NOISE POP '09f

Tales of Rock and Roll: Thee Oh Sees, Tyvjk, The Fresh and Onlys at Cafe Du Nord

Words and Photo by: Ben Van Houten

Thursday’s show at Cafe Du Nord was a diverse and highly entertaining mix of psych rock, punk, and lo-fi bands appropriately capped by another winning set from the always excellent Thee Oh Sees. The SF band was clearly the primary draw for the sold-out crowd, as the first several audience rows bopped up and down to songs from the band’s ever-expanding catalog, including some new ones from Help, forthcoming on In the Red. Having seen this band several times now, I still remain unable to describe their sound with satisfactory precision, as John Dwyer and crew have managed to filter early stripped down rock-and-roll through a endearingly skewed set of psychy and noisy effects to create something that’s equally confrontational and engaging. Dwyer and Brigid Dawson are compelling dual vocalists and the crowd ate up everything the band ably dished out.

Detroit quartet Tyvjk (still pronounced “Tyvek” despite the name change) emerged as the surprise highlight of the night. I haven’t heard fuzzy poppy punk rock this sharp in a long time, and the band’s lack of pretension and catchy-as-hell tunes made their set a lot of fun. I want to give particular credit to the group’s drummer, for setting expectations high by wearing a t-shirt that said “Hammer Time” (with an image of a hammer smashing the words), and backing it up one hundred percent. The guy didn’t stand still, pounding the drums and bouncing around nonstop; thankfully he had a gallon of water nearby to remain hydrated throughout. Clearly committed to their chorus/credo “If you got life to live/You got to live it up/Live it up,” I’m looking forward to the band’s upcoming album on Siltbreeze Records.

I’ve now added The Fresh and Onlys to the ongoing list of winning projects from Tim Cohen (Black Fiction/Window Twins). It also didn’t surprise me to learn that this tight 60s rock-pop influenced band have a debut 7″ on Kelley Stoltz’s new Chuffed label. From the band’s MySpace songs, I expected a fair amount of eccentricity in the Onlys’ live show, but it was the rock half of the band’s psych rock that bowled me over on Thursday. Guitarist Wymond Miles played some absolutely killer guitar leads and the tight rhythm section kept things driving. With a number of upcoming releases, including a full length on John Dwyer’s Castle Face Records, and shows around the area and at SXSW, I expect you’ll be hearing more about (and from) this band soon.

Kool Keith, Mike Relm, Crown City Rockers at the Mezzanine

Noise Pop has a focus on the indie rock slant of things, but if whoever was smart enough to book Mike Relm and Kool Keith as co-headliners for Thursday night was a genius.

Its important to make the distinction between DJing and turntablism.  Both are art forms in their own right, but actually quite different.  Turntablism in its simplest form is scratching while DJing is more about song selection (think of turntablism as a component of DJing).  This night featured master’s of both, and live music to boot.

I made it in time to catch Crown City Rockers set.  2 MCs + bass/keys/drums=1 hell of a good time.  I wanted to be at a block party on a hot summer day with these guys providing the live soundtrack.  They’ve got a little bit of a throwback hip hop sound and they really know how to groove.  Their keys player had some sweet chops and their a capella flows were rapid fire.

After Treasure Island, I was really looking forward to Mike Relm. He’s got masterful turntable skillz, scratching in his trademark suit/skinny tie combo, emitting an easiness in his aura.  Relm is stretching the traditional role of DJ but bringing in his video mashups which are insanely awesome.

When he brought out his signature track “O Face”, pulled from Mike Judge’s Office Space, I dropped what I was doing and made a b-line for the dance floor.  The whole thing is a new experience and many were unsure how to respond.  The beats make you shake your feet, but the images make you want to watch the screen.  It’s almost as if your lower body is running wild while your head is stationary.  Regardless of how you manage all your sensory intake, Relm is que flippin’ ridiculo.

