Noise

Noise Pop: Indie confidential – ‘Family’ photos gathered at Eleanor Harwood

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By Michelle Broder Van Dyke

Lauren Dukoff has been photographing her friends since she was 13. It was simply serendipitous that they became famous. As a result, her photos have appeared on the cover of everything from Rolling Stone to the Guardian.

On Feb 20, at the Eleanor Harwood Gallery, Dukoff’s intimate to obscene portrayals of Devendra Banhart, Matteah Baim, Joanna Newsom, Ramblin’ Jack Elliot, and others went on display along with artwork by those featured in the photographs. The exhibit runs through March 7.

The Black Godfather is in the house: Andre Williams at Slim’s

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By Andre Torrez

There wasn’t much love for the Flash Express when a boisterous dude in the audience shouted, “We don’t care about you! We care about him!” He was referring to Andre Williams, the headliner that night, Feb. 20, at Slim’s.

Sadly, I got the feeling most of the audience agreed – the Los Angeles rock and soul outfit overstayed their welcome. Performing what seemed like an eternally lengthy set before returning to the stage as the Black Godfather’s backing band, Williams, in a show of solidarity to his support, coolly retorted to any stray hecklers, “Man, you paid too much money to fuck this up!” Laughter ensued and any bit of hostility was quelled by Mr. Rhythm.

Noise Pop: Antony and the Johnsons emerge from the shadows

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Wailin’: Antony and the Johnsons at the Masonic. All photos by Ariel Soto.

By Ariel Soto

Antony and the Johnsons performed at Nob Hill Masonic Center on Feb. 24, the first night of the Noise Pop music festival. The stage was lit by nothing more than seemingly soft candle light. The audience grew ever so quiet as Antony began to play the piano, his voice stretching and weaving throughout the auditorium. Between songs, he spoke about how he felt to be back in San Francisco, remembering the days when he used to panhandle down near Union Square.

Times have obviously changed: instead of shivvering in the cold, he’s now playing to packed concert halls full of adoring fans. Antony is the star of the band, but it’s obvious that he’s rather shy, dipping behind shadows, letting the audience just barely get a glimpse of that luscious black hair.

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Noise Pop: Take two with Thao – the SF singer-songwriter on watermelons, crazy Eights, and the ‘burbs

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There’s a lot more to Thao Nguyen of Thao with the Get Down Stay Down than meets the eye: watermelons, missing cowboy boots, wash-and-fold duties, and missing mini-vans. Here’s more of a talk with her; for the rest of this interview, go here. Nguyen performs as part of Noise Pop ‘09 on Feb. 26.

SFBG: You just got back from Portland? How’s the recording of the new album going?

Thao Nguyen: It’s a pretty slow process. Everything has to be of a higher standard than you’re used to. With our producer, he’s really into details. It’s still Tucker [Martine, who recorded We Brave Bee Stings and All (Kill Rock Stars)]. He’s awesome. He has an incredible ear and has higher standards than I’m used to. He’s always asking me for more.

Ssshhh: ‘Secret’ Deerhunter show at Rickshaw

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Well, we all know the RSVP list to the free Noise Pop opening party with Deerhunter at the Mezzanine is closed (though try going early – rumor has it you’re likely to get in anyway). But, hey, here’s yet another chance to catch Deerhunter: a “MySpace Secret Show” at Rickshaw Stop with the Pains of Being Pure at Heart (look for a story on their label Slumerland in an upcoming issue of the Guardian).

DEERHUNTER
With the Pains of Being Pure at Heart
Wed/25, 8 p.m., free
Rickshaw Stop
155 Fell, SF
(415) 861-2011

Too late for UK band Late of the Pier?

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LATE OF THE PIER
Fantasy Black Channel
(Astralwerks)

By Todd Lavoie

Given the manic pulsations emanating from this English indie-electro quartet, I suppose it’s only appropriate that Late of the Pier‘s ascent from teenage obscurity to darlings of the British music press would be swift and twitching with drama. Formed in 2004, when all four members were only 16 or 17 years of age, the group released its first single on an independent label in March 2007 – the hype machine began tossing superlatives almost immediately thereafter. From there, a couple of additional singles followed – and the accompanying hyperbole from the press seemed to compound exponentially.

