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LAURA WEINBACH (of FOXTAILS BRIGADE) is the Hollywood Hills-born daughter of a horror filmmaker and sister of a cult comedian. Laura grew up in a household that embraced eccentricity: her next-door neighbors were circus contortionists with emus and fang-toothed monkeys as pets, and her childhood activities included snail hunting and spying on celebrity neighbors like Slash, Ice-T, and Larry from Perfect Strangers. Her upbringing is present everywhere in her music, from the lyrical imagery to the hand-drawn artwork. Her live show is a clockwork of warped orchestral sonics and Laura’s trademark voice and classical guitar intricacies. The songs tackle subjects like substitute teaching in Oakland and LA public schools, steak appreciation, and general unfairness awareness with a warped pop sensibility. Some have likened her sound to others, but really it’s all her own.
MILDRED was born on October 24th, 2017. Mildred lives in Los Angeles and occasionally sings in operas. Sometimes Mildred pretends she is an opera. Sometimes Mildred writes music on purpose and sometimes by accident. Before Mildred became Mildred, she was the lead singer, keyboardist, and core songwriter for a progressive rock band called Blackberry Tongues. Mildred exists on the internet and in places that aren't the internet, like the ocean. Mildred's eyes leak out like yolks. Mildred is a cloak that wears her pain. One time Mildred almost fell off the side of a mountain but someone saved her. Sometimes Mildred wonders if her spirit animal is a cockroach. Mildred doesn't have a family but she has an army. Mildred will crawl into the earth inside you and cry through you.
ANGELICA ROCKNE is based between Nevada City and San Francisco. Her first single was coined a "California Country Classic in 2017" in Vice's NOISEY channel, and her debut album also received acclaimed reviews from magazines Uncut and Shindig! among others. The album, recorded at Tim Green’s studio in Grass Valley over a span of six months in 2016 is earnest, unencumbered, and deeply reverential to both the classiness of the Byrd’s “Sweetheart of the Rodeo” and the guts of T.Rex’s “Electric Warrior.” Rockne’s voice is of its own dimension. There’s a delicacy in delivery that’s reminiscent of ‘60s songwriters, coupled with moments of something totally unhinged, psychedelic, and straight ahead rock & roll. More consistent though is her unequivocal emotiveness, that can be described as nothing other than classically country. There’s a history to this music that’s perhaps more emotional and sensory than actually historic — something felt, something sensed, a mistaken nostalgia for something that’s right here in the present, happening in all the quiet, dark corners of this country.
The stylish and ever curious curator and dee jay Neil Martinson provides us with another magical evening.