The Echo & Blundertown Present
Murica Fest with Oblivians
Intelligence, Milk Music, Destruction Unit, Fuzz, Kent State, The Lamps, Hausu, FF
1822 W. Sunset Blvd
The Echoplex is located below The Echo, enter through the alley at 1154 Glendale Blvd
Los Angeles, CA, 90026
This event is 18 and over
Watch & Listen
“There’s a case to be made that the Oblivians are the greatest Memphis music act of the post- Al Green/Big Star era…With a deeper musicality and more charisma than most, but with no loss of energy or attitude for it, they are legends in their scene for good reason.”—Memphis Flyer
Desperation, the long-awaited new album from acclaimed garage punk trio the Oblivians, will be released June 4 on In The Red Records. This is the first record from the band in over fifteen years and follows 1997’s …Play 9 Songs with Mr. Quintron. In celebration of the new album, the trio will embark on a series of special dates later this spring/summer. More details to be announced shortly.
Desperation was produced by band-member Greg Cartwright (with special help from Doug Easley) and engineered by Collin Dupuis at Dan Auerbach’s Easy Eye Sound in Nashville, TN. In addition to the three members, the 14-track album features special guests Mr. Quintron and Miss Pussycat on organ, percussion and vocals on the track “Call The Police.” Of recording together again, Cartwright comments, “over the years as we would occasionally reunite for a festival or special occasion, the idea began to grow in the back of my mind. The idea of making a new record. Because as much as we enjoyed playing together, the thing I missed the most was creating together. So that’s what we did. I had just made a Reigning Sound record with Dan at his Easy Eye Sound in Nashville, TN. And it really knocked me out. Dan had a 1-inch Scully 8 track. I remember asking him how it sounded when he sent the equipment list. Dan’s answer. ‘It’s the greatest @#$%^&* tape machine in the world.’ He wasn’t kidding. Literally the perfect device for catching a live band. And that’s the way the Oblivians had always made records. Most of our previous recordings had been done live on home recordings or at Doug Easley’s Easley-McCain Studios back in the day. Sadly, about seven years ago that studio burned down. So finding Dan’s studio was a big piece of the puzzle.”
Formed in Memphis in 1993, the Oblivians are Greg Oblivian (aka Greg Cartwright), Eric Oblivian (aka Eric Friedl) and Jack Oblivian (aka Jack Yarber). The trio released their debut LP Soul Food in 1995, followed by 1996’s Popular Favorites and 1997’s …Play 9 Songs with Mr. Quintron. In both their live shows and recordings, the three members alternate between instruments, each playing guitar, drums and singing lead vocals.
Around since 1999, The Intelligence has to date released seven singles, five split singles, two EPs, seven albums and have made eight compilation appearances. They join the ranks of hyper-prolific artists like Thee Oh Sees and Ty Segall in the impossible-to-stay-on-top-of department. That said, like the aforementioned artists, with each release The Intelligence continues to evolve, grow artistically and top themselves. And, yes, you do need to keep up with all the releases.
With Everybody’s Got It Easy But Me, The Intelligence do indeed top themselves. As with their previous album, Males from 2010, they returned to The Hangar with Chris Woodhouse to record, and they continue to jettison their deliberately blown-out, lo-fi recording approach for a much clearer sound. Not that there’s any loss of intensity. The band’s scrambling post-punk guitars, dry-as-a-bone drums and laconically abstract verses are all here, viewed through an unusually clear lens. If one didn’t have the songs or the chops, this sort of thing could reveal weakness but here it highlights their knack for catchy songs that incorporate pop hooks, metronomically repetitive guitar riffs, and new wavey synth moves. For those who haven’t been paying attention, The Intelligence are the brainchild of Lars Finberg (formerly of A-Frames, currently of Thee Oh Sees and Wounded Lion). Initially a studio project in which Finberg played all instruments on his home recordings, the band soon began to play live and tour, while the releases volleyed between solo and ensemble recordings. On Everybody’s Got It Easy But Me, Finberg goes for a mixed approach. Having recently relocated to Los Angeles, he assembled an LA lineup of the band—but since he still spends time in his original home base of Seattle, he has retained a separate lineup in that city as well. For this new album, he uses them both…and does some songs all by himself. He also invited a number of guests to come in and add to it. The result is the most varied yet cohesive Intelligence album to date.
