Down Home Cooking from Sacramento Chefs

It’s not always sunny in Sacramento. In fact, lately it’s been bone-chillingly cold. A drop in temperature in this city not only means more layers of clothing, but also ignites a craving for some warm, home-cooked meals. So, when the weather outside is frightful, or it’s just too cold to give a damn, skip dining out and show your kitchen some attention. Submerge asks head chefs from various restaurants in the area to share some family recipes they’ll be serving around the dinner table this holiday season. And even this writer plucks a page from her own recipe book for a meat-free tortilla soup, a perfect, spicy solution for any rainy day.

Arroz con Pollo

Matt Brown | Head chef at the Golden Bear
2326 K Street, Sacramento
Goldenbear916.com

Chef Brown’s ingredients:
4 cups chicken stock
Chicken
1 pasilla pepper
1 Jalapeño
1 yellow onion, chopped
2 cups of rice
Achiote paste
Salt and pepper to taste

Former 58 Degrees and Holding sous chef Matt Brown just started as the head chef at the Golden Bear four months ago. Brown says anyone can whip up his mother’s recipe for Arroz con Pollo, or chicken with rice.

“I love cooking dishes at home that take a good amount of the day and end up heating the house for you. Sear some chicken legs off in a pan, just browning the outsides. Meanwhile, in a blender, blend the peppers into a paste. In the same pan you cooked the chicken, sauté a chopped yellow onion with two cups of rice and brown the rice slightly. At that point, add your chicken stock and your chili paste. Mix in some Achiote paste into the liquid and add your chicken back into the sautéing rice. Bring it to a light simmer, put the lid on your pot and let it cook for 35 minutes, [then] turn off heat and let it sit for five minutes.”

Gingersnap Gravy

Ed Roehr | Owner and head chef at Magpie Café
1409 R Street, Sacramento
Magpiecaterers.com

Chef Roehr’s ingredients:
4 cups of chicken stock
20 gingersnap cookies
Half an onion, chopped
1 oz butter
2 tbsp apple cider vinegar
Thyme, chopped
Salt and pepper to taste

In Roehr’s own words: “If someone finds the need to make a turkey or roast a chicken, this gravy will go really well. This is something that was a family recipe my grandma would make. This is cool and kind of a twist on chicken and turkey gravy for the holidays.”

Put the cookies in the blender until they’re a powdery consistency. Brown the onion with some butter in a pan until soft. Once the onion cooks in the pan, add the powdered cookies with one ounce of butter. When the butter melts, add the stock and two tablespoons of apple cider vinegar. Last, add some chopped thyme and salt and pepper to taste. Roehr says any gingersnap cookies will do, whether they’re from a box or a natural food store.

“My grandma made it every holiday. We always had this ginger gravy on the table for everything. It’s good on potatoes, it’s good on the turkey, it’s good on chicken [and] it’s good on rice. It’s a very distinctive flavor. Actually, it’s been a while since I’ve had it. I’d like to have some now.”

Winter Chicory Salad With Crystallized Cranberries and Blue Cheese

Patrick Mulvaney | Owner and head chef at Mulvaney’s B & L
1215 19th Street, Sacramento
Mulvaneysbl.com

Chef Mulvaney’s ingredients:
Mixed chicory from Riverdog Farms
Shaft’s bleu cheese of Nevada City found at the Sacramento Co-op
Toasted walnuts
Cranberries
Sugar
Egg whites
Mandarin vinaigrette

Patrick Mulvaney grew up on the East coast, so he’s accustomed to fresh, Dungeness crab season, but there’s one tart berry that brings sweet memories of his mother, and ultimately inspired this eye-appeasing salad.

“This is a dish that my mother used to make around Thanksgiving and Christmas. My mother would leave a bowl [of extra cranberries] in the kitchen that everyone would eat. This works with romaine lettuce, arugula or chicory. The stars of the show are really the cranberries that go on top. If you do it with arugula, it kind of looks like a Christmas tree, right? You have the green, the little red balls and the white chunks of blue cheese throughout.”

For a bowl of encapsulated, sugary cranberries, use one cup cranberries, one cup granulated sugar, two egg whites and two tablespoons water. Whisk water and egg whites together until blended, but not frothy. Dip cranberries into the egg white mixture and then roll them into a bowl of sugar until fully coated. Set the cranberries on a plate or wax paper and allow to air dry for up to two hours.

If you’re feelin’ extra saucy, make the mandarin vinaigrette from scratch. Mulvaney’s tips include one part acid, three parts olive oil, one shallot, two garlic cloves, one spoonful of Dijon mustard, one mandarin, salt and pepper to taste. Vinegar is optional.

“Drizzle in the oil slowly. I usually use regular olive oil. If the mandarin’s are tart enough, you don’t need any vinegar. If they are sweet, you just use a little champagne or white vinegar to bring that acid level back up.”

Tortilla Soup with Cilantro-Lime Tofu

Steph Rodriguez | Amateur chef by day, writer by night

Steph’s ingredients:
1 cup chopped cilantro
1 white onion
1 can black beans
1 cup corn
1 package extra firm tofu
1 jalapeño
2 green peppers
14 oz veggie broth
2 8 oz cans tomato sauce
1 14 oz can diced tomatoes
2 tsp olive oil
2 tsp cumin
1 tsp chili powder
1 tsp cayenne

I love soup; especially tortilla soup. But, as a vegetarian, it’s hard to find non-chicken tortilla soup anywhere around this town. So, I forgo the restaurants and make my own with cilantro-lime baked tofu bits. It’s a hearty take on a classic recipe that can also be labeled vegan if you leave out the cheese and corn tortilla toppings. But this writer loves cheese. Sorry vegans.

Soup:
Start by roasting your onion, jalapeño and green peppers in the oven at 350 degrees for 15 to 20 minutes. Once done, throw the jalapeño and peppers into a plastic bag for five minutes so it’s easier for the skin to be peeled. Throw the onion and roasted peppers into a blender and blend until smooth. In a large pot, add your liquids over medium heat, blended chili paste and spices. Stir everything well and let the soup simmer for half an hour, watching closely. When it’s done simmering, add in the black beans, corn, half-cup cilantro, tofu bits and let the soup simmer for another 10 to 15 minutes. Lastly, fry up some corn tortilla strips, sprinkle cheese and cilantro for garnish and enjoy.

Tofu:
The trick to a well-marinated tofu is pressing all the water out of your block. Squeeze the liquids out by pressing with your hands and then finish it off by squeezing the block between paper towels. Slice long, thick rectangles and marinate for up to two hours. The marinade calls for one tablespoon olive oil; a quarter-cup lime juice; two cloves garlic, minced; two tablespoons chopped cilantro; two teaspoons chili powder; a pinch of cayenne pepper and of course; salt and pepper to taste.

NOFX

Ace of Spades, Sacramento – Monday, Dec. 10, 2012

I haven’t witnessed a local venue more packed full of music fanatics than at last Monday’s NOFX concert.

Ace of Spades on R Street hosted an endless sea of punk rock music lovers when NOFX came to town Dec. 10. Other performances were courtesy of Teenage Bottlerocket, who tipped their hats to a Groovy Ghoulies song, and the guys of Elway all the way from Fort Collins, Colo. Many attending the show huddled shoulder to shoulder, corralled into the 21-and-over smoking section, others stood trying to get the busy bartenders’ attentions, but the majority were planting themselves near the stage, finding the perfect spot to watch NOFX’s performance.

When I first found NOFX, I was about 15 years old. I lived in Bakersfield, Calif., and I was immediately drawn to their Neapolitan-colored album, So Long and Thanks for All the Shoes. I’m not sure if it was the fast-paced percussion or the nasally sound of vocalist and bass player Fat Mike that I loved, but as I continued to listen, I appreciated the fact that the guys could actually harmonize.

Flash-forward 12 years, I’m in a different city and my CD resides somewhere in my overstuffed closet in downtown Sacramento. Still, after more than a decade, I have a soft spot for all of NOFX’s music, especially songs like, “Lori Meyers,” with those raunchy female guest vocals, or the epic, 18-minute classic, “The Decline.” Even though neither tune was performed live last Monday, El Hefe, Fat Mike (who isn’t so fat anymore, by the way), Eric Melvin and their longtime drummer, Erik Sandin killed every hit they chose to perform. If I was 15 again, and not able to legally purchase shots of Jameson and pricey beers, I would’ve been found front-row center having my ribs crushed by the safety bar. However, I do like beer. So, my boyfriend and I decided to stand on these cushioned, black seats and sing along while sipping along. Songs like “Stickin’ in My Eye,” “Eat the Meek” and “Dinosaurs Will Die” were of the most memorable of the evening for us and our ribs felt A-OK.

Their latest album, Self Entitled, just released September 2012, has yet to find its way into my heart, and I don’t know if I chalk it up to being a NOFX snob, sticking to all things classic, or if I’ve become a lazy listener. But I still think the boys have their routine down to a T, and that can be heard throughout their 2009 album Coaster, and heavily in their song, “Orphan Year.” During the song, the widely known four-four drum beats pep up the story of a man who’s lost both his parents, a mother to cancer and an absentee father who had dementia. If you, like me, stick to the old albums like Pump Up the Valuum or Punk in Drublic, stop and give Coaster a good listen.

For a band that has performed together for almost 30 years now, and not getting much younger, the men of NOFX still put on a kick-ass show filled with raunchy jokes, stage banter and Hefe still wails on his trumpet, which I know will always be sweet music to my ears.

Track Fighter reap the benefits of 10 years of hard work

Ten years ago, Track Fighter frequented old venues like the Underground in Roseville, writing material at the time guitarist and only original member Dino Vidovich describes as “emo, metalcore shit.” On top of their dissatisfaction over the sound the band represented, members were at odds, forcing a new incarnation of Track Fighter to emerge with new members, including guitarist Mike House, vocalist TJ Chopelas, drummer Jeff Wathen and bassist Bobby Martin. Yet there’s always the aftermath when a band reforms under the same name. Or the “baggage” as the guys so candidly phrased it in front of Shine coffee house one afternoon. Keeping the same name was ultimately a unanimous decision and quickly motivated the band to start fresh with conviction and purpose. A new sound paired with an idea to expand their fan base nationally mixed with a lot of sacrifice catapulted the five friends into a direction many bands only dream about within the music industry. On June 1, 2012 Track Fighter signed with record label Silent Majority Group, a subsidiary of Warner Music Group. Owner of the label Jeff Hanson, is also the band’s manager and his roster of musical gems includes Creed, Paramore and Sevendust.

“I just have a lot of respect for what they’ve done on their own up until now,” says Hanson of his newest band’s work ethic. “They went out and toured around on their own dime and were able to make it happen just hustling. They did their own radio promotion. And when you find a band wanting to do it themselves, it makes you a little more apt to want to work for them and help them out. Track Fighter deserves their shot.”

And it doesn’t stop there. The guys are set to release their new, five-song EP at the Boardwalk on July 13, 2012 called Revenge, which Chopelas says, “Definitely has a story behind it.” A fitting title for a group who has won numerous awards and even contests presenting opportunities to perform alongside bands like As I Lay Dying, Deftones and more during the Taste of Chaos tour at Arco Arena six years ago. What was once a struggle under their original moniker is viewed between band members as accomplishment and motivation especially when the new EP is mentioned. Not only did members of Track Fighter set out to prove to Sacramento they work hard and are a force to be acknowledged, they ultimately wanted to prove to themselves they deserved a shot to tour internationally or perform alongside bands like Papa Roach or Oleander–and now, they have.

How did you feel learning Track Fighter is now represented by Silent Majority Group?
TJ Chopelas: Oh my goodness. I cried. It was just amazing. It was like vindication. We’ve worked so hard for it. I don’t think people understand that because we aren’t very public about the inner workings of our band. Now we finally have the chance to actually be successful at this. We all want to do it for a career and we’re finally getting the opportunity after all this time. It’s so gratifying. In a really weird, roundabout way, it has finally paid off.

Tell me about recording Revenge in Tennessee.
Dino Vidovich: We were like screw it. We’re going to do everything ourselves. Make the best record we can make on our own. We went out to Nashville, Tenn., and we recorded with Malcolm Springer and worked with him for the last year-and-a-half just getting this thing ready. He’s worked with Matchbox Twenty, Collective Soul [and] Fear Factory. With Matchbox Twenty, the first record they did he mixed and engineered.

