Live Music Reviews

Ariel Pink continues down path of oddities

February 10, 2015 by Kevin J Quandt 3 Comments

Photos by Justin Yee // Written by Kevin Quandt //

Ariel Pink with Jack Name //
Bimbo’s 365 Club – San Francisco
February 7th, 2015 //

I fear that the average Beverly Hills homeowner would call the authorities if they saw Ariel Pink sauntering down their wealthy streets, but Pink is as authentic of a Hollywood persona as any star of the screen. What makes Pink and his music so profound is how outright poppy it is, achieving this from some of the farthest fringes in the music industry. Furthermore, his outlying nature is magnified by his lack of consistency and the ability to keep his fans on their feet at almost every move he makes. Well, as a Bay Area storm broke for a few hours, the loyal followers made their way to the edge of North Beach to congregate at the Church of Freak (aka Bimbo’s 365 Club) for one night only.

It’s not terribly often that lovers of psych-pop (or whatever you wanna call this) get to convene in this historic space, so there was some expected buzz whirling around this night. Many lingered in the space early on to catch a performance by up-and-coming Castle Face artist Jack Name. The eclectically out-there artist, whose real name is John Webster Johns, is coming off a brand-new release called Weird Moons, which much like Pink, is turning the term “pop music” on its head. Another shared theme is the chameleonic nature at which they drive their artistry, constantly in ebb and flow. This night featured the band as a three-piece, fuzzed-out, bomb-throwing, new-wave shrapnel into the faces of those in early attendance. At times the listener could hear elements of “Melody Day”-era Caribou. Jack Name is equally as sonically pleasing onstage as they are in a set of audiophile headphones.

By the time Pink had taken the stage, the anticipation for the LA native to return to SF was palpable. Now performing sans The Haunted Graffiti, Pink casually walked onto stage in an outfit that looked more like it belonged on the set of “Blow” than on Ariel Pink. It was apparent early on that we were not getting the pink-haired, quasi-drag version that many know and love. Did that diminish from the show? Well, maybe not definitively, but the bizarro-dial did seem to be turned down a certain percentage as he launched through the majority of the tracks from late-2014’s pom pom. “White Freckles” stood out early in the show as the band seemed tighter on this night than at a show this writer saw in LA in November. There also seemed to be few more Haunted Graffiti songs featured on this night than the previous show seen on this album cycle. Tracks like “Sexual Athletics” and “Jell-O” might alienate the casual listener, but if you hoist your freak flag for an hour plus, you are sure to walk away knowing you experienced something unique.

Setlist:
Plastic Raincoats in the Pig Parade
White Freckles
Four Shadows
Lipstick
Not Enough Violence
Put Your Number in My Phone
One Summer Night
Picture Me Gone
Black Ballerina
Menopause Man (Ariel Pink’s Haunted Graffiti song)
Life in L.A. (Ariel Pink’s Haunted Graffiti song)
Negativ Ed
Sexual Athletics
Dayzed Inn Daydreams

Encore:
Bright Lit Blue Skies (Ariel Pink’s Haunted Graffiti song)
Goth Bomb
Nude Beach A Go-Go
Dinosaur Carebears (Extended Jam)

Filed Under: Featured, Live Music Reviews Tagged With: Ariel Pink, Bimbo's 365 Club

London Grammar deliver a gorgeous performance to a sold-out crowd at Fox Theater Oakland

February 9, 2015 by The Bam Team Leave a Comment

London Grammar

Photos by Steve Carlson // Written by Krystal Beez & Steve Carlson //

London Grammar with Until the Ribbon Breaks //
Fox Theater Oakland – Oakland
February 7th, 2015 //

On the final stop of their North American tour, British electronic pop trio London Grammar gave an impressive performance to a welcoming, sold-out crowd at the Fox Theater Oakland.

Kicking off the evening was fellow British trio Until the Ribbon Breaks, whose sound has been described as a melding of electronic pop, rock and hip-hop with a big, atmospheric feel. Frontman Pete Lawrie-Winfield led the group through tracks off their excellent, recent debut release A Lesson Unlearnt, energetically alternating between an electronic drum kit and guitar to go along with his vocal duties.

Until the Ribbon Breaks

Until the Ribbon Breaks takes their name and inspiration from the world of film, which Winfield studied before branching out into music as a full-time pursuit, and this love of film was unsurprisingly integrated into their live show in the form of movie clips projected behind the band during many songs. On “Revolution Indifference”, the band’s excellent collaboration with Run the Jewels and a highlight of the set, Killer Mike and El-P performed their verses through the video projection, which was well received by the many fans of the hip-hop duo in the audience.

The experience touring with London Grammar and Lorde showed in UTRB’s confidence, and Winfield offered sincere gratitude to the fans and to London Grammar with this being the final night of their tour together. Expect to hear more about Until the Ribbon Breaks in the near future as their fan base continues to grow.

As the lights dimmed following that opening set, London Grammar keyboardist/drummer Dominic “Dot” Major and guitarist Dan Rothman took the stage. A long intro into the extremely popular “Hey Now” began to play. And then lead vocalist Hannah Reid stepped onto the stage with her high ponytail and zip-up hoodie and sang an outstanding version of “Hey Now”.

London Grammar

There were no gimmicks or flashiness — just simply talent. Hannah’s vocals resonated throughout the Fox. Later, as Reid emotively sang “Wasting My Young Years”, she somehow managed to sound even better live than she does on the group’s debut album If You Wait.

Reid’s strong and brooding voice was the perfect complement to the skills of Rothman and Major. It is easy to forget that the three have only been making music together for four years.

London Grammar

Before going into “Flickers”, Rothman stated that the song was the very first they wrote together, while all hanging out in his bedroom. It was truly amazing to hear that performed live; their energy really fed off of each other. Then they blended that song into a crazy, darker version of “Help Me Lose My Mind”, and there was so much talent and skill being displayed on that stage. It is immediately evident that this trio will be around for a long time.

Reid has stated that their songs are a collaborative effort, and that was especially apparent during their renditions of “Strong” and “Metal and Dust”, the latter evolving into a breathtaking jam session that I hoped would never end.

Sadly, this was London Grammar’s last date on their North American tour. But rest assured, they will definitely be back. This is still the beginning for them. If you ever have the opportunity to see these three perform live, take it.

London Grammar

Until the Ribbon Breaks

Filed Under: Featured, Live Music Reviews Tagged With: Fox Theater Oakland, London Grammar, Until The Ribbon Breaks

The Devil Makes Three has the golden ticket!

February 6, 2015 by BenJamin Wallen 1 Comment

Photos by Benjamin Wallen // Written by Benjamin Wallen and Micaela Burke //

The Devil Makes Three with Joe Pug //
Fox Theater Oakland – Oakland
January 30th, 2015 //

The Devil Makes Three returned to the Bay Area to play at the majestic Fox Theater in Oakland. The band built on the shores of Santa Cruz found itself headlining a sold-out show at one of the biggest venues in the bay. Accompanied by Joe Pug, the night was sure to be an acoustic party like no other.

