Submerge Magazinie: Issue 301 (September 25 - October 9, 2019) by Submerge Magazine

DIVE INTO SACRAMENTO & ITS SURROUNDING AREAS

SEPTEMBER 25 – OCTOBER 9, 2019 • #301

CELLISTA FREEDOM TO ROAM MIKE BLANCHARD

AND THE CALIFORNIOS AMERICANA SECRETS

GUSTON ABRIGHT THE FEELING OF IMPERMANENCE

A BALANCE OF HUMORS

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Issue 301 • September 25 – October 9, 2019

Dive Into Sacramento & Its Surrounding Areas

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Issue 301 • September 25 – October 9, 2019

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Issue 301 • September 25 – October 9, 2019

CELLISTA MIKE BLANCHARD AND THE CALIFORNIOS

CALENDAR

TOOL

THE SHALLOW END

All content is property of Submerge and may not be reproduced without permission. Submerge is both owned and published by Submerge Media. 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 P.O. Box 160282, Sacramento, California 95816. Or you can email us at info@submergemag.com.

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FRONT COVER PHOTO OF TOOL BY TRAVIS SHINN BACK COVER PHOTO OF MIKE BLANCHARD AND THE CALIFORNIOS BY STEVE ABBOTT

MELISSA WELLIVER melissa@submergemag.com I think I made a conscious effort to not title my column “Rocktober” for at least two years. I just didn’t want to, you know, over do it. I believe enough time has passed and besides this issue is the most Rocktoberest of Rocktober issues. Ahem, Tool is on our front cover. With Aftershock Festival coming up, and Tool headlining on Sunday, Oct. 13, I haphazardly reached out to the band’s publicist to see if we could get an interview with singer Maynard James Keenan. Lo and behold, we got one! You see, I’ve been trying to get an interview with him in Submerge for forever and a day. In the past I was shut down either because he wasn’t doing any press at the time, or if he was, it’d only be about his winery. While it would be nice to have set up an interview to just talk wine, since the 2010 documentary Blood Into Wine was indeed fascinating, at the end of the day, I didn’t want to let our readers down since music, obviously, is our main focus and No. 1. With the release of Tool’s first new album in 13 years, and their headlining appearance here in Sacramento, the stars aligned for Submerge and you can now learn about Fear Inoculum, as well as Keenan’s passion for Merkin Vineyards and Caduceus Cellars, in our very own pages. In anticipation of one of the longest sets at Aftershock (according to the set time schedule that was recently posted to their website) with an hour-and-a-half block (!!!), please read our feature story that starts on page 26. In true Rocktober fashion, Norcal Noisefest is back this Oct. 4–6 celebrating their 23rd year of noise, music and art. More than 60 artists are scheduled to perform over the course of three days. This year we chose to highlight Cellista, a San Jose native returning to the fest, and who just released a new book and album. Learn about her being a dissident artist while being classically trained, gentrification in relation to artists where she lives and what’s inspiring her right now, all starting on page 18. Another Rocktober favorite of mine is Berryessa Brewing’s annual anniversary party. This year the festival is on Oct. 13 and features Dead Winter Carpenters, Achilles Wheel and The Casual Coalition. You can learn a little bit more about it in our “Submerge Your Senses” section on page 10. If you haven’t been out the brewery for a concert, you should. They have killer beer, and a bad-ass sound system and stage. Be sure to head that way on Oct. 5, too, because you can also catch Mike Blanchard and the Californios, and oh hey, it’s free! Speaking of, read our Q&A with Mike and Laurieanne Blanchard from the Californios starting on page 20 and learn about their new album, Dark Secrets, that was released this past July, and about being Americana before it was Americana. You can also start Rocktober a little early by also catching them at Two Rivers Cider Co. on Sept. 28. Rock over London, rock on Chicago Folgers, it’s good to the last drop – Wesley Willis Read. Learn. Do rad things. Melissa Welliver

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Issue 301 • September 25 – October 9, 2019

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Issue 301 • September 25 – October 9, 2019

MON OCTOBER 14 • 6PM Dive Into Sacramento & Its Surrounding Areas

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OCT 29: BEAMA OCT 31: THROUGH THE ROOTS / PACIFIC DUB NOV 2: THE B FOUNDATION / RIOTMAKER NOV 3: THE SPILL CANVAS NOV 5: HOMESAFE NOV 8: SLAVES NOV 9: BROTHER ALI, EVIDENCE LAVES NOV 1O: FIT FOR AN AUTOPSY NOV 11: BLAZE YA DEAD HOMIE NOV 12: HELMET NOV 13: DIRTY HONEY NOV 15: GOOD RIDDANCE NOV 16: STRUNG OUT / THE CASUALTIES NOV 18: ICON FOR HIRE NOV 2O: HIRIE

NOV 22: THANK YOU SCIENTIST NOV 23: NILE NOV 26: KATASTRO NOV 29: EMAROSA DEC 6: LYRICS BORN DEC 9: DEFEATER DEC 13: RITTZ / DIZZY WRIGHT DEC 15: PETE YORN DEC 19: CATTLE DECAPITATION DEC 2O: SHORTIE / LONG DRIVE HOME DEC 21: QUITTER/ BRIGHT LIGHT FEVER/ EIGHTFOURSEVEN JAN 3: ENUFF Z’NUFF FEB 14: ROSS THE BOSSE APR 9: PRO-PAIN APR 22: POWERGOVE MAY 31: FLOTSAM & JETSAM

Issue 301 • September 25 – October 9, 2019

A family, bicycle, and dog-friendly cider company Open

days a week

THE STREAM

ROCK ON SACRAMENTO: 12 LOCAL CONCERTS AND EVENTS TO SPICE UP YOUR MONTH JONATHAN CARABBA

Send regional news tips to info@submergemag.com

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On Thursday, Oct. 3, treat yourself to a great show at Old Ironsides when touring dark folk act Foxy Blues takes the stage. Originally from the Stockton area, Foxy Blues has many talents—she sings, plays guitar, banjo, cello, fiddle, harmonica and more. Also on the bill is Portland-based five-piece folk band Beggars Canyon. 21-plus, 8 p.m., $7 cover. Foxybluesrecords.bandcamp.com for more. If you like to laugh, make sure to stop in to Sacramento Comedy Spot throughout the weekend of Thursday, Oct. 3 through Sunday, Oct. 6 for their ninth annual Sacramento Comedy Festival, which features improv groups, stand-up comedians, and sketch comedy groups from Sacramento and around the country. Saccomedyfest.com for more. Norcal Noisefest, the longest running noise and experimental music festival in the country, returns for three very loud days at three different venues. Friday, Oct. 4 is at Luna’s Cafe and Saturday, Oct. 5 and Sunday, Oct. 6 are at both Cafe Colonial and The Colony (right next door to each other). Sixty performances throughout the weekend! Norcalnoisefest.com for more.

If tribute bands are your thing, there are a few exciting shows coming up you should know about: On Monday, Oct. 7, Mondavi Center hosts the Experience Hendrix Tour at 7 p.m.; on Tuesday, Oct. 8, Crest Theatre welcomes Get the Led Out (Led Zeppelin Tribute) at 6:30 p.m.; and on Friday, Oct. 18, Ace of Spades will have The Police Experience in town. Mondaviarts.org, Crestsacramento.com and/or Aceofspadessac.com for more. The region’s biggest and best Oktoberfest celebration returns Friday, Oct. 11 and Saturday, Oct. 12 to Sacramento Turn Verein. I finally attended last year’s festival for the first time, and I’ve got to say, it was amazing. Crowded, but fun. It’s a “must do” at least once if you live in Sacramento and like drinking beer. Sacramentoturnverein.com for more. The biggest heavy music fest in the West, Aftershock Festival, returns for three days of headbanging at Discovery Park from Friday, Oct. 11 through Sunday, Oct. 13 with bands like Slipknot, Tool, Korn, Blink-182, Rob Zombie, Staind, Marilyn Manson and many others. Aftershockfestival.com for more.

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Issue 301 • September 25 – October 9, 2019

The Gold Souls

One of the best garage rock bands in the world, Atlanta-based Black Lips are returning to town on Saturday, Oct. 12 to play Harlow’s. It’s been many years, but I remember they tore the fucking house down at Blue Lamp last time I saw ‘em, and if I was a betting man, I’d wager they’ll do the same this time around. Opening is Blue Rose Rounders. Harlows.com for more. Punk in Drublic craft beer and music festival returns to Papa Murphy’s Park at Cal Expo on Saturday, Oct. 19 with NOFX, The Mighty Mighty Bosstones, The Vandals, Reel Big Fish and Teenage Bottlerocket. Punkindrublicfest.com for more. Sacramento-area indie/math rock darlings The Speed of Sound in Seawater haven’t been too active in recent years, but they’re back with a big-ass tour in October, which ends at Holy Diver on Saturday, Oct. 26. Opening the show will be the solo project from TSOSIS’s frontman Damien Verrett, So Much Light, as well as Catbamboo on tour all the way from Louisiana. Holydiversac.com for more. What sort of “Rocktober” column wouldn’t include a Halloween party? Not this one! My first off-the-top choice for Oct. 31 would most definitely be The Torch Club’s Halloween Party featuring two killer local bands, The Gold Souls and City of Trees Brass Band. Facebook.com/thetorchclub for more.

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THE OPTIMISTIC PESSIMIST OB-LA-DA, LIFE GOES ON … S AND SO SHOULD ALL THOSE WKIN IE HA L L O M CREEPY PINK FLOYD SONGS BOCEPHUS CHIGGER bocephus@submergemag.com

I have to confess to you, dear reader: I am not what one might call a “Beatles fan.” I know. Call the music police. The generation police. Maybe The Police, featuring Sting. Cue the sirens. Ready the torpedoes to launch out of your yellow submarines. Hear me out. I respect them, a hell of a lot, sure. I understand their place in music history, but that love is just not there (that’s all I need, right? Right). It’s a missing piece. Don’t worry, I’ve gotten into so. Many. Arguments. Mostly with ex-boyfriends, who refused to believe I dared go against history itself by being neutral towards The Beatles. Listen, I grew up in the house of a musician. A house that blasted Pink Floyd’s Dark Side of the Moon on ridiculously huge German speakers that took up half the room—subsequently sending my 7-year-old self running away frantically to get away from the heartbeats, ominous ticking clock and maniacal clown laughter at the end of “Speak to Me.” So it’s no wonder I’m screwed up. I was never exposed to The Beatles. I do not have fond memories of listening to the White Album or Sgt. Pepper’s Lonely Hearts Club Band while sipping hot cocoa and working on a science fair project. Never happened. The music or the science fair project. But for all my lack of Beatlemania, I do appreciate highbrow jazz and have oddball knowledge of recording techniques specifically used on Michael Jackson’s Thriller album. We don’t get to choose our childhoods, y’all. All that to say, a few days ago my better half forced me to suggested I watch Yesterday, a film by Danny Boyle (one of my longtime director crushes after becoming obsessed with Trainspotting in high school). This film takes a young struggling musician (played by Himesh Patel) and places him in a world that loses power for about 10 seconds, then afterwards some really important shit never happened. At all. Like Coca-Cola. And The Beatles. But it seems that our protagonist, Jack, remembers every Beatles song ever written (nearly). So he pretends he wrote them all and becomes excessively famous. Oh, and Ed Sheeran plays himself, and he has a lot more to say than his bit part in that one episode of Game of Thrones. Hilarity ensues. SubmergeMag.com

This isn’t a movie review, though. What Danny Boyle (bless him) has done here is make me think about time; specifically, what is lost and what should be carried on forever. In 50 years (I mean, that’s assuming we haven’t all turned into dust, because we've destroyed everything around us), we will most definitely remember The Beatles. And Coca-Cola. And, I don’t know, Harry Potter. Here’s what I would like to forget about, in no particular order, if we experience some unexplained international blackout: Student debt. Taylor Swift. Dirty chai lattes (seriously, gross, what is wrong with you, espresso does not belong in chai tea). Donald Trump and his progeny (that’s a given). Fireball whiskey. Del Taco chili cheese fries at 1 a.m. The Kardashians. Any book written by a YouTube sensation. I’m sure a few of you disagree with one or two of these things (hey, you might love dirty chai, you lovable weirdos), but I feel like we are in a generation of things that won’t be worth remembering on a global level. I mean, the last few Avengers movies were great, but were they really? Nah. And I love David Lynch, fiercely, but will people still watch Twin Peaks reruns on whatever wall/TV/smart screen in 100 years? Yes. Yes, they will. I will haunt them if they don’t. It’s the old argument that writers have been having for decades now: everything great has already been done. And I think about it. Most of the bands I listen to now have 9:30PM borrowed from other bands. Sampled this and that. They’ve all been singing about the same manic pixie dream girl since like … well, The Beatles. I think this means we need to learn how to be less right now about our pop culture. What is actually worth taking with us? Just like Jack in Yesterday, it is up to us to carry important music and movies and literature into the future so they live on forever. Even if that means scaring the shit out of your kids with Dark Side of the Moon on fancy speakers that will probably be built into the walls of your smart house. But whatever you do, do not tell them about dirty chai.

