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"content": "\u003cp>One of the most encouraging trends in classical music these days has been the rise of the multimedia concert event. Whether it’s \u003cb>Video Games Live\u003c/b>, \u003cb>Pictures at an Exhibition\u003c/b> with newly commissioned art, or John Adams’s \u003cb>El Niño\u003c/b> with dancers and projections, it seems as though everyone is recognizing that modern audiences need not only to be immersed in the event, but to know more about it. So it’s refreshing to see an entire festival based on the principle that there’s more to the music than meets the ear. For the last seven years \u003ca href=\"http://musicatmenlo.org/\">Music@Menlo\u003c/a> has invited world-class musicians, artists and teachers to the South Bay for a yearly festival that looks at its theme from multiple angles, in multiple media. This year’s theme is \u003cb>Maps and Legends\u003c/b>, running July 23 through August 14, 2010, with concerts, classes and conversations covering everything from 18th century Venice to fin-de-siècle Paris to the devastation of post-World War II Germany.\u003c/p>\n\u003cp>\u003cb>Music@Menlo\u003c/b> was founded in 2003 by David Finckel, the cellist of the Grammy-Award-winning \u003ca href=\"http://emersonquartet.com/\">Emerson String Quartet\u003c/a>, and his wife, pianist Wu Han, who had already established themselves as pioneers with their owned-and-operated web-based recording label ArtistLed. Music@Menlo was, in a lot of ways, an excuse to do what they loved best: playing chamber music with their enormously talented friends, talking about what went on behind the music, and sharing their passions with each other, with their students, and with anyone who wanted to sit in (i.e., an audience). What they put together is kind of like one of those language-immersion vacations you can take to another country, only here the “country” is a theme, and the sights to see include a visual artist-in-residence (this year, it’s aerial photographer \u003ca href=\"http://alexmaclean.com/\">Alex MacLean\u003c/a>), public master classes with young musicians-in-training, concerts with conversation on the topic at hand, and the chance to get up close and personal with extraordinary musicians like pianists Jeffrey Kahane and Gilbert Kalish, violinists Jorja Fleezanis and Ian Swensen, guitarist Jason Vieaux, mezzo-soprano Sasha Cooke and San Francisco Symphony members Scott Pingel and Jonathan Fischer.\u003c/p>\n\u003cp>The centerpiece of Music@Menlo is always the concert program, but you might learn more from the ancillary events. \u003cb>Maps and Legends\u003c/b> includes \u003cb>The Seasons\u003c/b> (July 23), \u003cb>The English Voice\u003c/b> (July 25-27), \u003cb>Vienna\u003c/b> (July 31 ? August 2), \u003cb>Aftermath: 1945\u003c/b> (August 4-5), \u003cb>La Ville-Lumière: Paris, 1920-28\u003c/b> (August 7), \u003cb>Spanish Inspirations\u003c/b> (August 9-10), and \u003cb>Dvořák’s America\u003c/b> (August 13-14). That may be enough of a journey by itself, but there are also multimedia evenings covering London, Vienna and Paris, informal Cafe Conversations with the musicians, and a chance for the guest artists to indulge in their singular passions, from a Schubert song cycle to 200th anniversary concerts of Chopin and Schumann.\u003c/p>\n\u003cp>But wait, there’s more! Finckel and Han are deeply involved in music education, and part of the Festival’s mission is the training of young musicians. Hearing chamber music at its best is like watching a hockey or basketball team at the top of its game: outstanding individual performances that amount to more than the sum of their parts. It’s a skill that can only be acquired in a group setting, and the \u003cb>Chamber Music Institute\u003c/b> offers talented students from junior high school to pre-professional levels the chance to learn together. If my own student experiences are any guide, these young players are going to have the time of their lives.\u003c/p>\n\u003cp>Music@Menlo runs July 23 through August 14, 2010 with concerts in Atherton, Palo Alto, and Menlo Park, including the new, state-of-the-art Center for the Performing Arts at Menlo-Atherton. From concerts to master classes, exhibitions to encounters, Music@Menlo is a hothouse for listening, learning and experiencing. For \u003ca href=\"http://musicatmenlo.org/\">tickets and information \u003c/a> visit musicatmenlo.org, and find out where \u003cb>Maps and Legends\u003c/b> might lead you.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the most encouraging trends in classical music these days has been the rise of the multimedia concert event. Whether it’s \u003cb>Video Games Live\u003c/b>, \u003cb>Pictures at an Exhibition\u003c/b> with newly commissioned art, or John Adams’s \u003cb>El Niño\u003c/b> with dancers and projections, it seems as though everyone is recognizing that modern audiences need not only to be immersed in the event, but to know more about it. So it’s refreshing to see an entire festival based on the principle that there’s more to the music than meets the ear. For the last seven years \u003ca href=\"http://musicatmenlo.org/\">Music@Menlo\u003c/a> has invited world-class musicians, artists and teachers to the South Bay for a yearly festival that looks at its theme from multiple angles, in multiple media. This year’s theme is \u003cb>Maps and Legends\u003c/b>, running July 23 through August 14, 2010, with concerts, classes and conversations covering everything from 18th century Venice to fin-de-siècle Paris to the devastation of post-World War II Germany.\u003c/p>\n\u003cp>\u003cb>Music@Menlo\u003c/b> was founded in 2003 by David Finckel, the cellist of the Grammy-Award-winning \u003ca href=\"http://emersonquartet.com/\">Emerson String Quartet\u003c/a>, and his wife, pianist Wu Han, who had already established themselves as pioneers with their owned-and-operated web-based recording label ArtistLed. Music@Menlo was, in a lot of ways, an excuse to do what they loved best: playing chamber music with their enormously talented friends, talking about what went on behind the music, and sharing their passions with each other, with their students, and with anyone who wanted to sit in (i.e., an audience). What they put together is kind of like one of those language-immersion vacations you can take to another country, only here the “country” is a theme, and the sights to see include a visual artist-in-residence (this year, it’s aerial photographer \u003ca href=\"http://alexmaclean.com/\">Alex MacLean\u003c/a>), public master classes with young musicians-in-training, concerts with conversation on the topic at hand, and the chance to get up close and personal with extraordinary musicians like pianists Jeffrey Kahane and Gilbert Kalish, violinists Jorja Fleezanis and Ian Swensen, guitarist Jason Vieaux, mezzo-soprano Sasha Cooke and San Francisco Symphony members Scott Pingel and Jonathan Fischer.\u003c/p>\n\u003cp>The centerpiece of Music@Menlo is always the concert program, but you might learn more from the ancillary events. \u003cb>Maps and Legends\u003c/b> includes \u003cb>The Seasons\u003c/b> (July 23), \u003cb>The English Voice\u003c/b> (July 25-27), \u003cb>Vienna\u003c/b> (July 31 ? August 2), \u003cb>Aftermath: 1945\u003c/b> (August 4-5), \u003cb>La Ville-Lumière: Paris, 1920-28\u003c/b> (August 7), \u003cb>Spanish Inspirations\u003c/b> (August 9-10), and \u003cb>Dvořák’s America\u003c/b> (August 13-14). That may be enough of a journey by itself, but there are also multimedia evenings covering London, Vienna and Paris, informal Cafe Conversations with the musicians, and a chance for the guest artists to indulge in their singular passions, from a Schubert song cycle to 200th anniversary concerts of Chopin and Schumann.\u003c/p>\n\u003cp>But wait, there’s more! Finckel and Han are deeply involved in music education, and part of the Festival’s mission is the training of young musicians. Hearing chamber music at its best is like watching a hockey or basketball team at the top of its game: outstanding individual performances that amount to more than the sum of their parts. It’s a skill that can only be acquired in a group setting, and the \u003cb>Chamber Music Institute\u003c/b> offers talented students from junior high school to pre-professional levels the chance to learn together. If my own student experiences are any guide, these young players are going to have the time of their lives.