NOISE POP NIGHT 6 | 03.04.07 | SAN FRANCISCO
By Team JamBase Mar 5, 2007 • 12:00 am PST
Words & Images by: Andy Tennille
Midlake, Minipop, Ester Drang, Minmae
Bottom of the Hill :: San Francisco, CA
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As the band wound the song down, a rogue “yeeehaaaaaaaaaw” erupted from the back of the over-stuffed venue to the delight of the band members.
“Was that a yeeehaaaw?” guitarist Eric Pulido sarcastically queried. “Because we haven’t heard one of those in a while.”
“I think they’re making fun of us,” deadpanned frontman Tim Smith, no doubt referencing the band’s North Texas heritage.
Despite being more than 1,500 miles from their Denton, Texas HQ, Midlake was apparently feeling right at home with the comforting presence of old friends in attendance during their mid-afternoon set on Sunday, the final day of Noise Pop 2007. Opening the show were locals Minipop, Oklahomans Ester Drang and Minmae from Portland.
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The haunting howl and character-laden lyrics of Smith lies at the center of Midlake’s ambitious, diverging musical personalities. Tunes like “Balloon Maker” and “Some of Them Were Superstitious” were sonic kin to The Flaming Lips and even Radiohead, blending dance-ready beats with woozy guitars.
“Roscoe” and “Head Home” reek of ’70s-era rock with melodies borrowed straight from the Fleetwood Mac catalogue and multi-part harmonies ala The Eagles from Pulido, keyboardist Eric Nichelson, bassist Paul Alexander and drummer McKenzie Smith. On “We Gathered in Spring,” Smith channels vintage Neil Young vocally as clouds of fluffy synthesizers float anachronistically in the background.
Merging disparate influences into a unique sound is the bane of every young band trying to establish themselves in today’s world of derivative garage rock, emo wannabees, and post-punk hijackers. Thankfully, unlike most of their peers, Midlake’s talent runs deep.
Words by: Kayceman
Cake, Money Mark
Bimbo’s 365 Club :: San Francisco, CA
After six nights in a row, you really start to feel your age. It doesn’t seem long ago that I could blast through a summer with a pair of tennis shoes, a block of cheese, and five shows a week for months on end and never get tired. That was a different time, different music, and a different way of life. Back then I probably wouldn’t have chased anything called “Noise Pop” around town, but if there is any joy in getting older it can be found in the development of one’s tastes. These days I crave a bit more sleep. I also like sushi and olives and all kinds of shit I used to laugh at. I’ve also come to appreciate well-crafted pop of all types, especially the noisy kind.
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The final evening of Noise Pop blurred the notion of pop even further with Money Mark and Cake performing to a sold-out crowd at the plush, velvet-draped Bimbo’s 365 Club. Looking back over Mark Ramos-Nishita‘s (Money Mark) storied career, he turns out to be an embodiment of what Noise Pop is all about. Just like the festival does every year, Mark has shuffled his way from one end of the pop spectrum – starting with his pivotal role in the making of Beastie Boys albums Check Your Head (1992) and Ill Communication (1994)- all the way to the other end with Jack Johnson whose Brushfire Records just released Money Mark’s Brand New By Tomorrow. In addition to his work with the Beasties and Johnson, Mark was a leading player on albums by Yoko Ono, Banyan, Porno For Pyros and Beck.
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Where Money Mark mixes a wide variety of pop stylus with fairly generic results, Cake utilizes just as many influences to create a sound that belongs only to them. Trying to put a name on exactly what style of music Cake plays is difficult. The sound is defined by the dry, sarcastic talk-vocals of frontman John McCrea and would have to fall under the post-modern pop moniker. But, that’s just what sticks out. Behind McCrea is a stellar band with tight chops, deep bass, rock and roll guitar, and the critical counter-point of trumpet man Vince DiFiore. There’s the radio smash “The Distance” that pushed 1996’s Fashion Nugget into the Top 40, but then there are whiffs of country and folk, weird keyboard blips, spacey jams, and this great Tropicalia vibe that somehow fits perfectly.
