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.

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!

March 7, 2012 After a five-year hiatus, James Mercer and his band The Shins are back with a new lineup and one of the year's most anticipated new albums, Port of Morrow. Watch the group play old and new songs in an NPR Music Presents show at NYC's Le Poisson Rouge.

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

Driving to the Bootleg Theater last night, I was yawning the whole way there.  School had just started, and I had spent the past two hours reading Shakespeare (seriously…).  I was in serious need of a pick me up, and, fortunately, that's exactly what I got.

Walking into the old warehouse venue I could already feel and hear the distorted screams of rock music. Inside wood framework, brick walls, and industrial accents I laid my eyes upon Sleeper Agent--a precocious, wickedly rowdy, unkempt, and entirely electric sextet--running the stage.   Though the crowd was small, it was somewhat enthusiastic despite the band's newness to the area.  Sleeper Agent hails from Bowling Green, Kentucky (guitarist/singer Tony "Tutone" Smith's pin on his guitar strap read I [Heart] BG, and the heart was the state of Kentucky…I think…).  This was their first time playing Los Angeles, and I can guarantee the acquired a few new fans.

Their wild energy and youthful flair showed not only in their performance but in their music.  It's like five genres in one: sometimes it's bluesy, sometimes punchy, sometimes true rock, sometimes pop rock.  They're like a pissed off version of the Thrills with Karen O vocals.  They're like if Neko Case got taken over by some divine Julian-Casablanc-ian spell while listening to Liz Phair and The Ramones.  Besides lead singer Alex "Kidd" Kandel's vocals being a great addition to the band's sound, she's entertaining as hell to watch perform.  She has a careless poison to her, a piercing gaze, and a jagged sensitivity and fragility.

Beyond her, each band member has a distinct personality (a rarity these days, it seems): Drummer Justin "Keyser" Wilson was sharp tongued and aloof; bassist Lee "Grizzlee" Williams embraced his vagabond vibe while thumping out groovy, crystal clear baselines; guitarist Josh "Junior" Martin threw himself around the stage dramatically as if performing some musical exorcism; afro-headed synth/keyboardist Scott "Saga" Gardner was entranced by his instrument--until he wasn't--when suddenly he'd fly his nest and run around wildly beating a handheld drum like an animal; and finally, aforementioned lead singer/guitarist Smith filled the spot in the band as dreamboat, what with his sideswept hair, cute plaid shirt, and roughed up but still sensitive vocals (swoon).

Sleeper Agent celebrated the release of their first full-length album, Celebrasion, by playing tracks such as "Get Burned" and "Get It Daddy".  Their music is upbeat, loud, punchy, and fun, speak plainly.  They're not whiny, not overly pensive or depressed; they're tongue and cheek, but not condescending. The kids are talented, the bass is strong, the rhythms are fast and gripping, and the hooks run for days.  The members of Sleeper Agent are as kick ass individually as they are when combined to form a rock n' roll force to be reckoned with.

Keep scrolling for more pictures/media!

Proper Taste by Sleeper Agent

Bardot--a Los Angeles club tucked into Hollywood's dense layout--is swanky.  Swanky like an old-school mansion with dark weaving hallways, swanky like tentatively walking in on some exclusive party, unsure of where you belong.  Old friends met and chatted holding colorful drinks in dim light, surrounding me as I squeezed onto brocaded couches. People old and young congregated beneath intricate Grecian moldings and a tented, breezy ceiling to watch blue-bathed musicians perform.

Duniven kicked off the night with a decent set. The six (sometimes seven with a guest vocalist) members of the band squeezed onto the tiny stage.  Despite so many musicians and layers and instruments, their sound was simplistic and unvaried. The baselines were the best sonic element, but it was hard to focus on the good qualities with so much going on.  The drummer played one beat the entire set, featuring a painful bullet of a snare hit on every. single. quarter. note of every, single song.  There was a convincing jam session or two, which gave me moments of hope; the vocals were sweet and rough in that lovely folky way; lead singer/guitarist/harmonica-ist/band namesake Duniven was a killer harmonica player, and the songs with that curious instrument were my favorites from their set.  I personally would've preferred Duniven as a duo with Duniven on lead acoustic, vocals, harmonica, and Dan Komin on bass--done.  No need for the childish keys, the seated percussionist with a maraca in one hand and a Stella in the other, or those stale, lifeless drum beats.

The next band on stage was Races, and they were quick to inject some much needed life and musicianship into the night.  If I may gush for a little, the moment they took the stage they had a beautiful presence: one of fun and excitement yet somehow humbled and unassuming.  They were electric in the blue light, and won over my heart like no band I've never heard of has done before. (Did that make sense?)  It has been a long time since I've been genuinely impressed by the demeanor, musicianship, and presentation of a brand new band--they formed in fall 2009, have released one 7-inch, and will release their first full length later this year through Frenchkiss Records--and Races did just that.