HARLOW’S

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Issue 301 • September 25 – October 9, 2019

Your Senses

WORDS SUBMERGE STAFF

SEE

5000 Watts: Art + Tech Festival Looks to Light Up Your Weekend • Oct. 4–5 For two nights only, one of the region’s coolest new outdoor venues and eateries, Drake’s: The Barn, will be illuminated by interactive art installations from artists, geeks, techies and makers. It’s all part of 5000 Watts: Art + Tech Festival, an event going down Friday, Oct. 4 and Saturday, Oct. 5 from 6:30–11 p.m. being put on by (and benefitting) Square Root Academy, a Sacramento-based nonprofit on a mission to engineer equity in STEM education (Science, Technology, Engineering, Math). Organizers say, “This fusion of Art + Tech will showcase the vibrant culture that exists throughout Sacramento, designed for the people by the people.” Don’t miss your chance to experience this unique and electrifying intersection of local artists and tech talent. Check out 5000watts.com for tickets ($15) and more info. Drake’s: The Barn is located at 985 Riverfront St. in West Sacramento. Learn more about the event’s beneficiaries and the great work they do in the community at Squarerootacademy.com.

TOUCH

Feeling Crafty? Don’t Miss This Hands-On Propagate Station Potting Workshop • Oct. 5 If you’re feeling crafty and you have a green thumb (or an interest in earning a green thumb), you’ve got to snag tickets early to get in on this hands-on workshop going down Saturday, Oct. 5. Guests will make a stunning “propagation station” out of a repurposed redwood plant holder that holds glass vases, so that you can start propagating (aka breeding) your own plant babies at home! You’ll get to take home everything you see in the photo, and you’ll also learn all about indoor house plants and how to have success with propagation. Tickets are $49 each, available online through Eventbrite.com (search for “Propagate Potting Workshop”). The workshop is being put on by The Prickly Pear, a succulent and cactus nursery and shop that also hosts private “Pot N Sip” events among other gatherings (learn more at Shopthepricklypear.com), as well as hosts Urban Wood Rescue, a nonprofit program of the Sacramento Tree Foundation who work to keep urban trees from going to landfills when they have to be removed due to disease or hazard (learn more at Urbanwoodrescue.com).

TASTE

Local Restaurants Compete for Best Bloody at Second Annual Sacramento Bloody Mary Festival • Oct. 5

Things are going to get bloody on Saturday, Oct. 5 when local favorites like Kupros, Dad’s Kitchen, Capitol Garage, de Vere’s and other area restaurants will fight for the title of Best Bloody Mary at the second annual Sacramento Bloody Mary Festival! Last year’s two champs, Station 16 (Judge’s Choice) and Fat City (People’s Choice), will also return to battle for a repeat, and other confirmed contenders include Easy on I and The Purple Place. It all goes down from 10 a.m.– 1 p.m. at The Bank (629 J St.), a new food hall concept with multiple dining and drinking establishments in one building. Last year’s Bloody Mary Festival sold out, so this year, organizers Crave Sacramento doubled the amount of space available, but that doesn’t mean you should wait. Tickets are $30, which includes unlimited Bloody Mary tastings, and you also get a token to vote for your favorite. Stick around to see if your fave is what the panel of judges also chooses. Bites will be available for purchase through some of The Bank’s restaurants. Type Web.calrest.org/sacbmf into your computer or smart device to snag passes and to read a little more about the event and its beneficiary, Restaurants Care. Pro tip: Keep an eye on Facebook.com/cravesac for ticket giveaways!

HEAR

Berryessa Brewing Continues to Crush It with Killer Anniversary Party Lineup • Oct. 13

Dead Winter Carpenters

Achilles Wheel

The Casual Coalition

Issue 301 • September 25 – October 9, 2019

Sacramento’s brewery and taproom scene is a gem. This is well-known. An often undiscussed angle of the local beer boom, though, is how many of our area’s breweries and taprooms consistently host live music, often booking local talent. Ask many of our city’s professional gigging musicians and chances are they’ll agree the beer boom has been good for them. One of the key players in not only production of great beers, but also as excellent curators of live music, is Berryessa Brewing Co. in Winters (27260 Highway 128). If you live in or are visiting the Sacramento area, you owe it to yourself to take a day trip out to Berryessa on most Fridays, Saturdays or Sundays when they regularly host bands like Misner and Smith (Friday, Sept. 27), The Bathtub Gins (Sunday, Sept. 29) and Mike Blanchard and the Californios (Saturday, Oct. 5). All of their regular shows are free, but on Sunday, Oct. 13 you’ll need a $20 ticket, as that’s when Berryessa Brewing is celebrating their anniversary (eight years of brewing, seven years since their tap room opened) with a helluva shindig featuring live music from Dead Winter Carpenters, Achilles Wheel and The Casual Coalition, with special guests popping in. The event runs from noon ‘til dark, and there will be a climbing wall, food trucks and art vendors, giving it a family friendly festival environment. Kids get in free and 10 percent of ticket proceeds are being donated to Winters Schools Music Boosters. Space is limited, so get tickets in advance through Eventbrite.com (search “Berryessa Brewing Anniversary Party 2019”). Check out Berryessabrewingco.com or Facebook.com/berryessabrewingco for more. Dive Into Sacramento & Its Surrounding Areas

SubmergeMag.com

Issue 301 • September 25 – October 9, 2019

P R ES EN TS

FEATURING

A TRIBE QUARTET

FRIDAY, OCT 4 2019 6:00pm-7:30pm TH

U P P E R F L O O R N E X T T O C R O C S ardenuncharted.com

Issue 301 • September 25 – October 9, 2019

Dive Into Sacramento & Its Surrounding Areas

THE GRINDHOUSE

SHOWS AT SAC STATE SPONSORED BY UNIQUE PROGRAMS

FOR MORE INFO: WWW.SACSTATEUNIQUE.COM OR CALL: (916)278â&#x20AC;&#x201C;6997 COMEDY

NOONER

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SF INTERNATIONAL STAND-UP COMEDY COMPETITION THUR â&#x20AC;˘ SEP 26 â&#x20AC;˘ 7:30P â&#x20AC;˘ UNIVERSITY UNION BALLROOM FREE: 44th annual competition featuring 5 professional comedians competing in the final rounds, plus special guest host AUGGIE SMITH

WED â&#x20AC;˘ OCT 2 â&#x20AC;˘ 12:00P â&#x20AC;˘ UNIVERSITY UNION SERNA PLAZA FREE: Selena tribute band

MOVIE

A SHORT WELCOME VILLAINS RATED R

WORDS ANDREW C. RUSSELL With Villains, writer/director team Dan Berk and Robert Olsen make a clean 90-minute leap from the realm of low-budget splatter to character-driven indie-comedy, nary touching the ground in the process. Having cut their teeth on a few ambitious short films and 2016â&#x20AC;&#x2122;s The Stakelander, the even more obscure sequel to the 2010 cult hit Stake Land, they prove here that they can hold together a loose yet familiar premise (home invasion gone wrong) with enough thrills, laughs, quirky performances and natural pacing (minus the gore) to create something more than the sum of its parts. Bill SkarsgĂĽrdÂ and Maika Monroe (It Follows, The Guest) ham it up as an inept outlaw couple on the run from a sloppy convenience store robbery who take shelter in an isolated country mansion after running out of gas. There, they meet their match in the occupants, George and Gloria (a delightfully demented Jeffrey Donovan and Kyra Sedgwick). Overall, the ensuing mayhem (revolving around an unfortunate basement discovery) feels more Diablo Cody than Donâ&#x20AC;&#x2122;t Breathe, but the film only really suffers in comparison to its spiritual precedent, 1991â&#x20AC;&#x2122;s The People Under the Stairs, from which it borrows several characters and a good deal of the structure, in a way that seems SubmergeMag.com

fairly tame in comparison (weigh George and Gloriaâ&#x20AC;&#x2122;s homespun-retro creepiness against the otherworldly menace of the Robeson family in the earlier film, and youâ&#x20AC;&#x2122;ll see what I mean). While the scares seem to be ironed out here, the filmâ&#x20AC;&#x2122;s intent doesnâ&#x20AC;&#x2122;t seem to be all-stops-pulled thrill ride either. There is a curious lack of the meanspirited exhibitionism and exploitation that characterizes most films with a similar premise. Lying within the conspicuously grindhouse structure is a pure mumblecore heart. In this sense, Villains works best as a none-too black comedy, centered on the battle of wits and wills between the younger and older couples, a quadruple showcase of overthe-top performances pulled off with obvious relish by all actors involved. Sedgwick and Donovan manage to bring an original spark to the well-worn â&#x20AC;&#x153;homicidal homemakersâ&#x20AC;? trope, creating a genteel, southern-suburbanite charm that makes their increasingly insane behavior seem more ingratiating than grotesque. Sedgwick in particular outshines the rest as the eeriest of them all in a welcomingly against-type outing, broadcasting her rage and distress behind a strained â&#x20AC;&#x2DC;50s magazine-ad smile. Donovan comes a close second, his comfy, salesman persona and dorky facial expressions working to make his lunacy seem downright reasonable. SkarsgĂĽrd and Monroe nearly outdo their evil counterparts with a manic

FREE SOLO THUR â&#x20AC;˘ OCT 3 â&#x20AC;˘ 7:30P â&#x20AC;˘ UNIVERSITY UNION BALLROOM FREE: special film screening, professional rock climber Alex Honnold attempts to conquer the first free solo climb of El Capitan

chemistry that plays off of their respective histories as monster icon and scream queen. Inhabiting their own bubble of cartoon logic and skewed morality, their characters leap confidently through the twisted cat-and-mouse scenario like the game that it is, fueled by an ample cocaine stash that keeps appearing at pivotal plot junctures. A good deal of the thrills stem from the basically deluded nature of either set of â&#x20AC;&#x153;villainsâ&#x20AC;? in the film. One is kept guessing from scene to scene whether either couple is more or less competent than the other, and who will eventually gain the upper hand. Villains is a light, pre-Halloween season comedic thriller, a showcase for the talents of two up-and-coming filmmakers destined for greater work, whether inside or outside of horror. Minus one hard-wince inducing sequence (involving a metal piercing), the shock factor here is mainly kept to a minimum, but one also appreciates the fact that, unlike many recent, fully fledged horror flicks, every gimmick, twist or scare sequence has a purpose for being here and keeps things moving at a brisk pace. It might not leave the most lasting impression, especially in a sea of more tense, visceral or unhinged movies of similar type, but itâ&#x20AC;&#x2122;s enough to make a splash for the names Berk and Olsen, and confirms that their future projects are ones to watch out for.