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From the weirdo vocals and sinister bass of opener “Comfort Eagle,” Cake took over the club, pulling songs from their entire catalogue. Off their major label debut, 1994’s Motorcade Of Generosity, Cake busted out “Comanche” and from their latest offering, 2004’s Pressure Chief they played the groovy, quirky “Wheels,” which was a clear highlight.
There was one point in the show, after expressing his distaste for all the cameras, that McCrea orchestrated an interesting moment of crowd participation. Love him or hate him, he’s a unique frontman, and ultimately what sets Cake apart. With McCrea’s trademark style at the helm, Cake has come to define a section of popular music and their placement as Noise Pop’s final act was brilliant.
Noise Pop isn’t a festival in the traditional sense. There is no central location, nothing that really brings the people together, and certainly no muddy fields and passed our wookies. Noise Pop has its own vibe and it certainly packs San Francisco with a condensed offering of music that is loosely connected under the umbrella of “pop.” Considering that Noise Pop started 15 years ago with one night at the now-defunct Kennel Club and now stretches six nights over fifteen venues with stand-up comedy, a film component, industry panels and over 100 artists, it seems clear that whatever pop music is it’s growing. And now, after gorging ourselves on all kinds of pop-rock, we must rest, regroup, and prepare for the swing into Festival Season. From Langerado to SXSW, Jazz Fest to Bonnaroo, 10KLF, and High Sierra there’s a scene for everyone, and JamBase will be there!
Continue reading for complete Noise Pop coverage…
JamBase | San Francisco
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Words & Images by: Kayceman
Clinic, Earlimart, Sea Wolf, The Mumlers
The Independent :: San Francisco, CA
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Also from L.A., Earlimart work the pop-rock model but in far more melodic and deeper way than Sea Wolf. Having seen the quintet not long before in the same room, the elevated level of performance during Noise Pop was remarkable. The hushed vocals of Aaron Espinoza over crashing walls of guitar at times brought to mind Silversun Pickups without the screaming. After a driving, jazz-tinged keyboard composition, Espinoza looked out over the crowd and explained how great the band felt, that they were trying some new things and loving it. From the reaction of the Noise Pop crowd it seems clear Earlimart is onto something. Should they continue to develop at this rate there’s no reason they can’t be headlining Noise Pop in the future.
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They took the stage dressed in their trademark surgical masks, top hats and matching brown hospital garb as some sort of demented whisper creeped through the speakers. Wasting little time, Clinic dropped right in with bombastic bass and drums. Most of the songs were short and punchy with a heavy 60’s psychedelic overtone. Often driven by simple bass lines and swirling keyboards, they stirred up a dark acid surf meets The Doors vibe. Contemporary American rock band The Black Angels also came to mind, but overall, Clinic is on their own trip. The frequent appearance of the melodica and constantly searing guitars filled out the sound and kept the kids dancing. With the huge success of their latest release, Visitations and live shows at this level, it’s no mystery why Clinic is a current favorite on the circuit.
Continue reading for more Noise Pop coverage…
JamBase | Noise Pop
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Words & Images by: Kayceman
Autolux, Snowden, Malajube
The Independent :: San Francisco, CA
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Sung entirely in French, the vocals were charming, adding support to the music and filling in space but rarely pushing forward or demanding attention. The focus for this five-piece indie rock outfit is clearly on quality song structure, tight changes, and subtle shifts in the music. There were times when the sound would build to massive crescendos embracing an almost stadium aesthetic and at others the punchy tension-release was almost proggy in nature. There was something in the swapping of keyboards for guitars and the friendly flow coming off the stage that vaguely recalled fellow Canadians Broken Social Scene. By the end of the far too short set, Malajube had won over the crowd and it was obvious this would be a hard act to follow.
It’s hard to tell if Snowden felt a little lame simply because of the power displayed by Malajube, but the placement of a melancholy, new wave band after an energetic, hungry group like Malajube proved a bit difficult to roll with. Although it was easy to enjoy the enthusiasm of female bass player Corinne Lee, overall the lack of energy and originality were impossible to overcome. That and I’m always a bit pissed off by bands who sound like they’re from England when really they live in Atlanta.
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As the heavy drug rock, screeching guitars and clouds of feedback built in intensity it was shocking to think that Azar’s career almost ended in 2002 after a tragic fall from the stage. She shattered her elbow and was only saved by experimental surgery and eight titanium screws in her elbow. How a lady with that much metal in her arm can slam so hard is a mystery, but she clearly didn’t seem impaired at Noise Pop.
About halfway through the band’s set, Edwards’s gear crashed. He’s got one of the most extensive effects rigs I’ve ever seen, and with that many electronics something is bound to go wrong from time to time. Watching Edwards play it was clear he’s not the most technically accomplished guitarist around. He relies on his pedals to help beef up his sound too much, but when he gets it going it’s a huge sound and it’s often impossible to determine where all the noise is coming from.
After about ten-minutes of droning loops and tinkering behind the stage, Autolux finally emerged with a new speaker cabinet and finished strong. Building on Goreshter’s gigantic bass, the final segment of the show was overwhelming as the band deconstructed into a total, drive your guitar into the ground, instrumental meltdown.
While not as dynamic in the songwriting department, Autolux’s music is languid and druggy like The Secret Machines, and it’s no surprise bands like Nine Inch Nails and Radiohead have brought them out on the road. As impressive as Autolux’s performance was, with the technical difficulties weighing them down the youthful Malajube almost stole the show. Almost.
Words by: Robyn Rubinstein
The Dandy Warhols :: Mezzanine :: San Francisco, CA
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I arrived just as opener Audrye Sessions took the stage at San Francisco’s Mezzanine. The best thing I can say about their set is that it was short. Self-indulgent, heavy-handed emo-rock has definitely been done before, and with less whining. The whole crowd seemed to breathe a collective sigh of relief when they were finished.
When the Dandys came on, I was overflowing with anticipation and excitement, which sadly dissipated quickly. The sound quality was fair at best, and at times it was impossible to hear keyboardist Zia McCabe. Frontman/singer/guitarist Courtney Taylor appeared largely inebriated and unfocused. Bassist Peter Holstrom and drummer Brent BeBoer were mostly unremarkable, except for of DeBoer’s slightly off-key vocals. Their set seemed very hurried and haphazard. Even their high profile hits like “We Used to Be Friends,” “Bohemian Like You,” and “Not if You Were the Last Junkie on Earth,” lacked the passion and precision that made them great to begin with. There was slight redemption with “You Were the Last High,” but only slight.
I freely admit that I can be a cynical, salty bitch, especially when it comes to music. Tonight I was a cynical, salty bitch fighting the flu, and I’m sure that had an effect on my interpretation. However, great music has temporarily ameliorated illness in the past, and tonight that didn’t happen. I love the Dandys on record and film, and as much as I wanted to love them live, I didn’t.
Words & Images by: Andy Tennille
Vic Chesnutt, Zach Rogue, Thao Nguyen, Alela Diane
Swedish American Hall :: San Francisco, CA
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Zach Rogue smiled warmly from atop his stool as the seated audience politely applauded through the Rogue Wave frontman’s solo acoustic set.
The dark serenity of the Swedish American Hall is the perfect place to take in solo acoustic music. The room holds 350 people and is tiered between floor seats and a small balcony. With the dark mahogany woodwork and a high gabled ceiling, the hall emits a warm, old-world feel that fosters intimate, engaging performances. Friday night’s lineup of Alela Diane, Thao Nguyen, Rogue and antebellum rock poet Vic Chesnutt promised to live up to the hall’s rep.
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Zach Rogue may be the busiest musician at Noise Pop this week. On Wednesday, he deejayed a party at the Diesel store in downtown San Francisco and is scheduled to participate in “The Life in Music: Conversations with Indie Greats” panel discussion this Sunday with John Vanderslice and Mark Eitzel (American Music Club). Friday night provided the rare opportunity to see Rogue perform without a net. Joined by Rogue Wave drummer Pat Spurgeon for most of the set, Rogue treated the crowd to some Rogue Wave songs as well as some unrecorded material that featured his adept guitar playing and soaring voice.
