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"content": "\u003cp>For the conclusion of our four-part series on the 2013 Noise Pop festival, KQED Arts bloggers Amanda Roscoe Mayo and Sarah Hotchkiss cover up the final two days of concerts and ruminate on the experience as a whole.\u003c/p>\n\u003cp>\u003cb>\u003cu>DAY FIVE: Saturday, March 2\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>YACHT, Tussle, Future Twin, Shock\u003c/b>\u003c/p>\n\u003cp>\u003cb>Amanda:\u003c/b> Saturday night I was confronted with an intense inner debate about which shows to attend, if I should attend more than one, how much I would let Sidecar drain from my bank account and if, after 5 days of (sometimes multiple) shows a night I could stay conscious. I settled on YACHT. I heard Thao and the Get Down Stay Down killed it across town though, so how about we petition for a high speed train with uninterrupted stops between the music venues in SF?\u003c/p>\n\u003cp>I missed Shock after standing in the epically long line at Slim’s. Future Twin bill themselves as “grandma psychedelic rock”, which I’m not sure makes sense as a genre or a sound. I found their songs a bit lackluster but performed well. Jean Jeanie’s voice, however, doesn’t match the music, it’s sort of just there. I often felt like there was a song playing in the background of the club only to realize it was two disjointed sounds coming from the band. The first ten minutes of Tussle sounded an awful lot like a sound check. With two drum kits playing (for the most part) the same percussion sequences, I wondered exactly why two kits needed to be in the band. The more enjoyable moments came from the electronica drone played by the band member with a headlamp around his neck. The fourth member, front and center, held a microphone he never used. Instead, he constantly referenced a yellow-paged notebook, for what I’m not sure. Whatever he was looking for, he didn’t seem to find it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/04/yacht.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>YACHT\u003c/center>\n\u003cp>While the appetizers were less than satiating, I had confidence the main course would be sufficient. YACHT is as much an artistic endeavor and way of life as it is a band. I recommend reading up on the relatively obscure ideologies these kids have put forth into the world, it somehow makes complete sense. Their unpretentious vision translates to unforgettable performances. Within seconds lead singer Claire Evans was in the audience, pushing us all out of the way, jumping back on stage, and as a result lassoing a good hunk of the crowd in her mic cord, myself included. She and Jona Bechtolt were both mesmerizing to watch and completely engaged with the audience. I loved the way they interacted with each other on stage; most of the time they’re completely focused to their vocals, instruments, and performance, but every once in a while, they share small exchanges with each other. Such moments are a reminder that they are in this together. In fact we’re all in this together, according to YACHT. I left that night with a whole new group of friends, some bruises, and plenty of hope for the musicians/artists of my generation. Perhaps this is the utopia YACHT speaks of?\u003c/p>\n\u003cp>\u003cb>\u003cu>DAY SIX: Sunday, March 3\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Caspian, Native, Boyfrndz, The Dandelion War\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> Despite Amanda urging me to arrive in time for the first band of the night, I was locking my bike up as The Dandelion War started their last song. From what final verses I heard and from how loudly the small early crowd cheered at the end of their set, I really missed out. Note to self: Amanda knows what she’s talking about. Just do whatever she says.\u003c/p>\n\u003cp>Dejected, I quickly recovered by buying my very first Noise Pop 2013 beer, securing an actual seat near the back of the club, and settling in for what turned out to be a redeeming night for Bottom of the Hill (see Family of the Year, \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=117105\">Noise Pop 2013: Days 1 & 2\u003c/a>). Boyfrndz produced an overwhelming amount of noise, screeching and pounding towards some nihilistic end point. Two songs in, I caught a lot of confused looks on girls’ faces. Even more members of the crowd were double-checking their ear plugs. Once I made that same necessary purchase, the rest of the set continued uneventfully — and less painfully.\u003c/p>\n\u003cp>Native turned out to be a more refined, restrained version of Boyfrndz. The guys thrashed and screamed at high pace, switching gears mid-song to bring out spare (but still incredibly intense) tightly orchestrated riffs. Creative lighting timed to the beat periodically dramatically underlit their concentrated faces, amplifying their post-hardcore songs with moody ambience.\u003c/p>\n\u003cp>Headliners Caspian blew all their precursors out of the dark gloomy water. Awash in anthemic sound, I was at a loss for coherent sentences. My notes read: layers, swelling, huge, speedy, epic sound cut down super tight, growling synth and reverb, cinematic, driving, expansive, forceful, lead singer looks like Scandinavian royalty. One member of the audience yelled out, “Caspian saved my life!” Already aware of their power, the band didn’t even respond. They just launched into another haunting instrumental soundscape, dramatically swinging the necks of their instruments around the tiny stage.\u003c/p>\n\u003cp>\u003cb>Noise Pop closing party with surprise guests: tUnEyArDs, Maus Haus, Tycho\u003c/b>\u003c/p>\n\u003cp>\u003cb>Amanda:\u003c/b> I was delighted to be invited to the Noise Pop closing party, which the organizers promised would be worth attending even while keeping hush hush about the performers. Who doesn’t love a good surprise? Maus Haus opened the night with a unique sound, such a relief after Saturday’s flatline. The music is rooted in post-rock, but the vocals are full of pop influences. They sounded familiar and different, and I spent half the set trying to place the band they reminded me of. I finally figured out they’ve just cleverly paid attention to bands like Sonic Youth, LCD Soundsystem, Crystal Castles, and The Notwist, selecting elements from each to create their own sound.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/04/maushaus.jpg%20\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Maus Haus\u003c/center>\n\u003cp>Before Tycho (the big surprise guest of the night) took the stage, tUnEyArDs deejayed for us, and it was her birthday!. Though I’d heard a lot \u003ci>about\u003c/i> Tycho, I hadn’t \u003ci>heard\u003c/i> any Tycho. Ambient and/or electronica is one of my favorite genres inside indie music. There is so much at stake, and little to hide behind when playing live. The use of the high hat is highly underutilized, but not by Tycho. The drums provided the energetic and hopeful energy required to lift their songs. I couldn’t help but compare them to all my favorites: Ulrich Schnauss, Boards of Canada, Explosions in the Sky, and Marc Hellner. I prayed to the Noise Pop gods to bring me the perfect closing show on Sunday night and they delivered. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/04/tycho.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Tycho\u003c/center>\n\u003cp>\u003cb>\u003cu>Hidden in the Dark Corners of Noise Pop: A Wrap-Up\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Amanda:\u003c/b> What struck me the most (besides mic stands, fists, and backpacks) about this series of shows was how much live music has become homogeneous. Bands typically get on stage, play their set, rock out like good rock stars, and say, “How you doing tonight, insert city here!?” The good shows at Noise Pop weren’t like that, and that was refreshing. Damien Jurado allowed the audience to determine his set list. YACHT came into the audience more than once, gave a girl a hug for her birthday, and had a question and answer session. R. Stevie Moore shouted bizarre pop slang at us with a deadpan stare and a blue beard. Bear Mountain syncopated and manipulated live visuals as part of their show. Of course the audience is there for the music, but we’re also there for the musicians — feeling in on it with them is part of the fun. There is no better high than seeing your favorite band do something completely off the cuff on stage. Plus the effects of coming down aren’t very damaging.\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> At the beginning of Noise Pop 2013, I thought I might be getting too old for live shows. It hurts to stand on those hard concrete floors. I don’t like staying up late. Nobody dances even when the music seems to dictate it completely. Obnoxious peanut galleries abound, myself included. But then the last band of the last night of the whole freakin’ thing comes on and I’m like: “Maybe I should reconsider my career choices while I still have time to become a groupie.”\u003c/p>\n\u003cp>Revisit our Noise Pop 2013 recaps for \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=117105\">Days 1 & 2\u003c/a> and \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=117224\">Days 3 & 4\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All photos by Amanda Roscoe Mayo.\u003c/p>\n\n",
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I loved the way they interacted with each other on stage; most of the time they’re completely focused to their vocals, instruments, and performance, but every once in a while, they share small exchanges with each other. Such moments are a reminder that they are in this together. In fact we’re all in this together, according to YACHT. I left that night with a whole new group of friends, some bruises, and plenty of hope for the musicians/artists of my generation. Perhaps this is the utopia YACHT speaks of?\u003c/p>\n\u003cp>\u003cb>\u003cu>DAY SIX: Sunday, March 3\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Caspian, Native, Boyfrndz, The Dandelion War\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> Despite Amanda urging me to arrive in time for the first band of the night, I was locking my bike up as The Dandelion War started their last song. From what final verses I heard and from how loudly the small early crowd cheered at the end of their set, I really missed out. Note to self: Amanda knows what she’s talking about. Just do whatever she says.\u003c/p>\n\u003cp>Dejected, I quickly recovered by buying my very first Noise Pop 2013 beer, securing an actual seat near the back of the club, and settling in for what turned out to be a redeeming night for Bottom of the Hill (see Family of the Year, \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=117105\">Noise Pop 2013: Days 1 & 2\u003c/a>). Boyfrndz produced an overwhelming amount of noise, screeching and pounding towards some nihilistic end point. Two songs in, I caught a lot of confused looks on girls’ faces. Even more members of the crowd were double-checking their ear plugs. Once I made that same necessary purchase, the rest of the set continued uneventfully — and less painfully.\u003c/p>\n\u003cp>Native turned out to be a more refined, restrained version of Boyfrndz. The guys thrashed and screamed at high pace, switching gears mid-song to bring out spare (but still incredibly intense) tightly orchestrated riffs. Creative lighting timed to the beat periodically dramatically underlit their concentrated faces, amplifying their post-hardcore songs with moody ambience.\u003c/p>\n\u003cp>Headliners Caspian blew all their precursors out of the dark gloomy water. Awash in anthemic sound, I was at a loss for coherent sentences. My notes read: layers, swelling, huge, speedy, epic sound cut down super tight, growling synth and reverb, cinematic, driving, expansive, forceful, lead singer looks like Scandinavian royalty. One member of the audience yelled out, “Caspian saved my life!” Already aware of their power, the band didn’t even respond. They just launched into another haunting instrumental soundscape, dramatically swinging the necks of their instruments around the tiny stage.\u003c/p>\n\u003cp>\u003cb>Noise Pop closing party with surprise guests: tUnEyArDs, Maus Haus, Tycho\u003c/b>\u003c/p>\n\u003cp>\u003cb>Amanda:\u003c/b> I was delighted to be invited to the Noise Pop closing party, which the organizers promised would be worth attending even while keeping hush hush about the performers. Who doesn’t love a good surprise? Maus Haus opened the night with a unique sound, such a relief after Saturday’s flatline. The music is rooted in post-rock, but the vocals are full of pop influences. They sounded familiar and different, and I spent half the set trying to place the band they reminded me of. I finally figured out they’ve just cleverly paid attention to bands like Sonic Youth, LCD Soundsystem, Crystal Castles, and The Notwist, selecting elements from each to create their own sound.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/04/maushaus.jpg%20\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Maus Haus\u003c/center>\n\u003cp>Before Tycho (the big surprise guest of the night) took the stage, tUnEyArDs deejayed for us, and it was her birthday!. Though I’d heard a lot \u003ci>about\u003c/i> Tycho, I hadn’t \u003ci>heard\u003c/i> any Tycho. Ambient and/or electronica is one of my favorite genres inside indie music. There is so much at stake, and little to hide behind when playing live. The use of the high hat is highly underutilized, but not by Tycho. The drums provided the energetic and hopeful energy required to lift their songs. I couldn’t help but compare them to all my favorites: Ulrich Schnauss, Boards of Canada, Explosions in the Sky, and Marc Hellner. I prayed to the Noise Pop gods to bring me the perfect closing show on Sunday night and they delivered. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/04/tycho.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Tycho\u003c/center>\n\u003cp>\u003cb>\u003cu>Hidden in the Dark Corners of Noise Pop: A Wrap-Up\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Amanda:\u003c/b> What struck me the most (besides mic stands, fists, and backpacks) about this series of shows was how much live music has become homogeneous. Bands typically get on stage, play their set, rock out like good rock stars, and say, “How you doing tonight, insert city here!?” The good shows at Noise Pop weren’t like that, and that was refreshing. Damien Jurado allowed the audience to determine his set list. YACHT came into the audience more than once, gave a girl a hug for her birthday, and had a question and answer session. R. Stevie Moore shouted bizarre pop slang at us with a deadpan stare and a blue beard. Bear Mountain syncopated and manipulated live visuals as part of their show. Of course the audience is there for the music, but we’re also there for the musicians — feeling in on it with them is part of the fun. There is no better high than seeing your favorite band do something completely off the cuff on stage. Plus the effects of coming down aren’t very damaging.\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> At the beginning of Noise Pop 2013, I thought I might be getting too old for live shows. It hurts to stand on those hard concrete floors. I don’t like staying up late. Nobody dances even when the music seems to dictate it completely. Obnoxious peanut galleries abound, myself included. But then the last band of the last night of the whole freakin’ thing comes on and I’m like: “Maybe I should reconsider my career choices while I still have time to become a groupie.”