Bedrock.LA, Flula Borg, Nick Zinner and The Academy of Magical Arts host Bedrock.LA Musicians and Magic Castle Magicians on a food and beer-filled adventure.
3p - Doors + DJ Soft Touch (also between all sets)
3:45p - Flula Borg Ozapft is!
4p - Arthur Trace
4:30p - Cherry Glazerr
5:30p - Rob Zabrecky
6pm - Deap Vally
7pm - Eric Buss
7:30p - Head Wound City
8pm - Flula Borg
8:30p - Black Sabbitch
Flula is a German techno+hiphop musician with the singular goal of becoming the most famous artist in the entire world, in every genre of art. He is currently working on "Biscuit," a dubstep-techno song featuring journalist Larry King.
Head Wound City
Head Wound City is undoubtedly a supergroup, and one that is not to be overlooked. But nevertheless, it is also an example of what one might call “the narwhal phenomenon”: something that, when described, sounds so magical and rare that the world often questions if it truly exists at all. If most people were to be asked what they thought of a band that was two parts The Locust, equal parts The Blood Brothers, and one part Yeah Yeah Yeahs, they would answer only with an intrigued but incredulous look.
And, to be fair, there is depressingly little evidence of the band to show, other than a bit of precious YouTube footage and an approximately 10 minute recording’s worth of unadulterated genius. In a way, though, this almost adds to the allure, leaving anyone who has heard the self-titled album wishing that there were so much more, that the crazy ride weren’t over so soon. The idea for the band was said to have come as a result of a period when the Blood Brothers were touring with the Yeah Yeah Yeahs, leading YYY’s guitarist Nick Zinner to drunkenly discuss the idea of collaborating with vocalist Jordan Blilie and guitarist Cody Votolato of the Blood Brothers. From there, the three plotted to usurp the skills of locusts; specifically, bassist Justin Pearson and drummer Gabe Serbian. Despite the fact that schedules often conflicted and locations of the five at any given time were quite varied, the idea came to fruition in one short, shining moment of frenzied glory.
Not surprisingly (if you are familiar with any of the members’ other bands), the music is a whirlwind of intensity, which is fitting given that it was written, recorded, and produced in the span of only a week before being released by Three One G Records in 2005. All seven tracks showcase Blilie’s one of a kind, relentlessly vicious vocals. Listen more closely, and you will quickly recognize Serbian’s rapid-fire, precision drumming mixed with Pearson’s hard-hitting bass lines, which mesh perfectly alongside Votolato’s cacophonous guitar style in conjunction with Zinner’s playing (which takes on a harsher tone than we typically get to hear from his playing in the Yeah Yeah Yeahs). Clever and humorous song titles such as “I’m a Taxidermist- I’ll Stuff Anything” and “Street College” give way to lyrics that are full of curious imagery and bellicose attitude, emanating influence from each of the band’s members.
All band members have gone on to work with numerous other projects—Serbian having played with Retox for a stint as well as Rat’s Eyes, Justin currently focused mainly on vocals for Retox, and both still living as insects. Blilie has since played in Past Lives and Votolato with Jaguar Love. Zinner continues an increasingly successful career with The Yeah Yeah Yeahs.
As for the rest of the world, we are left to wait with baited breath for the moment when all of these radical friends can find another free week or two to set aside and blow our minds (and ear drums) once again. The band has been left open-ended over the years, and members are optimistic about creating new material in the future.
Eric Buss was born in Tucson, Arizona. When he was born, the doctors all laughed at him. That laughter gave Eric a rush, and at the age of seven seconds he knew he wanted to make people laugh when he grew up… Later at the ripe age of 8, he learned how to tinker in his dad’s workshop. Then, at age 16, he started learning magic tricks. When he successfully merged his passion for building with his magical skills he knew right then and there (according to this Bio) that he wanted to be a professional comedy magician who would build his own original props. He has never looked back.
