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"title": "Mixtape: Bay Area Artists, Remixing and Remixed",
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"content": "\u003cp>All too frequently, remixes are just \u003cem>okay\u003c/em>, but when they are great, they’re really something special. A truly great remix can shed new light on the original artist’s work and stand on its own as a unique creation. That’s no easy feat, either, given the tension between staying true to an original song’s components and a reworker’s desire to create something new and personal.\u003c/p>\n\u003cp>These days, it feels far too easy to get remix fatigue. Reworkings seem to pop up almost immediately after original songs are released, and they can come in such a volume that it can be a challenge to separate the excellent from mediocre.\u003c/p>\n\u003cp>This mixtape attempts to do just that, highlighting twenty recent songs showcasing San Francisco Bay Area artists getting remixed, Bay Area artists doing the remixing, or, in most cases included here, both. It’s a freewheeling collection that includes a wide variety of exciting local talents.\u003c/p>\n\u003cp>\u003cu>\u003cstrong>Track Listing:\u003c/strong>\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Naytronix/209196535802293\" target=\"_blank\" rel=\"noopener\">Naytronix\u003c/a> — “Baby Don’t Walk Away (\u003ca href=\"https://www.facebook.com/yalls\" target=\"_blank\" rel=\"noopener\">Yalls\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/Mwahahamusic\" target=\"_blank\" rel=\"noopener\">Mwahaha\u003c/a> — “Sleep Deep (\u003ca href=\"https://www.facebook.com/pages/Odd-Nosdam/158249880937204\" target=\"_blank\" rel=\"noopener\">Odd Nosdam\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/RELIGIOUSGIRLS\" target=\"_blank\" rel=\"noopener\">Relgious Girls\u003c/a> — “OG (\u003ca href=\"https://www.facebook.com/pages/METH-DAD/254625414589523\" target=\"_blank\" rel=\"noopener\">Meth Dad\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/tussleSF\" target=\"_blank\" rel=\"noopener\">Tussle\u003c/a> — “Morituri Te Salutant (\u003ca href=\"http://www.neubauten.org/alex-hacke\" target=\"_blank\" rel=\"noopener\">Alexander Hacke\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/jamesandevander\" target=\"_blank\" rel=\"noopener\">James & Evander\u003c/a> — “Living the Dream (\u003ca href=\"http://courtship.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Courtship\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/exraysvision\" target=\"_blank\" rel=\"noopener\">Exray’s\u003c/a> — “Yellow Light (\u003ca href=\"https://www.facebook.com/pages/SHIGETO/349930070025\" target=\"_blank\" rel=\"noopener\">Shigeto\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/hellohandsome.net\" target=\"_blank\" rel=\"noopener\">Hello Handsome\u003c/a> — “Big Deal (\u003ca href=\"https://www.facebook.com/pages/Shortcircles/194324263933669\">Shortcircles\u003c/a> Remix)”\u003cbr>\u003ca href=\"http://howtodestroyangels.com/\" target=\"_blank\" rel=\"noopener\">How to destroy angels\u003c/a> — “Ice Age (\u003ca href=\"https://www.facebook.com/thesoftmoon\" target=\"_blank\" rel=\"noopener\">The Soft Moon\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/Youngprisms\" target=\"_blank\" rel=\"noopener\">Young Prisms\u003c/a> — “Floating in Blue (\u003ca href=\"https://www.facebook.com/violens\" target=\"_blank\" rel=\"noopener\">Violens\u003c/a> Remix)”\u003cbr>\u003ca href=\"http://troubleinmindrecs.com/bands/fuzz.html\" target=\"_blank\" rel=\"noopener\">Fuzz\u003c/a> — “Fuzz’s Fourth Dream (\u003ca href=\"https://www.facebook.com/pages/Al-Lover/136850922995107\" target=\"_blank\" rel=\"noopener\">Al Lover\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/SunbeamRd\" target=\"_blank\" rel=\"noopener\">Sunbeam Rd.\u003c/a> — “Forum (\u003ca href=\"https://soundcloud.com/bubblegum-crisis\" target=\"_blank\" rel=\"noopener\">Bubblegum Crisis\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/B.HAMILSTAN\" target=\"_blank\" rel=\"noopener\">B. Hamilton\u003c/a> “Gold Tooth (\u003ca href=\"https://www.facebook.com/parentz\" target=\"_blank\" rel=\"noopener\">Parentz\u003c/a> Remix)\u003cbr>\u003ca href=\"https://www.facebook.com/TheBoganVia\" target=\"_blank\" rel=\"noopener\">Bogan Via\u003c/a> — “Kanye (\u003ca href=\"https://www.facebook.com/Geographerfan\" target=\"_blank\" rel=\"noopener\">Geographer\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/tychomusic\" target=\"_blank\" rel=\"noopener\">Tycho\u003c/a> — “Dive (\u003ca href=\"https://www.facebook.com/keepshellyinathens\" target=\"_blank\" rel=\"noopener\">Keep Shelly In Athens\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/giraffage\" target=\"_blank\" rel=\"noopener\">Giraffage\u003c/a> & \u003ca href=\"https://www.facebook.com/frofimusic\" target=\"_blank\" rel=\"noopener\">XXYYXX\u003c/a> — “Even Though (\u003ca href=\"https://www.facebook.com/BlackbirdBlackbirdSF\" target=\"_blank\" rel=\"noopener\">Blackbird Blackbird\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/lofifnk\" target=\"_blank\" rel=\"noopener\">Lo-Fi-Fnk\u003c/a> — “Shut The World Out (\u003ca href=\"https://www.facebook.com/friendzonemusic\" target=\"_blank\" rel=\"noopener\">Friendzone\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/BlackbirdBlackbirdSF\" target=\"_blank\" rel=\"noopener\">Blackbird Blackbird\u003c/a> — “Keep It Up (\u003ca href=\"https://www.facebook.com/DISTALDUB\" target=\"_blank\" rel=\"noopener\">Distal\u003c/a> Remix)”\u003cbr>\u003ca href=\"http://en.wikipedia.org/wiki/Perfume_(Japanese_band)\" target=\"_blank\" rel=\"noopener\">Perfume\u003c/a> — “Computer City (\u003ca href=\"https://www.facebook.com/giraffage\" target=\"_blank\" rel=\"noopener\">Giraffage\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/Seatraffic\" target=\"_blank\" rel=\"noopener\">Seatraffic\u003c/a> — “Superficial Heart (\u003ca href=\"https://soundcloud.com/yr-skull\" target=\"_blank\" rel=\"noopener\">YR SKULL\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/TRAILSANDWAYS\" target=\"_blank\" rel=\"noopener\">Trails and Ways\u003c/a> — “Border Crosser (\u003ca href=\"https://www.facebook.com/theseshen\" target=\"_blank\" rel=\"noopener\">The Seshen\u003c/a> Remix)”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All too frequently, remixes are just \u003cem>okay\u003c/em>, but when they are great, they’re really something special. A truly great remix can shed new light on the original artist’s work and stand on its own as a unique creation. That’s no easy feat, either, given the tension between staying true to an original song’s components and a reworker’s desire to create something new and personal.\u003c/p>\n\u003cp>These days, it feels far too easy to get remix fatigue. Reworkings seem to pop up almost immediately after original songs are released, and they can come in such a volume that it can be a challenge to separate the excellent from mediocre.\u003c/p>\n\u003cp>This mixtape attempts to do just that, highlighting twenty recent songs showcasing San Francisco Bay Area artists getting remixed, Bay Area artists doing the remixing, or, in most cases included here, both. It’s a freewheeling collection that includes a wide variety of exciting local talents.\u003c/p>\n\u003cp>\u003cu>\u003cstrong>Track Listing:\u003c/strong>\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Naytronix/209196535802293\" target=\"_blank\" rel=\"noopener\">Naytronix\u003c/a> — “Baby Don’t Walk Away (\u003ca href=\"https://www.facebook.com/yalls\" target=\"_blank\" rel=\"noopener\">Yalls\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/Mwahahamusic\" target=\"_blank\" rel=\"noopener\">Mwahaha\u003c/a> — “Sleep Deep (\u003ca href=\"https://www.facebook.com/pages/Odd-Nosdam/158249880937204\" target=\"_blank\" rel=\"noopener\">Odd Nosdam\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/RELIGIOUSGIRLS\" target=\"_blank\" rel=\"noopener\">Relgious Girls\u003c/a> — “OG (\u003ca href=\"https://www.facebook.com/pages/METH-DAD/254625414589523\" target=\"_blank\" rel=\"noopener\">Meth Dad\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/tussleSF\" target=\"_blank\" rel=\"noopener\">Tussle\u003c/a> — “Morituri Te Salutant (\u003ca href=\"http://www.neubauten.org/alex-hacke\" target=\"_blank\" rel=\"noopener\">Alexander Hacke\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/jamesandevander\" target=\"_blank\" rel=\"noopener\">James & Evander\u003c/a> — “Living the Dream (\u003ca href=\"http://courtship.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Courtship\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/exraysvision\" target=\"_blank\" rel=\"noopener\">Exray’s\u003c/a> — “Yellow Light (\u003ca href=\"https://www.facebook.com/pages/SHIGETO/349930070025\" target=\"_blank\" rel=\"noopener\">Shigeto\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/hellohandsome.net\" target=\"_blank\" rel=\"noopener\">Hello Handsome\u003c/a> — “Big Deal (\u003ca href=\"https://www.facebook.com/pages/Shortcircles/194324263933669\">Shortcircles\u003c/a> Remix)”\u003cbr>\u003ca href=\"http://howtodestroyangels.com/\" target=\"_blank\" rel=\"noopener\">How to destroy angels\u003c/a> — “Ice Age (\u003ca href=\"https://www.facebook.com/thesoftmoon\" target=\"_blank\" rel=\"noopener\">The Soft Moon\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/Youngprisms\" target=\"_blank\" rel=\"noopener\">Young Prisms\u003c/a> — “Floating in Blue (\u003ca href=\"https://www.facebook.com/violens\" target=\"_blank\" rel=\"noopener\">Violens\u003c/a> Remix)”\u003cbr>\u003ca href=\"http://troubleinmindrecs.com/bands/fuzz.html\" target=\"_blank\" rel=\"noopener\">Fuzz\u003c/a> — “Fuzz’s Fourth Dream (\u003ca href=\"https://www.facebook.com/pages/Al-Lover/136850922995107\" target=\"_blank\" rel=\"noopener\">Al Lover\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/SunbeamRd\" target=\"_blank\" rel=\"noopener\">Sunbeam Rd.