The whole point of Noise Pop weekend is to not only see the bands that you like, but to also try out new ones. Well, I did just that with Joanna Newsom on Friday night and now I'm going to try the absolute opposite of a sweet woman playing the harp - by watching three hairy, over tattooed men play death metal. Yeah, death metal.
High on Fire is a local Oakland band whose local following is anything but small. This is a band that attracts a legion of metal heads throughout the Bay Area and just cause mayhem at their shows. Mike once told me that during their sold out Bottom of the Hill show a few months ago, several non-ticket holders decided to jump the fence just to get in! Well, once again, we have a sold out crowd amongst us and the crowd itself was intimidating, a bunch of them being loyal followers of High on Fire and know every single move of theirs.
The band came on close to midnight at this rather horrendous venue they call 12 Galaxies, which is named after that crazy Asian guy who carries a sign with the same phrase. He was there, and he gets in for free apparently and begins making speeches. Which he did before the Fucking Champs came on. Rather weird.
Anyways, I was standing in the front, stage right just trying to catch a glimpse of this "life changing" band. When they came on, I didn't know what to expect. At first, I thought I couldn't possibly enjoy this band because I never really got into heavy metal or anyting of the sort. When they belted out the loud guitars and pounding drums, I was already impressed. These guys mean business and they ROCK hard! Matt Pike, the lead singer and guitarist, just impressed the crowd with his amazing guitar work and stage presence. His voice sounded demonic, and I have no idea what he is saying. Regardless, he sang sporadically, but the rock just came on hard. It was so damn good!
Then the crowd started moshing. A sight I haven't seen since The Offspring back in the mid-90s! I mean, this was serious mosh pit, with a bunch of shirtless dudes that look like they just came out of prison. This ain't no Blur or Yeah Yeah Yeahs dance pit by any means!
I don't know any of their songs, but the first song off their encore was just crazy! "Speed Wolf," off their "Lord of the Rings-esque album cover" record Surrounded by Thieves drove the crowd ape shit and they just started either jumping wildly or pushing each other. Even I wanted to be part of that, but opted not too since I do want to live past this show. Regardless, this was an excellent song and it just ROCKED!!
Anyways, a surprising show and a definite must see.
Beer Rating: 2 Beers
27 February 2005
Rogue Wave (Slim's, 26 February 2005)
Noisepop is like playing musical chairs in an elementary school gym on a rainy day. Scenesters run around the city, hopping from venue to venue to experience the latest hype-generated bands, established independent music vets, and local faves. On this rainy night, however, we arrived to find that the scenesters weren't playing the game at Slim's. That's not to say that it wasn't a full house -- this was the most crowded I had ever seen it at Slim's. But what was unusual was the fact that the crowd was late 30s mainstream folk. This year has been pretty eclectic in terms of the crowds we homogenize with -- from the scenesters at The Bravery to the bloodied faces of the East Bay Rats to the fey pixies at Joanna Newsom, I thought I had seen it all. But seriously, was this a company Christmas party or a Dave Matthews concert? No -- it was indeed a Noisepop show, and Rogue Wave was headlining.
We arrived to the upbeat sounds of The Comas. We only caught one and a half songs, but judging from the crowd's reaction, they played a solid set of catchy melodies. During the set change, my anticipation grew as the large crowd maneuvered for position to catch a glimpse of what could be a great band to come out of Oakland. Surely a crowd this large must beget a decent performance.
Rogue Wave took the stage and played a song. I'm not going to pretend that I know which song it was, because really, all their songs sort of blended into each other in a goulash of mediocrity. In their defense, they had an uphill battle to climb for three reasons -- they were playing at the worst venue in San Francisco, I was not familiar with their music (nor will I ever be), and they had to follow a great performance from Joanna Newsom on the previous night. That being said, let me rant about mediocre bands. Is it me, or is everything on pitchfork these days a 7 or an 8? Is music really that great right now, or have our standards declined? I mean c'mon -- 8.3 for the Scissor Sisters? 8.2 for the Secret Machines? Rogue Wave was given a generous 7.8 by pitchfork for Out Of the Shadow, and judging from their performance, they must not have played anything from said album, because every song was more uninspiring than the last. The singer sounded exactly like Ben Gibbard from Death Cab/Postal Service, except he wasn't crying or anything. They played two covers - a Beach Boys song and a Buddy Holly song. I forget which ones, but I think the Buddy Holly one was Everyday. Their songs weren't really that horrible, but there was nothing about them that stood out from the rest of the crap that kids call music these days. The crowd seemed to agree with my sentiments, as they slowly dissipated throughout the set. By the end of the night, half the crowd had left. They probably went to the Holy Cow or something.
I had three beers that night, and didn't enjoy a second of it, so I'm going to give it a 4.
Beer Rating: 4 Beers
We arrived to the upbeat sounds of The Comas. We only caught one and a half songs, but judging from the crowd's reaction, they played a solid set of catchy melodies. During the set change, my anticipation grew as the large crowd maneuvered for position to catch a glimpse of what could be a great band to come out of Oakland. Surely a crowd this large must beget a decent performance.
Rogue Wave took the stage and played a song. I'm not going to pretend that I know which song it was, because really, all their songs sort of blended into each other in a goulash of mediocrity. In their defense, they had an uphill battle to climb for three reasons -- they were playing at the worst venue in San Francisco, I was not familiar with their music (nor will I ever be), and they had to follow a great performance from Joanna Newsom on the previous night. That being said, let me rant about mediocre bands. Is it me, or is everything on pitchfork these days a 7 or an 8? Is music really that great right now, or have our standards declined? I mean c'mon -- 8.3 for the Scissor Sisters? 8.2 for the Secret Machines? Rogue Wave was given a generous 7.8 by pitchfork for Out Of the Shadow, and judging from their performance, they must not have played anything from said album, because every song was more uninspiring than the last. The singer sounded exactly like Ben Gibbard from Death Cab/Postal Service, except he wasn't crying or anything. They played two covers - a Beach Boys song and a Buddy Holly song. I forget which ones, but I think the Buddy Holly one was Everyday. Their songs weren't really that horrible, but there was nothing about them that stood out from the rest of the crap that kids call music these days. The crowd seemed to agree with my sentiments, as they slowly dissipated throughout the set. By the end of the night, half the crowd had left. They probably went to the Holy Cow or something.
I had three beers that night, and didn't enjoy a second of it, so I'm going to give it a 4.
Beer Rating: 4 Beers
Joanna Newsom (Swedish American Music Hall, 25 February 2005)
I have to admit, when I first heard Joanna Newsom, I thought her voice was the most annoying thing in the world. This disdain for her voice was rooted in my first two years of working in New York where all the secretaries had that Fran Dresher accent from Long Island. Coming from California, I thought that such accents were an overexaggeration, but, hence, if anything, it was an understatement. From that point on, I found such accents annoying, although at times endearing. Thus, when I first heard of Joanna Newsom sing about bees and honey, it sounded like Fran Dresher with a harp.
Then, something changed. I think as more and more people started convincing me of how awesome she is, and after several articles, I decided to download her album. I listened to the entire thing and still found her voice somewhat annoying. The thing is, I started to like it. When I watched the Nanny on CBS, I hated it, but when I watched the syndicated versions, I liked it. Well, that's how Milk Eyed Mender was to me - it was annoying like the Nanny in the beginning, but I liked it after a few listens.
So, I went to this show with a bit of optimism that this is going to be a special show, but also with a bit of pessimism because this might be one of those annoying shows where I just want to chuck tomatoes at people.
This is the first time I have ever been to the Swedish American Music Hall (SAMH) and it was quite a sight! The SAMH is a very small venue, although slightly bigger than its sister venue, Cafe Du Nord. As you enter, you feel like you are in a Swiss Miss fantasy land. Of course, the first order of business when entering a venue is to get the liquids, but when I approached the concession stand, all there was was snacks and tea! Good grief, is this an elementary school recital or something?
Well, it certainly felt that way as I entered the venue. Folding chairs all around with a bunch of people standing about. The crowd itself looked like a bunch of elementary school teachers and proud parents, waiting for their prized pupil or offspring to play. The stage was rather small, with just a folding chair there for the singer.
We skipped the opener and opted to go to the rather brute Lucky 13 bar next door. We came back just in time for Joanna and there she was, pretty as a pixie with a doily on her head, playing that humungous harp. She was having trouble adjusting her seat at times, since, she candidly admits, "It's hard to find a good chair for a harp."
She opened up with a song that I don't know the title of and she encouraged the crowd to clap along - which we all did. At this point, I can barely hear her voice. The next song, which was a 15 minute epic, was just great! The voice came out of her, and it was so surreal. It was so amazing, yet I was bewildered. I asked, "Self, how the hell does a voice like that come out of her?" Then Self said, "I don't know. Shut up and listen to her singing, bitch!" Yeah, Self and I have issues we need to address.
I left Self alone and started listening to her some more. The crowd loved every single song she played and were just so in awe with her voice and her cute presence. She thanked the crowd often, acknowledged her dad and sister from Valley City being there amongst the crowd, and even dedicated a few songs.
Definite stand outs were "En Gallop," "Sproud and the Bean," and "Peach, Plum, Pear." Absolutely stunning performance! Her voice is still somewhat annoying, but it's just amazing to see a performer like her sing and play the harp.
A definite breath of fresh air from all the rock.
Beer Rating: 2 Beers
Then, something changed. I think as more and more people started convincing me of how awesome she is, and after several articles, I decided to download her album. I listened to the entire thing and still found her voice somewhat annoying. The thing is, I started to like it. When I watched the Nanny on CBS, I hated it, but when I watched the syndicated versions, I liked it. Well, that's how Milk Eyed Mender was to me - it was annoying like the Nanny in the beginning, but I liked it after a few listens.
So, I went to this show with a bit of optimism that this is going to be a special show, but also with a bit of pessimism because this might be one of those annoying shows where I just want to chuck tomatoes at people.
This is the first time I have ever been to the Swedish American Music Hall (SAMH) and it was quite a sight! The SAMH is a very small venue, although slightly bigger than its sister venue, Cafe Du Nord. As you enter, you feel like you are in a Swiss Miss fantasy land. Of course, the first order of business when entering a venue is to get the liquids, but when I approached the concession stand, all there was was snacks and tea! Good grief, is this an elementary school recital or something?
Well, it certainly felt that way as I entered the venue. Folding chairs all around with a bunch of people standing about. The crowd itself looked like a bunch of elementary school teachers and proud parents, waiting for their prized pupil or offspring to play. The stage was rather small, with just a folding chair there for the singer.
We skipped the opener and opted to go to the rather brute Lucky 13 bar next door. We came back just in time for Joanna and there she was, pretty as a pixie with a doily on her head, playing that humungous harp. She was having trouble adjusting her seat at times, since, she candidly admits, "It's hard to find a good chair for a harp."
She opened up with a song that I don't know the title of and she encouraged the crowd to clap along - which we all did. At this point, I can barely hear her voice. The next song, which was a 15 minute epic, was just great! The voice came out of her, and it was so surreal. It was so amazing, yet I was bewildered. I asked, "Self, how the hell does a voice like that come out of her?" Then Self said, "I don't know. Shut up and listen to her singing, bitch!" Yeah, Self and I have issues we need to address.
I left Self alone and started listening to her some more. The crowd loved every single song she played and were just so in awe with her voice and her cute presence. She thanked the crowd often, acknowledged her dad and sister from Valley City being there amongst the crowd, and even dedicated a few songs.
Definite stand outs were "En Gallop," "Sproud and the Bean," and "Peach, Plum, Pear." Absolutely stunning performance! Her voice is still somewhat annoying, but it's just amazing to see a performer like her sing and play the harp.
A definite breath of fresh air from all the rock.
Beer Rating: 2 Beers
26 February 2005
Hot Hot Heat (GAMH, 24 February 2005)
Remember back in the days where the band that you liked were not so popular with the in-crowd? That's my experience with Hot Hot Heat. I remember when they were just mere lads who opened up for The Walkmen at the Bottom of the Hill two years ago. And my, look at them now! Selling out the Great American and playing bigger venues than the Walkmen (who incidentally sold out Bimbo's which is a smaller venue than the GAMH). However, the Walkmen played The O.C. while Hot Hot Heat haven't.
I came in late to the show - partly because I was running late and partially because I knew that the opener will take a while. As I joined my friend at the front, on came Hot Hot Heat. The band looked refreshed and energized after what seems like a long absence. Steve Bays grew out his Jewfro and he looks fab! Kinda crazy like Carrot Top but still stylish enough to take on all the scenesters. Oddly enough, they started off with my favourite song, "No, Not Now" which quickly energized the crowd and a rather tired me. Amazing what a few strokes of the keyboard can do for the song. The band was full of energy, and Steve was bouncing around and playing with the audience.
Obviously, because of the new album, Hot Hot Heat played some tunes in their a little over an hour long set. "Goodnight, Goodnight," their current single, was played pretty early on in the set. The energy in that song was a lot more than I expected, and the crowd seem to love it. They also played a slew of other new songs, which I don't know the titles to, but were just excellent live. If the live versions of these songs are any indication of how the recorded ones will sound, I cannot wait to pick up their album.
Of course, they played the hits that made them the grown up boys of indie rock that they are. "Bandages," their biggest hit off of Make Up The Breakdown, was just amazing this time around. It was loud, boisterous, and the crowd ate it up.
Minus the douche bag that started pushing the crowd around, it was a flawless show.
Beer Rating: 2 Beers
I came in late to the show - partly because I was running late and partially because I knew that the opener will take a while. As I joined my friend at the front, on came Hot Hot Heat. The band looked refreshed and energized after what seems like a long absence. Steve Bays grew out his Jewfro and he looks fab! Kinda crazy like Carrot Top but still stylish enough to take on all the scenesters. Oddly enough, they started off with my favourite song, "No, Not Now" which quickly energized the crowd and a rather tired me. Amazing what a few strokes of the keyboard can do for the song. The band was full of energy, and Steve was bouncing around and playing with the audience.
Obviously, because of the new album, Hot Hot Heat played some tunes in their a little over an hour long set. "Goodnight, Goodnight," their current single, was played pretty early on in the set. The energy in that song was a lot more than I expected, and the crowd seem to love it. They also played a slew of other new songs, which I don't know the titles to, but were just excellent live. If the live versions of these songs are any indication of how the recorded ones will sound, I cannot wait to pick up their album.
Of course, they played the hits that made them the grown up boys of indie rock that they are. "Bandages," their biggest hit off of Make Up The Breakdown, was just amazing this time around. It was loud, boisterous, and the crowd ate it up.
Minus the douche bag that started pushing the crowd around, it was a flawless show.
Beer Rating: 2 Beers
22 February 2005
Secret Machines / Moving Units / Autolux (The Independent, 18 February 2005)
I have to admit, my expectations were pretty low for this show. Although the bill was quite appealing, with all three bands being one of those "up and comers" in the scene, and with pretty decent record releases within the last year, I just didn't know what to expect. From the looks of the sold out crowd, appealing seems to be an understatement.
Let's start off with Autolux, shall we? I have never seen this band, although I think their album Future Perfect is quite good. I was only able to catch their last song, because of my friend and I eating some BBQ across the street. Autolux was very, very similar to Midnight Movies. Girl drummer, very attractive, two blokes on the side, and the girl was singing. However, unlike Midnight Movies, this girl from Autolux can really dish out the drumming. Probably one of the best female drummers I have seen in a while. I don't know which song they played, but they rocked out for a good long time and I dug it immensely. I hoped to have seem more, but I'm sure these guys will be back supporting very soon (yeah, like 3 times!).
