Volcanic Theatre Pub & 1988 Entertainment Presents:
Hippie Death Cult w/ Batwave & -ether
Saturday, June 14th 2025
Doors @ 8PM - Show Starts @ 9PM
Hippie Death Cult -
Hippie Death Cult's journey through shameless and triumphant artistic expression has led them to become a vibrant force in the realms of psychedelia and riff-heavy rock n' roll. Throughout their formative years, the band underwent what proved to be a very significant evolution, transitioning from a 4-piece to a more cohesive and harmonious power trio. This lineup currently consists of guitarist and founder Eddie Brnabic, vocalist and bassist Laura Phillips, and drummer Harry Silvers. In 2019, Hippie Death Cult caught the attention of Cursed Tongue Records, who signed them for the release of their highly anticipated album "111." The record was met with widespread acclaim, solidifying their place in the music scene. Building on this success, the band made another significant move in 2021 by signing with Heavy Psych Sounds Records. This partnership resulted in the release of their album "Circle of Days" and a split release titled "Doom Sessions Vol.5" with label mates High Reeper. Both full-length albums soared to the very top of the Doom Charts as well as many “Album Of The Year” lists, further cementing their status as a rising force in the genre. Beyond their studio work, Hippie Death Cult is renowned for their electrifying and passionate stage performances. Their captivating stage presence have taken them on tours across the United States, Canada, and Europe, where they have garnered a dedicated and growing fanbase.
-ether -
-ether is a shoegaze band from the Pacific Northwest, featuring Jay Davis (bass, guitar, vocals), Cosmia Way (bass, guitar, vocals), Charlemagne Peatross (guitar), and Logan Anderson (drums). Originally known as DEAD NETTLE, they evolved from punk roots to create a unique blend of atmospheric ambient noise and engaging aggression.
Their music, influenced by early Sonic Youth, They're Gutting a Body of Water, and Bardo Pond, delves into themes of mental health and raw emotions. Jay and Cosmia’s rotation between leading vocals and instruments brings a dynamic layer to their sound.
Having performed across the PNW and received attention for their tape-recorded EP, -ether is now focused on their upcoming album release and PNW tour.
Volcanic Theatre Pub & 1988 Entertainment Presents:
Barrington Levy
Sunday, June 15th 2025
Genre - Reggae
Presale - $30 Door - $35
Doors @ 7PM - Show Starts @ 8PM
One of the great success stories of the 80’s, arrived on the dancehall scene and swiftly remodeled it in his own image. Although numerous DJ’s and vocalist would rise and fall during this decade, Levy was one of the few with staying power, and he continued releasing massive hits well into the 90’s. Born in Kingston, Jamaica, as a youngster, Barrington Levy formed the Mighty Multitude with his cousin Everton Dacres.
They started off playing the sound systems and cut their first single, “My Black Girl,” in 1977. All of 14, Levy broke out his own the next year and recorded his debut solo single, A Long Time Since We Don’t Have No Love.” It didn’t have much of an impact, however the teen’s appearances in the dancehalls were eagerly awaited events. It was at one of these that Levy met former singer turned producer Junjo Lawes and Mew York-based producer Hyman “Jah Life” Wright. The pair took the youth into King Tubby’s studio, accompanied by the Roots Radics, and recorded a clutch of cuts. The first fruits of this union were “Ah Yah We Deh,” quickly followed by “Looking My Love”, and “ Wedding Ring Aside.” Success was immediate, but it was the mighty “Collie Weed” that really cemented the teen’s hold of dancehall.
