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originally in the band Ednaswap:
Ednaswap - Torn
Ednaswap - Clown Show
Ednaswap - This is a Song
Carla Azar hooked up with a couple of friends and formed the band Autolux in 2000.
Autolux - Turnstile Blues
Wikipedia
Autolux - unreleased song from new album live @ Coachella 08
Autolux - Blanket
Autolux - Angry Candy
Autolux - Fat Kid
Autolux live @ The Parish in Austin Texas
Listening Post Just another WordPress weblog Rock’s Toughest Trio Autolux Gets Lost in Transit
INTERVIEW: Autolux
Indie-rock and electronic rock explode in melodic beauty From In Music we trust
Ednaswap - Torn
Ednaswap - Clown Show
Ednaswap - This is a Song
Carla Azar hooked up with a couple of friends and formed the band Autolux in 2000.
Autolux - Turnstile Blues
Wikipedia
Carla Azar is a musician and a member of the band Autolux. Azar is a multi-instrumentalist but is known primarily for playing the drums. She also plays glockenspiel, xylophone, mellotron, piano, and bass guitar.
The band Autolux formed in 2000 in Los Angeles, California. Azar met Eugene Goreshter while scoring Nobel Prize winner Dario Fo's play Accidental Death of an Anarchist. Azar met Greg Edwards when Ednaswap toured with Edwards' former band Failure.[1] In August 2000, Autolux made their debut, playing two shows at the Silverlake Lounge. On March 1, 2001, the band released a self-produced EP entitled Demonstration. It contained five songs recorded on an 8 track in their rehearsal space.[2]
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In 2002, Azar and Josh Klinghoffer supported Vincent Gallo's as his tour band in support of his record When. Besides drums, Azar also played guitar and mellotron on the tour.[3]Accident nearly ends her career, and where to track her playing
Autolux - unreleased song from new album live @ Coachella 08
Autolux - Blanket
Autolux - Angry Candy
Autolux - Fat Kid
Autolux live @ The Parish in Austin Texas
Listening Post Just another WordPress weblog Rock’s Toughest Trio Autolux Gets Lost in Transit
Wired.com: Same goes for your band’s upgrade. Yours pounds much harder, which is hard to believe after you shattered your elbow. How does it feel to be a titanium cyborg?
Carla Azar: That was like one of those cartoons where nothing makes sense. It was painful, but I had a great surgeon.
Wired.com: Forgive this question, but I have a daughter now: Can you tell me your feelings about beinga female drummer?
Carla Azar: I never thought about it when I started playing, because I was focusing on drummers I liked. But it’s been mentioned to me, so it’s all relative. I like to be technically at a place where I feel uncomfortable. It means I am learning.
Wired.com: I want my daughter to learn drums. I think the world needs more female drummers.
Carla Azar: I always wonder alway why there aren’t more. People come up to me and get excited about it. But it’s a tough job. Physically, it’s not a very glamorous thing, especially when you get into it. It may seem like that at a show, but when you start packing and unpacking them, it’s not an easy thing to do. I think you have to love it. The coolness is secondary.
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INTERVIEW: Autolux
Indie-rock and electronic rock explode in melodic beauty From In Music we trust
What do you do when your critically acclaimed bands don't reach the critical praise you deserve? Most bands fizzle out. But, what happens after you fizzle out? Well, if you're Ednaswap's drummer Carla Azar and Failure's bassist Greg Edwards, you team up with a friend (in this case, bassist/vocalist Eugene Goreshter) and form a new project.
The result is Autolux, a space-rock-charged, shoegazer-meets-pop-explosion trio that delivers a melodic burst on their debut, Future Perfect, a record engineered by legendary producer T. Bone Burnett (responsible for the Oh Brother, Where Art Thou? multi-platinum success). Burnett, a big fan of the band, also signed them to his label, DMZ Records.
"T. Bone Burnett is a big factor in that," says drummer Carla Azar, referring to the band producing the record themselves, with Burnett behind the boards. "I was friends with him and invited him to a show and he wanted to start a label and kept threatening to. And then he did and signed us. He originally said he didn't think we needed a producer, but he'd help us get good takes and we knew we needed a good engineer. Someone that knew what they were doing and knew the band. So we asked him and he agreed to do it."
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