Monday, December 29, 2008
Upon first listen, I was already blown away. The sounds and melodies are blended together beautifully and there is already more to each song than ever before. They feel bigger and bolder and stronger; Panda Bear said this was the best album Animal Collective have recorded, and I have to agree with him. It rivals all their past ones (and mostly certainly out does the mess of "Strawberry Jam").
My personal favorite on the album? "Summertime Clothes" would have to be chosen, but "Lion in a Coma" ("lion vs lying?" come on, they're just messing with us) has to be extremely close behind because it is incredible in it's break out moments and just all around.
To be played in enormous stadiums, dance parties, small clubs, or even just a gathering of fine high times with your friends...it really does feel like a universal piece. Epic.
Congratulations Animal Collective. This is amazing. On top of it all, your album cover is an optical illusion. Oh god that is sweet. Let's get summer tour dates going here.
To my dear readers: seriously, go buy it when it comes out though. If you're city is hosting a listening party, head to it, because it's about to be amazing and awesome. Bay kids: San Francisco has one! 21+ plus we have one nonetheless.
Animal Collective website
San Francisco listening party
First track on album - In The Flowers
Last track on album - Brothersport
For the full album!
The amazing Flaming Milk blog has the album up
Sunday, November 9, 2008
Last night the band Clues played Bennington College, where I am currently going to school. If you have not heard of Clues yet, you may want to know that it is the new project of ex Unicorns member Alden Penner and ex Arcade Fire member Brendan Reed. Get yer ass on this man, it's hot. Unicorns and Acrade Fire? Damn. In any case, it would seem they contacted my school and asked if they could play a show on their way through. The show was small, subdued; barely anyone showed despite strong buzz around the campus and whispers of the words "The Unicorns!" and "extra indie cred points, alright!".
And yet even with the small crowd and rare turnout, the show was amazing. Those of us who did come smushed up against the stage into a pile of dancing, richocheting, jirating joy. We cheered and yelled and even got them to come out for encore (an encore for 15 people! Wow).
Clues put an extremely good show. They are energetic, different, and into what they are doing. The whole band functions perfectly together like gears turning in motion. The show was danceable, full of frenzy and fun and there was an all around feeling of bonding between the band, crowd, music, school...everyone present felt it. For the encore, one of the Clues members passed me a tambourine and I played it for the whole song.
Clues currently has no album out, but two songs have been leaked. They played both of those as well as about 7 or 8 other songs. All sound different and epic, and I cannot wait for the album.
Rumors say the album should be appearing in winter '09 and that is to be called "Rad Boo Horror & The Glory". Any other info on the band is extremely sparse right now; the only website for them is their record company page, there is no wikipedia article, and even Pitchfork Media only seems to have two pieces of news on them (Oh God!). Just bear with Clues. They are going to do great things.
Leaked for your love:
Clues - Perfect Fit
Clues - Rad Boo Horror & The Glory
Pitchfork article on tour
Record label: Villa Villa Nola
Tuesday, August 26, 2008
For these reasons, this post is to persuade you to visit SFMOMA some time in the next mont and check out their latest photo exhibit, which has come straight from the Victoria & Albert museum in London. Fancy stuff, I tell you.
This exhibit has but a couple more weeks left but there is still time to catch the photography of one of the most important photographers of the 20th century, not to mention a woman photographer. In a world where even the business of artistic photography seems to rely on what men can produce, Lee Miller's photos are different, interesting, and a long awaited view from a woman's prospective. While many of the photos remain dark or candid, others are simple and depictive of every day life.
Most often described as a surrealist photographer, she was heavily influenced by Man Ray after meeting him. Miller doesn't forget where she came from though either: she modeled for years before being a photographer.
I loved this exhibit because it doesn't just leave out what got her to photography: it's the span of her life. It really is a personal glimpse at her and her work.
The collection is extensive and vast and definitley a must see to comprehend where photography is going and from where it has come.
Like the surreal and candid? It's for you. Just like photography in general? It's definitley for you.