Pug took the stage with his blend of that “real music” fans have come to enjoy — a man with a guitar and an intricate and delicate, yet powerful set of true and wondrous music, proving that Texas still breeds fantastic singers and songwriters. It was wonderful to see Pug play and warm the filling-in crowd up for the shindig about to kick off with The Devil Makes Three. But don’t be fooled by Pug’s acoustic stylings at the start. Electric or acoustic, the band simply wails.

When the intermission broke and crowds usually thin for beer and bathroom, the opposite happened. Areas quickly filled in and the push towards the front began. After a quick stage change, the banners lit with a watchful eye and a red light bathed the stage. A discussion overheard was how to classify the music of The Devil Makes Three. It’s not quite bluegrass but not quite rock. It’s got twang with dance notes of waltz and genre-bending punk styles, reminiscent of old and new sounds. Someone jumped in o the conversation to offer “Pirate grass.” Everyone stopped and seemed to nod in agreement. The lights dropped, and the band took the stage to lead off with their latest hit “Stranger.”

The energy level of the band was equally matched by the crowd, constantly fueling each other and raising the show to new heights. Accompanied by a few other players from time to time added some thick and full jams to the trio’s long set. Then came the classic hits one after another, seamlessly woven together with kickoffs to rouse even the biggest fan with a surprise on what song was next. A familiar “Walk on Boy” had me giddy. No matter how many times I hear that song by so many different performers, I just love it. Fans got into such a dancing spirit that a mosh pit even formed in the front of the stage amongst all the dancing heads and people bouncing around. Needless to say, the band brought a sold-out show to its knees.

A double encore finished off the night with a bang, reminding us all once again that this trio kicks serious ass and wails like no other three-piece band can. The promise of a golden ticket hidden in a LP for free access to all DM3 shows for 2015 had even myself standing in line to freshen up my DM3 LP collection.

Sadly, I didn’t find the golden ticket, but the numerous replays of the LP over the following days, mixed with the lingering high from the show, was a golden ticket in and of itself. Being moved once again by bands you haven’t listened to in a while is like having a drink with an old friend you haven’t seen in years but still feels like yesterday. Both acts left me on a high for days after, and I will be sure not to miss Pug or The Devil Makes Three again.

Filed Under: Featured, Live Music Reviews Tagged With: Fox Theater Oakland, Joe Pug, The Devil Makes Three

Rainbow Girls headline first all-female show at The Fillmore

February 5, 2015 by Pedro Paredes 1 Comment

Rainbow Girls

By Pedro Paredes //

Rainbow Girls with The Hot Toddies, The She’s, Kendra McKinley //
The Fillmore – San Francisco
January 31st, 2015 //

For the first time in its rich history, The Fillmore hosted an all-female show last Saturday with the five gals from Rainbow Girls leading the way. Accompanying the Santa Barbara/Sebastopol band was a large contingency of female musicians who currently call the Bay Area home, including Oakland’s The Hot Toddies, SF’s The She’s and Kendra McKinley.

And when The Fillmore said that this would be an all-female night, the venue certainly meant it. Even the people working the venue’s soundboard were women. Better yet, the keyboardist from The Hot Toddies, who was the only male to perform on stage all night, wore a dress and a wig. But despite all the bands being mostly female, their musical styles were quite different from one another.

Kendra McKinley

SF singer-songwriter Kendra McKinley got the night off to a mellow start, plucking her guitar gently as violins, cello and a couple of backup singers played alongside her. Yet, McKinley’s set was in stark contrast to what would come next from The She’s and The Hot Toddies.

The She’s

The She’s would be the most “punk rock” band of the night, as they won over the crowd with their high energy and exciting stage presence. Knowing nothing about them before the show, they were the surprise of the night for me.

The Hot Toddies

The Hot Toddies, on the other hand, offered a sound reminiscent of the first-generation “riot grrrl” band Bratmobile. These four girls from Oakland were in a particularly good mood during their set, as they were celebrating their 10th anniversary as a band. To rightfully celebrate the moment, they asked the audience to get them whiskies from the bar so they could make a toast — and the small, but passionate crowd quickly obliged in getting them those libations.

Rainbow Girls

Far from any of the bands that preceded them at The Fillmore, Rainbow Girls brought an entirely different sound to the table, offering their unique brand of gypsy folk. Making up for a lack of people in attendance, the band did their best to engage with the crowd, asking it at one point to make the room feel like it was at maximum capacity. And even though I didn’t feel quite as connected to their music as some of the other bands, their energy was contagious. On a number of occasions, I found myself moving my feet and dancing to their songs. But just watching the group’s accordion player, who appeared to be in a trance while she played, was enjoyable enough for this spectator, even if I was only one of the few non-females in the building on this historic night for The Fillmore.

Rainbow Girls

Heidi.

The Hot Toddies

The She’s

Kendra McKinley

Filed Under: Featured, Live Music Reviews Tagged With: Kendra McKinley, Rainbow Girls, The Fillmore, The Hot Toddies, The SHE'S

Sage Francis spits brutally-honest lyrics with spoken-word flare

February 4, 2015 by Nikki de Martini 1 Comment

Photos by Marc Fong // Written by Nikki DeMartini //

Sage Francis with Jel //
Mezzanine – San Francisco
January 30th, 2015 //

It was a few minutes before midnight when Sage Francis took the stage following a couple different guest DJ sets Friday night at Mezzanine. Scheduled openers The Metermaids from Brooklyn had to cancel due to a blizzard on the East Coast.

It’s been less than a year since Francis’ last show in SF, and the innovative rapper from Rhode Island gave fans a performance unmatched to any other solo hip-hop artist, bursting with his unique sound, style and grace.

He hit the stage wrapped in a Strange Famous flag (as a tribute to his record label) with nothing more than a microphone and a laptop laden with original instrumental beats to carry him through the set.

While a majority of Francis’ setlist weighed heavily on tracks from his older albums than more recent releases like last year’s Copper Gone, he wholeheartedly spit his brutally-honest lyrics with a certain attention-grabbing swagger and spoken-word flare. The captivated crowd felt compelled to dance as they cheered him on throughout his lively and humbly-engaging performance.

Francis has a few more shows lined up in March on the East Coast before he returns to California in late May for a night at Corona’s M15 Concert Bar & Grill. Hopefully it’s not another four years before we hear new music from one of SF’s favorite, off-beat rappers so we can jump back on the Sage train soon.

