Chateau Marmont’s French synths light up Richmond District

October 14, 2013 by 2 Comments

Chateau-MarmontPhotos by Mike Frash // Written by Kevin Quandt //

As funky, synthed-out disco poured onto an increasingly desolate Clement Street, passers-by could only stop and gaze quizzically up to the second floor of the newest venue in the City, Neck of the Woods. Should we go in to check it out? What is this catchy cacophony blasting through the Inner Richmond? Well, those brave enough to venture into this rarely-visited part of town were rewarded with masterful playing and serious grooves. Chateau Marmont put on a blistering live show that featured both their tremendous original songs and some improvised dance jams that got the sparse crowd moving.

Kauf

Ronald Kaufman, who performs under the name Kauf, is a name you are likely to see more of as 2013 comes to a close. This one-man show captivated the fans who could be described as “in the know”, as Kauf’s superb production coupled with live vocals generated something totally genuine. Tracks like “Relocate”, off his latest EP release titled As Much Again, displayed the artist’s knack for building loops while tastefully manipulating his delicate vocals. With a handful of dates opening for Cut Copy on Kauf’s upcoming schedule, it’s a very good likelihood that more exposure is sure to gain the attention this solo act deserves.

A few more bodies trickled in to see these underrated Frenchmen tackle a set heavy with new tunes from their newest release, The Maze. For an act that hasn’t been touring much in the past year, Chateau Marmont came out firing on all cylinders. Synthesizers, modulators and keyboards flanked the sides of the stage as the rhythm section held court in the middle, a setup that lent very well to their ‘jam’ style dance sections sandwiched between tracks. Banner songs like “Wind Blows” display a preternatural understanding of electrified pop-music, similar to the sound that aided to Miike Snow’s success years ago. For all intensive reasons, Chateau Marmont are on their way up the ladder to larger audiences, and the group showed their potential to receive international radio air-play.

Chateau-Marmont

One aspect that was difficult to overlook, while the band was deep in groove, was both the use of non-traditional synth frequencies while simultaneously using said instruments to create leads that were akin to that of a lead guitar. This combination made it seem as though this act could very easily be a crossover act, enjoyed by fans of live-tronica jambands like Lotus, Particle or the New Deal. Expect to see a fair amount of stage time from these guys as they ramp things up behind the new release, so catch ‘em while they are still relatively unknown.

Chateau-Marmont

Chateau-Marmont

Chateau-Marmont3

Chateau-Marmont

Kauf

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Gold Panda brings the worldly rhythm to The Independent

September 25, 2013 by 1 Comment

Gold-Panda Photos by Sam Heller // Written by Kevin Quandt //

It wasn’t long ago when avant-garde beat producers, like Gold Panda, would play small basement rooms filled with small crowds of dedicated music nerds watching these off-kilter musicians cook up something unique and not palpable for the masses. However, with the rise of artists such as Flying Lotus and Araabmuzik, a whole new genre has become more widely viable to the public. Not more than 2 years ago Gold Panda struggled to fill the Independent as he was still under-the-radar, but this past weekend he sold-out his Saturday showcase and nicely filled his second Sunday performance at the Independent.

Slow Magic would be the direct support for the night, and his lively show did not go unnoticed by those present early for one last weekend romp. Said opener was essentially a masked individual beating large drums to an array of pre-recorded EDM. It was energetic in it’s delivery, but failed to have much artistic merit beyond a spectacle. Enthusiasm can only go so far when paired with a live artist like Gold Panda, as he is a marvel to behold on stage.

Gold-Panda

Gold Panda represents a vast amalgam of electronic music, borrowing influences from all over the world and sound spectrum to weave an upbeat, futuristic tapestry. His latest release Half of Where You Live has been critically hailed as his third stab at a comprehensive full-length album. Well received tracks like “Brazil” demonstrate his use of South American rhythms in a very contemporary manner while consistently maintaining a dance beat. There are no ‘drops’ or huge frills to his dance ethic, but rather a rapturing, constant beat that listeners can lose themselves in rather easily.

Gold-Panda

Watching Gold Panda onstage is like watching a mad scientist at work, as he is fully enveloped in the process while constantly thinking about his next move, or in his case next loop or sample. The fan favorite and opening track off of Companion, “Quitters Raga”, was a blistering assault of sitar and Indian vocals that got the dwindling Sunday crowd throwing their arms in the air while busting out their best half-assed Bollywood dance moves.

This UK producer may not have risen to popularity via the hype vehicle that others like Flume and Burial have enjoyed, but Gold Panda’s steady progression gives his music a more authentic, genuine feel. Years ago, acts like this would struggle to make ends meet, especially outside their home territory. But, it’s a hopeful sign that outlying music such as this can be viable for the folks who lovingly produce it.

Gold-Panda

Gold-Panda

Gold-Panda

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New Music: Earl Sweatshirt – Doris

August 19, 2013 by Leave a Comment

DORIS

Earl Sweatshirt – Doris

4-BamsTop Tracks:
“Chum”
“Sunday” ft. Frank Ocean
“Hoarse”

Highlights: It’s been a long time coming for Doris, and Earl has rightfully graduated from gory themes to a more matured sound that evaluates some of the horrors of everyday life while never compromising his preternatural phasing skills. However, it’s still raw and shocking, but for better reasons than the prolific Earl mixtape from days when he couldn’t even legally buy Swishers. This release is also boosted by the characteristic down-trodden beat type that Earl thrives on, mainly produced by Earl himself, though under the pseudonym randomblackdude, and Christian Rich. Flying Lotus, the Neptunes, Samiyam and RZA are just a handful of beatmakers who lent their hand to this release.

One highlight track which has been garnering attention is “Sunday”, a organ-driven churner aided by Odd Future soul-wonder, Frank Ocean. Earl spits “All my dreams got dimmer when I stopped smoking pot/Nightmares got more vivid when I stopped smoking pot” to a lurching back beat while Frankie’s distorted vocals paint a similar picture. Other banner guest spots are held down by Vince Staples, Domo Genesis and Mac Miller to name a few. Even with a laundry list of helpers, it really is Earl who shines brightest, a young MC who is calculated and at MENSA-level mastery of wordplay.

Album Lowlight: It’s been a long few years for the young underground rapper, and it feels like a piece of the puzzle is missing from his first mixtape, to his time at Samoan boarding school and eventually returning to fame back in LA. Even after turning 18 and being released from his international “prison”, Earl has been relatively quiet. Talk about hype for a sophomore release, am I right?

Some hardcore fans may feel slightly let down with it’s shift from NC-17 to R-rated themes and lyrics, but that shock factor could only be short-lived for the widely considered rhyme champion of Odd Future. Nonetheless, the profanity is more veiled and less blatant on Doris.

