Coachella, day 3 preview

Whew. These posts have occupied most of my weekend, but listening to all this music has got me entirely juiced for Californias favorite festival. (Well, this might be debatable with SF Outside Lands first year lineup.) So, without further ado, I bring you our closing day.

If I left out your favorite band, I apologize. There are so many acts to see at Coachella, regardless of who you see, it's going to be spectacular. These lists are just compiled from all the data I have, and I put them up here so your experience can be diverse, and you can get to know great music. I hope you enjoyed reading it as much as I did writing it. Click pictures for music previews.

Brett Dennen - As I write this post, I am actually missing Mr. Dennen at a free show in Golden Gate park. Since his release of 'So Much More,' Dennen has been on tour non-stop. He lives out of a suitcase and calls every hotel room that he visits home. His noise is reggae, rock, acoustic, and full of passion. If you've yet to be introduced to Dennen, this is your chance. He leads Sunday off with a bang.

Grand Ole Party - Being a once San Diegan, it's nice that we have someone representin SoCal in this festival. I actually saw Grand Ole Party bring in my 2007, and from what I remember, they were quite impressive. Lead singer/drummer Kristin Gundred brings Janis back to life, while beating the crap out of her drums. It's unusual to see a drummer that's a girl, much less one that does all the singing. And it is GOOD.

Duffy - Yes, she does sound like Amy Winehouse. Yes, she is also English, and yes, she is WAY hotter than Rehab Winehouse. Any existing Duffy fan will tell you that Duffy has been conjuring the 60's Motown sounds long before Amy was even dreaming of telling rehabilitation centers no, no, and no. I'm sure there are some better musical acts around, but I want some eye candy.

Annuals - Ambient, Rock, Alternative, Pop, Emo. The studio albums that Annuals have put out are layered with ambient noises and sounds, and I really have to understand how they do this live. I once saw Grandaddy try to pull this off, very poorly I might add. Rumor has it they're a gnarly live show, and bring the rawk back to energy levels that of U2. Finally, someone to slap Bono off his high horse? We could only hope.

Sia - If you went into any Starbucks in the world, you saw this album placed in front of your friendly barista for weeks. I, like the sucker I can be, finally broke down and see what all the fuss was about. With her previous single Breathe all over the radio, I believed that her new disc and witty title would be a breath of fresh air. It was, and not I believe that Aussies know how to be heartfelt and honest.

Stars - Canadian indie pop band that highly resembles LA's Shiny Toy Guns. Like the Guns, you get male and female vocals fused with some screaming guitars and synthesizers. I like them because of their ambient vibe, and I believe that all bands will be competing for our attention. With a revival in good Canadian music, this is a great place to start. Catchy enough to keep you intrigued, but not so much that you'll hear them on your local radio station. (unless that station kicks ass)

Simian Mobile Disco - Unfortunately, I wasn't able to attend SXSW this year, but I had a friend from Itunes that was. She raved about Cut Copy (performing friday) and continued her rants about SMD. Once again, there will be dancing. It looks like they're slotted for a later spot, so, we might see glow sticks as well. If you've yet to disco, start by yourself, in your room, with 'Hustler.' Then share it with your friends, where you can all disco together.

Gogol Bordello - A self explanatory name for this band, as they bring the gypsy cabaret to your ears. They're previous record is called Gypsy punk, and that's exactly what it is. If Flogging Molly were to include bull fighting violins, mandolins, and bar-mitzvah accordions, they would be Gogol Bordello. Sure to include ridiculous costumes and exceptional crowd interaction, this is one act that shouldn't be missed at Coachella.

Perry Farrell- I laughed out loud, I really did. This former front man for Janes Addiction, I can only assume, will come out in silver leather pants, with some short of half shirt on. His voice is undeniable, and he's known for his eccentric live performances. Though we could all wish that he was with Navarro and friends for an Addiction reunion, the case is not so. I'm just surprised Farrell, the brains behind the Lollapalooza festivals is performing with a competitor.

Roger Waters - I can hear it now. "Play 'Another Brick in the Wall'!" "Comfortably Numb!" As Waters is recluse, not playing many shows over the past few years, we can only hold our breaths when it comes to seeing him. Pink Floyd was known for their unique production on their albums, along with an incredible light/multimedia show to match their shows. I hope Waters brings the same.

Okay, I made it. It took a lot of research, but I really enjoyed writing all of this for you. If you liked the posts, be sure to subscribe to Festival Preview, as we review upcoming music festivals, and associated news.

...And Then There Was Noise: An Interview With Noise Pop Founder Kevin Arnold

For those of you who aren't caught up on pop and rock music festivals of this year, you should know that one of the best and most expansive is packing the music venues of San Francisco as I write this (Feb. 28). The festival I speak of is Noise Pop, a celebration of the best bands on the periphery of Rolling Stone and MTV today, shining a spotlight on bands that would become household names, such as Death Cab For Cutie, The White Stripes, Jimmy Eat World, and, most recently, Wolfmother.

Today, the festival includes art exhibitions, a film festival, and comedians such as Brian Posehn and Patton Oswalt, and claims 6 days and the stages of 15 venues. When it first started, however, Noise Pop was just a concert put on one night in 1993 at an inconspicuous music joint, due to the enterprising of one Kevin Arnold. Arnold has organized and managed the festival since that first night, and considering what Noise Pop has become, I was eager to hear what he had to say about the fortuitous history of Noise Pop and what he sees for the future:

(Q): Thanks for being able to converse. I'm actually amazed that you could get a chance to talk right now (this interview was conducted 6 hours before the opening night of Noise Pop). How are things going so far?
Kevin Arnold: So far, so good. During the recent days and weeks, things have been getting pretty hectic in terms of organizing, but right now the situation's relaxed itself a little bit. Right now it's sort of the calm before the storm, though, 'cause business is going to get even crazier than it was before really soon.

(Q): Well how about going back in time a bit- what gave you the idea for the first Noise Pop in 1993, and what made you decide to make it an annual festival?
KA: The first show just came about with an opening slot that I had one night at a club in San Francisco. I'd been booking bands and shows around the Bay Area, which I'd started doing for shows at UC Berkeley as a student, and I had that one night booked at the club, so I got some bands together that had established themselves locally and set them up to play that night.
I never really decided on making the festival an annual thing. It just turned out that a lot of people really dug the first show, so I decided to do the next one in 1994, and things just took off from there.

(Q): Have you ever thought about taking Noise Pop outside of San Francisco in the future?
KA: I wouldn't rule it out, but at this point I don't know whether or not that's gonna happen. We had festivals in Chicago in 2000 and 2001, and that was really cool because I have roots there, and I'd be interested in maybe doing a tour...

(Q): Speaking of Chicago, what was it like organizing shows there those two years?
KA: Well, in 2000, we were able to make the move to Chicago with a relative amount of ease because the dot-com boom was happening around that time, so we had loads of sponsorship. Pretty soon, a significant amount of start-ups began to lose interest, though and we were coordinating Noise Pop Chicago in San Francisco, so in 2002 we decided to concentrate all of our efforts in San Francisco again, and that's been working really well for us ever since.

(Q): With the way the festival is set up right now, there are Noise Pop shows and venues spread out all over the SF Bay Area. Have you ever thought about consolidating the shows and having a huge one-day festival in a larger venue, like an amphitheater or arena?
KA: I've considered it before, and I can't rule anything out, but if we did put Noise Pop into a much larger venue we'd do it in some unconventional way- not in an arena.

(Q): Are there any specific goals that you set out to accomplish this year with the 2007 edition?
KA: The fact that it's the 15th anniversary makes it pretty special, and we're trying to celebrate appropriately this year, but there aren't any particulars in terms of goals or themes. We've been trying to expand the film festival though, and I'm happy with how that's turning out.

(Q): Do you have a favorite Noise Pop moment or show?
KA: I've been to tons of shows over the years, so it's hard to really pin down one particular moment. There have been times when I've really been happy about getting a musical hero to play, like Bob Mould or the Flaming Lips, but I can't give you one show in particular that was my favorite.

(Q): One show that stands out this year, in my mind, is the Lyrics Born & Coup show at the Fillmore (the reknowned San Francisco music hall). Does this suggest that Noise Pop is going to have more of a hip-hop element in the future?
KA: We've had hip-hop shows before, with artists like Sage Francis, so it's not like hip-hop is some alien genre to us, but we're not trying to take Noise Pop in a hip-hop direction or anything. We just try to stay open-minded and put bands on the bill that we think people will like, simple as that.

(Q): Take us through the process, that a band has to go through to get a slot on the Noise Pop bill. What's that like?
KA: Well, that varies a lot, as some bands are a lot "bigger" than others. Sometimes more well-known bands will play here as a stop on a tour, sometimes they'll fly out, but then there are also a lot of local bands that play, although I wouldn't suggest trying to make Noise Pop the first show for a brand new local band. In terms of the local artists, though, we pick ones that we like and ones that are locally known, and hopefully they'll benefit from the exposure and work their way up the lineups over the years, like the bands Film School and Rogue Wave did.

(Q): This year's festival is about to start tonight and ends on Sunday- what are the next 6 days going to be like for you?
KA: I'll just sit at home and watch TV (laughs). No, I'm going to be running around like a madman trying to catch as many shows as I can. I might stop and catch a lot of some shows with bands that I really like, but I try to get around to all of the venues and make sure that things are running smoothly with the venue's staff and stuff like that. But yeah, these next 6 days are going to be exhausting.

-- Ross Moody (Photo: Lyrics Born, one of the highlight performers of Noise Pop 2007)

Panda Storm Slim's

I bet you're scratching your heads at the title- "Since when were pandas belligerent animals?"; "Since when were bands that named themselves Panda were supposed to storm anywhere?". While both of your questions aren't unfounded, they were definitely answered on Saturday (Feb. 23), when a group of high schoolers played the San Francisco equivalent of CBGB before they even graduated.

The music venue in question, Slim's, was significantly packed as a result of the efforts of not just Panda, but a few other local bands (one of which definitely committing a rock faux pas with a keytar player), but none of them really managed to hit the sweet spot of a good rock show as much as the bear-monikered quintet. The essence of the show they put on was not based either too much in kitsch or in melodrama- two qualities, whether transmitted over the airwaves on the radio or on TV, that are in no short supply these days. Admittedly, they're probably going to have to think of some other onstage fx besides a smoke machine if that contract from Capitol comes their way, but this type of thing should be the least of worries for a band with any integrity left, such as our present subjects.

Obviously, as they could still be labeled a garage band in the most literal sense, the boys in Panda (Johnny Flanes- guitar/vocals, Petros Anastos-Prastacos- guitar/vocals, Garret Leidy- bass, Louie Diller- drums, Joey Orton- keyboard) did not take playing a place like Slim's very lightly. The excitement in guitarist and singer Petros Anastos-Prastacos's eyes was palpable as he exchanged some last words with bassist Garret Leidy before their set kicked off. But once these guys gave the music a greenlight, they played like Slim's (again, the San Francisco equivalent of CBGB) was no big deal. Subsequently, from the first notes of their breezy song "Chinatown" to their swing-meets-Zeppelin roller coaster "Carry On", they simply owned the whole building.

