The Orwells’ joyful anarchy underscores a band on the rise

March 27, 2014 by Leave a Comment

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By The Festival Lawyer //

The Orwells with Twin Peaks and Criminal Hygiene //
Slim’s — San Francisco
Sunday March 23, 2014 //

The Orwells ended their show at Slim’s last Sunday night in a fit of joyful anarchy. Vocalist Mario Cuomo (yeah you heard me, Mario Cuomo) ended the show by climbing the scaffolding at the right side of the stage while belting out Iggy Pop’s “I Wanna Be Your Dog”.

Beneath him, the crowd was going bananas. In the mosh pit below Cuomo, I counted 2 Descendents (!) t-shirts, a half a dozen crowd surfers and so many people were stage diving that I had to check the date on my phone to confirm that this was in fact, a Sunday night.

You may not have heard of The Orwells. If you’ve heard anything, it’s probably something about how young they are. Vocalist Cuomo, his cousin Dominic Corso (guitar), twins Grant (bass) and Henry Brinner (drums), and friend Matt O’Keefe (guitar) have been playing together since late 2009. They’ve already had quite an epic 2014. Earlier this year they had an appearance on Letterman that went viral and their set at SXSW was one of the festival’s most talked about performances. Oh and did I mention they were in the 9th grade in 2009? And that they rushed their high school graduations just last year so they could become rock stars? …Amazing.

The band opened with “Other Voices” which, besides rocking hard, has this very interesting low fi, fuzzy, 60s garage band feel to it. A lot of the band’s material feels like it would be right at home on one of those Nuggets compilation CDs, right between The Electric Prunes and The Knickerbockers. The band even worked a tiny portion of “Build Me Up Buttercup” by The Foundations into their set.

Right before their show in San Francisco, the band tweeted: “Is This It …is equivalent to death…..it’s just not fair.” It’s clear that the band loves the Strokes. But at the same time they don’t ape them. A song like “Who Needs You” has a fantastic Strokes kind of sound to it, but in a bashed up, garage band way. Other show highlights included “Mallrats La La La” and “In My Bed”.

Singer Cuomo gets most of the attention onstage because he is a maniac live. At times he is falling on the stage and screaming. Other times he stands completely still and stares into the crowd as if his mind is a million miles away. But make no mistake, the Orwells aren’t a backup band for Cuomo. This band is tight and has clearly learned a ton from their hectic touring schedule. They played a crisp, no nonsense hour-long set that left the crowd happy yet wanting more.

Within minutes of the show ending, the band was already on the floor, taking pictures and hanging out with fans. The crowd had a sweaty, happy vibe as if we had all been in the stands together and then collectively ran onto the floor after our team had hit the winning basket.

As we filed out, a young kid next to me asked, “Wasn’t that great? I don’t get why they aren’t bigger? Shouldn’t they be a huge band?”

“They really might be soon,” I told him.

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

The Sounds: Sounding good at The Regency

March 26, 2014 by Leave a Comment

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By Tom Dellinger //

The Sounds with Blondfire, Strange Talk //
The Regency Ballroom — San Francisco
Friday March 21, 2014 //

Swedish indie rockers The Sounds made a stop in San Francisco as they continued an extensive US tour in support of their latest studio offering, Weekend. Hugely popular at home in Sweden and across Europe, they enjoy a well earned reputation as an excellent live band. Over the past fifteen years this band has been together, they have also made a number of excursions to the US where they’ve opened for several well known acts (No Doubt, The Strokes, Panic at the Disco, Vans Warped Tour), a 2004 appearance at Coachella and a headlining tour of their own last fall which included a stop at The Fillmore. On Friday night, they brought it to The Regency Ballroom where they delivered a show that showcased their signature pumping pop rock dance numbers, and more.

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With a superb, tight band behind her, vocalist Maja Ivarsson took the stage and opened up in classic fashion akin to a rock goddess. Stunningly attired in short leather jacket, shorts and heels, all eyes and ears were immediately focused on her. She appeared fit and quickly attacked the performance with an intensity that she sustained throughout the evening. Ivarsson has an impressive voice and coupled with her engaging personality, she had the crowd with her from the very start. She comes on confident, with a swagger, working up and down the stage. Leaning over to get closer contact with the audience, she keeps the energy and engagement high.

Musically, The Sounds are a mix of many styles and references, but copies of none. You can hear the influences of new wave, punk, synth pop, classic rock and more. They are all that and much more. A listen to their catalog reveals a band in motion; moving forward with an evolving sound and style, both musically and lyrically. Sadly, it appears they remain a bit under the radar in our area as attendance was on the low side. However, those that were there knew this band and had a good idea of what they were going to see. This band has the material and the ability to turn a show into something remarkable, and for those of us who were there, we were richly rewarded.

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Galactic unveil a new bag of tricks at El Rey

March 25, 2014 by 1 Comment

Galactic_postBy Josh Herwitt //

Galactic with Brushy One String //
El Rey Theatre – Los Angeles
March 20th, 2014 //

One of New Orleans’ very best returned to Los Angeles last week, as Galactic paid its annual visit to the El Rey Theatre on Thursday night.

Over the last few years, the band has made a habit of playing the historic art deco venue whenever it comes to LA, but that doesn’t mean Galactic’s recent gigs have lacked energy or enthusiasm. In fact, this year’s performance had just as much as last year’s — if not more.

The only difference was, there was no Corey Glover this time. The frontman for Living Colour started touring with Galactic back in 2010, and it seemed like the quintet might have finally found the perfect replacement for Theryl “House Man” DeClouet, who was forced to leave the band back in 2004 over health concerns.

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But with other projects currently on Glover’s plate, Galactic has had to go back to the drawing board in its search for a singer — something they have become quite accustomed to after spending the past decade touring with numerous guest vocalists, including former Meters member Cyril Neville and Rebirth Brass Band trombonist Corey Henry. Through it all though, Galactic has failed to skip a beat.