Takeaway: With a new era of hip-hop being ushered in by the likes of the Odd Future crew, Danny Brown, Action Bronson, Chance the Rapper and so on, Earl has staked his ground as one of the most exciting wordsmiths in the past decade. Many listeners were originally drawn in by the deadly effective mix of obscene and smart, simultaneously. On Doris we witness a few notches of maturity being whittled into Earl’s belt, and listeners can’t help but think about the bright future this kid will have if he keeps up his clever writing coupled with one of the most unique phrasing styles being spat into a mic.

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New Music: Fuck Buttons – Slow Focus

July 24, 2013 by Leave a Comment

Fuck Buttons - Slow Focus

Fuck Buttons – Slow Focus

4-BamsTop Tracks:
“Brainfreeze”
“The Red Wing”
“Stalker”

Album Highlights: After a lengthy 4 year wait for the third album from the Bristol duo Fuck Buttons, Slow Focus has arrived with all it’s droning brilliance. Right out of the gates, it’s not terribly tough to see that Andrew Hung and Benjamin John Power have been busy collecting more circuit-bent gadgets and rare synths to create a whirling dervish of art-wave post-rock. Though trying to place this act in any genre is a bit of disservice, kind of like some of their influences like Aphex Twin and Mogwai. Alas, this sonic venture is full of exploration, easily demonstrated on the long-play opening track, “Brainfreeze”. Fans of My Bloody Valentine may eat up this thick, wall-of-sound style approach that is served up on this release, and the explorative tracks top ten minutes in some cases à la Kevin Shields, as well.

Comparisons aside, Fuck Buttons truly bring something original to the table, and the crossover nature of this release is one of the more dynamic aspects to dwell on while listening. Tracks like “Stalker” lurch close to a dance beat, but won’t allow for overt shoegazing as the song bends and limps towards a rising focal point. It’s uplifting in ways, while leaving the listener to decide if it’s the sound of apocalypse or a new beginning.

Album Lowlight: Much like their influences, Fuck Buttons won’t fit neatly into any category, therefore fans of the avant-garde will eat it up, while others may not appreciate the pioneering aspect of these two experimental Brits. Closing track “Hidden Xs” is formatted very similarly to the prior song in song structure, length of track and overall feel. “Hidden Xs” does have a more distinct “rock” feel with it’s relatively clear guitar tones, almost reminiscent of jamtronica purveyors such as The Egg. It remains to be seen whether this album has a ton of replay value, but the depth of the songs tend to make one think it will.

Takeaway: If not familiar with this act, Slow Focus is a perfectly acceptable jumping off point before burrowing into their back catalog. It’s likely that their recently announced Fall tour will garner buzz and sell out in many key demographics, so don’t sleep on Fuck Buttons in the later summer.

Hung and Power are masters of their craft, and truly sculpt aural landscapes with the best of them. One standout track, “The Red Wing”, could be a stand-in for a more ruckus take on Boards of Canada, an act that shares the same envelope-pushing ethos. All in all, these rising stars bring something truly unique to the table, a table that is increasingly overflowing with new takes on the state of electronic music, even if hidden under the moniker of post-rock.

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New Music: Thundercat – Apocalypse

July 16, 2013 by Leave a Comment

apocalypse

Thundercat – Apocalypse

4-BamsTop Tracks:
“Tenfold”
“Oh Sheit It’s X”
“Lotus and the Jondy”

Album Highlights: The intergalactic, funk spaceship piloted by the virtuous Stephen Bruner, aka Thundercat, continues to plunge the depths of the galaxy with his latest release Apocalypse. Ever wonder what a more contemporary version of Jamiroquai with vocals by Pharrell Williams would sound like? It would sound a good amount like Apocalypse. Alright, now that you have a general idea of what this Los Angeles native sounds like, let’s delve into what makes this album such a blast to listen to while being a sonic success.

One aspect of this release that lends to it’s greatness is the co-production of one Stephen Ellison, popularly known as Flying Lotus. Both artist have been longtime members of the Brainfeeder label and cross pollinate regularly, as Thundercat lent his skills to Until the Quiet Comes in a big way. The sublime combination of sultry space-funk and off-kilter beats creates something familiar but uniquely fresh and dynamic. Furthermore, this album isn’t trying to be a Billboard top-seller or something more than the sum of it’s parts. It’s avant-garde, futuristic, and left-leaning while projecting a massively wide range of appeal to a varied audience.

Songs like “Oh Sheit It’s X” combine funkified disco grooves that would light any dance floor in the 70’s on fire with it’s bubbly, complex bass lines and flying synths. Some could dismiss it as campy, but the track’s strength in arrangement and production would disprove any naysayer in seconds. “A Message for Austin” closes the album on a rather sad note, as Bruner pens a song to the recently deceased Brainfeeder artist and longtime member of Thundercat, Austin Peralta. It’s a truly touching track dedicated to a talented young musician taken all too soon.

Album Lowlight: Thundercat’s previous release, The Golden Age of Apocalypse, showcased Bruner’s bass playing mastery a bit more. This is minor, especially as the song-writing skills of Bruner have grown considerably stronger over the past few years. But, overall, there are few flaws with Apocalypse, in fact it’s ultimately refreshing to see a creation that isn’t trying to be anything more than Thundercat’s true vision.

Takeaway: In an era when virtuosic instrumentation doesn’t mean as much as one’s ability to twist knobs and hit buttons, it’s refreshing to hear albums like Apocalypse. Thundercat is an artist who dances to beat of his own drum, er, I mean bass. His dynamic live show has been winning accolades for years, as his set at Coachella 2012 drew this writer in, hook, line and sinker. Whether leading his stellar band in mind-blowing instrumental grooves or belting out one of his soul-funk tunes to the ladies in the front row, Thundercat is a competent musician all around who deserves more attention.

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The Mother Hips go beyond Cali rock

July 3, 2013 by 1 Comment

Mother-Hips
Photos by Marc Fong // Written by Kevin Quandt //

The Mother Hips //
The Independent – San Francisco
June 29th-30th, 2013 //

The term California rock ‘n’ roll can, and has been, thrown around a bunch in the past many years, and sure, everyone has their own idea of what that exactly sounds like. However, all subjectivity aside, The Mother Hips are easily in the running to be crowned champions of this regional genre, chock full of elements of soul, folk, psychedelia and many more factors which all equal to one sonic ode to the state of California and all it’s deranged beauty.

San Francisco’s very own Independent hosted the Chico-bred band over the course of two thrilling nights to longtime and newcomer fans, alike. Jackpot held down the opening duties on Friday, while Acacia took the reigns on Saturday. One aspect that has kept fans of the headliner on their feet for well over 20 years is the chameleon nature of the band, and this characteristic stretched far and wide across vocal ranges and styles, to the varied tones of the double guitar onslaught that is Tim Bluhm and Greg Loiacono, original founding members and longtime collaborators. “Smoke” opened the Friday show nicely, a track that always makes the crowd smile with it’s lyrical reference to Wilco and all. Bluhm has proven to be an insanely strong songwriter, and likely this is a big factor to his longtime success in music, even without blowing up to superstar status.

Mother-Hips

These two nights were also album release shows behind a new release titled Behind Beyond, which is set to be released July 9th on their own label. One of the standout new tracks, “Freed From a Prison”, demonstrated Loiacono’s songwriting and frontman abilities, which displays a more democratic process on stage. The two-frontman dynamic is one of the strongest suits going for these guys as Tim and Greg are able to nail some serious vocal harmonies. “Magazine” was nicely placed in the middle of the 18-song set and proves yet again to be a big vehicle for soloing by the respective members, that night being no exception. A three-song encore featured the classic Hip’s jam “Time-Sick Son of a Grizzly Bear” before closing the night with the new ballad entitled “Song for JB”. All in all, these guys know what they are doing onstage more than most bands, likely a product of nearly two decades of kicking out true California rock.

Setlist:
Smoke
White Falcon Fuzz
Freed From a Prison
One Way Out
Toughie
Mother Hips
Isle Not of Man
Gold Plated
Shape the Bell
Stephanie’s for L.A.
Space
Magazine
Del Mar Station
Jefferson Army
Third Floor Story
Behind Beyond
Rose of Rainbows
Hey Emilie

Encore:
Stoned Up the Road
Time-Sick Son of a Grizzly Bear
Song for JB

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SF locals The Soft White Sixties start the summer strong at The Indy

June 17, 2013 by 4 Comments

Soft-White-SixtiesPhotos by Marc Fong ~ Written by Kevin Quandt

There isn’t much of a better manner to release a new album than by selling out a heralded room in your hometown, and that’s exactly what the Soft White Sixties pulled off this past Friday. Since making waves at SXSW this year, the Sixties have got their aim set on success this summer, and the release of their latest effort, Get Right, is sure to garner further buzz. The band’s sound is dubbed ‘Working Class Soul’, an amalgamation of classic R&B/soul vocal sentiment layered over a driving pop-rock formula with tinges of funky grooves and mild psychedelia, a winning formula in a town like San Francisco.

Octavio Genera commands a crowd like a champion – his stage presence will likely be a big factor in their impending summer, as well as the success gained from a sizable Western US tour schedule, starting tonight and ending with Outside Lands in August. His enthusiasm is evident, and this bolsters the sound created by his talented band, roughing the edges of their pop sound, just enough. A responsive, dedicated crowd stayed till the last notes, and Genera never slowed down, obviously hoping for this night to not fade away too quickly. This show at The Independent was a clear sign that the Sixties have arrived, and are willing to take it to the next level.

Other local up-starts, Sioux City Kid, took the honors of officially opening for their fellow City brethren, performing an energetic set of patented whiskey-soaked, boot-stomping modern Americana. It was clear that a great percentage of the crowd were already familiar with this act, and the band took advantage of the captive crowd, likely winning over new devotees with a rambunctious play on countrified blues-rock. Expect a big season from this lot.

Quote-Worthy: “We’re trying to make it feel like our backyard. Come on over.”
-Octavio Genera from The Soft White Sixties, in reference to the stage design.

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

May 31, 2013 by Leave a Comment

Akron-FamilyPhotos 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.

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Palma Violets, fresh faces of Britpop, invade The Independent

April 26, 2013 by 5 Comments

Palma-VioletsPhotos by James Nagel // Written by Kevin Quandt //

Palma Violets //
The Independent – San Francisco
April 23rd, 2013 //

The British have always been fanatical about their own rock bands, dating back to the origins of the genre. This has been the case for many years, and though the States aren’t vastly different, it is clear us Yanks will not get behind every export in record numbers (see: Blur and Stone Roses at Coachella this year). The new buzz oozing from the British Isles goes by the name Palma Violets, and are already being hailed as the next Arctic Monkeys, which is a helluva big deal over in Jolly Old.

Palma-Violets

Tuesday night had the quartet appearing at San Francisco’s the Independent on their first US national tour, largely revolving around two appearances at Coachella. Support duties where helmed by fellow Indio performers and a growing New York City act which goes by the name Guards. As the room steadily filled, the early birds were treated to a whirlwind of indie rock that played heavily on both pop and psychedelic elements, backed by one of the more aggressive fog machines I have witnessed. Their genuinely spirited stage presence made the audience more receptive to the thick sound they churned out early on a weeknight. Their debut release In Guards We Trust is worth a spin, as it’s a good possibility they will gain momentum this summer.

Palma-Violets

Palma Violet’s debut album, 180, dropped in February to mainly positive reviews as the young Englishmen played their patented play on the ever-expanding genre of rock and roll. Yes, it’s decidedly labeled as BritPop, but the sound runs much deeper as elements from American music can be found, as well. Comparisons aside, Palma Violets, consisting of Alexander “Chilli” Jesson(bass/vocals), Sam Fryer(guitar/vocals), Peter Mayhew(keyboards) and Will Doyle(drums), are a band to behold onstage in a live setting.

“Johnny Bagga’ Donuts” would be the first song, and from the first notes it was evident that these lads are in this whole thing to have a good time, and by extension, make the crowd join them. The enthusiasm is through the roof, whether via their hype-man/roadie that goes by Harry Violent or the band’s pension for joining the crowd, instruments and all. Early in the show, the two singers vocally resembled the full Cockney rasp of Joe, Mick and Paul of the Clash, and the stage energy mirrored the punk legends just enough. Add the warm synths that mixed into the thrash of bass and guitar, and the sound does come across as fully unique, while strangely familiar. “Chicken Dippers” showcased the vocal range of Sam Fryer as his voice lowered to a low baritone à la Julian Casablancas or Paul Banks. “Best Friend” was featured mid-set and received the most applause from the crowd, per the usual for an up-and-coming group’s fiery first single. One aspect that initially attracted me to 180 was the range of rock styles and sounds Palma Violets have managed to both cover, especially from guys not old enough to drink in the States.

One was not surprised when the encore came around that the band would close with a bang, and not a whimper. The mysterious ‘secret song’ off their release is entitled “Brand New Song.” Though not technically the most mind-blowing of their tracks, it is an uproarious anthem that celebrates all the fun of youth while demonstrating anything can and may happen at a show.

