biKos : –MuSIc 4 yOuR pOst mOdErn HEaRT–


I wonder if the Czech 5 year-old who sent an email to his uncle, carefully scribing his english into phonetics, really understood his eponymous action. That earnest phonetic declaration would eventually come to name one of the best post modern bands in Los Angeles.

Gabe Pearlman’s nephew closed his email that night, “bikos i love you” instead of the intended ‘because I love you.’ It was that innocent and earnest declaration, that stuck with Pearlman for seven or so years and it was the word, “bikos” that would later be the clear choice when he was tasked with naming his newfound art-audio ensemble.

Pearlman, from Culver City with it’s duality of green lawned homes and famous arts district, was a self-described athlete. In the late nineties, he went to a particular rock show. “It wasn’t just any rock show, it was Elliott Smith”. As Gabe says, “words can’t describe how I felt after seeing that show.” Gabe knew he wanted to play guitar. Hearing Portland’s Quasi only further fueled him.

Nurtured in an environment of music, where his mother wrote finely crafted songs on piano, that could only be described as ‘mystical,’ Gabe’s mother inadvertently extolled the theoretical value of the structure of songs, and immersed him in language, it’s context, even the lyrical sound of words themselves. Later, taken with the allegorical quality of Joanna Newsom’s lyrics and the unmistakeable polyrthymic quality of her music, Gabe learned to play guitar and kept adding to a book of collected poetry. His first explorations into voice training found him signed up for a class “…with a bunch of middle school girls who sang in musicals..” Gabe says with a laugh, ” …but I learned a lot, I sang a Rufus Wainwright song for my first recital”

What happened next could only be called a organic machination with a decidedly serendipitous outcome. Over the years, Gabe continued playing and writing; and as he looked around, he noticed that he shared a similar musical taste with some of his best friends. Gabe had met Austin Wester, Jaron Halmy, at the “Culver-Palms Family YMCA Youth & Government program and Daniel Hur had been a high school friend. The tinkering began, and soon the guys were jamming. The next stage in the lineup was found at a mutual friend’s party. Gabe had heard Dave Jones play and worked up the nerve to ask him to join Bikos. A veteran of L.A. Punk, Dave originally carried the bass duties with the illustrious Magnolia Thunderpussy, and later played with El Vez, Josh Haden, That Dog, and Carnage Asada, (whom he still plays with today). Mustering the nerve Gabe asked Dave to join bikos, and Dave jumped at the chance. In a weird turn, it was later found that Dave, who is a bit older than the others, had been a ‘babysitter’ for some of Austin’s friends when they were young; taking them to Jawbreaker shows and the like.

bikos moved from jamming in Gabe’s room to Dave’s garage playing against a backdrop of black flag, husker du, and saccharine trust posters. Soon the space was filled people, found art, strings of pearl lights, the smattering album covers pinned to the walls and ceilings. A homage to the band’s favorite sounds, and letters. Dave played bass, Daniel growled on lead guitar, Austin pounded the drums, Jaron tapped on the keys, while Gabe sang. A summer conference saw a friendship with Michaella (Miki) Burton and during an ad hoc audition during some down time at the conference, Gabe invited Miki to sing for the voice of “Carmen” in a song the band penned called, “Waldo and Carmen Sandiego”… after working on that song with Miki and hearing Miki’s playful yet mysterious voice, the band implored “well? is she in the band??” the answer was clear, her voice belonged.

The true bikos sound is a handmade occurrence, nothing forced, a post- modern-punk inspired sound that is in love with love, dying to be touched. It uses words, in and out of context, double entendres and signature bikos’ solid songwriting. The wordplay and energy wears an earnest nod to Saul Williams, Aceyalone and wears some of it’s hip hop alliteration on it’s sleeve. Vocally, Pearlman’s voice is playful, manic and yet welcoming with a histrionic quality that only serves to intrigue the listener. The music recalls David Byrne, Pere Ubu, Modest Mouse and Neutral Milk Hotel, to name a few. The Pearlman /Burton unique vocal entanglement gives cause to wonder if the bikos sound wasn’t what the The Brazilian Girls’ were really aiming for after all!

The first record, “Make your Sound Sound” (released in November of 2011) was mixed by Dean Nelson, known for his work with Beck, Charlotte Gainsbourg, Stephen Malkmus and the Jicks, Thurston Moore, amongst others, was completed with a successful Kickstarter project. It extols a diverse roster of songs ranging from the staccato post punk rant “You Want it” to “Silhouette Vase” a smartly written punk song that opens with shades of a jangly Cure song and closes with an unexpected punk vibe.