By the autumn of last year, their debut, Fantasy Black Channel – which includes some of their previously issued singles – found a major-label release in Britain (on Parlophone/EMI), preceded of course by a level of advance buzz that almost always dooms the poor coveted object to eventual disappointment. Now, several months later, the disc has finally seen a domestic release; only time will tell whether the famously excitable Brit press will stick with these guys long enough to respond to their next move, but in the meantime, a valid question persists – was the hype merited?

It takes a Foot Village – and the Drums and T.I.T.S. to make a glorious noise at Bottom of the Hill

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By L.C. Mason

The drum gods were smiling down on Bottom of the Hill Feb. 18 as drum-centric bands Foot Village and the Drums pounded out thunderous reveries that undoubtedly had even the stars in the sky dancing to their rhythm.

Heating things up good and hot was psychedelic noise outfit T.I.T.S., an all-girl ensemble that definitely brought the ruckus down on an unsuspecting crowd. Their deafening, doom metal-tinged jams would have made Metal Machine Music-era Lou Reed proud and filled the space with minor key dirges and menacing, monotone lyrics about the void and phantom animals. Bassist Mary “Elizabreast” Yarbrough dazzled as she punched her guitar strings in an attempt to make the ceiling fall, while the rest of the girls, dressed in mismatched flower-print housewife garb, maintained professional poker faces as they laid down riffs so heavy you couldn’t get under them if you tried.

Not just about talent: Nels Cline turns in a mercurial ‘Coward’

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NELS CLINE
Coward
(Cryptogramophone)

By Brandon Bussolini

By the third track of his new solo LP, Coward, Nels Cline has already limned sruti box-assisted drone (opener “Epiphyllum”), applied John Fahey’s fingerpicking style to British folk revival harmonies (“Prayer Wheel”), and, with the aptly titled “Thurston Country,” written what could pass as an outtake from the Sonic Youth guitarist’s solo outing Trees Outside the Academy (Ecstatic Peace!, 2007).

It’s tempting to describe the album as an identity crisis commited to tape, but that would involve delving into the fact that I’ve never quite understood what Cline was doing playing guitar for Wilco in the first place, even though the choice also seems perversely satisfying. Coward feels less like the jazz-reared guitarist is blowing off steam from his day job and recalibrating his personal goals, and more like he’s picking back up on a solo and collaborative career that has precious little commercial potential and an embarrassment of merit.

Sing of Iron and Wine: Tickets go on sale today at 10 a.m. for Swedish American shows

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This in from Cafe du Nord:

“We just announced a two-night run with Iron and Wine at the Swedish American Hall on May 6 and 7. The shows are going to be very special, intimate evenings, with set lists being determined by fans via the Iron and Wine Web site.

“Tickets are going on sale this Friday, Feb. 20, at 10 a.m. and are of course expected to go very quickly. Tickets are available at www.cafedunord.com. Tickets are will-call only. They are non-transferable. No hard tickets will be issued at any point. Purchaser must present ID at the door to claim tickets.

IRON AND WINE
With Yogoman Burning Band (May 6th only) and Magic Leaves (May 7th only)
May 6-7, 7:30 p.m., $25, all ages
Swedish American Hall
2174 Market, SF
(415) 861-5016
www.cafedunord.com

Fiddling around: Andrew Bird and Loney, Dear at Fillmore

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Surfin’ bird: Andrew Bird. All photos by Ariel Soto.

