Punk

Summer sounds

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THE FRAIL 
LoveDeathLegend

The debut full-length from this SF-based trio, out Aug. 26, is full of dance-worthy electro pop with what feels like a surround-sound wall of synth, recorded, layered, and perfected at our own Different Fur Studios. Jumpy, bright, but not too cacophonous for a hungover late August day at the park; it’d pair well with DIY mimosas, come to think of it. Catch ’em at a free in-store at Amoeba Aug. 23, or at the album release party at Bottom of the Hill Aug. 29.

THE AEROSOLS
Fake Mirror

Self-recorded using an 8-track tape over the course of four years, The Aerosols‘ sophomore record calls to mind bootleg recordings of your favorite sing-songy indie or punk bands getting weird and stoned and psyche-y in someone’s college house basement. I’m thinking here of a particular Weezer rarities compilation, but The Aerosols seem more committed to their weirdness than that, with a distinct, sneering Brit-pop overlay that never feels forced. Get far out at the album release show Aug. 31 at the Make-Out Room.

EVERYONE IS DIRTY
Dying Is Fun

We’ve been waiting on this one a long time — ever since this Oakland art-rock quartet started dropping darkly entertaining singles, with cut-above-the-rest grunge operatics thanks to singer Sivan Gur-Arieh’s stage presence and creative interpretation of the violin as a tool for punk rock. The band just signed to Tricycle Records for this debut LP, so we’re excited to see what’s next. Their next wild and woolly live show will be an album release party Sept. 5 at the Rickshaw Stop.

GOODNIGHT, TEXAS
Uncle John Farquhar

The second full-length from this Americana four-piece — which draws its name from the town that’s equidistant between frontmen Avi Vinocur and Patrick Dyer Wolf’s homes in SF and North Carolina — is saved from falling down the alt-country cliché rabbit hole by seriously smart, cinematic songwriting. If Civil War stories and stomp-along choruses and lullabies for bank robbers are in your wheelhouse, you’re in luck.

TY SEGALL
Manipulator

Local boy makes good…moves to LA. Despite the Bay Area’s reigning king of effortless psych-garage-pop melody having recently abandoned the fog for sunnier (cheaper) pastures, we’re going to claim him as our own for at least the next decade — especially since this record, with its ’70s glam-rock, space-age guitar and lush T-Rex-esque vocals, is probably Segall’s best, most three-dimensional record yet. If we have to take a brief road trip to see him more often, so be it (sniff).

ENSEMBLE MIK NAWOOJ
Ensemble Mik Nawooj: A Hip-Hop Orchestra

That album title might seem to say it all, but you really can’t understand what it’s like to hear Wu-Tang songs reimagined by a classical orchestra until, well, you’ve heard ’em. JooWan Kim, a Taoist Bay Area composer born in Korea and educated at Berklee, didn’t start listening to hip-hop until he was in his 20s, and the result is fresh, funky, disorienting, and interesting from start to finish. The orchestra will celebrate its debut album with a free release party at Intersection for the Arts on Sept. 6.

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

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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

www.slimspresents.com


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.

Rep Clock: August 13 – 19, 2014

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Schedules are for Wed/13-Tue/19 except where noted. Director and year are given when available. Double and triple features marked with a •. All times pm unless otherwise specified.

ANSWER COALITION 2969 24th St, SF; www.answersf.org. We Are the Palestinian People (CineNews, 1973), Wed, 7.

BALBOA 3630 Balboa, SF; cinemasf.com/balboa. $10. “Thursday Night Rock Docs:” Stop Making Sense (Demme, 1984), Thu, 7:30.

BERKELEY FELLOWSHIP OF UNITARIAN UNIVERSALISTS 1924 Cedar, Berk; www.bfuu.org. $5-10 (no one turned away for lack of funds). The Day After Trinity: Oppenheimer and the Atomic Bomb (Else, 1981), Thu, 7.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $8.50-11. •The Rover (Michod, 2013), Wed, 7, and A Boy and His Dog (Jones, 1975), Wed, 9. “Carax/Linklater:” •Mr. X: A Vision of Leos Carax (Louise-Salomé, 2014), Thu, 6; Boy Meets Girl (Carax, 1984), Thu, 7:25; and Before Sunrise (Linklater, 1995), Thu, 9:20. Triple feature, $12. •Mamma Mia! (Lloyd, 2008), Fri, 7, and Moulin Rouge! (Luhrmann, 2001), Fri, 9:10. “SF Sketchfest Summer Social:” The Muppet Movie (Frawley, 1979), Sat, 11am. With Dave Goelz (“Gonzo the Great” puppeteer and voice) in person. This event, $10. “SF Sketchfest Summer Social: The Benson Movie Interruption:” The Twilight Saga: Eclipse (Slade, 2010), Sat, 4:20. With comedian Doug Benson and friends. This event, $20. “SF Sketchfest Summer Social:” Office Space (Judge, 1999), Sat, 9. With Stephen Root (“Milton”) in person. This event, $12. “SF Sketchfest Summer Social:” Fred Armisen with special guest Ian Rubbish (Armisen’s English punk rock alter ego), Sun, 8. This event, $25. •The Lineup (Siegel, 1958), Sun, noon, and The Good, the Bad and the Ugly (Leone, 1966), Sun, 1:40. •Ida (Pawlikowski, 2013), Tue, 7, and Incendies (Villeneuve, 2010), Tue, 8:35.

COURTHOUSE SQUARE 2200 Broadway, Redwood City; www.redwoodcity.org. Free. The Secret Life of Walter Mitty (Stiller, 2013), Thu, 8:45.

EXPLORATORIUM Pier 15, SF; www.exploratorium.edu. Free with museum admission ($19-25). “Saturday Cinema: Experimental Films for Kids with Canyon Cinema,” Sat, 1, 3.

JACK LONDON FERRY LAWN Clay and Water, Oakl; www.jacklondonsquare.com. Free. “Sing-along Cinema:” The Wizard of Oz (Fleming, 1939), Wed, sundown.

NEW PARKWAY 747 24th St, Oakl; http://thenewparkway.com. $10. “Best of CineKink 2014,” sexy narrative and documentary shorts, Thu, 9:15; Fri, 9:30.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Over the Top and Into the Wire: WWI on Film:” Gabriel Over the White House (La Cava, 1933), Wed, 7; Arsenal (Dovzhenko, 1929), Sun, 5. “Kenji Mizoguchi: A Cinema of Totality:” The Taira Clan Saga (1955), Thu, 7; Sansho the Bailiff (1954), Sun, 7. “Martin Scorsese Presents Masterpieces of Polish Cinema:” A Short Film About Killing (Kieslowski, 1987), Fri, 7. “Rude Awakening: American Comedy, 1990–2010:” Best in Show (Guest, 2000), Fri, 8:50. “The Brilliance of Satyajit Ray:” The Kingdom of Diamonds (1980), Sat, 6:15. “Derek Jarman, Visionary:” The Tempest (1979), Sat, 8:35.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-11. “Arab Film Festival’s Summer Screening:” Mars at Sunrise (Habie, 2014), Wed, 7. Video release party for “We’re Here” by Future Twin, Wed, 9:30. Heli (Escalante, 2013), Wed-Thu, 7, 9:15. “Frameline Encore:” Valentine Road (Cunningham, 2013), Thu, 7 (free screening). Venus in Fur (Polanski, 2014), Thu, 9:30. Kink (Voros, 2013), Aug 15-21, 7, 8:30 (check website for Sat-Sun matinee times). Mi Casa No Es Su Casa (Yu and Jensen), Sat, 7. Slamdance presents: I Play With the Phrase Each Other (Alvarez, 2014), Tue, 7.

SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-$10.75. “Monty Python Live (Mostly),” recorded at London’s O2 Arena, Thu, 7. This screening, $18. Horses of God (Ayouch, 2013), Wed, call for times. Alive Inside (Rossato-Bennett, 2014), Aug 15-21, call for times. “Alec Guinness at 100:” Kind Hearts and Coronets (Hamer, 1949), Sun, 4:30, 7.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; www.ybca.org. $8-10. “The Exploitation of William Lustig:” •Maniac: Unrated Director’s Cut (1980), Fri, 7; Vigilante (1983), Fri, 9; Hit List (1989), Fri, 10:45. “Maniac Cop Trilogy:” Maniac Cop (1988), Sat, 7; Maniac Cop 2 (1990), Sat, 9; and Maniac Cop 3: Badge of Silence (1993), Sat, 10:45. With Lustig in person.*

 

Outside Lands 2014: It’s Yeezy season

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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

mc
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

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
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
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.

Here are some shows that have nothing to do with Outside Lands

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What’s that you say? VIP wristbands for $600, special-issue high-end ice cream, and tiny cups of organic sulfite-free wine aren’t exactly your thing? 

We’re headed to the park momentarily to support some of our favorite local bands who are doing their thing at OSL this year, but if you have a strong desire to stay far, far away from it all — well, let’s just say we understand that too.

For you live music lovers looking for something a little more low-key this weekend, here are your best bets. Most of them pair well with Tecate in a can.

