Norfolk & Western / Corrina Repp / Victor Krummenacher

The Hotel Utah Saloon

San Francisco, CA

December 2, 2006

As the chill of December swept across the Bay, the whistling winds blew in three unique storytelling acts to The Hotel Utah Saloon. Sealed inside by the venue’s large wooden-framed glass shutters, their old-tyme tunes and tales were shared with an intimate, bundled crowd.

The first to the stage were three Bay Area minstrels who had previously played together as Camper Van Beethoven and are now working under the name of songwriter Victor Krummenacher. Seated and wearing honest composures, the three treated the audience to a smooth, traditional country set with seasoned dexterity. While strumming a gorgeous black acoustic guitar embellished with pearl flower petals, Victor Krummenacher sang confessional tales of lament, love and despair. In an impending account of murder and betrayal, the tone of Krummenacher’s voice grew more serious and sinister while the sorrowful wails of Jonathan Segel’s violin steadied into an ominous stabbing. Bruce Kaphan introduced a new element to the song, playing his electric guitar like a slide, showing the signs of a truly experienced musician.

Portland’s Corrina Repp took the stage next. Ending an almost month-long national tour with Norfolk & Western, Repp metaphorically added the silver, the candlesticks and the goblets to the old oak table Krummenacher built. Both delicate and heavy, there were no frilly accoutrements adorning Repp’s set — the stark honesty of her voice and richness of her guitar were deep and soothing, creating somewhat of a confessional lullaby. With the help of a few members from Norfolk & Western, Repp introduced a new number that was surprisingly retro and shimmery — the closest thing to pop the Hotel Utah would see from her that night. Repp eventually sat down at the piano and finished the set with amazing ease. Her soulful voice sounded the most at home here, seated between piano keys and guitar strings.

Then, in a flicker of light, Norfolk & Western kindled the fire and set the night ablaze, seamlessly painting a gorgeous and layered portrait of sound. In the dark, illuminated from behind by vintage black and white footage — a pillow fight from the 1800s, a frightfully wavering bridge during a violent earthquake, etc. — the Portland four-piece played a complimentary mix of nostalgic folk and electric distortion, enhanced by the personalities of each of its members. Rachel Blumberg’s drumming was fluent and sparkled like her bright blue drum set. Dave Depper’s bass plucking and piano waltzes were forthcoming and friendly. Adam Selzer’s easy voice felt especially at home in the backdrop of distortion he created. Then there was Peter Broderick, moving across the stage to pick up the bass, sit down at the piano, and alternate between the violin, banjo, theremin, melodica and even the musical saw with both relaxed and fervent precision. Each song seemed to top the one before it in a timeless and momentous celebration. Warm and friendly secrets were shared, stories were told, memories were rehashed and new, unforgettable ones created.

-Review by Katherine Hoffert; photo by Mark Calabro

Mirah / Kimya Dawson / Teeth and Hair / Terrordactyls

The Vera Project (Downtown YMCA location)

Seattle, WA

December 8, 2006

With her history of Seattle performances, Mirah has become somewhat of a godmother to a scene of outcasts, folk storytellers and adoring fans. The musical family she has created was on display at The Vera Project’s night of the atonal, the playful and the loud; and even in the cramped, sweltering drawing room of Seattle’s Downtown YMCA, the audience was treated to a night of cool tunes and promising local bands.

When the opener nails its performance, there is an odd electricity that runs through the room, and it was certainly there when the Terrordactyls left the stage. Their head-swaying songs, filled with out-of-tune kazoo harmonizing and a plinking toy piano, were almost the pinnacle of the whole show. With the lightheartedness of a child and the lyrical earnestness a grandfather might have, Terrordactyls resembled old friends weaving tidy, ephemeral songs around a campfire, especially during the song “Fall.”

Most bills have a curve ball artist — one whose style differs radically from the rest of the acts. On Friday night, this act was the aptly named Teeth and Hair. Sandwiched between two acoustic sets, Teeth and Hair amped up and filled the room with grinding guitars and screeching male vocals. Mining the vaults of post-punk and the new-wave revival, they played tight metallic hard core that seemed at times to be loud for the sake of being loud — which may not have been the best choice given the size of the venue.

