Girlschool, Bootleg Theater, Sid The Cat, KROQ, Nasty Gal, Bedrock Present
GIRLSCHOOL 2017 weekend
Chelsea Wolfe, The Bird and the Bee, Francisca Valenzuela (Acoustic), Shirley Manson (of Garbage) in converstation with Eva Barlow, Deap Vally, Bleached (DJ set), The Wild Reeds, The Regrettes, Tamaryn (DJ set), Pearl Charles, Caroline Smith, Winter, Boyfriend, Rituals of Mine, Luna Shadows, Starcrawler, vōx, TRACE, Kid Wave, Liphemra, Kona, Soto Voce, ExSage, Summer Twins, Madame Gandhi, Linafornia, Honey Power DJ set, Val Fleury (DJ set)
Fri. January 27, 2017 - Sun. January 29, 2017
Doors: 6:30 pm / Show: 7:00 pm
Los Angeles, CA
This event is all ages
GIRLSCHOOL is a 100% women-led music festival and collective whose mission is to celebrate and connect women artists, leaders, and voices. A portion of the proceeds from every GIRLSCHOOL event benefits a girl-positive non-profit organization. Proceeds from this event will benefit Rock’n’Roll Camp for Girls LA, a non-profit social justice organization that uses loud music to nurture and empower young girls. More info: http://www. rockcampforgirlsla.org
More artists TBA! Speakers, panels, and workshops TBA.
Set times TBA. Line-up subject to change.
More info: http://www.rockcampforgirlsla.org
More artists TBA! Speakers, panels, and workshops TBA.
Set times TBA. Line-up subject to change.
California native Chelsea Wolfe has always embodied light and dark. Her music is a raw, dirging doom-folk with hints of black metal, deep blues and minimal synthesizer music, but it's as prone to triumph as it is despair. Her voice is both haunting and seemingly haunted, though whether by angels or demons is unclear. And her lyrics reflect an obsession not only with life's murkier moments, but the unlikely truths and beauty they so often reveal. It makes sense then that her influences run from Nick Cave and Selda Bagcan to Ayn Rand and Ingmar Bergman, and even more so that she hails from the wilder, woodsy northern part of her state. Wolfe's hometown was a small unspecified burg amidst the trees, idyllic by day and begging exploration, but forbidding once the fog crept in. Her skewed romanticism began early. At 9, she started sneaking into her father's home studio to record warped keyboard covers and Gothy R&B originals. But growing up, she never shared these, and it wasn't until 2009 that she considered making music for others to hear.
After a three-month stint abroad with a nomadic performance troupe playing cathedrals, basements and old nuclear plants, Wolfe returned home inspired. She began toting around an 8-track and recording, eventually winding up with the songs that would become her stunning 2010 debut, The Grime & the Glow. Described as both healing and harrowing, enchanting and narcotic, the album established Wolfe as an elemental force on the rise. Just as telling were a pair of cover songs including the timeless "You Are My Sunshine" as well as a deep cut from Norwegian metal icon Burzum that in her capable hands managed to sound equally terrifying. Drawn to Los Angeles' unique mix of gloss and grit, she moved to the city late last year and recorded her second album, Ἀποκάλυψις (pronounced "apokalypsis"), out on Pendu Sound Recordings in 2011. Recently, Chelsea Wolfe's name exploded in the music world after pop artist Richard Phillips used her song "Moses" in his newest art-film starring Sasha Grey which premiered at the Venice Biennale in June 2011.
They listen to everything, and answer to no one.
Over the course of 3 years, they whiled away scattered afternoons in Greg's studio in Echo Park, California, sequestered in a little world of their own making, and creating the ten sunshine-drenched, semi-psychedelic ditties you hold before you.
Were these compositions intended for public consumption? Inara and Greg never gave it any thought; they made music together simply for the joy of it. the bird and the bee, their self-titled debut for Metro Blue Records, an imprint of Blue Note Records, is a labor of love.
If you know anything about the backgrounds of Inara George and Greg Kurstin, the accomplishments of the bird and the bee might not seem quite so casual as all that. Both are blessed with extraordinary intuitive musical abilities, which have been bolstered by years of practice.
Multi-instrumentalist Greg was a jazz piano prodigy by the time he started shaving; he moved to New York specifically to study with leftist Jaki Byard, a jazz icon best known as Mingus' pianist. He returned to Los Angeles and became one of the city's most well respected musicians, lending his skills to the likes of Beck and Robert Moog, as well as writing with and/or producing The Flaming Lips, Peaches, and Lily Allen, to name a few.
