Jonathan Pirro – Page 11 – Spinning Platters

Show Review: Echo & the Bunnymen with Kelley Stoltz at The Warfield, 5/19/2011

The pictures on my wall // Are about to swing and fall

Roughly a year and a half ago, British post-punk dreamers Echo & the Bunnymen came to American shores for just a few stops to host a darkly gorgeous, orchestra-accompanied performance of their classic album Ocean Rain. No doubt inspired by the success of their tour and the continuing trend of artists who perform full-album sets at their shows, the Liverpool-based quintet was back in town with a similar formula, although taken to a much greater length. This time around, frontman Ian McCulloch and the rest of the crew were performing TWO of their older records — their debut Crocodiles and sophomore effort Heaven Up Here — with a 3-song encore after each. Lest the smallish crowd and the lower capacity of the venue place doubts in the mind of those who passed by the Warfield Theater on Thursday night, the excitement and enthusiasm from the fans was even more fervent than for the band’s Ocean Rain performance, and the group themselves performed with even greater intensity than before.

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Show Review: Rammstein with Combichrist at the Oracle Arena, 5/18/2011

There has been a recent trend of fantastic bands, both old and new, being prevented from making their way to this side of the Atlantic due to all manner of circumstances. Most often, it’s an inability to acquire visas by an international deadline, but in the case of more controversial and explosive acts, their arrival has often been deterred by high tensions overseas — acts of terrorism and war, both abroad and at home — which put a damper on the transport of any act, musical or otherwise, that is loud, aggressive, and armed to the teeth with fire, smoke and dynamite. Last night, the biggest name on this list — the German industrial metal collective known as Rammstein — finally made their way back to the Bay Area for their first show in 10 years, and brought their full cataclysmic performance with them, offering one of the biggest, loudest, and hottest shows ever seen within the walls of the Oracle Arena.

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Show Review: Metalliance Tour featuring Helmet, Saint Vitus, Crowbar, Kylesa, Red Fang, Howl, and Atlas Moth at The Mezzanine, 4/3/2011

Page Hamilton, frontman of Helmet, the headliners of the Metalliance Tour

October 22nd, 2006. That was the final day for a San Francisco club known as The Pound, a smallish, low building stranded out in the middle of the dreary reaches of Pier 96 near Heron’s Head Park. For true metalheads of the Bay Area, it was a dark day in history, for no venue besides the Pound was better known for providing a consistent schedule of hardcore punk, furious grindcore, and every genre of metal under the sun (which, considering metal, is quite a lot). While larger clubs like Slim’s and the Regency Ballroom have stepped up to the plate to try and appease the hundreds of roaring voices that bellow out for the return of a good metal venue, they have been hard pressed to draw the same underground caliber that the Pound was able to pull in night after night. If the Mezzanine continues to host shows like Sunday night’s Metalliance Tour, however, then we may once again have a contender that fares well in the ring.

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Show Review: Datarock with Dirty Ghosts and Baertur at Bottom Of The Hill, 3/10/2011

All the way from Norway - just to play for you

One constant source of confusion at concerts is what one should be doing as an idle member of the audience. For certain shows, there exists a code of conduct exclusively based on the genre of music, with little room for deviation: headbanging in heavy metal mosh pits, dancing at hip-hop concerts, and standing awkwardly with arms crossed and a faint look of aloof interest, if one is attending an indie-rock show. Dance-rock shows are, therefore, perplexing to the crowd that cannot decide whether it should be dancing, rocking out, or somehow doing both. At a Datarock show, this confusion is overturned in the form of one simple rule: follow the band onstage, listen to what they say, and remain airborne for the duration of the performance.

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Noise Pop Show Review: Yo La Tengo with The Urinals at The Fox Oakland, 2/22/2011

Spin the Yo La Tengo Freewheel and decide the first set!

Nearly a year ago to the day, the Fox Theater played host to the first big act of the 2010 Noise Pop Festival, which arrived in the form of Yoko Ono and the Plastic Ono Band. The group’s first arrival to the Bay Area was met with wild enthusiasm, and the set itself was a scene of sonic mass hysteria, with the warbles and shrieks of Yoko accompanying the wild swing and over-the-top rock of her backing band. It seems only fitting, therefore, that the following year needed to be kicked off in a similar manner — a night of balls-out rock, groovy jams, and snarling static chaos — which is probably the main reason why the New Jersey indie rock trio Yo La Tengo was invited to the Fox Theater for the first night of the 2011 Noise Pop Festival.

