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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/togetherpangea\">together PANGEA\u003c/a> — “Snakedog”\u003cbr>The Burgerama Tour — which also includes Cosmonauts and Gap Dream — comes to \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> on September 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/HotLunchRocks\">Hot Lunch\u003c/a> — “Killer Smile”\u003cbr>Supporting The Shrine at \u003ca href=\"http://www.thechapelsf.com/calendar/\">The Chapel\u003c/a> on September 6; Carlton Melton also performs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/onlyevileyes\">Evil Eyes\u003c/a> — “Shake The Dust”\u003cbr>Performing at \u003ca href=\"http://theeparkside.com/\">Thee Parkside\u003c/a> with Cocktails and The Electric Magpie on September 12.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/rosewindows?ref=br_rs\">Rose Windows\u003c/a> — “Native Dreams”\u003cbr>Appearing at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick and Mortar Music Hall\u003c/a> on September 19.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thelovelanguage\">The Love Language\u003c/a> — “Calm Down”\u003cbr>The band’s tour with Bleeding Rainbow arrives at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on September 10; Permanent Collection supports.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kelleystoltz.com/\">Kelley Stoltz\u003c/a> — “Kim Chee Taco Man”\u003cbr>Coming to \u003ca href=\"http://www.thechapelsf.com/calendar/\">The Chapel\u003c/a> on September 28 with The Mantles and Sopwith Camel.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Lixisound\">Li Xi\u003c/a> — “Solstice”\u003cbr>Headlining a \u003ca href=\"http://www.20sidedrecords.com/\">20 Sided Records\u003c/a> compilation release party on September 5 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/porcelainraft\">Porcelain Raft\u003c/a> — “Think Of The Ocean”\u003cbr>Playing at \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> on September 23; The Tambo Rays and Teenage Sweater also perform.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/zjzjzj\">Zola Jesus\u003c/a> — “Avalanche (Slow)”\u003cbr>Appearing with J.G. Thirlwell on September 26 at the \u003ca href=\"http://www.palaceoffinearts.org/\">Palace of Fine Arts\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://music.sisuband.com/\">SISU\u003c/a> — “Harpoons”\u003cbr>Dirty Beaches and Chasms join SISU on September 22 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TrueWidowOfficial\">True Widow\u003c/a> — “Four Teeth”\u003cbr>Supporting Chelsea Wolfe on September 30 at the \u003ca href=\"http://www.slimspresents.com/calendar/\">Great American Music Hall\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This special bonus episode of our podcast surveys some of the many noteworthy concerts taking place in San Francisco this fall. It’s produced in conjunction with KQED Arts’ \u003ca href=\"http://www.kqed.org/arts/preview\">Fall Arts Guide\u003c/a>, which offers a complete preview of upcoming highlights from the Bay Area arts world.\u003c/p>\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/preview\">\u003cimg decoding=\"async\" alt=\"Get all our critics' fall picks\" src=\"http://u.s.kqed.net/2013/08/29/artspreviewfall2013inset.png\">\u003c/a>\u003c/div>\n\u003cp>In this episode, Ben, Christian, and Jason offer some individual picks for must-see shows in the months ahead, alongside songs from the artists discussed. Along the way, we chat about the undeniable appeal of \u003ca href=\"https://www.facebook.com/TheeOhSees\">Thee Oh Sees\u003c/a>‘ live shows, the emergence of music festivals outside of San Francisco proper, and much more. Obviously, this mix only scratches the surface of the variety of great shows headed our way in the coming months, but it’s full of events worth seeking out.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/whywithaquestionmark\">WHY?\u003c/a> — “Strawberries”\u003cbr>\nPerforming as part of Anticon Records’ fifteen-year anniversary party on September 5 at \u003ca href=\"http://1015.com/events/1015/090513\">1015 Folsom\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Ty-Segall/112044832224062\">Ty Segall\u003c/a> — “Sleeper”\u003cbr>\nPlaying his new album \u003cem>Sleeper\u003c/em> at the \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=9&dyear=2013\">Great American Music Hall\u003c/a> on September 2 and \u003ca href=\"http://www.thenewparish.com/\">The New Parish\u003c/a> on September 5\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TRAILSANDWAYS\">Trails and Ways\u003c/a> — “Como Te Vas”\u003cbr>\nOne of the 70+ bands appearing at the \u003ca href=\"http://c2sv.com/\">C2SV Technology Conference and Music Festival\u003c/a> from September 26-29\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/mossheadmusic\">Mosshead\u003c/a> — “Real Blood”\u003cbr>\nPerforming at one of \u003ca href=\"http://www.thebaybridged.com/2013/08/12/20-sided-records-dropping-new-comp-celebrating-with-four-shows-presented-by-the-bay-bridged/\">20 Sided Records’ compilation release parties\u003c/a> at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.Ht9UJJfN.dpbs\">Bottom of the Hill\u003c/a> on September 5 alongside Li Xi, Wild Pack of Canaries, and Cannons and Clouds.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/ohdaughter\">Daughter\u003c/a> — “Smother”\u003cbr>\nComing to \u003ca href=\"http://thefillmore.com/\">The Fillmore\u003c/a> on October 7.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/younggalaxy\">Young Galaxy\u003c/a> — “Youth is Wasted on the Young”\u003cbr>\nHeadlining the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on October 1 with Mister Lies and Silver Swans.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/poolsidemusic\">Poolside\u003c/a> — “If We Make It”\u003cbr>\nPlaying at the \u003ca href=\"http://www.treasureislandfestival.com/2013/\">Treasure Island Music Festival\u003c/a> on October 19.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TheeOhSees\">Thee Oh Sees\u003c/a> — “Maze Fancier”\u003cbr>\nPlaying a three-night residency at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> from October 10-12 with OBN III’s and The Blind Shake.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/tameimpala\">Tame Impala\u003c/a> — “Elephant”\u003cbr>\nThe Flaming Lips and White Denim perform alongside Tame Impala on October 31 at the \u003ca href=\"http://www.apeconcerts.com/venue_bgc.cfm\">Bill Graham Civic Auditorium\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.mergerecords.com/artists/destroyer\">Destroyer\u003c/a> — “Blue Eyes”\u003cbr>\nAppearing at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> for a solo performance on November 4.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WymondMiles\">Wymond Miles\u003c/a> — “Pale Moon”\u003cbr>\nPlaying at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on September 12 (with Weekend and Disappears) and November 9 (with Crocodiles).\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This special bonus episode of our podcast surveys some of the many noteworthy concerts taking place in San Francisco this fall. It’s produced in conjunction with KQED Arts’ \u003ca href=\"http://www.kqed.org/arts/preview\">Fall Arts Guide\u003c/a>, which offers a complete preview of upcoming highlights from the Bay Area arts world.\u003c/p>\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/preview\">\u003cimg decoding=\"async\" alt=\"Get all our critics' fall picks\" src=\"http://u.s.kqed.net/2013/08/29/artspreviewfall2013inset.png\">\u003c/a>\u003c/div>\n\u003cp>In this episode, Ben, Christian, and Jason offer some individual picks for must-see shows in the months ahead, alongside songs from the artists discussed. Along the way, we chat about the undeniable appeal of \u003ca href=\"https://www.facebook.com/TheeOhSees\">Thee Oh Sees\u003c/a>‘ live shows, the emergence of music festivals outside of San Francisco proper, and much more. Obviously, this mix only scratches the surface of the variety of great shows headed our way in the coming months, but it’s full of events worth seeking out.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/whywithaquestionmark\">WHY?\u003c/a> — “Strawberries”\u003cbr>\nPerforming as part of Anticon Records’ fifteen-year anniversary party on September 5 at \u003ca href=\"http://1015.com/events/1015/090513\">1015 Folsom\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Ty-Segall/112044832224062\">Ty Segall\u003c/a> — “Sleeper”\u003cbr>\nPlaying his new album \u003cem>Sleeper\u003c/em> at the \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=9&dyear=2013\">Great American Music Hall\u003c/a> on September 2 and \u003ca href=\"http://www.thenewparish.com/\">The New Parish\u003c/a> on September 5\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TRAILSANDWAYS\">Trails and Ways\u003c/a> — “Como Te Vas”\u003cbr>\nOne of the 70+ bands appearing at the \u003ca href=\"http://c2sv.com/\">C2SV Technology Conference and Music Festival\u003c/a> from September 26-29\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/mossheadmusic\">Mosshead\u003c/a> — “Real Blood”\u003cbr>\nPerforming at one of \u003ca href=\"http://www.thebaybridged.com/2013/08/12/20-sided-records-dropping-new-comp-celebrating-with-four-shows-presented-by-the-bay-bridged/\">20 Sided Records’ compilation release parties\u003c/a> at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.Ht9UJJfN.dpbs\">Bottom of the Hill\u003c/a> on September 5 alongside Li Xi, Wild Pack of Canaries, and Cannons and Clouds.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/ohdaughter\">Daughter\u003c/a> — “Smother”\u003cbr>\nComing to \u003ca href=\"http://thefillmore.com/\">The Fillmore\u003c/a> on October 7.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/younggalaxy\">Young Galaxy\u003c/a> — “Youth is Wasted on the Young”\u003cbr>\nHeadlining the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on October 1 with Mister Lies and Silver Swans.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/poolsidemusic\">Poolside\u003c/a> — “If We Make It”\u003cbr>\nPlaying at the \u003ca href=\"http://www.treasureislandfestival.com/2013/\">Treasure Island Music Festival\u003c/a> on October 19.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TheeOhSees\">Thee Oh Sees\u003c/a> — “Maze Fancier”\u003cbr>\nPlaying a three-night residency at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> from October 10-12 with OBN III’s and The Blind Shake.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/tameimpala\">Tame Impala\u003c/a> — “Elephant”\u003cbr>\nThe Flaming Lips and White Denim perform alongside Tame Impala on October 31 at the \u003ca href=\"http://www.apeconcerts.com/venue_bgc.cfm\">Bill Graham Civic Auditorium\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.mergerecords.com/artists/destroyer\">Destroyer\u003c/a> — “Blue Eyes”\u003cbr>\nAppearing at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> for a solo performance on November 4.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WymondMiles\">Wymond Miles\u003c/a> — “Pale Moon”\u003cbr>\nPlaying at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on September 12 (with Weekend and Disappears) and November 9 (with Crocodiles).\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Acts Make Tracks: Fall's Top-10 Pop Releases",
"headTitle": "Bay Acts Make Tracks: Fall’s Top-10 Pop Releases | KQED",
