In remembrance of San Jose’s Aaron Anaya, who tragically passed away in a DUI crash in November, local and out-of-town acts will be paying tribute to his life and legacy at this special fundraiser show and celebration. Many of the groups performing were friends of Anaya, who was also a musician, and some will even be playing Aaron’s original songs. The evening’s lineup includes San Jose-based singer-songwriter Try the Pie, San Jose duo Spit Lake, Oakland dream-pop outfit New Circle, San Jose indie rockers Eastern Westerner and Dinners, and Los Angeles lo-fi group Sprain. All proceeds will go to Aaron’s family.

Concert for Aaron
Fri, 8pm, $10
The Ritz, San Jose

This Friday marks the third installment of Scene!—the monthly local-music showcase hosted by Cliff Rawson of San Jose-based indie garage rockers, Cola. In the run-up to the show, Rawson’s band, and Jean Jackets, who are sharing the Oct. 23 bill, have each released music videos. Also playing at Scene! #3, Mother’s Worry and headlining act, Dinners. All attendees are invited to wear a Halloween costume, just like the folks in the Cola clip for their song, “Perry Mason. Check out both clips below:

“Perry Mason,” by Cola:

“Won’t Take You Back,” by Jean Jackets:

Last week, local artist, musician and graphic designer Ben Henderson took down the plastic banner—which had hung above Cafe Stritch’s main entrance for more than a year—and replaced it with a hand-painted sign featuring the venue’s name and logo. Next week, the first of three shows booked in coordination with “boutique” production company (((folk YEAH!))) will kick off at the SoFA bar and restaurant. And in September, Cafe Stritch will host the two-night C2SV Local Music Showcase, featuring a handful of San Jose indie bands, including Darto, Dinners and No Maps.

Those three events may seem unconnected, but to Maxwell Borkenhagen, artistic director of Cafe Stritch, they are all indicators of something much larger: a resurgent live music scene in downtown San Jose.

As far as Borkenhagen is concerned, it’s impossible for any city to have a thriving arts scene without great live music. And as artistic director of Cafe Stritch, Borkenhagen says he feels it is “his responsibility” to try his damnedest to resurrect the “glory days” of the ’80s and ’90s, when bands like Sublime, Nirvana and Green Day played at legendary venues, such as The Cactus Club, Ajax Lounge and F/X.

“The music thing is key to me,” Borkenhagen explains. “Music is my life, it’s my passion.”

He doesn’t want to live in a place without it. Nor does he want to move to find it. He is fiercely loyal to his hometown. “I’m from San Jose, I live in San Jose, I want to live in San Jose,” he says. “We’ve got huge potential. We just need to show a lot of the people that live in the suburbs surrounding San Jose that it’s worth going downtown.”

Since Borkenhagen’s family rebranded the space formerly known as Eulipia, he has been working tirelessly to book shows that not only bring patrons through the door, but which also carry a certain level of cultural cachet. “I want to show the world that San Jose doesn’t suck,” Borkenhagen says—straight faced, without the slightest hint of irony. The idea is to get people stoked about going out to see live music in San Jose again.

That means bringing in national, critically acclaimed acts, such as Built to Spill—who played a blistering “secret” show at Stritch last April—as well as working with the taste-making  (((folkYEAH!))) Presents production company, which has booked three highly anticipated shows at Borkenhagen’s SoFA restaurant and bar this month, featuring Sonny and the Sunsets (Aug. 13), The Fresh and Onlys (Aug. 19), and The Entrance Band (Aug. 25).

It also means championing local talent, which is why Borkenhagen, is working in coordination with C2SV (Creative Convergence Silicon Valley) to present two nights of local indie and punk, Sept. 12-13) at Cafe Stritch.

The C2SV Local Music Showcase will feature Darto, Dinners and Plume on Friday, Sept. 12.

No Maps, Breathing Patterns and Li Xi will play on Saturday, Sept. 13.

Each night of the showcase will provide a peek into the diverse array of young indie bands coming out of the South Bay—proving that in a region better known for cover bands and DJs spinning Top 40, there are still plenty of musicians pushing themselves to create new and interesting tunes. There’s the artfully fractured noise- and post-rock of Darto and Breathing Patterns, the chugging, fuzzy indie of Dinners and No Maps, the bouncing, poppy, garage-punk of Plume. Li Xi—the only non-San Jose band in the bunch—crafts reverb-soaked, psychedelic beats of Li Xi.

