Regency Ballroom

Live Shots: Fitz and the Tantrums

Tony Robles
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A steady backbeat. The swirling organ. Lots of saxophone. Two singers who double as dancers. One skunk striped haircut. Without a doubt, Fitz and the Tantrums have their act together, and worked it Thursday, the first of two nights at the Regency Ballroom.

The Tantrums, a stylish soul revival band with pop tendencies, are led by singer-songwriter Michael Fitzpatrick, a skinny man with a skinnier blonde streak in his ‘do. Fitzpatrick’s voice is somewhere between blue-eyed soul artists Daryl Hall and Michael McDonald (the Doobie Brother, not the guy from MadTV, although there is a striking resemblance to the latter). Fitz is matched vocally by Noelle Scaggs, whose hair no longer matches the band’s banner. It’s the chemistry between the two that drives the band onstage, complementary but also competing to be more bombastic. Neither seems afraid to work up a sweat, but Scaggs for her part apparently picked up an old trick from Tina Turner, which is to hold the tambourine in hand and just shake the whole body.

In the last year, the group has been getting a lot of attention, mainly through festival performances, including Hardly Strictly Bluegrass. The Tantrums won me over at Sasquatch in Washington, with some nice placement before Sharon Jones. The show on Thursday was essentially the same, down to the banter, audience interaction, and requests to “get low.” Which isn’t necessarily a bad thing, as it comes off more natural than mechanical – a level of polish and chops that would sweep X Factor or American Idol. If, however, that reality competition dreck comparison is a little too safe for comfort, rest assured that Fitz, for his part, drops way too many F-bombs for network TV.

Setlist
1. Don’t Gotta Work It Out
2. Winds of Change
3. Breakin’ the Chains of Love
4. Wake Up
5. Pickin’ Up the Pieces
6. Rich Girl (“Rich girls will break your heart, but a poor girls will take all your fucking money.”)
7. 6 AM
8. Tighter
9. Lovesick Man
(“This is where the motherfucking dance party will begin.”)
10. LOV
11. Steady As She Goes (Raconteurs)
12. Dear Mr. President
13. News 4 U
Encore
14. We Don’t Need No Love Songs
15. Sweet Dreams (Eurythmics)
16. Moneygrabber

Nite Trax: Edwardian Baller Justin Katz tells of Gorey origins, steampunk youth, more

Jesse Hawthorne Ficks
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Nite Trax: Edwardian Baller Justin Katz tells of Gorey origins, steampunk youth, more

In this week’s Super Ego nightlife column in the paper, I write about this coming weekend’s giant Edwardian Ball at the Regency Ballroom, which spans five events and welcomes thousands into its playful goth-steampunk-burlesque embrace. Named for Edward Gorey but encompassing more than a few winks at the Edwardian Era of the last turn of the century, the all-ages ball has come to act as a summit for a certain essential, instantly recognizable San Francisco nightlife subculture.

The ball was launched in 2000 by Justin Katz of “premiere pagan lounge ensemble” Rosin Coven and Mike Gaines of the neo-cirque Vau de Vire Society, and has grown enormously in the 12 years since — including branching out to Los Angeles. I interviewed the genial Katz over email about the ball’s Gorey origins, the challenges of expansion, combatting the dreaded FOMO, and welcoming a new generation of Friends of Ed.

SFBG Congrats on 12 years of the Edwardian Ball. When you started this, did you think it would take off in this big a way? Can you share a couple of your favorite memories of the Ball since the “turn of the century”?

JUSTIN KATZ Thank you! Each year in the history of this event has been such an adventure, with unpredictability even for us being a constant! Our first year we used a slide projector to show images from a Gorey book. Slides! The second year we did our first interactive theater with the audience, inviting friends to come up and be part of “The Curious Sofa.” Our fifth year was the first with Vau de Vire Society, one of the best decisions Rosin Coven ever made, and I can’t believe the amount of theatre, aerial, and huge open flames that we fit into the back room of the Cat Club. From then on it’s been astounding to see the growth and participation, first the Great American Music Hall, then up to three nights there before waltzing into our current home, The Regency Ballroom.

SFBG You’re extending the festival over six events this year — can you tell me a little about that? Have you ever had this many events, and is this in response to demand?

JK This is definitely our biggest offering to date. The event has developed in so many ways concurrently that there is just too much to see and do during a nighttime event. The Vendor Bazaar (afternoon of Sat/21) has grown into a world of its own and people want more time to shop and mingle amongst the dozens of amazing artisan vendors we now house for the weekend. It gives people a chance to focus without dreaded FOMO — fear of missing out! — with all of the revelry of the Ball afterwards. And this year’s tea with Professor Elemental (also afternoon of Sat/21) is a new one. We are so pleased to have such an excellent artist flying all the way from the UK that it only seemed proper to have a tea party, and give fans a chance to get up close and personal in a more relaxed setting. So it’s about opening up and spreading things out a bit, to enjoy.

http://www.youtube.com/watch?v=0iRTB-FTMdk

SFBG This year’s theme book is the Iron Tonic — will there be specific references to the book, or do you adopt these just as general frameworks to work within? And what are some of the special things you’re looking forward to this year?

JK: Each year Rosin Coven & Vau de Vire Society, co-hosts of The Edwardian Ball, choose a featured Gorey story to bring to life on stage. So this year’s tale is “The Iron Tonic”, which will be presented on Saturday night with original music, staging, choreography, and video as our “big show.” So you will see the story in its entirety. And more, actually, because Vau de Vire always goes to the next level in creating the story – showing you what Gorey doesn’t. One of the most intriguing things about Gorey’s work is that he shows you so little, and implies so much. Vau de Vire plays with character, back story, scenes between the scenes, and really draws you in. Rosin Coven works closely with them developing this and creating the music and narrative that drives and showcases all of the amazing theatrics.

http://www.youtube.com/watch?v=6qgIGKobTe4

Another addition to this year’s event that I just can’t wait to see is our new Museum of Wonders – we’ve added an entire third floor of The Regency to the event, a dense, dark playground of eccentric collections, unusual artifacts, circus sideshows, mechanical dolls that sing you songs, fortune telling, tarot reading, a haunted pipe organ, and a living statue garden by Vau de Vire performing more Gorey stories. We’ve taken the wonderful art that has filled our ballroom and given it its own home, a whole new world to wander during the event, and a place to get away from the crowds for a different experience. This also allows us to open the Ballroom up even more for dancing and enjoying the show – more space to tango!