By Ariel Soto

Last night, Feb. 19, the Fillmore turned itself into a fantasy fairyland filled with gentle creatures as the sweet, whistling Andrew Bird and endearing Loney, Dear took the stage. Loney, Dear, a band from Scandinavia, was able to get the crowd to sing along and even harmonize, as they strummed their guitars and tapped the piano keys, creating an incredibly lovely and mellow sound. Headliner Andrew Bird removed his shoes as soon as he got onstage, fiddled like a mad man, and kept the audience wistfully engaged for every song. If only I had known to wear my snow white dress…

ANDREW BIRD
With Loney, Dear
Fri/20, 9 p.m., $32.50
Fillmore
1805 Geary, SF
(415) 346-6000

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Grey way: Recombinant Labs re-emerges

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News from Recombinant Media Labs, over the transom yesterday:

“As some of you may or may not know, the Recombinant Media Labs facility located south of Market on Brannan Street in San Francisco closed its doors last spring. No formal announcements were made at that time due to legal complexities surrounding the closing. No further remarks will be made on this matter, but I think we can all agree that the RML Soma facility will be greatly missed. For those who are curious about what the future hold for Recombinant Media Labs please be on notice: RML is back in view.

“After Asphodel, Ltd. gave birth and support to the worldwide Recombinant Festivals of the ’90s, and then to the artist residency lab from 2005 through 2007 the RML nomadic initiative re-emerged after traveling in ’08 between Europe and North America, seeking new nodes of operation for performance, installation and exhibition. RML has moved on with fresh partnerships and independent alliances to resurface in a number of international configurations, which will be announced in the seasons to come.

Gone? Touch and Go to end its distribution arm

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By Danica Li

Grim news: Chicago indie label Touch and Go pronounced its distribution arm well and dead in a press release yesterday, with an unknown number of pink-slipped staff to take down their concert posters and fold their vintage T’s. Little known but critical to its operations, the powerhouse’s distribution outfit has provided as many as 20 record labels manufacturing and distributing services since its conception 28 years ago.

The label itself most emphatically won’t fold and will continue to release records from its fabled back catalog. But various media sources are clueless as to whether the imprint will sign any new bands in the future. Small mercy – the records slated for release this upcoming spring season are still getting the greenlight go-ahead. Phew.

That voice: Bay bluesman John Németh entreats ‘Love Me Tonight’

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JOHN NÉMETH
Love Me Tonight
(Blind Pig)


By Todd Lavoie

Given the frugality of the blues as an art form, it seems only fair that I introduce Bay Area harmonica-slinging bluesman John Németh without a single wasted word: the man can sing. Sure, he breathes plenty of soul and fire into that harp of his, but ultimately it’s his voice which makes the most indelible impact – moving nimbly from growl to howl to full-bellied hoot ‘n’ holler, sometimes within the same bar, it’s a tremendous instrument.

Even more impressive: the vocalist, only in his early 30s, delivers with a level of authority expected from someone much older. Considering that the blues places such a deep emphasis on breadth of life experience, Németh’s ability to sound older than his actual age is a valuable asset. That being said, it’s his extensive vocal range which gets noticed first; coming across as a young scrapper in one moment and a wizened front-stoop sage in the next, he certainly can surprise.

‘Clear’: Falling in with Juan Atkins, Dam Funk, and HOTTUB at Paradise Lounge

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By Andre Torrez

I entered SoMa’s Paradise Lounge for the first time this past Valentine’s Day, startled by an unexpected fashion show – it was scheduled, I just didn’t know about it – oddly set to the music of the Jackson 5. And it wasn’t your typical “ABC,” or “I Want You Back.” No, that wouldn’t have fit the atmosphere at all. It was one of their less obvious ’70s grooves, something a little grittier and less innocent, so props to the DJ who demonstrated the intuition to foreshadow an evening of freaks on the floor.

The brief parade of design provided a blur of a background as we settled into the club. With drinks in tow, my friends and I made our way upstairs to get a better view above the stage. Before we knew it, HOTTUB, Oakland’s answer to queercore, was shakin’ its shit all over the place. If memory serves me right, the group has referred to a few of its tracks as real “pussy bangers.” Perhaps that’s a suggestion for what to do while listening to their music. I’m not really sure.