Next comes Moving Units. Dubbed as one of the hardest working bands in the business by Filter, you can tell that these guys are professionals. Despite having problems with their equipment, with the singer being shocked once with his mic, they put on a decent set. The catchy disco/electronic tunes were all there with "Fearless," "Killer-Lover," "Birds of Prey," "Submission," "Anyone," "Between Us and Them," "Emancipation," "Melodrama," and "X and Y" being the more memorable ones. However, something left me empty with Moving Units. They were just flat. They weren't excellent, they weren't bad, but they were just flat. Dare I say it, they are like The Bravery: fantastic on MP3 but not so good live. They put on a valiant effort to engage the crowd, which did work at times, but other times it was just a futile attempt.
Finally, Secret Machines. At this point of the show, I couldn't care less about them since I was tired and annoyed with the crowd and the lack of good bands this year. The lighting was excellent, and they did churn out the tunes from their debut release. However, like the bands that preceded them, they were just flat in my opinion. The energy was there, but it wasn't enough to move me to be into it. It was not until "Nowhere Again" did I start to pay attention but that was the encore song by that time. They failed to grab me, and it shows with the other folks watching them since a good portion of the people have exited the building. Not that it's empty inside, but it was noticeably less people in there halfway through their set.
Overall, a show that is flat with a few highlights.
Beer Rating: 3.5 Beers
Let's start off with Autolux, shall we? I have never seen this band, although I think their album Future Perfect is quite good. I was only able to catch their last song, because of my friend and I eating some BBQ across the street. Autolux was very, very similar to Midnight Movies. Girl drummer, very attractive, two blokes on the side, and the girl was singing. However, unlike Midnight Movies, this girl from Autolux can really dish out the drumming. Probably one of the best female drummers I have seen in a while. I don't know which song they played, but they rocked out for a good long time and I dug it immensely. I hoped to have seem more, but I'm sure these guys will be back supporting very soon (yeah, like 3 times!).
Next comes Moving Units. Dubbed as one of the hardest working bands in the business by Filter, you can tell that these guys are professionals. Despite having problems with their equipment, with the singer being shocked once with his mic, they put on a decent set. The catchy disco/electronic tunes were all there with "Fearless," "Killer-Lover," "Birds of Prey," "Submission," "Anyone," "Between Us and Them," "Emancipation," "Melodrama," and "X and Y" being the more memorable ones. However, something left me empty with Moving Units. They were just flat. They weren't excellent, they weren't bad, but they were just flat. Dare I say it, they are like The Bravery: fantastic on MP3 but not so good live. They put on a valiant effort to engage the crowd, which did work at times, but other times it was just a futile attempt.
Finally, Secret Machines. At this point of the show, I couldn't care less about them since I was tired and annoyed with the crowd and the lack of good bands this year. The lighting was excellent, and they did churn out the tunes from their debut release. However, like the bands that preceded them, they were just flat in my opinion. The energy was there, but it wasn't enough to move me to be into it. It was not until "Nowhere Again" did I start to pay attention but that was the encore song by that time. They failed to grab me, and it shows with the other folks watching them since a good portion of the people have exited the building. Not that it's empty inside, but it was noticeably less people in there halfway through their set.
Overall, a show that is flat with a few highlights.
Beer Rating: 3.5 Beers
16 February 2005
Calendar Improvements
Starting this week, and everyday thereafter, any show highlighted in green in the calendar means that it is a recent addition. So far, the following shows were just added:
15 March: Ian Brown @ GAMH
16 April: Q and Not U @ Slim's
15 March: Ian Brown @ GAMH
16 April: Q and Not U @ Slim's
Bright Eyes (Berkeley Community Theatre, 15 February 2005)
Me and my friends went to a party. It was a birthday party. It was Conor Oberst's birthday party, happy birthday Conor! And everyone at the party loved him very, very, very, very, very, very, very much. And then Conor started humming this little tune, and it was "At the Bottom of Everything," from the best album of 2005 thus far, I'm Wide Awake, It's Morning.
Yes, it was Conor's 25th birthday today and it was celebrated by an uplifting and memorable performance at this high school auditorium in downtown Berkeley. The whole show felt like a birthday party . . . albeit a rather large one. After the second song of the set, someone from the crowd yelled and encouraged everyone to sing Conor happy birthday. Of course, we all did and Conor was enamored by the love.
Bright Eyes played pretty much all of Wide Awake, with a sprinkle of Lifted's "Method Acting" and Fever and Mirror's "The Calendar Hung Itself." Wide Awake has been heralded as Conor's finest work. The music press has been waiting for Conor to realize his true potential when he was a songwriter at 19, then 22, and now when he was 24. Wide Awake is a true indie rock/folk classic, some even comparing it as a true Dylan-esque album. Although that may be too high a praise, at least at this point in Conor's career, it was pretty damn close to it.
"We Are Nowhere and It's Now" was played with such emotion that you can really feel that you have been drinking wine until you are blind. "Old Soul's" keyboards were just blissful, with Conor belting out the high notes at the end that made the back of my spine tingle with pure excitement. "Another Travelin' Song" sounded like a true western hee-haw ho-down. All I needed was my cowboy hat and boots and I would have been all set. Then my anger at the current political regime was put into words with "When the President Talks to God." Although this song received mixed applause in Texas, it was received with open arms and loud applause in this Blue State. Speaking of blue, "True Blue" was played with sillyness and coy. One cannot help but laugh at the simplicity of the lyrics when Conor sings this song. Hell, even I wrote a song called "The Red Song" on my drive home, already completing three lines of lyrics.
However, the true highlight song of the evening was "Land Locked Blues." The whole range of emotions this song had was captured live. A bit of sadness when Conor describes a scene where a girl begs her partner to come back to bed, to a bit of comedy when Conor describes being shot by kids with a tree branch gun, and anger at our government's handling of Iraq and Afghanistan. All that was missing was Emmylou Harris' presence and backing vocals and this would have truly been an instant live classic.
After a string of O.K. shows, seeing Bright Eyes was a welcome relief.
Beer Rating: 1 Beer
Yes, it was Conor's 25th birthday today and it was celebrated by an uplifting and memorable performance at this high school auditorium in downtown Berkeley. The whole show felt like a birthday party . . . albeit a rather large one. After the second song of the set, someone from the crowd yelled and encouraged everyone to sing Conor happy birthday. Of course, we all did and Conor was enamored by the love.
Bright Eyes played pretty much all of Wide Awake, with a sprinkle of Lifted's "Method Acting" and Fever and Mirror's "The Calendar Hung Itself." Wide Awake has been heralded as Conor's finest work. The music press has been waiting for Conor to realize his true potential when he was a songwriter at 19, then 22, and now when he was 24. Wide Awake is a true indie rock/folk classic, some even comparing it as a true Dylan-esque album. Although that may be too high a praise, at least at this point in Conor's career, it was pretty damn close to it.
"We Are Nowhere and It's Now" was played with such emotion that you can really feel that you have been drinking wine until you are blind. "Old Soul's" keyboards were just blissful, with Conor belting out the high notes at the end that made the back of my spine tingle with pure excitement. "Another Travelin' Song" sounded like a true western hee-haw ho-down. All I needed was my cowboy hat and boots and I would have been all set. Then my anger at the current political regime was put into words with "When the President Talks to God." Although this song received mixed applause in Texas, it was received with open arms and loud applause in this Blue State. Speaking of blue, "True Blue" was played with sillyness and coy. One cannot help but laugh at the simplicity of the lyrics when Conor sings this song. Hell, even I wrote a song called "The Red Song" on my drive home, already completing three lines of lyrics.
However, the true highlight song of the evening was "Land Locked Blues." The whole range of emotions this song had was captured live. A bit of sadness when Conor describes a scene where a girl begs her partner to come back to bed, to a bit of comedy when Conor describes being shot by kids with a tree branch gun, and anger at our government's handling of Iraq and Afghanistan. All that was missing was Emmylou Harris' presence and backing vocals and this would have truly been an instant live classic.
After a string of O.K. shows, seeing Bright Eyes was a welcome relief.
Beer Rating: 1 Beer
Interpol / Blonde Redhead (The Warfield, 14 February 2005)
Besides the fact that they were playing on Valentine's Day, this is Blonde Redhead and Interpol's second stab in front of a Bay Area audience. Blonde Redhead played Bimbo's late last year and Interpol played this very same venue late last year as well. Now, Blonde Redhead and Interpol's first of a two night residency at the Warfield hope to improve on their past performances.
As previously mentioned in my 16 November review of the Blonde Redhead gig at Bimbo's, I gave them a 5 beer rating and proceeded to call them Blonde Shitehead yet again. However, I really think that they are a good band despite that show and was willing to give them a second look. I have to say, they were much, much better this time around compared to their Bimbo's gig just 3 months earlier. The sound was crisp and loud, and you can actually hear Kazu belt out her voice. The band pretty much played their most recent release, Misery is a Butterfly, and nothing else. The highlight song of the night was "Equus." During their Bimbo's show, "Equus" was really flat and lacked that dance element that was prevalent in the album. Now, thanks to the wonders of acoustics and expensive speakers, "Equus" finally got the live rendition it so truly deserved. Add to that Kazu looking hot in her low cut, backless custom made dress and the band being tight in their playing, "Equus" and the rest of the songs from Misery is a Butterfly were well done. A vast improvement from their Bimbo's show, and now I will call Blonde Shitehead their true name once again.
Where Blonde Redhead shined, Interpol was only so-so. When I saw Interpol on 26 October, I gave them a stellar review, mentioning at the end that I was looking forward to seeing them again. Well, I did but they seemed to fall flat at times throughout the show. They opened with the same song as before, "Next Exit," and surprised the audience when the song after that was their big hit "Slow Hands" from their second release, Antics. After those two songs were played, all the songs started to sound the same.
Other than the occassional antics (pun intended) of Carlos D., the band did not exert the energy that they did before. Although they were tight and sounded great, something in my viewing of the show left me unfulfilled. Were my expectations too high? Was my show ruined because of this ugly couple constantly making out right in front of me? Was it the loud teeny-boppers on my left side? Who knows. One thing is for sure though: Interpol was only so-so this time around.
Beer Rating: 3 Beers
As previously mentioned in my 16 November review of the Blonde Redhead gig at Bimbo's, I gave them a 5 beer rating and proceeded to call them Blonde Shitehead yet again. However, I really think that they are a good band despite that show and was willing to give them a second look. I have to say, they were much, much better this time around compared to their Bimbo's gig just 3 months earlier. The sound was crisp and loud, and you can actually hear Kazu belt out her voice. The band pretty much played their most recent release, Misery is a Butterfly, and nothing else. The highlight song of the night was "Equus." During their Bimbo's show, "Equus" was really flat and lacked that dance element that was prevalent in the album. Now, thanks to the wonders of acoustics and expensive speakers, "Equus" finally got the live rendition it so truly deserved. Add to that Kazu looking hot in her low cut, backless custom made dress and the band being tight in their playing, "Equus" and the rest of the songs from Misery is a Butterfly were well done. A vast improvement from their Bimbo's show, and now I will call Blonde Shitehead their true name once again.
Where Blonde Redhead shined, Interpol was only so-so. When I saw Interpol on 26 October, I gave them a stellar review, mentioning at the end that I was looking forward to seeing them again. Well, I did but they seemed to fall flat at times throughout the show. They opened with the same song as before, "Next Exit," and surprised the audience when the song after that was their big hit "Slow Hands" from their second release, Antics. After those two songs were played, all the songs started to sound the same.
Other than the occassional antics (pun intended) of Carlos D., the band did not exert the energy that they did before. Although they were tight and sounded great, something in my viewing of the show left me unfulfilled. Were my expectations too high? Was my show ruined because of this ugly couple constantly making out right in front of me? Was it the loud teeny-boppers on my left side? Who knows. One thing is for sure though: Interpol was only so-so this time around.
Beer Rating: 3 Beers
Call & Response (Cafe Du Nord, 12 February 2005)
I was just about to write a one word review that can basically some up Call & Response's entire performance: boring. However, I feel that I need to justify this rather blunt and simple statement.
See, although Call & Response were boring, it was only 90% of their fault. I ate a 4 course vegan dinner at the fabulous Millenium Restaurant before going to the show. By that time, my stomach was full of flourless chocolate cake and tempeh based dishes. I was experiencing that bliss that all food lovers enjoy: food coma.
The night started off bad with a rather mediocre set by Bart Davenport. His songs were trite, boring, and flat. The only thing that made his set at least somewhat appealing were his stupid poses on stage. Poses so silly that it would make any 80s hair metal rock star jealous. What made his set worse was the addition of his friend with a rather complicated and long name. He played the flutophone for two of the songs. Unfortunately, the flutophone added nothing to the songs. Even the stage act of playing two flutaphones at once did absolutely nothing to save this set. If there were tomatoes at hand, I probably would have thrown some at them.
After another opening band, Call & Response came on. Don't get me wrong, I like their albums (I have both of them and the EP) and was somewhat excited to see them. Instead of them playing a mix of their discography, they pretty much stuck with their latest release, Winds Take No Shape, which would have been fine if it wasn't for the lack of stage presence of the band. The lead singer was dull. Even the rather boisterous and dancey bass player did nothing. When I saw them open up for Sing-Sing, they were a fantastic band, full of energy. Instead, they played their songs with no energy. It wasn't until they played "Rollerskate" or "California Floating in Space" did they get a noticeable reaction. I was not the only one not feeling this show. By the time the main set was over, a good amount of the already small crowd have left.
It's a damn shame that Call & Response did not put on a good show. They write great songs, but it just didn't translate live this time around.
Beer Rating: 6 pack and liquor
See, although Call & Response were boring, it was only 90% of their fault. I ate a 4 course vegan dinner at the fabulous Millenium Restaurant before going to the show. By that time, my stomach was full of flourless chocolate cake and tempeh based dishes. I was experiencing that bliss that all food lovers enjoy: food coma.
The night started off bad with a rather mediocre set by Bart Davenport. His songs were trite, boring, and flat. The only thing that made his set at least somewhat appealing were his stupid poses on stage. Poses so silly that it would make any 80s hair metal rock star jealous. What made his set worse was the addition of his friend with a rather complicated and long name. He played the flutophone for two of the songs. Unfortunately, the flutophone added nothing to the songs. Even the stage act of playing two flutaphones at once did absolutely nothing to save this set. If there were tomatoes at hand, I probably would have thrown some at them.
After another opening band, Call & Response came on. Don't get me wrong, I like their albums (I have both of them and the EP) and was somewhat excited to see them. Instead of them playing a mix of their discography, they pretty much stuck with their latest release, Winds Take No Shape, which would have been fine if it wasn't for the lack of stage presence of the band. The lead singer was dull. Even the rather boisterous and dancey bass player did nothing. When I saw them open up for Sing-Sing, they were a fantastic band, full of energy. Instead, they played their songs with no energy. It wasn't until they played "Rollerskate" or "California Floating in Space" did they get a noticeable reaction. I was not the only one not feeling this show. By the time the main set was over, a good amount of the already small crowd have left.
It's a damn shame that Call & Response did not put on a good show. They write great songs, but it just didn't translate live this time around.
Beer Rating: 6 pack and liquor
06 February 2005
Luna (The Fillmore, 5 February 2005)
After fourteen years, Luna played their last show last night at a sold out Fillmore. This is my first and, unfortunately, the last time I'll be seeing Luna and I thoroughly enjoyed their set. I only have one album, the recent release Rendezvous, and I was satisfied with the night after they played tracks off that album. Little did I know that there was more in store for me.
"Malibu Love Nest" was done to perfection with Deans' voice being sharp and crisp. Although Britta's bass was too high for this song, and at some others throughout the show, I barely noticed it since I was really into the song. The guitars during "Speedbumps" were just absolutely amazing. I was very impressed with their guitar work and everything seemed to be in perfect sync. "Cindy Tastes of Barbecue" was a very entertaining track because the opening chords sound like Cornershop's "Brimful of Asha." Thus, I couldn't help but hum the Cornershop tune everytime I heard that chord sequence. I bet that would be a good mash up actually. But my favourite song of all out of Rendezvous is "Still at Home." It is such a beautiful song on the album, and is even more beautiful live because, well, it's live. Sean Eden's voice was surprisingly good, just because I thought such a voice wouldn't translate well live.
Most of the songs Luna played I didn't know, but there were two songs worth noting. Their rendition of Serge Gainsborg's "Bonnie and Clyde" was fantastic. Britta has big shoes to fill because Laetitia Sadier originally sang the female vocals, but Britta did well. I barely noticed the difference actually. Also, I didn't know this, but apparently Luna are famous for doing random covers during their encore. Well, they did a cover of a notable disco classic "Rock Me Baby" (Note: I think that's the title, but the chorus has those words so I just assumed). It caught me totally off guard and Dean's voice was perfect for the cover.
Overall, a good show and it is rather unfortunate that I was such a late bloomer to Luna. Like how I was with Dean's former band, Galaxie 500. However, at least I can say I saw them one last time.
Beer Rating: 2.5 Beers
"Malibu Love Nest" was done to perfection with Deans' voice being sharp and crisp. Although Britta's bass was too high for this song, and at some others throughout the show, I barely noticed it since I was really into the song. The guitars during "Speedbumps" were just absolutely amazing. I was very impressed with their guitar work and everything seemed to be in perfect sync. "Cindy Tastes of Barbecue" was a very entertaining track because the opening chords sound like Cornershop's "Brimful of Asha." Thus, I couldn't help but hum the Cornershop tune everytime I heard that chord sequence. I bet that would be a good mash up actually. But my favourite song of all out of Rendezvous is "Still at Home." It is such a beautiful song on the album, and is even more beautiful live because, well, it's live. Sean Eden's voice was surprisingly good, just because I thought such a voice wouldn't translate well live.
Most of the songs Luna played I didn't know, but there were two songs worth noting. Their rendition of Serge Gainsborg's "Bonnie and Clyde" was fantastic. Britta has big shoes to fill because Laetitia Sadier originally sang the female vocals, but Britta did well. I barely noticed the difference actually. Also, I didn't know this, but apparently Luna are famous for doing random covers during their encore. Well, they did a cover of a notable disco classic "Rock Me Baby" (Note: I think that's the title, but the chorus has those words so I just assumed). It caught me totally off guard and Dean's voice was perfect for the cover.
Overall, a good show and it is rather unfortunate that I was such a late bloomer to Luna. Like how I was with Dean's former band, Galaxie 500. However, at least I can say I saw them one last time.
Beer Rating: 2.5 Beers
02 February 2005
New Show Added
Cat Power is playing at Swedish American Music Hall on February 18th. She's doing a solo set, so it's going to be acoustic. Make sure you have an iPod with you because she'll be constantly tuning her guitar and not remembering chords.
Details in the Music Calendar.
Details in the Music Calendar.
01 February 2005
New/Updated Shows For Week of January 31st
The following shows were either added or updated in the Music Calendar. Most of these shows are going on sale this weekend:
- March 8: Kings of Convenience @ GAMH
- March 22: Kaiser Chiefs @ Slim's (conflicts with Decemberists - damn it!!)
- April 3: The Soundtrack of Our Lives @ GAMH
- April 28: The Fiery Furnaces / Dios Malos @ GAMH
- April 29: The Fiery Furnaces / Dios Malos @ GAMH
- April 30: Coachella @ Empire Polo Field, Indio, CA
- May 1: Coachella @ Empire Polo Field, Indio, CA
- May 3: Raveonettes @ GAMH
- June 1: Of Montreal @ GAMH
31 January 2005
East Bay Rats Fight Party & Carnival (Nimby, Oakland, 29 January 2005)
Whoa.
Pyrotechnics?
A bonfire in the back from a tin can?
Bikers?
Drunk men and women of various ages, styles, and degree of attractiveness?
Full on marching band complete with cheerleader strippers?
A 24 pack of Sierra and assorted Bass and Stella's at hand?
And a boxing ring in the middle where there are two girls wrestling each other with their bare hands?
All this for $5? Either I was in a real-life Fight Club or the bible got hell all wrong.
Welcome to the spectacle that is the East Bay Rats Fight Party & Carnival. This thing was probably the weirdest and most obscure thing I have ever seen. Yet, it was probably the most surreal and one of the most memorable nights I've had in a while.
As my friends and I were walking towards the warehouse, we can hear the loud sounds of engines, explosions, and the roar of the crowd from the inside. When we reached the entrance, a whole line of motorcycles were outside and was accompanied by a Volkswagen van that was so altered that the guys from Pimp My Ride would have been proud of it. I didn't know what to expect, especially since this isn't a scene that I'm really familiar with. I honestly thought, at that point, that I made a big mistake dragging my friends to this event.
However, all those preconceived notions were immediately thrown out the window when my eyes were greeted to the sight of a boxing ring where two guys were slugging the living crap out of each other. I was intrigued, so I moved closer. After I reached for a beer in my friend's bag, I suddenly became more into the event, becoming more thrilled as each punch landed. After this bout, I looked around and was amazed by the environment. Plenty of people all around of different backgrounds and ethnicities, a huge pyrotechnic set up in the far corner, a huge stage on the left for the band, and a blazing bonfire in the back. This was awesome!
My attention immediately focused on the ring yet again when a semi-attractive woman and her alleged sister or friend engaged in a wrestling match. At first, the match was boring because they would pull their hair and immediately both would end up on the mat. But then, the fight got better. At the start, these two girls were playful with one another, but now they are turning into bitter enemies. The hair tugging was more intense, there was real anger in each of their faces, more pushing and shoving, and then...the kicking started. Oh, yes! This was such a beautiful sight.
More of these types of matches went on and time definitely flew by. Most of the matches involving the men were entertaining, but some of them were just way too drunk to fight. For example, Fu Man Chu vs. Smitty was a great match to watch, but Smitty was way too drunk and everytime he would throw a punch, he would be falling soon thereafter. Fu Man Chu did get some good hits in there since Smitty was bleeding for most of the time. Another was the battle of the Big Black Guys, where the guy that belonged to the East Bay Rats was clearly drunk out of his mind to fight. They did give it a good go, but both of them were too tired and drunk to continue.
The girl fights were definitely the highlight of the evening because, let's face it, they're more entertaining to watch! DKNY vs. Whitie was a good one, with DKNY (a rather large African-American woman) got some good hooks and jabs against Whitie. However, despite the mismatch, Whitie stood her ground and fought DKNY hard. Another match was the Asian Girl with the Pink Streaks vs. Girl with Red Shirt. Asian Girl landed some great punches on Red's head and torsoe, and vice versa. Definitely the highlight match of the night, with Asian girl winning the bout.
While all these matches were unfolding, bands would play on the sidestage. Two punk bands played but were largely ignored by the crowd because they sucked. However, the Extra Action Marching Band stole the entire event. This group consisted of a full on marching band and they sounded fabulous, especially since their tunes were accompanied by people beating the crap out of one another. Then, the cheerleader strippers, which consisted of two flat chested women and one man with a thong performed cheers for the crowd while Extra Action were playing. It was fantastic! However, the dude with the thong was just way too disgusting to look at. Grotesque!
Overall, a memorable night. One of the most entertaining and awesome spectacles to date!
Beer Rating: 1 Beer
Pyrotechnics?
A bonfire in the back from a tin can?
Bikers?
Drunk men and women of various ages, styles, and degree of attractiveness?
Full on marching band complete with cheerleader strippers?
A 24 pack of Sierra and assorted Bass and Stella's at hand?
And a boxing ring in the middle where there are two girls wrestling each other with their bare hands?
All this for $5? Either I was in a real-life Fight Club or the bible got hell all wrong.
Welcome to the spectacle that is the East Bay Rats Fight Party & Carnival. This thing was probably the weirdest and most obscure thing I have ever seen. Yet, it was probably the most surreal and one of the most memorable nights I've had in a while.
As my friends and I were walking towards the warehouse, we can hear the loud sounds of engines, explosions, and the roar of the crowd from the inside. When we reached the entrance, a whole line of motorcycles were outside and was accompanied by a Volkswagen van that was so altered that the guys from Pimp My Ride would have been proud of it. I didn't know what to expect, especially since this isn't a scene that I'm really familiar with. I honestly thought, at that point, that I made a big mistake dragging my friends to this event.
However, all those preconceived notions were immediately thrown out the window when my eyes were greeted to the sight of a boxing ring where two guys were slugging the living crap out of each other. I was intrigued, so I moved closer. After I reached for a beer in my friend's bag, I suddenly became more into the event, becoming more thrilled as each punch landed. After this bout, I looked around and was amazed by the environment. Plenty of people all around of different backgrounds and ethnicities, a huge pyrotechnic set up in the far corner, a huge stage on the left for the band, and a blazing bonfire in the back. This was awesome!
My attention immediately focused on the ring yet again when a semi-attractive woman and her alleged sister or friend engaged in a wrestling match. At first, the match was boring because they would pull their hair and immediately both would end up on the mat. But then, the fight got better. At the start, these two girls were playful with one another, but now they are turning into bitter enemies. The hair tugging was more intense, there was real anger in each of their faces, more pushing and shoving, and then...the kicking started. Oh, yes! This was such a beautiful sight.
More of these types of matches went on and time definitely flew by. Most of the matches involving the men were entertaining, but some of them were just way too drunk to fight. For example, Fu Man Chu vs. Smitty was a great match to watch, but Smitty was way too drunk and everytime he would throw a punch, he would be falling soon thereafter. Fu Man Chu did get some good hits in there since Smitty was bleeding for most of the time. Another was the battle of the Big Black Guys, where the guy that belonged to the East Bay Rats was clearly drunk out of his mind to fight. They did give it a good go, but both of them were too tired and drunk to continue.
The girl fights were definitely the highlight of the evening because, let's face it, they're more entertaining to watch! DKNY vs. Whitie was a good one, with DKNY (a rather large African-American woman) got some good hooks and jabs against Whitie. However, despite the mismatch, Whitie stood her ground and fought DKNY hard. Another match was the Asian Girl with the Pink Streaks vs. Girl with Red Shirt. Asian Girl landed some great punches on Red's head and torsoe, and vice versa. Definitely the highlight match of the night, with Asian girl winning the bout.
While all these matches were unfolding, bands would play on the sidestage. Two punk bands played but were largely ignored by the crowd because they sucked. However, the Extra Action Marching Band stole the entire event. This group consisted of a full on marching band and they sounded fabulous, especially since their tunes were accompanied by people beating the crap out of one another. Then, the cheerleader strippers, which consisted of two flat chested women and one man with a thong performed cheers for the crowd while Extra Action were playing. It was fantastic! However, the dude with the thong was just way too disgusting to look at. Grotesque!
Overall, a memorable night. One of the most entertaining and awesome spectacles to date!
Beer Rating: 1 Beer
26 January 2005
The French Kicks (Bottom of the Hill, 22 January 2005)
It was a chilly Saturday evening in San Francisco as I arrived at the Bottom of the Hill. Surprisingly, there was a line outside the door full of kids waiting in the hope that the venue wouldn't fill to capacity. The place was packed and I was just checking to see whether I was at Arcade Fire again or something. Because, I would have never thought that the French Kicks would attract this many people.
So, yes, the place was packed. It was as if I was a lost cow in Coalinga - just going through herds upon herds of bodies. As I was trying to find my way through the place, Dios (or Dios Malos) were playing. I only have their EP, the really good Los Arboles EP. They played many songs that were, obviously, not on the EP and I found them rather enjoyable, although a bit repetitive. Repetitive in a sense that Kevin Morales' voice doesn't vary much and their songs blend some classy pop elements without any sort of "adventure" in any of their instrumentation. Probably the most enjoyable part of their set was when some woman decided to take Kevin's beer and splashed its contents on him, partially getting his equipment wet. I stiill don't know what was behind that fiasco, but apparently the band knew who this woman was.
On came the French Kicks a short time later. I couldn't believe how tall Nick was. I mean, I saw therm perform on Later with Carson Daly and knew he was tall, but he seemed taller than life on stage. I was excited to see this band, since their new album, The Trial of the Century, was a dramatic improvement over their debut release, One Time Bells. The band started off with their "hit" off One Time Bells "Wrong Side." This immediately ignited the crowd, and caught my attention. I was surprised that they played this song first, since it is a type of song that a band would save for their encore. The band were into it, with Nick playfully eyeing the crowd.
However, that was probably the best moment of the Kicks' entire set. The songs from that point just all blended together, and the band themselves weren't exactly the most exciting to watch on stage. "Don't Thank Me" was played well, but it failed to really catch my attention. "Oh Fine" did catch my attention, with Nick clapping his hands, but I was so inattentive after the opening drums that I almost fell asleep.
I think this review is really unfair on The Kicks because I really do think that they are an excellent band, with strong tunes. However, I may have to categorize them as one of those bands that you can just listen over and over again on your iPod but yet feel empty when you see them live. Although Nick makes a great effort in trying to entertain (the man looks like Topher Grace to me, but that's my opinion), the band just lacks the "ooomph" that I thought would be forthcoming.
Then again, I love Oasis and they don't do jack shit on stage. Eh, go figure.
Beer Rating: 3.5 Beers
So, yes, the place was packed. It was as if I was a lost cow in Coalinga - just going through herds upon herds of bodies. As I was trying to find my way through the place, Dios (or Dios Malos) were playing. I only have their EP, the really good Los Arboles EP. They played many songs that were, obviously, not on the EP and I found them rather enjoyable, although a bit repetitive. Repetitive in a sense that Kevin Morales' voice doesn't vary much and their songs blend some classy pop elements without any sort of "adventure" in any of their instrumentation. Probably the most enjoyable part of their set was when some woman decided to take Kevin's beer and splashed its contents on him, partially getting his equipment wet. I stiill don't know what was behind that fiasco, but apparently the band knew who this woman was.
On came the French Kicks a short time later. I couldn't believe how tall Nick was. I mean, I saw therm perform on Later with Carson Daly and knew he was tall, but he seemed taller than life on stage. I was excited to see this band, since their new album, The Trial of the Century, was a dramatic improvement over their debut release, One Time Bells. The band started off with their "hit" off One Time Bells "Wrong Side." This immediately ignited the crowd, and caught my attention. I was surprised that they played this song first, since it is a type of song that a band would save for their encore. The band were into it, with Nick playfully eyeing the crowd.
However, that was probably the best moment of the Kicks' entire set. The songs from that point just all blended together, and the band themselves weren't exactly the most exciting to watch on stage. "Don't Thank Me" was played well, but it failed to really catch my attention. "Oh Fine" did catch my attention, with Nick clapping his hands, but I was so inattentive after the opening drums that I almost fell asleep.
