There is absolutely no reason for you to ever stay in on any night of the week. Well, except for the night that Nickelback are playing. You can stay in that night.
There are so many artists that have been given the role of “New Dylan,” that it’s practically a genre unto itself. Kurt Vile is one of the many who have fallen victim to such a label. He has put out four great solo records, and countless EP’s of great singer/songwriter music, and although there is a bit if a Dylan influence, his sound is much more than that. SpinningPlatters had the pleasure to witness his recent performance at The Fillmore, alongside is fantastic backing band, The Violators.
It’s fairly easy to forget that one of the most important factors of a live performance that distinguishes it from a record is the sheer loudness of the music being played. Concertgoers far and wide are usually pretty good about remembering earplugs, as a result of this fact, and those that don’t can usually protect themselves with handy booths located within the walls of whatever theater they’re ready to get sonically disintegrated within. Generally, though, one can take a blast of churning riffs and thundering beats to the face for a few hours over the course of one evening, and come out relatively unscathed, albeit with their ears possibly ringing for a day or two afterwards. Thus, there lies an entire world of experimentation in the form of performing music at tremendously high levels of volume — although the songs can become almost painful in their intensity. Channel that sound into baleful, fearsome riffs, add a rhythm section that seeks to destroy bricks with its ferocity, and back it up with ludicrously powerful bass and howling, hellish vocals, and you’ll begin to glimpse what a set by the San Jose doom metal trio known as Sleep is like.
I like all the different people
I like sticky everywhere
Look around, you bet I’ll be there!
Hot metal in the sun
Pony in the air
Sooey and saints at the fair
Saints alive you’re saying
Walk in … squares
The hid are out, out for the year
It’s a lot of face
A lot of crank air
Eroding around here
No sooner than completing his run of four January shows at SF Sketchfest (including one at each respective Yoshi’s and one with Garfunkel & Oates at the Mezzanine), musical comedic mastermind Reggie Watts returned to the Bay Area on the first of June for another night of his mesmerizing, otherworldly and hilarious improvisational performances. In his classic style, Reggie brought an hour of solid craftsmanship to the tiny, dark club, with pulsing loops, whimsical tales, and a collection of characters as bizarre and fascinating as only he could tell them. Spinning Platters was able to secure a photo pass this time around to capture the man in action – check ’em out after the bump!
When a band releases a self-titled album after their debut record, I always take it to mean they’re making a statement of intent. They’re saying, “this is what the band’s going to be about. Everything else before was just a warm up.” But when your warm-up album has the gigantic hit single, “Sweet Disposition,” on it, should you really be calling that practice? What if you don’t have a worthy follow-up? With that in mind, does The Temper Trap make a statement? Or is it just the next album? Continue reading “Album Review: The Temper Trap”
starring: Jared Gilman, Kara Hayward, Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Tilda Swinton, Jason Schwartzman, Harvey Keitel, Bob Balaban
I hope she'd agree it's time to help out other musicians, too.
Everyone loves a big success story, and I’m included. Look, we’re huge fans of Amanda Palmer here at Spinning Platters, and we’re all very happy that she’s made over a million dollars on her Kickstarter page. That’s fantastic; I hope she spends it wisely.