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"content": "\u003cp>We’re due for an onslaught of anticipated new albums from Bay Area bands, and that outpouring begins this month with a number of the local artists we’ve included in this mix. Both \u003ca href=\"https://www.facebook.com/PhilManleyLifeCoach\">Life Coach\u003c/a> and \u003ca href=\"https://www.facebook.com/tartufisongs\">Tartufi\u003c/a> have gained members since their last records — Life Coach recently became a duo with the addition of The Mars Volta’s Jon Theodore on drums, while Tartufi gained a third member, bass player Ben Thorne (also of MINOT). On the garage rock front, we’ve included a selection from \u003ca href=\"https://www.facebook.com/pages/Shannon-and-the-Clams/134248713268350\">Shannon and the Clams\u003c/a>‘ \u003cem>Dreams in the Rat House\u003c/em>, which arrives in late May, and one from \u003ca href=\"https://www.facebook.com/burntones\">Burnt Ones\u003c/a>‘ new album on Burger Records.\u003c/p>\n\u003cp>Plenty of reliably strong live performers are also touring through SF in April, including guitar wizard \u003ca href=\"https://www.facebook.com/marniestern\">Marnie Stern\u003c/a>, whose \u003cem>The Chronicles of Marnia\u003c/em> has great songs as well as the best/most ridiculous title I’ve heard all year. If you’re more inclined toward country rock with an experimental twist, do check out \u003ca href=\"https://www.facebook.com/Phosphorescentmusic\">Phosphorescent\u003c/a>. I was really impressed by Matthew Houck’s band at South by Southwest; it’s a tight group of musicians who do great service to his rich songs. Finally, \u003ca href=\"https://www.facebook.com/TelekinesisMusic\">Telekinesis\u003c/a> knows its way around a great indie pop song, and the band’s live shows find bandleader Michael Lerner drumming and singing with equal vigor.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some shows!\u003c/p>\n\u003cp>\u003cu>\u003cstrong>About the bands:\u003c/strong>\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/beachfossils\">Beach Fossils\u003c/a> — “Careless”\u003cbr>Headlining \u003ca href=\"http://www.slimspresents.com/calendar/\">Slim’s\u003c/a> on April 23; locals Surf Club and Black Jeans open the show\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/burntones\">Burnt Ones\u003c/a> — “Fountain of Youth”\u003cbr>Celebrating the release of \u003cem>You’ll Never Walk Alone\u003c/em> on April 12 at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a>; Cosmonauts, Violent Change, and The Garden also perform\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WhiteMysteryBand\">White Mystery\u003c/a> — “Secret Garden”\u003cbr>White Mystery’s “4/20 Psychedelic Meltdown” (which doubles as the band’s record release festival) is taking place at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a>, and features additional performances by Warm Soda, Glitz, Sir Lord Von Raven and more\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/PhilManleyLifeCoach\">Life Coach\u003c/a> — “Fireball”\u003cbr>\u003cem>Alphawaves\u003c/em>‘ record release show is at the \u003ca href=\"http://hemlocktavern.com/prog_guide.php?adate_id=2013-04-20\">Hemlock Tavern\u003c/a> on April 20 with 3 Leafs and Once and Future Band\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/marniestern\">Marnie Stern\u003c/a> — “Transparency is the New Mystery”\u003cbr>Playing at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> with SISU and E V Kain on April 28\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/tartufisongs\">Tartufi\u003c/a> — “Underwater”\u003cbr>Returning from tour to play the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall on April 26 with Kowloon Walled City and Queen Crescent\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TelekinesisMusic\">Telekinesis\u003c/a> — “Ghosts and Creatures”\u003cbr>Bringing the band”s new album to \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> on April 24; Mount Moriah and Paparazzi also support\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/vacationermusic\">Vacationer\u003c/a> — “Gone”\u003cbr>Exray’s performs with Vacationer on April 18 at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/chadvalleymusic\">Chad Valley\u003c/a> — “I Owe You All This” (featuring Twin Shadow)\u003cbr>On April 29, Chad Valley’s nationwide tour with Ski Lodge and The Soonest arrives at \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/angelolsenmusic\">Angel Olsen\u003c/a> — “Tiniest Seed”\u003cbr>Headlining the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on April 6, with support from Villages and Kacey Johansing\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Phosphorescentmusic\">Phosphorescent\u003c/a> — “Song For Zula”\u003cbr>Heading to \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> with Strand Of Oaks on April 6\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/sonnysunsets\">Sonny Smith\u003c/a> — “If You Don’t Make a Change”\u003cbr>Sonny & the Sunsets perform at the Rock/See fundraiser for the Roxie Theatre at the \u003ca href=\"http://roxie.com/events/details.cfm?eventid=5F714B00-AB5B-56F5-F6D94991CE1E2EA5\">Verdi Club\u003c/a> on April 5\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Shannon-and-the-Clams/134248713268350\">Shannon and the Clams\u003c/a> — “Rip Van Winkle”\u003cbr>The Memorials and Emotional join the Clams at \u003ca href=\"http://theeparkside.com/\">Thee Parkside\u003c/a> on April 18\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/cloudnothings\">Cloud Nothings\u003c/a> — “Stay Useless”\u003cbr>Co-headlining \u003ca href=\"http://www.thenewparish.com/\">The New Parish\u003c/a> with Japandroids on April 16 and 17\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re due for an onslaught of anticipated new albums from Bay Area bands, and that outpouring begins this month with a number of the local artists we’ve included in this mix. Both \u003ca href=\"https://www.facebook.com/PhilManleyLifeCoach\">Life Coach\u003c/a> and \u003ca href=\"https://www.facebook.com/tartufisongs\">Tartufi\u003c/a> have gained members since their last records — Life Coach recently became a duo with the addition of The Mars Volta’s Jon Theodore on drums, while Tartufi gained a third member, bass player Ben Thorne (also of MINOT). On the garage rock front, we’ve included a selection from \u003ca href=\"https://www.facebook.com/pages/Shannon-and-the-Clams/134248713268350\">Shannon and the Clams\u003c/a>‘ \u003cem>Dreams in the Rat House\u003c/em>, which arrives in late May, and one from \u003ca href=\"https://www.facebook.com/burntones\">Burnt Ones\u003c/a>‘ new album on Burger Records.