Posts Tagged ‘San Francisco’

The problem with January is that you always fall in love with bands that released albums the year before after reading the other bloggers albums that would have made it to my best of 2017 list, So it was no surprise when I heard about San Francisco five-piece Locus Pocus and their self-titled EP, released last May 2017.

I’m a fan of shimmering, organ-punctuated psych pop and thoroughly enjoy melodic, trembling vocals, gravelly yelps and howls, and swirling, distorted flourishes. Locus Pocus is one of those bands that you hear and think to yourself, “I just stumbled onto something here”.

Recalling other San Francisco band, Cool Ghouls, and Grand Rapids’ and the wonderful psych darlings Heaters, Locus Pocus has been building a name for themselves in their hometown through their energetic live shows. Beyond San Francisco , their debut single, “My Girlfriend Won’t Dance With Me”, got considerable listens in mid-2017, with over 130,000 listens since its debut.

The remainder of the EP is equally infectious. Beginning with the Stuck, the songs worm their way into your brain. Equally kaleidoscopic and twisting, Hey Sundance and Muscle Man round out the four-song EP, building to a dramatic crescendo that will leave you wanting more.

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The band released a second single, “I’d Be Your Woman”, last August, complete with a cheeky music video that finds singer Nate Budroe in a glittery black dress and dramatic cat’s eye makeup, hamming it up with the rest of the band – Kyle Chapman (guitar), Daniel de Lorimier (bass), Michael Kipnis (drums), and Daniel Markowitz (organ & Rhodes).

I’d say that discovering Locus Pocus in early 2018 is a pretty good one to have. Check out Locus Pocus’ debut EP on Bandcamp

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The Imajinary Friends featuring founding members of The Brian Jonestown Massacre and Tipsy with appearances by Stephen Lawrie from The Telescopes (Official) Marleen Nilsson from Death And Vanilla and BJM collaborator, singer/songwriter Moogy!!!.

After over a 15 year hiatus, the Imajinary Friends are back with a new collection of sizzling electric dreams from space that pulsate with a strange, sexy, far out groove (i.e. L’Outsider, with guest vocals and lyrics by Deborrah Morgan aka Moogy.) On their eponymously self-titled 3rd LP, the Imajinary Friends tweak the frequencies and really fry all the instrumentation that is both dizzying and danceable (i.e. The Dark Sparkle or Space Trash.) The Imajinary Friends continue to experiment with sounds and rhythm on tracks like 101 Kazoos and Frangipani. This record brings the rhythms of the 70’s Krautrock scene with the dark guitars of UK Post-Punk paired with buried vocals and slurred sounds of the 90’s shoegaze movement.

The Imajinary Friends are a somewhat mysterious collective. Ever changing and evolving. The core 3 are Tim Digulla (one half of Lounge/Exotica/Electronica duo Tipsy,) Ricky Maymi (current guiterrorist & founding member of The Brian Jonestown Massacre; he also played with Mellow Drunk, Spectrum, The Wild Swans and Steve Kilbey, among many others) and Travis Threlkel (also a founding member of BJM, now, founder & creative director at Obscura Digital) For these recordings, the Imajinary Friends enlisted the following to sing vocals on several tracks: The aforementioned, Australian/French-Belgian Singer-songwriter Moogy (L’Outsider); Stephen Lawrie of The Telescopes (Hate This Party); and Marleen Nilsson of Death And Vanilla (Baby’s Bathwater) 

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“San Francisco’s IMAJINARY FRIENDS, mercurialpranksters of soundscape and pop, continue to turn in the unexpected with their unique brand of original and uncompromising music.

Introducing – for the very first time – The Love-Birds from San Francisco  on Empty Cellar Records!

I’m out to catch The Love-Birds, they being San Francisco’s best new guitar band. They have been performing in many a fine venues for about a year now and they always have the edge. They’re Of and Raised in SF and they’re youngish. All of them jam their instruments with technique and style, in accordance with the Old Ways. They have a budget Scott Gorham riff inside a jangly scorcher called “Filled With Hate,” which is about leaving Los Angeles for San Francisco.

