The Echo & The Independent FM Present
Echoes West with Flamin' Groovies / David J with members of Sky Parade playing the songs of Love and Rockets / Nightbeats / Magic Wands + more
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 all ages
Watch & Listen
Echoes West - A rock and psych music festival curated by Sasha Vallely (LA LUNA'S/THE SILVER CHORDS/SPINDRIFT), Kelly Kathleen (LA LUNA'S) & The Echo in Los Angeles
Having just completed a successful tour of Japan and Australia, the FLAMIN' GROOVIES have returned in full force. The Cyril Jordan, Chris Wilson, George Alexander line-up that rocked the UK, Europe and the US from 1971 - 1980 are BACK IN ACTION. With the addition of Victor Penalosa on drums, they continue to present their own unique and infectious style of rock n roll with such cult classics as "Slow Death," "Shake Some Action," and "You Tore Me Down."
David J with members of Sky Parade playing the songs of Love and Rockets
David J with members of Sky Parade playing the songs of Love and Rockets
Danny Lee Blackwell – guitar / vocals
Jakob Bowden — bass
James Traeger — drums
Night Beats play pure psychedelic R&B music that spikes the punch and drowns your third eye in sonic waves of colour. Theirs is a bastard blues, contorted and distorted into new shapes for 21st century wastoids — once tasted never forgotten. This is music to melt your sorry little minds.
Make no mistake: their new album Who Sold My Generation sounds like it has been created against a backdrop of burning Stars and Stripes flags and with the whiff of napalm hanging in the air — an alternative universe where ‘Helter Skelter’ is the national anthem and Charlie Manson is still on the loose. Acid-test heaviness is Night Beats’ currency, but this is no out-right nostalgia trip either. Instead of Nixon and Vietnam, Night Beats have their own epoch of God and guns and bombs and drones to rail against…or flee from. Besides, bad vibrations, blues jams and id-shattering explorations are timeless pursuits – why shouldn’t today’s young generation be allowed to take a ride down the slippery spiral that sits within the centre of each of us?
On their third album – and first for Heavenly Recordings — Night Beats perhaps most recall their Texan forefathers and psyche-rock originators 13th Floor Elevators at their ‘69 peak, just before The Man busted young Roky Erickson and dragged him to the psyche ward for barbaric doses of shock treatment. These boys represent the best of the Lone Star State’s flipside – that vast dusty hinterland of the soul where it’s easy to drift off the map and reinvent yourself as part of the long lineage of creative cowboys who prefer psychotropics to rodeo riding, guitars rather than firearms.
“Old cowboy culture is alive and well in Texas,” says frontman Danny Lee Blackwell. “I grew up with Texan mythology all around us, so as a band its instilled in our blood. My Dad didn’t wrangle steers but he did pick cotton when he was young. But then cities like Austin and Dallas, where we spent most of our time growing up, have a real sense of musical history that runs deep, so we feed off legacy that too.”
From the Elevators and The Red Krayola on to pre-ZZ Top band The Moving Sidewalks, Butthole Surfers and The Black Angels – whose record label Reverb Appreciation Society have released Night Beats — and a clutch of other early cult bands besides (Bubble Puppy, Shiva’s Headband and the Golden Dawn, anyone?), Texas has always been a prime breeding ground for such outlaw music. “The Elevators were one of the reasons I decided to become a singer and form the group,” says Blackwell. “I loved their attempt to play R ‘n’ B music, but from a distinctly Texan approach. I’d say they have profoundly influenced the group, but it’s now our job to take it to another level in a new age.”