\u003c/a> — “Forum (\u003ca href=\"https://soundcloud.com/bubblegum-crisis\" target=\"_blank\" rel=\"noopener\">Bubblegum Crisis\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/B.HAMILSTAN\" target=\"_blank\" rel=\"noopener\">B. Hamilton\u003c/a> “Gold Tooth (\u003ca href=\"https://www.facebook.com/parentz\" target=\"_blank\" rel=\"noopener\">Parentz\u003c/a> Remix)\u003cbr>\u003ca href=\"https://www.facebook.com/TheBoganVia\" target=\"_blank\" rel=\"noopener\">Bogan Via\u003c/a> — “Kanye (\u003ca href=\"https://www.facebook.com/Geographerfan\" target=\"_blank\" rel=\"noopener\">Geographer\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/tychomusic\" target=\"_blank\" rel=\"noopener\">Tycho\u003c/a> — “Dive (\u003ca href=\"https://www.facebook.com/keepshellyinathens\" target=\"_blank\" rel=\"noopener\">Keep Shelly In Athens\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/giraffage\" target=\"_blank\" rel=\"noopener\">Giraffage\u003c/a> & \u003ca href=\"https://www.facebook.com/frofimusic\" target=\"_blank\" rel=\"noopener\">XXYYXX\u003c/a> — “Even Though (\u003ca href=\"https://www.facebook.com/BlackbirdBlackbirdSF\" target=\"_blank\" rel=\"noopener\">Blackbird Blackbird\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/lofifnk\" target=\"_blank\" rel=\"noopener\">Lo-Fi-Fnk\u003c/a> — “Shut The World Out (\u003ca href=\"https://www.facebook.com/friendzonemusic\" target=\"_blank\" rel=\"noopener\">Friendzone\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/BlackbirdBlackbirdSF\" target=\"_blank\" rel=\"noopener\">Blackbird Blackbird\u003c/a> — “Keep It Up (\u003ca href=\"https://www.facebook.com/DISTALDUB\" target=\"_blank\" rel=\"noopener\">Distal\u003c/a> Remix)”\u003cbr>\u003ca href=\"http://en.wikipedia.org/wiki/Perfume_(Japanese_band)\" target=\"_blank\" rel=\"noopener\">Perfume\u003c/a> — “Computer City (\u003ca href=\"https://www.facebook.com/giraffage\" target=\"_blank\" rel=\"noopener\">Giraffage\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/Seatraffic\" target=\"_blank\" rel=\"noopener\">Seatraffic\u003c/a> — “Superficial Heart (\u003ca href=\"https://soundcloud.com/yr-skull\" target=\"_blank\" rel=\"noopener\">YR SKULL\u003c/a> Remix)”\u003cbr>\u003ca href=\"https://www.facebook.com/TRAILSANDWAYS\" target=\"_blank\" rel=\"noopener\">Trails and Ways\u003c/a> — “Border Crosser (\u003ca href=\"https://www.facebook.com/theseshen\" target=\"_blank\" rel=\"noopener\">The Seshen\u003c/a> Remix)”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "With A Tribe Called Red, Native American Music Gets a Dramatic Makeover",
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"content": "\u003cp>Every week, some kind of controversy emerges that sheds new (or renewed) light on the way Native American people are perceived by non-Natives. Last week, it was the auction of masks in Paris, which Hopi leaders tried to stop after saying the objects were stolen and too sacred to be sold for profit. Two weeks ago, it was a plea by former FCC officials for the NFL’s Washington Redskins to change their name — or face a possible ban on TV broadcasters’ use of the moniker.\u003c/p>\n\u003cp>The clamor for change can be seen in the music of A Tribe Called Red, a Native American group of DJs touring the United States and performing in San Francisco on Friday night, April 19, 2013. The group’s music incorporates traditional Native American chants and singing, and layers it with techno beats and other electronic segues that give the songs a dancehall pulse. During their performances, A Tribe Called Red incorporates clips of Hollywood films depicting stereotypical imagery of Native Americans. Through music and video, A Tribe Called Red is reinterpreting the Native American experience, saying there’s room to have fun \u003ci>and\u003c/i> spark awareness of the antiquated views that still remain of a people whom Christopher Columbus labeled “Indian.” \u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=lpkUISUx3Lo?rel=0&w=480&h=360]\u003c/p>\n\u003cp>“What we’re using is pow wow music, and pow wow music is party music in a sense — it’s dance music,” Bear Witness, one of A Tribe Called Red’s three members, tells me in a phone interview from Canada. “We’re using music that we use for competition pow wows, so it’s music to make you dance. Bringing it into the club — we’re remixing dance music with dance music. As for the images, I like to say that we’re ‘decolonizing’ them, and indigenizing them. We’re indigenizing the club spaces and making them our own.”\u003c/p>\n\u003cp>A Tribe Called Red is widely known in music circles in Ottawa, where it’s based, and in such other Canadian cities like Toronto, but the group emerged on an international level last year when it released an eponymous album, for free, on the internet. Word-of-mouth and good reviews quickly bumped the album onto best-seller lists, and by the end of 2012, the \u003ci>Washington Post\u003c/i> had called the release one of the year’s 10 best albums (on a list headed by Frank Ocean and Neil Young). This year, A Tribe Called Red is performing at some of the biggest U.S. venues for emerging artists. Last month it was South by Southwest in Austin, Texas, and this month — after San Francisco – it’s the New Orleans Jazz and Heritage Festival. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s alluring about the group’s music is the way the trio — Bear Witness, DJ Shub and DJ NDN — utterly transforms familiar Native American sounds. The song “Electric Pow Wow Drum” is — as its name suggests — a wild, pulse-driven reinterpretation of the traditional Native American pow wow that brings together tribespeople. “Woodcarver,” about a Native American woodcarver shot to death by Seattle police in 2010, uses media reports of the killing to recreates the shooting itself with Native American chants in the background. And “General Generations” locks the voice of an older Native American man to the sounds of electronic beats. The songs practically demand you to move your feet while simultaneously investigating your own understanding of Native American culture.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/17/ATCR2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>A Tribe Called Red is made up of (left to right) DJ NDN, DJ Shub, and Bear Witness. Photo by Pat Bolduc.\u003c/p>\n\u003cp>At some of the A Tribe Called Red’s shows, non-Native fans have shown up with traditional Native American headdresses and “war paint,” thinking they’re paying homage to the culture that the DJs are celebrating. But Bear Witness discourages that sort of fan-identification because, he says, it trivializes the culture. \u003c/p>\n\u003cp>“It’s a common thing where people think, ‘Oh, I’m going to honor you, ‘” he says. “We had a show last month in Montreal where I counted at least six or seven headdresses in the audience. At a show in Toronto, people came in war paint, but after that show, a conversation started on Facebook when photos of the show came out. Both sides (people defending the war paint, and those against it) got pretty nasty. But what came out of the whole discussion eventually was a few of the people who did show up in war paint realizing that they had done something wrong, and apologizing, and saying, ‘Thank you for setting me straight.'”\u003c/p>\n\u003cp>Occasionally, A Tribe Called Red will have to answer to Native American elders who object to the venues the group plays. “The only real reaction we’ve gotten from people in a negative sense is from people who aren’t necessarily comfortable with us using ‘pow wow’ in a situation where alcohol is being served,” he says. “But at the same time, people who’ve expressed a concern around that have always followed up with, ‘I really like what you’re doing.’ We’re walking a fine line with what we’re doing, and it takes a lot of care, so that people from our community are comfortable with what we’re doing.” \u003c/p>\n\u003cp>A Tribe Called Red takes inspiration from Redbone, which in the early 1970s was the first Native American rock group to get international recognition. “Come and Get Your Love,” Redbone’s most popular hit, had no recognizable Native American elements to it — at least on the radio — but the group’s concerts were another matter, with Redbone wearing Native American clothing and adding Native American rituals to the song. Redbone’s other music was downright political — as in “We Were All Wounded at Wounded Knee,” where the lyrics announced, “We were all wounded at Wounded Knee, you and me, in the name of Manifest Destiny,” and, “We’ll sing, sing, sing our story until the truth is heard. There’s a whole new generation. Braves who dream of veneration who were not wiped out by the 7th Cavalry.” \u003c/p>\n\u003cp>Bear Witness, who’s 35, is part of a new generation of Native North Americans who say they’re trying to broaden the connections between their culture and the culture at large. You can see this broadening in the annual Native American Music Awards, which gives honors in such categories as “Best Blues Recording,” “Best Pop Recording,” “Best Rap/Hip-Hop Recording,” and “Best Pow Wow Recording.” This year’s Native American Music Awards is May 10. Just by getting on stage and playing music that attracts a wide audience, A Tribe Called Red is extending the boundaries of what can be called “Native American music.” Bear Witness grew up in an activist household, and he initially got into DJing as a teenager to escape an environment where nearly everything — from discussions at home to lessons at his school — was premised on how to take the Native American movement higher.