Kevin Devine - "11-17" May 13, 2011 little-videos.com Aaron and I met up with Kevin and Morgan at Rob Schnapf's studio in Eagle Rock, where Kevin was mixing his new record while in LA for the month, on the morning of Friday the 13th. Sure, it seems kind of silly for me to be rolling into one of the nicer studios in Los Angeles with a couple okay mic's and plugging in my laptop to record a band, but we really wanted to do this session while Kevin was in town and it seemed like a good use of the studio while Rob was in the other room mixing (although, I think Rob might have been kind of annoyed at the whole situation, but he was a good sport about it). It was actually a surprisingly slow moving setup (for only two people), or not so much slow, as "leisurely paced" (there was a lot of sitting around outside, chatting, mexican food, red vines, coffee, Mark Chalecki came over to hang out for a bit). Morgan and Kevin met this past year at SXSW, and had sort of instantly hit it off (not surprisingly as two insanely talented musicians, but also two of the nicest, cheerful, easygoing people ever). So when Kevin came out to the West Coast (to finish his album and play a few shows), and couldn't bring his band out with him, he asked Morgan if she'd sit in on a few intimate acoustic shows with him, which of course, worked out splendidly. If you were lucky enough to catch one of his weekly residencies at Hotel Cafe, you can attest to the dynamic energy of the nights (and the rare <b>...</b>

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Avi Buffalo - "Summer Cum" little-videos.com July 6, 2009 Avi and I met up on a fairly overcast Monday afternoon in early July, the kind of day where the marine layer just sits with a certain stillness. I wasn't exactly sure what to expect when I showed up, whether it would be the full band, or just Avi acoustic (all the music and words are his, but it isn't your typical singer-songwriter fare). What I got wasn't really either. It was at his parents' house, nestled somewhere in a quiet and invisible patch of suburban Long Beach. Maybe more unassuming than the home itself was Avi; shaved head, all smiles, wearing a bright blue long sleeve UCLA shirt and torn black jeans. He said he'd thought he might play a few songs with his electric through an amp, and maybe do one acoustic song. I have to admit I was a bit incredulous at how this would work with just him, but that was proven wrong the moment he started. Avi's music has a sort of magnetism to it that keeps pulling you further in. The careful imagery, delivery and intricate musicianship that, even with just his guitar and voice, is layered with such depth that it begs for further listening. Sidebar: Of course the first thing anyone tends to mention when talking about Avi Buffalo is their age. I was completely oblivious of this (that he had literally just graduated high school a week or so before), even when I showed up at his parents' house and he played in the room he grew up in; after all, I know plenty of musicians who <b>...</b>

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Touché - "Bad Dreams" (live) July 6, 2011 We met up at Bram's house on a Wednesday night in Eagle Rock. Alex and I had talked a handful of times a few months before about getting together for an Obi Best session, but sadly nothing ever ended up happening. So of course I was super excited when she hit me up about her newest project, Touché, especially after hearing it was a collaboration with Bram Inscore (who's killed it in a number of bands including Obi Best, Willoughby, Beck). All in all it was a pretty laid-back one off. Bram made some coffee, and we leisurely made our way to their garage / studio, moved some lamps around (the original idea was to maybe try flashlights to go with the "bad dreams" moniker, but that didn't pan out). Musically, it's sort of the perfect blend of analog and electronic (even more so at their live shows with a drummer). It's pretty badass to see an electronic group tracking with a Neumann and an actual B3. Add to that the duo's melodic pop sensibility and keen ear for harmonies, and the result is needless to say, quite promising. I'm pretty certain we'll be seeing a lot of these two as the project continues to take shape, and for good reason. Find out more at www.touchela.com The original idea was to also do an Obi Best tune on their white grand piano. Unfortunately that didn't end up really working out... next time. Sound Bram Inscore Camera: Elliot Glass All Rights Reserved.

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Salt Petal - "Hot Days" (live) October 13, 2011 little-videos.com We met up at a friend of theirs house out in Eagle Rock on a Thursday night, tucked in an unassuming cul de sac not far off York. It was quite charming and cozy, but of course a bit cramped with a full five piece band, instruments, amps, and two cameras. Everyone was in graciously good spirits (if you've ever met any of these folks, you'd know they're just about the nicest people ever), and on top of that they'd brought this amazing spread of Salvadorian food, beer, various juices. It was kind of incredible. Going back to finally post this session, it dawned on me how strangely significant a seemingly inconspicuous Thursday night at the Redwood Bar last year ended up being. Put together by Warren (friend of many out here in LA, now in NY), it was a bit eclectic of a bill, including my own band, recent video alums The Driftwood Singers, LA newcomers Sue Scrofa, and Salt Petal closing out the night. A bit of an incestuous relationship in a way can actually be traced back to that night with Sue Scrofa, who we've shared a number of bills with since, and Tom (our keyboardists') other band, Saint Sea Hat, similarly -- not to mention Alyssa has since joined our mutual friends Letting Up Despite Great Faults (of course Mike was also there / met her that "fateful" night). That's probably a tad confusing or at least off-topic if you don't know all aforementioned parties. But the other amazing thing to come from that <b>...</b>

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Ema and Her Lady Parts - "Heavenly Bodies" (live) little-videos.com July 9, 2011 We met up with Ema and her hilariously named band of ladies (although I'm sure not many would argue that her previous band "The Ghosts" was, if not a cooler, at least a more easily digestible moniker), at Mary and Eli's house in Eagle Rock on a Saturday morning (before it started getting too hot). There were snacks. It was laid back (obviously). We hung out in the garage, they played a couple tunes, and then we discussed what Mary and Eli were going to call their latest project (which, for those wondering, they went with "Dawn of Sequins." Epic.). I actually had talked to Ema a couple years back about doing an Ema and the Ghosts session, though nothing ever happened with that. But she's still at it, writing great songs with unique arrangements (no, not your typical instrumentation) and honing in that winsome voice. Backed now by a few great players (and familiar LA faces), we can only hope to see these ladies out more frequently. Find out more at www.facebook.com Camera: Dave Smallen & Elliot Glass Sound: Elliot Glass All Rights Reserved.

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Count Fleet - "Aside #1" January 16, 2011 little-videos.com It was a Sunday afternoon when Dave and Aaron came over to my place to help film this. I had only very recently acquired the upright in the corner (a hundred year old Baldwin that we moved extremely slowly and carefully from Panorama City to Echo Park via city streets, which surprisingly didn't destroy its tuning too terribly). Thankfully we also have amazing neighbors in our building that didn't complain about the excessive noise for the middle of the day on a Sunday (but really who would complain about such wonderful sounds?). Typically I'd write something here about why or what I enjoy about the particular band being filmed, maybe throw in what I hope to be an amusing anecdote or reference a similar band, but in this case that seems a bit incestuous (and this already feels like too much shameless self promotion). So maybe I'll leave that part to the few folks that actual read these little blurbs to comment on youtube. Anyway, hope you enjoy the songs. We played four songs that day (including one acoustic version of a usually full number, and a newbie, "Stay Here," that will be part of a 7" follow up to our EP). Extra special thanks to Aaron and Dave for helping behind the camera -- it was a bit odd not seeing what I was going to get, but they are both amazing. Find out more about Count Fleet at count-fleet.com Camera: Dave Smallen & Aaron Davidson Sound: Elliot Glass All Rights Reserved.

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Miniature Soap - "No More Room" (live) September 24, 2011 little-videos.com We met up with Kelli and the gang at Raymond's house on a Saturday morning. Kelli had recently finished working on her latest album (which she did with Raymond, Franck, Jordan, and a few other fine folks over at the Rancho Park studio-extraordinaire, Red Rockets Glare). We'd been talking about doing a session for a while, but she was leaning towards doing something with a bit more of a full band in line with the recordings, so arranging schedules etc made things complicated (versus previous Miniature Soap live incarnations which would tend to be just Kelli and an ukelele or acoustic guitar). Turns out getting together was the hardest part, since once we were all in the same room they breezed right through these three songs (one was said solo acoustic). It was also made especially easy for myself, since Raymond was doing the recording / mixing. Although musically tending more towards straightforward indie pop, there's something a bit reminiscent of Annie Clark under Kelli's vocal delivery and endearingly charming poetry, which at any moment may shift from sincere to sarcastic, hopeful to dark and even a bit disturbing. She's a gifted storyteller; the words are always center stage as they deftly weave between immediately hummable and catchy refrains. Check out Miniature Soap's latest album (released in three miniature segments), at miniaturesoap.bandcamp.com Camera: Dave Smallen & Elliot Glass <b>...</b>

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The Damselles & The TC4 - "More Than Just Friends" (live) October 3, 2011 little-videos.com It was a Monday evening in Echo Park when we met up with the ladies and gents of The Damselles & The TC4 at Dave's house (which turns out to be another one of those what-a-pain-it-must-have-been-to-get-that-piano-up-the-number-of-narrow-stairs-on-a-hill-craftsman-houses). Once we dragged all our stuff up there, it was a pretty leisurely setup and shoot (there was pizza and beer and a pretty general lack of hurriedness), as they made their way through five tunes. First and foremost it's pretty apparent that these guys are having a blast doing this, and for good reason. I mean, it's pretty hard to resist that fun-loving, infectiously catchy 60's girl-group pop, and they do it quite well (the band is made up of some very talented familiar LA players). But they also manage to bring a touch of modern character to the songs to keep it relevant (jealous lovers going through cell phones, worry over whether or not that special someone will email you). All in all it makes for a pretty great time. Find them at www.facebook.com Camera: Dave Smallen & Elliot Glass Sound: Elliot Glass All Rights Reserved

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The Stevenson Ranch Davidians - "Time Is Going By" little-videos.com June 6, 2010 I made the trek out to Stevenson Ranch to meet up with the Davidians one rather hot Sunday afternoon, far beyond any sense of urban infill, out deep into the belly of sprawling fast food chains and KB tract developments -- although it actually isn't that long time-wise from LA proper, it certainly feels like it's in the middle of nowhere (unless you're the type that considers Six Flags "somewhere"). It was the kind of dry inland heat that's best served in well insulated, air conditioned boxes. I made my way through a series of cutely Spanish-named streets, lined with identical pseudo-Mediterranean homes, until I eventually reached Bryan's house at the end of a well-manicured cul-de-sac (now, I live in a tiny run-down apartment that was probably built in the late sixties on the cheap, and that was also probably the last time anyone gave any thought to its general upkeep -- that being said, I can't really condemn the obvious merits of suburban living). Upstairs at the end of the hall was a room that came straight out of every indie-audio-nerd's dream; classic guitars lining the walls, any number of exotic percussive toys, vintage amps, organs, microphones, preamps, you-name-it -- and every inch of wallspace and open shelving stacked with a lifetime's collection of amazing memorabilia. The gang was already setup in there, kicking back and enjoying a few beers. It hadn't really felt like summer <b>...</b>

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Avi Buffalo - "Jessica" little-videos.com July 6, 2009 Avi and I met up on a fairly overcast Monday afternoon in early July, the kind of day where the marine layer just sits with a certain stillness. I wasn't exactly sure what to expect when I showed up, whether it would be the full band, or just Avi acoustic (all the music and words are his, but it isn't your typical singer-songwriter fare). What I got wasn't really either. It was at his parents' house, nestled somewhere in a quiet and invisible patch of suburban Long Beach. Maybe more unassuming than the home itself was Avi; shaved head, all smiles, wearing a bright blue long sleeve UCLA shirt and torn black jeans. He said he'd thought he might play a few songs with his electric through an amp, and maybe do one acoustic song. I have to admit I was a bit incredulous at how this would work with just him, but that was proven wrong the moment he started. Avi's music has a sort of magnetism to it that keeps pulling you further in. The careful imagery, delivery and intricate musicianship that, even with just his guitar and voice, is layered with such depth that it begs for further listening. Sidebar: Of course the first thing anyone tends to mention when talking about Avi Buffalo is their age. I was completely oblivious of this (that he had literally just graduated high school a week or so before), even when I showed up at his parents' house and he played in the room he grew up in; after all, I know plenty of musicians who <b>...</b>

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Cuckoo Chaos - "Just Ride It" (live session) little-videos.com Hot off a buzzy tour with Anna Calvi and some blog-y love for their single, the boys from Cuckoo Chaos came through town for a quick one-off at The Californian's Monday night Satellite Residency. We met up at Downtown Rehearsal, they rolled up all crammed in one surprisingly small van (for having gear, five members and two groupies to boot). Needless to say it was brutally hot outside, and thus even more so inside, but everyone was in generally chipper spirits (and being from San Diego, dressed appropriately for the weather -- ie, this would have been a bad day to film a band whose thing was wearing three piece suits or pea-coats). Turns out these guys are just about the nicest dudes ever, not to mention they can churn out dance-y pop numbers with catchy harmonies and three-part guitar hooks like it's their job (oh, wait maybe it is their job). Definitely looking forward to the album, which rumor has it will be out in September on Lefse. Find our more at cuckoochaos.com Camera & Sound: Elliot Glass All Rights Reserved

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Frankel - "Comfortable" little-videos.com July 9, 2009 At a small house, somewhat tucked away in the trees and hillside, at the very end of one of the winding roads up behind the reservoir, I met up with Frankel, the musical pseudonym for Michael Orendy's songwriting. It was getting on to a point in the evening where the low sun drenched the living room and stretched the shadows, but the heat still lingered. There was an upright in the corner and a couple acoustic guitars and no real plan, except to play a few songs off his new album, Anonymity is the New Fame, released by Autumn Tone Records two weeks earlier. He sat down with a guitar, started tinkering out a little folky blues song called "Weary Mind," gently meandering its way into the opening, "Sometimes, I don't want to be myself at all," and suddenly you're hooked, following the imagery soaked storytelling as it swims between comfort and uneasiness, disillusion and acceptance. His voice is magnetic, but it's the deliberate, careful delivery that makes these songs so immediate and enthralling. Frankel gets the award for favorite home so far, although I'm a bit biased towards most things mid-century modern. He played three songs that day, all on guitar. Stripped away from the instrumentation of the album, to the heart of the songwriting, there's an endearing soulfulness and introspection that you can't help but be drawn to. Find out more about Frankel at: www.myspace.com/frankel Camera: Elliot Glass Sound: Elliot <b>...</b>

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The Blank Tapes - "Long Ago" little-videos.com April 19, 2009 Following Matt Adams down the setback of the Santa Cruz home his latest band-mates inhabit, past the overgrown ivy and salt bleached wooden fences, just a stone's throw from the beach and the bustling college town, you can't help but feel a bit transported. Fitting I suppose for a session with The Blank Tapes, Adams' musical alter-ego whose seemingly bottomless catalog of catchy hooks and head-bobbing sing-alongs always carries a bit of nostalgia. Fifteen minutes earlier we were at the Saturn Cafe, where the boys all shared in an ice cream sundae. They had just finished up a morning recording session for Steve Winchell's band, An Unconscious Collective. Matt plays guitar in Steve's band, and Steve plays bass in Matt's. They play in other friends' bands, too. It's kind of like a co-op of musicians helping each other out. Today, for The Blank Tapes, there was also Spencer Grossman on percussion and Aslan Rife (honey.moon.tree.) playing keyboard and melodica. It was one of those perfect sun-drenched California afternoons, that growing up here you might take for granted. They played four songs, three from the 2007, fittingly titled "Daydreams" album, and starting off with a new track called "I'm Back," which will be on their new album due out later this year. Kicking back on a bed in the backyard of their house (yes, an actual bed that someone actually sleeps on), in the dappled shade, with the distant chirping of <b>...</b>

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White Sea - "Mountaineer" little-videos.com March 6, 2011 It was late on a Sunday afternoon when Aaron and I had the pleasure of meeting up with Morgan, Amy, Ray, and the two Jon's out in Silver Lake. It was certainly "cozy" in the living room, but that may have been a result of cramming in seven people (five band members and two cameras), drums, amps, guitars, furniture, oh and not to mention the wide array of other instruments and recording gear not being used that day (hmm, some of this stuff in the background looks familiar). The first thing that is immediately apparent about this group, aside from the fact that they are all super talented musicians, is that they're all having fun with the music. So much fun in fact, it almost makes you feel like everyone else around here is being too damn serious all the time. Not to take the emphasis away from their music, which is immediately accessible, smartly crafted and beautifully textured indie pop (oh, and did I mention they nail those three-part harmonies, because, well, they can all sing like nobody's business?). But I think it's pretty rare to see such genuine collective energy, and it's that intangible element that makes the music so exciting and endearing. They quickly ran through three songs as the sun went down, including a cover that's been sneaking into their live shows of En Vogue's mid-nineties hit "Don't Let Go" -- just in time for the rumored En Vogue reunion album 2011 (side note: this song is now on my karaoke <b>...</b>

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Naive Thieves - "Dark Lonely Ocean" (live) July 10, 2011 little-videos.com Amidst the constant feed of links and likes these days, it's not that often that I find myself stopping on a song and thinking, holy shit, this is really good. Not to discredit the amount of really good-ness out there, but I think it has more to do with my own attention or (in)ability to digest a song while it's streaming behind all the latest happenings (mostly of people I barely know), and tags and photos and artwork and pictures of beautiful food. So when it does happen, whether it's really really good or not, it seems important, at least to me. Such was the case when the Naive Thieves showed up in my news feed. It was really really stop what you're doing and listen to this song good. Now, those who know me probably know that I adore Little Joy (the band, not the bar, although the bar is okay on weeknights), and in a way you could almost do no wrong with anything towards that sound. And sure, musically it's a fair comparison, which as previously stated, I can't ever see as a bad thing, but the songwriting is so strong that hopefully it transcends them being lumped into that "sound." Take "Dark Lonely Ocean," a spacious ballad with a sweepingly catchy melody, distinctly poetic lyrics, and perfectly placed harmonies (did I mention not only are they each great players, but they also seem effortlessly pitch-perfect?). And there's no shortage of upbeat, poppy hooks either. Oh, and they're some of the <b>...</b>

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Count Fleet - "Stay Here" (live acoustic) We took a short walk from my place up above what used to be Echo Park Lake (and is now a construction site) with an omnichord, ukulele, and a couple microphones to do this rather laid back version of this song (the A-side of a limited vinyl 7-inch out thanks to the fine people over at Manzan Records). The album version is streaming on our website and you can also order said vinyl there as well. count-fleet.com http Filmed by Aaron Davidson in Echo Park, Los Angeles in September 2011. Sound by Elliot Glass.

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little-videos.com Summer And Music (SAM) features local musicians and a variety of creative curricula for free on the streets of downtown Long Beach. Go check it out NOW at SUMMERANDMUSIC.COM. I met up with Nima Kazerouni of So Many Wizards at his house on another lovely Sunday in Long Beach. He packed his Radio Flyer with his gear and hit the streets. A word-of-mouth gathering and passersby were treated to a few intimate songs by So Many Wizards, and a surprise set by Deep Sea Diver. More Live music from Downtown Long Beach coming soon. Camera: Elliot Glass & Allen Kelley Sound & Edit: Elliot Glass All Rights Reserved.

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Filmed By Elliot Glass. Elliot came by late this summer. We set up some mics and I sang a bunch of songs. He filmed it. We were sleep deprived , as hell.

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little-videos.com Summer And Music (SAM) features local musicians and a variety of creative curricula for free on the streets of downtown Long Beach. Go check it out NOW at SUMMERANDMUSIC.COM. I met up with Nima Kazerouni of So Many Wizards at his house on another lovely Sunday in Long Beach. He packed his Radio Flyer with his gear and hit the streets. A word-of-mouth gathering and passersby were treated to a few intimate songs by So Many Wizards, and a surprise set by Deep Sea Diver. More Live music from Downtown Long Beach coming soon. Camera: Elliot Glass & Allen Kelley Sound & Edit: Elliot Glass All Rights Reserved.

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Covers Club 001. Elliot Glass - Vocals, Guitar // Caitlin Dwyer - Vocals, Bass // Jacob Summers - Drums, Vocals // Raymond Richards - Guitar, Piano, Vocals Recorded & Mixed in November 2011 at Red Rockets Glare Studios by Raymond Richards.

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Video by Elliot Glass. Featuring Tay Strathairn on piano...

Henry Wolfe Someone Else

Official video for So Many Wizards "Like No Other," off their Love Songs For When You Leave Me EP (2010). Directed by Elliot Glass.