Filed Under: Featured, Live Music Reviews Tagged With: Jel, Mezzanine, Sage Francis

The Soft White Sixties, Mahgeetah & Coo Coo Birds rock ‘Showbams Presents’ showcase at Brick & Mortar

February 3, 2015 by Molly Kish 3 Comments

The Soft White Sixties

Photos by Tom Dellinger, Benjamin Wallen & Mike Rosati // Written by Molly Kish //

“Showbams Presents” The Soft White Sixties with Mahgeetah, Coo Coo Birds //
Brick & Mortar Music Hall – San Francisco
January 28th, 2015 //

Capping off a successful month-long residency at Brick & Mortar Music Hall last week, SF’s The Soft White Sixties were joined by opening acts Mahgeetah and Coo Coo Birds in a grand finale of epic proportions, presented by Showbams. Filling the intimate venue to maximum capacity, the sold-out crowd turned the event into a Wednesday night rager.

In combining some equally-enthusiastic fan bases into one room, the show offered a strong portrayal of the Bay Area’s vibrant music scene with three local bands on top of their games at the moment. Showbams couldn’t have been happier to present a night filled with such an impressively-curated lineup of artists — each representing their own unique musical styles — that continue to breach the creative barriers of the indie status quo across the board.

Coo Coo Birds

The three-piece Coo Coo Birds stunned the early-evening crowd, opening the show with their sludgy, psychedelic garage rock. Whether or not it was familiar with the band’s work upon entering Brick & Mortar, the audience quickly filled out the dance floor, drawn in by the trio’s hypnotic set.

Mahgeetah

A highly-anticipated performance from local indie/Americana outfit Mahgeetah marked the halfway point of the evening. By then, Brick & Mortar had already reached full throttle, packed with fans thirsty for their long-awaited live show before breaking out into a lively dance party while Mahgeetah ran through a string of their hits. The performance reached its peak when the band played its raucous cover of “The Seeker” by The Who, prompting a singalong that hit screaming octaves and one that neighborhood residents could easily hear within a few blocks of the venue.

The Soft White Sixties

Lastly, the evening’s headliner and the spotlight artist for their month-long residency, The Soft White Sixties took the stage. Equipped with their own lighting rig and set design, they took full control of the room, making sure that this last performance as the reigning kings of Brick & Mortar was one for the books. Performing for a packed house of friends and family, the band, which started playing together in 2010, brought an intensity and showmanship to the stage that echoed ones of veteran performers.

Coming in hot off the end of a year-long touring schedule in support of their most recent album Get Right, the band seemed as fresh as it was during its kickoff performance last February when it was one of the spotlight acts at Noise Pop 2014.

The Soft White Sixties lead singer Octavio Genera

It’s been a successful year on the road for the TSWS in addition to their many other accomplishments as a band, but this performance was even more special due to the fact that the show was also serving as an unofficial birthday party for lead singer Octavio Genera.

The “Showbams Presents” residency date truly was an amazing night for this website, Brick & Mortar Music Hall and all three bands that we were honored to have perform. It was definitely nothing short of a successful evening and ultimately one huge, epic party to end an amazing month of shows in SF.

The Soft White Sixties

Mahgeetah

Coo Coo Birds

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: Brick & Mortar Music Hall, Coo Coo Birds, Mahgeetah, Showbams Presents, The Soft White Sixties

Mates of State are one quirky husband-and-wife band

January 29, 2015 by Josh Herwitt Leave a Comment

By Josh Herwitt //

Mates of State with Babes, Fictionist //
Bootleg Theater – Los Angeles
January 26th, 2015 //

It’s not every day that you see a husband and wife start a band and make it work for 17 years.

But after seven LPs, three EPs and a number of other releases on their résumé, Mates of State’s Kori Gardner (vocals, organ, synthesizer, piano, electric piano, guitar) and Jason Hammel (vocals, drums, percussion, synthesizer) are still going strong, with a new album on the horizon more than three years since dropping 2011’s well-received Mountaintops.

At the warehouse-styled Bootleg Hifi in LA’s Historic Filipinotown neighborhood, the indie-pop duo introduced some of those new tunes that we can expect to be released this May, but it was older cuts like “My Only Offer,” “The Re-Arranger,” “Goods (All in Your Head)” and “Now We’re Gonna Get It” that had the small, but loyal audience singing along on a cold, rainy Monday evening.

Though it was clear that Mates of State’s sound still remains confined largely to keyboards and drums, the couple’s ability to harmonize and play off each other with their vocal parts has always been one of the group’s greatest attributes since its early beginnings, which date back to the late 90’s in Lawrence, Kan. Because from the way Gardner and Hammel create polyphonies with their voices alone, it sounds as if they are playing another instrument altogether — both in and out of the studio.

Back at the half-filled Bootleg, Gardner and Hammel crack a few jokes in between songs, going back and forth at one point about whether the next song was about kidney stones (as Hammel claimed) or Hurricane Katrina (as Gardner countered). While the subject matters being debated aren’t normally meant to be funny, their banter was hard not to chuckle at, offering fans a lighthearted moment to remember during the hour-long set. They even traded places (sort of) for a song, as Gardner took a seat behind the drum kit and Hammel manned the mic at the front of the stage.

To close things out, Gardner and Hammel didn’t leave their promise — or maybe it was supposed to be more of a tease — unkept, leaving us with their new cover of Miley Cyrus’ “We Can’t Stop” before exiting stage left. It felt like a rather strange and anti-climactic way to end the show, which started with LA-based band Babes and continued with Utah alt-rockers Fictionist before the main event.

But as Cyrus sings to open her song, “It’s our party we can do what we want,” and on this late January night, the so-called party, if you will, belonged to the husband and wife on stage.

Filed Under: Featured, Live Music Reviews Tagged With: Babes, Bootleg Theater, Fictionist, Mates of State

Hip-hop legends The Coup leave spirits high at The Indy

January 27, 2015 by The Bam Team Leave a Comment

Photos by Tom Dellinger // Written by Bridget Stagnitto //

The Coup with Le VICE, Ren the Vinyl Archaeologist //
The Independent – San Francisco
January 23rd, 2015 //

Hip-hop legends The Coup occupied The Independent on Friday night with another Oakland band, Le VICE, creating an evening of dancing, social awareness and general debauchery.

While The Coup haven’t released a new album since their super-smash album Sorry to Bother You in 2012, Boots Riley has been busy writing a screenplay. The work is based on Sorry to Bother You and his time as a telemarketer. With big actors such as David Cross and Patton Oswalt signing on to the production, we await patiently for the work to hit the big screen.

Le VICE casually started the night with sultry, hip-shaking songs like “Find You”, a song of longing for the existential need to create, to rise with self potential and to ultimately find someone to love thanks to its chorus “I don’t know where you are / Where I go / Gotta find you”.

