Save
The
Date
MARCH 15 :: FIXED NYC >> FIXED SF!!!
SIMIAN MOBILE DISCO + FIXED residents JDH + DAVE P!!!
In anticipation of the launch party of FIXED SF here at Mezzanine, we've got a brand new mix for your listening pleasure!
Here's a live opening set, courtesy of JDH + DAVE P, recorded during the Simian Mobile Disco CD release party at Fabric this past summer!
JDH & Dave P - Live mix from SMD's UK Tour
And here's a link another headlining set recorded in London at the so-hip-it-hurts Durrr nightclub!!
Friday, February 27, 2009
Here today, Hair tomorrow
Bijules' "Hairem"
Drop
It
Like
It's
Hot
Our pals over in NYC have created this Rye Rye-inspired hair/headband that was hand-dyed by none other than Rye Rye's own haircolorist.
Snazzy.
Drop
It
Like
It's
Hot
Our pals over in NYC have created this Rye Rye-inspired hair/headband that was hand-dyed by none other than Rye Rye's own haircolorist.
Snazzy.
Thursday, February 26, 2009
Shout Out Out Out Out!
Check out Shout Out Out Out Out's new behind-the-scenes video shoot!!
The sassy, spritely Canadians will be in SF in full force on Friday the 13th of March for a spooky soiree at Mezzanine: SLASHER & BANGERS, also ft. Rye Rye live!!!
The sassy, spritely Canadians will be in SF in full force on Friday the 13th of March for a spooky soiree at Mezzanine: SLASHER & BANGERS, also ft. Rye Rye live!!!
Wednesday, February 25, 2009
Monday, February 23, 2009
An Interview with Deerhunter Drummer Moses Archuleta
Moses Archuleta plays drums for Deerhunter, a band he co-founded with Bradford Cox in 2001. I had the opportunity to speak with him before the band opens Noise Pop with their Tuesday evening show at the Mezzanine. I’d previously spoken with Bradford on the eve of the release of their second LP, Cryptograms (Kranky, 2007), and like much of the music-press-reading public, have been tracking his band’s rise, which seems like a model for a certain kind of meteoric-but-credible indie success in the late zeroes. Bradford’s relationship to media coverage and his once-prolific blogging were a relatable kind of public nakedness that probably also took a mental toll. It also shifted some attention away from the band’s other, less-vocal members. I took the opportunity to speak with Moses over the phone from his bedroom in Atlanta to digress from an album about which a lot has already been written.
BB: So how did your chores go yesterday?
MA: They went OK, then I ended up doing some Mardi Gras stuff in the evening, but my phone died and I never made it back home cos I was carpooling.
BB: What was the Mardi Gras thing?
MA: It was just a get-together at a friend’s house. We had some drinks and made some jambalaya and they had a little fire out back. It was really pleasant.
BB: You’re in Atlanta, right?
MA: Yeah, some of the friends are people from New Orleans who ended up moving out here.
BB: Has there been a migration of people from New Orleans to Atlanta post-Hurricane Katrina?
MA: I don’t know anyone specifically who came over for that reason. I know people who moved here before or were back and forth when they were younger. I guess there’s some kind of connection between the two cities.
BB: Are you coming out to San Francisco just to do Noise Pop, or is it part of a bigger tour?
MA: No, we’re just coming out to do Noise Pop.
BB: I’m not sure if it was a Noise Pop show, but I saw you guys play around two years ago at this venue that’s no longer around called 12 Galaxies.
MA: We’ve never played Noise Pop before — the 12 Galaxies show was actually part of our first full US tour, right after Cryptograms came out, and we were with The Ponys.
BB: I remember meeting you briefly after the show — I had written this profile for Dusted and came back to meet Bradford, who was the only person from the band that I’d interviewed.
MA: I remember that being a really good show, but that was a pretty bad night. I think that might be the only time I’ve ever not been able to load-out for a show.
BB: Because you got stoned?
MA: I was already drunk, and someone had something from Canada. I don’t really smoke very much. I will, if it’s social or whatever — I seriously took one puff and it was way, way stronger than anything I’d ever smoked before. I’m already kind of a lightweight anyways, and that put me over the top. I definitely remember the show being really fun though, prior to that. I remember it being a weird/interesting venue because it had that balcony that went all the way around, which must have been a strange view for some people.
BB: That’s interesting — the only other venue I’ve seen you guys play is the Great American Music Hall, which has a similar thing going on.
MA: At 12 Galaxies, it’s like people are looking over you, almost. Strange but pretty unique for a venue. Why’d that place close?
BB: I think there were some financial problems and maybe a lack of interest? It seemed to exist in this middle place that maybe isn’t as tenable as it was a couple years ago. Like, it seemed too big for the bands that the Hemlock books, but too small to compete with Great American or The Independent. But about the 12 Galaxies show, I recall being impressed with your outfit. I think you’re the best dressed of Deerhunter’s members, and I remember you wearing some busted jeans, an oversized tie-dye t-shirt, and moccasins before they got big with college girls. Do you have a favorite place to shop in Atlanta, or on tour?
