If there was any doubt in anyone’s mind that !!! is one of the best live shows touring, then allow the next few minutes of reading dispel that. Like a tsunami, you know it’s coming, but your not quite sure what to expect, talk of what is coming seems nearly speculative until it happens and it takes you with it. Caught up in !!!’s wave of sweat, dance and sex! As we make our way inland it’s clear we are all at the mercy of front man Nic Offer. Offer spends most of his time dancing and waving his arms at the very front of the sage, flailing and shaking yet graceful and rhythmic. Offer makes it known that he’s here to entertain and you have no option to join, as he makes his first tour around that crowd: you’re not dancing, now you are! Drinking a bottle of beer at the front of that stage: no you’re not, Offer is now dumping it over his head, now you’re all wet because he shook it all over you, it’s OK your drenched in sweat anyways. Continue reading “Noise Pop Show Review: !!! at The Mezzanine, 2/27/10”
With all of the bombast and thundering rock acts that have barreled through the Fox Theater over its first year of new business, one would think that the venue is only sticking around for the big, loud shows. Despite having a few concerts last year for softer, calmer acts, such as the folk masters of Bon Iver or the raptly-followed Band Of Horses, the majority of the performances at the Fox have been for big bands that seem to be out to test the limits of the theater’s foundations. Tonight’s show, arguably one of the most anticipated nights of the Noise Pop Festival, was a stark contrast to all previous acts; it was also perhaps the only show in my life that I did not need to wear earplugs for, for any moment of the performances. The Magnetic Fields had returned to the Bay Area, bringing with them their quiet, peaceful brand of beautiful joy and gorgeous melancholy. Continue reading “Noise Pop Show Review: The Magnetic Fields with Mark Eitzel at The Fox Oakland, 2/27/10”
It’s hard not to get lost into Four Tet. Even though Four Tet is only one guy standing behind a multitude of computers and mixers atop a table, making it nothing less than a challenge to see him. An argument could be made that Kieran Hebden, the sole member of Four Tet, is lifeless; in fact, I’ll make that argument. Hebden is boring: there is nothing to look at. He’s whatever the opposite of animated is: dull, boring, and lifeless. His music, however, is not. Hebden’s music is teaming with expression, life and any other synonyms you’d like to throw in there. Continue reading “Noise Pop Show Review: Four Tet at The Independent, 2/26/10”
Sacramento, by its nature and its history, is a place where expectations fall short of their intended aim.
During the late 1990s, the band Far created rock music that sounded like what it could be like to be young in Sacramento: more questions than answers, long roads of shimmer-hot blacktop, and frustration. Lead guy Jonah Matranga’s vocal range within the space of one track could range from gentle keening to the bare-throated howl of an animal one size larger than his small body.
The songs felt fearless, with the inertia of a determined plunge into the unknown. Unafraid to be delicate, unafraid to throw a violin over the mix, unafraid to attack thorny lyrical topics like faith and self and loss.
Far’s soaring melodic anthemic “Nineties alternative” rocknroll sounds like being young and strident and skeptical and putting a foot down hard on a gas pedal.
After releasing two major-label albums, the band disintegrated in 1999. Their second LP, Water & Solutions, grew in prominence after their passing. The aggressive, flexible, heartfelt thrust of Far’s sound inspired listeners and bands. Their music became influential, garnering posthumous accolades and meaningless portmanteaus long after they’d broken up: “post-hardcore;” “pre-emo;” “emo-metal.” Water & Solutions began being considered a classic album, a precursor and influence on the music that came afterwards.
Now, thanks to Ginuwine, Far is back. And onstage for Noise Pop 2010 in San Francisco.
Jonah Matranga of Far rocked so hard that he resembled a Francis Bacon painting (but in a good way).
Sacramento, by its nature and its history, is a place where expectations fall short of their intended aim.
During the late 1990s, the band Far created rock music that sounded like what it could be like to be young in Sacramento: more questions than answers, long roads of shimmer-hot blacktop, and frustration. Lead guy Jonah Matranga‘s vocal range within the space of one track could roam from gentle keening to the bare-throated howl of an animal one size larger than his small body.
Scout Niblett making "Serene Face," one of her two stage expressions (the other is "Howling Rage"), at the Hemlock last year.
Some artists just aren’t well-served by the giddy party-vibe atmosphere of Noise Pop. And last night, despite performing in one of the most intimate and mild-mannered venues in San Francisco, British guitar fury Scout Niblett took her place in that group.
It was a revisit to the scene of the crime, a reunion with my new favorite band, and an attempt to pay attention after a double mocha and six donuts from All Star Donuts, the only place at 9 p.m. that’s still open in Hayes Valley when you need to work.
My night ended on a couch in the city followed by 4 hours of sleep and a massive hangover. How was I supposed to know I was going to have so much fun on a Wednesday?
This show was, to some degree, the after party for the big YOKO ONO PLASTIC ONO BAND on Tuesday night. It was just quite a bit later, but every member of the Plastic Ono Band was onstage, aside from the very famous lead singer. In fact, only one person appeared on stage tonight that didn’t appear at the previous evening’s show. It also consisted almost entirely of music that isn’t yet available in recorded form, which helped even out the familiarity playing field, but based on the turnout, it had little effect on ticket sales. It was a rare show that all in attendance came based on the reputations of the performers. Of course, when you have the son of a Beatle, leaders of two of the most innovative and influential acts ever to come out of japan, and the go-to girl for session violin of the alternative rock era, you’ve got a pretty set to work from.
When a Rogue Wave show ends with a couple dozen people dancing on the Bottom of the Hill stage, you know a sea change has happened in the band. The press materials for the new album Permalight go into a lot of detail about this, but nothing in the press materials could prepare you for the new sounds coming out of the band: a little bit of dance (backing tracks?), a lot more volume, and some spirited takes on some old friends. Continue reading “Noise Pop Show Review: Rogue Wave at Bottom of the Hill, 2/24/10”