The Second record an E.P., entitled “Let Down Your Avant Garde” was released on April 3rd of 2012 and carries on that eclectic spirited word play. It is a more focused effort with songwriting that seems more confident, punchy and honed. It includes songs such as post punk anthem

“Y3k which includes a punchy post punk rant and Burton’s perfectly layered vocals.

“…too late to round down.
no documents of stay.
the new fate, its coming ’round. yet I’m still in a haze…
“…In 999 we were neighboring carnations but I gave up before the calendar year
It was much the same for y2k
broke it off fearing the end was near…”
“…what are we gonna do in 2012?
It’s said the world, world, world won’t make it through What are we gonna do in y3k,
if I can’t see my time turns into you?”

Ultimately a deftly written and inquisitive diatribe into the uncertainty of our modern times.

“Disobey The Wand” is a serotonin enhancer effortlessly swinging through several time changes with Pearlman and Burton crooning in tandem, “Yours is my favorite face, Your lips are my favorite taste, your body’s my favorite place, it’s silhouette my favorite trace.”

Songs like, “Fun, Fun, Fun at the MJT (Museum of Jurassic Technology) present a melodious ode to stumbling on love and actually “getting it right.”

“Waldo and Carmen Sandiego” is a tongue in cheek, clearly impossible love-rock duet between the two well known kids characters.
A comedic yet longingly human exchange.

See bikos live they’re fresh from recording their second full length record with Dean Nelson and the first record and E.P. are still available.

bikos live is more fun than watching L.A. hipsters eat hybrid “Pizza-Salads” amidst Melodious Vintage electronica, which by the way, is apparently a super common things to do in L.A. these days…

So Raise your serotonin levels with bikos’ post-modern musical idiosyncracy. It’s the sound of vulnerability, the longing for joy and connection, and…Oh yes…a bit of a glockenspiel.

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WE WERE PROMISED JETPACKS (Guided by quiet little loud voices)


All The Seasons in one day…

Scotland is Smarmy green hues of all sorts, Quiet crescendos of fog, loud angst filled rain, and a  legendary music scene. Consider,  The Blue Nile, Altered Images, Belle and Sebastian, Orange Juice!, Soup Dragons, Del Amitri, Franz Ferdinand, Trashcan Sinatras, Midge Ure, The Jesus and Mary Chain, Simple Minds, Aztec Camera. I don’t think I need to go further.  What’s more is that it’s scene is still churning out New and amazing music. The boys from “We were promised jetpacks” consider the influence of contemporaries like  The Twilight Sad, Frightened Rabbit, and biffy Clyro to name a few.    Personally I hear, Mogwai, Radiohead, and some vaguely familiar progressions a la Franz Ferdinand.  But what is art if we are not affected by it?  How can we utilize art if we do not digest it, be changed by it and create more of it after this process?  It is natural and it is the progression of things, and it is why we create art.

While Adam Thompson vocalizes and strums rhythm guitar,  Michael Palmer yanks the main guitar, Sean Smith generally throbs and changes up  the emotive hues of sound on bass,   Darren Lackie fills the room with the wondrous thunder of  drums.  The band’s debut album, These Four Walls, was released in June of ’09 on Fat Cat Records based in Brighton UK.

Edinburgh fostered WWPJ back 2003.  The  ‘battle of the bands’ competition at the quartet’s local high school, thought to be a charming tale is actually true, the show was taken by We were promised Jetpacks and rightfully so.

The band moved to Glasgow and started playing gigs in more upstanding venues but were underage in Edinburgh.  In September 2008, the band supported Frightened Rabbit during their tour for The Midnight Organ Fight.   Recently Gaining steam in the U.S.  WWPJ toured the United States, with support from Cincinnati-based band “Bad Veins” whom themselves are creating a torrent of musical news with their painterly intros, and the huge emotive vocalizations of one Benjamin Davis. Recently ‘We were promised’  decided to release  “Quiet Little Voices’  on FatCat of course….  that song seemed like the obvious choice.   it’s their oldest song, and it’s amazingly catchy.  The band tenuously adds  ‘Some radio stations have already started playing the demo’.

Making sure to finish their college exams, WWPJ will soon be giving it a go on  summer festivals in the UK, and heralding the arrival of  their new record.  These ‘not-so- quiet-little-voices’ stand to make a loud clamber over the next year, and they are voices not to be missed.