\u003c/p>\n\u003cp>Plenty of reliably strong live performers are also touring through SF in April, including guitar wizard \u003ca href=\"https://www.facebook.com/marniestern\">Marnie Stern\u003c/a>, whose \u003cem>The Chronicles of Marnia\u003c/em> has great songs as well as the best/most ridiculous title I’ve heard all year. If you’re more inclined toward country rock with an experimental twist, do check out \u003ca href=\"https://www.facebook.com/Phosphorescentmusic\">Phosphorescent\u003c/a>. I was really impressed by Matthew Houck’s band at South by Southwest; it’s a tight group of musicians who do great service to his rich songs. Finally, \u003ca href=\"https://www.facebook.com/TelekinesisMusic\">Telekinesis\u003c/a> knows its way around a great indie pop song, and the band’s live shows find bandleader Michael Lerner drumming and singing with equal vigor.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some shows!\u003c/p>\n\u003cp>\u003cu>\u003cstrong>About the bands:\u003c/strong>\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/beachfossils\">Beach Fossils\u003c/a> — “Careless”\u003cbr>Headlining \u003ca href=\"http://www.slimspresents.com/calendar/\">Slim’s\u003c/a> on April 23; locals Surf Club and Black Jeans open the show\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/burntones\">Burnt Ones\u003c/a> — “Fountain of Youth”\u003cbr>Celebrating the release of \u003cem>You’ll Never Walk Alone\u003c/em> on April 12 at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a>; Cosmonauts, Violent Change, and The Garden also perform\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WhiteMysteryBand\">White Mystery\u003c/a> — “Secret Garden”\u003cbr>White Mystery’s “4/20 Psychedelic Meltdown” (which doubles as the band’s record release festival) is taking place at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a>, and features additional performances by Warm Soda, Glitz, Sir Lord Von Raven and more\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/PhilManleyLifeCoach\">Life Coach\u003c/a> — “Fireball”\u003cbr>\u003cem>Alphawaves\u003c/em>‘ record release show is at the \u003ca href=\"http://hemlocktavern.com/prog_guide.php?adate_id=2013-04-20\">Hemlock Tavern\u003c/a> on April 20 with 3 Leafs and Once and Future Band\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/marniestern\">Marnie Stern\u003c/a> — “Transparency is the New Mystery”\u003cbr>Playing at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> with SISU and E V Kain on April 28\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/tartufisongs\">Tartufi\u003c/a> — “Underwater”\u003cbr>Returning from tour to play the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall on April 26 with Kowloon Walled City and Queen Crescent\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TelekinesisMusic\">Telekinesis\u003c/a> — “Ghosts and Creatures”\u003cbr>Bringing the band”s new album to \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> on April 24; Mount Moriah and Paparazzi also support\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/vacationermusic\">Vacationer\u003c/a> — “Gone”\u003cbr>Exray’s performs with Vacationer on April 18 at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/chadvalleymusic\">Chad Valley\u003c/a> — “I Owe You All This” (featuring Twin Shadow)\u003cbr>On April 29, Chad Valley’s nationwide tour with Ski Lodge and The Soonest arrives at \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/angelolsenmusic\">Angel Olsen\u003c/a> — “Tiniest Seed”\u003cbr>Headlining the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on April 6, with support from Villages and Kacey Johansing\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Phosphorescentmusic\">Phosphorescent\u003c/a> — “Song For Zula”\u003cbr>Heading to \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> with Strand Of Oaks on April 6\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/sonnysunsets\">Sonny Smith\u003c/a> — “If You Don’t Make a Change”\u003cbr>Sonny & the Sunsets perform at the Rock/See fundraiser for the Roxie Theatre at the \u003ca href=\"http://roxie.com/events/details.cfm?eventid=5F714B00-AB5B-56F5-F6D94991CE1E2EA5\">Verdi Club\u003c/a> on April 5\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Shannon-and-the-Clams/134248713268350\">Shannon and the Clams\u003c/a> — “Rip Van Winkle”\u003cbr>The Memorials and Emotional join the Clams at \u003ca href=\"http://theeparkside.com/\">Thee Parkside\u003c/a> on April 18\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/cloudnothings\">Cloud Nothings\u003c/a> — “Stay Useless”\u003cbr>Co-headlining \u003ca href=\"http://www.thenewparish.com/\">The New Parish\u003c/a> with Japandroids on April 16 and 17\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s almost the time of year when what seems like every band in the world descends into one spot in California. And no, we’re not talking about that festival in the desert, we’re talking about Fauxchella. Fauxchella (a \u003ca href=\"http://spinningplatters.com/\">Spinning Platters\u003c/a> term) is the name given to almost three weeks in April when all of the bands set to play Coachella make their way up to San Francisco. Almost every venue in the city is full of great bands night after night, and it can be pretty overwhelming deciding which bands to see. So, we at the Noise Pop Team have made a list of must-sees to help you make the most of your Fauxchella. For a full list of all the bands playing Fauxchella this year head over to \u003ca href=\"http://do415.com/fauxchella\">Do415’s guide\u003c/a>.