Thu, May 5, 2016

Doors: 8:00 pm / Show: 9:00 pm


This event is all ages

Official ID required for those who are 16 +
Anyone under the age of 16 must be accompanied by a parent or guardian.

Los Angeles-based sister duo Jennifer and Jessie Clavin knew that things were going to be different for their band Bleached sophomore LP Welcome The Worms. Not only had they managed to charm world renowned producer and engineer, Joe Chiccarelli (Morrissey, The Strokes, Elton John) to join the sisters and their bassist Micayla Grace in the studio, but Jen and Jessie had been crawling out of their own personal dramas. Jessie was evicted from her house and scrambling, while Jen ended a torrid, unhealthy romance. While emotionally spinning, she dove head first into music. She struggled and escaped the pressures with drinking and partying, sometimes to excess, feeling like she was losing herself altogether.

"I was a loose canon," the commanding front woman says. "I was losing serious control of my personal and creative life. I was falling apart, trying to escape. I felt like Bleached was the only thing I actually cared about."
The 10-song LP was born out of triple the amount of demos. Sometimes the three girls spent time writing at a remote house in Joshua Tree away from the seemingly destructive city (a first since bassist Micayla had never contributed to songwriting on previous releases.) Other times Jen and Jessie worked alone, just like when they were teenaged punk brats playing in their parent's San Fernando Valley garage imitating their heroes The Slits, Black Flag and Minor Threat.

In the studio, Chiccarelli and co-producer Carlos de la Garza (Paramore, YACHT) helped the band perfect their fervent songs into fearlessly big pop melodies. They drew inspiration from the iconic hits of everyone from Fleetwood Mac to Heart to Roy Ayers.

They focused on preproduction and challenged the songs. Jessie took her usual approach to guitar over-dubs and leads (her favorite duty in a recording session), "I just let let my fingers play and kind of surprise me," she smirks. Still remaining to keep the band's origin of cheeky, California-punk in the forefront, Welcome The Worms became a smarter, heavier, emotionally deeper Bleached.

"Before we even knew we were working together, I remember Joe saying, you can't lose these melodies, no matter how raw the music gets," Jen explains. She penned demos on an acoustic guitar and focused. "If I was happy [with the songs\ in [their\ rawest form, then I knew it would be even better after going through production."

"I've become a more confident musician," adds Jessie. "I wanted to be open-minded to this record and try new things we hadn't done before. I felt such a great amount of respect working with the people we did on this record, feeling really free to do what I wanted to do, and making it a Bleached world."

Welcome The Worms is an ambitious rock record with a new found pop refinement that somehow still feels like the Shangri-Las on speed, driven forward in a wind of pot and petals, a wall of guitars in the back seat. "Keep on Keepin' On" is a hypnotic opening anthem that spins like a kaleidoscope, while "Sleepwalking" and "Trying To Lose Myself Again" invoke the struggle of floating through life on autopilot. The drums are instinctual, while the bass bounces like a rubber ball over the lyrics on a karaoke screen. "Sour Candy" is a stand-out hit so effortless and catchy it sticks in your head for days. Synth is only brought in as a thickening agent, just like the harmonies. "Chemical Air" and "I'm All Over The Place (Mystic Mama)" toy with pop sensibilities, while "Desolate Town" shows Jen getting weird on the verses before a Cobain-like chorus.

Through out the record, Bleached paints a frivolous picture of Los Angeles: the life of eye-rolling caused by dating men in bands, dirty Sunset Boulevard and futile drunken nights in a starstruck hole that made everyone from Charles Manson to Darby Crash to Marilyn Monroe stare up at the Hollywood sign for direction. Although a typical theme of ruined romance floats through the album, the real power is in Jen figuring out herself through lyrics so straight, identifiable and honest. This was a first for the girl who safely hid behind a cheeky misdemeanor. She did a lot of messing up and even more digging into herself.

"Sometimes [writing this album\ made me hate myself and sometimes it made me love myself," she admits. "But being aware of how I felt is what I wanted." It became clear that Jen had to embrace the good with the horrible and learn to overcome it all through music.

One evening, high on psychedelics and up all night, Jen and a friend passed a freaky couple at Echo Park Lake peddling homemade religious pamphlets. "One page was a bunch of cut and paste sentences with images. I'm always really intrigued by those crazy DIY religious books. It all was so perfect at that moment [because\ it was about embracing the dark side of life instead of pretending it isn't there because it's all beautiful and I wouldn't give any of it up for anything." Welcome The Worms was sprawled across the tripped out pamphlet. The phrase stuck.