-Chrissylong

How to make a Mars Volta – Recipe for a rainy day.


Take one part Steve Wynn Dream Syndicate guitar, 2 parts Raspberry puree, one part voice of emotive  the love child of Serj Tankian and Tommy Shaw (find it in the  alt / prog rock section of your local Trader’s preferably the one in Glendale,) dust lightly with some finely ground Mothers of Invention, and finally add a pinch “Exploding Plastic Inevitable”.   Mix well.  Add two teaspoons John Fruisciante  into the mixture and boil down to a nice reduction.  Let cool, add two drops of alt / prog / Roger Waters and whip to a slight screamo (wait until you see peaks).   Mix some  Thurston Moore (be sure not to use any Kim Gordon though) pour into  a  9×12 ungreased pan and set aside.  Now, prepare your oven.  setting it to “burn / sizzle and pop” and trip out on the fog that forms inside.  Put the visceral confection in the oven at 425 for 30 minutes.  Soon the concoction will ignite and send sparks in all directions!  What you have here is a creation that will burn your hands but… you won’t be able to move away!!  Pour this eclectic, yummy paroxysm into your limited edition “Nick Cave” serving plate and enjoy!  Feel the sweet burn as each bite of this prodidgeous culinary course goes down.  Aint it kinda beautiful?

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Band Spotlight: The InFlight Nymphs: Chords don’t lie.


At the time they had two albums,  Three girls,  and a foreshadowning of a great band down the line.   Fresno California singer-songwriter Jessica Taylor began her organic career, chaneneling a smoky Joan Baez  by way of a post “Horses” Patty Smith.  While alternately pounding her piano and plucking her guitar, Taylor hit the clubs in 2001.   Interspersing her compositions with Deanna Pierro’s smoky Neneh Cherry-esque  mini-slam verse.   Pierro, though co-conspirator on several songs, soon went on to other projects.  The brooding trip-hop-spoken-word dalliances were lifted out of the bands’ master plan and traded in for the beefed up sound of Janell Brown’s bass.  Audrey Johnson was soon added on drums eventually being known for banging out organic, thick and desperate beats. The Nymphs have an organic sound from the past and represent like a pure and simple powerhouse.  Think Femme Black Keys with an Ani Difranco square of carpet on the linoleum floor.  Okay maybe they would argue that.  But you get the idea.  Hey! you can’t pigeon-hole The Nymphs, but I’m sure I’m not the first to try.  In order to put a “sound” in someone’s mind, (in order to get them to decide whether to go see the band – based on words), you’ve gotta do it.    In reality, there just  isn’t any place to corral them!  Built Tough and real, no lip-schtick needed here.  The Nymphs are pure poetic angst without a bone of pretension to be found.  Real music, Yep.  Fresno?  No. Wait. Really?  yep!….Central California?  Like the place that started out as a sandy / loamy desert?  Yup. Congregations from Fresno Churches at the turn of the century dug the first canals to bring water to the fields.  An African American man and his wife planted the first grapes, giving rise to the areas precious Thompson Seedless variety.  Plenty of people know what it’s like to back down, but the town of Fresno just doesn’t  do it.  How do you turn a desert into the fertile crescent of California?  With hard work.  These folks are   California’s keepers of all the feeding flora.  Inflight Nymphs, are becoming the  “raconteurs du jour”  of the “fresno sound”  Now there’s a real reason to be excited about Northern / Central California’s music scene:  Fres-NO, is slowly becoming, “Fres-YES.   Okay, it’s true that Fresno’s the only town in Cali with air that you can ACTUALLY SMELL!   and whose city government is so brutally out of touch that that when deciding what acts should be put on the coveted  G/L for “special events,”   they actually chose Andre Bocelli to ring in the arrival of the new “Save-Mart”!!!)  At any given moment, The Inflight Nymphs are somewhere between Fresno and San Francisco  and occasionally tripping on over  to La La Land. Right now they are probably sitting at one of their favorite “Fres-no-torious” dives comfy  in  low rise jeans, stringy hair, and Sticky Fingers T-shirt, hashing out another song list for a show.  Gotta plan it, make it right, make it rock. These things matter, Cuz hips may lie, but chords don’t.

P.S. if you didn’t get to Fresno to Andie’s you probably missed The Nymphs again.  Go to “www.inflightnymphs.com for future dates.

As soon as I get MP3 links, I’ll load as many songs as I can. Until then…

Cheers!   ChrissylongPicture 78

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