Category Archives: TVD San Francisco

TVD Live Shots: Smashing Pumpkins at the Warfield, 12/11

Let’s stop with the silly comments such as, “It’s not really Smashing Pumpkins with only one original member.” Yes it is, because Billy Corgan IS Smashing Pumpkins. And while were on the subject—were his remarks regarding the Foo Fighters and Pearl Jam really off that much?

I mean I love the Foo Fighters, but Corgan’s right in the fact that they really haven’t “evolved” as a band. And that’s OK because they have perfected their formula for kick ass rock ‘n’ roll. As for Pearl Jam, again, I’m a fan, but can their new songs hold up to anything from their first three epic masterpieces? It’s certainly up for debate, and Mr. Corgan has made two very valid points that the media have spun out of control into an attack on his rock ‘n’ roll peers.

With that being said, this is a show review so let me get to it. I was able to score a last-minute ticket to see one of a series of intimate shows that have been taking place in London, New York, and Paris that all sold out instantly. The band is touring to promote their new album Monuments to an Elegy, which was released on December 9. When the band added San Francisco to the short tour, I was ecstatic.

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Groovy Man of the
Thrill Kill Kult,
The TVD Interview

I have seen My Life With the Thrill Kill Kult more times in my life than any other band. The industrial dance, punk, rock, disco pioneers continually deliver a one of a kind spectacle that has often been imitated, but never actually replicated for close to 30 years now.

Their latest album Spooky Tricks is a fantastic return to form that finds TKK taking a cue from their early days while still pushing the genre forward. I was fortunate enough to chat with Thrill Kill Kult’s eclectic frontman and founder Groovy Man before their show earlier this year here in San Francisco.

So, it’s been 27 years now?

Yeah, about that.

Satanic disco, Industrial disco—what’s the best description of the band you’ve heard so far?

Oh God, that’s a hard one to pull. I don’t know, I have had so many different combinations I can’t think of a favorite. You know we change from album to album and, our sound is sort of our sound but I can’t really put it into words I guess. I would be something like Punk Rock Disco or Progressive Industrial Dance Funk Disco, there are just so many.

There are lots of reviews around the latest record saying that you have returned to the classic Thrill Kill Kult sound. Was that the goal?

It just happens you know. We don’t plan anything that we do. Not even records, we sort of map them out in the beginning and we say, “I will do this one really slow and weird and then by the time it’s done it’s completely the opposite of it.” It’s transitional as it’s being created and it sort of fluctuates in between all different kinds of things until it finally gels into say, the Thrill To Kill Kult sound you know, if that makes sense.

If you had to pick a favorite record of yours what would you choose?

I’m bad with choices. I don’t know, I think everything has its own identity, and I like them all pretty much the same when I listen to them which isn’t much.

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TVD Live: Gruff Rhys and East India Youth at the Chapel, 11/18

Gruff Rhys photographed by Jason Miller-2

Recently I witnessed one of the most interesting live performances I have seen all year. Before his publicist reached out to me I have to admit that I wasn’t too familiar with Gruff Rhys other than the fact that he was the singer for critic’s darlings, Super Furry Animals. Now I am sort of obsessed with his latest effort, the multimedia experience called American Interior.

It’s a fascinating but complicated story, so let me do my best to sum up what Gruff is up to on this very ambitious and entertaining project.

Gruff is taking part in what he refers to as an investigative tour seeking out the final resting place of his relative John Evans, who left Wales in 1792 on a quest to find a mythical tribe of Welsh-speaking Native Americans. Evans, a 22-year old farmhand from the mountains of Snowdonia, Wales, responded to a plea for a brave soul to ascertain if there was indeed a tribe of Welsh-speaking Native Americans still walking the Great Plains, descendants of Prince Madog (widely believed to have discovered America in 1170).

