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Big leaps start at SMC. Enroll today at smc.edu! FALL SEMESTER BEGINS MONDAY, AUGUST 28 SANTA MONICA COMMUNITY COLLEGE DISTRICT BOARD OF TRUSTEES Dr. Andrew Walzer, Chair; Barry A. Snell, Vice Chair; Dr. Susan Aminoff; Dr. Nancy Greenstein; Dr. Louise Jaffe; Dr. Margaret Quiñones-Perez; Rob Rader; Chase Matthews, Student Trustee; Dr. Kathryn E. Jeffery, Superintendent/President Santa Monica College | 1900 Pico Boulevard | Santa Monica, CA 90405 | smc.edu
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2017 TWILIGHT CONCERT SERIES Schedule WEEK 1 6/22 NEO SOUL
KHALID Bibi Bourelly WEEK 2 6/29 INDIE POP
LEMAITRE Coast Modern WEEK 3 7/13 REGGAE
MARCIA GRIFFITHS
Table of contents
Jah9 WEEK 4 7/20 ROCK
ERIC BURDON & THE ANIMALS Mr. Elevator Arms Akimbo/ Rusty's EAC WEEK 5
HEADLINER PROFILE P5
BAND BIOS P7, P10, P12, P13, P14
THEN & NOW P15
DON’T BE TRASHY P6
EVENT MAP P8, P9
INSIDERS GUIDE P15
7/27 DANCE
MIAMI HORROR Cleopold WEEK 6 8/3 AMERICANA
VALERIE JUNE IRMA THOMAS WEEK 7 8/10 LATIN
MON LAFERTE Buscabulla WEEK 8 8/17 INDIE ROCK
WARPAINT Wild Belle
ERIC BURDON
JAH9
MARCIA GRIFFITHS
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LemaiTre’S GROOVE HEAVY SOUNDS HIT THE PIER
LEMAITRE
ince forming in 2010, Lemaitre have dreamed up a deeply melodic, lavishly textured brand of electronic pop by staying true to their core instincts. Over the course of seven EPs and singles like “Closer” — a 2016 hit that’s amassed over 39 million Spotify streams — the Oslobred duo have brought both genre-defying ingenuity and refined musicality to their groove-heavy sound. On the heels of their 2016 EP Afterglow, producer/songwriters Ulrik Denizou Lund and Ketil Jansen are now delivering a retrospective album showing the scope of their vision and depth of their artistry. Lemaitre’s first full-length release, Chapter One opens with the breezy, piano-driven pop of 2013’s “Cut to Black” and then journeys through their everevolving body of work. In compiling the album, Lund and Jansen settled on fairly straightforward criteria: they simply chose the tracks they love most. “It’s not a bestof and we don’t want it to be,” says Lund. “The goal was to put together a strong representation of what we sound like and what we’ve done so far. It’s called Chapter One because it’s looking forward — this is just the first step for us.” Among Chapter One’s selected songs: “Stepping Stone” feat. Mark Johns (a track whose “aggressively catchy groove…wrestles its way into rearranging the rhythm of your heartbeat,” according to Stereogum), “Playing to Lose” feat. Stanaj (praised by NPR as a “brooding
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R&B jam” that “capture[s] the highs and lows of intimacy”), and “We Got U” feat. The Knocks (hailed by Idolator as a “disco-infused, whistle-filled banger”). Chapter One also includes Lemaitre’s cinematic new single “Higher” feat. Maty Noyes, an instantly hypnotic track built on soulful piano, jagged synth lines, and a heavy bass riff that Lund describes as slightly blues-inspired. Previously featured on Kygo’s “Stay,” Noyes captures a dreamy desperation in her vocals, an element that intensifies the song’s irresistibly moody atmosphere. “Originally this song was called ‘rachet beatz’ because it is rachet AF, and I like to make rachet beats on my PC computer. This one was more racheter than my other beats, so Maty was at the studio and said, ‘Yo lemme spit that fyre, cuz I also like rachet beats.’ Sometimes I like heavy metal, too. So at the end of the day, it’s just fire, and people want to get lit. This is us giving the people a lighter.” - Ketil Jansen Taking their name from Georges Lemaître (a Belgian priest and astronomer known for introducing the Big Bang theory), Lemaitre put out The Friendly Sound EP at the end of 2010, and in early 2012 released the first EP in their Relativity series. With Relativity 2 arriving in May 2012 and reaching No. 1 on the iTunes Electronic chart in the U.S. and Canada, they quickly drew the attention of some of dance music’s biggest artists, including Martin Solveig and Porter Robinson (who
brought Lemaitre out on tour in summer 2014). Also in 2014, soon after their song “1:18” was used as a sync in an ad for the Apple iPhone 5C, Lemaitre signed to Astralwerks and made the move to L.A. Over the past year, Lemaitre have earned critical acclaim for 1749 and Afterglow, two boundary-blurring EPs that find the duo exploring everything from electro-swing to nu-disco to future bass. At the same time, Lemaitre have widened their reach by adding to their impressive list of syncs: “Closer” was recently synched for a Google phone commercial and used by Bose in various retail displays, while “We Got U” appeared in the FIFA 2017 and “Higher” landed in an Apple Watch ad. In one of their favorite new endeavors, Lemaitre have begun streaming at-home jam sessions on Instagram Live. For each session, assorted friends join Lund and Jansen in their living room and bang away on piano, drums, guitar, and bass. The only rule: no shirts allowed. “It’s mostly an excuse to get people together to play music, but it’s really cool to get requests and try to figure out how to play all these songs right in the moment,” says Jansen, noting that past covers have ranged from Justin Bieber’s “Sorry” to Michael Jackson’s “Rock with You.” “Sometimes it sounds pretty janky, but that’s part of the fun of it,” Jansen continues. “Playing music in that informal way is something we’d do regardless, so it’s really great to bring fans
