Following up his debut self-titled EP, Warren Teagarden released his first full-length album, Across the San Joaquin , in mid April. Combining elements of country, punk, folk, and indie rock, his relaxed style is both simple and eccentric at the same time.

Frank Zappa once derided the American consumer by quipping that Americans experience music as an accoutrement to their lifestyles. That may be true, but –- to sidestep the obvious question of how the denizens of other nations experience their music -– thinking of music in terms of its utility and function can be a useful exercise. Some records are perfect to study to. Others provide the perfect soundtrack for a long drive, or a vigorous and sweat drenched work out, or the faux-cosmopolitanism of a dinner party with your now-balding college drinking buddies as guests, etc.

Songs from the City on the Sun by Oakland’s Boy in the Bubble seems to defy function. It is hard to imagine a situation that the record would suit perfectly. Musically interesting without fumbling too far toward the follies of overeager experimentalism, this is a solid pop record seemingly content with its lack of a place in the world. Find the perfect time and place to listen to this record, one that can be repeated by anybody, and I’ll buy you a milkshake.

While not precisely a genre-hopper, the record ricochets between the caterwauling 1950s-influenced guitar swells of “Danger,” the bratty sneering, foot stomping, and accordion whine of “When You Walk Around This City,” and the pedal-steel drenched dirge of “I Can’t Remember.” Boy in the Bubble takes a risk in appropriating such a wide range of sounds and influences, but Songs from the City on the Sun remains surprisingly consistent. The record has something pleasantly reminiscent of 1990s Brit-pop acts like Kula Shakur (though I wouldn’t go so far as to compare it to the finer acts of the era such as Pulp, Stone Roses, and Blur).

Songs from the City on the Sun is at its worse when its empty-headed songwriting is privileged over its hooky musicality, and lead singer Josh Seidenfeld’s voice seems stretched beyond its limits at times. But, on the whole, it’s a pretty good pop record and worth a listen.

I knew the Velvet Teen rocked, but I didn’t know the Velvet Teen ROCKED!!!! In fact, they rocked so hard during their show at the Rickshaw Stop that I stayed and missed the last BART home, and I wasn’t even angry. I was humming the tune to “Radiapathy” all the way home on the transbay bus.

There’s something special about the Velvet Teen that’s hard to put your finger on. There’s drummer Casey Deitz’s whirlwind of carefully complex beats, singer Judah Nagler’s baroque-style vocals hitting even the highest of notes, and guitarist Matthew Izen convulsing along with strangely melodic chord progressions from outer space. All three come together to form a triad of awesomeness with far too much energy to contain itself.

The minute Deitz’s glasses came off from wailing too hard on the drums in the second song of the set, I knew I was in for a ride. The band held nothing back, and all the intensity bottled up in Cum Laude, the band’s previous release, was brought with full force live. The entire place was moving in some way, and not even the hippest of the hipsters were able to deny the force. Without even blinking, I would much rather miss the last BART again then miss these guys the next time they come to town.

By Dasha Bulatov

Despite hailing from a suburban outlier, Walnut Creek-based Mister Loveless possesses a sound that is casually and darkly urban. Initially established by morose and reluctantly melodic guitars, the vibe is heightened by guitarist/singer Rob Miller’s Interpol-ish vocals and the sharp outfits that the band often wears onstage. Yes, the undeniable Interpol resemblance had to be mentioned immediately. Just listen, you’ll hear it. More derivative in earlier recordings, their sound has since grown and expanded its range. The tracks on Mister Loveless’ debut full-length album, My Share of Losing, are catchy and dynamic, exhibiting a maturity that previous releases seemed to lack.

Either way, it is heartless to dismiss Mister Loveless on the principle of imitation. Like all bands, even those who vehemently deny it, Mister Loveless falls into a number of closely related genres: post-punk, new wave, indie, and plain old rock ‘n’ roll. If you’re into those styles, or just willing to give them a chance, there is a high probability that Mister Loveless will become a regular on your playlists.

