The Bay Bridged & Tiny Telephone presents
Phono del Sol Music and Food Festival
Thee Oh Sees, The Coathangers, Jay Som, Sean Hayes, Duckwrth, Bells Atlas, Rayana Jay, Never Young, Madeline Kenney, Tino Drima
25th and Utah
San Francisco, California, 94103
Doors 12:00 PM (event ends at 7:00 PM)
This event is all ages
Thee Oh Sees
Thee Oh Sees are the latest incarnation of songwriter, singer, and guitarist John Dwyer's ever-evolving pop-folk psychedelic group. Dwyer, who hails from Providence, RI, has been active on the San Francisco indie scene since the late '90s, working with several bands, including the Coachwhips, Pink & Brown, Yikes, Up Its Alive, and Swords & Sandals, among others, and he formed OCS (which is an acronym for Orinoka Crash Suite, Orange County Sound, or whatever Dwyer decided it was on any given day) initially as a vehicle for the experimental instrumentals he was producing in his home studio.
If you're familiar with The Coathangers then you probably know the Atlanta group's premise. The story goes that four young women decided to start a band for the sole purpose of being able to hang out and play parties. They weren't going to let the fact that none of them knew how to play any instruments get in the way of their having a good time. The backstory certainly added to the charm of early songs like "Nestle In My Boobies" and "Stop Stomp Stompin'"--songs that resided somewhere between no-wave's caustic stabs of dissonance and garage rock's primal minimalism. In the seven years since their formation, The Coathangers have released a slew of records and toured across North America and Europe countless times. The persistence of such a casual endeavor is a testament to the infectious quality of their songs and the electric nature of their unruly live show.
Suck My Shirt is the The Coathangers' fourth full-length. The title refers to an incident involving the salvaging of spilled tequila during the recording session for the album. While the title implies that little has changed with regards to the band's celebratory mission statement, even just a cursory listen of their latest album demonstrates that there have indeed been changes in The Coathangers' camp. First off, the quartet was reduced to a trio for the latest record, with keyboardist Bebe Coathanger (Candice Jones) stepping down from her duties. But the absence of keyboards isn't nearly as noticeable of a difference as the band's refined songwriting approach. Refinement is an attribute we expect to see in any group that has a career spanning more than a couple of years, but the extent to which The Coathangers have honed their trade with each successive album dwarfs most bands' maturation. This isn't to say that The Coathangers have polished their sound; the group once again worked with Ed Rawls and Justin McNeight and The Living Room to attain the same production values of their Larceny & Old Lace album and their recent slew of split 7"s. Rather, the refinement can be heard in the quality of the songs themselves. While the band retains the alluring spontaneity and happy accidents of their early releases, the trio's current work sounds far more deliberate and locked-in than anything they've done in the past.
"It's a balance between overthinking and just going for it," guitarist Crook Kid Coathanger (Julia Kugel) says of their songwriting strategy. It's a duality immediately apparent with the album opener "Follow Me". It's a classic Coathangers tune with the raspy vocals of Rusty Coathanger (Stephanie Luke) belted out over the signature grimy rock laid down by Crook Kid and bassist Minnie Coathanger (Meredith Franco). But the chorus opens into one of the most accessible hooks in the band's canon, just before segueing into the next verse with a squall of violent dissonant guitar. From there the band launches into "Shut Up", a title that harkens back to the brash sass of their first record. The song still has its spikey guitar riffs and shouted chorus, but here The Coathangers sound less like a jubilant version of Huggy Bear and more like the art-pop of late-era Minutemen. Dedicated Coathangers fans will recognize the re-worked versions of "Merry Go Round", "Smother", "Adderall", and "Derek's Song" from their run of limited edition split 7"s, and hearing them in the context of the album shows that these tracks weren't merely isolated examples of the band's more sophisticated side, but were actually demonstrative of the group's increasing capacity for nestling solid melodic hooks and rock heft into their repertoire. By the time the band wraps up the album with the humble pop perfection of "Drive", it's hard to believe this was the band that garnered their reputation with raucous bombasts like "Don't Touch My Shit".
"Ultimately, every album is a snapshot of who we were at the time," says Crook Kid. And while that might mean that The Coathangers in 2014 don't feel compelled to chronicle the youthful piss and vinegar that yielded the Teenage Jesus & The Jerks-esque spasms of their debut album, it's exciting to hear the output of the band as they explore the range of their temperaments with a broader musical palette at their disposal. Suck My Shirt is available on LP, CD, and digital formats on March 18th 2014 via Suicide Squeeze Records.
Jay Som represents the musical vision of San Francisco singer, songwriter, and multi-instrumentalist Melina Duterte. Jay Som – a moniker that Duterte randomly found via an online baby name generator meaning "Victory Moon" – reissues Turn Into this Fall, a collection of finished and unfinished songs written, recorded, and mixed between March 2014-October 2015. Originally uploaded to Bandcamp last year after Duterte had a few too many glasses of wine at Thanksgiving dinner, Turn Into is an exciting glimpse of what's to come for Jay Som on her debut album in 2017.
