www.coldplay.com
www.myspace.com/coldplay

Coldplay finally releases an album that tops even Coldplay itself. Produced by the great Brian Eno, Viva La Vida is an open and ambient masterpiece that celebrates life through glorious pronouncements of strings and beats.

I’ve been searching for something spacious like Radiohead’s Kid A, sans any of the depressing qualities, and Viva La Vida seems well suited for the job. It’s not quite as poignant as any of the Radiohead albums, but it also doesn’t leave you feeling like you just shot your cat and then thought too hard about why you did it. There’s a similar difference between rockets and fireworks, where the former creates more of a lasting effect, while the latter seems a tad prettier. Coldplay is the latter.

The other obligatory Coldplay comparison draws you to U2. On their last album, X&Y, the band professed an adoration for the Bono/Edge sound. While I think it worked for the most part, X&Y often suffered in garnering any semblance of boundary or form. Words sort of spilled out from Martin’s mouth, and the instrumentals blended into a blur. On Viva La Vida, Coldplay successfully finds the balance between all their previous work, discovering truly who they really are.

Viva La Vida opens with “Life in Technicolor,” a multi-textured instrumental opening that sort of explodes with, well, color. The following track, “Cemeteries of London” contrasts its preceding track with a haunting opening leading quickly into pounding rhythms propelling a full orchestration of sounds.

Later songs expand the juxtaposition between the first two tracks and the variation that conducts them. On “Yes,” violins jump between what resembles a Middle Eastern breakdown into a seemingly Western groove during the verses. Then there is the notoriously catchy “Violet Hill…“

One cannot discount the album’s first hit and title track, “Viva La Vida,” showcasing Martin’s exquisite and illustrative lyrical work: “I hear Jerusalem bells a’ ringing / Roman Cavalry choirs are singing / Be my mirror, my sword and shield / My missionaries in a foreign field…” I’m a sucker for escapism.

The album concludes with the choir-driven “Death And All His Friends,” finishing with a reprise of the opening track. It’s an almost symmetrical end to an asymmetrical album. And, in doing so, Coldplay succeeds in crafting something bigger than themselves, which, given their earlier successes, is no easy feat.

Good work, Coldplay! You don’t suck again!

San Francisco, being the cultural magnet that she is, attracts artists from all around the world. Oftentimes shows are free, and we are all blessed with the opportunity of enjoying fine entertainment without cost or fear of walking great distances…

www.thefratellis.com
www.myspace.com/littlebabyfratelli

The Fratellis @ Virgin Megastore (06.18.08)

Before their evening show at The Fillmore, The Fratellis took the stage in San Francisco’s Virgin Megastore for a short acoustic set filled with songs from their latest release, Here We Stand. The performance was excellent, and the crowd responded in kind. “Baby Doll,” a strong song from the new album, served as a brilliantly quiet closer.

I recall seeing them at The Fillmore exactly one year ago when they were still promoting their first album, Costello Music. It was a fun show, but hardly epic. I heard from several sources they were even better this year, most likely because I wasn’t there.

www.ybgf.org

Susanna Stern @ Yerba Buena Gardens (06.19.08)

Recipient of the Jenny Lind Scholarship for promising sopranos, Susanna Stern entertained tourists and downtown lunchbreakers, such as myself, with a pleasantly soothing afternoon of opera in the park. Anna Christensson, accompanying Stern on piano, performed several hauntingly beautiful solo pieces of her own.

www.fetedelamusiquesf.org

Fête de la Musique @ Justin Herman Plaza (06.21.08)

There’s nothing classier than French music after a morning of perusing our local Ferry Building Farmers Market. The San Francisco Chapter of the French-American Chamber of Commerce (FACCSF) sponsored a free afternoon of French music, food and crafts in conjunction with other French music festivals happening around the world for Fête de la Musique, or World Music Day.

Opening act, Nous Non Plus performed a series of standard pop rock songs that started somewhat hokey, but got better as their set progressed. Bopping along to what I assumed were originals, and covers like “99 Red Balloons,” the band sparked dancing amongst the audience even in the day’s intense heat.

ULTIMATE FAIL: Nous Non Plus announced, before performing Nancy Sinatra’s “These Boots Are Made For Walkin,” that they were about to perform a Jessica Simpson song (Simpson recently covered the classic for the remake of “The Dukes of Hazzard”).

Trumpetist, Alain Brunet’s wonderful performance set off beautiful visions in my mind, as I wished for evening and Christmas lights strewn across the Plaza…

www.radioalice.com

Alice’s Summerthing @ Speedway Meadows (06.22.08)

At the start of every summer, Alice Radio compiles a lineup of popular adult contemporary musical artists for a free concert in Golden Gate Park’s Speedway Meadows. This year showcased Lifehouse, Ingrid Michaelson, The Last Goodnight, Marié Digby and Secondhand Serenade.

As we walked into the park, we could hear The Last Goodnight’s “Pictures of You,” a terribly stupid song that’s sadly rotating on the radio. The timing was appropriate as I was just about to use the restroom, where, if needed, I could have vomited without consequence.

A friend and I enjoyed Ingrid Michaelson’s pleasant set, in where “The Way I Am,” lovingly-referred to as “that clown song,” was the biggest crowd pleaser. The ambiance was warm and inviting, and Michaelson probably looked great on stage (we sat so far back, I can only assume she was even on stage).

Side-quest: Singer-songwriter Marié Digby had apparently won some vocalist contest with Pantene, the shampoo company, thereby explaining the nice flow to her hair. I mistook Digby for Michaelson when I quickly glanced over at her signing autographs. After a friend corrected me, I replied, “Yeah, I didn’t think Ingrid was THAT pretty,” to which a nosy neighboring male proclaimed in disgust, “You don’t think she’s pretty?!” because, apparently, my opinion matters to even people I don’t know.

Finally, we didn’t stay for Lifehouse because, let’s face it, all their songs sound the same and they’re boring. Done.

www.myspace.com/goodcityliestill
www.thehairbrain.com
www.myspace.com/saything
www.performermag.com

Saything / The Hairbrain Scheme / Good City Lie Still
El Rio | San Francisco, CA | April 16, 2008

The beloved El Rio opened its doors to a selection of talented Bay Area acts spanning the rock spectrum. The show opened with Oakland prog-rock group Saything, followed by the popular pop/alt-rock band The Hairbrain Scheme from San Francisco’s Outer Sunset District and concluded with the modern rock sound of Santa Rosa’s Good City Lie Still.

A blaring trumpet introduced the first of many schizophrenic songs from Saything. Layered with odd tones and aggressive riffs, the band’s set exuded a level of artistic angst and chaos; however it could have benefited greatly from some level adjustments. Nate Mahem’s bass overpowered most of the other instruments, draping a heavy mid-range fog upon the overall sound. Despite these audio issues, Saything displayed strong musicianship, particularly in their quieter moments where singer (and drummer for The Aimless Never Miss) Winston Goertz-Giffin’s characteristic vocal grit and growl could clearly shine through.

The crowd thickened and enthusiastic catcalling erupted as The Hairbrain Scheme took the stage next. The former Santa Barbarans opened a cappella with “Walking,” an incredibly strong and catchy song overflowing with vocal polyphony. The energy remained high as they progressed through their set, even encouraging the formation of a raucous mosh pit. All four members exhibited extraordinary showmanship, particularly vocalist Grant Parsons who spastically spun and danced about the stage to the upbeat tunes. “How do we sound?” Parsons asked. “Louder!” the audience replied. The Hairbrain Scheme made this their night, and it was evident that the crowd was plenty pleased.

Closer Good City Lie Still’s driving rock and spacious effects filled the room with energy, albeit a different type of energy than that of the previous act. The audience connected on a deeper, quieter level as the Sonoma County band displayed a sense of seriousness in its songs. The occasional switch from guitar-based rock to piano added variety to the set, and Good City’s instrumental sound was excellent, with perhaps the most balanced bass tone of the night — round and deep like a heartbeat. Andy Pohl’s Tele Deluxe provided great presence and clarity to even his grittiest riffs. Sadly, the heavy mid-range in (cousin of Winston) Ross Giffen’s vocal mix made distinguishing lyrics virtually impossible. Giffen’s commendable vocal presentation was not lost, though, and his occasional falsetto over Pohl’s relentless crunch elevated Good City’s songs in a sweeping fashion.

El Rio is a venue capable of separating the nuanced from the new: experience provides the ability to perform well even under the most mired circumstances, and all performed well indeed.

-Review by Keane Li; photo by Cassidy Williams (more…)

You know you’ve achieved a night of pure rockness when you’re walking to the bus stop by yourself at one in the morning and the club next to you gets busted by a string of cops…