As usual, Echo Park Rising offered us an abundance of bands to see, and way too many choices I could process, and I still hadn’t had the chance to sort out all the bands I saw last Saturday and Sunday.
If it’s impossible to get a full overview of this insanely populated festival, I always end up seeing way too many acts in a few days. The dilemma is always between going to see a familiar band, or discover a new one, between going to a venue offering a decent viewing, or going to one of these DIY places which will be overcrowded and sweaty… I opted for a mix of all this.
This year, the festival had so much to offer, more than 400 bands playing in 25 to 30 different venues spread throughout Echo Park, along Sunset boulevard. Here is a little taste of two last days of this overwhelming lineup, with some acts I was able to catch between the Echo, the Echoplex, the Champagne room in Taix restaurant, Little Joy and even the outdoor stage.
The gentle beach-y pop of Los Retros had a laid-back feel of a Mac DeMarco composition, while anxious punk rockers Liily released any tension people may still have, during a furious and disheveled set.
Jagged Baptist Club was a great discovery, an infectious and dissonant set of aggressive and rocking songs delivered in-your-face with a touch of preacher-like swagger, a band to follow for sure!
Younger Hunger had surely a great moniker and a passionate audience to cheer up along their empowering pop songs, while Guards, fronted by Richie James Follin (the brother of Madeline Follin from Cults) had a blend of sweetness and determined catchy pop songs.
Low Hum’s music didn’t sound too different with a series of fuzzed-out ballads and punk accelerations, while Hooveriii offered a departure from what I had seen before, a series of layered multi-keyboard compositions with no guitar in sight, sounding like space-propelling electronica with touches of Oh-Sees-style krautrock.
Raven Moreland had a testosterone-loaded sound populated by industrial beats and a menacing tone fueled by harsh anger and nihilism.
In contrast, Hammered Satin played a light bubblegum glam rock with feather-boa and plenty of New York Dolls flamboyance.
Radwaste was an all-drums-all-beats act with a tough post-punk attitude.
Earthquake Don’t Give A Fuck put a violin in a mix of hard rock distortion and angst-y arena metal.
Pacific Range and their California sound were playing at the same time than N8NoFace, a one-man show of electronic rap, and there was no limit to Melted Bodies‘ oddness and their robotic Devo-like act.
Collapsing Scenery brought their stress position weirdness with more melodies than usual, barely contrasting with electro-pop-punk act Ever So Android. Parting Lines had a Kurt Vile feel in the vocals, while Poppy Jean Crawford was a sexy miss pedal.
After The Mexican Stand Off and their sweet girlie mariachi vocals, electronic act Draemings got bright and dark, Albert and his Dreamboat got funny and campy country, and R Clown got very odd and distorted. Me? I got very busy.
a top debut ever by Lil Nas X
emo-rockers goes hip hop
a mini Punk Rock Bowling
The Viking warrior of Rock-n-Roll, Norwegian born superstar Rocky Kramer holds the very soul of music in his heart.
Rockstar Review: Steven P. Hamm
a lame 94K EAUs
sounds like Paul McCartney’s early 70s be bopping vibe as covered by the Meters
distinct and wondrous without being obvious or obnoxious
except for the title track the songs are on vacation
simultaneously self-effacing and egomaniacs