My good friend Patrick Luddite, who I see every six months when I am out West, has been kind enough to agree to file reports from San Francisco’s Noise Pop Festival, taking place right this second. It’s long been one of America’s best music festivals (I prefer it, actually, to SXSW, because it’s much more about the bands and fans, and much, much less a music industry confab). Here is his report on night one. He will keep them coming! So check here daily!
Jack Rabid
Noise Pop 2007, San Francisco
By Patrick Luddite
It’s been 15 years since KEVIN ARNOLD put on the first Noise Pop festival. No, I can’t believe it either. Dedicated to showcasing bands with a sense of melody and distortion, the first “festival” was a single night, five bands on the bill and one venue—not a bad night out I’m sure. OK, six bands counting the surprise appearance by THE FASTBACKS (who went on to a record nine appearances). An even better night out I can’t imagine. Since I don’t know Kevin, I haven’t been able to verify this, but I have to believe he had no idea that Noise Pop would turn into the institution it has. That said, I’m sure he’s pleased, but I’m guessing even he would have to confess some surprise that 15 years on from Noise Pop ’93, the event has expanded to 15 venues and over a hundred bands. And it’s not just bands anymore (not that there is anything wrong with just bands). Films, art and the first ever Noise Pop Expo (industry panel discussions, Pop and Shop, acoustic performances) add depth to Noise Pop experience. But at its heart it is still about the bands. Thank God…
Night number one for me started at the Great American Music Hall, in my opinion the finest venue in this city—beautiful to behold with fantastic sound to boot. Built in 1906, it was originally called Blanco’s and was thee spot during the Barbary Coast era serving as a restaurant/bordello. If you’re not familiar with San Francisco, the club is located in the Tenderloin, a somewhat seedy part of town that seems to thus far have escaped gentrification. The smells of piss and the sight of homeless and damaged people abound. But enough of the color. This night was to be closed by SEBADOH but first up were THE NEW TRUST, LOVE OF DIAGRAMS and THE BENT MUSTACHE and was due to start at 8:00 sharp.
At 8:06 Santa Rosa, CA’s New Trust came on to what can only be described as a group of 15-20 of their friends. Such is the shame of opening this early. Energetic from the start, the band—two guitars bass and drums (female drummer to boot—often a good sign—went at it in a way that was not unpleasant at all. The thing is, that is how it peaked for me. Oh, they were very tight and well mannered, and the songs were at times driving and then soft, and then off roaring again. Soaring choruses more often than not that were sung in falsetto-esque styled vocals played a part as well. This lot were polite as well, acknowledging the honor of playing at the 15th Noise Pop and sharing the stage with Sebadoh. That’s all well and good; but when the end came (after seven songs in 29 minutes) it wasn’t so much that I disliked it, but rather I didn’t remember it.
Next up was a trio from Melbourne, Australia in SF for the second time, though the first as a new signing to Matador. Two women in this band, and yes, one on drums! The other woman being on bass, with the lone male handling the guitar chores to fine affect. The set begins well enough with biting angular guitar, the drummer pounding out a beat you could dance to, and the bass player offering somewhat emotionless vocals and… well… you know where this is going: post-punk. Yes, I hear GANG OF FOUR with a bit of JOY DIVISION/First LP NEW ORDER. Just a hint, mind you, nothing over the top, but clearly enough to have gotten them on the soundtrack for ‘The OC’ with the track ‘No Way Out.’ That ALEX PATSAVAS doesn’t miss anything, and clearly has that demographic pegged. The press clippings mention SIOUXSIE SIOUX, but I don’t hear that at all. Does every woman in a “post-punk” combo have to be blessed with such comparison? Song number two takes a similar tack, but the fella on guitar takes over the vocals. Again, another short sharp song that leaves me happy. As the set wears on, it doesn’t get much better I’m afraid, and at times drags. The songs are a bit too long with not enough interplay with the male/female vocals (as this seems quite effective when they do it). The lyrical content involves the use of four or five words repeated over and over. This seemed a bit half-baked to me, really, but it was working a bit, based on a quick scan of the crowd. (OK, I saw one girl in an ugly, brightly colored dress bouncing up and down quite happily.) At this point, the club is about half full and the crowd offers polite response, and seems attentive throughout, but I can’t see much merch moving for this group. “It’s a great thrill to play with Sebadoh and to play this venue” is mentioned before song number seven I’m not sure what it’s called, but the lyric “trouble, trouble, trouble, I see trouble” rings out (bit of foreshadowing, that). The crowd once more seems engaged, so this can only mean… “That’s all we have time for. Thanks a lot for having us.” Just as they were about to get the crowd back it was done (to audible sounds of disappointment).
After a short break, The Bent Mustache hit the stage at 9:45. An all-male trio hailing from the Netherlands, the line-up consists, in part, of ex-members of THE DOG FACED HERMANS and an early member of CORNERSHOP. That alone got my attention. And in listening to the bass-driven rhythmic din, it makes sense. At times I hear THE EX (one of the Netherlands’ greatest exports) as well, although with a more traditional song structure. Before the set, I had heard from a friend of the band that the touring line-up is slightly different than that on the just-released CD Forst. I can’t say that I would’ve noticed, as from the first note the band is very tight and sound/look like they’ve been together for years. The crowd finally comes alive, as the band’s energy and enthusiasm are nothing if not infectious. The offer to come onstage and dance was taken by no one, but that didn’t deter the band dancing about on their own. For one song of the nine-song set, the bass player, AJAY, puts down his bass and steps behind the keyboard that had been sitting on stage looking lonely. The change does nothing to diminish the energy, though Ajay clearly thinks he looks silly behind the keyboard, asking the crowd, “Do you remember HOWARD JONES?” and then offering that he doesn’t look quite as cool. Too true. The just-shy of 40 minutes set kept the crowd’s attention the whole way through. All in all a great set and definitely the best band so far—but the legendary Sebadoh was up next.
As soon as the three original members of Sebadoh walk on stage, they owned the crowd without a note being played. I guess it’s true they need no introduction (so I will offer none). LOU BARLOW still looks like the unmade bed indie guy from the early ‘90s as he picks up his bass, while the pre-recorded introduction goes over the PA. Not content to simply trot out the old hits, the band begins with a track from an upcoming release on Domino Records. And guess what—it sounds like Sebadoh! For me, their sound is indicative of the time in which they peaked and what’s wrong with that? Songs from Sebadoh III, Sebadoh vs Helmet, Rocking the Forest EP, the Freed Man, and a fair number for the tour CD (unreleased, alternate takes) sounded as fresh as they did years ago. The new material fit in seamlessly. The only complaint I have is with the pace of the set. More than once the minutes drag by, as the band swapped instruments with Lou going to guitar, JASON LOWENSTEIN switching to bass and ERIC GAFFNEY getting behind the drum kit. OK, so they apologized at one point, but it still took precious minutes from what was a tight festival allotment. That said, the band knocked out 22 songs in 70 minutes, concluding with “Gimme Indie Rock” which only seemed fitting. How funny to hear the lyrics about taking inspiration from SONIC YOUTH and HUSKER DU considering what they have both become (or what they became, with regard to Husker Du). Sebadoh took the night. They were only three-nights into a 50+-day reunion tour, and off to a great start. Catch ‘em if you can; who knows if it will last (or should last)?
Night one of Noise Pop down. Night two report tomorrow–same venue with ROKY ERIKSON closing it out. ‘Til then…
