The Pastel Project 3/24 ? Music, Art, Food & Sustainable Living Festival
Event on 2012-03-24 12:00:00
CSS
CSS is a Brazilian rock band from S?o Paulo. The band was labeled as part of the explosion of the New Rave scene. Their songs are in both English and Portuguese. CSS is an abbreviation for Cansei de Ser Sexy ([k??sej d?i se? ?s?ksi]), literally "I've grown tired of being sexy" in Portuguese.
Starfucker
Led by principal songwriter and multi-instrumentalist Joshua Hodges, Starfucker, a Portland, OR-based quartet, has received almost as much attention for its immensely accessible dance hooks than for its not-always-accessible moniker. As Hodges admits, "I like, and have always liked, the idea of seeing what we could do with a stupid name like Starfucker." Yet, despite selling out shows from coast to coast behind its critically acclaimed self-titled debut album and follow-up EP Jupiter, the members of Starfucker were constantly being told that their name was holding them back from bigger and better things. And so, at the insistence of those around them, the group invited fans to send in suggestions for a new name before finally settling on Pyramiddd. The change was short-lived. Explains bassist Shawn Glassford, "That was definitely the low point for the band, but we wised up and took the power back. We're doing things our way again without anyone trying to pull our strings." Having now firmly settled on Starfucker once again, the focus can now rightly return to what got people talking in the first place: their dancey, endlessly catchy, hook-laden pop. And there's no better place for that conversation to begin than with "Julius" ? the first single from the band's upcoming full-length (to be released in early 2011 on Polyvinyl). A darker and more groove oriented track than anything the band has recorded to date, the song was initially recorded in Hodges' bedroom before the band entered the Odditorium (the studio established by The Dandy Warhols) to add flourishes and finishing touches with producer Jacob Portrait (Mint Chicks, The Dandy Warhols). At this point, it certainly feels like nothing can hold Starfucker back ? least of all its name.
Autolux
Autolux is a Los Angeles-based trio comprising Eugene Goreshter (lead vocals, bass), Greg Edwards (guitar, vocals) and Carla Azar (drums, vocals). The trio formed in 2000 and has since recorded one promotion EP, Demonstration, and released one full-length studio album, Future Perfect, in 2004. Autolux is currently working on a second studio album
HEALTH
HEALTH play an utterly appealing concoction of manic rhythms, jagged guitars, yowled vocals, all wound into exploding bursts of freaked out noise drenched new wave tribalism. Chaotic, spastic, freaked out, manic, mathy, grindy. It's like the musical version of a diet rich in Pixie Sticks, Lik-M-Aid, licorice whips and Mountain Dew, and it's that imaginary diet that seemingly fuels Health's sound. What else could explain the boundless energy, the intense spazziness, the fractured heaviness, the blown out total rock action? Folks who have never heard Health, but love shit like Crystal Castles, MGMT, Justice, Daft Punk, Alter Ego, Digitalism, Cut Copy and the like, this might just be your gateway drug, to things more noisy and punk rock.
Steed Lord
Steed Lord is a musical performance art project working on the frontiers of pure creativity and music making with impressive and energetic live performances, experimental filmmaking, photography, fashion design and styling, art direction, graphic design and other visual mediums. The threesome KALI, MEGA and DEMO all hail from their native Iceland where they grew up in the entertainment and art world learning their craft at an early age in their fathers studios. Drawing their raw inspiration from their Icelandic background, they have managed to create a world of their own that they call New Crack City where they create their art and write their music. Steed Lord have since early 2006 been a 100% DIY project and toured all over the world with their music performing for thousands of fans while being featured in numerous magazines, on music and fashion blogs, in TV-shows, on radio and they even designed a clothing line for retail giant H&M. Steed Lord are independent musicians and release all their music on their own label New Crack City Records but they have also licensed their music and remixes on record labels such as Ed Banger Records (FR), Dim Mak (USA), Southern Fried (UK), Get Physical (DE), Disque Primeur (FR) and One Love (AU). Steed Lord?s goal is to keep creating and exploring their own unique sound along with expressing their personal vision through their artistic outlets.
Poolside
Filip Nikolic and Jeffrey Paradise are good friends who are inspired by California, mezcal, dancing, good food, and friends. Filip is a Danish producer now living in LA who plays bass in Ima Robot; Jeffrey throws the infamous Blow Up party in San Francisco and used to be in the hardwave band the Calculators with Luke and Vito from the Rapture. Poolside's debut single "Do You Believe?" was charted by Aeroplane and Dimitri From Paris, and Dazed & Confused praised the song for its "pop-tinged disco, brimming with optimistic vocals and retro acid synths," while NME lauded its "supremely casual decadence." Poolside is currently working on their debut album.
