While a few a weeks ago psychedelic was the theme of the weekend, looking out this week good ol’ fashion punk rock seems to be taking hold of the city for a few days.

Tomorrow night (the 3rd) local punk rock superstar Jello Biafra will be playing at Bottom of the Hill with his latest outfit Jello Biafra and the Guantanamo School of Medicine, 9pm.

If you’re a fan of the raucous Swiss punk rock group LiLiPUT (Kleenex) do check out DADFAG at the Epicenter Cafe this Friday the 5th with The Whines and Baths, fresh off their Noise Pop appearance.

Saturday night, deep in the Mission, the awesomely ostentatious Meat Sluts will be headlining a show. Head out to El Rio around 9 to jam out with yo…. get gritty with these rocking ladies.

Of course, if punk rock is not your flavor, you could also check out Adam Stephens, from the impressively talented folk duo Two Gallants, this Thursday at Bottom of the Hill. Otherwise, on Friday you could wander up to Kimo’s and check out indie rockers Evacuee with the ambient psych-ish rock of The Blue Eyed Souls and out of towners Tropical Depression.

Lots of good shows this weekend so, if you’re not still spent from Noise Pop, get out and see some local music… and don’t forget to check back next for another round of highlights and recommendations.

–Ada Lann

With the last of this weeks free happy hour show starting much later than advertised, That Ghost took the stage with the most blasé of attitudes. From the Kinks’ tradition of pre-psychedelic 60s garage rock, though minus their raw energy, That Ghost doled out their songs like it was punishment. Their front man, seemingly unable to match the key, stood nonchalantly moaning the songs while chewing gum. He couldn’t have seemed less interested in his own music. On the other side of the stage there was another guitarist who didn’t seem to be contributing anything to the overall sound. He appeared to be playing but I couldn’t hear it. To their credit their bassist was very talented and held together a strong backbone for their songs. Inject some life into their members and I may be back to check them out.

Following That Ghost The Baths took to the stage, with a front man sporting his best Ringo Starr handle bar mustache, and continued with the theme of 60s garage rock. Fairly conventional sounding they were enjoyable but nothing terribly innovative.

Heading downtown to the Mezzanine, a place I would normally avoid like the bubonic plague for fear of catching an Ed Hardy disease, I geared up for the dance party to come. First up were the cute and quirky band My First Earthquake. With an air of 50s girl pop sans lyrics about “be my baby” and more about tits and wet dreams, filtered through 80s synth rock like The Cars, My First Earthquake did nerd rockers of the world proud. They were as if a group of theatre kids from your high school formed a band to endear their way into your ears.

Sugar and Gold followed and really hammed it up for the crowd. Imploring his best Prince performance (right down to his diminutive stature) their front man strutted around stage licking his guitar and shaking his ass for a dedicated crowd. I’ve never been much of a fan of their disco-revival sound but it certainly was a show to watch. The music is catchy and serves as a perfect background for a dance party, but as far as depth there isn’t much to it.

After several months as recluses, Maus Haus are back and could not have sounded better. Playing tracks from their debut album and a few from their forthcoming 7-inch (available for download on Tuesday), and weaving together their fascinating and intricate sound. Hearing the new tracks was quite exciting and I wait with great anticipation to give them an in depth listen latter on. Additionally, as a performance it was quite nice to see Josh, one of their front man, really come out of his performance shell getting into the groove and almost rapping one of my favorite songs of their initial album “Reaction.”

!!! closed the evening, laying down their fantastic groove, to a thoroughly devoted crowd. Truly living up to their reputation of assaulting your hips with their rhythm and groove, !!! put out as much energy as they demanded from the crowd. Though I would greatly loved to hear a few tracks from Louden Up Now, I can understand why they would choose not to play them. The downside to writing directly political tracks somewhat dates them. It’s hard to tell a different President, that you may or may not support, to “suck your dick” with the same meaning behind it. All that aside, they certainly did their job energizing the crowd, so much so that during their encore the stage was bum rushed by overly zealous dancers who were swiftly shut down by the bouncers. It was wild to see.

Nearing its end, I head out to my final Noise Pop show tonight, Edward Sharpe and the Magnetic Zeros at Bimbo’s.

