by this album--it's, in a word, weird.  Besides the insanely catchy single "We Are Young," songs flow in and out from polka-like operatics (nothing new for fun.) to...pop/R&B influenced autotuning?  The album can't make up its mind between being a quirky, pop, Queen-inspired complement to 2008's Aim and Ignite or some avant-garde-yet-somehow-still-radio-friendly angsty-youth soundtrack.

Thursday night, the Troubadour had a killer lineup of L.A. Locals: Kid is Qual and thatwasthen co-headlined, introduced by Acidic and Bikelock.  The crowd consisted of a lot of music veterans and industry people, mainly because Kid is Qual and Bikelock are offshoots of the band Jack's Mannequin.  This also meant that Jack's Mannequin lead singer Andrew McMahon was there supporting his freinds and bandmates (fun fact: he played piano on thatwasthen's "Sunlight"), which in turn meant that I was beyond excited to be there.

On Friday night, I was treated to a night of youthful energy, served up by the contagiously vivacious punk quartet from Oakland, CA: Emily's Army.  This group of kids--seriously, they're still in high school--lit up The Roxy in Los Angeles and outshined the bright, colored lights beneath which they performed.

Walking in to the dark venue, I was immediately struck with color and energy, despite it being only partially filled.  I was also instantly aware of the age and vibe of the crowd: about 13-16 years old (mostly girls); dressed in pajamas or bright animal prints or Hot Topic brands; hair frizzy from straightenings and dyed with blue and green and red streaks; eyes heavily lined with an inky black.  Despite the attempted "ruggedness" of their look and the almost adorable efforts at moshing, the girls were screaming through it all like ribboned Bettys at a Beatles concert.

Now, where most of the time this crowd would annoy the life out of me, I found myself just as enthusiastic as Emily's Army's army of scene girls.  I almost envied their blissfully ignorant devotion and pure adoration, and I found myself quickly (and somewhat creepily) falling in love with the four spitfires on stage.

Beyond the surrounding fans, I managed to focus on the group and their musical abilities.  The group, made up of brothers Cole and Max Becker, Travis Neumann, and Joey Armstrong rocked. They could play the hell out of their instruments, and are very creative as shown in their songs and song structures.  They were loud, fast, and confident; had catchy melodies and riffs and an effortless cohesion.  This resulted in a maturity of sound and performance, which was unbelievable--almost hilarious--to see coming from four hairless baby faces who's first full length is titled Don't Be A Dick.

Emily's Army by Adeline Records

Overall, this was one of the more fun concerts I have attended in some time.  Emily's Army not only plays a killer show, driven by upbeat and carefree yet technical and well-practiced punk rock, they make you feel young again in the best possible way.  I laughed and danced and headbanged and woo-ed. I left inspired, blissfully unaware of papers due or bills to be paid, into the cool night hanging above a world run by vibrant youth.

All photos (c) Clair Gallagher

Fellow Angelenos, this upcoming Sunday fruitfully offers us some killer options for entertainment.

First, we have Abbot Kinney Festival.  Here's what the website has to say:

"Since its founding in 1984, the Abbot Kinney Festival has grown in size and popularity to become one of the largest community events of its kind in the country.  Each year, it attracts 150,000+ eco-conscious urban singles, couples, and families to the sunny beachside community of Venice on the last Sunday in September.

I have had the pleasure of strolling Abbot Kinney Boulevard on a pleasant day, and I'm sure this will be an awesome experience even beyond the music.  Which brings me to my next point: the music.  The Festival's lineup includes bands such as Hanni El Khatib, Swahili Blonde, KISSES, and Family of the Year (among many others) performing throughout the day on three different stages.

The festival runs from 10am-6pm this Sunday, September 25th. Also, it's FREE. Yessssss.

Another way to spend your Sunday is at TarFest, held at the La Brea Tar Pits (I see what they did there...). This festival runs from 12-6 pm (you could even attend both Abbot Kinney and this if feeling ambitious), and is also FREE.  Yes, it is entirely necessary to put FREE in all caps every time.  This festival, spanning a couple of weekends, is described by the site as such:

"TarFest is a premiere arts and culture event in Los Angeles and the Miracle Mile District produced by LAUNCH LA. In 2011, TarFest will take place over several weekends in the fall with more diverse programming and special production partnerships. Dozens of the nation’s most distinctive emerging artists, performers, and cultural innovators come together and showcase their talents and ideas at historic and notable venues along the Miracle Mile."

The musical portion includes performances by acts such as Saint Motel, Everest, and Obi Best, to name a few.  Plus, there are cool statues of giant mastodons. Don't be stupid, just go.