Glass Candy
"A freewheeling electronic pop album that's goofy and glamorous in roughly equal measure, B/E/A/T/B/O/X is Glass Candy's first full-length as a duo, following an electro-disco makeover that has effectively cut the rock out of the group's dancepunk/no wave equation. ? This is unquestionably music for dancing, as opposed to dance music that's probably a bit too cool to actually dance to. The duo's so-retro-it's-modern sound points, no surprises here, straight back to the early '80s, recalling not so much the robotic Italo disco with which the label is often linked (though there are traces of it, particularly on the cosmic strut 'Life After Sundown') as plain old regular disco, the kind that at some point evolved out of funk (check out those full-blooded horn parts, synthesized though they may be, on 'Candy Castle' and the punchy 'Rolling Down the Hills') and went on to inspire the new wave art-punk likes of Blondie and Tom Tom Club (both palpable influences here: Debbie Harry, and perhaps 'Rapture' in particular, are unmistakable in Ida No's slightly kooky, slightly chilly delivery)." ? AllMusic.com
Chromatics
"Chromatics (which includes Glass Candy's Johnny Jewel) have been on hiatus for the past two years. But they're back together now, and the label plans to reissue their 2007 album Night Drive as a double LP with four new tracks this summer. Chromatics also plan to release a new double album this fall. ? You can certainly hear all of the [Italo Disco] trademarks: doleful disco-punk guitars (the menacing clang of 'Healer'), starkly monochrome synth patches (especially gorgeous on the bumping goth club slow-jam 'Let's Make This a Moment to Remember'), watery keyboard progressions (ditto), and exploitation flick arpeggios ('Tomorrow Is So Far Away'). ? Chromatics have retained punk's taste for spare arrangements, but drawing on overripe Moroder-style dance music and early 1980s synth melancholia makes for some sumptuous spare arrangements." ?Pitchfork
Saint Motel
With sophisticated savvy and singularity, the Los Angeles quartet Saint Motel has built a formidable reputation on the back of inventive indie pop and wildly fun live shows. Mixing blistering pep with unique flair and rousing rhythms, Saint Motel's aural catharsis is pure bliss with a twist of cynical humor. Once pulled in by the pulsating and joyous melodies, delight can be found in the surprisingly avant-garde lyrical subject matter. Stories reveal themselves through thematic twists and turns with a narrative voice both subversive and sincere. We find our contemporary hero assessing the world through a lens of poetic contrasts ? running down the line of his modern concerns and realizing that a mangled face can be beautiful, that honest feedback can be as lethal as any weapon, and that one might be better off when he has nothing at all. With such honest motifs strung together by tongue-in-cheek notions, delivered with such charm, the band's intentions are often left open to interpretation. And so, what might be easily perceived as sexy with one listen, with another might seem mean-spirited or flatly perverse. That is the flair of Saint Motel's rapturous pop and the graceful dichotomy of its existence.
The Nervous Wreckords
The Nervous Wreckords are a rock band that infuse dance-able beats with signature 70's glam guitar riffs to make infectiously catchy songs. Born In June 2009 as a collaboration between LOUIS XIV's Brian Karscig and Cornershop's Anthony Saffery, The NAILBIGHTER EP was noticed by the KILLERS, who invited the band to open up their sold out Day & Age tour in the US. Now with a live band intact, appearances at CMJ Music Festival in NYC, and a showcase at SXSW. The Nervous Wreckords have released their first full length LP VALUMINIUM Aug. 31, 2010, and are preparing to hit the road in support of the record, creating awareness of the band's refreshing new sound. With buzzed about tracks "Doin it to Do it", "8Track (I'm Comin Back), "Similar but not the Same", and "Coming to an End" the band is creating viral awareness in all the DIY forums such as YouTube, Reverbnation, Last FM, and have sold out their first headlining shows up the west coast of the USA.
The Entrance Band
"The Entrance Band's new music is the most alluring and, yes, entrancing vibe I've yet to experience in this new age. A soundtrack for the new groove" ? THURSTON MOORE LA TIMES "Their music creates the feeling that something fresh and powerful is afoot. A potent mix of political mindedness ? including a few conspiracy theories ? and musical virtuosity, their songs throb and wail and strive to open minds." WASHINGTON POST "The Entrance Band plays apocalyptic psych-rock that is so good it will make you welcome the end days with open arms, as the guitars menacingly swirl in the background and the drums echo the sound of the four horsemen." THE FADER "Some dudes play guitar solos, Guy Blakeslee shreds. In The Entrance Band, along with Paz Lenchantin and Derek James, he's reined it all in, harnessed the guitar magic to ridiculously tight drums and bass and turned the whole thing into much more of a group effort. Who knew we'd be able to dance to half of this album and imagine taking acid to the other half?" THE STRANGER (Seattle) "The Entrance Band play tempestuous psych-blues songs that often tilt toward the epic. Blakeslee's serpentine riffing and fists-shaking-to-the-heavens vocals attest to rock's reputed redemptive power." RCRDLBL "Listening to their music is like sojourning into a cactus field at midnight with nothing but a jug of wine and some Gun Club records." BALTIMORE CITY PAPER "The Entrance Band, has honed itself into a rock-solid, mass-appeal beast that could shake the White Stripes from their throne. "M.L.K." is both breathtaking and soul satisfying in its massive, alluring riffs (every song has a thick, ringing riff for, like, every day of the week); simple, reverbed-out vocal hooks; and crystal clear populist message: "Hey, there's a reason I sing/'cause I want to hear freedom ring/ and I'll remind you all of one more thing, remember Martin Luther King." The cloud-scraping chorus hook of "That Is Why" could tame a lion; "Sing for the One" chugs along in a grubby stoner-rock roil; "Hourglass" sounds like it could fucking own an arena, complete with Jumbotron shots of Blakeslee shredding like some newly anointed high priest of rockdom. Basically: watch out." L.A. RECORD "Headlining that night was The Entrance Band. Not missing a beat, their set seemed to explode from the moment the members took the stage, with a fierce combination of psychedelic, blues, and rock. It almost feels like a Martian attack on your soul, especially as Guy Blakeslee's vocals reach their coda-like watching the sky opens up for the birth and death of an actual star accompanied by his beyond stellar, words fail me, wicked-sounding guitar, giving proper due to Steve Vai and Zappa for us youngins. Bassist Paz Lenchantin's thunderous sonic mind fuck comes via a much needed catharsis by her instrument. She maintains the same amount of attention as the rest of the heavy elements, while the orchestration still makes you feel cleansed and free. Please do yourself a favor this summer and get lost in this bands mystique."
