Punk

The Damned celebrates 35 years of punk at Slim’s

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The Damned first turned heads back in 1976. On Saturday night, the UK punk band took to the stage at Slim’s as part of its 35th Anniversary Tour and proved it’s only grown better with time.

Led by founding members Dave Vanian and Captain Sensible, the current lineup of the group ripped through a set of two complete albums from start to finish; its debut LP, Damned Damned Damned, and its fourth release, The Black Album.

When he first walked out on stage and strapped on his guitar, Captain Sensible greeted the audience and thanked them for coming to the special anniversary show, saying with a smirk, “We’re going to play a couple of records that some people consider classics — I guess I can’t really comment on that.”

The band then launched into the first salvo of the opening bass notes of “Neat Neat Neat,” on to “New Rose,” “Drinking About My Baby,” “Hit Or Miss” and more, charging through the material, with the sold-out crowd singing along with Vanian’s goth punk-meets-rockabilly crooner vocals, and pulsing to the jackhammer rhythm section of drummer Pinch and bassist Stu Miller. Keyboardist Monty Oxy Moron presided over the proceedings like some sort of mad conductor or possessed version of Beethoven, his hands flailing wildly about when not pounding the keys.

After completing the two albums in their entirety, the group came back out for a short encore of other fan favorites, including “Jet Boy, Jet Girl,” (with Vanian encouraging the crowd to help him with the tune’s signature “woo-ooh-ooh-ooh!” chorus) and ending with the appropriately titled “Smash It Up.” Once again, the Damned cemented its reputation as one of the best bands to come out of the first wave of punk.

Mood setters

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emilysavage@sfbg.com


MUSIC Water Borders, a gloomy beat-driven San Francisco band with a new release (Harbored Mantras) on Tri Angle Records, spent the past few weekends practicing the art of creating atmosphere for obscure vintage films.


The band was picked for the first San Francisco installment of Celluloid Salon, a multimedia series that also takes place in cities such as New York, Chicago, and Austin, Texas. At the event — Nov. 15 at Public Works — the trio will live score four silent shorts from the 1920s and ’30s. “We’re good at soundscapes,” explains the group’s singer Amitai Heller, sitting amongst pedals, synths, stacked TVs, and laptops in the band’s Tenderloin practice space. “It’s kind of what we do best, is create moods.”


He’s right. The textured tracks on Harbored Mantras creep from black velvet-swaddled eerie (“What Wiwant”) to veiled ethereal (“Waldenpond.com”). Moody synths and drum machine beats are layered with cinematic samples that recall snake rattles, dragging chains, even bird chirps. The album — which is the band’s first full-length release after putting out a CD-R, a cassette, and a few records on labels such as Disaro — also takes hints from post-punk and experimental industrial, most notably, Coil.


Heller’s doomed, swallowed vocals are the most startling. “There’s definitely a lot of studio tricks with the vocals,” says Heller’s partner-in-sound, Loric Sih. “Our music is generally dense and cavernous, the vocals have to be mixed in a specific way to sound right sitting on top of that. There was a lot of experimenting, a lot of trial and error, a lot of long nights in here.” Here meaning the practice space, where a nearby metal act’s muffled guitar bleeds through the walls.


While this project arose in 2009, the two met 10 years back at UC Santa Cruz when Heller was the “flamboyantly dressed” singer of Gross Gang. After Gross Gang ended, Heller started New Thrill Parade and asked Sih to join. With Water Borders, Heller says they had a plan: “everything in reverse from how we did things in the previous band.” In the other band, they “self-promoted aggressively, toured insane, and lost tons of money.”


Says Heller, “With this, [Loric and I] decided that we wanted to get everything in order first, have concise direction…and not show people the evolution as it unfolded. So it’s record it, perfect it, show it.” While that was the theory, the reality was a bit more complicated. They had to work at bringing the synth-and-machine music to the stage in an engrossing way. “It’s taken us about this long to understand how to make electronic sound good live. I think the [record release] show we just played at Amnesia was probably the first time that nothing went wrong.”


Part of that newfound live strength comes from the band’s newest member, Matt Rogers, a longtime friend and recent Seattle transplant. At shows, the multi-instrumentalist plays guitar, keyboard, and an electrical kalimba, among other pieces. The addition of Rogers, who joined in August, meant Heller could focus mainly on vocals. And those are important to him. While they’re murky, under a thick goth-y haze, the lyrics on Harbored Mantras touch on themes of dissatisfaction, systemic and institutional change, and colonialism. They come from Heller’s sociopolitical awareness; raised on a kibbutz in Israel, he’s now a volunteer counselor at the Tenants Union and frequents the Occupy SF grounds.


While likely not so in line with his personal politics, he once composed music for a documentary on the Seastedding Institute (which, he says, is basically an organization of rich libertarians who want to colonize the ocean by creating autonomous cities). The event at Public Works will be the first scoring for Water Borders as a band though. Sih and Heller seem stoked at the prospect. “I would be happy if this band was able to score films professionally,” enthuses Sih. The tones of the short films vary wildly, one even has a slapstick element — which seems worlds away from the Water Borders vibe. Says Heller, “It’s challenging in a good way.”


 


WATER BORDERS


Nov. 15, 7 p.m., free with RSVP


Public Works


161 Erie, SF


(415) 932-0955


www.myopenbar.com/celluloidsalon


www.publicsf.com

Our Weekly Picks November 2-8

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WEDNESDAY 2

“The Unstable Object”

The PFA hosts the West Coast premiere of The Unstable Object, a mysterious, precisely observed work by Daniel Eisenberg. Nearly wordless (but densely aural), the film surveys three work sites: a glassy Volkswagen plant in Germany which doubles as a tourist destination; a Chicago clock producer staffed by the blind; and the alchemical Zildjian Cymbal factory in Istanbul. Occasionally surreal and completely engrossing, the film poetically analyzes differing degrees of labor and manual reproduction. Tomorrow night Eisenberg visits Yerba Buena Center for the Arts to present his film Persistence (1997) and to continue a conversation with Jeffrey Skoller, a UC Berkeley scholar who has edited a new critical anthology on Eisenberg’s work. (Max Goldberg)

7:30 p.m., $11

Pacific Film Archive

2575 Bancroft, Berk.

(510) 642-1412

www.bampfa.berkeley.edu

www.sfcinematheque.org


THURSDAY 3

Fruit Bats

Starting out life as a lo-fi project of Eric D. Johnson (who has stints behind him as a member of the Shins, among other bands) in the mid 1990s, the Fruit Bats came together as an working live band around the turn of the millennium, and has had somewhat of an open/revolving door of a lineup since — but its releases continue to get better and better. The group’s music is full of joyously simple , yet infectiously catchy folk-esque tunes, mixed with a touch of country-fried Southern rock and brightly sung sweet melodies — Johnson keeps the successful formula going on the group’s most recent release, Tripper (Sub Pop), which dropped earlier this year. (Sean McCourt)

With Parson Red Heads

9 p.m., $15

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

 

Unknown Mortal Orchestra

Unknown Mortal Orchestra’s eponymous debut has to be one of my favorite albums of 2011. The brainchild of Portland, Ore., via New Zealand rocker Ruban Nielson, Unknown Mortal Orchestra is like listening to a crate of dusty, warped ’60s psych and Motown records after ingesting a couple mind-altering substances. It may have originated in Portland, but I can’t imagine a place more suited to this fuzzy drugged out basement-pop than San Francisco. Come get weird. (Frances Capell)

With Gauntlet Hair and Popscene DJs 9 p.m., $12–<\d>$14 Rickshaw Stop 155 Fell, SF (415) 861-2011 www.rickshawstop.com

 

Mastodon

Mastodon didn’t please everyone with Crack the Skye, its astral-projecting 2009 concept album, but the band isn’t really in the pleasing business. Ever since mid-aughts underground success propelled the Atlanta quartet into the major label limelight, Mastodon has stuck to its wildly inventive, idiosyncratic guns. Pivoting away from Crack‘s epic song structures and complicated arrangements, The Hunter, released this fall, is an infectious smorgasbord of taut, focused songwriting, heavy on vocal hooks provided by the band’s three singers (guitarist Brent Hinds, bassist Troy Sanders, and drummer Brann Dailor). Lyrical topics range from meth-addled lumberjacks to lonely octopi, but the star of the show is Mastodon’s boundless, yet disciplined creativity. No note, no matter how unexpected or bizarre, feels out of place. (Ben Richardson)

With the Dillinger Escape Plan and Red Fang

8 p.m., $30

Warfield

982 Market, SF

(415) 345-0900

www.thewarfieldtheatre.com

 

San Francisco Transgender Film Festival

One of the greatest things about San Francisco is that there’s a film festival for everyone: green activists, dog lovers, anti-corporate crusaders, horror fiends, outdoor enthusiasts, kung fu fans, and dozens more. Basically, if you can’t find a festival that excites you, you probably don’t actually like movies. This week alone there’s “Not Necessarily Noir” at the Roxie, the San Francisco Film Society’s “Cinema By the Bay,” the American Indian Film Festival (see Fri/4), and the San Francisco Transgender Film Festival. Step out tonight to check out a performance honoring the Transgender fest’s 10th anniversary, with artistic director Shawna Virago among those taking the stage. The films kick in this weekend, showcasing two shorts programs from across the globe; all have a transgender element in common, but topics range from boxing, boobs, and bunnies to the search for true love. (Cheryl Eddy)

Through Sat/5

8 p.m., $12–$15

CounterPulse

1310 Mission, SF

www.sftff.org


FRIDAY 4

American Indian Film Festival

Hollywood loves to depict indigenous people as creatures who exist only in the past, battling cowboys or stepping forth to offer solemn life lessons to the likes of Kevin Costner. The American Indian Film Festival, now in its 36th year, offers ample cinematic evidence to the contrary, with a jam-packed week of programming. Ok, there’s a Western — supernatural frontier tale Yellow Rock — but there are also documentaries (Wild Horses and Renegades, about the Bureau of Land Management’s controversial stance on wild horses), a thriller set in deepest Alaska (On the Ice, which won “Best Debut Film” at the Berlin International Film Festival), and opening night family drama Every Emotion Costs, a Canadian film making its US premiere. (Eddy)

Nov. 4-12, free–$20

Embarcadero Cinema

One Embarcadero Center, Promenade Level, SF

Palace of Fine Arts

3301 Lyon, SF

(415) 554-0525

www.americanindianfilminstitute.com


FRIDAY 4

 

“Cat Lady”

Performance artist, writer, and serious prankster Kristina Wong has a way with stereotypes (cf. her mail-order-bride site, bigbadchinesemama.com), but her work defies categories by virtue of the brilliant wit, creative reach, and restless iconoclasm informing such acclaimed pieces as Wong Flew Over the Cuckoo’s Nest (about the high incidence of suicide among Asian American women) and Going Green the Wong Way (which made its Bay Area debut in July). The SF-born, LA-based Wong normally flies solo, but in her anticipated return to San Francisco this weekend, she unveils her first full-length ensemble piece, a work bringing together “animal psychics, aggressive pick-up artists and musty cat ladies” in a hilarious and unsettling exploration of connection at the social and sexual margins. (Robert Avila)

Fri/4-Sat/5, 8 p.m., Sun/6, 7 p.m.; $17–$20

ODC Theater

3153 17th St., SF

(415) 863-9834

www.odctheater.org

 

Wild Flag

Wild Flag’s self-titled debut, released in September on Merge, is a breath of fresh air from the former members of Sleater-Kinney (Carrie Brownstein, Janet Weiss), Helium (Mary Timony), and the Minders (Rebecca Cole). As tested rockers from Portland, Ore. and Washington D.C. who’ve been playing in bands and listening to them for years (Brownstein also had a blog at NPR Music), Wild Flag’s tough pop rock feels decidedly different from other new bands out today — in other words, not esoteric indie rock awash in reverb. Wild Flag is vivacious, accessible, and catchy. It delivers a multifarious punch of classic hard rock, punk, and post-hardcore that’s downright fun to listen to. And if there’s ever been a great live band, it’s Wild Flag; these women grew up on stage.(James H. Miller)

With Drew Grow & the Pastors’ Wives

Through Sat/5

9 p.m., $19

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

 

Das Racist

Das Racist is a tough act to define. It’s weed rap; it’s social commentary. It’s catchy and fun; it’s edgy and subversive. Or, as Himanshu Suri (a.k.a. Heems) and Victor Vazquez (a.k.a. Kool AD) put it, they’re not joking — just joking — they are joking. Since the pair first broke into the hip-hop scene with silly cyber-hit “Combination Pizza Hut and Taco Bell,” Das Racist has released two hugely successful mixtapes and an album, Relax (Greedhead). Suri and Vazquez may be joking, but with remarkably astute lyrics and a crazy amount of talent, Das Racist is taking over the rap game in a very serious way. (Capell)

With Boots Riley (sitting in with Das Racist), Danny Brown, and Despot

8 p.m., $25

Ruby Skye

420 Mason, SF

(415) 693-0777

www.rubyskye.com


SATURDAY 5

SF Symphony Dia de los Muertos

There is musically much more to Day of the Dead than the ominous-humorous beating of drums, the rustle of voluminous skirts through ofrenda-dotted parks, and the clackity-clack of dancing skeletons bumping knees. There is singing at the symphony! Mexican tenor David Lomelí will join the players in a festive, family-oriented afternoon of favorites like “Besame Mucho,” “Granada,” and works by Mexican composers. Starting at 1 p.m., the colorful Ensambles Ballet Folklórico de San Francisco and musical group Vinikai will lead a procession into Davies Symphony Hall, where musically themed altars will be on display. Plus, complimentary pan de muerto from Bay Baking Co and Mexican hot chocolate will be served, eliciting a few shouts of “Yum!” (Marke B.)

