show review – Page 13 – Spinning Platters

Show Review: The Soft Moon with Led Er Est and Chelsea Wolfe at The Independent, 10/31/2011

Luiz Vasquez and Justin Anastasi of The Soft Moon

One night a year, the darkest of spirits and the most mysterious of characters are summoned into the world at large to frighten, to amaze, to baffle, to worry, but definitely to excite the forces of peace that remain calm for the other 364 days. Rarely is there a better occasion for the spooky and the sibilant to make themselves known than on Halloween Night. In accordance with the popular holiday adage, however, it is always best to have some treats to go along with your tricks, and for the haunting act known as The Soft Moon, there was no better occasion to host their showcase of apocalyptic rhythms, droning dance pulses, and howling shrieks, all while bathed in a hellish display of strobing lights and unearthly projections. If ever there was a band better suited to usher in a new movement of smartly dark and morbidly interesting music, it would definitely be this San Francisco trio.

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Show Review: Anamanaguchi with Starscream, Knife City and Crash Faster at Slim’s, 10/30/2011

Returning to San Francisco to shake the OTHER venue on 11th Street

With access to thousands upon thousands of songs of every solidly-defined or unclassified musical archetype that exists on this great planet of ours, rock music has entered a new world of sonic exploration that was only experimented with in years past. The concept of “fusion” and the blending of genres has been a staple of pushing the envelope in music, but for many years it was still almost taboo to mix certain instruments, compositional methods, or even the fans that followed these musical movements. Today, with ancient horn sections bellowing their way into foggy punk rock and string sections going toe-to-toe with electronica, it isn’t hard to understand why the Brooklyn chiptune-punk quartet Anamanaguchi is successful enough to come to the Bay Area twice in one year and sell out two of the most popular clubs in the SoMa district of San Francisco.

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Show Review: Lisa Hannigan, John Smith at Slim’s, 10/2/2011

After looking up Lisa Hannigan’s past show archive, I have definitely missed her more times than I remember. Twice I’ve seen Damien Rice while she hadn’t been on the tour with him. (She was the better half of Damien Rice in my opinion). Then I systematically missed her only U.S. solo tour, her Apple Store in-store and her opening for both Jason Mraz, and David Grey on separate occasions. I only had to wait eight years right? Well I think it paid off, because I not only got to see her live, I had the chance to interview her as well! (See related article =) )

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Show Review: The World/Inferno Friendship Society with The Phenomenauts and Locksley at the Rickshaw Stop, 10/3/2011

Let us now speak of brave men, who lived their lives just as they would have it

It’s safe to say, in this day and age, that defining what constitutes “punk” music is irrationally difficult. Classicists will tell you that it means 3-4 chords, lightning-fast drums, a general disregard for playing instruments BESIDES drums with extreme skill, and lyrics focused on dissent, disturbance, and general disquiet with the way things are. Others will claim that it’s more the attitude that matters than the instrumentation; the DIY aesthetic, the “we’re angry and we’re here to let you know what’s wrong with the world” message, and the desire to rebel against any manner of what constitutes the norm. The latter argument usually bears more weight; too often are to be found multi-platinum-selling artists playing their same recycled chords, in the aforementioned classic formula, with no specifically diligent message — only an intent to be a product that is easy to swallow, and thus, sell. Bands such as the World/Inferno Friendship Society are better examples of the image that punk music has so deftly stood for over the years, shifted into a medium of instrumentation and songwriting that borrows from so many genres and walks of life that, while they could not be called “punk rock” in the classic 70’s musical style, they possess the attitude and energy in spades — after all, how often do you hear jazz and klezmer music so furious that it breeds explosive mosh pits?

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Show Review: Ladytron with SONOIO and Polaris At Noon at the Regency Ballroom, 9/25/2011

Make free of the cities where time stands still

I have often said that electronic music concerts are the best example of an experience that can go one of two ways: either the dull setting of a single DJ with a mild array of lights and unreasonably loud walls of bass that do more to rattle your teeth than to provide enjoyable percussion, or a full-on experience — from either one man with a table covered in expensive gear, or an entire band centered around synths, drum machines, or other instruments of the digital age — with a dazzling visual accompaniment. It also helps, of course, if you have more to bring to the table than simple a throbbing house beat and a simple-yet-evolving methodology to your melody and rhythm; adding traditional or untraditional rock instruments, as well as an aesthetic that blends them with the sweeping pulses that make up the backbone of your sound, is a sure-fire way to something refreshing and undoubtedly successful. Such is the case with the Liverpool music collective known as Ladytron, who also up the scale every time they play by bringing an eclectic set of opening acts — guaranteeing an exciting show every time.

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Show Review: Peter Hook and The Light performing Closer at The Mezzanine, 09/17/2011

Father and son join for a furious wall of sound

It is frequently said that when you have a formula that works, it is safe to stick with it, but only to the point where you continue to be successful, and not past the point where you’ve entered a realm of dangerous repetition. In 2010 I stated that a popular trend was for a band to go on tour and, as their setlist, play one or more of their classic albums from start to finish. Some acts, such as the Melvins or A Perfect Circle, took up this concept and played multiple albums over multiple nights, and it was a true test of stamina for their fans to make it out for two or three nights in a row to see the entire collection of songs from their catalogue. However, when bassist Peter Hook and his band The Light returned to the Mezzanine in San Francisco to perform Joy Division’s posthumous classic Closer in its entirety, it was quite clear that a nearly-one-year-long wait was a brilliant decision, as it brought a new collection of energetic fans, an explosive performance from Hook and his band, and the reminder that the power and majesty of Joy Division’s music is still fiercely present over 30 years after the release of their final record.

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Show Review: Styx with Yes at the Shoreline Amphitheatre, 8/3/2011

The definition of “arena rock” has changed shape a great deal in this modern era of music. While it’s mostly connected to which genres of music or artists can sell enough seats to fill an amphitheater with up to 22,000 people, it is also evocative of a time when a band’s show and stage set were so extravagant, flamboyant, and over-the-top that only a massive stadium could even hope to provide ample real estate for the performance. Thus, it is always quite amazing to see both of these factors fall into place, especially when the bands in question are of a somewhat-bygone era. This isn’t the 1970s, or the 1980s, but you would never have been aware that time had passed since that era, judging from the explosive response that greeted the two biggest acts of the Shoreline Amphitheatre’s KIHNCERT 2011: Chicago rockers Styx and English progressive godfathers Yes.

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Show Review: Reel Big Fish with Streetlight Manifesto, The Maxies and Rodeo Ruby Love at the Regency Ballroom, 7/15/2011

There’s a commonly-held mindset that says you cannot take ska music seriously. From a simple outside perspective, this makes sense; it’s generally very bouncy, positive-sounding music, and the horns just accentuate the level of joy, or perhaps the level of unseriousness. For what is entailed in a ska song, however, it’s remarkably rude to call it simple or childish; with 3 or 4 additional players that accompany a full band, one that’s usually churning out rapid-fire punk riffs, and with all of the members running around onstage, it’s definitely not a simple feat. The energy of the music, for those who do listen and follow it, is infectious and riotous in its intensity, and whether the lyrics are heartfelt and yearning, or slovenly and self-deprecating, wildly energetic audiences will still fill large auditoriums to see the spectacle, and chant and stamp to every word. Such was the case on Friday night, when the Regency Ballroom of San Francisco played host to two titans of the genre: the New Jersey septet Streetlight Manifesto, and the Huntington Beach veterans known as Reel Big Fish.

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Show Review: Rammstein with Combichrist at the Oracle Arena, 5/18/2011

There has been a recent trend of fantastic bands, both old and new, being prevented from making their way to this side of the Atlantic due to all manner of circumstances. Most often, it’s an inability to acquire visas by an international deadline, but in the case of more controversial and explosive acts, their arrival has often been deterred by high tensions overseas — acts of terrorism and war, both abroad and at home — which put a damper on the transport of any act, musical or otherwise, that is loud, aggressive, and armed to the teeth with fire, smoke and dynamite. Last night, the biggest name on this list — the German industrial metal collective known as Rammstein — finally made their way back to the Bay Area for their first show in 10 years, and brought their full cataclysmic performance with them, offering one of the biggest, loudest, and hottest shows ever seen within the walls of the Oracle Arena.

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Show Review: Metalliance Tour featuring Helmet, Saint Vitus, Crowbar, Kylesa, Red Fang, Howl, and Atlas Moth at The Mezzanine, 4/3/2011

Page Hamilton, frontman of Helmet, the headliners of the Metalliance Tour

October 22nd, 2006. That was the final day for a San Francisco club known as The Pound, a smallish, low building stranded out in the middle of the dreary reaches of Pier 96 near Heron’s Head Park. For true metalheads of the Bay Area, it was a dark day in history, for no venue besides the Pound was better known for providing a consistent schedule of hardcore punk, furious grindcore, and every genre of metal under the sun (which, considering metal, is quite a lot). While larger clubs like Slim’s and the Regency Ballroom have stepped up to the plate to try and appease the hundreds of roaring voices that bellow out for the return of a good metal venue, they have been hard pressed to draw the same underground caliber that the Pound was able to pull in night after night. If the Mezzanine continues to host shows like Sunday night’s Metalliance Tour, however, then we may once again have a contender that fares well in the ring.

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