Kevin J Quandt

Deerhoof continue to redefine themselves

November 21, 2014 by Kevin J Quandt Leave a Comment

Photos by Greg RaMar // Written by Kevin Quandt //

Deerhoof with Crystal Skulls and Go Dark //
Great American Music Hall – San Francisco
November 18th, 2014 //

It’s been about 20 years since the formation of Deerhoof, and the San Francisco natives show no sign of slowing down, in fact, quite the opposite is in process. One cannot think of this band in conventional terms as they truly are not conventional in any way; they don’t fit into any genre, they don’t follow traditional timing and basically shatter their fans expectations with each album and tour. Helmed by rhythmic mad scientist, Greg Saunier, Deerhoof’s show on Tuesday at the Great American served as an extension of the boundary-pushing tendencies these locals have cultivated over the past couple of decades.

A sold out crowd welcomed the act with revelry as they started out the show in a jazzy, dreamy intro (“Mirror Monster”) before launching into the blistering track, “Exit Only”. This one-two punch fully demonstrated the range of sound that band has always exhibited, and continues to pump out via their latest release on PolyVinyl, La Isla Bonita. The juxtaposition of thrashed-out instrumentation, insanely tight drumming and mousy vocals of one Satomi Matsuzaki creates something fully unique that words do little justice to describe. John Dietrich and Ed Rodriguez are the 2-man guitar team who blanket attendees in a pysched-out wave of prog-leaning segments.

One of the biggest take-aways from this show was the ever evolving musical dialect that Deerhoof have created for them, and them alone. The 4 members share a vernacular on stage that only they speak. Greg’s musical training allow him to ebb and flow with the other members on stage; never playing over Satomi’s dainty vocals while allowing Dietrich to expand on his freakish chords. While the band played heavy off the 2014 release, they sprinkled in some crowd favorites in the form of “Dummy Discards a Heart” and the ever-popular, “Twin Killers”.

As Saunier addressed the adoring crowd, it was clear that San Francisco loves Deerhoof and they love us right back. The audience was treated to some hilarious fits of banter from multiple band members as they took a stroll down memory lane, regaling in tales of the early days of the act. One can hope they continue on for another decade as they are truly the definition of indie DIY while continuously keeping their listeners on their feet, whether that’s on their self-produced records or in the fiery heat of their live show. Deerhoof cannot be cast aside anymore.

Filed Under: Featured, Live Music Reviews Tagged With: Crystal Skulls, Deerhoof, Go Dark, Great American Music Hall

Rubblebucket’s Survival Sounds lifting indie act to the next level

October 21, 2014 by Kevin J Quandt Leave a Comment

Photos by Kory Thibeault // Written by Kevin Quandt //

Rubblebucket with Royal Canoe //
The Independent – San Francisco
October 15th, 2014 //

It’s been one helluva year for the Brooklyn-based indie-dance outfit known as Rubblebucket. There’s been some tough times that started back in July of 2013 when front-woman Kalmia Traver was diagnosed with ovarian cancer, yet luckily the electric leader is in remission. They also proceeded to pump out a new album, appropriately titled, Survival Sounds. On this sold-out Wednesday evening, both Kalmia and the new record were the clear shining stars of the night as each complimented each other in ecstatic manners.

Before we go any further, it should be stated that Kalmia Traver is one of the best frontwoman in the business. She truly is the full package as she sings with a rigorous passion, dances joyously, plays baritone sax and wins the adoration of nearly every member of the audience. Her dedication is refreshing and infectious. The group’s sound has evolved to a more varied palette as comparisons to Arcade Fire could begin to fester in one’s mind. In fact, they really could be an ideal candidate for tour-mates in the future.

“Sounds of Erasing” was a highlight early in the show as the Independent was transformed to an island getaway as the breezy vibes were expertly delivered. It was evident that Rubblebucket are madly in love with their latest efforts as the first half of the show played heavy on it. Choreographed dance moves by the two-man horn section accompanied most songs. The projections and lighting were sublimely seamed into each track and augmented the show further. Another spotlight new track, “Hey Everybody”, had the vibe of Bjork singing over a TV on the Radio song. This night peaked with a revelrous rendition of “Came Out of a Lady” that featured a local friend (John of Brass Magic) blasting beefy notes on his sousaphone. At the end of it all, the crowd left fully satiated from one of indie music’s rising stars, completely deserving of the love and adoration that many have, and some discovered, for this band.

Filed Under: Featured, Live Music Reviews Tagged With: Rubblebucket, The Independent

Hardly Strictly Bluegrass survival guide

September 30, 2014 by Kevin J Quandt 5 Comments

UPDATE 10/2: The weather will be something out of Coachella on Friday with 88 degree highs expected. Forget the layers, bring extra sunscreen and water.

Hardly Strictly Bluegrass is one of the most anticipated events of the year in San Francisco, but with it’s increased size over the past decade it can be a daunting weekend for some. Showbams breaks down all the pro tips you could need to enjoy long days of stellar, free music in a stunning setting.

View the Hardly Strictly Bluegrass 2014 Schedule.

GETTING THERE:
• Public Transit is going to be your best bet for arriving at Hardly Strictly in the morning. The 5, 5L, 31, 38, 71 and N are you best bets if coming west to the the Park. NOTE: Some 5 busses will end at 6th Ave.
• Parking can be rather tricky, as you can imagine. It’s possible, and much more feasible the earlier you arrive in the area. Heading past 25th Avenue deeper into the Outer Richmond may be a better bet than trying to park near the festival stages. You can park in the park on Friday and Saturday, but it’s limited to 4 hours, so it’s a gamble. Limited pay lots at these locations were available in 2013:

George Washington High School – 600 32nd Ave. [enter at 30th Ave. between Geary & Anza]
Argonne 680 18th Ave. [enter at Cabrillo between 17th Ave. and 18th Ave.]
Lafayette 4545 Anza Street @ 36th Avenue [enter on 36th between Anza and Balboa]
Presidio Middle School (Sat & Sun ONLY) – 450 30th Ave. [enter on 29th Ave. between Geary and Clement]
Jefferson Elementary School (Sat & Sun ONLY) – 1725 Irving St. [Enter on 18th Ave. between Irving and Judah]

• Be aware of not blocking driveways if you park, your car will be towed.
• Bike parking is available in the form of self-parking or valet.

ONCE AT HARDLY STRICTLY:
• Take a look at the schedule and figure which stage interests you most each day — this is where you should setup ‘Homebase’. For best location, arrive an hour or two before the music starts. From there, you can wander to other stages but still have a place to leave your picnic and cooler.
• Don’t ‘save’ more room than you need.
• Meet and be friendly with your neighbors.
• Orient yourself early. Locate the closest porta-potties and concessions (if interested in purchasing food), as the park can fill in quickly.
• Most people bring large picnics for the day, though there are concessions offered.
• Beer and wine is allowed to be brought to the event, and for obvious reasons there is no glass allowed. No hard alcohol is allowed, but this isn’t harshly enforced if you use discretion.
• A beacon or small flag will be helpful if you hope for friends or family to find you, or your Homebase, in the sizable crowds.
• Pace yourself if you do imbibe. These can be long days in the sun, and though you want to let the good times roll, be mindful of your intake for the safety of yourself and attendees.
• Be mindful of others. There is no smoking allowed in the park, but let’s be honest, it’s not a rule obeyed by many. Do your best to not smoke cigarettes in the crowds and head somewhere in the fringes and throw your butts away into the trash.
• Time-slots are accurate, as the production is top-notch, so allow the needed time to travel between stages.
• It’s supposed to be a sunny, breezy weekend in the park like last year, so bring sunscreen, chapstick, a layer and wishes for as good of weather as we enjoyed last year.

EXODUS:
• There will be increased amounts of 5-Fulton busses, but it can still be a cluster between 25th and 30th avenues. May be better served walking towards Geary to the 31 or 38 or towards Ocean Beach where the busses launch.
• If you are trying to grab a Lyft, Uber, Sidecar or private car, we suggest trying to meet them off of Fulton or Lincoln into the neighborhoods.
• If you truly have to leave the festival quickly in your car, one suggestion would be trying to park your car in the area the night before.
• Walk the park in the early evening back to the Haight or Divisadero with the elated masses.

Filed Under: Featured, Festivals Tagged With: Hardly Strictly Bluegrass, Survival Guide

We’re all just Fucked Up, after all

August 22, 2014 by Kevin J Quandt Leave a Comment

Photos by Pedro Paredes // Written by Kevin Quandt //

Fucked Up with Tijuana Panthers, The She’s //
The Independent – San Francisco
August 19th, 2014 //

Just the other day I was having a discussion with a buddy who was explaining his overwhelmingly preference for live band concerts, as compared to a live producer. He went on to discuss his love for a good frontman, or woman, and I fully agreed with this observation. Alas, he did not make it to Fucked Up at The Independent this past Tuesday to witness one of the most authentic frontmen in the business.

The masses came early to The Independent on this evening as a variety of rock bands were holding court — The She’s took the opening slot while Long Beach natives Tijuana Panthers handled the second slot. Tijuana Panthers brought an enjoyable amalgam of scuzzed-out surf punk that seemed to be received well. But folks were here to see the six-headed art-core beast that many have come to cherish as Fucked Up. By the time each member was ready to launch into the opening song, “Paper the House”, it was hard to ignore that legendary Fucked Up singer, Damian Abraham, looked like half the man he used to be. Abraham later explained he had lost 120 pounds over the past year or so, which received a blast of applause. Yet, this was not the only characteristic of the band that has changed as they, and we all, get a little older.

2009 was a great year for Fucked Up as all their hard work in the early years was paying off in dividends as their banner release, The Chemistry of Common Life, garnered universal praise, eventually leading them to winning the Polaris Music Prize. Now, five years later, they have released a few more well-received albums, most recently Glass Boy, which relies heavily on themes of aging in the punk scene. How does one grow old while holding onto their youthful ideals of rebellion? Well, for this band of punks, they keep on blasting brutal music into the ears, and eyes, of devote fans who keep on returning as they too grow a little more grey and develop just a few wrinkles.

But enough of that sappy shit, as Fucked Up brought their pummeling sound on this evening. Within only a few minutes the three-guitarist band launched into fan favorite “Queen of Hearts” as Abraham paced around on stage reciting phrases of lyrics with blistering intensity. It’s this characteristic that keeps one foot well-rooted into hardcore punk, while the band has recently floated towards a slightly less-hardcore sound, overall. Luckily those who were early fans were treated to some of the older, more raw songs like “Police” — chants of “I can’t stand the police” were included.

Now, it’s hard to not say that Abraham is the show here. Not only because he is a musical madman who would rather be in the pit with his fans than on the stage with his longtime band, but also because frankly, the rest of the band seemed aloof at times. Sure, all but one help in the vocal department, but trying to compete for attention with Abraham would be a futile effort. The frontman, now shirtless (which is tradition), was cruising all over The Indy like a whirlwind. First, he was up in the seats on house right, and the next thing you know, he is having a full-blown mock-luchadore wrestling match with a fan in front of the stage. I kid you not.

“I Hate Summer” and “The Other Shoe” were highlights of the set. Each song seemed punctuated by Abraham’s off-the-cuff banter where he remarked on everything from the lack of pot smoking in the club to his newfound love for Olive Garden. And, it’s with this spontaneity that keep fans returning, tour after tour, even if we are just a bunch of aging punks.

Filed Under: Featured, Live Music Reviews Tagged With: Fucked Up, The Independent, The SHE'S, Tijuana Panthers

Peter Matthew Bauer breaks out at Bottom of the Hill

July 16, 2014 by Kevin J Quandt Leave a Comment

Photos by Matt Barrick and Nikki de Martini // Written by Kevin Quandt //

Peter Matthew Bauer //
Bottom of the Hill – San Francisco
July 9th, 2014 //

Though The Walkmen have proclaimed that they are on a “pretty extreme hiatus”, it doesn’t mean they have slowed their creative output as the majority of members have released solo albums within a few months of their demise. Hamilton Leithauser channels Sinatra and other old school crooners on his lush sounding release, Black Hours. On the other hand, Walter Martin wrote a batch of songs for his young family to enjoy — singing joyful songs about animals and The Beatles on “We’re All Young Together”. Yet, it’s Peter Matthew Bauer’s debut solo album Liberation! that took the spotlight on a mid-week evening down at the base of Potrero Hill alongside Skyler Skjelset and new-to-the-City band, Tabernacle.

Liberation! is Bauer’s first romp into being the lead man, the songwriter and even full-blown guitarist, as Bauer manned the bass and organ in The Walkmen for a decade. The album is a worldly collective of musings focusing primarily on the emotions that inevitably arose from when his mainstay hung it up. It touches on a lack of previous restraint that comes from band life, as well as the fear of the unknown, as he begins his own endeavor. For his first tour, Bauer didn’t go with a streamlined band, but rather, he brought out a merry bunch of his friends from Philly, including Skyler Skjelset of Fleet Foxes and Bauer’s wife to sing backup vocals.

As the seven-piece band strutted on stage dressed to the nines, it was evident that even with the light turnout, this burgeoning project was here to play its heart out to its early supporters. “I Was Born in an Ashram” was the biographical opening track, on both the album and at the show, and set an energetic performance pace from the pompadoured frontman. He channeled Orbison, Harrison and other legendary impresarios early on as he battled religion and the choices one makes in this life — pretty deep stuff for a guy who is new to this role on stage. This opening number, and even the album as a whole, kind of feels like Sun Studios went on vacation and eventually opened shop in Bangladesh, drawing influence from both the Eastern and Western worlds to create a kaleidoscopic effect.