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The Stevenson Ranch Davidians - "Nature Boy" little-videos.com June 6, 2010 I made the trek out to Stevenson Ranch to meet up with the Davidians one rather hot Sunday afternoon, far beyond any sense of urban infill, out deep into the belly of sprawling fast food chains and KB tract developments -- although it actually isn't that long time-wise from LA proper, it certainly feels like it's in the middle of nowhere (unless you're the type that considers Six Flags "somewhere"). It was the kind of dry inland heat that's best served in well insulated, air conditioned boxes. I made my way through a series of cutely Spanish-named streets, lined with identical pseudo-Mediterranean homes, until I eventually reached Bryan's house at the end of a well-manicured cul-de-sac (now, I live in a tiny run-down apartment that was probably built in the late sixties on the cheap, and that was also probably the last time anyone gave any thought to its general upkeep -- that being said, I can't really condemn the obvious merits of suburban living). Upstairs at the end of the hall was a room that came straight out of every indie-audio-nerd's dream; classic guitars lining the walls, any number of exotic percussive toys, vintage amps, organs, microphones, preamps, you-name-it -- and every inch of wallspace and open shelving stacked with a lifetime's collection of amazing memorabilia. The gang was already setup in there, kicking back and enjoying a few beers. It hadn't really felt like summer to me <b>...</b>

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PAPA - "Ain't It So" Live for Little Videos PAPA's EP/12" A Good Woman is Hard to Find it out now. www.papatheband.com @papatheband www.facebook.com/papatheband February 28, 2012 little-videos.com We met up at Christian's place in Silver Lake on a Tuesday, the same place I'd filmed WATERS a couple months back, but this time we didn't try and all cram into the kitchen. These days, PAPA is one of those bands that you keep hearing their name popping up everywhere (at least in LA), and while sometimes that buzz can come and go without much warrant, these guys are some of the few that truly deserve it. Impeccable musicianship aside, the songwriting is the band's real strong point, managing to balance their super-catchy melodic hooks with a timelessness that still manages to feel current. All in all, it was still a bit ambitious to try and track the full band, who's drum-centric drive isn't exactly suited for stripped-down acoustic sessions, but for what it is I think it turned out alright. Find more at: papatheband.com Camera: Elliot Glass & Dave Smallen Sound: Elliot Glass All Rights Reserved.

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Nico Stai - "Miss Friday" little-videos.com July 27, 2009 We weren't sure where exactly we were going to shoot this, even the day of, as Nico was between places at the time (we even scouted an empty apartment in Silver Lake, however, lacking available light and power was sort of an issue). But by some stroke of tremendous fortune, a friend of his offered up her gallery space at the last minute - the newly relocated Ghettogloss on Melrose. Wow. Totally amazing. And somehow perfectly fitting that the space itself was in a bit of a transitional state (it didn't officially open until August 15). The artwork still stacked against the bare walls, the empty shelving and scattered artifacts. By the time we got started it was dark. We set up a stool in the middle of the space, just Nico and his guitar. There is a genuine intimacy to his songs, even when he plays them with the full band, but at its heart, these songs are almost meant to be played acoustic. Not many musicians have this strong of a pop-sensibility, yet manage to stay rooted in introspective, purposeful, and pointed lyricism. He hadn't really planned out what songs he'd play or how many, he just sat down and started, and when we were out of tape, he stopped. Out of his seemingly unending catalogue of masterfully crafted indie-pop gems, against the steady hum of cars outside on Melrose, he played six songs that day (and even took the risk of playing most of a seventh, unfinished song, which may or may not ever see the <b>...</b>

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Frankel - "Anonymity is the New Fame" little-videos.com July 9, 2009 At a small house, somewhat tucked away in the trees and hillside, at the very end of one of the winding roads up behind the reservoir, I met up with Frankel, the musical pseudonym for Michael Orendy's songwriting. It was getting on to a point in the evening where the low sun drenched the living room and stretched the shadows, but the heat still lingered. There was an upright in the corner and a couple acoustic guitars and no real plan, except to play a few songs off his new album, Anonymity is the New Fame, released by Autumn Tone Records two weeks earlier. He sat down with a guitar, started tinkering out a little folky blues song called "Weary Mind," gently meandering its way into the opening, "Sometimes, I don't want to be myself at all," and suddenly you're hooked, following the imagery soaked storytelling as it swims between comfort and uneasiness, disillusion and acceptance. His voice is magnetic, but it's the deliberate, careful delivery that makes these songs so immediate and enthralling. Frankel gets the award for favorite home so far, although I'm a bit biased towards most things mid-century modern. He played three songs that day, all on guitar. Stripped away from the instrumentation of the album, to the heart of the songwriting, there's an endearing soulfulness and introspection that you can't help but be drawn to. Find out more about Frankel at: www.myspace.com/frankel Camera: Elliot Glass <b>...</b>

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Charlie Wadhams - "My Love" January 27, 2011 little-videos.com It was a Thursday afternoon, we all met up the street in Echo Park at Gus' place, which is great for me since Gus already has way nicer gear than I could bring, and it's mostly set up already. I say "mostly" because our original plan was to set up in the backyard, which would have been great. In fact, we got as far as bringing mic's outside, running cables, moving patio furniture, getting levels. Then, just as we were pretty much set, the neighbors decided to start grilling up dinner in their backyard. By the time we moved everything back inside, set it all up, shifted around some more furniture, and Charlie and Gus sat down to actually play a few songs, it was almost dark. They had decided to set up in front of this sort of amazingly retro orange floral print curtain, which, although not the most entirely interesting backdrop visually, kind of makes it look like they're playing in an old lounge somewhere, and that's pretty fitting. There's an old-timey-ness to Charlie's songs, a halfway nostalgic feeling, but with a certain kind of character that actually makes them feel unconventionally refreshing. Genuine, earnest lyrics and impeccable delivery, a keen ear for melody, and not contrived in any of the moment or overly ambitious metaphors. I think it's actually one of the hardest forms of popular song to pull off, but Charlie makes it look effortless. Find out more about Charlie Wadams at myspace.com <b>...</b>

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Nico Stai - "The Skies Over Your Head" little-videos.com July 27, 2009 We weren't sure where exactly we were going to shoot this, even the day of, as Nico was between places at the time (we even scouted an empty apartment in Silver Lake, however, lacking available light and power was sort of an issue). But by some stroke of tremendous fortune, a friend of his offered up her gallery space at the last minute - the newly relocated Ghettogloss on Melrose. Wow. Totally amazing. And somehow perfectly fitting that the space itself was in a bit of a transitional state (it didn't officially open until August 15). The artwork still stacked against the bare walls, the empty shelving and scattered artifacts. By the time we got started it was dark. We set up a stool in the middle of the space, just Nico and his guitar. There is a genuine intimacy to his songs, even when he plays them with the full band, but at its heart, these songs are almost meant to be played acoustic. Not many musicians have this strong of a pop-sensibility, yet manage to stay rooted in introspective, purposeful, and pointed lyricism. He hadn't really planned out what songs he'd play or how many, he just sat down and started, and when we were out of tape, he stopped. Out of his seemingly unending catalogue of masterfully crafted indie-pop gems, against the steady hum of cars outside on Melrose, he played six songs that day (and even took the risk of playing most of a seventh, unfinished song, which may or may not <b>...</b>

