Tame Impala unleash a blissful fuzz assault at The Fillmore

November 19, 2012 by Leave a Comment

Photos by Mike Frash // Written by Kevin Quandt //

Tame Impala with The Amazing //
The Fillmore – San Francisco
November 15th, 2012 //

Kevin Parker brought his psychedelic soundscape Tame Impala to The Fillmore last Thursday evening, continuing a well-sold-out North American tour. Touring off their second LP Lonerism has advanced their already stellar critical acclaim to new heights. The five-piece outfit cut through a career-expanding set with lysergic precision to a packed venue.

Any band honored with the opening duties for Tame Impala have some big shoes to fill, and in this tour’s case, those honors were bestowed upon Swedish act The Amazing. This new group spun out of Swedish jazz-prog band Dungen a few years ago, and they have released some impressive albums that fall somewhere between Gomez and Bon Iver. The group’s soaring vocals and guitar effects lent well to ease the crowd into the fuzz assault that would be the headliner.

Parker and his shaggy crew of sidemen arrived on stage and quickly launched into the Lonerism opening track “Be Above It”. From there, they jumped into the debut single
“Solitude Is Bliss” from their premier LP InnerSpeaker. Swirling guitars met a penetrating beat and the ever-present angelic vocals of Parker, almost defining the sound that he would craft into perfection over the coming years. A large backdrop behind the band was set ablaze by some sort of military-grade oscilloscope, creating a green kaleidoscope of hallucinatory visuals.

Yes, Parker is the primary source of writing and recording, but do not think that his touring band are minor players or unfamiliar with the frontman’s vision. Altogether, they could be easily confused for extras from Dazed and Confused, but this image fits well with the psychedelic garage band sound that they do so well. “Enders Toi” and “Feels Like We Only Go Backwards” were highlights off of Lonerism, along with the first single “Elephant”, a weighty song that could summon John Bonham’s attention from beyond. “Mind Mischief” was strong as three-part vocal harmonies flexed the band’s tightness after months on the worldwide circuit. “Desire Be Desire Go” beckons a likeness to The Beatles at the beginning of their more mind-expanding days, both musically and lyrically.

They wrapped up the set with a lofty version of “Apocalypse Dream”, performed with lysergic precision. This song demonstrates some of the newer characteristics, mainly more keyboards and piano as a driving force to the backbone. From there, Parker launched into his trademarked fuzz guitar flight, it feels as if he has the ability to make time slow down as swabs of fans close their eyes in ecstatic bliss. Once he returns the flight safely back to ground, the band bows in appreciation and are off the stage.

Luckily, we were treated to “Half Full Glass of Wine,” which is an older fan favorite and clocks in at around 15 minutes after an extended jam, punctuated with a sublimely timed pause before catapulting back into the original riff. From multiple Tame Impala releases and work with side project, Pond, Parker is a busy Aussie. It is artists and creators like him who will be a true pleasure to watch mature over the coming years and likely decades.

Setlist:
Be Above It
Solitude Is Bliss
Endors Toi
It’s Not Meant to Be
Music to Walk Home By
Elephant
Feels Like We Only Go Backwards
Lucidity
Alter Ego
Mind Mischief
Why Won’t You Make Up Your Mind?
Desire Be Desire Go
Apocalypse Dreams

Encore:
Half Full Glass of Wine

Filed Under: Live Music Reviews Tagged With: ,

Japandroids ignite a Monday crowd at The Fillmore

November 14, 2012 by 2 Comments

Photos by Mike Frash // Written by Kevin Quandt //

Japandroids //
The Fillmore – San Francisco
November 12th, 2012 //

Brian King wouldn’t let the crowd forget it was a work night, and then did the most likely thing and played a blistering set that ticked in at just under two hours. You could count the released songs not played on one hand, which for a band with a couple of EPs and albums, was an impressive feat on a Monday night.

Brian King and David Prowes brought their rising star Japandroids back to The Fillmore, but this time, their name was top billing. Having seen this duo in the closet-like Hemlock Tavern not much longer than a year ago, one can only marvel at the success garnered from their early summer release Celebration Rock.

“Adrenaline Nightshift” was the first song played after a little intro jam, and the crowd ignited quickly and passionately. They tackled a crowd favorite off the new LP, “Fire’s Highway”, next displaying a new tightness that wasn’t their strong suit a couple of years ago. Luckily, this precise playing did not deter from any of the energy these two Canucks are well known for. Like other guitar and drum duos, such as Helio Sequence, these two guys have a lot on their plate, night after night, creating rhythm, energy and creativity from only 2 sources. Brian and David share the vocal duties rather evenly, and a better sense of harmony has grown apparent since last seeing them.

