We’re pretty stoked that after 3 years away, Jello Biafra and the Guantanamo School of Medicine are coming back to Santa Rosa’s Arlene Francis Center, appearing April 4. In the last year, the punk icon/outspoken artist and his band released their second LP, White People and the Damage Done, and the former Dead Kennedys front man has been getting punks into mosh pits around the world, from Coachella Festival appearances to tours in Australia and Europe. Now, Biafra returns with the help of Pins of Light, We Are the Men, and local favorite Jack Attack in reportedly his final performance ever. Absolutely not to be missed, tickets for the April 4 all ages show go on sale March 1. $15.
Last night’s show at the Arlene Francis Center in Santa Rosa was a revelation. I thought punk was dead; turns out it’s alive, but it lives in Oakland and Mexico City.
On the hottest day of the year (103 degrees, for fuck’s sake), a bunch of punk bands and fans crowded into the even hotter Arlene Francis Center to “dance” to fast, loud rock and roll music. Dancing, of course, is subjective. Nobody complained about the heat, but shirts were removed (and, at times, pants). Some bands didn’t show up, some unscheduled bands did, almost everyone shared the same drum set all night (which, since I was running sound, I was fully on board with). Turns out most of the bands were from Oakland, and two were from Mexico City. So that’s where all the rock and roll was hiding.
Burger Records’ Pookie and the Poodlez started off in the café, with the underwear-clad front man screeching into a yellow telephone receiver living a second life as a microphone. This is the ‘60s, semi-surf punk craze all the kids are into now, with the grit and simplicity of the Ramones combined with the poppy harmonies of the Monkees. That front man was in four bands of the evening, including Elvis Christ, Cumstain and Primitive Hearts, covering vocals, guitar and drumming duties.
In Cumstain, the singer and drummer donned stockings over their heads, as if they were about to burglarize the crowd. The only thing they stole, however, was the show, as the crowd threw possibly half-full cans of Pabst at the stage in appreciation. Crazy antics and wearing a stocking on your head in 100-degree heat playing fast punk rock under stage lights for half an hour will do that.
And now for something completely different, in every sense of the word. We Are the Men took the stage next. This super-talented group of Bay Area natives played unclassifiable rock, possibly in the vein of Dillinger Escape Plan or Triclops, but with a hearty helping of what-the-fuck-is-this-music on the side. Lots of screaming, lots of dynamic and style changes mid-song, lots of catchy-as-fuck hooks that disappeared as quickly and mysteriously as they appeared. I liked them, I think. Judging by faces in the crowd, it seems like many had a similar opinion. I think.
Elvis Christ was led by a standup comedian in training, who yakked about half the time, and took a Pabst to the nuts for his troubles. All in good fun, because he was actually somewhat amusing, and the doo-wop punk rock was delightful.
Los Headaches, from Mexico City, came on at midnight after waiting the whole day for their 15 minutes, literally, of “fame.” Even at this late hour, there were a few stragglers still watching and dancing. The next band, which featured the same members plus one crazy ass motherfucker of a singer, played for 20 minutes immediately after.
I didn’t catch their name, they weren’t on the official flyer It’s Los Vincent Black Shadows – Thanks Sam). Holy shit. At 12:15am, this band pulled in a larger crowd just two songs into their set. The energy gave the crowd a second wind and stage diving, knocking over of instruments, heavy moshing (not that circle pit bullshit) took place. Their songs were in English (as far as I could tell, at least–he was yelling most of the time, sometimes with a microphone literally in his mouth), but it didn’t matter because punk rock transcends language. During one song, the singer repeatedly bashed his guitar, neck down, into the ground, then threw it across the stage and ran after it, like it had just stolen his wallet, and stomped on it to teach it a lesson. The guitar did not break.
Santa Rosa’s music scene is vastly differently from other parts of the Bay Area, as evidenced by this show comprised of bands from outside the area. Kudos to Jake Ward for organizing the show, which also had a barbecue and awesome looking stage. Here’s to more traveling bands coming to one of the few venues in greater Sonoma County supporting music as more than just a moneymaker.
Les Claypool’s soft spot for fishermen extends beyond his 1991 ballad “John the Fisherman,” an epic tale of oceanic adventure from “Sailing the Seas of Cheese.” The Primus frontman is playing a benefit concert with his Duo de Twang at Lagunitas Mini Amphitheater Tuesday, June 25.
