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"content": "\u003cp>Many an exhausted blogger returned this week from the 2009 \u003ca href=\"http://sxsw.com/\">South by Southwest Music Festival\u003c/a> in Austin, Texas, which once again delivered a bevy of memorable highlights and signaled that even if the music industry is collapsing along with the rest of the economy, there remains no shortage of great bands to be heard. Started in 1987, this year’s fest was the biggest one yet and featured 1,900 bands. At its core, the festival remains an industry event, featuring dozens of very business-sounding panels during the day, and official band showcases to discover the “next big thing” at night.\u003c/p>\n\u003cp>Over time, however, the combination of a thousand-plus bands looking for opportunities to be heard and tens of thousands of music fans looking to avoid conference panels have created a blossoming scene outside of the official festival. In many ways, the world of day parties is even more appealing than the officially-sanctioned stuff. The days are so supply-heavy that even the strongest of free parties will promise free beer or food to lure in prospective audiences. And the wealth of talent means that one can see daytime lineups that wouldn’t otherwise be possible, turning a festival where one might see twenty bands in showcases into a place where it’s possible to catch several times that many.\u003c/p>\n\u003cp>The festival’s continued electricity is as much the result of the social and public policy choices of the City of Austin as it is the wealth of talented bands in attendance. Austin bills itself as the “Live Music Capital of the World,” but despite a fair number of successful bands, the city is not known nationally as having a thriving indie rock scene. This commitment to live music does mean, however, that most of the dozens of bars in the downtown area surrounding Sixth Street have some sort of stage and PA system. Add that to the fact that the city’s residents appear at least superficially willing to put up with the wandering hordes of tipsy hipsters who help make the festival the highest revenue-producing special event in Austin’s economy (2008’s fest brought in an estimated $110 million), and Austin becomes the ideal place for a tornado of indie hopefuls to come blowing through every March.\u003c/p>\n\u003cp>That tornado makes South by Southwest an absolutely great time to be a music fan with all of the upsides and downsides of any buffet. Personal highlights in this year’s festival were many and varied, ranging from the captivating folk-rock of \u003ca href=\"http://www.myspace.com/lochlomondmusic\">Loch Lomond\u003c/a> and \u003ca href=\"http://www.myspace.com/theraa\">Rural Alberta Advantage\u003c/a> to new spins on Euro-electro-pop from \u003ca href=\"http://www.myspace.com/iloveyelle\">Yelle\u003c/a> and \u003ca href=\"http://www.myspace.com/littlebootsmusic\">Little Boots\u003c/a>. Bay Area artists represented too, and I caught an amazing set of spiritual psych from San Francisco’s \u003ca href=\"http://www.myspace.com/sleepysun\">Sleepy Sun\u003c/a>, the heady pop of \u003ca href=\"http://www.myspace.com/girlssanfran\">Girls\u003c/a>, and the always terrific garage sounds of \u003ca>Thee Oh Sees\u003c/a>. The festival’s buzz band reputation didn’t disappoint, and I’d advise readers to look out for \u003ca>Telekinesis\u003c/a> and \u003ca href=\"http://www.myspace.com/passionpitjams\">Passion Pit\u003c/a>, two bands that will almost assuredly blow up in the near future.\u003c/p>\n\u003cp>As happens every year, however, overconsumption eventually becomes a little less fun. Fatigue sets in, the feet begin aching, and the opportunity to see free live music and drink beer begins to feel a little bit more like a chore than a treat. That exhaustion — which I hit this year about 56 bands in — is probably why Saturday, the final day, always feels a bit underwhelming. So I only saw two bands during the day, and opted Saturday night for reliable bets like \u003ca href=\"http://www.theoctopusproject.com/\">The Octopus Project\u003c/a> and the legendary-but-new-to-me \u003ca href=\"http://www.myspace.com/trailofdead\">…And You Will Know Us by the Trail of Dead\u003c/a> over the prospect of new discoveries. Both bands are two of the biggest to emerge from Austin in recent years and they didn’t disappoint, with the former offering a percolating set of instrumental electro-rock and the latter delivering a heavy, loud, and ultimately cathartic slab of rock and roll. It felt like a fitting end to a thoroughly enjoyable and exhausting week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having attended for the last five years, I’m still not exactly sure whether, on balance, most bands really benefit from the Texas pilgrimage. It often feels like there are simply too many of them competing to reach most of the South By audience and I doubt that most of the free CDs one gets during the festival week are ever actually listened to. Over the festival week, it feels as if each new band faces the prospect of a diminishing impact on a bloated listener already stuffed on new discoveries. Rather, I’d wager that most bands that build a buzz post-SXSW already have one going in, particularly now that the internet has opened up new avenues of self-promotion and new music discovery and an army of bloggers and fans spend all year searching for their own “next big things” online. But if playing the right show to get signed by the right label doesn’t mean much when you can sell your music yourself on iTunes, it’s still an opportunity for the music world’s PR firms, managers and journalists to discover the bands they’ll be promoting, booking, and blogging about over the next year. And in the new music economy if that buzz can translate into downloads and tickets sales, it is probably as or more valuable than a great record label deal ever was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many an exhausted blogger returned this week from the 2009 \u003ca href=\"http://sxsw.com/\">South by Southwest Music Festival\u003c/a> in Austin, Texas, which once again delivered a bevy of memorable highlights and signaled that even if the music industry is collapsing along with the rest of the economy, there remains no shortage of great bands to be heard. Started in 1987, this year’s fest was the biggest one yet and featured 1,900 bands. At its core, the festival remains an industry event, featuring dozens of very business-sounding panels during the day, and official band showcases to discover the “next big thing” at night.\u003c/p>\n\u003cp>Over time, however, the combination of a thousand-plus bands looking for opportunities to be heard and tens of thousands of music fans looking to avoid conference panels have created a blossoming scene outside of the official festival. In many ways, the world of day parties is even more appealing than the officially-sanctioned stuff. The days are so supply-heavy that even the strongest of free parties will promise free beer or food to lure in prospective audiences. And the wealth of talent means that one can see daytime lineups that wouldn’t otherwise be possible, turning a festival where one might see twenty bands in showcases into a place where it’s possible to catch several times that many.\u003c/p>\n\u003cp>The festival’s continued electricity is as much the result of the social and public policy choices of the City of Austin as it is the wealth of talented bands in attendance. Austin bills itself as the “Live Music Capital of the World,” but despite a fair number of successful bands, the city is not known nationally as having a thriving indie rock scene. This commitment to live music does mean, however, that most of the dozens of bars in the downtown area surrounding Sixth Street have some sort of stage and PA system. Add that to the fact that the city’s residents appear at least superficially willing to put up with the wandering hordes of tipsy hipsters who help make the festival the highest revenue-producing special event in Austin’s economy (2008’s fest brought in an estimated $110 million), and Austin becomes the ideal place for a tornado of indie hopefuls to come blowing through every March.\u003c/p>\n\u003cp>That tornado makes South by Southwest an absolutely great time to be a music fan with all of the upsides and downsides of any buffet. Personal highlights in this year’s festival were many and varied, ranging from the captivating folk-rock of \u003ca href=\"http://www.myspace.com/lochlomondmusic\">Loch Lomond\u003c/a> and \u003ca href=\"http://www.myspace.com/theraa\">Rural Alberta Advantage\u003c/a> to new spins on Euro-electro-pop from \u003ca href=\"http://www.myspace.com/iloveyelle\">Yelle\u003c/a> and \u003ca href=\"http://www.myspace.com/littlebootsmusic\">Little Boots\u003c/a>. Bay Area artists represented too, and I caught an amazing set of spiritual psych from San Francisco’s \u003ca href=\"http://www.myspace.com/sleepysun\">Sleepy Sun\u003c/a>, the heady pop of \u003ca href=\"http://www.myspace.com/girlssanfran\">Girls\u003c/a>, and the always terrific garage sounds of \u003ca>Thee Oh Sees\u003c/a>. The festival’s buzz band reputation didn’t disappoint, and I’d advise readers to look out for \u003ca>Telekinesis\u003c/a> and \u003ca href=\"http://www.myspace.com/passionpitjams\">Passion Pit\u003c/a>, two bands that will almost assuredly blow up in the near future.\u003c/p>\n\u003cp>As happens every year, however, overconsumption eventually becomes a little less fun. Fatigue sets in, the feet begin aching, and the opportunity to see free live music and drink beer begins to feel a little bit more like a chore than a treat. That exhaustion — which I hit this year about 56 bands in — is probably why Saturday, the final day, always feels a bit underwhelming. So I only saw two bands during the day, and opted Saturday night for reliable bets like \u003ca href=\"http://www.theoctopusproject.com/\">The Octopus Project\u003c/a> and the legendary-but-new-to-me \u003ca href=\"http://www.myspace.com/trailofdead\">…And You Will Know Us by the Trail of Dead\u003c/a> over the prospect of new discoveries. Both bands are two of the biggest to emerge from Austin in recent years and they didn’t disappoint, with the former offering a percolating set of instrumental electro-rock and the latter delivering a heavy, loud, and ultimately cathartic slab of rock and roll. It felt like a fitting end to a thoroughly enjoyable and exhausting week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having attended for the last five years, I’m still not exactly sure whether, on balance, most bands really benefit from the Texas pilgrimage. It often feels like there are simply too many of them competing to reach most of the South By audience and I doubt that most of the free CDs one gets during the festival week are ever actually listened to. Over the festival week, it feels as if each new band faces the prospect of a diminishing impact on a bloated listener already stuffed on new discoveries. Rather, I’d wager that most bands that build a buzz post-SXSW already have one going in, particularly now that the internet has opened up new avenues of self-promotion and new music discovery and an army of bloggers and fans spend all year searching for their own “next big things” online. But if playing the right show to get signed by the right label doesn’t mean much when you can sell your music yourself on iTunes, it’s still an opportunity for the music world’s PR firms, managers and journalists to discover the bands they’ll be promoting, booking, and blogging about over the next year. And in the new music economy if that buzz can translate into downloads and tickets sales, it is probably as or more valuable than a great record label deal ever was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Yeah Yeah Yeahs: It's Blitz!",
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"content": "\u003cp>Larger-than-life vamp Karen O recently turned 30 and has moved beyond her younger, thrills-and-frills persona best known for spitting warm beer on crowds and deep-throating microphones. And, in what O calls “the autumn of [their] career,” the Yeah Yeah Yeahs have also matured and branched out from their old roaring sound that made so much sense in dark basement clubs packed with 20-somethings.\u003c/p>\n\u003cp>\u003cb>It’s Blitz!\u003c/b>, the third full-length LP by the art-punk iconoclasts, is quite the departure from the raucous, whiskey-laced freak-outs that put them on the map. Mostly gone is that raw, grimy axe-driven blare, replaced by a more polished package of synth-heavy dance rock and swooning ballads. If the earlier YYYs records are the equivalent of a patchy, rabid dog biting after the postman, \u003cb>It’s Blitz!\u003c/b> is the muzzle placed over its fangs. The taming is for the best, yet something is lost without the spectacle of the mailman dashing for his life.\u003c/p>\n\u003cp>Nevertheless, \u003cb>It’s Blitz!\u003c/b> is still an endearing effort. The album kick-starts with “Zero,” a kinky little track that celebrates those on the fringe. An insistent taser zaps around O’s vocals, demanding attention and giving the song a sense of urgency. “Heads Will Roll,” another highly addictive dance number, picks up where “Zero” leaves off. The song’s catchy new-wave feel paints the picture of a dancehall bloodbath. “Off with your head/Dance ’til you’re dead,” Karen O commands.\u003c/p>\n\u003cp>A more hushed couple follows these two high-energy tracks. “Soft Shock” is a dreamy song filled with O’s sincere coo and some pseudo beat-boxing. And “Skeletons,” a vulnerable lament with a pretty hook (“Love, don’t cry/Skeleton me”), investigates what lies beneath the surface, past the cloak of skin and flesh to skeletal revelation. Drumsticks clatter like bones in the background to create a haunting, lovely sound that reminds listeners of the mortality of their relationships and of themselves. Both songs are the closest the YYYs have come to recreating the grandeur of their monster hit “Maps.”\u003c/p>\n\u003cp>Other notables are “Dull Life,” the audio result of Karen O crashing a honky-tonk; “Shame and Fortune,” an edgy song with a sinister metal sound; and “Dragon Queen,” a groovy jam with a sexy refrain (“My mouth is touching your mouth”) and funk courtesy of TV on the Radio’s Kyp Malone and Tunde Adebimpe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rest of the tracks, mostly ballads, seem emaciated compared to their full-bodied cousins. Such a prevalence of slower songs is unusual for a band so good at going sonically insane. Karen O explains the tonal shift: “What I like least about electronic music is that there’s often an emotional detachment, so it was really important for me to avoid that.” Can’t blame a girl for trying, but, out of the five mid-to-low tempo tracks, only “Skeletons” and “Soft Shock” truly succeed. Even so, the combination of this one-two punch and the album’s thundering dance tracks is a force mighty enough to compensate.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>It’s Blitz!\u003c/b> doesn’t throttle necks like the band’s debut, \u003cb>Fever to Tell\u003c/b>, but it doesn’t intend to. The Yeah Yeah Yeahs have already conquered that territory and now they’re on the move to capture new ground. There’s something to be said for a band that leaves a sound that works (something most musicians never achieve) for the unknown. They haven’t quite found their way to the noise they’re hunting, but they’re dangerously close. And, besides, the journey is half the fun.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Larger-than-life vamp Karen O recently turned 30 and has moved beyond her younger, thrills-and-frills persona best known for spitting warm beer on crowds and deep-throating microphones. And, in what O calls “the autumn of [their] career,” the Yeah Yeah Yeahs have also matured and branched out from their old roaring sound that made so much sense in dark basement clubs packed with 20-somethings.