At the El Rey, the five-piece — guitarist Jeff Raines, bassist Robert Mercurio, drummer Stanton Moore, saxophonist/harmonica player Ben Ellman and organist Richard Vogel — sounded just as tight as they ever have before. They took the stage and opened their two-hour set with a couple of instrumental tunes right off the bat, proving that with or without a vocalist, their sound still holds up after roughly 20 years. And when it came time to honor the opening act — in this case, Jamaica’s Brushy One String — with a guest vocal spot midway through the show, Galactic served as more than just a backing band for the YouTube sensation whose song “Chicken in the Corn” has amassed over four million views by now, believe it or not.

Yet, what proved to be the real eye-opener on this night was the addition of New Orleans-based singer Maggie Koerner, who joined Galactic for its 28-date, bicoastal tour after recently contributing vocals on the band’s single “Dolla Diva” two months ago. While it was no surprise to hear the song amid a setlist that featured other gems like “Shibuya” and “From the Corner to the Block”, it didn’t stand a chance in topping the band’s cover of The Jackson 5’s “I Want You Back” — thanks largely to Koerner’s unlimited range. At the ripe age of 25, the Louisiana native’s career is only just beginning. Sure, she may not have DeClouet’s on-stage charisma or Glover’s star power yet, but with the way she can hit those high notes, Galactic may have found its next piece to the puzzle.

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St. Vincent spellbindingly shreds with support from Noveller

March 25, 2014 by 4 Comments

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

St. Vincent with Noveller //
Fox Theater Oakland — Oakland, CA
Saturday March 22, 2014 //

An incredible bill of female fronted art-rock took center stage this past weekend at Fox Theater Oakland. Axe-wielding composers Annie Clark and Sarah Lipstate systematically stunned the audience with their powerful arrangements and domination of the stage. Although diverse in execution, both women brought a refreshingly captivating perspective on the modern-day female lead. Noveller’s opening act opus segued perfectly into St. Vincent’s theatrical headlining set, exceeding expectations with their striking performances and spectacularly eclectic skill sets.

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Sarah Lipstate’s solo project, Noveller, took the stage performing a minimalistic guitar jam, drawing in the attention of the early evening crowd. Absent of the over-the-top dramatics and quirky nuances most would expect from a St. Vincent opener, Lipstate remained stoically immersed in the entrancing compositions she single-handedly was emitting from her guitar. Barely looking up to acknowledge her environment, Lipstate ambled around the stage noticeably engrossed in her own performance, effectively developing a continued intrigue from her audience. Both visually enticing and aurally magnetic, Lipstate’s skills as a solo electric guitarist are spellbinding.

Noveller’s drone-filled and relatively short set obscurely offset the general mood of the nearly filled theater, but in a way offered a perfect juxtaposition to the headlining performance of the evening. Anyone familiar with Annie Clark’s early work could easily draw similarities between both women’s backgrounds, musical influences and styles of presentation. Noveller’s starkly contrasting noise-laden performance was simply a palette cleanser for the spectacle of a set by St. Vincent.

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Quickly after the opening act’s conclusion, St. Vincent started her extra-long early evening set. Annie Clark pranced her petite axe-wielding frame around the Fox Theater stage as she broke into nearly two hours worth of material. Focusing largely on her latest self-titled release, Clark began the performance with “Rattlesnake” and “Digital Witness”. Extending most songs to include her signature dance interpretation and band choreography, Clark had the crowd’s full attention with her wild stage antics and insatiable vocals.

Captivating an audience has never been much of an issue for St. Vincent due to the incredible musical talent Clark possesses. Her amazing skills as songwriter, lyricist and guitar-shredding icon are nearly unmatchable in contemporary pop. This tour however is incredibly unique, in that it finally showcases these undeniable aspects of Clark on a grand scale. From the production elements to various costume and instrument changes amidst an encapsulating set design, Clark has finally emerged as a true rock star.

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Standout moments include Clark climbing atop and slithering down a neon-lit staircase without missing a beat during her performance of “St. Johnny”. Also, ending the evening by hurling her body across the floor during a riveting rendition of “Krokodil” was a nice touch. Clark capped off the epic production with a solo encore of “Strange Mercy” along with two other classic St. Vincent tracks, bringing the crowd to their feet for a final, riveting punctuation.

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Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: , , , ,

The Wailers deliver the jams at The Independent

March 24, 2014 by 1 Comment

The-Wailers1By Steve Roby

The Wailers with DJ Funklor //
The Independent — San Francisco
Saturday March 22, 2014 //

The Wailers are on tour promoting the 30th anniversary release of Legends, named “Best Album of the 20th Century” by Time magazine. Their second sold-out show at San Francisco’s Independent was filled with a mix of devoted fans that actually saw Bob Marley perform with The Wailers many decades ago, and those who weren’t even born in 1984 when the best-selling record came out, but knew the lyrics and sang along to every song.

Jamaican singer Koolant Brown, who could easily pass for a Marley look-alike, did an excellent job of keeping his spirit alive on crowd pleasers like “Get Up, Stand up” and “No Woman, No Cry”. Brown later acknowledged bassist Aston “Family Man” Barrett, the only member from the original Wailers’ line-up. “Fams,” was given a lifetime achievement award by Bass Player Magazine in 2012, and claims he has 41 children and 23 grandchildren that validate his nickname.

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The Wailers also feature Elan Atias on lead vocals; Keith Sterling, keyboards; Anthony Watson, drums; Audley Chisholm, rhythm guitar; and Brady Walters and Cegee Victory, background vocals.

After loud cheers for an encore, Koolant Brown returned to the stage and performed a beautiful rendition of “Redemption Song” on acoustic guitar. “Skankin” was up next. Brown admitted to the audience that he enjoys his weed, no surprise, and only gets it directly from the farmer. “Exodus” concluded the concert just after midnight.

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After San Francisco, The Wailers head south to Chile, Columbia, and Australia, before returning to the States in May for New Orleans’ Jazz & Heritage Festival.

Concert Set List: Cobra, Is This Love, No Woman, No Cry, Could You Be Loved, Three Little Birds, Buffalo Soldier, Get Up, Stand up, Stir It Up, One Love, I Shot The Sheriff, Waiting In Vain, Rock The Boat, Jammin’. Encore: Redemption Song, Skankin’, Exodus.

