Like supporting local artists? Enjoy lining the pockets of normal people like yourself instead of multinational corporations? If so, make the trek to the R Street Corridor and bring the family for a night to remember. For those who’ve never owned anything by any of the vendors in attendance, chances are you will end up making a purchase after touching and holding one of the many artists’ crafts. Just some of the small independent “companies” include Brown Pigeon, Graphic Anthology, Chelseafish Ceramics, Northern Needle Co., Tusk + Cardinal, Revival Vintage Co., Scumugs, Little Saint Soap Co., Rae + Bay Designs, Ingot and Aradia Glass Craft. For the beer enthusiast, Makers Mart has you covered with offerings by New Belgium, Oak Park Brewing and even Berryessa. Let your kids enjoy themselves in the Kids Zone and trade places with your partner while one peruses the artist’s tables and the other babysits. After that, you can watch and listen to some great sets by Pets, Pregnant, Gentleman Surfer, James Cavern, Lunaverse featuring Zoey B and So Much Light. Forget cleaning the house or doing any mundane chores and leave all that crap for Sunday. You’ll thank us later for the tip. Type Walpublicmarket.com/event/rstreetblockparty into your browser for more info.

The Sacramento Comedy Foundation, a local nonprofit organization, will be hosting the fifth annual Sacramento Comedy Festival and they’ve now expanded to a whopping nine different venues. The party kicks off on Oct. 2, 2015, and lasts until Oct. 10 and takes place at regular hot spots like Punch Line Comedy Club, Laughs Unlimited Comedy Club and the Sacramento Comedy Spot. But also the festival includes some non-traditional venues such as the Starlite Lounge, Ooley Theater, Luna’s Café and more. Expect some spirited sets by Myq Kaplan of Last Comic Standing, Mo Mandel from truTV’s Barmageddon, and Rick Overton (actor/writer Emmy Award-winning comedian). There will also be a special Lavender Lights—Gay and Proud show on Wednesday, Oct. 7 at Punch Line Sacramento featuring the hilarious Ronn Vigh (Last Comic Standing). Those who love improv will be delighted that Bay Area group 5 Play will perform two shows in two venues over the first weekend as well. If that weren’t enough, there’s even a Stand-Up Comedy Competition, which will have 60 comedians competing for a generous $2000 purse. Come for one show or buy a festival pass. You won’t be disappointed either way. Check out Saccomedyfest.ticketfly.com to get the lowdown.

Shift in Visage

For Chaz Bundick, the process of designing artwork for an album is as uniquely fulfilling an experience as recording one. The LPs he puts out under his main creative persona, Toro y Moi, reflect this craft, demanding attention to the sleeve and cover, suggesting heavily a certain character before the music even begins. For fans, these are must-buys on vinyl; something to place in a row on their own special shelf, always there for a quick spin and each ready to entertain one state of mind or another. There is the aqueous, ambient pulse of Causers of This, accompanied by murky, dark-hued artwork; there is the crystal-clear, after-hours funk of Underneath the Pine, paired with a playful, intimate cover; and the crackling, caffeinated focus of Anything in Return, alongside bold, warm-toned color visuals. The overall body of work that makes up Toro y Moi can be as alternately vibrant, subdued, contiguous and varied as a coral reef. One might spend countless listens wrapped up in the surface texture of one of these records, and still get the feeling that there are hidden depths behind every hook and melody.

Without sacrificing complexity, the latest Toro y Moi album, What For? (released in April, 2015) burns off some of the layered production of Bundick’s past efforts in favor of a clear-cut, ‘70s rock-inflected sound. The result is as bright and breezy as a cloudless Bay Area afternoon, with analog instrumentation supplied by Bundick himself alongside a who’s-who of names in current indie rock (Ruban Nielson of Unknown Mortal Orchestra and Keath Mead among them). From the swirling synth, guitar and breakbeat leaps of lead single “Empty Nesters” to wistful, Big Star-influenced numbers such as “Yeah Right,” it is clear that his songwriting chops have reached a new level of sophistication. Even so, the record feels effortless, as if this time around, the undertaking was made lighter by experience.

Although still a fresh face on the music scene, making inroads to new audiences with every subsequent release, Bundick has come a long way from the pre-emptive labeling of 2009’s so-called “Summer of Chillwave,” taking stylistic left-turns with each new release and even producing dance music under a pseudonym (check out the excellent 2014 album by Les Sins, Michael, named after Bundick’s dog). In recent years, he’s left his old stomping grounds of Columbia, South Carolina (where he’d once taken classes with Ernest Greene of Washed Out) and relocated to Berkeley, California, which seems to jive well with the light, psychedelic flair of his new work.

Between touring and recording, which he still tends to do in his quiet home studio, Bundick also indulges in design work, including custom screen-printed T-shirts. If there is a dark or turbulent side to his life or his art, it doesn’t show; the man himself can be enigmatic and congenial in equal amounts, like his albums—mellow, but in a cerebral way. One certainty is his passion for crafting a sound or look, and his formidable sense of taste. “Taste transcends the physical world,” he was once quoted as saying. It is this devotion to the discriminating eye and ear that makes Toro y Moi such an impeccable figure on the music landscape of today.

In a few days, local fans will have the opportunity to see Toro y Moi live at TBD Fest in West Sacramento, where his act will utilize the full live-band sound of What For?. It will mark only the second time he’s played a show in the region, the first being an early 2009 performance in Davis, his first-ever gig in California. It goes without saying that Toro y Moi has evolved by leaps and bounds since then, much like Sacramento’s own blossoming local festival. We were able to briefly catch up with Bundick before his appearance on Friday, Sept. 18, 2015, to talk style, early influences, and possible future directions.

What has changed most fundamentally about your idea of the Toro y Moi project since 2009?
My musical process has been constantly changing, but aside from that, my attention to detail has gone up more. I just pay more attention to aesthetics, because there are more eyes on me now. I’d rather make sure everything from the music to the album covers to the merchandise is a cohesive thing, because it’s still me doing all of that stuff. It’s just me and an art director, or me and a friend designing the T-shirts. Not really much more than two people working on a given aspect, so if anything, I feel like my business model overall has changed. I think of it more as a business now. There’s a lot more aspects to think about at all times.

Did you have a similarly distinct vision when you set out with your first album, Causers of This?
Yeah, in a way. I definitely wanted to pay attention to some design aspects. But I really wasn’t thinking—being fresh out of college—about music video quality, or what kind of camera to shoot things on, or what kind of typefaces to use, or trying to stay consistent with all of these things from project to project. I think I was definitely aware of those decisions to some extent when I was just starting out because I was a fan of design in general. But it wasn’t until the second album [Underneath the Pin] where I really started thinking about crafting it better.

Did you discover design or music first when you were growing up?
Probably music, but I appreciated visual art and visual components from an early age. Everything from like, looking through my parents’ album covers to being afraid to look at just covers, to appreciating books and being able to tell if something was watercolor versus just pencil. That has always just stuck with me.

What was the first album/design combination that truly blew you away?
To be honest, I really thought that The White Album was genius when I first saw it. It’s perfect, it’s nothing, it’s a no-brainer. It’s, you know, proto-Apple computers. It’s no coincidence that it was named Apple, with The Beatles and everything. I think that was the smartest thing … It’s part of what makes The Beatles the best band in the world, in my opinion. That and the way they transformed themselves so many times, the way they had so many visual elements from The White Album to other iconic covers like Abbey Road. It was just smart and simple, it wasn’t too over-the-top. I really appreciate the album covers of 10cc and Pink Floyd, the work of Hipgnosis. That stuff is really awesome, surreal and beautiful. Sometimes I feel my album covers should try and reference this kind of surreality, but mostly, I think simple is still the best way.

Where were you headed artistically, both visually and musically, with your latest album?
I think I was just channeling my inner “soft rock” side. I was listening to a lot of Elliott Smith and Big Star. I wanted to make something approachable, basically a snapshot of me. I feel like, for the longest time I was against putting my face on a record, because of different things—me not wanting to be recognized, or things like me just feeling weird about it. For this album I really just wanted to have a quick photo. I’m into records that are just pictures of the artist, that are like quick snapshots, that haven’t been photoshopped or anything—that’s what I wanted to go with.

What led you to create your alter ego Les Sins? Would you create more in the future?
I like the idea of alter egos, because there’s no preconceived ideas about them. It’s hard to really absorb a song when you know that the artist works in a certain way, or has a certain personality so in a way it’s nice to change names like that, but also nice to separate certain music from my main project, Toro. That’s my main reason for changing names … If it sounds too “indie pop,” then maybe I won’t do it as Toro, or if it sounds too “dancey,” I won’t do it as Toro.