It took a cross-country relocation to instigate their formation. Night Beats were born when frontman Danny Lee Blackwell upped stick from Dallas to Seattle, Washington and was soon joined by childhood friend James Traeger. “James got me a copy of Ginsberg’s Howl when I was around 15 and it changed everything,” remembers Blackwell of his old friend. “We grew up together and once he moved up to Seattle we did everything together there too. I wanted to try out a different place, a new city, where no one knew my music and there wasn’t anything remotely similar going on. Coming from Dallas, Austin seemed like the obvious choice but I needed something more. Seattle was at one time the home to people we love like Ray Charles, Jimi Hendrix and Quincy Jones so I didn’t feel too disconnected.”
The two existed initially as a guitar and drums duo, named in honour of Sam Cooke’s 1963 album Night Beat, before fellow Jakob Bowden Dallas resident joined on bass after a stint in Austin. Filtering a collective love of pioneering artists as disparate as Buddy Holly, Fela Kuti, Etta James, James Brown and Leonard Cohen, Night Beats dropped a clutch of singles, split-singles, cassette release and two albums – their self-titled debut in 2011 followed by Sonic Bloom in 2013 – as well as featuring on all manner of compilation albums that document the cutting edge of the head-bending, modern counter-cultural US underground.
Night Beats hit the road too, touring extensively with Roky Erickson, The Zombies, The Jesus and Mary Chain, The Strange Boys, Black Lips, The Growlers and The Black Angels in North America, Europe, Israel, South Africa and Australia.
Recorded on old two-inch tape in Echo Park, Los Angeles at the home of producer Nic Jodoin and featuring co-production and guess bass playing from Robert Levon Been of Black Rebel Motorcycle Club, new album Who Sold My Generation goes beyond merely being a retreading of well-worn garage / R&B path. Instead it offers a contemporary take on the psychedelic experience, a heady set of hoodoo voodoo songs. Mordant and corrosive opener ‘Celebration #1’ sets the tone with its wailing guitar jams and Messiah-like monologue, while ‘No Cops’ makes like the imaginary soundtrack to an orgiastic party somewhere in the LA hills as the summer of love gave way to an era of greed and paranoia. ‘Sunday Mourning’ is the sound of blood dripping on the twitching remains of a generation’s super ego and with a rockabilly strut, ‘Egypt Berry’ chases the White Rabbit down into a cosmic underworld while shaking its burning tail feathers
With new Who Sold My Generation, Night Beats have not only painted it black, they’ve torched the fucker and driven it off the cliff, crashing and burning into the arid canyon below.
In its afterglow only the lone howl of a solitary coyote remains.
Ben Myers. October 2015.
Djin Aquarian Yahowha 33 (Formerly Yahowha 13)
I left Chicago in 68 to go to LA seeking my fortune in songwriting because I thought my music fit in better there where there was more open mindedness toward my peace and love music. I landed a job writing “bubble gum” songs for a company owned by Don Williams, Andy Williams brother, for $100 a week. After a year of that the company went belly up and I had an opportunity to have one of my songs go to the 5th Dimension but I wouldn’t let their manager change a word in my lyric and so he didn’t use it…oh well…what was I thinking?I moved up to San Francisco and started a band with an old Chicago buddy Frank Biner,r.i.p., and played the bay area for a while….I also busked on the streets where in 1971 I had certain profound spiritual experiences while dancing to the music of Ravi Shankar and George Harrison’s Bangla Desh concert and within several months had moved back to LA and joined the spiritual mystery school Essene commune called “The Brotherhood of the Source”/ “Source Family”, where I became the guitar accompanist of Father Yod/Yahowha and main guitarist for the family band, Yahowha13, playing on all of the now highly collectable and valuable spontaneous psych/wisdom-music we recorded there in our garage in the Hollywood Hills. 37 years after this music was recorded and distributed out of our Health food restaurant on Sunset Strip, the band has been brought back together because of the underground popularity of young and old audiences worldwide who see us as pioneers of that genre. During the times in the Source Family I met brother Sunlight Sky Saxon Aquarian, r.i.p. “Father of Flower Power”, former lead singer of “The Seeds”, and formed a lifelong friendship that produced some great music which people have collected and enjoyed….”Fire Water Air’s” “Masters of Psychedelia”, “Happy Hour Band’s” “Happy Now” and “King Arthur’s Court” are among them.