As for their music, it was a delightful drizzle of much needed musical variation.  Duniven, take note: even though Races had six members on stage, each was a vital and contributing part of the band; each instrument was distinct and audible, and the resulting sound was cohesive and euphonic.  I quickly developed a girl crush on tambourine shaking, single snare slapping frontwoman Devon Lee--she won me over easily with an infectious charisma, a simple dress, and a heavenly voice.  Alongside her stood straight-faced and characteristically mysterious frontman Wade Ryff, busy spilling out his dulcet, Jim James voice.  They were backed by a careful band: drummer Lucas Ventura, who, when you weren't lured by the expanse of chest hair escaping from his deep v-neck, could be spotted making the silliest of faces while expertly exploring his drumset's range of volumes; pixie-haired keyboardist/vocalist Breanna Wood; ginger-headed bassist/synth-player Oliver Hild switched between serving tasty baseline and rocking the moog; and Garth Herberg strumming the guitar in his own happy world.

Amy LaVere is a gal about town.  This rising Memphis artist is on her way to establishing her name in the music world in the wake of establishing her name on the silver screen.  You may recognize her from movies such as Walk the Line, Black Snake Moan, and Hustle and Flow. As for her new musical endeavors, LaVere has recently released her second album, Stranger Me, and the sound is deliciously reminiscent of Jessica Lea Mayfield's husky blues. LaVere, despite lacking a Dan Auerbach to help her maneuver the intricate ropes of the modern music business (Perhaps her movie experience can be the equivalent?), seems to be navigating the crazy scene just fine on her own.

Claire Gallagher: Where are you from?  Has your hometown/where you live now influenced your music at all?

Amy LaVere: I was born in Shreveport, Louisiana but grew up in a Texas/Louisiana border town called Bethany. When I turned about 7, we started to move around the country with my Dad's job. I was mostly influenced by by mother's songwriting. She was always playing music. If she wasn't singing, the stereo was always on playing classic county or folk records. When I was in high school we moved to a small town out side of Detroit. I started to get turned onto aggressive music that suited this teen angst phase of my life.

CG: Describe yourself in a sentence.

AL: I'm all things but not, all at the same time. I'm friendly and approachable, private, guarded, optimistic and brooding.

CG: Describe your music in a sentence.

AL: I play music that gives me feeling and lets me lose myself in the stories of the songs.

CG: Who are some of your biggest influences, and who are some newer bands you’re listening to now?

AL: I've been influenced a great deal by Willie Nelson. His songwriting is so pure  and I admire the way he's structured his band to be a family. As for right now, I have been listening to a lot of Nina Simone and Indian classical music. I have only recently discovered the band Elbow. Although they aren't "new," they're new to me.

CG: Finally, for sheer randomness, if you could be any animal in the world, what would it be.

AL: I think I'd like to be a well kept dog that had a big bunch of land to run around and play on. My dog Charlie has it made. I treat him like a king. My only regret for him is that I don't live somewhere that he gets roam free very often.

For more Amy, check out her Mountain Stage session on NPR.

Now, the important stuff: How to win tickets!

LaVere's album, Stranger Me, has been described by Spin as "the breakup album of the year."  Like Bestnewbands.com on Facebook and leave us a wall post telling us your favorite breakup song.  We'll announce the winner Friday night here on the site.  Let the feelings of spite and resentment begin!

Is this real life or a Nicholas Sparks novel?  Closing a honey-hued summer with a sunset and live music will be Dawes (and the sun, I guess), and this sounds too good to be true.

Well, believe it. The alt-rock, country-tinted quartet will be playing a free show along with Sonny & the Sunsets (how fitting) at the Santa Monica pier on Thursday, September 1st, and it's sure to be bittersweet as you reflect lovingly on the past three months while dreading the hangover you'll have tomorrow at work (don't worry, it's only one more day 'til the weekend).  Here are the details:

Who: Dawes and Sonny & The Sunsets
Where: Santa Monica Pier
When: Thursday, Sept. 1st at 7pm
Price: Free!
Age: All Ages

So, since writing about the Dawes and Blitzen Trapper Tour Sampler EP, I got to thinking about what a great idea this so called tour sampler is, so I've decided to try my hand at it.  Basically, I'm just going give you info about a tour and the low down on the bands playing is so you can keep overanalyzing Animal Collective albums and cursing crappy Pitchfork reviews.

And, since the boys of Lady Danville are living the dream and touring with Guster (A dream come true for Lady Danville; they cited Guster as a favorite band and great source of inspiration when I interviewed them back in January) and Jack's Mannequin, I thought this assembly of like-minded, heart-bearing songsters would be a great place to start.  Here goes.

The Tour:

Facebook Event Page
Full Tour Schedule
Buy Tickets

Next Show:
Tues, August 23th at 6:30 pm at
The Ritz YborTampa, FL

Guster:

Guster is an infectious pop quartet that's been around for quite a while.  With performances known for humor and a lighthearted but witty sound, they're definitely a great band for someone like Lady Danville to look up to.
Official Site
Wikipedia
Facebook
Myspace
YouTube

Jack's Mannequin:

Jack's Mannequin by jacksmannequin

Lady Danville:

Lady Danville is the delightful trio that's guaranteed to put a smile on your face.  My fellow UCLA Bruins are some of the nicest guys you'll ever meet, and they've got the sweet tunes to match. Moreover, their performances include everything from ukeleles to harmonicas to love songs to barber shop trio harmonies.  Plus, singer/guitarist Dan's bowtie is pretty freaking adorable (especially in person).

Official Site
Wikipedia
Facebook
Myspace
YouTube

lady danville by RootMusic