This past weekend Killsonic gave three sold out performances of their opera Tongues Bloody Tongues, written by Joseph Tepperman, at REDCAT. This excerpt of their larger street performance version included all the shock and awe tactics of musical warfare that you’ve come to expect from them. Breaking the mold of traditional theatre performances, Killsonic began with an explosion of sound in the lobby. Coming in from the parking lot, the horn, accordion, and percussion section, accompanied by the women’s choir equipped with megaphones, gave everyone a taste of what was to come and proceeded to the theatre.

From here Saddam Hussein gave the somber narrative, speaking on the history of Iraq and the story of Gertrude Bell, all while the band played ominous sounds at one point and chaotic explosions the next. The choir wore many hats, parrots interrupting Saddam’s monologues and deadly sirens singing of the sorrows and troubles of Gertrude. The musical direction helped set the mood strongly with the “orchestra” being so willing to take risks that paid off nicely.

The whole set and costume design of the performance had this vivid black and red post-apocalyptic feel to it that was aesthetically pleasing. From the Tower of Babel to the wall of tongues, the twisted and bizarre set enhanced the dark and dramatic performance. The cast all had a Tim Burton feel to them with their almost wax-figure-like makeup; and the choir looked as if they were all grabbed out of a couture version of Road Warrior—except the choir was definitely better looking.

The music took the opera through the highs and lows of the story quite well. Michael Anthony Ibarra showed his chops as a musical director and it did not disappoint. The musicianship and versatility of the band soared, giving everyone a taste of what a large-scale band can do when they don’t stick to traditional methods. Leah Harmon, who portrayed Gertrude Bell, was a definite highlight as well with her operatic singing and troubled ramblings.

Just as abruptly as the show began, it ended just the same. When the climax concluded, Killsonic walked off stage, the lights dimmed, and the crowd applauded. Yet everyone waited in their seats hoping they would come back for more.

—Zachary Jensen

Kevin Litrow set up quietly and humbly in front of a bookladen wall on the opposite side of the room which suited the performer better than the quaint stage. The bookshelves served as a fitting backdrop for Kevin’s contemplative stories flawlessly packaged into songs. Definitely mellower in sound and more on the folk side than his full band 60 Watt Kid, Kevin’s solo project came off as a more personal endeavor filled with heavier emotions and contemplation. Finger picked guitar riffs floated through the room, occasionally accompanied by keys and a floor drum, while Kevin softly sang his verses. The weight of the performance was not lost as the crowd held their beer in one hand and his words in the other.

Following a set time change, and a slight delay involving set up, Jeffertitti’s Nile took the stage. Recently coming off a brief west coast tour with Espers, Jeffertitti’s Nile has been steadily building steam and a solid fan base—which was evident with the packed house before their set. Originally a two piece, the band has added on three more members allowing for greater depth in the psychedelic train ride they conduct. Their performance was highly energetic, decked out in face paint and plenty of movement from them as well as the crowd. The versatile set was one of the highlights of the night, flooding the room with ballads, feel good rock, and an amalgam of musical colors. A must see for anyone who’s into the ’70s revival that’s going on in L.A. at the moment.

Originally slated to open, Inland Empire’s S. Pineda closed out the night. This three-piece employs a guitar, keys, blended vocals, and drums into a sound that they make their own. Though Jeffertitti’s Nile was a hard act to follow, S. Pineda came through with mellow ethereal sounds that perfectly ended the show. Very low-fi in nature, S. Pineda’s simple dreamy songs bring about a deep sense of nostalgia. Even when they throw a more upbeat jam at you, like “The Vagrant Song,” one can’t help but still be locked into a slumber-like state. The composition of their work is pretty strong and their live show is very enjoyable.

Delays and set time changes aside, the performances were genuine and the intimate setting of the Hyperion Tavern provided for a great night.