As for Inara, she grew up in Los Angeles in a musical household, the daughter of Lowell George, frontman of the eclectic '70s Southern rock band Little Feat. For several years she was in different bands in the Los Angeles area until she began her solo career releasing 2005's critically acclaimed All Rise. During the making of that record was when Greg and Inara first met.
It was through mutual friend and All Rise producer, Mike Andrews, that Inara and Greg made a connection. "I like to sing standards, and Greg likes to play them," recalls Inara. "He was working on my record, and one day, after a rehearsal, we hung out near a piano and, for three or four hours, played all the old songs we knew."
When they ran short of material, it dawned on them to augment the repertoire with a few originals and put their own stamp on the traditions established by the greats who had gone before. Like the Tropicalia revolutionaries of '60s Brazil, who both revered and reacted against the traditions of bossa nova, the bird and the bee wanted to put their own spin on classic pop conventions.
Although they composed as a team, Inara was responsible for vocals, while Greg oversaw almost all instrumental parts. Neither party assumed a secondary role; in the creative process, it was purely give-and-take. "Melodies would dictate chord progressions, or sometimes vice-versa, depending on where the vocal part wanted to go," recalls Inara. "The writing was almost improvised in nature."
This was a change from many of their other gigs, especially for Greg; there was no pressure to deliver a hit song, or capture a signature sound. With the bird and the bee, any idea was fair game.
The first song the duo collaborated on, "Again & Again," became a template for the material to come. Handclaps and tambourines, a bumblebee bass line, and Inara's beguiling vocals blend together in a summery concoction.
Each of the songs that follows similarly and slyly unveils its own unique charm.
On "Bird and the Bees," the breezy waltz feel of the verses juxtaposes vividly with the driving bass and off-kilter accents of the chorus. "F-cking Boyfriend" opens with an ominous drone before blossoming into an effervescent dance floor ditty that distills the agitation needling many a troubled heart ("Would you ever be my…"). On the lovely and slowly insistent "I'm A Broken Heart," a majestic brass arrangement and a soaring trombone solo try to encourage Inara's wounded lyric ("My love is bleeding") back to happiness.
After "Spark," the dreamlike closer, has drifted off into silence, you may find yourself mesmerized by the journey that Inara and Greg have just taken you on. You may also find yourself going back to Track 1 and starting the journey all over again, because the bird and the bee will surely be one of the most infectious and thoroughly enjoyable musical offerings of the year… Or any year for that matter.
Her first album, "Muérdete la Lengua" (Bite Your Tongue/ Independent, November 2007) contains 10 songs in Spanish and 2 songs in English. It was written and composed by Francisca Valenzuela and produced by Mauricio and Francisco Durán of Los Bunkers. The album went Gold in her country Chile, and allowed her to tour all over the country and the globe -from the World Expo Shanghai 2010 and 2008 LAMC Festival in NYC to a Homage to Chile in Pompeii to Vive Latino Mexico 2010 – and was highly praised all over Latin America and more. As National Public Radio (NPR) Music in the US highlights: "with a voice reminiscent of Fiona Apple and killer piano skills, Valenzuela raised eyebrows with her debut album , Muérdete la Lengua ("Bite your Tongue")". Rolling Stone Chile named it 16 in its 50 best albums of 2007; American Latino TV awarded Francisca the 2009 "Favorite Latino TV Newcomer Award"; her 5 singles rotated on MTV and she was selected in the 2009 "15 x 15: artists to Watch" campaign, among other acknowledgements.
"Buen Soldado" (Good Soldier, Independent / March 2011) contains 12 songs in Spanish, all written and composed by Francisca Valenzuela and produced by Vicente Sanfuentes (Sr.Coconut, Gepe, Matias Aguayo), Mocky (Feist, Jamie Lidell) and Francisca Valenzuela. In January 2011, the first single "Quiero Verte Más" ("I want to see you more") hit radios in all Latin America. Club Fonograma reviewed it as "this piano led single sparkles the second it starts and it is beautifully executed by Francisca´s soulful sensibilities, after all, she is the most glamorous artiste in Latin Pop". The album will be was just released in stores in Chile, and will be available in the rest of the world in the next months.
