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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Why Leonard Bernstein Still Matters. A lot.\u003c/b>\u003c/p>\n\u003cp>If you grew up in the ’60s or ’70s and loved music, you couldn’t get away from Leonard Bernstein. And who would want to? America’s greatest musical ambassador, and possibly greatest musician, was also a great entertainer. Between his outsized personality and his jet-set lifestyle, he was a living rebuke to the stuffy, self-important image classical music had gained. And his regular TV appearances and concerts helped keep it all interesting, relevant and fun, at a time when hardly anyone else in the field seemed to care. Now, his daughter Jamie has teamed up with one of his proteges, Michael Barrett, and some top-notch singers to remind us all just how much Lenny meant to music in this country, in an evening called simply \u003cb>A Tribute to Leonard Bernstein\u003c/b>.\u003c/p>\n\u003cp>No-one ever disputed Bernstein’s musicianship, but the fact that he had success on Broadway and in the jazz and rock worlds (he was one of the first “serious musicians” to take the Beatles seriously), only served as proof to his critics that he was “wasting his talents.” To anyone who got it, though, who really cared about the future of classical music and wanted to learn, he was more than just a breath of fresh air. It was a time when music education was starting to disappear from the country’s public schools, classical music was retreating into an ivory tower, and rock and soul were taking over the airwaves and the public consciousness. Bernstein was not only prescient enough to recognize the value of popular culture but savvy enough to use its tools for the benefit of the so-called “higher arts.” He understood the connections between musical genres in the way that no one else at the time seemed to, and he understood the power of television in helping us all to get it, too. Others have filled that role since he died (like our own Michael Tilson Thomas), but Lenny was the pioneer, and his Young People’s Concerts and Omnibus programs from the ’60s are still wonderful and fascinating today.\u003c/p>\n\u003cp>It may be hard for a lot of people who weren’t around in Bernstein’s heyday to understand just how important his legacy is, but his eldest daughter Jamie has helped pick up the baton with these musical celebrations. She was there for the good times and the challenges (like her father’s difficult divorce and coming-out), and she’s able to fill in the public record with family stories, behind-the-scenes glimpses of the creation of \u003cb>West Side Story\u003c/b>, \u003cb>Candide\u003c/b>, \u003cb>On the Town\u003c/b> and more, with musical numbers featuring performers from the New York Festival of Song. It’s a rare chance to get a personal look at a very public personality from one of the people who knew him best, and who understands just how he “helped keep the world safe for classical music.”\u003c/p>\n\u003cp>You can see and hear Jamie Bernstein’s \u003cb>A Portrait of Leonard Bernstein\u003c/b> at 8pm on Saturday, November 7, 2009 at Dinkelspiel Auditorium on the Stanford campus in Palo Alto. For \u003ca href=\"http://livelyarts.stanford.edu/event.php?code=BERN\">tickets and information\u003c/a>, visit livelyarts.stanford.edu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Twin sister act Tegan and Sara are back with their sixth studio album, \u003cb>Sainthood\u003c/b>. But don’t be fooled by the album title; you won’t find any songs about the good Lord here. Instead, Tegan and Sara are working with a secular interpretation of sainthood — a lover practicing being a saint (i.e. being faithful, honest, and devoted) only to become a martyr to yet another failed romance. Got that? Sure, their theme is a bit heavy-handed, but it’s good to see the band moving into more intellectual territory.\u003c/p>\n\u003cp>Signed to Vapor Records back in 2000 by none other than Neil Young, T&S have been making their specific brand of thorny love-pop for almost a decade. But, with \u003cb>Sainthood\u003c/b>, the siblings have strayed from the formula of their past records a bit and tried something new: writing songs together. You would think that, after sharing a womb, DNA, and facial features, sharing a creative space wouldn’t be an issue. Think again. The duo have openly admitted to having a contentious relationship and live in separate cities (Tegan in Vancouver and Sara in Montreal). Nevertheless, in November 2008, they spent some time in New Orleans exploring whether they could find a way to work together, which resulted in a handful of songs, only one of which made the album (“Paperback Heart”). But it wasn’t a complete wash: in conjunction with \u003cb>Sainthood\u003c/b>, T&S are self-publishing \u003ca href=\"http://teganandsara.com/splash/images/book_detail.jpg\">three supplemental photobooks titled \u003ci>ON\u003c/i> / \u003ci>IN\u003c/i> / \u003ci>AT\u003c/i>\u003c/a>. Seems like a bit of sibling bickering does wonders for productivity.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=FxdK0sR6Vhg&hl=en&fs=1&color1=0x2b405b&color2=0x6b8ab6]\u003c/p>\n\u003cp>Another new approach Tegan and Sara have undertaken with this album is recording in the studio with a full band, which makes for a fuller, more rock-oriented sound on tracks like “On Directing,” “The Ocean,” and “Alligator.” And, with help from producer Chris Walla of Death Cab for Cutie, they’ve also started toying around with synths, the best results appearing on “Red Belt” and album opener “Arrow.”\u003c/p>\n\u003cp>Tegan and Sara’s confessional and hyper-analytic lyrics ruminate on obsessive romantic behavior and their songs often sound like a teenager’s angsty diary entries as a result. But, on certain songs, this seems intentional, as if the sisters are making a statement about how love makes a foolish teen out of all of us. “Go steady with me/ I know it turns you off when I get talking like a teen,” Sara admits on “On Directing.” And on the propulsive first single “Hell,” Tegan sings, “These words get overused,” as if conceding that treating every heartbreak like it’s the first is inappropriately maudlin for someone verging on their thirtieth birthday (the Quin twins are 29).