Since banding together in 2012, psychedelic cumbia-punk trio Thee Commons have made waves in and around their hometown of East LA. Featuring los hermanos Pacheco and one of several lively session bassists, these romp ‘n’ rollers have managed not only to marry two unlikely genres — world’s apart — in perfect pastiche harmony but have also compiled a prolific catalogue of music to which they toured through the United States in an extensive 32 days, 35 shows tour in the Summer of 2016. Named #15 on LA Weekly’s “LA’s 20 Best Live Shows of 2016” outranking the likes of ELO, Bruce Springsteen and The Who, Thee Commons have created a buzz with their vivacious performances. Chris Ziegler founder of LA Record wrote about Thee Commons, “Live, they’re fearless, confident and ready to go off-script at a moment’s inspiration. It’s wild stuff, just as it absolutely should be.” To which Chris Kissel of LA Weekly further comments, “If Thee Commons aren’t the best live band in Los Angeles, they’re damn near the top.”
Altogether, Thee Commons have played well over a hundred shows, gaining in the process hundreds more in fans — those eager for something new to call their own. They have performed at several of Southern California’s prestigious venues and festivals, including Echo Park Rising, Desert Daze, Viva Pomona, The Echoplex of Echo Park, The Regent Theatre of Downtown Los Angeles, the Glasshouse of Pomona, the Roxy of West Hollywood and the Observatory of Santa Ana; have been hosted for a residency by pocho wine bar Eastside Luv of Boyle Heights — which consisted of a weekly burlesque-dancer-entangled-affair dubbed the “Cumbia Psicodelica Cabaret”; and have opened up for such acts as Chicano Batman, Bomba Estereo, Thee Midniters and even unofficially — by way of an impromptu guerilla-style street show — for The Pixies.
Discographically, Thee Commons’ “DIT” (do it together) hard work ethic has yielded them a debut 7inch vinyl EP paradoxically titled Sunburn at Midnight — self-released spring 2013 — and a fragmented compilation entitled Rock is Dead: Long Live Paper and Scissors, which is to say an 8-volume limited edition EP series, the volumes of which they released successively throughout 2014. As of 2015, however, Rock is Dead is available, as a full-feature 20-song CD, and as a specialty, limited edition cassette and 10-inch — 10-song — vinyl originally co-released by the independent O.C. label Burger Records. 2016 brought about their sophomore album “Loteria Tribal” co-released with Burger Records on CD, Cassette and limited edition Flexi Vinyl. The same year also brought about two new 7-inch vinyl’s that include their refreshing cover of Los Saico’s “Demolicion,” on Denver, Colorado’s Heavy Dose Records, and a single of “La Fiesta” an obscure swinging Mexican cover b/w a grungy cover of Selena’s “La Carcancha” on Steady Beat Records out of San Pedro, CA..
Looking forward, 2017 Thee Commons plan to release the ambitious 18 song junior follow up album “Paleta Sonora” out later this year. Teamed up with Cosmica Artists Management group and Monterey Int. Booking Agency, the future looks auspicious for these young and determined “chunsters” who doggedly strive to perfect their hypnotic yet invigorating act — which includes an intertextual take on Nirvana’s “Love Buzz” and a punk cover of Selena’s “Baila Esta Cumbia”– and disseminate the perfect pastiche that is psychedelic cumbia punk.
Way out west, there was this band that goes by the name of Thick Business. At least, that was the handle that their parents gave them, but they never had much use for it themselves. See, this band, they called themselves, “THICK BUSINESS.” Now, “THICK BUSINESS,” there’s a name no band would apply to themselves where I come from. But then there’s a lot about that band that didn’t make a whole lot of sense. And a lot about where they lived likewise. But then again, maybe that’s why I found the place so darned interestin’. See, they call boise the “City of Trees”; but I didn’t find it to be that, exactly. But i’ll allow it as there are some nice trees there. ‘Course I ain’t never been to London, and I ain’t seen France. And I ain’t never seen no queen in her damned undies, so the feller says. But i’ll tell you what – after seeing Boise, and this here band I’m tellin ya bout, well, I guess I seen somethin’ every bit as stupefyin’ as you’d seen in any of them other places. And in English, too. So I can die with a smile on my face, without feelin’ like the good Lord screwed me. Now this here band i’m tell ya bout, started in the early ought teens – just about the time of our conflict with…whatever. I only mention it because sometimes there’s a band… I won’t say a hero, cause, what’s a hero? Sometimes there’s a band. And I’m talkin’ about the THICK BUSINESS here – the THICK BUSINESS from Boise Idaho. Sometimes, there’s a band, well, they’re the band for their time and place. They fit right in there. And that’s the THICK BUSINESS. The THICK BUSINESS from Boise, Idaho. And even if they’re a sexy band – and the THICK BUSINESS was most certainly that. Quite possibly the sexiest in all of Ada county, which would place them high in the runnin’ for sexiest worldwide. Sometimes there’s a band, sometimes there’s a band. Well, I lost my train of thought here. But… aww hell. I’ve done introduced enough.
Dylan Eller • vocals/guitar
Ashley Young • vocals/sampler
Riley Johnson • keys/vocals
Daniel Ojeda • drums
Cody Goin • bass guitar
confluence of several genres past and present. living room EDM/IDM. stoner doom metal. analog space jazz. cartoon rock. every performance is improvised, every show is unique.