The album’s title track, “Liberation!”, picked up the rhythm a bit and transported the crowd to a far-off place as the dual backup singers did their best Lijadu Sisters impression to toss some African influence into the melting pot. Between songs, Bauer drew the crowd in with both praise of support and a few stories relating to the current tracks — “Scientology Airplane Conversations” being a prime example. Matt Oliver (guitar), Mickey Walker (bass) and Jess Mcintosh (drums) demonstrated they were the right friends to bring on the road as the core band shined brightly on the newly-penned ensemble tracks, such as “Miracle Mile”. Bauer’s vocal range was impressive, a surprise to this writer who saw him in the background of countless Walkmen shows. Even though it was a fresh sound from what Bauer had been focusing on for the past decade, the influence from his former project was evident while also being refreshing to longtime fans — a well thought-out balance that seemed to flow quickly from Bauer. As the set wrapped up with the mantra-esque album closer, “You Are the Chapel”, the band casually walked off, knowing it had wrecked house.

Filed Under: Featured, Live Music Previews Tagged With: Bottom of the Hill, Peter Matthew Bauer

Fuck Buttons evolve live performance, toy with the traditional

July 1, 2014 by Kevin J Quandt Leave a Comment

Photos by Pedro Paredes // Written by Kevin Quandt //

Fuck Buttons with Total Life //
The Independent – San Francisco
June 27th, 2014 //

An evening of non-traditional, also known as experimental, music was presented to a radical crowd that hinges itself upon the progressive more than the the mainstream. There is hardly a ‘beat’ to dance to. There are no massively recognizable samples. Basically, there is noise summoned from the depths of circuitry heaven, or hell for some, molded and formed into intricate pieces that challenge both the producer and the listener. The Independent pulsated to various frequencies on this given Friday night that featured full blown drone music from the opener, Total Life, and an updated set from UK act, Fuck Buttons.

Ah, the thrill of drone music as you ease into a well earned weekend. Kevin Doria is Total Life and he has paired music down to it’s simplest element of sustained tone in a manner which would make John Cage smile, while simultaneously making the masses cringe. Many in the crowd couldn’t handle the ultra-exploratory nature of his singular sounds that shifted only the slightest amount as he masterfully filled the room with individual notes.

Fuck Buttons would expand on this singular thought in a more methodical manner, as is to be expected form this heralded duo of button pushers, knob twiddlers and forward thinkers. On this evening, Andrew Hung and Benjamin John Power jumped out of the gates, opting for immediate immersion over introduction. The opening featured Hung hollering into a mic that, in turn, sounded like something reminiscent of a whale call. The duo eased into a set that featured incredible tempo and one of the best visual shows in a while, accompanied the smorgasbord of electronic styles that were served up.

Similar to the Caribou, Fuck Buttons stand out in a sea of artists that could be categorized in the same vein, yet the majority fall short of something special, unlike the aforementioned. There were moments of gut-rumbling distorted bass and more upbeat segments that could best be described as ‘dark disco’. This particular tour is more accessible to new fans as a layer of their drone-music past seems to have been shed as portions of the show could have fit in perfectly with the likes of the Low End Theory crew. The preciseness of their sound is truly something to behold, nay, experience.

Filed Under: Featured, Live Music Reviews Tagged With: Fuck Buttons, The Independent, Total Life

Mahgeetah and Incan Abraham make a trek to far off places

June 5, 2014 by Kevin J Quandt 1 Comment

Photos by Pedro Paredes // Written by Kevin Quandt //

Incan Abraham, Mahgeetah with Jordan Klassen //
Neck of the Woods — San Francisco
June 3rd, 2014 //

“I never come to the Richmond,” Mahgeetah’s enigmatic frontman Ryan Fisher jokingly quipped to the crowd. A fair observation, but the comment shined a brighter light onto those who made the pilgrimage to the ‘nether regions’ of San Francisco. Along with Canadian folk-rockers, Jordan Klassen, and LA popsters, Incan Abraham, it was Mahgeetah who left the biggest impression on a decent sized, midweek crowd at the still new-to-many venue that goes by Neck of the Woods.

Klassen and cohorts delivered an energetic set of high-country indie-pop, with a male/female vocal delivery that felt both genuine and original. It was Mahgeetah who took the stage next, the stage’s King-of-Limbs backdrop created a unique setting for this quartet to re-take the stage after a few months in the studio. Expect an impressive EP to drop this year – a follow-up to 2012’s full-length release, Heavy Baby.

On this night, the dedicated crowd was treated to a smattering of old and new. “Creature of Habit” was passionately belted out by guitarist JJ Mellon, a standout on the their LP that has become a treat on stage. Longtime favorite tune, “Long Shot”, was another highlight as the slow build from Fisher and band burst with energy and groove comparable to White Denim. The rhythm section, featuring Tim Tyson on bass and Alex Swain on percussion, has always been a strong suit for this San Francisco act, and tonight showed no exception. All hail Mahgeetah as they continue to be an important piece in the local music scene.

Incan Abraham closed out an increasingly fogged-in Clement Street evening Tuesday night. Having played a show with Mahgeetah down in their home turf, it was time for Incan to bring their patented LA-tinged pop to the City. One characteristic that stood out quickly was the melodic harmonizing taking place between the respective singing. Also, an added element of rhythm lended a more-dance oriented feel to their set compared to the previous acts.

Incan do represent a solid piece in the ever increasing Los Angeles/Silver Lake indie sound – in the vein of acts like Local Natives and Voxhaul Broadcast. All in all, they got the dwindling crowd moving on a tricky night, in a place that might as well been across a bridge or a tunnel.

Filed Under: Featured, Live Music Reviews Tagged With: Incan Abraham, Jordan Klassen, Mahgeetah, Neck of the Woods

Connan Mockasin wants you to drink the Kool-Aid

May 20, 2014 by Kevin J Quandt 4 Comments

Photos by Pedro Paredes // Written by Kevin Quandt //

Connan Mockasin with Kirin J Callinan, Liam Finn //
The Independent – San Francisco
May 15th, 2014 //

Many local music fans heard mumblings of a show that happened at the Bottom of the Hill last January by some guy from New Zealand who basically had an overpacked room eating out of the palm of his hand. Come to find out that this mysterious, international impresario goes by the name Connan Mockasin, announcing not too long after his San Francisco debut, that he’d be back to conquer larger spaces. Well, that has come and gone and a query still lingers from last Thursday at the Independent: What did I just experience?

Once spirited rocker Liam Finn had wrapped up, opener Kirin J. Callinan was about to ready to flick the dial from odd to weird as he pummeled the unassuming midweek crowd with a smorgasbord of various psyched-out sounds that held the tight rope of brilliant or awful in a most suspenseful manner. As Kirin and his merry band of misfits blazed through material that felt better suited as a Nine Inch Nails support act some 20 years ago than as an opener for a Warholian doppelgänger known for saccharine-tinged art-pop. Nevertheless, Kirin was wildly unchained and mildly entertaining as he poured on effect after effect, eventually crafting some form of primal eclecticism that got away with being music…If only for tonight.