You can go pretty far nowadays on the idea of a Band, but The Love-Birds don’t have time for that shit. Whether you wear denim, leather, or tie-dye it’s only worth about an El Rio drink ticket if you don’t know how to write the tunes and The Love-Birds wear a cloak of many colors. The guitars weave together beautifully, leads, hooks and riffs arranged like an American cheese platter. The rhythm section takes the cheese and deftly makes a deli sandwich, playing with smarts and panache. This is the kind of band that you can smoke weed with the drummer outside the bar and talk in-depth about the annexation of Hawaii and then walk inside, look the guitarist straight in the eye and say, “R.E.M is better than Teenage Fanclub” and he’ll still drive your fool ass home. They’ve even got a dude in the band who says funny shit on stage. You can take one look at them and know they learn things from books and write songs with instruments (no, seriously). 

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These songs have tons of moves and nobody puts moves in their songs anymore besides The Cacamen, and that was only one move, once. Moves are great, they’re like skate tricks you can put in your songs. The Love-Birds are punk, but in the classical sense, not the ebay sense. They dare to believe that R.E.M is better than Big Star. Just kidding, they’re not there yet. But this is an excellent start.

The Band 

Charlie Ertola – Bass
Eli Groshelle – Drums
Thomas Rubenstein – Guitar & Vocals
Eli Wald – Guitar & Vocals

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Few bands that formed in the early 1970s have managed to survive and continue touring to the present day, albeit with a fair few line-up changes. Little Feat is one of the few that have, in no small part due to their outstanding musicianship and the idiosyncratic songwriting of founding member, Lowell George, which has stood the test of time.

Thier 1976 Winterland performance is one of the finest examples of  the band Little Feat during the prime years of Lowell George, when the group had established a reputation as one of the most exciting and original live bands on the planet. Lowell George’s innate ability to craft songs with sophisticated melodies and intriguing lyrics, as well as the high production standards on the groups studio recordings, were key to the group’s popularity and longevity. it was concert performances, such as this one, that truly established such a dedicated fan base.

Little Feat were opening for Electric Light Orchestra, this remains one of their most legendary performances. Broadcast live on KSAN radio, parts of this performance were immediately bootlegged to vinyl and rapidly began circulating under various titles, the most common being “Rampant Syncopatio” and “Chinese Bejeezus,” titles rumored to have been supplied by Lowell George himself.

It’s no wonder that this performance became so popular, as it captures the band at the peak of the “Lowell George era,” promoting the release of The Last Record Album. This album signaled the emergence of jazzier elements being incorporated into the bands sound, as well as stronger contributions from guitarist Paul Barrere and keyboardist Bill Payne, which added greater diversity to the group’s material.

The recording kicks off with a smokin’ version of “Apolitical Blues,” followed by a double dose of funky New Orleans flavored rock, with sizzling takes of “Skin It Back” transitioning into “Fat Man In The Bathtub.” This establishes a deep groove that continues to intensify as the set progresses.

The middle of the set features several outstanding new songs by Barrere and Payne, “One Love Stand” and “All That You Dream,” proving them a songwriting force to be reckoned with. Sandwiched between is an outstanding performance of Allen Toussaint’s classic “On Your Way Down.”

The set rises to another level entirely, when the band launches into “Cold, Cold, Cold.” This is Lowell George at his most astounding; not only singing like his life depended on it, but playing devastatingly great slide guitar. His slide guitar technique, which utilized a Sears & Roebuck 11/16ths spark-plug socket wrench rather than the traditional glass or steel finger tube, is absolutely incredible here and utterly unique.

“Cold, Cold Cold” gives way to the ever popular “Dixie Chicken,” one of the bands most popular songs, here featuring an extended jam that lets the band stretch out a bit. This eventually builds in intensity and transforms into a searing version of “Tripe Face Boogie.” A solo section, first showcasing the percussion stylings of Sam Clayton and Richie Hayward, followed by an impressive keyboard improvisation by Bill Payne, is featured before they finish pummeling the audience into submission with the conclusion of “Tripe Face Boogie.”