MA: It’s mainly thrift stores, and beyond that there’s a place in New York that I like a lot but can’t afford called Opening Ceremony. I think there’s one in LA, too. There’s also this weird Japanese store, kind of like IKEA, called Muji, in New York. They sell house wares but have a few clothing items, and they’re actually really cool, among the dishtowels and DIY bed frames and stuff like that. It’s pretty random. Clothes are weird to me — I kind of get into patterns with them. With that tour, what you saw me wearing, I had probably been more or less wearing for a week. I’m a pretty clean person, so I’m not just wearing the same outfit ‘cause it’s the only thing I have. I get into certain moods where I’ll just want to wear one thing. Especially with jeans, because I have a hard time finding a pair I like. Same thing with shoes. It’s just like I need a new shirt.
BB: Like modular fashion.
MA: That shirt’s cool, I got it from Kristen actually, our tour manager at the time. It’s a tie-die shirt with an ankh dyed in the middle. I don’t shop for clothes very often — I’m not a good shopper, mood-wise. Shopping is usually pretty stressful for me. I either go all-in or nothing. It’s a lot of digging, I’m a lot less in the mood for it than some of the people I know. Bradford could probably go thrifting at the drop of a hat.
BB: I read on Stereogum’s “Quit Your Day Job” series that you used to work at American Apparel. Do you still have that job?
MA: I don’t work there anymore — I’m too busy with other stuff. In a practical sense, I would like one. I tried getting a job a few months ago and had to quit because I realized it wasn’t going to work, that I was in over my head with it. It just doesn’t balance out so well.
BB: Where else had you worked before Deerhunter took off?
MA: I worked at this 24-hour diner in Atlanta called The Majestic, which is where I first met [former Deerhunter guitar player] Colin [Mee]. I worked at a pizza place before that as a dishwasher, at a second-hand clothing store called Clothing Warehouse for seasonal work, at a United Artists theatre, at Pier 1 Imports, at Wendy’s, and this local coffee shop and ice cream place for a long time too.
BB: I remember you mentioning you would listen to Current 93 and Sleep while working.
MA: Yeah, you can listen to whatever you want in the stockroom. The guy I used to work with is this really awesome dude named Brian, and he’s still there. I got really fucking lucky to end up in the back with someone who had really good taste in music.
BB: Are you a metal fan? I just ran across this mixtape you made for Nylon that got me thinking about that.
MA: A little bit, yeah. A true metalhead would probably call me a “Nigel hipster.”
BB: What’s that?
MA: I don’t know if this is where the term was coined, but I was at a show in Brooklyn where Sunn 0))), Growing, and Nachtmystium played. When Nachtmystium were on stage, they kept calling out people in the audience, and there was one kid they singled out by calling him a “Nigel hipster.” It’s someone who doesn’t listen to metal seriously or who listens or ironic reasons. I have an appreciation for some parts of metal more than the whole, personally. I appreciate how hard metal bands try — by and large you’re not going to find a half-assed metal band. They usually have a unified aesthetic. Sonically, I appreciate what they tinker with, too. But it can be a little fatiguing.
BB: I find myself thinking about Current 93 in the same way.
MA: That David Tibet stuff, you can tell he cares about every aspect of his output. It’s not always time to listen to it, though. I love Swans, but I can’t listen to them day in, day out. We’re on Kranky, and a lot of the label’s records are pretty mercurial or ambient. When it comes to music like that, a lot of how you approach it comes from the details: song titles, artwork, things like that. They become heightened because of the kind of music.
BB: One thing that seemed to happen with Microcastle (Kranky, 2008) is that a lot of the ambient stuff on Cryptograms seemed to evaporate or flow into Atlas Sound.
MA: I’m not sure what happened, exactly, with that. I feel like I was, especially with Cryptograms, the one really pushing for soundscape and ambient efforts. I love tinkering with electronic things, getting certain sounds. I think what you’re talking about might be coincidental since the Atlas Sound record was a focused effort for Bradford, but maybe since we worked on Microcastle so soon after Let the Blind Lead Those Who Can See But Cannot Feel (Kranky, 2008), that side was toned down. Any ambient things that did happen on Microcastle happened during mixing, in contrast to Cryptograms, where those things were sourced from the band.
BB: Do you have any solo stuff?
MA: No. It’s not like I haven’t had opportunities to do it, but it isn’t as natural for me as it is for Lockett or Bradford, who have been recording themselves since high school. I’d need to decide pretty pointedly that that’s what I wanted to do before doing it.
BB: One thing I’ve wanted to ask you is about your ethnic background.
MA: I’m one-half Korean and one-half…I guess the best I could say is “Hispanic,” it’s mixed up. I don’t know the genealogy of my family that great, especially my dad’s side.
BB: Do you identify with one side over the other?
MA: Probably the Korean side, my mom’s side. But I’d be remiss to say that they don’t both have their own way of playing into things. Plus, I think I look more Asian than the other way around, though that could be a perception thing.
BB: Did you grow up in Atlanta?
MA: No, I was an army brat, so I grew up all over the place. Never in the city, always small towns and suburbs. This is the first time I’ve lived in the city.
BB: Did you move to Atlanta of your own volition, or did your family move?
MA: I moved on my own. It was the closest place to where I was living at the time, in Gainesville.
BB: I also wanted to ask you about the on-stage fight between you and Bradford at the show you played at the Great American Music Hall in the winter. From where I was watching, it seemed like a mic or delay pedal broke and Bradford kind of went off.
MA: It was just a misunderstanding between him and I — a drumstick of mine broke and when I discarded it, it hit him in the back. On stage, in the middle of trying to play a show is not the best time to try to hash out those details, so we ended up both getting upset at each other.
BB: I think I was also primed to assume Bradford was flying off the handle just because of the nature of the press he’s gotten, which paints him as a drama queen or temperamental performer.
BB: So how did your chores go yesterday?
MA: They went OK, then I ended up doing some Mardi Gras stuff in the evening, but my phone died and I never made it back home cos I was carpooling.
BB: What was the Mardi Gras thing?
MA: It was just a get-together at a friend’s house. We had some drinks and made some jambalaya and they had a little fire out back. It was really pleasant.
BB: You’re in Atlanta, right?
MA: Yeah, some of the friends are people from New Orleans who ended up moving out here.
BB: Has there been a migration of people from New Orleans to Atlanta post-Hurricane Katrina?
MA: I don’t know anyone specifically who came over for that reason. I know people who moved here before or were back and forth when they were younger. I guess there’s some kind of connection between the two cities.
BB: Are you coming out to San Francisco just to do Noise Pop, or is it part of a bigger tour?
MA: No, we’re just coming out to do Noise Pop.
BB: I’m not sure if it was a Noise Pop show, but I saw you guys play around two years ago at this venue that’s no longer around called 12 Galaxies.
MA: We’ve never played Noise Pop before — the 12 Galaxies show was actually part of our first full US tour, right after Cryptograms came out, and we were with The Ponys.
BB: I remember meeting you briefly after the show — I had written this profile for Dusted and came back to meet Bradford, who was the only person from the band that I’d interviewed.
MA: I remember that being a really good show, but that was a pretty bad night. I think that might be the only time I’ve ever not been able to load-out for a show.
BB: Because you got stoned?
MA: I was already drunk, and someone had something from Canada. I don’t really smoke very much. I will, if it’s social or whatever — I seriously took one puff and it was way, way stronger than anything I’d ever smoked before. I’m already kind of a lightweight anyways, and that put me over the top. I definitely remember the show being really fun though, prior to that. I remember it being a weird/interesting venue because it had that balcony that went all the way around, which must have been a strange view for some people.
BB: That’s interesting — the only other venue I’ve seen you guys play is the Great American Music Hall, which has a similar thing going on.
MA: At 12 Galaxies, it’s like people are looking over you, almost. Strange but pretty unique for a venue. Why’d that place close?
BB: I think there were some financial problems and maybe a lack of interest? It seemed to exist in this middle place that maybe isn’t as tenable as it was a couple years ago. Like, it seemed too big for the bands that the Hemlock books, but too small to compete with Great American or The Independent. But about the 12 Galaxies show, I recall being impressed with your outfit. I think you’re the best dressed of Deerhunter’s members, and I remember you wearing some busted jeans, an oversized tie-dye t-shirt, and moccasins before they got big with college girls. Do you have a favorite place to shop in Atlanta, or on tour?
MA: It’s mainly thrift stores, and beyond that there’s a place in New York that I like a lot but can’t afford called Opening Ceremony. I think there’s one in LA, too. There’s also this weird Japanese store, kind of like IKEA, called Muji, in New York. They sell house wares but have a few clothing items, and they’re actually really cool, among the dishtowels and DIY bed frames and stuff like that. It’s pretty random. Clothes are weird to me — I kind of get into patterns with them. With that tour, what you saw me wearing, I had probably been more or less wearing for a week. I’m a pretty clean person, so I’m not just wearing the same outfit ‘cause it’s the only thing I have. I get into certain moods where I’ll just want to wear one thing. Especially with jeans, because I have a hard time finding a pair I like. Same thing with shoes. It’s just like I need a new shirt.
BB: Like modular fashion.