Any clues as to the next direction you’ll take Toro y Moi?
I see it going everywhere, from albums that are bigger to albums that are smaller, with me just being behind the board, to me becoming bigger and better performance-wise. I don’t want to limit myself to one direction. I could start other projects, do design work, or produce other artists as well. There’s no telling which way it’s gonna go.

Don’t let your summer fade into the cold, dark night of autumn. Go out with a bang! TBD Fest will be held Sept. 18, 19 and 20, 2015, in the Bridge District in West Sacramento. Toro y Moi will perform on Sept. 18 alongside Tyler the Creator, The Glitch Mob, Purity Ring, RL Grime, the elusive Death Grips and many others. Go to Tbdfest.com for a full lineup and to purchase tickets.

If you appreciate jazz and all it’s complexities, or you have an adventurous ear, you’ll want to check out tenor saxophonist Kamasi Washington’s upcoming performance at Harlow’s. Washington’s latest album, The Epic, came out on the fiercely independent (and mostly electronic) Brainfeeder record label and has already been making waves across the country. Not only can Washington wield a tenor saxophone like nobody’s business, he has already drawn lofty comparisons to such greats as Albert Ayler and even John Coltrane. His latest record peaked at No. 5 on the U.S. Billboard Jazz Albums and has garnered the kind of buzz many jazz musicians would kill for. If “Change of the Guard” doesn’t take you on a journey through time and space, perhaps you may want to get your ears checked. Other equally compelling numbers include the lovely and slower-paced “Isabelle” and the appropriately named “The Rhythm Changes,” which will make many saxophonists and musicians hang up their instruments in utter defeat. Don’t blow it and get out to this show. You will thank us later. For advance tickets visit Harlows.com and for more info, including some mind-blowing music, check out Kamasiwashington.com

You don’t need to love cartoons or any bastardization thereof to thoroughly enjoy yourself at Spike and Mike’s Sick and Twisted Festival of Animation. Thankfully, the new ownership at the Crest Theatre have retained many relationships with previous clients so Sacramentans can experience one-of-a-kind soirees like this one. If you’ve never been to a Sick and Twisted, do not consume any 420 edibles beforehand, as many of the short pieces demand your utmost attention. For the uninitiated, this festival helped kick start the careers of Mike Judge into hyper-drive by including the hilarious Beavis and Butthead series before it became a worldwide phenomenon. If you’re easily offended by anything Spike and Mike have ever created, do steer clear of the show. For the open-minded who have a hearty appetite for things that make you both squeamish and full of laughter, this is the place to be. Tickets are only $15 per day. Come see some of the most gut-wrenching, nauseating and classless pieces you never thought you’d see on a big screen. No outside food or drink allowed so bring some extra cash for some sweets and popcorn to support the venue. For more info on Spike and Mike visit Spikeandmike.com and for specific show times visit Crestsacramento.com

Yukon Soul

Out of all the old soul records that I used to dig deep into crates for back in my early college years, Canadian soul singer Melody Stewart had one that I’ve always kept in mind. It’s the second B-side track on her 1980 album Action Satisfaction, a song called “I Must Say Goodbye.”

It’s a fantastic cut that I recommend readers go listen to whenever possible, but that’s really beside the point. More importantly, Stewart had put me on to other great Canadian soul music that I never would have known existed if I hadn’t stumbled onto that glorious gem all those years ago. The bottom line: Canada had soul, baby. Plenty of it, too. And, to my delight, I was glad to discover that after 35 years, it’s still got some flowing today, perhaps most notably through Vancouver DJ and producer Pat Lok.

Lok is just the latest proof that traditional soul music is now ubiquitous, having transcended its original genre and now occupying an array of different styles for all listeners to enjoy, including EDM. He has grown to become a household name in both Canada and across the globe in the international house music scene. After catching a couple major breaks in 2012—his Cashmere Cat remix was used to open Washington State’s Sasquatch! Music Festival and he was the winner of DFA’s remix competition for his spin on The Rapture’s “How Deep is Your Love,” alongside producer and fellow DJ Cyclist—Lok has been slowly building his self-described Yukon Soul brand of groovy remixes and dance-friendly, deep house originals.