These new singing chops were well demonstrated on Post-Nothing track, “The Boys Are Leaving Town”. This song seemed rather apt as Brian kept reminding us that these road warriors had to be in Portland very soon for tomorrow’s show. Yet, as he seemed concerned with lengthy travel ahead, not a soul would have made this assessment as King twisted, contorted and generally rocked the fuck out. He kept the energy high with “Night of Wine and Roses” and “Rockers East Vancouver”, before launching into “Heart Sweats”. Though the masses are more familiar with Celebration Rock, the material from first record, Post-Nothing, still had the piercing intensity and good-times vibe that led these guys to a critical plateau.

As the duo led into their single, “House That Heaven Built”, a handful of guys and girls couldn’t help themselves and darted into the center front of the stage, pogoing and shoving with the ignited few. King pours his heart into every song, and you can visibly see him go through this process. This was demonstrated by the mighty huff for air just as he pounced back into the chorus of this chant-along song. “Crazy/Forever” led into “Sovereignty”, seamlessly, and is truly a gem of a combination, going from ballad to screamer in seconds flat.

King and Prowse weren’t close to done with the evening, so they catapulted into even more previous LP tracks, “Young Hearts Spark Fire”. This one truly represents the carpe diem/YOLO aspect of their lyrics and music, even as they creep into their 30s. As the extended set winded down, it was evident they had a little more in them, and not just a Jonny Rivers tease of “Secret Agent Man”.

Though the band may come after me for disclosing the secret of the evening, a rare encore was in store for the patient midweek crowd. King went as far as to turn off, even unplug, his amps but the fans chanted for one more. “I Quit Girls” would be the last track, effectively playing both albums in full. The slow drudge of the final track on Post-Nothing let everyone catch their breath for the final moments.

The success earned by these two is impressive and deserved, even as 4-5 years ago they seriously contemplated hanging up the project. The infectious hooks and energy coupled with a fuck-all, yet accessible, sense of rebellion makes these guys pure rock and roll, if just a 2-piece act. This characteristic can be summed up easily for this writer in a lyric from Young Hearts: “I don’t wanna worry about dying, I just wanna worry about those sunshine girls.”

Setlist:
Adrenaline Nightshift
Fire’s Highway
Art Czars
The Boys Are Leaving Town
The Nights of Wine and Roses
Rockers East Vancouver
Younger Us
Heart Sweats
Wet Hair
Evil’s Sway
To Hell With Good Intentions (Mclusky cover)
The House That Heaven Built
Crazy/Forever
Sovereignty
Continuous Thunder
Young Hearts Spark Fire
For the Love of Ivy (The Gun Club cover)

Encore:
I Quit Girls

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

White Fence continues the psychedelic garage trend in SF

November 6, 2012 by 1 Comment


Photos by Michael Frash at the Bonfire Sessions 9.30.12

San Francisco is clearly leading the way in the psychedelic garage movement that has been sweeping indie rock for the past few years. Whether it’s Wavves’ bratty surf rock, or the twisted antics that are the Black Lips, it is evident that the talent in the Bay Area is taking it way further. The likes of Thee Oh Sees, Ty Segall and the Fresh and Onlys have been garnering national attention, and the latest group to step up to the plate is Tim Presley, popularly known as White Fence.

Riding the critical success of his recent double release Family Perfume Vol. 1 and 2, Presley brought his ever-changing band members to a well attended show at the Rickshaw Stop last Friday evening. Support act The Mallard brought some local flavor to a mixed bill with yet another take on the fuzzed-out genre. White Fence shared the headlining duties with another buzzed act, Twerps, hailing from Australia.

Twerps have been making the international loop rather frequently touring behind a successful self titled album. Their sound leans more on a 90s alternative-grunge coupled with some breezy reverb as demonstrated on song, “Dreamin,” a crowd favorite.

White Fence came on stage quickly, and jumped out the gates with a heater, “Swagger vets & Double moon.” However, as Presley has expanded his guitar and drums duo into a four piece, there have been numerous personnel changes, and new rhythm guitar player was not in time with the Presley. Luckily, this issue alleviated early in the set. Having been a key member of former psych-wave group, Darker My Love, Presley is desperately trying to get his sound the full attention that it deserves.