\u003c/p>\n\u003cp>Revisit our Noise Pop 2013 recaps for \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=117105\">Days 1 & 2\u003c/a> and \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=117224\">Days 3 & 4\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Noise Pop continues gaining momentum as we enter the weekend and the final days of the festival. KQED Arts bloggers Amanda Roscoe Mayo and Sarah Hotchkiss continue to bring you the very best from the concert frontlines. For the next and final recap check back on Monday, March 3 for Days Five & Six and our closing remarks.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>\u003cu>DAY THREE: Thursday, February 28\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Bear Mountain, Sir Sly\u003c/b>\u003c/p>\n\u003cp>\u003cb>Amanda:\u003c/b> Either San Francisco took my advice from \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=117105\">last week’s piece\u003c/a>, or this crowd showed up just to dance. I have to say, San Francisco, you’ve got some skills on the dance floor. Los Angeles band Sir Sly had a huge sound, powerfully-building repetitive (in a good way) vocals, backed by strong pop melodies with just the right edge. This crowd couldn’t stay still if they tried. This evening was the best of the concerts I’ve been to so far in this year’s Noise Pop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ages ago, when Madonna was interviewed about \u003ci>Confessions of a Dance Floor\u003c/i>, I remember her saying something along the lines of: “I just want to make a dance record, something to move to, I’m not thinking about what I’m saying.” Her response stuck with me, since I’ve always thought dance music doesn’t have to be void of content. This particular Noise Pop show was a reminder of that. Each of Bear Mountain’s songs is crafted to employ a dynamic listening experience that is fun and accessible.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/02/BearMounain.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Bear Mountain\u003c/center>\n\u003cp>When I talked with Ian Bevis before the festival I asked him what it meant to make honest music. For him it was all in the vocals: “I can say more by singing… convey way more emotion using my voice than anything else. It’s the most direct way to get the message out.” (You can read the full interview \u003ca href=\"http://placeswedontknow.tumblr.com/post/43406887667/interview-bear-mountain\">here\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Family of the Year, Doe Eye, Psychic Friend, Rin Tin Tiger\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> I wish I had seen all of Doe Eye’s set, then maybe my night could have balanced into the “good tunes” category. Unfortunately I only got to hear a handful of Maryam Qudus’ torchy numbers. Backed by a cello and two violins, her forceful low croon was mesmerising. But the crowd was impatient for Family of the Year, so Doe Eye had to end, even though I felt a premonition about the band to come.\u003c/p>\n\u003cp>You may know Family of the Year from their radio hit “Hero” or their recent appearance on \u003ci>Conan\u003c/i>. Their best numbers were their faster ones, when the group vocals carried a sense of energy and enthusiasm from the stage to the crowd. When things slowed down and got folksier, less driving, with just frontman Joe Keefe singing, I got bored. I found myself annoyed by the familiar sounds coming off Bottom of the Hill’s stage (Mumford and Sons-esque collective yelps, for example). The crowd dispersed after witnessing the one song they came to hear — I left shortly thereafter.\u003c/p>\n\u003cp>\u003cb>\u003cu>DAY FOUR: Friday, March 1\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>DRMS + Damien Jurado, Aaron Espinoza (of Earlimart)\u003c/b>\u003c/p>\n\u003cp>\u003cb>Amanda:\u003c/b> On night four of Noise Pop I made it to two shows. I started the night off at the Independent to see DRMS. The line was so long to get in I barely caught the end of their set, but I’m glad I did. What a treat. Emily Ritz’s sweet, classic, voice was perfectly in sync with Rob Shelton’s magnetic musical arrangements. Ritz and Shelton were joined on stage by six other very talented musicians providing us with upbeat and gutsy alternative rock backs. Next month I’ll be profiling them on \u003ca href=\"http://www.kqed.com/arts\">KQED Arts\u003c/a>, so be sure to keep an eye out for that.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/02/DRMS.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>DRMS\u003c/center>\n\u003cp>Speaking of charming acts, Damien Jurado just about charmed the pants off of everyone at The Chapel in the Mission. During Aaron Espinoza’s set I started to get frustrated with the crowd’s noise, but as soon as Jurado set a socked foot on stage the audience dropped into silence. I’ve never been so self-conscious of my camera’s shutter noise.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/02/Espinoza.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Aaron Espinoza\u003c/center>\n\u003cp>Even alone with his guitar, perched on a stool, Jurado had significant presence. He opened the show with two new songs, responding to audience requests as the set went on. Between songs, he answered questions, his stoic appearance broken by little smirks when he heckled back at the audience. I could barely concentrate on his voice — I became mesmerized by the orchestral notes coming from his steadfast fingers as he plucked out incredible instrumentation.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/02/Jurado.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Damien Jurado\u003c/center>\n\u003cp>\u003cb>\u003c/b>\u003c/p>\n\u003cp>The Thermals, Dirty Ghosts, The SHE’s, Ev Kain\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> To make amends for my lackluster Thursday night, the concert gods brought me to the Rickshaw Stop on Friday. The tail end of Ev Kain’s set was all funky bass lines and peppy vocals. I was encouraged to be more optimistic. The SHE’s were everything I had hoped for: light, sweet, beachy, and oh so talented. \u003ci>SO\u003c/i> young and talented. After a momentary panic of “What have I done with my life?” I got back into the boppy groove. Their closing song, “Fabian”, started with a punchy a cappella line and carried me on a wave of pop harmonies to a warm sunny place.\u003c/p>\n\u003cp>Dirty Ghosts is what happens to The SHE’s after another decade, a few heartbreaks, and some life lessons. Allyson Baker sings in low wails with ferocity. I was astonished to find the crowd completely unmoved, or at least unmoving. Seriously? And \u003ci>then\u003c/i>, they played a cover of Payola’s early ’80s \u003ca href>“Eyes of a Stranger”\u003c/a>, one of my favorite songs from the exceptional film \u003ci>Valley Girl\u003c/i>.\u003c/p>\n\u003cp>Headliners The Thermals took the stage with energy and professionalism, announcing this was the 10th anniversary of their first album \u003ci>More Parts per Million\u003c/i>. “Hope you like it ’cause we’re gonna play most of it,” said lead singer Hutch Harris. The crowd responded raucously. And finally danced.\u003c/p>\n\u003cp>Noise Pop runs through March 3, 2013. For the \u003ca href=\"http://schedule.noisepop.com/\">full schedule\u003c/a> of upcoming events visit schedule.noisepop.com.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All photos by Amanda Roscoe Mayo.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ages ago, when Madonna was interviewed about \u003ci>Confessions of a Dance Floor\u003c/i>, I remember her saying something along the lines of: “I just want to make a dance record, something to move to, I’m not thinking about what I’m saying.” Her response stuck with me, since I’ve always thought dance music doesn’t have to be void of content. This particular Noise Pop show was a reminder of that. Each of Bear Mountain’s songs is crafted to employ a dynamic listening experience that is fun and accessible.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/02/BearMounain.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Bear Mountain\u003c/center>\n\u003cp>When I talked with Ian Bevis before the festival I asked him what it meant to make honest music. For him it was all in the vocals: “I can say more by singing… convey way more emotion using my voice than anything else. It’s the most direct way to get the message out.” (You can read the full interview \u003ca href=\"http://placeswedontknow.tumblr.com/post/43406887667/interview-bear-mountain\">here\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Family of the Year, Doe Eye, Psychic Friend, Rin Tin Tiger\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> I wish I had seen all of Doe Eye’s set, then maybe my night could have balanced into the “good tunes” category. Unfortunately I only got to hear a handful of Maryam Qudus’ torchy numbers. Backed by a cello and two violins, her forceful low croon was mesmerising. But the crowd was impatient for Family of the Year, so Doe Eye had to end, even though I felt a premonition about the band to come.\u003c/p>\n\u003cp>You may know Family of the Year from their radio hit “Hero” or their recent appearance on \u003ci>Conan\u003c/i>. Their best numbers were their faster ones, when the group vocals carried a sense of energy and enthusiasm from the stage to the crowd. When things slowed down and got folksier, less driving, with just frontman Joe Keefe singing, I got bored. I found myself annoyed by the familiar sounds coming off Bottom of the Hill’s stage (Mumford and Sons-esque collective yelps, for example). The crowd dispersed after witnessing the one song they came to hear — I left shortly thereafter.\u003c/p>\n\u003cp>\u003cb>\u003cu>DAY FOUR: Friday, March 1\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>DRMS + Damien Jurado, Aaron Espinoza (of Earlimart)\u003c/b>\u003c/p>\n\u003cp>\u003cb>Amanda:\u003c/b> On night four of Noise Pop I made it to two shows. I started the night off at the Independent to see DRMS. The line was so long to get in I barely caught the end of their set, but I’m glad I did. What a treat. Emily Ritz’s sweet, classic, voice was perfectly in sync with Rob Shelton’s magnetic musical arrangements. Ritz and Shelton were joined on stage by six other very talented musicians providing us with upbeat and gutsy alternative rock backs. Next month I’ll be profiling them on \u003ca href=\"http://www.kqed.com/arts\">KQED Arts\u003c/a>, so be sure to keep an eye out for that.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/02/DRMS.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>DRMS\u003c/center>\n\u003cp>Speaking of charming acts, Damien Jurado just about charmed the pants off of everyone at The Chapel in the Mission. During Aaron Espinoza’s set I started to get frustrated with the crowd’s noise, but as soon as Jurado set a socked foot on stage the audience dropped into silence. I’ve never been so self-conscious of my camera’s shutter noise.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/02/Espinoza.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Aaron Espinoza\u003c/center>\n\u003cp>Even alone with his guitar, perched on a stool, Jurado had significant presence. He opened the show with two new songs, responding to audience requests as the set went on. Between songs, he answered questions, his stoic appearance broken by little smirks when he heckled back at the audience. I could barely concentrate on his voice — I became mesmerized by the orchestral notes coming from his steadfast fingers as he plucked out incredible instrumentation.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/02/Jurado.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Damien Jurado\u003c/center>\n\u003cp>\u003cb>\u003c/b>\u003c/p>\n\u003cp>The Thermals, Dirty Ghosts, The SHE’s, Ev Kain\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> To make amends for my lackluster Thursday night, the concert gods brought me to the Rickshaw Stop on Friday. The tail end of Ev Kain’s set was all funky bass lines and peppy vocals. I was encouraged to be more optimistic. The SHE’s were everything I had hoped for: light, sweet, beachy, and oh so talented. \u003ci>SO\u003c/i> young and talented. After a momentary panic of “What have I done with my life?” I got back into the boppy groove. Their closing song, “Fabian”, started with a punchy a cappella line and carried me on a wave of pop harmonies to a warm sunny place.\u003c/p>\n\u003cp>Dirty Ghosts is what happens to The SHE’s after another decade, a few heartbreaks, and some life lessons. Allyson Baker sings in low wails with ferocity. I was astonished to find the crowd completely unmoved, or at least unmoving. Seriously? And \u003ci>then\u003c/i>, they played a cover of Payola’s early ’80s \u003ca href>“Eyes of a Stranger”\u003c/a>, one of my favorite songs from the exceptional film \u003ci>Valley Girl\u003c/i>.\u003c/p>\n\u003cp>Headliners The Thermals took the stage with energy and professionalism, announcing this was the 10th anniversary of their first album \u003ci>More Parts per Million\u003c/i>. “Hope you like it ’cause we’re gonna play most of it,” said lead singer Hutch Harris. The crowd responded raucously. And finally danced.\u003c/p>\n\u003cp>Noise Pop runs through March 3, 2013. For the \u003ca href=\"http://schedule.noisepop.com/\">full schedule\u003c/a> of upcoming events visit schedule.noisepop.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>KQED Arts bloggers Amanda Roscoe Mayo and Sarah Hotchkiss are covering this year’s Noise Pop festival two days at a time. Check back to \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=116773\">A Noise Pop 2013 Wish List\u003c/a> to see their picks for the six days of concerts, film, and art events. And stay tuned on Saturday, March 2 for the next installment: Days Three & Four.\u003c/p>\n\u003cp>\u003cb>\u003cu>DAY ONE: Tuesday, February 26\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Body/Head (featuring Kim Gordon of Sonic Youth and Bill Nace), Horsebladder, Burmese, Noel Von Harmonson\u003c/b>\u003c/p>\n\u003cp>Noise Pop Music Fest 2013 is in full swing, kicking things off with a noisy bang on Tuesday night at Rickshaw Stop with Body/Head, Horsebladder, Burmese, and Noel Von Harmonson. The basic play-by-play of night one was this: Burmese melted everyone’s faces off. Their lead vocalist manifested growls from a place I can only imagine most metalheads dream of reaching.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/28/burmese.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Burmese\u003c/center>\n\u003cp>It was incredibly refreshing to see the Bay Area underground metal scene take over the Rickshaw for 30 minutes or so, until Horsebladder came on. Ever wonder where your teenage angst \u003ci>went\u003c/i>? Elaine Kahn has it. She has gathered the entire world’s angst, and as angsty girls do, turned everyone against her. Her music was flat, loops captured from lackadaisical moments on a tambourine struck by what looked like a medieval torture tool failed to be dynamic. Keyboard didn’t help.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I always wondered what it would be like to reenact a scene from \u003ci>Carrie\u003c/i> in real life. At one point Kahn released a stare so violent and intense I turned around expecting to see the balcony at Rickshaw engulfed in flames. Once her set was over and I had cased all the nearest exits, just in case, it was time to regroup for Body/Head.