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Rebirth lay down the friday night funk

March 24, 2014 by Leave a Comment

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By Steve Roby

Rebirth Brass Band with Mission Delirium Brass Band //
The New Parish — Oakland
Friday March 21st, 2014 //

Was it Friday in Oakland, or Fat Tuesday in New Orleans? If you had your eyes closed, you’d swear you were swayin’ to the beat at a New Orleans’ club on Bourbon Street.

A large line began to form outside The New Parish club around 7 p.m., a good three hours before the first band was scheduled to play. The show was sold out, and there were people desperate to get in, shouting, “extra ticket, extra ticket, anyone have an extra ticket?” No one seemed to be able to help.

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Mission Delirium opened the show and surprised the full-capacity crowd of around eight-hundred as their four percussionists boldly entered the room, marching band style, loudly banging bass/snare drums, cymbals, tambourines, and cowbells, whipping the audience into full-party mode. They continued to play in front of the audience, as a nine-piece horn section crammed the stage end-to-end, sadly leaving the tuba player and his cumbersome instrument to perform on the main floor with the drummers. Delirium’s eleven-song set ended with “You Gotta Believe In Somethin’”, and by this point, everyone was a believer.

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After a quick turn-around, Rebirth Brass Band hit the stage with their special blend of New Orleans funk, jazz, soul and hip-hop. The main floor and balcony were packed. Barely a soul was sitting. It was time to dance, and get the weekend started.

Trombonist, Stafford Agee, announced to the crowd that they’d be featuring some old favorites and new material. With a group like Rebirth, and their 30-year diverse catalog, you knew the next ninety minutes were going to be fun and energetic.

Fans of Treme, the hit series on HBO, recalled “Feel Like Funkin It Up”, and there was also an amazing cover of Bobby Womack’s “I Used To Love Her”. A good chunk of the set was comprised of Rebirth of New Orleans, which can be found on the Basin Street label. The show finished up around 1:30 a.m. The crowd, exhausted, drenched in sweat, made their way out to San Pablo Avenue. The cool Spring night air quickly reminded them they were back in the Bay Area after a brief excursion to the land of the good groove.

Rebirth’s tour sends them up the West Coast for the rest of this month before they circle back to New Orleans on April 12th. Don’t miss them the next time they swing our way.

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Mission Delirium Brass Band

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Sam Roberts Band bring their best to The Chapel

March 21, 2014 by 1 Comment

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By Tom Dellinger //

Sam Roberts Band with Kris Orlowski //
The Chapel — San Francisco
March 19, 2014 //

One of Canada’s best and most highly regarded artists rolled through town this week. Hailing from Montreal, The Sam Roberts Band played to a respectable turnout at The Chapel on Wednesday night. However, it must be said that if he were more widely known in the Bay Area as he is at home, it would have almost impossible to get a ticket.

Though the band has played at several of the larger festivals on the east coast and enjoyed a successful week at SXSW, they are still relatively unknown in and around SF. That should change, because this week’s performance had everything one could ask for, and this band truly deserves a strong turnout. In addition to covering much of their new record, Lo-Fantasy, they also hit highlights from years past, such as fan favorite, “Where Have All the Good People Gone”.

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With their first release Sam Roberts Band in 2003, the group has developed a strong following at home where their style and sound has been well received. Sam and the band have the ability to shapeshift in many musical directions, which became abundantly clear as the night progressed. Musically, they can go from an 80s style sweeping synth to classic hard-edged rock, to thumping dance beats, to sweet trebly guitar riffs reminiscent of African High Life.

Vocals are strong too — the band provides excellent back up and Sam’s voice, in particular, has an astonishingly broad range. He possesses what could be considered a great rock and roll voice. Wednesday night’s performance was a rich, flawless performance that had the fortunate souls who found their way to The Chapel smiling and dancing the night away. Hopefully they’ll find their way back again soon.

Opening for Sam’s band was Seattle based Kris Orlowski, who was backed by his band, Chris Garcia (drums), Jonathan Warman, (bass), Torry Anderson (keyboards) and Mark Isakson (guitar). It was a strong enjoyable set of originals from this band.

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Karl Denson’s Tiny Universe favoring blistering rock over jazz

March 19, 2014 by Leave a Comment

Karl-Denison3Photos by Marc Fong // Written by Kevin Quandt

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

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

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

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

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

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

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

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How to Dress Well premiers new songs, live band in SF

March 18, 2014 by Leave a Comment

How-to-Dress-Well_postPhotos by Marc Fong // Written by Mike Frash

How to Dress Well & Forest Swords with EN //
The Independent – San Francisco
March 17th, 2014 //

Ambient, experimental production was the uniting factor for How to Dress Well and Forest Sword’s co-headlining gig in San Francisco on Monday, and the show turned out to be an album preview party for Tom Krell’s ironically-named outfit. How to Dress Well premiered eight songs from his forthcoming record with his new backing band at the Independent. The new material is more orchestrated and sophisticated than prior efforts (that were all excellent), overwhelming senses with intensity and precision.

As Krell aptly articulated on Twitter this past week regarding his new live band, “… it sounds massive! new vibes w like mt eerie swells & extreme beauty.” The man can brag because he speaks the truth — Krell and company delivered on this proclamation, signaling How to Dress Well is ready to break out to bigger audiences and rooms. Before the newly minted four-piece though, Forest Swords took SF on an aural journey.

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Forest Swords, the production namesake of UK-based Matthew Barnes, procured a set that progressed in one direction, beginning with post-dub ambiance until the set capped with full-throttled noise. Methodically layering samples to build and decompose many tracks from Engravings, Barnes’ production revolves around a brooding tone that is drone-filled, experimental in nature and ultimately cinematic. Suitably subtle imagery and shapes projected over Barnes and his touring mate on bass, until a ghostly apparition of a girl, as in from The Ring, overtook the screen. Still though, the slow-moving image was looped with dissolves over and over, mirroring the repetitious audio conceit. As the sound became more menacing, the concept of repetition toward the point of catharsis became apparent — the idea of finding peace or harmony in terror and chaos.

Expectations are key when going to a show, and Forrest Swords gives a live performance in the vein of Boards of Canada or Actress. “Nobody’s happy here” and “anti-St. Patrick’s day show” were overheard from the crowd mid-set, and while this may look true visually when peering across the crowd, most folks were in their anti-cerebral mind palace. The epic finale acted as a crescendoing exclamation point, blowing the Independent and much of the surrounding neighborhood into the stratosphere, and as we later found out, wakened Tom Krell from a pre-show power nap.

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There’s a lot to like about Tom Krell — his one of a kind falsetto, his warm and inviting banter between usually-sad songs, and the way he produces music that fuses R&B with elements of dance and hip hop. Krell’s instrumental backing, in the past, almost exclusively came from his computer. The move toward live instrumentation began last August at the Independent, where How to Dress Well stage-tested some new sounds with the aid of two different musicians (including Minna Choi from Magik*Majik Orchestra). Now virtually all production is created live — his band incorporates drums, keys, violin, background vocals and live sound sampling to craft a richer, more authentically achieved sound.

Krell appeared on stage dressed oddly in GQ office attire, announcing he had just promised his manager that he wouldn’t reveal the new album name or release date (for a moment it looked like he would break the pact). Launching into a (surprise!) sad song about his brother called “Two Years On”, the veil of costuming-evolution was torn from his chest as Krell threw the shirt to the floor, revealing his usual white t-shirt, signifying he’s still the same guy at heart. The difference, though, is that he’s now armed with his best batch of new material yet, aiming to unleash it upon he unsuspecting world.

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How to Dress Well specializes in progressive R&B, using jarring glitches and minimalist drops to cut against prevalent ambience. There’s a hip hop cadence to vocals that are clean, crisp and swooning, and lyrics have always been predisposed toward personal tragedy. This is all still the ethos of How to Dress Well. But the new record looks to expand the subject matter, utilizing production that’s more upbeat, enveloping and awe-inspiringly fresh.

The only song that’s been released, lead single “Words I Don’t Remember”, is essentially a majestic post-rock masterpiece. Krell explained the song is inspired by Broken Social Scene’s “Farewell to the Pressure Kids” and the line “do things once, you know you’ll do it twice.” Many of the new songs follow same song structure as this track, offering extended bridges between sections that melds verse & refrain. The bridges in “Words I Don’t Remember” include vocal swells and beat-box breakdowns, and in the end, it’s all wonderfully woven together.

“A Power” is a song akin to “& It Was U” and it’s driving snap-beat. It ended with Krell repeating the phrase “I don’t have the power” as a sun set behind him on-screen, a memorable moment amongst many. Perhaps the best new song, “Face Again” upped the intensity ante significantly, circling around the line “I don’t even know what’s best for me.” The track included a sonic boom smack-to-the-face that stung for the remainder of the evening. Upon the end of the long, immersive song, Krell proclaimed “That was crazy!” It sure was. “What You Wanted”, described as a song about “reverting to being a teenager with your wants and desires,” included a key few lines about being “in love with the chase.” Another new cut, “Childhood Faith In Love (Everything Must Change, Everything Must Stay The Same)”, was introduced as a pop-emo-reggae Animal Collective jam, and it felt like some sort of rollicking, afro-beat conglomeration.

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A handful of songs from previous records were elevated a couple notches with the full band. “Cold Nights”, which was written and produced with Matthew Barnes, got the “metal” treatment. “Suicide Dream 1”, “Set It Right” and “Decisions” never felt so full and satisfying. Krell showed some much deserved love for the staff at the Independent as well, saying “Thank everyone that works here. They are so nice” shortly before the end of the 80 minute performance.

Just as he’s done from the beginning, Krell sang a couple a cappella tunes for the encore, staying true to his roots. Before the last number, the audience became a bit unruly, attempting to request the last song. One person called out for R. Kelly’s “I Wish”, then Krell plainly stated “R. Kelly is a total rapist. You can’t sing along to that anymore…”, also mentioning that he can’t believe it was cool to be into the R&B star for a short while. While there were funny moments like this between songs, How to Dress Well’s new formation is performing incredible material that is more emotive, poignant and powerful than ever.

Filed Under: Editor's Picks, Featured, Live Music Reviews Tagged With: , ,

Tool pound out two sold-out nights at Bill Graham Civic

March 17, 2014 by Leave a Comment

Tool_postPhoto by Kevin Raos // Written by Scotland Miller //

Tool with Failure //
Bill Graham Civic Auditorium – San Francisco
March 11th-12th, 2014 //

The Bay Area was visited last week by one of the most coveted live performance bands in existence. For two consecutive nights, the members of Tool blew away their fans with ear-splitting renditions and a laser-light show that would leave even the most seasoned of concert-goers totally dumbfounded. Their setlist has become a bit stagnant and has not evolved much since their previous trip through the bay in 2010. Perhaps this is due to the lack of a new release in almost a decade? With that being said, the show itself is in a constant state of change and makes each tour well worth waiting for. The setlist saw some minor changes after the first night but definitely rewarded the fans loyal enough to claw their way into both shows.

A band named Failure, from Los Angeles, opened each night and did a great job at making the crowd that much more anxious to see their most favorite of favorite bands on the planet. In the words of the guy outside standing in line next to me when asked by his friend if there was an opening act– “Who cares!?”

You haven’t really felt anticipation until you are amidst a crowd of a few thousand rabid and sometimes delirious Tool fans waiting for the show to begin. And when it does, you realize why you may have shelled out over $100 for the admission. The thumping heartbeat and voice of Timothy Leary began with what has come to be a welcomed opening sequence for these guys. “Think for yourself. Question authority.” That line echoed above screams of elation and the cries of suspense as squealy guitar feedback slowly built into the creepy grind of “Third Eye”. The set continued with two of their biggest hits, “Forty Six & 2”, followed by “Schism”, complete with extended jam sections perfected over their last few tours. I wouldn’t be the least bit surprised to hear one of those bits on “the new album”. The first set ended with “Pushit”, “Intension” and “Lateralus”, which created a trippy little cerebral journey for you to ponder during the break. I was exceedingly pleased to hear them play “Pushit” as I had yet to experience that song live and was unsure if they were ever going to add it to the catalog again.

