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"content": "\u003cp>The Bay Area has held a prominent place in punk music since punk first became a thing, with groups like \u003ca href=\"http://crimesf.com/\">Crime\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Avengers_(band)\">Avengers\u003c/a>, \u003ca href=\"http://www.flipperrules.com/\">Flipper\u003c/a>, and \u003ca href=\"http://www.deadkennedys.com/\">Dead Kennedys\u003c/a> among the genre’s most important ’70s and ’80s bands. As punk artists began to achieve mainstream success in the ’90s, Bay Area bands were again at the forefront, while a wide variety of acts continued to operate independently on local labels like \u003ca href=\"http://www.lookoutrecords.com/\">Lookout!\u003c/a> and \u003ca href=\"http://www.fatwreck.com/\">Fat Wreck Chords\u003c/a>.\u003c/p>\n\u003cp>Given that history, it shouldn’t be surprising to find that there’s still a wealth of talented local punk bands today. Moreover, the continued vitality of local punk is aided by the existence of inspired local institutions that support the genre, from the longstanding publication \u003ca href=\"http://maximumrocknroll.com/\">\u003ci>Maximum Rocknroll\u003c/i>\u003c/a> and the Berkeley venue \u003ca href=\"http://www.924gilman.org\">924 Gilman\u003c/a>, to more recent developments like \u003ca href=\"http://www.1234gorecords.com/\">1-2-3-4 Go!\u003c/a> and \u003ca href=\"http://www.thrillhouserecords.com/\">Thrillhouse Records\u003c/a>.\u003c/p>\n\u003cp>This mix tape provides a sampling of Bay Area bands from the worlds of punk rock, pop-punk, post-punk, art-punk and beyond, even if it only scratches the surface of great local bands in the punk universe. And while the set definitely reflects personal biases toward Ramones-y pop, gloomy post-punk, and damaged weirdness, it’s jam-packed with great songs to enjoy.\u003c/p>\n\u003cp>\u003cu>\u003cstrong>Tracklisting:\u003c/strong>\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"http://wildmoth.blogspot.com/\">Wild Moth\u003c/a> — “Mourning Glow”\u003cbr>\u003ca href=\"http://synthid.blogspot.com/\">Synthetic ID\u003c/a> — “White Walls”\u003cbr>\u003ca href=\"http://www.ceremonyhc.com/\">Ceremony\u003c/a> — “Everything Burns”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/comadre/294550772482\">Comadre\u003c/a> — “Free Based”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/LOMA-PRIETA/69571119156\">Loma Prieta\u003c/a> — “Fly By Night”\u003cbr>\u003ca href=\"http://www.facebook.com/terrymalts\">Terry Malts\u003c/a> — “Disconnect”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Grandmas-Boyfriend/220075284692581\">Grandma’s Boyfriend\u003c/a> — “Nobody Knows”\u003cbr>\u003ca href=\"http://streeteaters.com/\">Street Eaters\u003c/a> — “Culture War”\u003cbr>\u003ca href=\"http://rnkxrx.tumblr.com/\">Rank/Xerox\u003c/a> — “In A Hole”\u003cbr>\u003ca href=\"http://yipunx.angelfire.com/\">Yi\u003c/a> — “Host Body”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/The-UZI-RASH-Group-and-their-Band/127073393419?fref=ts\">Uzi Rash\u003c/a> — “Golden Dawn”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Midnite-Snaxxx/105627569476640?fref=ts\">Midnite Snaxxx\u003c/a> — “S.O.S.”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Apogee-Sound-Club/157012071047499\">Apogee Sound Club\u003c/a> — “The Corporation Song”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>On Day One of \u003cb>Treasure Island Music Festival\u003c/b> the only fog in sight came from the stage. Indian summer was in full swing and this day of dance music provided a fitting end to San Francisco’s extended summer season.\u003c/p>\n\u003cp>Now in its sixth year, the \u003cb>Treasure Island Music Festival\u003c/b> is one tight ship. They’ve got island time down, with fun pop-up shops, a mobile beauty parlor, DIY camp for making friendship bracelets and hanging out, food for the foodies, food for the carnival goers, and island recreation (Ferris wheel and outdoor games). Time passed without much effort, which is often a difficult task at a large festival where folks are waiting around to hear those two or three bands they came to see. With a nice mix of old school acts (Public Enemy), big Northern California talent (Dirty Ghosts, Toro Y Moi, Joanna Newsom, Tycho, Ty Segall, etc), and high quality international acts (The xx, SBTRKT, M83), the fest was designed to appeal to a fairly diverse audience. I was excited to see about half of the bands I knew and completely blown out of the water by eighty percent of the bands I didn’t know. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/treasure3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Here are some highlights from the weekend based almost exclusively on a crowd dance-o-meter and the general satisfaction of those around me.\u003c/p>\n\u003cp>The dancing started at the Tunnel Stage facing the San Francisco skyline, with the Bay Bridge just out of reach. Grimes completely delivered, transforming her unique sound into surprisingly sweet, fun, and uplifting beats. Claire Boucher’s project is often categorized as “dream-pop,” but her roots are in experimental electronic and industrial music. These characteristics are present in Grimes’ releases, but live it was as if they had been pumped full of adrenaline — a little bit ’90s, a little bit of noise pop, and lot of echoing voice. Just two songs into the set a sailboat slowly drifted behind the stage, the top quarter of its sails visible, a perfect complement to the breeziness of the music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Matthew Dear’s performance on \u003cb>Treasure Island’s\u003c/b> main Bridge Stage was good but a little out of place; the hard edges of Detroit techno and layered alt-rock came through loud and clear, but the music calls for a dark, cold basement, with a bit of condensation on the walls. A gorgeous outdoor venue on a lovely day just doesn’t lend itself to glitch. Dear’s haunting voice, and harsh synths make more sense in the dark.\u003c/p>\n\u003cp>The acts on the smaller Tunnel Stage, really out-shined the main Bridge Stage on Saturday. Toro y Moi cruised through their set mid-way through the lineup. Front man Chazwick Bundick’s effortless vocals backed by a mix of progressive rock and electronica land him in the chill category, which was perfect for SF’s Indian summer. Not a head in the crowd was left stationary.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/treasure6.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>The sun was low in the sky when AraabMuzik took the stage and remained so during his entire set, hovering behind him as if mesmerized like the rest of us. The blinding light placed Abraham Orellanz in dramatic silhouette outlining his lightning fast hands as they produced beats without stopping for anything or anyone. As another of the famous one-man bands, AraabMuzik blends Hip-hop, Dubstep and Electronic. Even though he was not the headliner, Orellanz basically stole the show, throwing down an almost impossible challenge to Girl Talk, the day’s closing act.\u003c/p>\n\u003cp>It was pretty cool to see Public Enemy on a stage, live, and in person. This iconic political rap group just celebrated twenty-five years together with two new albums. Flava Flav announced that Public Enemy has been nominated for induction into the Rock and Roll Hall of Fame, and with that he just might retire the clock around his neck. The energy was good with Public Enemy in command, but then I must have missed something because the vibe in the crowd turned sour — due to some comment made by Chuck D — and never really recovered for the rest of the set. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/treasure7.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>The considerably anticipated performance (can we call it a performance?) of Girl Talk was received well by a pulsing crowd. Greg Gillis samples popular music to assemble new songs. The meticulous process is commendable, but in terms of performing, Girl Talk had some ultra hip mashed-up visuals (owls, cats, banana gifs) and a stage full of people dancing. Leaf blowers propelled streamers into the crowd. However, these spectacular gestures were incongruous with the sight of Gillis head banging behind a computer full of songs that had already been mixed. I’m not a huge fan of the mash-up, and I’ve never really grown to love Girl Talk as much as my friends do, but I have to say he really pulled it out for a headliner. Near the end of the set Gillis passed the mic over to a friend who proposed to his girlfriend on stage. She said, “yes.” Who doesn’t love a musician for that? \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/treasure2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>On Day Two, Joanna Newsom’s mid-afternoon set was charming. Dressed in red gingham, she transported us to her far away land full of forests, hunters, lost loves, daddy long legs, and old-world tales of a made-up lore. Newsom’s famous harp and quirky voice carried the whimsy of her long tunes out on the wind, bringing the characters weaved in her imagination to vivid life on stage. She debuted a new song at \u003cb>Treasure Island\u003c/b>, performing “Look and Despair” solo on the piano.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=cRuPSf2Zh34&w=480&h=270]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/treasure4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>M83 must have had a staff of people harvesting the fog over the Bay Area Sunday morning for their performance that night. The band combined a ton of the stuff and a masked wolf-man with lasers shooting out of his fingers to inspire smiles, smiles for miles from the crowd. M83 made running in place look sexy. The French band’s set was calculated, vibrant, and layered. Their bubbly synths poured into the crowd, the soft waning vocals built up like an electrical storm gaining more and more power the longer each song went on. Their crescendo came a bit too soon, however. The favored M83 song “Midnight City” came a little more than halfway into the set propelling the crowd into a rush of excitement only to be followed by several lesser known tunes and a dragged out ending.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/treasure5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>The much-anticipated moment of truth was delivered by The xx. The simultaneously subtle and elaborate stage lighting transported us off the island into a dream, much like an xx album. The group’s sultry and deliberate vocals filled the sound system with a satisfaction I don’t normally associate with outdoor music festivals. It felt as though their soft whispers were amplified on the illusory clouds in the stage above them. The lush light show backing them complimented the accretion of Romy Madley-Croft’s hazy guitar and Oliver Sim’s seductive voice. Their sound became a whole body experience that was impossible not to feel.