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/28/bodyhead.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Body/Head\u003c/center>\n\u003cp>I was skeptical of Kim Gordon’s new project with Bill Nace. All I knew prior to the show was to expect noise broken up only by mostly random, unidentifiable, utterances from Gordon. This rumor was completely accurate, and while noise is not a genre I’m well versed in, I can appreciate when the musicians are accomplishing what they hope to achieve with their sound. Body/Head didn’t find that sweet spot until the end of their set, but there were also moments we were reminded we were witnessing a living legend nowhere near past her prime. Gordon gave us a show, climbing on the amps, dangling her bass for feedback, edging into the audience, singing calculated verses into the mic. There were no songs, just noise.\u003c/p>\n\u003cp>\u003cu>\u003cb>DAY TWO: Wednesday, February 27\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>\u003ci>Turning\u003c/i>, a music documentary featuring Antony & the Johnsons\u003c/b>\u003c/p>\n\u003cp>For my first stop of the night, I scooted into the Roxie to see \u003ci>Turning\u003c/i>, the music documentary on the ladies of Antony’s (of Antony and the Johnsons) live show. When Antony toured in Europe, one woman stood on stage for each song. These transgendered or gay women dressed themselves in the garb in which they felt the most beautiful, assuming statuesque poses atop a slowly rotating platform. The film, like Antony’s music, was melancholic at times, but carried a message of hope. Making this struggle visible and accessible, Antony proved himself once again a true artist through and through.\u003c/p>\n\u003cp>\u003cb>The Fresh & Onlys, R. Stevie Moore, Plateaus, Burnt Ones\u003c/b>\u003c/p>\n\u003cp>While day one of Noise Pop brought the “noise”, day two brought the “pop”. I got to Bottom of the Hill just in time for the last half of Plateaus’ set. \u003ci>Turning\u003c/i> had me in a contemplative mind set, and I wondered if I could handle seeing a live show after spending over an hour with Antony’s beautiful music. I was pleasantly surprised by Plateaus’ beachy punk-rock.\u003c/p>\n\u003cp>The popular phrase ‘ignorance is bliss’ is applicable here. I had no idea my life was missing this band. Their sound is familiar, pulling from ’50s California rock and elemental garage-punk, but smart. Really smart. They don’t take themselves too seriously, it seems, but have the talent and focus necessary to be make great, laid-back music.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/28/moore.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>R. Stevie Moore\u003c/center>\n\u003cp>It doesn’t get much more punk rock than R. Stevie Moore. Backed by musicians less than half his age, Moore embodied every aspect of original punk I like to see. Taking the stage, his white beard dyed blue, there was no doubt of his status. “Where my bitches at?!” And we were off on a wild ride through Moore’s heavily reverberating bass lines, strong drums, and wavy guitar chords. There was a fair amount of cane waving, rolling around on stage, and seriousness broken by Moore’s own laughter. The audience was delighted — cameras and iPhones were constantly in the air trying to anticipate and capture his next move.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/28/fresh.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>The Fresh & Onlys\u003c/center>\n\u003cp>There’s something intrinsically San Francisco about The Fresh & Onlys’ sound. It’s a little bit messy, a little bit garage-rock, a little bit punk, all wrapped up in psych-pop. They charmed me. Lead singer Tim Cohen called the audience out halfway through the set, “Why is everyone standing there watching us?” Finally! Let’s move around a little, indie scene! Wednesday night’s bill at Bottom of the Hill deserved such a response. Let’s take Cohen’s cue and come back to the land of the living, San Francisco. There’s no time like the Noise Pop present.\u003c/p>\n\u003cp>Noise Pop runs through March 3, 2013. For the \u003ca href=\"http://schedule.noisepop.com/\">full schedule\u003c/a> of upcoming events visit schedule.noisepop.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All photos by Amanda Roscoe Mayo.\u003c/p>\n\n",
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"excerpt": "Reporting back on music and film from the first two days of the Noise Pop festival, featuring Body/Head, Horsebladder, Burmese, the documentary \u003ci>Turning\u003c/i>, The Fresh & Onlys, R. Stevie Moore, and Plateaus! Check back for two more installments of our KQED Arts festival coverage.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>KQED Arts bloggers Amanda Roscoe Mayo and Sarah Hotchkiss are covering this year’s Noise Pop festival two days at a time. Check back to \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=116773\">A Noise Pop 2013 Wish List\u003c/a> to see their picks for the six days of concerts, film, and art events. And stay tuned on Saturday, March 2 for the next installment: Days Three & Four.\u003c/p>\n\u003cp>\u003cb>\u003cu>DAY ONE: Tuesday, February 26\u003c/u>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Body/Head (featuring Kim Gordon of Sonic Youth and Bill Nace), Horsebladder, Burmese, Noel Von Harmonson\u003c/b>\u003c/p>\n\u003cp>Noise Pop Music Fest 2013 is in full swing, kicking things off with a noisy bang on Tuesday night at Rickshaw Stop with Body/Head, Horsebladder, Burmese, and Noel Von Harmonson. The basic play-by-play of night one was this: Burmese melted everyone’s faces off. Their lead vocalist manifested growls from a place I can only imagine most metalheads dream of reaching.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/28/burmese.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Burmese\u003c/center>\n\u003cp>It was incredibly refreshing to see the Bay Area underground metal scene take over the Rickshaw for 30 minutes or so, until Horsebladder came on. Ever wonder where your teenage angst \u003ci>went\u003c/i>? Elaine Kahn has it. She has gathered the entire world’s angst, and as angsty girls do, turned everyone against her. Her music was flat, loops captured from lackadaisical moments on a tambourine struck by what looked like a medieval torture tool failed to be dynamic. Keyboard didn’t help.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I always wondered what it would be like to reenact a scene from \u003ci>Carrie\u003c/i> in real life. At one point Kahn released a stare so violent and intense I turned around expecting to see the balcony at Rickshaw engulfed in flames. Once her set was over and I had cased all the nearest exits, just in case, it was time to regroup for Body/Head.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/28/bodyhead.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Body/Head\u003c/center>\n\u003cp>I was skeptical of Kim Gordon’s new project with Bill Nace. All I knew prior to the show was to expect noise broken up only by mostly random, unidentifiable, utterances from Gordon. This rumor was completely accurate, and while noise is not a genre I’m well versed in, I can appreciate when the musicians are accomplishing what they hope to achieve with their sound. Body/Head didn’t find that sweet spot until the end of their set, but there were also moments we were reminded we were witnessing a living legend nowhere near past her prime. Gordon gave us a show, climbing on the amps, dangling her bass for feedback, edging into the audience, singing calculated verses into the mic. There were no songs, just noise.\u003c/p>\n\u003cp>\u003cu>\u003cb>DAY TWO: Wednesday, February 27\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>\u003ci>Turning\u003c/i>, a music documentary featuring Antony & the Johnsons\u003c/b>\u003c/p>\n\u003cp>For my first stop of the night, I scooted into the Roxie to see \u003ci>Turning\u003c/i>, the music documentary on the ladies of Antony’s (of Antony and the Johnsons) live show. When Antony toured in Europe, one woman stood on stage for each song. These transgendered or gay women dressed themselves in the garb in which they felt the most beautiful, assuming statuesque poses atop a slowly rotating platform. The film, like Antony’s music, was melancholic at times, but carried a message of hope. Making this struggle visible and accessible, Antony proved himself once again a true artist through and through.\u003c/p>\n\u003cp>\u003cb>The Fresh & Onlys, R. Stevie Moore, Plateaus, Burnt Ones\u003c/b>\u003c/p>\n\u003cp>While day one of Noise Pop brought the “noise”, day two brought the “pop”. I got to Bottom of the Hill just in time for the last half of Plateaus’ set. \u003ci>Turning\u003c/i> had me in a contemplative mind set, and I wondered if I could handle seeing a live show after spending over an hour with Antony’s beautiful music. I was pleasantly surprised by Plateaus’ beachy punk-rock.\u003c/p>\n\u003cp>The popular phrase ‘ignorance is bliss’ is applicable here. I had no idea my life was missing this band. Their sound is familiar, pulling from ’50s California rock and elemental garage-punk, but smart. Really smart. They don’t take themselves too seriously, it seems, but have the talent and focus necessary to be make great, laid-back music.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/28/moore.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>R. Stevie Moore\u003c/center>\n\u003cp>It doesn’t get much more punk rock than R. Stevie Moore. Backed by musicians less than half his age, Moore embodied every aspect of original punk I like to see. Taking the stage, his white beard dyed blue, there was no doubt of his status. “Where my bitches at?!” And we were off on a wild ride through Moore’s heavily reverberating bass lines, strong drums, and wavy guitar chords. There was a fair amount of cane waving, rolling around on stage, and seriousness broken by Moore’s own laughter. The audience was delighted — cameras and iPhones were constantly in the air trying to anticipate and capture his next move.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/28/fresh.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>The Fresh & Onlys\u003c/center>\n\u003cp>There’s something intrinsically San Francisco about The Fresh & Onlys’ sound. It’s a little bit messy, a little bit garage-rock, a little bit punk, all wrapped up in psych-pop. They charmed me. Lead singer Tim Cohen called the audience out halfway through the set, “Why is everyone standing there watching us?” Finally! Let’s move around a little, indie scene! Wednesday night’s bill at Bottom of the Hill deserved such a response. Let’s take Cohen’s cue and come back to the land of the living, San Francisco. There’s no time like the Noise Pop present.\u003c/p>\n\u003cp>Noise Pop runs through March 3, 2013. For the \u003ca href=\"http://schedule.noisepop.com/\">full schedule\u003c/a> of upcoming events visit schedule.noisepop.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All photos by Amanda Roscoe Mayo.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The end of February is a very exciting time for us at the Noise Pop Podcast. For one, it means the Noise Pop Festival and the beginning of the festival season are here. It also means that by now we have a pretty good idea of what new records will be making their way to our playlists throughout the year. This episode we’ll be discussing our most anticipated releases of 2013, from Phoenix to Missy Elliot. What are the records you most looking forward to this year? Let us know in the comments below or call us at (585) 4NOISE5/(585) 466-4735 and leave a message.\u003c/p>\n\u003cp>Tracklist:\u003c/p>\n\u003cp>1. “Bones” — MS MR, \u003ci>Second Hand Rapture\u003c/i>\u003cbr>2. “All The Time” — The Strokes, \u003ci>Comedown Machine\u003c/i>\u003cbr>3. “In The City” — Caveman, \u003ci>Caveman\u003c/i>\u003cbr>4. “9th Inning” — Missy Elliot, \u003ci>Block Party\u003c/i>\u003cbr>5. “Started From The Bottom” (D33J Remix) — Drake, \u003ci>Nothing Was The Same\u003c/i>\u003cbr>6. “Where Are We Now” — David Bowie, \u003ci>The Next Day\u003c/i>\u003cbr>7. “Your Drums, Your Love” — AlunaGeorge, \u003ci>Body Music\u003c/i>\u003cbr>8. “Mute” — Youth Lagoon, \u003ci>Wondrous Bughouse\u003c/i>\u003cbr>9. “Entertainment” — Phoenix, \u003ci>Bankrupt\u003c/i>\u003cbr>10. “Full of Fire” — The Knife, \u003ci>Shaking The Habitual\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 end of February is a very exciting time for us at the Noise Pop Podcast. For one, it means the Noise Pop Festival and the beginning of the festival season are here. It also means that by now we have a pretty good idea of what new records will be making their way to our playlists throughout the year. This episode we’ll be discussing our most anticipated releases of 2013, from Phoenix to Missy Elliot. What are the records you most looking forward to this year? Let us know in the comments below or call us at (585) 4NOISE5/(585) 466-4735 and leave a message.\u003c/p>\n\u003cp>Tracklist:\u003c/p>\n\u003cp>1. “Bones” — MS MR, \u003ci>Second Hand Rapture\u003c/i>\u003cbr>2. “All The Time” — The Strokes, \u003ci>Comedown Machine\u003c/i>\u003cbr>3. “In The City” — Caveman, \u003ci>Caveman\u003c/i>\u003cbr>4. “9th Inning” — Missy Elliot, \u003ci>Block Party\u003c/i>\u003cbr>5. “Started From The Bottom” (D33J Remix) — Drake, \u003ci>Nothing Was The Same\u003c/i>\u003cbr>6. “Where Are We Now” — David Bowie, \u003ci>The Next Day\u003c/i>\u003cbr>7. “Your Drums, Your Love” — AlunaGeorge, \u003ci>Body Music\u003c/i>\u003cbr>8. “Mute” — Youth Lagoon, \u003ci>Wondrous Bughouse\u003c/i>\u003cbr>9. “Entertainment” — Phoenix, \u003ci>Bankrupt\u003c/i>\u003cbr>10. “Full of Fire” — The Knife, \u003ci>Shaking The Habitual\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Why Jazz Clubs in San Francisco are Struggling to Survive",