Borkenhagen is very excited about the upcoming (((folk YEAH))) shows. “I’ve been a huge fan of Folk Yeah for a long time,” he says of the production company. “The bands that Folk Yeah works with are my dream bands that I’d love to book and work with and play in San Jose.”

He’s also pumped on the great local talent he’s been able to book at Stritch since it opened last March, as well as the support he’s felt in the community for live rock & roll shows. “There’s a lot of like minded peope in San Jose right now that realize that if you don’t like where the culture is at, you’ve got to build something,” he says, adding that he is keeping his fingers crossed that the trend continues. “I don’t know why so much is happening now, but it definitely feels like we’re on the rise again.”

YEAR-END LISTS typically hew to the comfy round number 10. And although Top 10 has a ring to it, Silicon Valley’s melting pot of musical talent fused genres, collaborated, innovated and turned out so many great LPs and EPs this year that it became a nearly impossible task to narrow it down to even the Top 15 releases, so we squeezed one more pick for a favorite 16. Here, in no particular order, are some of 2013’s best local releases.

The Bangerz: PRiSM
PriSM, the Bangerz’ second soundtrack LP for the Jabbawockeez Las Vegas stage show, showcases the crew going deeper into some amazing futuristic soundscapes. The crew has always straddled a line between throwback hip-hop and cutting edge electro-jams, but it’s all forward thinking with this release. In a sign of the times—as the line between EDM and hip-hop continues to blur—there’s a healthy dose of dubstep influence on this record, as well.

Rebelskamp: The Kill
Going into a recording studio without any written material doesn’t sound like a winning formula for an album, yet Rebelskamp produced a remarkable LP this year. They’ve gotten so good at improvisation that they don’t sound like they’re inventing the music on the spot. Yet, the spontaneity of such a freeform formula remains intact. These songs go any and everywhere, drifting through funk riffs, psychedelic space jams and crazy free-jazz. A highlight is “The Rebel,” with local rapper Dirtbag Dan freestyling a couple verses.

Philthy Dronez: Wepa Life
Up until recently, Matt Gonzales was known mostly as the go-to guitarist for local bands. (Anya and the Getdown, Raul y Mexia, Chris Reed—to name a few). Now the world gets a taste of his solo project: producing Latin-infused electro-beats under his alter-ego, Philthy Dronez. His debut EP, Wepa Life, was released on Global Bass Experience a few months back. It’s a short EP, about 15 minutes, but it’s bumpin’. It centers on the emerging new-cumbia sound, but also veers into electronic and hip-hop territory, and even some old-school cumbia.

Boboso: Grown Ass Man
There are three things Boboso raps about: food, cats and his love for the female derriere—often within the same song. Yet, he’s not exactly a comedy rapper. He can really rhyme. Plus, his production skills are top-notch: classic West Coast beats with surreal twists. The Beach Boys sample on “That Breathe In, Breathe Out Shit” is a particular highlight. Jeff Rosenstock from Brooklyn punk band Bomb the Music Industry also lays down an impressive verse on “Sartorial Panache.”

Careless Hearts: Alum Rock
Alum Rock isn’t just the latest album by Careless Hearts; it’s the culmination of five years of life-changing events. They started out a laidback Americana group, but since 2008’s Heart’s Delight, they’ve gone through some major lineup changes and played a life-changing show with punk legend, Stooges guitarist James Williamson. It shows in the roots-rock, power-pop songwriting on Alum Rock. The release rocks harder, louder and with more passion than their first two albums.

Antwon: In Dark Denim
In Dark Denim isn’t as accessible as Antwon’s prior work and takes the San Jose rapper in a new direction. His beats are grimier, the samples are darker and the lyrics are dirtier than ever. “Work 4 Me,” with its down-and-dirty hip-shaking beat and raunchy lyrics, sounds like he’s seducing the listener. All the while, Antwon’s fanbase continues to grow, with a successful run at SXSW, an appearance at Treasure Island Music Festival and two national tours during the last year.

The Albert Square: How’s Everybody’s Doings?
Last year, Sim Castro reformed his punk rock outfit the Albert Square. The songwriting is much in the same vein, subtly nuanced ’80s and ’90s post-punk-inspired, but the band’s performances are far more unhinged—a good thing. Their newfound spastic energy complements Castro’s reflective songwriting quite well. However, the strongest song, “(Proud) Parents,” is oddly the most reserved track on the EP.