\u003c/p>\n\u003cp>Music@Menlo runs July 23 through August 14, 2010 with concerts in Atherton, Palo Alto, and Menlo Park, including the new, state-of-the-art Center for the Performing Arts at Menlo-Atherton. From concerts to master classes, exhibitions to encounters, Music@Menlo is a hothouse for listening, learning and experiencing. For \u003ca href=\"http://musicatmenlo.org/\">tickets and information \u003c/a> visit musicatmenlo.org, and find out where \u003cb>Maps and Legends\u003c/b> might lead you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After a weekend of shows in Oakland, the \u003ca href=\"http://www.mcmf.org/\">2010 Mission Creek Music Festival\u003c/a> kicks into full swing this week with concerts around the City, featuring a bunch of ace, predominantly local bands. This mix features ten bands playing Mission Creek shows. For the \u003ca href=\"http://www.mcmf.org\">full list of upcoming events\u003c/a> visit mcmf.org.\u003c/p>\n\u003cp>I don’t know a lot about \u003ca href=\"http://www.myspace.com/thelambsmusic\">The Lambs\u003c/a> (“Brother Sister White”) yet, but the San Francisco group has some excellent \u003ca href=\"http://thelambsmusic.com/\">demos available for download\u003c/a> on their web site. \u003ca href=\"http://www.myspace.com/parentheticalgirlsband\">Parenthetical Girls\u003c/a>, \u003ca href=\"http://www.myspace.com/grandlakemusic\">Grand Lake\u003c/a>, and \u003ca href=\"http://www.myspace.com/icecreamhuman\">LENS (featuring Andy Human)\u003c/a> join them at the Eagle Tavern Friday, July 16.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/brianglazeusyahoocom\">Brian Glaze and the Night Shift\u003c/a> (“Bad News”) are one of the bands playing the Saturday, July 17 Mission Creek show in \u003ca href=\"http://www.mcmf.org/park.html\">McLaren Park\u003c/a>. Also performing: \u003ca href=\"http://www.myspace.com/grasswidowmusic\">Grass Widow\u003c/a>, \u003ca href=\"http://www.myspace.com/thefreshonlys\">The Fresh & Onlys\u003c/a>, \u003ca href=\"http://www.myspace.com/ganglian\">Ganglians\u003c/a>, \u003ca href=\"http://www.myspace.com/mirandaleerichards\">Miranda Lee Richards\u003c/a>, \u003ca href=\"http://www.myspace.com/aaronnovik\">Thorny Brocky\u003c/a>, \u003ca href=\"http://williamwinant.com/\">The William Winant Percussion Group\u003c/a> and \u003ca href=\"http://www.facebook.com/TeriGenderBender\">Teri Gender Bender\u003c/a>. Grass Widow’s (“Shadow”) new full length \u003cb>Past Time\u003c/b> comes out in August on Kill Rock Stars. Ganglians (“Lost Words”) just got back from a European tour and are working on a new record.\u003c/p>\n\u003cp>Portland’s \u003ca href=\"http://www.myspace.com/parentheticalgirlsband\">Parenthetical Girls\u003c/a> (“Evelyn McHale”) put out the \u003cb>Privilege pt. 1\u003c/b> EP earlier this year. They’re playing the Eagle Tavern (see above) on Friday, July 16.\u003c/p>\n\u003cp>\u003ca href=\"http://www.markmatos.com/\">Mark Matos and Os Beaches\u003c/a> (“High Priest of the Mission”) celebrate the vinyl release of \u003cb>Words of the Knife\u003c/b> Wednesday, July 14 at Cafe Du Nord, with \u003ca href=\"http://www.rykardaparasol.com/\">Rykarda Parasol\u003c/a>, \u003ca href=\"http://www.myspace.com/thechamberstrings\">Kevin Junior\u003c/a>, \u003ca href=\"http://www.myspace.com/thedollyrockermovement\">The Dolly Rocker Movement\u003c/a>, and DJ Neil Martinson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.kyledraws.com/\">Little Wings\u003c/a> (“Scuby”) play at Adobe Books along with WR/DS. The show is on Friday, July 16 and doubles as a gallery opening for new work by \u003ca href=\"https://php10.ucsf.edu/kyledamonranson/\">Kyle Ranson\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/seansmithlives\">Sean Smith\u003c/a> (“Palak Paneer”) has a number of upcoming projects in the works on Gnome Life Records. His band will be at El Rio for an “After-Park Psych/Spacerock Show!” with \u003ca href=\"http://www.myspace.com/howlinrain\">Howlin Rain\u003c/a> and \u003ca href=\"http://www.myspace.com/3leafs\">3 Leafs\u003c/a> Saturday, July 17.\u003c/p>\n\u003cp>\u003ca href=\"http://www.rykardaparasol.com/\">Rykarda Parasol\u003c/a> (“Covenant”) headlines the Mission Creek opening night/Bastille Day show at Cafe Du Nord (see above).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to their web site, as of a few months ago \u003ca href=\"http://www.howlinrain.com/\">Howlin Rain\u003c/a> (“Dancers At The End Of Time”) were “still deep in pre-production for our 3rd album.” They’ll be performing Saturday, July 17 at the El Rio (see above).\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a weekend of shows in Oakland, the \u003ca href=\"http://www.mcmf.org/\">2010 Mission Creek Music Festival\u003c/a> kicks into full swing this week with concerts around the City, featuring a bunch of ace, predominantly local bands. This mix features ten bands playing Mission Creek shows. For the \u003ca href=\"http://www.mcmf.org\">full list of upcoming events\u003c/a> visit mcmf.org.\u003c/p>\n\u003cp>I don’t know a lot about \u003ca href=\"http://www.myspace.com/thelambsmusic\">The Lambs\u003c/a> (“Brother Sister White”) yet, but the San Francisco group has some excellent \u003ca href=\"http://thelambsmusic.com/\">demos available for download\u003c/a> on their web site. \u003ca href=\"http://www.myspace.com/parentheticalgirlsband\">Parenthetical Girls\u003c/a>, \u003ca href=\"http://www.myspace.com/grandlakemusic\">Grand Lake\u003c/a>, and \u003ca href=\"http://www.myspace.com/icecreamhuman\">LENS (featuring Andy Human)\u003c/a> join them at the Eagle Tavern Friday, July 16.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/brianglazeusyahoocom\">Brian Glaze and the Night Shift\u003c/a> (“Bad News”) are one of the bands playing the Saturday, July 17 Mission Creek show in \u003ca href=\"http://www.mcmf.org/park.html\">McLaren Park\u003c/a>. Also performing: \u003ca href=\"http://www.myspace.com/grasswidowmusic\">Grass Widow\u003c/a>, \u003ca href=\"http://www.myspace.com/thefreshonlys\">The Fresh & Onlys\u003c/a>, \u003ca href=\"http://www.myspace.com/ganglian\">Ganglians\u003c/a>, \u003ca href=\"http://www.myspace.com/mirandaleerichards\">Miranda Lee Richards\u003c/a>, \u003ca href=\"http://www.myspace.com/aaronnovik\">Thorny Brocky\u003c/a>, \u003ca href=\"http://williamwinant.com/\">The William Winant Percussion Group\u003c/a> and \u003ca href=\"http://www.facebook.com/TeriGenderBender\">Teri Gender Bender\u003c/a>. Grass Widow’s (“Shadow”) new full length \u003cb>Past Time\u003c/b> comes out in August on Kill Rock Stars. Ganglians (“Lost Words”) just got back from a European tour and are working on a new record.\u003c/p>\n\u003cp>Portland’s \u003ca href=\"http://www.myspace.com/parentheticalgirlsband\">Parenthetical Girls\u003c/a> (“Evelyn McHale”) put out the \u003cb>Privilege pt. 1\u003c/b> EP earlier this year. They’re playing the Eagle Tavern (see above) on Friday, July 16.\u003c/p>\n\u003cp>\u003ca href=\"http://www.markmatos.com/\">Mark Matos and Os Beaches\u003c/a> (“High Priest of the Mission”) celebrate the vinyl release of \u003cb>Words of the Knife\u003c/b> Wednesday, July 14 at Cafe Du Nord, with \u003ca href=\"http://www.rykardaparasol.com/\">Rykarda Parasol\u003c/a>, \u003ca href=\"http://www.myspace.com/thechamberstrings\">Kevin Junior\u003c/a>, \u003ca href=\"http://www.myspace.com/thedollyrockermovement\">The Dolly Rocker Movement\u003c/a>, and DJ Neil Martinson.\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.kyledraws.com/\">Little Wings\u003c/a> (“Scuby”) play at Adobe Books along with WR/DS. The show is on Friday, July 16 and doubles as a gallery opening for new work by \u003ca href=\"https://php10.ucsf.edu/kyledamonranson/\">Kyle Ranson\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/seansmithlives\">Sean Smith\u003c/a> (“Palak Paneer”) has a number of upcoming projects in the works on Gnome Life Records. His band will be at El Rio for an “After-Park Psych/Spacerock Show!” with \u003ca href=\"http://www.myspace.com/howlinrain\">Howlin Rain\u003c/a> and \u003ca href=\"http://www.myspace.com/3leafs\">3 Leafs\u003c/a> Saturday, July 17.\u003c/p>\n\u003cp>\u003ca href=\"http://www.rykardaparasol.com/\">Rykarda Parasol\u003c/a> (“Covenant”) headlines the Mission Creek opening night/Bastille Day show at Cafe Du Nord (see above).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to their web site, as of a few months ago \u003ca href=\"http://www.howlinrain.com/\">Howlin Rain\u003c/a> (“Dancers At The End Of Time”) were “still deep in pre-production for our 3rd album.” They’ll be performing Saturday, July 17 at the El Rio (see above).\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Twin Sister’s synthy pop rides into SF on a well-deserved wave of blog buzz; as the legacy of Carissa’s Wierd is reexamined, the band’s founders tour together with their latest projects; SF noise punk trio Mi Ami is sure to confound and astonish in their latest local performance.