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Perhaps more important than his musical talent is the rare ability to pull off a fedora without looking like a total chode

Perhaps more important than his musical talent is the rare ability to pull off a fedora without looking like a total chode

Lincoln Jesser has been making music for a few years now and has somehow managed to dodge the buzz cycle, though no fault of his own work. His latest track, “We’ll Be Fine” is an incredibly catchy indie electro pop jam (similarities to The Naked and Famous come to mind). It’s one of those sonic anti-depressants, anthemic reassurances that, you know, everything is gonna be OK. And that’s fine by us.

We'll let that whole Lakers shirt thing go this time

We’ll let that whole Lakers shirt thing go this time

Here’s a bangin’ pop jam to pump up your Friday afternoon. Louie Diller and Liz Nistico make up Holychild, an LA-based electro pop duo that manage to distinguish themselves from the endless ocean of ill-fated electro pop duos with an experimental edge and full-bodied sound. It’s almost as if Sleigh Bells had a better singer and wrote more enjoyable songs (ooooooh, BURN). Dig on this:

Who knew The Bronx could be so LA?

Who knew The Bronx could be so LA?

After a near 5 year hiatus of recorded material, with the mariachi fresh out of their system, LA’s The Bronx have returned with their fourth eponymous album. While lacking the precise technical execution of fellow heavy noise rockers Metz, The Bronx offer a blistering interpretation of hardcore punk that makes it clear they know how to play their damned instruments. It’s hard to not get caught up in the anthemic, dirty cacophony that stays true to it’s punk roots while toying with Guns N’ Roses-style cheap rock thrills. Oh, so is it a coincidence that former GNR guitarist Gilby Clarke helped produce their first demo in 2002? Probably not.

Los Angeles-based artists just love the whole "mysterious" thing

Los Angeles-based artists just love the whole “mysterious” thing

The argument about authenticity in music is one I often have with my nerdier audiophiles. Does authenticity in songwriting make for a better song? What does authenticity even mean? You could write a book about the subject, but like they say about porn – you may not be able to say exactly what it is, but you know it when you see it.

And in his case, authenticity screams through “Before I Ever Met You” by Banks. There’s a certain level of detail in songwriting that can’t be conjured up as a narrative (Keaton Henson comes to mind). Laying everything out on the table, Banks’ prelude to a heartbreak is nothing more than just trying to comprehend a situation than anything confessional or conclusive. It’s authentic – and when you add some dark, chugging trip-hop to push it through the fog you have a powerful song on your hands.

Ride or die chicks

Bring on the Haim! The LA-based trio of sisters made waves earlier this year with “Forever,” and are back with a new single. “Don’t Save Me” is a delicious pop jam with flavors of Fleetwood Mac and R&B that they’re so often compared to. I’ve expounded on them previously, and the Fleetwood Mac discussion really needs to wait until an LP drops, but… hot damn! Seriously that’s all I have to say this time. HOT. DIZZY. DAMN.

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