Noise Pop 2009, Part One: If only all good things could last forever

February 26-27, 2009, in San Francisco

By Camille Ikalina Robles
Published: February 28th, 2009 | 7:40pm

The Bottom of The Hill, February 26: Familiar faces from near and far places

Bay Area favorites Built for the Sea opened Thursday Night’s show at the Bottom of the Hill, playing its third consecutive year at Noise Pop music festival in San Francisco. This was the first for newest member, cellist Michael Fecskes, whose addition to the lineup has filled out Built for the Sea’s sound, a magical component that has only enhanced the beauty of singer-songwriter Lia Rose’s compositions. With Jon Latimer, Daniel Mckenzie, and Eric Kuhn — on guitars, bass, and drums, respectively — the band continues to surprise and grow, and consistently draws a crowd at its local shows. Tonight the band’s set included songs off its first album and recently released EP, Mise en Scène, as well a new, untitled track from a forthcoming album.

From Monument to Masses took the stage later in the evening, after Crime in Choir. With bassist Sergio Robledo-Maderazo and guitarist Matthew Solberg calling the Bay Area their home and drummer Francis Choung hailing from New York City, it’s rare to see them perform in San Francisco, especially when they are away most of the year on tour. Tonight they treated the crowd to their relevant and timely music as they set it to samples of political statements and quotes from old and new progressive leaders. The crowd was moved and inspired, and toward the end of the set, chants of “One more song” filled the venue as the band moved into its encore. Simply, no one wanted the inspiration to end.

The Independent, February 27: Orchestral pop and rowdy indie punk rock rules the night

The Hooks opened Friday night’s show at the Independent with their throwback rock sound, fronted by Irish brothers Keith and Ronan Mulligan, who shared vocal duties. The band played a short but entertaining set and warmed up the crowd for what would be a very interesting night of debauchery and souring orchestral indie pop.

Telekinesis played the mellowest set of the night, but it was anything but quiet and dull. With a drum kit front and center, the front row felt the nice cooling breeze of the puffs of air shooting out of the kick drum. Telekinesis is Michael Benjamin Lerner, who sang while playing the drums and apologized repeatedly for his immediate presence at the front of the stage. He was joined by Chris Staples (guitar), David Broecker (guitar), and Jonie Broecker (bass and keyboards). Lerner thanked the audience over and over again and won them over with his sweet demeanor and humbleness.

The most memorable performance of the night was from New Zealand indie pop/punk band Cut Off Your Hands. Unfortunately, it wasn’t the music that made it so memorable. The onstage antics of lead vocalist Nick Johnston were more a distraction than a complement to what actually were pretty catchy and interesting songs. Not that anyone was paying attention to that.

As he jumped into the crowd numerous times, stood on the kick drum, and rolled around the floor in a drunken haze, Johnston was so excited about his own performance that he didn’t take the time to convince the crowd he was worth listening to in the first place. The rest of the band seemed pretty sedate in comparison and unfazed by Johnston’s actions, which makes me think this was a pretty regular thing. Despite the over-the-top act he puts on, Johnston actually has the charisma and talent to lead this band to bigger places.

When Ra Ra Riot took the stage, enthusiastic fans bobbled up and down; it was clear that the diehard Ra Ra Riot fans were in the house. After playing a happy hour acoustic set earlier in the day, the band was all plugged in, including an electric cello and violin, for its headlining set at the Independent. With set lists scribbled on ripped out notebook paper and slices of pita bread, the six-piece band took up the entire breath of the stage. Vocalist Wes Miles stood front and center, while the rest of the band played their respective instruments, swirling and twirling to the melodious orchestral pop. Familiar favorites included “Oh, La” and “Ghost Under Rocks,” as well as a new, unreleased song. Each member looked engaged in their own piece of the magic as they moved like marionettes in a theater show, which at times was dizzying and overwhelming. This would have been distracting, if their obvious passion and joy didn’t suck you right back in. The energy of the show made the collection of songs fly by in what felt like short vignettes, so contradictory to the seemingly endless and building sound of their bold and rich compositions.

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