Geoff Geis


Video Free Silverlake

I was recently asked to fill in for Jed, the editor of Radio Free Silverlake‘s weekly column Video Free Silverlake, who is on vacation. I didn’t particularly feel like hyping up a bunch of Silverlake bands by posting their most recent videos, so I did a little tour of Top 40 Radio instead. Here is the article, including videos by Kelis, La Roux, Lady Gaga, and more…

Album of the year!


Filed under: Features, Reviews, , , , , ,

The Defeat of Measure E

The defeat of Measure E by Los Angeles voters is yet another example of how the passage of Proposition 13, in 1978, continues to doom our state’s future. Despite being on the ballot in a low-turnout, conservative-skewed election, “yes” on Measure E received a majority of votes but was defeated because Prop 13 requires any new tax measure to receive a 2/3 vote.

The consequence? Property owners will save a paltry $400 over the next four years, while school children will continue to suffer in over-crowded classrooms helmed by over-stressed and under-equipped teachers. For the sake of our continued existence, we must repeal Prop 13. Even better, we should remove the entire Propositional system itself from our system of governance.

Congratulations to those who voted against Prop 16, though. Thank goodness that didn’t pass.

Filed under: Features, , , , ,

My Ballot on the June 8 Propositions

For the record, I am an ardent opponent of the Propositional Democracy system that is currently in place in California. The founders of our Republic didn’t trust the general public to make sound decisions on complex issues about which they were ill-informed, so they made our nation a representative democracy: every couple of years or so, we hire people to full-time jobs making these decisions for us.

California’s initiative process is an attempt to make California a more “direct” democracy. Yet giving micromanagerial duties to the people of our state has only created problems. Even those of us who are well-informed are not privy to enough information or blessed with enough free time to truly give each issue the attention it deserves. As a result, hard decisions are made based not on scholarship but on thirty-second television advertisements and intentionally vague and opaque ballot language.

The effect of the Propositional system has been disastrous for our state. Over the last few decades, uninformed voters have concurrently voted for so-called “fiscally conservative” tax measures whilst also voting for massive socialist undertakings that cannot logically be funded with anything other than tax money. This idiocy is a direct cause of our current fiscal insolvency, and we have no reason to be optimistic that things will reverse course before California collapses in a similar fashion as Greece.

The Proposition system is also terrifying from a Civil Rights perspective, as evidenced by the passage in 2008 of Proposition 8. While reprehensible and bigoted on its face, Proposition 8 is even more frightening for its deeper implications. To borrow a concept from Martin Niemöller, none of us is safe if we live in a society that believes it is okay to remove minority rights on the basis of a simple majority vote. That Prop 8 passed is troubling; that our system even allows things like Prop 8 to be on the ballot is even more troubling.

But this is the system with which we, unfortunately, are stuck. And as tempted as I am to boycott such a retarded method of deciding statewide law, a boycott would be nothing but ineffective in this situation. Other people will vote, whether I vote or not. While I don’t agree that I should be making these decisions, it is my duty as a citizen of California to consider them as thoroughly as possible and to vote on them.

This is what my ballot will look like today:

Prop 13: Limits on Property Tax Assessment. Seismic retrofitting of existing buildings. Legislative Constitutional Amendment. Provides that construction to seismically retrofit buildings will not trigger reassessment of property tax value. Sets statewide standard for seismic retrofit improvements that qualify.

Yes. While I’m generally opposed to anything that lowers or restricts property taxes, I don’t see anything insidious about making it easier for companies to retrofit their buildings.

Prop 14: Top Two Primaries. Reforms the primary election process for congressional, statewide, and legislative races. Allows all voters to choose any candidate regardless of the candidate’s or voter’s political party preference. Ensures that the two candidates receiving the greatest number of votes will appear on the general election ballot regardless of party preference.

Undecided. This is the one that’s going to tear at my little heartstrings all the way to the ballot box. Why I might vote Yes: I’m sympathetic to the proposition, because analysts predict that it will have a moderating effect on politics in California by putting more centrist candidates in office. While not a centrist myself, at this point I feel that the state is too fragmented and in too much danger of collapse for any sort of radical politics. At this juncture, we need more pragmatists like Governor Schwarzenegger. This law will probably increase those. Why I might vote No: As much as I believe that we need moderate consensus right now, I’m wary of supporting something that might stifle third party activity into the future. Also, states with similar laws have found that they make it much easier for incumbents to keep their jobs. A huge reason for supporting representative democracy, as I do, is the idea that our representatives can lose their jobs if we find that they do not actually represent us. Protecting incumbency runs contrary to that ideal.