Francisca was recently invited as the only national artist to perform in Shakira´s Popfest, in Santiago Chile. She opened the Lollapalooza Festival, in its first international version in Santiago, Chile, performing in one of the two man stages. In addition, she was the only artist invited to sing with U2 during their tour performance in March in Santiago: Francisca joined Bono on the stage, to sing "One Tree Hill".
She has collaborated and performed with numerous artists such as Latin Bitman, Mocky, Beto Cuevas, Inti Illimani, Los Bunkers, Los Jaivas, and Café Tacuba among others. She has also made music for cinema and theatre and participated in international tribute albums for Violeta Parra, Inti Illimani, 31 minutos and Joan Manuel Serrat.
"Blind and Brave is a collection of notably poignant tracks that weave smooth melodies driven banjos and swirling guitars together. While the production is noticeably polished the emotions and messages are stripped bare as the quintet deliver heartfelt elegies through a roller coaster of highs and lows.” - Mindequalsblown.net
"Combining indie folk, the LA sound of the ’70s, and traditional folk, the band’s debut album is gorgeous, thoughtful, and simply outstanding.” - The Revue
"When the gals in The Wild Reeds sing in harmony, it’s as if they’re long-lost triplets reunited at a campfire.” - Freebikevalet.com
Tamaryn's first two full-lengths stood out in a crowd of shoegaze/ethereal revivalists as much for what they were (careful, gorgeous, thrilling tapestries of guitar-based textures) as what they weren't (simplistic, trendy, disposable signposts made to be broken). With Cranekiss, Tamaryn emerges from her past in a way that's inviting, warm-blooded, and shockingly direct. She's made a big record, loaded with samples, synth triggers and processing that was missing from her previous efforts, the result of long nights grinding it out at the Brooklyn studio Gary's Electric, where the record was born. The Waves and Tender New Signs focused on the sounds Tamaryn and her group could coax out of guitars, but with Cranekiss her sonic palette has exploded with maniacal abandon, pressed into service of a post-adolescent love letter to all the music that she and her collaborators hold dear, drawing influences from the feelings that fell out of her. Anyone familiar enough with those times should be able to draw their own comparisons, recognizing the modes of musical respect and adoration flashing past as the record spins. From there, though, Tamaryn has modeled these elements into simulacra, where despite the nods and glances to the past, play as a totally new sound.
Lyrically, this is Tamaryn's most personal collection of songs to date, and Elbrecht has placed her voice front and center across the entire record, elevating her presence like never before. Cranekiss explores dark rock, dance pop, and glistening melancholy with a uniformly commanding presence across it all, in stormy, unsettled brushstrokes that apply pressure behind Tamaryn's words.
Cranekiss represents a long journey, and a new phase in Tamaryn's music unfolding before you, a blood-red kaleidoscope of desire and late night abandon, a bold step forward.
Although only in her early twenties, Pearl Charles already has a strong résumé. She’s earned a BFA in music from CalArts and in her free time has toured with the Growlers, Father John Misty, and Thee Oh Sees aside from working on her own projects, the Driftwood Singers and the Blank Tapes. Her next tour will be a small venture around California. Listen to “I Ran So Far” and take a look at her tour dates below. Pearl Charles is out on July 28 via Burger Records. - Spin
While some might be surprised by the transition, the truth is that Caroline has never stopped evolving. From folky beginnings and an indie rock second album, she has been consistently pushing herself to new heights. With soaring vocals and catchy melodies at the heart of all three albums, Caroline is settling into a sound that feels more like home. "I feel I've finally created something that is a nod to some of my favorite records while being able to use my own voice to illustrate my personal transition into woman hood; That time in a woman's life when her 'fat butt' becomes her 'phat ass'. I wanted to make music to celebrate that and to encourage other women to do the same." This glimpse of an artist in flux was captured perfectly in the PBS documentary on Caroline, My Way Back Home.
The video for "Magazine", created by director/editor Dan Huiting (Bon Iver, The National, Local Natives, Andrew Bird) and DP Ryan Thompson, perfectly captures the the theme of a woman actively embracing her femininity and transcending societal expectations. The album, released by United Interests, was produced by Jake Hanson (guitarist- Mason Jennings, Solid Gold), recorded at Near North Studios by Brett Bullion (Dark Dark Dark, Chris Walla) and mixed by Paul Marino (Mint Condition). It includes contributions from long-time bandmates Jesse Schuster and Arlen Peiffer (Cloud Cult) along with several guest musicians including Mike Lewis (Bon Iver, Andrew Bird). The band will be touring through the fall to support the album – starting with an expected sold-out show at First Avenue in their home town of Minneapolis, MN.