Well, no cups of mysterious red liquid were passed to the healthy-sized crowd as the cast of characters, I mean players, were introduced to the crowd before the shamanistic Connan finally made his entrance. As the first strums of chorus-heavy guitar filled the air, not to mention some thick plumes, a warmness fell over the room and most people’s worries seemed to leave them as the swirling nature of Mockasin’s psychedelic tone became spotlight for the next hour and change. His custom Straocaster, re-shaped into a teardrop, was star as the New Zealand-born artist cruised through extended versions of some of his most popular songs such as an early set rendition of “It’s Choade My Dear”. The smoothness of the sound created an atmosphere that could be described at both lulled and chill, though the audience was attentive while they slightly levitated off the concrete floor.

One aspect of Connan’s live show that was pleasant was his lack of vocal effects which are heavily represented on both previous releases, Dolphin Love Forever and Caramel. The latter being aptly named as the onomatopoeic nature of the word ‘caramel’ also describes the confectionary gooeyness of certain songs that are certain to get stuck to the roof of your brain. This lack of vocal effects gave the sound a slightly different direction as the music and performance became the focus, eventually pulling up crowd members for some awkward fun.

“I’m the Man, That Will Find You” had the vibe of Pink Floyd-inspired porno funk and was easily one of the highlights of the night as the band weaved in and out of the song as a small cast of characters upped the weirdness on stage, if just a few more degrees. “Do I Make You Feel Shy?” also stood out as one of the more impressive cuts as Connan crooned, “I’ll be the boy of your dream, My ever lusty world…”, this all laid over the sublime tone that Connan has mastered rather impressively.

With all this said, it’s about time that the US markets pay a little more attention to this dream-psych export that has made waves in a handful of international markets, and for good reason. Sure, the likes of Ariel Pink and Animal Collective are hailed as gods in the genre, but Connan has something a little more unique to offer us. Hell, if Radiohead give him an opening slot on a tour, you know they are doing something right. We just warn you to be wary of mysterious drinks offered by people who look like they could be extras in The Matrix.

Filed Under: Featured, Live Music Reviews Tagged With: Connan Mockasin, Kirin J Callinan, Liam Finn, The Independent

String Cheese Incident bring special guest, new music to the Fox Theater Oakland

April 29, 2014 by Kevin J Quandt Leave a Comment

Photos by Sam Heller // Written by Kevin Quandt //

String Cheese Incident //
Fox Theater Oakland – Oakland
April 25th, 2014 //

West Coast fans of the String Cheese Incident received quite the gift of a three-night run at the increasingly popular Oakland venue, The Fox Theater. While JazzFest pulled some Bay Area music fans down south to New Orleans, many rabid SCI fans were chomping at the bit for an intimate run of shows in a region known for colorful performances and eclectic crowds. Friday’s show demonstrated to a capacity crowd that String Cheese still want to melt some faces, create some new music and generally have a good time with their devoted army.

After rather strong reports of Thursday’s show being above average for the beginning of a 3-night romp, expectations for the second night were understandably high. “Dudley’s Kitchen” opened the show to a gleeful response before heading into “Search”. Michael Kang’s mandolin playing left a little to be desired, but made up for it once he grabbed his fiddle in the second half. As the energy rose in the room a quick segue led into the Bob Marley classic, “Exodus”. The first set also saw the debut of the new Kang song, “You’ve Got the World”, and though it was a decent tune, it began to throw off the flow to this set just a small amount. “Freedom Jazz Dance” was featured before the set wrapped up with “Sweet Melinda” into “Far From Home”. Each member was well represented in this first suite of songs, and they seemed to be be enjoying themselves; as demonstrated through some feverish pogoing from singer/guitarist, Billy Nershi.

Jerry Harrison, from Talking Heads and Modern Lovers fame, was bound to show up at one of these shows as he produced SCI’s latest release, Song In My Head. Well, the second set featured the legendary musician more than once, including opening the set with his 1980’s solo classic, “Rev It Up”. Harrison’s voice cut through the other members in an impressive way, and seemed to elevate the playing of everyone on stage. New track “Beautiful” was debuted to mixed reviews, but in the end is a stellar, upbeat tune that the majority of hardcore fans may come to embrace.

Another longtime spotlight song came in the form of “Sand Dollar”, which demonstrated some patience in their improvised segue into “Rosie” that featured the return of Harrison. A rather impressive suite of tunes closed out the set. “Desert Dawn” led into the final appearance by Jerry as he joined in on Talking Heads, and SCI, stalwart, “Naive Melody (This Must Be the Place)”. Cheese generally knocks this song out of the park, and it certainly didn’t hurt to have an original member anchoring the vocals and tagging up with Kyle Hollingsworth for a barrage of kets and synths. The show wasn’t done there as “Desert Dawn” re-appeared and led to one more joyous uproar before wrapping up the second set.

“Black Clouds” was featured as the encore to the delight of the throngs of attentive fans, and Friday closed out in solid form. Though the String Cheese Incident may not do it for everyone, it is truly hard to deny yourself of the good time that their shows bring.

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Fox Theater Oakland, String Cheese Incident

The War on Drugs are winning

April 7, 2014 by Kevin J Quandt Leave a Comment

Photos by Sam Heller // Written by Kevin Quandt //

The War On Drugs with Heron Oblivion //
The Independent — San Francisco
Wednesday April 2, 2014 //

Adam Granduciel has arrived to the next level, as The War on Drugs have broken through the underground in a big way with their latest release entitled, Lost in a Dream. The subsequent, and long awaited, tour has been nothing short of fantastic as an expanded band has led to their most sonically pleasing tour to date. Having sold out nearly their entire run of shows, the anticipation was high for a two-night stand at the Independent. Both evenings were viewed as a treat for longtime fans, but possibly bittersweet as this is sure to be their last time in rooms of this size. However, the capacity crowd on Wednesday was ready to be apart of something special – a sublime evening led by one of our generation’s brightest creators.

The second show of the series featured relatively unknown noise-rockers, Heron Oblivion, playing a blisteringly loud set of feedback-heavy rock with sultry female vocals cooed by their drummer. It was lovely and abrasive at the same time, seeming to meld Jefferson Starship with Sonic Youth in a heavy, heavy way.

A quick stage changeover led to Granduciel and band taking the stage promptly at 9:30 as the edges of the venue became tighter and tighter. “An Ocean in Between the Waves” was a pleasant, and rare, show opener as the crowd eased into the new, thicker live sound; much fuller compared to their last performance at the Independent over two years ago. Future Weather standout track “Baby Missiles” led into “Under the Pressure”, a wallop of a pairing, as each track was perfectly extended adding extra moments to bask in the aural beauty that Granduciel churns out like no other current musician. It’s not too hard to hear Granduciel’s influences when you listen to his various records as The War on Drugs, but his influence from classic artists like Tom Petty, Bruce Springsteen and Bob Dylan are represented through appropriation as opposed to imitation. The combination of these classic rock sounds have never sounded so fresh or revitalized.

At this point in the show, the core 6-piece band expanded by the addition of a pedal steel guitar player for “Suffering”, a pleasant change in sound and tempo had a receptive crowd contently eating out their hands. “I Was There” is always a highlight of any WOD show, and was no different tonight as Granduciel tenderly belted out this classic cut before launching into their latest single. “Red Eyes” had the crowd ‘wooing’ along in jubilee with the man who was front and center. One pleasant surprise for longtime fans was the inclusion of older tracks like “Arms Like Boulders” off of Wagonwheel Blues – featuring a favorite lyric of this writer, “Chasing squirrels around your property / Making sure that they know that this is your kingdom.” As the lengthy set drifted on, heavier ambient jams would take flight, eventually leading to set closer, “In Reverse”.

