In December, the Sacramento Food Bank & Family Services merged with Senior Gleaners to become the county’s only food bank center. Tuesday, October 27, the bank will host the Sacramento Food Bank Revolution. It’s a tour of its new facility, and a great opportunity for potential volunteers. Interested? Call to reserve a spot. Free, 11 a.m., Tuesday, October 27, 1951 Bell Avenue, (916) 456-1980, www.sacramentofoodbank.org.
(SN&R)
Catch the Deftones Sunday, October 25, at the Aftershock Festival. Tickets for the two-day festival, which launches Saturday, October 24, are $114.50-$134.50. It takes place at Gibson Ranch County Park, 8556 Gibson Ranch Park Road in Elverta. For more information, visit http://aftershockconcert.com. For more on the Deftones, visit www.deftones.com.
Of all the bands lumped into the ’90s-era nu-metal diaspora, it seems like few persevered to carve out a distinct path.
Sacramento’s Deftones, however, were one such band—and to great success.
Upon the initial release of its debut album 20 years ago this month—1995’s aptly-titled Adrenaline—the band came screaming out the gate with ferocity. The album may have peaked at No. 23 on Billboard’s Heatseekers chart but it ultimately went on to sell more than a million copies and paved the way for its legacy.
Over the years, the Deftones, who play this weekend’s Monster Energy Aftershock Festival, experimented and dabbled with electronics and ambient, among other sounds. The result was a loyal and fervent following and seven very different records, including 1997’s Around the Fur which went platinum, and 2000’s White Pony, which debuted at No. 3 on the Billboard 200 album chart and nabbed the band a 2001 Grammy Award for Best Metal Performance for the track “Elite.”
The Deftones were dealt a heavy blow, however, when a 2008 car crash left the band’s founding Chi Cheng in a coma. Cheng ultimately died from related complications in 2013.
Still, two years after his death, the band’s core remains strong with drummer Abe Cunningham, singer-songwriter Chino Moreno, and guitarist Stefan Carpenter. Longtime keyboard-turntablist Frank Delgado, who joined the band in 1999, and bassist Sergio Vega, who joined in 2009, round out the lineup.
The band is currently in the midst of putting finishing touches on an upcoming new record; Cunningham sat down to chat with SN&R about the new album and tour plans, the impact of Cheng’s death and his enduring love for Sacramento.
There’s been some misleading information in the press about the new album and its release date. What’s the status?
To be completely honest, we still don’t have a title yet. Our label came to us and said we could wait wait until the first quarter of the new year—which works much better for us. That’s the plan right now but don’t hold me to it. We don’t even have song titles nailed down yet. I couldn’t even tell you one now if I tried.
The Deftones stayed with Warner Bros. even after the band fulfilled the terms of its initial contract. Why?
Like any new band that started at the bottom, we had everything good and bad thrown our way. We’ve had ups and downs and had some pretty brutal times on Maverick [the Madonna-helmed subsidiary label of Warner Bros.]. There’s some good people still around in our industry that have been working at the label or distribution forever and we’ve seen regimes come and go. The fact is we have known many people there for years and have developed some great, lasting relationships. We’re a pretty simple, straightforward band from Sacramento and just like associating with good people.
Did you get much pressure to change anything when you first released Adrenaline ?
Believe it or not, our first three records we wrote, recorded and mixed without anyone’s input. It was quite nice to have that kind of freedom which many bands didn’t. It was a great time to be in a band. After White Pony came out and was a big success, the industry was starting to change and we had to learn how to adapt.
What impact did Chi Cheng’s passing have on the band artistically or even personally?
Chi’s passing has, no doubt, had a tremendous impact on us on so many levels. It wasn’t like he was in this accident and was killed. He held on for five years. Seeing him fight for that long and then losing him really put things into perspective. It taught us to be grateful, to be immediate, to respect each other and respect what we have created, to laugh and enjoy, and most importantly to be thankful of the time we have and that we are still able to rock. Not a day goes by that I don’t think of him.
How was this year’s tour with Incubus? The show at the Shoreline Amphitheatre show was sold out—or at least very close to it.
The whole Incubus tour was a killer run. The shows were huge and all the bands on the package including Death From Above 1979 and The Bots were our friends or are now.
The band has many songs in constant rotation in its live sets—any songs you’d like to add into the mix besides new material?
Dude, this is something we talk about all the time that we really need to work on. It’s very easy to get into a groove and play the same stuff over and over: on a run where we’re are not the headliner—such as the recent Incubus tour, you really don’t get to play a lot. It’s definitely time to switch it up and we do once in awhile. I see a lot of stuff on social media of people complaining about not hearing older songs and we definitely don’t want to be that band that just phones it in. What people don’t know is there’s also a lot of different tunings and we’ve finally figured out which blocks of songs work together for a good show flow. Believe me, when it’s our headlining show for the new album and we have much more time, there will be a lot of other songs getting worked in from the past.
What do you do in between the long periods between album tour cycles?
I should be practicing drums a lot more but I’m not. Really, I’m happy just enjoying my sons and my family. I enjoy checking out new places around Sacramento that I haven’t seen or missed and cruising around on my bike. Of course, I still love going to shows a lot in Sacramento and hanging with my buddies.
