While surely most people will be spending their weekend over on Treasure Island at the festival of the same name, for those without the finances to acquire tickets or were denied credentials (as apparently was the case with the Deli, sigh) here are a few show selections from the calender.

On Thursday the Phantom Kicks will be bringing their soothing brand of electronic-rock to Club Waziema with Doubledouble, 9pm.

Offering up competition in the same area, The Actors will be putting on a free show at Milk with Spiro Agnew and Portland’s Vanimal, 8pm.

Friday night head out to the Rickshaw for a Popscene Presents show with My First Earthquake, Blood Red Shoes, and Sky Larking, 8:30pm.

Spend Saturday having your mind blown at the psychedelic festival Frisco Freakout. In it’s third year, this weekend’s line-up boasts heavy-hitters Wooden Shjips with Young Prisms, Sic Alps, Howling Rain, Assemble Head in Sunburst Sound, Greg Ashley, Carlton Melton, White Manna, Glitter Wizard, Strangers Family Band, Jeffertitti’s Nile, and Mass at Dawn. Doors at 1:30pm.

Finally, close out your weekend with Rank/Xerox at the Hemlock with the Fleshies and Toys That Kill, 9pm.

Otherwise, if you’re headed to Treasure Island, enjoy!

 

–Ada Lann

Short, to the point, and swimming in reverb, the Phantom Kicks’ first EP concisely demonstrates the promises of their sound. Fusing electronic concepts with the looped and layered melodic tendencies of post-rock, the Phantom Kicks have created a soothing and fascinatingly intricate soundscape.

“Cut From a Different Clay” opens the album with a hypnotic driving high-octave guitar melody – a feature of each song on the album – supported by an unobtrusive electronic drum track and omnipresent synthetic bass tone. As the layers of the song build it’s almost two minutes before any vocals are heard. Distant and charming, it’s as if the singer is calling from another plane, perhaps the one the music is building towards. Crescendoing and abruptly ending this ascension, the song makes an abrupt change to a brief and more abrasive rock sound, before dwindling out in delicate vocal harmonies.

Rapidly building back out of the brief lull, “Eyes Familiar” bursts open with a second wind of energy. Powerful syncopated guitar strikes bolster the melody lines as the song takes a sharp turn dragging the listener on its ride. As with the song before, and the one after, the Phantom Kicks’ music is defined by its dynamic richness. Tempos and environments change rapidly and there is a rich texture to each of the song’s compositions.

Lyrically the songs on this EP live in a space of blissful innocence with amenable differences, late nights transforming into tender mornings and peaceful inquiries into another’s patience become song topics. Juxtaposed against the complexities of the music, this functions as a welcome foil. The vocals serve as an additional instrumental layer instead of a competing distraction, and with such awe-inspiring harmonies their function is well served.

“Coming Home” closes out the EP building yet another hypnotic set of melodies. For a song built around the patience of waiting for someone’s return, it is fitting that with a little patience comes the most stunning portion of the album. The song reaches its peak and with a temperate reverence; a beautiful set of harmonies float the ears out of the album.

All in all as debuts go, Phantom Kicks’ EP illustrates a great amount potential. It ebbs and flows in intricate and captivating motions that maintain attention throughout. It will be interesting to see how they develop their electronic-infused muted post-rock sound in what I’m sure will be a successful full-length release.

 

–Ada Lann

Named after our only Vice President forced to resign in disgrace, guitar and synth duo Spiro Agnew explore dark, politically charged social commentary through their new experimental rock album OH What Model Citizens We Be. The album is both compelling and inconsistent, with undeniably forceful moments but songs that vary wildly in quality. Some aspects of Spiro Agnew’s sound are better developed than others.

OH What Model Citizens We Be is angsty and nostalgic. Many tracks are introduced by (and sometimes layered over) audio clips from political rallies and interviews from the 70’s, mostly consisting of diatribes against hippy culture by political figures. Vocals are sung over electronic beats, simple keys, and distorted guitar. The album is at its best when these elements come together in ways that grab the listener’s attention and subsequently expand into emotional payoff. “John Kennedy’s Dead” has compelling tempo changes in-between verses and a more complex beat, and the following track “Guns in Town” has some of the best singing on the album, strangely muted and in contrast to the sharp, swelling sounds of the guitar and keyboard.

However, the album suffers from a lack of cohesiveness. The vocals range from compelling to bland, as do the lyrics. I found myself sometimes unable to tell if the vocalist’s under-emotional performance was thematic or an inability on his part to flow with the crescendo and climax of his songs – tracks like “Waste My Time” and “Fly With Me” attempt to draw out feelings like frustration and consolation respectively, but both just come off as lyrically juvenile. I found the keyboards overly repetitive and not very interesting throughout most of the album, which was detrimental to the composition of many of their songs.

Spiro Agnew’s eschewing of emotional crescendo in general could be purposeful, but if that’s the case it isn’t done well enough to hold my attention all the way through the album. In contrast, the title track is probably one of their best songs partly because the lyrics have some real feeling behind them while still managing to flow with the rest of Spiro’s sound. By the end, I found that I had enjoyed OH What Model Citizens We Be, but the inconsistent elements in performance and song quality keep Spiro Agnew’s first album from being great.

 

Oh What Model Citizens We Be by Spiro Agnew

–Kyle Wheat

OH What Model Citizens We Be can be purchased here.

It has been a while since The Deli SF has done an interview so, in an effort to bring you something a little different this week, The Deli sat down with Jerrod from Stomacher to discuss their development as a band, the state of the music industry and their plans for the coming year.

Deli: So this may be old news for you and your fans but I (and perhaps many Deli readers) are somewhat in the dark about this: What inspired the name change from In Reverent Fear to Stomacher and does Stomacher have some special meaning or does i just sound interesting?

We were tired of it. Stomacher was the name of our last album. It does everything a name should; its snappy and is easy to use in design

Deli: I seem to recall seeing somewhere that In Reverent Fear dabbled more in the metal end of things. Is that the case, and if so was there an active push towards this newer sound or did it just evolve naturally?

Natural. We were 16 year old kids freaking out on coca cola and girls. we wanted to be freaking out constantly, thus metal. We got older, wanted to refine our music and make something good for once.

Deli: Can you describe in your own words what Stomacher’s sound is, and what your goals are for the type of music you’re looking to create?

We like to create moods and force those moods into good songs. We tend to feel best in the dark haze we conjure up.

Deli: What does Stomacher’s typical process for songwriting look like? Is it an organic evolution with songs growing out of sessions as a group or do members arrive with songs written in search of composition?

It works in several ways. Sometimes tunes are brought in, sometimes they are born out of playing together. Sometimes made in the studio, sometimes live. There is no way that works best for us. Sentimental Education was made virtually every way a song could be made. It was tedious shit. It made us completely crazy and made the group tense constantly. We don’t want to do that again.

Deli: As the paths to success rapidly change in this evolving modern music industry,being an independent artist can be trying. There was a time relentless touring in pursuit of a record contract was perceived as the easy avenue to notoriety, but in this time of responsible rock stars with firm day jobs and increasingly irrelevant record labels those waters seem muddier then ever. What do you define as success for your band in today’s industry? What do you see as the best possible strategy to obtain that?

We have no fucking clue. To be honest, it never really feels like we get anywhere. We want to be playing music constantly, but don’t want to trash the integrity of the group to do so. As much as we love straight pop music, we don’t gravitate towards it naturally. We want to make sure that what we are doing means something to the five of us first. That seems to help me sleep at night at least.

Deli: I’ve observed that in the past few years there has been a change in audience attitudes. It seems more and more people only show up for the band they know,neglecting the others and forsaking the opportunity to discover something new. Is this something you’ve noticed as well and if so what do you think has caused this and how do you try to get audiences to stay for your set?

I think we all have resigned ourselves to the fact that people could give a shit about the live experience nowadays. Especially in a music scene where the live experience is secondary. I couldnt say what the cause is; maybe bad live bands souring everyone on seeing something live. Who knows. For me, its because its too fucking loud. I can’t have a chat without screaming. As far as keeping people around during our sets who have not come to see us, we just try to present the music and hope for the best. I don’t expect people to stay. Everyone is trying to get laid and that is probably more important in the scheme of things.

Deli: Getting back to your specifics, 2010 saw you with a gig in Noise Pop and several other prominent shows around town. Is there much slated for the remaining portion of the year and what are you plans and hopes for the coming one?

The rest of the year is up in the air. I get married in October, so I’m out of the country until the beginning of November. I think we are looking to do some gigs in December, and maybe release some singles. We want to do another record next year and quickly. The hope is to record that shit live and be a little more reckless. It gets me off to play in a room with these guys, so I’m ready for that. We’ve also thrown around heading overseas, so we will see.

 

–Ada Lann

A quick look at the calender sees several shows of note for this coming weekend. Here are a few selections for your perusal.

This Thursday see former Artists of the Month Foolproof Four out in Berkeley at the Starry Plough, 8pm.

Friday head over to Sub-Mission for a jam-packed line-up and the brooding sounds of Dandelion War with Commissure, Clarissa Explains It All, Adventure Playground, and Not To Reason Why, 9pm.

On Saturday, at Bottom of the Hill, Felsen will be celebrating their CD release show with Bird by Bird, Kindness and Lies, and Scene of Action, 8:30pm.

Close out your weekend on Sunday with Hunx and His Punx, at the Rickshaw, alongside Shannon & the Clams and Mark Sultan (BBQ), 8pm.

Enjoy your weekend and see you next week for a "what to see if you’re not going to Treasure Island" edition of selections.

 

–Ada Lann

“Oh no this living ain’t for the faint of heart, oh no this living is just a dying art” sings Adam H. Stephens in his new song “With Vengeance Come”.  Stephens’s solo album We Live on Cliffs (Saddle Creek Records) hits stores today (September 28th).

The nine tracks on the album range from the hushed beauty of the aforementioned song, to the catchy get-up-and dance (“Praises in Your Name”), to a song Stephens calls a “punk-jam” (“Second Mind”). Fans of his band Two Gallants will notice quite a shift from the bare-bone guitar, drums and voice combination that comprises the band’s brilliant songs. Stephens explores more musical complexity on this release, and coupled with his characteristically raw lyrics, the songs have something for everyone. The scratchy and powerful voice he employs for his songs with Tyson Vogel in Two Gallants is now replaced by a smoother, but every bit as effective, vocal pitch. Although it may seem he has stepped out of the character that he created for his tales of crime, loss and love in Two Gallants, Stephens does not feel that his current work is a different medium of expression for him. “My songwriting style was particular for the time. I’d like to think I’ve grown up and changed. Even if those lyrics were personal, as I am still growing my songwriting reflects that.”

[read more]

Photo: © J. Levinson

 

Tomorrow previous Artist of the Month Winners Blackstone Heist will be playing at 111 Minna, 8pm.

Friday at the Rickshaw Here Come The Saviours will be opening up for City Light and out-of-towners Sick of Sarah, 8:30pm.

If you’re inclined more towards a dance-party this weekend, head over to Milk Saturday night where oOoOO will be hosting a music video dance party, 9pm.

 

–Ada Lann

Tomorrow head over to Milk for yet another epic Epic Sauce show with Grand Lake headlining and support by Ash Reiter, Sunbeam Rd, and Burrows, 8pm.

Friday night catch Mist and Mast with Sands and Yelstin at the Hemlock, 9pm.

Saturday, for what looks like an exceptionally busy evening, head out to Thee Parkside for The Wiretap Music Festival featuring Religious Girls, Clipd Beaks, Grand Lake (again), Casy and Brian, The Dashing Suns, SIddhartha, and Color Chasm, 3pm.

If you’re looking for something a little more subdued for your Saturday evening then Kata Rokkar’s latest Snob Theatre, at the Dark Room, should be your stop. This time around they will be featuring Poor Baily and Con Brio with comedians Kevin O’Shea, Chris Burns, Jesse Fernandez and Sean Keane, 9pm.