FRI/8

Crocodiles and the Tweens: One of the key figures in the noisy San Diego rock scene, Crocodiles have come a long way from their Jesus and Mary Chain-aping early days, with four albums and a feud with notorious Arizona sheriff Joe Arpaio under their belt. The band has released an album every year since 2009 (except 2011, but they put out an extra EP in 2010 to make up for it) and are showing no signs of slowing down, gigging relentlessly with a variety of bands. A live Crocodiles show tends to sound like a sockhop in a sheet-metal factory, with rock ‘n’ roll riffs and yelps bouncing around a nightmarish industrial landscape. This is their second time at the Chapel. — Daniel Bromfield. $15, 9pm, The Chapel, www.thechapelsf.com

Freestyle Fellowship with Aceyalone, Myka 9, more: Independent West Coast hip-hop at its finest. $15, 9pm, The New Parish, www.thenewparish.com

Those Darlins and Diarrhea Planet: This Nashville rock ‘n’ roll two-fer pairs a couple of bands that will almost certainly be playing much bigger stages next time they’re in town. Diarrhea Planet, in particular, is known for a pretty explosive (sorry) live show. $12, 8pm, Leo’s Music Club, www.clubleos.com

SAT/9

Woods: Mix Best Coast with mid-’70s Eno and you’re left with Woods, the lo-fi Brooklyn outfit that has released a prolific seven albums over seven years. The band’s most recent, With Light and With Love, is their most melodic work yet — generally known for their rampant experimentation and unpredictability, the group isn’t entirely eschewing their eccentricity, but are making their work more accessible. Lead singer Jeremy Earl, whose nasal vocals don’t exactly scream pop, is surprisingly adept at more smooth and singable melodies. The group will likely still be high from their annual Woodsist Festival in Big Sur, which features their friends and occasional collaborators Foxygen and Real Estate. Steve Gunn, the former guitarist in Kurt Vile’s The Violators, will open with cuts off of his acoustic and meditative 2013 release Time Off — David Kurlander. 10pm, $15, Brick & Mortar Music Hall, www.brickandmortarmusic.com

Gold Panda: Gold Panda hit post-Dilla paydirt five years ago with “Quitter’s Raga,” a brief, volatile single that remains one of the most fascinating works of 21st-century producer music. Since then, he’s established himself as one of the most singular and intriguing producers in the electronic world, merging pristine minimal techno with loping hip-hop rhythms and influences from South and East Asian music. His debut, Lucky Shiner,  remains a high-water mark of the last half-decade of electronic music, featuring the absolutely devastating lead single “You” and a host of other speaker-ready songs. Though last year’s Half Of Where You Live found him taking a more Spartan approach to his craft, it’s still comfort-food music, accessible across a wide spectrum of genres, demographics, and consumed substances. — Daniel Bromfield 10pm, $20, www.mezzaninesf.com

Forrest Day: A little bit funk, a little bit punk, a little bit hip-hop, a little bit all over the place — the East Bay native (and singer/sax player) for which this band is named is known for a rather captivating stage show that keeps you guessing and, most likely, dancing. 9pm, $12, Bottom of the Hill, www.bottomofthehill.com

SUN/10

Darlene Love: Just in case you weren’t already in love with the unsung ’60s girl group singer — who repeatedly got the shaft from producer Phil Spector when she tried to launch a solo career as opposed to singing backup for very little money and even less glory (Spector actually released her work under a different girl group’s name) — last year’s award-winning documentary 20 Feet From Stardom  likely did the trick. Her voice sounds strong and joyful as ever, and the warmth and effusiveness that pour from her live performances are undeniable. If the masses at Outside Lands aren’t quite your thing, this free show should bring out a different kind of mass, indeed. 2pm, free, Stern Grove, www.sterngrove.org

https://www.youtube.com/watch?v=4x78Et7Cv24

Apogee Sound Club: Pure punk ethos with just enough pop in their hooks to keep your head bobbing. These local kids are gearing up for big things with a brnad-new LP in the second half of the year — catch ’em on home turf and you can say you knew them when. Violence Creeps will make for a nice, noisy appetizer. 8:30pm, $6, Hemlock Tavern, www.hemlocktavern.com

Marc E. Bassy on breaking down musical boxes

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As a member of 2AM Club and a songwriter for artists like Chris Brown and Sean Kingston, San Francisco-raised Marc Griffin is an experienced pop music craftsman. But as Marc E. Bassy, solo artist, he’s a forward-thinking R&B auteur with more of an ear towards the genre’s growing experimental fringe. Only The Poets, Vol. 1, his new solo debut mixtape-EP (out July 29), features psychedelic, distinctly modern-sounding productions alongside hooks that could have come from any period in contemporary R&B history. Atop it all is his voice, an affable croon that tiptoes the ever-blurring line between rapping and singing.

Griffin currently resides in L.A., whose omnipresent pop industry has influenced his craft and helped him sharpen it. But he’s a Bay Area boy to the bone, and most of his collaborators hail from his hometown — from producer and namesake Count Bassy to rising Richmond rapper Iamsu! We caught up with Griffin the week his album dropped.

https://www.youtube.com/watch?v=S2aTzUiNN6o

San Francisco Bay Guardian You’ve said your manifesto is “there are no more boxes.” Could you elaborate on this?

 Marc E. Bassy My manifesto is that when it comes to being creative musically there are no more boxes as pertains to genre, sound, style. It’s like that classic question — “what style of music do you make?” I make every style of music. 

SFBG When do you think those boxes started falling apart?

MEB I’d say since the dawn of the Internet age. Kids listen to songs they relate to and pick up on the vibe rather than the style. When I was growing up as a kid in San Francisco it was very black and white. You either listened to Tupac and liked Michael Jordan or you listened to Green Day and liked skateboarding. It was divided like that, and nowadays rap culture, skateboarding culture, punk culture has kind of swirled into one thing. Unless you’re going for a particular radio format. I’m a songwriter [for other artists] so I’ve thought about different radio formats, but I’m not making songs for the radio right now.

SFBG When you write for other artists do you write from your own perspective or try to inhabit a persona?

MEB The best songs I’ve written for other people I initially wrote for myself. When I’m writing for someone else I try to tap into the most honest feeling I have — it’s usually gonna be about love, or sex, drugs, and rock ‘n’ roll, what every song is about. Once I catch the vibe of the song I can change the lyrics.

SFBG Why did you decide to use a stage name for your solo work?

MEB I’ve kind of stepped away from my band. While my band was on hiatus I was writing songs for other people, and the response I kept getting was “we love this song, but we don’t know who would do it.” So that turned into me deciding to make my own project. I got the name because my biggest collaborator on Only The Poets, Vol. 1 is a producer out of San Francisco named Count Bassy, and every since I was a little baby my family called me Marc E. So I just went by Marc E. Bassy. It’s not a persona — it’s just me, everything I write has some personal resonance.

DB Are there other Bassys?

MEB Nah, it’s just the two of us. But the movement’s growing — I’m sure we’ll have some more. 

This Week’s Picks: August 6 – 12, 2014

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sockhop in a sheet-metal factory

THURSDAY 7

 

Post:Ballet’s Five High

Most choreographers start small, slowly developing skills — and an audience for their work. In 2010 Robert Dekkers’ Post:Ballet burst onto the local scene like a comet. Dekkers hasn’t stopped since. His choreography can flow like warmed honey; he works with excellent collaborators and, above all, being a very fine dancer himself, he choreographs with the ballet trained body in mind. He doesn’t — yet — have a permanent ensemble, but he gets exceptional dancers who seem to thrive in his contemporary choreography. This year they include four from Smuin Ballet, and two LINES Ballet alumni. The new ourevolution (with a score by Matthew Pierce) will be joined by field the present shifts (2013) — with Robert Gilson and Catherine Caldwell’s spectacular set — and the 2012 quartet Mine is Yours. (Rita Felciano)

Through Sat/9, 8pm, $30+

YBCA Theater

700 Howard, SF

(415) 978-ARTS (2787)

www.tickets.ybca.org

 

 

 

Mikal Cronin

Mikal Cronin is one of the San Francisco garage-rock scene’s most omnipresent figures. Though he was once best-known for his frequent collaborations with Ty Segall (they played together in Epsilons and Ty Segall Band, and they’ve got a collab album awesomely titled Reverse Shark Attack), he’s got two very good solo albums of muscular yet shamelessly catchy power pop that have established him as a formidable presence on the scene in his own right. Unlike most of the scene he’s associated with, Cronin actually moved to San Francisco from Los Angeles, and as such, he’s showing no signs of abandoning his hometown fans. If you can’t catch him at Outside Lands this year, this night show at The Independent might be slightly more intimate. (Daniel Bromfield)

9pm, $20

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

 

 

“Mythological Bird”

Birds in San Francisco are usually nothing special. Pigeons? Please. But when it comes to the parrots of Telegraph Hill, you admittedly revere them. Extinct birds, for the most part, are cast in the same mould. Under the careful eye of some local artists, they’ve majestically flown back to life. The exhibition is a multimedia experience characterized by digital projection — which creates an alternate world for the birds that viewers can step into and thoroughly engage with the art — and more conventional art mediums. The last time the birds were alive may’ve been in the distant past, but the exhibition is a proper modern tribute to their beauty, spirit, and memory. (Amy Char)

Through Sept. 7

6pm, free

Incline Gallery

766 Valencia, SF

(415) 879-6118

www.inclinegallerysf.com

 

