Who: Sell The Heart Records showcase: Early and Often, Goodriddler, and Build Us Airplanes
Where: Bottom of the Hill
When: 9PM Wednesday, August 3, 2011

Early and Often, Goodriddler, and Build Us Airplanes form an eclectic lineup. Sell The Heart Records will be showcasing the three bands, Wednesday night, August 3rd, at Bottom of the Hill.

Build Us Airplanes is a rock band infused with punk and prog sensibilities. The song I connect with the most is the folk ballad “Pale Ale,” which is influenced by Modest Mouse. This four-piece hails from Vacaville, CA. They are promoting their latest record, The Pale Ale EP.

Goodriddler is the solo digital soundscape project of a very pleasant gentleman named Nicholas Wolch. Nick’s musical process has several layers. Prior to performing, he writes and records complicated electronic compositions on his computer. Then on the stage with his MacBook Pro at his side, Nick puts on a highly energized live drum performance. Occasionally he’ll sheath his drumsticks and jam out on a ukulele or piano. His strongest asset is his voice. You’ve got to hear this cat sing!

Early and Often is promoting their EP Present No Fiction, Fear No Tense that was released in June 2011 by Sell The Heart Records. The Sacramento-based four-piece plays an experimental post-rock (rock music for the sake of auditory art, and not so much for the sake of a conventional song). The music is characterized by long, drawn out tones produced vocally, alongside bass, drums, piano and guitar arranged in complementary rhythmic patterns. The songs generally have loud sections separated by softer melodic sections. These are sometimes followed by distorted electric guitars cranked to a level that could blow your father’s toupee clear across the room. The hook for me is when singer Jeff Wright sings. This kid has got some serious soul. When he opens his mouth, an incredible energy billows forth. This concert will be the second of a six-city tour through the northwest. The quartet will be headlining the night and celebrating Wright’s 21st birthday.

The show starts at 9PM and is 21+, tickets are $8.

Metal Mother
Metal Mother mastermind Tara Tati commanded the stage in a sequined top, black hot pants, warpaint, and super shredded tights. She mesmerized the audience, dancing and marching to the steady thump-thump of tribal drum beats like a sexy warrior princess. “She’s got, like, the best stage presence,” I overheard one dude say to another between songs. Though the band contributed chilling keyboard melodies haunting vocal harmonies, it was hard to take our eyes off Tati. She draped herself in a plaid scarf for a spooky rendition of “In The Bones,” had us howling along like coyotes during “Willow,” and was hopping around in a NSFW lace leotard by the end of their set. It’s hard to believe this was one of the first live performances for this burgeoning Oakland band, who just released their first full-length, Bonfire Diaries.

Religious Girls
As soon as Religious Girls took to the stage, my jaw literally dropped. Nick seemed to channel the devil as he pounded feverishly on drums. Likewise, Chris played the shit out of the keyboards, bouncing around with his tongue hanging out; at one point even busting a key. Guy brought it all together, tackling both instruments like a boss. I immediately recognized why I’d heard nothing short of amazing, glowing reviews of this band. Their sound was at once exotic and thrashy. Their dynamic set was an intoxicating blend of playful, melodic bursts and explosive fits of noise. So what if their songs don’t have words? That didn’t stop fans from singing along as the band communicated with them in primal shouts and chants that transcended language entirely. Occasionally, Chris stood on his toes and emitted a fearsome growl like a wild jungle cat as we looked on in awe. These guys delivered one hell of a performance that ended all too soon. Seriously, they killed it. If you get a chance to catch one of their upcoming shows, don’t pass it up. Religious Girls will make you a believer.

Upcoming Show Dates:
6/24 Shattuck Downlow, Berkeley, CA w/ HOTTUB!
7/3 Gamma Space, Oakland, CA w/ Zorch + Clip’d Beaks
7/4 Townhouse, Sacramento, CA w/ Buk Buk Bigups + Zorch + Pregnant + Mom
7/5 Hemlock Tavern, San Francisco, CA w/ Zorch+ Primary Colors
7/16 Phono Del Sol @ Potrero del Sol, San Francisco, CA
7/18 Pehrspace, Los Angeles, CA w/ Naked Kids + Essay + The Creepy Marbles

Dwarves

The Radishes

Pleasure Kills

For more photos, go HERE.

