City Of Costa Mesa 60 and Fabulous

Beach Fossils began in 2009 as the solo project of Dustin Payseur. Before and after the 2010 release of the S/T debut LP and 2011's What A Pleasure EP, they performed around the world with a lineup that once featured Cole Smith (DIIV) and John Peña (Heavenly Beat). They quickly became known for their highly energetic stage show, bringing the recorded work to a volume and tempo that would make even the indie-est of crowds wind up in a frenzy. With the exception of drummer Tommy Gardner, that lineup dissolved to pursue their ambitions with the aforementioned projects. Wanting to bridge the gap between the live and recorded aspects of the band, Dustin began writing Clash the Truth determined to capture the urgency, human flow and spontaneity of the live performance.

Now with a full time drummer (and co-writer of two tracks on the LP) Beach Fossils entered the studio in the fall of 2012 with producer Ben Greenberg of The Men. Instead of merely going from a "bedroom DiY" project to a "better fidelity studio project" the deliberate decision to work with Ben was determined to capture, if not in style, the spirit and enthusiasm of punk and aggressive music in general. To ensure that dynamic, the drums were recorded live in a room with Dustin on bass to give the album a driving and energetic force. Consider the titles "Generational Synthetic," "Caustic Cross" and "Burn You Down," it's easy to see how the record, while not a punk or post-punk record by strict definition, certainly nods to the first major influence of Dustin's creative spark. The first two notes of the title track that kick the LP off are a clear indicator of where his head was at.

The LP also sees Dustin stretching his songwriting muscles, with the acoustic Lennon-esque "Sleep Apnea" and the dreamy "In Vertigo", which features the vocals of Kazu Makino (Blonde Redhead). During the recording period, the studio was flooded and destroyed by hurricane Sandy and the band had to relocate to another studio to finish the LP in earnest. It all came together when the work of legendary video artist Peter Campus was finalized to be featured throughout the release and on the striking cover. Clash the Truth marks a clear progression in the ongoing story of Beach Fossils. Drawing from the previous works' melodic strengths and uncanny guitar textures emboldened by a sound closer to their energetic and cathartic live set, it's the clear next step in the trajectory of the band and the dis-association from the home-recording boom from which it originated.

On the heels of three well-received singles comes Ride Your Heart, the bombastic debut album by LA band Bleached. Sisters Jennifer and Jessie Clavin match their ability to blend a mix of freewheeling '77 punk with vintage sunny Southern California melodic rock and roll; creating blindingly bright hooks and dark heartfelt lyrics about love, loss, and all the crazy fun moments in between. That's the goal: the sugary and sour, repurposed by two aggressively harmonic musicians and songwriters, stepping into a new visceral dimension of sound. Their full length debut epitomizes this movement – gritty, raw, adventurous and frenzied, tossing you out onto the dance floor, hair mussed from make-outs, cigarette still dangling from fingertips.

Raised up deep in the San Fernando Valley, their suburban isolation nurtured a frenzied creativity, as they started making their own music at a young age. Sneaking into punk shows over the hill in Hollywood, they became teenaged underground scene staples at all-ages Downtown DIY venue, The Smell. "Me and Jen were punk kids who weren't taught how to play instruments," says Jessie. "We taught ourselves how to play, out in the garage." Eventually signing to Kill Rock Stars and Post Present Medium, their all-girl punk band Mika Miko drew international acclaim, landing slots on tours with No Age, Black Lips, and The Gossip.

Bleached originally formed when the Clavin sisters resolved to continue working with each other upon the break up of Mika Miko. Plans were postponed when the sisters joined other bands. (Jennifer relocated to New York and toured extensively, and Jessie began to play with various bands in LA.) But in the fleeting moments they found together back home, the songs that became Bleached's early 7" singles came together. Since Jennifer moved back to her hometown, Bleached now serves as both girls' chief creative outlet. "I was going crazy being in someone else's band," remarked Jennifer. "Me and Jessie are so proud and happy to be able to focus on our own music, together."

