Interview with Fashawn: Blowing Up Like You Thought I Would

Fashawn recently became of drinking age, but he has already had more experience than most. Born in Fresno, at a young age his father was incarcerated, while his mother dealt with substance abuse issues. After spending time in a foster home, his uncle took him, and pushed him in school. His interest in books grew, and he began writing poetry, which soon turned to rhyming and rapping. By eighteen he had released several mixtapes, building a buzz in anticipation for his debut. Before he began his tour promoting his debut album, Boy Meets World, SFCritic spoke with Fashawn.

Featured Artist: The Blow

The Blow is the moniker of Portland, Oregon-based Khaela Yvonne Maricich. "True Affection," is one of my favorite songs by The Blow from her album Paper Television (2006). This album is Maricich's first collaboration with Jona Bechtolt, aka. YACHT, another Oregon-based musician. Jona Bechtolt is an electronic musician along the lines of Discovery.

The Blow typically create songs with thin electronic instrumentation, emphasizing Maricich's childlike voice. On "True Affection" the beat is reminiscent of D4L "Laffy Taffy," but in no other ways is The Blow comparable. The video is pretty strange, home-video-esque, but the song is infectious. Enjoy.

Fat Freddy's Drop and Life Goals

As of last night I've completed one more life goal. I started a "slow clap." Yes, sir--I had my moment of glory at Fat Freddy's Drop's sold-out performance at The Independent. Between songs, as the rhythm built I was dancing in a musical trance of excitement. Something strange happened. During my two step move, which is worst than Fat Joe's "Lean Back," I started clapping. As I continued clapping those around me followed suit. Normally, I'm just that out of place guy clapping, and then quietly not clapping, but tonight it was different. The song started going and then to my surprise the entire crowd was clapping. Well that's my story, but I was pretty damn pleased with myself. If you have had a slow cap experience, you should share it below.

Live Review of Daedelus, James Pants and Free The Robots

Before Daedelus’ performance Friday night, I’d never really understood “underground” when describing a show. I’ve listened to underground music. I had been a fan of Daedelus’ Exquisite Corpses, and recently, became a fan of Free the Robots. I never before had to search for a music venue down a dark dead end alley, which was marked by a couple of beef cakes in black suits. Quizzically, like an innocent doe I asked them, “Is this 103 Harriet.” This is underground?

MGMT Cover Talking Heads' "This Must Be The Place"

Back before MGMT ever had MGMT they were just some college hipsters at Wesleyan. This was before hipsters became a negative term, before "Kids" was a classic indie song, and before the "change" of Obama. While this cover is not nearly as good as the original, one can tell that these kids had potential. "This Must Be The Place," is by far one of my favorite Talking Heads song. During a summer between my college years, I worked at an Irish pub with two Irish female immigrants, one of which was Emma. She was small, rambunctious and a hell of a mean drunk at times. Whenever she was acting shitty, playing "This Must Be The Place" was the best way to get her smile,and stop screaming at her husband over the phone.

A&R: The Music Submissions

By Eve Marcellus


Birdmonster - Blood Memory
Birdmonster is a San Francisco-based band and Blood Memory is their fourth major release, coming out a year after their last full-length album, From the Mountain to the Sea. The songs have the unmistakable fine-tuned element of a band that's seasoned: they've recorded full-length albums, explored their sound, and toured the country and you can hear it. At the same time, nothing about the EP's eight tracks feel slick. There's a roughness that comes across through the edgy guitar hooks and barely strained vocals. It's reminiscent of the Replacements-influenced Alternative rock of the 90s, easily floating between folksy, morose acoustic tracks and songs with a more post-punk sensibility. Since they do it well, it comes off sounding both fresh and classic. All in all, it's a super-likable release from a band that seems to be evolving its sound and its skills rather than putting out more of whatever the kids are listening to this week.
As a bonus, swing by their website and check out their blog for a highly recommended "short history of heavy metal."

