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.
March 3 2019
6:30PM doors -- music at 7:30PM
••• ALL AGES
$14 in advance / $16 at the door
Noise Pop Festival 2019 presents...
TBA ----The Buttertones are off the bill
showergaze acid folk acoustic pop freakfolk
New Measurement Group
Vocals, Guitar ~ Abby Weems
Bass ~ Ally Einbinder
Drums ~ Victoria Mandanas
from Los Angeles, CA
-Punk rock trio, Potty Mouth return with their long-awaited second LP, SNAFU. The record will be released March 1, 2019 via Get Better Records – a DIY label run by Potty Mouth bassist Ally Einbinder and her partner Alex Licktenhour “that is for the queers. No sexist, no racist, no transphobic, no homophobic, no apologist bullshit tolerated.”
SNAFU arrives six years after the trio’s acclaimed 2013 debut album Hell Bent and serves as a rallying cry for creative freedom! The album was inspired by the band not comprising to the traditional standards of the music industry. “Our approach made things take longer, but it gave us more creative freedom,” said Einbinder. “To have that flexibility was so helpful, and the amount we grew and learned during the making of this record is the product of a lot of patience and finding the right situation for ourselves. As artists trying to maintain control over this path we’ve taken together, the three of us have stuck it out for eight years now, and we’re here for each other.”
Potty Mouth took their fortunes into their own hands, working in a Burbank studio with engineer Courtney Ballard (Good Charlotte, 5 Seconds of Summer, Anti-Flag). The band began recording songs chosen from the stockpile they had created themselves over the years since their acclaimed 2015 self-titled EP. From SNAFU, highlighted tracks are “Fencewalker,” which Weems co-wrote the track with The Go-Go’s Gina Schock, “Do It Again” with its thunderous, head-nodding hook, while “Liar” is the band’s hardest, punk rock track to date.
-from San Francisco, CA
-Dubbed “classic rock’s piercingly bright diamond in the rough” (BandsInTown News), San Francisco poet, composer, and guitarist Luke Sweeney picks up a variety of stylings from forebearers such as Marc Bolan, Al Green, and Stephen Malkmus like pieces of pavement bubblegum to build a bridge into new, unforged territories of psychedelic pop. This journey is sustained by a palpable substance in the hapless escape artists, hopeless romantics, and enduring spiritual images he embraces and celebrates along the way. In 2013, Sweeney branched out from previous outfits to release his own material, resulting thus far in two critically acclaimed albums. His self-released debut ‘Ether Ore’ gained praises for its “distinctly handcrafted feel” and “melodies that feel like opiates for the soul” (SF Chronicle), while his studio follow-up ‘Adventure:Us’(Aerobic International) expanded into “far-reaching pop, psychedelic, and classic-rock realms with humor and irreverence—both calling cards of Sweeney's songwriting,” and was considered “one of the best albums released” in 2014 (Portland Mercury).
A “pillar of San Francisco's garage-psych community” (TheBayBridged), Sweeney has played alongside a wide range of touring peers, including Eleanor Friedberger, Jessica Pratt, Morgan Delt, Night Moves, Part Time, Pearl Charles, Perling Hiss, and Sugar Candy Mountain, to name a few. Sweeney also lends a hand to the live exploits of many cohorts, among them Tim Cohen and Healing Potpourri. Meanwhile, he’s kept his pen sharp, his notebook handy, and the microphone on standby. Among the recent recordings due to surface in the near future is a long player follow-up to ‘Adventure:Us’ with producer Robin MacMillan and Sweeney’s band of accomplished players. For those who let their rock-n-roll muse take the wheel in travels of the heart, it’s tempting to believe the road being paved ahead could be as thrilling and beautiful as anything we’ve heard before. - Hank Earring Eagle Rock, CA 2018
-from Oakland, CA
-Once fixated on the standard rubrics of success in music and ‘art’, The New Measurement Group emerges as a counter-methodology to delve into practice - not conjecture.