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COMEDY

1 DEGREE OF SEPARATION A FUNNY LOOK AT DEPRESSION& SUICIDE

DRUNKEN KUNG FU WED â&#x20AC;˘ OCT 9 â&#x20AC;˘ 12:00P â&#x20AC;˘ UNIVERSITY UNION SERNA PLAZA FREE: hip hop, reggae, jazz rock

THUR â&#x20AC;˘ OCT 10 â&#x20AC;˘ 7:30P â&#x20AC;˘ UNIVERSITY UNION BALLROOM FREE: comedy show aiming to end the stigma of mental illness

CONCERT

MARC E. BASSY + SPECIAL GUEST BRI STEVES THUR â&#x20AC;˘ OCT 17 â&#x20AC;˘ 7:30P â&#x20AC;˘ UNIVERSITY UNION BALLROOM Tickets will be on sale at www.SacStateUNIQUE.com and at the ASI Student Shop, 3rd floor of the University Union. Ticket prices: $12 Early Bird Sac State students, $15 Sac State students, $18 General.

TION â&#x20AC;&#x201C; Â?

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ION EXHIBIT â&#x20AC;&#x201C; Â?

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Issue 301 â&#x20AC;˘ September 25 â&#x20AC;&#x201C; October 9, 2019

NAVIGATING THROUGH TREMORS AND TIDES

BAY AREA ARTIST GUSTON ABRIGHT DISCUSSES UPCOMING DAVIS SHOW AND COASTAL INFLUENCES WORDS CLAUDIA RIVAS

rowing up in San Anselmo, Guston Abright chose to paint as a way to “rebel” in his creative home. While describing his roots, the Bay Area artist details, “I grew up in an artists’ household. Both my parents are ceramic sculptures and my brother creates with glass. “I think as a way of rebelling against my artist parents, I became a twodimensional artist instead of a threedimensional creative,” he continues. “I’ve always grown-up around the local art scene and the studio craft movement, so all that stuff plays into the work I make. I think that I’m making representational work in part because that is the sort of household I grew up in. We’ve [Abright’s family] always been interested in the East Bay Flumes figure and the narrative in place.” In his latest series, “Tremors and Tides,” Abright depicts a newfound appreciation for Northern California’s earthly details and landscapes. His new work takes viewers on a visual journey through the anxiety and beauty that is both precarious yet admired in the Bay Area’s natural infrastructure. Colorful palettes coat familiar outdoor settings: towering architecture, wave-shaped bluffs, greenery reminiscent of redwoods while reds and yellows allude to myriad homes in the region. The bluest of water also flows throughout each piece’s dense population or lurking seclusion. Submerge caught up with Abright to chat about the overall themes of his recent contemporary paintings, and to discuss his thoughts on architectural developments specifically in Northern California. He has an upcoming show alongside Julie Smiley at the John Natsoulas Gallery in Davis open now through Oct. 26. Abright explains that “Tremors and Tides” has many figurative elements, but mainly began with a simple question: “How can a place affect one’s work?” While on the East Coast during his twenties, Abright’s paintings frequently removed the subject from a discernable environment. His figures were drawn in front of monochromatic backdrops and had a darker tone in color and emotion. He was experimenting but also, “doing a lot of distortion and abstraction of the figure and kind of making these humanoid conglomerations that were artificially laid into interior spaces,” Abright confirms. “They didn’t really have any recognizable setting or intact Red Bank Corey main character.”

Issue 301 • September 25 – October 9, 2019

While working for a Brooklyn artist during this time, Abright was using collage work and acrylic paint frequently, spending hours pouring over photobooks of beautiful western landscapes. This caused moments of homesickness, but even more inspiration. Abright craved to be back in the West inhibiting those landscapes for future work. “When I moved back to the Bay Area,” Abright says, “I felt like I had a renewed interest in the natural environment, the built environment, the contrast between the two and how I was able to recognize that for the first time since returning to California.” While revisiting old haunts in and around the Bay, Abright began to discover local nooks and crannies through his own exploration or through his own friends. In his piece, “Redbank Corey,” the subject is a man named Corey Evans, a Texas native and buddy of Abright’s living the nautical life on a sailboat among a charming estuary. In this work, Evans is painted at the wheel of his vessel with a cigarette in mouth and a confident look north through tortoise-patterned sunglasses. Evan’s figure covers more than half of the frame. “It’s interesting because this friend from Texas really introduced me to a new side of the Bay that has opened my eyes to other communities and other ways of living on and around the water that I find interesting and really attractive,” Abright says. “So he’s sort of in their as my guide, I guess as a person who shepherds me through the landscape.” In Abright’s “Cut Crust,” water and architecture play significant roles. The audience may glimpse tones of tan being separated. Boxed-shaped homes within the painting are on high bluffs at a distance. However, what really attracts the attention is the impressive stream of water racing through the canyon of architecture. Here, the water is not what’s unnatural or peculiar about this painting; it’s the man-made structures that are disrupting the water’s natural path. In response to whether the water and structures landscaped together are positive or negative, Abright answers, “I think it’s both, I mean we rely on water, and it’s so attractive to us aesthetically. Just in terms of survivability, we just want to be as close as possible to it … It shapes the landscape that we live in but it also kind of represents time and maybe a longer timeline than humans can really perceive or acknowledge. So I like that

Cut Crust the water in these pieces is sort of always eating away at the landscape and inching closer and closer to the foundation that the human development has built upon. It’s a ticking clock before it does its thing to reshape the place.” As for “East Bay Flumes,” we see a tall home border the edge of a racing river. The home is thin and resembles a face where the windows represent eyes and the garage door represents an opened mouth, with the driveway familiar to a human tongue. Though most of “Tremors and Tides” is focused on Abright’s reflection of today’s infrastructure in the Bay Area, he explains that “East Bay Flumes” incorporates the past. He tells us that the setting is in the East Bay Hills, a place in the Bay Area region that was filled with old redwoods. As San Francisco was being built, people were able to see the redwoods from the San Francisco Bay. Because Abright uses the word “Flume” in the title, he is referring to the process of extracting trees from hills. With “East Bay Flumes,” the artist is exposing the viewer to a history of the development of the East Bay and its effect on the environment.

Dive Into Sacramento & Its Surrounding Areas

“It’s so precarious how people inhabit California, the West Coast, and the Bay in general. For me there is this sort of palpable feeling of impermanence in all of this. Now this extreme natural beauty is shaped by the same forces that make living here vulnerable for people.” – Guston Abright The connotation for these pieces really depends on the audience, but Abright has been able to take his thoughts and make viewers at least be aware of the ever-changing elements of where they live, especially if in the Bay Area. “There is such a variety to the terrain here but it’s all so precarious,” he says. “It’s so precarious how people inhabit California, the West Coast, and the Bay in general. For me there is this sort of palpable feeling of impermanence in all of this. Now this extreme natural beauty is shaped by the same forces that make living here vulnerable for people. So all these things have a little bit of an element in the show. As I reflect on this and it becomes even more unaffordable to live here. That combined with a sort of inevitability of catastrophic natural disaster. It kind of fills me with this sense of foreboding and anxiety. So I’m trying to always take in the sublime beauty of the place and being reminded what I love about it. At the same time sort of waiting for this house of cards to fall. So those are some of the themes that have made their way into this work. And how I think about how place relates to the work that I’m doing at this moment.” SubmergeMag.com

San Pablo Hermitage

Estuary Clubhouse

Make sure to check out the rest of Abright’s “Tremors and Tides” at his new exhibition alongside Julie Smiley at the John Natsoulas Gallery in Davis (521 First St.), now through Oct. 26. Opening reception is Saturday, Sept. 28 from 7–9 p.m. For more information visit Natsoulas.com.

Issue 301 • September 25 – October 9, 2019

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Issue 301 • September 25 – October 9, 2019

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Dive Into Sacramento & Its Surrounding Areas

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Issue 301 • September 25 – October 9, 2019

STRINGS BY THE BAY

CELLISTA’S SOCIALLY CONSCIOUS SOUND COMES TO NORCAL NOISEFEST

WORDS GRANT MINER PHOTO TEMIRA DECAY | YELLOW BUBBLES

ust out your contact mics and start digging through your field recording archive, because NorCal NoiseFest (Oct. 4–6), the longest running noise, experimental and outsider music festival in the country, is upon us once again. It’s difficult to consistently find an outsidethe-box interviewee for a lineup that is, by its own description, all outside-the-box. Like Crank Sturgeon, whom we interviewed for last year’s festival, the classically trained cellist, performance artist and author Cellista sets herself apart by the sheer variety (not to mention production value) of what she does. Originally from Colorado, the San Jose-based artist is currently touring in support of her third album, Transfigurations, which is not just an album, but also an entire accompanying 86page book, replete with liner notes, soul-bearing personal essays and writings from her father, Frank Seeburger, a professor of philosophy at the University of Denver. She’ll be the only artist at NoiseFest with a Heidegger reference in her work, I assure you. The album takes up a similar theme to her previous release, Finding San Jose, dedicated to the “arts community of downtown San Jose.” Yet while that album was an at-times wistful paean to her adopted city, Transfigurations is much darker and focuses on the damage (both demographic and cultural) caused to San Jose by gentrification. The track “Look Homeward, Angel,” with lyrics from rapper Dem One, addresses this theme head on and is an excellent example of Cellista’s orchestral work. Beginning with a combination beatboxand-cello rhythm, Dem One’s raps then give way to award-winning soprano Melissa Wimbish’s operatic vocals as the simple beat gives way to a full chamber ensemble. The different tracks named “Rupture,” which mark mini-movements in the album’s overall suitelike structure, are mostly found-sound collages punctuated by static and noise. From recordings of Black Panther rallies to loops of Donald Trump audio, Cellista makes her political project clear from the album’s very first tracks. Though her sound is as varied as the myriad mediums in which she works, one thing is clear: Cellista has something to say.

Makeup Artist/Stylist: Spoiled Cherry Headdresses/Neckpieces/Wardrobe: Spoiled Cherry

Issue 301 • September 25 – October 9, 2019

Dive Into Sacramento & Its Surrounding Areas

Do any songs on the new album come to mind? Yeah, that Messiaen piece [“You Can’t Go Home Again”]. It’s a rearrangement of Messiaen’s “Quartet for the End of Time” [for synthesizer, narrator and short wave radio], which is incredibly important to me. During his time at a Nazi prisoner of war camp in 1941, he took that work and

And the found sounds? One is about the Haymarket Riot, right? Yeah! I found those samples on public and internet archives. They just felt so resonant at the time of the album’s composition. These voices … they still persist and they still need to be heard and it’s almost like they’re forgotten. I mean I did some alterations, for sure, but I put them there almost like a time record, a record of a past relevant to now. But what do you feel is the place of the artist in gentrifying communities? One sample is a newscast about the Ghost Ship Fire [in Oakland]. What does that incident illuminate? The Ghost Ship [Fire] points to many development issues like lack of affordable healthcare and a lack of safe spaces for artists to live, to create—but ultimately this goes beyond artists. This is about people. In the wake of the fire, a lot of things were illuminated, and there’s some needs in the community that are just not being addressed. It’s a complicated, upsetting, tragic, tragic thing.

So you’ve said that your “full” shows are a big part of your act. While you won’t be able to do it in Sacramento, can you give us an idea of what’s involved? I love my full shows. Basically, I’m copying the artist Jean Cocteau and his ballet, Parade. It’s like interdisciplinary art: My album serves as the soundtrack and it’s essentially experimental theater. And so I have like a full-length film; it’s an original film I’ve worked with a filmmaker to create that is totally synced up with the music and then I have a couple of rotating dancers [who] are able to improvise, and then I’ll have a chamber ensemble. I call them my “stage poems,” and they make me so happy. Are you listening to or reading anything that inspires you right now? Hmm … The last book I touched on my bookshelf was Trauma and the Memory of Politics by Jenny Edkins. So pretentious—I also have an issue of Cosmo open. In terms of listening … there’s this artist I love right now, Javier Solís, and it’s a bunch of boleros on an album called Sugar, and I’m listening to that right now.