The Limousines: Hush
It’s been a couple years since synth-pop duo the Limousines released their brilliant debut, Get Sharp. Despite all the views they were getting on YouTube and radio play they received, they had major problems to sort out with their label, but Hush was worth the wait: Its synth beats are dancier, the production is more refined and in place of their signature clever nihilism, Hush offers lyrics that are raw and honest. Hush was made with funds from a Kickstarter campaign that sought $30,000 but ended up raising $75,000.

Dinners: Black Rabbits
If such a thing as a San Jose “supergroup” exists, Dinners might be that band, featuring members from Worker Bee and Doctor Nurse. Dinners go into a different direction than either Worker Bee (moody indie rock) or Doctor Nurse (psychedelic folk) with lo-fi noise-pop and a heavy dose of Guided By Voices influence. At first listen, Black Rabbits sounds like the kind of four-track recording popular with ’90s indie bands, but it’s actually a quite meticulously, thoughtfully crafted album. The cover art is amazing, too.

Rey Resurreccion, M-10, Locsta Villan: First Street Sessions
Some of rapper Rey Resurreccion’s finest works are collaborations. Last year, he worked with the Bangerz to make some killer old school hip-hop tunes. This year, he got together with emcees M-10 and Locsta Villan and created the 1st Street Sessions. Together the trio has produced eight laid-back, dreamy hip-hop songs that should be on urban stations all across the country.

Raul y Mexia: Arriba y Lejos
Brothers Raul y Mexia released a fun, passionate Spanish-language album this year on Nacional Records, the current leaders of cutting-edge Latin music. Arriba y Lejos combines elements of cumbia and other traditional Latin sounds with hip-hop and electronica. The duo, who are sons of Hernán Hernández, bassist of famous Norteño band Los Tigres del Norte, has created something that both pays tribute to classic Latin music, like their father created, and all the newer American music they grew up with here in San Jose.

Sean Blak: #Basslife
Sean Blak books live hip-hop shows, puts on battle-rap events and holds a weekly Tuesday night residency, “the Trap Shop” at Johnny V’s. He’s also a prolific rapper, with a ton of lo-fi, surreal homemade hip-hop records online. His best this year is the LP #Basslife. On it, he takes some of the strangest, most intimate beats and makes them sound like outrageous club bangers.

Slime Girls: Vacation Wasteland
By the time Slime Girls came together, the chiptune scene was already well-established. Yet they’ve still been able to find their own sound within it, taking all the old Nintendo chip Gameboy sounds and mixing them with surf, punk and ska. Their latest EP, Vacation Wasteland, is a seriously fun collection of instrumental chip-rock tunes. It was originally pressed on cassette because they’re that into old technology.

David Brookings: The Maze
The Maze is David Brookings’ sixth full-length album since 2000, yet he’s still working on building his fanbase in the Bay Area. He moved to Northern California from the Memphis by way of Richmond, Virginia, in 2009, and produced his five albums before heading West. The Maze, like its five predecessors, brings together ’60s psychedelic-rock and ’80s New Wave.

Derek See: She Came This Way
The title track to Derek See’s She Came This Way is an amazing psychedelic-pop gem. At first, See, who normally plays guitar in soul group the Bang, recorded it, along with a couple other tunes, just for fun. It was good enough for an indie label to offer to release it, and they even ran out of the first pressing. It’s the kind of song that, had it been written in 1967, would have been a Summer of Love FM hit, no doubt.

Noothgrush: Split LP with Coffins
Back in the ’90s, sludge metal group Noothgrush were a pretty big deal. Along with Sleep and a few other bands, San Jose boasted a strong doom metal scene. Noothgrush just recently reformed, and they also just released a split record with Japanese metal band Coffins. The third track, “Thoth” is particularly special, as it contains spoken clips from the late, great, much beloved KFJC DJ, Cy Thoth, who died earlier this year.

Few people in the South Bay know more about classic soul, psychedelic rock and other traditional genres than the Bang’s Derek See. His blog, Derek’s Daily 45, has uncovered countless obscure singles from the 60s and 70s and his band the Bang, accesses the look, feel and sound of the classic girl-fronted soul groups in an authentic and creative way.

That isn’t to say See isn’t hip to new releases, as well. Here, in the first of our series of “Best of” lists from local musicians and tastemakers, he shares his picks for nine best releases in 2013.

