Welcome to the Profile page for

Torian Mylott

About Author

Torian Mylott (torianmylott)

  • Email: torianmylott@gmail.com
  • Nice Name: torianmylott
  • Website:
  • Registered On :2019-02-21 21:37:37
  • Logged in at: torianmylott
  • Author ID: 336

Author Posts

Cari Cari is a Austrian DIY rock duo formed in 2011 by multi-instrumentalists Stephanie Windmer and Alexander Kock. While they’ve found great success in Europe, they are just now starting to gain a following in the United States. 

Their latest single, “Summer Sun”, is helping them do so. Off of the album ANAANA, “Summer Sun” starts with a direct, pop-driven baseline with smooth vocals from Windmer glazing over it. When it arrives at the chorus, the drums and guitar kick in, but the vocals remain the same. It’s a decent marriage between pop and rock, as the simple beat lets the listener follow along while enjoying the mellow, twangy guitar sounds. This song is so cool, it feels like entering an ice-cold room on a hot summer day, relieving and relaxing. You can listen to Cari Cari’s full length album ANAANA on any streaming platforms.

“Venus” is the latest single from The Chordaes newest EP, What We Breath In. The Chordaes are a relatively new band to come straight from the heart of New York. The lead singer, Leo Sawikin, describes The Chordaes as “The tendons in your heart that hold the valves to the muscles as it is expanding and contracting.” The Chordaes are obviously sentimental, which is evident in “Venus”. The song starts with a simple beat, followed by bass and drawn out guitar sounds. Sawikin croons over the instrumentals with emotional lyrics that showcase his vocal ability and songwriting skills. “Venus” has a catchy pop-rock melody, and impressive lyrics that make this song stand out among its competitors. You can find similar songs on their newest EP, What We Breath In.

“My Cheating Heart” is the newest and first single to be released by the group Love Fame Tragedy, founded by The Wombats frontman Matthew Murphy. While the Wombats are a well established group, Murphy wanted to create a side project of his own that reflected his own vision.

“My Cheating Heart” is a fast-paced mash up of acoustic and electric guitars, combined with synth and electronic drum beats. It teeters on the line of both pop and rock sounds, following the trend of crossovers and mash-ups that seem to be taking over the charts right now. Murphy pulled musicians from all different backgrounds for this project, including members of The Pixies and Pearl Jam, as well as lesser-known younger artists. In “My Cheating Heart” Murphy declares over power chords that he “Wants it all”, followed by backup vocals confirming he has a “cheating heart”. This song is a refreshing change from what we typically hear from The Wombats, and feels like a step in the right direction for Murphy. “My Cheating Heart” is a refreshing, catchy song that is definitely worth a listen if you’re a fan of The Wombats. 

There’s always something exciting about a sold out show. There’s a lot of buzz about the band; how good they must be to sell out the venue and rumors about what songs they might play. Shortly put, there’s a lot of hype around the band. And Khruangbin exceeded the hype surrounding them.

On their April 18th show at the Fox Theatre, Khruangbin had a sold out show with over 2,000 attendees. Khruangbin had just come off a long tour playing all over the US and Europe, and played the first and second weekend of Coachella. Even with a hectic schedule, Khruangbin still made time to jam out with The Marias in Pomona.

The crowd anxiously awaited the arrival of the first band. As the Marias took the stage, they were accompanied by screams and cheers. The five piece band played a set full of dream-pop hits. The lead singer, Maria, had a very soothing voice reminiscent of Kali Uchis or Lana del Rey, and her accompaniment combined a mix between 90’s pop and modern psychedelia such as Tame Impala. While most of the songs seemed to blend together, the crowd cheered on and sang along to almost every lyric, showing just how large their fan base is.

After they ended their set, fans restlessly waited for Khruangbin to take the stage, watching each disco ball go up with anticipation. 30 minutes later, the lights went down and the crowd rallied as Khruangbin unassumingly took the stage.

