Acidtrain Asks “What’s This Obsession with Cultivating Wealth?” in New Song

Acidtrain live at Slipper Clutch on Sunday, April 13, 2025 (Photo: Liz Ohanesian)
Acidtrain live at Slipper Clutch on Sunday, April 13, 2025 (Pic: Liz O.)

It’s just before 9:30 p.m. on a Sunday night and red lights beat fast against the upstairs stage at Slipper Clutch. Acidtrain, aka Ryein Evan, has just launched into “Delulu,” a song, he says to the crowd, that’s about the billionaire class. 

It’s the day after 36,000 people turned up for Bernie Sanders and Alexandra Ocasio-Cortez’s Fighting Oligarchy event at Grand Park, just a few blocks away from this downtown club. Plus, “fuck billionaires, fuck Trump” has been the general theme of club conversations for months, so “Delulu” is a good fit for the moment. The frenetic beat and a squelchy synth sound that comes and goes throughout the song captures the vibe of downtown Los Angeles. Evan dances and bounces across the stage, growling lyrics like, “what’s this obsession with cultivating wealth?”

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Depeche Mode x New Order Night at Underground and More Happening This Weekend in L.A.

Flyer for Depeche Mode x New Order Night at Club Underground on Friday, April 18, 2025 with DJs Larry G., Liz O. and Rose Knows

This Friday is Depeche Mode x New Order night at Club Underground and I’ll be back on the decks with Larry G. and special guest Rose Knows. Both floors of the Grand Star Jazz Club will be open and, in addition to a motherload of Depeche Mode and New Order hits and deep cuts, we’ll be playing indie, Britpop, new wave, darkwave, electro and more. Click on this link to get discount, advance tickets now. Party starts at 9:30 p.m. on Friday, April 18 and it’s 21+. The Grand Star is located at 943 N. Broadway, inside Chinatown’s Central Plaza, right next to the Bruce Lee statue. See you on the dance floor!

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When the Sound of L.A. Is Fighting Oligarchy

Bernie Sanders speaking to crowd at Gloria Molina Grand Park for the Fighting Oligarchy tour on Saturday, April 12, 2025 (Photo: Liz Ohanesian)
Fighting Oligarchy with Bernie Sanders at Gloria Molina Grand Park in downtown Los Angeles on April 12, 2025 (Pic: LIz O.)

“Welcome to Berniechella,” Maggie Rogers says to the crowd. It’s Saturday afternoon and tens of thousands of people— 36,000 we’re later told— packed into Gloria Molina Grand Park to fight oligarchy alongside Bernie Sanders and Alexandria Ocasio-Cortez. Rogers, the Grammy-winning recording artist, is there to perform, as are Dirty Projectors, Joan Baez and Neil Young. To be honest, the downtown Los Angeles stop on Sanders’ Fighting Oligarchy tour isn’t all that different from a music festival, although it did not cost half-a-month’s rent to attend. 

Outside the event gates, people hustle for causes and cash. Sign this petition! Buy this shirt! On Hill Street, near the Grand Park Metro stop, vendors hawk merch to the beat of the old school funk jams pulsing across the sidewalk. Badges with some variation of “Fuck Trump” are common. The AOC shirts in Lakers colors provide a nice, local touch.

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Boy Harsher and Everything Else You Heard in the New Wave vs. Darkwave Room at Klub Nocturno on April 11, 2025

Photo of the crowd on the dance floor for Boy Harsher Night in the new wave vs. darkwave room  at Klub Nocturno in Los Angeles on April 11, 2025 (Photo: Liz Ohanesian)
View from the DJ booth in the New Wave vs. Darkwave room at Klub Nocturno on April 11, 2025 (Pic: Liz O.)

Last night was Klub Nocturno at Catch One, where I was the DJ in the new wave vs. darkwave room from open to close. The theme was Boy Harsher Night and a lot of their songs made it into the set alongside bands like Lebanon Hanover, Twin Tribes, French Police, Glass Spells, plus the new wave bangers and lots, lots more. Thanks to Nocturno for having me play and to everyone who made it out to the club last night. Set list is below.

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Love You Madly, Holly Woodlawn Is a Touching Memoir Set in Early ’90s Hollywood

Photo of Love You Madly, Holly Woodlawn by Jeff Copeland
Reading Love You Madly, Holly Woodlawn on the L.A. Metro (Pic: Liz O.)

In 1991, Holly Woodlawn released her autobiography, A Low Life in High Heels, written with Jeff Copeland. I haven’t read the book, but it’s high at the top of my list now that I have read Copeland’s recently-released Love You Madly, Holly Woodlawn.  The writer’s own memoir is a funny, sweet and engaging story about an unexpected, and sometimes tumultuous, L.A. friendship at the turn of the 1990s. What I loved about this memoir is how Copeland deftly intertwines a story about HOLLYWOOD, as in the movie world, with Hollywood, as in the place. 

