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"content": "\u003cp>Before the \u003ca href=\"http://www.noisepop.com/2010/\">Noise Pop Music Festival\u003c/a> takes over Bay Area venues at the end of the month, there are plenty of other great shows hitting the Bay Area. Here are a few pre-Noise Pop picks:\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/stvincent\">St. Vincent\u003c/a>‘s latest cross-country tour lands Annie Clark at the \u003ca href=\"http://www.gamh.com\">Great American Music Hall\u003c/a> on February 8th. Released last year, \u003cb>Actor\u003c/b> is Clark’s second album as St. Vincent, and it frequently channels a bombastic theatricality befitting the album’s title. In its loud and quiet moments, the record showcases Clark bending the traditional rules of pop songwriting while constructing some stunning baroque arrangements. Equally intriguing is opening act \u003ca href=\"http://www.myspace.com/wildbirdsandpeacedrums\">Wildbirds & Peacedrums\u003c/a>, a Swedish duo who construct avant-garde pop principally from just drums and vocals. Not \u003ci>just\u003c/i>, actually, as songs from the band’s 2009 album, \u003cb>The Snake\u003c/b> show that both singer Mariam Wallentin and percussionist Andreas Werliin are capable of appropriately dramatic swells, the kind Annie Clark also does so well.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=-9prpAv6kvo&hl=en_US&fs=1&]\u003c/p>\n\u003cp>Two of the Bay Area’s best rock bands, \u003ca href=\"http://www.myspace.com/tysegall\">Ty Segall\u003c/a> and \u003ca href=\"http://www.myspace.com/mantles\">The Mantles\u003c/a> team up for a \u003ca href=\"http://www.hemlocktavern.com/\">Hemlock Tavern\u003c/a> show on February 13th. Segall has delivered incendiary one-man-band performances and fronted a trio, but his most recent (and well-received) LP, \u003cb>Reverse Shark Attack\u003c/b>, finds him in a psych-garage duo with \u003ca href=\"http://www.myspace.com/mikalcroninmusic\">Mikal Cronin\u003c/a> (Okie Dokie, Charlie and the Moonhearts). The Mantles, meanwhile, released a self-titled LP and pair of singles last year for esteemed labels like Siltbreeze and Slumberland that were full of jangly-catchy rock gems. The band is already heading back into the studio this month to work on more music. Show up early to catch the fuzzed out sounds of Sacramento’s \u003ca href=\"http://www.myspace.com/ggreenz\">Ggreen\u003c/a>, while SF’s \u003ca href=\"http://www.myspace.com/peter-grimm\">Peter Grimm\u003c/a> kicks things off at 9:30pm.\u003c/p>\n\u003cp>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before the \u003ca href=\"http://www.noisepop.com/2010/\">Noise Pop Music Festival\u003c/a> takes over Bay Area venues at the end of the month, there are plenty of other great shows hitting the Bay Area. Here are a few pre-Noise Pop picks:\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/stvincent\">St. Vincent\u003c/a>‘s latest cross-country tour lands Annie Clark at the \u003ca href=\"http://www.gamh.com\">Great American Music Hall\u003c/a> on February 8th. Released last year, \u003cb>Actor\u003c/b> is Clark’s second album as St. Vincent, and it frequently channels a bombastic theatricality befitting the album’s title. In its loud and quiet moments, the record showcases Clark bending the traditional rules of pop songwriting while constructing some stunning baroque arrangements. Equally intriguing is opening act \u003ca href=\"http://www.myspace.com/wildbirdsandpeacedrums\">Wildbirds & Peacedrums\u003c/a>, a Swedish duo who construct avant-garde pop principally from just drums and vocals. Not \u003ci>just\u003c/i>, actually, as songs from the band’s 2009 album, \u003cb>The Snake\u003c/b> show that both singer Mariam Wallentin and percussionist Andreas Werliin are capable of appropriately dramatic swells, the kind Annie Clark also does so well.\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/-9prpAv6kvo'\n title='//www.youtube.com/embed/-9prpAv6kvo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Two of the Bay Area’s best rock bands, \u003ca href=\"http://www.myspace.com/tysegall\">Ty Segall\u003c/a> and \u003ca href=\"http://www.myspace.com/mantles\">The Mantles\u003c/a> team up for a \u003ca href=\"http://www.hemlocktavern.com/\">Hemlock Tavern\u003c/a> show on February 13th. Segall has delivered incendiary one-man-band performances and fronted a trio, but his most recent (and well-received) LP, \u003cb>Reverse Shark Attack\u003c/b>, finds him in a psych-garage duo with \u003ca href=\"http://www.myspace.com/mikalcroninmusic\">Mikal Cronin\u003c/a> (Okie Dokie, Charlie and the Moonhearts). The Mantles, meanwhile, released a self-titled LP and pair of singles last year for esteemed labels like Siltbreeze and Slumberland that were full of jangly-catchy rock gems. The band is already heading back into the studio this month to work on more music. Show up early to catch the fuzzed out sounds of Sacramento’s \u003ca href=\"http://www.myspace.com/ggreenz\">Ggreen\u003c/a>, while SF’s \u003ca href=\"http://www.myspace.com/peter-grimm\">Peter Grimm\u003c/a> kicks things off at 9:30pm.\u003c/p>\n\u003cp>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>IndieFest-ivities start a week early this year, with a decidedly musical twist. The 12th Annual San Francisco Independent Film Festival kicks off on February 4, 2010, but film festival organizers and \u003ca href=\"http://www.threcords.com/\">Talking House Records\u003c/a> are taking over a few Bay Area venues beginning January 29th — TONIGHT — for the \u003ca href=\"http://www.sfindie.com/\">Winter Music Fest\u003c/a>. The Fest features forty-three mostly-local bands in eleven shows over seven days, with a number of events well worth checking out.\u003c/p>\n\u003cp>One always expects bands to get poppier as they age, losing the edges that made them initially compelling as they seek wider audiences. SF trio \u003ca href=\"http://www.myspace.com/temponotempo\">Tempo No Tempo\u003c/a> recently did exactly the opposite, eschewing two EPs’ worth of melodic dance rock for a more experimental and dissonant bent on \u003cb>Waking Heat\u003c/b>. Tyler McCauley’s vocals still possess a Dischord-reminiscent mix of earnest and anthemic traits on the full length, anchored in a rhythm-heavy feel that benefits from some left-field noises and dub-inspired effects. The band will be at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> on Wednesday, February 3rd, with \u003ca href=\"http://www.myspace.com/fightingthevillain\">Fighting the Villain\u003c/a>, \u003ca href=\"http://www.myspace.com/thehottoddies\">The Hot Toddies\u003c/a>, and \u003ca href=\"http://www.myspace.com/downerpartytime\">The Downer Party\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/thefederalists\">Luke Franks Or The Federalists\u003c/a> is an unwieldy name, but there’s nothing unwieldy about the band’s latest album \u003cb>The Way We Ran\u003c/b>. Franks is something of a prolific songwriter, whose East Bay-based band The Federalists released a few albums in the late ’00s before a personnel overhaul made the new moniker more indicative of his central role in the proceedings. The bandleader is nothing if not versatile, shifting from song to song between touchstones like modern rock, classic R&B and alt-country, but there’s uniformly clean production throughout. Franks and band will be at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> on Monday, February 1st, with \u003ca href=\"http://www.myspace.com/sceneofaction\">Scene of Action\u003c/a>, \u003ca href=\"http://www.myspace.com/thehundreddays\">The Hundred Days\u003c/a> and \u003ca href=\"http://www.myspace.com/pleasedonotfight\">Please Do Not Fight\u003c/a>.\u003c/p>\n\u003cp>There’s also a heck of a show on Tuesday, February 2 at Thee Parkside. Oakland/SF trio \u003ca href=\"http://www.myspace.com/grandlakemusic\">Grand Lake\u003c/a> seem to be perpetually evolving (probably the way it should be, right?), and the band’s recent \u003cb>Louise\u003c/b> EP finds them exploring mathy, feedback-layered indie rock, with a couple of originals seated alongside Silver Jews and Port O’Brien covers. The band is playing alongside Sacramento/SF quartet \u003ca href=\"http://www.myspace.com/twosheds\">Two Sheds\u003c/a>, who mix drowsy, textured folk-rock with the commanding vocals of Caitlin Gutenberger. Also performing are post-punk-inspired \u003ca href=\"http://www.myspace.com/fakeurowndeath\">Fake Your Own Death\u003c/a> and folk-pop duo \u003ca href=\"http://www.myspace.com/kumakoshka\">Kuma/Koshka\u003c/a>, featuring members of local bands \u003ca href=\"http://www.myspace.com/elephone\">Elephone\u003c/a> and \u003ca href=\"http://www.myspace.com/thebotticellis\">The Botticellis\u003c/a>, respectively.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfindie.com/\">full lineup for the Winter Music Fest\u003c/a> can be found at SFindie.com, where you can also purchase advanced tickets and festival badges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director for \u003ca hred=\"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>IndieFest-ivities start a week early this year, with a decidedly musical twist. The 12th Annual San Francisco Independent Film Festival kicks off on February 4, 2010, but film festival organizers and \u003ca href=\"http://www.threcords.com/\">Talking House Records\u003c/a> are taking over a few Bay Area venues beginning January 29th — TONIGHT — for the \u003ca href=\"http://www.sfindie.com/\">Winter Music Fest\u003c/a>. The Fest features forty-three mostly-local bands in eleven shows over seven days, with a number of events well worth checking out.