When you’re stationed in front of your computer for hours on end, even the slightest break of routine is something to look forward to. At least this was how it was supposed to work out: having a pleasurable , Wednesday-afternoon conversation with Sue Scrofa frontwoman Alyssa Crisswell at a local North Hollywood coffee shop she had suggested was just what I needed to escape from the mind-numbing, everyday task of plugging computer chargers and going through copious amounts of press releases. But as fate would have it, my body decided to get a cold. Thus, I had no other choice but to conduct it as a telephone interview.

As I explained my discontent to Crisswell, she was kind in understanding the sudden change of setting. So as I proceeded to rearrange my notes with the purpose of turning it into that of a typical Q & A, the conversation instantly turned candid. She excuses herself and says, “Oh wait. My cat is drinking my leftover smoothie”. As I thought about how that can logistically happen – if a smoothie is inside a sealed cup – I proceeded to ask her about the cat motif present in their sophomore release White Cat. “I have two cats. I’m a crazy cat lady – although, some people think that the name of the band has to do with cats – but it actually means pig in latin.”

I’ve never been one to appreciate the feline species, let alone understand the bond betweens humans and cats. But as she explained, I instantly found a deeper and more significant emotion behind her words. “I didn’t have any brothers and sisters growing up. I just had a cat.”, she reassures. It all correlates to the high value Alyssa gives to the concept of family, so much so that they were actually part of the recording process early on. “The first album [Alabamulance] was recorded by myself using a Tascam eight track stereo tape player, and my parents actually play on that record”, she says. “The artwork in our latest release was actually painted by my dad”.

Sue Scrofa was conceived with modest intentions in rural Birmingham, Alabama. It began as a vehicle for Crisswell’s solo songwriting exploits. But like that of a drifting soul, the project has evolved through ongoing stages…and different settings. It can all be attributed to Alyssa’s unwearying work ethic and persistence. “I’ve been doing the project for a long time, and it has spanned to three different cities", she says. "It started in Boston, at Emerson when I went to college. I moved to Alabama where I met two of the other band members. And then we moved to Los Angeles together”.

Even if she’s now a bit more settled in terms of location, Crisswell continues to make sacrifices for the sake of maintaining the Sue Scrofa name intact. “For White Cat, I had to drive ninety minutes to get to my engineers’ [Shane Jewell] house – twice a week", she says. "Both working full time jobs. It makes it really difficult. I really want to do this for a living, so you have to find a happy medium between these things”.

Early Sue Scrofa records do have what she describes as a “lo-fi sentiment with some electronic effects”. But today’s Sue Scrofa has a more defined sound – it still transmits a sunny and lackadaisical disposition, but the production quality has an enhanced amount of bounce and kick. The band’s sound is still built around gradually strumming guitars, but the swinging uptempo tracks now have more of a glare… a rhythmic oomph. Some of that early quirk has been shaved off in favor of a more polished, hook driven sound that will definitely satisfy the palate of the mainstream listener. One thing that remains is Crisswell’s love for twang. “It still has a very overt country vibe”, she says. “I just can’t help it. I’m from Alabama, I guess. That’s the way we play guitar and strum”.

What fairly distinguishes Sue Scrofa’s home grown blend of toe’ tappin folk rock is the fluctuating vocal inflection found in Crisswell’s voice. She does look up to country leaning artists like Loretta Lynn and Neko Case, but I also find that her vocal harmonizing also falls along the lines of nineties singer-songwriters like Tanya Donnelly and Sarah Shannon. “It’s interesting you mention that because one of our new songs is totally nineties”, she laughs. It’s really more of a happy accident in terms of influence, as Crisswell herself is starting to delve into the raw directness of that particular era. “It sounds very straightforward – just natural and really strong voices. Strong singers.”

Crisswell seems meekly content with all they have achieved, but she’s more than aware that there’s a lot of road that hasn’t been tread. “I’d love to do a proper West Coast tour, and especially an East Coast tour – that’s where were from”, she underlines. Still, we’re excited about this year – getting our music out there and meeting other bands”.

To my surprise, Crisswell is very outspoken and impetuous. She radiates with a warmth and timeless grace, perhaps a quality she still carries from her humble upbringing. As I explained to her the disadvantages of doing a phone interview and how its’ outcome will depend of the subject matter’s willingness to speak, she was quick to crack one on me. “I hope it makes your life easier. And now you have to edit this girl babbling through her whole interview about her cats”, she quips. I was quick to reassure to her that it happens. To which she responded, “It doesn’t happen. It happened today”. Perhaps the day didn’t turn out as I originally envisioned, but I can’t deny that she kept me entertained. – Juan Edgardo Rodríguez

Living in Los Angeles, where it seems new folk or indie-pop bands are born on a daily basis, can make it easy to forget about the few rock bands, which occasionally emerge through the cracks. Vas Dafrans is one of these rock bands. Except they are not abashedly emanating in some secret, dark corner – they are claiming their space and spreading their experimental-rock roots from their hometown of North Hollywood, across Los Angeles county lines. Their sound? It’s a surge of high-energy, infused with uninhibited riffs and melodic vocals that are sure to erase any doubts you had about rock still being alive. If you weren’t able to check out their show at the Troubadour this past Saturday, you can still pick-up a copy of their latest self-titled EP on itunes. – Tuesday Phillips

There are few artists who can appear out of nowhere and have a lasting presence that resonates long after they emerge. Since first catching wind of Duniven’s sound less than a year ago, it can be guaranteed he’s one of those artists who’s going to make that imprint possible.

