Last American Buffalo was pop-rock, but I liked it more than most pop-rock bands. They’ve got a modern oldies vibe—if that makes any sense. I thought the music would sound a lot more rock n’ roll without the keys, but at the same time those keys added a pretty pleasant sunny undertone. Most of their songs came off as pretty optimistic—I don’t know the title but the bassist has a moment where he makes his instrument toot like a horn.

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Gangi will be playing their final residency at Spaceland tonight so we are lifting this interview out of our archives. The vinyl version of their album A is almost out and they are already working on the follow-up Gun Show, with a title track that sounds like T. Rex and Funkadelic together in three minutes. They speak here when issues of toxic mold were much more on their minds. This interview by Chris Ziegler.

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60 Watt Kid is a three-piece that has no laptops, 80-odd effects pedals, no bass, and a helluva lot of creative energy. Dan Collins interviews them after a grueling practice, on a hot night in his yard, around a smoky chiminea. A lhasa poo stands guard.

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Juliette Commagere is the former lead singer of the now-defunct Hello Stranger and is currently leading her eponymous solo project. With a penchant for introspective lyrics, a collaboration with Avenged Sevenfold and a Monday night residency at the Echo she is poised to gain ground in the local music scene and possibly on Craigslist. This interview by Steven Martinez.

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Gangi is the eclectic musical duo of Matt Gangi and Lyle Nesse. Originally from Brooklyn, where Matt wrote and recorded the first album A, they moved to L.A. to get some sun and space and accidentially encounter Mandy Moore. They will be playing a Monday night residency at Spaceland for the month of May. This interview by Steven Martinez.

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Whether Fool’s Gold sings about the earth, honey, or how meshuggah you are, the music takes effect in the body’s lovehandles. Suddenly, the pelvis and ribcage start a furious ping-pong match against each other. Of all Fool’s Gold’s residency nights this month, ‘twas the eve of April 13 that rocked the most.

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In the Henry Clay tradition, they finished their set with a lot more people on stage than when they started. To be honest, by time they played their cover of the Stones’ “Honky Tonk Women” to close their set, I was so wasted, I couldn’t tell if they had all the members of Airborne Toxic Event onstage with them because I was seeing 1 ¼ people for every person at that point. The great part is that considering there was no stage diving and only one moderately scary wipeout—and I never saw more than a dozen or so (actual) people on stage at the same time—is that this was probably their mild show.

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Remy Stratton

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