“Shine Eye Girl”, was a smash follow up, and the young Levy was now in great demand. A stream of singles followed “Jumpy Girl”, a lovely version of Horace Andy’s “Skylarking”, “Reggae Music”, Levy joined forces with producer Alvin Ranglin for another sting of hits—“Never Tear My Love Apart,” “Jah”, “You Made Me So Happy,” and “When You’re Young and in Love.”Levy’s rich vocals were made for duets, both with other vocalists and DJ’s , and it wasn’t long before the young star was also recording collaborative singles. Toyan was a great foil on “Call You on the Phone””, he paired with Jah Thomas on “Moonlight Lover” and “Sister Debby”, and joined forces with Trinity for “Lose Respect” and a follow-up, “I Need a Girl” in 1980. That same year, Levy made a sensational appearance at Reggae Sunsplash, then returned in 1981. During these early years, the singer seemingly spent all of his time between the recording studios and the dancehalls. Amidst the deluge of singles, four albums arrived as well between 1979 and 1980. First up was Bounty Hunter, which boosted three smash singles—“Reggae Music”, “Shine Eye Girl”, and “Looking My Love” –and a clutch of other tracks that were just about as good. In Britain, the Burning Sounds label released Shine Eye Gal, also a hits heavy package which included the title track-track, “Collie Weed”, and “Ah Yah We Deh.” It was swiftly followed by the mighty Englishman, an absolutely fabulous record which was overseen by the unbeatable studio grouping of Junjo Lawes and two of King Tubby’s protégés—Scientist and Prince Jammy. A veteran of the clubs, he brought the spontaneity of the DJ to his records while returning vocals back to the sound system scene which had been purely the realm of the Djs.
Utilizing old roots rhythms revitalized by the Radics, and giving the songs a hard, but danceable edge, Lawes and Levy together helped establish a whole new dancehall sound.
1980’s Robin Hood merely affirmed that everyone in Jamaica already knew: That Levy was now the biggest star on t he island, with a talent that was unbeatable. Or more accurately, he was king of the singers, because ruling beside him was DJ Yellowman, another Lawes’ discovery, that was brought to him by Barrington Levy. Robin Hood was as big as its predecessor and was beginning to have an impact in Britain as well, where both it and Englishman had been released by the Greensleeves label. Not surprisingly, both albums heavy rhythms would provide the building blocks for the Scientist V Prince Jammy dub clash album. Unfortunately, Levy’s very popularity was now beginning to have some serious drawbacks. Even before stardom arrived, the singer had noticed with delight fans tapping his sets at the dancehalls, and these tapes were coming back to haunt him. Suddenly, the shelves were buckling under the weight of the bootlegged albums, featuring not just older pirated live material, but also unreleased outtakes and recycled older singles. In response, Levy didn’t release a new album for two years, but in the meantime, new singles more then made up for it. From 1980 came such hits as the haunting Lawes-produced “Mary Long Tongue” producer Linval Thompson’s “Too Poor,” and a string if hits cut with Karl Pitterson, including “ I Have a Problem” and “Even Tide Fire a Disaster”. And as the decade progressed, the flood hits continued. “I’m Not in Love”, “You Have It”, “Tomorrow Is Another Day”, “Robberman”, “BlackRose” “My Women”, and “Money Move” were just a small number of the hits released between 1981 and 1983, with the latter song the biggest smash of the batch. Levy even tried his hand at self-production, recording such excellent songs as “In the Dark” and “Love of Jah.” Amongst there were fabulous singles recorded for Joe Gibbs, “My Women” included. The Reggae Vibes album would bundle up Levy’s best with the producer, s well a number of cuts from fellow dancehall singer Sammy Dread.
1983 finally saw the release of Levy album “Money Move”. The latter was excellently overseen by George Phang and boasted a stupendous group of rhythms that Sly & Robbie had specifically made for the producer. In the U.K, the burning sounds label also released Hunter Man, a greatest-hits collection. But the hits were still coming on strong; in 1984 none were bigger then Levy and Jah Screw produced “Under Mi Sensi.” The pair would also record a new album that year, Here I come, whose title-track would the top 50 in the U.K The album itself took Britain by storm and ensured that Levy walked away with the best Vocalist Award at Britain’s Reggae Awards. It was also these songs that secured his spot in the Guinness Book of World Records, as the first reggae artist to hold both 1st and 2nd place slots in the charts. The same year, the singer also joined forces with another young singer who was tearing up the dance floors, Frankie Paul, for the intriguing sound clash set Barrington Levy meets Frankie Paul. 1985 brought Prison Oval Rock (the Volcano Jamaican label release, and not to be confused with the RAS label’s U.S. compilation of the same title), which found the singer joining forces with Lawes again, for another roots-fired set equal to its predecessors. It had been six years since Levy burst onto the scene with all the force of a nuclear weapon. Now in his early twenties, the singer’s output significantly began to slow. He did return to Reggae Sunsplash in 1987 and would remain a top attraction at the festival until 1985. He also released “Love the Life you Live” in 1988, a rather patchy effort compared to previous releases. It was to be his last new album until 1991.But Levy wasn’t a spent force yet. Before the 80’s were over, he scored tow more hits with “My Time” and “Too Experience”, both under the aegis of producer Jah Screw, and both covers of songs written by Bob Andy (ex-Paragons and also of Bob & Marcia fame).
Signing with MCA in t he U.S., Levy attempted to cross over into the North American market with 1983’s Barrington. Produced by Lee Jaffe, the Album featured a re-recorded “Under Mi Sensi”, and boasted strong songs as “Murderer” and “Vice Versa Love” and “Be Strong”, a major hit in the Caribbean and South America. However, the relationship with MCA was not a happy one and Levy quickly departed. Meanwhile, back in Britain, the singer was chalking up another hit with “Work”. In 1994, Levy was joined by Beenie man on the singles “Two Sounds” and “Murderer”. Both soon reappeared as fiery jungles remixes, with “Sensi”, in particular, mashing up the dance floors.
Under Jack Scorpio’s direction, the singer next paired with Mega Banton for “She’s Mine”. Jah Screw took these collaborations to the next logical step, and recorded an entire album and recorded and entire album of shared songs, Duets (this is its American title and it was released in the U.s. by RAS, and in the U.K., Levy’s relationship with Greensleeves continued, where the album there was titled Barrington Levy’s DJ Counteraction). From this set, “Living Dangerously” with Bounty Killer rocketed up the Jamaican charts and set pace at clubs around the world . Time Capsule came hot on its heels in 1996, a short album (a mere eight tracks plus five dubs), which more than made up for lack of quantity with quality.Over the next two years, his circle of friends was obviously growing, and 1998’s re-make of “Murderer” featured such diverse artists as rap master Snoop Doggy Dogg and Southern California punk-reggae heroes Long Beach Dub All-Stars. In 2003, his debut album Bounty Hunter was reordered and reissued as Moonlight Lover on the Burning Bush label. Two years later, the Sanctuary label collected his recordings with Henry Lawes and Alvin Ranglin for “Love Your Brother man: The Early Tear”. Numerous compilations have continued to appear featuring much of the singer’s greatest work.He was also featured in 2000 on rapper on Shyne’s debut album “Bad Boyz”, with two singles “Bad Boyz” which was number 1 on the hip-hop charts, and “Bonnie and Shynz.
Barrington Levy continues to tour extensively, selling out shows all over the world. He is currently working in an album which will be titled “Its About Time” and he has said it will be his last. This album will feature artist like Damion Marley, Buji Banton, Beres Hammond, Heavy D and a lot more surprises. He expresses love and appreciation to all his fans across the world, and looks forward to seeing you in future events.
Volcanic Theatre Pub & 1988 Entertainment Presents:
Jack Symes w/ Jacksonport
Genre - Folk
Wednesday, June 18th 2025
Doors @ 8PM - Show Starts @ 9PM
JACK SYMES
This is Jack Symes here writing this bio about Jack Symes. I was born and raised in Pasadena, CA and after stints in the Bay Area and New York, I’m back in my hometown of LA. I’ve spent the better chunks of the last 9 years making records and touring, and here we are once again, buckling up for a little ride through the Western US. I’ll be touring with my dear friend and collaborator John Fatum who produced a new record of mine coming out this summer; we’ll be performing duo guitar and drums, and he’ll also be opening the shows under his project Jacksonport.
