Noise Pop Show Review: Far at Bottom Of The Hill, 2/25/10

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.

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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.

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. Continue reading “Noise Pop Show Review: Far at Bottom Of The Hill, 2/25/10”