Fresh Sounds: Jared Valenzuela's "Sleepless Nights"

Winter seems to have just woken up and grabbed its coffee, and yet some are already anxious for summer to amble over once again (though The Heepers probably aren't among them). This seems to be the sentiment behind the new track "Sleepless Nights" from six-stringer Jared Valenzuela. A supporting member of his previous band Toma, which was a crowd favorite at the most recent Monrovia High Battle of the Bands, Valenzuela shows here that he is just as comfortable taking the spotlight alone, weaving layers of guitar into beautifully emotional soundscapes. His latest is a tender track that evokes a sense of nostalgia for the peace that follows a fun summer day spent at the beach. Much like the sound of waves that bookends it, the song has amazing soul-soothing powers. Together with Jee Wallis, this may be the start of a new era in Monrovia folk. Start applying your sunscreen now:



As always, we'll keep you up to date on any new developments.

Sounds From the Little World

As sad as it can be to have a good friend go well out of reach, it makes it that much more exciting when that friend sends you a bit of their craft. Such is the case with the little demo we received from Monrovia's own musical knight-errant, Jee Wallis. Jee's wild spirit brought him infamy among the town's more traditionally-minded (some would say "closed-minded" or, better yet, "boring") musicians, his music as well as his onstage persona being like a raging beast refusing to be tamed. While his abrasive music may have been an acquired taste, an intense feeling of satisfaction always awaited the listener at the end. That same infamous, wild spirit recently carried Jee away from home, to the misty mysteries of San Francisco. Whether it was to provide inspiration or a more like-minded audience, Frisco would be the perfect place for Jee to temper his craft. What we did not expect, however, was what he sent us only a month after his arrival. Jee Wallis' most recent demo, titled "Daly City",  sees a radical change in his approach. The gentle acoustic strumming heard here washes over the listener like the waves of a nearby beach. Though the emotions may be different, peacefulness replacing discontent, the intensity remains. That same satisfaction greets the listener, and will very well greet more than before due to the new, welcoming sound. We can't say just yet where Jee's music will go from here, but it will be sure to please. For now, take in the soothing sounds of San Fran:

Click here to download "Daly City"

We'll keep you updated on any and all of Jee Wallis' goings-on.

Post-Teens With HEEPS Of Talent

Summer is just about over, and that means it's time to start packing away the sunshine melodies and bring out the sad stuff. Luckily, a new band has just the thing to slap a wistful look on that sunburnt face. The Heepers, made up of guitarist/vocalist Ethan Felding, Jr., bassist Lenora "Lenny" Walker, and drummer Cameron Culan, weave tales of woe sure to leave you with bittersweet longing. This should not be a surprise considering the band's history, however. Legend has it that Felding decided to start his new project the very morning after a catastrophic Valentine's Day left him without either a girlfriend or a band. His frustration fueled a flurry of songwriting, and he began taking his fledgling songs to coffee shops to help regain his confidence. A month later, he was noticed by Lenny Walker and Cameron Culan, who were on their way back from a trip to Santa Cruz when they stopped at Sierra Madre's Bean Town - just in time to catch Felding's performance. After the show, the two approached Felding and asked whether he was looking for a world-class rhythm section. "Or you could settle for us," quipped Walker. Soon enough, The Heepers were rocking every house, coffee shop, and garage that could hope to contain them. As for the name, none of the members are sure what it means. "We had a brainstorming session that turned into us just saying random sounds," recalls Felding. "Then out of nowhere we were all just saying 'heep!' over and over again. We must have gone crazy for a second." We're pretty crazy about The Heepers right now, so we invited Ethan Felding, Jr. over to our studios to cut a single. The first song is a new one for those who have been keeping up with the band, "My Pall Malls," which Felding is still in the process of writing. It features Felding's signature haunted narrator, this time leaving his presumed lover under unknown circumstances. The B-side is a cover of Beat Happening's "I've Lost You" that works lyrically as a continuation of the story. Head on over to the Singles Series page and get ready for some depressing goodness.

Click here to go to the Singles Series page and listen to The Heepers

Be sure to keep a keen eye out for shows and recordings from The Heepers (they don't have any websites yet).

Our Own Little Music Fest

The Monrovia Renaissance is proud to present our very own (hopefully annual) summer art and music festival: Jam Time! Most festivals are ridiculously long, some taking up whole weekends, and can cost hundreds of dollars. The Jam Time musical extravaganza will compress all that fun and excitement into just a few golden hours and will only cost zeros of dollars! Wowee zowee! Jam Time 2011 will take place at the parking lot of El Rancho Meat & Provision in the heart of lovely Arcadia, California. The company's loading dock provides a perfect stage for the audience to catch our team of expert rockers and rollers summoning up some mad energy. The tentative line-up consists of the anthemic Mellow Maniac, the cryptic Sunscribe, the rowdy Death Valley Saints, and the electric Transpose. We'll also be showcasing the finest of art from local mavericks. This show is guaranteed to knock your mock doc's socks off or we will give you a full refund. Count on it!

Click here for the Jam Time 2011 Facebook event page

UPDATE: Unfortunately, the Death Valley Saints are unable to make it to the show. That doesn't mean you can't still check them out though! Our final line-up keeps Mellow Maniac, Sunscribe, and Transpose, and adds the soaring Savannah Van Band and the whoa-that's-actually-their-last-name Graves. As promised, there will also be several artists, as well as some live painting. That's where they paint something in front of you, not where they paint animals. Either way, if you miss out on this, we'll have Sam the Sham call you an L7. And no one wants that.

It Came From The Record Shop

When I walked into Family Affair Music, Monrovia's landmark record store, I had no idea of just how life-changing my trip would be. I was there on a mission: to find the legendary bootleg 7" of Grape Grape's first and only concert, which took place at the Library Park bandshell in 1995. Searching the shelves got me nowhere, but I had a very reliable source tell me the bootleg was here. I decided to go ask the Man if he knew anything about the record (though he would most likely refuse to tell me). The Man, however, had just seen something that made him quite upset. "Another one!" he yelled, waving a CD jewel case like it were some sort of cursed object. When I asked what the matter was, he gave me the story. It seems some person sneaks into the shop on a regular basis and places their homemade CDs in the counter's bargain box. Though the person comes in about every week, the Man is still unsure what they look like and only knows they arrived when he finds the disc. This certainly was strange, but I still did not understand why the Man would be so upset. Then he told me: "...And they are filled with the worst stuff imaginable! Not only is it crude, it's not even good!" As I'm also a regular at Family Affair (albeit a more conspicuous one), the Man knows that I write for a music blog and have previously reviewed albums for various magazines. This knowledge, added to his confidence in his opinion, led the Man to thrust the CD into my hands, asking me to write the bad review the strange character deserved in the hopes that he would see it and be shamed into quitting his trips to the shop. As much as I wanted to help my friend, I found myself unable to write poorly about the album for one simple reason: it's amazing. Yes, it may be a bit rough around the edges: it boasts no-fi production, and completely lacks any kind of rhythm, melody, or sense of cohesiveness, but this is the album's charm. The enigma behind these recordings is one Deeton Slater; no other details are given in the album booklet other than the track names (the rest is all cryptic doodling). The songs are fractured yet rambling, and downright spooky. Overall, they give the impression that Mr. Slater is on the verge of a mental breakdown. Yet it is undeniable that this man is a genius. In the hopes that Deeton Slater will overcome his fear of rejection and stand up for his music, two of his songs will become the next installment in the Monrovia Renaissance Singles Series. Far from the best Deeton Slater has to offer, these tracks were selected solely on commercial appeal. Listen to them here and let Mr. Slater know that despite some people not being able to understand his artistic approach now, there are those lovers of innovation that appreciate his efforts. Also, if anyone finds that bootleg 7" contact me at monroviaren@yahoo.com

WARNING: Deeton Slater's songs contain highly graphic content and strong language. Listener discretion is advised.

Click here to go to the Singles Series page and listen to Deeton Slater

For Your Listening Pleasure

And now, the most anticipated announcement of the summer: the official introduction of our Monrovia Renaissance Singles Series! You already trust the Renaissance to bring you the most timely and exclusive information on the hottest Monrovia bands, and though this makes for an impressive resume, we refuse to stop there. Click on the "Singles Series" link above to to listen to rare recordings you can find nowhere else. You can even download them to your portable music player and add our snazzy cover art. Be the envy of your gym, library, or hipster party! The Monrovia Renaissance Singles Series... it's the most!

Ex-Monrovia Band Seeks Female Vocalist

There's a saying in Santa Cruz, California that you can't leave without experiencing three things: the boardwalk, the falafel, and the frequent shows. Making its mark upon the latter is a band that got its chops here in Monrovia. Time Machine Modulus is the most wild and uncompromising group of young gentlemen ever to declare war upon the eardrums of the Monrovia masses, and their move up north almost three years ago has done nothing to assuage their aural assault. If anything it has made the trio - consisting of Jeff Stephens on guitar, Josh Smith on bass, and Todd Siefke on drums - more fierce and precise in their delivery. From destroying dreams at the Monrovia High School Battle of the Bands to flexing their musical muscles in the Santa Cruz house show circuit, Time Mod have certainly proven themselves, so much that they recently landed a show with Zechs Marquise, a band which features family members of the Mars Volta. This formidable resume does nothing if not place Time Machine Modulus as one of the most important founders of the Monrovia Renaissance movement as they continue to inspire this generation of the city's creative minds. Jeff Stephens returned to Monrovia this weekend for a short visit, and Monrovia Renaissance (the blog) had the extreme honor of being invited into his home for an interview. We were taken aback by the man's wisdom and commanding presence, and what follows is sure to go down in the annals of Monrovia history. Read carefully:

Monrovia Renaissance: How would you describe the feeling of your music?
Jeff Stephens: The feeling is like if you were on another planet and you discovered the equivalent of pomegranates. So the first one you’re just getting into the feeling, and the second one you’re realizing, like, “this is something.” And then the third and fourth one that you’re eating, you’re just kinda like, “this is a little overwhelming for my stomach.”
MR: How do you respond to recent criticisms that you’re merely jumping onto the bandwagon of the “freak funk” scene?
JS: Well, if there is such a thing, all I can say is: I light the candles for the death of whatever is freak funk. It doesn’t deserve to live.
MR: How do feel your band’s migration to Santa Cruz has affected its dynamics?
JS: We’ve been able to practice a lot and get real tight, and when you get real tight with a band you feel really comfortable playing shows and you feel great, and when you feel that great energy, everyone else can feel it too. When you feel it and everyone else can feel it and there’s just this energy there, and it’s developed, and it’s practiced, then it’s a great thing that everyone can feel. That’s what it’s really about, just providing a great feeling.
MR: When people ask you questions, do you get a big ego boost because you feel you’re important enough to be answering these questions?
JS: Oh, totally. Exactly. Even when I’m not being asked questions I imagine that I am and I think of the answers. I know I’m an important person, and my dogs, they’re important dogs. They have a very complicated relationship because one of them is the father of the other one. What I’ve been realizing now that I’m twenty years old is that your relationship with your father is very complicated because you’re a part of your father in a way. So when you’re looking at your father you’re looking at yourself, and I think about that with my dogs. It’s like, Murphy and Cody are the same dog almost. Almost. Like, really close. It’s really interesting to watch them play. One is the father of the other, so it’s a really fascinating relationship to observe and I think about it a lot and it influences my music.
MR: What do you feel is the next step in Time Machine Modulus’ career?
JS: We definitely need to record an album, we need to record something and put it out there, and we need to go play a few more towns. We need to make albums and we need to play shows, that’s all there is to do. And grow as people, because if we grow as people we will grow as a band.
MR: Are there any questions that you would like to ask yourself?
JS: I want to know if I think my weight is important. So I guess my answer to that is, I guess it depends on if my weight is affecting how I feel when I play music. And lately it hasn’t, so I guess my answer is no. Also, I’d like to know if I’ll ever be able to play to an audience of elephants, and that’s an answer that I wouldn’t be able to give you at this point in time. At some point I’ll be able to answer you. If I’m seventy and I haven’t yet played for an audience of elephants, then I’ll probably be like, “you know what, I don’t think it’s going to happen.” But at this point it’s completely up in the air. Also, lions are beautiful.
MR: What gets you into the mood to create?
JS: Let’s see… It’s usually just me being like, “fuck, what did I do today? I gotta do something.” And then I look at the guitar and I don’t think, it’s just like, “where do I want to put my hand right now?” I put my hand there, and I start and just let this natural brain process take over.
MR: Would you say you enter a trance?
JS: I would say yes. It’s like one moment you’re not doing shit and the next thing you know you have a piece of music on you and you’re like, “whoa, this just happened, I don’t know exactly how it happened, but I remember every moment, but I don’t remember exactly how these moments came to be, and why it ended up with this weird little thing that I now possess and that I can present to the world, or at least to myself.”
MR: How do you feel the Santa Cruz music scene compares to the Monrovia Renaissance?
JS: I feel like if we get a renaissance here, maybe we’re on a good path. Before I left Monrovia, the music scene was lacking completely. There was very little here. I loved [Monrovia High School legends] The Illuminati. They were one of my favorite local bands. They were solid guys, they were some of my favorite people from Monrovia. Other than that, the Monrovia music scene was nothing. It was nothing. Then I went to Santa Cruz and I discovered all these really solid local bands and I was like, “this is awesome!” I’d never known what it was like to go to a show and see some solid groups play some really together music. So I’m really optimistic about the Monrovia Renaissance, I think some great things are going to come out of it. Hopefully it gets to a point equivalent to what I think we have in Santa Cruz, just a lot of diverse groups, lots of different types of music, but all really solid, all really tight, and down to play some shows and support each other.
MR: Aren’t there a lot of sexist groups in Santa Cruz? I haven’t seen any bands with girls in them.
JS: That’s the thing too, there need to be more female musicians. If any females read this interview and care about music, they should realize that they need to be playing music because everyone should be playing music, especially females because they have this strange grace to them that I can’t describe.
MR: Would you be open to a female singer in Time Machine Modulus?
JS: Yeah, whatever works, whatever makes the puzzles fit together.
MR: What’s your favorite puzzle?
JS: I don’t like puzzles. You have to work on them for a long time and all you have at the end of the day is a picture that you already saw on the box. If you want to create your own puzzle, that’s something else. Something beautiful.
MR: What other creative outputs do you have in addition to the guitar?
JS: I write really bad poetry, and I think about movies but have yet to write any scripts. I’m working on that. I draw sometimes, but I’m really bad at that. Drawing is really hard. Also, everyday life is kind of a creative output. This sounds stupid and pretentious, but every moment can be used to create something beautiful. How you handle any sort of situation can be creative. Just think about, “what do I wanna see?” and use your will to create that. Or at least try. You won’t always succeed, but you always have to try.
MR: Are there any last thoughts that you would like to leave our readers with?
JS: Sometimes I’m really convinced that there’s this path I’m on that’s going to lead somewhere quite significant because I feel like at this point I’ve already had some really wonderful experiences with Time Machine Modulus, things that I never could’ve dreamed of, but dreams come true. If you have a dream, then say, “you know what? I want this to come true. I’m going to do everything in my power to make it come true.” Life kind of unfolds before you and you’ve gotta be aware, attentive, disciplined, and when there’s an opportunity you’ve gotta attack. There’s a very natural phenomenon, a violent nature of attacking, but being conscious of not wanting to hurt anybody. Just wanting to create a loving environment, a peaceful environment, but just a fucking crazy-ass, exciting environment. It’s exciting but [at the same time] not harmful. It may be harmful to the ears, but at the end of the day they’re just ears, they’re just weird little appendages that we have. Hearing is an important sense though, so maybe Time Machine Modulus is not the best thing for people, especially not kids, because at the end of the day, I know when I’m forty years old I’m going to be deaf. At the same time, I could be dead by then.