\u003c/p>\n\u003cp>“I wanted to get away from that feeing of having to be political all the time,” says Bear Witness. “But that’s what comes with being Aboriginal. I tried to rebel against it, but the more I did, the more I found myself in this place where I had to be political. Just being Aboriginal is being political. That fact that I wake up in the morning and do anything is political, because of everything in this world that’s been done to stop my culture. So, the fact I know my culture, and that I know my history, and that I’m living and thriving — it starts from a political thing. It’s a responsibility, but it’s a responsibility that you can’t get away from. To be an Aboriginal artist, and to be in the public eye, you automatically have to talk about political things because that’s the understanding you have to create as an artist. If I’m just talking to my own people, well, yes, I don’t have to be political. But as soon as I’m outside my community, I have to talk about those issues. I have to talk about the world that we live in.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A Tribe Called Red performs Friday, April 19, 9:00pm, at Thee Parkside in San Francisco. For \u003ca href=\"http://www.theeparkside.com/\">tickets and more information,\u003c/a> visit theeparkside.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every week, some kind of controversy emerges that sheds new (or renewed) light on the way Native American people are perceived by non-Natives. Last week, it was the auction of masks in Paris, which Hopi leaders tried to stop after saying the objects were stolen and too sacred to be sold for profit. Two weeks ago, it was a plea by former FCC officials for the NFL’s Washington Redskins to change their name — or face a possible ban on TV broadcasters’ use of the moniker.\u003c/p>\n\u003cp>The clamor for change can be seen in the music of A Tribe Called Red, a Native American group of DJs touring the United States and performing in San Francisco on Friday night, April 19, 2013. The group’s music incorporates traditional Native American chants and singing, and layers it with techno beats and other electronic segues that give the songs a dancehall pulse. During their performances, A Tribe Called Red incorporates clips of Hollywood films depicting stereotypical imagery of Native Americans. Through music and video, A Tribe Called Red is reinterpreting the Native American experience, saying there’s room to have fun \u003ci>and\u003c/i> spark awareness of the antiquated views that still remain of a people whom Christopher Columbus labeled “Indian.” \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/lpkUISUx3Lo?rel=0'\n title='//www.youtube.com/embed/lpkUISUx3Lo?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“What we’re using is pow wow music, and pow wow music is party music in a sense — it’s dance music,” Bear Witness, one of A Tribe Called Red’s three members, tells me in a phone interview from Canada. “We’re using music that we use for competition pow wows, so it’s music to make you dance. Bringing it into the club — we’re remixing dance music with dance music. As for the images, I like to say that we’re ‘decolonizing’ them, and indigenizing them. We’re indigenizing the club spaces and making them our own.”\u003c/p>\n\u003cp>A Tribe Called Red is widely known in music circles in Ottawa, where it’s based, and in such other Canadian cities like Toronto, but the group emerged on an international level last year when it released an eponymous album, for free, on the internet. Word-of-mouth and good reviews quickly bumped the album onto best-seller lists, and by the end of 2012, the \u003ci>Washington Post\u003c/i> had called the release one of the year’s 10 best albums (on a list headed by Frank Ocean and Neil Young). This year, A Tribe Called Red is performing at some of the biggest U.S. venues for emerging artists. Last month it was South by Southwest in Austin, Texas, and this month — after San Francisco – it’s the New Orleans Jazz and Heritage Festival. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s alluring about the group’s music is the way the trio — Bear Witness, DJ Shub and DJ NDN — utterly transforms familiar Native American sounds. The song “Electric Pow Wow Drum” is — as its name suggests — a wild, pulse-driven reinterpretation of the traditional Native American pow wow that brings together tribespeople. “Woodcarver,” about a Native American woodcarver shot to death by Seattle police in 2010, uses media reports of the killing to recreates the shooting itself with Native American chants in the background. And “General Generations” locks the voice of an older Native American man to the sounds of electronic beats. The songs practically demand you to move your feet while simultaneously investigating your own understanding of Native American culture.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/17/ATCR2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>A Tribe Called Red is made up of (left to right) DJ NDN, DJ Shub, and Bear Witness. Photo by Pat Bolduc.\u003c/p>\n\u003cp>At some of the A Tribe Called Red’s shows, non-Native fans have shown up with traditional Native American headdresses and “war paint,” thinking they’re paying homage to the culture that the DJs are celebrating. But Bear Witness discourages that sort of fan-identification because, he says, it trivializes the culture. \u003c/p>\n\u003cp>“It’s a common thing where people think, ‘Oh, I’m going to honor you, ‘” he says. “We had a show last month in Montreal where I counted at least six or seven headdresses in the audience. At a show in Toronto, people came in war paint, but after that show, a conversation started on Facebook when photos of the show came out. Both sides (people defending the war paint, and those against it) got pretty nasty. But what came out of the whole discussion eventually was a few of the people who did show up in war paint realizing that they had done something wrong, and apologizing, and saying, ‘Thank you for setting me straight.'”\u003c/p>\n\u003cp>Occasionally, A Tribe Called Red will have to answer to Native American elders who object to the venues the group plays. “The only real reaction we’ve gotten from people in a negative sense is from people who aren’t necessarily comfortable with us using ‘pow wow’ in a situation where alcohol is being served,” he says. “But at the same time, people who’ve expressed a concern around that have always followed up with, ‘I really like what you’re doing.’ We’re walking a fine line with what we’re doing, and it takes a lot of care, so that people from our community are comfortable with what we’re doing.” \u003c/p>\n\u003cp>A Tribe Called Red takes inspiration from Redbone, which in the early 1970s was the first Native American rock group to get international recognition. “Come and Get Your Love,” Redbone’s most popular hit, had no recognizable Native American elements to it — at least on the radio — but the group’s concerts were another matter, with Redbone wearing Native American clothing and adding Native American rituals to the song. Redbone’s other music was downright political — as in “We Were All Wounded at Wounded Knee,” where the lyrics announced, “We were all wounded at Wounded Knee, you and me, in the name of Manifest Destiny,” and, “We’ll sing, sing, sing our story until the truth is heard. There’s a whole new generation. Braves who dream of veneration who were not wiped out by the 7th Cavalry.” \u003c/p>\n\u003cp>Bear Witness, who’s 35, is part of a new generation of Native North Americans who say they’re trying to broaden the connections between their culture and the culture at large. You can see this broadening in the annual Native American Music Awards, which gives honors in such categories as “Best Blues Recording,” “Best Pop Recording,” “Best Rap/Hip-Hop Recording,” and “Best Pow Wow Recording.” This year’s Native American Music Awards is May 10. Just by getting on stage and playing music that attracts a wide audience, A Tribe Called Red is extending the boundaries of what can be called “Native American music.” Bear Witness grew up in an activist household, and he initially got into DJing as a teenager to escape an environment where nearly everything — from discussions at home to lessons at his school — was premised on how to take the Native American movement higher.\u003c/p>\n\u003cp>“I wanted to get away from that feeing of having to be political all the time,” says Bear Witness. “But that’s what comes with being Aboriginal. I tried to rebel against it, but the more I did, the more I found myself in this place where I had to be political. Just being Aboriginal is being political. That fact that I wake up in the morning and do anything is political, because of everything in this world that’s been done to stop my culture. 