Psychic Love Every Thursday in July with Pom Poms, Santa Barbara, Omniflux

The Satellite Presents

Psychic Love Every Thursday in July with Pom Poms, Santa Barbara, Omniflux

Thu, July 20, 2017

Doors: 8:30 pm / Show: 9:00 pm (event ends at 2:00 am)

The Satellite

Los Angeles, CA


This event is 21 and over

Facebook comments:

Psychic Love
Psychic Love
Pom Poms
Pom Poms
An Introduction

“We’re bringing a world into this music,” she says, sipping from the lip of a flute of champagne. “This is my world. Would you like to come in for a drink? We're going to have a blast. It's going to be a little dangerous, but it's going to be really fun.”
Of course you would find her here. Of all the available haunts and red-leather booths in town, the three-dollar beer joints, and every sad dartboard waiting for a bulls-eye never thrown, Marlene is here.
Here, Edith Piaf spills from invisible speakers and the chairs are made of wicker.
Paris? No, this is L.A.
Somehow, this is Los Angeles.
Wearing Anna Karina-style pigtails and a horizontally striped dress, she has managed to bend this entire metropolis to her will with the ease of that wave to the waiter. Of course we’d find Marlene of Pom Poms here.
To say she is in her element is an understatement. In fact, we’ll be interrupted as passerby and acquaintances pause to say hello, but not before she has finished describing her world. The world of her music is the important point. Her songs begin and end, as all songs must, but they never truly vanish. They are, in some respect, like the bubbles in that second glass (just arrived) of champagne—rising, rising, and rising just once more until they empty into the air and become, well, the atmosphere we breathe. Yes, Pom Poms make that. It is neither nostalgic nor new. It is not retro or future. It is music outside of linear measurement. Yes, it is timeless. And isn’t that the ultimate goal?
Take “Betty,” for example.
“The minute we finished writing ‘Betty’ we knew something was special about that song,” says Marlene, the “we” referring to her songwriting partner and producer Billy Mohler. “We were so proud of ourselves. We can churn out a lot of songs. We have that wonderful dynamic of just being inspired by each other. But when ‘Betty’ came around, we were like, ‘What are we going to do with this? We’ve got to do something with this song!”
The entire world of Pom Poms was built, if not in a day, then out from that moment ‘Betty” was born. The mercurial task of harnessing a sound so distinctive so soon in the life of a group (let’s not call them a band) is rare. So the two of them raced to follow that white rabbit around every turn in the magic maze. All was possible. Things were clicking into place. But we’re getting ahead of ourselves.
“A tree fell on my car,” recalls Marlene. “I was done. I didn’t know what was left. That’s when I decided I would create something only if I felt like it. That became my motto. ‘I am going to do this only because I want to.’ I was going to put myself into everything. Wherever I was going to land, I was going to land. I just needed to survive. I had no choice.”
All the usual suspects that disrupt a life—love, death, loss of love, more death—it all arrived at once and fell like that tree. But it wasn’t a metaphor, it was an actual tree, actual loss, real death, real heartbreak, and the enemy of all art came with it: doubt. Marlene nearly called it quits but now it is the song that will put Pom Poms on the musical map.
“How did I do that?” she says, describing the feeling each time a song appears to her. “You have to chase the genius. When you get that strike and you feel it coming, you’ve got to follow it or else it’s gone and you have to wait for it to happen all over again.”
She waves away any flattery with a flip of her delicate wrist. In conversation, you will hear her describe songs that “happen” and others that “come around,” as if they were visitors, not creations of her own making. Over the course of an hour, she’ll find ways to weave Quentin Tarantino, Ernie Kovacs, Roy Orbison, The Twilight Zone, Wes Anderson, Jean-Luc Godard, Yves Montand, Connie Francis, Johnny Cash, and Patsy Cline into our conversation with nary a bat of her ink-black eyelashes. In the end, she is following not a rabbit, not a muse, but some deeply instinctual aural and aesthetic drive she isn’t even certain is right for you, but positively true to herself.
“Is this going to work? Are people going to get behind this?” she wonders aloud. “To be honest, I’m just going for it. You can’t know, so you might as well just go and do it and see where it takes you.”
Outside now, she ambles delicately along the sidewalk, avoiding the tree roots that have angrily reasserted themselves and broken through the concrete. You can see her peer into shop windows, or up into the branches of a tree. She’ll scan the marquee of the movie theater and be startled by the honk of a car. What exactly does she see? Why is she looking? How many of these things that surround us will be songs? What part of this world will become the music of Pom Poms? And will you accept this open invitation to join her?

Santa Barbara
Santa Barbara
LA based alternative rock trio originally from New Zealand.
Omniflux takes your hand and pulls you deep into the midnight sea. There, with ceaseless flux, she'll bewitch you like a lone, pale jellyfish bleeding light in the bosom of boundless blue. She will caress you with wintry frost and fever. She will make you love her and when you do, she will sting you raw, high and low.

“Omniflux is a hazy, dreamy visit to the place where wild things roam. It’s bewitching and beautiful and completely hypnotic.” –Entertainment Weekly

“Omniflux explores the intersection of the familiar and the alien through sweeping, cinematic electronic music…She contorts her voice and utilizes brilliant arrangements to create something stunning and provocative.”
–Rookie magazine
Venue Information:
The Satellite
1717 Silverlake Blvd
Los Angeles, CA, 90027