tUnE-yArDs

Get to know: Kishi Bashi

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If you’re planning to hit the Fillmore tonight, I can only guess tickets were carefully debated then purchased mainly in order to see fantastical live sets by the magic indie sprites of Deerhoof and/or headliners of Montreal. But might I suggest getting there early for opener Kishi Bashi?

I caught his act last night at Slim’s (it was the same lineup as tonight — the three acts are on tour together) and was glad I did. Others in the crowd were pleased as well, yelling “I love you!” during the few quiet moments in between full blown song attacks.

If you’re not already turned on to his charms, the solo multi-instrumentalist and of Montreal touring member is basically (and I mean basically, as in reality there’s always more to the story) a male tUnE-yArDs looping violin instead of drums. He’s got the same frenzied charm, the same echoing tribal holler, and the same endless loops climaxing in a dizzying fashion. Unrelated but equally notable, he had snazzy bow-tie on last night, and told the crowd he’d just learned to tie it that night, though that was likely a fib as I see he’s wearing it on tour. No matter, more girly sighs and hoots. 

Here’s Kishi Bashi recorded:
http://www.youtube.com/watch?v=-JqDgrnaMC4

And here he is live, performing “Manchester”:
http://www.youtube.com/watch?v=A-IJbaNZc9I

And here he is just one week ago in Texas:
http://www.youtube.com/watch?v=I-0vJIYc_cQ

Enjoy.

Kishi Bash
With Deerhoof, of Montreal
Thurs/22, 8 p.m., $22
Fillmore
1805 Geary, SF
www.thefillmore.com

Unintelligible genius: looking back at all four shows of the Reggidency

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When Reggie Watts first came to my attention, through a series of appearances on Conan O’Brien’s show a few years back, I didn’t know where to place him. My first instinct was to lump him in with the trend in music – particularly indie rock –  around the looping pedal where solo artists including Owen Pallett and tUnE-YaRds could layer mic samples atop one another during a live performance to get a larger, simulated band sound.

In Watts’s case he seemed to be to be combining musical styles including beat boxing to a comedic effect that picked up a tradition that was part Michael Winslow’s SFX, and part Andy Kaufman and Steve Martin’s anti-humor. Still, Watts resists categorization and besides the opportunity for a good pun, SF Sketchfest’s Reggidency, a four night series of shows, was an excellent chance for Bay Area audiences to try and figure out what the hell the performer does.

To get a sense of just how different Watts is from everyone else in comedy, you don’t have to look much further than Garfunkel and Oates, the opening act at his Mezzanine show on Wednesday. Garfunkel and Oates’ Riki Lindhome and Kate Micucci – two banjo and guitar strumming women with an appealing cuteness that screams sitcom – specialize in musical comedy. And they do it well, in songs about bad handjobs, smug pregnant women, and bad/bold booty calls. Each bit from the riotously funny duo had a clear comedic concept and tight musical package.

That same night Reggie Watts played a lot of songs, I’d say a larger proportion even than the first night at Yoshi’s, the “Just the Music” night where – ironically – he got involved in more characters and monologues. But if you asked me what the songs performed at Mezzanine (a Massive Attack themed venue according to Reggie) were about, I honestly couldn’t tell you. Not because I wasn’t paying attention, but because his songs generally aren’t about anything. Sure they involve ideas, concepts, and word play, but it comes in a stream of conscious manner; the songs are less neat little objects as much as platforms for Reggie to riff on whatever he wanted.

http://www.youtube.com/watch?v=es3H0_IMLvo

A night later, following a deadpan comedic introduction by Reggie that seemingly went over most of the Yoshi’s Oakland crowd Thursday night, jazz pianist Robert Glasper took the stage to open that show alone. Playing a large Steinway piano that dwarfed Watts’s Roland Fantom X7 keyboard, the music initially sounded completely different from what I’d heard from Watts the last two evenings, but as I listened I started to pick up what was going on, Glasper playing a foundation of deep bass notes, a gentle um-un-ah, while going to work over the top of it with playful flourishes. The effect was unique (when Glasper reached a certain intensity someone in the otherwise silent crowd ejaculated “Yes!” rather than exploded in laughter) but the method of improvisation, music or comedic, was the same.

Earlier that day, before the performance, while he was getting ready to drive around Berkeley to find a “Michelin joint” for lunch, Watts told me that he had never worked with Glasper before, and little preparation had been involved for the show. It was of little concern. “I’m not really too worried,“ Watts said. “He’s a jazz guy and has to mix improvisation anyways. He has a totally great ear. I think we’ll come up with something great, it should be fun.” That night Watts emerged on stage dressed in the same red striped sweater from two night before, but with a new gruff voice that was pure jazz man. “I have an original piece I’d like to perform for you tonight. I wrote it in ‘Nawlins in 2004. It’s called ‘Non-Equilibrium’ and it’s about the situation going on…in Kansas.”

During one of their early songs together, Glasper took a break from playing to lean back, place a on hand on the floor and a foot on the rim of the grand, posing for a photographer with an annoying flash. Watts on his own has no problem creating dialogues with alternating voices, but with Glasper he found a willing partner to joke with, whether a fake studio control room exchange, or hollowed between-song banter.

Their first song together, which started out as a gentle “Wind Beneath My Wings”-esque ballad and transformed into some gospel soul, had Watts busting out some of his singing chops. As he held one big cry while modulating the sound by shaking the microphone back and forth, it was clear how talented as a singer he is. (On top of previously being a member of numerous musical projects including the Wayne Horvitz 4 + 1 Ensemble and Maktub, Watts also released a fairly straight forward, funky electronic soul solo album, Simplified, in 2003, entirely distinct from his later comedic album Why Shit So Crazy? in 2010.) No joke, dude has pipes. The actual lyrics, when they are more than just sounds, are essentially cliches – maybe you’ll come back, the things we said – just allusions to a situation and no details. But the song itself sounds full.

http://www.youtube.com/watch?v=uK2De2eCebg&feature=related

“What do you want to do next?” Reggie asked after the song concluded. A dead-pan Glasper responded, “Something that has to do with…there’s a lot of stuff going on all over the world.” “Got it,” Reggie said quickly, starting up a steady bass beat. The track was mellow, but soon Watts was busting out every cheesy, cheap, and tinny pre-programmed effect on his comparatively tiny keyboard. Soon the two got into a karaoke jam session, covering Billy Joel’s “Piano Man” and Bonnie Raitt’s “I Can’t Make You Love Me.”

Watts doesn’t necessarily need accompaniment. This was clear on the last night of the Reggidency, when he was scheduled to improvise an original score for a silent film. In a characteristic screwball move, though, Watts selected not a pre-sound, Silent Era title, but a more modern film with the sound on mute, in this case Ridley Scott’s visually decadent, otherwise vacuous 1985 fantasy film Legend. With an actual silent film there are title cards for the story and the band just has to play the score, with this choice, Reggie was tasked with filling in all of the missing audio, including the introductory narration for the overly long post-Star Wars opening text (which he breathlessly sped up, deflating the gravitas), the original Tangerine Dream score, forest animal sounds, and the actors’ dialogue.

Watts replaced the husky voice of Mia Sara (Ferris Bueller’s girlfriend, Sloane – I don’t know why she wasn’t in that Super Bowl commercial either) with a ditzy whine and dubbed Tom Cruise as an appropriately doltish bumpkin, all while juggling original songs with descriptive lyrics like “the engine of reality is based out of conflict.” The whole thing was a technological and musical feat as much as a comedic one, although at times in part because of the venue’s sound system but also the number of layered elements, the audio was a bit muddled and Reggie’s voice hard to make out.

Even when he’s on a comedic roll, or when the sound is perfect, Watts can be hard to follow. Dana Carvey did a song once called “Chopping Broccoli,” a parody of pretentious musicians and their tendency to sound like they are just making up words to the songs as they go along. Whether he’s building a song atop a beat or doing a character, Watts seems to chop a lot of broccoli on stage, although the content frequently goes in less mundane, more psychedelic directions.

Watts introduced a song at the Mezzanine as “The Hall of Kings” and explicitly said it was about Egyptians taking credit for structures built before them (a topic of interest that he referenced previously as well – a rare instance in which he repeated something during the Reggidency.) When he started singing, however, it’s in a drawl, and the topic is roosters and TV. TV gets transformed into TB, tuberculosis, and soon, in his farmer voice, Reggie was singing about wanting to be next to potatoes.

By the time I figured out what the hell he was going on about, Watts went onto the next thing, musically shifted the quaint shuffle beat into slowed down hip-hop, added some wobble and made it dubstep. In the back of the room, where I seemed to be surrounded by increasingly distracted drunks and some rote club goers not interested in keeping up with the act, I started to feel strained, confused, wondering if I’m still tuned to the right reality. Almost on cue, Watts simplified things, as he hooked up an mp3 player, turned on Phoenix’s “If I Feel Ever Feel Better” and began dancing; it was a hilarious bit of purely physical comedy that was the exact opposite of the heady bit he was doing moments before.

http://www.youtube.com/watch?v=8wAQKyahAb4

I’d been wondering about the line between the inane and the insightful, and when I spoke to Watts between shows I ask if he’d consider being described as “unintelligible” as a compliment or an insult. “It’s totally complimentary,” Watts responds. “I like to mess around with the ideas, there are certain things you don’t have to hear clearly and sometimes a little concept here or there is nice for suggestion and then you can go on the nonsense trail again.”

It feels like Watts – who seems to have found a perfect niche in performing – is capable of doing anything on stage. For all the characters he does, and the range of subjects and styles he covers, Watts never appears mean, cynical, or harsh. (Someone before the last show on Friday even described him as lovable, a word not typically reserved for comedians.) Sometimes it’s a trick – a sort of cognitive short-circuit – as when he started the Mezzanine show by mouthing words but only audibly saying every third or fourth – but never a joke played at anyone else’s expense. Asked if there was any appeal to simply messing with people, Watts refused: “I don’t like to fuck around with people where I’m taking advantage of them. I want them to join in and try to provide opportunities for them to join in on the conceptualization.”

Sorrow, tears, blood — and dance

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arts@sfbg.com

MUSIC Musical genius, human rights activist, cultural legend, African icon — late Nigerian Afrobeat pioneer Fela Kuti encompassed multitudes, but to his 1980s-era guitarist Soji Odukogbe, he provided not only inspiration but a way into his music.

“The music was written by Fela, so if you were good enough, you could add to it, and he wouldn’t say anything. But if you were not good enough, he’d say, ‘This is the line,'” explains Odukogbe, 49, by phone from Berkeley where he now lives. “Afrobeat is a written music — you can’t add to it. You can add if you know your instrument, and it’s sweet enough, then you can go there.”

Fortunately the Lagos, Nigeria, native — who as a child was inspired enough by Fela’s hits to take a wood plank, hammer a nail into it, and pretend it was a guitar — was good enough to take his liberties on guitar on legendary Fela albums like Teacher Don’t Teach Me Nonsense, Beasts of No Nation, and Underground System (all Barclay; 1986, 1989, and 1992). “[Fela] was anxious to meet me [after he got out of prison], and when he saw me, he was so happy — he said, ‘I have a guitar player that’s really good!,'” recalls Odukogbe, who joined Fela’s band in ’85. “One day I said, ‘Fela, I want to take a guitar solo. He only allowed horn and keyboard solos, and he said, ‘Yeah, go ahead,’ and I blew his mind. He was so proud of me.” Odukogbe appears with kindred Fela player Baba Ken Okulolo at a “Fela Kuti Extravaganza” dance party at Cafe Du Nord Jan. 28.

The guitarist played with Fela for five years before deciding to take his chances in the U.S. where a so-called world music movement was catching fire with the success of Nigerian juju master King Sunny Adé, Le Mystere des Voix Bulgares (Nonesuch, 1987), and Brazil Classics 1: Beleza Tropical (Luaka Bop, 1990). Now, with publications such as The New York Times trumpeting an “African invasion” in indie rock and a fascination with African music takes hold once more — morphed and bent to new ends by performers ranging from Vampire Weekend to Dirty Projectors to this year’s Pazz and Jop poll-topping tUnE-yArDs — the time seems right to revisit Fela’s legacy.

Long before African outfits like Tinariwen and Blk Jks threaded rock ‘n’ roll guitar into indigenous rhythms, and hipster-cred comps such as the Ethiopiques and Congotronics series touched down stateside, Fela was hybridizing jazz and highlife with a potent dose of James Brown-style funk, a black power sensibility (not for nothing did he dub himself the Black President), and a driving thirst for justice, even after being jailed some 200 times, suffering at the hands of soldiers (the wounds Fela revealed when he dropped his trousers in the 1982 documentary Music Is the Weapon are heartbreaking), and undergoing a level of government harassment and abuse that would break most mortals. It all appeared to climax in 1977 after the release of his military-mocking 1977 LP Zombie (Barclay) and the subsequent invasion of his Kalakuta Republic commune by soldiers, which led to the death of his mother and the beating and brutalization of the performer, his family, wives, and friends.

Though mainstream superstars Will Smith and Jay-Z threw their producing weight behind the recent Tony Award-winning musical production of Fela!, it’s tough to imagine an artist quite like Fela in today’s music scene, fighting back from the top of the pop charts, occupying the public imagination with his radical politics and spiritual beliefs, and speaking his mind, loudly and outrageously. Still, Fela’s story and music speak louder than ever, especially in the context of indie’s less-than-political appropriation of African sounds, the recent SF run of Fela!, the 2011 rerelease of Fela’s Universal-controlled albums in North America by Knitting Factory Records, the upcoming film directed by artist-filmmaker Steve McQueen, and continuing tide of injustice in Nigeria, where weeks of protests continue over fuel prices and the country has undergone its worst oil spill in a decade.

“The thing that’s most interesting about Fela’s music is how traveling and seeing other cultures, going to the United States, and getting familiar with American music and James Brown and American politics inspired him to fulfill his own roots and look back on himself and to really see these international forces as part of his background and his own culture,” observes Will Magid, 26, who organized the Fela dance party and has played with Odukogbe and Okulolo. Magid’s own forthcoming debut album promises to mix Kuti’s influence with Balkan, pop, and funk sounds. “We need more people who are like that and who are speaking up.”

El Cerrito-by-way-of-Nigeria bassist Okulolo played with Fela as well as King Sunny Ade and has performed with Odukogbe in the Kotoja, the Western African Highlife Band, and the Nigerian Brothers. Magid’s friend and mentor since the two met through Okulolo’s son at UCLA, the musician sees “Fela Kuti Extravaganza” as a teaching opportunity.

“Fela was a great musician, and his music will never die,” says Okulolo. “I think it would be a good idea to continue educating people about his music and how beautiful it is. I worked with [Fela] briefly, and I know the man well, and so many bands are playing Afrobeat now — generally the music needs to be out there.”

“It has funk; it has jazz; it has an African beat; it has everything,” he continues. “It’s our opportunity to showcase it to as many people as we can and make it valuable, to put it in a category that someday will be what reggae is today.”

And during hard times, we can all learn something from Fela, his still-vibrant music, and his way of moving, fluidly and artfully, through oppression, through pain. “There’s this element of social consciousness, of people dancing and then hearing about these oil spills,” muses Magid of the upcoming dance party. “It’s a different kind of dancing when you’re dancing through suffering.” *

 

WILL MAGID’S WORLD WIDE DANCE PARTY: FELA EXTRAVAGANZA

With Baba Ken Okulolo and Soji Odukogbe, Will Magid Trio with Fely Tchaco, MSK.FM, and izzy*wise

Sat/28, 9:30 p.m., $15

Cafe Du Nord

2170 Market, SF

www.cafedunord.com

Snap Sounds: Mwahaha

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MWAHAHA
MWAHAHA
(Mwahaha Music)

Poor choice in band name aside, Oakland psych-rock quartet Mwahaha’s debut has a lot to offer. On album opener “Swimmer,” Ross Peacock sings “I swim deeper through darkness and danger / from the surface and its beautiful light” in an alluring falsetto over warm synth tones. 

The colorful, swirling fractals of an acid trip appear, then the song dips into heavy reverb and clattering percussion as Mwahaha enters noise rock territory. And that’s only the first track. “Poinsettia” is a dark, lusty, drum machine-driven dance anthem. “Love” — featuring tUnE-YarDs’ Merrill Garbus — is all tribal rhythms, wailing guitar, and lush vocal harmonies. Garage rock shifts into the sound of actual rocks being tossed into a pond on “Rivers and Their Teeth,” and closing track “Bathynomus Gigantes” is an 11-minute exercise in weirdness.

Listen to “Love:”
http://www.youtube.com/watch?v=wc_LDS21bzw

Mwahaha live at the Uptown:
http://www.youtube.com/watch?v=aG4s8quOye4

Live Shots: tUnE-yArDs at the Regency Ballroom

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tUnE-yArDs seemed so playful and free on Wednesday at the Regency, like a band of highly skilled children, in particular the ringleader-pied piper of the bunch, Merrill Garbus. Hopping around barefoot, playing with different toys – pedals and looping samples, ukuleles, and crash drums – all on a square of carpet that had a curvy gray racetrack: genius kindergartner. Or as a show companion described it, “it feels like the world’s greatest camp band.”

Part of their gaiety may have been due to timing – the show, which took place the night before Thanksgiving, yet still nearly sold out – was the very last of a long tour for tUnE-yArDs. Openers Pat Jordache, a spry Montreal quartet with four-part harmonies and two drummers, presented Garbus with a cake during its set to celebrate the end of their joint journey. A very sweet moment, in a night full ’em.

After a brief intermission Garbus was back out on stage, this time dressed more in her stage persona – thick paint streak across her cheeks, one gigantic hoop earring. Her band also wore face-paint, along with sweatbands. My only concern of the entire evening: I feel like perhaps the warpaint thing has had its day, but of course, that’s just a matter of personal opinion. And really, no matter. The music is the important thing here. And that blew me away, every tune.

Each song felt like a jazzy Afro-folk art project; Garbus would create a beat, or a vocal chant, then loop it endlessly, add more varying vocals then jump from peddle to peddle, drum to drum. The two saxophonists free jazzed it, and the bassist played along with Garbus while adding his own tone. She’d count off then one-two-three, switch! The song changed, the beat stopped, or suddenly it was Garbus alone, chilling, beautiful vocals booming through the expansive space.

She’s the mastermind up there, her strength is ever-present, and at times, she nearly growls. She’s like a lioness, mouth open wide with harmonized roars. At one point she yelled out, “this is where we jump!” and the crowd erupted, bouncing in near-unison – my old-lady perch upstairs was suddenly shaking. At another point a beat she created didn’t quite work and she just stopped and smiled, “this isn’t danceable!” adding “people always ask if we ever mess up, now you know!” The next beat worked and we all sighed with relief. As expected, and similar to that last time I caught the act, “Bizness” got the biggest crowd response, but the audience cheered for nearly every other song as well, even the slightly less poppy, moodier new one.

At the end of the official set, or I should say, pre-encore, Pat Jordache got back on stage to celebrate with tUnE-yArDs, while large trash bags full of colorful balloons were released upon the young, absolutely fucking thrilled, crowd. It was a tasty pre-holiday treat, and we didn’t even have to sit at the kid’s table (hell yeah, balcony).

Our Weekly Picks: November 23-29

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WEDNESDAY 23

Immortal Technique

“So now that it’s proven, that a soldier of revolution/ Or head of an empire, disguised in a constitution/ Can not escape the retribution or manipulation/ Of the self-appointed rulers of the planet’s corporations.” So says Afro-Peruvian rapper Immortal Technique on new mixtape The Martyr (Viper Records). Born Felipe Coronel, Tech seizes every opportunity to eviscerate American class warfare and excoriate the United States government’s complicity. Tech’s angry sermons get a little lost in the first half of Martyr because of distracting riffs taken from the Beatles, Aerosmith, and The Goonies soundtrack, though there is a clever reworking of ABBA’s “Money, Money, Money” in reference to this generation’s “Rich Man’s World (1%).” Pure, undiluted Tech shines through on the mixtape’s second half. Swill with care. (Kevin Lee)

With Chino XL, Da Circle, DJ GI Joe

8 p.m., $32.50

Fillmore

1805 Geary, SF

(415) 346-6000

www.thefillmore.com

 

MOM’s Family Funk’tion

Before you indulge in caloric binges, first endear yourself to the soulful 1960s sound that has always sounded sweeter during the holidays: Motown. No one knows and appreciates this more than the masterminds behind MOM (Motown on Mondays) who bring originals, remixes, and “close relatives” of Motown label songs to venues and events across San Francisco, including Madrone Art Bar, Public Works, SF Funk Fest, even the Treasure Island Music Festival. The first MOM’s Family Funk’tion goes down the night before the turkey funeral that is Thanksgiving at Brick & Mortar, with DJs Gordo, Timo, Phleck, and Matteo spinning the tracks that get the tail-feathers shaking. The crew from MOM promises to provide “toasty soul and fresh funk jams.” (Emily Savage)

10 p.m., $5

Brick & Mortar Music Hall

1710 Mission, SF

(415) 800-8782

www.brickandmortarmusic.com

 

tUnE-YarDs

Before her set at Pitchfork Music Festival last summer, we were all given tubes of neon yellow warpaint so we could emulate tUnE-YarDs’ Merrill Garbus. Though we may have resembled her, it was no use. We would never be as badass as the woman on stage looping ukulele, smashing drums, and wailing something fierce. With help from additional saxophonists and drummers, the playful jams of Garbus’ quirky hit album w h o k i l l (4AD) burst forth into the calculated cacophony that is tUnE-YarDs. (Frances Capell)

With Pat Jordache

8 p.m., $23

Regency Ballroom

1300 Van Ness, SF

(415) 673-5716

www.theregencyballroom.com

 

FRIDAY 25

“Sing-A-Long Sound of Music”

Chances are “Sing-A-Long Sound of Music,” the classic musical from 1964 with lyric subtitles so the whole theater can burst into song, is your mother’s dream come true — unless I am the only one who has watched their mom caper around the house, singing “My Favorite Things” (a possibility). It’s fortunate that “Sing-A-Long Sound of Music” should show the weekend after Thanksgiving. If mom’s in town, it’s your best bet. Additionally, the theater hands out goody bags, holds a pre-film concert featuring organist David Hegarty, as well as a costume contest. Your mom can dress up as Maria, of course, and you can dress as one of the Von Trapp children. Come on, do it for family. (James H. Miller)

7 p.m., $15

Castro Theater

429 Castro, SF

(415) 621-6120

www.castrotheater.com

 

Nadastrom

Are there a lot of orphans in the DJ community? Why are they active the weekend after Thanksgiving, when touring bands are presumably in food comas? Thankfully, there’s still down and dirty shows like this to sweat the gravy out, featuring a big lineup of international and SF DJs including Nadastrom, the progenitors of the bastard toddler of Dutch house and reggaeton: moombahton. Put on by Soundpieces, Camp?, and Irie Cartel, the proceeds of the event will benefit DJs Bogl and Benjammin Taylor, who lost their home in the fire above the Haight and Fillmore Walgreens a couple months back.(Ryan Prendiville)

With Truth (NZ), Stylust Beats (CAN), Lorne B (CAN), Tuffist (SP), Dnae Beats and more

10 p.m., $15 advance

103 Harriet, SF

(415) 431-1200

www.1015.com

 

“Velveteen Rabbit”

There is a lovely tradition in English children’s books that dresses issues around growing up with imagination and a gentle but firm hold on reality. Winnie the Pooh and Wind in the Willows are two of them. Marjorie Williams’ 1922 The Velveteen Rabbit is another. ODC/Dance’s KT Nelson, a young mother at the time, choreographed it 24 years ago. Today, it’s as fresh and imaginative as ever, with wonderfully colorful costumes, Benjamin Britten’s splendid score and Geoff Hoyle’s intimate narration. The two-person high Nana has just a touch of Victorian strictness about cleaning up the nursery but her efficiency is more than held in check by the toys who have minds of their own. Opening performance is Grandparents’ (20 percent off) and photo day (Rita Felciano)

Through Dec. 11, times vary, $15–$45

Novellus Theater

Yerba Buena Center for the Arts

700 Howard, SF

(415) 978-2787

www.ybca.org

 

“Great Dickens Christmas Fair”

Do not discount the Dickens Fair’s potential for holiday weekend shenanigans. Opportunities for hijinx abound, and not just because the fair’s 800 performers — from dirty-overcoated “guvnah!” drunks to crinoline-encased ladies who tea — are encouraged to interact in character with passers-by (mess with them gently! They love it!) The fair fills the cavernous Cow Palace, and houses a corsetry with live models coordinated by local cinchers Dark Garden, an adventurer’s salon where you can share your rollicking tales of shot glass exploration with fantastically mustached gents — and yes, you can booze your face off. Four bars, people! Including an absinthery in an alley, where you can mix chemically-induced hallucinations in with your environment-induced ones. (Caitlin Donohue)

Through Dec. 18, $22–$25

Cow Palace

2600 Geneva, SF

1-800-510-1558

www.dickensfair.com

 

Boys Noize

Here’s a great way to shed those new extra turkey (or Tofurkey) pounds — waddle into the Mezzanine Saturday night in your most comfortable tight jeans and dance your ass off. Boys Noize throws down the kind of relentlessly squelchy music that might make pioneers of Detroit’s minimal techno scene wince. Noize, actually the moniker of German DJ Alex Ridha, has been busy as of late, pushing releases on his record label, BoysNoize Records and its digital offshoot BNR Trax. The label’s sounds range from acidy techno to sinister electro, with a sprinkle of wobbly dubstep and a dash of oddball, leftfield sounds — much like the label’s creator himself. (Lee)

10 p.m., $30

Mezzanine

444 Jessie, SF

415) 625-8880

www.mezzaninesf.com


SUNDAY 11/27

Jeffrey Luck Lucas and Nebulous Orchestra

The Mission District’s Episcopal Church of St. John the Evangelist is no ordinary church — sure, it holds regular worship services, but it is also highly progressive (vocally supportive of LGBT rights, for example), boasts a colorful mural on one of its exterior walls, and is staunchly community-oriented, welcoming the occasional secular event into its historic (circa 1910, after being rebuilt post-1906 quake) building. Tonight’s performance features Mission troubadour Jeffrey Luck Lucas, heading up an “orchestra” (pipe organ, oboes, clarinets, strings, and more) comprised of other local musicians. You can bet that the acoustics in the church — itself known for a strong music program — will render the experience even more amen-worthy. (Cheryl Eddy)

With Gloaming Boys

6 p.m., $8–$20 (no one turned away for lack of funds)

Episcopal Church of St. John the Evangelist

1661 15th St., SF

www.saintjohnsf.org


MONDAY 11/28

“You Are All Captains”

A beguiling and beautiful meta-fiction, You All Are Captains grew out of Oliver Laxe’s experience teaching film workshops to local kids in Tangiers. Everyone plays themselves in this reflexive movie, though Laxe casts himself as the fool — a presumptuous European director guiding students to his own ends. The disguise allows him to realize sly but substantive reflections upon the ontology and ethics of filming. It’s fitting that You All Are Captains is making its local premier in a classroom: a U.C. Berkeley student group flying under the banner of “Picturing Neo-Imperialism” has invited Laxe to present his debut in person more than a year after it won the FIPRESCI critics’ award at Cannes. (Max Goldberg)

7 p.m., free

UC Berkeley

Dwinelle B-4, Berk.

www.pnwg.wordpress.com/events


TUESDAY 11/29

Metal Mother

By some standards, Oakland’s Tara Tati came into music fairly late: she didn’t take up the piano seriously until she was 23. But you wouldn’t guess as much listening to her ethnic fusion project, Metal Mother. On the debut album Bonfire Diaries, the singer-songwriter builds up a bold and elemental sound. With its trudging percussion and distinctly dark temper, Metal Mother invokes ’80s goth rock, ethnic fusion bands like Dead Can Dance, and at times, world ambient soundscapes. And yet, at heart, Tati sounds like a pop artist in the same vein as Björk circa Homogenic, and that alone implies talent. (Miller)

With Horns of Happiness, Mortar and Pestle, Birdseye

8 p.m., $10

Cafe Du Nord

2170 Market, SF

(415) 861- 5061

www.cafedunord.com

 

Retox

Is the Locust a joke? With its speedy deliver, high vocals, beepy attack synth, and masked personas, I never could quite decide. And yet, who cares? The energy level was always high, the shows always masterful absurdist romps. Justin Pearson and Gabe Serbian from the screamy ’90s-born Three One G act have now formed Retox — like Locust 2.0. Masks now off, and sounds a bit filled in (but really, just a smidge — its new album clocks in at 13 minutes total), it’s shinier, thicker, less jokey. It’s helter-skelter rock’n’roll, minus the screeching buzz-saw, the painful intro to “Boredom is Counter-Revolutionary” notwithstanding. The band is matched well with frantic experimental Japanese noise-punk act Melt-Banana. Anticipate high-energy, non-medical spasms. (Savage)

With Melt-Banana, Peace Creep

9 p.m., $14

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

Party Radar: Rarebits gets eclectic at Truck

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Well. I was so excited about the return of beloved DJ Chicken to the party-throwing arena that I listed the launch date of his new free monthly shindig, Rarebits at Truck, incorrectly in my latest Super Ego clubs column. It’s actually tomorrow night ( Friday 11/11/11 — the neat date should have been a mnemonic no-brainer, but hey, as I said, I’m still drunk).

So, let’s turn lemonade into vodka lemonade, shall we? I described the night, also featuring fab guest DJ Josh Cheon, of Dark Entries and Honey Soundsystem, as being “eclectic.” What the heck does “eclectic” even really mean? DJ Chicken has curated a collection of neato tracks — from tUnE-yArDs to Captain Beefheart — you may or may not hear tomorrow night at Truck after the jump. I’ll drink to that!     

The Like
http://www.youtube.com/watch?v=42p2nERiNFk

tUnE-yArDs
http://www.youtube.com/watch?v=YQ1LI-NTa2s

Sparks
http://www.youtube.com/watch?v=1JjbFWU6TqI

Captain Beefheart
http://www.youtube.com/watch?v=hCSPf5Viwd0

oOoOO
http://www.youtube.com/watch?v=4TJPbVd0oAM

Anita O’Day
http://www.youtube.com/watch?v=4XH4Uzusrc0

The Family
http://www.youtube.com/watch?v=joI86Fk6lNw

 

RAREBITS

Fri/11, 6 p.m.-10 p.m., free

Truck,

1900 Folsom, SF.

www.trucksf.com

Big Boi, big deal: Outside Lands 2011 pics

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All photos by Erik Anderson Imagery and Caitlin Donohue

I’m just going to go ahead and say it because I’ve had a few days to think about it: that was the best year of Outside Lands yet. Not just because of the weather — even though my singed epidermis is ample proof that the sun was out and about in Speedway Meadows this weekend — but because after four years of hype, the sold-out festival is finally justified in its claim that it’s among the top five biggest and best in the country.

So who cares if Big Boi didn’t show up (at least we got beach ball humor from Dave Chappelle, who seems to be showing his face more around these parts lately) — a bonus appearance from M.I.A. during Deadmau5 evens it all out in the cosmic sense of things. And who could be mad at Sir Lucious when Bay hip-hop repped as hard as it did with K. Flay and Latryx featuring Jazz Mafia? Not to mention local turns by show-stoppers tUnE-yArDs, who are not rappers but proved on Sunday afternoon that the group might have enough swagger to qualify. Oh — and yeah, the headliners. Arcade Fire, you really did deserve all the buzz. 

Like I’ve said in the past, some of the best parts of this festival took place off of any stage (and I’m not talking about the Loyd Family Players’ impromptu shows in the transition areas of the fest). The half-moon of Eco Lands stalls gave the three-day affair a little purpose beyond entertainment — everyone from Wavy Gravy’s Seva Foundation to the Wigg Party was there, the latter doling out chalkboard necklaces so that fest attendees could have a forum to share their thoughts with the guy standing behind them at Beirut. (“Free hugs” was a common refrain.)

The trippy little path from the main entrance out to the Twin Peaks Stage provided a welcome respite from the crowds, a nice improvement on the at-times-gridlocked inter-set migrations of past years. Plus, festival organizers stuffed it with sideshows — a dessert food court, a lackluster Mexican food court regrettably dubbed “the Mission,” and a phenomenal art installation by Monica Canilao and other local creatives: a fabric-parachute hinterland that fluttered soothingly in the breezes that whipped in from park’s edge Ocean Beach (bummer that a lot of it got ripped down by last-day rowdies). Coupled with a windchime swing and a wacky, remant-built castle, the OL consciousness-expanders finally had a place to breathe deep and reflect. 

Anyway, good job everyone on staying hydrated. See ya next year.

See also Emily Savage’s take on day three of the fest

Outside Lands, day three

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Ah, Golden Gate Park on a crisp, sunny Sunday morning. Well, afternoon. There’s nothing else like it. When I finally made my way out to Outside Lands, the highly recognizable vocal stylings of tUnE-yArDs were piping through the brush and bramble. Sweaty, shirtless men – fried to a near-crisp –  rain danced far back from the Sutro Stage. And those free-jazzing saxophonists that I mentioned in the pre-festival rundown were indeed beside Merrill Garbus.

Next up, I high-tailed it to foodlands, where I shared gourmet tator tots from Q and later, a falafel snow cone – not as odd as it sounds – from Straw. As we munched, I caught a few songs by the legendary Mavis Staples, but apparently missed it when Arcade Fire singer Winn Butler came out to join Staples in a cover of “The Weight.”

I then hit the Twin Peaks stage for !!!, a dance-punk band I’ve had ongoing mixed feelings about, but I have to say: they put on a good live show yesterday. Nic Offer, wearing teensy jean shorts, sprang across stage, arms open wide, shaking his hips and calling on the crowd to get moving. On route to the set, I overheard a girl yell, “Is that how you say that? ‘Chick, chick, chick’?!”

I’m glad I ran out of !!! during the last couple of songs, so I could be front and center for local garage rocker Ty Segall, working it in the unrelenting (read: not that hot) San Francisco sun. Segall opened with a new song then headbanged his way through older favorites. It was a small stage, but Segall’s show was highly attended. He asked if the crowd would circle pit, then took it back and recommended they just pogo. A few crowd-surfed, at least one lost a shoe.

Major Lazer was a whole otherworldly affair. While dapper Diplo and Switch stood behind a table of mixed electronics and laptops, a hypeman hopped around stage whipping a towel while a woman in a bright tropical onesie and neon pink slotted shades ran back and forth, bending into contortionist-yoga poses.

I watched a few John Fogerty songs –  all CCR – and thought how proud my father would be if he knew my proximity to Mr. Fortunate Son. I wanted to get prime viewing distance to Beirut so I made my way back to the Sutro Stage. With a mighty three-horn brass section (when Zach Condon wasn’t playing his ukulele) and a particularly lovely accordion, Beirut played songs off 2006’s Gulag Orkestar and 2007’s the Flying Club Cup, along with at least one track off upcoming release the Ripe Tide.

The exhilaration was palpable for Arcade Fire over at the Polo Fields/Lands End main stage. Thunderous screams rang out as each musician appeared on stage. Behind the band there was a marquee movie screen showing fuzzy, nostalgic images of tree-lined streets, warm sunsets, and cars on open roads – fitting in nicely with themes of its most recent album, the Suburbs. I’ll admit it, I got a little choked up. In the other direction, there was a sea of people, shrouded in the purple-blue lights of the stage, with lit-up booths lined up past them, and the dark tops of trees out in the park beyond those.
 

Return of the rock

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emilysavage@sfbg.com

MUSIC Outside Lands has stepped up its game in its fourth year. The mix of bands this time around is truly inspired — if a bit pilfered from old lineups at other fests like Treasure Island. No matter, it’s riding high in 2011.

This was not always the case. Last year, the Golden Gate Park festival seemed lackluster in the music department; the lineup wasn’t as solid as it had been previously, and it lacked that one giant-but-dependably-awesome act like Radiohead (or this year’s Arcade Fire). In the process, it may have lost a festival-goer or two.

It also went down to just two days in 2010 (it was three in 2008 and 2009), which Another Planet Entertainment vice president Allen Scott says was originally the plan. He later added, “[Last] year there weren’t a lot of touring headliners because of the recession. A lot of bands and artists decided to take last year off.”

This year, however, it’s back to long-weekend status. Saturday is already sold out, unless you want to do it up big and invest in a three-day pass or VIP tickets. That leaves, as of press time, the option of going either Friday or Sunday.

The highlights below are meant to help you more easily maneuver your way through the thick bustle of crowds and trees when you get out to those green fields. For the most part, I steered clear of headliners, since those are the artists who likely inspired your decision to attend in the first place. Here’s how to get the most (audio) bang for your buck.

 

FRIDAY

Do not miss:

Big Boi: Despite Big Boi’s arrest for drug possession last weekend, Scott says, “We are expecting Big Boi to be performing at Outside Lands this Friday.” Chances are, you were not one of the lucky few who jumped on tickets to see Big Boi at the Independent earlier this year — a venue far smaller than his usual digs. Needless to say, that show was way, way sold out. While the Outside Lands stage is far larger, his presence with silky-smooth vocals and casual flowing skills are big enough to dominate.

Joy Formidable: The acclaimed Welsh trio has been lauded for ushering a return to ’90s-era pop and shoegaze. With driving guitar riffs and strong female vocals, there’s a definite glint of Breeders in there. Dave Grohl, a man well familiar with the grunge decade, chose the band to open for Foo Fighters later this year.

Toro Y Moi: South Carolina native Chaz Bundick, known as Toro Y Moi on stage, is one of those talented genre smashers. His sophomore album Underneath the Pine, which came out earlier this year, has elements of dance, funk, and dream pop; Bundick is said to be influenced by French house, ’80s R&B, and Stones Throw hip-hop. And you can throw a little Off the Wall-era Michael Jackson in there as well.