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Flanked by two guitarists, Chesnutt played a terrific set and appeared right at home onstage at the Swedish American Hall. His stark, lonely songs filled with tales of desperation, death and down-on-their-luck folk trying their best to survive reverberated throughout the dark, cavernous hall.
Continue reading for complete Noise Pop coverage…
Words & Images by: Kayceman
Trainwreck Riders :: Rickshaw Stop :: San Francisco, CA
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Walking into the intimate Rickshaw Stop you could taste the booze flowing through the room. On stage was local rock outfit Poor Bailey. With a screaming frontman that recalled Conor Oberst (Bright Eyes), the band worked through some intriguing guitar heavy explorations. Yet another band to mark down and check out a bit more closely. Thanks Noise Pop!
Taking the stage a bit before 11 was SF’s Trainwreck Riders. The band’s debut, Lonely Road Revival, has been burning up my iPod and after the first few notes I just kept thinking how could it be that this was the first time I’ve caught the band live?
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It’s got a Johnny-Cash-on-meth meets Drive-By Truckers vibe, both in terms of the content and the delivery. Speaking of the Truckers, it was hard not to think of Hood and Cooley during “Trainwreck Heart,” a new song about falling in love with a girl in your family. While there are reference points to other bands, Trainwreck Riders are clearly onto something original.
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When music is genuine – with tattered vocals, lonely harmonies, desperate cries and truly great guitar interplay – it’s hard not to get caught up in the moment. Looking around the Rickshaw it was clear that Trainwreck Riders had the Noise Pop crowd under their spell. There was some friendly shoving going on up front, a dude was screaming at the top of his lungs, and beer was spilling from cups. I stood there scratching my head, and almost kicking my own ass for waiting till now to catch this local treasure. I’ll be riding the Trainwreck again soon.
Words & Images by: Andy Tennille
Roky Erickson, Howlin’ Rain, Oranger, Wooden Shjips
Great American Music Hall :: San Francisco, CA
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Thursday night’s (3/1) festivities drove this point home as more than half the bands playing at venues throughout the city represented homegrown talent. Locals Lyrics Born and The Coup partied down at The Fillmore while across town their East Bay brethren Poor Bailey and The Morning Benders supported San Francisco’s Trainwreck Riders co-headlining gig at Rickshaw Stop with Langhorne Slim. Current can’t-miss Bay Area disco-rockers Scissors For Lefty tag-teamed with local faves Magic Bullets to open for French Kicks at Slim’s. At Bottom of the Hill, Brooklyn blogosphere darlings Matt & Kim headlined a multi-band bill featuring San Francisco’s Erase Errata and Oakland’s Pants Pants Pants.
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Despite their absence on the glowing marquee on O’Farrell Street outside the Great American, Wooden Shjips’ opening set may have been one of the most highly anticipated performances of the entire festival. Where most bands grow their fanbase playing dingy clubs for beer money, Wooden Shjips have taken an entirely different approach, building demand by not playing at all. Since the band was formed a few years back, frontman and guitarist Ripley Johnson has spent considerable time tweaking the lineup and recording a vinyl-only EP before finally making their debut live performance at Café Du Nord this past January.
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Howlin’ Rain and Oranger were up next. Where Oranger stuck to tighter pop tunes featuring harmonizing vocals and the always-welcome Theremin, Howlin’ Rain’s set was more fuzzed-out, Neil Young, country-fied rock than Big Star power-pop. Led by Comets on Fire guitarist/vocalist Ethan Miller, Howlin’ Rain’s sound is free-wheelin’ ’70s rock captured magnificently on their self-titled 2006 debut on Birdman Records.
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Though he seemed a bit distant – offering only a blank “thank you” after each song and a slightly more verbose “thank you very much” to close the night – Erickson’s passion for music appeared undiminished after years of drug abuse, purported alien abductions, horrid poverty, and a variety of mental and physical health ailments. It was a joy to see and a refreshing end to an evening of mind-expanding rock in the Psychedelic City by the Bay.