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"content": "\u003cp>We’ve dug up another batch of the 10 best songs swirling around the internet this month. This episode is particularly eclectic, ranging from the pristine pop gems of Chvrches to the hypnotic beats of Bonobo, and then paying homage to the lyrical genius (and crudeness) of Danny Brown. Pop in your earbuds and enjoy this month’s mix of new music.\u003c/p>\n\u003cp>Tracklist:\u003c/p>\n\u003cp>1. “Best of Friends” — Palma Violets, \u003ci>180\u003c/i>\u003cbr>2. “Now Is Not The Time” — Chvrches, \u003ci>Recover\u003c/i>\u003cbr>3. “Someone Else” — Pure X, \u003ci>Crawling Up The Stairs\u003c/i>\u003cbr>4. “Lady You Shot Me” — Har Mar Superstar, \u003ci>Bye Bye 17\u003c/i>\u003cbr>5. “Cirrus” — Bonobo, \u003ci>The North Borders\u003c/i>\u003cbr>6. “Mirror” — Weekend, \u003ci>Jinx\u003c/i>\u003cbr>7. “God Made The World” — Cold Cave, \u003ci>God Made The World\u003c/i>\u003cbr>8. “Express Yourself” — Danny Brown, single 9. “With Her Shadow” — Born Ruffians, TBD\u003cbr>10. “Childhood?s End” — Majical Cloudz, \u003ci>Impersonator\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>We’re due for an onslaught of anticipated new albums from Bay Area bands, and that outpouring begins this month with a number of the local artists we’ve included in this mix. Both \u003ca href=\"https://www.facebook.com/PhilManleyLifeCoach\">Life Coach\u003c/a> and \u003ca href=\"https://www.facebook.com/tartufisongs\">Tartufi\u003c/a> have gained members since their last records — Life Coach recently became a duo with the addition of The Mars Volta’s Jon Theodore on drums, while Tartufi gained a third member, bass player Ben Thorne (also of MINOT). On the garage rock front, we’ve included a selection from \u003ca href=\"https://www.facebook.com/pages/Shannon-and-the-Clams/134248713268350\">Shannon and the Clams\u003c/a>‘ \u003cem>Dreams in the Rat House\u003c/em>, which arrives in late May, and one from \u003ca href=\"https://www.facebook.com/burntones\">Burnt Ones\u003c/a>‘ new album on Burger Records.\u003c/p>\n\u003cp>Plenty of reliably strong live performers are also touring through SF in April, including guitar wizard \u003ca href=\"https://www.facebook.com/marniestern\">Marnie Stern\u003c/a>, whose \u003cem>The Chronicles of Marnia\u003c/em> has great songs as well as the best/most ridiculous title I’ve heard all year. If you’re more inclined toward country rock with an experimental twist, do check out \u003ca href=\"https://www.facebook.com/Phosphorescentmusic\">Phosphorescent\u003c/a>. I was really impressed by Matthew Houck’s band at South by Southwest; it’s a tight group of musicians who do great service to his rich songs. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re due for an onslaught of anticipated new albums from Bay Area bands, and that outpouring begins this month with a number of the local artists we’ve included in this mix. Both \u003ca href=\"https://www.facebook.com/PhilManleyLifeCoach\">Life Coach\u003c/a> and \u003ca href=\"https://www.facebook.com/tartufisongs\">Tartufi\u003c/a> have gained members since their last records — Life Coach recently became a duo with the addition of The Mars Volta’s Jon Theodore on drums, while Tartufi gained a third member, bass player Ben Thorne (also of MINOT). On the garage rock front, we’ve included a selection from \u003ca href=\"https://www.facebook.com/pages/Shannon-and-the-Clams/134248713268350\">Shannon and the Clams\u003c/a>‘ \u003cem>Dreams in the Rat House\u003c/em>, which arrives in late May, and one from \u003ca href=\"https://www.facebook.com/burntones\">Burnt Ones\u003c/a>‘ new album on Burger Records.\u003c/p>\n\u003cp>Plenty of reliably strong live performers are also touring through SF in April, including guitar wizard \u003ca href=\"https://www.facebook.com/marniestern\">Marnie Stern\u003c/a>, whose \u003cem>The Chronicles of Marnia\u003c/em> has great songs as well as the best/most ridiculous title I’ve heard all year. If you’re more inclined toward country rock with an experimental twist, do check out \u003ca href=\"https://www.facebook.com/Phosphorescentmusic\">Phosphorescent\u003c/a>. I was really impressed by Matthew Houck’s band at South by Southwest; it’s a tight group of musicians who do great service to his rich songs. Finally, \u003ca href=\"https://www.facebook.com/TelekinesisMusic\">Telekinesis\u003c/a> knows its way around a great indie pop song, and the band’s live shows find bandleader Michael Lerner drumming and singing with equal vigor.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some shows!\u003c/p>\n\u003cp>\u003cu>\u003cstrong>About the bands:\u003c/strong>\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/beachfossils\">Beach Fossils\u003c/a> — “Careless”\u003cbr>Headlining \u003ca href=\"http://www.slimspresents.com/calendar/\">Slim’s\u003c/a> on April 23; locals Surf Club and Black Jeans open the show\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/burntones\">Burnt Ones\u003c/a> — “Fountain of Youth”\u003cbr>Celebrating the release of \u003cem>You’ll Never Walk Alone\u003c/em> on April 12 at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a>; Cosmonauts, Violent Change, and The Garden also perform\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WhiteMysteryBand\">White Mystery\u003c/a> — “Secret Garden”\u003cbr>White Mystery’s “4/20 Psychedelic Meltdown” (which doubles as the band’s record release festival) is taking place at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a>, and features additional performances by Warm Soda, Glitz, Sir Lord Von Raven and more\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/PhilManleyLifeCoach\">Life Coach\u003c/a> — “Fireball”\u003cbr>\u003cem>Alphawaves\u003c/em>‘ record release show is at the \u003ca href=\"http://hemlocktavern.com/prog_guide.php?adate_id=2013-04-20\">Hemlock Tavern\u003c/a> on April 20 with 3 Leafs and Once and Future Band\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/marniestern\">Marnie Stern\u003c/a> — “Transparency is the New Mystery”\u003cbr>Playing at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> with SISU and E V Kain on April 28\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/tartufisongs\">Tartufi\u003c/a> — “Underwater”\u003cbr>Returning from tour to play the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall on April 26 with Kowloon Walled City and Queen Crescent\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TelekinesisMusic\">Telekinesis\u003c/a> — “Ghosts and Creatures”\u003cbr>Bringing the band”s new album to \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> on April 24; Mount Moriah and Paparazzi also support\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/vacationermusic\">Vacationer\u003c/a> — “Gone”\u003cbr>Exray’s performs with Vacationer on April 18 at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/chadvalleymusic\">Chad Valley\u003c/a> — “I Owe You All This” (featuring Twin Shadow)\u003cbr>On April 29, Chad Valley’s nationwide tour with Ski Lodge and The Soonest arrives 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/angelolsenmusic\">Angel Olsen\u003c/a> — “Tiniest Seed”\u003cbr>Headlining the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on April 6, with support from Villages and Kacey Johansing\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Phosphorescentmusic\">Phosphorescent\u003c/a> — “Song For Zula”\u003cbr>Heading to \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> with Strand Of Oaks on April 6\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/sonnysunsets\">Sonny Smith\u003c/a> — “If You Don’t Make a Change”\u003cbr>Sonny & the Sunsets perform at the Rock/See fundraiser for the Roxie Theatre at the \u003ca href=\"http://roxie.com/events/details.cfm?eventid=5F714B00-AB5B-56F5-F6D94991CE1E2EA5\">Verdi Club\u003c/a> on April 5\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Shannon-and-the-Clams/134248713268350\">Shannon and the Clams\u003c/a> — “Rip Van Winkle”\u003cbr>The Memorials and Emotional join the Clams at \u003ca href=\"http://theeparkside.com/\">Thee Parkside\u003c/a> on April 18\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/cloudnothings\">Cloud Nothings\u003c/a> — “Stay Useless”\u003cbr>Co-headlining \u003ca href=\"http://www.thenewparish.com/\">The New Parish\u003c/a> with Japandroids on April 16 and 17\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s almost the time of year when what seems like every band in the world descends into one spot in California. And no, we’re not talking about that festival in the desert, we’re talking about Fauxchella. Fauxchella (a \u003ca href=\"http://spinningplatters.com/\">Spinning Platters\u003c/a> term) is the name given to almost three weeks in April when all of the bands set to play Coachella make their way up to San Francisco. Almost every venue in the city is full of great bands night after night, and it can be pretty overwhelming deciding which bands to see. So, we at the Noise Pop Team have made a list of must-sees to help you make the most of your Fauxchella. For a full list of all the bands playing Fauxchella this year head over to \u003ca href=\"http://do415.com/fauxchella\">Do415’s guide\u003c/a>.