Wed, Oct. 9th, 2013
- Lacey Villeneuve
- Ben Jones
- Misty Mayle
- Ale Delgado
- Rebekah Lain
- Audrea Stanton
- Nicholas Duane Bennett
- Ryan Hailey
- Brooke Ivey
- Kane Stewart
- Lynns Folly
- Brandon Jazz
- Marco Martinez
- Adrienne E.
- Chris Boatright
- Jesse Wheeler
- Jessi Tichenor
- Zack Murphy
- Michelle Garramone
- Jenni Dolfie
- Jen Boylen
- Jaan Kristofer Kidd Cohan
- Shayna Byers
- Amber Rose
- Kaysha Iverson
- Dee Chowning
- Joe Scala
- Grimeys Staff
- Shelby Rothenhöfer
- Joseph Gosnell
- Mia Chaput
- Elizabeth Boom
- Amanda Ramsey
- J.D. Short
- Sunny Schartau
- Elise Tyler
- Michael Kwas
Caravan of Stars Tour 2013
Now, with several moon cycles and a couple hundred tunes behind them, The Growlers are set to release their latest batch of sonic brownies, "Hung at Heart", January 22 via Everloving Records, and yes their goodies are still laced with that psychedelic circus of surf, sex, and hobo trance, boom boom twang that makes for a hell of a high!
However, getting these treats out of the oven wasn't all that easy. Indie Iron Chef, Dan Auerbach, had initially tried his hand in the kitchen but when the dish ended up overcooked, the Growlers brought it back to the home kitchen, drank the juice and started over.
Warning to the hipster savants: This is a Growlers record. Fuzzy genius and working class logic mix easily in love songs that extol the virtues of the free market in mate selection (One Million Lovers). "Some Day" opens up the Hope and Magic aisle in the sentimental supermarket where Nielsen sings about turning 'bologna into steak and tallboys into champagne.' The real magic however, has been the relentless pursuit of happiness on the road while traveling throughout the hundreds of gigs performed to get from Costa Mesa to London to Brazil and back. At every stop along the way the kids and creeps have joined the Beach Goth caravan that is the Growlers experience. It is the experience they have coined that has landed them on the big stages of Coachella (where their set began at 4:20) and Lollapalooza 2012 and though nothing in life is certain, one thing will always remain true: The Growlers will continue to live a simple blend of surfing and experimentation, both in music and road dog life.
"The Archetype of a Rock and Roll band." - Devendra Banhart
"Long simmering in the city's underground, THE GROWLERS recently gained a devoted fan base that extends beyond the rock club circuit....the band is killer live, suggesting a combination of surf-rock, psycho-billy and barroom rock." - LA Times
"Surely becoming the band to see for anybody and everybody...The Growlers will rule the universe."— The World Famous KROQ
"If we were in England and they were a British group, they'd be on the cover of NME as one of the up-and-coming bands...it’s a band that is going to do some damage."— LA Times
"Noise bandits who travel the country in a patched-together schoolbus – if that's not enough of an easy sell, their explosive live performances will definitely do the trick. They're basically the audio equivalent of sneaking out of your parents house as a teenager, hijacking a motorcycle, and racing to a house party in the middle of nowhere."— 'Sup Magazine
"The members of the Growlers could be any one of Old Dirty Bastard's illegitimate children. They are hallucinogen personified, and could potentially be responsible for ending racism forever, at best they'll be able to cure Klinefelter's syndrome."— Jelly NYC
"If David Lynch were to film a Scooby-Doo movie, The Growlers would have to do the soundtrack."— Knoxville News Sentinel
"Their raucous set was like if the Velvet Underground had turned to the MC5 at their Boston Tea Party concert in 1968 and, instead of insulting them, had turned and made love to them—and that was how Lou Reed wound up wearing that dog collar. I couldn’t make out a single lyric, but did they really close the set with “Little Honda?”
-Dan Collins, Editor, LA RECORD
just me and the crickets and the dirt.
"This is severely fun LA bubblegum punk. A really strong album and I would highly recommend it to people who dig Ty Segall, Wavves, Nobunny, or Mean Jeans. " - Vice
"Living Dummy is something more punk records should be: funny. Songs like "Too Drunk To Cum" are hilariously out of control, clutching at the outer rims of sanity. (The group even deadpans an eerie laugh on the track.) But the real star here is the music--you get the feeling that the band -- especially the drummer -- is beating the shit out of their instruments. It's loud and crude, and that's a good thing." - LA WEEKLY
The LA garage-punk quartet Pangea creates the sort of sloppy and squalling rock tunes that fans of Wavves or Ty Segall would appreciate. How do they stand out among their contemporaries? The froggy-throated lead singer and his crass lyrics are incongruously mashed on top of nimble surf-rock guitar lyrics and harmonizing, doo-wopping backup vocals, resulting in something strangely and delightfully charming, kind of like the way you might find a snotty neighborhood troublemaker to be a little cute. There's a great video on Vimeo of Pangea at the Silverlake comic book store Secret Headquarters playing “Night of the Living Dummy” on their duct-taped, PBR-stickered guitars; the song is from last fall's Living Dummy, which was released on tape and vinyl on California cassette kings Burger Records and includes such masculinely-awkward tracks as “Make Me Feel Weird” and “Too Drunk To Come.” With Mean Jeans, Hole In My Head, Snuggle. ERIN K. THOMPSON, SEATTLE WEEKLY
"This local band is kicking butt and playing all over LA. Their debut record is causing a ruckus among the locals and is a must have for everyone looking for a new band to dig your teeth into! They construct their songs in interesting ways, with elements of punk rock, doo-wop, and freak folk. Their record is only available at The Smell now so pick one up!" - KXLU
"And loudly. And radly. Their dirty lo-fi garage punk careened from the back of the warehouse through the front. The volume knob was beyond 11 and happily out of control. The crowd, which appeared to be all ages (meaning young) was tearing into each other. complete with fervor, dirty clothes and undaunting smiles. The only people having a better time appeared to be Pangea as they careened through their set without pause and played encores after being begged by the unruly mass." indierockreviews.com