\u003c/p>\n\u003cp>The \u003cb>Treasure Island Music Festival\u003c/b> rocks. On the sunniest day, with the best weather, the crowds were completely manageable. There was a substantial amount of people on the island, but it never felt claustrophobic. The stages are close together, easy to maneuver between and the timing was almost never off. I asked Allyson Baker of Dirty Ghosts why she was excited to play \u003cb>Treasure Island\u003c/b> and she followed with this response, “It’s one of the best festivals in the country and it’s incredibly well run.”\u003c/p>\n\u003cp>What makes \u003cb>Treasure Island Music Festival\u003c/b> stand out from other music festivals is its careful selection and pairing of bands per day. Rather than the “something for everyone” approach, this festival aimed for a cohesive vibe. Programmed almost like a mix tape from a lover, each act fit perfectly between the ones that came before and after, adding something to a developing musical dialogue. Overwhelming and exhausting are adjectives almost always used to describe music festivals. \u003cb>Treasure Island\u003c/b> provides high quality bands within a high quality production. The island has everything any festival goer could possibly want or need and the shuttle to and from San Francisco is truly better than navigating your own vehicle — even at the end of the night the line was always moving. These are the things that make seeing your favorite band at a festival worth it. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Photos by Emmanuel Hapsis and Amanda Roscoe Mayo.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Day One of \u003cb>Treasure Island Music Festival\u003c/b> the only fog in sight came from the stage. Indian summer was in full swing and this day of dance music provided a fitting end to San Francisco’s extended summer season.\u003c/p>\n\u003cp>Now in its sixth year, the \u003cb>Treasure Island Music Festival\u003c/b> is one tight ship. They’ve got island time down, with fun pop-up shops, a mobile beauty parlor, DIY camp for making friendship bracelets and hanging out, food for the foodies, food for the carnival goers, and island recreation (Ferris wheel and outdoor games). Time passed without much effort, which is often a difficult task at a large festival where folks are waiting around to hear those two or three bands they came to see. With a nice mix of old school acts (Public Enemy), big Northern California talent (Dirty Ghosts, Toro Y Moi, Joanna Newsom, Tycho, Ty Segall, etc), and high quality international acts (The xx, SBTRKT, M83), the fest was designed to appeal to a fairly diverse audience. I was excited to see about half of the bands I knew and completely blown out of the water by eighty percent of the bands I didn’t know. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/treasure3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Here are some highlights from the weekend based almost exclusively on a crowd dance-o-meter and the general satisfaction of those around me.\u003c/p>\n\u003cp>The dancing started at the Tunnel Stage facing the San Francisco skyline, with the Bay Bridge just out of reach. Grimes completely delivered, transforming her unique sound into surprisingly sweet, fun, and uplifting beats. Claire Boucher’s project is often categorized as “dream-pop,” but her roots are in experimental electronic and industrial music. These characteristics are present in Grimes’ releases, but live it was as if they had been pumped full of adrenaline — a little bit ’90s, a little bit of noise pop, and lot of echoing voice. Just two songs into the set a sailboat slowly drifted behind the stage, the top quarter of its sails visible, a perfect complement to the breeziness of the music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Matthew Dear’s performance on \u003cb>Treasure Island’s\u003c/b> main Bridge Stage was good but a little out of place; the hard edges of Detroit techno and layered alt-rock came through loud and clear, but the music calls for a dark, cold basement, with a bit of condensation on the walls. A gorgeous outdoor venue on a lovely day just doesn’t lend itself to glitch. Dear’s haunting voice, and harsh synths make more sense in the dark.\u003c/p>\n\u003cp>The acts on the smaller Tunnel Stage, really out-shined the main Bridge Stage on Saturday. Toro y Moi cruised through their set mid-way through the lineup. Front man Chazwick Bundick’s effortless vocals backed by a mix of progressive rock and electronica land him in the chill category, which was perfect for SF’s Indian summer. Not a head in the crowd was left stationary.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/treasure6.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>The sun was low in the sky when AraabMuzik took the stage and remained so during his entire set, hovering behind him as if mesmerized like the rest of us. The blinding light placed Abraham Orellanz in dramatic silhouette outlining his lightning fast hands as they produced beats without stopping for anything or anyone. As another of the famous one-man bands, AraabMuzik blends Hip-hop, Dubstep and Electronic. Even though he was not the headliner, Orellanz basically stole the show, throwing down an almost impossible challenge to Girl Talk, the day’s closing act.\u003c/p>\n\u003cp>It was pretty cool to see Public Enemy on a stage, live, and in person. This iconic political rap group just celebrated twenty-five years together with two new albums. Flava Flav announced that Public Enemy has been nominated for induction into the Rock and Roll Hall of Fame, and with that he just might retire the clock around his neck. The energy was good with Public Enemy in command, but then I must have missed something because the vibe in the crowd turned sour — due to some comment made by Chuck D — and never really recovered for the rest of the set. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/treasure7.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>The considerably anticipated performance (can we call it a performance?) of Girl Talk was received well by a pulsing crowd. Greg Gillis samples popular music to assemble new songs. The meticulous process is commendable, but in terms of performing, Girl Talk had some ultra hip mashed-up visuals (owls, cats, banana gifs) and a stage full of people dancing. Leaf blowers propelled streamers into the crowd. However, these spectacular gestures were incongruous with the sight of Gillis head banging behind a computer full of songs that had already been mixed. I’m not a huge fan of the mash-up, and I’ve never really grown to love Girl Talk as much as my friends do, but I have to say he really pulled it out for a headliner. Near the end of the set Gillis passed the mic over to a friend who proposed to his girlfriend on stage. She said, “yes.” Who doesn’t love a musician for that? \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/treasure2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>On Day Two, Joanna Newsom’s mid-afternoon set was charming. Dressed in red gingham, she transported us to her far away land full of forests, hunters, lost loves, daddy long legs, and old-world tales of a made-up lore. Newsom’s famous harp and quirky voice carried the whimsy of her long tunes out on the wind, bringing the characters weaved in her imagination to vivid life on stage. She debuted a new song at \u003cb>Treasure Island\u003c/b>, performing “Look and Despair” solo on the piano.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cRuPSf2Zh34'\n title='//www.youtube.com/embed/cRuPSf2Zh34'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/treasure4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>M83 must have had a staff of people harvesting the fog over the Bay Area Sunday morning for their performance that night. The band combined a ton of the stuff and a masked wolf-man with lasers shooting out of his fingers to inspire smiles, smiles for miles from the crowd. M83 made running in place look sexy. The French band’s set was calculated, vibrant, and layered. Their bubbly synths poured into the crowd, the soft waning vocals built up like an electrical storm gaining more and more power the longer each song went on. Their crescendo came a bit too soon, however. The favored M83 song “Midnight City” came a little more than halfway into the set propelling the crowd into a rush of excitement only to be followed by several lesser known tunes and a dragged out ending.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/treasure5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>The much-anticipated moment of truth was delivered by The xx. The simultaneously subtle and elaborate stage lighting transported us off the island into a dream, much like an xx album. The group’s sultry and deliberate vocals filled the sound system with a satisfaction I don’t normally associate with outdoor music festivals. It felt as though their soft whispers were amplified on the illusory clouds in the stage above them. The lush light show backing them complimented the accretion of Romy Madley-Croft’s hazy guitar and Oliver Sim’s seductive voice. Their sound became a whole body experience that was impossible not to feel.\u003c/p>\n\u003cp>The \u003cb>Treasure Island Music Festival\u003c/b> rocks. On the sunniest day, with the best weather, the crowds were completely manageable. There was a substantial amount of people on the island, but it never felt claustrophobic. The stages are close together, easy to maneuver between and the timing was almost never off. I asked Allyson Baker of Dirty Ghosts why she was excited to play \u003cb>Treasure Island\u003c/b> and she followed with this response, “It’s one of the best festivals in the country and it’s incredibly well run.”\u003c/p>\n\u003cp>What makes \u003cb>Treasure Island Music Festival\u003c/b> stand out from other music festivals is its careful selection and pairing of bands per day. Rather than the “something for everyone” approach, this festival aimed for a cohesive vibe. Programmed almost like a mix tape from a lover, each act fit perfectly between the ones that came before and after, adding something to a developing musical dialogue. Overwhelming and exhausting are adjectives almost always used to describe music festivals. \u003cb>Treasure Island\u003c/b> provides high quality bands within a high quality production. The island has everything any festival goer could possibly want or need and the shuttle to and from San Francisco is truly better than navigating your own vehicle — even at the end of the night the line was always moving. These are the things that make seeing your favorite band at a festival worth it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco doesn’t really have much of an autumn. But what our city lacks in foliage it makes up for in festivals. Both \u003ca href=\"http://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass\u003c/a> and the upcoming \u003ca href=\"http://lineup.treasureislandfestival.com/?sort=day\">Treasure Island Music Festival\u003c/a> are opportunities to see old favorites, and discover some new ones. And in honor of those headliners and soon-to-be headliners, this episode features some great new music from festival pros, alongside a few musicians we think you’ll be donning dayglo for soon enough.