Kimya Dawson, with newborn child in tow, was an incredibly nervous performer. She played her witty ditties with her eyes down, in tune with her guitar — though her voice wasn’t. Dawson had the feel of a female Stephen Malkmus, though her lyrics were a bit more direct. At times they were so droll she couldn’t keep herself from laughing. This element was particularly evident during the outrageous “The Beer I Had for Breakfast,” which was almost like the movie Fargo brought to song. Other times she seemed to collect all of the energy in the room and magnetically hold the crowd enraptured. This quality meshed well with her irresistible optimism. Her songs were nearly indistinguishable from one another, but with her verbosity and rap-like delivery, they were incredibly charming and fun.

Mirah’s vocal chords smoothly lived up to their reputation as she soared through tunes familiar — including much of her work with The Black Cat Orchestra — and tunes new. The stripped-down performance, featuring a cellist, drummer and Mirah herself on guitar, did well to highlight her voice, but much of the dynamism of her recordings was lost. This absence was especially noticeable on the closer “Cold, Cold Water,” which — although still magnificent in performance — lacked the emotional wallop packed on the album.

This show was music in Seattle, brilliantly epic in its minutiae but rain soaked in ennui.

-Rob Bergquist

Delta Spirit / The Prayers / Sparrow Love Crew / The Colour

The Troubadour

Los Angeles, CA

December 6, 2006

On a Wednesday night in Los Angeles, four bands at The Troubadour promised love, prayer, spirit and plenty of color. The first act of the evening, Sparrow Love Crew, cleared instruments to the back of the stage, leaving room for one DJ and four rappers to entice the audience. The group tapped into early ‘90s rap with songs like “Naidu.” There was a bond between the guys that was like watching a group of friends on the street corner creating rhymes just to amuse themselves. Each kept taking turns at center stage, making for excessively tangled mic chords, but a true look of brotherhood on their faces.

San Diego’s The Prayers were up next, bringing with them the rock element that would carry the rest of the night. The boys were all about drums and guitars, making for a sock-hop sort of rock with songs like “Clandestino” and “Loose Lips,” and then sticking closer to the alternative side with scratchy guitar solos and the authoritative drums of Brian Hill. However, these heavy melodies overpowered Brandon Welchez and Andrew Miller’s shared lead vocals. Miller attempted to correct the problem, even asking the audience if they could hear everything well. Welchez was more in the moment, dancing around in his black leather jacket as Willy Graves quietly played his bass. Despite the wavering balance of energy and sound, The Prayers pulled it off, showing promise as a new rising band.

One act that’s well on its way is Delta Spirit. Opening with “Street Walker,” guitarist Sean Walker lead the mellow anthem with his bluesy guitar playing, mirroring Matthew Vasquez’s vocals. Vasquez poured every ounce of passion into his singing, almost pleading with the audience to rock with his screeching vocals in “Crippler King.” He traded off piano duties with Kelly Winrich, whose talents on keys, shakers, trash can beats and even accordion would become more apparent as the night progressed. Yet it was the band as a whole that carried Delta Spirit’s edgy rhythms to the next level.

An eerie mix of songs from The Wizard of Oz introduced The Colour. Jumping right into “Save Me,” lead singer Wyatt Hull kicked off the band’s set with an immediate determination to bond with the audience. Swinging mics, leaping from speakers and caressing any fan that would gladly have him, Hull tapped into a Van Morrison-style sex appeal. He excited the crowd, maybe even distracting them from the music. Halfway into their set, both Hull and the band toned down, introducing a few friends like Winrich and cellist Joelle to the stage for some alternative renditions of their usual songs. Finishing off with songs from the newest album, The Colour gathered even more people on stage, including Delta Spirit’s Vasquez who sang along with the rest of the band as Hull climbed to the balcony of The Troubadour, making sure all felt included by the end of the show.

-Review by Megan Clinard; photo by Julia Alty

Dodo Bird / Akron/Family / Alela Diane

The Echo

Los Angeles, CA

December 8, 2006

With a reputation boasting the beginnings of none other than Elliott Smith and Beck, The Echo in Los Angeles’ Silverlake district is a hotbed for hipsters searching for the next “rad” group. With Alela Diane, Dodo Bird and Akron/Family all on the same bill, The Echo continued in the tradition of its indie-folk alumni and brought an eclectic mix of sounds to the Silverlake table.

Hailing from Portland, Alela Diane (Menig) opened the night with a mellow, folk vibe. Her soft finger plucking gave a certain Iron & Wine air to the music while her haunting voice channeled the late Eva Cassidy. The highlight was the musical dynamic between Menig and her father, who joined her onstage for the third song. While Menig proved that she had not only a beautiful voice, but also talent to spare, her set was more suited for an intimate coffeehouse than the larger crowds of a concert venue. Her songs never really transcended the genre, but hinted at greater things to come as Menig continues to mature as an artist and further develop her ghostly sound.

Breaking from the mellow vibe entirely and transitioning into an almost drum-circle-inspired atmosphere, San Francisco two-man outfit Dodo Bird stole the audience with catchy, dance-laden folk. Dodo Bird is that gem of a band that could be heard at an open mic night and is focal to bringing the crowd together. Singer-songwriter Meric Long and aspiring Dave Grohl protégé Logan Kroeber brought an almost primal drum-heavy intensity to the night. Their largely experimental style is an eclectic mix in that it has a country/folk element blended with rhythmic intensity. Most surprising about Dodo Bird was the twosome’s ability to channel a sound with uncanny resemblance to what New York City’s Stellastarr* would sound like if they were to attempt an acoustic country hoedown.

Ending the night was headliner Akron/Family, a band cohesive only in its contradictions. Clamorous and abrasive, they started out with psychedelic melodies accented by a pseudo-Southern drawl and then quickly changed it up to end with metal. Despite their New York City roots, Akron/Family managed to pull off a trippy bluegrass sound accented by a grimy mountain man look. The band’s chemistry made for great interlude banter, effective in getting the crowd fired up enough to carry on a gibberish-inspired Indian chant for about five minutes after the song had officially ended. Akron/Family’s style was frenetic and comedic, with antics so bold as handing out recorders to audience members for a special jam session on stage. Their music invoked references to Tea Leaf Green or a country-sounding Pink Floyd; in some instances the music was drawn out longer than necessary, but still enjoyable and fresh sounding.

Overall, the three bands complemented each other well — the contrasts between mellow and aggressive allowed for a night of folk-influenced blues, along with charisma and antics to spare.

-Review by Jen Tartaglione; photo by Kim Huynh

Panda & Angel / S. / Matt and Kim

Bottom of the Hill

San Francisco, CA

December 11, 2006

With only a synth and a drum set on the stage, Bottom of the Hill’s Monday night crowd did not know what to expect as the Brooklyn duo Matt and Kim took their places. But the minute the music started, people were on their feet dancing as the two delivered a high energy, fast-paced pop/punk performance. Drummer Kim’s arms were moving so fast she looked like a floating head amidst a blur of motion as she pounded out the quick and steady beat next to Matt’s frantic yet melodic synth. Matt somehow had plenty of energy to spare, and was constantly head-banging and waving one arm in the air as he rocked out to his own beat.

Changing up the pace considerably, the next act, S. — a trio from Seattle — delivered a softer, mellower performance in stark contrast to Matt and Kim’s hyperactivity. S. members Jenn Ghetto and Josh Wackerly (also a member of the headlining Panda & Angel) were without usual drummer Creighton Barrett, so Panda & Angel’s Zaun Zehner stood in. Despite this fact, S. still gave a worthy performance that would have had a first-time listener fooled. They began with a heavily instrumental ballad, slowly working up to a more up-beat and solid finish, sticking mainly to tracks from their second full-length release, Punking and Crying. Ghetto’s soft, cooing vocals were at times barely audible, but served to complement the fast, deep music in a way that offered up a sound just slightly edgier than The Postal Service.

Despite having the least extensive discography of the evening’s acts, Seattle’s Panda & Angel made it clear that the show belonged to them. They delivered a solid hour-long set, covering the full track list off their newly released self-titled EP, plus a few extra surprises. The five-piece ensemble, consisting of Carrie Murphy (lead vocals/songwriter), Josh Wackerly (guitar), Zaun Zehner (drums), Laura Enderle (bass), and Kara Kikuchi (keyboard/electronics), conjured up a sound that transcended mere “emo,” standing as truly emotive. During a powerful performance of the angst-filled “Dangerous,” Murphy sang, “Oh it makes you feel so sick, wanting something you can’t have / I want the clock to stop counting back the time before it was this way.”

Murphy’s haunting and hypnotic vocals communicate a sincerity that adds the perfect touch to the band’s straightforward, guitar-driven sound. But before Panda & Angel could be written off as being too heavy-hearted, they subtly switched the tempo and played the folksy “Following the Death of Her,” ultimately showcasing the band’s diverse sound, undeniable talent and heartrending lyrics. Undoubtedly, the crowd had a very thoughtful drive home — not a bad way to start off the week.

