By LA Weekly
By Henry Rollins
By Weekly Photographers
By Shea Serrano
By Nate "Igor" Smith
By Dan Weiss
By Erica E. Phillips
By Kai Flanders
LOS ANGELES MASTER CHORALE AT WALT DISNEY CONCERT HALL
A nicely modernist bit of programming brings us the Los Angeles Master Chorale, conducted by Grant Gershon, in an evening of challenging contemporary works by two giants in the vocal-music sphere. One of the first and prime exponents of extended voice technique and interdisciplinary performance, Meredith Monk stews music, movement, imagery and sound to forge fresh ways of synthesizing the very experience of art. Commissioned by the St. Louis Symphony, Monk's recent Weave for 40-voice choir and chamber orchestra (in its West Coast premiere) is, as she describes it, "a continuous, woven form in which layers that seem part of the texture are gradually revealed, take on their own life, and then are modified by the next layer that appears." Spanning the spiritually soothing to the downright nightmarish, Monk's 1996 work Night and selections from her 2008 Songs of Ascension will also be performed, as will Arvo Pärt's sublime Miserere. Show starts at 7 p.m. (John Payne)
Also playing Sunday: "ANOTHER VERSION OF THE TRUTH" (NIN FILM) at the Echoplex; HELLINGS, VICIOUS LICKS, THE FLATS at the Viper Room; THE HOLLOW TREES at McCabe's; IT'S CASUAL, PROGERIA, RUSTY EYE at Dragonfly; NEIL HAMBURGER at Spaceland; GOSPEL BRUNCH at the House of Blues; THE LIVING SISTERS at Amoeba Music; PATT BRITT & THE ALL-STARS at Cat & Fiddle; THE SEQUENCE at the Roxy; MISS KIMMY'S ROCK & ROLL KARAOKE at the Rainbow Bar & Grill; SONES DE MEXICO at the Getty Villa; GRIS-GRIS at La Cita; VINNY GOLIA, KATHY CARBONE at REDCAT.
1111 S. Figueroa St.
Los Angeles, CA 90015
Category: Community Venues
Region: Out of Town
5515 Wilshire Blvd.
Los Angeles, CA 90036
Category: Bars and Clubs
Region: Mid-Wilshire/ Hancock Park
111 S. Grand Ave.
Los Angeles, CA 90012
Category: Music Venues
Region: Out of Town
631 W. Second St.
Los Angeles, CA 90012
Category: Bars and Clubs
366 N. La Cienega Blvd.
Los Angeles, CA 90048
Region: Melrose/ Beverly/ Fairfax
Playing Monday: CRYSTAL CASTLES at the Echoplex; WALKING SLEEP, UNION LINE, GOLDENBOY at the Echo; STEEL PANTHER at the House of Blues; THE MILES EVANS BAND at Catalina Bar & Grill; SPIN THE BOTTLE at the Roxy; VINNY GOLIA, KATHY CARBONE at REDCAT; GOLDENBOY at 14 below; MARK BALLAS, ARIELLE DOLLINGER, JAMES KENNEY, APARTMENT 28 at the Mint; NUEXPE, THE MONOLATORS, THE SEIZURE at Pehrspace; HELEN STELLAR, THE POSTELLES, THE CONSTELLATIONS at Spaceland.
PiL AT CLUB NOKIA
While it's true that the Sex Pistols killed rock & roll — or, perhaps more accurately, slaughtered the bloated sacred cow known as '70s classic rock — they were ultimately a very traditional band. Despite all of "the filth and the fury" surrounding Johnny Rotten's caustic lyrics about abortion and anarchy, he was usually backed by relatively conventional (albeit thrillingly elemental and juiced-up) music that drew directly from such inspirations as the New York Dolls, the Stooges, Chuck Berry and the Small Faces. When Rotten formed Public Image Ltd. and reinvented himself as John Lydon following the Pistols' breakup in 1978, he finally had a group that could make anti-rock music that was as radical as his lyrics. Although PIL were reportedly influenced by Can and Captain Beefheart, their debut album, 1978's First Issue, didn't really sound like anybody else. As Lydon ranted about the media and organized religion, Jah Wobble's massive dub-reggae bass lines collided with former Clash member Keith Levene's unique clarionlike guitar parts (later lifted by U2's the Edge), creating an impenetrably dark, noisy and terrifying brand of "Death Disco." For this tour, Lydon is reuniting one of PIL's mid-1980s lineups, with ex–Damned guitarist Lu Edmonds (who also plays with the Mekons), drummer Bruce Smith (the Slits, the Pop Group) and bassist Scott Firth. It sounds like a paradox — an aggressively antinostalgic, forward-thinking new-music group deigning to play the old anti-hits again — but perhaps Lydon and his crew will turn this warm-up gig for their upcoming set at Coachella into something more subversive than just a sentimental jaunt down memory lane. (Falling James)
BILL FRISELL AT LARGO AT THE CORONET
Trying to cram Bill Frisell into a musical category can be a difficult job, but an intriguing one. Though generally aligned with the progressive jazz camp, the chameleonic guitarist-composer maneuvers his way around easy genre stamps with a repertory of far-reaching sounds that draw from the fertile ground between avant- and beboppy jazz, the more angular strains of arty rock and the shadowy strands of melody and harmony deriving from American rural music. The often dreamlike effect of Frisell's stuff is a by-product of a subtly radical rethinking, a process best experienced live, where he further ups the ante with innovative use of digital delays and other effects. He also will, if pushed, throw down some simply wicked ax chops. Frisell's intricately textured dynamics are aided tonight by two similarly nuanced players, pianist Jason Moran and drummer Kenny Wollesen. Two sets, 7:30 p.m. and 10 p.m. (John Payne)
Also playing Tuesday: ELVIS COSTELLO at the Arlington Theatre (Santa Barbara); DILLINGER ESCAPE PLAN at the Glass House; RETRIBUTION GOSPEL CHOIR at Spaceland; "MAS EXITOS" at Verdugo Bar; THE BLESSINGS, ALL SEEING EYES at La Cita; BRIGITTE HANDLEY & THE DARK SHADOWS, CHAMPAGNE VELVET, NEON KROSS at the Redwood Bar & Grill, LEE ROY REAMS at the Magic Castle, SERENA RYDER, RYAN STAR at the Troubadour; ANDRIESSEN'S "LA COMMEDIA" at Disney Hall.
MAD PROFESSOR AT THE ECHOPLEX
When Latter-day Dub Savior Mad Professor (aka Guyana-born, London-bred mixologist Neil Fraser) takes the controls at the Dub Club, it'll be a situation ripe with limitless aural possibilities. The good professor's blend of peerless instinct, sheer creativity and innovative cunning enabled him, via his insanely groove-exploiting dozen-album Dub Me Crazy series, to gloriously extend the dub tradition of the '70s. He skillfully collaborated with some of Jamaica's key reggae spearheads (notably U-Roy, Lee "Scratch" Perry and Horace Andy) and managed to cross over from reggae to electro-pop, remixing Massive Attack's second album in its entirety and memorably working over releases by everyone from Sade to the Beastie Boys to Rancid. There's a graceful volatility about Mad Professor's dub, a need for adventure that always leads him through an unusually creative spectrum. That territory — fraught with luxurious atmosphere, exotic coloration and spontaneous blasts of jolting effects — is Mad Professor's exclusive domain. An opportunity to visit there is not to be squandered. (Jonny Whiteside)
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