MA: That shirt’s cool, I got it from Kristen actually, our tour manager at the time. It’s a tie-die shirt with an ankh dyed in the middle. I don’t shop for clothes very often — I’m not a good shopper, mood-wise. Shopping is usually pretty stressful for me. I either go all-in or nothing. It’s a lot of digging, I’m a lot less in the mood for it than some of the people I know. Bradford could probably go thrifting at the drop of a hat.
BB: I read on Stereogum’s “Quit Your Day Job” series that you used to work at American Apparel. Do you still have that job?
MA: I don’t work there anymore — I’m too busy with other stuff. In a practical sense, I would like one. I tried getting a job a few months ago and had to quit because I realized it wasn’t going to work, that I was in over my head with it. It just doesn’t balance out so well.
BB: Where else had you worked before Deerhunter took off?
MA: I worked at this 24-hour diner in Atlanta called The Majestic, which is where I first met [former Deerhunter guitar player] Colin [Mee]. I worked at a pizza place before that as a dishwasher, at a second-hand clothing store called Clothing Warehouse for seasonal work, at a United Artists theatre, at Pier 1 Imports, at Wendy’s, and this local coffee shop and ice cream place for a long time too.
BB: I remember you mentioning you would listen to Current 93 and Sleep while working.
MA: Yeah, you can listen to whatever you want in the stockroom. The guy I used to work with is this really awesome dude named Brian, and he’s still there. I got really fucking lucky to end up in the back with someone who had really good taste in music.
BB: Are you a metal fan? I just ran across this mixtape you made for Nylon that got me thinking about that.
MA: A little bit, yeah. A true metalhead would probably call me a “Nigel hipster.”
BB: What’s that?
MA: I don’t know if this is where the term was coined, but I was at a show in Brooklyn where Sunn 0))), Growing, and Nachtmystium played. When Nachtmystium were on stage, they kept calling out people in the audience, and there was one kid they singled out by calling him a “Nigel hipster.” It’s someone who doesn’t listen to metal seriously or who listens or ironic reasons. I have an appreciation for some parts of metal more than the whole, personally. I appreciate how hard metal bands try — by and large you’re not going to find a half-assed metal band. They usually have a unified aesthetic. Sonically, I appreciate what they tinker with, too. But it can be a little fatiguing.
BB: I find myself thinking about Current 93 in the same way.
MA: That David Tibet stuff, you can tell he cares about every aspect of his output. It’s not always time to listen to it, though. I love Swans, but I can’t listen to them day in, day out. We’re on Kranky, and a lot of the label’s records are pretty mercurial or ambient. When it comes to music like that, a lot of how you approach it comes from the details: song titles, artwork, things like that. They become heightened because of the kind of music.
BB: One thing that seemed to happen with Microcastle (Kranky, 2008) is that a lot of the ambient stuff on Cryptograms seemed to evaporate or flow into Atlas Sound.
MA: I’m not sure what happened, exactly, with that. I feel like I was, especially with Cryptograms, the one really pushing for soundscape and ambient efforts. I love tinkering with electronic things, getting certain sounds. I think what you’re talking about might be coincidental since the Atlas Sound record was a focused effort for Bradford, but maybe since we worked on Microcastle so soon after Let the Blind Lead Those Who Can See But Cannot Feel (Kranky, 2008), that side was toned down. Any ambient things that did happen on Microcastle happened during mixing, in contrast to Cryptograms, where those things were sourced from the band.
BB: Do you have any solo stuff?
MA: No. It’s not like I haven’t had opportunities to do it, but it isn’t as natural for me as it is for Lockett or Bradford, who have been recording themselves since high school. I’d need to decide pretty pointedly that that’s what I wanted to do before doing it.
BB: One thing I’ve wanted to ask you is about your ethnic background.
MA: I’m one-half Korean and one-half…I guess the best I could say is “Hispanic,” it’s mixed up. I don’t know the genealogy of my family that great, especially my dad’s side.
BB: Do you identify with one side over the other?
MA: Probably the Korean side, my mom’s side. But I’d be remiss to say that they don’t both have their own way of playing into things. Plus, I think I look more Asian than the other way around, though that could be a perception thing.
BB: Did you grow up in Atlanta?
MA: No, I was an army brat, so I grew up all over the place. Never in the city, always small towns and suburbs. This is the first time I’ve lived in the city.
BB: Did you move to Atlanta of your own volition, or did your family move?
MA: I moved on my own. It was the closest place to where I was living at the time, in Gainesville.
BB: I also wanted to ask you about the on-stage fight between you and Bradford at the show you played at the Great American Music Hall in the winter. From where I was watching, it seemed like a mic or delay pedal broke and Bradford kind of went off.
MA: It was just a misunderstanding between him and I — a drumstick of mine broke and when I discarded it, it hit him in the back. On stage, in the middle of trying to play a show is not the best time to try to hash out those details, so we ended up both getting upset at each other.
