Music Picks: Neil Innes, Korean Music Festival 8, Avi Buffalo, Lupe Fiasco, Coheed and Cambria | Music | Los Angeles | Los Angeles News and Events | LA Weekly

Music Picks: Neil Innes, Korean Music Festival 8, Avi Buffalo, Lupe Fiasco, Coheed and Cambria 

Also, No Age, Sheila E & the Escovedo Family, Greg Laswell and others

Thursday, Apr 29 2010


It's something of a secret that Amanda Brown Pocahaunted singer and co-owner of Not Not Fun Records is a huge fan of L.A. beat champion Madlib. Her reputation thus far has been built on buzzing drone and lo-fi pop, and though rhythm figures heavily in Brown's work, the trip from her band's experimental rock to 'Lib's gritty hip-hop has been a long one indeed. Until, that is, the recent arrival of Brown's L.A. Vampires. This new project from the Eagle Rock denizen sports a lineup still shrouded in mystery we've heard everything from "solo project" to "local lady supergroup/choir" but its influences are far less enigmatic. Listen to the freshly leaked MP3 "What Is Woman?" and you'll hear bubbling beats, glitchy bits, crusty atmospherics and even sampled jazz flute. Brown's trademark haunting, hypnotic vocals are present as always, making for a wholly unique, completely unforeseen spin on the sounds coming from L.A.'s burgeoning beat scene. Bump up the bass, and this show could just as easily be taking place at Low End Theory. (Chris Martins)

The British songwriter Neil Innes is an international man of mystery with many fascinating musical disguises. In the semifictional late-'70s Beatles satire The Rutles, he portrayed the "smart" Rutle, Ron Nasty, opposite the cute one, Dirk McQuickly (who's perhaps better known as Monty Python's Eric Idle). Songs by the self-proclaimed Prefab Four, such as "Joe Public," "Eine Kleine Middle Klasse Musik" and the gorgeously shimmering "Let's Be Natural," were often — dare I say it? — more memorable than the Beatles classics they were based on. Innes is sometimes referred to as "the Seventh Python" because of his work with the comedy troupe, which included writing skits and composing absurdly brilliant tunes like "How Sweet to Be an Idiot" and the rudely wicked Bob Dylan parody "Protest Song" (which always begins with the mock-pompous introduction "I've suffered for my music. Now it's your turn"). As leader of the madcap jazz-rock combo the Bonzo Dog Band, Innes penned the whimsical 1968 single "I'm the Urban Spaceman" (produced by the original Dirk McQuickly, Paul McCartney) and co-wrote the song "Death Cab for Cutie," which was featured in the Beatles film Magical Mystery Tour and inspired the name of a certain indie-rock band from Bellingham. As Neil Innes, the singer-guitarist has composed numerous eclectic pop songs, which have been compiled in the excellent Recollections series and 2005's Works in Progress. The cleverly assembled career-spanning 2008 documentary The Seventh Python makes a strong case for Innes' genius, not just as a jokester but as a seriously underrated songwriter of great worth. (Falling James)

click to flip through (2) Let's do the "butt-dance" again: K-pop's Kara
  • Let's do the "butt-dance" again: K-pop's Kara

Location Info

At 43 a year older than Thom Yorke, for reference's sake Oakland rapper Too $hort might be expected to adopt a less morally reprehensible lyrical stance than the one that informed his 1987 breakthrough, Born to Mack. Surely this 5-foot-five-inch on-record pimp has exhausted the litany of metaphors that can refer to the act of slapping a bee-yatch? Not so. Standout track "Shittin' On 'Em," from 2007's Get Off the Stage, delivered this, um, gem: "I'm mean/I hit 'em with the closed fist." So while the act of monetarily supporting rap's original misogynist comes with its own set of ethical quandaries, know that $hort Dog is, indeed, a master of his craft. Snoop Dogg, Jay-Z, Ludacris, Eminem, E-40 and 50 Cent have all wet their whistles at that font. And though the lyrics haven't changed much in 20-odd years, Too $hort has adapted stylistically, experiencing a mild resurgence when the Bay Area's influential hyphy movement emerged in the mid-aughts. Also, J-Mo, Mone Wood Entertainment, Greedy Entertainment, GMan. (Chris Martins)

Also playing Friday: JOHN MAYALL at Brixton South Bay; REBECCA PIDGEON at Genghis Cohen; NITE JEWEL, SUGAR & GOLD & LUXXURY at the Echo; A DAY TO REMEMBER at the Wiltern; GROWING, BIPOLAR BEAR at Spaceland; THE SPILL CANVAS, AM TAXI at the Roxy; CAPITOL STEPS at California Institute of Technology; EVOLOVE at the Viper Room; ACES & EIGHTS at Whiskey A Go-Go; BROTHER SAL at Hotel Cafe; MURDER CITY DEVILS at Henry Fonda Theater; THE STONE COYOTES, ANDREW DEADMAN, BLAME SALLY at the Mint; THE ANTLERS, PHANTOGRAM at the Troubadour.



Anticipating the genres of No Jack Swing and the No Wave of British heavy metal, No Age hones an alchemy borne out of incredibly loud drums and ecstatically loud guitar. Not that these are necessarily bad things if you have a headache, you reach for aspirin or a pressure point. So too is it with the sonic emollient of No Age, which unveils its latest work mooted for an album scheduled later this year. It'll be the follow-up to last year's "Losing Feeling" 12-inch on Sub Pop and by "losing feeling," they mean your boggled cochlea, not emotional malaise. Growing, the Brooklyn-by-way-of-Olympia band, celebrates a new album on Vice as well as a three-day stint at the 10th anniversary of All Tomorrow's Parties this December. To say that they're all over the map insults geography in general and that's rather the point with Growing. The band's like a morning hard-on in reverse with all the ear-ringing blood and conflicted emotions that that implies. Eric Copeland of Black Dice fills out the night, and by the end you'll be transmogrified from a 6-foot-2-inch, 190-pound bench-360 triathlete into a bell-deafened hunchback in the best of all possible ways. (David Cotner)

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