Issue 66 (August 19-30, 2010) by Submerge Magazine

Dive into Sacramento & its Surrounding Areas

august 16 – 30, 2010

#66

slayer American Carnage

Tim & Eric

Don’t Believe What You Read

Wavves

the new humans The Search for Self

Doom Bird • The Press Bistro • The Nibblers live!

The Power of Positive Thinking

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Issue 66 • August 16 – August 30, 2010

Dive Into Sacramento & Its Surrounding Areas

14 cofounder/ Editor in Chief/Art Director

Melissa Welliver melissa@submergemag.com cofounder/ Advertising Director

Jonathan Carabba jonathan@submergemag.com Advertising sales

Josselin Basaldu josselin@submergemag.com senior editor

James Barone Contributing editor

Mandy Johnston

Contributing Writers

Joseph Atkins, Robin Bacior, Josselin Basaldu, Corey Bloom, Bocephus Chigger, Liz Franco, Brad Fuhrman, Anthony Giannotti, Blake Gillespie, Vince Girimonte, Bobby S. Gulshan, Ryan L. Prado, Adam Saake

2308 J Street, Suite F Sacramento, Calif. 95816

916.441.3803 info@submergemag.com

Contributing Photographers

Matthew Burks, Wesley Davis, Russ Wonsley distribution

printed on recycled paper

Vince Girimonte, Monica McStotts

www.submergemag.com

dive in ‘sup with the ‘tude?

august 16 –30

2010

03 04 05 07 08 12 14 17 18 23 24 25 26

Submerge Magazine

SubmergeMag.com

contents

66 Dive in The Stream The Optimistic Pessimist Submerge your senses slayer wavves Doom Bird tim & eric Calendar The new humans Live<<Rewind The Nibblers

refined tastes the press bistro

the shallow end All content is property of Submerge and may not be reproduced without permission. Visit www.submergemag.com to view more material you can’t have. Submerge is both owned and published by Submerge Network. All opinions expressed throughout Submerge are those of the author and do not necessarily mean we all share those opinions. Feel free to take a copy or two for free, but please don’t remove our papers or throw them away. Submerge welcomes letters of all kinds, whether they are full of love or hate. We want to know what is on your mind, so feel free to contact us via snail mail at 2443 Fair Oaks Blvd. #508, Sacramento, Calif. 95825. Or you can e-mail us at info@submergemag.com. Your opinion matters to us, believe it or not, so please feel free to speak your mind and we just might listen. Thanks for reading Submerge!

Melissa welliver melissa@submergemag.com With this issue, the question once again arose: Do mussicans’ attitudes/egos affect how you judge their music? Perhaps you like a band/musician more because they’re “nice” or maybe you dislike a group because someone in the band is a major diva? In this narcissistic day and age—with reality television and Twitter being on the forefront of peoples concerns, judging people’s skills and talents based on their attitudes is something we all do, at least to some extent. But how much we let it actually affect us is different for everyone. Case in point would be artists like Kanye West, whose mannerisms could definitely classify him as an egotistical “jackass.” But, I can’t deny that I still really enjoy listening to his music. Then there are characters like Eminem, whose music I never really cared for, and then because of his wack personality, it makes me dislike his music even more. I guess what it really comes down to is if your skill and talent outweigh your jackass-isms. If so, then congratulations, I’ll probably still buy your album. Heck, we here at Submerge might even still put you on the cover. Nathan Williams (aka Wavves) is a far cry from being in the same over-the-top category as Kanye West. And what might seem like an ego may very well just be his “not giving a fuck” attitude. Regardless, it’s a thin line, and Williams rides it. Flip to page 12 where you can read our ridiculous interview that was scheduled to be with Williams, but also turned into speaking with other new Wavves members Billy Hayes and Stephen Pope. Not everyone I deal with causes me to need four or more stiff drinks per night. I’d say nine out of 10 artists are actually pleasant. That “over-it” persona couldn’t be further from Kris Anya’s attitude. Setting up our interview with him and Joe Davancens of Doom Bird (back cover) actually reminded me of the positive aspects of running Submerge, where meeting kind and talented artists make this job enjoyable. Please read our feature on Doom Bird that touches on everything from how the band formed to their upcoming CD release, all starting on page 14. More local talent featured in this issue is the group The New Humans. Their highly anticipated release was scheduled to be out in late winter but ended up taking a few twist and turns. Basically starting the recording process completely over, their EP titled Avalanche is finished and finally available. Please turn to page 23 to learn about their past, present and their future mini fall tour. Now to get a little heavy. The American Carnage Tour will be coming to town on Sept. 1. On this tour, Slayer will be playing their 1990 release, Seasons in the Abyss, in its entirety. Please check out our interview with drummer Dave Lombardo on page 8 where he also discusses Slayers’ newest album, World Painted Blood. At this year’s Nevada City Film Festival, Tim Heidecker and Eric Wareheim from Tim & Eric’s Awesome Show Great Job! on Adult Swim, will present a special screening of shorts and music videos on Saturday, Aug. 21. In our attempt to interview them (see page 17) you can read about how they told our writer about their ridiculous future endeavor, Blues Brothers 2012: Attack of the Bugs, sponsored by Terminix. I know, it’s odd (and likely not true), but if you’ve seen their show then you know to expect nothing less. Enjoy issue #66, Melissa-Dubs

back cover photo of Doom Bird by Raoul Ortega

Issue 66 • August 16 – August 30, 2010

The stream

local and national music news: drink it up

Kanye West has mastered the hip-hop game, but his comedy routine lacks punch. Apparently fed up with how his jokes come across in news articles, West has turned to tweeting in order to properly set up his comedy. “We’d be laughing, me and the reporter, and that’s funny, and then you read it, and they completely just demolished all of my jokes. They just set them up wrong,” West told the radio station Hot 97. The hip-hop mogul, who said the miscommunications were crushing his desire to do interviews, has quickly built up over 600,000 followers on Twitter.

Elvis Costello has announced plans for the release of another album. Costello, who made a political stand earlier this year by withdrawing from a concert in Israel, recorded National Ransom in Nashville and Los Angeles. The album will be released on Nov. 2. Like last year’s Secret, Profane and Sugarcane, Costello teams up on his new album with producer T-Bone Burnett. Costello, who has worked with Paul McCartney and Tony Bennett during his illustrious career, will also receive help from two of his bands, The Imposters and The Sugarcanes, on the 15-track album.

When not tweeting, ‘Ye has working hard on his forthcoming album due out before year’s end. Kanye has extended his unique taste even more into the indie world, soliciting Bon Iver’s Justin Vernon. West recently invited Vernon to Hawaii to help him lay down some tracks for his upcoming album, set to be released in November. Vernon recorded vocals for at least 10 songs, including a track that samples Bon Iver’s song, “Woods.” Vernon got a taste of the rap game firsthand: “I was literally in the back room rolling a spliff with [rapper] Rick Ross talking about what to do on the next part of a song,” Vernon told Pitchfork. “It was astonishing.”

Also announcing album release date details was Kings of Leon. Fans have been eagerly awaiting the follow up to Only By the Night. The 2008 album, featuring the hits “Use Somebody” and “Sex on Fire,” sold more than 1.2 million copies and won the band four Grammys. Kings of Leon plans to release the new album, Come Around Sundown, on Oct. 19. The band has been working on the new tracks at Avatar Studios in New York since the last tour ended. Angelo Petraglia and Jacquire King return to produce the new album, perhaps a sign to expect the same from these southern boys.

Brad Fuhrman & Jonathan Carabba

Teen heartthrob Justin Bieber got a rude welcome from Sacramento last December. A YouTube video was uploaded last week showing footage from Bieber’s 2009 appearance in Sacramento at 107.9 The End’s Jingle Ball. In the video, Bieber takes a water bottle to the dome, as apparently, a female fan wanted to show off her arm strength... “That didn’t feel good. I don’t know why she just threw that at me.” Luckily, at a Bieber concert, you’re more likely to be hit by a Pedialyte than a beer bottle. (B.F.) Brothers Matt and Evan Ferro, formerly of Bright Light Fever, are creating music under the moniker Roman Funerals. We were fortunate enough to receive an advanced copy of their upcoming EP titled Six of Us and it’s been on constant iTunes rotation ever since. Recorded by Robert Cheek of By Sunlight, the EP turned out differently than the brothers expected. “We went into the studio thinking we were going to come out with an album we could perform as a duo,” Matt recently told Submerge. “And now it feels like we need a ‘band.’” Keep an eye out for whatever this project blossoms into. Six of Us is slated for a fall release, www. romanfunerals.com for more information.

Club Retro has announced the lineup for their final show at the soon-to-be-defunct Orangevale location on Aug. 21. Performing will be Mozart Season, Carcerys Vale, Let Live, Above the City, Ten After Two and A Lover’s Plea. The all-ages venue is moving to 1529 Eureka Road in Roseville and is aiming to have their grand opening party in mid-September. Visit www.clubretro.net for details. Sacramento’s own MC Rut have announced they will release a full-length album titled No Name No Color on Oct. 5 via Bright Antenna Recordings through Warner Music’s Independent Label Group. No Name No Color is compiled of 12 songs that span several years; a few of the tracks have been on their previous EPs including the record’s first single, “New Low.” Yeah, that’s the song that KWOD 106.5 (RIP) used to play non-stop. All of the songs, new and old, have been road-tested plenty, as MC Rut has toured with Social Distortion, Them Crooked Vultures and Alice In Chains here in the states, and in Europe with The Bronx as well as …And You Will Know Us By The Trail Of Dead. Pretty impressive for a couple of Sactown boys, eh? (J.C.)