Check out the band's myspace as well as their bandcamp page for a few tantalizing tracks (Secret Trees remains my personal favorite) and be sure to add them on facebook to get updates on all their explosive shows.

Delicious New Fancy Guppy

This week saw the release of a white-hot track off of Fancy Guppy's new EP With Soul and Vile. The song is called "Brunch" and showcases the mysterious group in fine form. For those unfortunate enough not to have seen this electro-orchestra's wild performances, this track serves as a perfect introduction. With its stuttering space-bass opening giving way to a thudding world percussion stomp, and its pulsating electronic climax all backed by B-movie accents, "Brunch" is a thrilling adventure all under three minutes. Be sure to look out for With Soul and Vile this fall via Fancy Guppy's label Public Records. In the meantime, treat yourself to some pain-free living:

Click here to download "Brunch"

The Beginning

For years now, an impressive cultural movement has exploded in the small Southern California city of Monrovia without recognition. Until now.

Monrovia's daring artistic revolution can no longer be kept a secret. An immense amount of creative energy is contained within the city's many marvelous musical acts, each of them pouring their very souls into their well-tempered craft. Now it is a crucial moment in history. Now it is time for the musical juggernaut to be unleashed upon the world. Now it is time for the Monrovia Renaissance.

We are committed to delivering nothing but the latest and greatest in pure electricity direct to your eardrums. Stay tuned as we delve into the musical history of the future. Join the Renaissance.