Show of Month

Daniel Johnston / The Dead Science / PWRFL POWER

Seattle, WA | April 17, 2008 | Neumo’s

As puffs from a smoke machine drifted across the Neumo’s stage, PWRFL POWER, AKA Kazutaka Nomura, took a chair in the center. The slight, young musician is trained in classical and jazz guitar, and his mastery of his instrument (on this evening, a compact black-finished acoustic) only makes his frivolous, jokey songs that much more maddening. Much of the audience was easily amused by Nomura’s shtick (as when he declared, “I’m feeling pretty good about being myself. Maybe it’s the whiskey”), but if he were to put his formidable talents toward a more substantive end, he could achieve something powerful not just in name.

Dead Science singer/guitarist Sam Mickens announced that he was excited to be playing with Daniel Johnston since “we share some common interests: Comic. Books.” Perched on one leg like a flamingo in a brocade smoking jacket and slick, sculpted hair, Mickens led his group effortlessly through a set of challenging, expressionistic, semi-abstract art rock. With Jherek Bischoff wrestling his standup bass around the stage and drummer Nick Tamburro attacking his kit like a young Steve Shelley, the band’s approach to its live set was anything but precious.

Revered outsider, singer/songwriter Daniel Johnston took the stage with his binders of lyrics and an odd little guitar that was dwarfed by his bulky frame. After a handful of solo songs, he was joined by Brett Hartenbach on acoustic guitar. If any gawkers in the sold-out house were hoping for a train wreck from the idiosyncratic performer, the most they got was Johnston asking, “Is this Portland, Oregon?” Guzzling multiple bottles of water and clad in a Spider Man t-shirt, Johnston navigated his set with his own kind of awkward aplomb, fielding an ill-timed photo request with “Sure, you can take a picture — I’m right here.” Johnston’s skill as a songwriter, if it were ever in question, was confirmed by a cover song, as his warmly-received version of “You’ve Got to Hide Your Love Away” (introduced as by “my friend John Lennon”) sounded for all the world like one of his own songs.

After a short break, Johnston returned with The Dead Science backing him for the second half of his set. Ironically, the band struggled with Johnston’s “hits,” such as “Speeding Motorcycle,” “Casper the Friendly Ghost” and “Walking the Cow,” but it skillfully brought a haunting atmosphere to Johnston’s moodier, more challenging songs. Johnston closed the night with an a cappella rendition of “Devil Town” and the audience sang along heartily.

-Review and photos by Mike Baehr

Birds & Batteries / Social Studies / Telegraph Canyon

Café du Nord | San Francisco, CA | April 3, 2008

Fort Worth, Texas’ Telegraph Canyon opened the evening at Cafe du Nord with a set of countrified folk-rock. Sharing a kindred spirit (and a bass-drum bird motif) with the evening’s headliners, Telegraph Canyon expertly blended the rustic, organic tones of harmonica, viola, organ and acoustic guitar with the technological muscle of intricately processed electronics. Lead guitarist Erik Wolfe used three distinct delay pedals, a reverb and an overdrive pedal to gracefully achieve a ghostly effect with incredible sustain that augmented the band’s sound without overpowering any other element.

San Francisco’s Social Studies followed with a set of synth-heavy pop. Although their recordings attest to a dancier expression of that sound, on this night, Social Studies often flirted with a minimalist streak that may be attributed to the influence of new member Jason Kick. Kick, who helped mix the band's recent album, This is the World’s Biggest Hammer, and plays in San Francisco avant-pop groups Maus Haus (along with his Social Studies bandmate Aaron Weiss) and The Lovely Public, seemed to have lent a few of his stylistic preferences – repetitions of siren keyboards and abrupt verse attacks – to Social Studies' newer songs. While it was interesting to see the band take its sound in a different direction, one got the sense that this style has not fully integrated itself into the Social Studies curriculum.

