This Friday, October 20th at Atomic Cowboy Pavilion and The Bootleg is a highly anticipated show by Durand Jones And The Indications (Indiana) along with Thee Commons (California). The show goes from 8:00 pm to 1:00 am. Visit HERE for the event details on Facebook. Experience the artists music and websites below then feel free to continue on for more about the acts on this bill.
https://www.durandjonesandtheindications.com
“My grandma always heard me singing at home, and she said, ‘I’m gonna put your ass in the youth choir,’” remembers Durand Jones. “I was reluctant. But one day the organist could hear me in the choir, and said ‘boy I’m gonna give you a song.’ So I sang the song… the whole church just flipped out. People were running and jumping and afterwards they were giving me money and stuff. Man it was really cool. That’s when the realization came that maybe I could make something of this.”
In the fall of 2012, Durand Jones made left small-town Louisiana for the foot-hills of Indiana. Alto saxophone in tote he enrolled in the Jacobs School of Music at Indiana University. “Being a singer was never part of the plan,” Jones admits. But soon enough Jones found his way in front of a rowdy rock-n-roll band belting out a rambunctious rendition of “Dock Of The Bay,” to a basement full drunken undergrads. That rowdy band unfolded into the Indications – comprised of drummer, Aaron Frazer, guitarist Blake Rhein, bassman Kyle Houpt, and organist Justin Hubler.
Inspired by a handful of dusty and obscure 45s baring names like the Ethics, the Brothers of Soul, and the Icemen, the Indications set out to make a record steeped in heavy drums, blown-out vocals, and deep grooves. Gathered around a Tascam 4-track cassette recorder and a case of Miller High-Life, the group spent their Sunday evenings recording into the early hours of the morning.
Their fiery single, “Smile” caught the ear of regional record-man Terry Cole of Colemine records, who swiftly pressed up a batch of 45s. Initially a sensation among record collectors, Durand Jones & The Indications began to receive recognition from music fans of all kinds.
“When Durand Jones & The Indications debut album was released, we had no idea what the world would think,” explains Terry Cole owner of Colemine Records. "After all, the record, albeit finely crafted, was conceived in a dingy Indiana basement on a shoestring budget of 452 dollars and 11 cents (we kept receipts). They didn't have ‘buzz.' They didn't have a following. They didn't have the measured flash of more polished operations. But as the final mixes spun off of the master reel, we knew what they did have was one remarkable soul record. To our delight, the record was a smash and their no-frills LP continues to fly off the shelves."
“Easily one of the best deep soul albums we've heard in years.” – DUSTY GROOVE
“… soul music that's so much of the old school that it might as well drive a car with fins.” - MILWAUKEE JOURNAL SENTINEL
"The album is beautifully produced...Jones absolutely dominates the songs with his powerful, soulful and ever-evolving voice.” - SPILL MAGAZINE
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Cosmica Artist East Los Angeles Trio Bring Their "Psychedelic Cumbia Punk" Coast To Coast. Recently, the LA Weekly had this to say about Thee Commons.
From acid and folk to tacos and Korean short rib, the tradition of melding unlikely elements is deep in the blood of this city. Thee Commons are the new musical torchbearers of this practice — a band that pull together cumbia, punk and psychedelic rock tighter than the strings on a Fender Jaguar. Frontman/guitarist David Pacheco and his brother, drummer Rene Pacheco, are inspired in part by the cumbia sounds they grew up with — music that, for all its subversive power, can't really be said to rock. Now it does. In their short tenure, Thee Commons have hosted legendary live shows, from an early album-release party at the Teragram Ballroom that ascended into chaos to the unhinged carnival that constituted their Coachella set. (From the stage, Pacheco memorably proclaimed: "East L.A. invaded Coachella, baby!") Their new album, Paleta Sonora, is a Technicolor popsicle of sound, spiked with the sly silliness that makes their shows so fun. The record takes the band even further afield sonically, into disco, space jazz, goof-rap and more. It's their best work yet. If you're still not hip, catch the band before they blow up, and let the carnival carry you away. —Chris Kissel
Since banding together in 2012, psychedelic cumbia-punk trio Thee Commons have made waves in and around their hometown of East LA. Featuring los hermanos Pacheco and one of several lively session bassists, these romp ‘n’ rollers have managed not only to marry two unlikely genres -- world’s apart -- in perfect pastiche harmony but have also compiled a prolific catalogue of music to which they toured through the United States in an extensive 32 days, 35 shows tour in the Summer of 2016. Named #15 on LA Weekly’s “LA’s 20 Best Live Shows of 2016” outranking the likes of ELO, Bruce Springsteen and The Who, Thee Commons have created a buzz with their vivacious performances. Chris Ziegler founder of LA Record wrote about Thee Commons, “Live, they’re fearless, confident and ready to go off-script at a moment’s inspiration. It’s wild stuff, just as it absolutely should be.” To which Chris Kissel of LA Weekly further comments, “If Thee Commons aren’t the best live band in Los Angeles, they’re damn near the top.”
Altogether, Thee Commons have played well over a hundred shows, gaining in the process hundreds more in fans -- those eager for something new to call their own. They have performed at several of Southern California’s prestigious venues and festivals, including Echo Park Rising, Desert Daze, Viva Pomona, The Echoplex of Echo Park, The Regent Theatre of Downtown Los Angeles, the Glasshouse of Pomona, the Roxy of West Hollywood and the Observatory of Santa Ana; have been hosted for a residency by pocho wine bar Eastside Luv of Boyle Heights -- which consisted of a weekly burlesque-dancer-entangled-affair dubbed the “Cumbia Psicodelica Cabaret”; and have opened up for such acts as Chicano Batman, Bomba Estereo, Thee Midniters and even unofficially -- by way of an impromptu guerilla-style street show -- for The Pixies.
Discographically, Thee Commons’ “DIT” (do it together) hard work ethic has yielded them a debut 7inch vinyl EP paradoxically titled Sunburn at Midnight -- self-released spring 2013 -- and a fragmented compilation entitled Rock is Dead: Long Live Paper and Scissors, which is to say an 8-volume limited edition EP series, the volumes of which they released successively throughout 2014. As of 2015, however, Rock is Dead is available, as a full-feature 20-song CD, and as a specialty, limited edition cassette and 10-inch -- 10-song -- vinyl originally co-released by the independent O.C. label Burger Records. 2016 brought about their sophomore album “Loteria Tribal” co-released with Burger Records on CD, Cassette and limited edition Flexi Vinyl. The same year also brought about two new 7-inch vinyl’s that include their refreshing cover of Los Saico’s “Demolicion,” on Denver, Colorado’s Heavy Dose Records, and a single of “La Fiesta” an obscure swinging Mexican cover b/w a grungy cover of Selena’s “La Carcancha” on Steady Beat Records out of San Pedro, CA..
Looking forward, 2017 Thee Commons plan to release the ambitious 18 song junior follow up album “Paleta Sonora” out later this year. Teamed up with Cosmica Artists Management group and Monterey Int. Booking Agency, the future looks auspicious for these young and determined “chunsters” who doggedly strive to perfect their hypnotic yet invigorating act -- which includes an intertextual take on Nirvana's “Love Buzz” and a punk cover of Selena’s “Baila Esta Cumbia”-- and disseminate the perfect pastiche that is psychedelic cumbia punk.
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