1 p.m. procession, 2 p.m. performance, $15–$68

Davies Symphony Hall

201 Van Ness, SF.

(415) 552-8338

www.sfsymphony.org

 

DaM-Funk and Master Blazter

The last few times DaM-Funk was in town for shows — a DJ set at Som Bar; an incredible but barely remembered 45 party at Public Works to cap off Noise Pop — it wasn’t the full deal. Now the ambassador of boogie will cap off his fall tour with live accompaniment from Master Blazter, strapping on the shoulder synth to accomplish his main goal: throwing a party where everyone gets down. And there’s a good chance DaM-Funk has picked up some new old school tricks producing former Slave frontman Steve Arrington’s new album which comes out this month, Love, Peace, and Funky Beats. (Ryan Prendiville)

With Matthew David, Devon Who, and Sweater Funk DJs

9 p.m., $20

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com


SUNDAY 6

“Beyond This Place” with live soundtrack

It makes sense that Sufjan Stevens would compose the soundtrack for Kaleo La Belle’s documentary Beyond This Place. The two have been friends since childhood and the documentary is personal. After 30 years of estrangement, La Belle and his stubborn hippie father, Cloud Rock, embark on a 500-mile bike excursion where La Belle hopes he’ll learn whether there’s an inextricable bond between himself and Cloud Rock — a man without guilt, regret, or compassion. At the Castro Theater, Beyond This Place screens with a live soundtrack performance by Sufjan Stevens and Castanets’ Ray Raposa; a Q&A with La Belle follows. (Miller)

7:30 p.m., $25

Castro Theater

429 Castro, SF

(415) 621-6120

www.castrotheater.com


TUESDAY 8

North Sky Cello Ensemble

When the Yeah Yeah Yeahs burst onto the indie rock scene in 2003, singer Karen O and guitarist Nick Zinner were so fashionable and seductive that I couldn’t quite relate to the coolness of it all. I preferred Brian Chase, who looked like a 1980s tech guy by comparison. Besides, the classically trained drummer played phenomenally. All three members have been working on projects outside the Yeah Yeah Yeahs lately. O wrote a “psycho opera,” Zinner has been doing photography, and Chase? He’s been pounding at the drums with the North Sky Cello Ensemble, a collection of classical musicians whose players have supported the likes of Beyonce and Elton John. How would, say, Debussy sound with a killer rhythm section? (Miller)

8 p.m., free

Brick and Mortar Music Hall

1710 Mission, SF

(415) 800-8782

www.brickandmortarmusic.com 

 

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The Hangover: Oct.23-28

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Fever dreams and wardrobe malfunctions: all about Halloween Weekend 2011 (and it’s still not over!)

**It’s a little nerve-wracking going out in costume for a show when it’s not  quite yet Halloween. What if no one else dresses up and it’s a scene out of  Legally Blonde? Luckily the bands at Brick and Mortar (Zulus, Uzi Rash, Apache, Nobunny, Ty Segall)  were slated to perform costumed covers, so I figured it would be safe. (Plus, I  spent enough money making the damn thing to ensure I’d be living with my dad for an additional month — so I was gonna milk it.) Still, when I got inside the venue, I scouted to find some other outfits among black  clothes and leather. A guy was wearing a 1994 USA Olympic Dream Team  windbreaker (“Carl Mullen” he told me, pointing to one of the figures  with a basketball) and a still priced-tagged Batman cap, so I assume that he was the first of many Tyler the Creators, despite his refusal. Another guy was dressed as Middle Aged Business Man Who Has Too Much To Drink, Tries To Mosh Too Early, And Is Never Seen Again, but this was easily topped by the best costume of the night: Totally Trashed Crazy Girl (Ryan Prendiville)

**If you were in the back of the Prospector in Long Beach, Calif. on Saturday night, you likely saw my glowing light saber sharking through moshing bodies up front for the Shitfits, a Misfits cover band (actually, the members of now-defunct math rock act the Valley Arena) that comes together just once a year at this special time. The musicians, who are now spread out across the U.S. in San Francisco, New York City, and Long Beach, have been dressing up as the Shitfits for the past six or so Halloweens, though they claimed this perhaps could be their last. My saber disappeared sooner than I’d hoped, when an angry, long-haired, ratfink tried to start some shit in the pit. This is Halloween, man, we’re here to celebrate ghoulish punk, not incite brocious pummeling. No matter, the sweaty set tore it up, kicking off with “Where Eagles Dare” and ending bittersweetly with “Last Caress. (Emily Savage) 

** South by Southwest favorites White Denim helped draw a sizable crowd in support of Manchester Orchestra to the Regency Ballroom on the Friday before Halloween. The Austin, Texas locals did not, however, save for a few ripping solos and a lap around the stage that coincided with some lyrics about running (I think), perform memorably for the sparsely costumed audience. White Denim played jammy, hip indie rock with, albeit, some interesting twists and breakdowns, and certainly with no lack of musicianship, but the set failed to deliver any standout moments. Instead, it seemed to fade into a background noise of other, similar bands with able musicians at the helm playing decent rock’n’roll to the Coachella generation. (Cooper Berkmoyer)

**There were art shags aplenty (and some lovely folks haven’t shown their faces on the nightlife scene in a while) at the tongue-through-cheek orgiastic spectacle that was Thursday’s “Ann Magnuson plays David Bowie and Jobriath, or, the Rock Star as Witch Doctor, Myth Maker, and Ritual Sacrifice” at the SF MoMA’s Halloween installment of its nighttime Now Playing series. While the live show featuring the beloved New York performance artist and Bongwater singer — backed by a fantastic four-piece live band — wasn’t quite as long as its title, it did covera whole lot of ground. Practically David Bowie’s entire career catalog got a glance, refracted through a bloody Mayan-type ritual enactment, with piñata even. But that was just the first bit. Jobriath, revered gay glam rock cult star who burnt out early and later died of AIDS, was resurrected and his tunes reverently trotted out by the always mesmerizing Ann. But in the end it was Beelzebub, the half-naked gogo “acolyte” dancing onstage throughout the entire show, who won. Imagine a wide-eyed Eyeore on ecstacy and you’re halfway there. (Marke B.)

**Santa Cruz did what it does best this weekend: dress up like crazies. Also: Peewee Herman! And motorcycle riders. And a Goldigger (why is that still a costume?). They had to, so that the surfers could be distracted from the fact that the Santa Cruz Coldwater Classic hit a weekend of sub-par waves in front of the town’s lighthouse. Not disappointing at all: the grin on eventual winner, Brazilian Miguel Pupo. Or the fish taco truck. No lines! (Caitlin Donohue)

**The season was in full effect Friday night at Kimo’s, with three costumed bands and quite a few creatively-attired audience members, including a dead-on Jack White. (It seemed all of Polk Street was in the Halloween spirit, for that matter, though the girls dressed as “slutty Teenage Mutant Ninja Turtles” really should’ve known better.) Anyway, rockers Heavy Action — with ghostly back-up dancer — took the stage first with a raft of 70s covers (including “Boris the Spider,” complete with a prop spider), followed by punk-band-with-songs-about-Van-Damme-movies Dalton (all members were dressed as Wayne’s World characters). Headliners Street Justice moonlighted as “Sesame Street Justice” for the night. Turns out that in addition to teaching children about friendship, Bert and Ernie are also capable of throwing down big time. Who knew?(Cheryl Eddy)

**Trannyshack Halloween: A Party was OK on Saturday. Most of the drag numbers were recycled and a little tired, although a neatly choreographed dance number by several of our finest Asian zombie queens, the Rice Rockettes, to “Heads Will Roll” was cuuute. Hostesses Peaches Christ and Heklina seemed to be in a bad mood — and when secret guest costume contest judge Tommy Lee failed to show up, their wrath exploded. Playing his apology voicemail over the PA (he claimed he had “a show tomorrow so really need my rest … rock on, ladies!”) they could barely conceal their disappointment. And usually ace retro DJ Omar seemed a bit on autopilot — although Oingo Boingo’s “Dead Man’s Party” sounds great right now, and Mary J. Blige’s first album is really making a comeback through a wide variety of DJs. Some of the costumes were dope and we still danced to the wee hours. (Marke B.)

 

When it’s over

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arts@sfbg.com

MUSIC “The reason why my rhythms are so repetitive and feel almost infinite is that, in a way, I fear closure. In the same way that I can never finish a book, I have trouble ending my songs. I have trouble ending anything. I can’t even finish a meal,” Luis Vasquez, frontrunner of the Soft Moon, tells me. (The group plays Mon/31 at the Independent.)

Thinking about beginnings is equally problematic. The Soft Moon is a music project built on unsettled grounds. It’s magnetized between the poles of late 1970s and early ’80s post-punk, the motorik beats of techno and Krautrock, and organic forms of Afro-Cuban poly-percussion, but all equally disrupted from their roots, on a search for some other destination.

The anxiety about endings is strange, on the surface at least, because Vasquez — singer, songwriter, multi instrumentalist — has accomplished more than your average procrastinator. Since last year’s self-titled debut on Captured Tracks, a desolate and rapturous composition, the Soft Moon has steadily seduced a devoted listenership. Vasquez, along with fellow Bay Area-based musicians Justin Anastasi on bass and Damon Way on drum machines and synthesizers, just performed a few shows on the East Coast after returning from tour in Europe earlier in the summer. The band is also working on material for a second full-length and preparing for the release of a new EP, Total Decay, coinciding with a launch party on Halloween in San Francisco.

Songs by the Soft Moon often begin in full throttle, as if they’ve already begun. They move forward carried by the sheer propulsive gravity of their engineered drum patterns — driving their gutted vehicles according to shapes and zigzags, towards endings that dissolve, break in static, submerge into chaos, or collapse abruptly as if the frequency on the radio has just changed or connection suddenly lost. Despite whatever glimmer of hope or flicker of light is carved out by the oscillating guitar strums and the burning synthetic melodies, the songs never find their way out of claustrophobia.

They have geometrical names: “Circles,” “Parallels,” or frightening ones: “Tiny Spiders,” “Dead Love.” They conjure moods of loss: forgotten memories, clouded nostalgia, a future that never came to pass, harrowing desire, and love. Vasquez doesn’t sing so much as chant in a corrosive whisper, “You can’t pull yourself out of the fire,” or he screams, yells, moans, gurgles from the depths — his voice degenerates into a mechanical short-circuit, primal electric emotion. “I don’t know what it is about endings,” he says. “Maybe I want to hold onto the moment. Sometimes I take a snapshot of it as if it’s still there. Maybe it’s simply my fear of death.”

The substance of the Soft Moon is raw, cutting. Yet the music feels good, even approaches heights of euphoria. Streams of pleasure charge the rawness; optimism suspends fear. It’s delivered in pop formulas, forged from hours, years of digesting Prince, Madonna, Joy Division, Kraftwerk. But the Soft Moon also turns pop upside down. Hope is never realized. Familiar intensities of pleasure and desire are disturbed. The music spurs an emotional awakening in your guts, in the ghost of the machine that beats its mechanical rhythms on and on. A haunted undercurrent of pop washes up on the shore — like all promised lands, a tragic place.

Vasquez thinks the Soft Moon evokes his childhood growing up in Victorville, a suburban desert community nestled in the heart of the Inland Empire just outside of Los Angeles. He recalls empty space, tract houses, malls, skies that went on forever, blinding flashes of sunlight, and a soft moon hanging low in the horizon. He remembers riding in the car for endless stretches, the rhythms of commuting, “isolated in music as if it was a sanctuary.”