As a whole, the twelve tracks on Ride Your Heart reveal the many facets of Bleached's music in a delirious vortex of playful harmonies, tangled guitars, and golden noise. Each song brings a new element, while also imbibing the classic moods of bands as varied and iconic in nature as The Ramones and The Cars to The Rolling Stones and Fleetwood Mac. From the syncopated backbeat and two-part chorus of "Dead In Your Head,", the rolling riffs and sparkling melodies of "Searching Through The Past" and the pulsating energy and urgency of "Dreaming Without You" and "Outta My Mind", Bleached take you on a sweeping emotional rollercoaster that churns and burns. Ride Your Heart is a thrilling, beating, glorious wall of sound strong enough to withstand its own impact.

Poolside (DJ Set)

Filip Nikolic and Jeffrey Paradise are good friends who are inspired by California, mezcal, dancing, good food, and friends. Filip is a Danish producer now living in LA who plays bass in Ima Robot; Jeffrey throws the infamous Blow Up party in San Francisco and used to be in the hardwave band the Calculators with Luke and Vito from the Rapture. Poolside's debut single "Do You Believe?" was charted by Aeroplane and Dimitri From Paris, and Dazed & Confused praised the song for its "pop-tinged disco, brimming with optimistic vocals and retro acid synths," while NME lauded its "supremely casual decadence." Poolside is currently working on their debut album.

White Arrows stands at these balmy crossroads like a vision from an alternate reality: classic without leaning on nostalgia, visionary but not unfamiliar. What should be a collision of sounds and styles—ritualistic rhythm and four-four thump, synth sequences and strummed guitars, garage-y grind and airy atmosphere—is, in this quintet's capable hands, a fluidly seething whole. Call it Psychotropical pop, something both busy and breezy. Call it Paul Simon in space (others have). Call it what you will. This is White Arrows.

The White Arrows story begins with a blind boy. Singer Mickey Church was born seeing the world as an impressionistic smear. His vision was righted at age 11, but his imagination ran wild for the intervening years. His memory of growing up in L.A. is confined to smells, sounds and swaths of fuzzy color. With family back east, Mickey eventually left for NYU, and unexpectedly wound up creating his own major with a degree in shamanistic ritual.

The band consists of his younger brother Henry, who started playing drums for the band while still in high school, their old friend J.P. Caballero, previously of Dios Malos, on guitar, Andrew Naeve on keys and electronics, and Steven Vernet on bass. The five bonded over a shared love for sensory overload both aural and visual—essential to the White Arrows live show which currently employs plenty of fog, lights and visuals with hopes of making it bigger and better each tour. With only a 7-inch to sell, they toured with Cults, Those Darlins, The Naked and Famous, played Sasquatch, opened for Weezer, and held residencies at home and in London in 2011.

With the release of the album, "Dry Land Is Not A Myth" in June, the band has been on the road almost continuously this year with Beat Connection, White Denim, Givers, and Unknown Mortal Orchestra with no plans to slow down and trips to Australia, the United States, and both the UK and Europe to close out the year.

Mr. Little Jeans

MR. LITTLE JEANS

Meet Mr. Little Jeans, a.k.a. Monica Birkenes. She is small and Norwegian and she makes music that will leave you reeling. Her pop dances left of center, a curious thing of equal parts organic magic and buzzing electricity. She has worked hard to get to this place, traveled far to find it. On some unmarked pasture between St. Vincent's prettiest moments and Debby Harry's wilder inclinations, she stands fronting an army of bright ideas and sharp sounds, a shipbuilder's daughter with a voice that could part a sea.

Monica grew up in the middle of the woods in a seaside town called Grimstad. Her dad built catamarans and her mum was a secretary whose love for music was infectious. They didn't have much money, but put their daughter through years of piano and voice lessons which she'd attend wearing her mother's oversized outfits from another era. There were four black cats called Missy, and some neighbors who killed a man, but otherwise it was all Nancy Drew, dancing through the trees, and singing to mum's records.