The 12-minute countdown that was the intermission ended with Danny returning to the stage by himself and, well ya know, banging on those things called drums. As he so loves to do, he began his eight-minute drum solo with his undoubtedly limited edition, one-of-a-kind, uber-expensive modular synthesizer, which he used to interpret an obscure King Crimson song called “B’Boom” — a fitting title for the second set and the last four songs of the show.

“Jambi” started the swirl of the zombie-like pit that remained for the rest of the night as limbs were flailed and bodies were bashed around. After all hell had broken loose (as if it hadn’t already), the first words of “Opiate” creeped from Maynard’s voice, sending fans from the early days straight into the mosh. “Aenema” and “Stinkfist” closed out the show in the same way that a dad might close the door on a daughter’s new boyfriend: hard, loud, and in your face!

This time around, Tool brought with them a slew of mobile “screens” that shifted and moved around the stage, constantly changing position and orientation. I say “screens” because if you looked at them closely, they looked more like plastic chicken wire. That is to say that they were not solid — they were transparent when they were absent of graphics. At one point this “screen” dropped down in front of the stage and allowed images to be shown, basically superimposed over the band, all while still seeing the towering wall of graphics behind the stage. Incredible is a gross understatement — and you thought the 2Pac hologram at Coachella was cool? It’s no wonder that the balcony seats fill up before the floor.

Technology is at the forefront of everything we do in our lives, and Tool understand this. These guys go out of their way to put on a show for their fans. Some acts stand on stage, play their music and shine some lights in your face. Tool begs to differ. The next time they come to town, sell your iPad, sell your TV or sell your car if it gets you into the show!

March 11th Setlist:
Third Eye
Forty Six & 2
Schism
Pushit
Intension
Lateralus
(Intermission)
B’Boom
Jambi
Opiate
Aenema
Stinkfist

March 12th Setlist:
Hooker With a Penis
Vicarious
Schism
Sober
Intension
Lateralus
(Intermission)
B’Boom
Jambi
Forty Six & 2
Aenema
Stinkfist

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Lagunitas hosts The Mogwli’s, Tumbleweed Wanderers at Indy

March 14, 2014 by 1 Comment

The-Mowglis

Mogwli’s Photos & Writing by Marc Fong // Tumbleweed Wanderers Photos by Sterling Munksgard //

Lagunitas CouchTrippin’ to Austin: The Mowgli’s & Tumbleweed Wanderers
The Independent — San Francisco
March 5th, 2014

Lagunitas knows how to throw a hell of a party. The Lagunita’s CouchTrippin’ Tour stopped by SF’s Independent March 5th for a free party which included free beer, burlesque dancers, a man wearing a rabbit costume wielding a mic, a glass-walker, and a gaggle of party-goers each with a beer in both hands. And even better yet, Lagunitas brought out some fantastic party bands.

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The Tumbleweed Wanderers took the stage around 9 to a beer-soaked crowd. These funky rockers kept the party rolling by blasting a mix of folk, soul, and feel-good rock. The Oakland band puts on an energetic and eclectic show with highlights of the night including the band’s cover of Jackson Five’s “I Want You Back”. The drunken crowd was already having a good time, but when TW took to the stage, a true party erupted.

By the time the Mowgli’s had arrived, the full house was at full party mode. The LA band was the icing on the sold-out Independent cake. Reminiscent of party-band favorites like Grouplove and Edward Sharpe and The Magnetic Zeros, the Mowgli’s sound is loud and playful. It’s a quirky sound that dances between folk and indie rock. There’s a youthful sweetness in their sound that made everyone smile and bob their head with something more than drunk enthusiasm.

The-Mowglis

With the energy of a chihuahua on Red Bull, every member of the band bounced and sang on stage while front man, Colin Dieden, made close friends with the crowd. Perhaps aided by free liquid courage, attendees embraced the joyous sound and the band, and those that could were singing along at the top of their lungs, while those who couldn’t were pretending they could and swaying to the music.

The Mowgli’s played an amazingly fun show and the Indy, which was the perfect place to hear their awesome sound. When you can, you have to check them out…and that’s not just the Lagunitas talking.

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Tosca dives deep into groovy territory at The Indy

March 6, 2014 by 1 Comment

Tosca_postBy Steven Wandrey //

Tosca (Live) //
The Independent — San Francisco
March 4th, 2014 //

“Too much excitement for a Tuesday night!” belted out vocalist Robert Gallagher near the end of the set Tuesday. While this was not what the crowd expected from downtempo legends Richard Dorfmeister and Rupert Huber, it’s what they got.

Opening with birds chirping and some spoken word from Gallagher, many attendees were surely fooled into thinking this would be a standard lounge set from the sometimes mellow duo. Perhaps people were looking for a place to go where they could chat it up with a friend, the unfortunate fate of many similar acts. The sold out crowd was on the older side through, and it took some cajoling to get their feet shuffling.

Tosca’s approach to downtempo is true to style, verging on defining it. They quickly brought the room to a lax groove. An early song featured the vocalists repeating the phrase “Looking for light, Looking for light,” however it’s apparent that while Tosca may be looking, they’re not searching very hard, which isn’t a bad thing. The comfort exhibited in this reserved space is emblematic of Tosca’s mastery of the style. Playing cathartic beats that never create all too much angst, the light tension is released with a simple and familiar drop back into lounge-town. The breaks are ambient, peaceful, and etherial, with just the slightest touch of dissonance, making the crowd crave the smooth and expected drops that are easily seen from far away, just the way it’s intended.

After some initial break beats, the ante began to rise, as did the tempo. Then as Brazilian house beats churned forth, the majority of the crowd ceased to talk. While the breaks were still on the relaxed side, never really whipping the crowd into a frenzy, it was clear that Tosca wasn’t here to just stand at the front of a lounge for the night, that they had planned a headlining set. Vocalist Cath Coffey rode the waves of energy that the band provided with the crowd, as Chicago house somehow collided with Austria this night.

An enthused yet still laid back crowd stood pat as the performance came to a close and received a double encore, finishing up with a track unexpectedly bordering on disco house. Although sometimes seemingly preoccupied, very few left the building before the end of a ninety minute show and were treated to a live set with a consistently tasteful, cohesive flow.

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San Fermin, Son Lux prove why they should be more popular

March 5, 2014 by Leave a Comment

San-Fermin

By Mike Frash //

San Fermin and Son Lux //
The Chapel — San Francisco
March 4th, 2014 //

The Chapel in San Francisco featured two groups Tuesday that need your immediate attention. Both Son Lux & San Fermin released impressive, addictive albums in 2013, records that went largely under the radar. Both groups procure the highs and lows of sound, contrasting orchestrated crescendos with jarring silent breaks, so it makes sense they are touring together. Son Lux proved why they are one of the most exciting live acts on the club-level circuit in SF, while San Fermin showed how a massive theater tour is likely in their near future.

Ryan Lott from Son Lux is a master curator of dynamic sound, using a ghostly combination of soft, wondrous melody and edgy electronic elements to set an eerie tone. Glitchy beats make the quickest impact, but mystical vocal backing that blends with Lott’s stoic yet impassioned voice soon become a soothing center point. It’s no surprise Lorde is offering guest vocals on Son Lux’s breathtaking “Easy” for the group’s Alternate Worlds EP coming out May 27th. Lott’s production thrives on unexpected volume-drops that contrast moments of top-decibel volume.

Son-Lux

“Easy” was a song that expanded and opened up when performed live at the Chapel, becoming a bit exploratory and loud before coming back to its simple and super effective refrain. In comparison to the flow of Son Lux’s criminally overlooked Lanterns from last year, the group’s show steers away from focusing on vocal harmonies to hone on aural dynamics through digital looping and live instrumentation. Songs build up to catchy, head-bobbing plateaus while stop-starting along the way, only for the rug to be pulled for complete silence momentarily. This song structure and effect makes it feel like time stretches, elongating the musical experience in a hyper-pleasurable way.

Ryan Lott leads through expressive body movements, almost as is if he’s directing his own mini-symphony. For example, he feigning the shedding of skin in “Alternate World” to the literal lyrics and he later dropped an “OK” hand sign at a pivotal sound break. Lott uses minimal computer backing as a backbone — he sources notes & effects from his keyboard, appropriately angled toward the audience. Two-mic singing is employed (one for echo effect) and his computer is inverted at a forty-five degree angle on a sheet music stand. Impressive live drum and bass playing fill out the rest of Son Lux’s magnificent makeup. It all adds up to musical output that Ryan Lott and Son Lux can claim as truly unique — these guys should be more popular.

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By the time Son Lux ended, folks edged in and held fort for the theatrical wonder that is San Fermin. Composer & songwriter Ellis Ludwig-Leone wrote all of San Fermin’s self-titled first record right out of college, in a period of transition, and it functions around a male and female character in dialogue, performed by Allen Tate and Rae Cassidy. Tate’s baritone voice wallows sweetly like Matt Berninger from the National, while Cassidy projects in the vein of Gwen Stefani. On many songs each lead singer gets their own spotlight, but when then the two join forces, the eight piece outfit soars even higher.

The songwriting is about being young — longing, wondering and celebrating love, life and death, ya know, all the important-yet scary things. Ludwig-Leone was the one that addressed the crowd and introducing the players throughout, but San Fermin’s rich sound and growing success is a product fully dependent on each individual part, including digitized break beats, string and horn accompaniment.

They played their only record in full, save for a sprinkling of new songs (including the notable “Parasite”) while cutting transitional tracks. The album is structured in back and forth fashion between the lead male and female characters, putting the spotlight on Tate and Cassidy throughout. Due to this structure, along with operatic choral harmonies, the live show feels like a performance art piece at times, with costumes and acting missing. But sonically, San Fermin is reminiscent of the best emotive parts of Dirty Projectors and Sufjan Stevens, instilling all sorts of armhair-on-end feels.

“Casanova”, “Bar” and “Daedalus (What We Have)”, such moving and ambitious songs, were immaculately performed Tuesday. In fact there were no low moments. Band members moved around the crowded stage in awe, owning their space, connecting with the crowd, killing every moment. San Fermin is locked in with purpose — see them live now before they move up to a massive theater tour.

March 5, 2014: Visalia, CA – The Cellar Door*
March 7, 2014: Los Angeles, CA – The Museum of Natural History*
March 8, 2014: La Jolla, CA – The Loft @ UCSD*
March 18, 2014: New Orleans, LA – Gasa Gasa
March 19, 2014: Tallahassee, FL – Club Downunder at FSU
March 21, 2014: Carrboro, NC – Cat’s Cradle
March 22, 2014: Baltimore, MD – Metro Gallery
*With Son Lux

San-Fermin2

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Angel Olsen’s fire burns for SF at Great American Music Hall

March 5, 2014 by Leave a Comment

Angel-Olsen_post

By Katy Meacham //

Angel Olsen with Cian Nugent //
Great American Music Hall — San Francisco
Monday March 3rd, 2014 //

On a rainy Monday night at The Great American Music Hall, a large crowd gathered together for a cozy evening with Cian Nugent and Angel Olson.

Cian Nugent, a young guitarist and composer from Dublin, started the evening with lovely guitar picking and atmospheric melodies. Many of his songs were instrumental while others he sang over in a soft voice. His whimsical songs played out over the crowd as everyone began to settle in. It all felt very appropropriate for the historic venue, and for a moment we were all taken to another moment in time.

Up next was Angel Olson and her band. The indie singer-songwriter started her set with a single, “High-Five”, from her new album, Burn Your Fire for No Witness. It being one of the more upbeat and energetic songs on the album, it was a kicking opener, her voice crystal clear impressed immediately. One of the most remarkable things about Olson’s voice is how it changes in a moment’s time. One second you’re listening to an old country singer, reminiscent of Emmylou Harris and Jolie Holland, then suddenly she’s whispering, throaty, or both. She has complete control.

She focused on the new album, almost entirely. For most songs Olsen was backed by a three-piece band. She intertwined more up-tempo songs like, “Stars” and “Forgiven/Forgotten” with slower, more personal songs, never allowing the energy to build too much. There was a deliberate pause between each song as she sipped her beer and made the audience truly digest each song. Her slower songs echoed over the silenced crowd.

