– Showbams

Guinness Oyster & Music Festival successfully makes EDM leap

June 5, 2013 by The Bam Team 3 Comments

Photos by Marc Fong // Written by Molly Kish, Marc Fong & Sean Little //

Oysterfest Music Festival //
Golden Gate Park – San Francisco
June 1st, 2023 //

O’Reilly’s Oysterfest returned to Sharon Meadow for the 14th straight year of live music and shellfish indulgence. Catering to a sizeable SF crowd, event sponsor Guinness kept the lively audience saturated as they enjoyed a variety of oysters and impeccable weather amidst the beautiful setting that is Golden Gate Park. Running from 11 a.m. to 6 p.m. PT, the festival offered ample time to sample, sip and survey the wide array of vendors and musical entertainment.

This year’s lineup, straying from the usual indie rock and alternative-dominated bill, incorporated a heavy electronic undercard. Showcasing a block of hard hitting-talent on a second stage (aka the Red Bull dance tent), the Showbams crew rolled deep this past Saturday to cover the festival’s enthusiastic leap into the EDM foray. Amongst main stage headliners DEVO and MuteMath, the festival welcomed a whole different demographic this year by inviting dance acts like RAC, Bag Raiders, Classixx and more.

We were on the scene to witness the aphrodisiac-fueled masses co-mingle while they also experienced this year’s talent transition. Here are some reflections on what might be Oysterfest’s most successful year to date in its 14-year legacy.

Upon entering the Oysterfest grounds I was pleasantly surprised to see how well laid out the festival itself was and how many people were there nice and early. The first act I caught (after grabbing a Harp – Guinness was the sole sponsor) was Chris Clouse. I had never heard of him before and figured he was just another DJ laying down some songs. His song selection was pleasing – Clouse chose beats that were catchy but not overly saturated or popular. It got really interesting though when he broke out a guitar and electric fiddle at different points, playing them over the tracks he was spinning. The guitar felt a bit odd, mainly because it’s not an instrument you are used to hearing in dance music. This is especially true when it’s being forced into a song that doesn’t contain guitar sounds, but he used it sparingly enough as to not make it annoying. The electric fiddle was great though, and it really added a unique spark. -SL

Shiny Toy Guns played the festival stage, which had been relocated from its original setting in the Red Bull tent. They commanded the stage in all of their electro glam rock glory, and they sounded great. Chara was as gorgeous as ever, belting out hits as the crowd danced along. The band was pitch perfect and set the tone for the rest of the day’s festivities. Shiny Toy Guns got the audience pumped for an afternoon endurance test that exclusively included the consumption of shellfish, whiskey and Guinness. -MK

Up next were the always-pleasing Classixx. Classix had the crowd in a feel-good frenzy from the start, dropping hits like Bondax’s “Baby I Got That” and the new track from Tyler Blake’s (half of Classixx) solo project Fingerpaint called “Lunar”. Their vibe and energy fit perfectly into the small second tent in the early afternoon. It was sunny, the crowd wasn’t packed into the tent yet and everyone was grooving. -SL

SF was lucky enough to be treated to the electric riffs and progressive beats of the charismatic MuteMath. Their innovative sound rocked the crowd with personality and high-energy. Drummer, Darren King, (with his headphones taped to his head) beat his heart out on the festival stage with the intensity of a charging rhino. MuteMath frontman Paul Meany interacted with a fired-up crowd that was ready to party after consuming plenty of oysters and Guinness. -MF

Both members of RAC traded off seamlessly on the decks, bringing in one remix after another from their seemingly endless catalogue. I honestly can’t think of many other producing groups that have been so prodigious and consistent at crafting quality remixes for nearly everyone out there. -SL

Devo fans were ever-present at the festival, and they added their colorful flare to the mélange of attendees Saturday. Filling the meadow with brightly colored “energy domes,” it eagerly participated in the band’s signature antics and dramatic stage show. With more than three costume changes, various props utilized then dispersed into the audience and a comic book-themed lightshow, Devo managed to keep the weary crowd’s full attention through the final set of the festival. Mark Mothersbaugh even invited the band’s honorary masked member Bouji Boy up onstage for a disturbingly awkward duet highlighted by the release of hundreds of bouncy balls into the audience, punctuating the performance in a drunken frenzy. The headlining post-punk, sci-fi enthusiasts provided the perfect level of nonsensical debauchery to capitalize on the obscure nature of the festival and audience that still remained. Sun soaked and heavily marinated, those in attendance loved every second of a set that wavered between classic De-Evolutionized hits and brand-new tracks off of their first album in 20 years. Oysterfest nailed it when booking this group to close. -MK

With the sun still shining and a whole night ahead, the crowd dispersed amongst the city in a euphoric state of post Oysterfest bliss. The incorporation of the Red Bull Tent this year, with an EDM bill that easily rivaled its headliners, was a leap of faith on the organizer’s part. It was the perfect addition to bring Oysterfest to a whole new audience and playing field. Here’s hoping this success proves to be a catalyst year for the festival, crystalizing the Guinness Oyster and Music Festival standard from here on out.

Filed Under: Festival Reviews, Festivals Tagged With: Classixx, Devo, Guinness Oyster & Music Festival, Mute Math, Oysterfest, RAC, Shiny Toy Guns

New Music Tuesday: Queens of the Stone Age • Disclosure • Portugal. The Man • Rogue Wave

June 4, 2013 by The Bam Team 5 Comments

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Queens of the Stone Age – …Like Clockwork

Top Tracks:
“If I Had A Tail”
“My God Is The Sun”
“I Sat By The Ocean”

Album Highlights: Queens of the Stone Age have come back from a seven-year hiatus since their last album Era Vulgaris, and the group has crafted another solid record. Less commercial sounding than Lullabies to Paralyze but more approachable (while including more ‘single-worthy’ tracks) than Era Vulgaris, …Like Clockwork brings QOTSA’s melodic breakdowns and tempo changes in with Josh Homme’s distinct rock falsetto and guitar to deliver a thoroughly enjoyable album. Stand out tracks such as “I Sat By The Ocean” and “If I Had A Tail” rely heavily on Homme’s signature riffs and guitar work reestablish the Queens’ trademark sound of perfectly executed breakdowns, tempo changes, and psychedelic guitar work pushed forward by crisp drums and harmonies. The lead single “My God Is The Sun” has the Queens, and their one constant Homme, written all over it from haunting, down-a-tunnel background vocals to wailing staccato guitar over the choruses. The album delivers for hard-core fans of QOTSA.

Album Lowlight: No one track seemed sticks out as a ‘lowlight’, and while it’s a perfect Queens Album for fans of the group, it hasn’t gotten much better with subsequent listens, nor has it created unabashed enthusiasm as I hoped after such a long hiatus. Most of the songs, while technically perfect and fun to listen to, seem like rehashed versions of songs they put out in the past. A handful of tracks seem to take new directions or try new things, but overall the sound doesn’t differ enough from previous albums to make this a truly great album. It could be due to the never-ending flux the band is in with members, leaving them unable to grow and develop a sound that grows along with them. The album is still a fun listen, but will doubtfully go down in history as one of their best, especially compared to such classics as R and Songs for the Deaf.

Takeaway: Overall, the album is good, at times excellent, for a QOTSA album. As an whole album though, it falls a bit short. Die-hard fans won’t be disappointed, as it can be easily played over and over without getting tired of it, but it doesn’t flex much new muscle or show a lot of passion. The psychedelic, stoner rock flavor is still there, but it tastes slightly stale this time around, as it feels that much of it has already been done on previous albums, save for a handful of songs. If you’re a fan, grab it as you’ll enjoy it, but I can’t see …Like Clockwork wooing many new fans.

~Sean Little

Disclosure – Settle

Top Tracks:
“F for You”
“January” (feat. Jamie Wood)
“Confess to Me” (feat. Jesse Ware)

Album Highlights: It’s about time for one of the freshest, most sought after acts in the electronic genre to release their debut album, and boy it doesn’t disappoint in the least. Disclosure’s resurrection of late 90s UK garage coupled with two-step, contemporary bass and UK funk has become a highly praised formula that combines new and old styles. Sure, the careers of Artful Dodger and Todd Edwards are still going, so it doesn’t seem like a massive leap since the popularity of UK garage was within most of our lifetimes. Guy and Howard Lawrence, the brotherly duo behind Disclosure are very young, making their understanding of these style even more impressive. They truly know their UK dance music history, and it’s with this knowledge that they have built a style that is more palpable to the ever-growing throngs of dance music aficionados. The Lawrence brothers have taken styles that were largely ignored by the rest of the world and tossed in enough House influence to be suitable for the dance floors of Vegas as well as the basements of South London.

Songs like “Latch” are hard to ignore with it’s swirling bass and sultry vocals provided by Sam Smith. Settle demonstrates a preternatural knack for clean production, ready for remixing and repeated play on the dance floor.

Album Lowlight: Though some of the stronger tracks Disclosure has produced, the inclusion of a couple of previously released songs (mostly on the deluxe edition) is just slightly disappointing. On the flip side, the album logs in at over an hour so there’s plenty of tunes, so no big whoop.

Generally speaking, when one looks at an EDM track list and sees that more than half of the release features special guests, that can be a big red flag, but not in the case of Settle. The impressive selection of both male and female vocalists is superb and without banner names to American market, with the exception being Jessie Ware. Some argue that this tactic is a blatant run for the charts, which is likely in the UK, bit it remains to be seen elsewhere.

