By Ramon Gonzales

When scheduling who and what to see, there are a healthy amount of KROQ Locals Only bands that have crossed a threshold and established themselves on the Coachella radar. Here’s a look at a few who made their mark these past 2 weekends in the desert.

Joyce Manor

The South Bay’s anti-bro brand of house party-esque punk rock is so damned refreshing, it’s no wonder their success has yet to stall. Geared more towards the introspective suburbanite rather than the circle pit primate, singer/guitarist Barry Johnson is rock music’s everyman. With feverish tunes that indulge the beer can worries of blurry late nights and disingenuous acquaintances, there is a relatable quality to selections like “Constant Headache”, “Catalina Fight Song”, and “Leather Jacket”. Steering clear of the pretentious pulpit punk can sometimes become, the guys in Joyce Manor run with levity, very loud levity, a formula that reminds everyone that music is supposed to be fun.


Bad Suns

It’s taken the guys of Bad Suns all of three years to not only become one of the most-anticipated performances of Coachella 2015, but a darling among indie rock’s new class.  Touring in support of the band’s Vagrant debut, Language & Perspective, the single “Cardiac Arrest” is nothing short of a sensation, racking up some 2 million views on Youtube. A modern take on the New Romantic wave anchored the late 80’s, Bad Suns’ delicate weave of radio rock groove with spacey stints result in memorable moments of music that stick for the right reasons. Rich, layered, melodic arrangements like “Salt” and “Transpose” double as instrumentally respectable and energetically entertaining. Superstars in the making, Bad Suns deliver.

 


Night Terrors of 1927

Rilo Kiley alum Blake Sennet and former Honorary Title frontman Jarrod Gorbel anchor the stylishly dark indie pop that is Night Terrors of 1927. Still equipped with the necessary booming hooks that make pop music, subtle synth and slow moving, bombastic percussion set the duo’s sound apart from the current wave of dreampop and flirts more with the ominous. “When You Were Mine” the collaboration with Tegan and Sara, works as a prime example of Night Terrors ability to meld an upbeat tempo with a hint of the inauspicious. The audio equivalent to a David Lynch film, the veteran tandem’s ability to maintain a mystique only bolsters an aesthetic that is both artistically sound and vaguely dangerous.

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