The Echo, IHeartComix, Media Contender Present
Check Yo Ponytail 2 with Death
Tijuana Panthers, Obliterations, Tony Molina
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
Check Yo Ponytail 2 with
Visuals by Demonbabies
DEATH Established in Detroit in 1974. Death is one of Rock-N-Roll's most unique and inspiring bands. Three brothers who played some of the hardest-driving Rock-N-Roll and recorded a now classic album in 1975. Rejected for their sound, their name, and their color, 34 years later the band Death began receiving what is now world-wide recognition for the Rock-N-Roll music they created in Detroit throughout the seventies. Their music and message is universal, and the sound of Death is unique and tight! The new Death album tracks have just been completed for an exciting array of new Death music to be presented in the upcoming 2013/14 season.
"The Tijuana Panthers got their name from the little black ceramic panther that was a present from their neighbor Max Baker—yes, the Max Baker who they named their first album after, and who deserves a bio all his own—and they got their sound from that strange place where punk bands crash into pop music and come out the other side, bristling with hooks and hitting three-part harmonies almost by happy accident.
Even the Beach Boys were once a garage band, and after them came the waves of kids playing rock 'n' roll somewhere between the surf and the surface streets. Then when punk showed up in the '70s, it was just an adjustment in hairstyle and speed. The Buzzcocks did this a whole hemisphere away, the Real Kids and the Modern Lovers did it on the other side of the country, and the Crowd and the Simpletones did it just a few towns over. And now Tijuana Panthers come striding proudly out of their hometown of Long Beach, California.
Sam James Velde (Vocals), Austin Barber (Bass), Stephen McBean (Guitar) and Flo Schanze (Drums).
They all played and play in other bands including Black Mountain, Saviours, Bluebird, Night Horse and Pink Mountaintops.
They all started playing together in November 2012.
They all like Black Sabbath and Black Flag.
They all live in Los Angeles, CA.
Debut 7 inch this summer on Outer Battery Records.
Tony Molina has never suffered a shortage of musical outlets over the years. He was the frontman of the late, great SF band Ovens. He played in Sopors. He’s the lead guitarist for Violent Change and also sings for Caged Animal. Now he’s back with his first solo effort, a punk-infused indie rock record called Dissed and Dismissed, out yesterday on SF label Melters.
Dissed and Dismissed‘s 12 tracks live up to the record’s outsider-oriented title, reeking of disenchantment and disaffection, with Molina’s laid back vocal style coursing over the top of fuzzed out riffs. In fact, Molina’s songwriting exudes such an air of disillusionment and alienation, that even his attention span for his own craft is maddeningly short – the entire record clocks in at just over 11 minutes.
That’s right – the songs average less than a minute each. In fact, one track (the ironically-titled “Sick Ass Riff”, which sounds more like Randy Rhoads’ “Dee” than the vicious licks of Tenacious D that its name suggests) runs only 25 seconds.
But that’s certainly no commentary on the quality of those tracks. In fact, Dissed and Dismissed is full of nothing but catchy riffs, Molina’s unfailingly impressive guitar work, and lyrics that speak to the album’s outcast-centric themes. Lead single “Don’t Come Back” (also the record’s longest track at one minutes and 32 seconds) is a throwback to the good ol’ days of ’90s indie rock, calling to mind legends Yo La Tengo, Pavement, and Guided By Voices (which isn’t surprising, considering Molina included a cover of the latter’s “Wondering Boy Poet” on the album). Perfectly lo-fi, yet still epic despite its brief life, the song is Molina at his best, crafting soaring guitars, changing pace on a dime, roping in his listener with an irresistible hook, and spewing what his label calls “unbearably relatable lyrics.”