#pehrspace

[practicalrecords]

Gather for the last installment of our summer concert series with an ecstatic evening of queer musical performance celebrating the release of “Stories” on Practical Records.

Pride Month Barbie The Bedroom Witch Roxanne Starnik

Presented by Pehrspace

2220 Arts + Archives 2220 Beverly Blvd, Los Angeles, CA 90057

Doors 8pm Concert 8:30pm

$15 / $10 community tickets via DM

Pride Month Barbie is an L.A. synth-pop duo formed in 2022 by solo artists Tyler Holmes and Josephine Shetty (aka Kohinoorgasm). As Libras, sluts, drama queens, and judgmental bitches, PMB brings a sound and performance that will leave you feeling insecure, horny, and annoyed. Photo Credit: Andrea Granera

Cast as the misunderstood maker of the veil, The Bedroom Witch is the solo project and moniker for visual, recording, and performance artist, Sepehr Mashiahof. She uses music, video, and performance to chronicle movement across various imagined realms that begin in “Exile” and end in a return to “Nowhere.”  Photo Credit: Bailey Kobelin

Cleveland native Roxanne Starnik writes, produces and records pop music from the cozy confines of her Los Angeles bedroom. Earworm melodies and danceable programmed beats support forthright words that reflect on intimacy in all its forms.  She uses this play between pop beats and rather relatable sentiments to engage with the crowd, empowering them to move with her and sometimes a crew of dancers that join her expression. Photo Credit: Roques S. Gonzalez

[disposablebabies]

gary wilson

[mottinz]

Mars Argo - Open Up The Door in Your Head @ Pehrspace  (14 June 2013)

Join the Cult of Mars Argo on: Discord: discord.me/marsargo Tumblr: cultofmarsargo.com

[alexmccausland]

[moonroomie]

APAHM Benefit Film Screening, May 24-31. All contributions go to assist local API and Desi American artists impacted by Covid-19 (update: contributions will now be redirected to Black Visions Collective, MN Freedom Fund, National Bailout, and Reclaim the Block as we observe our complicity in anti-blackness and recognize our own privilege) will be matched 69%* by moonroom. IG: @moonroomie​ • Venmo: moonroom 

CONFLUENCE is a meditation in documentary form filmed during last season’s PHASE series, channeling reflections on identity and Asian Pacific American Heritage Month. • Directed by ETA • Featuring interviews with Ceramiks, Jangus Kangus, Kelleia, Laciste, Oh My Muu, Reinabe, Shunkan, and Zhao • Music by Sonoda, Tomemitsu and Zhao •

• Co-Presenters: Athame Records, Girl Underground Music, OnThree Management, Zoom Lens • Community Partners: API Equality-LA, Chewing Foil, Enclave LA, Pehrspace, QNA, Sleezehog Presents, Sunday Jump, Week in Pop •

Listen to our APAHM PHASE playlist featuring API and Desi American artists and bands who’ve participated in our annual showcases since 2017 here.

[intoxicatingimmediacy]

Film Scoring, Modular Synths, and Clipping. - an Interview with Jonathan Snipes

[...] Now, let’s talk about clipping. How did this project come about? All of you (Jonathan Snipes, Daveed Diggs, William Hutson) have known each other since childhood, is that right?

JS: I’ve known those guys for almost 20 years. They have been friends about 10 years longer than that, so I still feel like the new guy, which is a bit ridiculous. Bill and I went to college together, and Daveed would come crash on our couch during the summers or whenever he was on a break and we weren’t. We had made a handful of tracks together over the years. Bill & I had a variety of one-off noise projects. Bill used to have a project with our friend Kyle Mabson called “Beach Balls” that was this pretty silly party noise thing that I loved immensely. One of their releases included a track called “case sensitivity” that I think Bill made on his own. It featured a Yin Yang Twins acapella set over these really punishingly high pitched clicking sounds, and I thought the whole thing was so elegant and beautiful. I kept saying to Bill, “this is a whole genre - you’ve gotta do more of this.” But they were done doing Beach Balls for whatever reason so I said, “Well if you’re not going to do it on your own, let’s do it together as a remix project.” So we started taking existing rap acapellas and making new beats for them in that style. The rules were no drums, no pitched/melodic material, but they still had to be highly composed/rhythmic/intentional - it couldn’t just sound like noise jamming over the acapella. We made a handful of those (I think they’re still on soundcloud) and called the project “clipping” - we played a handful of shows playing those remixes. Around that time Daveed moved to LA and heard what we were up to and said, “you should make an original track, not just a remix.” That song was “Loud” which ended up on the midcity album. I think we did one show at Pehrspace (RIP) where Bill & I played a handful of remixes, then Daveed came out and did “Loud” with us at the end. After that we said, “ohhh, this should be the project. It should all be original songs.” So we made enough for a full set.

[...] On the latest clipping record There Existed an Addiction To Blood you also have the track called “Piano Burning” which, I believe is a performance of a piece originally composed by Annea Lockwood? How and where did you record it? What was the intention to close the record with this composition?

JS: Yeah, that was Bill’s idea. We were trying to think of a piece to use that would feel appropriate for the horror theme, and often horror movies end in a fire. It felt cleansing and spooky at the same time, as well as keeping in line with our tradition of ending albums with recordings of specific pieces of contemporary music. We love Annea Lockwood in general, so this really checked all the boxes. We recorded it with Christopher Fleeger (we collaborate with him a LOT) out in the desert at an undisclosed location our friend Cristopher Cichocki found for us. 18 channels across 3 different recorders, timecode locked. It took hours to set up and test everything. We lost eight microphones in the process of recording. Fleeger and I used it as an opportunity to thin out some of the cheaper/crappier mics we owned. It was worth it.

[asianamsmakingmusic]

from Young Lovers / Wander Split, released March 8, 2018 Written and performed by Young Lovers Recorded and produced by David Jerkovich at The Ocotillo/Pehrspace in Historic Filipinotown and Bedrock LA in Echo Park, Los Angeles, CA in 2013/2017.

[taiwan3000]

CONCERTS

***against me!

antlers

best coast

***big thief with tucker zimmerman

billy woods kenny segal

danny brown

***dirty beaches

dr. dog

***future islands

***girl in a coma

hiss golden messenger

***kanye west with kendrick lamar

kurt vile

***mount eerie

***nine inch nails

no age

nosaj thing

***pehrspace

***perfume genius with hand habits and julia holter

***shabazz palaces

***sloppy jane

the smile with robert stillman

***spellling

***sudan archives and all city jimmy

talib kweli

***terror pigeon

tune-yards

waxahatchee

***why? with serengeti

***yeah yeah yeahs

yeasayer

[south-detroit-blog]

“look to the right and I see the hollywood sign”

welcome back to south detroit. today we follow miley cyrus into a cab in 2009.

“party in the usa” takes place on the first day miley cyrus ever spent in los angeles, in a cab ride from LAX to “the club.” we immediately have problems, as miley’s likely first time in los angeles was in 2003 for the hannah montana auditions, when she was 11 years old and almost certainly not traveling alone.

but. placing ourselves in a fictional first visit to los angeles as a sixteen year old, which miley was at the time of the song’s release in 2009, we still have problems.

one of the maplords is from los angeles and can speak from experience: there are very few all ages nightclubs in los angeles. within the narrative of the song, fictional “first time in LA” miley would not be famous enough for bouncers to overlook the fact that she is underage. therefore, we have a very short list of potential destinations for her cab ride.

here is a map with LAX and the hollywood sign marked in blue and five all ages venues (left to right: whisky a go go, the troubador, amplyfi, pehrspace, and the smell) marked in red. it is worth mentioning that these are all predominantly rock clubs, and not the kind of places where all you see is stilettos. those clubs exist, but miley doesn’t mention having a fake.

you will notice that LAX is in southwest of all these locations. the hollywood sign, if visible at all on the drive, will either be on the left side of the cab or directly ahead of it.

there is no route from LAX to any all ages venue in los angeles where the hollywood sign is visible on the right hand side of the vehicle. unless miley is young enough to still be in a rear-facing carseat in the narration of this song, this did not occur.

