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Words Archive
Amazing turnout for PDA.
In a town like LA, most residents seldom consider the train or bus as a means to get where they need to go. Granted, LA is a town spread out, with industries that need to move around.
Many years ago the possibilities of public transportation wained in the face of the combustion engine and the rise in popularity of cars. This and the monopolizing of street cars by GM and their alies.
Little Radio will continue to partner with our friends Global Inheritance, to get people out of their cars in LA.
Even if just for a night. Everything counts.
Check the gallery soon for event pics.
Sun Sep 30 2007 · Posted in Daily on littleradio.com
Division Day: Beartrap Island
Division Day
Beartrap Island
2007 | Eenie Meenie
You
hear that? It’s the sound a band exhaling from over a year of toe
tapping, nail biting, and screaming into pillows. But now that all the
weight has been lifted Division Day prove once again
that their music has staying power by shattering that boulder of
anxiety into 14 tightly wound tracks. The album is loaded with angular
guitar chords and blasts, stabbing synths, and a muscular rhythm
section. Beartrap Island also throws in a few new added songs that are arguably the band’s most driving and tense moments.
The
record starts off with a sustain-heavy guitar line, the title track,
and bursts into a new addition entitled “Ricky”. Pulsating with needles
of synth this song demands to be played on alternative radio formats
everywhere; can we get a video too? Division Day never specifically
focus on one instrument as the main event either. Instead, they utilize
their collected talent to write catchy hooks that are intricate and
full of bright melodies. The gripping rhythms and soaring vocals on
“Lights Out” and “To The Woods” seize your attention because there are
so many great parts to listen to within each verse or chorus.
“Colorguard” contrasts the quartet’s pop bombast with a dreamier and
stark feel. And the anticipating feedback on “Tap-Tap, Click-Click”
displays real power within a super-catchy tune, as equally satisfying
as “Ricky”. Did I mention I liked “Ricky”?
Beartrap Island is one of the most complete and cohesive sounding albums from any L.A.
artist, pick any city for that matter, I’ve heard all year. Rather than
sounding derivative or exhausted, the album is longer than normal, the
sounds and arrangements manage to keep the listener engaged at every
turn.
-Scott McDonald
Thu Sep 13 2007 · Posted in Reviews on littleradio.com
Liars: Liars
Liars
Liars
2007 | Mute
Liars are a band that like to shift their styles of music as much as they can
get away with. In fact, listening to lead singer/guitarist Angus
Andrew, I can picture him chameleon-lizard like sticking a spiked
tongue out while chanting falsettos in an abandoned warehouse
somewhere. In keeping with their array of post-punk musical numbers,
Liars again puts forth a misfit group of tracks that range from
Psych-pop to industrial noise. The opening track "Plaster Casts Of
Everything" off the new self-titled album by Liars struck me as a song
that would be perfect for any new slasher horror movie out in theatres
right now. The pounding drums and metal heavy guitar riffs are
thunderous, however it's probably not the most accurate description of
the rest of the album. Liars actually has a more psychedelic,
shoe-gazer quality that shows prominently in songs like "Pure Unevil"
and "Cycle Time". "Freak Out" is their most accessible number,
somewhere between Jesus and Mary Chain and Gang of Four. It has that
dance quality to it that seems to poke its head up at points on the
album, but without the goofy effect.
There are moments when the
"noise" aspect of the band overpowers the album though. "Leather
Prowler" and "The Dumb in the Rain" both feel too heavy and almost a
bit hard to listen to. However, for the track "What Would They Know",
that same heaviness is made more melodic, and feels like a Bauhaus
song. Perhaps they were trying to balance out the less accessible
tracks by having these radio friendly ones. Regardless, in doing so,
Liars created an album that strives to be dark and yet poppy, creating
a middle ground that can be enjoyed by a wider audience. I'd recommend
"Freak Out", "Cycle Time" and "Clear Island".
-Elana Rintala
(Looking for something similar? Try these bands: Gang of Four, Sonic Youth, and the Raveonettes)
Wed Sep 12 2007 · Posted in Reviews on littleradio.com
C.O.C.O. - Play Drums + Bass
C.O.C.O.
