Los Angeles is a hotbed of live music, and L.A. Weekly is here to help navigate this embarrassment of riches. From a musical celebration of al that is David Lynch to a performance from Moby with the L.A. Philharmonic to Meg Myers and Lykke Li, here are the 12 best music shows in L.A. this week.
WALT DISNEY CONCERT HALL
Following Moby's excellent, angry reaction to the 2017 presidential election that was the More Fast Songs About the Apocalypse album comes this year's more serene, introverted Everything Was Beautiful, and Nothing Hurt. Damn, even the title sounds like a personal mantra Moby might utter after sitting through a couple of hours of TV news. What the two records and the past couple of years have told us is that Moby is still a musical chameleon, capable of shifting tones depending on his own mood. He can get utterly caught up in the shitshow going on around us, or disappear into his own head. Both records are great, and he's still a thrill live, too, and this show with the L.A. Philharmonic is intriguing. Punk, EDM, classical — the guy can turn his hand to anything. —Brett Callwood
Screaming Females, Kitten Forever, Double Scorpio
"I carve my name into the ceiling," Marissa Paternoster sings defiantly between curt accents of her own crushing guitar chords on "Glass House," from Screaming Females' new album, All at Once. "Whose house is this? A gift was promised/Future structures till we all vanish." Despite the coed New Brunswick, New Jersey, trio's name, Paternoster rarely resorts to screaming. "Now we all dream alone," she croons hypnotically on "Black Moon," insinuating her yearning, majestic vocals within bassist Mike Abbate's and drummer Jarrett Dougherty's thundering grunge-punk attack, which occasionally subsides for more intimately melodic alt-rock interludes. Minneapolis trio Kitten Forever trade off on spiraling bass and elemental drums on such short, rabid punk rant-chants as "Afterlife 2" and "Sour Cherries." But first, Alice Bag, Allison Wolfe (Bratmobile) and Seth Bogart (Hunx & His Punx) debut their new project, Double Scorpio. —Falling James
WHISKY A GO-GO
Due to the fact that she had written her debut album, Soho Lights, by the time she was 17 (with her band TAT), London punker Tatiana DeMaria seems to have been around forever. She's performed at festivals around the world, including numerous Warped Tours, and written music for movies (Blue Crush 2) and commercials (7Up and Pepsi). In a relative short time, she's achieved a hell of a lot, and she shows no signs of slowing down. She's going solo on the current tour, using her full name and plugging a new solo EP. Still, she writes the songs, so expect much of the same in terms of super-catchy melodies. There are still a lot of people in the world who have no idea who DeMaria is, and this Whisky show is a great opportunity to put that right. —Brett Callwood
David Lynch's Festival of Disruption
THE THEATRE AT ACE HOTEL
Yeah, this thing's gonna be crazy. You only have to spend five minutes watching Eraserhead, Blue Velvet, Mulholland Drive, etc., to know that director David Lynch doesn't think the same way other people do. So an all-encompassing arts festival bearing his name is always going to celebrate those who create something that exists on the edges of popular culture, that doesn't sit comfortably with what is considered the "norm." Christian Louboutin, David OReilly and Lynch himself will present exhibits, while music comes courtesy of Mercury Rev, Mike Patton (of Faith No More, Dead Cross, etc.) with DJ QBert, Richard Reed Parry, Saint Motel, Tokimonsta and Vic Mensa. That's a gloriously diverse and weirdly eclectic lineup, befitting the man himself. And that's before we mention something called a "soundbath" that includes Jónsi of Sigur Ros in some capacity. Who knows what to expect? It'll be fascinating, though. —Brett Callwood
Since moving from a beach town in North Carolina to Los Angeles several years ago, Beck Black has fronted a variety of intriguing bands, including The Moonbeams as well as her latest group, Jynx, an electro-pop project with artist Kii Arens on Linda Perry's We Are Hear label. But the singer-bassist-keyboardist might be at her best when she performs with her self-titled group, who have evolved from darkly intense goth-punk into harder-rocking glam that's distinguished by Black's glittery style and innate rock-star stage presence. She sidestepped into '60s garage rock in such recent collaborations with The Standells' Tony Valentino as "You're Never Gonna Stop Me" and "Riot on the Sunset Strip." But Beck Black's upcoming EP, Hollywood Blvd., ranges from the more modern hard rock of the swaggering title track to the dreamily shimmering, candied pop of "Puppet Show," which sounds like a lost Blondie gem. —Falling James