 

 

Beardyman

Beardyman isn’t just a beatboxer. While the London-based performer can lay down rhythmically astonishing beats and juxtapose his lines with melodic or bizarre vocal elements, his ability to use live loops is what makes him such an exhilarating live act. Often, Beardyman will start with a simple pattern that, after some fooling with his one-of-a-kind live rig, the Beardytron 5000 mkll, will grow into a layered and almost impossibly complex musical collage. He still is working on transferring his live chops to recording — uploads of his performances have garnered far more attention than his one album to date — but his new project, the long-awaited Directions, may very well change that. After being forced to cancel his last Mezzanine show because of illness, Beardyman looks to pull out all the stops this time; don’t be surprised if costumes, political invective, and incisive cultural commentary make their way into the act. (David Kurlander)

8pm, $18

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

 

 


FRIDAY 8

 

Crocodiles

One of the key figures in the noisy San Diego rock scene, Crocodiles have come a long way from their Jesus and Mary Chain-aping early days, with four albums and a feud with notorious Arizona sheriff Joe Arpaio under their belt. The band has released an album every year since 2009 (except 2011, but they put out an extra EP in 2010 to make up for it) and are showing no signs of slowing down, gigging relentlessly with a variety of bands. A live Crocodiles show tends to sound like a sockhop in a sheet-metal factory, with rock ‘n’ roll riffs and yelps bouncing around a nightmarish industrial landscape. Their upcoming show on August 8 with Tweens is their second time at the Chapel. (Bromfield)

$15, 9pm

The Chapel

777 Valencia, SF

(415) 551-5157

www.thechapelsf.com

 

 

 

Youth for Asian Theater’s Perfect Pairs

Following what must be an age-old tradition, adults often don’t take teens seriously. However, this theater company, completely comprised of local youth from a range of ethnic backgrounds, explores different cultures and the experience of growing up Asian-American through writing, directing, and performing original plays — these youth have already accomplished so much more than some adults have! In the midst of a productive summer, the company’s 14th annual production includes promising plays, such as one described as “Austen-tatious” that follows “prideful, sometimes prejudiced” characters. The theater scene is in good hands with these talented — and well-read — teens. (Amy Char)

6:30pm, free

San Francisco LGBT Center

1800 Market, SF

(415) 865-5555

www.yfat.org

 

SATURDAY 9

 

Woods

Mix Best Coast with mid-’70s Eno and you’re left with Woods, the lo-fi Brooklyn outfit that has released a prolific seven albums over seven years. The band’s most recent, With Light and With Love, is their most melodic work yet — generally known for their rampant experimentation and unpredictability, the group isn’t entirely eschewing their eccentricity, but are making their work more accessible. Lead singer Jeremy Earl, whose nasal vocals don’t exactly scream pop, is surprisingly adept at more smooth and singable melodies. The group will likely still be high from their annual Woodsist Festival in Big Sur, which features their friends and occasional collaborators Foxygen and Real Estate. Steve Gunn, the former guitarist in Kurt Vile’s The Violators, will open with cuts off of his acoustic and meditative 2013 release Time Off. (Kurlander)

10pm, $15

Brick & Mortar Music Hall

1710 Mission, SF

(415) 800-8782

www.brickandmortarmusic.com

 

 

 

Gold Panda

Gold Panda hit post-Dilla paydirt five years ago with “Quitter’s Raga,” a brief, volatile single that remains one of the most fascinating works of 21st-century producer music. Since then, he’s established himself as one of the most singular and intriguing producers in the electronic world, merging pristine minimal techno with loping hip-hop rhythms and influences from South and East Asian music. His debut, Lucky Shiner, remains a high-water mark of the last half-decade of electronic music, featuring the absolutely devastating lead single “You” and a host of other speaker-ready songs. Though last year’s Half Of Where You Live found him taking a more Spartan approach to his craft, it’s still comfort-food music, accessible across a wide spectrum of genres, demographics, and consumed substances. (Daniel Bromfield)

10pm, $20

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

 

SUNDAY 10

 

 

Darlene Love

Just in case you weren’t already in love with the unsung ’60s girl group singer — who repeatedly got the shaft from producer Phil Spector when she tried to launch a solo career as opposed to singing backup for very little money and even less glory (Spector actually released her work under a different girl group’s name) — last year’s award-winning documentary 20 Feet From Stardom likely did the trick. Her voice sounds strong and joyful as ever, and the warmth and effusiveness that pour from her live performances are undeniable. If the masses at Outside Lands aren’t quite your thing, this free show should bring out a different kind of mass, indeed. (Emma Silvers)

With the Monophonics

2pm, free

Stern Grove

19th Ave. and Sloat, SF

www.sterngrove.org

 

MONDAY 11


The NBA’s Jason Collins

At the end of the 2013 basketball season, after becoming a free agent, with one of the most-discussed Sports Illustrated cover stories of all time (that wasn’t a swimsuit issue), 35-year-old NBA center Jason Collins became the first publicly gay pro athlete in any of the four major American sports leagues. Lauded for his honesty and bravery, Collins signed with the Nets in February, but we’re guessing that little in his life has returned to “normal.” This event, hosted by the Commonwealth Club as part of the 2014 Platforum series The LGBT Journey, will see Collins in conversation with Jose Antonio Vargas, producer-director of the documentary Documented, who has been open about his status as a gay, undocumented Filipino American, for a discussion of American identity that doesn’t fit neatly into any one box. (Silvers)

6:30pm, $10-$20

Castro Theatre

429 Castro, SF

(415) 621-6350

www.castrotheatre.com


TUESDAY 12


The Coathangers

Joking ideas can be surprisingly fruitful. Rather than forming a band to appeal to their musical dreams, these four Atlanta-based women just wanted to have a good time while playing shows (conveniently ignoring how none of them knew how to play a musical instrument), which helps explain why their live energy is just as raw eight years later. The Coathangers eventually warmed up to the musical intricacies behind writing songs. Their efforts culminated in Suck My Shirt, the band’s fourth album, which reflects the newfound, thoughtful spirit while retaining their well-honed DIY garage-punk sound. They’re still as flippant as ever with their song titles: “Love Em and Leave Em.” (Amy Char)

With White Fang, Twin Steps

8pm, $12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

Locals only: Outside Lands edition

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esilvers@sfbg.com

LEFT OF THE DIAL Can you smell it in the air? It’s that late-summer, chilled pinot grigio-tipsy, organic ice cream-sticky scent of Outside Lands, just around the corner.

Yes, it’s that time in our fair city’s annual trip around the sun when we get the chance to show Austin and Indio and those warm summer New York nights exactly what we here in San Francisco are made of when it comes to music festivals: Namely, expensive, gourmet food, wine, and beer stands, a commitment to slapping the word “green” in front of everything; and a beautiful, natural outdoor venue in which, should you forget to bring three extra layers in an oversized bag, you will absolutely freeze your ass off by nightfall.

All snark aside, one thing I’ve always appreciated about OSL in its six short summers is that, nestled amongst the sometimes overwhelmingly corporate feel of the thing — something that was maybe inevitable, as Another Planet Entertainment grew from little-promoter-offshoot-that-could into perhaps the most influential promotions company in the Bay Area music biz — is a commitment to bringing local bands along for the ride whenever possible.

Sure, everyone’s excited to see Kanye. I’m excited to see Kanye. Anyone who’s going to see Kanye and tries to say anything more intellectual about it than “I’m really fucking amused in advance and very excited to see Kanye” is lying. But nothing fills me with more hometown pride than watching a band I’ve been rooting for since they were playing living rooms or parklets take the stage in Golden Gate Park in front of thousands of paying, attentive potential new fans.

With that in mind, here’s your guide to a few of our favorite local folks representing the Bay Area at this year’s fest. Show up for ’em. In most cases, they’ve been working toward this for a long time. And if you don’t have the funds to make it to this year’s OSL? Lucky for us — unlike Kanye — these kids play around the Bay all year round.