into it and have them participate in a way that wouldn’t usually happen.” Lemaitre have also spent much of the past year on the road, and toured throughout the U.S., Europe, and Australia. With their live experience including unforgettably explosive sets at Coachella 2016, the duo constantly change up their show to specifically suit each audience and venue—sometimes appearing as a 10piece act complete with a full horn section. “Having more musicians onstage definitely gives it more energy,” says Jansen. “It’s really important to us to bring in some of that live feel when we play, but still create a very electronic sound.” With Lemaitre now gearing up for summer tour dates in the U.S. and Europe, their shapeshifting live show reflects a deep-rooted passion for pushing forward with their music. “From the start we’ve always tried to do whatever feels good to us in the moment, instead of feeling locked into some idea about what we’re expected to make,” says Jansen. As shown on Chapter One, that fluidity has shaped a sound that endlessly morphs while still holding to Lemaitre’s distinct aesthetic. “We can make a cool track and then suddenly take things in a whole new direction with whatever we do next,” says Lund. “With the platform we’ve set up for ourselves, we can go so many different ways and still keep things cohesive. What we’ve done with that so far is only the beginning.”
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Don’t Be Trashy he Twilight Concert Series has become a Los Angeles tradition. The event continues to attract a large audience from all over and organizers want everyone to enjoy the atmosphere and have a good time. However, they are asking everyone to treat the beach like the beautiful resource it is and keep it clean. “The beach is owned by all of us and we should take pride in keeping it clean,” said Santa Monica Pier Executive Director, Jay Farrand. The Santa Monica Pier has grown tremendously popular over the years, and every Thursday night thousands gathers on the pier and beach to eat, drink and enjoy the music and company. Every year there are some picnickers who leave beverages, containers, plastic food wrappers, napkins, straws, and other recyclable items. From June 2016 – June 2017 Heal the Bay recorded 395,323 items of trash at the Santa Monica Pier alone. “A common factor between all the items found is plastic,” said Heal the Bay Beach Programs Manager, Alys Arenas. “Plastic does not biodegrade, but photo degrades into smaller bites – often confused for food by marine life and contribute to toxins in our food chain through bioaccumulation.” Given the increase in attendees, organizers will promote their newest campaign, Don’t Be Trashy! These are your beaches, keep them clean. “The City of Santa Monica is working closely with the Pier to focus on two key themes for this year’s concert series: taking transit and responsibly disposing of trash,” said City Information Officer,
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Constance Farrell. The City has been advocating the importance of “pack out” what you “pack in” to the Pier and beach. They have made specific enhancements to reduce trash after the shows. They will increase in trashcans from a 40 to 50 gallon size to 95-gallon size trashcan, and will be adding six 300-gallon trash containers. “Santa Monica Beach will be lined with an extensive number of trashcans every day,” said Farrell. “For TCS, we are increasing the number of gallons of trash collections receptacles by 417%.” Heal the Bay recommends using reusable bags, reusable water bottles and utensils, which would leave a very limited amount of trash behind. Farrand said, “The Pier plans to reduce trash on the beach with extra bins, signage, and trash ambassadors reminding people to pack out what they pack in.” There will be a minimum of six trash ambassadors working from 6:30 p.m. to 10:30 p.m. each Thursday. “They will have a brightly colored tshirt and bags to identify themselves and most are environmental management students at SMC,” said Farrand. The beach maintenance staff will work from 10:30 p.m. to 2 a.m. to collect the trash on the beach and bring it to the Beach Maintenance yard for pick up by Resource, Recovery, and Recycling on Friday morning. “One of the points we are emphasizing this summer is that it is really up to all of us to do what we can to keep the beaches free of trash in order to protect our coastline,” said Farrell.