\u003c/p>\n\u003cp>One always expects bands to get poppier as they age, losing the edges that made them initially compelling as they seek wider audiences. SF trio \u003ca href=\"http://www.myspace.com/temponotempo\">Tempo No Tempo\u003c/a> recently did exactly the opposite, eschewing two EPs’ worth of melodic dance rock for a more experimental and dissonant bent on \u003cb>Waking Heat\u003c/b>. Tyler McCauley’s vocals still possess a Dischord-reminiscent mix of earnest and anthemic traits on the full length, anchored in a rhythm-heavy feel that benefits from some left-field noises and dub-inspired effects. The band will be at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> on Wednesday, February 3rd, with \u003ca href=\"http://www.myspace.com/fightingthevillain\">Fighting the Villain\u003c/a>, \u003ca href=\"http://www.myspace.com/thehottoddies\">The Hot Toddies\u003c/a>, and \u003ca href=\"http://www.myspace.com/downerpartytime\">The Downer Party\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/thefederalists\">Luke Franks Or The Federalists\u003c/a> is an unwieldy name, but there’s nothing unwieldy about the band’s latest album \u003cb>The Way We Ran\u003c/b>. Franks is something of a prolific songwriter, whose East Bay-based band The Federalists released a few albums in the late ’00s before a personnel overhaul made the new moniker more indicative of his central role in the proceedings. The bandleader is nothing if not versatile, shifting from song to song between touchstones like modern rock, classic R&B and alt-country, but there’s uniformly clean production throughout. Franks and band will be at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> on Monday, February 1st, with \u003ca href=\"http://www.myspace.com/sceneofaction\">Scene of Action\u003c/a>, \u003ca href=\"http://www.myspace.com/thehundreddays\">The Hundred Days\u003c/a> and \u003ca href=\"http://www.myspace.com/pleasedonotfight\">Please Do Not Fight\u003c/a>.\u003c/p>\n\u003cp>There’s also a heck of a show on Tuesday, February 2 at Thee Parkside. Oakland/SF trio \u003ca href=\"http://www.myspace.com/grandlakemusic\">Grand Lake\u003c/a> seem to be perpetually evolving (probably the way it should be, right?), and the band’s recent \u003cb>Louise\u003c/b> EP finds them exploring mathy, feedback-layered indie rock, with a couple of originals seated alongside Silver Jews and Port O’Brien covers. The band is playing alongside Sacramento/SF quartet \u003ca href=\"http://www.myspace.com/twosheds\">Two Sheds\u003c/a>, who mix drowsy, textured folk-rock with the commanding vocals of Caitlin Gutenberger. Also performing are post-punk-inspired \u003ca href=\"http://www.myspace.com/fakeurowndeath\">Fake Your Own Death\u003c/a> and folk-pop duo \u003ca href=\"http://www.myspace.com/kumakoshka\">Kuma/Koshka\u003c/a>, featuring members of local bands \u003ca href=\"http://www.myspace.com/elephone\">Elephone\u003c/a> and \u003ca href=\"http://www.myspace.com/thebotticellis\">The Botticellis\u003c/a>, respectively.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfindie.com/\">full lineup for the Winter Music Fest\u003c/a> can be found at SFindie.com, where you can also purchase advanced tickets and festival badges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Being a teenager feels like a perpetual earthquake. Everything is shifting and senses are heightened. Emotions are on fire and passion runs high. Baltimore-based dream-pop duo Beach House, with the help of producer/engineer Chris Coady (Yeah Yeah Yeahs, TV on the Radio, and Blonde Redhead), have captured that adolescent disorder on their third full-length release.\u003c/p>\n\u003cp>Recorded in a converted church appropriately called Dreamland in upstate New York, \u003cb>Teen Dream\u003c/b> is a departure from the band’s previous work. On first listen, the album’s ten tracks might sound familiar. The blood that pumps through them is the same blood that gave life to Beach House’s previous two albums (2006’s self-titled debut and 2008’s \u003cb>Devotion\u003c/b>). But don’t be fooled: \u003cb>Teen Dream\u003c/b> is no carbon copy. It’s much more than that.\u003c/p>\n\u003cp>The band uses the same tools they always have, a combination of mournful organ tones, reverb-heavy slide guitar, and Victoria Legrand’s haunting vocals, but this time around, they’ve shuffled these base elements to expand and deepen their sound. If their first two albums are lovely dreams you don’t wish to wake from, \u003cb>Teen Dream\u003c/b> is more like the space between sleep and waking, the brief moments that shield the lush paradise of dreams from the routine of forgetting them.\u003c/p>\n\u003cp>“Zebra” starts things off on the right foot with a simple guitar riff and soothing harmonies reminiscent of Grizzly Bear. Halfway through the song, things really take off with an escalation of layered vocals, crashing cymbals, and full-bodied guitar.\u003c/p>\n\u003cp>The temperature continues to rise with the sultry “Silver Soul,” in which Victoria Legrand breathily sings “The bodies lying in the sand, they’re moving in the dark” before repeating “It is happening again” to climax. \u003cb>Teen Dream\u003c/b>‘s nostalgic lead single “Norway” maintains the theatrics with an upbeat girl-group vibe and songs like “Better Times” and “10 Mile Stereo” keep things interesting with constantly changing tempos and non-stop escalation. Even the songs that aren’t brimming with vim manage to wow. “Real Love,” easily the most intimate track on the album, is a stripped-down ballad with Legrand and her piano front and center. Her ghostlike voice echoes darkly, yet playfully: “There’s someone in that room that frightens you when they go: Boo! Boo! Boo!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Walk in the Park,” one of the most memorable songs from the album, peaks with Legrand declaring: “More, you want more!” And she’s right, of course. This album leaves its listeners breathless, wanting, needing, and aching for something just out of reach. Just like when we were teenagers listening to music in our bedrooms.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Teen Dream\u003c/b> is out now and comes with a DVD of music videos for every song. \u003ca href=\"http://www.beachhousebaltimore.com\">Beach House\u003c/a> plays Bimbo’s on April 14, 2010. For \u003ca href=\"http://www.bimbos365club.com/\">tickets and information\u003c/a>, visit bimbos365club.com\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Being a teenager feels like a perpetual earthquake. Everything is shifting and senses are heightened. Emotions are on fire and passion runs high. Baltimore-based dream-pop duo Beach House, with the help of producer/engineer Chris Coady (Yeah Yeah Yeahs, TV on the Radio, and Blonde Redhead), have captured that adolescent disorder on their third full-length release.\u003c/p>\n\u003cp>Recorded in a converted church appropriately called Dreamland in upstate New York, \u003cb>Teen Dream\u003c/b> is a departure from the band’s previous work. On first listen, the album’s ten tracks might sound familiar. The blood that pumps through them is the same blood that gave life to Beach House’s previous two albums (2006’s self-titled debut and 2008’s \u003cb>Devotion\u003c/b>). But don’t be fooled: \u003cb>Teen Dream\u003c/b> is no carbon copy. It’s much more than that.\u003c/p>\n\u003cp>The band uses the same tools they always have, a combination of mournful organ tones, reverb-heavy slide guitar, and Victoria Legrand’s haunting vocals, but this time around, they’ve shuffled these base elements to expand and deepen their sound. If their first two albums are lovely dreams you don’t wish to wake from, \u003cb>Teen Dream\u003c/b> is more like the space between sleep and waking, the brief moments that shield the lush paradise of dreams from the routine of forgetting them.\u003c/p>\n\u003cp>“Zebra” starts things off on the right foot with a simple guitar riff and soothing harmonies reminiscent of Grizzly Bear. Halfway through the song, things really take off with an escalation of layered vocals, crashing cymbals, and full-bodied guitar.\u003c/p>\n\u003cp>The temperature continues to rise with the sultry “Silver Soul,” in which Victoria Legrand breathily sings “The bodies lying in the sand, they’re moving in the dark” before repeating “It is happening again” to climax. \u003cb>Teen Dream\u003c/b>‘s nostalgic lead single “Norway” maintains the theatrics with an upbeat girl-group vibe and songs like “Better Times” and “10 Mile Stereo” keep things interesting with constantly changing tempos and non-stop escalation. Even the songs that aren’t brimming with vim manage to wow. “Real Love,” easily the most intimate track on the album, is a stripped-down ballad with Legrand and her piano front and center. Her ghostlike voice echoes darkly, yet playfully: “There’s someone in that room that frightens you when they go: Boo! Boo! Boo!