After the dispersal of the Source Family in 77 I landed another songwriting gig with a company in Honolulu called Trim Records which led to the lead singer for Country Comfort, Billy Kaui, doing my song “Workin On the Railroad” (not the traditional). Its still available on his greatest hits album.
In 1979 while in a deep meditation on Maui Yahowha spirit directed me to write the Book of Revelation into a mystical rock musical to bring the Source Family back together….it didn’t of course….but this timely project is ongoing and now corresponds more than ever to what’s going on in humanity.
Destiny of Aquarius is a compilation of songs that were written mostly out of the prevailing love/truth spirit of the 60’s and early years in the Source Family and shortly after. The songs are of an eternal nature in that they are about the concerns we have not found sufficient answers too….war, poverty, government abuse but also love and wisdom which we need much much more of.
Due to public demand YaHoWha 13 has reformed, without Father Yod-Yahowha of course who passed over in 75, and we have released several new recordings…”Feather of Wisdom” on Sounatone Records “Sonic Portation” and “2013” available on Prophase Records. However as of now, 2010, there is also a Djin Aquarian Band that is touring on demand and playing the songs on this lp and other compositions aimed at helping resurrect the vibrations of the love/wisdom spirit humanity is yearning for more of.
The Age of Aquarius is upon us and the consciousness is being renewed within many people young and old, some who were here at the early beginnings and some who wish they were and want to participate in it now. To this consciousness’ awakening I “liv-icate” “Destiny of Aquarius” and hope it moves us closer to our planetary dream of Peace Love and Truth….
Up and coming indie duo Magic Wands have released their anticipated full-length debut, Aloha Moon, on April 24 via Bright Antenna/ILG. Early praise comes from SPIN, who declares their first single “Space” “…a sexy and
propulsive stunner.” The band will make several appearances at SXSW prior to kicking off a tour. Stay tuned for details.
Magic Wands first garnered attention with the release of a noteworthy EP, Magic Love & Dreams, which quickly drew praise from publications like Nylon who applauded their “sparkling, psychedelic-pop gems.” The band honed their live chops, solidifying their fanbase touring & playing shows alongside The Kills, The Horrors, The Raconteurs, The Black Keys, The Virgins, Black Kids and as well as appearances at SXSW, Noise Pop and Lollapalooza.
Their debut full-length, Aloha Moon, is a cosmic dance through a universe where voices echo, keyboards shimmer and guitars splash like giant waves on a distant planet's shores. Having ambiguously dubbed their sound "lovewave," each track is distinctly different yet all share the common theme of spaced-out tropical dreams, which isn't surprising when one considers the disparate locations where Aloha Moon was made: San Francisco Bay, a cabin in the hills of Echo Park Los Angles and under the stars of the Palm Desert at night. Some of the tracks on Aloha Moon were mixed by acclaimed producer Dave Sardy (LCD Soundsystem).
2012 promises the release of Aloha Moon worldwide via Bright Antenna Records as well as more tours of the US and abroad with a full live band. Look for Magic Wands at SXSW this year performing on Thursday, March 15th.
Here is what the press said about Magic Wands:
“ ‘Space’ is the first single from the band's debut full-length, Aloha Moon, and it's a sexy and propulsive stunner. Dexy and Chris Valentine build an atmospheric and cutting guitar soundscape that beautifully foreground's the former's compellingly stoic vocal. It's just a really cool song, suggestive of the darker side of '80s pop and brighter side of falling in love.” – SPIN
"It's the classic story: Boy meets girl on MySpace; girl gives boy a luminescent heart lamp; boy and girl start a band and score opening slots for the Kills and the Horrors. Magic Wands is Chris and Dexy Valentine, a husband and wife to-be who make sparkling, psychedelic-pop gems with names like ‘Teenage Love’ and ‘Kaleidoscope Hearts’." – Nylon
The Hangmen have been kicking around the L.A. scene for a decade and a half or so, yet still remain the best of the bunch. What started as a good time at Raji's mutated into a major label funded, drug fueled rock n' roll nightmare of E! True Hollywood Story proportions only to sink into the darkness to gain strength and return a more powerful beast than before. Wiser, stronger, harder, better. Loteria is the proof that the Hangmen are not only among the best rock bands out there today, but maybe the last real rock n' roll band.