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2017 Twilight Concert Series bios WEEK 2 6/29 INDIE POP
LEMAITRE Coast Modern Coast Modern Coast Modern creates alternative pop with a wink that aims to push the genre into the future. Seattle-native Luke Atlas and LA-local Coleman Trapp met while working as Los Angeles-based songwriters, fellow rats in the race to land songs with mainstream pop artists. After more than two years of peddling some great, some terrible, and some very weird creations at the gates of the mainstream, they received little more than fleeting glances. Coleman escaped his over-saturated hometown for the mountainous serenity of Denver, CO. Without the pressure of writing-ondemand, he began messing around on a borrowed acoustic guitar and recording tossed-off ditties on an old cassette recorder. The pure, child-like enjoyment of writing only for himself led Coleman to a realization: maybe he'd overlooked a path that was right in front of him the whole time. Soon, warbly tape recordings began appearing in Luke's inbox. On a whim, Luke created a production around one of the acoustic demos and sent it back. Coleman was thrilled. Returning with renewed vigor and a rusted-out car hood after a Mile-High winter, Coleman quickly called a meeting with Luke. With their new musical experiments buzzing in their heads, the pair created a personal project based purely on the whims of their creative spark, wherever that led them.
WEEK 3 7/13 REGGAE
MARCIA GRIFFITHS Jah9
MARCIA GRIFFITHS Marcia Griffiths is the Queen of reggae music. In 2014, she celebrated her 30th anniversary as an artist in the music business with many successful shows internationally. Her latest album Marcia and Friends, featuring nearly forty songs with her and other top artists, straightaway hit the billboard charts. As one of the original I - Three’s (the background vocalists for the legendary Bob Marley) Marcia helps to keep the spirit of Bob Marley alive. She
is a direct link to the prophetical, proverbial king of Reggae. In her shows, she always covers some of his hit songs with class and sincerity and the spirit of Bob Marley is rekindled. The I-Threes, Bob Marley’s three little birds, were the most influential female singing group in the history of Jamaican music. A trio featuring Marcia Griffiths, Rita Marley and Judy Mowatt, the I-Threes provided the rich harmonies for Bob Marley’s performances and recordings from 1974 until his passing ten years later. Marcia Griffiths was already well known when the I-Threes came together. From her duet recordings with Bob Andy, including Young, Gifted and Black, Marcia Griffiths already had international recognition. During the recording, Marcia asked Judy to sing a harmony on Young, Gifted and Black, which later went to number two on the British charts. After that Marcia invited the Rita and Judy to sing harmony with her on a show she had at the House of Chen in New Kingston, Jamaica. This show was where the IThrees vocal group was born. Shortly thereafter, after the departure of Peter Tosh and Bunny Livingston from the Wailers, Bob asked the I-Threes to sing on his recording, Jah Live. After that historical recording, the I-Threes continued to record the entire Natty Dread album. For the next ten years, the I-Threes did all the tours with Bob Marley and sang on all of his albums. The only Bob Marley album they didn’t sing harmony on was Catch a Fire. Since Marley’s passing, Marcia has been working hard and consistently as a solo artist touring the world. August 2011 the I Threes did two major performances in San Diego and Los Angeles, CA at the Hollywood Bowl. People came from near and far to see the I-Threes performing together again. After these shows Marcia toured North America and headlined the Northwest World Music Festival in Eugene OR. On the annual U.S. Sunsplash Tours with Tony Johnson, Marcia used to do the tour every year. Marcia Griffiths is a rare example of what true quality reggae music embodies. Marcia’s Love is Automatic single with Busy Signal was number one on the England and European charts. Another of her big current songs that gets a lot of radio airplay is What Goes Up, Must Come Down which is a combination with Marcia and Queen Ifrica. Marcia Griffith's latest CD, Marcia and Friends features combinations with singers such as Beres Hammond, Sanchez, Bunny Rugs, Daville, Freddie McGregor, Toots Hibbert, Barrington Levy, Diana King, Richie Stevens, Etana, Bob Andy and John Holt, amongst others. For DJ’s on Marcia and Friends, there are combinations with Gentleman, Damian Marley, Beenie Man, Bounty Killer and U Roy. Marcia Griffiths is a special treat, bringing us inspired reggae music, backed by excellent background vocalists. She puts on a classic show, lively, inspired and uplifting.