"content": "\u003cp>When it comes to the local scene, the Bay Area is connected by two cities fertile with overwhelming talent. 2013 has already seen notable releases from a number of great local artists like Giraffage, Deafheaven and sayknowledge, and this is a trend which will continue for the remainder of the year.\u003c/p>\n\u003cp>With the Bay’s best hip hop release of the year, plenty of garage-y goodness and albums from old friends and exciting newcomers all on the way, the next few months are going to continue to expand the boundaries of our already prolific community. The sky’s the limit; let’s get into the most exciting local releases coming up this fall.\u003c/p>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dodos-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/preview\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/29/artspreviewfall2013inset.png\" alt=\"Get all our critics' fall picks\">\u003c/a>\u003c/div>\n\u003ch5>The Dodos, \u003ci>Carrier\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Aug. 27\u003cbr>A new album by The Dodos is always cause for celebration, though their newest comes cloaked in sadness and introspection. The passing of their guitarist Chris Reimer hangs over the album, both in spirit and in the texture provided by the large helpings of electric guitar that are all over it. \u003ci>Carrier\u003c/i> is unquestionably melancholy, but over the course of the album’s eleven honest and beautiful songs, it delivers catharsis in the acceptance that while we may lose those we love, the lessons we learn from them will live on with us. The Dodos will be performing at Great American Music Hall on Oct. 16.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/meatmarket-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Meat Market, \u003ci>Too Tired\u003c/i> EP\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 3\u003cbr>Oakland’s Meat Market are starting off a strong September if you’re a fan of rocking out, as their new EP’s title track builds on the sound of their stellar, self-titled debut, filling 2-plus minutes with plenty of energy and oh so much guitar.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thevisibles-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>The Visibles, \u003ci>The Visibles\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 10\u003cbr>Even though it’s been out digitally for a few months, The Visibles’ self-titled debut finally gets its proper release on September 10 and is too good to not include on this list. A little bit of folk, a little bit of psych rock and some enjoyable song-crafting make for a charming and catchy record that has us longing to see more of The Visibles. Check out lead single “Clarendon Hills” and hit up their LP release party Sept. 6 at Rickshaw Stop.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soothsayer-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>The Fresh & Onlys, \u003ci>Soothsayer\u003c/i> EP\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 24\u003cbr>San Francisco’s fantastic indie poppers The Fresh & Onlys are back with a half-dozen new songs meant to carry us through until the follow up to \u003ci>Long Slow Dance\u003c/i> arrives next year. Um, thank you, Onlys. Expect plenty more magic from the band that gave us songs and videos like “Presence of Mind.” You can catch them at The Chapel on Sept. 20 with Woods.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/stoltz-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Kelley Stoltz, \u003ci>Double Exposure\u003c/i> \u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 24\u003cbr>It’s been awhile since Kelley Stoltz delivered a new album, as he’s been keeping busy working with Sonny & the Sunsets, The Mantles and more. But the wait is nearly over, as \u003ci>Double Exposure\u003c/i> arrives next month from his new home on Jack White’s Third Man Records. First taste “Kim Chee Taco Man” is a slice of garage goodness that leaves us wanting more. Stoltz will be playing a record release show at The Chapel on Sept. 28.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dirty-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Everyone Is Dirty, \u003ci>side-effect\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 1 \u003cbr>Getting Converse-sponsored studio time this summer was just the tip of the iceberg for Oakland’s grungy, violin-wielding Everyone Is Dirty. With a string of raucous live shows and a great video for “Mama, No!!!” in the bag, they’re about to deliver a 3-song EP that should greatly expand their fan base ahead of a debut full-length, which arrives in January. They play the Brick & Mortar Music Hall in SF on October 24.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" src=\"//player.vimeo.com/video/62121612?title=0&byline=0&portrait=0&color=c9ff23\" width=\"480\" height=\"270\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fuzz-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Fuzz, \u003ci>Fuzz\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 1\u003cbr>The insatiable Ty Segall is back again with the debut album from his grimy rock trio that live up to the name “Fuzz.” Lead single “Loose Sutures” is a proto-metal freakout that’s drenched in glorious reverb, and the album seems destined to continue Segall’s incredible streak of successes. Fuzz have no local dates scheduled as of yet, though an extensive tour is looming so that could change at any moment.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dancasey-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Dan Casey, \u003ci>Empty City\u003c/i> \u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Late October\u003cbr>A Dan Casey by any other name (Yalls, Steezy Ray Vibes) is a wonderful thing, but now we welcome a release with the alter-egos tucked away, and if the first taste is any indication, we’re in for a treat. Title track “Empty City” is a beautiful creature, building slowly until the glory can’t be held back any longer. Recently featured on NPR, this is a man heading in the right direction and we’re happy to join him.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F106257337\">\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/a1-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>A-1, untitled mixtape\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>November \u003cbr>When it comes to Bay Area hip hop, no one is doing it better than super-versatile San Francisco MC, A-1. Last year’s \u003ci>The Thurl Tape\u003c/i> is still in heavy rotation and the recent video for “Retinas” is a brilliant reminder why. The man can tackle any topic admirably, as he proved on “Guns Off,” the vital and criminally underheard song about the death of Trayvon Martin. For his upcoming mixtape, A-1 will be flowing over beats by the best producers in the Soundcloud community, which means that the future is about to arrive. Don’t sleep.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"//www.youtube.com/embed/V2s5jOsf5mw\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/theseshen-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>The Seshen, \u003ci>2000 Seasons\u003c/i> EP (tentative title)\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>November\u003cbr>Once you’re in their presence, it’s impossible not to be won over by the Bay’s electro-pop champions, The Seshen. Last year’s self-titled triumph took us to “Oblivion” and their upcoming EP promises to add another edge to an already brilliant sound that has been crushing it at venues all over the area. Any group that counts J Dilla, Erykah Badu, Beach House and Little Dragon as influences and pulls off a sound that’s both exceptional and exceptionally their own is the goods, as far as I’m concerned.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\u003ch2>The Best of the Rest\u003c/h2>\n\u003cp>Not all great music is confined to the Bay. Some truly fantastic albums by big names and future big names are also getting ready to drop, so here are a few of the ones we’re most excited about.\u003c/p>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/holyghost-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Holy Ghost!, \u003ci>Dynamics\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 10\u003cbr>The new Holy Ghost! songs have all been incredible, ratcheting up the excitement for the DFA duo’s impending full-length. “Okay” is a bouncy synth romp and the video for the James Murphy-produced, non-album cut “Teenagers In Heat” shows off the fun side of a band that’s about to make some serious noise. \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/kissland-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>The Weeknd, \u003ci>Kiss Land\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 10\u003cbr>The weather’s about to get colder and the days are about to get shorter, so it’s the perfect time to revisit the dark world of Abel Tesfaye, the brooding genius behind the gritty R&B of The Weeknd. His trilogy of mixtapes painted a grim picture of lonely, drug-ravaged nights, so we’re interested to see where a couple years of fame find him on his debut studio album.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/haim-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Haim \u003ci>Days Are Gone\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 30\u003cbr>The excruciating wait for Haim’s debut album is finally almost over. The trio of sisters have seen their star rise tremendously this year with amazing performances at high-profile festivals and a brilliant new single, “The Wire.” \u003ci>Days Are Gone\u003c/i> should see them reach the next level of success.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/1TffpkE2GU4\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lorde-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Lorde, \u003ci>Pure Heroine\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 30\u003cbr>The 16-year-old New Zealander is on a rapid ascent to the top of the charts, with a firestorm of buzz behind her and an EP that already secured her a #1 hit in “Royals.” Basically, this girl is killing it. A world tour and the release of her debut album round out a stunning year from a woman you’ll be hearing for a long time.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/reflektor-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>The Arcade Fire, \u003ci>Reflektor\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 29\u003cbr>We practically consider it a holiday when Montreal’s finest release a new album, but this one could be the best of the bunch. They casually announced the release to a fan on Twitter and have now been leaving street art hints that suggest it’ll be called \u003ci>Reflektor\u003c/i>. All we needed to hear was that LCD Soundsystem’s James Murphy, who worked on the album, called it “really f-ing epic.”\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "A Bay Area bonanza of new releases just out or coming soon by The Dodos, A-1, The Seshen, The Fresh & Onlys, Kelley Stoltz, Fuzz and many more, compiled by the good folks at Noise Pop.",
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"description": "A Bay Area bonanza of new releases just out or coming soon by The Dodos, A-1, The Seshen, The Fresh & Onlys, Kelley Stoltz, Fuzz and many more, compiled by the good folks at Noise Pop.",
"title": "Bay Acts Make Tracks: Fall's Top-10 Pop Releases | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it comes to the local scene, the Bay Area is connected by two cities fertile with overwhelming talent. 2013 has already seen notable releases from a number of great local artists like Giraffage, Deafheaven and sayknowledge, and this is a trend which will continue for the remainder of the year.\u003c/p>\n\u003cp>With the Bay’s best hip hop release of the year, plenty of garage-y goodness and albums from old friends and exciting newcomers all on the way, the next few months are going to continue to expand the boundaries of our already prolific community. The sky’s the limit; let’s get into the most exciting local releases coming up this fall.\u003c/p>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dodos-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/preview\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/29/artspreviewfall2013inset.png\" alt=\"Get all our critics' fall picks\">\u003c/a>\u003c/div>\n\u003ch5>The Dodos, \u003ci>Carrier\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Aug. 27\u003cbr>A new album by The Dodos is always cause for celebration, though their newest comes cloaked in sadness and introspection. The passing of their guitarist Chris Reimer hangs over the album, both in spirit and in the texture provided by the large helpings of electric guitar that are all over it. \u003ci>Carrier\u003c/i> is unquestionably melancholy, but over the course of the album’s eleven honest and beautiful songs, it delivers catharsis in the acceptance that while we may lose those we love, the lessons we learn from them will live on with us. The Dodos will be performing at Great American Music Hall on Oct. 16.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/meatmarket-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Meat Market, \u003ci>Too Tired\u003c/i> EP\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 3\u003cbr>Oakland’s Meat Market are starting off a strong September if you’re a fan of rocking out, as their new EP’s title track builds on the sound of their stellar, self-titled debut, filling 2-plus minutes with plenty of energy and oh so much guitar.