It’s a treat to see Claypool in such a small venue, and Lagunitas is a great place to see a band. Good beer, good food and an inviting atmosphere make for a memorable experience. And this time, it’s for a good cause. On March 1, local fisherman Ted Frank’s 36-foot boat, Yardbird, sank in 60 feet of water just outside Bodega Bay. He had let his insurance lapse because of recent hardships, and was left with a huge salvage bill, a totaled ship and no way to earn a living. It’s hard enough to make money as a commercial fisherman, but setbacks like this make it almost impossible.
That’s where Claypool comes in. He’ll be slappin’ da bass (a dobro bass, at that) at 5:45pm, with dinner beginning at 4:20pm. Bad Catahoula is also playing, as well as other musical guests. Tickets are $50 for the concert or $75 for dinner and concert. Lagunitas is located at 1280 N. McDowell Blvd, Petaluma.
This video is great. First of all… Larry Lalonde has purple hair. Secondly, dig that Mike Patton haircut on Les (or did Mike have a Les Claypool haircut?). And can you spot Metallica guitarist Kirk Hammett?
“Wow, this sounds a lot like Black Sabbath” was the first thought that popped into my head last night at the Fuzz show in San Francisco. “These long haired dudes kinda look like Black Sabbath, too,” I thought. “But that drummer isn’t hiding behind two bass drums and only has two cymbals. And there’s no singer. This is really, really great! I never liked Ozzy’s voice, and these guys sound like a way bigger band than just a three-piece.” But all these great conversation starters were wasted on my own mind, however, because Ty Segall’s latest musical venture was so damn loud nobody in the Knockout would have heard a stampede of elephants running down Mission Street.
Despite what it sounded like, there was only one guitarist, Charles Moothart. Segall is really the one known for cranking out the rockingest rock with his incredible his guitar tones, but here he’s on drums. More on that later. Moothart’s appropriately fuzzy guitar was fat, so fat, in fact, that it shook my ribcage. Maybe it was a warning, like by body was saying, This Is Almost Too Much Rock, Be Careful. His solos were tasty, like hot jam dripping off a shortbread biscuit tasty. And then there was the hair–so much hair, it was everywhere.
Now Segall, who is a guitarist in something like three other bands, might be on the hook for battery if those drums decide to press charges. He beat them like they owed him money, like they insulted his mother, like they keyed his 1967 Mustang. His ferocity did not dimish the speed of the band’s last song, which kept a blistering pace for four times longer than most punk songs. Not only this, but he sang for some of the songs, most of which were new and will probably have lyrics soon.
The crowd at this Noisepop show may have been a little too hip for its own good. The feeling on the tiny dance floor was that familiar precipice of moshing, where either age, vanity or self consciousness kept people from truly smashing into each other like idiots. Instead, a couple of buzzed dudes in gingham shirts sort of pushed each other around a little, eliciting nervous smiles from the wary crowd around them. In a different setting, this would be the ultimate circle pit band.
Co-headling was OGB III, who took the stage after Fuzz. This band was delicious, filled with ooey-gooey cheese and mushy, fatty pork. Slathered in curtido and spicy salsa, they were too hot at first, but soon went down smooth with a cold Mexican beer. No, wait, that was the pupusas at Los Panchos. No offense to OGB III, but nothing was going to top what we had just seen and heard, and we wanted to leave on the highest note possible.
On a side note, local group Blasted Canyons opened, and were pissed off the whole time about, among other things, their monitor mix. Their playing reflected this attitude it in a bad way. But on the plus side, they did have an Oberheim synthesizer, which is high on the list of things that make really cool sounds. The Knockout is a great bar, with plenty of character and a decent dance floor and stage. It’s too loud and really small, which usually makes every show better. This night was no exception.
The year is 2043, America has split into two countries, Chinese is the most-spoken language on the planet and music is made almost entirely on computers. A grizzled old man sits next to the holographic Yule log fireplace steaming from Netflix 3D and beckons the children from their video game contact lenses to listen to his story.
Gather round here, kids, I have a story for you. It takes place in a time before holograms were commonplace, when we had to use our own hands and feet to drive our cars, when there only one United States of America and one man sought to bring us together before this country was torn apart. That man’s name was Snoop Dogg.
