Our friends of 3 Leafs recently picked up soem love from none other than Julian Cope. Original post found here.

Finally, Vinyl of the Month award must go to the fabulous SPACE ROCK TULIP by San Francisco quintet 3 Leafs, whose series of six huge pieces translate on this disc into one gigantic ‘vast eternitie’ of compelling post-Krautrock of the most persuasive variety. Psychedelic, disorientating and hugely pleasurable FX buffet listeners at all times. Unknown exotic instruments punctuate the sonic boundaries, while the distant and thunderous rhythm section pulses deep into the cranium. And all the time, seering guitar mung informed by oodles of antron-sized reverb irrigates the middle distance. It’s as though the entire mix was in the magickal hands of Dieter Dierks whilst at his Cosmic Jokers height. And even better is Warren Huegel’s fabulous drumming contained herein: for while many contemporary US underground outfits are ruined by the backwards-looking arena sensibilities of their drummers, these druids is far too sussed to let their sticksman get away with any such kack. Indeed, this marvelous record sounds as though it was captured so naturally that the five band members were barely aware of the recording process. Beautiful; spirited and inventive and beautiful. Self-released and available via www.myspace.com/3leafs, SPACE ROCK TULIP is a mighty useful and highly enjoyable debut from these five San Fran spacemen. Git down!

Right, before I quit, I’d just like to remind you to look out for my impending retrospective THE JEHOVAHCOAT DEMOS, which should be surfacing on our Merchandiser in the next few weeks. I gots to say, kiddies, that this 1993CE album represents to me a superb doorway period, displaying all of the elements contained within the grooves of JEHOVAHKILL, RITE, even elements of my first Queen Elizabeth release. Moreover, the 15 new tracks are accompanied by five previously unpublished poems, plus a whole slew of notes and instructions from that period. So do please search out this ornery beast if slithery Yggdrasil bass, wa-guitar mung, orchestral concussion and a sonically unbalanced attitude to rock’n’roll are all major contributors to locating your psychic pleasure centres.

Until next time,

Love reign on ya,

JULIAN (Yatesbury)

Sean Elsbernd (D. 7) Sean.Elsbernd@sfgov.org (415) 554-6516 – Voice (415) 554-6546 – Fax

Mark Farrell (D. 2) Mark.Farrell@sfgov.org (415) 554-7752 – Voice (415) 554-7843 – Fax
…
David Chiu (D. 3) David.Chiu@sfgov.org (415) 554-7450 – Voice

Carmen Chu (D. 4) Carmen.Chu@sfgov.org (415) 554-7460 – Voice (415) 554-7432-Fax

Following the departure of bassist Jacob Long, the evolution of Mi Ami‘s sound has been an ongoing process. The once three-piece S.F. noise-rock outfit used to blowout eardrums with huge, distorted bass. But now a two-man crew, the band decided to embrace more of an electronic/sampled aesthetic, which they’ll unveil with their latest 12″ release, Dolphins, on Thrill Jockey

I’m sure some of you will be a little pissed that the band is heading in a totally different direction, but I’m actually more excited to hear what they offer up now than before. Think Animal Collective or Gang Gang Dance, but darker, and with vintage samplers and drum machines. It’s no secret these guys love tribal/ethnic drums. Now they can play around with the source material directly. And I don’t care what anyone says, synthesized basslines and sampled kickdrums are better than their instrument counterparts, hands down.

Thrill Jockey uses words like “Italo,” “dystopian,” and “slaughtered dolphins,” all of which scream awesome to me. I’m not sure about you, but I’ll be on the lookout for this when it drops on March 15.

Tracklist For Dolphins:
01. Hard Up
02. Dolphins
03. Sunrise
04. Echo

[via Tiny Mix Tapes]

The DJs of KUSF , consisting entirely of volunteers, were shocked and deeply saddened by this turn of events, as they had not been given any warning of the impending sale.

KUSF has always relished its relationships with the non-profits of San Francisco and the Bay Area. We read and write Public Service Announcements which provide the details of community events, social services, arts and performing arts events, cultural events. In addition, we write Community Crusades for two non-profits every month, which are pre-recorded and played on the air several times a day for an entire month.