We’ll be performing songs from my past albums as well as this new to-be released record. I think it’s gonna be a blast. Stoked for this summer run, hope to see y’all soon. xo, Jack
JACKSONPORT
Jacksonport’s fourth studio album, “Ting Ting” is new territory for Chicago-born singer/songwriter John Fatum. It’s as if the golden hour warmth of “Dusted Beauty” (2023, Ay Caramba Records Etc.) gave way to the deep blue twilight of dusk, swaying between the magic of night and the ubiquitous melancholy of adulthood. Co-producing with Fatum were GRAMMY nominated engineer Adrian Olsen (Michael Nau, Twain, Buck Meek) who encouraged Fatum to sing from behind the drumset, his first musical home, and GRAMMY nominated multi-instrumentalist Bridget Kearney (Lake Street Dive, Ed Sheeran, Aaron Dessner). Olsen piloted a soundscape that enhanced the elegance of each player’s long-developed musicality, while Kearney lent her melodic sensibilities and keen ear for arrangement to match the strength and nuance of Fatum’s songs.
“Ting Ting” presents a new chapter in the Jacksonport sound, one of maturity, meaning in the quiet and small, and the frank acknowledgment that we all have times where we don’t want to get out of bed.
Volcanic Theatre Pub, 1988 Entertainment Presents, & 4 Peaks:
4 Peaks Preparty w/ Dizgo & TEB
Thursday, June 19th 2025
Genre - Jam/Groove/Soul
Presale - $15 Door - $20
Doors @ 8PM - Show Starts @ 9PM
Dizgo -
“DIZGO has one of the most operative names in the jamband scene, evoking a transcendence of genre: a dizzier disco, filled with a hodge-podge of genres, styles, and technical influences while still, at it’s core, a dance party.” -> Space Tapes
Dizgo redefines the live experience by blending jamtronica with funk, deep-groove soul, and psychedelic rock, taking the audience on a musical journey that includes intricate compositions and extended improvisation. The result is something both danceable and introspective: soulful vocals, interweaving analog synths, and shredding guitar all which join forces under the banner of Dizgo.
The band has played stand out performances at festivals such as Peach Music Festival, Summer Camp Music Festival, Resonance Music Festival, Werk Out Music Festival, Sonic Bloom Music Festival, and much more and has supported acts such as Goose, Pigeons Playing Ping Pong, Papadosio, The Main Squeeze, Aqueous, Lespecial, and more.
TEB -
The musical collective TEB—known formerly as the Travis Ehrenstrom Band—transcends boundaries while blending funky fusion-rock jams with the soulful essence of singer-songwriter Travis Ehrenstrom. TEB's sonic landscape defies easy categorization. The music blends unexpected turns with open-ended intentions, allowing the band to explore and create in the moment.
A decade of playing together has allowed TEB to produce a rich tapestry of live shows and memorable moments, as well as a dedication to the art of musical expression. What started as random practices and stands at local breweries has moved to multiple recordings and slots at festivals such as Sisters Folk Festival, 4 Peaks Music Festival, Cascade Equinox, Bend’s Fall Festival, Cruxapalooza, and Oktoberfest.
Volcanic Theatre Pub & 1988 Entertainment Presents:
Balkan Bump - outside in the Volcanic courtyard
Support TBA
Friday, June 20th 2025
Genre - Global Electronic
Presale - $22 Door - $28
Doors @ 5PM - Show Starts @ 6PM
Directly after Balkan Bump, stick around and catch the Widdler inside the Volcanic starting at 10 PM. Save money and buy a day pass for the whole evening of music.
Balkan Bump -
Balkan Bump is the global electronic music project orchestrated by trumpet player, producer and ethnomusicologist Will Magid.
Balkan Bump’s music fuses heavy electronic production with global music influences including traditional Balkan brass melodies, Middle Eastern sounds and American hip hop. The Balkan Bump live show highlights Magid’s expertise as an orchestrator, ranging in size from a solo performer to a 12-piece band featuring a menagerie of global instruments including sitar, saz, oud, clarinet and trumpet. The live performance’s popularity has brought the project to global renown with performances at the world’s biggest music stages including Coachella, Bonnaroo and Lightning In A Bottle, as well as beloved jazz, blues and world music festivals including Harvest Music Festival and CA WorldFest, and numerous appearances at Colorado’s famed Red Rocks Amphitheatre.