How would you categorize the current sound of the band?
DV: It’s hard rock. We just try to appeal to more of a mainstream audience. It’s not all screams, but it’s not all pretty singing either. It’s a mixture of everything. There’s conviction behind it. This is just what we do and what we play and hopefully people like it.

Besides Deftones, what is another band you’ve performed alongside?
DV: We opened for Papa Roach at Ace of Spades last February. It was completely sold out over two nights. They wanted some local bands that were working hard and making it happen. I don’t even know those guys very well, but they picked us and it was this huge honor.

Where do you want music to take you?
DV: I want to play festivals in Germany, all over Europe. I want to come here and sell out Memorial Auditorium and just do the damn thing. Playing in front of 10 people, well, that shit’s fun, too. We have a lot of work to do, but it doesn’t seem like an impossible goal anymore.

What advice do you have for other Sacramento musicians striving to be represented?
DV: It has to be fun otherwise you’re not going to want to do the work for free. But, you have to understand there’s a lot of shit that you have to deal with that most people don’t want to deal with, and they wonder why things don’t happen. A lot of bands and people get discouraged. There’s a lot of hard work for free. For years. Treat your band as a business.

What are you most proud of after all the years of hard work in Track Fighter?
DV: As soon as we got the new lineup, regrouped and did everything new almost immediately we went out on a national tour. The first show was in Reno and then we went all the way to Utah, Colorado, Michigan [and] the South. We toured most of [2009 and 2010]. This is my first real band, and it’s just a matter of time now. We started over with a new incarnation of the band, and we had to win the respect back from everyone. We were going to overcome that, and we did.

Come snag a copy of Revenge at Track Fighter’s CD release show at the Boardwalk on Friday, July 13, 2012 with supporting performances by For All I’ve Done, Overwatch and more. Doors open at 6:30 p.m. with advance tickets at $10 or at the door for $12. The show is all ages.

Sexrat teams up with renowned producer Sylvia Massy on forthcoming album, Masters of Obscurity

Rock ‘n’ roll is alive and well.

It’s heard in the echoes of music from past greats and pulses between the new musicians of today. With seven years to their credit, Zach Goodin, Marc Kallweit and Devin Hurley of Sexrat look forward to releasing their second album, Masters of Obscurity this fall. A three-year labor of love in the making, the album was recorded at a 1900s vaudevillian theatre in Weed, Calif. that is now converted into Radiostar Studios by avid instrument and gear collector Sylvia Massy.

Not only is Massy known for collecting pieces of rock ‘n’ roll history, she’s also known for producing tracks for multi-platinum musicians such as Tool, Tom Petty and the Heartbreakers, R.E.M and more. What’s more is her collection of vintage gear and equipment, which, according to Sexrat guitarist and vocalist Goodin, all have a story behind them.

“She turned a 6,000-square-foot art deco movie theater, like a small version of the Crest [Theatre], into a recording studio with tons of vintage gear,” explains a smiling Goodin, his eyes gleaming with excitement behind a pair of dark shades. “Every piece of equipment has some crazy story like, ‘Oh, I got that from the Stones,’ or, ‘I got that from Led Zeppelin.’”

Strumming guitars held by respected rock ‘n’ roll pioneers and turning up the amplifiers created custom by companies like Marshall or Mesa Boogie for some of the biggest names in music history kept inspiration flowing during their time in Weed. Goodin says having access to Massy’s never ending collection of rock ‘n’ roll trinkets set the tone during Sexrat’s recording sessions.

“This place, just the vibe and the acoustics, makes for a way bigger sound,” says Goodin of Radiostar Studios. “We took our time doing it and [the album] sounds great. They’ve got great gear up there and they’ve got a good ear, so they really push you to do your best.”

The 12-song album, recorded by Massy and her main engineer, Rich Veltrop, features Bud Gaugh, drummer of Sublime and longtime friend of the band’s, and also Gaugh’s wife Nicole Hutcheson. Goodin met Gaugh while living in Southern California playing music for various bands and says Gaugh even hooked Sexrat up on tours with musicians like Matisyahu, Pepper and Fishbone.

Although Goodin says the band felt like “the redheaded stepchild” of that particular tour last summer because Sexrat sounded the least like Sublime, he feels shows with a fixed audience are perfect environments for his band, because it exposes them to a variety of listeners. At the end of the day, Goodin and the rest of Sexrat just want the opportunity to connect audiences to their music, despite genres.

“We get tied into the reggae rock scene, but that’s not really what we’re doing,” explains Goodin. “Maybe a little bit, but I would say we’re probably more psychedelic rock. We’re not really a reggae band.”

And they’re not.

Sexrat jam, intermingling neo-psychedelic organs with guitar solos, effects pedals and catchy lyrics prominently in their song, “Made in China.” The song features Gaugh on drums alongside Sexrat’s drummer, Hurley, who often plays keyboards simultaneously and is now adding backing vocals to his list of duties. But, at the moment, Goodin says his favorite track off their new album is “Walk of Shame,” a song he says is always fun to play. Packing a variety of sounds, the song starts off with surf rock-style guitars, mellowed out with the introduction of Goodin’s vocals resonating in ‘90s alternative rock, and then finished with hard-hitting drums.

“We’re all in our mid-30s, and we are a product of the ‘90s. That’s true to our sound,” says Goodin trying to pinpoint Sexrat’s genre. “We’re kind of hard to categorize. We cover a lot of ground. It’s all just music to me I guess, but we all have our own way of playing and together that’s what makes our sound.”

Photo by Marc Thomas Kallweit

When they’re not rocking stages up and down California, the guys of Sexrat spend time in town with friends and family and Goodin has even acted as musical teacher and coach to the girls of punk rock duo Dog Party. He says witnessing sisters Gwendolyn, or his preferred “Gwenny,” and Lucy Giles’ eagerness to just play music and learn is refreshing to see in the youth of today. Especially as he and his two band mates continue to perform after all these years.

“I’ve been playing since I was 10 years old,” remembers Goodin. “It’s the same old guys that play music [in Sacramento]. As we get older, we see who’s more dedicated–like all those guys from Kill the Precedent, we’ve all played the same backyard parties with the Filibuster guys; it’s cool to see everyone who’s still playing.”

Although their album isn’t set for release until later this fall for those outside of Sacramento, Sexrat will be performing at next week’s Concerts in the Park series alongside Relic 45, Reggie Ginn and more. The guys will also have fresh copies of Masters of Obscurity for sale at Cesar Chavez Park offering those in attendance first dibs for an early listen. After their performance at the park, the guys of Sexrat are off for a weekend of music in Goodin’s old stomping grounds, Long Beach. But, what they’re really looking forward to is performing at Massy’s annual 4and20 Blackbird Music Festival in Weed.

After spending a year getting to know Sexrat in her massive studio, Massy invited the guys to play the main stage at her event this August alongside bands like Forever Goldrush and Merle Jagger. The two-day festival boasts seven outdoor stages, five indoor stages and myriad genres, vendors and street performers.

“They have managed to capture something rare in today’s musical offerings–true honesty,” says Massy of Sexrat. “They are organic, gritty and melodic. They are fun, and yet they express deep emotion in their music with inspired performances coming directly from the heart.”

Photo by Photo by Marc Thomas Kallweit

Sexrat will play Friday Night Concerts in the Park at Cesar Chavez Park in Sacramento on June 15, 2012. To get up-to-date info, like the band on Facebook at http://Facebook.com/sexrat.

Placerville’s Element of Soul Getting What They Deserve

For some musicians the thought of living with fellow band members seems more like a detriment to not only personal space, but to the creative process itself. For the guys of Element of Soul, five members living together over the past two years in Placerville not only has strengthened their bonds as friends, but inspired a common spiritual search and heavily influenced their first full-length album, E.O.S,. set for release April 20. Wanting a more in-depth experience into the recording process, EOS turned to a couple of old school rock ‘n’ rollers, Mark Harmon and Bruce Spencer of the 77s, who double as producers at Blue Limit Music recording studios in Rocklin. With over a year in the studio behind them, the time is now for Mike O’Briant, Ben Moore, Chris Brown, Seth Ahern (aka DJ Zephyr), Eric Opdyke and Tristan Brown. But their next test is tightening their living quarters from a house on five acres to a 22-passenger van.

Moore and O’Briant remember being the only young men at their junior high school dances busting moves on the dance floor to Michael Jackson’s “Billie Jean,” so naturally they became friends. Later in life the two would also find themselves sharing vocal and guitar duties in EOS. The six band members ultimately found each other linked through Ponderosa and El Dorado high schools, first playing as a three-piece acoustic band with the addition of Chris on bass. But what truly solidified EOS as a band, according to O’Briant, was adding in Opdyke on drums, Tristan on lead guitar and DJ Zephyr on the ones and twos, completing the elements of their family in 2009.

“We’ve always wanted to do something that we enjoyed and understood that it was going to be out of pocket,” O’Briant explains. “You have to pay to play. You have to deserve it. And, we finally did it.”

When asked about categorizing their genre, O’Briant and Moore were reluctant in choosing just one. Sure, EOS brings the reggae feel to a live performance and yes, there’s plenty of acoustic elements, but what was to come, I wasn’t even prepared for.

“Right now, we have ourselves listed as reggae-folk-pop-rock,” O’Briant laughs. “Did I just blow your mind?

“The reason we say folk is because we have that acoustic aspect, but we’ve always been reggae and we’ve always put our own twist on it. More than anything, it’s the vibe and the energy that surrounds us with reggae. It’s pop because you can sing along to it.”

They started recording their 11-song album last March with Blue Limit Music’s Spencer and Harmon, who told the guys they were “a little rough around the edges” according to O’Briant. But that honesty is just what EOS were searching for when choosing a studio to trust with their first album.

“We definitely signed up for more than just an album. We wanted to do it our own way,” O’Briant explains. “We’ve always been about family and home. We found some guys who were interested in helping us grow, rather than just put an album out. So, that’s why we’ve taken a year and taken step by step. There’s no need to rush anything that doesn’t need to be rushed.”

With good reason. Songs off the album like “The Movement” capture what each member of EOS brings to a sound they have spent the past three years perfecting.

“Right now, ‘The Movement’ blows my mind. It was the first song that completely gave me chills and gave me that outside perspective,” O’Briant explains. “I just close my eyes and got chills. It made me feel amazing.”

The song’s light, acoustic introduction marks the times when the band was in its infancy as a three-piece, then layered with DJ Zephyr’s 10 years of expertise in sampling and scratching. O’Briant’s spoken-word style delivery on vocals is complemented by the accents on guitar by Tristan, which then introduce Moore’s approach to the microphone singing melodies within the chorus, his voice reaching higher pitches as the song progresses. Call and response are how these two vocalist split time within a song equally, all kept on beat by the jazz-style percussion of Opdyke and the groovy-bass lines of Chris.

“With six members in a band, the studio process has helped us find where we need to be in the song. We all find where we need to be. Find the space and appreciate it,” O’Briant explains.

Moore adds, “During the whole album, we definitely swing a lot of different ways with the feel of the songs,” he says. “It’s a lot of self-improvement, self-empowerment, stand up for yourself, speak your mind and love yourself.”

And this philosophy rings true for the whole band thanks to a little band meditation courtesy of their spiritual life coach Dr. Kim Clarity, who has visited the band at their home in Placerville to assist them through guided meditations. Moore says these meditations helped them find a stronger bond, open better communication with one another and overall learn to coexist peacefully. The band also took time out together in 2011 to attend a three-day seminar sponsored by Dr. Clarity, dedicating 12 hours each day.

“It was a nice realization of somebody that was a really positive and spiritual person who was telling us that we have good energy that we need to harness and use for a good cause,” O’Briant explains. “She even said for six grown males to be able to get together and not be at each other’s throats is a blessing and you need to be able to share that with the world. From then, it took on understanding.”

They live together. Perform together. And even meditate together. The members of EOS thrive off of their newfound oneness and have all become certified teachers of meditation. O’Briant and Moore adorn malas around their necks during the interview, Buddhist prayer beads used to count the number of times a mantra is recited while meditating.

“I think it’s a blessing that we’re able to communicate as well as we do and we’re able to get along. It’s amazing, and we thrive off that,” O’Briant explains.

Yet, the six who make up EOS also thrive off of their music, which they say, is the constant throughout their days with booking their first three-week tour from San Francisco to Long Beach, recording and releasing their album in addition to writing new material with plans to go back into the studio for a 6-song EP release.

“The biggest thing you can hope for in music as a band is to be unique and original. You don’t want to be classified, because that’s what makes it interesting and different. There’s no point to listen to a song that you’ve already heard by a million different artists.”

Moore adds to O’Briant’s sentiment, “[Our music is] full of self-expression. There are no limitations. I just play music that I feel inside me,” he explains. “Everyone’s already played everything. It’s just more self-expression. How do you express yourself?”

To follow the band’s travels on the road and get more information, go to Facebook.com/elementofsoul. Catch them live at Cesar Chavez Park on May 25, 2012 as part of Downtown Sacramento Partnership’s Concerts in the Park series. Also playing is ZuhG, Playboy School and DJ X’GVNR.

Sizzling Sirens teach Sacramento how to shake it

Silky bustiers, black feather boas, strings of pearls and a random pair of motorcycle handlebars made of PVC pipe are painted silver and lay on the floor. A gold vintage sofa rests near two racks lined with handmade costumes, including bras stitched with imitation cash and coins. Beneath a clutter of buttons, jewelry and a tower of sewing knick-knacks appears to be a desk–a typical day at the office, if you’re a Siren. This is the headquarters of Sacramento’s only active burlesque troupe, the Sizzling Sirens, a team of 10 women ranging in ages 19 to 43 years old, each radiating with a flare that is uniquely her own.

A little vaudeville filled with theatrical satire and brought to life with provocative striptease and choreographed dance numbers defines burlesque entertainment in the simplest terms. But when Jay Siren founded the company in March 2008, she envisioned this classic genre of performance art with a couple modern alterations. Siren started teaching her first round of classes at The Press Club later that year, eventually gaining more students and at the same time finding some of the first members of Sizzling Sirens.

Since its infancy in 2008, the Sirens have built a reputation within the local music scene and around town by performing alongside bands like Agent Ribbons and Goodness Gracious Me in addition to corporate parties and events. What’s more, the gals now have a regular live show each month at Harlow’s centered around a theme, and if they ever need a live band, they turn to the veteran jazz musicians of the Harley White Jr. Orchestra for support.

“I think the greatest misconception about burlesque that we run into all the time is, ‘Where’s the pole?’” explains Jay, her off-the-shoulder black T-shirt revealing tattooed leaves spreading down her right shoulder. “For us, burlesque is burlesque-fusion. The way that we do it is a little bit different than the way that you see most burlesque presented nowadays. We take elements of everything that we love about the culture, genre and history and make it our own, mixing past and future ideas. A striptease is part of it, but in the sense of using your costume as a tool to engage your audience as though it were a prop.”

Since moving the Sizzling Sirens troupe into a gray, Victorian building on J Street last April, an idea to form a Performance Series of classes, catering to those interested in learning the art of burlesque with the opportunity to perform alongside the Sirens, was created.

Indiana Bones, Georgia Fire and Sass Herass are all present during this afternoon’s Burlesque 101 class, a one-hour introduction course into the Sirens’ world of burlesque-fusion open to the public. Each woman planted on the wooden floor of the small dance studio routinely stretches her legs and arms before claiming her space, waiting to warm up with the day’s basics.

“Alright Sass, teach us some class,” says Jay clapping her hands together like an athlete ready for the next play.

Herass, wearing hot pink spanks that read, “Dance all night,” across her bum, complete with black fishnets, tall black boots and a tilted fedora, is the instructor leading the workshop this week.

Ginuwine’s “Pony” blares from the studio’s sound system and the Sirens begin loosening their hips in a circular motion to the music. Each woman follows Herass’ lead as she keeps time out loud through the steps of the warm up. Now with Etta James’ “W.O.M.A.N” changing the mood of the workshop within the small Midtown space, the four slowly bend forward to stroke the frames of their shapely legs with both hands before gracefully lifting their arms in the air like ballerinas. Using one hand, the Sirens trace the outlines of their faces, then across their chests and eventually following the curves of their bodies. Every move the same, yet differently interpreted through the personality of each Siren.

The newest member to the troupe, Fire, watches her moves in the mirror, her limbs naturally following the flow of the lesson as Bones practices pinup faces while dancing, her short red hair ornamented with a big, white bow. Jay’s once straight black locks begin to curl as the warm-up progresses, sweat glistens down her throat as she attacks each move full out. Herass, who has taught dance over five years, emanates hip-hop in each move she teaches.

“One of our biggest things that we try to reiterate is to honor your spirit and your character,” Herass says. “It’s something that I think is really important, especially with women, we are made to feel like we are supposed to fit one cookie cutter mold and burlesque is about taking what you have and accentuating it. We’re not trying to hide, or diminish anything, just being proud of who you are and what your body is and just adoring yourself. And, that’s something that I’d really like to share with everybody else.”

Through the classes Sizzling Sirens hold every week, whether its Burlesque 101, Cardio Burlesque (which is exactly how it sounds), or the Performance Series, the Sirens believe any and everyone, with the right instructor, can learn everything from how to properly shimmy to how to incorporate props into the steps, adding a personal tease to the routine.

“I would like to stress that most people come in with absolutely no theater or dance experience and they have a blast. You seriously do not have to have any dance experience to enjoy the classes. Literally, everything is all-levels. You can walk in, gain an understanding and find a challenge and enjoy it. Truly, you can enjoy this without ever having done it before,” explains Jay, fanning herself at the close of class.

And it’s true according to Fanny Coquette, a 43-year-old Siren joining the cast last August, who took her first class with Sizzling Sirens on a dare from her husband and looks forward to February’s “Good, Clean, Dirty Fun”-themed performance at Harlow’s.

“It’s just fun. It’s fun to step outside of who I am and be 100 percent who I am,” explains Coquette. “When you get older and have a family and have a regular job, there aren’t very many venues to push that line of ‘I don’t care what you think of me.’ So, it’s a great venue to relax and have fun and not worry about what other people think.”

Together Sizzling Sirens witnessed members from the first cast come and go, but have continued to grow in numbers as well as expand their reputation outside of Sacramento, performing at the DNA Lounge in San Francisco during its monthly Hubba Hubba Revue series, named one of the Top 10 Burlesque Shows to see around the world by the Travel Channel.

“I’ve never seen a group of 10 women get along and support each other creatively and emotionally,” says Jay. “Through the process of burlesquing together and learning how to create together, we’ve all become friends.”

Sizzling Sirens Burlesque is located at 2419 1/ 2 J Street. Hour-long Burlesque 101 and Peel and Reveal classes are taught on Sundays (at 1 and 2:30 p.m. respectively). Cardio Burlesque is taught Tuesdays from 5:45 to 6:45 p.m. For more info on their Performance Series Workshop, go to Sizzlingsirensburlesque.com. If you prefer to watch the girls in action, check them out at Harlow’s for their “Good, Clean, Dirty Fun”-themed performance on Feb. 16 at 9 p.m. Tickets are $12 in advance and $15 at the door. 21-and-over only. You can also catch the Sirens the first Friday of every month for Fishnet Fridays at Dive Bar.

Anton Barbeau, Scott Miller / After Excreta, Side Effects

Javalounge – Wednesday, Dec. 28 & Thursday, Dec. 29, 2011

DCOI, a punk rock band based out of Davis, just finished hanging their black and white banner last Wednesday night at the Javalounge when an argument between members of the band and venue owner Toben Woodman took place, ending the evening of music immediately.

After Excreta from Vacaville, Calif., and Side Effects of Oakland performed at the Midtown coffee house, more than 30 attendees waited for DCOI to close out the night, but when words between the band and Woodman during stage setup escalated, the evening of punk rock music was sealed with missing equipment, damaged property and plenty of angry show-goers.

“I’m not going to point the finger at anybody, but there were only like five people left in here, so it’s a real short list,” said Woodman about the missing equipment and added a group of people threw chairs into a dumpster and broke the venue’s signs.

“The PA’s missing, dude,” was overheard within the crowd of people congregating on the sidewalk in front of the venue.

“That particular style of music is more aggressive punk rock,” Woodman said. “We, me, I, the Javalounge, allowed that to happen here because we were reaching out to them. I am not reaching out to them any longer. They will not play here until my stuff is returned and even then, it’s debatable.”

Submerge’s attempts to reach DCOI for comment were not answered as of press time.

Other items broken that night, according to Woodman, were smashed microphones and chords.

Scott Miller

Despite a missing PA system, the show planned for the following night with Scott Miller and alternative rock singer/songwriter Anton Barbeau was still a go.

“I was going to go borrow the money if had to, to get another [PA system] because that’s what we do, the show goes on,” explained Woodman. “Fortunately the community reached back to us in positive ways and loaned us the equipment and a guy came forth tonight who had heard about what went on last night [and] offered to let us borrow one indefinitely if we need to.”

Thursday night’s show saw a wide demographic of attendees, from salt-and-peppered-haired adults wearing all black to children occupying the big orange sofa. The smell of coffee paired with reverb from the single microphone on stage dismissed the previous night’s incidents as Miller opened the show without introduction, taking requests from the crowd like, “Idiot Son” from the album Plants and Rocks and Things when Miller was in the San Francisco-based band the Loud Family. Not a seat was empty in the coffee shop during his entire performance, which included live excerpts from his book Music: What happened?, a cover of the Beatles’ “I Want to Hold Your Hand” and a duet with headliner Barbeau.

Barbeau, a longtime Sacramento musician, is known for his albums The Horse’s Tongue and Waterbugs and Beetles released in the early ‘90s, but the man has a never-ending musical resume that includes writing and producing the album Bag of Kittens with singer/songwriter Allyson Seconds.

Punk rock, indie or maybe it’s a noise rock booked night at your venue of choice–still the Sacramento music scene is both unpredictable and entertaining. One evening hardcore and punk rock reign supreme within the coffee shops and pizzerias that double as venues, but 24 hours later, the alternative singer/songwriters of the ‘80s are witnessed reviving the classics. Although few all-ages locations exist, it’s apparent from last week’s hiccup that venues will still find a way to put on a show.

Mall walkers had reason to pause during their power walks last Sunday at the Westfield Mall. And no, it wasn’t to watch Santa Claus taking photos with crying babies or ice skaters taking falls at the rink. They paused to see the first Non-Drummer Drum-Off. The event is exactly what its name implies, people attempting to drum like Taylor Hawkins from Foo Fighters but they end up sounding like Animal from The Muppets. In fact, the only qualification of the drum-off was that you were supposed to suck. Even the Facebook event page said if someone was caught practicing before the show, then they would have been automatically disqualified.

Just like American Idol, the non-drummers had to face judges, listen to a sarcastic host and battle to win a prize. The eager non-drummers were going head-to-head for a chance to win a new drum set. At around 3 p.m., a small crowd gathered around a mini stage and bleachers on the second floor of K Street mall in Downtown Plaza that stood in-between the retail stores Express and ZuhG Life (organizers and sponsors of the event). When the show got rolling, most of the audience members ended up being random holiday shoppers, curious workers, or mall walkers who wanted to see what all of the ruckus was about.

The judges, including Matt Mingus from Dance Gavin Dance and Kevin Martinez from Tha Dirt Feeling, had to rate the non-drummers on a scale from 1 to 10 (10 being the highest) and on “charisma and performance.”

The bad drumming started off with Charleeé Wheeler from the local band ZuhG and his attempt to hit the drums like a rock star. Most of the contestants were familiar faces because they were from local bands or people who are active in the Sacramento community, such as Steph Rodriguez from Sacramento News & Review, Alexander Ayers from Prieta, a local photographer named Dennis, Michael Sean Flanagan, Dean Haakenson from Be Brave Bold Robot (who accidentally broke a drum stick while playing) and even our own Jonathan Carabba gave his shot behind the drums. After almost every performance, the host of the event (Blake Abbey from Musical Charis) would make funny, sarcastic remarks about their performance such as, “It’s so bad I want it to keep going,” or, “It wasn’t even entertaining to watch.” After Bryan Nichols, owner of the ZuhG Life store, gave his all playing the foreign instrument, Blake said, “I would rather listen to a whole Nickelback album than listen to that again.” Although the show was not exclusively awkward drumming, the audience members got to enjoy riffs from the professionals like Matt Mingus.

But the show stopper went to a small audience member who was eager to get a whack at the drums. When Blake asked if anyone from the audience would like to drum off, a young boy named Liam not only raised his hand to volunteer but stood up on the bleachers to be seen and heard. After he pulled a rampage behind the drums, he received a perfect score from the judges and huge cheers from the audience. And every time the host would mention his name he would stand on top of the bleachers and give an arm wave of victory. When he found out that he won the contest, he told his proud mom that they are going to need a “bigger truck” to carry his new gift home. Although little Liam arrived as a casual mall visitor, he left as a drumming champion.

Dean Haakenson

Wes Davis

The Non-Drummer Drum Off
Westfield Downtown Plaza Mall, Sacramento – Sunday, December 4, 2011

Jesi Naomi

Steph Rodriguez

Dennis “the photographer”

Jonathan Carabba

Doug Riggs

Michael Sean Flanagan

Alexander Ayers

Liam

Blake Abbey

Matt Mingus

Grady Avenell Returns for first new Will Haven album in years

A calming flow of synthesizer builds gradually, luring in all curious listeners. And for the moment, everything’s serene–but secretly there are other intentions. The role of the antagonist for this song’s tale has become apparent and all are vulnerable; no one is safe. Unexpectedly, the once soothing hum is quickly ambushed by the constant, albeit macabre, pulse of keys chiming steadily like an old grandfather clock at a slightly higher pitch. The sound instantly signals the mood has now changed and there’s no turning back. Melodic guitar suddenly strolls by, equally not to be trusted as the composition is then met by shrieks grave enough to raise the hairs on one’s arms and neck. The screams forever burn images of neck veins into your psyche, and then the music fades. For now, you’ve survived this six-minute dark opus written by one of Sacramento’s most respected longtime metal veterans, Will Haven.

What should have been the perfect theme song to Wes Craven’s A Nightmare on Elm Street had it been written 20 years ago, the track (“Lost” off of Will Haven’s newest full-length album, Voir Dire, translated as “Speak the truth”) is only a snippet of what’s to come from this band in the future. With original vocalist Grady Avenell back at the mic, the addition of keyboard and synthesizer courtesy of Adrien Contreras and a new bass player who happens to be the percussionist for a little band called Slipknot, Will Haven is back on the scene and in full force.

“This record is the starting point to what we can do,” explained Jeff Irwin, guitarist and founding member of Will Haven, at their practice space off of Marconi Avenue. “To me, this album is definitely deeper. When I listen to our old records, I see the skeleton of what we’re becoming. We’re getting older and we’re taking our time now. Before, we put out a record just because we knew we were going to go on tour, but now, recording days have slowed down, we don’t play as many shows and that energy is put into the music and we feel we have a deeper passion for it.”

According to Irwin, throughout what most might see as a four-year stint of silence since the band’s release of new material, the guys of Will Haven have never stopped playing music completely. Whether they were playing in alternate side project bands to fill their musical voids, or deciding to come together to play music in support of a close friend in a coma, Irwin credits the return of original vocalist Grady Avenell for ultimately fueling Will Haven’s passion to once again begin writing and rekindling the family vibe the band was built on.

“We played some of the Chi benefits and I just got the itch to do it again,” Avenell said of the shows developed to support Deftones bassist Chi Cheng, currently in a minimally conscious state after a 2008 car accident. “We talked about it and went forward from there. I’m excited. It’s been almost 10 years since I’ve put an album out and here we have an album coming out. I’m just looking forward to playing some shows and having a good time.”

Formed in ‘95 right after high school, Will Haven have since paved a hard road releasing countless albums and EPs, touring the world with the likes of Deftones, Earth Crisis and Slipknot, where they would find a new member to welcome into their family unit of pure metal: Chris Fehn, percussionist for Slipknot turned bassist for Will Haven.

“He’s been in the band since this record. We toured with Slipknot in 2000 and we just became good friends with him and we’ve been close ever since,” explained Irwin. “He’s really passionate about music, he’s not in it for anything else and that’s hard to find nowadays. With him, he’s like, ‘I don’t give a fuck who you guys are. I love the music. I love you guys. I just want to play.’ And that’s exactly what we want, someone who has passion, loves the band and is here for the right reasons.”

However, touring with world renowned bands such as Slipknot or Deftones kept the band grounded. And instead of rolling up to venues with tour buses and crews of roadies, Will Haven took the more punk rock approach, pulling up in an old van with one goal in mind–to share their music with a crowd of thousands.

“When we did tours like that, I think that made the band what it is. We’d go on tours with Deftones or Slipknot and there’d be thousands of people there, but for us, it would be almost like a punk rock show because they’re in buses and have crews, and we pull up in this crappy, little van and our goal is to try and kill everybody. We aren’t there to sell tickets. We’re there to show people that this opening band just kicked your ass even more than the headliner did. I think that’s what drove us and what kept us grounded; we’ve put in our work,” Irwin said.

With the band’s average age being in the mid-30s, Will Haven recall the days when self-promotion was solely up to the musicians. A time prior to social networks like MySpace or Facebook, where one didn’t just Google a band and decide whether or not they’re worthy, but actually visit a music store, purchase an album and research them at their own discretion. A time when tacking flyers to poles and actually speaking to people in person was prevalent–which later turned into inviting fans personally out to shows. Those days, go figure, are now gone. To the members of Will Haven, this has become a lost art form and they blame the ever-evolving monster that is social networking.

“Before, it was all about the music,” says Irwin. “We started before Myspace, and we’re kind of new to the whole Internet thing, but when we started, you made a demo tape and gave it to a record label and see what happens from there. At our age right now we’ve seen the decline of the ‘rockstar days.’ The labels and getting signed for a crap load of money doesn’t happen anymore. In the late ‘90s it just seemed like that took a shit. It’s a whole different world. So, we got to see the height of [the music industry] and we saw the crash of it, too.”

With more than 10 years of music behind them and an unwritten future ahead, the guys of Will Haven have become a well-respected entity within Sacramento’s tight-knit music scene. Whenever their name is mentioned, conversations of praise and an air of respect are present. Irwin said the band’s local popularity stems from the guys choosing to be true to themselves and to their music, but other local musicians say Will Haven have earned respect because they’ve always kept it real.

“These guys have been grinding it out since ’95, always doing their own thing,” explained Jesse Mitchell of Red Tape/Kill the Precedent and longtime friend of Will Haven. “Since the beginning, they have been following their own path, but still staying true and recognizing Sacto as being home base. We as fellow Sacto musicians respect what they have achieved, not just locally, but worldwide. They have always been good friends with my bands and are cute as buttons to boot. Will Haven will be sonically slapping your face for years to come.”

Will Haven’s Voir Dire will be released Oct. 11 on Bieler Bros. Records.

Der Spazm’s new EP is the culmination of a year’s worth of work

Never expect a band to be punctual.

“Hopefully everyone’s on time,” says Leticia Garcia, lead guitarist of experimental, indie rock quartet Der Spazm, the song “Electric Feel” by MGMT humming at a low volume within the confines of her gold Honda Accord. Bassist and backing vocalist Ashley Maiden rides shotgun; the two band mates chat about the latest Exquisite Corps show and the daily grind of their jobs. This casual, end-of-day gab kills time on the trek from Midtown to Sacramento Rehearsal Studios, where the band practices for their upcoming show at Old Ironsides celebrating the release of their six-song EP, 1000 Days.

Although Der Spazm have only solidified their lineup since May of last year, the band has performed on the steps of the Capitol in support of Sacramento Pride Week, admits they felt comfortable recording their EP in a former insane asylum in Stockton and have several colorful stories to share, like a Bay Area road trip gone terrible–involving barf, bands and a backseat passenger who unfortunately fell victim to said barf. From surviving car accidents together to supporting one another in the heat of Proposition 8, Der Spazm have grown into a tight-knit group of friends who just so happen to play in a band together.

Pulling up to the barbed wire-guarded practice space, Garcia presses a plastic cardkey to a black machine near the entrance, instantly cuing the gate to roll open and granting the two access.

“Never buy the box of 100 band aids at Grocery Outlet. That’s why I’m putting on three band aids right now,” says Maiden, sealing her injured finger.

Once inside, Der Spazm’s weekly routine begins. Drummer Andy Fisher sits behind his kit, idly jamming on his snare drum and high hat cymbals, completely encased behind the beats he creates. Maiden fidgets with her wounded finger and cheap band aids once more before plugging in her bass, and Garcia swings her Gretsch electronic guitar over her shoulder, the instrument appearing heavy on her petite frame.

Arranged orange and black chords, organized tools and guitar equipment hang to the right on one wall, while a U2 “The Best of 1980-1990” poster is tacked on another near the door of room No. 130. A stuffed tiger rests proudly above a PA speaker, its tail dangling down the side. The deep, sloth-like chug-chug of metal-inspired guitar chords erupts from various rooms lining the hallways of Sacramento Rehearsal Studios, whose bathroom still reeks of piss and 99 Cents store toilet cleaner. Back inside their practice space, a makeshift recording filter crafted from a simple wire hanger and an old pair of chocolate-colored panty hose lays abandoned atop a guitar amp.

“Sorry I’m late,” says Dillon Christensen (guitar, vocals), entering the room with the grace of Seinfeld’s Kramer. He sets down a massive, pastel-colored plaid board lined with every effects pedal imaginable: distortion, equalizer, digital delay, blues overdrive, memory toy, digital reverb and a handful of others. Each rectangular-shaped pedal is assigned to a certain spot upon his wooden platform, each holding the ability to immediately transform the sound of Christensen’s guitar with just the mere tap of a foot.

With every member now present, an impromptu jam session quickly begins. Garcia’s long brown locks sway to the momentum her body creates as her hand twitches up and down the fret board, fingers squeezing out euphonious melodies followed by Fisher, crashing in on drums, keeping up the momentum Garcia just developed. Stomping on his distortion pedal, Christensen adds a third layer to the mix, slightly changing the speed and volume of the song as Maiden, with eyes closed, seals the experimental rock base Der Spazm emanates with groovy bass lines and a James Brown swagger as her feet take on a path of their own dancing to the low, supporting sounds of her Fender Jaguar bass guitar.

“I could have had a shitty week and work is fucked, and I don’t want to be home and you feel like the world’s going to end, but then we get together; something about us playing, almost makes it feel like we’re not here, like we’re somewhere else,” says Christensen of the band’s chemistry.

Der Spazm started recording their 1000 Days EP in late November 2010 and now the release show is only weeks away. However, the location in which the band chose to record their EP was a bit strange in itself. On the weekends, the band would drive down to record at an old insane asylum in Stockton, later changing its tune as the Alan Short Center, according to Christensen, an institution for adults with developmental disabilities using the arts, like music, to heal.

“The environment really helped us to focus in and bang shit out,” says Christensen.

“Comfortable in an insane asylum, you know,” Maiden jokingly adds.

But what’s more insane is the wide array of incidents this band has endured in each other’s company. In January of last year, Christensen and Garcia survived a car accident on I and 18th streets. And though they are not to blame, Christensen does admit he was listening to Sonic Youth at the time and he thought I Street was not in fact, a one way street. Fortunately, both survived the accident, but the car ride adventures don’t stop there for members of Der Spazm.

“I went to see the Dodos with the Alcohol Plague in San Francisco. I was the designated driver. They got wasted and we were doing OK on the way home, but we get on the bridge and all of a sudden one of them barfs out the window and I’m laughing, and the guy in the backseat starts yelling, ‘It’s in my mouth,’” says Garcia, laughing at the memory.

Still, in times of misfortune, or in times of strange entertainment involving a little roadside spew, Der Spazm used it all to write track one on the 1000 Days EP called, “Happy Accidents.”

“It’s just about being content with how things are and realizing that things will happen, happy accidents will happen,” says Christensen.

But, while some songs are written from a place of laughter, others take a more political stance, like in their song “Sentinel,” written by Maiden in the heat of Proposition 8.

“I wrote ‘Sentinel’ about all the Prop. 8 stuff that was happening,” says Maiden. “Then, Prop. 8 passed and there were rallies all over the Capitol and California. The queer community just came together and it was amazing. And I was like, ‘Love is born in the heart of revolution.’ I think that was the best drunk line I ever came up with. It can apply to anything.”

Der Spazm may be the most diverse group of musicians when it comes to race, gender and even sexual orientation in Sacramento, consisting of two men and two women musicians, one of which happens to be a lead guitarist. Some work for the state, some are full-time students at Sacramento State, one works construction, while the other is watching the quality of our water and environment. But, regardless of who’s who, the members of Der Spazm collectively agree they just click and their year-long struggle to release a finished package of music has finally come to a close.

“We’re finally getting something out that we’re proud of. This is us. This is just a snapshot of our sound; it’s just who we are,” says Christensen.

Der Spazm will celebrate the release of their 1000 Days EP with Babs Johnson Gang and Mr. Loveless at Old Ironsides on Saturday, Sept. 24. The show starts at 9 p.m. and will cost just $5. 21-and-over only.