\u003c/p>\n\u003cp>\u003cb>Tracklist:\u003c/b>\u003cbr>1. “Here I Am” — Adam Green and Binki Shapiro, \u003ci>Adam Green and Binki Shapiro\u003c/i>\u003cbr>2. “Losing You” — Solange, single\u003cbr>3. “Time” — Merchandise, \u003ci>Children of Desire\u003c/i>\u003cbr>4. “The Hill” — Snowmine, \u003ci>Laminate Pet Animal\u003c/i>\u003cbr>5. “Nature Boy” — Young Buffalo, \u003ci>Young Buffalo\u003c/i>\u003cbr>6. “Latch” — Disclosure, single\u003cbr>7. “Feels Like We Only Go Backwards” — Tame Impala, \u003ci>Lonerism\u003c/i>\u003cbr>8. “Teardrop Windows” — Benjamin Gibbard, \u003ci>Former Lives\u003c/i>\u003cbr>9. “Fuck You All the Time” — Jeremih, \u003ci>Late Nights With Jeremih\u003c/i> mixtape\u003cbr>10. “Cry For Judas” — Mountain Goats, \u003ci>Transcendental Youth\u003c/i>\u003cbr>11. “Belispeak II” — Purity Ring + Danny Brown, single\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco doesn’t really have much of an autumn. But what our city lacks in foliage it makes up for in festivals. Both \u003ca href=\"http://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass\u003c/a> and the upcoming \u003ca href=\"http://lineup.treasureislandfestival.com/?sort=day\">Treasure Island Music Festival\u003c/a> are opportunities to see old favorites, and discover some new ones. And in honor of those headliners and soon-to-be headliners, this episode features some great new music from festival pros, alongside a few musicians we think you’ll be donning dayglo for soon enough.\u003c/p>\n\u003cp>\u003cb>Tracklist:\u003c/b>\u003cbr>1. “Here I Am” — Adam Green and Binki Shapiro, \u003ci>Adam Green and Binki Shapiro\u003c/i>\u003cbr>2. “Losing You” — Solange, single\u003cbr>3. “Time” — Merchandise, \u003ci>Children of Desire\u003c/i>\u003cbr>4. “The Hill” — Snowmine, \u003ci>Laminate Pet Animal\u003c/i>\u003cbr>5. “Nature Boy” — Young Buffalo, \u003ci>Young Buffalo\u003c/i>\u003cbr>6. “Latch” — Disclosure, single\u003cbr>7. “Feels Like We Only Go Backwards” — Tame Impala, \u003ci>Lonerism\u003c/i>\u003cbr>8. “Teardrop Windows” — Benjamin Gibbard, \u003ci>Former Lives\u003c/i>\u003cbr>9. “Fuck You All the Time” — Jeremih, \u003ci>Late Nights With Jeremih\u003c/i> mixtape\u003cbr>10. “Cry For Judas” — Mountain Goats, \u003ci>Transcendental Youth\u003c/i>\u003cbr>11. “Belispeak II” — Purity Ring + Danny Brown, single\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Live music in the Bay Area in October means two big local music festivals in \u003ca href=\"http://www.thebaybridged.com/2012/09/19/mixtape-hardly-strictly-bluegrass-2012-preview-mix-podcast-287/\">Hardly Strictly Bluegrass\u003c/a> and \u003ca href=\"http://www.thebaybridged.com/2012/09/25/mixtape-2012-treasure-island-music-festival-mix-podcast-288/\">Treasure Island\u003c/a>, but smaller indoor temptations abound all month long. \u003ca href=\"http://www.facebook.com/pages/chris-cohen/147680308689555\">Chris Cohen\u003c/a> has a resume full of involvement in great bands, including Deerhoof and Cryptacize, but his new solo album is an intimate work that ranks as one of this year’s highlights; we’re excited for his return to SF for a show later this month. Other compelling performers arriving in SF include Austin instrumental rock band \u003ca href=\"http://www.facebook.com/pages/Balmorhea/32316089021\">Balmorhea\u003c/a> and LA retro-pop act \u003ca href=\"http://www.facebook.com/allahlasmusic\">Allah-Las\u003c/a>.\u003c/p>\n\u003cp>Also noteworthy: \u003ca href=\"http://www.facebook.com/CorinTuckerBand\">Corin Tucker\u003c/a> and \u003ca href=\"http://www.dragcity.com/artists/laetitia-sadier\">Laetitia Sadier\u003c/a> emerged from indie royalty Sleater-Kinney and Stereolab with solo projects, and both are now touring in support of well-received new albums. Finally, an overview of great concerts this month simply won’t be complete without mentioning that John Dwyer’s pre-Oh-Sees band \u003ca href=\"http://en.wikipedia.org/wiki/Coachwhips\">Coachwhips\u003c/a> are reuniting for two nights of mayhem.\u003c/p>\n\u003cp>Enjoy the mix and then go see some shows!\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/chris-cohen/147680308689555\">Chris Cohen\u003c/a> (“Caller No 99”)\u003cbr>Performing at the \u003ca href=\"http://hemlocktavern.com/prog_guide.php?adate_id=2012-10-18\">Hemlock Tavern\u003c/a> on October 18 with Ashley Eriksson (of Lake) and Coconut.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/unnaturalhelpers\">Unnatural Helpers\u003c/a> (“Toil”)\u003cbr>Playing with Cheap Time and Warm Soda at the \u003ca href=\"http://hemlocktavern.com/prog_guide.php?adate_id=2012-10-20\">Hemlock Tavern\u003c/a> on October 20 and \u003ca href=\"http://www.924gilman.org/blog/events/\">924 Gilman\u003c/a> on October 21.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/CorinTuckerBand\">Corin Tucker Band\u003c/a> (“Groundhog Day”)\u003cbr>Coming to \u003ca href=\"http://cafedunord.com/\">Cafe Du Nord\u003c/a> on October 10 with Mecca Normal.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/battlehooch\">Battlehooch\u003c/a> (“Joke”)\u003cbr>In residency at \u003ca href=\"http://theknockoutsf.com/\">The Knockout\u003c/a> every Wednesday in October.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/allahlasmusic\">Allah-Las\u003c/a> (“Busman’s Holiday”)\u003cbr>Co-headlining \u003ca href=\"http://www.bimbos365club.com/event/148159/\">Bimbo’s\u003c/a> with Nick Waterhouse on October 20.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/TheeOhSees\">Thee Oh Sees\u003c/a> (“Flood’s New Light”)\u003cbr>Returning to the \u003ca href=\"http://www.slimspresents.com/events/2012-10-12/thee-oh-sees/\">Great American Music Hall\u003c/a> with Sic Alps, Sonny and The Sunsets, and The Mallard on October 12.\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Coachwhips\">Coachwhips\u003c/a> (“I Made A Bomb”)\u003cbr>Reuniting for two shows at the \u003ca href=\"http://www.facebook.com/events/419084014804869/\">Total Trash Halloween weekend\u003c/a>, with shows at the Verdi Club and the Lobot Gallery on October 27 and 28, respectively.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/MelodysEchoChamber\">Melody’s Echo Chamber\u003c/a> (“Endless Shore”)\u003cbr>Supporting The Raveonettes at \u003ca href=\"http://www.bimbos365club.com/event/128561/\">Bimbo’s\u003c/a> on October 12.\u003c/p>\n\u003cp>\u003ca href=\"http://www.dragcity.com/artists/laetitia-sadier\">Laetitia Sadier\u003c/a> (“Find Me the Pulse of the Universe”)\u003cbr>Joining Orca Team, Pageants and DJ Dominique Leone at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> on October 5.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/purebathingculture\">Pure Bathing Culture\u003c/a> (“Ivory Coast”)\u003cbr>Playing with Exitmusic and Sun Airway at the Rickshaw Stop on October 16.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Balmorhea/32316089021\">Balmorhea\u003c/a> (“Pyrakantha”)\u003cbr>Performing with Young Moon at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> on October 29.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/jasonlytle\">Jason Lytle\u003c/a> (“Tomorrow’s Started”)\u003cbr>Performing at the \u003ca href=\"http://cafedunord.com/\">Swedish American Hall\u003c/a> on October 19 with Sea of Bees.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/lordhuron\">Lord Huron\u003c/a> (“Time to Run”)\u003cbr>Headlining \u003ca href=\"http://www.theindependentsf.com/event/140928/\">The Independent\u003c/a> on October 24 with Night Moves.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/whitearrows\">White Arrows\u003c/a> (“Get Gone”)\u003cbr>Coming to the \u003ca href=\"http://www.brickandmortarmusic.com/event/152519/\">Brick & Mortar Music Hall\u003c/a> on October 24 with Young Digerati and Miles the DJ.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/kflaymusic\">K.Flay\u003c/a> (“LA Again [feat. Michna]”)\u003cbr>Appearing at the \u003ca href=\"http://www.treasureislandfestival.com/2012/\">Treasure Island Music Festival\u003c/a> and at a \u003ca href=\"http://www.theindependentsf.com/event/166849/\">Treasure Island night show\u003c/a> on October 12.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Live music in the Bay Area in October means two big local music festivals in \u003ca href=\"http://www.thebaybridged.com/2012/09/19/mixtape-hardly-strictly-bluegrass-2012-preview-mix-podcast-287/\">Hardly Strictly Bluegrass\u003c/a> and \u003ca href=\"http://www.thebaybridged.com/2012/09/25/mixtape-2012-treasure-island-music-festival-mix-podcast-288/\">Treasure Island\u003c/a>, but smaller indoor temptations abound all month long. \u003ca href=\"http://www.facebook.com/pages/chris-cohen/147680308689555\">Chris Cohen\u003c/a> has a resume full of involvement in great bands, including Deerhoof and Cryptacize, but his new solo album is an intimate work that ranks as one of this year’s highlights; we’re excited for his return to SF for a show later this month. Other compelling performers arriving in SF include Austin instrumental rock band \u003ca href=\"http://www.facebook.com/pages/Balmorhea/32316089021\">Balmorhea\u003c/a> and LA retro-pop act \u003ca href=\"http://www.facebook.com/allahlasmusic\">Allah-Las\u003c/a>.\u003c/p>\n\u003cp>Also noteworthy: \u003ca href=\"http://www.facebook.com/CorinTuckerBand\">Corin Tucker\u003c/a> and \u003ca href=\"http://www.dragcity.com/artists/laetitia-sadier\">Laetitia Sadier\u003c/a> emerged from indie royalty Sleater-Kinney and Stereolab with solo projects, and both are now touring in support of well-received new albums. Finally, an overview of great concerts this month simply won’t be complete without mentioning that John Dwyer’s pre-Oh-Sees band \u003ca href=\"http://en.wikipedia.org/wiki/Coachwhips\">Coachwhips\u003c/a> are reuniting for two nights of mayhem.\u003c/p>\n\u003cp>Enjoy the mix and then go see some shows!\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/chris-cohen/147680308689555\">Chris Cohen\u003c/a> (“Caller No 99”)\u003cbr>Performing at the \u003ca href=\"http://hemlocktavern.com/prog_guide.php?adate_id=2012-10-18\">Hemlock Tavern\u003c/a> on October 18 with Ashley Eriksson (of Lake) and Coconut.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/unnaturalhelpers\">Unnatural Helpers\u003c/a> (“Toil”)\u003cbr>Playing with Cheap Time and Warm Soda at the \u003ca href=\"http://hemlocktavern.com/prog_guide.php?adate_id=2012-10-20\">Hemlock Tavern\u003c/a> on October 20 and \u003ca href=\"http://www.924gilman.org/blog/events/\">924 Gilman\u003c/a> on October 21.\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/CorinTuckerBand\">Corin Tucker Band\u003c/a> (“Groundhog Day”)\u003cbr>Coming to \u003ca href=\"http://cafedunord.com/\">Cafe Du Nord\u003c/a> on October 10 with Mecca Normal.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/battlehooch\">Battlehooch\u003c/a> (“Joke”)\u003cbr>In residency at \u003ca href=\"http://theknockoutsf.com/\">The Knockout\u003c/a> every Wednesday in October.