I ask, so how do you ever finish a song, at least in the sense of putting it out there? “I just abandon them,” Vasquez says. Why bother making them? “I get attached to songs and put a lot of effort into making them. Occasionally they become revelations for me.” How do you recuperate your abandoned revelations when you perform, repeating all over again what you could never finish in the first place? “When I play live, it gets to a euphoric level, and it’s very cathartic, but I never get a sense of overcoming anything. Or the overcoming is really only my chance to express something to the crowd, to be vulnerable, finally.”

Perhaps the Soft Moon’s most revelatory song yet is “When It’s Over.” It’s something of a post-apocalyptic nightmare, anticipating the end, a bleak and empty one, and at the same time recovering the traces of a past, revealing the specters and ghosts that still inhabit the present. Recurring dreams serve as inspiration; “You know, the typical: alien invasions, planets colliding, comets, the sun exploding — very cosmic — the earth stopping, or falling,” he says. “It always has something to do with the galaxy. It’s always so devastating … I never could finish [Cormac McCarthy’s] The Road either.”

The EP, Total Decay, follows these same themes of temporal and planetary displacement, or rather, diaspora. But the core engine, and enigma, of these songs is always one full of life, vital and imaginative. “I want to hold onto the organism, since technology is developing so fast that we have difficulty adapting.” Vasquez says. “Body, sensitivity, emotion, skin, flesh, blood — I think that’s why the nostalgia is so prevalent in the music.”

The Soft Moon holds on just as equally to the machine. The songs are produced organisms, synthesized from spirit and electronics; they are born, grow, mature, and wither away. In “Total Decay,” swirling alarms disperse, echo, derail into static breath. Synthetic wind gusts into the hypnotic poly-percussion of “Visions,” dancing frenetically around punctuated low end bass. Claps chatter and keys bubble up from the ether, and return to their source, without justification, just as suddenly. *

THE SOFT MOON

With Led Er Est, Chelsea Wolfe, Michael Stocke, and Josh Cheon

Mon/31, 9 p.m., $13

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

Our Weekly Picks: October 26-November 1

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WEDNESDAY 26

Yngwie Malmsteem

Coming to prominence in the early 1980s, master guitarist Yngwie Malmsteen blew listeners away with classically-inspired shredding and a flashy style that displayed his incredible technical prowess on the instrument. The virtuoso has released a slew of metal and rock records that show off his scorching solos, but he has also put out albums featuring classical and orchestral compositions and collaborations with groups such as the Czech Philharmonic Orchestra. Malmsteen, whose latest effort Relentless (Universal) came out last year, continues to hone his fancy fretwork — don’t miss out on your chance to see him “unleash the fury!” (Sean McCourt)

8 p.m., $30

Fillmore

1805 Geary, SF

(415) 346-6000

www.thefillmore.com

 

“Desdemona”

Determining to write a response to Othello following Peter Sellars’ controversial staging in New York in 2009, world renowned author Toni Morrison teamed up with famed theater-opera director Sellars and acclaimed West African singer Rakia Traoré to craft this unique piece of music theater, making its US premiere in Berkeley. Taking her cue from a couple of brief but suggestive lines in Shakespeare’s text, Morrison imagines a reunion beyond the grave between Desdemona and the African woman who raised her, in a song cycle combining traditional West African compositions with original ones penned by Traoré and Morrison. From this encounter come hints of a new future based on a world that was always deeply interconnected.(Robert Avila)

Through Sat/29, 8 p.m., $100

Zellerbach Playhouse

101 Zellerbach Hall, Berk.

(510) 642-9988

www.calperformances.org


THURSDAY 27

“Lumière and After”

Although Louis Lumière famously described cinema as “an invention without a future” not long after having a major hand in inventing it, the beautifully composed single shot actualities he produced with his brother Auguste still have a strong hold on the motion picture imagination. An intriguing Cinematheque program lines up several shorts directly inspired by the Lumières along with a handful of the original articles. Expect work by avant-garde materialists like Ken Jacobs and Peter Tscherkassky along with Andrew Norman Wilson’s fascinating short Workers Leaving the Googleplex. The latter drills holes in the search engine’s labor practices by way of revisiting the Lumières’ first publicly screened film (Workers Leaving the Lumière Factory). The Cinematheque screening sets the stage for Bring on the Lumière!, an original choreographic work premiering at the ODC Theater in a couple of weeks. (Max Goldberg)

7:30 p.m., $10

Artists’ Television Access

992 Valencia, SF

(415) 824-3890

www.sfcinematheque.org


FRIDAY 28

“Kevin Smith’s Halloween Extravaganza”

Do you like your spooky mixed with side-splitting hilarity? Then celebrate All Hallows Eve the “View Askewniverse” way with “Kevin Smith’s Halloween Extravaganza!” Writer and director Smith, known for his movies such as Clerks, Dogma and Chasing Amy, and actor Jason Mewes bring their “Jay and Silent Bob Get Old” live podcast show to the city tonight for what promises to be wildly funny romp through all manner of subject and story. Afterward, stick around for a screening of the horror flick Red State, Smith’s latest work, for which he will also partake in an audience Q&A. (McCourt)

7 p.m., $55

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

 

Get Dead

San Francisco troublemakers Get Dead were forged in the furnace of rad. The punk five-piece’s interests include drinking gin out of pineapples and getting banned for life from local venues. Get Dead’s shows are rough, rowdy, and downright unforgettable. Charismatic leader Sam King is temporarily relocating to Costa Rica, so this Halloween bash is also a going away party. King returns in February, when the band will release an acoustic album featuring a slew of California collaborators. Go buy him a shot and raise some hell. (Frances Capell)

Slick’s Helloween Bash With Code 4-15, Murderland, Lazerwolf, and AxeWound

10 p.m., free

Rockit Room

406 Clement, SF

(415) 387-6343

www.rock-it-room.com

 

SATURDAY 29

Journey to the End of the Night

A citywide game modeled after tag, Journey to the End of the Night has become one of the most popular street games in the world since its inception in 2006; now played everywhere from Chicago to Vienna, Mexico City to Berlin. In San Francisco last year, 1,300 participants flooded the streets in play. A brief rundown of the rules: there are six check points scattered throughout the city that you must try to get to, either on foot or by public transit, without being caught by “chasers,” those that do everything in their power to stop you. If caught by a chaser, you become a chaser. The first to the last checkpoint wins. Meet at Justin Herman Plaza and include friends, certainly, but the website recommends you bring “ones you can outrun.” Tag, you’re it (James H. Miller)

7 p.m., Free

Justin Herman Plaza

End of Market at Embarcadero, SF

www.totheendofthenight.com


“Diary of a Country Priest”

Diary of a Country Priest (1951), written and directed by Robert Bresson and adapted from the novel by Georges Bernanos, is a film that is so earnest and heartrending that it doesn’t feel entirely of this world. When a sickly priest (Claude Laydu, who lived in a monastery to prepare for the role) is assigned to his first parish in a small village devoid of faith or morals, he’s met with blatant hostility and outcast as a fool (the character recalls Myshkin from Dostoevsky’s The Idiot). Using dialogue pulled directly from the novel, Country Priest has scenes of such emotional intensity and suspense that it will make you ache in the gut, or,stir your very soul. If you feel nothing watching this film, you’re missing a heart. (Miller)

Sat/29, 7:30 p.m.; Sun/30, 2 p.m.; $8

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org


SUNDAY 30

“The Phantom of the Opera: Halloween Concert with Cameron Carpenter”

Juilliard-trained Cameron Carpenter been called “a talent of Mozartean proportions” and “the bad boy of the organ;” the bio on his slick website speaks breathlessly not only of his talents on the keys, but also his “Swarovski-encrusted performance wear and organ shoes.” He may be from Pennsylvania, but it sounds like he’ll fit in just fine in Halloween-crazed San Francisco — specifically at the SF Symphony’s annual silent-film screening. This year’s flick is the 1925 Phantom of the Opera, starring Lon Chaney; Carpenter performs a short recital and accompanies the film on Davies Symphony Hall’s insanely grand Ruffatti pipe organ. (Cheryl Eddy)

8 p.m., $20–$60

Davies Symphony Hall

201 Van Ness, SF

(415) 864-6000

www.sfsymphony.org

 

Anamanaguchi

Are you a bad enough dude? A chip-rock band hailing from New York, Anamanaguchi’s music comes as much from hacked Gameboys as it does electric guitars. Following its Dawn Metropolis LP in 2009 the band was tapped to create the epic soundtrack to the epic video game based on the epic indie comic Scott Pilgrim Vs. The World. Imagine Rivers Cuomo brawling through a side-scrolling beat ’em up of your youth and you’ll have some idea of what it sounds like. The live show is a frenetic, hyper affair. (Try to resist the familiar urge to pick up the person nearest to you and throw them into the crowd. They are not a crate.) (Ryan Prendiville)

With Starscream, Knife City, Crash Faster

8 p.m., $12-$14

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com


MONDAY 31

“Shock It To Me Halloween Spookenany”

Calling all monster kids! Local promoter and writer August Ragone — who penned the behemoth biography Eiji Tsuburaya: Master of Monsters — has been working in his dungeon lab all year and has created a frightful fete so terrifyingly good it would make Uncle Forry and all his Famous Monsters proud! The “Shock-It-To-Me Halloween Spookenanny” will feature music from rockabilly rumbler Johnny Legend & His Naked Apes (with members of the Mummies and the Chuckleberries,) Beachkrieg, and the Undertaker & His Pals. Host Miss Misery and DJ Omar will lord over the ghoulish gathering, which will also include a “scary screaming contest” and “creepy costume contest” — hopefully security can keep the torch-wielding villagers at bay! (McCourt)

9 p.m., $13–$15

Café Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com


“Fog & Laser 3 — Halloween Spectacular”

In the beginning there was the void. It was really dark and God kept bumping into shit, so God said ‘Let there be lasers.” And there were. But then it was just way too bright and killed the mood, so God said, “Let there be a fog machine.” And that, children, is how the first party came to be. Today, the wise ones know that you don’t need more than that to have a great time. (Well, alcohol, some eclectic indie and electro dance music by DJs RamblinWorker & EmDee , maybe a photobooth — those things help) Oh, and costumes: Adam and Eve had the right idea with the fig leaves, but God thought the snake’s disco ball costume was fucking sweet. (Prendiville)

9 p.m., $7

Makeout Room

3225 22nd St., SF

(415) 647-2888

www.makeoutroom.com


TUESDAY 1

Shantala Shivalingappa

If you want to know why Pina Bausch was enchanted with Kuchipudi performer Shantala Shivalingappa, check out the Madras-born, Paris-raised dancer’s contemporary solo on YouTube. You can’t miss the exquisitely detailed arm and finger gestures that feel like the essence of Indian classicism. Bausch hired Shivalingappa for her “Bamboo Blues” — just about the only “authentic” Indian ingredient in that 2007 work. Last year, Shivalingappa made her San Francisco debut in what she does best, Kuchipudi — the fleet-footed, free-spirited yet ever so disciplined South Indian form. Fabulously musical — she has a first-rate live “band”— expressive and elegant, she made the Tarangam, a rhythmic bravura endeavor in which the dancer performs on the edges of a brass plate look as if she were riding the waves. (Rita Felciano)

8 p.m. $35-50

Herbst Theatre

401 Van Ness, SF

(415) 392-2545

www.sfperformances.org


Youth Lagoon

The recent release of Youth Lagoon’s debut LP The Year Of Hibernation (Fat Possum) has catapulted 22-year-old college student Trevor Powers out of the Boise, Idaho, bedroom where he recorded the album and into the hearts of countless indie kids. Powers began composing wistful, dreamy piano pop as a means of confronting his struggles with anxiety. Since posting his first track as Youth Lagoon in May, he’s emerged as one of the most buzzed about new acts of 2011. Powers is taking his tender, haunting body of work on the road for Youth Lagoon’s first national headlining tour. Don’t miss the kick-off show at Bottom of the Hill on Tuesday. (Capell)

With Young Magic and Parentz

9 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com


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Video Premiere: Uzi Rash “Garbageland”

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Beach squelch shimmy is back.

Just in time for its Halloween show at Brick & Mortar Music Hall, where it will take part in punk rock tradition alongside the likes of Nobunny and Ty Segall, Oakland’s Uzi Rash has gifted us this exclusive peek at its next album, a video directed Dan Shaw (big brother of Shannon of Shannon & the Clams).

I Was 30 in 2012, due out in November after some delay, features the song “Garbageland.” Enjoy scenes of what appears to be the band giving “Ring Around the Rosie” a go, mixed with horrifying images of half-human, half-beasts foraging for rotten foods. I would say that this is reminiscent of the “I am The Walrus” segment from Magical Mystery Tour on acid, but it’s fair to assume that was already the case. So take a gander here at this bum trip version — or perhaps it’s Uzi Rash’s take of a dystopian future, and remember to catch the band covering the Undertones for Halloween this Friday, Oct.28.