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"content": "\u003cp>Near the corner of Broadway and Columbus, in the heart of San Francisco’s North Beach neighborhood, a storefront beckons passers-by with signage that suggests good times for all. “Jazz at Pearl’s,” blares the awning at 256 Columbus Avenue, where an outside wall has the same big lettering. Below the lettering, though, are stickers with graffiti, and a bigger sign that tells the bitter truth: “For Lease.” If there’s a poetic symbol of the up-and-down state of jazz in San Francisco, it’s 256 Columbus Avenue.\u003c/p>\n\u003cp>When Jazz at Pearl’s was going strong, as it was a decade ago, jazz aficionados crowded into the space to hear the likes of singer Madeline Eastman and percussionist extraordinaire Pete Escovedo. Those days, anyone walking by 256 Columbus Avenue could hear and see the music, too, because the Jazz at Pearl’s stage was right by the window. It was San Francisco at its best — a public spectacle of an art form that has always had deep roots here. \u003c/p>\n\u003cp>These days, San Francisco’s jazz scene is centered in Hayes Valley, at 205 Franklin Street, where SFJAZZ has its new $63 million super structure — a 35,000-square-foot Shangri-La that opened last month and has everything from a 700-seat concert hall to state-of-the-art café run by Charles Phan (of Slanted Door fame).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/02/pearls.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/02/pearls.jpg\" alt=\"pearls\" width=\"500\" height=\"375\" class=\"aligncenter size-full wp-image-128769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/pearls.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/pearls-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/pearls-300x225.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>The contrast between the gleaming SFJAZZ Center and the graffitied former home of Jazz at Pearl’s is emblematic of the state of jazz in San Francisco. Because of the changing economy — fueled by booming housing prices, booming rents, and booming tech money — San Francisco is becoming a city of economic haves and have-nots. Running a jazz club can be highly expensive. A city that, in its jazz heyday, was festooned with small jazz clubs is down to a handful of clubs facing an uncertain future. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Small jazz clubs cannot survive in this day and age,” says Pascal Bokar Thiam, a prominent jazz guitarist and academic who co-owns Savanna Jazz, a Mission District jazz club that opened in 2003. “San Francisco used to be a Mecca for jazz. But the art form doesn’t necessarily die because small jazz clubs cannot survive. In the context of San Francisco, what SFJAZZ is doing is important because it puts front and center the reality that America has an art form of its own. And that art form expresses the highest standards of aesthetics that humanity has been able to make. By cultivating this, SFJAZZ is doing something extremely important to the general health of jazz.”\u003c/p>\n\u003cp>But jazz elders are now debating whether there’s a substantial audience for jazz in San Francisco beyond the confines of SFJAZZ’s programming. Sonny Buxton, a deejay at Bay Area radio jazz station KCSM who was the musical director of Jazz at Pearl’s before its 2003 closing, says an increase in college jazz programs around the country has helped produce a new generation of jazz-goers steeped in the music’s history.\u003c/p>\n\u003cp>“There’s a new, upcoming jazz audience that’s young and vibrant,” Buxton says. “They’re into jazz and world music and a lot of different things. One thing today that wasn’t in existence when I was coming up is that virtually every college and university in the country today has a jazz program. That means a lot of young people are being exposed to it.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/02/sfjazz2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/02/sfjazz2.jpg\" alt=\"sfjazz2\" width=\"500\" height=\"333\" class=\"aligncenter size-full wp-image-128771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/sfjazz2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/sfjazz2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/sfjazz2-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>The decrease of San Francisco jazz clubs in the past 20 years may be due more to real-estate economics than a leveling-off of jazz audiences. Jazz at Pearl’s shut down in 2003 when the building’s owner declined to give the club more than a five-year lease. (A new Jazz at Pearl’s opened in the same location but closed its doors in 2008 over similar lease issues.) Savanna Jazz faced foreclosure when a bank refused to negotiate new terms. Facing a possible bankruptcy, Yoshi’s San Francisco is trying to redo the terms of loans it received from the now-defunct San Francisco Redevelopment Agency. \u003c/p>\n\u003cp>Will audiences support these venues at their most vulnerable economic times? Thiam says the audience for jazz is limited because jazz and music education have disappeared at the grade school, middle school, and high school levels. San Francisco’s jazz scene, he says, reflects a nationwide trend: among younger audiences, jazz is losing out to hip-hop, rap, pop, and other music. Young black students have even told Thiam that they consider jazz a “white music” that has little relevance to their lives. \u003c/p>\n\u003cp>“Jazz is not profitable, primarily because there is no audience for it — it’s an art form that isn’t taught in schools,” says Thiam, whose club is located on Mission Street between 25th and 26th Streets. “Schools teach Mozart and Beethoven, but Mozart and Beethoven are the products and the geniuses of Europe. In America, we have our geniuses that created an art form that’s performed all over the planet. Singapore has a jazz festival. Turkey has a jazz festival. Denmark has a jazz festival. And these geniuses are called King Oliver, Louis Armstrong, Duke Ellington, and so forth. Because our student population as early as elementary school is not knowledgeable about people who created an art form that lifted this nation to the status of a cultural superpower, we have this vacuum. There is no energy for young people to go to jazz clubs — not because they don’t like jazz; it’s simply because they don’t know anything about jazz. This is an area where culture has impacted business. And as a result, business by dwindling impacts the culture.”\u003c/p>\n\u003cp>The Danish government, Thiam says, gives financial support to the country’s jazz clubs — upwards of $125,000 a year to each club, “so they can operate a higher-standard learning environment.” While the U.S. government may not have a similar approach, moneyed institutions like SFJAZZ should consider supporting small jazz clubs, which are incubators of upcoming jazz musicians and singers, says Thiam and Franzo King, the saxophone-playing Archbishop at Saint John Coltrane African Orthodox Church on Fillmore Street. The San Francisco church, which some jazz fans consider a de facto jazz club, was evicted from its longtime home on Divisadero Street in 2000 because of a massive rent increase. \u003c/p>\n\u003cp>King views the opening of SFJAZZ’s new center with decidedly mixed feelings, saying its new location in a gentrified neighborhood anchors San Francisco’s jazz scene away from the African-American community that historically supported jazz in the city. Popular jazz in San Francisco, King worries, may become an art form performed in a symphony-like environment where audiences are snazzily dressed and discouraged from being vocal during performances. “SFJAZZ moved out of the community where it was born,” King says.\u003c/p>\n\u003cp>After opening its doors last month, SFJAZZ has had a series of sold-out performances, and is well on its way to raising all necessary funding. So far, donors have contributed $54.9 million, with nine donors giving $1 million or more. One anonymous contribution totaled $25 million. “The SFJAZZ Center believes that rising water raises all ships,” says SFJAZZ spokesperson Marshall Lamm. “We hope the Center can generate more exposure for the genre that will then increase the interest in jazz so more people go out to experience live music in every venue.”\u003c/p>\n\u003cp>Thiam is taking a wait-and-see approach. In the meantime, Savanna Jazz is negotiating new loan terms with its bank, says Thiam, who is hopeful the jazz club, with its nightly jazz and its prominent display of jazz memorabilia, will be around for the foreseeable future. “We’ll be here,” Thiam says in his office on a recent Saturday night, “as long as the spirit of Louis Armstrong says we’re going to be here.”\u003c/p>\n\u003cp>As Thiam spoke, the Montreal-based jazz singer Jeri Brown and her trio of top-flight musicians performed another song for an enthusiastic audience of 30. That number may seem small, but even famous jazz clubs like the Village Vanguard in New York get crowds that are similar in number. The night I visited Savanna Jazz, one audience member moved her hands to the rhythm of Brown’s beats, as if the woman were on stage with Brown and her trio. The woman seemed to be in a trance, and her seat was practically shaking with feeling. Nearby, other audience members were also riveted, even if they were less demonstrative.\u003c/p>\n\u003cp>On that night, jazz was alive and well at a small club in San Francisco — just like it was in the old days when John Coltrane, Miles Davis, and other big names would visit San Francisco and perform in venues that were not much bigger than a studio apartment. Jazz spots like Savanna Jazz helped forge the cultural environment that led to SFJAZZ in the first place. A venue like Savanna Jazz is the only place to see an artist like Jeri Brown, who’s highly considered in jazz circles (and a new favorite of mine) but not yet so popular she could sell out SFJAZZ’s concert hall.\u003c/p>\n\u003cp>“Small jazz venues are the incubators of local talent,” says Thiam. “In order for this art form to survive, small jazz clubs have to be able to survive. It’s very important for big entities like SFJAZZ and Lincoln Center in New York to realize that there has to be a partnership with small jazz venues. If that becomes a commitment — if the big outfits that have the financial endowment hold hands with small jazz venues — then only then will the tide lift all boats.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For \u003ca href=\"http://www.sfjazz.org/\">more information\u003c/a> on the programming at SFJAZZ, visit sfjazz.org.\u003c/p>\n\n",
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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>Near the corner of Broadway and Columbus, in the heart of San Francisco’s North Beach neighborhood, a storefront beckons passers-by with signage that suggests good times for all. “Jazz at Pearl’s,” blares the awning at 256 Columbus Avenue, where an outside wall has the same big lettering. Below the lettering, though, are stickers with graffiti, and a bigger sign that tells the bitter truth: “For Lease.” If there’s a poetic symbol of the up-and-down state of jazz in San Francisco, it’s 256 Columbus Avenue.\u003c/p>\n\u003cp>When Jazz at Pearl’s was going strong, as it was a decade ago, jazz aficionados crowded into the space to hear the likes of singer Madeline Eastman and percussionist extraordinaire Pete Escovedo. Those days, anyone walking by 256 Columbus Avenue could hear and see the music, too, because the Jazz at Pearl’s stage was right by the window. It was San Francisco at its best — a public spectacle of an art form that has always had deep roots here. \u003c/p>\n\u003cp>These days, San Francisco’s jazz scene is centered in Hayes Valley, at 205 Franklin Street, where SFJAZZ has its new $63 million super structure — a 35,000-square-foot Shangri-La that opened last month and has everything from a 700-seat concert hall to state-of-the-art café run by Charles Phan (of Slanted Door fame).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/02/pearls.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/02/pearls.jpg\" alt=\"pearls\" width=\"500\" height=\"375\" class=\"aligncenter size-full wp-image-128769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/pearls.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/pearls-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/pearls-300x225.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>The contrast between the gleaming SFJAZZ Center and the graffitied former home of Jazz at Pearl’s is emblematic of the state of jazz in San Francisco. Because of the changing economy — fueled by booming housing prices, booming rents, and booming tech money — San Francisco is becoming a city of economic haves and have-nots. Running a jazz club can be highly expensive. A city that, in its jazz heyday, was festooned with small jazz clubs is down to a handful of clubs facing an uncertain future. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Small jazz clubs cannot survive in this day and age,” says Pascal Bokar Thiam, a prominent jazz guitarist and academic who co-owns Savanna Jazz, a Mission District jazz club that opened in 2003. “San Francisco used to be a Mecca for jazz. But the art form doesn’t necessarily die because small jazz clubs cannot survive. In the context of San Francisco, what SFJAZZ is doing is important because it puts front and center the reality that America has an art form of its own. And that art form expresses the highest standards of aesthetics that humanity has been able to make. By cultivating this, SFJAZZ is doing something extremely important to the general health of jazz.”\u003c/p>\n\u003cp>But jazz elders are now debating whether there’s a substantial audience for jazz in San Francisco beyond the confines of SFJAZZ’s programming. Sonny Buxton, a deejay at Bay Area radio jazz station KCSM who was the musical director of Jazz at Pearl’s before its 2003 closing, says an increase in college jazz programs around the country has helped produce a new generation of jazz-goers steeped in the music’s history.\u003c/p>\n\u003cp>“There’s a new, upcoming jazz audience that’s young and vibrant,” Buxton says. “They’re into jazz and world music and a lot of different things. One thing today that wasn’t in existence when I was coming up is that virtually every college and university in the country today has a jazz program. That means a lot of young people are being exposed to it.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/02/sfjazz2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/02/sfjazz2.jpg\" alt=\"sfjazz2\" width=\"500\" height=\"333\" class=\"aligncenter size-full wp-image-128771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/sfjazz2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/sfjazz2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/sfjazz2-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>The decrease of San Francisco jazz clubs in the past 20 years may be due more to real-estate economics than a leveling-off of jazz audiences. Jazz at Pearl’s shut down in 2003 when the building’s owner declined to give the club more than a five-year lease. (A new Jazz at Pearl’s opened in the same location but closed its doors in 2008 over similar lease issues.) Savanna Jazz faced foreclosure when a bank refused to negotiate new terms. Facing a possible bankruptcy, Yoshi’s San Francisco is trying to redo the terms of loans it received from the now-defunct San Francisco Redevelopment Agency. \u003c/p>\n\u003cp>Will audiences support these venues at their most vulnerable economic times? Thiam says the audience for jazz is limited because jazz and music education have disappeared at the grade school, middle school, and high school levels. San Francisco’s jazz scene, he says, reflects a nationwide trend: among younger audiences, jazz is losing out to hip-hop, rap, pop, and other music. Young black students have even told Thiam that they consider jazz a “white music” that has little relevance to their lives. \u003c/p>\n\u003cp>“Jazz is not profitable, primarily because there is no audience for it — it’s an art form that isn’t taught in schools,” says Thiam, whose club is located on Mission Street between 25th and 26th Streets. “Schools teach Mozart and Beethoven, but Mozart and Beethoven are the products and the geniuses of Europe. In America, we have our geniuses that created an art form that’s performed all over the planet. Singapore has a jazz festival. Turkey has a jazz festival. Denmark has a jazz festival. And these geniuses are called King Oliver, Louis Armstrong, Duke Ellington, and so forth. Because our student population as early as elementary school is not knowledgeable about people who created an art form that lifted this nation to the status of a cultural superpower, we have this vacuum. There is no energy for young people to go to jazz clubs — not because they don’t like jazz; it’s simply because they don’t know anything about jazz. This is an area where culture has impacted business. And as a result, business by dwindling impacts the culture.”