\u003c/p>\n\u003cp>\u003cb>It’s Blitz!\u003c/b>, the third full-length LP by the art-punk iconoclasts, is quite the departure from the raucous, whiskey-laced freak-outs that put them on the map. Mostly gone is that raw, grimy axe-driven blare, replaced by a more polished package of synth-heavy dance rock and swooning ballads. If the earlier YYYs records are the equivalent of a patchy, rabid dog biting after the postman, \u003cb>It’s Blitz!\u003c/b> is the muzzle placed over its fangs. The taming is for the best, yet something is lost without the spectacle of the mailman dashing for his life.\u003c/p>\n\u003cp>Nevertheless, \u003cb>It’s Blitz!\u003c/b> is still an endearing effort. The album kick-starts with “Zero,” a kinky little track that celebrates those on the fringe. An insistent taser zaps around O’s vocals, demanding attention and giving the song a sense of urgency. “Heads Will Roll,” another highly addictive dance number, picks up where “Zero” leaves off. The song’s catchy new-wave feel paints the picture of a dancehall bloodbath. “Off with your head/Dance ’til you’re dead,” Karen O commands.\u003c/p>\n\u003cp>A more hushed couple follows these two high-energy tracks. “Soft Shock” is a dreamy song filled with O’s sincere coo and some pseudo beat-boxing. And “Skeletons,” a vulnerable lament with a pretty hook (“Love, don’t cry/Skeleton me”), investigates what lies beneath the surface, past the cloak of skin and flesh to skeletal revelation. Drumsticks clatter like bones in the background to create a haunting, lovely sound that reminds listeners of the mortality of their relationships and of themselves. Both songs are the closest the YYYs have come to recreating the grandeur of their monster hit “Maps.”\u003c/p>\n\u003cp>Other notables are “Dull Life,” the audio result of Karen O crashing a honky-tonk; “Shame and Fortune,” an edgy song with a sinister metal sound; and “Dragon Queen,” a groovy jam with a sexy refrain (“My mouth is touching your mouth”) and funk courtesy of TV on the Radio’s Kyp Malone and Tunde Adebimpe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rest of the tracks, mostly ballads, seem emaciated compared to their full-bodied cousins. Such a prevalence of slower songs is unusual for a band so good at going sonically insane. Karen O explains the tonal shift: “What I like least about electronic music is that there’s often an emotional detachment, so it was really important for me to avoid that.” Can’t blame a girl for trying, but, out of the five mid-to-low tempo tracks, only “Skeletons” and “Soft Shock” truly succeed. Even so, the combination of this one-two punch and the album’s thundering dance tracks is a force mighty enough to compensate.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>It’s Blitz!\u003c/b> doesn’t throttle necks like the band’s debut, \u003cb>Fever to Tell\u003c/b>, but it doesn’t intend to. The Yeah Yeah Yeahs have already conquered that territory and now they’re on the move to capture new ground. There’s something to be said for a band that leaves a sound that works (something most musicians never achieve) for the unknown. They haven’t quite found their way to the noise they’re hunting, but they’re dangerously close. And, besides, the journey is half the fun.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A healthy indie music scene requires an artist-friendly environment, meaning that music’s future is intertwined with the future of housing, the economy, health care, and other areas of life in the City of San Francisco. With that in mind, this week’s podcast features an interview with Jocelyn Kane, Deputy Director of the San Francisco Entertainment Commission.\u003c/p>\n\u003cp>The Commission is the city agency charged with tackling music as a public policy issue. In addition to the many other hats she wears and has worn in the Bay Area music community, as Deputy Director Kane is in a unique position to discuss the issues that musicians have faced living and performing in San Francisco, the issues that they are likely to face in the future, and the City’s role in sustaining independent music in San Francisco.\u003c/p>\n\u003cp>We spoke to Jocelyn last year in our studio about the Entertainment Commission’s role in City policy and the future of music in San Francisco. We are pleased to now air excerpts of that conversation, along with selections from The Bay Bridged, Volume 1 and Volume 2 compilations. If you like the music, please consider picking up a copy of one of the compilations in our \u003ca href=\"http://www.thebaybridged.com/store/\">online store\u003c/a>. Every purchase helps support the site.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The Bay Area has been pumping out some truly excellent folk-rock over the past decade, and few bands have excelled in the genre like San Francisco’s Vetiver. It’s been three years since bandleader Andy Cabic last released an album of original music. 2008 brought \u003cb>A Thing of the Past\u003c/b>, a well-regarded collection of eclectic covers that introduced the band’s now-solidified five-member lineup, but \u003cb>Tight Knit\u003c/b> — the group’s fourth album — is their first on the ever-evolving Sub Pop Records. Moreover, one hopes and suspects it will introduce them to an expanded indie music audience.\u003c/p>\n\u003cp>It’s tough to discuss Cabic’s band without referencing the “naturalismo” (to some, pejoratively, “freak-folk”) scene associated with his past collaborator Devendra Banhart. Banhart contributed to the first two Vetiver albums, and Cabic toured in Devendra’s band and produced \u003cb>Cripple Crow\u003c/b>. But although the two have co-written songs and co-founded the Gnomonsong record label, their projects substantially diverge sonically. Most notably, Vetiver’s music doesn’t as overtly seek the avant-garde. If anything, it’s more disarmingly \u003cem>conventional\u003c/em>–not in the sense of playing it safe, but in embracing and then adapting classic folk-rock sounds and song structures. Mix that with strong songwriting and production, and the result is ten gorgeous songs.\u003c/p>\n\u003cp>That innate musical familiarity makes \u003cb>Tight Knit\u003c/b> remarkably accessible, even if the songs that make the greatest impression upon first listen are the ones that deviate most from its overall feel. Those would be “Everyday” and its Side B counterpart “More of This”; the former is a hazy slice of great California pop, while the latter glides on jangly guitar and a catchy harmony-laden chorus that fades out but leaves a lasting impression. But while those may be the poppiest “singles” amidst the bunch, many subsequent rewards come from unpacking the record’s denser songs. On album highlight “Sister,” Cabic’s airy, wistful singing is the centerpiece, but it’s couched amid slide guitar, reverb-affected vocals and otherworldly sounds that manage never to overpower the song’s fragile beauty.\u003c/p>\n\u003cp>Credit for making all of this work should go to Cabic and longtime producer Thom Monahan, who keep things feeling deceptively natural despite the often numerous subtle layers underneath. With the exception of the poppier songs noted above, and maybe “Another Reason to Go” (which continues to grow on me despite a built-in aversion to anything remotely boogie rock), \u003cb>Tight Knit\u003c/b>‘s dynamic shifts are quite subtle, and it has some great small moments that can be lost if you aren’t paying close attention. It almost feels like sleight of hand, really: Cabic’s vocals and the melodies draw you in while the atmospherics sneak up on you.\u003c/p>\n\u003cp>While “Strictly Rule” and “Down From Above” likewise push the ambient space envelope, the band saves the psychiest and most ambitious number for last, the absolutely beautiful and sweeping “At Forest Edge.” A story of longing and exploration in a strange and mystical forest, the narrator concludes, “I’ve got to find my own way.” That sentiment, the value of the self-determined journey, percolates throughout the album’s lyrics, but it could equally be described to Andy Cabic and crew. In creating their own space from a unique blend of sounds, they’ve made an album that definitely rewards the journey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Purchase \u003cb>Tight Knit\u003c/b> from \u003ca href=\"http://www.subpop.com/releases/vetiver/full_lengths/tight_knit\">SubPop.com\u003c/a>\u003c/p>\n\u003cp>Visit Vetiver at \u003ca href=\"http://www.vetiverse.com/\">Vetiverse.com\u003c/a> and \u003ca href=\"http://www.myspace.com/vetiverse\">MySpace.com/Vetiverse\u003c/a>\u003c/p>\n\u003cp>Vetiver’s CD Release Party for \u003cb>Tight Knit\u003c/b> is Wednesday, April 8th, 2009 at the \u003ca href=\"http://www.gamh.com/artist_pages/vetiver_040809.htm\">Great American Music Hall\u003c/a>. \u003ca href=\"http://www.myspace.com/adamstephensmusic\">Adam Stephens\u003c/a> (of Two Gallants) opens the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>\u003c/i>.\u003c/p>\n\n",
