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Saturday November 6 2021
 8:30PM doors -- music at 9:00PM
•••  21 AND OVER
$12 in advance / $15 at the door
The Asteroid No.4
 garge punk paisley pop
The Reds, Pinks & Purples
 depresso pop
 alternative anti-post-punk

The Asteroid No.4
-from San Francisco, CA
-The Asteroid No.4 are an American psychedelic band based in the San Francisco Bay Area. Originating from Philadelphia in the latter half of the 1990s, the band began their relocation to the west coast in 2011.

Since forming, the band has endured several lineup changes. Over the last ten years, however, they have consistently included Scott Vitt (vocals, guitar), Eric Harms (guitar), Adam Weaver (drums, vocals), Matty Rhodes (bass, vocals), and most recently, John Ziemba (guitars, vocals).

The band is known for their dynamic live act, integrating multi-textured guitars and reverb-drenched vocal harmonies over an unwavering rhythm section. However, it’s been their prolific recording output, including what will soon be their ninth full-length album, that’s helped build their dedicated fan base within the flourishing underground psychedelic scene. With well over a dozen compilation appearances, digital-only rarity releases, and multiple singles and EPs, the band is said to improve with each release.

The Asteroid No.4’s sound has been called a “hypnotic hybrid of several different genres filtered through the kaleidoscope of all things psychedelic.” Whether it be “Krautrock”, “shoegaze”, folkrock, or even the occasional dabbling in “Cosmic” countryrock, the band have never shied away from wearing their influences squarely on their sleeves.

The Reds, Pinks & Purples    
-from San Francisco, CA
-DIY kitchen pop project of Glenn Donaldson, (Skygreen Leopards, Art Museums etc). resident of San Francisco's Inner Richmond district.

-from San Francisco, CA
-FLOWERTOWN’s sweet lo-fi melodies evoke a landscape of beautifully distant sadness. Karina Gill and Mike Ramos front their own projects (Cindy and Tony Jay, respectively),  Flowertown’s 12 songs place the project squarely on the lo-fi end of the Bay Area’s simmering underground pop scene, and unsurprisingly, they exist at a reasonable midpoint between the melodic murmurs Gill makes with Cindy and Ramos’ noisier tendencies in Tony Jay. Together, they make music that is deliciously unhurried, and their predilection for a leisurely pace stretches out their songs and creates space for Flowertown’s disparate interests and influences to interact gracefully. “RCP,” for example, juxtaposes classic electric guitar jangle with a muffled vocal duet that hits just enough of the right notes, while “Natural Light” drapes an archetypal indie pop tune in a layer of echo and hiss. Later, songs like “The Rope” and “The Lake” shimmer and sway in a vaguely timeless way, like a modern dream pop band traveling back to the ‘60s to record old soul songs on two tin cans connected by a piece of string. It’s bewitching and primitive and peculiar and beautiful, and somehow, Flowertown makes it sound effortless.