SFBG I’m fascinated by the general culture that’s coalesced in the past decade or so around the Edwardian Ball — it’s such a San Francisco signature style incorporating burlesque revivalism, playful goth, circus and steampunk, various aspects of Victoriana and Edwardiana. You guys seem to be the major exponents of this certain culture. Have you had any thoughts about it as you’ve seen it develop? What changes or developments have you seen in the Edwardian Ball culture through the years that you’re proud of or that have really made you think?

JK It’s an honor to be recognized as an influence on San Francisco’s style and trends, I’ve always seen us almost more of a great receiver of ideas and influences. We provide a creative, permissive space for people to inspire each other and cross-pollinate. By creating a mood but not strict rules, people have developed their own interpretations and styles over the years, the sum total of which become “Edwardian.” We initially used the name Edwardian just to dress up Edward Gorey, but its been fascinating to see people develop the historic elements of the event on their own. Steampunk is an interesting one too – when we started that word didn’t even exist. We’ve never self-promoted as a “steampunk” event, any more than we would be a “period recreation” event, but we’ve enjoyed the dovetailing of the trend and it’s expansion into more elaborate costume and character. I’ve enjoyed seeing people take Gorey’s work and meld it into their own creations too – characters and monsters and oddities from the pages of his books have been found in the most wonderful corners of the events.

http://www.youtube.com/watch?v=IjjDt2_oKyU

SFBG How has the Los Angeles Ball been going and do you plan to expand further?

JK Los Angeles has been inspiring and challenging. Our first year was gorgeous, held in the mostly-defunct, run down Tower Theater in Downtown LA. It was moody and intriguing, and difficult from a production standpoint. So last year we moved to The Music Box, which is such a great venue. We had a little hiccup when the venue double-booked the night and bumped our date, and we had to push it back a month. But this year The Music Box outdid themselves and shut down a week ago, out of business, so we’re hard at work on finding a new home and date in time to announce at the SF event. LA is just good at tossing us curveballs – but aside from the nuts and bolts we have a wonderful time down there and are inspired and impressed by how ready the crowd is to step up, dress up, and immerse themselves in the Edwardian world. I see no reason not to keep expanding the reach of this event: New York, Seattle, New Orleans, there are so many places that the Edwardian Ball could pay a delightful visit.

http://www.youtube.com/watch?v=D3ISx6UaKw0

SFBG You welcome all ages to the Ball. Do you find that, as steampunk and burlesque enter the mainstream consciousness more, that more younger people are drawn to the culture that the Ball represents?

JK I think that’s a good assessment. I think we’re seeing a couple of groups of younger people – there are those that are drawn to live music, circus, and performance, and this gives them a place to go when most shows are 18+. It’s such a well-behaved crowd – playful but respectful – that we feel good about including all ages and creating a safe space for young people. Their presence adds a really vital energy, and I think affirms that we are creating something that can continue on, it’s not just for the producers and their own social circles. New, young ideas can and will influence where this event goes.

Also, some of the longtime fans are getting older and having children themselves, and starting to bring them to see this unique world. We’re starting to see the “Under-10” crowd show up for the first few hours – they watch the show, climb aboard a bike-powered carnival ride, play midway games with clowns, pose for photos, and head back to school for an unbelievable round of show-and-tell.

Fri/20: Edwardian World’s Faire Kinetic Steam Works, Cyclecide, Vau de Vire, games, and more

Sat/21: Edwardian Ball 2012 “The Iron Tonic” with Jill Tracy, The Fossettes, Miz Margo, and more

Both at Regency Ballroom, 1300 Van Ness, SF. All ages, see www.edwardianball.com for prices, times, and more events.

Get Gorey

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Get Gorey

marke@sfbg.com

SUPER EGO Wax up your handlebar mustache, dust off your stripy topcoat, burnish your steampunk petticoats, and oil those wheezy accordions: The Edwardian Ball, that phenomenal annual gathering of exquisitely decked-out freaks, is back for its 12th installment of mannered mayhem. This time it aims to quell any kvetching about crowding by stretching itself over five official local events (and a satellite ball in Los Angeles next month). But the Fri/20 World’s Faire and the Sat/20 Ball itself will still be the main attraction for thousands of Friends of Ed.

Where did it come from, the distinctly San Franciscan style that the Edwardian Ball represents, the curious — and, in some pale lights, socially conservative — amalgamation of circus revivalism, steampunk mechanicals, Wild West gumption, burlesque peekaboo, 1990s anarcho-sincerity, and more than a hint of Burning Man fairy dust? The ball itself, launched in 2000 by Justin Katz of “premiere pagan lounge ensemble” Rosin Coven and Mike Gaines of the neo-cirque Vau de Vire Society, delectably conflates affection for Edwards Gorey, author, and Windsor, British king, producing a turn-of-the-last-century high-brow goth fantasia that’s impossible to resist. There’s more than a hint of Burtonesque Scissorhands-worship in there as well, bringing our Ed count to three. (Check out my revealing interview with founder Katz.)

Like absinthe, the ball’s drink of choice, I savor this native subculture most in small, strong doses — sometimes its sheer mass can overwhelm, and its style seems always in a state of coalescence rather than expansion. (An Edwardian Ball in 2112 would, and probably should, be much like the one this week, hover-bikes notwithstanding.) That’s why the ball’s a perfectly cromulent occasion to check in on the dark-eyed, ruby-red, velvety feast of one of our essential undergrounds. Promenade, anyone?

Fri/20: Edwardian World’s Faire Kinetic Steam Works, Cyclecide, Vau de Vire, games, and more

Sat/21: Edwardian Ball 2012 “The Iron Tonic” with Jill Tracy, The Fossettes, Miz Margo and more

Both at Regency Ballroom, 1300 Van Ness, SF. All ages, see www.edwardianball.com for prices, times, and more events.