His set included everything from Biz Markie to Daft Punk to Tron to Flight of the Conchords to Justice to When Harry Met Sally to…you get the point.  If you’re a pop culture afficionado in any sense of the term, you owe it to yourself to see Mike Relm.

To wrap up the set Kool Keith took his turn at the 1’s & 2’s, this time under the moniker Dr. Octagon vs. Dr. Dooom.  Limiting himself to just two personalities was bold in my mind, as he can take you from generation to generation, genre to genre, and keep it all unified with his funky fingers.

Actually, to correct myself, this evening he was performing as the Funky Redneck, despite what the billing may have said.  K-squared, as I like to call him, put on a clinic for any young DJs out there.  I just wish more people were getting down and dancing, because what else is expected of you when you come to see a spin-meister like Kool Keith?

I was so caught up in the music that I almost forgot to close out my tab at the end of the night.

Favorite Moment: Mike Relm mashing up Abigail Breslin’s dance performance in Little Miss Sunshine with Justin Timberlake’s “SexyBack”, and throwing in side comments about how he realizes how inappropriate this is.

Photos: Thao Nguyen, David Dondero, Sean Smith @ Swedish American

Photos by: Reid Williams

Thao Nguyen

David Dondero

Sean Smith

Josh Ritter, Laura Gibson, Dave Smallen and Tiny Television at GAMH

Words by: Emily Logan
Photos by: Adrian Bischoff

I’ve yet to see a bad show at the Great American Music Hall. And last night was no exception. The show that sold out so early in the game was well worth any extra effort to push your way into the crowd or burrow for a ticket on Craigslist. The audience was a bit different than some other Noise Pop events ? perhaps slightly older, with more glasses of white wine floating around than plastic cups of beer.

First up was Tiny Television. This intimate performance featured just guitar, vocals and slide guitar, and was perfect in its arrangement. The strained vocals with a faux southern accent was the antithesis of the delicate, immaculate slide guitar playing, which really made the performance an experience. The references to San Francisco brought a familiarity to a genre of music that one doesn?t think of as characteristically from here (even if the references were to 16th street and crack cocain). This lovely performance made the band?s twangy MySpace songs into light, personal tunes and it was just delightful.

Dave Smallen of Oakland was on next. After thinking that it was incredibly balsy to come out 1) all alone with wild, excited eyes and a huge smile, and 2) to start with a Leonard Cohen cover, I was impressed throughout his entire set. Had I resigned to truly caring about my ears last night, I would have been popping my earplugs in and out every few minutes, as Smallen?s use of dynamics is extreme and breathtaking. His simply, tinny guitar rides smoothly underneath his passionate singing. His raw, city-centric lyrics complimented his changes in mood. And the performance reminded me of some of my favorite old Bossa nova recordings, where the performers would laugh mid-song because they were having so much fun. I hope to hear much more from this guy.

As Laura Gibson took the stage (the epitome of ?cute? in her Dutch pigtails and little printed dress), the dynamic of the crowd changed. And while it felt like many had been anticipating this set, it was still unfortunately very hard to hear her soft, delicate songs over the din of chatter. But she took it well, and played an incredible set that caused everyone around me to say they were getting her record at the end of the night. But men accompanying her had myriad instruments at his side – melodica, banjo, castanets, accordion, saw ? and each was playing his respective half of the drum set. The sounds that were created mixed with Gibson?s angelic voice and soft lyrics was just beautiful. Her set was the highlight of the show for me.

And finally it was time for Josh Ritter. Now, the chatter of the crowd ceased and was replaced with yells, hoos and haws, and ?I love you?s from the enamored women of the crowd. I almost felt like Davy Jones had just come on stage with all the screaming and reciprocal ear-to-ear smiles from Ritter. He was all decked out in a snazzy black suit, and his string quartet for the night was equally outfitted. He started the set alone, to a tune the audience already recognized. And as the string quartet came in, the energy grew. The strings would ebb and flow with the music, coming to the forefront of the sound and then backing off to hover beneath Ritter?s guitar. And while the stark faces of the string players initially reminded me of how classical violin training took the joy out of music for me, they thankfully seemed like they were having fun by the end.

