The heartbreak that ensued when Thee Oh Sees announced their indefinite hiatus last December reverberated throughout the music industry like a washed-out fuzz pedal on overdrive. Many saw it as a watershed moment symbolizing more than just the direction of the local music scene, but as indicative of the state of San Francisco overall.
Let your freak flag fly: It’s the return of the Space Lady! Her Elbo Room performance is a ways off (March 14), but this past week I was listening to KUSF-in-Exile (technically getting renamed San Francisco Community Radio) when I discovered the weirdest, but most lovely sounding cover of Steppenwolf’s ‘Born to be Wild’.
One story getting an extra topping of attention is the upcoming performance by Macaulay Culkin’s pizza-themed Lou Reed/ Velvet Underground cover band, The Pizza Underground. Mac is back, but it could turn into a food fight/ turf war since he’s coming right into Personal and the Pizza’s neck-of-the-woods.
Having your band’s debut show as the opening act for of Montreal is certainly a way to hit the ground running. For San Francisco’s Painted Palms, a couple of cousins who grew up together in Louisiana and moved to the Bay Area at separate times, it isn’t clear how their music sifted its way to Kevin Barnes’ (of Montreal) ears.
There was the time M.I.A. climbed on a piano during her set, or when the crowd went berserk for Die Antwood’s colorfully-hyped stage antics. But it could have been the atypical crowd-surfing moment when a man whose wheelchair was lifted with him in it and passed around during Monotonix’ performance that rate as some of Dan Strachota’s standout Rickshaw Stop memories.
If I told you Bo Diddley, Weezer, and the Go-Go’s were performing under the same roof you’d think I’d lost my mind. Well, there’s a long-standing Halloween tradition that allows for the next best thing—Bay Area bands doing costumed cover performances.
What is it about Sarah Bernat–with her Janet Jackson headset microphone and chainsaw-buzz guitar–and band mate Alex Lukas playing a labyrinth of synthesizers that’s so damn special?
The night before our meeting, I saw Wax Idols' Hether Fortune at The Lab in the Mission. We were both attending the Goth Prom where it crossed my mind to introduce myself as the guy who was supposed to interview her the next day at Philz Coffee. I figured that was too weird, so I didn’t.
If third time’s a charm, then this year’s incarnation of the Burger Boogaloo should be no exception to that rule as the festival expands with its biggest event yet. Set in its new digs, the outdoor Oakland oasis that is Mosswood Park, the lineup spans some five decades of spectacular music (if they’d landed Ronnie Spector as rumored, Total Trash Productions—the show’s bookers, would have had the 60s covered too).
Last month The Mantles issued their second full-length album, Long Enough To Leave (Slumberland Records), followed by a “fun as hell” record-release show at Oakland’s White Horse Tavern. They’ve played both sides of the Bay (band members live in Oakland and San Francisco), and will hit up the East Coast for the next couple of weeks to tour. We talked to Michael Olivares (vocals, guitar) and Matt Roberts (Bass) about recording with Kelley Stoltz, how two band mates got “hitched” during the process and what they think of the term, "60s revivalists."
Essential SF knowledge in your inbox
Sign up for our email newsletters to keep up on events, restaurants and SF haps.