Having spent the rest of 2011 supporting his first EP, Trying For the Girl, with local shows, an East Coast tour, and a landmark performance at ASCAP’s CMJ showcase, it’s a wonder how he’s found the time to get back in the studio and already hit us hard with his next EP, These Dreams, released on April 30th. But he has raised the bar for all new and driven musicians to contend for the spotlight yet again.

However, this is only the beginning of a new year, one in which Duniven has already been a headliner for one of the infamous Satellite Nights, a 10-night event at The Satellite every January that showcases the biggest and the best local bands in Los Angeles. And after successfully walking away as the best night out of all ten, he was personally invited back by The Satellite for their April residency. “I was honored to get the offer to do it, and you just don’t turn that down…[Having a residency at The Satellite] is the kind of the gig in town that you want.”

Although a residency at The Satellite is one of the most desirable gigs an LA-band can get, there can be a little trepidation and pressure for musicians. However, Duniven has already executed his first two Mondays in April without a hitch. He not only brings a captivating and poetic performance to the stage himself, but also has a great roster of remarkable bands supporting him such as Liquid Love Letters, United Ghosts, Shadow Shadow Shade, Bixby Knolls, Youngblood Hawke, and Lemon Sun.

With a plethora of talent every Monday, and Duniven acting as the keystone to hold the evenings together, Mondays at The Satellite are a great chance to be exposed to some of the front runners for the best bands in LA. It’s no doubt the best gamble for a good time, and a guarantee that every week will start off right ….and did we mention it’s FREE? Doors are a 7:30pm with the show starting at 8pm sharp! – Mary Broadbent

The members of Los Angeles-based band Dot Hacker are no strangers to the stage. Before friends Josh Klinghoffer, Clint Walsh, Eric Gardner and Jonathan Hischke started the band in 2008, they each already had solid resumes recording and touring with the likes of Beck, Gnarls Barkley, PJ Harvey, Charlotte Gainsbourg, The Butthole Surfers and Broken Bells. To add to that already impressive list, a year later after forming, lead singer Klinghoffer joined the Red Hot Chili Peppers as the band’s guitarist. Fast forward three years and the four friends finally have the chance to focus on the music of Dot Hacker. The band will be celebrating the release of its full-length debut album called ‘Inhibition,’ which will be made available via ORG Music on May 1st. On the album, the band switches from strong, driving tracks like "Order/Disorder" to songs like "Eye Opener" and title track "Inhibition," which feature textures that are a bit more dreamy and cozy with velvety vocals. The album is now available for pre-order at ORG Music, including a limited edition colored vinyl. – Karla Hernández

There’s something endearing about fuzzy, lo-fi recordings. They just sound so much more genuine than overly produced tunes (and they probably are). I respect that. The LA-based duo, Spaceships, produces a hazy, true form of garage rock that gleams with reverb and static. Vocalist Jessie Waite guides the tracks with her delightfully wailing voice, as screeching electric guitar and pounding percussion promote a sense of punk-like urgency. With a self-titled EP (released in January) under its belt, Spaceships is playing some shows in California in April and is currently in the process of mastering a 7". Download the EP for free here. – Katrina Nattress

Spaceships LIVE:
4/10—Silverlake Lounge, Los Angeles, CA
4/20—Infoshop Café, Fresno, CA
4/21—Max Steiners, Long Beach, CA

The Red Sparowes have always been, strictly speaking, an instrumental rock act. It’s not that they had anything to say, as the song titles themselves read like abstract, evocative story fragments. So for those who’ve always been curious know what they’d sound like with the addition of vocals, it looks like the equally experimental-leaning act Marriages have finally answered that question. Comprised of three members of the aforementioned, this “side” project feels more like a shortly-timed departure with a keepsake to hold on to until the fateful reunion – there’s still an emphasis on employing a dark, echoing sound that’s just shrouded in mystery, but Marriages like to get to the point more quickly instead of embarking on interminable jams. In the track “Ten Tiny Fingers”, Emma Ruth Rundler’s soft-toned, slithering vocals project over a smokescreen of hazy, tremulous guitars and crisp, pounding drum work. The band still takes their time to envelop the listener with a warm and dreadful chill, but there’s always the sense that you’re close to reaching the light at the end of the tunnel. Marriages’ six track long debut release, entitled Kitsune, will finally be unveiled in its entirety on May 1st.