BENEFITS FOR DJ TOPH ONE Beloved “wino” Toph One got struck while riding his bike by a hit-and-run driver on Sun/8 and was hospitalized with a broken pelvis and internal bleeding. The DJ, bike activist and annual AIDS Rider, and party promoter (of the incredibly long-running Red Wine Social and Pepper) is OK and in good spirits now. And the great Bay Area nightlife scene is banding together once again to help out a friend in need. There are going to be two big benefits — all proceeds going to Toph’s bills — that are also serving as major bay talent summits. One’s at Public Works (Fri/20, 9 p.m.-3 a.m., $10. 161 Erie, SF. www.publicsf.com) with J-Boogie, Jimmy Love, Matt Haze, Pleasure Maker, E Da Boss, Chris Orr, and many more. The other’s at SOM (Sun/22, 8 p.m., $10–$20 but no one turned away. 2925 16th St., SF. www.som-bar.com) with Billy Jam, Sake One, DJ Pause, Rolo 1-3, Rascue, Jah Warrior Shelter Hi-Fi, and tons more. Get well soon, buddy — and anyone with information on the crime please call the anonymous police tip line at (415) 575-4444 or send a tip by text message to TIP411.

 

LAURENT GARNIER

One day, I will write an entire book about French techno polymath Laurent Garnier’s seminal 1993 “Acid Eiffel,” a monumental track whose throbbing chords (not quite nabbed from Mr. Fingers), squiggling acid jabs, and cheeky whale-song bass figures pretty much audibly nailed where my rave-fatigue head was at back then. He hasn’t been here in a decade: this time he arrives as part of the trio LBS (Live Booth Sessions) with Garnier DJing and knob-twisting, Benjamin Rippert on keyboards and Scan X on “machines.” They’ll be tearing through a whole host of electronic styles at this installment of the whip-smart As You Like It roaming party (co-produced with Public Works), throwing some brilliant corners on Garnier’s signature ecstatic style. With M3, Rich Korach, Briski, and P-Play.

Thu/19, 9 p.m.-3 a.m., $15–$25. Public Works, 161 Erie, SF. www.publicsf.com

 

THE QUEEN IS DEAD

Honey, is she ever! There has actually been quite an uptick in Smiths tribute nights (maybe making up for Morrissey’s string of Bay Area concert cancellations?). And this monthly one, celebrating a year on Saturday, is the Frankly Mr. Shanklyest of them, with a wide range of melancholy jangle-pop tunes and DJ Mario Muse on decks. Unhappy birthday!

http://www.youtube.com/watch?v=8oYsQ1Ra1hI

Sat/21, 9 p.m., $5. Milk, 1840 Haight, SF. www.milksf.com

 

OCTAVE ONE

The classic Detroit techno Burden Brothers whose seminal “I Believe” and “Black Water” will always get me on the dance floor hollering and waving my arms around like the homosexual muppet I am have been touring successfully. Catch them on the swell Club Six sound system.

Fri/20, 9 p.m.-4 a.m., $15. www.clubsix1.com

 

SOUKI

Kooky-rad monthly queer and friends party Dial Up dials up a special Friday night with Berlin ‘s Souki, whose deep-but-friendly techno prowess is making recent waves. She’ll be performing a live PA, sure to get funky.

Fri/20, 9 p.m.-3:30 a.m., free before 10 p.m., $6 after. Public Works, 161 Erie, SF. www.publicsf.com

 

DUBSTEP PRODUCER BATTLE FINALE

Some great beats have come out of the rounds leading up to this grand wobble finale — nice to see so much local talent holding forth (and stretching the often narrow dubstep definition.) Come jiggle and support finalists Fivel, Taso, and Kontrol Freqs at the new Fuel Lounge (formerly Etiquette).

Fri/20, 9 p.m., $5 before 10 p.m., $10 after. Fuel, 1108 Market, SF. www.fuelsf.com 

 

Pop your cork

Andrew Lam
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Pop your cork

Below are our picks to ring in the new. Events are listed alphabetically. Parties end at 2 a..m. except where noted. For more New Year’s parties, see This Week’s Picks. For New Year’s Day parties, click here. Lampshade hats not included.

 

1984

Light on the Orwellian totalitarianism and heavy on ceaselessly pumping ’80s music, longtime favorite retro night 1984 takes you back to the future once again. And it is free!

9 p.m.-2 a.m., free. Mighty, 119 Utah, SF. www.mighty119.com

 

ALL DAY PUNK ROCK NEW YEAR’S

Considering we’re about to embark upon another year full of economic gloom and doom, the band names from Eli’s lineup — World of Shit, Short Changed, Society Dog — aren’t too uplifting. But at least they’ll help you rage through.

2 p.m.–12:30 a.m., $10. Eli’s Mile High Club, 3629 Martin Luther King Jr. Blvd., Oakl. www.elismilehigh.com

 

BEARRACUDA

What could possibly say New Year more than a hunky mass of sweaty, hairy gay bears getting down until the wee hours? You in the middle! DJs Craig Gaibler and Brian Maier keep it steamy.

8 p.m.-3a.m., $25. Club 8, 1151 Folsom, SF. www.bearracuda.com

 

BOBB SAGGETH

Elbo Room’s NYE spectacular includes the West Coast’s greatest Black Sabbath cover band* Bobb Saggeth, featuring members of Saviours, Citay, 3 Leafs, Sean Smith. Plus, it’s dark metal lords Black Cobra’s homecoming show. *Note: the “greatest Black Sabbath cover band” descriptor is self-inflicted though accurate. With Black Cobra.

9 p.m., $20. Elbo Room, 647 Valencia, SF. www.elbo.com

 

BOOTIE

Mashup mayhem galore at the original bastard pop party, whose special NYE installment includes mashup band Smash-Up Derby performing live and DJs Adrian and Mysterious D., Mykill, and Dada. Plus: ballon drop!

9 p.m.-3 a.m., $25–$50. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

 

CALIFORNIA HONEYDROPS

With raucous group efforts towards blues, gospel, New Orleans jazz, and R&B, California Honeydrops tend bring the sonic party wherever they play — why should NYE be any different? Admission price gets you live Americana music and a drink of your choosing.

11 p.m., $40. Pizzaiolo, 5008 Telegraph, Oakl. (510) 652-4888, www.pizzaiolooakland.com

 

ECLECTIC FEVER

A glowing, global party to dive into, with the effervescent Zap Mama, plus Sila, Non Stop Bhangra, Sambaxe Dance, and DJs J-Boogie, Jimmy Love, DJ Jeremiah, and Matt Haze. A real ear-opener for 2012.

8:30-4 a.m., $65. 1290 Fillmore, SF. zapmama.eventbrite.com

 

EL SUPERRITMO!

