Noise Pop 2015: Who made the ‘most’ of SF’s 12-day indie fest?

Caribou


Caribou at The Fillmore // Photo by Justin Yee

Photos by Justin Yee, Pedro Paredes, Mike Rosati, Alfonso Solis & Nicole Alfaro // Written by Molly Kish //

Noise Pop //
Bay Area venues – San Francisco & Oakland
February 20th-March 1st, 2015 //

2015 marked the Bay Area’s 23rd annual celebration of independent music, art, film and more, affectionately known as Noise Pop. Running 12 full days and taking place at more than 20 different venues throughout SF and the East Bay, this marathon party is best described as the West Coast version of South by Southwest.

Each year, Noise Pop highlights both the biggest stars within the independent music and art industries as well as emerging artists performing at the peak of their games and has always been ahead of the curve when it comes to booking their acts — and this year was no exception. Curating a demographic of music fans with limitless knowledge, expectations and preferential ranges, this festival never fails to create some of the most memorable experiences in live entertainment throughout the Bay Area.

Noise Pop remains one of our favorite times of the year, not only for its amazing lineups and exceptional performances, but also for its genuine ability to bring music and lifestyle connoisseurs from across the globe to extrapolate, communicate and participate in the independent culture of the Bay Area.

Here are some of our favorite moments from Noise Pop 2015.


Most Likely to Have a Hospital Bill: Ben Gibbard

Gibbard enlisted Sun Kill Moon’s Mark Kozelek to play guitar for him after breaking his wrist before his big opening night performance at the Swedish American Music Hall. We’re still surprised the notorious shit talker (Kozelek) didn’t give Gibbard a harder time about it, considering the last song off Kozelek’s Benji is titled “Ben’s My Friend” and is about how Kozelek went to the Greek Theatre in Berkeley to watch Gibbard play with The Postal Service before proceeding to have a mental breakdown.

Runner-up: PPL MVR

This second-place honor goes to SNWBLL after the band had to cancel its performance at Bottom of the Hill due to some unfortunate bladder issues.


The Black Ryder

Most Likely to Inspire 2015 Festival Fashion: The Black Ryder

Dark, brooding and beautifully tragic. Beyond the torrid love affair story and musical diatribe to accompany the duo of Aimee Nash and Scott Van Ryper, the band embodies its self-proclaimed “Rhinestone Drone” sound into a wicked wardrobe, guaranteed to materialize on the proverbial polo fields across the nation this summer.

Runner-up: Bestie

The Vancouver outfit brought some creativity to the merch table with fun and functional band gear, such as koozies and friendship bracelets, as you can see here via Instagram.

https://instagram.com/p/zjwd2OJ5-G/


Kindness

Most Bar-Raising Performance of the Festival: Kindness

“(Adam) Bainbridge grabbed one audience member’s cell phone out of its hands and filmed himself as well as the crowd with it at one point, elevating the crowd-interaction a notch. He sang from on top of the bar at stage left, walked into the crowd with his mic and made a huge lap while singing to individuals in the audience to end the night.”

Read the full review here.


Dan Deacon

Act Most Likely to Prompt a Mind-Altering Freak Out: Dan Deacon

“Layer upon insane layer of sound interprets into harmonious infectiousness, a feat that hints at an intersection of mathematical and creative genius. The guy takes all sorts of frequencies and cross sections of genre elements and composes it all together into a crescendo of weird, atypical pop. And by weird, I mean the very good kind of weird.”

Read the full review here.


Holly Herndon

Runner-up: Holly Herndon

“People laughed nervously as a slow burn of glitch sounds began to emerge, and before you knew it, her browsing gave way to an interactive, virtual world featuring two-dimensional cutouts of people floating about while strategically-placed cameras around the room recorded and projected images of the crowd, usually catching them unexpectedly on their phones, on two adjacent screens.”

Read the full review here.


Surfer Blood

Most Entertaining Attempt at a Cover Song: Surfer Blood

These guys covered “Hey Sandy” by Polaris, aka the theme song for “The Adventures of Pete & Pete.”

Runner-up: Girrafage‘s rendition of Miley Cyrus’ “Party in the USA”


Caribou

Most Likely to Be Headlining Future Festivals: Caribou

Absolutely destroying two back-to-back, sold-out nights at The Fillmore, Caribou’s live show is currently on a world tour, hitting all of the largest festival stages in its wake. We unanimously believe that this act will be one of the biggest of 2015 and are keeping our fingers crossed that they will be filling the empty spot in their August tour schedule with a stop at this year’s Outside Lands Music Festival.