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Jamie Lidell’s hybrid funk party at The Independent

April 5, 2013 by 2 Comments

Jamie-LidellPhotos by Sam Heller

Did I just step out a party from the Bill and Ted’s Excellent Adventure’s interpretation of the future? I mean, I see the trench-coat, hear the vintage funk beats and am experiencing the linear visuals, but I certainly don’t feel like I am in 2013. So is the barrage of a show that is Jamie Lidell and his full on soul-funk, electronic throw-down which pulled into San Francisco’s own Independent on March 29th.

The equation of Lidell’s music is rather basic, as it entails multiple layers of drum and synth sequencing layered with his rich, largely augmented vocals singing sultry soul songs. “I’m Selfish” opened the evening, as it does on his new self-titled release on Warp, and Lidell jumped out of the gates grooving and crooning along to his infectious tracks. Comparisons to Prince are hard to ignore on his latest album, but this does not detract from the unique act Jamie has cultivated over the past decade. The capacity crowd gradually loosened up as the headliner bounced between his older, more house influenced tracks and the soul funk bangers that brought more gyrating to the dance floor.

Lidell is a rather charming character on stage, prone to silly banter with the crowd, as well as rocking a smile that will not leave his face. The same could generally be said for the crowd who ate up this hybrid genre that is difficult to not enjoy, whether singing in the shower or on a Friday night with your friends.

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Umphrey’s McGee display technical prowess at Fox Theater Oakland

March 20, 2013 by 1 Comment

Umphrey's McGeePhotos by Sam Heller // Written by Kevin Quandt //

Umphrey’s McGee //
Fox Theater Oakland – Oakland
March 16th, 2013 //

Umphrey’s McGee proved yet again that they are one of the most concise and consistent bands playing live. Saturday’s show at the Fox Theater Oakland further demonstrated the technical prowess that has launched these guys from a bar band to a contending headliner across America, popular in almost every demographic.

A recorded intro welcomed the six members before launching head first into a relatively new song by the name of “Depth Charge”. “2×2” was nicely welcomed by this writer who has been seeing this band for well over a decade, as it is one they have been playing for quite some time. The guitar work of Brendan Bayliss and Jake Cinniger has always been a spotlight for the band as they play so well together and push the progressive boundaries of rock guitar.

“Nemo” demonstrated their ability to showcase their talent on acoustic guitars, which was a refreshing surprise on a fan-favorite track. The longtime party anthem that is “Pay the Snuck” would end a well-received set full of funk jams and note-slaying prog-rock.

The second set opened with the Anchor Drops track “In the Kitchen” before heading into the West Coast premier of Tool’s epic “Forty Six & 2” off of Ænima. The heaviness of Tool was very well transcribed by the band as drummer Kris Myers belted out his best Maynard impression. More favorites like “The Triple Wide” kept fans moving throughout the set before culminating with the Paul McCartney classic “Live and Let Die.” Songs like this allow percussionist Andy Farag to crash his way through his extensive array of percussive instruments. Umphrey’s has few boundaries as a band, and though they may lack a little of the creative chances, they still enthrall all levels of music fans, some at die-hard status.

Set 1: Depth Charge, Plunger, 2×2, Padgett’s Profile, Conduit, Plunger, 1348[1], Nemo[2], Hey, Hey What Can I Do[2], Nemo[2], Pay the Snucka

Set 2: In the Kitchen, Forty Six & 2, The Triple Wide, Puppet String, Dump City, Hajimemashite, Puppet String, Live and Let Die

Encore: All In Time[3]

[1] with Rapper’s Delight (The Sugarhill Gang) teases
[2] with Brendan and Jake on acoustics
[3] with How Many More Times? (Led Zeppelin) teases

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Greensky Bluegrass make it to the big stage in SF

March 18, 2013 by Leave a Comment

Greensky-BluegrassPhotos by Mike Frash // Written by Kevin Quandt //

There are few bigger honors in the San Francisco music scene than a bands first time headlining the Fillmore, and on Friday March 15th, it was Greensky Bluegrass’ night to shine on the big stage. They were not alone on this evening as Ryan Montbleau Band handled opening duties, and the one and only Sam Bush decided to make a trip out to support his brothers in bluegrass. A sizable crowd welcomed all the musicians over the night, and stayed dancing well into the late hours of the night underneath those brilliant chandeliers.

Ryan Montbleau warmed up those in attendance early with a set of his brand of folkified, soul funk. Having been a constant, and respected, personality in the jam scene for almost a decade now, he has garnered some devote fans. His style is pleasing to the ear, and can easily get a room dancing to his booming voice.

Greensky-Bluegrass

Greensky Bluegrass was anxious to get going, and wasted little time jumping head first into their dynamic style of renegade string music. Their knack for life on the road is evident by the ease of communication between the members, as they toss solos back and forth in a truly effortless manner. The quintet blazed through some of their original material in competent manner, but it was somewhat evident that the crowd was ready to expand this group with the addition of legend, Sam Bush.

Fiddle would be Bush’s instrument of choice to start out the evening, busting into a romp of an instrumental piece before the first few notes of “Same Ol’ River” rung through the venue. This standout track featured Bush on mandolin, and included an extended jam with fellow mandolin player Paul Hoffman of Greensky. Sam Bush possesses this great musical leadership skill that allows him to seamlessly play with almost any acoustic bluegrass band with such professional competence that you forget it’s not his band.

Greensky-Bluegrass

“Girl From the North Country” featured a duet between Bush and Anders Beck, who has become a highly respected dobro player in their music circle. His tone shines through on so many songs, and this one was no exception. Another duet was on deck, this time between Paul and Sam playing the crowd pleasing song, “Sailing Shoes.” A nod to Robert Johnson’s famous song “Crossroads” earned a howl and applause from the crowd before heading back into “Sailing Shoes.” “Bringing in the Georgia Mill” closed out the well built set.

A setbreak led into the Greensky Bluegrass original “Jaywalking,” a track they have become rather well known for over the past years. It was no surprise that this show was a little more anticipated than others on the tour, and the band truly nailed the evening with a mix of original songs, thoughtful covers and one legendary guest to help out when needed. “Could You Be Loved” slowed the frantic pace and allowed some clouds to billow into the lights before dedicating the next song to Fillmore founder Bill Graham. “Working on a Building” by Bill Monroe was a highlight of the second set as the vocal pitches were skillfully nailed.

The band played solidly into the one o’clock hours, picking up the pace to please dancing feet throughout. Greensky is on the up and up as contemporary string music creeps from the shadows into a more palpable, even popular, light.

