Category Archives: TVD Los Angeles

In the pulsating heart of Los Angeles’ underground music scene, where beats once echoed through warehouses and transformed nights into euphoric odysseys, Ron D. Core carved his legacy.

A trailblazer in the world of electronic music, Ron’s journey began in the early days of DJing, where his raw passion for sound collided with the burgeoning rave culture of the 1990s. As a pioneer of hardcore and techno, he didn’t just spin records—he shaped a movement, becoming a revered figure in a scene that redefined the boundaries of music and community.

But Ron’s influence didn’t stop at the turntables. As the owner of Dr. Freecloud’s Record Store, a haven for vinyl enthusiasts, he has been instrumental in preserving the soul of analog sound in an increasingly digital world. From the gritty warehouses of LA to the resurgence of vinyl as a cultural touchstone, Ron’s story is one of resilience, innovation, and an unwavering love for the tangible magic of records. Join us as we delve into his extraordinary journey, exploring the evolution of electronic music, the enduring allure of vinyl, and the insights of a man who continues to inspire generations of music lovers.

Can you take us back to the moment you first fell in love with music?

I was around 6 or 7 years old when I got my first records and actually started listening to music. Full credit really goes to my father who was a pretty big record collector back in the ’70s. His collection gave me exposure to so many different types of music. And then of course, there was this babysitter we used to have. She loved music and used to give me records to help me build my collection. Both of these experiences fueled my love for music and initial addiction to vinyl.

What drew you to electronic music specifically?

While in high school, I dabbled in a lot of music and found myself liking too many things. In my early years, I was more of a metalhead—I was really, really big into ’80s metal. Then towards my junior year, I started to hang out with a different group of friends that were more into industrial music.

My love of electronic music was a direct result of those industrial roots. I was really into industrial at the time, which wasn’t dance friendly, along with early techno and house. Those were essentially the three genres that were available to us in the ’80s. And many today probably would find it shocking that the dancing actually started with just small handful of genres.

But industrial eventually turned dance friendly, morphing into EBM—which is the acronym for Electronic Body Music. And that finally pushed me over the edge into all the electronic and dance stuff because they were starting to make really cool industrial sounds while simultaneously putting a dance beat behind it. The EBM and the danceable industrial stuff ultimately drew me into collecting 12-inch vinyl.

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Greetings from Laurel Canyon!

Heartthrob Lone Star, burning up a cigarette / Smokestack Hollywood, banking on the parlay bet / Man, I think it would do ya some good / Take a walk around the neighborhood / Nevermind the pissing rain / Baptize your brain, blow your worries away

Rock n’ roll, rock n’ roll / Burning through the stereo / Bite me like an animal / Be a dear, fetch me a beer / It’s been a bitch year

For well over a decade, I’ve been writing this wee column to intro my radio show. My obsession with “rock ‘n’ roll” rarely fades. For your “Idelic host,” the key to life still boils down to two factors: cool friends and cool songs. It’s great to have old friends, but it’s making new ones that is the spice of life that keeps me going.

Over the years I have referred to turning on to a new song and band as an “Idelic Hit.” Each week I scour my “sources” to find that spark of joy that touched me as kid. Sharing “my finds” with you, whoever and wherever you are, makes my joy complete.

So THANK YOU. Yeah man, fucking A!

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WORDS AND IMAGES: DANIEL GRAY | The word genius is tossed off too often nowadays. It seems that everyone famous is getting labeled a genius for one reason or another. And while it might be too much to say that David Byrne is a true genius, if he’s not, he’s pretty damn close. The reasons were on full display on the second night of his two-night run at the Dolby Theater in Hollywood. Byrne’s Who is the Sky? Tour (sharing the new album’s name) forces the audience to rethink how music can be presented. Is it a concert? Is it a Broadway show? No mic stands. No drum riser. No stacks of amplifiers. Just Byrne and 12 other performers put on a show that was fun, meaningful, breathtaking, and at many times, visually stunning.

Coming out in head-to-toe orange outfits, Byrne performed a beautiful acoustic rendition of “Heaven” with three other members of his entourage. A stark image of the moon served as the backdrop on the floor-to-ceiling high-definition video screen.

Following that was an explosion of people, sound, and visuals; more and more members of the show entered the stage, singing, playing, and, most of all, moving. The man who was once known for running all over a stage while others played was now part of a democratic swirl of performance as drummers, singers, dancers, a guitarist, and a bass player all got their moments to shine individually and within the entire ensemble, overcoming the monochromatic nature of the outfits. (They have also been all blue at other shows.)

The mixture of new songs from Byrne’s Who is the Sky? and other solo work, with, of course, his Talking Heads days, was well thought out and seamless. Banging into the Talking Heads hit, “And She Was,” early let the audience know that his voice could deliver exactly what was expected. As a matter of fact, Byrne’s voice was a revelation, powerful and unique as always. He was also a physical marvel: performing, dancing, and even singing while balancing on one leg. At a certain point, you must remind yourself: the man is 73.

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Greetings from Laurel Canyon!

Daddy / Hold me / It seems so very dark tonight / And day

Daddy / I can’t sleep / I need you to come and sing to me / That the stars up in the sky / Will shine down gently on the two of us tonight / And soon enough it will be light / We’ll hold on tightly to each other, you and I / And I won’t cry

I’m calling today “Kenny’s day.” Four years ago to the day, my dad passed in Vegas. Losing my dad has been a mind-blowing experience. Please know it wasn’t a tragedy.

He passed as peacefully as Kenny could on an absolutely beautify day in the Las Vegas desert. An infamous stock broker and gambler, he died with likely not more than a few hundred dollars to his name. I can see him shrug and smiling at me saying, “I left it all on the table.”

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Greetings from Laurel Canyon!

It’s raining today / But once there was summer / and you / And dark little rooms / And sleep in late afternoons / Those moments descend / On my window pane

I’ve hung around too long / Listenin’ to the old landlady’s hard-luck stories / You out of me, me out of you / We go like lovers / To replace the empty space / Repeat our dreams to someone new

It’s raining today / And I watch the cellophane streets / No hang-ups for me / ‘Cause hang-ups need company / The street corner girl’s / A cold tremblin’ leaf

It’s raining today in the canyon. No complaints for most of 2025—our little cul-de-sac has been all smiles. Tonight I plan to eat the last of the fresh cantaloupe and watermelon of ’25. It was an excellent year for crunchy watermelon, and it appears that our avocado tree is going to shed a bundle sooner than the new year.

With rain in the breeze I took the opportunity to start this week’s episode with some serious easy, and sentimental, listening. This is one of those Idelic hours I’ll likely spin a number of times this week. I hope you’ll do the same.

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Greetings from Laurel Canyon!

I believe it’s homicide / I rest my case, don’t cast aside / You better believe it / That’s the truth of it / Take it or leave it / Resign to it

Homicide, homicide / Homicide, homicide

No one cared / When someone lied / They’d rather say / That it’s irrelevant / You better believe it / That’s the truth of it / Take it or leave it / Resign to it

Homicide, homicide / Homicide, homicide / Homicide, homicide / Homicide, homicide

I made it through Halloween safely. Big cities appear ready to “fight the power” at the polls, and some friends and I went to see The Saints with Mark Arm (Mudhoney) and Mick Harvey (Birthday Party).

Got to rock out with longtime friends Matt Green, Kevin Haskins, Sam Velde, and Laurel Stearns. All of us were delighted to check this special band off our live, punk rock bucket-list. All in all, a bit of hope, sunshine, and classic punk rock goes a long way.

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The Cult is by far one of the most iconic and legendary bands ever to roam the planet. Their use of post-punk, hard rock, and experimentalism has pushed musical boundaries across multiple genres, influenced countless bands worldwide, and yielded numerous hits. With their mystical musical prowess, uncompromising attitude, and captivating stage presence, they have forged an unmistakable identity.

The band’s fall tour concluded in Los Angeles on October 30 at The Shrine Exposition Hall, featuring two sets in one night: one as Death Cult and one as The Cult, revisiting their gothic post-punk roots while celebrating their enduring modern-day legacy. Opening acts were Patriarchy and Failure.

While The Cult is active with touring, it is always a truly special event when they play in Los Angeles, and the anticipation was heightened on this night as fans swarmed the Expo Hall to secure a close spot to the stage. The show was beyond your typical greatest hits concert that bands of this status typically perform. The magic started shortly after 9:00 PM with a set of Death Cult classics, beginning with “Ghost Dance” from their 1983 EP. The raw guitars and trance-inducing drumbeats echoed through the Shrine as the band performed behind a white curtain, their black silhouettes the only visible elements.

Ian Astbury remains active onstage, waving his tambourine. His voice sounds strong and healthy, while guitarist Billy Duffy cranks out some serious rhythms and solos with his unique tone on his hollow-body Gretsch guitar. Long-time drummer John Tempesta and bass player Charlie Jones controlled the tempo. The set was indeed a nostalgic trip celebrating the past, and what made it even more special was Astbury mentioning that this performance would be the final Death Cult show.

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Greetings from Laurel Canyon!

Stumble in somnambulance so / Pre-dawn corpses come to life / Armies of the dead surviving / Armies of the hungry ones

Only-ones, lonely-ones / Ripped up like shredded-wheat / Only-ones, lonely-ones / Be a sort of human picnic

This ain’t no love-in / This ain’t no happening / This ain’t no feeling in my arm

Fuck man, this week, or should I say year, has been a grind. But today all I can really say is…

BOO! Happy Halloween! Because if you’re a rock ‘n’ roller like me, today is your favorite day of the year. Here’s to so many fun nights and escapades. From all night mayhem to watching our kids taste their first piece of candy, it’s a sweet day for spooky rock ‘n’ roll.

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Greetings from Laurel Canyon!

Come on man resurrect yourself / Tell yourself a thought that’s true / Come on man and protect yourself / There’s nothing that you can’t come through / And I ain’t gonna go blindly / Living in an empty shell / There’s nothing that you can’t come through / There’s nothing that you can’t come through / Through

A lot happened this week. At the center of the week was my daughter Zoe’s birthday. Family and parenthood has often been a muse for Idelic Hour episodes, and this week is no exception.

Please enjoy an hour of song dedicated to the lovely, enchanting Zoe Blue.

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Greetings from Laurel Canyon!

Baby, let me wash your feet forever / Baby, you can stay in my house forever and ever / Baby, let me dance away / Lеt me dance away forevеr, baby

Running around on a beautiful Indian Summer day, yet fall is coming. Wouldn’t it be nice if life could be this nice every day?

Dig on some new sounds.

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It might’ve been a Wednesday night on the tail end of a 21-city journey, but that didn’t stop Quinn XCII from taking the Hollywood Palladium by storm during his LOOK! I’m Alive Tour. With a mix of infectious energy and intimate moments, he transformed the iconic venue into a playground for his genre-defying sound.

Kicking off the night with his 2023 hit “Georgia Peach,” Quinn immediately set the tone with high energy and undeniable charisma. He moved effortlessly between crowd favorites like “Candle,” “Stacy,” “Kings of Summer,” and encore “Straightjacket,” blending upbeat anthems with more introspective tracks.

With humor as sharp as his hooks, Quinn XCII joked between songs that Dua Lipa was performing across town at the Kia Forum that same night, thanking his loyal crowd for picking his stage instead.

“Dua Lipa can’t play guitar though, can she?” he quipped, effortlessly switching from intimate acoustic riffs to full-band anthems, making the Palladium feel like his personal jam session. From signing concertgoers’ shoes to leading scream-worthy call-and-response moments, Quinn XCII made sure every fan felt like an integral part of the show.

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The Undisputed Heavyweight Champions of Death Metal, Cannibal Corpse, took over House of Blues in Anaheim, CA on Saturday night, October 4, for a sold-out live massacre along with Municipal Waste, Full of Hell, and Fulci. About halfway through a 5-week US headline tour, this four-headed monster of a show left all bruised, bloodied, and wanting more. Still out supporting their September 2023 release, Chaos Horrific, Cannibal Corpse continue to bring the brutality like no other as they cement their legacy as the most controversial death metal band in existence.

Three banger bands opened the show, starting with Italy’s own Fulci, a vicious Death Metal band using violent horror-themed images on the large video screen backdrop. Playing in almost pure darkness, the band kicked off the night in the perfect way, fast and heavy, and the crowd was into this band from start to finish. Fulci earned their stripes on this night, with only 30 minutes on stage, they more than warmed up the audience to commence this night of extreme music.

Maryland’s Grindcore masters, Full of Hell, took the stage at 7:45 and blasted out some blisteringly fast songs that had a large circle pit moving about. Playing in the dark must have been a theme on this night as Full of Hell played their set in darkness as well. While the set was moving along in fine fashion, it seemed to have ended as fast as it started, as they abruptly left the stage after only 25 minutes of playing. It is unclear whether that was part of the schedule or if something unexpected happened. In any event, the crowd was now fully primed for what was to come next… Municipal Waste.