Uzi Rash
With Nobunny,Ty Segall, Apache, and Zulus
Friday/28, 8 p.m. $10, 18+
Brick & Mortar Music Hall
1710 Mission, SF
(415) 800-8782.
www.brickandmortarmusic.com

The last hurrah

0

emilysavage@sfbg.com

MUSIC On the final day of Budget Rock 10, the endmost moment of the Budget Rock showcase itself, there will be pancakes and local ’80s surf-punk band the Phantom Surfers. Likely a few tear stained cheeks as well.

The daylong event at Thee Parkside — which tops off four days plus 10 years of weirdo, trashy, slack rock shows — also features the annual morning record swap and a ticketed evening lineup that includes the Legendary Stardust Cowboy, the Mothballs, Midnite Snaxxx, and Okmoniks, amongst others.

The organic pancake batter, donated by former Thee Parkside co-owner Sean O’Connor, will come in a pressurized can (he created Batter Blaster), while the bands, many brought back together specifically for Budget Rock, will come to the venue courtesy of Chris Owen and his longtime fellow organizer, Mitch Cardwell.

This year’s fest, Thursday, Oct. 20 through Sunday, Oct. 23 at Bottom of the Hill and Thee Parkside, not only brings back Phantom Surfers from the first ever Budget Rock showcase, but also returns Boston’s Lyres, the classic ’80s punk band formed from the ashes of DMZ. Organizers also recruited bands that played subsequent years — the masked Nobunny (this time playing original budget rock-esque covers), Subsonics, the Statics, Personal & the Pizzas (whose first ever show was at Budget Rock), and booked a Ripoffs reunion show — a coup for Owen, who’s been a fan of the ’90s garage rockers since college.

“The fact that Lyres and the Ripoffs are playing in San Francisco in the year 2011 is fucking incredible,” Owen enthuses from his perch at Gio’s, an old school Italian FiDi spot he says reminds him of Thee Parkside when he first started going there in late 2000. “Carpet on the ground, tablecloths on the tables.” (Obviously things have changed immensely since then.) But it was there, sharing beers after work with his friend John O’Neill, that Owen says they first came up with the idea for a Budget Rock showcase — a term he borrowed from another of his all-time favorite bands, the Mummies (which he later got to reform for Budget Rock 8). Owen and O’Neill had both been booking shows at the venue, and came up with the concept to concentrate all the then-scattered acts.

That first fest took place in 2002. Including the 2011 showcase, 190 bands will have come through Budget Rock. Over the decade it survived a move to the East Bay for a couple of years (to the Stork Club), lead organizer shifts (Owen bowed out for most of last year as his wife was pregnant) and the general chaos of unrefined rock’n’rollers. O’Neill vividly recalls when Peter Zaremba of the Fleshtones ran outside mid-song onto 17th Street to sing to a Muni bus that had just pulled up. And Phantom Surfers’ guitarist Maz “Spazz” Kattua claims “All I remember about [Budget Rock 1] was that we played in matching boxer shorts with hearts on them and sock garters.”

So why end it now? Owen chalks it up to two main reasons: the organizers of Budget Rock are in different spots in life (he now lives in Fairfax with his wife, son, and baby daughter); and the influx of other like-minded showcases like Total Trash and 1-2-3-4 Go’s contribution.

“You want to fill a void, not create one,” says Owen. “That is the guiding principle. The whole concept of this festival was filling a void, there wasn’t anything like this. There was no local garage rock or kind of dorky minimalist music showcase [then].”

Plus, he says, “Once we got to six [years], we knew we would shoot for 10. And we were like, ‘if we can get to 10, we should get Lyres to come back.'”

While all the other bands at Budget Rock 1 were local, and most other acts throughout the years have been Bay Area bred, Lyres was a special case. O’Neill had booked shows in Boston before moving out West, and managed to fly Lyres to SF through alcohol endorsements that first year. Lyres evoked the ethos of the fest, a clear marker, unlike “careerist” bands, as Owen refers to others that try to make it big or take themselves too seriously — those types have never been the Budget Rock style.

“It’s a certain kind of ‘I don’t care about the rest of the world’ mentality,” Lyres organist-vocalist Jeff Conolly says about his band’s longevity, “and a genuine love for being in a group where you enjoy the results of the process.”

It’s about having a good time in your band, without a lot of expensive hoopla. “Big picture, the whole idea of [Budget Rock] was just having fun — not professionalism or competition or reputation. Those things aren’t important,” Owen stresses. “I would like to remember having a good time. That’s the only purpose that this was ever supposed to serve.”

He later gave me a list of “perfect budget rock bands” (those that have played the fest in the past, or simply fit the vibe): the Mummies, Icky Boyfriends, the Brentwoods, Captain 9’s and the Knickerbocker Trio — and any band with Russell Quan, Tina Lucchesi, or Mike Lucas.

Lucchesi, of the Trashwomen and a zillion other Bay Area bands, has played the fest in different incarnations 18 different times. This year, she plays the final Budget Rock on Saturday with Tee’N’Dee Explosion, then the next night at Thee Parkside with both Special Ed and Midnight Snaxxx. “There’s a lot of that friend-rock thing going on this year,” Owen says, “Sunday’s going to have a lot of it, pretty much all day long.” He later adds, “This is the last hurrah, so we wanted to do something cool.”

Jokes the mischievous Nobunny, “I don’t believe for one second it won’t be back next year.”

BUDGET ROCK 10

Thurs/20-Sun/23, $5–$20

Bottom of the Hill

1233 17th, SF

(415) 621-4455

www.bottomofthehill.com

 

Thee Parkside

1600 17th, SF

(415) 252-1330 www.theeparkside.com

Maiden voyage

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arts@sfbg.com

MUSIC In 2010, while Franki Chan contemplated the pros and cons of bringing back his much-beloved Los Angeles-based Check Yo Ponytail party concert series, he wasn’t entirely sure where it all might lead. All he knew is that he’d become detached from the rapid takeover of the DJ scene and the lackluster dance parties that were becoming the norm.

At the urging of a friend, he resurrected the popular event from a two-year hiatus, knowing there was an undercurrent of exciting electronic artists and bands just waiting to break out. Now, less than a year and a half later, Chan is excitedly discussing the first ever 10-stop, two-week, cross-country Check Yo Ponytail tour featuring Spank Rock, the Death Set, Pictureplane, Big Freedia — and DJ Franki Chan.

Chan, who also runs the IHEARTCOMIX record label, started the first version of Check Yo Ponytail in 2006 at a downtown Los Angeles club called Safari Sam’s. The shows quickly developed momentum, filling a niche that perhaps people hadn’t yet realized they’d been yearning for.

“At the time, we were one of the first parties in town to put a focus on the breaking electro scene,” Chan says. “And that attitude of mixing bands, electronic artists, and DJs was part of what made it feel different.”

Soon word spread outside of Southern California and Check Yo Ponytail began drawing high-profile acts such as Justice, The Horrors, Boys Noize, Das Racist, even Andrew W.K., whose relentless party anthems actually might best encapsulate the underlying spirit Chan strives for at his shows.

Though it tends to favor electro, rock, and hip-hop most, the characteristics of a Check Yo Ponytail show go beyond genre limitations. Chan doesn’t care what kind of music an artist or band makes as long as it’s fun and adds to the whole tight-knit, projector screen visual-fueled, dance-minded feel of the evening.

“There’s a linear feeling in these bands’ outlook that is expressed in their energy and how they perform,” he says. “We want it to feel like a very family style show and we invite all the performers to join each other onstage. We hope audiences will come and want to be there from the start to the finish. It’s run like a show, but it feels more like a party.”

Spank Rock, a.k.a Naeem Juwan, is of those performers expressing energy on the tour — fresh off the release of his long-anticipated sophomore LP, Everything Is Boring and Everyone Is a Fucking Liar. Forgoing some of the straight-up party rap and Baltimore club bangers of his debut for a decidedly more all-over-the-map approach, the album’s excellent mashing of pop, electro, hip-hop, and rock sounds like a business card for the Check Yo Ponytail “sound.”

“I just get bored with the same genres, dealing with the same sounds,” Juwan says. “I think it’s a pretty cohesive album, but the parts that might feel weird or schizophrenic about it I think are just because it’s my album,” he continues, referencing his decision to release the album on his own label and break free of his previous one producer approach.

Juwan was very familiar with Check Yo Ponytail even before Chan asked him to headline its maiden tour voyage, describing it as “one of the few parties in LA where you get to be exposed to a lot of new independent dance and rock music together.” He’s also well acquainted with New Orleans bounce rapper Big Freedia, who guest stars on his new album, and the Death Set, after befriending the Australian electronic punk group during its stint living in Baltimore. This familiarity will no doubt come across at a show that is essentially a big group of friends traveling around the country, partying, and playing music together.

“Every act has a ton of energy,” Juwan says. “So if people are packed in there, I’m expecting it to get pretty wild.”

CHECK YO PONYTAIL TOUR

With Spank Rock, The Death Set, Pictureplane, Big Freedia, and DJ Franki Chan

Fri/21, 9pm, $20

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

Our Weekly Picks: October 19-25

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THURSDAY 20

Gabrielle Hamilton

Gabrielle Hamilton is a chef, first and foremost. Food critics praise her homegrown 30-seat New York City restaurant Prune. The James Beard Foundation (think the foodie Emmys) named her the Big Apple’s top chef this year. She topped Bobby Flay in an Iron Chef showdown. But when she’s not roasting duck breast or braising lamb shank, Hamilton is writing about cuisine for the New York Times, Saveur, Bon Appétit, and Food & Wine. She draws the connections between family and food in her earnest and unsparing New York Times bestselling memoir, Blood Bones & Butter: The Inadvertent Education of a Reluctant Chef. Tonight, she appears in conversation with with fellow food writer Kim Severson at Herbst Theater. (Kevin Lee)

8 p.m., $17–$27

Herbst Theater

401 Van Ness, SF

(415) 392-4400

www.cityarts.net

 

John Doe

Continuously proving himself a multi-talented singer-songwriter-actor and jack-of-all-artistic-trades, John Doe has been hitting the stage for more than three decades now, from his time with punk icons X, the Flesheaters, and the Knitters, to his solo releases and collaborations with a wide variety of other artists. His latest effort, Keeper (Yep Roc 2011) is his eighth solo foray, and features both stellar tunesmithing and punctuating contributions from guests including Patty Griffin, Jill Sobule, Don Was, and Steven Berlin. (Sean McCourt)

With Dead Rock West

8 p.m., $20

Great American Music Hall

859 O’Farrell St., SF

(415) 885-0750

www.gamh.com


FRIDAY 21

Four Tet Kieran Hebden a.k.a. abstract eclecticist Four Tet played two shows in the Bay Area last year: one headlining at the Independent and another an afternoon set at the Treasure Island Music Festival. The difference was night and day, illustrating that not so surprisingly, Four Tet was most at home in a particular setting. Underlining this point is a recent entry for super club Fabric’s FabricLive series. Not simply a typical set, Four Tet’s mix is designed to replicate a night out, a heady mix of UK garage, that’s at once full of steadily driving breaks and hypnotic backing tracks, as much about getting lost in the music as a particular space. (Ryan Prendiville)

With Rub N Tug (Thomas Bullock DJ Set), Jus Wan, Shawn Reynaldo, DJ Dials, Chris Orr, Eug, Ryury

10 p.m., $15-20 presale

103 Harriet, SF

(415) 431-1200

www.1015.com


Kendrick Lamar

On stage at a concert in Los Angeles this past August, Snoop Dogg, Dr. Dre, and Game “passed the torch” to a teary-eyed Kendrick Lamar, officially pronouncing him the new King of the West Coast. Born and raised in Compton, the 24-year-old rapper has gained swift notoriety thanks to a series of popular mixtapes including the critically acclaimed Section.80. He cites Tupac as his greatest influence, but he sounds more like underground legends Souls Of Mischief or the Pharcyde. In November, Lamar will head east to embark on a brief tour with none other than Drake. Before he does, you can catch him headlining the New Parish on Friday. (Frances Capell)

9 p.m., $23–$35

New Parish

579 18th St., Oakl.

(510) 444-7474

www.thenewparish.com


DJ Shadow

Like everyone else, I got lost in the instrumental hip-hop collages found on Endtroducing (1996), the first album from DJ Shadow. That album literally introduced turntablism to people like me who imagined it was merely that scratching sound heard on Beck and Garbage. I can even remember my conservative father (this is saying a lot) being intrigued by Endtroducing. Since then though, the progenitor of vinyl sampling has moved on to other, unforeseen sonic experiments. On his first studio album in five years, The Less You Know, The Better, Shadow builds up everything from bluesy jazz to rock and heavy metal; an experiment that may alienate some, perhaps, but thrill Shadow’s most devoted. (James H. Miller)

9 p.m. $35–$38

Regency Ballroom

1290 Sutter, SF

(800) 745-3000

wwww.theregencyballroom.com


SATURDAY 22

Masquerotica What this town really needs right about now is a Masquerade Ball — it must have been at least two weeks since the last one! Oh, I jest. But seriously, what we never can have too many of are large-scale Halloween bashes, alternatives to the sleeping giant of the currently-banned Castro Street frenzy. Adding another AnonEvent to the year’s calendar ‘o’ fun, Masquerotica will be an all-you-can-eat buffet of sensory overload, with nine separate stages showcasing acts as diverse as punk jazz-circus rock ensemble the Mutaytor, Kinky Salon’s zombie strippers, Unkle Paul’s Dark Kabaret, Asian Diva Girls a’plenty, and Annie Sprinkle and Margo St. James holding court at the Hooker’s Ball Brothello. There will be music, masques, a food court, and some very sexy people. Maybe you too? Costumes required. (Nicole Gluckstern)

8 p.m., $45–$100

Concourse Exhibition Center

635 Eighth St., SF

www.masquerotica.com


SUNDAY 23

Cashore Marionettes

Perhaps the universal attractiveness of puppets comes from the fact that they look so alive when we know full well that they are just a bunch of rags and wires. Borrowing his title from the Shakers, who danced to transport themselves into ecstasy, Joseph Cashore named his latest show after their most famous hymn “Simple Gifts.” He has been making and performing with marionettes for more than 20 years and has grown a master of his craft. There is nothing “simple” about the sophistication of his artistry and sheer acts of love he showers on his audiences. If you go with a child, you’ll open a world; if you don’t have an easily-available kid, take a friend. You’ll both be transported back to the time when “pulling strings” meant bliss. (Rita Felciano)

11 a.m. And 3 p.m. $24.

Cal Performances, Wheeler Hall, Berk.

(510) 642-9988

www.calperformances.org

 

Mammatus

Named after that most awe-inspiring of all cloud formations, Mammatus is as epic sounding as its meteorological namesake is visually stunning. Hailing from the wooded and misty hills of Santa Cruz, the three-piece reaches spectacularly ripping heights with songs like “Excellent Swordfight,” “Dragon of the Deep,” and “The Coast Explodes” (among others) that bridge the gap between jam band technical wizardry and space rock headbangery. Speaking of wizards, Mammatus used to perform with one, and although he no longer shares the stage, the atmosphere remains one friendly to bearded magicians with pointy hats and a long pipe filled with something pungent. When Gandalf indulges in “Longbottom Leaf,” (nudge, nudge, wink, wink) he listens to Mammatus. (Cooper Berkmoyer)

With Swanifant and San Francisco Watercooler

9 p.m., $10

Cafe Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

 

Anthrax

Anthrax might be a junior partner when it comes to the massive “Big Four” concerts recently held in L.A. and New York, but it’s a giant on every other bill. The NYC-based band stayed ahead of the curve back in the day by embracing hardcore and hip-hop, and this year it put its arena-filling colleagues to shame with Worship Music, an urgent, heavy album that stands in sharp contrast to dreck like Lulu or Death Magnetic. At the head of a potent tour that includes Bay Area heroes Testament and Death Angel, Gotham’s finest thrashers plan to demonstrate their undiminished ferocity. (Ben Richardson)

With Testament, Death Angel, and Chimaira 6 p.m., $35 Warfield 982 Market, SF (415) 345-0900 www.thewarfieldtheatre.com


MONDAY 24

1Q84 release party

It goes without saying that Green Apple Books loves the written word. Just the other day, I was browsing its stacks and saw a staff note by an Ambrose Bierce collection that read, “If you haven’t read Ambrose Bierce you must be very, very sad.” It seems Green Apple also loves Japanese novelist Haruki Murakami. So much so that it’s hosting a release party, complete with a taco truck camped out front, for the author’s new novel, 1Q84. If you pre-order a copy of 1Q84 before it becomes available at midnight, Green Apple hooks you up with a taco and a beer, and then enters your name into a raffle to receive a signed copy — free of charge. Which are reasons, in turn, to love Green Apple. (Miller)

9:30 p.m. Free

Green Apple Bookstore

506 Clement, SF

(415) 387-2272

www.greenapplebooks.com

 

“An Injury to One”

Travis Wilkerson’s An Injury to One is nearly 10 years old, but I haven’t seen another American documentary since that comes close to matching its fire. The film takes up the buried history of Frank Little, an organizer murdered for aiding the workers of the aptly named Anaconda Mining Corporation in their efforts to unionize. Wilkerson deploys a radical form of graphic rhetoric to engage with this incendiary content. He’ll have nothing to do with the polite distance maintained in mainstream documentary (just think of all those nonfictions of ostensibly radical solidarities that come packaged in a conservative style made to order for HBO and PBS). Anyone with even a passing interest in political cinema and American class warfare needs to see this film. (Max Goldberg)

6:30 p.m., $9–$11

New People Cinema

1746 Post, SF

(415) 525-8630

www.sffs.org


TUESDAY 25

Gold Panda

I paid $10 to see Gold Panda. Supposed to be $15, but the woman gave me a deal, since the show’d been on for a while. Couldn’t tell from the crowd. Aside from a few people in the front, everyone was still. Eyes closed, a few were touching themselves. (No, not like that.) Just rubbing their neck or arm, minds so inwardly withdrawn and focused on hearing that their bodies wanted attention. The song was from 2010’s Lucky Shiner (a mix for DJ-Kicks comes out this month), mostly an airy drone, overlaid with choked, tightly modulated samples. Totally warm. After about fifteen seconds, the set was done, and I’ve meant to catch the rest ever since.(Prendiville)

With Jonti, and Blackout Make Out

8 p.m., $15

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com


TUESDAY 25

Male Bonding

If you’ve heard Male Bonding’s Endless Now (Sub Pop), there’s a good chance it’s still stuck in your head. The noisy English trio swapped the lo-fi grunge of its debut Nothing Hurts for a sunny, slightly more polished pop-punk aesthetic on its second full length release. Despite its differences, a ’90s Seattle slacker rock influence remains clear throughout the short, infectious album. Endless Now boasts so much slurry, layered guitar, the band enlisted an additional member for tour. Put on a flannel and check ’em out. (Capell)

With WATERS and Lilac

8 p.m., $12

Rickshaw Stop

155 Fell, SF

(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 Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text 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.

When OccupySF occupied my car

13

By David Adler

I began the week a brooding and self-pitying writer, who was spending far too much time sucking on sour grapes until they were bitter raisins.  I even went back and forth via email with an editor who had rejected one of my stories.  This is not a good way to endear yourself with potential future patrons.  But it had been far too long a time since I’d torched a bridge (and, in this case, I’m fairly certain that I burned the fucker to the ground), and in that sort of “I love the smell of napalm in the morning” empty machismo way, well, I still didn’t feel better.  I felt like I do when I yell at the television while watching a Laker game, screaming at Andrew Bynum as if I were sitting courtside next to Jack Nicholson and sneaking out with him for blow during TV timeouts or just when we damn well wanted to.  I was a crazy man.  A loon in sweats and a Cal hoodie. 

Determined to regain a semblance of human dignity, and equally committed to acquiring as little of it as necessary (the stuff is pricey, I don’t care what my therapist says), I got on the BART last Wednesday, October 5th, at the cavernous and exposed Millbrae station, the end of the peninsula line. 

The electric train screeched and squealed and screamed north into the city, where a half hour later I emerged from the Embarcadero station on Market Street.  A motley camp came into view, pitched on the sidewalk in front of the Federal Reserve building.  It was the Occupy San Francisco Financial District camp.  In solidarity with the original Occupy Wall Street movement, and the dozens other others cropping up daily, which defibrillates my long spasming liberal heart into a peaceful rhythm. The 99% in action. Could’ve been 1969.  They had a kitchen, a library/bookstore, it was a little city of dissent, and the forces of everyday people were now gathering, enlarging the camp’s population, in anticipation of the noon march.  The police were mostly in the background, talking with a few suits and ties out for a smoke, or lunch, who observed with amused smiles on their faces as they looked at the Occupy camp and the crowd.  Stupid people, they seemed to be thinking, though I obviously can’t know.  Perhaps they just didn’t get it. But they didn’t have to.  It was getting itself just fine. 

There were old and young, every race and color and creed.  There were hippies in their seventies and students in their teens and twenties, nurses of all ages, punks and patriots of equal concern, workers and laborers and normal folkies of every stripe and sandal.  Yes there was a progressive and lefty and outsider’s insider vibe to the signs and the chants. Banks got BAILED out, we got SOLD out!! Banks got BAILED out, we got SOLD out!!  We ARE the 99 percent!!  We ARE the 99 percent!!  But that’s the whole friggin’ point. There was a tiny dog, a Puggle the owner told me, who was wearing a sign that said “Justice for the Little Guys.”  A woman who looked to be on lunch break held a small sign aloft: “I’m here because I can’t afford a lobbyist.”  End The Fed.  Tax the Rich.  So many more, so varied.  And my favorite, which was a bit longer:

The Amercian Paradox:
Unionized Public Employees
Cracking Down on Those
Seeking to Save Their Jobs & Pensions

Now, I may not agree with everything and everyone in this movement, not even close, but the fetid financial powercore as the center of this mass and evolving dissent?  Bring it on.  My wife works for a good little bank, worked for another one in Southern California that was shut down by regulators and sold off under dubious circumstances, and those kinds of community institutions have been run over by the too-big-too-fail Gods.  I loved it, in other words.  And we marched.  The official count, I read, was 800.  Horseshit.  No way.  I couldn’t give an exact number, but I know it was many more than that paltry figure.  Cabbies were honking at us, but in a rhythm, a beat that said they were with us and not annoyed.  I carried my sign, given by a representative of the nurse’s union, because their cause really resonates with me: Tax Wall Street Transactions – Heal America.  I waved it for a few miles, but my arms never got sore.  The spirit was grand and vital and patriotic and American.  We were engaged in the only thing freedom really means.  The right to say no to the powers that be, to protest without the fear of unjust reprisal.

And there’s the rub.

After marching, I had to hop the train home quickly and pick up my son from school.  I rode south toward Millbrae, while behind me in the city the ruckus remained and grew and settled back into camp for the night. 

The night.

Always the best time for the authorities to do their dirty work. The next morning, after being told by my wife that on the news they reported the police had busted up the Occupy camp, I watched the videos that had already been posted online.  And there they were, those unionized public employees, heading down the street in riot gear toward the Occupy Camp.  The irony is too rich.  And disturbing.  They came in riot gear, apparently, to protect themselves from a bunch of barefoot hippies and thread-thin vegan rebels. The police confiscated a lot of the stuff from camp, ordering the reluctant Department of Public Works employees to carry out the deed, without giving the kids time enough to gather it themselves.  Then the police got rough, nightsticks into ribs and arms and thighs. All of it, needless to say, completely unnecessary.  The only thing freedom means, and that’s what it gets you.  In America.  Didn’t those police want to set a better example, to be better than the police and soldiers we see all over the world stomping on their people’s hopes?  I guess not.  They’ll say it was a safety issue, a private property issue, that it was this or that, but none of it required riot gear and physical violence at all. Disgraceful and depressing.

On Thursday evening, the 6th, on the Occupy SF website I saw that they had put out a call for anyone with a car or truck to help them get their stuff back.  It had been taken to the Department of Public Works yard off Bayshore.  Friday morning, as I sat staring at my computer trying to write, I decided to do something to help these kids out.  I got in my Prius and headed into the city, to the DPW yard.  On the way there, in my idealistic mind (at least I still have one at my age), I envisioned a huge caravan of progressive minded people arriving on the scene in solidarity, ready to help get this stuff back to whom it rightfully belonged. I wished.  But when I got there a little after nine, I was the only one there.  Soon, however, a tiny old Japanese hatchback rumbled past with what I took to be three activists of various ages riding inside.  They had to be Occupy people, I thought. But they drove past, appearing lost, and turned out of sight at the far corner.  Hmm.  In a few seconds, however, they reappeared, the car pulling to a stop at the red curb where I was standing at what looked like the front door to the DPW offices.

“Are you with Occupy?” I asked the bearded young man in the passenger seat, who had a thick mane of wavy dark hair pulled back into a long ponytail.

Yes, they all answered, who are you?  Where do we park?  The driver was in her sixties, clad in black I noticed, with long gray hair.  The passenger in the back seat was a younger gal, heavy, a punk lesbian vibe about her, with her short cropped hair painted red, blonde, and blue.

“I’m just a guy,” I told them.  “Just someone who showed up to help you out.”  The young gal in the back looked at me oddly, with an expression of curious surprise, then pointed at me slowly, like a b-ball teammate acknowledging a sweet assist, as if thinking, “Yes, even the fake hippies in the Adidas gear are with us!”

“And you probably want to park anywhere you can,” I continued. “I just got lucky across the street there.”

Just then we got the attention of a DPW worker inside the glass door.  A big African-American guy in a yellow work vest, he asked if we were from Occupy and looking to get our stuff back.  He gladly directed us where to pull our cars, and he told us he’d instruct someone to meet us back there.  This is when I learned, from the kid with the ponytail, that the DPW workers were not happy about having to obey the police and confiscate the protesters’ stuff, their own union supporting the Occupy movement.  So the courtesy and patience of all these DPW workers was no surprise.

A few minutes later, as the four of us waited on the sidewalk, I realized I’d forgotten their names, or if we’d exchanged them at all.  I thought we had, but I’m terrible with names, which I told the young guy with the beard and ponytail.

“Chris,” he replied to my re-query. “You’re Dave, right?”

I felt guilty that he remembered and I didn’t. 
“I’m Diana,” the younger gal introduced herself, “And I really have to pee.  You think you guys could form a perimeter here for me so I can go in the bushes?”

I suggested she go behind the black van that was completely blocking some bushes about twenty feet away.  She nodded, good idea, and walked over to relieve herself.

“I’m Dagny,” the older woman said as she sat on the curb and lit a cigarette.  “And the name’s not from that useless fucking Ayn Rand book, thank you very much.”  Dagny seemed an experienced San Francisco hellraiser, and I would discover that she had little time for taking any shit or wasting any time. 

Returning from her bathroom bivouac, Diana was hopping mad.  “You’ll have to excuse me, I really got a fire in me today, after what went down last night.  I may be young, but I can get stuff done.  And today we’re going to.”

I told her I understood the fire she had in her.  When I asked how old she was, she replied twenty-two.  Exactly half my age, I told her.  She thought for a second and mouthed forty-four, barely audible enough to be heard.  Just then another DPW worker showed up and told us to follow him in our cars.  He led us through the sprawling yard, crowded with trucks and tankers and service vehicles of every odd variety and size, many in the repair bays, where workers crawled under and around and atop them like Lilliputians upon Gulliver.

We finally made it to a parking area, filled with more trucks, and with a storage area surrounded by a patchwork chain link fence.  The DPW guy unlocked the fence gate and led us in.  There was junk covered in blue tarps on both sides, with a cleared path in between. Everything on the left, he told us, was homeless stuff, which made sense once we saw how many bicycles and shopping carts poked out from under the tarps.  On the right side was the Occupy SF stuff.  It had rained the previous night, so it was a wet mess of backpacks and chairs and tarps and toolboxes, storage containers and tents and camp stoves, furniture and clothes and food. A lot of food.  They’d been living there, after all. Some of it had spoiled, some was still good.  Chris and Diana were kind of overwhelmed at first, but Dagny just laid it down: let’s just get all the food out first, and figure out what’s still good to keep, and what’s not, and we’ll put the good stuff here, and the bad stuff goes in this trash bag.  Wet clothes over there, office stuff here, tarps in a pile, Dagny continued like a former flower-child field general, until we were moving with as swift an organization as possible under the shorthanded circumstances.

A half-hour later my car had been designated as the de-facto catering truck.  It was full of all the canned food, as well as the fresh stuff that hadn’t gone bad.   Bread and bagels that stayed dry, tea and coffee, oats and nuts, produce that included a large crate of oranges and a box full of various types of squash.

We had my Prius packed tight and Dagny’s hatchback full to the brim, with at least several more trips worth ahead of us, if no other vehicles showed up to help with the rest. More importantly, we had no place to go.  Diana made a harried phone call.  Then Chris made another.  There was supposed to be a storage space rented, but no one could seem to figure out who to contact to find out where it was.  It was then that a pickup truck and an SUV showed up.  Cool, now we could at least get the rest of the stuff loaded, those two trucks should be big enough to hold it all.  The truck and SUV, as well, brought four or five other people.  A guy about my age from Marin, who had picked up a gal from the city, and three younger guys in their early twenties (or so I assumed).  These threee were thin and vegan and dressed in clothes that looked like they’d been living outside for a couple of weeks.  When I introduced myself to one of them, he told me that I could call him “Just One.”  After a few moments, I got it.  A leaderless movement.  He was just one. There was something poetic and beautiful about it.  Just One seemed a tad wary of me at first, but by the end of the day was thanking me profusely.

“I really appreciate it, man.  I was worried I was gonna be the only mule out here.”

With more hands to help and more trucks to load, Just One and his friends started to voice their own concerns about how we should be separating the stuff.  They started to disagree among each other while trying to come to a community decision.  Dagny took charge once again, overriding the consensus confusion.

“We’re packing it all up and just taking it to this damn storage space, if anyone can figure out where the hell it is.  Then we’ll deal with it all there.  These people who volunteered their cars and trucks have to get other places, so we need to waste as little of their time as possible.”
Focused by a veteran of many movements, we got the remaining stuff loaded into the trucks, cramming in furniture and containers and everything we could that seemed worth saving. Dagny had decided to take all the wet clothes that looked like they could be salvaged and washed.  She told the kids that she’d bring it clean and dry to camp the next day.  She even told Chris that she was going to lend him her car for the rest of the day, all he needed to do was drop her off and pick her up from a class she teaches.  Lefty teamwork gave us an energizing rush.  Unity flowed like fine, and rare, wine.  On the last sweep of the space, Chris found the handmade red and black OccupySF flag, that had flown at the campsite. It was under a tarp and was still attached to the end of its long bamboo pole, having survived relatively undamaged.

“Yes!” Chris declared, holding it up.  “The flag survived!”  The others shared his small victory enthusiasm.  “We’ll take it with us,” he told me.

Colors ready to fly again, trucks and cars loaded with recovered possessions, we nonetheless continued to wait.  No one, still, could figure out where this storage space was.  A few people made a few more harried phone calls to certain people, not leaders of course, but people in the movement who might know who else in the movement would know where to send us.

“Quite a lovely clusterfuck” Dagny said to me.  “And what the hell am I thinking?  I’m missing prime smoking time here.”

As the guy from Marin, who brought the truck, finally managed to pin down the location of the storage space, I told Diana she could ride over with me, I had a passenger seat free.  She said okay, but didn’t seem too enthused.  As directions to the storage space were given out, Diana hung out next to the passenger door of Dagny’s car.

“I think she’d be more comfortable riding with you,” I said in Dagny’s ear. 

“I think you’re right.  Take Chris and we’ll meet you there.  It’s easy to find, right down 3rd.”

In the Prius and on the way, Chris told me he’d been living at the camp since he got into San Francisco.  He was raised in New Jersey, then he spent some time in Florida, which he hated.  “So I just took off west, ended up here, and I don’t think I’ll ever leave.  I just love the whole spirit here.”  I told him that I’d just moved to the bay area, with my wife and son, from San Diego, and that I’d spent my whole live in Southern California until we moved up here.  When he asked what I did, I talked for a few minutes about being a Hollywood dropout (though I made some good money for a brief time), and that I was now trying to write some fiction.  After I described what made SoCal and NoCal seem like two separate states, Chris repeated his mantra. “I just love it here.”

“Dagny’s a character,” I said after a moment.

“Oh man, she’s hilarious, you shoulda heard the stuff she was saying on the way over here.”

I asked him about Wednesday night, when the police in riot gear had busted up the Occupy camp in front of The Fed.. 

“They were the instigators of the violence, they really were,” he said.  “I mean a couple people yelled some stupid stuff, but we weren’t violent at all, and they just come at you with those batons.  I got nice lump right here on my arm.”

I said I’d heard that some of the police didn’t want anything to do with it.

“Yeah, there were some who wouldn’t even look at you, and you knew they were just torn and didn’t want to be there.  And the female cops, as usual, were fine.”

“Never had a problem with a woman in uniform,” I told him.  “Never even that cop attitude you get if you have the nerve to politely question them.”

He agreed, his eyes looking for the street off Third where we’d find the storage place. 

“Here it is!”

I made a quick sharp right, and I heard several oranges spill out of the crate and juggle down onto the floor.

Pulling into the parking lot, Chris and I realized everyone had made it there before us, even though we’d left pretty much first.  “That’s how you know we haven’t been in the city long,” he smiled, getting out to help unload.

Most of the food packed into my car, it turned out, was headed for a charity called Food Not Bombs.  I was going to drive it over there, a task Dagny had assigned to me, but she couldn’t get Food Not Bombs to pick up their phone, and no one knew where it was.

“They kind of operate under the radar,” Just One told us.  “They really don’t want the authorities to know where they are, so they kind of move around.”

I was stuck with a carload of provisions with no charity to feed.  Damn.  As my time got short, Dagny saved me again and told the kids that they should unload the food from my car, and set it aside with everything else that wasn’t going to stay at the storage space.
“We’ll put it all into one truck, keep it as organized as we can.”
Good call.  I pulled out the bamboo pole with the OccupySF flag on it.  I waved it around for them, and everyone gave a cheer.  “Let it fly, man!” Chris exhorted.  I flew it from the Prius for my last few minutes there.

Chris and I exchanged cell phone digits, and I told him to keep me in mind if they ever needed a car during the week, that mornings and early afternoons are when I’m mostly free.  We shook hands, and he thanked me again, so genuinely, as did everyone else. 

I drove away, got onto 101 south and headed back to Millbrae.  And, in my swelling head, I heard the line from Jack Kerouac’s “October in the Railroad Earth”: …and here’s all these Millbrae and San Carlos neat-necktied producers and commuters of America and Steel civilization rushing by with San Francisco Chronicles and green Call-Bulletins not even enough time to be disdainful…

I cherish those words: …not even enough time to be disdainful. 

So many critics fit that suit perfectly.  It offends them simply to take the time to disdain it.  It bothers them to even bother.  The people, many young, who started this Occupy movement and continue it, deserve much better, as does the entire nation.  These free and peaceful Americans have made the time to do much more than disdain or merely talk. For now, until who knows when, they have made it their lives to act.

The positive vibes from that day must have carried over, because on Sunday I pulled off another online poker miracle.  (I say another because last year I turned thin air, literally nothing but a few bucks won in a free tournament, into more than ten grand in about four months.  All of it ended up in the bank, thankfully.)

This was an equally daunting assignment.  Two thousand and fifty-six players were entered in the tournament on ClubWPT dot com.  It was first place or nothing.

Four hours later, I had beaten them all.

And I had won the grand prize: a $3500 Main Event seat at the World Poker Tour Jacksonville event in November, plus another $1000 in travel money. 

Now what the hell do I do?  I never play live.  And the tournament is at a dog track, of all places.  Greyhound Rescue, condemn me now.

But I could win a bundle.  Or nothing, in which case I’m still on the hook for taxes on this $4500 package.

Wall Street has their casino, albeit a much more rigged one, and I have mine.  Stay tuned.

Localized Appreesh: Violet Hour

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Localized Appreesh is our weekly thank-you column to the musicians that make the Bay. Each week a band/music-maker with a show, album release, or general good news is highlighted and spotlit. To be considered, contact emilysavage@sfbg.com.

An album release is always cause for celebration. The Bay Area act Violet Hour’s Cowardly Loins EP release extravaganza goes down tomorrow night at Bottom of the Hill. The somewhat illusive indie rock act, supposedly led by Le Duc Violet (along with other equally ostentatiously named creatures) and said to be influenced by Bowie and French surrealist painter Yves Tanguy, brings to mind playful,  glam 90s post-punk. Check out the band’s description of its own sound below, it’s pretty magical.

Also check the deceivingly sweet intro’d song “Whatever It Takes” –  as the guitar line wobbles and grows more frenzied, the vocals follow, building to the chorus  “we all make the same god damn mistakes/whatever it gives/whatever it takes.” The reverb rises, voices blur, and out oozes melancholy. It’s like throwing a rock through an ex-lover’s window on a solo midnight bike ride; the build up and release, the instant regret.

But hey, snap out of it. Stop by the band’s live show on Wednesday, there also are some great  local openers.

Year and location of origin: Berkeley , Calif. 2007
Band name origin: A subsection of TS Eliot’s “Fire Sermon” in The Waste Land.
Band motto: The deadly serious business of rock’n’roll.
Description of sound in 10 words or less: Like a peregrine falcon overhearing an angel’s orgasm.
Instrumentation: Guitar, vocals, bass & drums, keys and crazy stuff Adam invents.
Most recent release: Cowardly Loins EP October 2011.
Best part about life as a Bay Area band: So many excellent venues, so many passionate and diverse music fans.
Worst part about life as a Bay Area band: It’s so fucking expensive to live here I’m gonna cry.
First record/cassette tape/or CD ever purchased: The Simpsons Sing the Blues
Most recent record/cassette tape/CD/or Mp3 purchased/borrowed from the Web: Stephen Malkmus Mirror Traffic
Favorite local eatery and dish: Sausages at Rosamunde’s on Haight

Violet Hour
With Myonics, Symbolick Jews, and Arms + Legs
Wed/19, 9 p.m., $8
Bottom of the Hill
1233 17th St., SF
www.bottomofthehill.com

Our Weekly Picks: October 12-18

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WEDNESDAY 12

EMA

“Fuck California. You made me boring,” South Dakota-born Erika M. Anderson declares defiantly on “California,” the breakout single from her cathartic, crushing first proper release, Past Life Martyred Saints (Souterrain Transmissions, 2011). I find that hard to believe. Not the bit about our fair state — living in LA made me about as interesting as an insurance seminar. But the notion that anything could make the person who created this album boring seems completely implausible. An emotional haymaker of an album, the only thing less tedious than the ex-Gowns singer’s lyrics — dealing with topics like self-mutilation, drug addiction, violence, and sex with stunning, often uncomfortable clarity and candor — is her exceptionally versatile musical palette. Anderson tosses touches of drone, punk, indie, folk, and noise rock into a sonic stew that veers as wildly as her moods. If this is what a boring EMA sounds like, I shutter to think what an engaged one could do. (Dan Alvarez)

With Sister Crayon and Alexis

8 p.m., $12 The Independent 628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com


Mary Roach

There goes Oakland’s Mary Roach, delving into the scientific questions we all ponder (and some we’re not smart enough to think of). In the past, she’s brought readers on her fringe forays into sex, dead bodies, and the afterlife. Her latest book, Packing for Mars, explores the weird, the unsavory, and the absurdity found in astronaut space exploration and on-earth preparation. What are the health risks associated with cramped space shuttles without showers? What does dispelled urine look like in space? In Packing, named the 2011 selection for One City One Book: San Francisco Reads, Roach provides the answers in grisly and entertaining detail.(Kevin Lee)

7:30 p.m., free

Booksmith

1644 Haight, SF

(415) 863-8688

www.booksmith.com


THURSDAY 13

“Flight of Poets”

Does a pinot grigio complement Matthew Zapruder’s charismatic poems, or would a spicy zinfandel? How about Jane Hirshfield’s disciplined lines and forceful resolutions, do they call for a bold merlot? Wine steward Christopher Sawyer puts these questions to rest at “Flight of Poets,” LitQuake’s poetry reading and wine bash, curated by Tess Taylor and Hollie Hardy. Sawyer matches a wine with each of the evening’s poets, including Gabrielle Calvocoressi, Robert Polito, Rachel Richardson, and C. J. Sage in addition to Zapruder (Come On All You Ghosts, 2010) and Hirshfield (Come, Thief). In the words of Charles Baudelaire: “It is time to be drunk!” (James H. Miller)

7 p.m., $15

Hotel Rex

562 Sutter, SF

(415) 440-4177

www.litquake.org

 

Daniel Francis Doyle

When his band broke up in 2005, Austin, Texas’s Daniel Francis Doyle needed a quick fix for performing live. He began experimenting with guitars duct-taped to amps and quickly evolved into a noisy force to be reckoned with. The one-man music machine uses a loop pedal, drum kit, and headset microphone to make a ruckus that’s frenetic, exhausting, and surprisingly melodic. After developing a respectable body of solo work, he’s come full circle — writing and performing with a backing band as well. Catch him shredding solo and showcasing collaborative work in a single fun-filled evening at Club Paradiso. (Frances Capell)

With Clarissa, and Hazel’s Wart

8 p.m., $5

Club Paradiso

2272 Telegraph, Oakl.

(510) 735-9095

www.disolounge.com

 

“Doc”

Novelist Paul Auster called him “a ravaged, burnt-out writer who had run aground on the shoals of his own consciousness;” Norman Mailer said he wanted to be “dictator of the world.” At any rate, everyone who knew H.L. “Doc” Humes agreed that he was a genius. Co-founder of The Paris Review, and author of two lauded political novels, Doc was integral to New York’s literary and jazz scenes in the 1950s. However, in the 1960s, Doc plunged into madness and paranoia, started ranting about government conspiracies, and gave up writing altogether. Doc (2008) is the documentary directed by his daughter, Immy. With interviews with Auster, Mailer, Timothy Leary, and others, the film traces the life and times of this eccentric genius. (Miller)

7:30 p.m., $12

Oddball Film+Video

275 Capp, SF

(415) 558-8112

info@oddballfilm.com

 

Enslaved

Musical evolution can be risky. For every storied success, there’s a fan-alienating failure. Thankfully, Enslaved belongs in the former category. Though begun in 1991 as a traditional Norwegian black metal outfit, the Bergen-based band gradually began introducing textural flourishes, epic, narrative arrangements, and tasteful clean singing. Now they rank among the most fascinating, progressive-inflected extreme metal bands in the business. Headlining a full American run should show off the quintet at its enveloping best — who says songs about Vikings can’t be psychedelic? Haunting, costumed buzz band Ghost had to drop off the bill due to visa issues, but Enslaved’s copious talent should staunch all complaints. (Ben Richardson)

With Alcest, Junius, and the Swizard

7:30 p.m., $17

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com


FRIDAY 14

Jeffrey Eugenides

It’s been nine long years since the publication of Jeffrey Eugenides’ ambitious, Pulitzer winning epic, Middle Sex (2002), and eighteen years since his stunning debut, The Virgin Suicides (1993), which makes the author’s new novel, The Marriage Plot, without a doubt one of the most anticipated of the decade (by those who have a good memory anyway). The Marriage Plot probes the lives of three Brown University seniors in the 1980s — Mitchell, Leonard, and Madeline — and the love triangle that emerges between them over the course of one year. At this free event at Books Inc., Eugenides (at long last) reads from his new novel. (Miller)

7 p.m., free

Books Inc. Opera Plaza

601 Van Ness, SF

(415)-776-1111

www.litquake.org

 

Frank Turner & the Sleeping Souls

It comes as no surprise that British folk-punk singer-songwriter Frank Turner is rapidly ascending as a cult hero here in the States. Though he often references geography, you don’t have to be from Winchester to identify with the punk poet’s themes of mortality, self-deprecation, and living life to the fullest. Prior to the release of his fourth album England Keep My Bones (Epitaph), Turner toured North America, completely selling out every date. Now the hardcore singer turned folk-troubadour returns to San Francisco with backing band the Sleeping Souls for a rowdy, beer-soaked night to remember. (Capell)

With Andrew Jackson Jihad and Into It. Over It.

8:30 p.m., $16

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com


SATURDAY 15

“An Afternoon of Soccer Culture”

Soccer fans — football fans elsewhere in the world — might know Simon Kuper thanks to his Freakonomics-styled best-seller Soccernomics. In his latest, Soccer Men, the veteran sports journalist compiles the profiles he’s written over the past 15 years for papers like the Financial Times and the Times of London. Though the chapter titles are a superstar roll call (Messi, Rooney, Drogba, etc.), there’s no fawning here; instead, Kuper offers thoughtful, witty insights into what makes a particular player (or coach) valuable, distinctive, or well-liked (or hated) by the masses. He hits up local footy hotspot Edinburgh Castle to discuss “the beautiful game” with San Francisco author Alan Black (The Glorious World Cup). Only 970-something-ish days until Brazil 2014! (Cheryl Eddy)

3 p.m., free

Edinburgh Castle Pub

950 Geary, SF

(415) 885-4974

www.castlenews.com

 

“The Hula Show”

A sort of armchair travel, Na Lei Hulu I Ka Wekiu’s The Hula Show 2011 stops in India, Samoa, Turkey, Spain, and Wai’anae, blending traditional and contemporary forms of hula. The group brings the art back to California with a suite of chants called Hanohano Kapalakiko, which illustrate the bond between Hawaii and San Francisco. Following opening weekend of The Hula Show, performances on Oct. 22 and 23 feature guests from the Golden Gate Men’s Chorus. If you can’t make the trip to Hawaii this month, pick up a one-way ticket to The Hula Show, for a small taste of the culture. (Julie Potter)

8 p.m. also Sun/16, 4 p.m., $35–$45

Palace of Fine Arts Theater

3301 Lyon Street, SF

(415) 392-4400

www.naleihulu.org


SATURDAY 15

JFK of MSTRKRFT

Jesse F. Keeler, perhaps better known as JFK to fans of MSTRKRFT and Dim Mak Records, has not been neglecting his dance floor duties. Even while reuniting with Sebastien Grainger for the highly anticipated Death From Above 1979 reunion tour, JFK has been putting in time on the decks, frequently double slotted at festival dates. DFA 1979 is easily one of the biggest draws of this year’s Treasure Island Music Festival and JFK will follow the band’s sure to be frenzied dance-punk (emphasis on punk) performance on T.I. with a live DJ set back at Mezzanine, which will likely contain some extremely headbanging electro floor stompers. (Ryan Prendiville)

With Chain Gang of 1974, Sticky K, and DJ Morale

9:30 p.m. Doors, $20

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

Never Knows

A Korg-load of brainiacs are still making techno in this town (yay!). But how many of those brainiacs are merely getting in the way of their machines? “There’s something beautifully pure about techno. Too pure. That pristine, precise sound needs to be undermined, soiled and sullied. Electronic dance music usually relates a narrative that is predictably written. The only way I see out of this trap is to be more of a mediator between the machines as they each take turns telling their own side of the story: sometimes harmonious, sometimes revelatory, often conflicted.” That’s Marc Kate (a.k.a. Silence Fiction, a.k.a.Husband), one of SF’s more vital underground fixtures, whose latest, kind of spooky incarnation as Never Knows channels a tasty bank of live equipment as it folds old-school goth atmospheres into sweeping techscapes. Ensorcel much? Strap in for his debut at the essential, experimental monthly O.K. Hole party. (Marke B.)

With Water Borders and Total Accomplishment

9 p.m., $5

Amnesia

853 Valencia, SF.

(415) 970-0012

www.amnesiathebar.com

 

TUESDAY 18

Opeth

Iconoclastic. Idiosyncratic. Inimitable. Whichever “i”-adjective you prefer, Opeth has long occupied its very own metal subgenre, blending limber, tuneful death metal with progressive excursions and mournful clean singing. Despite melodic accomplishments, the music was often quite heavy, which is why Heritage, the band’s brand-new album, came as a surprise. Largely abandoning distorted guitars, Opeth perplexed critics and fans by releasing a full-fledged 70’s prog album, leaning heavily on organ parts and mastermind Mikael Âkerfeldt’s dulcet vocals. A national tour should help head-scratching headbangers embrace Opeth’s new direction, combining King Crimson-style epics with the band’s blast-beaten back catalogue. (Richardson)

With Katatonia

8 p.m., $27

The Warfield

982 Market, SF

(415) 345-0900

www.thewarfieldtheatre.com


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Strive to fail

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steve@sfbg.com

LIT As I watched Occupy Wall Street grow and spread to other cities in recent weeks, I’ve been alternating between reading two books by familiar figures — a pair of fearless entities that have helped pry open public spaces using the simple weapon of creative expression — and I’m struck by the lessons they offer at this strangely hopeful moment in our history.

Together, they’re like a one-two punch to the status quo and to the notion that we’re all essentially prisoners of the existing political and economic systems. They encourage their readers to strive for impossible goals, to be guided by something bigger than our tiny selves, and to embrace failure rather than fearing it. These are the same ideas embodied by protesters occupying the streets of San Francisco and other major U.S. cities, this sense that they have nothing to lose by making a stand now but everything to lose by continuing to be obedient to the powerful forces that seek to dampen their spirits and rob them of their futures.

The Reverend Billy Project: From Rehearsal Hall to Super Mall with the Church of Life After Shopping is by Savitri D and Billy Talen, the couple behind the performance art church that critiques hyper-capitalism by doing exorcisms and other telling rituals in banks, chain stores, and other examples of what they call the “devil monoculture.”

So the Occupy Wall Street movement that began Sept. 17 in their adopted hometown of New York City is right in their sweet spot. They’ve been down there almost every day delivering sermons, songs, and support — Savitri D as the group’s stage manager and creative director and Talen as his alter ego, Rev. Billy, the evangelical pastor of a large flock of creative activists they’re organized into a choir.

“It feels like the culture is breaking open,” Talen told me by phone as he surveyed the scene at Occupy Wall Street. “These kids are really going for it.”

I’ve long been an admirer of their work and I included Billy as a character in my own book, The Tribes of Burning Man: How an Experimental City in the Desert is Shaping the New American Counterculture, along with longtime burner and San Francisco-based showman Chicken John Rinaldi, the author of the other book I’m discussing.

The Book of the IS: Fail…TO WIN! Essays in engineered disperfection was launched by Chicken and the eclectic group of culture-shakers in his orbit during a spectacular free party on Sept. 30. The 111 Minna Gallery contained 50 unique, custom-designed covers to his already well-designed book, selling for a whopping $250 each — and they sold out! Outside, the closed-off alley was filled with variety acts, strange artsy spaces to explore, a buzzing Tesla-coil tree, and hundreds of people.

Both Chicken and Billy have run for mayor in their respective cities, Chicken in 2007 and Billy in 2009, both injecting art and unconventional creativity into their campaigns. Ironically, it is Chicken who discusses his campaign at some length in his book, despite his basic disdain for politics, while Billy and Savitri — whose art is performed in service of political principles they hold dear — don’t include the campaign in their book.

“We believe that the five freedoms of the First Amendment — religion, speech, press, assembly, and petition — that you need to have these freedoms flourish in public spaces, and that has been shut down in New York City since 9/11,” Billy told me from Occupy Wall Street. “We’ve suffered a loss of our public spaces in New York, and to have all these young people open that back up is very exciting.”

But it wasn’t the politics of their books that struck me as much as their sense of possibility and the way they agitate for a new kind of world. Chicken didn’t run for mayor to win or even to make a political statement. He ran because he sees San Francisco as a “city of art and innovation,” and because then-Mayor Gavin Newsom was more focused on keeping the real estate market booming than keeping the city a fun and interesting place.

“No one was stepping up to challenge him, because no one could beat him. It was in the bag. But Gavin didn’t represent San Francisco very well in a few key departments, and I wished that someone would provide a referendum on the values of the city. Or something. Whatever else it was, running for Mayor was an opportunity to bring my shtick to a bigger stage,” Chicken wrote.

And Chicken’s shtick was the show, his raison d’etre, the need to create culture that drove the various pursuits that he chronicles in his book, from his adventures with the Cacophony Society to his touring with Circus Redickuless and the hardcore punk Murder Junkies to piloting a fleet of boats built from garbage to hosting strange spectacles at his Odeon Bar.

“I mean it’s all a show, of course. And all shows are just stories. And in the end, it’s all the same story,” Chicken wrote. And that story is about what it means to be human, to strive for something authentic and important in this mediocre, manufactured culture that corporations create for us, to reach so far for that truth that we fail — in the process touching the divine, or achieving what Chicken calls Severe Comedy — and then to start that process all over again.

“You can never really say you gave your all unless you fail,” Chicken tells me, recognizing that same spirit in the Occupy Wall Street movement. “I think we’re literally witnessing history in the making. This is the dawn of new ideas.”

That same spirit has animated the work of Billy and Savitri, and their book tells stories from their many demonstrations and events from around the world, ping-ponging between their two perspectives on what happened. Some actions are well-planned and meticulously rehearsed, other more impromptu, like leading a group from a talk they gave in Barcelona to a nearby Starbucks to lick all the surfaces and take it into their bodies.

“Now! Now! Let your body tell you. Do you accept or reject this devil chain store? Will you allow the alien corporation Starbucks to come into your body, into your neighborhood, into your town? Do you accept the devil chain store?” Billy preached.

In reading their books, I got the sense that they didn’t always know what they were doing, that they were just acting, trying to stay in motion, to just do something and figure out what it really means later. Chicken even confirmed the observation when we spoke: “I never have any clue what the fuck I’m doing.”

But that’s okay. Maybe a lot the kids on Wall Street and in front of Federal Reserve building in San Francisco don’t know what the fuck they’re doing either. But, in the face of the greed and corruption that plague our economic and political systems, at least they’re doing something. And even if they fail — maybe especially if they fail big — we’re a better and more interesting country because of their efforts.

Style Paige: h.Naoto’s Gothic glam (finally) makes it to the States

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For Nikki Azuma, Japanese fashion is a lifestyle. The 28-year-old  has been obsessing over Japanese fashion for years, admiring the clothing through fashion magazines and crafting outfits of her own. “It’s my identity,” Azuma said, dressed in a red and black striped tutu dress. 

It was Saturday and Azuma was attending the store opening of one of her favorite designer’s first U.S. store, in Japantown’s New People mall. Naoto Hirooka’s avant garde line h.Naoto is the leading Gothic brand for men and women in Tokyo. It’s worn by Japanese and American pop culture icons like X-Japan and Evanescence. The opening coincided with the brand’s 10th anniversary.

Azuma compared Hirooka’s brand to a good meal, one in which each bite works together to form a transcendent whole. “Everything about each piece [in his line] compliments each other. They’re not overworked,” she said.   

h.Naoto is a blend between Gothic, Lolita, and punk styles, mixing leather, lace, and chains. It’s a combination of hard and soft that might seem strange with those unacquainted with Japanese couture — but deeper inspection reveals a cohesive, original line. 

More blackness from the h.Naoto New People stock. Guardian photo by Paige A. Ricks

To commemorate the store opening on the second level of the New People mall – the space previously occupied by another Burton-esque line, Black Peace Now — there was an exhibit showcasing Hirooka designs once sported by celebrities. Mannequins were dressed quite strikingly; floor-length coats with large collars, pants held together with safety pins. 

Hirooka said he hopes San Franciscans feel inspired by his clothing. 

“When you wear my clothing, you can transform into someone else,” he said in the midst of his opening. “Each piece is unique and you can play a different character.” 

His designs do tend to encourage playacting – they’re structured and tailored, but splashed with white, pink, and turquoise, reflecting the current military and biker trends in Japan. Almost every piece in the store is black, but this colored edginess seems to most appeal to the designer’s young customers. 

Another of Hirooka’s admirers Susan Noh marveled at how the designer’s ability to take existing styles and subvert them into his own ideals. Noh used to order h.Naoto online, even traveling to Japan buy the clothing on occasion.

But now that there is a store in her backyard she’s excited to leave her suitcase empty. “I absolutely love everything,” she said of the New People collection.  

It’s cheaper than a ticket to Tokyo, but still not cheap. Because of the distinctiveness of h.Naoto, the clothing ranges from $100 to $300 for jackets, dresses, and blouses. (The store does sell less expensive items like t-shirts and tank tops.)

 

H.Naoto store

New People, second floor

1747 Post, SF 

www.newpeopleworld.com

 

Lovefoxxx makes SF love her at the Fillmore

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By the end of last night at the Fillmore, CSS’s dynamic lead vocalist-party rioter Lovefoxxx was stripped down to a black tank top and ripped up jean shorts over fishnets, her raccoon eye makeup smeared across her face, fluffed pink hair electrified out of its sockets.

She had cartwheeled, stage-dove, danced through the crowd trailing the mic, spit liquids like a fizzing fountain across the stage/herself/the audience, and told us all  “I love you” a half dozen times, requesting that we should shout “I love you” back in manly intonations. For what started out as a calmer evening, with rumored low ticket sales, the show grew into a massive all-out punk rock dance party by evening’s close. My cheeks hurt from smiling.

Even openers MEN, who unfortunately had to work with a far smaller and less worked up audience in the early stages of the show, were working it it overtime, lead vocalist-electronics-shifter JD Samson hopped from mic to synth to laptop, and raised her tattooed arms, sporadically jumping into high-kicks to get the crowd going.

10 great bits about CSS and MEN at the Fillmore:
1. Lovefoxxx screaming “Fuck Everything” in a faux-growl before kicking off the jam, aptly titled “Fuck Everything” off the Brazilian rave-punk band’s new release, La Liberación, an album that takes one tiny baby step away from electro and one towards reggae-beat.
2. Before jumping in to (arguably, its biggest hit) “Music Is My Hot Hot Sex” off its self-titled debut, Lovefoxxx telling the crowd she’s single, and introducing her slightly-embarrassed guitarist-cowbellist Luiza Sá as also single.
3. The revelation that “Let’s Reggae All Night” is CSS’s least requested song. The band then ripping it open and tearing it apart, cementing its place as a future live request.
4. Before MEN’s song “Make Him Pay,” JD explaining “It’s about feminism and the economy.”
5. JD asking,  “Who here has eaten a burrito today?” Then seeing a show of hands. We do love our burritos, San Francisco.
6. Lovefoxxx grabbing the glasses of a toe-headed stranger (?) and trying them on for show.
7. The audience and artist call and response during MEN’s “Who Am I?” — “Who am I to feel so free?” “Who am I?”
8. The life-sized cartoon cut-outs of cute-dressed people (presumably odes to other collective members, including Johanna Fateman) on stage with MEN.
9. The kindergarten pink construction paper hearts attached to CSS’s amps, keyboards, and affixed to guitarist Ana Rezende’s shirted boobs.
10. Lovefoxxx. All of her. The glittered fox mask, stripping to fishnets and ripped shorts, constant mic swinging, drink-swilling, cartwheeling, butterfly-dancing, crowd-surfing punk princess goodness. She’s the electro-Brazilian Wendy O. Williams.

Don’t say CANT

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arts@sfbg.com

MUSIC It’s tough to pin down a busy bee like Chris Taylor — Grizzly Bear’s bassist, an in-demand producer, and now the leader of his own pack called CANT — but once you manage to, he’s as disarmingly engaging as his new dispatch from a darkling, excruciatingly personal plain, Dreams Come True, released on his own Terrible Records.

So it shocks him when he hears critics describe his music as cold, even chilly. “When people say it’s impersonal, it’s like, wow, man,” Taylor marvels from Portland, Ore. “If anything, you should be saying, ‘This record is too emo.’ That was what I was expecting, that people would say, ‘This guy is way too emotional. Go see a therapist and cool out.’

“I was intentionally trying to figure out the worst kind of fears, fears of falling in love and not being able to let go, or fears of losing it when you think you have it. Scary, unpleasant realities.”

But realities rendered far from heartlessly. A probing soulfulness runs throughout Dreams Come True, which often sounds more like a wrenching, pitch-black nightmare than a blissful reverie. Yet the LP teems with pleasures, and the deeper you penetrate, the harder its pull. It’s in the way that Taylor beautifully couples gristly, screeching scads of industrial noise, reminiscent of both Nine Inch Nails and horror-movie violins, with celestial synth in the title track and “Rises Silent.” Skittish electronic beats bang up against gamelan-like percussion in the echoey, prog-pop opening track, “Too Late, Too Far,” while Satie-esque (and Thom Yorke/Radiohead-like) impressionism is paired with an undercurrent of ’90s-era post-punk dissonance in “Bericht.” Brass that cues wee-hours soul bounces off elastic bass notes in “The Edge,” and a softly insinuating Velvet Underground-ish guitar vamp adds menace to “She Found a Way Out” — a song that makes one wonder if that way out was, akin to Joy Division’s “She’s Lost Control Again,” something like a permanent check-out.

“It’s about the sort of feeling you feel when the biggest love of your life walks out the door, and you deserve it, and she’s better off for it — it makes you want to scream,” explains Taylor with a rueful chuckle. “No, she didn’t die! She went to grad school. She’s getting smarter by the day.”

Taylor’s education into solo music-making began with his forays into singing with Grizzly Bear — CANT’s name plays off that definition, among angles. After completing production on Twin Shadow’s Forget (4AD/Terrible, 2010), he sat down with TS’s George Lewis Jr. for about two weeks to work on Dreams, playing most of the instruments themselves. Work continued after Lewis departed, contributing to the music’s sense of ratcheted-up intimacy. “I was by myself, and it’s just the worst, especially not having written lyrics before,” says Taylor. “You’re like, does this suck? And it’s just crickets.”

Songs such as “Answer” — with its pacing synth line, moodily ascending string sounds, and brooding refrain, “It’s been a while since you needed me / It’s been a while since I needed you, too” — spoke directly to old demons. “It’s about my ongoing and often difficult relationship with my dad — one of the more trying relationships in my life,” confesses Taylor, whose parents divorced when he was 5.

“It’s about feeling loved, and at the same time, there’s so much, like, meanness. It’s really confusing when a kid is told they’re loved and then treated so badly…” And it’s mystifying, and maybe a relief, that the track’s inspiration has no idea what role he played in its making — and that pain can be transformed so completely into pop. “I think,” says Taylor with disbelief, “when the song premiered on Pitchfork, [my dad] said, ‘I like that!'” CANT With Mirror Mirror and Blood Orange Wed/5, 8 p.m., $15 Independent 628 Divisadero, SF (415) 771-1422 www.theindependentsf.com