Takeaway: It’s clear to see that the state of EDM is a constantly shifting one, keeping loyal followers on their feet and pulling in new recruits through new sounds all the time. Though Settle is a deadly serious dance effort it is also a pop album with appeal beyond festival dance tents. Comparisons to Basement Jaxx have been rampant, and yes, they had a few dance songs that slid slightly into the pop-realm, but let’s be honest, Jaxx were a little too over-the-top in their production to truly be embraced by the masses. Disclosure may close some gaps that still exist between EDM and mainstream culture, a phenomena that the US is inching closer to, for better or for worse.

As the word continues to spread about the Lawrence brothers, we can only look forward to their banner summer sets across the globe, exemplifying the universal appeal of exceptionally produced dance music.

~Kevin Quandt

Portugal. The Man – Evil Friends

Top Tracks:
“Modern Jesus”
“Sea of Air”
“Waves”

Album Highlights: Portugal. The Man continues its steady climb up the rock ‘n’ roll ladder with their seventh full-length album since 2006, Evil Friends. Maybe Portugal. The Machine would be a more appropriate band name. This time around, they have enlisted famed producer Danger Mouse (producer for The Black Keys, Norah Jones, Gorillaz and a member of Gnarles Barkely as well as Broken Bells) to bring this record to fruition.

Evil Friends has all the of signature trademarks of Portugal. The Man’s sound — catchy falsetto-laden hooks, head-banging psychedelic rock and deep introspective lyrics, yet the flow to this album is much better than its two previous studio efforts. This LP holds up much better when listened to all the way through, rather than cherry picking songs. A PTM album has not had this kind of flow since The Satanic Satanist (its best album, in my humble opinion).

Album Lowlight: This album has rekindled my love for Portugal. The Man after they lost it with American Ghetto. In the Mountain in the Cloud regained some of that love, but Evil Friends brings it back to Satanic Satanist levels.

Can we go back in time and see what Danger Mouse can do with their previous seven studio albums?

Takeaway: This could be the record that people look back to reference when Portugal. The Man “got huge”. The band is fairly well-known to anyone that has moderately followed indie music in the last five years. If you went to a few major music festival in the last four years, there’s a good chance it was on the bill.

This LP is highly accessible and listenable all the way through. Long time PTM fans will get their fix without screaming “sellouts”, while at the same time, they should gaining slews of new fans. Is there a debate as to which Portugal. The Man record is their best? If there is, this album is now in the discussion.

~Kevin Raos

Rogue Wave – Nightingale Floors

Top Tracks:
“Everyone Wants to Be You”
“S(a)tan”
“Siren’s Song”

Album Highlights: Oakland’s Rogue Wave has returned with their 5th LP, Nightingale Floors, and it thrives best when it hones in on meditative repetition. Opening track “No Magnatone” utilizes an Eastern drone sound that hints at transcendental aspirations, then quickly repeating guitar melodies layer on until Zach Rogue’s modulated vocals pleasantly blend. This track and the breathtaking closing song “Everyone Wants to Be You” utilize Zach’s voice as an instrument, as opposed to a leading force behind the songwriting, and the psychedelic wandering in these two tracks leave the greatest impact on the listener. These songs represent what

Themes of death and acceptance of passing on dominate, and “Figured It Out” captures the zeitgeist of the album’s mantra better than any other track. The inspired writing and delivery of the repeating lyrics is utterly transfixing: “At the moment i pass away, I know I’m gonna be so proud.” “Without Pain” also overtly waxes poetic on letting go at the end of life. Two other tracks, “Siren’s Song” and “S(a)tan” are excellent and well worth a couple spins.

Album Lowlight: The first singe “College” is hyper-catchy, but doesn’t necessarily fit in with the record. The happy tone and prep-school upbeat-ness to it is too strikingly different than the rest of the record, even if they meant the song to be interpreted with irony. Although this is unlikely; Rogue Wave have a track history of sincerity and earnestness. The refrain is repetitious to the point of annoyance, while instrumentally the song is pleasant. “College” is likable at first but falls flat after multiple listens within the scope of the album as a whole – it smells like the song’s dominance in the album sequencing and the choice of making it the lead single involved the presence of suits from the record company. Also, the track “Without the Pain” is rather pedestrian despite the reoccurring theme of accepting death.

Takeaway: The meditative, minimalist tracks work best in Nightingale Floors, but at the same time “Siren’s Song” flashes beastly grandeur and “S(a)tan” finds it’s appealing center in reverberating electric guitar picking that is reminiscent of DIIV. Some range works very well with this record, but the attempt at pop-radio play with “College” puts a dent in it’s excellence. But overall, this record is meditative self-examination at it’s best.

~Mike Frash

Filed Under: New Music Tuesday Tagged With: Disclosure, Portugal. The Man, Queens of the Stone Age, Rogue Wave

PHOTOS: The xx at the Greek 6/1

June 3, 2013 by The Bam Team 1 Comment

By Marc Fong & Maggie Corwin //

The xx //
Greek Theatre – Berkeley, CA
June 1st, 2013 //

The xx performed to a packed house on a warm night at the Greek Theatre in Berkeley this past Saturday, putting on another breathtaking show following their Thursday performance at The Fox Theater in Oakland. As minimalist as their music can be at times, they project such a captivating, big sound when they perform live.

Jamie xx’s influence on the group’s performance has made them a better live act; he utilizes his addictive micro house beats to essentially remix their own songs, providing a new beat for Romy Madley Croft and Oliver Sim’s sultry vocals. Songs also segue seamlessly often, feigning a DJ set.

The group mentioned that they have wanted to play the Greek Theatre for a long time, and they even said this was the biggest show they have played, which seems far-fetched with all the massive festivals they have played. Hyperbole aside, this trio is only getting stronger with each performance. Both Marc Fong and Maggie Corwin were on the scene to capture these moments from the show.

Filed Under: Editor's Picks, Featured, Photos Tagged With: The Greek Theatre, The xx

Mumford & Sons control crowd immaculately at the Greek

June 3, 2013 by Mike Frash Leave a Comment

By Mike Frash //

Mumford & Sons //
Greek Theatre – Berkeley, CA
May 29th-31st, 2013 //

Mumford & Sons, the folk-rock force that has influenced contemporary pop music more than any other group in a decade, made an interesting choice by performing a three-night run at the Greek Theatre in Berkeley. Tickets sold out instantly for all three dates when they went on sale, proving the group could have filled Oracle Arena twice over most likely (the band hooked up fans by offering pre-sale ticketing that you could purchase at your own pace by signing up at their website). As always, the outdoor theatre on the UC Berkeley campus proved to be a beautiful setting, a much more intimate and sonically special space for live music than a vast arena. Heart-on-sleeve leader Marcus Mumford even thanked the faithful for snapping up tickets so quickly Friday night, and he did seem humble — something he has down to a veritable science.

With their second tour and massive mainstream success, the foursome now tours with an extensive group of support — at times there were 11 performers on stage, almost exclusively string-based. The other obvious change in Mumford & Sons’ live performance is the gaudy amount of stage aesthetics they are now surrounded by – massive LED panels, epic spotlights, never-ending fog machines – something that could contradict their throwback sound. What a challenge it is for a folk/Americana/country group to integrate contemporary visual effects into a live show, and it was successful overall because they didn’t overdo it. They took a minimalist approach to a setup that would have worked for a Bassnectar show. During “Lover of the Light” at the peak point when Marcus screams the name of the song, it seemed logical for a blinding white light to overtake the audience, but that must have been too didactic since they kept the visuals mellow at that moment. Those present were slightly subdued at times for a Friday night crowd, but that’s because they were at the whim the headliners, following the musical cues with trained obedience.

The Mumford & Sons crowd are the type of folks that don’t go to very many shows, something that became clear as a chatty buzz overtook Michael Kiwanuka’s opening performance. A couple inebriated strangers gave me a beer to apologize for taking the space directly in front of me. I appreciated it since the beer lines were epic, but was it their first concert? While collective disrespect was handed out to Kiwanuka, which included a bare spattering of claps after his final song, Mumford fans were immersed in the main act. The quiet pauses in the songs brought solumn respect from the crowd, yet the age-diverse but very white crowd erupted in celebration during radio anthems like “Little Lion Man”, and the expected sing-alongs brought a surprisingly blended audience harmony.

The hits were spread out, but the show didn’t really take off until the last third of the evening. The four song run of “Holland Road”, “Awake My Soul”, “I Will Wait”, and “Dust Bowl Dance” to end the set was the first time I joined the rest of the Greek theater entranced by the emotional up-and-downs that is the center point of the Mumford ethos. The most memorable part of the evening came at the encore, when Marcus told the audience that the next song will only work if everyone is absolutely silent. Of course, someone within the bowl of the theatre screamed as loud as possible. Marcus said, “now don’t do that. That’s our friend Tom. We put him there to show you what not to do.” Then they jumped into a stripped down version of Bruce Springsteen’s “I’m on Fire” gathered around one antiquated microphone for an acoustic take on the classic, and a deafening silence that lasted the entire song elevated it, creating a memorable moment. After the song, Marcus said, “that’s the quietest it’s ever been for that song…so we’re gonna do another one.” That was perfect timing for the obligatory yelling of “Freebird!”, which actually happened. Regardless of the noob-tastic Cliché spouted, the band played “Not With Haste” unplugged as well, and at the song’s conclusion Marcus smacked the microphone with triumphant gusto. He then said, “We play lots of shows, and we’ll never ever forget that.”

