When Sam Fischer, lead singer of local alt-rock outfit Miznoma goes searching for lyric fodder, the results are often much to the delight of all those harboring a bronzed and brazen sense of California pride and much to the dismay of Fischer’s ex-girlfriends everywhere. “None of them know the songs are about them,” Fischer reveals of his strategy, referencing the latter group. “You keep it metaphoric so they never really catch on.” Miznoma officially formed a little over a year ago in August of  2006 when Fischer finally succeeded in forcing his younger brother Issac to learn to play bass. “I needed a bass player,” Fischer explains. “He claims that I didn’t make him, that he wanted to, but I say otherwise.” Times were rough fraternally speaking for the nascent trio, rounded out by Kevin, a friend of Fischer’s from a previous band, on drums. “Anytime we disagreed, it was never agree to disagree,” says Fischer. “It was like disagree until we had to push each other over and throw mic stands at each other and fight it out.” The brothers get along great now, Fischer reassures, and this temperate cohesiveness is evident in the band’s sound—a funk-infused, Californian rock ‘n’ roll or as Fischer defines it, “a Tom Petty meets the Eagles kind of thing.” The three bandmembers, native Californians all, suffuse home state reverence into Miznoma’s music via what Fischer calls a “sort of easy livin’ oceany, sunny day kind of vibe.” This Saturday’s gig at Moe’s Alley marks a momentous occasion for the band on two counts; first off, the men will performing in costume. “We’re probably going to bring back an old band from the dead,” says Fischer. “It’s a surprise.” And secondly, Miznoma will be four men strong, debuting their new lead guitarist. “He’s a phenomenal guitar player, says Fischer. “We wanted to take the band to the next level.”

 

Elizabeth LaPrelle single-handedly breathes life into century-old folk ballads

In the early ’80s, Rick Walker, his brother Bill and a multi-instrumentalist named Gary Regina were just three guys experimenting with some little-known cutting edge technology during the prime time dinner hour at Mobo Sushi. “I’m almost positive we had the first live looping monthly gig that was called a live looping gig I think in the country if not the world,” says Walker. “They gave us carte blanche to just go in and basically learn how to do this thing.” A quarter century later, Walker considers himself a professional live looping artist, composer of abstract electronica and trailblazer of a movement that he is convinced is poised to explode on the mainstream music scene. “It’s a tool,” he claims, “that is now in any sophisticated musician’s toolbox.” A synthesis of art and technology, live looping involves recording a series of notes, beats or sounds that can be made with any instrument or found object (Walker has been known to manipulate the sonic potential of brass candy dishes, toys and pint glasses.) The recording is then played continuously or “looped.” Other recordings are made and strategically woven together to compelling aural effect. Walker proudly rattles off a catalogue of pop music moguls who currently incorporate live looping into their shows, among them Bjork, Madonna, Peter Gabriel and Imogen Heap. But while live looping may be a burgeoning global phenomenon, many consider Santa Cruz to be the movement’s original hub thanks to Walker’s Y2K International Live Looping Festival. Beginning the fest back in 2000, Walker woos an ever-expanding roster of live looping illuminati to perform each year, with this year’s headliners hailing from a host of exotic locales that include Turkey, Italy, Germany and Singapore. “It’s completely changed my life,” says Walker, who before beginning his looping investigations was a mere drummer. “I’m learning a new instrument every three months in my life … It’s incredibly liberating.”

Info: Oct. 19 - 21. Check for start times. Pearl Alley Studios, 120 Pearl Alley, Santa Cruz. $10. y2kloopfest.com .

Virtuosa violinist Hilary Hahn on the art and adrenaline of performance

Ask Peter Goodman, frontman of the local alt-Americana band Cooper Street (CS) about his songwriting process and he’ll sum it up for you in one word: involuntary. “I think any singer-songwriter’s got a similar story, but I am compelled,” he says of the habit he’s had no choice but to indulge since high school. “It’s not like an option for me to write songs. It has to be done.” Goodman then takes his lyrics and nascent tunes to the other three men of CS who evolve the songs, adding instruments, texture and harmonies. More than just fellow musicians though, CS’s members are all good friends. “We practice every week and we do focus on the music a lot, but it’s sort of boys’ night out,” he says. Inspired by musicians like Counting Crows, Ryan Adams and Uncle Tupelo, CS delivers warm and easygoing alt-country rock originals. The perfect timbre of Goodman’s wistful gristle combined with lyrics that traffic heavily in reminiscence all but guarantee the onset of nostalgia. “I did one of those personality tests a long time ago and I’m an intuitive, feeling person,” he explains. “I hold onto things a long time.” If there’s a net effect of CS’s sound, it’s the ability to impart a vague, but encompassing sense of reassurance. Maybe it’s the beer in your hand or the fact that Goodman is up there pouring out his thoughts in the hopes that you’ll work through some of your own unfinished ruminations, but there’s a definite feeling of ‘yeah, maybe everything in your life hasn’t gone the way you planned, but somehow it might all just work out.’ “Having the ability to cause someone to get in touch with their emotions and their feelings, that’s an important thing to me,” Goodman says. Joining CS will be likeminded local alt-Americana outfit, the Michael Gaither Band. Ticket proceeds will benefit the Felton Library Friends.

 

Conversations with poet Nathaniel Mackey and musician Hafez Modirzadeh

Social Distortion’s Jonny Wickersham on the 28-year-old punk band’s continued vigor and the power of punk to foment change

John Flansburgh of They Might Be Giants talks past, present and future

What’s better than playing heavy metal? Playing heavy metal first thing in the morning as the wakeup call for thousands of diehard metal fans sleeping off German beer hangovers in makeshift tents. This was the task awaiting local metal outfit Archer this past June as the band prepared to open the Bang Your Head! festival in Germany. Their set started at 10 a.m. sharp. “We kind of just had to wake the dead,” says Dylan, Archer’s lead guitarist and frontman. By the end of their set, the audience had grown from 100 people to 1,000. “The main promoter, to congratulate us for coming over from the States and being an indie band, he brought a tray of beers out and we toasted on stage and the crowd got all into it,” Dylan says. When Archer is mentioned, two words, spoken by critics and fans alike, seem to follow shortly thereafter: “real deal.” Perhaps this is due to the band’s musicality. The second place winners of this year’s Battle of the Bands, Archer unleashes genuine metal originals, striking a careful balance between paying homage to the genre’s greats and modernization. Their songs address the personal to the profound and feature Duke’s savage drums, Isaiah’s versatile basslines and Dylan’s exploding guitar riffs. Or maybe it’s Archer’s showmanship. The band is known for its severe-intensity performances. They wear black leather. Dylan thrashes his classic metal rocker’s luxurious blond mane he says he’s been growing since birth. Ask Dylan where he sees his band in five years and he doesn’t hesitate. “I’m not going to cry about it for the rest of my life if we’re not the next Led Zeppelin, but ideally I would love to be a huge metal band.” 

Info: Oct 5. 9 p.m. The Boardwalk Bowl, 115 Cliff St., Santa Cruz. Free. 426-3324.