Tag Archives: bottom of the hill

Noise Pop 2013: The Fresh & Onlys, R. Stevie Moore, Plateaus, Burnt Ones

Burnt Ones (Ashley Dotterweich/Treeswingers)

Burnt Ones (Ashley Dotterweich/Treeswingers)

Ed. note: Friend of Treeswingers Ashley Dotterweich very graciously reports back from Bottom of the Hill, with a personal connection to Wednesday night’s headliners. Everyone, say hello.

Full disclosure: The Fresh & Onlys saved my ass once, so I’m predisposed to like them. Back in the spring of 2011 I was finishing up my stint working in Los Angeles on the Natural History Museum’s First Fridays program when our headliner cancelled- the day of the show. Luckily for us, the Fresh & Onlys , by some miracle, were free that night and headed down from San Francisco to play the show and save the day. Last night at Bottom of the Hill, they didn’t disappoint.

Openers the Burnt Ones started off the night like a punch in the gut and didn’t let up. Their lo-fi psych/punk sound left my ears ringing well into the next set, but they set the tone for the rest of the night. The Burnt Ones’ lead singer has a Jagger-esque flair for theatrics, occasionally sliding onto his knees and playing his guitar behind his head, that made seeing them on stage a stripped-down spectacle; put them in big hair and makeup and they wouldn’t seem out of place at an ’80s glam rock show.

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Noise Pop 2012: Thao Nguyen and John Vanderslice at Bottom of the Hill 2/23/12

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Noise Pop aficionados weathered the trek over to San Francisco’s remote venue Bottom of the Hill Thursday night to mill around and wait for Thao Nguyen to come onstage and play with her characteristic swagger.

That meant that the audience was hefty even for openers Bird By Snow — a one-man act who looped layers upon layers into a sort of meditative vibe — and Garrett Pierce, who swung between acoustic ballads and sensitive-guy rock pieces (complete with a pink paisley guitar).

But when co-headliner John Vanderslice took the stage, he packed it full of classical performers from Magik*Magik orchestra, boasting everything from a string quartet to a bass clarinet. The result was a full, idiosyncratic sound — backed by an excellent drummer — that pushed the frontman through tracks like “Sea Salt,” “Promising Actress” and the effervescent “Convict Lake” with a Beirut-esque orchestral sound.

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