Sounds Like: A less precious version of early 90s Goo Goo Dolls.
Listen To: I Might Have Guessed (Mean Version), Forever Gone, Day to Day



Everyone's Talking - Dragonflies
Everything about Everyone's Talking's new album is high drama. From the first few notes of the first and title track, you know that no one is going to play any of this at a party--that's ok. This is a piano rock release, it comes with the territory. It goes without saying that the main element of their sound is the piano, not the most popular instrument to put front and center in this heyday of auto tune. However, they certainly don't abandon the electric, and it is used to somewhat an interesting effect. "War pt. 2" is a particularly enticing, if slightly nerdy, blend of digital and analog keys that would be quite at home on the score of the robot version of Braveheart. It is also the only song without vocals on the album. The vocals are high and a touch nasal, for the most part, and the lyrics mirror the instrumentals' seriousness. The tracks where they let some lightness in, and push the boundaries of their dark wave piano, are at least interesting to listen to, but when they don't--well.

Sounds Like: Evanescence, only with boys.
Listen To: War pt. 2, Dragonflies

Scion Minneapolis: Le Castle Vania 11/19

Scion Minneapolis will be putting on a free show at 7th St. Entry featuring Le Castle Vania, AC Slater, and more, on Nov. 19th. If you're interested in attending, all you need to do is RSVP HERE. The show is 18+ for all you kiddies who are interested and have curfews. I thought I'd mention this, after my recent post discussing commercial endorsements in hip hop, and in music, which you can READ HERE.

Blakroc: Web Episode #9

Sure I'm looking forward to turkey and stuffing (mmmh), but I can't stop thinking about Blakroc, as Black Thursday nears! I've said this so many time it's become a repeated line, but honestly--I thought after the last web episode I was done hyping this CD, until this web episode of Pharoah Monch. Pharoah Monch is one of the few hip hop emcees to master word play. "Word play?" you ask, references lines like "Fuck the white keys / The Black Keys are the only ones got soul." Now you know. Lookout, Pharoah Monch is a beast on this track.

On a side note. When I first got into this business, I tried working with Pharoah Monch's agent. Dude, is Ari Gold's apprentice. Made fun of me for calling on my cellphone which was listed under my mother's account (family plan, you know it!). Just random, but hey, stay away from that guy, he's a real ass.

Interview with Lenka: "Pop" Feels Right

All Photos by Victoria Smith

My first impression of Lenka, the internationally growing pop star, was she was stuffy. She sat across from me, her posture stiff as her knees were pushed together, while her hands remained crossed resting on her thighs. She introduced herself formally, and was rather laconic. Later when we spoke over the phone, and I’ll admit, I was entirely wrong. This time she was sweet, warm, and humorous. Originally from “the bush,” Australia, the female pop singer moved to Los Angeles to begin her solo career, after making waves with indie experimental group, Decoder Ring. While most artists I’ve interviewed shy away from the label “pop,” Lenka embraces it. Through our conversation it became clear that pop for her doesn’t mean diluted (as many indie/underground fans might argue), it means reaching out. With a bubbly style that is positively lifting through sweet melodies, and her childlike vocals, Lenka’s music is affectionate like warm tea on a cold day. Sitting in her home outside Los Angeles, Lenka spoke to SFCritic about making music, and the growing process of creating her self-titled debut.

Diggin' in the Crates: Gal Costas' "Sao Salvador"

By Noam Ofir
A few weeks ago while I was walking down the streets of Tel Aviv with a friend, returning empty handed from a record store I frequent, when I noticed this record store I'd never been to. As I began digging through the untouched collection, I found a bunch of dope Brazilian records in good condition (for only $2-3 each!!). I guess there isn't much of a demand here, because this was a steal.

One of the records was Gal Costas' Gal Canta Caymmi. In this record Costa is performing Dorival Caymmi, with the arrangements by Joao Donato.The whole record is chilled, groovy feel, making it feel like you stretch your toes on the beach. This song is called, "Sao Salvador," which Caymmi wrote originally about his hometown where Costa is from as well.

