And who better to have produced the new Rare Breed album than Dave Jerden? His catalog represents exactly the type of mongrel rock that I’m trying to describe. All of this can be heard in the sound created by The Shrine. Prior to Nirvana exploding into pop music, the mainstream was saturated with the likes of Poison, Warrant and Motley Crue. All these things make him the perfect rock and roll mutt to represent all the many ways rock music has evolved in the decades since Nirvana mutated punk into the mainstream of pop music. You might be just as likely to see Josh riding a skate deck as a hog. Forged in the fire of Venice California, you can hear just as much Excel, Beowulf and Suicidal Tendencies in the music of The Shrine as you can hear Creedence and Skynard. All the pain and anger which drove heavy metal to become more intense and all the subject matter, such as Satan, that we used to push the lames of society further away from us, created an aesthetic that has become a fashion choice for so many. The amount of long hairs in patched up jean and leather jackets in attendance on this night was overwhelming and inspirational. It has become more about restoring and collecting vintage motorcycles than it is about creating a crystal meth distribution network using violence and intimidation to make your rivals fear you. Just as thrash has become accepted, as evidenced by the diverse amount of beautiful people in attendance to see The Shrine on this evening, being “a biker” has become more acceptable as well. called The Chun was the official record release party for The Shrine’s new album, “Rare Breed”. This party at an artist/”biker” compound on the outskirts of Downtown L.A. Shepard Fairey in Attendance for The Shrine Record Release Anyone can come hang out as long their delicate sensibilities promise not to be offended. As abrasive as it appears and is, it’s inclusive.
They are the true future of guitar music. The LA born trio of rockers led by Josh Landau draw on the rejected modalities of rock music and Americana as hot, trampy women gyrate on stage to guitar riffs that conjure Slayer more than they conjures the Stones. All the past imagery of the rock and roll lifestyle, which included the objectification of women and an unapologetic personal excess have all but disappeared from the rock and roll narrative. With their intense, yet sensitive aesthetics, their vibe is a completely non offensive one. With a large share of NorCal guitar heroes trying to escape the tech gentrification of the Bay Area, underground icons like Ty Segall and John Dwyer have relocated their base of operations to the slightly less prohibitive cost of living in L.A. In recent years, amongst all the amazing indie rock acts that vary between psych and garage punk, there is a thick layer of sensitivity acting as a buffer and protecting the youth against it’s rough edges. Amongst all the PC, progressive, sensitive and compassionate artists and musicians, there is a misogynistic, self destructive, self promoting beast of rock and roll forming. There is something filthy growing and developing in the city of Los Angeles.
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