Category Archives: The Playlist

New Wave vs. Darkwave at Klub Nocturno on January 17, 2025

Nosferatu statue at Klub Nocturno in the New Wave Darkwave room on January 17, 2025
Nosferatu welcoming you to the New Wave vs. Darkwave room at Klub Nocturno on Friday, January 17, 2025

If New Wave vs. Darkwave were a real battle, IDK who would have won. Last night, in the Loft at Catch One, where I DJed all night for Klub Nocturno’s fundraiser for those impacted by the recent wildfires, new wave was visibly the clear winner. Nothing packed the floor like the ‘80s jams last night. However, the requests were overwhelmingly for the darkwave bangers and the groups nearest to the DJ booth, some of whom were dancing virtually the entire night, definitely were into Boy Harsher, French Police, Molchat Doma, etc. , so darkwave was also a winner.

Anyhow, here’s the set list from the New Wave vs. Darkwave room at Klub Nocturno on January 17, 2025. The only new song— as in the first time I’ve played it out— in the set is “God Whispers” by Soft Vein, whose latest album, Through Blinds, came out on Friday. Check it out if you’re into dark, EBM-influenced synthpop, which you probably are if you’re reading this post. 

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It’s So Lonely In Heaven on Legendary Pink Dots’ New Album

Legendary Pink Dots So Lonely in Heaven album cover

In 2022, Legendary Pink Dots released The Museum of Human Happiness, their first album since the pandemic. It was one of my favorite albums of that year and, really, one of the finest releases from a band who celebrated their 40th anniversary just before lockdown. Now, two weeks into 2025, they’ve dropped the follow-up, So Lonely in Heaven, via Metropolis Records and I humbly recommend that you listen to the two albums back-to-back. I don’t know if it’s intentional, but from the listener’s perspective, The Museum of Human Happiness and So Lonely in Heaven sound as if they are part of the same extended body of work. 

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Greek Jam “Black Eyelashes” Stands Out On Franz Ferdinand’s The Human Fear

Franz Ferdinand The Human Fear album cover

In the four or five times that I’ve listened to The Human Fear, the latest album from Franz Ferdinand, since it was released on January 10, I keep going back to one song. “Black Eyelashes” is the band’s take on rembetiko (also spelled rebetiko), a style of Greek music that was particularly popular in the first half of the 20th century, and I’m hooked on it. 

It’s sounds like there have been a Greek influence on Franz Ferdinand’s music from the get-go. I can’t really pinpoint exactly what it is, but something in the guitar tones and the rhythms they use has struck me as very eastern Mediterranean since I first heard “Take Me Out” 20+ years ago. On, “Black Eyelashes,” though, the influence is so blatant that you might start imagining that final dance scene in Zorba the Greek. I did. 

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The 40-Year-Old Song of 2024 and More From Underground’s New Year’s Eve Party

Dancing to Bronski Beat "Smalltown Boy" at Grand Star Jazz Club in Los Angeles for Club Underground's New Year's Eve party. (Photo: Liz O.)
Dancing to “Smalltown Boy” at Club Underground’s New Year’s Eve party.

By now, you’ve probably read, and argued with, more Best of 2024 lists than you can recall, but I’m here to tell you now, on the first day of 2025, that the real song of the year was a 40-year-old Bronski Beat club hit whose viral success probably wasn’t as organic as reported. (Seriously, people just happened to ask their parents how to dance to “Smalltown Boy” right at the time of the song’s 40th anniversary and not, like, when it appeared in Euphoria? And there just happened to be contemporary club remixes ready to be released in the aftermath of its success on TikTok?)

But, even if the song’s resurgence was a total marketing ploy, it worked. On the hottest nights of the summer, I would hear people scream for “Smalltown Boy” as they threw their hands in the air and danced with sweat dripping from their faces. After the summer faded, the song’s popularity dipped only slightly. On New Year’s Eve, it still hyped up the Underground crowd. But, to be fair, “Smalltown Boy” is one of those songs that never quite dropped off L.A. club playlists— like “Living on Video” or “Send Me an Angel”—  the whole viral thing just gave it an extra kick.  

Anyhow, thanks to everyone who made it out to Club Underground’s New Year’s Eve party last night. Scroll down to see what I played. Next gig for me is David Bowie night at Club Underground on Friday, January 10. David Bowie night is a biggie, and it has sold out before, so click on this link to get your tickets as soon as possible. 

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Cold Cave, Twin Tribes, Fontaines D.C. and More of What You Heard at Splash! Sundays on December 29

Siren Who Stole Xmas display at The Mermaid in Los Angeles on December 29, 2024 (Photo: Liz Ohanesian)

Just a quick update with my set list from last night’s gig. I played at The Mermaid for Splash Sundays, with a set that went roughly from 8 p.m. until 10:30 p.m. Splash Sundays is a no genre night, but I think last night’s set definitely leaned more towards classic alt and modern indie and darkwave. I don’t plan sets. Really, I just go by what songs make people move and what band t-shirts people are wearing.

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A Christmas Banger from Confidence Man and More of What You Heard at Splash! Sundays

"Santa's Comin' Down the Chimney" Confidence Man single art

Confidence Man dropped a Christmas banger last week, called “Santa’s Comin Down the Chimney.” It has a late-‘90s electro-techno thing going, like Dopplereffekt or Miss Kittin and the Hacker, which is really weird for a Christmas song and something that I, a person who is extremely picky about holiday tunes, can appreciate. If you were at The Mermaid for Splash! Sundays last night, you might have heard it sandwiched in between Del the Funky Homosapien and Crystal Castles. 

Splash is an open format night, so, really, anything goes as far as the music is concerned. Since this was the Sunday before Christmas, and The Mermaid has its “Siren Who Stole Xmas” pop-up going on right now, I brought a few of my favorite holiday jams, like Charo’s disco-fied “(Mamacita) ¿Donde Esta Santa Claus?” and a really specific remix of “El Burrito de Belen” that took one holiday season of heavy Googling to find. 

Still, I could have kicked myself for forgetting to download Los Bitchos’ holiday EP before the gig, but all their songs are good for a party, so “Talkie Talkie, Charlie Charlie,” from the band’s latest album, Talkie Talkie, made it into the set. Male Tears’ new one, “Little Doll,” which landed in Friday night’s set at Catch One, made a reappearance. A handful of 2024 faves— Fontaines D.C., Pet Shop Boys and La Femme included— turned up in Sunday night’s set too. It’s a real mixed bag, but I swear, if you were there and heard the set, which lasted from 8 p.m. until about 10:30 or so, it totally made sense. Keep scrollin’ to see what else was heard at Splash! Sundays on December 22. Next gig is New Year’s Eve at Underground. See you there.  

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New Male Tears and Everything Else You Heard at Klub Nocturno’s Refugee Children Center Fundraiser

Male Tears "Little Doll" single cover art.
Cover art for “Little Doll” single from Male Tears

I wasn’t planning on playing anything super new at last night’s Nocturno-presented fundraiser for Refugee Children Center. The Cure was the theme for the night and, by 1 a.m., I was trying to squeeze in as many songs from the band as possible. But, also, the crowd was riding this darkwave-meets-Italo-meets-Crystal Castles vibe, so right after Mr. Flagio’s classic “Take a Chance” faded out and “Vanished,” the Crystal Castle song, took over, I thought that new Male Tears song might work. And it did. Actually, “Little Doll” worked really well. It kept the crowd going between and segued nicely to “Fotonovela,” the old Spanish synthpop tune from Ivan, which lead to Depeche Mode and then to more Cure to close out the night. 

Male Tears dropped “Little Doll” earlier this month. I gave it a listen because I liked the cover art. IDK if ‘80s Eastern European Fantasy Film is the intended aesthetic, but that’s how I see it and I love it. It turns out that I loved the song too. It’s catchy synthpop with a just a hint of early ‘90s Eurodance creeping in the background. Definitely a keeper. (If you want to snag a copy for yourself, here’s the link to the song on Bandcamp, which I think is still the more artist-friendly option.) 

Anyhow, thanks to everyone who came out last night to dance and support Refugee Children Center. Here’s the set list. 

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Here’s What I Played at Underground on Friday, December 13, 2024

Thank you for dancing!

Last night was a blast! Thanks to Larry G. for having me play at Underground last night and for everyone who turned up to my Friday the 13th darkwave birthday gig. I’ll be back at Underground for New Year’s Eve. Tickets are available now, so click this link to get yours asap.  Keep scrolling to see what I played last night. 

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The 15 Best Albums of 2024 According to One Really Opinionated DJ

Fontaines D.C. Romance Album cover
Spoiler alert: Romance by Fontaines D.C. is the album of the year.

Year-end lists are tough. I don’t even know how many versions of my top 2024 albums I drafted before settling on this one. It was, originally, a 10 album list. That just wasn’t working, though, so I expanded it to 15 and still ended up cutting a bunch of albums that are fantastic. What I’m getting at is that I’m not going to argue with anyone about what isn’t or isn’t on here. I already spent a few weeks arguing with myself and will probably continue to second-guess every choice until it’s time to make the 2025 list.  If you don’t like it, make your own list.

All of these are albums that I like to listen to in full. A few of the picks have songs that turn up in my club sets, but club-friendly music is not a requirement here. I’ll have another list for that and, likely, a mix as well, so keep checking back between now and New Year’s Eve. Until then, read on for my top 15 albums of 2024. 

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Here’s What I Played In the New Wave vs. Darkwave Room at Nocturno on 11/30/24

Klub Nocturno at Catch One in Los Angeles November 30, 2024 in the New Wave vs. Darkwave Room. Photo taken from the DJ booth by Liz O.
The crowd in Nocturno’s New Wave vs. Darkwave room on Saturday, November 30, dancing to Mareux “Lovers from the Past” (Pic: Liz O.)

It’s 9 a.m. and I just poured my second cup of coffee after waking up an hour ago, so last night is a still kind of a blur. I played in the New Wave vs. Darkwave room at Nocturno, which was lit almost from the start. Like, I remember seeing people dancing in the line for the bathroom by the third or fourth song of the set. 

I finally had the chance to play “Digital Slaves,” from Gesaffelstein’s latest album, Gamma. I’ve been listening to the album for a few months now and keep going back to that song because the lyrics are very 2024, but the sound is very 2004, and that juxtaposition makes a lot of sense in my brain. But, I haven’t had a gig where I thought it would work until last night, right after I heard the screams for She Wants Revenge “Tear You Apart” and noticed that the room was packed. Tl;dr is that “Digital Slaves” did really well and it’s a total keeper in the sets now, which is nice because I haven’t really played his music out since The Lash closed. 

Anyhow, overall, the vibe was more darkwave than new wave, which is always fun. Thanks to Nocturno for having me play and for everyone who hit the dance floor last night. Check out the set list below. 

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