Worth checking out:

Kelley Stoltz: He’s got connections with Sonny Smith (of Sonny and the Sunsets) — he appeared on the Sunsets’ album Tomorrow is Alright — but Kelley Stoltz is a talented musician to watch in his own right. The singer-songwriter-guitarist is at the heart of San Francisco’s garage scene, has been compared to Brian Wilson (Beach Boy, not Giant), and will likely perform tracks off his excellent 2010 Sub Pop release To Dreamers.

 

SATURDAY

Do not miss:

Black Keys: With just two members, the Black Keys has a notoriously big sound. This will travel well, even if you’re stuck towards the back of the crowd, and that deep soul will likely cause some uncontrollable shoulder shaking.

Old 97s: One of the early pioneers of alt-country, Old 97s was at the forefront of a new classification of music in the early ’90s. Since then, singer Rhett Miller has struck out on his own with well-received solo albums, but catching his sound where it all started is a rarer treat.

Worth checking out:

STRFKR: Portland, Ore.-based dance pop quartet STRFKR (pronounced “Starfucker”) injects emotion into live electronic dance music. Call it that now-retro genre electro pop, call it the LCD Soundsystem effect, call it whatever you wish: just dance.

 

SUNDAY

Do not miss:

Beirut: Beirut doesn’t play very often — the last time it stopped in San Francisco was at the Treasure Island Festival in 2008 — but when it does, it’s imperative that you watch. The result is an inspired jumble of brass horns and ukulele, Balkan folk, and Eastern European-influenced torch songs. Band leader Zachary Condon’s vocals soar live and he emotes convincingly at each stop.

Deadmau5: The tripped-out lights, lasers, and holograms of the show are worth sticking around for regardless of sound. But Deadmau5, nestled in a lit-up diamond cube and wearing an oversize foam mouse head, does bring music as well; it’s haunting yet danceable electronica with moving beats and breakdowns.

tUne-YarDs: Colorful, paint-streaked Merrill Garbus (a.k.a. tUne-YarDs) could likely be dubbed acid queen of 2011 — minus any actual drugs. Her looping drums, ukulele, and bass compositions are a dizzying work of art. And if you’ve seen her weirdo video for “Bizness,” you know she’s got a few unique ideas floating around. All that brain power manifests itself into a superior live show. Plus, she brought “two free-jazzing saxophonists” to the Pitchfork Music Festival, so here’s hoping she’ll do the same in her adopted Bay Area home.

Worth checking out:

Fresh & Onlys: The band may on the verge of outgrowing this place, but for now, Fresh & Onlys can be described as very San Francisco. As in, its music is one of a few local favorites to be included in the Hemlock Tavern’s meticulously selective jukebox. The garage rockers play moody, ’80s-tinged rock ‘n’ roll — soundtrack music for backseat teenage make-out sessions.

Major Lazer: You know Diplo, that guy who made M.I.A. good? He is also a member of Major Lazer, along with another producer you may know through M.I.A., Switch. Diplo has described Major Lazer’s sound as “digital reggae and dancehall from Mars in the future,” which: yeah. The show includes eye-popping costumes, hype men, and a refreshing bent towards live audio.

 

OUTSIDE LANDS MUSIC AND ARTS FESTIVAL Fri/12-Sun/14, noon, $85 Golden Gate Park, SF www.sfoutsidelands.com

Truly, deeply, sweetly

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arts@sfbg.com

LIGHTS OUT That randiest of Mission District corners, 17th and Capp streets, has long been a hotbed for DIY music, art, and the occasional can-blasting block party. Now San Francisco’s best-known indie video blogcast, Yours Truly (yourstru.ly) was taking it over. The Truly team — Caleb Moriarty, Nate Chan, Will Abramson, Babak Khoshnoud — recently invited me to a live shoot at a warehouse near the corner.

Lifelong music fans, the YT foursome creates intimate videos, following videographer Chan’s vision, of musicians performing songs in unusual spaces sliced with live interview material. Inspired by blogs like La Blogotheque and gorilla vs. bear, YT wanted to create a similar platform based in San Francisco. Besides local artists, YT films bands as they come through on tour; more recently, they’ve flown out to shoots, like one with Tame Impala in a Santa Cruz forest and one in Los Angeles, where they filmed Wavves.

“It’s very personal,” explains Chan about how they choose bands to film. “Only the four of us decide.” (Luckily, their sensibilities line up nicely with the great Indie Consensus: tUnE-YArDs, Little Dragon, Tyler, the Creator, Kurt Vile … ) Chan elaborates that they’re drawn to bands with strong pop sensibilities that perform well in a live setting. “The other challenge is finding the right space for it. We want the right mood.”

I can’t figure out which warehouse the shoot is taking place in because the correct door has lost its numbers, so I call Chan. I’m quickly escorted down into the basement of the Sub. I’ve been to shows here before, but those have always been on the second floor. Downstairs, there’s a wood-shop with off-white walls, piles of wood chippings, elaborate electric saws, a cabbie’s top-light on an electric organ advertising a strip joint, doors that lead nowhere, and a chorus of fellow onlookers.

Soon Claire Boucher, the force behind Montreal synth-pop project Grimes, and her crew arrive. Introductions all around, and then Boucher begins humming, unnecessarily apologizes, and goes into even more elaborate warm-up scales. Her look is striking — the limits of beauty are one of Grimes’ musical themes, and here they carry over. Boucher wears a plaid-collar dress-shirt under a taupe thrift-store sweater whose previous owner appears to be Santa, so she literally swims in it. It’s pocked with stickers, some sporting Lykke Li’s name, whom Grimes is touring with. (The band will be performing later that night at the Regency Ballroom.) Her bangs are bright blonde and the rest of her hair is dark black and pulled into a bun.

Within the wood-shop, Chan and Moriarty start rearranging Quikrete cement bags into tables, pile crates to make stools, and turn a red-painted door into a table-top that Boucher sets her keyboard on. Next, Chan unlocks a briefcase and pulls out his DSLR camera.

Boucher launches into a new song, still unnamed, that will be featured on Grimes’ next release. After the track, she waves her hands in circular motions above her head and declares she was nervous. Chan suggests they record “Vanessa,” Grimes’ hypnotizing track that has garnered her a large following. They do three takes of “Vanessa,” then Boucher announces to the rapt room that she’s more used to performing at dance parties. I think we were all simply too awe-struck to know how to react, but in response we burst into applause. (Clapping can be dancing.)

“It has to be really unobtrusive,” Moriarty says of making Yours Truly videos. “You’re trying to ask the artist how it feels and what they want to do over again. We’re trying to build the shoot around Claire but not trying to direct her.” Close-ups of fingers or lips, interview clips that capture an ephemeral moment or a bit of personality, and stripped-down versions of artists’ songs.

“It has to be very natural,” he adds. “I think people feel that when they watch the videos, they’re in the room.”

By letting the audience feel as close to the musician as I actually was during the shoot, the videos create an immediacy for fans. “Everything we create is purely passion-based,” Chan said. We love every band — and we want them to look good.”

 

Music Listings

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Music listings are compiled by Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 20

ROCK/BLUES/HIP-HOP

Bridge, Big Light, Real Nasty Slim’s. 8pm, $13.

Cypress Hill Warfield. 8pm, $45.

Dengue Fever, Maus Haus, DJ Felina Fillmore. 8pm, $22.50.

Fucking Buckaroos, Clepto, Mano Cherga Band El Rio. 9pm, $5.

Grand Lodge 50 Mason Social House, 50 Mason, SF; www.50masonsocialhouse.com. 9pm, free.

Gregory Alan Isakov, Fairchildren Café Du Nord. 8:30pm, $14.

Janet Jackson Bill Graham Civic Auditorium, 99 Grove, SF; www.tickemaster.com. 8pm, $49.50-149.50.

Limousines, K.Flay, Young Digerati, Shitty DJ Independent. 8pm, $15.

Angie Mattson, Beth Waters Hotel Utah. 8pm, $8.

Movits!, Planet Booty, Coppe with Deghouls Bottom of the Hill. 9pm, $12.

Radiators Great American Music Hall. 9pm, $30.

Thralls, Night Surgeon, Bad Bibles Hemlock Tavern. 9pm, $6.

FOLK/WORLD/COUNTRY

Artofficial, Hot Pocket, Seneca, DJ A-Train Elbo Room. 9pm, $8.

“Jah Summit Live” Blue Macaw, 2565 Mission, SF; www.jahsummit.eventbrite.com. 9pm, $7.

JAZZ/NEW MUSIC

Lynda Carter Rrazz Room. 8pm, $45-55.

Cosmo Alleycats Le Colonial, 20 Cosmo, SF; www.lecolonialsf.com. 7pm.

Dink Dink Dink, Gaucho, Michael Abraham Amnesia. 7pm, free.

Larry Jazz Band Showroom, 1000 Van Ness, SF; www.theshowroomsf.com. 7pm, $10.

Ben Marcato and the Mondo Combo Top of the Mark. 7:30pm, $10.

Michael Parsons Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Cannonball Beauty Bar. 10pm, free. Rock, indie, and nu-disco with DJ White Mike.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes.

Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

No Room For Squares Som., 2925 16th St, SF; (415) 558-8521. 6-10pm, free. DJ Afrodite Shake spins jazz for happy hour.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

Third Wednesdays Underground SF. 10pm-2am, $3. With Ms. Jackson, DJ Loryn, and Becky Knox spinning electro, tech, house, and breaks.

THURSDAY 21

ROCK/BLUES/HIP-HOP

Nicholas Burke, Infantree, Hugo, Damato Hotel Utah. 8pm, $8.

Crackerjack Highway 50 Mason Social House, 50 Mason, SF; www.50masonsocialhouse.com. 9pm, free.

Harderships, Mammatus Knockout. 9:30pm.

Marchfourth Marching Band Independent. 8pm, $18.

Mimosa, Paper Diamond Dillmore. 8pm, $22.50.

Off!, Culture Kids, Ecoli Eagle Tavern. 9pm.

Valerie Orth, Stringer Belle, Audiafauna Café Du Nord. 9pm, $10.

Ty Segall, Royal Baths, TRMRS, Nick Waterhouse and the Tarots Bottom of the Hill. 8:30pm, $8.

Sparrows Gate, SentiMentals, Toshio Hirano Amnesia. 9pm, $7.

Subhumans, M.D.C., Vacuum Thee Parkside. 8:30pm, $12.

System and Station, Gold Medalists, Sprains Hemlock Tavern. 9pm, $7.

Young the Giant, Man in Space, Strange Birds Slim’s. 9pm, $14.

Zeds Dead Regency Ballroom. 8pm, $20.

JAZZ/NEW MUSIC

Lynda Carter Rrazz Room. 8pm, $45-55.

Collective Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

Dime Store Dandy Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

Organsm featuring Jim Gunderson and “Tender” Tim Shea Bollyhood Café. 6:30-9pm, free.

Stompy Jones Top of the Mark. 7:30pm, $10.

FOLK/WORLD/COUNTRY

Country Casanovas Atlas Café. 8-10pm, free.

Jessica Fichot Red Poppy Art House. 7pm, $12-15.

“Twang! Honky Tonk” Fiddler’s Green, 1330 Columbus, SF; www.twanghonkytonk.com. 5pm.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5. DJs Pleasuremaker and Señor Oz spin Afrobeat, tropicália, electro, samba, and funk.

Base Vessel. 10pm, $10. With Three and Greg Eversoul.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Club Jammies Edinburgh Castle. 10pm, free. DJs EBERrad and White Mice spinning reggae, punk, dub, and post punk.

Culture Corner Koko Cocktails, 1060 Geary, SF; www.kokococktails.com. 10pm, free. Roots reggae, dub, rocksteady, and classic dancehall with DJ Tomas, Yusuke, Vinnie Esparza, and Basshaka and ILWF.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

80s Night Cat Club. 9pm, $6 (free before 9:30pm). Two dance floors bumpin’ with the best of 80s mainstream and underground with Dangerous Dan, Skip, Low Life, and guests. This week, celebrate Robert Smith’s birthday with a Cure-themed night.

Guilty Pleasures Gestalt, 3159 16th St, SF; (415) 560-0137. 9:30pm, free. DJ TophZilla, Rob Metal, DJ Stef, and Disco-D spin punk, metal, electro-funk, and 80s.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Mestiza Bollywood Café, 3376 19th St, SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Monsoon Season El Rio. 9pm, free. World beats with DJ ExEss.

Nightvision Harlot, 46 Minna, SF; (415) 777-1077. 9:30pm, $10. DJs Danny Daze, Franky Boissy, and more spinning house, electro, hip hop, funk, and more.

1984 Mighty. 9pm, $2. The long-running New Wave and 80s party has a new venue, featuring video DJs Mark Andrus, Don Lynch, and celebrity guests.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Thursday Special Tralala Revolution Café, 3248 22nd St, SF; (415) 642-0474. 5pm, free. Downtempo, hip-hop, and freestyle beats by Dr. Musco and Unbroken Circle MCs.

FRIDAY 22

ROCK/BLUES/HIP-HOP

Amon Amarth Regency Ballroom. 9pm, $25.

Lynda Carter Rrazz Room. 8pm, $45-55.

Diego’s Umbrella, Vagabond Opera, Mark Growden Independent. 9pm, $15.

Disastroid, Here, Fondue El Rio. 9pm, $8.

Endoxi, Bob Hill Band Union Room (above Biscuits and Blues). 8:30pm, $10.

Glen Fajardo and Eddie Cohn 50 Mason Social House, 50 Mason, SF; www.50masonsocialhouse.com. 9pm, free.

Lost in the Trees, Sean Rowe Hemlock Tavern. 9:30pm, $10.

Mustache Harbor Café Du Nord. 9:30pm, $15.

Randy Newman Davies Symphony Hall, 201 Van Ness, SF; www.sfjazz.org. 8pm, $25-45.

Radio Moscow, Hot Lunch Thee Parkside. 9pm, $10.

“Sugar Rush: A Fundraiser Concert for the American Diabetes Association” Rasselas Jazz. 9pm, $10-20. With Jay Trainer Band, Ziva, Peggle Theory, For the Broken, and more.

Kurt Vile and the Violators, RTX, Carletta Sue Kay Bottom of the Hill. 10pm, $14.

“Yard Concert Fundraiser 2011” Dolores Park Café, 501 Dolores, SF; www.doloresparkcafe.com. 7pm, $20. With Audrey Howard, Laura Zucker, True Margit, Shelley Doty, Groovy Judy, and Sistas in the Pit.

JAZZ/NEW MUSIC

Black Market Jazz Orchestra Top of the Mark. 9pm, $10.

Les Carnegie and the Jazz Vanguards Condor, 300 Columbus, SF; www.condorsf.com. 3pm.

Ensemble Mik Nawooj Red Poppy Art House. 8pm, $10-15.

Wobbly, Ensemble Economonique, Thomas Carnacki Lab, 2948 16th St, SF; www.thelab.org. 8pm.

FOLK/WORLD/COUNTRY

Baxtalo Drom Amnesia. 9pm, $7-10.

Harvey Diller Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

Lagos Roots AfroBeat Ensemble, DJ Jeremiah Elbo Room. 10pm, $13.

Yonder Mountain String Band Fillmore. 9pm, $25.

DANCE CLUBS

Afro Bao Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs including Stepwise, Steve, Claude, Santero, and Elembe.

DJ Mei Lwun Medjool, 2522 Mission, SF; www.medjoolsf.com. 10:30pm, free.

Duniya Dancehall Blue Macaw, 2565 Mission, SF; (415) 920-0577. 10pm, $10. With live performances by Duniya Drum and Dance Co. and DJs dub Snakr and Juan Data spinning bhangra, bollywood, dancehall, African, and more.

Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fubar Fridays Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5. With DJs spinning retro mashup remixes.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

Hubba Hubba Revue: The San Francisco Show DNA Lounge. 9pm, $10-15. Barbary Coast-themed burlesque.

PANTyRAID, LowRIZERz 103 Harriet, 1015 Folsom, SF; www.1015.com. 10pm, $25.

Psychedelic Radio Club Six. 9pm, $7. With DJs Kial, Tom No Thing, Megalodon, and Zapruderpedro spinning dubstep, reggae, and electro.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa “Samoa Boy” spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Some Thing Stud. 10pm, $7. VivvyAnne Forevermore, Glamamore, and DJ Down-E give you fierce drag shows and afterhours dancing.

Soul Rebel Koko Cocktails, 1060 Geary, SF; www.kokococktails.com. 10pm, free. Reggae, punk, 2tone, oi, and more with Dougie, Tim, and Tomas.

Vintage Orson, 508 Fourth St, SF; (415) 777-1508. 5:30-11pm, free. DJ TophOne and guest spin jazzy beats for cocktalians.

SATURDAY 23

ROCK/BLUES/HIP-HOP

Jello Biafra and the Guantanamo School of Medicine, Restarts, Dreadful Children, Bum City Saints Thee Parkside. 2:30pm, $10-12.

Eddie Cohn, Joyce Todd McBride and friends, Mindi Hadan, Con Brio Amnesia. 8pm, $7-10.

Foreverland, Sex With No Hands Bimbo’s 365 Club. 9pm, $22.

Daryl Hance Brick and Mortar Music Hall, 1710 Mission, SF; www.brickandmortarmusic.com.

“Lyrics Born presents Continuum” Yoshi’s San Francisco. 10:30pm, $26. With full live band and special guests.

Silly Pink Bunnies! Thee Parkside. 7pm, free.

Spectrum, Spyrals Hemlock Tavern. 9:30pm, $15.

Two Gallants Bottom of the Hill. 10pm, $15.

“UK Reunion Tour” Regency Ballroom. 8pm, $65-99. Featuring Eddie Jobson and John Wetton.

Yoni Wolf, Moore Brothers, Becky Wolf and Amy Miller Swedish American Hall (upstairs from Café Du Nord). 8pm, $15.

JAZZ/NEW MUSIC

Erin Brazill 50 Mason Social House, 50 Mason, SF; www.50masonsocialhouse.com. 9pm, free.

Garage a Trois, Amendola vs. Blades Independent. 9pm, $20.

Buddy Guy, John Németh Davies Symphony Hall, 201 Van Ness, SF; www.sfjazz.org. 8pm, $20-65.

Nucleus Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

FOLK/WORLD/COUNTRY

Back49 Riptide Tavern. 9:45pm, free.

Lady A and the Heel Draggers, Misisipi Mike and the Midnight Gamblers, West Nile Ramblers, Bootcuts, DJ Blaze Orange Café Du Nord. 8:30pm, $13.

Quijeremá Red Poppy Art House. 8pm, $12-15.

“Sounds and Rhythms of Afghanistan” Herbst Theatre, 401 Van Ness, SF; (415) 621-6600. 8pm, $25-75.

Craig Ventresco and Meredith Axelrod Atlas Café. 4pm, free.

Yonder Mountain String Band Fillmore. 9pm, $25.

DANCE CLUBS

Afro Bao Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs including Stepwise, Steve, Claude, Santero, and Elembe.