Continue reading for coverage of Noise Pop night two with Sebadoh and Josh Ritter…
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Words & Images by: Andy Tennille
Josh Ritter :: Swedish American Hall :: San Francisco, CA
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But as much as the festival’s historical focus has been to turn the spotlight on relatively obscure but deserving musicians, Noise Pop’s success over the years has also hinged on giving fans the rare opportunity to see more established artists in more intimate, relaxed performances.
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Sebadoh :: Great American Music Hall :: San Francisco, CA
Words & Images by: Kayceman
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Gaffney left the band in 1993 (coincidentally the same year Noise Pop got off the ground) and grew incredibly bitter about Sebadoh’s success following his departure. Somehow Barlow and Gaffney started communicating again and have since buried the hatchet. After 14 bitter years, the original Sebadoh has returned.
Warming up the crowd of younger, wide-eyed hipsters and aging indie rockers was The Bent Mustache, Love of Diagrams and The New Trust. Arriving as The Bent Mustache began playing; Great American Music Hall was filling up fast.
 By Kayceman |
Somewhere around 10:30 this strange, high-pitched, sped-up, freaked-out tape recorded intro repeated the line: Say hello to Sebadoh. And with little fanfare, Barlow Gaffney and Loewenstein took the stage. The band jumped right in with a new tune, and for a bunch of guys who haven’t really played together in more than a decade (minus a few shows) they sounded pretty damn good.
While there was nostalgia in the air, (you could hear things like “they were my favorite band of the 90s” and “Sebadoh turned me onto indie rock”) this wasn’t an oldies act. It was, at times, hard to not think of Dinosaur Jr., who a few months earlier had decimated the Great American, shaking fillings from teeth and crushing ear drums. But Sebadoh isn’t, nor ever was, trying to be Dino. Where Dino is a dictatorship run by J. Mascis that relies on his insane guitar destruction, Sebadoh is far more democractic, allowing the focus to dip between Barlow’s jacked-up folk leanings and Gaffney’s psychedelic explosions. At times it was hard to determine how the band was getting so much noise out of an acoustic guitar. I even had to climb up on a chair to watch Barlow get heavy with that same acoustic at one point. Although Barlow has become famous as the bass player for Dino, dude can shred a six-string.
 By Kayceman |
As the band tore through a ton of songs (most of which were around three minutes long), the most compelling parts were when the tempos would slow down and some open-space began to creep into the slabs of sound. Mixing the power of noise-rock and some form of postmodern garage-folk, Sebadoh really drove home the whole Noise Pop idea. While opening night at Mezzanine was fun, the fact that I could be at Sebadoh while my partner Mr. Tennille was at Josh Ritter and we both had to miss John Vanderslice is what makes this festival special.
Keep the dial tuned to JamBase for all your Noise Pop needs. Tonight it’s back out for a super-bill at the Great American with Roky Erickson, Oranger, Howlin Rain and Wooden Shjips as well as a drinker’s paradise with Trainwreck Riders and Langhorne Slim at the Rickshaw Stop…
Continue reading for coverage of opening night at Mezzanine…
JamBase | San Francisco
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Words by: Kayceman :: Images by: Andy Tennille
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Opening night is always a big meet-and-greet, and with an open bar and free food for VIPs, this was indeed schmooze-tastic. While the remainder of the week is packed with more music than any man can possibly consume, the kick-off party was more of a “who’s who” of the biz, with lots of booze to grease conversations.
Walking past the long ass line with my badge flying high, I noticed Les Claypool waiting with the masses and quickly rectified the situation by telling the folks in charge to take care of business. Once inside we linked up with lots of familiar faces including Two Gallants drummer Tyson Vogel and shared some drinks as we checked out the free swag that was going around. There were posters, hair products, art, ice cream, key chains, all kinds of shit. And then, there was the music.