COAST MODERN
WEEK 4 7/20 ROCK
ERIC BURDON & THE ANIMALS Mr. Elevator Arms Akimbo/ Rusty's EAC
ERIC BURDON & THE ANIMALS Eric Burdon has one of the most powerful and distinctive voices in rock and roll. A member of the Rock and Roll Hall of Fame since 1994, and hailed by Rolling Stone as one of the 100 Greatest Voices of All Time, Burdon’s music has forged new territory while also topping the charts for more than five decades. Highly prolific, Burdon has released nearly 50 records in those 50 years, as front man of The Animals and WAR and simply as Eric Burdon. Through the changing sounds and genres, what remains constant is his courage as an artist to explore new sounds, diving into new ter-
ritory with his unrivaled and unique voice. Eric Burdon has shared the stage with legends such as Chuck Berry, Jimi Hendrix, Jimmy Witherspoon, Otis Redding and Bruce Springsteen, and has recently been cited by cutting edge musicians like Patti Smith and Iggy Pop as one of their personal top ten musicians. Eric began his musical journey as a young man growing up in Newcastle, England. Listening to his idols, Ray Charles and Bo Diddley, he immersed himself in American blues and jazz. As front man and driving force of the British Invasion band The Animals, Burdon helped shape rock and roll’s DNA, and his imposing yet soulful vocals are the driving force of the iconic favorite “House Of The Rising Sun.” A long string of hits followed, including “Don’t Let Me Be Misunderstood” and the Vietnam-era anthem, “We Gotta Get Out Of This Place.” Pioneering the psychedelic San Francisco sound, Burdon’s classics include “San Franciscan Nights” and “Monterey.” SEE BIOS PAGE 10
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Burdon continued to perform throughout the years with different iterations of The Animals, while also founding and fronting the funk group War, one of the first multiracial bands, and topped the charts again with his groundbreaking hit single, “Spill The Wine.” In the decades to follow, Burdon became an accomplished painter and author, and he continues to record and tour now as a solo artist. The year 2012 saw the release of his latest album, ‘Til Your River Runs Dry.
WEEK 5 7/27 DANCE
MIAMI HORROR Cleopold
MIAMI HORROR The Shapes comes to life as a sonic / art experience and sees the band delve deep into rhythm and percussion with influences ranging from the art pop and lyrical wit of Talking Heads to Caribbean funk and African beats. The first taste from The Shapes, "Leila" premiered on Stereogum, who said the track said the track "shows the band in one of their strongest forms to date." Embodying the glitzy, glamorous sunshine of LA, draped in 80s synth melodies and topped with those iconic Miami Horror vocals, it's a fitting first single. Visually, the themes compliment the rhythmic and percussive sounds of the project. Focusing on the use of bold shapes, hand drawn lines and color. "I've always been a fan of colourful art and murals, especially those from the late 80s and early 90s. As a child, they excited and inspired me every time I passed them. This left a lasting effect on me into adulthood, a lust for colour and the extraordinary amongst the mundane colours of suburbia or the grey-ness of Melbourne city," says Ben Plant.
ERIC BURDON
Since the release of their debut album Illumination in 2010, Miami Horror has toured extensively across the globe showcasing their diverse mix of influences, whilst living between LA and their hometown of Melbourne. Along with other Australian acts including Cut Copy and Total Giovanni, Miami Horror have helped in the rebirth of disco creating their own brand of Aussie electronica that is recognized internationally and have become absolute staples on dance-floors worldwide. The Shapes is like nothing the band have produced before. Their imaginative vision brings color back to daily life with a mold-breaking collection of art. Be sure to catch them at one of their epic block parties or headline shows and boogie down with Melbourne's most colorful four-piece.