Milk Music are a band of American artists who make cosmic electric soul rock on the subject of life and the human condition. Their impeccable songwriting and style can be compared to artists such as the Velvet Underground, Gun Club, Neil Young & Crazy Horse, and the Meat Puppets.
After resisting pressure from labels, small and large, Milk Music made the decision to work with Perennial records to re-release their celebrated 12” EP. The beautifully pressed 1st album, Beyond Living has been working overtime for the guys for the last two years, circling the globe on word of mouth and selling thousands.
Their next LP entitled Cruise Your Illusion, is out now on Compact Disc/Digitally through Fat Possum Records. The Vinyl was self-released by the band. Milk Music has extensively toured the US and Europe and plans to hit the road again in the spring to support the new record.
Destruction Unit are an American band formed in the desert of Phoenix, Arizona. Dug up from the sonic landfills of the cosmos, these radical desert dwellers have built a reputation for both mesmerizing and terrorizing crowds with their sheer power and intensity. Like running head first into a spinning wall of sound, they have been described by the press as “a band who felt more like a horror movie than a band … With guitars that were distorted beyond belief and acted more as auxiliary noise machines than instruments” (Transmission Entertainment)
and “Suicide-meets-Chrome-meets-Hawkwind-meets-Screamers-meets-the-killer-last-scene-reveals-in-all-the-alien-episodes-of-The Twilight Zone” (LA Weekly) or more simply put, “punk rock” (Austin Town Hall). However, Destruction Unit’s brand of feedback worship and heavy psych does not sacrifice songwriting or catchiness; to the contrary, “it’s their subtleties-distant bubbling murmurs of noise, faint guitar noodling-that make for the best hooks.” (Chicago Reader) The lineup features R. Rousseau (Reatards, The Wongs, Tokyo Electron) on Guitar and Vocals, brother Rusty Rousseau (Digital Leather) on bass, N. Nappa (Marshstepper, Nihilism) on Guitar, J. Aurelius (Pigeon Religion, Marshstepper, Avon Ladies) on Guitar and A. Flores (Urban Struggles) on drums.
The band was initially formed by R. Rousseau in the early 2000’s with Jay Reatard (Reatards, Lost Sounds, Angry Angles) and Alicja Trout (Lost Sounds, Black Sunday). The three appeared together on the first release, 2000’s My Disease 7”, as well as the 2006 record Death To The New Flesh and Destruction Unit’s debut LP, Self Destruction Of A Man. Destruction Unit were featured on The Screamers tribute The Necessary Effect, Screamers Songs Interpreted.
Ty Segall on drums, Charles Moonhart on guitar, Roland Cosio on bass.
Kent State bring three new psychedelic death pop jams to the table while Shivering Window serve up a gnarly mix of Throbbing Gristle and Guided By Voices with catchy pop hooks buried beneath layers of noise and atmosphere.
While you are at it check out our new music video for Hog's Tooth directed by Emma Maatman.
This is Lamps’ third album and since the last one was called 'Lamps Lamps', they missed a hell of a chance to call this one 'Lamps Lamps Lamps'. Instead, they’d like to call it 'Under the Water Under the Ground', which implies a depth unimaginable by anyone but scientists. Do they get there? You bet. A look at the structural components of a rock trio reveals some hidden logic, resolved by concepts related to physics: if you plot three points (one per band member, if you want), and put the musical concepts of power, precision and melody into each of those slots, and you move the point where melody exists closer to the axis on which the other two points reside, you get something resembling an icepick. It’s still a triangle, but it’s long and wide, and its bottom angles are like knives. If they lived anywhere but Los Angeles (or Austin, or the nowhere in between), they might need a device that employs angles much like those to scrape the ice off their car windshields, or as a shiv. There are some catchy hooks here—some of the catchiest Lamps have written to date, and vastly improved by an industrial strength recording by Chris Woodhouse—but they compress that element of their sound into a dynamic that favors power and precision as its most acute points, amplified / distorted / corroded to the point where it only knows how to hurt. The rhythm section is straight-up gorilla goon shit; muscular surf beats by Josh Erkman and a leveling counterpoint on bass by Thee Jimmy Hole. And Mr. Montgomery Buckles’s formidable arsenal of effects strangle his guitar blue. Every song’s a winner, the sight and sound of some crowd surfer hitting the floor, one more punisher out of the frame.
— Doug Mosurock
$19.00 - $22.00