Balkan Bump debuted with the single “Aymo” alongside famed Slovenian producer Gramatik and American hip hop royalty Talib Kweli. Gramatik quickly championed the new project, unveiling Balkan Bump's live show on his Re:Coil Tour and releasing Balkan Bump’s debut EP on his Lowtemp label imprint. Since then the Balkan Bump project has gone on to collaborate with global and live music projects Beats Antique and Moon Hooch; international electronic music superstars CloZee, Fakear, & Manic Focus; and American hip hop icon The Gift Of Gab (Blackalicious). Balkan Bump has been featured in Billboard Magazine, NPR’s The World, The San Francisco Chronicle and Magnetic Magazine. In 2020 Magid curated a series of global music mixes for Los Angeles-based Dublab Radio under the Balkan Bump alias.
As a solo artist, Will Magid has collaborated and performed with artists including Bonobo, Erykah Badu, Pretty Lights, and soul music legend Solomon Burke. He has led numerous jazz and global music outfits including his eponymous soul-funk band’s seminal Alligator Spacewalk album in 2016, and the 2017 neoclassical exploration Lunar Conquest Suite. His music has been featured in campaigns for global brands including Warner Brothers, Uber, Porsche, HP, Vogue, GoPro and Ubisoft. Magid graduated from The UCLA Herb Alpert School of Music with a degree in Ethnomusicology
Volcanic Theatre Pub & 1988 Entertainment Presents:
The Widdler w/ LiamLantern & Beam
Friday, June 20th 2025
Genre - Electronic Dance
Presale - $22 Door - $30
Doors @ 10PM
Show up at at 6 PM to catch Balkan Bump outside in the courtyard before the Widdler. Save money and buy a day pass for the whole evening of music.
Born in Tel Aviv and living in Austin, TX, The Widdler is widely recognized as an innovator and originator of dub sound. Constantly practicing, The Widdler incorporates mix sessions into his daily routine, which translates to his flawless performances at shows; Taking influence from various genres of music and lifestyle, his tunes come in all shapes and colors. From the chilled reggae dubs and blue mood atmospheres to the mean menacing throbs of bass and percussion, The Widdler knows how to weave his musical roots with his production that makes each set entirely special. Sit back, light a spliff, and enjoy the sounds of The Widdler.
Volcanic Theatre Pub & 1988 Entertainment Presents:
Buckets w/ Red Caroline, Palo Sopraño, & Jackrat
Saturday, Julne 21st 2025
Genre - Indie punk
Doors @ 7PM - Show Starts @ 8PM
Buckets:
You’ve never seen a band like Buckets. The 4-piece indie punk outfit hailing from Los Angeles puts on an overwhelmingly energetic yet emotional show. Tightroping between dynamic extremes from track-to-track or even verse-to verse the quartet implements everything from saturated soaring guitar riffs and heart-pumping fuzzy bass tones to tender melodies and impassioned unvarnished vocals. Comprised of Tanner Houghton Sasha Massey Mitch Rossiter and Hiram Sevilla Buckets brings together both members and influences from the Pacific Northwest Midwest and Northern Mexico. All seasoned players from varying backgrounds and styles the tight-knit ensemble bring a captivating performance to every stage that they grace.
Red Caroline:
Red Caroline is a fish blues rock band from Boise, Idaho. The band formed in mid-2023 around longtime best friends Kaleb Muilenburg (Bass) and Jack Magnolia (Guitar) and finalized the lineup, adding Layla Booth (Vocals) Aiden Elliott (Drums), and Ayden “Goose” Booth (Keys/guitar) to complete the gang of psychedelic sorcerers. Since then, they were able to get their foot in the door locally, landing spots as support for groups like The Moss, The Velveteers, Forty Feet Tall, MX LONELY, and Boot Juice, and they released their first project, “Coastal Blues”, in early 2025. Together the band takes elements of classic garage rock, dreamy indie, and fuzzy psych, and mixes them all together to present a nostalgic sound in a new wave of Boise musicians.
Palo Sopraño:
Palo Sopraño is the brainchild of multi-instrumentalist and singer/songwriter Ryan Pickard. A mix of Indie Rock, Bedroom Pop and psychedelia are all cooked together deliciously in this high energy 4 piece band.
Jackrat:
Formed on the high desert of Central Oregon in the summer of 2023, Jackrat's hard-driving and lonesome sounds can be heard reverberating throughout the Pacific Northwest.