MIAMI HORROR
WEEK 6 8/3 AMERICANA
VALERIE JUNE & IRMA THOMAS VALERIE JUNE "Understanding the order of time is important to anyone hoping to manifest a dream," says Valerie June. "There is a time to push, and a time to gently tend the garden." Since the release of her 2013 breakout Pushin' Against A Stone, June has been patiently at work in the garden of song, nurturing seedlings with love and care into the lush bloom that is her stunning new album, The Order Of Time. Some songs grew from seeds planted more than a decade ago, others blossomed overnight when she least expected them to, but every track bears the influence of time. See, time has been on June's mind a lot lately. It's the only constant in life, even though it's constantly changing. It's the healer of all wounds, the killer of all men. It's at once infinite and finite, ever flowing with twists and turns and brutal, churning rapids that give way to serene stretches of placid tranquility. Fight against the current and it will knock you flat on your ass. Learn to read it, to speak its language, and it will carry you exactly where you're meant to be. "Time is the ruler of Earth's rhythm," June explains. "Our daily lives revolve around it. Our hearts beat along to its song. If we let it, it can be a powerful guide to turning our greatest hopes and dreams into realities." June knows a thing or two about turning hopes and dreams into realities. With Pushin' Against A Stone, she went from self-releasing her music as Tennessee's best kept secret to being hailed by the New York Times as one of America's “most intriguing, fully formed new talents." The New Yorker was captivated by her
"unique, stunning voice," while Rolling Stone dubbed her "unstoppable," and NPR called her "an elemental talent born with the ability to rearrange the clouds themselves." She astonished TV audiences from coast-to-coast with spellbinding performances on The Tonight Show, The Late Show, Austin City Limits, Rachael Ray, and CBS Saturday Morning, and graced some of the world's most prestigious stages, from Carnegie Hall to the Kennedy Center. First Lady Michelle Obama invited June to The White House, and she toured with artists like Sharon Jones & The Dap Kings, Sturgill Simpson, Norah Jones, and Jake Bugg in addition to flooring festival crowds at Bonnaroo, Outside Lands, Newport Folk, Hangout, ACL, Pickathon, Mountain Jam and more. In the UK, the reaction was similarly ecstatic. June performed on Later…with Jools Holland, joined a bill with the Rolling Stones in Hyde Park, and took the press by storm. Uncut praised her "remarkably careworn vocals," MOJO swooned for her "glorious sound," and The Independent's Andy Gill wrote, "June has the most strikingly individual delivery I've heard in ages." When it came time to record the follow-up, June felt liberated by the success, fearless and more confident than ever in trusting her instincts and following her muse. There was to be no rushing the music, no harvesting a song before it was ripe on the vine and ready to be plucked. When she sensed the time was right, she headed to rural Guilford, Vermont, with producer Matt Marinelli, spending long stretches through the fall and winter living and recording away from the hustle and bustle of her adopted home of Brooklyn. "They made us feel so welcome in Vermont," remembers June. "I was cooking amazing food and hanging out with the band all the time. There were long talks and long walks in the snow, and friends would come up for holidays. I felt SEE BIOS PAGE 12
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IRMA THOMAS
BIOS FROM PAGE 10 like I put myself in a place where I could really soar. With the last album, I was absorbing and learning and developing so much in the studio, but this is me taking the things I learned and the things I felt in my heart and fighting for them." In her heart, June is a songwriter first and foremost, willing and able to blur the lines between genres and eras of sounds. The result is an eclectic blend of folk and soul and country and R&B and blues that is undoubtedly the finest work of her career. Opener "Long Lonely Road" settles in like languid southern heat, as June looks back to the sacrifices of her parents and grandparents, singing in a gentle near-whisper of the sometimes difficult, sometimes beautiful journey we all must undertake in search of brighter days. On the soulful "Love You Once
Made," her voice is backed by rich horns and vintage organ as she makes peace with the specter of loss and the ephemeral nature of our relationships, while the bluesy juke joint rocker "Shake Down" features backup vocals from her brothers, Jason and Patrick Hockett and father, Emerson Hockett recorded at home in Tennessee, and "Man Done Wrong" centers on a hypnotic banjo riff that's more African than Appalachian. "People shouldn't necessarily think of bluegrass when they see the banjo," explains June. "It was originally an African instrument, and people in America used to play all kinds of banjo: mandolin banjo, ukulele banjo, bass banjo, classical banjo, jazz banjo, there were even banjo orchestras. For some reason people like to limit it and say it just has to be in folk and bluegrass, but to me it can be in anything, and I really wanted to set the banjo free on this record."
