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"content": "\u003cp>This month The Besnard Lakes’ heavy shoegaze is sure to create a “roaring night,” SF Popfest showcases all things indie pop and beyond, and Fool’s Gold offer up a truly global rock sound to celebrate Shavuot.\u003c/p>\n\u003cp>We’re now quickly approaching a point where the number of bands described with reference to The Beach Boys will eclipse the number of bands prefaced otherwise. And while there’s a strongly Wilsonian feel to Jace Lasek’s falsetto on \u003ca href=\"http://www.myspace.com/thebesnardlakes\">The Besnard Lakes\u003c/a>‘ latest record, \u003cstrong>The Besnard Lakes Are The Roaring Night\u003c/strong>, the hints of California pop are consumed by a truly massive sense of space, precisely defined and filled with sounds informed by prog rock, shoegaze and psych. The album was developed in the studio by Lasek and wife Olga Goreas, the core of the Montreal band since its inception, and the obsessive sonic construction amplifies the intensity of big songs like the magnetic single, \u003ca href=\"http://www.scjag.com/mp3/jag/albatross.mp3\">“Albatross.”\u003c/a> How will such a massive record translate live? Find out at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> May 10.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=xYIFj5ZkZCU&hl=en_US&fs=1&],br />\u003c/p>\n\u003cp>Additional great shows taking place in SF within the next thirty days:\u003cbr>May 23: \u003ca href=\"http://www.myspace.com/emilyjanewhite\">Emily Jane White\u003c/a> celebrates the release of \u003cb>Victorian America\u003c/b>, her second album of haunting gothic folk, at \u003ca href=\"http://www.cafedunord.com/\">Cafe Du Nord\u003c/a>, with fellow locals \u003ca href=\"http://www.myspace.com/slowmovin\">Slow Motion Cowboys\u003c/a> and \u003ca href=\"http://www.myspace.com/buildingsofheart\">Devotionals\u003c/a>. White’s new record was \u003ca href=\"www.kqed.org/arts/music/index.jsp?id=29209\">recently reviewed\u003c/a> on \u003cb>KQED Arts\u003c/b>.\u003c/p>\n\u003cp>May 14: \u003ca href=\"http://www.myspace.com/pyramidddmusic\">Starf***er\u003c/a> is once again Starf***er, after flirting with a few more radio-friendly monikers, and they’re at the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on May 14. The electro-prog-pop band has been working on a long-awaited full length for some time now, following last year’s new songs/leftovers record, \u003cstrong>Jupiter\u003c/strong>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director at \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>This month The Besnard Lakes’ heavy shoegaze is sure to create a “roaring night,” SF Popfest showcases all things indie pop and beyond, and Fool’s Gold offer up a truly global rock sound to celebrate Shavuot.\u003c/p>\n\u003cp>We’re now quickly approaching a point where the number of bands described with reference to The Beach Boys will eclipse the number of bands prefaced otherwise. And while there’s a strongly Wilsonian feel to Jace Lasek’s falsetto on \u003ca href=\"http://www.myspace.com/thebesnardlakes\">The Besnard Lakes\u003c/a>‘ latest record, \u003cstrong>The Besnard Lakes Are The Roaring Night\u003c/strong>, the hints of California pop are consumed by a truly massive sense of space, precisely defined and filled with sounds informed by prog rock, shoegaze and psych. The album was developed in the studio by Lasek and wife Olga Goreas, the core of the Montreal band since its inception, and the obsessive sonic construction amplifies the intensity of big songs like the magnetic single, \u003ca href=\"http://www.scjag.com/mp3/jag/albatross.mp3\">“Albatross.”\u003c/a> How will such a massive record translate live? Find out at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> May 10.\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/xYIFj5ZkZCU'\n title='//www.youtube.com/embed/xYIFj5ZkZCU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>,br />\u003c/p>\n\u003cp>Additional great shows taking place in SF within the next thirty days:\u003cbr>May 23: \u003ca href=\"http://www.myspace.com/emilyjanewhite\">Emily Jane White\u003c/a> celebrates the release of \u003cb>Victorian America\u003c/b>, her second album of haunting gothic folk, at \u003ca href=\"http://www.cafedunord.com/\">Cafe Du Nord\u003c/a>, with fellow locals \u003ca href=\"http://www.myspace.com/slowmovin\">Slow Motion Cowboys\u003c/a> and \u003ca href=\"http://www.myspace.com/buildingsofheart\">Devotionals\u003c/a>. White’s new record was \u003ca href=\"www.kqed.org/arts/music/index.jsp?id=29209\">recently reviewed\u003c/a> on \u003cb>KQED Arts\u003c/b>.\u003c/p>\n\u003cp>May 14: \u003ca href=\"http://www.myspace.com/pyramidddmusic\">Starf***er\u003c/a> is once again Starf***er, after flirting with a few more radio-friendly monikers, and they’re at the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on May 14. The electro-prog-pop band has been working on a long-awaited full length for some time now, following last year’s new songs/leftovers record, \u003cstrong>Jupiter\u003c/strong>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s fairly likely that you have never heard of Emily Jane White or her music, even though she is native to these parts (she grew up in Fort Bragg on the Mendocino coast, went to UC Santa Cruz, and lives in the Bay Area). Her first album, \u003cb>Dark Undercoat\u003c/b>, was released in 2007 to critical acclaim and spawned a loyal, but limited following. She may not have name recognition in the states just yet, but that isn’t the case in other parts of the globe: the French really, really dig her. With the release of her second album, \u003cb>Victorian America\u003c/b>, which she recorded over three years in San Francisco and Oakland, she is bound to get the attention from her fellow countrymen that she deserves.\u003c/p>\n\u003cp>In the album opener “Never Dead,” we meet White on a particularly hard night on which “bad news blew right through [her].” Over mournful guitar chords, she pleads with the morning sun to come and wipe the sorrow away. Pretty somber territory for the first number, but White manages to instantly transport her listener to that particular dark corner of the heart. The mood does pick up though with “Stairs,” a winding song that swerves and swells as it progresses, its tempo seamlessly morphing into something unexpected over and over again.\u003c/p>\n\u003cp>More surprising than tempo shifts is White’s subject matter. On the twangy “Victorian America,” she melds the plight of women in the Victorian era with the cataclysmic aftermath of Hurricane Katrina. Say what? Those two topics don’t seem like likely bedfellows, but she somehow makes it work. White sings of the women who lost themselves to Victorian era sexism and of the hurricane survivors who lost their homes as well as their hope in their country. “A giant flood took Louisiana but it took more than the city of New Orleans,” she sings matter-of-factly in her trademark smokey voice. Other powerful tracks worth a listen are the thunderstormy “Liza” and the gothic “A Shot Rang Out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m drawn to writing sad songs. It’s not my job to create happy music. I’m okay with that,” White admits. And, listening to this pack of bluesy songs, we come to accept that fact as well. Each song explores what White calls “the shadow side of life” — the things that people are afraid to confront — whether that’s death, injustice, or decaying love. She does all of this beautifully of course, but, toward the end of the album, all the heartache starts to take its toll. No one said being sad was easy, but Emily Jane White sure makes it look that way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Victorian America\u003c/b> is out now. Catch Emily Jane White at \u003ca href=\"http://www.hemlocktavern.com/calendar.php\">the Hemlock\u003c/a> on April 29, 2010 at 8pm.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s fairly likely that you have never heard of Emily Jane White or her music, even though she is native to these parts (she grew up in Fort Bragg on the Mendocino coast, went to UC Santa Cruz, and lives in the Bay Area). Her first album, \u003cb>Dark Undercoat\u003c/b>, was released in 2007 to critical acclaim and spawned a loyal, but limited following. She may not have name recognition in the states just yet, but that isn’t the case in other parts of the globe: the French really, really dig her. With the release of her second album, \u003cb>Victorian America\u003c/b>, which she recorded over three years in San Francisco and Oakland, she is bound to get the attention from her fellow countrymen that she deserves.\u003c/p>\n\u003cp>In the album opener “Never Dead,” we meet White on a particularly hard night on which “bad news blew right through [her].” Over mournful guitar chords, she pleads with the morning sun to come and wipe the sorrow away. Pretty somber territory for the first number, but White manages to instantly transport her listener to that particular dark corner of the heart. The mood does pick up though with “Stairs,” a winding song that swerves and swells as it progresses, its tempo seamlessly morphing into something unexpected over and over again.\u003c/p>\n\u003cp>More surprising than tempo shifts is White’s subject matter. On the twangy “Victorian America,” she melds the plight of women in the Victorian era with the cataclysmic aftermath of Hurricane Katrina. Say what? Those two topics don’t seem like likely bedfellows, but she somehow makes it work. White sings of the women who lost themselves to Victorian era sexism and of the hurricane survivors who lost their homes as well as their hope in their country. “A giant flood took Louisiana but it took more than the city of New Orleans,” she sings matter-of-factly in her trademark smokey voice. Other powerful tracks worth a listen are the thunderstormy “Liza” and the gothic “A Shot Rang Out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m drawn to writing sad songs. It’s not my job to create happy music. I’m okay with that,” White admits. And, listening to this pack of bluesy songs, we come to accept that fact as well. Each song explores what White calls “the shadow side of life” — the things that people are afraid to confront — whether that’s death, injustice, or decaying love. She does all of this beautifully of course, but, toward the end of the album, all the heartache starts to take its toll. No one said being sad was easy, but Emily Jane White sure makes it look that way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In March, local folk-rock hero Sean Hayes released \u003cb>Run Wolves Run\u003c/b>, his sixth solo album. While some artists might be in coasting mode by album number six, Sean is still finding new ways to develop his sound. \u003cb>Run Wolves Run\u003c/b> features more prominent electric guitar work than prior releases, the result of Hayes finally finding an amp that he liked enough to add to his sound. That might be a simple reason to get more electric, but it’s consistent with Hayes’s aesthetic of making the most of what he has. And what he has, at this point, is a talented circle of friends and an ear for funky, consistently winning tunes.\u003c/p>\n\u003cp>\u003cb>The Bay Bridged\u003c/b> sat down with Sean Hayes a few weeks ago to discuss his new album and his many years in the San Francisco scene. We’ve also included four songs from \u003cb>Run Wolves Run\u003c/b> in the show.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Thursday, May 20, 2010\u003cbr>The Independent\u003cbr>with Laura Goldhamer & The Silvernail and DJ Harry D\u003cbr>8pm, $17\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Pianist Yuja Wang made a sensational San Francisco Symphony debut in 2007 playing Beethoven’s Piano Concerto #2, when she was just 19 years old. She returned to Davies Symphony Hall two years later to play Prokofiev’s knuckle-busting second Piano Concerto, and in June she’ll be back to play Ravel, Stravinsky and Poulenc. If that weren’t enough, she has also played a couple of solo recitals, Mendelssohn with the Academy of St. Martin-in-the-Fields, and possibly also shortstop with the A’s for a few innings. This is an awful lot of concerts in one market for such a young artist in such a short period of time. But the amazing part about this phenomenon is that, even if you had heard every note, it would have been worth hearing, and re-hearing. Wang is an extraordinary pianist on the cusp of an extraordinary career, and you have another chance to catch her in solo recital when San Francisco Performances brings the pianist to the Herbst Theater Thursday, April 22 at 8pm. \u003cb>NOTE: THIS THURSDAY APRIL 22 RECITAL WAS CANCELED ON APRIL 20, 2010; RESCHEDULED FOR SUNDAY JUNE 20 AT THE HERBST THEATRE.\u003c/b>\u003c/p>\n\u003cp>I can’t remember too many other times I have been as astonished by a new artist as I was when I heard Yuja Wang at that Beethoven concert in 2007. (\u003ci>SF Chronicle\u003c/i> critic Joshua Kosman thought so, too; it was one of his \u003ca href=\"http://%20http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/12/30/PKCMTTRJ3.DTL/\">Top 10 Classical Music Events of the Year\u003c/a>) It was the same feeling I had when I first heard violinist Julia Fischer a couple of years earlier: here was not just another teenager with awesome technique, but a real, maturing artist with something important to say. The Beethoven was not just flashy, but full of nuance, tender at times, ferocious when it needed to be. Then she came back two years later and blew the doors off Davies Symphony Hall with the Prokofiev Piano Concerto #2. It’s one of the hardest concertos ever written, and she was not only dazzling in the fast passages, but the power she generated with those rail-thin arms was astonishing. Lots of critics have said it, and it’s part of her publicity materials, but it’s true: she is redefining how well the piano can be played.\u003c/p>\n\u003cp>Check out this \u003ca href=\"http://%20http://www.youtube.com/watch?v=j1fgo7hp-Ko/\"> YouTube video\u003c/a> of Yuja backstage before a concert, playing Arcadi Volodos’ arrangement of Mozart’s “Turkish Rondo.” This is one of those insane piano pieces that someone would play only to prove that they can, but she knocks it out for a warm-up piece! (Note the pink cell phone on the piano — nice touch.)\u003c/p>\n\u003cp>Yuja Wang’s first CD, \u003cb>Sonatas and Etudes\u003c/b>, which came out in 2009, was nominated for a Grammy Award; the new one comes out this week, and it’s called \u003cb>Transformations\u003c/b>, a title which not only describes the music (Stravinsky, Scarlatti, Brahms and Ravel) but her career as well, which is quickly becoming one of legend. Wang was born in Beijing, started piano lessons when she was six, won the Aspen Music Festival concerto competition in 2002 at age 15, then moved to the US to study with Gary Graffman at the Curtis Institute in Philadelphia. Six years later she won the Gilmore Young Artist Award, one of the most prestigious honors in music. This is a prize you don’t compete for; your career is “discreetly” evaluated over a period of time by an Artistic Advisory Committee, and then one day someone calls you up to tell you you’ve won. It’s kind of like having a musical Fairy Godmother transform your career.\u003c/p>\n\u003cp> I do find it curious that the music she’s playing in this concert has nothing to do with either one of her CDs. (Classical musicians have only recently caught on to the idea of “supporting the album” that pop stars have subscribed to for years, touring with the music on your latest release.) It really doesn’t matter, though. Schumann, Scriabin, Prokofiev, and Liszt’s transcriptions of Schubert songs all require a combination of power and passion that is very rare to find, but which Yuja Wang most definitely has. With any luck, you’ll have many more chances to hear this remarkable artist grow (including next season with the San Francisco Symphony), but there’s still time to say “I heard her when…” \u003cb>Yuja Wang\u003c/b> plays the Herbst Theater on Thursday, April 22, 2010 at 8pm. For \u003ca href=\"http://performances.org/performances/0910/wang.html\">ticketsand information\u003c/a> visit performances.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pianist Yuja Wang made a sensational San Francisco Symphony debut in 2007 playing Beethoven’s Piano Concerto #2, when she was just 19 years old. She returned to Davies Symphony Hall two years later to play Prokofiev’s knuckle-busting second Piano Concerto, and in June she’ll be back to play Ravel, Stravinsky and Poulenc. If that weren’t enough, she has also played a couple of solo recitals, Mendelssohn with the Academy of St. Martin-in-the-Fields, and possibly also shortstop with the A’s for a few innings. This is an awful lot of concerts in one market for such a young artist in such a short period of time. But the amazing part about this phenomenon is that, even if you had heard every note, it would have been worth hearing, and re-hearing. Wang is an extraordinary pianist on the cusp of an extraordinary career, and you have another chance to catch her in solo recital when San Francisco Performances brings the pianist to the Herbst Theater Thursday, April 22 at 8pm. \u003cb>NOTE: THIS THURSDAY APRIL 22 RECITAL WAS CANCELED ON APRIL 20, 2010; RESCHEDULED FOR SUNDAY JUNE 20 AT THE HERBST THEATRE.\u003c/b>\u003c/p>\n\u003cp>I can’t remember too many other times I have been as astonished by a new artist as I was when I heard Yuja Wang at that Beethoven concert in 2007. (\u003ci>SF Chronicle\u003c/i> critic Joshua Kosman thought so, too; it was one of his \u003ca href=\"http://%20http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/12/30/PKCMTTRJ3.DTL/\">Top 10 Classical Music Events of the Year\u003c/a>) It was the same feeling I had when I first heard violinist Julia Fischer a couple of years earlier: here was not just another teenager with awesome technique, but a real, maturing artist with something important to say. The Beethoven was not just flashy, but full of nuance, tender at times, ferocious when it needed to be. Then she came back two years later and blew the doors off Davies Symphony Hall with the Prokofiev Piano Concerto #2. It’s one of the hardest concertos ever written, and she was not only dazzling in the fast passages, but the power she generated with those rail-thin arms was astonishing. Lots of critics have said it, and it’s part of her publicity materials, but it’s true: she is redefining how well the piano can be played.