“Mad Genius” with Wiener Kids, The John Brothers Piano Company, and Revolution Duo

Mad Genius” – legitimate category or over-used trope? You decide.

Live ‘n’ Local SF proudly presents Wiener Kids, The John Brothers Piano Company, and the Revolution Duo in an evening of insanely good musical derangements.

WIENER KIDS
Brain child of drummer/composer Jordan Glenn, Wiener Kids began as a duo with guitarist Steini Gunnarsson. After Steini moved back to Iceland Jordan picked the project up again a year later, this time with the help of reed masters Aram Shelton and Cory Wright. The music is inspired by small dogs, old bikes, Muppets, cheap Halloween decorations, babies with glasses and other wiener kids. It’s fast and slow, loud and soft. It draws as much from Jan Svankmajer and Hans Bellmer as Peewee Herman and Jim Hensen. It’s music made by ex/current weaklings for everyone!

More Wiener Kids on Fenderhardt

THE JOHN BROTHERS PIANO COMPANY
An art collective formed by John Steven Morgan, John Thatcher Boomer, and Max Moriyama, the John Brothers’ primary aesthetic mission is to bring different art forms directly to the public outside of established venues in settings like mass transit boarding areas. The John Brothers regularly take a small spinet piano to San Francisco, Berkeley and Rockridge BART stations and play continuously for up to seven hours. All music, though containing several different styles ranging from jazz to blues to stride and classical, is composed by John Morgan and Thatcher Boomer. Max Moriyama provides sole artistic direction—putting a “face” to the John Brothers Piano Company by combining century old illustration with modern techniques to create a nostalgic sensibility.

Listen to John Brothers on Bandcamp

REVOLUTION DUO
Comprised of two wildly talented string players—violist Charith Premawardhana and violinist Matthew Szemela—the Revolution Duo are making their debut performance tonight at Viracocha. Charith Premawardhana is founder and director of Classical Revolution, the global phenomenon of local origin that has been bringing chamber music to the masses for over five years. He has performed and recorded with a long list of artists, such as Beats Antique, The Mars Volta, Meklit Hadero, and the Jazz Mafia. Matt Szemela recently moved from NYC to SF and already has become one of the most in-demand musicians on the local music scene, playing with groups as musically diverse as the Berkeley Symphony, Family Folk Explosion, Musical Art Quintet, Todd Sickafoose, as well as in his own innovative chamber hip-hop duo, Vytal Theory.

LIVE ‘N’ LOCAL SF is dedicated to supporting the thriving local music scene by promoting great music, regardless of genre. L ‘n’ L is especially interested in music that is inventive, distinctive, virtuosic, and exciting. Find us on Facebook and Twitter.

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Saturday March 3rd

Viracocha

998 Valencia Street, SF

Doors at 8pm / Show at 8:30pm
$8-20 sliding scale


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Tales from the Other Side (of the Bay)

Friends will tell you, it takes a lot to tempt me out of the Mission. And for good reason! Why go anywhere when there are a bunch of great venues all within a few blocks of my house?

Occasionally, though, I will venture out into the nether regions of San Francisco and even (gasp!) over/under the bay to Oakland or Berkeley. This week was an unusual one for me in that I crossed the bay not once but twice to attend concerts in Berkeley.

Wednesday night I went to see Herbie Hancock at Zellerbach on the UC Berkeley campus. If you’ve never been, it’s a huge auditorium with three distinct levels. Our seats were way up there in the nosebleeds. We had purchased the second to cheapest price available, which, with two different kinds of fees smacked on top, came out to almost $50 a head.

Now, I don’t normally go to see big names from out of town, partly because of the exorbitant prices for tickets, partly for political reasons (I believe in supporting local artists), and partly because inevitably I end up being disappointed by the big names. Sadly, this too ended up being the case for Herbie.