\u003c/p>\n\u003cp>Tracklist:\u003c/p>\n\u003cp>1. “Step” — Vampire Weekend, \u003ci>Modern Vampires of the City\u003c/i>\u003cbr>2. “Red Right Hand” — Nick Cave and the Bad Seeds, \u003ci>Let Love In\u003c/i>\u003cbr>3. “Ms” — Alt J, \u003ci>An Awesome Wave\u003c/i>\u003cbr>4. “Dramamine” — Modest Mouse, \u003ci>This Is a Long Drive For Someone With Nothing to Think About\u003c/i>\u003cbr>5. “My Number” — Foals, \u003ci>Holy Fire\u003c/i>\u003cbr>6. “Herietta” — Yeasayer, \u003ci>Fragrant World\u003c/i>\u003cbr>7. “Daniel” — Bat For Lashes, \u003ci>Daniel\u003c/i>\u003cbr>8. “Grammy” (Soulja Boy cover) — Purity Ring, single\u003cbr>9. “House That Heaven Built” — Japandroids, \u003ci>Celebration Rock\u003c/i>\u003cbr>10. “Digital Lion” — James Blake, \u003ci>Overgrown\u003c/i>\u003c/p>\n\u003cfigure class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/03/fauxchella2488.jpg\" alt=\"Coachella\" class=\"size-full\">\u003cfigcaption class=\"wp-caption-text\">Coachella\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"flex-video embed-youtube\">\nhttp://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/03/fauxchella2488.jpg\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As \u003ca href=\"http://www.thebaybridged.com/2013/03/20/review-photos-five-days-of-south-by-southwest-2013/\" target=\"_blank\" rel=\"noopener\">discussed earlier today\u003c/a>, we saw a ton of great bands at \u003cstrong>\u003ca href=\"http://sxsw.com/music\" target=\"_blank\" rel=\"noopener\">South by Southwest 2013\u003c/a>\u003c/strong>. Here are fifteen SXSW discoveries from a number of genres. As you’ll see, the first half of the mix (Side A, if you will) includes some of our favorite rock, punk and psych highlights from SXSW. The second half, by contrast, is all about electronic pop. We’d previously covered a few of these acts before, but we’ll be watching all of them closely in the future.\u003c/p>\n\u003cp>For more about these bands and all of \u003cb>South by Southwest 2013\u003c/b>, \u003ca href=\"http://www.thebaybridged.com/2013/03/20/review-photos-five-days-of-south-by-southwest-2013/\" target=\"_blank\" rel=\"noopener\">revisit our review\u003c/a>. Then enjoy the mix!\u003c/p>\n\u003cp>\u003cu>\u003cstrong>Tracklisting:\u003c/strong>\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/wehavepaws\" target=\"_blank\" rel=\"noopener\">PAWS\u003c/a> — “Miss American Bookworm”\u003cbr>\u003ca href=\"http://www.facebook.com/excopsband\" target=\"_blank\" rel=\"noopener\">Ex Cops\u003c/a> — “James”\u003cbr>\u003ca href=\"http://www.facebook.com/metz\" target=\"_blank\" rel=\"noopener\">METZ\u003c/a> — “Headache”\u003cbr>\u003ca href=\"http://parquetcourts.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Parquet Courts\u003c/a> — “Light Up Gold II”\u003cbr>\u003ca href=\"http://www.facebook.com/audacityca\" target=\"_blank\" rel=\"noopener\">Audacity\u003c/a> — “Subway Girl”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/The-Wolf/118208721591853\" target=\"_blank\" rel=\"noopener\">The Wolf\u003c/a> — “Jambourine”\u003cbr>\u003ca href=\"http://californiax.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">California X\u003c/a> — “Pond Rot”\u003cbr>\u003ca href=\"http://www.facebook.com/teentheband\" target=\"_blank\" rel=\"noopener\">Teen\u003c/a> — “Electric”\u003cbr>\u003ca href=\"http://www.facebook.com/poolsidemusic\" target=\"_blank\" rel=\"noopener\">Poolside\u003c/a> — “Only Everything”\u003cbr>\u003ca href=\"http://www.facebook.com/trubluhawaii\" target=\"_blank\" rel=\"noopener\">Blue Hawaii\u003c/a> — “In Two”\u003cbr>\u003ca href=\"http://www.facebook.com/beaconband\" target=\"_blank\" rel=\"noopener\">Beacon\u003c/a> — “Safety’s Off”\u003cbr>\u003ca href=\"http://www.facebook.com/AutreNeVeut\" target=\"_blank\" rel=\"noopener\">Autre Ne Veut\u003c/a> — “Play by Play”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Lusine/276561268164\" target=\"_blank\" rel=\"noopener\">Lusine\u003c/a> — “Another Tomorrow”\u003cbr>\u003ca href=\"http://www.facebook.com/slowwmagic\" target=\"_blank\" rel=\"noopener\">Slow Magic\u003c/a> — “Corvette Cassette”\u003cbr>\u003ca href=\"http://www.facebook.com/lunicefp\" target=\"_blank\" rel=\"noopener\">Lunice\u003c/a> — “The Good Kids”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As \u003ca href=\"http://www.thebaybridged.com/2013/03/20/review-photos-five-days-of-south-by-southwest-2013/\" target=\"_blank\" rel=\"noopener\">discussed earlier today\u003c/a>, we saw a ton of great bands at \u003cstrong>\u003ca href=\"http://sxsw.com/music\" target=\"_blank\" rel=\"noopener\">South by Southwest 2013\u003c/a>\u003c/strong>. Here are fifteen SXSW discoveries from a number of genres. As you’ll see, the first half of the mix (Side A, if you will) includes some of our favorite rock, punk and psych highlights from SXSW. The second half, by contrast, is all about electronic pop. We’d previously covered a few of these acts before, but we’ll be watching all of them closely in the future.\u003c/p>\n\u003cp>For more about these bands and all of \u003cb>South by Southwest 2013\u003c/b>, \u003ca href=\"http://www.thebaybridged.com/2013/03/20/review-photos-five-days-of-south-by-southwest-2013/\" target=\"_blank\" rel=\"noopener\">revisit our review\u003c/a>. Then enjoy the mix!\u003c/p>\n\u003cp>\u003cu>\u003cstrong>Tracklisting:\u003c/strong>\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/wehavepaws\" target=\"_blank\" rel=\"noopener\">PAWS\u003c/a> — “Miss American Bookworm”\u003cbr>\u003ca href=\"http://www.facebook.com/excopsband\" target=\"_blank\" rel=\"noopener\">Ex Cops\u003c/a> — “James”\u003cbr>\u003ca href=\"http://www.facebook.com/metz\" target=\"_blank\" rel=\"noopener\">METZ\u003c/a> — “Headache”\u003cbr>\u003ca href=\"http://parquetcourts.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Parquet Courts\u003c/a> — “Light Up Gold II”\u003cbr>\u003ca href=\"http://www.facebook.com/audacityca\" target=\"_blank\" rel=\"noopener\">Audacity\u003c/a> — “Subway Girl”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/The-Wolf/118208721591853\" target=\"_blank\" rel=\"noopener\">The Wolf\u003c/a> — “Jambourine”\u003cbr>\u003ca href=\"http://californiax.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">California X\u003c/a> — “Pond Rot”\u003cbr>\u003ca href=\"http://www.facebook.com/teentheband\" target=\"_blank\" rel=\"noopener\">Teen\u003c/a> — “Electric”\u003cbr>\u003ca href=\"http://www.facebook.com/poolsidemusic\" target=\"_blank\" rel=\"noopener\">Poolside\u003c/a> — “Only Everything”\u003cbr>\u003ca href=\"http://www.facebook.com/trubluhawaii\" target=\"_blank\" rel=\"noopener\">Blue Hawaii\u003c/a> — “In Two”\u003cbr>\u003ca href=\"http://www.facebook.com/beaconband\" target=\"_blank\" rel=\"noopener\">Beacon\u003c/a> — “Safety’s Off”\u003cbr>\u003ca href=\"http://www.facebook.com/AutreNeVeut\" target=\"_blank\" rel=\"noopener\">Autre Ne Veut\u003c/a> — “Play by Play”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Lusine/276561268164\" target=\"_blank\" rel=\"noopener\">Lusine\u003c/a> — “Another Tomorrow”\u003cbr>\u003ca href=\"http://www.facebook.com/slowwmagic\" target=\"_blank\" rel=\"noopener\">Slow Magic\u003c/a> — “Corvette Cassette”\u003cbr>\u003ca href=\"http://www.facebook.com/lunicefp\" target=\"_blank\" rel=\"noopener\">Lunice\u003c/a> — “The Good Kids”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Ivan & Alyosha's 'All the Times We Had' is Really Easy to Love",
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"content": "\u003cp>While SXSW steals the majority of the music world’s attention for five days, the rest of the country reaps the benefits in terms of the tour aftermath that follows the conclusion of the festival. Even though San Francisco is at the end of the earth, we stand to gain some great shows after the fest. This week’s boon comes from Seattle-based Ivan & Alyosha. You may know them from their very popular 2009 single, “Easy To Love,” which the guys performed at one of Bob Boilen’s \u003ca href=\"http://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk Concerts\u003c/a> on NPR Music.\u003c/p>\n\u003cp>Ivan & Alyosha have been branded as folk-pop and compared to a combination of Fleet Foxes and Mumford & Sons. I can vaguely hear the similarities in the building group vocals and melodic hooks, but I also hear the rich and raw talent found in bands such as \u003ca href=\"http://youtu.be/q4gVaiDQ8f4\">Middle Brother\u003c/a>, and \u003ca href=\"http://youtu.be/xIHx9CYPgQo\">Delta Spirit\u003c/a>, grounded in the \u003ca href=\"http://youtu.be/1h1oRP7FfBw\">The Kinks\u003c/a>. Ivan & Alyosha is the answer to indie pop. They have the songwriting capabilities to blow every Top 40 song out of the water, and the emotional pull to stay for good.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"http://www.youtube.com/embed/kyYgN8DHdTM?rel=0\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/center>\n\u003cp>After wrapping up their time at SXSW they headed west to play a few shows before arriving in San Francisco. I spoke with lead singer and one of the core members of the band, Tim Wilson, somewhere between Texas and Flagstaff, “somewhere mountainous” to be specific. Their first full-length album, \u003ci>All the Times We Had\u003c/i> came out just a few weeks ago on Dualtone Records and was featured on NPR’s \u003ca href=\"http://www.npr.org/series/98679384/first-listen\">First Listen\u003c/a>.\u003c/p>\n\u003cp>Ivan & Alyosha didn’t take the traditional track when it came to releasing an album on a record label. It took them nearly four years to release an LP after their first single. 2009’s EP, \u003ci>The Verse, the Chorus\u003c/i> yielded them a fair amount of attention. 2011’s, \u003ci>Fathers Be Kind\u003c/i> kept them out on the road. Their sound changed into something more appropriately energetic and clean. Wilson mused, “We’re older and maybe a little wiser. We didn’t mean to make everyone wait so long, it just sort of happened that way as we honed our sound out on the road.