Local Love: Birdmonster at Bottom of the Hill 1/22/10

Now, for what seems like the last month or so (but likely just over a week), the entire San Francisco Bay Area has been one big, soggy, sad, cloudy mess. Perhaps that's why those who braved the elements to check out Birdmonster's show on Friday at The Bottom of The Hill were rewarded with more than the usual amount of revelry and companionship. Live music, much like family dinners and sporting events, is one of the world's great community-building events. The intimacy of the venue, coupled with Birdmonster's bright and energetic performance reaffirmed why the group is not only an SFCritic favorite, but has a loyal local fan base.

Their music is a polished, but genuine take on indie rock Americana. Strong songwriting paired with everything from a full-strength rock band, to the most minimalist use of mandolin, makes Birdmonster the kind of band you reach out to on a rainy day. It probably doesn't hurt that all four are extraordinarily easy on the eyes.


Playing a mixed set from their newest release Blood Memory as well as previous albums, the boys took to the stage Friday night without holding back. The palpable energy both with each other and the audience, brought a strength and authenticity to their material that is impossible to record. They look like they are genuinely enjoying each other and playing music for you. "Yuma", sounded downright excellent live, a track that was, shall we say is not my favorite on Blood Memory. Another favorite of the evening was "I Might Have Guessed", which was made even more honest, emotional and stand-out-awesome by vocalist Pete Arcuni's alt-country crooning in-person. Between bassist Justin Tenuto jumping across the stage and the audience bouncing in return, the fun taking place was palpable.

No matter who you are, there is a 96.5% probability that at The Bottom of The Hill you will run into your best buddy/co-worker/someone that went to your high school. While this could be a drawback depending on your point of view, it does make Bottom of the Hill a cozy, convivial place to drink, be merry, and celebrate good music with new and old friends. It also made it the perfect setting for Birdmonster's intimate, silly, yet impressive performance.

If you missed it (or didn't get enough the first time) Birdmonster will be returning to Bottom of the Hill February 19, 2010 for an exciting lineup featuring Girl Band. And you should be there. Doors at 8pm, 21+, $10.

A&R: The Music Submissions

Woozy Viper - Woozy Viper

Woozy Viper is what you would call a palate-cleanser. Kansas-born and bred brothers Luke and Mitch Meseke recorded a lo-fi 12 song debut, put it up for free download with nothing but some seriously simple album art. It is an album of back-to-basics rock and roll songs, two scruffy vocalists, and tin can percussion. They sing songs about paying the rent, about wanting nice cars, and girls. They're the kind of rough and twangy songs that hearken back to a simpler time before "indie rock" was nearly synonymous with a heavy use of synthesizers (not that that's a bad thing). The songs are stylish and classic without seeming overly referential. For every song that overtly sounds like The Beatles or Johnny Cash, there are hints of Kurt Cobain's anguished drawl (on "The Switchblade Swing") or Sublime's plucky ska baselines (like "Dirty Rat"). They're a little bit country, a little Rolling Stones, and all-around enjoyable.

Sounds Like: The Kings of Leon not taking themselves so seriously. Also the song "One of These Days" really, really sounds like Spinal Tap's "Gimme Some Money".
Listen To: Speaking in Tongues, Woah Baby

Kidd Russell - The Dash

Kidd Russell's debut EP The Dash is a little confusing. It is predominantly of the hip hop persuasion, and certainly sprinkled with influences of hard rock (Korn, Slipknot maybe) and a little reggae. While the lyrics are earnest, the vocals certainly aren't great (a little flat) and the beats leave much to be desired. Each song seems to stand on its own, to cater to its own agenda rather than work together to create a cohesive sound. The EP's self-proclaimed star is "Dear Shooter," an emotional outcry against gun violence that calls to mind Eminem's haunting track "Stan," but it lacks a memorable hook and the raw emotion that made that song so important. A different, more rock-influenced track is "Rush (Rock Remix)" which is apparently hd.net theme song for Ring of Honor wrestling. It sounds a little like Kid Rock, and brought back all fondest memories I have of Limp Bizkit (of which there are very few). While it's clear that Kidd Russell has diverse interests, and enthusiastically includes them in his music, The Dash still feels a little rough and disorganized.

Sounds Like: A college football player turned musician (hint: that's what it is).
Listen To: Rush (Rock Remix), Dear Shooter

A&R: The Music Submissions

Foreign Born - Person to Person

Foreign Born is a (domestic!) four piece out of Los Angeles. The boys joined forces in 2003, were scooped up by uber-indie label Secretly Canadian, and released Person to Person, their second full length. It's a catchy, sunny and upbeat album. It is perfect, on first listen, to imagine putting several tracks on your playlist for a road trip up the coast, but with enough torment, density, and lush arrangements to keep it from being a once-round wonder. While comparisons to Grizzly Bear and The Walkmen are not necessarily unfounded, they're also not quite informative. There are moments of African percussion and cowbells followed by 80s U2-esque drum beats with haunting vocals to match, and airy guitar rifts. The songs feel vintage, without feeling trite or precious. These are tightly recorded pop ballads with danceable beats and stuck-in-your head choruses. Though released in 2009, Person to Person is certain to put Foreign Born at the forefront of this year's indie discussion. Catch them locally at Rickshaw Stop 2/24 with Free Energy as part of the Noise Pop festival.

Sounds Like: A West Coast answer to Vampire Weekend
Listen To: Wander Aimlessly, Vacationing People, Early Warnings

All My Friends - We Have No Faith in Machines EP

All My Friends is a Canadian synth-pop duo from Vancouver BC. The two eagerly site their major influences as Passion Pit, MGMT, Phoenix and The Postal Service. It is not hard to hear how these influences come through on their sparse Microkorg-produced EP. Well, The Postal Service part anyway. The boys certainly know their way around a synthesizer. Unfortunately, it lacks the layered arrangements, lyrical complexity, and production polish that make these groups excellent. Things look up for them on the ever so slightly more complex "Tonight Happens", a little bit grittier New Wave-influenced track, and "Secret Smiles", which could be a big dance-pop hit if it had more than a chorus. With the recent explosion of Owl City, that inexplicably popular baron of annoying emo electronica, it is not surprising that more boys would want to churn out basement albums made only with a synthesizer and a laptop. While All My Friends have wisely refrained from an embrace of auto-tune, tracks like "Stay" and "Another Morning" fall in that category.

Sounds Like: Owl City at worst, The Postal Service at best.
Listen To: Tonight Happens, Secret Smiles

The Music Submissions: Looking Back at 2k9

In the beginning SFCritic was all about going out and looking for great music. One of the many ways you the readers shared your love with us this year was by sending us music that you think we'd like, or more likely that you'd like us to hype. When it became clear that there was just way too much stuff coming in, and gems were likely being lost in the shuffle, The Music Submissions were born. Each week the emails streamed in, and each week we listened to as much as possible before deciding which two albums (or songs in rare cases) would go up for you, our fearless readers, to read. It was our hope to give you a more intimate glimpse into the musician-marketing-blogger relationship in addition to giving constructive criticism to acts large and small.

It was an inconsistent bunch, to be sure. Sometimes the submissions were for rising stars, like Fanfarlo and The Antlers, both of which wound up making my Top 8 Albums of the Year. Bowerbirds, Lookbook, and Birdmonster were all highlights. Others not so much. Not even :Kinema:'s cover of Animal Collective's "My Girls" was enough to make-up for their uninteresting auto-tuned disco. While Portland's Hockey seemed promising the first few listens, it turned out to be at best bland and at worst annoying. We at SFCritic would like to thank you all for sending us so much music and for following us in 2009. Keep sending in new, weird, and wonderful music and we'll write about it in 2010.

Merry Christmas, y'all.

A&R: The Music Submissions

Dylan In The Movies - "Josephine If You Only Knew"

Dylan In The Movies is a relatively solo project or "musical brainchild" of Boston-based Brian Sullivan. The album features the input of some big names in contemporary alternative rock/alt country world that should bring Sullivan's new release more notoriety. Name-dropping The Watson Twins (not to mention their partner Jenny Lewis of Rilo Kiley) and Tanya Donelly (formerly of the Breeders, among others) should give the album buzz, though it might not clue listeners in to what they're getting. The single itself sounds like a more complex, and yet marketable, version of the adult contemporary genre. While that sounds like a snooze, his voice has a honed yet rough quality that makes it an appealing match for the emotional yet vague lyrics that tend to highlight the pining and regretful moments in male-female relationships. The guitar hook in "Josephine" is sunny, catchy, and only slightly plaintive. Though it's probably not going to be "what the kids are into", Sullivan has the talent and ear to put together an appealing single.

Sounds Like: Edwin McCain without the kitsch.



Ken Helman - Emerging

After hearing his latest project Emerging it seems like music veteran and recent transplant to the SF Bay Area Ken Helman has come to the right place. His pianist-singer-songwriter style evokes both musical theater and the contemporary artists that have successfully translated their style into honest and emotional pop careers. The uniqueness of his voice, clearly controlled but vaguely unsettled, seems to frame the stories that his lyrics weave. There is nothing to distract you from the fact that Helman is telling intensely personal tales with his songs, nothing between the listener, him, and his piano accompaniment. Broadway fans and those with an avid appreciation for a pared-down style, embellished only with talent, will probably treasure his work. Others probably won't get it.

Sounds Like: Rufus Wainright or Antony & The Johnsons, with a less broad appeal.
Listen To: "Caught a Ride", "Passing Stranger"

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

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.