I think this review is really unfair on The Kicks because I really do think that they are an excellent band, with strong tunes. However, I may have to categorize them as one of those bands that you can just listen over and over again on your iPod but yet feel empty when you see them live. Although Nick makes a great effort in trying to entertain (the man looks like Topher Grace to me, but that's my opinion), the band just lacks the "ooomph" that I thought would be forthcoming.
Then again, I love Oasis and they don't do jack shit on stage. Eh, go figure.
Beer Rating: 3.5 Beers
22 January 2005
The Bravery (Cafe Du Nord, 21 January 2005)
Let's see:
1. Scenester Hair? Check.
2. Scenester Outfits? Check.
3. Booming guitars ? Check.
4. Accompanied by synths? Check.
5. Stage presence? Check.
6. Good music? Umm...good music? Anywhere?
The checklist above represents how the Bravery were like. All looks, no music. This is the new buzz band of the moment and NME is already heralding this band as the next Franz Ferdinand or the next Killers. Are they kidding me? You know, NME has mislead me many times throughout the years. When they said that Gay Dad back in 1997 was the next Blur, I bit on the bait and was sorely disappointed. Oasis' Be Here Now as the greatest Oasis release? Yeah right! I should have learned my fucking lesson when the NME said the same about the Bravery.
Don't get me wrong. On MP3, the Bravery can churn out the tunes. The incredibly catchy "Honest Mistake," "Unconditional," and "Fearless" are outrageously dancy that I find myself strutting down Market St. on my iPod sometimes. But such songs, for some reason didn't translate well live.
First, the Bravery were hindered by a non-working mic on the first 3 songs of their set. This immediately made me disinterested in their proceeding songs. Although the instrumentation was very strong, not being able to hear the lead singer's voice made the first 3 songs unbearable. In fact, I was yawning uncontrollably during these songs, despite "Unconditional" and "No Brakes" being a part of those songs.
Second, the crowd in the back sucked. There was no energy back there and it showed. Maybe because they were as turned off as I was with the mic being off, but others just didn't give a shit. It seemed like we were suckered by all the hype behind this band and we didn't get anything.
Third, even when the Bravery were audible, the lead singer's voice was just not strong enough for the mediocre PAs of Cafe Du Nord. His voice did not carry and it didn't enable me to be even remotely interested. Even "Honest Mistake," which is my favourite song by the Bravery, was just plain flat. Even their covers were flat. It just never flowed.
Finally, there were many personal circumstances which prevented me from enjoying this show. After seeing The Arcade Fire three times before this show, the Bravery had a lot to live up to. I wanted theatrics, like how Will and Richard would bash each other. I wanted a strong voices like Win. I wanted eye candy with the band like Regine. See what I mean? It was just not fair for the Bravery under the circumstances.
Without the music, your band of pretty boys is just that . . . a bunch of pretty boys. Haven't these guys learned from The Faint? They needed more synths! Hell, more cowbell would be great too!
This was how bad the Bravery were: their openers were better than they were. The first band sounded like how the Bravery would have sounded like if their mic worked. Honestly, I thought it was the Bravery playing when in fact it was only the opener. Even the Peels, which is a female fronted band which is not new wave band unlike the two others, energized the crowd with their strong guitarwork and the lead singer's Karen O. like presence.
Beer Rating: 4.5 Beers
1. Scenester Hair? Check.
2. Scenester Outfits? Check.
3. Booming guitars ? Check.
4. Accompanied by synths? Check.
5. Stage presence? Check.
6. Good music? Umm...good music? Anywhere?
The checklist above represents how the Bravery were like. All looks, no music. This is the new buzz band of the moment and NME is already heralding this band as the next Franz Ferdinand or the next Killers. Are they kidding me? You know, NME has mislead me many times throughout the years. When they said that Gay Dad back in 1997 was the next Blur, I bit on the bait and was sorely disappointed. Oasis' Be Here Now as the greatest Oasis release? Yeah right! I should have learned my fucking lesson when the NME said the same about the Bravery.
Don't get me wrong. On MP3, the Bravery can churn out the tunes. The incredibly catchy "Honest Mistake," "Unconditional," and "Fearless" are outrageously dancy that I find myself strutting down Market St. on my iPod sometimes. But such songs, for some reason didn't translate well live.
First, the Bravery were hindered by a non-working mic on the first 3 songs of their set. This immediately made me disinterested in their proceeding songs. Although the instrumentation was very strong, not being able to hear the lead singer's voice made the first 3 songs unbearable. In fact, I was yawning uncontrollably during these songs, despite "Unconditional" and "No Brakes" being a part of those songs.
Second, the crowd in the back sucked. There was no energy back there and it showed. Maybe because they were as turned off as I was with the mic being off, but others just didn't give a shit. It seemed like we were suckered by all the hype behind this band and we didn't get anything.
Third, even when the Bravery were audible, the lead singer's voice was just not strong enough for the mediocre PAs of Cafe Du Nord. His voice did not carry and it didn't enable me to be even remotely interested. Even "Honest Mistake," which is my favourite song by the Bravery, was just plain flat. Even their covers were flat. It just never flowed.
Finally, there were many personal circumstances which prevented me from enjoying this show. After seeing The Arcade Fire three times before this show, the Bravery had a lot to live up to. I wanted theatrics, like how Will and Richard would bash each other. I wanted a strong voices like Win. I wanted eye candy with the band like Regine. See what I mean? It was just not fair for the Bravery under the circumstances.
Without the music, your band of pretty boys is just that . . . a bunch of pretty boys. Haven't these guys learned from The Faint? They needed more synths! Hell, more cowbell would be great too!
This was how bad the Bravery were: their openers were better than they were. The first band sounded like how the Bravery would have sounded like if their mic worked. Honestly, I thought it was the Bravery playing when in fact it was only the opener. Even the Peels, which is a female fronted band which is not new wave band unlike the two others, energized the crowd with their strong guitarwork and the lead singer's Karen O. like presence.
Beer Rating: 4.5 Beers
18 January 2005
The Arcade Fire (The Troubadour, Los Angeles, 16 January 2005 [1st Show])
What a crazed, maniacal fan am I. After seeing Arcade Fire for two straight nights at the GAMH, and missing their third night there due to a trip to L.A. that weekend, I decided to shell out the bucks and see them (again) in L.A. This time, the venue was the Troubadour and I went to see the Arcade Fire play their early show on Sunday night. As you may already know, Arcade Fire had a two day, three show residency at the famed Troubadour, with them playing two shows on Sunday: a 6:30pm matinee and a 9:30pm prime time show.
Opening bands Tyco B and Final Fantasy once again joined the Arcade Fire on this part of the tour. The schedule was tight, so each opener was relegated to a set amount of time (30 minutes max). At around 7pm, members of the Arcade Fire started to enter the venue. At one point, during a brief pause in the Final Fantasy set, I yelled out, "Hey Win!" and Win looked around to see who it was. I raised my beer to assert my presence, he looked at me weird, but nonetheless waved hello. Yeah, I'm a freak. My girlfriend thought so at least.
At 7:45pm, Arcade Fire came on. Unlike their San Francisco shows, where they opened with "Wake Up" and "Laika," they instead opened up with "Tunnels" and, I believe, "Crown of Love." The set was shorter because of the time constraints, with standard setlist songs like "In the Backseat" and the Talking Heads cover of "This is the Place" missing from the setlist. Regardless, core favourites of mine like, "Power Out" and "No Cars Go" were present. Win called the early crowd the "polite crowd," since the night before, the L.A. crowd was really loud and active.
In the middle of the set, Win invited the singer of Tyco B on stage for them to perform "Cars and Phones," which is a demo performed by the Arcade Fire when the Tyco B singer was part of the band. Win said, "the San Francisco crowd asked for this song, so after a couple of days of rehearsing it, here it is." Apparently, this song is available on some P2P sites, but I have yet to hear the demo version. However, this live version is absolutely amazing and is very worthy of being an A-side in any upcoming Arcade Fire release. It's one of the softer songs, with heavy strings and acoustic guitar accompanying it.
The stage antics were again present here, with Richard and Will knocking the crap out of anything solid during "Laika," which was the last song of the main set. The band came on to perform one encore, "Wake Up," which was, yet again spine chilling from beginning to end.
After the short set, the crowd obviously wanted more! Talk was abundant amongst the audience on how they could sneak into the sold out second show. Others were saying that this was the "best show ever!" Nonetheless, the crowd was not disappointed and I'm absolutely certain that when Arcade Fire come around L.A. again, these same people will be there and they will take a few friends along to witness the glory. I brought my girlfriend along and thought that Arcade Fire put on an amazing show, so much so that she is probably listening to their album right now as I type.
Beer Rating: 0.5 Beers (just because it's shorter and it's in L.A.)
Opening bands Tyco B and Final Fantasy once again joined the Arcade Fire on this part of the tour. The schedule was tight, so each opener was relegated to a set amount of time (30 minutes max). At around 7pm, members of the Arcade Fire started to enter the venue. At one point, during a brief pause in the Final Fantasy set, I yelled out, "Hey Win!" and Win looked around to see who it was. I raised my beer to assert my presence, he looked at me weird, but nonetheless waved hello. Yeah, I'm a freak. My girlfriend thought so at least.
At 7:45pm, Arcade Fire came on. Unlike their San Francisco shows, where they opened with "Wake Up" and "Laika," they instead opened up with "Tunnels" and, I believe, "Crown of Love." The set was shorter because of the time constraints, with standard setlist songs like "In the Backseat" and the Talking Heads cover of "This is the Place" missing from the setlist. Regardless, core favourites of mine like, "Power Out" and "No Cars Go" were present. Win called the early crowd the "polite crowd," since the night before, the L.A. crowd was really loud and active.
In the middle of the set, Win invited the singer of Tyco B on stage for them to perform "Cars and Phones," which is a demo performed by the Arcade Fire when the Tyco B singer was part of the band. Win said, "the San Francisco crowd asked for this song, so after a couple of days of rehearsing it, here it is." Apparently, this song is available on some P2P sites, but I have yet to hear the demo version. However, this live version is absolutely amazing and is very worthy of being an A-side in any upcoming Arcade Fire release. It's one of the softer songs, with heavy strings and acoustic guitar accompanying it.
The stage antics were again present here, with Richard and Will knocking the crap out of anything solid during "Laika," which was the last song of the main set. The band came on to perform one encore, "Wake Up," which was, yet again spine chilling from beginning to end.
After the short set, the crowd obviously wanted more! Talk was abundant amongst the audience on how they could sneak into the sold out second show. Others were saying that this was the "best show ever!" Nonetheless, the crowd was not disappointed and I'm absolutely certain that when Arcade Fire come around L.A. again, these same people will be there and they will take a few friends along to witness the glory. I brought my girlfriend along and thought that Arcade Fire put on an amazing show, so much so that she is probably listening to their album right now as I type.
Beer Rating: 0.5 Beers (just because it's shorter and it's in L.A.)
14 January 2005
The Arcade Fire (GAMH, 13 January 2005)
Remeber how things that comes in two's are good? Wouldn't it be better if things came in three's? Such as three strikes against the opposing team? Three day weekends? Three wishes from a genie in a bottle (preferably not Christina Aguilera . . . well, maybe)? How does seeing three Arcade Fire shows in a month sound? Too good to be true? Well, add seeing them three times to the list.
Like my previous post, I thought that seeing them for the third time, the recent two in consecutive nights, will erode my interest and "awe" in them. And at the very beginning of their set during their second night at GAMH, I thought that albeit for only a brief moment. My friends and I secured a really good spot this time, front and center, to see the band in all their glory. Unfortunately, that spot had its consequences: we had to stand there and perish as opening bands Tyco B and Final Fantasy did their bit. Granted, I came in late (as usual) and saw Final Fantasy, but his schtick immediately wore off. This is especially the case when he did his avante garde bit with the yelling into the violin and even more random fits of shouting. Although Owen is very talented, I think his role is better suited as Arcade Fire's second violinist.
Arcade Fire came on much quicker this time, since their set-up is practically rooted at the GAMH stage for the next three nights. There really is no incentive to disassemble and re-arrange from the previous night. Like last night's show, the band came on with the same stage outfits and opened with the same two songs, "Wake Up" and "Neighborhood #2 (Laika)."
Although the same two songs came on, they were noticeably different from the night before. First, "Wake Up" didn't seem so great the third time around. Although it is still my favourite song from the album Funeral, the in unison shout of the band didn't seem to be that strong tonight. Maybe it was where I was standing, where the speakers were weirdly aligned, or maybe it's because of my "been there, done that" attitude at that point, or, and this is the most logical reason, it may be because of Win's initial guitar problems, but it just wasn't the same. However, that feeling quickly disappeared towards the last and final group shout. The shivers came back and it was more intense than ever. The below 5'7" crowd I was around was jumping and dancing at the last minutes of the song. The crowd was into it, and then I became into it.
"Neighborhood #2 (Laika)" [pictured above] was also different because, apparently, someone stole Will's blue helmet. Win then threatened the crowd, albeit jokingly, that if he sees the helmet on eBay, he will kill the person! The absence of the helmet really changed the dynamics of the song because, usually, Will goes ape shit with that helmet on and does really bad things. Like smash walls! I was looking forward to him smashing more walls, but this time no such smashing was to be found. However, Richard did climb up the speaker and ignited the crowd with his helmet bashing. Will proceeded to do other things that are even more electrifying compared to last nights. At this point, I was thinking, "Damn it! I LOVE THIS BAND!!"
"No Cars Go" was the next song. At this point, Win was urging the crowd to stop acting as if the GAMH was a museum. Although the GAMH did look like a museum, I really didn't understand this remark because it seemed like the crowd was even more into it tonight compared to the night before. Another fantastic rendition of this Arcade Fire staple. Will was his usual crazy self, playing the guitar wildly and marching back and forth throughout the stage. At one point, Win had enough of his shenanigans and Win took the mic cord and wrapped it around the neck of his brother and proceeded to strangle him. We were in shock! But it made for great entertainment. Also, Win was slightly injured in this set because he hit his head on the mic. This produced some bloodshed and that's probably why he choked his brother. It was pure foreshadowing because more antics involving bodily harm were to come up.
Regine was as dazzling as ever when she was playing the steel drums during Arcade Fire's rendition of the Talking Head's "This is the Place" [see above]. She was playing with the crowd the entire time, raising her arms and playing "peek-a-boo." She's so cute! Why must she be all chummy with Win. Yeah, the guy's her husband. And they are madly in love as evidenced by her signing a friend's EP (my friend's name is Edwin, and she wrote edWIN and placed smiley faces and hears around WIN - argh!!!). I'm happy for them . . . I guess. But I digress.
Not sure what was next, but maybe it was "Haiti."
As the band powered through the rest of the album, including my new favourite renditions of "Rebellion (Lies)" and "Crown of Love," the band came back for their first encore. Like last night, the flash lights were back as, "Neighborhood #3 (Power Out)" came on. At this point, Win said, to some extent, that this song will end the museum-ness of the venue. Surely, it did. Everyone was having an epileptic seizure it seems like, with their bodies shaking, knees buckling, and facial expressions that are just plain weird. Yeah, I was one of them. Win was really into it that he stood in front of the drums and climbed on it. The man almost fell over, nearly injured the drummer, and severely injured Bessy the Cow.