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If the past decade has taught us anything, it’s that mainstream American music can be subverted in many suprising and subtle ways. Sure, the bestselling artist in the nation right now may be the vanilla-voiced, bland-as-bread Taylor Swift, but just take a look at \u003ca href=\"http://www.rollingstone.com/news/story/31248926/100_best_songs_of_the_decade/27\">Rolling Stone’s 100 best singles of the 2000s\u003c/a>. It’s a list dominated by massively successful outbursts of eccentric pop genius: “Crazy” by Gnarls Barkley, “Hey Ya!” by Outkast, “Paper Planes” by MIA, and on and on. All huge commercial hits, but each, in their own wonderful ways, really rather odd.\u003c/p>\n\u003cp>And it is this America that stands ready to welcome an unlikely pop hero called \u003ca href=\"http://www.nnekaworld.com/us/home\">Nneka\u003c/a> and her album \u003cb>Concrete Jungle\u003c/b>. It switches through smoky blues, biting rap, and howling soul without missing a beat. But it also has something extra, something you don’t normally hear in the US charts: the sounds of unfamiliar cultures and places. With a Nigerian father and German mother, Nneka spent her childhood in Africa before moving to Europe to study aged 19. This transcontinental journey has given her both an impassioned political perspective and an unusual set of musical influences. And now Nneka arrives on these shores to promote a record packed with more pop hooks than the Jackson 5 dressed in Velcro.\u003c/p>\n\u003cp>“Uncomfortable Truth” has an insanely catchy chorus built on big brass stabs and Nneka’s multitracked vocals. The awesome “Walking” is fuelled by a monster stomp in the style of Kayne West’s “Jesus Walks” (a link made even more explicit in Nneka’s recent \u003ca href=\"http://www.prefixmag.com/media/jperiod-nneka/the-madness-mixtape-download/35683/\">mixtape with J.Period\u003c/a>, which adds samples from Kayne’s track to Nneka’s). In contrast, “Come With Me,” is all stripped-down understatement, featuring just Nneka’s voice, acoustic guitar, and a strange, almost subliminal beat stuttering underneath. The mellow roll of “Suffri” is an excellent example of how a simple idea (Nneka’s repeated “jeh-jeh, jeh-jeh” backing refrain) can transform a relatively ordinary track into something truly special. And elsewhere you get British-style trip-hop (“Mind vs. Heart” and “God of Mercy”), Fugees-era Lauren Hill (“Showin’ Love”), and even the unmistakeable ghost of “Smells Like Teen Spirit” in the guitar hook of “Focus.” Each disparate reference point is as joyful as it is unexpected.\u003c/p>\n\u003cp>The album isn’t perfect, particularly its one or two less substantial pop moments (“Africans,” “From Africa 2 U”), but overall it comes packed with an almost unreasonable ratio of killer tunes. Of course, one reason so many tracks sound like potential hits might be because most of them already are. \u003cb>Concrete Jungle\u003c/b> is a collection of songs from Nneka’s past European releases, dating back to her debut EP in 1995. But, as this is her first official Stateside release, why shouldn’t she go ahead and unleash every musical weapon in her armory? The American chart can be an unforgiving place for outsiders, after all. Unless, of course, they happen to be just a little bit different.\u003c/p>\n\u003cp>Nneka plays San Francisco’s \u003ca href=\"http://www.reddevillounge.com/\">Red Devil Lounge\u003c/a> on January 27, 2010. For \u003ca href=\"http://www.reddevillounge.com/\">tickets and information\u003c/a>, visit reddevillounge.com. The album \u003cb>Concrete Jungle\u003c/b> is released February 2 on Yo Mama/Decon/Epic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the past decade has taught us anything, it’s that mainstream American music can be subverted in many suprising and subtle ways. Sure, the bestselling artist in the nation right now may be the vanilla-voiced, bland-as-bread Taylor Swift, but just take a look at \u003ca href=\"http://www.rollingstone.com/news/story/31248926/100_best_songs_of_the_decade/27\">Rolling Stone’s 100 best singles of the 2000s\u003c/a>. It’s a list dominated by massively successful outbursts of eccentric pop genius: “Crazy” by Gnarls Barkley, “Hey Ya!” by Outkast, “Paper Planes” by MIA, and on and on. All huge commercial hits, but each, in their own wonderful ways, really rather odd.\u003c/p>\n\u003cp>And it is this America that stands ready to welcome an unlikely pop hero called \u003ca href=\"http://www.nnekaworld.com/us/home\">Nneka\u003c/a> and her album \u003cb>Concrete Jungle\u003c/b>. It switches through smoky blues, biting rap, and howling soul without missing a beat. But it also has something extra, something you don’t normally hear in the US charts: the sounds of unfamiliar cultures and places. With a Nigerian father and German mother, Nneka spent her childhood in Africa before moving to Europe to study aged 19. This transcontinental journey has given her both an impassioned political perspective and an unusual set of musical influences. And now Nneka arrives on these shores to promote a record packed with more pop hooks than the Jackson 5 dressed in Velcro.\u003c/p>\n\u003cp>“Uncomfortable Truth” has an insanely catchy chorus built on big brass stabs and Nneka’s multitracked vocals. The awesome “Walking” is fuelled by a monster stomp in the style of Kayne West’s “Jesus Walks” (a link made even more explicit in Nneka’s recent \u003ca href=\"http://www.prefixmag.com/media/jperiod-nneka/the-madness-mixtape-download/35683/\">mixtape with J.Period\u003c/a>, which adds samples from Kayne’s track to Nneka’s). In contrast, “Come With Me,” is all stripped-down understatement, featuring just Nneka’s voice, acoustic guitar, and a strange, almost subliminal beat stuttering underneath. The mellow roll of “Suffri” is an excellent example of how a simple idea (Nneka’s repeated “jeh-jeh, jeh-jeh” backing refrain) can transform a relatively ordinary track into something truly special. And elsewhere you get British-style trip-hop (“Mind vs. Heart” and “God of Mercy”), Fugees-era Lauren Hill (“Showin’ Love”), and even the unmistakeable ghost of “Smells Like Teen Spirit” in the guitar hook of “Focus.” Each disparate reference point is as joyful as it is unexpected.\u003c/p>\n\u003cp>The album isn’t perfect, particularly its one or two less substantial pop moments (“Africans,” “From Africa 2 U”), but overall it comes packed with an almost unreasonable ratio of killer tunes. Of course, one reason so many tracks sound like potential hits might be because most of them already are. \u003cb>Concrete Jungle\u003c/b> is a collection of songs from Nneka’s past European releases, dating back to her debut EP in 1995. But, as this is her first official Stateside release, why shouldn’t she go ahead and unleash every musical weapon in her armory? The American chart can be an unforgiving place for outsiders, after all. Unless, of course, they happen to be just a little bit different.\u003c/p>\n\u003cp>Nneka plays San Francisco’s \u003ca href=\"http://www.reddevillounge.com/\">Red Devil Lounge\u003c/a> on January 27, 2010. For \u003ca href=\"http://www.reddevillounge.com/\">tickets and information\u003c/a>, visit reddevillounge.com. The album \u003cb>Concrete Jungle\u003c/b> is released February 2 on Yo Mama/Decon/Epic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For a guy who’s had more than his fair share of success in Hollywood, David Mamet sure is grumpy with the industry that’s feathered his nest. In 2007, with a couple dozen screenwriting and/or directing credits under his belt, Mamet wrote a book called \u003cb>Bambi vs. Godzilla\u003c/b>. The conclusion of this collection of clever and acerbic essays was, essentially, that just about everyone in the movie business is a destructive force of nature, and the world would be a good deal better off if the lot of them were lined up against a wall and shot.\u003c/p>\n\u003cp>This was entertaining, if old, news in 2007, which makes the current production of Mamet’s 1988 three-act, three-person play about Hollywood, \u003cb>Speed-the-Plow\u003c/b>, now through January 24 at the Pear Avenue Theatre in Mountain View, feel a bit like a trip in the Wayback Machine. Even before HBO’s \u003cb>Entourage\u003c/b> and a pair of films about Hollywood by Mamet himself (\u003cb>Wag the Dog\u003c/b>, 1997, and \u003cb>State and Main\u003c/b>, 2000), most of us were overly familiar with Tinseltown’s reputation for duplicity and slime. There was Robert Altman’s movie \u003cb>The Player\u003c/b> (1992); Sam Shepard’s play \u003cb>True West\u003c/b> (1980), which the director of this production, Ray Renati, also directed at the Pear a couple of seasons ago; Budd Schulberg’s novel \u003cb>What Makes Sammy Run?\u003c/b> (1941); and countless razor-sharp barbs by Ben Hecht, the first screenwriter to win an Academy Award (1927).\u003c/p>\n\u003cp>Given all this history, I’d like to think that \u003cb>Speed-the-Plow\u003c/b> is more than yet another tale of the insincerity of Hollywood types. It must also be a parable about people in any walk of life struggling with their desire to do good work as economic forces conspire to turn them into whores, right? Wrong. \u003cb>Speed-the-Plow\u003c/b> features lots of terrific writing, and this production is well directed and contains a trio of fine performances, but the play itself is first and last a vehicle for Mamet’s love-hate relationship with Hollywood, an infantile obsession he has done little to disguise.