The quartet released their first full-length album in cahoots with Los Angeles' Lolipop Records, earlier this year. The album - made from a coast-to-coast correspondence - features yet again a creative collaboration with Samira Winter (LA) and Nolan Eley (NY). The aptly titled Supreme Blue Dream floats on with a youthful sense of nostalgia and romanticized segues into adulthood. Touching on not one, but two languages (English and Portuguese), this bi-lingual group of dreamers do their part to lay us down softly while keeping listeners eager for each tune.
After their own month-long residency at The Echo for Supreme Blue Dream, and brushing shoulders on bills with acts like Luna, Iceage and Craft Spells, the group made themselves a home in the California scene while honing their distinct, east-coast brand of ethereal vocals layered over melodic guitars.
With Samira Winter at the helm, the live band features the talents of Matt Hogan (guitar), David Yorr (bass), and Garren Orr (drums) - a group whose passionate connection has flourished since the four were students together in Boston. Winter aspires to connect others with their inner child by making blissful, beautiful and ethereal pop music. They add love and positivity to the world as well as being positive role models for both boys and girls; especially those who are just starting to form their own musical opinions. Winter continues to tour the world and spread beauty and magic to people everywhere.
Since 2010, the pair had been touring and releasing music under the moniker Sister Crayon. Their travels allowed them to share the stage with The Album Leaf, Built to Spill, Antemasque, Le Butcherettes, and many others, in addition to releasing the independent Bellow (2011) and Cynic (2013). Along the way, they earned praise from The BBC, Pitchfork, The Fader, Rolling Stone and more for their ghostly 21st century trip hop séance of soulful vocals, heavy beats, and breathy catharsis. However, 2015 would be the most trying and challenging year yet for the girls. Following the recording of Devoted and a quiet indie release, Terra unexpectedly lost two prominent figures in her life; figures who shaped both her understanding of her self and of music. In September 2015, Terra lost her father to suicide. Less than six months later, she suffered another harrowing blow when her best friend Lucas Johnson passed away in a tragic accident.
“It was a very tough two years,” she admits. “The name pays respect to those years, so Dani and I don’t forget what we’ve gone through as a band to get to where we are now. What are these rituals? They’re singing, performing, and writing. The record is dedicated to my dad and Lucas. Sister Crayon was the last name they knew us going by. We had to put that name to rest. Rituals of Mine is much more than a name. It’s a statement. This is a new beginning.”
In the midst of everything, Rituals of Mine inked a deal with Warner Bros. Records in February 2016. They worked closely with producer Wes Jones and mixing engineer Dave Clauss to make some final moves before enlisting Tom Coyne [Led Zeppelin, Adele] to master Devoted. The album represents the realization of a vision the two-piece possessed since day one.
“Dani and I had always known what music we wanted to make,” explains Terra. “We were very adamant that this record was going to be the sound we’ve consistently heard in our heads and the vision we’ve wanted for the project since day one. We were determined to create a body of work that focuses on the heavy aspects- low ends and vocals. It’s very minimal in that regard. We’ve gone through different lineups and member additions, but we realized this needed to be just the two of us. It was very deliberate. Going into the studio, we weren’t sure how we were going to execute it, but we were sure of what we wanted to hear.”
After cobbling together demos in the Oakland walk-in closet where Terra slept at the time, the core sessions for Devoted took place in St. Augustine, FL. Terra and Dani spent two weeks in the studio with Jones writing and recording the bulk of material. They finished writing the final three tracks with Omar Rodriguez Lopez (At The Drive-In, The Mars Volta) in Los Angeles. Once the songs were chosen for the record, Jones dug in on production over the next several months, communicating across the country with the duo until the album was a realized vision.
“It was the first time Dani and I had ever gone into the studio as a duo,” admits Terra. “It was a pretty insane experience to go into such extreme isolation in St. Augustine. The only person we really knew was Wes. There were absolutely no distractions. We could focus while there in the beauty of St. Augustine, surrounded in isolation.”
As a result, the ten tracks comprising Devoted could be likened to gorgeously haunted transmissions from a bygone era where Portishead and Massive Attack summoned spirits via analog drum machines and battered keyboards. The first single “Ride Or Die” fuses a stark bass hum and droning synth with Terra’s ethereal and evocative delivery before building into an angelic refrain- “All I want… is a Ride Or Die.”
“I was in a place where I didn’t quite understand where my next step in life or love was going to be. I felt like a lot of my friends were feeling the exact same way. It’s the human condition of being lost, always looking for something, and hoping to find that connection whether it’s romantic, family, friendship, or just a general human touch. It’s an anthem for myself and those around me. Life can be really fucking hard. Let’s stick together.”
Meanwhile, Terra’s howl caresses an ominous sonic blanket punctuated by industrial undertones and glitch-y computer buzzing. “The word Devoted kept popping up in my head when I thought of our journey,” she goes on. “After all of the changes and hardships we had gone through, we were devoted to each other and our music. To me, it signified a theme for the entire record. I had just gotten through an incredible breakup. Instead of singing about heartbreak and loss, I wanted to transcend that and write about devotion in order to restore my faith in devotion.”
Ultimately, these Rituals are meant to be shared.
“The music is created out of turmoil, and it’s genuine,” Terra leaves off. “It’s a passionate album. I want people to connect to it in a very human way and see that it’s raw. Maya Angelou said something that really connected with me. In regards to rehearsing or honing your craft, she said, ‘The process isn’t pretty, but it’s real.’ We create out of necessity. I hope that resonates and offers some solace.”
“Put The Poison In Me,” produced by Josiah Kosier, strips things back to the timeless combination of piano and voice, putting the focus on vōx and her lyrics. - Pigeons and Planes
His father remarried a German woman with 2 daughters. During the school year, Kenny lived in Oakland with his mother and was influenced by Oakland urban artists…and classics like Prince and Michael Jackson, But, during the summer, his German step sisters turned him on to classic European dance music and Brit Pop. Soto Voce is Soto's ultimate escape into his childhood fantasy world and a direct result of all his influences.
The other half of Soto Voce is Miguel Devivo. Originally from Columbia, Devivo moved to LA and is known for his project Villains that was signed to Dim Mak. Devivo and Soto met through a mutual friend.
The desert demands transformation. What thrives there is thorned. What survives slinks between shadows. To exist there is to withstand its vastness—an act of defiance. For thousands of years, it has tested us, summoned us to solitude to confront ourselves. Both Tim Foley and Kate Clover heeded this call. Beneath a storm-stained sky thick with anticipation, the former flames found themselves reunited. As lightning scarred the sand, they resolved to sonically sublimate its essence. Exsage emerged from the eye of this storm.
Exsage recorded their debut EP in Los Angeles with producer Alain Johnannes (Queens of the Stone Age, Them Crooked Vultures, Mark Lanegan), which will be released worldwide in the spring of 2016.
Born and raised in Riverside, CA, where the sun never stops shining, the Brown sisters began creating from an early age. Surrounded by old records, vintage clothes, and classical music lessons, the Twins' aesthetic began to take root. By their early teens, inspired by punk bands like The Ramones and The Donnas, the sisters formed their first band with Justine behind the drums and Chelsea on guitar.
The two have been playing ever since, establishing Summer Twins in 2008 with a rotating cast of friends on guitar and bass. Best known for their dreamy harmonies and fuzz-driven garage rock, the band refreshes familiar hints of the '50s and '60s, creating their own blend of "nostalgia-pop." Within every carefully crafted song there also lies a melancholy that is both heart wrenching and beautiful, invoking an escape much like the band's whimsical imagery.
Whether it's writing songs, documenting tours, writing and co-directing their music videos, or creating album art, the Summer Twins lifestyle is one in which anything can be made into art. It's this spark of imagination that caught the attention of clothing lines overseas, allowing Chelsea and Justine to fulfill dreams of working with Japanese fashion brands and touring the country. With their crafty DIY approach, and a genuineness that is pure and contagious, the sisters have garnered a devoted fan base across the globe.
Now living in Los Angeles, the sisters continue to live out their dreams while curating their online store, The Good Things Shop. In between Summer Twins gigs, they're busy with Easy Love – a second band in which Justine steps out from behind the drums to take center stage. In everything they do, Summer Twins stay true to their vision and uphold a work ethic that sets them apart. Beyond the realm of music, they illuminate a reminder that creativity is boundless… as long as you're willing to dream.
The band has a following of over 30,000 fans online, and Kiran is known by millions internationally for sparking a viral movement about menstrual equity when she ran the London Marathon last year free-bleeding on her period.
2220 Beverly Blvd
Los Angeles, CA, 90057