Media

Twenty Years After They Split, British Shoegaze Band Lush Still Knows How To Put On A Stellar Show

Despite the fact that the band broke up almost 20 years ago, London’s short-lived queens and kings of ethereal and psychedelic pop fare, Lush, returned to San Francisco to play for an at-capacity crowd of much older, but no less enthused fans. Before the band’s split in 1998, the group only released a handful of full-length albums and extended plays, yet they still managed to make an indelible mark on both the indie and shoegaze scenes as evidenced by the crowd at last night’s reunion show at The Warfield.  (In addition to playing the United States, Lush will be heading back overseas to play the festival circuit followed by yet another round of dates in major markets.)

The stage was adorned with moving lights and a circular Lush banner that served to accentuate patterns when projected upon. Many of those in attendance were also the very same show-goers who went to Lush’s original shows in small clubs and theaters  over 20 years ago, However, thanks to both nostalgia and social media, the band was able to graduate to the much larger 2,300 capacity venue.

The four piece group took command of the stage by doing just the opposite. Lead singer Miki Berenyl engaged very little with the crowd and used the space in between songs to let the band tune up and, more importantly, remember the running order. With a set list totaling 19 songs and spanning several different releases, it was customary to play a note or two of each song beforehand to remind all the players which song was coming next.

The quartet had played Southern California’s Coachella festival the day before, but I’m of the belief that their sound is best suited for an indoor stage. That notion was fully evident by the band’s inclusion of more introspective numbers like “Stray” from Spooky (1992) and the always meandering guitar lines of “Desire Lines” from Split (1994).

Tonight, Lush sounded much like fans remembered them during their heyday. Highlights included set opener “De-Luxe” from Mad Love EP (1990), which was met with rounds of applause following the closing chords, as well as nearly everybody’s favorite, “Sweetness & Light,” which closed out the band’s set just before a generous, three song encore.

Also of note was the addition of “For Love” — also from the lauded Spooky record — which received moderate success as a commercial single, landing at  No. 9 on Billboard‘s Modern Rock charts (no small feat during the early ’90s). And, if “Kiss Chase” didn’t make everyone smile in tandem, perhaps the audience was silently enjoying with some celebratory shoe-gazing of their own.

Berenyi and Emma Anderson carried the group with their well-layered and thoughtful guitar lines juxtaposing the rhythm section which, at times, seemed rushed when compared to earlier years. But even a few faster songs couldn’t take away the fervor of their delivery and, of course, the fans’ excitement at hearing songs from so long ago.

What Lush may sometimes have lacked in musical prowess on this particular night, they certainly made up for in song and spirit. Nary a person in the crowd seemed to notice anything amiss as attendees all appeared elated and wholly fulfilled upon exiting.

Critic’s Notebook:

•San Francisco’s resident DJ and program director for Live 105, Aaron Axelsen, kept the music interesting between sets by opener Tamaryn (who played mostly in the dark much to the chagrin of fans and new listeners) and Lush. With a keen sense of musical history and, more importantly, San Franciscans as a whole, his inclusion on the bill was a smart choice of behalf of the promoter.

•The line for the band’s merchandise stretched to the front door upon entry and many fans were buying multiple items. Additionally, handfuls of mega-fans walked around the venue with records and other Lush goods to get signed. Even more gathered near the tour bus at the close of the show. Who couldn’t help but smile seeing 40 and 50-year old male and female fans alike acting like a bunch of giddy school kids upon the show’s closing notes?

(SF Weekly)

Eight Gigs: Saviours

Sun., Apr. 24, 8 p.m., Starlite Lounge, $15

Arguably one of the best stoner-metal acts still currently headlining the dive-bar circuit, this quartet has been dealing out some super stonerific fare, showcasing a group that can dish up some musical main courses on par with brethren Kyuss and Sleep. Although different and far more bombastic than the aforementioned acts, these East Bay musicians often blow away the headliners wherever they roam. This Sunday’s show features a rare chance to see ’em play longer and, more importantly, destroy everything in their path in a green-filled haze. 1517 21st Street, http://saviours.bigcartel.com.

(SN&R)

Choreography of change

Brenda Dixon Gottschild, 4 p.m., April 27

Brenda Dixon Gottschild, professor emeritus at Temple University, is slated to give a spirited lecture on her experiences with dance and race studies. The 90-minute talk will chronicle Gottschild’s storied background including work as a cultural advocate, a dance studies scholar and her early life as a performing artist and choreographer. Free; 4 p.m. Wednesday, April 27, at UC Davis’ Nelson Hall, 1 Shields Avenue in Davis; http://arts.ucdavis.edu.