Nicki Bluhm and the Gramblers

The unofficial queen of Bay Area alt-folk has had a good year since August 2013, when her band’s debut LP took to the airwaves and then to the national stage, with Bluhm’s killer vocals and long, tall mishmash of Stevie/Janis appeal at the helm. Fri/8 at 4pm, Sutro Stage

Tycho

SF’s own Scott Hansen has also been riding high this year, since the release of Awake in March propelled him from bedroom artist to something else entirely with its lush, ambitious landscapes of color and sound. We still think we prefer him in headphones to outdoor festival-style, but we’ll take it. Sat/9 at 3:40pm, Twin Peaks Stage

Mikal Cronin

If you don’t know his solo stuff (and you should; last year’s MCII was one of the best local records of the year), you probably know him as Ty Segall’s right-hand man. Either way, Cronin is one of the most authentic voices in the Bay Area’s indie scene right now, with just enough power-pop sweetness and strings coloring even his scratchiest garage-punk anthems. Fri/8 at 4:30pm, Panhandle Stage

Christopher Owens

Did you love Girls (the SF indie powerhouse, RIP, not the HBO show)? Of course you did. Did you love Christopher Owens’ solo debut, Lysandre? We did too. He’s giving us another one in September; now’s your chance for a sneak preview of some likely highly emotional and lushly orchestrated songs. Sat/9 at 2:30, Sutro Stage

Watsky

This 27-year-old rapper and SF University High School graduate has been gaining attention with his whiplash-inducing flow, which he honed in his teens as a slam poetry champion. His most recent album, June’s All You Can Do, is poised to take him from Internet and Ellen-famous to just famous-famous. Sun/10, 2pm, Twin Peaks Stage

Trails & Ways

Bossa nova dream pop, Brazilian shoegaze, whatever you call it: This Oakland quartet (and Bay Guardian Band on the Rise from 2012) draws inspiration from all over the globe for its undeniably catchy, never predictable, harmony-drenched melodies. Sat/9 at 12:40pm, Twin Peaks Stage

Beso Negro

“This is not your father’s gypsy jazz,” warns Beso Negro’s bio, which — while we’re pretty sure our dad doesn’t have a kind of gypsy jazz — does a pretty good job of explaining the modern sounds infused into this Fairfax five-piece’s musical vocabulary. Hell Brew Revue Stage, all three days, check the website for details

Tumbleweed Wanderers

As if we didn’t have a big enough soft spot for this East Bay alt-soul-folk outfit already, there’s the fact that they got their start busking outside of festivals for their first few years — including Outside Lands. Seeing them on the inside will be sweet. Sat/9 at noon, Sutro Stage

El Radio Fantastique

With horns, theremin, and just about every kind of percussion you can think of, this Point Reyes-based eight-piece is a mish-mash of everything dark and dancey and nerdy and weird, describing themselves as “part rumba band in purgatory, part cinematic chamber group, part shipwrecked serenade.” Serious cult following here. Hell Brew Revue Stage, all three days

Slim Jenkins

Sultry, jazzy, rootsy — we’re excited to see what this mainstay of “voodoo blues” nights at small rooms like Amnesia can do on a bigger stage. Hell Brew Revue Stage, all three days

Marty O’Reilly & the Old Soul Orchestra

O’Reilly, a singer-songwriter who’s clearly done his Delta roots, gospel, and traditional folk homework, played OSL last year — well before putting out a debut studio album, the aptly titled Pray For Rain, in March of this year. This is a three-piece with arrangements that make the band seem much bigger. Hell Brew Revue Stage, all three days

Tears, beers, and bruises at Slim’s with Andrew Jackson Jihad

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Andrew Jackson Jihad may be the most important punk band in America, but they sure don’t look like it. They’re cheerful and (relatively) clean-cut. They don’t want you to crowd-surf. They don’t move around a lot, and when they do they’re self-conscious about it. They don’t use any distortion beyond a pretty, almost psychedelic phaser. They’re technically proficient enough that they could probably back up Dolly Parton if they wanted to. Most importantly, they have to be mixed well, as anything that might distract from Sean Bonnette’s lyrics must be turned waaaay down.

Though their arrangements have become increasingly ornate over time, Andrew Jackson Jihad has always been an intensely lyrical band. A huge part of their appeal comes from the fact that just about any shitty situation anyone’s ever experienced, from stubbing your toe to watching your loved ones die all around you, can be soundtracked by one of their songs. This has allowed them to effortlessly transcend subcultures; not all might vibe with their aesthetic, but just about anyone can find something to appreciate in their lyrics.

At their show at Slim’s on Monday, July 28, I found myself next to two Death Grips-obsessed hipsters and then next to a gaggle of patch-adorned punks after the mosh had settled. After leaving the mosh, I spent some time next to a dude in a Streetlight Manifesto shirt. I ran into two friends there, one a punk and the other a staunch classic-rock fan who had no idea who he was seeing; the latter came out a convert. 

I noticed the crowd seemed to react more strongly to lyrical than musical signifiers. I’ve never seen more people cry at a show, nor sing along of their own volition.  Furthermore, the unusually claustrophobic mosh seemed to tighten whenever Bonnette dropped a choice line, indicating that the audience’s fervor owed more to the lyrics than the music. AJJ’s music isn’t exactly custom-built for moshing, and I’ve seen far more energetic bluegrass bands that haven’t triggered anywhere near that reaction.

The amount of energy the crowd had accumulated by that point may also have had something to do with the opening bands. Hard Girls, the San Jose outfit that came on immediately before Andrew Jackson Jihad, were relentlessly and militaristically energetic; for much of the crowd, not moshing wasn’t an option. By that point, the moshers had tested the waters and were ready for the whole-room clusterfuck that occurred during AJJ’s set.

The first band on, the unfortunately named but phenomenally good twin-guitar ensemble Dogbreth, was the least intense band there. Yet their tamest songs were still wilder than a lot of the AJJ songs people moshed to. The crowd was relatively still during their set, leading me to believe Hard Girls’ main duty on the bill was to ramp up the crowd to breaking point.

Would the crowd have reacted as strongly to Andrew Jackson Jihad had Hard Girls not delivered such a hearty adrenaline shock to the crowd? Maybe the pit wouldn’t have been quite as oceanic as it was, but I’m sure there would still be plenty of shoving. Andrew Jackson Jihad’s music is about emotional release — both for the band and anyone who can associate with Bonnette’s almost uplifting pessimism. And as nobody goes to shows to have drunk life-talks with strangers, the next best thing one can do is just slam into them instead.

Catching up with David Kilgour

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A couple of years ago, on a warm summer evening in the city of Blue Lake, California, I stopped by my friend’s house after work. A man with a curly mop of hair was sitting in the front yard with his toes in the grass, strumming an acoustic guitar.

This isn’t unusual in Blue Lake. The unincorporated town hides among the Humboldt County redwoods and always seems to attract a steady flow of tone-deaf vagabonds. But it turned out the man was not at all tone-deaf and only partially transient. It turned out the guy on my friend’s lawn was David Kilgour of the New Zealand indie rock band The Clean.

The Clean is perhaps one of the most unsung legends of post-punk lo-fi in the ’80s and ’90s. The band is regularly cited as having influenced relatively more known titans, such as Yo La Tengo, Guided By Voices, and Pavement (in his college days, Stephen Malkmus is said to have played the Clean on his radio show). At its core, however, the Clean pioneered a sound characterized by trebly psychedelia and strident nonchalance — often dubbed “Kiwi rock.”

That night in Blue Lake, David Kilgour — along a couple of his collaborators, Steven Schayer (of California band the Black Watch) and Tony de Raad (of the Heavy Eights) — had come to play a show. It wasn’t as part of a tour, or because Blue Lake was on Kilgour’s list of places to visit, but simply because my friend had sent him a shot-in-the-dark request that he come play a gig.

But why? I later asked him. “The whole music thing now is just sort of an adventure,” he said. “It’s not about selling records or making it anymore — it’s about making music…and sometimes that takes you to interesting parts of the world.”

“It’s a lot like being at sea,” he continued. “Sometimes we feel like we’re pirates. We come into bay and take their gold and maybe their women and jump back on the boat and get the fuck out of town and sail to the next port.”

All pirate imagery aside, the fact that Kilgour even responded to my friend’s email — and followed through — really says a lot about him as a person. Merge Records, the label that produces his current solo project, David Kilgour and the Heavy Eights, describes him as “a guitar god for guitar athiests..he’s worthy of worship, but neither expects nor demands it.” The band plays the Rickshaw Stop Friday, Aug. 1.

At the Old Logger Bar in Blue Lake that night, Kilgour played to a crowd of roughly 30 people, who seemed almost suspicious of his talent. “Who is this guy?” one craggy old barfly whispered to me as Kilgour strummed the opening chords to “Anything Could Happen,” one of the Clean’s most classic tunes.

But in our recent conversation, Kilgour expressed that the Clean (which he consistently referred to as “The Clean thing”) is a thing of the past for him. He explained that, these days, the band doesn’t come up with new material, or even rehearse. “It’s just sort of a hobby now,” he said. 

These days, rather, the self-described “hippie pagan with punk undertones” is more engaged with his solo project. The Heavy Eights showcase Kilgour’s journey away from the angsty celebrations of the Clean, toward a more feeling-based sound of psychedelic good will, which has always seemed present — even in his earliest work.

“Let me put it this way,” he said. “I’ve always had a belief in the other-ness of life and I’ve had some incredible experiences with that other-ness…I just want to send out a good vibration, really, and I do want to help people, and if it does help people — bloody great — because it helps me.”

After the show, everyone went outside of the bar and watch Kilgour, Schayer, and de Raad roam the streets and jammed on old folk tunes outside. At one point the vibrations were so high, Schayer, still playing the guitar, splayed himself out in the middle of the street, causing a car to come to a screeching halt. These guys had the rock star mentality without the rock star pretension. That night, they were one of us, and that experience was truly “other.”

Kilgour is back is California, this time with a full band, and he will be release his new album, End Times Undone on Aug. 5. For those daring enough, he will return to the Logger Bar this Thursday, July 31 before heading to the Rickshaw Stop Friday, Aug. 1.

Gorgeousness unbound

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arts@sfbg.com

THEATER If you were milling around the Asian Art Museum last Thursday evening, you might have seen a woman tumble — ever so slowly — down the Beaux-Arts building’s elegant flight of central stairs. Ringed by a crowd of onlookers and the second floor’s imposing colonnade, her limber form caressed the marble steps luxuriously as she cascaded beneath the elegant arched ceiling, entirely at her own pace, leaving behind her the unraveling, impossibly long train of her white and lavender gown.