\u003c/p>\n\u003cp>When we first meet recently named production head Bobby Gould (Paul Loomis) and his loyal henchman Charlie Fox (Jake Vincent), the two men are heaping fawning and fake praise on one another. They delight in their reputations as men who have made careers out of their ability to bend over in exchange for wheelbarrows of cash. In one memorable scene, we squirm at their vulgarity, primarily because it’s uttered so shamelessly in the presence of a young office temp named Karen (Sarah Griner). Despite her lack of dialogue in the scene, this is a strong entrance for Griner, who stands uncomfortably but professionally at attention, coffee tray in hand, as her older, male superiors verbally wrestle over bragging rights to the title of Hollywood’s biggest prostitute.\u003c/p>\n\u003cp>Fox has dropped in to check out his mentor’s new digs, as well as to dump a sure-fire hit in his lap. Both men can practically taste the box office receipts, and Fox, the more financially desperate of the two, begins carving up the corpse before it’s even cold. This is a good gambit on Mamet’s part — by focusing on Fox’s preoccupation with money and power, we momentarily forget that money and power are precisely the definitions of success in Hollywood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At first, we are meant to think that Karen, with all her innocent questions about why everything in Hollywood has to be garbage, is the guileless muse that Gould may have been looking for all his life. Fortunately Vincent’s ruthless Fox brings the inexplicably vulnerable Gould to his senses before Karen can turn him to the dark side, which in this case means green-lighting an overwrought novel filled with idiotic premises that anyone with half a brain can see will tank. Fox is the hero because he’s true to himself and his swampy milieu, which, as Mamet and those who came before him have repeatedly pointed out, ain’t saying much.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Speed-The-Plow\u003c/b> runs through January 24, 2010 at the Pear Avenue Theatre in Mountain View. For \u003ca href=\"http://thepear.org/speedtheplow.htm\">tickets and information\u003c/a>, visit thepear.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a guy who’s had more than his fair share of success in Hollywood, David Mamet sure is grumpy with the industry that’s feathered his nest. In 2007, with a couple dozen screenwriting and/or directing credits under his belt, Mamet wrote a book called \u003cb>Bambi vs. Godzilla\u003c/b>. The conclusion of this collection of clever and acerbic essays was, essentially, that just about everyone in the movie business is a destructive force of nature, and the world would be a good deal better off if the lot of them were lined up against a wall and shot.\u003c/p>\n\u003cp>This was entertaining, if old, news in 2007, which makes the current production of Mamet’s 1988 three-act, three-person play about Hollywood, \u003cb>Speed-the-Plow\u003c/b>, now through January 24 at the Pear Avenue Theatre in Mountain View, feel a bit like a trip in the Wayback Machine. Even before HBO’s \u003cb>Entourage\u003c/b> and a pair of films about Hollywood by Mamet himself (\u003cb>Wag the Dog\u003c/b>, 1997, and \u003cb>State and Main\u003c/b>, 2000), most of us were overly familiar with Tinseltown’s reputation for duplicity and slime. There was Robert Altman’s movie \u003cb>The Player\u003c/b> (1992); Sam Shepard’s play \u003cb>True West\u003c/b> (1980), which the director of this production, Ray Renati, also directed at the Pear a couple of seasons ago; Budd Schulberg’s novel \u003cb>What Makes Sammy Run?\u003c/b> (1941); and countless razor-sharp barbs by Ben Hecht, the first screenwriter to win an Academy Award (1927).\u003c/p>\n\u003cp>Given all this history, I’d like to think that \u003cb>Speed-the-Plow\u003c/b> is more than yet another tale of the insincerity of Hollywood types. It must also be a parable about people in any walk of life struggling with their desire to do good work as economic forces conspire to turn them into whores, right? Wrong. \u003cb>Speed-the-Plow\u003c/b> features lots of terrific writing, and this production is well directed and contains a trio of fine performances, but the play itself is first and last a vehicle for Mamet’s love-hate relationship with Hollywood, an infantile obsession he has done little to disguise.\u003c/p>\n\u003cp>When we first meet recently named production head Bobby Gould (Paul Loomis) and his loyal henchman Charlie Fox (Jake Vincent), the two men are heaping fawning and fake praise on one another. They delight in their reputations as men who have made careers out of their ability to bend over in exchange for wheelbarrows of cash. In one memorable scene, we squirm at their vulgarity, primarily because it’s uttered so shamelessly in the presence of a young office temp named Karen (Sarah Griner). Despite her lack of dialogue in the scene, this is a strong entrance for Griner, who stands uncomfortably but professionally at attention, coffee tray in hand, as her older, male superiors verbally wrestle over bragging rights to the title of Hollywood’s biggest prostitute.\u003c/p>\n\u003cp>Fox has dropped in to check out his mentor’s new digs, as well as to dump a sure-fire hit in his lap. Both men can practically taste the box office receipts, and Fox, the more financially desperate of the two, begins carving up the corpse before it’s even cold. This is a good gambit on Mamet’s part — by focusing on Fox’s preoccupation with money and power, we momentarily forget that money and power are precisely the definitions of success in Hollywood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At first, we are meant to think that Karen, with all her innocent questions about why everything in Hollywood has to be garbage, is the guileless muse that Gould may have been looking for all his life. Fortunately Vincent’s ruthless Fox brings the inexplicably vulnerable Gould to his senses before Karen can turn him to the dark side, which in this case means green-lighting an overwrought novel filled with idiotic premises that anyone with half a brain can see will tank. Fox is the hero because he’s true to himself and his swampy milieu, which, as Mamet and those who came before him have repeatedly pointed out, ain’t saying much.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Speed-The-Plow\u003c/b> runs through January 24, 2010 at the Pear Avenue Theatre in Mountain View. For \u003ca href=\"http://thepear.org/speedtheplow.htm\">tickets and information\u003c/a>, visit thepear.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>So you overdid it during the holidays. You’ve resolved to subsist on a diet of raw vegetables and fruit smoothies for the month of January (and possibly February too). Right now, you probably want to do nothing more active than retreat to the sanctuary of your sofa and watch reruns of \u003cb>Scrubs\u003c/b>. But let’s face facts: you can only find solace in Zach Braff’s puppy-dog eyes for so long. Eventually, you’re going to have to leave the house. So why not get your year off to a proper start by braving the arctic chill of our northern California winter and going to see \u003ca href=\"http://www.lymbycsystym.com\">Lymbyc System\u003c/a> play the Cafe du Nord?\u003c/p>\n\u003cp>Sure it sounds scary, but this is the best time of year to go see live music. Venues are quieter, seats are more plentiful, and bar queues are shorter (while we’re at it, you can forget that New Year’s resolution about not drinking too: one or two medicinal pints of Guinness will help, trust me). And don’t be put off by that name: Lymbyc Systym. It may only be one ümlaut short of honorary \u003ca href=\"http://farm4.static.flickr.com/3320/3197182266_a4e1f2a35f_b.jpg\">heavy metal status\u003c/a>, but you can rest assured that brothers Jared and Michael Bell won’t assault your fragile senses by screeching and screaming about Satan. Why? Well, there are three reasons:\u003c/p>\n\u003cp>\u003cb>1.\u003c/b> They aren’t a heavy metal band.\u003cbr>\u003cb>2.\u003c/b> They’re more of a snuggly quilt band. \u003cbr>\u003cb>3.\u003c/b> Their music is instrumental.\u003c/p>\n\u003cp>OK, so “snuggly” is maybe overdoing it a bit. Genre-wise, the duo’s most recent album \u003cb>Shutter Release\u003c/b> fits into a slot somewhere between post-rock and electronica, but it draws on the softer edges of both, mixing warm acoustic guitars and strings with subtle, organic samples. Tracks such as “Interiors,” “Bedroom Anthem,” and “Late Night Classic” largely live up to their benign titles, with layers of sound that pull off the enviable trick of sounding both fuzzy and clear at the same time. But, as their awkward, consonant-laden name suggests, Lymbyc Systym aren’t all pillows and sugary tea. Discordant notes leak in around the edges, feedback lurks in the distance, and tracks that start out cute and quiet (“Contemporary Art,” for example) sometimes take surprisingly noisy turns. It’s a bit like discovering your grandmother has laced her cucumber sandwiches with jalapenño peppers: unexpected yes, but not necessarily unpleasant.