—Zachary Jensen

—Zachary Jensen

shop: the cigarette bums

Anenon is Brian Allen Simon’s brainchild. His recipe includes one part experimental jazz, one part ambient Nintendo dance beats, with a dash of eccentric personality, followed up with electro space age flash visuals for good measure. Anenon would fit perfectly at an art house party, or a warehouse dance club. It doesn’t take long for him to get the entire room moving to the beat of his delayed, echoed and high pitch drum.

Asura, AKA Ryan York, is another member of the Non Projects family. He comes at you with mythical dance beats that slowly morph into a hip hop sound—that remarkably blends perfectly together. He makes you nostalgic for old ’80s theme songs remixed by Jazzy Jeff or Brian Eno, providing you with crunchy ambient sounds. At one point during his set, Asura unexpectedly threw in some remixed tribal beats that he transitioned into so perfectly it was hard to notice the change, until it already happened and he brought you back to a dancey lounge beat.

The last person on the showcase was Nicholas Morera. Nicholas keeps up with Non Projects’ off the beaten path infusion, blending classical clarinet with ambient tones. He comes off as if the Thievery Corporation was led by a classical conductor, smooth in combinations of natural sounds and electronic beats. More song format orientated than his brethren, Nicholas comes across radio friendly (college radio anyway) but still obscure enough in style to keep the most underground flavored palate happy.

The showcase was a great teaser for what Non Projects has to offer. If you weren’t there or want more, you can find it on their website www.nonprojects.net.

—Zachary Jensen

Lamps started off the night with mellow sleepy sounds that definitely suited the audience’s tastes. The crowd stood quiet and attentive as the seven-piece played songs with mature folk-pop sensibility.

Their songs speak of sorrow, nostalgia, as well as lost loves. The band conveys all this with melancholic vocals, dreamy guitars, and quiet drums which blend well with the other instruments. At times the keyboard would come in carefully with piano sounds that would push forth but not too heavily to drown out the other tones. They are well produced and you can tell seasoned; however, they cater to an older taste that prefers to be in bed by eleven.

Following Lamps were Mimicking Birds. This one-piece turned three man ensemble was wrapping up a west coast tour that included a lot of “beautiful desert sunsets and a glimpse of what Woodstock may have been like” said drummer Aaron Hanson of their Austin City Limits gig in the rain when the mud overtook the ground. Nate Lacy, the frontman of the group, took the stage quietly and timidly not saying much before the set, but once he began to sing his whining sorrowful yelp, he cradled the room with remarkable range. Graceful, folky finger-picking from Nate set the pace while Tim Skellenger played some eerie harmonics on lead guitar. The alternate turnings on the guitars, C perhaps, flowed well with the sound they were going for. Their songs are interesting, perhaps a touch like Modest Mouse at times, but then again, they aren’t the only northwestern folk band out there.

Mimicking Birds were recently signed to Isaac Brock’s (of Modest Mouse fame) label Glacial Pace. There, they laid down their first full band recording in Oregon at Isaac’s house. The record is set to come out January first, 2010 according to Aaron. The band spoke fondly of the experience and was very humble about their jump-start up the indie ladder. Definitely a band to keep an eye on.

Closing the set, in huge contrast to the other acts, was Tremellow, an unsigned group from the San Fernando Valley. Their sound is kind of like if Billy Corgan decided to front a shoegaze band and Thurston Moore was backing him on guitar. Strong steady drums gave way for a burst of controlled chaos with droned out sounds and progressive tones. Distorted yet audible vocals blared through the room in a beautiful train wreck as they sang of heartbreak and haphazard events. Reminiscent of the shoegaze bands from the eighties at times, but fresh enough to bring some flair to the table, Tremellow played a strong set with a lot of energy regardless of the small crowd. This was lost however on the neighborhood, and their set was concluded when the Bootleg Theater was closed by two uniformed police officers due to sound—which was a first, according to the bartender Ben, who later asked for a CD.

—Zachary Jensen