- Music Reviews
- February 23, 2018
The Asylum Years (Omnivore Recordings). Review by James Mann.
AFI Fest 2017 just wrapped up in Hollywood. Lily and Generoso Fierro review the 22 new feature films that they selected from this year’s eclectic festival program.
The spirit of an ancient Egyptian woman deals with the rigors of modern Los Angeles as she works to avoid an ancient relationship.
For the twelfth year, the South East European Film Festival (SEEfest) in Los Angeles showcased an impressive lineup of new features and shorts. Lily and Generoso Fierro provide a festival wrap up and their picks for the films that you cannot miss.
In rural Pennsylvania a pair of gorgeous musicians head out to L.A. and try to make it big in rock and roll.
Follow the rise and fall of Tower Records, one of the most important retailers for the entire rock and roll generation.
Real to Reel (High Moon Records). Review by Al Pergande.
Alien Beach Party. Review by Carl F Gauze.
Charlie Greene. Review by Carf F Gauze.
With a razor-sharp memory and conversational writing style, L.A. punk pioneer Alice Bag recounts her musical obsession.
Live clips and interviews from Meat Puppets, Minutemen, Redd Kross and Twisted Roots.
Greg Graffin deposits a lot of three-dollar words into this mix of biography, punk history, and evolutionary biology.
Seven Saturdays. Review by Carl F Gauze.
Bolshevik Disco (Manimal Vinyl). Review by Matthew Moyer.
Apocalyptic sci-fi, Busby Berkeley, and the proto-punk of the Screamers collide head-on in this reissue of Rene Daalder’s lo-fi, hilarious, and terribly sad musical. Is that a twelve-year old Beck making a cameo?
Out Here + False Start (Collectors’ Choice). Review by Jessica Whittington.
Beauty?… (Hollow Hills Sound Recordings). Review by Matthew Moyer.
Kenny Loggins has never been cool. But he does know how to put on a show. Brian Coles gives us a retrospective on his career and perspective on a Los Angeles show, with photos from Michelle LaRose in Tampa.
Kenny Loggins,Crosby Loggins,Greek Theater, Los Angeles,June 12, 2004,Brian Coles