The Soonest | Performer Magazine – July 2011

The Soonest
Quarters EP
Berkeley, CA

“San Francisco dream rock with a darker side”

The Soonest’s latest release, Quarters EP, exemplifies the phrase, “less is more.” The San Francisco rock band, formerly known as Lion Riding Horses, sound much bigger than their four-part roster might suggest. While it only boasts four tracks, the production on each song exhibits a noticeable level of care.

The EP opens with “Ghosts,” a song appropriately titled with its haunting characteristics. Guitar arpeggios layer nicely with echoing sustain as vocals float listlessly across. Frenetic drum riffs propel the track forward, taking the dream pop characteristics of the song into a heftier level. The following track, “I Don’t Mind,” seems most reminiscent of the popular indie pop songs of our day. The boisterous drum riffs remind the listener of bands like Vampire Weekend, though The Soonest delivers in a manner more serious. “King” offers a bit of ballad with its longing lyrics and pop-influenced background vocals. The loving touch of ambient sounds and songwriting extend into the EP’s final track, “Ready.”

Vocals and instrumentation are rich, and the pacing of builds and lulls work refreshingly. It’s a balance that’s hard to execute. As a set, Quarters EP works effectively as an intro to a band already on the rise. (Self-released)

Recorded, mixed and mastered by Lori D. Brackney and Jose Rosa at Ex’pression College for Digital Arts

- Keane Li

I’m currently seeking a position in editing and content creation. If your company needs someone to manage their social media presence while creating original (and ridiculously good-looking) written features, please check out my resume and let me know! I’ve compiled a list of some of my publication achievements below for quick reference.

Additionally, I was recently featured as a Found Local in The Bold Italic, a wonderful online publication covering every facet of what makes San Francisco great. This isn’t related to my qualifications as a candidate. I just thought you should know ;)

Interview with Ghost of a Saber Tooth Tiger (Sean Lennon and Charlotte Kemp Muhl)

In mythology, the concept of duality follows closely with creation. Day and night, good and evil – the balance between two opposite pairs defines the human existence. This is a relevant citation when discussing The Ghost of a Saber Tooth Tiger, a two-person band balanced between opposite, yet complementary parts.

The pair in question is Sean Lennon and Charlotte Kemp Muhl. He, the only son of John Lennon and Yoko Ono, has both the benefit and curse of being associated with two of the greatest artists of our century. She, a professional model with deep poetic flair, performs vocal harmonies with him. Their first album, Acoustic Sessions, finds its release on their own label, Chimera Music, named after an equally mythical creature.

Sean is in bed and Charlotte, having just woken him, apologizes if he might sound groggy. The two have been dating and living together for the past year, a relationship that explains the intimacy of their debut. The origins of their project are similarly intimate: “I was looking through her stuff,” Sean recounts regarding Charlotte, “and I found this play called ‘The Ghost of a Saber Tooth Tiger’ from when she was seven. And I called out that I had found it, ‘Hey, what’s this? It would be really cool if we started a band called The Ghost of a Saber Tooth Tiger.’ It was kind of a fluke idea, and she was like, ‘Sure, why not?’” (more…)

SF MusicTech Summit (12.06.10)

The SF MusicTech Summit opened for its seventh year on December 6. The conference, focused on the convergence of music and related technologies, featured a total of 19 expert panels and new product demonstrations. The list of speakers included notables from both the music and tech worlds: reps from Universal, Avid, MOG, SoundCloud, RootMusic, Talenthouse, Gracenote and Blip.fm, to name a few; and musicians like Del the Funky Homosapien, Evan Lowenstein and Rana Sobhany, New York City’s iPad DJ. Attendees flew in from all around the world, making SF MusicTech a hot networking spot for both up-and-coming musicians and app developers. (more…)

Interview with Maus Haus

“Serendipitous” would be an appropriate word to describe the formation of Maus Haus. From their initial meetings to their creative process, everything about this San Francisco electro-synth sextet seemingly fell into place. To achieve the eclecticism in their albums, the band of multi-instrumentalists undergo extensive experimentation in the studio. Anything can happen. Their reversal of the traditional songwriting process has yielded the unique (and very catchy) results presented in their debut, Lark Marvels and their new EP, Sea-Sides. Having already gained considerable regional attention, the band is poised for their first East Coast tour this summer. (more…)

Treasure Island Music Festival 2008

The sun broke free and fans flocked to the middle of the San Francisco Bay for the second annual Treasure Island Music Festival this September. With a green bent and a breezy, beach party theme, the two-day celebration of music and art did not cease to amaze with its excellent booking, immaculate views and all-around smooth-sailing execution. (more…)

Xu Xu Fang – Seven Days Now (record review)

It requires no less than seven members to produce the broad soundscape exhibited by Xu Xu Fang’s latest EP, Seven Days Now. The Los Angeles psychedelic septet follows their successful previous release, The Mourning Son, with five ambitious and bold tracks that define the phrase, “larger than life.” The record already ranks high on several distribution sites and even includes a song featured in the hit show, Gossip Girl. (more…)

For a complete list of my published works, please click here!

SF MusicTech Summit | Performer Magazine | Download Issue

Networking Hotspot Invades the Bay

The SF MusicTech Summit opened for its seventh year on December 6. The conference, focused on the convergence of music and related technologies, featured a total of 19 expert panels and new product demonstrations. The list of speakers included notables from both the music and tech worlds: reps from Universal, Avid, MOG, SoundCloud, RootMusic, Talenthouse, Gracenote and Blip.fm, to name a few; and musicians like Del the Funky Homosapien, Evan Lowenstein and Rana Sobhany, New York City’s iPad DJ. Attendees flew in from all around the world, making SF MusicTech a hot networking spot for both up-and-coming musicians and app developers.

In the opening panel, “Engaging Your Community,” moderator Brenden Mulligan from Sonicbids led a discussion on how independent musicians could tap into the vast resource of social media platforms, including tips on uniting online fans. The panel recommended an online hub, such as the band web page, linking an artist’s various profiles to one location. Author David Meerman offered tips from his book, Marketing Lessons from the Grateful Dead, such as involving fans by providing items of value for free. He suggested artists ask themselves not only what fans are going to like, but rather what fans are likely to share.

The afternoon’s “Live Electronic Musicianship” panel focused on the future of the live “controllerist.” Featuring artists from LoveTech SF, an amazing electronica troupe, they acknowledged that innovations arise when artists test the limitations of their gear. Similarly, the speakers in “Tour Secrets from the Pros” recommended working with the restrictions of live surroundings and listening to your best friend: the sound guy.

Closing the day, “The Artist Panel” offered tips from a list of successful musicians. “Good music. Product. That’s where it all starts,” advised Del, “Bring back the mystery between artists and fans.” The panel closed with an uplifting nod to indie musicianship from recording artist Raul Malo: “This is the most promising time for the young artist,” he said, “We don’t need the wizard behind the curtain anymore. We’ve seen the wizard, and he’s an idiot.”

The next SF MusicTech Summit is scheduled for May 9, 2011.

-Keane Li

RECORD REVIEW: Mikie Lee Prasad
Jukebox Folktales: Volume Two
By: Keane Li

One of the hardest working musicians in the Bay Area, Mikie Lee Prasad has been performing his rollicking brand of energetic Americana in local pubs and clubs for well over a decade. His recent release, Jukebox Folktales: Volume Two, a sequel to 2009′s Volume One, features a number of the talented local musicians he’s worked with on past projects.
The album opens with the diabolical “Try Evil.” Mikie sings a story not uncommon for a bluesman – a meeting with the Devil in an otherwise common place (this time, a gas station), with the humor and gypsy-esque jive of Tom Waits. “Don’t Wake Up” and “Hammer,” ballads steeped in that classic swirling American sound, conjure images of summer evenings and family friends. The inclusion of Bongo, his dog, and Marie, his wife, on this record show that it is, indeed, a familial affair.

Jukebox Folktales: Volume Two is an exhibition in what experience, maturity, and witty songwriting can get you. From its happy highs to its somber depths, the variation on this well-balanced album creates an experience that can be tirelessly enjoyed. (Self-released)

(link to review…)

John Vanderslice | MySpace | Twitter

RECORD REVIEW: John Vanderslice
Green Grow the Rushes
By: Keane Li

Few musicians have given as much to the Bay Area indie scene as John Vanderslice. The former frontman of MK Ultra in the latter half of the ’90s, he has since broken off into a successful solo career. His renowned analog recording studio in San Francisco, Tiny Telephone, has recorded great acts, from Death Cab For Cutie to Deerhoof, and he has himself helped produce records for Spoon and The Mountain Goats. Green Grow the Rushes, his latest EP, continues his journey through American alt-rock.
The record features a cacophony of whimsical tones. “Thule Fog” sounds as if it were part circus and part kabuki. Vanderslice manages to fill his record with the strangest of voices, as if he had an orchestra of worldly instruments at his disposal. Even on the relatively straightforward “Lay Down,” he employs an underlying synth sound reminiscent of the ’80s. The result is adventurous, as much a treat for the mind as it is for the ears.

While Vanderslice’s songwriting is remarkable, the production and instrumentation on Green Grow the Rushes truly shine. His songs are articulate and organized without being derivative. It’s refreshing to hear an artist explore new frontiers of sound and succeed so well. (Self-released)

(link to review…)