Tag Archives: Petaluma

Sparks Across Darkness

Student of Hip-Hop • Sparks Across Darkness Takes a Poet’s Approach on His Debut Album, Obscura

With the newfound national successes of Sacramento rappers like Mozzy and Hobo Johnson, not to mention the continued critical favor shown to internet-darlings Death Grips, the local rap scene is getting more attention than ever. Yet it would be hard to sketch out any real conception of a “Sacramento sound,” what with Mozzy’s Death Row feel, Hobo Johnson’s insistence that he’s not really a rapper and Death Grips’, well, weirdness.

Perhaps that’s why Sacramentan rapper Sparks Across Darkness, whose debut album Obscura will be dropping Aug. 18, 2018, sees himself as a collection of influences, rather than an artist imbedded in a specific locale. Obscura, three songs of which are available on Sparks’ Soundcloud, is, like any good rap album, filled with inventive production: Sometimes odd, sometimes catchy and many times unusually both.

But as one would expect from someone who studied creative writing at San Francisco State, whose classes in the ‘50s would spawn the literary movement known as the San Francisco Renaissance, many of Sparks’ songs feel deliberately verse-forward. In this manner, he resembles both the alt-rappers of the early aughts, as well as the booming movement (contentiously) known as “art-rap,” which has been largely defined by the disparate geographic origins of its vanguard members.

Written in a style that sometimes leans heavily on the abstract, Sparks’ songs are, according to him, expressions of his day-to-day life. In a way, it’s telling that Sparks’ music video for “Monsters and Thieves” was filmed in Dimple Records (he used to work at their Arden location) interspersed with shots of the Sacramento skyline—a story of daily life, with wide-ranging artistic influences.

Submerge snagged an interview with the man of letters himself as he was distributing posters for his release show at the Momo Lounge on Aug. 18, featuring local rap duo Ode to Saturday and electro band Petaluma. So, read on for a whole bunch of behind-the-scenes info and a choice selection of teenage poetry.

So, where does the name come from?
I made the name years ago when I started a new project with my friend. I was listening to a lot of Beatles at the time, and “Across the Universe” was one of my favorite songs. So I kept the “across,” and wanted a name that would both encapsulate my sound and give it an image.

Besides The Beatles, what are your musical Influences?
Funnily enough, New York hip-hop. I owe a lot of my style to [label] Definitive Jux, and that experimental indie hip-hop that started budding around 2002–2005. I kind of latched on and was such a fanboy. A lot of my other favorite albums are like Nas’ Illmatic and Wu-Tang’s [Enter the Wu-Tang] 36 Chambers. A lot of those East Coast guys, with the ways that they use their verbiage and their beats are so heavy and dusty, and that tends to be the kind of thing I gravitated toward and still do.

“Heavy and dusty.” Is that what you push for on your instrumentals?
Interestingly enough, the album ended up all over the place. I tend to do stuff that sounds catchy, but not necessarily catchy in a normal or monotonous way. It all started with White Horse [producer on songs “Who You Be?” and “Nice to Meet You” off Obscura] who shot me four or five beats. That initial interaction ended up shaping a lot of the sound I was heading toward on this record. In the end, I guess I just picture this album as its own little world, and I keep things on it that are living in that world. It’s a reflection of ours that’s sad and dark and luminous and joyful. And funny—it’s just eclectic.

So how long has the buildup to your first album been?
It all really started four years ago when I first wanted to make some new stuff. I ended up doing some songs on the album and some extras I’ll release later. But that was four years ago, and I had a baby and a full-time job, and inspiration ebbs and flows. Now it feels right, it feels complete.

Has having a daughter influenced your approach to music?
It’s only natural when you have a kid that its your whole world. I only reference her once on the album, and I don’t think it’s changed me, per se. I still have songs that are vulgar. I think if anything it’s inspired me to try and be better and grow—to be a good dad.

A lot of your lyrics are very rich and poetic. What’s your writing process?
This album, I tried to make it very open and relatable but leave myself out there and vulnerable. It contains topics and things that I’ve gone through and felt in the hopes that other people are going through similar things in similar ways. I’m big on my words. I’ve been writing poetry for 14, maybe 15 years, and I definitely feel like my lyricism is a reflection of that.

I’ve studied writing and writers, but I feel like I’m a student of hip-hop, and I just started making my own style and trying to stick with it. There’s some repeated images and repeated themes that refrain throughout the record and touch each other, and I think that’s why it took so long. I kept trying to make it feel right as a circular thing.

You mentioned that you studied writing at San Francisco State. What are your biggest literary influences?
When I was young, I loved Langston Hughes, because he was so straight to the point. I also loved Emily Dickinson, E.E. Cummings, Dylan Thomas and on the hip-hop side people like Aesop Rock and El-P. Aesop [Rock] is underrated as a lyricist—at least, I don’t understand what he’s trying to say half the time.

Did you want to write poetry before being a musician?
I don’t really think that I wanted to be a writer, because I wrote shitty stuff when I was young. I was angsty, because when you’re young you’re not very calculated with your words. When I was alone, and by myself, hip-hop made me feel like I was part of something and I could view other people’s worlds and get a feeling that this person felt the same way I have.

Are there any treasures of early poetry from the vault?
Oh god … The earliest one I can remember goes, “Girls make my heart pant/and I can explain why girls do the things they do until I turn blue/but I can’t because all I am to this world is an ant.” So yeah [laughs] that’s one of those lines that sticks with me. It’s comical to me now, but I’m sure it sounded very poetic.

Where do you see yourself in Sacramento’s rap landscape today, with the national fame of acts like Hobo Johnson and Death Grips?
Well, Hobo Johnson is a homey of mine, and it’s crazy to see how things have grown for him, and I consider a lot of those guys friends. I’m creating what I want to do, a piece of art that I want to hear in the hopes that others do, too. Trying to categorize myself and see where I fit into the landscape of Sacramento—I don’t really do that. We categorize ourselves too frequently, and it causes separations between hip-hop groups.

What do you want the world to know about Sparks Across Darkness?
I just want people to know that if you feel less than, you’re not. You’re an amazing piece of dust in the cosmos, and that this is my couple year-long summation of being a little piece of dust, too. That’s all I’ve got to say.

See Sparks Across Darkness live at Momo Sacramento (2708 J St.) on Aug. 18, 2018, at 6:30 p.m. Also performing will be Petaluma and Ode to Saturday. Tickets are $10 and can be purchased through Momosacramento.com. This is an all-ages show.

**This piece first appeared in print on pages 12 – 13 of issue #271 (Aug. 1 – 15, 2018)**

Sac and Back: Marin County

Sac and Back will be a new series of road trips to be taken from Sacramento with detailed itineraries of recommended stops along the way. This week I begin with a favorite of mine: the drive to Marin County. There are many different routes to take, along with myriad transportation methods—car, motorcycle, bicycle, limo, bus, you name it. Take these guides as recommendations and see where they take you. If you’re into Geocaching, this is a fun place to get lost in.

Highway 12 through Napa

Head out of Sacramento toward Fairfield and hop onto Highway 12 through Napa. I did this drive a week ago and the conditions are absolutely perfect. It’s spring and it shows, with green rolling hills against the vibrant blue sky, vineyards spanning the horizon, and lavender fields sprawling the flatlands. If you just can’t help yourself, stop for some wine tasting.

Ernie’s Tin Bar (5100 Lakeville Hwy, Petaluma)

From Highway 12, jump onto the 116. At the junction of 116 and Lakeville Highway you will come across a tin bar; you’ll know it’s Ernie’s because it’s the only place around. “No cell phone” signs reign throughout the building, and I advise you to obey or get hollered at by the owners, bartenders and locals. I love this place. Within minutes of ordering a drink I made multiple friends, including the bartender, who shot me a look and beckoned me over to show me the working auto shop in the back and brief on with the bar’s deep history. Owned by the same family since 1923, Ernie’s even had a secret room in the back where drinks were had and mouths stayed shut—just ask for some back story when you get there. On top of that, they sell the best corn chips on the market, Have’a Corn Chips. If your lips have never graced these triangles of sweet, savory salt, go to Sacramento Co-op right now and buy a bag. If you’re a true human (and you don’t have any sort of dietary intolerances), you will eat the whole bag before getting home. OK, enough about Ernie’s, but really, go.

Hog Island Oyster Farm (20215 Shoreline Hwy, Marshall)

After traveling through Petaluma, take Tomales Bay Road to Highway 1 and be sure to make a reservation at Hog Island Oyster Farm to eat on “The Boat.” Sit down with friends old and new and enjoy fresh oysters and a charcuterie board at the communal picnic tables. Another option is to “shuck your own,” where the pickins are vast. Learn to shuck oysters and chuck ‘em down the hatch raw, or throw them on the grill for a tasty dinner. If you failed to make any reservations but your mouth and belly crave the taste of the sea, stop by “The Hog Shack” out front and pick up some fresh fish to-go.

Cypress Tree Tunnel

Ten miles south is a must-stop, especially for photographers. At the Cypress Tree Tunnel, giant cypress trees line the street and reach across from both sides to entangle one another and create a living tunnel. It is a sight to see, especially if the fog has rolled in and allows the branches to peek through.

Walk on the coast near Point Reyes National Seashore

Point Reyes National Seashore

Just down the road you will find campsites at Point Reyes National Seashore. Whether you have reserved a campground or are hoping to find an open one, pack up the sleeping bags from the car and make the trek in. Set up camp, take a walk on the seashore, enjoy a beach fire (grab a permit from the visitor center beforehand) and fall asleep to the sound of the crashing waves. Stay one night, two nights, a week, a month—whatever suits your fancy.

Pitstop in Petaluma, 82 degrees on a February afternoon

Lagunitas Brewing Company (1280 N. McDowell Blvd., Petaluma)

Leaving Point Reyes, head north back up to Petaluma via Point Reyes-Petaluma Road, a stretch of California that many have not witnessed, but that shouldn’t be missed. In the town of Petaluma you will find the Lagunitas Brewery, a place I advise visiting in the late afternoon or early evening so you can catch some live music, a burger and a beer.

Back to Sac

As you make your way home, take Highway 37 for a change of scenery. This includes the stretch of highway surrounded by bay waters, birdwatching and one of California’s best attractions: The Lone Toilet. You’ll know it when you see it. Arrive back home for a hot shower and a warm bed. Back to the 9-to-5, until next time.

**This piece first appeared in print on pages 10 – 11 of issue #260 (Feb. 26 – March 12, 2018)**

Petaluma band

Local Electronic Duo Petaluma Explores The Shadow Side of Pop Music on Debut LP, Set to Play Two Shows in Sacramento This Month • May 13 & May 23, 2017

Local experimental electronic band Petaluma will be celebrating the release of their new self-titled LP with two shows in Sacramento this month. Following a show at The Press Club on Saturday, May 13, 2017, with Death Party at the Beach and Sunhaze, Petaluma’s official album-release party will be a free show on Tuesday, May 23, 2017, at LowBrau with Ben Browning of Cut Copy. Petaluma started in 2013 as a two-piece music production duo made up of multi-instrumentalists Rob Habel and Pat Sweeney, but the group has grown since then and they are now a five-piece band. Petaluma’s first release is a combination of dark alternative electronica, psychedelic pop and ambient chillwave. Come out to either of these shows and prepare for a unique live music experience that combines calming and mesmerizing electronic riffs with on-the-spot improvisation. The show at The Press Club on May 13 starts at 6 p.m. and is for ages 21 and over. Tickets can be purchased at the door. The album release show at LowBrau on May 23, 2017, starts at 9 p.m. and you must be 21 or older to attend. Entry is free. Stream Petaluma’s album via the Bandcamp player below.

**The write-up above first appeared in print on page 8 of issue #239 (May 8 – 22, 2017)**

No Shelter Here

A Lot Like Birds, Not to Reason Why, Early States, The Dreaded Diamond, Cryptics

Friday, Jan. 21, 2011 – The Refuge – Sacramento

Words by Bobby S. Gulshan – Photo by Cait Loper

The Refuge played host to an eclectic bill of hard-hitting bands from around Northern California. The Cryptics, a three-piece from Santa Cruz, Calif., opened the evening with a set of tunes that combined bite and sweetness. Part power pop, part jagged punk rock, The Cryptics relied on pulsing, driving rhythms and machine gun staccato guitar riffs. As the audience trickled into the space that serves double-duty as a Lutheran Church, the Cryptics took the chance to warm the crowd and prepare them for the night.

The Dreaded Diamond brought an unexpected hint of soul to the evening. The two-piece brother and sister act–featuring Juli Lydell on keys and vocals and Tyler Lydell on drums–combine a heavy percussive attack with melodies that at times soar and at other times lilt with emotional fragility. Despite only featuring two people on stage, there was no lack of presence. Juli’s stage persona is magnified not only by precocious lyrical content, but also her witty engagement with the audience. Songs like “Alphonse Muca” contain enough complexity to run the gamut from indie folk to soulful pop, making you wonder what Natasha Bedingfield might sound like if she had street cred.

Early States brought an air of big stage pomp, featuring a lighting rig and stage smoke that would be appropriate on an arena tour. However, the big-time stage setup was justified by the bright energy the Sacramento three-piece brought to the audience. A faithful cadre of fans crowded the front of the stage and danced to the techno-infused pop and sang along to infectious choruses. Early States sound relates to that of Muse without the paranoia, and in fact presents an epic send-up of an emerging generation flush with optimistic possibility. Fans sang along to “Stop Calling Me Out,” the chorus of which describes defiance in the face of frustration and judgment. The band ended with “Smoke in My Eyes,” a song driven by a jangly guitar riff reminiscent of classic U2 and a perfect coda to an energetic set.

“We’ve been called ‘moody,’” said Not to Reason Why guitarist Ian Simpson. In stark contrast to Early States, Not to Reason Why, a four-piece instrumental group from Petaluma, Calif., enveloped the venue in a sinuous darkness, like objects roughhewn out of obsidian. Combining hauntingly gentle piano melodies and arpeggiated guitar lines, Not to Reason Why lulled the audience into a reflective moment, and then would lambaste them with sonic dirges that would be well suited for the soundtrack to the end of days. The final tune, “Good Afternoon,” began with the bass player picking up a guitar, and the drummer switching to bass, as the band wove a tense lullaby that eventually arrived at epic, post-metal bombast as the drummer returned to his post and stark white light enveloped the stage during a powerfully sludging finale.

A Lot Like Birds closed out the evening with their pummeling brand of hardcore. The screams were accompanied by the melodic wails of Kurt Travis, formerly of Dance Gavin Dance, and the twin vocal attack added depth to the presentation. A Lot Like Birds convulsed with tense energy, attacking with a sonic barrage. Most of the songs they played remain untitled, but what’s vital is the energy. A Lot Like Birds are technically savvy, and some of the tunes proceed with a barely controlled chaos, as if it will fall apart at any moment, only to turn on a dime and crush you with a driving breakdown. These guys can play, and they definitely left a pint of blood up on that stage. The audience was whipped into frenetic frenzy, head banging and writhing to every single break. The final tune, “My Body at War,” drove the crowd into a swirling mosh pit. The pure catharsis of A Lot Like Birds was the perfect exclamation point on an evening of wide ranging sounds.