\u003c/p>\n\u003cp>Tracklist:\u003c/p>\n\u003cp>1. “Step” — Vampire Weekend, \u003ci>Modern Vampires of the City\u003c/i>\u003cbr>2. “Red Right Hand” — Nick Cave and the Bad Seeds, \u003ci>Let Love In\u003c/i>\u003cbr>3. “Ms” — Alt J, \u003ci>An Awesome Wave\u003c/i>\u003cbr>4. “Dramamine” — Modest Mouse, \u003ci>This Is a Long Drive For Someone With Nothing to Think About\u003c/i>\u003cbr>5. “My Number” — Foals, \u003ci>Holy Fire\u003c/i>\u003cbr>6. “Herietta” — Yeasayer, \u003ci>Fragrant World\u003c/i>\u003cbr>7. “Daniel” — Bat For Lashes, \u003ci>Daniel\u003c/i>\u003cbr>8. “Grammy” (Soulja Boy cover) — Purity Ring, single\u003cbr>9. “House That Heaven Built” — Japandroids, \u003ci>Celebration Rock\u003c/i>\u003cbr>10. “Digital Lion” — James Blake, \u003ci>Overgrown\u003c/i>\u003c/p>\n\u003cfigure class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/03/fauxchella2488.jpg\" alt=\"Coachella\" class=\"size-full\">\u003cfigcaption class=\"wp-caption-text\">Coachella\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"flex-video embed-youtube\">\nhttp://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/03/fauxchella2488.jpg\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s almost the time of year when what seems like every band in the world descends into one spot in California. And no, we’re not talking about that festival in the desert, we’re talking about Fauxchella. Fauxchella (a \u003ca href=\"http://spinningplatters.com/\">Spinning Platters\u003c/a> term) is the name given to almost three weeks in April when all of the bands set to play Coachella make their way up to San Francisco. Almost every venue in the city is full of great bands night after night, and it can be pretty overwhelming deciding which bands to see. So, we at the Noise Pop Team have made a list of must-sees to help you make the most of your Fauxchella. For a full list of all the bands playing Fauxchella this year head over to \u003ca href=\"http://do415.com/fauxchella\">Do415’s guide\u003c/a>.\u003c/p>\n\u003cp>Tracklist:\u003c/p>\n\u003cp>1. “Step” — Vampire Weekend, \u003ci>Modern Vampires of the City\u003c/i>\u003cbr>2. “Red Right Hand” — Nick Cave and the Bad Seeds, \u003ci>Let Love In\u003c/i>\u003cbr>3. “Ms” — Alt J, \u003ci>An Awesome Wave\u003c/i>\u003cbr>4. “Dramamine” — Modest Mouse, \u003ci>This Is a Long Drive For Someone With Nothing to Think About\u003c/i>\u003cbr>5. “My Number” — Foals, \u003ci>Holy Fire\u003c/i>\u003cbr>6. “Herietta” — Yeasayer, \u003ci>Fragrant World\u003c/i>\u003cbr>7. “Daniel” — Bat For Lashes, \u003ci>Daniel\u003c/i>\u003cbr>8. “Grammy” (Soulja Boy cover) — Purity Ring, single\u003cbr>9. “House That Heaven Built” — Japandroids, \u003ci>Celebration Rock\u003c/i>\u003cbr>10. “Digital Lion” — James Blake, \u003ci>Overgrown\u003c/i>\u003c/p>\n\u003cfigure class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/03/fauxchella2488.jpg\" alt=\"Coachella\" class=\"size-full\">\u003cfigcaption class=\"wp-caption-text\">Coachella\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"flex-video embed-youtube\">\nhttp://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/03/fauxchella2488.jpg\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Mixtape: Fifteen Highlights from South by Southwest 2013",
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"content": "\u003cp>As \u003ca href=\"http://www.thebaybridged.com/2013/03/20/review-photos-five-days-of-south-by-southwest-2013/\" target=\"_blank\" rel=\"noopener\">discussed earlier today\u003c/a>, we saw a ton of great bands at \u003cstrong>\u003ca href=\"http://sxsw.com/music\" target=\"_blank\" rel=\"noopener\">South by Southwest 2013\u003c/a>\u003c/strong>. Here are fifteen SXSW discoveries from a number of genres. As you’ll see, the first half of the mix (Side A, if you will) includes some of our favorite rock, punk and psych highlights from SXSW. The second half, by contrast, is all about electronic pop. We’d previously covered a few of these acts before, but we’ll be watching all of them closely in the future.\u003c/p>\n\u003cp>For more about these bands and all of \u003cb>South by Southwest 2013\u003c/b>, \u003ca href=\"http://www.thebaybridged.com/2013/03/20/review-photos-five-days-of-south-by-southwest-2013/\" target=\"_blank\" rel=\"noopener\">revisit our review\u003c/a>. Then enjoy the mix!\u003c/p>\n\u003cp>\u003cu>\u003cstrong>Tracklisting:\u003c/strong>\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/wehavepaws\" target=\"_blank\" rel=\"noopener\">PAWS\u003c/a> — “Miss American Bookworm”\u003cbr>\u003ca href=\"http://www.facebook.com/excopsband\" target=\"_blank\" rel=\"noopener\">Ex Cops\u003c/a> — “James”\u003cbr>\u003ca href=\"http://www.facebook.com/metz\" target=\"_blank\" rel=\"noopener\">METZ\u003c/a> — “Headache”\u003cbr>\u003ca href=\"http://parquetcourts.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Parquet Courts\u003c/a> — “Light Up Gold II”\u003cbr>\u003ca href=\"http://www.facebook.com/audacityca\" target=\"_blank\" rel=\"noopener\">Audacity\u003c/a> — “Subway Girl”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/The-Wolf/118208721591853\" target=\"_blank\" rel=\"noopener\">The Wolf\u003c/a> — “Jambourine”\u003cbr>\u003ca href=\"http://californiax.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">California X\u003c/a> — “Pond Rot”\u003cbr>\u003ca href=\"http://www.facebook.com/teentheband\" target=\"_blank\" rel=\"noopener\">Teen\u003c/a> — “Electric”\u003cbr>\u003ca href=\"http://www.facebook.com/poolsidemusic\" target=\"_blank\" rel=\"noopener\">Poolside\u003c/a> — “Only Everything”\u003cbr>\u003ca href=\"http://www.facebook.com/trubluhawaii\" target=\"_blank\" rel=\"noopener\">Blue Hawaii\u003c/a> — “In Two”\u003cbr>\u003ca href=\"http://www.facebook.com/beaconband\" target=\"_blank\" rel=\"noopener\">Beacon\u003c/a> — “Safety’s Off”\u003cbr>\u003ca href=\"http://www.facebook.com/AutreNeVeut\" target=\"_blank\" rel=\"noopener\">Autre Ne Veut\u003c/a> — “Play by Play”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Lusine/276561268164\" target=\"_blank\" rel=\"noopener\">Lusine\u003c/a> — “Another Tomorrow”\u003cbr>\u003ca href=\"http://www.facebook.com/slowwmagic\" target=\"_blank\" rel=\"noopener\">Slow Magic\u003c/a> — “Corvette Cassette”\u003cbr>\u003ca href=\"http://www.facebook.com/lunicefp\" target=\"_blank\" rel=\"noopener\">Lunice\u003c/a> — “The Good Kids”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As \u003ca href=\"http://www.thebaybridged.com/2013/03/20/review-photos-five-days-of-south-by-southwest-2013/\" target=\"_blank\" rel=\"noopener\">discussed earlier today\u003c/a>, we saw a ton of great bands at \u003cstrong>\u003ca href=\"http://sxsw.com/music\" target=\"_blank\" rel=\"noopener\">South by Southwest 2013\u003c/a>\u003c/strong>. Here are fifteen SXSW discoveries from a number of genres. As you’ll see, the first half of the mix (Side A, if you will) includes some of our favorite rock, punk and psych highlights from SXSW. The second half, by contrast, is all about electronic pop. We’d previously covered a few of these acts before, but we’ll be watching all of them closely in the future.