Similarly, San Francisco’s Birds & Batteries faced the challenge of lineup adjustments. But in their first show without keyboardist/vocalist Julie Ann Thomasson, the band opted for a “more is more” approach. In addition to the familiar horn and string sections that often grace B&B’s hometown performances, this evening saw an appearance by Snowblink singer Daniela Gesundheit, as well as the public debut of frontman Mike Sempert’s dual duties on keys and guitar. Bassist Jill Heinke contributed Rhodes on a few songs to fill in the bottom end. With Sempert and Heinke’s diversified roles and new member Chris Walsh on pedal steel and guitar, B&B appears to have taken an ambitious dive into onstage versatility. With that versatility came new arrangements that highlighted the complexity of Sempert’s compositional tastes. Although there were instances where his instrument juggling nearly got the best of him, it was apparent from the indomitable smile on his face — and the grandiose indie rock orchestra merrily flanking him — that Sempert very much enjoys being at the center of a musical maelstrom.

-Review by Andres Jauregui; photo by RC Rivera

Saything / The Hairbrain Scheme / GoodCity Lie Still

El Rio | San Francisco, CA | April 16, 2008

The beloved El Rio opened its doors to a selection of talented Bay Area acts spanning the rock spectrum. The show opened with Oakland prog-rock group Saything, followed by the popular pop/alt-rock band The Hairbrain Scheme from San Francisco’s Outer Sunset District and concluded with the modern rock sound of Santa Rosa’s Good City Lie Still.

A blaring trumpet introduced the first of many schizophrenic songs from Saything. Layered with odd tones and aggressive riffs, the band’s set exuded a level of artistic angst and chaos; however it could have benefited greatly from some level adjustments. Nate Mahem’s bass overpowered most of the other instruments, draping a heavy mid-range fog upon the overall sound. Despite these audio issues, Saything displayed strong musicianship, particularly in their quieter moments where singer (and drummer for The Aimless Never Miss) Winston Goertz-Giffin’s characteristic vocal grit and growl could clearly shine through.

The crowd thickened and enthusiastic catcalling erupted as The Hairbrain Scheme took the stage next. The former Santa Barbarans opened a cappella with “Walking,” an incredibly strong and catchy song overflowing with vocal polyphony. The energy remained high as they progressed through their set, even encouraging the formation of a raucous mosh pit. All four members exhibited extraordinary showmanship, particularly vocalist Grant Parsons who spastically spun and danced about the stage to the upbeat tunes. “How do we sound?” Parsons asked. “Louder!” the audience replied. The Hairbrain Scheme made this their night, and it was evident that the crowd was plenty pleased.

Closer Good City Lie Still’s driving rock and spacious effects filled the room with energy, albeit a different type of energy than that of the previous act. The audience connected on a deeper, quieter level as the Sonoma County band displayed a sense of seriousness in its songs. The occasional switch from guitar-based rock to piano added variety to the set, and Good City’s instrumental sound was excellent, with perhaps the most balanced bass tone of the night — round and deep like a heartbeat. Andy Pohl’s Tele Deluxe provided great presence and clarity to even his grittiest riffs. Sadly, the heavy mid-range in (cousin of Winston) Ross Giffen’s vocal mix made distinguishing lyrics virtually impossible. Giffen’s commendable vocal presentation was not lost, though, and his occasional falsetto over Pohl’s relentless crunch elevated Good City’s songs in a sweeping fashion.

El Rio is a venue capable of separating the nuanced from the new: experience provides the ability to perform well even under the most mired circumstances, and all performed well indeed.

-Review by Keane Li; photo by Cassidy Williams

Geographer / Love is Chemicals / The Aimless Never Miss

12 Galaxies | San Francisco, CA | April 9, 2008

Even after multiple name changes in the last year, the most striking modification apparent during Geographer’s recent opening set at 12 Galaxies was the absence of singer/keyboardist Kacey Johansing. Though a laptop playing pre-recorded keys could not compensate for the gorgeous male/female vocal harmonies that once dominated the band’s aesthetic, Geographer put on a moving performance as an all-male trio. Their sound was still swelling, deeply melodic and passionate, each instrument exploring the sonic depths of the cavernous venue. Nathan Blaz’s electric cello and Mike Deni’s atmospheric vocals hearkened Sigur Ros at times, and even Radiohead during their more rocking songs (which there seemed to be more of at this show). Demoing some new material and inciting audience members to bounce along, Geographer, in all its evolution, has not skipped a beat.

