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Bundy, Bloody Death Skull, Fellow Robot
Thursday, February 27th @ 8:00 pm - 11:00 pm
Cultivated, from the satirical aspect of their own reality, Long Beach’s Bundy and their bleak optimism, draws heavy influences from that of post-punk fused with the extraction of the raw energy of protopunk. Vocalist and guitarist Nani Serna romanticizes self-destruction with his charismatic and guttural styling, which is complimented by the likes of guitarist Johnny Lim and his dynamic structures. Balancing aggressive guitars with melodic breaks, cinematic scopes, and wistful chimes, Bundy flourishes as a new unit with Mike Meza on drums and JB Vasquez, respectfully on bass. Bundy’s pop-centric mindset and thematic portrayal have continued to attract listeners for the past three years. From self-sabotage, to self-realization, Bundy’s penned lines are published posthumously on their 2018 full-length debut, Bastard Performer. Presenting the faults and absorbing the impact, the album’s polished production attributes to the band homing in on their developed sound. The album’s sequential narrative score plays with dramatic and emotional accents on tracks such as “What Blood,” and “Manic.”
Bloody Death Skull
Musically, the band swirls together ukulele with whatever sounds, toys and instruments they enjoy into a pleasant, lo-fi pop sound, rooted in the sort of fun, sappy, playful and sneaky tunes you find in late-50s American Rock and Soul. They sing about fun things like their favorite movies, science and the cosmos, flirting with boys, and understanding the prostitute psyche. Sometimes they cover songs, usually romantic numbers. Visually, the outfits, toys, lights and bubbling test tubes are a feast. It’s a PBS daycare playset. And physically, well, they’re a very attractive band too.
“In their own, adorable way, Bloody Death Skull are as freaky as they come.“—Weirdest Band In The World
“Unhinged psych-pop provocateurs”—LA Weekly
“Ramshackle, disorientingly dreamy folk”—Amoebablog
“Experimental neo-soul”—Eagle Rock Music Festival
“Tin pan Dali”—American Pancake
“Psychedelic folk anarchy”—Don Bolles, The Germs
“Our favorite EP of the Fall” —Impose Magazine
“No-boundaries, experimental ukelele-enforced pop”—Indie Rock Reviews
“Mock dirgy sock-hop…Imagine Wednesday Addams all grown up and kicking Kate Bush all over the lot.” —L.A. Record
“The band’s self-labeled “creative absurdity” is subtle in the same manner circus music is creepy yet supernaturally enticing. Underneath the young girl coos, xylophones, ukulele, bells and shakers making it an interesting swirl of doo-wop, folk and punk, Feuer sings about anything she wishes no matter how morbid, naughty, or awkward it may be.—Buzzbands
From a Long Beach studio to Capitol Records, southern California indie rock band, Fellow Robot, have come a long way in just over one year. In April of 2019 Fellow Robot released their critically acclaimed The Robot’s Guide to Music Volume 2, part of their concept sci-fi trilogy albums. Blogger The Music Mermaid had this to say about Vol. 2, “a dizzying feat of thematic rock genius…a true exploration of a world they’ve created just for us.” Earlier in the year Fellow Robot was the Artist in Residence at Alex’s Bar in Long Beach, a month-long run that saw them celebrating their album release. In addition to the release of Vol. 2, the band partnered with Label Mates, Bundy to release a split EP on vinyl, featuring two brand new tracks from both bands released on Donut Sounds Record Co. The indie rockers recently released a new single titled “Just Go,” which was mixed by Grammy award winner Andrew Scheps, and mastered by Grammy winner Evren Göknar. The track was recently spotlighted on Rodney on the Roq, and is primed for more radio success.