Play Drums + Bass
2007 | K
When drums and a bass guitar are pitted against each other, and not in
a techno sense, the end result is something raw, digging deep into your
ID. C.O.C.O., on their latest release Play Drums + Bass, combine that aggressiveness with a beat you can, well, dance to.
With
just the minimal vocal, bass and drums, this duo stomps through indie,
funk and beat music, all the while keeping in mind that they want their
audience to get up and shake. The opening track "Good" hooks you in
with the sultry voice of Olivia Ness, backed by a funky beat that
instantly reminds me of ESG. It's loose but deceptively complex. Also
the woops from drummer Chris Sutton (of Dub Narcotic Sound System fame)
in the background are pretty fun too.
The transitions from each
song are smooth despite the obvious changes in style of music. With the
meat of the song basically the same, it's probably easier to do.
However, the ability to transform each song with it's simplicity into
such unique gems is pretty fantastic. "For You" is a quick tempo garage
beat song while "Crime" reflects more of a 60's beat, finger snapping
style. "Much to Learn" really digs deep into that primal heavy sound
with tribal like drums and chanting accompanied by Olivia's haunting
vocals. "The End" closing out the album, is the culmination of happy,
pop-beat music that leaves your heart racing. For creating this band
while learning how to play their respective instruments, Play Drums + Bass is
a highly polished example of what a few years and some commitment will
get you. I'd recommend "For You", "Crime" and "The End".
-Elana Rintala
(Looking for something similar? Try these bands: ESG, The Ettes, and The Fall.)
Thu Sep 6 2007 · Posted in Reviews on littleradio.com
Film School: Hideout
Film School
Hideout
2007 | Beggars Banquet
Film School’s
self-titled debut was a history lesson that covered many points along
the darker and more brooding side of shoegaze/80’s-pop (The Cure &
Ride specifically). The album sounded like a group of guys jockeying
for position with no clear direction, but good tunes nonetheless. When
I popped in Film School’s sophomore release, Hideout, it immediately grabbed me and sounded like a different band altogether, a better one.
While Hideout was being made things also changed in camp Film School (the addition of bassist/vocalist Lorelei Plotcyzk, guitarist Dave Dupuis and drummer Dave Smith). With the exception of keyboardist Jason Ruck, longtime band members moved on, and Greg Bertens stepped up as the principal songwriter who's vocals and melodies have
seriously grown into something special. The first thing you’ll notice
on Hideout is how lush and patient each song sounds. And
while a standout banger like “He’s a Deep Deep Lake” from their debut
soars with waves of guitar that particular track sounds dated compared
to most of the new material Bertens has written.
Perhaps it’s
because I’ve always thought of Bertens as the singer/guitarist of a
quintet, simply a piece of the puzzle, but he’s much more than that
now. Turns out he is the puzzle and carries this album like a
matured writer and musician giving the audience a peek into his life.
His voice hints at personal relationships and the experiences we have
all come across concerning love and failure.
Several outstanding songs that appear on Hideout easily distinguish this album as a true progression in form.
“Capitalized I” and the ultra-catchy “Go Down Together” will remind you
of the building miasma created by Serena-Maneesh, only Film School are
less concerned with blown-out noise and ruckus. Other tracks vary but
are quite sticky as we follow Film School down a consistent path of
dreamy pop. The band unleashes devastating melodies and awesome guitar
structures on “Compare”. This song could work as a radio single because
the melody is so inviting and eventually transforms itself into a
beast. Bertens also reveals a beautiful falsetto on “Florida”. The
music and vocals create a tension against the chaotic keys and
repetitive wash of reverb, a real gem for Pale Saints fans. Once the
song opens the floodgates you’ve got to be sold on this record.
With
the help of some notable musicians like Colm O’ Ciosoig (My Bloody
Valentine), Tracy Uba (ex-Timonium) and Paul Wilson (Snow Patrol) the
album displays a real variety of rhythms and vocal styles. But I still
get the feeling that this record exists as the product of Greg Bertens
locking himself up in a studio and revealing himself the way he’s
always wanted to.
-Scott McDonald
(Looking for something similar? Try these bands: Pale Saints, Slowdive, and Psychedelic Furs.)