Her first instrument has always been her voice. Monica sang in the church choir at 5, then around town wherever and whenever her mum saw fit: malls, old folks' homes, theaters, even on local television once or twice. At 10, she recorded a cassette of children's classics and shopped it around to gas stations mainly. By 15, she was singing in bars, clearly underage but backed by a band of boys in their 20s. She focused on music in high school, then relocated to London to study drama.

A year later, Monica was on her own in England, having left college to chase singing leads gleaned from the "wanted" page of The NME. Mostly she spent an endless string of years as a terrible waitress and, after an exploratory trip to Los Angeles, a couple more years sofa-surfing, country-hopping, and racking up credit card debt as she wrote with different producers—Peter Moren (Peter Bjorn & John), John Hill (Santigold)—and shaped her sound into that of the inimitable Mr. Little Jeans we now know.

Many people's introduction to Monica came with her haunting, beat-damaged cover of Arcade Fire's "The Suburbs," essentially doing to that song what James Blake did to Feist's "The Limit to Your Love." She'd similarly flipped Beyoncé's "Single Ladies" on 2010's Angel EP, but Mr. Little Jeans' has since come into her own. Her forthcoming full-length debut—recorded and produced with Tim Anderson (Ima Robot, Dead Man's Bones), John Hill (Santigold, Wavves) in L.A., Monica's new home base—promises untold treasures that happily blur the lines between pop and art, light and dark.

Since 2006, Anna Lunoe has been leaving a trail of exhausted and ecstatic crowds wherever she goes. Clubs throughout Australia have become her weekend playground, she's a festival favorite with multiple appearances at Big Day Out, Splendour in the Grass, Parklife, Field Day, Falls Festival & more, steadily moving closer to the top of bill with each passing year. When artists like Diplo, Daft Punk, Switch, Calvin Harris, A-trak or Soulwax come to town it's more than likely Anna's on support, throwing down a set that has the crowds and the main act talking for days.

Despite having dominated down under for the most part she is no stranger to touring, having racked up a mountain of flyer miles playing world renowned parties throughout Asia, Europe and the U.S. Flashing lights in NYC, Mad Decent & Dim Mak joints in LA, Raves in Kansas City, and all the way across the Atlantic at Ed Banger soirees in Paris, Vice shows through the UK, Razzamatazz in Spain, and Rust in Copenhagen to name a few. In 2009, Ministry of Sound approached her with the prestigious offer of being the first female to curate one of their mixes, and the resulting CD [Clubbers Guide to 2010, mixed alongside Axwell & Hook N Sling] went gold in the snap of a glowstick.

Her reach does not stop in club land. When international brands like Chanel, Fendi, Prada, Louis Vuiton and Hugo Boss need music direction for their shows, whether in London, New York, Paris or Sydney, Anna can be found behind the decks looking as graceful as the models on the catwalk.

So far in 2011, Anna performed across Australia on the Big Day Out tour, completed a month long USA club tour, wowed Japan for MTV, Dj'd (and hosted!) Parklife main stage, mixed her 3rd Ministry of Sound Compilation followed by a national tour, was chosen as the Australian ambassador Smirnoff, returned to Splendour In The Grass [with her all-girl DJ crew Hoops] plus made huge leaps further into the production world.

Her first original production, a disco-inspired collaboration with Wax Motif called 'Love Ting' reached #12 on the national independent radio charts, getting radio play all over the world, with Chuckie championing it on BBC Radio 1. Her second, a dark banger 'Voodoo' (produced alongside LA's Them Jeans) features her on vocals, and is on her new Ministry compilation. It's a very exciting sign of things to come for Anna's production, with some massive releases on the horizon.