Kid Sister's "Right Hand Hi" (Official Video)

Kid Sister just released her video for her single, "Right Hand Hi." If you're not familiar with the Chi-town emcee, get familiar. After building a buzz with her video "Pro-Nails," featuring Kanye West, her fans anxiously awaited her debut album which was continually pushed back. The wait ends this Wednesday (Nov. 17th) with the release of Ultraviolet. Earlier in the month, SFCritic interviewed Kid Sister before her show in San Francisco. Click here to find out about farting on Ushering and being a "real" girl, not just hard or sexy, though Ms. is very sexy (Holla! at me, I got Apples to Apples, if things end with A-Trak--no disrespect).

A&R: The Music Submissions

The Mean Jeans - Are You Serious?


The Mean Jeans are a Portland punk band. They are comprised of three semi-anonymous hard partying dudes who sound an awful lot like the Ramones. It's hard, though not unexpected, to imitate the sound of the band that birthed the genre. Where the Ramones sang about women and love sometimes, The Mean Jeans seem only to love drinking and putting drugs up their noses. Though the lyrics are spewing tales of self-destructive behavior, the songs are really catchy. They aren't taking this music thing too seriously, and they have the chops to make it legit. The band apparently came together after a move West from DC and is made up of super-skilled musicians. There is something a bit more intricate about the combination of hyper guitar riffs, super-strength bass lines and and plaintive vocals that works with and without moshing. Probably helpful, too, if they're going to be performing smashed.


Sounds Like: The Ramones, obviously.
Listen To: Stoned 2 the Bone, Steve Don't Party No More





Ada Fijal featuring Louie Austen - Take Your Time

There are a variety of things that can catch your attention in an inbox full of random music of varying quality. Sometimes it's clear and apparent talent, sometimes a catchy hook, and sometimes unquestionable suckiness. "Take Your Time" a new single from Polish singer and television actress Ada Fijal (aka Madam Retro) is attractive for a somehow worthwile combination of the three. The song, which is the first duet between Fijal and Louie Austen, is ridiculous upon first listen. Laugh out loud ridiculous. "You're hot like Pamela Anderson"? It doesn't even rhyme. It doesn't even try! But given a second it's kind of, dare I say it, catchy and fun. It's possible to get into if you're not offended by obviously Eastern Euro-club trash and if you've ever been seduced by Kylie Minogue b-sides.
Check it out (plus remixes omg!) here.

Live Review of Emily Wells at Cafe Du Nord

All Photos By Victoria Smith
For those unfamiliar with Emily Wells (listen to her hear), she is a classically trained violinist whose passion for classical music is equaled with her passion for hip hop. Her songs are built upon layers of loops of kids' toy instruments (tiny pianos, and small xylophones), a violin, vocal effects, a bass, and drums. During her live set she is typically accompanied by her drummer, Sam Halerman and bassist, Joey Reina. Her styles range in comparisons from CocoRosie, to Citizen Cope, to Miri Ben-Ari, to Esthero, which if you understand those references, is a wide range.

Review
It's astonishing that I can't find a live review of Emily Wells' performances, so I'll begin the trend. Emily Wells, whom states her influences are"Vivaldi, Nina Simone, and Biggie Smalls," has an equally eclectic sound. On this past Tuesday night at San Francisco's Cafe Du Nord, Wells played through her entire album, The Symphonies: Dreams Memories & Parties. After her performance two things became evident, her show is a PERFORMANCE and she's actually creating symphonies.

Grizzly Bear "Ready, Able"

Grizzly Bear's "Ready, Able," music video was just released within the week. Thanks to You're Ex-Lover Is Dead (which mind you is a rad music blog name in comparison to SFCritic), I was put onto this spectacular video. From the album, Veckatimest, "Ready, Able" is just one of the many amazing tracks from this album which will be on one of my top albums of the year list. The video is a sparkling of images, colors, and melding of claymation. I won't get in depth with my philosophical experience, but let's just say I believe the video is a comment on our environment dying, and we should realize that we are ready, and able to take action. Also, take a look at the video "Two Weeks."