Seemingly in no hurry to hear the headliners, Electric Light Orchestra, the Winterland audience clamors for more. The band returns to the stage and Lowell leads them through the composition that helped facilitate him leaving The Mothers of Invention and forming Little Feat in the first place, “Willin’.” (He elaborates on this prior to beginning the song.) They close this incredible set with a ferocious take of “Teenage Nervous Breakdown.” The bootleg was known as “Rampant Syncopatio” is from this show

Paul Barrere – guitar, vocals; Sam Clayton – percussion, vocals; Lowell George – guitar, vocals; Kenny Gradney – bass; Ritchie Hayward – drums, vocals; Bill Payne – keyboards, vocals

Elettrodomestico

“I feel like this record kind of saved me,” says Jane Wiedlin, of her duo Elettrodomestico’s lush psych-pop debut  “If You’re A Boy or a Girl”. “I was in such a dark place, and now I’ve finally come out of it. That’s the power of music, whether you’re writing or listening to it.”

David Bowie’s death in January of 2016 had plunged Wiedlin into a deep depression. “He was my lifelong idol,” she explains. “I wasn’t even a teenager when I discovered his music and just became obsessed with him. I don’t claim that my music sounds like him, because he’s a genius and I’m just regular, but he was just so good. It’s kind of a cliche, but he was otherworldly, he was so good. I think in the future, people are going to look back on him as really standing out as a 20th century musician. So when he died, I sank into this insane depression, and just started writing like a maniac, because I didn’t know how to handle my feelings.” She’d met fellow musician Pietro Straccia recently while he was recording a solo album with Travis Kasperbauer, who’d also go on to produce the Elettrodomestico album, at Wiedlin’s home studio. Something about their approaches to songwriting and arranging had just automatically clicked; she’d contributed some harmonic backing vocals to his album, and they’d sensed in one another kindred spirits.

Living in Hawaii and immersing herself in Bowie’s discography, as well as going down to her local tavern to check out the acts playing there, finding inspiration in the musicality of native Hawaiian musicians in particular, Wiedlin started writing lyrics and sending them to Straccia. Long-distance musical collaboration can be difficult for some, but the duo’s bond was stronger than even they knew, manifesting, well, psychically. “It was such a weird thing,” Straccia says. “The moment she sent me the lyrics, before I even received them, there was a music that came to my mind. The intention behind it was already [complete]. This happened again with another song, where she’d written [her lyrics] down on a piece of paper. I didn’t look at them, I just folded it and I put it in my pocket. In that moment. just by reading the title, I knew that the song was done. That was ‘Mail Order Bride.’

If You’re A Boy or a Girl thrums with emotion, immediacy, and personality. It plays smartly with gender and sexuality, with both musicians taking on “male” and “female” parts in a way that feels fluid and refreshing. It’s meticulously crafted, right down to the last textural detail, but it lacks the sense of distance that big-time pop can have. Wiedlin, of course, is perhaps best known for her time in The Go-Gos, though she’s also done plenty of work as a solo musician, co-written with huge artists like Keith Urban, has a vibrant acting and voice acting career, and is a lifelong animal rights activist. And perhaps a little bit of Elettrodomestico’s urgent feel is due to her original punk spirit. “My style of playing [guitar] is really rudimentary more than anything,” she laughs. “It’s punk. I just play rhythm guitar, and I like a distorted sound, and I like to play kind of jagged things, so it was fun—when I got to play guitar it added a little something to the mix.” Her favorite punk band is the Buzzcocks, and one can definitely hear a Shelley/Devoto-esque melodicism and sass in Elettrodomestico’s sound.

