Monday Night Residency with Haunted Summer

Haunted Summer

Haunted Summer crafts languid pop music, adorned with orchestral strings and electronic textures that recall Soft Bulletin-era Flaming Lips.-Candice Aman (KXSC Radio)

Their brand of dream pop feels timeless, with just the right amount of youthful nostalgia to woo your ears into submission. Moody’s smooth, light as air vocals captivate like a siren of the sea, while the arrangements are lush and seductive, but never pushy. It’s a delightful combination that has the power to fill any lazy summer day with an extra bit of magic. -Jacqueline Caruso (The National Deli Magazine)

There’s no question that whatever is haunting Moody and Seasons is steering the duo toward a beautiful place. -Kevin Bronson (Buzzbands LA)

Windswept vocals, sultry strings and spacey guitar blend together beautifully. The whole thing is mysterious and engrossing enough that it gets under your skin and stirs your own private nostalgia. -Billy Gil (Amoeba Blog)

L.A.’s De Lux are a post-disco dance-punk DIY duo that sound like they could have come out of 1979 or 1982 just as easily as 2013. Founders and multi-instrumentalists Sean Guerin and Isaac Franco didn’t meet so much as simply appear to each other, sometime before high school ended and after learning to correctly fall off skateboards began. Even at age 18, however, it was the kind of connection that had been years in the making.

Sean had been writing songs since he was 15 and had spent recent years recording and re-recording his own songs. And Isaac had been on a strict diet of classic and obscure disco and boogie music since he too was 15, figuring out the original source of hip-hop’s greatest samples thanks to an older brother with a DJ sideline and an enviable collection. They both were after the same thing in music—the groove, they say, where the bass and the beat align in a perfect way that makes you want a song to go on forever. They were even in a band together, but it wasn’t De Lux. But you can hear the exact moment De Lux became a band when you listen to “Better At Making Time,” the song they built from Isaac’s out-of-nowhere bassline just before practice for that other band was supposed to start: “Sean was like, ‘You should record that!’” says Isaac, “and I was like, ‘What, really?’”

From lead track “Better At Making Time,” De Lux roars through Psychedelic Furs or Duran Duran-style pop (“Love Is A Phase”), delivers shouts and whispers like James Murphy at his most frantic (“Make Space”), sinks into Eno-esque moments of bliss (“On The Day”) and rockets through the agit-funk David Byrne-style rave-up finale “Sometimes Your Friends Are Not Your Friends.” And this is all from the first-take—they never re-record, says Sean. If they don’t perfectly catch that beat as it happens, they let it go. That’s probably why Voyage sounds as wild and alive as it does. Just like on that surprise recording “Better Making Time,” you’re not hearing a band come together. And just like how they met, you’re hearing a band appear.

Some people have repressed desires that they would prefer to keep secret. They may be dark, lustful, destructive or absurd. They might reveal themselves in a dream (or nightmare). Alex Lilly and Bram Inscore created Touché as an outlet for their repressed desires, for the most part expressing them ambiguously but sometimes with colorful clarity.


As teens, the two met in a San Francisco prep school where they became fast friends. They both studied Classical music in college and they each moved to LA at different points to pursue their musical aspirations -- working with such luminaries as Beck, Charlotte Gainsbourg, Thurston Moore, The Bird and the Bee, and Mike Patton. Alex also fronted her own band, Obi Best.


The duo began writing in a studio in the hilly outskirts of LA, influenced by the sounds of Grace Jones, Arthur Russell, Todd Rundgren, rap radio station KDAY and Europop. The songs were constructed by chopping and arranging their improvisations, embellished with some previously unfulfilled desires such as 70's style guitar shredding and brief forays into rapping. The name, Touché, refers to the sporting nature of their collaborative process as well as to the music's softly confrontational style. French for "touch", Touché also alludes to the music's sensuality - it's boy-girl harmonies and oscillating textures.

Bram and Alex are multi-instrumentalists with a penchant for classic pop songwriting as well as lush synthscapes and dance floor anthems. They are song-crafters that always end up in the rave tent.

“Shelf Life”, the debut album from Historian, aka Chris Karman, is an album many years in the making. Excited with the limitless possibilities of modern recording, Karman was determined to craft music that would envelop the listener in layers of interwoven beauty. Add to this his love for spacey sounds and quietly reflective nature and you have the basis for what is Historian; it’s music that is tailor made for the nocturnal headphone listening experience or the long night drive. What was originally a private outlet for his introverted ruminations in time developed into an uncompromising style he’s chosen to share with the outside world. For Karman, music is the freedom to put as much sound onto a track as feasible - or completely ignore verses and choruses; it’s experimentation to present any combination imaginable. At it’s core, Historian is about striking that balance between the creative, the contained and the chaotic - with beautiful music as a result.

“Hypnotically entwining – and at times completely disregarding – traditional song structures, Karman sits calmly on the edge between creative containment and cathartic release.”

-Beats Per Minute NY

“It’s all peculiarly dissonant, but even with warped melodies and fuzzy reverb, Historian’s music

still aims to do the most important thing — tell you a story”
-Buzz Bands LA

"Sophisticated quiet thunder indeed. This is the perfect Saturday treat"
-Bored 4 Music

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The Echo

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Monday Night Residency with Haunted Summer with De Lux, Touché, Historian, KCRW DJ Valida

Monday, October 28 · 8:30 PM at The Echo