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thevisibles-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>The Visibles, \u003ci>The Visibles\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 10\u003cbr>Even though it’s been out digitally for a few months, The Visibles’ self-titled debut finally gets its proper release on September 10 and is too good to not include on this list. A little bit of folk, a little bit of psych rock and some enjoyable song-crafting make for a charming and catchy record that has us longing to see more of The Visibles. Check out lead single “Clarendon Hills” and hit up their LP release party Sept. 6 at Rickshaw Stop.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/soothsayer-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>The Fresh & Onlys, \u003ci>Soothsayer\u003c/i> EP\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 24\u003cbr>San Francisco’s fantastic indie poppers The Fresh & Onlys are back with a half-dozen new songs meant to carry us through until the follow up to \u003ci>Long Slow Dance\u003c/i> arrives next year. Um, thank you, Onlys. Expect plenty more magic from the band that gave us songs and videos like “Presence of Mind.” You can catch them at The Chapel on Sept. 20 with Woods.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/stoltz-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Kelley Stoltz, \u003ci>Double Exposure\u003c/i> \u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 24\u003cbr>It’s been awhile since Kelley Stoltz delivered a new album, as he’s been keeping busy working with Sonny & the Sunsets, The Mantles and more. But the wait is nearly over, as \u003ci>Double Exposure\u003c/i> arrives next month from his new home on Jack White’s Third Man Records. First taste “Kim Chee Taco Man” is a slice of garage goodness that leaves us wanting more. Stoltz will be playing a record release show at The Chapel on Sept. 28.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dirty-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Everyone Is Dirty, \u003ci>side-effect\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 1 \u003cbr>Getting Converse-sponsored studio time this summer was just the tip of the iceberg for Oakland’s grungy, violin-wielding Everyone Is Dirty. With a string of raucous live shows and a great video for “Mama, No!!!” in the bag, they’re about to deliver a 3-song EP that should greatly expand their fan base ahead of a debut full-length, which arrives in January. They play the Brick & Mortar Music Hall in SF on October 24.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" src=\"//player.vimeo.com/video/62121612?title=0&byline=0&portrait=0&color=c9ff23\" width=\"480\" height=\"270\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fuzz-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Fuzz, \u003ci>Fuzz\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 1\u003cbr>The insatiable Ty Segall is back again with the debut album from his grimy rock trio that live up to the name “Fuzz.” Lead single “Loose Sutures” is a proto-metal freakout that’s drenched in glorious reverb, and the album seems destined to continue Segall’s incredible streak of successes. Fuzz have no local dates scheduled as of yet, though an extensive tour is looming so that could change at any moment.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dancasey-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Dan Casey, \u003ci>Empty City\u003c/i> \u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Late October\u003cbr>A Dan Casey by any other name (Yalls, Steezy Ray Vibes) is a wonderful thing, but now we welcome a release with the alter-egos tucked away, and if the first taste is any indication, we’re in for a treat. Title track “Empty City” is a beautiful creature, building slowly until the glory can’t be held back any longer. Recently featured on NPR, this is a man heading in the right direction and we’re happy to join him.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F106257337\">\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/a1-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>A-1, untitled mixtape\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>November \u003cbr>When it comes to Bay Area hip hop, no one is doing it better than super-versatile San Francisco MC, A-1. Last year’s \u003ci>The Thurl Tape\u003c/i> is still in heavy rotation and the recent video for “Retinas” is a brilliant reminder why. The man can tackle any topic admirably, as he proved on “Guns Off,” the vital and criminally underheard song about the death of Trayvon Martin. For his upcoming mixtape, A-1 will be flowing over beats by the best producers in the Soundcloud community, which means that the future is about to arrive. Don’t sleep.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"//www.youtube.com/embed/V2s5jOsf5mw\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/theseshen-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>The Seshen, \u003ci>2000 Seasons\u003c/i> EP (tentative title)\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>November\u003cbr>Once you’re in their presence, it’s impossible not to be won over by the Bay’s electro-pop champions, The Seshen. Last year’s self-titled triumph took us to “Oblivion” and their upcoming EP promises to add another edge to an already brilliant sound that has been crushing it at venues all over the area. Any group that counts J Dilla, Erykah Badu, Beach House and Little Dragon as influences and pulls off a sound that’s both exceptional and exceptionally their own is the goods, as far as I’m concerned.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\u003ch2>The Best of the Rest\u003c/h2>\n\u003cp>Not all great music is confined to the Bay. Some truly fantastic albums by big names and future big names are also getting ready to drop, so here are a few of the ones we’re most excited about.\u003c/p>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/holyghost-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Holy Ghost!, \u003ci>Dynamics\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 10\u003cbr>The new Holy Ghost! songs have all been incredible, ratcheting up the excitement for the DFA duo’s impending full-length. “Okay” is a bouncy synth romp and the video for the James Murphy-produced, non-album cut “Teenagers In Heat” shows off the fun side of a band that’s about to make some serious noise. \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/kissland-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>The Weeknd, \u003ci>Kiss Land\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 10\u003cbr>The weather’s about to get colder and the days are about to get shorter, so it’s the perfect time to revisit the dark world of Abel Tesfaye, the brooding genius behind the gritty R&B of The Weeknd. His trilogy of mixtapes painted a grim picture of lonely, drug-ravaged nights, so we’re interested to see where a couple years of fame find him on his debut studio album.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/haim-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Haim \u003ci>Days Are Gone\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 30\u003cbr>The excruciating wait for Haim’s debut album is finally almost over. The trio of sisters have seen their star rise tremendously this year with amazing performances at high-profile festivals and a brilliant new single, “The Wire.” \u003ci>Days Are Gone\u003c/i> should see them reach the next level of success.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/1TffpkE2GU4\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lorde-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Lorde, \u003ci>Pure Heroine\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 30\u003cbr>The 16-year-old New Zealander is on a rapid ascent to the top of the charts, with a firestorm of buzz behind her and an EP that already secured her a #1 hit in “Royals.” Basically, this girl is killing it. A world tour and the release of her debut album round out a stunning year from a woman you’ll be hearing for a long time.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/reflektor-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>The Arcade Fire, \u003ci>Reflektor\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 29\u003cbr>We practically consider it a holiday when Montreal’s finest release a new album, but this one could be the best of the bunch. They casually announced the release to a fan on Twitter and have now been leaving street art hints that suggest it’ll be called \u003ci>Reflektor\u003c/i>. All we needed to hear was that LCD Soundsystem’s James Murphy, who worked on the album, called it “really f-ing epic.”\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Global Music, Local Dates: Must-See World Music",
"headTitle": "Global Music, Local Dates: Must-See World Music | KQED",
"content": "\u003cp>Cities that are international destinations — like Paris, Barcelona, London, and San Francisco — have international reputations for the arts. The world’s best artists want to perform in these metropolises, which is why San Francisco and the greater Bay Area always draw the crème de la crème of world-music stars. This fall, the crème is \u003ci> magnifique\u003c/i>. Acclaimed musicians from Cuba, Mexico, Jamaica, Iran, Israel, Ireland, and Mali are turning the Bay Area into a global village. Here are nine world-music concerts you won’t want to miss: \u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jimmycliff-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/preview\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/29/artspreviewfall2013inset.png\" alt=\"Get all our critics' fall picks\">\u003c/a>\u003c/div>\n\u003ch5>Jimmy Cliff\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 11\u003cbr>The Fillmore (1805 Geary Blvd., SF)\u003cbr>It doesn’t matter that Jimmy Cliff hasn’t had a major hit in 30 years. In the 1970s, Cliff hit it big with songs like “Many Rivers to Cross,” “The Harder They Come,” and “You Can Get It If You Want,” which combined reggae aesthetics with pop sensibilities. The songs appeared on the soundtrack to \u003ci>The Harder They Come\u003c/i>, the 1972 drama that also starred Cliff. Like Bob Marley, Cliff is one of Jamaica’s historic musical figures — someone whose songs will always seem fresh and oh-so relevant to the times that people live in.\u003cbr>For \u003ca href=\"http://thefillmore.com/ai1ec_event/jimmy-cliff/\">tickets and information\u003c/a>, visit thefillmore.com.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buenavista-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Orquesta Buena Vista Social Club\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 22\u003cbr>Davies Symphony Hall (201 Van Ness Ave., SF) \u003cbr>Surviving members of the Cuban group that re-emerged in 1996 — and became a musical sensation across the world — are reuniting for a tour that takes them around the United States. Key members of the group (most notably singer/guitarist Compay Segundo and singer Ibrahim Ferrer) have passed away, but vocalist Omara Portuondo (at age 82) and vocalist/singer Eliades Ochoa (a young 67) lead a revamped ensemble that (God bless ’em) is thriving anew.\u003cbr> For \u003ca href=\"http://www.sfjazz.org/events/season2/orquestra-buena-vista-social-club\">tickets and information\u003c/a>, visit sfjazz.org.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"//www.youtube.com/embed/tGbRZ73NvlY\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/waterboys-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>The Waterboys\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 6\u003cbr>Great American Music Hall (859 O’Farrell St., SF)\u003cbr>Celtic music meets rock ‘n’ roll with the Waterboys, a band with origins in Ireland and the greater U.K. that has been drawing audiences for 30 years. The music of the Waterboys is made for dancing and for feeling deeply about the subjects the group sings about – whether it’s relationships or matters of history. There’s a good reason the Waterboys have endured with fans: Their music is entirely authentic and full of passion. As always, singer/songwriter/composer/founder Mike Scott leads the group’s high-stepping ways.\u003cbr> For \u003ca href=\"http://gamhtickets.com/events/340267%22\">tickets and information\u003c/a>, visit gamhtickets.com.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/idanraichel-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>The Idan Raichel Project\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 12\u003cbr>Nourse Theater (275 Hayes St., SF) \u003cbr>The great Israeli keyboardist with dreadlocks, who fuses music from Arab, Israel, Ethiopian and other cultures to create his own distinct music, is the living embodiment of “globalized culture.” Raichel composes songs in Hebrew, French, English and other languages, and he brings on swaths of other musicians whose worldviews are also directed outward. The result is what he calls “The Idan Raichel Project,” which lets him veer off into many different directions — often in a way that inspires his audience to dance the night away.\u003cbr> For \u003ca href=\"http://www.ciis.edu/Public_Programs/Public_Programs_Events/Idan_Raichel_FA13.html\">tickets and information\u003c/a>, visit ciis.edu.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/deyhim-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Sussan Deyhim\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 27\u003cbr>Yoshi’s San Francisco (1330 Fillmore St., SF)\u003cbr>A master of mystical/experimental music, Deyhim has a voice that sounds like it was gifted to her by angels. She can go fast. She can go slow. Whatever speed Deyhim goes with her music, it’s a chance to get lost in a feeling of wonder. You don’t have to understand Persian to understand that Deyhim is exposing herself and her audience to songs that bring out highly rapturous emotions.\u003cbr>For \u003ca href=\"http://www.yoshis.com/sanfrancisco/livemusic/artist/show/3724\">tickets and information\u003c/a>, visit yoshis.com.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mariza-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Mariza\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>October 30\u003cbr>Zellerbach Hall (UC Berkeley campus)\u003cbr>Mariza has helped bring \u003ci>fado\u003c/i> music to dizzying new heights. \u003ci>Fado\u003c/i> is often called Portugal’s version of the blues. It’s about surviving hard times, but it’s also infectious and thrilling. Whether she sings with Sting or with a full orchestras or by herself, Mariza inhabits \u003ci>fado\u003c/i> in a way that gets under your skin. And that’s a good thing.\u003cbr>For \u003ca href=\"http://www.calperfs.berkeley.edu/performances/2013-14/world-stage/mariza.php\">tickets and information\u003c/a>, visit calperfs.berkeley.edu.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"//www.youtube.com/embed/5ElLSBx9Jo8\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mariachivargas-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Mariachi Vargas de Tecalitlán\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Nov. 3\u003cbr>Zellerbach Hall (UC Berkeley campus)\u003cbr>There’s Mariachi music and then there’s mariachi music by Mariachi Vargas de Tecalitlán, a group that was founded more than 100 years ago in Jalisco, Mexico. Mariachi Vargas de Tecalitlán has made more than 50 albums, and its performance at UC Berkeley is a chance to see why it’s considered the best mariachi group of its kind. When Mariachi Vargas de Tecalitlán gets on stage, its violins, trumpets and other instruments — not to mention the shout-outs from its singers — work in kinetic harmony.\u003cbr>For \u003ca href=\"http://www.calperfs.berkeley.edu/performances/2013-14/world-stage/mariachi-vargas-de-tecalitlan.php\">tickets and information\u003c/a>, visit calperfs.berkeley.edu.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/kayhan-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Kayhan Kalhor and Ali Bahrami Fard\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Nov. 14\u003cbr>SFJAZZ Center (201 Franklin St., SF) \u003cbr>The most important musician to have emerged from Iran in the past 20 years, Kalhor usually plays \u003ci>kamancheh\u003c/i>, a Persian spike fiddle, but for his 2012 album, \u003ci>I Will Not Stand Alone\u003c/i>, he debuted a \u003ci>shah-kaman\u003c/i>, a new version of his instrument that has sympathetic strings. The album also saw Kalhor working with Ali Bahrami Fard, who plays bass santur. Kalhor, who has performed regularly with Yo-Yo Ma and a who’s who of other big U.S. names, performs with Fard for this concert, which showcases Kalhor’s ability to pair his instrument with perfectly complementary sounds.\u003cbr>For \u003ca href=\"http://www.sfjazz.org/events/season2/kalhor-fard\">tickets and information\u003c/a>, visit sfjazz.org.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rokia-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Rokia Traore\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Nov. 22\u003cbr>Nourse Theater (275 Hayes St., SF)\u003cbr>One of Mali’s foremost singer-songwriters — and one of the country’s select women to tour internationally — Traore worked most recently with Toni Morrison and Peter Sellars on a new Shakespearean version of \u003ci>Desdemona\u003c/i>. Traore’s instrument of choice is the guitar. She often sounds folky, stripping a song of all pretensions and leaving a sparse instrumentation that accentuates a voice that yearns in the best way imaginable.\u003cbr>For \u003ca href=\"http://www.ciis.edu/Public_Programs/Public_Programs_Events/Rokia_Traore_FA13.html\">tickets and information\u003c/a>, visit ciis.edu.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"//www.youtube.com/embed/Z9PYBNt8aR4\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\n",
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"excerpt": "Nine world music concerts you won't want to miss.",
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"title": "Global Music, Local Dates: Must-See World Music | KQED",
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"headline": "Global Music, Local Dates: Must-See World Music",
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"description": "Jonathan Curiel has written widely about music, film, books, art, photography and other cultural subjects. \u003ci>SF Weekly's\u003c/i> art critic, he is a former staff writer with the \u003ci>San Francisco Chronicle\u003c/i>, and has also written on the arts for \u003ca href=\"http://www.salon.com/\">Salon\u003c/a>, the \u003ci>Christian Science Monitor\u003c/i>, \u003ci>The Wire\u003c/i> (a London music magazine), \u003ci>Tablet\u003c/i> and \u003ci>GlobalPost\u003c/i>. He has researched architecture at England's Oxford University, taught music journalism at the UCLA Herb Alpert School of Music, and been a juror at the San Francisco International Film Festival.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cities that are international destinations — like Paris, Barcelona, London, and San Francisco — have international reputations for the arts. The world’s best artists want to perform in these metropolises, which is why San Francisco and the greater Bay Area always draw the crème de la crème of world-music stars. This fall, the crème is \u003ci> magnifique\u003c/i>. Acclaimed musicians from Cuba, Mexico, Jamaica, Iran, Israel, Ireland, and Mali are turning the Bay Area into a global village. Here are nine world-music concerts you won’t want to miss: \u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jimmycliff-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/preview\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/29/artspreviewfall2013inset.png\" alt=\"Get all our critics' fall picks\">\u003c/a>\u003c/div>\n\u003ch5>Jimmy Cliff\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 11\u003cbr>The Fillmore (1805 Geary Blvd., SF)\u003cbr>It doesn’t matter that Jimmy Cliff hasn’t had a major hit in 30 years. In the 1970s, Cliff hit it big with songs like “Many Rivers to Cross,” “The Harder They Come,” and “You Can Get It If You Want,” which combined reggae aesthetics with pop sensibilities. The songs appeared on the soundtrack to \u003ci>The Harder They Come\u003c/i>, the 1972 drama that also starred Cliff. Like Bob Marley, Cliff is one of Jamaica’s historic musical figures — someone whose songs will always seem fresh and oh-so relevant to the times that people live in.\u003cbr>For \u003ca href=\"http://thefillmore.com/ai1ec_event/jimmy-cliff/\">tickets and information\u003c/a>, visit thefillmore.com.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buenavista-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Orquesta Buena Vista Social Club\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 22\u003cbr>Davies Symphony Hall (201 Van Ness Ave., SF) \u003cbr>Surviving members of the Cuban group that re-emerged in 1996 — and became a musical sensation across the world — are reuniting for a tour that takes them around the United States. Key members of the group (most notably singer/guitarist Compay Segundo and singer Ibrahim Ferrer) have passed away, but vocalist Omara Portuondo (at age 82) and vocalist/singer Eliades Ochoa (a young 67) lead a revamped ensemble that (God bless ’em) is thriving anew.\u003cbr> For \u003ca href=\"http://www.sfjazz.org/events/season2/orquestra-buena-vista-social-club\">tickets and information\u003c/a>, visit sfjazz.org.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"//www.youtube.com/embed/tGbRZ73NvlY\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/waterboys-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>The Waterboys\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 6\u003cbr>Great American Music Hall (859 O’Farrell St., SF)\u003cbr>Celtic music meets rock ‘n’ roll with the Waterboys, a band with origins in Ireland and the greater U.K. that has been drawing audiences for 30 years. The music of the Waterboys is made for dancing and for feeling deeply about the subjects the group sings about – whether it’s relationships or matters of history. There’s a good reason the Waterboys have endured with fans: Their music is entirely authentic and full of passion. As always, singer/songwriter/composer/founder Mike Scott leads the group’s high-stepping ways.\u003cbr> For \u003ca href=\"http://gamhtickets.com/events/340267%22\">tickets and information\u003c/a>, visit gamhtickets.com.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/idanraichel-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>The Idan Raichel Project\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 12\u003cbr>Nourse Theater (275 Hayes St., SF) \u003cbr>The great Israeli keyboardist with dreadlocks, who fuses music from Arab, Israel, Ethiopian and other cultures to create his own distinct music, is the living embodiment of “globalized culture.” Raichel composes songs in Hebrew, French, English and other languages, and he brings on swaths of other musicians whose worldviews are also directed outward. The result is what he calls “The Idan Raichel Project,” which lets him veer off into many different directions — often in a way that inspires his audience to dance the night away.\u003cbr> For \u003ca href=\"http://www.ciis.edu/Public_Programs/Public_Programs_Events/Idan_Raichel_FA13.html\">tickets and information\u003c/a>, visit ciis.edu.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/deyhim-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Sussan Deyhim\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 27\u003cbr>Yoshi’s San Francisco (1330 Fillmore St., SF)\u003cbr>A master of mystical/experimental music, Deyhim has a voice that sounds like it was gifted to her by angels. She can go fast. She can go slow. Whatever speed Deyhim goes with her music, it’s a chance to get lost in a feeling of wonder. You don’t have to understand Persian to understand that Deyhim is exposing herself and her audience to songs that bring out highly rapturous emotions.\u003cbr>For \u003ca href=\"http://www.yoshis.com/sanfrancisco/livemusic/artist/show/3724\">tickets and information\u003c/a>, visit yoshis.com.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mariza-400.jpg\" width=\"98\" height=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Mariza\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>October 30\u003cbr>Zellerbach Hall (UC Berkeley campus)\u003cbr>Mariza has helped bring \u003ci>fado\u003c/i> music to dizzying new heights. \u003ci>Fado\u003c/i> is often called Portugal’s version of the blues. It’s about surviving hard times, but it’s also infectious and thrilling. Whether she sings with Sting or with a full orchestras or by herself, Mariza inhabits \u003ci>fado\u003c/i> in a way that gets under your skin. And that’s a good thing.\u003cbr>For \u003ca href=\"http://www.calperfs.berkeley.edu/performances/2013-14/world-stage/mariza.php\">tickets and information\u003c/a>, visit calperfs.berkeley.edu.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The song of the summer starts like summer itself, hopeful, exciting, and you can’t wait for it to begin. Once it’s here you dive in, listening to it obsessively until it gradually becomes a temporary anthem. Undoubtedly Robin Thicke’s “Blurred Lines” was the pop song of the summer, but we’re going to explore the songs that kept the indie blogosphere buzzing from June-August instead.\u003c/p>\n\u003cp>This episode documents what the indie songs of the summer were for 2013. Each of these tracks have been blasting from parks and backyard barbecues all summer long, soundtracking the season with indie goodness. Enjoy!\u003c/p>\n\u003cp>\u003cb>Tracklist:\u003c/b>\u003cbr> 1. “Doin’ It Right” — Daft Punk, \u003ci>Random Access Memories\u003c/i>\u003cbr> 2. “Royals” — Lorde, \u003ci>The Love Club\u003c/i>\u003cbr>3.”Shout It Out” — MIkal Cronin, \u003ci>MCII\u003c/i>\u003cbr> 4. “Step” — Vampire Weekend, \u003ci>Modern Vampires of The City\u003c/i>\u003cbr>5. “Collard Greens” — ScHoolboy Q, \u003ci>Oxymoron\u003c/i>\u003cbr>6. “The Mother We Share” — Chvrches, Single\u003cbr>7 “When a Fire Starts to Burn” — Disclosure, \u003ci>Settle\u003c/i>\u003cbr>8 “She Will” — Savages, \u003ci>Silence Yourself\u003c/i>\u003cbr>9. “High School Lover” — Cayucas, \u003ci>Bigfoot\u003c/i>\u003cbr>10. “Bad For My Body” — Deap Vally, \u003ci>Sitrionix\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The song of the summer starts like summer itself, hopeful, exciting, and you can’t wait for it to begin. Once it’s here you dive in, listening to it obsessively until it gradually becomes a temporary anthem. Undoubtedly Robin Thicke’s “Blurred Lines” was the pop song of the summer, but we’re going to explore the songs that kept the indie blogosphere buzzing from June-August instead.\u003c/p>\n\u003cp>This episode documents what the indie songs of the summer were for 2013. Each of these tracks have been blasting from parks and backyard barbecues all summer long, soundtracking the season with indie goodness. Enjoy!\u003c/p>\n\u003cp>\u003cb>Tracklist:\u003c/b>\u003cbr> 1. “Doin’ It Right” — Daft Punk, \u003ci>Random Access Memories\u003c/i>\u003cbr> 2. “Royals” — Lorde, \u003ci>The Love Club\u003c/i>\u003cbr>3.”Shout It Out” — MIkal Cronin, \u003ci>MCII\u003c/i>\u003cbr> 4. “Step” — Vampire Weekend, \u003ci>Modern Vampires of The City\u003c/i>\u003cbr>5. “Collard Greens” — ScHoolboy Q, \u003ci>Oxymoron\u003c/i>\u003cbr>6. “The Mother We Share” — Chvrches, Single\u003cbr>7 “When a Fire Starts to Burn” — Disclosure, \u003ci>Settle\u003c/i>\u003cbr>8 “She Will” — Savages, \u003ci>Silence Yourself\u003c/i>\u003cbr>9. “High School Lover” — Cayucas, \u003ci>Bigfoot\u003c/i>\u003cbr>10. “Bad For My Body” — Deap Vally, \u003ci>Sitrionix\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>You’ve probably heard Greg Kihn on your morning commute. He was on KFOX every morning for sixteen years. You may also know him from MTV, in the ’80s his song \u003ca href=\"http://www.youtube.com/watch?v=3tCEQwww65g\">“Jeopardy”\u003c/a> was in heavy rotation for awhile. Greg Kihn is to another generation our James Franco — you know the type: the actor slash producer slash author slash etcetera. Except instead of actor turned author, Kihn is a songwriter slash musician slash radio host slash author. As a people, we seem to have formed a consensus on this: too many slashes mean one or a couple of categories get undercooked. Indeed, \u003ca href=\"http://jezebel.com/5668840/critics-divided-on-james-francos-raw-unsettling-short-stories\">criticism of Franco’s books\u003c/a> all tend to boil down to the same thing: the writing is promising, but the performance on the page doesn’t reach the heights of Franco’s performance in front of a camera. Ditto Kihn. His literary efforts don’t reach his sharpness as a pop star or radio host.\u003c/p>\n\u003cp>\u003ci>Rubber Soul\u003c/i> is Kihn’s fifth book, and the idea behind it is a catchy one. In his incarnation as a radio host, Kihn had the opportunity to interview three Beatles: Paul McCartney, Ringo Starr, and Pete Best. He asked about the early days, when the Beatles were just another local cover band in Liverpool with an American rock n’ roll repertoire. What Kihn wanted to know was — how did the Beatles get a hold of vinyl records that were only being released in America? The answer is the band had contacts within the marines. Marines, traveling back and forth between Liverpool and the United States, fed the Beatles the newest releases from America. It’s a good premise for a book: sailors with vinyl contraband frequenting ports and dark alleys and the Beatles. From there, Greg Kihn crafted his novel. It wasn’t many marines who supplied the Beatles with the new vinyl releases from America, but just one: Dust Bin Bob.\u003c/p>\n\u003cp>\u003ci>Rubber Soul\u003c/i> is meticulously researched, using real events and situations, but making up everything else. Kihn’s lines can be nuanced, explosive, and vividly seen. In describing a faded, older woman, Kihn writes, “She might have been pretty once, and the ghost of it still haunted her face.” But more often than not, the book feels like musical scholarship in the excuse of a novel. The prose is often subverted by expository knowledge. This passage, for example, begins expertly well, but soon loses momentum: “Bobby pulled the stack of thick 45rpm records out of the box. The paper sleeves rustled through his fingers like bills in stacks of currency. Bobby knew American 45s better than most U.S. teenagers did. He knew they’d begun as disks for American jukeboxes, playing music in bars and roadhouses Bobby could only imagine. He knew that their huge spindle holes were a carryover from that original jukebox function which made it easier for a machine to handle them.” Hardly the stuff I thirst to know on page four.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/23/fabs.jpg\" style=\"margin-bottom: 10 px\">\u003cbr> The Fab Four by United Press International. Image: \u003ca href=\"http://commons.wikimedia.org/wiki/File%3AThe_Beatles%2C_Kennedy_Airport%2C_February_1964.jpg\">Wikimedia Commons \u003c/a> \u003c/p>\n\u003cp>At other times, Kihn’s delight in music is palpable. In one early occasion, Dust Bin Bob lets his teenage peers (John Lennon, George Harrison, Paul McCartney) listen to his records. Barret Strong’s “Money” spellbinds the three and immediately they busy themselves with reproducing it. “Bobby felt goose bumps rise on his arms and neck. The others came in one by one, layering each enthusiastic vocal on top of the next, building to a crazy crescendo. Musical energy crackled in the air like electricity. Bobby’s fingers and toes twitched. The harmonies were dead on, sung with exuberance. But it was more than that. The intangible quality he listened for between the grooves was there.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The driving force behind this book is in the imagining of the Beatles’ private lives, but Kihn makes the mistake of following too closely the oscillating angst of Dust Bin Bob — whose inner turmoil is ironically never truly explored but only told from a distance. A book that could be splitting at the hems with excitement due to its explosive ingredients (the Beatles! the Beatles using drugs! the Beatles in fistfights! Beatlemania! the Beatles barely escaping the Phillipines!), is instead a muted tale told chronologically, not because Kihn is not a capable writer but because he doesn’t seem to know how to exploit his characters and material.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=OMNPPwq8I2Y&w=480&h=270]\u003c/p>\n\u003cp>For some good reading featuring the Beatles you may \u003ca href=\"http://authors.simonandschuster.com/Philip-Norman/18228509/\">turn to\u003c/a> Philip Norman’s \u003ci>Shout!\u003c/i>, which the \u003ci>New York Times\u003c/i> calls “Nothing less than thrilling,” and the Guardian calls “a glorious example of how to write about music, while also writing about much more.” And if you are longing for an inside look, \u003ca href=\"http://books.google.com/books?id=qGMvsIavUmIC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false\">try\u003c/a> \u003ci>The Longest Cocktail Party\u003c/i>, the memoir of Richard DiLello, who worked for the Beatles’ Apple company as “house hippy,” rolling joints and making tea and at times helping with the PR.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Rubber Soul\u003c/i> is \u003ca href=\"http://www.indiebound.org/book/9781624670947\">on sale\u003c/a> now. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’ve probably heard Greg Kihn on your morning commute. He was on KFOX every morning for sixteen years. You may also know him from MTV, in the ’80s his song \u003ca href=\"http://www.youtube.com/watch?v=3tCEQwww65g\">“Jeopardy”\u003c/a> was in heavy rotation for awhile. Greg Kihn is to another generation our James Franco — you know the type: the actor slash producer slash author slash etcetera. Except instead of actor turned author, Kihn is a songwriter slash musician slash radio host slash author. As a people, we seem to have formed a consensus on this: too many slashes mean one or a couple of categories get undercooked. Indeed, \u003ca href=\"http://jezebel.com/5668840/critics-divided-on-james-francos-raw-unsettling-short-stories\">criticism of Franco’s books\u003c/a> all tend to boil down to the same thing: the writing is promising, but the performance on the page doesn’t reach the heights of Franco’s performance in front of a camera. Ditto Kihn. His literary efforts don’t reach his sharpness as a pop star or radio host.\u003c/p>\n\u003cp>\u003ci>Rubber Soul\u003c/i> is Kihn’s fifth book, and the idea behind it is a catchy one. In his incarnation as a radio host, Kihn had the opportunity to interview three Beatles: Paul McCartney, Ringo Starr, and Pete Best. He asked about the early days, when the Beatles were just another local cover band in Liverpool with an American rock n’ roll repertoire. What Kihn wanted to know was — how did the Beatles get a hold of vinyl records that were only being released in America? The answer is the band had contacts within the marines. Marines, traveling back and forth between Liverpool and the United States, fed the Beatles the newest releases from America. It’s a good premise for a book: sailors with vinyl contraband frequenting ports and dark alleys and the Beatles. From there, Greg Kihn crafted his novel. It wasn’t many marines who supplied the Beatles with the new vinyl releases from America, but just one: Dust Bin Bob.\u003c/p>\n\u003cp>\u003ci>Rubber Soul\u003c/i> is meticulously researched, using real events and situations, but making up everything else. Kihn’s lines can be nuanced, explosive, and vividly seen. In describing a faded, older woman, Kihn writes, “She might have been pretty once, and the ghost of it still haunted her face.” But more often than not, the book feels like musical scholarship in the excuse of a novel. The prose is often subverted by expository knowledge. This passage, for example, begins expertly well, but soon loses momentum: “Bobby pulled the stack of thick 45rpm records out of the box. The paper sleeves rustled through his fingers like bills in stacks of currency. Bobby knew American 45s better than most U.S. teenagers did. He knew they’d begun as disks for American jukeboxes, playing music in bars and roadhouses Bobby could only imagine. He knew that their huge spindle holes were a carryover from that original jukebox function which made it easier for a machine to handle them.” Hardly the stuff I thirst to know on page four.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/23/fabs.jpg\" style=\"margin-bottom: 10 px\">\u003cbr> The Fab Four by United Press International. Image: \u003ca href=\"http://commons.wikimedia.org/wiki/File%3AThe_Beatles%2C_Kennedy_Airport%2C_February_1964.jpg\">Wikimedia Commons \u003c/a> \u003c/p>\n\u003cp>At other times, Kihn’s delight in music is palpable. In one early occasion, Dust Bin Bob lets his teenage peers (John Lennon, George Harrison, Paul McCartney) listen to his records. Barret Strong’s “Money” spellbinds the three and immediately they busy themselves with reproducing it. “Bobby felt goose bumps rise on his arms and neck. The others came in one by one, layering each enthusiastic vocal on top of the next, building to a crazy crescendo. Musical energy crackled in the air like electricity. Bobby’s fingers and toes twitched. The harmonies were dead on, sung with exuberance. But it was more than that. The intangible quality he listened for between the grooves was there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The driving force behind this book is in the imagining of the Beatles’ private lives, but Kihn makes the mistake of following too closely the oscillating angst of Dust Bin Bob — whose inner turmoil is ironically never truly explored but only told from a distance. A book that could be splitting at the hems with excitement due to its explosive ingredients (the Beatles! the Beatles using drugs! the Beatles in fistfights! Beatlemania! the Beatles barely escaping the Phillipines!), is instead a muted tale told chronologically, not because Kihn is not a capable writer but because he doesn’t seem to know how to exploit his characters and material.