Sytanks' New Video "Twentytwohundred"

This is Syntaks' new video, "Twentytwohundred," from their album Ylajali. The Danish duo, signed to Ghostly International, have created a video which parallels visuals with audios in a dreamlike sequence that is meditative. After receiving this video in my inbox, it felt perfect to show as a follow up to my latest post featuring the label Ghostly International.

In a past post called, "Ideas in Practice", I wrote about the importance of imagery in conveying emotions. As I mentioned yesterday, Ghostly International pride themselves on this juxtaposition of music and art. Syntaks' song is abstract. The song structure is loosely based on a traditional format, and its sounds can be understood through faux-reality imagery of the video.

This isn't necessarily my favorite song, but consider it as an example of styles, and concepts.

Featured Label: Ghostly International

Ghostly International is a label that prides itself on the juxtaposition of music and art branding. Created by Sam Valenti IV when he was 19 yrs old, the label was realized through Valenti's experience as a DJ, interest in live performances, and art history background. With the incorporation of art, and expression, the label encouraged exploration. In the beginning, Tadd Mullinix, best known as Dabrye, comprised 50% of the label's roster under several different alias. The freedom of the label enabled Tadd Mullinix to genre-bend under different titles similarly to artists like Prefuse 73 (aka Piano Overlord, Scott Heron, The Books, etc). As the label's musical popularity grew, so did the support for the visual artists for an assortment of mediums (photography, steel design, etc). Today, Ghostly International is home of several talented musicians like Mux Mool, New Villager, Deastro (whom I reviewed earlier this year), Michna (Featured Here), and Matthew Dear; as well as, artists like Doug Lee, Freegums, and Mike Doyle.

Recently, Ghostly International assembled a two disc compilation album entitled, Nocturnal Suite. For those unfamiliar with the label, and its style, it gives a great sample of the artists. On the label's website, you can hear short clips of each of the songs (click here). For everyone else, below are some images and samples of music from the labels artists.

Lusine: "Two Dots"


Mobius Sounds: "The Loving Sounds of Static"


Deastro: "Parallelogram"


Sougwen Chung, Album cover for Various Artists Spectral Remixed

Mike Doyle, Album Cover for Solvent's Radio Ga Ga Pt. 1

Deanne Cheuk, Album Cover for Dykehouse Midrange

Interview with Fat Freddy's Drop: Coming to America

It’s not cheap to fly, and it’s definitely not cheap to fly out a whole seven piece band from New Zealand. This should say something about the promoter’s faith in Fat Freddy’s Drop, the Kiwi jazz, dub, reggae, and soul band that is making its first tour to the US. Though the group formed in the early 90s, they’ve just released their second album, Dr. Boondigga and The Big BW. While many in the states still haven’t heard of the group, their fame in Europe (BBC called the band “New Zealand's most critically acclaimed band since The Clean"), Australia, and New Zealand (their last album sold over a 100,000 copies) is just waiting to spread through the US. SFCritic spoke with Toby Laing (trumpeter) before their trip.

SFCritic (SFC): What are you most excited to see or do while in San Francisco?

Toby Laing (TL): We’re only in town for like 40 hours so we’ll keep it simple. Buy some records from Amoeba and find a great restaurant . . .

(SFC): For your first album you had twice as much time. Did you ever feel rushed in your process for this album? Why was this album faster? Why is it important for you to remain independent?

(TL): Being an independent group allows us to take some time when we work in the studio. We took two years to record Dr. Boondigga & The Big BW. Most of our songs originate as improvised pieces and it seems to take a while to translate them into recordings. That’s our process really – developing songs live and then finding a way to capture them . . .

(SFC): What does it mean for you to now be able to tour in the US?

(TL): It will be cool to visit San Francisco! We’ve been touring the last four years over to Europe, the U.K., Australia and around New Zealand. We are looking forward to checking some new cities and absorb some musical culture.