[cultofmarsargo]

Mars Argo - Stuck on you (vine) Pehrspace (14 June 2013)

Join the Cult of Mars Argo on: Discord: discord.me/marsargo Tumblr: cultofmarsargo.com

[gocacolospgs]

Artist Feature: Caitlin Goebel

NSFW: explicit and sexual content. 

Work statement: Missing The Point explores the interstices of intimacy, objectification, and scopophilia. The works in this series are not meant as dogmatic statements, but rather as entrées for magical thinking and critical discourse.

How did you make this?  

To begin this work, I first made a reproduction from a small drawing I had done on an image in a porn magazine. I did this emphatically; I printed it as large as I could, without sacrificing too much visual information. I then began to ornament and embellish the reproduction with glossy, luminous acrylic glazes. I emphasized the plush, the feminine, and the garish by painting over the lacey backdrops and silken fabrics surrounding the subject. During this process, I accentuated all but the model’s exposed flesh; I painted in her garments, shoes and manicure, and accented her flowing hair. All but her skin—her actual body—was softened, feminized, candy coated, or otherwise drenched in a saccharine glaze.

Presidential Suite, Ink, correction fluid, acrylic, archival print of found image on pine panel. 40x72 inches. 2016.

My second step was to re-vandalize the image. I re-drew the initial graffiti I had imposed on the porn. I brushed on correction fluid and outlined crude representations of food and cuddly animals, finalizing my mimesis with highlighters and ink. My finished work was both palimpsestic and antecedent. I cast destruction upon both the porn and my abstraction of its pornographic qualities.

Sip, Ink, correction fluid, acrylic, archival print of found image on pine panel. 44x86 inches. 2016.

Slide, Ink, correction fluid, acrylic, archival print of found image on pine panel. 44x89”. 2016.

What artists are you looking at?

Marylin Minter, Ed Ruscha, Rachel Whiteread, Miranda July, Mickalene Thomas.

What/Who are your influences? (Name things that aren’t other artists- maybe subjects or experiences)

Theories of performativity, professional wresting, interpersonal relationships, the Internet, and movie sets.

What’s next?

I'm continuing this series (Missing The Point). I'm also working on two other, separate bodies of work to submit to galleries. One is called Demystification, and one is called Everything Happens. They are all related conceptually, but they utilize different visual language. 

Caitlin Goebel was born in 1989 in Long Beach, California. Her over-the-top, Kitsch-inspired work explores capitalism and consumption, simulacra and simulation, meta-reality and reality, magic and manipulation, and intimacy and wonder. Utilizing fluorescent, metallic, glowing, and glittering materials, Goebel creates paintings and collages both inspired by and composed of 20th and 21st Century ephemera such as disposable tablecloths, fast-food advertisements, and pornography. Her work has been featured nationally in group exhibitions, including Juicy at The Front in New Orleans (2017), Gone Soft at Pehrspace in Los Angeles (2016), and Bright Young Things at Gallery of Contemporary Art in Colorado Springs (2015). Her solo exhibitions include Missing the Point at AHA Gallery in Colorado Springs (2016), Correcting/ed Objects at the Heller Center for the Arts and Humanities at University of Colorado Colorado Springs (2015), and Horror Vacui at The Modbo in Colorado Springs (2013). She was co-owner and curator of Rubbish Gallery in Colorado Springs and founder and curator of CLOSED Gallery in Denver. Her most recent curatorial project, Cybercy: Exploring the Post-Internet Matrix, opens May 2017 at the Gallery of Contemporary Art in Colorado Springs. Goebel is currently pursuing a degree in Visual and Performing Art with a triple emphasis in Visual Art, Art History, and Gallery Management at the University of Colorado Colorado Springs.

Caitlin Goebel is an artist whose works are showcased in GOCA 1420’s Senior Visual Art Exhibition, Ways of Seeing. This is the eleventh annual Senior VAPA Majors art exhibition and runs from 21 April through 13 May 2017. Gallery hours are noon to 5 p.m. Wednesday through Saturday, or by appointment. GOCA1420 is located at UCCS Centennial Hall at 1420 Austin Bluffs Parkway, Colorado Springs, 80918.