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OMNPPwq8I2Y'\n title='//www.youtube.com/embed/OMNPPwq8I2Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For some good reading featuring the Beatles you may \u003ca href=\"http://authors.simonandschuster.com/Philip-Norman/18228509/\">turn to\u003c/a> Philip Norman’s \u003ci>Shout!\u003c/i>, which the \u003ci>New York Times\u003c/i> calls “Nothing less than thrilling,” and the Guardian calls “a glorious example of how to write about music, while also writing about much more.” And if you are longing for an inside look, \u003ca href=\"http://books.google.com/books?id=qGMvsIavUmIC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false\">try\u003c/a> \u003ci>The Longest Cocktail Party\u003c/i>, the memoir of Richard DiLello, who worked for the Beatles’ Apple company as “house hippy,” rolling joints and making tea and at times helping with the PR.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Rubber Soul\u003c/i> is \u003ca href=\"http://www.indiebound.org/book/9781624670947\">on sale\u003c/a> now. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over the past few years, the San Francisco Bay Area has dominated the world of garage rock with folks like \u003ca href=\"http://www.theeohsees.com/\">Thee Oh Sees\u003c/a>, \u003ca href=\"http://shannonandtheclams.com/\">Shannon and the Clams\u003c/a> and \u003ca href=\"http://ty-segall.com/\">Ty Segall\u003c/a> recognized as the leaders of a fertile local rock and roll scene. In 2013, all three of those acts remain great: the first two put out a couple of the year’s best albums, and the now LA-based Segall’s newest comes highly anticipated from Drag City next week.\u003c/p>\n\u003cp>An honest accounting of Bay Area rock in 2013, however, requires a look to the local bands beyond the big names. What that survey reveals, thankfully, is that there remain a lot of very talented acts continuing to push rock and roll, garage punk, lo-fi, and power pop forward in new, weird, and compelling directions. This mix collects fourteen great bands from within that local rock universe, avoiding names that are familiar to the podcast or that we’ve covered here with some frequency.\u003c/p>\n\u003cp>A few notes on some of the included artists: \u003ca href=\"http://scraperband.bandcamp.com/\">Scraper\u003c/a> just released an incendiary new 7″ on Drag City’s God? imprint. Speaking of new releases, there are new albums forthcoming from \u003ca href=\"http://ccrheadclnr.tumblr.com\">CCR Headcleaner\u003c/a>, \u003ca href=\"https://www.facebook.com/meatmarketbeat\">Meat Market\u003c/a>, and \u003ca href=\"https://www.facebook.com/pages/Adam-Widener/227199104044053\">Adam Widener\u003c/a>. Widener’s contribution here is a brand new track from the \u003cem>Vesuvio Nights\u003c/em> LP. Meanwhile, \u003ca href=\"https://www.facebook.com/BL00DSISTER\">Blood Sister\u003c/a> features members of Ganglians and Night Manager, while \u003ca href=\"https://www.facebook.com/GravysDrop\">Gravys Drop\u003c/a> is a project led by Nobunny drummer Billy Grave.\u003c/p>\n\u003cp>All told, it’s a really fun collection of songs. Enjoy the mix!\u003c/p>\n\u003cp>\u003cu>Track Listing:\u003c/u>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/ButtonsBand\">Buttons\u003c/a> — “Hand Grenades”\u003cbr>\u003ca href=\"http://scraperband.bandcamp.com/\">Scraper\u003c/a> — “Electric Hairpiece”\u003cbr>\u003ca href=\"https://www.facebook.com/primitivehearts\">Primitive Hearts\u003c/a> — “Won’t Wait Around”\u003cbr>\u003ca href=\"https://www.facebook.com/pages/Adam-Widener/227199104044053\">Adam Widener\u003c/a> — “Laughter on Your Heels I’ll Follow”\u003cbr>\u003ca href=\"https://www.facebook.com/GravysDrop\">Gravys Drop\u003c/a> — “Secret Stash”\u003cbr>\u003ca href=\"https://www.facebook.com/cellardoorsinstereo\">Cellar Doors\u003c/a> — “Lies”\u003cbr>\u003ca href=\"https://www.facebook.com/pinkslime666\">PINKSLIME\u003c/a> — “I’m In Hell”\u003cbr>\u003ca href=\"http://ccrheadclnr.tumblr.com\">CCR Headcleaner\u003c/a> — Diamonds A’rnt Forever\u003cbr>\u003ca href=\"https://www.facebook.com/BL00DSISTER\">Blood Sister\u003c/a> — “BART SIMPSON”\u003cbr>\u003ca href=\"http://yogurtbrain.bandcamp.com/\">Yogurt Brain\u003c/a> — “Lemon Tree”\u003cbr>\u003ca href=\"https://www.facebook.com/meatmarketbeat\">Meat Market\u003c/a> — “TNT”\u003cbr>\u003ca href=\"https://www.facebook.com/pages/City-Deluxe/126438777451612\">City Deluxe\u003c/a> — “Go To The City”\u003cbr>\u003ca href=\"https://www.facebook.com/glitztheband\">Glitz\u003c/a> — “Paranoia”\u003cbr>\u003ca href=\"http://sweatlodgesf.tumblr.com/\">Sweat Lodge\u003c/a> — “Circus”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past few years, the San Francisco Bay Area has dominated the world of garage rock with folks like \u003ca href=\"http://www.theeohsees.com/\">Thee Oh Sees\u003c/a>, \u003ca href=\"http://shannonandtheclams.com/\">Shannon and the Clams\u003c/a> and \u003ca href=\"http://ty-segall.com/\">Ty Segall\u003c/a> recognized as the leaders of a fertile local rock and roll scene. In 2013, all three of those acts remain great: the first two put out a couple of the year’s best albums, and the now LA-based Segall’s newest comes highly anticipated from Drag City next week.\u003c/p>\n\u003cp>An honest accounting of Bay Area rock in 2013, however, requires a look to the local bands beyond the big names. What that survey reveals, thankfully, is that there remain a lot of very talented acts continuing to push rock and roll, garage punk, lo-fi, and power pop forward in new, weird, and compelling directions. This mix collects fourteen great bands from within that local rock universe, avoiding names that are familiar to the podcast or that we’ve covered here with some frequency.\u003c/p>\n\u003cp>A few notes on some of the included artists: \u003ca href=\"http://scraperband.bandcamp.com/\">Scraper\u003c/a> just released an incendiary new 7″ on Drag City’s God? imprint. Speaking of new releases, there are new albums forthcoming from \u003ca href=\"http://ccrheadclnr.tumblr.com\">CCR Headcleaner\u003c/a>, \u003ca href=\"https://www.facebook.com/meatmarketbeat\">Meat Market\u003c/a>, and \u003ca href=\"https://www.facebook.com/pages/Adam-Widener/227199104044053\">Adam Widener\u003c/a>. Widener’s contribution here is a brand new track from the \u003cem>Vesuvio Nights\u003c/em> LP. Meanwhile, \u003ca href=\"https://www.facebook.com/BL00DSISTER\">Blood Sister\u003c/a> features members of Ganglians and Night Manager, while \u003ca href=\"https://www.facebook.com/GravysDrop\">Gravys Drop\u003c/a> is a project led by Nobunny drummer Billy Grave.\u003c/p>\n\u003cp>All told, it’s a really fun collection of songs. Enjoy the mix!\u003c/p>\n\u003cp>\u003cu>Track Listing:\u003c/u>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Outside Lands\u003c/i> is over, marking the beginning of the end for the summer festival season, and the end of summer. But don’t despair, there is plenty of new music to keep your spirits high. New tracks from Teen Daze, London Grammar, Fuzz and others. Plus, there’s always \u003ca href=\"http://lineup.treasureislandfestival.com/\">\u003ci>Treasure Island\u003c/i>\u003c/a> to look forward to.\u003c/p>\n\u003cp>\u003cb>Tracklist:\u003c/b>\u003cbr> 1. “Thunder Clatter” — Wild Cub , \u003ci>Youth\u003c/i>\u003cbr>2. “Loose Sutures” — Fuzz, \u003ci>Fuzz\u003c/i>\u003cbr>3. “Feeling” — London Grammar, \u003ci>If You Wait\u003c/i>\u003cbr>4. “Ice on the Windowsil” — Teen Daze, \u003ci>Glacier\u003c/i>\u003cbr>5. “Pendulum (Women’s Hour Edit) — Pure Bathing Culture, \u003ci>Moon Tides\u003c/i>\u003cbr>6. “Waiting in the Night” — Forest Fire, \u003ci>Screens\u003c/i>\u003cbr>7. “Waiting Game” — Banks, \u003ci>TBA\u003c/i> EP8. “In The Green Wild” — Julia Holter, \u003ci>Loud City Song\u003c/i>\u003cbr>9. “The Big She” — Dustin Wong, \u003ci>Mediation Of Estactic Energy\u003c/i>\u003cbr>10. “#88” — Lo-Fang, \u003ci>#88\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Outside Lands\u003c/i> is over, marking the beginning of the end for the summer festival season, and the end of summer. But don’t despair, there is plenty of new music to keep your spirits high. New tracks from Teen Daze, London Grammar, Fuzz and others. Plus, there’s always \u003ca href=\"http://lineup.treasureislandfestival.com/\">\u003ci>Treasure Island\u003c/i>\u003c/a> to look forward to.\u003c/p>\n\u003cp>\u003cb>Tracklist:\u003c/b>\u003cbr> 1. “Thunder Clatter” — Wild Cub , \u003ci>Youth\u003c/i>\u003cbr>2. “Loose Sutures” — Fuzz, \u003ci>Fuzz\u003c/i>\u003cbr>3. “Feeling” — London Grammar, \u003ci>If You Wait\u003c/i>\u003cbr>4. “Ice on the Windowsil” — Teen Daze, \u003ci>Glacier\u003c/i>\u003cbr>5. “Pendulum (Women’s Hour Edit) — Pure Bathing Culture, \u003ci>Moon Tides\u003c/i>\u003cbr>6. “Waiting in the Night” — Forest Fire, \u003ci>Screens\u003c/i>\u003cbr>7. “Waiting Game” — Banks, \u003ci>TBA\u003c/i> EP8. “In The Green Wild” — Julia Holter, \u003ci>Loud City Song\u003c/i>\u003cbr>9. “The Big She” — Dustin Wong, \u003ci>Mediation Of Estactic Energy\u003c/i>\u003cbr>10. “#88” — Lo-Fang, \u003ci>#88\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Live This Month: August 2013",
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"content": "\u003cp>You can’t talk about Bay Area concerts in August without acknowledging the biggest of them all, the \u003ca href=\"http://www.sfoutsidelands.com/\">\u003cstrong>Outside Lands Music and Arts Festival\u003c/strong>\u003c/a>, which returns to Golden Gate Park August 9-11, 2013. The festival is sold out, and with good reason: the lineup offers everything from Paul McCartney and Nine Inch Nails to \u003ca href=\"https://www.facebook.com/kingtuffy\">King Tuff\u003c/a> and local bands like \u003ca href=\"https://www.facebook.com/thaoandthegetdownstaydown\">Thao & The Get Down Stay Down\u003c/a>. \u003cb>Outside Lands\u003c/b> isn’t the only festival this month, of course. There’s also the \u003ca href=\"http://www.firstcityfestival.com/\">First City Festival\u003c/a> in Monterey on August 24 and 25 (previewed in \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=123570\">our last mixtape\u003c/a>); that same Saturday in San Francisco, there’s the \u003ca href=\"http://www.20thstreetblockparty.com/\">20th Street Block Party\u003c/a>, with Two Gallants and \u003ca href=\"https://www.facebook.com/pages/Mac-DeMarco/301768729858252\">Mac DeMarco\u003c/a>.\u003c/p>\n\u003cp>While festival season is in full swing, there are plenty of compelling non-festival shows in August as well. \u003ca href=\"https://www.facebook.com/JELanticon\">Jel\u003c/a>‘s return with a new album is long overdue, but \u003cem>Late Pass\u003c/em> arrives on Anticon this month; Jel’s release show at The New Parish finds him joined by Doseone, Main Attrakionz, and Odd Nosdam. The other local bands included in this episode are all new to the podcast. From the catchy soul of \u003ca href=\"https://www.facebook.com/MyronandE\">Myron & E\u003c/a> to the layered electronic folk of \u003ca href=\"https://www.facebook.com/TheresTalk\">There’s Talk\u003c/a>, it’s easy to be excited about the wealth of local talent on display here.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thaoandthegetdownstaydown\">Thao & The Get Down Stay Down\u003c/a> — “We The Common”\u003cbr>Performing on August 10 at \u003ca href=\"http://lineup.sfoutsidelands.com/events/2013/08/10/\">Outside Lands\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/kingtuffy\">King Tuff\u003c/a> — “Sun Medallion”\u003cbr>Appearing at \u003ca href=\"http://lineup.sfoutsidelands.com/events/2013/08/11/\">Outside Lands\u003c/a> on August 11; the night before, he’s playing a festival night show at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Mac-DeMarco/301768729858252\">Mac DeMarco\u003c/a> — “Young Blood”\u003cbr>Playing with Two Gallants and more on August 24 at the \u003ca href=\"http://www.20thstreetblockparty.com/\">20th Street Block Party\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/MyronandE\">Myron & E\u003c/a> — “If I Gave You My Love”\u003cbr>The Stones Throw Soul Tour — which includes Peanut Butter Wolf, Dam-Funk, The Stepkids, and Myron & E — comes to \u003ca href=\"http://www.thenewparish.com/\">The New Parish\u003c/a> on August 27.