Sean Hoffman and Leyla Akdogan, alias Loch and Key
Musical vets Sean Hoffman and Leyla Akdogan had been making beautiful music together for almost five years before the couple ventured into the audioscape as Loch & Key. Complicated chords and bossa nova jazz intertwine on their 2010 debut "Jupiter’s Guide for Submariners" but a more striped-down sound awaits listeners on their next release. Hoffman and Akdogan sat down with us at the downtown bar where she bartends (and suggests wines) to hash through the old and dish on the new.
SH: So, I just want to warn you - we have a new record that we’re still working on. This last record came out in 2010. I was on a tour with a band called American Music Club and we were on a tour, we did a one-off in Spain. And I took Layla with me and we spent about a month there and wrote an album. So it’s really vacation-y, kind of light. It was born of a vacation.
The members of Correatown, with Angela Correa far right.
California native Angela Correa has been making music since her childhood among the “weed plants and peach crops” of Yuba City. Her guitar has followed her like a faithful lab from Northern California to Denmark to San Diego, finally crash-landing among the cracked sidewalks and churro carts of L.A.’s eastside. She's gotten props from LA Weekly, LA Underground and Americana UK for her "hooky balladry" and "purty voice" but now she's looking to make a change, branching out into the world of synths and pedals.
I sat down with Angela as she was getting ready for a hike with her boyfriend.
PO: Let’s start at the beginning—when did you start playing music?
AC: I always sang growing up. I did a lot of vocal stuff, choral things in afterschool programs. Singing was always a big part of what my family did. I first starting to play music w/ the intention of a band when I was 18, but I didn’t know how to play the guitar. I ended up taking a guitar when I went to study abroad in Denmark, thinking I’d have all this free time. And I did! I didn’t know anyone in the country.
Jon Bon Jovi was pronounced dead by a rogue blog on Monday, which prompted the rocker to pose for this photo to prove he still was living on a prayer.
Jon Bon Jovi did not go down in a blaze of glory, regardless of what a rogue blog stated on Monday.
"Rockstar Jon Bon Jovi (John Francis Bongiovi, Jr) was pronounced dead today after paramedics found him in a coma at his Empress Hotel, city and law enforcement of Asbury Park, NJ sources told The Times after World Christmas Tour concert on The Bamboozle Festival, North Beach Asbury Park," the blog, dailynewbloginternational published today in its only post of its existence.
One small detail, the frosted-tipped singer from the 80s is still alive. And handsome.
The post "appears to have been copied from a 2009 Los Angeles Times story that announced the death of Michael Jackson," Shelby Grad, City Editor of the L.A. Times speculated Monday on the L.A. Now blog.
"The story had changed some words and details," Grad wrote, "but some of the sentences appeared to have been copied from the Times story on Jackson's death that ran on L.A. Now after he was stricken at his Holmby Hills mansion."
via Dane Cook on Twitter
Jay-Z and Kanye West's "Watch The Throne" concert at Staples Center, Dec. 12, 2011.
It would be easy (and almost necessary) to spill an ocean of superlatives in trying to adequately explain the enormity of this entire Watch The Throne endeavor. Sure, it’s easy to chalk it up as a couple of 1 Percenters flexing their considerable industry muscle, and that’s a part of it.
Only a few songs into Monday night’s sold out show, it was apparent that this bombastic display of hip-hop’s considerable hold on the pop cultural zeitgeist was more than just a good time. It was one of the most impressively produced stadium shows, well, ever. The Staples Center was transformed into something of a giant boxing ring, with Jay-Z and Kanye West standing atop two massive hydraulic LED stages to open the show with a flurry of songs from the Watch The Throne album. The spectacle was akin to a rap Metallica (and just as loud), with both men ripping through verses from “Welcome To The Jungle” with ease and dexterity that transcends 99.5% of what passes for “rapping” these days. Flames towers erupted behind them at regular intervals, and the blinding laser light show was equal parts Daft Punk and Pink Floyd.
South Carolina artist Toro Y Moi (known to his mom as Chazwick Bundick) emerged in 2010 with full-length Causers of This, a shimmering collection of blurry dream-pop sound that played like modern shoe-gazing given the chopped and screwed treatment. Hastily coined “chillwave” by over-caffeinated bloggers and lumped in with the likes of Georgia’s Washed Out, Toro Y Moi separated himself from the pack in a major way with his second album.
On 2011 release Underneath The Pine, Bundick blew open his sound with heavy doses of fresh musical knowledge. Incorporating ‘60s psychedelia, heavy ‘70s funk & even disco, it still stands as one of the most impressive albums of this year.
As a live entity, however, progress has been slower going. The first L.A. Toro Y Moi show in 2010 at the Echo found Bundick performing as a one-man band that didn’t come very close to replicating the dynamics of Causers Of This. A live band of friends from home and a slew of dates around the globe found TYM’s show at the Troubadour earlier this year a much-improved affair. By the time they packed the El Rey this past October, they sounded even better and came with the added bonus of a much-needed longer set (the show at the Troubadour clocked in at a scant 45 minutes).