Filed Under: Featured, Live Music Reviews Tagged With: Bassnectar, Michael Kiwanuka, Mumford & Sons, The Greek Theatre

Youngblood Hawke’s shiny summertime songs headline Popscene

May 31, 2013 by Marc Fong Leave a Comment

Photos by Marc Fong ~ Written by Mike Frash

The candy-coated pop group Youngblood Hawke from Los Angeles headlined Popscene at Rickshaw Stop May 23, bringing their super-shiny, summertime songs to San Francisco. They’ve gained significant traction this year with their radio-friendly anthem “We Come Running” from their debut album Wake Up, released in April. Their lead single is so catchy, it’s already by remixed by Tiësto, RAC, The Knocks & others. Listen to these remixes below.

Filed Under: Photos Tagged With: Popscene, Rickshaw Stop, Youngblood Hawke

Akron/Family’s psych-rock thrives with improv & freak-folk weirdness

May 31, 2013 by Kevin J Quandt Leave a Comment

Photos by Sam Heller ~ Written by Kevin Quandt

A banner night in the Bay Area featured a plethora of psychedelic rock acts playing throughout the region. While Tame Impala and Jonathan Wilson held court at the Fox in Oakland, an impressive double-bill of Avi Buffalo opening for Akron/Family was happening across the Bay at the Independent in San Francisco. Those not in Oakland or scared off by a blustery Wednesday night show were treated to two fine American rock acts, each bringing something unique to the table, er, I mean stage.

Avi Buffalo has been missing from the live stage for a couple of years after breaking out as prodigal teenage songwriter and performer, and he’s reemerged with some serious maturity and further guitar prowess. The three piece act, featuring longtime Avi side-gal Sheridan Riley on drums, curated a set heavy on new songs for a moderately filled room. Avi has a great knack for silky guitar effects and note-filled solos when not manning the vast majority of the vocal arrangements. No release date in sight has me thinking he’ll road test a new batch of songs before entering the studio. Catch him this summer with Portugal. The Man, as he is sure to be a name to look for, once again.

Next up would be the reigning, underground freak-folk kings to kick up the ‘weird’ in the room just a few more notches. From the opening, totally-improvised full band drum jam, you could clearly tell they’re flying by the seat of their pants, patiently waiting to see what comes, only to further expand off that thought. They also occasionally play songs, and on this tour many were featured off their latest LP, Sub Verses. The dynamic play between members is key to their longtime success in the arena of envelope-pushing, much like acts such as Menomena, and even Animal Collective. Still flying under the radar, this is a band you should surely see while in smaller clubs across the nation.

Filed Under: Live Music Reviews Tagged With: Akron/Family, Avi Buffalo, The Independent

WIN FREE TICKETS: Chuck Prophet & The Mission Express at Great American May 31

May 29, 2013 by Molly Kish Leave a Comment

Enter the contest at the bottom of this page. Photo by Charlie Homo.

Renaissance man and roots rock enthusiast Chuck Prophet and The Mission Express bring it on home this Friday to Great American Music Hall in San Francisco. Known as a musical vagabond, Chuck Prophet has found solace residing in the Bay Area, and he’s making a one night appearance in SF to promote his latest album, Beautiful Temple. Named after the local establishment where he started his journey, Prophet celebrates the eccentricities of San Francisco in his full length homage to the City. From strippers to politicians and all characters in between, he provides a gritty narrative set to the tone of his “white trash soul”.

Don’t miss your chance to be a part of this raucous homecoming for a true native son of San Francisco.

Win 2 Free Tickets! Enter to win if you can attend this show Friday, May 31 at Great American Music Hall in SF.

Fill out your full name and email address below.
Contest ends Friday May 31 at Noon. The winner will be picked at random & notified by email. Your email will be kept private – we will share your email with no one.

CONTEST IS CLOSED

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Filed Under: Contests Tagged With: Chuck Prophet, Great American Music Hall

New Music Tuesday: Laura Marling • Mount Kimbie • Baths • CocoRosie

May 28, 2013 by The Bam Team Leave a Comment

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Laura Marling – Once I Was An Eagle

Top Tracks:
“I Was An Eagle”
“Saved These Words”
“Where Can I Go”

Album Highlights: Sophisticated 23-year old folk troubadour Laura Marling has a remarkably prodigious output since her first record Alas, I Cannot Swim, which was released in the UK in 2008. Fast-forward to her fourth and best LP in five years Once I Was an Eagle, and it become less and less hyperbolic to declare Marling a virtuoso songwriter, a living legend in the making. The English performer’s distinct vocal range, including the gurgle-tinged Kermit the Frog voice on the baritone introduction of “You Know”, tees up the high notes, making them all the more effective. There are a handful of classics on the sixteen song (!) LP with “I Was An Eagle”, “Master Hunter” & “Where Can I Go?”, but Marling’s biggest success here is creating a cohesive piece that thrives as a whole, not a collection of individual songs. Once I Was An Eagle quickly establishes the illusion of a continuous performance, as Marling doesn’t allow the songs to fully end for the first four tracks, a span of 18 minutes. The tracks transition ever so smoothly to the next song, and Marling proved the first four tracks are meant to be ingested as a suite of songs by creating a breathtaking 18-minute music video to accompany the opening section of this album (view it above). This record doesn’t have too many over-the-top, standout moments – instead it’s steady and successful throughout.

Album Lowlight: A little trimming would have helped with excellent LP – some of the slower ballads like “Little Love Caster” and “Interlude” could have been cut to create a tight, 12 track classic. But hemming and hawing like this is trivial – Once I Was an Eagle is one of the best singer-songwriter albums of the year.

Takeaway: At this current pace, Laura Marling seems to be a name that can go to the top of the female singer-songwriter list with Joan Baez, Emmylou Harris & Joni Mitchell. Marling’s vocal stylings can be reminiscent of the three mentioned legends, but Marling’s messages of female empowerment, which could also be viewed as a strong feminist songwriting point of view, is common throughout her short career and even more prominent in Once I Was An Eagle. For example, in the track “I Was An Eagle”, Marling sings “When we were in love, if we were, I was an eagle and you were a dove… I will not be a victim of romance or circumstance…You were a dove and I rose above you and preyed.” In a striking analogous way, Marling reverses traditional gender roles, which is especially effective within the patriarchal world of contemporary music. Themes of regret and love lost dominate the songwriting in a more general sense; at the end of the opening suite in “Breathe”, Marling says “You wanna woman who’ll call your name, it ain’t me babe.” With such strong songwriting, lyrically and instrumentally, it should be noted how good Marling is now, not some time in the future.

~Mike Frash

Mount Kimbie – Cold Spring Fault Less Youth

Top Tracks:
“Home Recording”
“You Took Your Time” (feat. King Krule)
“Made to Stray”

Album Highlights: Mount Kimbie has delivered yet another beaming release that screams progression and forward thinking in a populous era for electronic-oriented music. Cold Spring is one beastly departure from an incredible first LP, Crooks & Lovers, shifting ever slightly more to instrumentation over programming, not to mention much more live vocals, primarily handled by fellow British heat-seeker King Krule. This release is also a perfect compliment to all the Boards of Canada buzz generated this week, as much like BoC, Kimbie craft sonic gold in a manner and way of thinking that is all their own. So many nods to a smattering of musical styles are just subtle enough to not compromise the Kimbie sound, but one can’t help but hear elements of Jazzanova, Artful Dodger, James Blake and many more.

Album Lowlight: Very few on my first half dozen listens. King Krule’s unique croon may not pull in first-time listeners with his quintessential cockney, teenage vocal style.

Takeaway: Cerebral music at it’s finest from two truly unique voices in the ever-changing landscape of post-dubstep music, Mount Kimbie won’t really ever fit neatly into a category, or even sub-category, with their ever-changing sonic approach. It really is hard to ignore the fact something special is being produced by Kai Campos and Dominic Maker while still being relatively unknown, especially in the States. The mood shifts and bobs with a whim on Cold Spring and is fully an album to lose yourself in. Pastoral feelings and minor transcendentalism are included, free of charge.

~Kevin Quandt

Baths – Obsidian

Top Tracks:
“Ossuary”
“No Eyes”
“Miasma Sky”

Album Highlights: Bath’s second album is a well-crafted juxtaposition of beautifully produced pop beats and tragically desperate lyrics. Obsidian highlights the vocal range of Will Wiesenfeld, which fluctuates between a tenor and baritone, whimsically playing off corresponding pitches through call and response structures showcased within the track’s choruses. A generally upbeat album filled with fanciful melodies and intricate BPM layering is presented, so it’s easy to get lost within the enveloping fuzz without paying attention to Weisenfelds’ melancholy verses. Subject matter depicting internal turmoil, anxiety and emotionally devoid casual sex rarely sound so buoyant. Accentuated in poignant tracks such as “No Eyes” and “Ossuary”, Weisenfeld indulges in pitting extremely dark and jaded lyrics against a mostly lighthearted musical soundscape. An idea he’s been entertaining throughout his musical career, Obsidian draws heavy influence from fellow warped songwriter Azeda Booth, whom Weisenfeld was introduced to through friends and previous tour mates Braids.

Album Lowlight: I can’t find much fault with this album beyond issues that may arise out of personal preference or audible favor. It’s beautifully produced, has a great variety of songs and all are equally as engaging and interesting. Even the slower tracks such as “Ironworks”, although somewhat stunting to the flow of Obsidian, are gorgeous in their own right. You could tell that Weisenfeld made a conscious effort to create a playing field that both audiophiles and lyricists could meet on, and he did so in a seemingly effortless fashion. I doubt that this album will get much attention outside of the indie/electronic circles, but it should.