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SWORN IN

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You can catch Cellista’s set at NorCal NoiseFest on Sunday, Oct. 6 at the Cafe Colonial (3520 Stockton Blvd.) at 9:20 p.m. For NoiseFest’s complete schedule, visit Norcalnoisefest.com. Three-day tickets are $50, and single-day run $15. All shows are all ages. For more on Cellista, visit Cellista.net.

FRI, OCT 11

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A Ri ed

You describe yourself as a dissident artist, yet you’re from this classical tradition. What do you see as the place of classical music in dissident art? Tough question. Classical music is just so multifaceted. I don’t necessarily think in terms of what is and what isn’t “classical,” and whatnot. There’s the timelessness of classical music, which positions itself really well to examine different historical points. And since my work is pretty concerned with time traveling, I guess you could say—places changing over time—I think it’s a really good medium to explore different stories and different narratives.

As an immigrant to the South Bay, how do you handle the theme of gentrification? What do you feel like you’re trying to, or are able to address? I’m trying to weave together a kind of tapestry of voices around me and really represent the community that I am lucky to have been embraced by to try to create platforms for voices to be heard. My collaborators are one part of that.

So you’re saying you see common ground between the “starving artist” and, say, the family displaced by gentrification? Yeah, of course. Artists provide sort of a barometer of how a community is doing. And so when you start losing artists, that’s probably a sign that the greater community at large is, you know, under siege or sick or that something’s going on. But I think artists do provide a sort of barometer for communities for sure. Yes, artists definitely lie at the intersection of politics and culture and so many other things.

How did you transition to noise music, or would you characterize your work as noise music? You’re not the typical sound you hear at NoiseFest. [Laughs] No, I’m not. But in some ways I am, though, because there are quite a few compositional techniques that were germinated in newer [classical] music, and you’re going to find them in noise music for sure. I’m still a classical musician. I make my living playing the cello. I play weddings, pickup orchestras, chamber ensembles. I find that I have a lot of freedom within the noise scene to test out my own compositional ideas and really kind of roam freely.

placed it within a quartet that he put together in the prisoner of war camp. There’s this sort of beautiful timelessness to using music like that. There’s something really cool about the classical arts in that they make time travel possible just through listening.

So, are you classically trained? Yeah, my friend uses the term “recovering classical musician.” That’s me. I started the cello the summer before middle school and started getting private lessons soon after. I knew I wanted to do cello, so it’s almost like it chose me if I’m being honest. I went to music school in Colorado, at Denver, and then went on to get my master's at San Francisco State.

21+ • 7PM

JON ROBERT QUINN

THE BRAD SCHULTZ CULMINATION THE STONEBERRIES WED, OCT 16

ALL AGES • 7PM

SALIVA

DIVERSITY OF ONE / SAMORA NO SYMPATHY / DREAMS OF MADNESS

Issue 301 • September 25 – October 9, 2019

GRINGOS GET SERIOUS

MIKE BLANCHARD AND THE CALIFORNIOS GET DARK ON THEIR NEWEST RECORD WORDS RICHARD ST. OFLE • PHOTO STEVE ABBOTT

’ve seen Mike Blanchard of the Californios referred to as a “renaissance man.” I don’t think it’s overstating it to say that he’s even more than that. Singer, songwriter, progenitor of Rust magazine and the owner of Barber Shop Automotive on 16th

Street (you know that place with all of the cool Alfa Romeos out front?), Blanchard also

finds time to curate art shows. Robert Heinlein famously said, “A human being should be able to change a diaper, plan an invasion, butcher a hog, conn a ship, design a building, write a sonnet, balance accounts, build a wall, set a bone, comfort the dying, take orders, give orders, cooperate, act alone, solve equations, analyze a new problem, pitch manure, program a computer, cook a tasty meal, fight efficiently, die gallantly. Specialization is for insects.” While I doubt Blanchard has ever planned an invasion, and wall-building is for Fox News villains, I bet Heinlein couldn’t hit a harmony or tune a carburetor like Blanchard can. I met up with Blanchard and his wife Laurieanne, who form one-third of the sextet Mike Blanchard and the Californios. Tactful, charismatic and well-spoken, Laurieanne seems just as comfortable talking about Merle Haggard as she is singing harmony and waxing poetic about the pitfalls of longevity as a musician. I got a midday coffee with the Blanchards and caught up about their new album, Dark Secrets, which was released in July.

Issue 301 • September 25 – October 9, 2019

Let’s start at the beginning. Tell me a little bit about how you two met and how you started playing music. Mike Blanchard: I used to be in a band called Tattooed Love Dogs. Laurieanne was a musician in town, and we met through playing music at different places. She ended up inviting my partner and I, Vince, to be on a project that she was doing and we got to know each other a little bit better. Eventually, the whole girlfriend schedule cleared up and we got together. Laurieanne Blanchard: He had room on his docket and I bubbled to the top of his list, evidently. Now he has no room on his docket. I locked him down. How long ago was this? LB: We just had our 25th anniversary about two weeks ago. We got kind of set up by a friend of ours who—and that’s a whole other story—is a club owner. He saw that we liked each other, but neither one of us was gonna make a move. MB: He sort of forced the issue a little bit. But after we met, she moved away for a year to go play music in Nashville. LB: I lived in Nashville for a year and a half, and I would come back and see my folks and see him. MB: We were doing a record and I wrote a song for her to do a duet on. I talked her into coming back and then I talked her into staying. So that pretty much sums it up.

Let’s talk about Dark Secrets specifically. I’ve been listening to it—it’s great. It sounds really refined but also sort of spontaneous. LB: That’s exactly what we were doing! MB: We recorded it live in the same way they would do in the old days, in the ‘50s and ‘60s. We recorded into one big stereo condenser mic and played it live, that’s why it has that feeling. I don’t think we played any of the songs more than three times, including the main vocal—everything was live. Wow. Yeah. It shows, it’s funny what happens when you have people who are comfortable being spontaneous. LB: We did the entire album in three sessions! How much recording time did that work out to be? MB: It was about 30 hours' worth. LB: The first day we went to go into the studio was the day of the Paradise fires. I don’t know if you remember that day, but people were walking around with face masks on and it was horrible. And so here we are, we’ve been waiting to get in the studio and to get everybody to be in one place at one time. We were like, “Do we cancel?” because the air was so bad. We just went for it, but it was on our minds. Our drummer’s parents lost their house. My cousin lost his house, our son’s best friend’s parents lost their house. So all that was on our mind while we were in the studio. Dive Into Sacramento & Its Surrounding Areas

Do you think that the spontaneous nature of the record let some of that feeling seep in? LB: I played it for a friend of mine, and she said she could tell something was going on. We recorded my song “Ode to Billy Joe” right after my dad died. There’s this line that says, “Papa caught a virus and he died last spring.” I had such a hard time getting through that. Things that were happening in our lives, especially since everything was recorded live, it definitely bleeds through. It’s heavy. I was familiar with Gringo, which puts forth a way different mood. LB: Yeah, it’s a lighter album. So what was the change that happened along the journey from Gringo to Dark Secrets? LB: A couple of things I can think of. One, we had been playing with a couple of musicians who had a strong effect tonally. One of them was Steven Schultz, an incredible accordion player. We tended to write songs around that instrument and would dig into stuff that we wouldn’t normally. Vinnie Montoya began playing rhythm, but he’s also an incredible vocalist. MB: We met Roger Kunkel through the Whole Earth Festival and he played with us. It worked out really well. So tell me what’s next for you guys? MB: We’re just finishing a record that we did with just Laurieanne. It’s basically the same band, but she’s out in front singing the songs. What’s that band called? LB: Laurieanne Blanchard and the Californios. It’s all the same people, but it’s a lot more ‘20s, ‘30s jazz sounds with a little blues thrown in. It’s really an homage to my mom; she wants me to do a record of music that she grew up listening to, so I tried to pick songs that were from decades from her life. She’s getting producer credit at 96 years old! When does that come out? LB: As soon as we can get it done. MB: It’s really close. It’s all recorded and we’re mixing. Tell me about the other people in the band. MB: The thing is, we were really lucky in that the guys that play in the band are just super, pro, fantastic guys. The guy that’s been in the band the longest at the moment is Eric Crownover. Amazing, amazing drummer. LB: He’s a spot-on drummer. MB: He’s just absolutely incredible. Rob Meyer, the bass player, and we’ve known him for 20, 30 years. He’s played in bands that we played with and that Laurieanne played with. He’s a really good bass player and a good person who has good ideas about music and arrangement and those types of things. LB: Well, with Eric, because obviously they’re the rhythm section and they bounce back and forth with each other on ideas about arrangements. And Eric also works really well with me, Mike and Vinny on vocals, he’s got a degree in music so we really lean on him. SubmergeMag.com

MB: The other one is Vincent Montoya, who’s my partner. We’ve been playing music for 30 some odd years. We were in the Tattooed Love Dogs together, and he’s my best friend. What does he play? MB: He plays the guitar, sings and writes songs. LB: He wrote the song “99” on the new record. MB: Then last but not least is Roger Kunkel, who’s the lead guitar player and he’s just an amazing player. He played in Thin White Rope and just a ton of bands out of Davis. I mean, he’s just a really great guy and has really great stories. LB: I just found out that after playing together for four years, his rock band, when he was in Thin White Rope, was the very first western rock band to go into Russia! MB: Eric’s been in the band longer than anybody else—about 10 years, and then after that we brought in Rob, and then we brought in Vince and Roger came in about the same time. It’s like a family and it’s been something that’s really a saving grace. Getting through some of the last three years for various people in the band had been really hard and I would say this group of people are uniquely ideal at helping each other through those times. We have very similar musical references. My thing’s always been playing Americana before it was Americana. What do you mean before it was Americana? MB: When we did the Tattooed Love Dogs, we were a twang rock band and no one knew Americana as a sub-genre. So we’d go to a lot of major labels and meet with these guys and they’d be like, “What are you guys, a country band or a rock band? You’re going to have to pick one or the other.” And then all of a sudden Wilco and all of these bands hit and they were like, “Oh, hey, look at this new thing.” It’s like, fuck you guys—we’ve been doing this for 10 years. We have a lot of good friends in Nashville. We love going back to Nashville, playing music and hanging out, and they’re proud about being from Tennessee. Our friends from Austin are super proud about being from Texas. We’re from California and we’re just as proud of being from California with just as rich a musical tradition—that’s where we’re coming from, we’re not all archeological about playing country music from the ‘40s or whatever. That’s not our thing.

Mike Blanchard and the Californios new album Dark Secrets is out now. You’ll have a couple of chances to check them out live as well: On Saturday, Sept. 28, the band will play Two Rivers Cider Co. (4311 Attawa Ave., Suite 103, Sacramento). This all-ages show has a $5 cover and will get underway at 6:30 p.m. The following week, Mike Blanchard and the Californios will hit Berryessa Brewing Co. (27260 Highway 128, Winters) for another family-friendly show on Saturday, Oct. 5 at 3 p.m. For more info, check out Mikeblanchardandthecalifornios.com.