Barracuda 111 Minna. 9pm, $10. Eclectic 80s music with DJs Damon and Phillie Ocean plus 80s cult video projections, a laser light show, prom balloons, and 80s inspired fashion.

Bootie SF: DJ Tripp’s Birthday DNA Lounge. 9pm, $8-15. Mash-ups with DJ Tripp, David X, Mykill, and more.

Debaser Knockout. 9pm, $5. DJ Jamie Jams, EmDee, and Stab Master Arson spin 90s hip-hop jams.

DJ Clee Medjool, 2522 Mission, SF; www.medjoolsf.com. 10:30pm, free.

Fog and Laser Rickshaw Stop. 9pm, $7. DJs EmDee and RamblinWorker host this anything-goes, genre-free dance party.

4OneFunktion Elbo Room. 10pm, $5-10. Starship 27 Vol. 2 release party with guest performers Diabase, J-1, the 4OneFunktion All-Stars, and more.

Go Bang! Deco Lounge, 501 Larkin, SF; www.decosf.com. 9pm, $5. Atomic dancefloor disco action with Nicky B, Derrick Love, and more.

Mango El Rio. 3-8:30pm, $8-10. Sweet, sexy fun for women with DJs Edaj, Marcella, Olga, and La Coqui.

Reggae Gold Club Six. 9pm, $15. With DJs Daddy Rolo, Polo Mo’qz, Tesfa, Serg, and Fuze spinning dancehall and reggae.

Rock City Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5 after 10pm. With DJs spinning party rock.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

SUNDAY 24

ROCK/BLUES/HIP-HOP

“Aftermath: A Citizen to Citizen Tsunami Rescue and Relief Benefit” Thee Parkside. 8pm, $7-10. With Ass Baboons of Venus, Thunders, Tiger Honey Pot, and DJs Nako, Korri, and Lil Joe.

Alter Bridge, Black Stone Cherry, Like A Storm Regency Ballroom. 8pm, $28.

Eastern Conference Champs, Red Cortez, Apopka Darkroom Hemlock Tavern. 9pm, $8.

“It Gets Indie: A Benefit for It Gets Better and the Trevor Project” Great American Music Hall. 7:30pm, $25. With Rabbit! and Handshakes.

“JAMband Family Festival” Park Chalet, 1000 Great Hwy, SF; www.jamjamjam.com. 11am, free. With Charity Kahn.

Tower of Dudes, Graves Brothers Deluxe, Tunnel Make-Out Room. 8pm, $7.

Two Gallants Bottom of the Hill. 9pm, $15.

JAZZ/NEW MUSIC

Tom Lander Duo Medjool, 2522 Mission, SF; www.medjoolsf.com. 6-9pm, free.

FOLK/WORLD/COUNTRY

Family Folk Explosion Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

Louis Romero and Mazacote El Rio. 5-8pm, $8.

Tater Famine Thee Parkside. 4pm, free.

DANCE CLUBS

Batcave Cat Club. 10pm, $5. Death rock, goth, and post-punk with Steeplerot Necromos and c_death.

Branded James Rickshaw Stop. 8pm, $5. Benefit for Back to Business career workshops.

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJ Sep, Ludachris, and guest Janaka Selekta.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. “Dance floor for dancers – sound system for lovers.” Got that?

La Pachanga Blue Macaw, 2565 Mission, SF; www.thebluemacawsf.com. 6pm, $10. Salsa dance party with live Afro-Cuban salsa bands.

MONDAY 25

ROCK/BLUES/HIP-HOP

Travis Barker and Mix Master Mike Independent. 9pm, $30-50.

Mad Rad, Mash Hall, Toast Elbo Room. 9pm, $10.

Paul Simon Davies Symphony Hall, 201 Van Ness, SF; www.ticketmaster.com. 8pm, $65-125.

DANCE CLUBS

Death Guild DNA Lounge. 9:30pm, $3-5. Gothic, industrial, and synthpop with Joe Radio, Decay, and Melting Girl.

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Sausage Party Rosamunde Sausage Grill, 2832 Mission, SF; (415) 970-9015. 6:30-9:30pm, free. DJ Dandy Dixon spins vintage rock, R&B, global beats, funk, and disco at this happy hour sausage-shack gig.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

TUESDAY 26

ROCK/BLUES/HIP-HOP

Civil War Rust, Cut Downs, Sheens Bottom of the Hill. 9pm, $8.

Jamaica, Chain Gang of 1974 Independent. 8pm, $15.

Outlaws and Preachers, Ghost Town Refugees John Colins, 138 Minna, SF; www.johncolins.com. 9pm, $5.

Ash Reiter, Radiation City, Phantom Kicks Hemlock Tavern. 9pm, $6.

Sugarspun, Silver Threads El Rio. 7pm, free.

tUnE-yArDs, Buke and Gass, Man/Miracle

Whiskey Avengers, Franco Nero, DJ Ras Fank Elbo Room. 9pm, $5.

FOLK/WORLD/COUNTRY

Quiet Echos Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

DANCE CLUBS

Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.

Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.

 

SXSW Music Diary wrapup

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MUSIC South by Southwest was completely overwhelming, and my feet are killing me. It’s hard to avoid the constant feeling of missing out on something, because you always are. But once you get over that fact, it’s possible to have a really good time. Here’s a highlight reel from my first time at the Austin festival.

Wed/16 Made it to Dallas on the early-early flight from SFO and found the gate for Austin, a hipster ghetto in DFW’s sea of middle Americans. The first musician sighting was Toro y Moi, then it was off to the live music capital of the world. Post-credentialing, we attempted to catch Raphael Saadiq at the much-hyped Fader Fort party … but the line stretched for hours. The first of many scrapped plans. We then stumbled across the Palm Door, where Anamanguchi was playing irresistible Nintendo-core power pop. Later that eve I saw the sweet Icelandic troubadour stylings of Olof Arnalds and caught an amazing version of “Benny and the Jets” by piano gods Marco Benevento.

Thurs/17 Biked straight to a loft party featuring Brasileira MC Zuzuka Poderosa, who was spitting out Funk Carioca lyrics on top of beats by DJ Disco Tits. Tried to go to the NPR showcase, which was done, then tried to see Big Freedia, the “Queen Diva” of Bounce … all I got was a taste from the sidelines. Ran into SF local Meklit Hadero as she and her band tried to find the venue where they were showcasing. Saw Boston’s David Wax Museum at the Paste party and crossed paths with J Mascis on my way out. Caught the tail end of Meklit’s show at Marco Werman’s “All Music Is World Music” showcase, then Abigail Washburn’s stellar bluegrass set. Rode clear across town in the hopes of catching Devotchka at Lustre Pearl, but the line nixed that plan. Came back for the Atlantic Records showcase hoping to check out Lupe Fiasco, but B.O.B was playing in his place. Decided to forgo Janelle Monáe’s show (she’d been subbed in for Cee-Lo) so I could get off my feet.

Fri/18 Ran into Red and Green of Peelander-Z, the outrageously festooned Japanese punk band, who sweetly obliged a snapshot (they’ll be playing DNA Lounge on April 7th with Anamanaguchi). Got dished up a tasty burger at the Alternative Apparel Lounge as my cohort Matt Reamer was summoned to take pics of Linda Perry. We shared our table with Shane Lawlor of Electric Touch, who chatted about his band’s road from getting signed to playing the big festival circuit this year. Checked out James Blake at the Other Music/Dig For Fire lawn party. It was kind of like listening to all the sexy backing elements of a Sade song, without Sade. I loved Tune-Yards’ pygmy-esque vocal layering and percussive fervor. Her last song got everyone to their feet with a Fela Kuti vibe. And !!! brought the crazy dance party. I finally felt like I’d arrived at SXSW.

Later that eve, the Shabazz Palaces set was weighed down by sound issues. Ran into the ladies of HOTTUB as I went to see Toronto’s Keys N Krates, who killed it: two DJs and a drummer juxtaposing amazing sampling and turntablism with live percussion. Cubic Zirconia’s electro funk set at the Fool’s Gold showcase was also great. Singer Tiombe Lockhart held court. The closer was seeing Chief Boima during the Dutty Arts Collective showcase.

Sat/19 Last day in Austin. The hot daytime ticket was the MOG.com party at Mohawk. That meant getting there early and committing the entire afternoon … but the payoff was catching headliners TV on the Radio and Big Boi with just a few hundred other folks. Austin’s Okkervil River was playing the outdoor stage when I got there, and then Brooklyn’s Twin Shadow was playing inside. Even though they’re on the ’80s synth-pop bandwagon, they managed to keep things fresh. TV on the Radio’s SXSW shows officially put an end to their two-year hiatus and previewed their highly anticipated upcoming album Nine Types of Light. Next up on the outdoor stage was Big Boi. Songs from his recent release had some traction, but whenever an OutKast jam dropped, the crowd lost their shit. A funny moment: when he invited a sea of hipster girls to the stage to shake it with his ATL crew.

That eve, the rumor mill about surprise shows was alive and well. Kanye, Jay-Z, and Justin Timberlake were breathlessly being mentioned around town. The conundrum became one of whether to chase those dragons or stick with a confirmed showcase.

After briefly checking out the Red Bull Freestyle DJ contest, I decided on the confirmed showcase approach. The globetrotting Nat Geo showcase at Habana Bar was stellar. I walked in as Khaira Arby, the legendary queen of Malian desert rock, was rocking the house. Up next was Brooklyn’s Sway Machinery, then Aussie roots-reggae group Blue King Brown. Things really got packed for the closing act of Austin’s own Grupo Fantasma. The recent Grammy-winning group marched the crowd through the paces of their super tight cumbia, salsa, and funk grooves while experimenting with heavier psych rock influences. I enthusiastically made it through about half their set until my feet cried uncle. I made my way through the sloppy Sixth Street madness, dodging teenage lotharios and puddles of sick on the way to my bike, and then home.

A PHOTOGRAPHER’S ADVICE FOR SXSW FIRST-TIMERS

You have to let go. You will not see half the acts you want to, but there is always a good band within a few hundred yards — so be where you are and enjoy it. Discover some new music.

Live music photography is best when there’s a mosh pit. It’s much easier to move through a swirl than a dense crowd. I’m not the type to post up 30 minutes before the band starts — but I am the type to push up once they’re on. Sorry, short people.

Wear comfortable shoes.

There is a lot of free booze — but not as much as I thought. (Matt Reamer)

Read all of Mirissa and Matt’s coverage of the fest here

SxSW Music Diary: Day 3

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As we walked through downtown Austin we ran into Red and Green of Peelander-Z, the outrageously festooned Japanese punk band. They sweetly obliged a snapshot and then continued on their way. Just found out that they’ll be touring with Anamanaguchi, the frenzied “Nintendo-core” band I saw on day 1. Make sure to check them out at DNA Lounge on April 7th.

Was dished up a tasty burger at the Alternative Apparel lounge as Matt got summoned to take pics of Linda Perry. We shared our table with Shane Lawlor of Electric Touch (an adorable brit rocker who looked to be straight out of central casting) and chatted about his band’s road from getting signed to playing the big festival circuit this year.

After that it was a walk in the sun to the Other Music and Dig For Fire lawn party. We made it in time to check out James Blake. It was way too packed to even catch a glimpse of him but it felt great listening from a shady spot on the grass. I agreed with Dan that the sound was like listening to all the sexy backing elements of a Sade song, without Sade.

Tune-Yards was incredible. I loved Merrill Garbus’s pygmy-esque vocal layering and percussive fervor. Her last song brought everyone to their feet with a Fela Kuti vibe. And !!! brought the crazy dance party. The party was on a gently sloped hilltop, the crowd was manageable, and there was free ice cream courtesy of the Ice Cream Man. It finally felt like I’d arrived at the festival.

Later that eve I caught a bit of the Shabazz Palaces set which was weighed down by sound issues. Ran into the ladies of HOTTUB as I went to see Toronto’s Keys N Krates who killed it. Two djs and a drummer juxtaposing amazing sampling and turntablism with live percussion. Unreal.

Cubic Zirconia‘s electro funk set at the Fool’s Gold showcase was also great. Singer Tiombe Lockhart held court. One girl in the audience made the mistake of jumping up on stage to show her enthusiasm… but Lockhart wasn’t having it. She quickly initimidated the girl into backing down and gave a speech about respecting her stage. The girl was mortified but Lockhart was right, it wasn’t cool.

The closer was seeing Chief Boima during the Dutty Arts Collective showcase. Oakland’s Los Rakas stopped by for a shout out and Chief Boima played their new single.

Be sure to check SFBG Contributing Photog Matt Reamer‘s slideshow from his Day 3 adventures.

 

Our Weekly Picks

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WEDNESDAY 26

MUSIC

Ramona Falls

They say taking time off can be good for the soul, but when Brent Knopf faced down-time from recording as one-third of Portland, Ore., band Menomena, he couldn’t unplug. Though it’s hard to call it a solo record when Intuit boasts more than 35 collaborators, Ramona Falls follows the tradition of Knopf’s day band, forming dense electronic atmospheres from piano and pairing them with energetic drum work. Here, Knopf’s vocals shine as the truest instrument. His voice sounds like a whisper even at its most expressive. It’s a life raft to cling to while more of the nebulous Intuit opens with each new listen. (Peter Galvin)

With The National

8:00 p.m. (also Thurs/27), $30

Fox Theatre

1807 Telegraph, Oakl.

1 (800) 745-3000

www.thefoxoakland.com

 

THURSDAY 27

COMEDY

Craig Robinson

Name a humorous TV show from the past five years, and chances are Craig Robinson made an appearance. Bit parts on Curb Your Enthusiasm, Friends, and The Bernie Mac Show led to his star-making role on The Office as Darryl, the warehouse manager who is constantly embattled by Steve Carell’s harangues and half-baked schemes. Something about Robinson’s dry wit and level gaze tempts us to throw in our lot with him in every comedic circumstance. And now? Big screen, baby — Knocked Up, Hot Tub Time Machine, Shrek 4. Come see him get down with his original gig — stand up. (Caitlin Donohue)

8 p.m. (through Sun/30; also Fri.–Sat., 10:15 p.m.), $23.50–$25.50

Cobb’s Comedy Club

915 Columbus, SF

(415) 928-4320

www.cobbscomedyclub.com

MUSIC

San Francisco Popfest 2010: Eux Autres

Popfest is back, and it’s time to celebrate with of SF’s best pop bands, Eux Autres, who are wise enough to worship Françoise Hardy. As they succinctly put it: “Most of [our] songs are about (a) military history (b) being ‘done wrong’ or (c) sports.” For this week’s video issue, in the Noise blog I talk with guitarist-vocalist Nicholas Larimer about five of his fave YouTube clips from the ’70s TV pop music motherlode Midnight Special. (Johnny Ray Huston)

With tUnE-yArDs, Social Studies, Knight School

8 p.m., $10–$12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

PERFORMANCE/VISUAL ART

“Making Visible”

At a dance recital, the audience can only see so much. Beholding the coiffed hair, makeup, and costumes, it’s hard to imagine what goes on behind the scenes. But inside a dance studio, the creative process comes alive. Within countless hours of rehearsals, despite the blisters and sore joints, something alluring gradually begins to form. The Marina Abramovic Institute West offers a unique chance to witness how a recital comes together. Their series of performances are live rehearsals in which dancers learn the choreography onstage. (Elise-Marie Brown)

4:30 p.m. (through June 13), free

Marina Abramovic Institute West

575 Sutter, SF

www.marinaabramovicinstitute.org

SATURDAY 29

CLUBS/MUSIC

Surya Dub Three-Year Anniversary

It’s been a while since they blew our woofers on the regular, but our ambassadors of dread bass have been busy spreading the gospel of global dubstep to farther shores. Lucky for our feet, the Surya Dub crew are roaring back to Club Six to celebrate their third year with excellent special guest urban-electro blaster from Montreal, Ghislain Poirier (now just “Poirier”). Maneesh the Twister, Kush Arora, Kid Kameleon, Ripley, DJ Amar, J.Rogers, and Jimmy Love gird the boom with subcontinental vibes, stirring bhangra, ragga, and other worldly sounds into the low, low, low. Expect eclecticism, receive rad riddims. (Marke B.)

10 p.m.–3 a.m., $10

Club Six

66 Sixth St., SF

www.suryadub.com

MUSIC

El Radio Fantastique, Shovelman

Let us tip our hats to the newest venue along the Valencia corridor, Viracocha. It’s a wood-paneled treasure trove of for-sale antiquity. At night, the place is transformed into an atmospheric community space, a venue for word, thought, and lovely live music — like that of El Radio Fantastique, whose peculiar blend of musical theater seems straight from someone’s front porch in the Louisiana bayou. Which, come to think of it, matches the vibe at Viracocha nicely. Shovelman, a.k.a. Isaac Frankle, takes over the upstairs stage for the night. Expect to hear folksy stomp music. (Donohue)

7:45 p.m.–11 p.m., donations accepted

Viracocha

998 Valencia, SF

(415) 374-7048

www.viracochasf.blogspot.com

MUSIC

Frog Eyes

He can’t get no respect! Though the epic compositions of Frog Eyes rival those of contemporary pals Spencer Krug and Dan Bejar, as reflected by the trio’s work together in Swan Lake, Carey Mercer’s full-time band is consistently shunted to the background. Mercer can howl and he has an antiquated cadence to his voice that makes Paul’s Tomb: A Triumph sound like it belongs in another century. He’s never been in a Wolf Parade or joined the New Pornographers, but those of you who turned up Sunset Rubdown might be surprised by how much you like Frog Eyes. (Galvin)

With Mt. St. Helens Vietnam Band and Dominique Leone

9:30 p.m., $10

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

DANCE

Scott Wells & Dancers: Ballistic

Did you fall in love last year with Scott Wells’ two jugglers? Apparently Wells’ dancers did as well. For Ballistic, all seven engage in elegant athleticism. Not that athleticism is new in Wells’ repertoire. Wild chaos and meticulous order — with and without projectiles — always share the game. It all looks like child’s play, but isn’t, except for an uncanny ability to be totally present in the moment. Contact improvisation — the movement genre Wells has fundamentally influenced — is often more fun to do than to watch. Not with Wells. He is a consummate man of the theater. Jin-Wen Yu Dance shares the program on the first two weekends. (Rita Felciano)

8 p.m. (through June 19)

CounterPULSE

1310 Mission, SF

brownpapertickets.com

www.scottwellsdance.com

MUSIC

Simian Mobile Disco DJ Set

With school out and summer swinging into high gear, lazy days that consist of sleeping in and drinking in the park are here. If you have a day job like me and need to pay the bills, you can free your soul at night with an epic dance party. Simian Mobile Disco has heard my call. Dress to dance and get ready to sweat. (Brown)

With Tenderlions, Ryan Poulsen

9 p.m., $15

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

MUSIC

Ab Soto

Queer hip-hop — are we done with it yet? Nope, but this time we’re laying off the “Isn’t this groundbreaking?” tiredness and having fun. The recent crop of homo-hoppers like Cazwell and local hottie Kid Akimbo are doing it cute and naturally. Enter Hollywood’s Ab Soto, whose neon-bright hotness, scruffy hipster looks, and fierce-ruling SpongeBob muumuus are more about giving you banjee boy wet dreams than making political statements. He’ll be throwing down live at the circus-crazy Big Top party. Please keep him away from my boyfriend. (Marke B.)