Please send all regional news tips to info@submergemag.com

Issue 66 • August 16 – August 30, 2010

Dive Into Sacramento & Its Surrounding Areas

The Optimistic Pessimist

NOONER

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Bocephus Chigger bocephus@submergemag.com Dear Dr. Chigger, Right after getting married, I found out my husband was having a “text affair” with his co-worker. I’m not certain if there was more to their relationship, but she was confiding in him. We argued about it. He said I simply misinterpreted it. I wondered why my husband would entertain such issues from his co-worker while he had no interest to entertain my concerns. Almost five years have passed, and I recently, accidentally read his chat archive with another co-worker exchanging intimate jokes. I asked him, but again he said it was nothing. Knowing his personality, he would not do such things unless he was very comfortable with that person. I still feel the deep pain this has caused me. Sometimes I feel that I am falling out of love with him. What should I do? –Rhe Dear Rhe, Clearly, this has been a difficult five years for you. Your poor eyes are probably still burning from reading all those “accidentally” found chat archives. What a trooper you are! Most of us can barely get a grip on our own lives, and here you are trying to control two. How do you do it, Rhe? More importantly, how does one “accidentally” read another person’s chat archive? You sound like a nosy, nagging, mess of a woman who is lucky her husband hasn’t left after five years of heavy surveillance. Let the man send tit jokes to his friends. It’s all he has left. –Dr. Chigger Dear Dr. Chigger, I am in my 20s, and I have always had a strong urge to wear diapers. I bought some and wore them a couple of times thinking that would be the end of it. However, the feeling is still there and will not go away. Why would I have this urge, and what can I do about it? –KA Dear KA, The term for this is Infantilist, and there are many more AB/DLs (Adult Baby/Diaper Lover), out there than anyone would care to admit. The problem has become so serious

that advertising agencies are having a hard time cracking the adult diaper market. But enough statistics, let’s talk about your problem. This feeling that won’t go away, is it often accompanied by an irritating reddening of the skin? If so, you may just have a simple case of diaper rash. A little topical cream should fix that right up! Your urge to literally baby yourself could be caused by several things; child abuse, insanity and incontinence all come to mind. And while the past is important, I urge you to focus on what you are going to do about this now. I’m inclined to recommend you go full baby. Start by wearing a bib and bonnet and maybe get yourself some type of motorized stroller or a giant one of those baby walkers. Switch back to chewingoptional foods and cop the first season of Blue’s Clues on DVD. You’ve got some catching up to do, my friend! –Dr. Chigger

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To All My Friends Tour, hip hop concert plus Blueprint, Grieves & Budo, and DJ Rare Groove. Tickets are $15 for Sac State students/ $20 general-available @ Tickets.com University Union Ballroom<<

Dear Dr. Chigger, I’m a sophomore at Penn State University studying psychology. As I study psychology more and more, I’m starting to grasp why people perform extremes, such as suicides or murders. Sometimes I think I would make TOO good of a psychiatrist, if there is such a thing. One of the scariest things about it is that I’ve read that as many as one in four psychiatrists have suicidal thoughts. I don’t ever want to become this way. Do you have any advice? Is this field right for me? –Kyle Dear Kyle, Sorry that biology/engineering major didn’t work out for you. I’m honored you chose psychology as a solid and much easier replacement. Someone probably should have warned you that psychology majors are all crazy. They aren’t there to help others; they are taking the classes for the free advice! Fortunately, as majors go, psychology is one of the easier ones, which gives you a chance to sit back and enjoy the circus. Or you might end up killing yourself. Who can tell? –Dr. Chigger

Dr. Bocephus Chigger holds an undergraduate degree in psychology from UC Davis and a Juris Doctorate from the McGeorge School of Law, technically making him deserving of the title “doctor.” E-mail him your problems and questions at bocephus@submergemag.com. Someday he may just get around to answering them!

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Issue 66 • August 16 – August 30, 2010

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Issue 66 • August 16 – August 30, 2010

Dive Into Sacramento & Its Surrounding Areas

Your Senses SEE HEAR TASTE Touch

TASTE

The Best Greek Food Ever at Sacramento Greek Festival

HEAR

The Return of Oleander

On Sept. 3–5 the Sacramento Convention Center will be home to the 47th annual Sacramento Greek Festival and with it some of the best Greek food you will ever get your hands on. Most of the dishes that will be available are viewable on their Web site, www.sacramentogreekfestival.com, and although they might be hard to pronounce, they sure won’t be hard to swallow. Standout items include mousaka (eggplant and seasoned ground beef in a layered and baked creamy béchamel sauce dish), tiropita (cheese puff triangles made with a blend of cheeses, eggs, and seasonings wrapped in buttered filo dough), loukanico (sliced pieces of Greek sausage with a hint of orange accompanied by a special bread) and, of course, gyros (lean beef and savory spices, sliced thin, heaped onto pita bread, topped with onions, tomatoes, and tzatziki sauce). General admission is $5. If you show up on Friday for lunch (between 11 a.m. and 3 p.m.), admission is free.

TOUCH

A Putter at the Albie Puttin’ Pub-Crawl For those who enjoy a little mini-golf, as well as consuming adult beverages, we’ve got just the thing for you. The first ever Albie Puttin’ Pub-Crawl, presented by Go Girl Energy Drink, will take place on Saturday, Aug. 28 at nine participating bars, including: de Vere’s Irish Pub (where the whole thing kicks off at noon), Capital Garage, Badlands, Mulvaneys B&L, Torch Club, Streets of London Pub, Bistro 33, L Wine Lounge and Zocalo. There will be custom mini golf holes set up at each stop with prizes on the line for those with the best score, the best/worst dressed golfer and also for the most creative costume. The grand prize is a three-day, two-night trip to Las Vegas, so the competition will likely be fierce. And drunk. It’s $20 in advance to participate, $25 the day of. All of the proceeds from ticket sales benefit the Albie Carson Breast Cancer Foundation, so your drinkin’ and puttin’ are all for a good cause. Sign up at participating bars or online at www.wantickets.com, registration is at 11 a.m. at de Vere’s.

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Sacramento’s own post-grunge outfit Oleander is playing its first show in five years on Aug. 21 at the Boardwalk. The band, which saw major success with their 1999 album February Son (which featured the widely played single “Why I’m Here”), is rumored to be working on a new album that is slated for a 2011 release. According to the band’s official Web site, www.oleander.net, the band has nearly 13 tracks completed and some of that new material will be debuted at the Boardwalk show. Opening will be locals Kaleiding Design, Sleepnoise, Color the Sound and Allinaday.

SEE

The League of Supergays Online Animated Series With all of this Prop 8 hype recently, it seems the perfect time for producer Roque Yanez and Executive Producer Scott Rosenquist to premier their online animated series titled The League of Supergays. Episode 1 is online now and viewable via their Web site, www. leagueofsupergays.com, and is a great introduction into what the series is all about. Led by Agent Thunder, the League is comprised of LGBT individuals who have “banded together to combine their abilities to fight for equality.” Some of the other characters include Flamer, Weavah, Glitter, Big Bear and Gossip, to name a few. They all have super powers and answer to Commander Rexxidious who appears as a dark silhouette on a giant screen in Agent Thunder’s lair. The whole thing has a big-time Adult Swim, Metalocalypse vibe to it, so if you dig those sorts of shows, you’re going to enjoy what The League of Supergays has to offer. New episodes will be released bi-weekly so keep an eye out.

Issue 66 • August 16 – August 30, 2010

Through the Persistent Onslaught Slayer’s Dave Lombardo talks thrash

Words Bobby S. Gulshan • Photo Mark Seliger I was 13 when Slayer released Seasons in the Abyss. At the time of its release, the United States was engaged in a war with Iraq. Around this time, I toyed around with the idea of becoming a writer. Grunge soon exploded on the scene, and the Seattle sound put the last nail in the coffin of glam metal. Meanwhile, seminal thrash metal records, such as Megadeth’s Rust in Peace and Anthrax’s Persistence of Time, fueled a burgeoning and bludgeoning style of metal called thrash. In time, things change. We get older, and hopefully, wiser. People and places move in and out of our lives. Meanwhile, some things persist. I am still writing, we are still at war in Iraq and Slayer still retains its rightful place in the Pantheon of Metal Gods. I had the chance to talk to Dave Lombardo, Slayer’s longtime drummer, and he too spoke of time. “We are wiser for sure, we understand each other more than before, the musicianship has improved. It’s just things you get as you mature,” he told me in describing the process of making their last record, World Painted Blood. The first leg of the American Carnage Tour kicked off on Aug. 11, with Slayer joining Megadeth and Testament on the bill. Slayer will be performing Seasons… in its entirety while Megadeth will perform the whole of Rust in Peace. A bit of nostalgia, to be sure. A harkening back to what purists might call a Golden Age. But, as Lombardo tells it, “Metal always prevails; it’s always there. It may go underground for a while, but it’s like Tenacious D says, ‘You can’t destroy the metal.’” Indeed, the tapes confirm it. World Painted Blood shows a return to form, while a renewed sense of creative vigor promises to keep fuel on the fire.

Issue 66 • August 16 – August 30, 2010

You guys are going out with Megadeth and Testament on the first leg of the American Carnage Tour, and will be joined by Anthrax on the second leg. What inspired this group of bands to get together? A bunch of agents and managers got together and said, “Hey let’s put this together.” I don’t know how these things come up, we just get word, like, “there is a possibility of Slayer and Megadeth and Testament getting together,” and they ask us if we want to do it and we said, “Hey, why not?” I want to talk a little about the latest record, World Painted Blood. It seems to me that the record picks up in some sense where Seasons in the Abyss left off, sort of a return to form, if you will. Was there something you did differently as a drummer when approaching this record? I was in a whole different state of mind when I worked on this record. I had a different approach, a wiser approach and more song constructive ideas when it came to the structuring of the drums, so I think it’s just a very mature record.

I was looking at some videos you had done for Modern Drummer magazine and you mentioned a quote from Art Blakey, when he said he heard violins in his cymbals. In talking about World Painted Blood, did other music such as jazz or groovy sorts of things inspire the work? Yes, definitely. It’s music but also the movement of the music, how its rhythm is composed. It’s so deep, I don’t know. I live and breathe rhythm and music, and it’s hard to pinpoint. I also noticed you talked about changing the actual configuration and setup of your kit, eliminating some of the toms and coming in with a slightly smaller set. Did that new configuration provide new ideas in terms of what you do physically? Absolutely, yeah. It had me think and approach the drums in a whole different way. Maybe giving you some new ideas to do different things that you haven’t tried before? Exactly. And it’s like the rolls that I do, the way Dive Into Sacramento & Its Surrounding Areas

“We just get word, like, ‘There is a possibility of Slayer and Megadeth and Testament getting together,’ and they ask us if we want to do it and we said, ‘Hey, why not?’” – Dave Lombardo, Slayer they come out when you take away some of the toms. When you’re improvising like I am—I don’t write things out, whatever comes out at that moment, whatever inspires me at that moment is what gets recorded. When you take these pieces [of the kit] out, it sort of impacts that ability in a different way. And you are forced into performing something totally different than if you have the extra tom. Gets you out of the box, so to speak. Yeah, gets you out of that rut. You said that World Painted Blood was a bit of a wiser record. I read somewhere that you said the record had a special sort of magic to it. What exactly do you think that is? I don’t know, I can’t pinpoint it. I can only relate that there are these records that you buy and you listen to from beginning to end and enjoy every bit of music on there, and that can be of course mastery of your songwriting or your art. But sometimes you need more, you need chemistry between the musicians that are executing the hits and strumming the strings. And when you get that combination, plus good songwriting, it’s a magical record. They play off each other. They know how to play off each other, having done it so many years on stage and in the studio, you kind of work out this instinct when you’re playing, you know what the other guy is going to do. A sense of anticipation. Yeah, definitely.