The sound at these shows leans between the shredding blitz guitar style, a la John Dwyer of Thee oh Sees, and the heavy use of slide giving a bluesier feel. This, coupled with Presley’s tendency to sing in a style akin to 60s garage-punk made popular by Syd Barrett, makes White Fence’s sound stand out in rising tide of Bay Area rock. “Enthusiasm” lived up to it’s name, full of power chords and the English-style of swagger that the thin front man serves up so well.

A favorite track, “Sticky Fruitman Has Faith,” had Presley gyrating near his amp to create the perfect feedback for a truly assaulting solo that went on an odyssey, something this Phish fan couldn’t help but smile at. It’s wonderful how much life Presley injects into these songs, as the jangly cassette-tape quality of their recordings are traded in for piercing, well-delivered garage rock.

Having recorded and toured with Ty Segall this past year, one but can’t wonder how far Presley will take his deep songbook once he finds a band that can keep up with his mad genius process which unravels on stage for the lucky few.

Filed Under: Live Music Reviews Tagged With: ,

The Kid’s are alright: Disclosure make first SF appearance at The Independent

November 2, 2012 by 4 Comments


Photos by Mike Frash // Written by Kevin Quandt //

Disclosure //
The Independent – San Francisco
October 30th, 2012 //

Patient fans of progressive electronic music were rewarded this past week, as the Lawerence brothers brought their up-and-coming act, Disclosure, across the pond. It has been a banner year for Guy, 21 and Howard, 18 with a positively received EP entitled The Face and a handful of blistering singles and remixes. This successful tour is only one brick in the foundation of an act set to make the transition from underground to the mainstream. Sure the progressive blend of UK deep house with two-step garage is not going to reach the disgusting popularity of Avicii or Swedish House Mafia, but their uncanny production of truly forward tracks has gained them accolades beyond the “big guys” of popular electronic music. San Francisco’s The Independent was a lucky recipient of only a handful of dates from the young duo.

The evening’s crowd stacked in early as the traditional venue was transformed into a club atmosphere while local DJ’s set the night’s vibe spinning funky house and left-leaning beats. Sleazemore represented the Lights Down Low crew while promoter/bass producer Dials deviated from his standard wobble to play a quicker tempo set than usual. Dials wrapped up and made way for Disclosure around 11:30 p.m., a risky venture on a school night.

As the Surrey, UK, natives strolled out to their array of Midis, synths and drums you could tell they were enthusiastic about these well attended US dates, their first trek on American soil. They opened the set with “Control,” a track indicative of their two-step garage hybrid, full of blips and chopped up female vocals care of one Ria Ritchie. The underground electronic music fan in me couldn’t help but hear elements of jungle and deep house married with a shuffled two-step beat. From there they cleanly mixed into the tracks “Blue You” and “My Intention is War” offered from the Carnival and I Love…That You Know EPs respectively.

“Boiling Point” came next, which received a nice cheer from the crowd, displaying that they know the nooks and crannies of the limited releases. This track leans closer to the deep UK house sound pioneered by Ministry of Sound and Sonar Kollectiv in the previous decade, with it’s sexy full-vocal stylings of Sinead Hartnett. Standout live track “Tenderly” had the younger Lawerence pounding out drum sequences from a portable pad, while Guy held down the bulk of the keys in a penetrating UK funky mix.

The middle of the set featured a few remixes including a nod to garage pioneers, Artful Dodger, and a tweaked out rendition of Jessie Ware’s “Running.” Throughout the set the brothers utilized a small drum set between their two unique rigs, adding even more to their live delivery. It appeared the younger, and noticeably energetic, Howard took the reigns on the rhythm side of things, while Guy fingered out some serious melodies and leads on keys.

As the set came to a draw with “What’s in Your Head and Flow,” the devote crowd was still in attendance just getting their dance moves honed. Alas, the lads announced the next track would be the encore and launched the into blistering anthem, “Latch.” This searing club banger is a bit of a departure from the past 60 minutes of 2-step garage and UK funky deep house. Sam Smith’s angelic vocals are mainly left intact while the BPM has been slowed to Vegas after-hours pace, perfect for hands in the air and hands on your partner. It’s infectious and catchy tracks like these that will likely catapult these blokes from the UK underground to Ibiza/rave mainstays. Many, like myself, look forward to a banner year for Disclosure with the inevitable release of an LP, international tours and festival gigs.

Filed Under: Live Music Reviews Tagged With: ,
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