Reviews of albums, films, concerts, and more from the Bay Area Music and Movie Nerds
Mike Brown is a comedian based in New York. His work shows exceptional polish and his career shows excellent promise. He is performing January 21st at the Purple Onion for the Rooftop Comedy Showcase.
Spinning Platters: Where are you from originally?
Continue reading “Spinning Platters Interview: Mike Brown”
In 2002, three Bay Area comics organized a festival featuring some of their favorite local sketch groups. They dubbed it Sketchfest, and it was a success. The next year, comedy legend Fred Willard joined the event, and every year subsequent year, the event became bigger and bigger. This year’s festival has grown to 2 1/2 weeks long, and features the biggest line up yet, featuring the likes of Eddie Izzard, Amy Poehler, Wil Wheaton, Barry Bostwick, and scores of other people so famous that even your grandparents know who they are. (You may need to ask your grandparents who Barry Bostwick is)
SpinningPlatters had the opportunity to chat with founders David Owen, Janet Varney, and Cole Stratton about the evolution of the festival, the struggles of putting it on every year, where to grab a burrito, and a whole ton of hypothetical situations that were good fun to ask. Be sure to go to SFSketchfest.com to check out the line-up and purchase tickets.
When you’re an internationally-successful musical act that bends and shapes a genre as complex and intricate as psytrance, how do you keep your work from becoming stagnant, in this ever-shifting world of electronic music with its seemingly endless count of subgenres? You’ve got a lot of competition in the field as 2011 draws to a close. There are the arena-filling behemoths like Tiësto and deadmau5, whose light and projection show rivals that of a second-world country’s first celebration of independence. There are the up-and-coming acts, who manage to pack a dancefloor with just a simple mixer and/or MIDI pad and a laptop chock full of cutting edge software and samples. To break the mold of the constant onslaught of knob twiddlers and fader pushers, it becomes necessary to add a human element and violently active energy to your stage show. It therefore should come as no surprise that Israeli psytrance heavyweights Infected Mushroom decided to move out from behind the keyboards and up to the front of the stage a few years back, and their November appearance at the Fillmore proved that their dynamite performance energy hasn’t dwindled in the slightest — if anything, it’s gotten even wilder than before.
When one dips into the dark nebula of the world of post-punk, they are likely to find a world that seems to live between a variety of different spaces that make up the more solidly-defined genres of classical music. Songs can shift in intensity unexpectedly, from a thrashing fury that encourages stomping and raised fists, to a slow, steady groove that tempts even the toughest of those aforementioned rockers out onto the dance floor, and often times the two are well intertwined. It is one of the only genres that can be accurately applied to a band and not immediately subject them to a small pigeonhole of a classification, for enough acts have graced the scene throughout the decades that the label “post-punk” is sure to conjure up a plethora of images in one’s mind at first thought. Therefore, as a nod to how wide the span and definition has shifted over the last 30 years, two acts were chosen to kick off December at the Fillmore with an evening of shadowy, danceable mayhem: the Los Angeles duo known as She Wants Revenge, and Peter Murphy, best known as the frontman of Northampton goth rock godfathers Bauhaus.
It’s never an easy task to put on a show in the middle of a holiday season, especially when the date of your performance falls on the oft-proclaimed “Biggest Shopping Day Of The Year”. How many people are going to be willing to stay out for many more late hours, dancing the night away and reveling in swirling shadows and heaving colors, when many of them have inevitably been up since the crack of dawn? It stands to reason that you should bring something special to your show, something that will keep the evening interesting for the full duration — acts and performances that are ready to shift at the drop of a hat, and keep your audience enthralled, but not so boggled that their desire to dance is interrupted. In short, you’ll need to throw a party — a slightly experimental one, in fact — and for the duo of Plaid, this is done with a combination of brilliantly crafted sonic creations and a host of openers that held the dance floor down solidly by themselves.
When I walked in to The Great American Music Hall the energy was already strong. It was one of those fanatic crowds where, even though it wasn’t sold out, everyone was pushed up against the front of the stage. I have seen Noah and the Whale twice before, but never had there been people so excited to see then like there was at this show. The energy was immediately infections and I stood impatiently with the rest of the crowd, pressing as close as I could to the stage. Continue reading “Show Review: Noah and the Whale with Nikki Lane at Great American Music Hall, 11/21/11”
San Francisco’s disproportionately large population of ex-Ohioans once again flocked to Great American Music Hall to see the Buckeye State’s finest cultural ambassadors – Linford Detweiler and Karin Bergquist of Over the Rhine – perform another exquisitely drowsy set of their infinitely soothing jazzy Americana.
Continue reading “Show Review: Over the Rhine at Great American Music Hall, 11/15/11”
After an inexplicable ten years without seeing They Might Be Giants, I got to the Fillmore early to get that spot right up front just like I remembered. What I wasn’t sure of was if I would still hear my favorite song and would the two John’s still rock it like crazy. Lucky for me, and hopefully everyone else at the sold out show, everything I hoped for happened, plus even more. Continue reading “Show Review: They Might Be Giants with Jonathan Coulton at The Fillmore, 11/12/11”
An age old argument in music is this: is this band better live or on record? Electronic music seems to be the ultimate fertile ground for this argument because essentially the live show is the record plus lights, isn’t it? Well, not if it’s done right.
Brandt Brauer Frick perform in two different varieties. There’s the Brandt Brauer Frick Ensemble, an 11-piece combo that plays the material as written on composition paper. Then there’s the core trio, which leave the paper at home, and take chances on stage. Is this electronic music done right? Continue reading “Show Review: Brandt Brauer Frick with Psychic Friend and James & Evander at Rickshaw Stop, 11/11/2011”
If there is one subject that art constantly draws its attention to, it is love. It is a beautiful and terrible thing, utterly perplexing and impossible to define or simplify, and poets, painters, writers and musicians the world over have attempted its expression for a long as human history can recall. It is a funny concept, because it often takes the joyful, numbing jitters one feels in moments of tender intimacy, and pairs them up with the glorious, whooping sensation of a fiery passion to run to rooftops and scream your newfound devotion to the world below. Artists who know and have felt these moments of indescribable sense have done their best to bring forth their craft and communicate both sides of that spectrum, and everything in between, in their chosen mediums. It stands to reason, therefore, that two artists, both experts at their craft and both devotedly, passionately in love with another, will craft some of the most fantastic, loud and rambunctious work, while also taking moments of elegant poise, and charmingly stumbling between the two along the way. Such a scene was set and displayed with jubilant wonder by the couple that graced San Francisco with their presence for two separate nights: literary and screen writer Neil Gaiman, author of American Gods, Stardust and Coraline; and his wife, mindbending songmistress Amanda Palmer, the frontwoman of The Dresden Dolls.