Bystanders ruminated silently or chatted quietly, sipping cocktails, for the duration of Fauxnique’s 20-minute high-art pratfall, Beautility, as house music reverberated from DJ Hoku Mama Swamp’s station in the nearby lobby. Passing through the lobby, you would have seen mercurial artist Dia Dear offering free makeovers, while members of TopCoat Nail Art Studio applied lacquer to willing hands, in designs inspired by pieces in the museum’s current show, Gorgeous, built from the permanent collections of both the Asian Art Museum and the San Francisco Museum of Modern Art.

Having at last landed on the first floor, in front of the shiny red and white speed demon parked there — German designer Hartmut Esslinger’s Prototype for Frog 750 motorcycle (1985), from the SFMOMA collection — Fauxnique (aka Monique Jenkinson) gathered up her enormous train and rushed up the stairs and out of sight.

Back in the lobby, you might also have caught sight of Nude Laughing, a peripatetic work by La Chica Boom (Xandra Ibarra), and followed the nude figure as she went by, dragging behind her a large nylon stocking filled with what appears to be hair and plastic breasts. You’d have ended up in an alcove on the first floor between several incongruent sculptures — including British artist Tracey Emin’s hot pink neon phrase-sculpture, Fantastic to Feel Beautiful Again (1997); a voluptuous, powerful, and headless stone torso of a female deity from southern India (1400–1600); and American Dan Flavin’s horizontal row of fluorescent colored beams, untitled (in honor of Leo at the 50th anniversary of his gallery) (1987).

In the company of these disparate pieces, the performer slips inside the giant nylon pouch — a Marilyn Monroe wig over her dark hair and atop her painted face, fake furs and sundry toy boobs pressed against her brown body — as she stretches the sheer fabric enveloping her, writhing in coquettish spasms, emitting artificial squeals of pleasure. A puissant abstraction, seriously unsettling and completely mesmerizing in her vaguely menacing flirtation with her audience, the figure eventually sheds her gauzy cocoon and, with a confident stride, disappears down a hallway, leaving behind some flotsam of costume pearls, wigs, and fur.

Headlining this promiscuous night of performance making — part of the museum’s seasonal Thursday night programming, which also featured work from queer punk drag artist Phatima Rude and drag duo Mona G. Hawd and VivvyAnne ForeverMORE — was art-band collective Nicole Kidman Is Fucking Gorgeous (John Foster Cartwright, Maryam Rostami, and Mica Sigourney). At about 8pm, NKIFG took over the regal upstairs chamber with its show, Fuck Gorgeous, a 45-minute incantation, exultation, and rumination on the elusive properties of art, celebrity, fashion, and existence — Nicole Kidman, for short — by three Goth punks with microphones and boundless insouciance.

With enormous projections of full moons looming over a small stage, John, Mike, and Mary engaged in welcoming speeches, banter among themselves, victory laps with streamers, occasional howling, extended ferocious lip-synched roaring, and worshipful mouthing of one truly insipid Oscar acceptance speech. Sound rose and fell, a cacophony of noise gave way to mumbled quips, focus blurred and shifted, bodies went slack, writhed on the dance floor, or bounded around the room. At one point, Mike’s address from the podium slipped from a kind of self-actualization seminar into an outright stab at mass hypnosis as he charged us all to “be Nicole!”

Nicole Kidman, their vessel, “both everything and nothing,” was not quite an object and not quite a projection. Like the other performances enlivening the spaces of the museum and the strange harmony of the artworks on display, Fuck Gorgeous was deeply ambivalent but committed to being in-between, both a come-on and a refusal. *

GORGEOUS

Through Sept. 14, $10-$15

Asian Art Museum

200 Larkin, SF

www.asianart.org

 

This Week’s Picks: July 23 – 29, 2014

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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

www.theindependentsf.com

 

 

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

www.slimspresents.com


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

www.thefillmore.com

 

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

www.theindependentsf.com

Grown-up GRMLN

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esilvers@sfbg.com

LEFT OF THE DIAL Yoodoo Park is the kind of musician who might make some people — people who didn’t find their calling until well into their 40s, or 50s, or 60s, aka lots of people — a little angry.

As GRMLN — a band name he chose when he realized the word “Gremlin” wasn’t Google search-friendly — the singer-guitarist’s new album, Soon Away (out Sept. 16 on Carpark records), is 10 tracks packed into 45 minutes of introspective yet confident, caffeine- and hormone-fueled energy, with nods to power pop and an eye toward the grittier side of the ’90s punk spectrum.

A follow-up to Park’s full-length, 2013’s far dreamier, poppier Empire, GRMLN’s sophomore effort (if you don’t count the self-produced EP he put out in 2011) still contains fairly simple songwriting, is still maybe a little overly concerned with being catchy — but on the whole, the album reads like evidence of maturation, of a songwriter stepping off the suburban curb and tentatively into the street; it’s the sound of someone picking up speed, realizing potential, realizing he’s just getting started. (He’ll debut songs from the record July 30 at the Rickshaw Stop.)

In the meantime, Park turned 21 last month.

“You know, we were in the van driving back from Texas, and it was, like, barren,” says Park, who’s Korean-American, but grew up splitting time between Japan and Orange County, of how he spent the milestone birthday. “I would’ve stopped somewhere to get a couple drinks just because, but there was really nothing.”

If the new weight and levels of distortion on this album (recorded and mixed at a breakneck pace at SF’s Different Fur) speak to the familiar pains of growing up — “Go, go, go outside/be the one you want,” Park urges in the album’s first single, “Jaded,” over the peal of an electric guitar hook that lodged itself in my head the first time I heard it — Park, the person, seems far less angst-ridden. Either that, or he doesn’t believe in showing it.

Still, there’s a musical genealogy here that calls to mind Weezer’s most jagged, honest (best) stuff, a little Teenage Fanclub here and there, with a breezy understanding of pop-punk structure that he seems to have learned by osmosis (Orange County tap water?) and a tone that could maybe be described as “what you sound like when you grow up thinking of Social Distortion as senior citizens and then start a punk band. “

“I guess writing-wise I got way more darker and aggressive on this one,” he muses in the easy, sunny, pseudo-stoned drawl of which only kids who grow up in Southern California are truly capable. “This album is about how a lot of things don’t work out the way you want to, and how in life in general, getting attached to things really isn’t good, emotionally or materialistically. I’ve been reading about Krishna, and how the best thing you can do to make yourself a better person has to do with letting things go…so, yeah.”

What kind of things is he letting go of at the moment? Well, there’s school, for one. He just talked to his counselor from UC Santa Cruz, and it turns out he could graduate in one quarter but he’d have to take a lot of credits, which sounds like a lot on top of touring. So the plan right now is to move to SF and take the whole next year off for playing live, which is, he says, “way more fun” than any other aspect of being a musician (especially now that he and his friends can drink legally). It probably helps that his band is made up of his brother, Tae San Park, on bass, and a friend from high school, Keith Frerichs, on drums.

To be fair, he knows he has it good. “Part of what I wanted with this record was to send a message about how life really isn’t that bad,” says Park. “Life is great in California, but if you pay attention to what’s happening in the world, you watch any documentaries, see how people live other places&ldots;I’m really blessed. I think people take it for granted.”

GRMLN

With Everyone Is Dirty, Mall Walk (Different Fur showcase)

July 30, 8pm, $10

Rickshaw Stop

155 Fell, SF

www.rickshawstop.com

 

Fests, fests, fests

Just like the line for Bi-Rite ice cream on a day when the temperature climbs above 70 degrees, summer festival season seems to be getting longer all the time. This past week brought the announcement of two different festivals that promise solid lineups of local acts alongside serious grub, hopefully warm weather (as is usually the case when fall begins) and, of course, fine excuses for day drinking. The 20th Street Block Party, a free food and music festival brought to you by Noise Pop and the darlings of the SF culinary world (Thomas McNaughton and David White’s love-child of a restaurant group, made up of flour + water, Central Kitchen, Salumeria, and Trick Dog), will take over, yes, 20th Street in the Mission on August 23 for performances by Rogue Wave, Melted Toys (whose new release we highly recommend), Cayucas, The Bilinda Butchers, Myron & E, and more. Oh yeah, did we mention it’s all free? www.20thstreetblockparty.com

And on Oct. 14 – 15, the Culture Collide Fest, a long-running favorite in LA, will debut its first Bay Area event, with a thoroughly international lineup of bands from the US, Korea, the Netherlands, and Costa Rica: Cloud Nothings, Beat Connection, GRMLN, Go Back to the Zoo, Glen Check, Glass Towers, Alphabetics, KLP, and more. Participating venues include The Chapel and the Elbo Room; we’ll have more as the party gets closer. www.culturecollide.com

On your mark, get set: The Music Video Race is off and running — and expanding

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Everyone knows that true artists do their best work right before deadline. [Ed note: I may or may not be writing this an hour or so before mine.]

Now in its third year, the Music Video Race is an annual San Francisco tradition that takes this dictum to heart, pairing 16 different musical acts with 16 filmmakers for a challenge that makes that “find a flag in the middle of this big fake nose filled with green goop” thing on Double Dare seem like a cakewalk: Conceive, film, and edit an entire music video in 48 hours.

After accepting applications from both filmmakers and musicians for roughly two months, MVR organizers matched up pairs by random drawing at 7:30pm on Friday, July 11, turning the teams loose around the Bay Area, with a final deadline of 8pm on Sunday, July 13. This year’s bands include SF’s Rin Tin Tiger (which will cap their participation with a headlining spot at the video release party, held at The Independent Sun/20), Oakland’s Bill Baird (fresh from rocking Phono del Sol), Rich Girls, Lemme Adams, and bed. [Another ed note: Yours truly is in the middle of judging said videos, and they’re really freakin’ good.]

“We try to pick a diverse group of bands — we don’t want 20 garage bands or folk acts, etc. There’s so much variety in the Bay, and we really ant to respect that,” says Tim Lillis, an MVR founder, of how they select the participants. “But beyond that, we’re mostly just looking for flexibility, a willingness to roll with the punches, a sense of adventure.”

New this year: We Bay Area-dwellers aren’t so special anymore. The MVR is expanding to Austin and LA, over the weekends of Sept. 5-7 and Nov. 7-9, respectively.

“We’ve had a few really expansive years here, and I think this will help people understand that this isn’t just a San Francisco thing — we’re stoked to help local scenes build themselves,” says Lillis.


Last year’s winning video, from Ash Reiter

The Music Video Race got its start in 2011, when Lillis and a few friends were out having a beer at Lucky 13 before a Mister Heavenly show — featuring Michael Cera on bass. 

“I don’t know if subconsciously the worlds of music and film intertwined because of that, but that’s what happened,” says Lillis, who has a background in video production as well as having played in a few bands in the Bay Area. “I’d done a 48-hour film project before, which is fun, but a lot of times the results of those things are not the best, and I think it usually has to do with audio quality. With music videos, there’s pre-reocrded music, so you’re able to cut the film to the beat; there’s already a rhythm for the editing.”

The sped-up nature of the event isn’t just for fun, Lillis explains. “I’m a pretty firm believer in constraints,” he says. “Even in my work as an illustrator and graphic designer, I know that when you only have so much to work with, you have to just trust your gut and make decisions and go with them. Often your first instinct is valid, and there just isn’t time to waffle on stuff.”

And if he had any doubts about the race being good for the city’s music scene, last year’s event should have sealed the deal: A couple of musicians who met as MVR participants in 2013 — Alex Haager, then of the band Magic Fight, and Sierra Frost, then of Clintongore — fell in love, and are now married, and living in Portland, as co-owners of the Oakland/Portland-based Breakup Records. They’re also in this year’s Music Video Race, competing in their new band Bed

So, you know. Even if you don’t have a musical or filmmaking bone in your body, there just might be something at the finish-line party for ya. As “how we met” stories go, speed-music-video-making sounds way more punk rock than speed-dating. 

MUSIC VIDEO RACE PREMIERE PARTY W/ RIN TIN TIGER, BED.

July 20, 7pm, $14-$16

The Independent

628 Divisadero, SF

www.theindependentsf.com

www.musicvideorace.com

Gorgeousness unbound

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arts@sfbg.com

THEATER If you were milling around the Asian Art Museum last Thursday evening, you might have seen a woman tumble — ever so slowly — down the Beaux-Arts building’s elegant flight of central stairs. Ringed by a crowd of onlookers and the second floor’s imposing colonnade, her limber form caressed the marble steps luxuriously as she cascaded beneath the elegant arched ceiling, entirely at her own pace, leaving behind her the unraveling, impossibly long train of her white and lavender gown.

Bystanders ruminated silently or chatted quietly, sipping cocktails, for the duration of Fauxnique’s 20-minute high-art pratfall, Beautility, as house music reverberated from DJ Hoku Mama Swamp’s station in the nearby lobby. Passing through the lobby, you would have seen mercurial artist Dia Dear offering free makeovers, while members of TopCoat Nail Art Studio applied lacquer to willing hands, in designs inspired by pieces in the museum’s current show, Gorgeous, built from the permanent collections of both the Asian Art Museum and the San Francisco Museum of Modern Art.

Having at last landed on the first floor, in front of the shiny red and white speed demon parked there — German designer Hartmut Esslinger’s Prototype for Frog 750 motorcycle (1985), from the SFMOMA collection — Fauxnique (aka Monique Jenkinson) gathered up her enormous train and rushed up the stairs and out of sight.

Back in the lobby, you might also have caught sight of Nude Laughing, a peripatetic work by La Chica Boom (Xandra Ibarra), and followed the nude figure as she went by, dragging behind her a large nylon stocking filled with what appears to be hair and plastic breasts. You’d have ended up in an alcove on the first floor between several incongruent sculptures — including British artist Tracey Emin’s hot pink neon phrase-sculpture, Fantastic to Feel Beautiful Again (1997); a voluptuous, powerful, and headless stone torso of a female deity from southern India (1400–1600); and American Dan Flavin’s horizontal row of fluorescent colored beams, untitled (in honor of Leo at the 50th anniversary of his gallery) (1987).

In the company of these disparate pieces, the performer slips inside the giant nylon pouch — a Marilyn Monroe wig over her dark hair and atop her painted face, fake furs and sundry toy boobs pressed against her brown body — as she stretches the sheer fabric enveloping her, writhing in coquettish spasms, emitting artificial squeals of pleasure. A puissant abstraction, seriously unsettling and completely mesmerizing in her vaguely menacing flirtation with her audience, the figure eventually sheds her gauzy cocoon and, with a confident stride, disappears down a hallway, leaving behind some flotsam of costume pearls, wigs, and fur.

Headlining this promiscuous night of performance making — part of the museum’s seasonal Thursday night programming, which also featured work from queer punk drag artist Phatima Rude and drag duo Mona G. Hawd and VivvyAnne ForeverMORE — was art-band collective Nicole Kidman Is Fucking Gorgeous (John Foster Cartwright, Maryam Rostami, and Mica Sigourney). At about 8pm, NKIFG took over the regal upstairs chamber with its show, Fuck Gorgeous, a 45-minute incantation, exultation, and rumination on the elusive properties of art, celebrity, fashion, and existence — Nicole Kidman, for short — by three Goth punks with microphones and boundless insouciance.

With enormous projections of full moons looming over a small stage, John, Mike, and Mary engaged in welcoming speeches, banter among themselves, victory laps with streamers, occasional howling, extended ferocious lip-synched roaring, and worshipful mouthing of one truly insipid Oscar acceptance speech. Sound rose and fell, a cacophony of noise gave way to mumbled quips, focus blurred and shifted, bodies went slack, writhed on the dance floor, or bounded around the room. At one point, Mike’s address from the podium slipped from a kind of self-actualization seminar into an outright stab at mass hypnosis as he charged us all to “be Nicole!”

Nicole Kidman, their vessel, “both everything and nothing,” was not quite an object and not quite a projection. Like the other performances enlivening the spaces of the museum and the strange harmony of the artworks on display, Fuck Gorgeous was deeply ambivalent but committed to being in-between, both a come-on and a refusal. *

GORGEOUS

Through Sept. 14, $10-$15

Asian Art Museum

200 Larkin, SF

www.asianart.org

 

This Week’s Picks: July 16 – 22, 2014

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Brrrr-illiant!

WEDNESDAY 16

 

 

Jessica Hernandez

Since Jessica Hernandez & The Deltas recorded a full set of tunes for an album two years ago, long stints of touring, writing, and other facets of life delayed their complete release. An excellent EP, Demons, came out last year, and gave fans a taste of what is to come when their new full-length album Secret Evil (Instant Records) is finally released next month. The Detroit-born band plays a tasty blend of blues, jazz, soul, rock and more retro-roots goodness, all building a perfect foundation for Hernandez’ gorgeous and powerful vocals. (Sean McCourt)

With Hungry Skinny, The Tropics

9pm, $12

The Chapel

777 Valencia, SF

(415) 551-5157

www.thechapelsf.com

 

 

THURSDAY 17

 

 

Summer Slaughter

While there are plenty of outdoor music festivals and tours crisscrossing the country this summer, metal fans with an aversion to the sun can rejoice that there is one such touring package that hits indoor venues — so you don’t have to worry about a searing sunburn on top of your ringing ears. The promoters of Summer Slaughter 2014 are billing it as the “Most Extreme Tour of the Year,” and it may well be, with death metal legends Morbid Angel headlining the day-long session of debauchery. Joining them will be Dying Fetus, The Faceless, Thy Art Is Murder, Goatwhore, Origin, Decrepit Birth, Within The Ruins, Fallujah, Unhailoed, and Boreworm. (Sean McCourt)

3pm, $29.50-$32

The Regency Ballroom

1300 Van Ness, SF

www.theregencyballroom.com

 

 

 

San Francisco Symphony: Pixar In Concert

While the films of Pixar Animation Studios may have revolutionized the way movies and cartoons are made with their innovative use of computer animation and their resulting reputation for gorgeous visuals, music also plays an important part in the company’s artistic arsenal. Pixar director Lee Unkrich, CCO John Lasseter and writer-director Brad Bird will act as hosts this weekend as the San Francisco Symphony performs parts of the scores from fan favorite films live, including the Toy Story trilogy, Finding Nemo, Ratatouille, A Bug’s Life, Wall-E, Cars, Up, The Incredibles, Monsters, Inc., Brave, and Monsters University. (Sean McCourt)

Through Sun/20

7:30pm Thu-Sat; 2pm Sun, $35-$150

Davies Symphony Hall

201 Van Ness, SF

(415) 864-6000

www.sfsymphony.org

 

 

 

 

Dark Entries 5th Anniversary

Labels like Josh Cheon’s Dark Entries exist to remind us that no matter how much (or how little) good music might be coming out presently, there are always gonna be underappreciated gems from the past to discover. With this digger’s mentality and assistance from prolific mastering master George Horn, the San Francisco label has been attentitively re-releasing ’80s dance obscurities. Hi-NRG, Italo disco, minimal, post-punk, etc: If it’s avant, analog, and (obvs) dark, it’s perfect. Starting off on a anniversary tour, Cheon will be joined by some of the label’s contemporary artists including REDREDRED (Michael Wood) and Bézier (the live synth project from Cheon’s Honey Soundsystem collective-mate, Robert Yang.) (Ryan Prendiville)

With Max+Mara

July 17, 9pm-2am, $8

The Eagle

398 12th St, SF

www.sf-eagle.com

 

July 19 +Flora Palmer

9pm, $7

Terminal

3957 San Leandro St, Oakl.

 

FRIDAY 18

 

 

 

Brainwash Drive-In/Bike-In/Walk-In Movie Festival

The name says it all: Pretty much any mode of transport — even, probably, roller-skating or Segway-ing, though maybe leave your team of draft horses back on the farm — is acceptable conveyance to the Brainwash Drive-In/Bike-In/Walk-In Movie Festival. Once you arrive, settle in (BYO lawn chair or blanket) for an old-school drive-in experience, with films projected on a big screen and sound provided by FM radio as well as amplified speakers. What’s not old-school is the programming: genre-spanning shorts and the occasional feature (this year: a Bollywood pick!), mostly of the “underground” variety, which means you might not catch ’em anywhere else. (Eddy)

Fri/18-Sat/19 and July 25-26, $12

NIMBY

8410 Amelia, Oakl.

www.brainwashm.com

 

 

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 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. When two of the most idiosyncratic and up-and-coming Bay Area rappers come together, sparks will inevitably fly. (Kurlander)

8pm, $15

Slim’s

333 11th St, SF

(415) 255-0333

www.slimspresents.com

 

 

San Francisco Frozen Film Festival

Foggy days, windy nights — yep, it’s summer in San Francisco. No need to the seek air-conditioned comfort of a movie theater in this town, unless the films on offer are as tempting as this year’s San Francisco Frozen Film Festival lineup. The two-day fest offers a stack of shorts by indie, international, and youth filmmakers, grouped into thematic programs: dramatic shorts, animated shorts, LGBT shorts, experimental shorts (including at least one music video), documentary shorts, and the sub-category of short environmental docs, spanning locations as close as Mt. Tam and as far as Antarctica. Brrrr-illiant! (Cheryl Eddy)

Through Sat/19, $12 (fest pass, $20)

Roxie Theater

3117 16th St, SF

www.frozenfilmfestival.com

 

 

SATURDAY 19

 

 

Sara Lautman at the Cartoon Art Museum

Macrogroan, Sara Lautman’s ongoing booklet series and accompanying blog, is remarkably diverse. Lautman, July’s cartoonist-in-residence at the Cartoon Art Museum, deconstructs tiring pop culture trends (one illustration includes a speech bubble by a young woman sitting a desk with a computer: “If you heard Matthew Sweet in some bar he’d fit right in but you’d be like Holy Fuck!” Near the bottom right corner of the same illustration: “Gross. I sound like Marc Maron.”) and larger societal issues (“Clothes People We Are Afraid of Becoming” is made up of four sketches of archetypes Lautman fears, with corresponding labels that describe their respective outfits). Her self-referentiality and distinctive, often experimental drawing methods — she has created entire comic books using a crude drawing program on a flip phone — has earned her spots in publications as varied as Bitch Magazine and The Hairpin. Lautman will present her work and discuss her process with visitors to the museum. She sums up her vision of the experience on her site: “Come see me yammer for a while, then hang out.” (Kurlander)

1pm, free

Cartoon Art Museum

655 Mission, SF

(415) 227-8666

www.cartoonart.org

 

 

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 a voice that puts nearly every stateside soul singer to shame. At 66, he’s still a respected live performer, appearing frequently at festivals — as well as at the Fillmore, where he’ll play on the 19th. (Bromfield)

9pm, $39.50

The Fillmore

1805 Geary, San Francisco

(415) 346-6000

www.thefillmore.com

 

 

 

SUNDAY 20

 

 

The Hole

Sometimes landlords just refuse to openly admit that they’re renting you a dilapidated apartment. On the surface, the similarities between modern life and the 1998 Taiwanese film The Hole end there — unless you think our tenacity for lining up in the rain for day-old bagels imported from New York is a sign we’d prosper in a post-apocalyptic world. The screening is the first in this summer’s Yerba Buena Center for the Arts series comprised of obscure movies selected by local cinema aficionados. There’s just something about the renter’s dilemma (a modern twist on the prisoner’s dilemma) and a fondness for hoarding toilet paper that resonates with viewers. (Amy Char)

2pm, $8-$10

Yerba Buena Center for the Arts

701 Mission, SF (

415) 978-2787

www.ybca.org

 

TUESDAY 22

 

Say Anything

Like many pop-punk bands, Say Anything caught their big break with a completely ridiculous, comically sexual earworm. “Wow, I Can Get Sexual Too,” a song about phone sex that includes zombie references and the word “interweb,” is still the band’s most popular track and a mainstay in teenage bedrooms, but Say Anything’s catalog is anything but shallow and kitschy. Through a decade and a half of mental health issues, drug habits, and music crit’s endless ridicule of pop-punk, Max Bemis and company have continued to turn out catchy and lyrically sharp and funny records. It is perhaps their distinctly un-hip and unapologetically self-aware musical style (they released a record called In Defense of the Genre) that makes the band most earnest and entirely loveable. (Haley Zaremba)

With The Front Bottoms, The So So Glos, You Blew It!

7pm, $23

The Regency Ballroom

1300 Van Ness, SF

(415) 673-5716

www.theregencyballroom.com


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)

7pm, $12

The Rickshaw Stop

155 Fell, San Francisco

(415) 861-2011

www.rickshawstop.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.

The Best of Burger Boogaloo

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This weekend Oakland’s Mosswood Park was transformed into a mini music festival of adorable proportions. After two days of PBR, sunburns, and a heap of eclectic and altogether awesome music, the results are in: Here is the best of Burger Boogaloo 2014. [Check yesterday’s review for a different sort of run-through.]

Best mosh pit: OFF!
Keith Morris’ newest hardcore punk outfit stirred up a lot of energy and even more dust on Saturday. Playing after the relatively tame Milk N’ Cookies, OFF! turned it up to eleven (really, I think my ears are still ringing) for a rager of a set that resulted in some serious headbanging, slam-dancing, and stage diving. Just what the doctor ordered to keep morale high as the sun went down.

off

Best posse: Shannon and the Clams
Hometown heroes Shannon and the Clams played a killer set on Sunday. While their setlist crushed it, the backup singers brought it, and the tiki-and-vegetable themed balloons thrown into the crowd were a lot of fun, the main attraction was to the right of the stage, parked on top of an amp. The fan who lipsynched and shimmied his way into all of our hearts was later revealed by Shannon herself to be her “creepy little brother,” making his devotion to the Clams even more aww-worthy.

shannon

Best battlecry: The Meatbodies
Midway through the day, a port-a-potty crisis became apparent as lines grew longer and tanks grew fuller. Taking the stage at the end of the Meatbodies’ set, a brave Burger employee announced that due to all of the delicious food and drink provided by their sponsors, the toilets were at critical mass and no number 2 deposits would be accepted at that time. From the middle to the end of this moving speech, the Meatbodies’ guitarist began the rousing and inspirational cry of, “Poop yo pants! Poop yo pants!” Words to live by.

meatodies

Best bouffant: Ronnie Spector
Everywhere you looked at Burger Boogaloo, stunning feats of follicle engineering were peeking out of the crowd. Beehives and bouffants of all sizes and colors came out for the show. I overheard one couple saying they had made a game of tallying beehives and had found 16 midway through Sunday alone. Unfortunately I missed the memo that big and bulbous is the vogue look for garage rock, but Ronnie Spector did not. With the biggest hair and the best attitude of the day, Ronnie stole all our hearts.

ronnie

Longest distance traveled: Thunderroads
Japan’s Thunderroads were the wildcard of the festival. With all the raw power of every generic rock band to follow in ACDC’s footsteps, Thunderroads won us over not with originality or musicality but with pure earnestness and excitement to be playing for us. The magic of the moment is best captured by the words of Thunderroads’ guitarist: “Thank you America, USA! I can’t English, but I love you!” We love you too. More than you know.

thunderroads

Best Striptease: Nobunny
Nobunny killed it with a high-energy set and truly great punk performance on Saturday (although someone should break it to frontperson Justin Champlin that Thunderroads had the harebrained-rock-star idea to climb the precariously-stacked amps hours before he did). Nobunny came to the stage in his trademarked and road-weary bunny mask and a red onesie, which impressively concealed a leather jacket and a pair of briefs, which yes, did eventually come off to reveal…another pair of briefs. Finally, a striptease for the whole family.

nobunny

Best ‘90s throwback: The Muffs
How ‘90s are The Muffs? Featured on the Clueless soundtrack ‘90s. 23 years into their existence, the Muffs were the perfect addition to the lineup, falling squarely between the untouchable status of Ronniw Spector and the hyper-contemporary blog buzz around bands like Nobunny and Shannon and the clams. Still rocking a mini-dress, blunt bangs, and one of the best grunge growls in the biz, Kim Shattuck reminded us just how much we owe to and miss our fellow flannel-wearers of yesteryear.

muffs

This Week’s Picks: July 9 – 15, 2014

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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

www.thefillmore.com

 

 

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

www.theindependentsf.com

 

 

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.thefillmore.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

www.bottomofthehill.com

 

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

 

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.

The mayor of tiki

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culture@sfbg.com

WEEKNIGHTER The best tiki bar I’ve ever been to is Smith’s Union Bar in Honolulu’s Chinatown. It’s a shitty little tiki dive bar with even shittier karaoke. It’s also the oldest bar on the island. The night I was there it was full of Navy dudes, punk chicks, gay guys, and a big hulking, transgendered Pacific Islander. I had the crowd arm-in-arm singing “Tiny Dancer” and “Don’t Let Me Down” while cheering me on and buying me drinks after I sang. It was pretty much what I wish happened every night of my life.

While nothing can quite compare to Smith’s Union for obvious reasons, Trad’r Sam (6150 Geary Blvd, SF. 415-221-0773) is probably my second favorite tiki bar in the world. Sitting way out on Geary and 26th Avenue, Trad’r Sam got its start as a Trader Vic knockoff back in the 1930s. And it seems not much has changed since then. Cheap, powerful, colorful drinks come in punch bowls while wicker and cushion booths line the perimeter of the room. Cash is the only form of legal tender accepted and really drunk people abound. The bar itself is shaped in an irregular half circle with a lump, like a boob job gone wrong.

It was a foggy Tuesday night and Ashley and I had just come from Rockin Crawfish down the way. Neither of us make it out to the Richmond very often so it was an excuse to wander into places that she’s never been and I hadn’t been in years. As we walked in the door we were blown away by how busy it was. It seemed like the only business with any customers on that side of Park Presidio. “Damn, it’s busy,” I said to the door guy. “Is it always like this on Tuesdays?” I asked. He replied, “Pretty much.”

We were impressed. Most of the bars in that part of town, at that particular hour on a weeknight, had a client base consisting of old drunks pissing away what little money they had while staring into their beers. Somehow Trad’r Sam had every young and attractive person in the Richmond inside its walls that night. People of all ethnicities mingled together sipping flamboyant drinks while laughing, flirting, and grooving to music like MGMT.

“Can I touch your coat? Where’d you get it?” a girl asked as she approached us.

“Sure,” I said, “I got it at some thrift store.”

To which she responded by hugging me and saying, “I’m Jillian and you smell like garlic fries.” Jillian told us that Trad’r Sam was her favorite bar and since she lived nearby, she was there all the time. “Everyone here is so nice,” she told me, “Most of the time one of the bartenders walks me home. And if I black out I always make it home safely.” Blacking out is an easy thing to do at Trad’r Sam. Considering how many new SF bars have drinks that start at $12, the most expensive drink at Trad’r Sam is $16 and comes in a bowl meant for multiple people.

Walking out that night and towards the next bar on our adventure, I told Ashley about Smith’s Union and all the incredible things that happen there. “That’s all well and good,” she told me, “but I bet you never met the mayor there.”

“Huh?” I asked and she showed me her phone check in at Trad’r Sam. Apparently Jillian was the mayor on Foursquare. I never new smelling like garlic fries would lead me to meet such illustrious people. If you make it to Trad’r Sam, give the mayor a hug for me.

 

Events: July 9 – 15, 2014

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Listings are compiled by Guardian staff. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Selector.

WEDNESDAY 9

LaborFest 2014 Meet at SW corner of Geary and Laguna, SF; www.laborfest.net. 3-4:30pm, free. “Union Sponsored Affordable Housing in San Francisco: St. Francis Square Cooperative” walking tour.

Kim Stolz Book Passage, 1 Ferry Bldg, SF; www.bookpassage.com. 12:30pm, free. The author and media personality discusses Unfriending My Ex: And Other Things I’ll Never Do.

THURSDAY 10

Kjerstin Gruys Books Inc, 601 Van Ness, SF; www.booksinc.net. 7pm, free. The sociologist discusses her memoir Mirror, Mirror Off the Wall: How I Learned to Love My Body By Not Looking at It For a Year.

LaborFest 2014 518 Valencia, SF; www.laborfest.net. 7pm, donations accepted. “FilmWorks United: International Working Class Film and Video Festival:” Black and White and Dead All Over (Foster, 2013), followed by a discussion on the newspaper industry. Also: Berkeley City College Auditorium, 2050 Center, Berk; www.laborfest.net. 7pm, free. “FilmWorks United:” Coming for a Visit (Tourette, 2013).

Jervey Tervalon Book Passage, 1 Ferry Bldg, SF; www.bookpassage.com. 6pm, free. The author discusses his new thriller, Monster’s Chef.

FRIDAY 11

LaborFest 2014 First Unitarian Universalist Church, 1187 Franklin, SF; www.laborfest.net. 7pm, donations accepted. “FilmWorks United: International Working Class Film and Video Festival:” ASOTRECOL, The Struggle Against Transnationals in Colombia (2013).

“Off Shore: A Live Drawing Event and Fundraiser” Verdi Club, 2424 Mariposa, SF; www.soex.org. 6pm, $15-20. Southern Exposure’s annual “Monster Drawing Rally” fundraiser presents 120 artists drawing in shifts in front of a live audience.

“Punk: Convulsive Beauty” iHeartNorthBeach Art Gallery and Gifts, 641 Green, SF; www.pmpress.org. 5-11pm, free. PM press presents its new book, Dead Kennedys: Fresh Fruit for Rotting Vegetables, The Early Years, by Alex Ogg, featuring photographs by Ruby Ray and art by Winston Smith. Ray and Smith will also be exhibiting their artwork capturing the punk scene, circa 1977-1981.

SATURDAY 12

Tony Gilbert Green Apple Books, 506 Clement, SF; www.greenapplebooks.com. Noon, free. The author reads from Hannah and the Secret Mermaids of San Francisco Bay, alongside a display of original art from the story painted by Gail Weissman.

LaborFest 2014 Meet at 75 Folsom, SF; www.laborfest.net. 10am, free. “San Francisco Waterfront Labor History Walk,” with Lawrence Shoup and Peter O’Driscoll. Also: meet in front of Bill Graham Auditorium, 99 Grove, SF; www.laborfest.net. 10am, $20. “WPA Bus Tour.” Also: Fellowship of Unitarian Universalists, 1924 Cedar, Berk; www.laborfest.net. 7pm, free. Class War CD release party with Redd Welsh. Also: First Unitarian Universalist Church, 1187 Franklin, SF; www.laborfest.net. 7pm, donations accepted. “People’s Voices for a World of Harmony, Peace, and Justice.”

“Writers With Drinks: An Evening of Oversharing About Money” Make-Out Room, 3225 22nd St, SF; www.writerswithdrinks.com. 7:30pm, $5-20. With J. Bradford DeLong, Carol Queen, Farhad Manjoo, Frances Lefkowitz, and Charlie Jane Anders.

SUNDAY 13

“Bookish Beasts” Center for Sex and Culture, 1349 Mission, SF; www.sexandculture.org. Noon-6pm, free. Zine fest featuring authors whose work takes on sexuality, gender, and erotica.

MP Johnson Borderlands Books, 866 Valencia, SF; www.borderlands-books.com. 3pm, free. The author reads from Dungeons and Drag Queens. Attending in drag encouraged!

LaborFest 2014 ILWU 34 Hall, 801 Second St, SF; www.laborfest.net. 10am, free. “Staples, Our Public Post Office, Privativation, and Trust” panel discussion. Also: Manilatown Center, 868 Kearny, SF; www.laborfest.net. 4-7pm, donations accepted. “Revisiting the History of California Agricultural Workers and Filipino Labor” with a variety of speakers.

TUESDAY 15

Anoop Judge Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. The author discusses her Bay Area-set novel, The Rummy Club.

LaborFest 2014 Potrero Hill Neighborhood House, Southern Heights at De Haro, SF; www.laborfest.net. 10am, free. Potrero Hill history walk. Also: Modern Times Bookstore, 2919 24th St, SF; www.laborfest.net. 7pm, free. LaborFest Writers read their work. Also: San Jose Improv, 62 Second St, San Jose; www.sjimprov.com. 8pm, donations requested (make free reservations online). “LaborFest Comedy Night” with Will Durst and others. *