Superet, Lily, Deap Vally At The Echo, Tuesday January 29th 2019
January 2019 will be remembered as the Echo residency of Liily during this unexpected Brekfest, sponsored by 95.5 KLOS, Flush Records, and last night was my third time seeing them! But since they keep inviting interesting bands each week, and since their shows are fueled by some incredible energy, I went back to the familiar venue for another Tuesday of rock ‘n’ roll.
Last night, the young LA band Liily was supported by Superet and Deap Vally, and once again kids had a lot of fun during a night filled with energizing music. There’s no doubt that Superet is a good looking band with a wide-screen vision and a sound reimagined with the help of two keyboards on stage and fast rocking numbers revealing danceable tempos. Frontman singer-guitarist Matt Blitzer showed his elegant dance moves with a genuine swagger, while keyboardist Alex Fischel, bassist Patrick Kelly, multi-instrumentalist Isaac Tamburino, and drummer Sam KS built music which was often aiming to the epic. Their intriguing moniker is a Latin word which translates to ‘May it overflow’ and their website, entitled ‘Superet is coming’, seems to be announcing their ambitious intentions. On stage, they had confidence and played a set of hooky and buoyant songs revealing plenty of nuances to sort out: a diversity of influences from the ‘70s to the ‘80s, a touch of glam, an explosive style, some sex appeal, and even a Muse vibe with hard-hitting keys, especially true during their last song. Of course, we were not at Rome’s Olympic Stadium yet, but they surely had this sense of eccentric spectacle. So far they have released a self-titled EP and a series of songs on different media, but they introduced a song as the single of a new album so they are certainly a band to follow closely.
As they did the previous weeks, Liily brought back their deranged chaos, with siren-like screeching guitars and energy to blow up the roof of any venue. The quintet once again unleashed a raw and hard rocking sound with edgy guitars, and a level of decibel high enough to bring the house down. Their body-shaking, hair-raising and disorienting numbers never missed to excite the crowd to a rare level and they certainly made history with this January residency at the Echo. The mosh pit was as ferocious as the previous ones and I watched the mayhem half-sitting-half-kneeling on stage, while the young band used exuberant energy to bring up the best of their songs, like their intense ‘Toro’, ‘Sold’ and the more mellow dancefloor-ish ‘Sepulveda Basin’… but their songs are still mysterious as so few of their music has been released so far. One thing is certain, they are a band to be experienced live, and their feverish and emotionally compelling music is crossing genres with ease in a giant pit expressing every feeling from frustration to liberation. Once again, the floor tilted a bit at the loud sonic rush produced by the quintet, which is now at the epicenter of a new generation of hard-rock guitar bands.
Female-power duo Deap Vally closed the night with a long set of raucous garage rock and riffs that would have made Jimmy Page smile. I have followed the band since I saw them for the first time at Amoeba in 2014, and they have always delivered an electrifying set with a badass attitude. Lindsey Troy, on guitar and lead vocals, ferociously trashed the stage with a Jack-White style, a punk sexy shriek, while often riffing like a Black Sabbath addict, whereas Julie Edwards kept head-banging her long hair over her drums. With two albums under their sleeves, ‘Sistrionix’ (released in 2013) and ‘Femejism’ (produced by Yeah Yeah Yeahs’ Nick Zinner in 2016) they have already opened for a myriad of famous acts, from Marilyn Manson to Muse, Peaches, the Red Hot Chili Peppers, Garbage, Blondie… and it was very cool to be able to see them again in this intimate setting. The two women ignited the place with monster riffs of distortion and plenty of sexy moves, as Lindsey Troy’s roaring guitar and unapologetic vocals dialogued with Julie Edwards’ pulverizing cymbals for close to an hour, reanimating the good old times of rock’ n’ roll live shows, and leaving no place for any contestation.