Nico Stai acoustic indie rock music elliot glass

Nico Stai - "3000 Dollar Girl" little-videos.com July 27, 2009 We weren't sure where exactly we were going to shoot this, even the day of, as Nico was between places at the time (we even scouted an empty apartment in Silver Lake, however, lacking available light and power was sort of an issue). But by some stroke of tremendous fortune, a friend of his offered up her gallery space at the last minute - the newly relocated Ghettogloss on Melrose. Wow. Totally amazing. And somehow perfectly fitting that the space itself was in a bit of a transitional state (it didn't officially open until August 15). The artwork still stacked against the bare walls, the empty shelving and scattered artifacts. By the time we got started it was dark. We set up a stool in the middle of the space, just Nico and his guitar. There is a genuine intimacy to his songs, even when he plays them with the full band, but at its heart, these songs are almost meant to be played acoustic. Not many musicians have this strong of a pop-sensibility, yet manage to stay rooted in introspective, purposeful, and pointed lyricism. He hadn't really planned out what songs he'd play or how many, he just sat down and started, and when we were out of tape, he stopped. Out of his seemingly unending catalogue of masterfully crafted indie-pop gems, against the steady hum of cars outside on Melrose, he played six songs that day (and even took the risk of playing most of a seventh, unfinished song, which may or may not ever see <b>...</b>

Nico Stai acoustic indie rock music elliot glass

Nico Stai - "Falling Off The Moon" little-videos.com July 27, 2009 We weren't sure where exactly we were going to shoot this, even the day of, as Nico was between places at the time (we even scouted an empty apartment in Silver Lake, however, lacking available light and power was sort of an issue). But by some stroke of tremendous fortune, a friend of his offered up her gallery space at the last minute - the newly relocated Ghettogloss on Melrose. Wow. Totally amazing. And somehow perfectly fitting that the space itself was in a bit of a transitional state (it didn't officially open until August 15). The artwork still stacked against the bare walls, the empty shelving and scattered artifacts. By the time we got started it was dark. We set up a stool in the middle of the space, just Nico and his guitar. There is a genuine intimacy to his songs, even when he plays them with the full band, but at its heart, these songs are almost meant to be played acoustic. Not many musicians have this strong of a pop-sensibility, yet manage to stay rooted in introspective, purposeful, and pointed lyricism. He hadn't really planned out what songs he'd play or how many, he just sat down and started, and when we were out of tape, he stopped. Out of his seemingly unending catalogue of masterfully crafted indie-pop gems, against the steady hum of cars outside on Melrose, he played six songs that day (and even took the risk of playing most of a seventh, unfinished song, which may or may not ever <b>...</b>

Nico Stai acoustic indie rock music elliot glass

Ferraby Lionheart - "Yellow Wings" little-videos.com May 2, 2010 I met up with Ferraby late one Sunday afternoon at a friend of his' place, perched up in the hills of what I guess might be Montecito Heights; someways North and East of downtown. It was the kind of house that's gradually settled into itself over the past 60 some-odd years, leaving a noticeable slope to the cantilevered kitchen floor, and though probably pretty safe, you might not choose to be there during an earthquake. The Los Angeles / Nashville native was only in town for a few days (without a proper place of his own), and was heading off on tour with Leslie and the Badgers the following morning, then back to Tennessee. We settled on shooting in the kitchen, because of all the light, though any number of spots in that house would've looked great. Ferraby was eating an apple and trying to decide which songs he might play, whether to use a harmonica or just whistle, even wrangled an old wooden box for some added percussion on one tune. The heat was starting to collect, the sun glaring in through the floor to ceiling glass. There is something so immediately alluring here, that certain charm not only in the songwriting, but the performances that is genuinely spellbinding. The songs pour out almost overflowing, his entire body moving and tapping to the music. It's infectious. Irresistibly catchy melodies and cleverly crafted lyrics that range from humor to heartache, yet always maintain their authenticity <b>...</b>

ferraby lionheart acoustic indie rock music little-videos elliot glass

The Driftwood Singers - "Coco Ellis" December 18, 2010 little-videos.com We had originally hoped to shoot outside somewhere, but it had been raining for a few days, and would continue to rain for what seemed like the longest stretch I can remember since being in LA. So we met up in Hollywood at what I think was Pearl's sister's place before they had to be out in Echo Park for LA Record's Christmas Party at Bedrock. It was just Kris and his acoustic and Pearl and her autoharp (thought they were playing with a full band that night). When I first heard The Driftwood Singers, it was an ultra lo-fi recording they'd done to an old tape deck; tinny and raw, yet somehow it completely worked. To call their sound "old-time-y" would be a hilarious understatement, and while the tape approach is relatively effective at achieving that nostalgic timbre, the real timelessness of their music lies in the songwriting. It's surprisingly keen traditional folk, precisely picked guitar lines and warm two part harmonies, even lyrical jaunts that seem to call back to generation-old metaphors. It's refreshing actually, not just as a juxtaposition to the electronic wall of sound that's so prevalent today, but also because the musicianship is so skillfully executed. Hearing the songs now, you might even think they were covers of old standards. They played three songs that day, and something started going awry with the autoharp tuning (damn vintage instruments), so unfortunately they had to stop <b>...</b>

Driftwood Singers Kris Hutson Pearl Charles acoustic live video band music elliot glass little videos

Evan Way - "Hard To See The Light" little-videos.com May 23, 2009 Somewhere between Hollywood, Silver Lake, and Downtown, I met up with Evan Way at his house; an unassuming craftsman filled with a ragtag collection of 70's furniture, assorted knickknacks (including Russian nesting-dolls in the likeness of former Dodger greats), oil paintings and framed posters leaned against the walls, not to mention an assortment of stringed instruments (actually the house is Parson Redhead's bassist Aaron Ballard's, Evan just happens to live there along with a few other people). Way, The Parson Redhead's frontman, has been playing solo shows around the LA area as of late, filling out a seemingly non-stop run of dates between his various bands. He was milking a cup of tea this particular morning, fighting off something of a cold in preparation for a two-week West Coast swing by the Parsons with Cotton Jones. Sitting down with just an acoustic guitar, stripped away from the wall of sound, four-part vocal harmonies, pedal steel, keyboards, and vintage fuzz that the Parsons have so well perfected, Evan Way might be at his best. Not to take anything away from the full band, and certainly not to say that the instrumentation isn't amazing. But there is a power and sincerity to his songwriting, the words, the melodies. True folk music. It seems to me that if Evan Way were born 40 years earlier, he might be adored in a way that might not be possible for folk singers anymore. It's not often in my <b>...</b>