Flight Facilities

Runner-up: Flight Facilities

“… to consider booking this lineup on a ‘school night’ at a venue with a max capacity of 1,424 people was a pretty bold call. Subsequently though, it was also one that paid off in easily the largest dance party of the festival.”

Read the full review here.


Les Sins

Most Likely to Break the “Local Music” Barrier: Les Sins

“Intermingling his own material with disco classics, 90’s pop jams and dirty trap beats, Bundick had the crowd on fire and easily could have prolonged the party well into the after hours had there been the option to do so.”

Read the full review here.

Geographer

Runner-up: Geographer

With a doctored lineup and powerful new songwriting approach, Mike Deni has taken full reign of the band’s beloved history of material and is moving forward into bold, uncharted territory — a leap of faith that just might cover the extra ground needed to penetrate a mainstream audience.


Seeing Holly Herndon perform is a multisensory labyrinth

Holly HerndonBy Alfonso Solis //

Holly Herndon //
The LAB – San Francisco
March 1st, 2015 //

It seems only fitting that Holly Herndon would bring her computerized abstraction of sounds to The LAB in SF, a space where she could freely experiment with her distorted, disembodied voice against a minced background of chaotic percussion and garbled samples without the necessary expectation of moving the crowd in the conventional sense.

Those familiar with Herndon’s work will know her music is more academic than pop, full of theory rather than infectious with melody, which isn’t to say it isn’t enjoyable, but its appreciation comes from a different angle than say Caribou, who played his lush, dreamy dance-pop also on Sunday to round out Noise Pop 2015. Perhaps this was intentional on behalf of the organizers, to highlight the noise and pop spectrum of their festival at its most extreme. Caribou’s two-night sold out show can attest to the power of pop, but the small, intimate crowd willing to submit to Herndon’s dense, often difficult noise was taken on a strange and dark journey.

Holly Herndon

What is most striking initially about Herndon’s show was how well her audio experiments translated into a visual experience. With a projector behind her connected to a laptop, Herndon introduced herself by writing down some text on her computer. Right when it seemed that she was about to close the laptop and begin playing, she did what all of us do, logging on to Facebook and ingesting the endless amount of personal information that comes with it. She explored her news feed, humorously joining the show’s Facebook event page and then browsing endlessly through friends’ pages and photos.

Long after the joke was over though, Herndon continued further, navigating an endless labyrinth of profiles, uncomfortably looking at the information of friends of friends and trying to request their friendship. Where was she going? Who were these people? Should she be stalking and adding them?

Holly Herndon

People laughed nervously as a slow burn of glitch sounds began to emerge, and before you knew it, her browsing gave way to an interactive, virtual world featuring two-dimensional cutouts of people floating about while strategically-placed cameras around the room recorded and projected images of the crowd, usually catching them unexpectedly on their phones, on two adjacent screens.

Electronic artists have always explored humanity’s uncomfortable relationship with technology, but Herndon’s meta-commentary updated the formula to focus on our socially-networked existence and our vulnerability to web-based privacy violations. It’s a multimedia presentation that worked brilliantly in tandem with her music, which in and of itself has the ADHD feeling of browsing the Internet. Never content in one place, Herndon seamlessly shapes her music from glitch techno to bass-heavy ambiance to abstract delights — sounds supposedly culled from her daily web-browsing experience. Her samples are distorted to an extreme degree, almost to the point of agitation, but it’s fascinating to see how she scrambles the audio. The information is still there but beyond recognition.

Holly Herndon

Electronic music can often come across as disengaging, with the perception being that the music is planned out in ones and zeroes, but Herndon injects a level of chance and spontaneity into her performance that few other electronic artists accomplish. Singing into her microphone, her voice is immediately processed, chopped and distorted. Spontaneous moments like drinking water or laughter from her and the audience became instantly a part of her repertoire of sounds as they were manipulated into the rhythms of her music.

Herndon’s show can come across as more conceptual than actually enjoyable, her music’s database of discombobulated sounds of the Internet and her voice seeming to be a commentary on our social dependence of technology and the alienation that follows. Indeed, the show’s one-hour length left more to be desired, but Herndon finds a nice balance between electronic experimentation and accessibility. Just as the cacophonous combination of agitated percussion, glitch samples and voice manipulation would seem overwhelming, her music would give way to more recognizable, danceable songs such as “Chorus” or “Movement.” Such are Herndon’s shows, challenging and demanding but filled with gorgeous checkpoints to gather oneself and simply move to the music.

Holly Herndon

Holly Herndon

Holly Herndon

Holly Herndon