"L.A. punks Pangea had a limited but totally ravaged cassette out on Burger Records this year and for most (RSTB included) this meant that it came and went without being able to snag a copy. Thankfully Burger, in conjunction with OlFactory Records, have taken pity on the suckers and reissued this raucous chunk of fun on vinyl. Threatening to tear itself apart at every corner, Living Dummy is short on fidelity but heavy on scrappy, catchy garage punk that befits their upcomming opening dates for the likes of Mikal Cronin whose sense of kitchen sink stylistic approach the band seems well versed in. Underneath the layer of fuzz and sweat the boys fold in acoustic strums, backwards tapes, giddy background vocals and girl-group drum pops. Each spin 'round renders it more endearing and necessitates a volume bump for dancin's sake. Don't be left in the dust a second time around, pick it up!" - Raven Sings The Blues
"If Pangea don’t go somewhere in 2012, I’ll eat my other foot and install prosthetic feet with roller skates attached to them." - Nu Rave Brain Wave
"Living Dummy is Southern California punk the way it should be: crude without being obnoxious, funny without being crass, aggressively punk yet not totally insensitive, and, most importantly, FUN. Pangea burst straight out of the gate with the driving “No Feeling” and never lose that initial blast of energy as they tear through fourteen tracks of thoroughly infectious pop-inflected punk. Living Dummy is packed with enough catchy choruses, guitar solos, “la-la-la’s”, and naughty lyrics to delight my inner juvenile delinquent, but it’s the music that keeps me coming back for more. Pangea construct their songs in interesting ways, folding elements of doo-wop, girl groups, power pop, and even folk-rock into their sound, thereby sidestepping the homogeneity that plagues many a punk record. It gets pretty epic at times, but Pangea stay steady on course by keeping the focus where it belongs: on good songs, well played, with heart. Really, the only thing more fun than Living Dummy is Pangea’s live show." - GET BENT!
"On record you can clearly hear the shiny tones of California pop bands past playing out in Pangea’s tunes, but we’re calling this music pub rock on a philosophical level. Unlike many of their contemporaries, Pangea aren’t burying their music in shit tons of reverb and dosing it with orange sunshine. Nothing heady, just loud guitars and crashing drums and songs about being being pissed off and pissed up or hungover or all three at once. It’s juvenilia you can sing along with. It’s a solid album, but doesn’t capture the manic, youthful energy we witnessed at their live show; pub rock always did lose something in the translation from pub to studio."- Positive Destruction
"Sleazy but friendly, poppy but rocky tunes that have finally crawled their way out off the most homogenous shadows of suburbia and gotten some long overdue recognition. While a couple tracks conjure visions of hipsters absent-mindedly bouncing their youth away, there are songs on here that puncture your soul with harpoon-esque procession and pull you onboard." - Razorcake
"damn - where do I begin. Just know this, if you go see them prepare to mosh your ass off or at least dance, pogo, flail, spazz your ass off. There music inhabits a Happy Days world gone askew were Richy Cunningham is a bad ass and Mrs. C is the town slut, (or maybe that's just my fantasy). Their songs do have that 60's beach blanket bingo jangly guitar thing happening soaked in a punk vibe. I dunno it was like The Black Lips, Dick Dale and the Deltones, Violent Femmes, and ??? were all mashed up into one sweaty fun time." - American Pancake
"Pangea is from Newhall, CA, and they have that upbeat surf-y sound that goes wonderfully with The Lovely Bad Things and Tijuana Panthers. You can tell a lot about their attitude and sound from the names of their songs. They started it up with “To Drunk To Come” (the appropriate spelling written on my note card courtesy of William, the lead singer and guitarist), a very fast paced mosh-worthy song at first that slows down into a 1960s reminiscent beat. They then played “Get Away Free,” a fun song that made us all break a sweat in the ill ventilated sardine can that Burger Records became. Next was “Hold My Hand,” which forced me to take my Cosby sweater off and dance like I was an American Bandstand girl (except Pangea wasn’t lip syncing). William said “Thanks for clapping you guys,” as they then played “Shitty,” which has that old surf sound with a new age twist, because obviously The Routers wouldn’t title a song “Shitty.” William said “This is our last song. Thanks for putting up with us. We appreciate it.” He then began their last and favorite one, “No Feelin’,” which made the crowd go wild. The stop-and-start drum beat and the loudly defined bass definitely didn’t stop anyone from dancing, and neither did the heat of the record shop." - LA Record
Curtis Harding could best be described as a student of the gritty, sweat-dripping, hip-swinging blues that wafted through the air of the American sixties. The offspring of a mother who sang gospel, and a retired veteran, he traveled all over the country as a child, singing alongside his parents, learning that music was in fact the great communicator, and that the key was not just in how pretty the notes were, but how if you were honest in what you were singing, you could stir a person on the inside.
This is what Otis Redding knew. What Sam Cooke, and Bo Diddley, and B. B. King knew. That somehow there was a way to take your experiences, your pain and joy, and give them melody, cause them to live and breathe and massage the hearts and minds of all those who hear. That is what Curtis Harding does on his new album. He figures out how to tap into the old soul man of the past without mimicking or bastardizing it, but instead evoking the spirit of the true Soul music of yesterday, meshed with the realities of now.