NO WIN, The High Curbs
901 E 1st St
Los Angeles, CA, 90012
This event is 18 and over
Watch & Listen
First impressions are important. By his own admission “a nobody” at school, when Jamie Glass decided to play his first ever gig he knew he needed to give people something to remember it by.
“The day before I walked into Ann Summers. I was 15, maybe 16 and I wanted to buy something to wear on stage,” recalls Glass. “There was this animal thong where the trunk was like an elephant. I thought it would be really funny on the last song to do a sort of Jesus martyr style pose and then someone would pull my trousers down from behind and reveal this man thong. I don’t think anybody even knew my name at school - they knew after that.”
Thankfully, Glass leaves his impressions these days without the aid of any animal-themed sex wear. Instead, it’s imbedded on the brains of anybody who hears Indoor Pets’ irresistible, black sheep anthems: spiked and effervescent collisions of crunching guitars and insistent melodies.
Delve into Indoor Pets seemingly bottomless pool of great tunes and you’ll find so many songs to fall in love with. Familiar feelings of not fitting in or wanting to play the hand life’s dealt you delivered with self-deprecating wit and Glass’ trademark use of double-bluffing world play. Think Rivers Cuomo and a pre-sandpit Brian Wilson bunking off school to play records and snigger at the cool kids. They’re smart, life-affirming and all contained within a thumping primary-coloured pop wallop.
Unbelievably, knocking out classic songs was something Indoor Pets were doing pretty much from the get go. Finding himself working in a factory in Sittingbourne, Kent after leaving school, Glass knew he needed to find an escape. He roped in his mate, amateur photographer Ollie Nunn, to play bass, despite the fact that Nunn could barely play more than four notes.
“I remember thinking, if I’m going to write songs I need somebody to be the looks,” recalls Glass. “Ollie was picked for his personality but also for his attractiveness, way over any musical ability.”
An old school ‘acquaintance’ Rob Simpson was drafted in next on drums. “Rob bullied me at school,” says Glass with a grin. “You weren’t bullied at school,” sighs Simpson, “you were friends with people who were bullied… by people I knew.”
Simpson asked his older brother James to add some guitar and produce their early batch of songs, who, impressed by the calibre of what the trio were doing only a few weeks since forming, decided he should probably join too. From there things took a bit of a leap.
“We stuck them up on YouTube along with a pixilated picture of a dog’s bum,” recalls Simpson. “The next day one of them made the Record of The Week on BBC Introducing.”
“We were like, Get that dog’s arse picture down, quick!” jokes Glass. “Within two weeks Huw Stevens had played it. Our former manager messaged us within 45 minutes of them going up asking if we had management. We weren’t even a band! For a band that’s been together for five years, most of the process happened in the first three hours.”
He’s doing them a disservice. For the next few years Indoor Pets wrote and gigged incessantly, building up a batch of killer tunes and a devoted fanbase across the country. They did, and still do, everything themselves. From making the artwork to organising their own tours on the road, producing music, building their own stage monitoring system and even running their own finances (Simpson: “if anyone wants to spend any money they have to ask me,”). It’s a fiercely DIY ethic born less from punk principle as it was from necessity. “It was either do it yourself or don’t have it done,” notes Glass, “and we decided to do it ourselves.”
Then something threatened to derail all their hard work. Given the on-the-hoof, doing-it-for-a-laugh nature of the band’s genesis, they didn’t put that much thought into their original name, a play on ‘get into it’: Get Inuit.
“We’d always known that it was a stupid name,” says Simpson. “So it had always been like, ‘Should we change it?’ But we’d built ourselves up to this point where people had heard of us.”
However, when they were accused of cultural appropriation last year it blew up, with Glass even being asked to appear on Canadian national news.
“It took someone to say that if you type Inuit music into Google we were the first thing that comes up. They weren’t saying that we meant to do anything wrong but we were basically unknowingly suppressing Inuit culture. From that moment it was like: Ok, changing our name is the right thing to do.”
The logistical nightmare of having to change your name in a world of Spotify plays, Facebook followers and online devotees doesn’t bear thinking about (not to mention what they’re supposed to do with all the boxes of Get Inuit t-shirts). But far from scuppering the band mid-stride, the change kickstarted them with a renewed sense of purpose, bringing in a new wave of fans in the process. With their eagerly anticipated debut album now in the can, the main problem they faced was working out which great songs made the cut.
“I feel like a black sheep a lot of the time,” notes Glass of his approach to writing songs. “The logic I had with songwriting was if I could reveal that in my songs and connect with other people who felt like that, then that will cure the feeling of being a black sheep. Everyone would be like ‘I’m a black sheep too! There’s thousands of us, we’re all loners!’ It nullifies the feeling of being a weirdo. Basically I’m just waiting for everyone to justify me being weird.”
Indoor Pets don’t need to wait anymore. Having so far had ringing endorsements and support from the likes of Annie Mac, Huw Stephens and Jack Saunders at Radio 1, Lauren Laverne at 6Music and Amazing Radio, where they have already been A-listed, the only thing left is for the last few remaining non-converts to get on board. Elephant man thongs optional.
Some recent praise for Indoor Pets.
