AuthorRyan Bahm of Addalemon  A Bar Manager, Electro-Mechanical Engineer, and Union Electrician walk into a bar. That’s it. There’s no punchline. Together, they comprise Nina Durango, the answer to what the Replacements, Death Cab For Cutie, and Fountains of Wayne would sound like smashed together. The San Francisco power pop trio’s sophomore album Firehouse drops this Friday, June 28th, with a debut at Bottom of the Hill the same night.
Led by songwriter Stephan Kaplan, Nina Durango cranks out infectious pop-rock tunes that will have you immediately reaching for the replay button once the average two-and-a-half-minute track duration is up. Despite hailing from a city known for iconic bridges, the band completely ignores including one, but nothing feels missing. Each song whizzes by, and with 12 tracks in under 30 minutes, Firehouse could make even the punks blush. “20 Years” opens the album in Kaplan’s Sausalito apartment, looking north to Mount Tamalpais. The sunny, touristed hamlet just across the Golden Gate from San Francisco is 10 miles and a world away from the Tenderloin, the poverty and addiction-addled neighborhood of right-wingers’ nightmares where the band practices and the “dope boys on the corner lean too far but don’t fall over.” This juxtaposition of light and dark is a primer of what’s to come as Firehouse flows from shimmering chords and sweet melodies to dirgy riffs and seedy characters, covering the gamut of popular 90s alternative rock music. Bassist Matt Hash, the newest addition to the band, makes his presence known on “The Graduating Class of 2005.” Not content with riding the roots, he and drummer Eddie Scarsella drive the song to its culminating outro refrain. Music is at its best when songwriters apply such a degree of hyper-specificity that it becomes possible for listeners to place themselves into the song, putting their own experiences onto the foundation. “When we won 2005,” and who exactly won, we can’t be sure, but Kaplan’s lyrics and approachable voice invite you in and include you in the “we.” “If You See Megan” is as close to a perfect pop song as possible. It’s Nina Durango’s “Hey Jealousy.” It could soundtrack any summer and be a radio rock hit in a fair and just world (or if it were still 1992). The song presents a fleeting “I wonder what happened to that girl I liked in high school” thought, and before you can linger too long in the past, it's over. Kaplan traffics in nostalgia, tiptoeing just up to Menzingerian levels. Lest you think he swapped his specs for rose-colored ones, rest assured that he is not glorifying the good old days—rather illuminating the overlooked moments that turn out to be character-building. When you think Firehouse is all sugary sweets and good times, “Claudia! I Love You” enters with its brooding Cobainesque chorus guitar effect and drum machine. Kaplan tips his hat, namechecking his influences: "I Wanna play guitar for Taylor / Cut lines for Elliott Smith / Cook dope for Lou and Johnny / Knit hats for the drummer of Wine Lips.” “Cannery Row” and “Ahab Never Thinks; He Only Feels” follow the grand tradition of punk poets pulling from literary classics. These tracks are not merely SparkNotes summaries. Kaplan presents these songs not to show how well-read he is but to inhabit and build off the worlds established in the hallowed pages, highlighting their timeless themes of defiance, death, human connection, and the duplicity of life. His words sit overtop grooves as sordid as the living conditions depicted in the respective novels used as source material. Firehouse is a clear level-up from their debut, I Hate Myself and I Want to Dance, regarding production, arrangement, and instrumentation. The band swings for the fences on “St. George,” expanding their palette by including a somber piano piece written and performed by Ken Cook, a jazz musician who regularly performs at the bar Kaplan manages, which explodes into a powerful shouted declaration of “wherever you lay, I will go.” The album’s production shines on “St. Thomas,” with its persistent acoustic track neatly tucked in the mix that lingers into the next song, “Divorce Saga,” with its “Ooh La La” plucked intro. Eschewing any conventional wisdom, something