Where Geographer poured out the emotion, Love is Chemicals kept it considerably more restrained. The local foursome played a 1990s indie rock-influenced set, sprinkled with garage pop moments reminiscent of The Breeders. Though their performance was a bit stiff, the four musicians demonstrated a knack for constructing melody and an even greater knack for sonic climaxes. Nate Grover’s vocals were not especially deep, but they were powerful at their mid-high register. When wife Courtney Grover’s Kim Deal-esque pipes joined in, there was real chemistry. Love is Chemicals know how to layer and build sound patiently and effectively, but it was the songs that were higher and more consistent in intensity that really hit home. The feeling of desperation and dissonance were a much-needed contrast.

Four players and one mean visual artist strong, The Aimless Never Miss closed the night with a spot-on demonstration of multi-media evocativeness. With deep roots in Sonoma County, as well as in brooding atmospheric brilliance, the band’s turbulent yet powerfully cohesive harmonies and shimmering psychedelic interplay was skillfully enhanced by the contributions of fifth member, Luke Judd, and his live mixing and manipulating of video footage. Images ranged from gripping to playful, introspective to apocalyptic, all brimming with tangible feeling. The vocals of guitarist Jon Latimer and keyboardist Rosie Steffy glided off one another as the world crumbled behind them. In addition to increasing the emotional resonance of their music, Judd’s visuals also made the musicians onstage seem like one unit rather than four individual players. This undeniable cohesiveness combined with a bold approach to instrumentation and sense of innovation make The Aimless Never Miss a triple threat. With two EPs out now and a full length on the way, The Aimless is a band ready to take it to the next level. If they can secure an opening slot on a large national tour and get some much-deserved visibility, they’ll be set.

A shout-out to 12 Galaxies is also in order for their astute DJ work. The albums between sets proved to be the perfect glue holding the bill together: after Love is Chemicals’ set, The Breeders Title TK cleansed the palette; then to close the night, Built to Spill — which both Love is Chemicals and The Aimless Never Miss resemble — provided a satisfying nightcap.

-Review by Katherine Hoffert; photos by Oleg Malov

The Breakups / Nick Jaina / I Make This Sound

Silverlake Lounge | Silver Lake, CA | April 15, 2008

Hollywood’s own The Breakups started the night off at the Silverlake Lounge. The evening was much like an intimate gathering of friends, with band members joining friends and family for drinks after their performances. The Breakups played a highly synthesized set, employing all the traditional instruments and then some (melodica, organ, effects) to control the pitch and tempo shifting that dominated their electro pop sound.

Portland, Ore. native Nick Jaina followed, backed by members of fellow Portland bands Run On Sentence and Heroes and Villains. Together, their ornate musicianship incorporated a wide range of classical instruments including upright bass, accordion, violin and trumpet. Their sound was chalk full of gorgeous contrasts, as vocals bore a scratchy, soulful jazz quality then shifted to a more folksy meter, and songs were both haunting and upbeat. Jaina’s elegantly deep voice was perfectly paired with the mournful drum beats, which gave a much darker feel to the music than the lyrics would imply. During the song “It’s a Battleground,” the violinist came down off the stage and climbed onto a bar stool in the midst of the audience in an attempt to get the crowd to clap along. Jaina, who has spent time playing in and drawing influence from the French Quarter, managed to make the Silverlake Lounge feel more like a New Orleans cabaret than an indie rock venue.

The evening concluded with a flawless performance by the Los Angeles seven-piece I Make This Sound. Their melodramatic set was full of reverb and dreamy piano-based indie pop/rock. Midway through the performance, lead vocalist Jonathan Price told the expectant crowd, “Don’t worry! This is the saddest song you’ll hear us play tonight.” Like any large cast, I Make This Sound seemed to struggle with focusing on a single idea. But what they lacked in focus they made up for with contagious energy and mesmerizing stage presence. In honor of tax day, and as a perfect end to the night, the band played an infectious cover of The Beatles’ “Tax Man.” Most impressively, I Make This Sound succeeded in playing a series of songs that were both moody and fun, and managed to dance as though they were experiencing all of life’s melancholy feelings at once.