9 p.m.–3 a.m., $10.

Club Eight

1551 Folsom, SF.

www.eightsf.com

SUNDAY 30

EVENT

San Francisco Carnaval: “Colors Of Sound, Splashes Of Culture”

Carnaval isn’t just a festival where people drink and eat to their heart’s content. In San Francisco, we focus on Latin American and Caribbean cultures through dance and music. Of course, food is on the menu. The all-day event includes salsa and samba lessons, games, breakdancing, ecofriendly exhibits, and even a health screening center. This time, Sunday is the right day for indulgence. (Brown)

9:30 a.m., free

Bryant and 24th St., SF

(415) 642-1748

www.sfcarnaval.com

MUSIC

Kurt Elling with the Count Basie Orchestra

Kurt Elling has won Down Beat and JazzTimes critics’ polls three years in a row for best male singer. Most recently, he won his first Grammy for best jazz vocal album. Tonight he’s backed by the Count Basie Orchestra, the most prominent big band of the past 60 years. The band has accompanied Ella Fitzgerald, Ray Charles, and Frank Sinatra, and continues to support the great jazz singers of our time. As part of the SF Jazz Spring Series, Elling and the Basie Orchestra perform some of the original Basie/Sinatra charts arranged by the legendary Quincy Jones. The Basie Orchestra opens the night with classic repertoire. (Lilan Kane)

7 p.m., $25

Davies Symphony Hall

201 Van Ness, SF

(415) 864-6000

www.sfjazz.org

MUSIC

KBLX Stone Soul Concert

Wrap up your Memorial Day weekend with some soul and sunshine. A longtime Bay Area source for the soul music, KBLX has booked a solid lineup of some of smooth voices. This year’s artists include Charlie Wilson; New Edition members Bobby Brown, Johnny Gill, and Ralph Tresvant; Minnesota’s Mint Condition, and none other than Mr. Biggs himself, Ronald Isley. This concert serves up favorite jams spanning from the 1970s to the present. (Kane)

Noon, $45

Sleep Train Pavilion

2000 Kirker Pass, Concord

(925) 676-8742

www.kblx.com

www.livenation.com

MONDAY 31

MUSIC

Dark Tranquillity

It’s easy to lump them in with the rest of the ’90s Gothenburg death metal scene, but that sort of careless taxonomy is unfair to a band like Dark Tranquillity. The Swedish sextet have carved out a niche of their own on the strength of their anthemic, atmospheric melodicism, having weathered the storms that afflicted fellow travelers In Flames and Soilwork with dignity and grace. Though the music features the kind of keyboard and electronic textures that tend to alienate bread-and-butter death metal fans, these flourishes fit seamlessly into the band’s dystopian, space-age aesthetic, reinforcing the punishing grooves and soaring melodies. (Ben Richardson)

With Threat Signal, Mutiny Within

8 p.m., $18

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

MUSIC

The Very Best

A collaboration between Malawian vocalist Esau Mwamwaya and London production duo Radioclit, the Very Best offers vocals in Chichewa over dance beats that translate to fun in any language. Fun is the chief goal of the duo, who rose to blog fame in 2008 with Malawian remixes of Vampire Weekend and M.I.A. If you need proof that smiles are contagious, singer Esau Mwamwaya has a grin that is promptly reflected on the frowniest of show-goers. Trust me, it’s undeniable. (Galvin)

With Disco Shawn

8:00 p.m., $18 (21 and over)

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

TUESDAY 1

COMEDY/PERFORMANCE

Cloris Leachman

At 84, actress Cloris Leachman shows no sign of slowing down. From her first major film role in the noir classic Kiss Me Deadly, to her portrayal of Ruth Popper in The Last Picture Show (which won her an Oscar for best supporting actress), to her hilarious turn as Frau Blucher in Young Frankenstein, Leachman has memorably seized the big screen. The nine-time Emmy Award winner made her mark on The Mary Tyler Moore Show and Phyllis and keeps on keeping on with recent stints on Malcolm In The Middle and Dancing With The Stars. This six-night run of her one-woman stage show takes audiences on a trip through moments from her extraordinary life. (McCourt)

8 p.m. (through June 6), $40–$45

Rrazz Room

222 Mason, SF

www.therrazzroom.com

MUSIC

Gates of Slumber

The Indianapolis warriors in Gates of Slumber play an arresting offshoot of doom metal, a NWOBHM-inflected rumble that sounds like Cirith Ungol fighting St. Vitus to the death. Singer Karl Simon is built like a barbarian but sings like a dying druid, all reverb and haunting, ethereal resonance, and his band is well-built to underscore his epic tales of war and bloodshed. If there were a way to resurrect Frank Frazetta with the power of down-tuned guitars and thunderous drumming, these guys would have figured it out by now. Unfortunately, all we can do is mourn and bang our heads. (Richardson)

With Black Cobra, Slough Feg, Salvador

8 p.m., $10

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

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Music Listings

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Music listings are compiled by Paula Connelly and Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 26

ROCK/BLUES/HIP-HOP

Arcadio Great American Music Hall. 7:30pm, $50.

Blind Willies Bollyhood Café, 3372 19th St, SF; (415) 970-0362. 8:30pm, free.

Rozzi Crane, Luke Walton Band, Sarah Ames, Down to Funk Slim’s. 7:30pm, $15.

Hanzel und Gretyl, Everything Goes Cold, After the Apex DNA Lounge. 8pm, $15.

Insomniacs Biscuits and Blues. 8pm, $15.

Massive Attack, Martina Topley-Bird, MNDR Warfield. 8pm, $47.50-52.50.

Minus the Bear, Everest, Young the Giant Regency Ballroom. 8pm, $24.

OK Go, Early Greyhound, Grand Lake Fillmore. 8pm, $22.50.

*Vetiver, Mumlers Bottom of the Hill. 9pm, $15.

Patrick Watson Café du Nord. 8:30pm, $14.

White Barons, Space Vacation Hemlock Tavern. 9pm, $7.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Club Shutter Elbo Room. 10pm, $5. Goth with DJs Nako, Omar, and Justin.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Machine Sloane, 1525 Mission, SF; (415) 621-7007. 10pm, free. Warm beats for happy feet with DJs Sergio, Conor, and André Lucero.

Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

Mod vs. Rockers Madrone Art Bar. 8pm, free. With DJs Jetset James and Major Sean spinning 60s R&B, ska, britpop, and more.

RedWine Social Dalva. 9pm-2am, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

60s-70s Night Knockout. 9pm, $7. With DJs Sergio Iglesias and Neil Martinson, plus a live performance by Xoel Lopez.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

Yoruba Dance Sessions Bacano! Som., 2925 16th St, SF; (415) 558-8521. 9pm, free. With resident DJ Carlos Mena and guests spinning afro-deep-global-soulful-broken-techhouse.

THURSDAY 27

ROCK/BLUES/HIP-HOP

“Chasing the Moon” Blue Macaw, 2565 Mission, SF; www.thebluemacawsf.com. 7pm. Music video podcast screening with live music by Indianna Hale, Dina Maccabee, Jesse Olsen, and Helene Renaut.

Dance Gavin Dance, A Night in Hollywood, The Story So Far Bottom of the Hill. 8pm, $12.

Enablers, Carlton Melton, Ruby Howl Hemlock Tavern. 9pm, $6.

Eric McFadden Trio and guests, JL Stiles, Jenny Kerr Café du Nord. 9pm, $12.

Nada Surf, Telekenisis Great American Music Hall. 9pm, $21.

Shane Dwight Band Biscuits and Blues. 8 and 10pm, $15.

*Edward Sharpe and the Magnetic Zeros Fillmore. 9pm, $25.

Tune-Yards, Eux Autres, Social Studies, Knight School Rickshaw Stop. 8pm, $12. Part of San Francisco Popfest 2010.

Tribal Seeds Rock-It Room. 8pm, $10.

Union Pulse, Gravy Trainwreck Grant and Green. 8pm, free.

Yacht, Bobby Birdman, Little Wings Independent. 9pm, $17.

FOLK/WORLD/COUNTRY

Bluegrass and Old Time Jam Atlas Café. 8pm, free.

Carmen Milagro Band Harry Denton Starlight Room, 450 Powell, SF; (415) 395-8595?. 9pm, $10.

Rose’s Pawn Shop Amnesia. 10:30pm, free.

SanFolk Disco Café Du Nord. 9pm, $12. With the Eric McFadden Trio, JL Stiles, Jenny Kerr, and more.

Silian Rail, By Sunlight, Ash Reiter, Devotionals Milk. 8pm, $5.

Tipsy House Plough and Stars. 9pm.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-7. DJs Pleasuremaker and Señor Oz spin Afro-tropical, samba, and funk.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Dirty Dishes LookOut, 3600 16th St., SF; (415) 431-0306. 9pm, $2. DJs B-Haul, Gordon Gartrell, and guests.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Get Physical Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm. With DJ Philipp of M.A.N.D.Y.

Gigantic Beauty Bar. 8pm, free. With DJs White Mike and guests.

Good Foot Yoruba Dance Sessions Bacano! Som., 2925 16th St, SF; (415) 558-8521. 9pm, free. A James Brown tribute with resident DJs Haylow, A-Ron, and Prince Aries spinning R&B, Hip hop, funk, and soul.

Gymnasium Matador, 10 Sixth St, SF; (415) 863-4629. 9pm, free. With DJ Violent Vickie and guests spinning electro, hip hop, and disco.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Meat DNA Lounge. 9:30pm, $2-5. Industrial with BaconMonkey and Netik.

Mestiza Bollywood Café, 3376 19th St, SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Popscene 330 Rich. 10pm, $10. Rotating DJs spinning indie, Britpop, electro, new wave, and post-punk.

Solid Thursdays Club Six. 9pm, free. With DJs Daddy Rolo and Tesfa spinning roots, reggae, dancehall, soca, and mashups.

Sublife Triple Crown. 9:30pm, $7. With DJ Rene, Mal, Sharp, Lukelino, and more spinning drum and bass.

FRIDAY 28

ROCK/BLUES/HIP-HOP

Birds and Batteries, Judgement Day, Sister Crayon Rickshaw Stop. 10pm, $12.

Casiotone for the Painfully Alone, Nodzzz, Antarctica Takes It!, English Singles Bottom of the Hill. 9pm, $12. Part of San Francisco Popfest 2010.

Chris Cain Biscuits and Blues. 8 and 10pm, $20.

Cobra Starship, 3OH!3, Travis McCoy and the Lazarus Project, I Fight Dragons Warfield. 7pm, $27.

Complaints, Love Collector, Bad Tickers Great American Music Hall. 9:30pm, $6.

David Hidalgo and Louie Pérez Yoshi’s San Francisco. 8 and 10pm, $35.

Lee Vilenski Trio Rite Spot, 2099 Folsom, SF; www.myspace.com/ritespot. 6pm, free.

*Little Brother Independent. 9pm, $20.

Luce, Astra Kelly, Last of the Steam Powered Trains, Lael Neale Red Devil Lounge. 8pm, $7.

Malconent, Kid With Katana, 21st Century, OOH!, Distorted Harmony, Kristin Lagasse Great American Music Hall. 7:30pm, $15.

Mr. Otis Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

Sonic Avenues, Myonics, Shari La Las, Poonteens Pissed-Off Pete’s, 4528 Mission, SF; (415) 584-5122, www.pissedoffpetes.com. 9pm.

Tainted Love, Love Fool Bimbo’s 365 Club. 8pm, $23.

Tigon, Hanalei, New Trust, Abominable Iron Sloth Thee Parkside. 9:45pm, $8.

Zepparella, Dolorata, Ol’ Cheeky Bastards Slim’s. 9pm, $15.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Black Market Jazz Orchestra Top of the Mark. 9pm, $10.

Doug Martin Avatar Ensemble Red Poppy Art House. 8pm, $10-15.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.

Bryan Girard Cliff House, 1090 Point Lobos, SF; (415) 386-3330. 7pm, free.

Regina Carter Quintet, Mads Tolling Quartet Herbst Theatre, 401 Van Ness, SF; www.sfjazz.org. 8pm, $25-50.

SF State Afro Cuban Ensemble Coda. 10pm, $5.

FOLK/WORLD/COUNTRY

“The Carnaval Party” Elbo Room. 10pm. With Samba Da and friends.

Dunes El Rio. 8pm, $5.

Toshio Hirano Mercury Café, 201 Octavia, SF; (415) 252-7855. 7:30pm, free.

Mission Three Plough and Stars. 9pm.

Montana Slim String Band, Kate Gaffney Café du Nord. 9:30pm, $12.

Rob Reich and Craig Ventresco Amnesia. 7pm, free.

Sharon Hazel Township Dolores Park Café. 7pm; free, donations accepted.

DANCE CLUBS

Activate! Lookout, 3600 16th St, SF; (415) 431-0306. 9pm, $3. Face your demigods and demons at this Red Bull-fueled party.

BASSment Milk. 8pm, $7. With Feelosophy.

Blow Up Rickshaw Stop. 10pm, $10. With rotating DJs.

DJ What’s His Fuck Riptide Tavern. 9pm, free. Old-school punk rock and other gems.

Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs Romanowski, B-Love, Tomas, Toph One, and Vinnie Esparza.

Gay Asian Paradise Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Gymnasium Stud. 10pm, $5. With DJs Violent Vickie and guests spinning electro, disco, rap, and 90s dance and featuring performers, gymnastics, jump rope, drink specials, and more.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

Laila Ruby Skye. 9pm, $20. With DJs Aykut, Nader, and Dr T.

Look Out Weekend Bambuddha Lounge. 4pm, free. Drink specials, food menu and resident DJs White Girl Lust, Swayzee, Philie Ocean, and more.

M4M Fridays Underground SF. 10pm-2am. Joshua J and Frankie Sharp host this man-tastic party.

Psychedelic Radio Club Six. 9pm, $7. With DJs Kromstar, Dread Foxx, Hellefire Machina, Sam Supa, Lukeino, and more spinning dubstep.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa “Samoa Boy” spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Strength in Flavor DNA Lounge. 9pm, $15. Hip-hop and soul with Naka B-Boy Edition, Flo-Ology, All the Way Live, and more.

Teenage Dance Craze Party Knockout. 10pm, $3. Teen beat and twisters with DJ Sergio Iglesias, Russell Quann, and dX the Funky Gran Paw.

SATURDAY 29

ROCK/BLUES/HIP-HOP

All Girl Summer Fun Band, Still Flyin’, Cars Can Be Blue, Art Museums, BOAT Rickshaw Stop. 8pm, $14. Part of San Francisco Popfest 2010.

Mose Allison Yoshi’s San Francisco. 8 and 10pm, $22.

Quinn Deveaux Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

Far, Dead Country, Death Valley High Slim’s. 9pm, $16.

Frog Eyes, Mt. St. Helens Vietnam Band, Dominique Leone Hemlock Tavern. 9:30pm, $10.

Good Luck Thee Parkside. 9pm, $8.

Impalers, Boss 501, Franco Nero Knockout. 9:30pm, $6.

Jibbers, Vultures Await, Rebel Set Pissed-Off Pete’s, 4528 Mission, SF; (415) 584-5122, www.pissedoffpetes.com. 9pm.

Jubilee Players Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

Orange Peels, Dream Diary, Leaving Mornington Crescent, Corner Laughers Hotel Utah. 2:30pm, $6. Part of San Francisco Popfest 2010.

Pack of Wolves, Actors, American Studies El Rio. 9pm, $7.

Pitbull Warfield. 8pm, $37.50-45.

Lavay Smith and Her Red Hot Skillet Lickers Café du Nord. 9pm, $15.

Tainted Love Bimbo’s 365 Club. 8pm, $23.

Earl Thomas and the Blues Ambassadors Biscuits and Blues. 8 and 10pm, $22.

Trainwreck, Mavalour, Struts, Blag Dahlia Bottom of the Hill. 10pm, $12.

Voxtrot, International Waters Great American Music Hall. 9pm, $18.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Lou Donaldson Herbst Theatre, 401 Van Ness, SF; www.sfjazz.org. 8pm, $25-50.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.

“Jazz Mafia Presents Remix: Live” Coda. 10pm, $10.

FOLK/WORLD/COUNTRY

“The Carnaval Party” Elbo Room. 10pm. With Samba Da and friends.

Jordan Carp Java Beach Café, 2650 Sloat, SF; (415) 731-2965. 8pm, free.

Forró Brazuca Red Poppy Art House. 8pm, $16-$25.

Kamp Camille, Fat Opie, Sameer Tolani a.Muse Gallery, 614 Alabama, SF; (415) 279-6281. 7pm, $8-$10. Presented by the Songbird Festival.

Hanni El Khatib, Very Be Careful, Grisha Goryachev, Lonious Mink Amnesia. 9pm, $7.

Toshio Hirano Rite Spot, 2099 Folsom, SF; www.myspace.com/ritespot. 6pm, free.

Patrick Maley, Brian Huggins Plough and Stars. 9pm.

Rovar 17 Amnesia. 7pm, free.

DANCE CLUBS

Alter Ego Mighty. 10pm, $20.

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Niuxx.

Ceremony DNA Lounge. 10pm, $25. House with Tony Moran and Jamie J. Sanchez.

Dead After Dark Knockout. 6-9pm, free. With DJ Touchy Feely.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

King Brit Vessel, 85 Campton, SF; (415) 433-8585. 8pm, $10-$20.

POP 2010: The Dream Cow Palace, 2600 Geneva, SF; www.ticketmaster.com. 4pm, $85. With Infected Mushroom, Boys Noize, and more.

Social Club Lookout, 3600 16th St, SF; (415) 431-0306. 9pm. Shake your money maker with DJs Lee Decker and Luke Fry.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

Surya Dub Club Six. 9pm, $15. With DJs Poirier, Maneesh the Twister, Kid Kameleon, Ripley, Kush Arora, and more spinning dubstep, ragga, dread bass, reggae, dancehall, and more.

We All We Got Club Six. 9pm, $10. With live hip hop performances by Napo Entertainment, Audio Assasins, New Aira, Selassie, and more.

SUNDAY 30

ROCK/BLUES/HIP-HOP

Mose Allison Yoshi’s San Francisco. 7 and 9pm, $22.

Joseph Arthur, Patrick Park Café du Nord. 8pm, $15.

Cats on Fire, Tyde, Math and Physics Club, My Teenage Stride, Devon Williams Rickshaw Stop. 8pm, $14. Part of San Francisco Popfest 2010.

Evacuee, Monarchs, Slow Trucks, Pentacles, Hobo Nephews of Uncle Frank, Thralls, Stirling Says, MC Aspect, DJ Z Murder Thee Parkside. 8pm, $7.