Nina Durango seems to enjoy, the lead single “Eddie’s Hot Tip in Times Square” is buried in the tracklist. With its bombastic “Hot For Teacher” like drum fill intro, it seems obvious why they would name the song after their beloved drummer, Eddie (not Van Halen). The song’s companion music video is a testament to what a band can accomplish with a tiny budget, resourceful friends, and creative fun. The penultimate song, “$3 Unless You’re Crossing the Bridge,” might win out for the prettiest song on the album. Guest musician Yukon Zhou floats in with his trumpet, adding a little sweetener on top without becoming the focal point. For any other band, this would likely close out an album with its heartfelt refrain: 'cause if you ever find a way/To get back to the states/Won't you remember me/'cause I'm not the bravest kind/Chased liquor with the wine/Almost by design.” Defying any listener's desire to have things wrapped up with a nice bow, Nina Durango closed the album with the instrumental, “It Started As the Year Of Water,” a tradition they started on their debut. The sequencing intention is simultaneously frustrating but perfect, like the ending of Twin Peaks or Lost. The band seems to follow the mantra: “Leave ‘em wanting more.” Rather than a triumphant lyric-based track, of which there are many to choose from, to close Firehouse, listeners don’t get a perfect ending. The instrumental doesn’t neatly resolve, ending on a couple of clanking muted guitar hits instead of the root chord. It’s only upon listening to Firehouse on repeat that this choice becomes perfect as it seamlessly transitions back into the opening track. Or, if you are listening on vinyl, racing to the turntable to flip it back over. In a time of guitar-driven power pop resurgence, Nina Durango should be uttered in the same breath as Liquid Mike, Dazy, Taking Meds, and their ilk. The fact that Stephan, Matt, and Eddie are all invested in their primary careers and seemingly unconcerned with the hustle of being in a band in 2024 while managing to write better songs than 99.5% of active artists further adds to their mystique. You might call them slacker rock, but they don’t slack. They opt for quality over quantity, choosing to play less often to larger audiences and focus on creating cohesive collections of songs. Their “f*** the hustle, write good songs, play good shows” mentality should serve as a playbook for sustainable growth as a band when such a notion seems impossible. Firehouse, the album and recorded evidence of this practice exists not as a collection of disparate high-quality tracks but as a well-thought-out, purposefully sequenced work of art from a band who, even if they never enter the limelight (if that even exists) or go viral on social media, will undoubtedly leave a mark on their scene and those fortunate enough to be a part of the ride. Firehouse is available on Friday, June 28th, on all streaming platforms and vinyl. Trixie's Note: Get tickets to the album release show HERE!
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AuthorTrixie Rasputin  The best way to classify Strange Cities, a 4-piece rock band out of San Francisco, is "post-post punk." Their music is firmly rooted in an era that can only be described as supremely Gen-X. They ditched the overdriven guitars, scrapped the synths, did away with the electronic beats, and even dropped the cheeky, acerbic humor of the 1st wave and new wave bands like Devo and Duran Duran. What they kept is all the world-weary, bleary eyed pain of the early 80's influences like Echo and the Bunnymen and The Cure. 2024's 'Moments Stolen' is an absolute masterpiece of mood that defines the attitude of a band cultivating it's signature sound in a strange and weather-worn city. With 'Moments Stolen' we find ourselves in a headspace where death by a thousand little cuts is not quite a pleasure, but is certainly a preference, and every song rails against the shallow, the fake, and the cheerful. One of my favorites of the album, 'Holoscene', has a snappy bass line and you almost hear someone crack a whip when singer Daniel Nakazo Clark demands "Meet me on the dancefloor/Gonna throw down tonight." Nowhere is safe in the world of Strange Cities.
On the title track singer Daniel Nakazo Clark says "My moment's stolen and I feel it moving backwards/In this crestfallen climate now we resent." The affronted air of this song is thick enough to cut with a knife. However, this band has way of making statements such as these feel like a lifestyle. There is no angst or complaint in the delivery, just more a resigned statement of the facts: I suffer to live, and that's just how it is. Gen X vibes in a nutshell. On the second track 'Dead to Dust' Clark says "I don't want you, I don't need you, I don't care that I'm afraid." This is one of the few tracks where you will hear a piano punching away to the beat, which I think is a particularly useful choice to add some sonic depth near the end of the song. 'Fade Away' is truly a song for city dwellers in a strange city and has one of my favorite lines of the whole album: "You pretend to know my name, then you wave and walk away." Oooo burn. Songwriter Clark knows how to describe these kinds of moments with an accuracy and honesty that make the listener feel like it could easily be their own life he's describing, or worse, their behavior he is calling out. There's a certain tone to this album that feels like a memory purge, yet with zero sense of nostalgia. This past is haunted and in a word, shitty, and our dear storyteller is not about to sugarcoat his rise above the pain. If anything, Clark is relishing in the ache, and his bandmates are behind him the whole time ready to soothe or fight back, usually in that order. On the track 'Not Just Yet' the band plays bright guitars and a pulled back beat to give space for Clark to realize "I'm not in hell just yet..." This is easily the climax of the album when we finally understand that he is anticipating, not dreading, this eventuality. He giddily realizes his time has not come, but he'll be ready to accept his fate when it does. It is the song that ties the whole album together. The final song, 'Savior' is one last go around to make sure the message comes across loud and clear. You're not worthy, and you never were. "I just want to get away from you...." "Moments Stolen" is one of my favorite albums of the year, and will be a treat for anyone who likes elucidative rock music. The production is first rate, with precise attention to detail, powerful vocals, and great stories. It begs to be listened to front to back, time and time again. 5/5 ❤️🔥❤️🔥❤️🔥❤️🔥❤️🔥 Trixie's Note: Strange Cities is Daniel Nakazo Clark (vocals and guitar), James Levis (guitar), Clayton Vorheis (bass) and Dan Caporale (drums). Their latest album "Moments Stolen" is now streaming on all major platforms and is also available on vinyl. Get your copy this Friday, June 21, at their album release show at Bottom of the Hill, with support from The Hot Takes and Lazer Beam. SHOW INFO. AuthorTrixie Rasputin  There is almost nothing cooler than the guitar solo on "I Hear Her Singing," one of The Helltones' many bangers on their 2023 full length album 'Medusa'. Like the mythological creature this album was named after, The Helltones make beautiful but formidable noise on every track. Blending surf, soul, rock, and a little bit of jazz, this band gives the Bay Area music scene a well deserved boost of musicianship, talent and heart that rivals any of the classic Motown artists. Founded in 2016 by frontman Darwin Siegaldoud and drummer Paul Bowman, the live band features Nathan X Moody on guitar, Shane Lawton on bass, Cairo McCockran on drums, Victoria Sepe on organ, and Kristin McReddie singing backup. Together this group of highly trained (and well practiced) musicians makes music that will transport you to a dreamy yesteryear where broken hearts find solace in the dark corners of the night, and every teardrop is the bitters in a top shelf martini. In other words, this band is classy.
The opening track 'Mike and Laura' kicks off with the wistful plea "let's go back to Copenhagen," followed by a wish list of romantic requests ("won't you be my anesthetic, let me feel no pain, be my candle in the dark, my shelter from the rain..." and on it goes. The longing oohs and aahs in the background set the stage for an album full of highly personal storytelling that end up revealing a great love story. Sometimes it's sultry (I Hear Her Singing), sometimes it's sad (Nothing Compares to You), sometimes it's sassy (Don't Waste My Time) and sometimes it's just plain fun (Blackstar Pirate BBQ, an absolute standout written by drummer McCockran). I especially like the final track of the album, aptly titled 'Jealousy'. Much of the songwriting throughout the album paints the picture of two hopeless romantics stuck in a "break-up to make-up" whirlwind. The effect is a breathless ride on a sea of complicated love. 'Medusa' summons up the old school sounds of the late sixties greats like Marvin Gaye, The Supremes and the Temptations in a purposeful way that pays homage to the canon of great rock n roll music from the Motown producers. Accomplished musician and frontman Siegaldoud knows his craft and understands the lineage that he and his troupe of musicians come from. Not a note is wasted to achieve their signature blend of surf-soul music. And they give it just enough blues and rock 'n' roll to keep almost any type of listener engaged. Not to mention that Siegaldoud has a voice that stands out among the best singers of our scene (and it is rumored he even teaches voice in his spare time!). The backup vocalists (McReddie and Sepe) add a nice helping of sugar to his acerbic delivery in songs like 'Every Time You Pick a Fight' and 'All My Heart'. You won't find a single song on this album that doesn't achieve a perfect sonic balance to match the tempos and tone of the music. And for the aficionados among us, there are oodles of impressive drum, sax and guitar solos that underscore the lyrical content. This album is wonderfully sophisticated and would work in the background of a dinner party as easily as it would at a late night kickback where everyone came to cut a rug. Groovy, sexy, fun and funky, 'Medusa' is one of my favorite albums of the past twelve months! 5/5! 🍸 Trixie's Note: You can see this band playing live at the SF Eagle on 6/13. Bring your dancing shoes! 👠 |
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July 2024
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