Reviews of albums, films, concerts, and more from the Bay Area Music and Movie Nerds
A double EP is always a little indulgent, but in this case we might forgive Bill Callahan a little indulgence. He’s been preoccupied these last six years, getting married and raising a son. Settling down. Continue reading “Show Review: Bill Callahan, Meg Baird at Castro Theater, 6/18/19 & Gundlach Bundschu Winery, 6/19/19”
This is the second single off Sleater-Kinney’s highly anticipated 9th studio album, The Center Won’t Hold. For those who felt the first single, “Hurry On Home” was a departure, it was merely the gateway to “The Future Is Here.” Kicking off with a simple, analog synth riff before some of the most subtle drumming of Janet Weiss’ career kicks in. Corin Tucker then comes in, singing in the lowest register I’ve ever heard her sing in. What this becomes is a beautiful, kind of gothy song that feels more like Siouxsie and The Banshees or The Cure than the driving psych rock or classic punk that we’ve grown used to from Sleater-Kinney.
It’s been 25 years since Sleater-Kinney first entered the world as a functioning unit. Since then they’ve continuously challenged themselves with every record, proving to have the most consistent and exciting discography in rock n roll. The Center Won’t Hold will be available in all of the usual places on August 16th, or you can preorder from the band here!
Tickets for their Fall US Tour went on sale this morning, and tickets to those shows can be found here! Presale begins on Monday for their Winter EU Tour, so don’t forget to join their mailing list at sleater-kinney.com for presale info!
Opening on the heels of two recent, widely criticized national pieces bashing the “new” San Francisco in the New Yorker and the Washington Post, writer/director Joe Talbot’s first feature film, The Last Black Man in San Francisco, couldn’t be timelier. But Talbot has the advantage over those much dismissed east coast writers: he’s a San Francisco native (fifth generation, no less), and, as his film’s protagonist declares about our fair city by the Bay, “You don’t get to hate it unless you love it.” Continue reading “Film Review: The Last Black Man in San Francisco“
It seems that all of the Riot Grrl comeback story headlines this year have focused on the return of Bikini Kill, which, I do agree is very big news. However, the return of Queercore originators and fellow Riot Grrl originators Team Dresch deserves to not be overlooked. Their infectious hooks and blunt lyrics helped open up the pit to people that aren’t just straight white guys, and also helped those straight white guys understand a little better about what it’s like to not be the demographic that holds power.
In addition to reissuing their excellent back catalog as well as releasing a compilation of singles that don’t appear on any record, Team Dresch have also released their first single in 19 years! Surprisingly, it’s infectious, bouncy love song called “Your Hands, My Pockets” that could end up being a bonafide hit! I keep repeating it!
Team Dresch are about to embark on a nearly sold out US Tour. Dates are here, but don’t delay in buying tickets!https://teamdresch.bandcamp.com/album/choices-chances-changes-singles-comptracks-1994-2000
“There’s so many dreams I’ve yet to find…” sings Carole King at her piano, as played by Sarah Bockel, in “So Far Away,” a powerful opening number that feels like an intimate concert. Bockel captures the nuances of King’s voice from her start in Brooklyn to her finish at Carnegie Hall. The musical returns to San Francisco, where it first premiered at the Curran Theatre in 2013. If only life worked like that, as Bockel’s King sings, “it would be so fine to see your face at my door…” and it takes a really strong songwriter to capture so much in one song. It’s the vulnerability through which she shares her life that allows her to speak for so many through her voice. Continue reading “Theater Review: SHN Presents Beautiful: The Carole King Musical at Golden Gate Theater”
As I get older, I have to admit that I really appreciate having a barricade to shoot photos from. I get that it’s not most audience member’s cup ‘o tea, but when you’re lugging around 5k worth of camera equipment it’s nice to not have to worry quite as much about being shoved around by rabid fans. This is one of the reasons why I tend to truly enjoy concerts at the Fonda Theatre in Hollywood. Continue reading “Show Review: IDLES, Fontaines D.C. at The Fonda Theatre 2019/05/22”
This week’s single of the week comes from New York’s Gemma! This track is a frantic disco number, and it’s doing a fine job with pulling out of the doldrums of the final week of May. The build up, the lyrics, everything is great about this song. Every mistake you made this week doesn’t matter, because it’s in the past. Just take what you needed to learn from it, and then dance it the fuck out. This is the song that I needed today, and I bet it’s the song you need, too.
Gemma’s latest record, Feeling’s Not A Tempo, is available now in all the usual places.
There are any number of Elton John lyrics that would fit nicely here, to start this review of Rocketman. You’re thinking of them now. You know you are. There are so many. How do you choose? You’re also picturing the former Reginald Dwight, festooned in iridescence and bedecked in enough feathers to set off hundreds of allergic reactions, enough sequins to blind at 100 yards. And now that you’re thinking about Elton, you’re tripping back over the bio and musical highlights: Big ’70s rock star, years of excess, late ’80s resurgence, recent marriage and fatherhood, late-career comparisons to Tom Jones or maybe Van Morrison.
Great, you think, but how, you ask, does all that get stuffed into a two-hour long mainstream movie? Great question!
STOP THE PRESSES!!!! Sleater-Kinney have dropped their first single in two years, and the first track to come off their upcoming, hotly anticipated follow up to 2015’s brilliant No Cities To Love. It’s a driving rock number that doesn’t sound like anything the band has ever done. Elements of industrial, no wave, and post punk color the song, with Carrie’s signature snarl taking center stage while Corin’s passionate yelp providing color and discord.
STOP THE PRESSES!!!! Sleater-Kinney have dropped their first single in two years, and the first track to come off their upcoming, hotly anticipated follow up to 2015’s brilliant No Cities To Love. It’s a driving rock number that doesn’t sound like anything the band has ever done. Elements of industrial, no wave, and post punk color the song, with Carrie’s signature snarl taking center stage while Corin’s passionate yelp providing color and discord.
The full length record, produced by Annie Clark of St Vincent fame, street date is still TBD. However, if this track is any sign of things to come, then Sleater-Kinney will have released 8 perfect records in their lengthy career. You can stream the single in all the usual places, or you can preorder the 7″ here! And the band will be on tour from Indigenous People’s Day to Thanksgiving, so make sure you book hotel rooms and get time off from work NOW so you can hit as many of these as possible. Or just go to the show in your hometown…
It’s been 21 years since 2-Tone veterans The Specials have released any new, original material. Their legacy would have been preserved just fine if they decided to continue touring the classics, and audiences would still keep coming out to the shows even if all they did was keep playing the hits. It would seem that a band best known for their activist roots and songs with shrewd, biting observations about class warfare, racism, economics, and such, would only start writing again if the current world situation were to inspire it. And, sure enough, this year’s Encore is a full length response to the rise of fascism throughout Europe and the Americas. Continue reading “Show Review: The Specials at The Fox Theater, 5/25/19”