There’s more than the Buzzcocks and Bowie in there, though. Wiedlin’s love of the Beatles is well-documented, and she certainly believes that her early childhood fascination with the Fab Four has played out in her career-long interest in harmonics, which comes into sharp focus here. Both she and Straccia loved Nirvana dearly, and one can hear a bit of that group’s dark heart and desire to approach alienation from a place as personal as it is universal. And Straccia’s found inspiration for their psychic musical connection in a classic, beloved Italian pop duo—Mogol-Battisti. “Lucio Battisti, an Italian singer that passed away now, he’s the equivalent of the Beatles in Italy, basically,” he explains. “His melodies, he’s an Italian hero. He teamed up with this poet [Mogol] very early on. I always admired [their partnership] in a way. [Battisti] would go and present the song to [Mogol], and [Battisti] would just kind of sing gibberish, and then [Mogol] would be able to extract from the melody these beautiful words. They sit so beautifully. There were already the lyrics in the melody in a sort of way. He just needed to extract them, make that emotion verbal. I think something very similar happened with this. The lyrics inspired the melody, and vice versa. It’s such a cool thing.”

The respect and care Wiedlin and Straccia have for one another lights up Elettrodomestico, and the joy they take in one another’s friendship is evident not just from the way they talk about one another, but in the music itself. And they love pop music as a whole as much as they love one another. “Music is one of the only things that really unites people and is universal, which I love,” Wiedlin says. “It makes me happy to be part of something like that, because it’s really positive. The last years in the Go-Gos, I started analyzing what I was doing, and I realized that what I get to do as my job is bring joy to people. How much more awesome does life get than that? ‘Cause the world’s fucking depressing.”

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As a parting shot, Wiedlin brings up naysayers who might think she’s too old to still be out there (a concern which certainly doesn’t plague discussions of male musicians the way it does those who aren’t). “This is what I do! And I think I’m going to have this be the first and last interview that I discuss [age] because it’s just dumb,” she says fiercely. “What do you care? If you like the music, what do you care? I know that’s this huge stumbling thing that we’re going to get past or not get past. But you know, with the Go-Gos, it was that we were chicks. People just couldn’t wrap their heads around it. Maybe I can be the new face of age or something.” Her laugh sparkles; it’s clear that she’s not done until she says she is. And we, as pop listeners and fans, are all the luckier for it.

In late 2016, former Girls frontman Christopher Owens announced he’d started a new band called Curls with Cody Rhodes and Luke Baće. the trio has shared their debut EP, Vante. It sounds like he’s having fun, or at least trying to. For someone who was raised in a cult, recently found himself homeless, and has written dozens of songs that hint at drug addictions and a tortured inner life, that feels like enough.

The four-track effort was recorded in both Santo Recording and Outland Studio in the Bay Area, where the group is based. Shane Stoneback is credited with assisting Curls on production, engineering, and mixing. Prior to forming Curls, Owens released three solo albums: Lysandre in 2013, 2014’s A New Testament, and Chrissybaby Forever in 2015. Before Owens announced his departure in 2012, Girls released two near-perfect albums and one gorgeous EP, including 2015’s excellent album Father, Son, Holy Ghost

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Vante EP Tracklist:
01. Dynamite
02. Emotion
03. Golden Gate
04. Gentle and Kind

Curls have lined up a batch of California-only tour dates

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San Franciscan, dark-synth duo NRVS LVRS with their blend of 1980’s guitar-pop and brutal, minimalist electronica. The band recently released their excellent sophomore album, “Electric Dread”, and have this week shared the video to the track, Lost To The Max.

Lost To The Max brings Bethan Fernandez’s, effortless, soaring vocals to the fore, Beneath the stunning vocal exists a twitching palette of glitchy Fever Ray like beats and pulsatingly, gloomy synths. It’s not the soundtrack to Blade Runner 2049, but it really should be. The accompanying video is superb; working with director Lauren Tabak, the film taps into the songs feelings of the alienation and victimisation of women. As the chorus of female characters come together to sing en-masse, “I have always been a target”, the video builds to a justifiably vengeful finale. Stirring and inspiring.

