Hayley Williams — the next twang-friendly Taylor Swift?
It could have happened, says the frontvixen for pop-punkers Paramore, whose self-titled fourth album just debuted at No. 1 on the Billboard chart. Read More
British synth-pop perfectionist Little Boots had a specific mood in mind for her new sophomore effort, “Nocturnes,” and its New Order-ish percolators such as “Motorway,” “Broken Record” and “Beat Beat” with its telltale line “Every night that you’re sleeping/I stay awake until dawn.”
“It’s got a real nocturnal feel,” says the keyboardist, born Victoria Hesketh. “But even though it’s dark, there are still fun songs like ‘Beat Beat,’ where you’re getting ready to go out. So it’s really more of a full-spectrum experience of the night.” Read More
Program 3 features Beethoven’s late masterpiece "Missa Solemnis" — with Fabiano, soprano Laura Claycomb, mezzo Sasha Cooke and bass Shenyang — and excerpts from Palestrina’s 1562 "Mass for Pope Marcellus II."
Why are two dozen of his works in the current San Francisco Symphony schedule? Read More
Lovable English eccentric Robyn Hitchcock often finds himself in remarkable situations, from 2008’s expedition to Greenland to study climate change to co-starring in Jonathan Demme films "The Manchurian Candidate," "Rachel Getting Married" and the concert documentary "Storefront Hitchcock." A few months ago, while visiting his daughter Maisie in Berlin, he unexpectedly went with her and Michael Stipe to Yoko Ono’s birthday party, where he and Stipe ended up singing "Give Peace a Chance" onstage. Read More
Future Twin frontwoman Jean Yaste likes to start things.
Not just the leader of the San Francisco garage, lo-fi rock band, she also opposes condominium development in The City, is involved with the group that took over land in Albany and converted it to a guerilla farm, and is co-founder of an all-female moped gang. Read More
Singer-instrumentalist Francoise Cactus of the eclectic French-German duo Stereo Total may not be Mother Goose, but she’s got her share of enchanting tales.
Given the last name La Hove at birth, the performer says her adopted surname has a fabular origin: her obsessive-gardener mother, who brought outdoor plants in for the winter.
“She always put all the cactus in my room. I was really afraid when I was small, thinking, ‘Oh, no. If I move in my dream, I’ll be stabbed by all this cactus!’” she says in a charming Burgundy accent. Read More
At first, chuckles Charlie Reid, he and his twin brother, Craig, thought it was a prank. But the phone call the Scottish duo — also known as folk rockers The Proclaimers — received in 2002 from playwright Stephen Greenhorn was on the level.
The writer told them he had a concept for a musical using The Proclaimers’ songs, including the enduring hit “I’m Gonna Be (500 Miles).” Read More
Members hail from Sweden, dress in hooded cloaks, are led by a skeleton-masked frontman named Papa Emeritus II and, on their new sophomore CD, “Infestissumam,” they offer goth-metal dirges such as “Idolatrime,” “Monstrance Clocks” and “Body in Blood.” What’s not to love about the theatrical juggernaut called Ghost B.C.? Bandmates are not atheists, insists one of the perpetually anonymous members known as Nameless Ghoul. “But aesthetically, the younger me wants there to be a physical devil because he’s cool!” he says. Read More
San Francisco musician, DJ and producer Dub Gabriel celebrates the release of his fourth solo album, “Raggabass Resistance,” with a party at the Elbo Room on Sunday.
Fusing electronic experimentalism and groovy reggae, “Raggabass Resistance” is the sound of a three-year global odyssey, with diverse guests such as Major Lazer and Snoop Dogg producer Blakkamoore and David J from Bauhaus and Love & Rockets. Read More
Labeling a band an institution — implying it is past its prime — is a dangerous game. But if any group is capable of wearing the tag without insult, it’s Built to Spill, playing a two-night stint at Slim’s this weekend.
Led by chief songwriter Doug Martsch, the Boise, Idaho, group’s devotion to all things guitar — from fuzzy, distorted riffs to angular and precise compositions — has created the template for indie rockers of the past two decades and is embraced by new groups such as California X and Cymbals Eat Guitars. Read More