\u003c/p>\n\u003cp>For more about these bands and all of \u003cb>South by Southwest 2013\u003c/b>, \u003ca href=\"http://www.thebaybridged.com/2013/03/20/review-photos-five-days-of-south-by-southwest-2013/\" target=\"_blank\" rel=\"noopener\">revisit our review\u003c/a>. Then enjoy the mix!\u003c/p>\n\u003cp>\u003cu>\u003cstrong>Tracklisting:\u003c/strong>\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/wehavepaws\" target=\"_blank\" rel=\"noopener\">PAWS\u003c/a> — “Miss American Bookworm”\u003cbr>\u003ca href=\"http://www.facebook.com/excopsband\" target=\"_blank\" rel=\"noopener\">Ex Cops\u003c/a> — “James”\u003cbr>\u003ca href=\"http://www.facebook.com/metz\" target=\"_blank\" rel=\"noopener\">METZ\u003c/a> — “Headache”\u003cbr>\u003ca href=\"http://parquetcourts.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Parquet Courts\u003c/a> — “Light Up Gold II”\u003cbr>\u003ca href=\"http://www.facebook.com/audacityca\" target=\"_blank\" rel=\"noopener\">Audacity\u003c/a> — “Subway Girl”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/The-Wolf/118208721591853\" target=\"_blank\" rel=\"noopener\">The Wolf\u003c/a> — “Jambourine”\u003cbr>\u003ca href=\"http://californiax.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">California X\u003c/a> — “Pond Rot”\u003cbr>\u003ca href=\"http://www.facebook.com/teentheband\" target=\"_blank\" rel=\"noopener\">Teen\u003c/a> — “Electric”\u003cbr>\u003ca href=\"http://www.facebook.com/poolsidemusic\" target=\"_blank\" rel=\"noopener\">Poolside\u003c/a> — “Only Everything”\u003cbr>\u003ca href=\"http://www.facebook.com/trubluhawaii\" target=\"_blank\" rel=\"noopener\">Blue Hawaii\u003c/a> — “In Two”\u003cbr>\u003ca href=\"http://www.facebook.com/beaconband\" target=\"_blank\" rel=\"noopener\">Beacon\u003c/a> — “Safety’s Off”\u003cbr>\u003ca href=\"http://www.facebook.com/AutreNeVeut\" target=\"_blank\" rel=\"noopener\">Autre Ne Veut\u003c/a> — “Play by Play”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Lusine/276561268164\" target=\"_blank\" rel=\"noopener\">Lusine\u003c/a> — “Another Tomorrow”\u003cbr>\u003ca href=\"http://www.facebook.com/slowwmagic\" target=\"_blank\" rel=\"noopener\">Slow Magic\u003c/a> — “Corvette Cassette”\u003cbr>\u003ca href=\"http://www.facebook.com/lunicefp\" target=\"_blank\" rel=\"noopener\">Lunice\u003c/a> — “The Good Kids”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>While SXSW steals the majority of the music world’s attention for five days, the rest of the country reaps the benefits in terms of the tour aftermath that follows the conclusion of the festival. Even though San Francisco is at the end of the earth, we stand to gain some great shows after the fest. This week’s boon comes from Seattle-based Ivan & Alyosha. You may know them from their very popular 2009 single, “Easy To Love,” which the guys performed at one of Bob Boilen’s \u003ca href=\"http://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk Concerts\u003c/a> on NPR Music.\u003c/p>\n\u003cp>Ivan & Alyosha have been branded as folk-pop and compared to a combination of Fleet Foxes and Mumford & Sons. I can vaguely hear the similarities in the building group vocals and melodic hooks, but I also hear the rich and raw talent found in bands such as \u003ca href=\"http://youtu.be/q4gVaiDQ8f4\">Middle Brother\u003c/a>, and \u003ca href=\"http://youtu.be/xIHx9CYPgQo\">Delta Spirit\u003c/a>, grounded in the \u003ca href=\"http://youtu.be/1h1oRP7FfBw\">The Kinks\u003c/a>. Ivan & Alyosha is the answer to indie pop. They have the songwriting capabilities to blow every Top 40 song out of the water, and the emotional pull to stay for good.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"http://www.youtube.com/embed/kyYgN8DHdTM?rel=0\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/center>\n\u003cp>After wrapping up their time at SXSW they headed west to play a few shows before arriving in San Francisco. I spoke with lead singer and one of the core members of the band, Tim Wilson, somewhere between Texas and Flagstaff, “somewhere mountainous” to be specific. Their first full-length album, \u003ci>All the Times We Had\u003c/i> came out just a few weeks ago on Dualtone Records and was featured on NPR’s \u003ca href=\"http://www.npr.org/series/98679384/first-listen\">First Listen\u003c/a>.\u003c/p>\n\u003cp>Ivan & Alyosha didn’t take the traditional track when it came to releasing an album on a record label. It took them nearly four years to release an LP after their first single. 2009’s EP, \u003ci>The Verse, the Chorus\u003c/i> yielded them a fair amount of attention. 2011’s, \u003ci>Fathers Be Kind\u003c/i> kept them out on the road. Their sound changed into something more appropriately energetic and clean. Wilson mused, “We’re older and maybe a little wiser. We didn’t mean to make everyone wait so long, it just sort of happened that way as we honed our sound out on the road.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter> \u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"http://www.youtube.com/embed/jJN1A_DHtsM?rel=0\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/center>\n\u003cp>\u003ci>All the Times We Had\u003c/i> is an album about love, joy, happiness, and believing in the value of struggle. While these are familiar themes in folk-Americana, they feel a little more earnest with Ivan & Alyosha’s lyrics. Wilson seems to know this too, “There’s a certain kind of spiritual element that keeps us grounded, focused, and happy. Good, bad, ugly, it could be worse, we are very blessed certainly.” Happy Seattle music? I’ll take it.