Prop 15: Removes Public Financing of Elections ban, increases lobbying fees.

Yes. Our federal elections system has shown us that candidates can succeed by opting out of public financing (although President Obama’s election actually thwarts the wisdom that that is always anti-democratic, because he was able to create his substantial warchest through individual donations rather than corporate underwriting). That said, in our current climate minor candidates stand absolutely no chance of succeeding, and public financing at least gives them a chance. Plus, this raises fees for special-interest lobbyists. We aren’t going to ever end lobbyist influence on government, so we might as well take some of their money.

Prop 16. Imposes new two-thirds voter approval requirement for local public electricity providers. Initiative Constitutional Amendment.

No, No, No, No, No!!!! This is probably the most insidious ballot measure this year, and one of the most deceptively worded/advertised. Supporters are calling it a “voters’ rights” bill, but requiring a “two-thirds” majority to do anything is NOT democratic. It is functionally impossible to get 67% of people in this state to support anything that will cost them money in the short run, so this effectively kills any city’s chances to initiate public utilities to complete with private utilities. Municipalities are currently trying to create these public utilities so that they can provide more energy efficient (i/e “green”) policies that will in the long run save us money and reduce the damage that our density is causing to our environment. In the short term, those efforts will be costly – but they are essential. This bill is an attempt to stop them from doing that and to essentially give Pacific Gas & Electric an unbreakable energy monopoly. The shrouding of Proposition 16 in “pro-democracy” rhetoric is frankly despicable. That this bill will most likely pass is an example of the backwardness of the Propositional system itself.

Prop 17. Allows Auto Insurance Companies to Base Their Prices in Part on a Driver’s History of Insurance Coverage. Initiative Statute.

No. Here’s another shiny example of something on which individual citizens absolutely shouldn’t be voting. Just look at that title, and how it’s worded – could it really possibly be that simple? Now, notice that the main supporter of the bill is the Mercury Insurance Group – it’s starting to seem fishy, isn’t it? The law has been advertised as being cost-reductive, because drivers who have had consistent insurance can get discounts. Yet analysts for major newspapers across the state have found that the law will actually increase insurance premiums for quite a few people – people who don’t currently have insurance, or who have only recently gotten it. This will disproportionately affect the poor, and it may dissuade some people who do not have insurance from getting it.

Measure E. Emergency Neighborhood School and Teacher Retention Measure.

Yes. Our schools are crumbling, and this will try to help them with an increase in taxes on property. Opponents are trying to pull their weasel-like “common people are going to pay more taxes” crap on this one, but it’s silly. We’re talking $100 a year per piece of property, for a limited time, in an emergency attempt to save our educational system. If we fail to prioritize education, we will suffer dire consequences in the future.

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Here they come, the Part Time Punks

Our second PTP, March 2007

Part Time Punks has a storied history, one that has been significant to me. The club started operating, every Sunday night at the Echo, right around the time that the New Motherfuckers (who became Pizza!) moved into a house on Alvarado Street in Echo Park together. In the early stages of being a band, we would see the club’s ubiquitous black-and-white posters around the neighborhood and talk about how much we wanted to play it. Eventually we worked up the nerve to bring DJs Michael Stock and Benny Shambles a copy of a 5-song demo we’d made, and they invited us to play. When we performed at Part Time Punks for the first time, in October of 2006, we felt like we were beginning to actually do something as a band.

Even though I don’t go to PTP as frequently now as I did in the past, I’ve continued to cherish it. Last year, I got to see the Raincoats thanks to Michael’s excellently curated PTP fest, and I ended up getting to write a review of my heroes as my first published work in LA Record. I’ve also had the honor of playing with Pizza! on Michael’s radio show, and have fond memories of spending long hours hanging out with Ben (who now lives away from Los Angeles, unfortunately) in the kitchen of Tiny Creatures and talking about our mutual love of James’ mid-eighties Village Fire EP. Part Time Punks was also the location of my very worst episode of bad gas: while attending a (terrible) Ariel Pink show in commemoration of PTP’s second anniversary, I was struck by sulfuric farts that rumbled in my belly and pushed out with a vengeance that completely disgusted everyone around me. I fart a lot, so the fact that those farts still stand out in my mind suggests that they were, indeed, epic.

On Sunday, Part Time Punks celebrates its fifth anniversary.

In 2007, Drew and I conducted interviews with Michael and Ben for Tiny Creatures Magazine. Print copies of that thing are probably long gone by now, but I dug up the interviews on my computer and I’m publishing them here:

Read the rest of this entry »

Filed under: Events, Features, Human Interest, , , , , , , , , , , , , ,

FAST RAM, or “Ram” on 45

Download the mp3 – Paul and Linda McCartney: “Ram” on 45, Side A

A little over a year ago, the blog Aquarium Drunkard released a record called Ram On LA, a “Los Angeles Music Sampler” that featured bands like Earlimart, the Parson Redheads, and Le Switch covering tracks from Paul and Linda McCartney’s 1971 album Ram. I originally heard about the record from my neighbor Scott, and I appreciate the concept for a couple of reasons. The first reason is that Paul is my favorite member of the Beatles, but I don’t think he normally gets the respect he deserves. Thus, I’m glad to see him get a tribute. The other reason I’m down with record is that Ram (at least side A) is one of my favorite albums. It’s cool to realize that I, in my taste at least, keep such illustrious company!

Yet, while Ram is one of my favorite albums, I absolutely never listen to the record as originally intended. I got the mp3s of it once, and I tried to jam to them in the car. I hated them, though – they seemed so listless and lacking in energy.

See, my Ram isn’t like that.

I bought the record in the mid 2000s at Amoeba for a dollar. It was during a phase in my life wherein I bought a whole lot of records at Amoeba for a dollar and didn’t necessarily listen to them until months after the purchase. Ram was one of those records that I bought and shelved for some potential later date.

At the time I was living in a very full house with Pizza!, and we shared vinyl. While I apparently was only nominally interested in Ram, Alex found it on the shelf and decided to give it a spin. The turntable was on 45 when he did, and for some reason he didn’t notice. He accidentally played the record at the faster speed – and loved it!

After falling in love with the fast version of Ram, Alex played it for us. We all agreed that it was incredible. I, personally, was hooked.

I’ve listened to Ram on 45 a whole lot, but I’ve barely listened to it on 33. And while my initial love affair with it was a few years ago, I’ve gotten back into it pretty hard lately. Coincidentally, the other day it was the topic of conversation at a party; fortunately it was a party with a turntable and a copy of Ram. My friend Kyle S said that he had a natural aversion to things that sounded “chipmunky” because of some bad experiences with Christmas records when he was a kid. My buddy Dan C proposed that people in the era of Ram were so drugged-out that slow music appealed to them more, and he used Paul’s own “Helter Skelter” as an example. Both of them really dug Ram when it was played fast. Kyle even said that he wasn’t that interested in listening to the record at 33. I nodded my head to that. Ram on 33 sucks compared to Ram on 45!

Increasing the speed on Ram does, I must admit, “chipmunk” it. But what’s lost in low-end is more than compensated for by the gain in sheer passion, danceability, and drive. Paul and Linda made the record while on vacation on a farm in Scotland, and unsurprisingly it’s a bit sluggish in execution. Perhaps because of that, speeding it up by a few revolutions per minute really doesn’t make it that fast – especially not for me, as a listener almost forty years later with new context and ears for punk rock. The extra kick makes the songs more compelling, I think. There’s an added element of joy in songs like “Dear Boy” (which isn’t particularly happy at all when played at its original speed) and “Smile Away” (a song that is totally, completely, painfully, appallingly, and miserably boring on 33 but has a peculiar and jovial spring in its step on 45).

“Uncle Albert/Admiral Halsey” is truly and delightfully weird in any incarnation, and it’s even more delightful and weird on 45.

Anyway – after talking about Fast Ram at that party, I decided that I wanted to digitize it. I didn’t want to just listen to it at home, because I love it so much. And after digitizing it, I figured it was a good idea to share it – so here it is.

This is just Side A. I didn’t have time to do Side B, but I’ll do it in a few days if people are interested (NOTE: Side B was uploaded on May 14 and is available here). Honestly, I haven’t listened to Side B that much. But Side A is pretty much my favorite Beatles record… so there you go.

Paul and Linda McCartney: “Ram” on 45 – Side A

Buy the original version of Ram.

Filed under: Art, Esoteria, Features, Human Interest, mp3, Wonderful Christmas Music, , , , , ,

Nicole Kidman Interview from Big Whup Industries “…What is Happening” zine

In September, I interviewed Jon Barba (aka Nicole Kidman) for the “What is Happening…”  zine, which was released to accompany the first Big Whup Industries Compilation. Nicole Kidman’s song “Popular” is featured on that CD.