Virginia’s crossover thrashers, Municipal Waste, now 25-year veterans in the scene, are always one of the most intense live bands, as the crowd is always trying to get onstage and diving back into the crowd. Vocalist Tony Foresta always brings the fun with his intensely high-energy delivery, and the rest of the band is just as fast and furious. Opening the show with “Unleash the Bastards,” “Grave Dive,” and “Breathe Grease,” Foresta welcomed “Ana-Slime” and encouraged more crowd surfing, stating the show the night before in Ventura was much more active.

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Greetings from Laurel Canyon!

Please trip them gently / They don’t like to fall (Oh by jingo) / There’s no room for anger / We’re all very small (Oh by jingo)

We’re painting our faces and dressing in thoughts from the skies, from paradise / But they think that we’re holding a secretive ball / Won’t someone invite them / They’re just taller children / That’s all, after all

Man is an obstacle / Sad as the clown (Oh by jingo) / So hold on to nothing / And he won’t let you down (Oh by jingo)

Per my Friday tradition, I start my lil “Idelic” column with a song lyric. In many ways it’s been a great way to take up space. If you know me, it’s not that I have little to say, but writing has always been a chore. AI is all the talk, and who knows, maybe next, a Google Gemini will address the weather in Laurel Canyon.

On second thought, do we really think a computer program can write a lyric as cool as a young David Bowie? “Oh by jingo!” Yeah, god fucking help us.

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WORDS AND IMAGES: MANUEL GAY | Los Angeles reggae fans were treated to an unforgettable night of music on October 2, as the legendary UB40 brought their timeless sound to the historic Orpheum Theatre. Joining them was none other than The English Beat, another iconic band from Birmingham, making this a double bill of pure ’80s magic. From the moment the first note hit, the evening was a celebration of reggae, ska, and the enduring power of music to unite and uplift.

The English Beat (known in the US under this name to avoid confusion with another band) may not have had the same longevity as UB40, having split in the early ’80s, but their impact during their short run was undeniable. The audience’s enthusiasm when they took the stage was so undeniable that you could have mistaken them for the headliners. Singer-guitarist Dave Wakeling, the sole remaining original member, leads this version of the band, now billed as The Beat starring Dave Wakeling, and they are a well-oiled machine.

Their forty-five-minute set was packed with fan favorites, including “Rough Rider” and “Ranking Full Stop,” which had the entire venue dancing. They also performed a couple of tracks from Dave’s side project, General Public, including the 1984 hit “Tenderness.” Back-up singer Antonee First Class added a unique touch by improvising a cappella melodies between songs, creating a seamless flow to the set.

Dave took a moment to pay tribute to former band members who have passed away over the years before delivering a heartfelt rendition of “Can’t Get Used To Losing You.” The band closed their set on a high note with their hit “Mirror In The Bathroom,” which sounded absolutely incredible live and left the crowd buzzing.

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WORDS AND IMAGES: SEAN McCRACKEN | If you’re looking for a night of electrifying music, nostalgic vibes, and a journey through the realms of psychedelic rock, then this review is for you. On Thursday, October 2nd, The Dandy Warhols headlined an unforgettable show at The Observatory, with support from the equally mesmerizing Kula Shaker.

The evening was a perfect midweek escape, offering fans a chance to immerse themselves in the kaleidoscopic sounds of two iconic bands that have mastered the art of blending retro influences with modern energy. From Kula Shaker’s trippy visuals and hypnotic grooves to The Dandy Warhols’ crowd-pleasing anthems and magnetic stage presence, this was a night that reminded everyone why live music is such a powerful experience. Whether you’re a longtime fan or a curious newcomer, this show had something for everyone, and it’s worth reliving every moment.

The night kicked off with Kula Shaker, who set the tone with their signature blend of psychedelic rock and Indian-inspired melodies. As the lights dimmed, the stage came alive with a swirling psychedelic background projected across the screen, creating an otherworldly atmosphere that immediately drew the audience in. The visuals weren’t just confined to the screen; they were superimposed across the stage, enveloping the band in a vibrant, trippy glow that perfectly complemented their sound.

Kula Shaker’s 14-song setlist was a mix of fan favorites and surprises, showcasing their ability to transport listeners to another dimension. They opened with the ethereal “Hey Dude,” a track that set the mood with its dreamy instrumentation and haunting vocals. The crowd swayed along as the band transitioned into “Knight on the Town,” one of my favorites from their set.

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