It's hard to believe the world can change in less than 8 minutes — but in the case of anarcho-crust visionaries Doom, their 7-minute-57-second-long Police Bastard EP on Profane Existence remains the touchstone for the world of crust-punk. Tonight, in one rare and searing evening of anger and chaos that is as immediately necessary now as it was back in 1987, Doom will demonstrate just how powerful a bunch of concerned, aware, active and energized people can be when they're rallied to a righteous cause, and how theirs is the soundtrack to a world that's not so much gone mad as it just plain got mad. Also tonight: Nausea (the California one, not the Belgium one or the Finnish one or the Argentinian one or the New York one), just-happy-to-be-here noise merchants Sissy Spacek, and 30-years-strong Huntington Park grindcore activists Terrorizer. —David Cotner
WHISKY A GO-GO
When Florida BDSM-themed industrial metal band Genitorturers first emerged back in 1986, their latex and whip-fueled imagery was mildly shocking, and something a little different, or at least more explicit, from anything else the scene was producing. Fast-forward to 2018, though, and the world is a far more accepting place. Whereas a Genitorturers show might have seemed dangerous and thrilling back in the '80s and '90s, now it just sounds like a fun night out. We know that singer Gen will stride out in full dom regalia, people will get whipped, the full monty. Perhaps more important, the songs still sound great, although we haven't gotten any new material since 2009's underheard Blackheart Revolution. We need more, guys. —Brett Callwood
Marissa Nadler lives in hushed, desolate spaces that are lit up only by the soft glow of her curiously distinctive vocals. Her dreamily intoned ballads are anointed with an atmosphere of mystery and enchantment that is more hypnotic than typical folk music. Despite her restrained delivery and thoughtful lyrics, the Boston singer-guitarist is no self-effacing pushover. "We're all out of catastrophes," Nadler purrs coolly on her archly titled new album, For My Crimes. "You said I live for tragedy, so I threw the keys at your head." She surrounds herself with a simpatico lineup of women musicians and guest stars, including Sharon Van Etten (singing backing vocals on the delicately austere "I Can't Listen to Gene Clark Anymore"), harpist Mary Lattimore ("Are You Really Gonna Move to the South?") and Angel Olsen (the title track). —Falling James
If you're familiar with Lykke Li, you know this show will be one for the books. Currently based in Los Angeles, the Swedish singer, songwriter and model blew up with her hit single "Little Bit." More recently, she released her fourth studio album, So Sad So Sexy, the first since her 2014's I Never Learn. With each release, Lykke Li showcases maturity, vulnerability and diversity in her sound. The new project features credits from Rostam Batmanglij, Malay, Skrillex, Kid Harpoon and T-Minus, and even a standout feature from Aminé. Now, she is excited to take the album on the road, with support from hip-hop duo TiRon & Ayomari. —Shirley Ju
Sophie Allison charts the vagaries of love and disappointment with a keen, unsparing eye on her recent album as Soccer Mommy, Clean. She's endearingly hopeful on the indie-rock track "Skin" as she insists, "I want to be the one you miss when you're alone/I want to be the one you're kissing when you're stoned. ... I'm clawing at your skin, trying to see your bones." But much of the time, the 21-year-old Nashville is disillusioned by bad relationships. "I don't wanna be your fucking dog that you drag around/A collar on my neck tied to a pole/Leave me in the freezing cold," Allison declares, not with a punk-rock fury but with a rueful resignation braided with slivers of jangling guitar. In her best moments, Allison avoids being cloying and comes across with a poignant sincerity. —Falling James
EL REY THEATRE
Meg Myers has been bursting with feelings since her debut single, "Monster," back in 2011. The song mood-swings from introspective longing to heavier, hard-rocking surges of romantic dedication that are mixed with waves of self-loathing and anger. "What have I done? I'm a fucking monster when all I wanted was something beautiful," she confesses. The L.A. singer transmutes that same energy and passion into a wider variety of settings on her latest album, Take Me to the Disco, roaming from the ethereal vulnerability of the title track to the stormy passages of "Numb" ("I'll keep marching on like a broken robot," she confides sullenly). At times, the record's bombastic arrangements undercut the power of several tracks, but Myers' personality shines through better on more stripped-down songs, such as "Constant" and "I'm Not Sorry." —Falling James
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It looked like alien horror-rockers GWAR's time was up in 2014 when Dave "Oderus Urungus" Brockie shuffled off this mortal coil, but Michael "Blothar" Bishop took on the mantle and the band have seamlessly, though respectfully, carried on. Brockie was clearly a huge talent and, despite the fact that most people have no idea what he really looked like thanks to the masses of prosthetics that he would sport, he's massively missed. That said, GWAR have always been more about the theater than any individuals, and that's why they have been able to soldier on. Their crowd just wants loud metal and masses of fake blood. Last year's The Blood of Gods album, the first without Brockie, and the surrounding gigs proved that the current lineup are capable of all that and more. —Brett Callwood