When Khruangbin took the stage, they quickly greeted the audience and dove directly into their first song, Dern Kala, off of their 2015 album, The Universe Smiles Upon You. Laura Lee, the bassist of the group, made each song look like a breeze; effortlessly playing each note as she swings her hips back and forth in a sparkly pink tulle dress. As the vibes transcended, Laura Lee and guitarist, Mark Speer, grooved into perfect synchronization. Wearing matching wigs, the two played around even more by swigging matching liquor bottles together.

While many of their songs have simple riffs and chords, they have just as many songs that are very complicated and impressive, but you wouldn’t know it by watching them play, as they don’t miss a single mark and make the most challenging songs look like nursery rhymes.

About halfway through their set, they played their hit ‘Evan Finds The Third Room”, off of their 2018 album, Con Todo El Mundo. Lee used a telephone microphone for this song, as the lyrics are emulating a telephone operator droning on about what buttons we should press for more info. This energetic shift transferred to the crowd as everyone was begging for the next song.

After a few more jams, Khruangbin went into a series of snippets of cover songs. They did about thirty second covers of popular 90’s hip-hop songs, before moving into the next one seamlessly, which the crowd loved. After a few hip-hop hits, they even did a cover of “Wicked Games” by Chris Isaak. The brief yet fun segment came to a close, and the band eased into their final song, Maria Tambien, an upbeat, funky song off of their latest album. This fan favorite was a great way to end the show, but by the time they left, people were shouting for more. The crowd waited anxiously for an encore, cheering their name and stomping. After what felt like an eternity of waiting, their drummer, Donald Ray “DJ” Johnson Jr eventually reclaimed the stage. He sat in silence for a few minutes, hitting the drums softly and patiently. With a five minute solo,  the lead guitarist and bassist joined their mate on the stage and played three more songs, including their biggest hit, “White Gloves”, also off of their 2015 album, The Universe Smiles Upon You.

When the show was said and done, the room was still buzzing with satisfaction. Khruangbin’s laid back, unconventional music brought amazing energy to Pomona, with one of the best shows the Fox Theater has ever seen. In a world full of repetitive, recycled music, Khruangbin stands out as an exceptional talent. Khruangbin delivered rock n roll to a new audience in a fresh, funky package.

When The Buttertones take the stage, all eyes are on them. All five of the members have an individual vintage aesthetic that fits in perfectly with their nostalgic sound.

Photo by Torian Mylott.

The five piece band creates a unique, rockabilly sound that combines quick, nostalgic beats with romantic lyrics reminiscent of the 1950’s. Each member of the band plays an essential piece in the puzzle of The Buttertones. They have an enormous fan base that extends across the country, but their biggest fan base is here in Southern California.

Photo by Torian Mylott.




Their April 5th show at the Observatory was packed, with well-over a thousand fans in attendance. While fans cheered them on, The Buttertones went into their first song, “Delincuente,” a lesser known track off their 2016 album, American Brunch. While the band is fairly new, formed in 2012, they have a large library of releases and three studio albums.

Their fast-paced sounds work well with a live audience. The crowd starting rocking back and forth like a wave through every song, controlled by each beat the band played. This energy transferred between the crowd and The Buttertones for four of five songs, resulting in a symbiotic relationship where both sides were feeding off of one another. This energetic back and forth slowed down once the band reached “Baby Doll,” a slower romantic tune in their setlist.

Photo by Torian Mylott.

A standout of the set was “Daks Back,” a song off of their 2015 album, American Brunch. The song was written by the lead singer, Richard Azaria, and references their guitarist, Dakota. The lyrics are over-the-top and describe Dakota to be a rough and tough rockabilly man straight out of The Outsiders. While many of their songs share a similar fast-paced, surf-rock sound, this song has fun guitar solos and a personal element to it that makes it enjoyable for the band to play.

