Live Shows

Root Division Presents: Magical Thinking

A visual art non-profit that presents gallery shows, Root Division recently relocated from its Mission Street home because of rising rent costs. Without missing a beat, the collective has found a pop-up location in Civic Center for its shows. Root Division’s first offering in its new space is “Magical Thinking,” an exhibition that focuses on the inexplicable leaps in human logic that lead to bizarre trends — the gallery comments, for example, on the fact that less than 5 percent of New York high-rises have a 13th floor. Ten artists showcase their work in the exhibit, which young artists Erin Colleen Johnson and Karl Marboe both participate in and curate. The curators, who met while working towards their MFAs at UC Berkeley in 2011, challenged eight fellow local artists to explore other instances of magical thinking. Root Division and the artists have planned a Third Thursday reception to honor the work — the walk-through and discourse will present visitors both with a provocative visual examination of human nature and a chance to see Root Division’s new space. (David Kurlander)

5pm, Free

Root Division

1059 Market, SF

(415) 863-7668

www.rootdivision.org

FRIDAY/22

Cannibal Holocaust

By the sheer power of its title, Ruggero Deodato’s 1979 Cannibal Holocaust triumphs in its aim to offend and horrify — and that’s without even considering all the gross-out elements (including very iffy depictions of “natives” and actual animal torture) that pack the oft-banned film itself, which remains the ultimate example of the short-lived yet indelible exploitation subset of cannibal films. The Clay turns into a gory, graphic grindhouse this weekend, with star Carl Gabriel Yorke — one of the film’s “missing” documentarians in Holocaust’s found-footage plotline — in person, hopefully bursting with insane behind-the-scenes tales. (Cheryl Eddy)

Through Sat/23, midnight, $8-$10

Clay Theatre

2261 Fillmore, SF

www.landmarktheatres.com

Lee “Scratch” Perry

The God of Dub may be pushing 80, but his live shows and constantly evolving studio production are not slowing down. Lee “Scratch” Perry, who helped to transform reggae into an aurally and technologically complex genre while virtually inventing “the remix,” released a new album, Back at the Controls, earlier this year. The work was a true group effort, both because it was a collaboration with Rolling Lion Studios’ producer Daniel Boyle as well as the fact that it benefited from a thriving Kickstarter campaign. To complement his new record, Perry embarked on an ongoing world tour, which hopped over to Europe for a three-month stint starting in March. Now back in the States, Perry looks to continue dazzling audiences with his idiosyncratic fashion, pulsating beats, and exhilarating reworkings of timeless classics from every kind of music. (Kurlander)

9pm, $25

Independent

628 Divisadero, SF

(415) 771-1421

www.facebook.com/Bark4LifeSF

SATURDAY/23

My Drunk Kitchen with Hannah Hart

How many YouTubers have baked brownies with Mary-Louise Parker (of Weeds fame) while drunk? Hannah Hart, the mastermind behind the “My Drunk Kitchen” YouTube channel, has come a long way since her first video, in which she set out to make grilled cheese — getting by with a little help from her friend, wine — and realized mid-video that she didn’t have any cheese in the house. She appears this evening to promote her new cookbook, which is chock-full of tasty recipes (ones she made up while writing and hasn’t tasted) and spontaneous fun. And hey, she has drunk Jamie Oliver’s stamp of approval, so what more could you ask for? (Amy Char)

7pm, free

Books Inc.

601 Van Ness, SF

(415) 776-1111

www.booksinc.net

Bark for Life of San Francisco

The power of pup positivity reigns at Bark for Life of San Francisco, an American Cancer Society fundraiser that unleashes (ha!) some creative fundraising techniques, including the hotly contested “My Dog is Cuter” photo contest (donate to vote!). Events also include a lap around Hellman Hollow to honor cancer survivors, SFPD K-9 and SF SPCA guide dog demonstrations, talent and costume contest, a doggie photo booth, a silent auction, and more. (Eddy)

9:30am-2pm, $5 and up

Hellman Hollow (aka Speedway Meadows)

Golden Gate Park, SF

SUNDAY/24

Small Packages at the SF Conservatory of Music The works of Stockhausen and Grisey can sometimes be tough sells. The composers, who dominated the world of experimental music during the second half of the 20th century, cared more about consistent sonographic representations and aleatory development (look them up) than melody. The results, highly mathematic and often jarring pieces, are entirely unique and difficult to play and extremely diverse — although the two composers occupied similarly heady realms, their works do not usually sound similar (and often are islands even within their own outputs). Thus, sfSound’s choice to present Stockhausen’s seminal and towering “Kontra-Punkte” alongside Grisey’s more atmospheric “Périodes” is challenging. How does a collective effectively tie together works that share little in common besides their chronology and avant-garde tendencies? sfSound, a group of disturbingly knowledgeable local musicians who have been delivering experimental performances since 1999, answer this question through their own works, a series of “small packages” inspired by Stockhausen and Grisey that will be performed alongside the more monumental works. (Kurlander) 8pm, $15 San Francisco Conservatory of Music 50 Oak, SF (415) 864-7326 www.sfcm.edu Avey Tare’s Slasher Flicks Animal Collective’s Avey Tare might look unassuming with his soft features and adorable, curly hair. But give him a microphone and some instruments and his mad genius will make itself known. With a love of organic, slimy textures and a voice like Dionysus at the height of spring, Tare is one of the most uninhibited and unhinged psychedelic auteurs working today. His new band Slasher Flicks confounded even the most seasoned Animal Collective fans when they dropped Enter The Slasher House last April — a bizarre mishmash of psych-rock, pulp horror, and carnival-ride theatrics. Though Tare’s accompanied in the band by Dirty Projector Angel Deradoorian and Ponytail drummer Jeremy Hyman, not even they can keep him in check — Tare truly answers only to himself. (Daniel Bromfield) 8pm, $16 Great American Music Hall 859 O’Farrell, San Francisco (415) 885-0750 www.slimspresents.com MONDAY/25 Slint When Slint recorded Spiderland over one weekend in 1990, the band hardly expected it to become the holy scripture of the burgeoning post-rock movement. But as their associates (Will Oldham, Steve Albini) became famous, the rock world began to pick up on this unassuming Louisville, Kentucky band. Within 10 years they were legends, and their influence continues to this day. The band didn’t initially last long, with drummer Britt Walford joining The Breeders and guitarist David Pajo playing with…well, just about everyone. But Slint has reunited time to time, and coinciding with this year’s reissue of Spiderland as a box set, they’re touring once again. The upcoming show at the Fillmore should provide a rare opportunity to see a truly legendary underground rock act in the flesh. (Bromfield) 8pm, $29.50 Fillmore 1805 Geary, SF (415) 346-6000 www.thefillmore.com TUESDAY/26 Men Without Hats If you don’t know the band, you know “The Safety Dance,” and if you think you don’t know “The Safety Dance,” you’d know it if you heard it. Practically synonymous with ’80s music, the Canadian New Wave band’s 1983 hit is as ubiquitous as a party-starter as it is as a meme and an artifact from their weird, coldly distant decade. But while Ivan Doroschuk and his crew could have just sat back and enjoyed their shiny new houses throughout the ’80s, the band has soldiered on with a stream of albums that have been largely absent from record collections in the States but still fly off the shelves in their home country. If you count yourselves among these loyal American fans, leave your friends behind and come see them at the DNA Lounge. (Bromfield) 8:30pm, $15 DNA Lounge 375 Eleventh St., SF (415) 626-1409 www.dnalounge.com The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian, 835 Market Street, Suite 550, SF, CA 94103; or e-mail (paste press release into e-mail body — no attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

This Week’s Picks: August 13 – 19, 2014

Michael Redmond

August 12, 2014

THURSDAY 14

Kevin Morby

If you’re enough of an indie rock fan, you might have heard Kevin Morby’s work without knowing it. He’s played bass for Brooklyn psych-folk crew Woods since that band’s 2009 breakthrough Songs of Shame, and he co-fronts The Babies with Cassie Ramone of Vivian Girls. But after touring with Real Estate and releasing the solo album Harlem River on Woods’ label Woodsist last year, he’s primed to take the spotlight. A fan of Bob Dylan and Neil Young, Morby’s always had a strong Americana streak, from the Western ballads on the Babies’ Our House On The Hill to the New York City love letters on Harlem River. But despite his buzz-band cred, his all-American ethos never seems ironic, and his voice and guitar playing are perfectly suited for his ambitions. (Daniel Bromfield)

7pm, $8

1-2-3-4 Go! Records

420 40th St., Oakland

(510) 985-0325

www.1234gorecords.com

Sir Sly

There’s no need to call these band members “sir.” But you might’ve had to rely on that as a fallback when the musicians adopted anonymous identities at the beginning of their careers. Though that act was certainly mysterious enough to accompany the band’s gloomy sound (sad indie rock tinged with some hip-hop and electronic influences), Sir Sly deserves recognition for last year’s EP, which is enough to appease fans until this September’s release of its debut full-length. If the title track “You Haunt Me” is anything to go by, then yep, the trio’s polished its melancholy music the first album. (Amy Char)

With Thumpers, Mother

9pm, $15

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

Like Stars We Collide

Playwright Vadenek Ke is ready to unveil his second installment in his “A Series of Collisions.” The enigmatic and elusive playwright, who explores the sexual, cultural, and vocational limitations of relationships, has written three new one acts, titled collectively Like Stars We Collide, that will be performed by his trusty troupe, the Planets Aligned Theatre Company. Known for their quick wit and occasional surreality, Ke’s works are morsels of romantic truth — they certainly don’t attempt to paint idealistic portraits of love, but simultaneously acknowledge the raw beauty and excitement that accompanies the pain. Each of the three works is directed by a different local voice, and features burgeoning SF stars. “Call it Off,” which chronicles a crumbling couple at a theme party, takes on a Rashomon-esque storytelling device to explain the individual experiences of the lovers. The small yet stylish Mojo Theatre provides an evocative locale for Ke’s elegant glimpses into the human condition. (Kurlander)

8pm, $15

Mojo Theatre

2940 16th St. #217, SF

(415) 830-6426

www.mojotheatre.com

GAYmous

San Francisco queer electro duo GAYmous claim to be motivated by the “power of the synthesizer.” On one level, this has to do with sound — their synths pack plenty of sonic oomph. But the self-declared “slut-step” duo is also motivated by synth-driven music’s ability to unite and empower marginalized groups, from the queer synthpop of the ’80s to the relentlessly empowering pop music of the early ’10s. Following those traditions, GAYmous delivers plenty of raunchy and sexually candid humor but ultimately succeeds on the basis of great pop hooks and melodies. They’ll be performing at the Uptown Oakland alongside multimedia drag performance group Daddies Plastik and the amazing Fatty Cakes & The Puff Pastries, an ensemble consisting of multiple vocalists and centered around a dizzying glockenspiel-snare drum-organ setup.

9pm, $8

Uptown Nightclub

1928 Telegraph, Oakland

(510) 451-8100

www.uptownnightclub.com

FRIDAY 15

Joshua Cook and the Key of Now

Joshua Cook made his name as the lead guitarist and sometime-singer of the Soft White Sixties, a local soul-heavy rock outfit that has made a huge splash at festivals (particularly an electric SXSW set) inthe last year. Cook has now formed his own outfit, a bluesier crew called Joshua Cook and the Key of Now. Their debut single, 2013’s “All Bad Things,” has a lick that sounds decidedly Jimmy Page-esque and cynical, frustrated lyrics about romantic near-misses and economic woes. FCC Free Radio, the six year-old internet radio station that champions local artists and opinion, takes over the DNA Lounge to present Cook’s new sound alongside Kitten Grenade, Survival Guide, and I Am Animal. Kitten Grenade, singer Katelyn Sullivan and instrumentalist Ben Manning’s ukelele and drum group, has been churning out sweet yet edgy folk-rock for the last two years and looks to be a nice counter to Cook’s heavier jams. (Kurlander)

8pm, $10

DNA Lounge

375 11th St, SF

(415) 626-1409

www.dnalounge.com

Deadfest

Non-metalheads may not recognize any of the names at the Oakland Metro’s two-day Deadfest. But with four stages and 46 bands from the Bay Area and beyond (including Impaled, Bell Witch, and Negative Standards), Deadfest should have something for anyone even remotely interested in heavy music. Spearheaded by DIY promoter Gregg “Deadface” Paiva, Deadfest also features a food bar with delicious-sounding gourmet tacos, featuring absurdly Bay Area-sounding accoutrements like “key lime crema” and “heritage pepper confit.” The event is only $20 per day, meaning an average of less than a buck per band. If you have even a passing interest in thrash metal, doom metal, hard core, crust punk or any of the other various forms of loud, overdriven, fancy logo-encouraging music that will be on display at Deadfest, there’s no reason not to go. (Bromfield)

7pm, $20 per day

Oakland Metro

630 3rd St., Oakland

(510) 763-1146

www.oaklandmetro.org

SATURDAY 16

The Muppet Movie 35th Anniversary

Muppet fans! It’s time to get “Movin’ Right Along” down to the Castro Theatre to catch a 35th anniversary screening of The Muppet Movie, the feature film that started the big screen careers of Kermit the Frog, Miss Piggy, Fozzie Bear, Animal and the rest of their beloved gang. Presented by SF Sketchfest, today’s event is extra special — Dave Goelz, the voice and puppeteer of The Great Gonzo will be appearing for a talk and Q&A — and he is bringing a real Gonzo Muppet with him! Don’t miss your chance to make a “Rainbow Connection” with the legendary performer (who also worked on The Dark Crystal, Labyrinth and Emmett Otter) and his iconic, chicken-loving creation. (Sean McCourt)

11am, $10

Castro Theatre

429 Castro, SF

www.sfsketchfest.com

Civil War Living History Day

The band called the Civil Wars may have broken up, but the dream of the 1860s is alive in San Francisco. No need to adopt the fashion trends of years past for this American Civil War enactment. (Just dress appropriately for the city’s August weather and be glad you don’t have to deal with the South’s humidity.) In a condensed jump back into time, the day offers regular infantry drills and artillery discussions throughout the day and plenty of demonstrations of soldier and civilian life way back when. Highlights include historical music (characterized by heavy reliance on the drums) and medical treatment (which may not be up to snuff to deal with Ebola). (Amy Char)

10am – 5pm, free

Fort Point National Historic Site

999 Marine, SF

(415) 556-1693

www.nps.gov/fopo

SUNDAY 17

Name Drop Swamp Records + Quiet Lightning

This new collaboration between independent SF record label Name Drop Swamp Records (Fox & Woman, Split Screens) and the long-running lit and spoken word series Quiet Lightning brings together live music, poetry, and performance for an evening that’s sure to draw a crowd full of all kinds of artists — in addition to those being featured on stage. Featured performer Luz Elena Mendoza of Y La Bamba is someone you won’t get to see in a small room for too much longer, thanks to her unique, rich vocals and skilled storytelling through song. The door is sliding scale and the aim is for this evening to be the first in a bimonthly series at the Emerald Tablet (sorry, “Em Tab,”) so get in before it blows up. (Emma Silvers)

5 – 9pm, $10-20; no one turned away for lack of funds

The Emerald Tablet

80 Fresno, SF

(415) 500-2323

www.emtab.org

MONDAY 18

Built To Spill

Boise’s Built To Spill has been churning out heartbreakingly lovely indie rock songs for over 20 years. Doug Martsch, formerly of Treepeople, formed the group in 1992. Since then, the band has gone through a whirlwind of lineup changes with Martsch as the only constant, but have managed to create seven equally beautiful, reverb-heavy studio albums. Martsch’s music has been cited as a major inspiration by such indie rock royalty as Isaac Brock of Modest Mouse and Ben Gibbard of Death Cab for Cutie. Though it’s been five years since they’ve released an album, Built To Spill’s live show hasn’t declined a bit. This three-night run at Slim’s is a very special event, and certainly not to be missed. (Haley Zaremba)

With Slam Dunk, The Warm Hair

8pm, $28

Slim’s 333

11th St, SF

(415) 255-0333

TUESDAY 19

Fucked Up

Toronto’s Fucked Up might be the most ambitious punk band on the planet. This six-piece hardcore band has been releasing more and more epic and boldly experimental records since their explosive entrance to the scene in 2001. The group has even been recognized by the Canadian government, winning the prestigious Polaris Prize in 2009 for its incredible, sprawling punk-rock opera The Chemistry of Common Life. Their most recent effort, Glass Boys, maintains their hardcore edge while finding more rock depth, borrowing simultaneously from Dinosaur Jr. and Negative Approach. The record asks questions about what it means to be an aging and successful punk band. Known and notorious for their tempestuous relationship and wildly unpredictable live shows, Fucked Up is one of the best hardcore bands and certainly one of the best live acts on the road. (Zaremba)

Tijuana Panthers, The She’s

8pm, $20

The Independent

628 Divisadero, SF

(415) 771-1421

www.independentsf.com

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian, 835 Market Street, Suite 550, SF, CA 94103; or e-mail (paste press release into e-mail body — no attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Outside Lands 2014: It’s Yeezy season

Steven T. Jones

August 11, 2014

Were you there? Were you among the approximately 200,000 human bodies smashed together for warmth at Golden Gate Park this past weekend, because you somehow couldn’t stand the idea of wearing anything but your midriff-baring tube top with your whimsical animal hat and/or flower crown?

Whether you’re recuperating today from 72 hours of partying at Outside Lands or patting yourself on the back from steering clear of the whole thing — here’s our critic’s take on the weekend’s best five sets…and the rest. Check this week’s paper (on stands Wednesday) for more live shots.

5. Mikal Cronin

Local boy Mikal Cronin. Photo by Brittany Powell.

If 28-year-old Mikal Cronin had signed a recording contract three decades ago, his breakthrough LP, MCII, just might have coexisted peacefully with Kiss’ Alive in “Freaks & Geeks”-y record crates across America. Arguably the greatest contributor to California’s recent wave of late-’70s power-pop revivalism, Cronin assuredly challenges 2014’s largely tongue-in-cheek fascination with the “me decade,” recalling arena bombast and dank basement charm with great conviction. Lead guitarist Chad Ubovich’s high-flying, joyously unironic guitar theatrics sealed the deal at the Panhandle stage on Friday afternoon, as Cronin and his three-piece backing band delivered the festival’s most wholesome slice of straightforward rock.

4. Jonathan Wilson

Saddled with the unenviable noon opening slot at the Sutro stage on Sunday, LA’s Jonathan Wilson treated a criminally small audience to another set of California rock revivalism with great strength of purpose. Evoking something in between late-’60s acid idealism and early-’70s comedown disillusionment, Wilson and his four-piece backing ensemble delivered a quietly confident, elegantly restrained set of swirly, jam-based rock headiness, devoid of the excessive noodling and uptight baroqueness that plagues so much of the competition. It takes serious talent to make such complex musical interplay sound so natural and relaxed. My favorite new discovery of 2014’s Outside Lands.

3. Haim

Two of three sisters Haim. Photo by Matthew Reamer.

If there’s one complaint to level at Haim’s live show, it’s that the Phoenix-y Botox-pop production of last year’s Days Are Gone is so immaculate and superhuman that replicating those songs onstage, in their recorded form, is damn near impossible. However, the sisterly trio has come a long way after a year of touring, and as Saturday’s main stage appearance triumphantly showed, Este, Danielle, and Alana Haim’s live approach is closer than ever to reproducing these Fleetwood Mac-indebted pop gems with the glossy sheen intact. From “The Wire,” to “If I Could Change Your Mind,” to ” My Song 5,” Haim delivered an hour-long hit parade, and a masterclass in guitar rock via R&B viscosity. Bonus points to Este’s rabble-rousing stage banter and uninhibited rubber-face while plucking the strings, and the generous thump supplied by Alana’s freestanding bass drum.

2. Jagwar Ma

Given the sheer amount of music-circa-2014 that exists in the gaps between genres, and electric/acoustic/electronic approaches, one might expect a zeitgeist-y festival like Outside Lands to reflect this sense of fusion onstage. For the most part, though, we were given the same old binary of traditionally outfitted rock bands on one hand, and laptop-driven hip-hop and electronica on the other. Australia’s Jagwar Ma, however, bucked that trend by supplying the biggest patch of middle-ground at the entire festival. Indebted to the Ecstacy-addled dance-rock hybridization of Primal Scream, Happy Mondays, and other mainstays of the UK’s Madchester scene, the three-piece’s Saturday afternoon set at the Twin Peaks stage perfectly combined guitars, synths, and other gadgets to reflect the sugary hookiness of ’60s psychedelia and the four-on-the-floor thump of acid house, without the slightest hint of awkwardness or contrivance. Performing sequencer-based music onstage, that’s also tactile and involving, is arguably the great challenge of modern live music, and Jagwar Ma effortlessly rose to the occasion.

1. Kanye West

kanye
Kanye, who wouldn’t let photographers shoot from anywhere but the sound booth, and who performed as a silhouette for a good chunk of the set, because he is Kanye. Photo by Matthew Reamer.

Whether you think of him as a mad-truth-speaking shepherd of pop culture, a vapid, window-dressing egomaniac, a bizarro performance artist, or a world-class troll, no one in the Grammy/VMA tier of the music world thrives on the ambiguity of their persona like Kanye West. In a landscape of major-label artists with carefully maintained PR images, delivering live shows akin to a federally regulated product, there’s a sense of uncertainty and precariousness about a Kanye performance that makes every moment captivating. Whether he was instructing the audience to “make circles!” and mosh during one of three playthroughs of “Blood on the Leaves,” freestyle-autotuning for 10 minutes over a bare piano track with video of a waterfall in the background, slipping his Robocop helmet/mirrorball mask on and off, or stopping midway through “Clique” for an impromptu rant aimed at the media that scrutinizes his every move, one couldn’t shake the palpable feeling that this train just might derail at any moment. Both tightly curated, and seemingly hanging by a thread, Friday night’s headlining set was bewildering and exhilarating in equal measure. In other words: pure, unfiltered Kanye.

“This ain’t no radio shit. This ain’t no shit made to please motherfuckers. This ain’t no concierge, maitre d’ music and shit trying to sound smooth as possible,” West declared during one of numerous manifesto-ish rants between songs, presumably referring to the lean, grating electro-thrash of last year’s hugely divisive Yeezus. That record made its mark with renditions of “Black Skinhead,” “New Slaves,” and “Bound 2,” and largely defined the show’s aesthetic, to the chagrin of many a festival-bro pining for “that 2007 shit” circa Graduation. Crowd-pleasers like “Good Life,” “Jesus Walks,” and “Diamonds From Sierra Leone” acted as a welcome counterweight to Yeezus’ radical aggression while putting that album’s adventurousness in perspective. As suggested by the solid, monumental blocks of color on the projection screens, Kanye’s presence was commanding and singular when the fragility of his ego didn’t get the best of him.

Explaining the reasoning behind his continued use of autotune, Kanye declared, “Same thing as Andy Warhol said: it’s easier.” Much like Warhol, or punk rock, the cultural import of Kanye’s current output lies more in the values and attitudes it represents, and the debate it generates, than its actual content. His set certainly wasn’t the festival’s most competent, nor its strongest on purely musical terms. But as pure spectacle, and as a launching pad for contemplation and discussion about the value of “art” and where it’s going, Kanye’s set reigned supreme. “It’s Yeezy season,” whether you like it or not.

*****

Honorable mentions

Flaming Lips. Photo by Brittany Powell.

Despite recent rumors of intra-member infighting, and allegations of Wayne Coyne being a racist asshole in the midst of a druggy midlife crisis, the Flaming Lips put on a stellar, perfectly charming show. Their signature, jerry-rigged stage theatrics were as gloriously gimmicky as ever, and their musicianship onstage has rarely been tighter. Their closing cover of “Lucy in the Sky With Diamonds” brought out SF’s fearlessly freaky vibes like nothing else at the festival.

petty
Petty, bein’ Petty. Photo by Brittany Powell.

Tom Petty & the Heartbreakers delivered two hours of faithful takes on 40-ish years worth of rock anthems. So faithful, in fact, that the whole set seemed weirdly copied and pasted from an FM station at some dad’s backyard barbecue. A solid set, nothing more or less; lthough, the high standard set in years past by headliners like Paul McCartney and Stevie Wonder left a bit of star-power to be desired in the headlining slot.

Disclosure. Photo by Matthew Reamer.

Disclosure, the UK house revivalists whose hugely successful debut, Settle, can be heard over intercoms in Apple stores and Uniqlo franchises across America, drew an uncommonly huge crowd to the main stage for a Friday afternoon. Despite the undeniable quality of anthems like “When a Fire Starts to Burn” and “Help Me Lose My Mind,” the lack of live vocals and the inherent dullness of watching two dudes mess with laptops made for a slightly underwhelming set.

freedia
The Queen of Bounce herself, Big Freedia. Photo by Matthew Reamer.

Big Freedia lent her party-rap talents to the GastroMagic stage, while Brenda’s French Soul Food made beignets for a handful of hungry, twerking audience members. A low-key but surreal collaboration that resembled a wacko “happening” more than a standard festival show, hinting at the new food-centric stage’s full potential.

Stray observations:

Described as a “gourmet” festival like no other, Outside Lands had some shockingly tasty food options to offer this year. Wise Sons’ Deli’s “Pastrami Cheese Fries” and Michelin-starred AQ’s “Highbrow Spaghetti Sloppy Joes” were prime examples of smartly, expertly crafted dishes that still felt unpretentious and festival-ready.

Beer, beer, and more beer! Given the Bay Area’s distinction as one of the world’s epicenters of quality and invention in craft beer, the polo field’s Beer Lands station rose to the occasion admirably. A good selection of highly drinkable, floral “session IPAs” (from Sierra Nevada, Firestone Walker, and Stone), robust porters and stouts (most notably High Water’s s’mores-flavored Campfire Stout), and even barrel-aged brews (Fort Point’s Westfalia, a complexly funky take on an amber ale) presented just a few of many options.

after
Outside Lands detritus, after the storm. Photo by Matthew Reamer.

Too bad Ireland’s CHVRCHES had to C@NC€L after getting stuck at customs in Vancouver. I was excited to see what all the fuss was about.

One of Kanye’s many rants touched on the poison of negative criticism, and the press’ fixation on identifying the flaws in well-intentioned art. Going into Outside Lands, I promised myself to focus on the positive, to give each and every band the benefit of the doubt. However, the Killers gave me no choice but to break that rule.

What is this, 2004? What business do the Killers (a band that’s spent over a decade coasting on the fumes of its debut LP) have headlining a festival that prides itself on the relevancy of its lineup? We don’t see the Pitchfork Festival giving its premier slot to the likes of Interpol anymore. Also, how has this band (surely Las Vegas’ least hedonistic export) earned headlining power with its brand of aggressively “inspirational” secular Christian rock with no undertow of mischief, adventure, or much of anything? They couldn’t even cover Creedence’s “Bad Moon Rising” without giving off a big whiff of American Idol sterility. Sure, the synthesizers in the background make for some nicely textured rock music, but U2, even Coldplay, deliver the same goods far more substantially.

If the Killers were the “best choice” for Sunday night’s headliner, either 100 more worthy bands were busy, or the Outside Lands booking department could use some fresh blood. It’s 2014. There are bigger, fresher fish to fry.

crowd
Photo by Matthew Reamer.

Disagree? Have at us in the comments. We didn’t mean to insult your whimsical animal hat.

This Week’s Picks: July 23 – 29, 2014

Michael Redmond

July 22, 2014

WEDNESDAY 23

Man or Astro-Man?