\u003c/p>\n\u003cp>\u003cb>Color Your Life\u003c/b>, from New York’s \u003ca href=\"http://www.myspace.com/twinsisterband\">Twin Sister\u003c/a>, is one of my favorite records of late, a sharp six tracks of new-vintage soft pop should-be hits that has made the group one of the year’s most buzzed-about acts. The album’s songs function like a collection of Rorschach ink blots for indie past, alternately calling to mind Yo La Tengo’s understated boogie and Stereolab’s electro cool, while a moody darkness permeates throughout. The band’s detail-rich tracks also have something of a vintage ’80s feel, less copied than sampled or interpolated. They’re the perfect accompaniment for singer Andrea Estella, whose voice is as malleable as the band’s sound. She can be heartbreaking and grounded, or ethereal and winding. \u003cb>Color Your Life\u003c/b> only has five real songs, and its variety makes it feel like the band’s trying on some different feels as opposed to committing to a single one, but when every look is a winner, who can really complain? Twin Sister, \u003ca href=\"http://www.myspace.com/bearinheaven\">Bear in Heaven\u003c/a> and \u003ca href=\"http://www.myspace.com/beachfossils\">Beach Fossils\u003c/a> play the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> in San Francisco July 26, 2010.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"400\" height=\"225\">\u003cparam name=\"allowfullscreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cparam name=\"movie\" value=\"http://vimeo.com/moogaloop.swf?clip_id=11199905&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1\">\u003cembed src=\"http://vimeo.com/moogaloop.swf?clip_id=11199905&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1\" type=\"application/x-shockwave-flash\" allowfullscreen=\"true\" allowscriptaccess=\"always\" width=\"400\" height=\"225\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>As its members have gone on to projects like Band of Horses and Grand Archives, \u003ca href=\"http://en.wikipedia.org/wiki/Carissa%27s_Wierd\">Carissa’s Wierd\u003c/a> has emerged as one of those names that most folks see in parentheticals or band bios. An overlooked gem among the many big indie pop names to emerge from the Pacific Northwest’s fertile scene, the Seattle group gains deserved reconsideration this month with a retrospective compilation on \u003ca href=\"http://hardlyart.com/\">Hardly Art\u003c/a> and a one-off reunion show early in July. After that, Carissa’s Wierd co-founders Mat Brooke and Jenn Ghetto head out on tour together with their separate projects, \u003ca href=\"http://www.myspace.com/grandarchives\">Grand Archives\u003c/a> and \u003ca href=\"http://www.myspace.com/sghetto\">S\u003c/a>. Brooke formed Grand Archives after leaving Band of Horses, so the band’s use of reverb might not be surprising, but they’ve got quite a knack for warm West Coast pop. Ms. Ghetto’s solo project S recently released a new album titled \u003cb>im not as good at it as you\u003c/b> on \u003ca href=\"http://www.ownrecords.com/catalogue.htm\">Own Records\u003c/a>. Grand Archives, S, and \u003ca href=\"http://www.myspace.com/thenorthernkey\">The Northern Key\u003c/a> will be at the Rickshaw Stop July 21, 2010.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"480\" height=\"385\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/zRu_5MOU_6k&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/zRu_5MOU_6k&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"480\" height=\"385\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>I had initially concluded that SF trio \u003ca href=\"http://www.myspace.com/miamiamiami\">Mi Ami\u003c/a> had two states — frenzied and building to a frenzy — but the group’s latest LP also showcases a more measured side to its dub-infused art punk. Don’t get me wrong, \u003cb>Steal Your Face\u003c/b> has plenty of bracing moments of fury, and vocalist/guitarist Daniel Martin-McCormick can shriek with the best of them, but there are also some welcome stripped-down grooves punctuated by bursts of noise. Similarly impressive? The album was recorded live to tape, a clear sign of the band’s masterful technical precision. Still, as mathy as it can get, this is music for the head, the heart and the feet — no easy balance to navigate, but the trio does it well. Mi Ami, \u003ca href=\"http://www.myspace.com/pocahaunted\">Pocahaunted\u003c/a>, \u003ca href=\"http://www.myspace.com/lateyoung\">Late Young\u003c/a> and \u003ca href=\"http://www.myspace.com/peakingfix\">Peaking Lights\u003c/a> play the Rickshaw Stop July 28, 2010.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"400\" height=\"300\">\u003cparam name=\"allowfullscreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cparam name=\"movie\" value=\"http://vimeo.com/moogaloop.swf?clip_id=3609120&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1\">\u003cembed src=\"http://vimeo.com/moogaloop.swf?clip_id=3609120&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1\" type=\"application/x-shockwave-flash\" allowfullscreen=\"true\" allowscriptaccess=\"always\" width=\"400\" height=\"300\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twin Sister’s synthy pop rides into SF on a well-deserved wave of blog buzz; as the legacy of Carissa’s Wierd is reexamined, the band’s founders tour together with their latest projects; SF noise punk trio Mi Ami is sure to confound and astonish in their latest local performance.\u003c/p>\n\u003cp>\u003cb>Color Your Life\u003c/b>, from New York’s \u003ca href=\"http://www.myspace.com/twinsisterband\">Twin Sister\u003c/a>, is one of my favorite records of late, a sharp six tracks of new-vintage soft pop should-be hits that has made the group one of the year’s most buzzed-about acts. The album’s songs function like a collection of Rorschach ink blots for indie past, alternately calling to mind Yo La Tengo’s understated boogie and Stereolab’s electro cool, while a moody darkness permeates throughout. The band’s detail-rich tracks also have something of a vintage ’80s feel, less copied than sampled or interpolated. They’re the perfect accompaniment for singer Andrea Estella, whose voice is as malleable as the band’s sound. She can be heartbreaking and grounded, or ethereal and winding. \u003cb>Color Your Life\u003c/b> only has five real songs, and its variety makes it feel like the band’s trying on some different feels as opposed to committing to a single one, but when every look is a winner, who can really complain? Twin Sister, \u003ca href=\"http://www.myspace.com/bearinheaven\">Bear in Heaven\u003c/a> and \u003ca href=\"http://www.myspace.com/beachfossils\">Beach Fossils\u003c/a> play the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> in San Francisco July 26, 2010.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"400\" height=\"225\">\u003cparam name=\"allowfullscreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cparam name=\"movie\" value=\"http://vimeo.com/moogaloop.swf?clip_id=11199905&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1\">\u003cembed src=\"http://vimeo.com/moogaloop.swf?clip_id=11199905&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1\" type=\"application/x-shockwave-flash\" allowfullscreen=\"true\" allowscriptaccess=\"always\" width=\"400\" height=\"225\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>As its members have gone on to projects like Band of Horses and Grand Archives, \u003ca href=\"http://en.wikipedia.org/wiki/Carissa%27s_Wierd\">Carissa’s Wierd\u003c/a> has emerged as one of those names that most folks see in parentheticals or band bios. An overlooked gem among the many big indie pop names to emerge from the Pacific Northwest’s fertile scene, the Seattle group gains deserved reconsideration this month with a retrospective compilation on \u003ca href=\"http://hardlyart.com/\">Hardly Art\u003c/a> and a one-off reunion show early in July. After that, Carissa’s Wierd co-founders Mat Brooke and Jenn Ghetto head out on tour together with their separate projects, \u003ca href=\"http://www.myspace.com/grandarchives\">Grand Archives\u003c/a> and \u003ca href=\"http://www.myspace.com/sghetto\">S\u003c/a>. Brooke formed Grand Archives after leaving Band of Horses, so the band’s use of reverb might not be surprising, but they’ve got quite a knack for warm West Coast pop. Ms. Ghetto’s solo project S recently released a new album titled \u003cb>im not as good at it as you\u003c/b> on \u003ca href=\"http://www.ownrecords.com/catalogue.htm\">Own Records\u003c/a>. Grand Archives, S, and \u003ca href=\"http://www.myspace.com/thenorthernkey\">The Northern Key\u003c/a> will be at the Rickshaw Stop July 21, 2010.