We need your help. There is a small window of time where we have the potential of stopping the sale of the station and can take back the station. By shutting the DJs out of the station, radio is losing years of experience in broadcasting: world-class Arts and Cultural programming, cutting-edge new music programming which feature local bands and artists. It has been a community forum, and a place where University of San Francisco students could learn fundamental broadcasting skills. DJs include students, alumni of USF, and community members, some with decades of broadcasting experience. We need help from community organizations to tell the University of San Francisco that we play a pivotal role in the community.

Three ways in which you can help:

1) Send a written testimonial of your connection to KUSF this e-mail address kusfpsa@yahoo.com.
2) Voice your thoughts to the Board of Trustees at USF: boardoftrustees@usfca.edu.
3) Attend the San Francisco Board of Supervisors meeting on Tuesday January 25th at 2pm, to testify the need for community radio. (Come early for the rally at 1pm.)

If so inclined, you can also support us by signing this online petition:
http://www.ipetitions.com/petition/savekusf/

Thank you for supporting KUSF by continuing to send us your announcements over the years. We enjoyed advertising your events, classes, and performances and were glad to provide the public with this information. We hope that our efforts helped your organization.

With most sincerity,

Steve Zweig and Abby Morris
Directors of the Community Affairs Department
KUSF San Francisco

For more information:
http://www.kusf-archives.com/
http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/01/18/DDV71H9VL2.DTL
http://www.kqed.org/a/forum/R201101190900

Inca Ore

Inca Ore

(from Foxy Digitalis)

Eva Saelens, aka Inca Ore, grew up in Detroit, descended from generations of bricklayers, was a Girl Scout and spent a lot of time on speedboats. She changed her name at age 17, and her eyes changed color. Her favorite flavors include ume plum vinegar, basil, miso, roasted nut, kimchi, catnip tea and All Star Jack Frost. Favorite textures: fig, runny persimmon, jicama, watermelon.

Eva, tell us why you chose the moniker, Inca Ore. Any significance?
I plucked the name out of my notebooks of free writing. I lived in Portland from 2001-2004 and I filled nearly a dozen notebooks filled with bar and coffeehouse writings. I came across the name Inca Ore when I went through my journals and spotted the two words together in one free writing piece. At first I just enjoyed the two words’ syllabic pairing sounds. Then I was motivated to learn more about the Incas. Maybe I would have never named myself Inca Ore if I had known the extent of the Inca’s gigantic contributions to civilization—–it’s a lot to live up to—–when I toyed with the word for its fun syllables. It was such a pleasure to learn about the Incas, and for me, the treasure of the Incas is of course their advancements in agriculture. I kind of like to think that the ore of the Incas is the potato or tomato or corn.

Have the culture, the geography, other local artists, or anything else about northern California played a part in your creative process?
California is one of the most intense human arteries to ever run through a land body, so there is always something to tap into, some kind of chaos to enjoy. Nature in the north of California is gooey with fertility for most of the year, and fertility is one of the energetic currents that I most enjoy and explore, so I spend far more time wandering in nature than practicing music. I like to draw the heavenly scents into my lungs and sing them out. I hike or run almost every day in redwood forests that are a few minutes drive from my house in East Oakland. I live in a little cottage hidden behind a big house in Oakland in one of the most diverse neighborhoods in the country, and my many immigrant neighbors inspire me so much. The people in my neighborhood are very wholesome and family minded, but there is also an element of mystery, of the global wanderer identity. I love the fertile feeling of these new Americans, who are not citizens of an American sterile death kingdom and have earthier relationships with family, birth and death. There are people from all over the world—–Mien people who have a big garden in the nearby park, Chinese families who are very private but love to karaoke with super echo effects on weekends, Vietnamese couples who name their daughters names like Infinity, shy kids from Nepal learning English, El Salvadoran neighbors with delicious cooking smells, old Filipino merchants with blue eyes and lots of story-telling time, sweetie Ethiopian bee keepers—-all of us living in rickety old Oakland and seeing fire puddle sunsets every night. And enjoying basically legalized marijuana, copious cheap fresh food, beautiful views. There’s so much wrong with California, but for me, it’s wronger in most other places.

Where do you see yourself fitting in as a female artist? Does gender play a role in your art?
Gender plays a role in my life and it informs a lot of my characteristics and my relationships. Formatively, how I live my life is more important than finding or filling roles in music. Art is my life’s emission. A lot of destructive tendencies that I have overcome were the product of patriarchy and the cosmetic-based identity of women that was very strong in the culture I grew up in. My younger musical and art efforts were sometimes contaminated by that confusion.

How did the split with Grouper come about? Another split or collaboration in the future perhaps?
Someone in Europe asked us to do a split tape together and we both liked the idea. Liz and I were both living in Oakland when the idea was proposed, and by the time it was done, she had moved to Portland and I had also temporarily relocated there from Oakland. My side of the split was finished in Morelia, Mexico, where my man and I lived for a few months in 2006. We drove something like 2000 miles around Mexico those months and had a jittery experience trying to explore the idea of moving there. Some of the music on that split was recorded on a nude beach in Zipolite, Oaxaca. It was an exercise in taking fantasies to the limit, and exploring the dimensions of love when adventures morph and change. That trip was so over-the-top ambitious and romantic, but so scary and exhausting after a while. When we finished the tape, the man who wanted to put it out was MIA so we put it out ourselves, and then did the vinyl release together.

I bet Liz and I will intersect in some musical way in the future. For now, we play shows together sometimes and are friends. There is a recording of jams between Liz and Honey from Valet and I and maybe those will one day be unearthed.

Tell us about your new one, “Silver Sea Surfer School.”
Silver Sea Surfer School is about: my big yellow house on 13th Avenue, breaking out of ego yokes, illuminating breakthroughs, gospel, loquat flavor, energetic education from Yolanda Vasquez, healing dear sisters and myself, cherimoya fruits, plant worship and admiring photosynthesis, recognizing and soothing the psychic heft of living through the era of extinction, emerging from the Bush years and minding the scars, substitute teaching the hyphy maniac children of Oakland and encouraging their gentle innocence, forgiveness, incinerating jealousy motives, healthy creativity, gazing at the milky moon through my turret window, cultivating real friendships and family styles away from music scene loitering, being the weird white lady who puts her amps in the window, improvising in half-hour daily rituals until the communication finally comes, the golden acceptance that never needs earthly solutions, flirtation with breakdowns, flower essences and herbal remedies eliminating psychological toils, the persistent concept of healing, birthdays, handheld tape recorders, NBA basketball, the flerb effect, my friends homesteading on Humboldt Street in Oakland, Michelle Obama.

Where do you see Inca Ore going in the future?
I see me as an old lady playing music at my house overlooking my fields of marijuana and medicinal herbs. I will go to shows and be this old lady dancing and kids will say “That’s Inca Ore,” and I’ll be buddies with them and smoke blunts with all the young women. Maybe I’ll play a couple of shows a year, and do a cool tour somewhere. I don’t have any career intentions with it—-I don’t know how I could! Supply is far exceeding demand in the music world and my stuff is more kimchi than pizza. But I think this cool future is possible and I will be blessed.

Any upcoming tours?
There’s talk of a Psychic Reality, LA Vampires, Inca Ore adventure in the future.

Do you ever feel limited as an artist? Do you ever want to get freer with your music? Or, are you perfectly content and fulfilled as an artist?
Maybe I want to be less free. For a long time I felt like a waterfall, but I felt like a heavy water flow smacking boulders. It was uncomfortable and unsustainable. Now I want to be a water current, but with lots of slow slopes and gullies and bamboo trickles.
I think my limitations come from interactions between my musical world, which is an environment crafted with love and appreciation of my individuality, and the harsh surfaces of promotion, popularity and profit. Earlier in my recording efforts, I was dissed with a lot of zest for being too “out there,” and it never occurred to me when I was making those recordings that anyone would not appreciate at least its honesty. I created with a lot of innocence about the mulching nature of the careerist art world—-I thought I would somehow be exempt from the negativities, or I simply tried to ignore its existence. For a time, that actually made me extra vulnerable to its teeth. I didn’t go to art school and my introduction to music was through a profound spiritual transformation in my life intersecting with new friendships with people who were after simple soul nurture in creativity. Now I see how people get competitive or dismissive or weary.
I have always tended toward a loner life on the eccentric peripheries. I don’t think it’s a good thing how the music/art vacuum promotes that in me. I want to have health insurance, some economic security, connections with people who don’t have my esoteric interests, an “above-ground” identity. Music feels good, but it gives me no concrete security and it sometimes diminishes me in promoting my alienation from the rest of society. I wonder if it does limit me.