\u003c/p>\n\u003cp>The single on the album, “Running for Cover,” encompasses the seriousness of their sound, while simultaneously delivering the swells of energetic emotion that get the blood pumping. Wilson particularly likes how the recording turned out for “Don’t Wanna Die Anymore” and he wasn’t the only one. That song caught the attention of Dualtone Records, the band’s current label. It’s the most alt-country sounding song on the album wielding ardent lyrics and a more stripped-down version of the band.\u003c/p>\n\u003cp>“Who Are You” was, according to Wilson, “a last minute addition and a little more difficult to interpret in the studio than playing it live.” It’s one I feel is an important addition nonetheless, and is getting more and more attention as the guys’ tour. Wilson is still convinced it sounds better live than on the record, I guess we’ll just have to make our way down to Brick and Mortar on Wednesday to find out for ourselves.\u003c/p>\n\u003cp>You can read the full interview with Tim Wilson of Ivan & Alyosha \u003ca href=\"http://placeswedontknow.tumblr.com/post/45612477313/ivan-alyosha-interview\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ivan & Alyosha play Brick and Mortar Music Hall in San Francisco on Wednesday, March 20, 2013. Doors are at 8:00 p.m. For \u003ca href=\"http://www.brickandmortarmusic.com/\">tickets and more information\u003c/a> visit brickandmortarmusic.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter> \u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"http://www.youtube.com/embed/jJN1A_DHtsM?rel=0\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/center>\n\u003cp>\u003ci>All the Times We Had\u003c/i> is an album about love, joy, happiness, and believing in the value of struggle. While these are familiar themes in folk-Americana, they feel a little more earnest with Ivan & Alyosha’s lyrics. Wilson seems to know this too, “There’s a certain kind of spiritual element that keeps us grounded, focused, and happy. Good, bad, ugly, it could be worse, we are very blessed certainly.” Happy Seattle music? I’ll take it.\u003c/p>\n\u003cp>The single on the album, “Running for Cover,” encompasses the seriousness of their sound, while simultaneously delivering the swells of energetic emotion that get the blood pumping. Wilson particularly likes how the recording turned out for “Don’t Wanna Die Anymore” and he wasn’t the only one. That song caught the attention of Dualtone Records, the band’s current label. It’s the most alt-country sounding song on the album wielding ardent lyrics and a more stripped-down version of the band.\u003c/p>\n\u003cp>“Who Are You” was, according to Wilson, “a last minute addition and a little more difficult to interpret in the studio than playing it live.” It’s one I feel is an important addition nonetheless, and is getting more and more attention as the guys’ tour. Wilson is still convinced it sounds better live than on the record, I guess we’ll just have to make our way down to Brick and Mortar on Wednesday to find out for ourselves.\u003c/p>\n\u003cp>You can read the full interview with Tim Wilson of Ivan & Alyosha \u003ca href=\"http://placeswedontknow.tumblr.com/post/45612477313/ivan-alyosha-interview\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ivan & Alyosha play Brick and Mortar Music Hall in San Francisco on Wednesday, March 20, 2013. Doors are at 8:00 p.m. For \u003ca href=\"http://www.brickandmortarmusic.com/\">tickets and more information\u003c/a> visit brickandmortarmusic.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I gave Thomas Meluch (aka Benoît Pioulard) a call to talk about his new album \u003ci>Hymnal\u003c/i>, he was perched on a bluff outside of Portland watching the sunset with some friends. I could hear him clearly, but the conversation felt like a spoken word version of one of his songs. The wind carried soft voices around him, trees were shaking off the day, and the sounds of dusk lingered in the background as we spoke.\u003c/p>\n\u003cp>\u003ca href=\"http://pioulard.com/nest.htm\">Benoît Pioulard\u003c/a>‘s first project on kranky records, \u003ci>Précis\u003c/i> (2006), was one of the initial LPs to enter my indie music library in the company of Sigur Rós and The Album Leaf. The whole project is mysterious: the French alias, the only-sometimes identifiable background sounds, and Meluch’s rich vocals embedded in an onslaught of shimmering sound. Listening to a Benoît Pioulard album is like dreaming underwater, never needing to come up for air.\u003c/p>\n\u003cp>His newest soundtrack, \u003ci>Hymnal\u003c/i>, is precisely that — a score of his recent experiences in the United Kingdom and Europe. Meluch’s music is often finished at home while elements are written and recorded in ‘the field.’ He always seeks out nature, so logically the best time to lay down recordings is in his Seattle-based home when the weather is poor and gloomy. I can just imagine Northern Europe and the UK providing the perfect catalyst for his work. \u003ci>Hymnal\u003c/i>, Meluch says, was created in response to the religious monuments and cathedrals of Europe, “whereas most of my other albums were inspired by melancholy and sadness this one was more inspired by awe. I went to mass in a cathedral and I don’t abide by Catholicism anymore, but hearing the meticulously well-honed choir perform in the space, it’s ethereal. You step in and you step out having experienced something.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/11/hymnal.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Photo by James Duthie.\u003c/center>\n\u003cp>\u003ci>Hymnal\u003c/i> doesn’t carry the same sadness found in previous projects such as \u003ci>Temper\u003c/i> (2008) or \u003ci>Lasted\u003c/i> (2010), but a has weight grounded in something more significant. I asked him if there were any moments of personal growth or introspection that took place between \u003ci>Hymnal\u003c/i> and the previous album. “The major life events that drove that shift were the illnesses and passings of three of my grandparents, who I had known my whole life, in the last year and a half. No other close family members had passed away at that point in my life and in rapid succession they all departed us.