The Echo & KCSN 88.5 FM Present
Western Lows "Glacial" LP Album Release Show
Francisco The Man, LA Font, DJ Kevin Bronson
1822 W Sunset Blvd
Los Angeles, California, 90026
This event is 18 and over
Western Lows didn't form. Not all at once anyway. The project came into being slowly, in fits and starts, over the course of 2011 - a year that found Jack Burnside at loose ends, bouncing between a collection of Los Angeles practice spaces, apartments and home studios as he wrote and demoed the material that would eventually make up Glacial, Western Lows' debut LP.
Spring of 2012 saw Burnside travel to Athens, GA to record with Andy LeMaster (Now It's Overhead, Bright Eyes, R.E.M.) at Chase Park Transduction. Tasked with creating a sound, as opposed to capturing one, the pair spent weeks working into and oftentimes past the small hours of the night. Finish lines inched slowly backwards as the scope of the recording expanded.
Glacial combines the hushed intimacy of Burnside's compositions with the wide screen panoramic sweep of LeMaster's production to striking effect. Echoes of Yo La Tengo, Mazzy Star and even The Cure are present; the record's sonic space seems almost physical, a sort of gauzy dreamworld - dawn or gloaming, depending on how you look at it.
Live, Burnside is joined by Julien Bellin (Polls) and Michael Orendy (Frankel, Meow Meow).
Francisco The Man
Born amidst the 7-Elevens and white trash comradery of Southern California's suburban desert, Los Angelenos Francisco the Man grew up the way bands used to grow up. Huddled in the corners of their parents' garages. In church halls. In basements. Passing cheap beer, pissing each other off, and dreaming of the day they might continue to do the same without a dead end day job.
Francisco the Man is indeed a real band from the days of yore, yet their sound is anything but dated: locomotive Crazy Horse jams with squalling feedback, the punky spirit of 1977 New York, sunburnt shoegaze hymnals, and chunky Motown grooves, all saturated in rose-hued California power pop.
The guys latest release is just as sweet. Right when the band's euphoric crests have you shaking off goosebumps, Francisco the Man pulls the plug at the most dramatic moment to send you floating dreamily down a river of ambience reminiscent of My Bloody Valentine's Loveless. It's perfect, really. The only thing left is to drift off and tune in to the earnest, idiosyncratic vocals of singer Scotty Cantino, who stands out from his peers as one of the few true innovators of modern guitar pop. Evocative of a young Doug Martsch, Cantino's sanguine and nostalgic lyricism hearkens back to those early memories of suburban paradise, with all the heart and pluck of a wisened street child who never forgot where he came from.
Their new 7" drops August 7th via Small Plates Records.
"psychedelic guitars, fuzzed out melodies and a deep love for the wall of sound" - YVYNYL
'music transcribing heavy influences of psychedelic rock alongside hints of post-punk, manifesting a gauntlet of wavering sing-alongs and power chords.' - Indie Ball
"Francisco The Man play a type of sunny, post-punk guitar rock that's all been all but absent from the indie rock scene since the early/mid-2000′s... Broken Arrows" won me over immediately with it's hook-filled, shoegaze-y guitar riffs and exuberant melody. The last half of the song is absolute bliss, indulging in nearly four minutes of some seriously enthusiastic guitar jamming" - Music For Kids Who Can't Read Good
"Broken Arrows is pure energy" - I Guess I'm Floating
"L.A.-based Francisco The Man makes reverb-drenched, ebullient indie rock." - Gold Soundz
"[Francisco the Man's came] just in time for the warming temperatures as it would make a great passenger for a destination-less cruise along the PCH" - Good For Your Ears
"Surfer aesthetic paired with sixties AM makes it something of a perfect jam..." - Friends With Both Arms
"If the crackling, Pavement-informed indie rock on LA Font's  album 'The American Leagues' feels like a breath of fresh air compared to all the noisy navel-gazing on the scene right now, it's because songwriter Danny Bobbe probably still feels like an outsider. Bobbe moved from Montana to L.A. just two years ago, and his prickly songs have the feel of a wiseguy who suddenly finds himself planted in hipster heaven (if not a homeless haven) and who responds by flaming, with guitar and in verse. It's reminiscent of other local favorites such as Rademacher, the Henry Clay People and Death to Anders, though none of them nails a baseball metaphor as LA Font does in the title track." – Kevin Bronson, Buzzbands.la