Evan Way The Parson Redheads acoustic indie folk Elliot Glass

Ferraby Lionheart - "Drag Me 'Round" little-videos.com May 2, 2010 I met up with Ferraby late one Sunday afternoon at a friend of his' place, perched up in the hills of what I guess might be Montecito Heights; someways North and East of downtown. It was the kind of house that's gradually settled into itself over the past 60 some-odd years, leaving a noticeable slope to the cantilevered kitchen floor, and though probably pretty safe, you might not choose to be there during an earthquake. The Los Angeles / Nashville native was only in town for a few days (without a proper place of his own), and was heading off on tour with Leslie and the Badgers the following morning, then back to Tennessee. We settled on shooting in the kitchen, because of all the light, though any number of spots in that house would've looked great. Ferraby was eating an apple and trying to decide which songs he might play, whether to use a harmonica or just whistle, even wrangled an old wooden box for some added percussion on one tune. The heat was starting to collect, the sun glaring in through the floor to ceiling glass. There is something so immediately alluring here, that certain charm not only in the songwriting, but the performances that is genuinely spellbinding. The songs pour out almost overflowing, his entire body moving and tapping to the music. It's infectious. Irresistibly catchy melodies and cleverly crafted lyrics that range from humor to heartache, yet always maintain their authenticity <b>...</b>

ferraby lionheart acoustic indie rock music little-videos elliot glass

"Desmond" by Ferraby Lionheart. Recorded live in Los Angeles. From the not yet titled album, due out in Fall, 2012. Footage shot and edited by Elliot Glass. Sound recording by Mike Edge.

Ferraby Lionheart Desmond Acoustic Live Video Music

Ferraby Lionheart - "Harry and Bess" little-videos.com May 2, 2010 I met up with Ferraby late one Sunday afternoon at a friend of his' place, perched up in the hills of what I guess might be Montecito Heights; someways North and East of downtown. It was the kind of house that's gradually settled into itself over the past 60 some-odd years, leaving a noticeable slope to the cantilevered kitchen floor, and though probably pretty safe, you might not choose to be there during an earthquake. The Los Angeles / Nashville native was only in town for a few days (without a proper place of his own), and was heading off on tour with Leslie and the Badgers the following morning, then back to Tennessee. We settled on shooting in the kitchen, because of all the light, though any number of spots in that house would've looked great. Ferraby was eating an apple and trying to decide which songs he might play, whether to use a harmonica or just whistle, even wrangled an old wooden box for some added percussion on one tune. The heat was starting to collect, the sun glaring in through the floor to ceiling glass. There is something so immediately alluring here, that certain charm not only in the songwriting, but the performances that is genuinely spellbinding. The songs pour out almost overflowing, his entire body moving and tapping to the music. It's infectious. Irresistibly catchy melodies and cleverly crafted lyrics that range from humor to heartache, yet always maintain their authenticity <b>...</b>

ferraby lionheart acoustic indie rock music little-videos elliot glass

Charlie Wadhams - "Darkness" January 27, 2011 little-videos.com It was a Thursday afternoon, we all met up the street in Echo Park at Gus' place, which is great for me since Gus already has way nicer gear than I could bring, and it's mostly set up already. I say "mostly" because our original plan was to set up in the backyard, which would have been great. In fact, we got as far as bringing mic's outside, running cables, moving patio furniture, getting levels. Then, just as we were pretty much set, the neighbors decided to start grilling up dinner in their backyard. By the time we moved everything back inside, set it all up, shifted around some more furniture, and Charlie and Gus sat down to actually play a few songs, it was almost dark. They had decided to set up in front of this sort of amazingly retro orange floral print curtain, which, although not the most entirely interesting backdrop visually, kind of makes it look like they're playing in an old lounge somewhere, and that's pretty fitting. There's an old-timey-ness to Charlie's songs, a halfway nostalgic feeling, but with a certain kind of character that actually makes them feel unconventionally refreshing. Genuine, earnest lyrics and impeccable delivery, a keen ear for melody, and not contrived in any of the moment or overly ambitious metaphors. I think it's actually one of the hardest forms of popular song to pull off, but Charlie makes it look effortless. Find out more about Charlie Wadams at myspace.com <b>...</b>

Charlie Wadhams Gus Seyffort acoustic folk live music elliot glass little videos

Ferraby Lionheart - "Pocketknife" little-videos.com May 2, 2010 I met up with Ferraby late one Sunday afternoon at a friend of his' place, perched up in the hills of what I guess might be Montecito Heights; someways North and East of downtown. It was the kind of house that's gradually settled into itself over the past 60 some-odd years, leaving a noticeable slope to the cantilevered kitchen floor, and though probably pretty safe, you might not choose to be there during an earthquake. The Los Angeles / Nashville native was only in town for a few days (without a proper place of his own), and was heading off on tour with Leslie and the Badgers the following morning, then back to Tennessee. We settled on shooting in the kitchen, because of all the light, though any number of spots in that house would've looked great. Ferraby was eating an apple and trying to decide which songs he might play, whether to use a harmonica or just whistle, even wrangled an old wooden box for some added percussion on one tune. The heat was starting to collect, the sun glaring in through the floor to ceiling glass. There is something so immediately alluring here, that certain charm not only in the songwriting, but the performances that is genuinely spellbinding. The songs pour out almost overflowing, his entire body moving and tapping to the music. It's infectious. Irresistibly catchy melodies and cleverly crafted lyrics that range from humor to heartache, yet always maintain their authenticity <b>...</b>

ferraby lionheart acoustic indie rock music little-videos elliot glass

Hi Ho Silver Oh - "Big Rocks" December 14, 2010 little-videos.com It was a Tuesday night when we met up at Casey's place, which I guess is somewhere in East Hollywood or maybe Thai Town? It was one of those too good to be true houses, with an amazing backyard (house party shows?), fire pit, and neighbors that are cool with being kind of "too loud" at night. There was also a pretty astounding craftsman front door, if you're into that kind of thing. Kevin, the bassist, was running late from a Best Buy commercial audition over on the west side (did he get it?). Between songs, these guys were all smiles, joking around and having a great time, but their music is the furthest thing from casual. Sure, the lyrics bounce with a periodic tinge of sarcasm, but the instrumentation, melodic arrangements and three part harmonies exhibit a deliberate and meticulous approach to songwriting. At times, it feels kind of post-punk Fleet Foxes; methodically crafted pieces that have a purposeful ebb and flow, always flirting with the edge of overindulgence, but held together by Trela's composed delivery and earnest lyrics. There's a certain sincerity to it all that seems to grow on you more and more with each listen. Standout track for me: "Big Rocks." Also, apologies for the lighting on "Pool Party," we solved that by bringing out some more lamps for the rest of the set. Find out more about Hi Ho Silver Oh at www.hihosilveroh.com Camera: Aaron Davidson & Elliot Glass Sound: Elliot Glass All <b>...</b>

Hi Ho Silver Oh Phil Eastman Jon Mackey Kevin Manwarren Casey Trela indie rock band live music session elliot glass little video

LA Font - "Stay Dry" December 15, 2010 little-videos.com We filmed this at Greg's place in Echo Park the week before Christmas (hence the stockings and little tree). They'd tried to make as much space as possible, clearing out the little living and dining rooms (the separation actually helped for recording the drums, although I guess it's probably a bit awkward playing with the drummer in the next room). But even cleared out it was still a bit cramped for four band members, amps, instruments, and two cameras, not to mention these are guys that tend to move around while rocking out. There's something really genuine about LA Font's straightforward, no nonsense brand of indie rock. It doesn't feel like just another band trying to be of-the-moment (especially around here, where these days it feels like everyone is trying to be the next Local Natives meets MGMT). Maybe it's even a bit of a reaction to those bands; Bobbe's songs definitely seem to tinge a bit with that punk-era angst (and they certainly don't seem to mind the comparisons to Pavement). There's hardly anything "stripped down" about this session - it's pretty much the setup you'd get seeing them play out anywhere - but maybe that's part of their sticking-to-their-guns ethos. And it seems to work. Their enthusiasm definitely translates into their performance, and it's fun to watch. Find out more about LA Font at lafont.bandcamp.com Camera: Aaron Davidson & Elliot Glass Sound: Elliot Glass All Rights Reserved.