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High Sierra Music Festival’s fresh, new acts

March 15, 2013 by 1 Comment

HSMFPhoto by Sam Heller

The annual High Sierra Music Festival has become a true staple of Northern California music culture over the past two decades. This year the event’s talent has deviated, just slightly, from some of the old favorites to some truly fresh acts. Here’s a look at some of the newcomers to High Sierra’s 23rd incarnation, set to take place at the Plumas County Fairgrounds in Quincy, CA between July 4th and 7th.

Listen to our High Sierra Music Fest playlist.

Primus – Les Claypool has graced High Sierra with his presence many times, but this year he brings his original claim to fame for a banner headlining set. Les, along with Larry LaLonde and Jay Lane, have been touring the heck out of his 90’s staple rock act the past few years, and it is only fitting we see him atop the lineup in 2013. A few years ago, Primus developed a 3D stage show to accompany their tour, and it has received solid reviews as an extra sensory rock and roll show experience unlike others. Though it appears this festival set will be in standard, human dimension.


Thievery Corporation – The DJ/production duo of Rob Garza and Eric Hilton have championed the melding of various world music influences with electronic music, both on record and the live stage. Their worldly influences range from classical Indian to Brazilian Bossa Nova to dub and everything caught in the middle. Some attendees may be less familiar with Thievery, but are sure to enjoy a warm evening’s worth of mellow downtempo music in a rare live format.

Steel Pulse – These roots reggae legends have been going strong for almost 40 years and show no signs of letting up their furious live touring pace. Luckily, Quincy will be on their summer itinerary for a premier set of Afro-Caribbean inspired roots reggae. Still as dynamic as ever, David Hinds and company are preparing yet another album to be released this year. Expect to hear some new material as well as favorites like “Roller Skates,” “Stepping Out” and my personal favorite “Chant a Psalm.”

Gramatik – High Sierra has always kept their roots in live bands, but has branched out over the past few years with the inclusion of a handful of electronic acts to draw in a younger crowd while widening the variety of music showcased. Denis Jasarevic is one of Pretty Lights Music’s rising stars, enthralling young crowds with his beat-driven style of funk, jazz, and hip-hop. His new stage dubbed “the Tesla Coil,” coupled with his inclusion of a live guitar player will up his act at the festival this year.

Lee Fields & the Expressions – Lee Fields is one of the few soul acts who is still continually touring and recording after some 43 years in the business, and will likely become a new favorite for attendees unfamiliar with the legendary name. Akin to Charles Bradley and Sharon Jones, Fields’ style of soul music includes elements of James Brown era funk, lo-fi blues and contemporary Southern soul.

White Denim – Many festival attendees are thrilled to see this Austin, TX bands name listed on the lineup for 2013, and it’s for good reason, as White Denim is one of the most exciting rock acts playing. Having won over accolades last year as the touring support to Wilco, this act is an impressive amalgamation of progressive indie rock. Their early work leans more towards the lo-fi psychedelic, while their later releases feature a more polished indie sound with room, and skill, to improvise on.

Allen Stone – The self-proclaimed “hippie with soul” is set to make his debut, and his set(s) should not be missed, as he is one of the leaders of the soul and R&B revival sweeping the nation. His years in the local church choir have aided this young man’s ability to truly feel the words that he sings. Expect the female festivalgoers to go bonkers for this pitch-perfect crooner.

Lord Huron – Ben Schneider started using the name Lord Huron as a tag for his solo material about 3 years ago, but the project has grown to a full band. The indie folk outfit has been crafting a unique mountain-folk sound, rich with harmony and a romanticized view on the distant past. Lord Huron should make for a nice break between clustering banjos and electronic funk at the Plumas County Fairgrounds this July.

Secure your spot at High Sierra

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Sam Bush to join Greensky Bluegrass at The Fillmore

March 13, 2013 by Leave a Comment

Greensky Bluegrass

So, the weekend is rapidly approaching in the City, and like normal, there are lots of amazing options for your weekend nightlife. Might we suggest checking out the blistering renegade string band named, Greensky Bluegrass on Friday, March 15th at the Fillmore San Francisco. This isn’t just any night of picking and strumming helmed by the Kalamazoo native string quintet, but rather a spotlight on a rising acoustic force that will be welcoming none other than legendary San Bush onto the Fillmore stage. Opening duties will be held by folk-funk group, Ryan Montbleau Band.

Greensky do things a little different than their contemporaries as demonstrated by their poignant rural ballads, clean dobro tone, use of distortion pedals and true road warrior status. When you add the virtuosic mandolin and fiddle playing of Sam Bush to the mix, it can only produce some serious string action. It’s gearing up to be a huge year for Greensky Bluegrass with slots at some of the premier festivals; Electric Forest, DelFest, Northwest String Summit even a gig at Red Rocks.

Buy tickets to the Fillmore Show.

Greensky

Greensky

Check out the Greensky Bluegrass Facebook page.

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Pickwick set The Independent ablaze on their way to SXSW

March 12, 2013 by 1 Comment

Pickwick

Seattle’s rising soul-rock band, Pickwick, have arrived and music fans of San Francisco have taken notice, selling out The Independent on a windy Friday night. The band is early in their first true American tour, spanning from their Pacific Northwest home to Eastern Canada, and it was evident to see that they are charging full speed, hitting every demographic they can. The timing couldn’t be better as the band is in the midst of releasing their first album, Can’t Talk Medicine.

Sandy’s provided local support, while Portland’s Radiation City took the second slot as the venue filled up to enthusiastic onlookers. The sound of Radiation City flutters between experimental pop and nostalgic lounge rock, featuring dreamy multi-part vocals and a mildly psych sound. Early arrivals signaled a band on the rise, a common theme for the evening.

Take a look at the Showbams review of “Can’t Talk Medicine.”

PickwickPhotos by Sam Heller at Hangtown Festival 10/27/12 Placerville, CA

It was time for Pickwick’s first sold out headlining San Francisco show and the expanded 6-piece group casually walked onto stage and began the show with the soul-churning track off the new LP, “Brother Roland.” Galen Disston, the vocal powerhouse and lead man, was not alone on vocals this night as it was evident that the secret of Pickwick is out and spreading like wildfire. Exuberant fans sang along in an impressive manner and number, showing that they are a big deal, even outside Seattle and it’s surrounding areas. It’s tough to ignore such passionate and engaging music when confronted with it, and there’s no reason why these guys should not gain waves of fans across the nation over the upcoming months.

The infectiousness of their songs come from many sources, giving the ability to clap, tap or stomp along with the beat, which seems to please the crowd. This rhythm is now further augmented by new 6th member, and album producer, Kory Kruckenberg. His inclusion on this tour takes the full sounding live act to an even higher plateau as he bounces between guitar, keys, even vibraphone.