\u003c/p>\n\u003cp>Check out this \u003ca href=\"http://%20http://www.youtube.com/watch?v=j1fgo7hp-Ko/\"> YouTube video\u003c/a> of Yuja backstage before a concert, playing Arcadi Volodos’ arrangement of Mozart’s “Turkish Rondo.” This is one of those insane piano pieces that someone would play only to prove that they can, but she knocks it out for a warm-up piece! (Note the pink cell phone on the piano — nice touch.)\u003c/p>\n\u003cp>Yuja Wang’s first CD, \u003cb>Sonatas and Etudes\u003c/b>, which came out in 2009, was nominated for a Grammy Award; the new one comes out this week, and it’s called \u003cb>Transformations\u003c/b>, a title which not only describes the music (Stravinsky, Scarlatti, Brahms and Ravel) but her career as well, which is quickly becoming one of legend. Wang was born in Beijing, started piano lessons when she was six, won the Aspen Music Festival concerto competition in 2002 at age 15, then moved to the US to study with Gary Graffman at the Curtis Institute in Philadelphia. Six years later she won the Gilmore Young Artist Award, one of the most prestigious honors in music. This is a prize you don’t compete for; your career is “discreetly” evaluated over a period of time by an Artistic Advisory Committee, and then one day someone calls you up to tell you you’ve won. It’s kind of like having a musical Fairy Godmother transform your career.\u003c/p>\n\u003cp> I do find it curious that the music she’s playing in this concert has nothing to do with either one of her CDs. (Classical musicians have only recently caught on to the idea of “supporting the album” that pop stars have subscribed to for years, touring with the music on your latest release.) It really doesn’t matter, though. Schumann, Scriabin, Prokofiev, and Liszt’s transcriptions of Schubert songs all require a combination of power and passion that is very rare to find, but which Yuja Wang most definitely has. With any luck, you’ll have many more chances to hear this remarkable artist grow (including next season with the San Francisco Symphony), but there’s still time to say “I heard her when…” \u003cb>Yuja Wang\u003c/b> plays the Herbst Theater on Thursday, April 22, 2010 at 8pm. For \u003ca href=\"http://performances.org/performances/0910/wang.html\">ticketsand information\u003c/a> visit performances.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco band Photons is a seven-person group that first caught our ears with their self-titled debut EP of Brit-influenced chamber pop. The band began as a new project for drummer Calvin Liu, who found kinship with a talented group of multi-instrumentalists and, perhaps improbably, former metal singer James Parrish. \u003cb>The Glory!\u003c/b> EP followed \u003cb>Photons\u003c/b> in 2009, further showcasing the band’s knack for rich, crazy-catchy orchestral pop, and built anticipation for their first full length record.\u003c/p>\n\u003cp>And now here’s the bad news. Just as we are featuring them on the podcast comes news that the group is breaking up, releasing the new full length at their final show at the beginning of May. It’s a sad development for indie pop fans, but they’ve given us with some terrific music during their existence, and we hope the band’s members will find new projects soon.\u003c/p>\n\u003cp>We sat down with Photons in January to discuss their beginnings, as well as what to expect on their first full length album. We’ve also included four songs from Photons’ catalog, including a brand new one, in the show.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Friday, April 23, 2010\u003cbr>House of Shields\u003cbr>with Odd Owl\u003cbr>10pm, $5\u003c/p>\n\u003cp>Friday, May 1, 2010\u003cbr>Make-Out Room\u003cbr>with Tremor Low (Photons’ Final Show and CD Release Party!)\u003cbr>7:30pm, $7\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco band Photons is a seven-person group that first caught our ears with their self-titled debut EP of Brit-influenced chamber pop. The band began as a new project for drummer Calvin Liu, who found kinship with a talented group of multi-instrumentalists and, perhaps improbably, former metal singer James Parrish. \u003cb>The Glory!\u003c/b> EP followed \u003cb>Photons\u003c/b> in 2009, further showcasing the band’s knack for rich, crazy-catchy orchestral pop, and built anticipation for their first full length record.\u003c/p>\n\u003cp>And now here’s the bad news. Just as we are featuring them on the podcast comes news that the group is breaking up, releasing the new full length at their final show at the beginning of May. It’s a sad development for indie pop fans, but they’ve given us with some terrific music during their existence, and we hope the band’s members will find new projects soon.\u003c/p>\n\u003cp>We sat down with Photons in January to discuss their beginnings, as well as what to expect on their first full length album. We’ve also included four songs from Photons’ catalog, including a brand new one, in the show.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Friday, April 23, 2010\u003cbr>House of Shields\u003cbr>with Odd Owl\u003cbr>10pm, $5\u003c/p>\n\u003cp>Friday, May 1, 2010\u003cbr>Make-Out Room\u003cbr>with Tremor Low (Photons’ Final Show and CD Release Party!)\u003cbr>7:30pm, $7\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Art and music have long had a complementary relationship in San Francisco. In the 1960s and ’70s, Chet Helms and Bill Graham commissioned now-classic psychedelic posters by artists such as \u003ca href=\"http://www.wes-wilson.com/\">Wes Wilson\u003c/a>, \u003ca href=\"http://www.mousestudios.com/\">Stanley Mouse\u003c/a> and \u003ca href=\"http://davidsinger.com/\">David Singer\u003c/a> to advertise “dance concerts” at the Avalon, Winterland and a pair of Fillmores. Back then a light show and a free poster came with the price of admission. In the 1980s Graham revived the poster part of this fine tradition at the Warfield and his reopened Fillmore (the practice continues there to this day). At the end of the night, fans were often handed posters created by a new generation of artists, including \u003ca href=\"http://chucksperry.net/\">Chuck Sperry\u003c/a> and \u003ca href=\"http://homepage.mac.com/c.shaw/Menu5.html\">Chris Shaw\u003c/a>.\u003c/p>\n\u003cp>Roger McNamee, who fronts a jammy rock band called Moonalice when he isn’t rubbing elbows with Bono and his other investment colleagues at Elevation Partners, is the latest patron of the poster, as anyone who attends the Moonalice show at Slim’s on April 20, 2010 will quickly see. No doubt a lot of people will be at Slim’s that night because of the date (unofficially, 4/20 is national marijuana day), as well as the clown-shoes ticket price ($4.20). Others will go because they enjoy the good-natured vibe projected by Roger and his vocalist wife, Ann, and some folks will attend because they are huge fans of Barry Sless (lead guitar, pedal steel), Pete Sears (bass, vocals, keys) and John Molo (is there a better drummer on the planet?).\u003c/p>\n\u003cp>I definitely fall into that latter category, but I’ll also be there for the posters, which Moonalice has been giving away since its first gig on May 5, 2007. At last April’s Slim’s show, everyone was invited to help themselves to an archival sleeve containing not one but five Moonalice posters, created for the occasion by Shaw, Alexandra Fischer, Sperry (he produced two) and Singer. This year, six to eight posters are planned as gifts to the crowd, including one each by ’60s rock-poster legends Wilson and Mouse.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/moonalice-shaw.jpg\" style=\"margin-bottom: 10px\">\u003cbr>United Nations Plaza, May 5, 2007 by Chris Shaw\u003c/p>\n\u003cp>Artist Chris Shaw has been the art director of the Moonalice poster program since day one. Almost 300 gigs and as many posters later, Shaw is still running the show, which appears to suit both McNamee and Shaw’s fellow artists just fine. “As far as I’m concerned,” McNamee says, “Chris is a member of the band.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Chris is as good an art director as he is an artist,” continues David Singer. “He understands artists because he’s one himself. We did five posters last year,” Singer recalls. “It was good for the artists. We all hung out backstage, gabbing about the poster scene. We don’t usually get to connect in that way.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/moonalice-2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Slim’s, April 3, 2009 by Ron Donovan\u003c/p>\n\u003cp>For his part, Shaw seems quite comfortable with his dual role as artist and art director. “I’ve tried to create an artist-friendly environment,” he says. “I hassle people technically, but not about their ideas.”\u003c/p>\n\u003cp>A tangent to this commitment to artistic freedom is the business relationship McNamee and Shaw have struck with the growing stable of Moonalice artists. “The work-for-hire copyright deals proved to be unfair to artists,” says McNamee, “so we chose a different structure. We haven’t broken the code yet, but between the ‘Moonalice Legend’ books, poster sales, and high-end prints, we hope to give the artists another source of income.