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Events / Alternative/Rock (8)

Monday, July 6

SOAK.

The Echo

1822 W. Sunset Blvd., Los Angeles, CA 90026

8:00pm

SOAK has won widespread praise, and comparisons ranging from Laura Marling to Cat Power, for her textured tales of adolescence, family and friendship. Still just 18 years old, Bridie Monds-Watson has been performing in her home of Derry since the age of 14, where she'd split her time between studying, the local skate-park, and her burgeoning songwriting (touring in the school holidays, and launching Derry's City of Culture hours before a GCSE exam). Then, in 2014 she became the first signing to CHVRCHES' singles label, releasing the beautiful 'Blud' and touring with the likes of George Ezra and Tegan & Sara. In the same summer that most of her friends got their ALevel results, SOAK penned an album deal with Rough Trade Records and aired the beautiful 'B a noBody'.

Her forthcoming album will cement Bridie Monds-Watson's ascent from a raw talent to a unique artistic voice for 2015 ("a vivid portrait of teenage deep-thinking…intricate, ambiguous psychodramas" Guardian)

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Monday Night Residency with Beach Party + special guest Juan Wauters

The Echo

1822 W. Sunset Blvd., Los Angeles, CA 90026

8:30pm

Founded in the fall of 2012, Beach Party was a smashed to basics garage punk band from the first night they played a pool party and the first morning they woke up drunk and wondering where those brand new head wounds had come from. This mystery was never solved but naturally, great things were in their future. While some may grumble at their name, LA's good times garage punks Beach Party have some cred behind them. Last year's single, "Can't Surf / Fun," was recorded by Ty Segall and the band have shared stages with Best Coast, Bass Drum of Death, and Black Lips. It’s the tough side of ‘60s garage, the too-smart-for-its-own-good part of first-wave punk and the jet-engine beginnings of hardcore, when a band like the Zero Boys could share a bill with the Ramones and everyone would go home happy and bloody. Which, funnily enough, is exactly the way Beach Party started in the first place.

Now, the band prepares to release their second EP, Ripper, recorded by Sonny Diperri (Portugal The Man, Hanni El Khatib,STRFKR).

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Thursday, July 9

Intuition & Equalibrum

Troubadour

9081 Santa Monica Blvd., West Hollywood, CA 90069

8:00pm

Intuition & Equalibrum are rapper / producer duo that have been working together for over a decade.

Intuition resides in Los Angeles and hails originally from Alaska. He's loved rap music since his childhood, but never thought he'd end up being a rapper. Equalibrum resides in Santa Barbara and hails originally from Connecticut. His love for rap music developed during his youth through his obsession with skateboarding and skate video soundtracks.

The two met in Santa Barbara while attending college. They began working together immediately and haven't stopped since. Intuition's rhyme-heavy but laid back style seem to blend perfectly with Equalibrum's sample-heavy beats that are rooted in tradition, but somehow forward thinking at the same time. The team sounds so comfortable together because they learned the art form together.

They've released 3 full length albums together including last year's self-titled Intuition & Equalibrum. Intuition has also released 2 weird mixtapes and an EP with Los Angeles rapper VerBS. Equalibrum has released 2 full length instrumental albums, and 3 instrumental EPs.

They've been featured in the likes of LA Weekly, LA Times, NME, countless blogs, and the front page of Reddit, but none of that matters because the group has managed to become it's own media team. With a number of beautiful music videos, a popular podcast called Kinda Neat, and a well curated music Youtube channel sharing the Kinda Neat moniker, the duo has managed to amass an anomalous following without any PR team and next to no mainstream press. Their hermitic tendencies, go-at-their-own-pace style of releasing music, and rare performance appearances have created a passionate following with a familial feeling.

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Son Lux

El Rey Theatre

5515 Wilshire Blvd., Los Angeles, CA 95928

9:00pm

Founded by producer-composer Ryan Lott in 2007, Son Lux “works at the nexus of several rarely-overlapping Venn Diagrams” (Pitchfork). With the recent additions to the band of guitarist-composer Rafiq Bhatia and drummer Ian Chang, Son Lux is now a ferocious trio both live and on record. Bones (June 23, 2015) is the first album documenting this new formation, and it draws from the three members' unique and omnivorous musical vernaculars. Few bands have built a more impressive and varied array of collaborators: Lorde, Beyoncé producer Boots, Sufjan Stevens, Matthew Dear, Busdriver, Vijay Iyer, Nico Muhly and Pulitzer Prize winner Caroline Shaw.

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Saturday, July 11

Veruca Salt

El Rey Theatre

5515 Wilshire Blvd., Los Angeles, CA 95928

9:00pm

One summer day in 2012, Veruca Salt’s vocalist-guitarists Nina Gordon and Louise Post sat downstairs in Gordon’s basement in Los Angeles and sang together for the first time since the two ended their friendship and musical partnership 14 years prior. “It was sublime. Our voices hadn’t changed. We just locked right in and it was heaven,” Gordon says. Gordon and Post’s reunion eventually led to the pair reforming Veruca Salt with their original bandmates: Gordon’s brother, drummer Jim Shapiro, and bassist Steve Lack. This year, the quartet have been in the studio with Brad Wood (who produced their gold-selling debut album, American Thighs) recording new music.

Veruca Salt formed in Chicago in 1991, when Post and Gordon were introduced by a mutual friend. In 1993 Veruca Salt played its first gig and soon released the “Seether” single on local label Minty Fresh. A major-label bidding war erupted and the band signed to Geffen Records. They toured with alt-rock royalty Hole and released an album, American Thighs, which eventually sold a million copies worldwide. They scored features in Spin and Rolling Stone, recorded an EP, Blow It Out Your Ass It’s Veruca Salt, performed at the UK’s prestigious Glastonbury Festival and appeared on Saturday Night Live.

Veruca Salt broke up in early 1998 when Gordon suddenly left the band. Though she and Post aren’t eager to give exact details about what led to the breakup, they will say that ultimately a lack of coping skills led to their implosion. “We understand that people want to know the gory details,” Gordon says. “It was drugs and cheating and all that junk, and the two of us not talking about what was really going on. If it were Mick and Keith or something, Louise and I would have just had an old-fashioned fistfight and gotten back to work.”

In 2012, Gordon read that Mazzy Star had reunited. “I emailed Louise and said, ‘Hey, Mazzy Star are playing Coachella, shouldn’t we?’ And she said, ‘Maybe we should start with coffee.’” Post had been in touch with Lack over the years and broached the subject with him. Shapiro, too, was on board, and in August, the four original members sat down together for the first time. Meanwhile, Veruca Salt had been contacted by Minty Fresh about releasing a 20th-anniversary edition of American Thighs, which first appeared in September 1994. “It was very timely,” Post says. “And we thought, ‘What if we were to release something new, too?’

The new songs pick up where Veruca Salt left off 14 years ago, with their sing-along hooks, melodic pop smarts, thundering sonic aggression, reference-packed wordplay, and angelic harmonies still intact. “It’s miraculous to have this brand-new, beautiful chapter,” Post says. “We never saw it coming, and yet, here we are. To be able to reconnect and play with these dear friends of mine who are like my family . . . it’s such a gift. I feel like a huge weight has been lifted. Everything is where it’s supposed to be.”

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Monday, July 13

Monday Night Residency with Beach Party

The Echo

1822 W. Sunset Blvd., Los Angeles, CA 90026

8:30pm

Founded in the fall of 2012, Beach Party was a smashed to basics garage punk band from the first night they played a pool party and the first morning they woke up drunk and wondering where those brand new head wounds had come from. This mystery was never solved but naturally, great things were in their future. While some may grumble at their name, LA's good times garage punks Beach Party have some cred behind them. Last year's single, "Can't Surf / Fun," was recorded by Ty Segall and the band have shared stages with Best Coast, Bass Drum of Death, and Black Lips. It’s the tough side of ‘60s garage, the too-smart-for-its-own-good part of first-wave punk and the jet-engine beginnings of hardcore, when a band like the Zero Boys could share a bill with the Ramones and everyone would go home happy and bloody. Which, funnily enough, is exactly the way Beach Party started in the first place.

Now, the band prepares to release their second EP, Ripper, recorded by Sonny Diperri (Portugal The Man, Hanni El Khatib,STRFKR).

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Ryn Weaver

El Rey Theatre

5515 Wilshire Blvd., Los Angeles, CA 95928

9:00pm

On the day Ryn Weaver was born, NASA and CNES, the French national space agency, conjointly launched the TOPEX/Poseidon satellite. It was an oceanographic marvel, providing unprecedented measurements of sea levels, tides and the ocean floor.

