Listings are in the opposite order of appearance: headliner is listed at the top, next is the support band(s), and the last band listed is the opener.
April 10 2018
8:30PM doors -- music at 9:00PM
••• 21 AND OVER
$12 in advance / $15 at the door
DIRT: North American Tour Spring 2018, featuring...
Yamantaka // Sonic Titan
psychedelic stoner synth opera
Kingdom Of Not
Yamantaka // Sonic Titan
drums, electronic drums, keys, electronics, programming, vocals, art
vocals, stage and costume
JOANNA DELOS REYES
vocals, gongs, guitar
KAT & KATRINA ESTACIO
-from Toronto, Canada
-There’s a whole world contained within Yamantaka // Sonic Titan. They’re a Noh-Wave prog collective, a black-and-white (and sometimes red) theatre company, an operatic psych cult, and the speculative prophets of humanity’s impending doom. Above it all, though, they’re a thunderous rock band, and on their third album, DIRT, they’re the heaviest they’ve ever been.
Though they’ve been an amorphous beast since they formed in 2010, DIRT follows the group’s most significant evolution in years. Now totally Toronto-based, they’ve added new singer Joanna Delos Reyes, guitarist Hiroki Tanaka and bassist Brandon Lim, who, along with the towering drums of leader/artist Alaska B, singer/theatre artist Ange Loft and keyboardist Brendan Swanson, turn the group into a driving engine of sound. Live, the band can be sprawling and theatrical or concise and visceral, filling the stage with noise, melody and cacophony.
DIRT is the band’s first album since 2013’s UZU, their second straight to be shortlisted for the Polaris Prize as one of the best Canadian albums of the year. But the gap between albums hasn’t been a hiatus. Instead, the group hunkered down in the studio composing the mostly-instrumental score to the DrinkBox Studios video game Severed, along with members of the Canadian-Filipina gong group Pantayo. They emerged with new elements to heighten and distort into their already far-reaching sound, which combines and tornadoes Asian diasporic and Indigenous influences and perspectives.
The album was conceived as the soundtrack for an unreleased Haudenosaunee and Buddhist themed Anime produced in 1987. Like UZU, it takes place on the planet Pureland, now 10,000 years after the planet has flooded. The surviving people live within bubble domes floating in orbit. A team of mercenaries descends into the drowned wreckage of the world to receive the last sample of uncorrupted soil.
Never abandoning their irreverent edge, the band pushes further into madness and finds clarity in it, combining Iroquois creation myth and Buddhist principles with classic sci-fi themes to show how humanity continues to succumb to its worst impulses: madness, hubris and greed. With a sarcastic sigh that crosses political spectrums, DIRT confronts the lies that we tell ourselves and each other and asks what it means to push forward for an ideal just to die anyway.
Narratively, it’s the most ambitious project they’ve ever done. Musically, though, they’ve streamlined their sound, digging into both heavy and poppy influences like Judas Priest, Killing Joke, and Jordan Knight and translating them into their own unmistakable aesthetic. The live show is still a sensory overload of makeup and costumes that falls somewhere between Boredoms and Kiss, but the focus now is on their sound - the fullest, most killer version they’ve put on record yet. They think big, but they’re not a thought experiment. They’re a force.
Similar to Sun Ra’s take on Afrofuturism, the band resist being pigeonholed into any one idea, sound or cultural perspective. Instead, they burst their references apart, creating something entirely new. No matter what direction they go in, it can only come from Yamantaka // Sonic Titan.
-from Oakland/Bay Area, CA
-an oakland duo who fell into their shadows. o-fi, psychedelic, punk and fuzz - that describes this exciting Oakland duo. Scott Travis Johnston's at times temperamental shrieking into the microphone is backed by impulsive-sounding blasts blaring from electric and bass guitars, while accompanying instruments add a menacing element not too far from where Dead Moon left off. The band's EP, "Shades," is short but sweet and hits all the right spots.
Kingdom Of Not
-Buddd Underwood, The Slow Poisoner
(Dan Carbone & Andrew Goldfarb)
-from the Bay Area
-KINGDOM OF NOT are a Bay Area rock duo whose songs evoke distant memories of preachers and emergency control officials (with sensitivity where the children are involved). Their music has been described as Industrial Folk. They employ a trunk of voodoo masks, dolls and puppets. Their album known as JOURNEY TO THE FAR SIDE OF THE ROOM is currently revered by bald-headed men in basements, wearing sandals with hairy feet all over the world as a sacred object. They have a website.
They also have a music video called “SLEEPING.”
This past year, Kingdom of Not spent a nine-month residency at the Exit Theater in SF hosting their own variety show entitled “Baby Ding-Dong’s Chamber Pot of Lost Dreams.” In addition, last summer the international pop band phenomena FOXYGEN were excited to discover Kingdom of Not through a series of mysterious serendipitous events and launched them upon their unsuspecting audience to a terrific response on a mini tour in which KoN opened for them locally at the Independent (SF), as well as The Fonda Theater (LA) and Wonderland Ballroom (Seattle).
“Kingdom of Not gets under your skin, and into your brain.” Ben Graham/ The Quietus (U.K.)
"A Riotously Funny Two-Headed Sideshow Assault!” -SF Weekly
"Kingdom of Not will saw your understanding of rock holes, rephrase amphibian states and transport you to a warbling narcotic nebula that David Lynch only hinted at!"Number 6/ Music Director at KFJC