Space is really big and we like all live there. That's not a lie. When someone asks where you're from you can say "space" and that's right. Right on. In a remote and exotic distant point in the vast cosmos called Oakland, California, five separate manifestations of collective consciousness take in ambient energy, Vietnamese sandwiches and C2H6O (that's the empirical formula for booze) and resound this sacred slipstream through synths, keys, drums and strings.

Lumerians will not ask you to dance, but will rather make you submit to your own subconscious (or conscious) desire to.

Don't try to fight it. This is real. This is happening.

At once a visceral and psychological encounter. Flickering visions are projected, keyboards buzz, drums pound, bodies sway and minds melt. As the expanded cinema projections that intensify their live shows suggest, the band is constantly pushing their sounds toward musical synesthesia. The vibrant evocations and tribal rumblings are so intoxicating that sensory registers are crossed: sonics becomes optics, music becomes vision, psychedelia becomes phantasmagoria. While the music draws from many sources, it is focused on exploratory visions of other worlds and states of being. So by all means open your mind, but watch where you step.


Arguably the most prescient band of the entire late 70's San Francisco underground, FACTRIX released just one 7-inch and two pioneering LP's in the early 80's. Formed in 1978 by Cole Palme (one-time member of the LAFMS group Airway) and Bond Bergland (later of Saqqara Dogs), the two initially called themselves Minimal Man and performed a handful of shows along with Patrick Miller (who would go on to have a great solo career under the MM moniker). Soon they enlisted bassist Joseph T. Jacobs (Bay Of Pigs) and emerged from their Mission-district basement with their own unique take on the burgeoning English and New York post-punk scenes. The results were throbbing walls of damaged electronics, grim lyrical musings, droning bass, piercing guitar, and a modified Roland CR-78 played at 1/4 its slowest speed. Factrix's sole "studio" album, 1981's Scheintot, is a dark, moody, and penetrating work that grows more contemporary every year. Genuinely disturbing at times and often disorientating, it filters the influence of peers such as Cabaret Voltaire and DNA through the sonic and structural sensibilities of The Velvet Underground. An underappreciated masterpiece of the early industrial/No Wave era, Scheintot is a record that compels the listener to lift the needle from the run-out groove and listen again and again. (Look for the reissue on Superior Viaduct Records.) Julian Cope describes it best: "FACTRIX's Scheintot deserves to be experienced several times, preferably in the darkness and in a state of near exhaustion (and/or informed by psychoactive chemicals)." And this will be their first live performance in Lost Angeles since 1982. (!)


Li Xi use dream-pop vocal melodies and combine 60's psychedelia with contemporary electronics and vintage synthesizers. The sound has been described as "scratchy yet smooth", "shoe gazey, odd pop", "experimental pop", and "dreamy and dark"... They've been wandering the west coast since 2012. Maryann Tran's voice captures a similar essence as that of the singer Margo Guryan. James Vernon composes and produces the sound, while Will Cline plays bass and synth, and Dennis Galway covers the drums and percussion. The group has been active for the past year. They're touring the Southwest this March and plan a European Tour in the Fall of 2013. Look for their 7" Single release Macro Garden on 20 Sided Records.

$12 adv / $15 door

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