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I understand that this record was a different approach for the band, in general. You guys went into the studio to write, as opposed to having the material all written beforehand. Do you think that made a difference? Absolutely. Usually we would have everything ready and go in and bang it out. No, we had to write some songs and we had to work on things for a while, which was good because it put us under a constructive pressure. It wasn’t negative or a deadline, just constructive. And it probably fostered another level of communication between the four of you. Yeah, because we didn’t have time to fuck around. We had to get the job done and that’s it. Ain’t no time to go whine or whatever because they aren’t using a piece of your music. Instead we thought, “Let’s just throw everything in the fuckin’ pot and make this album the best as we could possibly make it.” That was my approach, and I sensed that from the other musicians as well. The camaraderie during the recording was unlike any other record that we’ve had. And how did working with Greg Fidelman affect that process? He’s like a fifth member of the band. It was amazing. What advice might you give to aspiring musicians out there? Never give up. And even if you don’t achieve the status you dream of, it’s always fun to keep playing. You don’t ever need to stop playing, whether it’s jamming at your friend’s house or playing at the local bar. As long as I’m playing, that is happiness for me.

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After the tour, what’s in the future? After this we are touring, after that we are going to tour, and then after that a little more touring. I sense a trend. And put out another record. Not maybe, definitely put out another record.

The American Carnage Tour featuring Slayer, Megadeth and Testament will hit the ARCO Arena on Sept. 1. For more info and tickets, go to www. ticketmaster.com and search “American Carnage.”

Issue 66 • August 16 – August 30, 2010

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Issue 66 • August 16 – August 30, 2010

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Issue 66 • August 16 – August 30, 2010

Wavves Gets back on track with new album Words James Barone

Never Going to Stop 12

avves’ frontman Nathan Williams may very well be the poster child for what it means to be famous in the blog generation. In 2009, Williams came out of nowhere to become the blogosphere’s newest wunderkind. His second album in two years, Wavvves, powered by the ecstatically apathetic single “So Bored,” propelled Williams into bona fide Internet fame. In the year that followed, Williams stoked those flames, whether he wanted to or not, with erratic behavior an inter-band feud with The Black Lips and most infamously, a meltdown at the Primavera Sound Festival in Spain (which we were kindly asked not to talk about—but really, if you haven’t heard enough about it already, you’re probably not that cool). What started as some fuzzed-out psych pop home recordings had blown up big—like Tay Zonday big. Now after clumsily negotiating in record time every trap set to befall the person lucky (or unlucky, as the case may be) enough to be tagged with the “next big thing” moniker, Williams, with another Wavves album already in tow, is ready to put the focus back on his music. Submerge caught up with Williams first in his car, then at home, where he was making guacamole. There were some stops and starts throughout the interview. First, after rescheduling, understandably, so Williams wouldn’t have to talk and drive, we called back only to have our phone call answered by “Will,” who turned out to be Wavves’ new full-time drummer Billy Hayes. “They don’t want to talk to me,” he says, trying to get Williams to take the phone. “They don’t want to talk to the drummer.” Eventually, Williams granted our interview request, passing off to Wavves’ new full-time bassist Stephen Pope once, and answering call waiting to push back another interview.

Issue 66 • August 16 – August 30, 2010

At least this time around, Williams is busy answering questions about his music and not his antics. Released on Aug. 3, King of the Beach takes Williams out of the bedroom and into the studio. The album was recorded in Oxford, Miss., at Sweet Tea Recording under the guidance of producer Dennis Herring. A Grammy-winning producer for his work on Jars of Clay’s If I Left the Zoo, Herring has also worked with Counting Crows, Mutemath and Modest Mouse. Certainly, this would be a step up for Williams, who had recorded the past two Wavves albums himself on his laptop. Williams says he was happy to graduate into a proper studio and relinquish a small amount of control over his recordings. “It was a little bit weird at first, but I’m not a producer,” he says. “I did it out of means when I was doing my earlier stuff, but I sat there throughout the mixing process every single day that Dennis did, so I didn’t have to hand too much over.” Williams says that relocating out to Oxford—a far cry from Los Angeles—was also helpful in allowing him to focus on recording. “There wasn’t much to do,” he says. “The city center just had a couple of stores, so most of the time we were just concentrating on making the record. “When bars close at 10, and you don’t get out of the Dive Into Sacramento & Its Surrounding Areas

“[‘King of the Beach’] is kind of like a posi-core song, isn’t it? It’s really positive. I think ‘Take on the World’ has the same vibe. I don’t know. I wrote them both around the same time, and I guess that was just the shit I was on right then—trying to be positive for these young kids! Tell them what’s up!” – Nathan Williams, Wavves SubmergeMag.com

studio until 12…it’s a little hard to party.” The additions of Pope and Hayes also had a significant impact on the album. More than just players on a couple songs, Wavves’ two new members also contributed their own songs. Williams met up with Pope and Hayes shortly after that fateful performance at Primavera Sound, which left Williams without a live drummer. Pope and Hayes joined Williams as his touring band at the end of 2009 and had played together previously as Jay Reatard’s backing band. Reatard passed away in January due to cocaine-related causes. In a recent story, SPIN reported that Fat Possum, Wavves’ record label, lobbied for Pope and Hayes to be replaced on the album, but Williams stepped in and insisted they stay on board. “I don’t know if that was Dennis or the label,” says Pope. “One of the people who we can’t speak of wanted another person who we can’t speak of who is very famous and costs a lot of money to come in and play drums. And then that NW [Nathan Williams] character said no, that would have been a really bad idea.” Pope says that this modicum of tumult didn’t get him down. “There wasn’t really anything I could do, and we got really high enough every day that I really didn’t think of it that much,” he explains. “Whatever was going to

happen was going to happen.” Pope and Hayes stayed on and made solid contributions. Pope says Hayes brought two songs he’d written—“Baby Say Goodbye” and “Convertible Balloon”—while Pope brought along “Linus Spacehead,” one of the album’s more infectious tracks. This was a different experience from their work with Reatard, who pretty much handled everything. “Jay did everything himself, except for a few songs on the newest album,” he says. “Billy played some drums. Other than that, Jay did everything himself. We changed up the live show and were able to play what we wanted then.” Pope says of the songs he and Hayes contributed, “They weren’t really intended for anything. They were easy to Wavves-ify and make it sound like the rest of the album.” Armed with better tools and new players, King of the Beach still sounds very much like a Wavves record, except without much of the fuzz. Titles such as “Super Soaker,” “Baseball Cards” and “Mickey Mouse” put a carefree façade on songs that can be downright misanthropic. But it’s not all angst-riddled bile—King of the Beach has its sun-shiny moments, such as its title track. As tongue-in-cheek as it may be, it’s still pretty darn cheerful. Its defiant chorus, “You’re never going to stop me/You’re never going to stop/King of the Beach,” is goofy-smile shout-along ready. “It’s kind of like a posi-core song, isn’t it? It’s really positive,” Williams muses. “I think ‘Take on the World’ has the same vibe. I don’t know. I wrote them both around the same time, and I guess that was just the shit I was on right then—trying to be positive for these young kids! Tell them what’s up!” Sarcastic or not, Williams has plenty to be positive about. He is, after all, young and “playing music…and making a living doing it.” Whatever petulance he’s displayed early on in his career may fade with time. In any case, Williams reports that he’s already been in the studio with Pope and Hayes and says he may start working on another album later this year. Also, he’s recorded music with Hella’s Zach Hill, which has yet to be released. “There’s like a six-month wait after this album is out before I can release anything else, and then I’m out of contract,” Williams says of his recordings with Hill. “Hopefully end of the year or something like that.” With plenty more music on the way, Williams can finally put the meltdowns Catch Wavves and fistfights behind him. Plus, the good live at Sol thing about the blog generation is that Collective on Aug. 30. it’s got a short memory.

Issue 66 • August 16 – August 30, 2010

Brevity Is the Soul of Wit

Doom Bird is the Shape of Baroque to Come Words Joe Atkins • photos Raoul Ortega

he majority of Doom Bird’s full-length release is a soundscape of catharsis, the accompaniment to a scene of opening possibility with a brooding sense of ephemeral trauma. The qualities of the album are connected through a steady arc of tension, holding the listener there as vocal harmonies ascend above the layers of instrumentation. Multiple percussion sounds aid the drive of the songs, keeping them steady for the varied forms of low end that anchor the floating roll of the high registers. On each track there’s a unique quality marking its place as an individual song, yet they all flow together over the course of 35 minutes into one of the most compelling convergences of pop aesthetics and nuanced modern orchestration ever to break over the Sacramento music scene. Behind all of these baroque pop sounds are Kris Anaya and Joe Davancens. They met through Anaya’s last project, An Angle, a guitar-based indie rock group on Drive Thru Records. Davancens had filled in on bass for a brief amount of time before An Angle broke up. The members dispersed into other projects, notably Golden Cadillacs,

in which Davancens plays the slide guitar. Davancens grew up playing upright bass in Placerville, Calif., and completed a bachelor’s degree in music in New York. This fall he will begin his doctorate in music composition at UC Santa Cruz. Since An Angle, Anaya has spent some time honing his songwriting skills, and as he puts it, “I learned how to sing. I feel like I sing a lot better from the last band to now. I just practiced; in the shower, in the car, as I walked down the street.” After a six-month break he and Davancens began playing together again. “This wasn’t even supposed to happen,” says Anaya. “Then we just said, let’s do it.” Anaya began sending potential songs to Davancens and waiting for feedback. Anaya for the first time had found someone who would be brutally honest in collaboration. “It was good to have someone say ‘I think you can do better,’” says Anaya. Davancens’ honest criticism was direct; if it was bad, “Joe would say, ‘Yeah man this just blows.’” The songs that Davancens liked they moved forward with, slowly compiling enough material for an album.