I’m not exactly sure why I decided to spend the big bucks to go see him in the first place. It’s not like I’m an especially huge fan or anything. Recently I’ve been a little addicted to one particular track of his, “And What If I Don’t” from the 1963 album My Point of View and also from a later compilation, Cantaloupe Island. I think I just really wanted to hear him perform it live and, because of that, I somehow got in into my head—despite the threat implicit in the track’s title—that he would.

So what was disappointing (other than that fact that he, um, didn’t)?

For a start, his drummer, Vinnie Colaiuta, was out of control, and I do not mean that in a good way. Someone should have put that man on a leash! Seriously. He took every opportunity he could to go ape-shit on the drums, when really there are times in which one should just chill out, sit back, and . . . I don’t know . . . keep the goddamn rhythm or something? But no, dude was like a crazed animal most of the time. I found it distracting and annoying. It was like he was in permanent solo-mode. I wanted to tell him, “Dude, you ain’t the star of this show!”

After that, there was nothing in particular to point to that didn’t live up to expectations. A huge venue like Zellerbach is obviously not very intimate and this kind of music played by just four musicians seems a little out of place in a venue like that. It gets swallowed up by the vastness of the space, especially by the time it reaches the nosebleeds.

Also, I couldn’t help but think some of the synth-heavy music sounded a little cheesy and dated. So 80’s . . .

And then there’s the economic assessment of the experience. They were good, but were they $50 good? At that price, I’m expecting to be blown away and when that doesn’t happen, disappointment inevitably sets in. Yeah, big name—what do you expect?

Friday night, on the other hand, I paid a mere $10 admission into downtown Berkeley’s Subterranean Arthouse to see Wiener Kids, the brain child of local drummer and boy wonder Jordan Glenn.

I don’t know exactly how many different ensembles Glenn plays in, but I think I like them all, and it’s rare a week goes by that I do not see him perform with some group or other. I had seen the particular configuration that is Wiener Kids once before at the Switchboard Music Festival in April, but I think by the time they played my brain was so fried from listening to hours of experimental music that I did not fully take in the Wiener genius. That, and/or they have just become out of control in the intervening months. And this time, I mean that in the best possible way.

Wiener Kids is Glenn on drums, Aram Shelton on alto sax, and Cory Wright on bari sax. Shelton and Wright also sometimes play bass clarinet and clarinet, respectively.

According to Glenn, “Wiener Kids sounds like a ninety pound weakling throwing a spastic tantrum regarding something not really important.” I love how composers describe their own music! And it’s true. The music is in that territory between experimental jazz and progressive rock, with lots of abrupt changes in rhythm and direction, brief moments of abstract insanity, a lot of whimsy and humor that will make you laugh out loud, and also enough structure and melody to keep it accessible for music plebs such as myself who are not steeped in theory. There are also some unexpectedly beautiful harmonies between the two reed players that might catch you off-guard amid all the silliness.

Glenn’s playing—in complete and utter contrast to what I saw of Colaiuta’s on Wednesday night—is subtle, playful, and so delightfully creative. Thank goodness for “ninety pound weaklings” who don’t need to pound on as many surfaces as possible to prove their technical chops! It is obvious why Glenn (who I’m sure weighs at least a hundred and twenty pounds) is such an in-demand drummer in the local creative music scene. It is also obvious that he, Shelton, and Wright play together a lot, such is their onstage chemistry.

In fact, just a week before they all played together at Viracocha in one of Shelton’s ensembles, Marches. That group also included keyboard player Michael Coleman and drummer Sam Ospovat, both of whom made a guest appearance on Friday night, along with eight other musicians, for the first and last pieces in the Wiener set.

I really liked how the music shifted compositionally when the ensemble changed from big band to trio, and then back again. For example, the last song of the set, “For My Mother,” which is also the last song on the new album, What A Mess, sounded like a slightly off-kilter New Orleans funeral march, quite a contrast from the spastic, proggy episodes we had heard before. I call them “episodes” because many of them come in under a minute long and seem to end mid phrase, which is part of what makes the music so much fun. There are always quirky little surprises to keep you on your toes.

As if that weren’t enough bang for your buck, the opening act Kapowski, an Oakland based pop quartet that also includes Coleman on keyboards and Ospovat on drums, gave a fantastic performance, which ended with a screening of their adorably cute new video. Lead singer Jesse Rimler’s plaintive, languid vocals, somewhat reminiscent of Thom Yorke or Rufus Wainwright (though stylistically very different from the latter) are very easy to listen to. The instrumentation, consisting of two sets of keyboards, bass, and drums, is an unusual mix that works really well with Rimler’s whimsical song-writing.

And just when you thought the evening could not be better value for money, add on two Wiener Kids CDs for only $15 and you’ve got yourself a real bargain! I took home the aforementioned new album and also Wiener’s first, Why Don’t You Make Me? 

To which the only appropriate response is: And what if I don’t?

Too Many Irons (and Other Recipes)

Some of my fondest memories from Dublin in the mid-eighties involve me spending vast amounts of time in the kitchen pretending to do homework while listening to Capitol Radio, an alternative radio station broadcast from various shifting locations in the city.

My favorite show by far was Tony Gahan’s 20th Century Promised Land. It was through Tony that I was introduced to some of the best punk and new-wave music from the late seventies and eighties, bands such as Joy Division, The Only Ones, Magazine, The Chameleons, Ciccone Youth, This Mortal Coil, and Bauhaus.

It was devastating to those of us who religiously listened to Capitol, and particularly 20th Century Promised Land, when the government cracked down on all pirate radio stations in the country, shutting them down permanently on December 31, 1988. I distinctly remember how depressed we all were on New Year’s Eve at the Capitol Radio closing party. We solemnly counted down the seconds to 1989 and, just like that, on the stroke of midnight, a significant musical education ended for me and many others of my generation.

Fast forward more than twenty-two years later to the Mission District in San Francisco. A friend is telling me about an upcoming benefit show he’s doing. “We’re all doing covers of Cardiacs’ songs. You’ve probably never heard of Cardiacs. Hardly anybody over here has heard of them.”

Cardiacs? Yes. The name is definitely familiar. Cardiacs? How do I know that name? What did they sing again?

I go home, do a youtube seach, and discover the answer. “There’s Too Many Irons in the Fire.”

Bingo! Mr. Gahan had been especially fond of this 1987 song, or maybe it’s just the Cardiacs’ song I remember best from his radio show. How exciting it was to rediscover a forgotten piece of my youth! And how exciting it was that a bunch of local musicians were going to be paying tribute to this unique, iconoclastic band all these years later.

Little did I know that since the eighties and until fairly recently, Cardiacs have been continuing to make incredible music that has evolved from the early punk music I would have heard back in the day to more of a progressive, though none the less idiosyncratic, sound.

Ironically, a few years ago, Cardiacs’ composer and lead singer, Tim Smith, suffered a heart attack, followed by a number of strokes that have left him physically incapacitated. He is currently undergoing the protracted process of neurological rehabilitation.

Two Bay Area experimental musicians, Moe Staiano and Dominique Leone, both big Cardiacs fans for some years, decided they wanted to help out Tim Smith by organizing a benefit concert featuring a bunch of different local bands covering Cardiacs’ songs. In addition to raising money for Smith, the aim was also to expose more people to the music they loved so much.

Performing on Sunday’s benefit at Cafe du Nord, were a whole host of local music innovaters: Amy X Neuburg, Wiener Kids, Grex, Inner Ear Brigade, Dominique Leone, and a Cardiacs’ tribute band, ReCardiacs Fly, which included organizer Moe Staiano on drums and members of Reconnaissance Fly.

Most of the musicians had never heard of Cardiacs before organizers Staiano and Leone introduced them to it. But in the process of doing this show, all of them have become huge fans.

So, what is it about the music that inspires people, once they finally discover the band, to become such “obsessive fans,” as Leone says?

Bill Wolter, who leads progressive rock band Inner Ear Brigade, sums up the music in a single word: “transcendent.”

“The structure is complex and beautiful,” says Amy X Neuburg, who opened the show with a solo performance of two Tim Smith songs. There are “beautiful chord patterns that take twists and turns that are unexpected. It’s like art music. . . The compositions are classical in nature.”

Echoing this view, guitarist Marc Laspina of ReCardiacs Fly says, “Musically it’s like opening God’s cookbook. . . The melodies, the time changes, the energy. It’s completely unique!”

Laspina’s bandmate Polly Moller, who was introduced to Cardiacs by Staiano about a year ago, wonders, “How did I live this long and not know this band?”

Staiano himself says, “It’s like nothing else, and it’s very intense and energetic, and very well written and really thought out. There’s not very much music I’ve heard like that.”

But none of these descriptions can truly capture the music. You can talk about the incredible energy, the theatricality of the band’s performances, the weird time signatures, the sometimes spastic phrasing, the unique chord progressions, the distinctness of Tim Smith’s voice.

“But,” as Leone says, “it doesn’t even begin to sum up what they sound like, which is why so many people are surprised when they first hear them.”

Although all the musicians who performed at Sunday’s show have obvious technical chops, they still found it a challenge to recreate Smith’s music. Because Cardiacs are not especially well known, you can’t find tablatures for their songs on the web or, indeed, reliable lyrics sheets, so it was up to each band to piece together and notate the songs by themselves. In addition to the sheer complexity of the music, there were also other challenges.

Bassist Tim Walters of ReCardiacs Fly said that on some of the songs he couldn’t always hear the bass, so there was a lot of guessing and filling in the gaps involved.

On a similar note, interrupting her own performance, Neuburg issued a wry disclaimer about the accuracy of her lyrics. When you figure out what words Smith is singing, the lyrics are often pretty bizarre, so it’s hard to tell if you’ve really gotten them right.

None of this detracted from anybody’s fun. On the contrary, it was an evening of stellar performances that, by all accounts, left everybody wanting more, more, more.

My own personal favorite performance of the night was ReCardiacs Fly’s. With the longest set—doing four songs, all from the mid-eighties—there was really time to settle in with the music. Three songs were from Cardiacs’ 1984 album, The Seaside, and the other, which I was especially excited about, was (you guessed it) their 1987 single, “There’s Too Many Irons in the Fire,” the one song I actually knew some lyrics to.

ReCardiacs gave a spirited, high energy performance in full Cardiacs costume and face paint (white faces with red lipstick smeared willy nilly in the general vicinity of the mouth!). Lead singer Polly Moller played Tim Smith next to saxophonist Chris Broderick’s Sarah Smith, Smith’s then wife. Broderick with his golden curls bounced around onstage in a black dress and tiara, while Moller, in a mod suit complete with vintage eighties tie, twitched and grimaced, and smiled maniacally.

What a blast! All that was missing was a good ol’ eighties mosh pit, which probably would not have been that difficult to instigate.

The night ended with Leone and his band performing his favorite, “Dirty Boy” from the 1995 double album, Sing to God, a song, according to Leone, “so epic in every possible respect, pushing every kind of button that Cardiacs push for me, and doing it to the nth degree.” It certainly was an epic ending to an epic evening.

All the of musicians who performed on Sunday are excited to incorporate Cardiacs’ music into future performances with their respective bands. All of them, it seems, have become diehard fans. Leone was very encouraged to hear that audience and performers alike came away wanting more. Maybe another such benefit for Smith will happen again soon.

In the meantime, Leone’s message to those thirsty to hear Cardiacs’ music, and especially those who would like to help Tim Smith on the road to recovery?

“Go to iTunes and buy Cardiacs’ music.” It’s that simple.