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.
7:30PM doors -- music at 8:30PM
••• 21 AND OVER
$15 in advance / $18 at the door
Noise Pop Festival 2022 presents...
post-punk '80s and jangly '60s sounds
Singer/Songwriter, Psychedelic Pop
-from Los Angeles/San Francisco, CA
-With their release "Parallel Universe Blues," LA/SF group Papercuts turned-in their most accomplished album to date, with main Papercut Jason Quever's excellent dream-pop songwriting ideally complemented by the considerable production chops we've come to know and love from his work with Beach House, Luna, Cass McCombs and many others. Riding an updated girl group shuffle, new single "Kathleen Says" is a gorgeous slice of updated Spectorian pop that adds a psychedelic edge to the perfect pop melodies. Sitting somewhere between The Rain Parade and The Jesus & Mary Chain, it's a great reminder of just how strong and deep "Parallel Universe Blues" is.
Also included here is a dreamy version of Jackson C. Frank's classic "Blues Run The Game." It's a very Papercuts take on the song, lovely melodies and harmonies enlivening Frank's sparse original. Top marks. An acoustic version of new tune "Comb In Your Hair" rounds out the EP in fine fashion, circling back to some of the band's folkier early material while pointing forward to more new sonic pathways for future Papercuts records.
-from San Francisco, CA
-Chime School is the project of San Francisco musician Andy Pastalaniec, whose eponymous debut album combines post-punk '80s and jangly '60s sounds. ( Courtesy Slumberland Records)
-from San Francisco, CA
-The purest a band can aim for is to present their milieu as a time capsule from the morning of. April Magazine deals deep in the hypnagogic charm of their surroundings. Since the 2018 release of “Shirley Don’t”— a sneaky classic that first turned ears outside their SF Bay Area home— the band has stirred out a handful of cryptic indie pop recordings nestled in warm aerosol hiss and scrappy hand-drawn cover art. Music that glints in the far back of an urban daydream where guitars could be bells, bells could be voices, and voices hardly find use in words. If The Ceiling Were A Kite is a document of things losing definition and time gone slack.
The songs on If The Ceiling Were A Kite were recorded over a span of about two years, after Peter, Mike and Kati started playing together around a four track cassette player in Peter’s bedroom. Other kindred spirits like Julia Waves, Ian Collins, Anthony Comstock OBC, Zach Vito, and eventually David Diaz joined in on some of the recordings and live shows adding to the collective ‘whatever works’ ethos of April Magazine.--
-from Oakland, CA
-Stephen Steinbrink was born in 1988 in a non-descript stucco hospital franchise adjacent to a Circle K in the ultra-conservative Phoenix suburb of Mesa, AZ. He grew up and learned to play guitar to deal. The majority of his teens and twenties were spent living an improvised and experimental existence, being nowhere and recording incessantly. His 8 LPs of pop songs have been released in Japan, Europe & North America, and has performed in dozens of countries around the world. As a session player, he has collaborated with Girlpool, Dear Nora, Broken Water, AJJ, Flying Circles, Ever Ending Kicks and LAKE. He currently lives and works in Oakland, CA.
“Recalls the magic pop purity of Arthur Russell… its minimalism manages to feel enlightened and transformative.” -Pitchfork
“Lushly arranged pop songs, the listener can tie and untie Steinbrink’s vivid and unrelated images into something meaningful” -NPR
“Melodic and self-assured. Steinbrink delivers his knotted lyricism with a smooth lilt.” -Stereogum