Lastly, Sunday night head over to Amnesia for Dominant Legs, Young Prisms and Holy Shit, 9pm.

 

–Ada Lann

San Francisco’s The New Up are celebrating the release of their fourth album, Gold, this Saturday at Cafe Du Nord and The Deli SF is offering you a chance to win a pair of tickets to the show plus a copy of the album a month before it’s available to the public! Email sfeditor@thedelimagazine.com and tell us any story involving glitz, gold or rock n’ roll to be entered [and sorry kiddos, you have to be 21+ to win]. The winner will be notified on Friday.

Check out the video for "Bitch" here:

-Nicole Leigh

Don’t miss Grass Widow tonight as they celebrate the arrival of Past Time on Kill Rock Stars. The all ages show is on the cheap side ($5-10) sliding scale and also features sets by Shannon and The Clams as well as film projections from Oddball Films and Wu Li Leung.The fun begins at 7om at Cyclone Warehouse (1842 Illinois Ave, SF)

You can also check out Grass Widow performing tomorrow at Amoeba on Haight at 2pm. This will be you last chance to check out the threesome before they embark on a three month US and Europe tour.

Grass Widow – Fried Egg from Kill Rock Stars on Vimeo.

-Nicole Leigh

 

Phantom Kicks started the night off right, getting more people to dance before 10pm than I’m used to seeing. The three-piece (two guitars, a drummer, plus laptop) delivered uptempo catchy electro pop with a heavy emphasis on the guitar. In a way they reminded me of watching Minus the Bear, where all the other parts of the songs seem to somehow serve the guitar so you find yourself staring at it most of the time. Their songs acted as an appropriate accompaniment to the almost end of summer night.

San Francisco’s Spiro Agnew took the stage next donning two laptops, guitar, and an extra keyboard for good measure. The electro drums laid down the beat for the three members to perform over, culminating in some noisy cross section between Depeche Mode, Joy Division, and New Order. They were celebrating the release of a new CD, Oh What Model Citizens We Be on Tough Sluts Records.

And with that The Dont’s (the only band to not have a laptop) took to the stage and played some energetic indie rock. Lead by a charismatic, lab coat wearing lead singer the band (also in costume) were straight up good. The Dont’s were maybe the odd band out that night, having little electronic influence to speak of, but they had no problem getting the crowd on their side and tore through a good 40 minutes of music that left those of us in front sweating.

The final band to take the stage was San Francisco’s own My First Earthquake, a four piece band that resides somewhere in the land of more 90s sounding indie rock with a happy take on dance punk. It was clear that this was the band some people had come to see, audience members could be seen/heard singing along to the songs. Frontwoman Rebecca Bortman brought enough energy for the whole band and commanded the audience’s attention save for moments such as the guitarist smacking the strings of his guitar with a drum stick. It only took a song or two, but pretty soon My First Earthquake had the Rickshaw Stop dancing (or at least enthusiastically stomping its feet) to their tales of band breakups, walking around San Francisco, and the likes.

Fun was had by all, the Rickshaw was rocked and rolled and electroed, and another great night of Bay Area music was enjoyed by some of its finest residents.

-Glenn Jackson; photos by Adam Myatt.

With labor day behind us and fall out on the horizon, the calender seems to be showing a lot of competition for attention in the city’s year end show schedule. Here are a few selections for this weekend.

This Friday the 10th roll out to Bottom of the Hill where Stomacher will be playing with Oh Darling and Gentleman, 10pm.

Also on Friday, Tricycle Records will be presenting a show at Milk with French Miami, Geographer and Miles the DJ, 9pm.

Saturday head over to Mama Buzz in the East Bay where this coffee shop-cum-music venue will play host to electronic musicians James and Evander as well as Ben Thompson and Mike Hale, 7pm.

If the East Bay is not your Saturday evening destination head back over to Bottom of the Hill where the Magic Bullets will be playing with We Barbarians and Superhumanoids, 10pm.

 

–Ada Lann