After three albums, five years, and 1 billion cumulative plays across streaming services, Odesza has birthed a legacy in electronic music with beautifully trimmed tracks like “Sun Models” and “Say My Name,” and collaborations with Leon Bridges, Regina Spektor, and Zyra. Harrison Mills and Clayton Knight continue to keep bodies in motion with their newest album, A Moment Apart. In a recent interview with Stoney Roads, Mills describes the new record’s style of songwriting as “grandiose, epic, cinematic things that we’ve always loved … It’s really important for us to have a lot of diversity on our albums.” There is an undeniably expansive nature to this compilation of songs, and its dynamic flare interweaves a variety of wildly different sounds. There is a starry, hypnotic vibe to tunes like “Late Night” — and especially on “Corners of the Earth,” when featured artist RY X croons, “Tonight we’re golden / We fall towards each other / We fall to the edges of the earth / We burn tonight as one.” It feels like walking into an eternal sunset with your favorite people, listening to electronic music’s greatest underdog, Odesza.
7 p.m., Friday Oct. 27, at the Greek Theatre. $35-$72; thegreekberkeley.com
It is romantic and rebellious, infectious yet irresistible. Saint Motel’s saintmotelevision has a gospel-like feel laced with satirical lyrics and grand piano work, which deserves a standing ovation all by itself. A/J Jackson, Aaron Sharp, Greg Erwin, and Dak Lerdamornpong spent four years carefully stitching together a 10-track record that sounds like Bear Hands meets Electric Light Orchestra, but still has Saint Motel painted all over it. “Born Again” opens with a gospel choir that fades into the hard-hitting lyrics, “Well, there’s no need to be nervous / I’m not dangerous anymore / Yeah, I cleaned up and found Jesus / And he’s waiting at the door.” The irony between the gloomy lyrics and upbeat melody is just that: upbeat. Without noticing, you’ll be tapping your foot to the beat and pumping your fist in the air like Judd Nelson at the end of The Breakfast Club. Compared to its 2012 album Voyeur, Saint Motel has evidently amped up the depth of its songwriting and contagious sound. Staccato electric guitar finds itself throughout the bubblegum-rock track “Sweet Talk” and carries the album through to its semi-sweet and stripped down “Happy Accidents,” where listeners get to hear Jackson’s distinct vocals over a vulnerable guitar-and-piano accompaniment.
9 p.m., Friday Oct. 27, at The Fillmore. $25-$49; thefillmore.com
She climbed her way to the top three on Season 10 of American Idol, captivating people worldwide with her raspy, Janis Joplin-like voice and voluminous blonde curls. But the world had much greater plans for Haley Reinhart, her career has been full of tracks that bring us back to the soft, acoustic melodies of the early ’70s and the powerhouse vocals and full-band sound of ’60s acts like Led Zeppelin and Creedence Clearwater Revival. Reinhart moves in her own way, however. On her new album What’s That Sound?, she pays tribute to some of the most influential people in early rock ’n’ roll. She did a sultry spin on The Box Top’s “The Letter,” and somehow, made it the “Jolene” of the millennial generation, through meticulously chopped verses that showcase what the Chicago-native can really do with her voice. An original tune of Reinhart’s, “Let’s Start,” opens the record, its reverbed vocals sounding both Beach Boys and badass lyrics. “I’m drowning in your love completely / So deeply, dear, in seas of blue and green at rapid speed / Carry me swiftly” are arranged with infectious hand-clapping and string instruments that remind us Reinhart is a serious contender on her way to the hall of fame.
8 p.m., Friday Oct. 27, at Great American Music Hall. $27-65; slimspresents.com
With sensual beats and heavy Brazilian influences, New York duo Sofi Tukker hypnotizes listeners on its EP Soft Animals. Sophie Hawley-Weld and Tucker Halpern create a record that is equal parts synths and organic instruments, but take an unexpected turn with an album that is mainly sung in Portuguese. “Matadora” weaves addictive “tropical house” with Portuguese lyrics and a Bolivian string instrument called the charango. In an interview with Next North West, Hawley-Weld and Halpern refuse to confine themselves to one genre, stating “ We’ve just do whatever we want, and if we like it, we hope other people will like it.” They drive the album home with “Deja Vu Affair,” a track that combines a soul-soothing tempo with delicate lyrics, sonically defying the notion that this is ordinary house music. Since the EP’s release in mid-2016, Sofi Tukker has dropped a handful of eclectic singles, including “Best Friend,” “Beach Break,” and “Fuck They” — further proof that this is a multifaceted duo filled with ideas. Catch Sofi Tukker this Thursday night at Audio SF, and as the opener for Odesza at Berkeley’s Greek Theater, Thursday, Friday, and Saturday.
9:30 p.m, Thursday Oct. 26, at Audio SF. $25; audiosf.com
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