It’s been a minute since Deftones last played Sacramento at the 2012 Aftershock Festival. Any plans for a local headlining show?
That’s pretty much it for this year. We have a few Southern California shows, one in Vegas and an Arizona date before we head overseas to play France, Germany and the U.K. We don’t ever come here. It’s really odd that we’re a Sacramento band but we rarely play this town. With proper planning, this can and will be attained. We’re putting things together slowly for 2016 and when the new record drops we will be everywhere. At least now we’re able to pick and choose what we want and we most definitely love Sacramento. It will happen sooner than later.
(SN&R)
Sacramento has become quite the destination for seminal touring acts and this Monday’s show is certainly no exception to the rule. If you don’t own Subhumans U.K.’s The Day The Country Died (1983), perhaps you need to update your collection. Singer Dick Lucas can still belt ’em out, as evidenced on their last full-length patter, Internal Riot (2007). Hardcore fans living here can rejoice in a short commute to the venue and, more importantly, an early start and end time. Also on this fantastic all-ages bill are the Bay Area’s own La Plebe and Oakland’s Love Songs. You could do much worse. 1119 21st Street, www.facebook.com/Subhumans-UK-137812882953527.
(SN&R)
Viet Cong’s name has caused dissension not only in the blogosphere and on social media, but also in the IRL indie scene and print show previews or reviews. As headlines flew around the world condemning or defending the name, Viet Cong found itself encountering protests before performances (including a recent show at Neumo’s in Seattle) and even a cancellation of an Oberlin College campus gig in Ohio in March 2015. In a Facebook post dated September 19, the members admitted to choosing the band’s moniker hastily and have since made plans to change it. In the interim, they are using the name until a suitable replacement is decided on by the group.
The band came through San Francisco earlier this year to give a sold-out crowd at Rickshaw Stop a raucous set steeped in psychedelia, post-punk, and awkward time signatures that often betrayed traditional song structures.
Viet Cong’s San Francisco return at this year’s Treasure Island Festival alongside Drive Like Jehu, Father John Misty, Ex Hex, Ought, Deerhunter, and more, showcased a band ready to break into even larger territory. And while the band was scheduled as the second act of the day, it took full advantage of the opportunity to play for different faces. In fact, despite the early slot, there were what looked like a crowd of nearly 3,000 people there for the band’s brunch-time set.
With little more than a simple back line consisting of drums, keys, guitar, and bass at its disposal, Viet Cong launched headlong into a heady set.
It was during songs like the upbeat yet haunting “Silhouettes” — one of the strongest tracks off the group’s debut album — that the crowd began to get their blood flowing along with the plodding bass line, a simple 4/4 groove, and a wall of keys and discordant guitars. Both “Monty” Munro (guitar, synth) and Daniel Christiansen (guitar, synth) proved they could carry the song home in grandiose fashion with juxtaposing guitars that recalled some of the best moments of early ’80s new wave and early Joy Division or even Echo & The Bunnymen.
“We wrote these songs for Sunday afternoons,” said vocalist/bassist Matt Flegel halfway through the band’s set while it trudged through some of its murkiest material, including “Bunker Buster” and the slogging hypnotic drone of “March Of Progress.” It was during the more challenging latter song one could easily separate the real fans from those more concerned with checking in on Facebook.
Unbeknownst to concertgoers, the group was also being courted by possible new management but played by their own roles just the same. The band played a set of dynamic and challenging tunes and chose to bury their biggest song, the ever-so-catchy “Continental Shelf”. Drummer Mike Wallace even had the audacity to take a piss break during their set much to the chagrin of his band mates who smiled at the crowd during his release.
With the city directly behind them, the band’s oft-repeating guitar lines and mesmerizing choice of songs were effectively carried by the wind with just enough delay and audio wash to add a new dimension not heard in a club setting. The setting couldn’t have been more apropos for anyone checking out the band for the first time as well as repeat offenders who expressed their approval with thunderous applause at the close of each song.
“Death,” the last number of the set is, probably not so coincidentally, the band’s new album’s closer, and has proven time and time again the best way to stir its crowd into a whipped frenzy, good or bad. A near 15-minute track live, the tune found people either enthralled by the band’s frenetic rock antics or, in some cases, a little put off by the brash noise this early in their festival day. Those who could handle the starts and stops of a song that seemingly had no end in sight did find great reward, however, with the song ending with drummer Mike Wallace’s kit in pieces.
If anything, Viet Cong were making a statement about itself today: the band wants to be around for years to come but will do so only by its own volition. Today was proof positive this ensemble is more than able to deliver. That follow-up album can’t come soon enough.
Critic’s Notebook:
I found out the hard way that Viet Cong do not spend a great deal of time together when not playing. Rallying up the entire band to take a quick photo (see above) after their set was a feat that even their tour manager, Rena, was impressed even happened. Once they were gathered backstage for the quick shot with our photographer, they did lighten up and even managed to eek out a couple of smiles (or shall we say smirks) for the camera.