My Bloody valentine – MVB
The most eagerly anticipated album of my lifetime snuck out without much warning at all on a sleepy Saturday night in February of 2013. My Bloody Valentine was a highly influential band throughout my teenage years—one that showed the potential of turning traditional song structure inside out, and it was as though time had stopped between when I saw them in the summer of 1992 and the release of this album. It picks up where their masterpiece LP Loveless left off, after a more than 20 year gap. The music is haunting, moving and just as inspiring as it was in the early 90s.

A four-piece comprised of Takashi Makino, Maxewell Borkenhagen, Todd Flanagan and Nick Lopez, Ugly Winner’s latest album Inside Your Wave will be available on 180-gram vinyl, a testament to the band’s commitment to sound.

The San Jose-based band celebrates the release with a record release party at Black and Brown this Saturday, July 21st, with Dinners, Hazel’s Wart, and Breathing Patterns. We checked in with Takashi for an interview before the show.

What’s this new album about? What were you major influences when writing the songs?

I tend to tell myself that this album doesn’t have a specific meaning or influence, but that’s not true. The meanings/ideas are scattered and so vaguely documented/written down that it took me a while to understand mostly what this album’s general meaning would stand for.

Inside Your Wave, for me, is about what has happened or is happening to me and what I’m surrounded by, specifically in the past few years until present. The most personal of personals is what this album is written about, and also the changes and growth any person can go through. Being truthful and understanding, whether it hurts feelings or you end up being alone. So the meaning is vast, from heartfelt aches, health, not partying and holding the door open for a stranger.

I think for everyone in the band this album means something different and unique. This doesn’t concern the instrumentation side, just the words. Instrumentally, we all have are own influences that shapes the way we play as individuals. It ranges from old folk to punk to classical and old Reggae.

Where did you record the album?

The record was recorded entirely at home sweet home.

Did you stick with your sound on your new album or did you guys experiment with different setups and sounds?

We did stick with our band sound, for the most part, but tried to sound bigger for this album. There is some minor usage of melodica and organ synths for a couple songs, but all and all we stuck with our usual set up. We also acquired a second guitarist, Maxewell Borkenhagen to play lead parts and share rhythm.

You’re doing a tour in early August. What’s that going to look like?

Our tour in August is starting off here in California and going through Oregon, Washington, Idaho, Utah, Colorado, New Mexico, Arizona and consists of 18 shows. Playing in different cities is one of our favorite things to do as a band. It’s definitely a refreshing way to travel and see the country. Hopefully we’ll be able to do a second tour in late fall/early winter further out East but we’ll see.

You guys are the band most associated with the Gingerbread House.  Where is that 7^th Street sound going? Starting with the Unit Breed, up to you guys now and everything that came in between, that little block south of Keyes has produced a lot of quality music. Why do you think that is?

I think we’re most associated with the Gingerbread House because our bass player Todd Flanagan lives there and curates all the shows that are thrown there. Timing and location has been the main factor of why these shows have existed.

In one house, Joe Demaree threw shows at a rehearsal space for a handful of years where Unit Breed practiced. Some amazing shows have happened with bands coming through on tour from all over the country/world. After Joe moved, Todd began doing the same thing in the house next door as an alternative to going to bars and clubs to see a live show, and it kinda just continued form there.

It really just came down to them willing to open up their home for bands to come in and express their craft. San Jose has been really lucky to have it as a venue. As far as where that 7th street sound is going, not sure, but it’s going to continue to make some noise I’m sure.

Where do you see the SJ music scene heading?

The indie music scene only has room to grow in San Jose and I see it doing tremendous things in the years to come. There’s some awesome music around, musicians seem pretty motivated right now, bands are taking things into their own hands, and that’s when things get interesting. We can only wait and see what the future will hold for this little big town.

You guys play some unique venues, Do you see the idea of a standard “music club” diminishing, or will traditional venues always play an important role in live music?

There will always be music clubs and traditional venues and there is nothing wrong that. As far as us playing at unique venues, we enjoy that side of it because we like playing for all ages and there is a lot of freedom and creativeness that comes with playing at DIY events, galleries and houses that are based more on supporting each other’s projects.

Our record release show is being held at Black and Brown. They’ve always been very supportive towards artists and musicians, local and touring, and we love what they’re doing as a business & gallery. We want to support them as well, and so for us it’s the most ideal space to host this show.

Ugly Winner performs Saturday, July 21st, 2012 for a record release party at Black and Brown 7:30pm. Admission is $5.