Chance The Rapper rises to a new level with his mixtape: "Coloring Book"

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“I speak of wondrous unfamiliar lessons from childhood / Make you remember how to smile good / I’m pre-currency, post-language, anti-label / Pro-famous, I’m Broadway Joe Namath / Kanye’s best prodigy / He ain’t signed me but he proud of me / I got some ideas that you gotta see”
— Blessings (Reprise)

By Connor Buestad | Connor@Section925.com

The one and only time I’ve seen Chance The Rapper perform came as a complete surprise. It was at the halftime intermission of the Louder Than A Bomb (LTAB) poetry event in downtown Chicago, blocks away from where Chancelor “Chance” Bennett attended Jones College Prep. There was only time for three songs, but that was all I needed to become entrenched as a fan.   

The largest youth slam poetry event in the world, LTAB attracts individuals and teams of poets from all corners of Chicago. High schoolers walk onstage at a sold-out theater every March and discuss the deepest, darkest, and most powerful emotions that their city and country can produce in a teenager. The diverse crowd hangs on every thought provoking verse. Standing ovations for the poets are the norm rather than the exception.

Surprisingly, Chance doesn’t have any LTAB hardware to his name, but he still found his way on the main stage as a 21-year-old adult. Equipped with his signature smile, the beaming ball of energy delighted the youthful poetry fans at the Arie Crown Theater when he revealed himself as the night’s special guest. Chicagoans reacted swiftly, flooding the aisles with their phones ready to record, jockeying for the best position to see their youthful city hero drop some poetic lines of his own. Not surprisingly, the high school contestants didn't seem to mind him stealing the show.

True to form, Chance mixed energy, positivity, and fun/catchy lyrics to give the crowd something meaningful to latch onto. With various areas of Chicago beleaguered by guns, drugs, and overall strife, Chance seemed to know full well that his city needed his positive vibes, and he was there to deliver.

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(photo by Dave Kotinsky)

Chance The Rapper released his third mixtape on Friday, May 13, titled Coloring Book. The working title of the 14 song mixtape was Chance 3 (hence the album cover), but in the 11th hour, his fans were presented with a coloring book instead, and a lovely one at that.

Highly regarded by the hip-hop community and beyond, Coloring Book is already being talked about as a classic. Drake, Kanye West and Kendrick Lamar have all gotten their just do as of late, and rightfully so, but with Coloring Book, Chance seems to have a place at the table as well when you speak about modern hip-hop artists. Industry titans Kanye West, Lil Wayne, Justin Bieber, Future, and Jay Electronica all cut out time to rap with Chance on this mixtape, not to mention the Chicago’s Children Choir, featured on the lead-off track “All We Got."

Pretty impressive stuff, when you consider Chance is still just a 23-year-old who doesn’t have a record deal and who lets his music play for free on the internet. His distinctive voice can be found on various other records across the industry as well, including Kanye’s February Life of Pablo album. His ability to seamlessly collaborate with so many other artists has, and will continue to pay off handsomely for him and his fans.

Coloring Book comes on the heels of Chance’s first two mixtapes, his debut, 10 Day, was released back in 2012 while Acid Rap came a year later in 2013. The inspiration for 10 Day grew out of a 10-day suspension that “Little Chano” received for marijuana possession during his senior year at Jones College Prep (a selective enrollment Chicago Public School located downtown). As legend has it, Chance’s time off from school proved productive as it gave him time to create 10 Day, effectively putting his musical career in motion. Songs like “Nostalgia” and “Brain Cells” have a melancholy way of drawing you in and keeping you there; all the while interested in what the 19-year-old has to say about the world surrounding him.

Acid Rap, released in 2013, was the mixtape that made people really take notice of Chance, featuring song after song of raw talent and energy that makes it hard not to keep listening. "Paranoia," “Pusha Man,” “Acid Rain,” “Smoke Again,” and “Everybody’s Something” were just some of the songs that made a huge impression. Despite it being free, it still rose to no. 63 on Billboard’s Top R&B/Hip-Hop Albums chart after being sold by unauthorized retailers.

Coloring Book, at least after a weekend of listening, looks to be Chance’s most complete effort to date. The mixtape starts off with “All We Got,” a thrilling intro that gets one locked in to listen to an hour of Chance dropping bars. “And we back, and we back, and we back,” proclaims Chance. “This ain’t no intro, this the entree,” he assures us. Chance raps about his girlfriend (the mother of his first and only child) as well as other topics. He also let’s Chicago’s finest, Kanye West do his thing, not to mention the Chicago Children’s Choir. Overall, it’s a great way to draw one into a mixtape.

On the second track, “No Problem,” Chance welcomes Lil Wayne and 2 Chainz into the fold, and neither disappoint. It’s the type of song that makes you want to blast it as loud as possible on the freeway with the windows down, without a care in the world. The song makes reference to the record labels that Chance has kept at a distance. “Countin’ Benji’s while we meetin’, make ‘em shake my other hand,” he shouts. As expected, Lil Wayne’s appearance is a head-turner. “Half a milli’ in the safe, another in the pillowcase, codeine got me movin’ slower than a caterpillar race,” sings Wayne.

“Summer Friends” is the third song, and has a sound that reminds me of a Bon Iver ballad. Chance describes his life growing up on 79th street on the South Side of Chicago. He paints the picture of a more innocent time in the city, with less guns and stronger family ties. “79th street was America then / Ice cream truck and the beauty supply / Blockbuster movies and Harold’s again / We still catching lightning bugs when the plague hit the backyard.”  

Coloring Book's seventh song, titled “Mix Tape” has the most catchy beat on the compilation. “Am I the only nigga still care about mixtapes?” asks Chance alongside Atlanta’s Young Thug. The defiant lyrics, once again challenging the setup of today's music industry, will keep your head bobbing throughout.

Buy this art print by Tyler Powers here

“Mix Tape” gives way to the single of Chance’s third release. “Angels” comes at you with an incredibly catchy, fast-moving beat, with lyrics that keep you engaged throughout. Chance speaks about the city that he’s from and what it means to him. “I got a city doing front flips / When every father, mayor, rapper jump ship / I guess that’s why they call it where I stay / Clean up the streets, so my daughter can have somewhere to play,” he demands.

It is interesting to hear Chance mention the Mayor’s office here. Mayor Rahm Emanuel (Obama’s former right hand man) has recently fired Chicago’s police chief over the Laquan McDonald tragedy. Moreover, Chance’s father, Ken Bennett, currently serves as Mayor Emanuel’s chief of staff.

“Smoke Break,” the mixtape’s 12th song, features perhaps the hottest rapper on the market, Future. The sound on this track is immaculate and was produced by UC Berkeley grad Garren Langford while he was simultaneously finishing his senior year as a Golden Bear.

The 14th and final song is "Blessings (reprise)." "Blessings" is also the fifth track, but the reprise is something else. The song is beautiful on many levels, from the sound, to the rhythm, to the lyrics. Chance paints the following picture in the opening verse, “I speak of promised lands / Soil as soft as momma’s hands / Running water, standing still / Endless fields of daffodils and chamomile.” Chance continues on, recounting his rise to stardom and his passion for his craft. “I used to dance to Michael, I used to dance in high school / I used to pass out music, I still pass out music / The people’s champ must be everything the people can’t be.” Finally, Chance finishes his best work yet with the following questions, “Are you ready for your blessings? Are you ready for your miracle?”

In a mixtape lasting less than an hour, Chance The Rapper has put out a piece of art that will be appreciated for quite sometime, both by his home city of Chicago and hip-hop fans from coast to coast. Chance has arrived as a major player in the rap game and with his youthful energy and obvious talent, it looks like he’s here to stay. On Sunday, August 7th, San Francisco will host him in Golden Gate Park. The Bay Area will be hanging on his every word.

Follow the Section925 Spotify Playlist to hear the bands coming to the Bay Area this summer

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All of these great musicians are coming to play live in the Bay Area this summer. Listen to them below and click here for a direct link to follow this playlist. 

 

Donovan Frankenreiter - Friday, June 17th @ The Independent SF

Gregory Porter - Saturday, June 18th @ Fox Theater Oakland

Joe Pug - Saturday, July 9th @ The Independent SF

Widespread Panic - Thursday & Friday, July 14th & 15th @ Fox Theater Oakland

Wye Oak - Friday, July 15th @ Great American Music Hall SF

We Became Owls - Friday, July 15th @ Viracocha SF

Modest Mouse - Thursday, July 28th @ Greek Theater Berkeley

The National - Friday, July 29th @ Greek Theater Berkeley

Dej Loaf - Sunday, July 31st @ The Catalyst Santa Cruz

Atlas Genius - Thursday, August 4th @ The Catalyst Santa Cruz

J. Cole - Friday, August 5th @ Outside Lands Festival

LCD Soundsystem - Friday, August 5th @ Outside Lands Festival

Sufjan Stevens - Friday, August 5th @ Outside Lands Festival

Beach House - Friday, August 5th @ Outside Lands Festival

We Became Owls - Saturday, August 6th @ UC Berkeley

Radiohead - Saturday, August 6th @ Outside Lands Festival

Rogue Wave - Saturday, August 6th @ Outside Lands Festival

Phantogram - Saturday, August 6th @ Outside Lands Festival

Chance The Rapper - Sunday, August 7th @ Outside Lands Festival

Ryan Adams - Sunday, August 7th @ Outside Lands Festival

Wavves - Monday, August 8th @ The Catalyst Santa Cruz  

Alabama Shakes - Friday & Saturday, August 12th & 13th @ Greek Theater Bekeley

Ben Harper - Wednesday, August 17th @ Greek Theater Berkeley

Tame Impala - Friday & Saturday, September 2nd & 3rd @ Greek Theater Berkeley

Wilco - September 6th, 7th, 9th, 10th, 11th @ The Fillmore SF

Ray LaMontagne - Friday, September 9th @ Greek Theater Berkeley

Andre Nickatina - Saturday, September 10th @ The Catalyst Santa Cruz

Drake + Future (Summer Sixteen Tour) - Tuesday & Wednesday, September 13th & 14th @ Oracle Arena Oakland

Local Natives - Saturday, September 17th @ Fox Theater Oakland

El Ten Eleven - Thursday, September 29th @ The Independent SF

The Head and the Heart - Saturday, October 8th @ Greek Theater Berkeley

Kaytranada tours his debut album, "99.9%"

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Montreal's Kaytranada plays some cuts from his debut album 99.9% at his May 27th tour stop at MEZZANINE in SF. Toronto artist River Tiber was Kaytranada's opener. 

Tyler Blint-Welsh | @tbdubez

The transition from Soundcloud DJ into burgeoning mainstream artist isn’t an easy one. But don’t tell that to Kaytranada. Three-and-a-half years after his remix to Janet Jackson’s early 90’s hit “If” turned Kay into an underground darling his debut project, 99.9%, is his declaration that he’s way more than a serial remixer. The fifteen track album features notably versatile and experimental artists like Syd, GoldLink, AlunaGeorge and Anderson.Paak and puts on display Kaytranada’s mastery behind the boards. With its synth heavy production, 99.9% is an upbeat, genre-defying journey that skillfully blends elements from his Afro-Caribbean upbringing and electronic music background while also showcasing the hip-hop production chops that have landed him tracks with artists like Mobb Deep, Mick Jenkins and Talib Kweli.

Though the album isn’t necessarily “about” anything other than sonic experimentation, Kaytranada's use of texture and tempos influence your mood on a track by track basis in a way that most LPs fail to. The unpredictable progressions on each of his cuts hold your attention and drag you along with it, whether the mood is somber, dreamy or has you wanting to hit the club and dance your heart out.

99.9% has an electronic undertone, but that doesn’t stop Kaytranada from utilizing instrumentation. With multiple standout drummers on the album, including fellow Canadians Karriem Riggins and Alexander Sowinski of Toronto jazz group BADBADNOTGOOD, Kay mostly uses percussion instruments to help add energy and life to what would otherwise be dreamy tracks that border along psychedelic.

The project begins with “Track Uno,” a pulsating intro that serves as your welcome into the sonic world of Kaytranada. Beginning with a simple synth loop, the track subtly weaves in other sounds like bass, snares and maracas to create a groovy rhythm reminiscent of a mid 2000’s Pharrell beat. Though “Track Uno” is one of the more simple beats on the album, it helps set the tone for the rest of the listening experience as one full of unpredictability.

In interviews, Kaytranada has expressed his preference for intimate, house party scenes as opposed to sold out stadium rocking sets and much of 99.9% reflects that preference. None of the tracks overpower you with their sonic elements and instead allow you to get taken over by the music as if Kaytranada is voodoo master and his beatpad are his pins.

On “Together”, a track featuring AlunaGeorge and DMV wordsmith GoldLink, Kaytranada shows his penchant for getting the most out of his vocal features. Over his synth heavy production, GoldLink expertly spits an anchor verse between hooks from AlunaGeorge. What becomes apparent in listening to 99.9% is how little Kaytranada cares about lyricism on his tracks. To him, words are nothing more than a musical element that can be blended amongst the dozens of other sounds he wants to put in his tracks.

“Drive Me Crazy”, a single featuring Vic Mensa released well over a year ago, is the track that comes as close to mainstream hip-hop as Kaytranada is willing to fly. Over a reverberating bass that helps the track sound like a cross between “Down On My Luck” and his other Kaytranada assisted track “Wimme Nah”, Vic Mensa raps about his frustrations with fame in the rap game and the struggles he’s had with finding meaningful relationships in a world full of superficialities.

Though most of Kaytranada’s tracks are assisted (he has just four solo cuts), the standout track by far is “Glowed Up”, a braggadocious ballad from Oxnard, CA artist Anderson. Paak about his ascent through the music game. Starting off with a ominous theremin sound that feels like it’s transporting you into a UFO, Kaytranada quickly introduces glistening synths and a bass that perfectly supplement Paak’s gruff yet melodious voice. It’s the second half of the track though that reminds you how versatile Kay is as a producer and how adaptable Anderson.Paak is as a vocalist. Over a lively set of snare drums and chimes, Paak croons over the near two minute outro in a soft, reassuring voice that make you forget the boasting he was doing just prior. “Glowed Up” is the peak of 99.9%; combining two artists who perfectly complement each other and who you can tell would rather do nothing more than give us a glimpse of the world they live in.

Overall, 99.9% is one of the more complete debut albums from a producer in recent memory. Each track has a distinct feel, and it’s apparent that nothing about Kay’s work is generic. From his unpredictable beat switches, to the way he creates complex yet cohesive rhythms using seemingly contrasting sonic elements, Kaytranada explores aspects of music most artists are either unwilling or unable to. Though his sound is nowhere near complete, if the title of the album is any indicator, it’s pretty damn close.

Richmond Rapper Hugo Monster Impresses at SF's Brick & Mortar Music Hall

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(Photo by hugomonstah)

By Skaz One | @skaz1official

The self-styled rap tyrant of Richmond, CA, Hugo Monster is one of the best up and coming rappers in the Bay Area. I got the opportunity to see Hugo perform live at The Brick & Mortar Music Hall in San Francisco last month.  He brought an unparalleled energy to the stage, the likes of which I had not seen in years.  At least not at a show at a smaller venue.  It’s easy to get hyped in front of 50,000 screaming fans at forty bucks a pop, but there’s nothing like spitting some dope lyrics in a more intimate setting.