They were wicked fucking awesome. The set was a perfect mix of new, old and older tracks including: “God is a Middle-Aged Woman,” “I Wanna Be Ignored” and “How Long Diana” from their debut album Banging Down the Doors; “The World is Alive,” “Take Off Your Sunglasses,” “The Moon,” “Big Deal” from their sophomore album Inside the Human Body (get this album now, seriously. No excuses.); and finally “Blood Sucking Whore,” “I Killed Myself But I Didn’t Die” and “Mysterious Power” from their newly released album Mysterious Power (Who am I kidding? All of the albums are superb because Furman and his Harpoons stay true to their sound without becoming repetitive. It’s almost unreal how they consistently turn out deeply poetic, sharply observational and totally genius lyrics with perfectly matched music. Whatever, just get them).

Harpoon shout outs: Job Mukkada is how I picture Elvis being had he been a bassist. The liveliest Harpoon kept me energetic with nonstop bouncing and stage-prowling, and his backup vocals were smooth as silk. Andrew Langer appears to be the calm center of the storm, his Buddah-esq mask slipping only during a few brief moments when he grinned hugely, the radiant guitar God in him shining through. And the heartbeat of the group, Adam Abrutyn, kept excellent time and company, with Mukkada and Langer orbiting his drum set periodically like planets around a sun.

And Furman: a captivating mixture of shuffling nerdy, shy guy from the back of the class whose guitar strap just wouldn’t stay on his shoulders and authentic folk-punk rock star. A hero to the crowd of hipster squares in attendance, Furman admitted he had a cold but would ride the adrenaline rush for the greater good, and ride it he did. Even with a sore throat, the master yelper hit every note and even a few extra for the entire set. Feeling that the vibe wasn’t quite right to end on, Furman stayed onstage after the Harpoons took their leave and graced us with two semi-acoustic renditions, my favorite of which was the haunting “Pink Petals in the Gutter,” the unofficial theme of the evening. The awed silence that followed is entirely thanks to Furman’s one of a kind voice and stage presence, a modern King Arthur of rock who (I imagine) humbly did not know his own potential until he found the stage which, like his fans, was waiting for him all along. Come back soon, Ezra!

Photos by: Darren Russell

For more fun filled photos, go HERE.

Photos by Wilson Lee

Click HERE for more amazing photos!

It’s the evening of April 27th and San Francisco’s Bottom of the Hill is bursting at the seams. I was pressed against the stage by a kid and his parents on one side and a gaggle of hipsters on the other, all eagerly awaiting the arrival of the Head and the Heart. “Called Seattle’s next big band” by NPR, the folk-pop sextet has quickly wound its way into the world’s hearts and headphones. They’re defying the odds in an era where bands have to fight harder than ever to be heard above the din.

The plucky Seattle transplants have built their success on a do-it-yourself spirit and heaps of local love. Amid a swirl of positive press, their self-released debut sold 10,000 copies before the band was signed to Sub Pop Records. Watching the throngs of exuberant fans, it’s no surprise to me that Fleet Foxes’ label paid attention: the Head and the Heart is clearly on to something.

Beginning their set with “Cats and Dogs,” the band played songs off their eponymous album almost entirely in order. If the recorded versions are already full of energy, their live counterparts are nothing short of effervescent. The band is constantly moving: Tyler Williams seems to fly off his seat behind the drums, while all three vocalists (Jon Russell, Josiah Johnson, and Charity Thielen) bounce around the stage to the beat. Even in the show’s most tender moments, energy continued to bubble under the surface. The softest song, “Ever Since” (one of three new tunes), was quietly stirring—just Russell, an acoustic guitar, and swells of emotion. Likewise, crowd favorite “Rivers and Roads” grew from an introspective whisper to a rousing anthem for anyone who’s ever left home.

For me, and I suspect much of the audience at Bottom of the Hill, the Head the Heart’s music is deeply resonant. It reflects the joy and sorrow of life’s transitions, that sense of simultaneously reminiscing and looking forward. Though the journey is just beginning, the band has already gone through a crucial transformation: from local heroes to music’s next big thing.