Few attendees made an early exit on this weeknight, and the faithful were rewarded with a big encore that started off with a newer cover being featured this tour. John Lennon’s “Mind Games” was a serious highlight, delivered in a manner that few current acts can do. “Disappearing” led into a true War on Drugs classic, “Brothers”. This song has had a long life as it first appeared on Future Weather as a stripped down acoustic track nodding to Dylan before morphing into a full-band cut off of Slave Ambient. It now it sounds almost unrecognizable as the vocal phrasing and music has been altered, demonstrating the skill of song-crafting that Granduciel has become so well known for. Expect big things from The War on Drugs as they are rising stock for all the right reasons.

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: The Independent, The War on Drugs

Karl Denson’s Tiny Universe favoring blistering rock over jazz

March 19, 2014 by Kevin J Quandt Leave a Comment

Photos by Marc Fong // Written by Kevin Quandt

Karl Denson’s Tiny Universe with Quinn Deveaux and the Blue Beat Review //
The Independent – San Francisco
March 14th, 2014 //

A “funkified” evening of soul, jazz and rock was the prize for fans at The Independent last Friday as Karl Denson’s Tiny Universe helmed a superb bill along with local soulman Quinn Deveaux and the Blue Beat Review. Even though these artists generally play SF somewhat regularly, it’s the consistency of these bands that keep fans returning time and time again.

Deveaux opened the evening with a soul-leaning set as the charismatic frontman played to an enthusiastic, early-evening crowd. Among a bevy of strong original songs was a revelrous rendition of The Meters’ “They All Ask’d for You”, which bumped the energy up a little more as folks settled into the weekend.

Denson is a modern, funky jazz legend, having been a sideman to some massive artists before breaking out on his own to form The Greyboy Allstars and KTDU more than a decade ago. The rotating membership of KTDU lends itself to a slightly different band and sound every couple of years.

The band’s current formation leans toward the rock end of the spectrum as compared to the jazz-odyssey style of past KTDU lineups. Guitarist DJ Williams is the likely culprit in creating this harder-edged sound that we currently hear from Denson and company. The group’s usual suspects, such as Chris Stillwell on bass and Chris Littlefield on trumpet, are still present on stage, so don’t fret.

Tracks from Denson’s latest release New Ammo were plentiful as “My Baby” was performed early in the set, featuring Williams playing a swamp-funk slide guitar that mixed nicely into the many styles represented onstage throughout the night. “Everybody Knows That” was another highlight off the Stoopid Records release.

Though Denson started his career backing Lenny Kravitz, mainly keeping to his instruments, he truly is a dynamic leader as he effortlessly jumps between sax, flute, cowbell and vocals. The dance party arrived in the form of the classic KDTU track “Hey Sister”, which traditionally launches the crowd into euphoria as the mix of tempos truly keeps the participants on their toes. A tease of The White Stripes’ modern classic “Seven Nation Army” led to a full cover of this crowd-pleaser, which happens to be featured on the new album. As the evening came to a close after a strong encore, the devoted fans who stayed until the last note left filled to the brim with all that funk they crave so much.

Filed Under: Featured, Live Music Reviews Tagged With: Karl Denson, Karl Denson's Tiny Universe, Quinn Deveaux, Quinn Deveaux and the Blue Beat Review, The Independent

Noise Pop 2014: No Age, Cheatahs, GRMLN & Straight Crimes

March 3, 2014 by Kevin J Quandt 3 Comments

By Kevin Quandt //

Noise Pop: No Age with Cheatahs, GRMLN, Straight Crimes //
Brick & Mortar Music Hall – San Francisco
March 1st, 2014 //

Noise Pop presented a stacked billing of various punk-influenced rock bands from across the globe Saturday, anchored by the return of Los Angeles noise duo No Age.

The evening started with the youthful noise-punk duo, Straight Crimes, whom pulverized early attendees with a barrage of drums, guitar and sneering vocals. Having only played a handful of shows, these guys are sure to begin to circulate the local music scene in the City. Grab their brand new self-released 7” if you happen upon the band.

Next up was GRMLN, which is the stage name of Japanese-born, Cali-raised musician, YooDoo Park. New-school punk influence was strong in Park as he passionately belted out songs that had more to do with personal emotion than other common punk subjects. GRMLNs performance was genuine and well received as the temperature rose a little more in the packed house.

One of the more hyped, international artists on the Noise Pop bill was the rising stars that are Cheatahs. Though the band was marred by poor sound early in the set, they rallied to crush the second half of their set as the crowd began to open up to their sound. Borrowing from an array of American alternative rock bands (Alice in Chains to Smashing Pumpkins) these young Brits have created throwback sound that is refreshingly contemporary. Cheatahs are ‘guitar rock’ at it’s finest, mixing chorus sections with heavy use of whammy bar to develop a thick texture.

Randy Randall and Dean Allen Spunt are the noise-punk duo, No Age. Charging out of LA for nearly a decade, these two weave the post-punk sentiment of Fugazi with a wall of sound volume that shakes you to your core. The “adult” crowd got a rare treat as No Age generally play all ages shows that quickly turn into frenetic chaos. Starting the set off with cuts from their release last year acclimated the crowd before heading into more familiar territory, pulling tracks like “Teen Creeps” off of Nouns. After a couple of quiet years, No Age will need to regain some steam as they are truly returning with fires blazing.

Filed Under: Featured, Live Music Reviews Tagged With: Brick & Mortar Music Hall, Cheatahs, GRMLN, No Age, Straight Crimes

Noise Pop 2014: Papercuts, Vetiver, The Donkeys & EDJ at The Chapel

March 3, 2014 by Kevin J Quandt 1 Comment

By Kevin Quandt //

Noise Pop: Papercuts with Vetiver, The Donkeys, EDJ //
The Chapel – San Francisco
February 26th, 2014 //

Papercuts, Vetiver, The Donkeys & EDJ performed an unofficial Easy Sound Recording Co. showcase for Noise Pop Fest last week at the Chapel.

Eric D. Johnson played his first show under the moniker of EDJ, a solo effort featuring a man and his guitar. However, on this night it was Eric’s vocals that were front and center as his booming range filled the Chapel early in the eve. This set was the perfect transition into a night that would feature a variety of acts displaying various shade of underground pop-rock.

After EDJ wrapped up his set for those fans drying off from the rain outside, San Diego’s own, The Donkeys, prepped the stage for a banner set that had the now-packed venue eating out of their hands from beginning to end. The Donkeys represent a cornucopia of the California sound; from the origins of the laid-back style of CSNY to the contemporary style of Pavement. This quartet brings stellar member interplay while shifting styles multiple times, at times guitar solos hail supreme before shifting into a soul-rock revival section which led to hands in the air from front to back. However, with the format that is Noise Pop, the set was cut short as these evenings cram as much music into one given night as possible.