BB: I think I was also primed to assume Bradford was flying off the handle just because of the nature of the press he’s gotten, which paints him as a drama queen or temperamental performer.
Friday, February 20, 2009
Yellow Fever @ NYFW
Thank God it's Friday, and the end of Mercedes Benz Fashion Week in New York. The collections were optimistic, and there seems to be a consensus on color...
L-R: Lacoste, Tibi, Thakoon, and Calvin Klein
photo credit: Getty Images
L-R: Lacoste, Tibi, Thakoon, and Calvin Kleinphoto credit: Getty Images
A strong statement, to say the least. What do you think -- Are you digging it? Have you got the cojones to rock a full yellow-on-yellow-on-yellow outfit this fall?
Right now it's time for my seasonal post-fashion-week coma, but I'll be back on a weekly basis with fashion updates, artist interviews, and goings on about town (Next week: watch me go crazy fan-girl on this blog's ass as I cover Wondercon...)
Right now it's time for my seasonal post-fashion-week coma, but I'll be back on a weekly basis with fashion updates, artist interviews, and goings on about town (Next week: watch me go crazy fan-girl on this blog's ass as I cover Wondercon...)
New Mural Up.
Here are some pictures I got of a new mural that went up over on Valencia and Duboce.
Cuba.
Giant's bike.
Cuba.
Giant's bike.
Thursday, February 19, 2009
Cut&Paste
The Cut&Paste Digital Design Tournament is coming to San Francisco. Competitors will have timed thematic challenges in 2D, 3D, and motion design, performing in front of a live audience.
Saturday, February 28, 2009
101 Henry Adams St.
San Francisco, CA 94103
Cut&Paste Digital Design Tournament 2007 from Cut&Paste on Vimeo.
Saturday, February 28, 2009
Doors open 5:30 PM
Show starts 6:00 PM
The Galleria101 Henry Adams St.
San Francisco, CA 94103
Cut&Paste Digital Design Tournament 2007 from Cut&Paste on Vimeo.
Wednesday, February 18, 2009
WIn a chance to MEET DEERHUNTER!!!
Deerhunter > SF > Tuesday > February 24th > Mezzanine
And
Guess
What??!?!?
WIN A CHANCE TO MEET THE BAND BEFORE THEIR SOLD-OUT SHOW!!!!
All you have to do is email us the ONE QUESTION you've been wanting to ask the band!!
The only pre-requisite: you must be over 21 years of age.
Ready. Set. GO!
info@mezzaninesf.com
...and here's an mp3 to top it all off!
Deerhunter - Little Children
And
Guess
What??!?!?
WIN A CHANCE TO MEET THE BAND BEFORE THEIR SOLD-OUT SHOW!!!!
All you have to do is email us the ONE QUESTION you've been wanting to ask the band!!
The only pre-requisite: you must be over 21 years of age.
Ready. Set. GO!
info@mezzaninesf.com
...and here's an mp3 to top it all off!
Deerhunter - Little Children
N.A.S.A. <> Shepard Fairey : WIN!
First FIVE people who beeline to N.A.S.A.'s merch table on February 28th at Mezzanine will receive a free limited-edition Shepard Fairy N.A.S.A poster!!!
Check out "Money"...
Check out "Money"...
Sunday, February 15, 2009
Bass: The Final Frontier
Ryan Stively, bassist for Port O'Brien, tipped me off to one of his favorite bass brothers. I can hear the funk already.
Friday, February 13, 2009
New Nothing Cinema: Bruce Conner
Celebrate the Life and Films
of Bruce Conner:
Valse Triste
A Movie
Cosmic Ray
the White Rose
Crossroads
more TBA
and other surprises.....
Thursday Feb 19th at 8pm
NEW NOTHING CINEMA
16 Sherman St.
off Folsom between 6th and 7th
of Bruce Conner:
Valse Triste
A Movie
Cosmic Ray
the White Rose
Crossroads
more TBA
and other surprises.....
Thursday Feb 19th at 8pm
NEW NOTHING CINEMA
16 Sherman St.
off Folsom between 6th and 7th
Thursday, February 12, 2009
ROCK ON
Do you remember that one concert that will always be 'the' concert? For me it was Run DMC at the Oakland Coliseum when I was 12. Excited as I was, I don't think it matches the enthusiasm shown by these fellas:
-BOOTSY HARPUT
-BOOTSY HARPUT
UNICRONS
While an official MezzRX "Mission Statement" (read: MANIFESTO) is still being drafted, we, at Mezzanine, feel lucky to be surrounded by a vibrant community of creative spirits, just as we have the privilege of interacting with a constant stream of touring national and global artists and musicians.
One of our goals in starting this "blog" was to serve as a creative catalyst, whilst also highlighting homegrown talent and bridging the gaps between segregated music "scenes." We feel particularly excited when local entrepreneurs and visionaries team up and take initiative, hence our delight at welcoming a fresh new label, based in SF, onto the scene.