Math and Physics Club, Watercolor Paintings, Team AWESOME!, Hairs, Normandie Wilson, Girl Band Dolores Park, Dolores between 19th and 20th Sts, SF; http://sfpopfest.moonfruit.com. 2pm, free. Part of San Francisco Popfest 2010.

Mister Loveless, Magic Bullets, Transfer Bottom of the Hill. 9pm, $10.

Loudon Wainwright III, Lucy Wainwright Roche Great American Music Halll. 7:30pm, $25.

Mitch Woods Biscuits and Blues. 8 and 10pm, $20.

*Young Prisms, Weekend, Swanifant, Grave Babies Hemlock Tavern. 9pm, $8.

JAZZ/NEW MUSIC

Brian Andres and the Afro-Cuban Jazz Cartel Coda. 8pm, $10.

Donald Arquilla Martuni’s, Four Valencia, SF; (415) 241-0205. 7pm, $5.

Kurt Elling with the Count Basie Orchestra Davies Symphony Hall, 201 Van Ness, SF; www.sfjazz.org. 7pm, $25-80.

FOLK/WORLD/COUNTRY

Andy y Callao El Rio. 4pm, $8.

Driftwood Singers Amensia. 7pm, free.

Gayle Lynn and Her Hired Hands Thee Parkside. 4pm, free.

Jack Gilder, Kevin Bemhagen, Richard Mandel and friends Plough and Stars. 9pm.

Kally Price Band, George Cole Quintet Amnesia. 9pm, $7-$10.

Music from Around the World St. Mary’s Cathedral, 1111 Gough, SF; (510) 548-3326. 3:30pm, $10. An evening of harp music with the Triskela Celtic Harp Trio and the Bay Area Youth Harp Emsemble.

DANCE CLUBS

Club Gossip Cat Club, 1190 Folsom, SF; (415) 703-8965. 9:30pm, $8. With VJs SubOctave, Blondie K, and more spinning rock and 80’s.

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $8-11. Dub, roots, and classic dancehall with DJ Sep and guests Nickodemus and the Spy from Cairo.

45 Club Annual Memorial Day Sunday Big Bash Knockout. 10pm, $2. Funky soul with dX the Funky Gran Paw, Dirty Dishes, and English Steve.

Fresh Ruby Skye. 5pm, $20. With Candis Cayne and DJ Manny Lehman.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. “Dance floor for dancers – sound system for lovers.” Got that?

Jock! Lookout, 3600 16th St, SF; (415) 431-0306. 3pm, $2. This high-energy party raises money for LGBT sports teams.

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Lowbrow Sunday Delirium. 1pm, free. DJ Roost Uno and guests spinning club hip hop, indie, and top 40s.

Religion Bar on Church. 3pm. With DJ Nikita.

Stag AsiaSF. 6pm, $5. Gay bachelor parties are the target demo of this weekly erotic tea dance.

Summer Love Beauty Bar. 8pm, free. With DJs Dials and White Mike.

Trannyshack DNA Lounge. 10pm, $12. Madonna tribute.

MONDAY 31

ROCK/BLUES/HIP-HOP

*Black Cobra, Slough Feg, Gates of Slumber, Salvador Thee Parkside. 8pm, $10.

“Blues Broads: Angela Strehli, Annie Sampson, Dorothy Morrison, Tracy Nelson” Biscuits and Blues. 8 and 10pm, $24.

Dark Tranquillity, Threat Signal, Mutiny Within Slim’s. 8pm, $18.

“Fifteenth Annual El Rio Shit Kickin’ Memorial Day” El Rio. 4pm, $10. With Red Meat, 77 el Deora, East Bay Grease, Gypsy Moonlight Band, and Scott Young.

“Live 105’s BFD Local Band Showcase” Bottom of the Hill. 1pm, $5.

Very Best Independent. 8pm, $18.

DANCE CLUBS

Bacano! Som., 2925 16th St, SF; (415) 558-8521. 9pm, free. With resident DJs El Kool Kyle and Santero spinning Latin music.

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

Death Guild DNA Lounge. 9:30pm, $3-5. Gothic, industrial, and synthpop with Decay, Joe Radio, and Melting Girl.

DJ Marty Hard Pissed-Off Pete’s, 4528 Mission, SF; (415) 584-5122, www.pissedoffpetes.com. 9pm.

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Monster Show Underground SF. 10pm, $5. Cookie Dough and DJ MC2 make Mondays worth dancing about, with a killer drag show at 11pm.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

Very Best Independent. 8pm, $20.

TUESDAY 1

ROCK/BLUES/HIP-HOP

DBC, Bronze Knockout. 9:30pm, $6.

Fat Tuesday Band with Edna Love Biscuits and Blues. 8 and 10pm, $15.

Friendo, Cannons and Clouds, Wise Wives Bottom of the Hill. 9pm, $10. Monks of Doom, Jonathan Segel Hemlock Tavern. 9pm, $10. Roman Numerals, Open Hand Elbo Room. 9pm, $6. 16 Volt, Chemlab, Left Spine Down, Slave Unit DNA Lounge. 9pm, $15. DANCE CLUBS Alcoholocaust Presents Argus Lounge. 9pm, free. With DJ What’s His Fuck and Taypoleon. Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro. La Escuelita Pisco Lounge, 1817 Market, SF; (415) 874-9951. 7pm, free. DJ Juan Data spinning gay-friendly, Latino sing-alongs but no salsa or reggaeton. Rock Out Karaoke! Amnesia. 7:30pm. With Glenny Kravitz. Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house. Sunset Analog Happy Hour Som., 2925 16th St., SF; (415) 558-8521. 6pm, free. With DJs MAKossa and Sean Julian spinning lo-fi, psych, obscure, hip hop, funk, and more. Womanizer Bar on Church. 9pm. With DJ Nuxx.

Thrifting for the the perfect song with tUnE-yArDs

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The deep piles of used goods can be a bit daunting at some of the best thrift stores, but when you find that shimmering prize, the fuzzy feeling is relative to winning a race or seeing your worst enemy trip into a puddle. For the sole member of tUnE-yArDs, musician Merrill Garbus— playing Sat/20 at Bottom of the Hill— her ultimate find was a white purse with row after row of luscious beads.

“I was in high school, living in Connecticut and we’d take trips into New York City to shop at thrift stores,” she recalls, talking to me over the phone while walking in her Oakland neighborhood. “I used to collect purses, even though I never used them.”
Recently she bought up a desk and an entire wardrobe of tour clothes, all without spending more than 20 bucks. Garbus says she uses thrift stores as a way to try on different personalities and I’m guessing she finds a little inspiration in there, too.

Plainly stated, Garbus’ music is lo-fi, indie-folk, but beneath the glorious yodeling and ukulele strumming are lyrical melodies, strong heart beats and interesting percussion made from banging and clanking on found objects. Her latest album, BiRd-BrAiNs (Marriage, 2009) was recorded through a hand-held voice recorder and mixed on her laptop— total DIY style.

http://www.youtube.com/watch?v=AwDEQWaSiEU

Dig through her multitude of songs and you’ll find outside sounds, children talking about fruit and all sorts of one-of-a-kind clips that wear just like your favorite Goodwill-adopted sweatshirt. She’s a one-woman version of Yeasayer and you can hear Garbus’ love of African music, more specifically notes borrowed from her visit to Swahili.

As I talked to her, Garbus was getting ready for the launch of the tour— the car needed an oil change and she needed to get rid of a nasty cold.

“I’m struggling with being human right now— sick, tired and overworked,” she said with a cough. “But I think I’ll be fine and remarkably, my singing voice comes from a different place.”

Still thinking about thrifting and the old white purse, I wondered if Garbus had ever thought about who was the bag’s previous owner. I like to imagine who bought the item new and I always hope to channel some sort of energy through the garment– to see if I can stake out any secrets from its past life. I asked Garbus if she puts subliminal messages into her music for a similar effect.

“I don’t think so,” she laughs. “But maybe a really cheesy message of love? These songs take time and sort of fold and unfold, exposing miniature worlds inside each of them. They’re a labor of love and I guess that’s the message. Yes, love…. Sorry to cheese out.”

tUne-yArDs w/Xiu Xiu
Sat/20, 8:30pm, $12
Bottom of the Hill
1233 17th Street, SF
www.bottomofthehill.com

The incredibly filthy truth

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arts@sfbg.com

MUSIC Since Xiu Xiu’s Fabulous Muscles came out six years ago, the indie press circuit has settled in to give the group a long run of 4-or-5-star, 7.5-to-10-point, and good-to-very-good ratings. It’s the 2000s’ equivalent of 1970s major label benign neglect, which allowed nominally successful artists to go weird in plain sight.

Xiu Xiu has never not been weird, but it’s a deep and personally honest weirdness that, while acknowledged, is rarely unpacked. Critically, it simply has room to exist, but listening to fans, it seems like this band could save your life. Though they are clearly pop — something band leader Jamie Stewart insists on — dusting off the surface reveals a network of underground reference points that actually have the power to shock the middle class.

If those terms — underground, middle class — seem old-fashioned, that’s because they have the potential to describe life as it’s lived, something Xiu Xiu is clearly going for. These terms might be misapplied to indie rock, but Xiu Xiu’s decadence is a moral one beneath the veneer of self-indulgence. Bright red stickers on Xiu Xiu jewel cases contain descriptions of the charitable organizations that the band contributes part of the profits to, not critical plaudits.

Though Xiu Xiu’s personnel fluctuates, Stewart works best with a female counterpoint. Romantic partner Angela Seo has stepped up as muse and collaborator on the band’s latest record, Dear God, I Hate Myself (Kill Rock Stars). Inside, reference points speak not just to Stewart’s personal obsessions — and Xiu Xiu is nothing if not an intensely personal project — but also reveal what’s really at stake in songs that can seem comically self-loathing and also authentically therapeutic.

As with previous releases, everything that happens on Dear God, I Hate Myself can be unpacked from its poppiest song. To my ears, that’s "Chocolate Makes You Happy." It has many of the elements that make up the Xiu Xiu profile: there’s an outsize chorus, a combination of sturdy electronic beats and destabilizing live percussion, and lyrics that are simultaneously moving and outrageous. Seven albums in, Stewart’s breathy voice is still pushing lyrics like "Chocolate makes you happy/As you deign to sing along/When you thrust your fingers down your throat/And wash away what’s wrong," then pivoting seconds later to deliver something like "out of your mind with whoreishness, incredibly young, incredibly filthy."

Musically, Stewart is sticking with the influences he named years ago: Henry Cowell’s dissonant tone clusters and bisexuality, the Cure’s bedroom catharsis and ill-managed longing, the guilelessness of video game music. Equally important, though, are writers like Dennis Cooper and Peter Sotos, gay writers often categorized as "transgressive" for their fiction’s (though Sotos’ writing takes the form of metareportage of pedophilic crime) interest in distinguishing between fantasy and reality. The impulse seems like a moral one; it’s how they draw that line that gets attention. Sotos is certainly the more underground of the two — press photos of an earlier lineup had Xiu Xiu’s faces partially obscured by books, including Sotos’ 2000 Index — and his way of presenting the intolerable has a few less narrative safe-words than Cooper’s.

The reason Xiu Xiu exists, as Stewart has written on the band’s blog, is to be "blunt about awful shit" — awful shit that Stewart or his loved ones have experienced. The personal register distinguishes it from Sotos’ newsprint-stained writings, but both have a narrative technique easily mistaken for no technique, a kind of narrative edge-play. What makes the band so compelling and relevant and seemingly ill-understood is that they take the plunge into being ridiculous, outrageous, and over-the-top — labeling them "confessional" is selling them seriously short. Lyrics and music put the listener close to soiled underwear and civilian corpses, atrocities that take place in the family den or in Fallujah.

Talking openly and achingly about things painfully hidden acknowledges the manipulation and artifice of pop music and, in doing so, puts more faith in its power. Xiu Xiu inspires testimonials because their music creates a place for collective grief. As a result, their music’s catharsis is a personal and political one. And though not every listener has a need for it, in doing what it does naturally, the band takes indie rock snake oil and turns it into chocolate.

XIU XIU

With tUnE-YaRdS and Noveller

Sat/20, 10 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

Music listings

0

Music listings are compiled by Paula Connelly and Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 17

ROCK/BLUES/HIP-HOP

Astral Force, DC/AC El Rio. 7pm, donation. Benefit for AIDS/LifeCycle.

Epiphanette, Great Girls Blouse, Miriam Speyer and New Blend Retox Lounge. 9pm, free.

Filthy Thieving Bastards, Blag Dahlia, Zander Schloss Thee Parkside. 8pm, $10.

Gomez, Buddy Great American Music Hall. 9pm, $28.

Kegels, Jokes for Feelings, Mitchell Experiment Bottom of the Hill. 9pm, $8.

Kim Wilson Blues Revue Biscuits and Blues. 8 and 10pm, $24.

Camaron Ochs, Spooky Flowers, Ayla Nereo Café du Nord. 9:30pm, $12.

Razorhoof, Iron Witch, Hazzards Cure Hemlock Tavern. 9pm, $6.

Undead Boys, Love Songs, Dope Charge, Keeners Elbo Room. 6pm, $8.

Zoo Station, Stung Slims. 8pm, $15.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Wednesday Infusion Lounge. 10pm, free. DJ Slick Dee.

Machine Sloane, 1525 Mission, SF; (415) 621-7007. 10pm, free. Warm beats for happy feet with DJs Sergio, Conor, and André Lucero.

Mary-Go-Round Lookout, 3600 16th St., SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

RedWine Social Dalva. 9pm-2am, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St., SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

Yoruba Dance Sessions Bacano! Som., 2925 16th St., SF; (415) 558-8521. 9pm, free. With resident DJ Carlos Mena and guests spinning afro-deep-global-soulful-broken-techhouse.

THURSDAY 18

ROCK/BLUES/HIP-HOP

Common Eider King Eider, Raccoons, Das Blut, Hiss and Hum, Marigold Crowns Amnesia. 9pm, $7.

Willie G Biscuits and Blues. 8pm, $15.

Gomez, One Eskimo Great American Music Hall. 9pm, $28.

Groove Armada, Lilofee Fillmore. 8pm, $30.

HIJK, Love is Chemicals, Rademacher Café du Nord. 8pm, $10.

Hurry Up Shotgun, Victory and Associates, Genius and the Thieves Hemlock Tavern. 9pm, $6.

*Jucifer, Grayceon, Serpent Crown Thee Parkside. 9pm, $8.

Static Thought, Spawn Atomic, Step Up! El Rio. 8pm, $7.

Tokyo Raid, Pan Demon, Bitch Be Cool, Housecoat Project, Red Penny One Paradise Lounge. 9pm, $7.

Trifles, Cheetahs on the Moon, Bodice Rippers Hotel Utah. 9pm, $6.

Victims Family, Bar Feeders, Polar Bears Bottom of the Hill. 9pm, $10.

JAZZ/NEW MUSIC

Babatunde Lea Quintet Yoshi’s San Francisco. 8pm, $20.

Dred Scott Quartet Coda. 9pm, $7.

Pepe Jacobo Cigar Bar and Grill, 850 Montgomery, SF; www.cigarbarandgrill.com. 9pm, $7.

FOLK/WORLD/COUNTRY

Bassekou Kouyate, Ngoni Ba Slims. 8pm, $25.

Dime Store Dandy Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-7. DJs Pleasuremaker, Señor Oz, and guest Earthrise Soundsystem spin Afrobeat, Tropicália, electro, samba, and funk.

Club Jammies Edinburgh Castle. 10pm, free. DJs EBERrad and White Mice spinning reggae, punk, dub, and post punk.

DJ Key Bump and Tropicana Madrone Art Bar. 5-9pm. With a performance by Mestiza.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Echo-A-Gogo Knockout. 10pm, free. Vintage dub reggae with DJ Lucky and friends.

Electric Feel Lookout, 3600 16th St, SF; (415) 431-0306. 9pm, $2. With DJs subOctave and Blondie K spinning indie music videos.

Funky Rewind Skylark. 9pm, free. DJ Kung Fu Chris, MAKossa, and rotating guest DJs spin heavy funk breaks, early hip-hop, boogie, and classic Jamaican riddims.

Good Foot Yoruba Dance Sessions Bacano! Som., 2925 16th St., SF; (415) 558-8521. 9pm, free. A James Brown tribute with resident DJs Haylow, A-Ron, and Prince Aries spinning R&B, Hip hop, funk, and soul.

Heat Icon Ultra Lounge. 10pm, free. Hip-hop, R&B, reggae, and soul.

Kick It Bar on Church. 9pm. Hip-hop with DJ Jorge Terez.

Koko Puffs Koko Cocktails, 1060 Geary; 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Meat DNA Lounge. 9:30pm, $2-5. Industrial with DJs BaconMonkey, Netik, Sage, and Unit 77.

Nightvision Harlot, 46 Minna, SF; (415) 777-1077. 9:30pm, $10. DJs Danny Daze, Franky Boissy, and more spinning house, electro, hip hop, funk, and more.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Represent Icon Lounge. 10pm, $5. With Resident DJ Ren the Vinyl Archaeologist and guest.

Rock Candy Stud. 9pm-2am, $5. Luscious Lucy Lipps hosts this electro-punk-pop party with music by ReXick.

Solid Club Six. 9pm, $5. With resident DJ Daddy Rolo and rotating DJs Mpenzi, Shortkut, Polo Mo’qz and Fuze spinning roots, reggae, and dancehall.

FRIDAY 19

ROCK/BLUES/HIP-HOP

Joe Bagale, Oona, Thrill of It All Independent. 9pm, $14.

Blasphemous Rumours, Cured Slims. 9pm, $15.

Con Funk Shun Yoshi’s San Francisco. 8 and 10pm, $26-30.

Deceptikon, Captain Ahab, Twin Crystals, Tik/Tak Hemlock Tavern. 9:30pm, $6.

Gomez, Little Ones Great American Music Hall. 9pm, $28.

Groove Armada, Fenech-Soler Live Fillmore. 8pm, $30.

Horse Operas, Goldie Wilson House of Shields. 10pm, $5.

Kaptron, James Lanman, Kit, Kat and the Suitcase Brothers Hotel Utah. 9pm, $10.

Lavay Smith and Her Red Hot Skillet Lickers Biscuits and Blues. 8 and 10pm, $20.

Voodoo Glow Skulls, Hub City Stompers, Compton SF Bottom of the Hill. 10pm, $12.

Yung Mars, Get Back Crew Coda. 10pm, $10.

Z-Trane Electric Trio, Justin Ancheta, Con Brio Pier 23. 9:30pm.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Black Market Jazz Orchestra Top of the Mark. 9pm, $10.

Emily Anne’s Delights Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

Equinox Trio Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.

Keith Jarrett Davies Symphony Hall, 201 Van Ness, SF; www.sfjazz.org. 8pm, $30-95.

FOLK/WORLD/COUNTRY

Harlem Gospel Choir Kanbar Hall, 3200 California, SF; www.jccsf.org. 8pm, $40-45.

"Jewish Music Festival" Congregation Sherith Israel, 2266 California, SF; www.jewishmusicfestival.org. 6pm, free. "Journey to Shabbat" performance with Rita Glassman, Yuval Ron, and Jamie Papish. See website for complete festival schedule.