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Hymnal\u003c/i> takes on the burden of processing both awe and reverence with Meluch’s soft but strong, M. Ward-like vocals on top of layered instrumentals and recordings, most poignantly in songs like “Litiya.” The overall air of the song is exultant with a hint of sorrow. Written after his last visit to his grandfather on his mother’s side, Meluch’s intention with the song was “to process that into something positive to deal with that weight.”\u003c/p>\n\u003cp>\u003ci>Hymnal\u003c/i> is not without a few pop-based compositions. Of course when it comes to Benoît Pioulard I use the term ‘pop’ loosely, referring to upswing rather than full-blown choral hooks. “Hawkeye,” “Reliquary,” and “Margin” are responsible for rounding out the arc. The moments I savor most are the instrumental arrangements found on “Knell” and “Gospel.” They have a patina to them. Meluch carefully removes thin layers of audio throughout the song, accentuating hidden histories in the recordings. \u003c/p>\n\u003cp>Benoît Pioulard’s unique combination of singer/songwriter and ambient/electronica elicits a very emotive quality to the music. On the one hand we are given an extremely personal look into the musician’s mind and heart. The crafting of the songs’ atmospheres provides us with a complimentary view into his musical capabilities. \u003ci>Hymnal\u003c/i> is where we encounter these things, but the album is rooted in a more conditional human experience of mourning the departed, whether a loved one or a moment in history.\u003c/p>\n\u003cp>You can read the full Benoît Pioulard interview \u003ca href=\"http://placeswedontknow.tumblr.com/post/45042829569/benoit-pioulard-interview\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Benoît Pioulard is performing at The Hemlock on Tuesday, March 12, 2013. Doors open at 8:30 a.m., for \u003ca href=\"http://www.hemlocktavern.com/prog_guide.php?adate_id=2013-03-12\">tickets and information\u003c/a> visit hemlocktavern.com.\u003c/p>\n\n",
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"excerpt": "An interview with Benoît Pioulard and a review of his newest release \u003ci>Hymnal\u003c/i>, in advance of his upcoming show at The Hemlock.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I gave Thomas Meluch (aka Benoît Pioulard) a call to talk about his new album \u003ci>Hymnal\u003c/i>, he was perched on a bluff outside of Portland watching the sunset with some friends. I could hear him clearly, but the conversation felt like a spoken word version of one of his songs. The wind carried soft voices around him, trees were shaking off the day, and the sounds of dusk lingered in the background as we spoke.\u003c/p>\n\u003cp>\u003ca href=\"http://pioulard.com/nest.htm\">Benoît Pioulard\u003c/a>‘s first project on kranky records, \u003ci>Précis\u003c/i> (2006), was one of the initial LPs to enter my indie music library in the company of Sigur Rós and The Album Leaf. The whole project is mysterious: the French alias, the only-sometimes identifiable background sounds, and Meluch’s rich vocals embedded in an onslaught of shimmering sound. Listening to a Benoît Pioulard album is like dreaming underwater, never needing to come up for air.\u003c/p>\n\u003cp>His newest soundtrack, \u003ci>Hymnal\u003c/i>, is precisely that — a score of his recent experiences in the United Kingdom and Europe. Meluch’s music is often finished at home while elements are written and recorded in ‘the field.’ He always seeks out nature, so logically the best time to lay down recordings is in his Seattle-based home when the weather is poor and gloomy. I can just imagine Northern Europe and the UK providing the perfect catalyst for his work. \u003ci>Hymnal\u003c/i>, Meluch says, was created in response to the religious monuments and cathedrals of Europe, “whereas most of my other albums were inspired by melancholy and sadness this one was more inspired by awe. I went to mass in a cathedral and I don’t abide by Catholicism anymore, but hearing the meticulously well-honed choir perform in the space, it’s ethereal. You step in and you step out having experienced something.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/11/hymnal.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Photo by James Duthie.\u003c/center>\n\u003cp>\u003ci>Hymnal\u003c/i> doesn’t carry the same sadness found in previous projects such as \u003ci>Temper\u003c/i> (2008) or \u003ci>Lasted\u003c/i> (2010), but a has weight grounded in something more significant. I asked him if there were any moments of personal growth or introspection that took place between \u003ci>Hymnal\u003c/i> and the previous album. “The major life events that drove that shift were the illnesses and passings of three of my grandparents, who I had known my whole life, in the last year and a half. No other close family members had passed away at that point in my life and in rapid succession they all departed us.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Hymnal\u003c/i> takes on the burden of processing both awe and reverence with Meluch’s soft but strong, M. Ward-like vocals on top of layered instrumentals and recordings, most poignantly in songs like “Litiya.” The overall air of the song is exultant with a hint of sorrow. Written after his last visit to his grandfather on his mother’s side, Meluch’s intention with the song was “to process that into something positive to deal with that weight.”