We are proud to present UNICRONS, and we eagerly await their label LAUNCH PARTY on February 21st at Mezzanine!
We asked Patric Fallon and Frank Lipari, the talking head impresarios behind UNICRONS to mull upon and muse over some questions and were so thrilled with their responses, we left them in their unabridged, un-edited format, below.
And here are three mp3 tracks from UNICRONS' freshest artists:
Tenderlions - Going Back to Cali (Remix)
Media - Party Frames
Futuristic Prince - By Any Other Name
"There are many parties in San Francisco: what separates the UNICRONS party 'Work' from the other events?"
Since moving to San Francisco 6 years ago I've always wanted to go to a party where kids from every "scene" in the city could come together under the flag of good times, good music, and good people. I found it was surprisingly difficult to accomplish, and I just ended up defaulting to the other parties that were already going on.
While attending these assorted events I felt like there was an overall lack of people actually having fun. The parties in the city seemed to cater to those who were more interested in posturing in the corner with a drink in their hand and posing for photographs instead of running to the dancefloor to act like a complete fool when their favorite song came on. I noticed that things were sort of cliquey, almost like high school. Only certain people would go to certain clubs or certain parties, and it seemed near impossible for different minded people to break into their fold. As soon as I got a chance I started WORK so that I could make sure the DJs and live music acts that I booked would bring with them the spirit the other parties in SF were lacking, and that all people interested in going out would feel welcome. I mean, everyone has to WORK!
Bands like Tenderlions and Loose Shus and DJs like RCHRD OH?! and Hotthobo are some of the best local acts in town. When people come to WORK to see them play they come because they love their music and they know we'll cater to them having an uninhibited, stupid good time free of the standoffish attitude that plagues so many parties. I try to look at it as a communal effort. We have the DJs, the live acts, the visual artists, the photographers, the bartenders, and the bar (Underground SF is easily the most fun bar in the city) all pooling together to have 4 hours of unstoppable good times once a month. There's no separation between the performers and the crowd. Everyone is coalescing into a big, sweaty throng of awesome. There's something just a little magical in that.
The SF Guardian called our party "hyper-energetic" (in a good way) and I've had multiple people tell me that when they go to WORK they're reminded of why they loved dancing to electro in the first place. I never expected such a positive response. In fact, I never thought people would catch on that I was trying to do something different for the night life scene. The formula is simple: drop your inhibitions at the door, grab a drink, get down, and DO WORK. -PF
"What does UNICRONS hope to achieve in SF and nationwide?"
UNICRONS endeavors to provide an all-inclusive source for quality music to the world. Our slogan "WE OWN YOUR SCENE" implies arrogance, however we look at it as confidence in our artists to represent the very best in different genres. We are not creating a niche in any genre market, but instead offering a wide range of music from metal to pop to electro. Our long term goals include stretches into all things cultural; art, literature, and fashion. -FL
"What makes it a label distinctive to SF?"
UNICRONS hatched in SF. Half of those involved with the label live here. We even started a monthly party in the city called WORK. Providing quality ANYTHING has always been at the forefront of what we do. -FL
"What sets UNICRONS apart from the current SF music scene?"
The nature of the current SF music scene tends to be focused around the electronic/dance/club and the indie/rock/folk circles. Most of those involved in either groups are fans of a wide range of music. UNICRONS seeks to unify all with a passion for art, music, and culture. We have a very distinct vision for the visual aesthetic of all we come in contact with as well as the nature of the music we proliferate. We are not a part of any scene, we strive to create a NEW one; all-inclusive and centered around quality and not popularity. -FL
One of our goals in starting this "blog" was to serve as a creative catalyst, whilst also highlighting homegrown talent and bridging the gaps between segregated music "scenes." We feel particularly excited when local entrepreneurs and visionaries team up and take initiative, hence our delight at welcoming a fresh new label, based in SF, onto the scene.
We are proud to present UNICRONS, and we eagerly await their label LAUNCH PARTY on February 21st at Mezzanine!
We asked Patric Fallon and Frank Lipari, the talking head impresarios behind UNICRONS to mull upon and muse over some questions and were so thrilled with their responses, we left them in their unabridged, un-edited format, below.
And here are three mp3 tracks from UNICRONS' freshest artists:
Tenderlions - Going Back to Cali (Remix)
Media - Party Frames
Futuristic Prince - By Any Other Name
"There are many parties in San Francisco: what separates the UNICRONS party 'Work' from the other events?"
Since moving to San Francisco 6 years ago I've always wanted to go to a party where kids from every "scene" in the city could come together under the flag of good times, good music, and good people. I found it was surprisingly difficult to accomplish, and I just ended up defaulting to the other parties that were already going on.