Towards the end of the set, The Buttertones played their most popular song, “Orpheus Under the Influence,” off of their 2014 album. “Orpheus” has a very catchy pop baseline and changes between differing upbeat time signatures, making it easy for fans to dance and sing along to.

Photo by Torian Mylott.

During their encore, The Buttertones came back with three last songs, the final one being a cover of  Ritchie Valens’s 1958 “La Bamba.”  The band’s drummer, Modeste “Cobi” Cobian sang and added a rougher punk element to the song. This classic hit was a great way to end the show as their cover energized the crowd and had everyone singing along to the well known song. By the end of their set, the crowd was still cheering their names and didn’t stop until they had to go home.




The Wayfarer crowd murmured and rocked back and forth on their feet, anxiously awaiting the upcoming performances. It was unclear how many people were there for the show, and how many were just there for the drinks. The atmosphere was calm and organized beforehand, but that changed when Tokyo Lucky Hole took the stage. 

A large crowd formed around the stage as glamour and mystique hung in the air. It immediately became apparent that everyone was their to see TLH do their thing. The blue lights reflected off Clay Fuller’s, (the leader singer of TLH) sequin jacket. After thanking the audience, TLH jumped right into their biggest single, Mr. McQueen (Directed by Clay Fuller’s brother, Blaine Fuller). The tongue-in-cheek lyrics and catchy guitar riffs excited the audience, as they drew in an extensive audience, even dragging the last few stragglers away from the bar. TLH flowed seamlessly from one song to the next, without anything sounding out of place.

Photo by Torian Mylott

After playing a few originals, TLH dove into a familiar tune, Boogie Shoes, by KC and The Sunshine Band, which lit up the room with disco fever. Even through their layers of allure and glamour, TLH proved themselves to be talented and entertaining performers who can hold their own with the best of the best.

Alex Lily was the second to perform. Her stripped down setup and stage presence conflicted with the heavy glamour and rock star attitudes of Tokyo Lucky Hole, but felt like a breath of fresh air amongst the midst of it all. Lily performed several songs, including the title track off her latest album “2% Milk.” Her harmonies and croons melted over the audience like smooth butter. Tokyo Lucky Hole is a hard act to follow, but Lily did it with ease. Her voice and set was reminiscent of Norah Jones, but with refreshing instrumentals and an interesting accompaniment. While Alex Lily was the most relaxing and down-to-earth set of the night, she was the perfect act to listen and sway to between Tokyo Lucky Hole and KOLARS.

Photo by Torian Mylott

KOLARS took to the stage with an unusual set-up. Most people have probably never seen drums set-up in the same way that Lauren Brown, the lead drummer, has them. The suspense of the impending show drew the crowd to the stage, and the energy in the room shifted into awe and amazement, as KOLARS (literally) jumped right into their set. Brown smashed the drums enthusiastically, all while keeping the time for Rob Kolar, the lead singer, with the drum beneath her feet.

Photo by Torian Mylott

They played a set full of punchy, drum driven rock songs that demand your attention. After three originals, KOLARS gave a whole new meaning to the song, “Teenage Kicks” with an updated rendition of the classic punk song. KOLARS stayed high energy throughout their whole performance, refusing to waiver or compromise anything, even when Brown had jumped and kicked her way through ten songs. Their intense and focused energy spread throughout the crowd and lit-up the audience energy.

Photo by Torian Mylott

KOLARS ended their set with one of their most popular songs, One More Thrill, an honest yet catchy song that left the audience clapping along to the catchy drum beats and reverb-filled guitar chords. After the crowd seemingly couldn’t get enough, KOLARS performed an encore of their new single, “Dangerous” to an enthusiastic crowd.

Each band that played that night had a distinct sound and unique approach to performance. While each set was vastly different from the last, they all found common ground as talented, entertaining, and exceptional performers.

