The Independent was overflowing with face paint, sparkles, and animal hats last Thursday night when the crew of Sindri Már Sigfússon’s Icelandic solo endeavor, Sin Fang Bous, stepped onto the stage. Accompanied by members of Múm to bring his one-man band to life, the music got off to a shaky start as the band worked to blend the multi-layered sound of debut album, Clangour, cohesively.
But the struggle ended quickly as the first pulsing notes of “Sinkership” radiated through the speakers. Translated for the stage and eliminating the pasted vocals, the re-imagined piece was filled with a breezy emptiness – emphasized by the quiet conclusion of Sigfússon’s hushed voice and plucked acoustic guitar.
By the time the band barreled into “Clangour and Flutes”, the crowd was digging it. Rhythmic handclaps rippled through the venue to the kick drum beat, giving the song a primal nakedness before segueing into a rocking version of “Catch the Light.”
With the audience sufficiently hooked, the throbbing guitar slowed as Sigfússon’s voice grew rougher and the music more melancholy. Amidst glimmering piano, whirring notes and the cushion of soft lighting, the set ended with “Lies”, busting out a confident drumbeat at the last moment to the thrill of the bopping crowd.
“Thank you,” breathed Sigfússon into the microphone before modestly applauding the audience, bowing to each section of the room and shuffling off of the stage. The audience stood captivated, craving more. I guess we’ll just have to wait until next time, San Francisco. -Kelsey Bryant
On the eve of Social Studies leaving for Chicago to kick off their upcoming tour, I spoke with Natalia Rogovin, lead singer for the SF-based indie darlings. I caught the smooth-voiced songstress on the phone whilst in the middle of packing her personal effects and bundling her beloved keyboards in loads of bubble wrap; hoping they’d traverse the distance safely. She shared with me about the history of her shape-shifting band, they’re forthcoming album Wind-Up Wooden Heart, her ingrown love for classical music, and her penchant for coming up with song titles. The conversation felt a bit brief for as much as Natalia had to share, but she was nonetheless able to illuminate much on the source of her band’s interesting brand of “avant-pop.” -Patric Fallon
Plastic Milk: So tell us a bit about yourself, your band Social Studies, and what you do for the band.
Natalia Rogovin: Okay. I’m Natalia Rogovin. I’m the singer and keyboardist in Social Studies. I also do most of the songwriting. We kind of have a rotating cast of characters, and then me and the drummer, Mike Jirkovsky, who have been in Social Studies from the beginning. We’ve had a lot of different people on the project.
PM: How many years have the two of you had the band?
NR: We started in 2006, so going on about four. We actually started out with four of us. Basically, we were all involved in the San Francisco music scene and wanted to do something different from the other bands we were in. Different stylistically. We started playing and weren’t really sure where it was gonna go. We spent a really long time working on songs and had different people helping us out with the music. We had a solid line-up of four members for a while. Then, because of various… We were all people who’d been in a lot of different bands, so there was kind of the idea of a rotating element to it. We’ve had different temporary members that have been with us for a while and then moved on and then [we've] brought someone else in.
PM: What are some of the other bands you guys have been in?
NR: I was in a band called Rion Rinker, which was mostly based in Santa Cruz. We’ve had two members that are in Maus Haus, and then Tyler McCauley who’s in Tempo No Tempo. Aaron Weiss and Mike were both in a band called… Oh Lord, what’s the name of that band… Oh yeah, Capital. They’re kind of a rock and roll band.
PM: That’s a lot of different projects.
NR: Yeah. It’s actually a really cool thing because we get to work with so many friends that are really talented musicians and we get to have their creative ideas and input.
PM: Do your schedules ever end up conflicting? Cause I know Tyler’s band just had an album come out, and I think they’re touring or just finished touring. You guys are just about to start your tour. Does that create problems for Social Studies?
NR: Actually, Tyler was playing guitar with us for a while and helped us a lot on our upcoming album. He played a lot on that, but he’s actually not a permanent member of the band.
PM: Oh, okay.
NR: On this upcoming tour we’re actually playing with Tom Smith, who’s in Office, on guitar. That’s another band, though they’re not a SF band. They’re based in Chicago.
PM: Tell me how would you describe Social Studies’ sound to someone that’s completely unfamiliar with indie or pop or any of the basic elements that you take your music from?
NR: My friend actually uses this term that I really like, ‘avant-pop.’ I think that actually describes our music very well. It’s very melodic [with] melodies that I think people can relate to, but at the same time it’s structurally adventurous. We kind of tell stories in our songs. They’re more like an old symphony where you start some place and then you’re taken on a journey throughout the song.
PM: That’s a great explanation. I got a chance to listen to the new single you have out. Well, I guess I don’t know what you’d call it. Like a single or a teaser or something?
NR: We’re calling it a double.
PM: (laughs) That makes sense. Well, the digital double is called The Hourglass, but neither of the songs on there have that name. The album they’re taken from doesn’t have that name either. So where did that come from?
NR: The concept behind the release was that we wanted to put something out there that gave people a sense of what the new album is about. In trying to figure out what we wanted to release as a single, both of those songs, well, we basically couldn’t decide. The sound of our band has a lot of light and dark elements in it. We do things that are really uplifting and happy, but we also do things that are a little more dark and serious. Every time we tried to settle on a song we felt that it didn’t really represent the range of what we do. The idea of releasing this double is that it shows how we play with emotion and go back and forth between light and dark. That’s where the concept of the hourglass came from. These two sides. Emtpy, full. Dark, light. This kind of oppositional force.
PM: That makes total sense. Entirely enlightening. Good job! (laughs)
NR: It’s funny. We’re a band that does a lot of thinking. We spend a lot of time thinking about how the music works and where it goes. Coming up with ideas. With all of these things we spend a really long time planning them out and making sure they have an idea behind them.
PM: Okay. So you have a new album coming out, which you kind of talked about, called Wind-Up Wooden Heart. Can you tell me more about the record? When it’s coming out and what not?
NR: Well, the plan is to release it in spring of 2010. As of yet, it will be self-released, although we’re not entirely sure about that. It’s a little bit up in the air.
PM: I feel like self-released is the way to go these days. Sometimes working with labels is almost too much of a hassle when you can do it yourself just fine.
NR: I totally agree. I think that a lot of what labels can offer you… Well, it really depends. A lot of what bands really need is someone else to show that they are a fan and support them. It’s almost like people don’t believe that you’re legitimate until you have someone backing you. I think that’s really a big thing that labels can offer, but with our music, it kind of just speaks for itself. People relate to it, so if we can just get it out to as many people as possible, why do we really need a label?
PM: What was your favorite part about making Wind-Up Wooden Heart?
NR: Hmm… Well, I love songwriting. I’m kind of a nerd when it comes to songwriting. I really like details and working a song to death. When we’re working on writing songs we’re incredibly methodical. We’ve had songs that we’ve basically workshopped for six months before being finally satisfied with them. I think writing the songs is the most rewarding part of it. Of course, recording is really fun, but it’s also incredibly stressful. Especially when you’re doing it with a limited amount of time and you have to make sure to get everything done.
PM: Right.
NR: So yeah, I’d say songwriting. (laughs) And then maybe coming up with song titles. (laughs)
PM: Totally. I love song titles. I’ve always said that I have more song titles than I do songs.
NR: Exactly! I get really into it. A lot of the content of the songs is about history or historical events, so it’s really fun to do research and find out about a lot of different things and delve into them while I’m writing lyrics and coming up with song titles.
PM: In the music I’ve noticed a lot of similarities with, say, The Fiery Furnaces and a little bit of Rilo Kiley. That sort of Saddle Creek indie-pop stuff. What are some of your influences that are maybe less apparent to the listener?
NR: I actually studied classical piano while growing up. I have always been influenced by classical music, especially the Romantic period. I love Vagner and Beethoven and Mozart. I love symphonies and classical pieces. I think of modern day pop music as more like classical music, just updated. If you listen to the melody and structure there’s a ton of similarities. Melodically it’s been a huge influence on me. A lot of the melodies I write are very classically based.
PM: I can definitely hear that. The way your songs go through their changes. Like little vignettes that change from one feeling to another that rise and fall. It definitely has a classical feel to it.
NR: Absolutely. That definitely comes from my background of growing up with that style. It’s an influence that isn’t obvious at first, but once you realize it it displays itself more. Of course, I listen to a ton of modern bands as well. I’m kind of obsessed with the band Broadcast. Vocally she’s [singer Trish Keenan] a huge influence on me.
PM: They’re a great band. They just did a collaborative mini release and I think they have a full new record coming soon.
NR: That’s exciting.
PM: Yeah, it is. So I know you have your new record coming out, and I guess your tour starts really soon. What else do you see in the future for Social Studies?
NR: We’re really excited about this tour. We’re working on another album as we get ready to release this next one. Oh, and we’ll be touring nationally in the spring as well.
PM: Are you touring in support of anyone or will it be just your band?
NR: It will be in support of a band. Um… Details TBA.
PM: Okay.
NR: Yeah. I’m just really excited to get back into the studio and start work on the next record.
PM: Awesome! That’s great. That’s all I have. Is there anything else you’d like to say?
NR: I guess, just… Um… (laughs) Go check out the double! (laughs)
PM: Right! Free download. You can’t beat that. And both those songs will be on the new record, yeah?
NR: Yes, they will.
PM: Awesome. Well, thanks so much for talking with me Natalia. Have a safe trip to Chicago!
NR: Thanks. I’m praying my keyboards will be okay.
Links and Listen:
Download-”Time Bandit”-Social Studies, The Hourglass
“We’re so happy to be here. For the last 3 to 4 years we’ve been like ‘how come we can’t rock Treasure Island fest,’” said Crown City Rockers frontman Raashan Ahmad. The DIY hip-hop/rock outfit based out of Oakland is making the Bay Area proud with their skilled blend of tight lyricism and live musicianship.
Their self-titled lyric, “Oakland, hip-hop, Crown-City Crew” had the crowd jumping with their repeated shout-outs of places and things only locals would know. Definitely deserve to be on one of the Treasure Island stages and it showed in their set.
If you couldn’t make it to the island, be sure to check them out next time they play in their (and our) beloved Bay Area.-JM
The Limousines are representing the Bay Area electronic, synth pop at this year’s festival. Performing the often difficult task of being the first act at a big festival, they managed to get the early afternoon dance party started with their crowd favorite “We are Very Busy People.” With lyrics like “internet killed the video star,” it was clear during their set that they understood their teenage\twenty-something demographic:” kids that are disco-dancing, who are just trying to rock ‘n roll.”
Speakers were so loud that even the most hungover, non-morning soul is surely awake and ready for the rest of the day here at Treasure Island.-JM
Don’t let big names like the Flaming Lips and MGMT overshadow the wealth of talent from the Bay Area. Here’s Plastic Milk SF’s picks for getting some locally grown, free-range jams.
Saturday
The Limousines 12-12:40
Kick off a day of non-stop dancing with the Limousines, electro-poppers who songs recall Dimmak and the Teenagers and whose subject matter is not limited to masturbation, video games, Donnie Darko, and booze.
Crown City Rockers 12:40-1:15pm
CCR kicks it up a notch with their Bay Area blend of hip hop backed by live rock.
Murs 1:20-2:05
My president is black, but Murs for President proposes that the state of today’s hip hop union is wack. Conscious hip-hop with a hook? He’s got my vote.
Sunday
Sleepy Sun 12:00 – 12:40PM
Psychedelic rock with girl-boy echoing vocals and heavy guitars will be the perfect accompaniment to your first spliff of the day.
Tommy Guerrero 12:40 – 1:10PM
Skate legend offers up surprisingly light summery tunes that don’t shred as much as sway.
Thao with the Get Down Stay Down 1:10 – 1:50PM
Mission District darling Thao Nguyen offers up delightful pop songs that are equally sassy and sweet.
Vetiver 3:15 – 3:55PM
Stop by Vetiver’s set to see if sometime members Devendra Banhart and Joanna Newsom join them on Sunday. Stick around for dreamlike folk gems.
Los Angeles and San Francisco-based hip-hop/electronic duo Meanest Man Contest is constantly evolving. Starting off as college roommates who recorded rap songs on a busted 4-track back in the ’90s, Noah Blumberg (aka Quarterbar) and Eric Steuer (Eriksolo) formed MMC after moving to Oakland and scavenging the dozens of flea markets and record stacks for samples and inspiration.
Meanest Man Contest grooves in the vein of Bus Driver, with a mixture of electronic samples andbeats that compel you to dance one moment and mellow the next. There are no hooks, but rather tasteful samples that blend vintage audio, jazz and melodic electronics with free flowing rhyme.
Check out the old school hip-hop sound of “Day Off Theme (featuring Nebz Supreme & DJ Disruption)” from the new Briefcase Rockers compilation Leaders: an Introductory Guide Into Crev Wave. It’s like butter, baby. -Kelsey Bryant
Download-”Day Off Theme(f/ Nebz Supreme & DJ Disruption)”-Meanest Man Contest, Leaders
Just when you think San Francisco can’t get anymore colorful (or brilliant for that matter), enter the DIY three-piece girl band Brilliant Colors. Their lo-fi, post-punk sound is reminiscent of bands like The Raincoats, The Slits (guitarist Michelle Hill used to tour with them), and The Ramones. Singer Jess Scott’s melodic vocals will have you thinking that the queen of pop punk, Debbie Harry herself, has sprinkled her musical dust on the current indie music scene, and that perhaps instead of 2009, it’s more like 1979.
Like their friends and allies Grass Widow, Brilliant Colors is surfing the lo-fi indie pop wave and bringing a refreshing, nostalgic sound to the city by the Bay. They’ve got punk, spunk, and a debut album (just under 24 minutes) that will make any walk or ride in this city just a little bit more vibrant. Their album Introducing will be released November 3rd on Slumberland records. According to their press release, it’s a “scrappy gem.” I couldn’t have said it better myself.
Personal favorite on the album is the song “Motherland” which has an electricity and restless energy that is Brilliant Colors at its best, not to mention a very Yeah Yeah Yeahs-esque yelping/chanting chorus going on throughout. Scott’s pretty punk rock vocals over the driving guitars and rhythms on songs like “Mythic” and “Should I Tell You” will make you want do the pogo dance or at least watch some footage from “Blitzkrieg Bop-LIVE at CBGBs.” If you want to see them play, pay close attention to their MySpace as the ladies will be taking a “semi-hiatus/playing very irregularly” due to the aug-dec school semester. Irregular is better than nothing so be sure to check them out when you can.-JM