Takeaway: Bath’s sophomore effort is one to be reckoned with, and it should be a testament to not only Wiesenfled’s future success, but it should also be a game changer in the arena of experimental electronic music. Obsidian resonates on two completely stark contrasts, marrying a mainstream genre with a taboo mindset, and he pulls this off triumphantly.

~Molly Kish

CocoRosie – Tales of a Grass Widow

Top Tracks:
“End of Time”
“Gravediggers”
“Far Away”

Album Highlights: Sister duo Bianca “Coco” and Sierra “Rosie” Casady, known as CocoRosie, are back with their 5th album Tales of a Grass Widow. The sisters’s “freak folk” style remains as evocative as ever in this album that tells tales of death and pain. Perhaps the most striking thing about CocoRosie’s sound is the vocal delivery of “Rosie”. Her voice is striking and subtle, with the kind of ferocity akin to Bjork, a definite highlight of this record.

CocoRosie’s sound is unlike anything else in mainstream music. They combine worldly elements, undoubtedly influenced by their Native American ancestry, with a beat-boxer providing a bulk of the rhythm section.

Album Lowlight: I love the beat-boxer, and think it works remarkably well on this record, but I would love to see what they could do with either a real drummer, or a DJ providing the beats. A beat-boxer can only knock so hard.

Takeaway: CoCoRosie is not well-known to mainstream music lovers, but that could soon change. Their style is unique and powerful and has been turning heads since 2003. The vocal delivery is some of the best I’ve heard in recent years, and that along makes this album a must-listen.

~Kevin Raos

Filed Under: Featured, New Music Tuesday Tagged With: Baths, CocoRosie, Laura Marling, Mount Kimbie, New Music

WIN FREE TICKETS: Akron/Family at The Independent May 29

May 28, 2013 by Mike Frash Leave a Comment

Experimental rock trio Akron/Family will be performing at The Independent May 29. The psych-rock group’s live performances are laced with three part harmony and folk/world music influences, while improvisation has become a hallmark element on the Akron/Family tours. Akron/Family released their sixth LP Sub Verses in April, so expect to hear some of this excellent new material. Avi Buffalo and M. Geddes Gengras will be the featured acts Wednesday evening.

Win 2 Free Tickets! Enter to win if you can attend this show Wednesday May 29 at The Independent in San Francisco.

Submit your full name and email address below.
Contest ends Wednesday May 29 at Noon. The winners will be picked at random & notified by email. Your email will be kept private – we will share your email with no one.

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Filed Under: Contests Tagged With: Akron/Family, The Independent

WKEND MIXTAPE: Natural Self – Neon Hertz: A Mixtape

May 24, 2013 by 3ricshaden Leave a Comment

Our mix this week is a companion piece to Natural Self’s latest album Neon Hurts My Eyes. I think the artist can describe the mix best:

Neon Hertz is a mix. Rather than a selection of influences on the album Neon Hurts My Eyes, it is in fact inspired by it. Reverse-engineered, you might say. Themes present in the album, both musical and lyrical can once again be found here. You will here voices. They will speak of time and space, of technology, of society and of consequence. The music will be a landscape that surrounds you. At night, looking down onto the city, it will all make sense.

Perfect for the drive out of town for the holiday weekend. The tracklist is below to follow along. Enjoy!

Filed Under: Mixtapes Tagged With: Natural Self, WKEND MIXTAPE

Matthew Dear’s captivating theatrics woo intimate crowd at Mezzanine

May 24, 2013 by Molly Kish 3 Comments

Photos by Mike Frash ~ Written by Molly Kish

White rose petals littered the stage and dance floor Wednesday May 22 after the amazing, underrated Matthew Dear headlined at Mezzanine in San Francisco. Playing to a crowd nowhere near half the capacity of the SOMA venue, the Brooklyn native gave an electrifying performance accompanied by an equally charismatic live band. Playing as though they were in front of a festival crowd, the group held nothing back, delivering a stunning set that covered material spanning his entire catalogue with a focus on dance-inducing crowd favorites and most of the material off of his 2012 album Beams.

The magic of Matthew Dear’s live performance was set up by the meticulous details and artistic ingenuity he has crafted through years of touring. Dimly lit stage lights achieved a minimalist ambiance and five bouquets of white roses were strategically tied to each of the member’s bandstands.

The band hit the stage ready to get people moving with four back to back tracks off Beams, providing steady, understated beats before segueing into “Slow Dance”, a stand out track from 2010’s Black City. Each track was knitted together perfectly, entrancing the intimate audience and setting a perfect early pace for the crowd to assimilate into the inevitable dance party at their own leisure.

Absent of stage banter, Dear instead spoke to the audience through his theatrical stage presence and intense energy. As a front man, he commanded the stage with his expressive movements and unrestrained dance moves. Equally as enthralling, his band members’ passionate intensity permeated through their facial expressions and delivery.

The stand out jam of the evening toned down the BPM and brought the set to a standstill. With the house lights completely down except for a blinding spotlight silhouetted directly on Matthew, he broke into a riveting, angst filled rendition of “Shake Me” for the second to last song of his set. Playing off of the several bouquets of freshly picked white roses that had been added to his stage design, Dear slowly began picking apart one of the buds as soon as he uttered the opening line of the song. About mid way through the emotionally charged tune, he had plucked the petals off at least three to four different stems, then he accentuated the song’s big breakdown by de-flowering an entire dozen all over the stage. Tearing apart the rosebuds feverishly and throwing their debris into the polarized audience, Matthew Dear honed in on the disparity of the track, taking the evening to a darker place emotionally.

He encored the night powerfully with a duo of dance hits, “Her Fantasy” and old school favorite “Don and Sherri”, leaving the initially timid crowd reeling for more.

It’s no surprise that this Ghostly International co-founder is capable of captivating audiences on the regular, and that he’s had a steady career as a DJ, producer and experimental dance artist. Matthew Dear’s raw talent and charisma showed at Mezzanine; he took immediate command of the room upon entering, has an undeniable, enrapturing presence and is responsible for breaking some the best talent currently running the EDM scene. One question I have is, why wasn’t this show packed to the brim with people to have the same experience I did? He might be in that last sliver of time where he can claim to be slightly under the radar as a tastemaker in the indie scene.

Filed Under: Live Music Reviews Tagged With: Matthew Dear, Mezzanine

WIN FREE TICKETS: Twin Shadow at Great American May 25

May 22, 2013 by Molly Kish Leave a Comment

Enter the contest at the bottom of this page.

Twin Shadow is performing at Great American Music Hall Friday and Saturday to kick off his “True Story Tour”. George Lewis Jr. has brought along his father and namesake to accompany him throughout his North American show dates and share personally crafted narratives at the beginning of every show. Lewis has set out to connect with his fan base in unique ways this tour by encouraging submissions of personal stories on his tumbler, giving away handmade jackets with unreleased MP3 inlays, and hosting secret sound check parties along the way.

Twin Shadow has also promised the performance of two brand new songs this weekend, so this is a show not to miss!

In honor of kicking off the True Story Tour with two nights in San Fran we will be premiering two new songs, 1 on 5/24 and 2 songs on 5/25

— Twin Shadow (@thetwinshadow) May 22, 2013

Friday’s show is Sold Out, but you can still grab tickets for Saturday. These two concerts are part of Twin Shadow’s “True Story Tour”, so enter to win tickets below so you can go home with your own story of an incredible evening, courtesy of your friends at Showbams!

Win 2 Free Tickets! Enter to win if you can attend this show Saturday, May 25 at Great American Music Hall in SF.

Fill out your full name and email address below.
Contest ends Friday May 24 at Noon. The winner will be picked at random & notified by email. Your email will be kept private – we will share your email with no one.

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Filed Under: Contests Tagged With: Great American Music Hall, Twin Shadow

New Music Tuesday: Daft Punk • The National • Majical Cloudz

May 21, 2013 by The Bam Team 3 Comments

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Daft Punk – Random Access Memories

Top Tracks:
“Doin’ It Right”
“Giorgio By Moroder”
“Instant Crush”
“Lose Yourself to Dance”

Album Highlights: Arguably the most anticipated album of the last five (perhaps even ten) years, Daft Punk’s Random Access Memories departs from the group’s signature “robot rock” and brings listeners deeper into the production minds of Guy-Manuel de Homem-Christo and Thomas Bangalter, the duo that has been at the forefront of electronic music since the late 90’s. Reviews have been scattered for this album, and many fans are disappointed with the departure from their “traditional” sound. Random Access Memories is much more a full band “roots” record for Daft Punk and an homage to the music that inspired them to create their own unique sound. The album is contemporary but with obvious nods to influencers such as Griorgio Moroder, while at the same time giving a throwback feel to the days of funk and soul, where dance floors were commanded by elaborate multi-piece bands and not a solitary DJ.

“Doin’ it Right” is a gem. The slightly odd voice of Animal Collective’s Panda Bear projects his Brian Wilson-esqe voice over a Daft robot voice, repeating words about ‘dancing’ and ‘doin’ it right’. While the lyrics are a bit cheesy, it’s the simplicity and catchiness of the song that hits home; it’s a track I could listen to for hours on end and not get tired of. “Giorgio by Moroder” starts with a monologue by Giorgio himself, which is an interesting choice that is sure to annoy DJ’s. Once the interview intro is done, the track breaks into one of the more traditional Daft Punk style songs with a Giorgio touch found in the synth and sequencer used. “Instant Crush” features The Strokes’ Julian Casablancas on vocals, filtered to give him a distant, robotic, over-the-phone appeal. Key parts of the song also sound similar to earlier Daft (especially “Something About Us” off Discovery), which adds to the song’s forlorn, distant-love quality. Finally, “Lose Yourself to Dance” brings in flashbacks of funk, building up over guitar, handclaps, and Pharell’s high-pitched vocals to set a groove that is built to move the masses.

