Movement Magazine


Thomas Bellflower April 17, 2015

SAN FRANCISCO – Steakhouse, a band self-classified as ‘Drifter Rock’, is garnering commentary and reviews to drive their upcoming touring endeavors in new directions. They would like your thoughts and reactions, for press-kit inclusion of course, but also your hearts, your towns, and your orders for take-out.

The songs on Steakhouse’s eponymous debut LP are free-­standing short stories about the joys of interstate driving, casinos on fire in the desert, divine horsemen, border crossings gone bad, hard pasts returning, carnival hussies, car wrecks resulting in religious conversions, FM radio at 4AM, midnights in the American West.

The sound is made of Waylon Jennings­-style guitars, Neu!­-style motorik beats, grinding Joy Division­like bass lines, Flying Burrito Brothers pedal steel, and, at times, the general fury of The Clash.



Steakhouse is a group of veteran San Francisco musicians who came together around a common love of Can and Roxy Music, and for reasons that are still mysterious, ended up creating an odd mix of dark country and Americana-­flavored post­-punk. Think Calexico with anger management issues.

The group spent the better part of 2012 and 2013 playing progressively larger shows in San Francisco, ultimately headlining at the Bottom of the Hill in March 2013 and landing a night at The Independent in May.

Steakhouse then holed up in San Francisco’s Coast Recorders with producer Joe Goldring (Hope Sandoval, Swans) to record the music they’d been developing in the live shows.

After a year’s work, the music’s queer mashup of styles had been boiled down into an 11-­song, 47­minute LP ­­— a prime cut of meat, served bloody.

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