BUSCABULLA
The banjo turns up again later as the underpinning of the R&B rave-up "Got Soul," which plays out like a mission statement for the entire album, as June offers to "sing a country tune" or "play the blues" but reveals that underneath it all is her sweet soul. Those genre terms might be simplistic ways to attempt to define her, empty signifiers creating distinctions between sounds where June sees none. "With You" channels the sprightly, ethereal beauty of Nico with fingerpicked electric guitar and cinematic strings, "Slip Slide On By" grooves with shades of Van Morrison, and "If And" slowly builds over meditative hum that hints at John Cale. Despite the music's varied nature, the songs all belong to a cohesive family, in part because they're tied together by June's one-of-a-kind voice, and because they're all pieces of a larger rumination on the passage of time and how it affects us. The ulti-
mate takeaway from tracks like "The Front Door" and "Just In Time" is that the present is all we have. Everything around us (our loved ones, our youth, our beauty) will someday fade and disappear, but that transience is what makes those things all the more magical. We're given this brief moment to share our love and light with the world, and when, as June sings on the album, "Time's hands turn and point straight towards you," you'd better be ready. Thankfully for us, June was ready when time told her to harvest these songs. In the garden, as in life, there is a time for everything and the moment has finally arrived to enjoy the fruits of all her labor. With 'The Order Of Time,' Valerie June has prepared a bountiful feast, and there's a seat at the table for everyone.
IRMA THOMAS 2009 marked the 50th anniversary of Irma Thomas's first recording session and she remains one of America's most distinctive and classic singers, a treasure from the golden age of soul music who remains as compelling and powerful as ever. Irma first achieved prominence with a string of 1960s hits such as "Time Is On My Side," (later covered by the Rolling Stones), "It's Raining" and "Wish Someone Would Care." She toured extensively across the South with her band, The Toronados. Yet, her life has not been without its share of hardship and challenge. Pregnant at age 15, she was forced by her father into what she calls a "shotgun marriage." After the devastating effects of Hurricane Camille in 1969, when she was a single mother with four children to support, she moved her family to Los Angeles and worked for a time at a Montgomery Ward store, recording and performing only intermittently. Upon returning to Louisiana in the 1970s, she slowly rebuilt her reputation as The Soul Queen of New Orleans, signing with Rounder in 1986. In 2005, while she was working in Austin, Texas, Hurricane Katrina flooded her home and destroyed all her possessions, along with her nightclub, The Lion's Den. In the wake of the tragedy and loss that Katrina brought, her career has enjoyed an unprecedented upswing. After several nominations, she won a Grammy and continues to produce new music.
VALERIE JUNE
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WARPAINT
MON LAFERTE
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WEEK 7
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8/10 LATIN
8/17 INDIE ROCK
MON LAFERTE
WARPAINT
Buscabulla
Wild Belle
MON LAFERTE
WARPAINT
Singer, Songwriter and Chilean performer from Viña del Mar, Mon Laferte is a winner of double platinum album plus gold in Mexico, winner of two MTV 2016 awards, nominated to two Latin Grammy Awards with a tour that visited the USA, Mexico and Chile with over 70 sold out dates. She knew what she wanted in life when since she was 14 years old when the guitar turned into her partner and even in her teen years she transmitted her feelings through the verses she was writing. Musically educated in the streets of Viña del Mar and Valparaiso, she captures popular poetry from her roots that reflect in her tearing yet mellancholic voice.