Issue 301 • September 25 – October 9, 2019

T TUESDAY,

OCT 8

THURSDAY,

OCT 10

TWO SHOWS! SUNDAY,

OCT 13

THURSDAY,

OCT 17

TWO SHOWS! SUNDAY,

OCT 27

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TUESDAY,

OCT 29

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DOORS 6:30PM MOVIE 7PM $10-19.75 DOORS 3PM MOVIE 4PM DOORS 6PM MOVIE 7PM $7.50-9.50 DOORS 6:30PM MOVIE 7:30PM $7.50-9.50 DOORS 6:30PM MOVIE 7:30PM $7.50-9.50

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SEPT. 25 – OCT. 9

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9.25 WEDNESDAY

Bar 101 Open Mic, 7:30 p.m. Cafe Colonial Higher Power, Earth Down, Field of Flames, Extinguish, 7:30 p.m. The Club Car The Double Shots, 7:30 p.m. Colonial Heights Library Family Concert w/ Jose-Luis Orozsco, 5:30 p.m. The Colony High Lö, PullingItOff, OverMotion, TabloidTea, ByronLynch, 7 p.m. El Dorado Saloon Open Mic Night, 7:30 p.m. Fox & Goose Patrick Reilly Band, 7 p.m. Harlow’s BJ the Chicago Kid, Rayana Jay, Kamauu, 6:30 p.m. Holy Diver Local Showcase: Stepdad Passport, Mateo Briscoe, Retrospec, Nanday Lane, Holding Astrid, 6:30 p.m. Kupros Craft House Ross Hammond, 5 p.m. Louie’s Cocktail Lounge Live Blues Jam Session, 8 p.m. Nicholson’s MusiCafe Acoustic Open Mic, 7 p.m. Old Ironsides Open Mic, 9 p.m. The Pour Choice Brotherly Mud, 7:30 p.m. The Press Club Emo Night, 8 p.m. Sacramento State: Serna Plaza Nooner w/ Matthew Major Inception Quintet, 12 p.m. Shady Lady Kyle Rowland & Hot Plate, 9 p.m. Sophia’s Thai Kitchen Open Mic, 8 p.m. The Starlet Room Blues & Bourbon: Shane Dwight Band, 5:30 p.m. Streets Pub and Grub Karaoke, 9 p.m. Torch Club Jereme Greene, 5:30 p.m.; Jon Emery & The Unconventionals, Forest Beutel, 9 p.m. Wildwood Kitchen & Bar Symposium Jazz Band Trio, 7 p.m.

9.26 THURSDAY

Ace of Spades Durand Jones & the Indications, 7 p.m. Auburn Alehouse Brotherly Mud, 5 p.m.; Kyle Tuttle, 7:30 p.m. B Street at The Sofia Christone “Kingfish” Ingram, 5:30 p.m. Blue Lamp Dads Under Where, Bad Barnacles, Stepdad Passport, TX3, 8 p.m. The Club Car Songwriters Showcase, 8 p.m. Crocker Art Museum Jazz Night w/ Kim Nalley, 5:30 p.m. El Dorado Saloon Tim Dierkes, 7 p.m. Harlow’s Kid Quill, Moonlander, 6:30 p.m.

Issue 301 • September 25 – October 9, 2019

Harris Center 50th Anniversary of The Beatles’ Abbey Road + Magical Mystery Tour, 6 p.m. Holy Diver Mystery Skulls, Phangs, Snowblood, Saint Juniper, 7 p.m. Old Ironsides Remedy 7, 6:30 p.m. Palms Playhouse Andrew Duhon, 7:30 p.m. Powerhouse Pub Jessica Rose, 9:30 p.m. The Press Club Throwback Thursday w/ Sweet Boy, 9 p.m. Shady Lady Jessica Malone, 9 p.m. Shine Jazz Jam, 8 p.m. The Starlet Room The Americans, Laura Jean Anderson, 7 p.m. Torch Club Mind X, 5:30 p.m.; Farrow and the Peach Leaves, Bradley Palermo, 9 p.m. Toyota Amphitheatre Florida Georgia Line, Dan + Shay, Morgan Wallen, Canaan Smith, 7 p.m. Wildwood Kitchen & Bar Ryan Hernandez, 7 p.m.

9.27 FRIDAY

Ace of Spades Electric Feels: Indie Rock + Indie Dance Party, 7:30 p.m. Armadillo Music John Thompson, 7 p.m. B Street at The Sofia Tommy Castro & The Painkillers, 7:30 p.m. Berryessa Brewing Co. Misner and Smith, 5 p.m. Blue Lamp Charitte & Friends w/ J Diggs, 9 p.m. The Boardwalk Zen Arcadia (Album Release), Roswell, Race to the Bottom, Fallout Kings, 7:30 p.m. Cafe Colonial The Knockoffs, Jesus & the Dinosaurs, The O’Mulligans, Lamonta, 8 p.m. Capitol Garage Capitol Friday’s Reggae Night w/ DJ Veyn, 10 p.m. Capitol Mall Farm-to-Fork Street Festival: ZZ Ward, Barns Courtney, me&you, DJ Zephyr, 4 p.m. El Dorado Saloon Radio Memory, 9 p.m. Folsom Hotel Saloon Unlicensed Therapy, 9:30 p.m. Fox & Goose Eboni Esra, Finley, Scorpio Moon, Temple K. Kirk, 9 p.m. Golden Bear DJ CrookOne and Guests, 10 p.m. Green River Brewing & Taproom Buck Ford, 7 p.m. Harlow’s !!! (Chk Chk Chk), Sheastie Boys, 8 p.m. Holy Diver Despised Icon, Kublai Khan, Ingested, Shadow of Intent, Smak’D Up, 6 p.m. Louie’s Cocktail Lounge William Mylar’s Hippie Hour, 5:30 p.m. Luna’s Cafe Deux Coasts, Mona V, Jasmine Bailey, 8 p.m. Old Ironsides The Moe Better Mann, 9 p.m. Opera House Saloon North Forty Band, 9:30 p.m. Palms Playhouse Chris Thomas King, 7:30 p.m. The Park Ultra Lounge DJ Pauly D, 9 p.m. (Sold Out) Pine Cove Karaoke, 9 p.m. Placerville Public House Heather Evans, 8 p.m.

Powerhouse Pub Pop Fiction, 10 p.m. The Press Club DJ Rue, 9 p.m. SacYard Community Tap House Todd Gardner Band, 6 p.m. Shady Lady The Golden Cadillacs, 9 p.m. Shine August Jazz Band, 8 p.m. Swabbies on the River Rash (Rush Tribute), 6 p.m. Thunder Valley Casino Resort Sammy Hagar & The Circle, Michael Anthony, Jason Bonham, Vic Johnson, 7:30 p.m. Torch Club The O’Mally Sisters, 5:30 p.m.; Tropicali Flames, 9 p.m. Wildwood Kitchen & Bar Devin Wright, 7 p.m.

9.28 SATURDAY

Ace of Spades Sabrina Claudio, 7:30 p.m. Armadillo Music The Enlows, 7 p.m. B Street at The Sofia Leyla McCalla, 6 p.m. Berryessa Brewing Co. Zorelli, 3 p.m. The Boardwalk James Durbin, Ariana Brooke, Brianna Carmel, Shane Grenert, MoreLikeNever, Justin Brodie, Mateo Briscoe, 6:30 p.m. Cafe Colonial Plague, Seizure, Divine Annihilation, Jam Session w/ Ira & Friends, 7:30 p.m. Capitol Mall Farm-to-Fork Street Festival: Lukas Nelson & Promise of the Real, Samantha Fish, Nate Smith, 11 a.m. Crawdads on the River Ariel Jean Band, 3 p.m. Crest Theatre SPMA Beatles Guitar Project: 40-piece Orchestra and Light Show, 7 p.m. El Dorado Saloon Groundwave, 9 p.m. Folsom Hotel Saloon Rockology, 9:30 p.m. Green River Brewing & Taproom The Landbirds, 9 p.m. The Guild Theater Howard Hewett, The Sons, 7 p.m. Harlow’s Tainted Love, 8 p.m. Holy Diver Jack Russell’s Great White, Cardboard Ringo, 6:30 p.m. Luna’s Cafe David Houston & String Theory, 8 p.m. Nicholson’s MusiCafe Ukulele SingAlong, 11:30 a.m.; Free Ukulele Class, 1 p.m. Old Ironsides What Rough Beast, The Roa Brothers Band, 9 p.m. On the Y Hartyga, Arrington de Dionyso, 8 p.m. Opera House Saloon Petty Jack Flash, 9:30 p.m. Palms Playhouse FulaMuse, 7:30 p.m. The Park Ultra Lounge DJ Konstantina Gianni, 9 p.m. Placerville Public House Fabulous Liars Band, 8 p.m. Powerhouse Pub Take Out, 10 p.m. The Press Club DJ Larry Rodriguez, 9 p.m. SacYard Community Tap House The Inside Story, 6 p.m. Shady Lady Dyana and The Cherry Kings, 9 p.m.

The Shack Red’s Blues, 5:30 p.m. Shine Proxy Moon, The Deborah Crooks Band, The Midnight Dip, 8 p.m. The Side Door The Richard March Band, 7 p.m. Sophia’s Thai Kitchen Cataldo, Plastic Picnic, Joel Daniel, 9:30 p.m. Swabbies on the River Mania (Beatles Tribute), 1 p.m.; Scott Porter, 3 p.m.; Caravanserai (Santana Tribute), 6:30 p.m. Thunder Valley Casino Resort Adam Cheng, 7:30 p.m. Torch Club Bill Mylar B-Day Celebration & Fundraiser: Heath Williamson & Friends, The One Timers, The Vintage Find, Michael Ray Band and More, 5:30 p.m. Two Rivers Cider Co. Mike Blanchard and the Californios, 6:30 p.m.

9.29 SUNDAY

B Street at The Sofia Hot Club of Cowtown, 7 p.m. Berryessa Brewing Co. The Bathtub Gins, 3 p.m. Blue Lamp Daddy Long Legs, 8 p.m. Blue Note Brewing Co. Rockabilly Love Cats, 3 p.m. Crest Theatre Benise, 6 p.m. El Dorado Saloon Gene Barnett, 12 p.m. Folsom Hotel Saloon Jason Weeks, 3 p.m. Harlow’s Sacramento Blues Society Hall of Fame Awards: Marcel Smith, Bob Jones & the Chosen Few, 1 p.m. Holy Diver Beama, Chey’n, Leviticus Kain, Chris Kash, 7 p.m. LowBrau Throwback Jams w/ DJ Epik & Special Guests, 9:30 p.m. Memorial Auditorium Sacramento Taiko Dan 30th Anniversary Concert, 5 p.m. Midtown BarFly Factor IX w/ DJ Hawk, DJ CarnieRobber and Guests, 9 p.m. Mondavi Center: Jackson Hall Trey McLaughlin & the Sounds of Zamar, 2 p.m. Pine Cove Karaoke, 9 p.m. Powerhouse Pub Daniel Castro, 3 p.m. The Press Club Sunday Night Soul Party w/ DJ Larry Rodriguez, 9 p.m. Shady Lady Peter Petty, 9 p.m. Swabbies on the River Playback The Hits, 12:30 p.m.; Thunder Cover, 3 p.m. Torch Club Blues Jam, 4 p.m.; Front the Band, 8 p.m. Two Rivers Cider Co. Grateful Sundays w/ Todd Gardner, 5 p.m.

9.30 MONDAY

Holy Diver Lil Pete, 7 p.m. LowBrau Motown on Monday’s w/ DJ Epik, 9 p.m. Luna’s Cafe Nebraska Mondays, 7:30 p.m. Old Ironsides Heath Williamson & Friends, 5:30 p.m. The Press Club Jail Weddings, Celestions, Gamma People, 8 p.m. The Starlet Room Sinkane, Liquid Lights by Mad Alchemy, 7 p.m.

CONTINUED ON PAGE 24

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Issue 301 • September 25 – October 9, 2019

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10.01 TUESDAY

Ace of Spades The Growlers, 7 p.m. (Sold Out) The Boardwalk Venom Prison, Homewrecker, Great American Ghost, Tyrannocannon, The Willow, A Waking Memory, 6:30 p.m. Harlow’s The Commonheart, 6:30 p.m. Harris Center Jake Shimabukuro, 7:30 p.m. The Press Club Night School w/ DJ Rock Bottom, 9 p.m. Torch Club Scott McConaha, 5:30 p.m.; Joe Lev & Friends, 8 p.m.

WEDNESDAY

FRIDAY

Ace of Spades Jidenna, 7 p.m. The Club Car The Double Shots, 7:30 p.m. Holy Diver Earth Groans, Comrades, The Outside, MethodOne, The Measure, Artisvns, 6:30 Kupros Ross Hammond, 5 p.m. Louie’s Cocktail Lounge Live Blues Jam Session, 8 p.m. Sacramento State: University Union Serna Plaza Nooner w/ Los Bidis (Selena Tribute), 12 p.m. The Press Club Y2K Night w/ DJ Dada, 9 p.m. Torch Club The O’Mally Sisters, 5:30 p.m.; Pacific Ridge, 8 p.m. Wildwood Kitchen & Bar Rocky & Friends Jazz Trio, 6 p.m.

