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PJ Harvey Tribute, 6/28/10 @ Springwater

The PJ Harvey Tribute show served up some major sassiness on Monday night at Springwater, compliments of several local ladies, including, but not limited to, Murielle Rae of The Grayces, Thelma & The Sleaze, and The Deli’s own Erin Manning. The show was organized by Taco Party owner, Lauren Gilbert, in order to raise money for the new local art store at the Little Hamilton collective. Unsurprisingly, the show was successful, just like Gilbert’s previous shebangs, such as the Nashville Femme Vegan Cupcake Calendar show, benefiting Planned Parenthood. Even for people who wouldn’t be considered “die-hard PJ Harvey fans,” the songs and performers were wildly entertaining.

Decked out in all black and strutting their stuff on stage, the girls had the common sense and decency to showcase a wide variety of Harvey’s expansive material, opening with favorites such as “Big Exit,” (click the links to see some low-quality iPhone videos) and, “Down By The Water,” before barreling into some deep tracks, such as the Nick Parrish collaborative, “Black Hearted Love,” which was sung by Murielle Rae. The girls clearly specialized in garage/grunge, judging by the downright raunchy renditions of “Rid of Me,” “50ft. Queenie,” and “Long Snake Moan.” Lauren Gilbert and Amaretta from Pushy Lips took turns with lead vocals, and were backed by Jackie Mackree and Emily Zimmer of Thelma & The Sleaze, and JoJo Jackson from Xpia. Things simmered down a bit during the middle of the set with some PJ Harvey ballads, including “Grow, Grow, Grow,” and, “The Devil,” which were performed by Erin Manning on keyboard/vocals, as well as an acoustic-guitar-accompanied, “C’mon Billy,” sung by Olivia Scibelli.

Seeing such true fans engaged in the on-stage exploration of the in’s and out’s and eccentricities of PJ Harvey’s sick-ass songs was a sight to see. Rumor has it that the gals might go for round two of the tribute show because it was that good. This would be quite fortunate. (Let’s hope they do).—Deli Staff

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Univox Droppin’ the Lethal Harmonies at KFN June 30

Frenetic and robust rock locals Univox are coming to Kung Fu Necktie tonight. Many of their songs show the bands vocal versatility with four different members taking turns rockin’ the mic. Each voice distributes their energy in different ways highlighting the many strengths and vast post-pop sensibilities. I prefer the baritone who muses over the frantic sounds of “Everybody Knows”. By the looks of them it is the extra large Josh ‘The Mongolian” Jones who is responsible for the voice, but big things come in little packages no matter what that bitch said the other night. They can create scrappy garage rock in the vein of the Stooges or barnstorm with the best of them. They’ll be joining experimental noise-pop outfit Hermit Thrushes. Univox are currently promoting their debut ST album on NY’s indie label ROIR. Kung Fu Necktie, 1250 Front St., 8pm, $8, 21+ (Photo by Dennis Manzanedo)- Adam G.

 
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New video by young gentlemen The Postelles - album out in the fall



There's something very gentlemenly about The Postelles' songs, which will make us say that they sound like a less sunovabitch version of The Strokes. It must be the Doo-Wop influences or something... It's funny because probably in the 50s most parents were looking at the guys playing in Doo Wop bands like if they were real sunovabitches who were ruining their children and stuff, while now that music sound harmless and cute to us. It's amazing what the world went through in just 60 years - and no doubt, Rock'n'Roll was a big force in making icons and stars out of more or less rebellious bastards. But The Postelles aren't like that, they are very talented boys who want to seduce you respectfully... The young NYC band has just released this video and is getting ready for a fall release of their debut full lenght.

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Dead Leaf Echo live at Pianos on Friday July 2nd

Dead Leaf Echo is a Nouveau Wave voice of emotion wrapped in lyrical intrigue and swirling movement. Lines shift from point to plane as DLE plays their next show in complete electric formation. Fresh and unreleased material from their new upcoming release “Truth” out on 2&1 Records this fall. The band will play with SF and Montreal’s Postcards. - (as posted in The Deli's Open Blog - post your band's entries, videos, and Mp3s here).

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Album Review: Business 80 - Strangers With Me

From the outset Business 80's debut Strangers With Me quivers with a looming sensation of darkness. It oozes a sadness that lurks in the darkest corners of its sound. A collage of glitching synthesized sounds, live instruments, and ominously sung vocals, Business 80 is the latest project by local songwriter H.A. Eugene (whose previous creation, Burbank International's City of Burbank, put him squarely on the Bay Area's music scene map) and a dramatic turn from the tender folk sounds of his previous work.

A mostly electronic album, Strangers With Me is broken into three movements, each (for reasons not outwardly clear) named after Tenderloin bars (Koko, Hemlock, and Ha-Ra). With driving industrial rhythms and often piercing electronic squelches throughout Strangers With Me, apt comparisons to acts like Nine Inch Nails (or a much harder version of Depeche Mode) certainly jump to mind, peppered with a spirit of IDM from the likes of Plaid, Autechre, or even Squarepusher (maybe a stretch).

Opening amidst a wash of penetrating electronic sounds and almost choked vocal gurgles, the eerie and despondent "Koko" begins the section of the same name. As with most the songs on this album, an intricate depth characterizes the soundscape of this song, with multiple pieces waiting to be found amidst the layers. Trapped in a loop, the album title is repeated endlessly as the synth sounds punctuate the space of the song. The result of this, as the line "strangers with me" is muttered ad nauseum, is an unnerving level of violence to the loneliness evoked throughout "Koko."

"Who Died?" follows, and with it's crescendoing viola line it may well be my favorite track on this album (the track that follows being a close second). Coupled with an ethereal-sounding arppegiated synth-line, and one of the more forceful and driving bass outros I've had the pleasure of hearing, this song really sends chills down the spine.

If "Who Died?'s" outro is an emotional ascension, "Mad at Nothing" is its zenith. Certainly the funkiest track on the album, "Mad at Nothing," if for its title only, really captures the spirit of Strangers With Me. There is a feeling of impudent rage that permeates throughout the narrative of these songs. From the anger and the drive that pushes the vamping repetition of the line "never learned shit, got stupider stupider," to the flailing rage that percolates from Mad at nothing, to the suffocating impotence of "Getting Sick for Real" and "This Place Where We Used to Play," there is an invisible force that torments the character of Strangers With Me.

All things considered, with its tumultuous layers of electronic sounds, Strangers With Me is an alluring and schizophrenic emotional ride. Peppered with rage, terror, loneliness and pure driven anguish Strangers With Me is a fascinatingly complicated album.

 

-Ada Lann

Note: Copies of Strangers With Me can be aquired at Business 80's CD release show, at El Rio on July 1st, or for free by contacting H.A. Eugene here.

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