What do you think has brought you to where you are at now in your sound?
Love, family-style approach to living and friendships, ritual, yoga with Yolanda, facing the past and forgiving, “Healing with Whole Foods” by Paul Pritchford, friendship with Honey and Liz and Leyna, dreams, noticing that the head solves no problems effectively like the heart does and the throat is the negotiator between the two, emphasis on dancing and movement, anti-shame philosophies, Britt and Amanda.

What are some of the various ways that you create?
I always have my equipment set up and ready to go. I do yoga every day, and run in the redwoods, and cook lots of food, and go walking and write letters and do all the things I love to do and when I feel like it, I play music. If I don’t want to play for many weeks it’s ok. I record everything and listen and refine later.

If you could communicate one thing to your listener what would it be?
All anyone wants is love.

What is your favorite thing about making music?
That it gives me some small role on earth. I am a figure of the cosmos and I wonder all the time, “Why am I here on Earth?” and music kind of answers that.

What are your top 5 albums from 2009?
Musically my favorites are mostly international music from the 78 era. Though my music sounds nothing like that, those sounds remind me of the pureness of soul before the imperial contamination via Westernized ideas of musicality. I don’t really listen to any contemporary music except hip hop. I did have a lot of favorites in 2009, but mostly oldies: 60s and 70s music of Mali, 80s Ethiopian jams. Omar Souleyman is my rock star. Psychic Reality, Kuupuu, Daniel Higgs, Pod Blotz and Samara Lubelski were live favorites.

– Dave Miller (10 March, 2010)

In January *anaphylactic* returns with Jonas Reinhardt, Maus Haus and the kids from the SF Rock Project.

This show is available to audiences of ALL AGES. $10 before the show and $12 at the door.
Complimentary Cocktails to those of age, and Ice cream sundaes to anyone that wants to replace their dinner -because being a kid is fun!

…The art show is open at 7PM, the first band goes on at 8PM.

performers:

JONAS REINHARDT
www.jonasreinhardt.com
Jonas Reinhardt (Kranky) just returned from their European tour with a stack of new tracks and a fresh dance-heavy sound. One of San Francisco’s tightest acts, this band packs an ever-heavier punch live.

MAUS HAUS
http://myspace.com/maushausmusic
Hot, Jazzy and always unpredictable rock act Maus Haus always bring a fresh garage edge to any bill they’re on. Lately they tend to be booked on bigger and bigger bills from SXSW to Treasure Island so catch this opportunity to see them up close and personal.

SAN FRANCISCO ROCK PROJECT
http://www.sfrockproject.org/
This is the band from San Francisco’s premier music school for young rock musicians. The live shows are some of the most fun to be seen on a stage in the Bay Area: all the energy and none of the coy.

DJ’s:
TRISTES TROPIQUES
www.myspace.com/djtristestropiques

and 1/2
WARM LEATHERETTE
www.myspace.com/warmleatherettesf

Our friends at the Common run a store of fine gentlemen’s goods and also an art gallery. Tonight a favorite selection of artists and designers will be on display:

Painter JAXON NORTON
http://jaxon-northon.blogspot.com/

Mixed Media artist TONY BENNA
http://tonybenna.com/

Jewelrer LIL SUNDANCE
www.lilsundance.com
www.etsy.com/shop/lilsundance

Artist and Illustrator CHELSEA WONG
www.chelseawong.com

Accessory maker LEAH GARZA
http://www.etsy.com/shop/leahgarza

Ariel Draws
http://www.arieldraws.com/

Neon Neeley
http://neonneeley.blogspot.com/

Luke Fischbeck (of Lucky Dragons)
http://the-artists.org/artist/Luke-Fischbeck

Danielle Hoang

Ruthie Swanson

Jay Howell

Anyone Clothing

Diane Burk

Hether Beckrest
http://www.workgroup-ltd.com/

AZ_flier_full

Dear friends: this Friday the 17th I have curated a stage at the Absolute Zero Street Festival in San Jose. The line-up is quite stunning and the performance is available to audiences of all ages and attendance is free of charge. Here is the Event on Facebook.

