Noise Pop Bash With Tilt & Others

Original black & white drawing by Frank Kozik used to create the limited edition silk screen Noise Pop poster.

High schoolers in

thrift-shop threads and industry reps in nice leather jackets comprised

the majority of the turnout for the third installment of Noise Pop

'96, an all-ages daytime show at San Francisco's Bottom of the Hill.

Though a trio of local acts played equally spirited sets on this

drizzly Saturday afternoon, the two bands catering to the young'uns

scored first and most convincingly.

Opening band Maxiwagon, a local entry by way of Davis, delivered a

meaty set of uptempo trad-punk tunes. These bandmates surely own their

share of Bad Religion and Social Distortion records, but they seem to

admire many groups outside the punk party line as well. Visually, the

group cut a striking portrait, with the band's Asian boy/girl rhythm

section flanked by a pair of blonde-headed male guitarists-- one thin

and wiry, the other pushing 230. Clad rather fashionably in a bowling

shirt and a choke chain, the big guy deftly manhandled his tiny Les

Paul, while his bookend-- a much less imposing fellow with a Converse

All-Star sticker pasted to his own Gibson guitar-- sang hyper-melodic

lead on most songs. Maxiwagon has a full-length record forthcoming, on

Davis' Omnibus label, if I heard right.

It's easy to picture the three members of the Groovie Ghoulies still

springing awake every Saturday morning to watch cartoons in their

jammies. As usual, this garage-punk trio came to the Bottom of the Hill

equipped with an assortment of Halloween-themed stage props from their

Sacramento toy box. Bassist Kepi scarcely heeded his recently-broken

ankle, pogoing on his one good foot from the first notes of "Hello

Hello." Celebrating their invitation to play Noise Pop, the band played

roulette with their set list, as Kepi, his wife Roach on guitar, and

drummer Wendy each took turns calling out titles from their catalog.

Though the Ghoulies just finished recording an album (to be released on

Lookout!), they stuck mainly with standbys for this showcase gig. Songs

like "I Ain't Talkin' to You!" and "The Beast With 5 Hands" had the

group's youthful fans responding in well-rehearsed unison, while a

cover of the New York Dolls' "Lonely Planet Boy" proved these perpetual

kids haven't neglected their history lessons.

Tilt, a San Francisco quartet that has spent a considerable amount of

recent time on the road, played a crisp set of angry diva-punk that

smacked of bitterness in light of the opening acts' levity. Tilts

defiant vocalist spat out songs like "Unravel" and "Lips Tits Hips"

(Check out MediaCast's

RealAudio 2.0 recording

of the live performance.)

like she'd had just about enough of the road, thank

you very much, while her bassist's idle threats to cover Ozzy Osbourne

and Journey may have been taken a little too seriously by a few

audience members, who hollered "You suck!" They don't, but Tilt was

probably a bit long in the tooth for this festival's fresh-scrubbed

attitude.

Additional songs and QuickTimes can be found at

the MediaCast web site.