Shortly after their set ended, I got a chance to catch up and interview the band's drummer, Louie Diller, who managed to remain articulate despite the marathon he had just been through onstage:
(Q): The first thing I noticed when hearing about you guys is that your name seems like it has nothing to prove. Why did you name yourselves Panda?
Louie Diller: We had been practicing for about a couple of months, and we knew that we were gonna have to come up with something if we wanted to get any gigs, so we just randomly flipped open a page of the dictionary and "Panda" was the word we came to.
(Q): I don't think there's any label, besides something as basic as "rock", that could be applied to the stylistic breadth of your music. What are your main influences?
LD: I'd say The Beatles, Led Zeppelin, Mars Volta, Radiohead, and Muse.
(Q): There definitely seems to be a swing influence in the groove of some of your songs as well- especially "Carry On" and "Fake Tattoos". Where does that come from?
LD: Well, yeah- there is definitely a swing-type thing going on in those songs. A fair amount of it has to do with the fact that I joined the band, I'd been taking drum lessons specifically on jazz rhythm and theory, so that ended up rubbing off during the songwriting process for some of our songs.
(Q): Speaking of which, how do you guys come up with your material in the first place?
LD: We usually have, like, one person who comes up with a main melody or chord change- recently, it's been Petros, but before it's been others in the band as well-and who ever comes up with the main riff just shows it to us and then we all work on it from there. The majority of the time it's taken to write any of our songs has involved collaboration between everybody in the band.
(Q): Well, since Festival Preview is a site that mainly covers music festivals, I have to ask: Has Panda played any festivals?
LD: We haven't played any real big festivals yet, but we're gonna play at South By Southwest, and we're really looking forward to that, of course.
(Q): Obviously then, you guys must have come a fair ways since starting up. What two shows were your favorite and least favorite since being in the band?
LD: Well, I know right off which the worst one was- one of our first gigs as a band was at this talent show in our town, unsurprisingly, and I'll just say that it didn't go that well. The best one, though, was probably when we played down at UC Santa Cruz (an school in the University of California system). That gig was pretty tight.
(Q): I have to say, I was floored by the show you guys put on tonight. What would you say is the effect that you guys try to give or send out to the audience most in a performance?
LD: Well, thanks. As for the question, I know it's kind of cliche, but we want to sort of take the audience on a trip with our performances. We like to start off with some straightforward stuff, like we did with "Chinatown" tonight, then we try to play songs that are a bit more relaxed, like "Fake Tattoos" and then sort of come back with something stronger than what we started with, like "Carry On". So, in general, we want people who come to our shows to feel like they've been through some really powerful experience.
Most of the writing you will read on FP honestly won't have as much praise lauded on a single band as that which you have just observed. Also, if we report on multi-band shows, you'll usually find each band will get its fair share of coverage. However, in the spirit of supporting local bands (except the ones that suck), I must continue to deviate from the conventions of music criticism and command all FP readers to get online and steal Panda's music now!! Don't feel guilty about the pirating part- they'll be very grateful.

-- Ross Moody
(Photo: One of the non-musical feats in Panda's repetoire)

Noise Pop Just Keeps Growing And Growing

In 1993, a man named Kevin Arnold happened to organize a rock show at the Kennel Club, a music joint with a name that would probably ring a bell for very few in the greater Bay Area outside of the San Francisco Peninsula, and this grouping of five local bands was billed as Noise Pop. Fortune happened to shine upon Arnold and the five bands that night, and the Kennel Club was filled past capacity, which led probably led Arnold to think- what if I do this again? Any serious devotee to independent music knows that this idea haunted Arnold, because a stronger edition of Noise Pop appeared the next year.

Noise Pop '94 moved its venue to the larger and more eminent Bottom Of The Hill, featuring 13 bands and the fancy Cyclopsian poster artwork that indie fans and San Franciscans would come to associate with the festival the; as legend would have it, people responded even more positively to this version of Noise Pop than the 1993 outing. But this was still Noise Pop in its infancy- people wouldn't recoginze it today.

It is hard to grasp that the lineup of the 2007 edition of such a festival, announced yesterday (Jan 29th), would include such indie luminaries as Cake, The Donnas, The Dandy Warhols, Autolux, The Coup, and Clinic, among others, and even marquee comics like Patton Oswalt and Brian Posehn.

However, for those who have not heard of Noise Pop, it is an event which has served as a proving ground for Modest Mouse, The White Stripes, Death Cab For Cutie, The Flaming Lips, Bright Eyes, and Jimmy Eat World on their way to the success they enjoy today since the 1993 event. And during the time since, the most venerated performers have come to occupy not the stage of Bottom Of The Hill for their set at Noise Pop- rather, they play the prestigious Fillmore; the bottom line is that Noise Pop is the most expansive and prolific modern pop music festival that San Francisco has to offer.

However, it's not just a rock festival anymore- Noise Pop also offers a film and visual art branch this year, with 10 independent films and rock art from all over the globe being shown during festival time, but I digress, as the real attraction is still the amazing and massive line up for the fesitval, with performances starting on the 27th of February and ending March 4th.

The performers include (in alphabetical order, due to the absolute GINORMOSITY of the lineup):
The Actual, Annuals, Aqueduct, Audrye Sessions, Ryan Auffenberg, Autolux, Maria Bamford, Ray Barbee and the Mattson 2,The Bent Mustache, Black Fiction, Karl Blau, The Bird And The Bee, The Botticellis, Boyskout, Brightblack Morning Light, Built for the Sea, Cake, The Changes, Vic Chesnutt, Clinic, Comedians of Comedy, The Coup, The Dandy Warhols, Death of a Party, Alela Diane, Dios Malos, David Dondero, The Donnas, The Dwarves, Elephone, Earlimart, Erase Errata, Roky Erickson and the Explosives (13th Floor Elevators), Ester Drang, The French Kicks, Ghostland Observatory, Laura Gibson, The Gray Kid
Gris Gris, Hella, Jolie Holland, Honeycut, Howlin Rain, Georgie James, Damien Jurado, Langhorne Slim, Lemon Sun, Love of Diagrams, Lyrics Born, Ted Leo and the Pharmacists, Macromantics, Magic Bullets, Malajube, Willy Mason, Matt & Kim, Midlake, Minipop, Money Mark, The Morning Benders, The Mumlers, Alexi Murdoch, The New Amsterdams, The New Trust, No Age, The Old Fashioned Way, The Oohlas, Oranger, Patton Oswalt, The Ponys, Pony Come Lately, Poor Bailey, Pop Levi, Brian Posehn, Josh Ritter, Zach Rogue, Scissors for Lefty, Scrabbel, Sea Wolf, Sebadoh, Will Sheff (Okkervil River), Simon Dawes, Mariee Sioux, Snowden, So Many Dynamos, Spinto Band, St. Vincent, State Radio, Street To Nowhere, The Submarines
Tartufi, Thao, Trainwreck Riders, John Vanderslice, The Watson Twins, The White Barons, Women and Children, Wooden Shjips

Raging Too Late

As all those who are fans of the Coachella Music And Arts Festival, rock music, or music festivals in general are probably aware, the members of the politically-fueled rap-metal band Rage Against The Machine are reuniting to headline the Coachella Festival bill this year. The band, throughout the previous years of its life, had carved out a niche for itself by making scathing (both in words and sound) attacks on the politicians (chiefly Ronald Reagan, Lyndon Johnson, George Bush Sr., and Bill Clinton) that they claimed to have perpetuated and exacerbated the political, economic, and social ills that had affected the U.S. and other countries throughout the 20th century.

Shouldn't it be logical then that they would have been having a field day with a president whose approval rating had reached Nixonian levels during the last six years? I guess not, as the band broke up in 2000, right when stealing an election was the only scandalous thing the Monkey Man had yet perpetrated on the American people. I suppose it is understandable that, after the attacks of September 11 left the country feeling the most patriotic it had felt since Desert Storm, the band would not want to go reunite and spew curses once again at the Flag.

However, as the not-so-reactionary policies of the Bush adminstration to 9/11 sent the nation into a conflict that just got worse and worse as time went on, as the executives of a gigantic energy dealer sucked millions dry, as Washington tried to privatize social security, "as" ad infinitum, the one band that was known for caring about what the suits were doing lay dormant. Now I concede that Rage, during its first run as a band, was filled with constant tension, as guitarist Tom Morello has stated that the band was on the verge of breaking up consistently for the last 5 years of its first run. But, for Jesus sakes'- what other golden opportunity to say, "Fuck the Prez!" without being labeled by the majority of Americans as a bunch of commie bastards are these guys gonna have? The war elicits complaints from everybody from Nancy Pelosi to Pat Buchanan and they're gonna let Green Day have all the anti-establishment glory? For shame.

So, although I am, of course, gonna enjoy hearing the guitar scratching of the "Bulls On Parade" solo ring out across the Indio Valley, I will remain frustrated at the fact that Zach and the gang didn't to get it together as quickly as they did. They still have 2 more years to rag on Bush- if they decide to make this reunion more than a one-off thing, but they nevertheless blew what would have been their best creative period by far by sitting the last 6 years out.

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