Brought together by time and fateโtheyโd all known each other since high sc… Read Full Bio ↴Brought together by time and fateโtheyโd all known each other since high school, but finally made a band together in 2009โand named by some kind of esoteric computer filename error too complex to further explain, Orange Countyโs The Lovely Bad Things are the hyperactive omnitalented and relentlessly hilarious garage-pop band who crowdfunded their way to an encore performance at the world-famous Primavera Sound festival and whose new album The Late Great Whatever was titled during a dream at the suggestion of their spirit guide, who happens to look strangely like Dinosaur Jr drummer Murph. Was that a lot to take in all at once? Then now you can sympathize with the cop who pulled them over on their way to the UFO museum in Roswell, New Mexico: โโWho here has ADD?โโ Brayden Ward remembers him asking. โAnd we all raised our hands.โ
The Lovely Bad Things are Brayden and brother Camron Ward, Tim Hatch and Lauren Curtius, each a multi-instrumentalist and each devoted to a bottomless knowledge of ridiculous pop culture and comprehensive appreciation for the Pixies, though if you dismantled their songs and their record collections both youโd find Sonic Youth, Modest Mouse, the B-52s, the Wipers and of course Redd Kross, whose sense of humor and sense for a hook the Bad Things have inherited. They mostly come from the city of La Mirada, but their true home is the Lovely Bad Pad, a converted suburban garageโconverted personally by the band membersโthatโs hosted truly legendary backyard punk shows, up to and including a surprise set by Peter, Bjorn and John, who know a good thing when they hear it.
Itโs this combination of D.I.Y. spirit and off-the-wall luck that carried The Lovely Bad Things from that backyard to a cassette release on trendsetter label Burger Records that would be called one of the best L.A. punk releases of 2011 by the L.A. Weekly. And from there they ricocheted into a surprise slot at Primavera Sound festival, crowdfunding and benefit-showing just barely enough for airfare to get there and winning over their audience forever once they did. Now, after building a fan base show by show and person by frothing-at-the-mouth personโa guy once came all the way from Belgium to see them play one special songโThe Lovely Bad Things have finished The Late Great Whatever for Volcom Entertainment.
The Late Great Whatever was started just after the release of the maxi-EP New Ghost/Old Waves, until now the Lovely Bad Thingsโ signature release. Although theyโd released a full-length called Shark Week in 2010, the album that would become โฆWhatever was going to be something new, they explain: โOur first real full-length,โ says Tim. At least half of Shark Weekโs songs were written in โฆ oh, about two minutes, calculates Lauren, because back then Lovely Bad Things were just discovering the knockout sugar high that came from just playing music with each other. But this would be different: โHow do I say it and not sound like a super-clichรฉ musician?โ asks Camron. โMore mature, I guess?โ
So whatโs that mean? Not one but two Star Wars references on the tracklist, Bigfoot on the cover, a shout-out to Macho Man Randy Savage and a relentless collection of the strongest songs The Lovely Bad Things have ever done. What, did you think โmatureโ meant? They were going to get all mopey and slow? (โJust say itโs โglobularโ and โshapeshifting,โโ suggests Camron.) Produced by Jon Gilbert in the studio built and run by Crystal Antlersโ frontman Jonny Bell, this is a record by a band whoโve developed a telepathic language of their own, with songs that stop and start and turn inside out in ways you just canโt play unless you know exactly what everyone else in the studio with you is thinking.
On The Late Great Whatever, Lovely Bad Things roll out just about anything youโd want about 15% faster than youโd expect. Do they do it all? They indeed do it all. They have stormers like โKessel Runโ and the stand-out โRandall the Savage,โ which is all jittery post-punky guitar and gradually building insanity. Then they have sweetheart pop-punk like โMaybe I Know,โ which is born for the best mixtapes of 2013. They have surfโs-up guitar (โStyx And Branchesโ) and wah-wah guitar (โOozin Itโ) and oh-my-God-Iโm-being-attacked-by-furious-bees guitar (โKessel Runโ). They have Frank Black-style spoken-word stammer (โFried Eyesโ) and cooled-out Kim Deal back-ups. And those heartbreaker harmonies that are part of what make The Lovely Bad Things so special? Pretty much everywhere, thanks to Laurenโs gift for melody, but why donโt you go right to โRope Swingโ if you need โem right away? And if this still seems like a lot to take in at once, donโt worryโdown some (or too much) caffeine, roll down the windows and let The Late Great Whatever take the wheel. Just watch out for the cops on the way to the UFO museum. When they hear music like this, they pay way too much attention.