To the cynic, this factoid may seem wholly coincidental. But in talking with Ryn, or listening to her music, one begins to believe in things like destiny, the uncanny, the stars. She has French blood. She has a reoccurring dream of orcas. “I was a little mermaid,” she says of her childhood. When she moved to New York City, she missed the Pacific so much she would fill her bathtub with chilly water and submerge.

Some musicians have a fascinating backstory. She was raised on a kibbutz in rural Oregon. Her father formed that LeBron James Cult. Ryn is not one of those musicians. She was born in Encinitas, California, a surfer town with a mosaic of the Virgin Mary hanging ten under a bridge, and raised in perpetually pleasant San Diego. Her dad is an architect. Her momma is, as she says, “just a momma.” This does not diminishes her fascinating character.

In conversation, Ryn leaps from topic to topic. She talks of lunar cycles, ascendent zodialogical signs, the effect of soy consumption on vegetarians’ nipples, the differing eroticism in the art of Gustav Klimt and his protege Egon Schiele, Kate Bush’The Dreaming, love, the symbolism of stone fruit in a Joanna Newsom song, the fantasy MMORPG RuneScape, pre-zipper fashion design, death, the empathetic powers of domesticated rats, gender politics, David Bowie’s groin in Labyrinth, and the ominous allure of the sea in Herman Melville’s Moby Dick.

The day that Ryn was born is also the Day of the Velvet Voice, according to the numerologists at the Secret Language. Her voice is her instrument, and it is indeed as fleecy and voluptuous as brushed burgundy velvet. Her voice is also chiffon, devoré and nacré. It is cotton and silk. It can be crushed or hammered. When Ryn first began composing songs, she would deeply pile her vocals in a computer, building ethereal swirls, posting them to Soundcloud.

Ryn meets Benny Blanco on Halloween in New York, her first time in the city. She is dressed at Bambi. He is dressed as himself, an impossibly young multiplatinum producer. They hang out in a burlesque club, part ways. Two years later, Ryn is crashing up and down the California coast. “It is the most irresponsible time of my life. I’m trying to wash everything out of my system.” She bumps into Blanco again in L.A. on his birthday. He invites her to a party. She plays him her songs on Soundcloud, like the fingersnap slow-jam “You,” which she has appropriately hashtagged #Fairy Pop. “I show Benny but he was wasted,” Ryn remembers. He listens again sober and reaches out to her.

“Ryn’s music sounds like butterflies in your brain,” Blanco says, “Like if you took dope beats, mixed them with Joni Mitchell and Kate Bush and then attached it to a bungee cord.” After cowriting and coproducing hits for Katy Perry, Maroon 5 and Wiz Khalifa, Blanco has partnered with Michael Angelakos of Passion Pit. It’s an inspired pairing. Both are precocious, twentysomething talents playing left field in pop music, lobbing hooks to the radio that bounce and unexpectedly curve. Working with Ryn is their debut collaboration. “The project didn’t make sense until an hour of us working together for the first time,” Angelakos says. “What makes Ryn so fascinating is this odd straddling between reality and surreality. Someone so innocent, fresh and excited is something so rare that it almost seemed like a facade, but none of it is.”

In Ryn’s songs you can hear the euphoric pulse and summer breeze of Blanco, and the giddy rush and dust-devil synth swirls of Angelakos. Drums pound like fists against the door on “OctaHate,” a slow-jam swing turned earthquake, as Ryn’s voice rises in an anxious trill, building, building, hitting a peakin squeak as she belts, “You shot me down!” When you listen, bear in mind you’re hearing her first take in a studio, ever. Listen more closely and you can hear what sound like drops of water in a tub.

“OctaHate” equals hate times eight, Ryn explains. The day that Ryn was born is the 222nd day of the year. Two times two times two is eight. Her debut EP is being released on August 8. Are you starting to see?

There is something mystical about this Fairy Pop. So, no, there is no grand, juicy backstory. Ryn is a young woman who busted her ass waiting tables and sleeping in her car. That’s cool. Once you tell an interesting origin tale, what is left to say? Ryn may not be a story, but she is filled with them. Stop chasing the white whale and observe the ocean before you.

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Thursday, July 16