-Review by Audrey Cortes; photos by Jessica Watkins

Weinland/ Norfolk & Western / Mist and Mast

Café du Nord | San Francisco, CA | April 20, 2008

The Green Apple Festival recently hosted a night of West Coast indie folk-rock at Café du Nord. Despite it being a Sunday night that happened to fall on April 20, a popular day for many San Franciscans, the bands’ clout was apparent in the good turnout and the relaxed attitude — especially considering the show started an hour late.

On the first leg of its Western U.S. tour, Portland’s Weinland (formerly known as John Weinland) started the night with a beautiful blend of mellow — though still rocking — folk-inspired tunes. Mentioning that San Francisco was one of the cities they were most excited to play, the cast of musicians engaged the crowd with a contagious energy and impressive collection of instruments that included dobro, accordion, lap steel, mandolin and more. Singer/mastermind Adam Shearer won the crowd over with his engaging stage banter, pointing out his badass beer koozie mounted on the mic stand as well as the fact that his grandpa’s old ‘74 van, which now serves as Weinland’s tour van, “was smoking on the way to the show and not in a 4/20 kind of way.” Equally engaging, Shearer’s strong yet calming vocals backed by his band’s impressive instrumentals resulted in the strongest set of the night. Adam Selzer and Rachel Blumburg of Norfolk & Western joined Weinland onstage mid-way through their set on backing vocals and guitar, contributing to some of Weinland’s standout songs, such as “Sick as a Gun” and “Gold.” More than just tourmates, Selzer helped engineer Weinland’s recent album, La Lamentor, and displayed an instant fluency with the band and its songs.

Holding the headlining slot, which was the middle slot tonight, Norfolk & Western kicked up the energy with their dynamic take on indie folk. Selzer’s guitar proficiency took center stage immediately and his soulful vocals garnered a positive reaction from the crowd. Blumberg’s drumming was equally impressive (her credits include The Decemberists, M. Ward and Bright Eyes), and with the help of guitarist Tony Moreno and bassist Dave Depper, the band’s instrumental musical chairs (keys, harmonica, etc.) had the audience’s full attention. The highlight of the night was Norfolk’s cover of The Velvet Underground’s “What Goes On,” for which Weinland joined them onstage.

Closing the night was Oakland’s Mist and Mast who bore a bluesy, psychedelic influence. Keys, bass and guitars were at the forefront, with Jason Lakis’ softer vocals assuming a less dominant role. Taking the stage at 11:00 p.m. though, Mist and Mast’s slot proved to be too late for half of the Sunday evening crowd. Lakis, who wrote and recorded the entire self-titled Mist and Mast debut himself, humbly thanked the people who stayed. And those who did stick around were treated to an instrumentally tight band that understands the importance of a song from beginning to end.

-Review by Jackie Miehls; photo by Oleg Malov

Dirty Projectors / No Kids / Rafter

Chop Suey | Seattle, WA | April 17, 2008

On a drowsy, drizzly Thursday in Seattle’s Capitol Hill neighborhood, the spring tour itineraries of three fiercely idiosyncratic bands would intersect for a final time. Dirty Projectors and No Kids have been playing together through most of April, while Rafter dropped in for a handful of dates on his way up the West Coast. The sense of mutual admiration between them was apparent, and the three disparate yet similarly inventive takes on pop music combined to form a pleasantly cohesive bill.

San Diego’s Rafter gently eased the burgeoning crowd into the proceedings with the brief, hushed opener “I Love You Most of All.” This was followed by several increasingly dynamic performances of songs from this year’s Sex Death Cassette, fleshed out by a five-piece band. They reached their stride with a hard-hitting rendition of “Paper,” a delightfully profane product of Rafter’s ongoing “Song-A-Week” project. Another turning point in the set was “zzzpenchant,” which saw the initially subdued rhythm section spring to life, exhibiting an energy that would carry them through for the duration of the set. With driving rhythms propelling the guitar-based arrangements forward, the group expanded the bedroom sound of Rafter’s recorded output into a formidable rock show.