In 2000, the band kicked out the critically heralded Metallic IOU and pulled off the rare feat of making a comeback album better then their Capitol Records debut in 1989. They hit the road with the likes of Social Distortion, Supersuckers, The Kills and Concrete Blonde and began to turn on a whole new legion of fans hungry for the rock. By 2002, hot off the road, The Hangmen unleashed We've Got Blood On the Toes of Our Boots, a blistering live in the studio affair that found them re-recording numbers off their debut alongside IOU cuts and few rare nuggets. More touring ensued and The Hangmen were back in action finally getting the respect they deserve.
After years of burnouts, burned deals and burned bridges, The Hangmen were back on course and Small found himself an influence to new generation of underground heroes as Supersuckers leader Eddie Spaghetti credits him as a major influence, L7 sang his praises and the Hangmen's debut was cited as an highly influential record in rock circles. Small has become the go-to guy for hip indie filmmakers looking for words of wisdom on rock n' roll sects, as he's been featured in the rock documentary Badsville and appears in the Gun Club biography The Birth, the Death and the Ghost.
Loteria is the band's third album in four years, and may very well be their finest to date. The current lineup consists of drummer Todd Haney, bassist Angelique Congelton and guitarist Rane Raitsikka (formerly of Finnish glam-punk gods Smack) and, quite frankly, they have never sounded better.
"There is a big world out there, and we wanna go check it out and play our music," Smalls says with a Cheshire cat grin. "I mean, we're a new and upcoming band even though we've been around forever. We just want people to hear our new record."
From the vicious opening salvo of Blood Red to the sonic dirge closer I Just Wanna Feel Good, Loteria is thirteen songs of pure rock n' roll decadence. The album plays like a series of Hollywood war stories. The people, the streets, the drugs, and bum deals, it's all there. The lyrics speak volumes and reek of personalized tales of heartache and redemption. The music is junkie rock without the junk no more. Tight, focused and to the motherfuckin' point, Loteria is the sound of one man taking on the world -- his world- -- and trying to change it.
It also happens to be the Hangmen's finest moment. The time is now.
-- Frank Meyer
Author, On the Road with the Ramones
All songs performed and produced by Gus Seyffert. The live band is Gus Seyffert, Bram Inscore, John Wood, and Mike Green.
Beach Party (EP Release)
Somewhere between the very precise surf-pop of Allah-Las and outrageous skate-punk of FIDLAR lies the appropriately named Beach Party, whose lo-fi clamor makes me long for that Nehru shirt I wore in the 7th grade. Beach Party is the brainchild of Rob Banks and James Hurst, who began collaborating only a few months ago. They teamed up with bassist Adam Arcos and drummer Nico Maccioca and have been churning out the rough stuff a song at time ever since. Like a lot of bands resuscitating this era, Beach Party doesn't seem to aspire to much more than — as their chorus shouts — "C'mon, c'mon, let's have some fun." As long as the hangover remedies work, it's hard to campaign against it.
The Moonbeams are a Los Angeles based trio with members that orchestrate and demonstrate tremendous talent. Beck Black on vocals & keys, Nick Maybury on electric guitar, and Adam Alt on drums. The music is Punk Rock N Roll ‐ Blues at its roots and futuristic in its approach. Their sound is electrifying & enthralling.