But there’s more to this rising star than meets the eye. Hugo Monster was born in an impoverished area of Central America and immigrated to the United States as a child. Citing Tupac Shakur as a childhood influence, Hugo began writing raps in the late 90’s. Early in his career he was known as "MC Huey," but was forced to put his rap game on hold in order to concentrate on school and work.  Unlike many rappers one sees in the mainstream media nowadays, Hugo was concerned with his future; whether that future involved hip hop or not. Fortunately, that future would involve rapping, in a big way.

First, he changed his name from MC Huey to Hugo Monster, due to his dominant stature and large presence. Next, he released his debut album, entitled Unleashed, in 2006. All the while, Hugo was performing as one half of the underground hip hop duo, Check One.  Along with the other half of Check One, Breakadawn Juan, he recorded Off The Top, the duo’s only album to date. He also released two more solo albums himself.  Hugo released a 5 song EP, entitled Hugo The Ugly, in March of 2013 and another full length solo album in 2015, entitled Monrocks.

Monrocks, as an album, is full of the same high energy as I saw when Hugo was performing on stage.  As an artist in the San Francisco Bay Area myself, I know that there are a lot of tough crowds out there, especially at underground hip hop shows.  But Hugo Monster had the crowd bouncing with the beat and partying like it was 1999.  With tracks like "Salvadorian Delorean" and "League of My Own," Hugo Monster displays a style like no other in the Bay.  Now partnered with producer Charlie Giant, Hugo continues to write pages and rock stages and his star is on the rise, so be on the lookout.

Some of the latest from Hugo Monster includes a new single by Check One named “Make It Happen” as well as a brand new music video.  The video is now on youtube and features StevieBoi and J Morgan for their single entitled One Double O. Enjoy some of Hugo's catchy beats, smooth flows and funky videos below.

A huge part of Hugo Monster’s success falls down to his music being easily accessible on Soundcloud. If you’re looking to follow in his steps and achieve this level of repute yourself, you’re going to have to get yourself noticed on Soundcloud too! Start by uploading your tracks and then get free soundcloud plays. This is a simple way to promote yourself and generate some hype around your music!

First Listen: East Of My Youth's new song "Mother"

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Thelma Marín Jónsdóttir and Herdís Stefánsdóttir played SXSW this spring. Their debut EP is due out at the end of this summer. (photo via EastOfMyYouth)

By Connor Buestad | connor@section925.com

This pair of Icelandic musicians have only been together for under a year, but have already found themselves on some impressive festival stages around he globe, including South By Southwest in Austin. Surely, their recent studio performance at KEXP in Seattle made quite an impression on us at Section925.  

As we approach the summer months, the upstart electro-pop duo is gearing up to release their first EP sometime around August. Today, the band shared a new track off the upcoming album. The song is titled "Mother." 

As of now, there aren't any Bay Area dates on the books for EOMY, but rest assured their will be and we'll be quick to let you know. Enjoy. 

Follow the band's SoundCloud page here.

Follow @EastOf_MyYouth on twitter here.  And Instagram here. 

 

And here's another great track by East of my Youth:

Ben Harper Plays at Pandora in Oakland

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“Call It What It Is”

They shot him in the back
Now it's a crime to be black
So don't act surprised
When it gets vandalized

Call it what it is
Call it what it is
Call it
what it is
Murder

There's good cops
Bad cops
White cops
Black cops

Call it what it is
Call it what it is
Call it
what it is
Murder

Trevon Martin
Ezel Ford
Michael Brown
And so many many more

But call it what it is
Call it what it is
Call it
what it is
Murder

Government, ain't easy
policing, ain't easy
hard times, ain't easy
Oppression, ain't easy
racism, ain't easy
fear, ain't easy
suffering, ain't easy

But call it what it is
Call it what it is
Call it
what it is
Murder

Gun control
Mind control
Self-control
We've dug ourselves a hole

But call it what it is
Call it what it is
Call it
what it is
Murder

Call it what it is
Call it what it is
Call it
what it is
Murder

Call it what it is
Call it what it is
Call it
what it is

The Lyrics From Drake's "Views"

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Drake and Steph following last December's Dubs-Raptors game in Toronto (photo by Dave Sanford)

Purchase the album here

"Views":

[Intro: The Winans]
Question is will I ever leave you?
The answer is no, no, no, no, no, no
Question is will I ever leave you?
The answer is no, no, no, no, no, no

[Verse 1]
Yeah, you feel the pressure, man, I know the pressure
And my wifey is a spice like I'm David Beckham
A lot of pent up aggression coming out of my section
OVO on me while y'all niggas was playing dress-up
And I know who gon' take the fall with me
They right here on call with me, they all with me
You could throw curve balls but I got the glove fitted
They been saying it's love, but it isn't love, is it?
Toast to the days when they wasn't out to get me
I worked at Jaydees Connections whenever Jason let me
Ceesay’s, I was buying fitteds everyday
Kiddie's Caribana trying not to catch a stray
I dropped out right before I graduate
Six credits left, my mama had her saddest day
"It's only up from here, I promise, you just gotta wait"
And she took my word for it, that's all I had to say
Lately I just feel so out of character
The paranoia can start to turn into arrogance
Thoughts too deep to go work 'em out with a therapist
I get a blank page when I try to draw a comparison
I'm getting straight to the point with it
Need y'all to know that I never needed none of y'all niggas
Fuck being all buddy buddy with the opposition
It's like a front of the plane, nigga, it's all business
But I haven't flown with y'all boys in a minute

[Verse 2]
Look, they'd rather run up on me than towards them goals
My niggas still hit the club when it's 20 below
Who you think running this show?
You saw it in me at 20 years old
The lingo start to sound like we talking in code
I got a pure soul, I don't do the hate
You don't worry 'bout fitting in when you custom made
Me and Niko used to plot on how to make a change
Now me and Kobe doing shots the night before the game
Still drop 40 with liquor in my system
Numbers going unlisted just to create some distance
I might see you on and off but I'll never switch ya
Niggas quick to double cross like both of us Christian
Lamborghini got me feeling like I'm Christian Bale
And I never bare my morals for the ticket sales
Tipping scales, bars heavy like triple XL
I never tag no one in, I'd rather get you myself
Running through the 6, thumbing through the contracts
I'm possessed, you can see it under the contacts
They think I had the silver spoon but they'll get it soon
I still got something left to prove since you left me room
Paint a plan for the family debt, we in the minus
And like it's going in a trunk, I put it all behind us
Where you tryna go? I got it, I'll take us wherever
I'm a staple in the game, all my papers together
And my life is on display like Truman
They wanna pre the movements, gotta start to make 'em sooner
My exes made some of my favorite music
I dated women from my favorite movies
Karma's such a thing of beauty
I'd share more of my story but you wouldn't believe it
It's far fetched like I threw that shit a hundred meters
I keep it 100 like I'm running a fever
I might take a breather but I won't ever leave you
If I was you, I wouldn't like me either

NPR Music "Front Row" - Beirut Full Concert

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(Via NPR Music on YouTube)

How does a band return from a recording hiatus that could have permanently displaced it from the audience's eye? If you are Zach Condon and Beirut, you just go about your business and pick up where you left off three years earlier. The group's First Listen Live show at Brooklyn's intimate Bell House on a rainy September night, a concert debuting many of the songs from the brand new No No No, its first album since 2011, showed that Beirut works through its obstacles. Maybe it helps when the initial idea behind a band is ahead of the curve to begin with, no?