The last song played was "Backseat." As the song was ending, the group began their moaning all at once bit, then in funeral procession like fashion, marched off stage carrying a tambourine. A fitting ending to a fantastic show.
A fucking amazing show! So much show that I bought tickets for their L.A. gig on Sunday.
By the way, the awesome pictures above were taken by Sara. Thanks Sara!
Beer Rating: 0.0000000000000001 Beers
Like my previous post, I thought that seeing them for the third time, the recent two in consecutive nights, will erode my interest and "awe" in them. And at the very beginning of their set during their second night at GAMH, I thought that albeit for only a brief moment. My friends and I secured a really good spot this time, front and center, to see the band in all their glory. Unfortunately, that spot had its consequences: we had to stand there and perish as opening bands Tyco B and Final Fantasy did their bit. Granted, I came in late (as usual) and saw Final Fantasy, but his schtick immediately wore off. This is especially the case when he did his avante garde bit with the yelling into the violin and even more random fits of shouting. Although Owen is very talented, I think his role is better suited as Arcade Fire's second violinist.
Arcade Fire came on much quicker this time, since their set-up is practically rooted at the GAMH stage for the next three nights. There really is no incentive to disassemble and re-arrange from the previous night. Like last night's show, the band came on with the same stage outfits and opened with the same two songs, "Wake Up" and "Neighborhood #2 (Laika)."
Although the same two songs came on, they were noticeably different from the night before. First, "Wake Up" didn't seem so great the third time around. Although it is still my favourite song from the album Funeral, the in unison shout of the band didn't seem to be that strong tonight. Maybe it was where I was standing, where the speakers were weirdly aligned, or maybe it's because of my "been there, done that" attitude at that point, or, and this is the most logical reason, it may be because of Win's initial guitar problems, but it just wasn't the same. However, that feeling quickly disappeared towards the last and final group shout. The shivers came back and it was more intense than ever. The below 5'7" crowd I was around was jumping and dancing at the last minutes of the song. The crowd was into it, and then I became into it.
"Neighborhood #2 (Laika)" [pictured above] was also different because, apparently, someone stole Will's blue helmet. Win then threatened the crowd, albeit jokingly, that if he sees the helmet on eBay, he will kill the person! The absence of the helmet really changed the dynamics of the song because, usually, Will goes ape shit with that helmet on and does really bad things. Like smash walls! I was looking forward to him smashing more walls, but this time no such smashing was to be found. However, Richard did climb up the speaker and ignited the crowd with his helmet bashing. Will proceeded to do other things that are even more electrifying compared to last nights. At this point, I was thinking, "Damn it! I LOVE THIS BAND!!"
"No Cars Go" was the next song. At this point, Win was urging the crowd to stop acting as if the GAMH was a museum. Although the GAMH did look like a museum, I really didn't understand this remark because it seemed like the crowd was even more into it tonight compared to the night before. Another fantastic rendition of this Arcade Fire staple. Will was his usual crazy self, playing the guitar wildly and marching back and forth throughout the stage. At one point, Win had enough of his shenanigans and Win took the mic cord and wrapped it around the neck of his brother and proceeded to strangle him. We were in shock! But it made for great entertainment. Also, Win was slightly injured in this set because he hit his head on the mic. This produced some bloodshed and that's probably why he choked his brother. It was pure foreshadowing because more antics involving bodily harm were to come up.
Regine was as dazzling as ever when she was playing the steel drums during Arcade Fire's rendition of the Talking Head's "This is the Place" [see above]. She was playing with the crowd the entire time, raising her arms and playing "peek-a-boo." She's so cute! Why must she be all chummy with Win. Yeah, the guy's her husband. And they are madly in love as evidenced by her signing a friend's EP (my friend's name is Edwin, and she wrote edWIN and placed smiley faces and hears around WIN - argh!!!). I'm happy for them . . . I guess. But I digress.
Not sure what was next, but maybe it was "Haiti."
As the band powered through the rest of the album, including my new favourite renditions of "Rebellion (Lies)" and "Crown of Love," the band came back for their first encore. Like last night, the flash lights were back as, "Neighborhood #3 (Power Out)" came on. At this point, Win said, to some extent, that this song will end the museum-ness of the venue. Surely, it did. Everyone was having an epileptic seizure it seems like, with their bodies shaking, knees buckling, and facial expressions that are just plain weird. Yeah, I was one of them. Win was really into it that he stood in front of the drums and climbed on it. The man almost fell over, nearly injured the drummer, and severely injured Bessy the Cow.
The last song played was "Backseat." As the song was ending, the group began their moaning all at once bit, then in funeral procession like fashion, marched off stage carrying a tambourine. A fitting ending to a fantastic show.
A fucking amazing show! So much show that I bought tickets for their L.A. gig on Sunday.
By the way, the awesome pictures above were taken by Sara. Thanks Sara!
Beer Rating: 0.0000000000000001 Beers
13 January 2005
The Arcade Fire (GAMH, 12 January 2005)
Few things in life are good the second time around. A second helping of your favourite dish, a second paycheck, and a second chance. Well, add a second time seeing The Arcade Fire to that favourite lists of seconds. After raving about them in their first San Francisco show at the Bottom of the Hill back in December, well, be prepared for another rave review of their first of three shows at the Great American. In fact, I'm so excited to write about what transpired in their first show at GAMH, that I'm literally going to pee in my pants in 5 minutes. Yeah kids, drinking and then having a spot that is impossible to leave is not good for the bladder.
There were several similiarities from their December show with this one. First, everyone's outfit was the same. Regine wore her trademark black dress with white strap and accompanying red stockings and gloves (more like an arm warmer), the female violinist (forgot ther name) wore the same dress, and Win wore the same outfit (suit jacket and dress shirt). The props were the same, with the cow near the drums (I like to call her Bessy) and the reindeer (which Winn said they got from Wal-Mart who is their secret corporate sponsor). And they played the same songs.
Also, the first two songs they started with were the same, with "Wake Up" and "Neighborhood #2 (Laika)." Like the December shows, these were just outstanding and they were excellent starting songs because it really pumped up the crowd. I literally got shivers when they shouted in unison during "Wake Up." It's just sheer bliss. During "Laika," Richard (aka Napoleon Dynamite) and Will put the motorcycle helmets again and were banging the living shit out of anything solid. Will even got up on the speaker and made several visible dents on the wall on the upper right side of the stage. An act so brilliant and moving that I wanted to go up there and smash things up myself.
Let me digress here about Will: he has to be my favorite Arcade Fire member next to Richard. He is just an absolute crazy fool! You don't know what he'll be up to. And he bangs the drums like a mad man. At one point, he had this look on his face while he was banging the drum on "Laika" like this crazed murderer constantly stabbing his helpless victim. Yeah, it was that intense.
While some things were the same, others were noticeably different: (1) There was one reindeer missing. in their props; (2) They had the album cover hands taped on the pillars; (3) they have an additional violin player, Owen from Final Fantasy; (4) the songs were played in a different order; and (5) the length and sound of their songs were more epic. I think the reason for (5) is that the GAMH's sound system is vastly superior to Bottom of the HIll's.
I am just amazed at the Arcade Fire's intensity throughout their show. I don't know how they do it. They seemed a lot fresher for this show than their December one, probably because of their much needed break (even though Win was sidelined for a couple of weeks with illness). Of course, their intensity is . . . um . . . intensified by the much bigger stage of the GAMH. Every song, from the start to the finish, was just downright amazing. From all 10 tracks of the album, to "No Cars Go," to their newish song called "Burning Bridges, Breaking Hearts," and to their outstanding cover of Talking Head's "This Must Be the Place," every bit was played with so much intensity and brilliance that one has to wonder if these guys are like manna from heaven. Just the abundance of layers in their music - the percussion, guitars, strings, and the occasional accordion and xylophone - made each song stand out on their own. All they needed was a cowbell damn it!
OK, my bladder is about to burst, so I have to stop here. Just to let you know, I'm going tomorrow night and I can't fuckin' wait! Also, I brought some friends with me who saw them for the first time and I'm glad to hear from all of them that they enjoyed the show very much. So much so that they were asking me for tickets!
Once again, Arcade Fire, "this Bud's for you!"
Beer Rating: 0 Beers
There were several similiarities from their December show with this one. First, everyone's outfit was the same. Regine wore her trademark black dress with white strap and accompanying red stockings and gloves (more like an arm warmer), the female violinist (forgot ther name) wore the same dress, and Win wore the same outfit (suit jacket and dress shirt). The props were the same, with the cow near the drums (I like to call her Bessy) and the reindeer (which Winn said they got from Wal-Mart who is their secret corporate sponsor). And they played the same songs.
Also, the first two songs they started with were the same, with "Wake Up" and "Neighborhood #2 (Laika)." Like the December shows, these were just outstanding and they were excellent starting songs because it really pumped up the crowd. I literally got shivers when they shouted in unison during "Wake Up." It's just sheer bliss. During "Laika," Richard (aka Napoleon Dynamite) and Will put the motorcycle helmets again and were banging the living shit out of anything solid. Will even got up on the speaker and made several visible dents on the wall on the upper right side of the stage. An act so brilliant and moving that I wanted to go up there and smash things up myself.
Let me digress here about Will: he has to be my favorite Arcade Fire member next to Richard. He is just an absolute crazy fool! You don't know what he'll be up to. And he bangs the drums like a mad man. At one point, he had this look on his face while he was banging the drum on "Laika" like this crazed murderer constantly stabbing his helpless victim. Yeah, it was that intense.
While some things were the same, others were noticeably different: (1) There was one reindeer missing. in their props; (2) They had the album cover hands taped on the pillars; (3) they have an additional violin player, Owen from Final Fantasy; (4) the songs were played in a different order; and (5) the length and sound of their songs were more epic. I think the reason for (5) is that the GAMH's sound system is vastly superior to Bottom of the HIll's.
I am just amazed at the Arcade Fire's intensity throughout their show. I don't know how they do it. They seemed a lot fresher for this show than their December one, probably because of their much needed break (even though Win was sidelined for a couple of weeks with illness). Of course, their intensity is . . . um . . . intensified by the much bigger stage of the GAMH. Every song, from the start to the finish, was just downright amazing. From all 10 tracks of the album, to "No Cars Go," to their newish song called "Burning Bridges, Breaking Hearts," and to their outstanding cover of Talking Head's "This Must Be the Place," every bit was played with so much intensity and brilliance that one has to wonder if these guys are like manna from heaven. Just the abundance of layers in their music - the percussion, guitars, strings, and the occasional accordion and xylophone - made each song stand out on their own. All they needed was a cowbell damn it!
OK, my bladder is about to burst, so I have to stop here. Just to let you know, I'm going tomorrow night and I can't fuckin' wait! Also, I brought some friends with me who saw them for the first time and I'm glad to hear from all of them that they enjoyed the show very much. So much so that they were asking me for tickets!
Once again, Arcade Fire, "this Bud's for you!"
Beer Rating: 0 Beers
10 January 2005
Communiqué (Bottom of the Hill, 9 January 2005)
Minus a handful of exceptions, local bands seem to disappoint me. I guess it all started in high school in San Diego when this band called FITH (i.e. Fucked In The Head - dumb ass name!)played at the high school talent show. Consisting of high schoolers and some recent graduates, the band was a direct knock off of Nirvana and Pearl Jam. Unfortunately, they weren't as good as those bands, and they were just downright dreadful. I gave local bands another try throughout the years, all with utter disappointment and disgust.
So, when Jason told me to check out Communiqué, a local band, my skepticism immediately started. I was hesitant to see this band because: (1) they were local and (2) they opened up for a handful of major acts that came to San Francisco and I missed all their appearances on purpose because of (1). Since I had nothing better to do that night other than watch Desparate Housewives and Jason guaranteed to me that they were going to be good, I bought my ticket and checked them out.
Before going to the show, I bought the band's EP, A Crescent Moon, and gave it a listen. I was impressed by their sound, since it was very melodic indie rock. Some of the tracks reminded me of The Killers, solely because of the accompanying keyboards in some of the tracks.
Jason's excitement for this show was very amusing, insisting that we go to the front. I acquiesced and was not disappointed. I don't know the titles to most of the songs they did, but the ones I did know, such as "Evaporate," were surprisingly good. The band weren't "spring chickens" by any means. They were tight in their song playing, provided a really hyper stage presence, and the lead singer would sometimes place his left arm on his back - sort of like how Brett Anderson of Suede would do. The chords were really catchy, although the lyrics were a bit simplistic. Lyrics really never bothered me, since I'm more of a catchy tunes person myself. They were rockin' on all their songs, including their encore. The crowd were hopping and some were dancing maniacally. They definitely wanted more after their encore (although a majority of those were their friends). Needless to say, I wanted to see more of what these guys can do.
Sure they can play a crowd, but can they headline? With one album and one EP under their belts, they definitely need some more material to provide a more meaningful headlining act (their set lasted 45 minutes). Based on what I saw, they could be a fantastic opening band for any indie show. This headliner show they had proved that they can headline and have the music to prove it.
A great show. One of the surprising ones of the year thus far.
Beer Rating: 2.5 Beers
So, when Jason told me to check out Communiqué, a local band, my skepticism immediately started. I was hesitant to see this band because: (1) they were local and (2) they opened up for a handful of major acts that came to San Francisco and I missed all their appearances on purpose because of (1). Since I had nothing better to do that night other than watch Desparate Housewives and Jason guaranteed to me that they were going to be good, I bought my ticket and checked them out.
Before going to the show, I bought the band's EP, A Crescent Moon, and gave it a listen. I was impressed by their sound, since it was very melodic indie rock. Some of the tracks reminded me of The Killers, solely because of the accompanying keyboards in some of the tracks.
Jason's excitement for this show was very amusing, insisting that we go to the front. I acquiesced and was not disappointed. I don't know the titles to most of the songs they did, but the ones I did know, such as "Evaporate," were surprisingly good. The band weren't "spring chickens" by any means. They were tight in their song playing, provided a really hyper stage presence, and the lead singer would sometimes place his left arm on his back - sort of like how Brett Anderson of Suede would do. The chords were really catchy, although the lyrics were a bit simplistic. Lyrics really never bothered me, since I'm more of a catchy tunes person myself. They were rockin' on all their songs, including their encore. The crowd were hopping and some were dancing maniacally. They definitely wanted more after their encore (although a majority of those were their friends). Needless to say, I wanted to see more of what these guys can do.
Sure they can play a crowd, but can they headline? With one album and one EP under their belts, they definitely need some more material to provide a more meaningful headlining act (their set lasted 45 minutes). Based on what I saw, they could be a fantastic opening band for any indie show. This headliner show they had proved that they can headline and have the music to prove it.
A great show. One of the surprising ones of the year thus far.
Beer Rating: 2.5 Beers
07 January 2005
Earlimart (Popscene, 6 January 2005)
You know that Napoleon Dynamite movie? Well, it was on last night on the telly at 330 Ritch and I couldn't take my eyes off of it. Granted, the audio is on mute but the sheer sight of Mr. Dynamite himself is so hilarious! I can't get over how much he looks like Richard Parry of the Arcade Fire. I just had to laugh as I was watching the movie.
Then there's this stupid bimbo and her boyfriend dancing as if this was some sort of freak show. Me and my friend Minh-Lan were speaking in Spanish (really badly by the way) making fun of them. "Le estupide en su izquierda bailar como una slut!" Yeah.
Popscene crowd was kinda old. The young kids must be out and about in thier suburban homes in L.A.
