Pop & Hiss

Pop & Hiss The L.A. Times music blog
Carla Bruni was more than a privileged hobbyist at the Orpheum Theatre

Six years after moving out of France’s Élysée Palace, Carla Bruni may find that her needs are no longer met as quickly as they used to be.

But that’s not to say this former first lady now waits like a lowly civilian.

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How Sweet the Sound: New exhibit at CAAM celebrates the city's gospel tradition

In the early 1850s, a woman named Biddy Mason migrated to Southern California with a slave-holding Southerner who thought he owned her. He was wrong. Upon their arrival, Mason sued for her freedom and won.

Her image and story introduce visitors to “How Sweet the Sound: Gospel Music in Los Angeles,” a survey of South L.A.’

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Jonny Greenwood on the romance and sincerity of his score for 'Phantom Thread'

As a member of Radiohead, Jonny Greenwood has ample reason to feel secure in his musical know-how.

The adventurous British band, perhaps the most obsessively followed in modern rock, became a trending topic Wednesday morning on Twitter when disappointed fans went online to lament not being fast enough to score tickets for Radiohead’s upcoming summer tour.

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Times may be tough, but this past weekend in L.A. was a great one for life-affirming punk rock

This was a great weekend for punk rock in Los Angeles, and it couldn’t have come at a more necessary time. With so much bad news in America right now, any occasion to howl into some kind of communal void can be cathartic.

On Friday, the longtime L.A. post-hardcore band Touche Amore played the thousandth show in its career.

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California Sounds: La Luz's resonant surf rock, Tinashe's new track with Future and Itasca's fluid, delicate guitar work

La Luz, “Cicada” video (Hardly Art). The first song and video from the Los Angeles band’s forthcoming third album, “Floating Features,” is magnetic both musically and conceptually. The clip presents itself as the opening credits to a telenovela, and the song as its souped-up, surf-inspired theme.

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Kendrick Lamar owes himself more than lifeless corporate gigs

On tour last year behind his hit album “Damn,” Kendrick Lamar performed every night on a stage largely swept free of distractions.

The bare-bones production was designed to focus attention on the Compton rapper’s densely worded songs about race, identity and the alienating effect of success, and Friday night those themes carried through to Lamar’s show in downtown Los Angeles.

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