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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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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"content": "\u003cp>Every now and then, a piece of music will become indelibly linked to a specific time or place in our lives. The song that was playing when you first met. The album that got you through your breakup. The track that always seems to be playing on the jukebox of your favorite bar. The soundtrack to one long, golden summer. The tape your parents played in the car when you were a kid. “Songs are like tattoos,” sings Joni Mitchell on “Blue,” a lyric that’s permanently inked somewhere on my soul. And it has plenty of company.\u003c/p>\n\u003cp>A few years ago, I went through a rough patch in my life that I only truly recognized when I started to get out of it. There was no sudden trauma, no terrible illness or accident, no single event that marked the beginning or even the end. Just a low period of my life I’m happy is in the past now. But somewhere in the middle of it, I came to rely on one album in particular to help keep me going: \u003cb>I Am a Bird Now\u003c/b> by \u003ca href=\"http://www.antonyandthejohnsons.com/\" target=\"offsite\" rel=\"noopener\">Antony and the Johnsons\u003c/a>.\u003c/p>\n\u003cp>It’s hard to describe Antony Hegarty’s singing voice to people who have never heard him. Try to imagine a choirboy singing with the soulful depth of Nina Simone. It is strange and unique, like the sound of salted caramel ice cream. I loved it from the first moment I heard it, and it became a comforting companion to me. No matter how low I felt, hearing him sing, “I hope there’s someone to take care of me,” at the start of that album made me feel as if, even here, at the bottom of the well, I wasn’t alone. And music is like that. An album might sell millions of copies, but it can still feel like it’s speaking only to you. It was as if Antony himself was helping me get through my dip, even though I now know the same album has helped countless other people too.\u003c/p>\n\u003cp>After my life turned a corner for the better, I began to find the album painful to listen to. It had become an integral part of that difficult time, entwined with every emotion I was feeling back then. It was essentially ruined for me, and I began to fear that I had lost not just that one record but Hegarty’s voice too. Would I ever be able to hear it the same way again? So it was with some trepidation that I greeted word of a new Antony and the Johnsons album and tour.\u003c/p>\n\u003cp>Thankfully, \u003cb>The Crying Light\u003c/b> is a delight. “No one can stop you now,” he sings at the start of this album’s opening song, “Her Eyes Are Underneath the Ground,” and for me it is the sound of a page turning, a new chapter beginning. The sorrow and heartbreak are still there, but now, once again, I can hear the positives in his music too. The delicate beauty and grace of “Another World” and “Dust and Water.” The soaring, surreal musical flights of fancy on “Epilepsy is Dancing” and “Everglade.” The self-assuredness of “Kiss My Name” and “Aeon.” Indeed, there seems to be a confidence here that has replaced some of the darker doubts and fears of older tracks such as “Hope There’s Someone.” But that may also just be me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And, if this new album has begun to renew my relationship with Antony and the Johnsons, then seeing them play San Francisco this month should help even more. Live, the emotional power of Hegarty’s bittersweet voice only increases. But he is also a playful presence on stage, never letting the drama of the music weigh too heavily, injecting a little levity into proceedings now and then lest we forget ourselves and let the sadness drag us under.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Antony and the Johsons play \u003ca href=\"http://www.masonicauditorium.com/\" target=\"offsite\" rel=\"noopener\">Nob Hill Masonic Center\u003c/a> as part of \u003ca href=\"http://www.noisepop.com/the-2009-festival\" target=\"offsite\" rel=\"noopener\">Noise Pop\u003c/a> on Tuesday, February 24, 2009. Their new album \u003cb>The Crying Light\u003c/b> is out now on \u003ca href=\"http://www.secretlycanadian.com/\" target=\"offsite\" rel=\"noopener\">Secretly Canadian\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every now and then, a piece of music will become indelibly linked to a specific time or place in our lives. The song that was playing when you first met. The album that got you through your breakup. The track that always seems to be playing on the jukebox of your favorite bar. The soundtrack to one long, golden summer. The tape your parents played in the car when you were a kid. “Songs are like tattoos,” sings Joni Mitchell on “Blue,” a lyric that’s permanently inked somewhere on my soul. And it has plenty of company.\u003c/p>\n\u003cp>A few years ago, I went through a rough patch in my life that I only truly recognized when I started to get out of it. There was no sudden trauma, no terrible illness or accident, no single event that marked the beginning or even the end. Just a low period of my life I’m happy is in the past now. But somewhere in the middle of it, I came to rely on one album in particular to help keep me going: \u003cb>I Am a Bird Now\u003c/b> by \u003ca href=\"http://www.antonyandthejohnsons.com/\" target=\"offsite\" rel=\"noopener\">Antony and the Johnsons\u003c/a>.\u003c/p>\n\u003cp>It’s hard to describe Antony Hegarty’s singing voice to people who have never heard him. Try to imagine a choirboy singing with the soulful depth of Nina Simone. It is strange and unique, like the sound of salted caramel ice cream. I loved it from the first moment I heard it, and it became a comforting companion to me. No matter how low I felt, hearing him sing, “I hope there’s someone to take care of me,” at the start of that album made me feel as if, even here, at the bottom of the well, I wasn’t alone. And music is like that. An album might sell millions of copies, but it can still feel like it’s speaking only to you. It was as if Antony himself was helping me get through my dip, even though I now know the same album has helped countless other people too.\u003c/p>\n\u003cp>After my life turned a corner for the better, I began to find the album painful to listen to. It had become an integral part of that difficult time, entwined with every emotion I was feeling back then. It was essentially ruined for me, and I began to fear that I had lost not just that one record but Hegarty’s voice too. Would I ever be able to hear it the same way again? So it was with some trepidation that I greeted word of a new Antony and the Johnsons album and tour.\u003c/p>\n\u003cp>Thankfully, \u003cb>The Crying Light\u003c/b> is a delight. “No one can stop you now,” he sings at the start of this album’s opening song, “Her Eyes Are Underneath the Ground,” and for me it is the sound of a page turning, a new chapter beginning. The sorrow and heartbreak are still there, but now, once again, I can hear the positives in his music too. The delicate beauty and grace of “Another World” and “Dust and Water.” The soaring, surreal musical flights of fancy on “Epilepsy is Dancing” and “Everglade.” The self-assuredness of “Kiss My Name” and “Aeon.” Indeed, there seems to be a confidence here that has replaced some of the darker doubts and fears of older tracks such as “Hope There’s Someone.” But that may also just be me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This week’s featured band is San Francisco’s Leopold and his Fiction, a trio that turns pieces of garage rock, folk, psych and Americana into a remarkably cohesive and engaging mix called “vintage rock.” