There is no shortage of “People Are Strange” covers in the world, but “Todos Son Raros,” a Spanish rendition by Tropa Magica, is 100% worth your attention. The L.A.-based band reimagines the Doors classic as a groovy cumbia with some surfy reverb and an expanded guitar solo that ventures into Middle Eastern psychedelia. It’s wild and lives up to the title of Tropa Magica’s latest album, Para Bailar y Tripiar.
Continue reading Tropa Magica Cover The Doors “People Are Strange” on New Album
On Pirouette, the latest album from New York-based Model/Actriz, there’s a lineage that runs from the funkier, Gang of Four side of post-punk to the noisy, late 1990s aftermath of hardcore that led to indie dance bands like The Rapture, The Faint and !!! to the L.A. DIY scene of the ‘00s and early ‘10s that spawned bands like Health and clipping. It’s noisy, driven by an urgent energy and will probably scare off those who like nice pop songs. It’s music for people who like to keep things weird, but still need structured songs and a good dance beat.
Continue reading Model/Actriz Brings the Noise Back to Dance Rock on Pirouette
There’s a lot of new music that came out in the past few weeks and a three of those songs made it into last night’s set in the new wave vs. darkwave room at Klub Nocturno. “Laugh Now Cry Later” from Mareux, which turned up really early in the set, is the lead single from his sophomore album, Nonstop Romance, which is out in late June. Pixel Grip also has a new album, Percepticide: The Death of Reality, out in June. “Reason to Stay” is the new single from that album and it popped up in the set somewhere in the 10 o’clock hour. I’m really into this song and the response was good, so you’ll probably be hearing it more often in my sets.
Last night’s big, new hit though was “Women Respond to Bass,” from Sextile, which came into the set shortly after midnight, mixed between Boy Harsher “Come Closer” and Vitalic’s electroclash-era jam “La Rock 01.” It did really well on the dance floor Friday night. Sextile’s latest album, Yes, Please, came out last week and it’s packed with bangers, so you’ll probably be hearing more from it in my sets this summer.
Set list is below. My next gig is The Smiths Nite at Club Underground on Friday, May 16, where I’ll be playing alongside Larry G. and Rose Knows.
Continue reading New Music From Mareux, Pixel Grip and Sextile + More of What You Heard at Nocturno on May 9, 2025
Breton singer, musician and producer Quinquis just released her latest album, eor, on Mute Records and it’s exquisite. Inspired by mermaid lore and made with modular synthesizers, eor will have you imagining tales filled with fantastic beings, set against against gray skies and cold, tumultuous seas. This isn’t TikTok-friendly mermaidcore, this is something darker, richer and altogether more interesting.
Continue reading Breton Singer and Producer Quinquis Channels Mermaid Lore on eor
Sextile kicks off Yes, Please with one hell of an “Intro.” It’s all alarms, distorted vocals and squelching electronics that make you think the L.A.-based duo have plans to drop you back into a 1992 Prodigy jam. They don’t. Instead, Sextile diverts you to the sweat-drenched warehouse of right now with “Women Respond to Bass,” a banger for the afters where the subs send the low-end pulsing through the soles of your Docs, and the previously released single “Freak Eyes.”
Continue reading Sextile Drops Rave-Punk Bangers on Yes, Please
Even I’m surprised that I got through a two-hour DJ set without playing New Order. I came pretty close to dropping “Bizarre Love Triangle” into the set at La Cuevita on Friday night, but then I thought, “Liz, you’re at a bar, not a dance club, no one has requested ‘Bizarre Love Triangle’ and you played a New Order and Depeche Mode night last week. Give yourself a break.” So, I did. Also, I forgot to take photos
Anyhow, here’s the set. Thanks to Malvada for having me play Ex-Cetera at La Cuevita.
Continue reading The DJ Set Where I Didn’t Play New Order
I was holed up in a hard-to-find shady corner of Grand Park, watching the crowd and taking nearly illegible notes during the Fighting Oligarchy rally when the familiar opening notes of a song caught my attention. Style Council? It was “Shout to the Top,” I knew that for certain before Paul Weller’s voice came in with the first verse. But, here? At a political rally in the U.S.?
That’s weird, I thought, but whoever added the song to the playlist deserves some props. “Shout to the Top” was a good choice, thematically appropriate with the lyrics, “and when you’re down on the bottom/there’s nothing else/but to shout to top.” Still, your average American has little-to-no-idea who Paul Weller is. They might have heard “A Town Called Malice” or “My Ever Changing Moods” somewhere in their lifetime, but they probably do not know that both come from the same guitar hero/fashion icon— the Modfather, as he’s often called— and that he also has a treasure trove of songs about class politics.
Continue reading The Smooth Socialist Soul of the Style Council
One of the first things I learned as a baby DJ was that genres aren’t all that useful. On a very basic level, they can refer to stylistic conventions (dub) or specific movements (punk) or both (hip-hop), but then the terms get overused (post-punk) and are totally watered down (psychedelic) until they become a meme (goth) and, ultimately, meaningless (indie).
Genres define music for marketing or search engine purposes, but they don’t mean much for human ears. Whether or not songs fit together has less to do with metadata and more to do with qualities that are objective, subjective and pretty hard to describe. That’s all just a long way of saying that I really like when there’s no genre tagged to a gig, which is the case for Splash at The Mermaid, where I played last night. Here’s the set list, which includes new music from Wet Leg, Marie Davidson, Model/Actriz and clipping., classics from Max Romeo (RIP), The Smiths and The Delfonics, a holiday tune from I-F and more.
Continue reading New Wet Leg and Everything Else You Heard at The Mermaid for Splash on April 20, 2025
Depeche Mode x New Order Night at Club Underground was a blast. I played the opening and closing sets last night. Rose Knows and Larry G. played in the middle. The dance floor got going early, like before 10 p.m., and it just seemed to keep going, even after the house lights rose at the end of the night.
I’ve posted my own set lists below. Underground is every Friday night at the Grand Star in Chinatown with DJ Larry G.. I’ll be playing there again in May, so stay tune for details. My next gig is Sunday, April 20, at The Mermaid in Little Tokyo for Splash. It’s an open format night and I’ll be playing from 8 p.m. until 1 a.m.
Continue reading Depeche Mode, New Order and More of What You Heard at Club Underground on April 18, 2025
Lost Records: Bloom and Rage is a new video game from French developer Don’t Nod. Since I’m not much of a gamer, I can’t tell you anything about that, aside from that it’s narrative-driven and about grown women in 2022 reconnecting with a secret from their 1990s teenage past. What I can tell you about, though, is the soundtrack, which, like the game was released in two parts, the second of which dropped this week. And, really, the reason I’m telling you about the soundtrack is because 3/4 of Chromatics— Ruth Radelet, Nat Walker and Adam Miller— reunited to contribute five songs to the Lost Records soundtrack album.
Continue reading Three Former Members of Chromatics Reunite on New Video Game Soundtrack