While attending these assorted events I felt like there was an overall lack of people actually having fun. The parties in the city seemed to cater to those who were more interested in posturing in the corner with a drink in their hand and posing for photographs instead of running to the dancefloor to act like a complete fool when their favorite song came on. I noticed that things were sort of cliquey, almost like high school. Only certain people would go to certain clubs or certain parties, and it seemed near impossible for different minded people to break into their fold. As soon as I got a chance I started WORK so that I could make sure the DJs and live music acts that I booked would bring with them the spirit the other parties in SF were lacking, and that all people interested in going out would feel welcome. I mean, everyone has to WORK!
Bands like Tenderlions and Loose Shus and DJs like RCHRD OH?! and Hotthobo are some of the best local acts in town. When people come to WORK to see them play they come because they love their music and they know we'll cater to them having an uninhibited, stupid good time free of the standoffish attitude that plagues so many parties. I try to look at it as a communal effort. We have the DJs, the live acts, the visual artists, the photographers, the bartenders, and the bar (Underground SF is easily the most fun bar in the city) all pooling together to have 4 hours of unstoppable good times once a month. There's no separation between the performers and the crowd. Everyone is coalescing into a big, sweaty throng of awesome. There's something just a little magical in that.
The SF Guardian called our party "hyper-energetic" (in a good way) and I've had multiple people tell me that when they go to WORK they're reminded of why they loved dancing to electro in the first place. I never expected such a positive response. In fact, I never thought people would catch on that I was trying to do something different for the night life scene. The formula is simple: drop your inhibitions at the door, grab a drink, get down, and DO WORK. -PF
"What does UNICRONS hope to achieve in SF and nationwide?"
UNICRONS endeavors to provide an all-inclusive source for quality music to the world. Our slogan "WE OWN YOUR SCENE" implies arrogance, however we look at it as confidence in our artists to represent the very best in different genres. We are not creating a niche in any genre market, but instead offering a wide range of music from metal to pop to electro. Our long term goals include stretches into all things cultural; art, literature, and fashion. -FL
"What makes it a label distinctive to SF?"
UNICRONS hatched in SF. Half of those involved with the label live here. We even started a monthly party in the city called WORK. Providing quality ANYTHING has always been at the forefront of what we do. -FL
"What sets UNICRONS apart from the current SF music scene?"
The nature of the current SF music scene tends to be focused around the electronic/dance/club and the indie/rock/folk circles. Most of those involved in either groups are fans of a wide range of music. UNICRONS seeks to unify all with a passion for art, music, and culture. We have a very distinct vision for the visual aesthetic of all we come in contact with as well as the nature of the music we proliferate. We are not a part of any scene, we strive to create a NEW one; all-inclusive and centered around quality and not popularity. -FL
Wednesday, February 11, 2009
Musical Musings
Calling all music aficionados to a round-table discussion...
Let's envision this town in which we reside as a musical utopia!
Some questions to ponder:
>>What are your complaints with the music scene in SF? What is your "beef"?
>>What progressive and exciting musical styles are germinating in San Francisco??
>>How can we change things to inspire each other and thrust SF's distinctive musical creations forward? How can we develop our own musical sensibilities and enlighten our peers?
Let us brainstorm!
Let us stormbrains.
All in favour of a regular round-table thinktank session
>>>Send Word: kateri@mezzaninesf.com
Let's envision this town in which we reside as a musical utopia!
Some questions to ponder:
>>What are your complaints with the music scene in SF? What is your "beef"?
>>What progressive and exciting musical styles are germinating in San Francisco??
>>How can we change things to inspire each other and thrust SF's distinctive musical creations forward? How can we develop our own musical sensibilities and enlighten our peers?
Let us brainstorm!
Let us stormbrains.
All in favour of a regular round-table thinktank session
>>>Send Word: kateri@mezzaninesf.com
N.A.S.A. ADVANCE CD! >> W-I-N
We still have one ADVANCE N.A.S.A. CD left!
This album has NOT YET BEEN RELEASED - this is a rare exclusive!!
Karen O, David Byrne, Method Man, Seu Jorge, George Clinton, ODB, Lykke Li, Lovefoxxx, Spank Rock, M.I.A., and Santogold are just a handful of the amazing artists who collaborated on "The Spirit of Apollo"!
Two teasers...
Whachadoin? ft. Spank Rock, M.I.A., Santogold & Nick Zinner
The People Tree ft. David Byrne, Chali 2na, Gift of Gab & Z-Trip
To WIN: send in ONE QUESTION you'd like to ask the band! We'll compile the best and submit them to get answers!
Wowie!
info@mezzaninesf.com
This album has NOT YET BEEN RELEASED - this is a rare exclusive!!
