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
DARK DARK DARK AT ORIGAMI VINYL
For all of its amassed instrumental might, the Minneapolis sextet known as Dark Dark Dark would be plenty formidable were it merely the alias of lead singer and pianist Nona Marie Invie. Her voice — rich, with just a dash of quaver — sounds like it was crafted by divine means in order to sing the kind of blues that Woodie Guthrie once did so well. That's not to say the band's name should be taken entirely literally (they have a song titled "Bright Bright Bright," after all). Though their music tends toward a more melancholy tone, its lushness connotes the sort of organic beauty that instantly dispels the maudlin in favor of something living and vibrant. So while a chorus of troubled voices wail under Invie's mournful croon, accordion, banjo, cello, bass and trumpet twist their brambles around the entire funeral march and push a song like "Something for Myself" into the heavens. A new album, Wild Go, is due out in October. (Chris Martins)
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Los Angeles, CA 90057
Category: Bars and Clubs
Region: Out of Town
CIRCA SURVIVE AT THE BOOTLEG THEATER
These Pennsylvania emo-prog dudes recently completed a stint as Coheed and Cambria's opening act and will hook up with Deftones for a run following this headlining L.A. date. But Circa Survive definitely deserve their own look: On Blue Sky Noise, the band's major-label debut (which came out in April), frontman Anthony Green layers his yearning little-boy vocals over knotty, complex arrangements that inspire equal parts headbanging and fist-pumping. Like Coheed and Deftones (and Tool, whose sometime-producer David Bottrill helmed Blue Sky Noise), Circa Survive exist within a complicated world of their own devising: It's probably worth noting that the new album's cover, for instance, depicts a Pegasus with a rainbow where its head should be. Yet Green's singing provides a route into the music that personalizes it in an uncommon way. Good stuff. (Mikael Wood)
Also playing Tuesday: MICHAEL MCDONALD at Coach House; TUESDAY CLASSICS: LOS ANGELES PHILHARMONIC WITH GUSTAVO DUDAMEL, GABRIELA MONTERO at the Hollywood Bowl; THE RICHARD GLASER JAZZ BAND at the Waterfront.
EL-P AT THE AIRLINER
As indie-rap's resident eardrum-smasher, Brooklyn producer El-P, aka Jaime Meline, has carved out a musical corner all his own by reinventing the explosive boom-bap of Public Enemy for the digital age. Though he's an excellent rapper as well — with a frantic, word-crammed style that relies less upon rhyme than it does the brute force of consonance — El's greatest gifts to music may wind up being his inimitable soundscapes. Early indie-rap adopters were first wowed by his work with '90s crew Company Flow, but his flair for the dense and dramatic evolved into something far more dangerous just as the record label that he founded in 1999, Definitive Jux, came into its own. He produced the entirety of Cannibal Ox's revered 2001 album The Cold Vein, and followed that up with a solo debut, Fantastic Damage, that was everything its name suggests. I'll Sleep When You're Dead (2007) found him diving deeper into Orwellian imagery and self-loathing — an intense experience for the artist, presumably, as his last two releases have been heavy-duty instrumental mixes (the Weareallgoingtoburninhellseries) — which he'll be re-creating live here at Low End. (Chris Martins)
Also playing Wednesday: AUTOLUX at Amoeba Music; LEIF VOLLEBEKK at Hotel Café; K'NAAN, BRUNO MARS at House of Blues Sunset Strip; DEATH KIT, STANDING SHADOWS at Silverlake Lounge; TY SEGALL, YELLOW FEVER, ROYAL BATHS, MOONHEARTS at the Smell; SAMMY HAGAR AND THE WABOS at Pacific Amphitheatre.
DECONSTRUCTING DAD: THE MUSIC, MACHINES AND MYSTERY OF RAYMOND SCOTT AT THE SILENT THEATRE
The "Don't Knock the Rock" music doc fest and Cinefamily present an enthralling film about pioneering composer and electronic-music pioneer Raymond Scott. Deconstructing Dad: The Music, Machines and Mystery of Raymond Scott tells the story of a truly pivotal figure in 20th-century music whose madly eclectic achievements remain largely obscure. Scott began in the '30s as a swing/big-band composer and conductor, later creating wonderfully weird scores for Hollywood films, cartoons and commercial jingles, and in the third act devoted his life to his first real love, audio technology. A musician-inventor like the more heralded Les Paul, Scott conceived and built literally dozens of electronic musical instruments. Many of his innovations were years ahead of their time, such as his best-known conception, the Electronium, an "instantaneous composition and performance machine." An essential view inside the wonders of creative genius, American-style. (John Payne)
RICKIE LEE JONES AT THE SANTA MONICA PIER
Rickie Lee Jones returns to her roots tonight at the pier, coming full circle in a musical journey that began when the Chicago native ran away from home and ended up in Santa Monica in the '70s. The seaside setting is bound to inspire memories "that cry and quiver/When a blue horizon is sleeping in the station." Local imagery plays such a big part in Jones' work, especially on her 2007 album The Sermon on Exposition Boulevard, which fancifully reset the story of Jesus among modern L.A. landmarks. While her 2009 follow-up, Balm in Gilead, wasn't quite as musically adventurous, it was still a moving collection of folk, jazz and pop ballads, fleshed out with support from such guests as Chris Joyner, Victoria Williams and the late Vic Chesnutt. The ethereal track "His Jeweled Floor" is a moving series of hushed echoes and solemn harmonies that combine into an especially bewitching soundscape. "I am the last of my kind in this town," she confesses on "Eucalyptus Trail," and you'd do well to heed her siren song before she slips away again. (Falling James)