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"480\" height=\"385\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/zRu_5MOU_6k&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/zRu_5MOU_6k&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"480\" height=\"385\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>I had initially concluded that SF trio \u003ca href=\"http://www.myspace.com/miamiamiami\">Mi Ami\u003c/a> had two states — frenzied and building to a frenzy — but the group’s latest LP also showcases a more measured side to its dub-infused art punk. Don’t get me wrong, \u003cb>Steal Your Face\u003c/b> has plenty of bracing moments of fury, and vocalist/guitarist Daniel Martin-McCormick can shriek with the best of them, but there are also some welcome stripped-down grooves punctuated by bursts of noise. Similarly impressive? The album was recorded live to tape, a clear sign of the band’s masterful technical precision. Still, as mathy as it can get, this is music for the head, the heart and the feet — no easy balance to navigate, but the trio does it well. Mi Ami, \u003ca href=\"http://www.myspace.com/pocahaunted\">Pocahaunted\u003c/a>, \u003ca href=\"http://www.myspace.com/lateyoung\">Late Young\u003c/a> and \u003ca href=\"http://www.myspace.com/peakingfix\">Peaking Lights\u003c/a> play the Rickshaw Stop July 28, 2010.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This week, \u003cb>The Bay Bridged\u003c/b> showcases San Francisco’s \u003cstrong>\u003ca href=\"http://www.myspace.com/magicbullets\">Magic Bullets\u003c/a>\u003c/strong>, whose second full length album, \u003cb>Magic Bullets\u003c/b>, came out yesterday on \u003ca href=\"http://www.monamierecords.com/\">Mon Amie Records\u003c/a>. The band’s first record, \u003cb>a CHILD but in life yet a DOCTOR in love\u003c/b>, came out in 2007, and introduced a refreshingly catchy jangle pop sound calling to mind bands like The Smiths, The Feelies, Talking Heads, and Orange Juice. Over the next several years, the Bullets focused on writing and recording, gaining an EP, but losing two band members to Girls. That setback aside, the Bullets are now back and, yes, they sound better than ever. Guitarist Corey Cunningham has crafted a batch of dynamic songs that showcase both a minimalist restraint and a broader array of tempos, feels, and sounds. Singer Phil Benson remains a magnetic vocal presence, delivering heartfelt thoughts on love and romance. Fans of indie pop, DO check this album out.\u003c/p>\n\u003cp>\u003cb>The Bay Bridged\u003c/b> recently sat down with the members of Magic Bullets to discuss their new album. Four songs from the new self-titled album are included in the episode.\u003c/p>\n\u003cp>\u003cstrong>Upcoming Shows:\u003c/strong>\u003cbr>Friday, July 9, 2010\u003cbr>\u003ca href=\"http://www.theknockoutsf.com\">The Knockout\u003c/a>\u003cbr>with \u003ca href=\"http://www.myspace.com/dreamdater\">Dreamdate\u003c/a> and \u003ca href=\"http://www.myspace.com/waxidols\">Wax Idols\u003c/a> (\u003cb>Magic Bullets\u003c/b> album release show)\u003cbr>9pm, $7\u003c/p>\n\u003cp>Magic Bullets has a bunch of California shows over the next month. Full dates on their \u003ca href=\"http://www.myspace.com/magicbullets\">MySpace page\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>“Wake me on the softer side of heaven,” Bret Constantino and Rachel Fannan plaintively harmonize; the first words we hear on Sleepy Sun’s \u003cstrong>Fever\u003c/strong> offer an early hint of the surreal dreaminess that hovers over the next forty minutes of psychedelic rock and roll. The new album comes just a year after the band’s debut, \u003cstrong>Embrace\u003c/strong>, came out to widespread acclaim, but the band hasn’t tamed its trademark wandering spirit, once again blending elements of heavy rock, psych, folk and blues into another compelling batch of songs.\u003c/p>\n\u003cp>The first half of \u003cstrong>Fever\u003c/strong> is almost an exercise in duality, shifting between heavy stomp-rockers like “Wild Machines,” which showcases extraterrestrial guitar noises and serious feedback squall, and more stripped-down acoustic songs like “Rigamaroo” and “Ooh Boy,” that ride on the harmonies of the band’s two soulful vocalists. The second half is more uniformly electric, but no less varied in sound. “Desert God” feels as much like a suite as a single song, peaking halfway through with a harmonica and drums breakdown that’s simply vicious.\u003c/p>\n\u003cp>For all of the times I’ve listened to \u003cstrong>Fever\u003c/strong> recently, none felt so right as having the album turned up loud on a car ride to the beach on a warm Saturday afternoon. The band, which originated in Santa Cruz before relocating to SF, offer oblique lyrical references to the natural world throughout, suggesting that they’re more interested in the state’s forests and deserts than the urban world. Befitting that range, \u003cstrong>Fever\u003c/strong> is full of expansive, rhythmic music. “Marina” shifts midway from a laconic jam into a tribal drum workout, while “Freedom Line” is driven by distorted bass.\u003c/p>\n\u003cp>At its core, the charm of a group like Sleepy Sun, I think, is the inescapable sense that they’re doing pretty much exactly what they want to be doing at any given moment, without a concern for whether it fits any expectation of where a song is supposed to go, or how it is supposed to sound or feel. That’s the feeling I get especially from “Sandstorm Woman.” At nearly ten minutes, the album’s final song is by far its longest, a smoldering, entrancing jam that allows all of the group’s talented musicians room to shine, including Constantino’s harmonica, which adds another layer of echoing haze. “We have the vision if you have the eyes,” the co-vocalists sing on “Freedom Line.” Whether your eyes are opened by this album or not, your ears will certainly remain engaged throughout.\u003c/p>\n\u003cp>Sleepy Sun will be celebrating \u003cstrong>Fever\u003c/strong>‘s release with a performance at the Great American Music Hall on June 10, 2010 with \u003ca href=\"http://www.myspace.com/thefreshonlys\">The Fresh & Onlys\u003c/a>, \u003ca href=\"http://www.myspace.com/moonduo\">Moon Duo\u003c/a>, and DJ Britt Govea. For \u003ca href=\"http://www.gamh.com/artist_pages/sleepy_sun_061010.htm\">tickets and information\u003c/a> visit gamh.com.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Wake me on the softer side of heaven,” Bret Constantino and Rachel Fannan plaintively harmonize; the first words we hear on Sleepy Sun’s \u003cstrong>Fever\u003c/strong> offer an early hint of the surreal dreaminess that hovers over the next forty minutes of psychedelic rock and roll. The new album comes just a year after the band’s debut, \u003cstrong>Embrace\u003c/strong>, came out to widespread acclaim, but the band hasn’t tamed its trademark wandering spirit, once again blending elements of heavy rock, psych, folk and blues into another compelling batch of songs.\u003c/p>\n\u003cp>The first half of \u003cstrong>Fever\u003c/strong> is almost an exercise in duality, shifting between heavy stomp-rockers like “Wild Machines,” which showcases extraterrestrial guitar noises and serious feedback squall, and more stripped-down acoustic songs like “Rigamaroo” and “Ooh Boy,” that ride on the harmonies of the band’s two soulful vocalists. The second half is more uniformly electric, but no less varied in sound. “Desert God” feels as much like a suite as a single song, peaking halfway through with a harmonica and drums breakdown that’s simply vicious.\u003c/p>\n\u003cp>For all of the times I’ve listened to \u003cstrong>Fever\u003c/strong> recently, none felt so right as having the album turned up loud on a car ride to the beach on a warm Saturday afternoon. The band, which originated in Santa Cruz before relocating to SF, offer oblique lyrical references to the natural world throughout, suggesting that they’re more interested in the state’s forests and deserts than the urban world. Befitting that range, \u003cstrong>Fever\u003c/strong> is full of expansive, rhythmic music. “Marina” shifts midway from a laconic jam into a tribal drum workout, while “Freedom Line” is driven by distorted bass.\u003c/p>\n\u003cp>At its core, the charm of a group like Sleepy Sun, I think, is the inescapable sense that they’re doing pretty much exactly what they want to be doing at any given moment, without a concern for whether it fits any expectation of where a song is supposed to go, or how it is supposed to sound or feel. That’s the feeling I get especially from “Sandstorm Woman.” At nearly ten minutes, the album’s final song is by far its longest, a smoldering, entrancing jam that allows all of the group’s talented musicians room to shine, including Constantino’s harmonica, which adds another layer of echoing haze. “We have the vision if you have the eyes,” the co-vocalists sing on “Freedom Line.” Whether your eyes are opened by this album or not, your ears will certainly remain engaged throughout.