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"content": "\u003cp>She’s back! After three years, Neko Case has reemerged to seduce listeners once more with those big lungs of hers. If the cover art for \u003cb>Middle Cyclone\u003c/b> is any indication (she is pictured perched on the hood of a car with a rapier at the ready), she has returned with a vengeance.\u003c/p>\n\u003cp>With this album, her sixth solo effort, Case decided to go back to nature for inspiration, which she found on her 100-acre farm in rural Vermont. She filled her drafty 200-year-old barn with eight found pianos salvaged from craigslist to create an orchestra that appears on several tracks such as “This Tornado Loves You,” the spooky “Polar Nettles,” and “Don’t Forget Me.” The latter is a lovely cover of a Harry Nilsson tune and another track, “Don’t Turn Your Back on Mother Earth,” is a goofy take on a Sparks’ song. The remaining twelve tracks are positively Neko, all self written and infused with her enigmatic poetics and bittersweet smoky twang that echoes Patsy Cline.\u003c/p>\n\u003cp>Not one to test the waters with a tentative toe, Case dives right in with the album’s first song, “This Tornado Loves You,” an up-tempo, thumping ode to a misplaced love interest. In the song’s first line, she declares, “I am the speed of sound” and later likens her patience to a glacier’s and her courage to the roar of the sun. It’s clear that, when engaged in the game of love, she ceases being just a woman and spins into a force of nature to be reckoned with. She sings over insistent guitars of the destruction precipitated by her desire and the havoc left in her wake (a trail of smashed transformers, broken necks in ditches, and the “motherless, fatherless”) as she searches for the one that got away or never was.\u003c/p>\n\u003cp>This isn’t the first time Case has alluded to her more perilous attributes. In 2006’s \u003cb>Fox Confessor Brings the Flood\u003c/b>, she sings, “My own blood is much too dangerous,” as if warning suitors that loving her could prove fatal. This advisory carries over to “The Next Time You Say Forever,” a quiet yet bold song in which she cautions: “The next time you say forever/ I will punch you in your face.” And in the cute and catchy first single, “People Got a Lot of Nerve,” she sings to the men who didn’t heed her warnings: “I’m a man eater, but you’re still surprised when I eat you.” Case has said that, for this song, she was inspired by zoo attacks and how the mauled are somehow shocked that caged animals remain wild. The song serves as a reminder to those who have forgotten that nature and instinct cannot be domesticated or tamed, and neither can she.\u003c/p>\n\u003cp>Case’s obsession with the animal kingdom, beautifully expressed on previous projects, also has a place on \u003cb>Middle Cyclone\u003c/b>. She sings of owls on sills, elephants who don’t forget, and killer whales. And, on “I’m an Animal,” she joins the ranks of these beasts, proclaiming: “I’m an animal and you’re an animal, too.” In saying so, she becomes the subject and makes way for an invasion of a much more interior, personal territory than on previous albums.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Years ago, Case said that she was adamantly against writing love songs, yet here she is, doing just that and doing it spectacularly. Unsurprisingly, Case’s love songs aren’t the common sap fests infecting radio waves these days, but strange translations of the nature of love as she perceives it. For her, desire is a precarious experience, tinged with violence and something sugary, yet sinister. “I lie ‘cross the path waiting/ Just for a chance to be/ A spider web trapped in your lashes,” she swoons on one song; “I love your long shadows and your gun-powder eyes” on another.\u003c/p>\n\u003cp>\u003cb>Middle Cyclone\u003c/b> is a brave expression of the blend of fear and pleasure that comes with exposing yourself to the possibility of loving another. And this collection of musical confessions reveals the extent of Case’s vulnerability, despite the inherent bad-ass nature of her album cover persona. On the melancholic title track, she acknowledges that, like everyone else, she just wants to love and be loved. “I can’t give up actin’ tough/ It’s all that I’m made of/ Can’t scrape together quite enough/ To ride the bus to the outskirts of the fact that I need love.” These revelations are somewhat painful to listen to because they evoke one’s own losses and victories with desire.\u003c/p>\n\u003cp>Unfortunately, some of the musical arrangements aren’t as haunting and alluring as Case’s subject matter. The album suffers from a dispassionate slump toward the end with songs that don’t do enough to distinguish themselves from one another and end up bleeding together. Nothing there sparks like the infectious first pack of tracks. But, let it be said, that an average, dry ballad sung by Neko Case is already leagues ahead of those sung by her peers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The album ends with “Marais La Nuit,” a 30-minute looped recording of ambient noise (crickets, frogs, and other forest dwellers) recorded outside Case’s barn. It is the closing note to the date you didn’t want to end, a moment to reflect on that extraordinary set of pipes and the twister that just tore a hole through the middle of your house.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>She’s back! After three years, Neko Case has reemerged to seduce listeners once more with those big lungs of hers. If the cover art for \u003cb>Middle Cyclone\u003c/b> is any indication (she is pictured perched on the hood of a car with a rapier at the ready), she has returned with a vengeance.\u003c/p>\n\u003cp>With this album, her sixth solo effort, Case decided to go back to nature for inspiration, which she found on her 100-acre farm in rural Vermont. She filled her drafty 200-year-old barn with eight found pianos salvaged from craigslist to create an orchestra that appears on several tracks such as “This Tornado Loves You,” the spooky “Polar Nettles,” and “Don’t Forget Me.” The latter is a lovely cover of a Harry Nilsson tune and another track, “Don’t Turn Your Back on Mother Earth,” is a goofy take on a Sparks’ song. The remaining twelve tracks are positively Neko, all self written and infused with her enigmatic poetics and bittersweet smoky twang that echoes Patsy Cline.\u003c/p>\n\u003cp>Not one to test the waters with a tentative toe, Case dives right in with the album’s first song, “This Tornado Loves You,” an up-tempo, thumping ode to a misplaced love interest. In the song’s first line, she declares, “I am the speed of sound” and later likens her patience to a glacier’s and her courage to the roar of the sun. It’s clear that, when engaged in the game of love, she ceases being just a woman and spins into a force of nature to be reckoned with. She sings over insistent guitars of the destruction precipitated by her desire and the havoc left in her wake (a trail of smashed transformers, broken necks in ditches, and the “motherless, fatherless”) as she searches for the one that got away or never was.