While perusing the CMJ best-of lists from the past week, I discovered this fun duo from LA. They’re called Girlpool and they play cool songs filled with constant harmonies and straight-forward lyrics. Looks like they played Brick and Mortar earlier in October, so hopefully they’ll be back soon. They’re also releasing an EP on Nov 18. For now, you can hear two of their songs on their bandcamp page from their split with Philly/LA-based Slutever.
@missionmission we will do our best!
— KING TUFF (@KINGTUFFY) October 29, 2014
Go Giants! Looks like tickets are still available.
(That’s 13 DJ Purples, yep.)
I asked the legendary DJ Purple what his top 5 favorite Halloween-related jams were, and I got this hot list of 13:
Thanks, DJ Purple! Get practicing, everybody! Singin’ & Pingin’ Halloween Edition (starring DJ Purple) is this Friday (which happens to be Halloween) at Verdi Club in the Mission:
There’s a band called Metacomet that live right here in the Mission, and they create ambient, soothing, experimental songs that will make your mind drift softly into space; I’d personally enjoy listening to them while on the moon. Hailing from the East coast originally, they blend dreamy guitars, synths and almost chilling vocals, which are even more powerful live. Earlier this month they released a brand new three-song EP called Say Goodnight, which you can listen to here.
Last night, the first night of Culture Collide, was TONS of fun. I saw Dune Rats (from Australia), Takeoffs & Landings (from Peru), Kamp! (from Poland), Alphabetics (from Costa Rica), Dorine Levy (from Israel), Cloud Nothings (from USA) and Sampology (from Australia).
I’d never heard of most of them, and they were all TONS of fun. And it’s soooo great being able to just bop from club to club up and down Valencia and happen upon killer bands from all over the world.
Check out this jam by Alphabetics:
Check out tonight’s lineup and get tickets here.
DJ JustStella, one of my favorite DJs of all time, tonight on her BFF show Radio Shoe, which focuses on a different theme every Friday night, delves into the storied world of the Riot Grrl movement. Here’s the deal:
Radio Shoe will be hosting CeCi Moss, the curator of the upcoming Riot Grrl exhibition at YBCA “Alien She” that opens October 25th. She, as well as Dayv Jones, San Francisco’s foremost Riot Grrrl historian, will be giving a bit of a history of the movement, chatting about putting the show together, and playing some hard to find tracks from their personal vinyl collections.
The Violent Femmes are playing the Fillmore tomorrow night for what I believe is their first SF show in a long time. After a long hiatus, they went back on tour together last year – they played Coachella this spring, as well as BottleRock Festival in Napa in 2013 (which I saw and was so good), but this will be their first San Francisco proper gig in recent history. You can get tickets and info here. Also, to get yourself pumped up for the show, watch Violent Femmes play “Add It Up” in 1988.
I have been listening to Sondre Lerche’s music for over ten years, which is a very long time for me. Since 2001, Sondre has released eight diverse, genre-spanning albums, including the jazz-inspired Duper Sessions, and two film soundtracks, including a haunting score for The Sleepwalker, a 2014 film directed by his recent ex-wife Mona Fastvold and starring Christopher Abbott (Charlie on Girls). I have seen him perform at The Fillmore, Swedish American Hall (RIP), Great American Music Hall, Bimbo’s, and a handful of places in Austin, Texas. I have seen him perform solo, with a full band, and everything in between; whatever the configuration, he always impresses with his distinct voice and shredding guitar.
Sondre’s latest album, Please, dropped a few weeks ago. Please was written in the aftermath of his divorce with Fastvold, and with it, he reinvents himself again. The album’s first single, “Bad Law,” was one of my top summer jams, combining a super charismatic dance riff with chunks of distorted guitar.
This Thursday, Sondre Lerche is playing at The Independent. I had the pleasure of chatting with Sondre about his record, upcoming tour, the color of his music, the idea of guilty pleasures, and why San Francisco is his favorite city in America.
MM: Tell us a little bit about your newest record, Please. I read that it was heavily inspired by your recent divorce. What was your process like? How was it conceived?
SL: I started out wanting to free myself from the regular recording cycle. I just wanted to do one song at a time, to be able to record instantaneously and enter into collaborations without having to carry the weight of the whole record. I just wanted to open up a bit. I usually write really thorough songs that limit what you can do in the studio, so I tried to open myself up to surprise, to surprising myself. There was a lot of music I was listening to that I realized comes out of a completely different process, and I was curious about what that is. So that’s how it started, and as I wrote more and more songs, I thought I knew what the record was about. And then all this stuff happened in my private life, that just forced me to reevaluate a lot of things. One of them was what this record was about; all of these other songs just started coming. I realized that certain things were more urgent than others, and the album just changed. I think it came out of the necessity of ventilating and trying to find reason in what is happening to you. And the studio is just the perfect place to figure out stuff, to get it out. I guess it’s a cliché, but it turns out it’s real.
MM: The first song on the record, “Bad Law,” is such a great dance song, despite being quite dark lyrically. What is that song about?
SL: It’s a song that took a lot of time to write. It started with that riff, and then I recorded the bass and drums, which was new – I usually start out with guitar. I had this idea of the sort of paranoia you feel when you pass through customs. As a Norwegian flying into the States, even though I now have a green card and have nothing to hide, I always feel a certain paranoia. So I wanted to play around with that ritual, where you feel so watched and pressured, that in the end you started doubting yourself, and maybe you do have something to hide. Maybe that’s how the police get people to confess things that they didn’t do. In the end, you’re just so worn down. It felt like a reasonable metaphor in the context of the record and everything else.