In September of 2006, after the first album had been recorded, principle songwriters Rob and Charlie Koliha (bass) announced a separation from their drummer, which resulted in a nine-month hiatus. During this time, two new members — Sean Gaffney on guitar and Rachael Travers on drums — were added. Work on a second full-length was planned to follow the band’s last show of 2007 on October 27th. However, singer Rob suffered a serious head injury after leaping off the stage and hitting a pipe. Despite postponing the album, the incident seemed to revitalize the band and unify its fans. Now the band is back, playing gigs all over the Bay. And, if they continue to exhibit the same energy (in a safe way, we hope), then the shows are definitely worth attending.

MORE REASONS TO LOVE MISTER LOVELESS:
-Consistently cool and mellow indie rock. You really can’t go wrong with that.
-Members don equally rad threads that seem to pay homage to the mod era (a refreshing break from American Apparel).
-They were so kind as to release the tracklist for their upcoming EP to us: 1) “Hardly Young;” 2) “Good Story;” 3) “Just Thoughts;” and 4) “It’s Missing.”
-Hear them on the radio! Mister Loveless performed live on 90.1 KZSU and has appeared as a guest DJ on Live 105.

By Tyler Corelitz

It seems like only months ago that I first heard about San Francisco duo the Dodos. I felt cool for listening to what I thought was an extremely awesome, but relatively obscure band, that just happened to be playing in my college’s cafeteria. Now, after a year on the road, these Bay Area starlets are gaining national attention on the eve of their sophomore full length release, Visiter, which comes out March 18th on Frenchkiss Records.

The Dodos’ passion for their music is undeniable by the amount of energy they put off in their live shows, which the band has tapped as a major influence for Visiter. Live, it can be hard to tell who is driving who, as the airy vocals and finger-picked guitar of Meric Long mesh with the hyper-rhythmic drumming of Logan Kroeber. Maybe Animal Collective covering Mississippi John Hurt or The Velvet Underground with chops? This formula is showcased on their single “Fools,” as the song alternates between pulsing rim clicks, catchy guitar riffs, and undeniable vocal hooks; all of which can and will be independently stuck in the listener’s head.

As an album, Visiter is truly a nod to the talent of Kroeber, who bills himself as an experimental percussionist. While the experimental nomenclature — for a drummer — can lend itself to self indulgent beats and sounds, Kroeber shows maturity in his ability to play for the song. For the Dodos, this often means creating moments of immense space and tension, by simply alternating accents or textures to highlight Long’s guitar and vocals. This attention to detail can be heard at the end of “Fools,” as Long begins chanting “I’ve been, I’ve been silent,” the listener realizes that the drums have suddenly stopped, only to return in a beautiful pop build that climaxes over Long’s continued chanting.

Through a twist of fate I ran into the Dodos as they were about to film for super-hip French video blog La Blogoteque. As my friends and I followed them through the relatively deserted streets of San Francisco, clapping and singing into a BART station, I realized that I was standing very near to Long; not out of lust or for lack of hearing, but because the Dodos have managed to make music worth getting close to.

Reviews originally published in the East Bay Express on 10/10/07.

Mushroom with Eddie Gale Joint Happening (Hyena). Mushroom is an experimental, heavily psychedelic, anything-goes outfit pushing ten years in the Bay Area. Eddie Gale is an avant-garde and free-jazz trumpeter who made his mark blowing minds in Brooklyn during the late ’60s. Together, they’re downright dirty.

Mist and Mast Mist and Mast (self-released). Anyone familiar with Oakland indie-Americana group the Red Thread probably wishes it hadn’t disbanded this summer. Frontman Jason Lakis’ ensuing solo effort roams the same clouded realm, though less effectively.

Straggler Bow Down Lions (Happy Retard Records). “Real rock ‘n’ roll” is always a mixed blessing. On one hand, you’ve got loud, straightforward, no-frills hard rock; on the other, obnoxious, derivative, dumbed-down bar fodder. Straggler straddles the line as well as any local group, with an extra dash of soul.

Astral Transmitter (Vibraphone). Dim production muffles Astral’s passionate, yet clichéd take on UK post-punk and shoegaze. Sure, Joy Division, the Cure, and My Bloody Valentine were great. What else is new?

Rachel Efron Say Goodbye (self-released). Utterly laid-back piano-pop that sucks the tension right out of the room. Efron makes it sound easy, but there’s a reason so few artists get it right.

Reviews originally published in the East Bay Express on 9/26/07.

Rogue Wave Asleep at Heaven’s Gate (Brushfire Records). The indie-pop pride of Oakland, which recently left Sub Pop for Jack Johnson’s small and surf-friendly Brushfire Records, issues an excellent, dramatic third album about the mysterious joys of hardship.

Mavrik About Face (Skoman Productions). A local microcosm of the major-label rap release: guest appearances (Mistah F.A.B., Jennifer Johns, Gift of Gab), high production values, spoken word interludes, and interwoven elements from the urban spectrum (turntablism, R&B, funk). A paint-by-numbers success.

Talking Wood Talking Wood (Jizo Records). Multi-instrumentalist Keenan Webster and Oakland African roots ensemble Balafo form Talking Wood, whose improvisational style centers on prominent playing of the balafon — an ancient wooden xylophone from West Africa with a warm, bright sound — over percussion, string, and wind accompaniment.

The Drift Ceiling Sky (Temporary Residence Ltd.). Instrumental rock and progressive jazz collude quietly in this hour-long collection of rare tracks and remixes from San Francisco quartet the Drift. Don’t stare too hard, or you just might miss it.

The Action Design Into a Sound EP (Pop Smear Records). Remember Tsunami Bomb? That tenacious pop-punk band blanketing Bay Area clubs around 2000? The one with the cute-chick lead singer? Her name is Agent M, and she’s back with a new band and a more mature, occasionally rousing sound

Reviews originally published in the East Bay Express on 9/26/07.

Rogue Wave Asleep at Heaven’s Gate (Brushfire Records). The indie-pop pride of Oakland, which recently left Sub Pop for Jack Johnson’s small and surf-friendly Brushfire Records, issues an excellent, dramatic third album about the mysterious joys of hardship.

Mavrik About Face (Skoman Productions). A local microcosm of the major-label rap release: guest appearances (Mistah F.A.B., Jennifer Johns, Gift of Gab), high production values, spoken word interludes, and interwoven elements from the urban spectrum (turntablism, R&B, funk). A paint-by-numbers success.

Talking Wood Talking Wood (Jizo Records). Multi-instrumentalist Keenan Webster and Oakland African roots ensemble Balafo form Talking Wood, whose improvisational style centers on prominent playing of the balafon — an ancient wooden xylophone from West Africa with a warm, bright sound — over percussion, string, and wind accompaniment.

The Drift Ceiling Sky (Temporary Residence Ltd.). Instrumental rock and progressive jazz collude quietly in this hour-long collection of rare tracks and remixes from San Francisco quartet the Drift. Don’t stare too hard, or you just might miss it.

The Action Design Into a Sound EP (Pop Smear Records). Remember Tsunami Bomb? That tenacious pop-punk band blanketing Bay Area clubs around 2000? The one with the cute-chick lead singer? Her name is Agent M, and she’s back with a new band and a more mature, occasionally rousing sound

Golden Birds are still the best Bay Area indie rock band no one’s heard of. And the group’s 2005 LP Carrier is one of the best local CDs we’ve heard in years. You can quote us on that. Although the band has kept a low profile through infrequent shows and limited recordings, especially over the past year or so, what it has produced is pure gold — rhythmic, melodic, entrancing gold. The core of the group — singer/guitarist Webster McBride and bassist Karl Tupper — actually formed as Carrier in 2003, changing to Golden Birds upon discovering another indie rock group of the same name in Colorado.