Woodlawn, who died a decade ago, was best known as the Holly in Lou Reed’s hit, “Walk on the Wild Side.” She was an Andy Warhol superstar who appeared in films like Trash and Women in Revolt. By the late ‘80s, she was living on the West Coast and not exactly in the best place in her life. Copeland was a young writer from Missouri who had moved to L.A. with hopes of breaking into the film industry. Their friendship resulted in A Low Life in High Heels and would be strained, in part, as a result of attempts to turn Woodlawn’s autobiography into a film, which never happened. That’s the HOLLYWOOD part of the story. 

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Taleen Kali: “Sometimes, I think it’s easy to lose touch with the point of DIY”

Taleen Kali - photo credit Sophie Prettyman Beauchamp
photo credit Sophie Prettyman Beauchamp

In early February, in a small L.A. venue called Love Song, Taleen Kali debuted her EP, Covered, a few days before its Valentine’s Day release. Every detail reflected the holiday theme. The EP, which includes versions of songs like “Ava Adore” and “#1 Crush,” was available on heart-shaped flashdrives at a merch booth decorated with cupids. The listening party was followed by a live set where Taleen Kali, the person, morphed into Taleen Kali, the band, as more and more musicians joined the singer/guitarist on stage for a set that included live rarities and music from Covered

It was a killer night, and I’m not just saying that because I happened to be the DJ for the show or because Taleen and I have been pals for a few years. I mean, it was a very well-planned and well-executed show.

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Klub Nocturno Is April 11 + More Events In L.A. This Weekend

Flyer for Klub Nocturno at Catch One in Los Angeles on April 11, 2025

This Friday, April 11, I’ll be back at Catch One for Klub Nocturno. Find me in the Boy Harsher Night room, playing darkwave and new wave for you. (And, obviously, expect to hear a lot of Boy Harsher in the set.) As of the time of writing this, there are still tickets available, so click this link and get yours asap. This is a full venue takeover, so there are five rooms to explore all for one cover charge. Party starts at 9:30 p.m. This is a 21+ event. 

As for the rest of the weekend, Saturday is jam-packed with events taking you from day to night. So, even if you didn’t get tickets to see Ultra Sunn at 1720, which is sold out now, there’s still a lot to do. 

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L.A. Witch Explores Psychedelic Post-Punk on Doggod

L.A. Witch Doggod album cover

L.A. Witch is back with their first full-length since the pandemic. For Doggod, released on April 4 via Suicide Squeeze Records, the local three-piece headed to Paris, where they recorded at Motorbass, the studio founded by late producer Philippe Zdar (Cassius) where Phoenix recorded Wolfgang Amadeus Phoenix

Even though the album was made in a studio with a French indie pop pedigree, the sound of Doggod is very L.A. Specifically, the album makes me think of the city’s 1980s post-punk scenes. At that time, you had deathrock, which became goth, and included bands like Kommunity FK, Christian Death and 45 Grave. There was a scene known as the Paisley Underground, which was ‘80s psyche and spawned bands like The Bangles and Opal, who evolved into Mazzy Star. Then, you had a band like the Gun Club, that was really its own vibe, playing dark Americana. Doggod sounds like the point where those three tangents intersect. My point being, you can take the band out of L.A., but you can’t take L.A. out of the band, especially when the city is in their name. 

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Miki Berenyi Trio Makes Dance Floor-Friendly Dreampop on Tripla

Album cover for Tripla by Miki Berenyi Trio

Last year, I saw Miki Berenyi Trio live at the Fonda in Hollywood and, since then, have been waiting for the British indie group’s debut full-length. Tripla came out on Friday, April 4, and was well worth the wait. The tl;dr version is it’s fantastic. Get it, but don’t expect a rehash of the 1990s. Keep reading if you want more details. 

MB3 is named for Miki Berenyi, former guitarist and singer for Lush and author of the must-read memoir Fingers Crossed, but it isn’t a solo project. The trio is rounded out by KJ “Moose” McKillop, and Oliver Cherer. All three musicians share songwriting duties and that’s reflected in the album’s title, which is Hungarian for triple. Still, Berenyi is the most recognizable member of MB3. 

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DJ Koze Unleashes Spooky Cover of “Vamos a la Playa” on Music Can Hear Us

DJ Koze album cover for Music Can Hear Us

About two-thirds of the way into Music Can Hear Us, DJ Koze drops a secret weapon on listeners in the form of an exceptionally short and spooky cover of “Vamos a la Playa.” With German artist Soap&Skin on vocals, Koze strips away everything that makes the 1983 song from Righeira an Italo disco classic. The beat is gone. The “oh-oh-oh-oh-oh“ is replaced with a faint breath in the background. What remains are the lyrics, a story about going to a radioactive beach. It’s creepy af. I love it. 

The problem with the 21st century’s persistent ‘80s nostalgia is that most people miss the point of a whole decade’s worth of pop culture. They’re like, “the music was so much better.” But, the music was good because people were making perfect pop songs about nuclear annihilation and the evils of capitalism. It’s protest music for the Reagan-Thatcher era that, tbh, probably went over people’s heads back in the day too. (There’s a similar argument to be made about movies here too, but we’ll save that for another day.) Koze and Soap&Skin bring the point to the forefront of this cover version. 

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