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/allahlasmusic\">Allah-Las\u003c/a> (“Busman’s Holiday”)\u003cbr>Co-headlining \u003ca href=\"http://www.bimbos365club.com/event/148159/\">Bimbo’s\u003c/a> with Nick Waterhouse on October 20.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/TheeOhSees\">Thee Oh Sees\u003c/a> (“Flood’s New Light”)\u003cbr>Returning to the \u003ca href=\"http://www.slimspresents.com/events/2012-10-12/thee-oh-sees/\">Great American Music Hall\u003c/a> with Sic Alps, Sonny and The Sunsets, and The Mallard on October 12.\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Coachwhips\">Coachwhips\u003c/a> (“I Made A Bomb”)\u003cbr>Reuniting for two shows at the \u003ca href=\"http://www.facebook.com/events/419084014804869/\">Total Trash Halloween weekend\u003c/a>, with shows at the Verdi Club and the Lobot Gallery on October 27 and 28, respectively.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/MelodysEchoChamber\">Melody’s Echo Chamber\u003c/a> (“Endless Shore”)\u003cbr>Supporting The Raveonettes at \u003ca href=\"http://www.bimbos365club.com/event/128561/\">Bimbo’s\u003c/a> on October 12.\u003c/p>\n\u003cp>\u003ca href=\"http://www.dragcity.com/artists/laetitia-sadier\">Laetitia Sadier\u003c/a> (“Find Me the Pulse of the Universe”)\u003cbr>Joining Orca Team, Pageants and DJ Dominique Leone at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> on October 5.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/purebathingculture\">Pure Bathing Culture\u003c/a> (“Ivory Coast”)\u003cbr>Playing with Exitmusic and Sun Airway at the Rickshaw Stop on October 16.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Balmorhea/32316089021\">Balmorhea\u003c/a> (“Pyrakantha”)\u003cbr>Performing with Young Moon at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> on October 29.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/jasonlytle\">Jason Lytle\u003c/a> (“Tomorrow’s Started”)\u003cbr>Performing at the \u003ca href=\"http://cafedunord.com/\">Swedish American Hall\u003c/a> on October 19 with Sea of Bees.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/lordhuron\">Lord Huron\u003c/a> (“Time to Run”)\u003cbr>Headlining \u003ca href=\"http://www.theindependentsf.com/event/140928/\">The Independent\u003c/a> on October 24 with Night Moves.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/whitearrows\">White Arrows\u003c/a> (“Get Gone”)\u003cbr>Coming to the \u003ca href=\"http://www.brickandmortarmusic.com/event/152519/\">Brick & Mortar Music Hall\u003c/a> on October 24 with Young Digerati and Miles the DJ.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/kflaymusic\">K.Flay\u003c/a> (“LA Again [feat. Michna]”)\u003cbr>Appearing at the \u003ca href=\"http://www.treasureislandfestival.com/2012/\">Treasure Island Music Festival\u003c/a> and at a \u003ca href=\"http://www.theindependentsf.com/event/166849/\">Treasure Island night show\u003c/a> on October 12.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: Hardly Strictly Bluegrass 2012 Preview Mix",
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"content": "\u003cp>By its twelfth year, you’d be forgiven for taking the annual occurrence of the \u003cstrong>\u003ca href=\"http://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass Festival\u003c/a>\u003c/strong> for granted. The passing of founder Warren Hellman in December, however, brought with it a reminder that tens of thousands of people didn’t always flock to Golden Gate Park for three free days of music each fall. In fact, when one takes all of those elements — the large crowds, the no-cost attendance, the numerous off-the-dial performers — into consideration, the festival’s continued vitality seems less inevitable and far more astonishing.\u003c/p>\n\u003cp>True to its name, \u003cb>Hardly Strictly Bluegrass 12\u003c/b> (October 5-7, 2012) includes artists from a range of genres, pulling together an eclectic mix of legends (Elvis Costello, Steve Earle, Robyn Hitchcock, and Nick Lowe among them) and buzz bands (The Lumineers, The Head and the Heart, The Civil Wars), with some locals (Chuck Prophet, Tiny Television) and compelling weirdos (Dirty Three, Giant Giant Sand) thrown in for good measure. If not every artist at \u003cb>HSB 12\u003c/b> is an indie rock fan’s cup of tea, this mixtape makes the case that you would be plenty satisfied attending the festival even if you couldn’t tell the difference between old-time music and neo-traditional country.\u003c/p>\n\u003cp>\u003cu>\u003cstrong>Tracklisting:\u003c/strong>\u003c/u>\u003c/p>\n\u003cp>1. \u003ca href=\"http://www.thecalmingseas.com/\">Beachwood Sparks\u003c/a> — “Sparks Fly Again”\u003cbr>2. \u003ca href=\"http://www.dragcity.com/artists/dirty-three\">Dirty Three\u003c/a> — “Rising below”\u003cbr>3. \u003ca href=\"http://nicklowe.com/\">Nick Lowe\u003c/a> — “Checkout Time”\u003cbr>4. \u003ca href=\"http://howegelb.com/\">Giant Giant Sand\u003c/a> — “Forever and a Day”\u003cbr>5. \u003ca href=\"http://chuckprophet.com/\">Chuck Prophet\u003c/a> — “Castro Halloween”\u003cbr>6. \u003ca href=\"http://jonlangford.de/\">Jon Langford\u003c/a> — “Sentimental Marching Song”\u003cbr>7. \u003ca href=\"http://www.robynhitchcock.com/\">Robyn Hitchcock\u003c/a> — “Twitch 4 Sam Surfer”\u003cbr>8. \u003ca href=\"http://pattersonhood.com/\">Patterson Hood\u003c/a> — “Come Back Little Star”\u003cbr>9. \u003ca href=\"http://thelumineers.com/\">The Lumineers\u003c/a> — “Big Parade”\u003cbr>10. \u003ca href=\"http://www.theheartlessbastards.com/\">Heartless Bastards\u003c/a> — “Parted Ways”\u003cbr>11. \u003ca href=\"http://www.tinytele.com/\">Tiny Television\u003c/a> — “Hallelujah”\u003cbr>12. \u003ca href=\"http://www.theheadandtheheart.com/\">The Head and the Heart\u003c/a> — “Lost in My Mind”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By its twelfth year, you’d be forgiven for taking the annual occurrence of the \u003cstrong>\u003ca href=\"http://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass Festival\u003c/a>\u003c/strong> for granted. The passing of founder Warren Hellman in December, however, brought with it a reminder that tens of thousands of people didn’t always flock to Golden Gate Park for three free days of music each fall. In fact, when one takes all of those elements — the large crowds, the no-cost attendance, the numerous off-the-dial performers — into consideration, the festival’s continued vitality seems less inevitable and far more astonishing.\u003c/p>\n\u003cp>True to its name, \u003cb>Hardly Strictly Bluegrass 12\u003c/b> (October 5-7, 2012) includes artists from a range of genres, pulling together an eclectic mix of legends (Elvis Costello, Steve Earle, Robyn Hitchcock, and Nick Lowe among them) and buzz bands (The Lumineers, The Head and the Heart, The Civil Wars), with some locals (Chuck Prophet, Tiny Television) and compelling weirdos (Dirty Three, Giant Giant Sand) thrown in for good measure. If not every artist at \u003cb>HSB 12\u003c/b> is an indie rock fan’s cup of tea, this mixtape makes the case that you would be plenty satisfied attending the festival even if you couldn’t tell the difference between old-time music and neo-traditional country.\u003c/p>\n\u003cp>\u003cu>\u003cstrong>Tracklisting:\u003c/strong>\u003c/u>\u003c/p>\n\u003cp>1. \u003ca href=\"http://www.thecalmingseas.com/\">Beachwood Sparks\u003c/a> — “Sparks Fly Again”\u003cbr>2. \u003ca href=\"http://www.dragcity.com/artists/dirty-three\">Dirty Three\u003c/a> — “Rising below”\u003cbr>3. \u003ca href=\"http://nicklowe.com/\">Nick Lowe\u003c/a> — “Checkout Time”\u003cbr>4. \u003ca href=\"http://howegelb.com/\">Giant Giant Sand\u003c/a> — “Forever and a Day”\u003cbr>5. \u003ca href=\"http://chuckprophet.com/\">Chuck Prophet\u003c/a> — “Castro Halloween”\u003cbr>6. \u003ca href=\"http://jonlangford.de/\">Jon Langford\u003c/a> — “Sentimental Marching Song”\u003cbr>7. \u003ca href=\"http://www.robynhitchcock.com/\">Robyn Hitchcock\u003c/a> — “Twitch 4 Sam Surfer”\u003cbr>8. \u003ca href=\"http://pattersonhood.com/\">Patterson Hood\u003c/a> — “Come Back Little Star”\u003cbr>9. \u003ca href=\"http://thelumineers.com/\">The Lumineers\u003c/a> — “Big Parade”\u003cbr>10. \u003ca href=\"http://www.theheartlessbastards.com/\">Heartless Bastards\u003c/a> — “Parted Ways”\u003cbr>11. \u003ca href=\"http://www.tinytele.com/\">Tiny Television\u003c/a> — “Hallelujah”\u003cbr>12. \u003ca href=\"http://www.theheadandtheheart.com/\">The Head and the Heart\u003c/a> — “Lost in My Mind”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Talking to me about their new album of eclectic music, Meklit Hadero and Quinn DeVeaux keep using the word “we.” As in, “We’re lyrics freaks.” And, “We love the poetry of songs.” They sound like one of those couples that have been together for years — you know, the kind where each partner finish each other’s sentences — but Hadero and DeVeaux are relative newcomers to each other’s lives, and that’s what makes their musical collaboration even more impressive.\u003c/p>\n\u003cp>Released this week, their album — titled, appropriately enough, \u003ci>Meklit & Quinn \u003c/i> — is a seamless journey through a genre-defying lineup of songs. A smattering of their own tunes are there, but it’s mostly reinterpretations of other artists’ work, highlighted by Neil Young’s “Music Arcade,” Stevie Wonder’s “I Was Made to Love Her,” the Talking Heads’ “This Must Be the Place,” and Sam Cooke’s “Bring It On Home to Me.” Throughout the album, DeVeaux punctuates songs with steady guitar work and a soothing, resonant voice. Hadero offers a voice that’s mellifluous and malleable, a sonic gift that’s capable of sounding jazzy, bluesy, folk-rocky, and any other style she wants to inhabit. Their singing styles are entirely complementary, with DeVeaux the yin to Hadero’s yang. \u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=v0XxPO_R2Bg&w=500&h=281]\u003c/p>\n\u003cp>Based in the Bay Area (DeVeaux in Oakland, Hadero in San Francisco), the singer-songwriters are in the middle of a nationwide tour that stops on Sunday, September 23, at the Monterey Jazz Festival, and Tuesday, September 25, at Yoshi’s Oakland.\u003c/p>\n\u003cp>“When it comes to sensibility, we both really trust each other,” Hadero says. “We started the process (of \u003ci>Meklit & Quinn \u003c/i>) by bringing each other songs, and then both of us would go off and make super low-fi garage-band arrangements, where we recorded from microphones on our computers, and we built from there.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/meklit-quinn.