The audience went crazy for the more upbeat songs ? the floor shook as people hopped up and down, singing the lyrics at the top of their lungs. For everyone involved, even those who weren?t die-hard fans, it was a rare event to see such a performer with string quartet accompaniment. I really hope he does it again.

From Monument to Masses at Bottom of the Hill

Words and Photos by: Nicole L. Browner

From Monument to Masses means so much to a lot of people, and this is something easy to forget when a band goes on a prolonged hiatus. I still listen to The Impossible Leap once or twice a week, dwelling in the memories of their shows, which always left me feeling reborn.

Last night Bottom of the Hill sold out by the time doors opened, and frequent audience shouts for the headliners during first two bands made it clear that excitement was in the air.

Built for the Sea’s warmth seems to radiate from the stage, their performances are so heartfelt. Maybe it?s the explosive energy coming from Eric Kuhn on drums (The Aimless Never Miss, Silian Rail) or every serene sound that the wide-eyed Lia Rose makes.

Next up comes another local act, Crime in Choir, who undeniable subscribes to the school of jam bands. The songs are led by saxophone and long-winded facemelters, then without notice an ambient tangent becomes four, five minutes and I’m brought back to earth when I hear the song’s end applause.

By the end of Crime’s set, the place is so packed one can’t lift an arm and people start to scream when they see Sergio take the stage to set up. The anticipation is building, but everyone knows FMTM is a band with members not slaved to one but many different musical responsibilities, so set up is thorough.

From Monument to Masses have not forgotten their old tricks – they-ve dusted off their samples of political commentary and current events for the occasion, seaming together the epicness of the performance. They’ve not forgotten how to shred, either – both Matthew Solberg and Sergio trace up and down fret boards, Matthew including all our favorite guitar melodies from “Comrades and Friends,” and throwing in clean harmonics plucking so sweet to the ear.

Appreciative heads are bopping to both new songs and old; people are dancing more so than at the Independent last night for the French Kicks (shocking, but true). After hearing obnoxious requests to play “Sharpshooter,” FMTM politely declined; Francis flew in too late the previous night for the band to prepare. But it’s fair to say the long awaited return of relentlessly political, emotionally meaningful music has woken from its slumber.

The new record On Little Known Frequencies, lighter in spirit, has been electronically released but will be available in stores on March 10. The band announced they’ll be heading out across the country with Dredg and Torche this spring. More information can be found on their website.

Noise Pop: Thursday Night Preview!

Start off your Thursday with a great local Happy Hour show at Bender’s from 5-8pm, presented by SomaFM. With the high-energy performances of Scissors for Lefty, Picture Atlantic and Man/Miracle, you’ll be pumped for whatever show comes next for you.

The Swedish American will host indie princess Thao Nguyen (DC) alongside David Dondero, Sean Smith and Colossal Yes. 7:30pm, $14. “Swimming Pools” (track 4 on We Brave Beestings and All) is a perfect preview of Thao’s banjo-sprinkled energy:

Thao With the Get Down Stay Down – “Swimming Pools”

If you’re looking for a slightly different pace, head over to Slim’s for the electrified folk of Martha Wainwright (NY). She plays alongside AA Bondy (AL), Ryan Auffenberg and Karina Denike. 8pm, $12.

And if you’re looking for a way to dance away all that energy, head over to the Mezzanine for Kool Keith: Dr. Octagon vs. Dr. Dooom (NY), Mike Relm, Crown City Rockers and Kutmasta Kurt (LA).

Mike Relm – “Bodyrock (feat. Morningwood and The Gift of Gab)”

Bottom of the Hill and Cafe Du Nord also have great lineups, with From Monument to Masses and Thee Oh Sees headlining, respectively. Check out the Noise Pop website for the full night of shows.