LA Font Danny Bobbe Jon Perry Greg Katz Harlow Rodriguez indie rock live music elliot glass little videos

Evan Way - "Maybe Tomorrow" May 23, 2009 Somewhere between Hollywood, Silver Lake, and Downtown, I met up with Evan Way at his house; an unassuming craftsman filled with a ragtag collection of 70's furniture, assorted knickknacks (including Russian nesting-dolls in the likeness of former Dodger greats), oil paintings and framed posters leaned against the walls, not to mention an assortment of stringed instruments (actually the house is Parson Redhead's bassist Aaron Ballard's, Evan just happens to live there along with a few other people). Way, The Parson Redhead's frontman, has been playing solo shows around the LA area as of late, filling out a seemingly non-stop run of dates between his various bands. He was milking a cup of tea this particular morning, fighting off something of a cold in preparation for a two-week West Coast swing by the Parsons with Cotton Jones. Sitting down with just an acoustic guitar, stripped away from the wall of sound, four-part vocal harmonies, pedal steel, keyboards, and vintage fuzz that the Parsons have so well perfected, Evan Way might be at his best. Not to take anything away from the full band, and certainly not to say that the instrumentation isn't amazing. But there is a power and sincerity to his songwriting, the words, the melodies. True folk music. It seems to me that if Evan Way were born 40 years earlier, he might be adored in a way that might not be possible for folk singers anymore. It's not often in my experience that you hear <b>...</b>

evan way the parson redheads acoustic indie folk elliot glass

The Parson Red Heads - "Peace in the Valley" little-videos.com December 6, 2009 A good distance off the street, down a few staircases and a long, winding path (how they moved a bed or couch or dresser into this place is quite astonishing, actually), Brette and Evan share a quaint little apartment on an Echo Park hillside surrounded by enough trees you could almost forget you were in Los Angeles. With the two of them, plus Sam, two guitars, amps, cameras, mic's, and myself, the tiny (or "cozy") place was pretty much at capacity (and this was just the stripped down, acoustic incarnation of The Parson Redheads, imagine the full thing). It was a Sunday evening on an uncharacteristically frigid Southern California night, but the heater was going full bore, there was some kind of stew brewing on the stove, the wine had all been drunk by the time I showed up, and everyone was in generally merry spirits (although I can't think of I time I've run into any of these guys and they haven't been in generally merry spirits). They made tea (from an ostensibly large collection in the pantry -- I had Earl Grey), then sat down to play a few songs. The Parson Redheads certainly aren't foreign to playing acoustic sets, in fact, the mostly cheerful and incessantly catchy brand of folk-rock pop they've so gracefully mastered lends itself brilliantly to a more stripped down feel, and they've played numerous venues as such. It all comes down to the strikingly poignant songwriting, careful <b>...</b>

Parson Redheads Evan Way Brette Marie Way Sam Fowles acoustic indie rock elliot glass

Ema and Her Lady Parts - "Pony" (live) little-videos.com July 9, 2011 We met up with Ema and her hilariously named band of ladies (although I'm sure not many would argue that her previous band "The Ghosts" was, if not a cooler, at least a more easily digestible moniker), at Mary and Eli's house in Eagle Rock on a Saturday morning (before it started getting too hot). There were snacks. It was laid back (obviously). We hung out in the garage, they played a couple tunes, and then we discussed what Mary and Eli were going to call their latest project (which, for those wondering, they went with "Dawn of Sequins." Epic.). I actually had talked to Ema a couple years back about doing an Ema and the Ghosts session, though nothing ever happened with that. But she's still at it, writing great songs with unique arrangements (no, not your typical instrumentation) and honing in that winsome voice. Backed now by a few great players (and familiar LA faces), we can only hope to see these ladies out more frequently. Find out more at www.facebook.com Camera: Dave Smallen & Elliot Glass Sound: Elliot Glass All Rights Reserved.

ema and her lady parts pony daughter indie rock music live video

Nico Stai - "Green Lines" little-videos.com July 27, 2009 We weren't sure where exactly we were going to shoot this, even the day of, as Nico was between places at the time (we even scouted an empty apartment in Silver Lake, however, lacking available light and power was sort of an issue). But by some stroke of tremendous fortune, a friend of his offered up her gallery space at the last minute - the newly relocated Ghettogloss on Melrose. Wow. Totally amazing. And somehow perfectly fitting that the space itself was in a bit of a transitional state (it didn't officially open until August 15). The artwork still stacked against the bare walls, the empty shelving and scattered artifacts. By the time we got started it was dark. We set up a stool in the middle of the space, just Nico and his guitar. There is a genuine intimacy to his songs, even when he plays them with the full band, but at its heart, these songs are almost meant to be played acoustic. Not many musicians have this strong of a pop-sensibility, yet manage to stay rooted in introspective, purposeful, and pointed lyricism. He hadn't really planned out what songs he'd play or how many, he just sat down and started, and when we were out of tape, he stopped. Out of his seemingly unending catalogue of masterfully crafted indie-pop gems, against the steady hum of cars outside on Melrose, he played six songs that day (and even took the risk of playing most of a seventh, unfinished song, which may or may not ever see the <b>...</b>

Nico Stai acoustic indie rock music elliot glass

White Sea - "Cannibal Love" little-videos.com March 6, 2011 It was late on a Sunday afternoon when Aaron and I had the pleasure of meeting up with Morgan, Amy, Ray, and the two Jon's out in Silver Lake. It was certainly "cozy" in the living room, but that may have been a result of cramming in seven people (five band members and two cameras), drums, amps, guitars, furniture, oh and not to mention the wide array of other instruments and recording gear not being used that day (hmm, some of this stuff in the background looks familiar). The first thing that is immediately apparent about this group, aside from the fact that they are all super talented musicians, is that they're all having fun with the music. So much fun in fact, it almost makes you feel like everyone else around here is being too damn serious all the time. Not to take the emphasis away from their music, which is immediately accessible, smartly crafted and beautifully textured indie pop (oh, and did I mention they nail those three-part harmonies, because, well, they can all sing like nobody's business?). But I think it's pretty rare to see such genuine collective energy, and it's that intangible element that makes the music so exciting and endearing. They quickly ran through three songs as the sun went down, including a cover that's been sneaking into their live shows of En Vogue's mid-nineties hit "Don't Let Go" -- just in time for the rumored En Vogue reunion album 2011 (side note: this song is now on my <b>...</b>