Vetiver was next up, and the constantly rotating lineup featured EDJ on keys while Andy Cabic handled the frontman position in casual form, as he usually does. The addition of a 12-string guitar player gave the band a more worldly sound early in a set that played heavily on fan favorites over the years such as “Hard to Break”. “Strictly Rule” featured extended guitar solos which nodded to their propensity to jam things out every once in awhile. One of the strengths of Vetiver is their range of sound as a calmer mid-set led to a Smiths-inspired rocker that had hips shaking in the packed venue. These guys are true musicians whom love their job, and it shows.

SF’s Papercuts finished the night with a slightly more subdued set, especially when compared to Vetiver and the Donkeys, and the crowd had thinned a bit as the ‘school night curse’ fell over the headliner. Their sound fell a little flat, especially in the vocal department, as elements of shoegaze rock felt out of place on this generally upbeat bill of acts. Jason Quever’s craft is precise, but may appeal to a smaller fanbase than previous acts.

Filed Under: Featured, Live Music Reviews Tagged With: EDJ, Papercuts, The Chapel, The Donkeys, Vetiver

Delorean’s dance-rock makes it to SF with mixed results

February 14, 2014 by Kevin J Quandt 1 Comment

Photos by Pedro Paredes // Written by Kevin Quandt //

Delorean with Until The Ribbon Breaks //
The Independent – San Francisco
February 9th, 2014 //

There is no doubt that the past months have been a trying time for the Spanish dance-rock outfit which goes by the name Delorean. Alas, after a small international hiccup which sidelined their fall appearance in the City, they have arrived with momentum squarely on their side. Last weekend’s rain storm laid off a bit for dedicated fans to brave a blustery Sunday night on Dividisadero at the Independent which also featured fellow international act, Until the Ribbon Breaks. Once the moisture from outside had dried, a decently packed room was ready to send off the past week in grand style.

Welsh act Until the Ribbon Breaks brought a dynamic performance to those who arrived early, as solo artist Pete Lawrie Winfield explored a variety of aural spaces through complex layering of distorted vocal harmonies, dirty synths and even a little trumpet poured on for more depth of sound. This support was received well by those in attendance, and may possibly be a rising star in the music world.

Delorean were finally due to hit the stage after a postponed show from October, and though those extra few months didn’t equate to a sold out room, it did produce a room of mostly avid fans. Once this four-piece assembled, it jumped into the group’s patented dance-leaning indie rock; a well-balanced blend of instrumentation, live vocals and a smattering of pre-recorded samples. From there, the set built nicely as the opening few songs failed to grab the audience as they worked through less familiar material. Unai Lazcano (keyboards) rocked his rig like no other while Ekhi Lopetegi (lead vocals, bass) picked along, laying down large bass notes as opposed to thumping out complex rhythms. Luckily, Igor Escudeo (drums) kept immaculate time, and a few song segues kept dancing feet in motion while the gears shifted to a new terrain.

As the diehard fans ate out of the Spaniard’s hands, others couldn’t help but not be fully pulled in by the songs this group presents. Some are less-than-desirable, while others have the right elements to get crowds moving and critics talking. The vocal department leaves a little to be desired at times. One peculiar element was the increasing use of pre-recorded vocal samples as the show progressed, and I couldn’t help but notice the mix tending to favor these elements over the instruments. “Deli” is when the energy started to peak as the crowd was loosened up for the heavy-hitters that were to close the night. By the time the encore had finished, there were multiple Basque flags being held up proudly by the international crowd as Delorean waved “adios” to us.

Read our interview with Delorean HERE.

Filed Under: Featured, Live Music Reviews Tagged With: Delorean, The Independent, Until The Ribbon Breaks

Parquet Courts, White Fence share an exciting bill at GAMH

January 21, 2014 by Kevin J Quandt 2 Comments

Photos by Kory Thibeault // Written by Kevin Quandt //

Parquet Courts & White Fence with CCR Headcleaner //
Great American Music Hall – San Francisco
January 16, 2014 //

A packed house was eagerly ready for the triumphant return of one of 2013’s most exciting rookie acts that goes by Parquet Courts. They weren’t the only heavy-hitter on the bill as White Fence and local’s CCR Headcleaner set the Great American Music Hall ablaze with various takes on the state of contemporary rock. Each band brought fueled-up performances to a mix of youthful punkers and savvy critics as head-banging, moshing and shoe-gazing all had a place on this evening.

San Francisco heat-seeker’s CCR Headcleaner started things off with a stony take on garage-rock that tapped into the noisier side of Black Sabbath. Though not a recent act to the City, they have been gaining attention as cohorts, and contemporaries, of Ty Segall’s latest act, Fuzz, who will be releasing a split as part of Famous Class Records’ LACM series.

Somewhat surprisingly, Parquet Courts were next to take the stage as it appeared the majority of the crowd was in attendance for only their third show in San Francisco after a gig at Rickshaw Stop in early June and Hemlock prior to that. 2013’s Light Up Gold was a breath of fresh air for independent music, and their subsequent live show lived up to the hype, equally. The NYC quartet started out the evening with a pair of unfamiliar tunes that were extended to small psych-drone masterpieces, even if the crowd seemed to be waiting for the more-familiar. “You’ve Got Me Wonderin’ Now” got things kicking as a decent pit began to form to the delight of the band.

Parquet Courts don’t really give a fuck. They play what they want, and we are just lucky enough to be in on it. Newer tracks like “She’s Rolling” took wings as the dual guitar acts of Andrew Savage and Austin Brown elevated feedback sections that would make Thurston Moore nod in approval (not to mention Brown looks like Moore in mop-haired appearance). It was about halfway in when the band started to tackle gems off their debut LP in the form of opening duet “Master of My Craft” into “Borrowed Time”, as well as “Yr No Stoner” into “Careers in Combat”. Savage and his newly-grown Sideshow Bob-esque afro couldn’t help but remark on the younger members of the crowd having the time of their life; “Sure like watching you boys move around out there,” he stated with a smirk. “Stoned and Starving” was oddly missing from the night’s set, possibly a product of not being awarded the headlining set on this night. Whatever, Parquet Courts don’t give a fuck.

Tim Presley’s White Fence would be last to play on this Thursday night with a revamped lineup and a newer album, Cyclops Reaps, under their belts. Some new elements on stage allowed Presley more musical room for him to delve into his guitar-shredding odysseys he, and the crowd, craves. “Pink Gorilla” got the set going nicely before launching “Swagger Vets and Double Moons”. Vocals is what sets White Fence apart from their contemporaries as Presley’s nasal-leaning singing comes off as more British than Californian. The Great American did unfortunately clear out a little bit as the rambunctiousness of Parquet Courts settled into a more mellow atmosphere where the music was the focus.