Vocalist Alex Lee delivers her lyrics with a confident ease. Bassist Sean Stillinger and guitarist Renzo Staiano bring the electro chillwave and indie-pop disposition. While Dame Taylor — who I saw the next night at the Great American Music Hall with Marcus Cohen & The Congress — holds down the heartbeat, the band played old songs off its new album The Payoff.

Following Le VICE came Ren the Vinyl Archaeologist to keep the buzz humming throughout the venue as the crowd got warmed up for the storm that is The Coup. The stage quieted and the tension was cut by the swirling smoke on stage. The silence was broken when the band started jamming out. Suddenly, Boots Riley jumped on stage with his signature mutton chops and powerful words of “The sweet angel of revolution whispering in your ear. What does that sound like? I don’t know. I don’t believe in angels. But if I did, it would probably sound like this …” It sounded like a mix of punk and hip-hop, as the crowd began shaking their hips and stomping their feet.

The party continued with the song “Magic Clap” and the amazing Silk E came out to sing with Riley, wearing some pretty hot boots to go with her hot voice. Riley welcomed the audience to the show and introduced the next song by saying, “Harriet Tubman sang this song. Bob Marley sang this song. Even The Clash sang this song. But what we did was change the lyrics around and the music, and it goes like this.” They then proceeded to play “500 Ways to Kills a CEO”.

After that very catchy, yet very powerful song, Riley broke it down and got real with the audience. He talked about the messages in his music: “The people should democratically control the wealth of our labor!”, which was met with a cheer of agreement. He went on with a speech of inspiration: “We make music because we don’t want a real job. But seriously, we can all relate to each other through the music. It is a way to engage with the world and therefore change the world. If you don’t engage with the world, then you will let it pass you by … on Facebook. If you do that, then you are only cheating yourself. You don’t want to lie when you’re older. You want to be part of it and be involved. If you were just standing on the wall, it’s like you weren’t even at the show.” The crowd gave their enthusiastic approval for this electrifying speech with applause, stomps, fists and peace signs of solidarity.

Following a solid jam, the band stepped off stage and Riley took center stage with a spotlight on him as he began to recite the words to “Underdogs” in spoken-word style: “This is for my folders who got bills overdue / This is for my folders check one two”. As he spoke, the crowd responded vehemently to his words of suffering and hope for a better world. Guitarist Gregor Simmons then came out with an acoustic guitar while Boots and Silk E sang the sexy duet “I Just Wanna Lay Around”. The song was made more poignant with the highlight of the two singers’ voices against the acoustic guitar.

The Coup closed out the show with upbeat songs like “Fat Cats” and “Bigga Fish” while bassist J.J. Jungle performed some acrobatics onstage, turning the expectations for a musical performance upside down. Spirits were left high and hopeful as the audience walked away with a fresh outlook on the way of the world, taking life’s struggles with a grain of salt and daring to be optimistic in order to keep growing.

Of course, shaking your booty to forget your troubles is also a great prescription for the blues.

Filed Under: Featured, Live Music Reviews Tagged With: Boots Riley, Le Vice, Ren the Vinyl Archaeologist, The Coup, The Independent

Snakehips consummate steamy sold-out set at The Indy

January 14, 2015 by Molly Kish 1 Comment

Photos by Justin Yee // Written by Molly Kish //

Snakehips with DJ Dials, Mikos Da Gawd //
The Independent – San Francisco
January 9th, 2015 //

UK production duo Snakehips rocked a sold-out crowd last Friday night at The Independent with their signature glitchy beats and sample-heavy, half-sped house grooves.

Supported by opening sets from Mikos Da Gawd and a humbly apologetic DJ Dials, the packed venue was antsy to get their swerve on with the London outfit in the building. Although faced with technical difficulties, DJ Dials made the best of the situation by warming the crowd up with a personally-curated playlist of 90’s hip-hop and R&B. Ending his set somewhat abruptly due to issues with his equipment, he made a classy exit, apologizing for the mishap and letting Snakehips take the reigns the rest of the way.

Snakehips’ Oliver Lee and James Carter, in the meantime, wasted no time, breaking into their 2014 remix of Raury’s “Cigarettes”, which whipped the crowd into a sultry sing-along as fans bounced along to the duo’s downtempo take on the soul/pop ballad. With little stage production to offer, Snakehips kept their set focused directly on the music. Instead, entertaining the crowd with their onstage chemistry and a backdrop screen that simply displayed their moniker, Snakehips pulled material from several mixtapes and sprinkled in some of their own individually-released remixes, too.

A jammed-packed, steam-filled room broke out into a frenzy on several occasions throughout the evening, responding most passionately to the duo’s remixes of Wild Belle’s “It’s Too Late” and The Weeknd’s “Wanderlust” as well as their brand-new track “On & On”, which features Australian vocalist George Maple.

As Snakehips gear up for what undoubtedly will be a heavily-booked festival season this spring and summer, it was quite a treat to catch Lee and Carter in such an intimate setting. With talk of a debut album making the rounds and several of their mixes finding their way onto music blogs like Hypetrak and British radio stations like BBC Radio 1, Snakehips definitely should be returning to the Bay Area in the near future.

If you slept on their show this time around, do yourself a favor and keep yourself informed about their next U.S. tour. At the pace these two are escalating up the dance charts, you wouldn’t want to let them slither past you a second time around.

Filed Under: Featured, Live Music Reviews Tagged With: DJ Dials, George Maple, Mikos Da Gawd, snakehips, The Independent, The Weeknd, Wild Belle

Cut Copy ring in New Year with no spare of ‘lights and music’

January 6, 2015 by Molly Kish 1 Comment

Photos by Bridget Stagnitto & Jenn Wong // Written by Molly Kish //

Cut Copy with The Juan Maclean, St. Pepsi, Eli Glad //
Mezzanine – San Francisco
December 31st, 2014 //

Unquestionably one of the easiest decisions made all year and further confirmed by the sold-out crowd in attendance last Wednesday night, Cut Copy headlining the Mezzanine for New Year’s Eve was pretty much a no-brainer.

Riding off an amazing year touring behind their fourth album Free Your Mind, the foursome arrived in the states ready to rage well into the earliest hours of 2015. The club was primed for the electrifying headliners with opening DJ sets from St. Pepsi and Eli Glad that was accompanied by a Russian Standard Vodka bar.

Leading into Cut Copy’s late-night slot, DFA Records brought the heat with a disco-infused DJ set from The Juan Maclean. Stationed side stage, MacLean got up close and personal with the rowdy crowd, playing hits off his 2014 critically-acclaimed release In a Dream to go along with deeper cuts and house favorites from his previous three albums on the iconic label. In a near-seamless transition, Maclean kept the crowd moving while Cut Copy’s road crew fine-tuned the sound and light equipment occupying the center stage. Inching toward the final minutes of 2014, the crowd, although anxious, remained enveloped in the pulsating nu-disco pumping through the venue’s veins.

With about 10 minutes left before the official countdown, Cut Copy exploded from a sea of light into the opening notes of “We Are Explorers”, igniting the crowd into a full-volume singalong and dance party. What at first seemed like a late start to their headlining set ended up timing out perfectly as an extended jam closed to usher in the New Year. Amidst their fully-immersive light show and a barrage of rainbow-colored balloons, couples kissed and friends embraced to fan favorite “Take Me Over”, which blended continuously into a euphoric rendition of “Free Your Mind,” causing the sold-out venue to collectively lose their own. The evening’s performance pulled from Cut Copy’s entire discography, pleasing what unquestionably was an audience filled with longtime fans who got to share an extremely special moment with the band and each other.

The band rocked its set well into the early-evening hours before leaving it for Deep Into the Night, which featured DJ performances from Cut Copy and Phantogram. While they didn’t promise new material during their set, Cut Copy has been cutting their producer chops after releasing their Melbourne dance music compilation, entitled Oceans Apart, in November. Highlighting the best and brightest in local acts from Down Under, Cut Copy have been keeping their ear to the ground and their fans attentive, opening up a world of possibilities for potential upcoming tour dates and collaborations.

If anything can be learned from this past year’s Disclosure-curated “Wild Life Series”, Cut Copy may have some creative plans for the future. After the incredible performance they put on to celebrate the annual bacchanal that is NYE, one can only hope that they’ll be back stateside sooner rather than later in 2015.

Filed Under: Featured, Live Music Reviews Tagged With: Cut Copy, Disclosure, Eli Glad, Mezzanine, Phantogram, St. Pepsi, The Juan Maclean

STRFKR flash back to the 80’s during NYE run at The Indy

January 6, 2015 by The Bam Team 4 Comments

Photos by James Nagel // Written by Bridget Stagnitto //

STRFKR with Blackbird Blackbird //
The Independent – San Francisco
December 29th-30th, 2014 //

Portland-based band STRFKR arrived in SF for a three-day takeover of The Independent leading up to New Year’s Eve, and we caught up with them for the first two nights. Both nights were a sensory overload of pop sensibilities and dance fever, creating vehemence for the imminent NYE.

Each night had a similar setlist that both started with the smash song “Boy Toy” from their second album Jupiter. Launching into the dynamic synth-heavy song, they set the stage for a night of dance and frivolity.

After a couple of songs on the first night, Shawn Glassford (bass, keyboards, drums) stepped out of his pop coma to make the sincere announcement that his father is in the audience and how grateful he is to have him there. It brought a sort of nostalgia to the room with the holidays over and a new year galloping toward us. The only thing to do at that moment was to celebrate life and the times gone by.

The night continued on with an air of sentimentality and old standards like “Rawnald Gregory Erickson the Second” and “Isabella of Castile”, as the reassuring spirit of the songs allowed for a complacency with the past and present.

The party picked up again when the band began to play 80’s covers like “Don’t You Want Me” by The Human League before leading into “Blue Monday” by New Order. Following those songs came “Head Over Heals” by Tear for Fears and “Girls Just want to Have Fun” by Cindy Lauper, and the crowd went crazy for the renditions of these classic hits. STRFKR’s own music is so comparable to the 80’s synthpop/rock hits of that time that it makes sense they would do covers of those iconic songs.

What is so great about a band like STRFKR is that they are entirely self-aware. When Joshua Hodges created the band, he picked the name as a joke. The goal was not to get too caught up in the rat race of the music business, but lo and behold, STRFKR has made four albums and has even licensed a song for a Target television commercial. These guys are happy just to play their music for an audience, and it shows in their performance.

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

Primus bring Danny Carey from Tool into a Bay Area tradition

January 5, 2015 by Scotland Miller Leave a Comment

Photos by Mike Rosati // Written by Scotland Miller //

Primus – An Uber Drum Spectacular //
Fox Theater Oakland – Oakland
December 31st, 2014 //

There are few things in this world that are as much of a sure thing as a local New Year’s Eve show from the kings of oddity and tweakerdom. If you are unaware, Les Claypool and the boys of Primus have established a tradition in the Bay for the past 25 years, and don’t show signs of stopping any time soon. In his first banterings of the night, Les joked and welcomed everyone to the “45th annual New Years show … only 73 to go!”

In efforts to keep things fresh and new smelling, each year’s celebration is centered around a fantastic and goofy theme to accompany an already weird and bizarre psyche that is Primus. Past motifs have included a night with Charlie and the Chocolate Factory, 3D projection screens and full-album performances. This year was dubbed the “Uber Drum Spectacular”, featuring a second set guest appearance by the percussive giant Danny Carey (Tool, Pigmy Love Circus, Volto!). As if Tim “Herb” Alexander (Laundry, Blue Man Group, Puscifer) wasn’t enough?

There is something especially dirty about having two 180-degree thunder kits next to each other on stage playing “My Name is Mud”, with the closing drum rolls lingering until utter hysteria breaks out in the crowd.

The atmosphere at these well-known evenings is always a feature of the night and rarely disappoints even those who aren’t on some sort of psychedelic substance. “Some people, like Dave Grohl, need to drive around the country looking for inspiration. What do we at Primus do? We suspend a 60-foot inflatable sperm whale in the air and gaze up at it as we play.” It was as if the show was contained in an deep sea wonder world, watched over by Spermy. The patterned ceiling of The Fox was splattered with bluish lights that served to resemble the shimmering of aquatic world of the epic Moby Dick. This would eventually lead to the “Uber Drum Spectacular” that was the post-countdown antics and song selection obviously inspired by the mighty Bonzo himself.

As the second set hammered on with “Herb” and Danny dueling away on such songs as “Last Salmon Man” and “Southbound Pachyderm”, the clock neared midnight. “Jerry Was a Race Car Driver” ended, and Les dribbled his way through a Hendrix rendition of “The Star-Spangled Banner”. 2015 closed in and the balloons fell like backwards bubbles from above Spermy’s watery home. The oh so familiar engine-like rumblings of Van Halen’s classic “Hot for Teacher” began as a long, unseen member of the Primus family appeared. Bob C. Cock performed the vocals in his best David Lee Roth garb and impression, only substituting the chorus with “I’m hot for cock”. The “Spectacular” culminated with an extended rendition of Led Zeppelin’s “Moby Dick”.

Primus has had very few lineup changes since their original EP release Suck on This, but the addition of Danny Carey to the mix is surely to be a well-remembered appearance. After filling in for “Herb” earlier in the year, it was a great surprise to see his name on the bill.

PRIMUS SUCKS!!!

Set 1:
Sailing the Seas of Cheese
John the Fisherman
The Toys Go Winding Down
Frizzle Fry
Lee Van Cleef
Del Davis Tree Farm
The Heckler

Set 2 with Danny Carey:
Those Damn Blue-Collar Tweekers
Last Salmon Man
Southbound Pachyderm
Too Many Puppies (Ænema chorus included)
Eleven
My Name Is Mud
Jerry Was a Race Car Driver
The Star-Spangled Banner (countdown to midnight)
Hot for Teacher (Van Halen cover with Bob Cock)
Moby Dick (Led Zeppelin cover)

Encore:
American Life
Here Come the Bastards

Filed Under: Featured, Live Music Reviews Tagged With: Danny Carey, Fox Theater Oakland, Primus, Primus Sucks, Tool

Kaki King goes on a journey through sound and space

December 16, 2014 by The Bam Team 1 Comment

Photos by Callum Coogan and Scott Martin // Written by Bridget Stagnitto //

Kaki King //
Jewish Community Center of San Francisco – San Francisco
December 12th, 2014 //

Rows of chairs faced the stage that held aloft a white guitar in the air. Some structural force held the guitar up that did not allow it to touch the ground. This seemed to indicate the level at which to receive the music of American guitarist Kaki King’s new show, entitled “The Neck Is a Bridge to the Body”.

Once King took her seat and cradled the guitar in her arms, the show got underway with a whirlwind of soundscapes. As the guitar floated (to the spectator’s eye) in King’s arms, music flowed effortlessly from her hands. Meanwhile, images were projected on a screen behind King in tandem with the music. Oceans, penguins, bees, lights, stars, a taxi cab and New York City were all subjects of life through the performer’s eyes.

The most impressive visual aspect of the show was the projection mapping onto the guitar. The guitar had its own separate imagery that radiated from it; it was as if the guitar had a life of its own. In fact, the guitar had its own song in which it spoke to the audience. The video screen translated the burbling musical language that was used to communicate and relay the guitar’s life story — a story of not fitting in, but still finding a way to overcome adversity and continue playing guitar.

The song that followed had a heavy-metal growl that grew to a moment of calculated insanity before eventually cooling off with some electric noises coming from something that sounded like a space station.

King explained how she created the visuals for “The Neck Is a Bridge to the Body” to fall in line with the music:

“The whole piece is a story even if it’s not very obvious. I wrote the story first. I wrote the script. Through that script, I was inspired to write music for each piece. I was able to say here’s the story, here’s how it develops, here’s where it goes, here is what happens. I had a storyline that I then wrote music to. Once the music was written, I had music that visuals could be a part of. In an interesting way it is a different kind of story telling. It was very loose, but I knew it needed to have a beginning, middle and end — a journey. Something happening, something changing, something evolving — and that’s kind of how it really started. Story, music and the music dictated these different pieces. This has got to be fast, this has got to be slow, this has got to be big and gloppy and droopy, and this has got to be this drawing of faces and eyes and hands so that’s kind of how it happened. Even if you don’t understand it or feel it, I feel like people leave the show saying, ‘That was a complete experience.’ It’s about creation and evolving.”

The following night (December 13th) at The Catalyst in Santa Cruz, Scott Martin caught Kaki King’s show and snapped these shots below.

Filed Under: Featured, Live Music Reviews Tagged With: Jewish Community Center of San Francisco, Kaki King, The Catalyst

Down pay tribute to ‘Dimebag’ Darrell at The Fillmore

December 15, 2014 by Scotland Miller Leave a Comment

Photos by Greg RaMar // Written by Scotland Miller //

Down with Orange Goblin, Bl’ast and King Parrot //
The Fillmore – San Francisco
December 8th, 2014 //

Is there any better way to celebrate the life of one of the heaviest and most revered riff-masters in history than slamming around in a Monday night mosh pit at The Fillmore?

We didn’t think so.

The Southern lords of heavy agreed and delivered a near two-hour set on the eve of the 10th anniversary of the day that the late “Dimebag” Darrell Abbott was shot dead during a live performance.

Down was joined by UK stoner/doom metal giants Orange Goblin, Santa Cruz hardcore punk outfit Bl’ast and a recently discovered, sludgy, thrashcore band from Melbourne, Australia, known as King Parrot. As was the theme for the entire show, this Monday night served as one hell of a celebration of heavy. Down is currently wailing around North America on the “Punk Rock But Kinda Not” tour and is sure to deliver many great shows to close out 2014.

The set began with guitarists Pepper Keenan (Corrosion of Conformity) and Bobby Landgraf (Honky) taking the stage, followed by bassist Patrick Bruders (Goatwhore) and drummer Jimmy Bower (Eyehategod, Superjoint Ritual). Vocalist Philip Anselmo (Pantera) crept his way on stage only to find his earpiece not working. After some playful, yet intimidating banter with the sound guys and Anselmo crossing his arms in disbelief to the crowd, the show began. “Eyes of the South”, “We Knew Him Well” and “Witchtripper” started the blood pumping and the heads banging, as the vacant space in the middle of the floor began to fill. The pit was occupied, but only by a dozen or so anxious thrashers. Perhaps the presence of a few members of the Mayhem Motorcycle Club touting their colors had something to do with it?

After Down’s opening three songs, Anselmo began to speak of the greatness of “Dimebag”. The overwhelming feelings of love and admiration for a fallen comrade were stark in contrast to the ferocity and speed of the music being played; that is what made this such a special night and such a tragic blow to the metal community, which lost a beloved family member in 2004. He spoke of the early days of Pantera and how San Francisco was the first city to truly embrace them as new artists. Out of pure savagery and utter fandom, several fans threw bags of weed on stage much to the delight of the band. These weren’t just dimebags either. After showing their appreciation, the ceiling came down and the pit erupted as Down exploded into the burliest and most churning section of Pantera’s legendary song “Walk”.

The energy and adoration between fans and band members continued throughout the night as Down delivered skull-crushing, neck-breaking and concussive performances of their best material to a drooling and worshiping fanbase. With a setlist spanning the entirety of their almost 20-year career, “Lifer”, “Ghosts Along the Mississippi” and “Pillars of Eternity” were all clear standouts. Drinks were spilled, bodies were tossed overhead and faces took bites out of the floor. At one point during “Pillars”, a fan in the front row had their phone in Anselmo’s face filming their next soon-to-be-trending concert video on YouTube. Anselmo snatched the phone away and took a selfie with some of the other band members all while maintaining every growl and shriek of his signature voice. Instead of handing the phone back to the fan, Anselmo decided to feed it to the Raptor massacre that was the front row and continue the song. A second fan tried to recreate this glorious scene for himself, and once again Anselmo obliged. However, this time, a stagehand was the final recipient of the fan’s coveted cell phone video.