Volcanic Theatre Pub & 1988 Entertainment Presents:
The Polish Ambassador - outside in the Volcanic courtyard
Support TBA
Friday, June 27th 2025
Genre - Dance/Electronic
Presale - $35 Door - $45
Doors @ 5PM - Show Starts @ 6PM
The Polish Ambassador -
Musician. Producer. Beatsmith. Recording artist. Composer. Dance-floor general. Label-head. A mystery man of many hats, The Polish Ambassador rocks more than just a trademark jumpsuit, authoring sublime, intentional artistic works, animated safaris in technicolor sound. At first breath, The Polish Ambassador was an experiment, David Sugalski’s sound-art passion project that came to life. An inventive, imaginary character bor Bold Keyboard shortcut Command+Bn of humble, humorous beginnings, he found his first audiences through the support of primitive digital radio stations. Today, TPA is among the premier EDM/live crossover artists in the country with millions of listeners around the world; he’s consistently in-demand at the live music-focused gatherings and boutique electronic festivals from coast to coast. Founder of independent label Jumpsuit Records, an environmentalist and early progenitor of the permaculture action movement, the world’s funkiest diplomat is here to party with a purpose.
Since 2006, The Polish Ambassador has consistently released critically-acclaimed full-length albums on Jumpsuit Records, alongside a dizzying number of side-projects and multi-form collaborations. All the while launching the careers of a diverse smattering of artists that run the gamut in geography and genre. TPA continues to spread his wings in teaming up with eclectic musicians from around the world, including Matisyahu, Nitty Scott, Zion I, The Grouch, Mr. Lif, and dozens of others. He is one-half of the celebrated folktronica project Wildlight, a duo in which he pairs with ethereal songstress Ayla Nereo.
The Polish Ambassador’s prolific output incorporates many styles, from exuberant global-house to fatback mid-tempo funk, you’ll pick up on West African percussion alongside stirring Kirtan melodies, a psychedelic sax solo or a fresh verse from a Brooklyn female emcee. TPA employs live horns, keyboards, guitars, violins, and a bevy of talented instrumentalists on stage. “The Jumpsuited One” has headlined iconic venues like Red Rocks Amphitheatre in Morrison, Colorado, and the renowned counter-culture gathering Oregon Country Fair. Suwannee Hulaween, Electric Forest, Envision Festival, and Lightning in a Bottle and other national festivals have each repeatedly invited TPA back across different years.
In alignment with TPA’s artistic ethos is a low-key lifestyle that places a premium on being present, living in harmony with nature, participating in community and inspiring it to thrive. Offstage, David Sugalski instigated a village-building convergence in his hometown in Northern California, and manages his own 25-acre homestead in the picture-Esque, rolling Sierra Nevada foothills. The farmer/carpenter lives modestly in a cabin he built on his land of the lush; TPA music is created in a solar-powered recording studio on the property. When he removes the famed bright blue-and-yellow 80’s jumpsuit and reverts back to his humanoid self, Sugalski is an avid solo bicyclist who enjoys venturing up California’s breathtaking coastal Highway 1; he’s a dedicated van-adventurer, having built out an exquisite tiny home inside a contractors van.
Sugalski plans his TPA tours for minimum carbon footprint, he advocates for healthy-beverage alternatives at music venues. Jumpsuit Records has donated tens of thousands of dollars to various non-profit organizations and charities; a portion of the label split goes to supporting non-profits voted on by fans. TPA’s awareness-in-action coalesces with numerous non-profit endeavors, including Jumpsuit Records, own 501(c) certified organization ActionDays.us. TPA decided to eliminate the merchandise from his business model, in order to facilitate a fan-operated buy-and-sell marketplace. The Polish Ambassador has evolved exponentially, from an art project to a vibration; a joyful community that thrives on the dancefloor and finds freedom, connection, and collective oneness through this music.
