The San Francisco Treat featuring Kitten / Francisco The Man / Beach Party

Noise Pop & The Echo Present

The San Francisco Treat featuring Kitten / Francisco The Man / Beach Party

Kitten, Francisco The Man, Beach Party

Thu, February 28, 2013

5:00 pm (event ends at 8:00 pm)

Benders Bar

San Francisco, CA

This event is 21 and over


Part of Noise Pop 2013
Free / 21+
PLEASE NOTE THIS SHOW IS NOT AT THE ECHO BUT AT:
Bender's Bar and Grill: 806 South Van Ness Avenue (at 19th St.) San Francisco, CA

The San Francisco Treat
The San Francisco Treat
Bender's Bar and Grill:
806 South Van Ness Avenue (at 19th St.)
San Francisco, CA
Kitten
Kitten
For Chloe Chaidez, frontwoman of the electrifying rock group Kitten, the trajectory from rock fan to rock star began in carpool. “Growing up my dad had to drive an hour and half every day five days a week to take me to gymnastics,” she recalls. Chloe’s father, a drummer from LA’s early punk scene, used this time to communicate the important things in life to his young daughter: Mott the Hoople, David Bowie, and Led Zeppelin. “We listened to lots of classic rock,” Chloe recalls. “But we also played the new CMJ mixes. This is pre-internet and that’s how you learned about new bands, from little CDs that came with cool magazines. Bands like Sigur Ross, Band of Horses…”

By ten Chloe had begun playing bass and had formed her own band. By 12 she was opening for indie artists such as Midlake and Conor Oberst with her blend of hip covers and precocious originals. “I probably watched School of Rock 100 times,” Chloe says, laughing. “That was all I wanted to do.”

It’s not a surprise that Chloe was so naturally drawn to the rebel artists’ life. Both her mom and dad are creative and the singer’s older brother, the scholar in the family, also dabbles in music. “School is really his thing,” Chloe says. “ Mathematics. But he’s also a really natural musician.” School was not Chloe’s thing. “I got into a lot of trouble from a very early age,” she remembers. Music was all that ever held her attention but within that particular world she is as educated as they come. A consummate rock nerd, she can easefully narrate the creative through-line from My Bloody Valentine to Washed Out, discuss her appreciation of everyone from Cat Power to the Notorious B.I.G., then pivot to music business speak to dissect Grimes’ marketability in the mainstream. “People always say, oh she’s so young but the thing is, I have been doing this for a really long time already,” Chloe says. “I love it. As cliché as it sounds, it’s my life. It’s all I do.”

While writing songs, recording, and performing live have been a major part of her daily life over the last few years, what’s been more of a challenge, she says, is learning how to focus her vision. “You can write a song on an acoustic guitar and it can sound any way you want. It can be anything you want it to be” she explains. “But over the last year or two, I’ve realized the particular music that I actually wanted to make, the sound I wanted and the point of view that I wanted it to come from.” The path to this realization wasn’t without it’s rough patches. Ironically after signing her record deal, at the peak of her first small wave of success, when she should have been the happiest, Chloe nearly lost herself in rock and roll cliché. “I would drink before and after shows… do drugs,” Chloe remembers. “The real problem was that I couldn’t stop myself. It wasn’t just about fun. I was frustrated, scared and confused and I wanted to kill those feelings, but I justified it by saying this is the rock and roll life style. It’s okay to do this ‘cause so did Iggy Pop, so did Lou Reed. Maybe I would write my own “Heroin” someday. But the thing is, drugs really do kill your creativity and they almost ruined my career before it even really started. That lifestyle, how I was living it, it lowers you. We almost had to shut the whole thing down. Part of the turnaround of this record is that I looked around and said, ‘Wait a minute. This isn’t a joke. This is my life. This is what I care about. What the hell am I doing?’”

Back in LA, away from distractions, Chloe was finally clear-headed enough to truly explore what kind of music she wanted to make. Through songwriting collaborations with her manager and musical mentor, Chad Anderson, the singer started to hone in on her now signature sound. The ferocious power of late 70’s post punk blended with the textures and rhythms of 80’s British new wave and the shoegaze wall of sound, executed with an emotional delicacy all too rare for today.

Soon after Chloe started messing around with computer rock at home with her brother, the stage was set for Kitten to rise. “I felt stuck with the band format’s mostly organic instruments so I started making beats with my brother in our bedrooms,” she remembers. “I found it really liberating.” Soon after I started falling in love with 80’s new wave, most of it British. Pet Shop Boys, OMD, Psychedelic Furs, New Order, The Eurythmics, American artists like The Motels and ‘till Tuesday, Prince…

Liberating is a good descriptor for Kitten’s EP. A blend of the sophisticated elegance of dream pop with the jagged directness of rock and roll, it’s a declaration of intent and an auspicious announcement of the arrival of a new force in music. The title track “Cut It Out” has the sweetness of a delicate pop song underscored by a massive futuristic backbeat. “G#” is a reverb-drenched reinvention of classic shoegazer rock, slashed through with razor guitars and songs like “Sugar” showcase Chloe’s willingness to be intimate and vulnerable even from within these layers of raucous noise.

From considered near-ballads, to epic walls of sound the EP showcases the dynamic range of Chloe’s young band.

It’s almost as if Chloe Chaidez has been in training for close to a decade and is now ready for the major leagues. She’s always had the talent and the belief but now she has the sense of self and identity to back it up. “What’s going to make this band different is our live show,” says the singer, when asked what truly distinguishes Kitten. “I love being onstage more than anything. When you are up there you can do whatever you want. You can be whatever you want. If there’s one person in the back of the room not involved, then that’s my audience. I’ll do whatever I have to do to blow that person away. I want everybody in the audience to remember where they were when they saw Kitten for the first time.”
Francisco The Man
Francisco The Man
Born amidst the 7-Elevens and white trash comradery of Southern California's suburban desert, Los Angelenos Francisco the Man grew up the way bands used to grow up. Huddled in the corners of their parents' garages. In church halls. In basements. Passing cheap beer, pissing each other off, and dreaming of the day they might continue to do the same without a dead end day job.

Francisco the Man is indeed a real band from the days of yore, yet their sound is anything but dated: locomotive Crazy Horse jams with squalling feedback, the punky spirit of 1977 New York, sunburnt shoegaze hymnals, and chunky Motown grooves, all saturated in rose-hued California power pop.

The guys latest release is just as sweet. Right when the band's euphoric crests have you shaking off goosebumps, Francisco the Man pulls the plug at the most dramatic moment to send you floating dreamily down a river of ambience reminiscent of My Bloody Valentine's Loveless. It's perfect, really. The only thing left is to drift off and tune in to the earnest, idiosyncratic vocals of singer Scotty Cantino, who stands out from his peers as one of the few true innovators of modern guitar pop. Evocative of a young Doug Martsch, Cantino's sanguine and nostalgic lyricism hearkens back to those early memories of suburban paradise, with all the heart and pluck of a wisened street child who never forgot where he came from.

Their new 7" drops August 7th via Small Plates Records.

"psychedelic guitars, fuzzed out melodies and a deep love for the wall of sound" - YVYNYL

'music transcribing heavy influences of psychedelic rock alongside hints of post-punk, manifesting a gauntlet of wavering sing-alongs and power chords.' - Indie Ball

"Francisco The Man play a type of sunny, post-punk guitar rock that's all been all but absent from the indie rock scene since the early/mid-2000′s... Broken Arrows" won me over immediately with it's hook-filled, shoegaze-y guitar riffs and exuberant melody. The last half of the song is absolute bliss, indulging in nearly four minutes of some seriously enthusiastic guitar jamming" - Music For Kids Who Can't Read Good

"Broken Arrows is pure energy" - I Guess I'm Floating

"L.A.-based Francisco The Man makes reverb-drenched, ebullient indie rock." - Gold Soundz

"[Francisco the Man's came] just in time for the warming temperatures as it would make a great passenger for a destination-less cruise along the PCH" - Good For Your Ears
"Surfer aesthetic paired with sixties AM makes it something of a perfect jam..." - Friends With Both Arms
Beach Party
Beach Party
Somewhere between the very precise surf-pop of Allah-Las and outrageous skate-punk of FIDLAR lies the appropriately named Beach Party, whose lo-fi clamor makes me long for that Nehru shirt I wore in the 7th grade. Beach Party is the brainchild of Rob Banks and James Hurst, who began collaborating only a few months ago. They teamed up with bassist Adam Arcos and drummer Nico Maccioca and have been churning out the rough stuff a song at time ever since. Like a lot of bands resuscitating this era, Beach Party doesn’t seem to aspire to much more than — as their chorus shouts — “C’mon, c’mon, let’s have some fun.” As long as the hangover remedies work, it’s hard to campaign against it. - Buzz Bands LA
Venue Information:
Benders Bar
806 South Van Ness Avenue
San Francisco, CA, 94110
http://www.bendersbar.com/