Photo by Wilson Lee

Rock heads and indie darlings collided at Thursday’s sold-out The Joy Formidable show at Bottom of the Hill — and no one was left standing (in the rad, face-melting kind of way).

Playing hits from the recently released The Big Roar mixed with favorites from their 2009 breakout A Balloon Called Moaning, the trio hit the stage and did what they do best: a cheerful hello, briefly chatting up the crowd with some gentle Welsh banter, before taking to their instruments and shredding our teeth off. I was immediately intrigued by singer Ritzy Bryan, sporting her signature white-blonde bob and sweet baby doll dress with a guitar that nearly toppled her small frame. But don’t be fooled by her exterior, gents — she is a beast on the guitar, with a pure, unweathered voice to boot. (The interesting juxtaposition is reminiscent of St. Vincent, but with significantly more rockage.)

Photo by Wilson Lee

The show’s highlight was the epic rendition of “I Don’t Want To See You Like This,” illuminating the band’s impressive command of tension building and dynamics. Rock bands take note: face-melting is awesome, but the ability to break it down, whisper sweet nothings into our ears and build it back up with a sweeping anthemic swell is…. well, is why this show was sold out. When Ritzy grabbed a stick and started smashing a cymbal, four-on-the-floor style, I’m pretty sure the dude heavy crowd collectively jizzed in their panties. Stay classy, San Francisco.

Coachella’ers won’t be disappointed if they catch The Joy Formidable this weekend, and we’d be damn fools to miss them in the recently announced line-up of Outside Lands. Bring ear plugs n’ fresh drawers and I’ll see you there.

For super cool photos, go HERE.

Photo by Wilson Lee

Photo by Wilson Lee

Photo by Wilson Lee

Fol Chen

It’s that time of year again, and while most companies are throwing lame (and awkward) cocktail parties, Terrorbird Media‘s got the spirit of the party, and we want in.  Co-sponsoring with Epicsauce, Terrorbird whipped out some of our favorites, SF’s own, Maus Haus, LA avant-popsters, Fol Chen, Brent Amaker and the Rodeo, and Exray’s, in addition to Epicsauce DJ sets.

Want to sample the music sauce? Here are a few tasty tracks:

Maus Haus – Reaction

Fol Chen – In Ruins

Exrays – Hesitation

Wanna join us? Here’s the deets:

Bottom of the Hill

Doors at 8pm

All ages – $10 advance / $12 door

Call Me Lightning

Keelhaul

Russian Circles

The Hundred Days

The Dig

Henry Clay People

Bird & Batteries‘ Mike Sempert, an East Coast transplant, has lived in the Bay Area for six years. Like a good number of East Coast folks, Sempert never wanted to move to New York City, and wound up in San Francisco. The local scene’s open, friendly, and encouraging environment kept him here. “What I make will have an audience, at least amongst my friends,” says the mastermind behind Birds & Batteries.

Not only does Birds & Batteries’ sound have an audience, it’s one that is constantly growing thanks to their reputation for infectious live shows and a penchant for multi-genre-spanning tunes. Sempert is a thoughtful songwriter, unafraid to meld electronic and experimental with the barest dash of honky tonk. It’s good stuff, to say the very least.

On the heels of last fall’s Up to No Good EP, which received much buzz in the blogosphere — URB called it “twenty minutes of synth pop bliss” — Birds & Batteries release Panorama, their third studio album, today. Written simultaneously with 2009′s Up to No Good, Panorama is set apart from its predecessor by its more traditional instrumentation, straying further away from Up to No Good‘s electronic sound. “It was the first time I’d focused on a set of sounds.”

Birds & Batteries “Panorama” from Birds & Batteries on Vimeo.

“[Panorama] was influenced most by David Byrne and John Lennon who are very different, and whose music has consistently moved me throughout my life,” says Sempert. “David Byrne manages to comment on society and civilization by keeping his personal self out of the song, almost like an anthropologist. Whereas John Lennon’s solo records are so intensely personal, it’s like staring into his eyeball and forgetting what you’re looking at. Both make you think, at some moment ‘Oh! I know what life’s all about, but if asked, it would be almost impossible to put into words.”