Ace of Spades Scotty Sire, Toddy Smith, Bruce Wiegner, Chris Bloom, 7 p.m. Arden Fair: Upper Floor Living Room Vibes w/ A Tribe Quartet & Basi Vibe, 5:30 p.m. The Barn & Pantry John Paul Hodge, 6 p.m. Berryessa Brewing Co. Magic in the Other, 3 p.m. Blue Lamp Dubblyfe, 9 p.m. Capitol Garage Capitol Friday’s Reggae Night w/ DJ Veyn, 10 p.m. Folsom Hotel Saloon Remix, 9 p.m. Fox & Goose Sacto Storytellers, Yogoman & Bongo Jac, 9 p.m. Golden Bear DJ CrookOne and Guests, 10 p.m. Goldfield Travis Meadows, 7:30 p.m. Green River Brewing & Taproom The Polyorchids, Dana Cox, 7 p.m. Harlow’s Shordie Shordie, 6:30 p.m. Harris Center: Stage 1 The Hit Men, 8 p.m. Harris Center: Stage 2 Huun Huur Tu: Tuvan Throat Singers, 7:30 p.m. Holy Diver Domo Wilson, Yanaa, 7 p.m. Louie’s Cocktail Lounge William Mylar’s Hippie Hour, 5:30 p.m. Luna’s Cafe Norcal Noisefest: Chopstick, Mini Mutations, Parousia, Infinexhuma, Holiday Special, Demonsleeper, Tanukispidercat, Jonas Van Den Bossche, Fabi, Symdrone, Protofrustration, Crank Static, 7 p.m. Mondavi Center: Jackson Hall John Prine, 8 p.m. Old Ironsides The Tattooed Love Dogs, Lee Bob & the Truth, Grub Dog & the Amazing Sweethearts, 8 p.m. Opera House Saloon Red Voodoo, 9:30 p.m.

10.03 THURSDAY

Ace of Spades All That Remains, Lacuna Coil, Bad Omens, Toothgrinder, Uncured, 5 p.m. The Club Car Songwriters Showcase, 8 p.m. Fox & Goose Irish Jam Session w/ Stepping Stone, 3 p.m. Goldfield Diego’s Umbrella, 7:30 p.m. Harlow’s Jon McLaughlin, Sawyer, 7 p.m. Harris Center: Stage 2 Huun Huur Tu: Tuvan Throat Singers, 7:30 p.m. Holy Diver Charly Bliss, Blushh, The Countermen, 7 p.m. Old Ironsides Foxy Blues, Beggars Canyon, 8 p.m. Palms Playhouse Cris Williamson and Barbara Higbie, 7 p.m.

FRONT THE BAND 8PM BILL MYLAR HIPPIE HOUR 5:30PM

TBA 8PM

BALLIN’ THAT JACK 5:30PM

SWEET PLOT 9PM

BLUE LUKE 9PM

Torch Club Mind X, 5:30 p.m.; Magic In the Other, 9 p.m. Wildwood Kitchen & Bar Jayson Angove, 7 p.m.

10.02 10.04

BLUES JAM 4PM

MIND X 5:30PM

Papa Murphy’s Park @ Cal Expo Nghtmre & Slander (Gud Vibrations), Seven Lions, The Glitch Mob, 5 p.m. Powerhouse Pub Michael Beck, 9:30 p.m. The Press Club Oh Lonesome Ana, Sun Blood Stores, Ghost Mesa, 8 p.m. The Starlet Room Redlight King, The Deadbeat Cousins, 7:30 p.m. Shine Jazz Jam, 8 p.m. Sophia’s Thai Kitchen Bomba Fried Rice, DJ Trop’A, 9:30 p.m.

Palms Playhouse Robbie Fulks, 8 p.m. The Park Ultra Lounge DJ Eddie Edul, 9 p.m. Placerville Public House Marc Harrod, 8 p.m. Powerhouse Pub Neon Playboys, 10 p.m. The Press Club DJ Rue, 9 p.m. SacYard Community Tap House Home B4 Dark, 6 p.m. Shine Alex Walker & The Vermicious Knids, Vinnie Guidera & The Dead Birds, ATM Machine, 8 p.m. The Starlet Room Grieves, Mouse Powell, 8 p.m. Swabbies on the River Nothin’ Personal, 6 p.m. Torch Club Jimmy Pailer and Co., 5:30 p.m.; Michael Ray Band, 9 p.m. Wildwood Kitchen & Bar Dan Rau, 7 p.m.

10.05 SATURDAY

Ace of Spades Starset, 6 p.m. Berryessa Brewing Co. Mike Blanchard and the Californios, 3 p.m. Blue Lamp Cherubs, Low Dose, Shadow Limb, NMTA, 8 p.m. The Boardwalk Alterbeast, Cognitive, Micawber, Warforged, Cemetery Legacy, Nihil Futurum, 6:30 p.m. Cafe Colonial & The Colony Norcal Noisefest: Uberkunst, Crank Sturgeon, John Frank / Don Haugen, Human Fluid Rot, Xome, Liver Cancer, Endometrium Cuntplow, Instagon, Reaper, Compactor, Thirteen Hurts, Xdugef, Blood Of Chhinnamastika, War Hippy, Nicotine Mantis, Morning Doves, Those Darn Gnomes, Vulgar Display of Affection, Colony Collapse, Ear Spray and More, 2 p.m. Crest Theatre Robert Earl Keen, 6:30 p.m. Crooked Lane Brewing Co. Tattered and Tied, 7 p.m. Folsom Hotel Saloon The Run-Up, 9:30 p.m. Fox & Goose Fully Covered, 9 p.m. Goldfield Mark Mackay, Dustin Burke, 7:30 p.m. Green River Brewing & Taproom Hot Dog Chicken, 12 p.m. Harlow’s Heartless (Heart Tribute), 5:30 p.m.; Rituals of Mine (EP Release), The Seshen, 9:30 p.m. Harris Center Elvin Bishop & Charlie Musselwhite, 8 p.m. Holy Diver Sage Francis, Kasket Cult, Just Is, 7 p.m. Louie’s Cocktail Lounge The Goddamn Gallows, Scott H Biram, Urban Pioneers, 8 p.m.

Mondavi Center: Jackson Hall Barbara K. Jackson Rising Stars of Opera: San Francisco Opera Adler Fellows, UC Davis Symphony Orchestra, 8 p.m. Nicholson’s MusiCafe Ukulele SingAlong, 11:30 a.m.; Free Ukulele Class, 1 p.m. Old Ironsides Lipstick feat. DJ Shaun Slaughter, DJ Roger Carpio, 9 p.m. Opera House Saloon When Doves Cry (Prince Tribute), 9:30 p.m. Placerville Public House Frankie and the Defenders, 8 p.m. Powerhouse Pub Motley2, 10 p.m. The Press Club DJ Larry Rodriguez, 9 p.m. SacYard Community Tap House Tajlyn, 6 p.m. The Shack Loose Engines, 5:30 p.m. Sophia’s Thai Kitchen Maya Elise, M’Gilvry Allen, Katgrüvs, 9 p.m. Swabbies on the River 10th Annual Blues By the River: Cafe R&B, Mick Martin, Zach Waters, 3 p.m. Torch Club Toad Mortons, 5:30 p.m.; Peter Petty & His Double P Revue, 9 p.m. Two Rivers Cider Co. The Nipper Brothers, 6 p.m. Wildwood Kitchen & Bar Hans Eberbach, 7 p.m.

10.06 SUNDAY

Armadillo Music RAQIA, 2 p.m. Blue Note Brewing Co. Fun-Size Fest: Natalie Cortez Band, That Kid Raja, Danger Force 5, 3 p.m. Berryessa Brewing Co. Jessica Malone, 3 p.m. Cafe Colonial & The Colony Norcal Noisefest: Big City Orchestra, Cellista, Ustam, Monte Cazazza, Medicine Cabinet, Filthmilk, Burnt Dot, Conscious Summary, Juice Machine, Vasectomy Party, Reek, Ambigre, Sword of Kahless, Hans Van Bartles and More, 2 p.m. Folsom Hotel Saloon Taylor Chicks, 3 p.m. Harlow’s The Trashcan Sinatras, 5:30 p.m. Harris Center: Stage 2 Nat Brown Groovin’ w/ Smooth, 3 p.m. Holy Diver ‘68, The Inspector Cluzo, The Messenger Birds, Shpwrck, In Chaos, Sunny Acres, 7 p.m. Howe Park Capitol Pops Concert Band, 2:30 p.m. LowBrau Throwback Jams w/ DJ Epik & Special Guests, 9:30 p.m. Memorial Auditorium Marisela and Amanda Miguel, 7 p.m. Midtown BarFly Factor IX w/ DJ Hawk, DJ CarnieRobber and Guests, 9 p.m. Pine Cove Karaoke, 9 p.m. The Press Club Sunday Night Soul Party w/ DJ Larry Rodriguez, 9 p.m. Swabbies on the River The Spazmatics, 3 p.m. Torch Club Blues Jam, 4 p.m.; Front the Band, 8 p.m. Wildwood Kitchen & Bar Ryan Hernandez, 11:30 a.m.

R E U R O Y AD HE 10.07 MONDAY

CALL US (916) 441-3803 OR EMAIL US info@submergemag.com TODAY!

Issue 301 • September 25 – October 9, 2019

The Boardwalk Sworn In, Distinguisher, Avoid, Nail The Casket, 6:30 p.m. Holy Diver Local Showcase: Dajon, Mac Zay, Kris Woods, ZU, T30, 6:30 p.m. LowBrau Motown on Monday’s w/ DJ Epik, 9 p.m. Luna’s Cafe Nebraska Mondays, 7:30 p.m.

Dive Into Sacramento & Its Surrounding Areas

Mondavi Center: Jackson Hall Experience Hendrix, 7 p.m. Old Ironsides Heath Williamson & Friends, 5:30 p.m. The Press Club High Fidelity: Bring Your Own Vinyl, 9 p.m.

10.08 TUESDAY

Ace of Spades Delain, Amorphis, 6 p.m. Crest Theatre Get The Led Out (Led Zeppelin Tribute), 6:30 p.m. Harlow’s CupcakKe, 6:30 p.m. Harris Center Blue Man Group, 7:30 p.m. Holy Diver Futuristic, Ray Vans, Scribe Cash, Ekoh, Elevtd, HezZy, 2Kkhari, 7 p.m. Memorial Auditorium Lana Del Rey, 8 p.m. (Sold Out) The Press Club Night School w/ DJ Rock Bottom, 9 p.m. The Starlet Room Nacho Picasso, The Doppelgangaz, 6:30 p.m. Torch Club Bill Mylar, 5:30 p.m.

10.09 WEDNESDAY

Ace of Spades Big K.R.I.T., 7 p.m. The Club Car The Double Shots, 7:30 p.m. Harlow’s Geoff Tate, Mark Daly, Deconstruct, 6:30 p.m. Harris Center Blue Man Group, 7:30 p.m. Holy Diver Ashe, Charlie Burg, 7 p.m.

Kupros Ross Hammond, 5 p.m. Louie’s Cocktail Lounge Live Blues Jam Session, 8 p.m. The Press Club Eighties Night Sacramento, 9 p.m. Sacramento State: University Union Serna Plaza Nooner w/ Drunken Kung Fu, 12 p.m. Torch Club Ballin’ That Jack, 5:30 p.m.; Sweet Plot, 9 p.m.