After an inordinately lengthy changeover between bands, Vancouver, BC’s No Kids were up next. Armed with three keyboards, a relatively compact drum set and some assorted auxiliary percussion, the trio alternated between bouncy pop songs and R&B-influenced slow jams. Frontman Nick Krgovich’s vocal style and stage presence evoked a subtle air of Al Green-meets-Office Space. The band’s use of space within compositions was extremely effective, manipulating rests and syncopations to form deceptively straightforward grooves. Keyboard lines interlocked with a laidback intricacy, and vocal hooks were often de-emphasized as this interaction took precedence. The precocious, exploratory nature of the melodies lent a certain lightheartedness to No Kids’ more blues/soul-inclined material. Overall, the impression they made was endearingly captivating, and the all-ages crowd — seemingly uninitiated at the outset — responded favorably to the Piano offshoot.

While No Kids took guitars out of the equation entirely, Dirty Projectors wove entire arrangements around Dave Longstreth’s confounding axe work, while pushing out harmonies that sounded about 20 feet tall. With virtuosic aplomb, they tore through a generous set mostly comprised of reinterpreted Black Flag songs from their 2007 release, Rise Above. An early highlight was the rapid vocal exchange between guitarist Amber Coffman and bassist Angel Deradoorian on “Gimme Gimme Gimme.” The sheer precision that the rest of the band had to demonstrate throughout just to keep up with Longstreth’s restless muse was absurdly impressive. Some minor cable malfunctions during the encore barely registered amidst such a breadth of talent.

-Review by William Cremin; photos by Fel Pajimula

Lavender Diamond / She & Him

Vista Theatre | Los Angeles, CA | April 28, 2008

It’s a Monday night at L.A.’s venerable Vista Theatre, an all too appropriate setting for the local debut of She & Him, with featured guests Lavender Diamond. Popcorn permeates the air of this elegant 75-year-old Egyptian-style movie theater, and although there are Raisinets in the concession case, the atmosphere this evening is as buzzy as a movie premiere.

Setting the tone were L.A. favorites and fellow country-rock enthusiasts Lavender Diamond, who dedicated their first song to “the best planet in the world.” During the course of their brief five-song set, guitar, drums and piano provided loose accompaniment to sparse pop and folk arrangements that showcased the haunting vocals of singer Becky Stark. On “Oh No,” Stark’s stirring soprano begged the aching question, “When will I love again?” while on the yearning lullaby “Bring Me a Song,” Steven Gregoropoulos’ gentle piano melodies perfectly underscored deep pools of longing and sorrow present in Stark’s voice. For the final song, Stark (to the audience’s delight) invited She & Him’s Zooey Deschanel to join her onstage. With matching flowers in their hair, the girls giggled their way through, inventing jazzy choreographed moves as they went along.

After a short intermission, Deschanel returned to the stage, this time accompanied by the other half of She & Him, M. Ward, plus a full backing band. After exchanging brief pleasantries with the audience, they immediately jumped into “Black Hole” and Deschanel’s country-soaked vocals, earnest delivery and undeniable charm captured the hearts of a clearly enamored crowd. For most of the night, Ward shied away from center stage, alternating between deeply introspective slide guitar textures on heavy-hearted country ballads like “Change is Hard,” blues-soaked rock licks on the Carole King cover “Oh! No Not My Baby” and acoustic folk accompaniment on the R&B classic “You Really Got a Hold on Me.” There is obvious chemistry between Ward and Deschanel, and despite what appeared to be early nervousness on her part, it quickly became apparent that every bit as much care and preparation went into this performance as went into the thoughtfully-crafted songs on their debut, Volume One. She & Him are at their best on songs like “This is Not a Test,” “Why Do You Let Me Stay Here” and the irresistible “Sweet Darlin’” — songs that showcase Deschanel’s warm, familiar voice and beautifully straightforward lyrics like, “I think you’re just so pleasant, I would like you for my own.” Overall, She & Him showed that like the 1960s girl groups and 1970s folk vocalists that influenced them, gorgeous pop doesn’t have to be complicated.

-Review by Damian Juarez-Mrazek; photos by Jessica Watkins