MUSIC This is the reunion for which we dared not hope. Until this year, My Bloody Valentine's genre-defining masterstroke of the shoegaze movement, 1991's Loveless, was the last we had heard from the Irish-English band, and as a result, it was canonized as one of those pristine, "perfect" albums, frozen in time and untainted by inferior follow-ups.Read more »
Hall & Oates, or Trombone Shorty? Willie Nelson, or Vampire Weekend? This year's Outside Lands presented its 65,000 attendees with some perplexing choices, resulting in what might've been the festival's most eclectic lineup of its now six-year run. As always, Golden Gate Park was a most picturesque venue, with patches of sunlight punctuating the heavy fog, great nighttime atmosphere provided by the purply-lit trees, and a generous smattering of what Grizzly Bear's Edward Droste called, "the bougiest food stands I've ever seen at a festival."Read more »
MUSIC "That's it, I'm done. In love." This is what Erykah Badu had to say, late last year, upon discovering Hiatus Kaiyote: an unsigned "future soul" ensemble from Melbourne, Australia, with a Bandcamp page, a single EP to its name, no marketing budget, and everything to prove.
Now, less than a year later, the band has found itself reissuing its self-released debut LP via Sony (with a newly added guest spot from Q-Tip, no less) and co-headlining a highly anticipated bill with D'Angelo and Badu herself, in Detroit later this summer.Read more »
MUSIC In 1992, when Pavement released its seminally crusty, DIY masterstroke Slanted and Enchanted, tape hiss and low fidelity were inherent, unavoidable side-effects of recording on the cheap. As much as that fuzzy production sound complemented the band's shambolic, punk sensibility, clean recording techniques were only attainable through studios, spendy gear, and other resources unavailable to most garage slackers in Stockton.Read more »
Last June, legendary composer Philip Glass treated our fair city to a one-off collaborative performance with indie-folk visionary Joanna Newsom. Just two months ago, he made a joint appearance with Beach Boys collaborator and eccentric songsmith Van Dyke Parks, in NYC. Last weekend, Glass paid SF another visit with a career retrospective festival, featuring live productions of two original, highly influential film scores. Glass is no ordinary composer, and even at the age of 75, his prolificacy and flair for innovation challenge that of any working musician. Read more »
The last time I saw Yo La Tengo, on its fabulously gimmicky Spinning Wheel tour, the trio delivered an abrasive, garage-y opening set under an alter-ego, Dump, and closed with a Jackson Browne cover. This past Friday, the band took the Fillmore stage with a loose, meditative acoustic set, before eventually closing with an incendiary rendition of a Black Flag song. There's no predicting the content, or structure of a Yo La Tengo show; yet, no matter how vigorously it flips from one genre to the next, it sounds unmistakably like Yo La Tengo.
From its yearly run of Hanukkah shows, to its infamously vast archive of cover songs, the Hoboken, NJ trio of Ira Kaplan, Georgia Hubley, and James McNew has cultivated a rich mythology over nearly three decades as a band. It’s also maintained remarkable consistency and prolificacy within its recorded material, which, like Stereolab, has caused many a fan to take its casual greatness for granted. Alternating between insistently bouncy pop songs, blissfully droned-out jams, and cozy ballads to wear your autumn sweater by, Yo La Tengo has assembled a wildly eclectic back-catalogue that continues to pleasantly surprise, and occasionally confound live audiences. Read more »
Like a microcosm of our ever-morphing music culture, electronic duo TNGHT stands squarely between the traditions of EDM and hip-hop, reaping the benefits of both musical forms, and generating something new in the process. Comprised of Lunice (from Montreal), and Hudson Mohawke (from Glasgow), the pair stopped by the Mezzanine this past Saturday after a two-weekend Coachella run, bringing their shiny, brassy, bass-loaded grooves to a sold-out crowd of ecstatic 420ers. Read more »
It's 10 songs, seven minutes apiece. A quick look at the track-listing to Justin Timberlake's The 20/20 Experience reveals a giant slice of pop ambition; a brazen comeback effort that practically dares the rest of the Grammy-elite to catch up. Read more »
MUSIC From David Bowie and Brian Eno's forays into ambience, to the unrelenting pulse of trance and house, minimalist icon Steve Reich's propulsive compositions have irreversibly shaped the pop world's development since the 1970s. Now, four decades into his career, Reich is reversing the formula with "Radio Rewrite:" a new piece adapted from and inspired by the recordings of alt-rock institution Radiohead.Read more »
Will 2013 be the year that Noise Pop began downsizing? Or, is the festival simply adjusting its focus towards smaller, rising acts? Either way, this year's lineup was surprising from the get-go, eschewing the name-brand, Flaming Lips-y headliners in favor of rising, blog-friendly outfits like Toro Y Moi and DIIV. Sadly, I couldn't occupy nine venues at a time, so here's a rundown of the Noise Pop shows I did see this past weekend.
CALIFONE Having listened to Califone's records for over a decade, yet never seen it live, I was curious about the band's strategy in translating its studio material to the stage. From its introductory statement, Roomsound (2001), to the extended freakout-jams of Heron King Blues (2004), to last year's Sometimes Good Weather Follows Bad People, Califone's sound has always been production-oriented, augmenting the rustic twang of blues and roots music with an equally faded, rusted, precarious palette of electronic sound. No one merges the old and the new quite like Califone in the studio; the band's records are visionary, but sadly, its live show didn't quite measure up. Read more »