Filed Under: Featured, Live Music Reviews Tagged With: Great American Music Hall, Parquet Courts, White Fence

Thee Oh Sees shock SF with a blazing show, startling news

January 6, 2014 by Kevin J Quandt Leave a Comment

Photos by Pedro Paredes // Written by Kevin Quandt //

What started as just another Thee Oh Sees show at Great American Music Hall December 18th ended up being more than the sum of its parts as the band announced some sudden news that shook up local music fans. The Annual Benefit for the Coalition of the Homeless has become a mid-December tradition, as well as one of the premier psychedelic rock shows to end the calendar year. John Dwyer organizes this show annually, and this year he hand chose Ty Segall, Synthetic ID and Breakarts to get the evening off to a blazing start. It wasn’t until the last fifteen minutes when the crowd began to wonder what this specific show would signify for this burgeoning music scene.

After the smaller support bands had whipped the youthful crowd into a healthy frenzy, Ty Segall brought an exciting duo set which had fellow Orange County-bred musician Mikal Cronin as his musical partner for the next 35 minutes. This set was not quite acoustic, but not yet electric as the duo ran through short, punchy rockers from all over Segall’s extensive catalogue. Ty was both lead vocalist, guitarist and drummer as he had a single kick drum to keep the beat steady, and was his head-banging metronome, as well. “Dirty Deeds Done Dirt Cheap” was the lone cover and showed that these guys can have fun when making deadly serious rock music.

Dwyer and cohorts setup their stage quickly and jumped right into the deep end, as is tradition for these vets. As far as the main set went, it was a reasonably standard showcase of new tracks off of Floating Coffin with “Come From the Mountain” and “Toe Cutter/Thumb Buster” making early appearances. An impressive pogo-pit broke out immediately as this all-ages show brought more youthful energy to the room; crowd-surfing and stage-diving followed soon thereafter. “Meat Step Lively” and “I Was Denied” represented some of the more popular old tunes that we all come to expect, and cherish, in most shows. It wasn’t till the end of the set when Dwyer announced, “This will be the last Oh Sees show for awhile, so dig in.” At the time most assumed they might go back into the studio to follow-up Floating Coffin, but the next day the news had spilled that the legendary San Francisco act would be taking a (somewhat) indefinite hiatus.

News that Dwyer would be moving out of the City and making the trek down south to Los Angeles was pure shock to the scene he had literally built over the past decade. Ty Segall had made the same move in 2013, and with the gentrification of San Francisco, music and culture lovers can only fear what other side effects the new ‘Tech Boom’ could have to the elements that make this place so special. Luckily, all is not lost as the band announced the release of a new album in the coming months. The live future of the group is still in limbo, however a well-deserved break is what is more important to these garage rock pioneers. Luckily, San Francisco has some bright spots on the psych-radar in the form of the POW!, Spyrals, Tiaras and Grass Widow (to name a few).

So, what was a successful show and benefit (20 bags of coats and $6100 raised) had a deeper meaning to the San Francisco scene, but as things change, one can only be optimistic to the musical future in 2014.

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Great American Music Hall, Mikal Cronin, Thee Oh Sees, Ty Segall

Danny Brown closes out a huge 2013 at Mezzanine

December 29, 2013 by Kevin J Quandt Leave a Comment

Danny Brown with Flatbush Zombies, Traxamillion
Mezzanine — San Francisco
December 31, 2013

Danny Brown had an amazing 2013, and that is a fact. His release, Old, earned accolades across the board while never letting up a relenting tour schedule that had him crushing stages across the globe. Well, for those who call the Bay Area home, and those traveling to this wonderful city, we are fortunate enough to have this talented MC closing out the year at one of San Francisco’s premier venues, Mezzanine. If a high-energy, sweaty night is what you are looking for to ring in 2014, this is gonna be a good place to start as Brown whips up some serious fun as he hypes the crowd and delivers his infectious rhymes in a truly unique manner (think 21st century O.D.B).

Trust us, this’ll be one helluva party in one of the most raging rooms in the City as Danny Brown works the crowd into a frenzy with standout tracks like “Dip”, “Blunt After Blunt” and “Grown Up”, to name a handful. This Detroit bred artist always has a few tricks up his sleeve, and with NYC’s Flatbush Zombies reppin’ the “Beast Coast” movement spearheaded by Joey Bada$$ and the A$AP crew, anything is possible. Previous collaborations would leave the possibility of Danny joining his support act a very likely action, so do your best to get there early.

Buy tickets before they sell out.

Filed Under: Trends & Culture Tagged With: Danny Brown, Mezzanine

King Krule: From the bedroom to the big rooms

December 18, 2013 by Kevin J Quandt Leave a Comment

Photos by James Nagel (from 12/16/13 show) // Written by Kevin Quandt

King Krule with TOPS
The Independent – San Francisco
December 17, 2013

As the state of the music industry continues to shift to places unknown, it begins to usher in a new era of talent and artist viability where artists are able to promote themselves to the world without help from big labels and agencies. Young Archy Marshall was not unlike other suburban London youths as he wrote of his teenage troubles and strummed his guitar in his bedroom till the wee hours. He eventually started to track these songs in the same space, which led to self-released EPs that began to garner attention on the internet outlets so many frequent. From there, a star was born. In the short few years since King Krule, aka Zoo Kid, has been on the musical radar, he has grown from bedroom crooner to sell-out inducing star.

The second of two capacity nights at the Independent captivated many, while the other handful lost themselves to the soulful music pumping from the stage in an effortless manner. At five till ten, the eclectic-looking band of players casually strolled out and launched into the set with little recognition of the crowd, which would eventually become a theme. Opening with “Has This Hit?” it was evident that the young leader had gained much stage experience in the past year-plus. Once removing his guitar, Archy was free to grab the mic and explore the stage while loosening up to “Bleak Bake”, a favorite off of his EP that features a beat comparable to Toro Y Moi on a desert island. Obviously, the star of the song, and show overall, is Archy’s sublimely dynamic vocals.

In a year of music where talented singers came crushing from the British Isles in the form of Jessie Ware, James Blake and London Grammar, it was no surprise that King Krule received equal accolades for his characteristic pitch, and growl, that all comes together so pleasingly. “The Krockadile” was especially strong on stage as rhythmic guitar flourishes punctuated a jazzy beat, this was all topped off with the unique vocal phrasing and pitch shifts. At times i couldn’t ignore an odd comparison that kept on creeping into my psyche, and that was of similarities to the late Amy Winehouse. The effortlessness of their talent is hard to ignore while combining elements of the past with a fully contemporary perspective.

In the middle of the set the band featured “Noose of Jah City”, the spotlight track off his previous EP that received accolades and repeat listening, alike. “Baby Blue” led into “Cementality” which featured Archy sitting at the keys. “Easy Easy” proved to be a crowd favorite as he seemed to leave the majority of the fireworks till the second half of a near-hour long set as the band added slight interludes and solos that allowed the gifted players to stretch their legs and show off their respective chops. Banter was sparse, as the 19 year old seemed so ingrained in the task at hand. The encore would feature the ballad-leaning “Portrait in Black and Blue”, before the quartet ended a massively successful multi-day run at one of San Francisco’s heralded rooms.

