Thief and Active Present
Tweak Bird, The Shrine, Retox
843 W. 19th St.
Costa Mesa, CA, 92627
Doors 8:00 PM / Show 9:00 PM
This event is 21 and over
Watch & Listen
The Brothers Bird have been a band since 2007 and have been making heavy and happy music.
"On the night of November 6th, 1979 Black Sabbath was at their most drug addled and explosive standing. They were on tour supporting their newly released Never Say Die album and had a night off in Los Angeles. After knocking back a few drinks at the infamous Rainbow Bar, they decided to check out the local rock scene at the Whiskey A-Go-Go. Arriving late, they caught the tail end of a set by The Circle Jerks. Feeling intimidated yet inspired, they rented a rehearsal space and spent the rest of the night jamming. For an unknown reason they exclusively played Thin Lizzy material and Keith Moon was sitting in… These events never took place. But if they did, the results may have sounded similar to Los Angeles's The Shrine. Formed in 2008, The Shrine play a houserocking breed of heavy, psychedelic, riff based Rock n' Roll. Their debut, recorded on vintage reel-to-reel tape, by local hero Dave O. Jones and under the auspices of the notorious Chuck Dukowski, is the perfect soundtrack to any debaucherous gathering of longhairs. If you and your rag-tag group of riff-raff friends are planning a road trip to Humboldt County to "Score", this is the album you need to be listening to on the way. The Shrine is Josh Landau on guitar/vocals, Courtland Murphy on bass, and Jeff Murray on Drums. Dig It. "-Harley Rother
2012 has come and gone and we're still not dead yet. You can log into the 24/7 smiling face, pictures of your friends drunk and/or naked, click "like". The gray-faced man in a suit who hates you is still alive too, but now he isn't always wearing a suit, and he's smiling, 24/7. He likes what you like, sees what you see, hears what you hear. So where does punk go when the underground's all tidily arranged on a shared screen? Does it roll over and play dead? Shrug? Smile? There's another man, this one with a microphone jammed halfway down his throat, cord coiled carotid-tight around his neck, dangling his body off the edge of the stage, screaming words that ache. Another is methodically destroying his guitar with his hands while his feet twist tail-ends of the signal into electro-rubber-echo nightmares. Two others are so precisely abusing a bass guitar and a drum kit at such a frenetic pace it's hard to believe these sorry objects will last more than a few more seconds, but then you realize it's over. A minute or so, tops. They stare out at you, maybe say thanks. Spit. Breathe. And then they begin again. This will happen for maybe fifteen minutes, altogether. You are not alone. The gray-faced man is not here. There's the screen, but then there's this. 2013, and punk is not dead. No more dead than the rest of us.
Tracks like "You Lost Me At 'It Wasn't My Fault,'" "Greasy Palms" and "Nose to Tail" are all filled with immediacy, urgency and restless energy, no matter which tempos RETOX happen to be pummeling in the songs. "Congratulations You Are Good Enough" features guest guitar work guitarist Nick Zinner of the Yeah Yeah Yeahs, whose fretwork jumps aboard the careening song. The track builds to a punk rock crescendo with crystal clear production that amplifies every crackling nuance of the band's delivery.
Subcultural iconoclast and artistic visionary Justin Pearson is known in critical circles, amongst contemporaries across a wide variety of genres and to fans of incisively incendiary artistic expression around the world as one of the guiding lights of the groundbreaking outfit THE LOCUST. He resurfaced on record alongside gifted guitarist Michael Crain, dynamic bassist Thor Dickey and powerhouse drummer Brian Evans.
YPLL takes the ugly powder-keg promises of the band's impressive debut and ratchets up the proceedings exponentially, quickly given all who fall under its spell ample evidence as to why friends and contemporaries who have played with Public Image Ltd., Nine Inch Nails, Killing Joke, Man Is The Bastard, Swing Kids, and The VSS count themselves among the bands supporters and comrades. Otis "O" Barthoulameu (Fluf, Olivelawn) coined a phrase for what RETOX have summoned forth: "New Confrontation."
Pearson himself offered this explanation for Retox's new album's creative combustibility: "YPLL is something that four very odd humans placed together as a reflection of the art due to the worlds we live in." Incredibly well thought-out, highly educated, impossibly practical, Retox's YPLL uses the power of the riff and the passion of the scream to conjure diatribes about the human condition. As Pearson notes, producer Chris Rakestraw, who has worked with heavy metal luminaries and postmodern hardcore heroes alike, "Brought out aspects that the band has previously not honed in on, resulting in music for the future yet to come."
"While writing YPLL, we were particularly focused on riffs and simpler song structures," explains Crain. "Not so much on the extras, such as effects and layers of guitar, but more on an actual song's flow. The guitar lines, kick drum, and snare are definitely driving the ideas home while the bass guitar is the glue holding it all together. And the vocals are telling each song's story. We really just wanted to keep it simple and make everything fun to listen to. Chris definitely honed in on this."
Broken mirror, black cat, superstition, bed and a hat, where is your music child, find it out, Babylon Sweethearts knock you out.
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