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
BEACH FOSSILS at Echo; VEX RUFFIN at Bootleg; GERALD WILSON ORCHESTRA at Catalina; WE CAME AS ROMANS at City National Grove of Anaheim.
8430 Sunset Blvd.
Los Angeles, CA 90069
Category: Bars and Clubs
Region: Out of Town
Neverever, The Tyde, Dunes
Glasgow-to-L.A. emigres Neverever are couple Jihae and Wallace Meek, who've come to Hollywood to further zero in on the classic garage-y pop sound that made 2010's radiant Angelic Swells such a crunchy, glammy joy. Built as mini- symphonies, songs like "Young and Dumb" and "Teardrop Tattoo" are chock-full of gloriously thumping sock-hop pop, Ronettes riffarama, Slade-like sludge and huge dollops of glossy Blondie new wavery — sometimes all at the same time. It's a review and reanimation of the best the pop planet had on offer these past five decades. Veteran surfy-rock psychotica all-stars The Tyde dart into the fray; L.A. trio Dunes offer timeless teen angst in their wispy shrieky Siouxsie/Cocteau Twins trauma-rock tribulations. —John Payne
Princess Pangolin, Erin Brazill
"Come home and bury your dreams next to mine," Princess Pangolin says invitingly on "Heatwave" under a clucking of acoustic strings before a wave of violins swells dramatically behind her. The local art-folkie also known as Julie Carpenter unveils charming, delicate baroque pop melodies with candy-cane viola adornments, which are deepened by adventurous, evocative lyrics. "Give me back my instincts," she coos serenely, folding her voice like a pair of wings under the sheets of violin that come fluttering down on "Chromatophore." There's something oddly affecting and out-of-time about the restrained way she blends stringed instruments with her cascading singing. San Francisco chanteuse Erin Brazill has a more traditional swing-pop sound, but it's infused with a languidly compelling romanticism. —Falling James
House of Blues
Common spends so much time existing in worlds outside music, it's easy to forget the definitive voice the man born Lonnie Rashid Lynn Jr. brought to socially conscious hip-hop in the mid to late '90s. Perhaps it's because he was temporarily known as Obama's radical-thinking rapper buddy, or that he's forever trying his hand at something new. In the past two months alone, he's toured the country behind his first memoir, One Day It'll All Make Sense, while simultaneously witnessing AMC's Hell on Wheels (on which he stars as the recently freed slave Elam in Reconstructionist-era America) debut with impressive ratings. But thankfully, here he returns to his roots for a smallish hip-hop gig in support of his new LP, The Dreamer/The Believer, which drops a day earlier. —Dan Hyman
Until a cease-and-desist letter arrives, let's just call this version of Guns N' Roses The Axl Rose Band, which currently includes guitarists DJ Ashba, Ron "Bumblefoot" Thal and Richard Fortus; bassist Tommy Stinson; drummer Frank Ferrer; keyboardist Dizzy Reed; and vocalist Chris Pitman. Rose and company's last L.A. concert was 2006's KROQ Inland Invasion, where we were doinked in the head with a kamikaze beer cup during the miniriot that erupted, thanks to Rose's notorious tardiness. Sure, you can knock the guy on his kn-kn-knees for taking 15 years to create 2008's Chinese Democracy, and an additional two years to tour, but give Rose credit for still being able to shred, and for having helped create '80s hard rock's greatest album. Looking at previous set lists, nearly all of Appetite for Destruction is included, in addition to Use Your Illusion I and II, a couple of covers (The Who, AC/DC, The Dead Boys) and the requisite mind-numbing guitar and piano solos. —Siran Babayan
WATKINS FAMILY HOUR at Largo; RASTAFARIANS at the Echoplex; TOM RANIER TRIO at Vitello's.
Over its righteous 15 years, L.A.'s Stones Throw label has distilled a diverse yet distinctive aesthetic, where great black American music — hip-hop, soul, R&B, jazz — gets diced fresh, fun and freaky. It accommodates pioneering and pointed raps, songs and avant mixes by the likes of Madvillain, the late J. Dilla, MF Doom, J. Rocc, Aloe Blacc and Georgia Anne Muldrow, and has even found commonality with the demented free expression of chronic "outsider" savant Gary Wilson. Founder Peanut Butter Wolf celebrates the liberated and ever-funky state of mind that is his label's legacy, which has emerged in a time of otherwise commercially calculated horse poo. Stones Throw continues to break new creative dirt, too, as this show's lineup will most definitely prove all night. —John Payne
Iceland's Anna Mjöll grew up in one of her country's leading musical families, eventually representing Iceland in the Eurovision Song Contest. She then joined the band of Julio Iglesias, touring worldwide before setting out on her own career as a jazz singer and songwriter. Mjöll has quietly built a following around L.A. over the past two years, becoming one of the only vocalists to be a regular at the classy Vibrato supper club. Mjöll's striking beauty and often-breathtaking dresses combine with singing talent that has recently drawn praise from jazz luminaries including George Duke, Don Heckman and Dave Weckl. Add Mjöll's penchant for offbeat humor and a running dialogue with the audience, and you might find yourself wondering how long it'll be before she's headlining somewhere in Las Vegas — Tom Jones is already a frequent guest at her shows in town. —Tom Meek
THE FLING, YUKON BLONDE at Echo; JOON LEE at the Blue Whale; NERO at the Music Box.