This process put a bit of strain on Anaya, forcing him out of his comfort zone, a spontaneous writing process that depended primarily upon late-night binges and enthusiasm. Not that any of that has gone away, necessarily, but Anaya now employs a different writing process. “I wrote most of the songs at 6 in the morning,” he says. “If you want to write some cool chords, 6:30 in the morning is the way to do it. It’s the Joe Davancens approach. I had told [Joe] I had trouble [writing]. And he said, ‘Maybe you want to have set times that you’re writing. You know, focus your time on your art.’ When you wake up in the morning, you’re more alert. You’re more pissed or happy.” In applying this method, writing material with a clear head and a significant amount of attention to detail, Anaya began to create foundations that Davancens could construct from. “Writing a song around chords I didn’t even know was really difficult. I literally spent hours writing these songs, three or four days’ worth. It’s hard to write songs with cool chords.” But once that foundation was laid, Davancens was able to add the aesthetic depth through a bit of orchestration with a computer program. Davancens mainly focuses on “figuring out what the instrumental palette will be, weather it will be strings-based or guitar- or piano-driven,” he says. “Most of the stuff we’ve done is pretty faithful to the song, there’s always a core instrument, usually Kris’ guitar part. Everything else is kind of built on top of that,

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Issue 66 • August 16 – August 30, 2010

Dive Into Sacramento & Its Surrounding Areas

“I don’t want money, I just want gold stars.” – Kris Anaya, Doom Bird taking ideas that are generated by the guitar part and elaborating from it.” “It’s great because I don’t know anything about this,” laughs Anaya. “It’s a fairly intuitive thing,” continues Davancens, “But there are some genre cues. ‘Naked’ has a driving sort of piano part and that kinda says minimalism to me; a John Adams, Phillip Glass, Steve Reich kind of thing. Then [I try] to come up with the most unusual textures I can to offset the popiness of what Chris has done.” “I think we’ve been successful,” says Anaya. “Especially on that song.” The self-titled album was recorded last summer primarily at the Hangar Studios with Robert “Flossy” Cheek. The album comes with a standard string quartet on almost every song, but the brass section and the woodwinds provide the other two dynamic tones that balance out the work. Davancens conducted the 12-piece orchestra, a beer in one hand, a conductor’s wand in the other. Adding a piano, two guitars, upright and electric bass, a set of marching drums, tympani, xylophone and even an actual harpsichord, gives a brief idea of the quantity of different

sounds that Doom Bird have collectively enabled their songs with. Yet despite the large number, their appearances are qualitatively subtle and refined. There’s not a single track that comes across as overburdened by too much compression, too many sounds. Each song is handled delicately and thoughtfully, working around the central instrument—usually keys or guitar—to develop a mildly dissonant accompaniment, never overpowering but always adding to the greater force of the track. Stylistically the sound is aligned with baroque pop, where classical arrangements and instrumentation are coupled with the pop form, where harmonies and texture generally trump repeated choral hooks. Yet despite the primarily pop structure of their songs there’s plenty of tension. “Most of what Kris comes up with isn’t that dissonant,” says Davancens. “I kind of add the dissonance to heighten the emotional tension of a certain portion of the song, to build momentum. Usually the dissonance isn’t atonal, mostly it’s just having a lot of notes close together, lots of sevenths, lots of seconds. Where it’s harmonically vague, where you can tell the key but not necessarily the chord, it creates a sense of ambiguity—a sort of otherness. There’s [also] rhythmic dissonance, where syncopation happens on the off beats or upbeats, close to each other but not together.” Those counter rhythms and notes of close proximity perform an accordion of aggregating and dispersing over each song individually. They build up over the span of a verse, as in the song “Receive,”

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where Anaya begins just guitar and vocals, clarinets and flutes waver over the verse with high registers and counter rhythms. The second verse alters the accompaniments from exact repetition into dynamic adjustment. Anaya gathers his breath to sing “We can grow if we/Receive” forcing the climax, harmonies and paradiddle drum rolls ensue. The falling action takes the layers away, fazing them out, into the silence of the end song. This tension and release, this orchestration, is all over the album. Every transition is a calculated maneuver of juxtaposition, the dropping off of the tonal force that seems to push the song forward in favor of an opposing register. All of this is to say that what Doom Bird reveals is the possibilities of movement; in “Cruel Mistake” Anaya sings, “Can we break free?/Can’t we just unite?” It’s here that he’s able to define the greater tonal shape of the album, a future of possibility, a moving apart to come together. It’s also the shape of Anaya and Davancens relationship as the narrative of their paths separating and converging again have resulted in Doom Bird as a band. Doom Bird will celebrate “For the first time I’m just really proud the release of their album of it, proud of what I did,” says Anaya. at Harlow’s on Aug. 29. In “Finally it’s just fun. We’re just going to the meantime, you can check out songs from put [the album] online. Straight up for the album on the band’s free. I don’t want any money,” he laughs. Myspace page, www. “I just want gold stars.” Gold stars indeed myspace.com/doombird.

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Issue 66 • August 16 – August 30, 2010

2 LOCATIONS 916. 419. 6322

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Issue 66 • August 16 – August 30, 2010

/ SHHC

916. 930.0939

2014 10th Street Sacramento, CA 95818

Dive Into Sacramento & Its Surrounding Areas

Question Everything Are Tim & Eric For Real? Does It Matter? Words Blake Gillespie

As my interview with Tim Heidecker and Eric Wareheim ended (awkwardly), I sighed, dropped my face into my palms on the desk and thought F my L. The announcement that Adult Swim’s Tim & Eric Awesome Show, Great Job! was entering its sixth and final season was a summer bummer. The surrealist, sketch-based comedy first aired in February 2007. Its attention-deficit format featured infomercials, songs and sketches loaded with potty humor fit for the night owl bong-rippers who were up watching cartoons and smashing on bags of Del Taco. With the end of their celebrated stonerprogramming-meets-public-access-on-acid-and-whippets show, the duo claims to be making the leap into feature films with Will Ferrell co-producing the Tim & Eric’s Billion Dollar Movie, but even that press release might be another wolf ticket. The minute I mentioned the Billion Dollar Movie, I was averted to a more pressing project in the works. Thus began the challenging process of interviewing Tim and Eric. Thriving on an unceasing abuse of viral popularity, the duo tend to baffle and cajole equally as you teeter-totter between getting the joke and feeling the insecurity of questioning its legitimacy. What use of it to them is it to spend an afternoon on a conference call with a music writer in Sacramento, tugging him down a wormhole of nonsense about their new pet project, Blues Brothers 2012: Attack of the Bugs, sponsored by Terminix? Still, they did it for a good 20 minutes. I laughed at the mere mention of it, unaware they had debuted the prank at San Diego Comic-Con a few weeks prior. Waiting for the joke to break, I punched back with inquiries about Dan Aykroyd’s involvement, whether Tim would go on a cocaine and booze diet to get into Belushi shape, what bands they were considering for the soundtrack, and so on. As each question was met with sharp and sometimes-funny answers, I got lost in the mess. Tim’s interview voice had the a dead-on delivery of a typical SubmergeMag.com

Hollywood actor suffering through a press junket. He divulged crucial information like “the script was written by a team of Terminix employees with approval from the C.E.O.,” following up with some belligerence about wanting to do the film the minute he laid eyes on the fictitious script. I laughed uncomfortably, asking them to cut the bullshit. No dice. I kept my frustration in inertia, but brooded in anger as they kept up the shtick. Sometimes I played along by suggesting that Aerosmith would be a good fit after its success on the Armageddon soundtrack—to which they responded with claims of joining Aerosmith on stage as the Blues Brothers for its next tour as part of a cross-promotional live performance scene in the film. I looked down at my list of questions and felt dejected because what was the point—they had an agenda of unyielding chicanery. I felt like a goddamned idiot. It’s part of the game Tim and Eric play. They take the humor beyond comfort and into that questionable territory in which you wonder, is this a joke or reality? Recently, Tim and Eric joined Zach Galifianakis to tarnish their marketing credibility with a series of painful but hilarious Absolut Vodka commercials actually sponsored by Absolut. I hoped to talk about the commercial having a negative effect on future opportunities, but they preferred to continue discussing the Blues Brothers movie, adding an exclusive hint that David Spade signed on to do the voice of one of the bugs, as well as Jeff Foxworthy to play a mosquito named “Mesquite.” I could not help but fall back into the joke: “Yeah, if any bug is going to be a redneck, I guess it would be the mosquito.” Still hoping to get some substance from the interview, I asked if they ever worked with someone who did not appreciate the hokey style of void humor (often dubbed “anti-humor,” but I am not calling it that corny term). Despite its predilection for poop jokes, Tim and Eric’s show featured celebrities such as Elisha Cuthbert, Jeff Goldblum, LeVar Burton and John C. Reilly, whose

Dr. Steve Brule character was so popular it got a spin-off show. As they continued to bounce off one another, I was regaled with an incident in which Ben Stiller came on set and called them “trash” in front of Tim’s parents. Tim’s father allegedly said he was no longer proud of his son’s work and was not in the mood to have his Tropic Thunder DVD signed. Not long after the Stiller story, Tim took notice of the length of the interview, hinting that my time trapped within Bizarro World was ticking away. I was relieved. Fed up with the aversion, I agreed that I had all the information I needed for my article. Great Job! The next day I called the office to schedule a second interview, because my recorder had failed to pick up their voices. I inquired with Caroline Parrish, an employee of Tim and Eric, LLC, feeling as though she’d give me a few straight answers. “They’re just fucking with me, right?” Bless Parrish’s heart. I sympathized with her, knowing she got these sort of call backs a lot, referring to them as “tell me I’m not crazy for feeling like an idiot” calls. She confirmed that was the case. Parrish was sweet, and wouldn’t flat-out tell me the Blues Brothers bit was fabricated, but said I shouldn’t dedicate myself to its legitimacy too much. She wrote me an e-mail a day later, apologizing that she could not confirm a Tim Heidecker and Eric Wareheim are second interview. The special guests at this year’s Nevada City Film Festival. The festival runs guys had begun work on a from Aug. 19 through 22. Tim and Christmas special with an Eric will present a special screening of shorts and music videos from intense shooting schedule. Tim & Eric’s Awesome Show Great I trust Caroline Parrish’s Job! on Saturday, Aug. 21 at the Miners Foundry at 10 p.m. For information as the only more information, tickets and a concrete Tim and Eric news full schedule of events, go to www. nevadacityfilmfestival.com. this article was able to supply.