Friday, September 17, 2010 at 5:00pm – Saturday, September 18, 2010 at 12:00am

South First Street: Sofa District of San Jose, CA

**FREE of charge and open to ALL AGES**

“Vaulting across the boundaries of noise, electronica, dance and punk pop: AbsoluteZER0 presents a showcase of the vibrant Northern California music landscape. Often pushing the boundaries between sound performance art and a traditional rock show: these artistically adventurous and technologically savvy musicians are all examples of how pop music is currently being re-authored. At AbsoluteZER0 art, technology and music will collide: technology used for nostalgia, ancient instruments for innovation, the human voice an ethereal anchor in solid chaos”.
–Ulrika Andersson, Guest Curator, AbsoluteZER0 music.

JONAS REINHARDT (SF)

www.jonasreinhardt.com
Headliners for Friday’s concert is the Bay Area’s premier krautrock act Jonas Reinhardt. This group is well known for its vintage analog synth excursions on record, but Jonas Reinhardt packs its heaviest punch in a live setting. -Performances are impressive, sometimes hypnotic.

CLIPD BEAKS (Oakland)

www.myspace.com/clipdbeaks
Clipd Beaks is a noisy act but distinguish themselves by wedding the cacophony with lush jazzy loops and soulful vocals. Their brand of drone tends towards a clubby house atmosphere: ultimately delivering a richly layered and innovative act.

GLOBAL WARNING (SF, feat. Greg Zifcak of Eats Tapes and Andre Ferreria a.k.a. Bobby Browser).

www.xlr8r.com/mp3/2010/07/071110
Global Warning is a brand-new act but already boast a recording and a buzz in dance music circles. Word has it this act plans to bring the interactivity as well as the beats on this evening: get a spot close to stage to find out exactly what that means.

0TH (SF)

www.0th.cc
Pagan techno act 0th is making a name for themselves with their large scale projection gallery performances and stark yet oddly tropical sound. On this evening only three members will be in direct attendance on stage -the fourth will be beamed in via Skype: her face looming over her bandmates as the Joy Division-in-the-jungle sound completes their number.

INCA ORE (Oakland)

www.myspace.com/incaoreincaore
We are thrilled to welcome Eva Saelens’ solo project Inca Ore. This mystery sound draws heavily on the more other-worldly aspects of dancehall/dub traditions; vaults across post-punk treads laid down by Vinnie Reilly and appears to land somewhere in a 4AD shrouded noise territory.

JOZEF VAN WISSEM (Netherlands/Brooklyn)

www.myspace.com/vanwissem
Arrive early to catch the shimmering stylings of Dutch-American artist Jozef Van Wissem. This artist plays the classic lute but writes decidedly modern music on it. In Van Wissem’s hands this 24-string instrument creates luminous austere beauty, and challenges the limits of pop music.

live sets by DJ TRISTES TROPIQUES

www.myspace.com/djtristestropiques
Tristes Tropiques is one of those curators of previously unknown favorite tracks that makes you long for that long lost vinyl back. Often drawing from bargain basement records and film soundtracks: this eclectic artist draws atmospheric connections between tracks you’d normally never find on the same thumbdrive, let alone on the same playlist.

Visuals by LIZ WALSH

www.liziz.com
Filmmaker Liz Walsh is an artist and musician whose disjointed colorful visuals will fill the screen as the bands play. Much like the bands on stage she forms an intense landscape of her own creation, and like dub and noise artists in music Walsh cuts, pastes and paints until every part of her creation is blinding.