Since getting her start on radio over 5 years ago, Anna has gone on to influence numerous fledgling DJs and steer clubbers towards breaking genres in the world of bassline & bashment sounds. At the end of 2010, Sydney magazine named her in their 100 most influencial people list, and she continues to host her popular radio slot on Tastemaker radio station FBi 94.5 each week. Now she is taking on the world- and with heavyweights like Brodinski, Switch, Calvin Harris and Axwell turning up at her shows, its safe to say Anna Lunoe is the little Aussie girl that could, winning over the big boys one spin back at a time.

With a sound as blistering as a parking lot on the hottest day of summer and a tireless devotion to the gods of rock and roll, Saint Motel are an explosive, cinematic, indie-pop band, with an intriguing blend of mischief and sincerity. Breaking out with "Puzzle Pieces," brand new single "At Least I Have Nothing," and a boundary pushing, explosive live show, Saint Motel are moving full speed ahead with their light hearted melodies and roll around on the floor excitement.

After high school, A/J Jackson decided to study film to discover new ways of creative expression, at the same time knowing full well that music was the closest thing to his heart. At film school, he soon met guitarist A Sharp, and the two friends began discovering structural parallels between movies and songs and began to explore them. A Sharp, who had been classically trained both by pedigree—having a classical guitar mentor in both his father and grandfather—and by education, learning to play flamenco in the caves of Granada, Spain. He wanted to immerse himself in something besides notes and chords and training, and so the two met amid film screenings and lectures about light and sound.

The rest of the band came together easily, if not somewhat by chance. The two film students found bass player Dak, a former buddhist monk, working as the sushi chef at their local sushi bar, where he overheard them discussing their search for a bassist. They found out that he'd been in a rock and roll band back in Thailand, and enlisted immediately. Drummer Greg Erwin gave up a professional career in motorcycle racing, and moved to LA to pursue careers in music and stunt work. Having first learned about music from bagpipe sessions with his grandfather, he ended up meeting the band at one of their first Los Angeles shows.

Saint Motel is one of those bands so dedicated, they're willing to try everything—and anything-- once. Looking to transport listeners to the same sweaty, shaking, dangerous place they found at the punk shows of their adolescence, they do things like practice entirely in darkness and try and maintain eye contact with one another through entire sets. Their shows are filled with thrills for the senses including a video piano that is connected to various live cameras planted on stage and others wirelessly roaming around the venue.

As a songwriter, Jackson pulls from a variety of sources. When it came time to build "Puzzle Pieces" into a Saint Motel tune, Jackson recalled a conversation with a photographer friend, about a model with perfect features but an anything but perfect face. "She had the most beautiful lips and beautiful eyes and her nose was perfect but they didn't fit together on her face—I just thought that was magic." Reflecting this everyday magic in sweeping melodies and raucous performance is exactly what the band is all about. "Sometimes our shows are more ruthless than they need to be for the type of music that we play," Jackson says, "but that's exactly how we want it."

Let's rewind a bit for those playing catch up: the LOL Boys ​an internet-based electronic duo comprised of Jerome Potter (a.k.a. Jerome LOL) and Montreal-based Markus Garcia. After 4 years of putting out buzzworthy EPs on various independent labels, they scored a surprise #1 on the KCRW chart a couple of weeks ago with their recently released Changes EP on LA-based Friends Of Friends Records. The LOL Boys, and Jerome in particular, are among the most in-demand DJs in the LA club scene.

Boogaloo Assassins

The Boogaloo Assassins' name might hint at homicide, but their efforts are strictly life-saving. Dedicated to re-creating and re-interpreting the boogaloo craze that swept East Harlem, the Latin Caribbean and South America from 1965 to 1969, the Los Angeles nine-piece band attempts to do to R&B, doo-wop, Afro-Caribbean jazz and salsa fusion what the Dap Kings do to classic Stax soul.

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City Of Costa Mesa 60 and Fabulous with Beach Fossils, Bleached, Poolside (DJ Set), White Arrows, Mr. Little Jeans, Anna Lunoe, Saint Motel,...

Sunday, June 30 · 12:00 PM at OC Fair and Event Center