\u003c/p>\n\u003cp>Sleepy Sun will be celebrating \u003cstrong>Fever\u003c/strong>‘s release with a performance at the Great American Music Hall on June 10, 2010 with \u003ca href=\"http://www.myspace.com/thefreshonlys\">The Fresh & Onlys\u003c/a>, \u003ca href=\"http://www.myspace.com/moonduo\">Moon Duo\u003c/a>, and DJ Britt Govea. For \u003ca href=\"http://www.gamh.com/artist_pages/sleepy_sun_061010.htm\">tickets and information\u003c/a> visit gamh.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The animals knew something was amiss as the fog rolled over the Marin Headlands on Sunday. Strange noises echoed out of an abandoned WWII fortification hollowed into the hillside above Rodeo Beach. A fox poked around in the long grass just outside, looking with a mix of interest and confusion in the direction of the concrete bunker; hunkered down inside was a motley crew of 75 experimental music enthusiasts and some curious individuals just along for the sonic adventure.\u003c/p>\n\u003cp>The audience had made a 20-minute trek up into the hills for \u003cb>Resonance at Battery Townsley\u003c/b>, the kick-off event for this year’s Soundwave Festival. This will be the fourth edition of the Soundwave Festival, a series of experimental music events that stretches over two months every other summer in San Francisco. The theme of this year’s fest is “Green Sound.” Accordingly, artists have created pieces inspired by, and interacting with, the natural world.\u003c/p>\n\u003cp>\u003cb>Resonance at Battery Townsley\u003c/b> featured performances by four musicians commissioned to produce site-specific pieces harnessing the acoustics of Battery Townsley, an artillery casement built in 1938. Once a fully-equipped gunnery capable of assailing a target 25 miles out at sea, Battery Townsley is now maintained by the National Park Service. Armed with an assortment of boom-boxes and tape-recorders, Oakland-based sound artist Gregg Kowalsky orchestrated elegant, almost hypnotic, loops that reverberated viscerally around the audience, who were seated in neat rows of three down the center of the tunnel. Jacob Felix Heule and Kanoko Nishi stormed the tunnel with an incredibly cinematic improvisational duet; Heule worked on an improvised drum kit and Nishi on the koto, a Japanese zither.\u003c/p>\n\u003cp>Fog billowed around San Francisco guitarist Danny Paul Grody, who sat on a perch looking over the Pacific in the final performance of the evening. As Grody mixed and re-layered loops of feedback alternately from electric and acoustic guitars, swallows darted in and out of the battery circling the audience in such perfect sync with the music it was as if Grody had choreographed their movements.\u003c/p>\n\u003cp>If you weren’t able to make it on Sunday, a second performance at Battery Townsley, \u003cb>Viscera\u003c/b>, will be held August 1. This weekend features two events: \u003cb>Unweathered Embers\u003c/b> (June 12, 7pm) will showcase the acoustics of St. Mark’s Lutheran Church with Baltic-inspired chamber music, and Bay Area Sound Ecology will create an artificial soundscape for a performance called \u003cb>Phantom Power\u003c/b> (June 12, 7pm) over at Yerba Buena Gardens. All told, the Soundwave Festival will feature 75 artists in 18 events at locations around the Bay Area, from the Marin Headlands to the Mission District and the deYoung Museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Soundwave Festival runs through August 13, 2010 at locations around the Bay Area. For \u003ca href=\"http://www.projectsoundwave.com\">tickets and information\u003c/a> visit projectsoundwave.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The animals knew something was amiss as the fog rolled over the Marin Headlands on Sunday. Strange noises echoed out of an abandoned WWII fortification hollowed into the hillside above Rodeo Beach. A fox poked around in the long grass just outside, looking with a mix of interest and confusion in the direction of the concrete bunker; hunkered down inside was a motley crew of 75 experimental music enthusiasts and some curious individuals just along for the sonic adventure.\u003c/p>\n\u003cp>The audience had made a 20-minute trek up into the hills for \u003cb>Resonance at Battery Townsley\u003c/b>, the kick-off event for this year’s Soundwave Festival. This will be the fourth edition of the Soundwave Festival, a series of experimental music events that stretches over two months every other summer in San Francisco. The theme of this year’s fest is “Green Sound.” Accordingly, artists have created pieces inspired by, and interacting with, the natural world.\u003c/p>\n\u003cp>\u003cb>Resonance at Battery Townsley\u003c/b> featured performances by four musicians commissioned to produce site-specific pieces harnessing the acoustics of Battery Townsley, an artillery casement built in 1938. Once a fully-equipped gunnery capable of assailing a target 25 miles out at sea, Battery Townsley is now maintained by the National Park Service. Armed with an assortment of boom-boxes and tape-recorders, Oakland-based sound artist Gregg Kowalsky orchestrated elegant, almost hypnotic, loops that reverberated viscerally around the audience, who were seated in neat rows of three down the center of the tunnel. Jacob Felix Heule and Kanoko Nishi stormed the tunnel with an incredibly cinematic improvisational duet; Heule worked on an improvised drum kit and Nishi on the koto, a Japanese zither.\u003c/p>\n\u003cp>Fog billowed around San Francisco guitarist Danny Paul Grody, who sat on a perch looking over the Pacific in the final performance of the evening. As Grody mixed and re-layered loops of feedback alternately from electric and acoustic guitars, swallows darted in and out of the battery circling the audience in such perfect sync with the music it was as if Grody had choreographed their movements.\u003c/p>\n\u003cp>If you weren’t able to make it on Sunday, a second performance at Battery Townsley, \u003cb>Viscera\u003c/b>, will be held August 1. This weekend features two events: \u003cb>Unweathered Embers\u003c/b> (June 12, 7pm) will showcase the acoustics of St. Mark’s Lutheran Church with Baltic-inspired chamber music, and Bay Area Sound Ecology will create an artificial soundscape for a performance called \u003cb>Phantom Power\u003c/b> (June 12, 7pm) over at Yerba Buena Gardens. All told, the Soundwave Festival will feature 75 artists in 18 events at locations around the Bay Area, from the Marin Headlands to the Mission District and the deYoung Museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Residents, for those who have somehow escaped their sway for the last 35-plus years, are the venerable Bay Area-based practitioners of a singular amalgam of performance art and rock ‘n’ roll, aided and abetted by a dose of leading-edge digital technology. They are simultaneously omnipresent and invisible, infamous and unknown, perennially ahead of their time and deeply enmeshed in the past. How can this be? Because the Residents have deemed it so.\u003c/p>\n\u003cp>The group, a trio (I believe) augmented by various collaborators across the decades, has adamantly and diligently hidden the identity of its core members. Onstage and in their numerous videos, they’re outfitted in top hats, tuxes and eyeball headpieces that, like any uniform, sublimate the individual to the group. Neither shy nor agoraphobic, The Residents originally suggested a kind of rebuke of the megalomania and hero worship of rock superstars in the ’70s. In the 21st century, when \u003cb>American Idol\u003c/b> spits out a new household name every week (or is that overstating things? I can’t bring myself to watch) and everyone in America aspires to be a 15-minute fame whore, the idea of a performer seeking anonymity is nothing short of perverse.\u003c/p>\n\u003cp>The spotlight is on the group’s visual art this week, with the Pacific Film Archive screening 15 works in the amusingly titled program, \u003cb>Icky Flix Remix: Videos by The Residents\u003c/b>. The great majority of the pieces were made between 1972 and 2000, and were collected on the 2001 DVD \u003cb>Icky Flix\u003c/b>. No matter. The big screen always beats the small screen, especially with all the weird production design and detail that the Residents typically pack into a piece.\u003c/p>\n\u003cp>Endlessly creative and undeniably restless, the band never seems to repeat themselves visually. Their oeuvre encompasses seductive stop-motion animation, quasi-grotesque live-action and primitive and sophisticated computer graphics. Their influences cover the waterfront of moving-image detritus, from silent film to Japanese monster movies, from vaudeville to underground comics.