\u003c/p>\n\u003cp>The Danish government, Thiam says, gives financial support to the country’s jazz clubs — upwards of $125,000 a year to each club, “so they can operate a higher-standard learning environment.” While the U.S. government may not have a similar approach, moneyed institutions like SFJAZZ should consider supporting small jazz clubs, which are incubators of upcoming jazz musicians and singers, says Thiam and Franzo King, the saxophone-playing Archbishop at Saint John Coltrane African Orthodox Church on Fillmore Street. The San Francisco church, which some jazz fans consider a de facto jazz club, was evicted from its longtime home on Divisadero Street in 2000 because of a massive rent increase. \u003c/p>\n\u003cp>King views the opening of SFJAZZ’s new center with decidedly mixed feelings, saying its new location in a gentrified neighborhood anchors San Francisco’s jazz scene away from the African-American community that historically supported jazz in the city. Popular jazz in San Francisco, King worries, may become an art form performed in a symphony-like environment where audiences are snazzily dressed and discouraged from being vocal during performances. “SFJAZZ moved out of the community where it was born,” King says.\u003c/p>\n\u003cp>After opening its doors last month, SFJAZZ has had a series of sold-out performances, and is well on its way to raising all necessary funding. So far, donors have contributed $54.9 million, with nine donors giving $1 million or more. One anonymous contribution totaled $25 million. “The SFJAZZ Center believes that rising water raises all ships,” says SFJAZZ spokesperson Marshall Lamm. “We hope the Center can generate more exposure for the genre that will then increase the interest in jazz so more people go out to experience live music in every venue.”\u003c/p>\n\u003cp>Thiam is taking a wait-and-see approach. In the meantime, Savanna Jazz is negotiating new loan terms with its bank, says Thiam, who is hopeful the jazz club, with its nightly jazz and its prominent display of jazz memorabilia, will be around for the foreseeable future. “We’ll be here,” Thiam says in his office on a recent Saturday night, “as long as the spirit of Louis Armstrong says we’re going to be here.”\u003c/p>\n\u003cp>As Thiam spoke, the Montreal-based jazz singer Jeri Brown and her trio of top-flight musicians performed another song for an enthusiastic audience of 30. That number may seem small, but even famous jazz clubs like the Village Vanguard in New York get crowds that are similar in number. The night I visited Savanna Jazz, one audience member moved her hands to the rhythm of Brown’s beats, as if the woman were on stage with Brown and her trio. The woman seemed to be in a trance, and her seat was practically shaking with feeling. Nearby, other audience members were also riveted, even if they were less demonstrative.\u003c/p>\n\u003cp>On that night, jazz was alive and well at a small club in San Francisco — just like it was in the old days when John Coltrane, Miles Davis, and other big names would visit San Francisco and perform in venues that were not much bigger than a studio apartment. Jazz spots like Savanna Jazz helped forge the cultural environment that led to SFJAZZ in the first place. A venue like Savanna Jazz is the only place to see an artist like Jeri Brown, who’s highly considered in jazz circles (and a new favorite of mine) but not yet so popular she could sell out SFJAZZ’s concert hall.\u003c/p>\n\u003cp>“Small jazz venues are the incubators of local talent,” says Thiam. “In order for this art form to survive, small jazz clubs have to be able to survive. It’s very important for big entities like SFJAZZ and Lincoln Center in New York to realize that there has to be a partnership with small jazz venues. If that becomes a commitment — if the big outfits that have the financial endowment hold hands with small jazz venues — then only then will the tide lift all boats.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.sfjazz.org/\">more information\u003c/a> on the programming at SFJAZZ, visit sfjazz.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Noise Pop 2013 Wish List",
"headTitle": "A Noise Pop 2013 Wish List | KQED",
"content": "\u003cp>A tall blonde and an even taller redhead walk into a music venue. Hilarity ensues. Or, more likely, they hear exciting new music, take assiduous notes amid jostling concert-goers, and block some views of the stage with their tall, tall heads. The fruit of their labors (life is really hard when you have a press pass) is all for you: a full report on Noise Pop 2013. For six straight days, Amanda Roscoe Mayo and Sarah Hotchkiss will interview bands, traverse the city’s venues, and capture photos of the action — it’s a tough job, but someone’s gotta do it.\u003c/p>\n\u003cp>With so many good bands playing across San Francisco this year, double-bookings abound. While we can’t cover everything (even in tandem), we’ve made a schedule we’re actually going to try really hard to follow. Keep an eye out for us at the shows and an eye on KQED Arts for all the juicy post-show recaps. Maybe buy us an energy drink or two?\u003c/p>\n\u003cp>\u003cu>\u003cb>TUESDAY: February 26\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>Body/Head (featuring Kim Gordon of Sonic Youth and Bill Nace), Horsebladder, Burmese, Noel Von Harmonson\u003c/b>\u003cbr>Rickshaw Stop, doors 8:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> Kim Gordon and Bill Nace have created a wondrous little band known as Body/Head. Noise Pop nails it: “both revolutionaries in their own right, Gordon and Nace combine with blustering effect, intimately communicating through distorted guitars and momentary vocals outbursts.” I can’t imagine a more thunderous way to kick off this festival.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/bodyhead.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Body/Head\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cu>\u003cb>WEDNESDAY: February 27\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>\u003ci>Turning\u003c/i>, a music documentary featuring Antony & the Johnsons\u003c/b>\u003cbr>The Roxie, 7:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> I’m looking forward to this documentary on Antony & the Johnsons. I love love \u003ci>love\u003c/i> documentaries about musicians and Antony is one of the most prolific figures in contemporary music. He is a transgendered individual who grew up in San Francisco and turns his musical endeavors into art, crafting a stage experience unlike anything you would normally find at a concert.\u003c/p>\n\u003cp>\u003cb>The Fresh & Onlys, R. Stevie Moore, Burnt Ones\u003c/b>\u003cbr>Bottom of the Hill, doors 8:00 p.m.\u003cbr>\u003cb>Sarah:\u003c/b> Let me just start by saying Amanda is the true music critic here. Lining up our picks for this year’s festival, she said things like, “Oh they should be great” or “We don’t want to miss them.” I nodded a lot. So when she gave an enthusiastic thumbs up to The Fresh & Onlys, I knew I’d be in good hands. And while I’m psyched to see this prolific local outfit wave some garage-rock washed-out guitars in my face, I’m even more intrigued by R. Stevie Moore. According to his Noise Pop promo paragraph, “Moore has to date released more than 400 cassettes and CDRs through his home label… Fans of lo-fi progenitors [that’s me!] like Daniel Johnston and Jandek owe a debt of gratitude to Moore’s pioneering spirit and his devotion to the punk rock ethos.” SOLD.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/fresh.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>The Fresh & Onlys. Photo by David Black.\u003c/p>\n\u003cp>\u003cu>\u003cb>THURSDAY: February 28\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>Family of the Year, Doe Eye, Psychic Friend, Rin Tin Tiger\u003c/b>\u003cbr>Bottom of the Hill, doors 8:00 p.m.\u003cbr>\u003cb>Sarah:\u003c/b> I have a bad habit of falling asleep at concerts. It gets so warm, it’s usually the end of a long day, and more often than not, I happen to find myself at lovely, languorous, soporific shows. Dancing might solve this problem, which is why I’m looking forward to Family of the Year’s upbeat tempos and harmonized choruses. This LA-based indie folk band brings their catchy tunes north with Doe Eye and Psychic Friend, both known for energetic live performances. I’ll be the one stretching in the back, hydrating at the bar, waiting for the go sign. I apologize in advance for stepping on your foot.\u003c/p>\n\u003cp>\u003cb>Bear Mountain, Man Without Country, Sir Sly, Popscene DJs\u003c/b>\u003cbr>Rickshaw Stop, doors 9:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> When I spoke with Ian Bevis of Bear Mountain last week, I asked him what we could expect from an electronic dance band that plays everything live. He surprised me, saying “It’s very much a band, four on stage; I’m up front playing bass and laptop. My twin brother (Greg Bevis) plays the drums and keys. Kyle Statham plays the guitar. The fourth guy, Kenji Rodríguez plays projections, mapping images live onto these square structures synced with the music.” (You can read the \u003ca href=\"http://placeswedontknow.tumblr.com/post/43406887667/bear-mountain-interview\">full interview here\u003c/a>.) I can’t wait to see what this looks like; I have a feeling syncopated projections will be a perfect compliment to Bear Mountains’ energetic set.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/bearmountain.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Bear Mountain\u003c/p>\n\u003cp>\u003cu>\u003cb>FRIDAY: March 1\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>Damien Jurado, Aaron Espinoza (of Earlimart), Peggy Honeywell\u003c/b>\u003cbr>The Chapel, 7:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> The last blizzard I “survived” was in central Illinois, not far from my native Windy City. It was 2006/2007 New Year’s Eve/Day and the heavens dumped something like seven feet of snow on the ground, leaving myself, loved ones, and friends housebound for two and a half days. Conveniently enough I was trapped in a house with four musicians. Because of them and that storm I was introduced to the music of Damien Jurado. His lyrics made those cold and snowy nights feel warm and inviting. You can’t help but be whisked away into his dark indie folk sound. I’m also looking forward to checking out The Chapel, a new venue in the Mission.\u003c/p>\n\u003cp>\u003cb>Toro Y Moi, Sinkane, Dog Bite, DRMS\u003c/b>\u003cbr>The Independent, doors 7:30 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> Toro Y Moi is playing two nights at The Independent and both shows are sold out. Going off last year’s set at Treasure Island, I’m confident we can expect the same upbeat, dream dance-pop grooves. This band couldn’t sound bad live if they tried. I’m most excited to see Bay Area favorite DRMS. They’ve been on my radar for a while now and a little bird told me they’ve got something special planned for the folks going to this show. Be sure to check back later for a recap.\u003c/p>\n\u003cp>\u003cb>The Thermals, Dirty Ghosts, The SHE’s, Ev Kain\u003c/b>\u003cbr>Rickshaw Stop, doors 8:30 p.m.\u003cbr>\u003cb>Sarah:\u003c/b> The Thermals and their short, smart, pop punk numbers sound like something I would have listened to in high school, back when I wore bowling shirts, Chuck Taylors, and a studded leather bracelet. I am ALL FOR revisiting this musical era of my life. And if there’s anything that I revel in more than nostalgia, it’s seeing talented ladies on the stage. Dirty Ghosts’ Allyson Baker sings over quick tempo guitar shreds and drum loops. The SHE’s are four local girls producing crazy infectious beach pop tunes like \u003ca href=\"http://www.thebaybridged.com/2011/11/01/song-premiere-the-shes-jimmy-new-single-from-debut-album-out-11-29-11/\">“Jimmy”\u003c/a>. Tambourines and hand claps, need I say more?\u003cbr>\u003cb>Amanda:\u003c/b> If you didn’t get tickets to sold out Toro Y Moi and heavy-hearted folk rock isn’t your scene, you should absolutely join Sarah at this show. The Thermals are hands down one of my favorite bands to see live. Also, The SHE’s are quite possibly the most delightful all-girl band in the Bay Area.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/shes.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>The SHE’s\u003c/p>\n\u003cp>\u003cu>\u003cb>SATURDAY: March 2\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>YACHT, Tussle, Future Twin, Shock\u003c/b>\u003cbr>Slim’s, 7:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> YACHT puts on an amazing show whether it’s midnight, 2 in the afternoon, or 4 in the morning. All I have to say is: prepare to be amazed.\u003cbr> \u003cb>Sarah:\u003c/b> Way back in 2010, when I was still so recent to San Francisco that it was my first show at The Independent, YACHT knocked my socks off. The crowd was dancing, there were lasers, everyone was smiling, it was great. I’m bringing a backup pair of socks to this show.\u003c/p>\n\u003cp>\u003cb>Thao & The Get Down Stay Down, Sallie Ford & the Sound Outside, Before the Brave, Kacey Johansing\u003c/b>\u003cbr>Great American Music Hall, 7:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> The lovely, talented, and incredibly well spoken Thao Nguyen says this show is going rock: “a lot of the people on the record will be performing live with us since they can’t come on tour. So this particular show, which is launching the tour, is going to be really special.” (You can read the \u003ca href=\"//placeswedontknow.tumblr.com/post/43412888354/interview-thao-the-get-down-stay-down%E2%80%9D\">full interview here\u003c/a>.)\u003cbr>\u003cb>Sarah:\u003c/b> The openers at this show are out of sight. Kacey Johansing’s jazzy numbers will warm up the crowd for a folksy session from Before the Brave, but the main appetizer is Sallie Ford & the Sound Outside. Their “grimy shuffle” conjures feelings of warm nights and summertime bike rides. Her voice sounds like it’s coming directly from a favorite LP, even through tinny laptop speakers.\u003c/p>\n\u003cp>\u003cb>Sonny and the Sunsets, Magic Trick, Cool Ghouls, Dune Rats\u003c/b>\u003cbr>Bottom of the Hill, 9 doors\u003cbr>\u003cb>Amanda:\u003c/b> I’m really pumped to hear Bay Area favorite Sonny and the Sunsets. Frontman Sonny Smith often experiments with different genres and sounds. His newest album, \u003ci>Longtime Companion\u003c/i>, dips into country and a 1950s retro California sound. I’ve always wanted to visit this era of San Francisco, now I’ll finally have the chance!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/yacht.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>YACHT. Photo by Alin Dragulin.\u003c/p>\n\u003cp>\u003cu>\u003cb>SUNDAY: March 3\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>Caspian, Native, Boyfrndz, The Dandelion War\u003c/b>\u003cbr>Bottom of the Hill, doors 6:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> Caspian and Native are not my typical listens when it comes to indie music. They’re of the instrumental, post-rock, ambient genres, but this is what is so great about festivals. If you’re open and willing you hear bands you wouldn’t necessarily seek out otherwise. From what I can gather, Dandelion War is a little more my speed. I know, I know, I love depressing folk music. I swear I don’t need a therapist. For me, Dandelion War might be the perfect way to end the festival and wind down on a Sunday night.\u003c/p>\n\u003cp>\u003cu>\u003cb>What we’re not going to see but wish we could:\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>!!!, White Arrows, The Mallard, The Yellow Dogs\u003c/b>\u003cbr>Great American Music Hall\u003cbr>Thursday, February 28, doors 7:00 p.m.\u003cbr>\u003cb>Sarah:\u003c/b> Somehow I lived in Brooklyn for years, had friends who \u003ci>personally knew\u003c/i> the members of !!!, was \u003ci>invited\u003c/i> to shows and parties, and never saw them play. Is fate keeping me from seeing this now-legendary dance-punk outfit? I’m even more intrigued/bummed about The Yellow Dogs, an illicit pop band from Tehran (Iran’s Ministry of Culture and Islamic Guidance refused to approve their music).\u003c/p>\n\u003cp>\u003cb>Starfucker, Blackbird Blackbird\u003c/b>\u003cbr>The Regency Ballroom\u003cbr>Friday, March 1, doors 8:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> The only show I’m reluctantly missing is Blackbird Blackbird. I’ve been digging on them lately and they’re friends of Bear Mountain so we know they’ll put on a good live show. I’ll have to catch them the next time around.\u003c/p>\n\u003cp>\u003cb>All the programming at Artists’ Television Access\u003c/b>\u003cbr>Thursday, February 28 through Sunday, March 3\u003cbr>Noise Pop is more than just music; films, art shows, and comedy nights are all part of the package. Artists’ Television Access is screening films like \u003ci>Punk In Africa\u003c/i>, a documentary feature about the political punk scene starting with early 1970s Johannesburg, and \u003ci>Taken By Storm: The Art of Storm Thorgerson and Hipgnosis\u003c/i>, about the man “who has likely designed 80% of your classic vinyl record collection!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Noise Pop 2013 runs February 26 through March 3, 2013 in venues throughout San Francisco. For \u003ca href=\"http://www.noisepop.com/2013/\">tickets and more information\u003c/a>, visit noisepop.com/2013.\u003c/p>\n\n",
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"excerpt": "Didn't get tickets to this year's Noise Pop? We've got you covered, with recaps from the pits, crowds, and balconies of venues across San Francisco. First up: our list of must-sees, including local favorites and emerging indie groups from around the world.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A tall blonde and an even taller redhead walk into a music venue. Hilarity ensues. Or, more likely, they hear exciting new music, take assiduous notes amid jostling concert-goers, and block some views of the stage with their tall, tall heads. The fruit of their labors (life is really hard when you have a press pass) is all for you: a full report on Noise Pop 2013. For six straight days, Amanda Roscoe Mayo and Sarah Hotchkiss will interview bands, traverse the city’s venues, and capture photos of the action — it’s a tough job, but someone’s gotta do it.\u003c/p>\n\u003cp>With so many good bands playing across San Francisco this year, double-bookings abound. While we can’t cover everything (even in tandem), we’ve made a schedule we’re actually going to try really hard to follow. Keep an eye out for us at the shows and an eye on KQED Arts for all the juicy post-show recaps. Maybe buy us an energy drink or two?\u003c/p>\n\u003cp>\u003cu>\u003cb>TUESDAY: February 26\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>Body/Head (featuring Kim Gordon of Sonic Youth and Bill Nace), Horsebladder, Burmese, Noel Von Harmonson\u003c/b>\u003cbr>Rickshaw Stop, doors 8:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> Kim Gordon and Bill Nace have created a wondrous little band known as Body/Head. Noise Pop nails it: “both revolutionaries in their own right, Gordon and Nace combine with blustering effect, intimately communicating through distorted guitars and momentary vocals outbursts.” I can’t imagine a more thunderous way to kick off this festival.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/bodyhead.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Body/Head\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cu>\u003cb>WEDNESDAY: February 27\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>\u003ci>Turning\u003c/i>, a music documentary featuring Antony & the Johnsons\u003c/b>\u003cbr>The Roxie, 7:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> I’m looking forward to this documentary on Antony & the Johnsons. I love love \u003ci>love\u003c/i> documentaries about musicians and Antony is one of the most prolific figures in contemporary music. He is a transgendered individual who grew up in San Francisco and turns his musical endeavors into art, crafting a stage experience unlike anything you would normally find at a concert.\u003c/p>\n\u003cp>\u003cb>The Fresh & Onlys, R. Stevie Moore, Burnt Ones\u003c/b>\u003cbr>Bottom of the Hill, doors 8:00 p.m.\u003cbr>\u003cb>Sarah:\u003c/b> Let me just start by saying Amanda is the true music critic here. Lining up our picks for this year’s festival, she said things like, “Oh they should be great” or “We don’t want to miss them.” I nodded a lot. So when she gave an enthusiastic thumbs up to The Fresh & Onlys, I knew I’d be in good hands. And while I’m psyched to see this prolific local outfit wave some garage-rock washed-out guitars in my face, I’m even more intrigued by R. Stevie Moore. According to his Noise Pop promo paragraph, “Moore has to date released more than 400 cassettes and CDRs through his home label… Fans of lo-fi progenitors [that’s me!] like Daniel Johnston and Jandek owe a debt of gratitude to Moore’s pioneering spirit and his devotion to the punk rock ethos.” SOLD.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/fresh.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>The Fresh & Onlys. Photo by David Black.\u003c/p>\n\u003cp>\u003cu>\u003cb>THURSDAY: February 28\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>Family of the Year, Doe Eye, Psychic Friend, Rin Tin Tiger\u003c/b>\u003cbr>Bottom of the Hill, doors 8:00 p.m.\u003cbr>\u003cb>Sarah:\u003c/b> I have a bad habit of falling asleep at concerts. It gets so warm, it’s usually the end of a long day, and more often than not, I happen to find myself at lovely, languorous, soporific shows. Dancing might solve this problem, which is why I’m looking forward to Family of the Year’s upbeat tempos and harmonized choruses. This LA-based indie folk band brings their catchy tunes north with Doe Eye and Psychic Friend, both known for energetic live performances. I’ll be the one stretching in the back, hydrating at the bar, waiting for the go sign. I apologize in advance for stepping on your foot.\u003c/p>\n\u003cp>\u003cb>Bear Mountain, Man Without Country, Sir Sly, Popscene DJs\u003c/b>\u003cbr>Rickshaw Stop, doors 9:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> When I spoke with Ian Bevis of Bear Mountain last week, I asked him what we could expect from an electronic dance band that plays everything live. He surprised me, saying “It’s very much a band, four on stage; I’m up front playing bass and laptop. My twin brother (Greg Bevis) plays the drums and keys. Kyle Statham plays the guitar. The fourth guy, Kenji Rodríguez plays projections, mapping images live onto these square structures synced with the music.” (You can read the \u003ca href=\"http://placeswedontknow.tumblr.com/post/43406887667/bear-mountain-interview\">full interview here\u003c/a>.) I can’t wait to see what this looks like; I have a feeling syncopated projections will be a perfect compliment to Bear Mountains’ energetic set.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/bearmountain.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Bear Mountain\u003c/p>\n\u003cp>\u003cu>\u003cb>FRIDAY: March 1\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>Damien Jurado, Aaron Espinoza (of Earlimart), Peggy Honeywell\u003c/b>\u003cbr>The Chapel, 7:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> The last blizzard I “survived” was in central Illinois, not far from my native Windy City. It was 2006/2007 New Year’s Eve/Day and the heavens dumped something like seven feet of snow on the ground, leaving myself, loved ones, and friends housebound for two and a half days. Conveniently enough I was trapped in a house with four musicians. Because of them and that storm I was introduced to the music of Damien Jurado. His lyrics made those cold and snowy nights feel warm and inviting. You can’t help but be whisked away into his dark indie folk sound. I’m also looking forward to checking out The Chapel, a new venue in the Mission.\u003c/p>\n\u003cp>\u003cb>Toro Y Moi, Sinkane, Dog Bite, DRMS\u003c/b>\u003cbr>The Independent, doors 7:30 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> Toro Y Moi is playing two nights at The Independent and both shows are sold out. Going off last year’s set at Treasure Island, I’m confident we can expect the same upbeat, dream dance-pop grooves. This band couldn’t sound bad live if they tried. I’m most excited to see Bay Area favorite DRMS. They’ve been on my radar for a while now and a little bird told me they’ve got something special planned for the folks going to this show. Be sure to check back later for a recap.\u003c/p>\n\u003cp>\u003cb>The Thermals, Dirty Ghosts, The SHE’s, Ev Kain\u003c/b>\u003cbr>Rickshaw Stop, doors 8:30 p.m.\u003cbr>\u003cb>Sarah:\u003c/b> The Thermals and their short, smart, pop punk numbers sound like something I would have listened to in high school, back when I wore bowling shirts, Chuck Taylors, and a studded leather bracelet. I am ALL FOR revisiting this musical era of my life. And if there’s anything that I revel in more than nostalgia, it’s seeing talented ladies on the stage. Dirty Ghosts’ Allyson Baker sings over quick tempo guitar shreds and drum loops. The SHE’s are four local girls producing crazy infectious beach pop tunes like \u003ca href=\"http://www.thebaybridged.com/2011/11/01/song-premiere-the-shes-jimmy-new-single-from-debut-album-out-11-29-11/\">“Jimmy”\u003c/a>. Tambourines and hand claps, need I say more?\u003cbr>\u003cb>Amanda:\u003c/b> If you didn’t get tickets to sold out Toro Y Moi and heavy-hearted folk rock isn’t your scene, you should absolutely join Sarah at this show. The Thermals are hands down one of my favorite bands to see live. Also, The SHE’s are quite possibly the most delightful all-girl band in the Bay Area.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/shes.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>The SHE’s\u003c/p>\n\u003cp>\u003cu>\u003cb>SATURDAY: March 2\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>YACHT, Tussle, Future Twin, Shock\u003c/b>\u003cbr>Slim’s, 7:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> YACHT puts on an amazing show whether it’s midnight, 2 in the afternoon, or 4 in the morning. All I have to say is: prepare to be amazed.\u003cbr> \u003cb>Sarah:\u003c/b> Way back in 2010, when I was still so recent to San Francisco that it was my first show at The Independent, YACHT knocked my socks off. The crowd was dancing, there were lasers, everyone was smiling, it was great. I’m bringing a backup pair of socks to this show.\u003c/p>\n\u003cp>\u003cb>Thao & The Get Down Stay Down, Sallie Ford & the Sound Outside, Before the Brave, Kacey Johansing\u003c/b>\u003cbr>Great American Music Hall, 7:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> The lovely, talented, and incredibly well spoken Thao Nguyen says this show is going rock: “a lot of the people on the record will be performing live with us since they can’t come on tour. So this particular show, which is launching the tour, is going to be really special.” (You can read the \u003ca href=\"//placeswedontknow.tumblr.com/post/43412888354/interview-thao-the-get-down-stay-down%E2%80%9D\">full interview here\u003c/a>.)\u003cbr>\u003cb>Sarah:\u003c/b> The openers at this show are out of sight. Kacey Johansing’s jazzy numbers will warm up the crowd for a folksy session from Before the Brave, but the main appetizer is Sallie Ford & the Sound Outside. Their “grimy shuffle” conjures feelings of warm nights and summertime bike rides. Her voice sounds like it’s coming directly from a favorite LP, even through tinny laptop speakers.\u003c/p>\n\u003cp>\u003cb>Sonny and the Sunsets, Magic Trick, Cool Ghouls, Dune Rats\u003c/b>\u003cbr>Bottom of the Hill, 9 doors\u003cbr>\u003cb>Amanda:\u003c/b> I’m really pumped to hear Bay Area favorite Sonny and the Sunsets. Frontman Sonny Smith often experiments with different genres and sounds. His newest album, \u003ci>Longtime Companion\u003c/i>, dips into country and a 1950s retro California sound. I’ve always wanted to visit this era of San Francisco, now I’ll finally have the chance!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/yacht.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>YACHT. Photo by Alin Dragulin.\u003c/p>\n\u003cp>\u003cu>\u003cb>SUNDAY: March 3\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>Caspian, Native, Boyfrndz, The Dandelion War\u003c/b>\u003cbr>Bottom of the Hill, doors 6:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> Caspian and Native are not my typical listens when it comes to indie music. They’re of the instrumental, post-rock, ambient genres, but this is what is so great about festivals. If you’re open and willing you hear bands you wouldn’t necessarily seek out otherwise. From what I can gather, Dandelion War is a little more my speed. I know, I know, I love depressing folk music. I swear I don’t need a therapist. For me, Dandelion War might be the perfect way to end the festival and wind down on a Sunday night.\u003c/p>\n\u003cp>\u003cu>\u003cb>What we’re not going to see but wish we could:\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>!!!, White Arrows, The Mallard, The Yellow Dogs\u003c/b>\u003cbr>Great American Music Hall\u003cbr>Thursday, February 28, doors 7:00 p.m.\u003cbr>\u003cb>Sarah:\u003c/b> Somehow I lived in Brooklyn for years, had friends who \u003ci>personally knew\u003c/i> the members of !!!, was \u003ci>invited\u003c/i> to shows and parties, and never saw them play. Is fate keeping me from seeing this now-legendary dance-punk outfit? I’m even more intrigued/bummed about The Yellow Dogs, an illicit pop band from Tehran (Iran’s Ministry of Culture and Islamic Guidance refused to approve their music).\u003c/p>\n\u003cp>\u003cb>Starfucker, Blackbird Blackbird\u003c/b>\u003cbr>The Regency Ballroom\u003cbr>Friday, March 1, doors 8:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> The only show I’m reluctantly missing is Blackbird Blackbird. I’ve been digging on them lately and they’re friends of Bear Mountain so we know they’ll put on a good live show. I’ll have to catch them the next time around.\u003c/p>\n\u003cp>\u003cb>All the programming at Artists’ Television Access\u003c/b>\u003cbr>Thursday, February 28 through Sunday, March 3\u003cbr>Noise Pop is more than just music; films, art shows, and comedy nights are all part of the package. Artists’ Television Access is screening films like \u003ci>Punk In Africa\u003c/i>, a documentary feature about the political punk scene starting with early 1970s Johannesburg, and \u003ci>Taken By Storm: The Art of Storm Thorgerson and Hipgnosis\u003c/i>, about the man “who has likely designed 80% of your classic vinyl record collection!