Now, this man was a musician, and of course his real name wasn’t Snoop. He wasn’t really a dog, either. He had a simple message: smoke as much weed as you possibly can and have a good time. He spoke through the language of hip-hop, and his quest began 60 years ago when he made an album–that’s uh, it’s like a whole bunch of songs in one, uh, CD, which is like a disc with music, oh never mind–called Doggystyle, which was a pun on his name by referencing, well, you’ll find that out later when you grow up. But the point is it was clever. He used clever rhymes and catchy beats and hooks to become a superstar in the music world, and his primary message later in his career became about smoking weed and having a good time, back when it was illegal.
The San Francisco Symphony’s opening night performance at Sonoma State University’s Green Music Center was beautiful and exciting. Each player in the symphony is fantastic individually, and together under the baton of the rockstar of the classical world, Michael Tilson Thomas, the orchestra elucidated every ounce emotion in the evening’s music program. Weill Hall, the acoustic gem and main hall of the GMC, plays gorgeously to this. The premier acoustic space seems to widen the ear canal, allowing for more sound to be heard at once than ever thought possible. The pieces on this night showcased this clarity.
Richard Strauss’ Till Eulenspiegel’s Merry Pranks (Op.28) begins with a sneaky little theme, proceeding to take the listener through all sorts of jollity but always with the sense of danger right around the corner. After all, a little mischief never hurt anyone, just don’t get caught. The clarinetist in this piece has a challenge, playing extremely high notes, the highest the instrument can make. I ran into a much loved SSU music professor during intermission, and he suggested this piece was specifically chosen for tonight to showcase the acoustics of the hall. I couldn’t agree more. The fast runs in the higher registers translated not into harsh overtones, but velvety notes that were easily followable in the clarity of the space. When the merry prankster does get caught (and executed), the low bass and drum notes were ferocious, vibrating my loose pant legs (or was that just my legs trembling from the tremendous magnitude of unamplified sound?)
The only sound that hasn’t made me gush so far in this hall is the low mid frequency. It can sound a bit muddled, especially with piano. On opening night with superstar Lang Lang at piano, his dexterous Mozart performance was lost a bit in this register, and parts of the SF Symphony performance were not as sonically brilliant in this area during faster sections. It sounds as though this frequency takes longer to develop than others in the hall. But really, this is splitting hairs. It’s not a problem so much as an observation.
Yefim Bronfman’s playing on Beethoven’s 5th piano concerto (Emperor) was superb. It was not flashy or self-indulgent but more bold and heroic like the piece itself. Though it did not have the passion one would imagine of Beethoven himself pounding the ivory keys, demanding more from his instrument than ever thought possible, it was not lacking for emotion, either. Whether it was just my ears or the players adjusting to the space, during the first five minutes it felt like the piano was just a hair too soft. But soon after, everything settled in. From then on it was pure ecstasy, like listening to a fabulous recording on the best audio system, but it was real, and it was happening right in front of us. I was reminded of this when, during a quiet moment just before the piano flourish at the end of the final movement, a cell phone, ironically with the “piano” ringtone, went off somewhere in the building. This only made enhanced the experience for me with its reminder that it was taking place in reality.
Also performed this evening was “Pandora,” which the SF Symphony had just performed for the first time the night before. This 20-minute piece for strings written by SF Symphony assistant concertmaster and violinist Mark Volkert in 2010 again showcased the heavenly acoustics of the main hall with several solos and double basses playing extended low notes, vibrating the floor in some cases. It is a 21st century work, to be sure, but it is more accessible than some newer pieces. It’s a story piece with a concrete narrative following the Greek myth of Pandora, and can be followed without too much confusion and with beautiful imagery. Volkert was in the audience and came up from his seat to shake hands with MTT after the piece. Both looked quite pleased with the result.
The sad truth of a generation hooked on mp3s is they will rarely experience a full acoustic experience in music. Earbuds are a terrible listening device, reproducing, at best, about two-thirds of the human hearing spectrum. The best mp3 is 25 percent of the data of a full recording compressed into the middle of the frequency spectrum where our ears are tuned to listen more easily. Without getting too technical, let’s just say the sound is flat and lifeless. The main hall at Sonoma State’s Green Music Center is the anti-mp3. It is pure sonic expression, giving music a forum to be heard as it was intended by its creator and perhaps even enhancing it through the warmth of the acoustic environment. Though their home, Davies’ Symphony Hall in San Francisco, is stunning in its own right, I wouldn’t be surprised if members of the SF Symphony prefer playing in Weill Hall. This was the first of four SF Symphony performances at the Green Music Center for its 2012-2013 season, and hopefully next season features even more.
(San Francisco) – A band of pirates on stilts tried to take over Treasure Island yesterday, but were blasted out instead by pounding drum n bass breaks from a wall of subwoofers.
This happened, of course, at the Treasure Island Music Festival, which took place on the decommissioned naval base in the middle of the San Francisco Bay. Two stages, a Ferris wheel, the silent disco, gourmet food trucks, cool merchandise and the ultimate people watching experience awaited those wise enough to attend day one of the two-day music fest.
The Coup had just started playing when I walked through the gate. Since this was the “electronic” day, hearing a big, funky, rock-heavy hip hop group from Oakland was a welcome surprise. I’m not a huge fan of DJ music–I was there to see Public Enemy–so this was a good sign. I was surprised I hadn’t heard of the Coup before, but they were on the top of their game for this show. Style, swagger and porkchop side burns lifted from the 70s. The kickass riffs and drum solos reminded me of Rage Against the Machine, but the Coup had more of a soul vibe at times.
Grimes was next, and their three-girl electro-pop sound gained momentum halfway through the set. By the end it felt like I was in a Visa commercial with so much pounding synth bass and young people in ridiculous clothing jumping around. It was the best Visa commercial ever. The enthusiasm for Grimes was electric, with some of the most passionate fans at the festival dancing their neon spandex-covered asses off.
Seemingly correlated, it twists the mind around trying to decipher the meaning. On the surface, it seems to work. The sound of it is somewhat familiar, yet unusual enough at the same time to remember distinctly. Listen enough and it will create a wonder aural illusion, like a Magic Eye stereogram for the ears. “Oh, it’s a sailboat!” This successfully describes both the term Heatwarmer and the sound of the Seattle-based jazz fusion band.
Led by vocalist and electric bass player Luke Bergman, the group also features a drummer, guitarist and not one, but two synthesizeristas, one who also plays the EWI (Electronic Wind Instrument) and one who can flip his hair and make it look perfect. Every. Single. Time. The songs are eclectic but very listenable, like a blend of Frank Zappa and Stevie Wonder. Well, not exactly, but sorta. Ya know?
No, you can’t know unless you listen to them. I’ll save the clever adjectives and music critic comparisons for something describable. For now, just enjoy:
Their new album is reportedly finished, awaiting the “final touches” as Bergman put it. They played only one song off their first album last night, “Weird Shower.” You know when a band plays there new stuff, and nobody is really into it because they just want to hear the songs they know and love already, even if the new stuff is even better? This did not happen to Heatwarmer. Jaws dropped, cheers were hollered and people danced. “What am I even seeing right now!?” was uttered more than once.
A review of a 2009 performance by Heatwarmer concluded with Gabe Meline waiting for the initial weirdness to settle down to determine if this was “good” or “bad,” and he rightfully concludes that if there’s even a moment of confusion to determine something that simple then it’s automatically in the “good” category.
The temporary roof collapsed over Radiohead’s stage in Toronto June 17, killing a member of the crew and injuring three others.
Radiohead’s drum tech Scott Johnson was pronounced dead on the scene when investigators were able to get to his body through the wreckage at 8pm. The stage had collapsed hours before, while fans were still lining up outside the gates.
“I want you to know, he’s not coming back.” So sings Thom Yorke on Radiohead’s “Knives Out,” a somber tune full of sadness on Amnesiac. The Flaming Lips dedicated the song to Johnson before playing it to a group of fans who had gathered at the Toronto concert the same day after the Radiohead show had been cancelled. “Peace be with their hearts tonight,” said Flaming Lips frontman Wayne Coyne.
Who is at fault, what happened and the ramifications of the accident are all yet to be determined, possibly mired in insurance investigations for years to come.
What makes a Stabat Mater so special? Is it the holy text? The seriousness with which composers undertake the task? Whatever it may be, the Santa Rosa Symphonic Chorus and Santa Rosa Chamber Orchestra plucked every string in both chambers of the heart this weekend with their rousing performance of Gioachino Rossini’s Stabat Mater at the Center for Spiritual Living in Santa Rosa.
Rossini’s version of the sacred text, which dates back to the 13th Century as a somber hymn about the Sorrows of Mary, is powerful in a very Rossini way. At first, it might be surprising to know Rossini even composed a Stabat Mater (it was to me, at least). But the Romantic composer known for wild operas like the Barber of Seville and William Tell (think The Lone Ranger theme) was known for memorable melodies and dramatic crescendos stayed true to the feeling of the piece.