Auburn, Ala.’s Man or Astro-Man? has spent decades perfecting their sprawling surf-rock. Incredibly imaginative and extremely prolific, the group has recorded and toured tirelessly since early 1990s. Drawing diverse influences from the likes of Dick Dale and Link Wray, punk and new wave, and science fiction and a fascination with space and extraterrestrial life, Man or Astro-Man? take surf rock in directions and galaxies previously uncharted. Largely instrumental and entirely captivating, the band’s nine-album catalog is a musically-stunning journey through sound and space. Known for their high-energy live sets, often performed in space-suits complete with astronaut helmets with intricate sci-fi set pieces, musicians Star Crunch and Birdstuff will shred their way into your hearts. (Haley Zaremba)

With The Ogres, WRAY

8pm, $20

The Independent

628 Divisadero, SF

(415) 771-1421

Cymbals

The cooler-than-thou French monologue on UK band Cymbals’s single “The End” might have you in the dark, but the intro’s melancholy melody should be instantly familiar to anyone who’s spent too many hours in a club. The faint, ringing tone stuck in ear the next day (or week), bringing back memories: “It’s the end of the night, you’ve been dancing too much. They’ve got to turn on the lights.” Smartly placed on a stellar album (The Age of Fracture) of arty synth-pop that’s in line with Metronomy, Passion Pit, and David Byrne, it’s a reminder that, for better or worse, some things don’t last as long as you want. (Ryan Prendiville)

With Astronauts, etc., The Wild Wild

8pm, $10-12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

THURSDAY 24

CAM & Co. Productions’ Spring Awakening

Once a high school theater kid, always a high school theater kid. After receiving their hard-earned diplomas from San Francisco’s School of the Arts, some of the city’s most talented teens realized they couldn’t abandon the pool of talent at the school. So instead of embracing the idea of a deadbeat summer before college, the members created their own production company. Their conception of Spring Awakening is financed through an online fundraiser they created, and is completely driven by efforts from School of the Arts family members. Support up-and-coming youth theater while wondering why you couldn’t be as cool as them when you were 18. (Amy Char)

Through Sat/26

7:30pm, $20

Phoenix Theatre

414 Mason, SF

(415) 336-1020

www.phoenixtheatresf.org

FRIDAY 25

RAWdance

With a decade of distinguished work behind the company, RAWdance has every reason to celebrate. Ryan T. Smith and Wendy Rein collaborations draw you in with the integrity of a highly structural approach that yet yields works that resonate emotionally. Their newest piece seems tailor-made to the kind of intelligence that they bring to their work. Turing’s Apple explores both the genius of the British scientist Alan Turing and his tragedy when he came out as a gay man. It will be joined by the final version of Burns that the choreographers describe as Rorschach-test driven, and film-noir inspired. RAWdance will be joined by a guest artists Gretchen Garnett + Dancers in a trio, and a grief-exploring sextet, Nawala (“Lost”) by Tany Bello’s Project B. (Rita Felciano)

July 25-26, 8 pm. July 27, 7 pm. $25-30

Z Space

450 Florida St. SF

866-811-4111

www.zspace.org

This Must Be the Place: The End of the Underground 1991- 2012

Named for an excellent Talking Heads song, This Must Be the Place is an annual summer celebration of rock docs, exploring the birth, life, death, and (depending on whom you ask) near-constant rebirth of punk rock through iconic moments captured on film. This third installment, curator Mike Keegan has announced, will sadly be the Roxie’s last, so get to it. Friday’s ’90s-tastic triple bill sounds too fun to miss, with 1991: The Year Punk Broke (featuring live performances from Sonic Youth and their then-opener, Nirvana), Hated: GG Allin and the Murder Junkies (featuring the never sober, always charming GG Allin, who was dead before the film finished shooting), and What’s Up, Matador? (featuring three-minute bursts of rarely seen excellence from labelmates Guided By Voices, Pavement, Yo La Tengo and more). Don’t forget your flannel. (Emma Silvers)

Through Sun/27, prices and showtimes vary

The Roxie Theater

3117 16th St., SF

www.roxie.com

SATURDAY 26

CoffeeCon 2014

Cursed with the personality of an ogre if you skip your morning coffee? Once you’ve gotten a head start on your caffeine fix Saturday morning, head over to this art gallery — for one day only, it houses an interactive latte art exhibit (arguably just as creatively esteemed as postmodern paintings). The coffee festival features a plethora of other hands-on lessons, including one titled “How to Review Coffee,” and unlimited coffee samples, so you can sound like a pretentious — but educated — coffee snob while you pine over an obscure roast when you’re with your friends at Starbucks. Local bands perform live to simulate a hipster coffeehouse vibe. (Amy Char)

9am – 4pm, $15-$20

Terra Gallery & Event Venue

511 Harrison, SF

(415) 896-1234

www.terrasf.com

Fritz Montana

The spike in blues-rock appreciation that came with The Black Keys and their various contemporaries may be losing its luster — the Keys’ newest LP, Turn Blue, hardly lived up to their previous releases. But Fritz Montana shows that the blues are alive and well in San Francisco. A blistering three-piece band fronted by high-octane vocalist and guitarist David Marshall, won Live 105’s local band contest last October, which led to them opening for Kings of Leon, Queens of the Stone Age, and Vampire Weekend at the station’s Not So Silent Night. Fritz Montana’s first album, Scaredy Cat, is ready to drop, and the group has chosen the Rickshaw Stop as the spot for their release party. The group will play their new release, along with their celebrated 2013 EPs, and sell copies of their debut full-length hot off the presses. Fritz Montana may not be reinventing the wheel, but the band’s songs pulse with an energy and technical grace that bodes very well for their dreams of airwave domination. (David Kurlander)

$10-13, 9pm

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

Rick Springfield

One of the biggest surprises in Dave Grohl’s 2013 doc Sound City — about the legendary SoCal recording studio where Nirvana’s Nevermind and other iconic works were recorded — was the inclusion of 1980s hunk Rick Springfield, the General Hospital star turned pop singer. Turns out he recorded the 1981 album Working Class Dog there, thus gifting the world with Grammy-winning radio jam “Jessie’s Girl.” Springfield’s kept busy since his teen-dream days; aside from offering up Sound City memories, he wrote a memoir (2010’s Late, Late at Night) and now, a novel: Magnificent Vibration, about a curious man’s unconventional spiritual journey. Book Passage touts his appearance as “featuring a live musical performance,” so get those lighters ready. (Cheryl Eddy)

4pm, free

Book Passage

51 Tamal Vista, Corte Madera

www.bookpassage.com

SUNDAY 27

Waffle Opera

Waffle Opera, founded by a group of young local singers in 2012, has altered the glitzy opera house aesthetic using an unexpected prop: succulent, syrup-covered Belgian waffles. The company, which serves the treats after each of its shows, embraces a remarkably unpretentious approach to legendary works, using minimalistic sets and small houses to bring out the lyrical and musical subtlety of centuries-old classics. The group is presenting a concert version of Cosi fan tutte, the 1789 Mozart opera whose title translates roughly to “Women are like that.” An uproarious comedy about two Neapolitan officers who don disguises and try to woo each others’ fiancées to prove the inconstency of female affection. While still a archaic by the standards of contemporary gender politics, the women (spoiler alert) are presented as smart and capable; they quickly pick up their lovers’ plot, leading to a madcap phantasmagoria of mistaken identities and partially-broken hearts. Waffle’s semi-staged version highlights the soaring arias, clever quips, and intricate plot of Mozart’s funniest work. (Kurlander)

$15-$25, 3pm

Center for New Music

55 Taylor, SF

www.waffleopera.com

MONDAY 28

Andrew Jackson Jihad

In my mind, Phoenix’s Andrew Jackson Jihad is both the quintessential and the essential folk-punk band. With bitingly clever lyrics that toe the line between hilarious and heartbreaking, an unflinching confrontation of social justice issues and a willingness to examine and sing about their own privilege, Sean Bonnette and Ben Gallaty have created some of the most important and tenderly earnest albums in the folk-punk canon. The band’s unsteady, cracking vocals and mediocre musicianship lend a charming naivete, emotional sincerity, and accessibility to their music. The band’s frenetic energy and the fierce dedication of their fan-base make Andrew Jackson Jihad’s live shows a powerful experience. (Zaremba)

With Hard Girls, Dogbreth

8pm, $16

Slim’s

333 11th St, SF

(415) 255-0333

Wolfmother

Wolfmother came roaring out of Australia in the mid-aughts with its self-titled debut, which went five times platinum in the band’s home country and did well enough abroad to secure them a position as one of the Anglophone world’s most formidable touring acts. Combining a shameless love for ’70s hard rock (Led Zeppelin in particular) with the sharp hooks of stoner rock, the trio struck a chord with both the classic-rock and alt-rock crowds, and just about any guitarist born in the mid-’90s can likely remember learning one of their songs early on. Though the band only records sparsely, Wolfmother has remained a regular on the international touring and festival scene — a position that this year’s New Crown should secure. (Bromfield)

8pm, $28

The Fillmore

1508 Geary, SF

(415) 346-6000

TUESDAY 29

Hundred Waters

Hundred Waters are signed to Skrillex’s OWSLA label, but don’t expect big bass drops from this Florida crew. Rather, they trade in a “digital folk” style that offers an intriguing rural perspective to the retro-futuristic conversation currently taking place in underground electronic circles. Birds chirp in unison with drum machines; Blade Runner synths support Tolkienesque fantasias. At the front of it all is Nicole Miglis, a one-woman choir whose voice seems as perpetually omnipresent as the sun and the sky. Though this year’s The Moon Rang Like A Bell suggests pop ambitions lurking beneath their idiosyncratic exterior, the band is still one of the most unique and fascinating bands in the electronic universe — as well as one of the few that can truly claim to sound like nothing else. (Bromfield)

8pm, $14

The Independent

628 Divisadero, SF

(415) 771-1421

Noise Pop and Boing Boing at OMCA, discussing vinyl

Guardian Intelligence: July 23 – 29, 2014

Michael Redmond

July 22, 2014

J-POP ROCKED

The annual J-Pop Summit in Japantown drew a lively crowd of anime and other Japanese pop culture treasures to Japantown last weekend (including Shin, pictured). This year’s festivities included a Ramen Festival portion, featuring noodle cooks from around the world — and lines up to two hours long to sample their rich, brothy creations. PHOTO BY REBECCA BOWE

DA LOBBYIST

Former San Francisco Mayor and current Chronicle columnist Willie Brown, often just called Da Mayor, is widely acknowledged to be one of the most politically influential individuals in San Francisco. But until recently, he’d never registered as a lobbyist with city government. Now it’s official: Brown has been tapped as a for-real lobbyist representing Boston Properties, a high-powered real-estate investment firm that owns the Salesforce Tower. News outlets (including the Bay Guardian) have pointed out for years that despite having received payments for high-profile clients, Brown has never formally registered, leaving city officials and the public in the dark. Da Mayor, in turn, has seemed unfazed.

GAZA PROTEST

On July 20, marked as the deadliest day yet in the Israeli-Gaza conflict, hundreds of pro-Palestinian protesters gathered in San Francisco to march against the ongoing violence. Waving flags, participants chanted “Free, free Palestine!” and progressed from the Ferry Building to City Hall. It was just one of hundreds of protests staged worldwide in response to the bloodshed. As of July 21, the Palestinian death toll had risen to about 500, while 25 Israeli soldiers were killed. PHOTO BY STEPHANY JOY ASHLEY

PET CAUSE

Last year, the SF SPCA (www.sfspca.org) assisted with over 5,000 cat and dog adoptions. With its new adoption center near Bryant and 16th Streets, which opened June 13, it aims to increase capacity by 20 percent — saving 1,000 more furry lives in the process. The new facility features improved condo-style enclosures rather than cages, a small indoor dog park, and SF-themed climbing structures for cats. (So far, there’s a Golden Gate Bridge, a Transamerica Pyramid, a cable car, the Sutro Tower, and the SF Giants logo; a Castro Theatre design is in the works.) These improvements make the shelter life more comfortable for the animals, but they also help entice visitors, making the adoption process “a fun, happy experience,” says SF SPCA media relations associate Krista Maloney. See more kitties and puppies at the Pixel Vision blog at www.sfbg.com. PHOTO BY CHERY EDDY

MIX IT UP

The quarterly SF Mixtape Society event brings together people of all, er, mixes with one thing in common: a love of the personally curated playlist. This time around (Sun/27, 4pm-6pm, free. The MakeOut Room, 3225 24th St, SF. www.sfmixtapesociety.com) the theme is “Animal Instinct.” You can bring a mixtape in any format to participate — CD, USB, etc. (although anyone who brings an actual cassette will “nab a free beer and respect from peers.”) Awards will be given in the following categories: best overall mixtape, audience choice, and best packaging. Hit that rewind!

CODERS FOR KOCH

This week San Francisco plays host to the Libertarian conference/slumber-party Reboot 2014, aimed at — you guessed it — tech workers. Conservatives and government-decrying libertarians are natural allies, wrote Grover Norquist, scion of the anti-tax movement, in the pages of the Wall Street Journal. Uber swerves around transportation regulations, Airbnb slinks under housing regulations. It’s no wonder politically marginalized libertarians are frothing at the mouth to ally with Silicon Valley’s ascendant billionaires. Reboot 2014 speaker Rand Paul’s recent meeting with Mark Zuckerberg, Sean Parker, and Peter Thiel should have liberals all worried.

BART CLEANSING

BART announced via a press release they’d begin “ensuring safe evacuation” of downtown BART stations. By this they mean they’ll start sweeping out anyone sitting or laying down in the stations, clearly targeting the homeless. Deflecting those accusations, BART said they are one of the few transportation agencies with a dedicated outreach and crisis intervention coordinator, as if that gives them a pass.

CLIFF JUMPING

At 66, Jimmy Cliff put on one of the most energetic live shows we’ve ever seen on Saturday, July 19 at the Fillmore, high-kicking through newer songs, like “Afghanistan,” an updated version of eternal protest song “Vietnam,” as well as the classics: “The Harder They Come,” “Many Rivers to Cross,” etc. Check the Noise blog at www.sfbg.com for a full review.

Everything is terrible, let’s go hear some live music

Steven T. Jones

July 18, 2014

Dear readers! In case none of your coworkers has made any kind of Dilbert-ready joke by the water cooler yet today, let us fill you in: It’s Friday.

And woof, did this week feel a little long to anyone else? Perhaps because the news is filled with horrendous, tragic, apparently senseless events? I’m not one for the “waah, why do news outlets report on so much bad stuff when there’s good stuff in the world” mentality — you should be spurred to anger/sadness/feeling by reading about the state of the world, that’s how change happens.

However. After you do a comb-through of the New York Times and the BBC etc. this morning, do not forget to look at some kittens and puppies. And in between having impassioned all-caps shouting matches on Facebook and in various comments sections this weekend (discuss: is this really how change happens?) try leaving your house to go sweat on a dancefloor with some strangers. Age-old remedy for the post-modern blues. Here are our picks.

FRIDAY/18

Erk tha Jerk with Kev Choice

June was a busy month for Erk tha Jerk, the Richmond rapper and producer known for his clever wordplay and catchy, often intensely sexual hooks. On the 12th, he dropped a new video produced by frequent collaborator Fly Commons called Blast Somebody. A smooth beat finds Jerk getting existential about his stresses while a near-nude woman gyrates on his bed. The video premiere was bolstered by the announcement that the duo’s upcoming EP, Food and Vegetables comes out on July 15th — the gig doubles as a release party. Fellow East Bay MC Kev Choice (and Bay Guardian cover dude back in March) opens for Erk. Where Erk often embraces an id-driven and autobiographical style, Kev is far subtler and more socially conscious. A prodigious pianist and bandleader, his set should provide a soulful introduction to Erk’s intensity and bombast. — David Kurlander)
8pm, $15
Slim’s
333 11th St, SF
(415) 255-0333
www.slimspresents.com

A panel of heavy-hitters discussing vinyl’s return to public favor at the Oakland Museum of California tonight includes Nick Harmer, bassist for Death Cab for Cutie; Winston Smith, visual artist for Dead Kennedys, Green Day, and legendary Bay Area punk label Alternative Tentacles; and Lawrence Azerrad, designer of iconic albums by Wilco, Miles Davis, and the Beach Boys. Plus drinks!
5pm – 9pm, free- $7.50
Oakland Museum of California
1000 Oak, Oakl.
(510) 318-8400
www.musuemca.org

SATURDAY/19

Jimmy Cliff

Bob Marley may adorn more stoner dens with his smiling face, but the credit for bringing reggae to a worldwide audience goes first and foremost to Jimmy Cliff. As the star and main soundtrack composer of the 1972 Jamaican film The Harder They Come, Cliff brought the once-obscure Caribbean pop style to national attention and broke open the door for the genre’s success in the 1970s. But he couldn’t have done it without a set of killer songs — the film’s title track included — and, at 66, a voice that puts nearly every stateside soul singer to shame. — Daniel Bromfield.
9pm, $39.50
The Fillmore
1805 Geary, San Francisco
(415) 346-6000
www.thefillmore.com

SUNDAY/20

Salsa powerhouse Roberto Roena and the LA-based Latin ensemble Boogaloo Assassins celebrate the 50th anniversary of Fania Records, which helped move salsa into the mainstream in New York in the ’60s and ’70s. Guitarist Vieux Farka Touré, son of the late Malian guitarist Ali Farka Touré, performs African blues rock to open. There will likely be some dancing here.
2pm, free
Stern Grove
19th Ave. and Sloat Blvd., SF
www.sterngrove.org

MONDAY/21

The Hold Steady

Does this band have a new record out? Don’t know, don’t care. Unless they radically changed their sound (Thin Lizzy guitars, blue collar/after hours rock, slightly snarled Springsteen storytelling) it doesn’t matter. Because Brooklyn’s Hold Steady epitomize rock’s most underrated quality: dependability. Beyond reviews and records, it’s their live show that consistently seems to
awaken converts, the way an exceptionally good bar band can shock drunks out of stupors. (What are these guys doing here?) If the boys are back in town, count me in, at the center of the pit,
shouting along with Craig Finn. Well…maybe I should give Teeth Dreams a listen. — Ryan Prendiville
With Cheap Girls
8pm, $30
Great American Music Hall
859 O’Farrell St, SF
(415) 885-0750
www.slimspresents.com

TUESDAY/22

White Lung

Who said music writers can’t make music? When Mish Way isn’t busy freelancing as one of America’s most passionate and hilarious music writers, she’s rocking harder than any other architecture-dancer since Patti Smith as the leader of punk outfit White Lung. After making a splash in Vancouver’s punk scene with its debut It’s The Evil, the band found its profile substantially increased when Rolling Stone included sophomore effort Sorry in their top 10 albums of the year — no small feat for a punk album, least of all one that barely runs 20 minutes. They’ve added Wax Idols member and Bay Area native Hether Fortune on bass for album number three, Deep Fantasy, whose hearty reception should secure the band’s footing in both the critical and the die-hard punk worlds. — Bromfield
With Wax Idols, Red Red Red
7pm, $12
The Rickshaw Stop
155 Fell, San Francisco
(415) 861-2011
www.rickshawstop.com

Far afield

Michael Redmond

July 15, 2014

marke@sfbg.com

SUPER EGO I’ve been kind of taking a healthgoth/normcore approach to life lately — banging my sequined coffin shut at 10pm or so, then springing out, my mirrorball Reboks shooting fire, for an early morning jog and beet shake (extra pollen). Does this mean I’m ready to be a dad? I’m even hanging out most nights at the gay sports bar, hiking volcanic parks on weekends, and refusing cocktail straws with my drinks, to save the Earth.

None of this has quite stopped me from finding myself off my eyeballs with 3,000 others in the middle of a packed Basement Jaxx dance floor, or huddling at noon with a vodka rocks in a dark corner of Hole in the Wall on occasion. I’m still San Franciscan, duh. But I can’t have my midlife crisis yet. I’m only 21!

Hunky Beau says it’s typical SF summer hibernation, a sort of supernatural supermoon precharge as we head into a ginormous party fall. I certainly hope so. Please, if you ever see me jogging 10k to fight restless leg syndrome or whatever, drag me to the nearest giant speaker and sacrifice some whiskey down my throat. The Blackout Goddess must be appeased.

MOON BOOTS

Moon Boots is cute. Moon Boots is spacey. Moon Boots will give you that marshmallow-floor feeling via classic R&B samples, tropical/freestyle grooves, and catchy tech house hooks. Nothing new under the sun, but a lush moonscape of aural delight.

Thu/17, 9:30pm, $10. Monarch, 101 Sixth St, SF. www.monarchsf.com

THE FIELD

The Swedish hypnotic techno genius put together a band a few years ago — and pulled off one of my favorite live shows of 2011 (despite it almost being ruined by a clutch of talky gay bears. Talky gay bears STFU!). Hot on the heels of releasing a pair of remix volumes of latest LP Cupid’s Head he’s back with the band to lead us far and away.

Fri/18, doors 8:30pm, show 9pm, $18–$22. The Independent, 628 Divisadero, SF. www.blasthaus.com

JOSH WINK

Aw, you gotta love this rave legend. Philly’s Wink started on decks at 13, soon launched Ovum Records and a slew of pounding singles, and made the kind of surprisingly complex mixtapes that were passed around like “candy” at underground gatherings. It’s about time “Evil Acid” came back into vogue.

Fri/18, 9:30pm-3:30am, $12–$20. Public Works, 161 Erie, SF. www.publicsf.com

TONY HUMPHRIES

Since 1981, Brooklyn’s Tony has been holding down the uptempo soul and classic house side of things with his “Hump in the Homefries” style. I have no idea what that really means, either, but I do know this adorable legend brings true light and love to any floor.

Fri/18, 10pm-4am, $10–$20. Mighty, 119 Utah, SF. www.nighty119.com

TRANNYSHACK BOWIE TRIBUTE

One of my favorite tribute nights from the T-Shack crew. Heklina was born to be a Spider from Mars! This will be a night of stunning performances to rekindle your love affair with the vanishing pansexual whirligig of glitter and blood we call San Francisco.

Fri/18, 9pm, $15–$20. DNA Lounge, 375 11th St, SF. www.trannyshack.com

BEATPIG

All the stylish gay men will be here, air-kissing hostesses Juanita More and Walter, and showing off their back bacon to DJ Sidekick.

Sat/19, 9pm, $5. Powerhouse, 1347 Folsom, SF. www.powerhousebar.com

JUSTIN VAN DER VOLGEN

A couple years ago, Brooklyn disco-tech wiz Justin put out one of my favorite summer mixes of all time. “Pool Mix” (find it on Soundcloud, k?) is an effortless ripple of groovy Balaeric psychedelia tempered with loose and funky DFA effects. He’ll be glowing up the Public Works loft in a lovely way.

Sat/19, 9:30pm-3:30am, $10. Public Works, 161 Erie, SF. www.publicsf.com

SUMMER SUNDAYS

One of my favorite Sunday things (since I can’t go to EndUp anymore). Daytime dancing at Mars Bar and hanging on the patio with new friends and great tunes from top local DJs. The series kicks off with soulful house master David Harness headlining. Bonus: tiki bar!

Sun/20, 1pm-8pm, free before 3pm with RSVP at events@marsbarsf.com. Mars Bar, 798 Brannan, SF.

This Week’s Picks: July 9 – 15, 2014

Michael Redmond

July 8, 2014

WEDNESDAY 9

‘A Hard Day’s Night’

In 1964, Beatlemania thoroughly swept America. Fifty years after the Fab Four’s stateside and film debuts, San Francisco’s celebrations seem like a blast from the past. Aside from Paul McCartney’s August concert at Candlestick Park — coming full circle to where the Beatles played their last official show — the band’s 1964 film A Hard Day’s Night returns to U.S. theaters this month. Old age may be sneaking up on Macca, but the Liverpudlian boys’ moptops, music, and mockery of Paul’s grandfather are timeless. Stay in your seat for the second feature — the 1978 film I Want to Hold Your Hand chronicles some fans’ Beatlecentric shenanigans. (Amy Char)

5:30pm, 7:30pm, $11

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

THURSDAY 10

Nicole Kidman Is Fucking Gorgeous at ‘Gorgeous’

Arty art-pop-performance-party mavens Nicole Kidman Is Fucking Gorgeous (John Foster Cartwright, Maryam Rostami, and Mica Sigourney) show up at the Asian Art Museum this week to host one night’s worth of grand gorgeosity on the occasion of the museum’s current exhibit — Gorgeous (June 20–September 14) — which delves into its permanent collection as well as that of SF MOMA for a cache of 72 fabulous pieces ranging across more than two millennia. Who better to “activate the spaces” of the museum with dance and performance than special guests Fauxnique (Monique Jenkinson), Fatima Rude, La Chica Boom, and DJ Hoku Mama Swamp. Casual dress? I don’t think so. But TopCoat Nail Studio will handle the mani with designs inspired by the artwork. (Robert Avila)

6–9pm, free with museum admission, $5 after 5pm

Asian Art Museum

200 Larkin, SF

(415) 581-3500

www.asianart.org

FRIDAY 11

Cynic

The world was not ready for Cynic when they first emerged in the late ’80s. The band’s jazzy prog-metal and anti-macho stage presence (inspired in part by members Paul Masvidal and Sean Reinert’s sexuality — Reinert calls their music “some gay, gay metal”) made them equal parts influential and reviled. On their first national tour opening for Cannibal Corpse, the extreme audience hostility they experienced was enough to make them call it quits for 12 years — during which time their reputation and influence grew. Since the crew’s 2006 reunion, they’ve enjoyed success and reverence, releasing two more albums and playing major festivals in the U.S. and Europe. Their upcoming Fillmore gig is a chance to see one of metal’s coolest influences rock a venue as comfortably and thoroughly as they deserve to. (Daniel Bromfield)

9pm, $22.50

The Fillmore

1805 Geary, SF

(415) 346-6000

Lia Rose

Formerly of Or, the Whale, San Francisco singer-songwriter Lia Rose has the kind of voice that seems like it could cut steel with its clarity — but instead, she’s going to pick up a guitar and carve you a lovesick, honey-and-whiskey-coated lullaby, with pedal steel or upright bass or banjo or all three helping to lull you under her spell. The timeless quality of her indie-folk pairs well here with opener We Became Owls, an East Bay Americana outfit that’s been gaining devotees like a steam train for the past year, despite not having an album out (this is their record release show). Gritty, Guthrie-esque sing-alongs are a distinct possibility here; maybe do some vocal warm-ups? (Emma Silvers)

9pm, $15

The Chapel

777 Valencia, SF

(415) 551-5157

www.thechapelsf.com

Hot Chip (DJ set)

Hot Chip’s catchy brand of electro-funk has buoyed the group’s five critically acclaimed albums. Their most recent release, 2012’s In Our Heads, is perhaps their best yet — “Don’t Deny Your Heart,” a harmony-heavy party anthem with irresistible vocals from Alexis Singer that capture all the melody of the Britpop era, was one of the most unique and danceable singles of its year. The group comes to the glitzy Mezzanine for a DJ set that promises to be full of mixing, subtle live instrumentation, and mash-ups of prior releases. The band has a penchant for debuting new music at their gigs (or else subverting their old tunes to an extent that they’re effectively entirely new tracks) and a smaller-scale dance club provides the perfect location for them to run wild. Also performing is local legend and Lights Down Low host Sleazemore and DFA records mainstay The Juan Maclean, who just dropped a stinging new single called “Get Down (With My Love).” (David Kurlander)

8pm, $16-$25

Mezzanine

444 Jessie, SF

(415) 625-8880

SATURDAY 12

Sonny and the Sunsets

San Francisco’s Sonny Smith is a scattered man. He is a singer-songwriter, playwright, author, and curator who honed his musicianship in piano bars and travelling between the Rocky Mountains, the West Coast, and Central America. The music of Sonny and the Sunsets, his SF-based pop outfit with a revolving-door lineup, reflects the patchwork nature of Smith’s mind and talents, melding aspects of pop, doo-wop, indie rock, surf, and folk. Smith is a gifted storyteller and his compelling and wonderfully strange lyricism lends itself well to the demure Ocean Beach vibes of his music. The Sunsets’ most recent album, Antenna to the Afterworld, reflects on Smith’s experiences with the paranormal, and presents some of his strongest and most wonderfully weird material to date. Tonight’s show will feature a brand new lineup and material that’s never been heard before. (Haley Zaremba)

With The Reds, Pinks, and Purples, Bouquet

9pm, $15

The Chapel

777 Valencia, SF

(415) 551-5157

www.thechapelsf.com

The U.S. Air Guitar Championship Semifinals

The times, they are a-changin’. Now you can put “professional air guitarist” on your LinkedIn profile and actually justify the position. Unlike most artists who usually take the stage at the Independent, tonight’s stars left their instruments at home, but they’re ready to shred. Hear — or see, rather — contestants breathe new life into some of your favorite songs, including hits from years past. It’s time for a classic rock revival. AC/DC’s and Van Halen’s riffs inspire fans to rock out, sans guitars, as past contestants can attest to. No offense to Bob Dylan, but his brand of folk just isn’t that conducive to replicate on air guitar. (Amy Char)

9pm, $20

The Independent

628 Divisadero, SF

(415) 771-1421

Xavier Rudd

Xavier Rudd is a music festival’s wet dream. He’s a handsome, frequently shirtless, habitually barefoot Australian surrounded by dozens of instruments over which he has complete mastery —and he plays them all at once. Since debuting in 2002 with the album To Let, the one-man band has had a platinum album in Australia (Solace, released in 2004) and gigs at festivals across the Anglophone world, in addition to slots opening for fellow stage hounds like Jack Johnson, Dave Matthews, and Ben Harper. Though he’s been sticking more to indoor venues on this leg of his American tour, his style should be well suited to the Fillmore — home to all manner of hippie-leaning, improv-happy artists since the heyday of the Dead. (Daniel Bromfield)

9pm, $25

The Fillmore

1805 Geary, SF

(415) 346-6000

www.bottomofthehill.com

SUNDAY 13

Darryl D.M.C. McDaniels

Neck of the Woods becomes a time machine on Sunday as Darryl McDaniels, better known as D.M.C., drops in for a nostalgic journey through the annals of 1980s rap. One third of the explosive rap innovators Run-D.M.C., McDaniels has kept busy since the dissolution of the group more than ten years ago, playing a full festival circuit, doing extensive charity work, and covering Frank Zappa’s “Willie the Pimp” with Talib Kweli, Mix Master Mike, and Ahmet Zappa for a pulsating track on a birthday compilation put out by the Zappa Family Trust. It’s hard to say whether D.M.C. will pull out anything quite as wild during this set, but expect zeitgeist-defining songs like “It’s Tricky” and “Walk This Way,” and hopefully some deeper cuts from the group’s later work (2001’s Crown Royal has some underrated tracks) and D.M.C.’s only solo album, Checks, Thugs, and Rock and Roll. Joining McDaniels on the mic are local groups the Oakland Mind and Jay Stone, each of whom have decidedly D.M.C.-inspired beats and flows and will offer up both politicized and party-themed bangers centered around the Bay. If you’re feeling like “Raising Hell,” then head over. (Kurlander)

9pm, $18

Neck of the Woods

406 Clement, SF

(415) 387-6343

www.neckofthewoodssf.com

MONDAY 14

BAASICS.5: Monsters

These aren’t the monsters that haunted your childhood nightmares. No, these monsters have matured alongside you, escaping their fantasy story homes and creeping into the minutiae of everyday life. A group of scientists and artists serve as their caretakers tonight, enthralling audiences with accounts of honey bees’ transformation into “ZomBees,” vampires’ affinity for the best coast (namely, California), Sasquatch sightings (guaranteed to be more terrifying than the music festival), and glow-in-the-dark plants (mundane, yes, but at least you won’t wet your pants in fear). Still, the multi-media presentation finds the delicate balance between artistic and hair-raising, while maintaining a somewhat spooky aura to keep you on your toes until Halloween. (Amy Char)

7pm, free

ODC Theater

3153 17th St., SF

(415) 863-9834

www.odcdance.org

TUESDAY 15

The Dwarves

The Dwarves came into the world as we all do, screaming and covered in blood. Formed in Chicago in the mid-’80s as The Suburban Nightmare, the hardcore punk outfit has since relocated to our fine city to wreak havoc. In their three decades of existence, the Dwarves’ lineup and sound have shifted from hardcore to shock rock. The twin pillars of the Dwarves, singer Blag Dahlia and guitarist He Who Cannot Be Named, however, have stood the test of time, and continue to deliver some of the most insane live shows and stunningly tasteless lyrics punk rock has to offer. Infamous for their short, bloody, and often nude live shows, the Dwarves are a legendary part of punk history and the San Francisco rock scene. Also featuring the equally notorious Queers, this show is going to be a doozie. (Zaremba)

With the Queers, Masked Intruder, the Atom Age

9pm, $20

Bottom of the Hill 1233 17th St., SF

(415) 626-4455

Liz Grant

Local stand-up comedian Liz Grant has gotten divorced twice and gone on an astonishing number of dates in the interim. Additionally, she has served as a “ghost online dater” for a busy executive. In her show “Dating Is Comedy,” she breaks down the contemporary SF dating scene and gets brutally honest about her various misadventures and heartbreaks along the way. While the show isn’t expressly designed for singles, Grant hopes that her words of wisdom will resonate with those who “have dated, are dating, or want to date.” With a thematic scope that large, Grant is sure to strike a funny bone (or perhaps a more fragile Achilles’ Heel) for anyone who has survived the rough seas of the dating world. Fresh off a 23-week run of another dating rumination, “Deja Wince: Lessons From a Failed Relationship Expert,” Grant is no stranger to baring her soul about the most universally distressing of all societal practices. (Kurlander)

8pm, $15

Punch Line

444 Battery, SF

(415) 397-7573

www.punchlinecomedyclub.com

Breathing room

Steven T. Jones

July 8, 2014

esilvers@sfbg.com

LEFT OF THE DIAL In the spring of 2013, Jenn Wasner found herself at an unexpected crossroads.

As one half of Wye Oak, the singer-guitarist had been touring the country nearly nonstop following the critical success of Civilian, the album that shoved the then-five-year-old indie guitar band into the national spotlight. Brooding, heavily melodic, equal parts pretty and cinematically noisy, the title track was soaked through with Wasner’s moody guitar tone, unmistakable technical chops, and her vulnerable yet powerful voice. If you watched any TV in 2011, chances are you heard it — the band licensed it to a number of shows. (“We had been working for years and years, and for whatever reason everything kind of culminated around Civilian, so we decided to say yes to every opportunity that presented itself,” she says.)

But staring down the band’s first real down time in two years, Wasner sat down to write new material, and found that she wanted nothing to do with the sound with which Wye Oak had just hit the big time.

“It was a difficult time for a lot of reasons. We were both exhausted. And I just discovered that there was a real air of negativity that surrounded music that sounded like the music we’d been playing for two years,” says Wasner. “It was really hard to feel inspired or compelled to work that way again. There was all this emotional baggage associated with the guitar, and because that was how I’d always written in the past, it became a block.” She spent a few months considering the possibility that this meant the band was over, that there would be no new album, before she realized something: She was allowed to write whatever kind of music she damn well pleased.

“I let go of a lot of expectations about what this album was allowed to sound like, a lot of expectations I had about pleasing other people,” she says. “I went, ‘You know what? Make the record that you want to make.'”

Turns out, she probably shouldn’t have worried. For most Wye Oak fans, the record she wanted to make — Shriek, out April 29 on Merge — is a far cry from a disappointment. It is decidedly, almost defiantly different: Wasner has traded her guitar for synths, picking up a bass while she’s at it. Gone is the swirling storm cloud of reverb; in its place are electro-R&B grooves, with percussionist and keyboard player Andy Stack now also carrying the lion’s share of melody.

These are kids who grew up listening to Janet Jackson, and they’re letting it show. (They’ll bring that party to the Bay July 12 for Phono del Sol.)

Around each element, however, also sits an unfamiliar amount of breathing room — a sparseness that allows Wasner’s vocals, sounding more confident than ever, to break through in a way we haven’t heard before.

“It’s been a really long process feeling comfortable with my own voice,” she says. “I spent a lot of time trying to obscure my voice, and change it, and hide it…those were aesthetic decisions, but it also came down to feeling detached from it. That’s definitely changed in the past couple years: I’ve started caring for my voice, practicing, treating it like my instrument, embrace the fact that I love singing.

“A lot of these melodies are specifically crafted to be more open,” she adds. “It’s a more vulnerable position to be coming from, but it feels good to do.” Live, she’s dealt with the fact that it’s much more difficult to sing and play the bass at the same time than rhythm guitar — but that too is a good thing. “Being challenged is what keeps it interesting.”

Another big change: Collaborating from different sides of the country. Between Civilian and Shriek, Stack moved to Portland, while Wasner remained in Baltimore, forcing the duo to communicate in a new way throughout the songwriting process.

“Every time I wanted to share an idea with him, I was forced to figure out a way to realize it, record it,” says Wasner. “And being forced to do that with everything I did was an incredible good way to learn and practice. It changed the way I wrote songs. It’s a big part of the reason these are some of my favorite songs I’ve ever written.”

As for the reaction from their devoted fan base, who Wasner realized she had to put out of her mind in order to write the songs she actually wanted?

“To be honest with you, I expected it to be much worse!” she says with a slight laugh. “I feel pretty strongly that the foundation of our band has always been the songs themselves: It’s never been about a particular instrument…and these songs are Wye Oak songs. I think if people really listen they’ll hear that. It’s the same voice, the same fundamental nature of the songs. And I think a lot of people have.”

Most importantly, though, she’s happy with it. “Criticism is always subjective, nothing that you can take personally,” she says. “And it’s cool because I’m happy with it to the point that it’s hard to top that. Real satisfaction, when you know you’re satisfied with something, that doesn’t get swayed by almost anyone’s opinion. The approval of others is a very thin substitute.”

WYE OAK

With Thao and the Get Down Stay Down, Nick Waterhouse, Tony Molina, more

Phono del Sol

Sat/12, noon to 7pm, $25-$30

Potrero del Sol Park, SF

www.phonodelsol.com

ODDS AND ENDS

The Bay Area Record Fair (that’s B.A.R.F. for all you cool kids) has announced its second edition, set to take place Sept. 27, once again at Thee Parkside. This collaboration between local label Father/Daughter Records and promoters Professional Fans kicked off in February with folks from 17 record labels from around the Bay coming together to network, hawk their wares, and, most importantly, drink beer and eat tater tots while listening to good, loud rock ‘n’ roll, because that’s why the good lord created Thee Parkside.

This fall’s event is busting at the seams, as Jessi Frick from Father/Daughter tells us: “This time we’re pulling permits to block off part of Carolina Street to make room for even more vendors, and a limited number of early bird tickets are available for $5 which gets you fair access one hour before doors open to the public.”

There’ll be a daylong lineup of live music TBA, of course, and the number of labels participating has pretty much doubled. You can see a full shakedown of the day’s events at www.bayarearecordfair.com, or catch organizers at Phono del Sol next weekend, where they’ll be selling a 21-song compilation CD featuring the labels represented; all proceeds go to keeping the whole damn thing free. Sounds like a pretty good deal on this end.

B.A.R.F.

Sept. 27, all day, free

Thee Parkside

1600 17th St, SF

www.theeparkside.com

And speaking of kicking things up a notch: Viracocha is back, bitches. Everyone’s favorite semi-secret Mission District venue — what with her ornate, gorgeously appointed bathroom, shelves full of antique typewriters, and great-sounding basement venue that’s played host to all manner of live music, poetry readings, movie nights and more — got the official go-ahead from the SF Entertainment Commission to re-launch as a legitimate venue, meaning owner Jon Siegel will be able to promote some of those great live shows for the first time.

An opening party with an evening full of live music is planned for this Tuesday, July 15, but beyond that a lot of things are up in the air. Be on the lookout for a beer and wine license, a totally revamped store, and more in the coming months; like Viracocha on Facebook to stay in touch.

Fuck Buttons on their wildly visual live show, the writing process, and bringing “fuck” to the world stage

Steven T. Jones

June 24, 2014

“I think I’ve heard of them before,” is the kind of spineless response you’ll never hear if you ask someone about Fuck Buttons. If you’ve heard them, you’ll most definitely will remember. With music that elicits feelings of wonder and rebellion, intense live shows, and of course an, err — catchy name, Benjamin John Power and Andrew Hung leave a lasting impression.

If you didn’t catch them when they played at The Independent last October, chances are you heard Fuck Buttons in 2012 when the band received arguably the most widespread kind of exposure — their tracks “Surf Solar” and “Olympians” were featured separately during the London Summer Olympics opening ceremony. Their self-produced third effort, Soft Focus, has earned the band a multitude of accolades, including an 8.7 and Best New Music honor from persnickety Pitchfork, as well as the #3 Dance Album Of The Year 2013 from Rolling Stone.

I got the opportunity to chat with Fuck Button Benjamin John Power about the process behind the band’s unique live performance set-up, as well as the AV show they’re bringing to the US for the first time. The English experimental-electro duo are currently in the middle of a monthlong tour, coming back to The Independent this Fri/27.

San Francisco Bay Guardian So you just played North By Northeast. Taking some time off on the West Coast right now?

Benjamin John Power Yeah, that’s right. Andy had to go home to a wedding so there is a slight break in the tour, but it’s cool.

SFBG I’m sure the time off to before the shows next week is welcomed.

BJP I get a week off in LA and my wife is coming out to join me for the time off. It’s nice to take a breather.

SFBG NXNE has such a diverse lineup, between all the acts and comedians.

BJP NXNE was great. Quick turnaround, but a really amazing crowd. I didn’t get a chance to see anyone else on the lineup, but I wish I could have seen Tim Hecker.

SFBG It’s funny you mention him. You’re familiar with Steve Hauschildt, yes?

BJP Yep, from Emeralds? I’m a fan.

SFBG I liken his and Tim Hecker’s music to your solo project, Blanck Mass. They form a genre I refer to as “lunar planning music.”

BJP Oh yeah? That’s a nice term.

SFBG I mean that in the best way possible.

BJP It is welcomed — fear not.

SFBG You recently played a show with Mount Kimbie that involved some some special visuals. Can the stateside crowd expect anything like that?

BJP Yes, 100 percent. We have brought our full AV show with us this time — for the first time in the USA — so that’s totally in the cards. We wanted to make sure that the visual aspect wasn’t just a bunch of video loops, as a separate focus. The visuals are interactive and in real time, so it’s a more interesting show and it’s working out really well.

SFBG Sounds great. I saw you last year at Primavera Sound, and your music translates really well on stage.

BJP Thank you. The live show and the recorded output go hand in hand, so when we write, we write in exactly the same way that we do when we play live — across the table from each other, with all the gadgets in front of us — so it translates easily into the live performance.

SFBG You also produced the last album (Soft Focus) yourselves — have other people been contacting you regarding production work?

BJP Yeah, a few people have. We like to keep ourselves busy, and I think from working on the last record primarily by ourselves we have picked up some pretty helpful production tricks.

SFBG Last question — do you feel the word “fuck” is losing its potency?

BJP I don’t really think too much about the word fuck losing its potency. If anything, it probably makes my life easier, haha.

SFBG I can see that. Being featured in the Olympics, you guys are like ambassadors of “fuck.” Bringing “fuck” to the world stage.

BJP Yeah! Well, in those instances, everybody just seems to go with “F Buttons.” It’s really fine. What’s in a name anyway?

FUCK BUTTONS
With Total Life
6/27, 9pm, $20
The Independent
628 Divisadero, SF
www.theindependentsf.com

The Damned on playing small venues, headgear that protects you from spit, and why they won’t stop ’til the Stones do

Steven T. Jones

June 3, 2014

For nearly four decades now, legendary British rockers The Damned have been haunting stages around the world with their brand of gothic-inspired punk.

Since storming onto the London punk scene in 1976, the band has evolved and survived multiple line-up changes over the years, with the group now led by founding members Dave Vanian and Captain Sensible, who are keeping the original spirit of The Damned alive and well.

Today, Vanian’s punk-meets-rockabilly crooner vocals and Sensible’s wildly blistering guitar are backed up by the jackhammer rhythm section of drummer Pinch and bassist Stu West, along with keyboardist Monty Oxy Moron, who often looks like a possessed version of Beethoven, his hands flailing wildly about when not pounding the keys.

Bay Area fans are in for a treat this week as The Damned play two shows in Northern California ahead of their appearance at the Ink-N-Iron festival in Long Beach — and these are the only U.S. gigs on the books for the year.

“I love visiting San Francisco, it’s the most European city in North America and a vegetarian’s paradise. My home is in Brighton, the gay capital of the UK and a lot of the relaxed liberal attitude we have there is over here too,” says Captain Sensible, via email. “I like the way the Bay Area is a collection of villages all with their different vibe, but mainly it’s the smart, friendly people here that make a visit such fun.”

Looking back over almost 40 years of on and off history as a band, Sensible offers a candid assessment of what life has been like as a member of The Damned.

“I’m not one for regrets, we’ve had a splendid crack as a band. A lot of things that went pear shaped was our own stupid fault — and how we survived the mania of the 70s / 80s without anyone dropping dead I’ve no idea. But as you can imagine it was bloody good fun in a time when bands could pretty much do what ever they wanted in the studio without label types breathing down our necks; in fact, when they did turn up we always put on a little show for them, band splitting up, drummer climbing in a grand piano to add nonsensical avant-garde overdubs on a straightforward punk tune, food fights. They got the idea in the end and left us alone, and we actually made a few decent records despite all the chaos.”

The Damned were the first punk band from the UK to release a single — “New Rose” — and an album, Damned Damned Damned.

https://www.youtube.com/watch?v=rTfyUqVqX-0&feature=kp

They also broke ground as the first to cross the pond and tour the United States, a jaunt that saw them play the infamous Mabuhay Gardens in San Francisco back in 1977.

“It’s all a blur as you can imagine, but we met loads of young upstarts who told us they were getting their bands together. It was a great time, a clean slate if you like. And it felt good to give the jaded stadium rock stars of the time a kick up the arse.”

