Unnatural Helpers & Tyvjk @ NoisePop, Cafe du Nord, San Francisco, 2/26/09

Unnatural Helpers + Tyvek = Awesome. Noise Pop = a total ripoff.

Unnatural Helpers 7" cover

Noise Pop is a bunch of bullshit. The company behind this stupid festival, Noise Pop Industries, makes a big event of having a few good shows, which should be happening all the time anyway. No, wait, what am I saying? It already does. A lot of these bands play the San Francisco Bay Area already, and pretty frequently — the show I went to featured two S.F. bands on the bill, one of which, the Oh Sees, was the headliner.

The show was my first Noise Pop show. I had two spots on the guest list because I wrote a preview for what-shall-be-an unnamed publication. I was forwarded an email from the publicist, or more specifically from a co-worker of the publicist (important later on) saying I had a +1 on the list for the show.

Around the same time, Dean, drummer for the Unnatural Helpers, gave me permission to record his band at the show. I’ve acquired more recording equipment over the years and this was a great opportunity to try it out so I planned on bringing my equivalent of a mobile studio to the show. (Thank god I had a +1, though I don’t think Rob, my guest, appreciated having to carry two 10-pound microphone stands around Market St.)

This led to me making my first mistake — actually looking forward to going to Noise Pop.

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Little Claw, The Knockout, S.F., 4/5/07

‘Killed my father, I wear his head like a crown!’

slideshow

I’ve always appreciated the idea that punk music was created by people who couldn’t play, which inspired other people to start their own bands. It’s not necessarily true — members of the Ramones, Sex Pistols and the Clash were all in bands before they started punk bands that made them so famous — but I always liked the idea.

Little Claw is a prime example of how basic chords, noisy guitars and the absence of desire to challenge one’s talents can still produce music that sounds new and exciting. Think a combination off-kilter female vocals, mixing UT with Bikini Kill, backed by Pussy Galore’s early desire to destroy rock and roll with rock and roll.

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