[practicalrecords]

Transcend this realm with a sophisticated evening of avant performance celebrating the release of “Stories” on Practical Records.

Gemma Castro Lu Coy Julius Smack

Presented by Pehrspace

2220 Arts + Archives 2220 Beverly Blvd, Los Angeles, CA 90057

Doors 7pm Concert 8pm

$15 / $10 community tickets via DM

Los Angeles based Mexican-American musician Gemma Castro brings her stunning fusion of R&B and electronica to the global stage. Known for dreamy melodies, romantic Spanish lyrics and heartfelt vocals meshed with spacey synthesizers and lo-fi beats, Castro’s boundary-breaking instincts cement her spot as a breakthrough producer and unapologetic artist to watch. Photo Credit: Daniel Hermosillo

Lu Coy (they/them) is a queer mixed media artist and musician of Mexican and Ukrainian Jewish heritage and based in Los Angeles, California. Lu creates music which ranges from complex electronic soundscapes to dark, deeply confessional acoustic songs. As a multi-instrumentalist known for their mastery of woodwinds, use of electronics, and agile vocals, Lu performs regularly with several prominent bands in LA’s Queer-Alt-Latin music scene and has been featured in experimental operas by Anna Luisa Petrisko, Trulee Hall and Four Larks Opera company. In addition to their contemporary music practice Lu is also an avid performer of both Ashkenazi and Sephardi Jewish musical traditions singing regularly in Yiddish and Ladino. Photo Credit: Olivia Hemaratanatorn

Julius Smack is the stage name of Peter Hernández, a musician and performer based in Los Angeles, CA. He creates music and dance performances as Julius Smack, who over the years has inhabited the persona of a sexy prince, a businessman faun, and a statue awoken from antiquity. His work concerns the traumas and hardships of modern society through the lens of indigenous spirituality and intergenerational memory. Photo Credit: Evan Walsh

[disposablebabies]

gary wilson

[mottinz]

Mars Argo at Pehrspace - Los Angeles Loves... Girls (14 June 2013)

Join the Cult of Mars Argo on:

Discord

Tumblr

[thepastelfelt]

ABOUT

Pastel felt sprung from Los Angeles' now defunct Pehrspace, a mainstay of unconstrained shows ranging from punk to intimate-bedroom performances. Their music can be described as dreamy and driving; atmospheric garage pop, "We consider ourself groovy-mournful surfgaze." Tara Milch plays guitar and sings pretty, buried vocals. Tara and Alex Edgeworth met when Alex moved to LA, and the two bonded over music like The Kinks and The Clean. Alex, who played and toured in Peach Kelli Pop, Colleen Green and Happy Jaw Bone Family Band, fell squarely into playing bass. Evelyn Quijas was recruited on drums when Tara and Evelyn met at weirdo-cinematheque, The Cinefamily. The chemistry of the three friends drives their performance. 

Tara's biggest musical influence is Blonde Redhead. She saw them when she was fifteen and knew their sound was something that would stick with her forever. Especially the band's evolving sound from angular post-punk to polished kraut-shoegaze. Other influences include Grouper, Stereolab, Cat Power, and Unwound. Her song writing style is melancholic, underlying in even the bouncier songs. She is earnestly inspired by the hysterical films of Andrej Zulawski, weirdo comics, and the acute feeling of disorientation when you wake from a deep dream. 

Their debut album 'Charming Lait' is out now on Los Angeles based Lolipop Records.

[cuddleformation-blog]

stoked to be sharing sounds at the smell tonight in a tender b2b with damaris paz. also just want to talk about how special this place is... after thriving for nineteen years in downtown la and giving a home to so many throughout the city (the world, rlly) the smell is going to be demolished and most likely redeveloped into condos unless we as a community can raise the funds to either buy the building or help this force find a new home. i've been coming here since i was in high school, playing here since 2010, and with the current losses of non plus ultra and pehrspace los angeles' music community is losing consistent and welcoming spaces quickly. support your community arts spaces! thank you for existing! and thnx @hullygrams for taking this sick pic of gerald and i playing cf songs at junior high 🌸