On Baghdad by the Bay, December 1st. Interview with Waiting Room, The SHE’S

30 11 2011

Stream the show archive:
Or download the MP3

Waiting Room
Waiting Room is a three-piece chick band, coming from the native hills of San Francisco, consisting of SF natives Lauren Alves, Veronica Bush and Rose Sullivan. An indie folk rock trio that draws from the blues, punk, and jazz; the girls met through local friends, Trainwreck Riders and The Dead Westerns. Lauren Alves has been playing paradiddles on her Dad’s drum set since she was five years old, and has been playing bass for some 15 plus years. She has also worked as a pit musician, and plays bass, guitar, and vocals in the band. Veronica Bush plays rhythmic banjo and vocals, and Rose Sullivan plays lo-fi drums. Both Alves and Bush write songs, making their music very collaborative and heartfelt. Some of their influences include Mazzy Star, Modest Mouse, Neil Young, Neutral Milk Hotel, Abner Jay, and Otis Redding.

The SHE’S are four natives of San Francisco who grew up as best friends in a city brimming with music. Inspired by their surroundings, each other, boredom and surfer boys, they began writing and performing their own brand of west-coast-garage-pop. They have played with touring bands such as GIRLS, The Morning Benders, Magic Kids, and Dominant Legs.


On Baghdad by the Bay, November 17th: Interview with Caught in Motion, Family Crest

16 11 2011

Stream the show archive:
Or download the MP3

Caught in Motion
CIM was born 2008, upon the creation of its debut album “On The Edge of a Dream”.  It was the culmination of Winn’s decision to discontinue college and instead record a record. He was joined by recent Oberlin graduate and longtime musical partner/childhood friend Sam Krulewitch in his Santa Barbara hills home, where much to the dismay of their roommates the two spent eight months writing and recording their debut together.  After recording “Dream” and feeling limited in the small city of Santa Barbara the two moved back home with their parents in Portland. Winn recruited a full band to bring the record alive and made a go at the local Portland scene in 2008/2009. Playing anywhere and everywhere they could, touring the west coast, but still feeling stagnate due day job commitments and band troubles, in a time where Krulewitch was secretly struggling with alcoholism. In spring 2009 Krulewitch checked himself into rehabilitation and Winn found himself without a band, writing partner, purpose or direction. Such events inspired and left Winn no choice but to find a way out of Portland. He recruited two new members from California including ex disgruntled roommate Rob Moreno and current drummer Graham Roggli and took CIM on a nationwide 43 day 41 show tour that saw them playing just about every major city in the country.
The Family Crest began as a collaborative recording project in 2008 with a vision to change the way music is made. Gathering friends, fans, musicians, and non-musicians alike, the group began to record an album in bars, churches, streets, and other unconventional locations. Their collaborative approach to music making quickly grew steam, evolving by February 2010 into a fully-formed orchestral indie rock band with over two hundred and fifty ‘Extended Family Members’ participating in recordings, live performances, and media projects.
Fusing rock, jazz, folk and classical genres, the band’s rich, epic sound has been compared to Arcade Fire, Fleet Foxes, and Beirut. MadeLoud.com proclaims, “the music they make is sweeping, wall-of-sound indie rock that alludes to fellow strings-adorned bands like Tindersticks and Arcade Fire, but The Family Crest establishes their own Left Coast identity, nodding to ’60s San Francisco Baroque pop and timeless folk-rock, as well. This is lush and intricate music, demanding the breadth of a full-length release.” The San Francisco Chronicle says, “while vying to collect more musicians onstage than the Decemberists or Arcade Fire, The Family Crest harbors an affection for Burt Bacharach-style swingin’ romanticism that is sure to impress lovers of classical pop.” According to The Bay Bridged, “they take their earnest, anthemic cue from The Arcade Fire, but the presence of so many string and wind instruments and the talents of frontman Liam McCormick put them on a unique frequency.”

