By Emma Silvers
By Gary Moskowitz
By Alee Karim
By Ian S. Port
By Ian S. Port
By Derek Opperman
By Emma Silvers
By Alee Karim
Just as musicians have discovered the significance of silence (leaving breathing room in the space between carefully placed notes), visual artists have begun to discover the importance of noise (creating color and texture with a palette of sound). Artist/activist Chris Cobb understands the importance of both. For years, the Sacramento native has been recording the relative hush of small neighborhoods -- the sound of birds, bicyclists, sprinklers -- and transplanting the peaceful sounds to bustling inner cities. In an attempt to teach the chaotic place to sound like a quiet place, Cobb creates serene landscapes with sound that, in turn, helps the listener/viewer hear the character of his natural environment more clearly. But you have to listen at the San Francisco Art Institute on Thursday, April 23, at 7:30 p.m. Admission is free; call 576-9440.
Of course, silence isn't for everyone. All Punk Rods!, a muscle-bound compilation curated by Gearhead magazine and issued by Lookout! Records, combines excerpts from an autocentric episode of The Munsters with 14 of the best drag punk bands in hot rod history. On one slim disc, you get the Nomads, Gas Huffer, Man or Astro-Man?, the PeeChees, Servotron, the Quadrojets, the Donnas, the Smugglers, and others singing about an American passion: fast cars and, more importantly, really fast cars. Smell the petrol at the record release party where All Punk Rods! contributors the Dragons and the Demonics will play at the Covered Wagon on Thursday, April 23, at 9 p.m. Tickets are $5; call 974-5906.
Culled from high-tech obsessions and scary movies, San Francisco's Chrome were one of the first bands to create an electric bridge between mechanical space rock and visceral punk. Albums like 1978's Alien Soundtracks -- a concept album set in a space-age strip club in a totalitarian country -- set the stage for future sci-fi terrorists, while songs like 1982's "Fire Bomb" foreshadowed the latter-day drag punk scene. Sadly, after numerous mind-expanding studio projects, the musical cyborg fell into disrepair as producer, drummer, and synth master Damon Edge refused to tour; ultimately both he and vocalist/guitarist Helios Creed embarked on solo careers. But now the pair have reunited for their first live show in over 15 years. Opening are Chrome-fallout A Minor Forest and I Am Spoonbender -- the cerebral love child of Thought Industry/Pansy Division drummer Dustin Donaldson, Cub guitarist Robynn "Cup" Iwata, and esoteric philosopher Brian Jackson. Chrome perform at Great American Music Hall on Friday, April 24, at 9 p.m. Tickets are $10; call 885-0750.
According to the wisdom of Austin Powers, monogamy is for squares and nothing's more evil than a square -- unless, of course, you are a P-squared (party person), in which case you're groovy, baby. As we all know, "Shag-A-Licious" MC Lord Martine is a P-cubed (professional party person), which means this happening is sure to be frivolous good fun. Folks are encouraged to wear saucy threads for the fashion shoot and Mr. and Mrs. Shag-A-Licious contest. Co-promoters Martel, Nabiel, and Max are probably thinking Liz Hurley's leather catsuit, or the Fembot's fuzzy pink nightie, or Powers' velvet suit and lace cravat, but nothing says "Fancy a snog?" like Dr. Evil's crazy bald head and sassy facial scars. Dance to the sounds of Night Fever at Bimbo's 365 Club on Saturday, April 25, at 8 p.m. Tickets are $15-20; call 474-6299.
Seems like everyone is incorporating pyrotechnics into his stage show -- a fire-breather here, a flamethrower there -- but leave it up to an industrial abomination from East Germany to take things to the next level. By examining the body of poet/Olympic swimmer Till Lindermann, one begins to understand the endurance required of a member of Rammstein. Burns and abrasions come with the glory of singing for this multiplatinum horror show. Lindermann wouldn't have it any other way. He likes fire. Two songs into a typical Rammstein set, Lindermann is consumed in flame -- he is a walking, growling firebomb. Four songs into the set, he is a dark smoldering form surfing the crowd on a blow-up raft shooting burning arrows into the air. Five songs into the set, he is drawing blood with violent self-flagellation. Six songs into the set, he is sodomizing his keyboardist with a flamethrowing phallus. I won't tell you what Rammstein do for an encore, but rest assured their stage show is as frighteningly memorable as their lyrics are surprisingly poetic. Of course, they sing in German. Rammstein perform at the Maritime Hall on Sunday, April 26, with Hanzel und Gretyl opening at 7 p.m. Tickets are $10-12; call 974-0634.
With their matching striped shirts, signature harmonies, and clean-cut, fun-loving attitude, the Kingston Trio took the mountain mystery out of folk music and gave it a nice, smiley face that captured the hearts of millions throughout the '50s and '60s. Their hit "Tom Dooley" -- a story of three confederate soldiers who rob a train and become outlaws -- made folk popular in mainstream culture and helped create an audience for Dylan and Baez. Although the Kingston Trio have continued to produce music since 1957, this marks the first meeting in 30 years of lead singer Bob Shane and harmonizer Nick Reynolds. The Kingston Trio perform at the Beach Street Bar on Monday and Tuesday, April 27 and 28, at 8 and 10 p.m. Tickets are $25; call 931-6400.
-- Silke Tudor