Hip-hop mixes it up: ‘We All We Got’ kicks off at Levende

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New weekly hip-hop mixer? Sure, you got it; here’s the word from the organizers:

“San Francisco – We All We Got, a new weekly mixer, hip-hop open mic, and live performance party in San Francisco is the place for Bay Area artists, musicians, producers, managers, designers, and creatives to connect. Hosted by Revolutionary Poet Sellassie, We All We Got is designed to expose interesting and determined talent, cultivate relationships, showcase independent hip-hop artists and keep the dance floor moving with KPFA’s Hard Knock Radio DJ Mike Biggz. Bring your CD, get on the open mic, discover and listen to new artists, build allies, and connect. We All We Got is every Wednesday at Levende Lounge, San Francisco.

“Advocates of independent music, Inhouse Talent’s Gina Gallo and Sellassie see the opportunity to contribute to the local arts community among ambitious, forthcoming artists and offer a platform to perform. Hip-hop artist Sellassie states, ‘We are the future’ and realizes the vast talent here in the Bay Area. ‘Local promoters bring in all these other rappers from all over the country for shows and have stars right here in the Bay.’

Singing the blues: SF Blues Fest canceled

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Sad news for blues fans – this just in:

“SAN FRANCISCO (February 18, 2009) — The nation’s oldest ongoing blues festival has announced that the 2009 show has been canceled due to lack of funding. After 36 continuous years of presenting the blues by the bay, the iconic blues festival will forgo its annual September presentation this year.

“‘The combination of rising production costs and lack of sponsorship support leaves me no choice but to cancel this year’s show,’ said founder Tom Mazzolini, who has also been the show’s sole producer since the first festival in 1973. ‘I’m sad to say this, but we may well have seen the last San Francisco Blues Festival.’

Noise Pop: Clues to use – more from the Montreal mystery band

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Scan the meshes of those dusty Internets for Clues and you come up almost empty, as far as the Montreal combo goes. But lookee here at this week’s Sonic Reducer for the first part of a talk with the Montreal band, and here’s even more from Alden Penner, formerly of the Unicorns, on Clues, their first show as part of Noise Pop ’09 on Feb. 28, and their gentle beginnings.

SFBG: There’s little info about Clues out there. Can I get a clue about how the group came together?

Alden Penner: Well, this project is actually something that’s been coming together for a quite a while. It just happens to be rearing its head now. It’s been the goal and desire of Brendan Reed [once of Arcade Fire], a friend of mine, and me to form a band. We’ve known each other since I’ve lived in Montreal – 2003. We put out a split 7-inch in 2005 – that was the landmark.

Raising Lazarus, contemplating the SF band’s dirty-faced realism

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By Brandon Bussolini

To borrow from writer Jessica Hopper, the nature of the Internet is to refer. Before I encountered San Francisco’s Lazarus as a Web entity, I’d seen them open for Beach House at the Swedish American Hall and had met the band’s vocalist-personality, Trevor Montgomery, a couple of times.

He’s super-tall, not a giant but approximately when dressed in a too-small trenchcoat buttoned up all the way to the top as he was when I first met him through my friend Yoni. A long face with attenuated features, he’s like a half-remembered Æon Flux character. The music I later heard Lazarus perform – the band started as a collab with Marty Anderson, but the lineup live and in the studio now includes Sacto natives Kelly Nyland and Kathryn Sechrist – was harrowing and gooey. Spacemen 3 can make opiate addiction sound like a religious experience. Lazarus, on the other hand, makes music where using, being broken down and waiting for redemption isn’t any more attractive or transcendent than, like, a John Ford rewrite of Waiting for Godot.

Solid: Gold & Gunmetal rivet

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GOLD & GUNMETAL
Gold & Gunmetal
(Triple Down)

By Todd Lavoie

It’s one of the more compelling debuts I’ve come across recently: New York quartet Gold & Gunmetal arrives a-brimming with ideas and full of promise on their recently issued self-titled full-length, fusing elements of prog and art rock with classic Dischord Records crunch, along with surprising forays into folk and jazz composition.

