Reviews of albums, films, concerts, and more from the Bay Area Music and Movie Nerds
A few songs into Beck’s opening night performance at the remodeled SF Masonic, he asked the crowd “How does it sound out there? Does it sound good?” A resounding chorus of yes and yes equivalents was heard back. Yes, the SF Masonic sounds good. It also looks good. Was the first show a promise of many glorious nights to come?
Continue reading “Show Review: Beck at Nob Hill Masonic Auditorium, 9/19/14”
Rating: Silver
It’s been two weeks but the drug rug of “Manipulator” is still a hidden metaphor. Deeper and denser, though rarely as listenable as before, Segall deflects his past while finding solace in the past. “Tall Man Skinny Lady” is as much T. Rex as it is T. Segall: falsetto hooks and acoustic guitars harkening back to “Sleeper” but catchier. Ty has never been as lyrical as King Tuff or Mikal Cronin: “I can hear the sound/ When my love’s around/ Whistling the trees/ It sits inside the breezes” but that has never been the point with Segall. From the very beginning on “Ty Segall” all the way through the eponymous “Twins,” Segall has made his mark in the ephemeral. His songs, like a sugar rush, hit and dissipate but “Manipulator” is something more permanent. Continue reading “Album Review: Ty Segall — Manipulator“
There was a point in my life where The Mars Volta were, in my opinion, the most interesting thing in rock. Those first three full length records, De-Loused In The Comatorium, Frances The Mute, and Amputechture were all in heavy rotation while I moved from my early to mid 20’s. These records were the perfect balance of heavy and creative. Insane records filled with intensity that drew from influences as wide ranging as Fania All Stars, Pink Floyd, Fugazi, and Stockhausen. Delicious albums that I listened to almost daily. Before long, however, it felt like the band kept losing the plot. The records seemed stale, and the live shows also seemed to like some of the “Oomph!” of their earlier sets. When they decided to close up that chapter, it made sense to me. Both Omar Rodriguez-Lopez and Cedric Bixler-Zavala found themselves exploring music apart from each other, and made for some awfully compelling records.
The year that they parted ways was 2012. Now, a mere two years later, Cedric & Omar quietly started putting out new material on the web. Under the name “Antemasque.” These were some great, concise tracks. So, the moment they announced a tour, I decided it was worth my while to see if they’ve really re-inspired themselves.
On Saturday night, the San Francisco Symphony continued their fantastic film series with City Lights (1931), Charlie Chaplin’s timeless romantic comedy. Conducted by Richard Kaufman, the orchestra performed the entire film score in perfect sync with the film playing overhead. The music, written by Chaplin, is a wonderful mix of joyous and romantic motifs that fit well with the variety of urban locales on screen. The score can at times recall Gershwin’s “Rhapsody in Blue,” written just eight years before City Lights was first released. The audience at Davies Symphony Hall ate the whole evening up, cheering as often for the orchestra as they did for The Tramp himself.
Continue reading “Show Review: ‘City Lights’ Film with Orchestra”
At this time last year, I had no idea who Haim were. They barely a blip on my radar, as they were simply an LA band, and there are dozens of those. It wasn’t until Summer when I finally “Falling,” and was blown away. And, like the rest of the world, when I heard Days Are Gone for the first time, I thought to myself, “Wow. This is amazing!” I never thought a record of soft rock could be so impressive. Of course, they weren’t going to be kept secret. They managed to sell out two nights at The Fillmore in less time than it took me to learn the proper pronunciation of their name. (Rhymes with time)
Continue reading “Show Review: Haim, Shy Girls at The Fillmore, 4/9/14”
Rating: Silver
Seven albums in and Liars are still one of the most notorious and formidable bands around. From their debut They Threw Us All in a Trench and Stuck a Monument on Top to this year’s Mess, they’ve continued to defy expectations and challenge listeners. With each release the stacks have been raised and Liars have met these expectations by taking their music in a completely different direction. From their dance punk origins through the post punk and even noise offerings of Drums Not Dead to the more subdued but darker Sisterworld they’ve refused to stay true to one identity and in turn their identity has become protean and malleable. This can be an admirable trait in an artist but it can also be a hindrance as the artist’s allegiances begin to shift with the changing trends their artistic integrity is challenged. This is the quagmire that Liars finds themselves in with Mess.
Continue reading “Album Review: Liars — Mess“
Rating: Silver
Somehow, in-between putting Thee Oh Sees on hiatus, relocating to Southern California, and preparing to release another Thee Oh Sees album, John Dwyer has found time for another solo project. Hubba Bubba, his debut album as Damaged Bug, has Dwyer abandoning his fuzzy guitars for an even fuzzier synthesizer. But this foray into electronica isn’t Dwyer’s attempt at making a Depeche Mode album. Hubba Bubba sounds much more like a marijuana influenced Suicide album than an 80’s new wave rehash like so many artist are doing right now. The emphasis is placed on minimalist synth riffs behind Dwyer’s robotic vocals.
Moses Sumney was a sentimental surprise as he kicked off the evening. His emotional acoustic and soulful balladry lifted everyone to the smiling, smooth side of R&B. His performance gave an opening emotional dynamic to the show by allowing a vulnerable, emotional connection to what was yet to come.
Just prior to Dr. Dog was Saint Rich. Saint Rich, a New Jersey skateboarding enthusiast, had an eccentric life stage performance. Complimented with the musical harmony but not to duplicate Dr.Dog.
Closing the exciting Noise Pop Festival was – Dr. Dog. When their fans packed the Warfield, Dr. Dog knew exactly how to respond with current favorites “The Truth” and “Lonesome” while blending in a favorites from the past such as “These Days” and “Oh No”.
Dr. Dog certainly has a loyal fan club in the Bay Area. The simple reason is, each of their albums sequentially build on the one before while remaining true to the original unique sound. Each performance enhances an appreciation of their vintage harmonizing sound. Still true to the east coast vibe; yet, unique enough to remain unclassified from the common pop and indie trend. Just one of many reasons Dr. Dog will remain a Bay Area favorite.
Rating: Gold
I don’t know who first used the modifier “angular” to describe a guitar style, but it’s been the most over used adjective for post punk guitar for at least 30 years now. Perhaps it means the sharp edges that you get from the syncopated and dissonant chord changes or maybe even the “stiff, awkward, and ungainly” feel the music gives you. Either way, the message that “angular” communicates is “inhuman” and “inhospitable.” From Marry Me to Actor to Strange Mercy and now St. Vincent, Annie Clark’s music has toed this line between human and inhuman, between hospitable and inhospitable, but inevitably has sided with the human. This has always been her great accomplishment as a songwriter. Her hair has gotten whiter, her clothing more plastic and her guitar playing more…angular, but she’s never lost touch with that humanity and with St. Vincent, Annie Clark is at her peak as a songwriter, guitarist and artist.