It’s not only her voice that can capture the audience, but also the intimacy of her lyrics. You almost want to thank her for sharing. Her songs of love lost or personal grief sink in deep, and they are things we can all relate to. For her last song of the night, “White Fire”, she played it alone. The song is reminiscent of Leonard Cohen’s guitar picking and deliberate lyrics. It was so quiet and personal, and also happens to be the namesake for the album. “If you’ve still got some light in you/Then go before it’s gone/Burn your fire for no witness/It’s the only way it’s done.” This seems inherently Angel Olson, songs about acceptance and truth with small glimpses of hope. Thank you for sharing Angel, seriously, thank you.

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Rogue Wave close Noise Pop Fest, transforming day into night

March 4, 2014 by 2 Comments

Rogue-Wave_post2

Photos by Marc Fong // Written by Molly Kish //

NOISE POP 2014 //
Rogue Wave with Trails and Ways, Wymond Miles //
The Chapel — San Francisco
Sunday March 2nd, 2014 //

Closing out an epic 22nd year of Noise Pop Festival celebrations, The Chapel hosted 2014’s final performance featuring a local lineup of Wymond Miles, Trails and Ways and Rogue Wave. An afternoon show at the intimate venue, this mid-day finale was a family friendly occasion marking both festival debuts and joyous homecomings for the acts involved.

San Francisco local Wymond Miles kicked off the early evening, mentioning how convenient the commute was from his Mission District residence and giving the crowd background on his time spent recording bi-coastally at local studios and as a member of the Brooklyn-based record label, Sacred Bones. He rocked a humble solo guitar jam for the half-filled venue, incorporating songbook storytelling and his own personal narratives throughout. Addressing the presence of underage audience members, Miles called attention to his own children whom looked on from the upstairs balcony, adorably referencing song titles and personal anecdotes attributed to his son and daughter throughout his set.

Trails-and-Ways

Oakland’s own Trails and Ways took the stage next, making their festival debut, literally beaming with excitement to be a part of the closing bill. Front man Keith Brower Brown could barely contain himself from gushing over how much fun they were having and what a great honor it was to be included in the Noise Pop 2014 line up. Their multi-lingual guitar driven pop invigorated the festival-weary crowd and got the audience’s feet moving as the venue started to fill. The modest stage presence of the gender-mixed foursome somewhat diluted the energy they brought to the stage, however the band remained intriguingly adorable due to their mixed bag of musical talent and refreshingly unabashed enthusiasm.

Closing out the evening, Noise Pop veterans and local indie-favorites Rogue Wave walked on stage to a rockstar welcome. Introducing their new guitarist along with fellow tour mate and stand in drummer for the evening Brian Moen from Peter Wolf Crier, the venue packed in instantaneously. Playing their first show of 2014 as a full unit and verbally expressing how elated they were to be chosen as “the classy act” to close out Noise Pop, they had fans eating out of the palm of their hands as soon as lead singer Zach Rogue commenced his signature sassy banter.

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Pulling tracks from their extensive catalogue of over a decade’s worth of material, the band started the set off by debuting newer tracks, then they eased into old favorites, along with a stellar cover of the Smashing Pumpkins “1979”. Witty exchanges continually were passed off between Rogue and Pat Spurgeon, who relinquished his percussion duties to man the keyboard and “test out his brand new Theremin” he recently acquired while visiting the MOG factory on tour.

After nearly an hour-long performance, Rogue Wave ended their initial set shredding through an extended version of “Harmonium”, then they switched back to their original line up for the triple encore of “California”, “Endless Shovel” and “Everyone Wants To Be You”. Whether it was the mood, atmosphere or finally a configuration that truly emphasizes the talented group of performers the current roster encompasses, this performance was a testament to Rogue Wave’s musical evolution and place in Noise Pop Festival history.

A perfect end to an epic festival, the band delivered as a closing act demonstrating excellent showmanship & exciting crowd interaction, fluidly transitioning out of the daytime hours into what the band had promised to deliver from the start — a performance that “felt like a night show” all along.

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Mark Kozelek’s surly banter, control obsession effects at GAMH

March 3, 2014 by 3 Comments

Mark-Kozelek_cover

By Mike Frash //

NOISE POP 2014 //
Mark Kozelek (of Sun Kil Moon & Red House Painters) //
Great American Music Hall — San Francisco
Saturday March 1st, 2014 //

“I don’t give a fuck about Noise Pop,” said surly 47-year-old control freak Mark Kozelek at Great American Music Hall Satuday, one of the first piercing, dry stage banter remarks he made. Always honest and amusing in an odd way, much like his music, Kozelek turned between-song breaks into hilarious and awkward moments as a matter of routine.

He was happy to see the audience wasn’t as geriatric as Bob Mould’s Noise Pop show Thusday, which the Sun Kil Moon frontman attended. He noted Mould was in attendance Saturday, along with singer-songwriter Jose Gonzalez, which he mentioned twice. He admitted that being able to walk home 10 blocks and pick up a quick ten thousand dollars for this performance was better than going to “fucking China or dreary old England” to perform. Half man, half alley cat, Kozelek spewed venom at a variety of show-goers and subjects, all in a concerted effort to keep control of the room during his touching, sad songs.

A full media ban was in place — we were warned upon entry that there would be no warning. If phones came out, you would be escorted out of the Great American, no questions asked. It quickly became clear this was Kozelek’s personal wish, even though he didn’t mention the rules of the night. He admitted early that he’s used to “at least one asshole hating and heckling” him, which explains his aggressive nature and the way he makes examples out of those in attendance. He even rewarded someone named Javier with one of everything from the merch table for hushing and stepping in front of two women who had been talking.

Kozelek is so brutally affected by his immediate surroundings. He counted and pointed out 12 men in the front row, harking to the lyrics from “Sunshine in Chicago” (“Now I just sign posters for guys in tennis shoes”). It’s easy to see how he’s constantly inspired to craft songs — based on self-reflective lines from his work and the events of this evening, it’s how he channels his thoughts.