Low Light, the eighth album from independent recording artist Sean Hayes, captures his distinctive sound at its most intimate. Recorded both at home and in the studio, Low Light webs its way through genres, incorporating the pulse and yearning of R&B with the low-fi grit and crackle of folk. From the gauzy, beat-driven title track to the aching, old-school country "Sing Me Your Love Song," Hayes' voice glides between a growling purr and seductive vibrato, transporting the listener into a rich, sensual late-night world.
In his twenty -year career as a San Francisco-based musician, Hayes has won acclaim from fans and critics alike. He's duetted with Aimee Mann, toured with Ani DiFranco and the Cold War Kids, been covered by The Be Good Tanyas and re-mixed by DJ Mark Farina, and had his music featured in a variety of television shows, films, and commercials. Raised in North Carolina and honed as an artist in Northern California, Hayes crafts music that, as the SF Weekly puts it, "succeeds on the tension between warm, resonant soul and dirt-road folk, all laced with a wandering troubadour's coo." In the track "Home I Left" Hayes sings of leaving San Francisco--"headed north with my young family/needed space to grow"--and this album is structured to represent snapshots from his life in the four years since. Low Light thrums with songs of desire, sanctuary, and the redemptive power of love.
Bells Atlas emerges from the vibrant cultural and musical backdrop of Oakland, CA. Blending heavy percussion, soulful vocal harmonies, and thoughtful arrangements, this dynamic group has arrived at a sound that is uniquely their own. Primarily made up of 4 core members with a musical chemistry that compliments and surprises, the sonic palette that makes up Bells Atlas is deep and exciting. They capture the spirit of eclectic influences (soul, west African & Brazilian rhythms, noise pop, psychedelia) and draw a wide audience with diverse tastes, setting the stage from a world their own. Their musical intuitions are a place to discover and explore cinematic sonic landscapes and relentless movement. You can find their s/t album and Hyperlust EP on Bandcamp and iTunes. Look out for more music to come!
"The California band sound alluringly exotic... they're the complete mystical package." -NME Magazine
"Eminently chill and sexy in equal measure but with out of this world complexity and musical sophistication".... "This is the kind of record that kickstarts movements"- Afropunk
"It's pretty easy to get lost in the group... lush harmonies fill your ears... their groove is anything but ordinary." -okayplayer
"Bells Atlas represents all that is great about the bustling East Bay indie scene right now... [their] sound is an authentic slice of the dynamic culture and budding musical landscape of the area." - SF Chronicle's article "Bells Atlas - Spirit Guide to the Local Scene"
"... no two-bit adjectives can contain their infectious sound that draws influences from all corners and unexpected places the world over that could only spring in the natural light and mystic foggy air that the Bay Area provides."- Impose Magazine
"Here arrives a band on the scene with music in tow that is intelligent, diverse, and inspired. You can only parse out some influences—soul, R&B, samba, and the polyrhythms of West African music—but no one characteristic can define the sound in a way that does it justice. The only certainty is that, after listening to East Bay–based Bells Atlas, your ears will thank you for the experience." - Asterisk Magazine
Referred to as "Kendrick Lamar and Jill Scott's lovechild," Rayana Jay uses her sultry voice and lusty lyrics to solidify her spot in the Bay Area's music scene. Though she'd grown up singing in her church choir, Rayana Jay didn't take music seriously until 2012, the year she released "Marty McFly." The Richmond native claims to draw influence from artists such as Frank Ocean, Kanye West, Andre 3000, and her own mentor, Oakland's own 1-O.A.K. When asked what she has planned for her musical career, Rayana Jay simply states, "I just want to make love songs that'll last forever."
Over the last two years Never Young have become a staple of the Northern Californian music scene. Formed in 2014 around the songwriting partnership of childhood friends Christopher Adams and Nikolas Soelter, they've developed a unique, urgent blend of 90's punk combined with an idiosyncratic knack for writing angular pop songs. They've been described as "Sonic Youth, At The Drive In, and My Bloody Valentine having a ménage à trois", an exceedingly tight, hook filled slab of noise.
For Singles Tape II: SoftBank, the quartet leans into their pop inclinations, finding solace in bright melodies and clever structures. There's the immediacy of "Beta Male Erotica" and its shimmering guitars, the simple, chanty refrain of "Soap," and the dense, churning energy of "Gasoline Aphrodisiac," ending in the climactic declaration, 'and I like it', repeated over and over before cymbals crash and scraping guitars conclude. The five-song EP was recorded in San Francisco at Ruminator Audio with Monte Vallier (Wax Idols, Weekend) with production aid from Shaun Durkan of Weekend. Singles Tape II: SoftBank will be released on October 14, 2016 via Father/Daughter Records.
Madeline Kenney is an Oakland-dwelling Seattle transplant, who makes twang-hazy dream pop. It's like if Loretta Lynn had a secret shoegaze project and an obsession with a looper pedal.
The 7th annual Phono del Sol Music & Food Festival is San Francisco’s premier nonprofit festival showcasing San Francisco Bay Area music and food. Taking place on June 17, 2017, the all-day, all-ages festival features nine of indie music’s top bands, ten food trucks and a full day of fun in San Francisco’s Potrero del Sol Park.