So far this year, Lok has released yet another one of his original tracks—only the seventh over the course of three years—called “All in My Head,” featuring vocalist Desirée Dawson, as well as a handful of new remixes for popular songs like Boxed In’s “Mystery,” Anthony and Cleopatra’s “Take Me” and the Knocks’ “Classic.”

Submerge was recently able to catch Lok over Skype to talk about his distinct style of soul house music, his recent touring schedule (including his upcoming visit to Sacramento’s THIS Midtown block party in September) and how he tries to stay in touch with his local Vancouver scene.

I was listening to your stuff and it definitely has that traditional house sound to it. But it also has a lot of soul and funk undertones to it, too. Where do those influences come from?
Hopefully if someone likes house music, they’ll get down with my stuff. Because I love all that classic house, just from the origins. And I love nerding out on all the history and all that stuff, which really came from disco and which came from soul before that. So yeah, I guess I’d say I make dance music that has a lot of classic house influences and a lot of R&B soul samples. And if not samples, then just similar structures and chords and things like that. I grew up listening to the Fugees. And I got into sort of backpack hip-hop—like Primo and Tribe and De La Soul and all that stuff. So learning about all those samples and then finding out that they were using house music as well was sort of an easy jump. I think I like a lot of those influences, and hopefully they come through in my music. But then at the same time, I never set out to make sort of just super retro stuff. There’s a lot of great music coming out right now, so I’m constantly finding new music.

Do you see yourself putting out more originals regularly over time? Or do you plan to keep the same pace you have going now, where your original works are spread out and dropped every so often in between remixes?
Well, I’ve actually got a few originals that I’m really excited to share with everyone right now starting this fall, really—like over the next month or so. So yeah, I’ve been working on that, focusing on that a lot more this year, and working with different vocalists and collaborations with artists. And that’s also been a really interesting process, because not everyone works in the same way, or sometimes people aren’t in the same city or something. So I’ve got my eye more towards that. Not that I’m going to stop doing remixes or anything. But yeah, hopefully you’ll definitely expect to see more original stuff from me.

OK, so here’s a random geographical question. Since you’re from Vancouver, and since that city is so close to Seattle and Washington State, do you ever feel more ties to the States than you do Canada?
I wouldn’t quite go that far … But one thing that I would say ties into this a little bit is this West Coast thing. People will say, “Oh, you don’t sound Canadian.” But I think it’s a fairly neutral accent for most Canadians, until you get into the interior. But more than anything, it’s like a vibe. People [on the West Coast] are pretty friendly. I don’t know if it’s the warm weather or what, but a lot of the producers I identify with are from the West Coast. So there might be something there. I mean, maybe more so than feeling American. Maybe it’s a West Coast solidarity.

So 2015’s been pretty busy for you. You’ve put out a handful of new remixes as well as an original called “All In My Head.” And I guess you’re touring now, too, right?
Yeah, I just got back. I played in San Francisco and D.C. S.F. was sold out and Washington D.C. was my second time playing there. And yeah, I also did L.A. So it’s been a good summer.

Obviously you’ve been touring internationally this year. Where else have you been going besides Canada and the States?
I’ve done a bunch of gigs in Mexico. Mexico’s interesting because they do have different markets there. They have their own sort of “what’s hot” in dance music, so it’s always interesting to see. I also played in Colombia last year. I think twice I was in Bogota and Medellin. And that was a lot of fun, and super eye-opening.

How are the international crowds different than what you might come across in Canada or the States?
Well, it’s definitely—not less predictable—but I definitely do have to think about [my set] a little bit more or consider where I might be playing … Even mixing styles. Like in South America, I think DJs maybe play tracks for six, seven, eight minutes. And in North America, it’s like boom boom boom boom boom boom. That’s just been the style over the last decade or more. So once you remember that or recognize that, you’re like, “Okay. I can’t just come in and play ten tracks in 20 minutes. I’m just going to lose everyone, it’ll be weird.” They don’t even use the air horn button as much down there. But yeah, the tempo’s different. And maybe it’s because the party culture is different, obviously, in different countries. Like in [Barcelona’s] Razzmatazz, I played 4 p.m. to 6 p.m. And in Bogota, the club closed at 7 a.m. So they know they’re going to get there. There’s no rush.

So I know your show here at THIS Midtown is coming in about a month. What are you looking forward to at that event?
I know that Sacramento has a lot of sort of dance acts that go through, or at least for that block party I’ve heard some good things. I was playing with a Parisian artist named Cherokee, and he had played it earlier this summer. I don’t actually know too much, other than it’s a block party, which sounds really cool. And it seems like it’s pretty regular throughout the summer. Is that correct?

Yup. Starts in July and goes all the way through September on every second Saturday.
Yeah, that sounds rad. I mean, I just did this block party up here in Vancouver. So that sounds like a perfect kind of setting to have a really diverse crowd. But yeah, I’m really looking forward to it. I haven’t spent a lot of time there—I think I went to Sacramento when I was little. And I haven’t really been back. But again, it might be that West Coast thing. So I have an idea of what people might be into, and I guess we’ll see if my assumptions check out.

I know you’ve kind of started your own monthly block party there recently called White Noise Vancouver. Sounds like a real local musical get-together type of thing. And Sacramento actually has a real strong local connection here too. We’re all about it, actually. So can you talk about what supporting your local scene means to you personally?
I think it just goes back to community. And when you have a lot of creatives — it doesn’t matter if you’re a producer, a vocalist or a musician or just people that are sort of trying to express their voice through their creative talents—I think it’s easy to find an affinity with each other because it’s taking of a lot of risks. If you’re just trying to bite whatever’s hot or follow trends, that’ll become quite evident to everyone else really quickly. So it’s interesting that you ask about that. Because there are new producers popping up on my radar, whether on Soundcloud or just locally, all the time. It’ll be like, “Oh, this is some kid in high school here.” And it’s like, “Well, that’s awesome that that’s happening right now.” And the fact that we can sort of find out about that and help support that is pretty important. Because, I mean, it hasn’t always been as open. You go back to like ‘80s and ‘90s and in a classic studio, you needed to have all these tens of thousands of dollars for equipment and studio time and all that other stuff. Whereas now, you can literally just have some wiz in his room. I mean, these are some of my friends. They just sit in front of their laptop up to 12 hours and they’re like, “OK, here’s the finished product.” And you’re like, “Wow. This is incredible.” So who wouldn’t want to support that?

Pat Lok will close out this year’s THIS Midtown series on Sept. 12, 2015, along with Colour Vision, Joseph in the Well and CrookOne. This is a free show that will take place on 20th Street between J and K streets in Sacramento. Start time is 4 p.m. For more info, go to Facebook.com/thismidtown.

There’s truly no end to the amount of amazing events held at Sacramento’s most beloved museum and this special installment is certainly no exception to the rule. Fans of Comic-Con and simply anyone who enjoys reading deliriously entertaining stories should come out en masse to this special Thursday night gathering. Even though it’s wholly and most probably possible that many of the attendees will be wearing outlandish costumes, you’re not expected to dress up (although it is encouraged and appreciated). Of course, the night would not be complete without a costume contest where everyone is a winner and anyone participating is more than likely someone you want/need to meet. Come meet some of the most talented local comic creators at this year’s Crocker-Con event, dance to the sounds of Sleeprockers on the ones and twos, and try and beat some of the best Yu-Gi-Oh players in a tournament that you’ll most certainly lose handily. If you are still into board games and enjoy the occasional comic-based podcast, you really shouldn’t be anywhere else this night. Food specials for all from 5 to 6 p.m. and $5 drink specials throughout the event. Aren’t you lucky? Indulge your senses at Crockerartmuseum.org

Two hip-hop heads are better than one. That’s how the old saying goes, right? Well, such is the case when two local MCs, Mahtie Bush and Kham Raw, joined forces recently for a hot new EP titled No Days Off. Bush and Raw are at their best on No Days Off; they’re both lyrical beasts having cut their teeth in the local scene for years. And by partnering with producers/beatmakers Flawless Trackz, DaSoulOLife and ADOTHEGOD, the new duo has made a super solid five-track debut. Of course, what’s the point of dropping a new release without throwing a party to celebrate? That’s just what Bush and Raw are doing! Head to Blue Lamp this Friday, Sept. 4 to see the two bring the house down along with special guests Kel C’z (of Alumni), Jauwon Pierre and DJ Lahn. The doors open at 10 p.m. for this 21-and-over hip-hop extravaganza that will only set you back $10 at the door. Blue Lamp is located at 1400 Alhambra Boulevard in downtown Sacramento. For more info on this show and future events, visit Bluelampsacramento.com. No Days Off will be available for download via iTunes on Sept. 4. -JC

When I was a kid, back in the ‘80s and on into the ‘90s, the movies I saturated myself with tended to utilize the tried-and-true plot device of the odd couple. Whether I was watching The Adventures of Milo and Otis, E.T., Who Framed Roger Rabbit or The Fox and the Hound, the theme was always the same: opposites attract. This formula, while cliché at times, has a tendency to warm those heart cockles.

In the case of Sacramento-based project Cemetery Sun—who, according to the band’s bio, draw Influence from alternative rock, pop and R&B—key members Josh Doty, singer and songwriter, and Elliot Polokoff, guitarist and producer, fit the profile of an odd pair.

While both Doty and Polokoff have similar backgrounds as fans growing up in the local Sacramento music scene—despite Polokoff growing up in Walnut Creek—their paths to joining forces vastly differ. Whereas Doty experienced national recognition and success while still putting the finishing touches on his high school diploma, Polokoff was chipping away at a tech career, landing jobs at Google and Twitter in their marketing departments.

However, their mutual love of music and admiration for each other’s individual talent became the deciding factor in joining forces. At the time when Polokoff first became aware of Doty, he was spending his time working behind the scenes at a recording studio.

“I was producing a lot of bands working at The Panda Studios in Fremont, which is a pretty well-known studio,” recalls Polokoff. “I was looking for new bands to record and dabbling in my own material, and Josh’s name came across my radar … The short version [of how we met] I like to tell people is that I first recorded them and they had so much energy and we vibed together and I realized I wanted to join a band with Josh.”

According to his LinkedIn account, Polokoff boasts a B.A. in economics from U.C. Davis, was a Financial Advice intern for Merrill Lynch, and eventually found his way to marketing positions for Google and currently works as an Account Manager of Mid-Market Sales for Twitter.

Needless to say, the man keeps busy.

“I differ from the other guys [in the band] in that I had a different background,” says Polokoff. “Not only was I really into music, but I was really passionate about technology. So, aside from being in a band with Josh and pursuing Cemetery Sun, I also work in the tech field and work with great companies like Google and Twitter, and that definitely helps big time with us, because we are able to use a lot of the marketing knowledge that I have learned working for companies like that, and actually use that for our band.”

Doty, on the other hand, assumed the role of the teenage superstar. Unfortunately, the moment the band Ten After Two experienced during Doty’s tenure didn’t last, despite seeming poised to break into that oh-so-lucrative screamo/emo/metalcore music genre the teens just couldn’t seem to get enough of at the time. Armed with the skinniest of jeans, hairstyles reminiscent of a Mötley Crüe/Flock of Seagulls lovechild and enough eyeliner to … well, you get the picture. Doty sees the experience as having been educational.

“I fell flat on my face is what happened,” laughs Doty, “I think that’s the best way to describe it. Ten After Two was a ‘buzz band.’ Don’t get me wrong, a very talented group of guys, and luckily some of them are still making music, and hopefully they’ll be coming up here shortly. But that experience of being in high school, playing ‘battle of the bands’ type things, and then all of a sudden our song is getting a lot of publicity on fucking Myspace—I can’t believe I’m saying that. People were looking at us on there and blowing us up. Artery Foundation in Sacramento got a hold of us, and we were finishing up an EP. We were selling out shows everywhere, which was pretty unexpected; they ended up pitching us to Rise Records. I thought that was the best thing ever at 17, 18 years old. I was like, ‘holy shit’ … It was a mad ego boost for kids who did not need it. And then Rise was completely different than I thought.

“I thought once you sign, you had made it, you know? That’s the lie I feel is sold to so many artists, especially being younger,” Doty continues. “Looking back on that now, I take a completely different approach. I like the mindset of doing it yourself a lot more, and if I hadn’t gone through Ten After Two, and gone through the struggles we went through and quitting the band like I did because we were financially unstable, we were kids. I just couldn’t handle it; I just wasn’t ready to handle it. So, if hadn’t had gone through all of that, then I wouldn’t be able to handle what we are going through right now.”

While Doty, as well as the other members of the band—Austen Butler (drums) and Jesse Mancillas (lead guitar)—each play key roles in Cemetery Sun, it’s hard not to recognize the X factor that is Elliot Polokoff. Whether it is his role as a producer, his contributions as a guitarist, or simply his expertise in marketing slipping through and helping the group reach a larger audience, he brings a lot to the project. Most of all, it is hard not to be impressed that he does that all while balancing a completely separate career in technology. Most of us would struggle to succeed in just one of those things.

“I think it takes a certain type of personality to do both, and it’s not for everyone,” Polokoff explains. “I say that pretty firmly, in that I’ll be doing work and doing assignments during the day, and then I’ll get a call from our management or I will get a call from our PR agency, and I will have to step out and take the call and it’s just about being able to separate your mind and switch to different things. But if you are as passionate about music and you’re as passionate about Cemetery Sun as I am, there is no reason that it won’t keep working the way it has.”

An East Bay resident growing up, Polokoff feels right at home amidst a group of locals, building a local scene while perfecting their sound and preparing to take the next step to reaching a much larger audience over the next few years. The reason for this may have something to do with where he spent much of his teenage years.

“I grew up in Walnut Creek, but believe it or not I have been a part of the Sacramento music scene for well over—man, this is going to make me sound old—between six and eight years,” Polokoff says. “When I was in high school, even in late middle school, I started going out to places like the Roseville Underground to check out bands like A Skylit Drive when they first started playing local shows, and Dance Gavin Dance … During that wave of the hard rock and screamo and emo scene in the mid-2000s, the Sacramento music scene just exploded. It was way better than anything we had up here (in Walnut Creek), it was better than San Francisco.”

Polokoff sees a rising tide on its way to town, and it seems he’s waxed his board and donned his wetsuit, ready to paddle out and ride when the time is right.

“The way I view it is, [Sacramento is] going through multiple ebbs and flows,” Polokoff explains. “I would say that right now is a period of really cool transition where people have been inundated with the metal sound … people are starting to look for something else. I think that’s why we, and a couple of other bands who like us, are a little bit different have been able to thrive in the last year, because we have been able to have luck with fans who are people that are ready for something new.”

If you’re ready for something new, check out Cemetery Sun at The Boardwalk in Orangevale on Sept. 5, 2015 for their EP release show. Also performing will be Once an Empire, If You Leave, Lost Things, A Foreign Affair and Altessa. Tickets are $10. Check out Theboardwalkpresents.com for more info. This is an all-ages show.

I stumbled across the new-ish local band Privileges in a rather unlikely place: Craigslist. While perusing the musicians board looking for like-minded people to get together to jam with, I noticed a post about a group looking for a vocalist. Intrigued (although I’m no vocalist), I clicked on it, followed another link to hear some of their tunes and was immediately hooked on their funky, spaced-out instrumental jams. Right away I recognized their drummer Omar Gonzalez-Barajas, as I’ve been a fan of his for years (he’s played with some of my other local faves like Sister Crayon, DLRN, and Cove). The group is currently rounded out with the uber talented guitarist Tyler Simmons and keyboard wizard Zach Hake. “Privileges inhabits the space between Tyler’s psychedelic and progressive guitars, Zach’s classically borne key riffs, and Omar’s funk and hip-hop influenced drums,” the band writes in their brief bio. They go on to self describe their sound as “smooth, danceable, impactful” and I couldn’t agree more. The group reminds me one of my all-time favorite instrumental groups (that you’ve likely never heard of but should listed to right away) called The Redneck Manifesto. Despite their post to Craigslist looking for a singer, it appears for the moment at least that Privileges is continuing on as an instrumental group (and I secretly hope they stay that way), having already released their five-track debut EP Common Language online at Privilegesband.bandcamp.com (start with the seven-plus-minute jazzy tune “We Two Time / Into the Fire,” it’s so good). Privileges have a release show lined up at Shine Cafe on Friday, Aug. 21 and they’ll be joined by Doctor Now, a new group fronted by Garrett Wildgust of The Old Screen Door and Ideateam, as well as the local psychedelic indie rock band Lucid Popsicle. The show starts at 8 p.m., cover is just $6 and all ages are welcome. Shine is located at 1400 E Street in downtown Sacramento. Learn more about the band at Facebook.com/privilegesband