Filed Under: Featured, Live Music Reviews Tagged With: King Krule, The Independent

Thundercat’s intergalactic funk takes flight

November 15, 2013 by Kevin J Quandt 7 Comments

Photos by James Nagel // Written by Kevin Quandt

Thundercat with Real Magic and The Seshen
The Independent – San Francisco
Novemeber 13th, 2013

So, most guys born in the early 80’s automatically think of Lion-O, Tygra and WilyKat when they hear the word Thundercat, and though those cats were pretty radical, they don’t quite thrill the adult-in-me as much as the bass playing namesake. Children’s cartoon comparisons aside, Stephen Bruner, aka Thundercat, brought the progressive space-funk to the Independent in a very big way. A chilly fall evening didn’t stop the incredibly diverse crowd from showing up early and staying till the last note.

Direct support to Thundercat was handled by Oakland’s own Real Magic. Yes, another live producer who sings, but this one brings something a little different to the table. Though Real Magic did have an large array of mixers and synths on hand, it was his singing that tended to be the emphasis in this performance. He occasionally strapped on a guitar, but it didn’t add a whole ton to the amalgam already being pumped from various digital sources. Luckily, Real Magic represented a decent variety of sounds; from Matthew Dear-inspired microhouse to higher BPM takes on jungle music. Expect to hear more from this Bay Area producer as he starts to gain more fans and play larger rooms.

Thundercat is truly a chameleon. Whether it’s a past stint as drummer for punk outfit Suicidal Tendencies or as studio session cat for the likes of Snoop Dogg and Erykah Badu, Stephen Bruner cannot be confined to one direction. Some folks might know his name from his production/DJ persona, too, but it’s the fully live setting that he shines as a leader, writer and performer. The trio cruised out, and the first thing the crowd noticed was the gargantuan 6-string bass attached to the headliner. At times it looked, even sounded, more like a sitar than a bass guitar.

Once tuned up, the band launched into the space odyssey entitled “Daylight”, which stretched well past it’s studio length as Bruner flexed his chops as his phalanges danced up and down the exaggerated fretboard. The occasional lyrics were smoothly crooned out as the frontman repeated phrases like, “Open up your mind.” Other song highlights included a take off his latest release Apocalypse, that goes by the name “Lotus and the Jondy”. Bruner wasn’t the only talented member gracing the stage, because his band had serious chops, especially the touring drummer who had a nice little solo in the previous song. “We’ll Die” is a heavy-themed song that relies heavily on Thundercats’ soaring vocals. Subject matter in the lyrics tends to run the gamut of subjects, but no subject is off limits, whether it’s casual drug use or the loss of a dear friend and fellow musician (“A Message for Austin”).

Though the songs are stellar, it was musicianship that was the headline for this evening. The arrangements were very complex and masterfully played as the majority of those in attendance were more into gawking at the chops than moving their dancing feet. Hell, there were segments that were almost too fast to move your feet to. The jazziness of the playing might have caught some ‘first-timers’ off guard, but it was a pleasure to this writer who couldn’t help but hear some comparisons to progressive funk acts like Garaj Mahal. The keyboard player was a master at pitch shifting his notes, which added to the overall feeling of the music taking flight, basically orbiting in deep space. “Oh Sheit It’s X” would close the show as Bruner wanted to do his best leaving the crowd enthused, maybe even euphoric on a chilly Wednesday.

@KJQuandt

Filed Under: Featured, Live Music Reviews Tagged With: The Independent, Thundercat

The Reflektors shine bright in Hollywood on Halloween

November 4, 2013 by Kevin J Quandt 1 Comment

By Kevin Quandt //

Arcade Fire performing as “The Reflektors” //
Hollywood Palladium – Los Angeles
October 31st, 2013 //

“My Grandfather played here. I can feel his spirit,” Win Butler announced to the packed house as the costumed and formal-dressed band took to the Hollywood Palladium stage to continue their ascension as the most buzzed band in the world.

It was not your typical night in the famed LA venue as the Reflektors would stir up a packed crowd on this night. Though this band normally plays under the moniker of Arcade Fire, the baroque pop was shelved to make way for a world-infused dance party that rivaled the most banging discotheque.

A massive line wrapped comically through a parking lot of stanchions filled with a vast array of costumed and formally dressed revelers, all patiently waiting to get in on the night’s festivities. Dressing up for the night was requested by the band, and the vast majority obliged, which Win would later comment on. In the meantime, the party was underway as soon as the doors opened — the lights stayed down as a mix of the Isley Brothers, James Brown and P-Funk got the crowd lubed up for the ensuing onslaught.

“Reflektor” would open the ruckus evening as the expanded group were revealed behind a large curtain. Win wore a tiger-esque mask for the first song before unmasking. Somewhat surprisingly, they launched into Funeral track, “Neighbourhood #3 (Power Out)”, which got a great response from the devoted attendees. This was not a show for casual fans, as the tickets were much harder to procure than imagined with such short notice, among other mitigating factors. The next section of songs would be a grand-suite of Reflektor tracks which started with “Flashbulb Eyes” then “Joan of Arc”. It was pretty evident this room had heard the new album more than one or two times in the past week. “We Exist” was another new highlight, as this track is a sublime mix of an infectious dance beat coupled with a slightly more psychedelic take on the already famous Arcade Fire indie-rock sound many have come to love. At this point, the room was boiling as face paint smeared and costume layers were shed and abandoned.

The second half of the show held even more surprises for the moist crowd as “Headlights Look Like Diamonds” was opened with a nod to Lou Reed via a tease of Velvet’s “Beginning to See the Light”. “Normal Person” showed off blazing guitar notes that led to a decent pogo section in the crowd. The temperature rose. Though most in the venue were not alive when the next song was released, Devo’s “Uncontrollable Urge” got a rapturous reply as Win enthusiastically hollered the word ‘yeah’ over and over. A few more degrees were added to the thermometer. Somehow Win caught his breath before telling the crowd that THIS was the time to go crazy, and subsequently launched into dance opus “Here Comes the Night Time”. Conga lines spontaneously sprouted and snaked through the pulsating fans lost in the thick rhythms, and yes, it got even warmer in the Palladium.

An encore, which spotlighted Régine Chassagne, would close out the evening, starting with “Haïti” and then “Sprawl II (Mountains Beyond Mountains)”. It did seem a bit odd to end the show with Win stuck in the back of the stage, but it was great to see his lovely bride dance to her heart’s content as we all caught our breath. This would be the end of the live music section, but not the end of the show as the band stuck around for more dancing festivities.

Setlist:
Reflektor
Neighborhood #3 (Power Out)
Flashbulb Eyes
Joan of Arc
You Already Know
We Exist
It’s Never Over (Oh Orpheus)
Afterlife (with The Velvet Underground’s “Beginning to See the Light” outro)
Headlights Look Like Diamonds
Normal Person
Uncontrollable Urge (Devo cover)
Here Comes the Night Time

Encore:
Haïti
Sprawl II (Mountains Beyond Mountains)

Filed Under: Featured, Live Music Reviews Tagged With: Arcade Fire, Devo, Hollywood Palladium, The Reflektors, The Velvet Underground