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Self-aware moments like these suggest that T&S see through the idealized brand of romance we treasure as lovelorn adolescents. Unfortunately, they are few and far between. Weepy teen anthems like “The Cure,” “Sentimental Tune,” and “Someday” make it seem as though the sisters can’t move beyond their addiction to naive lovesickness. If only they could muster up the strength to step out of the jilted victim’s shoes and into the steel-toed boots of the heartbreaker. Now that would be interesting.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twin sister act Tegan and Sara are back with their sixth studio album, \u003cb>Sainthood\u003c/b>. But don’t be fooled by the album title; you won’t find any songs about the good Lord here. Instead, Tegan and Sara are working with a secular interpretation of sainthood — a lover practicing being a saint (i.e. being faithful, honest, and devoted) only to become a martyr to yet another failed romance. Got that? Sure, their theme is a bit heavy-handed, but it’s good to see the band moving into more intellectual territory.\u003c/p>\n\u003cp>Signed to Vapor Records back in 2000 by none other than Neil Young, T&S have been making their specific brand of thorny love-pop for almost a decade. But, with \u003cb>Sainthood\u003c/b>, the siblings have strayed from the formula of their past records a bit and tried something new: writing songs together. You would think that, after sharing a womb, DNA, and facial features, sharing a creative space wouldn’t be an issue. Think again. The duo have openly admitted to having a contentious relationship and live in separate cities (Tegan in Vancouver and Sara in Montreal). Nevertheless, in November 2008, they spent some time in New Orleans exploring whether they could find a way to work together, which resulted in a handful of songs, only one of which made the album (“Paperback Heart”). But it wasn’t a complete wash: in conjunction with \u003cb>Sainthood\u003c/b>, T&S are self-publishing \u003ca href=\"http://teganandsara.com/splash/images/book_detail.jpg\">three supplemental photobooks titled \u003ci>ON\u003c/i> / \u003ci>IN\u003c/i> / \u003ci>AT\u003c/i>\u003c/a>. Seems like a bit of sibling bickering does wonders for productivity.\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/FxdK0sR6Vhg'\n title='//www.youtube.com/embed/FxdK0sR6Vhg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Another new approach Tegan and Sara have undertaken with this album is recording in the studio with a full band, which makes for a fuller, more rock-oriented sound on tracks like “On Directing,” “The Ocean,” and “Alligator.” And, with help from producer Chris Walla of Death Cab for Cutie, they’ve also started toying around with synths, the best results appearing on “Red Belt” and album opener “Arrow.”\u003c/p>\n\u003cp>Tegan and Sara’s confessional and hyper-analytic lyrics ruminate on obsessive romantic behavior and their songs often sound like a teenager’s angsty diary entries as a result. But, on certain songs, this seems intentional, as if the sisters are making a statement about how love makes a foolish teen out of all of us. “Go steady with me/ I know it turns you off when I get talking like a teen,” Sara admits on “On Directing.” And on the propulsive first single “Hell,” Tegan sings, “These words get overused,” as if conceding that treating every heartbreak like it’s the first is inappropriately maudlin for someone verging on their thirtieth birthday (the Quin twins are 29).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Lo-fi rock-and-roll may be something of a flavor du jour in indie rock right now, but the Bay Area’s been creating great garage-influenced bands for years. Garage rock groups past and present converge at Thee Parkside, Bottom of the Hill and The Eagle this weekend for the eighth installment of the \u003ca href=\"http://www.myspace.com/budgetrock\">Budget Rock Festival\u003c/a>. This year’s festival features the latest reunion performances from the “Kings of Budget Rock,” SF garage punk pioneers \u003ca href=\"http://www.myspace.com/themummies\">The Mummies\u003c/a>. The band, whose members perform in full mummy wrappings, released a number of ultra-low-fidelity recordings in the early ’90s, and their enduring influence on lo-fi is perceptible today.\u003c/p>\n\u003cp>Brothers Clayton and Jeremiah McIntyre and drummer-keyboardist Danny Goldberg form \u003ca href=\"http://www.myspace.com/boxelders\">The Box Elders\u003c/a>, an Omaha trio whose debut 7″ \u003ca href=\"http://www.youtube.com/watch?v=aV3rnaD9wns\">\u003cstrong>Hole in My Head\u003c/strong>\u003c/a> was a shambling, ultra-catchy piece of “cave pop.” That song’s also a highlight on their debut full length, \u003cstrong>Alice and Friends\u003c/strong>. The album, released in August on Goner Records, is a collection of poppy lo-fi rock recorded by the band on an 8-track in their basement. They’ll be joined at Thee Parkside by \u003ca href=\"http://www.myspace.com/impedimentsbayarea\">Impediments\u003c/a>, a Bay Area band comprised principally of 18-year-olds, although you wouldn’t know it from their ’70s-inspired swaggering rock/punk. The band’s debut just came out on \u003ca href=\"http://www.happypartsrecordings.com/\">Happy Parts Recordings\u003c/a>.\u003c/p>\n\u003cp>There’s something of a pizza renaissance going on in rock-and-roll right now, and Budget Rock is uniting \u003ca href=\"http://www.myspace.com/personalandthepizzas\">Personal & the Pizzas\u003c/a>, \u003ca href=\"http://www.myspace.com/johnnythelimelites\">Johnny and the Limelites\u003c/a> (who released a with a \u003cstrong>Pizza Party\u003c/strong> 7″ and hail from “Deep Dish, Illinois”), and Sacramento’s \u003ca href=\"http://www.myspace.com/lovethepizzas\">The Pizzas\u003c/a> for an afternoon show at Thee Parkside. After the bands whet the audience’s appetite for pies, there will be a pizza eating contest, courtesy of Escape from New York Pizza. I firmly believe that SF pizza holds its own compared to the New York slice, and the Bay Area’s Personal & the Pizzas are worthy heirs to The Ramones’ dumb-but-charming garage pop. The band claims to be from Hoboken, but that’s as bogus as their feigned stupidity. Still, the latter does make for \u003ca href=\"http://wfmu.org/playlists/shows/32349\">some great interviews\u003c/a> and definitely adds to the fun.