Cobalt Cranes (LA) Details
Cobalt Cranes (LA)
Wooden Indian Burial Ground (Portland), Magic Family Band
Cobalt Cranes began in an apartment in Los Angeles when Tim Foley and Kate Betuel started making bedroom recordings. Rooted in 60’s garage rock and 90’s grunge, Tim and Kate recorded their first EP In Media Rez and began assembling a live band.
They met guitarist Henry at LA underground venue The Smell, and hard-hitting drummer Brett after overhearing him play at an Echo Park rehearsal space. The band released their debut album Head In The Clouds in 2013 on the Texas-based Dallas Distortion Music label, and quickly caught the attention of LA Record, LA Weekly, The Fader and more.
Cobalt Cranes spent much of 2013 and early 2014 on tour, and began writing new songs in small motels and roadside diners along the way. Their new songs blend vintage California sounds with grungier, raw elements. They just finished recording their new album Days in the Sun with LA underground legend Joel Jerome (Cherry Glazerr, La Sera), and call their new sound “California Grunge”. The band is releasing Days in the Sun on Echo Park’s rising label Lolipop Records, which has quickly established itself as the hub of the new LA scene. Look for Days in the Sun on cassette via Lolipop Records August 5th.
Wooden Indian Burial Ground
Wooden Indian Burial Ground formed in Portland, Oregon – 2007. As a duo the band employed banjo’s, chord organs, fuzz guitars and other various instruments, making a glorious racket across the Western, Central, and Southern United States. This incited an 11 track album of lo-fi experimental folk tunes self-released in 2008. The band grew in numbers and influence, playing shows under various names with various members until settling down with a stable lineup and signing with Mon Amie in 2010.
“Wooden Indian Burial Ground, a guitar-bass-drums band from Portland, Ore., [is] particularly molten…. Melody isn’t the priority when Justin Fowler, on guitar and vocals, leads the band into its jams. As the rhythm section bears down splashily on whatever riff drives the song, Mr. Fowler pushes surf-guitar techniques — glissando, string-bending, tremolo strumming — toward their noisy, textural extremes, or he makes swoopy sounds from a low-tech analogue synthesizer that a friend built inside a beat-up bit of luggage from a thrift shop.”