It’s easy to get the wrong impression about Warpaint. The band’s studio albums (including their most recent full-length, 2014’s Warpaint) tend to emphasize moody atmospheres: gauzy keyboards, hypnotic harmonies and sinister grooves. In concert, however, the Los Angeles quartet—vocalist/guitarist Emily Kokal, vocalist/guitarist Theresa Wayman, bassist/vocalist Jenny Lee Lindberg and drummer/keyboardist Stella Mozgawa— pair this moodiness with bumped-up tempos and sinewy beats. Of course, confounding expectations has been part of Warpaint’s m.o. since the band formed in 2004. And so when the band convened to make their third studio album, Heads Up, they shared a common goal: to make a faster, dance-oriented record. “We’ve always had this really jammy, highenergy live show compared to some of our records,” Kokal says. “We all love to dance. We didn’t want to take away from the emotion or the core feeling of what our
WILD BELLE
band is all about—which I don’t even think we could take out if we wanted, because it is who we are—but we wanted to bump the speed up and have a little bit more fun.” Warpaint spent only four months in the studio making Heads Up, the quickest they’ve ever made a record. “We have a tendency to over-marinate on certain ideas,” Mozgawa says. “There wasn’t a great deal of laboring over things or doing things a million different ways and overdubbing for months.” In another switch, Warpaint tended to work one-on-one or in pairs with producer Jake Bercovici (who produced their EP Exquisite Corpse) in the studio. “The doors were a little more open in terms of what was accepted and what wasn’t, because we were sharing ideas so rapidly between us,” Mozgawa says.
These looser vibes and individual experiences ensured that once Heads Up was complete, even Warpaint themselves were surprised—in a good way—at how the album turned out. “We’ve been on tour, and we’ve been around each and other,” Lindberg says. “But you need to take a break from that sometimes to get a fresh perspective, and to be excited and inspired about what you’re doing. I feel like we did that. “I feel really proud of what we made— almost surprised and shocked,” she continues. “When we were making it, I was like, ‘I wonder what this is going to sound like? How’s this going to come together?’ I love the way that it came together so nicely. I feel so proud of it, and like it’s an evolution of our band. It sounds like a mature version of Warpaint.”
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then & now
IN THE 1960'S & 1970'S IT WAS BERYL'S ART NOVELTIES; TODAY IT IS RISTORANTE AL MARE (PHOTO BY TOM ZIMMERMAN)
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SMOKING
No tickets necessary, this is pure free Summer fun (remember that?) all thanks to our partners and sponsors who have brought us another season of awesome free concerts at the beach. Make sure to show them some love.
There is a 21-and-over Concert Garden featuring refreshments from Boulevard and Duvel beers, Deep Eddy Vodka, and an assortment of cocktails and non-alcoholic beverages. Do not miss this view.
There are plenty of great food and beverage options on the deck and at the various restaurants on the Pier. Most even have to-go options perfect for munching during the show. As a reminder, alcohol consumption is not permitted in public spaces, but there are several full-service bars in the area.
Don't even think about it, it's a 100-year-old wooden Pier, and we really like it.
TIME 7PM - 10PM, but those in the know stake out a good spot early.
METRO EXPO Arrive in style on the new EXPO line. No parking, no traffic, no hassles.
WEATHER & ATTIRE It never gets too cold, but sometimes it gets a little chilly once the sun goes down. So bring something or head up to the Pier Tent on the deck to grab this year's limited-edition sweatshirt or t-shirt!
PARKING We highly recommend alternate transport for a hassle-free experience (EXPO, Bus, Breeze Bike Share, rideshare, skateboard, walk, llama), but if you need to drive, parking is available in the 1550 Pacific Coast Highway Lot next to the Pier on a first-come, first-served basis. Those wanting to avoid long waits and higher fees should try one of the municipal lots a few blocks inland around 2nd/Colorado or 4th/Olympic.
VOLUNTEER We couldn't put on this free amazing event without a little (or a lot) of help from our friends. Wanna volunteer?
mystery photo THE FIRST PERSON WHO CAN CORRECTLY IDENTIFY WHERE THIS IMAGE WAS CAPTURED WINS A PRIZE FROM THE SANTA MONICA PIER. SEND ANSWERS TO INFO@SANTAMONICAPIER.COM.
FRIENDS & FAMILY Bring them, the more the merrier. You will not regret it. This is one epic Summer tradition.
SEATING BIKE/SKATEBOARD VALET Park your wheels at the free bike and skateboard valet located next to the beach bike path just south of the Pier. Make it even easier and cruise over on a bike from the new BREEZE bike share.
FIRST AID/LOST & FOUND If you need first aid or assistance, please visit the Pier Tent or flag down a security officer. If it is an emergency, please call 911.
PETS Friendly dogs are welcome on the Pier only and must be on a leash.
Seating is not provided, so feel free to bring your own chairs, blankets, etc...
PRO TIP Get to the Show early! There’s so much to do. The venue opens at 5:45 and you can grab a drink in the concert Garden, check out all the cool art installations and other activities on the deck, plus the Pier is chalk full of great places to eat, drink and hang out. Come early, explore the pier and then enjoy the show!
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