When Condon's Beirut first came to prominence in 2006, it emerged from Santa Fe with a fully conceived, pan-global folk sound unlike any indie sensibilities popular on the day. Zach's trumpet and flugelhorn playing was informed by local Mexican mariachi horns, his engagement with the Roma brass bands of the Balkans, and modal jazz changes via a percolating bossa nova; he favored timeless instruments (ukuleles, accordions) and images, to the rush of the modern; and the songs his quavering tenor delivered, also traveled the old continents. Live, the group grew into a formidable sextet, heavy on keyboards, horns and harmony, a world onto themselves.

At the Bell House, Beirut ran down its entire career before a sold-out audience, and the songs from No No No, the band's fourth studio, fit snuggly alongside the older material, even as it heralded directions new and familiar. "Perth," for instance, featured a touch of the Memphis soul energy, with Ben Lanz's trombone adding a brassy bump; "Fener," a song about a neighborhood in Istanbul, is built around the motorik beat interplay between Aaron Arntz's keyboards and Nick Petree's drums, before dropping down into a great g-funk slink, guided by Condon's Moog. So seemingly apart from Beirut's musical environment, yet, here they were, a natural part of it, making the audience sway endlessly. The hiatus, it seems, simply made full hearts grow fonder.

Set List:

No No No - 1:31
Scenic World - 4:54
Elephant Gun - 7:27
As Needed - 12:08
Perth - 15:46
Santa Fe - 20:03
Postcards From Italy - 25:17
August Holland - 29:42
The Rip Tide - 33:49
The Shrew - 38:10
Fener - 42:23
Serbian Cocek - 46:08
At Once - 49:44
After The Curtain - 52:44
So Allowed - 56:27
Pacheco - 1:01:10
Gulag Orkestar - 1:04:16
In The Mausoleum - 1:07:41
Flying Club Cup - 1:11:20

Noise Pop's Growth Raises Industry Questions

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Makonnen Sheran of ILOVEMAKONNEN (photo via FB)

By Galen Barbour

The 2016 Noise Pop Festival was a huge success. With an overall attendance exceeding 21,000 people and 90% of shows sold out, this year marks the largest turnout in the festival’s 24-year history. Over the years, Noise Pop has provided a platform for aspiring acts of the Bay Area, while also serving as an incubator for future musical stars such as The White Stripes, Modest Mouse, Death Cab for Cutie, The Flaming Lips, The Shins, Fleet Foxes and Bright Eyes. This year was no different.

However, promoters of the event are not crediting the classic reasons for the festival's good turn out such as branding, talent or the weather. Rather, the event planning app “Do Stuff” along with Lyft are taking home the credit by organizing peoples interests and then helping them get there. It brings up an interesting paradox between independent artists and their inherent reliance on the internet and technology.

Welcome to an age where the physical turnout of an event depends upon the virtual organization of a pair of apps, and fame is measured in number of likes on social media rather than record sales. It begs the question, what does it mean to be an independent artist in this day in age, and how do you stay that way, if it's even possible?

Although I had limited access to the events themselves given the tight occupancy, I did take the opportunity to check out ILOVEMAKONNEN, at Ten15 and The Wild Ones at Brick and Mortar. Both shows were packed and highly anticipated by their respective fans, and the two artists were as far apart in style and spirit as you could fit under one event roster.

On one hand you have The Wild Ones. A five-piece band out of Portland, Oregon who’s electro-indie sound comes at you with clean grooves and abstract ambient synth-scapes. They're the type of group that talks to individuals of the crowd during performance and hangs out after the set to hustle t-shirts and chat about anything from their favorite beer to their newest album.

On the other hand you have ILOVEMAKONNEN, an artist who’s fame is broadly sourced to a Miley Cyrus shout out on Instagram, which helped send a quarter million likes his way and gave him exposure to bigger artists like Drake, who eventually co-signed him. Joining up ILOVEMAKONNEN with the OVO sound so beloved by Top-40 clubs across the nation that now seems to be a staple in the profile he’s taken as an artist. 

What made ILOVEMAKONNEN's show memorable wasn’t the way his clothes matched the odd choice in iconic branding that filled the video wall behind him (a matrix of scabby doll heads watching the crowd in a way that was obnoxious rather than eerie.) Or his pitch-imperfect auto tuning, or the dubbed singing. Nor was it the DJ he kept in the shadows, the 20 minute set, or the six minute selfie session. It was all of it combined that made made an impression on me, and not in the best way. Stranger still, it was all put on by Noise Pop.

To be critical, the crowd and sound seemed to be out of sync with the sea of black beanies and analog feel that Noise Pop draws to SF. It was the cheap lyrics, the lack of performance and the fact that nobody seemed to care which concerned me. Is this the beginning of the end for a legendary indie festival that’s kept its non-corporate vibe for 23 years in a city that’s been continuously incorporating itself?

Well, to be fair, with over 150 artists present at this year’s festival it stands to reason that there would be something for everyone. And, after all, ILOVEMAKONNEN is in the spring of his fame and could still be considered up and coming. Furthermore, if one looks past the garish production and generic sound to the actual body of work the man has put out, a different picture emerges. Fifteen mix tapes and two albums in five years. That’s a solid body of work no matter what your tastes are.

So that brings us to the question, what exactly is it that defines an artist as selling out? What part do labels play when all an artist work can be shared with the world from the comfort of their home studio thanks to the Internet, with little to no overhead? Well, take Makonnen as an example.

There’s no doubt that he, as an artist, had a definite musical identity (see 3d mixtape below). As well given the amount of work he had put out early his career (2011-2014), its easy to see that he had a strong creative work ethic.  But all that aside, Makonnen’s publicity didn’t grow in a steady incline but rather erupted after getting liked by Mily Cyrus (which received over 200,000 likes).  However, even more obvious is the fact that it wasn’t until Drake debuted on “Club Going Up on a Tuesday” that Makonnen rose to moderate fame. Two years after signing to Drake’s OVO label, Makonnen is seeing world tours, increased album sales and, yes, lots of love on Facebook and Instagram. 

So it stands to reason that although Makonnen (and every other artist) has his content up for review on the internet, it’s not until the endorsement of a public figure (especially with Drake’s Midas-Touch) do they get considerable exposure.

Co-signing talent into the limelight isn’t anything new in hip-hop culture. Lil Wayne, Eminem, 50 Cent and The Game (to name a few obvious cases) all owe their exposure to pre-established producers/entertainers. Is there a cost for this sort of endorsement?

Its obvious to see that Dr. Dre came up hard when Eminem was dropping his name all over platinum selling albums. Now, it’s important to note that when the Slim Shady LP came out in ‘99, it was five years before Mark Zucherberg invented Facebook as a student at Harvard. As well, iTunes, Amazon Music, SoundCloud, Mixcloud and practically every other digital music platform, that we as consumers nurse off of, didn’t exist.  Those first three albums of Em’s went (3x) platinum because people were actually buying physical copies of CD’s in physical stores.

Fast forward to today, with the revenue from album and track sales non-existent. How does an artist bring home the bacon? And further more how does it effect labels?

Just take a look at Billboards Money-Makers List of 2014 to get an idea:

One Direction, Sales=4.1 M, Tour 40.7 M

Katy Perry: Sales 3.2 M, Tour=24.9M

Drake: Sales 1.7 M, Tour 7.7M

Considering these numbers, how do labels benefit from an industry that makes most its profits in the touring market? 

In the case of ILOVEMAKONNEN, and many artists like him, OVO pretty much made his success through exposure and promotion. And if you hear any of Makonnen’s tracks you will begin to notice that they all sound like Drake tracks. Effectively allowing Drake to sell Drake sounds with Makonnen acts.