(SN&R

Eight Gigs: Clint Black

Wed., Apr. 27, 8 p.m., Bob Hope Theatre, $35-$75

Fifty-four-year-old Clint Black has been putting out records since 1989. The multi-instrumentalist modeled his early career after greats like the late Merle Haggard and George Jones, and while many know him as the husband of actress Lisa Hartman (the couple married quietly in 1991) and for succumbing to label demands when commercial country was king, he returned in 2004 with his own label, appropriately dubbed Equity Music Group, and reclaimed his rightful place on the throne. Don’t miss this chance to see a country great who never really went away. 242 East Main Street in Stockton, www.clintblack.com.

(SN&R)

MOUTHS OF BABES AT HARLOW’S • APRIL 27, 2016

Mouths of Babes

Fans of both rural blues and singer-songwriter fare will be pleased to know Atlanta, Georgia-based Mouths of Babes have routed a stop in Sacramento on their current set of West Coast dates. After a handful of releases under the Girlyman moniker, singer and mandolin player Tylan “Ty” Greenstein decided to put together a duo with her girlfriend and partner in crime, Ingrid Elizabeth (from Coyote Grace). The result is a wonderful collection of well-executed soul with heaping dollops of celebratory blues and folk styling. This pair of road warriors sound refreshingly new and breathe life into a seemingly overcrowded genre. Although relatively new to the scene—the group formed in 2014 —the members quickly gained traction both within the general populace and the LGBT community in part to the well-timed Faith and Fumes EP (2014). Those who enjoy acoustic music rich in passion and fervor would be wise to check out their midweek show at Harlow’s. And while the two women are babes in their own right, their musical talent and inherent charm onstage is the real lure. Buy tickets now at Harlows.com and follow them at Mouthsofbabesmusic.com.

(Submerge)

Eight Gigs: Points North

Sat., Jan. 16, 5 p.m., Harlow’s Restaurant & Nightclub, $20

Enjoy guitar-driven rock? Like playing air guitar, bass and drums? As luck would have it, the Bay Area’s own Points North—Eric Barnett (guitar), Uriah Duffy (bass) and Kevin Aiello (drums)—will play a proper show in the Sacramento Valley, opening for bassist extraordinaire Stu Hamm. The trio released a self-titled album on Magna Carta earlier last year—a wonderful collection of hard rockers, instrumental ballads (see the magnificent “Child’s Play” for reference) and much more. Come early and get a spot to have your doors blown off. 2708 J Street, www.pointsnorthband.com.

(SN&R)

THE OUTSIDERS: AFTER A LENGTHY RECORDING PROCESS, MISAMORE IS READY TO ROCK THE LOCAL SCENE WITH THEIR NEW ALBUM

misamore

Photo by Elle Jaye

Misamore are one of the few Sacramento acts who aren’t actively chasing the all-elusive record deal and, more importantly, aren’t in a hurry to write and record music. And although many of the local bands who are featured on 98 Rock and other like-minded stations seemed rushed and even coerced at times, this is one trio who write music for themselves first and foremost.

Unlike countless short-lived bands unceremoniously lumped into the hard rock diaspora, Misamore’s moves are strategic and very calculated. Even while recording, the three members—Josh Amolsch (guitar and vocals), Mike Dragony (bass) and Ryan Maples (drums)—were not afraid to take their sweet time in the studio. Monolith, their new yet-to-be-released 10-song platter, took a whopping 24 months to record.

Propelled by a mutual desire to create melodic radio-driven rock—a la Alice in Chains, Helmet, Deftones, Sparta and more—each member offers up input equally, making Misamore somewhat of an anomaly in a scene whose chief songwriters rarely want to share songwriting credits. As a result, it’s band-written songs like “Bloody Mary” which are slowly gaining traction and getting airplay in the area.

For a trio that labels itself an outsider in the music community and admittedly gets forgotten when it comes to festivals and the like, this is one act who needs little help from any institution to prove their worth. As such, Misamore already has a game plan in place for 2016 and are trading shows with other bands from other South Bay and Bay Area cities in an effort to get heard and be seen.

Submerge caught up with founding member Josh Amolsch to get the skinny on the little band that seemingly always could.

Why did the album take so long to record and write?
It was written well before we went into the studio, yet it took so long because of the cost. First, we didn’t go to a cheap studio or a place with a deal per song. Second, we didn’t hire a producer and wanted a person with great gear already that knew how to use it. Lastly, we went around to many of the area’s top studios and got a vibe for each of the studios and the engineer. We knew it would take a little while and interviewed folks, but, in the end, Velvet Tone studio and Pat Olguin gave us the best vibe. It was like our own rehearsal studio, and we enjoyed it being rough around the edges. It was kind of like an old pair of shoes and it just felt good.

The band formed originally in 2003. Has the lineup always been the same?
I started the band in 2003 and had a handful of drummers and bass players. I also moved to Texas in 2006 and came back. Our current bass player is a friend of mine, and I convinced him in 2007 to start playing together. We picked up our drummer Ryan in December 2010 just before our first album, the Horizon EP, came out. It’s been the three of us exclusively since our previous singer quit in 2012. From 2003–2009 we had no singer.