Album Lowlight: I really didn’t find many particular lowlights on the long-awaited Random Access Memories. I wasn’t a huge fan “Fragment’s of Time” at first, as it had a sort of yacht-rock adult contemporary vibe to it, but it has grown on me. I think it would be too early, even after about 30 plays, to pick a lowlight. I have considerations, but it’s a complex album and my choices for lowlight seem to shift with each listen.

Takeaway: Regardless of what Daft Punk was trying to channel in RAM, it’s hard for any group or DJ to deliver on such stratospheric expectations. Inevitably fans will feel either let down or ecstatic with the album, depending on their willingness to be influenced and where they are musically. I don’t think too many college-aged ragers are going to be digging this, as it’s fist pumping appeal is minimal, if even existent.

It should be noted though that prior to this album, Daft Punk had a much smaller mass appeal, with many fans only latching onto them during the start of the “EDM” craze. Most of these fans never realized that Daft Punk were using samples from old funk albums and putting them through filters, pitch bends, tempo changes and other signature French house effects in order to give credit to the songs that inspire them, while still stamping them with their signature “robot” sound (Justice does the same exact thing). Random Access Memories sounds much like an album that Daft Punk would want to sample from; nothing is pitch bent, filtered, or changed in order to take it back to where the sound truly originated – it’s almost all organic here.

I think the really interesting thing will be seeing which remix producers don’t just rearrange the parts, but use these songs just as Daft Punk did with older albums that inspired them, taking these samples, filter them, and make them their own tracks. I, along with others, feel this album is what the dance world needs right now: a return to real production, thought, and care when it comes to making dance music. So much of what’s been happening the last few years has become about getting louder and more commercially viable while sacrificing quality and care, and hopefully Random Access Memories helps press the reset button on this.

~Sean Little

The National – Trouble Will Find Me

Top Tracks:
“Don’t Swallow the Cap”
“Sea of Love”
“Humiliation”

Album Highlights: Being melancholy has never been so exciting! The Dessner brothers, the Devendorf brothers and Matt Berninger bring the dark joy of another album release, and they have kept on the same track they have steadily been building for over a decade. Trouble Will Find Me is a thick slice of the unmistakable baritone of Berninger coupled with the driving force of the pair of brothers, backing amazingly true-life lyrics dealing with the imperfections we all deal with in our lives. “Sea of Love,” the first single, is a prime example of the feverish construction the National pump out so consistently, and mirrors previous releases in this same manner. Their ability to bring contemplation to records, then transcribe the material to energetic intensity in a live format is one that few bands have continuously achieved over the past 14 years, and fully demonstrates that something special is happening here. Also, Berninger’s voice sounds smoother and richer than ever, apparently due to quitting smoking before recording.

Album Lowlight: The National have truly cultivated a sound and style all their own, and they achieve this without many bells, whistles or electronic elements. Some parts of this record, and the band’s overall sound, take on a simple characteristic as demonstrated through basic harmonies, chord progressions and even drums beats. It’s with this formula that some songs begin to sound familiar. My best example for this is when new track “Graceless” is stacked against Boxer’s “Brainy.” I suppose these likenesses are byproducts of members’ individual style. On the other hand, luckily the lyrics are more relatable and less violent than previous release, High Violet.

Takeaway: Trouble Will Find Me is truly just another brick in an immaculately constructed structure that is the releases of The National. It’s fair to say the masses didn’t expect much less from one of the most consistent acts in the business, and I for one cannot wait to see how these songs are blisteringly performed on the live stage. In the meantime, there is plenty of time to further pull all the meaning out of this batch of 13 new tracks, full of real world angst slightly veiled with optimism.

~Kevin Quandt

Majical Cloudz – Impersonator

Top Tracks:
“Bugs Don’t Buzz”
“Childhood’s End”
“Silver Rings”

Album Highlights: Majical Cloudz combines Devon Welsh’s clear vocals over minimalist organ/synth/piano-led beats from Matthew Otto, and the result is dreary, hanging-onto-hope emotional state of an album from the Canadian duo. The style of Welsh’s vocal-front arrangement fakes the listener into a literal interpretation of his lyrics. It’s all about the subtleties and what’s not being said behind the poetic phrasing. The inferences made while listening are more striking than what Welsh says; you can tell there is real pain, that Welsh has loved and lost, and that he’s only recently come to embrace his place in the world. What’s most inspirational is how Welsh’s vocals plow through the cloud of sad ambiance like a strong beam of light, searching for a permanent place away from depression.

“Childhood’s End” is a sad track that uses the simple refrain of “Went down, went down went down…” to establish an emotional, spiraling tone. The strings and vocal moans in “Silver Rings” contrast and question the lyrics “I don’t think about dying alone”, especially when shortly thereafter Welsh cries out “Stay with me”. “Bugs Don’t Buzz” is the most memorable, poetic track on the record, it’s essence summed up with the line, “It pays to be on the edge of existence, just riding the surface my love.”

Album Lowlight: The effect of Majical Cloudz is comparable to the feeling you get during the first part of a typical Sigur Rós song – but you don’t get the hopeful, transcendent payoffs the icelandic wonders give. Impersonator is dreary yet hauntingly beautiful, but ultimately one-note; it’s hard to see the replay value in this record going forward due to it’s super-somber effect. This is the kind of record that should get heavy play when a family member dies. Conversely, these intense, morose-minimalist power ballads like ‘I Do Sing For You” will fit perfectly into an appropriate cinematic moment or scene on the small or big screen, if they haven’t been used to score visual imagery already.

Takeaway: Welsh’s poetic waxing comes off like an endless soliloquy that’s best listened to in an immersive situation – being stoned with headphones on or live in concert – but I wouldn’t exactly plan your Friday evening around this experience. I saw Majical Cloudz open for Autre Ne Veut in March, and Welsh is somehow physically more intense and brooding than his songwriting in person. He blasts stand-offish stares into his front-row victims, moving from face to face looking deep into the eyes of each concert goer. I remember reading the following description of Welsh’s live performance before the show, and I’m still not seeing the “Fun loving” part:

Majical Cloudz is a music project and performance event. Negative and ecstatic. Fun-loving. Seeking relationships with audiences to share transforming experiences.

Welsh & Otto played most, if not all of this album at The Independent two months ago, and I can attest that Welsh and Otto have the intensity and drive to pull this project off, especially if the goal is to “share transforming experiences.” Just see this act on a random Monday or if you’re in the mood for lost-languid lyrics over morose music beds.

~Mike Frash

Alpine – A is For Alpine

Top Tracks:
“Gasoline”
“Hands”
“Too Safe”

Album Highlights: Alpine’s new album is anything but new. A is for Alpine was released in Australia in 2012, and after a long and tumultuous journey, it has finally made its way to the northern hemisphere. Dawning from Melbourne, Australia, Alpine has become a household name to many Australians and they are just now making a name for themselves in the States. Alpine’s sound combines the dreamy vocal harmonies of Phoebe Baker and Louisa James with post-punk, electro-laced beats. Highly danceable, A is for Alpine is filled with catchy hooks and driving beats that don’t get stale. This is a sparkling debut album from one of Melbourne’s hottest and upcoming bands.

Album Lowlight: What took them so long to get to the USA? The lowlight is that they’ve been depriving us of this magical album for almost a year.

Takeaway: A is for Alpine is a fantastic album, pairing Phoebe and Louisa’s vocals with the driving electro-surfy-synth to make an upbeat yet soothing record. The songs are catchy, engaging and stay fresh throughout the album. Alpine is still relatively unknown, but that might not last for long. They will be appearing at the Great American Music Hall June 8th, opening for Crystal Fingers.

~Kevin Raos

Filed Under: New Music Tuesday Tagged With: Alpine, Daft Punk, Majical Cloudz, New Music, The National

Of Monsters and Men put anthems on auditory display at Fox Theater Oakland

May 20, 2013 by Marc Fong Leave a Comment

Photos by Marc Fong ~ Written by Mike Frash

Of Monsters and Men‘s meteoric rise since stomping onto the music scene in early 2012 is something to behold. Sure, one-album phenomenons like Alabama Shakes and Imagine Dragons have become more common in the age of streaming, where easier and earlier access to music has created legions of burgeoning critics and a generation of music ‘experts’ who spread opinion faster than it took the same folks to judge the new Daft Punk album. In early 2012, it was these early adaptors that catapulted the Icelandic upstarts to buzz-worthy status, securing venues for Of Monsters and Men before they had even released an album.

And here they are 14 months later, selling out venues in minutes and rocking a visual aesthetic that’s gone gothic-chic, the effect of making money hand over-fist and having a promoter that cares about your long-term success. Of Monsters and Men have themselves to thank for success, as their anthemic songs are some of the catchiest material to come around in a while; you can listen to one of their songs like “Six Weeks” and you’ll be singing along to the refrain by the end of the first time you hear it. Nanna Bryndís Hilmarsdóttir and Ragnar Þórhallsson are the heart and soul of the group, but it’s the collective wall-of-sound this seven-piece touring act creates that has made Of Monsters and Men one of the most popular groups around.

Of Monsters and Men performed at Fox Theatre Oakland May 16. View their setlist below the photo gallery.