Although most would agree that his gadgets are totally awesome, it’s Eric’s personality that wins audiences over. His high-energy, and hilarious act has been called, “Pure Art, Pure Madness!” It combines crazy inventions and Eric’s high-octane sugar rush of comedy into a non-stop ride of mischief and magical gadgetry that most people could never imagine. Eric not only imagined it, he turned it into an award-winning act that he has performed around the world and on “The Late Show” with David Letterman. In fact, Letterman called his performance “Tremendous, sensational, and beautiful.” And, as 10 million people watched, he managed to win over one of the most difficult audiences in television- the audience of “America’s Got Talent.”
A Second City Comedy School graduate, he has performed on five continents and on TV in seven countries, including a one-hour Korean television special solely dedicated to his performance. Other career highlights include appearances on the “Jerry Lewis MDA Telethon” and the “Just for Laughs” Comedy Festival in Montreal, and entertaining U.S. troops in Afghanistan.
Now, at the age of “adult,” Eric spends most of his time pursuing his childhood passions either in his own workshop in Los Angeles or on stages around the world performing his clever brand of comedy, glued to his unique style of magic, bolted to his original props, duck-taped to his energetic personality. Audiences love the results!
“I think people could look at us and make one assumption, and then when they see us play, that assumption will be shattered,” says Julie Edwards, Deap Vally’s drummer. “And that’s the beauty of it.”
Indeed there are plenty of assumptions to make about a female duo which on the surface of things are all wild hair, short shorts and lip-curling attitude. But this would not prepare for the sheer hurtling power of their music; the kind of inextinguishable ferocity that cannot be faked; it can only be hauled up from the guts.
Edwards met her bandmate and co-conspirator Lindsey Troy in the unlikely environs of a crochet class in Los Angeles’s Atwater Village. Edwards was teaching; Troy her new student. “Lindsey learned crochet really fast,” Edwards recalls, “she had good eye-hand co-ordination which was a good sign. But while we crocheted, we bonded, and talked about our struggles as artists – how frustrated we were.”
At the time, Edwards was in another duo, the Pity Party, while Troy was performing solo, each somehow orbiting one another as they played different circuits in LA. Both felt unsatisfied. Troy was quietly plotting her solo world domination, while Edwards, feeling burnt-out, was contemplating a return to college to study psychology. But following that first fateful meeting their plans began to shift.
“We kind of stalked each other online after that a little bit,” is how Edwards explains it. “I was really impressed by her,” adds Troy. “I thought she was really cool. You know, like Cool with a capital C.”
The idea of jamming together seemed a natural one, and at that first session Edwards brought in a bassist friend to make up a three-piece all-female band they jokingly named God’s Cuntry. But with the bassist away on tour thereafter it was just Edwards and Troy — a guitar and a drum kit and two wild voices.
“I knew before we even went in to that first jam it would be special,” says Troy. “I could feel it. And I was happy being a two-piece. A big part of Deap Vally is that there are limitations, and we enjoy those limitations, but at the same time within those confines having no limitations. We like to push boundaries.”
It is when they play that they say they feel freest — ignited by the roar and the pure physicality of it. “I have always wanted to make heavy music,” says Edwards. They speak of their soul and gospel and punk influences, of R’n’B vocal melodies and Blues riffs meeting “powerful dark dissonant Sabbath-esque chord progressions and the spirit of rock ‘n’ roll.” They talk of the “heavy” sensation of fingers stumbling on a new riff, arms beating drum-skins. “It’s just a great release,” says Edwards. “It’s very freeing.”
They first played live in the spring of 2011, first at the Silverlake Lounge and then at the Hotel Café, where Marilyn Manson pushed his way to the front row and heckled them as they took to the stage. After the show the first thing he said to them was, “Can I be your groupie?”
That so many eyes and so much attention lingers on their bodies and their attire does not ruffle them. “Sex is a big part of the spirit of rock ‘n’ roll,” says Troy. Look at all the great rockers, the power they had over the crowd. Sexuality is power, and we don’t want to be a neutered band; we like embracing our sexuality. It’s a part of our music, and being women is a big part of it, our lyrics are very much from our experience. We’re very much women.”
Certainly many of the songs on this record are from a powerfully female perspective — from dealing with sleazy men in Creep Life to the glorious two-fingered defiance of Gonna Make My Own Money. “That song is kind of literal,” admits Troy. “My Dad was always saying ‘You’re gonna have to marry a rich man!’” Edwards nods. “And my Dad would be like ’When are you going to meet a nice dentist?’” It is a song, Troy explains, that is about “people underestimating your ability to do things as women and feeling like ‘fuck you I’m going to do this and prove you all wrong!’ It’s that spirit of independence and achievement.”
But there are gentler songs here too, songs about relationship dynamics and heartbreak, as well as a number called Procreate, which was, Edwards elaborates, “an idea Lindsey had, about wanting a guy so much that you want to have their baby. That weird lust that exists, and which I totally relate to, but a lot of people don’t write about, because maybe writing about babies is kind of weird. A man wouldn’t write that song, and if they did it would be a little bit different. It would be more like ‘I wanna knock you up so you stay home and you’re mine forever.’”
They were drawn to each other, they say, by a mutual unapologeticness, by the fact that they are both, by their own definition, socially aggressive women. “I was always very drawn to female performers who were very loud and outspoken and flamboyant,” says Troy. “And I feel like with Deap Vally we are unstoppable – we are so driven, full throttle, it’s undeniable. We really believe in what we represent as a band. And what we represent I feel is like post-post-post feminism.”
By their nature, they say, what they do is political — “In that we’re women,” Troy says, “and we play this type of heavy rock music, not afraid to let it all hang out,” she says proudly. Edwards adds, “So many women masculinize themselves and play their femininity down, and something Lindsey and I felt is that we have never wanted to do that. I’ve been playing drums in tiny shorts for as long as I’ve been playing drums.”
Certainly, short shorts and their breed of visceral, heart-churning rock ‘n’ roll is quite an arresting combination. “I don’t know what image of femininity we’re trying to fulfill,” Edwards says, “and maybe we’re creating a new one: we’re badass but we’re not mean-spirited and angry. We just really, really love heavy music.”
“We believe,” says Troy, “in bringing truly live music back.” Edwards nods. “And we believe in the rock ‘n’ roll revolution, bringing guitar-based rock ‘n’ roll back to the mainstream. We love Led Zeppelin —they’re our heroes. Because that’s a band that played stadiums, didn’t have a safety net of a pre-recorded back-up tape, they didn’t record to a click, and they were really, really sexy and really commanding. And why can’t that happen again? “
Through a wide range of artistic work that spans acting, magic, and music, Zabrecky has established himself globally as an original entertainer. He is regarded internationally for his cumulative and diverse projects in magic, music, film, and television. In 2011 and 2012 he was voted “Stage Magician of the Year” at the Magic Castle.
The three-piece band from L.A. took root in 2012 when front woman, songwriter/guitarist Clementine Creevy began making bedroom demos under the name Clembutt. These rough tracks evolved under the mentorship of Lucy Miyaki, of L.A. band Tashaki Miyaki, and were later recorded with engineer Joel Jerome. After adding bassist Sean Redman and drummer Hannah Uribe, the band was formed, and Burger Records released their first collection, Papa Cremp, on tape.
With dreamy vocals and an ethereal guitar, Cherry Glazerr’s “Trick or Treat Dancefloor” has become the band’s best known song to date, having been featured in a campaign for iconic fashion label Saint Laurent as well as in the television show Arrow.
But the band goes beyond shoe gazey, lo-fi dream pop. Their bare bones style and precise, honest lyrics anchor a diverse sound that ranges from White’s Not My Color This Evening, with Sleater Kinney’s post punk influences to their break out song, the surf pop “Teenage Girl”, which premiered on internationally known style site Rookie Mag and has over twenty thousand listens on Soundcloud.
Cherry Glazerr consistently tour in Los Angeles and Orange County, having played festivals Burgerama, Growlers Beach Goth Party and Jubilee in Downtown L.A. where they shared the stage with Bleached and The Black Lips. Most recently, they played the El Rey, opening for legendary 80′s punk band Redd Kross and Mikal Cronin. The band’s name is taken from NPR reporter Cherry Glaser.