The banter lent a bit of levity against the dead-serious storytelling from his incredible new Sun Kil Moon record Benji, which was almost played in its entirety to start the show (final track “Ben’s My Friend” was the only cut missing). Before launching into “I Watched the Film The Song Remains the Same”, something rather extraordinary happened. He looked at a young male fan in the front and asked why he had headphones on his head. Then Kozelek forcefully stated, “You look like a fucking douchebag”, filling the venue with tension and a bit of laughter. This happened right before playing a track about coming to terms with once bullying a kid on the playground in his youth. In the song he discusses the incident, “though I grinned, deep inside I was hurting.” It appears this whole incident was a creative, effective way to foreshadow and show his contradictory nature, as opposed to him being horribly passive aggressive.

The second half of the show highlighted the rest of Kozelek’s most recent efforts from the past two years. It seems all the selections were related to one of two themes, the Bay Area and death, which was a logical way to continue a show that began with the coping, grimly-themed Benji. Though I’m sure many in attendance would have enjoyed some Red House Painters tunes.

The evening and performance offered a stack of new ammunition for Kozelek to write about after his 10-block walk home. It’s possible the events at Great American might make his next record, as his music is a personal diary inverted, projected to the world, and it wouldn’t be surprising to see it come out sometime later this year. As he said before his last song “Among The Leaves” — “Just don’t follow me home.”

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Noise Pop explodes with The Soft White Sixties at The Chapel

March 3, 2014 by 2 Comments

TSWS_1

By Tom Dellinger //

NOISE POP 2014
The Soft White Sixties, NO (LA), The SHE’S, Cannons and Clouds //
The Chapel — San Francisco
February 28, 2014 //

Noise Pop was in full swing Friday night at several venues throughout San Francisco and at The Chapel, on Valencia, the venue was serving up a deep sampling of four bands, featuring local sensations The Soft White Sixties as the headliner.

From the start, the music was strong as things kicked off with Cannons and Clouds, who were followed by the gentler style of The SHE’S. Things again picked up as the LA based band NO took the stage and delivered an excellent, polished set which was then followed by the much anticipated performance from The Soft White Sixties, who exploded onto the stage and gave a flawless, high energy performance to a loud and appreciative sold out house.

NO

There were some sound problems early in the night, but the audio continued to improve as the evening went on and by the time NO hit, it was sounding on point. Good thing too, because this band offers some sensational songs with dense instrumentation. They have a very engaging stage presence as lead singer, Bradley Hanan Carter, intensely works the stage and sings with passion. Backed with a large, multi-layered sound from the band and rich backing vocals, it quickly became evident that this is a band with depth, leaving an intrinsic desire to see and hear them again when they return to SF. They proved to be an excellent lead-in to headliner, The Soft White Sixties.

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As TSWS was about to hit, the house became noticeably packed, and the crowd hummed excited with anticipation. Before it started, this evening had the feeling it was going to be one of those more memorable performances. With a SXSW run on the very-near-horizon, this band has serious potential to explode on the music scene, and that feeling was confirmed as soon as they hit their opening note.

Dressed well for the occasion, the band was on fire from the start. Lead vocalist, Octavio Genera was instantly wooing the crowd as he effortlessly danced and sang up and down the length of the stage with explosive dance moves. He has a voice that is both smooth and soulful with an edge of grit and growl. These are vocals that are well suited to their songs, which are reminiscent of some of the best rock and soul from the past.

This band excels at hard-driving rock, which they delivered in a big way many times throughout the night with well-placed lighter songs to bring things back to earth once in a while. In essence, The Soft White Sixties curate a well-paced show. After their set of about an hour and a half, it was confirmed that this was one of those performances that will be well remembered. Surely, TSWS are destined to launch onto larger stages and broader success as a band. Ready and poised, all the ingredients are there.

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

March 3, 2014 by 3 Comments

No-Age_postBy Kevin Quandt //

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

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

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

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

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

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

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Noise Pop 2014: El Ten Eleven, The Mattson 2 & Pale Blue Dot at The New Parish

March 3, 2014 by 1 Comment

el-ten-eleven_postPhoto by Chad // Written by Kevin Raos //

Noise Pop: El Ten Eleven with The Mattson 2, Pale Blue Dot //
The New Parish – Oakland
February 28th, 2014 //

Where to start with Friday night’s show at The New Parish. It was a dark and stormy night. No really, it actually was a dark and stormy night in Oakland for Noise Pop featuring a trio of really cool bands and headlined by El Ten Eleven. First up was Pale Blue Dot, a trio from the East Bay consisting of members of James & Evander, The Aimless Never Miss and B. Hamilton, who brought their “Carl Sagan-inspired disco” to those lucky enough to seek refuge from the blustery conditions outside.

The Mattson 2 subsequently sported a suit and tie with their gazey hybrid of surfy jazz-rock. The Mattson 2 even invited famed pro skateboarder and musician Tommy Guerrero to slap the bass for a few songs, including one titled “Cascade”. Consisting of drums and guitar, this duo (and sometimes trio) got the crowd warmed up properly for the headliner.

At this point, those in attendance were ready for the evening’s main event: El Ten Eleven. The self-proclaimed “power duo” from Los Angeles created an immense sound with the aid of a looper and heavily modulated effects. Wielding a double-neck guitar/bass combo, El Ten Eleven’s experimental sound was polished and fresh, never drifting into monotony, which looper pedals can sometimes do. Entirely instrumental, El Ten Eleven was highly danceable and funky, much to the approval of the purportedly fervent fans.

Expectations are everything for me. I knew nothing about El Ten Eleven prior to the show and was incredibly impressed by their original sound and dramatic display of exceptional musicianship. According to a friend at the show, they played some of their most well known songs, even offering their take on Radiohead’s classic “Paranoid Android”. El Ten Eleven’s vibrant live show was highly technical, musically intelligent and infectiously groovy. They are a band that is not to be missed.

You know I will be at the show next time they come through the Bay Area.

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

March 3, 2014 by 1 Comment

PapercutsBy Kevin Quandt //

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

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

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

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

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

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

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