www.thelovelybadthings.com
The Lovely Bad Things are Brayden and brother Camron Ward, Tim Hatch and Lauren Curtius, each a multi-instrumentalist and each devoted to a bottomless knowledge of ridiculous pop culture and comprehensive appreciation for the Pixies, though if you dismantled their songs and their record collections both youโd find Sonic Youth, Modest Mouse, the B-52s, the Wipers and of course Redd Kross, whose sense of humor and sense for a hook the Bad Things have inherited. They mostly come from the city of La Mirada, but their true home is the Lovely Bad Pad, a converted suburban garageโconverted personally by the band membersโthatโs hosted truly legendary backyard punk shows, up to and including a surprise set by Peter, Bjorn and John, who know a good thing when they hear it.
Itโs this combination of D.I.Y. spirit and off-the-wall luck that carried The Lovely Bad Things from that backyard to a cassette release on trendsetter label Burger Records that would be called one of the best L.A. punk releases of 2011 by the L.A. Weekly. And from there they ricocheted into a surprise slot at Primavera Sound festival, crowdfunding and benefit-showing just barely enough for airfare to get there and winning over their audience forever once they did. Now, after building a fan base show by show and person by frothing-at-the-mouth personโa guy once came all the way from Belgium to see them play one special songโThe Lovely Bad Things have finished The Late Great Whatever for Volcom Entertainment.
The Late Great Whatever was started just after the release of the maxi-EP New Ghost/Old Waves, until now the Lovely Bad Thingsโ signature release. Although theyโd released a full-length called Shark Week in 2010, the album that would become โฆWhatever was going to be something new, they explain: โOur first real full-length,โ says Tim. At least half of Shark Weekโs songs were written in โฆ oh, about two minutes, calculates Lauren, because back then Lovely Bad Things were just discovering the knockout sugar high that came from just playing music with each other. But this would be different: โHow do I say it and not sound like a super-clichรฉ musician?โ asks Camron. โMore mature, I guess?โ
So whatโs that mean? Not one but two Star Wars references on the tracklist, Bigfoot on the cover, a shout-out to Macho Man Randy Savage and a relentless collection of the strongest songs The Lovely Bad Things have ever done. What, did you think โmatureโ meant? They were going to get all mopey and slow? (โJust say itโs โglobularโ and โshapeshifting,โโ suggests Camron.) Produced by Jon Gilbert in the studio built and run by Crystal Antlersโ frontman Jonny Bell, this is a record by a band whoโve developed a telepathic language of their own, with songs that stop and start and turn inside out in ways you just canโt play unless you know exactly what everyone else in the studio with you is thinking.
On The Late Great Whatever, Lovely Bad Things roll out just about anything youโd want about 15% faster than youโd expect. Do they do it all? They indeed do it all. They have stormers like โKessel Runโ and the stand-out โRandall the Savage,โ which is all jittery post-punky guitar and gradually building insanity. Then they have sweetheart pop-punk like โMaybe I Know,โ which is born for the best mixtapes of 2013. They have surfโs-up guitar (โStyx And Branchesโ) and wah-wah guitar (โOozin Itโ) and oh-my-God-Iโm-being-attacked-by-furious-bees guitar (โKessel Runโ). They have Frank Black-style spoken-word stammer (โFried Eyesโ) and cooled-out Kim Deal back-ups. And those heartbreaker harmonies that are part of what make The Lovely Bad Things so special? Pretty much everywhere, thanks to Laurenโs gift for melody, but why donโt you go right to โRope Swingโ if you need โem right away? And if this still seems like a lot to take in at once, donโt worryโdown some (or too much) caffeine, roll down the windows and let The Late Great Whatever take the wheel. Just watch out for the cops on the way to the UFO museum. When they hear music like this, they pay way too much attention.
www.thelovelybadthings.com
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New Ghost/Old Waves
The Lovely Bad Things Lyrics
I Just Want You To Go Away Wherever you go, I'm not gonna follow We're not on the…