Set list:
1. “Dirty Paws”
2. “From Finner”
3. “Slow and Steady”
4. “Mountain Sound”
5. “Beneath My Bed”
6. “Skeletons”
7. “Your Bones”
8. “Love Love Love”
9. “King and Lionheart”
10. “Lakehouse”
11. “Little Talks”
12. “Six Weeks”

Encore
13. “Numb Bears”
14. “Little Talks”
15. “Yellow Light”

Filed Under: Photos Tagged With: Fox Theater Oakland, Of Monsters and Men

Big Boi and Killer Mike bring much-needed R.A.P. Music to SF

May 17, 2013 by Mike Frash 4 Comments

Two of the most ferocious names in hip hop descended upon Mezzanine in San Francisco May 17, as Southern fire-breather Big Boi and force of nature Killer Mike brought some much needed rhymes to the bay. Killer Mike made his debut on Outkast’s landmark LP Stankonia, and he also is featured on “The Whole World”, which the two giants of R.A.P. Music performed together during Big Boi’s set.

Killer Mike knows how to command a room’s collective attention, which is something of a challenge for an opening act, as many a show-goer will defer to chatting and drinking while waiting for the main act. During the third song Thursday night, two intrusive security guards trounced through the middle of the crowd with flashlights at a top down, forty-five degree angle, presumably looking for pot-smokers. Killer Mike stopped mid-spit, the music was halted, and the larger-than-life nonconformist launched into his first anti-establishment argument. In this case it was lighthearted; “Everyone smoke your weed – they can’t get everybody.” Most likely the security guards were roadies and it was all part of the act, but either way it effectively established pin-drop silence and crowd attentiveness.

His command is impressive, and Michael Render is also accessible, engaging while acting politically assertive, asking you to join his thought process. His energy, charming smile & effective use of language draws you into him, which allows his points to absorb in the listener, making even overt political statements sink in easier. With “Reagan”, Mike puts a large dent into the idealized memory the Republican Party celebrates daily for their most adored president. He began the song with a long soliloquy that set the stage for Mike to entice a large portion of the crowd to chant “I’m glad Reagan’s dead” by the end of the best political protest song in recent memory, essentially spitting on his grave. Single handedly, Killer Mike is a force that is battling the right wing celebration of everything Ronald Reagan, and when the the American right moves to put him on the twenty dollar bill, watch for this song to be the opposition anthem.

Mike took pride in his political, but not partisan focus before finishing the set, showing that standing up against Establishment wrongs can be entertaining and fun, and his take-charge tone projects pure leadership and is slightly contageous. It’s easy to imagine Killer Mike as a leading figure in hip-hop within one more album cycle. He’s already completed a new album with El-P, and they’ll be heading out on tour together this summer, stopping in SF July 30.

While Killer Mike might say things some people don’t want to hear (I think he’s dead on), San Francisco concert goers were treated Thursday night to a satisfying greatest hits show by Big Boi. The half of Outkast that was more likely to deliver dexterous, lightning-fast lyrics than hooky refrains understands what people want to hear when they see him live. The set blasted off with an Outkast medley, featuring “ATliens”, “Skew it on the Bar-B”, & “Rosa Parks” in mash-up fashion. Sir Lucious tapped into his catchiest, most upbeat solo songs from his 2012 LP Vicious Lies and Dangerous Rumors like “Apple of My Eye” and “CPU”. One of the only surprising drawbacks was the lack of solo tracks from his two excellent solo records and a glutton of Outkast jams.

Big Boi may be performing “solo” these days, but he’s anything but alone. Throughout the evening he was joined by his live band, DJ, female backup singer Keisha Jackson, a geeky white guy, his entourage, a gaggle of dancing women, Killer Mike for four songs and BlackOwned C-Bone, who played hype-man and oddly filled the André 3000 role at times. Big Boi even took a break, allowing C-Bone to have the stage for a song to up his importance. He’s certainly as entertaining a stage presence as Big Boi, and he psyched out the audience by saying they were slowing things down before launching into “Shutterbugg”.

Big Boi still projects bravado, and he’s a showman that’s has curated a live concert experience that caters to his most well known work. His joy and love for SF seemed true this night, so much that he reappeared for four encore songs and a 1am shutdown.

Filed Under: Live Music Reviews Tagged With: Big Boi, Killer Mike, Mezzanine

WKEND MIXTAPE: Outkast (Cutmaster Swift) Breezeblock Mix 2003

May 17, 2013 by 3ricshaden Leave a Comment

With Big Boi and Janelle Monáe in town this week it is fitting to dig out an old mix in their honor. Our mix this week comes from Outkast producer and DJ Cutmaster Swift.

This mix first aired on BBC Radio’s Breezeblock in 2003 as a megamix of Speakerboxxx/The Love Below. With expert mixing of a classic album, you would never know this is from ten years ago. Sit back,reminisce, and enjoy!

View photos and our live review from the Big Boi + Killer Mike show at Mezzanine May 17.

Filed Under: Mixtapes Tagged With: Big Boi, Janelle Monáe

WIN FREE TICKETS: Dale Earnhardt Jr. Jr. at The Indy May 17

May 15, 2013 by Mike Frash Leave a Comment

Dake Earnhardt Jr. Jr. are in the midst of a mini-May tour, and the cheeky party-starters are gearing up for a couple shows on the west coast this week. The Independent in San Francisco is hosting the Detroit-based duo Friday May 17, and tickets are surprisingly still available. Their music is similar to the Yoshimi-era pop songs from The Flaming Lips, but with good live vocals, and their earnest dance-party jams are reminiscent of STRFKR.

Joshua Epstein & Daniel Zott blend harmonies, quirky electronic elements, and indie-folk influences to create a distinctive sound. Their live performances are as boldly irreverent and playful as their name, so seeing Dale Earnhardt Jr. Jr. Friday evening at The Independent looks like the right way to start the weekend.

Win 2 Free Tickets! Enter to win if you can attend this show Friday May 17 at The Independent in San Francisco.

Submit your full name and email address below.
Contest ends Friday May 17 at Noon. The winners will be picked at random & notified by email.
Your email will be kept private – we will share your email with no one.

CONTEST PERIOD COMPLETE

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Watch two new music videos from their 2013 EP Patterns:

Filed Under: Contests Tagged With: Dale Earnhardt Jr. Jr., The Independent

New Music Tuesday: Vampire Weekend • Wild Nothing • Wampire • Snowden

May 14, 2013 by The Bam Team 1 Comment

Every Tuesday, we focus on new music releases by naming our top tracks, album highlights, lowlights and important takeaways for select albums.

Vampire Weekend – Modern Vampires of the City

Top Tracks:
“Step”
“Hannah Hunt”
“Worship You”

Album Highlights: Vampire Weekend’s third album Modern Vampires of the City further cements their status as one of the preeminent indie rock bands in modern music. The band has grown up and matured with Modern Vampires, creating a vibrant and rejuvenating album that will likely be high atop many “Best of the Year” lists in 2013. Vampire Weekend has already established themselves as a veritable force in contemporary music with their highly acclaimed first and second albums Vampire Weekend (2008) and Contra (2010). Their distinctive baroque sound has aged and ripened with Modern Vampire in the City, blossoming into one of the freshest album of the year thus far. This album is littered with hits like “Ya Hey”, “Diane Young” and “Step”, which have already been making the rounds on local radio stations. It’s only a matter of time before these songs appear in another Honda commercial.

It’s the distinctive characteristics of the band’s sound that carry this record. Ezra Koenig’s playful and expressive vocals shine through this lyrically rich album. Every song on this record has captivating vocals that take the listener on a poetic journey, one of my favorites being “Step.” The shoutouts to San Francisco, Oakland, Berkeley and Alameda don’t hurt either. Perhaps the greatest emotional outpouring from Koenig comes at the end of “Hannah Hunt” when the song crescendos to a peak; this moment is an absolute highlight.

Album Lowlight: With little help from Steve Buscemi, Vampire Weekend has created one of the best albums of 2013. It is perhaps this cringe-worthy marketing campaign that is the worst part about the album, if it could even be considered that. Perhaps this was done to curb expectations on this record that was nearly 2 years in the making? Whatever the reason, it worked, because Modern Vampire of the City is an incredible record that will be listened to and cherished by music lovers for ages to come.

Takeaway: Without too much commotion, this LP has propelled Vampire Weekend from a quirky indie band to one of the most influential groups in contemporary music. Their distinct sound, songwriting ability, and musical diversity make this album one of the most compelling albums of the year. They’ll serenade you to sleep one moment, only to rock you awake the next. Modern Vampires of the City will transform the casual fan to a Vampire Weekend advocate. They have quickly climbed the power rankings for anticipated bands performing at Outside Lands Music Festival. I’ll be there.

~Kevin Raos

Wild Nothing – Empty Estate [EP]

Top Tracks:
“Ride”
“Ocean Repeating (Big-Eyed Girl)”
“The Body In Rainfall”

Album Highlights: Wild Nothing released one of the best records of 2012 with Nocturne, but Jack Tatum outfit has already returned with a seven-track EP that presents an interesting duality that is not foreign to these shimmering, dream-pop curators. The sounds and songs on Empty Estate vacillate between “traditional” Wild Nothing cuts and luscious, cinematic dreamscapes. Two of the EP’s highlights are the first two tracks, “The Body in Rainfall” and “Ocean Repeating (Big-Eyed Girl)”. These songs fit into this group’s synth-pop wheelhouse – they would have fit fine in either of Wild Nothing’s two long players. “Ride” sticks out as the best instrumental soundscape, channeling Philip Glass’ wild, sonic adventures.