The Art of Lee Miller
Click here for more info
Exhibiton runs till September 14th, 2008
More than 150 photos
I thought I would also take this moment to announce my moving to Vermont. Tonight, I am boarding a plane to head over there. While I will still be back in San Francisco for a good amount of the year, most of my blogging will be from over there and thus mostly reviewing of CDs or bands. Still, you can all count on Blaine and Anna to fill up all the happenings of the Bay, as both are still in residence here.
I will miss SF, but I will be back. Thank you for all the support so far!
Tuesday, August 5, 2008
The show got kicked off nicely with two openers: Mist & Mast, and the Dutchess (no typo) & the Duke.
Mist & Mast, a local band, have a widely varied sound in the sense that it's hard to tell what exactly their focus and future musical destinations are; their songs are strong compositionally, but so far there isn't a huge amount of continuity on the level of the overall body of work. From seemingly Nirvana-inspired croons to surf-rock-reminiscent riffs to walking-rhythm folk melodies, Mist & Mast's music is like a crazy agglomerate of everything rock-related that you've ever heard. The medley of genres doesn't quite show in their paltry selection of recordings on myspace, but it is beautifully organized - and it's up to the listener to decide whether they're trying to cover more bases than there are on the field, or whether they're doing a great job experimenting with the sounds that the past has laid out as influence on contemporary developments.
Seattle's the Dutchess & the Duke, on the other hand, are driven by one goal only: fast folk with few instruments and powerful harmony. With the duo on vocals and guitar and a third person on percussion (tambourine, maracas...), the D&D filled the space with rolling wanderer's ballad after rolling wanderer's ballad. The songs are full of contrast - big sound from few things, an up beat with lonely lyrics, the male-female harmony, and so on. While the tone of the music is more somber - the song 'Reservoir Park' sounds like 'House of the Rising Sun' played in double time - it did establish its folk origins, preparing the crowd for the main set by Fleet Foxes.
Fleet Foxes kicked off their set with 'Ragged Wood,' and the concert was filled with nearly every song from their eponymous album that was released earlier this year. Given the genre, it certainly wasn't a wild show, but the group gave their performance a very personal feel, responding even to oddly enthusiastic viewers' comments like "Nice capo!!" The stage was crowded with instruments and mics and people, which created a kind of living-room close ambiance that combined nicely with the cozy mountain feeling radiating from the music. From 'White Winter Hymnal' to 'He Doesn't Know Why,' the crowd was charmed by impeccable instrumental work and bassist Wargo's amazing harmonies. The show was peppered with anecdotes from the tour - people got sick in Europe; London reviewers made mocking remarks on their long hair and the youthful looks of the guy on ukulele (on the far right of the photo; couldn't find his name). All in all, the night transported everyone to a different world - simpler, more comfortable, and very down to earth and woodsy; it was a campfire world with the benefits of electricity, and well worth experiencing in any setting at all.Part II: Matmos
The Matmos show opened with a performance by the Baltimore-based Wobbly (John Leidecker). Operating several machines and accompanied by another person doing live visual effects that were created by sliding and crumpling various textured items under some sort of projection apparatus, Leidecker shows off his 10+ years of experience with his instrumental techniques by sending out gigantic waves of powerful noise, spontaneous repeating rhythms that seem to vanish as quickly as they appear, and tiny ear-taunting samples. The visual effects enhanced the sound by reflecting what the ear was experiencing in realtime: a soar in the quantity of abrasive noise would be partnered with rough-looking materials being crumpled or shaken, and rotating gentle patterns would be performed (no other word quite fits) when Leidecker played smoother sounds. The projection screen was damned riveting, but if the eye happened to stray, it would be sure to fall upon Leidecker's feet, tapping the machines' pedals under the table and behind a curtain of cords, and his head, bobbing and swaying with new sounds just as he generated them. Somehow the whole arrangement made me conjure up a strange phrase to describe it: "post-apocalyptic show-and-tell;" it was like having a non-voice from the future describe in detail everything that would exist if the world was bombed to wreckage, and you couldn't help but listen.
