The State of Los Angeles
words: Rhea Tepp
photos: LR

Maybe you have been there with your back against the wall. Your befuddled eyes move from one side of the club to the other. Who was it that said you would love this band? Is the local music scene really as uninspired as you feel listening to it?

Left with nothing but an empty wallet and a belly full of alcohol, you head out to your car before the show is over, certain that next time you will find something that stirs your soul and not just your drink. I am no stranger to this type of defeat, especially in Los Angeles. I will give almost any band a chance, because like you, I love music. And like you, when I do find great music, I want to tell everybody I know about it. So that’s precisely what I’m going to do. This is the best of local L.A music. Take notes.

I first have to admit that I’ve been putting Cocaine in my ears. The effect is somewhat similar to putting the stuff up your nose. With short-term use you may experience; increased energy and heart rate, mental alertness and the desire to do a cartwheel. Continuous use of Cocaine in the ears will ultimately lead to auditory hallucinations and undoubtedly, addiction. If you feel the need to “chase the high”, I know where you can get the stuff. Unrefined. First-rate. Rock-n-Roll.

Next to the gritty snapshots of American Apparel models and a Subway restaurant in L.A’s Little Tokyo is a community of musicians and artists called The Cocaine. Created by Johnny Munger, (formerly of Patch of Black in a Riot of Color) it is a unique club to see underground bands; slightly detached from the major club scene, a perfect spot, really. This night, my friends and I are going to check out two local bands; The Transmissions and One Trick Pony. The Cocaine is nestled in a tiny bar and grill called Live Jazz. I can’t help but notice that the bar’s location is unfitting with the immediate surroundings; exploited images of tainted youth and the looming reminder of corporate domination. My thoughts, however, are quickly intercepted by a soaring male voice that pours out of the entrance like the club’s warm yellow lights pour out into the night sky.

Randy Williams is the voice and guitar player of One Trick Pony. His vocals are exceedingly versatile; ranging from deep and powerful up-tempo melodies to a haunting falsetto that makes you wonder if the ghost of Jeff Buckley is lurking somewhere in the corner of the room. The band is an alternating lineup of talented musicians ranging from violinist to drums to bass, all adding fundamental and captivating layers to the band’s unique sound. A crowd favorite is the beautiful ballad “Box Song”. By the end of this song the crowd has gathered round the stage, singing along to every word. The sense of community here is unmistakable, even contagious.

When I was young, my mom had several Toulouse-Lautrec prints that hung on a wall next to her bedroom window. My favorites were the paintings of Vaudeville and the cabaret. Cafes and saloons filled with bohemians, artists and absinthe. As I am waiting for The Transmissions to set up I see someone who (with the additional penchant for punk rock) could have walked right out of one of those paintings.

To say that he began setting up several pedal boards of effects would be an understatement. Once the band is about to begin, the stage has transformed into what looks like the inside of my computer. But for the next 45 minutes, he and the rest of The Transmissions put on a show that reinforces why I describe them as the best band to see in L.A. Their energy is similar to what The Mars Volta brings to its audience. There are moments of riotous, memorable guitar riffs that transition into hypnotic bass lines, haunting vocals and the perpetual heartbeat of drums that eventually swells each song back into splendorous fervor. Christian Bienne, lead vocals and guitar, has remarkable stage presence. With the subtlety of a flamethrower he, Josh Solberg (bass) and Denise Duncan (drums) succeed at what many bands strive to achieve, but fall short of; The art of the spectacle. To take raw, uncontrolled energy, contain it just at the point before all hell breaks loose and turn it into something inherently beautiful. If accomplished, the audience is yours. If not, you’d better have Jared Leto and an infectious new trend to fall back on. Fortunately, The Transmissions need not count on the latter.

The Happy Hollows and Death to Anders are major forces in the Cocaine community and bands you should get to know. The Happy Hollows is a creation of front-woman Sarah Negadari, bad-ass lady extraordinaire. They site the Yeah Yeah Yeahs (who I do like) as one of their influences, but if you want my opinion, I’m more a fan of Sarah’s than of Karen O. This band (with Chris Meanie on drums and Charlie Mahoney on bass, vox) is another example of subtle meets fierce. Cat meets mouse. Just as the cat senses its prey and begins to creep unsuspectingly behind it, the Happy Hollows will at times begin a song with melodic fragility. Always rhythmically interesting in movement. And just as the cat finds its perfect distance before pouncing for the kill the Happy Hollows find the perfect moment to introduce the untamed, spellbinding spirit of their songs.

Death to Anders was my first introduction to The Cocaine. There are two singers; Rob Danson and Nick Ceglio (both also play guitar). Struggling to find artistic connection in the midst of wannabe Idols and death metal aficionados, they found supporters at The Cocaine. Along with Ben Widmer on drums Pete DiBiasio on bass, Death to Anders takes their folk-influences and frays it at the edges with rock influences like Sonic Youth. You light a cigarette. They begin their set. You hear a catchy guitar melody that grabs your attention. The song progresses and not only is this song catchy, it also has substance! So many bands take familiarity and run. Few put inspiration into arrangement or the art of storytelling. You are sucked in. Before you know it, that cigarette you just lit has burned to your fingers without a single drag.

The love of music is what brought you here. It’s why you go see new music. It’s why you’ve read this article. Just as the club’s location found itself between two extremes of the Hollywood stereotype, a community of people found themselves here, seeking refuge from the mainstream storm. The Cocaine is where the addiction will ultimately lead you, led me. Now you know some “gateway bands” to help you on your way. Whether it’s a catchy melody, the art of the spectacle, or a game of cat and mouse that grabs you, I recommend you too experiment and see what L.A music really has to offer. Don’t be stuck with your back against the wall. See you at The Cocaine!