Pickwick2Photos by Sam Heller at Hangtown Festival 10/27/12 Placerville, CA

Galen Disston is a true vocal force to watch and admire as he paces the stage, truly feeling every note that he sings, treating his voice more like an instrument than a vessel for lyrical content. “The Round” displayed this vocal instrumentation paired with a warm sounding Wurlitzer and grooving bass line for one of the highlights of the night. Lizzy Ellison of Radiation City joined the band for a spirited rendition of Richard Swift’s “Lady Luck.” This cover track, appearing on a Covers EP and the new album, originally features Sharon von Etten, but on this night Lizzy coupled her sultry vocals to Disston’s tasteful falsetto while Kruckenberg plays the rarely-toured vibraphone.

From there, the band played a new song which noticeably featured even singing efforts by Disston, guitarist Michael Parker and keyboardist Cassady Lillstrom. Album opener “Halls of Columbia” was a highlight of the set, as was longtime favorite “Hacienda Motel.” Both these songs are amazing examples of the dynamic nature of their writing, blending genres into a sound which is uniquely their own.

The art of the encore is not lost on these guys as they delivered a scorcher, leaving people stunned and gleeful on there way out the doors. “The Ostrich” has become quite the energetic cover. Originally by Lou Reed, it’s a driving riff took precedent while Disston pogoed and stomped his way across the stage. One can’t help see a little bit of Jerry Lee Lewis in Disston’s possessed stage mannerisms along with his booming vocals. “Window Sill” was to be the last song of the night, leaving with a bang rather than a whisper. Many of the opening band’s personnel came out bearing tambourines and various rhythmic instruments as this track’s beat can only be aided by more willing bodies. A warm keyboard hook led into Disston and Parker belting out lyrics followed by a section of shouted “whoa”s only to be volleyed by the enraptured audience. By the time the last notes rang through, the crowd was eating it up and hungry for more, but alas they’d have to wait till next time.

Having been a fan of this band from around the time of their inception, it is nothing but a joy to see them receive the success they have prepared for over the past couple of years. Can’t Talk Medicine is sure to get attention outside of their hometown, hopefully while blowing minds in Austin next weekend.

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Materialized bring their brand of live EDM to the Cosmic Love Ball

February 12, 2013 by 2 Comments

Materialized
Photos by Sam Heller

Yet another Cosmic Love Ball took place on Saturday Febraury 9th at the famed Fillmore in San Francisco, headlined by Rubblebucket with support from North Bech Brass Band and local mad geniuses Materialized. This annual event has grown significantly over the past decade, from CellSpace to Mezzanine and now the Fillmore is home to this locally produced, multi-media celebration of music, art and the beautiful people of San Francisco.

Materialized

On this night, the room many music lovers frequent was transformed into a wonderfully decorated adult playland with North Beach Brass Band holding pre-Mardi Gras court in the poster room, while the main room housed the headliners and DJ Wyllys. Live visuals flanked the main stage, which truly augmented the various sounds pumping through the venue to the joy the dressed up masses. This event is produced by the long running “conscious production” outfit Star Sapphire, which has been hosting dynamic events in the city for almost a decade now.

Materialized

Once North Beach Brass had paraded into the venue, playing some NOLA standards like “When the Saints Go Marching In,” it was about time for the live electronic barrage that is Materialized. This trio is anchored by long time West Coast artists Dale Fanning and Mighty Dave Pellicciario, on drums and keys respectively. The group has since grown from a duo to include bass master Carlitos del Puerto for an added layer to an already dense sound. Some may be familiar with Dale as the rhythm section of legendary jazz fusion group, Living Daylights, while others may know Mighty Dave from his B3 mastery and host of various B3 organ summits at High Sierra or the now defunct Justice League. These two have played together for years and this comes through onstage quite clearly.

Materialized

Live electronica and other variations of EDM performed live is a growing trend, and Materialized have made a unique sound in a sea of many similar acts. The slow build introduction of the set featured Pellicciario on a decent array of keys, synths and samplers until Dale kicked in.

One striking aspect of the performance was the inclusion of jazz rock drumming and not solely relying on repetitive house drumming. History with fusion drumming sets the group apart from many comparable acts. Dave’s playing on the other hand was amplified by creative uses of pitch shifting and frequency manipulation. His understanding of various dance music styles coupled with years of improvisational live playing melds into a thick sound.

Materialized

Playing was continuous for the set, further demonstrating a brilliant cross pollination of EDM and improvisational music. The segues were seamless even when shifting the tempo, which led some members of the crowd to get lost in the music. Since the first main stage act was three and a half hours after the doors opened, the decent sized crowd was lubed up and ready to get down. Further into the set Materialized used more vocal samples, giving the music a house influence, and even these samples were manipulated slightly.

The dance troupe, Galactic Muses, made two appearances onstage. First, they performed a karate inspired dance routine backed by a sound that could be described as ‘world bass.’ A second performance towards the end of the show had the trio of gals stripping from haz-mat suits to scandalous sequence outfits, amping the crowd nicely.

Materialized

Materialized bring a nice spin on the ever-popular style of live performed electronic dance music, with dynamic drumming and mad-scientist keyboard playing. Expect to see more of this local San Francisco act in the coming year with the release of the new EP, Space Junk, which dropped Tuesday, February 12. Many years of producing and playing various forms of fusion music is what Dale and Dave do best, and one can tell they are amped to strike a new accord.

Listen to the sounds of Materialized at their site.

Materialized

Filed Under: Live Music Reviews Tagged With: ,

The Walkmen, Father John Misty team up to rock The Fillmore

January 28, 2013 by 3 Comments

The-WalkmenPhotos by Sam Heller // Written by Kevin Quandt //

The Walkmen & Father John Misty //
The Fillmore – San Francisco
January 24th, 2013 //

2012 marked successful years for both Father John Misty and The Walkmen, as one sprouted to life and another continued on their steady ascent. However the pairing of these two groups over a few dates came as a bit of a surprise for some West Coast fans. Luckily, you knew you were guaranteed an amazing night of music at The Fillmore with this co-bill.

Father-John-Misty

Father-John-Misty

The growth and popularity of Father John Misty is little surprise to this writer as Fear Fun was easily one of the best albums of the 2012. Naturally, Josh Tillman and band opened with its leading track, “Fun Times in Babylon.” From there they played a bevy of stellar tracks from their banner debut album highlighted by “Nancy From Now On” and “Only Son of a Ladiesman”. Tillman’s demeanor on stage is so casual and effortless; full of banter, dance moves and general merriment. One track that has become a live highlight over the past year is “This is Sally Hatchet”, full of slow build till Tillman and band explode into a frenzied noise before crashing back to Earth.