Issue 66 • August 16 – August 30, 2010

904 15th Street 443.2797

august 16 – august 30

Between I & J • Downtown Sacramento

august TUES

WED

THURS

19 FRI

Kate Gaffney 5:30PM

Lew fratis trio 9PM acoustic oPen Mic 5:30PM

GoLden cadiLLacs

& the soothers 9PM X trio 5PM

harLey white Jr.

featurinG aaron KinG 9PM

acoustic trio 5PM

20 andy santana 9PM

Johnny KnoX 5PM SaT

21 SUn

Mind X

sean’s B-day Bash!! 9PM BLues JaM 4PM

Jeff watson Band 8PM

TUES

hans eBerBach 5:30PM

Lew fratis trio 9PM

WED

acoustic oPen Mic 5:30PM

THURS

Low down dirty doGs 9PM

X trio 5PM

harLey white Jr.

featurinG aaron KinG 9PM

acoustic trio 5PM

two 27 tone steiny

m usic

Ca l en da r

Also available at www.submergemag.com/calendar

8.16 Monday

Distillery Karaoke, 9 p.m. Fox & Goose Open Mic Night, 7:30 p.m. G St Pub Karaoke, 9 p.m. Luna’s Cafe Saturday Japanese School, Vinny Golia, Darren Johnston Quintet, 7:30 p.m. Old Ironsides Strapped for Cash, Nuance, 8 p.m. On The Y Highway to Hempfest Tour, 7 p.m. Powerhouse Pub Karaoke, 9 p.m.

8.17 Tuesday

The Boardwalk The Michael Schenker Group, Bonebag, Sister Sin, Emerald City, The Scott Allen Project, Rue the Night, 7 p.m. Capitol Garage Open Jazz Session w/ SalmonJoe, 9 p.m. Distillery Karaoke, 9 p.m. Fox & Goose Traditional Irish Jam Session, 7 p.m. G St Pub Karaoke, 9 p.m. Harlow’s Star Anna & the Laughing Dogs, Jokers and Jacks, The Reel, 7:30 p.m. Marilyn’s Singer & A Song Night, 6 p.m. Old Ironsides Lipstick w/ DJs Shaun Slaghter, Roger Carpio, 9 p.m.

Powerhouse Pub DJs Rigatony, Alazzawi, 9 p.m. Shady Lady Chub City w/ Flower Vato, 10 p.m. T2 Nightclub & Lounge Karaoke, 9 p.m. Torch Club Kate Gaffney, 5:30 p.m.; Lew Fratis Trio, 9 p.m.

Naked Lounge Downtown Live Adam Block Band, Pushtonawanda, Scott Ballard, 8:30 p.m. Old Ironsides Open Mic w/ host Lare Crawley, 8:30 p.m. Shady Lady Straight, No Chaser w/ CrookOne, 10 p.m. Torch Club Acoustic Open Mic, 5:30 p.m.; Golden Cadillacs & the Soothers, 9 p.m.

8.18 8.19 Wednesday

thursday

Arco Arena American Idols LIVE! Tour 2010 w/ Aaron Kelly, Andrew Garcia, Casey James, Crystal Bowersox, Didi Benami, Katie Stevens, Lee DeWyze, Michael Lynche, Siobhan Magnus, Tim Urban, 7:30 p.m. Bisla’s Open Mic, 9 p.m. Blackwater Cafe Open Mic, 7 p.m. The Blue Lamp The Upsidedown, 1776, The Regulars, 8 p.m. Club Car The Double Shots, 7:30 p.m. Distillery Karaoke, 9 p.m. Fox & Goose Traditional Irish Jam Session, 7 p.m. G St Pub DJ Larry the Flower Vato, 10 p.m. Harlow’s J Roddy & the Business, Relic 45, Walking Spanish, 7:30 p.m. Marilyn’s The Hits, Ryan Hernandez, Hans Eberbach, 8 p.m. Mix DJ Gabe Xavier, 9 p.m.

Barcode Nightclub & Lounge DJ Wreck, DJ BTRIXX, 9 p.m. The Blue Lamp The Cliks, Killola, Hunter Valentine, 8:30 p.m. The Boardwalk Silence of the Grimm, Slaughter Box, Twitch Angry, Chernobog, Succeed the Throne, Blacksheep, 7 p.m. Capitol City Hotel Karaoke, 8:30 p.m. Club Car Songwriters Showcase, 8 p.m. Club Retro Sell Your Secrets, A Plane Morning, Mirros, We Set Sail, Keeping Score, 7 p.m. The Coffee Garden Open Mic Night, 8 p.m. Delta of Venus Creaking Planks, 8 p.m. Fox & Goose Poetic Justis, 8 p.m. G St Pub DJ Somebody, 10 p.m. Golden Bear Shake & Shout w/ Shaun Slaughter, 10 p.m. Marilyn’s Rockstar Live Band Karaoke, 9 p.m. Mix DJ Ron Reeser, DJ Slick D, DJ Dan Saenz, 9 p.m.

Naked Lounge Downtown Live The Shants, Not an Airplane, The Foxtails, 8 p.m. Old Ironsides Agnes Twin, Dame Darcy, Ahoy!, 9 p.m. On The Y You Be the Rockstar Karaoke w/ Larissa, 8 p.m. Powerhouse Pub Randy Montana, Courtney Lynn & Big Trouble, Attwater, 9:30 p.m. Press Club Hold On w/ DJ GVNR, Sex & Weight, 9 p.m. Torch Club X Trio, 5 p.m.; Harley White Jr. feat. Aaron King, 9 p.m. Tre Retox Thursday’s w/ DJ Peeti V, 9 p.m. Vega’s Blues Jam, 7 p.m.

8.20 Friday

The Blue Lamp Who Cares, Sleep Talk, 9 p.m. The Boardwalk Bleeding Through, Terror, The Ghost Inside, Suffokate, Nightmare in the Twilight, Beyond All Ends, 7 p.m. Capitol Garage Get Down to the Champion Sound w/ DJ ESEF, 10 p.m. Club Retro Conducting From the Grave, Rise of Serapis, Causa Mortis, Maltreated, Leviathan, Beneath the Rapture, 6:30 p.m. Distillery Der Spasm, Worker Bee, The Babs Johnson Gang, 10 p.m. The Fire Escape Bar and Grill Silent Treatment, Wings Of Innocence, South Lot, 8 p.m. Fox & Goose Justin Farren, Pat Hull, 9 p.m.

FRI

cd reLease show 9PM

SaT

28 SUn

Johnny KnoX 5PM

VoLKer strifLer 9PM BLues JaM 4PM

Kate Gaffney Band 8PM

torchclub.net 18

9-4-10

Marilyn’s on K 908 K Street Sacramento

Issue 66 • August 16 – August 30, 2010

8.20

Bleeding Through

Terror, The Ghost Inside, Suffokate, Nightmare in the Twilight, Beyond All Ends The Boardwalk 7 p.m. Dive Into Sacramento & Its Surrounding Areas

Golden Bear Crucial Fix w/ CrookOne (Decibel Devils/ Team Sleep), 10 p.m. Harlow’s ZuhG, Random Abiladeze, 10 p.m. Luna’s Cafe Little Black Bats, Brain Warp, Trout & Parrot, 9 p.m. Marilyn’s An Evening w/ Hot Buttered Rum, 9 p.m. Mix DJ Jus James, 9 p.m. Naked Lounge Downtown Live The Pollination, Vectors, Verbalistic, 8:30 p.m. Old Ironsides The Lucky Stars, The Poplollys, 9 p.m. Powerhouse Pub Cheeseballs, 10 p.m. Press Club DJ GVNTR, 9 p.m. Red Hawk Casino Dane Drewis Band, 9:30 p.m. Sophia’s Thai Kitchen Emily Wells, Blue Cranes, Elders, 9 p.m. T2 Nightclub & Lounge DJs & Dancing, 9 p.m. Torch Club Acoustic Trio, 5 p.m.; Andy Santana, 9 p.m. Townhouse Fuck Fridays w/ DJs Shaun Slaughter, Jon Droll, Roger Carpio, 9 p.m.

8.21 Saturday

The Blue Lamp Bright Faces, Jet Black Popes, 9 p.m. The Boardwalk Oleander, Kaleiding Design, SleepNoise, Color the Sound, Allinaday, 7:30 p.m. Cache Creek Casino Kenny Loggins, 8 p.m. Capitol Garage Victori4, Lady Daisy, the Moving Picture Show, 10 p.m. Capitol City Hotel Karaoke, 8:30 p.m. Club Retro Farewell Orangevale Show w/ Mozart Season, Let Live, Carcerys Vale, Ten After Two, Above The City, A Lovers Plea, 6:30 p.m. Crest Theatre Y & T, Zepparella, 8 p.m.

SubmergeMag.com

Distillery N.F.H., Self Destroyer, 10 p.m. Fox & Goose MollyMawks and Friends, 9 p.m. G St Pub DJ Charlie, 10 p.m. Golden Bear Sweaty w/ DJ Whores, 10 p.m. Harlow’s Vokab Company, 10 p.m. Laughs Unlimited Renegade, 4 p.m. Marilyn’s 2Me, Abandon Theory, Sir J-Hon, 9 p.m. Mix Dance Party w/ DJ Larry Rodriguez Naked Lounge Downtown Live Be Brave Bold Robot, The Grownup Noise, Blisses B, 8:30 p.m. Old Ironsides Hay Market Squares, The West Nile Ramblers, The Hot Tar Roofers, 9 p.m. On The Y Chronaexus, Pale Chalice, Decay of Society, Killgasm, Cold Grave, 8 p.m. Powerhouse Pub Spazmatics, 10 p.m. Press Club DJ GVNTR, 9 p.m. Red Hawk Casino Dane Drewis Band, 9:30 p.m. Sophia’s Thai Kitchen The Gallus Brothers, The Crow Quill Night Owls, 9 p.m. The Stag New Hope for the Dead, 7:30 p.m. T2 Nightclub & Lounge DJs & Dancing, 9 p.m. Torch Club Johnny Knox, 5 p.m.; Mind X, 9 p.m. Townhouse The New Humans (EP Release), Little Foxes, FAVORS, Shaun Slaughter, 9 p.m.

8.22 Sunday

Aura Brunch & Beats w/ DJ Katz, 11 a.m. Barcode Nightclub & Lounge The Asylum w/ DJ Bryan Hawk, KJ Groth, DJ Darkstar, 9 p.m.

The Blue Lamp Reggae Bashment w/ DJ Wokstar!, 9:30 p.m. Distillery Karaoke, 8 p.m. Golden Bear Industry Night, 7 p.m. Harlow’s Bachata Lessons, 6 p.m.; Salsa Lessons, 7 p.m. Laughs Unlimited The Fabulous Devilles, 3 p.m. Mix DJ Billy Lane, 9 p.m. On The Y You Be the Rockstar Karaoke w/ Larissa, 8 p.m. Powerhouse Pub Powerhouse of Blues, 3 p.m.; Blues Jam, 7 p.m. Press Club DJ Larry Rodriguez, 9 p.m. Torch Club Blues Jam, 4 p.m.; Jeff Watson Band, 8 p.m.

8.23 Monday

Distillery Karaoke, 9 p.m. Fox & Goose Open Mic Night, 7:30 p.m. G St Pub Karaoke, 9 p.m. Luna’s Cafe Nahum Zdybel Trio, Tony Passarell’s AMP Quartet, 7:30 p.m. Old Ironsides Strapped for Cash, Nuance, 8 p.m. On The Y Hookaholics, Ill Gotten Gainz, 8 p.m. Powerhouse Pub Karaoke, 9 p.m.

8.24 Tuesday

Arco Arena Michael Bublé, 8 p.m. Capitol Garage Open Jazz Session w/ SalmonJoe, 9 p.m. Coffee Garden Vinnie Guidera, Christopher Fairman, Nicole Kidman, 8 p.m. Crest Theatre Lucinda Williams, Chrissie Hynde, 6:30 p.m. Distillery Karaoke, 9 p.m.

Fox & Goose Traditional Irish Jam Session, 7 p.m. G St Pub Karaoke, 9 p.m. Marilyn’s Achachay, Contagious, Forgotten Passage, 9 p.m. Old Ironsides Lipstick w/ DJs Shaun Slaghter, Roger Carpio, 9 p.m. Powerhouse Pub DJs Rigatony, Alazzawi, 9 p.m. Shady Lady Chub City w/ Flower Vato, 10 p.m. T2 Nightclub & Lounge Karaoke, 9 p.m. Torch Club Hans Eberbach, 5:30 p.m.; Lew Fratis Trio, 9 p.m.

8.25

8.24

Christopher Fairman Vinnie Guidera, Nicole Kidman Coffee Garden 8 p.m.

Wednesday

Bisla’s Open Mic, 9 p.m. Blackwater Cafe Open Mic, 7 p.m. The Blue Lamp Bamboo Station, 9:30 p.m. Club Car The Double Shots, 7:30 p.m. Distillery Karaoke, 9 p.m. Fox & Goose Steve McLane, 8 p.m. G St Pub DJ Larry the Flower Vato, 10 p.m. Harlow’s Randy Houser, 9:30 p.m. Marilyn’s Seth Horan, 8:30 p.m. Mix DJ Gabe Xavier, 9 p.m. Naked Lounge Downtown Live Exhale, Aaron McKay, Iris Shanks, 8:30 p.m. Old Ironsides Open Mic w/ host Lare Crawley, 8:30 p.m. Shady Lady Straight, No Chaser w/ CrookOne, 10 p.m. Torch Club Acoustic Open Mic, 5:30 p.m. Low Down Dirty Dogs, 9 p.m.

Issue 66 • August 16 – August 30, 2010

8.28 Saturday

8.28 Goodness Gracious Me Ape Machine, Lite Bite The Blue Lamp 9 p.m.

8.26 Thursday

o p E n 7 d ay S a w E E k 11am - 7pm

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916-446-8985 www.SaraJaneAndCo.com 20

Issue 66 • August 16 – August 30, 2010

Barcode Nightclub & Lounge DJ Wreck, DJ BTRIXX, 9 p.m. The Boardwalk The Capitol G’z, House, Shaadie, Wesley Avery, The Relles, Beyond the Grove, W.O.W. Ent, 8 p.m. Capitol City Hotel Karaoke, 8:30 p.m. Club Car Songwriters Showcase, 8 p.m. The Coffee Garden Open Mic Night, 8 p.m. Fox & Goose Spun Crush, 8 p.m. G St Pub DJ Somebody, 10 p.m. Golden Bear Skin Tight w/ Shaun Slaughter, 10 p.m. John Natsoulas Gallery Medea Fever, 7 p.m. Marilyn’s Rockstar Live Band Karaoke, 9 p.m. Mix DJ Ron Reeser, DJ Slick D, DJ Dan Saenz, 9 p.m. Old Ironsides By Sunlight, Manouk, Summer Darling, 9 p.m. On The Y You Be the Rockstar Karaoke w/ Larissa, 8 p.m. Powerhouse Pub Dave Russell, 9:30 p.m. Press Club Hold On w/ DJ GVNR, Sex & Weight, 9 p.m. Torch Club X Trio, 5 p.m.; Harley White Jr. feat. Aaron King, 9 p.m. Tre Retox Thursday’s w/ DJ Peeti V, 9 p.m. Vega’s Blues Jam, 7 p.m. Yagers Tap House and Grill Walking Spanish, 10 p.m.

8.27

FRIDAY Beatnik Studios Isabel Solomon, Lindsey Cook, Walking Spanish, 6 p.m.

The Boardwalk Aroarah, Dark Sun Skypilot, Lite Brite, MonoMyth, The Absolutes, 7:30 p.m. Capitol Garage Get Down to the Champion Sound w/ DJ ESEF, 10 p.m. Club Car Homegrown Sounds, 9 p.m. Distillery Tribe of Levi, K-Yel, The Bell Boys, 10 p.m. Fox & Goose Flatlin, David Born, 9 p.m. Golden Bear Crucial Fix w/ CrookOne (Decibel Devils/ Team Sleep), 10 p.m. Luna’s Cafe Chelsea Wolfe, Mount Shout & Brittney Leigh, 8:30 p.m. Marilyn’s Dance w/ The Nibblers, 9 p.m. Mix DJ Jus James, 9 p.m. Naked Lounge Downtown Live Baby Grand, John Conley, Sinking Ships, 8:30 p.m. Old Ironsides The Stone Foxes, Soft White Sixties, 9 p.m. Powerhouse Pub WonderBread 5, 10 p.m. Press Club DJ GVNTR, 9 p.m. The Radison: In the Grove Mick Martin and Friends For The Cure, 6:30 p.m. Red Hawk Casino Xstadic, 9:30 p.m. The Refuge Simple Creation, The Solicitors, 7 p.m. T2 Nightclub & Lounge DJs & Dancing, 9 p.m. Torch Club Acoustic Trio, 5 p.m.; Two Tone Steiny (CD Release Show), 9 p.m. Townhouse Fuck Fridays w/ DJs Shaun Slaughter, Jon Droll, Roger Carpio, 9 p.m. UC Davis: The Quad Nortec Collective feat. Bostich & Fussible, 7:30 p.m.

The Blue Lamp Goodness Gracious Me, Ape Machine, Lite Bite, 9 p.m. The Boardwalk Nekromantix, The Mutilators, The Howlers, 7:30 p.m. Cache Creek Casino Man in the Mirror (tribute to Michael Jackson), 8 p.m. Capitol City Hotel Karaoke, 8:30 p.m. Club Car Joe Getty and the Dead Flowers, 8:30 p.m. Distillery The Penny Dreadfuls, 10 p.m. Fox & Goose Alex Jenkins’ Sound Imersion, The Kairos Quartet, 9 p.m. G St Pub DJ Charlie, 10 p.m. Golden Bear Sweaty w/ DJ Whores, 10 p.m. Harlow’s Carolyn Wonderland, 7:30 p.m.; The Chris Macias and Sonny Mayugba Band, 10 p.m. Laughs Unlimited Never Too Late, 4 p.m. Luna’s Cafe David Houston & Friends, 9 p.m. Mix Dance Party w/ DJ Larry Rodriguez Naked Lounge Downtown Live Adrian Bourgeois, Autumn Sky, 8:30 p.m. Powerhouse Pub Love Fool, 10 p.m. Press Club DJ GVNTR, 9 p.m. The Radison: In the Grove Desert Cities Jazz Band, 7 p.m. Red Hawk Casino Xstadic, 9:30 p.m. Sophia’s Thai Kitchen Sea of Bees, The Brothers Young, Chris Larsen, 9 p.m. T2 Nightclub & Lounge DJs & Dancing, 9 p.m. Torch Club Johnny Knox, 5 p.m.; Volker Strifler, 9 p.m. Townhouse Electroc w/ DJs Blackheart, Whores, Mr. Rodgers, 10 p.m.

8.29 Sunday

Aura Brunch & Beats w/ DJ Katz, 11 a.m. Barcode Nightclub & Lounge The Asylum w/ DJ Bryan Hawk, KJ Groth, DJ Darkstar, 9 p.m. The Blue Lamp Reggae Bashment w/ DJ Wokstar!, 9:30 p.m. Cache Creek Casino Grupo Vennus de Ernesto Sosa Naranjo, 5 p.m. Distillery Karaoke, 8 p.m.

Dive Into Sacramento & Its Surrounding Areas

The Fire Escape Bar and Grill Slaughterbox, Larry David, Rotten Funeral, Colonize the Rotting, Vital Perception, 6 p.m. Golden Bear Industry Night, 7 p.m. Harlow’s Doom Bird (CD Release), Aaron Ross, Bart Davenport, 7 p.m. Laughs Unlimited Retro Active, 3 p.m. Mix DJ Billy Lane, 9 p.m. On The Y You Be the Rockstar Karaoke w/ Larissa, 8 p.m. Powerhouse Pub Powerhouse of Blues, 3 p.m.; Blues Jam, 7 p.m. Press Club DJ Larry Rodriguez, 9 p.m. Torch Club Blues Jam, 4 p.m.; Kate Gaffney Band, 8 p.m.

8.30 monday

Distillery Karaoke, 9 p.m. Fox & Goose Open Mic Night, 7:30 p.m. G St Pub Karaoke, 9 p.m. Luna’s Cafe Harley White Trio, The Drifting, 7:30 p.m. Powerhouse Pub Karaoke, 9 p.m. Sol Collective Wavves, Ganglians, G. Green, Produce Produce, 8:30 p.m. Comedy Laughs Unlimited Debi Gutierrez, Tony Dijamco, Aug. 19 - 22, Thursday, 8 p.m.; Friday & Saturday, 8 p.m. & 10:30 p.m.; Sunday, 7 p.m. Comedy for the Soul - Gospel Comedy Jam, Aug. 29, 4 p.m. Dave Burleigh, Justin Worsham, Aug. 25 - 29, Wednesday, Thursday, 8 p.m.; Friday & Saturday, 8 p.m. & 10:30 p.m.; Sunday, 7 p.m. Luna’s Cafe Wednesday Night Comedy’s One Year Anniversary Show w/ Ngaio Bealum, Caitlin Gill, Keith Lowell Jensen, John Ross, Chazz Hawkins, Carlos Rodriguez, Nick Pettigrew, Aug. 18, 8 p.m. Naked Lounge Downtown Live World’s Worst Doctors Comedy Improv, Aug. 26, 8:30 p.m. Punchline Comedy Club Anjelah Johnson, Aug. 19 - 22, Thursday & Sunday, 8 p.m.; Friday & Saturday, 8 p.m. & 10 p.m. Sam Bam’s Comedy Jam, Aug. 26, 8 p.m. Jon Reep, Aug. 27 - 29, Friday & Saturday, 8 p.m. & 10 p.m.; Sunday, 8 p.m. Sacramento Comedy Sportz Mayhem!, every Thursday, 9 p.m. SubmergeMag.com