Wild Ones during their tireless tour (photo via FB)

But what if you don’t sound like other artists, and refuse to alter your sound to accommodate notoriety. Well you end up like The Wild Ones. Which is to say you end up with a lot of work and no world tours. Being more specific, writing and composing all your own tracks, designing your own graphics, promoting your own pages and work that fills them, organizing your own tours and then managing those tours. And of course, working those tours to death.

Last year, The Wild Ones played a tireless 95 shows. And all with no guarantee of a world tour, no Insta-posts by Miley Cyrus and, of course, no Auto-tuning. But the up side is you get music that sounds like this.

However, with people relying more and more on their smartphones and apps to organize their day to day schedules it still remains to be seen how artists will manage to remain un-reliant on the devices of their consumer base love so much. 

Katabatik Provides Underground Experimental Music in East Bay

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(photo courtesy of Katabatik)

By Galen Barbour

Its 9:00 PM on a weeknight. I'm inside a renovated church in West Oakland, the name of which, at the request of management and common sense, will remain undisclosed. The door charge is a suggested donation and water is served out of a pitcher into mismatching cups. The available beer is cheap and warm.

Patrons clad in black, trickle in and mill about, waiting for something increasingly more illusive in San Francisco’s club-centric music climate: experimental live performance.

Once a land of plenty for obscure, pioneer and out-there sounds, the Bay’s underground music scene has been parched of its once lush warehouse/art-collective venue environment due to the infamous housing crisis that continues to rattle the creative community.

Evictions, high-rent, or tenant fear have squandered and oppressed available space for up and coming artists to tinker, bang and generally experiment in. In these desperate times where 6-figure salaries are barely making the grade, places like our nameless church truly become sanctuaries for the loud, bold and creative.

Headlining tonight is Sean (Dimentia) and Barrett (RMS) representing the corner stone east bay sub culture, the dark electro syndicate Katabatik. Who have been imprinting their sounds on the Bay’s underground music scene for almost two decades. The group’s namesake (spelled Katabatic meaning “downward spiraling wind”) speaks to the cool climes from which it’s founding member hail from, in Alaska and Seattle.

It wasn’t until the early 2000’s when Barrett and Dimentia joined the group after a run in at the Autonomous Music Festival. Ultimately settling down in the East Bay where they now claim as home.

Sean recalls becoming interested in the grey zone between the industrial techno and Goth scenes, exposing a trademark sound to which they are now known for today. “Back in the day we were too Goth for Techno fans and too Techno for Goth fans," explains Barrett. "It was a slow build to begin with, the crowd has changed considerably...there use to be a lot of freaks.”

Katabatik got its start through a monthly, fittingly named “Katanexus.” This was back during the electro clash where Goth made its angsty introduction into the world of synths and drum machines. The two recall drawing inspiration from groups like Skinny Puppy, Throbbing Gristle, Coil and German minimal electro from the early 80’s and so on.

But back in the late 90’s early 2000’s there were considerably more venues to choose from. The two recall taking their pick from any number of warehouse spaces in the SOMA district of downtown San Francisco, and Oakland.

“Warehouses were more conducive to experimentation…We prefer underground events where we can go later, louder and weirder,” says Sean, citing that private locations gave them the freedom to do what they wanted and express their true creative nature. “For the first ten years we never made any money, anything we made went right back into it." 

Although they play out at clubs here and there around SF and Oakland they say that they avoided venues that tend to misunderstand and misinterpret their music.  After all, what they do is quite appreciable and keeping the integrity of their performance often hinges on a crowd that understands how they're doing it. (i.e. One that doesn’t put in requests to a person using hardware to build the tracks live.)

Even still, Katabatik and other groups like them find themselves being put out by the very source of their anti-capitalist/establishment ideals: Money. As the ever-troubling resource continues to flood the area, floating rent and real-estate prices up while simultaneously washing away anyone without islands of affordable rent. There is still hope however, as these two have assured me that they continue calling the East Bay their home. 

If you like what you hear, see Katabatik for yourself at an up-coming show. Click here for details. 

East Of My Youth Looks Forward to SXSW

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“I was halfway across America, at the dividing line between the East of my youth and the West of my future.”
— Jack Kerouac

By now, if you are lucky enough to live in San Francisco, it's somewhat of a given that you have plans to head to Texas' tech capital next month for South By Southwest. Fortunately, East Of My Youth will be migrating westward from Iceland for the 10-day festival in mid-March. Formed in May 2015, the trio is set to drop their debut album this year. Feel the emotion from their 18 minute set inside the Kex Hostel in Iceland, so generously brought to us by KEXP.org.

Iggy Pop & Josh Homme Announce Their Album 'Post Pop Depression'

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(Photo via something-witty.com)

By Enrique Mendoza

With the recent surprise announcement that Iggy Pop and Josh Homme are working together on an album together, curious eyes certainly have something interesting to treat their ears to coming up in mid-March. With both musicians having relatively established careers and discographies, along with notable musicians from other bands (Queens of the Stone Age, Arctic Monkeys) Post Pop Depression has the opportunity to be a noteworthy collaboration.

With the long winded career of Iggy Pop, starting with the legendary proto-punk band the Stooges and numerous solo works under his work, Iggy has made his mark on rock music and pop culture for sure. Combined with the efforts of Josh Homme, who has a history of making decent collaboration albums in the past (Them Crooked Vultures particularly) and a great track record of projects driven by him (Kyuss, Queens of the Stone Age, Eagles of Death Metal), this combination certainly has the ability to be something worth spending time on.

Leading up to the release of Post Pop Depression , two singles have been released that also happen to be the first two tracks according to some reportings, being “Break Into Your Heart” and “Gardenia”.

“Break Into Your Heart” opens with what appears to be a duo between Homme and Pop, with a haunting melody and a fuzzy guitar playing to the tune of the vocals. The verses break with a distorted guitar full of attitude as the drums and bass march along to this plea of love and affection. The song comes off as if Iggy and Josh were traversing alone through a hot desert, all due to their ambitious infatuation and hard promise to love this person who’m which they desire to know absolutely everything about.  And while at moments in the song it can be difficult to differentiate whose voice is whose, you can feel their desire through their voices. While musically is nothing evolutionary for Homme and his style of playing with Queens of the Stone Age, it’s still enjoyable as a laid back rock ballad of love and desperation if you can get over it’s standardized Homme tone.

“Gardenia” takes a different tone and direction that “Break Into Your Heart,” holding a synth driven, 80’s new wave stylization, with Iggy taking over vocals for a majority of the track. A tasteful change in style, with a deep, sliding bassline and quick, trebly, guitar slashes, as Iggy’s deep, withered but lively voice croons about a voluptuous and curvy black woman that has caught his eye on a lonely night, wishing her the finest things life has to offer , like she deserves, with more than a couple hints to her being a prostitute. With Homme’s high pitched harmonizing on the chorus, it adds a sense of wanting and attraction of a gorgeous woman. This song is not just a love song to a gorgeous woman, also to what a lonely night has to offer for a man roaming the streets. The song maintains it’s synth drive for a majority of the song, giving some time for the guitars to shine and strum to the revelation of what the protagonist’s revelations of his habits. The song shows the group’s willingness to delve into topics besides love and break ups, as they reveal their ability to move beyond Homme’s desert rock style without dropping it completely.

While both singles certainly aren’t songs you fall in love with immediately, they have the ability to grow on you over a couple listens, leaving you just a little bit more to notice and discover each time. While these tracks don’t give off the feeling the album will be a phenomenal piece, it certainly feels like a nostalgic trip into both Iggy and Josh’s established careers and what those combined sounds can shape up to be. The lineup has potential that can most definitely be seized with the correct execution. Let’s hope the results are satisfactory in March.

"Adore Life" - Reviewing Savages New Album

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"Adore Life" is Savages second album, which was released last Friday. 

By Enrique Mendoza

Savages is a post punk revival band that made their studio album debut back in 2013 with their well executed rejuvenation Silence Yourself released under the Matador and Pop Noire labels. The band consists of four members, Jehnny Beth, Gemma Thompson, Ayse Hassan, and Fay Milton. Women who sing, play guitar, bass, and drums, respectively. While all coming from more or less different backgrounds, all sprouting from a name between Jehnny Beth and Gemma Thompson back in 2011, according to some. 

Fast forward five years and the band is releasing its second album, Adore Life. Silence Yourself received much acclaim, and rightly so, as it was an album that stayed true to post-punk musically and stylistically, while modernizing it with aspects and foundations of other genres, fused with alternate rock and dashes of noise and drone. What I would say is a good way to recreate the fundamentals of a genre.

With a lively rhythm section being held down or sped up by the lead of Ayse and Fay, giving room for Jehnny’s vocals to climb and fall as Gemma  solos or creates distortion to add a uneasy yet intriguing atmosphere, usually to open or close a song. All together, they are a well brewed force of dynamic darkness and attitude. With an opener like “Shut Up” and attention grabbing hits like “I Am Here” and “Husbands”, the album certainly leaves a tempting door to enter. Silence Yourself was a great start to a band that certainly did leap to create something of their style, yet still retained so much room to grow and explore, it was hard not to look forward to the eventual release of the band's second record.

“The Answer” was the choice of weapon as an opening track for the sophomore album. It opens with hazy guitar and hypnotic vocals, as strong drums and bass come in to take control of the song’s rhythmic direction as Jehnny sings of misdirected love and the way a person changes. Everyone can be heard, and very clearly, remaining individual, yet a group nonetheless.

The sound most absent from the song is the guitar, not that it is invisible mind you. The guitar holds drone-esque tone throughout the song, before taking what I assumed was an eventual guitar solo. As a whole, the song takes a couple turns that are familiar yet lively for Savages, giving the guitar a handful of moments to take the spotlight, before the entire band comes back together, for a final climatic oomph . Jehnny vocalizes a final “If you don’t love me,” driving in a heartbroken nail. This was a way to start off an album that had a noticeable amount of hype shadowing over it’s head.

“Evil” kicks off with a quick drumroll to keep things moving along, retaining the fast paced feeling “The Answer” had left off with. Jehnny lays a bit off the dynamic climbs and falls off her voice, speaking with tone and precision as she let’s their lyrics stand on their own feet more than usual. The guitar dances around itself as the rhythm section keeps everything under control and steady, as the thick bass tone moves along itself and the repetitive drumming remains an unchanged variable throughout the duration of the verses.  Eventually, spicing things up during the chorus, where Jehnny pleas and pleas, “So don’t try to change, don’t try to change.”

The song exhibits the dark, shifty, Joy Division-esque post-punk sound they have revitalized. Jehnny sings and speaks as a person, whether a lover, companion, or total stranger, molding and adjusting the inner workings of another. The message of the song is simply drawn and delivered to the listener to be wary of this person that Jehnny is sitting from the perspective of as they do a classic full band volume retraction/closing slide to well, bring things to a close.

(photo via The New Yorker)

“Sad Person” has the guitar perform a sole, slow rise, as the sudden kick of drums and bass come at you from the side. The collective boom of the band is a strong one, providing good signs to a good song. This is when Jehnny comes in. Jehnny’s voice has always been one of my favorite things about Savages, as her voice is strong, clear, and dynamic, easily being the best parts of some of their discography. In “Sad Person” her voice needlessly proves itself again, demonstrating it’s power to grab attention, yet hold it’s dark alluring styling. Yet the words in the song initially come off as simple and one-tracked, with opening lines like “You are, you are, a sad, sad, person/Always been a sad, sad, person.”

While I never came to Savages because I found their lyrics up their with the likes of Waits to Malkmus or Brock, I always found them to hold a perfect balance of simplistic yet personal and leaving room to interpret. Initially I felt the lyrics were a bit half baked. But the lyrics regain themselves towards the latter half of the song, as she questions her skepticism on love and it’s effect on her, while still patting herself on the back with her strength against the “disease” and “addiction” that is love. Musically the song is a strong, quick march to one’s own resistance to love and acceptance of loneliness and sorrow, without leaving much to think or go from there.

“Adore” is a turn of pace, opening with a dreary, hanging bass line as the drums gently boom around, adding a feeling of uncertainty. The song is slow and patient, and even quiet. Jehnny sings of the human struggle and it’s worth to the world. Jehnny questions what is human and what is worth caring for, as the guitars lay a fuzzy atmosphere around the band. And with all these acknowledgements of pointlessness and shame and pain, the question that is brought up is how worthwhile is any of this? Will this sum up to anything? Is it worth living and appreciating? Does life deserve adoration? As this is asked, for a moment, the entire song stops in it’s place, and let’s the listener sit in the silence for a moment or two, wondering if it’s over, as Jehnny creeps back in, continuing her list of life’s faults and personal grim experiences, she states again “I Adore Life” more and more until she eventually asks the listener, “Do you adore life?”

This being in a sense, the title track of the album, could be a great sum of the so far album you have heard, with songs talking about manipulating and changing people, being depressed, coping with change and fate, does it some up to a well deserved “hooray!” or is it all a big nothing and waste of time. A song that you could say in existential in some senses, that makes the listener think about what they are listening to and accepting.

“Slowing Down the World” begins with a misty distortion as a buildup, as the guitar pulls out a shrill and tough riff, with the bass lively and active on the fretboard along with it’s six stringed counterpart. As always the drums provide steady and familiarity of rhythmic foundation, a well practiced formula of Savages, as Jehnny sings what i’ve found to be one of their more lyrically complex tracks on the album, as Jehnny discusses with herself her relationship with this other person, whom which she gives and gives yourself and her abilities to and their power over her. “Is it for you I search?/Is it for you I long?/Is it for you the hours are my own?/Something to be said about slowing down the world”. This gives the listener an idea of the target she is speaking of. A person who she desires deeply, who is on her mind. She paints this picture of a complex person to love. Someone who can come off and selfish and one sided, (“I offer you someone/To ship the word you like/Arm you with doctor’s eyes/Your lights will flame with fire.”) Yet still a person who is flawed and aware of it, wishing to improve on one’s self (“Bask in the light/That gave you important shadow/You were furious and petrified/Envious of the glow”). It’s a song that provides complex characters and views, and is capable of adding more layers to someone than a general depression blanket (I’m talking to you “Sad Person”).

“I Need Something New” starts with a confident Jehnny stating the title of the song, as she leaves room for a dramatic addition to the line. She desperately asks for something to spice up whatever is going on, as the rest of the band comes in to surround her with space and sound, waiting for the moment for a proper “kick”, as Jehnny keeps telling us her need for something new and what that could entail. This is another song by Savages that holds a lot of repetition, as towards the close of the song when the band has begun to play louder and louder, to the point of noise and directionless yet raw garble, as Jehnny belts again and again, “I Need Something New” again and again. A song that had much expectation to be dramatic and dynamic with her cold open and sudden impact of sound.

“When in Love” tackles again a topic not just popular with Savages but with all of humanity, love. With a scattered and distorted guitar intro as the bass slowly plucks to add appropriate tension, the song has mysterious tones to it, before the snares start the song off, with a fast paced, almost surfer rock guitar riffing, as the drums move around in a fashionable order. The instruments calm down for Jehnny’s vocals, as she discusses her struggles and experiences of love. Slowly throughout the song it becomes clearer to Jehnny, “Is this love?/This is love!” she approaches the unknown and slowly discovers and learns about the unknown in front of the band and the listener, as though she was giving a lecture as she improvised the lecture all at once. As Jehnny finally discovers what love is to her, band all comes together for, again, one final strong push to end the song and discussion.