The band still tours in a van yet already seem to have loftier aspirations than Women, a sadly short-lived band featuring VC drummer Matt Wallace and bassist / vocalist Matt Flegel. Newbies just checking out Viet Cong for the first time should also check out Women’s self titled album (2008) and the magnificent Public Strain (2010).
If you’re seeing the band for the first time, turn off your phone and listen. Their brand of post-punk incorporates heaps of layering and trance-inducing, soporific fare that demands your attention to be appreciated. Drinking and doing drugs can make their show an even more revelatory event, but are not mandatory for a great time.
(SF Weekly)
There’s always something going down at Midtown’s revered Revolution Wines. This local winemaker has made considerable headway in the seemingly snooty wine world by bringing consistently tasty (and affordable) wines to the Sacramento Valley using responsible and sustainable nearby vineyards. Stop by any time during normal business hours and try some of their marvelous concoctions including (but not limited to) the 2013 Revolution Syrah (Sierra Foothills), 2013 Sacteaux (Sacramento County), 2013 Revolution Cabernet Sauvignon (Sacramento County), 2014 Revolution Chardonnay (Dunnigan Hills) and a fortified wine guaranteed to please anyone dubbed the 2008 St. Rey LBV Port (Sacramento County). Aside from the many special nights on Revolution’s calendar, one particular event stands out above the rest: the Cider & Slider Party. Come taste their new hard cider offering and pair it up with some tantalizing pulled pork sliders delivered on house-made Hawaiian rolls courtesy of Chef Teddy. For only $15, you’ll be treated to a libation that is sure to knock you off your feet and three (yes, three) sliders to help soak up all the alcohol in your system. You’ve worked hard all week for this so treat yourself right. While you’re at it, buy a couple of bottles of vino and tell ‘em the folks at Submerge sent you. Inquire within at Rwwinery.com
–EJ
(Submerge)
Kelli Leighton started CORE Contemporary Dance nearly eight years ago in an effort to educate both new and aspiring dancers. Her works have garnered heaps of critical praise from the community and she had the prestigious honor of being one of the first dancers commissioned by the local Crocker Museum. She’ll feature a talented troupe of young dancers in her upcoming seasonal production of The Doorway. Additionally, attendees will be treated to some of Leighton’s exciting newer works. If that weren’t enough to get you off your couch, she’ll also add some other talented choreographers, Amy Berokoff and Adam Peterson, into the mix. Her company has already made a huge impact on the Sacramento valley and neighboring cities and has proved itself worthy of its 501(c) nonprofit status. If choreography and dance are your thing, do seek out her company to provide not only direction but a strong support system to get started in the industry. Whether you live in Sacramento or Folsom, she’s got you covered with three special shows: Friday, Oct. 16, 2015, at The Harris Center in Folsom and two nights at at the Benvenuti Performing Arts Center in Sacramento on Friday, Oct. 23 and Saturday, Oct. 24. For more info, visit Corecontemporarydance.org/enter-the-doorway-2015
(Submerge)
The Folsom Film Society presents this documentary about activist Ai Weiwei and his battle against the Chinese government. The film, directed by Danish filmmaker Andreas Johnsen, chronicles Weiwei’s access to secrets that find him placed in solitary confinement and, ultimately, under house arrest with police agents and cameras following his every move. What information could he have that would make authorities want to wage a lawsuit against him? Free, 1 p.m. Sunday, October 18; Folsom Public Library, 411 Stafford Street in Folsom; http://thefakecase.com.
(SN&R)
Dar Williams fans can rejoice after a seemingly endless wait. Not only does she have a new album, called Emerald, she’ll also be touring in support of it throughout the year—and then some. If you’re a fan of smart, well-crafted singer-songwriter fare and thoughtful lyrics, look no further than Williams’ back catalog. A strong proponent of liberalism and a great storyteller, her fan base has grown exponentially with each successive release. With her collaboration with Richard Shindell and Lucy Kaplansky, she’s proven there are no limits in the normally constricting folk scene. 314 West Main in Grass Valley, http://darwilliams.com.
(SN&R)
The fine folks at Noise Pop and Another Planet Entertainment have delivered yet another fine amalgam of national and regional talent that is sure to please the masses. For the uninitiated, the festival started in 2007 and has become quite a destination for fans of hip-hop, electronic, indie and nearly every subgenre in between. Thankfully, the myriad acts play back-to-back sets and separate stages are timed just right so everyone in attendance can enjoy and get their money’s worth. This year’s roster on Saturday is particularly impressive with the addition of Deadmau5, Big Grams (Big Boi + Phantogram), STS9, Run The Jewels and lesser known acts such as Gorgon City, Cashmere Cat, Shamir, Baio and more. Sunday’s lineup is equally insane now they’ve confirmed the likes of The National, CHVRCHES, The War on Drugs, Father John Misty, Deerhunter, Drive Like Jehu, EX HEX (featuring Mary Timony) and the always captivating Viet Cong from Canada. Do visit the site in advance to avoid a potential clusterfuck getting there since all parking is sold in advance and there are shuttles going all day to Treasure Island from the Bill Graham Civic Auditorium in San Francisco. Make it happen at Treasureislandfestival.com
(Submerge)
Eddie