\u003c/p>\n\u003cp>\u003ci>Hymnal\u003c/i> is not without a few pop-based compositions. Of course when it comes to Benoît Pioulard I use the term ‘pop’ loosely, referring to upswing rather than full-blown choral hooks. “Hawkeye,” “Reliquary,” and “Margin” are responsible for rounding out the arc. The moments I savor most are the instrumental arrangements found on “Knell” and “Gospel.” They have a patina to them. Meluch carefully removes thin layers of audio throughout the song, accentuating hidden histories in the recordings. \u003c/p>\n\u003cp>Benoît Pioulard’s unique combination of singer/songwriter and ambient/electronica elicits a very emotive quality to the music. On the one hand we are given an extremely personal look into the musician’s mind and heart. The crafting of the songs’ atmospheres provides us with a complimentary view into his musical capabilities. \u003ci>Hymnal\u003c/i> is where we encounter these things, but the album is rooted in a more conditional human experience of mourning the departed, whether a loved one or a moment in history.\u003c/p>\n\u003cp>You can read the full Benoît Pioulard interview \u003ca href=\"http://placeswedontknow.tumblr.com/post/45042829569/benoit-pioulard-interview\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Benoît Pioulard is performing at The Hemlock on Tuesday, March 12, 2013. Doors open at 8:30 a.m., for \u003ca href=\"http://www.hemlocktavern.com/prog_guide.php?adate_id=2013-03-12\">tickets and information\u003c/a> visit hemlocktavern.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live This Month: March 2013",
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"content": "\u003cp>With South by Southwest leading much of independent music to converge in Austin later this month, tons of bands are hitting the road. All of them, it would seem, are playing in the San Francisco Bay Area in March. Even if you aren’t going to SXSW this year, you can still catch plenty of buzzed-about acts, like Thurston Moore’s noisy new band \u003ca href=\"http://www.facebook.com/pages/Chelsea-Light-Moving/231457830324704?fref=ts\">Chelsea Light Moving\u003c/a>, or the experimental electronic pop of \u003ca href=\"http://www.facebook.com/AutreNeVeut\">Autre Ne Veut\u003c/a>. Also touring are \u003ca href=\"http://www.facebook.com/veronicafalls\">Veronica Falls\u003c/a>, bringing top-notch jangle pop to the Rickshaw Stop, and \u003ca href=\"http://www.facebook.com/pages/Ducktails/78029223987?fref=ts\">Ducktails\u003c/a>, the solo project of Real Estate guitarist Matt Mondanile.\u003c/p>\n\u003cp>Things are a bit quieter on the local front — what with the many bands gone on Austin-bound tours — but there are still notable highlights. Led by Hether Fortune (also of Blasted Canyons), Oakland’s \u003ca href=\"http://www.facebook.com/waxidols\">Wax Idols\u003c/a> is celebrating the release of \u003cem>Discipline & Desire\u003c/em> this month; the album’s coming in April on the always-reliable Slumberland Records. Meanwhile, \u003ca href=\"http://www.facebook.com/CruelSummerSF\">Cruel Summer\u003c/a> has been wowing our writers for over a year now, and the band’s prepping for the release of its debut EP.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some shows!\u003c/p>\n\u003cp>\u003cu>About the bands:\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/veronicafalls\">Veronica Falls\u003c/a> — “Teenage”\u003cbr>Headlining the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> with Brilliant Colors and Golden Grrrls on March 26\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/widowspeakband\">Widowspeak\u003c/a> — “Ballad of the Golden Hour”\u003cbr>Performing at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on March 31\u003c/p>\n\u003cp>\u003ca href=\"http://www.christopherowensonline.com/\">Christopher Owens\u003c/a> — “Here We Go”\u003cbr>Appearing at the \u003ca href=\"http://www.palaceoffinearts.org/\">Palace of Fine Arts\u003c/a> on March 23\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Ducktails/78029223987?fref=ts\">Ducktails\u003c/a> — “Ivy Covered House”\u003cbr>Playing at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on March 22\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/AutreNeVeut\">Autre Ne Veut\u003c/a> — “Play by Play”\u003cbr>Majical Cloudz and Bago support Autre Ne Veut at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on March 11\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/astronautsetc\">Astronauts, etc.\u003c/a> — “Sideswiped”\u003cbr>Supporting Poolside on March 27 at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/waxidols\">Wax Idols\u003c/a> — “Sound of a Void”\u003cbr>Celebrating the release of \u003cem>Discipline & Desire\u003c/em> at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on March 30 with The Mallard and Chasms\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Chelsea-Light-Moving/231457830324704?fref=ts\">Chelsea Light Moving\u003c/a> — “Burroughs”\u003cbr>Performing alongside Grass Widow on March 20 at the \u003ca href=\"http://www.slimspresents.com/\">Great American Music Hall\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/IceageCopenhagen\">Iceage\u003c/a> — “Coalition”\u003cbr>Performing at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on March 25 and \u003ca href=\"http://www.thenewparish.com/\">The New Parish\u003c/a> on March 26\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/CruelSummerSF\">Cruel Summer\u003c/a> — “White Flag”\u003cbr>Playing \u003ca href=\"http://www.facebook.com/pages/The-Knockout/129284561110\">The Knockout\u003c/a> on March 28; Dream Boys, Woolen Men, and Swiftumz also perform\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/laluzusa\">La Luz\u003c/a> — “Sure As Spring”\u003cbr>Joining Will Sprott and Anna Hillburg at the \u003ca href=\"http://hemlocktavern.com/calendar.php\">Hemlock Tavern\u003c/a> on March 23\u003c/p>\n\u003cp>\u003ca href=\"http://www.shoutoutoutoutout.com/\">Shout Out Out Out Out\u003c/a> — “Now That I’ve Given Up Hope, I Feel Much Better”\u003cbr>Coming to \u003ca href=\"http://theeparkside.com/\">Thee Parkside\u003c/a> on March 9, with support from Lenz and Kinship\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/Daedelusmusic\">Daedelus\u003c/a> — “Endless Sea”\u003cbr>Bringing the “Magical Properties 4” tour to \u003ca href=\"http://theindependentsf.com\">The Independent\u003c/a> on March 31; Two Fresh, Ryan Hemsworth, and Samo Sound also perform\u003c/p>\n\n",