com e dy & m i s c e l l a n eou s Ca l e n da r

ComedySportz, every Friday & Saturday, 8 p.m. Sacramento Comedy Spot Aug. 17, Cage Match, 9 p.m. Aug. 18, Improv 1 Continuous, 7 p.m.; Harold Night, 9 p.m. Aug. 19, Sketch Lab, 6 p.m.; Improv 1 Continuous, 7 p.m.; In Your Facebook, 9 p.m. Aug. 20, The W. Kamau Bell Curve: Ending Racism in About an Hour, 8 p.m. & 10 p.m. Aug. 21, Stand Up Shoot Out, 7 p.m.; Lady Business, 8 p.m.; Anti Cooperation League, 9 p.m.; High vs Drunk Improv, 11 p.m. Aug. 22, Open Mic Scramble, 7 p.m. Aug. 24, Cage Match, 9 p.m. Aug. 25, Improv 1 Continuous, 7 p.m.; Harold Night, 9 p.m. Aug. 26, Sketch Lab, 6 p.m.; Improv 1 Continuous, 7 p.m.; In Your Facebook, 9 p.m. Aug. 27, First Date, 8 p.m.; Mike E. Winfield, 9 p.m.; Comedy and Jazz Jam, 11 p.m. Aug. 28, Three On Three Tournament, 8 p.m.; Anti Cooperation League, 9 p.m.; Ellis Rodriguez, 10:30 p.m. Aug. 29, Open Mic Scramble, 7 p.m. Tommy T’s Andrew Norelli, Aug. 18, 8 p.m. John Witherspoon, Aug. 19 - 22, Thursday, 7:30 p.m.; Friday, 7:30 p.m. & 9:30 p.m.; Saturday, 7 p.m. & 9:30 p.m.; Sunday, 7 p.m. Misc. 16th and J Streets Midtown Bazaar, Saturdays, 7 a.m. The Art Institute of California Sacramento Power of Super-8 Film Seminar, Aug. 17, 7 p.m. Bisla’s Pub Quiz Trivia, Mondays, 7 p.m.

Bistro 33 (Davis) Pub Quiz, Mondays, 9 p.m.; Poetry Night, Every 1st Wednesday, 9 p.m. Capitol Garage Trivia & Movie Night, Mondays, 9:30 p.m. The Colonial Theatre Sacramento Horror Film Festival presents: Repo! The Genetic Opera Live, Aug. 28, 8 p.m. Crest Theatre Exclusive free screening of “Nirvana: Live @ The Cattle Club Feb. 12, 1990,” Aug. 20, 7 p.m. The Wizard of Oz Sing-Along, Aug. 22, 1 p.m. Fox & Goose Pub Quiz, Tuesdays, 7 p.m. The Guild Theatre Movies on a Big Screen presents: Back to School Night at MOBS - The Sex & Drugs Edition, Aug. 22, 7:30 p.m.; Strongman, Aug. 29, 7 p.m. It’s All Yoga Free Yoga Class, Fridays, 4:30 p.m. K Street Mall Third Saturday: Design Downtown Block Party, Aug. 21, 3 p.m. Luna’s Cafe Joe Montoya’s Poetry Unplugged, Thursdays, 8 p.m. Nevada City (Various Venues) 10th Annual Nevada City Film Festival, Aug. 19 - 22 Sacramento Public Library (Central Branch) Brown Bag Poetry at the Library hosted by Mary Zeppa and Lawrence Dinkins, Aug. 19, 12 p.m. Sol Collective Salsa Dance Classes, Mondays, 7:30 p.m. Townhouse Record Club Movie Night & Lounge, every Wednesday, 7:30 p.m. The Urban Hive Sports and Social Media hosted by Sacramento Social Media Club, Aug. 17, 7:30 p.m.

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Issue 66 • August 16 – August 30, 2010

Wednesday

sept 8

HaRLow’S 2708 J St. • Sac 21 & ovER • 8:00pm

Bison B.c. Will haVen

thursday

sept 9

(solo) kate GaffnEy

HaRLow’S 2708 J St. • Sac 21 & ovER • 7:30pm

tuesday

sept 14

(fat possum) JBm

HaRLow’S 2708 J St. • Sac 21 & ovER • 9:00pm

saturday

sept 25 7:00pm

sean hayes

sept 25 JJ GREy & mofRo

10:00pm

HaRLow’S 2708 J St. • Sac • 21 & ovER

tuesday

sept 28 truth & SaLvaGE co.

HaRLow’S 2708 J St. • Sac 21 & ovER • 9:00pm

thursday

The Devil Makes Three on saley a s u ngudst 15

cornmeal

sept 30 HaRLow’S 2708 J St. • Sac 21 & ovER • 8:00pm

friday

miGHty REGiS

OCt 1

Blue lamp 1400 aLHamBRa BLvd • Sac 21 & ovER • 8:00pm

sunday (fe at. matt fre)ema of rancid

(fEat. mikE mccoLGan foRmER SinGER of dRopkick muRpHyS)

abstract entertainment 22

Issue 66 • August 16 – August 30, 2010

OCt 17

Venue (formerly empire) 1417 R St. Sac • aLL aGES • 6:30pm

(rick Barton of dropkick murphy’s)

tickEt outLEtS: tHE BEat!, R5 REcoRdS (foRmERLy towER on BRoadway), dimpLE REcoRdS, aRmadiLLo cdS (daviS), tickEtS.com, oR onLinE at tickEtS.com, HaRLowS’S tix aLSo at HaRLowS.com Dive Into Sacramento & Its Surrounding Areas

New-ish Beginnings The New Humans’ Avalanche Drops, Finally Words Vincent Girimonte photo Raoul Ortega

Don’t broach the time before The New Humans with The New Humans; it’s akin to rehashing a saga and you’ve missed the first couple of installments where some real heavy shit went down. Sitting in front of Temple Coffee on 10th, that savory little nook of downtown Sacramento that feels like a downtown, Cole Cuchna and “new” singer Scott Simpson gingerly sidestep their previous selves as if they were officers in some cult; Simpson speaks briefly on his days with Sacramento rock outfit Still Life Projector while Cuchna is less forthcoming. “I’m going to drop [Cuchna] out right now too—Cole was in a band called Red Top Road that was kind of big around the same time,” says Simpson. Once you’ve jumped from the ‘burbs, all that noise must be like Calvin Klein to Mark Wahlberg. But nobody likes the then, especially when the now has finally shown up. The New Humans release their first EP, Avalanche, Aug. 21 with a Korg shakedown of sorts at The Townhouse, supported by Dusty Brown side project Little Foxes and those plucky FAVORS kids making their live debut. And yes, this is The New Humans’ first EP, which is no doubt a little surprising given the all the buzz The New Humans have created over the past few years, playing as an instrumental band nonetheless. “It was never planned,” says Cuchna of the band’s instrumental phase. “We always thought the songs sounded incomplete. It was never really what we wanted to do.” Simpson took over the vocals after an arduous search for that elusive frontman, futile as they often seem to be. “We got tired of it. Trying out a bunch of people, no one was really going to grasp what we were going for besides one of us,” Simpson admits, though the group maintains that perhaps it was for the better. The New Humans were conceived on a laptop, initially with a fairly direct “screw the guitar” mentality stemming from their previous ventures. Simpson and Cuchna, childhood friends from their days growing up in Elk Grove, wrote dozens of songs before picking up bassist Robert LaCasse and later adding current drummer, Mike Steez. “When we started we were a lot more excited about it. I almost forget about it now,” recalls Cuchna. “Our intention was never to be like, ‘Oh check out this band, they don’t have guitars.’ I guess that would be one cool thing about us now.” No guitars in today’s Midtown doesn’t turn any heads. It’s not uncommon to see a show with the MPC 1000 or something of the like running things on the floor, people kneeling over it awkwardly like some Ouija board. The New Humans occupy a very different side of this trend, though. Sugary, glam-y, coked-out even; it’s glitzy—not janky—in the way K Street is trying to be. “Fever” is the punchy single that predates the EP by what seems like eons, but it’s “All the Kids,” the EP’s opener, that does well to outline the album’s general framework: catchy synth melodies, live drums with percussion loops on top and a piano underneath trying to tether it all down. “[Not having guitars] lets in the stylistic, bluesy or jazzy undertones—there’s a song on the EP with a Latin-y undertone. It lets all that color come through,” says Simpson, the pipes of this sassy “disco generation.” Some opening falsettos belie his trepidation over taking the lead vocals, and I wasn’t the first to mention that his inner diva was beginning to surface. “I feel like every show we play, it’s coming out a little more, and in another year I’ll be a complete fucking monster.” If there’s a sense of relief following the completion of any project, The New Humans are the divorcee who finds love again after Dad packs up and leaves. Six months were spent recording in SubmergeMag.com

“I feel like every show we play, [my inner diva is] coming out a little more, and in another year I’ll be a complete fucking monster.” – Scott Simpson, The New Humans a Sacramento studio (names are omitted per band’s request), and though both parties remain cordial, those six months were scrapped due to artistic disputes and “fake promises.” “He wanted to produce it, so we were like, ‘OK, produce it,’ not knowing how far the producing would go,” Simpson says. “It’s a lot of trust to put in someone when you’ve never heard anything they’ve produced before. I don’t trust anybody with my band that way, unless maybe you like, produce fucking Radiohead.” Cuchna adds, “I think that it was probably our fault for not really setting ground rules.” Cuchna cites differences in process rather than the actual material being recorded; Simpson recollects on an uncomfortable foray into “L.A. bullshit,” where the band was allegedly being pushed into a deal with a sheisty label. “It was a commercialized process, which could work for us, but it was an over-commercialized process,” says Simpson. “All the bands, they were trying to get them on The Hills, shit like that.” The group self-produced with some guidance from Ira Skinner, using his studio space essentially for their own devices—“[Skinner]

put in advice where we needed it and where we asked for it,” says Simpson. The New Humans purport to be in the “electric piano rock” vein, and though we can’t derive too much from that, the production doesn’t always speak to the band’s live panache—some tracks lack articulation, components grind together, coming up a little short in the “pop” factor that one generally demands with any electronic project under the umbrella of “dance-y.” But it’s their first production, more of a “demo” according to Cuchna, and he stresses the fact that they were past due on getting the EP released. “That’s my only thing with the EP—it’s kind of all over the place... not all over the place, but we’re kind of treating it more as a demo,” he says. “At this point, we just needed to get the songs out.” A mini-tour is planned for the fall, hopefully with a label supporting it. At The New Humans will this point the band is eager to get the play their Avalance EP release show at The EP “in the hands of the right people,” Townhouse on Aug. 21. whomever they might be. Suffice it to say Little Foxes and Favors they’re in no particular hurry. will also perform. Show

