Show Review: CSS, Agender at The Independent, 5/14/24

I’ve waited 18 years for this. CSS was a big part of my 20’s. I was heavy into the electroclash universe, and made it through plenty of drunken dance parties, sweating the booze out to “Let’s Make Love (And Listen To Death From Above.” But I never ended up seeing them. It simply never worked out, and as their visits to the States became fewer and further between, I just chalked it up to the “I can’t see everybody.” 

Well, then Just Like Heaven released their 2024 lineup. I already knew Gossip was back, but I was surprised to see CSS hidden on one of the lower lines. (SACRILEGE!) Not long after this announcement a small number of tour dates appeared, and I decided it was finally time to make this one happen.  

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Warming up the crowd was LA’s Agender. This is one of those bands that simply hit on the nose EXACTLY everything that I usually want to hear. They pooled elements of disco, hardcore, pop-punk, and stoner metal into a joyful cacophony that flooded my brain with some much-needed serotonin. This was excellent. 

CSS took the stage to the bouncing beats of the Vengaboy’s classic, “We Like To Party.” They seemed to burst onto the stage in a fit color and energy, powering through “CSS Suxxx” in all its pop-punk glory. Lead singer Lovefoxxx would fling her Rapunzel-esque hair with such intensity that I was nervous band members would get hurt. The energy was infectious, and this certainly didn’t feel like we were watching a band that hadn’t performed together regularly in almost a decade. 

With no new material to pull from, the setlist itself did largely feel like a career retrospective, with Lovefoxxx telling stories about the early days of the band, and hitting songs from every portion of their career. She spoke of auditioning for CSS while wearing a Motörhead shirt, despite only knowing “Ace Of Spades” and being a tad embarrassed, only to find that the band was more Madonna than Motörhead anyway. They even covered a few songs that they used to play in their early days- an epic rendition of Madonna’s “Hollywood,” and a live mashup of Sleater-Kinney’s “I Wanna Be Your Joey Ramone” and Jennifer Lopez’s “Jenny From The Block,” which was far more fun than you could ever imagine it being. 

The joy of this set and the happiness emanating from the stage made it hard for me to believe that this tour was a one-off. They sounded as tight as ever, and everyone on stage seemed to be having the time of their lives. The audience gave right back, with a mix of newer, younger fans who never got to see the band in their heyday alongside folks who never missed a show, dancing up a storm, and giving right back to the band. The electroclash hits felt like an old friend that we lost contact with and then found each other again after years, but it felt like no time had passed. Two key moments where this happened with me were “Music Is My Hot Hot Sex” and “Alala.” I forgot how much I moved to those songs in the past, but it was just like riding a bicycle. 

I genuinely hope we get to spend time with CSS again. This show was everything that makes going to shows great: the songs, the crowd, the band. It was such a joy. 

Show Review: IDLES at The Fox Theater, 5/10/24

Yes. I consider myself a fan of “punk rock.” But I will admit I’ve spent very little time with this decade’s reigning punk rock kings. It’s not to say that I’ve completely avoided them- I definitely adore their aesthetic and agree with their stance of what is essentially “aggressive positivity in the face of oppression.” It’s a group of five white guys with guitars that seem to be fully aware of their privilege and what to do with it. I like that. It’s just, well, there is so much quality music out there being created that I will often simply disregard anything by “five white guys” as something that I don’t need. 

That being said, IDLES live proved that I’ve been missing something magnificent this entire time. Opening their set with the intensely atmospheric “IDEA 01,” I still wasn’t sure what to expect. This really wasn’t “punk,” as I have known it in the past. It was clearly something “new,” and I am here for it. 

The band spent the next literal two hours going in and out of shadows onstage, with guitarist Lee Kiernan periodically flinging himself off stage. Singer Joe Talbot danced like the drunkest uncle at the wedding while dryly uttering the most profound lyrics I’ve heard in a long time. Despite being on tour to promote this year’s TANGK, they pulled equitably from their entire catalog, all while speaking about positivity and pushing for a Free Palestine (including donning a “Free Palestine!” hat thrown from the crowd, which Talbot said something along the lines of “this message is worth getting lice for”) Not long after this comment, we ended up with an a capella rendition of Mariah Carey’s classic “All I Want For Christmas (Is You),” always unexpected, but much less expected in May. 

Anyway, that was a lovely, sweaty good time. I even tripped over Lars Ulrich, of all people, who was dancing and singing along and enjoying himself a great deal without any attention being brought to his presence. It was a lovely time, and I expect this band to share a lovely time with folks for many years. 

Kerry King (of Slayer) ‘From Hell I Rise’

Review by: Alan Ralph @AlanHasPicks
Cover photo by: Jim Louvau @jimlouvau

“It’s gonna sound like Slayer without it being Slayer.” (Paul Bostaph, August 27, 2020, Metal Injection

“[O]f course it’s gonna sound like Slayer; I wrote 90% of the last record [Repentless].” (Kerry King, May 13, 2024, Revolver)

After an eighteen-month ‘final’ tour, Slayer called it quits on November 30, 2019, and it surprised absolutely no one that Kerry King would be back. Even the guitar picks that he threw out from the stage every night on the final tour said: Kerry King will be “Reborn” in “2020”.  