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Show Review: Three Nights with Godspeed You! Black Emperor

One of the few "official" photos of the Montreal collective

The weather on Saturday night in San Francisco was leaning on the side of foreboding by the late afternoon hours, with dark clouds ahead, scattered moments of showers and mist, and a vastly cold wind that was a stark contrast to the bright crispy winter days that the Bay Area had seen recently. By the time the sun dipped beneath the horizon on Saturday night, the cold and wet had amplified themselves and were coming to rest on a long line of people huddled together outside of the Warfield Theater. A large group of these people would brave the dry yet even colder evenings that followed at the Great American Music Hall. The weather was most appropriate for the mood and occasion, and for the band that was finally returning to San Francisco for the first time in over seven years: the Canadian post-rock octet known as Godspeed You! Black Emperor. Here were not the sunny glories of Sigur Rós, nor the numbing white noise of Mogwai; this was an experience that foretold the end of the world, the beginning of life, and everything in between, with eight musicians sounding like a symphony from worlds beyond.

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Show Review: Meat Beat Manifesto with Not Breathing at The Mezzanine, 2/11/2011

Jack Danger and Mark Pistel of Meat Beat Manifesto — Jack Danger and Ben Stokes of Meat Beat Manifesto

Today’s electronic music scene seems to be filled with performers that emphasize minimalism to the point of frustration. These days, an electronic performance can consist of a single person with little more than a laptop, a mixer (maybe), and some sort of interface to allow quick manipulation of the instruments on the fly — despite the fact that said person could simply just hit “go” and then bob their head to their beat-laden wall of sound. Therefore, excitement comes in the form of performances involving tables worth of analog gear thrown pell-mell across a stage, with wild projections and snarling, harsh noises created from both. This was the case on Friday evening, when the Mezzanine welcomed Swindon’s electronic veterans Meat Beat Manifesto for a night of furious bass, hyperactive beats, and brilliantly-crafted visual effects.

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Show Review: The Dresden Dolls with Pomplamoose at The Warfield, 12/31/2010

Forget what you thought you knew about how to celebrate for the beginning of a new year. Forget what you thought could happen with two Bostonians, a collective of YouTube musicians, a pile of balloons, two cannons of confetti, and two thousand lovers of punk cabaret. If you were not one of the aforementioned fans that filled San Francisco’s Warfield Theater to nigh-overflowing to see the triumphant Bay Area return of the Dresden Dolls, you missed one of the greatest shows in the band’s career, and one of the best shows of 2010, and, quite likely, 2011 as well.

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Show Review: X-Mas with X (An Evening With) and Ray Manzarek at Slim’s, 12/28/2010

John Doe of X and Ray Manzarek of The Doors

As 2010 comes to a glorious end, it’s once again that time of year for annual traditions. While the New Years’ Eve shows will be gigantic and exciting, and the late November / early December weeks are filled with last-minute surprise gigs, it’s good to have a few things that can always be counted on to keep up that holiday spirit. Of course, this is not to say that said traditions can’t be spiced up with a few new flavors added to the recipe, and the Los Angeles punk quartet known as X returned to Slim’s this year to prove it.

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Show Review: Peter Hook and The Light performing Unknown Pleasures at The Mezzanine, 12/10/2010

2010 has been a year for a different kind of performance: the full-album gig. While not necessarily filled with the same wonder and anticipation that your more common setlist will contain, a full-album set guarantees the kind of rapt excitement that comes with knowing that your favorite songs from that record will all be played, and the surprises at the end of the set become that much more exciting. There have been a few artists who selected the albums that truly defined their careers — Weezer performed their classics, the Blue Album and Pinkerton, and Roger Waters recreated The Wall with modernized visuals and ideas, capturing much of the same excitement and wonder that had accompanied the album upon its release in 1979. In the case of Peter Hook, co-founder and bass guitarist of the seminal post-punk masters Joy Division and New Order, Friday night’s performance at the Mezzanine was truly the best time and place for a full performance of Unknown Pleasures, the album that began Joy Division’s career, and the only record to be released before the death of their singer, Ian Curtis, in 1980.

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