The band formed in November of 2011 and has been featured on the radio in London, Canada, Global Voice Radio, Joshua Tree Radio, & KROQ in Los Angeles. They are currently rocketing to the moon and back with theatrical performances, storytelling lyrics, and a stellar wave of sound that makes The Moonbeams shine and rock on uniquely.
RT N' The 44s
RT N' THE 44s is a Folk Noir band created by singer/songwriter RT Valine. Founded in 2009, the band originated in Los Angeles, CA alongside local bands Leslie and the Badgers, Spindrift, Gwendolyn , and Ruthann Friedman. Using instruments crafted from tin, 2x4's and salvaged parts, RT has stated that RT N' THE 44s was born out of "an attempt to make listenable music from junk". They have been described as a "vintage country band with dark obsessions". The band is often seen busking at various locations throughout Los Angeles and Pasadena in the tradition of Woody Guthrie and Cisco Houston. As members of the New LA Folkfest the band has performed with John C. Reilly, Tom Brosseau, T-Model Ford, and Red Simpson, among other notable acts. RT N' THE 44s performs annually at The Roots Roadhouse Festival and Autry National Center. The band has recorded three full length albums for the independent label Rabid Rabbit Records, and has been featured "live in studio" on KUCI's Freedom Radio Program
Wax Children originally began in Covina, CA in April of 2012. Formally known as Django's Tiger, the core collaboration work of Mr. Wall (vox/guitar) and Cal Jones (lead guitar) alluded in the creation of their first EP titled "Dreamsick." "Dreamsick" was the initial fusion between the chaos of psychedelia and shoegaze paired with a heavy dosage of reverbed melodies that hailed to be both chaotic and catchy. After a few lineup changes, including the addition of Fieldhouse on drums and Loodah on bass, the band went on hiatus and decided to change their name to currently known, Wax Children. Along with the name change, the music also took a notable turn with the straying away from the likes of surf garage rock to a more pronounced, spacious chaotic sound which resulted in the making of their "Safe Hands" EP (released on Lolipop Records, January 2013). Emphasizing their roots in psychedelia while blending elements of indie, Wax Children is currently working on their latest EP titled "Angst" which will be released in late 2013.
Froth’s debut LP, Patterns, was released in fall 2013 on Burger Records and Lolipop Records, and bared witness to the young group’s rapid musical growth and developing ear for composition. A shimmering mix of jangly 12-string guitars and swirling omnichord sounds, the album offers plenty of moments of pure psych-pop bliss; however, the band also flirts with a darker, driving element that they have continued to explore on subsequent releases.
For their sophomore album, Bleak (LP and cassette out May 5 on Burger Records), Froth has largely traded in the sun-soaked 60s pop of their first long-player in favor of a maximalist shoegaze sound that combines screaming guitars with muscular drumming and throbbing, nervy bass lines. The result is a mature, confident record built upon tight songwriting and carefully honed tones. Lead singer and guitarist Joo-Joo Ashworth displays an equal knack for noisy, fuzz-driven leads and economic pop hooks, while drummer Cameron Allen holds down the beat with machine-like precision and bassist Jeremy Katz infuses the album with a unique groove that has become a necessary ingredient in Froth’s signature sound.
With the arrival of a new record, Froth has also introduced a second guitarist, Cole Devine. The former Cosmonauts drummer and current Black Sea front man adds to the band’s already rich textural palette, bringing his distinctive dream pop sensibility into the fold.
After tirelessly touring the U.S. and sharing the stage with scene standouts like The Growlers, The Dream Syndicate, La Luz, Mr. Elevator & the Brain Hotel, Mystic Braves and many more, Froth continues to attract new fans with their infectious music and high-energy live show. Recent stints across Europe and work with fashion legend Hedi Slimane have further cemented the band’s reputation with an international audience. As always, though, Froth remains dedicated to pushing their own boundaries and exploring new sonic avenues, both on the road and in the studio.
$8 - $18