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Show Review: Re-TROS, Liars, and Flacid Mojo at The Novo (DTLA), 04-04-2024

I think the last time I saw a show in the LA Live complex in Downtown Los Angeles was when Steven Wilson was touring Hand.Cannot.Erase. It’s a surreal place. High end chain restaurants, shops, and live concert venues all pieced together in a way to showcase itself as a gathering center for food, art, and media, but really it just comes off as an attempt at a capitalist utopia. The Novo is the current iteration of what used to be Club Nokia, the more affordable venue in the complex, especially when compared to The Crypto Arena or the Staples Center. It was still Club Nokia when I saw Steven Wilson, Mindless Self Indulgence, Reel Big Fish, and a number of other bands back in the early 2010s. Nowadays, it is home primarily to hip-hop and pop artists, as a bartender shared with me, so it was going to be a very different night and a different crowd than usual as Re-TROS, Liars, and Flaccid Mojo took the place over.

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Show Review: Sleater-Kinney, Palehound, and Rachel Dispenza at The Belasco, 03-29-2024

It’s been a while since I got to see Sleater-Kinney. I was fortunate enough to score some tickets to the acclaimed and mostly sold-out return tour of No New Cities To Love, and let me tell you that it was a hell of an experience to watch the band back in action as if they hadn’t disappeared for ten years following 2005s The Woods. So, with great pleasure, I threw my camera bag over my shoulder and made my way to Downtown LA, The Belasco Theater, my concert home away from home to watch one of the coolest bands ever.

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Show Review: Sleater-Kinney, Palehound, Rachel Dispenza at The Regency, 3/28/24

There really are few events as glorious and cathartic as a Sleater-Kinney concert. I recently attended a Bruce Springsteen & The E Street Band show, and that was close. (Oddly enough, I probably would’ve never paid to see The Boss if not for Sleater-Kinney covering “This Promised Land” in the early 00s). From my first show, when my boss at the time convinced me to go with him to see them on The Hot Rock tour in 1999, the power and dynamics of that show became a permanent part of my life. That’s when they became “my band,” and for the last 25 years, this band has been the primary thing that has helped me navigate my life. And just over 300 months later, here I am, 44 years old, seeing my favorite band again, and nothing could be better. Continue reading “Show Review: Sleater-Kinney, Palehound, Rachel Dispenza at The Regency, 3/28/24”

Show Review: Go Ahead and Die, Bodybox, Deep Within, Hyper Psychic at Boomtown Brewery (DTLA) 03-19-2024

It’s been quite some time since I’ve covered a show at a venue for the first time. I feel like I’ve been pretty much living at the Belasco, for example, so getting an address for a different venue is always a nice change of pace, especially when it’s somewhere I’ve never been. Boomtown Brewery has been kicking in DTLA north of the arts district for a while now, but they recently started a show booking partnership with The Knitting Factory, which hopefully will bear more fruit for future shows! So I left work half an hour early to brave the even rush hour traffic across town for an evening of hardcore metal music–shocking, I know–and some tasty beer.

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Show Review: UADA at Neck of the Woods, March 24, 2024

Photos and review by: Alan Ralph @AlanHasPicks

You know what’s missing at Spinning Platters? Black Metal. There’s just a lack of content related to the most extreme subgenre of metal music.  

(c) Wikipedia

There are even several bands considered influential to this genre, including Mayhem, Darkthrone, Burzum, Immortal, Emperor, Satyricon and Gorgoroth. The most famous of these bands is definitely Mayhem, where members killed other members, committed suicide, and burned churches… ah, the good ole’ 1990’s!

While the vast majority of the subject matter here is geared more towards fans of Outside Lands than fans of Mayhem, Spinning Platters still employs a few brave souls who will immerse themselves in the mosh pits and get their eardrums pulverized, all in the name of reporting back about the glorious screaming vocals, remarkably incredible fast guitar riffs and blast-beat drumming, as well as maybe a count on the number of non-black clothing (HA!) and inverted crosses seen, and all typically without even having to stock up on corpse paint…

Fortunately for Neck of the Woods, black metal bands these days typically don’t burn down anything or commit murder anymore!

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Show Review: Mclusky, Suzie True, and Conan Neutron and the Secret Friends at The Echoplex, 03-04-2024

“This one’s for you Susan.”

It’s been a while since I’ve been to a show at the Echoplex. When I first moved to Los Angeles, it quickly became a favorite venue for a wide array of bands, and I covered a lot of fun gigs there. Somewhere along the line, I stopped making it to as many, and I’m not exactly sure why. Maybe I was just working too much, and I was too exhausted even to try, or maybe I just wasn’t seeing the bands that I wanted to see getting booked there. So what a hell of a time to go back to see one of my all-time favorites, Mclusky, tear the fucker apart!

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KMDFM celebrates 40 years of kickin’ ass in Atlanta with start of LET GO tour

With hands thrown in the air and fists slapping the sky, fans of all ages bobbed along, banging heads to the “ultra heavy beat” at the Masquerade in Atlanta on March 6, 2024.

KMFDM opened its 40th anniversary tour with the first track off the 2022 release, Hyëna.

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