For more about Nicole Kidman, see his myspace.


Geoff conducted an interview with West Covina musician Jon Barba at Ports o’ Call Bedroom, the clandestine performance space that he’s built out of his parents’ pool house. Jon raises kittens, and he currently has four of them. At the beginning of the conversation, the kittens were playing with a live mouse brought to them by their mother. She watched proudly through the interview as the kittens took turns ripping it to shreds and devouring its carcass.

I started making music in high school, on electric guitar. Strumming and singing about girls that I liked…. A friend of mine – well, not a friend of mine, this guy I knew – had an electric guitar and he never used it and I asked him if he wanted to come over and bring his guitar. And I played it and asked if I could borrow it. I’d just get out emotion… Then I was in Pomona at an antique store, and in the basement of it I found the keyboard and it was only fifteen dollars. And I had twenty dollars so I bought it… I was just going to buy something stupid anyway, so I bought that. That was pretty much it. That changed my sound completely… I was more into the beat. I still don’t even know how to play anything. I’m just messing around and seeing what sounds okay to me… The keyboard has become a best friend of mine…

…And then it stopped working for a long time because the plug in the back wasn’t working. Then Crow was here… I had shown him “Little Trucks,” the first song I ever made on it. It was just about me and this girl – she came here and I was trying to impress her. She liked the White Stripes so I bought posters of them… Like a little mini-date type thing, but I wasn’t all together in the head and I was extremely nervous and trying to get her to like me and I made that song about that… Crow liked it a lot… He pulled the keyboard out and was like “why don’t you play that anymore?” I told him it wasn’t working and then he plugged it up and it started working!  …And then I just picked it up again and made songs, like five songs really quickly… but I still never played it live. And then after the Ports o’ Call shows when there’d be like five of us here – close friends – they’d ask me to play… I didn’t really want to, but all of them were saying “do it! Don’t be a pussy!” …So I just played for them. In the beginning it was like shaking and instant sweat, but now I’ve become more comfortable playing live and I see it more as a way of opening myself up…

Definitely having people perform here opened me up to playing more. Talking to the musicians more as people… realizing that I could do it too. Another wall broke down, communicating with them. I thought “I can do music too.” They’re people. I’m a person. I kind of play music. I can do that!…

The early songs, they’re literally sentences… directly from my journal… I’d have my journal out and I’d play a chord and think “oh, that sounds really good with that chord” and just go with that. “Eat and Cry” was about me going out in public and getting really nervous. I went to the mall to promote the shows at the Hot Topic. I don’t know anything about West Covina – or people, really. I don’t go out. I mean, Hot Topic, right? Someone must like music there enough to take a flyer. So I went to the mall and just started breaking down… And I’m not sure how far I got in but I just turned around and went back to my car and drove home. Everything was so immediate. Then I came here, and there was a bag of marshmallows in my kitchen and I downed that so quickly… And I just felt really sick with myself. I’d done that so many other times, too.

…For a good part of the performances, I really do end up taking myself back to the times and I turn into a complete nervous wreck. Specifically, when I was in Las Vegas on tour with Kevin I could barely stand or walk around… I pretty much cried on the inside, and a little bit on the outside, afterward… There are a lot of times when I take myself back to these really horrific times… Certain chords just resonate… it usually happens in the middle of the song, it’ll just come over me… I feel like it makes for a better performance – but it’s not what I’m going for, it’s just what happens and I can’t control that all too much…

I do poke fun at myself a lot… I like girls who don’t like me. I’ve gotten to the point where I can almost laugh about that… When I was writing the music I was really depressed… but as I’m playing the song over and over about “I should kill myself” I mean, it got to the point where I was laughing: “I should kill myself!” …I’m definitely laughing at myself now about things that I thought were hella serious in the beginning… they’re not jokes, though. I genuinely do love certain people and I genuinely do yearn for certain things… But I’m also acknowledging the fact that it’s not going to happen tomorrow. So why sit around crying about it or being depressed about it? I’m just laughing about it. And I’m still trying to solve these actual life problems that I’m singing about…

People are questioning if it’s an act. Whether or not I really do like Miley Cyrus, or whether or not this Jehovah’s Witness girl I keep writing about is actually real… I want people to know that it’s real. It’s not an act. But at the same time, I have to put it in my act! It’s difficult….

The keyboard from the antique store, …it would give out a rumble when I hit the high keys… The drums kept slowing down, and I kept losing keys – they’d just go out. The on and off thing got really sticky… My cat knocked it over when it was plugged in and broke off the little thing in the back… That was like, a week before my tour. So I bought the other one…

Everything just sounds crispier and poppier… I’ve grown to be okay with it – I don’t really have a choice. I want to sticker the new one up, though. The old one has my Hannah stickers and my little hieroglyphics on it. The names of the keys. I have hearts on the keys that I especially like. There’s a set of three keys that I think sound really good together, so I put sparkly stickers on those. It’s how I learned to play… I can look at it and I can see songs based on where the stickers are. The new doesn’t really have any of that stuff…

…In the beginning I never thought it would go anywhere. I thought it would just be me playing for the same friends; no one would ever want to put out anything – and I wasn’t even trying to get people to put out stuff. It wasn’t a serious thing, I was more concerned with getting a girlfriend or fixing all of the problems I was singing about. Less about the singing itself… It’s really fun, just playing. I’m having a good time, people seem to like it. And I go to shows. That’s what I did before I did music, before I did any of this. I just went to shows. So now it’s just cool: every once in a while, I come to a show with a keyboard. And I have twenty minutes to express myself – sounds fine to me!

Above photo by Pablo Capra.

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American Gil and the Major Dudes feature from Big Whup Industries “…What is Happening” zine

I wrote this for the “What is Happening…”  zine, which was released in September to accompany the first Big Whup Industries Compilation. American Gil & the Major Dudes’ song “Lunchtime Riverside (Tucson Version, with John Thill and Golden Boots)” is featured on that CD.

For more about the band, see their myspace.


American Gil and the Major Dudes just announced their breakup, a development that has made writing this much harder than I originally anticipated. It’s one thing to write a nice article on one of the best bands in town. It’s quite another thing, however, to write that band’s obituary. And it’s awfully sad. Amongst my friends, the reaction to the news has been universal dismay. People really care about American Gil and the Major Dudes.

When I watched American Gil and the Major Dudes for the first time, I saw people that I already loved and respected doing impressive things that I hadn’t seen them do before. Lou – who masters poise and melancholy in his main act Voice on Tape – was a punk monster on bass! Sam, who I’d previously only known as a keyboardist, likewise floored me: “this guy can play guitar, too? And he’s that good?” I didn’t know the other two guys in the band very well back then, but I was similarly impressed with their skills: Sean can make his drums roll like the ocean, and Brizzah’s keyboard pop counterpoints in songs like “Lunchtime Riverside (Riverside Version)” sparkle and leap out of the song in such a crisp and compelling manner. These are genuinely talented musicians.

Oh man and they rock so hard! Because everyone is so good, they can be afford to be trashy and dissonant and nasty. They can do all that and stay palatable, which is difficult. Whenever I’ve seen them, it’s just seemed like so much fun. It would be so rad to be a part of this band!

And I haven’t even begun to talk about American Gil. He’s this big dude (and I think that with his name he kind of has to be) who barks and yelps and hollers in this voice that reminds me of… maybe Bikini Kill-era Kathleen Hanna, but less young and more of a dude? It’s hard to say. It’s pretty hard to describe his saxophone playing, too –it’s not like Clarence Clemons. Maybe Clarence Clemons in a meat grinder? Or Arnold Schoenberg conducting a heard of elephants? I’ll just say it’s avant-garde. Avant-garde and totally wicked!

The whole sonic world they’ve come up with together is so cool.  The sound quality makes me think it came out of a studio, but in my head I picture the recording session for the  “Tucson Version” of “Lunchtime Riverside” happening right underneath a giant saguaro cactus in the middle of the afternoon. It just sounds like that. Another song, “the High Seas Rhythm Poem,” takes me to a completely different landscape – although it’s far more otherworldly than the ocean suggested by the title. Over a relentless mechanical beat, Gil mumbles about being sick, sniffles, and wheezes in a way that sounds like it came right out of Snoop Dogg and Pharrell’s “Drop it Like it’s Hot” (the mouth-pops and finger snaps that come in later in the song make me think that was intentional, but I could be over-analyzing). Later he tells us, in his best drunken southerner voice, that he’s “Captain of the ship… plotting a course, plotting a course.”  Honestly, it’s disturbing – yet somehow actually groovy. It’s ultimately very entertaining.

American Gil and the Major Dudes is certainly a product of its surroundings. Each of the group members hails from the Inland Empire, and that has marked their music. The lyrical substance of “Lunchtime Riverside,” for example, is precisely what one would imagine it to be – options for lunch in a pretty uninspiring desert suburb: Taco Bell and Farmer Boys. The Inland Empire is present in their sound, too. They remind me, a bit, of the two musicians who originally put Rancho Cucamonga on the map: Frank Zappa and Captain Beefheart. And there are analogues, too, between the band’s sound and what’s going on with their contemporaries in the region: Sam’s guitar line in “Quadro Booty,” for example, would go great in a song by Upland heartthrobs Abe Vigoda.

But that’s not to say that they sound like anyone else. They don’t. That’s why it’s such a drag that they’re leaving us.

Normally obituaries tell the “cause of death,” but I’m not close enough to the situation to know anything about that. I am glad to report, however, that there is surviving kin. Every one of these major dudes is part of at least one other musical project, and each of them is worth investigating.

Above photo from Gil’s Myspace, taken by Wild Don Lewis.

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So Many Wizards feature from Big Whup Industries “What is Happening…” zine

I wrote this for the “What is Happening…”  zine, which was released in September to accompany the first Big Whup Industries Compilation. So Many Wizards’ song “Fly a Kite” is featured on that CD.

For more about the band, see their myspace.


So Many Wizards is this guy, Nima, who put together an EP called Tree. When I played his music for my Alabamian friend Andy, he described it as “California pop.”

What is it about So Many Wizards that makes the music feel so Californian? Maybe it’s the optimism. “Love is On the Way,” for example, opens with the line “my car blew up on the interstate,” but never gives listeners any sense that that’s cause for alarm. Rather, the song takes an easy-breezy approach, with reverb-drenched lo-fi ‘50s style pop and the message that – despite appearances – we have no reason to worry. Perhaps it was meant as a metaphor for these troubled times, when fires burn for weeks on the horizon and our entire state’s infrastructure seems to be going through the floor, yet life keeps happily chugging along. Elsewhere on the EP, Nima sings about how nice his friends are, how tongue-tied he gets around a girl who reminds him of Marion Davies, and about how great it is to get high – all topics that I wholeheartedly endorse. Not unexpectedly from a one-man band, the record has a very-confident bedroom pop vibe, with even the up-tempo numbers employing little more than guitar and handclaps.

This dude is good enough that he doesn’t need much more than that, and he’s wise to let most of the “Tree” EP shine with minimal configurations. There is one notable exception, however. Within the context of the low-key jams, opener “Fly a Kite” is downright epic and has a driving force behind it that reminds me of a sunnier, less self-serious Arcade Fire. Opening with maudlin piano and dirgy horns, the song relaxes in dream-land for a moment before zooming into the stratosphere on the back of a relentless beat (again, mostly handclaps) that carries the song in the verses before rising full-bore into a chorus that features one of the most poignant suggestions I’ve heard in a while: “let’s just go fly, fly, fly a kite/all through the hills and through the night/with nothing to do/and nothing to lose.” I don’t know what the song is about on the whole, but I was struck by those words. At the right time of day and with the right soundtrack, freeways are my favorite places in the whole world. I was in my car the first time I heard this song, listening to KXLU on the 110 at sunset. I just put my foot on the pedal and smiled.

I was in Alabama for a couple of weeks this summer, and whenever I missed Los Angeles I listened to “Fly a Kite.” Despite all of that repetition, it never wore out its welcome in my headspace. Maybe my friend is right and this stuff is quintessentially Californian; it certainly did bring me back here every time I listened to it. Maybe that’s because Nima has captured the California mindset – we don’t have anything to say, and we (hopefully) have nothing left to lose. We just keep flying kites and it’s great!

The above image was stolen from Beatcrave.

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This is Soft Sailors! We're a new band from Los Angeles. We don't have any upcoming shows scheduled, but you can hear us online:

Also, here are some solo songs I've uploaded recently to Soundcloud. I'm playing solo July 19th at the Pickle Factory at 647 Lamar Street in Los Angeles and September 1st at Los Globos in LA for a KCHUNG benefit.

In 2011, I released my first solo album, Princess. You can listen to it and download it on Bandcamp:

From 2005 until 2011, I was in the band Pizza! This is our album We Come From the Swamp:

From 2008-2010, I was in the band Big Whup. Here's one of our songs that I sang, called "Cover My Eyes:"

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