The young group's infectious and irreverent noise-pop has earned considerable following up and down the west coast, with their energetic and charismatic performances.

Vocalist/guitarist Sarah Negahdari wields ominous riffs and finger-tapped arpeggios while singing with a cherubic-yet-mischievous grin. Meanwhile, the agile rhythm section of Charles Mahoney (bass/vocals) and Chris Hernandez (drums/vocals) vault and lunge with precision.

Having born and bred their band in various corners of the L.A. music scene since forming 2006, The Happy Hollows played their first shows in Japanese restaurants, laundromats, and small local clubs. In their first year as a band, they snuck into a studio at night and, in two sessions, recorded Bunnies and Bombs, an EP that attracted the attention of the L.A.'s underground music scene. After seeing them play a show, established L.A. heroes Silversun Pickups asked The Happy Hollows to open for them at The Wiltern and The Fillmore. In 2008, fellow art-rock outfit Deerhoof invited the Hollows to open for them on their album release shows at The Avalon and The Great American Music Hall.

In October 2009, The Happy Hollows will release their debut album entitled Spells. The 14 tracks on Spells encompass the wide range of structures and musical ideas that The Happy Hollows bring to the table. The album’s opening track, “Faces”, begins with a crunchy guitar hook strummed by Ms. Negahdari on her Gibson SG. The song takes an unexpected twist with the introduction of the drums and bass, and yet another turn when Negahdari’s irresistible, chanteuse style vocals begin floating over the music. Track 3, “Silver”, is a gritty and danceable song that shows off Ms. Negahdari’s unconventional lead guitar technique. On track 5, “Lieutenant”, the band demonstrates their technical chops as well as their ability to compose songs with non-traditional structures. Two of the later songs on Spells, “Father Time” and “Turtle and Hare”, highlight the band’s more eerie and melodic side.

In summary, Spells is an album which is at once catchy and innovative. It is gritty, loud, and ambitious, while not shying away from the use of melody and the employment pop sensibility. Written and recorded over a period of two years, it will certainly stand as one of the definitive statements of the Los Angeles and indie rock music scenes in recent memory.