Volcanic Theatre Pub & 1988 Entertainment Presents:
One Way Out - Celebrating The Allman Brothers Band
Friday, June 28th 2025
Presale - $15 Door - $25
Doors @ 8 PM - Show Starts @ 9 PM
Volcanic Theatre Pub & 1988 Entertainment Presents:
Allah-Las w/ Sepe
Outside in the VTP Courtyard
Friday, July 11th 2025
Genre - Surf rock/60s revival
Doors @ 6PM - Show Starts @ 7PM
“A ship in harbor is safe, but that’s not what ships are built for” the saying goes. But suppose the proverbial harbor is Los Angeles — a place not particularly known for being the origin of adventures. From the Spanish Conquistadors to the countless starry-eyed nobodies hoping to make it big, LA is usually the destination.
So it’s no wonder the Allah Las became fascinated with both the carefree spirit and glitter-in-the-gutter lifestyle of their hometown. After three records mining its lore and lure (from the desert to the sea) they have become global ambassadors of not just a place but a location.
Having taken their compact California on the road across the world (making stops in North, Central, and South America, Europe, South Africa, Australia, Russia, East Asia and beyond), they couldn’t help but peek through the other end of the telescope.
On their fourth LP, drummer Matt Correia, bassist Spencer Dunham, and guitarists Miles Michaud and Pedrum Siadatian turn their collective gaze outward and toward the horizon. Simply titled LAHS (a reference to a common misspelling of the band’s name), their forthcoming release on Mexican Summer finds the band turning in their most cohesive and ambitious work yet.
The Allah Las seem to be transmitting from a place not found on any map. Those familiar with the band’s work will recognize their skillful melding of melodies and moods, but through that lens we see them venturing into new, exciting territories. Indeed, their growth not just as songwriters, but as performers, arrangers, and producers — is clearly audible.
Correia sings in Portuguese on “Prazer Em Te Conhecer” (Nice to Meet You), which evokes George Harrison while also sounding like a rare 45 from a Brazilian flea market. The breezy sweetness of “Pleasure” could pass for a song by Spanish folk darlings Picnic, were it not for the wistful wisdom in Dunham’s delivery. “Polar Onion” takes us through the inevitable lows one encounters on a long journey, as Michaud laments “drown in the sea, I fill my cup - but it’s not enough”- a caricature of the lonesome cowboy seeking and occasionally glimpsing enlightenment.
One of the most notable evolutions from their previous work is a razor-sharp focus on the groove. We hear the rhythms of Krautrock influencing songs like “Houston” and “Electricity,” with steady and precise drumming that create complexity from repetition. Whilst both “Roco Ono” and “Star” incorporate elements of disco and soul into Allah Las universe, highlighting an airtight rhythm section unafraid to tap their toes.
Opener “Holding Pattern” conveys what the title suggests; you’ve almost arrived, you can see the ground, but you’re not quite there yet. Airy, ethereal harmonies chant the title, holding you in suspense- and eventually give way to an entirely different mood just before the fade- as if telling the listener “we’ve landed safely.” The persistent shuffle of “In The Air” drives the song forward, while Siadatian’s echo slapped voice bounces along on top, describing “images that can’t compare to the real thing in the air.” Electric guitar and mellotron trade licks, mirror each other's kinetic ascending and descending lines and calling to mind the playful jubilance of Kevin Ayers in his prime.
“We’ve been traveling a lot the past couple years and I think that played a role in influencing the broader variety of songs on this record” Correia explains. And this is precisely what sets LAHS apart from its predecessors -- a record inspired less by time, but by place. “LAHS to me feels like a soundtrack to the past 5 years or so. A sort of audio postcard to anyone who wants to listen.” This sentiment is echoed in the album’s artwork — a collection of exotic postcards, postmarked from equally exotic locals (designed by Matt Correia & Robbie Simon).
Tracking was done mostly by the band at their own studio in Los Angeles, allowing them more time and space to experiment with tunes and tones. Producer/Engineer Jarvis Taveniere (Woods) was brought in to help polish it off, resulting in a sound both crisp and clear while keeping with the warmth and atmosphere the band are known for.
The Allah Las have left the harbor. The infectious wanderlust that fuels these thirteen songs continues to propel the group forward across new frontiers, as they collect and catalog all they find and return with plenty of inspiration in tow. With LAHS we not only discover what souvenirs they’ve brought back for us; they’re inviting us aboard and taking us along for the ride.