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Their overlapping backgrounds made it easier. Hadero and DeVeaux both have CVs that stretch across America and American music. DeVeaux, who was raised in Indiana and went to college in Washington State, embraces multiple genres of music, especially blues, soul and gospel. Hadero, who was born in Ethiopia and raised in New York, Iowa, and Florida before attending college in New Haven, Conn., can sound at home in everything from hip-hop to straight-ahead jazz. On a song like “I Was Made to Love Her,” Hadero and Deveaux slow down the original version and apply a swanky veneer, giving the song a new, stylish mojo that makes you want to move Soul Train-style through a dance corridor. Other songs, like “Neighborhoods #1 (Tunnels),” which Arcade Fire initially did, are slower and more soul-stirring. My favorite number is “Look at What the Light Did Now,” a version of a tune by Bay Area singer Kyle Field that’s a moving tribute to a moment of transformation. \u003ci>Meklit & Quinn \u003c/i> features 21 other singers and musicians who provide accompaniment, everything from washboard to tuba, so the album is a collective effort. Its roots go back to May of 2010, when Hadero and DeVeaux performed on the same marquee at Bimbo’s 365 Club and did an impromptu on-stage encore of Cooke’s iconic, “Bring It on Home to Me.” That song ends their new album. \u003c/p>\n\u003cp>“That’s a song that both of us have lived with, and that’s a song that’s inside of both of us,” says Hadero. Seconds later, DeVeaux articulates a similar sentiment: “That’s a song I grew up with. When you hear it, it immediately has a place in your life. I started off doing the harmony, and Meklit did the melody, and it came together.” \u003c/p>\n\u003cp>Though performing for several years, and with several albums already released before \u003ci>Meklit & Quinn\u003c/i>, Hadero and DeVeaux are really at the first stages of their careers, when they are still new to many people who hear them on radio, or hear about them from word-of-mouth.\u003c/p>\n\u003cp>“Our collaboration happened really, really naturally,” says Hadero. “Collaboration is such a key aspect to your artistic growth. Everybody brings out something different in you. You see that in friendships. You see that in work relationships. Everywhere that interaction happens, a different part of you comes out. The Arcade Fire song, for example, I’ve been thinking about since 2004. And I wanted to do it in my set, but I never could. I never could. And I realized it was because of the tenderness that’s in that song. And the thing that I wanted to bring out only made sense as a duet. So, when Quinn and I started working on the song, I felt like it completed my idea of what I wanted to do with that song.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meklit Hadero and Quinn DeVeaux perform Sunday, September 23, at the \u003ca href=\"http://www.montereyjazzfestival.org/2012/\">Monterey Jazz Festival\u003c/a>, and Tuesday, September 25, at \u003ca href=\"http://www.yoshis.com/oakland\">Yoshi’s Oakland\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Talking to me about their new album of eclectic music, Meklit Hadero and Quinn DeVeaux keep using the word “we.” As in, “We’re lyrics freaks.” And, “We love the poetry of songs.” They sound like one of those couples that have been together for years — you know, the kind where each partner finish each other’s sentences — but Hadero and DeVeaux are relative newcomers to each other’s lives, and that’s what makes their musical collaboration even more impressive.\u003c/p>\n\u003cp>Released this week, their album — titled, appropriately enough, \u003ci>Meklit & Quinn \u003c/i> — is a seamless journey through a genre-defying lineup of songs. A smattering of their own tunes are there, but it’s mostly reinterpretations of other artists’ work, highlighted by Neil Young’s “Music Arcade,” Stevie Wonder’s “I Was Made to Love Her,” the Talking Heads’ “This Must Be the Place,” and Sam Cooke’s “Bring It On Home to Me.” Throughout the album, DeVeaux punctuates songs with steady guitar work and a soothing, resonant voice. Hadero offers a voice that’s mellifluous and malleable, a sonic gift that’s capable of sounding jazzy, bluesy, folk-rocky, and any other style she wants to inhabit. Their singing styles are entirely complementary, with DeVeaux the yin to Hadero’s yang. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/v0XxPO_R2Bg'\n title='//www.youtube.com/embed/v0XxPO_R2Bg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Based in the Bay Area (DeVeaux in Oakland, Hadero in San Francisco), the singer-songwriters are in the middle of a nationwide tour that stops on Sunday, September 23, at the Monterey Jazz Festival, and Tuesday, September 25, at Yoshi’s Oakland.\u003c/p>\n\u003cp>“When it comes to sensibility, we both really trust each other,” Hadero says. “We started the process (of \u003ci>Meklit & Quinn \u003c/i>) by bringing each other songs, and then both of us would go off and make super low-fi garage-band arrangements, where we recorded from microphones on our computers, and we built from there.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/meklit-quinn.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Their overlapping backgrounds made it easier. Hadero and DeVeaux both have CVs that stretch across America and American music. DeVeaux, who was raised in Indiana and went to college in Washington State, embraces multiple genres of music, especially blues, soul and gospel. Hadero, who was born in Ethiopia and raised in New York, Iowa, and Florida before attending college in New Haven, Conn., can sound at home in everything from hip-hop to straight-ahead jazz. On a song like “I Was Made to Love Her,” Hadero and Deveaux slow down the original version and apply a swanky veneer, giving the song a new, stylish mojo that makes you want to move Soul Train-style through a dance corridor. Other songs, like “Neighborhoods #1 (Tunnels),” which Arcade Fire initially did, are slower and more soul-stirring. My favorite number is “Look at What the Light Did Now,” a version of a tune by Bay Area singer Kyle Field that’s a moving tribute to a moment of transformation. \u003ci>Meklit & Quinn \u003c/i> features 21 other singers and musicians who provide accompaniment, everything from washboard to tuba, so the album is a collective effort. Its roots go back to May of 2010, when Hadero and DeVeaux performed on the same marquee at Bimbo’s 365 Club and did an impromptu on-stage encore of Cooke’s iconic, “Bring It on Home to Me.” That song ends their new album. \u003c/p>\n\u003cp>“That’s a song that both of us have lived with, and that’s a song that’s inside of both of us,” says Hadero. Seconds later, DeVeaux articulates a similar sentiment: “That’s a song I grew up with. When you hear it, it immediately has a place in your life. I started off doing the harmony, and Meklit did the melody, and it came together.” \u003c/p>\n\u003cp>Though performing for several years, and with several albums already released before \u003ci>Meklit & Quinn\u003c/i>, Hadero and DeVeaux are really at the first stages of their careers, when they are still new to many people who hear them on radio, or hear about them from word-of-mouth.\u003c/p>\n\u003cp>“Our collaboration happened really, really naturally,” says Hadero. “Collaboration is such a key aspect to your artistic growth. Everybody brings out something different in you. You see that in friendships. You see that in work relationships. Everywhere that interaction happens, a different part of you comes out. The Arcade Fire song, for example, I’ve been thinking about since 2004. And I wanted to do it in my set, but I never could. I never could. And I realized it was because of the tenderness that’s in that song. And the thing that I wanted to bring out only made sense as a duet. So, when Quinn and I started working on the song, I felt like it completed my idea of what I wanted to do with that song.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meklit Hadero and Quinn DeVeaux perform Sunday, September 23, at the \u003ca href=\"http://www.montereyjazzfestival.org/2012/\">Monterey Jazz Festival\u003c/a>, and Tuesday, September 25, at \u003ca href=\"http://www.yoshis.com/oakland\">Yoshi’s Oakland\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For his newest documentary, ODC Theater Resident Artist Paul Festa chronicled himself taking lessons on the Tchaikovsky violin concerto from various artists, none of whom are violinists. It’s OK because Festa is a violinist, and he knew the piece quite well to begin with.\u003c/p>\n\u003cp>It’s more than OK, actually, because it’s fascinating. What makes someone a “real” artist? What hinders him? In Festa’s case, a hand injury has been a factor, and his film doesn’t shy away from talk of debilitating wounds, which can be psychological as well as physical. \u003ci>Tie It Into My Hand\u003c/i> is what he calls it, quoting E. E. Cummings’ exaltation of someone who with fingers unable to hold a brush would issue that command — notable both for its determination and for needing someone else’s help.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Portrait of Paul Festa by Greg Gorman\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>John Fisher and Carey Perloff\u003c/p>\n\u003cp>Some of Festa’s instructors will seem familiar. Some are famous in their fields. Rather than waste time with introductions, however, he gets right to the lessons. And rather than training his camera on himself, he trains it on these others — advising, psychoanalyzing, challenging, consoling, and indeed instructing. Collectively they are a perceptive, open-hearted bunch, with much wisdom to share. “Oh, it’s so sweet,” one says, upon hearing a few bars. “I don’t know why you don’t have a career. Something must be wrong with your personality.” As another puts it, “We’re the frightened ones. It’s very scary being in front of your camera.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Peter Coyote\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Eisa Davis\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Monique Jenkinson, a.k.a. Fauxnique\u003c/p>\n\u003cp>In the similarly structured \u003ci>Apparition of the Eternal Church\u003c/i>, from 2006, Festa gathered an array of personal responses to Olivier Messiaen’s 1932 organ composition by filming people listening to it through headphones and parsing what they hear. In 2010’s \u003ci>The Glitter Emergency\u003c/i>, his fable in the silent-film style, and a rapturous fusion of camp and class, Festa cast himself as a pixie violinist, advising a peg-legged ballerina, “Do not turn away from the magic within you.”\u003c/p>\n\u003cp>\u003ci>Tie It Into My Hand\u003c/i> might be construed as a personal and spiritual synthesis of those earlier works. It’s also a highly elevated therapeutic exercise, innately inspirational without ever seeming too cheesy or self-serious, and the kind of thing you urgently want to share with your creative kin before even seeing how it ends. Ultimately Festa both illuminates and transcends the most universal aspects of performance anxiety, with the performance in question being not just a specific concerto but the entirety of the artist’s life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tie It Into My Hand\u003c/i> screens Friday, September 21 and Saturday, September 22, with \u003ci>The Glitter Emergency\u003c/i> at ODC Theater in San Francisco. Paul Festa accompanies the screenings with a live performance of the Tchaikovsky violin concerto. For \u003ca href=\"http://odctheater.org/\">tickets and information\u003c/a>, visit odctheater.org.\u003c/p>\n\n",