“Surrender” opens with a eclectic high hat beat, as the guitars drone and thick distortion lays over the band, tonally being close to the style of Tony Iommi’s guitar tone in the “Iron Man” intro. A short guitar clicking or strumming against the strings lays in the background with dashes of echo and reverb to contribute to the already dark and brooding atmosphere. This provides Jehnny the opportunity to charge and vocalize, occasionally with herself as she asks the subject exactly when did they give up one your life, as she takes a tour in the mind of something who has lived their life with regrets of not doing enough, giving up on dreams and aspirations, and that time may be run out to turn on the choices made to make no choices. Bringing up how infinite the choices are for the children, and how it reflects on us, the people who are old enough to do what we want that makes us happy, yet never take the time to get out of the chair and do something. And the stronger the regrets become, the stronger the sound of the band becomes, as the volume rises, and double bass drums come in, as a fade out ensues to say goodbye to your dreams.

“T.I.W.Y.G”, which stands for This Is What You Get, is a fast song, with rushing more punk than post drumming. The bass is moving fast and forward, upbeat and unafraid to take control of how song’s tempo. The guitar picks fastly and moves swiftly around the fretboard, adding uneasiness and a sense of rush in panic as Jehnny tells you over and over again, “This is what you get when you mess with love.” Again being lyrically simple and overly repetitive, the song tells you over again the same thing, while providing very little substance or context on what you’re getting or why. The song felt half baked, leaning on it’s musical prowess that had definitely been topped by other tracks on the album, This song is all power and speed about how you messed up and are getting what you deserve, as well as Jehnny herself eventually. Then after some song has passed, they take a sudden tempo change, going from fast, simple, and rushed, to a calm, patient, thought out musical change, consisting of steady riffing and drumming on all parts, it does not last long as the song returns to it’s original form again, but now she’s saying “I mess with love”, again and again. Whether they made the lyrics limited for the song because they felt the music was either thick or thin enough to cover or camouflage itself with the tracked, the song feels just it comes off as: rushed. Which could explain the laughing at the end of the track.

“Mechanics”, the final track opening with an unsettling atmosphere, with Jehnny once again providing tender vocals. She sings of her dire need to know and understand and feel love. This songs moves slowly, with the band playing a limited and tastefully, with guitar licks that add to the need for understanding. Jehnny is the most front stage on this track than any, as she gives the album it’s last words and rites, as it is a self aware closing song. The band is visible but barely, and really feels more like a swan song if anything. It drones and aches as if it’s breathing it’s last breath, as it slowly fades out giving the listener and the band the proper amount of time to sit and accept the ending of the album, leaving the listeners on a slow fade out before a strong purposeful skip closes the song. And that is a nice way to leave, Sudden yet quietly, a quick “That’s all folks” that leaves you thinking and feeling the weight and dreariness of the themes and topics of the album.

Adore Life certainly was a response to Silence Yourself and an attempt to definitely take what their first album did and try to grow in a way that’s more somber and moody, and they certainly pulled that off on a couple tracks. Savages still retained their rhythm driven, raw, and drawing less attention on their slow, depressing stylings. Savages certainly grew in some ways,  it wouldn’t be fair to say they didn’t. While I definitely anticipated more growth and progress from the band and their sound, they still made a decent album, and that’s an accomplishment in itself. Even if there were tracks that felt rushed or uninspired. While Adore isn’t as strong as Silence was, it certainly lived up to some of the expectations set by the latter.

Overall, I give it a 8.2/10.

People Under The Stairs at The Fillmore

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(photo by Harrison Laver)

By Harrison Laver

'Twas the day after Thanksgiving, on a crisp San Francisco (k)night, when Thes One and Double K of People Under the Stairs (PUTS) walked out onto the timeless stage of the Fillmore to perform in front of an energized Bay Area crowd. Though hailing from Los Angeles, the veteran hip-hop duo has garnered a loyal following here after years of love shown for SF.  On Friday, they delivered the goods yet again.            

From the opening moments of the show, two things were apparent: for one, these guys aren’t just performers; they’re entertainers.  The intense involvement with the crowd, engaging banter and storytelling, and gestured communication throughout the show made them incredibly in tune with the audience.  Second, they're all about the music.  I never saw ego from either one of them.  They have a deep understanding and love for what they do, which is a completely self-sufficient and pure method of creating hip-hop; the duo produces their own beats, then writes and records their own lyrics.  The synergy between the two seeps out into their music. 

PUTS started out the show with a few oldies that got the crowd moving.  Without stopping, the duo moved on to a few tracks from their new EP “The Gettin’ Off the Stage, Step 1” which hit the shelves a week before the show.  The EP is nothing groundbreaking, but stays true to their jazzy, hard-hitting but smooth, nostalgic sound which has graced listeners since their debut title in 1998. 

Thes One hopped around the stage with a backwards cap and a scarf while Double K held down the turntables wearing all black.  They floated through the first fifteen minutes with the poise of classic hip hop.  Already I was standing in a pool of spilled drinks on the floor.  At times it almost felt like a punk rock show, the way the crowd bounced around.  The energy brought out on the stage was palpable all night.   

It wasn't long before Double K had stepped out from the turntables to join Thes One for some uncompromising flows.  The way those guys worked off each other was impeccable.  One line from Double K moved on effortlessly to Thes One, who threw it back soon after.  Their voices seem to fit the instrumentals so well, which I think can be attributed to their DIY approach to hip hop.  The sense of ownership that they take over their songs is a rarity in the rap world, as most instrumentals pass through different hands before they arrive at a rapper who will use it to write a song, as opposed to PUTS creating all the pieces themselves. 

After one beat closed, Thes One came out with some more discourse to further fire up the Fillmore audience, “You know, we’re so fuckin’ thankful for y’all.  The only reason we can be out here doing this is because of you guys.”  And with that, they dropped into “The L.A. Song”, which is a tune about their protectiveness of their hometown and upbringing in L.A.  Nevertheless, these guys reject the notion of tension between SoCal and NorCal.  They spread love for all areas of California, from “Humboldt to Oceanside, ya dig?” 

Before the next song began, Thes One asked the crowd if anybody knew the Rob Ford dance, which is a series of dance moves that PUTS jokes around with at their shows.  About a dozen people screamed, and Thes One pulled a guy standing next to me in the front row on stage.  The guy immediately went over to Double K at the turntables and slapped hands with him.  The guy was pretty drunk, so Thes One double checked with him: “You sure you got this? Can you do it?”  Laughing, Double K started the beat.  Sure enough, the guy screwed it up right away.  “Alright alright, step back for this one,” directed Thes One, and the beat began again as he performed the moves himself.  Needless to say, the second time around went much smoother for Thes' inebriated subject. 

For the final track of the night, Double K emerged from the tables to flow with his hip hop partner; a song of affection for the Bay Area called “San Francisco Knights.”  If you aren’t familiar, this song samples the classic chorus and guitar lick from the California Dreamers song called “San Franciscan Nights,” originally written by the 60’s garage rock band The Animals.  PUTS started out the track with a clip from the sampled song, then dropped into the smooth jazz guitar lick and heavy bass.  The crowd went crazy.  And to top it off, as Double K made his rounds across the stage, he picked my friends SF Giants hat off his head and held it up to the crowd as he and Thes One spoke the words, “We doin’ we doin’ shows in San Francisco.” 