\u003c/p>\n\u003cp>This isn’t the first time Case has alluded to her more perilous attributes. In 2006’s \u003cb>Fox Confessor Brings the Flood\u003c/b>, she sings, “My own blood is much too dangerous,” as if warning suitors that loving her could prove fatal. This advisory carries over to “The Next Time You Say Forever,” a quiet yet bold song in which she cautions: “The next time you say forever/ I will punch you in your face.” And in the cute and catchy first single, “People Got a Lot of Nerve,” she sings to the men who didn’t heed her warnings: “I’m a man eater, but you’re still surprised when I eat you.” Case has said that, for this song, she was inspired by zoo attacks and how the mauled are somehow shocked that caged animals remain wild. The song serves as a reminder to those who have forgotten that nature and instinct cannot be domesticated or tamed, and neither can she.\u003c/p>\n\u003cp>Case’s obsession with the animal kingdom, beautifully expressed on previous projects, also has a place on \u003cb>Middle Cyclone\u003c/b>. She sings of owls on sills, elephants who don’t forget, and killer whales. And, on “I’m an Animal,” she joins the ranks of these beasts, proclaiming: “I’m an animal and you’re an animal, too.” In saying so, she becomes the subject and makes way for an invasion of a much more interior, personal territory than on previous albums.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Years ago, Case said that she was adamantly against writing love songs, yet here she is, doing just that and doing it spectacularly. Unsurprisingly, Case’s love songs aren’t the common sap fests infecting radio waves these days, but strange translations of the nature of love as she perceives it. For her, desire is a precarious experience, tinged with violence and something sugary, yet sinister. “I lie ‘cross the path waiting/ Just for a chance to be/ A spider web trapped in your lashes,” she swoons on one song; “I love your long shadows and your gun-powder eyes” on another.\u003c/p>\n\u003cp>\u003cb>Middle Cyclone\u003c/b> is a brave expression of the blend of fear and pleasure that comes with exposing yourself to the possibility of loving another. And this collection of musical confessions reveals the extent of Case’s vulnerability, despite the inherent bad-ass nature of her album cover persona. On the melancholic title track, she acknowledges that, like everyone else, she just wants to love and be loved. “I can’t give up actin’ tough/ It’s all that I’m made of/ Can’t scrape together quite enough/ To ride the bus to the outskirts of the fact that I need love.” These revelations are somewhat painful to listen to because they evoke one’s own losses and victories with desire.\u003c/p>\n\u003cp>Unfortunately, some of the musical arrangements aren’t as haunting and alluring as Case’s subject matter. The album suffers from a dispassionate slump toward the end with songs that don’t do enough to distinguish themselves from one another and end up bleeding together. Nothing there sparks like the infectious first pack of tracks. But, let it be said, that an average, dry ballad sung by Neko Case is already leagues ahead of those sung by her peers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The album ends with “Marais La Nuit,” a 30-minute looped recording of ambient noise (crickets, frogs, and other forest dwellers) recorded outside Case’s barn. It is the closing note to the date you didn’t want to end, a moment to reflect on that extraordinary set of pipes and the twister that just tore a hole through the middle of your house.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We first got hooked on Sholi after hearing their promising demos and catching their tight live show. But for all of their talent, the trio had a limited recorded output. While Sholi spent time — a lot of it — prepping their debut album, it became something of a running joke to confront the members of the band with the demand that they “put the [expletive deleted] record out already!” We weren’t the only ones demanding more. After much work — recording, arranging, and mixing, and then doing more of all three — \u003cb>Sholi\u003c/b>, the album, came out last week on Quarterstick/Touch and Go Records, and is worth the long wait.\u003c/p>\n\u003cp>Having first interviewed the band a couple of years ago, we were pleased to visit with them again to discuss the new release. What impressed us most on this second go-around is the sense that all of their time and effort has really paid off, helping the trio to forge a really strong idea about their music — what it means, how it should sound, and how it feels. How many groups can create a fully-fleshed out aesthetic this enjoyable on their first album? With melodic indie, math, and prog rock elements sharing delicately-balanced space in the group’s transcendent mini-epics, \u003cb>Sholi\u003c/b> is an album that bears our highest recommendation. We’ll be excited to watch as more listeners discover this excellent band.\u003c/p>\n\u003cp>We sat down with Payam, Eric and Jon last week to speak about the new album’s long journey to completion. We include four great songs from \u003cb>Sholi\u003c/b> in the episode.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Sholi’s CD release party is part of \u003ca href=\"http://www.noisepop.com\">Noise Pop 2009\u003c/a>:\u003cbr>Saturday, February 28, 2009\u003cbr>Bottom of the Hill\u003cbr>with The Dead Trees, Everest, Jake Mann\u003cbr>9pm, $12, All Ages\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We first got hooked on Sholi after hearing their promising demos and catching their tight live show. But for all of their talent, the trio had a limited recorded output. While Sholi spent time — a lot of it — prepping their debut album, it became something of a running joke to confront the members of the band with the demand that they “put the [expletive deleted] record out already!” We weren’t the only ones demanding more. After much work — recording, arranging, and mixing, and then doing more of all three — \u003cb>Sholi\u003c/b>, the album, came out last week on Quarterstick/Touch and Go Records, and is worth the long wait.\u003c/p>\n\u003cp>Having first interviewed the band a couple of years ago, we were pleased to visit with them again to discuss the new release. What impressed us most on this second go-around is the sense that all of their time and effort has really paid off, helping the trio to forge a really strong idea about their music — what it means, how it should sound, and how it feels. How many groups can create a fully-fleshed out aesthetic this enjoyable on their first album? With melodic indie, math, and prog rock elements sharing delicately-balanced space in the group’s transcendent mini-epics, \u003cb>Sholi\u003c/b> is an album that bears our highest recommendation. We’ll be excited to watch as more listeners discover this excellent band.\u003c/p>\n\u003cp>We sat down with Payam, Eric and Jon last week to speak about the new album’s long journey to completion. We include four great songs from \u003cb>Sholi\u003c/b> in the episode.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Sholi’s CD release party is part of \u003ca href=\"http://www.noisepop.com\">Noise Pop 2009\u003c/a>:\u003cbr>Saturday, February 28, 2009\u003cbr>Bottom of the Hill\u003cbr>with The Dead Trees, Everest, Jake Mann\u003cbr>9pm, $12, All Ages\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In its 17th year, the \u003ca href=\"http://www.noisepop.com\">Noise Pop Festival\u003c/a> is even more fierce than previous years. The festival, which runs Feb. 24 to March 1, 2009 in venues throughout San Francisco, brings together some of the best local artists with an incredibly impressive lineup of indie acts from out of town.\u003c/p>\n\u003cp>There are simply too many great shows to mention, and some of them are already sold out unless you buy a full festival badge. But here’s a small sample of some of the highlights.