The quartet deliver a giddy, memorable brand of power pop and “Barbiturates” is exemplary of this. The song kicks off like Jimmy Eat World circa Bleed American, before catching a wave of distorted guitars. It’s that quiet-loud-quiet-loud thing and it sounds glorious. - NOISEY
Sugar-doused noise worthy of conquering arenas. - DIY
And it’s hard not to like the band. With their power-pop stylings and infectious melodies. - WONDERLAND
Danny Nogueiras had one simple motivation for the 10 songs that make up downey, the debut album by his band NO WIN – honesty. This candor is evident from the very first notes, but with each subsequent listen the songs digs deeper and deeper, attaching themselves to the listeners own emotions and experiences until its songs become shared memories. “I worked to the bone on this record,” says Nogueiras, “I make this kind of music because I love it genuinely, and I want as many people as possible to enjoy it.”
downey takes its name from the Southern California city Nogueiras grew up in. “It’s a good representation of where I come from, and it’s nostalgic for certain elements of the past while still being sad about them,” he says. downey is a compendium of glory days and melancholy memories, of hopes for a future already passed, and for dreams that may still be one day be realized. It’s the perfect summer record, but it’s also the perfect end-of-summer record: from the glorious, melancholic power-pop opener “After Your Legs”, to the energetic, full-throttle wonder of “Endless Scan” and the laidback splendor of “Shelley Duvall”, all the songs are inspired by Nogueiras’ personal memories, but have a universality to them, too.
Perhaps the best example of this is the wistful yearning of slacker-pop ballad “Being Teen”. ‘I know a bar where we can drink after close / Anything to keep from going home,’ sings Nogueiras in a beautiful, gentle lilt. ‘I know a spot where we can hide / Let’s get loaded and listen to “Pale Blue Eyes”.’ It’s a gorgeous moment of innocent and romantic escapism, a movie perfect snapshot of young love and the folly of youth, but with the added wisdom that, despite how things seem, it’s never going to last.
At the same time, Downey is an album that also looks forward to new beginnings, in both a metaphorical and literal sense and which lives in the present as much as it looks back on the past. Mostly written over the course of a six-month period in the LA apartment Nogueiras was sharing with his wife, its songs capture a true sense of what it means to be alive, and all the wonder and the sadness that entails.
That’s something accentuated by the shimmering, sumptuous production of the record itself. The first album made by Nogueiras at Balboa Recording Studio in LA – which he built himself – it was recorded with bassist David Jerkovich (Kind Of Like Spitting, Novi Split), drummer Jeff Enzor (ex-Joyce Manor) and lead guitarist Juan Liñan and mixed by acclaimed producer/engineer John Goodmanson (Blonde Redhead, The Posies, Sleater-Kinney), it bursts and blooms with a vibrancy that’s a far cry from what NO WIN sounded like when, having left party punks FIDLAR, Nogueiras started it as a solo project some four years ago. “This feels like such an important thing,” he says. “It’s a culmination of so much work and years of doing other things and being in the studio and working with bands and so many different emotions and songwriting and time. It feels great.”
Using the album as a way to explore his new studio space, Nogueiras – who has also produced records by Together Pangea, No Parents, and Mean Jeans and toured in Waterloo Teeth alongside members of SWMRS – took his time to make sure that everything on downey was exactly as he wanted and had envisioned it to be. For while NO WIN did release a debut EP in 2015, it’s this record that really represents what the band are all about right now, both sonically and thematically. “I got to really indulge in making a record,” says Danny, “which I think so few bands get to do now because budgets are small and records don’t sell the way they used to. After making records with so many bands, NO WIN was my very stubborn approach to wanting so badly to make my own music again and get back out on the road. When I started it, I was like ‘I know how I want to do this, I know that I don’t want to make my first record until it can be done what I consider the right way.’ It’s be being stubborn and hardworking and just waiting for this opportunity.”
That, combined with the powerful emotional punch of its songs is what makes downey a truly special record. It retreads the past with the eyes and wisdom of the present to create a collection of moments – of places, of experiences, of emotions, of people – that all combine to make us who we are now. Even if you’ve never been to Downey, it’s an album that anyone and everyone can relate to, even if their life experience is totally different, because it’s an album that captures the true essence of human existence and experience, no matter who you are, where you are or where you’re from. “I want people to walk away from this record with a weird mix of emotions,” says Nogueiras. “I’d like someone to say that what I think is the saddest song on the record makes them feel super happy. I want it to be ambiguous and mixed and I want them to feel happy and sad. I want it to be a weird and honest mix of real human emotion.”
The High Curbs
Bound together by blood, skateboarding, and pizza, The High Curbs from the Inland Empire, have been keeping skate punk comradery alive since 2013. Originally membered by Aaron Korbe, Andrew Palomino, Eduardo Moreno, and Matt Banneck, the band began to pick up attention by recording their self-titled EP recorded by F.Bermudez aka Cundo who recorded bands such as Audacity, Bleached, Ty Segall & The Muggers, etc. Later on they self-released their first full length "Weight Problems" that captured the essence of teenage angst and hopeless romanticism. Their first official release "Marcelo Cleveland" recorded by Matt Schmalfed (Audacity) was put out by Silver Lake based label Sick City Records and along with the release of the LP, Burger Records helped with the cassette release. After the release, guitarist, Matt Banneck left the band due to personal reasons. The band picked up Alberto Alvarenga in 2016, and has been active since. Spencer Cohen has joined the band as well to play synth and second guitar. The 5 piece now, went on to release two singles under a Burger Records x Volcom project that has grabbed the attention of new listeners all over the world. People come from the woodwork to see them scream about songs about being lost, girls, and dogs.
$12.00 - $15.00