Album Lowlight: It’s an interesting choice to put out another EP – maybe these were left over tracks from last year that were prettied up for this EP? It seems like they were half way to another excellent full length record. And while the dreamscapes here are interesting, they aren’t always perfect. The final track “Hachiko” wanders off so far that it suffers then dies a slow death – a stark way to end a mostly hazy-yet-upbeat record.

Takeaway: Wild Nothing continues to be a lead innovator of dream-pop indie music with inspiration. With involved dreamscapes like “On Guyot” and “Ride”, Tatum proves he has the chops for scoring cinema – at a minimum for films that deal in experimental, sonically-progressive audio. Overall, this new material gives the visceral feeling of wandering around as part of a journey, not a means to a destination. One device that enhances this feeling is seamless segueing between songs, which happens twice on this shortened record. This EP is another must-listen for fans of Wild Nothing.

~Mike Frash

Wampire – Curiosity

Top Tracks:
“The Hearse”
“Trains”
“Magic Light”

Album Highlights: Ever wondered what Arcade Fire might sound like if they got all new-wave? The answer would be something pretty damned close to the Portland duo which goes by the name Wampire, and they would make rocking music for dark, dark house parties. “Giants” features the semi-characteristic combination of heavy organ flourishes and artificial sounding drum machines, before dropping into a groovy section that even Boris Karloff would get down to. Rocky Tinder and Eric Phipps are the musical buds behind this project, and have been playing together for a length of time, freaking out the Portland party scene, before molding their sound into the more slick production thanks to help from Jake Portrait of Unknown Mortal Orchestra.

Album Lowlight: Curiosity can border on the novelty and kitschy at certain times, but it never really crosses the line, thankfully. Lead single “The Hearse” might have lead many to think this album would be a bit more dance oriented, but the mix of tempos is rather refreshing, in fact.

Takeaway: It’s a dead man’s party, and Wampire are playing said party. These guys have crafted a ghoulishly catchy album full of hook-laden goth dance romps and tenderly macabre ballads. Long anticipation has lead to a fulfilling release that will likely transcribe well to the live stage, even though Wampire seems to be a name blatantly missing from the lower throngs of festival lineups across the country. Children of the 70s and 80s can rejoice in the possibility of their new favorite release being Curiosity.

~Kevin Quandt

Snowden – No One Is in Control

Top Tracks:
“Hiss”
“Don’t Really Know Me”
“So Red”

Album Highlights: Snowden returns with No One Is in Control after a six-year hiatus since their first album, Anti-Anti, a break brought on by label fighting. While singer Jordan Jeffares was unable to create a new album, he was able to continue writing and he churned out some great songs that bring to mind Interpol with a bit more pop and indie rock energy to them. One of the tracks that defines this is “Hiss”, which brings out Jeffares’ down-a-hallway vocals with static filled garage guitars that build to create a insanely catchy chorus and breakdown that leave you moving your head and singing along. “Don’t Really Know Me” is another infectious track that takes the low-fi angle to bring the listener in and sing along.

Album Lowlight: Overall, the album didn’t have many lowlights. “No Words, No More” was a personal non–favorite as I found it a bit boring, but the albums still delivers as far as a sophomore effort goes. If anything, the albums seems to have not matured much from Anti-Anti, possibly due to the long hiatus in between and the log jam of songs it created, but for fans of Snowden I don’t feel they’ll be disappointed as No One Is In Control is Snowden through and through.

Takeaway: Crisp snare pops, low-fi guitars and distant vocals are Snowden’s hallmark and they don’t miss on their sophomore album. Some of the tracks stand out more than others in both song writing and mass appeal, but the album as a whole hits the mark for true fans and those looking to check in on what Jeffares (and Snowden) have been up to these last six years. I would also anticipate this album spawning a host
of remixes from various artists, as San Francisco’s own Lane 8 has already remixed
the lead single of the album “The Beat Comes”, so expect Snowden to follow in the
St. Lucia et..all vein and become a source of remix inspiration in the near future for a
variety of producers.

~Sean Little

Filed Under: New Music, New Music Tuesday Tagged With: New Music, Snowden, Vampire Weekend, Wampire, Wild Nothing

Outside Lands 2013: 10 sets not to miss

May 14, 2013 by Kevin Quandt & Mike Frash 10 Comments

Outside Lands Music and Arts Festival //
Golden Gate Park – San Francisco
August 9th-11th, 2013 //

UPDATE: The Outside Lands schedule has been announced. Check out these conflicts.

The Outside Lands lineup for 2013 has been unleashed, and it’s as strong as ever. We made our predictions, and they were pretty good, but now it’s time to take a look at the sets that peak our interest most.

There are so many incredible artists not listed below, including Yeah Yeah Yeahs, Grizzly Bear, Yeasayer, Kurt Vile and A-Trak. But with so many great acts to see (and we’re not even including the comedy tent, the Heineken Dome, late-night shows around SF or possible pop-up shows), it’s good to get an idea of which sets you will want to see, as conflicts will happen. Here are ten sets we’re looking forward to.

Follow our Outside Lands 2013 playlist on Spotify, featuring three tracks from each artist.

Paul McCartney

Were you one to pass up on Stevie Wonder last year for Skrillex? Then this does not matter to you. The ‘law of legend’ applies here — you don’t pass on a set by a member of The Beatles, with the exception of Ringo. Even then you probably should pick a Ringo set. I like dance music plenty, and often an EDM show can be the single most fun thing you can do at a music festival. It’s just not an option here, not for Kaskade or Pretty Lights — have an after-party at your apartment after the festival to make up for it and piss off your neighbors. Paul’s son James will also perform, so look for a father-son collaboration and other special guests. Macca would be an ideal Sunday closing set, but look for Sir Paul to play Friday or Saturday since he has dates scheduled in Canada the Monday through Wednesday after Outside Lands. -MF

Nine Inch Nails

Trent Reznor just cannot slow down. It’s a simple musical fact. Whether it’s winning Academy Awards for the “Social Network” soundtrack or forming a new band with his wife, he never lets up and he has totally reconfigured the 90’s industrial-rock staple that we have grown to love. With Adrian Belew of King Crimson fame playing guitar on NIN’s latest studio effort Hesitation Marks, songs are sure to take on a new identity, which seems to be what Reznor is going for. Add in Josh Eustis of now-defunct Telefon Tel Aviv, and this latest lineup that Reznor has put together is sure to excite the masses in Golden Gate Park. -KQ

UPDATE 5/15: Bassist Eric Avery has decided to quit the band.

Vampire Weekend

Vampire Weekend has gone from “skip” to “must-see” at Outside Lands with the release of their new album Modern Vampires Of The City, and what a gem it is. It’s convinced me not to skip them this year, unless they are up against personal bucket-lister Sir Paul McCartney. Their live act was beginning to feel stale, but the introduction of inspired new material with improved songwriting makes this Outside Lands set one not to miss. Do yourself a favor – check out Vampire Weekend and their new songs live. -KR

D’Angelo

The R&B genius is back at it after a multiyear hiatus, and this return has been slow and seemingly calculated, making one wonder if an album isn’t too far behind. His recent shows in NYC were widely hailed for their simplicity in intstrumentation, anchored by D’Angelo’s smooth vocals and a mix of old favorites, new offerings and choice covers. One cannot deny the brilliance of albums like VooDoo and Brown Sugar, and though it’s a name from the past for many, he is an artist with a rising stock. -KQ

The National

The nuanced, somber music created by The National is not for everyone, but those who are into The National love them, and for good reason. The knock-you-down then build-you up songwriting structure the Brooklyn-based indie group uses is contemplative yet comforting, and their show setlists include songs from their extensive catalogue. The National’s sixth LP will be available May 21, and you can stream it now (and it’s pretty damn good). The Pro-move here will be ditching a larger group to slinky up to the front of the main stage with a few like-minded friends, as proximity will be key – you’ll want to be closer to swooning super-fans with their hand over their heart as opposed to loud drunk chick inadvertently chatting into your ear during the quiet parts. The National will be performing in Los Angeles Saturday and Sunday, so plan on seeing them Friday. -MF

The Tallest Man on Earth

Kristian Matsson’s one-man show as The Tallest Man on Earth is a bit of a surprise on the bill. The Swedish singer-songwriter is not scheduled to play any other shows in the US after Bonnaroo summer, so San Francisco seems to be getting a one-off treat in August. He’s tenacious on stage, whipping around like a cobra ready to strike at critical moments for added emphasis. Matsson’s gritty, passionate vocals can be hynotic, and The Tallest Man should help music fans float away at the main stage with a mid-afternoon time slot. -MF

FOALS

Already approaching headliner status across the pond, these English rockers produce indie dance-punk that that runs the emotional gamut, from mysterious wall-of-sound ragers (“Inhaler”) to upbeat, rock-your-socks-off party anthems (“My Number”). No matter where the music takes you sonically, it’s pretty impossible to not dance, or at least gyrate when seeing this act live. Their set at Coachella was a top set of the weekend, and word is spreading about their third LP Holy Fire – it’s one of the best records of 2013 so far. FOALs are performing in LA on August 9th, so plan on catching them Saturday or Sunday (and hopefully at a late-night show, fingers crossed). -MF

Gary Clark Jr.