\u003c/p>\n\u003cp>Kicking things off Tuesday night is what promises to be a highlight of the festival, with \u003ca href=\"http://www.myspace.com/deerhunter\">Deerhunter\u003c/a> and \u003ca href=\"http://www.myspace.com/lilofeeband\">Lilofee\u003c/a> at \u003ca href=\"http://www.mezzaninesf.com/calendar.asp\">The Mezzanine\u003c/a>. This show (get there early, folks — this one is free with RSVP) begins at 10pm and showcases one of the biggest buzz bands in the indie world. Their latest album \u003cb>Microcastle\u003c/b> received rave reviews as a break-out album for this previously under-appreciated ambient rock group. Combined with local electro-pop band Lilofee, this show should kick-start the festival with a bang. If you’re looking for a more mellow festival appetizer, \u003ca href=\"http://www.myspace.com/antonyandthejohnsons\">Antony and the Johnsons\u003c/a> will play at 8pm at the \u003ca href=\"http://www.masonicauditorium.com/\">Nob Hill Masonic Center\u003c/a>.\u003c/p>\n\u003cp>Wednesday, let the games begin. The first full night of shows is packed with music with a John Darnielle solo set at Swedish American already sold out. However, one of the most exciting shows of the night, \u003ca href=\"http://www.stephenmalkmus.com/\">Stephen Malkmus\u003c/a> (most widely known for his work with Pavement, but now performing with The Jicks) will perform a solo set at the Great American Music Hall at 8pm. The Jicks’ latest album, \u003cb>Real Emotional Trash\u003c/b>, was released in March of last year to mixed reviews. Malkmus occasionally slips into old shoes and performs Pavement material at shows, but one can only guess about this show. \u003ca href=\"http://www.myspace.com/kelleystoltz\">Kelley Stoltz\u003c/a>, \u003ca href=\"http://www.myspace.com/honeyfordinner\">Peggy Honeywell\u003c/a>, and \u003ca href=\"http://www.myspace.com/gohnakamura\">Goh Nakamura\u003c/a> will open for this legendary indie rocker.\u003c/p>\n\u003cp>Sold-out shows continue into Thursday with \u003ca href=\"http://www.myspace.com/joshritter\">Josh Ritter\u003c/a> performing solo with a string quartet at the Great American at 8pm. It’s clear why concertgoers would immediately see the value in this show — Ritter’s tender folk rock will surely be breathtaking backed by a string quartet. And with \u003ca href=\"http://www.myspace.com/lauragibson\">Laura Gibson\u003c/a>, \u003ca href=\"http://www.myspace.com/davesmallen\">Dave Smallen\u003c/a> and \u003ca href=\"http://www.myspace.com/tinytelevision\">Tiny Television\u003c/a> opening, it promises to be a night of amazing up-and-comers. Ritter released a self-titled record in April of last year that consists of 12 songs he wrote in college. He will continue to tour nationwide through Spring. Two great local bands will also headline other venues that night — \u003ca href=\"http://www.myspace.com/ohsees\">Thee Oh Sees\u003c/a> and \u003ca href=\"http://www.myspace.com/frommonumenttomasses\">From Monument to Masses\u003c/a>. As for all sold-out shows, hope is not lost! You can gain access to these shows by purchasing the ever popular Noise Pop Festival Badge which will grant entry into all shows during the festival.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With a new album pending, \u003ca href=\"http://www.myspace.com/stvincent\">St. Vincent\u003c/a> will grace the stage at the Great American Music Hall on Friday. Her debut record \u003cb>Marry Me\u003c/b> has brought her international fame, and her live performances showcase her raw talent as a vocalist and guitarist. She’ll be joined by \u003ca href=\"http://www.myspace.com/cryptacize\">Cryptacize\u003c/a>, \u003ca href=\"http://www.myspace.com/rafterroberts\">Rafter\u003c/a> and \u003ca href=\"http://www.myspace.com/thatghost\">That Ghost\u003c/a> at 8pm. The Independent will host yet another sold-out show (but remember, you can still get a badge!) from \u003ca href=\"http://www.myspace.com/rarariot\">Ra Ra Riot\u003c/a>. The band’s name matches their energy onstage, even with a cello and violin taking a leading role in their upbeat indie tunes. Their debut album \u003cb>The Rhumb Line\u003c/b> has sent them straight to the top of the indie scene, with a performance on Letterman, a placement in Spin magazine, and much more. \u003ca href=\"http://www.myspace.com/cutoffyourhands\">Cut Off Your Hands\u003c/a>, \u003ca href=\"http://www.myspace.com/telekinesismusic\">Telekinesis\u003c/a> and \u003ca href=\"http://www.myspace.com/thehooks\">The Hooks\u003c/a> will open beginning at 8pm.\u003c/p>\n\u003cp>Saturday, the festival reaches a peak with legendary punk rocker \u003ca href=\"http://www.myspace.com/bobmould\">Bob Mould\u003c/a> (best known for Hüsker Dü) taking the stage at the Swedish American. At 48, Mould still has a sense for what music fits him and fits his fans. A new album \u003cb>Life and Times\u003c/b> will be released in April. Mould will be joined by \u003ca href=\"http://markeitzel.com/\">Mark Eitzel\u003c/a> (of American Music Club), \u003ca href=\"http://www.myspace.com/donovanquinnthe13thmonth\">Donovan Quinn\u003c/a> and \u003ca href=\"http://www.myspace.com/secondcousins\">Jason Finazzo\u003c/a> beginning at 7:30pm. Local buzz band \u003ca href=\"http://www.myspace.com/sholimusic\">Sholi\u003c/a> will also headline on Saturday at \u003ca href=\"http://bottomofthehill.com/\">Bottom of the Hill\u003c/a>, with \u003ca href=\"http://www.myspace.com/thedeadtrees\">The Dead Trees\u003c/a>, \u003ca href=\"http://www.myspace.com/everest\">Everest\u003c/a> and \u003ca href=\"http://www.myspace.com/jakemannmusic\">Jake Mann\u003c/a>. Sholi’s recent shows with Iron and Wine and their signing to Quarterstick/Touch and Go Records have turned the eyes of many fans nationally. That show starts at 9pm.\u003c/p>\n\u003cp>Ending the festival with a bang on Sunday, New York indie legends \u003ca href=\"http://www.myspace.com/lessavyfav\">Les Savy Fav\u003c/a> will perform at The Mezzanine with \u003ca href=\"http://www.myspace.com/themaeshi\">The Mae Shi\u003c/a> and \u003ca href=\"http://www.myspace.com/thedrumsthedrums\">The Drums\u003c/a>. After six years of silence, Les Savy Fav reemerged in 2007 with \u003cb>Let’s Stay Friends\u003c/b>. Having suffered from writer’s block, the album made fans and critics grateful for the quality that resulted in a final burst of inspiration — an album these “godfathers of indie” could be proud of. With no planned shows upcoming, this is a unique opportunity to see the band, perhaps before they head into the den in search of more material. The show starts at 8pm and thus we will bid farewell to Noise Pop 2009.\u003c/p>\n\u003cp>Of course, these shows are all on top of an overwhelming amount of film, art and industry events that will be going on all week. And there are multiple happy hour shows with fantastic local acts such as \u003ca href=\"http://www.myspace.com/maushausmusic\">Maus Haus\u003c/a>, \u003ca href=\"http://www.myspace.com/scissorsforlefty\">Scissors for Lefty\u003c/a>, \u003ca href=\"http://www.myspace.com/manmiracle\">Man/Miracle\u003c/a>, \u003ca href=\"http://www.myspace.com/theaimlessnevermiss\">The Aimless Never Miss\u003c/a> and more. \u003ca href=\"http://www.noisepop.com/the-2009-festival-schedule\">Check out the full schedule for more details and tickets\u003c/a>, and have fun.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is the News Editor 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>In its 17th year, the \u003ca href=\"http://www.noisepop.com\">Noise Pop Festival\u003c/a> is even more fierce than previous years. The festival, which runs Feb. 24 to March 1, 2009 in venues throughout San Francisco, brings together some of the best local artists with an incredibly impressive lineup of indie acts from out of town.\u003c/p>\n\u003cp>There are simply too many great shows to mention, and some of them are already sold out unless you buy a full festival badge. But here’s a small sample of some of the highlights.