We were blessed with 80-degree weather on Friday afternoon in Los Angeles. Fortunately, the scintillating conditions carried over into the evening hours. By 9pm, the punks began to congregate at downtown L.A.’s finest pirate-themed watering hole, The Redwood Bar & Grill, anxiously awaiting a stacked lineup of emerging talent.
First up was Squarecrow, a three-piece, straightforward power-pop / pop-punk band out of San Diego. At this point, people were still filing into the venue, and others were huddled around the back bar, conversing with one another, and securing their first round of drinks. As is the case with most openers, there wasn’t much of a reception. Generally speaking, I think they could have benefited from another guitar player. It would have really rounded out their sound. The trio ended abruptly with “Wayside,” which is actually a pretty catchy song. It’s featured on their self-released EP, B-Sides (2013).
RIYL: Banquets, American Hi-Fi, Jimmy Eat World
Next up was Murderland, a horror punk quintet from L.A. I had never heard of these guys, but I was thoroughly impressed with their performance. The riffs reminded me of Strung Out. The energy exuded by lead vocalist “Mike Murder” was reminiscent of Jim Lindberg (of Pennywise). As they moved through their 30-minute set, they delivered an authentic rendition of a genre defined by the Misfits, Samhain, and Blitzkid. Hey, it’s pretty cool when a band can attach an addictive melody to songs like “Hacksaw Romance,” “Die Screaming,” and “Fetus Eaters.” And of course, the second band of the night always has the best on-stage banter, or so they claimed. Indeed, Murderland might be on to something here.
Find Murderland on Spotify
RIYL: Misfits, Samhain, Blitzkid, Calabrese, AFI (Black Sails to Art of Drowning era)
After a quick sound check, The Bombpops graced us with their presence. Instantly, Jen Razavi and Poli Van Dam (who share the vocal duties) launched their trademark “call-and-response” format, and assured the crowd that – yes, girls can rock out, too (and quite effectively, I might add). The duo layers their songs with sweet “oohs” and “ahhs,” while simultaneously shredding on guitar. Paired with bassist Neil Wayne and drummer Josh Lewis, the pop-punk quartet wasted little time, delivering an array of crowd-pleasing anthems, such as “Outta Hand,” “Like I Care,” and “Grocery Store.” They played a handful of new songs that I didn’t recognize, and strategically placed the radio-ready “Can O’ Worms” (via the 2014 self-released 7”, Can Of Worms) towards the end of the set. Hailing from Oceanside, CA, The Bombpops have since relocated to the L.A. basin, and are primed for a serious run. Stay tuned, folks.
RIYL: The Queers, Teen Idols, Screeching Weasel, Descendents
The estrogen level was cranked up even further when Bad Cop / Bad Cop hit the stage. Stacey Dee (lead vocals / guitar), Jennie Cotterill (vocals / guitar), Rinh Re (bass/vocals), and Myra Gallarza (drums) provided the audience with an engaging set, peppered with an assortment of wonderfully catchy songs. Their execution was spot on, resulting in a very tight performance. In between the witty on-stage banter, the girls played highly contagious cuts like “Rodeo” and “My Life,” both derived from the Boss Lady EP (2014, Fat Wreck Chords). They also played a ton of new songs, which are slated to appear on a “new record,” which is due out “later this year” on Fat Wreck Chords.
RIYL: Enemy You, Good Riddance, Love Equals Death
Finally, it was time for The Shell Corporation. Unfortunately, the crowd had thinned out a bit by the time they took the stage. Lead singer Jan Drees wondered if they were actually the “headliner” or if they just had “the privilege to play last.” It’s a shame that more people didn’t stick around, because these dudes rock. Period. Regardless, Drees spent most of the set pacing back and forth between the stage and the audience, gesturing the crowd in a Greg Graffin-type fashion. Drees, Curtiss Lopez (guitar / vocals), Sean Moore (bass / vocals), and Jake Margolis (drums) were precisely on target. They ripped through a handful of songs (“The Death of Us,” “Maguire’s Plea,” “Appetite for Distraction,” “Trust Us”) from their latest release, Mandrake (2014, Paper and Plastick Records / Solidarity Recordings). Towards the end of the set, Drees vented some frustration with the world at large, sensing that “nobody is listening,” and “nothing ever changes,” and furthermore, this was his time to “bitch about the fact that nobody’s listening.” I couldn’t agree more.
RIYL: Bad Religion, Goldfinger, Banner Pilot, Red City Radio
As I exited the venue, I noticed the temperature had significantly dropped, probably into the low 60s. But I didn’t need a jacket. The community, the camaraderie, the comic relief, and the tunes ringing in my ears provided a nice blanket. Yeah, shows like this keep you warm for a long time.