DTCV (Detective), Colorwheel, Decisions at Lager House
Wed, Apr 20, 2016 @ 8:00 pm toView event on Facebook
DETECTIVE (DTCV) was born late at night at a party in the Hollywood Hills mansion of a film producer, where Lola G., French musician in the L.A. stoner/garage scene met novelist, screenwriter and guitarist James Greer. Uninterested in mingling with celebrities and bored with the dildo collection in the living room, Lola and James started a conversation about Super-Fuzz pedals and the imminent worldwide collapse of the capitalist paradigm and decided to form a band, named DETECTIVE after a Godard film and later shortened to DTCV to avoid confusion with homicide news on the internet.
With both Lola and James as songwriters and multi-instrumentalists, DTCV quickly had enough songs to record several albums. A first EP, BASKET OF MASKS, was recorded in the Oakland warehouse of garage prodigy Greg Ashley (The Gris-Gris, King Khan), followed by the album HOWEVER STRANGE released on Burger Records in 2012.
After a year of touring, they released HILARIOUS HEAVEN (Xemu Records, 2013), an ambitious double album recorded by stoner legend Steve Kille of Dead Meadow. Later that year, a radical life change and desire to escape the domesticated world took them to the Mojave desert, where they settled in a Joshua Tree cabin and now live as desert hermits.
Desert life inspired the album UPTIME! which came out on Xemu and Lolipop Records (cassette) following THE EARLY YEAR, a comp of their early EPs/singles released by Mock Records in 2014.
In 2015, while listening to Clifton Chenier’s French Zydeco and the Nouvelle-Vague-inspired Brian Jonestown Massacre album Musique de film imaginé, Lola felt an urge to write songs in her native tongue and the resulting album CONFUSION MODERNE was recorded with psych guru Joel Jerome. CONFUSION MODERNE is a mix of classic French pop, garage, 60s yé-yé, and DTCV’s own signature post-punk inflections that the band likes to call “Françoise Hardy fronting Buzzcocks.” The album is entirely written by Lola in French (with the exception of Greer’s corruscating screed against the domestication of rock “We Aren’t the Champions”) and deals largely, if obliquely, with her anti-capitalist, neo-anarchist, radical feminist, and pro-environmental concerns.
With Steve Nawarra’s supergroup Colorwheel