McBride did something last summer that earned the band its biggest bit of press. He completed a road trip across the country where he played an acoustic set on the capitol building grounds of all 50 states, plus Washington, D.C., in 51 days. That means one show a day, for 51 straight days, with all the driving miles in between. He even flew to Juneau, Alaska, and Honolulu, Hawaii, while a friend drove his minivan to the next state on the route. And he did it all without once paying for lodging. Absolutely crazy, if you ask us, but he pulled it off swimmingly.

The band is currently working on a new EP (possibly called Softwar) with producer (and ex-band member) Hrishikesh Hirway, who now plays as The One AM Radio. McBride and Karl Tupper are joined here by Leyna Noel, Matt Brown, and Will Holtz. This lineup is scattered across the Bay Area and the state, but — and this is not a knock at Tupper’s excellent contributions on bass — its heart resides at Fort Oregon, McBride’s house in Berkeley (if you live around here, try driving by it sometime…).

FLY LIKE AN EAGLE:
-In April 2006, Golden Birds flew to Chicago to play the inaugural Mission Creek Music Festival Midwest (an offshoot of the highly successful Mission Creek Music and Arts Festival, which was founded ten years ago in San Francisco). This coming March 30, the band will travel to Iowa City, Iowa, to play year two.
-New Golden Birds member Leyna Noel is a longtime friend of the band. The 25-year-old released her first solo album in 2004 and has a new one coming soon called From the Mouth of the Jar.
-Drummer Matt Brown also plays in the LA-based band Foot Foot, for which his brother Josh sings and plays guitar.

San Francisco quartet the Dont’s are on the verge of releasing the biggest album of their young career. Must be an exciting feeling. The band is barely four years old, and Inner El Camino, due January 30, is a big step forward from its 2005 debut Misc Radio Leakage. Both have been self-released, but this one streamlines and elaborates upon the experimentalism of the first while proving that the Dont’s ability to distill quirky, old-school indie rock was no fluke.

Inner El Camino is indeed an indie rock fun house. Taking stalwarts like Modest Mouse, the Fall, Can, Tortoise, and Sonic Youth, and boiling them down to their most quintissential and palatable elements, the record is simultaneously off-kilter and embracing — a weird record that’s not hard to listen to. That alone is an accomplishment, but a few moments across the album elevate it to a higher level: wild vocal melodies, sublime guitar parts, jagged rhythms, and unique bass lines that bounce through uneasy indie rock tunes like tumbleweed of pure gold.

A few tracks can be overly derivative, especially the way-too-Fall-to-be-an-accident kick-off number “Blah Blah Blah.” That doesn’t stop it from being one of the record’s high points. And lead singer Jonny Dont’s voice, whether by accident or not, sounds at time a LOT like that of Electric Six frontman Dick Valentine (what a name!). The key to this record is appreciating it for what it is and shutting down the indier-than-thou part of your brain, if you have it. If you don’t, you’re in the clear, for the Dont’s execution is flawless. Songs like “AKA Sob” and sax-laced closer “Motherfather” are all Dont’s, assuring the skeptical listener that this is not a gang of ripoff artists, but four musicians with eight great ears. They know quality music when they hear it, and they sure know how to make some of their own.

THE PLEASE DO’S
-In addition to singer Jonny Don’t, the group includes Joey Don’t on guitars, JJ Don’t on bass, and Ken Don’t on drums. Something tells us they’re not actually brothers.
-Inner El Camino was recorded on analog tape at the Tiny Telephone and SF Soundworks studios in San Francisco.
-The band has retained hundreds of hours of experimental recordings since forming in 2003. This does a lot to explain the band’s more precarious moments — they probably come from improv rather than deliberate songwriting sessions.