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
South England’s Conflict (UK) stormed the scene in 1981 and continues today through the perseverance of singer and activist Colin Jerwood. For most hardcore fans, this punk band practically defined and invented the small subgenre with 1986’s The Ungovernable Force. While the band is both ferocious and sloppy at times, its defense of animal rights and anti-war stance has garnered fervent followers who care not about small mistakes in the wake of a meaningful message. If epic revolt songs such as “Meat Means Murder” don’t hint at the band’s intentions, Colin and company will shove it down your throat at the live show. 2030 P Street, www.facebook.com/CONFLICT-28514492762. (SN&R)
Time Tested Books hosts a series of events with Stephen Jenkinson of the Orphan Wisdom School, a learning center for “the skills of deep living and making human culture,” according to his website. On Friday, Jenkinson will read from his book Die Wise. Saturday he’ll screen his film Griefwalker, and Sunday he’ll host a class on death and dying. 7 p.m. Friday, October 9, and Saturday, October 10; 9:30 a.m.-3: 30 p.m. Sunday, October 11; free. 1114 21st Street. http://orphanwisdom.com.
Immolation may just be the scariest-sounding band to ever pick up instruments. Only a few other groups can match the ferocious death-metal assault and utter disgust for organized religion displayed on its 1991 debut Dawn of Possession. On stage, singer/bassist Russ Dolan’s long mane swirls at break-neck speeds while he looks and sounds like he’s going to rip out your liver and feed it to one of his pet wolves. Guitarist Bob Vigna not-so-coincidentally resembles Church Of Satan’s founder Anton LaVey and plays guitar as if he is both simultaneously stabbing his adoring fans and casting an ancient spell. Kingdom Of Conspiracy (2013), the band’s latest offering, sounds as if the apocalypse is right around the corner. Looking for the soundtrack for the end times? Immolation will deliver it with glee. It’s time to die.
After a ridiculously long wait since the 2008 release of Discipline, Janet Jackson has finally put out something that isn’t just another extended and exhausting dance re-mix: Unbreakable. The star, who has connected with multiple generations — whether it was through 1986’s Control or 2004’s Wardrobe Malfunction — doesn’t need a new album to tour behind, but her recently released Unbreakable gives super fans something new to get excited about. Jackson has been selling out arenas across the country ever since Control spawned more singles than should be legally allowed. The follow-up record, Janet Jackson’s Rhythm Nation 1814 (1989) proved she wasn’t a one-trick pony and featured a touring band that rivaled any other act of the era. And while none of her material afterward resonated as much as the aforementioned early records, her fan base always show up for the all-too-rare live show. Folks expecting a wardrobe malfunction should know this is one woman who won’t make the same mistake twice. Three times? Maybe.
It’s no great secret that there are many great chefs and restaurants in the Sacramento valley and its neighboring cities. The same can be said for our amazing selection of wines that are produced, bottled and consumed within less than a 100-mile radius. This Friday event will highlight over 40 local breweries, wineries and eateries at the lovely Good Life Garden. For only $40, you will be treated to complimentary tastings and libations, as well as helping to support Chicano and Latino students in the Departments of Viticulture & Enology and Food Science & Technology at UC Davis through the Broadening Horizons program. It all takes place starting at 4 p.m. and folks will be entertained by the High Octane Latin Jazz Band while they take pictures of their food and selfies in front of local chefs and wine moguls. If you are feeling adventurous, you can venture over for the free performance by Los Hot Boxers at the Corin Courtyard and drink even more (those drinks, however, aren’t free). And if you really want to party like it’s 2015, buy a ticket for Los Lobos and Alejandro Escovedo at the Mondavi Center’s breathtaking Jackson Hall where every seat in the house is a winner. Go to Robertmondaviinstitute.ucdavis.edu and click the “Events” tab to get more info.
Unlike other bands who prospered during the early to mid-’80s, Duran Duran continued to release quality albums on a consistent basis. And while the band is not as prolific as its adoring fans might wish, the group still manages to tour and fill capacity venues across the United States and abroad.
Paper Gods, the band’s latest record released on Warner Brothers, spurred its followers to come out en masse to support — making it a Top 10 Billboard-charting record. Featuring 12 tracks and already a couple of chart-busting dance numbers, the band proved yet again they know how to stay relevant and current without sounding dated nor derivative.
[jump] Fans expecting the next Notorious (1986) or Rio (1982) will be sorely disappointed. Instead of a musical repeat, the band’s ever-evolving sound has bridged the gap between well-refined electronic, dance, and pop.
From the onset of the magnificent title track (which clocks just around 7 minutes), one can immediately notice this release is different from the others due its multi-layered vocals and ambient feel. “Into The Universe” feels like it could have been an outtake from the any mid-’80s session which finds the band using keyboards and electronic beats with great effect.
The tour linup still includes core members Simon LeBon (vocals), John Taylor (bass and backing vocals), Nick Rhodes (keyboards and vocal effects), and Roger Taylor (drums) along with Dom Brown (guitarist) who’s been with band since 2006.
SF Weekly caught up with bass god John Taylor recently via telephone while he was stationed in Wiltshire, England. Thankfully, he was quite the talkative one.
I worked the band’s Astronaut (2007) and Red Carpet Massacre (2004) records for Sony as your sales rep many years ago. I’m a huge fan of the new album Paper Gods and love how the records flows. It’s easily one of my top 3 Duran Duran records and that is not hyperbole whatsoever.
