Sid The Cat, Bootleg Theater, Buzz Bands LA Present
Motor Sales Residency
2220 Beverly Blvd
Los Angeles, CA, 90057
This event is 21 and over
The latest music from songwriters Pete Harper and J. Blynn seemed doomed almost from the beginning. The duo, who had released two albums as Harper Blynn, had been playing in Mosco Rosco until about three years ago. Motor Sales was born shortly thereafter, when they recorded an EP with Shawn Everett, who has produced music by Weezer, Julian Casablancas, the Growlers and Lucius and won a Grammy for engineering Alabama Shakes’ 2015 album. But the recordings were lost in a power surge in New York City right before they were mixed. The first song, “Kick It Off,” is the only one to have survived.
It’s a song that damned near glows in the dark — a rocker in electronic clothing, modern and atmospheric but somehow carrying pieces of Beatles’ DNA, with a finger-snapping beat propelling it toward an indelible falsetto chorus. The duo says it’s representative of a batch of songs encapsulating “the sometimes-dystopic future-present landscape of Los Angeles, and by extension our current personal and societal predicaments. … Imagine taking one of your favorite records to the desert and playing it through a boombox during a swirling Van Gogh meteor shower.”
If the song is weighted by existential dread, it anticipates something better, a breakthrough of some kind. And that’s revealed in the video for the song, directed by Max Knight and starring Matt Russell, who plods through his household routine before finally catching the what’s-next spirit at the end.
What’s next for Motor Sales are more releases in 2018; since their original sessions, the duo have since reconvened with Everett to record a full album.
CLARA-NOVA is a project(ion) of Sydney Wayser. It is a way to be hopeful about the future while still remaining in contact with our original wildness. It is a lot about love. The sound is of California: youthful, utopian, extraordinarily charming. A voice like a glass house in a new country. Too new for a name: Pop+. She is a sign for the mesmerized that says WELCOME. Neon but real. Her debut EP, THE IRON AGE, has garnered praise from Consequence Of Sound, Nylon, Ones To Watch, Cools.com, Booooooom.tv, Status Mag and LA Mag. CLARA-NOVA won hearts over at NPR's KUTX SXSW concert series last month. She performed a live in studio for CBS's We Are Austin. She was featured by Grammy and Shazam as one of the best new acts to see at SXSW 2018.
"Wayser has set out on her own and is poised for stardom." - Untitled Magazine
"Her sweet and raspy vocals have garnered comparisons to Regina Spektor and Fiona Apple.' - Interview Magazine
Producer and musician Dan Molad aka CHIMNEY has announced his debut self-titled LP, out June 23 on Dine Alone Records. The long-time drummer/producer for Lucius and producer for Pavo Pavo, San Fermin, Luke Temple, JD McPherson, Here We Go Magic, and many more, self recorded and produced this breakout solo effort. His penchant for sonically adventurous melodies and harmonically complex layers, combined with a stark pop sensibility shine through the breadth of the album. Lead single “Walk Don’t Run” is dreamy, plodding track about searching for a muse and endlessly chasing after some ultimate pay off but never really getting there—a reminder to stop and smell the roses and not take yourself too seriously.
Throughout Lucius’ success, Molad found himself in a period of transition: moving from New York to L.A., dealing with relationship strife and the death of longtime friend, Parks And Recreation writer Harris Wittels. As a result, there’s something that’s both painful and cathartic about Molad’s self-titled debut. Songs like “Little One” let Molad’s vulnerable yet deliberate vocals shine through while “The More You’re Holding (The More You’ve Got)” and “#31” are haunting, enigmatic earworms that speak to wanting to hold onto a relationship for dear life. The songs have a cohesive darkness to them and their meaning spills out like a stream of consciousness. It’s something that speaks to Molad’s candor and approach: “You don’t always intend for the theme that emerges — it just kind of reveals itself.”