RACES
LA locals, Black Jesus are on their way to a full album release. And this song Big Broom is the first look we have at it. There music packs the power of all seven musicians above, who joined together over years of acquaintance and impromptu musical performance. And that's what's so great about their sound, it's a hodgepodge, it's self made, unique, and really fun to listen to. They've been tirelessly working on a full-length and are raising funds via Kickstarter to make it all possible. And they're nearly there! Head over and check it out and even donate if you can. And be on the lookout for an awesome 7" to be released on one of my favorite labels and friends JAXART, late April.
Hyena
Galvanized by their combined experience in the studio and on the road, San Diego based musicians, Bryan Stratman and Michael Cooper are blowing up the indie-electro scene with their new project, Hyena. The buzz is amplifying quickly with comparisons to international sensations like Cut Copy, Phoenix and Does It Offend You, Yeah? Hyena's unique way of lacing dance beats with timeless pop melodies with have global dance floors needing more. Dark, electronic-fueled beats interwoven with Coop's organic drumming juxtaposes Strat's upbeat synths and driving bass lines seamlessly and the lush vocal interplay between the duo adds a depth which sets them apart from the rest. Currently, the R.A.W. remix of Hyena's 'Kill Kids' has become a staple on Bassnectar's world tour and easily the heaviest bass drop of his set. But, it's Hyena's own high-energy live performances that are most spectacular, including surreal visual projections that turn the whole experience into an electrifying ambush of the senses. Hyena has been nominated for Best Electronic Band of 2010 and 2011 by The San Diego Music Awards already, as well as opened up for The Bravery at Milwaukee's
Halloween Town
Halloween Town is a collective of artists contributing to the songs of Las Vegas singer/songwriter Ryan Pardey. Mark Stoermer (The Killers), Jason Hill and Brian Karscig (Louis XIV) began recording Halloween Town's Zafra Ct. in San Diego, CA and assembled a number of notable artists and collaborators to help out: Shaun Cornell (Transfer), and Michael Stratton (12 Volt Sex), Dave Keuning (The Killers), Matt Dublin (The Red Romance, Ambulance LTD) and anyone else that felt inspired to help Pardey document his musings. Producer/engineer Doug Boehm (Girls, Booker T, The Vines) mixed Zafra Ct. in Los Angeles, CA. in late 2011, tying it all together into a single work of art. Actor/director Matthew Gray Gubler (Criminal Minds, 500 Days of Summer) created the artwork for the 7" Summer (the dreamer from 1997) / Darlin' if you're worried. Halloween Town supported The Killers on a leg of the sold out "Day and Age" world tour, to support the initial release of Summer. Zafra Ct. is the second release by Halloween Town on Gubler's boutique label, CornStalk Recordings. Gubler and Pardey have worked together several times, most notably on The Killers release "Don't Shoot Me Santa". Pardey played a key role on the track not only with his vocal duet with Killers front man Brandon Flowers, but also by starring in the music video directed by Gubler. "Don't Shoot Me Santa" was released in 2007 and broke the top 40 music charts in both the UK and Canada. Pardey is a Las Vegas native who has supported his musical career as a bartender, tour manager, karaoke host, Alaskan kayak guide and an assistant to The Killers. The son of famed gambler and poker player Rod Pardey, Ryan is no stranger to the casino floor ? at times even immersing himself in the family trade. Halloween Town's music can be seen to paint a portrait of a family ? and indeed, the city of Las Vegas itself ? in a perpetual state of struggle and triumph, and Zafra Ct. is a record that hopes to define Pardey, the Las Vegas son, in a poetic and honest way. Halloween Town may have the Las Vegas headliners lighting up the marquee of the album, but at its heart seems to be a broken Reno lounge act with a pocketful of chips and a story to tell.
at Royal Resort Hotel & Casino
99 Convention Centre Drive
Las Vegas, United States
from your own site.
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