We have a soft spot for this weekly throwdown of tuneful styles from Latin America — cumbia, baile funk, reggaeton, and more. This promises be a wild installment with residents El Kool Kyle and DJ Roger Más joined by Ricky Garay, aka Señor Mucho Musica.

9 p.m., $20. Makeout Room, 3225 22nd St., SF. www.makeoutroom.com

 

FOREVERLAND

The show stars 14-piece Michael Jackson tribute band Foreverland, but there also will be the frisky Kitty Kitty Bang Bang Burlesque, an appearance by “the girl in the fishbowl” (a vintage Bimbo’s tradition), complimentary bubbly, party favors, and a traditional balloon drop at countdown. With Slim Jenkins, the Cottontails.

8 p.m., $65. Bimbo’s, 1025 Columbus, SF. www.bimbos365club.com

 

GO BANG!

This awesome, mixed-crowd monthly disco party has zero attitude but all the glamour. It’s like a Studio 54 you can actually get into. Atlanta’s DJ Osmose will bring his scratching turntable technique to bear on some rare disco tracks this NYE, along with Doc Sleep, Eddie House, and hosts Sergio and Steve Fabus. Good times!

9 p.m.-late, $10. Deco Lounge, 510 Larkin, SF. wwwdecosf.com

 

KINK

The colorful boys behind two of the Bay’s most vital party machines — Honey Soundsystem and Pacific Sound (Sunset) — join forces to bring in hot and heavy Bulgarian techno hero KiNK. He’ll be playing live, with a few melted minds sure to follow. Eight other DJs on two floors will help it all out.

9 p.m.-5 a.m., $15-$30. Public Works, 161 Erie, SF. www.publicsf.com

 

KREAYSHAWN

Yep. The controversial, anti-Gucci mini-rapper in thick black frames is back, playing her biggest SF venue to date. The show is all ages and the event is titled “Never Coming Down.” With Wallpaper, Roach Gigz, Starting Six, DJ Amen.

9pm, $38. , Regency Ballroom, 1300 Van Ness, SF. www.theregencyballroom.com

 

LEA DELARIA

The much-lauded Broadway star, swingin’ jazz musician, and fabulously blue comedian is back in the town to ring in the new year with peals of laughter. Latest show “Last Butch Standing” promises to be a full-on entertaining eve, topped with some outrageous New Year’s surprises, of course.

7 p.m. and 9 p.m., $30–$35, Victoria Theatre, 2961 16th St., SF. www.therhino.org

 

LEXINGTON NYE BLACKOUT

If you can’t remember who you kissed at midnight, does it really count? Find out at SF’s favorite lesbian bar, when rockin’ DJs Andre and Jenna Riot and host Sara Goodman turn out your lights — and turn on the craziness. Oblivion awaits!

9 p.m., free. Lexington Club, 3464 19th St., SF. www.lexingtonclub.com

 

MAGIC LEAVES

Presented by Seaweed Sway, Loving Cup Presents, and Song Bird, the show boasts a glut of crunchy local freak-folk and a singular midnight champagne toast. Should be a delightfully analog evening. With Little Wings, Range of Light Wilderness, Au Dunes.

9 p.m., $15–$20. Amnesia, 853 Valencia, SF. www.amnesiathebar.com

 

MIDNIGHT NYE 2012

Get ready for a blast of warm tropicalia and clouds of fun, as Club Six rocks steady to reggae, dancehall, and global bass sounds, courtesy of the Daddy Rolo, Spicey, Dee Cee Shakedown crews. With DJs Shawn Reynaldo, Jah Warrior Shelter Hi-Fi, Pam the Funkstress, and many more on two floors.

8 p.m.-4 a.m., $20–$30. Club Six, 66 Sixth St., SF. www.clubsix1.com

 

“NEW YEAR’S EVE SHAKE”

This party is all about the shimmy-n-shake, soul, surf, and all other 1960s rock’n’roll sounds. There’ll be live music courtesy of the Barbary Coasters, the Ogres, and the TomorrowMen, along with go-go dancing by the Mini Skirt Mob (which features members of the Devile-Ettes. And of course, the requisite champagne and balloons.

9:30 p.m., $10–$15. Starry Plough, 3101 Shattuck, Berk. www.starryploughpub.com.

 

NEW YEAR’S FIREWORKS SHOW

The damp, strength-sapping chill of midnight on the Embarcadero is still worth the 15 minutes of promised pyrotechnic glory. Thousands of San Franciscans huddled together under the sky = magic.

12 a.m., free. Pier 14, Embarcadero, SF.

 

NYE CONFIDENCE STARTER 2012

A nice little bash on the edge of the Tenderloin with some quality local peeps. DJ Ed Dee Pee will play “down tempo, New neo-soultronica imports, and broken beat-ish styles.”

9 p.m.-3 a.m., $10. Siete Potencias Africanas Gallery, 777 O’Farrell, SF.

 

OLDIES NIGHT’S NASTY ASS LATE NEW YEAR’S EVE PARTY

The title is a mouthful, but it should be a good one. There’ll be a live performance by the Cuts along with Oldies Night regulars DJ Primo and Daniel spinning that twist-worthy doo-wop, one hit wonders, soul, and scratchy seven-inch rock ‘n roll.

9 p.m.-4 a.m., $10. Knockout, 3223 Mission, SF. www.theknockoutsf.com

 

OPEL NYE

The spiritually minded, breaks-oriented underground collective rises to the 2012 occasion with and a mad, possibly fire-twirling free-for-all with the UK’s Lee Coombs, plus members of the Strategik and Ambient Mafia crews.

9 p.m.-4 a.m., $25–$40. Mission Rock, 817 Terry Francois, SF. opelnye.eventbrite.com

 

SWEATERFUNK

Fuzzy local weekly party Sweaterfunk has kept the lights on for soulful boogie — and its more contemporary twists and turns — in this city for a wonderful while. For NYE, special Swedish future-funker guests Opolopo and Amalia should really turn you inside out.

9 p.m.-3 a.m., $20–$30. SOM, 2925 16th St., SF. www.som-bar.com

 

THE ITALIAN JOB

Get a little swanky at North Beach’s lovely Monroe club, with some pumpin’ house from Italy’s Rufus plus a “family” of DJs, including Stef “The Baron,” Francesco Signorile, and Carol.

10 p.m., $20–$25. Monroe, 473 Broadway, SF. www.monroesf.com

 

THIS MUST BE THE PLACE

This festive affair gives you a number of reasons to welcome 2012 into Oakland, among them a bang-up lineup of techno and house DJs from the Space Cowboys crew and an awesome onslaught of funk and hip-hop from the likes of Sake One, Platurn, and Joe Quixx. What up, East Bay!

9 p.m., $25–$85. Oakland Metro, 630 Third St., SF. stayeastbay.eventbrite.com

 

TRANNYSHACK NYE

Queens, queens, and more queens — they’ll be gushing out like a waterfall at this annual drag hoo-haw, with performances by Heklina, Suppositori Spelling, Holy McGrail, Honey Mahogany, Matthew Martin and a million more.

9:30 p.m.-3 a.m., $25–$39. DNA Lounge, 375 11th St., SF. www.trannyshack.com

 

VELVET TEEN

This is your twee, feel-good option, the soaring-sweet vocals and sharp riffs of perennial Bay Area indie rock favorites Velvet Teen will assure a night of arms slung around waists and peachy full body sways. With Happy Body Slow Brain, Fake Your Own Death.

10 p.m., $17. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

 

WAX IDOLS AND TERRY MALTS

And then there are the new local favorites, Wax Idols and Terry Malts — both bands are part of an exciting, classic garage punk rock surge in the Bay Area music scene. And if punks indeed have no future, celebrate the end of times at the Hemlock. The show also includes champagne toast at midnight.

9 p.m., $10. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

Cheryl Eddy’s top 10 metal shows of 2011

Tony Robles
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Cheryl Eddy’s top 10 metal shows of 2011

For so many more year-end music lists, click here and pick up this week’s paper.

Cheryl Eddy’s list of the top 10 metal shows of 2011 (in chronological order):

1. Feb. 2: Motörhead, Clutch, and Valient Thorr at Warfield

2. March 11: Weedeater, Zoroaster, Kvelertak, and Begotten at Thee Parkside

3. March 12: Slough Feg, Christian Mistress, and Witch Mountain at Hemlock

4. April 3: Saint Vitus, Red Fang, and Howl at Mezzanine

5. June 7: Orange Goblin and Gates of Slumber at Bottom of the Hill

6. Aug. 12: Eyehategod, Impaled, Laudanum, and Brainoil at Oakland Metro

7. Aug. 16: Pentagram at Mezzanine

8. Oct. 13: Enslaved at Slim’s

9. Nov. 3: Mastodon and Red Fang at Warfield

10. Nov. 19: Kyuss Lives! and Black Cobra at Regency Ballroom

 

Relive it: Motörhead at Warfield

The tops of 2011

Jesse Hawthorne Ficks
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CHERYL EDDY, GUARDIAN

 

TOP 10 METAL SHOWS OF 2011 (CHRONOLOGICAL ORDER)

1. Feb. 2: Motörhead, Clutch, and Valient Thorr at Warfield

2. March 11: Weedeater, Zoroaster, Kvelertak, and Begotten at Thee Parkside

3. March 12: Slough Feg, Christian Mistress, and Witch Mountain at Hemlock

4. April 3: Saint Vitus, Red Fang, and Howl at Mezzanine

5. June 7: Orange Goblin and Gates of Slumber at Bottom of the Hill

6. Aug. 12: Eyehategod, Impaled, Laudanum, and Brainoil at Oakland Metro

7. Aug. 16: Pentagram at Mezzanine

8. Oct. 13: Enslaved at Slim’s

9. Nov. 3: Mastodon and Red Fang at Warfield

10. Nov. 19: Kyuss Lives! and Black Cobra at Regency Ballroom

 

JOSH CHEON, DARK ENTRIES RECORDS

 

TOP 10 NEW RELEASES OF 2011

1. Container, S/T LP (Spectrum Spools) 2. Staccato du Mal, Sin Destino (Weird Records) 3. Bronze, Copper (RVNG Intl.) 4. Grouper, Dream Loss/Alien Observer (Yellow Electric) 5. White Fence, Is Growing Faith (Woodist) 6. Belong, Common Era (Kranky) 7. Widowspeak, S/T LP (Captured Tracks) 8. Total Control, Henge Beat (Iron Lung) 9. Iceage, New Brigade (What’s Your Rupture?) 10. Brotman & Short, Heights (Cold Dick)

 

GEORGE CHEN, MUSICIAN AND WRITER

 

2011: MAN, MOST OF IT WAS SHITTY. BUT HERE WERE THE GOOD THINGS

1. Helm. Luke Younger from Birds of Delay, Halloween weekend in London. Best noise set I’ve seen in a while, it helped that there was a fan blowing his bangs out of his hoodie. He has an album called Cryptography out on Kye. 2. White Lung. Youngins from Vancouver B.C. playing sick, straight forward punk. Saw them in a bowling alley. 3. Village of Spaces’ Alchemy and Trust album. It took a village to put this out, or at least four labels working in conjunction. Dan Beckman’s (Uke of Spaces Corners) quiet folk masterpiece. 4. Divorce. A band from Glasgow that exists in kind of a cultural vacuum there, a bit like the early ’00s trapped in amber, but then cracked open and given adrenal supplements. They are coming to America in July 2012. 5. Trash Kit put out an album in 2010, but I only got to see them once in 2011. Sadly, they have broken up. Finger-picky jaunty punk with weird rhythms. 6. Andrew W.K. This was not particularly “good”, but distinct encapsulation of the zeitgeist. My band played a show with him at Dem Passwords. He didn’t actually watch us or anything, he showed up right before going on with an entourage. Fans started force-feeding him bananas, Redbull, and whiskey and it turned into a freakish spectacle. I took a nap during his set, came back in, and he was still going for like two and a half hours, driving his fans away. Respect, the modern Andy Kaufman. 7. This Invitation. Chen Santa Maria went on a California tour with Warren in April and it was sparsely attended, but perhaps we’re to blame for that. It’s nice to see one of your oldest friends get some recognition for their work, which Aquarius did by giving their stamp of approval to his three (!) double CDs. 8. Cacaw from Chicago, a few ex-Coughs peeps project. They are now broken up, but this summer they came through and it was a monstrous sludge engine. Dark and fierce. 9. Anika. Technically a 2010 release, but she played at the Independent in October. The lady herself has a passive stage presence, but the music of the whole group (members of Portishead and Beak>) is best described as “Nico fronting PiL” (someone at the LA Times can claim that one). 10. SF Comedy. I still feel like an outsider at all this, but holy shit, there’s good stuff going on right now. Perhaps it is a national, even international renaissance in comedy, but the energy and talent going on here feels as exciting to me as the music scene used to feel. I actually don’t want to name names although the free show at the Rite Spot is a good place to start. I also noticed that none of the music I put on this list has anything to do with the Bay Area. Sorry, music. I just listen to podcasts now.

 

 

JHAMEEL, MUSICIAN

 

TOP 10 SONGS FOR 2011

1. “Cruel” by St. Vincent 2. “Don’t Fuck with my Money” by Penguin Prison 3. “Holocene” by Bon Iver 4. “Bam Bam” by King Charles 5. “King of Diamonds” by Motopony 6. “Don’t Move” by Phantogram 7. “5 O’Clock” by T-Pain 8. “White Lie” by Jhameel 9. “Love U More” by Sunday Girl (RAC Mix) 10. “Imprint” by Amtrac

 

MARC RIBAK, TOTAL TRASH FEST

 

TOP 10 RECORDS I AM DIGGING DURING THANKSGIVING WEEK

1. The Fall, Wonderful and Frightening World of the Fall (particularly the tape that includes singles)

2. The Spits, Kill the Cool (demos and rarities, LP on In the Red)

3. Reigning Sound, Time Bomb High School and Too Much Guitar (LPs on In The Red)

4. The Ronettes, Presenting the Fabulous Ronettes featuring Veronica, and Phil Spector’s A Christmas Gift for You.

5. Devo, Workforce to the World (early live bootleg)

6. The Marvelettes, Greatest Hits (LP on TAMLA)

7. Coachwhips, Bangers Versus Fuckers (LP on Narnack)

8. South Bay Surfers, Battle of the Bands (LP on Norton)

9. Tav Falco and the Unaproachable Panther Burns, Panther Phobia (In the Red Records)

10. Jonathan Richman, Rockin’ and Romance (LP on Twin/Tone)

 

FRANCES CAPELL, GUARDIAN

 

TOP TEN SELF-RELEASED ALBUMS OF 2011

1. WU LYF, Go Tell Fire To The Mountain Recorded in an abandoned church, the full-length debut from British heavy pop quartet WU LYF was funded by membership fees for the band’s deviant fan club, the Lucifer Youth Foundation.

2. Death Grips, Ex Military The sinister debut mixtape from Sacramento’s Death Grips is an explosion of dark, twisted shout-rap and noisy, industrial beats.

3. Nick Diamonds, I Am An Attic Former Unicorn and current member of Islands and Mister Heavenly, Nick Diamonds (a.k.a. Nick Thorburn) released his understated, haunting solo album via Bandcamp.

4. Clams Casino, Instrumental Mixtape Clams Casino’s collection of swirling, synth-laden instrumentals crafted for the likes of Lil B and Soulja Boy reveals the genius of this visionary New Jersey producer.

5. Big K.R.I.T, Return of 4Eva Of all the exciting rap mixtapes released in 2011, Southern heavy-hitter Big K.R.I.T.’s Return of 4Eva is my favorite.

6. Frank Ocean, nostalgia, Ultra. This R&B pop gem presents Frank Ocean as, perhaps, the only member of the OFWGKTA family who proved worthy of the hype in 2011.

7. Fort Lean, Fort Lean (EP) Though it’s only 12 minutes long, Fort Lean’s infectious, summery debut EP is a promising glimpse of things to come for this indie five-piece from Brooklyn, NY.

8. Friendzone, Kuchibiru Network II I chose East Bay duo Friendzone’s Kuchibiru Network 2 over Main Attrakionz’s 808’s & Dark Grapes II, as it showcases Main Attrakionz at its best along with tasty selections from Oakland’s Shady Blaze and Finally Boys, Japanese producer Uyama Hiroto, and more.

9. Small Black, Moon Killer In addition to some of Small Black’s catchiest electronic pop songs to date (like the Nicki Minaj-sampling “Love’s Not Enough”), this mixtape features two appearances by Das Racist’s Himanshu Suri, and some inspired remixes from Star Slinger and Phone Tag.

10. The Weeknd, House of Balloons This is a no brainer. Canadian-Ethiopian R&B prodigy the Weeknd’s debut mixtape House of Balloons is the best album of the year, period. (Frances Capell)

 

LAURA GRAVANDER, DIRTY CUPCAKES

 

TOTALLY NEPOTISTIC LIST OF THE TOP TEN LIVE BANDS OF 2011

1. ELECTRO: This is the band of 8-year-old girls I mentored this summer as a volunteer at Bay Area Girls Rock Camp. After learning two chords from scratch, they wrote a droney, unintentionally avant-garde five-minute anti-bullying opus with a rap breakdown that blew my mind at their July showcase at the Oakland Metro. This is the future.

2. Uzi Rash: Swamp reptile Max Nordile and his band of trashy weirdos play music that is both grating and catchy, and deceptively complex. See them live and they will freak you out, and possibly hit you in the eye socket with an empty 40 oz. (it happened to me).

3. Shannon and the Clams: Seeing the Clams live feels like being magically reunited with your childhood dog — happy and nostalgic, a little bit sad. This metaphor is especially apt if you and your childhood dog loved to DANCE! 4. Younger Lovers: Killer guitar parts, dance-crazy beats, and singer-drummer-songwriter Brontez’s onstage bitching makes Younger Lovers’ shows unpredictable and exciting. Plus, their guitarist is super-cute!

5. King Lollipop: Elfin hillbilly plays bubblegum rockabilly (or something like that!) backed by six drummers who sound like a marching band meets drum circle, minus the lame.

6. Human Waste: Freaky spacesuited dystopian moog-punk from the Moon. Rumored to consist of members of Uzi Rash, Shannon and the Clams, and Dirty Cupcakes. More space waste to come in 2012.

7. Glitter Wizard: Intricate, impressive glam rock. And once, mid-song, I saw frontman Wendy Stonehenge light his hand on fire!

8. PIGS: This three-piece plays metal for people who love metal. Ripping it up soon in a scummy warehouse near you.

9. Knifey Spoony: Oakland punk rockers with impressive live show and unexpectedly melodic hooks. Singer-guitarist Steve Oriolo studied music in college but uses his powers for good (rock), not evil (anything that doesn’t rock).

10. Sweet Nothing: I’m a sucker for two-piece bands and girl drummers, and Ian and Melissa always rock my face off.

 

KUSH ARORA AND THE INGROOVES OFFICE STAFF

 

TOP 10 RELEASES OF 2011

1. Los Rakas, Chancletas Y Camisetas (Soy Raka Inc.) 2. Am and Shawn Lee, Celestial Electric (ESL Records) 3. People Under The Stairs, Highlighter (Piecelock 70 ) 4. Toddla T, Watch Me Dance (Ninja Tune) 5. Boris, New Album (Sargent House) 6. Kendrick Lamar, Section.80 (Top Dawg Entertainment/Section 80) 7. Youth Lagoon, The Year of Hibernation (Fat Possum) 8. Little Dragon, Ritual Union (Peacefrog Holdings Ltd) 9. Jay Rock, Follow Me Home (Strange Music) 10. Vybz Kartel, Colouring Book EP (Tad’s Records)

 

MARCO DE LA VEGA (@S4NTA_MU3RTE), 120 MINUTES

 

TOP 10 SUBSTANCES THAT HAVE INFLUENCED MUSIC IN 2011

1. Adderall: Not just because Bay-local comeup, Kreayshawn, spits bout slangin’ em (“gnarly, radical, on the block I’m magical… see me at your college campus baggie full of Adderalls”) or even because of Kendrick Lamar’s thoughtfully spaced out track “A.D.H.D.” but mostly because of its association with hyperactive, creative, and willfully scattered children. Odd Future blew up, Tyler the Creator dropped Goblin, A$AP Rocky put out one of the strongest releases of the year with LIVELOVEA$AP. All kinds of kids were spittin’ up mixtapes right outta high school and then signing multimillion dollar contracts.

2. DMT: Dimethyltryptamine is some fucked up shit, and I mean that in the most complementary way possible. A small glimpse behind the fabric of reality. There were a few releases this year that resemble and reflect this completely alien and confusing greater truth. Oneohtrix Point Never’s Replica, James Ferraro’s Far Side Virtual, and Laurel Halo’s flawless EP, Hour Logic (Hippos In Tanks).

3. Nitrous Oxide: whippets are back and that shit makes everything sound like you’re living in a vacuum cleaner. As much as I despise the hyperwobbly, fist pumpin’ sounds of brosteppers like Rusko, and (cringe) Skrillex, I can’t deny that that shit is selling cars; dubstep car commercials. Also, to be fair, real dubstep and what is often called post-dubstep is some amazing music and some of its less commercially viable/more critically acclaimed artists have put out some beautiful work. Zomby dropped Dedication this year on 4AD and that shit is sick. James Blake’s debut album is also impossibly good.

4. Pills: maybe it’s just the kids I roll with, but I assume that most sensitive, well thought, independent rock is made by people on pills (think old Brian Jonestown Massacre or Jesus and Mary Chain). The second I heard that track “Vomit” off of friends and local heroes Girls new album Father, Son, Holy Ghost, I had to raid my own medicine cabinet, take a couple Vicodin, and listen to a stack of records including that, Tamaryn, King Dude, Chelsea Wolfe, and Zola Jesus.’Bout as close to heaven as a guy like me can get.

5. Coke: coke always has and always will rule the dancefloor. It goes further than that though; coke rap is alive and well. Trap rap (rap about drug dealing) in general is continuing to run shit. And when you got Lex Luger droppin’ some of the illest beats around for songs that are 90 percent chorus, how can you go wrong? This is a very serious statement — the Ferrari Boyz (Gucci Mane and Waka Flocka Flame) mixtape that came out about a week before that overhyped, tired, abomination that is Watch the Throne, has some of the best tracks this year.

6. K: club drugs in general are back, and nothing says party like as strong debilitating dissociative. I mentioned this album earlier when I was talking about DMT, but it’s good and weird enough that it needs to be mentioned twice. James Ferraro’s Far Side Virtual.

7. Acid: my favorite substance. LSD is an extended barrage of overwhelming sensory input, particularly sight and sound, and should therefor be discussed in those terms. Sight: this year has been all about projections, lasers, and smoke — there are a lot of amazing producers playing live right now, and a dude with a laptop ain’t a show, so it’s important to add some flare. Sound: from mixtapes like White Ring’s tranced out Chaind and Nike7up’s crazy melted-pop gem 33:33 to Araabmuzik’s breathtakingly unfuckwithable album Electronic Dream, this has been the strongest showing dosed out music has had since the mid ’90s.

8. MDMA: like I was saying earlier, club drugs are huge right now. Best part about the ecstasy thing though is that we’re not talking pressies here, just pure crystalized love. You can hear it in the work of groups like Sleep 8 Over and (of course) Pure X. But I think it’s most evidenced by song’s like The Weeknd’s “High for This” and on Pictureplane’s brilliantly positive album Thee Physical (Lovepump United).

9. Weed: not that weed ever goes away, but it’s had a really strong year. Seems like everybody’s smoking blunts and flipping pounds these days. Wiz Khalifa, A$AP, Lil B, Lil Wayne, Miley fucking Cyrus. and of course Zip and a Double Cup himself, Juicy J., which brings us to our big winner…

10. Promethazine: Lean, purple drank, double cup, sizzurp — codeine cough syrup has a lot of names, and it’s been an important factor in rap, particularly Southern rap, for a very long time. But that influence is spreading. Bands like Salem have created whole new subgenres of music built off applying the late great DJ Screw’s production sensibilities as liberally as possible. New York Rappers like A$AP Rocky are singing the praises of Screw and Pimp C while repping Harlem and putting New York back on the map. I think 2012 is gonna be all about double cup dinner parties and art walks. Do yourself a favor, call your doctor and fake a cough, pop in Clams Casino’s Instrumental mixtape and/or LIVELOVEA$AP and chill for a bit.

Live Shots: tUnE-yArDs at the Regency Ballroom

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

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

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

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

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

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

Our Weekly Picks: November 23-29

Andrew Lam
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WEDNESDAY 23

Immortal Technique

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

With Chino XL, Da Circle, DJ GI Joe

8 p.m., $32.50

Fillmore

1805 Geary, SF

(415) 346-6000

www.thefillmore.com

 

MOM’s Family Funk’tion

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

10 p.m., $5

Brick & Mortar Music Hall

1710 Mission, SF

(415) 800-8782

www.brickandmortarmusic.com

 

tUnE-YarDs

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

With Pat Jordache

8 p.m., $23

Regency Ballroom

1300 Van Ness, SF

(415) 673-5716

www.theregencyballroom.com

 

FRIDAY 25

“Sing-A-Long Sound of Music”

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

7 p.m., $15

Castro Theater

429 Castro, SF

(415) 621-6120

www.castrotheater.com

 

Nadastrom

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

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

10 p.m., $15 advance

103 Harriet, SF

(415) 431-1200

www.1015.com

 

“Velveteen Rabbit”

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

Through Dec. 11, times vary, $15–$45

Novellus Theater

Yerba Buena Center for the Arts

700 Howard, SF

(415) 978-2787

www.ybca.org

 

“Great Dickens Christmas Fair”

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

Through Dec. 18, $22–$25

Cow Palace

2600 Geneva, SF

1-800-510-1558

www.dickensfair.com

 

Boys Noize

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

10 p.m., $30

Mezzanine

444 Jessie, SF

415) 625-8880

www.mezzaninesf.com


SUNDAY 11/27

Jeffrey Luck Lucas and Nebulous Orchestra

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

With Gloaming Boys

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

Episcopal Church of St. John the Evangelist

1661 15th St., SF

www.saintjohnsf.org


MONDAY 11/28

“You Are All Captains”

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

7 p.m., free

UC Berkeley

Dwinelle B-4, Berk.

www.pnwg.wordpress.com/events


TUESDAY 11/29

Metal Mother

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

With Horns of Happiness, Mortar and Pestle, Birdseye

8 p.m., $10

Cafe Du Nord

2170 Market, SF

(415) 861- 5061

www.cafedunord.com

 

Retox

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

With Melt-Banana, Peace Creep

9 p.m., $14

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

The Hangover: Oct.23-28

Andrew Lam
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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.)

 

Live Shots: Soulwax at the Independent

Tony Robles
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Whether more or less true in other places, the crowds at shows in the Bay Area can be disappointingly savvy regarding encores. They know that if the band says goodnight and leaves the stage, the show is only possibly over. Or if recorded music comes over the speakers, the show is likely over. And (of course everyone knows) that when the house lights come on, the show is definitely over. It’s a convention that the bands and audience both understand, but robs everyone of some fun. Which was why it was wonderfully surprising that the majority of the people at the Independent Thursday night stuck around clapping, shouting, and making noise ’till it hurt in an attempt to get Soulwax to come back out on stage.

Didn’t happen. The staff of the club kept cranking the volume of the music louder, finally getting on the mic to announce that it was really over, everyone actually had to leave. Anyone that wants more will need to check out the Live 105 Subsonic Halloween Ball at the Regency Ballroom tonight, where the Dawaele brothers will be headlining as one of their many other aliases/projects, 2manydjs. Which may be confusing for anyone outside of Belgium, the UK, or Soulwax’s extremely dedicated fan base.

Essentially, what the folks at the show on Thursday (many of whom seemed to have traveled to be there and may have paid hefty sum to the scalpers outside) got was Soulwax, the four-part electronic rock band, which is a bit of an oddity in that its last conventional album was 2004’s Any Minute Now. Nonetheless it’s continued to tour and perform the earlier material, reworking and tightening it up. Which basically means that as a group, Soulwax has its act down: matching suits, tons of strobes to go with them, and the music, a no-nonsense succession of synthed out, percussive tracks that go from brooding to funky to electro without ever stopping. (Maybe part of the reason that people wanted an encore so bad – shortly after a screaming sing-along rendition of “NY Excuse” – was that without the breaks the ending just snuck up on them.) When I say they don’t stop, I mean it; for a band, Soulwax transitions seamlessly, with the skill of great DJs.

Which the Dawaele brothers are, primarily under that other name: 2manydjs. That’s been their focus the last couple of years, culminating in the creation of Radio Soulwax, an ongoing collection of 24-hour long theme mixes available online, accompanied by some pretty crafty visuals created from the sampled album covers. (I’ve found listening to it to be a great way to power through the work day, assuming 5 Hour Energy, coffee, or cocaine doesn’t work for you.) As Soulwax, the band put on a hell of a show–supported by Goose, a group that understands everyone can switch from keyboards to guitars as much as they want, provided that the drummer kicks hard and lays down some tommy gun fills–but 2manydjs may be able to top it. According to an avowed fan I talked to last night (the kind that has the white label vinyl and wears black glasses without lenses–hopefully as an early Halloween costume,) 2manydjs is the “real deal.” Somehow, as an encore, it might be the rare case where the DJ set is better than the band.

Live 105’s 3rd Annual Subsonic Halloween Ball
With 2manydjs, Fake Blood, Bag Raiders, Classixx, Tenderlions, Aaron Axelson, and more
Mon/31, 5:45 p.m., $25-$90
Regency Ballroom
1300 Van Ness, SF
(800) 745-3000
www.theregencyballroom.com

Manchester Orchestra delivers the Southern riffs at the Regency Ballroom

Tony Robles
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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.

Headliners Manchester Orchestra, on the other hand, delivered where White Denim almost, so close, really, but didn’t. Although named after a city half a world away, this quintet didn’t hide its Atlanta, roots, with booming Southern riffs made for long haired swaying.

Singer Andy Hull’s voice carried the night; his powerful and versatile vocal chords were the perfect accompaniment to songs that often hinged on a transition from Elliot Smith-like emotive indie rock to Weezer-esque arena worship. The crowd was rocking right along with the rest of the band, especially the keyboard player – what is it about keyboard players in rock bands that makes them feel like they have to overcompensate? There was plenty of singing along, dancing and no-joke raised lighters to top it all off.

These songs made up the bulk of the set and, while enjoyable, were relatively formulaic. The most interesting part of Manchester Orchestra’s set was not these anthems, but instead the several shorter songs interspersed throughout: a handful of minute or so long tunes reminiscent of Billy Bragg or early Against Me! that showcased Hull’s songwriting prowess. Sappy? Perhaps. Awesome? Indeed.

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