 

–Words and Photos by Ada Lann

Midway through the Noise Pop Happy Hour set on Friday, Seth a.k.a Hunx took a second to connect with the audience at Bender’s. "Are you guys having a good time? Yeah? You just came here cuz its free huh? Thats cool, I wouldn’t pay for this shit either."

The funny thing is, with over the top outfits, catchy retro 2 1/2 minute songs and tons of confetti, who wouldn’t pay to see this show? Watching a Hunx and his Punx show is like watching a live action John Waters film that features only the musical numbers. Its highly sexualized, its campy and its meant to either shock or entertain [often times both]. The set consisted of mainly songs from their latest release Gay Singles and included a few new songs towards the end. Hunx’s Punx were dressed as grannies while Hunx himself was dressed in spandex, a frilly shirt and a studded chest harness. While this current project is a slight shift from Seth’s last band Gravy Train!!!, the dancability of the songs remains and there were several times when it was difficult to take photos because all I really wanted to be doing was dance.

After a long week of several 12, 13, 14+ hour days, the energy of this show helped to keep me going on a Friday night. If ever you hear that Hunx and his Punx are playing remember that they’re worth the money and if you find yourself bored at the show, check your pulse becasue you’re probably dead.

-Nicole Leigh
words and photo

Bolting out the door once again, and heading right out to Benders as the work week ended, I arrived for my third consecutive day of Happy Hour shows (slash fuel up on beer and food music session) this time hosted by our good friends over at the Bay Bridged. Well put together on their part, The Bay Bridged had arranged the Happy Hour show I was most anticipating with a strong line up featuring Hunx and his Punx, Spencey Dude and the Doodles, and Weekend. Sadly, as I would be compelled to leave and skip across town to my next destination, the only band whose set I had enough time to check out was Weekend.

Taking the stage, Weekend started off a bit reserved and trepidatious about their sound as they were unable to use their own amps. Ultimately, that fact was irrelevant and they gained more confidence as their set progressed, but at the beginning they seemed to be holding back. Mustering up some great shrill guitar backed by hard-hitting and up-tempo drumming Weekend filled every empty crevice of the venue with sound. Best as I can say, if My Bloody Valentine went punk rock you’d get Weekend.

Scuttling across town, I headed over to The Independent for my Friday night respite from all things Indie Rock and settled in for an evening of electronic flavor. First up were the duo NewVillager. Mixing both synthesizers and live instruments NewVillager, played for something of a sparse crowd, that had yet to fully flush out to the sold out statues the venue had promised. If you took Prince’s falsetto and epic lyrical style subtracted the guitar shredding and added electronic beats then surely you’d have the recipe for their sound. Continuing with the food analogy, NewVillager were a lovely down-tempo appetizer for the bands to come.

Taking something from the Fiery Furnaces circa Biter Tea (only less experimental, to use that poisoned word) Rainbow Arabia, up from LA, took the stage second to a more densely crowd populated, peppered with several hardcore fans. Much like the band before, Rainbow Arabia implored a mix of live instruments and synths to create their fairly unique sound. Tiffany Preston could easily be compared to Eleanor Friedberger of the Fiery Furnaces, who in turn has been compared to Pattie Smith in her presence as a front woman. Prancing around the stage, sometimes with a hyper sense of sexual tension, Preston’s performance was a joy to watch.

The first of the two British electronic musicians to take the stage, Nathan Fake prepped the crowd’s electronic pallet for the evening. Pairing glitchy electronic sounds with dance beats, Nathan Fake set down the path of electronic music that interests me. I can get bored with the merciless mundane thudding that many electronic musicians are want to do, but this wasn’t the case with Nathan Fake. His arrangements were intricate and complex and I must admit I caught myself sheepishly dancing along to them at several times. Of course I’d be remiss not to point out that if this electronic road is one you like to journey down on a regular basis do check out these local artists at your next convenient opportunity: The Luxury Tax and Business 80.

Nestled up in the Independent’s balcony area, far from the fully fleshed out crowd and amidst clouds of something very skunky smelling that had gathered in the rafters from said crowd, I found myself a nice perch to listen to Four Tet. I’ve always found his brand of electronic music to be much more cerebral than dancy so I spaced out (perhaps with a contact high) and explored the music as he spent the next hour or so arranging and composing his intricate soundscape. With the faintest of touches he delicately placed his fastidiously mixed sounds together for a beautifully sounding, near seamless set. It was quite the show to be a part of.