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter> \u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"http://www.youtube.com/embed/jJN1A_DHtsM?rel=0\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/center>\n\u003cp>\u003ci>All the Times We Had\u003c/i> is an album about love, joy, happiness, and believing in the value of struggle. While these are familiar themes in folk-Americana, they feel a little more earnest with Ivan & Alyosha’s lyrics. Wilson seems to know this too, “There’s a certain kind of spiritual element that keeps us grounded, focused, and happy. Good, bad, ugly, it could be worse, we are very blessed certainly.” Happy Seattle music? I’ll take it.\u003c/p>\n\u003cp>The single on the album, “Running for Cover,” encompasses the seriousness of their sound, while simultaneously delivering the swells of energetic emotion that get the blood pumping. Wilson particularly likes how the recording turned out for “Don’t Wanna Die Anymore” and he wasn’t the only one. That song caught the attention of Dualtone Records, the band’s current label. It’s the most alt-country sounding song on the album wielding ardent lyrics and a more stripped-down version of the band.\u003c/p>\n\u003cp>“Who Are You” was, according to Wilson, “a last minute addition and a little more difficult to interpret in the studio than playing it live.” It’s one I feel is an important addition nonetheless, and is getting more and more attention as the guys’ tour. Wilson is still convinced it sounds better live than on the record, I guess we’ll just have to make our way down to Brick and Mortar on Wednesday to find out for ourselves.\u003c/p>\n\u003cp>You can read the full interview with Tim Wilson of Ivan & Alyosha \u003ca href=\"http://placeswedontknow.tumblr.com/post/45612477313/ivan-alyosha-interview\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ivan & Alyosha play Brick and Mortar Music Hall in San Francisco on Wednesday, March 20, 2013. Doors are at 8:00 p.m. For \u003ca href=\"http://www.brickandmortarmusic.com/\">tickets and more information\u003c/a> visit brickandmortarmusic.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While SXSW steals the majority of the music world’s attention for five days, the rest of the country reaps the benefits in terms of the tour aftermath that follows the conclusion of the festival. Even though San Francisco is at the end of the earth, we stand to gain some great shows after the fest. This week’s boon comes from Seattle-based Ivan & Alyosha. You may know them from their very popular 2009 single, “Easy To Love,” which the guys performed at one of Bob Boilen’s \u003ca href=\"http://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk Concerts\u003c/a> on NPR Music.\u003c/p>\n\u003cp>Ivan & Alyosha have been branded as folk-pop and compared to a combination of Fleet Foxes and Mumford & Sons. I can vaguely hear the similarities in the building group vocals and melodic hooks, but I also hear the rich and raw talent found in bands such as \u003ca href=\"http://youtu.be/q4gVaiDQ8f4\">Middle Brother\u003c/a>, and \u003ca href=\"http://youtu.be/xIHx9CYPgQo\">Delta Spirit\u003c/a>, grounded in the \u003ca href=\"http://youtu.be/1h1oRP7FfBw\">The Kinks\u003c/a>. Ivan & Alyosha is the answer to indie pop. They have the songwriting capabilities to blow every Top 40 song out of the water, and the emotional pull to stay for good.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"http://www.youtube.com/embed/kyYgN8DHdTM?rel=0\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/center>\n\u003cp>After wrapping up their time at SXSW they headed west to play a few shows before arriving in San Francisco. I spoke with lead singer and one of the core members of the band, Tim Wilson, somewhere between Texas and Flagstaff, “somewhere mountainous” to be specific. Their first full-length album, \u003ci>All the Times We Had\u003c/i> came out just a few weeks ago on Dualtone Records and was featured on NPR’s \u003ca href=\"http://www.npr.org/series/98679384/first-listen\">First Listen\u003c/a>.\u003c/p>\n\u003cp>Ivan & Alyosha didn’t take the traditional track when it came to releasing an album on a record label. It took them nearly four years to release an LP after their first single. 2009’s EP, \u003ci>The Verse, the Chorus\u003c/i> yielded them a fair amount of attention. 2011’s, \u003ci>Fathers Be Kind\u003c/i> kept them out on the road. Their sound changed into something more appropriately energetic and clean. Wilson mused, “We’re older and maybe a little wiser. We didn’t mean to make everyone wait so long, it just sort of happened that way as we honed our sound out on the road.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter> \u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"http://www.youtube.com/embed/jJN1A_DHtsM?rel=0\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/center>\n\u003cp>\u003ci>All the Times We Had\u003c/i> is an album about love, joy, happiness, and believing in the value of struggle. While these are familiar themes in folk-Americana, they feel a little more earnest with Ivan & Alyosha’s lyrics. Wilson seems to know this too, “There’s a certain kind of spiritual element that keeps us grounded, focused, and happy. Good, bad, ugly, it could be worse, we are very blessed certainly.” Happy Seattle music? I’ll take it.\u003c/p>\n\u003cp>The single on the album, “Running for Cover,” encompasses the seriousness of their sound, while simultaneously delivering the swells of energetic emotion that get the blood pumping. Wilson particularly likes how the recording turned out for “Don’t Wanna Die Anymore” and he wasn’t the only one. That song caught the attention of Dualtone Records, the band’s current label. It’s the most alt-country sounding song on the album wielding ardent lyrics and a more stripped-down version of the band.\u003c/p>\n\u003cp>“Who Are You” was, according to Wilson, “a last minute addition and a little more difficult to interpret in the studio than playing it live.” It’s one I feel is an important addition nonetheless, and is getting more and more attention as the guys’ tour. Wilson is still convinced it sounds better live than on the record, I guess we’ll just have to make our way down to Brick and Mortar on Wednesday to find out for ourselves.\u003c/p>\n\u003cp>You can read the full interview with Tim Wilson of Ivan & Alyosha \u003ca href=\"http://placeswedontknow.tumblr.com/post/45612477313/ivan-alyosha-interview\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ivan & Alyosha play Brick and Mortar Music Hall in San Francisco on Wednesday, March 20, 2013. Doors are at 8:00 p.m. For \u003ca href=\"http://www.brickandmortarmusic.com/\">tickets and more information\u003c/a> visit brickandmortarmusic.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Spring is around the corner, so we’ve decided to play music to get you excited for the warmer weather, budding trees and longer days. From the warmth of Rhye to the summer festival staple of Thom Yorke with Atoms for Peace, we’re playing tracks to welcome in the long-awaited end to winter. Hope to see you at SXSW!\u003c/p>\n\u003cp>Tracklist:\u003c/p>\n\u003cp>1. “Open” — Rhye, \u003ci>Open\u003c/i>\u003cbr>2. “The Possessed” — Glass Candy, Italians Do It Better second \u003ci>After Dark\u003c/i> compilation\u003cbr>3. “Hood Party” — Fat Tony (feat. Kool A.D.), \u003ci>Smart Ass Black Boy\u003c/i>\u003cbr>4. “In a Dream” — High Highs, \u003ci>Open Season\u003c/i>\u003cbr>5. “Stickin’ to the Sheets” — Hello Ocho, \u003ci>Hello Ocho\u003c/i>\u003cbr>6. “It’s Been So Long” — Cleaners of Venus, \u003ci>Cleaners from Venus\u003c/i> box set\u003cbr>7. “Slyd” — !!!, \u003ci>THR!!!ER\u003c/i>\u003cbr>8. “Shout It Out” — Milkal Cronin, \u003ci>MCII\u003c/i>\u003cbr>9. “Demon Dance” — Surfer Blood, \u003ci>Pythons\u003c/i> \u003cbr>10. “Ingenue” — Atoms for Peace, \u003ci>Amok\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>Spring is around the corner, so we’ve decided to play music to get you excited for the warmer weather, budding trees and longer days. From the warmth of Rhye to the summer festival staple of Thom Yorke with Atoms for Peace, we’re playing tracks to welcome in the long-awaited end to winter. Hope to see you at SXSW!\u003c/p>\n\u003cp>Tracklist:\u003c/p>\n\u003cp>1. “Open” — Rhye, \u003ci>Open\u003c/i>\u003cbr>2. “The Possessed” — Glass Candy, Italians Do It Better second \u003ci>After Dark\u003c/i> compilation\u003cbr>3. “Hood Party” — Fat Tony (feat. Kool A.D.), \u003ci>Smart Ass Black Boy\u003c/i>\u003cbr>4. “In a Dream” — High Highs, \u003ci>Open Season\u003c/i>\u003cbr>5. “Stickin’ to the Sheets” — Hello Ocho, \u003ci>Hello Ocho\u003c/i>\u003cbr>6. “It’s Been So Long” — Cleaners of Venus, \u003ci>Cleaners from Venus\u003c/i> box set\u003cbr>7. “Slyd” — !!!, \u003ci>THR!!!ER\u003c/i>\u003cbr>8. “Shout It Out” — Milkal Cronin, \u003ci>MCII\u003c/i>\u003cbr>9. “Demon Dance” — Surfer Blood, \u003ci>Pythons\u003c/i> \u003cbr>10. “Ingenue” — Atoms for Peace, \u003ci>Amok\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When I gave Thomas Meluch (aka Benoît Pioulard) a call to talk about his new album \u003ci>Hymnal\u003c/i>, he was perched on a bluff outside of Portland watching the sunset with some friends. I could hear him clearly, but the conversation felt like a spoken word version of one of his songs. The wind carried soft voices around him, trees were shaking off the day, and the sounds of dusk lingered in the background as we spoke.