After some set-ending shenanigans with Keenan taking the mic and hesitantly singing a few tunes, which he thanked his fellow bandmates for by flipping them off multiple times, the encore began with Bruders laying down a rather funky bass line. “Hey kid, rock and roll/Oooh my soul” snarled its way from Anselmo’s ravaged vocal chords, as Down played the opening measures of David Essex’s classic “Rock On”. “Stone the Crow” and a dirty, drawn-out rendition of the stoner headbanger favorite “Bury Me in Smoke” rounded out the set, as members of the three opening acts all joined on stage to send the night off into a screaming mess of grinding, metal carnage.

All in all, it wasn’t bad for a Monday night.

In Memory of “Dimebag” Darrell Lance Abbott, 8/20/66-12/8/14: A deity to all metal heads.

Filed Under: Featured, Live Music Reviews Tagged With: Bl’ast, Dimebag Darrell, Down, King Parrot, Orange Goblin, The Fillmore

Moving Units celebrate rise of dance-punk in their hometown

December 10, 2014 by Josh Herwitt Leave a Comment

By Josh Herwitt //

Moving Units (10th anniversary show for Dangerous Dreams) //
El Rey Theatre – Los Angeles
December 5th, 2014 //

As the days count down to 2015, it’s sometimes easy to forget that the early 2000s marked a seminal time in the evolution of rock ‘n’ roll. But for fans of dance-punk, a subgenre that fuses punk rock, new wave and disco all into one cohesive sound, there may have been no bigger year than 2004.

A year after the Yeah Yeah Yeahs broke into the scene with their first full-length record, the Grammy-nominated Fever to Tell, dance-punk exploded into mainstream pop culture as young, emerging bands like !!!, Liars and Death from Above 1979 all released albums to predominantly positive reviews.

Yet, that same year, there was another dance-punk outfit — a much-lesser-known one by way of Los Angeles — that was also leaving an imprint on the dance-rock landscape.

Moving Units, a four-piece fronted by lead singer and guitarist Blake Miller, would end up playing a key role in the post-millennium renaissance of dance-punk thanks to their 2004 debut Dangerous Dreams.

The album, which embodies the dance-punk spirit as well as any studio recording to this day, would eventually find its way into more traditional media, including a television spot in 2007 for the deodorant brand Secret. But for those who were already fans of Moving Units, TV commercials weren’t necessary to justify the respect and admiration they had for Dangerous Dreams.

So, when the band announced that it would be celebrating the 10th anniversary of Dangerous Dreams by performing the album in its entirety, there were plenty of Angelenos who knew where they would be on the evening of December 5.

At the El Rey Theatre, Moving Units did exactly what they said they would, playing the 12-track LP from start to finish, as Miller let it all hang out, leaning into the microphone to deliver his lyrics with passion and force. The songs may have been more than a decade old, but you would have never known by how tight the band sounded.

For their encore, Miller and his three sidekicks — bassist Mike Delgado, lead guitarist Boz Bosgieter and drummer Danny Deleon — dipped even deeper into their catalog, going back to the start of it all by playing three songs from Moving Units’ self-titled EP. It was a nice surprise to see, considering the group dropped its third full-length Neurotic Exotic just a little more than a year ago.

Because these days, in this go-go-go world we find ourselves living in, it’s OK for a band to celebrate the past once in a while.

Setlist:
Emancipation, Between Us & Them, Available, Going for Adds, Unpersuaded, Anyone, Scars, Submission, Birds of Prey, Bricks & Mortar, Killer/Lover, Turn Away

Encore:
X and Y, I Am, Melodrama

Filed Under: Featured, Live Music Reviews Tagged With: !!!, Death from Above 1979, El Rey Theatre, Liars, Moving Units, Yeah Yeah Yeah's

James Blake pulls a stunning audible with diverse set at The Chapel in SF

December 9, 2014 by Molly Kish Leave a Comment

Photos by Pedro Paredes // Written by Molly Kish //

James Blake with special guest Airhead //
The Chapel – San Francisco
December 7th, 2014 //

Rolling into the Valencia Street house of musical worship this past Sunday night, a guest list-heavy, sold-out crowd packed it in tight to check out UK experimental R&B artist James Blake. While the venue is set up in a way that creates intimacy and direct engagement with virtually every act that comes through, Blake reached a whole new level of spellbinding closeness with those present. Playing new material as well as an impressive set that pulled from both his solo and collaborative records, Blake commanded the stage with his touring mates by washing over the venue in sights, sounds and sensory overload.

Whether inspiring pin-drop silence with his stripped-down ballads or conversely rattling the walls of the secular setting, Blake utilized the venues’ rich history and audible dimensions to his advantage throughout the performance. An exercise in the emotive range of his body of work, the setlist varied from spine-tingling performances of “Limit to Your Love” and Joni Mitchell cover “A Case of You” to crowd-stirring and extended renditions of “Life Round Here” and “Voyeur”.

Interspersing goose bump-inducing vocal tracks with an equally compelling bass-heavy, strobe-blinding trap set is no easy feat. Blake, however, did so effortlessly, only stopping intermittently to introduce his bandmates twice and playfully cover up a brief consistency glitch when debuting a new track off of his recently released 200 Press EP.

Teasing at the potential of new material dropping in 2015, buzz surrounding Blake has continued to escalate, leading into this small run of tour dates and West Coast DJ sets. Talks of possible high-profile collaborations with Kanye West, Justin Vernon and others following the release of his latest EP have started to stir up industry speculation in anticipation of the artist/producer’s next step.

If Sunday night’s show was any indication of the direction Blake’s artistic path is headed in, big things should be expected in 2015. Blake continues to breach expectations, something he seems comfortable doing well into the next phase of his career.

Filed Under: Featured, Live Music Reviews Tagged With: James Blake, The Chapel

A brotherhood led by Chris Robinson conjures connectedness & growth

November 30, 2014 by The Bam Team 2 Comments

By Kory Thibeault //

Chris Robinson Brotherhood //
Great American Music Hall – San Francisco
November 23rd, 2014 //

Chris Robinson Brotherhood, otherwise known as CRB, wrapped up a spectacular run at the Great American Music Hall, the obvious venue of choice for the Los Angeles-based band.

I was fortunate enough to catch two nights of what I can only assume were four spectacular nights in SF. Rather than attempt to create some “new” sound, CRB root themselves deep in psych-rock while exploring the genre with their own flair. Is there a better place to do so than right here in the San Francisco Bay?

Frankly, there may not be. Our venues were so often graced by the likes of Jefferson Airplane and the Grateful Dead, groups that redefined the concert experience. In that same tradition, CRB pushes the boundaries of the very songs they pen, inviting their audience along for the aural journey that seems to flow out of them so effortlessly. Is this why they are called the Brotherhood rather than the Chris Robinson Band? I certainly believe so.

A brotherhood conjures notions of connectedness and growth. After enjoying CRB’s music upwards of eight hours this weekend, I feel confident when I say that is exactly what this band is doing: growing together. The kinship of Neal Casal and Chris Robinson’s guitar is certainly telling of this, but the congruence does not end there.