Past the halfway point now through this year’s Noise Pop, I wait with baited breath for the last of the Bender’s Happy Hour shows tonight followed by personal favorites Maus Haus and !!! at the Mezzanine.

 

–Words and Photos by Ada Lann

Love Is Chemicals as a band name is something I, well, love. The name is catchy, honest and even a bit dismal which is a pretty fair way to describe thier music.  Love is Chemicals play fairly basic, straight forward rock songs that are moody at times and have the occasional male/female voice harmony thrown in. The quartet headlined Wednesdays Noise Pop Happy Hour set at Bender’s. Their set consisted primarily of material from their 2008 release, Song of the Summer Death Brigade, the most impressive track of which is below for your listening pleasure.

 Our Darkest Days and Nights

-Nicole Leigh
words and photo

Friday, February 19, 2010
The first thing I noticed when Montana Slim String Band took the stage was the imposing statue of their rhythm guitar player. At well over six feet tall, Jesse is impossible to ignore, until the music starts. The only thing bigger then Jesse is MSSB’s sound. Their sound immediately filled the room at the Freight & Salvage in Berkeley and put a death grip on your senses. The band began playing with no discussion and Brent quickly focused attention on his nimble fingers tearing up the fretboard on his mandolin while Dave, and his bass called Trumptet, held down the bottom end with spot on timing. Dave breaks out his bow on one occasion to provide an eerie, haunting sound. Most of the band shares vocal duties, blending subtle harmonies into a full-bodied sound that fills out their music and consumes the audience. I was initially skeptical when I first saw Turi setting up the effects peddles for her fiddle, but she, and the rest of the band, use them judiciously to ad a depth to their sound that gives them a refined, modern edge. Their style of music most certainly falls into the Newgrass or Jamgrass territory, but with Brent’s smoking mandolin and Sean’s unearthly flat-pickin’ breaks, they pay due homage to the masters. When I heard Sean’s first break I expected to see smoking frets, but his calm stage presence and smooth, relaxed pick hand belies his intricate melodies and break neck speed. His use of the entire fret board makes me think that there’s a rocker somewhere inside that wants to get out, but just can’t overcome the bluegrass.

The band also managed to provide a musical marathon, blending one song into another, lulling you into a sense of contentment that makes you forget that you’ve been listening for over ten minutes. They kept the audience connected with their honest lyrics that provide a vehicle for the band to display their emotional connection to the music. Their extended jams were highlighted by Brent and Turi’s instruments occasional back and forth arguments. Though, neither mandolin or fiddle were ever able to claim dominance, they did manage to push each other to greater levels of virtuosity.

The most difficult thing about seeing Montana Slim String Band is catching them in town. In Jesse’s words they tour, “pretty much all the time”, but they are more than worth the effort. They put on a show that will be sure to get you toes tappin’ and you neighbors dancin’; even at a seated venue like the Freight. To take some of their music home you can find their LP Slim Pickin’s at either iTunes or CDBaby and they will be back in town for a major show at the Independent in San Francisco on March 25th. These guys are sure to deliver.

-Jonathon Miller

At the second night of free Happy Hour shows, things seemed a little less organized. Perhaps my mind was still paying its indulgences for the previous evening’s sins but things seemed to be moving slow and unguided. Be that as it may I sat and watched what little I could whilst fueling up on beer and greasy food before heading out to my next stop, Bottom of the Hill.

Shark Toys were first to take the stage and set the bar real low. Perhaps this may be garish of me but there is a certain gravitas and arrogance (or toughness to put it plainly) I expect from music that peaks my interest. The muted and introverted nerd-aesthetic of bands like the Moldy Peaches really has a hard time impressing me. Yet another indie kid, at one time unpopular in high school, whining about on stage and the world keeps turning. It may well be that it could work, but lesson to those who choose this musical direction, diversify your sound! Twenty minutes of a clean guitar being banged, supported by a faint keyboard track (whose volume in the mix may well mirror the shy stage presence of its performer) rarely maintains attention for more than a few moments. We get it, you’re expressing yourself, and we move on.

After a bit of delay, Social Studies followed. I had been under the impression they were last, and I would be totally missing them, but it seems that wasn’t the case. Sadly, having to make my next appointment, I wasn’t able to stick around and listen long enough to formulate an opinion but I can report they played.

At Bottom of the Hill throw back seemed to be, for the most part, the name of the game. I am well aware that within the parameters of the twenty year decade resurgence rule, that as in the last decade the 80s made their return, the next will certainly see the 90s having it’s heyday once again (you can already see the rise in flannel). Within that context it’s no surprise that we will be seeing bands bringing back some of the musical styles of that decade, and for the most part last night the 90s where very much present.

While it may seem most logical in this context to hearken back to the better parts of 90s music (of which there weren’t many) openers Trophy Fire saw it fit to recall that desolate post-post-post-godit’sgettingridiculousatthispoint-post-grunge wasteland of the late 90s early 00s when we were all sitting around praying for something new to come along. They sounded as though they could have been contemporaries of bands like Fuel or Three Doors Down, and though not as horrendous as either, you get what I’m grasping at.

Picture Atlantic came on second and certainly did not deviate from this general them. Oscillating between a hooky pop sound and a very enthusiastically heavy rock, that at more than one time recalled the Red Hot Chili Peepers (another band low on my list), Picture Atlantic power-popped to a devoted crowed, a few whom I surprisingly spotted singing along. My preference towards their style aside, they were certainly entertaining to watch practically falling all over each other as they leaped around the stage… all that is for the drummer who played contrastingly reserved.

After another cigarette and another beer, the reason I actually came to this show took the stage, Stomacher. I’ve been catching mummers of them for weeks now, and after being sold by the recording of their song "Police," I was determined to check them out. They certainly did not disappoint. Capturing some essence of bands like Muse (only more interesting), Stomacher delivered a high energy set. With a driving rhythm section that barrels the song down on you like an oncoming train and a creative use of digital loops, they certainly stole the evening. Ending their set with an intense drum solo (a really hard task to not make overly cheesy) battling against a wash of loops added the final touches to an already impressive dish. I’ll say it now, keep an eye on them! If they’re not on a rising track, there’s something wrong with all of us.

Playing their reunion show Far took the stage last to a surprisingly enthusiastic crowd. Once again returning to that late 90s style (though being from that period it is of no surprise that is how they played), Far played their brand of hard alterna-rock to a crowd that knew all the words. After fighting through the crowd for a bit to attempt snapping a few pictures (more than once getting threatening looks from thick necked meat-heads who could not quite grasp my role as a member of the press) I decided that I had seen enough sacrifice to the alter of rock gods and made my exit a bit early. To all who were worried, surely with such devotion paid the harvest would be good, but by then I was tired of having guitars shredded and microphones shoved in my face for lyrics I didn’t know.

With another night down, I look forward to tonight as the festivities continue with Four Tet and Weekend opening another Bender’s Happy Hour. Be there or be square (so they say).

 

–Words and Photos by Ada Lann

As I’ve stated already, the free happy hour shows at Benders this week are nothing to shake a stick at. Looking at the line ups, there are several great bands playing, though sadly with such little time to actually see them. In the hopes of capturing some of the music, it was with that rest-be-damned ethos that I set out after an 8 hour work day to catch the early Happy Hour show, with the promise of some quality punk rock later in my evening.

Mist and Mast were the first band at the happy hour show I found myself at when the clock hit five. I have gone, and will likely still go, back and forth on Mist and Mast’s sound. Having heard their recordings, there is very little space in my life for the conventional, tired indie rock style that doesn’t grasp at even a few straws outside the middle of the road. That may be my selfish desire to be assaulted by sound, but for indie rock perhaps  I can be overly critical. Regardless I was impressed with Mist and Mast’s performance. They are accomplished musicians and with their performance they pushed at some barriers of dissonance that I would have loved to see them break further, so for that they garner some credential. If nothing else, they were a perfect band to prep the pallet for what was to come.

Taking the tone in a radically different direction (a theme for these noise pop shows) The Ian Fayes followed, performing a sincerely sweet pop set. With Coco Rosie backed by a drum machine as likely the easiest comparison, and infused with some form of tender sadness, their saccharine and delicate pop sounds were certainly something to call home about. Of course with my preference towards dissonance, I would like to say their sound is the exception to the rule, though such as that is irrelevant; their sweetness impressed.

Sadly I missed Love is Chemicals, but I had a grittier calling awaiting me.

Moving on to the Cafe du Nord with great anticipation for Harlem, I arrived early enough to be rewarded with a wonderful surprise – The Young Prisms. As best as I can describe it they inhabit some space between Asobi Seksu (especially with the female vocals) and My Bloody Valentine. Their swirling and cavernous soundscape, though at times slightly unsteady, was a pleasure to be smothered with.

Slowing the evening down momentarily were crowd favorites The Sandwitches. Inhabiting a similar space as the Ian Fayes, I was for the most part underwhelmed by their set. The sound was precise and their tone certainly much more dower than The Ian Fayes, generally a strong selling point, but by the end I was left with something to be desired. Maybe I was just antsy to get on to Harlem.

Best Coast followed, reeving the crowd back up with their harder indie rock. Again, certainly not an unaccomplished band but as with Mist and Mast earlier, the generic indie rock style is not a very strong selling point. They were enjoyable, and they certainly brought the energy back up, but as far as breaking any interesting new ground, they did not. Again, perhaps I’m a bit too picky but what can I say, I look for a challenge.

Something of a fury hit the stage as Harlem rounded out the evening with a performance that was everything it promised to be. They were loud, obnoxious, and confrontational in all the right ways. There is certainly nothing down low about their sound. Seeing their wild antics and hearing their slamming punk songs can’t help but conjure up the spirit of The Replacements. Bopping around on stage screaming at the microphone, each other, the audience, their empty beers, and whatever else the room had available, they unleashed their set with all the insanity you could ask for.

All in all, a good night in music. Tonight, another Benders happy hour and Stomacher playing at Bottom of the Hill.  For now enjoy this ridiculous robot.

-Words and Photos Ada Lann

A magic bullet is often described as an instant solution or cure for what ails you. As I found out last week, San Francisco’s Magic Bullets are just that.

Thursday, for even the most optimistic person, was a bad day. I woke up late for work, literally on the wrong side of the bed (I have the bump on my head to prove it), and tried to quickly make myself look human before I ran out the door. As I got ready to mount my bike and get on my way, I looked down and realized I had stepped in a fresh doggie present. Work presented me with an alarmingly full inbox, a coffee stain on a white blouse, bad news from a friend and another alarmingly full inbox upon leaving. Needless to say, as I pushed myself up Divisadero towards the Independent, I felt defeated. I walked in, ordered a shot of whiskey turned towards the stage and all of a sudden couldn’t help smiling.

The Magic Bullets look so painlessly cool you immediately want to be them, or at the very least around them in hopes some will rub off. Most importantly they all seem to be extremely content on stage. In 2009’s Holiday Issue of SOMA, guitarist Corey Cunningham says, “We have such a good time together that the music almost seems secondary.” And you can tell. Their enthusiasm radiates through their performance and it’s hard not to catch some.

Don’t get me wrong, there’s isn’t pop music so sugary it makes your teeth hurt. There is substance to their whimsical tunes laced with an underlying darkness. One would be hard pressed not to make a Smith’s reference here, however they have taken Moz’s signature angst and replaced it with something much more hopeful. feels much like finally seeing the light after being stuck in dark times. “You’ll make fine mistakes, you’ll make mistakes fine,” singer Phillip Benson declares. Lives For Romance The Magic Bullets have seemingly discovered a way to let us know everything will turn out ok. Some people say there is no such thing as a quick fix, however now I beg to differ.

-Alexandra Scioli

While of course the main event this weekend will be the numerous Noise Pop programs around the city, for those not excited about the expense or large crowds (and for our part to lend voice to some likely overshadowed gigs) here are the Deli SF’s picks for some under-reported shows this coming weekend.

Out in the back corner of the Mission, far from all things Noise Pop, at the El Rio you’ll find The Dashing Suns playing a grittier Kinks-style 60s pop sound with out of staters Yellow Suns.

If you’ve got nothing to do this Friday then you have no excuse for missing one of the Bay Area’s finest bands, the Wooden Shjips playing with Sleepy Sun at The New Parish in Oakland, 8pm.

Continuing the theme of punked out 60s pop, on Saturday should you find yourself wandering around the Tender-Nob area, pop in to Hemlock to catch the garage/surf/punk sounds of Shannon and the Clams with The Pharmacy and The Rantouls somewhere around 9:30.

Of course while trying to highlight mostly non-Noise Pop Shows here, we’d be remiss not to also mention the great consecutive days of FREE happy hour shows at Benders. Featuring a some great local talent including Love is Chemicals, Social Studies, Weekend, and That Ghost these shows, while likely packed to the rafters, should be your first stop after work this week. You can find more info about these shows here.

That’s all for this week. Check back next week for our suggestions and, if your in a band keep us updated on your schedule and you may be featured here.

 

-Ada Lann

For some artists, their time in the studio can be a working environment that is rather personal and closed off, not for the public. For those of us on the outside of the event, it can seem like a mysterious and secret process that piques the curiosity of those that appreciate a persons ability to communicate through song.  That’s why when Chloe Roth of Chloe Makes Music contacted The Deli to see if we’d like to sit in on a recording session at Studio SQ we jumped at the chance. Who wouldn’t want to observe and listen like a fly on the wall in the moment that an artist puts their creative expressions into a fixed medium?

Twice a month, the readers of The Deli SF vote for their favorite nominated artist of the month. These artists not only rewarded with a banner on the site but also with free studio time from the poll’s sponsor Studio SQ. As a musician trying to make it in the second most expensive city in the US, free studio time is a very good thing. Back in the second half of October 2009, Chloe Makes Music was chosen by the Deli readers as the Artist of The Month and this was the first time that anyone at the Deli was able to see the poll process come full circle.

We visited Chloe in the studio on day 5 of a 6 day recording marathon as she laid tracks with producer Chris Chu [vocalist for The Morning Benders] for her upcoming debut LP. Studio SQ has a nice warm welcoming feel. You’re greeted by a friendly brindle boxer the door who naps on the couch when shes not monitoring the activity around and the studio itself is large and open and filled with a lot of wood which gives it that comfortable, home-y feel. It’s almost hard to believe that such an intimate place can exist in what is a primarily industrial part of the city.

Chloe is recording backing vocals for the current track that they’re working on, "The Puppeteer," and Chris is preparing to sit at the piano for the next segment of the recording. Chloe explains, "I want it to sound like there are puppets singing" – an appropriate request for a song about a person that manipulates marionettes. Chloe was concerned that I might be bored but I wasn’t, not even the slightest bit. Boring is watching me sit in my small studio apartment trying to create sentences to describe what had taken place. Mostly, I was intrigued by what sounded to be an almost complete track with some lovely haunting harmonies.

As the afternoon begins to wind down, Chloe and Chris discuss which elements are left to record and begin to coordinate their final day in the studio. I decide to take this as my cue to slip out and allow the creative flow to be uninterrupted. I say a quick goodbye and quietly leave. Outside, the sun is almost gone and I realize that there is a catchy melody of puppets still singing in my head.

The Deli SF would like to thank both Chloe Makes Music and Studio SQ for allowing this unique opportunity and we look forward to hearing the finished product!

-Nicole Leigh

While the rest of San Francisco gears up for Noise Pop next week, this weekend it seems that the Bay Area’s psychedelic roots have decided to pop up in force for various performances around the city.

Tomorrow night the 17th the fantastic noisy garage-psyche band White Cloud will be sharing the stage with the more folk-y Ash Reiter and TV Mike and the Scarecrows at the Rickshaw stop. That show incidentally is Ash Reiter’s CD release party as well.

Friday night the 19th at Bottom of the Hill Here Come the Saviors will be performing their shoe-gaze inspired psychedelia with Boy in the Bubble at 9pm. For a more traditionalist approach to psychedelic rock Friday night, head across town for The Love Dimension performing with The Parties, The Polymers, and Augustus at Kimo’s.

If you’re in the East Bay with a hankering for traditional 60s inspired psyche, Teenage Sweater, The Buttercream Gang, The Helen Kelers, and Samvega will be playing across the water at The Stork Club around 8pm also on Friday.

That’s all for this week. Be sure to keep updating the calender and check back for next week’s recommendations.

 

-Ada Lann