John Frusciante on his Trickfinger project released on Acid Test
The latest chapter in the electronic evolution of former Red Hot Chili Peppers guitarist John Frusciante sees him utilizing the classic hardware that spawned the eternal acid template under the guise of Trickfinger. “After Below’s” marching beat and ethereal synths flow into “Before Above’s” layered, ascending attack. “Rainover” has a full-bodied 303 groove that becomes more infectious as the track progresses; “Sain’s” complex opening bassline and beats eventually give way to a similarly intoxicating bassline. “85h’s” 4/4 beat hits hard, making it the go-to banger on Trickfinger, while “4:30’s” fluttering synths make it the album’s most headphone-friendly track. “Phurip” ends the album on dancefloor-friendly lockstep three-note groove that you never really want to end. In contrast with his genre-hopping solo releases, Frusciante’s Trickfinger sticks hard to acid house, making it his most focused release yet. With Trickfinger, Frusciante has found his way to a satisfying post-RCHP solo career that speaks to his wide and ever-changing musical talents.
Read the interview at Resident Advisor here.
Power-pop wunderkind Mikal Cronin’s new album is a significant leap forward for the singer/songwriter. While just as hooky as its preceding albums, MCIII is more heartfelt and intricate, boasting a six-song suite that has some of the album’s best melodies. “Turn Around” starts the album out with a somber tune nestled amid a flurry of electric guitars, violins and pianos. “Made Up My Mind” blasts off with a rocketship riff, while Cronin’s voice breaks under the weight of a breakup. Flourishes like horns, strings and acoustic guitars help give the album a sense of unified orchestration, while dynamics in songs like “Say,” full of cool, bass-driven breakdowns, make each song stand out. But the suite that makes up the last half of the album is its masterstroke. It moves from the spare and aching “i) Alone” to the heavy guitars of “ii) Gold,” through its outro played on the Greek stringed tzouras and into punk and singer/songwriter territory. Each song moves into the next beautifully and makes MCIII feel like Cronin’s Abbey Road. We’ve known Cronin has chops since playing bass with Ty Segall and could entertain freely on his first two albums, but MCIII is his first that feels like his own classic. Watch the just-released "Turn Around" video below, starring comedians Kurt Braunohler and Kristen Schaal.
The original Star Wars had a huge impact on pop culture. As a child, nothing in the film had more impact on me than the cantina scene -- and judging from the changes in dance music and imitations that followed I wasn't alone. What better occasion to reflect on the film's impact than May the Fourth, also celebrated as Star Wars Day.
Star Wars was released on 25 May 1977. I was probably three years old when I saw it in the theater because my fourth birthday followed a couple of weeks later and there were Star Wars dolls* emerging from the middle of a birthday bundt cake. After The Empire Strikes Back, George Lucas would increasingly strain to appeal directly to children by introducing cuddly aliens and increasingly relying on cartoonish CGI but for me and many other children, Star Wars was already deeply appealing, dark and sometimes frightening as it was.
For comparative mythologist Joseph Campbell, the cantina scene was the "threshold crossing" in the "hero's journey." For me it was a bit like viewing an ethnographic bestiary -- or a Halloween party (in the 1970s, Halloween hadn't yet been hijacked by adults and turned into streetwalker cosplay). One of the cheif appeals of Star Wars was its mystery and world building -- something which the expansion of the franchise would later explain away with banal backstories -- but on full display in the cantina. Of all the characters,
only Greedo was addressed by a name. The rest of the assembled wore no pageant sashes, name tags, or hash tags and aside from the viewers' understandings of evolution there were few clues as to the conditions of their home worlds.
The Star Wars cantina was what I wish Encounter in LAX's Theme Building had been, and what it will be if they get it right when it's re-opened. What the cantina wasn't was every lame, uninspired hive of pretense and conformity which bills itself (despite having a liquor license) as a "speakeasy." It wasn't illuminated by Edison bulbs, the wines weren't listed on a chalk board, there was no unfinished wooden sign on the building's exterior describing it as an apothecary, and it was probably cash only. The bartender wasn't a lumbersexual and he didn't spend twenty minutes rubbing herbs on a mason jar in the name of "mixology."
Amoeba Hollywood regularly sells tickets to local shows, with the added bonus of charging low service fees (if you are into saving money and who isn't really?).
All tickets can be purchased at the registers (while supplies last) for a $2 service fee. We take cash and credit cards for all ticket sales. Store credit and coupons cannot be applied to ticket sales. Limit 4 tickets per person.
For Club Nokia shows, we only carry general admission tickets. If you wish to purchase reserved seating at Club Nokia (where available), you can buy those tickets online here.
Please note that on the day of the show, we will stop selling tickets for that show at 5pm.
Tickets are limited, so please call the store first to make sure they are available: 323-245-6400.
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To read more Behind The Grooves, go to http://behindthegrooves.tumblr.com.
On this day in music history: May 4, 1956 - "Be-Bop-A-Lula" by Gene Vincent And His Blue Caps is recorded. Written by Tex Davis and Gene Vincent, it is the debut release and biggest hit for the rock & roll band fronted by Vincent (born Vincent Eugene Craddock). The song is co-written by Vincent and his manager, radio DJ "Sheriff Tex" Davis, who will help the singer secure a record contract. Hollywood-based Capitol Records, in search of "the next Elvis Presley," will eagerly sign Vincent. His band The Blue Caps consists of Willie Williams (rhythm guitar), Jack Neal (upright bass), Dickie Harrell (drums), and Cliff Gallup (lead guitar). The band will record the track at famed country music producer Owen Bradley's Quonset Hut studio in Nashville, TN. Released a month later, "Be-Bop-A-Lula" will peak at #7 on the Billboard Best Sellers chart on July 28, 1956, #8 on the R&B chart, and #5 on the C&W chart, selling over two million copies. The band will also perform the song in classic rockfilm The Girl Can't Help It, released later in the year. The seminal recording will become one of the definitive examples of rockabilly music, and will go on to influence many musicians over the years including The Beatles, The Animals, and rockabilly revivalists Stray Cats. "Be-Bop-A-Lula" is inducted into the Grammy Hall Of Fame in 1999.