Matmos' performance began with the group wandering through the audience with little lasers. At first there was silence; then bleeps and scratches emerged; the music began to build and mix. How was it happening? A light-receptive module in the apparatus onstage would emit sound every time a laser hit it, and as the members of Matmos approached and the frequency of laser hits increased, the abrupt sounds became more continuous and metamorphosed into the music. Like Wobbly, Matmos was accompanied by visuals, but these came in the form of previous recordings. Some told a story with the music, such as that of Steve (was that his name?) who goes out to his (?) small backyard pool one sunny afternoon to masturbate. The first video, shown at left, was of a girl speaking slowly with her eyes covered by what may be halves of ping-pong balls. Others were just beautiful, like a grid of swelling black dots on a white background or a field of dots in a circle changing colors, swirling, and turning into spirals. Some noises were new, and others sounded familiar from the group's latest album, "Supreme Balloon;" everything sounded amazing. If you have yet to hear the sounds of the ARP 2600, the musical creations of Matmos are most definitely one of the best ways to first experience it.
Standing right next to a speaker is not highly recommended as a general rule, particularly for extremely loud shows like this, but I defied my better judgment to feel the higher-pitched beams of Matmos' (generally) all-synthesized sound in addition to the low ones that boomed in the floor and made everyone's shirts shake. It was quite a mind-blowing (and ear-popping) experience: every sound seemed more powerful than the next, each demanding the listener's full attention in turn and holding everyone captive in a deep trance that was more akin to a series of smacks up the side of the head than a soft embrace. And yet somehow I felt lulled to sleep, a concept that even now I cannot fully grasp. There's just something so delightful about hearing (and feeling) a plane landing next to you - one of my favorite sounds of the night - that there's no way to describe the way it warms the heart, revs up the ears and mind, and makes you want to jump up and down like a kid, all at the same time.
Thursday, June 26, 2008
Tuesday, June 24, 2008
Tuesday, June 17, 2008
Despot, from Brooklyn, came onto the stage shortly after and generally surprised us all with his insane rapping skills and clever lyrics and song titles. From 'Crap Artists' to 'Get Rich or Try Dyin' ' to 'Puppets on a String,' Despot's got booming, instrument-rich bass lines that carry a wide range of genre influences and lyrics that not only have messages different from the ubiquitous sex/drugs/alcohol/anger topics of so much hip-hop and rap, but also bring wit and thought to the music with words like "Look Ma, two hands!" and "Home is where the heart is/That's a coffee cup and a subway token for the heartless."
Saturday, June 7, 2008
If you have listened to Los Campesinos, you'll know it is incredibly impossible to not at least tap your foot or bob your head to their music. This fact manifested itself entirely at the band's show at Bimbo's last night. The entire audience, whether there just for a night out or to see a band they absolutely adored, was a perpetual body of people bouncing to the beat. Even people sitting at the tables, enjoying a nice dinner or after dinner aperitif, couldn't help but move their head in time to the catchy poppy and bouncy music that is Los Campesinos.
The opening band of the night, Parenthetical Girls, is a group you might just have to check out. Intriguing the entire audience as the lead singer, Zac Pennington, descended from the stage and proceeded to sing the whole first song from the floor of the venue, illustrates exactly what the Parenthetical Girls seem to do best: intrigue. While most of the rest of the band stayed highly platonic during the set, Pennington was lively and awake. This sharp contrast added an element of creepiness but also, you guessed it, intrigue.
Los Campesinos played all the favorites, from "You! Me! Dancing!" to "We Throw Parties, You Throw Knives". If there was a song someone wanted to hear, they played it. It's impressive how fully LC can play their songs live. On the record, you might think at some points that one particular song is pratically inachievable live, but no. LC played them all and they sounded just as good, if not better, live. Their handling on their instruments and the domain they hold over their sound shows how rounded they are in their music, and how well they know themselves. LC also covered a Pavement song, rendering it their own but also paying hommage to the original in a wonderful way.
Their stage presence is nothing to be trifled with. With seven people commanding the band, they fill up the stage in a big way and are ever present in each and every instrument, from glockenspiel to guitar to violin to random noise makers. The singer Gareth's incredibly energetic stage presence of running around, throwing his arms and jumping is contrasted to the second singer Aleks' timidness and quiet demeanor; there is a contrast onstage that makes this band unique. Yet all members are obviously invested in their art.