On Baghdad by the Bay, November 9th: Interview with I, The Mighty and Dear Indugu

9 11 2011

Stream the show archive:
Or download the MP3

I, The Mighty
Since their 2007 inception, I The Mighty has melded together effortlessly and has already compiled an impressive following of support on the west coast, seeing regular rotation on local modern rock station Live 105 and sharing stages with the likes of Hawthorne Heights, There For Tomorrow, Deftones and more. Listeners will certainly feel the intense emotions of the ambitious and captivating EP, which was produced by Erik Ron [Panic! At The Disco, VersaEmerge, Foxy Shazam]. The album features six sweeping tracks filled with soaring vocals, catchy hooks, charging guitars and an explosive instrumentations that make for a mesmerizing whirlwind of cinematic soundscapes.

Dear Indugu
The four piece acoustic/electric indie-rock band, Dear Indugu, began in 2005 as the solo project of singer-songwriter Jesse Strickman. While playing in two punk bands at the time, he launched the new acoustic project with the aim of giving his previously private acoustic songs the spotlight he felt they deserved. The name, Dear Indugu, is inspired by the film ‘About Schmidt’ and is a metaphor for the communication of one’s innermost feelings to complete strangers. The Group performs frequently in the Bay Area and has toured California, Oregon, Washington, Idaho, Utah, and Nevada, playing everywhere from intimate nightclubs and coffee shops to college campuses and outdoor music festivals. Their music ranges from intimate folk solo songs to powerful full band indie rock. With thoughtful lyrics, versatile instrumentation, and a firm commitment to originality and musicianship, the Bay Area based band creates a unique and dynamic sound that continues to inspire listeners. They are currently recording their debut album.

On Baghdad by the Bay, November 3nd: Interview with The Pleasure Kills and Zodiac Death Valley

2 11 2011

Stream the show archive:
Or download the MP3

The Pleasure Kills

The Pleasure Kills started playing their signature combination of powerpop, new wave and punk in 2007.  After three singles and two national tours in 2008 and 2009, they released the “Bring Me A Match” album in 2010 to critical acclaim and accompanied it with a six week national tour.
Their music evokes the 80s and is delivered through a mixture of catchy hooks, meticulous songcraft, and Lydiot’s superstar vocals.  With razor-sharp guitar work, bubblegum keyboards, and driving uptempo beats, the sound is unabashedly fun!  Blondie is the reference most frequently cited by reviewers along with touchstones like Nikki And The Corvettes, Josie Cotton, The Shivvers, and the “Valley Girl” soundtrack.  While The Pleasure Kills’ music seems instantly familiar, attempts to nail down a genre reveal the uniqueness of the sound.
On the recordings, the songs are pop-perfect and lushly produced.  But a toughness and grit underlie the sweetness, and when played live by the band they crackle with a punk intensity.  There’s an obvious reverence for the art of timeless pop songs coupled with a conflicting desire to tear them apart.

Zodiac Death Valley

Producing simultaneously moody and sexy psychedelic rock, the Bay Area based ZODIAC DEATH VALLEY might sound like KINGS OF LEON had they been raised by Satanists as opposed to a traveling preacher. and what a superb time to be labeled as such. With every major music magazine Chicken Littling the epoch of a new psychedelic movement in rock (led by bands like MGMT, DEERHUNTER & ANIMAL COLLECTIVE)
ZDV offer a more straightforward and referenced take on their forbear’s vintage Haight-Ashbury sounds. That’s not to say they’re all hippie dippie and asking Alice when she was ten feet tall. With Nathan Ricker’s organ playing and frontman Nic Abodeely’s morose musings on tracks like “Methadone Mambo” and Whiskey Won’t Tell,” their mood is much more akin to The Doors or pre Darkside” Pink Floyd . Whether they are pigeonholed or not Zodiac Death Valley seem content that this is the final dusk for the Age of Aquarius. And like the serial killer they’re named after their music seems ready to pounce.