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"excerpt": "Listen to the latest \u003ci>Bay Bridged\u003c/i> for a sampling of some great local and out-of-town bands performing this month in the Bay Area. Featuring La Luz, Iceage, Chelsea Light Moving, Wax Idols, Widowspeak, and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With South by Southwest leading much of independent music to converge in Austin later this month, tons of bands are hitting the road. All of them, it would seem, are playing in the San Francisco Bay Area in March. Even if you aren’t going to SXSW this year, you can still catch plenty of buzzed-about acts, like Thurston Moore’s noisy new band \u003ca href=\"http://www.facebook.com/pages/Chelsea-Light-Moving/231457830324704?fref=ts\">Chelsea Light Moving\u003c/a>, or the experimental electronic pop of \u003ca href=\"http://www.facebook.com/AutreNeVeut\">Autre Ne Veut\u003c/a>. Also touring are \u003ca href=\"http://www.facebook.com/veronicafalls\">Veronica Falls\u003c/a>, bringing top-notch jangle pop to the Rickshaw Stop, and \u003ca href=\"http://www.facebook.com/pages/Ducktails/78029223987?fref=ts\">Ducktails\u003c/a>, the solo project of Real Estate guitarist Matt Mondanile.\u003c/p>\n\u003cp>Things are a bit quieter on the local front — what with the many bands gone on Austin-bound tours — but there are still notable highlights. Led by Hether Fortune (also of Blasted Canyons), Oakland’s \u003ca href=\"http://www.facebook.com/waxidols\">Wax Idols\u003c/a> is celebrating the release of \u003cem>Discipline & Desire\u003c/em> this month; the album’s coming in April on the always-reliable Slumberland Records. Meanwhile, \u003ca href=\"http://www.facebook.com/CruelSummerSF\">Cruel Summer\u003c/a> has been wowing our writers for over a year now, and the band’s prepping for the release of its debut EP.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some shows!\u003c/p>\n\u003cp>\u003cu>About the bands:\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/veronicafalls\">Veronica Falls\u003c/a> — “Teenage”\u003cbr>Headlining the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> with Brilliant Colors and Golden Grrrls on March 26\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/widowspeakband\">Widowspeak\u003c/a> — “Ballad of the Golden Hour”\u003cbr>Performing at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on March 31\u003c/p>\n\u003cp>\u003ca href=\"http://www.christopherowensonline.com/\">Christopher Owens\u003c/a> — “Here We Go”\u003cbr>Appearing at the \u003ca href=\"http://www.palaceoffinearts.org/\">Palace of Fine Arts\u003c/a> on March 23\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Ducktails/78029223987?fref=ts\">Ducktails\u003c/a> — “Ivy Covered House”\u003cbr>Playing at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on March 22\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/AutreNeVeut\">Autre Ne Veut\u003c/a> — “Play by Play”\u003cbr>Majical Cloudz and Bago support Autre Ne Veut at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on March 11\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/astronautsetc\">Astronauts, etc.\u003c/a> — “Sideswiped”\u003cbr>Supporting Poolside on March 27 at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/waxidols\">Wax Idols\u003c/a> — “Sound of a Void”\u003cbr>Celebrating the release of \u003cem>Discipline & Desire\u003c/em> at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on March 30 with The Mallard and Chasms\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Chelsea-Light-Moving/231457830324704?fref=ts\">Chelsea Light Moving\u003c/a> — “Burroughs”\u003cbr>Performing alongside Grass Widow on March 20 at the \u003ca href=\"http://www.slimspresents.com/\">Great American Music Hall\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/IceageCopenhagen\">Iceage\u003c/a> — “Coalition”\u003cbr>Performing at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on March 25 and \u003ca href=\"http://www.thenewparish.com/\">The New Parish\u003c/a> on March 26\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/CruelSummerSF\">Cruel Summer\u003c/a> — “White Flag”\u003cbr>Playing \u003ca href=\"http://www.facebook.com/pages/The-Knockout/129284561110\">The Knockout\u003c/a> on March 28; Dream Boys, Woolen Men, and Swiftumz also perform\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/laluzusa\">La Luz\u003c/a> — “Sure As Spring”\u003cbr>Joining Will Sprott and Anna Hillburg at the \u003ca href=\"http://hemlocktavern.com/calendar.php\">Hemlock Tavern\u003c/a> on March 23\u003c/p>\n\u003cp>\u003ca href=\"http://www.shoutoutoutoutout.com/\">Shout Out Out Out Out\u003c/a> — “Now That I’ve Given Up Hope, I Feel Much Better”\u003cbr>Coming to \u003ca href=\"http://theeparkside.com/\">Thee Parkside\u003c/a> on March 9, with support from Lenz and Kinship\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/Daedelusmusic\">Daedelus\u003c/a> — “Endless Sea”\u003cbr>Bringing the “Magical Properties 4” tour to \u003ca href=\"http://theindependentsf.com\">The Independent\u003c/a> on March 31; Two Fresh, Ryan Hemsworth, and Samo Sound also perform\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\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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"excerpt": "Reporting back on music and film from the middle of the Noise Pop festival, featuring Bear Mountain, Doe Eye, Damien Jurado, The SHE's, and The Thermals. Check back for the final installment of our KQED Arts festival coverage.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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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"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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"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. ",
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"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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"marketplace": {
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"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",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"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>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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