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[Live Review] Brody Dalle Deafens LA’s Troubadour

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Last week I took a quick break from the movies section to review Diploid Love, the new Brody Dalle (formerly of The Distillers and Spinnerette) record. It wasn’t an assignment, just one of those albums that came along that I happened to get really into so figured I’d share my enthusiasm.

Last night I caught Dalle’s show at the Troubadour in West Hollywood. I was unsure what I’d be getting, the American punk stylings of The Distillers or the more melodic, slightly ethereal, aesthetic of her new record. The answer, it turned out, was a perfect blend of both. Opening with “Rat Race” and “Don’t Mess With Me,” it was clear that her voice was as strong as ever and that her new band featured capable musicians who could not only play the material, but elevate it to a deafeningly loud arena-polished level (often a rarity in punk music).

All was well and good for those first two numbers and then the band launched into “I Am a Revenant” from The Distillers’ Sing Sing Death House at which point the crowd, for lack of a better expression, went f*cking apesh*t. I’ve lived in LA for nine years and have gone to my fair share of shows and it’s usually industry types and heavily affected hipsters just standing there with their arms folded. While there was some of that here around the periphery, this was the first time I’ve seen an actual pit break out in years. Dalle and her band kept up the pace with Coral Fang’s “Die on a Rope” and successfully peppered in material from Diploid Love among their older hits throughout the evening.

The energy never flagged during the set. While fans naturally saved their most rapturous responses for the familiar older material, the new stuff went over incredibly well. The evening’s most powerful moment came during Diploid Love’s closer, “Parties For Prostitutes.” The lone slow number in a deafening set, it showcased Dalle’s voice as the loudest, most powerful instrument onstage. Her new material may be less propulsive, but it’s heads and tails more melodic with a wider palette of emotion. It was refreshing to see something like “Prostitutes” pulled off with both volume and nuance.

In punk rock fashion the show ended almost exactly an hour after it began, defiantly and without an encore (but with a confetti cannon blast). None was needed. Dalle got on, made her point and got off – adhering to one of the oldest showbiz axioms “leave them wanting more.”

Brody Dalle heads out on a North American tour with Queens of the Stone Age next month. Get there early. You can buy Diploid Love on iTunes. Thanks to Raymond Lew for the pic!

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“He Walks By Night” – Listen to a Brand New John Carpenter Song NOW!

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John Carpenter music

It’s a new day, and you’ve got new John Carpenter to listen to. John Carpenter, Daniel Davies and Cody Carpenter have released the new track He Walks By Night this morning, the second single off their upcoming album Lost Themes IV: Noir, out May 3 on Sacred Bones Records.

Lost Themes IV: Noir is the latest installment in a series that sees Carpenter releasing new music for John Carpenter movies that don’t actually exist. The first Lost Themes was released in 2015, followed by Lost Themes II in 2016 and Lost Themes III: Alive After Death in 2021.

Sacred Bones previews, “It’s been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. With Lost Themes IV: Noir, they’ve struck gold again, this time mining the rich history of the film noir genre for inspiration.

“Since the first Lost Themes, John has referred to these compositions as “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone.

“The trio’s free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results.”

You can pre-save Lost Themes IV: Noir right now! And listen to the new track below…

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