That is very kind. You don’t know how great it is to hear that given that you’ve actually worked with us. To me, this sounds like a very complete meal. It still hearkens to the early sound of the band but includes more electronic sounds and some really great guitar work. Dom’s [touring guitarist] role got reduced on the latest album since John Frusciante [Red Hot Chili Peppers] reached out and opened the door for newer guitar possibilities. After sitting down and talking with producer Mark Ronson, he suggested Nile also come in and play. The guitar sound kind of evolves over the album and the direction of songs are definitely influenced by its presence. We had worked with Niles on Astronaut, but the tracks went unreleased. Nile has had a major shift in his life since he went through cancer treatment, and I have found him to be extraordinarily inspiring to be around.
How hard will it be to get prepared to play this new material live and incorporate into the set list?
That’s a good question. Roger [drummer] has his work cut out for him on this record more than anyone it seems. Right now we’re working solely with electronic drums and converting everything from the album into stuff that can be played live. There is no real separation between pre-production and production anymore. With Pro Tools, it’s easy to record every little thought so we always try to do that and keep building, editing, and re-editing.
What do you and the other members do in between the album cycles?
I wrote a book in between the last cycle. Actually, it was very cathartic and moved the needle for me. It enabled me to let go of this project and was one of the reasons we were able to get inward and even more introspective with our music. I don’t know that I can describe it anymore than that. It helped me feel present and in the now in the studio. Besides, I’m not very much of a relaxing kind of guy. I tend to get drawn into projects I can’t finish. Even if I am away for a short amount of time, I still usually have to step away from something I started. Nick always does other things musically while Simon and Roger take a lot of family vacations. Simons also been doing more sailing than ever as of late.
Are you affected much by social media and criticism of the band’s later releases?
I’ve unplugged myself from social media. People can do whatever they please. Honestly, I don’t know if anybody could be as critical as I am. To me, it’s always the thrill and possibility of an album being released and delivering a knock-out blow that keeps me going. It’s too important to do things right more than ever and social media is a complete distraction.
Any songs you particularly love that stand out? I’m a huge fan of the title track and “Sunset Garage,” which has a stellar, upbeat groove.
That’s funny you mentioned that particular song [referring to the latter]. I almost said that before you. I thought there were parallels between that song and “My Own Way” [from Rio]. I’m simply enjoying the whole story with 12 separate chapters and there’s little moments found within each song. I try not to have any attachments. I am going to have to play these songs again and again and again. We put a lot of work into this album so that it doesn’t disconnect with people nor the sentiment of the songs themselves.
Who is the opening act for the U.S. shows aside from Chic?
We have Clean Bandit from the U.K. opening the show. I heard great things about their Coachella performance. After we played a couple of tracks in the studio, everyone liked what they heard and we immediately asked ’em.
One question for the bass geeks (of which there are many) who follow you in particular. How much do you play bass in a given week and how many basses do you own presently?
I play anywhere from eight to 10 hours a week. Right now, I have like 20-something different basses and they all have their own use and special place. Of course I like my Aria, but also use Fender, Peavey, and Gibson.
Why a short touring cycle which only lasts from September 14 to October 8 in the U.S.?
We have a lot more going on and there will be several legs to this tour. We have to go back overseas and tour to support the record and have plans to come back in 2016. What you see on the band’s web page is far from what we’ll actually be doing in the distant future. In the words of The Carpenters, “We’ve only just begun.” The length of the album’s touring cycle is almost entirely determined by public interest which seems to be very good. We’ll be back.
Duran Duran play with Chic featuring Nile Rodgers and Clean Bandit at The Greek Theatre on Fri 10/2. Visit www.apeconcerts.com for more details.
For devoted fans of modern dance, New York City’s Twyla Tharp needs little introduction. For the uninitiated, however, it’s key to know that Tharp has contributed much to theater, ballet and dance after years on stage, both in the United States and abroad. The Twyla Tharp Dance Company’s 50th Anniversary Tour finds the dancer and choreographer pushing at the boundaries of avant-garde dance yet again with a 12-dancer troupe that will both honor her legacy and perform her strange but wholly compelling choices of music. Selections include works by John Zorn, J.S. Bach, Henry Butler and Steve Bernstein. Overall, Tharp’s show is the true embodiment of a complete dance experience. Not only is she celebrating her 50th year in the dance business—an accomplishment very few have achieved—but she is also here to remind us there are few limits to professional choreography. 8 p.m. Tuesday, October 6; $13.50-$65. Mondavi Center, 1 Shields Avenue in Davis; www.twylatharp.org.
The Cold War may be long over, but the lads in Russia’s blackened death metal outfit Pseudogod will most certainly bring an ill wind with them, and an odd chill will creep down the spines of those in attendance. Standout songs like “Awakening Of Archdaemon” and “Vehement Decimation” will cause intense, painful rashes in the nether-regions, and perhaps even internal bleeding, upon first listen. Also joining Satan’s party are Crurifragium, Ritual Genocide and Defecrator. It’s not often we get bands this extreme in Sacramento, so expect a capacity turnout for this one. Come enjoy the blasphemy. 2030 P Street, www.facebook.com/pseudogod.official.
Eddie