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/moonalice-3.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Domino Room, February 19, 2010 by David Singer\u003c/p>\n\u003cp>The difference, of course, between Fillmore and Avalon posters and those created for Moonalice is that just about all Moonalice posters feature the same band name on them. Collectors of ’60s posters often pay a premium for posters advertising concerts by 13th Floor Elevators or Led Zeppelin. All Moonalice posters have going for them is their art, which apparently is enough. “It’s become more of a collectible because you have to go to a show to get a poster,” says Shaw. “The collectors have been noticing the series — that’s kind of nice.”\u003c/p>\n\u003cp>McNamee thinks so, too, and is pleased to see the Moonalice poster artists getting their due. “They deserve it,” he says emphatically.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moonalice plays Slim’s on April 20, 2010. For \u003ca href=\"http://www.slims-sf.com/\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit slims-sf.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Art and music have long had a complementary relationship in San Francisco. In the 1960s and ’70s, Chet Helms and Bill Graham commissioned now-classic psychedelic posters by artists such as \u003ca href=\"http://www.wes-wilson.com/\">Wes Wilson\u003c/a>, \u003ca href=\"http://www.mousestudios.com/\">Stanley Mouse\u003c/a> and \u003ca href=\"http://davidsinger.com/\">David Singer\u003c/a> to advertise “dance concerts” at the Avalon, Winterland and a pair of Fillmores. Back then a light show and a free poster came with the price of admission. In the 1980s Graham revived the poster part of this fine tradition at the Warfield and his reopened Fillmore (the practice continues there to this day). At the end of the night, fans were often handed posters created by a new generation of artists, including \u003ca href=\"http://chucksperry.net/\">Chuck Sperry\u003c/a> and \u003ca href=\"http://homepage.mac.com/c.shaw/Menu5.html\">Chris Shaw\u003c/a>.\u003c/p>\n\u003cp>Roger McNamee, who fronts a jammy rock band called Moonalice when he isn’t rubbing elbows with Bono and his other investment colleagues at Elevation Partners, is the latest patron of the poster, as anyone who attends the Moonalice show at Slim’s on April 20, 2010 will quickly see. No doubt a lot of people will be at Slim’s that night because of the date (unofficially, 4/20 is national marijuana day), as well as the clown-shoes ticket price ($4.20). Others will go because they enjoy the good-natured vibe projected by Roger and his vocalist wife, Ann, and some folks will attend because they are huge fans of Barry Sless (lead guitar, pedal steel), Pete Sears (bass, vocals, keys) and John Molo (is there a better drummer on the planet?).\u003c/p>\n\u003cp>I definitely fall into that latter category, but I’ll also be there for the posters, which Moonalice has been giving away since its first gig on May 5, 2007. At last April’s Slim’s show, everyone was invited to help themselves to an archival sleeve containing not one but five Moonalice posters, created for the occasion by Shaw, Alexandra Fischer, Sperry (he produced two) and Singer. This year, six to eight posters are planned as gifts to the crowd, including one each by ’60s rock-poster legends Wilson and Mouse.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/moonalice-shaw.jpg\" style=\"margin-bottom: 10px\">\u003cbr>United Nations Plaza, May 5, 2007 by Chris Shaw\u003c/p>\n\u003cp>Artist Chris Shaw has been the art director of the Moonalice poster program since day one. Almost 300 gigs and as many posters later, Shaw is still running the show, which appears to suit both McNamee and Shaw’s fellow artists just fine. “As far as I’m concerned,” McNamee says, “Chris is a member of the band.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Chris is as good an art director as he is an artist,” continues David Singer. “He understands artists because he’s one himself. We did five posters last year,” Singer recalls. “It was good for the artists. We all hung out backstage, gabbing about the poster scene. We don’t usually get to connect in that way.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/moonalice-2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Slim’s, April 3, 2009 by Ron Donovan\u003c/p>\n\u003cp>For his part, Shaw seems quite comfortable with his dual role as artist and art director. “I’ve tried to create an artist-friendly environment,” he says. “I hassle people technically, but not about their ideas.”\u003c/p>\n\u003cp>A tangent to this commitment to artistic freedom is the business relationship McNamee and Shaw have struck with the growing stable of Moonalice artists. “The work-for-hire copyright deals proved to be unfair to artists,” says McNamee, “so we chose a different structure. We haven’t broken the code yet, but between the ‘Moonalice Legend’ books, poster sales, and high-end prints, we hope to give the artists another source of income.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/moonalice-3.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Domino Room, February 19, 2010 by David Singer\u003c/p>\n\u003cp>The difference, of course, between Fillmore and Avalon posters and those created for Moonalice is that just about all Moonalice posters feature the same band name on them. Collectors of ’60s posters often pay a premium for posters advertising concerts by 13th Floor Elevators or Led Zeppelin. All Moonalice posters have going for them is their art, which apparently is enough. “It’s become more of a collectible because you have to go to a show to get a poster,” says Shaw. “The collectors have been noticing the series — that’s kind of nice.”\u003c/p>\n\u003cp>McNamee thinks so, too, and is pleased to see the Moonalice poster artists getting their due. “They deserve it,” he says emphatically.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moonalice plays Slim’s on April 20, 2010. For \u003ca href=\"http://www.slims-sf.com/\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit slims-sf.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The cover of \u003cb>Congratulations\u003c/b>, MGMT’s sophomore album (out April 13), depicts a two-headed cartoon cat on a surfboard — one head looking forward, the other looking back — on the verge of being eaten by the wave it’s surfing. And that pretty much sums it up.\u003c/p>\n\u003cp>Like the cover, the album itself is a piece of psychedelia, half-teasing, half-earnest, and utterly trippy. It begins with “It’s Working,” a piece of up-tempo surf-rock, with the chanting refrain, “It’s working in your blood.” The song is hyperactive — it bounces along, building to a crescendo, stops dead and crashes down, before picking up again at an even more frenzied pace. “It’s Working” sets a tone for the rest of the album, a schizophrenic nine-song joy-ride, among which listeners will find the raucous Bowie-Beatles blend “Flash Delirium,” twelve space-and-time-sprawling minutes called “Siberian Breaks,” an instrumental (“Lady Dada’s Nightmare”) and the gorgeous title track.\u003c/p>\n\u003cp>Since it leaked a few weeks ago, the majority of what has been said about the album is about what it is not — quite simply, another \u003cb>Oracular Spectacular\u003c/b>, the 2007 album that made the band famous with catchy hits like “Kids” and “Time to Pretend.”\u003c/p>\n\u003cp>Critics, egged on in part by comments made by the Brooklyn-based duo (Ben Goldwasser and Andrew VanWyngarden), have fretted over the commercial viability of the album. Peter Kember, who helped produced it, has said, “Nobody really knows how the album is going to be received.” The band’s co-manager Mark Kates has voiced a similar sentiment, “Every indication we’re getting is that people really want it… that doesn’t mean they’re going to like it, or that they’re going to buy it, or that it will sell more or less than the last record.”\u003c/p>\n\u003cp>VanWyngarden has said of \u003cb>Congratulations\u003c/b>, “The people responsible for making money hoped that we’d record another ‘Time to Pretend’…but everyone close to us knew we weren’t going to do that.” The video for “Flash Delirium” eludes to a struggle over creative control: half-way through, Ben rips a bandage from his throat, revealing a gaping hole that appears to sing for a moment, before two suits rush forward to wrestle a wriggling eel from the wound. The eel is taken and forcibly deposited in a giant contraption that appears to have some transformative capacity… I’m not making this up! \u003ca href=\"http://www.youtube.com/watch?v=QvSMp7T2Kes\">See for yourself\u003c/a>…\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s true, \u003cb>Congratulations\u003c/b> is different than \u003cb>Oracular\u003c/b>. But that is what is good about it. At this point, most of us have heard “Kids” so many times — in heavy radio-rotation, on \u003cb>Gossip Girl\u003c/b>, in ads for French President Nicolas Sarkozy’s UMP party — that the high-pitched opening bars, and overlaid children’s squeals, have become grating. That includes MGMT themselves, “If we tried to re-create our last album and someone didn’t like it, I think it would have been really difficult to look them in the eye and tell them we really believed in the album… But now, if someone tells us that it sucks, we don’t give a shit.” Goldwasser said in an \u003ca href=\"http://www.blackbookmag.com/article/mgmt/17441\">interview\u003c/a>\u003c/p>\n\u003cp>\u003cb>Congratulations\u003c/b> doesn’t suck — it is affecting and intricate, and sometimes subtle, and sometimes dense, almost inscrutable, and a pleasure all the way through, over and over again. Whether the album proves to be a commercial success has yet to be seen, but it doesn’t seem as though that is even the goal this time around.