Comedy Crest Theatre Lil Duval: Living My Best Life Tour, Sept. 27, 6:30 p.m. Fair Oaks Veterans Memorial Amphitheatre Comedy Under the Stars w/ Tom McClain, Oct. 4, 8 p.m. The Flamingo House Bobby’s World Comedy Showcase w/ Kabir Singh, Stephan Sanders & More, Oct. 3, 7 p.m. Folsom Hotel Saloon Standup Saloon Hosted by Jason Anderson, Mondays, 8 p.m. Laughs Unlimited Arnie’s Big A.S.S. Birthday Show w/ Ellis Rodriguez, Brad Bonar Jr., Rhoda Ramone & More, Sept. 25, 8 p.m. There Goes the Neighborhood w/ Diego Curiel, Jimmy Earll & Friends, Sept. 26, 8 p.m. Cory & Chad “The Smash Brothers,” Armando Placencia, Sept. 27 - 29, Fri. & Sat, 8 & 10:30 p.m.; Sun., 7 p.m. PRO-AM Comedy Night Showcase Hosted by Ellis Rodriguez, Oct. 1, 8 p.m. Josh Means Presents Ruben’s Birthday Show w/ Carlos Rodriguez, Lizz Gibb, Devin Lanoza & More, Oct. 2, 8 p.m. Kirk McHenry feat. Mary Upchurch, Hosted by Andre Morton, Oct. 4 - 6, Fri. & Sat, 8 & 10:30 p.m.; Sun., 7 p.m.

Luna’s Cafe Open Mic Comedy w/ Hosts Jaime Fernandez and Michael Cella, Tuesdays, 8 p.m. The Melon Ball (Watermelon Music) Comedy Night: Will Durst, Oct. 4, 7:30 p.m. On the Y Open Mic Comedy w/ Guest Hosts, Thursdays, 8:30 p.m. Punch Line We Own the Laughs - Sacramento, Sept. 25, 8 p.m. Mark Normand feat. Forrest Shaw, Hosted by Joey Avery, Sept. 26 - 28, Thurs., 8 p.m.; Fri. & Sat, 7:30 & 9:45 p.m. Invisible Disabilities Comedy Show w/ Priyanka Wali, Jeanette Marin, Amber Whitford & More, Sept. 29, 7:30 p.m. Stay Silly Comedy w/ Susan Thompson, Rhoda Ramone, Benton Harshaw & More, Oct. 2, 8 p.m. Really Funny Comedians (Who Happen to Be Women) feat. Kelly Pryce, Liz Grant, Jaclyn Weiand & More, Oct. 3, 8 p.m. Josh Blue feat. Stephen Agyei, Hosted by Chey Bell, Oct. 4 - 5, Fri. & Sat, 7:30 & 9:45 p.m. There Goes the Neighborhood Comedy Tour, Oct. 6, 7:30 p.m. Confessions of a True Crime Addict w/ James Renner, Oct. 7, 8 p.m. Sam Bam’s Comedy Jam w/ Sam Espanola & Friends, Oct. 9, 8 p.m. Sacramento Comedy Spot Open Mic, Sunday’s and Mondays, 8 p.m. Improv Taste Test and Harold Night, Wednesdays, 7 - 10 p.m. Cage Match and Improv Jam, Thursdays, 8 - 10 p.m. Anti-Cooperation League, Saturdays, 9 p.m. Ninth Annual Sacramento Comedy Festival, Oct. 3 - 6 Sacramento State: University Union Ballroom SF International Stand-Up Comedy Competition Hosted by Auggie Smith, Sept. 26, 7:30 p.m.

STAB! Comedy Theater Comedy Open Mic, Thursdays, 9 p.m. STAB! Podcast Panel Show, Fridays, 10 p.m. Late Week Leftovers Open Mic, Sundays, 8 p.m. Tommy T’s B Simone, Pretty Vee, Sept. 27 - 28, Fri., 7:30 & 10:15 p.m.; Sat., 7 & 9:45 p.m. Sinn D Rella and Friends, Oct. 3, 7:30 p.m. Comedy Extravaganza w/ Jeremy Curry & Special Guests, Oct. 4 - 5, Fri., 8 p.m.; Sat., 7 & 9:45 p.m. The Clean Comedy Show w/ Sandra Risser, Morty Stein, Drew Shafer & More, Oct. 6, 6 p.m. Stay Silly Comedy w/ Ellis Rodriguez, Aja Mae & More, Oct. 9, 7:30 p.m.

Misc. 24th Street Theatre Scream Queens Gorelesque Troupe: Halloween Candy, Oct. 5, 7:30 p.m. 1409 Del Paso Blvd. Uptown Market on the Boulevard, Saturdays, 12 - 5 p.m. 8th and W Streets Certified Farmers Market, Sundays, 8 a.m. - 12 p.m. 20th Street (Between J and L) Midtown Farmers Market, Saturdays, 9 a.m. - 2 p.m. B Street Theatre at The Sofia Tsakopoulos Center for the Arts Mainstage Series: Jack Gallagher’s A Stand Up Guy, Through Oct. 20 The Bank Sacramento Bloody Mary Festival & Cocktail Competition, Oct. 5, 10 a.m. - 1 p.m. Bella Vista High School Bella Vista Arts and Crafts Fair, Oct. 5, 8 a.m. - 4 p.m. Ben Ali Shrine Peruvian Food Festival, Sept. 29, 11 a.m. - 5 p.m. Blue Cue Trivia Night, Wednesdays, 9 p.m.

The Boxing Donkey Trivia Night, Tuesdays, 7 p.m. Capitol Garage Geeks Who Drink Pub Quiz, Wednesdays, 8:30 p.m. Dinner and a Drag Show, Saturdays, 7:30 p.m. Central Park - Davis International Festival Davis, Oct. 6, 12 - 5 p.m. Country Club Plaza Certified Farmers Market, Saturdays, 8 a.m. - 12 p.m. Crocker Art Museum The Race to Promontory: The Transcontinental Railroad and the American West, Through Sept. 29 Chiura Obata: An American Modern, Through Sept. 29 Cool Clay: Recent Acquisitions of Contemporary Ceramics, Through July 19, 2020 Crooked Lane Brewing Co. Trivia Night, Wednesdays, 6 p.m. Der Biergarten Oktoberfest Street Party, Sept. 28, 3 p.m. Drake’s: The Barn 5000 Watts: Art + Tech Festival, Oct. 4 - 5, 6:30 p.m. Elk Grove Regional Park Giant Pumpkin Festival, Oct. 5 - 6, 10 a.m. - 5 p.m. Florin Road & 65th Street Certified Farmers Market, Thursdays, 8 a.m. - 12 p.m. Folsom Community Center 14th Annual Folsom Family Expo, Oct. 5, 10 a.m. - 3 p.m. Fox & Goose Pub Quiz, Tuesdays, 7 p.m. Harris Center RENT - 20th Anniversary Tour Encore Presentation, Sept. 27 - 29, Fri., 7:30 p.m.; Sat. 2 & 7:30 p.m.; Sun., 1 & 6:30 p.m. The Simon & Garfunkel Story, Sept. 30, 7:30 p.m. Complexions Contemporary Ballet: From Bach to Bowie, Oct. 2, 7:30 p.m. Russian Ballet Theatre: Swan Lake, Oct. 3, 7:30 p.m.

El Dorado Musical Theatre: Back to Broadway, Oct. 6, 2 p.m. National Geographic Live: Mark Synnott, Oct. 6, 7 p.m. Highwater The Trivia Factory, Mondays, 7 p.m. Historic Old Folsom Farmers Market, Saturdays, 8 a.m. - 1 p.m. Kupros Craft House Triviology, Sundays, 7:30 p.m. Laughs Unlimited The Big Battle Spoken Word Competition, Oct. 3, 8 p.m. Luna’s Cafe Poetry Unplugged, Thursdays, 8 p.m. McClatchy Park Oak Park Farmers Market, Saturdays, 9 a.m. - 1 p.m. Midtown BarFly Salsa Lessons, Wednesdays, 8 p.m. The Midtown Moxies Burlesque Troupe: Monster Mash!, Oct. 5, 7 p.m. Royer Park Romanian Festival 2019, Sept. 29, 12 p.m. Sacramento State: University Union Ballroom Free Movie Screening: Free Solo, Oct. 3, 7:30 p.m. Sierra 2 Center 6th Annual Festival of Flavors, Oct. 5, 6 p.m. Southside Park Holi Festival of Colors Sacramento, Sept. 28, 11 a.m. - 4 p.m. Streets Pub and Grub Pub Trivia, Sundays, 8 p.m. Strikes Unlimited (Rocklin) Let’s Get Quzzical: Trivia Game Show Experience, Tuesdays, 7 p.m. Sunrise Light Rail Station Certified Farmers Market, Saturdays, 8 a.m. - 12 p.m. Tower Brewing Geeks Who Drink Pub Quiz, Wednesdays, 7 p.m. Two Rivers Cider Co. Cribbage Night, Tuesdays, 7 p.m Trivia Night, Wednesdays, 7 p.m. Yolo Brewing Co. Trivia Night, Tuesdays, 6 p.m.

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Issue 301 • September 25 – October 9, 2019

OF WINE AND WHINING TOOL’S MAYNARD JAMES KEENAN ON WINE AND TOOL’S FIRST RECORD IN 13 YEARS, FEAR INOCULUM WORDS RYAN J. PRADO • PHOTO TRAVIS SHINN

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Issue 301 • September 25 – October 9, 2019

L I K E U S O N FA C E B O O K & F O L L O W U S O N I N S TA G R A M @ S U I T E N I N E B A R A N D L O U N G E

Dive Into Sacramento & Its Surrounding Areas

t seems a staid approach after three decades of output to simply brush up the enigma of Maynard James Keenan and Tool with superlatives. But Keenan’s envious regimen, in particular, is just too readymade for hyperbole. At the heart of it, Keenan and Tool are a study in contrasts—an anti-personae they’ve helped cultivate purposefully for their own twisted media lampooning over the years. Keenan, as de facto personality of the Tool juggernaut, is a seeker of knowledge and the breacher of goals one minute, court jester the next, fatalist idol-decrier down the line. The shapeshifting demeanor of one of rock ‘n’ roll’s most notoriously reclusive performers (yes, the same artist who has dressed in a full Robocop costume onstage, as well as myriad other androgynous guises) is as fascinating as it is confounding. Tool has remained plenty busy over the 13 years since the release of their last album, 2006’s 10,000 Days. At the end of August, the band was somewhat reintroduced into the modern cultural zeitgeist (and to some millennials for the first time) with the long-awaited release of their fifth record, Fear Inoculum. The album debuted at No. 1 on the Billboard 200, knocking Taylor Swift out of the top position, a perhaps unexpected byproduct of more than a decade of the Tool Army’s pent-up anticipation. Keenan, in response, somewhat courted the backlash from clueless Swift fans by re-Tweeting a fan-made meme depicting Keenan as Thanos conjuring the disintegration of the hapless pop singer. The confusion caused by the dethroning of Swift is, regrettably, understandable; Tool was one of the last major holdouts of allowing their music to be streamed on service apps like Spotify, iTunes and others. The official announcement of the release date of Fear Inoculum also included an announcement that the streaming

embargo had been lifted on July 29 of this year. As of this writing, the title track of the new record had garnered 16 million plays. Yes, it’s been a fun sort of comeback thus far. Ignoring the social media back-andforth spawned by its release (Keenan also came under scrutiny this year by online teenybopper automatons for tweeting “#bummer” when Justin Beiber acknowledged his love of Tool in an Instagram post), Fear Inoculum on its own merit is a startling collection of progressive neo-metal that shows the depth of the band’s emotional and spiritual arsenal. Keenan’s vocals, as ever, are a centerpiece to a long and winding curation of radical sound. In each of his musical endeavors— for the uninitiated, he is also the vocalist for A Perfect Circle, and his catchall solo cabaret project Puscifer— Keenan’s voice has the capacity to invoke spiritually provocative ululations and honey-sweet asides, as well as hellish conjurings of evil. Tool has garnered a worldwide fan base made up of obsessive disciples, often blinded by the magic in the music, forgetting the multifaceted humanity of the four guys writing it. Keenan, in turn, has gone on record against the kind of idolatry that seems to follow him around. As such, he fled Los Angeles during the prime of Tool’s ascension, settling in the small former mining town of Jerome, Arizona, population 455. The intimacy of the region, though, suits Keenan’s community-minded milieu. “I’m from a small town in Ohio, and grew up in an even smaller town in Michigan,” said Keenan in a recent email interview with Submerge. “The Verde Valley resonates with my core. And for the most part it’s much easier to identify the Living from the Zombies and Vampires I started to encounter in L.A. after the success.”