Karen O, David Byrne, Method Man, Seu Jorge, George Clinton, ODB, Lykke Li, Lovefoxxx, Spank Rock, M.I.A., and Santogold are just a handful of the amazing artists who collaborated on "The Spirit of Apollo"!
Two teasers...
Whachadoin? ft. Spank Rock, M.I.A., Santogold & Nick Zinner
The People Tree ft. David Byrne, Chali 2na, Gift of Gab & Z-Trip
To WIN: send in ONE QUESTION you'd like to ask the band! We'll compile the best and submit them to get answers!
Wowie!
info@mezzaninesf.com
Tuesday, February 10, 2009
Experimental Music in SF: NEXMAP Binary Cities #6
Experimental Music at swissnex on Thursday, Feb. 12, 8.00pm - 11.00pm
«« NEXMAP Binary Cities #6: Michel Doneda and Fred Frith »»
With its event series "Binary Cities," San Francisco-based organization NEXMAP (which stands for "New Experimental Music and Performance") is focused on bringing together experimental performers from the world over to join forces with their Bay Area counterparts. Through this form of exchange, NEXMAP fosters dialogues between composed and improvised expression, acoustic and electronic performance tools, and between interdisciplinary performance arts.
Michel Doneda, an exceptional French saxophonist, pays his first visit to the Bay Area this week, teaming up with avant-garde legend and global guitar luminary Fred Frith.
Tickets need to be purchased on the NEXMAP website or at the door.
Reservation is highly recommended as capacity is limited.
Ticket price: USD 20 general admission, USD 15 students and seniors.
Info+Tickets: http://nexmap.org/events/0902_Doneda.htm
Location+Parking: http://www.swissnexsanfrancisco.org/aboutus/contact
«« NEXMAP Binary Cities #6: Michel Doneda and Fred Frith »»
With its event series "Binary Cities," San Francisco-based organization NEXMAP (which stands for "New Experimental Music and Performance") is focused on bringing together experimental performers from the world over to join forces with their Bay Area counterparts. Through this form of exchange, NEXMAP fosters dialogues between composed and improvised expression, acoustic and electronic performance tools, and between interdisciplinary performance arts.
Michel Doneda, an exceptional French saxophonist, pays his first visit to the Bay Area this week, teaming up with avant-garde legend and global guitar luminary Fred Frith.
Tickets need to be purchased on the NEXMAP website or at the door.
Reservation is highly recommended as capacity is limited.
Ticket price: USD 20 general admission, USD 15 students and seniors.
Info+Tickets: http://nexmap.org/events/0902_Doneda.htm
Location+Parking: http://www.swissnexsanfrancisco.org/aboutus/contact
Monday, February 9, 2009
N.A.S.A. contest!
We happen to have a copy of "The Spirit of Apollo" set aside for one lucky winner...
Simple "rules": send us an email with your full name and tell us why you want to win.
info@mezzaninesf.com
Ready. Set. Go.
>>>FEBRUARY 28: N.A.S.A. + FLOSSTRADAMUS at Mezzanine!
Simple "rules": send us an email with your full name and tell us why you want to win.
info@mezzaninesf.com
Ready. Set. Go.
>>>FEBRUARY 28: N.A.S.A. + FLOSSTRADAMUS at Mezzanine!
Ghostly Goods
Some treats courtesy of Ghostly - a taste of good things to come!
Michna - Triple Chrome Dipped
Kate Simko - Margie's Groove
The Sight Below - Life's Fading Light
Tycho - Cascade (Live)
Christopher Willits - The Greatest Rain
Lusine - Flat for You (Matthew Dear remix)
MARCH 6 ::
Ghostly, XLR8R and Mezzanine present
GHOSTLY LIVE!
10-Year Anniversary!
1st Installment - SF!
Featuring LIVE performances by:
MICHNA
TYCHO
THE SIGHT BELOW
LUSINE
CHRISTOPHER WILLITS
KATE SIMKO
DERU
ELIOT L
Live!
Visuals!
New Media Installations!
10 PM - 4 AM!
$15 Advance ($20 at Doors)
Tickets at ghostlystore.com
Michna - Triple Chrome Dipped
Kate Simko - Margie's Groove
The Sight Below - Life's Fading Light
Tycho - Cascade (Live)
Christopher Willits - The Greatest Rain
Lusine - Flat for You (Matthew Dear remix)
MARCH 6 ::
Ghostly, XLR8R and Mezzanine present
GHOSTLY LIVE!
10-Year Anniversary!
1st Installment - SF!
Featuring LIVE performances by:
MICHNA
TYCHO
THE SIGHT BELOW
LUSINE
CHRISTOPHER WILLITS
KATE SIMKO
DERU
ELIOT L
Live!
Visuals!
New Media Installations!
10 PM - 4 AM!
$15 Advance ($20 at Doors)
Tickets at ghostlystore.com
Subscribe to:
Posts (Atom)
Posts