Photo by Torian Mylott

With three EPs and two albums, Sunflower Bean is no stranger to the music world. The New York trio has gained notoriety in the alternative rock scene with songs like “Easier Said,” and even performed at 2017 Desert Daze and will perform at this year’s Governors Ball in New York. The trio, led by punk powerhouse Julia Cummings, have been steadily releasing albums and EPs that seem to have no set sound. While their debut album gives us a New York punk vibe, their sophomore album, 2018’s Twentytwo In Blue, shows the softer, more melodic side of Sunflower Bean. That brings us to the release of their 2019 EP, King of Dudes.

King Of Dudes starts out with a title track by the same name. A punchy, loud electronic guitar cuts through the song, demanding attention. “King of Dudes” sets the stage for the whole EP with pop-rock, bordering on pop-punk nostalgia. We almost immediately hear Cummings’s strong snarl over the prominent poppy guitar riffs. She sounds strong in her convictions, with lyrics like “I know what I want, and I know how to get it,” but sends mixed messages with other lyrics, such as “I’m the king of the dudes if you want me to be.” When listening to this song, one couldn’t help but think it belonged in a teen movie. Picture a high-school girl taking the power back into her hands, and getting revenge on her bullies. The problem with this is that there are thousands of songs that could fit the same purpose. The strong vocals and sound of the song are contradictory to the lyrics, leaving no real message behind to be received by the listener. “King of Dudes” wants to send a message, but it seems like not even the members of the band know what that is.

“Come for Me,” the second track on the EP, starts out in a similar fashion, this time with a heavier drum-filled baseline. “Come for Me” is by far their most pop-influenced song to date. If not for the funky breakdown after the chorus, this song could easily be mistaken for a top 40 song. The baseline is catchy and high-energy, and is what saves this song from the same fate as “King of Dudes.” Despite the boisterous, compelling sound of the song, the lyrics fall short again. The in-your-face guitar riffs, bombastic drum beats, and high-energy vocals just don’t work with empty lyrics. The same lyrics repeat over and over again, “Do you really wanna come for me? Do you, do you, do you, do you? You know I got all night,” don’t fit in with the in-your-face instrumentals.

The EP’s third track, “Fear City” starts out like the first two songs on the EP, but immediately tells us this song will be a little softer than the rest of the album. “Fear City” gives us a little bit of 80’s nostalgia thrown into the mix with the more personal lyrics of this song, telling the story of empowerment after a bad relationship. “Fear City” still falls into the generic pop-punk chords of the rest of the album, but has more maturity that “King of Dudes” and “Come for me.”

The standout on the album is “The Big One.” This track is very different from the rest of the album, and resembles a much more traditional punk approach. Through her best snarl, Cummings’s basically tells us she won’t die laying down. Although the lyrics are once again repetitive, this time they resonate more with the listener than the first two tracks. While the whole EP screams “women are tough!” this is the first time it actually feels real, besides some moments on “Fear City.”

King Of Dudes feels like a tribute to the pop-punk powerhouses of the 90’s and early 2000’s, with influences from Hole, Paramore, The Ramones, and The Veronicas. While the inspiration behind this EP is clear, the message is not. It seems like Julia Cummings’s is trying to cement herself as a feminist female rockstar, but doesn’t know quite how. She sounds like she has something important to say, but she isn’t sure what that is. Many of the chords and sounds on this album are derivative, and while there’s nothing wrong with that, King Of Dudes fails to bring us any fresh sounds or interesting ideas. The whole album feels a bit rushed, which you can really see in the lyrics, which are confusing and convoluted. While Cummings’s attempts to echo the sounds of Courtney Love and Joan Jett, she ends up sounding somewhere in-between Avril Lavigne and Shirley Manson. Despite these criticisms, King of Dudes has many good moments, such as the sentimentality in “Fear City.” While “The Big One” feels out of place, it shows us that Sunflower Bean can still rock as hard as they used to. King of Dudes is a fun, upbeat pop-rock album with catchy riffs and melodies, and is a good listen if you can get beyond the lyrics.