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/MajicalCloudz\">Majical Cloudz\u003c/a> — “Bugs Don’t Buzz”\u003cbr>Headlining the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on August 24; Moon King and Some Ember support.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/JELanticon\">Jel\u003c/a> — “La Resolve”\u003cbr>Celebrating \u003cem>Late Pass\u003c/em> with Doseone, Main Attrakionz, and Odd Nosdam at \u003ca href=\"http://www.thenewparish.com/\">The New Parish\u003c/a> on August 20.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TheresTalk\">There’s Talk\u003c/a> — “The Salt”\u003cbr>Performing at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.ZC85HdEW.dpbs\">Bottom of the Hill\u003c/a> on August 30 to celebrate the release of \u003cem>Tiny Strands\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/smithwesterns\">Smith Westerns\u003c/a> — “Varsity”\u003cbr>Appearing at \u003ca href=\"http://lineup.sfoutsidelands.com/events/2013/08/09/\">Outside Lands\u003c/a> on August 9 after playing a festival night show at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on August 8.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/AMillionBillionDyingSuns\">A Million Billion Dying Suns\u003c/a> — “While We’re Here”\u003cbr>Foli and Disappearing People round out the all-local lineup on August 4 at the \u003ca href=\"http://hemlocktavern.com/calendar.php?month=8&year=2013\">Hemlock Tavern\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/lightningdustofficial\">Lightning Dust\u003c/a> — “Diamond”\u003cbr>Playing a free show with Louise Burns and Spells at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on August 6.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/DESTRUCTION-UNIT/111553368888795\">Destruction Unit\u003c/a> — “Evil Man”\u003cbr>Performing with Wax Idols on August 25 at the \u003ca href=\"http://hemlocktavern.com/calendar.php?month=8&year=2013\">Hemlock Tavern\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/BANDOFNOTHING?ref=br_rs\">Nothing\u003c/a> — “Downward Years To Come”\u003cbr>Playing alongside Whirr and Lycus at Bottom of the Hill on August 28.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/scout-niblett/138784299470924\">Scout Niblett\u003c/a> — “Gun”\u003cbr>Coming to \u003ca href=\"http://www.cafedunord.com/calendar/8%7C2013%7C15\">Cafe Du Nord\u003c/a> on August 29; P.G. Six and Michael Beach open the show.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can’t talk about Bay Area concerts in August without acknowledging the biggest of them all, the \u003ca href=\"http://www.sfoutsidelands.com/\">\u003cstrong>Outside Lands Music and Arts Festival\u003c/strong>\u003c/a>, which returns to Golden Gate Park August 9-11, 2013. The festival is sold out, and with good reason: the lineup offers everything from Paul McCartney and Nine Inch Nails to \u003ca href=\"https://www.facebook.com/kingtuffy\">King Tuff\u003c/a> and local bands like \u003ca href=\"https://www.facebook.com/thaoandthegetdownstaydown\">Thao & The Get Down Stay Down\u003c/a>. \u003cb>Outside Lands\u003c/b> isn’t the only festival this month, of course. There’s also the \u003ca href=\"http://www.firstcityfestival.com/\">First City Festival\u003c/a> in Monterey on August 24 and 25 (previewed in \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=123570\">our last mixtape\u003c/a>); that same Saturday in San Francisco, there’s the \u003ca href=\"http://www.20thstreetblockparty.com/\">20th Street Block Party\u003c/a>, with Two Gallants and \u003ca href=\"https://www.facebook.com/pages/Mac-DeMarco/301768729858252\">Mac DeMarco\u003c/a>.\u003c/p>\n\u003cp>While festival season is in full swing, there are plenty of compelling non-festival shows in August as well. \u003ca href=\"https://www.facebook.com/JELanticon\">Jel\u003c/a>‘s return with a new album is long overdue, but \u003cem>Late Pass\u003c/em> arrives on Anticon this month; Jel’s release show at The New Parish finds him joined by Doseone, Main Attrakionz, and Odd Nosdam. The other local bands included in this episode are all new to the podcast. From the catchy soul of \u003ca href=\"https://www.facebook.com/MyronandE\">Myron & E\u003c/a> to the layered electronic folk of \u003ca href=\"https://www.facebook.com/TheresTalk\">There’s Talk\u003c/a>, it’s easy to be excited about the wealth of local talent on display here.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thaoandthegetdownstaydown\">Thao & The Get Down Stay Down\u003c/a> — “We The Common”\u003cbr>Performing on August 10 at \u003ca href=\"http://lineup.sfoutsidelands.com/events/2013/08/10/\">Outside Lands\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/kingtuffy\">King Tuff\u003c/a> — “Sun Medallion”\u003cbr>Appearing at \u003ca href=\"http://lineup.sfoutsidelands.com/events/2013/08/11/\">Outside Lands\u003c/a> on August 11; the night before, he’s playing a festival night show at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Mac-DeMarco/301768729858252\">Mac DeMarco\u003c/a> — “Young Blood”\u003cbr>Playing with Two Gallants and more on August 24 at the \u003ca href=\"http://www.20thstreetblockparty.com/\">20th Street Block Party\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/MyronandE\">Myron & E\u003c/a> — “If I Gave You My Love”\u003cbr>The Stones Throw Soul Tour — which includes Peanut Butter Wolf, Dam-Funk, The Stepkids, and Myron & E — comes to \u003ca href=\"http://www.thenewparish.com/\">The New Parish\u003c/a> on August 27.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/MajicalCloudz\">Majical Cloudz\u003c/a> — “Bugs Don’t Buzz”\u003cbr>Headlining the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on August 24; Moon King and Some Ember support.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/JELanticon\">Jel\u003c/a> — “La Resolve”\u003cbr>Celebrating \u003cem>Late Pass\u003c/em> with Doseone, Main Attrakionz, and Odd Nosdam at \u003ca href=\"http://www.thenewparish.com/\">The New Parish\u003c/a> on August 20.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TheresTalk\">There’s Talk\u003c/a> — “The Salt”\u003cbr>Performing at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.ZC85HdEW.dpbs\">Bottom of the Hill\u003c/a> on August 30 to celebrate the release of \u003cem>Tiny Strands\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/smithwesterns\">Smith Westerns\u003c/a> — “Varsity”\u003cbr>Appearing at \u003ca href=\"http://lineup.sfoutsidelands.com/events/2013/08/09/\">Outside Lands\u003c/a> on August 9 after playing a festival night show at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on August 8.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/AMillionBillionDyingSuns\">A Million Billion Dying Suns\u003c/a> — “While We’re Here”\u003cbr>Foli and Disappearing People round out the all-local lineup on August 4 at the \u003ca href=\"http://hemlocktavern.com/calendar.php?month=8&year=2013\">Hemlock Tavern\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/lightningdustofficial\">Lightning Dust\u003c/a> — “Diamond”\u003cbr>Playing a free show with Louise Burns and Spells at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on August 6.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/DESTRUCTION-UNIT/111553368888795\">Destruction Unit\u003c/a> — “Evil Man”\u003cbr>Performing with Wax Idols on August 25 at the \u003ca href=\"http://hemlocktavern.com/calendar.php?month=8&year=2013\">Hemlock Tavern\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/BANDOFNOTHING?ref=br_rs\">Nothing\u003c/a> — “Downward Years To Come”\u003cbr>Playing alongside Whirr and Lycus at Bottom of the Hill on August 28.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/scout-niblett/138784299470924\">Scout Niblett\u003c/a> — “Gun”\u003cbr>Coming to \u003ca href=\"http://www.cafedunord.com/calendar/8%7C2013%7C15\">Cafe Du Nord\u003c/a> on August 29; P.G. Six and Michael Beach open the show.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: Bands of the 2013 First City Festival",
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"content": "\u003cp>Forty-six years after Monterey Pop, which established the template for the major music festival, a new fest is bringing rock music back to the Monterey County Fairgrounds this August 24 and 25. The \u003ca href=\"http://www.firstcityfestival.com/\">First City Festival\u003c/a> is the first Northern California fest presented by \u003ca href=\"http://www.goldenvoice.com/\">Goldenvoice\u003c/a>, which also created Coachella, and it promises two days of indie bands, led by big-time headliners including \u003ca href=\"http://lineup.firstcityfestival.com/band/modest-mouse\">Modest Mouse\u003c/a>, \u003ca href=\"http://lineup.firstcityfestival.com/band/passion-pit\">Passion Pit\u003c/a>, \u003ca href=\"http://lineup.firstcityfestival.com/band/mgmt-\">MGMT\u003c/a> and \u003ca href=\"http://lineup.firstcityfestival.com/band/neko-case\">Neko Case\u003c/a>.\u003c/p>\n\u003cp>The true measure of a festival, though, is the talent level beyond the headliners, and this mix collects sixteen great bands performing at First City. The sonic diversity speaks to the fest’s range, with everything from electronic pop to heady psych included here. Bear in mind that, by only including less than half of the 36 artists appearing at FCF 2013, we’ve just scratched the surface.\u003c/p>\n\u003cp>\u003ca href=\"http://lineup.firstcityfestival.com/band/the-dodos\">The Dodos\u003c/a> — “Confidence”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/father-john-misty\">Father John Misty\u003c/a> — “I’m Writing A Novel”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/tennis\">Tennis\u003c/a> — “Origins”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/generationals\">Generationals\u003c/a> — “Put a Light On”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/guards\">Guards\u003c/a> — “Silver Lining”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/the-black-angels\">The Black Angels\u003c/a> — “Don’t Play With Guns”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/akron-family\">Akron/Family\u003c/a> — “Sand Talk”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/seventeen-evergreen\">Seventeen Evergreen\u003c/a> — “Burn The Fruit (Pegasus)”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/quadron-\">Quadron\u003c/a> — “Hey Love”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/washed-out\">Washed Out\u003c/a> — “Eyes Be Closed”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/beach-house-\">Beach House\u003c/a> — “Myth”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/devendra-banhart\">Devendra Banhart\u003c/a> — “Baby”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/neko-case\">Neko Case\u003c/a> — “People Got a Lotta Nerve”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/deerhunter\">Deerhunter\u003c/a> — “Back to the Middle”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/dr-dog\">Dr. Dog\u003c/a> — “That Old Black Hole”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Forty-six years after Monterey Pop, which established the template for the major music festival, a new fest is bringing rock music back to the Monterey County Fairgrounds this August 24 and 25. The \u003ca href=\"http://www.firstcityfestival.com/\">First City Festival\u003c/a> is the first Northern California fest presented by \u003ca href=\"http://www.goldenvoice.com/\">Goldenvoice\u003c/a>, which also created Coachella, and it promises two days of indie bands, led by big-time headliners including \u003ca href=\"http://lineup.firstcityfestival.com/band/modest-mouse\">Modest Mouse\u003c/a>, \u003ca href=\"http://lineup.firstcityfestival.com/band/passion-pit\">Passion Pit\u003c/a>, \u003ca href=\"http://lineup.firstcityfestival.com/band/mgmt-\">MGMT\u003c/a> and \u003ca href=\"http://lineup.firstcityfestival.com/band/neko-case\">Neko Case\u003c/a>.\u003c/p>\n\u003cp>The true measure of a festival, though, is the talent level beyond the headliners, and this mix collects sixteen great bands performing at First City. The sonic diversity speaks to the fest’s range, with everything from electronic pop to heady psych included here. Bear in mind that, by only including less than half of the 36 artists appearing at FCF 2013, we’ve just scratched the surface.