Ground Sound at Triple Crown 9/6

For all those Bay Area folks, check out my man Mickey Darius on the 1s and 2s. He'll be spinning dusted hip hop gems, and funk blends. Seriously, the man has got taste in music that SFCritic will embrace. Not to mention, Triple Crown provides free beer for like 30mins, and then it's $2 pints. Want to stretch your legs, chug some beer, and get down--hit up Ground Sound tonight.

A&R: The Music Submissions

Bowerbirds - Upper Air
There are many, many things to love about folk music, one of which is that it is relatively timeless. Yes, it fell out of favor with the "hip youth" for a while there (at least for the most part). But luckily there have been dozens of excellent releases in the past few years that have revived the genre and made it possible for bands like Bowerbirds to find mainstream success.
The Raleigh, North Carolina three piece first caught indie/nu-folk buzz with the release of their 2007 album Songs for a Dark Horse. 2009's Upper Air exudes the same charm with a little more energy. The album is full of the kinds of earnest yet complex instrumentals that really show the care of the people who produced them. Founding members Beth Tacular and Phil Moore used a rotating cast of support to create the delicate, yet powerful cornucopia of instruments that support their balanced vocal harmonies. Their music sounds old fashioned and special without trying too hard, paying homage to folk traditions without seeming overly referential.

Sounds Like: A more delicate Blitzen Trapper
Listen to: Northern Lights, In Our Talons



Lookbook - Wild at Heart

On the opposite end of the spectrum there is Lookbook. The Minneapolis electro-pop band has a fairly serious following locally but is poised for even more national notoriety with the release of Wild at Heart. The album celebrates all that is wonderful about synths. Lead vocalist Maggie Morrison's voice is perfect for songs like, "True to Form" that update good 80s pop with just the right amount of grunge appeal. Even though Grant Cutler, the man behind the band's creative electro sounds, shows off his skill set with a full range of catchy dance beats he proves his range with more markedly subtle arrangements on the latest release. The title track on the album is a more subtle, melodic take on their dynamic sound, recalling Fleetwood Mac-esq classic rock more than drum machine-heavy New Wave. These are the kind of songs that will have people dancing and swaying just as much in their living rooms and at their high-energy live shows.

Sounds Like: Synth-pop for big kids.
Listen To: True to Form, Over and Over

Sea Wolf's Video "Wicked Bood"

Sea Wolf's new video for "Wicked Blood" has just premiered. If you remember, when SFCritic reviewed Sea Wolf's show at Bimbos, this song stood out amongst the others from his new album. With black and white filming, the video retains Sea Wolf's artsy, poetic style. Featuring mummies, zombies, and an astronaut werewolf this video was perfect for the Halloween scare, though it's not really all that scary. Enjoy.

Annie's New Album "Don't Stop"

In support of her new album, Don't Stop, Annie will be DJing in select cities (including San Francisco on Nov. 12th). After three years in the making, Don't Stop is set to be released on Nov. 17th. The album finds her collaborating with Timo Kaukolampi and Richard X - both appeared on her first album, Anniemal – and introduces a host of new friends like Paul Epworth (known for his work with Bloc Party, Primal Scream, The Rapture, Florence and the Machine), Brian Higgins (Xenomania) and Franz Ferdinand’s Alex Kapranos. Below are two new tracks to give you a taste of the pop, synth infused and basmistress of Norway.

Annie: "My Love Is Better" (Sunkh Knight Remix)

Debating the Boycott of Buju Banton

Last week, SFCritic made a post concerning the continuing debate between dancehall performer, Buju Banton and the LGTBQ community that is protesting his music. The debate concerns the LGBTQ's proposed boycott of Buju Banton's performances in the US as a result of a statements, and particularly a song Banton made in the past, which has lyrics describing how to kill gay people.

After posting this article, SFCritic received a reply from a reader named "Optimistic Spirit." Through a detailed correspondence, SFCritic and Optimistic Spirit, debated the issues concerning the boycott, Buju Banton and the freedom of speech. Below, I've highlighted some of the points that Optimistic Spirit has made; also, if you're interested in reading more, follow the links at the bottom to see all of the full replies between SFCritic and Optimistic Spirit.

