2:54, Honeyblood and Golden Daze Live at the Echoplex

I'm often indebted to Olivia's "Gypsy, Death and You" if only for the way she cajoles me into checking out a band or album through the dynamism and passion of her writing. More often than not the experience is a bit of a double-edged sword; the band hasn't got a Stateside distribution deal and the only time they're going to visit LA is for a holiday... However - sometimes - not only is the music readily available, but more importantly - as was the case last Thursday night - there was also a gig to eagerly look forward to at the Echoplex...

And as an added bonus I get to tick-off two bands on my must-see list...

But first up are LA five-piece Golden Daze (I do like the fact that the Echo and Echoplex seem to have an unwritten rule whereby both venues will stick an up and coming local band on the bill, even if it does lead to a rather late night)  who do enough in their short set to convince me that they have something about them -  intricate guitar rhythms that weaved catchy psychedelic pop melodies, all mixed with distinctive vocals and packing many and varied musical styles that you never knew what was coming next - yet another reason to get to a gig to catch all the bands on the card...

Honeyblood are first-up on my list, especially as their eponymous album (not to mention the wall of JAMC inspired fuzziness that is the single "Thrift Shop") tick all the appropriate boxes: Jangly guitar? Check. Female vocals? Check. Delicious harmonies? Check. But lest you think this is just another selection of frothy guitar-fuelled indie-pop, the spiky and incisive lyrics have a most definite cutting-edge. I'm also drawn by the fact that their songs -  for all that they hint of some of my homespun faves (from Shop Assistants, Talulah Gosh to Veronica Falls to name but three) - have the distinctive North American tinge of early Dum Dum Girls and Vivian Girls.

Vocalist/guitarist Stina Tweeddale and drummer Cat Myers powered through a set that was basically a live rendition of the album. This allowed you to appreciate the power and rawness of the stripped down sound that their minimal setup creates.  Kicking-off with a 100 mph version of "Fall Forever," Stina's vocals effortlessly fills the Echoplex as she bounded around the stage while Cat laid down a pulsating back-beat. In fact Stina's whirling stage act saw her guitar and cable part company during a particular intense rendition of "Choker" - arguably my favourite track on the album - but while she fumbled to count back-in Cat kept the beat until the guitar caught-up - it wasn't quite seamless - but Cat offers a wry retort at the end that she didn't think anyone noticed... Nope, we were having a good time and were going to party. On a night where drummers arguably stole the show (more on that score later), Cat Myer's stick-work really impressed (which given her bio shouldn't surprise), but she nails the percussion on "All dragged up" and on a turbo-charged version of "Super rat."

There's one new song tonight, "No big deal" - which I think is going to be the new single - it's a complete change of pace, features a killer refrain which sucks you in and envelops you in its embrace. Chatting post gig, Stina refers to it as a "slow jam" and I think shows that Honeyblood have so much more to their armoury.

The set is closed out with a proper knockout version of "Killer bangs" - a true pogo-a-gogo number that drips American-indie and deservedly went down a storm... And then with what must have been the hundredth "Thank-you very much" in Stina's disarming Scottish brogue, they were gone... Hopefully they'll be back - the weather here is so much warmer (even if the Echoplex's air-con is always cranked to freezing)

Now I feel like I already know 2:54 intimately (that's the persuasive nature of "Gypsy, Death and You" for you). To be honest when I first listened to the band's albums (back-to-back - I'm a late convert), I felt just a little out of my normal comfort zone - actually this can be a good thing - but ultimately there was something hypnotically mesmerising about their sound; I was in a state somewhere between dream and nightmare - there's an undeniable edge of menace (or at least unease) - yet the more I listen the more comforting everything felt... 

However, I wasn't prepared for the ferocity of the performance that the Thurlow sisters, Colette and Hannah - ably assisted by Alex Robins behind the riser and Rich Fry laying down some frighteningly intense bass - unleashed. After the indie-pop of Honeyblood here was something far darker (both musically and in-terms stage-lighting), a wall of moody and slightly menacing sound. With Hannah laying down a carpet of crashing, reverbed guitar and Colette's delicate vocals rising siren-like above the maelstrom (although unfortunately the curse of the Echoplex's washed out vocals struck again) - it's astonishing how textural and multi-dimensional 2:54 sound live - and with no discernible pause between songs, the set took on almost symphonic qualities; the almost seamless nature of the set gives the impression that each song is but a movement in a much larger opus. 

With a set split between their eponymous debut and last year's "The Other I" the band opened with "Sleepwalker" - amidst shoegazey fuzz -  Hannah's heavily reverbed guitar crying-out from somewhere in the shadows, the percussion lays down the beat and Colette's voice piercing the gloom. Highlights? Far to many to mention...  The majesty of "Orion" with its crashing drums over-laid by the most fragile of guitars; "Crest" and the most intense three-odd minutes of stick-work I think I've ever witnessed - I don't think I've ever noticed a drummer so focused on their craft as Alex - totally in the zone, with headphones glued-on; an object study of concentration. The end result was a blistering live performance. "Creeping" and just the sisters with the lightest of percussion, the dawning realisation that Colette Thurlow possesses the most crystalline of voices... And then "Easy undercover" fades to black, the band disappears back into the shadows and the house lights illuminate the darkness.

This was the first time I've seen 2:54 in the flesh and to be honest I'm blown away. As I stumbled back out into the neon glow of Echo Park, ears still ringing, I hope that I get another opportunity to see them live. If I was still living in the UK, I'd probably take a vacation and catch them on tour - perhaps I ought to take a trip back home?