“I also remember American beer being universally appalling. In fact I would cram my suitcase with as much booze as possible, if you can believe that. Now, of course Californian craft beer is the cutting edge of brewing and we intend to visit a few breweries this trip.”

As for Sensible’s now-signature stage attire — a red beret and crazy sunglasses — it turns out it had nothing to do with trying to make a fashion statement: It was born from the environment that came to epitomize live shows in the early days of the punk movement.

“The truth is that at first I only wore a beret to stop the ‘gob’ (spit) getting in my hair. After Johnny Rotten and Rat Scabies had their famous spitting incident at a Pistols gig in ’76 it became part of the punk scene for a year or so. The problem was the hot stage lights baked the gob in your hair and it was almost impossible to remove the hard lumps afterwards, so I wore a beret and sunglasses to stop it getting into my eyes. That’s the true story, it wasn’t fashion — it was self preservation!”

Fans will be able to hear all sorts of first-hand accounts and behind the scenes stories in the near future when a documentary film about The Damned is released, made by Wes Orshoski, the filmmaker behind “Lemmy,” the award-winning portrait of the iconic Motorhead frontman.

“I took Wes to do an interview outside the former home of my parents — where I spent my school years — and no sooner was the camera rolling than a drug crazed mugger made a grab for it and a good old fashioned punch up ensued in which $50,000 worth of film equipment got completely trashed. Wes ended up being rushed to hospital. He probably needed a rabies antidote,” says Sensible.

“I should have mentioned to him that I was born and raised in the roughest part of South London — where one person’s posh movie gear is someone else’s years supply of crack cocaine.”

Despite difficulties such as that jarring incident, Sensible says that the rest of the project has been proceeding along well.

“He’s captured some very funny footage already as the Damned are quite a strange bunch these days. People think they know us, but I reckon there will be a few surprised faces when the film is released.”

One fact that casual fans of The Damned might not know is that Captain Sensible is a huge train buff — he’s driven steam engines in England, and even had a diesel locomotive named after him.

“There was a company that had a punk fan as boss and he named his locos after his heroes. John Peel, Joe Strummer — mine was originally going to be called Morrissey but it came to the guy’s attention that he made a point NEVER to travel by train. Whereas I do all the time, so I got it instead!”

Unfortunately, Cotswold Rail went out of business a few years ago, and when the engine was sold, a disgruntled employee that was owed money stole the nameplates.

“I’d maybe buy ‘em if he offered, gotta be worth a fiver, eh?” says Sensible.

While the Damned often perform at large music festivals around the world these days, Sensible still favors smaller shows, like the one the band will play at Slim’s on Wed/4.

“I prefer the club gigs, the closeness to the audience. And when I see bands, that’s also the environment I prefer. Festivals with screens and the musicians half a mile away on a distant stage is not great is it? The problem is that now we are a certain age, and there’s not likely to be another club tour as it’s a bit knackering.”

Although Sensible mentions that the members of The Damned aren’t exactly spring chickens anymore, he’s adamant that they have no intention of hanging it up anytime soon.

“The Damned ain’t going to quit while the Stones are still lurching on,” he says. “We’re not gonna be beat by a bunch of old Tories.”

https://www.youtube.com/watch?v=8m2JyiggwAU

The Damned, with Koffin Kats and Stellar Corpses
Wednesday, June 4
8pm, $30
Slim’s
333 11th St., SF
(415) 255-0333
www.slimspresents.com

Our Weekly Picks: May 28-June 3, 2014

May 28, 2014

WEDNESDAY 28

Rodriguez

In 1970, a singer-songwriter called Rodriguez, who had been discovered by a couple of music producers in a downtown Detroit bar, cut an album called Cold Fact. It bombed. After an equally-disappointing follow-up record, Rodriguez abandoned his musical career and faded into obscurity. Meanwhile, in South Africa, a bootleg copy of Cold Fact had become the soundtrack to the Anti-Apartheid movement. Rodriguez was completely unknown in the United States, and more famous than Elvis in South Africa. Decades later, two Rodriguez fans travelled from Cape Town to find out what happened to Rodriguez and research the rumors of his onstage suicide. Instead they found him working in construction and ready to continue his musical dreams. Rodriguez’ story is chronicled in the Oscar-winning documentary Searching for Sugarman. His incredible story, however, is not what makes him worth seeing: As a performer he is tender, compelling, and well worth the 40-year wait. (Haley Zaremba)

With LP

$40, 8pm

The Warfield

982 Market, SF

www.thewarfieldtheatre.com

Exclusive screening: The Pink Room

Never mind Elizabeth Raine, the med student who auctioned her virginity for a six-figure price tag. In many cases, prostitution is not a luxury, it’s slavery. In a country ravaged by genocide, many Cambodian children became orphans and forced into a life of child slavery and prostitution. The Pink Room documentary exposes the human trafficking and child sex slavery that runs rampant in Cambodia, threading together first-person accounts of those held captive and those helping to change the country where over 1 million children are sexually abused. One of the accounts comes from a Cambodian woman who was forced into the industry at a very young age, illustrating how Mien’s virginity was sold at a high price, but her value becomes lower with each purchase. After years of torture, she’s become a voice of hope and compassion in a country plagued by darkness. This screening will be followed by a Q&A with the film’s directors and producers. (Laura B. Childs)

7pm, $25

Letterman Digital Arts Center

Chestnut & Lyon, SF

(415) 897-2123

www.onelettermandrive.com

THURSDAY 29

SF’s Power Women of Eventbrite, ModCloth & One Kings Lane

Talk about co-founders with cache — three local startup champions will share their success stories, including tales from the trenches of the e-commerce realm and insights on how they’ve won followers’ hearts. Julia Hartz’s Eventbrite has become the ticketing standard-bearer for events; Susan Gregg Koger’s ModCloth merges online couture shopping with a growing social network of fashionistas; and Alison Pincus’s One Kings Lane provides high-end furnishings and home decor directly to trendy tastemakers. They’ll converse with a fourth entrepreneur, BlogHer cofounder and media strategist Jory Des Jardins. (Kevin Lee)

6:30pm, $15-$45

The Fairmont Hotel, Gold Room

950 Mason, SF

(415) 597-6700

www.commonwealthclub.org

Bloody Beetroots

With a real name like Sir Bob Cornelius Rifo, it’s hard to see why you would opt for a pseudonym, but the Italian producer has been successfully producing infectious and inspired dance and electronic music under the Bloody Beatroots moniker since 2006. Rifo was classically trained on guitar, learning to read by the solfege method and studying Chopin, Beethoven, and Debussy. His fascination with punk, new wave, and ’70s-era comic strips, however, pulled him out of this straight-laced territory and into a new musical world of his own creation. Rifo and his right-hand-man and sampler Tommy Tea are known for their rowdy, energized live shows, and the black Venom masks they wear throughout, never showing their faces. Dirty, fun, and hard to predict, the Bloody Beetroots guarantee a great, sweaty night. (Zaremba)

With J Boogie

$25, 8pm

The Regency

1290 Sutter, SF

www.theregencyballroom.com

SF Green Film Festival

San Franciscans are no strangers to tackling the subject of global warming. Whether we’re discussing the drought or trying to solve climate change by working less, the well-being of the planet is foremost on our minds. But starting tonight, we’ll let the pros take over: The Green Film Festival is a weeklong affair that will consist of environmentally-conscious documentaries, panel discussions with filmmakers and activists, and workshops with non-profits. The 4th annual festival kicks off with the San Francisco premiere of DamNation, an award-winning documentary that explores sea change and reveals how removing dams would bring rivers back to their natural state, helping to stabilize the ecosystem. Explore marine life, meet the filmmakers, and discuss the environment over sustainable food and drinks at the opening night reception, held at the Aquarium of the Bay. (Childs)

6pm, $50

Aquarium of the Bay & Bay Theater

Embarcadero at Beach, SF

(415) 742-1394

www.sfgreenfilmfest.org

FRIDAY 30

Animal Collective (DJ set)

Animal Collective guitarist Panda Bear is jamming on a nationwide tour solo, so some of the other members have elected to show off their digital record collections in select venues. What to expect from a set? Actual recorded footage of the band’s mixmastery is rare, but Soundcloud and YouTube have a two-hour tablets-and-mixer session that serves as an especially encouraging primer — a catchy blend of funk, psychedelic, uplifting vocal house, and brooding techno. The Collective members stitched together their tasteful selections through different techniques, alternating between tried-and-true beat-matching and masterfully weaving melodies. Much of the two-hour mix came off as both carefully curated and effortlessly engaging; hopefully there is more to come. (Lee)

With Slow Magic, Sophie

10 pm, $25

1015 Folsom, SF

(415) 431-1200

www.1015.com

Risa Jaroslow’s What’s the Upshot?

Having moved here barely a year ago, Risa Jaroslow is not yet a household name even within the local dance community. Yet she has brought with her a long, well-respected career of creating choreography in which movement — whether from highly trained dancers or common folks — has stories to tell about what it means to be alive today. “I always start with a question that has resonance for me,” she recently explained. The new What’s the Upshot? may well have been provoked by her move across the country. Here she is working with Sophie Stanley, about to join AXIS; Jordan Stout, who comes from contact improv; and Patrick Barnes, who brings a strong athletic background to dance. On Friday and Sunday, Peiling Kao’s Ludic Numerologies will join Jaroslow’s premiere. (Rita Felciano)

May 30 and 31, 8pm, June 1, 4pm, $15-$18

Shawl Anderson Dance Center

2704 Alcatraz, Berk.

(510) 654-5921

www.shawl-anderson.org

SATURDAY 31

SPIRIT: Queer Asian, Arab, and Pacific Islander Artivism

The National Queer Arts Festival and San Francisco’s own community leaders Queer Rebels present the untold stories of queers, from Angel Island to the Arab Spring, in a two-day celebration of performance art and film. Saturday’s performances include drag performance duo BELLOWS, who opened Queer Rebels’ Liberating Legacies show earlier this month; Elena Rose, co-curator of Girl Talk: A Cis and Trans Woman Dialogue, which has run at the National Queer Arts Festival for five years; Modern Arabic Stage Style dancer Heaven Mousalem, and many more. Come back Sunday for an afternoon of films by a variety of artivists, including Queer Rebels co-founder and host Celeste Chan herself. SPIRIT is an opportunity to honor histories, talents, and intersections of identity that don’t make it to our televisions sets. Tickets for Saturday’s performances are available on Brown Paper Tickets, and tickets for Sunday’s films can be purchased at the door. (Kirstie Haruta)

Sat., 8pm, $12-20

African American Art & Culture Complex

762 Fulton, SF

(415) 922-2049

www.aaacc.org

Sun., 3pm, $7-10

Artists’ Television Access

992 Valencia, SF

(415) 824-3890

www.atasite.org

SF Silent Film Festival

Fans of classic cinema are in for a treat this week with the return of the San Francisco Silent Film Festival, the annual celebration of the early years of film. Opening up the fete this year is a screening of 1921’s The Four Horseman of the Apocalypse — the film that propelled Rudolph Valentino to Hollywood stardom — which will be presented with live musical accompaniment by the Mont Alto Motion Picture Orchestra. Other highlights include Douglas Fairbanks’ The Good Bad Man and comedy legend Buster Keaton’s The Navigator. Don’t miss your chance to see these films in one of the last surviving movie palaces from that time period. (Sean McCourt)

May 29 – June 1, times and prices vary

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

www.silentfilm.org

SUNDAY 1

Fantasia

Growing out of what was originally just going to be a “Silly Symphonies” short in the late ’30s, Walt Disney’s 1940 masterpiece Fantasia broke new ground in animation on a variety of levels, employing some of the finest artists and musicians of the day to bring his vision to life. Combining the magic of cartoons and classical music, the film featured famous conductor Leopold Stokowsi leading the Philadelphia Orchestra. This weekend the San Francisco Symphony will be performing live to screenings of selections from both the original classic and Fantasia 2000, including the beloved and iconic piece “The Sorcerer’s Apprentice.” (Sean McCourt)

8pm Sat.; 4pm Sun., $41-$156

Davies Symphony Hall

201 Van Ness, SF

(415) 864-6000

www.sfsymphony.org

MONDAY 2

Kelis

Perhaps today’s young’uns will come to know her for her relatively tame show on the Cooking Channel (Saucy & Sweet), but for the rest of us, Kelis will always be one of the bossiest, baddest ladies in radio R&B — not to mention that whole milkshake thing. The un-self-consciously sexy singer/rapper/larger-than-life-persona kicks off her first national tour in four years with this show in San Francisco, performing songs off her April release and sixth studio album, the straightforwardly-titled Food, which features rootsy, funky, electro-tinged tracks like “Breakfast,” “Cobbler,” “Jerk Ribs,” and “Friday Fish Fry.” Maybe eat before you go. (Emma Silvers)

With Son Little

8pm, $22.50

The Fillmore

1805 Geary, SF

TUESDAY 3

Invisible Hands: Voices from the Global Economy

“Ziola said that the students would leave for the fields after breakfast, around 7 a.m., and would come back around 5:30 p.m. There were no days off. They were working on Sundays and holidays as well.” This is how a seamstress from Uzbekistan describes her daughter being forced by school officials to pick cotton for meager wages in a new book from McSweeney’s, Invisible Hands: Voices from the Global Economy. Her account is among 16 first-hand oral histories documenting the poor working conditions and hidden human rights abuses that laborers encounter in the U.S. and abroad. Invisible Hands‘ editor and San Diego-based immigration lawyer Corinne Goria will talk with Mother Jones editor Maddie Oatman about how the collection of stories came together. (Lee)

7pm, free

826 Valencia

826 Valencia, SF

(415) 642-5905

www.826valencia.org

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Missing Indie Mart

Michael Redmond

May 20, 2014

THE WEEKNIGHTER Weekends are for amateurs. Weeknights are for pros. That’s why each week Broke-Ass Stuart (www.brokeassstuart.com) will be exploring a different San Francisco bar, bringing you stories about the places and people who make San Francisco one of the most phenomenal cities in the world. Who wants a drink?

I’ve fallen in love many times at Thee Parkside. Okay, that’s a gross exaggeration. I’ve fallen into moderate, short-term infatuation many times at Thee Parkside.

For years it was home to Indie Mart, the DIY, rock-n-roll, block party Kelly Malone and Co. used to throw. Scores of local artist and designers would set up booths along Wisconsin Street, selling all the strange and beautiful things they created, while grimy-looking bands played ear-splitting music inside.

The parade of manic pixie dream girls was unnerving. They had no real place in society and only belonged as unblemished ideals in my mind. Some would float into town for the weekend and set up shop, only to disappear as soon as Indie Mart shut down. Others would flit from booth to booth, trying on each other’s wares and complimenting each other’s outfits. All of them pretty much sold the exact same shit, not that it mattered to me, they were all so lovely to look at and really only brought things to sell to each other anyway.