This is a very serious issue with its implication for the freedom of speech of artists, as well as the issues of violence against members of the LGTBQ community. I encourage you to read these messages, and add your own comments at the end of the article.

Some of Optimistic Spirit's Points:
1. in addition, such mistruths, halftruths, and an overall climate of censorship and outright lies by gay activists has resulted in controversy without clarity, and has not moved the discussion forward.

2. both sites you link to contain numerous inaccuracies--the biggest probably being Peter Tatchell saying "this is not a free speech issue," which directly contradicts the opinion of the Florida ACLU.

3. look, gay rights in Jamaica is an important issue. But Buju Banton is not a head of state. the government's official position is that laws banning gay sex will not be lifted.

4. In other words, the First Amendment cannot be used selectively. The repercussions of censoring Banton by cancelling his shows might actually be that they could have a chilling effect on free speech overall, which might actually limit the rights of LGBT groups to express themselves freely, such as by holding peaceful protests. That's why it's a slippery slope.

5. i also find your characterization of Buju's music as "homophobic" misleading at best. regardless of his ideological beliefs, it's a fact that he has recorded exactly one homophobic song, 21 years ago.

6. In 2005, the gay lobby said they would lift the boycott if he stopped advocating killing gay people and committed to making "positive music." yet they have not only reneged on this, but have in effect, insisted he reject his Rastafarian ideology and embrace gayness. That is the imposition of moral standards, and is something which is not only troubling, but hard to justify legally--that's called fascism.


To read SFCritic's responses and Optimistic Spirit's elongated message, click below:

In and Out of Control: An Interview with The Raveonettes

The Raveonettes emerged in 2001 from the acclaim of Rolling Stone's editor, David Fricke, and were later described by the magazine as the "Next Wave" of contemporary music. Four albums later and a bad record label situation, the Danish duo of Sune Rose Wagner and Sharin Foo, are now touring in support of their new album, In and Out of Control. The lo-fi sounding group, have never been afraid of comparisons, as their name is a direct reference to The Ronettes and Buddy Holly's "Rave On!" In the past their reverb drench sound, has been critiqued as dark, compared to a wall of sound. On their new album the melodies are lush, and the harmonies are upbeat; but, a dark ironic tone remains embedded in the lyrics of songs like, "Boys Who Rape (Should All Be Destroyed)." In an interview with Sharin Foo, SFCritic talked about their journey to the US and how their music continues to evolve.

For those in San Francisco, The Raveonettes are playing at Bimbos on Nov. 9th.

SFCritic (SFC): How did you and Sune get started together?

Sharin Foo (SF): Well we met in Copenhagen. I think it was about a decade ago. We met through mutual friends. Both of us were hanging out in the alternative Copenhagen music scene. Sune had just gotten back from the US. After he had written the material for Whip It On, he called me and asked me if I wanted to try the stuff out with him. He was looking to making a band with a female and male vocal. It just worked out really well and we started out. Not a very interesting story.

(SFC): You guys do a lot of touring between the States and Europe. Do you as a person ever feel lost between your dual identities?

(SF): The more you start to integrate in the place you moved to, the more you also start feel like its home. It’s strange. When I’m in Denmark I miss my home in LA, and when I’m in LA I miss Denmark.

(SFC): It seemed that when you left Denmark, heading to London and then the US, you were done with the scene. What was going on?

(SF): It was more like being young and rebellious and having lots of ambition for our band. Denmark was too small for us. I sound very cocky, but I don’t mean it like that. Denmark is a small country of five million people. There are only so many people you can reach if your music is alternative and we wanted a broad audience. We also felt like our music would appeal to a crowd especially in the bigger cities around the world.

(SFC): At points it’s been implied that your music is kind of an escape from politics, life, or just a wall of sound. Is music an escape for you?