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Noise Pop 2013 runs February 26 through March 3, 2013 in venues throughout San Francisco. For \u003ca href=\"http://www.noisepop.com/2013/\">tickets and more information\u003c/a>, visit noisepop.com/2013.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every Guy Fawkes Day party I’ve ever been to has included bonfires, burning of the effigy, and fireworks. They all end one way, however, with a killer dance party either in a field or at someone’s house, the fires long expired met with the rising sun the next morning. I can only venture to guess the good men of San Francisco-based band \u003ca href=\"http://guyfoxband.com/music\">Guy Fox\u003c/a> had the same experience at some point, deciding to recreate the night’s excitement in their own music.\u003c/p>\n\u003cp>The name \u003ci>did\u003c/i> develop after they played a Guy Fawkes party, quickly morphing into Guy Fox. Their unique blend of funk, soul, afro-pop and maybe a little California rock ensures every booty in the place will be bumping. The noise we hear is bold, backed with horns, solid percussion, and zesty guitar lines. They have a new EP coming out in April, to be released with \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=113623\">Tumbleweed Wanderers\u003c/a> at the Independent. But we don’t have to wait until April to get our dance on — they are taking the stage at Rickshaw Stop on February 22. I met these foxy musicians at Casanova in the Mission to hammer out what it is that makes this band stimulate the dance center of the brain.\u003c/p>\n\u003cp>Guy Fox’s sound is such a melting pot of influences; I just had to ask if they had a mantra for the group. Nate Witherbee — found behind the synth playing guitar and singing vocals — jokingly jumped in with, “Well there’s already a group out there called ‘Fun’ so we don’t want to rip them of…” to which everyone laughed. Drummer and vocalist Peter Granquist reiterated: “We don’t want to be cheap thrills, but we want to be a mobile party where people show up because they feel like they are at home.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/18/guyfox.jpg\" style=\"margin-bottomZ: 10 px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The group’s sense of humor and lighthearted nature is matched by their dedication to that goal. They have a way of making any venue feel like someone’s living room, everything else falls away until it becomes you, your friends, and a good old fashioned dance party fueled by live music. Effortless is the word I’d use to describe their musical talent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even after meeting and talking with Guy Fox, I can’t quite pin them down, but I’ve determined that’s a good thing: somehow everything they play sounds familiar. It’s refreshing to hear a new sound teasing out the upswing of \u003ca href=\"http://www.youtube.com/watch?v=xNnAvTTaJjM\">Talking Heads\u003c/a>, the layered accompaniment found in \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=109099\">Grizzly Bear’s\u003c/a> \u003ci>Shields\u003c/i>, and the local influence of bands like \u003ca href=\"http://rubblebucket.com/home\">Rubblebucket\u003c/a>.\u003c/p>\n\u003cp>Granquist says they “are focused on composing songs based on contemporary music in a way that holds true to classic pop song writing. Like that of The Beatles trope.” Guy Fox is always in flux and experimenting with their music. Greg Waters, guitarist and horn player extraordinaire, says the band likes to “leave some uncertainty so the music always sounds fresh.” The clearest description of their sound comes from bass player Charlie Moore, who says what they’re really trying to do is “create an energy and an atmosphere.” The band does everything they can to “facilitate a spark,” making sure that spark gets the attention it needs to grow into a blazing warm fire you can’t help but dance around.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Guy Fox is co-headlining the Rickshaw Stop with \u003ca href=\"http://www.theseshen.com/\">The Seshen\u003c/a> and supported by \u003ca href=\"http://www.ashreiter.com/home.cfm\">Ash Reiter\u003c/a> on February 22, 2013. For \u003ca href=\"http://www.rickshawstop.com/event/195203-seshen-guy-fox-san-francisco/\">tickets and information\u003c/a> visit rickshawstop.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every Guy Fawkes Day party I’ve ever been to has included bonfires, burning of the effigy, and fireworks. They all end one way, however, with a killer dance party either in a field or at someone’s house, the fires long expired met with the rising sun the next morning. I can only venture to guess the good men of San Francisco-based band \u003ca href=\"http://guyfoxband.com/music\">Guy Fox\u003c/a> had the same experience at some point, deciding to recreate the night’s excitement in their own music.\u003c/p>\n\u003cp>The name \u003ci>did\u003c/i> develop after they played a Guy Fawkes party, quickly morphing into Guy Fox. Their unique blend of funk, soul, afro-pop and maybe a little California rock ensures every booty in the place will be bumping. The noise we hear is bold, backed with horns, solid percussion, and zesty guitar lines. They have a new EP coming out in April, to be released with \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=113623\">Tumbleweed Wanderers\u003c/a> at the Independent. But we don’t have to wait until April to get our dance on — they are taking the stage at Rickshaw Stop on February 22. I met these foxy musicians at Casanova in the Mission to hammer out what it is that makes this band stimulate the dance center of the brain.\u003c/p>\n\u003cp>Guy Fox’s sound is such a melting pot of influences; I just had to ask if they had a mantra for the group. Nate Witherbee — found behind the synth playing guitar and singing vocals — jokingly jumped in with, “Well there’s already a group out there called ‘Fun’ so we don’t want to rip them of…” to which everyone laughed. Drummer and vocalist Peter Granquist reiterated: “We don’t want to be cheap thrills, but we want to be a mobile party where people show up because they feel like they are at home.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/18/guyfox.jpg\" style=\"margin-bottomZ: 10 px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The group’s sense of humor and lighthearted nature is matched by their dedication to that goal. They have a way of making any venue feel like someone’s living room, everything else falls away until it becomes you, your friends, and a good old fashioned dance party fueled by live music. Effortless is the word I’d use to describe their musical talent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even after meeting and talking with Guy Fox, I can’t quite pin them down, but I’ve determined that’s a good thing: somehow everything they play sounds familiar. It’s refreshing to hear a new sound teasing out the upswing of \u003ca href=\"http://www.youtube.com/watch?v=xNnAvTTaJjM\">Talking Heads\u003c/a>, the layered accompaniment found in \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=109099\">Grizzly Bear’s\u003c/a> \u003ci>Shields\u003c/i>, and the local influence of bands like \u003ca href=\"http://rubblebucket.com/home\">Rubblebucket\u003c/a>.\u003c/p>\n\u003cp>Granquist says they “are focused on composing songs based on contemporary music in a way that holds true to classic pop song writing. Like that of The Beatles trope.” Guy Fox is always in flux and experimenting with their music. Greg Waters, guitarist and horn player extraordinaire, says the band likes to “leave some uncertainty so the music always sounds fresh.” The clearest description of their sound comes from bass player Charlie Moore, who says what they’re really trying to do is “create an energy and an atmosphere.” The band does everything they can to “facilitate a spark,” making sure that spark gets the attention it needs to grow into a blazing warm fire you can’t help but dance around.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Guy Fox is co-headlining the Rickshaw Stop with \u003ca href=\"http://www.theseshen.com/\">The Seshen\u003c/a> and supported by \u003ca href=\"http://www.ashreiter.com/home.cfm\">Ash Reiter\u003c/a> on February 22, 2013. For \u003ca href=\"http://www.rickshawstop.com/event/195203-seshen-guy-fox-san-francisco/\">tickets and information\u003c/a> visit rickshawstop.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In case you’ve managed to avoid this news until now, February 14th is Valentine’s Day, the greeting card industry holiday that can compel even the least romantic to confront the topic of love. Over the past few years, plenty of our favorite indie rockers have explored the excitement and complications of love in terrific songs. Here, we’ve collected fourteen tracks about love’s many facets, including the swooning romanticism of \u003ca href=\"http://realestatetheband.com/\">Real Estate\u003c/a>, \u003ca href=\"http://www.facebook.com/CassMcCombs\">Cass McCombs\u003c/a>, and \u003ca href=\"http://www.facebook.com/pages/Bare-Wires/117214288301289\">Bare Wires\u003c/a>.\u003c/p>\n\u003cp>Affairs of the heart don’t always end well, however, and the mix also offers some songs that touch on love’s darker side, like the lush melancholy of \u003ca href=\"http://www.facebook.com/CHROMATICSBAND\">Chromatics\u003c/a>‘ “Lady” and \u003ca href=\"http://www.facebook.com/TheAntlers\">The Antlers\u003c/a>‘ heartbreaking “I Don’t Want Love.” We’ve also thrown in a few left turns, \u003ca href=\"http://www.facebook.com/sonnysunsets\">Sonny & The Sunsets\u003c/a>‘ goofy “Lovin’ on an Older Gal” and \u003ca href=\"http://www.facebook.com/Mwahahamusic\">Mwahaha\u003c/a>‘s heady “Love” among them.\u003c/p>\n\u003cp>Ultimately, we’ve aimed to a balance the sweet and the bittersweet here, although we’ve probably tipped our hands toward the romantic side with the one-two closing punch of \u003ca href=\"http://www.facebook.com/seanhayesmusic\">Sean Hayes\u003c/a>‘ “When We Fall In” and a live cover of Daniel Johnston’s classic “True Love Will Find You In The End” by the dearly departed \u003ca href=\"http://en.wikipedia.org/wiki/Girls_(band)\">Girls\u003c/a>. Still, we’re sympathetic to Mwahaha’s assessment that love is “something we’re always doing, but we never figure it out.”\u003c/p>\n\u003cp>\u003cu>Tracklist:\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/hunxandhispunx\">Hunx & His Punx\u003c/a> — “Lovers Lane”\u003cbr>\u003ca href=\"http://realestatetheband.com/\">Real Estate\u003c/a> — “It’s Real”\u003cbr>\u003ca href=\"http://www.facebook.com/sonnysunsets\">Sonny & The Sunsets\u003c/a> — “Lovin’ on an Older Gal”\u003cbr>\u003ca href=\"http://www.facebook.com/CHROMATICSBAND\">Chromatics\u003c/a> — “Lady (Drumless Version)”\u003cbr>\u003ca href=\"http://www.facebook.com/TheAntlers\">The Antlers\u003c/a> — “I Don’t Want Love”\u003cbr>\u003ca href=\"http://www.facebook.com/CassMcCombs\">Cass McCombs\u003c/a> — “Dreams Come True Girl”\u003cbr>\u003ca href=\"http://tops.bandcamp.com/\">TOPS\u003c/a> — “Turn Your Love Around”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Bare-Wires/117214288301289\">Bare Wires\u003c/a> — “I (Heart) You Tonite”\u003cbr>\u003ca href=\"http://www.facebook.com/Mwahahamusic\">Mwahaha\u003c/a> — “Love” (featuring Merrill Garbus)\u003cbr>\u003ca href=\"http://www.facebook.com/howtodresswellmusic\">How To Dress Well\u003c/a> — “& It Was U”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Tamaryn/21877892594\">Tamaryn\u003c/a> — “Love Fade”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Little-Wings/130230123665874?fref=ts\">Little Wings\u003c/a> — “Sandy Babe”\u003cbr>\u003ca href=\"http://www.facebook.com/seanhayesmusic\">Sean Hayes\u003c/a> — “When We Fall In”\u003cbr>\u003ca href=\"http://en.wikipedia.org/wiki/Girls_(band)\">Girls\u003c/a> — “True Love Will Find You In The End” (Live, Daniel Johnston cover)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In case you’ve managed to avoid this news until now, February 14th is Valentine’s Day, the greeting card industry holiday that can compel even the least romantic to confront the topic of love. Over the past few years, plenty of our favorite indie rockers have explored the excitement and complications of love in terrific songs. Here, we’ve collected fourteen tracks about love’s many facets, including the swooning romanticism of \u003ca href=\"http://realestatetheband.com/\">Real Estate\u003c/a>, \u003ca href=\"http://www.facebook.com/CassMcCombs\">Cass McCombs\u003c/a>, and \u003ca href=\"http://www.facebook.com/pages/Bare-Wires/117214288301289\">Bare Wires\u003c/a>.\u003c/p>\n\u003cp>Affairs of the heart don’t always end well, however, and the mix also offers some songs that touch on love’s darker side, like the lush melancholy of \u003ca href=\"http://www.facebook.com/CHROMATICSBAND\">Chromatics\u003c/a>‘ “Lady” and \u003ca href=\"http://www.facebook.com/TheAntlers\">The Antlers\u003c/a>‘ heartbreaking “I Don’t Want Love.” We’ve also thrown in a few left turns, \u003ca href=\"http://www.facebook.com/sonnysunsets\">Sonny & The Sunsets\u003c/a>‘ goofy “Lovin’ on an Older Gal” and \u003ca href=\"http://www.facebook.com/Mwahahamusic\">Mwahaha\u003c/a>‘s heady “Love” among them.\u003c/p>\n\u003cp>Ultimately, we’ve aimed to a balance the sweet and the bittersweet here, although we’ve probably tipped our hands toward the romantic side with the one-two closing punch of \u003ca href=\"http://www.facebook.com/seanhayesmusic\">Sean Hayes\u003c/a>‘ “When We Fall In” and a live cover of Daniel Johnston’s classic “True Love Will Find You In The End” by the dearly departed \u003ca href=\"http://en.wikipedia.org/wiki/Girls_(band)\">Girls\u003c/a>. Still, we’re sympathetic to Mwahaha’s assessment that love is “something we’re always doing, but we never figure it out.”\u003c/p>\n\u003cp>\u003cu>Tracklist:\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/hunxandhispunx\">Hunx & His Punx\u003c/a> — “Lovers Lane”\u003cbr>\u003ca href=\"http://realestatetheband.com/\">Real Estate\u003c/a> — “It’s Real”\u003cbr>\u003ca href=\"http://www.facebook.com/sonnysunsets\">Sonny & The Sunsets\u003c/a> — “Lovin’ on an Older Gal”\u003cbr>\u003ca href=\"http://www.facebook.com/CHROMATICSBAND\">Chromatics\u003c/a> — “Lady (Drumless Version)”\u003cbr>\u003ca href=\"http://www.facebook.com/TheAntlers\">The Antlers\u003c/a> — “I Don’t Want Love”\u003cbr>\u003ca href=\"http://www.facebook.com/CassMcCombs\">Cass McCombs\u003c/a> — “Dreams Come True Girl”\u003cbr>\u003ca href=\"http://tops.bandcamp.com/\">TOPS\u003c/a> — “Turn Your Love Around”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Bare-Wires/117214288301289\">Bare Wires\u003c/a> — “I (Heart) You Tonite”\u003cbr>\u003ca href=\"http://www.facebook.com/Mwahahamusic\">Mwahaha\u003c/a> — “Love” (featuring Merrill Garbus)\u003cbr>\u003ca href=\"http://www.facebook.com/howtodresswellmusic\">How To Dress Well\u003c/a> — “& It Was U”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Tamaryn/21877892594\">Tamaryn\u003c/a> — “Love Fade”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Little-Wings/130230123665874?fref=ts\">Little Wings\u003c/a> — “Sandy Babe”\u003cbr>\u003ca href=\"http://www.facebook.com/seanhayesmusic\">Sean Hayes\u003c/a> — “When We Fall In”\u003cbr>\u003ca href=\"http://en.wikipedia.org/wiki/Girls_(band)\">Girls\u003c/a> — “True Love Will Find You In The End” (Live, Daniel Johnston cover)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Live This Month: February 2013",