\u003c/p>\n\u003cp>\u003ca href=\"http://pioulard.com/nest.htm\">Benoît Pioulard\u003c/a>‘s first project on kranky records, \u003ci>Précis\u003c/i> (2006), was one of the initial LPs to enter my indie music library in the company of Sigur Rós and The Album Leaf. The whole project is mysterious: the French alias, the only-sometimes identifiable background sounds, and Meluch’s rich vocals embedded in an onslaught of shimmering sound. Listening to a Benoît Pioulard album is like dreaming underwater, never needing to come up for air.\u003c/p>\n\u003cp>His newest soundtrack, \u003ci>Hymnal\u003c/i>, is precisely that — a score of his recent experiences in the United Kingdom and Europe. Meluch’s music is often finished at home while elements are written and recorded in ‘the field.’ He always seeks out nature, so logically the best time to lay down recordings is in his Seattle-based home when the weather is poor and gloomy. I can just imagine Northern Europe and the UK providing the perfect catalyst for his work. \u003ci>Hymnal\u003c/i>, Meluch says, was created in response to the religious monuments and cathedrals of Europe, “whereas most of my other albums were inspired by melancholy and sadness this one was more inspired by awe. I went to mass in a cathedral and I don’t abide by Catholicism anymore, but hearing the meticulously well-honed choir perform in the space, it’s ethereal. You step in and you step out having experienced something.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/11/hymnal.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Photo by James Duthie.\u003c/center>\n\u003cp>\u003ci>Hymnal\u003c/i> doesn’t carry the same sadness found in previous projects such as \u003ci>Temper\u003c/i> (2008) or \u003ci>Lasted\u003c/i> (2010), but a has weight grounded in something more significant. I asked him if there were any moments of personal growth or introspection that took place between \u003ci>Hymnal\u003c/i> and the previous album. “The major life events that drove that shift were the illnesses and passings of three of my grandparents, who I had known my whole life, in the last year and a half. No other close family members had passed away at that point in my life and in rapid succession they all departed us.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Hymnal\u003c/i> takes on the burden of processing both awe and reverence with Meluch’s soft but strong, M. Ward-like vocals on top of layered instrumentals and recordings, most poignantly in songs like “Litiya.” The overall air of the song is exultant with a hint of sorrow. Written after his last visit to his grandfather on his mother’s side, Meluch’s intention with the song was “to process that into something positive to deal with that weight.”\u003c/p>\n\u003cp>\u003ci>Hymnal\u003c/i> is not without a few pop-based compositions. Of course when it comes to Benoît Pioulard I use the term ‘pop’ loosely, referring to upswing rather than full-blown choral hooks. “Hawkeye,” “Reliquary,” and “Margin” are responsible for rounding out the arc. The moments I savor most are the instrumental arrangements found on “Knell” and “Gospel.” They have a patina to them. Meluch carefully removes thin layers of audio throughout the song, accentuating hidden histories in the recordings. \u003c/p>\n\u003cp>Benoît Pioulard’s unique combination of singer/songwriter and ambient/electronica elicits a very emotive quality to the music. On the one hand we are given an extremely personal look into the musician’s mind and heart. The crafting of the songs’ atmospheres provides us with a complimentary view into his musical capabilities. \u003ci>Hymnal\u003c/i> is where we encounter these things, but the album is rooted in a more conditional human experience of mourning the departed, whether a loved one or a moment in history.\u003c/p>\n\u003cp>You can read the full Benoît Pioulard interview \u003ca href=\"http://placeswedontknow.tumblr.com/post/45042829569/benoit-pioulard-interview\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Benoît Pioulard is performing at The Hemlock on Tuesday, March 12, 2013. Doors open at 8:30 a.m., for \u003ca href=\"http://www.hemlocktavern.com/prog_guide.php?adate_id=2013-03-12\">tickets and information\u003c/a> visit hemlocktavern.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I gave Thomas Meluch (aka Benoît Pioulard) a call to talk about his new album \u003ci>Hymnal\u003c/i>, he was perched on a bluff outside of Portland watching the sunset with some friends. I could hear him clearly, but the conversation felt like a spoken word version of one of his songs. The wind carried soft voices around him, trees were shaking off the day, and the sounds of dusk lingered in the background as we spoke.\u003c/p>\n\u003cp>\u003ca href=\"http://pioulard.com/nest.htm\">Benoît Pioulard\u003c/a>‘s first project on kranky records, \u003ci>Précis\u003c/i> (2006), was one of the initial LPs to enter my indie music library in the company of Sigur Rós and The Album Leaf. The whole project is mysterious: the French alias, the only-sometimes identifiable background sounds, and Meluch’s rich vocals embedded in an onslaught of shimmering sound. Listening to a Benoît Pioulard album is like dreaming underwater, never needing to come up for air.\u003c/p>\n\u003cp>His newest soundtrack, \u003ci>Hymnal\u003c/i>, is precisely that — a score of his recent experiences in the United Kingdom and Europe. Meluch’s music is often finished at home while elements are written and recorded in ‘the field.’ He always seeks out nature, so logically the best time to lay down recordings is in his Seattle-based home when the weather is poor and gloomy. I can just imagine Northern Europe and the UK providing the perfect catalyst for his work. \u003ci>Hymnal\u003c/i>, Meluch says, was created in response to the religious monuments and cathedrals of Europe, “whereas most of my other albums were inspired by melancholy and sadness this one was more inspired by awe. I went to mass in a cathedral and I don’t abide by Catholicism anymore, but hearing the meticulously well-honed choir perform in the space, it’s ethereal. You step in and you step out having experienced something.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/11/hymnal.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Photo by James Duthie.\u003c/center>\n\u003cp>\u003ci>Hymnal\u003c/i> doesn’t carry the same sadness found in previous projects such as \u003ci>Temper\u003c/i> (2008) or \u003ci>Lasted\u003c/i> (2010), but a has weight grounded in something more significant. I asked him if there were any moments of personal growth or introspection that took place between \u003ci>Hymnal\u003c/i> and the previous album. “The major life events that drove that shift were the illnesses and passings of three of my grandparents, who I had known my whole life, in the last year and a half. No other close family members had passed away at that point in my life and in rapid succession they all departed us.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Hymnal\u003c/i> takes on the burden of processing both awe and reverence with Meluch’s soft but strong, M. Ward-like vocals on top of layered instrumentals and recordings, most poignantly in songs like “Litiya.” The overall air of the song is exultant with a hint of sorrow. Written after his last visit to his grandfather on his mother’s side, Meluch’s intention with the song was “to process that into something positive to deal with that weight.”\u003c/p>\n\u003cp>\u003ci>Hymnal\u003c/i> is not without a few pop-based compositions. Of course when it comes to Benoît Pioulard I use the term ‘pop’ loosely, referring to upswing rather than full-blown choral hooks. “Hawkeye,” “Reliquary,” and “Margin” are responsible for rounding out the arc. The moments I savor most are the instrumental arrangements found on “Knell” and “Gospel.” They have a patina to them. Meluch carefully removes thin layers of audio throughout the song, accentuating hidden histories in the recordings. \u003c/p>\n\u003cp>Benoît Pioulard’s unique combination of singer/songwriter and ambient/electronica elicits a very emotive quality to the music. On the one hand we are given an extremely personal look into the musician’s mind and heart. The crafting of the songs’ atmospheres provides us with a complimentary view into his musical capabilities. \u003ci>Hymnal\u003c/i> is where we encounter these things, but the album is rooted in a more conditional human experience of mourning the departed, whether a loved one or a moment in history.\u003c/p>\n\u003cp>You can read the full Benoît Pioulard interview \u003ca href=\"http://placeswedontknow.tumblr.com/post/45042829569/benoit-pioulard-interview\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Benoît Pioulard is performing at The Hemlock on Tuesday, March 12, 2013. Doors open at 8:30 a.m., for \u003ca href=\"http://www.hemlocktavern.com/prog_guide.php?adate_id=2013-03-12\">tickets and information\u003c/a> visit hemlocktavern.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live This Month: March 2013",