LC haven't lost any personal touch either. They showed us they can make the "SF" symbol with their hand, and used to to apologize for the fact that they think "Frisco" sounds good (a sidenote: it definitley does not). Gareth also explained that they have been rating their audiences. "You're better than Sacramento!" he said. Unfortuanetly, we are only in second place behind Eugene, Oregon. "At least you beat LA!" Gareth exclaimed. True that.
After leaving the stage, LC came on for one more song and then they were gone, almost as quickly as they had taken the stage. I guess the only thing that would show their grown popularity would be that at their GAMH show in November last year, they came out right away after it was over, while at this show there was no sign of them. Their bus has also grown in size immenseley.
Still this is not a problem, as long as LC manages to keep true to their roots, and stay in touch with who loves them. As proven last night, they have.
Thursday, June 5, 2008
This Sunday, June 8th.
This is about to be awesome, so be there or just...suck it.
There are going to be over 50 different booths, chock full of contests, giveaways, free stuff, information, and lots of cool people who need your input, support, ideas...you name it.
Among some of the booths, please welcome:
Looking Glass Collage
Haight Ashbury Beat
The Green Cross
Kai Wai Li
Haight Music Center
...and many many more. For a full list of booths, go here: http://www.haightashburystreetfair.org/drupal_hasf/hasf/vendor_directory
Not to mention the food at this festival is about to be delicious. Booths for food are provided by just some of our local favorites: Barrett's Lemonade, Escape From NY Pizza, Diva Dogs, Ti Couz Restaurant, and on and on.
There will be live performances by musical acts and street performers up and down Haight.
The fair stretches from where Stanyan and Haight cross to Masonic, about five blocks long. So from GG Park to Ashbury basically.
Expect many drugs, beatniks, hippies of all ages, and the new wave crowd of youngsters, hipsters, and more. I will be popping in and spending some time checking it all out, getting involved. You know, helping out my neighborhood.
It's gonna be a great day.
Sunday June 8th
11 AM to 5:30 PM
Friday, May 30, 2008
Monday, May 12, 2008
With waffle fries.
And it's Wednesday. So after work, school, illicit drug deals, whatever it is you do day to day, head on over.
Not only do these guys put on a great live show, their music is wonderful and they are, drumroll, San Francisco natives! Bonus! This is a great oppurtunity to check them out if you haven't yet (in which case you are insane). The show may get crowded fast though, so show up a bit before, do some shopping or browsing, then sit back and enjoy the smooth yet rough sounds of The Dodos.
You may see below a review of their show when they performed here at GAMH with Les Savy Fav, a superb show if I may say so.
Wednesday, May 14th
Show starts at 6PM
Should be about forty five minutes or less
At Amoeba in the Haight
Once again, The Dodos are a very good band.
The Dodos - Paint The Rust
Tuesday, May 6, 2008
Yes ladies and gentlemen, it is the long awaited sequel to "Apologies to the Queen Mary." I myself have been waiting in quiet agony and anticipation. I have been terrified; terrified because "Apologies" was so fucking good, this album was taking to fucking long, and, Spencer Krug was devoting the fruit of labor all to Sunset Rubdown and it's smash hit, hell-of-an-album 2007 release "Random Spirit Lover."
All those things drove me into a frenzy.
I downloaded At Mount Zoomer the day after it leaked and it sat in my iTunes for another day and then I was ready to listen.
My initial reaction was "What the hell did I just hear?"
After letting it sit in my head, like waiting for alcohol to hit, I was still baffled. What was that?
I listened again.
Nothing hitting me.
The first track intrigued me, as did the closing one, a long epic song sitting at 10:47.
After a bit, I grew to love three of the songs very much, but none of them thrilled me like "Apologies".
This is not to say it's not a good album. This is also not a "Ugh I'm such an elitist Wolf Parade fan, I know everything about them blah blah blah." No. This is an honest to God response to the album.
Because, really, it is a good album. Great in fact. The songs are different, interesting, originally structed; the lyrics are wonderful and there are parts that really draw you in. It is rich in spirit. I can see it being very popular in fact. It's just, it didn't kickstart me. It didn't make me go "Wolf Parade, you have done it again." The alcohol, so to say, just never hit me, even if the drink still tasted great.