Father-John-Misty

The element of storytelling these tracks have taken on is part of the wonder that has attracted fans to this band. It’s even more bizarre when you find out Tillman served as the drummer in Fleet Foxes over the past many years. “Everyman Needs a Companion” brought the pace down for a few before capping the set with spotlight track “Hollywood Forever Cemetery Sings”. It’s songs like these that make so many thrilled at what this freshman act are capable of in the future, as Tillman has proven to be an incredibly dynamic songwriter and performer.

Father-John-Misty

The Walkmen took headlining privileges this night, delivering a career-spanning set to the sold-out crowd. “On the Water”, off of You and Me, was the set opener, which is rarely featured in the No. 1 spot. The Walkmen had a busy year with the release of Heaven coupled with relentless touring and festival appearances. Hamilton Leithauser’s style of singing is both impressive and powerful, which lends his voice to be strained on certain nights. But tonight he sounded rested and fresh.

The-Walkmen

From there the all original 5-piece band launched into some crowd favorites like “The Rat” and “In the New Year,” creating a sing along for the capacity crowd. “Woe is Me” changed the pace and tempo of the show to a more light, calypso-esque tone with this standout track from Lisbon. Songs like this show the true variety of sounds and tempos this band has mastered over their 11 year history. One aspect of The Walkmen that is truly astounding is the maturity they have garnered and displayed through these years, growing from youthful angst to aged wisdom in a genuine manner.

“Line by Line” was once a quiet, yet powerful, show opener, while Hamilton and Paul Maroon’s duo rendition has grown to the full band for this contemplative song. It is still a tender bit to an emotionally charged act. The Walkmen have the reputation of using vintage instruments to compose their unique sound, whether it be stand-up pianos older than the members themselves or well used guitars. “Blue as Your Blood” features the latter instrument, giving the song an almost haunting quality while Hamilton croons, “The sky above is blue as your blood.” The set continued on with more selections from Lisbon.

The-Walkmen

The raucous bop of “Angela Surf City” led into the introduction of tonight’s horn section, provided by San Francisco’s own Magik*Magik Orchestra. The expanded collective played “Stranded” in beautiful form, beckoning a sound one might hear walking the streets of the Portuguese capital city for which this album is titled. Once this Lisbon suite had been rounded out, the band led into a highlight track from their seminal early album, Bows and Arrows. “138th Street” was a pleasant surprise, keeping things subdued and a bit contemplative while Leithauser eloquently crawled through the angst ridden lyrics, even painting a picture of some desolate Manhattan evening.

The-Walkmen

The band ended their set with a pair of selections off their latest release. “We Can’t Be Beat” and “Heaven” displayed more of the band’s maturity, both lyrically and musically. The encore brought the return of the horn section for the Sun Studios inspired track “Louisiana,” peaking with a truly revelrous section of horns and stand-up piano flourishes. An old classic would be the last song played on this Thursday night. “We’ve Been Had” is the quintessential early career Walkmen track featuring their own unique jangly instrumentation, capped with the powerful vocals of Hamilton coupled with the every-man life-lesson lyrics.

Pairing an exciting fresh act like Father John Misty with the perpetually consistent warriors like The Walkmen is a brilliant plan, hopefully introducing fans to unknown acts. We can only look forward to the directions both of them take in 2013, likely collecting devotees and winning accolades with songwriting and performing equally.

The-Walkmen

Father-John-Misty

Father-John-Misty

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Thee Oh Sees continue their global assault, locally

January 16, 2013 by 2 Comments

Thee-Oh-SeesPhotos by Sam Heller

I got nothing on Rice-a-Roni, but those folks never experienced the real San Francisco treat, Thee Oh Sees. I could come up with a plethora of San Francisco analogies to demonstrate the local love and adoration for John Dwyer, but I’ll spare you. This January run consisted of 2 sold out weekend nights at the ever-popular Independent, and as one would imagine it was a scene not to be missed.

Thee-Oh-Sees

The first night featured Sic Alps on the opening duties, a slot they are likely familiar with as the local troupe. The room filled quickly for Mike Donovan’s version of West Coast psychedelia, featuring mainly material from their latest self-titled release. With personnel changes marring this band for the past couple of years, it was nice to see what appears to be a permanent cast of characters playing songs such as “Do You Want to Give $$?” – which was a highlight of the set. Saturday’s show featured a spirited set from up-and-coming locals The Mallard, who were obviously inspired by the headliners.

With Minor Threat playing as the house music, the band hastily set up their stripped down stage setup and blasted off with little hesitance.

Thee-Oh-Sees

Brigid Dawson, who is unfortunately pushed to the back of the stage, led with a little intro on the keys before the full force of the fury was unleashed on the crowd. Not surprisingly, the first few rows simultaneously broke into a hybrid pogo-mosh pit, showing that even the 21+ sect still know how to rock. “Contraption/Soul Desert” was particularly strong, with Dwyer’s madman assault on his now famous clear SG guitar. Petey Damnit, the group bass player, can strum out bass lines for miles, however he does this on a six-string guitar rather than a bass, further adding to the unique nature of this band.

Thee Oh Sees, formerly OCS and occasionally Orinoka Crash Suite, have morphed considerably over their decade long existence. Once Dwyer hung up the influentially dominant band the Coachwhips, he needed a solo outlet, and this is it. Over time, and many independent releases, the band has fully formed to a four, sometimes five-piece group with more focus than ever. The edges have been smoothed, and the songs have much more depth on stage while never compromising the DIY mentality allows attached to this project.

Thee-Oh-Sees

The epic track, “The Dream,” has become quite the vehicle for the group to stretch out and explore some space, a characteristic rarely present in the genre of garage rock. The harmonies reached between Brigid and Dwyer are a seminal part of the sound crafted, and this track highlights the vocal interplay these two share often. The song now reaches close to double digits in length and John takes multiple fast-paced solos while tinkering with various pedals. His use of feedback has become extremely strong and adds even more depth to the sound. The band never leaves tempo during these flights.

The jangly favorite “Block of Ice” whipped the crowd into frenzy, per usual. Dwyer has become rather fond of his new-ish guitar, a avocado green 12-string that boasts a very full sound. After the crowd caught their breath, drummer Mike Shohun began the intro to “Lupine Dominus,” a recent single off of 2012’s Putrifers II EP, their 14th album. This highlight track demonstrates a more mature approach to their sound as the tempo has chilled a bit, and can even border on psych-pop. The vocals are softer, creating an eery, androgynous harmony. “I Was Denied” was another crowd favorite featured towards the end of their hour long set. Even for this seasoned listener, there is simply so much material Dwyer has released, and the song book is so deep, which is yet another reason I can simply never miss these guys in my city, or elsewhere for that matter.

Thee-Oh-Sees

One refreshing aspect of the progression this band has taken is a wider range of sounds. Once primarily a noise/psych/garage band, certain aspects of sludge and stoner rock are becoming featured sound, which lend to a wider depth of their live shows. Prime example was one of the encore tracks, “The Minotaur.” Having heard this song a few times, it drastically stands out from the rest with a laid back beat and almost relaxed nature.

John Dwyer is a San Francisco legend, straight up. It’s musicians like him that have worked their whole lives at creating something unique while always having fun doing it. He’s cool with playing backyards in Austin or bowling alley arcades in San Francisco for the rest of his life. If that doesn’t scream artist integrity, than I don’t know what does.

Thee-Oh-Sees

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Brooklyn’s finest, Antibalas, are still bullet-proof

December 13, 2012 by 1 Comment

antibalas_optPhoto courtesy of NPR Music // Written by Kevin Quandt //

Antibalas //
Great American Music Hall – San Francisco
December 10th, 2013 //

Brooklyn world music legends Antibalas brought their multi-headed Afrobeat monster to SF last Monday at Great American Music Hall, and per usual, they got asses shaking and limbs akimbo. The group took a break from touring a few years ago while they arranged and performed music for the Broadway hit Fela! but have returned with the same intensity and rhythmic complexity, as well as a new album released around summertime. The city was lucky enough to have them play Outside Lands Music Festival, but fans witnessed a mere 40-minute set. Monday allowed the large ensemble the time needed to develop a proper set while showcasing material new and old.

The Great American was nicely packed by the time they the band waltzed out onto stage, opening the show with an instrumental number, easing their way into the evening’s show. Having seen these guys live for over 10 years, I quickly noticed a few members absent on this tour, mainly horn section madman, saxplayer and occasional MC, Stuart Bogie. Even with the lack of some original players, the band never seems to miss a beat. Once Amayo took the stage to belt out his unique brand of African phrasing, the crowd kicked it up a notch. “Ratcatcher”, off the new self-titled album, leapt from the gates with the rhythmic intensity of Africa ’70, one of Fela Kuti’s former touring bands.


Next up was the premier single from their latest album Antibalas, and though it sounds like a searing commentary on the state of economic affairs, it rather refers to the filthy hooks led by the horn section. “Dirty Money” is certainly a key track on their latest endeavor, and was the first taste of the new album months ago. Most tracks, like this one, clock in at around 10 minutes live as the band bounces between full band grooves and member solos.

“Him Belly Go No Sweet” rounded out a suite of new tracks with an infectious call and respond section, another characterization of Afrobeat music which lends it’s connection to the crowd even further. Fela Kuti’s unique brand of Yoruba, funk, highlife and jazz was crafted in the 1970’s and is still alive and well in the hands of groups like Antibalas, Ariya Astrobeat Arkestra and Fela’s sons Femi and Seun. The chant,call and response style was also integral to this Nigerian-born form of music, lending to it’s occasional hypnotic quality.

A debut song was the surprise of the evening. New song “Gold Rush” has been played only a handful of times, and it is refreshing to know they are still writing, as this band has it’s hands in many musical projects. The version of the new track we got opened with a intro keyboard section. Victor Axelrod, a longtime member, utilized a sound akin to the Clavinet to build up the frenzy that was about to ensue. From there, each member of the horn section each got their stab at a fast-paced solo. It’s a treat when a brand new song turns out to be one of the highlights of a show.

They dipped into the back catalogue for “Sanctuary,” which allowed everyone catch their breath if only for a few. From there the band played out a great set that capped around two hours of sweaty good times. After over a decade of touring, this band has truly garnered fans in every corner of the globe. They are hands down one of the best Afrobeat bands out there.

Filed Under: Featured, Live Music Reviews Tagged With: ,

Mystery emcee Captain Murphy revealed to be Flying Lotus

December 5, 2012 by 2 Comments

Captain-Murphy

Captain Murphy, an unknown hip-hop pseudonym, seeped up from the underground no more than a couple of weeks ago, making the rumor mill work overtime to unmask this mystery emcee. Theories swirled after a track released for “Adult Swim” featured the name Captain Murphy along with Flying Lotus and Odd Future’s Earl Sweatshirt.

Flying Lotus feat. Earl Sweatshirt and Captain Murphy – “Between Friends”

After a few weeks of inactivity, the mix tape Duality was released to much fanfare and accolades, both due to the variety of production and rhymes. The vocals tend to sound slightly altered, which fueled the rumor that it may be more than one artist. Some thought the lyrical quality lent itself to the Odd Future camp and may be some combination of Earl Sweatshirt and Tyler, The Creator, and rumors swirled around with links to Flying Lotus, who also was a possible addition to the audio-tweaked stew. Some even thought it was a collaboration between the Low End Theory crew with up-and-coming wordsmith, Zeroh, a young LA writer and performer.

Zeroh – “Barkpench”

The mix of production featured on Duality is a variably “who’s who” of beat producers, the bulk hailing from Los Angeles. Production credits include Jeremiah Jae, Madlib, Teebs, Just Blaze, SAMIYAM and the mega-hot TNGHT. One of the best tracks on the release utilizes TNGHT’s track “Bugg’n”, a big beat that has been begging to be flowed over.

Captain Murphy – “Shake Weight”

Captain Murphy – “The Prisoner” (Live at The Airliner)

Then last week, it was announced that Captain Murphy’s identity would be revealed at The Airliner on Wednesday, November 28th at the weekly staple, Low End Theory. The masses arrived early, which is pretty standard at this progressive Thursday night church, and not long after, a caped and masked man took the stage to Gaslamp Killer on the controls. He stood tall, and most in the know figured it out quickly. Stephen Ellison, aka Flying Lotus, was in fact the mysterious voice spitting semi-obscene rhymes over a surprisingly refreshing mix tape.

Earl Sweatshirt – “Between Friends” (Live at The Airliner)

Earl Sweatshirt decided to make a rare stage appearance for “Between Friends” at The Airliner, donning his signature fishing hat and grinning ear to ear. One can only hope he starts to get more stage confidence as many wait on baited breath for any release or semblance of a tour.

A deluxe edition of Duality features a track-by-track breakdown, a plethora of psychedelic artwork and even instrumental versions of the tracks. The accompanying videos on the Captain Murphy website have a great visual quality, which further enhances the total package.

There has not been much from the camp since the unveiling, and like Earl Sweatshirt, one can only hope for more shows and polishing from this promising project. Flying Lotus’ critical ascent appears to have larger wings than once thought.

Filed Under: New Music Tagged With: , , , ,
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