Doors at 8:30
9 - The Electric West
10 - Spare Parts For Broken Hearts
11 - Object As Subject
DJ Sets by The Pretty Cult
The Satellite Presents
Sarah Green (Sg), is the founder and front person of the melodic, three-piece, post-grunge band, Spare Parts for Broken Hearts. Known for their unique blend of big and beautiful choruses soaring above the heavy pulse of distorted drive, Spare Parts is a nostalgic nod to the beloved dynamic of classic ‘90s fuzz-drenched melodies, often soaked in the angst of its tortured storyteller. The band is reminiscent of many post-grunge era greats, but with a modern and memorable kick to the teeth. LA Record has said “In an era of music characterized so frequently by pastiche delivered with a sly wink, it’s refreshing to hear a band utilize and own their influences this sincerely,” After Ellen said “Sg’s voice is going to become your new favorite sound” and The Orange County Register has dubbed them “An ardent testament to true alternative rock music.” After returning from another Van’s Warped Tour in 2010, Green made plans to start the Long Beach based trio doubling as both singer/guitar player while also frequently alternating on bass. The inception of Spare Parts was the culmination of Green’s diverse roster of musical endeavors as both a multi-instrumentalist and solo artist; this became the catalyst for Green to eventually sum all of them up into one core project and create a band of her own. Green dropped out of college and came out the same year she jumped on the Van’s Warped Tour for the first time, touring as a bassist and traveling alongside bands such as CKY, Weezer, The Muffs and Thursday. Upon returning, Green’s interest in activism within her own LGBTQIA community became the fundamental root of what would later become the core foundation Spare Parts for Broken Hearts is built upon, noting the band’s tagline, “Everything Heavy, Everyone Here.” In 2018, Green rounded out a new lineup with long-time fan, Jonny Cifuentes (bass) and long-time friend, Jessica Lankford (drums). With a recent relocation of the band to Echo Park, Green and Spare Parts for Broken Hearts are manifesting a year of new beginnings. To welcome their first official hometown show, Grimy Goods named them “One of the 15 must see bands of Echo Park Rising 2018.” Spare Parts began recording earlier this year with plans to release another single in the Fall. What began as an EP, will likely become a full length release to follow in 2019.
2013, The Electric West formed in Los Angeles' beautiful downtown Echo Park. Forging an outlet inside famed Bedrock Studios, the post-punk trio combined Pagdilao's pummeling dance beats with punctuated melodies and Lewallen’s sympathetic crooning between alternating currents of contemporary political angst and a cold, metallic stare at our nation’s past. Intensely charged, these tracks channel gripping themes—Manifest Destiny, Salem witch burnings, and even meta-fictitious graphic novelizations—to create a raucous source of inspiration for fans of Dead Kennedys, Gang of Four, and David Bowie. Following their first tour of the West Coast, and a week of SXSW, The Electric West co-released their 4 song EP, "Verdugo" on tape, CD, and a very limited run of 7" records with friends Future Force Records. The Electric West is Lee Lewallen, Byron Pagdilao, and Billy The Kid.
OBJECT AS SUBJECT is an LA-based art punk band led by classical violinist turned punk singer, Paris Hurley (composition, vox, drums, dance // Kultur Shock). This feminist battle cry is a call to action fueled by raw wailing vocals, a barrage of floor toms, gritty bass riffs, and exacting choreography that shifts from explicit gestural iterations to relentless phrases of wild abandon, featuring Emilia "Pony Sweat" Richeson (dance, drums, vox), Gina Young (bass, vox // SORORITY), Patty Schemel (drums // Hole), and Megan Fowler-Hurst (dance, drums, vox // Tales Between Our Legs). An irreverent choreographic and sonic ritual, their work is feral and unashamed, spilling from the stage with calculated bursts of irreligious rites. Their debut album, PERMISSION, is a ceremonial destruction of the myth that women exist in a scarcity-driven hierarchy and must make themselves small for the comfort of others; seen but not heard, useful without agency. Laced with hypnotic drones and lyrics tackling the catcalls of construction workers, the degradation of pussy, and the patriarchal pyramid scheme of catholicism that turns the sexuality of women into a sin, OAS weaves a punk incantation inviting audiences to turn inward, face yourself, free yourself, save yourself, revel in your joy, feel your sorrow, sweat out your fears, and scream your anger.