I do recommend it, though. Usually I like to end these posts with "You may hate it." or "You may love it." but the truth is I don't know. I do not know anything for certain this time. What "At Mount Zoomer" has produced is new and intriguing, also at once confusing and stunning. All of this at once too, on one album. That has got to be something. Who knows? Maybe after a few more listens, I will fall in love.
And now, a short list of...
What "At Mount Zoomer" sounds like:
-truthful rocking out
-a slightly tired Wolf Parade
-your friends rolling around your room, high
-Spencer Krug forcing Sunset Rubdown in Wolf Parade's face
-the tragic tale of a knight in armor who never reaches his goal
-Wolf Parade experimenting. And thats good.
WOAH HEY GUYS LEAK LINK
On attempting to find a copy of this rich deep and different album for my friend, I found none. Well, either you're gonna like to so much you buy it or you wouldn't have bought it anyway, so, please enjoy:
WOLF PARADE - AT MOUNT ZOOMER:
hxxp://www.sendspace.com/file/9y958b LINK BROKEN
sorry guys...subpop is all over the blogosphere's asses. Subpop, just rest assured, we will buy it or we won't. God damn. Let us tailor it and decide. We are music connoisseurs.
Friday, May 2, 2008
Needless to say, we were all waiting to see what other miracles Ben Gibbard and the gang might pull out of their talents for the album. I prayed that Death Cab hadn't, shall we say, "jumped the shark." "I Will Possess Your Heart" gave me hope.
By now, probably mostly the entire blogging community will have downloaded "Narrow Stairs" from one of the many leak links across the blogosphere. I listened to it immediately, all the way through, and all I can say in response is a cheesey expected "Wow."
Combining the jumpy, almost punk-like beats and guitar chords of their older style like on "The Photo Album", then taking the melodic agony and beauty from "Transatlantacism", and finally pushing in some epic aspects of orchestrated like band choreography from "Plans" gives us what "Narrow Stairs" is: a combination of the phases Death Cab has been through as a band together. While this description of the album may make it sound more messy than beautiful, it comes off as more original sounding than ever before.
Already the opener pulls you in. "Bixby Canyon Bridge" is a beautiful song and I swear I have never heard Ben Gibbard sing more intensely before. Going from slow to intense to a little faster and back down to slow, the track is a roller coaster in a slow motion: practically magical.
Part of the appeal of this album is going to be the multiple different types of music Death Cab manages to serve up to us. Up beat tunes like "No Sunlight" are dance worthy, while a track like "Long Division" is faster than others but more in a jump around the room in beat way. Perfect for a live show. On the other side, Death Cab evokes feeling and sentiments (as usual) with more epic tracks of multiple instrument layering and loud strong vocals, like opener "Bixby Canyon Bridge" and "Pity and Fear".
The more "rock back and forth and move your head tunes", like "Cath", with echoey vocals and perfect drum beats, allow you to fall into the album gracefully and with ease. There's also the back to the basics easy going slow tunes of "Talking Bird" and album closer "The Ice Is Getting Thinner". Although I feel "Talking Bird" may be a weak track on the album, the closer is definitley a beautiful haunting tune that leaves you hanging.
The band sounds great; of course the album is very produced, in the fashion of "Plans", but while "Plans" was called "polished", "shiny", or even "waxed" by some, I would call "Narrow Stairs" more refined. Like aged wine, even if the album is brand new. The band hangs tight to its roots using feedback and steady beats, but squeezes in their new bright sounds as well. They are perfectly joined together in a harmony achieved over many years of playing as a band. Ben Gibbard also plays his part very well. His voice is as good as it has ever been, strong and true. Not too much has changed, but I believe this is what has given Death Cab it's indie appeal (no matter what label) over the years. Overall, I think Death Cab sounds wonderful. They've come far up the ladder.
At first listen, you may be slightly dissapointed. You may have expected more after the epic track that was "I Will Possess Your Heart". Theres no doubt that that track is the best on the album; but, this does not mean the rest are less. There are some real gems and moments on this album that will catch you and perhaps seize you for one moment of breathlessness. I have already found many such moments. Join me.
Link from Keeping Time wordpress blog
Death Cab For Cutie - Narrow Stairs (2008)
Thursday, May 1, 2008
Through an hour long set, then fifteen minutes of encores, Meloy had the audience practically eating out of the palm of his hands; hungry for more each time, Meloy pushed his music and talents to a limit that can only be reached in a live setting. His voice carried strong and true, ringing at all points of the large Fillmore auditorium. His guitar's twangy, folksy sounds filled the space. And the celtic and irish feel to his tunes made you want to move to the beat in any way possible, even if it was just by swaying back and forth.
Playing wise, Meloy uses every inch of the guitar and his vocal range, creating a plethora of different noises, sounds, and melodies. Some of the songs Meloy played use the most beautiful keys and chords I have ever heard. Combined with Meloy's smooth, strong voice, the outcome is a range of ear pleasing songs. His guitars are not instruments; only extensions of himself that he uses to create this sound from inside him. His quirky ways, like having to stand on his tippy toes to tune his guitar, bring out his different and yet extremely effective playing style.
It was wonderful to see Meloy able to make fun of himself, laugh at himself, and play around with his music. Seeing that he does not take himself too seriously was refreshing and made the night all the more memorable. Meloy had everyone in laughter as he sang "The Perfect Crime #2" and repeated "perfect" about ten more times than he usually does in the song, walking back and forth on the stage between mics humorously.
From singing electric guitar solos himself, getting the audience to do it, or merely saying mid-song "This is the guitar solo part", the overall style and feeling of the concert was unique, different, and wonderful. A powerful accoustic set, rendered intimate and personal, yet still large and maginificent in a musical way.
Meloy mixed it up with a few songs of his own, old and new, a cover of Sam Cooke, and songs from his band The Decemberists. At the end of the set, all of us were screaming and chanting for more, stomping our feet and clapping our hands, until Meloy came back on, finishing with the epic "Mariners Revenge Song". What a way to end. And who knew this song, usually performed with about 7 instruments, could sound so powerful on accoustic guitar?
Maybe it was the antics of frontman Colin Meloy. Maybe it was the audience filling in for other band members singing roles. Maybe it was the entire crowd stomping and clapping like real mariners on deck, in time with the music.
Whatever it was, Meloy brought it out of us in the best way.
Monday, April 28, 2008
I remained optimistic and excited to get inside the GAMH and get into it.
I was going mostly for, I confess, The Dodos. They are a recent band who have captured my heart and I love them dearly. I was so excited to be going to see them. Les Savy Fav is a band that I have listened to on occasion, but who I definitley know. Not only have they been raised up to a sort of indie Gods status over the years, their live shows are quite frankly the talk of the town. I was greatly anticipating my little date with them.
That being said, if you haven't heard the album, I don't know whats wrong with you.
As soon as The Dodos left the stage, I found myself sort of wanting them to be headlining, yet extremely excited to see Les Savy Fav perform. I have to say that this was the aboslute shortest amount of time I have ever waited between bands when the headliner was about to go on. Really. It was at most twenty minutes.
What is a Les Savy Fav performance?A way of life.
First off, the band is just plain great. They are awesome musicians with skill and precision despite the rantings and random vocalizing of leading man Tim Harrington. And Harrington there just are no words to describe. He is a mass of energy that fills the entire crowd...quite literally. Harrington came down off of the stage no less than four times to dance and mosh with everyone even while continung a song quite strongly. The entire show held together and the energy did not drop, not even for a moment. Their charisma is amazing.
From forcing people to kiss his toes, to pouring beer all over the crowd, Harrington made things far from boring for the spectators. Being directly in the front, I got to experience many of his antics first hand, including having beer spit all over me and water thrown down my back. All watched in a strange mixture of disgust and admiration as Harrington hacked a loogy into the air and caught it back in his mouth perfectly. Simply stunning.
The music live is something to behold. On CD, these guys are already pretty in your face and rough when it comes to yelling lyrics, smashing guitar riffs, and insane drummings. Live, this all comes off even more intensely, especially paired with Harrington's disgusting yet fascinating escapades of debauchery. The entire room shakes as everyone dances, pushes, shoves, and screams along with deep bass beats, fast guitar solos, loud drums, and the yells and shouts of vocals. I couldn't help but notice that all the instruments were amped up far above what is normally expected (as someone behind me observed before it began and they were sound testing, "Damn, this is gonna be loud").
Les Savy Fav had us yelling and dancing, all crouching on the ground then springing back up at the last moment together, and begging that we might just might get caught in another beer spray.
After an hour set, LSF returned for three encores which Harrington performed in a full body leotard, jiggling around the stage with ferocity. The end was a smash of noise, sweat, and yet pure love for LSF . At the end, as the rest of the band left the stage smiling and waving, I saw Harrington dash to the sound guy and embarassingly pass him a mic he had broken the top off of. "I'm really sorry..." he said sheepishly. This really finalized the evening. On top of it all, no matter how insane they were onstage, look how much they cared...
...for you, for me, for that microphone: they just want you to have a good time.
Monday, March 24, 2008
The Outside Lands festival announced more lineup bands today, way more past the top three who we have heard repeated over and over.
Now, joining Radiohead (oh heck yeah), Tom Petty, and Jack Johnson (it's okay, I can deal with Radiohead there) are the following incredible bands and artists:
And yes, more are still waiting to be announced! Unebelievable. As Gregg Perloff of Another Planet Entertainment who are presenting the festival said "We can't believe our lineup." WELL US DOWN HERE CAN'T EITHER! Way to cinch Radiohead you sneaky awesome people.
Not only is the lineup fabulous, but the concert will take place in Golden Gate Park...isn't is about time some big happening went down there? Something enormous like this? Nationwide? GG Park, a symbol of San Francisco. Hippies, the 60s, now Outside Lands. It's wonderful.
From the SF Chronicle: "The stages will be spread across adjacent areas of the park - from the massive Polo Fields to the Lindley and Speedway Meadows, where the annual Hardly Strictly Bluegrass Festival is largely staged. The park will receive a portion of the proceeds."
On top of all of this...the logo art is looking good.
Tuesday, March 4, 2008
Thursday, February 28, 2008
Doors @ 8, show @ 9
Doors @ 8:30, show @ 10
3. Beach House at Bottom of the Hill on March 15th
This dreamy, almost psychedelic duo of magical music makers are trance enducing, gorgeous sounding, and all around pleasing to the ears. At a chill hang out like BOTH, the music could not make a more ambient feeling. Atmospheric and eerie, expect to hear a lot from the new album as well as favorites from their self titled.
Tickets: $10 advance/$12 at the door
Doors @ 8:30, show @ 10
4. Jens Lekman at Bimbo's 365 Club on March 22nd
All I can say is, Lekman's jazzy, Frank Sinatra influenced classy ritzy music will not sound better in any other venue. Bimbo's is ideal in it's art deco furnishings. Not only that, I have heard only positive things about Mr. Lekman and his fantastic shows, how flamboyant they can become, how enganging. Try not to dance. I dare you.
BONUS! The Honeydrips, an incredible emmerging indie group, are opening.
Doors @ 8, show @ 9
5. Justice at The Concourse on March 27th
Okay so the venue blows; it cannot stop these guys from putting on an amazing show. Their album, "Cross", made it onto practically every best of 2007 list and there is a reason. And their live show only adds to the entire experience.
Doors @ 7, show @ 8
Other shows you should check out!
-The Pillows @ Slim's
-The Boredoms @ The Fillmore
-Born Ruffians @ Bottom of the Hill
-Say Hi @ Bottom of the Hill
And these...if you can get a ticket. They are in high demand.
-Explosions in the Sky @ Great American Music Hall
-Vampire Weekend @ Rickshaw Stop or The Independent
Monday, February 25, 2008
Last Friday, I made my way to the middle of Hayes Valley to see an exhibit at the Hayes Valley Market Gallery called "Ancient City". The exhibit is an extremely interesting one. All the artwork on display explores the art of urban transformation and how it effects us as people living in an urban setting. The tagline on the card for exhibit states "15 Bay Area artists explore time, texture, and construct."
