The amount of indie rock groups in the Bay Area music scene can be overwhelming at times. For some reason there is an unbelievable amount of 20- and 30-somethings who somehow find their way to starting an indie rock band. With this in mind, I swallowed my prejudices towards the genre and gave Geographer an honest chance. Fortunately for me, Geographer is great.

Geographer delivers two wonderfully indie songs with a level of musicianship that is scarcely found in the Bay Area indie rock scene. The first track, “Can’t You Wait,” begins with a four-on-the-floor kick pattern and an unbelievably catchy guitar melody. Shortly into the song come the lyrics. A sweet, full voice begins to tell a story with an engaging personal tone. The track builds, adding cello, keys, and layers of vocals which lead up to an incredibly catchy synth line/disco beat chorus. In indie fashion the song builds up and down on this same theme returning at the end for one last disco beat chorus. “Rushing In, Rushing Out”, the second track on the single, slows down the tempo slightly but continues on the same general path laid out by the first song. A sweet synth melody leads you through another personal and powerful vocal, filled out nicely by a steady and lush cello performance.

Geographer reminds me why I, and a whole lot of other people, fell in love with bands like Broken Social Scene. Geographer celebrates the release of their full length album at Cafe Du Nord on August 17 with Cotillion and Judgement Day.

San Francisco experimental trio the Bad Hand seems like the kind of group that’ll try anything once. On This Is No Time for Modesty, the band’s staple rock instrumental base of guitar, Rhodes piano, and drums gets invaded by a gaggle of other genres and sounds, resulting in an ambitious mix of kitchen-sink sonic collages with varying degrees of success.

The band certainly offers enough surprises to satisfy anyone bored with the verse-chorus-verse same-old same-old, as the musicians follow a slew of paths within the album and on the songs themselves. Just when you begin to brace yourself for an all-instrumental record, “Hell Bent” drops in soft, girly vocals; or dirgy grunge falls into good ol’ Southern blues on “Then He Tried to Kiss Me”; or an interlude of fart-like kazoo sounds (“Short Door”) creeps into the batch.

Some of the tracks that fail to catch on weave together so many melodic and genre-hopping fragments that they leave listeners with little to grasp onto. The occasionally rough mixes, as on the hard-rock mishmash “How to Know When” and on the tail end of the disjointed “South Door,” which awkwardly melds a church organ with Southern blues guitar, can make one wonder: Are these guys all playing the same song?

But the band is legitimately enjoyable when it tones it down a few notches and sticks to one groove, like on “En Attenant De Baiser,” a proggy swirl of fuzzy guitars and shifting time signatures that drifts into funky jazz percussion and discordant piano tinkers; “The Twist,” which melds a paced electro pulsing with rainforest flutes and romantic whispers; and the best track, “Lo Ha,” a somber acoustic tremolo piece blended with funereal violin for a chilled out and downright lovely ambiance.

Perhaps most admirably, This Is No Time for Modesty showcases a band with oodles of energy that, when focused, can traverse a range of music and still pull it off — most of the time.

Battlehooch’s debut EP OOF OWF has already garnered much-deserved respect within the Bay Area and beyond. It is a self-made wonder-work of psychedelic rock, funk, and unabashed nonsense. All four of the disc’s creations are heavily orchestrated movements featuring all manner of percussion, guitars, and driving bass, with some classy Zappa-inspired horns popping up whenever necessary. Vocals are present but one gets the feeling that the listener is less expected to sing along than they are to dance.

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 1/30/08.

Creepy, The Triple EP (Teeno Records). San Francisco punk trio Creepy converts a collection of three new songs and two previously released EPs, one dating back to 2003, into a fine thirty-minute full-length. The group’s effortless balance of aggression and melody could find itself a good home on the Warped Tour.

Hot Challenge, Hot Challenge EP (self-released). Featuring three brothers and a friend, San Francisco pop-rock act Hot Challenge has a leg up in the chemistry department. But this isn’t enough to mask the fact that the ten-month-old band still needs time to mature and tighten up.

Silence Is Safety, Silence Is Safety (Teeno Records). There’s a lot to like about Silence Is Safety’s sound: a nice blend of pop- and old-school punk, a tight rhythm section, the ability to slow things down without stopping them dead. Unfortunately, showy vocals from frontwoman Red tend to overpower everything else.

Daddy Cool Productions, Call Me Daddy Cool (self-released). Daddy Cool is one Charles Davis: studio wonk, songwriter, music instructor, and bassist-for-hire. This record finds Davis’ friends returning the favor, as eight musicians in varying roles help flesh out his homage to funk lords James Brown, Bootsy Collins, and George Clinton.

Reviews originally published in the East Bay Express on 12/19/07.

Johannes Wallmann Quintet: Minor Prophets (MooseWorks Productions). Wallmann recently moved west to direct jazz studies at Cal State East Bay, but Minor Prophets pays tribute to his former home of New York City with a breezy palette and an inviting, complex finish.

Please Quiet Ourselves: Please Quiet Ourselves (Mushpot Records). A promising pop mess (think broken-down Broken Social Scene) from seven Berkeley high school students. Some songs have yet to find themselves, but surprisingly many are downright glorious.

Michael J. Downey and the World: America (self-released). Perhaps little more than one man’s mission to front a band featuring four beautiful women. Though Downey’s lyrics reflect reputable morals, his songs soil adult-contemporary’s already beleaguered name.

Various Artists: Chaos Restored with Justin Martin (Buzzin’ Fly Records). Bedroom ravers rejoice: local talent Martin lays down a seventy-minute set of stylish European house featuring three of his own compositions (and one from brother Christian) plus selections by other producers here and abroad.

Deborah Pardes: Love and Discipline (Mentl Music). One of those unexpected treats that validates digging through the crates. Pardes may be neither hip nor happening, but proves herself a pro when it comes to the three pillars of singer-songwriting: lyrics, vocals, and composition.

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/2007/11/local-licks-112807.html http://www.nascentmag.com/2007/11/local-licks-112807.html#comments Wed, 28 Nov 2007 18:22:40 +0000 admin http://localhost/nascentmag/?p=70 Here Here, Parker Street Cinema, Sky Pilots, and Jimmy Leslie

Reviews originally published in the East Bay Express on 11/28/07.

Here Here, The Boy with an Orange (self-released). Even down to frontman Christian Lyon’s soothing vocals, seven-member San Francisco group Here Here sounds a lot like Pinback, just without the snap, and with a whole bunch of violin, accordion, trumpet, banjo, and mandolin.

Parker Street Cinema, Music, in the Blood (Abandoned Love Records). If making beautiful, dramatic music sound effortless is a pinnacle of achievement, then San Francisco experimental rock trio Parker Street Cinema falls a couple important steps below its idols. Fleeting moments of transcendence yield to a sense that the band is overthinking.

Sky Pilots, Enjoy a Day Off (Ghost Mansion Records). Post-hardcore put through the San Francisco spinner: palatable, progressive, and reluctant to push anything too hard.

Jimmy Leslie, Surfin’ the Swamp (Concurrent Records). The vibe is steady, the sound is clean, and Leslie’s bright guitar work rarely missteps. Still, only when the band loosens up and just jams does this New Orleans funk/San Francisco rock hybrid really click.

Reviews originally published in the East Bay Express on 11/24/07.

Mia Zuniga Stories Such as These (Love Music Records). Slick, but above all, soulful R&B: polish without pretense, barefoot and pretty, like the girl in the cover photo. Love Music, the name of the Pittsburg native’s record label, is a perfect fit, for Stories Such as These is a total pleasure.

Mahealani Uchiyama A Walk by the Sea (Dancetera). Inspired by her African and Native American ancestry, Uchiyama sings in Hawaiian, Tahitian, and other languages over beautifully percussive music about a search for home and identity.

Dubious Ranger Even These Things Tell Stories (Nothing Room Records). Try as they might to downplay the They Might Be Giants silliness in their music for hip post-punk influences like Television and Pavement, the members of Dubious Ranger aren’t fooling anyone. Still, they could’ve done worse.

Sergeant Midnight to Midnight (self-released). There’s not a lot going on here beyond Keli Reule’s intense vocals — sweeping from a dark pop-star croon to the searing growl of the Distillers’ Brody Dalle — which save this brooding, artsy indie-rock record from the cut-out bin.

Whitey on the Moon One Less Car EP (Vela Para Todo). The name is bad, but the scrappy, well-aged indie rock — recorded by Tim Mooney (American Music Club) at John Vanderslice’s venerable Tiny Telephone studio — is good. Real good.

Hometown: Oakland
Next local show: 11/28, The Stork Club
Recent release: The Sleepyboy Moe Tapes, 2006

When it comes to homegrown East Bay music, Sleepyboy Moe is the real deal. Shaun Wargowsky, the man behind the name, moved to Oakland in 2005 and immediately became active in the local scene. The singer/bassist/guitarist began performing solo and with drummer Lindsay Cooper (of nicely named Oakland band Espionage a Trios) at small venues including Epic Arts in Berkeley. He recorded his debut CD, The Sleepyboy Moe Tapes, entirely in analog in Oakland and Berkeley. And his CD release party will take place Tuesday at The Stork Club in Oakland.

As for the sound? It’s been called sludge-folk, but that doesn’t begin to convey the hiss, fuzz, and noise captured in songs like “Nice Try, Nice Guy.” Most of the album sounds like a third-generation copy of a lo-fi cassette tape. Wargowsky’s droning (yet enchanting) rhythms and possessed (almost feminine) vocals compliment the recording perfectly (or maybe it’s the other way around), making this release more art than cheap reproduction of a live performance. You can find it at Aquarius Records in San Francisco (22nd and Valencia) and Amoeba Records in Berkeley (Telegraph and Haste), as well as online at CDBaby.com and iTunes.

CLEVELAND ROCKS:
-Before moving to Oakland, Wargowsky sang and played keyboards, bass, and guitar in a number of groups in the Akron/Kent/Cleveland area (Ohio, of course), where he attended school at Kent State University.
-These groups include the Stool Creak Circus (alternative rock), the Flavor Cat Hairparticles (ska, punk, Latin), and the Kent State African Ensemble (gospel choir).