Spindrift

Kymberli's Music Box Presents

Spindrift

with special guest Jello Biafra (Dead Kennedys), Gram Rabbit, Matthew Tow, POW!, Guest DJ Scott Vitt of the Asteroid No. 4

Sat, February 23, 2013

Doors: 9:00 pm / Show: 10:00 pm

Brick & Mortar Music Hall

San Francisco, CA

$10.00 - $12.00

This event is 18 and over

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Spindrift
Spindrift
Cinematic Western-psych outfit Spindrift is nearing the end of their haunting “Ghost Town Tour.” The past few weeks found the group touring the Southwest in proper club dates as well as performing in actual standing ghost towns. Their visits to the remaining ruins of the old west included performances at the legendary Saloon no. 10 in Deadwood, SD and at the sight of the infamous gunfight at theO.K. Corral in Tombstone, AZ.

While playing to the ghostly spirits of each town, Spindrift also caught the attention of major media outlets, including Noisey who had a frank discussion at the prospect of such a tour with Kirpatrick Thomas (vocals/guitar) of the band as well as major newspapers on the tour route including The Salt Lake Tribune, The Arizona Daily Star, and The Albuquerque Journal. Prior to arriving in Arizona, theTucson Weekly noted that “the band sounds cinematic, expansive and eerie. And anyone who has seen the band perform live — they’ve performed in Tucson at least twice before — knows the trademark Spindrift sound is trippy, chill-inducing and rattlingly loud.” The “Ghost Town Tour” concluded with Spindrift’s show with Restavrant and RT & the 44's at The Deer Lodge in Ojai, CA (presented by The New L.A. Folk Fest).

The “Ghost Town Tour” has provided Spindrift the opportunity to perform material from their forthcoming album, Spindrift: Ghost of the West. The group is currently putting the finishing touches to the new full-length, tentatively due out in spring 2013. The album will also include footage filmed by Burke Roberts, JT Gurzi, and Rich Ragsdale that documents Spindrift’s ghostly encounters during the tour. While at the Gallows of Gold Point, NV, the band’s Kirpatrick Thomas (guitars/vocals) and Henry Evans (bass/baritone guitar) acted out the song “Hanging Me Tonight” by Marty Robbins for the film. A production still from the filming, taken by Howard Wise, can be seen above. Spindrift is also planning a spring tour leading up to an appearance at South By Southwest 2013.

In addition to new material, the “Ghost Town Tour” also found Spindrift performing songs from the soundtrack for Ward Robert’s neo-western epic Dust Up. Spindrift’s score for the film contains both instrumental pieces and full on songs, indulging in the band’s talent for both sun-soaked desert rock and cinema themes. Both the film and Spindrift’s soundtrack are available via iTunes, Amazon and all other digital retailers. The film is also currently available on DVD.

The band’s music will next appear in the feature film Treasure of the Black Jaguar, slated to be released in theaters on January 9th, 2013.
Gram Rabbit
Gram Rabbit
Gram Rabbit emerged from the hi-desert of Joshua Tree, California in early 2003 armed

with a repertoire partaking, in equal measure, of reverberant space rock, electro-pop glitz, shadowy spaghetti-Western twang, and the low-down sexiness of the seemlier Las Vegas lounge. This trio was born from the muso-spiritual melding of diverse, extraordinary souls: singer/keyboardist/guitarist Jesika von Rabbit; guitarist/singer Todd Rutherford; and Travis Cline, their sample-guru and bassist. Together they produce a phenomenon that is essentially inexplicable, but undeniably a gas.
Gram Rabbit's debut album, "Music To Start a Cult To", set for release on Stinky this August, was recorded over a three-week period in the spring of 2004, in Los Angeles, with Ethan Allen producing. Ethan's past credits boast an eclectic range of artists like Tricky, Kristin Hersh and Luscious Jackson, among others. Echoing the musical and personal odysseys that led to the band members writing and recording this album, each track takes the listener on a unique journey shepherded by the stirring, soulful, and seductive vocal stylings of bewitching front woman, Jesika von Rabbit.

"Music To Start a Cult To" kicks off with the leather-chapped sing-a-long "Dirty Horse," a fanciful recounting of a rapprochement between Jesus and the Devil. "Witness" is an ode to self-actualization, set to a sinuous beat and Space Invaders synth stylings. "Kill A Man" sets a deceptively winsome commentary on the culture of gratuitous violence to gentle guitar strumming, interwoven with electronic cirrus clouds. "Devil's Playground" is somber tumbleweed-choked country-folk depicting the common struggle of everyday life -- Willie Nelson would understand.

Growing up in a musical family in the chilly climes of Green Bay, Wisconsin, von Rabbit took to piano at the tender age of six. Mama von Rabbit was a singer in a hotel lounge band, whose repertoire consisted largely of '80s pop songs by Madonna and Pat Benatar. When she was old enough, she moved to Los Angeles, and began searching for musical collaborators. Meanwhile, Todd Rutherford had been honing his chops on piano and guitar in Porterville, California. In a town where farming and cattle ranching were the occupations of choice, Todd's family was the exception; Pa Rutherford supported his family as a professional jazz pianist. Eventually, Todd relocated to San Francisco to chase his musical dreams.

Jesika and Todd met when a mutual pal invited them to Joshua Tree to start a band. Fed up with the L.A. music scene, Jesika was about to head back to the Midwest for good, but agreed to stop over in Joshua Tree. Rutherford accepted mainly as temporary respite from San Francisco. But the proceedings were far from satisfactory and at the end of each day's rehearsals, the pair would retreat to their respective room to work on material of their own. "I would go to my room and cry," admits von Rabbit.

While decamped at Room 8 of the Joshua Tree Inn, the site of legendary cosmic American musician Gram Parsons' untimely demise, Von Rabbit and Rutherford decided to join forces and perform at Gram Fest, an annual music festival held in Joshua Tree celebrating Parsons' musical legacy. The pair planned to play a set exclusively comprised of Parsons covers and, accordingly, christened this side project "Gram Rabbit" -- a reference to Jesika's nom de plume, as well as a nod to Parsons. Although they applied too late to qualify for that year's Gram Fest (they have played it every year since), the pair discovered how beautifully their vocalizing meshed. And, when Todd played Jesika a demo he'd worked up in Joshua Tree, (which ultimately evolved into "Cowboys & Aliens"), the musical pairing was cinched: it was everything that Von Rabbit had been looking for artistically and then some. For both Von Rabbit and Rutherford, it felt like a cosmic connection. Von Rabbit says that, from that point on: "Serendipity became a way of life for Gram Rabbit. At times, everything felt so powerful, I felt as though I was becoming a witch."

Von Rabbit and Rutherford promptly quit the band that had originally lured them to the high desert in order to pursue Gram Rabbit full time. Too broke to buy instruments, the duo repaired back to Rutherford's hometown and tended to Rutherford's elderly grandparents, penning new material after they'd tucked the oldsters in for the night. Two years later, the duo returned to Joshua Tree to stake their musical claim armed with a trove of incredible songs and a crystal-clear vision for the group's sound, philosophy and look.

Tapping fellow Tree dweller Travis Cline to round out the line-up, they started gigging, quickly developing a fanatical following, all drawn to the band's unique live presentation. After recording their debut album the group added guitarist Tracy Lyons-Tarr to their live line-up. Imagine walking into a honkytonk, deep in the heart of desert country. The clientele includes devil worshippers, witches, hippies, rock climbers, military men, and the random soul-searching tourist, all gathered to hear alien frequencies channeled by Morse code keyboards, slithering reverb-laden guitars, tick-tocking drum machines and samplers that yield a shocking surprise every 40 odd seconds. All eyes, however, are focused on the singer; she's wearing bunny ears. Oh-so-sexily, she deadpans, "Sometimes all it takes is a little smile or some chocolate cake; to put a spring in the step of the bi-polar fool."

So is there really a cult? Von Rabbit answers: "We don't have paperwork on it, but yeah, it is real!"
Matthew Tow
Matthew Tow
Matthew J Tow is a singer songwriter from Sydney, Australia. Matthew’s career began in the early 1990′s when he formed the psyche/pop band ‘Drop City’ in Sydney. Drop City were signed to influential Sydney independent label ‘Red Eye’ records, home to the likes of The Go Betweens, Steve Kilbey and The Beasts of Bourbon and released 5 albums from 1993 to 2000. During this time the band received critical acclaim and toured constantly throughout Australia playing the ‘Big Day Out’ festival twice and opening for acts like The Stone Roses, Swervedriver, The Hoodoo Gurus, The Posies, Stereolab and Luna.
Matthew also formed the experimental collective ‘Colorsound’ in 1994. The first album ‘You’re Only As Good As Your Sound’ was released in the U.S.A in the same year, culminating in a ‘Jackpot’ review in CMJ magazine. Attention quickly turned to the U.K where Colorsound signed to the label that Sonic Boom (Spacemen 3) had set up ‘Space Age Recordings/3rd Stone Records’. Matthew remained the only constant member of the Colorsound collective, writing and releasing 4 more albums over the next 10 years.

In the aftermath of Drop City, Tow headed to the U.S where he got in touch with his old friend Anton Newcombe of the Brian Jonestown Massacre. In a brief period in 2003 Matthew joined the BJM as a touring rhythm guitarist and collaborated with Newcombe, writing 2 songs for the ‘..And This Is Our Music’ album. During this time, Tow embraced the kaleidoscopic sounds and textures being explored by many bands in the psychedelic underground of the West Coast scene, and blended it with his own pop sensibility and created The Lovetones.

The Lovetones released its first album, the critically acclaimed “Be What You Want” in 2002/03 with Rolling Stone Magazine Australia hailing Matthew J. Tow’s songwriting as being ‘worthy of Ray Davies, Bowie, Lennon and McCartney’. in 2003 they toured the United States with the BJM. The Lovetones released its second album, “Meditations” in 2005, with another tour of the U.S and Europe with the BJM and an appearance at SXSW in 2006. Conceived as the first part of a musical trilogy, ‘Meditations’ was succeeded by ‘Axiom’ in 2007, displaying once again The Lovetones’ mastery of psychedelic pop. It wasn’t long before The Lovetones built up an impressive live following in the States. In 2009 the band released the critically acclaimed “Dimensions” LP – charting via CMJ in the USA. In 2010, The Lovetones completed the fabulous nine track LP “Lost”. 2012 saw the release of the long awaited retrospective ‘Provenance-Collected Works’. Online music site ‘Mess + Noise’ summed up the release like this..“The relevance to The Lovetones and their newly-released compilation album Provenance is two-fold. Firstly, The Lovetones are a band that captures and extends the best of the classic 1960s pop sensibility. Secondly, unlike the near-dead band relying on a greatest hits album to resuscitate a failing career, Provenance is a timely reminder of the songwriting brilliance of The Lovetones, and Matthew Tow in particular.”

After 20 years of writing, touring and releasing records in various incarnations and musical projects, early 2013 will see the release of Matthew J Tow’s first solo record under his own name. ‘The Way Of Things’ (Xemu Records) was recorded over a year in Portland U.S and Australia and was produced by Collin Hegna (Federale, BJM) and Ryan Carlson van Kriedt (The Asteroid No 4, Dead Skeletons). It signals the next step in the life and career of singer songwriter and musical journeyman Matthew J Tow. Described as ‘a life affirming meditation examining the ebb and flow of life through the natural order of things’, the album features 9 tracks spanning psyche pop, country, folk and drone explorations, with musical contributions from members of the BJM, Asteroid 4, The Warlocks etc.
Venue Information:
Brick & Mortar Music Hall
1710 Mission Street
San Francisco, CA, 94103
http://www.brickandmortarmusic.com/