Issue 66 • August 16 – August 30, 2010

starts at 8 p.m.

live<< rewind

Go ahead, take a bite The Nibblers

Friday, Aug. 13 • The Torch Club • Sacramento

words & photos Adam Saake

“Thank you for showing up early. It’s going to be a long night, and we can’t think of anything better than spending it with you,” announced Hans Eberbach, The Nibblers’ frontman. A good 75 people were in the house at The Torch Club to hear the funk and soul grooves of The Nibblers, and it was only 9 o’clock (good thing I was on time!). Eberbach is supremely cut out for his job, with a charismatic personality that was trumped only by his outfit. Donning a huge metal belt buckle that matched his chains that hung over his black tank top and vest, he peered out from behind a pair of black sunglasses as he approached the microphone to exhale his lyrics. Behind him, an eightpiece band was bangin’, strummin’ and blowin’. A good funk tune is something of an aphrodisiac for the older crowd, apparently, because there were some love makers on the dance floor. The 35-to-60 crowd was out in full effect, and unlike the wallflower crowds seen all-too-often at dance and indie clubs, mom and dad can cut a rug. Not to say that I’m surprised, it’s just that I’m used to seeing young whippersnappers having a hard time walking from too many shots of Jameson, not from a recent hip replacement. But I digress. The Nibblers are a solid band with members that have musical credentials as long as my arm. Jon Wood (guitar), Mike Palmer (bass) and Reggie Marks are of Mumbo Gumbo fame, and the very talented Ryan Robertson was sitting in on trumpet. All the elements to crush a set were in place, and the boys ran through a

Issue 66 • August 16 – August 30, 2010

mix of originals and covers that you could tell were picked out very carefully. Songs like “Who’s Making Love to Your Old Lady” by the late Johnnie Taylor absolutely killed. One of my favorite covers of the night was a song called “Snatching It Back” by Clarence Carter. Eberbach smoothly and soulfully sang, “How can I get your love, when you keep on snatchin’ it back?” Great question. What really does it for me when I’m watching a funk/soul band like The Nibblers is the presence of the keys player. I don’t want to play favorites here, but damn, a solid keys player like Jeremy Spinger takes a good song, turns it upside down, shakes out all the contents of its pockets and leaves it red hot like an iron in the coals. I just want to shout like James Brown! At the 11 o’clock hour it was standing room only with the head count up to a hefty 125. The boys took a well deserved break and then returned shortly after for a second set that they dared to have rival the first. James Brown covers set the tone and their list of originals was standout rather than filler. It’s clear these guys are real students of the genre and really take the time to weed through what seems like an endless pool of music that dominated the charts of the ‘60s and ‘70s. Their sets just feel good. It’s too much work at times to come to a show and have to be seriously concentrated on what’s going on. There’s a time and a place for that, but it feels nice to see a band like The Nibblers and the only thing to worry about is spilling your drink on the dance floor.

Dive Into Sacramento & Its Surrounding Areas

refined tastes

Hardly squeezing the wallet The Press Bistro 1809 Capitol Avenue • Sacramento words Adam Saake Photos Leon Moore Chef David English “needed a break.” He and wife Kelly had been through the opening of two restaurants in New Orleans, the first of which didn’t survive the floods of 2005, as well as the opening of Ella here in Sacramento. English cooked at Ella for two years but ended up leaving last July for a much-needed escape. The two headed out on a European excursion that took them through the Mediterranean and beyond. When they returned, it was clear they needed to open a place that was theirs. “It just so happened that when we got back, [Dragonfly] was going out of business,” David said. Enter The Press Bistro, a relaxed and simple take on Mediterranean cuisine. David had trained at different times in both France and Spain, so the writing of the menu was guided by those experiences as well as his passion for Italian cuisine. “And I love Greece,” said Kelly English. “So there’s a bit of that influence in there, too.” The Press Bistro’s menu can be navigated in a variety of different ways, from lightly snacking with a craft cocktail to match, to taming an appetite, to full on stuffing yourself silly. Where many restaurants fail in accommodating the moderate spenders, Press actually shines. Press offers a short but interesting selection of tapas that go for $4 each or three for $10. My friend and I chose the potato croquettes, the heirloom tomatoes with fresh mozzarella and the mushroom parmesan frittata. I have a bit of an obsession with vegetable soups these days (thanks to La Bonne), and so when I saw the summer white corn soup on the appetizers menu, I had to give it a whirl. As we finished the first part of our order, Showy, our waitress, asked if we’d like the soup to come out before the tapas: a very nice, simple touch that was very much appreciated. Chef David personally brought out our soups in a very timely fashion. Again, a small detail that goes so far. Short of lapping up my entire bowl, it’s safe to say the soup was on point—a perfect combination SubmergeMag.com

of sweet, salty and creamy. Trick is, when I asked Kelly if there was any cream in the soup, she replied, “When David makes a vegetable soup, he likes it to be about the vegetable.” The tapas, like everything else on the menu, were made simple and fresh. The heirloom tomatoes exemplified summer perfectly with the characteristic colors of yellow, red and green and the mozzarella was chunky and delicious, just the way I like it. The potato croquette was very unique; a sort of deep-fried mash that was breaded and crunchy on the outside and smooth on the inside. The one thing that did not benefit from simplicity was the frittata, which was too chewy and was lacking that extra something. Against my gut instinct, which was to keep my meal on the cheaper side, I ordered the pork chop Milanese with green beans with bacon and a preserved lemon sauce from the entrée menu. Again, it’s all about how you navigate the menu. The pork chop was cooked just right and soaked up the lemon sauce nicely. The green beans with bacon was also enjoyable, it’s just that the dish was very rich and heavy. I had a hard time getting through it (as did my friend who ordered the short ribs) and ended up getting most of it to go. I recommend sticking with the pastas, appetizers and tapas and if you feel like getting a little spendy, peruse the wine list and pick out a nice bottle to share. We ordered a gorgeous 2008 Domain de Nizas rose that was at a very reasonable $20 a bottle. It paired nicely with each course; cutting through the heavy sauces and opening up nicely as the temperature dropped. The décor of Press was a winner, too. A gorgeous oil painting of a French press is mounted on the wall as you first enter the restaurant, and another painting done in a similar style is hung in the back corner. The rest of the design was kept very simple and tasteful, keeping the focus on the exposed wood beams and natural brick walls. Three dimly lit, red-orange lamps dangled over a long black communal dining table that divided the restaurant in half. Easy design elements like open cabinets with stemware or large black chalkboards with the tapas and cocktail menus written in white chalk were also very nice touches. Overall, a very pleasurable dining experience. I’m looking forward to watching this restaurant evolve and grow.

R U YO AD 3 E 0 R 8 3 HE6) 441-

m o c . g ema

(9f1o@submerg in

Issue 66 • August 16 – August 30, 2010

the shallow end I had one chance at YouTube fame. Instead of a double rainbow (all the way), my shot was a tad more terrestrial, and not nearly as intense. I arrived home late. An after party became an after-after party but abated before the hotel lobby. I was driving (probably shouldn’t have been) and my windows were down because I won’t use the air conditioning if I don’t have to. That saves on gas, right? As I drove slowly up my street, I noticed something just outside my driver’s side window. I thought I must have been hallucinating; Patron and I have always been strange bedfellows. But I was much more sober than I gave myself credit for. My eyesight was true. Scurrying up the street just outside my driver’s side window was indeed a raccoon with its head stuck inside a single-serving bag of Cheez Doodles. The more environmentally sensitive among you are probably upset. It’s a sign of how our ecological footprint totally fucks with the critters of the world. I suppose you could look at it that way. I see it a bit differently. Raccoons are so well-adapted to flourishing

Goodbye Mr. Cheez

in the urban environment, what with their stealthy ways, ability to navigate catch basins and other crevices and those clever little handpaws of theirs. A lesser creature may not have the necessary tools to acquire the precious nutrients that could be found at the bottom of a discarded Cheez Doodle bag, but this raccoon was on it. Take any one of us and throw us out on the street where we’d have to scrounge for food every day, and see how we’d do. Probably not very well. Of course, at this very instant, my furry friend, Mr. Cheez, was having a pretty difficult go himself. None of these thoughts crossed my mind, however, at least not at the time. The only thing I could think to do was hastily park my car so I could try to shoot a video with my camera phone. Perhaps the whole incident could’ve been Auto-Tuned and set to a catchy beat. Mr. Cheez, just a runt of a little guy, ducked out of and under parked cars. When he would bump into a curb, he would change direction. His predicament occupied much of his mind, and eventually I was able to creep up pretty

Issue 66 • August 16 – August 30, 2010

close. That’s when I heard him chirping, and it sounded like cries for help. I put the phone in my pocket. How callous was I to find amusement in the peril of a fellow mammal. YouTube fame would have to wait. I had to help the little guy out. I live on a busy street near a highway, so if Mr. Cheez’s head wasn’t removed from the bag, he’d assuredly get hit by a car sooner rather than later. What followed was a good half-hour caper as I tried to get close enough to the animal to figure out a way to get the bag off its head. At its conclusion, Mr. Cheez scampered up to my feet, first not realizing I was standing there— but when he did, he came to a dead stop. The movement of his bagged head approximated that he was looking up at me, trying to figure out what I was. I took the top corner of the foil package between my thumb and forefinger and pulled the bag up and off, taking two or three big steps back as I did so. This was a wild animal after all, with teeth and clever handpaws, and I have plenty of fleshy parts prone for biting.

James Barone jb@submergemag.com Mr. Cheez shook his head, his feet splayed before him, and stared up at me. I looked back into his big, brown, fur-masked eyes. No words were exchanged, but I think we had a moment. Mr. Cheez snuck off the street into some shrubbery, and I made my way inside. Good deed done. I managed to tip the scales of survival of the fittest in favor of the good guys for once. The victory was short-lived. A week or so after the incident, I returned home one night to find a gray-brown furry carcass out in front of my home. It was lying on its back in roughly the same spot I first caught glimpse of Mr. Cheez scurrying around in his foil hood, eyes open, its head in a shallow pool of blood, the victim of an apparent hit and run. It was the roughly Mr. Cheez’s size and color, but I’m sad to say that I doubt I’d be able to identify one raccoon apart from another. By the time I woke up the next morning, the body was gone.

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