There must still be some tension with you and some of the older members, correct?
Honestly, we don’t really have any past member we have a problem with. There’s a couple of ex-members of Misamore that left and we don’t know what happened to them … and there’s one other we won’t mention.

What about unreleased takes that will be available as bonus tracks or B-sides?
No. We went in with 10 set ideas and came out with those same 10 ideas. Also, we had a lot of time in between the albums, but did one single in between the two in a different studio called “Preset Numb.”

What local bands do you align yourselves with and/or like?
Any band that comes off heavy and are nice you just can’t help like. I like Restrayned and Fall Rise. I wish I could get to know more these days, but I’m busy with my day job. More importantly, we try to not listen to anything going on in the scene for influences and try to be friends with bands who align themselves with us.

So what pays the bills when you’re not siphoning money into the band?
I’m a real estate agent for Lyon. They have reps all over town there are many different brokerages and is actually No. 1 in four or five counties. There are thousands of agents around here yet I am in a very small and successful team under Elizabeth Weintraub. We are actually No. 2 for Lyon real estate. Mike, our bass player, works as a warehouse manager for a networking company and drummer Ryan Maples provides transport and assistance for disabled people.

Why don’t we see Misamore out all over town passing out handbills like the early days?
When you’re younger, you go to every show. Now we are all very busy focusing on our stuff. Sure, we want to go out there and make new music and it’s always in the back of our heads that we’d like to play the biggest stages, but it’s not something we’re counting on since we don’t get out like many others do. At the end of the day, we just want to write the best music we can make.

Tell us about the personalities of the other members. Surely there must be a reason for this group coming together.
What’s great about our band is that everyone understands their role. I never wanted to be a leader and all the members now have creative control. We treat this band as a complete democracy and I like that everyone is on board with talking things out first before doing. We actually talk to each other more than we play, believe it or not. Ryan is younger than us and this is the first band he’s had that plays shows out of town. Mike and I have taught him a lot since we have been in bands for quite a long time. Ryan also trusts we are making the right decisions and has even learned double bass technique after joining us.

If you’re going to be serious, you would ultimately need to secure a proper U.S. agent. Are you actively looking for one?
No. Sure, we would love one but we don’t have the time and aren’t actively looking. Also, we have very busy lives and tours take up so much time.

How many shows do you play in a given calendar year?
We play anywhere from 10 to 12 shows a year. For the last couple of years, we’ve been shooting for around 75 percent out of town and the rest in town. We’ve played in Santa Cruz at the Catalyst Club inside the Atrium, the Elbo Room in San Francisco, Rooster’s Roadhouse in Alameda and more.

What can you tell us about the opening bands for your CD release show at Blue Lamp?
To start, we have our friends in Dimidium who are from San Jose. We just recently played with them and some locals at the District Theater in Gilroy on the band’s 13th annual Festival of Fools. It was great. Blood Party was another band we also met at a show with other friends. Opener Highway XII are from Oakland and they played with us a long time ago.

Misamore has an album release show on Saturday, April 16, 2016 in Sacramento at Blue Lamp, located at 1400 Alhambra Boulevard. The show starts at 5 p.m., and the cover is $10. 21-and-over only.

(Submerge)

Eight Gigs: George Clinton & Parliament Funkadelic

Fri., Apr. 15, Veterans Memorial Auditorium, 8 p.m., $45-$52

If being in a crowd that’s high on life in addition to numerous other not-so-legal substances is not your thing, it would be wise to steer clear of George Clinton’s funk night in the foothills. Those looking to hear music from both Parliament and Funkadelic eras will be delighted to know the 74-year-old bandleader hasn’t lost a step, and his live members are certainly no slouches. Odds are, every child of the ’70s and ’80s has heard “Flash Light” or “Aqua Boogie,” as both songs both got much airplay. 255 South Auburn Street in Grass Valley, www.georgeclinton.com.

(SN&R)

SUNDAY FUNDAY AT SACRAMENTO STATE • APRIL 17, 2016

The staff at Submerge knows many of you lead a boring life that involves work, sleep and more work. In an attempt to break the disastrous cycle which takes extra years off your life and makes you a recluse by default, all are hereby summoned to Sacramento State’s “Sunday Funday” event. Once more, it serves as an open window to the activities of the college’s faculty and students alike. Check out the many programs most didn’t even know existed and see if any fit into your daily regimen (or lack thereof). And while we’re certainly not insinuating your life is dull and devoid of meaning, missing this fiesta would prove otherwise. Things kick off on Sunday, April 17 at 11 a.m. on the Sac State campus, and there is even free parking at parking structure II. It goes without saying this event is free and there are also activities to keep your kids stimulated. Events include library exhibits, mask making, short films, food trucks, a celebration of both Japanese and Italian cultures, a musical petting zoo, a kazoo parade (!!!) and much more. If you’re still reading this on Sunday, put the paper down in a safe spot and head to the campus with all due speed. For more info, go to CSUS.edu/al.

(Submerge)