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"content": "\u003cp>With South by Southwest leading much of independent music to converge in Austin later this month, tons of bands are hitting the road. All of them, it would seem, are playing in the San Francisco Bay Area in March. Even if you aren’t going to SXSW this year, you can still catch plenty of buzzed-about acts, like Thurston Moore’s noisy new band \u003ca href=\"http://www.facebook.com/pages/Chelsea-Light-Moving/231457830324704?fref=ts\">Chelsea Light Moving\u003c/a>, or the experimental electronic pop of \u003ca href=\"http://www.facebook.com/AutreNeVeut\">Autre Ne Veut\u003c/a>. Also touring are \u003ca href=\"http://www.facebook.com/veronicafalls\">Veronica Falls\u003c/a>, bringing top-notch jangle pop to the Rickshaw Stop, and \u003ca href=\"http://www.facebook.com/pages/Ducktails/78029223987?fref=ts\">Ducktails\u003c/a>, the solo project of Real Estate guitarist Matt Mondanile.\u003c/p>\n\u003cp>Things are a bit quieter on the local front — what with the many bands gone on Austin-bound tours — but there are still notable highlights. Led by Hether Fortune (also of Blasted Canyons), Oakland’s \u003ca href=\"http://www.facebook.com/waxidols\">Wax Idols\u003c/a> is celebrating the release of \u003cem>Discipline & Desire\u003c/em> this month; the album’s coming in April on the always-reliable Slumberland Records. Meanwhile, \u003ca href=\"http://www.facebook.com/CruelSummerSF\">Cruel Summer\u003c/a> has been wowing our writers for over a year now, and the band’s prepping for the release of its debut EP.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some shows!\u003c/p>\n\u003cp>\u003cu>About the bands:\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/veronicafalls\">Veronica Falls\u003c/a> — “Teenage”\u003cbr>Headlining the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> with Brilliant Colors and Golden Grrrls on March 26\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/widowspeakband\">Widowspeak\u003c/a> — “Ballad of the Golden Hour”\u003cbr>Performing at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on March 31\u003c/p>\n\u003cp>\u003ca href=\"http://www.christopherowensonline.com/\">Christopher Owens\u003c/a> — “Here We Go”\u003cbr>Appearing at the \u003ca href=\"http://www.palaceoffinearts.org/\">Palace of Fine Arts\u003c/a> on March 23\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Ducktails/78029223987?fref=ts\">Ducktails\u003c/a> — “Ivy Covered House”\u003cbr>Playing at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on March 22\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/AutreNeVeut\">Autre Ne Veut\u003c/a> — “Play by Play”\u003cbr>Majical Cloudz and Bago support Autre Ne Veut at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on March 11\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/astronautsetc\">Astronauts, etc.\u003c/a> — “Sideswiped”\u003cbr>Supporting Poolside on March 27 at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/waxidols\">Wax Idols\u003c/a> — “Sound of a Void”\u003cbr>Celebrating the release of \u003cem>Discipline & Desire\u003c/em> at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on March 30 with The Mallard and Chasms\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Chelsea-Light-Moving/231457830324704?fref=ts\">Chelsea Light Moving\u003c/a> — “Burroughs”\u003cbr>Performing alongside Grass Widow on March 20 at the \u003ca href=\"http://www.slimspresents.com/\">Great American Music Hall\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/IceageCopenhagen\">Iceage\u003c/a> — “Coalition”\u003cbr>Performing at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on March 25 and \u003ca href=\"http://www.thenewparish.com/\">The New Parish\u003c/a> on March 26\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/CruelSummerSF\">Cruel Summer\u003c/a> — “White Flag”\u003cbr>Playing \u003ca href=\"http://www.facebook.com/pages/The-Knockout/129284561110\">The Knockout\u003c/a> on March 28; Dream Boys, Woolen Men, and Swiftumz also perform\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/laluzusa\">La Luz\u003c/a> — “Sure As Spring”\u003cbr>Joining Will Sprott and Anna Hillburg at the \u003ca href=\"http://hemlocktavern.com/calendar.php\">Hemlock Tavern\u003c/a> on March 23\u003c/p>\n\u003cp>\u003ca href=\"http://www.shoutoutoutoutout.com/\">Shout Out Out Out Out\u003c/a> — “Now That I’ve Given Up Hope, I Feel Much Better”\u003cbr>Coming to \u003ca href=\"http://theeparkside.com/\">Thee Parkside\u003c/a> on March 9, with support from Lenz and Kinship\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/Daedelusmusic\">Daedelus\u003c/a> — “Endless Sea”\u003cbr>Bringing the “Magical Properties 4” tour to \u003ca href=\"http://theindependentsf.com\">The Independent\u003c/a> on March 31; Two Fresh, Ryan Hemsworth, and Samo Sound also perform\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With South by Southwest leading much of independent music to converge in Austin later this month, tons of bands are hitting the road. All of them, it would seem, are playing in the San Francisco Bay Area in March. Even if you aren’t going to SXSW this year, you can still catch plenty of buzzed-about acts, like Thurston Moore’s noisy new band \u003ca href=\"http://www.facebook.com/pages/Chelsea-Light-Moving/231457830324704?fref=ts\">Chelsea Light Moving\u003c/a>, or the experimental electronic pop of \u003ca href=\"http://www.facebook.com/AutreNeVeut\">Autre Ne Veut\u003c/a>. Also touring are \u003ca href=\"http://www.facebook.com/veronicafalls\">Veronica Falls\u003c/a>, bringing top-notch jangle pop to the Rickshaw Stop, and \u003ca href=\"http://www.facebook.com/pages/Ducktails/78029223987?fref=ts\">Ducktails\u003c/a>, the solo project of Real Estate guitarist Matt Mondanile.\u003c/p>\n\u003cp>Things are a bit quieter on the local front — what with the many bands gone on Austin-bound tours — but there are still notable highlights. Led by Hether Fortune (also of Blasted Canyons), Oakland’s \u003ca href=\"http://www.facebook.com/waxidols\">Wax Idols\u003c/a> is celebrating the release of \u003cem>Discipline & Desire\u003c/em> this month; the album’s coming in April on the always-reliable Slumberland Records. Meanwhile, \u003ca href=\"http://www.facebook.com/CruelSummerSF\">Cruel Summer\u003c/a> has been wowing our writers for over a year now, and the band’s prepping for the release of its debut EP.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some shows!\u003c/p>\n\u003cp>\u003cu>About the bands:\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/veronicafalls\">Veronica Falls\u003c/a> — “Teenage”\u003cbr>Headlining the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> with Brilliant Colors and Golden Grrrls on March 26\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/widowspeakband\">Widowspeak\u003c/a> — “Ballad of the Golden Hour”\u003cbr>Performing at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on March 31\u003c/p>\n\u003cp>\u003ca href=\"http://www.christopherowensonline.com/\">Christopher Owens\u003c/a> — “Here We Go”\u003cbr>Appearing at the \u003ca href=\"http://www.palaceoffinearts.org/\">Palace of Fine Arts\u003c/a> on March 23\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Ducktails/78029223987?fref=ts\">Ducktails\u003c/a> — “Ivy Covered House”\u003cbr>Playing at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on March 22\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/AutreNeVeut\">Autre Ne Veut\u003c/a> — “Play by Play”\u003cbr>Majical Cloudz and Bago support Autre Ne Veut at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on March 11\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/astronautsetc\">Astronauts, etc.\u003c/a> — “Sideswiped”\u003cbr>Supporting Poolside on March 27 at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/waxidols\">Wax Idols\u003c/a> — “Sound of a Void”\u003cbr>Celebrating the release of \u003cem>Discipline & Desire\u003c/em> at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on March 30 with The Mallard and Chasms\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Chelsea-Light-Moving/231457830324704?fref=ts\">Chelsea Light Moving\u003c/a> — “Burroughs”\u003cbr>Performing alongside Grass Widow on March 20 at the \u003ca href=\"http://www.slimspresents.com/\">Great American Music Hall\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/IceageCopenhagen\">Iceage\u003c/a> — “Coalition”\u003cbr>Performing at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on March 25 and \u003ca href=\"http://www.thenewparish.com/\">The New Parish\u003c/a> on March 26\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/CruelSummerSF\">Cruel Summer\u003c/a> — “White Flag”\u003cbr>Playing \u003ca href=\"http://www.facebook.com/pages/The-Knockout/129284561110\">The Knockout\u003c/a> on March 28; Dream Boys, Woolen Men, and Swiftumz also perform\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/laluzusa\">La Luz\u003c/a> — “Sure As Spring”\u003cbr>Joining Will Sprott and Anna Hillburg at the \u003ca href=\"http://hemlocktavern.com/calendar.php\">Hemlock Tavern\u003c/a> on March 23\u003c/p>\n\u003cp>\u003ca href=\"http://www.shoutoutoutoutout.com/\">Shout Out Out Out Out\u003c/a> — “Now That I’ve Given Up Hope, I Feel Much Better”\u003cbr>Coming to \u003ca href=\"http://theeparkside.com/\">Thee Parkside\u003c/a> on March 9, with support from Lenz and Kinship\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/Daedelusmusic\">Daedelus\u003c/a> — “Endless Sea”\u003cbr>Bringing the “Magical Properties 4” tour to \u003ca href=\"http://theindependentsf.com\">The Independent\u003c/a> on March 31; Two Fresh, Ryan Hemsworth, and Samo Sound also perform\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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