From first listen, the initial reaction to Modern Time Machines is, oh, this sounds like Silversun Pickups. And although this is a fair assessment—both bands feature hazy, baritone vocals atop whimsical shoegazing rock—this Los Angeles-based quartet is far from a copycat band. For starters, the band produces epic walls of sound by layering guitars, percussion, melodies, and violin that wash its listeners ears with loud, extravagant arrangements that groups are lucky to achieve at any point in their careers. Which brings me to my next point: MTM is gearing up to release its debut full-length, Continuity Girl, which is slated for May 22nd. When listening to this album from start to finish, it is hard to believe it’s a freshman effort. But hard work pays off, and the shoegazers have already landed airplay on KROQ, a taped live set on Adult Swim, and a FREE April Saturday residency at Casey’s Irish Pub in downtown Los Angeles. – Katrina Nattress

The Haim sisters, Damielle, Alana, Este and their drummer, Dash Hutton, bring forth to listeners a free taste of their eclectic talent and diverse musical palette with their EP, entitled Forever. The EP delivers a good sampling of the girls’ sound with trippy psychedelic guitars, ’80s bass riffs, and even a well-balanced usage of various tribal percussion beats. The vocals on the album pull it all together for the record, and are reminiscent of Martin Page’s ‘In the House of Stone and Light.’ The girls recently promoted their sound and Forever at the SXSW music festival in Austin, TX with a four-day run of shows, and they’ll later return to Los Angeles in the summer for an already sold-out show at the Troubadour on June 13th. To get your own free copy of HAIM’S Forever, feel free to check them out on their webpage, or visit their Facebook for more information. – Mary Broadbent

 This week is the SXSW festival in Texas, which is the breeding ground for up and coming bands as well as unknown acts. One of those up and coming acts is Silver Lake-based duo The Violet Lights. After packing up and leaving their hometown of Green Bay, Wisconsin, the pair of Joel Nass and Amber Garvey ended up in Los Angeles and have been carefully crafting their unique blend of homegrown garage rock and melodic pop riffs. Their debut EP "Sex and Sound" is available to stream on their website, which also offer goodies like their blog which chronicles their adventures in making music. Catch them here locally at Hemingway’s on March 27, since it’s a big of a trek to Texas for SXSW. – Taylor Lampela

Italian Japanese has released a video for the single "Two Islands," which is just as endearing and whimsical as the band’s heart clenching rhythms and swelling vocals. Like one of the scenes in the video where lead singer Allen Nicholas sits in the meadow blowing bubbles, this San Deigo band has a delicate indie rock sound that gives off a sense of being in a safe and comfortable environment. Inspired by the film, "The Science of Sleep," the video follows a love story with the use of paper cut-outs. Grinding guitars weave in and out in the background as the video leads to a happy ending for the two characters. Italian Japanese is working on releasing a full-length, but until then, the band will be showcasing at SXSW and touring the southwest. – Karla Hernández

Pan through Southern Californian desert: close up of sand and dune beetle; cut to crevasse with man in tuxedo climbing out, grasping half a bottle of champagne. This is the first 22 seconds of LA-based trio Facts on File’s new video, “How Will We Get Along.” It is also perfect imagery to describe the band’s sound—gritty and carefree, but with a hint of class. The three-piece creates infectious ‘60s-inspired pop tunes that burrow deep in your eardrums and invoke dance parties wherever they are played. Aside from the video debut, expect a record release from the retro poppers in the spring, and check them out live with Tubby Boots, and The Deli LA’s current Artist of the Month, both 3 ½ and Bikos, at The Cinema Bar Saturday, April 7th. – Katrina Nattress

If there was anything music in the eighties taught us, it’s that there’s always time break into dance and leave logic out the door. Or maybe that’s how the plot to the Breakin’ films unravel. Either way, it’s hard to avoid the enduring influence of synth- pop in today’s younger bands. And while the mission of most is to distort its spotless, primitive arrangements with noisy bursts of riotous vigor, there’s also those who shun the idea of experimenting for experimenting’s sake and opt to bust out the Casio and put it on auto-pilot. The self-proclaimed millenials Mirror Talk fall into the latter – the songs off their self-titled EP resonate with a playful spirit, filled to the brim with contagious excitement. Seemingly meant to be taken in the same context as a “choose life” t-shirt, they share a song titled with the eponymous eighties slogan. And the sentiment couldn’t be any more apropos with the song’s vitality – going for an arena-level synth pop sentiment, in which they exclaim is it true love with upbeat jubilation, the hyper-balled unabashedly melds a finely-tuned production that feels very now with a glorious sense of the past.