Back in 1984, Ultravox released The Collection, a best of compilation that brought together 14 singles released over the course of four years. If you’re new to the band, The Collection is a good place to start because it contains the jams of the band’s Midge Ure era, like “Dancing With Tears in My Eyes,” “Reap the Wild Wind” and, of course, “Vienna.” It was my first Ultravox record, pulled from a used bin in a San Fernando Valley record store for $2.99 back in the late 1990s. Last week, a deluxe edition of The Collection was released and, if you’re already a fan, you probably will want this in your collection.
So I Married an Axe Murderer is playing this weekend too. Friday night at Vidiots.
If you’re not still recovering from Oasis-mania, there is plenty to get you out of the house and away from your screens this weekend. Thursday’s Desire and Johnny Jewel show at Hollywood Forever is already sold out, but there will be an afterparty at Gold-Diggers. Friday night is packed with concerts, including Anamanaguchi at The Wiltern and Cold Waves XIII at The Mayan. Retrospective exhibition Let There Be Gwar opens at Beyond the Streets on Saturday, while Jaws: The Exhibition debuts at The Academy Museum on Sunday. Plus, Eraserhead screens at Greystone Mansion on Saturday night.
Heading into next week, Swans play three nights at The Lodge Room, one of which is already sold out, and generative Brian Eno documentary, Eno, heads to Philosophical Research Society. There’s more too, so keep reading for the details on what’s happening in Los Angeles between Thursday, September 11 and Wednesday, September 17.
At DJ gigs, I always say that I don’t know what I’ll play until I play it and that’s absolutely true. I may have my heart set on playing one specific song, but, if it doesn’t sound like it’s going to vibe with the crowd, then I can’t play it. So, while I really don’t know which songs from Nonstop Romance, the latest album from Mareux, will end up in my sets, I am keeping my fingers crossed that it’s the title track.
“Nonstop Romance” has quickly become my favorite song on the album and I hope that its yours too. If you went to a club where the DJ played “Join in the Chant” and “Crazy Over You,” then came home and put that vibe into a song and gave it a 2020s spin, it might sound like this. (And, if this sounds like a plausible scenario to you, I’m going to guess you also live in L.A.) The juxtaposition of an EBM stomp and a very cheery synth melody is my idea of dance floor gold and I’ve listened to “Nonstop Romance” at least three times in a row while writing this.
Heart and skulls at The Mermaid 2/23/25 (Pic: Liz O.)
Fontaines D.C. dropped a new track last week, “It’s Amazing to Be Young” and the song was one of two from the Irish band to turn up in my set for Splash! at the Mermaid last night. Another new-ish tune worth mentioning is “The Silence That Remains” by The Horrors, which is from their forthcoming album, Night Life. It’s out on March 21 and I’m really looking forward to it.
Recent releases from Optometry, Mogwai, Dustbowl Champion and FKA Twigs also made it into the Splash! set, but since there are no genre limitations for this night, I tend to play whatever is stuck in my head in the days leading up to the gig. Tracey Ullman’s cover of “They Don’t Know” was that song earlier last week until it was dislodged by the most persistent earworm I’ve had in a while. I’ll reveal what that song is tomorrow, but it is somewhere on this five-hour set list, so maybe you’ll figure it out before then.
If you’ve been making your way through David Lynch’s oeuvre these past few weeks, you’ve probably noticed that Wild at Heart isn’t streaming. And that might be bugging you because perhaps you (like me) haven’t seen it in so long that you practically forgot half of the killer cast. Or, maybe you haven’t seen it at all and you want to know what’s so special about the 1990 film. Regardless, your best bet is to catch a screening in an actual movie theater this week in the L.A. area. At the time of writing this, there were still tickets available for showings at the Academy Museum, The Frida and NoHo 7.
If you need more Lynch this weekend, Fire Walk with Me is also playing at The Frida, which, btw, is a great theater and totally worth the trip from L.A. to Santa Ana if you can bypass traffic. (It’s almost exactly one hour from downtown if you ride Metrolink.) And, on Saturday, Vidiots is screening David Lynch’s short films.
In case you were wondering, I’m not DJing this weekend, but there’s a ton happening in L.A. Like, too much happening, actually. This list just scratches the surface. I intentionally left out some of the weekend’s biggest events because if it’s a concert at Crypto where the resale tix for nosebleed seats are nearly $300 or a festival, you probably already know about it. I also made an effort to include shows at various price points, so some of these are definitely a Valentine’s Day splurge, but there are also a good amount of low cover shows and DJ events listed, as well as some free events. As of the time I wrote this (Tuesday night), everything listed here had tickets available.
Finally, there’s a movie that truly understands the vinyl nerd, one that gets the crazy, stupid and possibly dangerous lengths we might travel to procure an ultra-rare, likely-cursed album released by a hippie cult a half-century ago. Of course, this movie, Pater Noster and the Mission of Light, is a horror flick served with a good dose of comedy. Where else did you think a hunt for Discogs gold would take you?