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"content": "\u003cp>In this episode, the Noise Pop team brings you fresh sounds from some promising new acts like Kisses and Elite Gymnastics, balanced with recent releases from reliable indie greats like David Byrne and AC Newman. This well-rounded list suggests a fall full of potential for indie music.\u003c/p>\n\u003cp>\u003cb>\u003cu>Tracklist:\u003c/u>\u003c/b>\u003cbr>1. “I’m Not Talking” — AC Newman, \u003ci>Shut Down the Streets\u003c/i>\u003cbr>2. “Rest Your Mind” — K Flay (feat. Felix Cartal), single\u003cbr>3. “Andreja 4 Ever” — Elite Gymnastics, \u003ci>Adult Swim Singles Program\u003c/i>\u003cbr>4. “Who” — David Byrne and St Vincent, \u003ci>Love This Giant\u003c/i>\u003cbr>5. “Jonathan’s Hope” — WHY?, \u003ci>Mumps, etc.\u003c/i>\u003cbr>6. “Only In My Dreams” — Ariel Pink’s Haunted Graffiti, \u003ci>Mature Themes\u003c/i>\u003cbr>7. “Cheap Beer” — Fidlar, untitled LP\u003cbr>8. “French Lessons” — Levek, \u003ci>Look a Little Closer\u003c/i>\u003cbr> 9. “False Astronomy” — Mister Lies, \u003ci>Hidden Neighbors\u003c/i> EP\u003cbr>10. “Funny Heartbeat” — Kisses, single\u003cbr>11. “Application 45 Version 1” — Johnny Greenwood, \u003ci>The Master\u003c/i> Original Soundtrack\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Weeding through all the new music out there can be a time-consuming process. Luckily for you, I’ve compiled a handy list of all the songs you don’t know you already love.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>CAT POWER: RUIN\u003c/b>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=_nl3Oo4-IQ4&version=3&showinfo=0&hl=en_US&rel=0]\u003c/p>\n\u003cp>There are certain songs that slice their way into your anatomy as devotedly as shrapnel. And most of Cat Power’s songs are like that for me. I’ve imitated Chan’s husky spirit-beaten voice more times than i can remember, on bike rides to the beach and up mountains, over the kitchen sink washing the dishes a murky swirl being sucked down the drain, slow dancing with boys in their unfamiliar, disordered bedrooms. Suffice it to say, her music has hitched a spiraling ride on my DNA and the newest hitchhiker is “Ruin.” Chan recorded this, along with the rest of her ninth album \u003ci>Sun\u003c/i>, after being dumped by actor Giovanni Ribisi, moving to Paris, and cutting all her hair off. She always had a flair for histrionics and, in a world of uncertainty, it’s nice to be able to count on our girl being as dramatic as ever.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>LE1F: WUT\u003c/b>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=Nrnq4SZ0luc?rel=0&showinfo=0&w=500&h=281]\u003c/p>\n\u003cp>Maybe you heard about \u003ca href=\"http://sfist.com/2012/09/05/double_rainbow_delights_san_francis_1.php#photo-1\">the mind-bogglingly epic double rainbow\u003c/a> in San Francisco last week? Well, if you were lucky enough to catch sight of it, you know all about the flood of serotonin that it inspired. Strangers on the street were stupid with happiness, chit chatting with each other, loving being alive at the same time as everyone else. And that’s the feeling I get when I watch Le1f’s music video for “Wut.” The rap scene isn’t exactly known for its tolerance of gays, which is why it’s so refreshing to see someone as skilled and as flamboyant as Le1f doing his thing so unapologetically. Get light in your loafers and click play.\u003c/p>\n\u003cp>\u003cb>U.S. GIRLS: JACK\u003c/b>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=9gPGflHGx7A&version=3&showinfo=0&hl=en_US&rel=0]\u003c/p>\n\u003cp>Megan Remy, the force behind this lo-fi project, is a weirdo, and I say that in the most loving way. Her raw, nostalgic songs feel like hallucinations or night terrors of forgotten songs or styles from past decades. On 2011’s \u003ci>U.S. GIRLS on KRAAK\u003c/i>, she covered Brandy and Monica’s “The Boy Is Mine” (!!!), exorcising the original of its sassy lightness and spiking it with something sinister. “Jack,” her first single from the forthcoming \u003ci>GEM\u003c/i>, is also a cover, this time of the 1991 Brock Robinson song about a dream that he was Jack the Ripper. Like the maniac that inspired the original, Remy kills this version dead, wearing a turban no less!\u003c/p>\n\u003cp>\u003cb>KINDNESS: HOUSE\u003c/b>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=xmwCxCVsWV4?rel=0&showinfo=0&w=500&h=281]\u003c/p>\n\u003cp>Do you ever question the innate goodness of humanity? Endless wars, petty election sniping, and that jerk mean muggin’ on the Geary bus can get to a person. Thankfully for us, there’s this British singer/songwriter by the name of Adam Bainbridge that is so nice that he named his music project Kindness. But he doesn’t stop at making cheery dance music. He takes it one step further in the music video for “House,” in which he teaches a young boy how to use a drum machine and then recruits him to help out with the song and some cute-as-pie dancing too. If you’re not smiling by the end of this video, I’m sorry to say you’re kind of a monster.\u003c/p>\n\u003cp>\u003cb>CHROMATICS: LADY\u003c/b>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=tbx8qRg6tPE&version=3&showinfo=0&hl=en_US&rel=0]\u003c/p>\n\u003cp>The first piece I ever wrote for KQED Arts way back in 2007 A.D. was \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=20083\">a review of the Chromatics’ \u003ci>Night Drive\u003c/i>\u003c/a>. 5 years later, a lot of things have changed, mainly that I no longer get student discounts and I have a lot more chest hair. But one thing has stayed put and that’s my love for the Chromatics. I mean, did you see \u003ci>Drive\u003c/i> (a.k.a. Ryan Gosling Is Hot and Has a Cool Jacket and Is Not Afraid to Bash Your Head In for Love)? A large part of that film’s success is due to the Chromatics-heavy soundtrack. And “Lady,” snatched from the band’s latest full length \u003ci>Kill for Love\u003c/i>, is just as punishing as Gosling’s dashing good looks.\u003c/p>\n\u003cp>\u003cb>ELITE GYMNASTICS: ANDREJA 4-EVER\u003c/b>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=4t97_AIXsE0&version=3&showinfo=0&hl=en_US&rel=0]\u003c/p>\n\u003cp>James Brooks may have been ditched by his only bandmate earlier this month, but, judging by “Andreja 4-Ever,” his lovely contribution to this year’s \u003ca href=\"http://www.adultswim.com/promos/201206_singles/index.html\">Adult Swim Singles Program\u003c/a>, that doesn’t seem to be slowing him down any. The song is an ode to feminist critic Andreja Dworkin, who inspired Brooks to get over his fear of sex. You can hear his gratitude in the way he drags out her name in the song’s chorus. When asked about the track, Brooks had this to say: “I feel like, after the second-wave feminists, there’s just been such a regressive attitude about feminism that’s been so helpful to the patriarchy and so harmful to everyone else and people just accept it and that makes me miserable. Dworkin is not an albatross, she was a f***ing hero.” Um, something just got in my eye. I’ll be right back.\u003c/p>\n\u003cp>\u003cb>TOPS: DIAMOND LOOK\u003c/b>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" alt=\"\" src=\"http://getcrypticcult.files.wordpress.com/2012/08/tops.jpg?w=545\">\u003c/p>\n\u003cp>\u003ca href=\"http://tops.bandcamp.com/track/diamond-look\">Diamond Look by TOPS\u003c/a>\u003c/p>\n\u003cp>You can generally judge a person by who their friends are. And in TOPS’ case, that’s a very good thing, as their buddy and label mate happens to be Grimes (who just released \u003ca href=\"http://youtu.be/1FH-q0I1fJY\">a crazy music video you really need to see\u003c/a>). This foursome from Montreal deals in dreamy synths and gentle rock, but the most striking thing about their sound is Jane Penny’s voice that manages to be kooky, jazzy, playful, and sweet all at the same time. I wish they would swap her voice in for the recorded one on Muni that mispronounces Valencia. That would be really nice.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"text-decoration: underline\">\u003ci>BONUS:\u003c/i>\u003c/span> TAYLOR SWIFT: WE ARE NEVER EVER GETTING BACK TOGETHER\u003c/b>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=gcMn_Eu-XTE&version=3&hl=en_US&showinfo=0&rel=0]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I know what you’re thinking. And you’re wrong. Cause I was too. The first time I heard this song, I tuned it out as something just for tween girls with colored braces. But, if you stop rollin’ your eyes long enough and open your mind just a smidge, you’ll discover the possibility that you might actually really like a sugary pop song by Tay Tay Swift. Produced by pop maestro Max Martin (Kelly Clarkson’s “Since U Been Gone,” Britney’s “Baby One More Time,” Backstreet Boys’ “I Want It That Way,” etc. etc.), this confessional ear-worm is impossible to resist. It’s cute, cheeky, and catchy as hell. And it’s totally about Jake Gyllenhaal.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>LE1F: WUT\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Nrnq4SZ0luc?rel=0'\n title='//www.youtube.com/embed/Nrnq4SZ0luc?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Maybe you heard about \u003ca href=\"http://sfist.com/2012/09/05/double_rainbow_delights_san_francis_1.php#photo-1\">the mind-bogglingly epic double rainbow\u003c/a> in San Francisco last week? Well, if you were lucky enough to catch sight of it, you know all about the flood of serotonin that it inspired. Strangers on the street were stupid with happiness, chit chatting with each other, loving being alive at the same time as everyone else. And that’s the feeling I get when I watch Le1f’s music video for “Wut.” The rap scene isn’t exactly known for its tolerance of gays, which is why it’s so refreshing to see someone as skilled and as flamboyant as Le1f doing his thing so unapologetically. Get light in your loafers and click play.\u003c/p>\n\u003cp>\u003cb>U.S. GIRLS: JACK\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9gPGflHGx7A'\n title='//www.youtube.com/embed/9gPGflHGx7A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Megan Remy, the force behind this lo-fi project, is a weirdo, and I say that in the most loving way. Her raw, nostalgic songs feel like hallucinations or night terrors of forgotten songs or styles from past decades. 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Like the maniac that inspired the original, Remy kills this version dead, wearing a turban no less!\u003c/p>\n\u003cp>\u003cb>KINDNESS: HOUSE\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xmwCxCVsWV4?rel=0'\n title='//www.youtube.com/embed/xmwCxCVsWV4?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Do you ever question the innate goodness of humanity? Endless wars, petty election sniping, and that jerk mean muggin’ on the Geary bus can get to a person. Thankfully for us, there’s this British singer/songwriter by the name of Adam Bainbridge that is so nice that he named his music project Kindness. But he doesn’t stop at making cheery dance music. He takes it one step further in the music video for “House,” in which he teaches a young boy how to use a drum machine and then recruits him to help out with the song and some cute-as-pie dancing too. If you’re not smiling by the end of this video, I’m sorry to say you’re kind of a monster.\u003c/p>\n\u003cp>\u003cb>CHROMATICS: LADY\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tbx8qRg6tPE'\n title='//www.youtube.com/embed/tbx8qRg6tPE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The first piece I ever wrote for KQED Arts way back in 2007 A.D. was \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=20083\">a review of the Chromatics’ \u003ci>Night Drive\u003c/i>\u003c/a>. 5 years later, a lot of things have changed, mainly that I no longer get student discounts and I have a lot more chest hair. But one thing has stayed put and that’s my love for the Chromatics. I mean, did you see \u003ci>Drive\u003c/i> (a.k.a. Ryan Gosling Is Hot and Has a Cool Jacket and Is Not Afraid to Bash Your Head In for Love)? A large part of that film’s success is due to the Chromatics-heavy soundtrack. And “Lady,” snatched from the band’s latest full length \u003ci>Kill for Love\u003c/i>, is just as punishing as Gosling’s dashing good looks.\u003c/p>\n\u003cp>\u003cb>ELITE GYMNASTICS: ANDREJA 4-EVER\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4t97_AIXsE0'\n title='//www.youtube.com/embed/4t97_AIXsE0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>James Brooks may have been ditched by his only bandmate earlier this month, but, judging by “Andreja 4-Ever,” his lovely contribution to this year’s \u003ca href=\"http://www.adultswim.com/promos/201206_singles/index.html\">Adult Swim Singles Program\u003c/a>, that doesn’t seem to be slowing him down any. The song is an ode to feminist critic Andreja Dworkin, who inspired Brooks to get over his fear of sex. You can hear his gratitude in the way he drags out her name in the song’s chorus. When asked about the track, Brooks had this to say: “I feel like, after the second-wave feminists, there’s just been such a regressive attitude about feminism that’s been so helpful to the patriarchy and so harmful to everyone else and people just accept it and that makes me miserable. Dworkin is not an albatross, she was a f***ing hero.” Um, something just got in my eye. I’ll be right back.\u003c/p>\n\u003cp>\u003cb>TOPS: DIAMOND LOOK\u003c/b>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" alt=\"\" src=\"http://getcrypticcult.files.wordpress.com/2012/08/tops.jpg?w=545\">\u003c/p>\n\u003cp>\u003ca href=\"http://tops.bandcamp.com/track/diamond-look\">Diamond Look by TOPS\u003c/a>\u003c/p>\n\u003cp>You can generally judge a person by who their friends are. And in TOPS’ case, that’s a very good thing, as their buddy and label mate happens to be Grimes (who just released \u003ca href=\"http://youtu.be/1FH-q0I1fJY\">a crazy music video you really need to see\u003c/a>). This foursome from Montreal deals in dreamy synths and gentle rock, but the most striking thing about their sound is Jane Penny’s voice that manages to be kooky, jazzy, playful, and sweet all at the same time. I wish they would swap her voice in for the recorded one on Muni that mispronounces Valencia. That would be really nice.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"text-decoration: underline\">\u003ci>BONUS:\u003c/i>\u003c/span> TAYLOR SWIFT: WE ARE NEVER EVER GETTING BACK TOGETHER\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gcMn_Eu-XTE'\n title='//www.youtube.com/embed/gcMn_Eu-XTE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I know what you’re thinking. And you’re wrong. Cause I was too. The first time I heard this song, I tuned it out as something just for tween girls with colored braces. But, if you stop rollin’ your eyes long enough and open your mind just a smidge, you’ll discover the possibility that you might actually really like a sugary pop song by Tay Tay Swift. Produced by pop maestro Max Martin (Kelly Clarkson’s “Since U Been Gone,” Britney’s “Baby One More Time,” Backstreet Boys’ “I Want It That Way,” etc. etc.), this confessional ear-worm is impossible to resist. It’s cute, cheeky, and catchy as hell. And it’s totally about Jake Gyllenhaal.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>September is overflowing with compelling live music choices — so many in fact, a bunch of significant concerts didn’t make the podcast. Of the picks that did make the cut, however, our top pick is our fifth annual \u003cstrong>\u003ca href=\"http://www.rockmake.com/\">Rock Make Street Festival\u003c/a>\u003c/strong>, which brings 70 arts and crafts vendors and twelve local bands to 18th Street and Treat Avenue in the Mission District on September 15th for an all-day celebration of local creativity. We’re really proud of this annual favorite, and this year’s installment probably features our best lineup to date, including John Vanderslice, Tartufi, Exray’s, Burnt Ones, and many more.\u003c/p>\n\u003cp>Of course, Rock Make’s not the only festival hitting the Bay this month, as the \u003ca href=\"http://www.facebook.com/missioncreekoak\">Mission Creek Oakland Music and Arts Festival\u003c/a> returns with an expanded array of great locally-focused concerts in a variety of East Bay venues and performance spaces. Speaking of Oakland, I’d recommend you head there after Rock Make ends on September 15th to see \u003ca href=\"http://www.facebook.com/weekendtheband\">Weekend\u003c/a>‘s farewell show at the Uptown. The shoegazey rock trio aren’t breaking up, but they are moving to New York, and it’s sad to say goodbye to one of our favorite local bands. With a new album coming soon, though, this probably won’t be the last we see of them around these parts. \u003c/p>\n\u003cp>As always, enjoy the mix 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=\"http://sicalps.com/\">Sic Alps\u003c/a> — “Glyphs”\u003cbr>Celebrating the release of \u003cem>Sic Alps\u003c/em> at the \u003ca href=\"http://www.makeoutroom.com/events/\">Make-Out Room\u003c/a> on September 7, and supporting Thee Oh Sees at \u003ca href=\"http://www.uptownnightclub.com/event-calendar/\">The Uptown\u003c/a> on September 8.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/exraysvision\">Exray’s\u003c/a> — “Yellow Light”\u003cbr>One of twelve great bands performing at the \u003ca href=\"http://www.rockmake.com/\">2012 Rock Make Street Festival\u003c/a>, which also features 70 arts and crafts vendors, food trucks, a beer garden and more!\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Spaceghost/108099322561431\">Space Ghost\u003c/a> — “3 Weeks”\u003cbr>Performing at \u003ca href=\"http://www.uptownnightclub.com/event-calendar/\">the Uptown\u003c/a> with Antwon, Friendzone, and more as part of the \u003ca href=\"http://www.facebook.com/missioncreekoak\">Mission Creek Oakland Music and Arts Festival\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/MoonfaceOfficial\">Moonface\u003c/a> — “Teary Eyes and Bloody Lips”\u003cbr>Headlining \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on September 12, with Foxygen supporting.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/mariaminervamusic\">Maria Minerva\u003c/a> — “The Sound”\u003cbr>Coming to the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on September 30 with Father Finger, Bobby Browser, and Epicsauce DJs.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/weekendtheband\">Weekend\u003c/a> — “Hazel”\u003cbr>Playing their final local show before moving to New York on September 15 at \u003ca href=\"http://www.uptownnightclub.com/event-calendar/\">the Uptown\u003c/a> with Deafheaven and Wild Moth.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Holograms/189013764538916\">Holograms\u003c/a> — “Chasing My Mind”\u003cbr>Joining Maus Haus and Group Rhoda at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on September 21.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/eternalsummers\">Eternal Summers\u003c/a> — “Millions”\u003cbr>The Virginia band’s tour with Bleeding Rainbow hits \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> on September 12.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Mac-DeMarco/301768729858252\">Mac DeMarco\u003c/a> — “My Kind of Woman”\u003cbr>Appearing with Melted Toys and Surf Club at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on September 14.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/uglywinner\">Ugly Winner\u003c/a> — “Senses Safe”\u003cbr>One of many bands performing at \u003ca href=\"http://www.facebook.com/twentysidedrecords\">20 Sided Records\u003c/a>‘ compilation release party at \u003ca href=\"http://theeparkside.com/\">Thee Parkside\u003c/a> on September 29.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Nude-Beach-band/107185392695282\">Nude Beach\u003c/a> — “Walkin’ Down My Street”\u003cbr>The Brooklyn band’s \u003ca href=\"http://www.facebook.com/events/388684987851624/\">West Coast tour\u003c/a> includes stops at 924 Gilman on September 16 and Amoeba SF and The Knockout on September 17.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.sixorgans.com/\">Six Organs of Admittance\u003c/a> — “Waswasa”\u003cbr>Performing on September 22 at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> with SF’s Young Moon and Donovan Quinn.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>September is overflowing with compelling live music choices — so many in fact, a bunch of significant concerts didn’t make the podcast. Of the picks that did make the cut, however, our top pick is our fifth annual \u003cstrong>\u003ca href=\"http://www.rockmake.com/\">Rock Make Street Festival\u003c/a>\u003c/strong>, which brings 70 arts and crafts vendors and twelve local bands to 18th Street and Treat Avenue in the Mission District on September 15th for an all-day celebration of local creativity. We’re really proud of this annual favorite, and this year’s installment probably features our best lineup to date, including John Vanderslice, Tartufi, Exray’s, Burnt Ones, and many more.\u003c/p>\n\u003cp>Of course, Rock Make’s not the only festival hitting the Bay this month, as the \u003ca href=\"http://www.facebook.com/missioncreekoak\">Mission Creek Oakland Music and Arts Festival\u003c/a> returns with an expanded array of great locally-focused concerts in a variety of East Bay venues and performance spaces. Speaking of Oakland, I’d recommend you head there after Rock Make ends on September 15th to see \u003ca href=\"http://www.facebook.com/weekendtheband\">Weekend\u003c/a>‘s farewell show at the Uptown. The shoegazey rock trio aren’t breaking up, but they are moving to New York, and it’s sad to say goodbye to one of our favorite local bands. With a new album coming soon, though, this probably won’t be the last we see of them around these parts. \u003c/p>\n\u003cp>As always, enjoy the mix 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=\"http://sicalps.com/\">Sic Alps\u003c/a> — “Glyphs”\u003cbr>Celebrating the release of \u003cem>Sic Alps\u003c/em> at the \u003ca href=\"http://www.makeoutroom.com/events/\">Make-Out Room\u003c/a> on September 7, and supporting Thee Oh Sees at \u003ca href=\"http://www.uptownnightclub.com/event-calendar/\">The Uptown\u003c/a> on September 8.