\u003c/p>\n\u003cp>Kicking things off Tuesday night is what promises to be a highlight of the festival, with \u003ca href=\"http://www.myspace.com/deerhunter\">Deerhunter\u003c/a> and \u003ca href=\"http://www.myspace.com/lilofeeband\">Lilofee\u003c/a> at \u003ca href=\"http://www.mezzaninesf.com/calendar.asp\">The Mezzanine\u003c/a>. This show (get there early, folks — this one is free with RSVP) begins at 10pm and showcases one of the biggest buzz bands in the indie world. Their latest album \u003cb>Microcastle\u003c/b> received rave reviews as a break-out album for this previously under-appreciated ambient rock group. Combined with local electro-pop band Lilofee, this show should kick-start the festival with a bang. If you’re looking for a more mellow festival appetizer, \u003ca href=\"http://www.myspace.com/antonyandthejohnsons\">Antony and the Johnsons\u003c/a> will play at 8pm at the \u003ca href=\"http://www.masonicauditorium.com/\">Nob Hill Masonic Center\u003c/a>.\u003c/p>\n\u003cp>Wednesday, let the games begin. The first full night of shows is packed with music with a John Darnielle solo set at Swedish American already sold out. However, one of the most exciting shows of the night, \u003ca href=\"http://www.stephenmalkmus.com/\">Stephen Malkmus\u003c/a> (most widely known for his work with Pavement, but now performing with The Jicks) will perform a solo set at the Great American Music Hall at 8pm. The Jicks’ latest album, \u003cb>Real Emotional Trash\u003c/b>, was released in March of last year to mixed reviews. Malkmus occasionally slips into old shoes and performs Pavement material at shows, but one can only guess about this show. \u003ca href=\"http://www.myspace.com/kelleystoltz\">Kelley Stoltz\u003c/a>, \u003ca href=\"http://www.myspace.com/honeyfordinner\">Peggy Honeywell\u003c/a>, and \u003ca href=\"http://www.myspace.com/gohnakamura\">Goh Nakamura\u003c/a> will open for this legendary indie rocker.\u003c/p>\n\u003cp>Sold-out shows continue into Thursday with \u003ca href=\"http://www.myspace.com/joshritter\">Josh Ritter\u003c/a> performing solo with a string quartet at the Great American at 8pm. It’s clear why concertgoers would immediately see the value in this show — Ritter’s tender folk rock will surely be breathtaking backed by a string quartet. And with \u003ca href=\"http://www.myspace.com/lauragibson\">Laura Gibson\u003c/a>, \u003ca href=\"http://www.myspace.com/davesmallen\">Dave Smallen\u003c/a> and \u003ca href=\"http://www.myspace.com/tinytelevision\">Tiny Television\u003c/a> opening, it promises to be a night of amazing up-and-comers. Ritter released a self-titled record in April of last year that consists of 12 songs he wrote in college. He will continue to tour nationwide through Spring. Two great local bands will also headline other venues that night — \u003ca href=\"http://www.myspace.com/ohsees\">Thee Oh Sees\u003c/a> and \u003ca href=\"http://www.myspace.com/frommonumenttomasses\">From Monument to Masses\u003c/a>. As for all sold-out shows, hope is not lost! You can gain access to these shows by purchasing the ever popular Noise Pop Festival Badge which will grant entry into all shows during the festival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With a new album pending, \u003ca href=\"http://www.myspace.com/stvincent\">St. Vincent\u003c/a> will grace the stage at the Great American Music Hall on Friday. Her debut record \u003cb>Marry Me\u003c/b> has brought her international fame, and her live performances showcase her raw talent as a vocalist and guitarist. She’ll be joined by \u003ca href=\"http://www.myspace.com/cryptacize\">Cryptacize\u003c/a>, \u003ca href=\"http://www.myspace.com/rafterroberts\">Rafter\u003c/a> and \u003ca href=\"http://www.myspace.com/thatghost\">That Ghost\u003c/a> at 8pm. The Independent will host yet another sold-out show (but remember, you can still get a badge!) from \u003ca href=\"http://www.myspace.com/rarariot\">Ra Ra Riot\u003c/a>. The band’s name matches their energy onstage, even with a cello and violin taking a leading role in their upbeat indie tunes. Their debut album \u003cb>The Rhumb Line\u003c/b> has sent them straight to the top of the indie scene, with a performance on Letterman, a placement in Spin magazine, and much more. \u003ca href=\"http://www.myspace.com/cutoffyourhands\">Cut Off Your Hands\u003c/a>, \u003ca href=\"http://www.myspace.com/telekinesismusic\">Telekinesis\u003c/a> and \u003ca href=\"http://www.myspace.com/thehooks\">The Hooks\u003c/a> will open beginning at 8pm.\u003c/p>\n\u003cp>Saturday, the festival reaches a peak with legendary punk rocker \u003ca href=\"http://www.myspace.com/bobmould\">Bob Mould\u003c/a> (best known for Hüsker Dü) taking the stage at the Swedish American. At 48, Mould still has a sense for what music fits him and fits his fans. A new album \u003cb>Life and Times\u003c/b> will be released in April. Mould will be joined by \u003ca href=\"http://markeitzel.com/\">Mark Eitzel\u003c/a> (of American Music Club), \u003ca href=\"http://www.myspace.com/donovanquinnthe13thmonth\">Donovan Quinn\u003c/a> and \u003ca href=\"http://www.myspace.com/secondcousins\">Jason Finazzo\u003c/a> beginning at 7:30pm. Local buzz band \u003ca href=\"http://www.myspace.com/sholimusic\">Sholi\u003c/a> will also headline on Saturday at \u003ca href=\"http://bottomofthehill.com/\">Bottom of the Hill\u003c/a>, with \u003ca href=\"http://www.myspace.com/thedeadtrees\">The Dead Trees\u003c/a>, \u003ca href=\"http://www.myspace.com/everest\">Everest\u003c/a> and \u003ca href=\"http://www.myspace.com/jakemannmusic\">Jake Mann\u003c/a>. Sholi’s recent shows with Iron and Wine and their signing to Quarterstick/Touch and Go Records have turned the eyes of many fans nationally. That show starts at 9pm.\u003c/p>\n\u003cp>Ending the festival with a bang on Sunday, New York indie legends \u003ca href=\"http://www.myspace.com/lessavyfav\">Les Savy Fav\u003c/a> will perform at The Mezzanine with \u003ca href=\"http://www.myspace.com/themaeshi\">The Mae Shi\u003c/a> and \u003ca href=\"http://www.myspace.com/thedrumsthedrums\">The Drums\u003c/a>. After six years of silence, Les Savy Fav reemerged in 2007 with \u003cb>Let’s Stay Friends\u003c/b>. Having suffered from writer’s block, the album made fans and critics grateful for the quality that resulted in a final burst of inspiration — an album these “godfathers of indie” could be proud of. With no planned shows upcoming, this is a unique opportunity to see the band, perhaps before they head into the den in search of more material. The show starts at 8pm and thus we will bid farewell to Noise Pop 2009.\u003c/p>\n\u003cp>Of course, these shows are all on top of an overwhelming amount of film, art and industry events that will be going on all week. And there are multiple happy hour shows with fantastic local acts such as \u003ca href=\"http://www.myspace.com/maushausmusic\">Maus Haus\u003c/a>, \u003ca href=\"http://www.myspace.com/scissorsforlefty\">Scissors for Lefty\u003c/a>, \u003ca href=\"http://www.myspace.com/manmiracle\">Man/Miracle\u003c/a>, \u003ca href=\"http://www.myspace.com/theaimlessnevermiss\">The Aimless Never Miss\u003c/a> and more. \u003ca href=\"http://www.noisepop.com/the-2009-festival-schedule\">Check out the full schedule for more details and tickets\u003c/a>, and have fun.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is the News Editor 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>A record as disarmingly personal as \u003cb>I’m This Tall City\u003c/b> feels like a rare and special creature. “Personal” might be a little misleading. There’s no indication that it’s lyrically autobiographical in any sense, and it’s not particularly narrative-driven for the most part. Musically, though, the intimate and varied soundscapes that layer the work’s nine songs feel like a trip down the rabbit hole into the strange and fascinating musical psyches of its creators, The Window Twins.