ACCORDING TO BAZOOKA Sundstrom Hill Winery

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Saturday November 2

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have plunged into the depths of cathartic release isn’t enough—you must embody it at all times. Tool fans, by and large, may be oblivious to this rift, but there are plenty more who’ve taken offense to the band’s seeming ambivalence to their adoration. It’s an unfortunate plight for such a chameleonic group of artists. “First of all I named our band ‘Penis’ FFS [acronym for “for fuck’s sake”]. We started as a dick joke. And then I named all the other bands with similar genital jokes,” riffed Keenan. “I’m exaggerating, of course. They aren’t just dick jokes. I can say lighten up [to fans who take the band too seriously]. But if you are a dopamine junkie [a term Keenan has cross-employed for social media addicts], you won’t be able to hear through the screaming voice of your unconscious addiction. People have developed their false sense of identity through the subjects they find even remotely offensive.” Perhaps it’s not surprising, then, that Keenan was a little reticent to talk much about Fear Inoculum, or the varied reasons why it took so long to come out. Still, he offered modest speculations on how it might have been different were it to have been released earlier (Keenan has stated in other outlets that he thought what would become Fear Inoculum sounded great eight years ago). “Had the music been completed sooner, the stories would have been told from a different perspective,” said Keenan. “Younger narrator, different story. Not better. Not worse. Just different. CONTINUED ON PAGE 28

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Keenan and Tool—the legendary quartet rounded out by guitarist Adam Jones, bassist Justin Chancellor and drummer Danny Carey—have forged a surprisingly reclusive existence outside the live setting since their inception. The beginning of the band’s media evasiveness or the shrouding of its likeness was palpable from the start, with their breakout album Undertow not featuring easily detectable images of the band in its artwork (unless you count pseudo-masochistic images of Keenan with pins sticking through his mouth), and the video for “Sober” less an unveiling of the band’s personages than a disturbing claymation horror short directed by Jones. While their stock in the worldwide metal/grunge scene grew thanks to the early ‘90s alternativerock explosion (Headbanger’s Ball, Lollapalooza, flannel), and eventually their visages were revealed to a wider audience, the blueprint for how to remain somewhat anonymous was already put into motion. Keenan even vacated his position at the front of the stage during live shows and instead performs back near Carey’s drums. But there are Tool fanatics for a reason. The imagery in both Keenan’s labyrinthine, vivid lyrics, as well as the band’s Alex Grey art accompaniment connote communes with an unseen Overmind who bequeaths passages and psychedelic instrumental opuses from elsewhere. The men in Tool take their work seriously; they just don’t take themselves all that seriously with relation to it. It is the expectation that to

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“Had the music been completed sooner, the stories would have been told from a different perspective. Younger narrator, different story. Not better. Not worse. Just different.” – Tool’s Maynard James Keenan on the much-anticipated release of the band’s new album, Fear Inoculum

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Issue 301 • September 25 – October 9, 2019

Photo by Aaron Weiss Photo by Maynard James Keenan

<< CONTINUED FROM PAGE 27 “One could argue ad nauseam from all points and all perspectives,” he continued. “Examples and graphs and feelings, etc. It is as it is, and it happened as it happened. The end.” Fair enough. Tool’s headlining set on the third day of the 2019 Aftershock Festival will be more than just a kickoff to the band’s North American tour in support of Fear Inoculum; it’s also an opportunity for Tool fans and wine fans to converge with the common denominator being both are lovers of all things Tool. Danny Wimmer (of Danny Wimmer Presents, Aftershock’s festival production company) and Keenan met during a yesteryear benefit dinner for the TJ Martel Foundation, and bonded over their mutual love of wine, enough so that Aftershock is featuring Keenan’s thriving Caduceus Cellars wines during the festival. Keenan’s winemaking ventures were initially lambasted by those with no fair understanding of his ambitious nature. Ignoring his proven creative drive, having been in Tool for 20 years at that point, as well as then-newer projects A Perfect Circle and Puscifer (not to mention Keenan’s ongoing Brazilian jiu jitsu training,

interests in sustainable community-based commerce as well as being a low-key comic badass), it was presumed this foray would be a mere financial partnership into a world he didn’t know anything about. The presumption proved to be laughable. “The truth is in the bottle. You can’t fake that,” stated Keenan. “But at the same time, you can’t expect everyone spanning from novice to expert to drop what they’re doing and coddle your bruised ego over not being immediately accepted into this ancient tradition. There are tried and true regions that have been through every phase of this process multiple times. Failure after success after failure over and over again. We, as in Arizona, and I, as the dismissed rock dude playing winemaker, are just beginning that long, long journey. I can’t hold it against anyone who shrugs off my efforts. But at the same time it won’t dim my passion. I’m not doing it for them. I’m doing it for us.” Keenan (with specific viticultural guidance and tutelage) has built Merkin Vineyards and Caduceus Cellars from the ground up, along the way legitimizing his winemaking acumen and his passion for farming in the northern Arizona Verde Valley. His ongoing effort to remain as busy as just about any human on Earth could possibly be

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Issue 301 • September 25 – October 9, 2019

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is undebatable, but he’s strategic about his approach to being pulled in so many directions, especially when it comes to hitting the road. “There are meditative moments and breaks sewn into my schedule that allow me to recharge. Otherwise, resentment can fester,” explained Keenan on his mental and physical preparation before the upcoming Tool tour. “As harvest is winding down, I make sure to make adjustments to my diet, exercise and sleep schedule. Harvest and martial arts tend to have you up at 6 a.m. That is absolutely manageable provided you hit the sack at a reasonable hour. But road life is far more taxing.” Keenan’s winemaking routine also happens to be creatively beneficial to him, as he explains. “I do some of my best writing during vintage,” said Keenan. “The resting periods I spoke of earlier are when I clear my proverbial cache, and mute the voices. But during harvest, those words, stories, melodies are always being refreshed in the background. That’s why Mat Mitchell [Puscifer guitarist] knows to be on standby for a quick trip out to Arizona to track in the Bunker Studio. The art of unconscious

writing is a tough one to develop. It requires you to look without looking. Consciously unconscious. “I know,” he admitted, “I sound like a Hallmark fortune cookie.” Keenan also illuminated the parallels he finds between making an album and the process of the harvest at his vineyard. “Like individual melodies, riffs or rhythms, every [grape] variety on every block we farm has a unique voice,” said Keenan. “We treat them all as if they are a unique song to be nudged along and developed. Nudged but not shoved. Getting out of the way is probably the most difficult lesson to be learned.” If trends continue, all rock stars worth their grapes will end up as farmers one day, yearning for yields from homegrown harvests that have nothing to do with why anyone pays more attention to them than the millions of other farmers tilling the soil. Other notable rock ‘n’ roll winemakers include Les Claypool and Dave Matthews, to name only a few. Neither, it should be noted, and with no offense intended, appear to be nearly as disciplined or as hands-on as Keenan. But the dedication has everything

to do with returning to their roots … remembering what it feels like to truly labor, to be hungry and have to feed yourself. Keenan has essentially eschewed the seduction of the partygod rock icon farce, and instead thrived under the humility of understanding he doesn’t know everything, hasn’t done everything and that striving to learn as much as possible about the things that interest him even one iota is the path he alone must take. Long after the screams die down from another blistering, humane, mindfuck of a live performance, he understands he’ll just be Maynard James Keenan again. A dude in the world. To those for whom that humility is simply too unforgivable, or shamanistic, or even hokey, luckily you’ve got five entire Tool records of psychedelic progmetal epics to console you.

Catch Tool as they headline Aftershock on Sunday, Oct. 13. Aftershock runs from Oct. 11–13 at Discovery Park (1000 Garden Highway, Sacramento). Other headliners during the weekend include Slipknot, Korn and Staind. For more information on tickets, visit Aftershockfestival.com.

Tool, Aftershock Festival, 2016 | Photo by Dillon Flowers

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Issue 301 • September 25 – October 9, 2019

My wife and I are having a great night in. I bought us a bottle of our favorite chianti, and she cooked an amazing dinner (chickpea spaghetti in a tomato, basil and mushroom sauce that was seriously out of this world). For some reason, we’re commemorating this wonderful night of marital bliss by watching Surviving R. Kelly on Netflix. If an online streaming service queue could land you on a government watchdog list, ours would certainly qualify. Light ‘90s teen dramedies are recommended to us in the same breath as long-form serial killer documentaries. I’ll stream anything involving ayahuasca journeys, pagan cults, exploitation

What’s amazing, too, is how successful he was even amid all these charges against him. Look, “Ignition (Remix),” in a vacuum, is the jam. My sister and I used to turn it up and she’d laugh as I did my best to sing along with it. I can’t sing a lick, but the song was so infectious that I belted it out as best as I could as we’d bounce, bounce, bounce in the car. I’m sure we’d both heard about the tapes by then, but many a great night out we’d spent together—either on our way to karaoke or some holiday party—usually started with “Ignition.” We don’t want the artists we admire to be awful people, but sometimes they are. It doesn’t make you a bad person for liking

horror … and as far as the latter goes, has there always been this many horror movies produced each year? Netflix and Hulu’s (especially Hulu) film libraries seem to be almost solely horror films (most of them suck, but occasionally there’s a gem, like The Witch, which I highly recommend). Honestly, I’m a much worse offender than my wife. I watched the entire series of Confessions with a Killer: The Ted Bundy Tapes in a single sitting. And since that wasn’t enough, I watched Zac Efron play the notorious serial killer in Extremely Wicked, Shockingly Evil and Vile the next day. He was great, by the way, as was co-star Lily Collins. Both of the above are also highly recommended if you don’t mind possibly getting your cell phone hacked by the FBI. So here we are watching Surviving R. Kelly as I type this, and it’s brutal. Survivors such as Lisa Van Allen and his ex-wife Andrea Kelly show amazing courage coming forward to tell their traumatic stories. The depth of R. Kelly’s predatory nature is laid out in gruesome detail. Perhaps even more gruesome is the stories told by all the enablers—the producers, managers and other hangers-on who say things like, “It didn’t seem right, but …” Or, “This is just the way things were …” Keep in mind that the infamous sex tape, the one that was the subject of many jokes (remember the “poo poo, pee pee” skit on Chappelle’s Show?), surfaced in 2002, and Kelly has released 10 albums since then, including a Christmas album, 12 Nights of Christmas, in 2016.

their music or their movies, but it does make you a bad person if you shout down credible accusations of horrible wrongdoing against someone you admire. Surviving R. Kelly shows fans holding signs defending Kelly during his child pornography trial (he was found not guilty of all charges, despite video evidence), blaming the parents, blaming the victims, blaming everyone but the alleged perpetrator. Of course, Kelly is once again in legal hot water for gross sexual misconduct. Hopefully this time it sticks before more lives are ruined. All of these tropes aren’t exclusive to the R. Kelly case, of course. It was a year ago, if you can believe it, that many of us were glued to the television watching the confirmation hearings of Supreme Court Justice Brett Kavanaugh, who was also credibly accused of sexual misconduct by a number of women. That story seemed to fade away, too, as so many other huge stories have, consumed by the voracity of our current news cycle. Until recently, of course, when it was uncovered that there were other allegations against Justice Kavanaugh that weren’t properly investigated by the FBI. Calls for his impeachment died on the vine, perhaps because there wasn’t much there, and then we almost went to war with Iran, and everyone forgot about it. I guess if anything good can come out of this it’s that these stories don’t entirely disappear anymore. Time isn’t quite up, yet, but the clocking is clicking louder by the second.

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MIKE BLANCHARD

THE CALIFORNIOS AMERICANA SECRETS

TOOL

A BALANCE OF HUMORS

CELLISTA FREEDOM TO ROAM

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