The duo walked off the stage amidst resounding applause from the audience, after giving my friend his hat back of course.  The crowd never ceased clapping, so PUTS came back for an incredible encore song, then walked away from a satisfied San Francisco crowd.  Their show at the Fillmore was a testament to their musicianship and showmanship, from Double K’s scratching and DJ’ing skills on the turntables, to Thes One’s lyrical ability and charismatic persona.  It was fitting that they should play such a classic venue, one that has adapted and grown with the times.  PUTS is much the same, as they have paved their own route in hip hop between the old-school and the new-school.  Hats off to People Under the Stairs.  

"Island Styles" - Exploring A Full Weekend of Music on Treasure Island

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(PHOTO BY TIMOTHY R. BEIDELMAN) 

By Harrison Laver

Treasure Island Music Festival is something of an elated dream; a final homage to the blissful days of Summer as Fall opens its cool wings upon the Bay Area.  Being somewhat of its own entity in the festival world, Treasure Island is two days of music on two different stages, which lie just a short walk from one another.  Performances never overlap, so festival goers don’t have to compromise seeing one band or DJ over another, which proved to be one of my favorite things about the event.

For those unaware, Treasure Island itself is a man-made area which extends off Yerba Buena island, located between San Francisco and Oakland. Smack in the middle of the Bay, it effectively marks the halfway point between "The Town" and "The City."  Finished in 1937, it became an active naval base from 1941 to 1991.  The area has since been the host of many events and film settings with its wide open grounds, military instillations, and abandoned buildings.  It is said that parts of the island were once heavily contaminated with radiation, so if you got an unfamiliar buzz while dancing to Deadmau5 over the weekend, you know what to blame. 

After a Saturday morning of seemingly indecisive weather, the Treasure Island music festival began at noon under a warm but cloud-suppressed sun.  It was the first day of the festival, which was dominated by electronic and hip-hop artists.  Flocks of people arrived by shuttle bus in their festival gear, ready to let loose on the T.I. grounds. 

Skylar Spence was the first to play.  His set began on the Bridge Stage, which was the larger of the two stages and had a fantastic view of the Bay Bridge and the San Francisco skyline.  Almost every artist who played on the Bridge Stage made a comment on the beauty of the view.  Bob Moses followed on the Tunnel Stage, which was the smaller of the two and faced east onto the mysterious grounds of Treasure Island.  Crowd pleaser Viceroy was next, fully equipped with a Hawaiian shirt and a memorable man-bun and backed by a howling saxophonist. Meanwhile, Baio crafted a sweet set back on the Tunnel Stage.

Every artist so far was no doubt extremely talented, but it wasn’t until Gorgon City that I found myself in a trance of adoration.  The deep, consuming bass, topped with a swirl of synth and piano, then charged with powerful vocal harmonies was almost too much to witness.  They brought a strength to the stage that simply spoke for itself.  Live drums accompanied the group, and songs like “Real”and “Imagination” had the crowd love-drunk from from the vibes pouring off the stage. 

Run the Jewels was the next artist I saw, which came on with their wall of bassy hip-hop beats and tireless lyrical content.  The crowd was bouncing to the flurry of words.  They were aggressive for peace. Classic and original; reminiscent of their influences but facing the future.  Familiar beats like “Oh My Darling” and “Blockbuster Night” got the audience nodding their heads in a fit of filthy hip-hop rage.  

I spent the next couple hours walking the grounds with my group, sampling different food trucks, grooving in the silent disco, and re-energizing away from the booming stages.  It was then that I stepped out of my normal diet of Hawaiian pizza and chicken noodle soup to try a vegan dish: fried sweet-and-sour cauliflower.  It was surprisingly decent!  

At this point, Big Grams was up on the Tunnel Stage for a set of total magic.  Big Grams is the collaboration of Big Boi and Phantogram, which was evidently a match-made in heaven.  The sweet but haunting melodies of Phantogram’s Sarah Barthel complemented by the harmonies and raps of Big Boi (Antwon Patton) swept us tired souls into the clouds of the Bay Area night sky.  We never wanted it to end, but alas, it was time for Deadmau5 to take the main stage. 

As my friend predicted, it would be a good 10 minutes of suspenseful light shows and synth noises before the set would actually start.  But once it got going, Deadmau5, in the midst of his hexagonal neon cage, was doing what he does best: rocking the house.  It truly took me back to the days of 2008 when EDM was beginning to hit the ears of the masses.   His set contained nothing new, but classics like “Ghosts and Stuff” and “Strobe” will always be enough to make the crowd feverish with excitement. 

"Deerhunter" plays for a packed audience  on  the Tunnel Stage (photo by Harrison Laver)

Day two came swiftly, and although my group and I were late risers, we were stoked for another festival experience.  Upon entering the grounds, it was apparent that the vibes were different this day.  There were less neon bracelets colorizing the crowds, less go-go outfits, and the general feeling was more…rock n’ roll.  Sunday was the day for bands of all kinds, and it was going to be a great one. 

Jose Gonzalez was the first artist of the day that I got to see thoroughly.  His songs were so rhythmic and mesmerizing; some of them almost felt like chants.  The nylon strings of his guitar and the soft touches of his backing band took the whole crowd to a new place.  The wisdom of his lyrics and music came from a truly special place in the human mind. 

Father John Misty was the next artist that I saw, and one that I was incredibly excited to see.  I had heard of frontman Joshua Tillman’s awesome banter and wit onstage, so I had my whiskey prepared, my cigarettes out, and my ears ready to soak it all in.  I sometimes hear people say that rock 'n roll has lost its originality in contemporary bands, and I think Father John Misty is a great example that successfully proves this hypothesis false.  The band produces simple, painfully honest, homegrown songs with a uniqueness of sound and emotion. “Bored in the USA” was one of my favorite tunes, which is a political and personal ballad about the difficulties of modern day life in the US.

As The War on Drugs sent forth their dreamy yet driving tunes upon the audience, it became apparent just how much the crowd had changed from the day prior.  This crowd was quieter, as if submersed in a haze after Saturday’s non-stop party.  But it was comforting and peaceful to see so many people so relaxed, taking occasional breaks from the music to glance out upon the looming fog that hung above the building tops in San Francisco.  

Deerhunter played the smaller stage around 6:45pm.  Mist was blowing in sideways upon the audience as they began their first song, which was “Desire Lines.”  Frontman Bradford Cox had an issue with his guitar and had to swap with a backup, but nonetheless the tune was powerful and enthralling.  As the fog crept closer to Treasure Island, they played an appropriate song called “Breaker,” with the words “I just drive, and then the fog rolls in.”  Deerhunter went way above the expectations and, seemingly effortlessly, brought upon the perfect Sunday sound for the halcyon crowd. 

It was officially Sunday evening and people were beginning to feel the weight of the impending work week.  But our worries were momentarily swept away for the set of Chvrches.  Lead singer Lauren Mayberry had the perfect vocal touch for the sweet synth-pop beats of Ian Cook and Martin Doherty.  Mayberry spun around the stage, wooing the adoring crowd with every ultra-catchy melodic line.  Truly an exceptional act. 

Panda Bear also provided an amazing set and The National closed the weekend wonderfully, playing professional indie rock of the first degree.  Hits like “Graceless” and “Don’t Swallow the Cap” were just the right touches to seal the deal on an incredible weekend. 

In sum, Treasure Island was the perfect entrance into the introspective days of Fall; a metaphorical kicking of the fallen leaves; a reminder that there are still festivals that do not boast absurd attendance numbers and ticket costs; a placid break from the weary weeks of the 9 to 5 to experience the joy of people and music. For that I say, thank you Treasure Island. 

"The little music festival that could..." (photo by Harrison Laver)