\u003c/p>\n\u003cp>The success that MGMT mocked in “Time to Pretend” (singing, “Lets make some music, make some money, find some models for wives.”) is treated as a double-edged sword on \u003cb>Congratulations\u003c/b> — it is both the wave they are riding, and the one that threatens to consume them. Nowhere is this ambivalence more apparent than on the final and title track of the album, on which VanWyngarden sings, “I’ve got someone to make reports/ That tell me how my money’s spent/ To book my stays and draw my blinds/ So I can’t see what’s really there/ And all I need’s a great big congratulations.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Congratulations\u003c/b> drops April 13, 2010 until then you can \u003ca href=\"http://whoismgmt.com\">hear it\u003c/a>\u003ca>\u003c/a> streaming on their website, WHOISMGMT.com. MGMT play the Fillmore in San Francisco April 12 and 13. For \u003ca href=\"http://LiveNation.com/\">tickets and information\u003c/a> visit LiveNation.com or call (415) 346-6000.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The cover of \u003cb>Congratulations\u003c/b>, MGMT’s sophomore album (out April 13), depicts a two-headed cartoon cat on a surfboard — one head looking forward, the other looking back — on the verge of being eaten by the wave it’s surfing. And that pretty much sums it up.\u003c/p>\n\u003cp>Like the cover, the album itself is a piece of psychedelia, half-teasing, half-earnest, and utterly trippy. It begins with “It’s Working,” a piece of up-tempo surf-rock, with the chanting refrain, “It’s working in your blood.” The song is hyperactive — it bounces along, building to a crescendo, stops dead and crashes down, before picking up again at an even more frenzied pace. “It’s Working” sets a tone for the rest of the album, a schizophrenic nine-song joy-ride, among which listeners will find the raucous Bowie-Beatles blend “Flash Delirium,” twelve space-and-time-sprawling minutes called “Siberian Breaks,” an instrumental (“Lady Dada’s Nightmare”) and the gorgeous title track.\u003c/p>\n\u003cp>Since it leaked a few weeks ago, the majority of what has been said about the album is about what it is not — quite simply, another \u003cb>Oracular Spectacular\u003c/b>, the 2007 album that made the band famous with catchy hits like “Kids” and “Time to Pretend.”\u003c/p>\n\u003cp>Critics, egged on in part by comments made by the Brooklyn-based duo (Ben Goldwasser and Andrew VanWyngarden), have fretted over the commercial viability of the album. Peter Kember, who helped produced it, has said, “Nobody really knows how the album is going to be received.” The band’s co-manager Mark Kates has voiced a similar sentiment, “Every indication we’re getting is that people really want it… that doesn’t mean they’re going to like it, or that they’re going to buy it, or that it will sell more or less than the last record.”\u003c/p>\n\u003cp>VanWyngarden has said of \u003cb>Congratulations\u003c/b>, “The people responsible for making money hoped that we’d record another ‘Time to Pretend’…but everyone close to us knew we weren’t going to do that.” The video for “Flash Delirium” eludes to a struggle over creative control: half-way through, Ben rips a bandage from his throat, revealing a gaping hole that appears to sing for a moment, before two suits rush forward to wrestle a wriggling eel from the wound. The eel is taken and forcibly deposited in a giant contraption that appears to have some transformative capacity… I’m not making this up! \u003ca href=\"http://www.youtube.com/watch?v=QvSMp7T2Kes\">See for yourself\u003c/a>…\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s true, \u003cb>Congratulations\u003c/b> is different than \u003cb>Oracular\u003c/b>. But that is what is good about it. At this point, most of us have heard “Kids” so many times — in heavy radio-rotation, on \u003cb>Gossip Girl\u003c/b>, in ads for French President Nicolas Sarkozy’s UMP party — that the high-pitched opening bars, and overlaid children’s squeals, have become grating. That includes MGMT themselves, “If we tried to re-create our last album and someone didn’t like it, I think it would have been really difficult to look them in the eye and tell them we really believed in the album… But now, if someone tells us that it sucks, we don’t give a shit.” Goldwasser said in an \u003ca href=\"http://www.blackbookmag.com/article/mgmt/17441\">interview\u003c/a>\u003c/p>\n\u003cp>\u003cb>Congratulations\u003c/b> doesn’t suck — it is affecting and intricate, and sometimes subtle, and sometimes dense, almost inscrutable, and a pleasure all the way through, over and over again. Whether the album proves to be a commercial success has yet to be seen, but it doesn’t seem as though that is even the goal this time around.\u003c/p>\n\u003cp>The success that MGMT mocked in “Time to Pretend” (singing, “Lets make some music, make some money, find some models for wives.”) is treated as a double-edged sword on \u003cb>Congratulations\u003c/b> — it is both the wave they are riding, and the one that threatens to consume them. Nowhere is this ambivalence more apparent than on the final and title track of the album, on which VanWyngarden sings, “I’ve got someone to make reports/ That tell me how my money’s spent/ To book my stays and draw my blinds/ So I can’t see what’s really there/ And all I need’s a great big congratulations.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Congratulations\u003c/b> drops April 13, 2010 until then you can \u003ca href=\"http://whoismgmt.com\">hear it\u003c/a>\u003ca>\u003c/a> streaming on their website, WHOISMGMT.com. MGMT play the Fillmore in San Francisco April 12 and 13. For \u003ca href=\"http://LiveNation.com/\">tickets and information\u003c/a> visit LiveNation.com or call (415) 346-6000.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This month, Beach House are sure to entrance at Bimbo’s with selections from their superb new album, \u003cstrong>Teen Dream\u003c/strong>. Sugar & Gold celebrate the release of \u003cstrong>Get Wet!\u003c/strong>, which moves the band out of the disco and into the ’80s. Finally, The Ruby Suns continue to defy expectations, venturing into experimental synth-pop territory as they \u003cstrong>Fight Softly\u003c/strong>.\u003c/p>\n\u003cp>After owning it for over a month, I recently made it to the third side of \u003ca href=\"http://www.myspace.com/beachhousemusic\">Beach House\u003c/a>‘s new double LP, \u003cstrong>Teen Dream\u003c/strong>. Such is the impact of the first five songs on the Baltimore band’s third record, a masterful collection of emotive Gothic pop that should emerge as one of 2010’s great albums. Victoria Legrand and Alex Scally certainly captured some great haunting melodies on 2008’s \u003cstrong>Devotion\u003c/strong> — “Gila” and “Astronaut” could especially hold their own amongst their newer offerings — but the new album is considerably deeper and richer. Avoiding the sameness that often plagues melodramatic music, each mini-epic on \u003cstrong>Teen Dream\u003c/strong> surveys a broad expanse of mood and tone, led by Legrand’s commanding vocals. It will undoubtedly be difficult to not get caught up in the band’s melancholy at \u003ca href=\"http://bimbos365club.com/\">Bimbo’s\u003c/a> on Wednesday, April 14. \u003ca href=\"http://www.myspace.com/bachelorettepop\">Bachelorette\u003c/a> opens.\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=8749893&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1\">\u003cembed src=\"http://vimeo.com/moogaloop.swf?clip_id=8749893&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>\u003c/center>\n\u003cp>Over the past several years, \u003ca href=\"http://www.myspace.com/sugarandgold\">Sugar & Gold\u003c/a> have earned a reputation as one of the most fun live bands in the Bay Area, shaking up indie rock shows with their funky, disco-inspired pop. With their sophomore album \u003cstrong>Get Wet!\u003c/strong>, the SF quintet should move from being the “fun band” to join the likes of Of Montreal, !!! and Pyramiddd as one of the “smart fun bands.” The new album only occasionally hints at the disco feel of \u003cstrong>Creme\u003c/strong>, from 2007, in some buoyant guitar lines; far more often, oscillating synths and old drum machines drive the new tunes. Despite the umbrella 1980s feel throughout, the band’s got a number of sides to showcase. Whether it’s yearning pop (“Bodyaches”), R&B-funk (“Sneek Freq”), or Italo house (“Salty Seraphim”), Sugar & Gold can infuse it into one of their well-crafted confections. For all the consideration of \u003cstrong>Get Wet!\u003c/strong>‘s many merits, though, this is dance music that should be heard live, like at the band’s CD release party at Bottom of the Hill on April 29. \u003ca href=\"http://www.myspace.com/nitejewel\">Nite Jewel\u003c/a> & \u003ca href=\"http://www.myspace.com/baronvonluxxury\">Baron Von Luxxury\u003c/a> also perform.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"400\" height=\"242\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/Pf6E6AYqBzM&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/Pf6E6AYqBzM&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"400\" height=\"242\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>Auckland, New Zealand’s \u003ca href=\"http://www.myspace.com/therubysuns\">The Ruby Suns\u003c/a> won’t be accused of sticking to a formula any time soon. 2008’s \u003cstrong>Sea Lion\u003c/strong> was a psych-pop affair incorporating a global range of sounds, from Maori chanting to traditional Kenyan music. The band has undergone something of a futuristic overhaul on the brand new \u003cstrong>Fight Softly\u003c/strong>, which replaces their previous light touch with a bevy of electronics, effects and heavy drum machine beats. The pop is now synth-pop, reminiscent of the grossly-underrated Russian Futurists, only with an inclination toward intricate experimental songwriting. Seen live, group drumming, live-triggered samples and collective vocals create a psychedelic feel, which turns into a sort of euphoria when the trio launches into a sublimely catchy melody. The band will be at Bottom of the Hill on April 12, with \u003ca href=\"http://www.myspace.com/toroymoi\">Toro Y Moi\u003c/a> and \u003ca href=\"http://www.myspace.com/dreamdater\">dreamdate\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"401\" height=\"226\">\u003cparam name=\"allowfullscreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cparam name=\"movie\" value=\"http://vimeo.com/moogaloop.swf?clip_id=10322342&server=vimeo.com&show_title=1&show_byline=0&show_portrait=0&color=00ADEF&fullscreen=1&group_id=\">\u003cembed src=\"http://vimeo.com/moogaloop.swf?clip_id=10322342&server=vimeo.com&show_title=1&show_byline=0&show_portrait=0&color=00ADEF&fullscreen=1&group_id=\" type=\"application/x-shockwave-flash\" allowfullscreen=\"true\" allowscriptaccess=\"always\" width=\"401\" height=\"226\">\u003c/embed>\u003c/object>\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>This month, Beach House are sure to entrance at Bimbo’s with selections from their superb new album, \u003cstrong>Teen Dream\u003c/strong>. Sugar & Gold celebrate the release of \u003cstrong>Get Wet!\u003c/strong>, which moves the band out of the disco and into the ’80s. Finally, The Ruby Suns continue to defy expectations, venturing into experimental synth-pop territory as they \u003cstrong>Fight Softly\u003c/strong>.\u003c/p>\n\u003cp>After owning it for over a month, I recently made it to the third side of \u003ca href=\"http://www.myspace.com/beachhousemusic\">Beach House\u003c/a>‘s new double LP, \u003cstrong>Teen Dream\u003c/strong>. Such is the impact of the first five songs on the Baltimore band’s third record, a masterful collection of emotive Gothic pop that should emerge as one of 2010’s great albums. Victoria Legrand and Alex Scally certainly captured some great haunting melodies on 2008’s \u003cstrong>Devotion\u003c/strong> — “Gila” and “Astronaut” could especially hold their own amongst their newer offerings — but the new album is considerably deeper and richer. Avoiding the sameness that often plagues melodramatic music, each mini-epic on \u003cstrong>Teen Dream\u003c/strong> surveys a broad expanse of mood and tone, led by Legrand’s commanding vocals. It will undoubtedly be difficult to not get caught up in the band’s melancholy at \u003ca href=\"http://bimbos365club.com/\">Bimbo’s\u003c/a> on Wednesday, April 14. \u003ca href=\"http://www.myspace.com/bachelorettepop\">Bachelorette\u003c/a> opens.\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=8749893&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1\">\u003cembed src=\"http://vimeo.com/moogaloop.swf?clip_id=8749893&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>\u003c/center>\n\u003cp>Over the past several years, \u003ca href=\"http://www.myspace.com/sugarandgold\">Sugar & Gold\u003c/a> have earned a reputation as one of the most fun live bands in the Bay Area, shaking up indie rock shows with their funky, disco-inspired pop. With their sophomore album \u003cstrong>Get Wet!\u003c/strong>, the SF quintet should move from being the “fun band” to join the likes of Of Montreal, !!! and Pyramiddd as one of the “smart fun bands.” The new album only occasionally hints at the disco feel of \u003cstrong>Creme\u003c/strong>, from 2007, in some buoyant guitar lines; far more often, oscillating synths and old drum machines drive the new tunes. Despite the umbrella 1980s feel throughout, the band’s got a number of sides to showcase. Whether it’s yearning pop (“Bodyaches”), R&B-funk (“Sneek Freq”), or Italo house (“Salty Seraphim”), Sugar & Gold can infuse it into one of their well-crafted confections. For all the consideration of \u003cstrong>Get Wet!\u003c/strong>‘s many merits, though, this is dance music that should be heard live, like at the band’s CD release party at Bottom of the Hill on April 29. \u003ca href=\"http://www.myspace.com/nitejewel\">Nite Jewel\u003c/a> & \u003ca href=\"http://www.myspace.com/baronvonluxxury\">Baron Von Luxxury\u003c/a> also perform.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"400\" height=\"242\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/Pf6E6AYqBzM&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/Pf6E6AYqBzM&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"400\" height=\"242\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>Auckland, New Zealand’s \u003ca href=\"http://www.myspace.com/therubysuns\">The Ruby Suns\u003c/a> won’t be accused of sticking to a formula any time soon. 2008’s \u003cstrong>Sea Lion\u003c/strong> was a psych-pop affair incorporating a global range of sounds, from Maori chanting to traditional Kenyan music. The band has undergone something of a futuristic overhaul on the brand new \u003cstrong>Fight Softly\u003c/strong>, which replaces their previous light touch with a bevy of electronics, effects and heavy drum machine beats. The pop is now synth-pop, reminiscent of the grossly-underrated Russian Futurists, only with an inclination toward intricate experimental songwriting. Seen live, group drumming, live-triggered samples and collective vocals create a psychedelic feel, which turns into a sort of euphoria when the trio launches into a sublimely catchy melody. The band will be at Bottom of the Hill on April 12, with \u003ca href=\"http://www.myspace.com/toroymoi\">Toro Y Moi\u003c/a> and \u003ca href=\"http://www.myspace.com/dreamdater\">dreamdate\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"401\" height=\"226\">\u003cparam name=\"allowfullscreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cparam name=\"movie\" value=\"http://vimeo.com/moogaloop.swf?clip_id=10322342&server=vimeo.com&show_title=1&show_byline=0&show_portrait=0&color=00ADEF&fullscreen=1&group_id=\">\u003cembed src=\"http://vimeo.com/moogaloop.swf?clip_id=10322342&server=vimeo.com&show_title=1&show_byline=0&show_portrait=0&color=00ADEF&fullscreen=1&group_id=\" type=\"application/x-shockwave-flash\" allowfullscreen=\"true\" allowscriptaccess=\"always\" width=\"401\" height=\"226\">\u003c/embed>\u003c/object>\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\u003c/div>\u003c/p>",
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"content": "\u003cp>Spring is upon us at last and downtown L.A. girl gang the Dum Dum Girls have crafted the perfect debut album for the occasion. Described by the band as sounding like a “blissed out buzz saw,” \u003cb>I Will Be\u003c/b>‘s 11 sunburnt songs accomplish quite a lot in just under 30 minutes, mainly proving that garage music can be married to a bubblegum pop sensibility without losing its razor sharp edge.\u003c/p>\n\u003cp>Leader of the pack, Dee Dee (not her real name), started making music on her own in 2008, but eventually enlisted the help of a few friends to give her rough and fuzzy sound a sonic boost. Drummer Frankie Rose, who had previously worked with Vivian Girls and Crystal Stilts, offered her services, as did Nick Zinner of the Yeah Yeah Yeahs, who lends his guitar skills on “Yours Alone,” and most notably, veteran music producer Richard Gottehrer whose credits include “I Want Candy,” “My Boyfriend’s Back,” and various Go-Gos and Blondie records. While the Dum Dum Girls share some similarities with these last two female-fronted bands, they owe much more to ’60s girl groups like the Shangri-Las and the Ronettes and ’80s punk rockers the Vaselines and Jesus and Mary Chain. All hard acts to follow, to say the least, but the Dum Dum Girls hold their own.\u003c/p>\n\u003cp>They don’t waste any time getting things started with the immediate mad energy of album opener “It Only Takes One Night.” The beginning of the album feels like opening the door to a rock show that’s already begun and smacking right into that buzzing wall of sound. That rabid intensity carries over to songs like “Yours Alone” (sample lyric: “Told him I would love him ’til I’m cold”), “Lines Her Eyes” — which chronicles a rivalry between Dee Dee and a clone who “lines her eyes and does her hair just like me” — “Oh Mein Me,” a song sung entirely in German, and, last but definitely not least, the ridiculously infectious first single “\u003ca href=\"http://go2.wordpress.com/?id=725X1342&site=wearedumdumgirls.wordpress.com&url=http%3A%2F%2Fsubpop-public.s3.amazonaws.com%2Fassets%2Faudio%2F6255.mp3\">Jail La La\u003c/a>.” Just try to resist singing along to the last one; I dare you.\u003c/p>\n\u003cp>But don’t think that the Dum Dum Girls are a one-trick pony; they can also scale it back and hit your sweet tooth with equal force. The tempo slows and Dee Dee gets sugary on the uber cute duet “Blank Girl” (Brandon Welch of the Crocodiles plays the male yin to Dee Dee’s yang) as well as on the intimate love song “Rest of Our Lives.” And the girls get downright choral on the album’s dulcet closing number “Baby Don’t Go,” their seamless harmonies pleading with a departing lover to stay.\u003c/p>\n\u003cp>Judging by this neat debut package, the Dum Dum Girls shouldn’t have a problem keeping listeners around. These girl-power warriors might not be breaking any new ground with their spiked pop songs, but anything this fun doesn’t have to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>I Will Be\u003c/b> is out now, just in time for all your springtime shenanigans!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spring is upon us at last and downtown L.A. girl gang the Dum Dum Girls have crafted the perfect debut album for the occasion. Described by the band as sounding like a “blissed out buzz saw,” \u003cb>I Will Be\u003c/b>‘s 11 sunburnt songs accomplish quite a lot in just under 30 minutes, mainly proving that garage music can be married to a bubblegum pop sensibility without losing its razor sharp edge.\u003c/p>\n\u003cp>Leader of the pack, Dee Dee (not her real name), started making music on her own in 2008, but eventually enlisted the help of a few friends to give her rough and fuzzy sound a sonic boost. Drummer Frankie Rose, who had previously worked with Vivian Girls and Crystal Stilts, offered her services, as did Nick Zinner of the Yeah Yeah Yeahs, who lends his guitar skills on “Yours Alone,” and most notably, veteran music producer Richard Gottehrer whose credits include “I Want Candy,” “My Boyfriend’s Back,” and various Go-Gos and Blondie records. While the Dum Dum Girls share some similarities with these last two female-fronted bands, they owe much more to ’60s girl groups like the Shangri-Las and the Ronettes and ’80s punk rockers the Vaselines and Jesus and Mary Chain. All hard acts to follow, to say the least, but the Dum Dum Girls hold their own.\u003c/p>\n\u003cp>They don’t waste any time getting things started with the immediate mad energy of album opener “It Only Takes One Night.” The beginning of the album feels like opening the door to a rock show that’s already begun and smacking right into that buzzing wall of sound. That rabid intensity carries over to songs like “Yours Alone” (sample lyric: “Told him I would love him ’til I’m cold”), “Lines Her Eyes” — which chronicles a rivalry between Dee Dee and a clone who “lines her eyes and does her hair just like me” — “Oh Mein Me,” a song sung entirely in German, and, last but definitely not least, the ridiculously infectious first single “\u003ca href=\"http://go2.wordpress.com/?id=725X1342&site=wearedumdumgirls.wordpress.com&url=http%3A%2F%2Fsubpop-public.s3.amazonaws.com%2Fassets%2Faudio%2F6255.mp3\">Jail La La\u003c/a>.” Just try to resist singing along to the last one; I dare you.\u003c/p>\n\u003cp>But don’t think that the Dum Dum Girls are a one-trick pony; they can also scale it back and hit your sweet tooth with equal force. The tempo slows and Dee Dee gets sugary on the uber cute duet “Blank Girl” (Brandon Welch of the Crocodiles plays the male yin to Dee Dee’s yang) as well as on the intimate love song “Rest of Our Lives.” And the girls get downright choral on the album’s dulcet closing number “Baby Don’t Go,” their seamless harmonies pleading with a departing lover to stay.\u003c/p>\n\u003cp>Judging by this neat debut package, the Dum Dum Girls shouldn’t have a problem keeping listeners around. These girl-power warriors might not be breaking any new ground with their spiked pop songs, but anything this fun doesn’t have to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://www.myspace.com/sonyacotton\">Sonya Cotton\u003c/a> is part of a local indie folk-rock scene brimming with talent, and her sophomore album \u003cb>Red River\u003c/b>, released last year, is a haunting and moving work. Recorded with Scott McDowell, and featuring the contributions of over a dozen guest musicians, Red River’s diverse instrumentation adds to its detail-rich character. Cotton’s songs musically and lyrically unfold over multiple listens; there’s a thoughtfulness at work here that she also demonstrated in our very enjoyable interview.\u003c/p>\n\u003cp>We sat down with Sonya earlier this year to discuss her origins and the process of writing and recording \u003cb>Red River\u003c/b>. We’ve also included four songs from the album in the show (“Red River,” “Knowing Mother,” “Canal” and “Hilltop Hymn”).\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003c/p>\n\u003cp>Wednesday, April 28, 2010\u003cbr>Rickshaw Stop\u003cbr>with \u003ca href=\"http://www.jaschavsjascha.com/\">Jascha Vs. Jascha\u003c/a> and \u003ca href=\"http://krisgruen.com/\">Kris Gruen\u003c/a> (Presented by \u003ca href=\"http://chasingthemoon.pdcst.com/\">Chasing the Moon\u003c/a> & \u003ca href=\"http://seaweedsway.blogspot.com/\">Seaweed Sway\u003c/a>)\u003cbr>8pm, $10\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.myspace.com/sonyacotton\">Sonya Cotton\u003c/a> is part of a local indie folk-rock scene brimming with talent, and her sophomore album \u003cb>Red River\u003c/b>, released last year, is a haunting and moving work. Recorded with Scott McDowell, and featuring the contributions of over a dozen guest musicians, Red River’s diverse instrumentation adds to its detail-rich character. Cotton’s songs musically and lyrically unfold over multiple listens; there’s a thoughtfulness at work here that she also demonstrated in our very enjoyable interview.\u003c/p>\n\u003cp>We sat down with Sonya earlier this year to discuss her origins and the process of writing and recording \u003cb>Red River\u003c/b>. We’ve also included four songs from the album in the show (“Red River,” “Knowing Mother,” “Canal” and “Hilltop Hymn”).\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003c/p>\n\u003cp>Wednesday, April 28, 2010\u003cbr>Rickshaw Stop\u003cbr>with \u003ca href=\"http://www.jaschavsjascha.com/\">Jascha Vs. Jascha\u003c/a> and \u003ca href=\"http://krisgruen.com/\">Kris Gruen\u003c/a> (Presented by \u003ca href=\"http://chasingthemoon.pdcst.com/\">Chasing the Moon\u003c/a> & \u003ca href=\"http://seaweedsway.blogspot.com/\">Seaweed Sway\u003c/a>)\u003cbr>8pm, $10\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>South by Southwest 2010 just wrapped up in Austin, Texas, leaving a tidal wave of ringing ears, exhausted bands, and permanently hungover attendees in its wake. I enjoy being a skeptic (and, perhaps, a cynic) about the value that SXSW can provide to any band hoping to set itself apart from the 1000+ other groups playing shows during the week, but the fact remains that I saw a ton of exciting new music over the past week.\u003c/p>\n\u003cp>Lo-fi sounds continue to dominate blog buzz, which meant that everyone-and-their-mothers’ garage-inspired groups were performing in Austin this year. Despite the overwhelming amount of bands crafting reverby pop, a few definitely managed to stand out. I’d seen New Jersey’s \u003ca href=\"http://www.myspace.com/realestate\">Real Estate\u003c/a> in SF earlier, but also caught one of the band’s ten shows at SXSW. The quartet’s self-titled record is excellent and their live performances vibrantly capture its beach pop jangle.\u003c/p>\n\u003cp>The real discovery for me on the lo-fi front has to be Los Angeles’ \u003ca href=\"http://www.myspace.com/dumdumgirls\">Dum Dum Girls\u003c/a>, whose debut full length comes out on Sub Pop at the end of the month. Of the many ’60s-referencing bands around today, the Girls may be the most truly Spectorian, a group of impeccably dressed attractive women who play crazy-catchy backbeat-driven songs with strong three part harmonies. While the band members’ outfits were more goth than girl group, their lyrics seize on the melodrama intrinsic to both genres. Despite the girl group feel, there’s no Svengali at work behind the scenes — the band emerged from the solo writing and recording of leader Dee Dee, who appropriately deems the band’s sound “blissed-out buzz saw.”\u003c/p>\n\u003cp>On the Bay Area front, SXSW couldn’t have been better positioned for the Berkeley-born \u003ca href=\"http://www.myspace.com/themorningbenders\">The Morning Benders\u003c/a>, whose new album \u003cstrong>Big Echo\u003c/strong> was deemed “Best New Music” by Pitchfork just as the festival began. The overwhelmingly positive press for \u003cstrong>Big Echo\u003c/strong> is well-earned. It’s a terrifically lush and ambitious album that reinvents a band known for Beatles-esque linear pop-rock as one more interested in ambitious atmospheric indie rock. I caught the band’s first SXSW show on Wednesday, which, although hampered by some sound issues and cut too short, still managed to offer pieces of the new record’s grand, haunting swells. Better to check them out, I think, on the band’s headlining national tour, which comes to San Francisco on March 31st.\u003c/p>\n\u003cp>SXSW also offers me an opportunity to offer a mea culpa to \u003ca href=\"http://www.myspace.com/thexx\">The xx\u003c/a>, the British band who has soared to prominence on their 2009 debut, \u003cstrong>xx\u003c/strong>. I’ll confess to being a little underwhelmed by the record, given all of the hype, but I found myself quite impressed by a live set I caught last week. The record’s got plenty of perfectly catchy songs, but it’s also incredibly understated for my liking. Live, however, the bass and live-triggered drums are louder, more throbbing and insistent, making for a highly enjoyable set that felt human and vulnerable. When I listen to the album next, I’m planning on messing with my stereo to try and duplicate the same results.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not every set, though, was similarly revelatory. One of the most buzzed-about acts \u003ca href=\"http://www.myspace.com/brokenbells\">Broken Bells\u003c/a>, the new collaborative effort between producer Danger Mouse and The Shins’ James Mercer, left me surprisingly indifferent. Beyond the pedigree, I’m truly confused about the hype here, as the project seems to have neither Danger Mouse’s skill for creative sounds (demonstrated best in his work with Gnarls Barkley and Gorillaz) nor The Shins’ sublimely upbeat hooks. Instead, the group seems mired in a mid-tempo drudge that’s not bad so much as it is unmemorable.\u003c/p>\n\u003cp>A better new band to check out would be \u003ca href=\"http://www.myspace.com/freelancewhales\">Freelance Whales\u003c/a>, whose debut album \u003cstrong>Weathervanes\u003c/strong> gets reissued on Frenchkiss/Mom and Pop on April 13th. Splitting the difference between big-sounding chamber rock bands like The Arcade Fire and more intimate ones like The Hidden Cameras, Freelance Whales layer keyboards, guitars, a banjo and a harmonium under some great group vocals. It’s all very, very catchy, even, perhaps, a little twee, but I think everyone needs a little sugar in their diets.\u003c/p>\n\u003cp>But a diet doesn’t need too much Tex-Mex or barbecue, two delicious tastes I’ll be happy to avoid for another year until the allure of seeing another 70+ bands in 4 days becomes too much to resist and I’m once again back in Texas. You win again, South by Southwest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director for \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>South by Southwest 2010 just wrapped up in Austin, Texas, leaving a tidal wave of ringing ears, exhausted bands, and permanently hungover attendees in its wake. I enjoy being a skeptic (and, perhaps, a cynic) about the value that SXSW can provide to any band hoping to set itself apart from the 1000+ other groups playing shows during the week, but the fact remains that I saw a ton of exciting new music over the past week.\u003c/p>\n\u003cp>Lo-fi sounds continue to dominate blog buzz, which meant that everyone-and-their-mothers’ garage-inspired groups were performing in Austin this year. Despite the overwhelming amount of bands crafting reverby pop, a few definitely managed to stand out. I’d seen New Jersey’s \u003ca href=\"http://www.myspace.com/realestate\">Real Estate\u003c/a> in SF earlier, but also caught one of the band’s ten shows at SXSW. The quartet’s self-titled record is excellent and their live performances vibrantly capture its beach pop jangle.\u003c/p>\n\u003cp>The real discovery for me on the lo-fi front has to be Los Angeles’ \u003ca href=\"http://www.myspace.com/dumdumgirls\">Dum Dum Girls\u003c/a>, whose debut full length comes out on Sub Pop at the end of the month. Of the many ’60s-referencing bands around today, the Girls may be the most truly Spectorian, a group of impeccably dressed attractive women who play crazy-catchy backbeat-driven songs with strong three part harmonies. While the band members’ outfits were more goth than girl group, their lyrics seize on the melodrama intrinsic to both genres. Despite the girl group feel, there’s no Svengali at work behind the scenes — the band emerged from the solo writing and recording of leader Dee Dee, who appropriately deems the band’s sound “blissed-out buzz saw.”\u003c/p>\n\u003cp>On the Bay Area front, SXSW couldn’t have been better positioned for the Berkeley-born \u003ca href=\"http://www.myspace.com/themorningbenders\">The Morning Benders\u003c/a>, whose new album \u003cstrong>Big Echo\u003c/strong> was deemed “Best New Music” by Pitchfork just as the festival began. The overwhelmingly positive press for \u003cstrong>Big Echo\u003c/strong> is well-earned. It’s a terrifically lush and ambitious album that reinvents a band known for Beatles-esque linear pop-rock as one more interested in ambitious atmospheric indie rock. I caught the band’s first SXSW show on Wednesday, which, although hampered by some sound issues and cut too short, still managed to offer pieces of the new record’s grand, haunting swells. Better to check them out, I think, on the band’s headlining national tour, which comes to San Francisco on March 31st.\u003c/p>\n\u003cp>SXSW also offers me an opportunity to offer a mea culpa to \u003ca href=\"http://www.myspace.com/thexx\">The xx\u003c/a>, the British band who has soared to prominence on their 2009 debut, \u003cstrong>xx\u003c/strong>. I’ll confess to being a little underwhelmed by the record, given all of the hype, but I found myself quite impressed by a live set I caught last week. The record’s got plenty of perfectly catchy songs, but it’s also incredibly understated for my liking. Live, however, the bass and live-triggered drums are louder, more throbbing and insistent, making for a highly enjoyable set that felt human and vulnerable. When I listen to the album next, I’m planning on messing with my stereo to try and duplicate the same results.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not every set, though, was similarly revelatory. One of the most buzzed-about acts \u003ca href=\"http://www.myspace.com/brokenbells\">Broken Bells\u003c/a>, the new collaborative effort between producer Danger Mouse and The Shins’ James Mercer, left me surprisingly indifferent. Beyond the pedigree, I’m truly confused about the hype here, as the project seems to have neither Danger Mouse’s skill for creative sounds (demonstrated best in his work with Gnarls Barkley and Gorillaz) nor The Shins’ sublimely upbeat hooks. Instead, the group seems mired in a mid-tempo drudge that’s not bad so much as it is unmemorable.\u003c/p>\n\u003cp>A better new band to check out would be \u003ca href=\"http://www.myspace.com/freelancewhales\">Freelance Whales\u003c/a>, whose debut album \u003cstrong>Weathervanes\u003c/strong> gets reissued on Frenchkiss/Mom and Pop on April 13th. Splitting the difference between big-sounding chamber rock bands like The Arcade Fire and more intimate ones like The Hidden Cameras, Freelance Whales layer keyboards, guitars, a banjo and a harmonium under some great group vocals. It’s all very, very catchy, even, perhaps, a little twee, but I think everyone needs a little sugar in their diets.\u003c/p>\n\u003cp>But a diet doesn’t need too much Tex-Mex or barbecue, two delicious tastes I’ll be happy to avoid for another year until the allure of seeing another 70+ bands in 4 days becomes too much to resist and I’m once again back in Texas. You win again, South by Southwest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director for \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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"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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"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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"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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"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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"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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"perspectives": {
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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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"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",
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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"
},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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