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.

Reviews originally published in the East Bay Express on 2/27/08.

Touch My Rash, Doomed from the Start, Pissed-off frustration can be therapeutic, and San Jose’s Touch My Rash delivers the goods with a subtle sense of humor. Lead singer Colin Kutch affects a snarl that’s just punk enough, while the music is reliably simple, fast, and catchy. What healthier way to spend 28 minutes? (Bittersick Records)

Fluorescent Grey, Gaseous Opal Orbs. Though GOO’s shapeless, heavily experimental electronic tableaus are pretty far out-there, Robbie Martin’s sophomore disc as Fluorescent Grey contains his most accessible compositions yet — which goes to show that perception is everything. (Record Label Records)

Gemini Soul, The Nefertiti Experience. Jazz doesn’t get much funkier, or perhaps it’s the other way around. Gemini Soul’s smooth, groovy fusion (they call it “cyber jazz”) rests on the poppin’ fingers of bandleader and bass-master Andre Ajamu Akinyele. (Pearl Jazz Recording Label)

Killian Garnet MacGeraghty, Celebration Songs. Gun & Doll Show frontman MacGeraghty recorded imaginative, quasi-pop theme songs for Valentine’s Day, Mother’s Day, and more, then threw them alongside a few non-holiday numbers. Even when repeated in five languages, his version of “Happy Birthday” doesn’t get old. (Mad Chatter Records)

Reviews originally published in the East Bay Express on 2/20/08.

The Federalists, The Federalists. Professional-quality album art suggests this East Bay rock group means business. Indeed, after spending all of 2007 on the record, the four members look forward to extensive touring. The kicker: their grasp on classic pop is strong enough to get them noticed here and everywhere else. (self-released)

Rennick, 611-07-0681. Rennick’s sophomore record features gothic electro-pop done about as well as you’re likely to find. That’s good, because he’s going for broke: the title is his Social Security number. “The most trusting … act that any one person can ever do,” reads a note in the inside sleeve, “is to provide full exposure to all without fear.” (Rennick Music Group)

Spandex Tiger, Dumpster Love. Anyone expecting trash will get it. Late at night, looking for some pussy is the first line singer Rich Filthy growls. Really dumb, mostly fun rock is what you find in songs like “Tijuana Hand Job,” “Hemorrhoid,” and “Cock Vein,” though you’d better be drunk in a dive bar to actually appreciate them. (Hunkerdown Productions)

Xiu Xiu, Women as Lovers. Jamie Stewart’s most accessible batch of songs yet is still pretty freaky. His voice is a whisper, his melodies are ghostly, and his songs are populated with unidentifiable sounds. But by reducing his emotional distance and allowing his songcraft to mature, Stewart found what he probably always wanted: art for all of us. (Kill Rock Stars)

Reviews originally published in the East Bay Express on 12/12/07.

Marquis Melody, Straight from the Heart (Skank So). Across 78 minutes (at least twenty too many), Marquis Melody’s warbling vocals waver in effectiveness, though the underpinning roots reggae never loses its groove. Recorded at Tuff Gong in Kingston, Jamaica.

Gyan Riley, Melismantra (Agyanamus Music). The virtuosic music of Berkeley-based, internationally recognized guitarist Gyan Riley flows between flamenco, jazz, raga, classical, and Satriani-esque shredding without so much as a hiccup.

Scene of Action, Scene of Action EP (Pop Smear). Straight outta Cal, Scene of Action’s angsty, Muse-ish sound needs time to lighten up and develop beyond its influences. Still, not bad for a debut EP.

Caren Armstrong, Everything (Wildplum Recordings). These sincere, middle-of-the-road country-tinged tunes from singer-songwriter Armstrong (and friends) neither offend nor particularly impress, but could be just the thing for the right time and place.

Stevedood, Source Domain (Hella Baked Tapes). A song- and beat-based sound collage sourced from original material (local musicians on upright bass, drums, violin, and electric guitar, plus Stevedood on djembe, synth, and a jar of mayonnaise) that remains listenable throughout.

]]> http://www.nascentmag.com/2007/12/local-licks-121207.html/feed/ 0 http://www.nascentmag.com/2007/09/local-licks-92607.html http://www.nascentmag.com/2007/09/local-licks-92607.html#comments Fri, 28 Sep 2007 18:39:26 +0000 admin http://localhost/nascentmag/?p=86 Rogue Wave, Mavrik, Talking Wood, the Drift, and the Action Design

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.