\u003c/p>\n\u003cp>\u003ca href=\"http://lineup.firstcityfestival.com/band/the-dodos\">The Dodos\u003c/a> — “Confidence”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/father-john-misty\">Father John Misty\u003c/a> — “I’m Writing A Novel”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/tennis\">Tennis\u003c/a> — “Origins”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/generationals\">Generationals\u003c/a> — “Put a Light On”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/guards\">Guards\u003c/a> — “Silver Lining”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/the-black-angels\">The Black Angels\u003c/a> — “Don’t Play With Guns”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/akron-family\">Akron/Family\u003c/a> — “Sand Talk”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/seventeen-evergreen\">Seventeen Evergreen\u003c/a> — “Burn The Fruit (Pegasus)”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/quadron-\">Quadron\u003c/a> — “Hey Love”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/washed-out\">Washed Out\u003c/a> — “Eyes Be Closed”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/beach-house-\">Beach House\u003c/a> — “Myth”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/devendra-banhart\">Devendra Banhart\u003c/a> — “Baby”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/neko-case\">Neko Case\u003c/a> — “People Got a Lotta Nerve”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/deerhunter\">Deerhunter\u003c/a> — “Back to the Middle”\u003cbr>\u003ca href=\"http://lineup.firstcityfestival.com/band/dr-dog\">Dr. Dog\u003c/a> — “That Old Black Hole”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Before the Internet changed everything, there were two distinct and opposing types of popular music, Indie and mainstream. It was the head versus the heart, the cool kids versus the pop kids and you had to come down on one side or the other. But the lines have been blurring over the past decade and those sides don’t mean much any more. We now live in a world where pop music is so strange and creative that it has found acceptance with rock critics and indie snobs. Listen as we explore the genre-transcending melodies of Justin Timberlake, the indie-friendly quirkiness of Solange, (sister of mega pop star Beyonce) and the possibly ironic but ultimate acceptance of Hall and Oates.\u003c/p>\n\u003cp>\u003cb>Track List:\u003c/b>\u003cbr>1. “#Beautiful” – Miguel and Mariah Carey, \u003ci>The Art of Letting Go\u003c/i>\u003cbr>2. “Take Back The Night” — Justin Timberlake, \u003ci>The 20/20 Experience\u003c/i>\u003cbr>3. “Hey Love” — Quadron, \u003ci>Avalanche\u003c/i>\u003cbr>4. “Blurred Lines” — Robin Thicke, \u003ci>Blurred Lines\u003c/i>\u003cbr>5. “The Motion” — Drake & Sampha, \u003ci>Nothing Was The Same\u003c/i>\u003cbr>6. “Dance Apocalyptic” — Janelle Monae, \u003ci>The Electric Lady\u003c/i>\u003cbr>7. “Don’t Let Me Down” — Solange, \u003ci>True\u003c/i>\u003cbr> 8. “I Love It” — Icona Pop, \u003ci>Iconic\u003c/i>\u003cbr> 9. “Adorn” — Miguel, \u003ci>Kaleidoscope Dream\u003c/i>\u003cbr>10. “I Can’t Go For That (No Can Do)” — Hall & Oates\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "With Music Rooted in India and Black America, Red Baraat Gets You on Your Feet",
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"content": "\u003cp>Al Gore was dancing. The Nobel laureate and former vice president — who still has a reputation for stiffness — was moving his feet like a \u003ci>Soul Train\u003c/i> dancer. And the reason Gore’s feet were shimmying was Sunny Jain and his band Red Baraat. The moment occurred on February 28, 2012, when Red Baraat performed at the TED Conference in Long Beach, where Gore and other luminaries were in attendance. No one — not even Al Gore — can resist Red Baraat’s music, which is an infectious hybrid of brass funk, hip-hop, jazz, go-go, and North Indian bhangra rhythms.\u003c/p>\n\u003cp>“We gave a quick performance in between TED talks on the main stage,” Jain tells me, “and we saw him out there to the left, kind of mid-center, dancing to our music, which was very cool.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=rjIO8BKk9nE&w=480&h=270]\u003c/p>\n\u003cp>When Red Baraat performs a free concert in San Francisco at the \u003ca href=\"http://www.sterngrove.org/\">\u003cb>Stern Grove Festival\u003c/b>\u003c/a> on Sunday, July 21, and another concert on July 22 in Santa Cruz, Jain will be where he always is: Drumming on the “dhol,” the big South Asian instrument that produces a voluminous sound; and speaking to the crowds that inevitably say they’ve never seen anything quite like Red Baraat.\u003c/p>\n\u003cp>The band’s brass section alone is staffed by soprano saxophone, two trumpets, trombone, and sousaphone, while Jain is joined on percussion by two other drummers. Red Baraat’s distinctiveness extends to its ethnic composition, with members who have roots in India, Africa, Japan, and elsewhere. Red Baraat, which formed in 2008, the same year of Barack Obama’s first presidential election, embodies as much as Obama does the idea that America is becoming, through steps both forward and backward, a “post-racial society.” Jain, 38, grew up in Rochester, New York, the son of practicing Jains, followers of Jainism, which believes in nonviolence and a shared humanity. Jain is also active in the faith, and believes music is a chance to express universal emotions that bring out the best in people. Jain played jazz for many years after studying the musical form at Rutgers and NYU.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Music is a universal language,” says Jain, whose band is based in Brooklyn. “By and large, everywhere we play we encounter people of all different backgrounds and ages and ethnicities, and they all find something within Red Baraat, whether it’s the bhangra sound, the jazz influence, the funk or go-go beat that makes people dance, or just the raw, primal sound of drums and brass. It’s rooted in bhangra music and melodies, but it’s got an American sensibility, because all of us were born and raised here, and our musical backgrounds are in go-go, funk and jazz. Everything just kind of seamlessly fits together. The message we’re doing is to have dialogue with one another — this idea of tolerance, and pluralism, and dialogue with one another.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/redbaraat.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo: Markku Aberg.\u003c/p>\n\u003cp>You can see Red Baraat’s impact in the \u003ca href=\"http://www.youtube.com/watch?v=ImT19Ct9V44\">video that documented their noon visit to Google’s Menlo Park campus\u003c/a> in 2012. Playing on the outside lawn, Jain and his group had tech workers bobbing their heads on a beautiful sunny day. On their albums, they are even more intense, with vocals that rise to the sound (and shout) levels of good rapping. All the while, Jain and his dhol provide much of the group’s rhythmic force. While many people imagine the tabla when they think of Indian drumming, the dhol drives a lot of Bollywood music. Similarly, Americans associate brass bands with early 20th-century jazz, however, India also has a brass tradition that is due in large part to the influence of Britain during its colonial rule of the subcontinent.\u003c/p>\n\u003cp>“The dhol is certainly a central part of Punjabi folk music, traditional music, and definitely Bollywood music nowadays,” Jain says. “Five years prior to Red Baraat, I stated playing the dhol and fell in love with it. I was looking to start a group where I could play that instrument more. In early days of Red Baraat, I was jumping back and forth on drums and dhol, but it made no sense to keep doing that. It’s interesting to me that there aren’t many groups out there at all using the dhol in the forefront. It has the dance-oriented tone and rhythm that you find in Bollywood music. I wanted to feature the dhol … and to draw from the tradition of the brass band in India in the 18th century.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/redbaraat2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo by Erin Patrice O’Brien.\u003c/p>\n\u003cp>If you can judge a band by the venues it plays, then Red Baraat, with a CV that includes the TED conference, Google’s headquarters, the White House, and large festivals across the United States and Europe, is the right band for the times. That it has already reached this point in just five years is almost head-scratching for Jain.\u003c/p>\n\u003cp>“It’s been an amazing journey,” he says. “I never thought we would get to where we are at. We’ve been very fortunate, and have had a blast.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Red Baraat performs a free concert 2pm, Sunday, July 21, 2013, at the Stern Grove festival, and Monday, July 22, 8pm, at \u003ca href=\"http://kuumbwajazz.org/2013/05/red-baraat/\">Kuumbwa Jazz in Santa Cruz\u003c/a>. For \u003ca href=\"http://www.sterngrove.org/home/2013-season/july-21/\">more information\u003c/a>, visit sterngrove.org. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Music is a universal language,” says Jain, whose band is based in Brooklyn. “By and large, everywhere we play we encounter people of all different backgrounds and ages and ethnicities, and they all find something within Red Baraat, whether it’s the bhangra sound, the jazz influence, the funk or go-go beat that makes people dance, or just the raw, primal sound of drums and brass. It’s rooted in bhangra music and melodies, but it’s got an American sensibility, because all of us were born and raised here, and our musical backgrounds are in go-go, funk and jazz. Everything just kind of seamlessly fits together. The message we’re doing is to have dialogue with one another — this idea of tolerance, and pluralism, and dialogue with one another.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/redbaraat.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo: Markku Aberg.\u003c/p>\n\u003cp>You can see Red Baraat’s impact in the \u003ca href=\"http://www.youtube.com/watch?v=ImT19Ct9V44\">video that documented their noon visit to Google’s Menlo Park campus\u003c/a> in 2012. Playing on the outside lawn, Jain and his group had tech workers bobbing their heads on a beautiful sunny day. On their albums, they are even more intense, with vocals that rise to the sound (and shout) levels of good rapping. All the while, Jain and his dhol provide much of the group’s rhythmic force. While many people imagine the tabla when they think of Indian drumming, the dhol drives a lot of Bollywood music. Similarly, Americans associate brass bands with early 20th-century jazz, however, India also has a brass tradition that is due in large part to the influence of Britain during its colonial rule of the subcontinent.\u003c/p>\n\u003cp>“The dhol is certainly a central part of Punjabi folk music, traditional music, and definitely Bollywood music nowadays,” Jain says. “Five years prior to Red Baraat, I stated playing the dhol and fell in love with it. I was looking to start a group where I could play that instrument more. In early days of Red Baraat, I was jumping back and forth on drums and dhol, but it made no sense to keep doing that. It’s interesting to me that there aren’t many groups out there at all using the dhol in the forefront. It has the dance-oriented tone and rhythm that you find in Bollywood music. I wanted to feature the dhol … and to draw from the tradition of the brass band in India in the 18th century.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/redbaraat2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Photo by Erin Patrice O’Brien.\u003c/p>\n\u003cp>If you can judge a band by the venues it plays, then Red Baraat, with a CV that includes the TED conference, Google’s headquarters, the White House, and large festivals across the United States and Europe, is the right band for the times. That it has already reached this point in just five years is almost head-scratching for Jain.\u003c/p>\n\u003cp>“It’s been an amazing journey,” he says. “I never thought we would get to where we are at. We’ve been very fortunate, and have had a blast.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Red Baraat performs a free concert 2pm, Sunday, July 21, 2013, at the Stern Grove festival, and Monday, July 22, 8pm, at \u003ca href=\"http://kuumbwajazz.org/2013/05/red-baraat/\">Kuumbwa Jazz in Santa Cruz\u003c/a>. For \u003ca href=\"http://www.sterngrove.org/home/2013-season/july-21/\">more information\u003c/a>, visit sterngrove.org. \u003c/p>\n\n\u003c/div>\u003c/p>",
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