Directed by Christopher Bickel, the South Carolina-based, “anti-Hollywood” filmmaker whose previous efforts include Bad Girls and The Theta Girl, Pater Noster and the Mission of Light is no-budget cinema at its finest. It looks good, has a great soundtrack with original music and, most importantly, is a clever, well-written film. Released last year, Pater Noster has been streaming on Night Flight, which is where I caught it. There’s also a Blu-Ray release on the horizon.
This was my new from DJ booth in the Jewel’s Room at Catch One for Nocturno on Saturday, August 31. (Pic: Liz O.)
It’s Sunday morning, I’ve hardly slept. I have Sacred Skin’s song “Call It Off” running through my head and Depresion Post Mortem’s cover of “Yo Voy” fighting to overtake it. Still, I’m going to try to explain last night’s gig at Klub Nocturno in a way that people who normally don’t know what I’m rambling about will understand. It might not work, but we’ll try. (Scroll down if you just want to see the set list.)
Last night, Klub Nocturno took over Catch One, which is this massive, multi-room disco that has an amazing history going back to actual disco L.A. There were five dance floors of varying sizes going all night: Rock en Español vs. Cumbia, Indie vs. 80s, Deftones Night, Corrido Night and Sad Bunny Night. I played Indie vs. 80s in the Jewel’s Room, where the dance floor is on the ground level of the building and a staircase in the corner leads up to a mezzanine, where the DJ booth is located, before heading towards the second level of the club.
I have a view from the booth that overlooks the dance floor and stage. Usually, it’s not until right around 10 p.m. that I see the room begin to fill with people. Last night, I started playing at 9:30 on the dot and began to see signs of life on the dance floor three or four songs into the set. By the time I mixed “Rippin Kittin” into “Something to Remember Me By,” the dance floor was alive and growing.
The first time I heard people scream for a song that night was during “Love My Way,” the Psychedelic Furs classic, which was maybe at around 10:30 p.m. The energy was incredible. I’d look down and see this big mass of people under the purple and red glow of the lights. I could hear them singing along to The Strokes song “Reptilia” and Le Tigre’s big ’00s club hit “Deceptacon.”
When the intro of “Smalltown Boy,” the Bronski Beat’s jam, faded in at midnight, the screams were wild. TBH, that’s really the song of summer 2024, even though it’s literally 40 years old. I hear it everywhere from clubs to the A Line.
The room hit its peak at midnight. People chanted through “Living on Video” and sang along with “Two of Hearts.” There were dancers in the mezzanine lounge area too, so during the stretch from “Smalltown Boy” through “Goodbye Horses,” I felt like I was DJing in the middle of the dance floor.
It was one of those nights that passed all too quickly. I looked at my laptop, noticed it was after 1 a.m. and realized that I had to start dropping the big sing-a-long numbers— “Love Will Tear Us Apart,” “There Is a Light,” “Just Like Heaven”— immediately and try to squeeze in as many requests as I could. (I had more than four hours of requests, which came in before the party started, loaded into Rekordbox.) Anyhow, it was an awesome night and you can see my set list below.
There’s a Real Life song that’s creeping into my DJ sets and it’s not “Send Me An Angel.” I’ve played “Openhearted,” from the band’s 1983 debut album, Heartland, in my sets at Splash! twice this month. Most likely, it will keep turning up in my new wave sets, at least at bar gigs or early in the night, because it’s a good alternative to the Australian band’s big hit, packed with drama and a sticky melody. Also, the song has been stuck in my head for most of this month, so I probably need to keep playing it until I dislodge the earworm.
But, I have to make a confession about “Openhearted.” I totally, 100% swiped this Real Life song from Voyage of the Rock Aliens. In fact, I wouldn’t even know the song were it not for that bonkers movie and I probably should be embarrassed for saying that. But, also, I’m from L.A., where “Send Me an Angel” has been such a dominant banger for so long that any other Real Life song has long since faded from memory. That is, unless you are so baffled by Pia Zadora’s turn as a high schooler torn between her controlling rockabilly boyfriend and a new wave alien that you watch Voyage of the Rock Aliens every time it pops up in your Tubi recommendations.
Inside the Little Tokyo/Arts District Metro Station (Photo: Liz O.)
I chose the most inconvenient entrance to the 7th Street/Metro Center Station. It’s the one on the corner of 7th and Figueroa, the first one you’ll notice if you’re walking from Target, which I was, and the one that might be most convenient if you’re trying to take the Metro to Long Beach or Santa Monica, which I was not. I was going to Chinatown, which meant that I needed the A towards Azusa. This also meant that I would head down to the A/E platform, then upstairs to cross the tracks, then down again to board the Azusa train that might have been pulling up to the stop right as I hastened my pace. I darted up and down steps despite hauling two totes— one loaded with groceries, the other with a wet bathing suit and towel— and a purse.
My latest Beatique mix is now live. To listen to the hour-long episode, either tune in on Mixcloud or via the embed here. Here’s the full track list for you.