"We don't want perfection because it's boring," she continues. "We want to make music that's as real as life."
Los Angeles based punk band
“Wake up...the world needs you"
Post Earth, the second full-length album from Los Angeles’ melodic noise punk quartet FEELS, is a call to arms, interspersed with frustration and hope.
It’s in the title track, a riff-heavy dispatch from a near future when billionaires flee the dying Earth, only to find their own comeuppance. It’s in the tuneful, ’70s punk of opener Car and its dismissal of “one nation under fraud.” It’s in the jittery “Find A Way,” which demands “Burn all the money, all the flags, all this stupid pride.” It’s in the entreaties to resist of “Tollbooth:” “the world needs you and you and you.”
“It wasn’t intentional to write a politically charged record,” says bassist Amy Allen, who constitutes FEELS with Laena Geronimo (guitar/vocals), Shannon Lay (guitar/vocals), and Michael Perry Rudes (drums). “But the way the world is functioning right now made it impossible to write about anything else. We all need to figure it out; we’re running out of time. The golden age is over.”
Maybe FEELS did not start their second album with a conceptual agenda, but they definitely intended to speak out: “If you have any kind of platform, you should use it for good,” Lay states. Geronimo continues, “If our wildest dreams came true, the album would sound exciting to people while also inspiring awareness and action against hate, prejudice, greed, the destruction of our environment...apathy's not cool and toppling oppression could be fun if we do it together!"
With that steadfast proportion of heavy and light, Post Earth never completely wallows in despair: look for The Simpsons references—courtesy of superfan Lay—in goofy rave- up “Deconstructed.” The atmospheric jam “Sour” finds Geronimo defiantly proclaiming “This land is our land” to the people in power who exploit division. The understated melodies of “W.F.L. (Work For Love)” sing of dirt under fingernails “to remind us why we do what we do.”
FEELS do what they do thanks to a bond that stretches back to adolescence. Geronimo, Allen, and Rudes have known each other since high school, when the Rudes’ garage served as the hangout and nexus for their musical projects. Rudes and Lay played in Geronimo’s solo project, Raw Geronimo, for years before it morphed into FEELS with the addition of Allen. Their shared history makes for a rare chemistry among collaborators.
After recording their 2016 eponymous debut – which earned the band press attention from outlets including The FADER, SPIN and The Los Angeles Times -- with Ty Segall in one marathon daylong session, FEELS decamped to Northern California in August 2017 for a comparatively luxurious eight days with Tim Green. The former guitarist of punk iconoclasts Nation of Ulysses, Green has worked with Sleater-Kinney, Bikini Kill, Joanna Newsom and Jawbreaker among others. “His studio was an ideal experience to be able to escape day-to-day tasks, lock ourselves away, and focus,” ruminates Rudes.
“I think the first album was very much like how we were live,” Lay says. “It was just this barrage of noise and energy, and with this one we were able to give it some breath and take our time—and also just think about what we were trying to say with this record and how we didn’t necessarily want to constantly scream it at you.”
On Post Earth, FEELS strike this perfect balance with a mix of angular, interweaving guitars, lush vocal harmonies, heavy bass and pummeling drums — at times hearty and loud, and at others stunningly harmonic and calm. “We feel comfortable not having to power through everything now,” Geronimo adds. “And for the more subtle things to be heard versus glossed over with noise. Not that noise is a bad thing, but we’re doing all of these weird, interesting things—maybe we should hear them.”
For Geronimo -- the daughter of legendary Devo drummer Alan Myers who grew up playing in a wide variety of projects with (and without) him – interesting is ingrained. The interlocking components of Anyways reveal her classical training: “I wrote it to be these really specific parts that had to layer over each other exactly, which is a real sheet- music kind of bullshit thing,” she says, laughing. “Luckily everyone was down to humor me.”
But that’s the modis operandi of FEELS: “There’s no point in being like, ‘That’s not going to work,’” Geronimo says. “Just try it—who knows?”
“Who knows?” is also the central question of Post Earth. “It’s more of a questioning than a telling kind of album,” Geronimo says. “I guess that’s the bottom line. It’s a questioning: What’s gonna happen?”
There’s no easy answer to that one. But if the good old days are over, Post Earth shows FEELS’ golden age is just beginning.
Venue Information:
The Teragram Ballroom
1234 West 7th Street
Los Angeles, CA, 90017