I suppose for ease of categorizing I’d consider these guys indie rock, but ultimately what makes the disc such a refreshing standout is its resistance to tidy pigeonholing, and its willingness to throw so many seemingly divergent components into the mix.

Eighties obsession bubbles up at Tainted Love

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Pop rocks: Tainted Love at Bimbo’s 365 Club. All photos by Ariel Soto.

By Ariel Soto

A spandex- and leg warmer-clad audience rocked out to Tainted Love‘s sold-out show at Bimbo’s 365 Club Feb. 13. The ’80s cover band, which also performed the following night on Feb. 14, did a run through of everything from “Rock the Casbah” to “Like a Virgin,” while the enthusiastic crowd sang and jumped along to every tune. Vocalists Brett and Chad Roman added their own twist to each classic song while continuing to inject an ’80s flair, and guitarist Franklin Vasquez put his heart and soul – and sweat – into every move he made. All and all, a perfect night of neon and pop jams.

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Upbeat indie: Scissors for Lefty and Vox Jaguars prowl Bottom of the Hill

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By L.C. Mason

I’m willing to bet that on a wall somewhere in this city of ours there’s a message emblazoned in loopy, florid handwriting purring, “For a good time, call Scissors for Lefty,” because there is nothing about their exuberant, glammed-up indie sound that suggests otherwise. The San Franciscan group’s newest self-released EP, Consumption Junction (Pepper Street Music), evokes a night-is-young idealism that speaks to the party kid in all of us.

The tight set of athemic, body-moving tunes opens up with “Ornamental,” a song sporting a giant, lung-busting chorus interspersed with ennui-tinged lead vocals by Bryan Garza and bullet-train drums. “Long Distant Love” sounds like the Cure drank a whole lotta Love Potion Number 9 and highlights a buoyant, Unicorns-esque keyboard melody that dips and bends to jaunty, optimistic lyrics about the pitfalls of loving someone a world away.

Gore-gore gals: the Husbands make it a bloody hot date at El Rio

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By Andre Torrez

If your frantic scramble to find that last-minute, self-esteem Valentine’s Day date hasn’t panned out, fear not. Saturday’s show at El Rio provides the real excitement this V-Day when the Husbands return to the stage after a year-long hiatus. Blood guts and good ole girl garage rock ‘n’ roll – you can just tell by the flier that it’s gonna be good.

The shrill squeals of guitar and vocal from this trifecta are punk enough to recall the heyday of the Sympathy for the Record Industry label. Take the Demolition Dollrods, mix them with girl groups of the ’60s (i.e., the Shangri-Las, and Shirelles), and then dress them like the Pleasure Seekers. Add a bit of blood for gore factor – and voila! That’s my assessment of the formula that comprises the Husbands’ look and sound.

Appleseed Cast gives off a mesmerizing glow

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By L.C. Mason

Just like Robert Johnson before them, the members of the Appleseed Cast have wandered down the dusty, corpse-littered back trails and offered up their souls at the crossroads. Just imagine those byways littered with furiously touring indie rock bands and the crossroads placed at the junction of emo and post-rock, rather than the Delta blues and early rock ‘n’ roll.

Having perfected its cross-pollinated style of dreamy guitar rock, the Appleseed Cast has shifted from the overtly emo vocals of previous albums to ones that are now awash in gauzy distortion. Their musical landscapes are drawn in more lush detail than before. Nowhere are these improvements heard more clearly than on Sagarmatha (Vagrant), which comes out Feb. 17.

Not by the book: Born Against’s Sam McPheeters and others at Adobe

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I got the tip from Guardian contributor George Chen that he’ll be appearing at an evening of readings and stand-up comedy by Sam McPheeters, George Chen, Deana Uribe at Adobe Book Shop on Feb. 20. Word on the performers:

“Sam McPheeters was born in Ohio in 1969 and raised in upstate New York. He is the former lead singer of Born Against and Wrangler Brutes, a founding member of Men’s Recovery Project, and the owner of the now defunct Vermiform Records. He lives in California with his wife, Tara, and their 11 cats.