Thee Parkside is way more than just for day-long block parties full of whimsically dressed Amelies though. It’s a semi-legendary dive bar famed for it’s out-of-the-way location and its kick-ass live shows. Any night of the week you can see a variety of punk, metal, or country bands playing their hearts out on that tiny stage in that perfectly dingy barroom.

It’s also known for an awesome kitchen that manages to turn well-executed dishes like bahn mi and Cuban sandwiches into perfect bar food. If you haven’t been before, the Original Famous Twang Sundays are a great introduction to Thee Parkside life. Where else in The City can you hear country and bluegrass at an all-ages venue with a back patio for free? I think that’s what Sundays were invented for.

Despite these great things that happen at Thee Parkside, it’s still all those Indie Mart afternoons that most poignantly stick out in my mind. Maybe that’s just because, for many San Francisco’s doers and makers, Indie Mart was a place where we found a community of like-minded bad-asses. Dozens of people who were tinkering with wonderful things all throughout the Bay Area suddenly had a place to coalesce, sharing and selling what they made.

Sculptors, screen printers, and jewelry designers, set up shop next to each other while vintage clothes were hawked down the way and carpenters displayed their crafts. People who may never have encountered each other otherwise, were now meeting and forging relationships that would lead to marriages, babies, collaborations, and successful businesses. A diaspora of creative people now had a base and a community and a way to show the world what they were up to. It was honestly and truly, with all earnestness, magical. And Thee Parkside allowed that to happen.

Like all great scenes, Indie Mart came and left just like a goddamn fireball. One day it jumped from being a small thing in Kelly Malone’s backyard to a block party at Thee Parkside. It burned hot and heavy for a few years, and then suddenly it was done. But what it left in its wake was a slew of creators who now had the confidence and contacts to make a business out of what was previously just a hobby. And of course Thee Parkside is still around too.

Every time I pass by, I think, maybe I should get some people together and throw one more big block party for old times sake. And then I say nah, and stop in for a Cuban sandwich and a cheap drink instead.

Stuart Schuffman aka Broke-Ass Stuart, is a travel writer, poet, and TV host. You can find his online shenanigans at www.brokeassstuart.com

Go do this thing tomorrow: Speak up for Viracocha

Steven T. Jones

May 19, 2014

If you’ve ever set foot in Viracocha, the Never-Never-Land-esque antiques store/typewriter shop/arts space/music venue at 21st and Valencia, you know it’s a pretty magical place — especially in contrast to some of the shiny new businesses springing up around it in the Mission as of late. The brain child and passion project of poet Jonathan Siegel, it’s a homey haven for writers, musicians, visual artists, and dreamers of all kinds; for the past four years, it’s also been hosting intimate live shows and spoken word events in its downstairs performance space. Only problem — Siegel hasn’t been able to promote that aspect of the business, as the room’s not ADA-compliant, meaning the space has remained a (relatively open) secret, since each of those shows has been illegal.

Now, the little speakeasy that could is trying to go legit once and for all: At a City Hall hearing tomorrow, Tue/20 at 5:30 pm, Siegel and the store’s employees are hoping supporters will show up to help convince the SF Entertainment Commission that Viracocha should be granted a Place of Entertainment Permit.

Ezza Rose performing in the Viracocha basement. Photo by Pete Lee.

“We’ve been operating underground for four years: building, strengthing, and expanding a diverse community of artists, writers, and musicians,” Siegel wrote to supporters. “Not to mention an incredibly supportive and loving mass of patrons and neighbors. But now, it’s time to share with the world how this all works…what, exactly, we’re about, and what our potential is for the future.”

The hearing is open to the public, and Siegel says the commission knows everything about the space’s operations at this point (including its squeaky-clean track record in terms of noise complaints, thank you very much), and nothing’s on the DL anymore. So if you’ve had a good experience there, or just give a shit about the survival of affordable, independent, community-minded arts spaces in this city, come on down.

(Oh yeah, the bathroom’s pretty great, too.)

Spring chickens

Steven T. Jones

April 29, 2014

esilvers@sfbg.com

LEFT OF THE DIAL Any musician who’s just released an album will tell you that a little bit of attention is never a bad thing. But a strongly worded cease-and-desist attorney’s letter from the daughter of Aerosmith’s Steven Tyler wasn’t exactly what the dudes in bAd bAd had in mind when they put out their first, self-titled full-length last month. With a shiny new cassette (!) for sale and a release show at Amnesia May 3, members of the lo-fi mariachi-surf-punk band had good reason to be in high spirits. And then, April 22…

“It’s an aggressive letter,” said singer Christian Zamora, one half of a pair of brothers who, in turn, make up half of the four-piece. “Like, a really, really aggressive letter. We’re supposed to cease and desist within 48 hours, and remove all signs of our existence as bAd bAd online, in fliers, everywhere.” Meaning, of course, that the band wouldn’t be able to sell its brand-new pride and joy, bAd bAd’s debut album.

The accusers in question were badbad, an electro-pop duo out of LA that consists of Chelsea Tyler and her fiance, actor Jon Foster. According to a letter from the duo’s attorney, the San Francisco band has been “capitaliz[ing] on the goodwill and reputation” of the other band. The problem, as far as Zamora saw it? Though the duo’s online bio states that they formed in 2011, they played their first-ever show — “a Tommy Hilfiger party…yeah, I know” — in the spring of 2013, the same year they released their first and only song, and, from what Zamora can tell, the same year they actually trademarked the name. Whereas bAd bAd has been at a sort of low-profile hustle since forming in early 2012, playing regular shows at spots like El Rio and Brick and Mortar Music Hall.

“Why do they even care?” said Zamora by phone on April 23, just after word began spreading amongst Bay Area friend-bands thanks to a Facebook post he’d written. “We play modest shows, and I think we’re good, but it’s nowhere near their scene.” The two bands wouldn’t have even been aware of one another’s existence were it not for a Spotify snafu that ignored their stylization differences and lumped their music together.

The singer, who said his and his brother’s love for mariachi music comes in part from their Spanish roots, decided to have a lawyer friend look into their options and legal obligations, while staring down the prospect of having to give away their debut album for free.

Less a week later? Don’t say social media never did anything for you. Friday, April 25, after the story had been picked up by websites like PandoDaily, Zamora received an email from the other badbad, which had abruptly changed their tune. Explaining that “If there is anything we stand for, it’s fair business,” Foster and Tyler said they had looked “deep within [them]selves” and decided to change their own band name. Zamora and his bandmates wrote back thanking them, adding that “&ldots;this week and the threat of losing our alias has been enlightening in helping us realize just how much we have grown to love the bAd bAd name over the years.”

Long story short: Spirits should be pretty high at this party.

With Cruel Summer, Male Gaze, and Bob Thayer

7pm, $7-$10

Amnesia

853 Valencia, SF

ww.amnesiathebar.com

OTHER RELEASES

Springtime in the Bay Area is beautiful — but if we’re being honest, to the casual observer, it doesn’t look all that different from any other season. Unlike on the East Coast, where the appearance of blossoms and warmer weather serves as sweet, necessary, not-a-moment-too-soon relief from the tyranny of extremity-numbing slush and sleet and monochromatic down-stuffed outfits, the arrival of spring in Northern California is more or less marked by temperatures maybe 5 to 10 degrees warmer than the ones January brought us.

So what sets spring apart? The shit-ton of stuff going on. Restaurant openings, film festivals, museum parties galore. And judging by my overflowing mailbox (yes, the physical, snail-mail one, though my email inbox is similarly bulging), it’s a very popular time for record releases. Here’s a sampling of other new releases from local bands to look for in the next month:

Future Twin

Future Twin have the distinction of being the only band I can think of that could get away with describing their sound as “punkadelic farmageddon moongayz,” and have a first-time listener go “Oh yeah, that pretty much makes sense.” The synthed-out, cinematic vocals-led three-piece has made a name for itself with energetic live shows over the last three years, but 2014 is shaping up to be the year they invade your living room. They’re in the middle of shopping their full-length debut, Wavelength Sovereignty, around to different labels, but in the meantime they’ve decided to reward loyal fans with a very hearty aperitif: Chillality, a five-song “cassingle” the band recorded at Fantasy in Berkeley, out Tue/29; they’re celebrating with a release show Wed/30.

With The Spyrails and What Fun Life Was

8pm, $7

El Rio

3158 Mission, SF

Annie Girl & the Flight

Remember way back in March, when our On the Rise issue told you about the irresistible It Factor in singer Annie Girl‘s stage presence? No? That’s ok, it’s been a rough few weeks for me too. Besides, I have a feeling that with the release of this band’s new EP, Pilot Electric, theirs is a name you’ll have a hard time avoiding in these parts; you might as well catch their spaced-out, hypnotic art-rock at this Fri/2 EP release/tour kickoff show, while tickets to their gigs are still cheap.

With Ash Reiter and Kera and the Lesbians

8pm, $12-$15

The Chapel

777 Valencia, SF

www.thechapelsf.com

Whiskerman

Oakland’s Whiskerman is another band that seems like it should be bigger given the affinity our current pop culture zeitgeist seems to have for smoky, Southern-flecked soul-rock. Graham Patzner is a natural frontman if there ever was one, the younger brother of Anton and Lewis Patzner (better known as the mind-blowing, metal-accompanying string duo Judgement Day), born to a symphony violinist and a symphony trombonist. Setting aside how unfair that seems for a minute, Whiskerman isn’t riding anyone’s coattails. Patzner’s clear vocals move fluidly through blues, gospel, and straight-ahead rock ‘n’ roll, accompanied by bass, guitar and drums, as well as his own talents on guitar, keys, and violin. Serious dance parties have been known to ensue; the new EP, Bad News, suggests this could be a continuing problem.

Check www.whiskerman.com for shows.

Cocktails

Of all the new releases that have come across my desk over the past month, none has made me feel quite so much like ditching work and taking a drive down 101-south with the top rolled down and the wind in my hair as Adult Life, the debut full-length from SF’s own garage-fuzz-pop five-piece Cocktails. Of course, I drive an ’88 Volvo with very few moveable parts, and wind’s never been very kind to my hair, but you get the idea. Unabashedly catchy and, in places, perfectly snotty odes to summer and relationships are delivered through sonic nods to our ’70s power-pop and classic punk heroes. The album’s not out ’til mid-June, but you can catch new songs at shows throughout May, like at the Make-Out Room May 12.

With Tiaras and Emotional

8pm, free (??)

Make-Out Room

3225 22nd St, SF

www.makeoutroom.com

tUnE-yArDs

If there were any doubt that Oakland’s most loveable weirdos had staying power, last week’s firework-filled free Converse Rubber Tracks show at the Chapel — just before tUnE-yArDs took off on tour opening for the Arcade Fire — should have laid that to rest. Nikki Nack, out May 6, is full of R&B grooves and plenty of synthed-out weirdness, lest anyone was worried that singer Merill Garbus would get boring as she achieved more mainstream success. The band won’t be back in the Bay until a two-night stand at the Fillmore June 6 and 7 (with openers Sylvan Esso and Goldie winner The Seshen, respectively) but check this space next week — we’ll be checking in with Garbus from the road in the days before the album officially drops.

June 6 and 7, 8pm, $26

With Sylvan Esso June 6, The Seshen June 7

The Fillmore

1805 Geary, SF

California, from scratch

Steven T. Jones

April 22, 2014

esilvers@sfbg.com

I was 12 years old in 1996, which is the year Jawbreaker, the punk band that’s been (somewhat controversially) called “the sound of the Mission,” disbanded for good. I started listening to them about four years later, and really only started listening-listening to them, in the way that Jawbreaker fans listen to Jawbreaker — obsessively, open-veined, with every part of your body engaged — a few years after that, when I was in college in San Diego, 500 miles from the ’90s Bay Area punk scene that I had only just begun to realize was special once it (and I) was all but gone.

I suspect, however, and a few friends’ Jawbreaker-love stories have confirmed this, that it doesn’t matter how old you are when you start listening to Jawbreaker, because Jawbreaker songs — in the universality of their lyrical angst, wedged as they are in that the puzzle-piece-shaped sweet spot between well-crafted pop and sore throat-inducing (in singer Blake Schwarzenbach’s case, throat polyp-causing) punk rock — will make you feel like a teenager. And not in the hopeful, peppy way people usually mean when they say something “made them feel like a teenager.” I mean, really, confused, hormonal, nostalgic, angry, in love, frustrated, drunk, fist-in-air triumphant, wistful about something you can’t quite place, and generally just fucking waterlogged with feeling.

The band’s enduring popularity and the reverence with which it’s still treated among the ’90s punk/emo-loving population — Google image-search “Jawbreaker tattoo” if you don’t believe me — is certainly, in large part, thanks to that: As an adult, that mood gets harder to access; you don’t often stumble onto art which opens a portal into that level of emotion. Jawbreaker picks you up and hurls you down it before you know what’s happening.

Drummer Adam Pfahler, the driving force behind the past few years of remastered re-issues of Jawbreaker’s iconic albums (on his own label, Blackball Records) has been plenty busy since that band met its demise. He opened Lost Weekend Video on Valencia, and still works there a few days a week. He lives in Bernal Heights; he has two teenage daughters. He’s played in at least a dozen other bands, including J Church and Whysall Lane. So does it bug him that people still mainly associate him with Jawbreaker, some 18 years after they broke up?

“Not at all — I’m totally grateful for that band, and the fact that people still feel that strongly about it is insane,” says the drummer, during a phone interview in which he multi-tasks impressively: He has about 20 minutes before it’s time to run to an evening practice with his new band, California, and he’s making pasta for his kids while answering questions.

“I’m definitely not running from that legacy. I love it, and so do Blake [Schwarzenbach] and Chris [Bauermeister, Jawbreaker’s bassist],” he says. “It is a little funny because I’ve been playing all along…it’s just that certain things take hold or get seen better than others.”

Of course, certain things, like this new project, have the benefit of being able to attach the words “Ex-Jawbreaker/Green Day” to a flier or listing, as the Rickshaw Stop has advertised California’s April 24 show — the band’s third official outing — though Pfahler’s a bit uncomfortable with using his star power that way. Hopefully, he says, the band will be earning that buzz on its own soon enough.

After all, California, a three-piece, is something of a Bay Area punk supergroup: On guitar and vocals you have Green Day‘s Jason White, who, despite having played lead guitar on the band’s tours for the past decade or so, only “officially” became a member in 2012; he also shares guitar and vocal duties with Billie Joe Armstrong in the long-running side project (and supergroup of its own, in a way) Pinhead Gunpowder. Bass and backup vocals are courtesy of Dustin Clark of The Insides; Pfahler is on drums.

“I’d kind of been starting to do stuff under my own name in 2011, just to try writing my own songs again,” says White, noting that Green Day is on an “indefinite break” — though he did just get off the phone with Armstrong, who called to tell him about how crazy it was to play with the Replacements at Coachella the previous night. (White, with a laugh: “I hadn’t wanted to go at all but now I’m super jealous, and bummed that I wasn’t there.”)

White started playing out acoustically about three years ago, at places like the Hotel Utah. When he was asked to play a friend’s 40th birthday party, he invited Clark to play bass; Clark asked Pfahler, whom he’d been playing with (they’re old friends — also SF experimental rockers Erase Errata, featuring Clark’s wife, Bianca Sparta, on drums, used to play in the basement of Lost Weekend). All three are veterans of the scene; all three were excited about trying something new.

“I’m at a place where I just want to try any and everything, stretch out on my own, experiment with some different ideas,” says White, who says he’s also a huge Jawbreaker fan. “And all three of us have pretty distinct individual tastes, which has made for a really nice mix of the three, I think.”

California at the Hemlock Tavern earlier this month. Photo by Greg Schneider.

There’s no music online for fans to listen to or buy just yet — and thanks to a name cribbed from a novella by Pfahler’s friend, the writer Amra Brooks, the band’s virtually un-Googlable — but a handful of demos they’ve recorded suggest a leaning toward the poppier end of the spectrum than you might expect from these three. White’s vocals are clean, earnest, not trying too hard to be too much, reminiscent of the Promise Ring, or of the days (day?) before “emo” became code for whiny and tossed around like a dirty word; tight, punchy, early Green Day-esque bridges and hooks are grounded, kept from being overly sugary by the heft of the rhythm section.

“This is very much a new band, in the garage band sense of the word — I’m happy to pester people with texts and emails to get them to come see our shows, because I’m really proud of this one,” says Pfahler. It’s an especially collaborative band, he says, which tend to be the kind he enjoys — as opposed to “just being the guy back there, being told to count to four.” They have plans to record in the next few months, but right now is the best part, says Pfahler: seeing what works and what doesn’t after hours of practicing, seeing how people react at live shows, when the songs are still malleable. “It’s a little like the early, fun part of a relationship,” is how White puts it. Pfahler: “If you’re fortunate enough to have the opportunity to play them out this early on in the process, once you record it’s almost like the death of those songs.”

Pfahler does feel fortunate, in a number of ways. As a longtime Mission District resident and business owner, he’s had a front-row seat for the neighborhood’s drastic changes over the past two decades. Is he tired of the conversation about gentrification?

“I am a little tired of it, but I’m no less passionate about how I feel,” he says. “It’s harsh. It limits things. We’re feeling that in the shop in a very real way, and certainly people are buying fewer records — but they’re paying for high cuisine, organic wine, you know. There’s no shortage of new bands screaming about this stuff, and they definitely have something to be mad about. It’s good fodder for angry music. When Jawbreaker settled here it was a pretty fertile time; you could get things going back then. I mean, the practice space I use now is shared between 13 people, and it costs more than my first apartment did. And there’s no bathroom! It would definitely be tough to be a kid trying to make music here.”

“At the same time, I think my kids are lucky to be here,” he says, as he beckons one of them to the stove to test the pasta. “Even with this craziness going on. They get around on public transportation, they go to shows. They’re going to be the backlash. They’re smart kids and they have really good bullshit detectors.

“That generation, I have a lot of hope for.”

CALIFORNIA
With El Terrible and Vela Eyes
Thu/24, 8pm, $10
Rickshaw Stop
155 Fell, SF
www.rickshawstop.com

Also: We’d be remiss to not mention the musical offerings the SFIFF has planned this year: Thao and the Get Down Stay Down and Stephen Merritt of the Magnetic Fields will each be performing live original scores during film festival offerings, on Tue/29 and Tue/6, respectively, at the Castro Theatre. Cross-media creative pollination never sounded so sweet. For tickets: http://tinyurl.com/l8srz9j

All of the fucks that we should be giving: An evening with Ani DiFranco

Steven T. Jones

March 10, 2014

All of the fucks that we should be giving: An evening with Ani DiFranco

By Kelly McFarling

When I was 13, I was a late-blooming tomboy, watching, confused, as everyone around me grew up and started acting different.

In school, we were writing “conflict stories.” Mine was about losing all my friends to puberty (theirs, not mine). My teacher sat me down on a particularly rough day and said, “Here. This is for you. Don’t tell your parents.” She handed me a copy of Ani Difranco’s Dilate, complete with the parental advisory label shining through the jewel case.

In hindsight, this may have been one of the more amazing gifts I’ve ever received, if not for its origin (what teacher does that?), then for the seismic brain/heart shattering that can only happen to a 13-year-old girl listening to Ani Difranco for the first time. I was floored. My emotions were obviously in desperate need of translation, and DiFranco’s poetry and emotional delivery was something I had never experienced. It’s alright, everything is uncomfortable, everything is changing. It’s cool, this woman is talking about things, and she’s angry and she’s sad, and she’s happy, and she has dreadlocks and boots and says “Fuck you.” Maybe you can be whatever you want/are?! I was a fan from that moment on, and although a lot has changed since then, the feeling that happens when I see her play her songs live is pretty similar to that first listen back in 1996.

Although thus far I’ve discovered that writing a review of an Ani DiFranco show is apparently like writing in your diary, I will attempt to review the things that actually happened on Friday [3/7] at the Fillmore.

Opening the show was Jenny Scheinman, an artist on DiFranco’s own Righteous Babe label. Scheinman, a prolific artist, composer and arranger in her own right, started the night off with a haunting fiddle tune that resulted in a well-deserved hush from the crowd. Plucking her fiddle, she sang a set of lyrically lovely Appalachian-style songs based on reflections of her Northern California hailing grounds. The Fillmore was full and quiet, with only the occasional anxious shoves from folks trying to claim precious real estate.

Jenny Scheinman

When DiFranco walked out there was wave of both excitement and relief. The power, charisma, and authenticity DiFranco delivers at her live shows has earned her incredibly loyal fans who line up, city after city, to be shaken back into something, or shaken out of something else. They show up to be moved, and Friday night, they sensed that motion was about to occur. Necks craned, squeals of excitement were released, and the beam of light that radiates from DiFranco’s wide grin took the stage. DiFranco was accompanied by Todd Sickafoose, her longtime upright bass player, and New Orleans’s Terence Higgens on drums, who, turns out, can also rip surprise kazoo solos. These two provide a pocket deep enough for DiFranco to roam through each sonic peak and valley. The trio is a well-oiled machine, and Sickafooose and Higgens add a lot to these songs, a testament to their sensitivity and chops. They support and compliment DiFranco’s distinctive guitar playing — which is is wild and lucid, both careful and careening. She rips, righteously, and they are right there with her.

Now, I know that DiFranco probably cannot actually see into my soul and choose her setlist according to what’s happening in my life, but I can’t be completely sure. She pulled from many different parts of her rich catalog, including five new songs that hit me in all the places that needed hitting. (How does she know? Why so magic?) I know I’m not alone in this, but her confessional lyrics and clever poetry are so personal, it’s difficult not to feel a sense of ownership over these songs, to remember who you were when you first heard them. Somehow her relevance feels both intimate and universal.

Todd Sickafoos, DiFranco, Terence Higgens

She played some newer ecological crisis songs (“Some call it conservation, some call it common sense”), touching on environmental awareness and self-awareness (shouldn’t these be connected?) and the dangerous complacency we have lulled ourselves into. Revelations continued throughout the night as she delved into older songs dealing with love, the problem of monogamy, the trauma of history, the irreversible damage that words can do, and even perspectives from a Caribbean church. Somehow, all things felt covered. Lines stood out that needed to stand out. DiFranco delivered a beautifully open window into a human being who is steadfastly paying attention to the world, her place in it, and calling them both out. It’s good to know that DiFranco is still fighting the good fight, and reminding us to do the same.

I have heard it said that the reason DiFranco is so powerful is because she doesn’t give a fuck. But on Friday night, it occurred to me that it’s not that she doesn’t give a fuck, but that the rest of us sometimes lose touch with all the fucks that we should be giving. For me, DiFranco is a refreshing and necessary voice of realness. Honesty without agenda, from so many different angles. So there you have it. I go forth into the world shaken, stirred, and reminded.

Set List

“Dilate” – Dilate (1996)
“Splinter” – Which Side are You On? (2012)
“Not a Pretty Girl” – Not a Pretty Girl (1995)
“J” – Which Side are you On? (2012)
“Happy All the Time” (New)
“Napoleon” – Dilate (1996)
“School Night” – Educated Guess (2004)
“Welcome To” – Evolve (2003)
“Allergic” (New)
“Careless Words” (New)
“Harder Than It Needs to Be” (New)
“Genie” (New)
“The Whole Night” – Not So Soft (1991)
“Everest “- Up Up Up Up Up Up Up (1999)
“Fuel” – Little Plastic Castle – (1998)
“Joyful Girl” – Dilate (1996)
“Shameless” – Dilate (1996)
(Encore)
“Both Hands” – Ani DiFranco (1990)
“Overlap” – Out of Range (1994)

Watch: Lia Rose’s “Trainwreck Tuesday”

Steven T. Jones

February 11, 2014

“You ever been in that place where you really want to be in love, deep down you know you deserve love, but some part of you manages to mess every good thing up?” That’s what SF indie-folk songstress Lia Rose says when asked what inspired the song “Trainwreck Tuesday.” (Answer: Duh.) “So, that’s where I was at when I wrote that song.”

Rose is one of those rare, lucky songwriters who can sing about dark places in a jaunty way without it seeming forced, thanks in no small part to the singularly sweet, lilting clarity of her voice — she always sounds like she’s been there, and she can report that it’s all going to be OK. Her live shows don’t disappoint, but you also kind of just wish she were your summer camp counselor that year you got poison oak.

In honor of Tuesday, which has been scientifically proven to be most miserable day of the week, check out her new video for the track, which was shot in her hometown of Long Beach, featuring Mike Wolf on the guitar and Kyle Caprista (the Joel Streeter Band, Megan Slankard, others) on the drums.

If you want to catch Rose’s next show, it’s a super-intimate March 6 living room gig that will be streamed online. Happy Tuesday, kids.

Live Shots: WATERS is stormier than expected at Brick & Mortar

Steven T. Jones

February 5, 2014

Live shows are an opportunity for musicians and music lovers to share an experience together. After all, you’re standing in the same room. Brick & Mortar Music Hall is a treasure trove for musicians. The small space offers an intimate setting that gives musicians the chance to embrace their audience.

I stood five feet away from WATERS’ lead singer and frontman Van Pierszalowski Monday night and not once did I feel embraced.

Skip the foreplay. WATERS jumped right into a distinctly scruffier and rowdier sound, playing brand-new music from its upcoming album set to be released in April. When two beardy, flannel-sporting men in the audience started running into each other within the first minute of WATERS’ set, I was afraid that this wasn’t my scene. But the two human pinballs quickly stopped before the end of the first song, after fellow audience members ignored the unwelcome cavorting.

“Thank you everybody. The name is WATERS and we’re from San Francisco,” Van said apathetically. After the dissolution of indie rock-folk band Port O’Brien, Van created WATERS. But similarities between the two start and end with the vague nautical allusion. Where Port O’Brien sailed toward hazy folk, WATERS capsized into rowdy rock.

The first half of the rambunctious set consisted of unheard songs off the band’s noisy sophomore LP while the second half was dedicated to the slightly less loud songs from Out In The Light, the band’s debut album; all of it was heavy guitar riffs and booming drums. A somewhat out-of-place female keyboardist played quietly in a dark corner, offering sweet harmonies that added a much-needed contrast to the harshness in Van’s voice.

Bangs calculatingly side-swept over his right eye, Van lightly rocked onto his toes when he sang. It was in those moments that I felt the disconnect melt away. But rather than building on that passion, Van would often sever the mood by rocking out alone on stage— creating an awkward feeling of detachment between the band and the crowd. Seemingly unaware of his relatively mellow audience, Van built up on boisterous vocals and turbulent beats as girls wearing black lipstick and acid-wash jeans swayed in the front row and cute boys with beards and suede jackets bobbed their heads up and down.

“I’m in love with every single one of you people,” Van admitted mid-set. The false grab at intimacy made me feel like a high school girl cornered at her locker by a boy professing his unrequited love. The singer asked if anyone would be coming to the next shows during his month-long Brick & Mortar residency. A few hands flew up, several pathetic howls echoed in the room. He asked again (“Just put your hands up to make me feel better.”) Several additional hands shot into the air.

The best part of the WATERS set was the last song, not only because it indicated the end of a generally lackluster show, but also because the acoustic version of “Mickey Mantle” was Van’s first demonstration of genuine emotion. The final song on Out In The Light is a soft, acoustic guitar-driven tune.

Van attempted to quiet the audience and urged us to huddle close to the stage so that he could play without amplification. Welcome to the Van Pierszalowski Show. The other band members sunk into the background as Van balanced on the edge of the stage.

Imploring the audience to shout rather than sing the chorus with him, Van commandeered the audience into enjoying the final song. The lovely female keyboardist chimed in at the chorus and the bassist occasionally strummed his unplugged instrument — two welcome breaks from the shouting. But even Van’s attempt at connecting with the audience was interrupted by accidental microphone feedback mid-song.

I promise I wasn’t in a bad mood before heading to Brick & Mortar. On the contrary, I was rather excited about WATERS. As a fan of Port O’Brien, I had a lot of hope for the local band. The story of how WATERS was born, in particular, intrigued me: Post-breakup and in search of inspiration, Van traveled the world to decidedly graceful landscapes — the ethereal Alaskan coast, the frigid Norwegian fjords, and his seaside hometown in California. With a beautiful name like WATERS, it’s difficult to grasp how such a harsh sound comes out of solitary travels to exquisite coastal settings. Unlike the graceful flow of rushing rivers and crashing waves, WATERS remained detached throughout its first show at Brick & Mortar. Despite the attempt to connect with nature and music, Van just seemed out of place.

This Week’s Picks: February 5 – 11, 2014

Michael Redmond

February 4, 2014

WEDNESDAY/5

Action Bronson

Action Bronson lives life large. Imposing both physically and lyrically, the Queens native and former gourmet chef draws upon his joys in life — food, drugs, and women — to construct poetically intricate and technically impressive rhymes. His mix tapes are full of love songs, both highly eloquent and frequently offensive, written about the grit of urban life and the beauty of a great meal. Lines about “pissing through your fishnets” are sprinkled among odes to “bone marrow roasted/spread it on the rosemary bread/lightly toasted,” all delivered with Bronson’s sure, sharp-tongued talent. At his live shows, Bronson is extremely interactive with his (extremely devoted) fans, passing back and forth joints, liquor, and jokes from the stage to the audience. With the brand-new addition of Odd Future thrash punks Trash Talk to the lineup, this show is sure to be insane. (Haley Zaremba)

With Trash Talk

9pm, $25

Slim’s

333 11th Ave, SF

(415) 255-0333