\u003c/p>\n\u003cp>This is the first record as the Twins for the duo of Tim Cohen and Jon Bernson, but the two musicians are well established in the San Francisco Bay Area music scene through other excellent projects. Cohen’s band \u003ca href=\"http://www.myspace.com/blackfictionband\" target=\"offsite\" rel=\"noopener\">Black Fiction\u003c/a> created a simply stunning collection of fractured psych-pop in 2006’s \u003cb>Ghost Ride\u003c/b>, and his newest band \u003ca href=\"http://www.myspace.com/thefreshonlys\" target=\"offsite\" rel=\"noopener\">The Fresh and Onlys\u003c/a> has been generating significant local buzz and has a number of upcoming releases. Bernson is the mind behind \u003ca href=\"http://www.myspace.com/raysvastbasement\" target=\"offsite\" rel=\"noopener\">Ray’s Vast Basement\u003c/a>, whose third album — 2007’s \u003cb>Starvation Under Orange Trees\u003c/b> — was a song-cycle of layered folk-rock inspired by (and often from the perspectives of) John Steinbeck characters.\u003c/p>\n\u003cp>In other words, there’s a lot of talent and creativity between the two of them, but don’t make my initial mistake and expect a mix of Cohen and Bernson’s other interests. There are familiar moments from past recordings — Tim’s haunting falsetto emerges throughout, and folkier tunes like “Dig a Well” and “Joey Conductor” have traces of Ray’s Vast Basement in them — but the Twins appear equally interested in exploring new styles, particularly incorporating elements of experimental hip-hop and improvisational pastiche into more traditional psych, folk and rock songs. The hip-hop feel, found in the dusty drum loops and grooves, reminds me of some of the work released on the \u003ca href=\"http://www.anticon.com\" target=\"offsite\" rel=\"noopener\">Anticon\u003c/a> label, and I note that Bernson recently picked \u003ca href=\"www.myspace.com/nosdam\" target=\"offsite\" rel=\"noopener\">Odd Nosdam\u003c/a>‘s \u003cb>Pretty Swell Explode\u003c/b> as his favorite record of 2008 in \u003ca href=\"http://www.thebaybridged.com/2008/12/26/best-of-2008-pretty-swell-explode/\" target=\"offsite\" rel=\"noopener\">an article for TheBayBridged.com\u003c/a>. The pastiche feel is omnipresent, as seemingly found sounds and atmospherics give the album a hazy, almost mystical feel.\u003c/p>\n\u003cp>Between the variety of mysterious sounds and lyrics rich in strange imagery, there’s a feeling on the first couple of listens to \u003cb>I’m This Tall City\u003c/b> that almost anything can happen. That level of boundless imagination can cut both ways: it makes for a fascinating trip, but can initially seem a little formless. Thankfully, once you accept the few rules of the Window Twins’ universe, the great psych-folk songs at the album’s core emerge through the haze. It’s a challenging and fascinating work that ultimately bears rich rewards.\u003c/p>\n\u003cp>Visit the band at \u003ca href=\"http://www.myspace.com/windowtwins\" target=\"offsite\" rel=\"noopener\">their myspace page\u003c/a>. The album is being released digitally by \u003ca href=\"http://www.howellstransmitter.com/wt.html\" target=\"offsite\" rel=\"noopener\">Howells Transmitter\u003c/a> and on vinyl by \u003ca href=\"http://www.brokentwilight.com/index.html\" target=\"offiste\" rel=\"noopener\">Broken Twilight\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Window Twins played a live set on \u003ca href=\"http://www.piratecatradio.com/\">Pirate Cat Radio\u003c/a>‘s \u003cb>The Canary Hour\u003c/b> program on Monday, Feb 23, 2009. \u003ca href=\"http://www.nerdnetworks.org/pcr/Canary-20090223.mp3\">Have a listen.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Progamming Director of \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A record as disarmingly personal as \u003cb>I’m This Tall City\u003c/b> feels like a rare and special creature. “Personal” might be a little misleading. There’s no indication that it’s lyrically autobiographical in any sense, and it’s not particularly narrative-driven for the most part. Musically, though, the intimate and varied soundscapes that layer the work’s nine songs feel like a trip down the rabbit hole into the strange and fascinating musical psyches of its creators, The Window Twins.\u003c/p>\n\u003cp>This is the first record as the Twins for the duo of Tim Cohen and Jon Bernson, but the two musicians are well established in the San Francisco Bay Area music scene through other excellent projects. Cohen’s band \u003ca href=\"http://www.myspace.com/blackfictionband\" target=\"offsite\" rel=\"noopener\">Black Fiction\u003c/a> created a simply stunning collection of fractured psych-pop in 2006’s \u003cb>Ghost Ride\u003c/b>, and his newest band \u003ca href=\"http://www.myspace.com/thefreshonlys\" target=\"offsite\" rel=\"noopener\">The Fresh and Onlys\u003c/a> has been generating significant local buzz and has a number of upcoming releases. Bernson is the mind behind \u003ca href=\"http://www.myspace.com/raysvastbasement\" target=\"offsite\" rel=\"noopener\">Ray’s Vast Basement\u003c/a>, whose third album — 2007’s \u003cb>Starvation Under Orange Trees\u003c/b> — was a song-cycle of layered folk-rock inspired by (and often from the perspectives of) John Steinbeck characters.\u003c/p>\n\u003cp>In other words, there’s a lot of talent and creativity between the two of them, but don’t make my initial mistake and expect a mix of Cohen and Bernson’s other interests. There are familiar moments from past recordings — Tim’s haunting falsetto emerges throughout, and folkier tunes like “Dig a Well” and “Joey Conductor” have traces of Ray’s Vast Basement in them — but the Twins appear equally interested in exploring new styles, particularly incorporating elements of experimental hip-hop and improvisational pastiche into more traditional psych, folk and rock songs. The hip-hop feel, found in the dusty drum loops and grooves, reminds me of some of the work released on the \u003ca href=\"http://www.anticon.com\" target=\"offsite\" rel=\"noopener\">Anticon\u003c/a> label, and I note that Bernson recently picked \u003ca href=\"www.myspace.com/nosdam\" target=\"offsite\" rel=\"noopener\">Odd Nosdam\u003c/a>‘s \u003cb>Pretty Swell Explode\u003c/b> as his favorite record of 2008 in \u003ca href=\"http://www.thebaybridged.com/2008/12/26/best-of-2008-pretty-swell-explode/\" target=\"offsite\" rel=\"noopener\">an article for TheBayBridged.com\u003c/a>. The pastiche feel is omnipresent, as seemingly found sounds and atmospherics give the album a hazy, almost mystical feel.\u003c/p>\n\u003cp>Between the variety of mysterious sounds and lyrics rich in strange imagery, there’s a feeling on the first couple of listens to \u003cb>I’m This Tall City\u003c/b> that almost anything can happen. That level of boundless imagination can cut both ways: it makes for a fascinating trip, but can initially seem a little formless. Thankfully, once you accept the few rules of the Window Twins’ universe, the great psych-folk songs at the album’s core emerge through the haze. It’s a challenging and fascinating work that ultimately bears rich rewards.\u003c/p>\n\u003cp>Visit the band at \u003ca href=\"http://www.myspace.com/windowtwins\" target=\"offsite\" rel=\"noopener\">their myspace page\u003c/a>. The album is being released digitally by \u003ca href=\"http://www.howellstransmitter.com/wt.html\" target=\"offsite\" rel=\"noopener\">Howells Transmitter\u003c/a> and on vinyl by \u003ca href=\"http://www.brokentwilight.com/index.html\" target=\"offiste\" rel=\"noopener\">Broken Twilight\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Window Twins played a live set on \u003ca href=\"http://www.piratecatradio.com/\">Pirate Cat Radio\u003c/a>‘s \u003cb>The Canary Hour\u003c/b> program on Monday, Feb 23, 2009. \u003ca href=\"http://www.nerdnetworks.org/pcr/Canary-20090223.mp3\">Have a listen.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Progamming Director of \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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