"headTitle": "Live This Month: February 2013 | KQED",
"content": "\u003cp>With the twenty-first annual \u003ca href=\"http://www.noisepop.com/2013\">Noise Pop Festival\u003c/a> taking over Bay Area venues during the last week of the month, February is already guaranteed to offer plenty of tempting local concerts. We’ll be previewing Noise Pop extensively on the podcast soon, but this collection of songs shows that there are plenty of good options even before Noise Pop starts.\u003c/p>\n\u003cp>On the local front, “slop pop” specialists \u003ca href=\"http://www.facebook.com/cocktails.the.band\">Cocktails\u003c/a> are celebrating their debut EP with a strong all-local rock and roll bill, featuring Bay Bridged favorites Warm Soda and DSTVV, while \u003ca href=\"http://www.facebook.com/thestonefoxes\">The Stone Foxes\u003c/a> are holding free performances on both sides of the Bay to promote \u003cem>Small Fires\u003c/em>. We’re also excited to see the return of electronic pop duo \u003ca href=\"http://www.facebook.com/paintedpalms?fref=ts\">Painted Palms\u003c/a>, who have a new 7″ coming in March on Polyvinyl, and are performing this month at the Brick and Mortar Music Hall to celebrate the one-year anniversary of the monthly \u003ca href=\"http://woodshoppesf.com/\">Wood Shoppe\u003c/a> series.\u003c/p>\n\u003cp>Weird-pop titans Unknown Mortal Orchestra return to San Francisco this month, but we’re as intrigued by the bands they’re bringing with them. Especially \u003ca href=\"http://www.facebook.com/foxygentheband?fref=ts\">Foxygen\u003c/a>, a psych-pop duo who call to mind UMO with their inventive spirit; the LA band’s new album, \u003cem>We Are the 21st Century Ambassadors of Peace & Magic\u003c/em>, has been getting rave reviews. Also promising is the return of \u003ca href=\"http://www.facebook.com/therubysuns\">The Ruby Suns\u003c/a>, whose globetrotting bandleader Ryan McPhun relocated from New Zealand to Norway to make the rich synth-pop found on \u003cem>Christopher\u003c/em>, the Suns’ fourth album.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some shows!\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/cocktails.the.band\">Cocktails\u003c/a> — “Hey Winnie”\u003cbr>Celebrating the release of their self-titled EP at the \u003ca href=\"http://hemlocktavern.com/prog_guide.php?adate_id=2013-02-01\">Hemlock Tavern\u003c/a> on February 1 with Warm Soda and DSTVV.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://wildmoth.blogspot.com\">Wild Moth\u003c/a> — “Patience”\u003cbr>Playing at The Bay Bridged’s Noise Pop happy hour at \u003ca href=\"http://www.facebook.com/bendersbar\">Bender’s\u003c/a> on March 1 — more details to be announced soon!\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/The-Night-Marchers/55636289510?fref=ts\">The Night Marchers\u003c/a> — “All Hits”\u003cbr>The Intelligence and Mrs. Magician round out the bill at \u003ca href=\"http://cafedunord.com/calendar/2%7C2013%7C15\">Cafe Du Nord\u003c/a> on February 21.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/foxygentheband?fref=ts\">Foxygen\u003c/a> — “Shuggie”\u003cbr>Joining Unknown Mortal Orchestra and Wampire on February 13 at the \u003ca href=\"http://www.slimspresents.com/events/2013-02-13/unknown-mortal-orchestra/\">Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/seaponyband\">Seapony\u003c/a> — “Prove to Me”\u003cbr>Appearing at the \u003ca href=\"http://www.rickshawstop.com/event/200341-seapony-san-francisco/\">Rickshaw Stop\u003c/a> on February 6; Rose Melberg and French Cassettes support.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/shugotokumaru?fref=ts\">Shugo Tokumaru\u003c/a> — “Decorate”\u003cbr>Supporting Kishi Bashi at the \u003ca href=\"http://www.slimspresents.com/events/2013-02-26/kishi-bashi/\">Great American Music Hall\u003c/a> on February 26.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/bluescontrol\">Blues Control\u003c/a> — “Iron Pigs”\u003cbr>Co-headlining with Rangda at \u003ca href=\"http://www.thechapelsf.com/event/203383-rangda-blues-control-san-francisco/\">The Chapel\u003c/a> on February 23.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/thestonefoxes\">The Stone Foxes\u003c/a> — “Everybody Knows”\u003cbr>Performing free shows at \u003ca href=\"http://www.amoeba.com/live-shows/upcoming/detail-2493/\">Amoeba SF\u003c/a> on February 12 and \u003ca href=\"http://www.thenewparish.com/event/212523-stone-foxes-oakland/\">The New Parish\u003c/a> on February 13.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/twogallants?fref=ts&rf=103114093062022\">Two Gallants\u003c/a> — “Broken Eyes”\u003cbr>Akron/Family support the beloved duo at \u003ca href=\"http://www.livenation.com/venues/14270/the-fillmore\">The Fillmore\u003c/a> on February 2.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/therubysuns\">The Ruby Suns\u003c/a> — “Kingfisher Call Me”\u003cbr>Coming to \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> on February 13; Seatraffic opens the show.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/paintedpalms?fref=ts\">Painted Palms\u003c/a> — “Falling Asleep”\u003cbr>Headlining the one year anniversary of Wood Shoppe at the \u003ca href=\"http://www.brickandmortarmusic.com/event/208059-painted-palms-san-francisco/\">Brick and Mortar Music Hall\u003c/a> on February 5.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/starredband\">Starred\u003c/a> — “No Good”\u003cbr>Playing at the \u003ca href=\"http://cafedunord.com/calendar/2%7C2013%7C15\">Swedish American Hall\u003c/a> with The Sister Ruby Band on February 14.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the twenty-first annual \u003ca href=\"http://www.noisepop.com/2013\">Noise Pop Festival\u003c/a> taking over Bay Area venues during the last week of the month, February is already guaranteed to offer plenty of tempting local concerts. We’ll be previewing Noise Pop extensively on the podcast soon, but this collection of songs shows that there are plenty of good options even before Noise Pop starts.\u003c/p>\n\u003cp>On the local front, “slop pop” specialists \u003ca href=\"http://www.facebook.com/cocktails.the.band\">Cocktails\u003c/a> are celebrating their debut EP with a strong all-local rock and roll bill, featuring Bay Bridged favorites Warm Soda and DSTVV, while \u003ca href=\"http://www.facebook.com/thestonefoxes\">The Stone Foxes\u003c/a> are holding free performances on both sides of the Bay to promote \u003cem>Small Fires\u003c/em>. We’re also excited to see the return of electronic pop duo \u003ca href=\"http://www.facebook.com/paintedpalms?fref=ts\">Painted Palms\u003c/a>, who have a new 7″ coming in March on Polyvinyl, and are performing this month at the Brick and Mortar Music Hall to celebrate the one-year anniversary of the monthly \u003ca href=\"http://woodshoppesf.com/\">Wood Shoppe\u003c/a> series.\u003c/p>\n\u003cp>Weird-pop titans Unknown Mortal Orchestra return to San Francisco this month, but we’re as intrigued by the bands they’re bringing with them. Especially \u003ca href=\"http://www.facebook.com/foxygentheband?fref=ts\">Foxygen\u003c/a>, a psych-pop duo who call to mind UMO with their inventive spirit; the LA band’s new album, \u003cem>We Are the 21st Century Ambassadors of Peace & Magic\u003c/em>, has been getting rave reviews. Also promising is the return of \u003ca href=\"http://www.facebook.com/therubysuns\">The Ruby Suns\u003c/a>, whose globetrotting bandleader Ryan McPhun relocated from New Zealand to Norway to make the rich synth-pop found on \u003cem>Christopher\u003c/em>, the Suns’ fourth album.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some shows!\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/cocktails.the.band\">Cocktails\u003c/a> — “Hey Winnie”\u003cbr>Celebrating the release of their self-titled EP at the \u003ca href=\"http://hemlocktavern.com/prog_guide.php?adate_id=2013-02-01\">Hemlock Tavern\u003c/a> on February 1 with Warm Soda and DSTVV.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s not technically part of the Bay Area — and by “technically,” of course, we mean “at all” — but we’ve been known to cheat a little bit and claim a good number of Sacramento bands as adopted locals over the years. Can you really blame us? Plenty of acts from the state’s capital have made a big impact on independent music, including Death Grips, Chelsea Wolfe, and Trash Talk. All three of those groups eventually migrated to Los Angeles, with Death Grips leaking their latest album during a two-month stay at Hollywood’s infamous Chateau Marmont, but plenty of great bands still call Sacramento home.\u003c/p>\n\u003cp>This mix collects 14 of those performers, showing that Sacto talent comes in a variety of genres and sounds. On the rock side, there’s the stellar jangle of \u003ca href=\"http://www.facebook.com/finesteps\">Fine Steps\u003c/a> and \u003ca href=\"http://www.facebook.com/pages/The-English-Singles/258438924560?fref=ts\">English Singles\u003c/a>, \u003ca href=\"http://www.facebook.com/ggreenband?fref=ts\">G. Green\u003c/a>‘s fuzzy bursts, and \u003ca href=\"http://solosmusic.bandcamp.com\">Solos\u003c/a>‘ singer-songwriter-meets-prog charm. But this mix also features a strong number of electronic pop bands, from new highlight \u003ca href=\"http://www.facebook.com/pages/DOOMbird/133225003386696?fref=ts\">DOOMbird\u003c/a> to long-time favorites like \u003ca href=\"http://danielispregnant.com/\">Pregnant\u003c/a> and \u003ca href=\"http://www.facebook.com/sistercrayon?fref=ts\">Sister Crayon\u003c/a>. It also won’t be surprising that we’ve included several terrific bands we’ve hosted at past Bay Bridged events, like \u003ca href=\"http://www.facebook.com/pages/Sea-Of-Bees/197401657346?fref=ts\">Sea of Bees\u003c/a>, \u003ca href=\"http://www.facebook.com/raleighmoncrief?fref=ts\">Raleigh Moncrief\u003c/a>, and \u003ca href=\"http://www.facebook.com/appetitemuch\">Appetite\u003c/a>.\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003cu>Tracklist:\u003c/u>\u003cbr>\u003ca href=\"http://www.facebook.com/finesteps\">Fine Steps\u003c/a> — “Tomorrow for All of Today”\u003cbr>\u003ca href=\"http://solosmusic.bandcamp.com\">Solos\u003c/a> — “All My Tribulations”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/DOOMbird/133225003386696?fref=ts\">DOOMbird\u003c/a> — “An Die”\u003cbr>\u003ca href=\"http://www.facebook.com/raleighmoncrief?fref=ts\">Raleigh Moncrief\u003c/a> — “Beyond The Neon Lights”\u003cbr>Baby Grand — “My Song 15” (Note: several members of Baby Grand are now in \u003ca href=\"http://www.facebook.com/arts.leisure.music/\">Arts & Leisure\u003c/a>)\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Sea-Of-Bees/197401657346?fref=ts\">Sea of Bees\u003c/a> — “Gone”\u003cbr>\u003ca href=\"http://www.facebook.com/sistercrayon?fref=ts\">Sister Crayon\u003c/a> — “Cynic”\u003cbr>\u003ca href=\"http://danielispregnant.com/\">Pregnant\u003c/a> — “Letter To A Friend”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/The-English-Singles/258438924560?fref=ts\">English Singles\u003c/a> — “Finer Points”\u003cbr>\u003ca href=\"http://www.facebook.com/ggreenband?fref=ts\">G. Green\u003c/a> — “Our Boss”\u003cbr>\u003ca href=\"http://charlesalbright.bandcamp.com/\">Charles Albright\u003c/a> — “I Am The Counter Culture (Drop Out)”\u003cbr>\u003ca href=\"http://www.facebook.com/wreckandreference?ref=ts&fref=ts\">Wreck and Reference\u003c/a> — “Spectrum”\u003cbr>\u003ca href=\"http://www.essmusic.com\">E S S\u003c/a> — “Woke at Night”\u003cbr>\u003ca href=\"http://www.facebook.com/appetitemuch\">Appetite\u003c/a> — “Tussy”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not technically part of the Bay Area — and by “technically,” of course, we mean “at all” — but we’ve been known to cheat a little bit and claim a good number of Sacramento bands as adopted locals over the years. Can you really blame us? Plenty of acts from the state’s capital have made a big impact on independent music, including Death Grips, Chelsea Wolfe, and Trash Talk. All three of those groups eventually migrated to Los Angeles, with Death Grips leaking their latest album during a two-month stay at Hollywood’s infamous Chateau Marmont, but plenty of great bands still call Sacramento home.\u003c/p>\n\u003cp>This mix collects 14 of those performers, showing that Sacto talent comes in a variety of genres and sounds. On the rock side, there’s the stellar jangle of \u003ca href=\"http://www.facebook.com/finesteps\">Fine Steps\u003c/a> and \u003ca href=\"http://www.facebook.com/pages/The-English-Singles/258438924560?fref=ts\">English Singles\u003c/a>, \u003ca href=\"http://www.facebook.com/ggreenband?fref=ts\">G. Green\u003c/a>‘s fuzzy bursts, and \u003ca href=\"http://solosmusic.bandcamp.com\">Solos\u003c/a>‘ singer-songwriter-meets-prog charm. But this mix also features a strong number of electronic pop bands, from new highlight \u003ca href=\"http://www.facebook.com/pages/DOOMbird/133225003386696?fref=ts\">DOOMbird\u003c/a> to long-time favorites like \u003ca href=\"http://danielispregnant.com/\">Pregnant\u003c/a> and \u003ca href=\"http://www.facebook.com/sistercrayon?fref=ts\">Sister Crayon\u003c/a>. It also won’t be surprising that we’ve included several terrific bands we’ve hosted at past Bay Bridged events, like \u003ca href=\"http://www.facebook.com/pages/Sea-Of-Bees/197401657346?fref=ts\">Sea of Bees\u003c/a>, \u003ca href=\"http://www.facebook.com/raleighmoncrief?fref=ts\">Raleigh Moncrief\u003c/a>, and \u003ca href=\"http://www.facebook.com/appetitemuch\">Appetite\u003c/a>.\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003cu>Tracklist:\u003c/u>\u003cbr>\u003ca href=\"http://www.facebook.com/finesteps\">Fine Steps\u003c/a> — “Tomorrow for All of Today”\u003cbr>\u003ca href=\"http://solosmusic.bandcamp.com\">Solos\u003c/a> — “All My Tribulations”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/DOOMbird/133225003386696?fref=ts\">DOOMbird\u003c/a> — “An Die”\u003cbr>\u003ca href=\"http://www.facebook.com/raleighmoncrief?fref=ts\">Raleigh Moncrief\u003c/a> — “Beyond The Neon Lights”\u003cbr>Baby Grand — “My Song 15” (Note: several members of Baby Grand are now in \u003ca href=\"http://www.facebook.com/arts.leisure.music/\">Arts & Leisure\u003c/a>)\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Sea-Of-Bees/197401657346?fref=ts\">Sea of Bees\u003c/a> — “Gone”\u003cbr>\u003ca href=\"http://www.facebook.com/sistercrayon?fref=ts\">Sister Crayon\u003c/a> — “Cynic”\u003cbr>\u003ca href=\"http://danielispregnant.com/\">Pregnant\u003c/a> — “Letter To A Friend”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/The-English-Singles/258438924560?fref=ts\">English Singles\u003c/a> — “Finer Points”\u003cbr>\u003ca href=\"http://www.facebook.com/ggreenband?fref=ts\">G. Green\u003c/a> — “Our Boss”\u003cbr>\u003ca href=\"http://charlesalbright.bandcamp.com/\">Charles Albright\u003c/a> — “I Am The Counter Culture (Drop Out)”\u003cbr>\u003ca href=\"http://www.facebook.com/wreckandreference?ref=ts&fref=ts\">Wreck and Reference\u003c/a> — “Spectrum”\u003cbr>\u003ca href=\"http://www.essmusic.com\">E S S\u003c/a> — “Woke at Night”\u003cbr>\u003ca href=\"http://www.facebook.com/appetitemuch\">Appetite\u003c/a> — “Tussy”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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"filters": [
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]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
