Listings are in the opposite order of appearance: headliner is listed at the top, next is the support band(s), and the last band listed is the opener.
July 17 2013
9:00PM -- doors at 8:30PM ••• ALL AGES
$10 in advance / $12 at the door
pop punk emo
indie rock emo garage punk
sick ass riffs
Joyce Manor is an American pop punk rock band formed in 2008, from Torrance, California. The band consists of lead vocalist and guitarist Barry Johnson, guitarist Chase Knobbe, drummer Kurt Walcher, and bassist and back-up vocalist Matt Ebert.
The idea for the name "Joyce Manor" came from the name of apartment building by Johnson's house. Joyce Manor was originally a duo group with Barry and Chase, which they thought of while drunk at Disneyland. Joyce Manor released a split 7" with Summer Vacation in the fall of 2010 via Muy Autentico Records.
They joined 6131 Records in 2010. Their self-titled, full-length debut was released in 2011 to a host of critical and fan praise, and it landed the band on many year-end best-of lists. Joyce Manor moved over to Asian Man Records for their next album, Of All Things I Will Soon Grow Tired, released in April 2012. This album contains a cover of Video Killed the Radio Star.
On Asian Man Records.
featuring Justin Conway (formerly of Joyce Manor), Jeff Enzor, and Chris Torres
There are two bands named Merry Christmas. One of which is an indie-rock band from Southern California, and the other is a post-dance band from Grand Rapids, MI. This one is the MERRY CHRISTMAS ‘rough around the edges’ indie rock quartet from Torrance, CA.
Tony Molina has never suffered a shortage of musical outlets over the years. He was the frontman of the late, great SF band Ovens. He played in Sopors. He’s the lead guitarist for Violent Change and also sings for Caged Animal. Now he’s back with his first solo effort, a punk-infused indie rock record called Dissed and Dismissed, out yesterday on SF label Melters.
Dissed and Dismissed‘s 12 tracks live up to the record’s outsider-oriented title, reeking of disenchantment and disaffection, with Molina’s laid back vocal style coursing over the top of fuzzed out riffs. In fact, Molina’s songwriting exudes such an air of disillusionment and alienation, that even his attention span for his own craft is maddeningly short – the entire record clocks in at just over 11 minutes.
That’s right – the songs average less than a minute each. In fact, one track (the ironically-titled “Sick Ass Riff”, which sounds more like Randy Rhoads’ “Dee” than the vicious licks of Tenacious D that its name suggests) runs only 25 seconds.
But that’s certainly no commentary on the quality of those tracks. In fact, Dissed and Dismissed is full of nothing but catchy riffs, Molina’s unfailingly impressive guitar work, and lyrics that speak to the album’s outcast-centric themes. Lead single “Don’t Come Back” (also the record’s longest track at one minutes and 32 seconds) is a throwback to the good ol’ days of ’90s indie rock, calling to mind legends Yo La Tengo, Pavement, and Guided By Voices (which isn’t surprising, considering Molina included a cover of the latter’s “Wondering Boy Poet” on the album). Perfectly lo-fi, yet still epic despite its brief life, the song is Molina at his best, crafting soaring guitars, changing pace on a dime, roping in his listener with an irresistible hook, and spewing what his label calls “unbearably relatable lyrics.”
San Francisco’s Tony Molina plays (and played) in a bunch of hardcore bands (Caged Animals, Ovens, Lifetime Problems and some more, I suppose). But that’s not the Tony Molina we’re here to talk about today. We shall perhaps discuss his screams another day.
We’re here to talk about Tony Molina - the power indiepop extraordinaire. Under his own name (once again, that’s Tony. Molina.) he crafts short, super singable songs that sound a little like Matthew Sweet meets Weezer meets The Lemonheads meets Dinosaur Jr. meets the occasional melodic metal riff (anyone remember The Fucking Champs?).
Now when I say Molina’s songs are short - I mean they are SHORT. Molina’s best song (his “jam,” if you will) is “Don’t Come Back” - conveniently embedded for you below (aww, I’m always doing sweet things like that) - is 1:32. That’s one minute and thirty-two seconds. And that’s a song on the longer side of things. Molina has a 42 second song. He has a 45 second song. And yes, he even has a 25 second (!) song. When is a song a snippet? When is a snippet a song? Is this the result of the Twitter generation? I don’t know. I just (sorta) work here.
I do know the feeling of wanting more is often a very good thing. And sure, a 25 second song may be pushing that theory to the limit (by the way, Molina’s twelve track 12” album is roughly ten minutes in length). But whether a song or album is “concise” or simply just “unfinished” is an discussion for another time - another place. Next Friday over soup, salad, and breadsticks, perhaps? (I love the OG.) Or, maybe we can have that chat when some band is up there on stage thinking we actually want to stand through their two-and-a-half hour set? You better be playing in a stadium if you’re going to try that on us, bub. And even then.....even then....
The mighty Slumberland record label is putting out some stuff by Tony Molina soon. Slumberland knows good pop. And if you check this guy out, you’ll know good pop too. So go ahead. Give it a stream. And when you do - don’t blink. Because just as quickly as this goodness comes....POOF....it’s gone. Erased.....from...existence.