Oh, yeah. Earlimart. Almost forgot about them. Just goes to show how much I wasn't into them during this show, which is a shame since their latest release is pretty good. You know how there are those certain bands that are just really good on CD but not so good live? Well, that's Earlimart. They were fun to watch at the Fillmore, but 33o Ritch doesn't give bands that much justice. I haven't seen one show at 330 Ritch that's even worth a 3 beer rating. Even Ash, a band that I absolutely love to watch, was not worth a 3 beer rating at 330 Ritch.
With that in mind, my apologies Earlimart. It didn't seem like you guys were having that much fun on stage anyways.
Beer Rating: 4 Beers
Then there's this stupid bimbo and her boyfriend dancing as if this was some sort of freak show. Me and my friend Minh-Lan were speaking in Spanish (really badly by the way) making fun of them. "Le estupide en su izquierda bailar como una slut!" Yeah.
Popscene crowd was kinda old. The young kids must be out and about in thier suburban homes in L.A.
Oh, yeah. Earlimart. Almost forgot about them. Just goes to show how much I wasn't into them during this show, which is a shame since their latest release is pretty good. You know how there are those certain bands that are just really good on CD but not so good live? Well, that's Earlimart. They were fun to watch at the Fillmore, but 33o Ritch doesn't give bands that much justice. I haven't seen one show at 330 Ritch that's even worth a 3 beer rating. Even Ash, a band that I absolutely love to watch, was not worth a 3 beer rating at 330 Ritch.
With that in mind, my apologies Earlimart. It didn't seem like you guys were having that much fun on stage anyways.
Beer Rating: 4 Beers
06 January 2005
New Music Calendar
Yeah, as you can see, there's this monstrosity of a music calendar above the posts. I like the format better than the old list view.
Now, you can click on an event and a new pop-up window will appear providing more details of the show (time, location, address, ticket prices) and provides you links to where you need them (band's official website, venue's official website, ticketing website).
Scroll and click people.
Hope you like the improvement. If you don't, then suck it!
Now, you can click on an event and a new pop-up window will appear providing more details of the show (time, location, address, ticket prices) and provides you links to where you need them (band's official website, venue's official website, ticketing website).
Scroll and click people.
Hope you like the improvement. If you don't, then suck it!
22 December 2004
Top Twelve Best Albums of 2004
If 2004 was an eventful year in shows, it is only fitting that 2004 was also an eventful year in album releases. Below, you will find my top twelve favorite albums of 2004. I narrowed it down to 12 from 50, so there are some really noteworthy albums missing from this lot.
12. Ratatat - Ratatat
I was never a big fan of the whole "instrumental only" type music until just a couple of years ago with some Mogwai I heard. Add Ratatat to the pack. These two New Yorkers, and it's just two of them, make excellent sounds that you can dance to or just sit back and relax. Live, these guys are great and it's amazing how much noise they can emit out of just two guitars and some synths. They also make a great Mix CD.
11. Kings of Convenience - Riot On An Empty Street
These guys are the biggest pussies you will ever meet. Their songs are soft as hell, their video for "I'd Rather Dance With You" features little girls in tutus, and they don't look that intimidating either. However, they do make some of the best mood music around. Erlend Øye's soft voice accompanied by the simple guitars make this a KOC classic.
10. The Go! Team - Thunder, Lightning, Strike
I only recently came upon this album and I have to admit, I love this excellent album. Music is really dancey, and pretty hard to describe (also, it's 12:22am right now). Bust this album out on your next scenester party and even the scenester will wonder who the hell these guys are. You are more scenester than the scenesters! Is that possible?
9. Keane - Hopes and Fears
If The Go! Team album above makes you a scenester among scenesters, this album will relegate you with the lesser, more laid back Coldplay crowd. Don't tell Keane fans though that Keane sounds like Coldplay and vice versa. Because they will kill you! It's amazing what a band can do without a guitar. The piano arrangements are great and it's just good music to listen to. Yeah, they sound like Coldplay. And I'm not ashamed to admit that I like this CD!
8. Annie - Anniemal
Thank you Pitchforkmedia for recommending me this album! At first, I thought she was all electroclash but when I listened to this album, it resembled pop at it's finest! Has that Kylie Minogue vibe without the sluttiness included. "Heartbeat" is one of the greatest songs of 2004 and it brings me back to my junior high days. Annie should do a mall tour ala Tiffany. That would rock!
7. Le Tigre - This Island
"I'm So Excited!" That's the best way to describe this album. I'm just excited everytime I hear this song. That's why I love this album.
6. Interpol - Antics
It was hard to imagine how Interpol could improve on their debut album. Well, this album is not quite as good as their first, but is still a great one. This album went far above my expectations, with Interpol doing what they do best - sounding like Joy Division with a little more edge. "Slow Hands" definitely has that nice sound that makes me want to kick that damn hippy standing in front of me at this show. Damn that bitch! I'm going to run her over with my Hummer when I see her.
5. The Faint - Wet From Birth
Although not as good as their previous releases, Wet From Birth continues the Faint tradition of relying heavily on synths and using obscure phallic references in their songs. Definitely dancey, definitely good.
4. Rilo Kiley - More Adventurous
Can there be anything sweeter than Jenny's voice in this album? Although Execution of All Things is a tad bit better, More Adventurous continues where Execution of All Things left off.
3. Ambulance Ltd. - Ambulance Ltd.
There's something inherently simple about this band. That's why they are #3. No hoopla. Just straight up rock that is heavily Britpop influenced. The guitar work is simple, yet astounding. There is not one bad song in this album, and I've listened to it ad nauseum the entire year.
2. Franz Ferdinand - Franz Ferdinand
These guys are just amazing. Although the band is now played out, this album truly stands out from the crowd. In a world where the 80s are trying to make a revival, Franz Ferdinand definitely resurrected it with this new wave style album. "Take Me Out" is the anthem of 2004 in my book. So much so that it is my ringtone. I'm getting sick of the sound, but it's definitely a song I still go crazy for on the dance floor.
1. The Arcade Fire - Funeral
God, is there anything these guys can't do wrong? First, I crowned them as being the best live band this year. Now, I crown them as having the best damn album on the planet. I was listening to this album just a few minutes ago and I still get shivers everytime I hear "Wake Up." Just listening to that song reminds me of their show at the BoH where they opened up with that song and how all the band members were yelling from the top of their lungs the opening line to the song. Damn! I bow down to you Arcade Fire! We are not worthy!
Mirah (924 Gilman, 19 December 2004)
This was a night where we were slated to attend two shows -- Mirah was playing a matinee show in the East Bay and Citizens Here and Abroad were playing later that night in the West Bay. Both shows were at atypical venues; no one in our group had been to Berkeley's 924 Gilman nor SF's 12 Galaxies. After seeing Mirah, however, it seemed proper to end the weekend in Berkeley.
We arrived at Gilman after a much needed detoxification session at the world's best vegan restaurant, Cha Ya. Gilman is an all-ages, non-alcoholic venue that doesn't support racism, homophobia, or music from major labels. Upon entry, we immediately felt the history behind the place that spawned Green Day and Rancid. The other thing we noticed was that we were old, older than everyone else by an average of ten years. It felt like we were at a junior high dance with no booze in the punch. On a side note, Randy fell in love.
The building felt like a converted warehouse. Large electrical contraptions cradled the arched joists on the ceiling, graffiti and stickers lined every vertical surface, and the stage occupied a small corner of the estate. Mirah and her band were selling merch to the side, including old Kool Moe Dee casettes and a kinky sex toy made of bicycle tires.
About fifteen minues upon our arrival, Dear Nora took the stage. She did her entire set in D. No, not in the key of D, but singing the D note throughout, including between-song-banter. We saw her play at Bottom of the Hill a few weeks earlier, and she seemed like she'd be an interesting person to discourse with, but the novelty of the D note wore off after a while. This, along with the lack of alcohol, led us across the street where we happily consumed a couple pitchers in record time.
We returned just as Mirah began her set. She played most of her songs from C'mon Miracle, her latest release, along with a few selections from You Think It's Lke This But It's Really Like This and Advisory Committee. Unfortunately, her set was extremely short. She was limited to playing no more than eight songs due to a sore throat. This illness, however, did not affect her amazing voice -- if anything, it made her sound even sexier, a la Chan Marshall from Cat Power. She ended the set with The Dogs of B.A. without an encore. The young crowd was not dissatisfied, as they were able to make it home by their curfew.
Ian once thought that Mirah was Mariah, and it has become an inside joke amongst us. She is, in fact, the anti-Mariah. She has the sweetest, most unassuming personality and always seems to wear a warm smile. Her soft voice is heard by a select few, but she's just as talented as any proclaimed diva. She'll never do a movie named Glitter, date Eminem (she likes ladies), or appear on MTV. And she's not a skanky ho.
Beer Rating: 3 beers
We arrived at Gilman after a much needed detoxification session at the world's best vegan restaurant, Cha Ya. Gilman is an all-ages, non-alcoholic venue that doesn't support racism, homophobia, or music from major labels. Upon entry, we immediately felt the history behind the place that spawned Green Day and Rancid. The other thing we noticed was that we were old, older than everyone else by an average of ten years. It felt like we were at a junior high dance with no booze in the punch. On a side note, Randy fell in love.
The building felt like a converted warehouse. Large electrical contraptions cradled the arched joists on the ceiling, graffiti and stickers lined every vertical surface, and the stage occupied a small corner of the estate. Mirah and her band were selling merch to the side, including old Kool Moe Dee casettes and a kinky sex toy made of bicycle tires.
About fifteen minues upon our arrival, Dear Nora took the stage. She did her entire set in D. No, not in the key of D, but singing the D note throughout, including between-song-banter. We saw her play at Bottom of the Hill a few weeks earlier, and she seemed like she'd be an interesting person to discourse with, but the novelty of the D note wore off after a while. This, along with the lack of alcohol, led us across the street where we happily consumed a couple pitchers in record time.
We returned just as Mirah began her set. She played most of her songs from C'mon Miracle, her latest release, along with a few selections from You Think It's Lke This But It's Really Like This and Advisory Committee. Unfortunately, her set was extremely short. She was limited to playing no more than eight songs due to a sore throat. This illness, however, did not affect her amazing voice -- if anything, it made her sound even sexier, a la Chan Marshall from Cat Power. She ended the set with The Dogs of B.A. without an encore. The young crowd was not dissatisfied, as they were able to make it home by their curfew.
Ian once thought that Mirah was Mariah, and it has become an inside joke amongst us. She is, in fact, the anti-Mariah. She has the sweetest, most unassuming personality and always seems to wear a warm smile. Her soft voice is heard by a select few, but she's just as talented as any proclaimed diva. She'll never do a movie named Glitter, date Eminem (she likes ladies), or appear on MTV. And she's not a skanky ho.
Beer Rating: 3 beers
20 December 2004
The Best Shows of 2004
2004 has been one of the most memorable years in music going. From tiny venues to large scale festivals, me and my friends have experienced what seemed like a lifetime of great music. Other members of this blog will hopefully post their top "whatever" of 2004, but here's mine.
Show of the Year: The Arcade Fire (Bottom of the Hill, 8 December 2004)
You read about the show in my recent post. To this day, I get excited just thinking about seeing Arcade Fire again in January. My friends are so excited as well that they bought a ton of tickets just so everyone we know can experience the greatness that is The Arcade Fire. These guys are playing three shows here, and three shows in L.A.., and had to move to larger venues in several cities. Do you think Merge Records is not loving this exposure?
Honorable Mention: Le Tigre (Fillmore), The Stills (Independent), Interpol (Warfield), Rilo Kiley (Bimbo's)
Danciest Show: Le Tigre (The Fillmore, 19 November 2004)
Again, you read about how great Le Tigre were in a recent post. I haven't danced so much for a show in a while, and these riot grrrrls did it. They were so dancy that Randy tapped the bottom of his beer in rhythm. If you know Randy, that is a sign of a great show. Their version of "I'm So Excited" is fantastic! So fantastic that after I vomited from my party last Saturday, I immediately got my head out of the trash can and danced to it like crazy. Yeah, that good.
Honorable Mention: Metric (GAMH, 10/18), The Faint (Bimbo's), Franz Ferdinand (Slim's)
Show with the Best Visuals: The Faint (Bimbo's, 10 November 2004)
Two screens full of stunning images, scenester boys from Nebraska, and enough energy to go around the room makes this show one of the best from a visual perspective. Even though many say that that was the only highlight of the show, I thought the music was great as well.
Honorable Mention: Le Tigre (Fillmore), Radiohead (Coachella), Kraftwerk (Coachella)
Surprisingly Good Show: The Cure (SBC Park, 29 August 2004)
Yeah, I know that the Cure are one of those bands that will forever be part of the fabric of music. But I never would have thought that Robert Smith would be that good. I saw them at Coachella and I got bored. Here at SBC Park, they were just downright amazing. Of course, it was the classics that kept me up and eager to listen, but even the new stuff were surprisingly well played. Robert Smith's voice was superb, as if the man never aged.
Honorable Mention: Franz Ferdinand (Slim's), The Stills (Independent), Keane (Bimbo's), Muse (Warfield), Interpol (Warfield), The Libertines (Fillmore), Ted Leo/Fiery Furnaces (BoH), Elefant/Ambulance Ltd. (GAMH), Stellastarr*/The Killers (GAMH)
Worst Show of the Year: Trachtenburg Family Slideshow Players (Slim's, 26 February 2004)
I have to admit, I've always wanted to kick a kid in the head but I've always framed it in a joking way (albeit demented). But this was the first time that I truly wanted to kick a kid in the head. That little girl in the TFSP is just so downright annoying, with her constant yapping to her dad and her lackluster drumming. Yeah, I don't care if she's below 10. I'll still kick her in the head. The songs were amusing to start, but they got downright annoying at the end.
Dishonoarable Mention: Supergrass (Fillmore), Blonde Redhead (Bimbo's), Pinback (Bimbo's), Flaming Lips (Coachella), Death Cab for Cutie (Coachella)
Best Show Because of Something Other than the Band: The Rapture (Fillmore, 15 March 2004) & Franz Ferdinand (Slim's, 20 March 2004)
This was the infamous Rave Magazine party where, with an invite, you were allowed in the venue with an open bar and a free show by the Rapture. Also, I forwarded my invite to a bunch of friends who were able to make it. Free Drinks + Free Show + Free Show Poster + Friends = GREAT TIME! Yeah, we even went to a party where Nick of the YYYs and the Rapture showed up! And I got to know more new people and eventually became good friends with all of them. Man what a great night that was!
Then the week continued on with my birthday being celebrated at the Franz Ferdinand show. This was their first show in San Francisco and the hype machine was in full blast. All of my good friends were there to witness this great band play their fun and dancy songs. After still being in a high from the Rapture, this show just put me over the top. Then after the gig, I got drunk at Arrow Bar and double fisted two beers. Good times!
Weirdest Show of the Year: The Unicorns (GAMH, 25 February 2004)
I didn't know what to make of this show. These guys were just plain crazy and too artsy fartsy, but yet I was mildly intrigued by what they were doing. Thank goodness that it was $3 beer night, because I don't know if I can stand these guys. With their pink outfits and annoying banter, I was amused but yet I wanted to kick the living crap out of these guys. I guess that's why it's weird.
Honorable Mention: Emily Haines (Cafe Du Nord), Blonde Redhead (Bimbo's), Fiery Furnaces (BoH), Flaming Lips (Coachella)
Sleepiest Show of the Year: Nada Surf (GAMH, 7 Feburary 2004)
I like Nada Surf. Their new album is a great one, with fantastic songs and catchy chords. However, that same great album did not necessarily translated to a good show. It seemed like the band's songs were just slower than usual, lulling the crowd to a deep sleep. Well, except for the group of boys in front of me. My knees literally buckled during this show, and I thought I was going to fall over.
Honorable Mention: Blonde Redhead (Bimbo's), Pinback (Bimbo's), Trachtenburg Family Slideshow Players (Slim's), The Concretes (GAMH), Mirah (BoH)
Quick Hits:
Show of the Year: The Arcade Fire (Bottom of the Hill, 8 December 2004)
You read about the show in my recent post. To this day, I get excited just thinking about seeing Arcade Fire again in January. My friends are so excited as well that they bought a ton of tickets just so everyone we know can experience the greatness that is The Arcade Fire. These guys are playing three shows here, and three shows in L.A.., and had to move to larger venues in several cities. Do you think Merge Records is not loving this exposure?
Honorable Mention: Le Tigre (Fillmore), The Stills (Independent), Interpol (Warfield), Rilo Kiley (Bimbo's)
Danciest Show: Le Tigre (The Fillmore, 19 November 2004)
Again, you read about how great Le Tigre were in a recent post. I haven't danced so much for a show in a while, and these riot grrrrls did it. They were so dancy that Randy tapped the bottom of his beer in rhythm. If you know Randy, that is a sign of a great show. Their version of "I'm So Excited" is fantastic! So fantastic that after I vomited from my party last Saturday, I immediately got my head out of the trash can and danced to it like crazy. Yeah, that good.
Honorable Mention: Metric (GAMH, 10/18), The Faint (Bimbo's), Franz Ferdinand (Slim's)
Show with the Best Visuals: The Faint (Bimbo's, 10 November 2004)
Two screens full of stunning images, scenester boys from Nebraska, and enough energy to go around the room makes this show one of the best from a visual perspective. Even though many say that that was the only highlight of the show, I thought the music was great as well.
Honorable Mention: Le Tigre (Fillmore), Radiohead (Coachella), Kraftwerk (Coachella)
Surprisingly Good Show: The Cure (SBC Park, 29 August 2004)
Yeah, I know that the Cure are one of those bands that will forever be part of the fabric of music. But I never would have thought that Robert Smith would be that good. I saw them at Coachella and I got bored. Here at SBC Park, they were just downright amazing. Of course, it was the classics that kept me up and eager to listen, but even the new stuff were surprisingly well played. Robert Smith's voice was superb, as if the man never aged.
Honorable Mention: Franz Ferdinand (Slim's), The Stills (Independent), Keane (Bimbo's), Muse (Warfield), Interpol (Warfield), The Libertines (Fillmore), Ted Leo/Fiery Furnaces (BoH), Elefant/Ambulance Ltd. (GAMH), Stellastarr*/The Killers (GAMH)
Worst Show of the Year: Trachtenburg Family Slideshow Players (Slim's, 26 February 2004)
I have to admit, I've always wanted to kick a kid in the head but I've always framed it in a joking way (albeit demented). But this was the first time that I truly wanted to kick a kid in the head. That little girl in the TFSP is just so downright annoying, with her constant yapping to her dad and her lackluster drumming. Yeah, I don't care if she's below 10. I'll still kick her in the head. The songs were amusing to start, but they got downright annoying at the end.
Dishonoarable Mention: Supergrass (Fillmore), Blonde Redhead (Bimbo's), Pinback (Bimbo's), Flaming Lips (Coachella), Death Cab for Cutie (Coachella)
Best Show Because of Something Other than the Band: The Rapture (Fillmore, 15 March 2004) & Franz Ferdinand (Slim's, 20 March 2004)
This was the infamous Rave Magazine party where, with an invite, you were allowed in the venue with an open bar and a free show by the Rapture. Also, I forwarded my invite to a bunch of friends who were able to make it. Free Drinks + Free Show + Free Show Poster + Friends = GREAT TIME! Yeah, we even went to a party where Nick of the YYYs and the Rapture showed up! And I got to know more new people and eventually became good friends with all of them. Man what a great night that was!
Then the week continued on with my birthday being celebrated at the Franz Ferdinand show. This was their first show in San Francisco and the hype machine was in full blast. All of my good friends were there to witness this great band play their fun and dancy songs. After still being in a high from the Rapture, this show just put me over the top. Then after the gig, I got drunk at Arrow Bar and double fisted two beers. Good times!
Weirdest Show of the Year: The Unicorns (GAMH, 25 February 2004)
I didn't know what to make of this show. These guys were just plain crazy and too artsy fartsy, but yet I was mildly intrigued by what they were doing. Thank goodness that it was $3 beer night, because I don't know if I can stand these guys. With their pink outfits and annoying banter, I was amused but yet I wanted to kick the living crap out of these guys. I guess that's why it's weird.
Honorable Mention: Emily Haines (Cafe Du Nord), Blonde Redhead (Bimbo's), Fiery Furnaces (BoH), Flaming Lips (Coachella)
Sleepiest Show of the Year: Nada Surf (GAMH, 7 Feburary 2004)
I like Nada Surf. Their new album is a great one, with fantastic songs and catchy chords. However, that same great album did not necessarily translated to a good show. It seemed like the band's songs were just slower than usual, lulling the crowd to a deep sleep. Well, except for the group of boys in front of me. My knees literally buckled during this show, and I thought I was going to fall over.
Honorable Mention: Blonde Redhead (Bimbo's), Pinback (Bimbo's), Trachtenburg Family Slideshow Players (Slim's), The Concretes (GAMH), Mirah (BoH)
Quick Hits:
- Cheapest Big Show of the Year: Air/Stereolab/Sondre Lerche (Hollywood Bowl)
- Show with the Most Cover Songs: The Divine Comedy (Cafe Du Nord)
- Show with the Weirdest Instrument: Laughing Stock supporting American Music Club (BoH)
- Show with the Most Scenesters: The Faint (Bimbo's) or Yeah Yeah Yeahs (Fillmore)
- Show with the Least Scenesters: Keane (Bimbo's)
- Show with the Most Not Straight People: Le Tigre (Fillmore)
- Show with the Most Annoying Crowd: Interpol (Warfield) & Muse (Warfield)
09 December 2004
The Arcade Fire (Bottom of the Hill, 8 December 2004)
Believe the hype!
The Arcade Fire came roaring into the Bottom of the Hill last night and played one of the most, if not the most memorable, show in San Francisco this year. There has been much hype around The Arcade Fire, with Pitchforkmedia giving them an unprecedented 9.7/10 rating for their debut album Funeral, CMJ booking three shows for them in consecutive nights, to the New York Times doing a glowing review of their CMJ appearances. Thus this sold out crowd had high expectations. I, among some of them, had high hopes for this band last night, and was somewhat skeptical of how good they can really be. By the end of the night, the show was only a smidgeon short of a religious experience. If anything, I am a new convert to the religion that is The Arcade Fire.
This is how good The Arcade Fire were: they were entertaining during soundcheck. Yeah, that's right, soundcheck. Who gives a fuck about bands soundchecking with their tuning of guitars and their "Check, check, 1, 2, 3" ramblings on the mic? However, soundcheck was entertaining because it gave the audience member a sneak peak of what was to come. This small Bottom of the Hill stage comprised of a plethora of musical instruments from something as your common guitar (5 of them) and drums to something semi-odd like a bass violin to something totally uncommon in a rock band such as an accordion and a steel pan drum. You can tell that these guys are totally talented and that their music will be comprised of several layers of sound. Another cute soundcheck bit is when Régine, the dynamic and super cute percussionist/backing vocal/lead vocalist of the band would do the little "check, check" ramblings with the mic. I don't know why, but she looked so cute doing it. Finally, to add some character to the crowded stage of instruments and 7 band members, are the mechanical reindeer positioned in the rear left and right of the stage. Add to that a plastic calf taped onto the drums, and voila! You have the perfect stage for the perfect band.
When the band finally set up, they all left and then made their entrance at a little after 11:30. They started their set with an amazing rendition of "Wake Up." With each instrument played, the song had so many layers in it that you are virtually surrounded by constant sound. All the band members all yelled out the words to the song and their stage presence was felt from the get go, with each member giving it their all.
I thought there was no way they can keep up such energy, but The Arcade Fire proved me wrong. Every song they played, from the main set to the encore, was played with so much intensity and vigor that each band member was drenched in sweat (and that's not only because it was hot in the venue) and the violinists bow was so worn out that a new one was definitely needed mid-set.The Arcade Fire played all of their debut album. The band were at their absolute craziest during "Neighborhood #3 (Power Out)" where Richard and Tim put on motorcycle helmets and started pounding the crap out of anything solid with their drum sticks. I forgot whether it was this song or another, but even Win was playing with the front row by making a stabbing motion with the loose part of the mic stand towards two of the front row audience members.
Definite favourite tracks include: "Haiti," "Crown of Love," "No Cars Go," . . . fuck it, I like them all! Every single track on Funeral they played and I loved all of them!!! And some off their debut self-titled EP.
There are so many more details I want to describe, but do not remember which song it happened. For example, I believe it was Tim was lying on the ground with a tambourine and then he proceeded to try to smach Richard's toes with said tambourine. I found that hilarious! Or when the same two guys had a flag wrapped around Richard and then used that flag to cover their faces. Or when the hecklers would constantly say "We Love Canada!" or make Canadian references such as Degrassi Junior High. Or when Regine was looking rather coy and evil, like one of those little girls in the neighborhood scheming of something, as she was playing the keyboards. There was not a dull moment during the entire show.
The last song played was "In the Back Seat," which was beautifully sang by Régine, to an almost Bjork-like precision. Its lyrics really struck me. "I like the peace/in the back seat/I don't have to drive/I don't have to speak." That basically sums up my disdain for driving and how I love being in the back seat where I'm not obligated to say or do anything. Brilliant!
Easily the best show of 2004. This beats Le Tigre because Arcade Fire provided the entire package: great musicians, brilliant lyrics, awesome sound, and just an amazing stage presence.
Yeah, believe the hype. This show made history! This band is going to be huge in 2005 and I am one of the few that can say, "Yeah, I saw them in their first gig here in San Francisco." After the show, I had to approach Régine to get my picture taken with her. Luckily, Randy and Jason accompanied me. After that, I talked absolute nonsense with Régine. I was so embarassed!
BEST SHOW OF 2004! If you haven't seen these guys, do yourself a favor and do it. Then you can die.
Beer Rating: 0 Beers
The Arcade Fire came roaring into the Bottom of the Hill last night and played one of the most, if not the most memorable, show in San Francisco this year. There has been much hype around The Arcade Fire, with Pitchforkmedia giving them an unprecedented 9.7/10 rating for their debut album Funeral, CMJ booking three shows for them in consecutive nights, to the New York Times doing a glowing review of their CMJ appearances. Thus this sold out crowd had high expectations. I, among some of them, had high hopes for this band last night, and was somewhat skeptical of how good they can really be. By the end of the night, the show was only a smidgeon short of a religious experience. If anything, I am a new convert to the religion that is The Arcade Fire.
This is how good The Arcade Fire were: they were entertaining during soundcheck. Yeah, that's right, soundcheck. Who gives a fuck about bands soundchecking with their tuning of guitars and their "Check, check, 1, 2, 3" ramblings on the mic? However, soundcheck was entertaining because it gave the audience member a sneak peak of what was to come. This small Bottom of the Hill stage comprised of a plethora of musical instruments from something as your common guitar (5 of them) and drums to something semi-odd like a bass violin to something totally uncommon in a rock band such as an accordion and a steel pan drum. You can tell that these guys are totally talented and that their music will be comprised of several layers of sound. Another cute soundcheck bit is when Régine, the dynamic and super cute percussionist/backing vocal/lead vocalist of the band would do the little "check, check" ramblings with the mic. I don't know why, but she looked so cute doing it. Finally, to add some character to the crowded stage of instruments and 7 band members, are the mechanical reindeer positioned in the rear left and right of the stage. Add to that a plastic calf taped onto the drums, and voila! You have the perfect stage for the perfect band.
When the band finally set up, they all left and then made their entrance at a little after 11:30. They started their set with an amazing rendition of "Wake Up." With each instrument played, the song had so many layers in it that you are virtually surrounded by constant sound. All the band members all yelled out the words to the song and their stage presence was felt from the get go, with each member giving it their all.
I thought there was no way they can keep up such energy, but The Arcade Fire proved me wrong. Every song they played, from the main set to the encore, was played with so much intensity and vigor that each band member was drenched in sweat (and that's not only because it was hot in the venue) and the violinists bow was so worn out that a new one was definitely needed mid-set.The Arcade Fire played all of their debut album. The band were at their absolute craziest during "Neighborhood #3 (Power Out)" where Richard and Tim put on motorcycle helmets and started pounding the crap out of anything solid with their drum sticks. I forgot whether it was this song or another, but even Win was playing with the front row by making a stabbing motion with the loose part of the mic stand towards two of the front row audience members.
Definite favourite tracks include: "Haiti," "Crown of Love," "No Cars Go," . . . fuck it, I like them all! Every single track on Funeral they played and I loved all of them!!! And some off their debut self-titled EP.
There are so many more details I want to describe, but do not remember which song it happened. For example, I believe it was Tim was lying on the ground with a tambourine and then he proceeded to try to smach Richard's toes with said tambourine. I found that hilarious! Or when the same two guys had a flag wrapped around Richard and then used that flag to cover their faces. Or when the hecklers would constantly say "We Love Canada!" or make Canadian references such as Degrassi Junior High. Or when Regine was looking rather coy and evil, like one of those little girls in the neighborhood scheming of something, as she was playing the keyboards. There was not a dull moment during the entire show.
The last song played was "In the Back Seat," which was beautifully sang by Régine, to an almost Bjork-like precision. Its lyrics really struck me. "I like the peace/in the back seat/I don't have to drive/I don't have to speak." That basically sums up my disdain for driving and how I love being in the back seat where I'm not obligated to say or do anything. Brilliant!
Easily the best show of 2004. This beats Le Tigre because Arcade Fire provided the entire package: great musicians, brilliant lyrics, awesome sound, and just an amazing stage presence.
Yeah, believe the hype. This show made history! This band is going to be huge in 2005 and I am one of the few that can say, "Yeah, I saw them in their first gig here in San Francisco." After the show, I had to approach Régine to get my picture taken with her. Luckily, Randy and Jason accompanied me. After that, I talked absolute nonsense with Régine. I was so embarassed!
BEST SHOW OF 2004! If you haven't seen these guys, do yourself a favor and do it. Then you can die.
Beer Rating: 0 Beers
08 December 2004
The Dears (Cafe Du Nord, 7 December 2004)
O Canada! What brings your bands to these shores, far from government-subsidized healthcare and unlocked doors (oh c’mon, you all watched Bowling for Columbine right?), to fill our ears with a wash of gorgeous sound? So I proclaim after a night spent at Café du Nord with The Dears.
On tour supporting their second release, No Cities Left, The Dears have been a staple in the Montreal indie music scene for ten years. Refugees from the rain huddled in the Café and nursed their beers as the band set up behind the closed velvet curtains. This was new. I’m used to seeing bands move about onstage, unabashedly changing equipment and soundchecking in plain view of the audience. The mystery of it all piqued my interest, and made me hope that the growing anticipation wasn’t in vain.
The crowd assembled tonight was sizable; apparently, the rain didn’t deter them. In obvious attendance were worshippers of the Temple of Morrissey: middle-aged men with greased hair and blue jeans. The Dears draw numerous comparisons to The Smiths and as the night progressed, it’s easy to hear why. When the curtains were finally drawn, it revealed six people who proceeded to open with a punch - the forceful “Postcard from Purgatory,” whose bass-heavy thrum reverberated for the next eight minutes. This song was a slow burner, drifting between guitars, keyboards and drums, and the deep voice of frontman Murray A. Lightburn intoning “Empty heads/empty mouths/empty hearts/empty souls.”
In print, Lightburn channels the Moz with such lyrics, but he goes one step further by delivering the songs with his maudlin affectations. The next song is no exception, the excellent single “Lost in the Plot,” which begins with the lines “Take me for a ride to the coastline/Pull me to the depths of the sea.” Can you blame me if “Every Day Is Like Sunday” springs to mind?
Albeit briefly. While bleak lyrics such as “I can’t love you/you can’t love me” and “You never said I’d see you again” are reminiscent of The Smiths, The Dears evoke a feeling all their own. The arrangements are lush and the musicianship adept, proving that while they’re relatively unknown here, they’ve been busy in the Great White North. Vocal duties were occasionally shared with keyboardist Natalia Yanchak and her voice added poignancy to such songs as “We Can Have It,” where she and Lightburn both sing the dismal refrain “It won’t ever be what we want.”
Somewhere in the middle of their set, Lightburn announced that they were going to perform a new song, or somewhat new, as he slyly added that they’ve been playing it at shows for the past two months. Blame my fuzzed ears, but I think it was called “Hate/Hate It Up.” I could do no such thing since it was another lovely piece that alternated between morose and hopeful.
Judging from the response of the crowd after their eight-song set, The Dears are likely to return soon. Fellow Montrealites The Arcade Fire (comprised largely of expats!) are slated to play Bottom of the Hill tonight and I couldn’t be happier. While disgruntled Americans migrate north to wait out the next four years, I’m willing to wait and have their musical offerings come to me.
Beer Rating: 2 Beers
On tour supporting their second release, No Cities Left, The Dears have been a staple in the Montreal indie music scene for ten years. Refugees from the rain huddled in the Café and nursed their beers as the band set up behind the closed velvet curtains. This was new. I’m used to seeing bands move about onstage, unabashedly changing equipment and soundchecking in plain view of the audience. The mystery of it all piqued my interest, and made me hope that the growing anticipation wasn’t in vain.
The crowd assembled tonight was sizable; apparently, the rain didn’t deter them. In obvious attendance were worshippers of the Temple of Morrissey: middle-aged men with greased hair and blue jeans. The Dears draw numerous comparisons to The Smiths and as the night progressed, it’s easy to hear why. When the curtains were finally drawn, it revealed six people who proceeded to open with a punch - the forceful “Postcard from Purgatory,” whose bass-heavy thrum reverberated for the next eight minutes. This song was a slow burner, drifting between guitars, keyboards and drums, and the deep voice of frontman Murray A. Lightburn intoning “Empty heads/empty mouths/empty hearts/empty souls.”
In print, Lightburn channels the Moz with such lyrics, but he goes one step further by delivering the songs with his maudlin affectations. The next song is no exception, the excellent single “Lost in the Plot,” which begins with the lines “Take me for a ride to the coastline/Pull me to the depths of the sea.” Can you blame me if “Every Day Is Like Sunday” springs to mind?
Albeit briefly. While bleak lyrics such as “I can’t love you/you can’t love me” and “You never said I’d see you again” are reminiscent of The Smiths, The Dears evoke a feeling all their own. The arrangements are lush and the musicianship adept, proving that while they’re relatively unknown here, they’ve been busy in the Great White North. Vocal duties were occasionally shared with keyboardist Natalia Yanchak and her voice added poignancy to such songs as “We Can Have It,” where she and Lightburn both sing the dismal refrain “It won’t ever be what we want.”
Somewhere in the middle of their set, Lightburn announced that they were going to perform a new song, or somewhat new, as he slyly added that they’ve been playing it at shows for the past two months. Blame my fuzzed ears, but I think it was called “Hate/Hate It Up.” I could do no such thing since it was another lovely piece that alternated between morose and hopeful.
Judging from the response of the crowd after their eight-song set, The Dears are likely to return soon. Fellow Montrealites The Arcade Fire (comprised largely of expats!) are slated to play Bottom of the Hill tonight and I couldn’t be happier. While disgruntled Americans migrate north to wait out the next four years, I’m willing to wait and have their musical offerings come to me.
Beer Rating: 2 Beers
07 December 2004
Mirah (Bottom of the Hill, 6 December 2004)
Who would have thought that this show would sell out? As I was driving to the show, I stupidly thought that there will only be a handful of people coming to see Mirah (or as my friends and I call her, Mariah) and her small backing band play beautiful music. However, I was dead wrong when I was greeted at the door with a big SOLD OUT sign. I was so perplexed that it sold out. In fact, several others outside the venue thought the same thing.
After watching The Terminal just before I went to the show - a movie which gave hope to many that there is kindness in all people - and after getting my late charge waived at the local movie rental store, I knew that some kind hearted soul will let me in the venue. I never thought much of Mirah, but having a sold out show made me more determined to get in there. After a few minutes, a woman approached me and sold me her ticket for a miniscule $2 premium. After getting in, I knew that this was going to be a good show.
The entire venue was packed. I haven't seen Bottom of the Hill this full since Ted Leo and the Fiery Furnaces played together earlier this year. Mirah, the proclaimed sexiest voice in all of Olympia, Washington, and her small backing band came on stage shortly after 11pm. Their set list was a good mix of songs from her latest release, C'mon Miracle, as well as some rarities that were begged for by her fans. Although I'm sure that she played at least one of the songs requested, I wasn't so sure about the others.
I was dumbfounded at the cult following of Mirah, and I noticed that all the audience members in the front row sang with her word-for-word throughout her short 65 minute set. I am only familiar with one album, C'mon Miracle, but the songs she did play from that album such as "Dogs of B.A.," "Exactly Where We're From," "You've Gone Away Enough," and "The Light" were done so melodically and simply that you can't help get captured by her beautiful voice. The one song that was requested by her fans, one where she didn't know the chords or the words and took her a good five minutes to reach back in her memory to remember, was also done well. For the life of me, I can't remember the words, but I know it was done really well.
Like with most shows at Bottom of the Hill, Mirah could have been better if it wasn't for the reverb that was going on with the sound system in some of the songs. Also, as soft as the instruments were, at times the instruments would drown her voice. Even though her voice is naturally soft, the mic could have helped amplify her voice more, especially for the audience members (like me) that was standing in the periphery.
Overall, a good show despite my lack of knowledge of her. I'll definitely see her again in two weeks time when she returns.
Beer Rating: 3 Beers
After watching The Terminal just before I went to the show - a movie which gave hope to many that there is kindness in all people - and after getting my late charge waived at the local movie rental store, I knew that some kind hearted soul will let me in the venue. I never thought much of Mirah, but having a sold out show made me more determined to get in there. After a few minutes, a woman approached me and sold me her ticket for a miniscule $2 premium. After getting in, I knew that this was going to be a good show.
The entire venue was packed. I haven't seen Bottom of the Hill this full since Ted Leo and the Fiery Furnaces played together earlier this year. Mirah, the proclaimed sexiest voice in all of Olympia, Washington, and her small backing band came on stage shortly after 11pm. Their set list was a good mix of songs from her latest release, C'mon Miracle, as well as some rarities that were begged for by her fans. Although I'm sure that she played at least one of the songs requested, I wasn't so sure about the others.
I was dumbfounded at the cult following of Mirah, and I noticed that all the audience members in the front row sang with her word-for-word throughout her short 65 minute set. I am only familiar with one album, C'mon Miracle, but the songs she did play from that album such as "Dogs of B.A.," "Exactly Where We're From," "You've Gone Away Enough," and "The Light" were done so melodically and simply that you can't help get captured by her beautiful voice. The one song that was requested by her fans, one where she didn't know the chords or the words and took her a good five minutes to reach back in her memory to remember, was also done well. For the life of me, I can't remember the words, but I know it was done really well.
Like with most shows at Bottom of the Hill, Mirah could have been better if it wasn't for the reverb that was going on with the sound system in some of the songs. Also, as soft as the instruments were, at times the instruments would drown her voice. Even though her voice is naturally soft, the mic could have helped amplify her voice more, especially for the audience members (like me) that was standing in the periphery.
Overall, a good show despite my lack of knowledge of her. I'll definitely see her again in two weeks time when she returns.
Beer Rating: 3 Beers
04 December 2004
Sondre Lerche (Slim's, 29 May 2004 & 30 November 2004)
May 29, 2004 – Slim’s
SHOW OF THE YEAR
SHOW OF THE YEAR
This was the Cinderella story of the 2004 season. Going up against powerhouses like Cher, the reunited Van Halen, and Jay-Z/R Kelly, Sondre Lerche, Norwegian folk prodigy, came from virtually out of nowhere to snag the coveted Show of the Year prize. With his vocal crooning and deft fingerpicking, his songs resonated with a purity never heard within the asbestos-lined walls of Slim’s. The band looked like they were on drugs; they were smiling the entire time, like that Enzyte guy. Except they were genuine smiles, not the least bit creepy. The smiles were certainly contagious; there was not one person in the crowd who was unhappy. Along with his tight, melodic songs, Sondre spoke to the crowd with a witty-awkward-broken-English humor that generated smiles with every syllable uttered. Several times he paused questioning why people were laughing, for he was trying to be serious, dammit. Example:
“This next song is a song that you’ve never heard before. (Gets ready to play) Or maybe you have… You never know these days, with that thing called the Internet... You know, this world is becoming a scary place, what with the ipods and internets taking over the world. There’s nothing left for the humans anymore. Well I have a message for them! We humans are here to stay! Do you hear me San Francisco? I said we humans are here to stay!”
Rating: 1 Beer
November 30, 2004 – Slim’s
SONDRE II
The light’s dim. The crowd erupts, lighters ablaze, anticipating another epic performance from the Nordic male diva. But something is missing. Have we not consumed enough alcohol? Has the sound system at Slim’s gotten even shittier than before? Has Sondre’s comedic wit gone astray? No, he’s still as hilarious as ever, the sound system is just as bad as before, and we’ve all been drinking enough to make a Russian proud. But as Sondre plays the first few songs, the audience becomes restless. They realize that there is no band.
Now, Conor Oberst did this to me about a month ago. Despite the fact that the ticket said “Bright Eyes”, Conor took to the stage with an acoustic guitar and played the entire set without his regular band (with a little help from M. Ward and Jim James). Conor is one of those unique souls who could actually pull this off quite well. However, I still feel that this gimmick is like paying full price for a rocking chair, only to discover that it doesn’t rock.
“San Francisco is my favorite place in America. With that fabulous Golden Gate... Bridge. And Rice-a-Roni. And with that fabulous Oakland.” - Sondre Lerche
After six to seven unplugged songs, the smiling faces of the band were surely missed. Sondre did, however, do a good job of undressing some of his upbeat tracks, such as Dead Passengers and Two Way Monologue. On Modern Nature, a duet that was recorded with Lillian Samdal, Sondre pleaded with the audience to sing the female part, because “being alone on stage singing such a romantic duet is quite pathetic.” A deep, masculine voice from the audience proclaimed, “I’ll sing with ya, big boy!” Sondre replied, “I don’t know how to respond to that one. It says here just to giggle.” He giggled.
About halfway in to his set, he introduced the opening band, Golden Republic, “The best band from Kansas since Kansas.” The rhythm section added a refreshing new element as they played Virtue and Wine. The crowd bobbed their head accordingly. During one of the songs, Sondre’s high E string broke, leading to the most dramatic, awkward moment of the night. As Sondre was re-tuning his guitar, the lead singer for Golden Republic commented on the tuning, “This is our favorite song.” Sondre Lerche apparently has a low tolerance for poor American humor, because he completely ripped the guy a new one by dissing his unfunny joke. The poor guy was totally shocked and didn’t know how to respond. When the drummer interjected to defend his bandmate, Sondre retorted, “Who let the drummer speak?” After a short pause, “Actually, the drummer’s a really great guy... When he’s drumming.” The audience gasped a collective oh-no-he-di-int, and you could tell that the entire band was PISSED. The tension escalated when the drummer claimed that Sondre didn’t even know his name. After a long, tense pause, Sondre said, “Little drummer boy?” Sondre compared this moment to Jerry Springer, and I thought the band was going to walk out on him. Someone from the floor even yelled out, “Go back to Norwegia!” Luckily, the band kept their composure and played the next song, Sleep on Needles. It’s amazing how a happy song and a driving kick drum can make one forget their drama. This was the case, as smiles slowly returned to everyone’s faces by the end of the song. Sondre and the little drummer boy even shared the same sweat towel.
The remainder of his set was fraught with anticlimactic relief. The focus turned to the music, wryly dubbed by Sondre as “adult contemporary pop”. And the music was good. The band continued to back up Sondre on tracks from his two full-length releases, such as On the Tower and Suffused With Love, as well as a couple B-Sides. The penultimate song was a quaint a cappella cover, which showcased his multi-octave vocal range. He ended the set as he started, with just his voice and a newly-restringed guitar. It was a halcyon end to an anxious night, and overall, it made for a good show.
Rating: 2 Beers
- Jason (filling in for the flu-ridden Ian)
03 December 2004
Coachella 2005 Line Up?
As read on XFM.com:
A new document leaked to Undercover music news has a full rundown for the 2005 event, essentially an American interpretation of Glastonbury and the biggest music festival and largest open air live event in the US music calendar.
Although unofficially confirmed (or indeed denied) by organisers the reported line-up will feature headline performances from David Bowie and R.E.M. while elsewhere the bill will also be Nine Inch Nails, Wilco, The Streets, PJ Harvey, The Polyphonic Spree and Franz Ferdinand.
Surprise additions to the list include newly reformed ’80 pop legends Tears for Fears (who’s career has no doubt been bolstered by Gary Jules' huge successful cover of their track ‘Mad World’) and, if the list is to be believed, Coldplay will also be playing on the eve of the release of their new album.
Coachella will be taking place at the Empire Polo Field in Indio California on April 30 and May 1.
In 2004, the headline acts were Radiohead and The Cure, with Pixies, The Flaming Lips, Air, Kraftwerk, The Thrills, Ash and The Rapture all included on the bill.
The full unconfirmed line up is:
April 30, 2005
- David Bowie
- Nine Inch Nails
- Coldplay
- PJ Harvey
- Interpol
- The Faint
- Franz Ferdinand
- The Polyphonic Spree
- Boards of Canada
- TV On the Radio
- Yeah Yeah Yeahs
- Squarepusher
- Clinic
- French Kicks
- Secret Machines
- Phoenix
- Beep Beep
- Dogs Die In Hot Cars
- Death From Above 1979
- The Helio Sequence
May 1, 2005
- R.E.M.
- Tears For Fears
- Wilco
- Bright Eyes
- Jimmy Eat World
- Mos Def
- Badly Drawn Boy
- The Streets
- Spoon
- Cake
- The Postal Service
- The Shins
- Sleater-Kinney
- Rilo Kiley
- Radio 4
- Doves
- Iron and Wine
- The Arcade Fire
- Moving Units
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