Green Heart Valentine Social to benefit Global Green

Bootleg Theater Presents

Green Heart Valentine Social to benefit Global Green

Criminal Hygiene, Kino Kimino, Daydreams

Tue. February 14, 2017

8:30 pm

Bootleg Theater - Bar Stage

Los Angeles, CA


This event is 21 and over

Criminal Hygiene
Criminal Hygiene
Criminal Hygiene was formed on October 3rd, 2011 over a couple of really good burgers at Olympian Family Restaurant in South Central Los Angeles. Eat lunch there and you might start a band too, its a fucking great establishment. On that shameless day, founding member Michael Fiore took a break from his double bacon cheese to share with founding member James Pratley Watson a simple idea: "Let's record some music…" to which, James replied: "Let's get drunk first…" The duo did those things that day, and thus, Criminal Hygiene was formed. At this time, they were in their last year at the University of Southern California, and frequently skipped class over the next 7 months to get drunk in the middle of the day to record music. They were angry, lost, and generally not giving a fuck. Since then, an angel by the name of Sean "Birdman" Erickson swooped down from Tacoma on the wings of his incredible mustache to join the band on drums. With the addition of Birdman, Criminal Hygiene became a real band, with purpose and meaning for themselves, and they even released the CRMNL HYGNE LP in early 2013. Since then, James has been replaced by another Michael (Michael "Chili" Hiller) and they've spend the majority of their time playing shows, delivering pizza and burning trees on their front lawn.
Kino Kimino
Kino Kimino
From the snowy wilds of Manitoba, Kino Kimino landed in New York City, headed
across the river to Hoboken and plugged in with half of Sonic Youth to throw down the
ten sweetly serrated, sometimes volatile, post-punk songs comprising new album Bait Is for Sissies.

Some other things happened in between, it's true, but the outline holds: Kino Kimino
mastermind Kim Talon is a native of Winnipeg, and the singer and guitarist has since
relocated to New York, after a few stops along the way. She recorded Bait Is for Sissies at Sonic Youth's Echo Canyon West studio, with Lee Ranaldo on guitar and Steve Shelley on drums, along with Melinda Holm on bass. Talon met Ranaldo and Shelley through John Agnello (Dinosaur Jr., Kurt Vile), who produced.

Though Bait Is for Sissies is not Talon's first album, it is Kino Kimino's debut. The songs explore betrayal, violence and the feeling of being an outsider, a dramatized response to the end of a romantic relationship that had been founded on deceit. Music was her catharsis and, like always, she returned to Winnipeg to write.

"It's the third-coldest city in the world. I can focus because it's a place where there is
nothing else," Talon says. "It's like going to write an album in the Arctic, basically."

That isolated feeling is essential for an artist who writes songs in torrents. "I need to get them out in order to clear my mind and move on," says Talon, who calls herself "an offthe-cuff writer." "There is an urgency to my writing process, maybe a compulsion that I'm submitting to. The writing process and songs loom constantly, like a haunting."

Maybe Bait Is for Sissies is more of an exorcism, then, as Talon likens love to mashed
potatoes over zooming accompaniment on opener "Passion," revs up from a brooding
verse into a frenetic refrain on "Bloodbath" and bites off precise syllables in a clear,
pretty voice that contrasts with the knotty mix of terse guitars and staccato drums on
"Loincloth." She's defiant over racing guitars on "Chalk Like" and wounded on the lean
"We Come Down for the Worst Reasons," and she sings with preternatural self-assurance as she steers her voice through choppy swells of jagged guitar or patches of discord. It's no wonder LA Weekly has called Talon's music "positively entrancing," while Maxim dubbed her an "artsy rock goddess."

Like any deity, Talon exists in this world, but not necessarily of it. She's toured with au
courant pop maven Sia, and has also played with Deerhoof and Blake Schwarzenbach of '90s emo standouts Jawbreaker. She's recorded with the comic Reggie Watts, and also with Bob Dylan collaborator David Mansfield, who contributed pedal steel guitar to Bait Is for Sissies. In other words, Kino Kimino spans eras.

"I really don't fit into this world now, the way things are," Talon says. "I don't mean that
I'm an outcast, but I'm not concerned with the zeitgeist."

No matter: thanks to Talon's creative vision and considerable musical ability, Kino
Kimino exists in a world all its own.
"Daydreams is an LA act that manages to be uncharacteristically LA in many ways. While themes of suburban ennui and relationships are rampant in the music of Daniel Crook, the sonic soundscape that defined much of the UKs greatest acts of the nineties is the driving force of Daydreams. Especially when giving Daydreams’ latest release a spin, When We Slept In The Treehouse - the dream pop, shoegaze infused tracks paint a portrait that recalls My Bloody Valentine, Cocteau Twins and Lush. Much of When We Slept In The Treehouse is Manchester gloomy in the best kind of way, but yet there is a punch to it - thanks to the savage undertow of the rhythm section present in the album. While the SoCal scene is associated with great acts that celebrate the sunny, drug-fueled partying side of the alternative youth culture here, Daydreams exists in a plane that isn’t really there. The rare LA youth who likes staying in, making music in the bedroom, and wearing all black everything while everyone else is out getting a sun tan out in the beachfront. An image rife with irony, sure - but being ironic is definitely an LA thing. And maybe Daydreams is LA in an ironic sort of way."
Venue Information:
Bootleg Theater - Bar Stage
2220 Beverly Blvd
Los Angeles, CA, 90057