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TVD Live Shots: Faith
No More at Amoeba Records, 11/28

The news hit the Twitter-sphere at 2PM and the cat was out of the bag. A gift from the Black Friday gods above in the form of a surprise Faith No More show at Amoeba Records in San Francisco. Celebrating the release of their new Record Store Day 7” single “Motherfucker,” the alt-rock legends played their first show in more than four years to 800 plus fans who were happily jam-packed into the iconic record store.

Taking to the modest stage in the corner of the store would be the Album of the Year-era lineup of Mike Patton, Mike Bordin, Billy Gould, Roddy Bottum, and Jon Hudson along with one full-sized leather clad sixth member they call “the Gimp.” The Gimp is sort of the new spokesperson while adding to the on stage personality that the band is known for. Actually, it’s just really fucking creepy to be quite honest.

Faith No More photographed by Jason Miller

Faith No More wasted no time launching into their new single, “Motherfucker,” then quickly jumped back in time to pay homage to their humble beginnings with “As The Worm Turns” and “Spirit” from their pre-Patton albums We Care A Lot and Introduce Yourself. Patton and company would shift the Gimp from posing on stage left over to stage right for the final two songs of the brief set, “Ashes to Ashes” from the 1997 masterpiece Album of the Year, and finishing off with new gem called “Superhero.”

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TVD Live Shots:
Cheap Trick at the Warfield, 11/22

It’s hard to believe that 40 years on any band could sound this good. The magnetism of Robin Zander, the charisma of Rick Nielsen, the thundering 12 string bass of Tom Petersson, and the bombastic drums of Nielsen’s son Daxx continue to bring their legendary brand of rock ‘n’ roll to the masses. This time around it was to a full house at the Warfield Theater in downtown San Francisco.

I have seen Cheap Trick live more than a dozen times now and they never cease to live up to the announcement that precedes this legendary quartet taking the stage, “The Best Fucking Rock Band You’ve Ever Seen.” This time though was different as it was the first time I was allowed to photograph one of my all-time favorite bands. It was amazing to see the man of one thousand voices, Mr. Robin Zander decked out in his black leather Dream Police uniform. His voice sounds amazing as well. He’s still got the power and plenty of range to hit all the notes in all the right places—while still enjoying every last bit of leading such an epic band. Rick Nielsen’s personality remains bigger than his collection of oddball guitars and his quick wit and connection with the audience is second to none. Read More »

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TVD Live Shots: Slayer and Exodus at the Fox Theater, 11/11

Slayer photographed by Jason Miller

The year was 1988. I was fourteen and it was the beginning of my adolescent rebellious stage. It was the first time I had heard Slayer and my intro to the band was the song “South of Heaven.” It was a departure from their previous album as they had slowed things down significantly, but somehow they managed to turn up the evil factor a notch or two. This moment changed my life. I had discovered my new favorite band.

Never in my wildest dreams did I think that twenty five years later I would be watching this band play one of two sold out nights at one of the most beautiful theaters in the country. Slayer is not just a metal band—they have become a way of life for a lot of metal fans around the world. The one thing you will never hear a critic or fan say, “Slayer returned to their roots on this tour.” Because they never left them behind. There are few bands these days that can lay that claim.

Slayer photographed by Jason Miller-2

The second the blood stained curtain with the enormous Slayer pentagram on it dropped, the onslaught had begun. It would go on for nearly two hours as the band pummeled the capacity crowd, playing below 4 upside down crosses and a giant evil skull. These guys sounded better than I have ever heard them before and they looked completely in control.

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TVD Live Shots: Julian Casablancas at the Regency Ballroom, 11/8

There comes a time in every great artist’s career where they go off the deep end and try something experimental. It’s sort of like a George Costanza opposite moment for a musician—they do the exact opposite of everything they know and it leads to great success, at least for a little while. For Strokes frontman Julian Casablancas that time is now and it comes in the form of a new record called Tyranny with a his new band The Voidz.

Tyranny is a hipster hat tip to the post punk avant-garde era that was ruled by Television, The B-52’s, Talking Heads, and later immortalized by Joy Division. It’s a time and place that Casablancas is very familiar with as The Strokes were pioneers in the ’90s revival of this movement which would pave the way for many.

Casablancas and company brought their eclectic show to the Regency Ballroom and a near capacity crowd—and let me just say right upfront what was surely on everyone’s mind that evening; Tyranny is a really fucking weird record. That’s not a bad thing, but it’s certainly not anything like The Strokes, nor should it be.

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TVD Live Shots:
Gwar at the Regency Ballroom, 11/5

I’ve seen some crazy sh*t when it comes to heavy metal and punk rock shows, but nothing could prepare me for the insane show that Gwar brought back to the Regency Ballroom last week. The scumdogs of the universe delivered an insane tribute to Gwar’s late frontman, Oderus Urungus (Dave Brockie) who passed earlier this year.

It’s called the “Gwar Eternal Tour 2014″ and it’s the christening of two new members who share lead vocal duties— Michael “Blöthar” Bishop and Kim “Vulvatron” Dylla. Blothar is some sort of viking warlord with a set of six udders that shoot out multiple streams of blood simultaneously, while Vulvatron is sort of a hot, punk rock chick who decapitates monsters and shoots blood out of her breasts. Now, I’m getting ahead of myself here.

Gwar photographed by Jason Miller-25

Let me backtrack a bit and do my best to try and explain the absolute mind-f*ck of a story that unfolded before me while I was constantly dodging stage divers, enormous amounts of fake blood, and giant spurts of space jizz.

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TVD Live Shots: Flyleaf at Slims, 11/2

Flyleaf photographed by Jason Miller

If a band’s lead singer steps down and they choose to continue with a new one and all parties are in agreement, then so be it. Flyleaf is more than one person and let’s be honest, if you don’t agree, then just move on as there are many more things to worry about in life than having to constantly comment all over social media about a former lead singer. Now that that’s out of the way, I’ve seen Flyleaf numerous times, and the Flyleaf that I saw last week here in San Francisco has reinvented themselves, they have evolved.

New singer Kristen May was outstanding. She was singing as if the world was going to end the next day—it was nothing short of stellar. Opening up the set with the classic Flyleaf song “Fully Alive,” the band would make a statement that Kristen can hold her own and as they went into their new single “Set Me on Fire” shortly after, you could tell the original members of Flyleaf were very confident in their choice.

Flyleaf photographed by Jason Miller-11

Flyleaf has left Octone Records and moved over to Loud and Proud, which in my opinion is one of the only really hard rock labels left these days. They hired famed producer Don Gilmore (Bullet for My Valentine, Korn, Lacuna Coil, Linkin Park) to give their new album a sonic upgrade and that’s exactly what they got. It’s not as “heavy” as their eponymous debut, but again the band is evolving—they seem to be more focused on songs and melodies now instead of pure heavy grooves as they did in the past. And it works for them.

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TVD Live Shots:
King Diamond at the Warfield, 10/30

The year was 1987. I was 13 years old living in a suburb of St. Louis, and that’s the first time I remember hearing King Diamond. Headbanger’s Ball had debuted the video for the song “The Family Ghost” from his first concept album, the epic masterpiece Abigail. I was hooked and ran straight to the record store to buy this record.

There was only one problem—my parents wouldn’t let me listen to this type of music thanks to the PRMC (Parents Music Resource Center) and their “Filthy Fifteen.” Led by Tipper Gore at the time, this list would come to force music companies to add Parental Advisory stickers to records they found objectionable.

This tactic would end up backfiring big time. We would all find out very quickly that when you tell someone not to buy or listen to a band because they are “controversial,” it very often leads to curiosity and ultimately a ton of record sales. My friends and I would go to record stores back then looking for Parental Advisory stickers as a seal of approval. We would seek out he most evil-looking record covers we could find that we knew would piss off our parents. However, there was another problem—with this new Parental Advisory label you had to be 18 to purchase these records. But, I found a record store that wasn’t checking IDs, so that’s where we shopped—crazy to think about having to do this now, right?

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