\u003c/p>\n\u003cp>Other highlights, and there look to be many, include the latest reunion performance by Oakland psych masters \u003ca href=\"http://www.myspace.com/thegrisgris\">The Gris Gris\u003c/a>, playing alongside \u003ca href=\"http://www.myspace.com/thefreshonlys\">The Fresh & Onlys\u003c/a>, whose \u003cstrong>Grey-Eyed Girls\u003c/strong> is one of my favorite 2009 releases, and \u003ca href=\"http://www.myspace.com/dasmenace\">Dan Melchior\u003c/a>. Melchior began in London, and collaborated with Billy Childish and Holly Golightly before moving to the US, where his interests have expanded into more freewheeling, experimental terrain. Top that show off with \u003ca href=\"http://www.myspace.com/ohsees\">Thee Oh Sees\u003c/a>, and you’ve got one hell of a bill.\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\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lo-fi rock-and-roll may be something of a flavor du jour in indie rock right now, but the Bay Area’s been creating great garage-influenced bands for years. Garage rock groups past and present converge at Thee Parkside, Bottom of the Hill and The Eagle this weekend for the eighth installment of the \u003ca href=\"http://www.myspace.com/budgetrock\">Budget Rock Festival\u003c/a>. This year’s festival features the latest reunion performances from the “Kings of Budget Rock,” SF garage punk pioneers \u003ca href=\"http://www.myspace.com/themummies\">The Mummies\u003c/a>. The band, whose members perform in full mummy wrappings, released a number of ultra-low-fidelity recordings in the early ’90s, and their enduring influence on lo-fi is perceptible today.\u003c/p>\n\u003cp>Brothers Clayton and Jeremiah McIntyre and drummer-keyboardist Danny Goldberg form \u003ca href=\"http://www.myspace.com/boxelders\">The Box Elders\u003c/a>, an Omaha trio whose debut 7″ \u003ca href=\"http://www.youtube.com/watch?v=aV3rnaD9wns\">\u003cstrong>Hole in My Head\u003c/strong>\u003c/a> was a shambling, ultra-catchy piece of “cave pop.” That song’s also a highlight on their debut full length, \u003cstrong>Alice and Friends\u003c/strong>. The album, released in August on Goner Records, is a collection of poppy lo-fi rock recorded by the band on an 8-track in their basement. They’ll be joined at Thee Parkside by \u003ca href=\"http://www.myspace.com/impedimentsbayarea\">Impediments\u003c/a>, a Bay Area band comprised principally of 18-year-olds, although you wouldn’t know it from their ’70s-inspired swaggering rock/punk. The band’s debut just came out on \u003ca href=\"http://www.happypartsrecordings.com/\">Happy Parts Recordings\u003c/a>.\u003c/p>\n\u003cp>There’s something of a pizza renaissance going on in rock-and-roll right now, and Budget Rock is uniting \u003ca href=\"http://www.myspace.com/personalandthepizzas\">Personal & the Pizzas\u003c/a>, \u003ca href=\"http://www.myspace.com/johnnythelimelites\">Johnny and the Limelites\u003c/a> (who released a with a \u003cstrong>Pizza Party\u003c/strong> 7″ and hail from “Deep Dish, Illinois”), and Sacramento’s \u003ca href=\"http://www.myspace.com/lovethepizzas\">The Pizzas\u003c/a> for an afternoon show at Thee Parkside. After the bands whet the audience’s appetite for pies, there will be a pizza eating contest, courtesy of Escape from New York Pizza. I firmly believe that SF pizza holds its own compared to the New York slice, and the Bay Area’s Personal & the Pizzas are worthy heirs to The Ramones’ dumb-but-charming garage pop. The band claims to be from Hoboken, but that’s as bogus as their feigned stupidity. Still, the latter does make for \u003ca href=\"http://wfmu.org/playlists/shows/32349\">some great interviews\u003c/a> and definitely adds to the fun.\u003c/p>\n\u003cp>Other highlights, and there look to be many, include the latest reunion performance by Oakland psych masters \u003ca href=\"http://www.myspace.com/thegrisgris\">The Gris Gris\u003c/a>, playing alongside \u003ca href=\"http://www.myspace.com/thefreshonlys\">The Fresh & Onlys\u003c/a>, whose \u003cstrong>Grey-Eyed Girls\u003c/strong> is one of my favorite 2009 releases, and \u003ca href=\"http://www.myspace.com/dasmenace\">Dan Melchior\u003c/a>. Melchior began in London, and collaborated with Billy Childish and Holly Golightly before moving to the US, where his interests have expanded into more freewheeling, experimental terrain. Top that show off with \u003ca href=\"http://www.myspace.com/ohsees\">Thee Oh Sees\u003c/a>, and you’ve got one hell of a bill.\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\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>To look at him, you might think Alfred Brendel was the very picture of the Serious Classical Musician. And, to a certain extent, you would be right. After all, you don’t sell millions of recordings and concert tickets over 60 years by taking your art lightly. But then you notice the twinkle in his eye, which means that he’s just about to say something straight out of a Monty Python routine. Alfred Brendel may be a truly great pianist, but he is also a collector of classic kitsch and a published writer of absurdist comic poetry, which means that his upcoming lecture/recital in Berkeley on “character” in Beethoven’s music will reveal some of what makes him a “character” as well.\u003c/p>\n\u003cp>Brendel certainly knows Beethoven; he has recorded all 32 of Beethoven’s Piano Sonatas three times, and the five Piano Concertos twice. He is recognized as one of the world’s great experts on Beethoven, but what makes what he has to say so interesting is that he didn’t get to this point in the music world by the usual path. He came from a completely unmusical family, and was mostly self-taught as a pianist. He had a few years of lessons as a boy and later took some master classes, but he got the bulk of his musical education on his own: working his way through each piece by recording himself and then listening to the playback and gauging his own reaction. He had no mentor who passed down the wisdom of generations on The Right Way to Play Beethoven — he found the right way himself in the notes.\u003c/p>\n\u003cp>And that’s what he means by “character” in music: like an actor who finds the character in the words and subtext, a musician finds the character of a piece in the notes, and the character and atmosphere are just as important as the form and structure. Beethoven himself was a character: a man-about-town with a dry sense of humor in his youth, he became a grump and a slob after losing his hearing, but he somehow kept his sense of humor in his music, using the contrasts of humor, pain and tenderness to help break down the barriers of form and structure. This is where Brendel excels in his playing: getting to the essence of a piece emotionally and intellectually, without letting either one take over. It’s a rare gift, and that’s why hearing what he has to say about what he plays is such a treat. He might even read some of his poetry.\u003c/p>\n\u003cp>Alfred Brendel speaks \u003cb>On Character In Music\u003c/b> Friday, October 30, 2009 at 8pm, Wheeler Auditorium, U.C. Berkeley. For \u003ca href=\"http://www.calperfs.berkeley.edu/presents/season/2009/speaking/ab.php\">tickets and information\u003c/a>, visit calperfs.berkeley.edu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Remember learning about the three ages of a river in geography class? Well, the same theory can be applied to rock bands. At first they are young and untamed, rushing blindly on like lemmings with guitars. Then they settle and develop, benefitting from a little knowledge and nuance. And finally they turn bloated and sluggish, phoning in a few quickly forgotten records on the way to retirement, death, or obscurity. Some bands never make it out of the first stage. Others spend only a brief moment in that golden middle period, while a precious few manage to linger there for longer, carving out interesting careers spanning various releases. Like \u003ca href=\"http://www.yolatengo.com/\">Yo La Tengo\u003c/a>, for example.\u003c/p>\n\u003cp>But on the evidence of their most recent release, \u003cb>Popular Songs\u003c/b>, these perennial indie darlings are in danger of slipping into meandering meaninglessness. It isn’t so much a bad album as it is a disappointing one. It’s the kind of record that has you reaching for their older releases to see if they are as good as you remembered (they are), or wondering if the band recently “did an REM” and signed some creativity-killing megadeal with a major (they haven’t). You could almost be forgiven for thinking it was a collection of B-sides, if only Yo La Tengo hadn’t already released at least two collections of far more interesting offcuts.\u003c/p>\n\u003cp>Too much of \u003cb>Popular Songs\u003c/b> feels like underwhelming filler, such as the soporific “When It’s Dark,” the silly fluff of “Periodically Triple Or Double,” the easy listening “I’m On My Way,” or the one-dimensional “By Two’s.” And then there’s “If It’s True,” a track that begins with a spot-on imitation of a classic Motown intro, but only suffers from the comparison from that point on. Granted, some tracks are better than others, but none are strong enough to save the album as a whole. Even album opener “Here to Fall,” which is propelled by dramatic stabs of strings and a rolling, dirty beat, still comes off as too polished and self-aware for its own good. The whole things feels disappointingly lazy and just a little fake, like going to your favorite family-run restaurant and hearing the ping of a microwave just before your food appears.\u003c/p>\n\u003cp>Of course, there are some who believe Yo La Tengo have always been overrated, and their delicate/distorted back catalog may seem slight to some in places. But more often it surprises, finding passion in understatement, or calm amid a squall. Take a song like “Autumn Sweater,” a piece of music so cosy it even features knitwear in the title. But it is also filled with sadness and regret, and captures something fundamental about the fleeting nature of time. This new album, in contrast, seems like all woollens and no scratch. The difference is subtle, but important.\u003c/p>\n\u003cp>Perhaps Yo La Tengo were never destined to be a great band, but for a long time they have been a really good one, and a truly entertaining live act too. Hopefully their shows in northern California this weekend will give a more optimistic indication of what lies around the next bend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Popular Songs\u003c/b> by Yo La Tengo is out now on \u003ca href=\"http://www.matadorrecords.com/\">Matador Records\u003c/a>. They play the Rio Theatre in Santa Cruz on October 17, 2009 and the Treasure Island Music Festival on October 18. For information and tickets, go to \u003ca href=\"http://www.riotheatre.com/\">Riotheatre.com\u003c/a> and \u003ca href=\"http://treasureislandfestival.com/\">Treasureislandfestival.com\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember learning about the three ages of a river in geography class? Well, the same theory can be applied to rock bands. At first they are young and untamed, rushing blindly on like lemmings with guitars. Then they settle and develop, benefitting from a little knowledge and nuance. And finally they turn bloated and sluggish, phoning in a few quickly forgotten records on the way to retirement, death, or obscurity. Some bands never make it out of the first stage. Others spend only a brief moment in that golden middle period, while a precious few manage to linger there for longer, carving out interesting careers spanning various releases. Like \u003ca href=\"http://www.yolatengo.com/\">Yo La Tengo\u003c/a>, for example.\u003c/p>\n\u003cp>But on the evidence of their most recent release, \u003cb>Popular Songs\u003c/b>, these perennial indie darlings are in danger of slipping into meandering meaninglessness. It isn’t so much a bad album as it is a disappointing one. It’s the kind of record that has you reaching for their older releases to see if they are as good as you remembered (they are), or wondering if the band recently “did an REM” and signed some creativity-killing megadeal with a major (they haven’t). You could almost be forgiven for thinking it was a collection of B-sides, if only Yo La Tengo hadn’t already released at least two collections of far more interesting offcuts.\u003c/p>\n\u003cp>Too much of \u003cb>Popular Songs\u003c/b> feels like underwhelming filler, such as the soporific “When It’s Dark,” the silly fluff of “Periodically Triple Or Double,” the easy listening “I’m On My Way,” or the one-dimensional “By Two’s.” And then there’s “If It’s True,” a track that begins with a spot-on imitation of a classic Motown intro, but only suffers from the comparison from that point on. Granted, some tracks are better than others, but none are strong enough to save the album as a whole. Even album opener “Here to Fall,” which is propelled by dramatic stabs of strings and a rolling, dirty beat, still comes off as too polished and self-aware for its own good. The whole things feels disappointingly lazy and just a little fake, like going to your favorite family-run restaurant and hearing the ping of a microwave just before your food appears.\u003c/p>\n\u003cp>Of course, there are some who believe Yo La Tengo have always been overrated, and their delicate/distorted back catalog may seem slight to some in places. But more often it surprises, finding passion in understatement, or calm amid a squall. Take a song like “Autumn Sweater,” a piece of music so cosy it even features knitwear in the title. But it is also filled with sadness and regret, and captures something fundamental about the fleeting nature of time. This new album, in contrast, seems like all woollens and no scratch. The difference is subtle, but important.\u003c/p>\n\u003cp>Perhaps Yo La Tengo were never destined to be a great band, but for a long time they have been a really good one, and a truly entertaining live act too. Hopefully their shows in northern California this weekend will give a more optimistic indication of what lies around the next bend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last week, \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=25463\">I urged all of you\u003c/a> to scrounge up some tickets to last night’s Fever Ray show. If you ended up taking heed, you’re welcome. And, if you didn’t, you missed one hell of a production. I hesitate to call it a concert because it was more of an art performance staged in a haunted house (with lasers!).\u003c/p>\n\u003cp>For a good 45 minutes before Fever Ray took the stage, smoke was continuously pumped into the Regency Ballroom — an already mysterious location in the Kubrick sense. Just as the crowd (a large percentage of which was decked out in skeletal face paint) was getting restless, a hooded man emerged and lit two separate chunks of incense on either side of the stage. Andreas Nilsson, the director of the tour, clearly had a specific aesthetic in mind: one that hints of mysticism, tribal rituals, and the Old World’s bloated fear of the unseen.\u003c/p>\n\u003cp>\u003c/p>\u003cp>As the incense merged with the thick fog from the smoke machines, two lasers were lit up, reflecting off a number of tiny mirrors strategically placed on the walls and stage. Soon, Karin Dreijer Andersson appeared in the fog, a shadow shrouded in a hooded cloak with a shrunken head adornment. Her bandmates brandished staffs and other tribal regalia, one was even dressed as a whirling dervish. What ensued can only be described as a nightmare I never wanted to wake from. Here are some photos from my trip to the underworld:\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-2.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-3.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-1.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-7.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-6.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-8.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-10.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-12.jpg\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=25463\">I urged all of you\u003c/a> to scrounge up some tickets to last night’s Fever Ray show. If you ended up taking heed, you’re welcome. And, if you didn’t, you missed one hell of a production. I hesitate to call it a concert because it was more of an art performance staged in a haunted house (with lasers!).\u003c/p>\n\u003cp>For a good 45 minutes before Fever Ray took the stage, smoke was continuously pumped into the Regency Ballroom — an already mysterious location in the Kubrick sense. Just as the crowd (a large percentage of which was decked out in skeletal face paint) was getting restless, a hooded man emerged and lit two separate chunks of incense on either side of the stage. Andreas Nilsson, the director of the tour, clearly had a specific aesthetic in mind: one that hints of mysticism, tribal rituals, and the Old World’s bloated fear of the unseen.\u003c/p>\n\u003cp>\u003c/p>\u003cp>As the incense merged with the thick fog from the smoke machines, two lasers were lit up, reflecting off a number of tiny mirrors strategically placed on the walls and stage. Soon, Karin Dreijer Andersson appeared in the fog, a shadow shrouded in a hooded cloak with a shrunken head adornment. Her bandmates brandished staffs and other tribal regalia, one was even dressed as a whirling dervish. What ensued can only be described as a nightmare I never wanted to wake from. Here are some photos from my trip to the underworld:\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-2.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Beyond the Listings: October 2009",
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"content": "\u003cp>Temperatures around the Bay have been dropping, but plenty of good shows in October make it worth venturing out into the cold. Some sneak peeks below:\u003c/p>\n\u003ch2>AMY MILLAN\u003c/h2>\n\u003cp>As a member of Stars and Broken Social Scene, \u003ca href=\"http://www.myspace.com/amymillan\">Amy Millan\u003c/a> created some future-classic indie pop, so it was a bit of surprise to find her leaving those sounds on her solo debut, 2006’s \u003cb>Honey from the Tombs\u003c/b>. Millan still has great pop hooks, but she’s traded in the synths and the uptempo tracks for country-inspired ballads and slide guitars. 2009’s \u003cb>Masters of the Burial\u003c/b> is a wonderful album that’s even better than her solo debut. On \u003cb>Masters\u003c/b>, Millan delivers heartfelt originals and moving renditions of songs by Death Cab for Cutie and Richard Hawley that are simply entrancing. Amy Millan will be performing at \u003ca href=\"http://cafedunord.com/\">Cafe Du Nord\u003c/a> on Wednesday, October 28th, with \u003ca href=\"http://www.myspace.com/bahamasbreeze\">Bahamas\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"480\" height=\"295\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/IA3Zq9nB3PE&hl=en&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/IA3Zq9nB3PE&hl=en&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"480\" height=\"295\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003ch2>THE RAINCOATS\u003c/h2>\n\u003cp>Before LA post-punk champions Part Time Punks host their second annual festival in Los Angeles on October 11th, they’re bringing a mini-fest of sorts to \u003ca href=\"http://www.mezzaninesf.com/\">The Mezzanine\u003c/a> on Friday, October 11th. The show nicely blends post-punk past and present, headlined by \u003ca href=\"http://www.myspace.com/theraincoats\">The Raincoats\u003c/a> playing the West Coast for the first time ever. The all-female post-punk band’s self-titled debut has become one of the genre’s classics, and is now being rereleased on \u003ca href=\"http://www.killrockstars.com\">Kill Rock Stars\u003c/a>. Kurt Cobain championed the group, and invited them to open for Nirvana on the 1994 UK tour that was canceled following his passing.\u003c/p>\n\u003cp>Beyond the historically significant headliners and a formidable lineup of DJs (including members of Gang of Four!), a number of great local bands are performing too. From \u003ca href=\"http://www.myspace.com/magicbullets\">Magic Bullets\u003c/a>‘ British retro-pop to the avant-skronk of \u003ca href=\"http://www.myspace.com/deathsentencepanda\">Death Sentence: Panda\u003c/a>, it’s a diverse show with a lot to offer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/MZJt56z5Ywc&hl=en&fs=1&rel=0\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/MZJt56z5Ywc&hl=en&fs=1&rel=0\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003ch2>TREASURE ISLAND MUSIC FESTIVAL\u003c/h2>\n\u003cp>It would be difficult to discuss Bay Area indie rock in October without noting the \u003ca href=\"http://www.treasureislandfestival.com\">Treasure Island Music Festival\u003c/a>, which takes over the island on Saturday, October 17th and Sunday the 18th. Music aside, the festival does a number of things right: it’s relatively affordable (as large fests go), none of the sets overlap (so you can theoretically see every performer), and there are free biodiesel shuttle buses to and from the festival.\u003c/p>\n\u003cp>Obviously, none of those benefits matter if the bands aren’t worth seeing, but that thankfully isn’t the case here. Saturday is more electronically-oriented, while Sunday has a slew of big name indie rockers. I’m particularly excited to see \u003ca href=\"http://www.yolatengo.com\">Yo La Tengo\u003c/a>, whose latest album \u003cb>Popular Songs\u003c/b> is yet another winner, finding the band continuing to expand the boundaries of the “Yo La Tengo” sound. Even if you’re just interested in the big names, though, I’d recommend going early enough to see some of Sunday’s locals: \u003ca href=\"http://www.myspace.com/thaomusic\">Thao with The Get Down Stay Down\u003c/a>, \u003ca href=\"http://www.myspace.com/vetiverse\">Vetiver\u003c/a>, \u003ca href=\"http://www.myspace.com/sleepysun\">Sleepy Sun\u003c/a> and \u003ca href=\"http://www.myspace.com/tommyguerrero\">Tommy Guerrero\u003c/a>. Thao’s new album, \u003cb>Know Better Learn Faster\u003c/b>, a high energy burst of catchy and heartbreaking songs, is out next week on \u003ca href=\"http://www.killrockstars.com\">Kill Rock Stars\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/17zFF3Wu2A8&hl=en&fs=1&rel=0\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/17zFF3Wu2A8&hl=en&fs=1&rel=0\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003ch2>SLEEPY SUN\u003c/h2>\n\u003cp>If you don’t see \u003ca href=\"http://www.myspace.com/sleepysun\">Sleepy Sun\u003c/a> on Treasure Island, catch them at \u003ca href=\"http://www.theindependentsf.com\">The Independent\u003c/a> on Friday, October 30th. There, they’ll be joined by shoegaze pop band \u003ca href=\"http://www.myspace.com/theantlers\">The Antlers\u003c/a>, a Brooklyn trio whose latest album \u003cb>Hospice\u003c/b> is accruing high marks from numerous critics.\u003c/p>\n\u003ch2>FRISCO FREAKOUT\u003c/h2>\n\u003cp>The second annual \u003ca href=\"http://www.friscofreakout.com\">Frisco Freakout\u003c/a> brings some of the Bay Area’s best psych bands to \u003ca href=\"http://www.theeparkside.com\">Thee Parkside\u003c/a> on Saturday, October 10th.\u003c/p>\n\u003ch2>NEIL HAMBURGER\u003c/h2>\n\u003cp>Anti-comedian \u003ca href=\"http://www.myspace.com/americasfunnyman\">Neil Hamburger\u003c/a> returns to the \u003ca href=\"http://www.hemlocktavern.com\">Hemlock Tavern\u003c/a> on Friday, October 23rd. Hamburger’s alter ego Gregg Turkington is a former SF resident, and the character’s early CD appearances involved harassing local comedy clubs.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/zHn5yp4yFmI&hl=en&fs=1&rel=0\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/zHn5yp4yFmI&hl=en&fs=1&rel=0\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Temperatures around the Bay have been dropping, but plenty of good shows in October make it worth venturing out into the cold, including Amy Millan, The Raincoats, the Treasure Island Music Festival, Frisco Freakout and more...",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Temperatures around the Bay have been dropping, but plenty of good shows in October make it worth venturing out into the cold. Some sneak peeks below:\u003c/p>\n\u003ch2>AMY MILLAN\u003c/h2>\n\u003cp>As a member of Stars and Broken Social Scene, \u003ca href=\"http://www.myspace.com/amymillan\">Amy Millan\u003c/a> created some future-classic indie pop, so it was a bit of surprise to find her leaving those sounds on her solo debut, 2006’s \u003cb>Honey from the Tombs\u003c/b>. Millan still has great pop hooks, but she’s traded in the synths and the uptempo tracks for country-inspired ballads and slide guitars. 2009’s \u003cb>Masters of the Burial\u003c/b> is a wonderful album that’s even better than her solo debut. On \u003cb>Masters\u003c/b>, Millan delivers heartfelt originals and moving renditions of songs by Death Cab for Cutie and Richard Hawley that are simply entrancing. Amy Millan will be performing at \u003ca href=\"http://cafedunord.com/\">Cafe Du Nord\u003c/a> on Wednesday, October 28th, with \u003ca href=\"http://www.myspace.com/bahamasbreeze\">Bahamas\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"480\" height=\"295\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/IA3Zq9nB3PE&hl=en&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/IA3Zq9nB3PE&hl=en&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"480\" height=\"295\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003ch2>THE RAINCOATS\u003c/h2>\n\u003cp>Before LA post-punk champions Part Time Punks host their second annual festival in Los Angeles on October 11th, they’re bringing a mini-fest of sorts to \u003ca href=\"http://www.mezzaninesf.com/\">The Mezzanine\u003c/a> on Friday, October 11th. The show nicely blends post-punk past and present, headlined by \u003ca href=\"http://www.myspace.com/theraincoats\">The Raincoats\u003c/a> playing the West Coast for the first time ever. The all-female post-punk band’s self-titled debut has become one of the genre’s classics, and is now being rereleased on \u003ca href=\"http://www.killrockstars.com\">Kill Rock Stars\u003c/a>. Kurt Cobain championed the group, and invited them to open for Nirvana on the 1994 UK tour that was canceled following his passing.\u003c/p>\n\u003cp>Beyond the historically significant headliners and a formidable lineup of DJs (including members of Gang of Four!), a number of great local bands are performing too. From \u003ca href=\"http://www.myspace.com/magicbullets\">Magic Bullets\u003c/a>‘ British retro-pop to the avant-skronk of \u003ca href=\"http://www.myspace.com/deathsentencepanda\">Death Sentence: Panda\u003c/a>, it’s a diverse show with a lot to offer.\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=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/MZJt56z5Ywc&hl=en&fs=1&rel=0\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/MZJt56z5Ywc&hl=en&fs=1&rel=0\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003ch2>TREASURE ISLAND MUSIC FESTIVAL\u003c/h2>\n\u003cp>It would be difficult to discuss Bay Area indie rock in October without noting the \u003ca href=\"http://www.treasureislandfestival.com\">Treasure Island Music Festival\u003c/a>, which takes over the island on Saturday, October 17th and Sunday the 18th. Music aside, the festival does a number of things right: it’s relatively affordable (as large fests go), none of the sets overlap (so you can theoretically see every performer), and there are free biodiesel shuttle buses to and from the festival.\u003c/p>\n\u003cp>Obviously, none of those benefits matter if the bands aren’t worth seeing, but that thankfully isn’t the case here. Saturday is more electronically-oriented, while Sunday has a slew of big name indie rockers. I’m particularly excited to see \u003ca href=\"http://www.yolatengo.com\">Yo La Tengo\u003c/a>, whose latest album \u003cb>Popular Songs\u003c/b> is yet another winner, finding the band continuing to expand the boundaries of the “Yo La Tengo” sound. Even if you’re just interested in the big names, though, I’d recommend going early enough to see some of Sunday’s locals: \u003ca href=\"http://www.myspace.com/thaomusic\">Thao with The Get Down Stay Down\u003c/a>, \u003ca href=\"http://www.myspace.com/vetiverse\">Vetiver\u003c/a>, \u003ca href=\"http://www.myspace.com/sleepysun\">Sleepy Sun\u003c/a> and \u003ca href=\"http://www.myspace.com/tommyguerrero\">Tommy Guerrero\u003c/a>. Thao’s new album, \u003cb>Know Better Learn Faster\u003c/b>, a high energy burst of catchy and heartbreaking songs, is out next week on \u003ca href=\"http://www.killrockstars.com\">Kill Rock Stars\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/17zFF3Wu2A8&hl=en&fs=1&rel=0\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/17zFF3Wu2A8&hl=en&fs=1&rel=0\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003ch2>SLEEPY SUN\u003c/h2>\n\u003cp>If you don’t see \u003ca href=\"http://www.myspace.com/sleepysun\">Sleepy Sun\u003c/a> on Treasure Island, catch them at \u003ca href=\"http://www.theindependentsf.com\">The Independent\u003c/a> on Friday, October 30th. There, they’ll be joined by shoegaze pop band \u003ca href=\"http://www.myspace.com/theantlers\">The Antlers\u003c/a>, a Brooklyn trio whose latest album \u003cb>Hospice\u003c/b> is accruing high marks from numerous critics.\u003c/p>\n\u003ch2>FRISCO FREAKOUT\u003c/h2>\n\u003cp>The second annual \u003ca href=\"http://www.friscofreakout.com\">Frisco Freakout\u003c/a> brings some of the Bay Area’s best psych bands to \u003ca href=\"http://www.theeparkside.com\">Thee Parkside\u003c/a> on Saturday, October 10th.\u003c/p>\n\u003ch2>NEIL HAMBURGER\u003c/h2>\n\u003cp>Anti-comedian \u003ca href=\"http://www.myspace.com/americasfunnyman\">Neil Hamburger\u003c/a> returns to the \u003ca href=\"http://www.hemlocktavern.com\">Hemlock Tavern\u003c/a> on Friday, October 23rd. Hamburger’s alter ego Gregg Turkington is a former SF resident, and the character’s early CD appearances involved harassing local comedy clubs.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/zHn5yp4yFmI&hl=en&fs=1&rel=0\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/zHn5yp4yFmI&hl=en&fs=1&rel=0\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The soon-to-be reissued album \u003cb>Tracks and Traces\u003c/b> — recorded in the mid-1970s by krautrock superstars \u003ca href=\"http://en.wikipedia.org/wiki/Harmonia_%28band%29\">Harmonia\u003c/a> and ambient egghead \u003ca href=\"http://www.enoshop.co.uk/\">Brian Eno\u003c/a> — has a checkered history longer than the combined ages of all three Jonas brothers (possibly). But, unlike those tween pop squeaks, this music shows no signs of passing its sell-by date. It sounds fresh enough to have been recorded yesterday, even though it could just as easily have not been recorded or released at all.\u003c/p>\n\u003cp>The story begins in 1976. Between quietly (very quietly, in fact) inventing ambient music and going on to record the album \u003ca href=\"http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gifoxqq5ld0e\">\u003cb>Low\u003c/b>\u003c/a> with David Bowie, Brian Eno stopped off to record some sessions with experimental German trio Harmonia. The music was never intended for release, Harmonia broke up immediately afterward, and the master tapes promptly disappeared, presumed lost. Twenty years passed before one of the original band members, \u003ca href=\"http://www.myspace.com/roedelius\">Hans-Joachim Roedelius\u003c/a>, released an album of music culled from copies of the original four-track tapes. This, in turn, led to all three members of the band getting back together to work on this definitive new version, which has been completely remastered with three additional tracks. And it is a revelation.\u003c/p>\n\u003cp>Songs range in length from the 89 seconds of “When Shade Was Born” to an epic 16 minutes on “Sometimes In Autumn.” Abstract washes of electronica and more formally arranged tracks combine to pull off the unlikely trick of sounding both outdated and futuristic at the same time, like a re-imagined soundtrack for \u003cb>Blade Runner\u003c/b> (perhaps Ridley Scott could use it on his next definitive director’s cut). “Vamos Campaneros” has the propulsive thump of a steam-powered helicopter and is crying out for a drum and bass deconstruction. “Atmosphere” sounds like dark, \u003ca href=\"http://en.wikipedia.org/wiki/Burial_%28musician%29\">Burial\u003c/a>-style dubstep with the bass turned off. The vocals on “Luneberg Heath” (the only track featuring any voices) are delivered in the jaded monotone of Underworld’s Karl Hyde.\u003c/p>\n\u003cp>Except, of course, they’re not. This album was recorded long before \u003ca href=\"http://www.myspace.com/underworld\">Underworld\u003c/a> came into being, before even the original, early-1980s release of \u003ca href=\"http://en.wikipedia.org/wiki/Blade_Runner_%28soundtrack%29\">Blade Runner\u003c/a>. So the truth is more likely to be the opposite, that acts from Vangelis to Burial have been influenced by Harmonia and Eno, either directly or indirectly, as the waves of the music they created rippled from artist to artist over the intervening years. And that’s one of the joys of hearing an album out of sequence like this, one that has been made new by a collision of carelessness and happenstance. Thirty years can just disappear and somehow not even matter.\u003c/p>\n\u003cp>\u003cb>Tracks and Traces Reissue\u003c/b> by Harmonia & Eno ’76 is released October 6 on \u003ca href=\"http://www.groenland.com/2006/artists_harmonia_and_eno_76.asp\">Grönland / High Wire Music\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>The soon-to-be reissued album \u003cb>Tracks and Traces\u003c/b> — recorded in the mid-1970s by krautrock superstars \u003ca href=\"http://en.wikipedia.org/wiki/Harmonia_%28band%29\">Harmonia\u003c/a> and ambient egghead \u003ca href=\"http://www.enoshop.co.uk/\">Brian Eno\u003c/a> — has a checkered history longer than the combined ages of all three Jonas brothers (possibly). But, unlike those tween pop squeaks, this music shows no signs of passing its sell-by date. It sounds fresh enough to have been recorded yesterday, even though it could just as easily have not been recorded or released at all.\u003c/p>\n\u003cp>The story begins in 1976. Between quietly (very quietly, in fact) inventing ambient music and going on to record the album \u003ca href=\"http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gifoxqq5ld0e\">\u003cb>Low\u003c/b>\u003c/a> with David Bowie, Brian Eno stopped off to record some sessions with experimental German trio Harmonia. The music was never intended for release, Harmonia broke up immediately afterward, and the master tapes promptly disappeared, presumed lost. Twenty years passed before one of the original band members, \u003ca href=\"http://www.myspace.com/roedelius\">Hans-Joachim Roedelius\u003c/a>, released an album of music culled from copies of the original four-track tapes. This, in turn, led to all three members of the band getting back together to work on this definitive new version, which has been completely remastered with three additional tracks. And it is a revelation.\u003c/p>\n\u003cp>Songs range in length from the 89 seconds of “When Shade Was Born” to an epic 16 minutes on “Sometimes In Autumn.” Abstract washes of electronica and more formally arranged tracks combine to pull off the unlikely trick of sounding both outdated and futuristic at the same time, like a re-imagined soundtrack for \u003cb>Blade Runner\u003c/b> (perhaps Ridley Scott could use it on his next definitive director’s cut). “Vamos Campaneros” has the propulsive thump of a steam-powered helicopter and is crying out for a drum and bass deconstruction. “Atmosphere” sounds like dark, \u003ca href=\"http://en.wikipedia.org/wiki/Burial_%28musician%29\">Burial\u003c/a>-style dubstep with the bass turned off. The vocals on “Luneberg Heath” (the only track featuring any voices) are delivered in the jaded monotone of Underworld’s Karl Hyde.\u003c/p>\n\u003cp>Except, of course, they’re not. This album was recorded long before \u003ca href=\"http://www.myspace.com/underworld\">Underworld\u003c/a> came into being, before even the original, early-1980s release of \u003ca href=\"http://en.wikipedia.org/wiki/Blade_Runner_%28soundtrack%29\">Blade Runner\u003c/a>. So the truth is more likely to be the opposite, that acts from Vangelis to Burial have been influenced by Harmonia and Eno, either directly or indirectly, as the waves of the music they created rippled from artist to artist over the intervening years. And that’s one of the joys of hearing an album out of sequence like this, one that has been made new by a collision of carelessness and happenstance. Thirty years can just disappear and somehow not even matter.\u003c/p>\n\u003cp>\u003cb>Tracks and Traces Reissue\u003c/b> by Harmonia & Eno ’76 is released October 6 on \u003ca href=\"http://www.groenland.com/2006/artists_harmonia_and_eno_76.asp\">Grönland / High Wire Music\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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": "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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"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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"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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"politicalbreakdown": {
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"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.",
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"possible": {
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"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.",
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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.",
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"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.",
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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.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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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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"order": 16
},
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