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.
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.
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?
The Kronos Quartet isn’t really the type of show we normally review. There are no earplugs required, you’re sitting in seats and most of the audience is over 35. In fact, it’s not even really a show, it’s more of a concert. But Spinning Platters wanted to cover what they are doing this Noise Pop week; a West Coast premier of Jon Rose’s Music From 4 Fences along with music written by various musicians more well known in popular culture. I especially couldn’t miss tonight’s offering: music composed by Damon Albarn of Blur and Gorillaz fame (the other artists showcased this week are listed here). There were many things I expected from The Kronos Quartet, like professionalism and amazing talent and skill, but it was the surprises that make it an experience I highly recommend. Continue reading “Concert Review: The Kronos Quartet — Music From 4 Fences at Z Space @ Artaud, 2/24/10”
When a Rogue Wave show ends with a couple dozen people dancing on the Bottom of the Hill stage, you know a sea change has happened in the band. The press materials for the new album Permalight go into a lot of detail about this, but nothing in the press materials could prepare you for the new sounds coming out of the band: a little bit of dance (backing tracks?), a lot more volume, and some spirited takes on some old friends. Continue reading “Noise Pop Show Review: Rogue Wave at Bottom of the Hill, 2/24/10”
Fanfarlo wants you to know that they are not nerds. I‘m sitting with them in their supremely messy dressing room after their show to a packed audience at the Great American Music Hall while they go through press clippings from the local weekly papers. “It’s all because Justin used to work at a bookstore and all he’d talk about was books,” Cathy the mandolin/violin player announces. “We’re really not that bookish.” When the cooler of drinks is empty, we migrate to the Hemlock before they have to wake up early to fly to Portland. Continue reading “Show Review: Fanfarlo at Great American Music Hall, 2/22/10”
Friday night I had my housewarming party. It was filled with Scotch and dalliances; to say the next day was rough would be an understatement. I had to use a strength rivaled only by Conan the Barbarian to get out of my bed. That morning also happened to be the day Vitalic was in town. Continue reading “Show Review: Vitalic at The Mezzanine, 2/20/10”