\u003c/p>\n\u003cp>All this, together with Lymbyc Systym’s status as an instrumental electronic outfit, might lead some people to throw around careless words like “experimental” or “difficult.” But that would be doing the band (and us) a disservice. The end results are inviting and intimate rather than alienating. Even the more tumultuous passages never leave sight of melody or structure, or descend into white noise freakouts. Which isn’t to say that the Lymbyc Systym live experience is guaranteed to be free of its minor challenges. But when your only alternative is another night of channel surfing from the couch, what have you got to lose?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lymbyc Systym play Cafe du Nord in San Francisco on Saturday, January 9, 2010. For \u003ca href=\"http://www.cafedunord.com/\">tickets and information\u003c/a>, visit cafedunord.com. \u003cb>Shutter Release\u003c/b> is out now on \u003ca href=\"http://www.mushrecords.com/release/166\">Mush Records\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So you overdid it during the holidays. You’ve resolved to subsist on a diet of raw vegetables and fruit smoothies for the month of January (and possibly February too). Right now, you probably want to do nothing more active than retreat to the sanctuary of your sofa and watch reruns of \u003cb>Scrubs\u003c/b>. But let’s face facts: you can only find solace in Zach Braff’s puppy-dog eyes for so long. Eventually, you’re going to have to leave the house. So why not get your year off to a proper start by braving the arctic chill of our northern California winter and going to see \u003ca href=\"http://www.lymbycsystym.com\">Lymbyc System\u003c/a> play the Cafe du Nord?\u003c/p>\n\u003cp>Sure it sounds scary, but this is the best time of year to go see live music. Venues are quieter, seats are more plentiful, and bar queues are shorter (while we’re at it, you can forget that New Year’s resolution about not drinking too: one or two medicinal pints of Guinness will help, trust me). And don’t be put off by that name: Lymbyc Systym. It may only be one ümlaut short of honorary \u003ca href=\"http://farm4.static.flickr.com/3320/3197182266_a4e1f2a35f_b.jpg\">heavy metal status\u003c/a>, but you can rest assured that brothers Jared and Michael Bell won’t assault your fragile senses by screeching and screaming about Satan. Why? Well, there are three reasons:\u003c/p>\n\u003cp>\u003cb>1.\u003c/b> They aren’t a heavy metal band.\u003cbr>\u003cb>2.\u003c/b> They’re more of a snuggly quilt band. \u003cbr>\u003cb>3.\u003c/b> Their music is instrumental.\u003c/p>\n\u003cp>OK, so “snuggly” is maybe overdoing it a bit. Genre-wise, the duo’s most recent album \u003cb>Shutter Release\u003c/b> fits into a slot somewhere between post-rock and electronica, but it draws on the softer edges of both, mixing warm acoustic guitars and strings with subtle, organic samples. Tracks such as “Interiors,” “Bedroom Anthem,” and “Late Night Classic” largely live up to their benign titles, with layers of sound that pull off the enviable trick of sounding both fuzzy and clear at the same time. But, as their awkward, consonant-laden name suggests, Lymbyc Systym aren’t all pillows and sugary tea. Discordant notes leak in around the edges, feedback lurks in the distance, and tracks that start out cute and quiet (“Contemporary Art,” for example) sometimes take surprisingly noisy turns. It’s a bit like discovering your grandmother has laced her cucumber sandwiches with jalapenño peppers: unexpected yes, but not necessarily unpleasant.\u003c/p>\n\u003cp>All this, together with Lymbyc Systym’s status as an instrumental electronic outfit, might lead some people to throw around careless words like “experimental” or “difficult.” But that would be doing the band (and us) a disservice. The end results are inviting and intimate rather than alienating. Even the more tumultuous passages never leave sight of melody or structure, or descend into white noise freakouts. Which isn’t to say that the Lymbyc Systym live experience is guaranteed to be free of its minor challenges. But when your only alternative is another night of channel surfing from the couch, what have you got to lose?\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>Lymbyc Systym play Cafe du Nord in San Francisco on Saturday, January 9, 2010. For \u003ca href=\"http://www.cafedunord.com/\">tickets and information\u003c/a>, visit cafedunord.com. \u003cb>Shutter Release\u003c/b> is out now on \u003ca href=\"http://www.mushrecords.com/release/166\">Mush Records\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After a relatively quiet December, January brings a wide variety of quality events to the City. Some picks below:\u003c/p>\n\u003cp>\u003cb>January 8:\u003c/b> The term “lo-fi” gets tossed around to label a lot of music these days, even though it (often inaccurately) describes a production aesthetic more than any particular sound. Three young SF bands under the lo-fi umbrella join together for a show at Hemlock Tavern on Friday, January 8th. \u003ca href=\"http://www.myspace.com/youngprisms\">Young Prisms\u003c/a> are a quintet that released their debut 12″ EP last year on \u003ca href=\"http://www.mexicansummer.com/\">Mexican Summer\u003c/a>, coating West Coast pop in a reverb-induced haze. Labelmates \u003ca href=\"http://www.myspace.com/weekendmusic\">Weekend\u003c/a> craft noisy, winding songs that are both abrasive and ear-catching. \u003ca href=\"http://www.myspace.com/dominantlegsmusic\">Dominant Legs\u003c/a> recently toured with \u003ca href=\"http://www.myspace.com/girls\">Girls\u003c/a> and bandmember Ryan Lynch now splits his time between the two projects. Recent demos from Dominant Legs showcase a Brit-influenced strain of otherworldly pop.\u003c/p>\n\u003cp>\u003cb>January 20:\u003c/b> \u003ca href=\"http://www.myspace.com/theyummyfurgroup\">The Yummy Fur\u003c/a> may be best known for once including Franz Ferdinand’s Alex Kapranos and Paul Thomson, but the Scottish group’s mid-90s tenure spawned a durable cult following. It’s difficult not to liken the band to The Fall, particularly given John McKeown’s wordy shout-singing, but stateside audiences will be able to judge for themselves on the reunited group’s upcoming US tour (their first), which coincides with the January release of a “best of” compilation on \u003ca href=\"http://www.whatsyourrupture.com/\">What’s Your Rupture\u003c/a>. The US trip includes a January 20th stop at Cafe Du Nord with two great Bay Area bands, \u003ca href=\"http://www.myspace.com/mantles\">The Mantles\u003c/a> and \u003ca href=\"http://www.myspace.com/sonnythesunsets\">Sonny and the Sunsets\u003c/a>, opening the show. Both released strong debut full lengths last year; while the eponymous \u003cb>The Mantles\u003c/b> spotlights one of the Bay’s best garage pop bands, the Sunsets’ \u003cb>Tomorrow is Alright\u003c/b> has an eye toward primitive rock and roll and an offbeat sensibility.\u003c/p>\n\u003cp>\u003cb>January 29:\u003c/b> San Francisco’s \u003ca href=\"http://www.myspace.com/citay07\">Citay\u003c/a> transform classic rock and psychedelic sounds into compositions of sweeping ambition. Bandleader Ezra Feinberg began Citay as a studio project (with producer Tim Green), but the band benefits from a plethora of talented musicians. \u003cb>Dream Get Together\u003c/b> is their third album of original material, out January 10th on \u003ca href=\"http://www.deadoceans.com/\">Dead Oceans\u003c/a>. With killer guitar leads abounding, the new album won’t be terribly shocking to Citay fans, but it definitely feels like the group is pushing to reach new anthemic heights. Citay joins \u003ca href=\"http://www.myspace.com/thefruitbats\">The Fruit Bats\u003c/a> and \u003ca href=\"http://www.myspace.com/extraclassicband\">Extra Classic\u003c/a> at Slim’s on January 29th.\u003c/p>\n\u003cp>Also worth seeking out:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mostly non-musical, but \u003ca href=\"http://www.sfsketchfest.com/\">SF Sketchfest\u003c/a> starts January 14th and continues through February 2. Plenty of great Bay Area acts go toe to toe with a bunch of excellent LA/NY comedians.\u003c/p>\n\u003cp>Atlanta’s \u003ca href=\"http://www.myspace.com/theblacklips\">The Black Lips\u003c/a> bring their frenzied psych-punk to the Great American Music Hall on January 21st, with two of the Bay’s catchiest garage punkers in tow. Show up early to see \u003ca href=\"http://www.myspace.com/nobunnylovesyou\">Nobunny\u003c/a> and the Ramones-influenced \u003ca href=\"http://www.myspace.com/personalandthepizzas\">Personal and the Pizzas\u003c/a>.\u003c/p>\n\u003cp>Electro-pop duo \u003ca href=\"http://www.myspace.com/silverswansofficial\">Silver Swans\u003c/a> celebrate the release of their debut album at Cafe Du Nord on January 28th.\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>After a relatively quiet December, January brings a wide variety of quality events to the City. Some picks below:\u003c/p>\n\u003cp>\u003cb>January 8:\u003c/b> The term “lo-fi” gets tossed around to label a lot of music these days, even though it (often inaccurately) describes a production aesthetic more than any particular sound. Three young SF bands under the lo-fi umbrella join together for a show at Hemlock Tavern on Friday, January 8th. \u003ca href=\"http://www.myspace.com/youngprisms\">Young Prisms\u003c/a> are a quintet that released their debut 12″ EP last year on \u003ca href=\"http://www.mexicansummer.com/\">Mexican Summer\u003c/a>, coating West Coast pop in a reverb-induced haze. Labelmates \u003ca href=\"http://www.myspace.com/weekendmusic\">Weekend\u003c/a> craft noisy, winding songs that are both abrasive and ear-catching. \u003ca href=\"http://www.myspace.com/dominantlegsmusic\">Dominant Legs\u003c/a> recently toured with \u003ca href=\"http://www.myspace.com/girls\">Girls\u003c/a> and bandmember Ryan Lynch now splits his time between the two projects. Recent demos from Dominant Legs showcase a Brit-influenced strain of otherworldly pop.\u003c/p>\n\u003cp>\u003cb>January 20:\u003c/b> \u003ca href=\"http://www.myspace.com/theyummyfurgroup\">The Yummy Fur\u003c/a> may be best known for once including Franz Ferdinand’s Alex Kapranos and Paul Thomson, but the Scottish group’s mid-90s tenure spawned a durable cult following. It’s difficult not to liken the band to The Fall, particularly given John McKeown’s wordy shout-singing, but stateside audiences will be able to judge for themselves on the reunited group’s upcoming US tour (their first), which coincides with the January release of a “best of” compilation on \u003ca href=\"http://www.whatsyourrupture.com/\">What’s Your Rupture\u003c/a>. The US trip includes a January 20th stop at Cafe Du Nord with two great Bay Area bands, \u003ca href=\"http://www.myspace.com/mantles\">The Mantles\u003c/a> and \u003ca href=\"http://www.myspace.com/sonnythesunsets\">Sonny and the Sunsets\u003c/a>, opening the show. Both released strong debut full lengths last year; while the eponymous \u003cb>The Mantles\u003c/b> spotlights one of the Bay’s best garage pop bands, the Sunsets’ \u003cb>Tomorrow is Alright\u003c/b> has an eye toward primitive rock and roll and an offbeat sensibility.\u003c/p>\n\u003cp>\u003cb>January 29:\u003c/b> San Francisco’s \u003ca href=\"http://www.myspace.com/citay07\">Citay\u003c/a> transform classic rock and psychedelic sounds into compositions of sweeping ambition. Bandleader Ezra Feinberg began Citay as a studio project (with producer Tim Green), but the band benefits from a plethora of talented musicians. \u003cb>Dream Get Together\u003c/b> is their third album of original material, out January 10th on \u003ca href=\"http://www.deadoceans.com/\">Dead Oceans\u003c/a>. With killer guitar leads abounding, the new album won’t be terribly shocking to Citay fans, but it definitely feels like the group is pushing to reach new anthemic heights. Citay joins \u003ca href=\"http://www.myspace.com/thefruitbats\">The Fruit Bats\u003c/a> and \u003ca href=\"http://www.myspace.com/extraclassicband\">Extra Classic\u003c/a> at Slim’s on January 29th.\u003c/p>\n\u003cp>Also worth seeking out:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Listening to Brian Eno almost never makes me laugh. It’s not that I don’t like his music. I love it. But he doesn’t compose funny songs (well, some are sort of funny, but not laugh out loud funny). Thanks to the Exploratorium, I’ve been laughing along with Brian Eno all weekend. As part of its 40th anniversary celebration, the Exploratorium is releasing a series of podcasts — one a month through November 2010 — of interviews from the ’80s and the early-’90s, conducted in front of an audience, with visionary musicians and composers. The podcast is comprised of selected episodes from the \u003cb>Speaking of Music\u003c/b> series, which was produced by KPFA from 1983 to 1992 and co-produced by the Exploratorium.\u003c/p>\n\u003cp>During his interview Eno tells a story I’d thought was apocryphal: He invented ambient music when he was, in his words, “knocked down by a taxi.” He ended up in the hospital, and when a friend came to visit him, he asked her to put on a record. She put harp music on the record player and left. But one of the speakers was on the fritz, it was raining outside, and he could only partially hear the music. He thought it was beautiful. When he left the hospital he began composing \u003cb>Music for Airports\u003c/b>. He says the music makes you “not care if you die… it doesn’t really matter that much anyway.” Eno’s not depressed, just very very droll.\u003c/p>\n\u003cp>Eno brought records to the interview so he could share music that inspired him. I don’t know what the audience was expecting. I guess I was expecting John Cage or something, but then the dulcet tones of Gene Chandler cranked up and the audience burst into applause for “\u003ca href=\"http://popup.lala.com/popup/937030227622648430\">Duke of Earl\u003c/a>,” then \u003ca href=\"http://popup.lala.com/popup/937030236600009317\">Ernie K-Doe\u003c/a> and \u003ca href=\"http://popup.lala.com/popup/937030249061115704\">Little Richard\u003c/a>, who Eno says is unrivaled in his capacity to blend insanity and tenderness. That’s the general tone of the interview. Eno is generous in sharing his thought process and ideas, quick to make a joke and keep the audience entertained, and utterly down to earth.\u003c/p>\n\u003cp>A lot of the credit goes to the man conducting the interview: Charles Amirkhanian. He’s the founder of the San Francisco-based record label \u003ca href=\"http://www.otherminds.org/\">Other Minds\u003c/a> and the Other Minds Music Festival. In his conversations with Eno, Laurie Anderson, and Philip Glass, he encourages a relaxed, chatty atmosphere, where Anderson shares the fact that in many of her past lives she was a rabbi, and Glass describes first encountering Indian music, when no one knew what a sitar looked like because, he says, the Beatles hadn’t been to India yet. While the conversations delve deep, these podcasts aren’t just for the aficionado. Amirkhanian introduces music by the composers and has them explain what’s going on in the songs, why they wrote them, what they’re for. With archived conversations with John Cage, Trimpin, and Astor Piazolla coming up, these podcasts provide a year’s worth of thinking on avant-garde music, world music, and pop.\u003c/p>\n\u003cp>The Exploratorium is releasing one podcast a month through November, 2010. \u003ca href=\"http://www.exploratorium.edu/40th/podcasts.php\">Download the six released so far\u003c/a> at exploratorium.edu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Listening to Brian Eno almost never makes me laugh. It’s not that I don’t like his music. I love it. But he doesn’t compose funny songs (well, some are sort of funny, but not laugh out loud funny). Thanks to the Exploratorium, I’ve been laughing along with Brian Eno all weekend. As part of its 40th anniversary celebration, the Exploratorium is releasing a series of podcasts — one a month through November 2010 — of interviews from the ’80s and the early-’90s, conducted in front of an audience, with visionary musicians and composers. The podcast is comprised of selected episodes from the \u003cb>Speaking of Music\u003c/b> series, which was produced by KPFA from 1983 to 1992 and co-produced by the Exploratorium.\u003c/p>\n\u003cp>During his interview Eno tells a story I’d thought was apocryphal: He invented ambient music when he was, in his words, “knocked down by a taxi.” He ended up in the hospital, and when a friend came to visit him, he asked her to put on a record. She put harp music on the record player and left. But one of the speakers was on the fritz, it was raining outside, and he could only partially hear the music. He thought it was beautiful. When he left the hospital he began composing \u003cb>Music for Airports\u003c/b>. He says the music makes you “not care if you die… it doesn’t really matter that much anyway.” Eno’s not depressed, just very very droll.\u003c/p>\n\u003cp>Eno brought records to the interview so he could share music that inspired him. I don’t know what the audience was expecting. I guess I was expecting John Cage or something, but then the dulcet tones of Gene Chandler cranked up and the audience burst into applause for “\u003ca href=\"http://popup.lala.com/popup/937030227622648430\">Duke of Earl\u003c/a>,” then \u003ca href=\"http://popup.lala.com/popup/937030236600009317\">Ernie K-Doe\u003c/a> and \u003ca href=\"http://popup.lala.com/popup/937030249061115704\">Little Richard\u003c/a>, who Eno says is unrivaled in his capacity to blend insanity and tenderness. That’s the general tone of the interview. Eno is generous in sharing his thought process and ideas, quick to make a joke and keep the audience entertained, and utterly down to earth.\u003c/p>\n\u003cp>A lot of the credit goes to the man conducting the interview: Charles Amirkhanian. He’s the founder of the San Francisco-based record label \u003ca href=\"http://www.otherminds.org/\">Other Minds\u003c/a> and the Other Minds Music Festival. In his conversations with Eno, Laurie Anderson, and Philip Glass, he encourages a relaxed, chatty atmosphere, where Anderson shares the fact that in many of her past lives she was a rabbi, and Glass describes first encountering Indian music, when no one knew what a sitar looked like because, he says, the Beatles hadn’t been to India yet. While the conversations delve deep, these podcasts aren’t just for the aficionado. Amirkhanian introduces music by the composers and has them explain what’s going on in the songs, why they wrote them, what they’re for. With archived conversations with John Cage, Trimpin, and Astor Piazolla coming up, these podcasts provide a year’s worth of thinking on avant-garde music, world music, and pop.\u003c/p>\n\u003cp>The Exploratorium is releasing one podcast a month through November, 2010. \u003ca href=\"http://www.exploratorium.edu/40th/podcasts.php\">Download the six released so far\u003c/a> at exploratorium.edu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Looking for New Year’s Eve plans? Here are some great options at (mostly) reasonable prices:\u003c/p>\n\u003cp>Berkeley’s \u003ca href=\"http://www.myspace.com/themorningbenders\">The Morning Benders\u003c/a> headline a New Year’s Eve show at Bottom of the Hill, which is probably the last chance to see the band in a venue that intimate. The Beatlesque indie pop-rock of \u003cb>Talking Through Tin Cans\u003c/b> got the group national attention, but it’s the March release of their sophomore album \u003cb>Big Echo\u003c/b> on Rough Trade that should launch them to the next level. Bandleader Chris Chu co-produced the new record with Grizzly Bear’s Chris Taylor and recent live performances have suggested that the record will find the Benders pushing in more experimental pop directions. \u003ca href=\"http://www.myspace.com/miniaturetigers\">Miniature Tigers\u003c/a> and SF’s \u003ca href=\"http://www.myspace.com/abthesea\">A B & The Sea\u003c/a> round out the popcentric NYE bill.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/aXzr9t4nZXY&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/aXzr9t4nZXY&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>The \u003ca href=\"http://rickshawstop.com/\">Rickshaw Stop\u003c/a> is hosting \u003cb>Disco 2010\u003c/b>, with performances by \u003ca href=\"http://www.myspace.com/italiansdoitbetterrecords\">Italians Do It Better\u003c/a> bands \u003ca href=\"http://myspace.com/glasscandy\">Glass Candy\u003c/a> and \u003ca href=\"http://myspace.com/primitivedesire\">Desire\u003c/a>. Desire is frequently billed as a Chromatics side project, which is good news for fans of the “disco noir” band, which went dormant (but not dead?) after releasing the sublime album \u003cb>Nite Drive\u003c/b>. Desire’s debut album \u003cb>II\u003c/b> reunites Chromatics Johnny Jewel (also of Glass Candy) and Nat Walker, with a new female vocalist in Megan Louise. The new band feels like it picks up where the former left off, creating lush, emotional dance pop.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"480\" height=\"295\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/BNVnkijU4XM&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/BNVnkijU4XM&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"480\" height=\"295\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>The \u003ca href=\"http://hemlocktavern.com/\">Hemlock Tavern\u003c/a>‘s small stage can look full with a trio, so the six-person lineups of \u003ca href=\"http://www.myspace.com/maushausmusic\">Maus Haus\u003c/a> and \u003ca href=\"http://www.myspace.com/battlehooch\">Battlehooch\u003c/a> will need to tread carefully on New Year’s Eve. Both bands, though, seem to have figured out how to balance many members and many influences. Maus Haus (who, in full disclosure, is managed by Bay Bridged General Manager Christian Cunningham) use electronic sounds to create proggy art-pop, and the band promises to follow 2008’s \u003cb>Lark Marvels\u003c/b> with a new 7″ in early 2010. Battlehooch’s 2009 album \u003cb>Piecechow\u003c/b> is catchier than free jazz, but offers its own frenzied squeal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"440\" height=\"248\">\u003cparam name=\"allowfullscreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cparam name=\"movie\" value=\"http://vimeo.com/moogaloop.swf?clip_id=5600758&server=vimeo.com&show_title=1&show_byline=1&show_portrait=1&color=FF7700&fullscreen=1\">\u003cembed src=\"http://vimeo.com/moogaloop.swf?clip_id=5600758&server=vimeo.com&show_title=1&show_byline=1&show_portrait=1&color=FF7700&fullscreen=1\" type=\"application/x-shockwave-flash\" allowfullscreen=\"true\" allowscriptaccess=\"always\" width=\"440\" height=\"248\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>Other New Year’s Eve options include:\u003c/p>\n\u003cp>LA punk legends \u003ca href=\"http://www.xtheband.com/\">X\u003c/a> bring SF indie rockers \u003ca href=\"http://www.myspace.com/heavenlystates\">The Heavenly States\u003c/a> to \u003ca href=\"http://slims-sf.com/\">Slim’s\u003c/a> on December 30th and 31st. The group is celebrating “Merry X-Mas” (pun clearly intended) with the NorCal dates; in the holiday spirit, they recently released covers of “Santa Claus Is Coming To Town” and “Jingle Bells.”\u003c/p>\n\u003cp>Big venue NYE comedy show sounds like a bad idea in principle, so it wouldn’t be worth mentioning if the lineup at \u003cb>Comedy Countdown 2009\u003c/b> at the \u003ca href=\"http://www.palaceoffinearts.org\">Palace of Fine Arts\u003c/a> wasn’t so top notch. The show features a ton of great names, but I’ll highlight \u003ca href=\"http://www.myspace.com/johnmulaney\">John Mulaney\u003c/a>, who writes for Saturday Night Live and released one of the year’s funniest albums in \u003cb>The Top Part\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director at \u003ca href=\"http://www.thebaybridge.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for New Year’s Eve plans? Here are some great options at (mostly) reasonable prices:\u003c/p>\n\u003cp>Berkeley’s \u003ca href=\"http://www.myspace.com/themorningbenders\">The Morning Benders\u003c/a> headline a New Year’s Eve show at Bottom of the Hill, which is probably the last chance to see the band in a venue that intimate. The Beatlesque indie pop-rock of \u003cb>Talking Through Tin Cans\u003c/b> got the group national attention, but it’s the March release of their sophomore album \u003cb>Big Echo\u003c/b> on Rough Trade that should launch them to the next level. Bandleader Chris Chu co-produced the new record with Grizzly Bear’s Chris Taylor and recent live performances have suggested that the record will find the Benders pushing in more experimental pop directions. \u003ca href=\"http://www.myspace.com/miniaturetigers\">Miniature Tigers\u003c/a> and SF’s \u003ca href=\"http://www.myspace.com/abthesea\">A B & The Sea\u003c/a> round out the popcentric NYE bill.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/aXzr9t4nZXY&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/aXzr9t4nZXY&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>The \u003ca href=\"http://rickshawstop.com/\">Rickshaw Stop\u003c/a> is hosting \u003cb>Disco 2010\u003c/b>, with performances by \u003ca href=\"http://www.myspace.com/italiansdoitbetterrecords\">Italians Do It Better\u003c/a> bands \u003ca href=\"http://myspace.com/glasscandy\">Glass Candy\u003c/a> and \u003ca href=\"http://myspace.com/primitivedesire\">Desire\u003c/a>. Desire is frequently billed as a Chromatics side project, which is good news for fans of the “disco noir” band, which went dormant (but not dead?) after releasing the sublime album \u003cb>Nite Drive\u003c/b>. Desire’s debut album \u003cb>II\u003c/b> reunites Chromatics Johnny Jewel (also of Glass Candy) and Nat Walker, with a new female vocalist in Megan Louise. The new band feels like it picks up where the former left off, creating lush, emotional dance pop.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"480\" height=\"295\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/BNVnkijU4XM&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/BNVnkijU4XM&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"480\" height=\"295\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>The \u003ca href=\"http://hemlocktavern.com/\">Hemlock Tavern\u003c/a>‘s small stage can look full with a trio, so the six-person lineups of \u003ca href=\"http://www.myspace.com/maushausmusic\">Maus Haus\u003c/a> and \u003ca href=\"http://www.myspace.com/battlehooch\">Battlehooch\u003c/a> will need to tread carefully on New Year’s Eve. Both bands, though, seem to have figured out how to balance many members and many influences. Maus Haus (who, in full disclosure, is managed by Bay Bridged General Manager Christian Cunningham) use electronic sounds to create proggy art-pop, and the band promises to follow 2008’s \u003cb>Lark Marvels\u003c/b> with a new 7″ in early 2010. Battlehooch’s 2009 album \u003cb>Piecechow\u003c/b> is catchier than free jazz, but offers its own frenzied squeal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As yet another year stumbles drunkenly to a close in a similar fashion to one of Lady Gaga’s weird death dances, it’s time to take a look back at some of the highest highs and lowest lows from the world of music in 2009.\u003c/p>\n\u003cp>\u003cb>Most Obviously Self-Sabotaging Band Name:\u003c/b>King Kong Ding Dong\u003c/p>\n\u003cp>A surprisingly hotly-contested category this year, with the willfully obnoxious F*@# Buttons putting up a brave fight to claim top honors. But, while the FBs backup their R-rated name with some suitably demanding tunes, post-rockers King Kong Ding Dong pipped them at the post because their well-hung moniker bears little obvious relation to their music. Do they sound weird, offbeat, and arty? Yes. Do they sound like a very large monkey penis? Well, no. But both bands, despite their obvious weaknesses in the branding department, produced some excellent work in ’09: KKDD’s album \u003cb>Youth Culture Index\u003c/b> is available for \u003ca href=\"http://www.kingkongdingdong.net/music\">free download\u003c/a>, and you can hear tracks from the F*@# Buttons’ blistering \u003cb>Tarot Sport\u003c/b> on their \u003ca href=\"http://www.myspace.com/fuckbuttons\">MySpace page\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Killjoys of the Year:\u003c/b>California Department of Alcoholic Beverage Control\u003c/p>\n\u003cp>Yes, these over-bureaucratic penpushers have been \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=24961\">discussed here before\u003c/a>, but their irrational campaign to close down some of San Francisco’s finest music venues ain’t over yet. Find out more at \u003ca href=\"http://www.stopthewaronfun.org/\">Stop the War on Fun\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Best Album that Should Have Sucked but Didn’t:\u003c/b>Karen O and the Kids, \u003cb>Where the Wild Things Are Motion Picture Soundtrack\u003c/b> \u003c/p>\n\u003cp>The soundtrack to \u003cb>Where the Wild Things Are\u003c/b> could so easily have been a disaster. It did, after all, break one of the Fundamental Rules of Rock: no singing kids. Sure, there are a few noteworthy tunes in pop history featuring children’s choirs, but these are the exceptions. More often the introduction of cherubic voices is a cue to pass the sick bucket. This album, however, pulls off the enviable trick of being both childlike \u003ci>and\u003c/i> charming, rather like the movie it accompanies.\u003c/p>\n\u003cp>\u003cb>Special “The Music Industry Is Killing Music” Award for Encouraging the Illegal Downloading of Music:\u003c/b>EMI \u003c/p>\n\u003cp>It was all set to be one of the best albums of the year: a collaboration between Sparklehorse, Danger Mouse, and David Lynch called \u003cb>Dark Night of the Soul\u003c/b> featuring more ubercool guest musicians than the Antarctic Symphony Orchestra’s entire winter season. But then EMI saddled up its stroppy horse and rode into town to block the release, muttering darkly about an old contract it claimed to have with Danger Mouse (a dispute that, of course, has \u003ci>absolutely nothing at all\u003c/i> to do with \u003ca href=\"http://en.wikipedia.org/wiki/The_Grey_Album\">DM’s past run-in with the label\u003c/a> over the use of Beatles samples on the \u003cb>Grey Album\u003c/b>). The result? The album was released anyway, but with a blank CD-R where the music should be, and a few more music fans were taught how easy it is to illegally download music for free. Good job, EMI. Listen to the album via an \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=104129585\">NPR stream\u003c/a>, or find out how to \u003ca href=\"http://www.panix.com/~ruari/dnots.html\">get hold of the MP3s\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Biggest, Silliest, Deluxest, Specialest, Most Limited Box Set:\u003c/b>Pixies, \u003cb>Minotaur\u003c/b> \u003c/p>\n\u003cp>This is turning into a more bloated category every holiday season as more ageing acts try to wring extra Christmas cash from their back catalog. But the reformed Pixies Inc. beat all comers in 2009 with their \u003ca href=\"http://www.4ad.com/pixies/news/~boxset/\">\u003cb>Minotaur\u003c/b>\u003c/a> odyssey of excess. This $175 “deluxe” package contains all of the band’s albums on gold-plated CDs \u003ci>and\u003c/i> combination DVD/Blu-Ray discs, plus a bunch of videos and a luxurious book. But wait! The even more lavish “limited edition” version adds vinyl copies of the albums, a bigger book, artwork, an endangered animal or two, and at least one severed body part from a member of the band, creating a container two feet tall and 25lbs in weight, all for the bargain price of $495. Rumors that the band’s seminal album \u003cb>Doolittle\u003c/b> has also been renamed \u003cb>Doolarge\u003c/b> in honor of the new release remain unconfirmed.\u003c/p>\n\u003cp>\u003cb>Hat of the Year:\u003c/b>Aretha Franklin\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/aretha.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Our memories of inauguration day may be fading a little now that the political realities of Obama’s presidency occupy our attention, but we shouldn’t forget what happened that cold day back in January. History was made, and Aretha’s passionate, stirring \u003ca href=\"http://www.youtube.com/watch?v=a7c2lC9JlJo\">rendition of “My Country, ‘Tis of Thee”\u003c/a> was one of the ceremony’s highlights. Her appearance was also a timely reminder that, even though anyone can become President, it takes true royalty to carry off glittering headwear.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What were your most memorable musical moments of 2009? Join the discussion in the comments section below.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Best Album that Should Have Sucked but Didn’t:\u003c/b>Karen O and the Kids, \u003cb>Where the Wild Things Are Motion Picture Soundtrack\u003c/b> \u003c/p>\n\u003cp>The soundtrack to \u003cb>Where the Wild Things Are\u003c/b> could so easily have been a disaster. It did, after all, break one of the Fundamental Rules of Rock: no singing kids. Sure, there are a few noteworthy tunes in pop history featuring children’s choirs, but these are the exceptions. More often the introduction of cherubic voices is a cue to pass the sick bucket. This album, however, pulls off the enviable trick of being both childlike \u003ci>and\u003c/i> charming, rather like the movie it accompanies.\u003c/p>\n\u003cp>\u003cb>Special “The Music Industry Is Killing Music” Award for Encouraging the Illegal Downloading of Music:\u003c/b>EMI \u003c/p>\n\u003cp>It was all set to be one of the best albums of the year: a collaboration between Sparklehorse, Danger Mouse, and David Lynch called \u003cb>Dark Night of the Soul\u003c/b> featuring more ubercool guest musicians than the Antarctic Symphony Orchestra’s entire winter season. But then EMI saddled up its stroppy horse and rode into town to block the release, muttering darkly about an old contract it claimed to have with Danger Mouse (a dispute that, of course, has \u003ci>absolutely nothing at all\u003c/i> to do with \u003ca href=\"http://en.wikipedia.org/wiki/The_Grey_Album\">DM’s past run-in with the label\u003c/a> over the use of Beatles samples on the \u003cb>Grey Album\u003c/b>). The result? The album was released anyway, but with a blank CD-R where the music should be, and a few more music fans were taught how easy it is to illegally download music for free. Good job, EMI. Listen to the album via an \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=104129585\">NPR stream\u003c/a>, or find out how to \u003ca href=\"http://www.panix.com/~ruari/dnots.html\">get hold of the MP3s\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Biggest, Silliest, Deluxest, Specialest, Most Limited Box Set:\u003c/b>Pixies, \u003cb>Minotaur\u003c/b> \u003c/p>\n\u003cp>This is turning into a more bloated category every holiday season as more ageing acts try to wring extra Christmas cash from their back catalog. But the reformed Pixies Inc. beat all comers in 2009 with their \u003ca href=\"http://www.4ad.com/pixies/news/~boxset/\">\u003cb>Minotaur\u003c/b>\u003c/a> odyssey of excess. This $175 “deluxe” package contains all of the band’s albums on gold-plated CDs \u003ci>and\u003c/i> combination DVD/Blu-Ray discs, plus a bunch of videos and a luxurious book. But wait! The even more lavish “limited edition” version adds vinyl copies of the albums, a bigger book, artwork, an endangered animal or two, and at least one severed body part from a member of the band, creating a container two feet tall and 25lbs in weight, all for the bargain price of $495. Rumors that the band’s seminal album \u003cb>Doolittle\u003c/b> has also been renamed \u003cb>Doolarge\u003c/b> in honor of the new release remain unconfirmed.\u003c/p>\n\u003cp>\u003cb>Hat of the Year:\u003c/b>Aretha Franklin\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/aretha.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Our memories of inauguration day may be fading a little now that the political realities of Obama’s presidency occupy our attention, but we shouldn’t forget what happened that cold day back in January. History was made, and Aretha’s passionate, stirring \u003ca href=\"http://www.youtube.com/watch?v=a7c2lC9JlJo\">rendition of “My Country, ‘Tis of Thee”\u003c/a> was one of the ceremony’s highlights. Her appearance was also a timely reminder that, even though anyone can become President, it takes true royalty to carry off glittering headwear.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What were your most memorable musical moments of 2009? Join the discussion in the comments section below.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"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.",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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