-Nicole Sheikh

The Blood Arm / The Ettes / Grand Ole Party / Manic

The Echo

Los Angeles, CA

December 15, 2006

With an almost preternatural sense of what bands work best together, The Echo wisely opted to have The Blood Arm, The Ettes, Grand Ole Party and Manic on the same bill.

Despite the obvious handicap of never having played a show before, opener Manic proved they have the talent and rock star appeal to succeed. With heavily distorted guitar riffs and psychedelic keyboard harmonies, Manic’s music was the antithesis of its name — rather, the music had a chill mesh of Sonic Youth and The Smashing Pumpkins. Singer Paul Gross’ voice had the same hauntingly melodic air as Matthew Bellamy of Brit-band Muse.

The moniker of the Grand Ole Party may in fact be a mocking reference to the Republican Party, but the band’s music was anything but conservative. The San Diego three-piece, led by Kristin Gundredthe on drums and vocals, was the most original band on the bill and proceeded to steal the show with its funkified riffs and prominent bass. Gundredthe sounded like the female incarnation of Jack White and also had a certain Portishead quality to her voice. The minimalist drums and funky riffs were highly reminiscent of The White Stripes and managed to convince the crowd to let go and dance. Bassist Mike Krechnyak and guitarist John Paul Labno had a fluid approach to their instruments and were really feeling what they were laying out.

Continuing in this vein of mod-rock were The Ettes, an intensely percussive and magnetic group. The Ettes’ music was fast, like a modern day Kinks with a raw Libertines edginess. On drums, Poni was explosive and led the other two members with her passionate drum-circle banging. Singer Coco started out sluggishly but the sheer energy of Poni on drums and Jem on bass melded with the intensity of the crowd, allowing Coco to finish up the set on a high note.

Culminating the night in a frenzy of dancing passion was The Blood Arm, a band hailing from Los Angeles with none other than the likes of Franz Ferdinand amidst their patronage. Sans a bassist, the music was led by stylish piano and frenetic guitar scratching. Singer Nathaniel Fregoso had stage presence to spare and was not ashamed to parade around his dirty rocker appeal. At one point he demanded that everyone sit down on the dirty, alcohol stained floor so he could serenade the crowd. Their set was full of other quirky antics, including Fregoso’s channeling of Justin Timberlake’s “SexyBack” as a lead into the band’s signature song, “Suspicious Character” — “I like all the girls and all the girls like me.”

As a whole, the intensity rose with each new set; all four bands were equally on fire and fed off of each other to allow for a rocking night devoid of any musical drudgery.

-Review by Jen Tartaglione; photo by Kim Huynh

Deadwood Revival / Hot Buttered Rum

Tractor Tavern

Seattle, WA

December 8, 2006

The crowd was ready to dance the minute Deadwood Revival took the stage at the Tractor. The bluegrass twosome from Port Angeles, Kim Trenerry (guitar and vocals) and Jason Mogi (banjo and vocals), bring spry, sharp harmonies and an effortlessly cheerful energy to every song. The good cheer was in full effect tonight, as Trenerry bopped around smiling whenever she wasn’t singing (although she couldn’t keep the smile off even when she was). A few friends rounded out their sound: violinist Ellie Holzemer of Cross-Eyed Rosie lent a rollicking flair to the second half, and two members of Hot Buttered Rum joined in on a couple of songs with dobro and upright bass. Mogi, seated with his banjo, stayed connected to everyone on stage, nodding and grinning and bending low over his solos. With their sweet, twangy voices and infectious high spirits, they kept everyone moving. The effect was warm, soft, a little prickly, and a little dusty — a haystack in the sun. It was impossible to squelch a smile throughout the set. Word to the wise: their second album, This Old World, just came out this winter.

Hard-touring San Franciscans Hot Buttered Rum were undeniably the big draw of the night, but they couldn’t summon up the same free-and-easy sunshine as Deadwood Revival. They’re definitely a dance band — front to back, the crowd was full of flailing elbows and hand-knit beanies — but that’s about it. “Open Season,” a fairly shaky jam, faltered from flute-centric cool jazz with classical guitar, then returned to bluegrass without a clear connection. As for “Metro-Natural,” it doesn’t matter if it’s hardcore or punk or jam bands: songs about “the scene” don’t do anybody any good. “Guns and Butter” — “This one goes out to everybody who voted in the last election. That was kinda fun, wasn’t it?” — hit a high point for the night with quick, wild picking and more animated vocals. Moral of the story: if a band can’t pull off truly open-hearted good-time songs, it might be better off with a little anger. But then, some people just really like to dance.

-Kjersti Egerdahl