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From there it was skin-skin-skin, and not always the good kind. Billed as FREEDM Night, people were embracing the idea and stripping down. Extra Action Marching Band rolled out heavy with horns and drums and a parade-on-acid vibe. One guy was standing on a speaker with a megaphone, another fella was on the bar, a bunch of 90-percent nude dudes running around with flags, and a slew of girls and guys doing the thong dance on stage as everyone pretty much got weird in the room.
After the Marching Band kicked off the live music, Har Mar Superstar took the stage. While many seemed to be diggin’ his vibe, I can’t seem to figure out how this guy has a career. It was pretty much glorified Karaoke. It was okay as background music. He had some good beats he was singing/rapping over, but what the fuck is with an overweight white guy stripping down to his skibbies on stage all about? I was at the end of my rope and drank heavily.
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Although last evening was the official start to Noise Pop, tonight we really dig in for some tasteful songwriters (Josh Ritter) and head-smashing rock (Sebadoh). Stay tuned right here at JamBase as Kayceman and Tennille will be hitting the streets hard and bringing back words and pics every day to keep you up on the Noise Pop onslaught.
JamBase | San Francisco
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Continue reading for the Noise Pop preview with John Vanderslice and Oranger…
NOISE POP IS HERE!
Noise Pop’s 15th anniversary festival begins today (2/27) with the opening, “FREEDM Night” event at Mezzanine. The annual event will feature over 100 artists packed into clubs around San Francisco from Tuesday 2/27 through Sunday 3/4.
In honor of this monumental event taking place in our own backyard, JamBase has put together a little teaser interview with two of our favorite artists set to appear at Noise Pop. Both John Vanderslice, who will be headlining at The Independent Wednesday 2/28 (with Damien Jurado, The Submarines and Black Fiction) as well as Mike Drake of Oranger (who will support Roky Erickson and the Explosives on 3/1 at the Great American Music Hall) are ready to give us all a little insight into Noise Pop’s big event.
John Vanderslice
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John Vanderslice: Well, Noise Pop was my first solo show ever, opening up for Bob Mould and then the Mountain Goats! I’ve only missed it once and it remains something that connects me to San Francisco. I love the opening night party [taking place Tuesday 2/27 at Mezzanine]. The booking is always eclectic and interesting.
What bands on the bill do you think people should make an effort to check out, and/or, what bands do you want to see?
John Vanderslice: Midlake [3/4 Bottom of the Hill], Vic Chesnutt [3/2 Swedish American Hall], Annuals [3/2 Cafe Du Nord], Ted Leo [3/2 Great American Music Hall], St. Vincent [3/2 Fillmore], Brightblack Morning Light [3/3 Great American Music Hall], tons more [see the complete schedule here].
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John Vanderslice: Well it’s definitely not the greatest city in the world! That’s like saying America is the greatest country in the world. There’s a LOT out there! I would say it’s one of the best cities I’ve ever been to. There are remarkable things about San Francisco you won’t find anywhere else: the food culture, the light, Marin and San Mateo county beaches, Golden Gate Park, the Ferry Building…
Do you have a pre-show ritual?
John Vanderslice: I am VERY nervous before shows so usually I’m pacing or pretending to pay attention to a conversation backstage. It is impossible for me to focus until we start playing, then the feeling completely changes, I’m calm and very happy.
What should everyone know about you that they probably do not?
John Vanderslice: I am beyond lazy. If I didn’t have a deadline I would never do anything. People have a strange preconception that I’m prolific. I am happiest when doing nothing.
Mike Drake of Oranger
Noise Pop is a unique festival, what’s your favorite aspect of Noise Pop, what are you most excited about?
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What bands on the bill do you think people should make an effort to check out, and/or, what bands do you want to see?
Mike Drake: They’re all winners in our book.
What is it about San Francisco that makes it one of (if not the) greatest city in the world?
Mike Drake: The psychedelic chowder. Obviously.
Do you have a pre-show ritual?
Mike Drake: Yeah, we get together a day or two before the show and try to remember our songs.
What should everyone know about you and your band that they probably do not?
Mike Drake: We’re retired police officers.
JamBase | San Francisco
Go See Live Noise Pop!
