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.
Charlotte Gainsbourg is just so effortlessly cool. The daughter of French music legend Serge Gainsbourg and his beautiful British muse, Jane Birkin, Gainsbourg has been singing and acting professionally for over 25 years. Her music has been critically well-received, and she’s worked with such celebrated directors as Franco Zeffirelli, Michel Gondry, Todd Haynes, and perhaps most notoriously, Lars Von Trier for Antichrist, for which she won the Best Actress prize at the Cannes Film Festival. But in an incredibly successful and diverse artistic career, IRM may stand as her greatest triumph.
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.
The first time I saw 311 was at the tender age of 18. I stood staring in awe outside at the Justin Herman Plaza at a band I had only ever seen on a TV screen back when MTV still called themselves “Music” Television. My first live show, for free, and they played for at least two hours. It was a show totally worth skipping my early morning chemistry lab for. I walked away with each band member’s autograph written in black Sharpie on my arms. I felt so cool at the time.
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?