Mazacote Cigar Bar and Grill, 850 Montgomery, SF; www.cigarbarandgrill.com. 9pm, $7.

Nell Robinson, Henriettas Noe Valley Ministry, 1021 Sanchez, SF; www.noevalleymusicseries.com. 8:15pm, $18.

Bassam Saba Arab Cultural and Community Center, Two Plaza, SF; www.arabculturalcenter.org. 8pm, $15.

Smiley Mountain Band Plough and Stars. 9pm, $6-10.

Zoyres Eastern European Wild Ferment Red Poppy Art House. 8pm, $10-15.

DANCE CLUBS

Activate! Lookout, 3600 16th St, SF; (415) 431-0306. 9pm, $3. Face your demigods and demons at this Red Bull-fueled party.

Alcoholocaust Presents Riptide Tavern. 9pm, free. DJ What’s His Fuck spins old-school punk and other gems.

Bridges: Brooklyn to the Bay and Beyond Elbo Room. 9pm, $8. With DJs Concerned and Jimmy Love, and live performance by Andy Allo.

Deep Fried Butter, 354 11th St., SF; (415) 863-5964. DJs jaybee, David Justin, and Dean Manning spinning indie, dance rock, electronica, funk, hip hop, and more.

Dirty Rotten Dance Party Madrone Art Bar. 9pm, $5. With DJs Morale, Kap10 Harris, and Shane King spinning electro, bootybass, crunk, swampy breaks, hyphy, rap, and party classics.

DJ Jeremiah and Friends Madrone Art Bar. 9pm, $5. Afrobeat, ju ju, and tribal funk.

Exhale, Fridays Project One Gallery, 251 Rhode Island; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs Romanowski, B-Love, Tomas, Toph One, and Vinnie Esparza.

Gay Asian Paradise Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk. This week’s guest is QDUP Foundation.

Hubba Hubba Revue DNA Lounge. 9pm, $10-15. Burlesque show.

Look Out Weekend Bambuddha Lounge. 4pm, free. Drink specials, food menu and resident DJs White Girl Lust, Swayzee, Philie Ocean, and more.

Loose Stud. 10pm-3am, $5. DJs Domino and Six spin electro and indie, with vintage porn visual projections to get you in the mood.

M4M Fridays Underground SF. 10pm-2am. Joshua J and Frankie Sharp host this man-tastic party.

Oldies Night Knockout. 9pm, $2-4. Doo-wop, soul, and one-hit wonders with DJs Primo, Daniel, and Lost Cat.

Radioactivity 222 Hyde, SF; http://222hyde.com. 6pm, free. Low-budget synthesizers and Eastern European cold war beats.

Rockabilly Fridays Jay N Bee Club, 2736 20th St., SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa "Samoa Boy" spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Tingel Tangel Club Second Anniversary Blowout Celebration Café du Nord. 9:30pm, $20. With Veronica Klaus, Joey Arias, Basil Twist, Todd Almond, Fauxnique, Marga Gomez, and DJs Juanita More and Bus Station John.

SATURDAY 20

ROCK/BLUES/HIP-HOP

Airfix Kits, Housecoat Project, Teutonics, DJ the Wizard, DJ Phil Lantz Knockout. 5-9pm, free. Crime record signing from 5-6pm.

Tim Barry, Possessed by Paul James, Fire Whiskey Thee Parkside. 8:30pm, $10.

Con Funk Shun Yoshi’s San Francisco. 8 and 10pm, $30.

Shane Dwight Biscuits and Blues. 8 and 10pm, $20.

Foreverland, Barely Manilow Mezzanine. 9pm, $15.

Inferno of Joy, Reaction, Dutch Windmill El Rio. 9pm, $7.

Lilan Kane Blues Band Lou’s Pier 47, 300 Jefferson, SF; www.louspier47.com. 8pm.

Octomutt, Dandeline Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

Rosin Coven, George Cole Quintet, Kim Boekbinder Café du Nord. 9pm, $15.

Ron Silva and the Monarchs, Franco Nero Ska Hemlock Tavern. 9:30pm, $8.

Slipstream Sparrows, Headshear, Richard Bitch, Anhata Sound Hotel Utah. 8pm, $8.

Small Change Romeos, Mavalour, Midway Delta, DJ unk’l funk’l El Rio. 3pm, $8.

Uzi Tattoo, Prik Flower, Economen Thee Parkside. 3pm, free.

Xiu Xiu, tUne-YaRdS, Noveller Bottom of the Hill. 10pm, $12.

JAZZ/NEW MUSIC

Alphabet Soup Coda. 10pm, $10.

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.

Hiromi, Robert Glasper Experiment Herbst Theatre, 401 Van Ness, SF; www.sfjazz.org. 8pm, $25-55.

Loveseat Trio Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

Ricardo Scales Top of the Mark. 9pm, $15.

FOLK/WORLD/COUNTRY

Albino!, Alma Desnuda Independent. 9pm, $17.

Mark Levine and the Latin Tinge Red Poppy Art House. 8pm, $10-15.

Marara Music Store, 66 W. Portal, SF; www.shelbyashpresents.net. 2pm, free.

Pine Box Boys, Earl Brothers, Last Men on Earth, Good Luck Thrift Store Outfit Slims. 8:30pm, $15.

Fito Reinoso Cigar Bar and Grill, 850 Montgomery, SF; www.cigarbarandgrill.com. 9pm, $7.

Sila, Meklit Hadero, DJ Jeremiah Great American Music Hall. 9pm, $14.

Marcus Tardelli, Carlos Oliviera, Ricard Peixoto Brava Theater Center, 2781 24th St, SF; (415) 242-4500. 8pm, $34.

DANCE CLUBS

Bootie: Donner Party DNA Lounge. 9pm, $6-12. Mash-ups with John! John! and the Wagonistas.

Booty Bassment Knockout. 10pm, $5. Hip-hop with DJs Ryan Poulsen and Dimitri Dickinson.

Cockfight Underground SF. 9pm, $7. With DJs Earworm and Matt Hite.

Fire Corner Koko Cocktails, 1060 Geary, SF; 885-4788. 9:30pm, free. Rare and outrageous ska, rocksteady, and reggae vinyl with Revival Sound System and guests.

Fringe: An Indie Rock Dance Party Madrone Art Bar. 9pm, $5. With DJs Blondie K and subOctave.

Full House Gravity, 3505 Scott, SF; (415) 776-1928. 9pm, $10. With DJs Roost Uno and Pony P spinning dirty hip hop.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Road to Ultra Supperclub, 657 Harrison, SF; info@santrancecisco.com. 10pm, $15. With Javi Cannus, Sheff, Dutch, Michael Anthony, Jeff Richmond, and Hil Huerta.

Saturday Night Soul Party Elbo Room. 10pm, $10. With DJs Lucky, Phengren Oswald, and Paul Paul.

Sharam 1015 Folsom. 10pm, $10. With DJ Rooz, Taj, and more.

Social Club Lookout, 3600 16th St., SF; (415) 431-0306. 9pm. Shake your money maker with DJs Lee Decker and Luke Fry.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

SUNDAY 21

ROCK/BLUES/HIP-HOP

B-Stars, Hi Rhythm Hustlers, Royal Deuces, Karling Abbeygate Band Knockout. 9pm, $8.

*Blowfly, Clarence Reid, Knights of the New Crusade, Awesome Party DNA Lounge. 6:30pm, $15.

David Matthew Daniels, Robert Meade, Sean McArdle Brainwash Café, 1122 Folsom, SF; www.brainwash.com. 6pm, free.

Fat Tuesday Band Biscuits and Blues. 8pm, $15.

*Kreator, Kataklysm, Evile, Lightning Swords of Death Slims. 8pm, $24.

Massive Moth, Your Cannons, Here Come the Saviours Hemlock Tavern. 9:30pm, $6.

Janelle Monae Café du Nord. 8pm, $12.

Ralph’s World Swedish American Hall (upstairs from Café du Nord). 3pm, $18.

Rollercoaster, Watch it Sparkle, Sweet Nothing Kimo’s. 9pm.

JAZZ/NEW MUSIC

Terry Disley Washington Square Bar and Grill, 1707 Powell, SF; (415) 433-1188. 6pm, free.

"Jazz Jam Session" Epicenter Café. 6pm, free.

Sunday Sessions Madrone Art Bar. 6pm, free. With Wil Blades.

Kenny Washington Bliss Bar, 4026 24th St, SF; (415) 826-6200. 4:30pm, $10.

FOLK/WORLD/COUNTRY

Motel Drive, Clay Thee Parkside. 4pm, free.

"Salsa Sundays" El Rio. 4pm, $5. With Danilo y Universal.

Jake Shimabukuro Yoshi’s San Francisco. 7 and 9pm, $18-24.

"Te Gusto Musical" Coda. 8pm, $10. With Anthony Blea and friends.

DANCE CLUBS

Call In Sick Skylark. 9pm, free. DJs Animal and I Will spin danceable hip-hop.

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJ Sep, Maneesh the Twister, and guest DJG.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. "Dance floor for dancers – sound system for lovers." Got that?

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Stag AsiaSF. 6pm, $5. Gay bachelor parties are the target demo of this weekly erotic tea dance.

MONDAY 22

ROCK/BLUES/HIP-HOP

American Studies, Ash Reiter, Mark Matos and Os Beaches Elbo Room. 9pm, $6.

*Karine Denike, Dina Maccabee Band, Upstairs Downstairs Knockout. 9pm, $7.

"Felonious Presents Live City Revue" Coda. 9pm, $7.

Mama Lion, Eighteen Individual Eyes, Heated El Rio. 7pm, $5.

Janelle Monae Café du Nord. 8pm, $12.

DANCE CLUBS

Bacano! Som., 2925 16th St., SF; (415) 558-8521. 9pm, free. With resident DJs El Kool Kyle and Santero spinning Latin music.

Black Gold Koko Cocktails, 1060 Geary, SF; 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more.

Death Guild DNA Lounge. 9:30pm, $3-5. Gothic and industrial with DJs Decay, Joe Radio, and Melting Girl.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Motown on Mondays Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests.

Monster Show Underground SF. 10pm, $5. Cookie Dough and DJ MC2 make Mondays worth dancing about, with a killer drag show at 11pm.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

TUESDAY 23

ROCK/BLUES/HIP-HOP

Axe, Terroritmo, Foga Na Roupa Elbo Room. 9pm, $7.

Devendra Banhart and the Grogs, Dorothy and the Originals Warfield. 8pm, $27.50-32.50.

Bias Tape, AJ Rivlin El Rio. 8pm, free.

Jason Collett, Bahamas, Zeus Café du Nord. 8:30pm, $15.

Jamie Cullum, Imelda May Fillmore. 8pm, $35.

Fell Voices, Addaura, Elk, Necrite, DJ Rob Metal Thee Parkside. 8pm, $8.

Ted Leo and the Pharmacists, Bleached Great American Music Hall. 9pm, $17.

Serena Maneesh, Depreciation Guild, Veil Veil Vanish Bottom of the Hill. 9pm, $12.

Savoy Brown Biscuits and Blues. 8pm, $20.

Stagger and Fall, Hollowbodys, Idle Threats, Hounds and Harlots Knockout. 9:30pm, free.

Thralls, All Time High, Hollow Earth Hemlock Tavern. 9pm, $6.

DANCE CLUBS

Alcoholocaust Presents Argus Lounge. 9pm, free. With DJs Corruptor Ref, Sebastian Twot, and What’s His Fuck.

Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.

La Escuelita Pisco Lounge, 1817 Market, SF; (415) 874-9951. 7pm, free. DJ Juan Data spinning gay-friendly, Latino sing-alongs but no salsa or reggaeton.

Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.

Womanizer Bar on Church. 9pm. With DJ Nuxx.

The mighty uke

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MUSIC The ukulele has gone viral, again, via YouTube phenomena like the adorable Uke Kid and virtuoso Jake Shimabukuro, who both perform interpretations of “While My Guitar Gently Weeps” — originally by George Harrison, himself a professed uke-aholic.

The history of the ukulele is choppy. It has passed through waves of cultural significance and kitsch popularity. Its origins are commonly misremembered — it first appeared in Portugal as a small Madeiran guitar. Brought by Portuguese cane workers to Hawaii in the 19th century, it was given its new name of “ukulele,” which translates to “jumping flea.” King Kalakaua, a major proponent of the Hawaiian cultural renaissance, fell for the instrument and incorporated it into performances at royal gatherings.

The ukulele floated from Honolulu to the Bay for the 1915 Panama Pacific International Exposition, where “the Hawaiian Pavilion” launched the first continental fad for Hawaiian songs and the uke. The Bay Area soon became an international gateway for the ukulele.

Today’s vibrant ukulele scene continues this legacy. The current crop of Bay-based ukulele players have little connection to the instrument’s Hawaiian history and utilize the uke for a wide spectrum of musical genres: the Corner Laughers play bouncy indie power pop; Tippy Canoe incorporates early country music, ’30s jazz and ’60s pop; Ash Reiter accents her jazz-infused indie folk with the ukulele; Uni and Her Ukelele takes ideas from burlesque dancers, comedians, light rock and soul; and in a haphazard YouTube video made by Sandy Kim, ubiquitous garage rocker Ty Segall plays a ditty on the uke.

“As soon as I picked up the uke, I started writing a song,” explains vocalist-ukester Emily Ritz of HoneyComb. “Its size was perfect, and I liked the challenge of making a uke sound dirty, dark, and dangerous.” Influenced by everyone from Billie Holiday to Joanna Newsom, Ritz turns the ukulele into something mysterious and haunting.

Some Bay Area ukesters emerge from the kitsch appeal that the goofy-ginger TV personality Arthur Godfrey left in his wake. Godfrey learned to play the ukulele from a Hawaiian shipmate while he was in the Navy, and when he went on television to promote the new plastic ukuleles, more than 9 million ukuleles were sold, in the second great-wave of ukulele popularity.

Camp taste has an allure, and Uni and Her Ukelele — deliberately spelled the British way, according to Uni, because “I just like how the ‘e’ and ‘l’ loop together in cursive” — mine that appeal by including mermaids, rainbows, and unicorns as subject matter. “While I was learning the basic chords on the ukulele, I found it easier to write more quirky songs,” Uni explains via e-mail from New Zealand. “Fun is a good place to start.”

Post Godfrey, the ukulele’s second wave ended with the annoying falsetto voice of Tiny Tim. Baby boomers threw their plastic strummers into their closets, associating the instrument with all things cheesy. Many guitar distributors ceased making ukuleles during the 1990s, but a third resurgence began in the early aughts, due in part to two significant events: Paul McCartney played the instrument at a tribute concert after George Harrison’s passing, and Israel “Iz” Kamakawiwoole’s “Somewhere Over the Rainbow” and “What a Wonderful World” medley became familiar through countless radio-plays, movies, commercials, and weddings. Now even the iPhone has an application that mimics and teaches ukulele chords.

Introductions to the ukulele are often random rather than contrived, much like the ebb-and-flow history of the instrument. Ash Reiter, who fronts a band of the same name, got a uke as a gift from a friend in high school. She later acquired her own, only to have it stolen at a performance with fellow ukesters. She stopped playing, but eventually inherited another one from her grandfather. “It’s one that he got while he was stationed in Hawaii for a while,” Reiter says. “It’s just one of the few things that we shared, and I remember he used to sing a lot of dirty songs that he learned in the war on it, like ‘One-Eyed Dick.’ Then when he was in the nursing home, I would play the ukulele for him.”

Like all good things, the ukulele comes in different shapes and sizes: there are traditional pear-shaped ukes; pineapple-shaped ukuleles that produce a mellower sound; DIY ukuleles made from cigar boxes and plastic lollipop knobs. Godfrey designed the first baritone ukulele, and then there is the “banjulele” popularized by Englishmen George Formby during the ’30s and ’40s. Formby is also an inspiration for Karla Kane, vocalist and ukulele-player of the Corner Laughers, who describes its sound as “twangy” and explains that she found her 1930s banjulele at an antiques fair in San Rafael.

Berkeley-based ukulele artisan Peter Hurney specially designed Tippy Canoe, a.k.a. Michele Kappel-Stone, a ukulele. “At the time I was playing a ukulele that was all black, and he came up to me and said, ‘You need an ukulele that matches your personality,'<0x2009>” explains Kappel-Stone. The two collaborated and chose imagery from a 1913 Bauhaus poster, which circles the ukulele’s sound hole.

Musically, each of these Bay Area musicians advance the uke in different ways. “We put the ukulele on almost every track on the new album,” explains Kane of the Corner Laughers. “But a lot of people don’t even recognize it because we put a lot of cool effects on it. I have an electric ukulele, so I put it through an amplifier, and a space-echo box, and distortion.”

Uni and her Ukelele write songs on the uke, whereas Ash Reiter uses the ukulele only occasionally, often as an accent or a layer within the song. Outside the Bay Area, the instrument has been used by everyone from Kate Bush to Elvis Costello to tUnE-yArDs in recent years. As Tippy Canoe says, “I love that it is such a universal instrument. Anyone can pick it up and play it.” In the Bay Area, and beyond, an increasing number of bands are doing exactly that.

HONEYCOMB

With Annie Bacon and her Oshen, the Spindles

Wed/20, 9 p.m., $7

Elbo Room

647 Valencia St., SF

www.elbo.com

THE CORNER LAUGHERS

With Photons

Sat/23, 7:30, $7

The Make-Out Room

3225 22nd Street

www.makeoutroom.com

ASH REITER

Feb. 17, 8 p.m., $10

Rickshaw Stop

155 Fell St., SF

www.rickshawstop.com

TIPPY CANOE, MIKIE LEE PRASAD

With Anna Ash

March 4, 9:30 p.m. $6

Hemlock Tavern

1131 Polk St., SF

www.hemlocktavern.com

The Bush era

0

a&eletters@sfbg.com

SAT IN YOUR LAP: THE LATEST DAUGHTERS OF KATE BUSH FLESH OUT THIS WOMAN’S WORK

By Marke B.

Kate Bush was gifted with a fierce female originality at a time when the rock world was starved of it: her golden run of eccentric achievement in the late 1970s and early 1980s placed her next to Joni Mitchell in terms of adventurous — if not always intellectual — influence in the minds of aspiring young women singer-songwriters. (And there’s some extremely perverse pleasure to be taken in the little factoid that her stunning 1985 EMI comeback album Hounds of Love snatched the top U.K. album slot from Madonna’s Like A Virgin.)

But that gift was also a curse: Bush was so original in so many ways that it’s easy to forget the myriad musical pathways she forged. This “artist in a female body” — as she famously protested when her panicked record company started pimping her rack on sleeves to shift units — has mostly been boiled down to spiritual oracle, swooping-voiced Sybil, and, ever since concept albums by women were banished to exile in Guyville, keeper of the idiosyncratic prog-rock flame. In other words, Stevie Nicks with a Fairlight synthesizer and a degree in Celtic mythology. Or else just plain weird.

Fortunately, musical weirdness is so much with us today that other Bush qualities are starting to be glimpsed through the babushka, including her production abilities, precocity, sincerity, humor, and unabashed gender-fucking. For the past three decades, it’s never been rare for artists to be compared to Bush — mostly for childlike vocalizations or way with a silver space suit and Circe metaphor. But in our post-neo-neo-soul moment (sorry Wino), a new crop of female British singers has arisen that takes its cues, mostly acknowledged, from Bush’s kaleidoscopic talent.

FLORENCE AND THE MACHINE

Without Kate Bush, flouncy freak-folker Florence Welch and her ever-changing backup band could be heard as a product of the unholy union of Devendra Banhart and Tori Amos — except those two probably wouldn’t exist without Bush either. Florence grounds her lyrics in the sexually frantic Bush. “I must be the lion-hearted girl,” she sings in the vid for “Rabbit Heart (Raise It Up)” just before her wedding banquet table folds up into her coffin.

www.myspace.com/florenceandthemachinemusic

MARINA AND THE DIAMONDS

Marina and the Diamonds, a.k.a. the singular singer Marina Diamandis has been gaining huge traction with her excellent “I Am Not A Robot” track, calling up the more vulnerably affirmative, “Don’t Give Up” Bush. But it’s her screwy, cuckooing “Mowgli’s Road” that effectively conjures up woozy Kate at a post-rave bonfire.

www.myspace.com/marinaandthediamonds

BAT FOR LASHES

Half-Pakistani lovely Natasha Khan works the gleaming edge of Bush’s dark underworld glamour, and grounds her post-goth balladry and soft electro sparks in the sensual world. Her single “Daniel” de-Eltons the title character and places him among Bush’s slightly menacing, jig-footed cosmic effigies.

www.myspace.com/batforlashes

MICACHU AND THE SHAPES

Mika Levi calls herself Micachu and spits out shiv-sharp blasts of dissonant micro-punk — seemingly the opposite of Bush’s epic dramas. But Levi echoes Bush both in the sheer Englishness of her lyrics, the knockout oddity of her instrumentation and starry-eyed gender-bending. Micachu’s rambunctious, exhilarating new album Jewelry (Rough Trade) could easily have been shaken out of Bush’s backing track outtake archives.

www.myspace.com/micayomusic

MICACHU AND THE SHAPES

With tune-yards, Tempo No Tempo

July 22, 8 pm., $10

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com ————

MOTHER STANDS FOR COMFORT: KATE BUSH IN THE SOUNDS OF NOW

By Irwin Swirnoff

It’s always exciting when you sense universal consciousness in motion. Like so many around me lately, I can’t stop listening to Kate Bush. I play Hounds Of Love (EMI, 1985) from start to finish again and again, allowing a different song from the album to become my theme or guiding light for weeks at a time. I play The Dreaming (EMI, 1982) and let it spin in and out of my head. These songs are as dramatic as they are sincere. They conjure magic while maintaining an emotional core. Bush’s undeniable integrity travels through her songs like a force of nature, from soft-lit soap opera to primal realms.

Many great records by other artists in the last few years have been stamped with undeniable Kate Bush moments. A new generation of musicians is learning that avant and pop sensibilities can coexist in exciting ways and that it is possible to blend the organic and the mechanical to create songs that soar with a mission. Here are some of today’s cloudbusters.

GANG GANG DANCE

“House Jams” (from Saint Dymphna)

(from Saint Dymphna, Social Registry, 2008)

On its latest album, Gang Gang Dance not only embraces its love of the dance floor — it invites the spirit of Kate Bush to a psychedelic midnight rave.

M83

“Skin Of The Night”

(from Saturdays =Youth, Mute, 2008)

No strangers to teenage mellow drama and melodrama, M83 makes music with a cinematic quality, much in the same way that Kate Bush’s records sound like movies unto themselves.

PAAVOHARJU

“Kevatrumpu”

(from Laulu Laakson Kukista, Fonal, 2008)

This Finnish group roams through a landscape that varies from dusty fairytale to psychedelic future. This track is by far the most dancepop — and Bush-like — moment on a record that also channels Kurt Weill, Edith Piaf, and Robert Wyatt.

JOANNA NEWSOM

Ys

(Drag City, 2006)

Many eccentric female artists are compared to either Kate Bush or Björk by lazy critics, but few actually reach that kind of ecstatic individuality. Joanna Newsom is one. Her complete belief in her vision is apparent in these commanding, flawlessly executed songs.

TELEPATHE

“Drugged”

(from Dance Mother, IAMSOUND)

Much like their New York City neighbors Gang Gang Dance, Telepathe calls Bush to mind when it branches out from its experimental roots into a slow burning state that’s ready for the dancefloor.

CHROMATICS

“Running Up That Hill”

(from Night Drive, Italians Do it Better, 2007))

It takes major guts to cover this Bush composition, a contender for one of the most poignant songs of the last quarter century. The air of magic and mystery here is very Kate.

FEVER RAY

Fever Ray

(Mute)

The debut solo record from Karin Dreijer Andersson of the Knife is more internal and intense than the dance floor stylings of her well-known group. Andersson plays with different voices and personas while creating sounds that are creepy and comforting. The result feels like a perfect contemporary response to Bush’s explorations of 20 years ago.

It’s tops

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For more top 10s, see our Year in Music 2008 issue.

JONAS REINHARDT’S TOP 10


1. Droids, Star Peace (Repressed)

2. Steve Moore, Vaalbara (Noiseville)

3. La Düsseldorf, La Düsseldorf (Nova, Water)

4. Cluster US tour

5. Lovefingers.org

6. White Rainbow, "Snake Snacks Brain Tazer Pt2"

7. Richard Pinhas, Singles Collection 1972–1980 (Captain Trip)

8. 88 Boadrum, Aug. 8, ’08

9. Methusalem, Journey into the Unknown (Ariola)

10. B.O.D.Y.H.E.A.T. light show, Nov. 7

MI AMI’S DANIEL MARTIN-MCCORMICK AND DAMON PALERMO’S COMBINED TOP 10


*Grouper, Dragging a Dead Deer up a Hill (Type)

*US Girls, Introducing (Siltbreeze)

*Sugar Minott, Dancehall Showcase Vol. II (Black Roots/Wackies)

*Fripp and Eno, No Pussyfooting (EG)

*Steel an’ Skin, Reggae Is Here Once Again (Em)

*Dam-Funk, "Burgundy City" (Stones Throw)

*Pyha, The Haunted House (Tumult)

*Orchestre Régional De Kayes, The Best of the First Biennale of Arts
and Culture for the Young
(Mississippi)

*Various artists, Blackdisco (Blackdisco)

BOMB HIP-HOP’S DAVID PAUL’S TOP 10


1. Grip Grand, Brokelore (Look)

2. Sweatshop Union show at Rickshaw Stop, Sept. 25

3. DJ Zeph and Azeem, On the Rocks mix CD

4. Planet B-Boy DVD (Arts Alliance America)

5. Prince vs. Michael show, Madrone Lounge, Nov. 15

6. Large Professor, Main Source (Gold Dust Media)

7. DJ Agent 86, "The Ultimate" 7-inch (Bomb Hip-Hop)

8. EMC, The Show (M3)

9. DJ Design with Party Arty, "Get on the Floor" single (Look)

10. History of Rap poster

TARTUFI’S TOP 10 OF ’08


*Paper Airplanes, Scandal Scandal Scandal Down in the Wheat Field (self-released)

One of the best albums we have heard in years. Wins Most Mind-Twisting Listen award from Tartufi, which just so happens to be a hairless alpaca.

*Department of Eagles, In Ear Park (4AD)

A lush and weighty release. Wins Best Overall Production award, which just so happens to be a medium-sized bologna.

*Low Red Land, Dog’s Hymns (self-released)

Man, this album is just so freaking good. It is like a chocolate river of dreams wrapped in bacon and covered in Tony Alva. They win Album Most Likely to be Sung at Top of Lungs No Matter Who Is Around award, which just so happens to be Tony Alva wrapped in bacon.

*Deerhoof, Offend Maggie (Kill Rock Stars)

Awesomely awesome and both classically deery and innovatively hoofy. Wins the award for Longevity, Perseverance, Persistence, Reliability, and Most Rockin’-est, which just so happens to be a completely un-offended Maggie, fresh and new!

*Fleet Foxes, Fleet Foxes (Sub Pop)

Didn’t want to like this after seeing it more times that we have ever seen anything before, at every Starbucks in the whole universe. Then we took a listen, and it is actually quite good. Wins the Your Albums Will Forever Be in Starbucks (a Blessing and a Curse) award, which just so happens to be a Slip ‘N Slide.

*Musee Mecanique, Hold This Ghost (Frog Stand)

These guys rule live. Wins the Classiest Band in All the Land award, which just so happens to be the option to plate a member of the band in gold.

*Russian Circles, Station (Suicide Squeeze)

A rad album with just the right amount of chunk, noise, pretty, psych, and space. Wins the Most Dreamiest Drummer Ever award, which just so happens to be a date with Lynne!? Weird.

*Beach House, Devotion (Carpark)

Admittedly, this album was purchased based upon the cover art alone, but imagine the surprise and blissed-out happiness upon hearing the actual music! Wins the Smoothest Vocals and Best Use of a Drum Machine award, which just so happens to be a tall ship towing a peanut.

*Radiohead, In Rainbows (ATO)

We listened to this a lot while on tour. Like, a lot. Wins the Smarty Pants award and the Duhhhh award, which just so happens to be invisibility cloaks for the whole band. You guys are welcome. We know what it’s like. We are pretty famous, too.

*Vetiver, Thing of the Past (Gnomonsong)

Andy’s voice makes me so happy and his musical choices make me even happier. Wins Best Use of Hats, Beards, and Boots award, which just so happens to be the lemon tree from the back patio at El Rio! You guys sing a cover, and I will sneaky sneak it out the front.

SORCERER’S DANIEL JUDD’S TOP 10


1. Raphael Saadiq, The Way I See It (Sony BMG/Columbia)

Heard this while I was record shopping in Chicago. Thought it was a Motown record I had never heard before. Great songs, production, and the singing is excellent.

2. Menahan Street Band, Make the Road by Walking (Daptone)

On Election Day we grabbed fish tacos on Ritch Street and there was a DJ wearing a George Bush mask who was spinning this record on the turntables set up on the sidewalk. The sun was shining, and Obama was about to win — a dawning of a new day.

3. Various artists, Pop Ambient 2008 (Kompakt)

This year’s collection might be my overall favorite.

4. Zo! and Tigallo, Love the 80’s! (Chapter 3hree)

Nice modern R&B versions of the most random ’80s jams. Good for throwing in a mix with the catchy Usher, T-Pain, and R. Kelly jams I also dug on this year.

5. Woolfy at the Elbo Room

A great show from Woolfy at B.O.D.Y.H.E.A.T.’s monthly night. A full band rocking great, slow-burning dance jams.

6. Wild Combination: A Portrait of Arthur Russell (Matt Wolf, US) at the Roxy.

Loved the unreleased music and the glimpses of his creative process.

7. Boom Clap Bachelors, Kort Før Dine Læber (Music for Dreams)

Crazy futuristic electro-soul. One of the dudes is from Owusu and Hannibal, another cool group in this realm.

8. Various artists, Watch How the People Dancing: Unity Sounds from the London Dancehall, 1986–1989 (Honest Jon’s)

Been loving the Casio-fueled insanity, the craziest voices from the singers.

9. Various artists, Funky Nassau: The Compass Point Story 1980–1986 (Strut)

The tropical boogie/reggae vibes flow so nicely from this cast of jammers.

10. Hatchback, Colors of the Sun (Lo)

Arpeggios and creamy chord changes.

THE HARBOURS’ MIGUEL ZELAYA’S TOP 10 2008 RELEASES


1. Two Sheds, untitled EP (iTunes)

2. Kelley Stoltz, Circular Sounds (Sub Pop)

3. Uni and the Dig! String Trio, As Gold (self-released)

4. Pillars of Silence, Pillars of Silence (self-released)

5. Michael Zapruder, Dragon Chinese Cocktail Horoscope (SideCho)

6. Land of Talk, Some Are Lakes (Saddle Creek)

7. Radiohead, In Rainbows (ATO)

8. Hayden, In Field and Town (Fat Possum)

9. +/-, Xs on Your Eyes (Absolutely Kosher)

10. The Beach Boys, U.S. Singles: Capitol Years ’62–65 (EMI)

KELLEY STOLTZ’S TOP 10 AND MORE


*Borts Minorts on earth and in concert

A white body suit, a musical instrument made of a ski and bass string, and beautiful dancing gals. Fun SF weirdness without the Burning Man remorse.

*Thee Oh Sees live and The Master’s Bedroom Is Worth Spending a Night In (Tomlab)

Really, how many awesome tunes can a human being write?

*The Fresh and Onlys

What a fine group — so fine I started a label, Chuffed, to put out their first single. Where the embers of the Red Crayola and the Elevators’ hash pipe merge with Born to Run muscle.

*The Dirtbombs

Since I toured with them this year I got to see them 53 times, and they were awesome every night — except that first night in Bloomington, Ind., but that was a bummer gig all around. "I Can’t Stop Thinking About It" is the best tune I heard this year.

*Margo Guryan, Take a Picture (Sundazed)

Thanks to Chris at Groove Merchant for hipping me to this. Soft chanteuse-y vocals, booming drums, sitars, and fuzz = awesome pop.

*Beck, "Chemtrails" from Modern Guilt (Interscope)

I just really dig this tune. I like the homemade video for it on YouTube and the conspiracy theories the song alludes to.

*Randy Newman at SFJAZZ fest, playing a solo piano gig, for nearly two hours

Again, how many good songs can one person write — it’s ridiculous!

*Sunday night shows at the Rite Spot

Annie Southworth does a good job booking the place: Colossal Yes, Adam Stephens, Prairie Dog, occasional jazz cats, and the Ramshackle Romeos were my year’s highlights.

*Local bands at SFO

It’s mostly soft ‘n’ gentle pop, classical, or jazz — no Caroliner concerts are planned yet. But wouldn’t a Bart Davenport tune help the Xanax really take the edge off the preflight panic?

*Mon Cousin Belge at Café Du Nord

Somehow MCB unites Antony and Jello Biafra song skills, vocal chords, political proclivities, humor, and pathos into a horrifically scarred Belgian-in-exile crooner to make SF laugh and cry. Jobriath of the now!

*Jeffrey Lewis at Hotel Utah

The best concert I saw all year. The supergenius from your eighth-grade math class returns 20 years later with tunes that mix the Femmes, Jonathan Richman, and James Joyce.

CITAY’S EZRA FEINBERG’S MUSIC OF 2008


*M83, "Kim & Jessie" (Mute)

’80s melancholia with good drum fills.

*The Dry Spells’ "Rhiannon" to be released on Antenna Farm in spring 2009

Much better than the Fleetwood Mac original. No, I am not fucking with you.

*Realizing the Grateful Dead’s "Touch of Grey" (Arista, 1987) is the best aging hippie anthem ever, and feeling like I relate to it, especially because I’m rapidly going gray.

*Tune-yards’ "News" (Marriage)

This is the best unknown band I’ve ever heard, no joke, hands down — you’d be insane not to check it out at tuneyards.com.

*3 Leafs, Space Rock Tulip (self-released)

Amazing SF all-star mostly improv band featuring members of Gong, Tussle, Citay, and others. Epic, spacious, physical, colorful, and powerful, with catchy and fun moments throughout. www.myspace.com/3leafs

*The Botticellis, "The Reviewer" (Antenna Farm)

Total power pop, like the best upbeat Big Star meets the best Cheap Trick. One of my favorite songs of recent memory.

*Tune-yards live in SF and Portland, Maine

Citay played on a bill with Tune-yards in Portland, Maine, and then we set up a show for her here in SF. We promoted the heck out of it, the people came out, and Tune-yards killed. Truly inspiring.

*Vetiver’s cover of "The Swimming Song" (Gnomonsong)

*Half Japanese at the WFMU showcase at SXSW

*Discovering Mastodon, way, way late.

VICE COOLER’S TOP 10 MUSIC RECORDING THINGS


1. Toxic Lipstick, "Thunderdome" (Dual Plover)

This is one of the most fucked-up songs from one of the most fucked-up records in the past 20 years.

2. Deerhoof, current tour clips on YouTube

Since I got their first two records at age 15, Deerhoof has remained one of my favorite bands, and the addition of Ed Rodriguez has pushed them into a new terrain of amazingness.

3. E-40 featuring Lil John, "Turf Drop" (BME/Reprise) and Urxed, Car Clutch, and Soft Circle live at Triple Base

Fucking incredible! And the Triple Base show pretty much made everyone’s "show of the year."

4. Lil Wayne, "A Millie" (Cash Money/Young Money/Universal)

This song completely saves the rest of this half-assed, boring, and otherwise overhyped record.

5. Matmos, Supreme Balloon (Matador)

Dude, they always deliver!

6. Bleachy Bleachy Bleach

It’s sort of like Cobra Killer being thrown into a fryer, but made by super young Bay Area suburban girls whose first "big band" that they got into, at age 14, was Wolf Eyes.

7. Disaster’s LP and Barr’s new songs live

I was lucky enough to see the few performances that he made it to, after he cancelled most of his shows for this year. As far as his alter ego, Disaster, goes — I like it because people think the record player is broken when you listen to the album.

8. The Younger Lovers, Newest Romantic (Retard Disco)

Full disclosure: I recorded four songs on it. This is a band started by a friend I grew up with named Brontez. Highly recommended.

9. Fatal Bazooka, "Parle a Ma" (Warner)

While on tour in France we were tortured by mainstream French radio. Fortunately, this song was a big hit at the time. Thank God we don’t speak much French, because I am 100 percent positive that the lyrics fucking suck.

10. Quintron, Too Thirsty 4 Love (Goner)

The best album cover and best opening song. It’s tragic that bands like My Chemical Romance are so huge and have pushed such genius artists as Quintron and Miss Pussycat into such obscurity.

Getting into Tune-yards at Amnesia

3

tuneyards show sml.jpg
Put up your ukes: Tune-yards. All photos by Jen Snyder.

By Jen Snyder

The only thing I really knew about music from Vermont before Saturday was Phish, which naturally threw a big, damp drug rug over my entire interest in seeking out and discovering new jams from the state. But about a month ago, I found out that Citay (the Guardian’s triumphant Goldie winner) was going to be playing at Amnesia with a band called Tune-yards, hailing from Vermont. A Citay band member promised, “No joke at all – this is the best music I’ve heard and seen in years and years. I shit you not.”

I was somewhat conflicted at first, but a post-election, Obama-esque change-is–possible wave swept over me and I decided to not judge a state I had never been to, and to check it out.

Tune-yards, which had never previously played in San Francisco, did not disappoint. The project, which consists solely of Merril Garbus and her excellent digital voice recorder, was consistently intriguing. Garbus is very self-sufficient: she loops her own vocals, drums, and chanting over what looked like a cross between a children’s fake guitar and a ukulele.