Arthur Trace combines magic and theatre in an innovative and artful way.
Highly acclaimed by his peers as "one of the most unique acts in the world of magic today," Arthur Trace is the eighth magician in the history of magic to be awarded The International Brotherhood of Magicians Gold Medal. In 2006 he became a FISM award winner at the World Championship of Magic in Stockholm. In 2007 millions of television viewers watched as Arthur was awarded the "Best Cabaret Magic" award at The World Magic Awards on My Network TV. And in 2009 and 2014, Arthur was a featured performer on the hit TV series Masters of Illusion. Last year he headlined the legendary Wintergarten Variete in Berlin, Germany
Watch Arthur perform and find out why the Chicago Tribune called him "one of magic's bona fide superstars!"
Black Sabbitch is "... an incredible assembly of women who would be hard to contain if they were playing Abba let alone Black Sabbath. They are ferocious. You will be impressed"
"If I had the choice of seeing the current Black Sabbath tour or Black Sabbitch, I'd choose the girls every time. They capture the spirit of the original 70's Sabbath far more than anything I've seen since the calendar turned 1980"
"Blare N. Bitch of Betty Blowtorch fame plays her left handed SG in a way that already made the Tony Iommi comparison inevitable and the incredible pairing of Melanie Makaiwi on bass and Angie Scarpa on drums is heavy rock beauty. They do Butler and Ward in a way not experienced since the mid seventies, each playing their parts with eerily accurate precision... close your eyes and you'll swear you're listening to Bill and Geezer... And if that were not enough..Amy Archibald can truly sing and with a howling authenticity that gives the Sabbitch girls the ability to play Sabbath catalogue songs like "Hole in the Sky" and "Sabbath Bloody Sabbath" which you'll never hear the boys do."
DJ Soft Touch
A veteran of local LA bands such as The Mojo Filters, Love Grenades, & Black Sugar, Clifton’s start as a DJ came about because of his band memberships. Often asked to guest DJ shows that one of his bands played, DJ’ing soon took over and became his main vocation. In his time as a DJ, Clifton (aka DJ Soft Touch) maintained a six year residency at the Beauty Bar (RIP) with DJ Dia (Café’ Bleu, Bang, Club Underground, Super Soul Sundays), was a part of Chinatown’s legendary indie dance club Club Transistor, and also held residency at famed Britpop night Club Underground. Currently, he can be seen every Saturday at the Echo DJ’ing for Funky Sole, one of LA’s longest lasting clubs and one of the only clubs dedicated to rare funk and soul grooves. As well as making frequent guest appearances at LA clubs, Clifton has DJ’d several times for The Getty Museum, the Orange County Museum of Art, and is a frequent contributor to the Aquarium Drunkard music blog (see “Clifton’s Corner” on the site).
Ace Hotel Downtown Los Angeles opened early 2014 in the historic United Artists building in Downtown LA. An ornate, storied and vibrant Los Angeles gem, Downtown is undergoing a renaissance. Built in 1927 for the maverick film studio, the UA theater and tower stand as monuments to a group of seminal American artists pushing out on their own.
TELEFUNKEN Elektroakustik strives for absolute perfection. By offering historic recreations of classic microphones alongside our own proprietary designs based around the distinctive tube mic sound, we have established a product line that perfectly blends vintage style and sound with the reliability of a modern-day microphone. Our commitment to both the sonic excellence and quality of all of our products is rivaled only by our dedication to provide the BEST possible service to each and every one of our customers.
Since 1990, Amoeba Music has welcomed independent music lovers of all kinds to our unique, vibrant stores in Berkeley, San Francisco and Hollywood. We stock every kind of music and movies -- from the top 40 to the best in underground rock and hip-hop, soul, electronica, new and classic jazz, world music, roots music and experimental music. We also have the biggest, most diverse and affordable selection of DVDs and vinyl LPs found anywhere. Since we're a trading post for new and used discs, our stock changes daily, and just about anything you're looking for can be found here. We're more than just a record store -- we're a 21st century music outlet, a website, a popular live performance venue, and together with our customers we're a meeting place for California's most colorful community of progressive and creative minds.