This hard-rocking blues guitarist has been making waves for the past year or two, and is on a meteoric quest to the top. Whether he is sitting in with the Stones in NYC or for the President at the White House, Clark can’t stop turning heads and taking names with his virtuosic guitar chops. Much like Alabama Shakes last year, the popularity of this act lies in a modern spin on Southern music and its palpability to many age groups. Fans of the blues are sure to be pleased as Clark weaves that genre into other styles, creating something fully unique. -KQ

Chromatics

The shimmering beauty from the Chromatics will shower upon Golden Gate Park as they continue to tour on the strength of their 2012 LP Kill for Love. Ruth Radelet’s angelic-cool voice breezes over minimalist noir-electro disco, and their live performance can be serious, sexy and danceable all the same time. Chromatics are one of the only acts in synth-pop territory this year at Outside Lands, so plan on seeing this foursome if you’re a fan of the Drive soundtrack (they were in it). -MF

Atlas Genius

Is Atlas Genius the Foster the People of 2013? When one hears the slickness of summer-tinged track “Trojans,” it’s pretty clear that it’s a strong contender for ‘Song of the Summer.’ One could even dub them part of the ‘Australian Invasion’ over the past few years alongside the likes of Tame Impala, Cut Copy and Empire of the Sun, all heralded acts that Atlas Genius will inevitably be compared to. When It Was Now will certainly fuel their massive summer schedule of festivals galore and loads more radio airplay. -KQ

Filed Under: Editor's Picks, Festivals, Outside Lands Tagged With: Atlas Genius, Chromatics, Coachella, Coachella 2013, Coachella Music and Arts Festival, Coachella Music and Arts Festival 2013, Coachella Valley Music & Arts Festival, Coachella Valley Music & Arts Festival 2013, Coachella Valley Music and Arts Festival, Coachella Valley Music and Arts Festival 2013, D'Angelo, FOALS, Gary Clark Jr, Nine Inch Nails, Outside Lands, Paul McCartney, The National, The Tallest Man on Earth, Vampire Weekend

Treasure Island Music Festival 2013 predictions

May 13, 2013 by Kevin Quandt & Mike Frash 5 Comments

Treasure Island Music Festival‘s 2013 lineup will be unleashed Tuesday (May 28th), so it got us thinking: Who will perform at the festival on the bay October 19th-20th? This scenic festival usually offers about 25 acts over two days and is conflict-free — no sets overlap.

Our predictions are based on simple research; we take a look at artists that fit into Treasure Island Music Festival’s curation history who also happen to be touring in or around October. Be warned — this is pure speculation. The confirmed lineup will be released Tuesday morning after Memorial Day weekend.

UPDATE: The lineup was announced May 28th, and it’s a good one. We got a handful of artist predictions correct, and remember to snatch up those early-bird tickets when they go on sale Friday at 10 a.m.

Atoms for Peace

Thom Yorke and his band of merry players are the first and most glaring treat that is likely to headline Saturday’s traditionally dance, hip-hop and electronic-friendly bill. Their particular tour route puts them right in the Bay Area after a pair of instant sellout shows in Southern California. It appears Thom will will bring the group of Flea, Nigel Godrich, Mauro Refosco and Joey Waronker to stay consistent with this project’s past. Rich rhythmic arrangements and lush synths are certain to keep patrons dancing well into a, hopefully, warm Indian Summer night with the cityscape as one of the best backgrounds a fan can ask for. Their 2010 Fox Theater shows were well received and at capacity, so tickets for Treasure Island this year could go quickly. AMOK received high praises a few months back, and now with a deeper bag of songs to pull from, one can only be thrilled at this lauded fall tour finishing in the Bay.

The Cure

It was rather surprising that this name didn’t appear on the Outside Lands lineup, but what better veteran rock act is there to close out Sunday evening? Though Robert Smith won’t be touring a new record, he will likely have a few tricks up his sleeve after a multi-year tour hiatus, except for a handful of European festivals in 2012. The Cure will be active in October, performing at Austin City Limits, and it’s been nearly a decade since they played the City proper, so what better time than October?

Queens of the Stone Age

Giddy up! Josh Homme and his crew of stony musicians are back for more after a hiatus from touring with his most-famous project to date. With their forthcoming release …Like Clockwork arriving in June, it’s sure to be a busy second half of 2013 for QOTSA as the California band books festival after festival, getting these new tracks into the ears of anxious listeners. One other aspect that we have to look forward to is the inclusion of John Theodore (ex-Mars Volta) as QOTSA’s new drummer, sure to propel the pummeling drive of the Hommes’ quintessential stoner hard rock.

Animal Collective

The psychedelic, seizure-inducing LSD flashback of a freakout known as Animal Collective would be a fine fit in TIMF’s scope of artists, and they could possibly headline at this point. They have been touring with Dan Deacon and were forced to cancel a block of dates in March due to Avey Tare’s mondo case of strep throat. Many of these shows have been rescheduled for October, and there is a noticeable gap on their tour docket from October 18th-23rd. AC will also be performing at other music festivals like Austin City Limits and Mountain Oasis Electronic Music Summit, making a TI performance even more logical.

Kendrick Lamar

California native Kendrick Lamar has only set foot in San Francisco/Oakland once since releasing his instant classic LP Good Kid, Mad City, and TIMF has provided at least one marquee hip-hop name on the lineup the past three years with Public Enemy, Dizzee Rascal & Die Antwoord (zef-hop?). Let’s hope this continues with a victory lap performance from the Dr. Dre protégé, which seems logical. Lamar will continue a hectic tour schedule through the summer, then he’s on board to perform at Austin City Limits the two weekends prior to Treasure Island.

James Blake

Much like Atoms, James Blake has some shows scheduled in the southern region of the state, and one can only make the educated leap that Blake will be featured at Treasure Island this year. With a constantly rising stock, Blake continues feverishly touring his latest release Overgrown, and it’s his year to bring his unique post-dubstep take on soulful balladry to a wider audience. His sunset slot time at FYF in LA last fall was superb, and one can only imagine the beauty of Blake’s set on the tiny rock in the San Francisco Bay. His crossover style makes it difficult to decipher which day he will be featured, but then again that’s one of the best aspects of music today — genre lines are being blurred more and more each year, and Treasure Island Music Fest embraces this quality so well.

Death Grips

From San Francisco house parties to mid-tier festival act in a short amount of time places this highly-buzzed band square in the crossfires of Treasure Island. An extensive summer tour leaves Northern California off the itinerary, and therefore the Bay Area is likely to get some love come fall. Their brutal stage show has been turning heads, along with their shock-tastic media attention, whether it’s pissing off their label or putting out pornographic album art. Plus, they hail from Sacramento, so it would be a proper nod the region.

Disclosure

Treasure Island has always prided themselves on booking forward thinking, up-and-coming acts, so it would make sense to snatch up the UK two-step/house amalgam that is Disclosure. Having not returned to the Bay Area since the young lads’ banner SF premier last fall leads me to believe this would be an ideal spot to showcase the producer/brother pair. Furthermore, it would be their first under-21 show in the region and would be a perfect warm-up to Atoms for Peace on Saturday.

OTHER LIKELY PERFORMERS @timfsf
MIA
Dan Deacon
Dinosaur Jr
Foxygen
John Talabot
Palma Violets
The Shouting Matches
Savages
Paper Diamond
Phosphorescent
Haim
Autre Ne Veut
Iceage
Mikal Cronin
White Arrows
Social Studies

Filed Under: Festivals Tagged With: Animal Collective, Atoms for Peace, Autre Ne Veut, Dan Deacon, Death Grips, Disclosure, Foxygen, Haim, Iceage, James Blake, John Talabot, Kendrick Lamar, MIA, Mikal Cronin, Palma Violets, Paper Diamond, Phosphorescent, Queens of the Stone Age, Savages, Social Studies, The Cure, The Shouting Matches, TIMF, TIMF 3013, Treasure Island Music Festival, Treasure Island Music Festival 2013, White Arrows

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WIN FREE TICKETS: Dale Earnhardt Jr. Jr. at The Indy May 17

New Music Tuesday: Vampire Weekend • Wild Nothing • Wampire • Snowden

Outside Lands 2013: 10 sets not to miss

FESTIVALS

Coachella keeps the twists & turns coming with 2026 set times revealing Jack White as festival’s latest surprise guest

After debuting three years ago, Darker Waves Fest returns to unleash 2026 lineup with Morrissey & The Smashing Pumpkins standing atop

Just Like Heaven slides back to summer for sixth year as The Strokes, LCD Soundsystem, TV Girl & Chromeo carry festival’s 2026 lineup

Outside Lands follows the trend, unloads 2026 lineup earlier than ever with Charli xcx, RÜFÜS DU SOL, The Strokes, The xx & more

Goldenvoice cooks up another batch of Coachella sideshows in 2026

BeachLife Festival calls on Duran Duran, The Offspring, James Taylor, The Chainsmokers, Slightly Stoopid & more in 2026 for seventh act

SHOW REVIEWS

Silversun Pickups come out swinging with power & precision to kick off their ‘Tenterhooks Tour’ for a sold-out crowd at The Observatory

On their first major headlining tour, Say She She make no secret at The Belasco why the ‘discodelic soul’ group’s music is for everyone

The Mars Volta reaffirm at Pasadena Civic Auditorium that they aren’t resting on their laurels these days & we love them just as much for it

Lord Huron make their hometown fans at Kia Forum see how they’ve gone from burgeoning indie-rock band to newly minted arena act

The Flaming Lips & Modest Mouse team up for one of the summer’s best co-headline tours as we witnessed at the Santa Barbara Bowl

PHOTOS

Tyler Ramsey & Carl Broemel showcase their beautiful collaboration ‘Celestun’ at Lodge Room just a few weeks after the album’s release

STS9 take over The Bellwether in LA for two nights to celebrate 20 years of ‘Artifact’ & the release of their new album ‘Human Dream’

Grammy winners Portugal. The Man deliver their love letter to Alaska at The Wiltern with Electric Guest, Hanni El Khatib as special guests

THE LATEST

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