White Sea Morgan Kibby Jon Bates Ray Suen Amy Wood Jon Leahy indie rock M83 live En Vogue elliot glass

The Parson Red Heads - "Punctual as Usual" little-videos.com December 6, 2009 A good distance off the street, down a few staircases and a long, winding path (how they moved a bed or couch or dresser into this place is quite astonishing, actually), Brette and Evan share a quaint little apartment on an Echo Park hillside surrounded by enough trees you could almost forget you were in Los Angeles. With the two of them, plus Sam, two guitars, amps, cameras, mic's, and myself, the tiny (or "cozy") place was pretty much at capacity (and this was just the stripped down, acoustic incarnation of The Parson Redheads, imagine the full thing). It was a Sunday evening on an uncharacteristically frigid Southern California night, but the heater was going full bore, there was some kind of stew brewing on the stove, the wine had all been drunk by the time I showed up, and everyone was in generally merry spirits (although I can't think of I time I've run into any of these guys and they haven't been in generally merry spirits). They made tea (from an ostensibly large collection in the pantry -- I had Earl Grey), then sat down to play a few songs. The Parson Redheads certainly aren't foreign to playing acoustic sets, in fact, the mostly cheerful and incessantly catchy brand of folk-rock pop they've so gracefully mastered lends itself brilliantly to a more stripped down feel, and they've played numerous venues as such. It all comes down to the strikingly poignant songwriting, careful <b>...</b>

Parson Redheads Evan Way Brette Marie Way Sam Fowles acoustic indie rock elliot glass

The Hoof & The Heel - "King Finds Out" little-videos.com September 16, 2009 We set up on a rooftop in Venice Beach, against the traffic of Pacific Ave. and the intermittent airplanes overhead. It was the building Christine used to live in before traveling to Montreal (she had met Harris and Farid on a trip out there, ended up joining the band, recording an EP, and heading off on a tour across the country, through Canada, and back, all in a frenzied couple-month timeframe). I had been talking to her about possibly doing some artwork for the website, and it turned out her newest musical project happened to be coming to LA for a couple days. So naturally, we had to do a session. This was actually our second attempt to film something (two nights earlier we'd tried the same spot but arrived after it'd gotten dark, so we postponed). The night before, The Hoof & The Heel kicked off their tour at the Viper Room to a typical mingling Tuesday night crowd of begrudging hipsters with vodka tonics and folded arms. But it didn't take long for the crowd to warm up, and even start dancing, by gosh! Their lovable brand of indie-pop, packed to the brim with catchy melodies, call and response harmonies, and a seemingly endless supply of charming synth hooks, is hard to resist. While their album does have a bit of folkiness and moments of melancholy, it tends towards the happier side of things, with layered instrumentation and bouncy arrangements. But this session was decidedly more stripped <b>...</b>

The Hoof and The Heel Harris Shper Farid Rener Christine Hale acoustic indie rock elliot glass

Charlie Wadhams - "Growing Old" January 27, 2011 little-videos.com It was a Thursday afternoon, we all met up the street in Echo Park at Gus' place, which is great for me since Gus already has way nicer gear than I could bring, and it's mostly set up already. I say "mostly" because our original plan was to set up in the backyard, which would have been great. In fact, we got as far as bringing mic's outside, running cables, moving patio furniture, getting levels. Then, just as we were pretty much set, the neighbors decided to start grilling up dinner in their backyard. By the time we moved everything back inside, set it all up, shifted around some more furniture, and Charlie and Gus sat down to actually play a few songs, it was almost dark. They had decided to set up in front of this sort of amazingly retro orange floral print curtain, which, although not the most entirely interesting backdrop visually, kind of makes it look like they're playing in an old lounge somewhere, and that's pretty fitting. There's an old-timey-ness to Charlie's songs, a halfway nostalgic feeling, but with a certain kind of character that actually makes them feel unconventionally refreshing. Genuine, earnest lyrics and impeccable delivery, a keen ear for melody, and not contrived in any of the moment or overly ambitious metaphors. I think it's actually one of the hardest forms of popular song to pull off, but Charlie makes it look effortless. Find out more about Charlie Wadams at myspace.com <b>...</b>

Charlie Wadhams Gus Seyffort acoustic folk live music elliot glass little videos

The Hoof & The Heel - "Tigers" little-videos.com September 16, 2009 We set up on a rooftop in Venice Beach, against the traffic of Pacific Ave. and the intermittent airplanes overhead. It was the building Christine used to live in before traveling to Montreal (she had met Harris and Farid on a trip out there, ended up joining the band, recording an EP, and heading off on a tour across the country, through Canada, and back, all in a frenzied couple-month timeframe). I had been talking to her about possibly doing some artwork for the website, and it turned out her newest musical project happened to be coming to LA for a couple days. So naturally, we had to do a session. This was actually our second attempt to film something (two nights earlier we'd tried the same spot but arrived after it'd gotten dark, so we postponed). The night before, The Hoof & The Heel kicked off their tour at the Viper Room to a typical mingling Tuesday night crowd of begrudging hipsters with vodka tonics and folded arms. But it didn't take long for the crowd to warm up, and even start dancing, by gosh! Their lovable brand of indie-pop, packed to the brim with catchy melodies, call and response harmonies, and a seemingly endless supply of charming synth hooks, is hard to resist. While their album does have a bit of folkiness and moments of melancholy, it tends towards the happier side of things, with layered instrumentation and bouncy arrangements. But this session was decidedly more stripped down <b>...</b>

The Hoof and The Heel Harris Shper Farid Rener Christine Hale acoustic indie rock elliot glass

Evan Way - "Seventeen" little-videos.com May 23, 2009 Somewhere between Hollywood, Silver Lake, and Downtown, I met up with Evan Way at his house; an unassuming craftsman filled with a ragtag collection of 70's furniture, assorted knickknacks (including Russian nesting-dolls in the likeness of former Dodger greats), oil paintings and framed posters leaned against the walls, not to mention an assortment of stringed instruments (actually the house is Parson Redhead's bassist Aaron Ballard's, Evan just happens to live there along with a few other people). Way, The Parson Redhead's frontman, has been playing solo shows around the LA area as of late, filling out a seemingly non-stop run of dates between his various bands. He was milking a cup of tea this particular morning, fighting off something of a cold in preparation for a two-week West Coast swing by the Parsons with Cotton Jones. Sitting down with just an acoustic guitar, stripped away from the wall of sound, four-part vocal harmonies, pedal steel, keyboards, and vintage fuzz that the Parsons have so well perfected, Evan Way might be at his best. Not to take anything away from the full band, and certainly not to say that the instrumentation isn't amazing. But there is a power and sincerity to his songwriting, the words, the melodies. True folk music. It seems to me that if Evan Way were born 40 years earlier, he might be adored in a way that might not be possible for folk singers anymore. It's not often in my experience <b>...</b>

evan way the parson redheads acoustic indie folk elliot glass