No other media outlet in Montreal has so many people on hand to provide expert coverage of the Festival International de Jazz de Montréal. Many of us are scouring the outdoor site and concert halls: Jacob Langlois-Pelletier, Frédéric Cardin, Stephan Boissonneault, Michel Labrecque, Varun Swarup, Vitta Morales and Alain Brunet bring you their album reviews and concert reports. Happy reading and listening!
Unless you happen to have your finger on the pulse of the Californian music scene, I suspect LA LOM isn’t yet under your radar; and that should probably change. Prior to this article, my own knowledge of the Los Angeles trio was admittedly surface level. Initially, I had even thought them to be unfamiliar before I remembered them as that band going viral on social media with covers of old cumbia songs and videos shot on what looked to be eight millimeter film. After checking that I was still living in 2024, I got to work.
Diving into their discography was really enjoyable. A discography which, by the way, only dates back to 2022. Despite this, LA LOM have already managed to make big waves with a special blend of cumbia, surf, and rock, as well as the occasional incorporation of Cuban son and Mexican bolero. My word limit doesn’t allow for a comprehensive guide to the music of the Latin world but, suffice it to say, these gringos have done their homework and have really internalized the aforementioned genres. Obvious references to the psychedelic sensibilities of Los Mirlos, the gentle ballads of Marco Antonio Muñiz, and the golden era of spring reverb guitar, can all be heard in LA LOM’s playing and writing. The result is a Pan-American pastiche of immaculate vibes.
Leaning this hard into nostalgia does come with risk, however. Namely, it leaves the door open for staleness; especially if one doesn’t take care to innovate the genres they’re borrowing from. I’m not suggesting LA LOM are destined for this staleness, simply that they should be careful. After all, their covers are mostly straight ahead interpretations of the classics including “Juana la Cubana,” “Llorar,” and during one live session “Sleepwalk” by Santo and Johnny. Furthermore, many of their original tracks, technological considerations aside, sound like they could have been written by any other band from the era they’re channeling. In LA LOM’s defense, I do suspect that playing it safe in this way was necessary to grow as quickly as they have. Currently, they boast hundreds of thousands of listeners across the mainstream platforms. All in less than two years from their debut EP, mind you.
With all this said, I am still excited to see what LA LOM do next and I am especially excited for their upcoming debut full length. I expect it will be a big test of their artistry as it will showcase all original music. In addition, we are told it’s been produced by Eliot Bergman, (who has also produced such acts as Major Lazor and Cage the Elephant). Only time will tell whether this album proves to be a turning point for them creatively; whether they remain merely good practitioners of old music, or innovators of it. For now, guitarist Zac Sokolow, bassist Jake Faulkner, and drummer Nicholas Baker, will finish the year the same way they started and continue to tour relentlessly. If you happen to be in Montreal, be sure to check out their free show at the Rio Tinto Stage on June 27th at 8pm during this year’s jazz fest.
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