The song is a haunting examination of such devastating and historic abuses suffered by women. The subject matter is heavy here but there aren’t many vocalists that can get such daunting subject matters out in beautiful dark pop as Fernandez. It’s possible this is her best performance. Which is an impressive feat considering the band’s stellar catalog

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To study Joel Gion is to study the mystery and history of rock and roll itself. Rock and roll itself is an element indefinable at its core, no matter how deeply one investigates either the mystery or the history – in fact, it’s likely to gain less definition the further one delves.

Joel Gion himself is an element indefinable at his core, no matter how deeply one investigates either his mystery or his history (be it time spent with The Brian Jonestown Massacre, the celluloid anti-hero working out some kinks in the documentary “Dig!” or simply his repeat rankings in the ongoing competition for “Coolest Motherfucker on Earth”) – in fact, he’s likely to gain less definition the further one delves.

With regard to his lush new eponymous album on Beyond Beyond Is Beyond Records, we should all be so lucky to suffer from such a lack of definition. the album is almost void of definition completely. In its place, we find instantly invigorating hooks, we find an unhurried pace matched with an unworried tone, we find a captivating collection of California calm mixed with self-command, with General Gion standing at the helm of an army of talented musicians, flutes and reverb pedals at the ready.

Unraveling the history and mystery of rock and roll is half the fun, and Joel Gion has been responsible for far more than his fair share of fun. The other half of the fun is giving yourself over to that same mystery and history, wherever it may take you, definitions be damned.

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Raw guitar riffs, pounding drums, distortion laden hooks, and an occasionally goofy lyrical sentiment truly encapsulate Pardoner’s debut LP, “Uncontrollable Salvation” September 8th marks the release date of the San Francisco group’s record, and we couldn’t be more excited. Experimenting with a 90s alt-rock sound and a modern punk ethos, Max, River, Will, and Trey have carefully studied the style and song structure of both their peers and idols and have redefined the San Francisco punk sound.

Over the past 2+ years as a band, Pardoner has occupied themselves with recording  and releasing several EPs, playing countless Bay Area shows, and even by making a SXSW appearance. Now,  “Uncontrollable Salvation” takes you for a 45 minute ride through what PARDONER guitarist Trey Flanigan calls “loud guitar music”.
Here’s what some of the members of PARDONER have to say about their record:

“We had fun making this and we hope it makes you feel things.”  – Will Merveau, Pardoner (bass)
“We worked really hard on this and if nobody listened to it I would be honestly pretty bummed.”  – Max Freeland, Pardoner (guitar / vocals)
“If you listen to this record once a day you will turn into a big muscular freak, I guarantee it.”  – Trey Flanigan, Pardoner (guitar)
“The kinda record that will make you want to farm all day and all night long.”  – River van den Berghe, Pardoner (drums)

“Uncontrollable Salvation” will be released on CD and pressed on normal black vinyl, and Blood Red vinyl the latter being a limited edition variant only available from Father/Daughter Records))

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“Uncontrollable Salvation” out September 8th, 2017

We are so happy to share our new record “Something More”. We poured everything we could into every song. And now it feels so good to know that they are your songs just as much as they are ours. This record came out of yearning for something more from this often insane world. Now we hope that you pass it on. Listen as loud as you possibly can. Scream along in the car. Keep in touch. Let us know how you feel after listening. Let’s grow together. And as always, thank you for always supporting our band.
Love,
Van, Sara, Brian, Greg, And Wales

MOLLY IS A BABE Video! Sometimes its hard to come up with an idea for a music video. That was certainly not the case for “Molly Is A Babe.” Ever since we all started touring together, we fell in love with Reno and went out of our way to stay there whenever we could. Its such a glorious mess of flashy lights and empty hotel rooms. We’ve been daydreaming and brainstorming ideas and excuses to shoot a video there for years. Luckily, Reno also inspired our new song,

Band Members
Van Pierszalowski
Brian DaMert
Greg Sellin
Andrew Wales
Sara DaMert

The New Album ‘SOMETHING MORE!’ Available Now