Keyboardist Adam McDougall crafts an ethereal layer of sound, which infuses CRB with the psychedelia needed to push the group into those outer dimensions of space. This group is undoubtedly the sum of its parts.

Currently on tour promoting their third full-length album Phosphorescent Harvest, CRB has fortified lead singer Chris Robinson’s claim of being “a farm-to-table psychedelic band,” a self-defining statement that plays well off this concept of a “Phosphorescent Harvest.” The palpable excitement of their audience cultivated more-than-noteworthy performances that radiated throughout the weekend. And so it seems that CRB have a far greater idea of who they are and where they are heading than even the most prudent of fans.

Filed Under: Featured, Live Music Reviews Tagged With: Chris Robinson Brotherhood, Great American Music Hall

Minus the Bear show they still bring it after rocking Slim’s

November 25, 2014 by Andrew Pohl Leave a Comment

Photos by Diana Cordero // Written by Andrew Pohl //

Minus the Bear with Mansions //
Slim’s – San Francisco
November 20th, 2014 //

Becoming attached to any particular album by an artist is a natural event, but not always so easy to do. For fans of Minus the Bear, it could be tough to say that any of their fantastic albums is really their “best”, but I think it’s fair to say that their most fun album would be They Make Beer Commercials Like This. The seven-song EP turns 10 years old this year, and along with promoting the release of their latest album Lost Loves, the band has been celebrating with a tour that has featured the EP in its entirety and a grip of tunes from their vast catalog.

They Make Beer Commercials Like This was the first album that I had every heard by Minus the Bear, and I have always loved it, so I was very excited to be able to see the album performed live from front to back. Opening up the evening was Mansions, an indie-rock trio from Seattle by way of Louisville, Ky. They were a perfect pairing for the night, bringing an alt-centric set of songs at just the right length. Singer/guitarist Christopher Browder’s refreshingly clean vocal approach set nicely atop the steady drums and fuzzed-out bass. I would highly recommend this band for fans of Death Cab for Cutie, HUM, Ume and Placebo — just to name a few.

As Minus the Bear took the stage, the sold-out crowd let out a mighty roar in approval, ready to rock. Singer Jake Snider greeted the crowd and said, “They Make Beer Commercials Like This”, to which the crowd gleefully responded in delight. As the band maneuvered through each track on the album, the crowd gladly sang along and at many times began dancing (it is OK to move around at indie-rock shows, FYI). Every member of the band was on point. Guitarist Dave Knudson’s signature tapping and guitar-pedal manipulation has always been a focal point for (musical) gearheads out there — yours truly included. The sounds he is able to create and replicate live are continually impressive. Bassist Cory Murchy and fill-in drummer (and drum tech for the band) Kieffer Matthias kept the rhythm high and tight while synth player Alex Rose filled in the gaps with spacey pads and buzzy square waves. A key ingredient in the Minus the Bear mix has always been the smooth vocal stylings of Snider. Never abrasive, but also never subdued, Snider lets you know that tonight is going to be fun — and you believe it.

Following the completion of the album, the band continued with cuts from Menos El Oso, Infinity Overhead, Planet of Ice, Omni, and from its latest album Lost Loves. Lost Loves is actually a collection of never-before-released tracks, all of which bare (but not bear, haha) that familiar Minus the Bear quality of dynamic instrumentation, crystal-clear vocals and high-quality production. Ending the night was the song “Knights”, which in this guy’s opinion, may be one of the best songs ever written. It’s the perfect length, has a hook that just kills and is just damn fun to move your feet to.

As the band left the stage, they thanked the crowd and the crowd responded in kind. Overall, it was a very enjoyable evening and proof that Minus the Bear are still bringing it live.

Filed Under: Featured, Live Music Reviews Tagged With: Mansions, Minus the Bear, Slims

Gruff Rhys goes on a conceptual adventure, East India Youth demand aural attention at The Chapel

November 25, 2014 by Brooks Rocco Leave a Comment

Photos by Diana Cordero // Written by Brooks Rocco //

Gruff Rhys with East India Youth //
The Chapel – San Francisco
November 18th, 2014 //

The lead-in to last Tuesday night’s show at the Chapel was one of uncertainty. How does former-Super Furry Animals lead Gruff Rhys command an audience with a table full of gizmos and contraptions? Who is that English bloke in the herringbone suit? Why is there a book on the merch table? Where is everyone?

All of these questions were answered in due time, as the room began to fill, and the schoolboyish East India Youth opened the show. With an eager but refined presence, he began his set arpeggiating on his Roland MIDI keyboard with a pulsing, triumphant piano, which slowly morphed into a beautifully enveloping wash of fuzz and color.

This, the opening of his brilliant 2014 record Total Strife Forever, was an equally impressive introduction to his set, which, much like the album, spanned the lay history of electronic music, from Detroit techno, to acid house, to Merzbow-like noise, to the more ethereal moments of Jon Hopkins, or Thom Yorke’s solo music.

There was no reason for East India Youth to stray from material from the aforementioned record, as the flow of the album, with it’s ups (the lush pastiche of ‘Dripping Down’) and it’s downs (the sublime and warmly ambient ‘Heaven, How Long’), and it’s absolute whoppers (the furiously pounding ‘Hinterland’), were already plotted marvelously.

Throwing a Fender bass around his neck, he whipped his body around while pounding the strings, adding a nice dose of live-ness to the electronic set – though how much the physical bass actually came through the sound system was a curio.

After the newcomer’s set, most were converted to East India Youth’s unique take on modern minimalism and sound-scapery, as they awaited the eccentric, though decidedly less dark Gruff Rhys to take the stage.

Taking the stage with a un-inflated life preserver around his neck, and after notifying the audience of the routes to all fire escapes, Rhys cooly requested that we all watch a short film, which would lead us towards the evening’s theme. A late 70’s BBC-esque documentary about the Welsh claim of American settlement pre-Revolution set the mood, with a dense conviction of the absurdity of the claim. To say that a loony Welshman had hopped in a boat, travelled to the Gulf of Mexico, befriended the Indians, and built castles in the 15th Century New World is historically batshit, but just rife for a concept record.

And Gruff recorded that concept record earlier this year with American Interior, a surreal journey through the American heartland by a character named John Evans, a Welshman seeking these Welsh-Indians, through song and spoken word. The show, mostly acoustic, was enhanced by multimedia in the form of an iPad controlled by Rhys, focusing on a slideshow and conversation, leaving the crowd laughing along with the extremely dry sense of humor of the Welshman on stage.

A varied night of unexpected aural and visual delights, brought to us by two visionaries from across the pond.

Filed Under: Featured, Live Music Reviews Tagged With: East India Youth, Gruff Rhys, The Chapel

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

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