Recorded in part at Hyde Street Studio C as well as Tiny Telephone, Panorama “explores themes of good and evil, love and hate, positive social change vs. the politics of despair. You know, big stuff,” Sempert explains. Titled after the first track of the album, Panorama was dubbed such by Sempert because it represents “some kind of complete truth, or broad understanding. This is something I think we all crave even if it’s only possible in brief glimpses.”

Panorama is sure to please Birds & Batteries fans, new and old. Sempert doesn’t compromise deeper political or personal messages for good hooks and upbeat tempos; he deftly combines the two to make listening to difficult things more palatable. In one of his favorite tracks “The Machine & The Vampire,” which the album was tentatively named for some time, Sempert sings about PTSD and the wars in Iraq and Afghanistan. Meanwhile, the slide guitar-laden “Strange Kind of Mirror” is a nod to friendships and what they show you about yourself, good or bad.

Panorama drops Tuesday (Oct. 12). Birds & Batteries will play a CD release party Friday (Oct. 15) at Bottom of the Hill with Geographer.

Check out the delicious Bowie-esque “A Million People,” an exclusive track from Birds & Batteries’ new album, below.

No doubt we can get behind something that Talking House puts together (except their super crappy website). John P. and Co. have been championing SF-based music for a minute…offering studio time and tools for bands like The Lovemakers, Loquat, and The Matches (oh, how we miss you). Catch a local centric all ages showcase at Bottom of the Hill on 10/9 featuring Scene Of Action, Felsen (CD release), Bird by Bird (featuring Jonathan Devoto, of the Matches), Kindness and Lies on us. Just tell us about a prepubescent concert experience that haunts you.

Awww. We’re feeling all warm and gushy inside thanks to British band Peggy Sue who have recorded a video for us and all of San Francisco. They stopped at Bottom of the Hill on their tour in June, and we are so happy they thought so much of us to send us this stripped-down video. The folk rockers bring some pretty awesome harmonies in an acoustic version of “Careless Talk Costs Lives.”

Music fans have always loved a good girl group. From the Supremes to The Runaways, and especially in the days of punk and grunge with Siouxsie and the Banshees, The Go-Gos, X-Ray Spex, Bikini Kill and Sleater Kinney. Following in their predecessors sultry, sassy footsteps are Dum Dum Girls who packed the house at Bottom of the Hill Wednesday night ultimately showing that Rock and Roll is still alive and sexy.

The night wasn’t all estrogen, however. DDG shared the bill with former two-piece Crocodiles. The last two times I saw Crocodiles it was just two dudes, and I always kind of thought they would sound so much better with a drummer. Well, they must have heard my cries because they showed up at Bottom of the Hill with a full band. Not only with an added drummer, but an extra guitar and keyboardist. As they say though, be careful what you wish for. With that much noise going on, Crocodiles’ signature lo-fi, minimalist sound was sort of mashed. It was a bit too chaotic at times, drowning out the vocals and making it confusing as to what song was actually being played. It wasn’t all bad though, they hammered out a great set of distorted, sonic rock that would have made Thurston Moore proud. Perhaps they just need a bit more practice playing as a 5-piece.

The Dum Dum Girls took the stage quickly after, and launched right into their routine. The four young ladies have a pretty unique sound in that it lies some where between ’80s riot girl punk and ’60s girl group doo-wop. It’s a little slow for punk, and over-aggressive for doo-wop. They personify this anomaly on stage too, sometimes glaring intensely at the crowd through their screeching, and sometimes bobbing their heads and dancing in unison. The songs are catchy and poppy, buried under a thick layer of distortion and attitude. Lead singer Dee Dee’s voice is much deeper and a bit raspier in person adding a nice dark, grungy layer to the band’s sound.

Dum Dum Girls have a few more date together in the US, and then it’s off to Europe. Now’s your chance to see them in a small venue because after this tour they’re hooking up with Vampire Weekend for a string of shows followed by an early Fall tour supporting MGMT. So, in short, go see them now.