Among the artists showing work there in the exhibit are Ken Berman, Mitchell Confer, Vera Fainshtein, Terri Garland, Yong Han, Barbara Holmes, Kay Kang, Alexandre Koulouris, Grayson Malone, Liz Mamorsky, Alan Mazzetti, Yvonne Mouser, Daniel Newman, Scott Reilly, Charles Trapolin. Quite a bundle, yes. All of the bring something completely unique, new, and intricate to the showcase. Out of all these artists, perhaps my two favorites were the work of Mitchell Confer and Liz Mamorsky. Confer explores the cramped piled up feel of our city while at the same time retaining a peaceful calm atmosphere. Mamorsky creates statues out of found industrial and man made objects. One statue resembles a giraffe, another a robot...they are very original and fun.
Mitchell Confer's cityscape art: http://conferart.typepad.com/photos/landscape/index.html
Liz Mamorsky's site: http://www.lizland.com/home.html
Do take a look at both these artists.
The exhibit runs till March 1st.
Offical exhibit website: http://ancientcitygallery.wordpress.com/
Location: 580 Hayes (@ Laguna)
Hours: 12 to 7pm
All artworks in this exhibit are on sale.
Monday, February 4, 2008
To commemerate their 50th anniversary and the 40th anniversary of the song "Across The Universe" by The Beatles, NASA broadcasted the song all the way to the North Star of Polaris, literally sending it across the galaxy. Apparently, it will take the song 431 years to reach Polaris; Polaris is 2.5 quadrillion miles away. Meh. No biggy. It'll get there eventually.
I quote the article from my city paper: "NASA loaded an MP3 of the song, just under four minutes in its original version, and will transmit it digitally at 7 p.m. EST Monday [today] from its giant antenna in Madrid, Spain. But if you wanted to hear it on Polaris, you would need an antenna and a receiver to convert it back to music, the same way people receive satellite television."
Apparently Paul McCartney was quoted as saying "Give my regards to the aliens". Aaah he is so witty.
Personally, I find this to be incredible, amazing, and wonderful.
I don't know why. Perhaps it's because I feel like technology really can do wonderful things. Yes, so this isn't solving world hunger, curing AIDS, or creating world peace once and for all. But it's a kind gesture. And simple in form. While I'm sure it takes dollars and dollars of technology and planning, the idea of sending a beautiful song into space to travel among the stars is just so simply gorgeous to me. I like to imagine the song echoing throughout the galaxy, over and over, just those beautiful melodies and lyrics...
Nothings gonna change my world.
Official NASA article: Click here
SFGate article: Click here
Note: I would upload Across the Universe, but I think distributing Beatles songs is punishable by death.
Hm. I wonder if the life forms on Polaris are going to pay royalties.
End sarcasm. Begin your own nostalgic sighing.
Saturday, January 19, 2008
Photo once again by me.
Overall the experience was incredible, sweaty, tiring, and literally breath taking.
Dan Deacon said he will be back in the spring.
New record anyone? Don't miss this next one.
For your listening pleasure:
Dan Deacon - Snake Mistakes
Tuesday, January 15, 2008
I was listening to Live 105’s supposedly indie/local/sort-of-unknown new music show Soundcheck last month and was incredibly happy to discover the song “Poor Sailor” by Here Here flood through the speakers. Finally, some different-sounding music on that radio show. And I haven’t been able to stop visiting Here Here’s myspace page to listen repeatedly ever since. They sound like the Arcade Fire, melding piano and violin, as well as instruments like the banjo and an accordian. There's something about the violin that makes music sound epic, especially when accompanied by flowing vocals. The song subjects are interesting too. One seems to be about Canada, another entitled "All Hail Ye Fellow Sleepwalkers" contains one of the most fitting lyrics for someone with as many final papers to write as I have: a long, drawn out proclamation that "sleep seems so far away."
I’m having difficulty finding anything at all about them except for what’s on their myspace. They have 699 plays on Last.fm, and I think I heard that they played their first show ever last summer. They’re from San Francisco and recently released “Boy With an Orange EP”, available at Amoeba or through Itunes or Emusic.
You can listen to songs here: