Deficit of Wonder

How my musical tree grew with one show – Part I

When we last left our intrepid hero, he had just discovered that music is alive and well in the persons of Layne and Miles Ulrich. His musical soul was no longer empty and he yearned for more.

Fast forward a few months (and past a couple of high-profile gigs I attended featuring well-established bands) to November 2022. Taipei Houston is performing at Brick and Mortar, a tiny hole-in-the-wall club in San Francisco. The brothers Ulrich, who currently call The City their home, are the headliners. Layne and Myles are there to showcase the release of their new album, Once Bit Never Bored. Our narrator, excited to hear the album and to see Taipei Houston again, ventures to The City. Alone, as is his want in most cases.

I’m third in line, waiting for the doors to open (they’re about 15 minutes late). We can hear the band doing a soundcheck and it sounds good. The two dudes in front of me in line are both wearing Metallica shirts – obviously drawing on the connection between the boys and their famous father. Me? I’m wearing a Jack White shirt and carrying my Pennywise sweatshirt, cuz I know better.

The club is no bigger than a living room and kitchen in an open floorplan home. The stage is the size of a walk-in closet. This is my first foray into the smaller club scene in SF, but it will be far from my last. When I first saw the stage, I was shocked and, if not for the band’s name on the drum kit, thought I might be in the wrong place. Since that night, I’ve grown to love this club and other small clubs like it. But that’s a post for another day.

There are maybe a dozen or so people in the club 10 minutes before the show starts, and I am confused because I assumed a club this size would have sold out in 30 seconds. I didn’t factor in the understanding that some folks don’t care about the openers. But those that are in the club are not what I would consider typical hard rock fans. There’s an older couple in the corner. There’s a pair of young ladies who look barely beyond their teens, who look ) to me, at least) like they’re more Billie Eilish fans. I know. One should never ASSume. Mixed in with the sparse crowd is a well-dressed young lady with long black hair, tied back with a large red bow and matching red MaryJane shoes. She’s wearing a long trench coat (hey – it’s November in SF). Another crowd member is a handsome 20-something guy who looks like he’d be as comfortable on the stage as in the crowd. He’s dressed in black with black Doc Martens boots. There are a few older folks (including a few more in Metallica shirts) and a photographer.

As the show starts, a solitary young man takes the stage with an acoustic guitar in his hands. His name is Christian Francisco. He tells us that his band had to cancel at the last minute so he decided to take the stage himself and perform some of the songs he’s been working on outside of the band. For the next 20-ish minutes, Francisco, with just his acoustic guitar, gives us some of the deepest, most emotionally evocative music I think I’ve ever heard from someone so obviously young. He’s 20-something, singing about things only felt by someone twice his age. He was so good I totally forgot he was supposed to have been one member of a band. If you don’t plan to Wander away from this blog, remember this name, because his band is PHENOMENAL and I love them so much, they’re gonna have their own entry.

I talk to him for a few minute after his set and I feel like a fan boy because I’m legitimately moved by his performance. He is generous and responsive and willing to talk about music as much as I am.

But after that conversation ended, dear readers, my life was forever changed. Those who know me know that I am a highly moral, but not at all religious man. I grew up in the church, but never really felt the presence of the holy spirit that brings so many to religion. On November 2, 2022, between Francisco and Taipei Houston, I felt a legitimate religious experience. The sacramental moment was provided to me by a band named Fauxes (pronounced ‘foes’). Fauxes are a San Francisco-based band that describes themselves as Psychedelic Garage Mud. Rather than try to explain them to you, I will steal their own words, “With neopsych + shoegaze roots and an intense love for 60s/70s rock, Fauxes pairs entrancing vocals with an expansive guitar-heavy rock sound..” You too can fall in love with them here.

As the band took the stage, I realized that the two audience members I had noticed earlier were actually members of Fauxes. Because I was, at this point, not a regular small show attendee, I was amazed that band members were mixing with the regular folk.

As the first song starts, the lead singer, Scarlett Levinson, gifts the audience with her angelic voice and I absolutely SWEAR that 1960s-era Grace Slick is her mother or is somehow possessing her body. Scarlett is entranced by the lights, by the microphone in her hand, and by the crowd reacting to her singing. The handsome guy from earlier – Nick Bielak – is the lead guitar player. He’s up on stage dressed in a long sleeved black shirt and black jeans, but his boots are missing. So are his socks. Because Fauxes has shoegaze roots, Nick has a pedal board that creates a cornucopia of sounds from his instrument and prefers the tactile feel of the pedals on his feet. He’s most comfortable playing this way. And it works. The bass player, Dan Loor, is on my side of the stage. I can’t stop watching him because on EVERY SONG he plays with such outward emotion. His facial expressions are very evocative and his bass lines are driving a rhythm that really gives the band a richer tone. There’s no way to describe his style without saying how much he loves what he’s doing. Keep that in mind because Mr. Loor will also have a separate post in the future. Many, possibly.

As a photographer, I admit that I felt bad because drummer Dan March was in such darkness that I could not get a decent shot of him all night. I tried. One thing that did make me smile is that, before their set began, March was testing the setup of his pieces. He was tapping out differnt songs in his head and making sure the cymbals and the snares were positioned well. But he didn’t have drum sticks in his hand. You’ve seen air guitar, but I March is a champion air drummer. Keyboard player Jacob Karstens was not on stage that night. Sorry guys. Listening to the band’s recorded music, both are integral parts of the band. But none will be pictured here, cuz I kinda suck. My bad.

Scarlett, still entranced by the moment, is looking seductively above the crowd, and letting the words move her. The crowd is definitely moving. As the songs progress, Scarlett is, like a seasoned actress, fully immersed in her lead singer persona. The songs start strong and rock hard. The band’s shoegaze heart showing itself right away. Then suddenly, the tone shifts and everything slows down. Scarlett, smooth as can be, transitions to a more reflective lead actress. She sings, “Happy Birthday Mama, ” even though her Mama is somewhere far away from here. Don’t get too comfortable, because the simmering rage of the song explodes and Bielak lets loose with a psychedelic-heavy guitar solo that absolutely obliterates the earlier calmness of the song.

The crowd went absolutely wild when Fauxes played a fuzzed out, raucous version of the Beatles classic Helter Skelter. The normally reserved Scarlett absolutely became wild and untamed, her normally angelic voice bouncing between emphatic and guttural, while maintaining a constant gravelly edge. Dan Loor’s bass thumped in perfect time with Dan March’s drums.

Throughout their set, Fauxes songs weaved through a tapestry of psychedelic rock, fuzzed-up guitar driven rock, and an ethereal sound that evokes memories of Slowdive, My Bloody Valentine, and San Francisco legends Brian Jonestown Massacre. The rhythm always carries a heavy groove and a great tone. The guitar is ever-present, but varied based on the song. Scarlett sings about relationships, about unrequited love, about lustful cravings, and about the emotional weight of life. But the whole time, you are enthralled and feeling none of the angst and sorrow that drives her words.

After the show, I decided I needed a band shirt, so I waited by the merch table for someone to show up and sell me something. Who showed up? Ms. Levinson, fresh from her time on stage. We talked for a few minutes and I promised her that she would see my old man face again at a future show. She was nothing like her stage persona. She was bubbly and, in the best way possible, had a child-like enthusiasm. I also ran into the Dans – bass and drums for Fauxes. I showed them my purchase and told them to get used to me.

All this, and I haven’t even talked about the headliners. I know I talked about Taipei Houston in the previous post, but their set kicked all kinds of ass this night and I want to touch on it again in my next post. This is in part because I loved the set so much and because it sets up another branch on my musical tree.

Until next time, shop local – your goods AND your music.

Fauxes Playlist: