Los Angeles is definitely starting to become the worldwide capital of cool. The band that exemplifies the new spirit more than any other is The Moving Units. They play music that is informed by post-punk and dance music. They are on the verge of making it big. In the past few years they have become one of my favorite bands. Things did not come easy for them. They started almost three years ago, and have been gigging ever since. Their reputation is largely based on their exciting live shows and great songs. Songs like “Emancipation” and “Going For Adds” are some of the most rocking songs this year.
The Moving Units were all former members of the hardcore band Festival of Dead Deer. At the end of 2001, they began writing and gigging as The Moving Units supporting The Rapture. They signed to label Three One G and issued an EP in fall 2002. Initially, they were seen as LA’s answer to The Rapture, but now, they have found their own sound and a large fanbase. They subsequently they moved to Palm Pictures, who reissued the Moving Units EP in early 2003. In fall 2004, the band’s full-length debut Dangerous Dreams was finally released. I saw them play in LA recently with The Secret Machines. I spoke to Chris Hathwell right before the show. The Moving Units are Blake Miller (vocals/guitar), Johan Bogeli (bass), and Chris Hathwell (drums).
AL: Are you all from Los Angeles?
Chris: No. The singer is from Detroit.
AL: How did you all meet?
Chris: From just hanging out a lot in the same scene. We were all DJing and partying together in same places.
AL: People seem to know about The Moving Units for a while now.
Chris: We have been touring for a long time. It’s all been word of mouth.
AL: People used to compare you to The Rapture. What did you think of that?
Stop by and check out our updated RESTAURANT GUIDE. Now with more listings, reviews, and an all new user review functionality. As per countless requests, you can now search by cuisine as well.
Write us at [email protected] if you want to be included or need updates to your establishment.
In case you missed our earlier post, the BAR SECTION has undergone a makeover as well.
One MP3 for each band performing:
The new full-length by American electronic music
artist GREG DAVIS contains six beautiful minimal drone soundtracks
perfect for lucid daydreaming or semi-conscious sleepwalks. Somnia,
DAVIS’ debut for Kranky, is a departure
from his more lyrical, guitar-based indie-tronica of years
past but continues to showcase his soft touch and
overall appreciation for ambient music.
The opening track, “Archer,” sets the tone in a
dramatic way and grabs the listener’s attention with
its shimmering layers of celestial tones that are at
once beautiful and arresting. The track’s slightly
tense mood eventually gives way to the sheer
loveliness of “Clouds As Edges” and “Diaphanous,”
which in turn slips into the delightfully atmospheric “Campestral” a calming track that clears the listener’s mind of all thought.
DAVIS has found a way of training ears and glazing
eyes on Somnia. The sounds he creates emulate church
organ or harmonium drones, but according to the liner
notes, DAVIS prefers to utilize more unconventional instrumentation such as a punch card music box, toy harmonica, toy piano, and
computer. Indeed, some of the drones sound slightly processed and
contain the occasional digital ripple or bubble, but the overall
effect is quite organic.
Unlike some practitioners of hypnotic minimalism,
DAVIS seems to know the limits of each of his
compositions, and tailors their length accordingly.
Although, as much as I appreciate his restraint, I
know I personally could trance out to some of the
tracks “Campestral” in particular all day long.
Washington D.C.’s THE FACTORY INCIDENT, which includes
John (Stabb) Schroeder of Government Issue fame on
vocals, wisely chose the fabled Inner Ear Studios and ex-Jawbox front
man and producer J. Robbins as the creative combination in which to
craft its first full-length recording.
A year in the making, Redtape released on the
Postfact label reveals
a shimmering, atmospheric pop sound more akin to early
80s new wave or early 90s shoegaze than the
aggro-political punk of the band’s benefactors.
East River Bar
(photo: Cary Conover)
OK OK. Our bar listings have been in drastic need of revamping. We’d failed to include such gems as East River Bar and Moto and some of the reviews weren’t up to date.
After much hard labor, we are proud to now have the most thorough guide once again. Now you can even add your own bar review.
Check it out and be sure to let us know what we missed.
THE WILLIAMSBURG BROOKLYN BAR GUIDE
President Bush chooses Undersecretary of State John R. Bolton to be the next U.S. ambassador to the United Nations:
At a 1994 panel discussion sponsored by the World Federalist Association, Bolton claimed, “There’s no such thing as the United Nations,” saying that ”If the U.N. secretary building in New York lost 10 stories, it wouldn’t make a bit of difference.
Read more on Catch.com
New York Press editor Jeff Koyen stepped down today in response to intense criticism about last week’s satire on the pope. Koyen was a major league ass plug who attacked us in 2003 for publishing The Hipster Handbook:
“Lanham’s unbelievably stupid 169-page pocketbook is a bad joke, a riff, an overly long Saturday Night Live skit converted to print…. he’s now embarrassed by everything he did the night before, so he’s claiming satire.”
(Yeah, strong sales and critical success are pretty embarassing, Jeff). Koyen was even stupid enough to think the book (and its satirical lexicon) were not intended to be a joke.
Nevertheless, we are sad to see the censors prevail. Is this the 1950’s? The Pope article was a joke. And the author of the article, Matt Taibbi, who we know personally and have much respect for, is an incredibly nice person. We guess being tasteless is a crime again. We never thought we’d be on Koyen’s side. The sun will be turning red soon. There will be locusts!
Here’s Koyen’s statement:
Louis XIV are a new band from San Diego. I saw them play this summer when they opened for The Killers. They started playing two years ago and recorded some songs in France and San Diego. Some of their songs were put online at their website which led to “God Killed The Queen” getting played on the radio. Soon after, they released a few EPs and got some play on BBC Radio.
As their reputation grew, they signed to Atlantic Records and won Best Album at the San Diego Music Awards. In January they released the “Illegal Tender” EP. A new full length album will come out this Spring. I met the band at their show during the Noise Pop festival in San Francisco. They were opening for Hot Hot Heat. Look for them at Sin-e on March 8th. They will be playing a second show with Hot Hot Heat at Bowery Ballroom on March 9th. I spoke to Brian Karscig backstage right before their show. Their music is a mix of glam rock of the 1970s and Britpop of the 1990s. They are often compared to the Velvet Underground.
Louis XIV are Jason Hill (guitar/vocals), Brain Karscig (guitar/vocals), Mark Maigaard (drums) and were joined recently by Jimmy Armbrust (bass).
AL: How did you meet each other?
Brian: Jason, Mark and myself grew up together. I have known Jason since junior high. We have known each other for a long time.
AL: Did you play in other bands?
Brian: We have played in a million bands. We have been playing since we were sixteen. There have been a lot of bands in the past ten years.
AL: What is the scene like in San Diego, for someone who hasn’t been there, like myself?