\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/exraysvision\">Exray’s\u003c/a> — “Yellow Light”\u003cbr>One of twelve great bands performing at the \u003ca href=\"http://www.rockmake.com/\">2012 Rock Make Street Festival\u003c/a>, which also features 70 arts and crafts vendors, food trucks, a beer garden and more!\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Spaceghost/108099322561431\">Space Ghost\u003c/a> — “3 Weeks”\u003cbr>Performing at \u003ca href=\"http://www.uptownnightclub.com/event-calendar/\">the Uptown\u003c/a> with Antwon, Friendzone, and more as part of the \u003ca href=\"http://www.facebook.com/missioncreekoak\">Mission Creek Oakland Music and Arts Festival\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/MoonfaceOfficial\">Moonface\u003c/a> — “Teary Eyes and Bloody Lips”\u003cbr>Headlining \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on September 12, with Foxygen supporting.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/mariaminervamusic\">Maria Minerva\u003c/a> — “The Sound”\u003cbr>Coming to the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on September 30 with Father Finger, Bobby Browser, and Epicsauce DJs.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/weekendtheband\">Weekend\u003c/a> — “Hazel”\u003cbr>Playing their final local show before moving to New York on September 15 at \u003ca href=\"http://www.uptownnightclub.com/event-calendar/\">the Uptown\u003c/a> with Deafheaven and Wild Moth.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Holograms/189013764538916\">Holograms\u003c/a> — “Chasing My Mind”\u003cbr>Joining Maus Haus and Group Rhoda at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on September 21.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/eternalsummers\">Eternal Summers\u003c/a> — “Millions”\u003cbr>The Virginia band’s tour with Bleeding Rainbow hits \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> on September 12.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Mac-DeMarco/301768729858252\">Mac DeMarco\u003c/a> — “My Kind of Woman”\u003cbr>Appearing with Melted Toys and Surf Club at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on September 14.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/uglywinner\">Ugly Winner\u003c/a> — “Senses Safe”\u003cbr>One of many bands performing at \u003ca href=\"http://www.facebook.com/twentysidedrecords\">20 Sided Records\u003c/a>‘ compilation release party at \u003ca href=\"http://theeparkside.com/\">Thee Parkside\u003c/a> on September 29.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Nude-Beach-band/107185392695282\">Nude Beach\u003c/a> — “Walkin’ Down My Street”\u003cbr>The Brooklyn band’s \u003ca href=\"http://www.facebook.com/events/388684987851624/\">West Coast tour\u003c/a> includes stops at 924 Gilman on September 16 and Amoeba SF and The Knockout on September 17.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.sixorgans.com/\">Six Organs of Admittance\u003c/a> — “Waswasa”\u003cbr>Performing on September 22 at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> with SF’s Young Moon and Donovan Quinn.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Indie Song of the Summer, 2012",
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"content": "\u003cp>It’s been building for 3 months and now it’s finally here, the indie song of the summer! There are several ways to define a song as a great summer song: it can be carefree, sweet, propulsive, lazy, emotional, detached. It can be anything really. The one thing it must have is the collective acknowledgment that “this is the soundtrack to my season; this is what I’m going to remember summer 2012 by.” The following list of songs are what defined summer for many of us and, based on the quality of the list, it’s clearly been a good year for music. Enjoy!\u003c/p>\n\u003cp>\u003cb>Tracklist:\u003c/b>\u003cbr> 1. “Five Seconds” — Twin Shadow, \u003ci>Confess\u003c/i>\u003cbr> 2. “All of Me” — Tanlines, \u003ci>Mixed Emotions\u003c/i>\u003cbr>3. “Fineshrine” — Purity Ring, \u003ci>Shrines\u003c/i>\u003cbr> 4. “Express Yourself” — Diplo featuring Nicky Da B, \u003ci>Mixtape\u003c/i>\u003cbr>5. “Super Rich Kids” — Frank Ocean, \u003ci>Channel Orange\u003c/i>\u003cbr>6. “Constant Conversations” — Passion Pit, \u003ci>Gossamer\u003c/i>\u003cbr> 7. “I Love It” — Icona Pop, Single\u003cbr>8. “Ho Hey” — The Lumineers, \u003ci>The Lumineers\u003c/i>\u003cbr>9. “Let’s Go” — Matt & Kim, \u003ci>Lightning\u003c/i>\u003cbr> 10. “Wildest Moments” — Jessie Ware, \u003ci>Devotion\u003c/i>\u003cbr>11. “The House That Heaven Built” – Japandroids, \u003ci>Celebration Rock\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Once you graduate from your final level of schooling, summer instantly turns into something different. School’s out forever, so it’s no longer capital-S Summer, it’s now simply the time in which your commute to work is at its warmest and sweatiest. As a result, we need our culture to help remind us why summer is still special and how amazing 3 months of nothing used to be. To help us through, we have summer blockbusters, we have fireworks and most important to us at Noise Pop we have the song of the summer (herein referred to as S.O.S.). The S.O.S. is a tune meant to unify all the parties we attend and all the parties we overhear. An S.O.S. should be peppy, upbeat, easy and interactive — whether that means a pump of the fist or a twist of the hip. Ideally it talks about summery things: love, beach, water, sun, youth, but at its best it simply evokes these things. A great summer song makes one feel younger, in a visceral sense; it lets our brains, for three minutes, think: “I don’t have school tomorrow!”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=Kr0tTbTbmVA&w=480&h=360]\u003c/p>\n\u003cp>A couple years back, \u003ca href=\"http://www.buzzfeed.com/mjs538/the-songs-of-the-summer-1940-2010\">Buzzfeed designated all the S.O.S’s dating back to 1940\u003c/a>, seemingly based on each song’s chart position. The results were a bit wonky. Sure, 1964’s list had The Beach Boys, but six years prior they had “Purple People Eater,” a song so out of place it might as well have been “Monster Mash.” Flash forward to the late ’80s / early ’90s, and we see the type of definitive summer songs that we’ve come to associate with the term: “Summertime” by DJ Jazzy Jeff and the Fresh Prince, “Baby Got Back” by Sir Mix-A-Lot, and, well, “The Macarena.” As things started to get real pop, a divide became clearer between the pop song of the summer and the indie song of the summer. In 2005, every party in the Marina played Mariah Carey’s “We Belong Together” while every party in The Mission played LCD Soundsystem’s “Daft Punk Is Playing at My House.” If you need more proof, just look at the difference between \u003ca href=\"http://stereogum.com/1083812/and-the-indie-song-of-the-summer-2012-is/top-stories/\">Stereogum\u003c/a> and \u003ca href=\"http://www.vulture.com/2012/05/song-of-summer-2012-its-that-time-again.html\">Vulture\u003c/a>‘s list of recent summer songs. That said, these things obviously aren’t absolutes; depending on levels of irony and hipness, anything could be played anywhere. Last year there was some unity between the pop and indie worlds — both the pop S.O.S., Adele’s “Rolling in the Deep,” and the indie S.O.S., Foster The People’s “Pumped Up Kicks,” were likely both played at every summer get-together. These two songs may seem like they live in two different worlds, but they each hit some of the S.O.S precepts.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=Cj8JrQ9w5jY&w=480&h=360]\u003c/p>\n\u003cp>These two vastly different songs demonstrate the simple complexity of the S.O.S. Part of the beauty of an S.O.S is that there are clear forerunners, but number one is in the ear of the beholder. The S.O.S is about personal, not critical, experience. And there are plenty of great choices this year. In the pop world, let’s face it, “Call Me Maybe,” is probably the winner. It’s impossible to ignore the song. It’s damn near the platonic ideal of a summer song: it’s catchy, bright, escapist, earnest and a bit frivolous. There is an aw shucks quality to it and an utter void of seriousness that is perfect for reckless summer fun. But, that isn’t the end of the S.O.S story. “Call me Maybe” may be the pop ringer, but we’ve collected some well-matched contenders in the indie corner with a little more… depth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=UxxajLWwzqY&w=480&h=270]\u003c/p>\n\u003cp>“I Love It” by Icona Pop literally mentions summer, has a solid four-to-the-floor dance beat, evokes dumb youth, and just begs to be heard in a room with kinetic bodies pressing against one another. Hot Chip’s “Night and Day” is the other main contender for the summer’s most danceable song and features a sing-a-long chorus to boot. Best Coast’s “The Only Place” is a summer song in the way all of her songs are: it’s a bouncy number about being young “with the sun in our eyes” and going to the beach. Here We Go Magic’s “How Do I Know” isn’t as explicitly summery but it has an intangibly summer vibe and is easily the summer song’s best fit for some top-down convertible driving. “Five Seconds” by Twin Shadow has the drive and bounce of a summer song and would seamlessly fit into any teen movie from the ’80s. Purity Ring’s “Fineshrine,” with its romantic pulses and glitch drumrolls, would be a perfect soundtrack for the 2020 remake of any of those teen movies from the ’80s. Or maybe the best choice is not one but two songs, if both those songs are by Frank Ocean. He released the best and most talked about album of the summer and two, for a lack of a better word, chill songs — “Super Rich Kids” and “Sweet Life” — that are ideal accompaniments to the jangle of beer bottles in a cooler. Still, the front-runner for indie S.O.S. has to be Japandroids “The House That Heaven Built.” The song is drenched in anthemic nostalgia. It demands a fist to be righteously pumped and a singing along of “Oh, oh, oh, oh, oh-oh-oh, ohh.” It’s life affirming and summer affirming: “If they try to slow you down, tell ’em all to go to hell.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=TRVCtbfuDqw&w=480&h=270]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The next \u003ca href=\"http://www.kqed.org/arts/programs/noisepop/\">\u003cb>Noise Pop Podcast\u003c/b>\u003c/a> is going to tackle the indie song of the summer and we want to hear from you. What is your contender for indie song of the summer? You can leave a message on the Noise Pop Podcast hotline 585-4NOISE5 and we just might play your message on the air, along with your song choice. You can also leave a comment below.\u003c/p>\n\n",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"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.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
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