Our staff is an all-star team of music retail veterans, with a collective depth of knowledge that is virtually unparalleled in the business. Many of us are musicians, or make music our lives in one way or another, and we take seriously the importance of our customers' relationship to music. We put customer service first and foremost -- our mission is to bring people and music together and to make everyone feel at home.
Amoeba Music began at a time when the huge chain stores were mercilessly swallowing up independent stores and local chain stores, depriving communities across the country of a personal relationship with their music outlets, and destroying the opportunity to discover a whole world of music beyond what corporate retailers wanted them to see. Amoeba arose out of that community of music lovers that wanted a better place for music than a corporate chain store -- one with the widest possible selection, better service, and more respect for people's ideas and lives. Together with you, we are that community of independent artists and listeners that wanted something more, and with you we've been able to take root and thrive in California's most amazing cities. We're humbled by and thankful for the continuing support and success we've found in trying to create a store and a venue that's worthy of great music.
Our San Francisco and Hollywood stores are big-city sized but have that same independent Berkeley spirit. These easy-to-get-to locations in the classic Haight-Ashbury and Sunset Strip locales feature vast, unbeatable selection, and are constantly hosting incredible free live performances and musical events. If you love music, let us be your ultimate source for inspiration!
dublab is a non-profit web radio collective devoted to the growth of positive music, arts and culture. We have been broadcasting independently since 1999. Our audience of turned-on listeners connect from around the world. dublab’s mission is to share beautiful music via the world’s best djs. What you hear on dublab crosses genres and defies classification. Unlike traditional radio, the dublab djs have total freedom of selection. You will experience many different sounds, but find they all have the same soulful root. We have extended our creative action to include art exhibits, film projects, event production and record releases.
A collective of the planet’s most progressive music selectors. Whether bringing dance floors to a boil, exploring magic experimentalism or spinning far-out, eclectic sets the dublab soundsystem reflects all shades of future roots sound.
dublab will be celebrating its 15th anniversary at Bedrock.LA the week after BEDROCKtoberfest on 9/27/14. Happy Birthday dublab!!
Repurpose was founded in 2009 by a group of young environmental entrepreneurs, looking for quality solutions to the problem of single use petroleum based plastic products. After searching and finding few quality and cost competitive compostable solutions, they decided to manufacture their own. Repurpose was born with its mission to replace all single use disposable plastics with high quality, innovative, plant based alternatives. Repurpose makes products from plants, not petroleum, using Ingeo™ resin and meets ASTM 6400 compostability standards.
Repurpose products are now available to consumers and to businesses allowing everyone the opportunity to lessen their dependence on oil, lower their carbon footprint, and find non-toxic, safe alternatives to plastic.
Moog Music is the leading producer of analog synthesizers in the world. The company and its customers carry on the legacy of its founder, electronic musical instrument pioneer, Dr. Bob Moog. All of Moog's instruments are hand built in its factory in Asheville, NC.
(FoLAR) Friends of the Los Angeles River is a 501(c) 3 non-profit organization founded in 1986, whose mission is to protect and restore the natural and historic heritage of the Los Angeles River and its riparian habitat through inclusive planning, education and wise stewardship. Once home to steelhead and grizzlies, the Los Angeles River meandered through wetlands, marshes, willow, alder and sycamore, providing desperately needed water for the region. Now running over 50 miles long – from the suburbs of the San Fernando Valley to the ocean in Long Beach – the Los Angeles River flows through 14 cities and countless neighborhoods. When the Army Corps of Engineers initiated a flood control project in the late 1930′s, they began the process of paving 80% of the River, creating the world’s largest storm drain. Over the ensuing decades, the River that had been the sole water supply for the City of Los Angeles before the Los Angeles Aqueduct was completed in 1913 almost disappeared from public consciousness. With the cement came a perceptual shift: the River no longer existed. Instead, it was a “flood control channel,” a no-man’s land, surrounded by fences and signs.