\u003c/p>\n\u003cp>Frankly, I’d be hard-pressed to decipher and explain the meaning of any particular Residents video, although “Songs for Swinging Larvae” (which I picked primarily to share the pleasure of its title) seems to be about a child’s desire to trade his boring, kitchen-captive mother for a magic-inclined playmate. Experimental, nonlinear and unclassifiable, The Residents’ music videos — buoyed and enhanced by delicious tunes with equally mysterious lyrics — are somehow simultaneously juvenile and sophisticated. How can that be? Because the Residents have deemed it so.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Icky Flix Remix: Videos by The Residents, 1975-2010\u003c/b> screens at 7:30pm, Wednesday, June 9, 2010 at Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/\">tickets and information\u003c/a>, call (510) 642-0808 or visit www.bampfa.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Residents, for those who have somehow escaped their sway for the last 35-plus years, are the venerable Bay Area-based practitioners of a singular amalgam of performance art and rock ‘n’ roll, aided and abetted by a dose of leading-edge digital technology. They are simultaneously omnipresent and invisible, infamous and unknown, perennially ahead of their time and deeply enmeshed in the past. How can this be? Because the Residents have deemed it so.\u003c/p>\n\u003cp>The group, a trio (I believe) augmented by various collaborators across the decades, has adamantly and diligently hidden the identity of its core members. Onstage and in their numerous videos, they’re outfitted in top hats, tuxes and eyeball headpieces that, like any uniform, sublimate the individual to the group. Neither shy nor agoraphobic, The Residents originally suggested a kind of rebuke of the megalomania and hero worship of rock superstars in the ’70s. In the 21st century, when \u003cb>American Idol\u003c/b> spits out a new household name every week (or is that overstating things? I can’t bring myself to watch) and everyone in America aspires to be a 15-minute fame whore, the idea of a performer seeking anonymity is nothing short of perverse.\u003c/p>\n\u003cp>The spotlight is on the group’s visual art this week, with the Pacific Film Archive screening 15 works in the amusingly titled program, \u003cb>Icky Flix Remix: Videos by The Residents\u003c/b>. The great majority of the pieces were made between 1972 and 2000, and were collected on the 2001 DVD \u003cb>Icky Flix\u003c/b>. No matter. The big screen always beats the small screen, especially with all the weird production design and detail that the Residents typically pack into a piece.\u003c/p>\n\u003cp>Endlessly creative and undeniably restless, the band never seems to repeat themselves visually. Their oeuvre encompasses seductive stop-motion animation, quasi-grotesque live-action and primitive and sophisticated computer graphics. Their influences cover the waterfront of moving-image detritus, from silent film to Japanese monster movies, from vaudeville to underground comics.\u003c/p>\n\u003cp>Frankly, I’d be hard-pressed to decipher and explain the meaning of any particular Residents video, although “Songs for Swinging Larvae” (which I picked primarily to share the pleasure of its title) seems to be about a child’s desire to trade his boring, kitchen-captive mother for a magic-inclined playmate. Experimental, nonlinear and unclassifiable, The Residents’ music videos — buoyed and enhanced by delicious tunes with equally mysterious lyrics — are somehow simultaneously juvenile and sophisticated. How can that be? Because the Residents have deemed it so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Want to see the classical music stars of tomorrow, today? One of the most prestigious competitions for young people in the world is right here in our backyard. For a quarter of a century the \u003ca href=\"http://kleincompetition.org/\">Irving M. Klein International String Competition\u003c/a> has nurtured talent, launched careers and inspired young players around the world, and they’re kicking off their 25th Anniversary competition with a gala celebration concert. Past finalists will join superstars like pianist Jon Nakamatsu, cellist Gary Hoffman, the Cypress String Quartet and the Alexander String Quartet at 8pm, Thursday, June 10, 2010 in San Francisco State’s Knuth Hall, the competition’s home.\u003c/p>\n\u003cp>Mitchell Sardou Klein, the Music Director of the Peninsula Symphony and one of the Competition’s founders, says that the idea for a “kinder, gentler” competition began as a tribute to his late father, a renowned cellist and music teacher. By the mid-1980s music competitions had been getting — somewhat deservedly — a bad reputation as hothouses of pressure, rewarding robotic perfection over artistry, and stifling creative development by throwing young performers to the critical wolves and then leaving them hanging. Films like \u003cb>The Competition\u003c/b> and, especially, \u003cb>Shine\u003c/b> give a pretty good idea of the atmosphere. Klein says that he and his partners felt it was important to make sure the setting would be friendly and supportive; “Music,” he says, “is not a competition, it’s a shared artistic experience.” Competitors are hosted by local families, they get coaching, play chamber music together, and they get to play their jury pieces all the way through — nobody has to worry about the dreaded “thank you” interrupting them. They learn to craft performances, not just play auditions.\u003c/p>\n\u003cp>Ironically, the Klein Competition is much better known internationally than it is right here in its hometown, at least outside the academic community. Mitchell Klein figures it’s their “modest investment in publicity,” but clearly that hasn’t hurt the competetion’s standing in the rest of the music world. Of course, looking at the careers of past competitors doesn’t hurt. World-renowned soloists like \u003ca href=\"http://www.vadim.gluzman.com\">Vadim Gluzman\u003c/a>, \u003ca href=\"http://www.joshuaroman.com\">Joshua Roman\u003c/a>, and \u003ca href=\"http://www.larasjohn.com\">Lara St. John\u003c/a>, and respected chamber and orchestral musicians like \u003ca href=\"http://www.wendywarnercello.com\">Wendy Warner\u003c/a>, \u003ca href=\"http://www.haiyeni.com\">Hai-ye Ni\u003c/a>, and \u003ca href=\"http://www.triosolisti.com\">Alexis Gerlach\u003c/a> have all been semi-finalists in the Klein; Roman even enjoyed the experience so much he came back after a third-place finish in 2003 to finish second in 2004.\u003c/p>\n\u003cp>\u003ca href=\"http://kleincompetition.org/index.php?option=com_content&view=article&id=19&Itemid=37\">This year’s competitors\u003c/a> come from New Jersey, Pennsylvania, Illinois, England, South Korea and China and span the full age range of eligible competitors, 15 to 23. There are cash prizes — it wouldn’t be a competition without them — but the winner also gets solo appearances with the Peninsula and Santa Cruz Symphonies, recitals with Chamber Music Tulsa and Music in the Vineyards, and a San Francisco Bay Area benefit concert. The California Music Center, the competition’s parent organization, follows all the finalists, providing guidance through the early stages of their careers.\u003c/p>\n\u003cp>As the director of a competition that prides itself on its “family” atmosphere, it’s probably not surprising that some of Mitchell Klein’s favorite memories have nothing to do with the music being made. One violinist, whom Klein declined to identify except to say that she is now a world-renowned soloist, came to the competition with a reputation of being temperamental, and did nothing to alter that impression in the competition’s early stages. She was so unhappy with her semi-final performance that she didn’t even show up for the announcement of the finalists; of course, she was one. Klein says that later that night — about 2am — he got a call from a very noisy country/western bar, in which he could barely make out a squeaky and somewhat slurred voice shouting “You have got to be BLEEPING kidding me!” Needless to say, said soloist was not at her best for the finals the next day, but she still keeps in touch and, Klein says, has turned into a “lovely young woman.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Any or all of this year’s semi-finalists could turn out to be classical music’s Next Big Thing; in any case, you’re guaranteed to hear some extraordinary music-making. The concerts are all at Knuth Hall at San Francisco State. The gala celebration is on Thursday, June 10, 2010; the semi-finals are on Saturday, June 12 and the finals on Sunday June 13. For \u003ca href=\"http://kleincompetition.org/\">tickets and information\u003c/a> visit kleincompetition.org, and you could say “I saw them when.”\u003c/p>\n\n",
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"excerpt": "For a quarter of a century the Irving M. Klein International String Competition has nurtured talent, launched careers and inspired young players around the world. The 25th edition kicks off Thursday, June 10 at SFSU.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Want to see the classical music stars of tomorrow, today? One of the most prestigious competitions for young people in the world is right here in our backyard. For a quarter of a century the \u003ca href=\"http://kleincompetition.org/\">Irving M. Klein International String Competition\u003c/a> has nurtured talent, launched careers and inspired young players around the world, and they’re kicking off their 25th Anniversary competition with a gala celebration concert. Past finalists will join superstars like pianist Jon Nakamatsu, cellist Gary Hoffman, the Cypress String Quartet and the Alexander String Quartet at 8pm, Thursday, June 10, 2010 in San Francisco State’s Knuth Hall, the competition’s home.\u003c/p>\n\u003cp>Mitchell Sardou Klein, the Music Director of the Peninsula Symphony and one of the Competition’s founders, says that the idea for a “kinder, gentler” competition began as a tribute to his late father, a renowned cellist and music teacher. By the mid-1980s music competitions had been getting — somewhat deservedly — a bad reputation as hothouses of pressure, rewarding robotic perfection over artistry, and stifling creative development by throwing young performers to the critical wolves and then leaving them hanging. Films like \u003cb>The Competition\u003c/b> and, especially, \u003cb>Shine\u003c/b> give a pretty good idea of the atmosphere. Klein says that he and his partners felt it was important to make sure the setting would be friendly and supportive; “Music,” he says, “is not a competition, it’s a shared artistic experience.” Competitors are hosted by local families, they get coaching, play chamber music together, and they get to play their jury pieces all the way through — nobody has to worry about the dreaded “thank you” interrupting them. They learn to craft performances, not just play auditions.\u003c/p>\n\u003cp>Ironically, the Klein Competition is much better known internationally than it is right here in its hometown, at least outside the academic community. Mitchell Klein figures it’s their “modest investment in publicity,” but clearly that hasn’t hurt the competetion’s standing in the rest of the music world. Of course, looking at the careers of past competitors doesn’t hurt. World-renowned soloists like \u003ca href=\"http://www.vadim.gluzman.com\">Vadim Gluzman\u003c/a>, \u003ca href=\"http://www.joshuaroman.com\">Joshua Roman\u003c/a>, and \u003ca href=\"http://www.larasjohn.com\">Lara St. John\u003c/a>, and respected chamber and orchestral musicians like \u003ca href=\"http://www.wendywarnercello.com\">Wendy Warner\u003c/a>, \u003ca href=\"http://www.haiyeni.com\">Hai-ye Ni\u003c/a>, and \u003ca href=\"http://www.triosolisti.com\">Alexis Gerlach\u003c/a> have all been semi-finalists in the Klein; Roman even enjoyed the experience so much he came back after a third-place finish in 2003 to finish second in 2004.\u003c/p>\n\u003cp>\u003ca href=\"http://kleincompetition.org/index.php?option=com_content&view=article&id=19&Itemid=37\">This year’s competitors\u003c/a> come from New Jersey, Pennsylvania, Illinois, England, South Korea and China and span the full age range of eligible competitors, 15 to 23. There are cash prizes — it wouldn’t be a competition without them — but the winner also gets solo appearances with the Peninsula and Santa Cruz Symphonies, recitals with Chamber Music Tulsa and Music in the Vineyards, and a San Francisco Bay Area benefit concert. The California Music Center, the competition’s parent organization, follows all the finalists, providing guidance through the early stages of their careers.\u003c/p>\n\u003cp>As the director of a competition that prides itself on its “family” atmosphere, it’s probably not surprising that some of Mitchell Klein’s favorite memories have nothing to do with the music being made. One violinist, whom Klein declined to identify except to say that she is now a world-renowned soloist, came to the competition with a reputation of being temperamental, and did nothing to alter that impression in the competition’s early stages. She was so unhappy with her semi-final performance that she didn’t even show up for the announcement of the finalists; of course, she was one. Klein says that later that night — about 2am — he got a call from a very noisy country/western bar, in which he could barely make out a squeaky and somewhat slurred voice shouting “You have got to be BLEEPING kidding me!” Needless to say, said soloist was not at her best for the finals the next day, but she still keeps in touch and, Klein says, has turned into a “lovely young woman.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Any or all of this year’s semi-finalists could turn out to be classical music’s Next Big Thing; in any case, you’re guaranteed to hear some extraordinary music-making. The concerts are all at Knuth Hall at San Francisco State. The gala celebration is on Thursday, June 10, 2010; the semi-finals are on Saturday, June 12 and the finals on Sunday June 13. For \u003ca href=\"http://kleincompetition.org/\">tickets and information\u003c/a> visit kleincompetition.org, and you could say “I saw them when.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Buddy Guy takes the stage in Aptos Village Park on Sunday, May 30, 2010 for the \u003cb>Santa Cruz Blues Festival\u003c/b>, he will be on familiar terrain. Guy has been at the top of the Blues Fest bill four times counting this year’s appearance — the others were in 1994, 1998 and 2004 — and this is the third time he’s played on the same day as Coco Montoya.\u003c/p>\n\u003cp>Which is not to say that the Memorial Day weekend festival is in a rut when it comes to booking acts. In fact, 2010 brings one of the most diverse lineups in years.\u003c/p>\n\u003cp>Saturday begins especially strong with Eric Lindell, a newcomer who blends Clapton-like chops with New Orleans funk. More New Orleans influences are on tap with Ivan Neville’s Dumpstaphunk, which features a pair of Nevilles (the name is music royalty in the Crescent City) as well as a pair of bassists.\u003c/p>\n\u003cp>Artist and folk-rocker Joseph Arthur, who began his music career opening for Ben Harper, continues the day’s less-than-pure-blues theme. Then comes Taj Mahal, who you’d think might be as much of a Blues Fest mainstay as Buddy Guy, but is actually making his first appearance here. Mahal, whose style is sort of a blues-meets-world-music hybrid, is the opposite of Arthur when it comes to the day’s headliner, Ben Harper, Mahal actually gave Harper his start when he took the slide guitar wizard on tour with him.\u003c/p>\n\u003cp>For his part, Harper has become enough of a fixture on the pop-culture landscape that no one blinked twice when he appeared alongside comedian Will Ferrell, Billy Gibbons of ZZ top, and Beck for a rendition of the most clichéd and requested of all rock anthems, “Free Bird,” at the end of Conan O’Brien’s final \u003cb>Tonight Show\u003c/b>. After the upcoming gig in Santa Cruz, which is his only Northern California stop this summer, Harper and his band, Relentless 7, head to Europe to open a string of dates for Pearl Jam and headline a few of their own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sunday is the day for blues traditionalists, although it won’t begin that way. Was Not Was opens the show, with Sweet Pea Atkinson and Sir Harry Bowens on soulful vocals, Randy Jacobs of the Boneshakers on guitar, and Don Was on bass. (Was just finished producing 10 previously unreleased tracks for the re-release of \u003cb>Exile on Main Street\u003c/b> by some band from England called the Rolling Stones…)\u003c/p>\n\u003cp>Eric Burdon and the Animals will bring back the ’60s with a slew of their hits, while guitarist Coco Montoya will show everyone why he was tapped by John Mayall to join the blue-eyed bluesman’s legendary Bluesbreakers. By mid-afternoon, husband-and-wife team Derek Trucks and Susan Tedeschi, he of Allman Brothers fame and she of, well, Susan Tedeschi fame, will continue the day’s guitar-heavy vein. And then Chicago’s Buddy Guy, perhaps the most influential blues guitarist of the second half of the 20th century, closes out the day with what promises to be a spirited show from one of the few blues artists inducted in the Rock and Roll Hall of Fame. \u003c/p>\n\u003cp>Before you go, a couple of logistical tips: First, the pricier tickets for the seats up front are totally worth it. Second, since parking is at an offsite lot and you need to rely on the festival buses to get you back to your car, you need to plan your escape. If you insist on beating the lines, expect to miss the last 15 minutes of so of Guy or Harper in order to do so. Otherwise, be prepared to dawdle a bit — it’s far more pleasant to hang out in the park waiting for the bus lines to thin out than it is to wait in the lines themselves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Santa Cruz Blues Festival\u003c/b> is held on Memorial Day weekend, May 29 and 30, 2010. For \u003ca href=\"http://www.santacruzbluesfestival.com/index.php\">tickets and information\u003c/a>, visit santacruzbluesfestival.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Buddy Guy takes the stage in Aptos Village Park on Sunday, May 30, 2010 for the \u003cb>Santa Cruz Blues Festival\u003c/b>, he will be on familiar terrain. Guy has been at the top of the Blues Fest bill four times counting this year’s appearance — the others were in 1994, 1998 and 2004 — and this is the third time he’s played on the same day as Coco Montoya.\u003c/p>\n\u003cp>Which is not to say that the Memorial Day weekend festival is in a rut when it comes to booking acts. In fact, 2010 brings one of the most diverse lineups in years.\u003c/p>\n\u003cp>Saturday begins especially strong with Eric Lindell, a newcomer who blends Clapton-like chops with New Orleans funk. More New Orleans influences are on tap with Ivan Neville’s Dumpstaphunk, which features a pair of Nevilles (the name is music royalty in the Crescent City) as well as a pair of bassists.\u003c/p>\n\u003cp>Artist and folk-rocker Joseph Arthur, who began his music career opening for Ben Harper, continues the day’s less-than-pure-blues theme. Then comes Taj Mahal, who you’d think might be as much of a Blues Fest mainstay as Buddy Guy, but is actually making his first appearance here. Mahal, whose style is sort of a blues-meets-world-music hybrid, is the opposite of Arthur when it comes to the day’s headliner, Ben Harper, Mahal actually gave Harper his start when he took the slide guitar wizard on tour with him.\u003c/p>\n\u003cp>For his part, Harper has become enough of a fixture on the pop-culture landscape that no one blinked twice when he appeared alongside comedian Will Ferrell, Billy Gibbons of ZZ top, and Beck for a rendition of the most clichéd and requested of all rock anthems, “Free Bird,” at the end of Conan O’Brien’s final \u003cb>Tonight Show\u003c/b>. After the upcoming gig in Santa Cruz, which is his only Northern California stop this summer, Harper and his band, Relentless 7, head to Europe to open a string of dates for Pearl Jam and headline a few of their own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sunday is the day for blues traditionalists, although it won’t begin that way. Was Not Was opens the show, with Sweet Pea Atkinson and Sir Harry Bowens on soulful vocals, Randy Jacobs of the Boneshakers on guitar, and Don Was on bass. (Was just finished producing 10 previously unreleased tracks for the re-release of \u003cb>Exile on Main Street\u003c/b> by some band from England called the Rolling Stones…)\u003c/p>\n\u003cp>Eric Burdon and the Animals will bring back the ’60s with a slew of their hits, while guitarist Coco Montoya will show everyone why he was tapped by John Mayall to join the blue-eyed bluesman’s legendary Bluesbreakers. By mid-afternoon, husband-and-wife team Derek Trucks and Susan Tedeschi, he of Allman Brothers fame and she of, well, Susan Tedeschi fame, will continue the day’s guitar-heavy vein. And then Chicago’s Buddy Guy, perhaps the most influential blues guitarist of the second half of the 20th century, closes out the day with what promises to be a spirited show from one of the few blues artists inducted in the Rock and Roll Hall of Fame. \u003c/p>\n\u003cp>Before you go, a couple of logistical tips: First, the pricier tickets for the seats up front are totally worth it. Second, since parking is at an offsite lot and you need to rely on the festival buses to get you back to your car, you need to plan your escape. If you insist on beating the lines, expect to miss the last 15 minutes of so of Guy or Harper in order to do so. Otherwise, be prepared to dawdle a bit — it’s far more pleasant to hang out in the park waiting for the bus lines to thin out than it is to wait in the lines themselves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Santa Cruz Blues Festival\u003c/b> is held on Memorial Day weekend, May 29 and 30, 2010. For \u003ca href=\"http://www.santacruzbluesfestival.com/index.php\">tickets and information\u003c/a>, visit santacruzbluesfestival.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Sandwitches: How to Make Ambient Sadcake",
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"content": "\u003cp>What do you get when you mix a cup of ’50s doo-wop, another of ’60s girl-group pop, a tablespoon of Americana twang, a pinch of soul, and a sprinkling of garage grime and bake at 350 degrees? Something resembling The Sandwitches’ debut album, \u003cb>How to Make Ambient Sadcake\u003c/b>, which had the honor of being the first release on the San Francisco label, \u003ca href=\"http://turnuprecords.com/\">Turn Up\u003c/a>. Heidi Alexander and Grace Cooper are the ladies behind the funny moniker; formerly back-up singers for another SF-based band, the Fresh & Onlys, the two had musical chemistry and decided to leave the background and take over center stage with their own act. After recruiting Roxy Brodeur from Pillars of Salt on drums (who has since been replaced by Lance Kramer from Beat Cops), they started work on their special brand of sunny, and sometimes shadowy, pop-rock.\u003c/p>\n\u003cp>Considering the multiple genres and musical eras the Sandwitches are playing around with, one might assume that \u003cb>How to Make Ambient Sadcake\u003c/b> might sound disjointed and scattered, but this is far from true. Somehow, the ladies have managed to set a foundation of notes from past decades and build on those traditions, at once paying homage and whipping the vintage sounds into a contemporary blend of their own making.\u003c/p>\n\u003cp>The Sandwitches start off the sock hop with “Back to the Sea,” an infectious ’60s pop song that serves as an invitation to drop whatever you’re doing and join the girls on a trip down memory lane and back again. “Come on, brothers and sisters, we’re going back to the sea, come on!” they sing so convincingly. “Tarantula Arms” continues this propulsive spirit with drums and tales of monster transformations, but things don’t really get started until “Fire,” a super fun sing-along that drips with doo-wop. “You have consumed me, too too much, you are too much,” they harmonize over the smacking of hand claps.\u003c/p>\n\u003cp>The sun comes out for “Relax at the Beach,” which features the girls granting permission to do what Californians do best, unwinding with sand and surf. And “Marry Me,” a rock song full of electric guitar, tells the story of a moody man named Joe, who can’t decide if he would rather ignore his girl or marry her. The Sandwitches really step up their songwriting on this one, conjuring one great image after another (from “he’s got smoke in his hands and teeth” to “he kissed me one night after he’d been in a fist fight, shirt in a twist and blood on his lips”).\u003c/p>\n\u003cp>“Kiss Your Feet” also takes on love. But, even with a line like “I’m so happy I could kiss your feet,” there’s something sinister lurking, revealed a bit when the girls plead with their lovers to “take my life from me.” Director Joey Izzo does a brilliant job of picking up on this dark side and creating a memorable music video that depicts a clown-faced murderer luring young girls from their Ouija board to their deaths. Check the horror below:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite all of its merits, \u003cb>How to Make Ambient Sadcake\u003c/b> has only received a limited amount of attention (\u003ca href=\"http://gorillavsbear.blogspot.com/\">gorilla vs. bear\u003c/a> heralded it as “the best album of the year that no one seems to be talking about”). This might be distressing news, if it wasn’t so obvious that the Sandwitches are just getting started. For now, they’re our little secret, a sound we can revel in before it starts infecting the speakers and headphones of everyone else. Enjoy the exclusivity while you can.\u003c/p>\n\n",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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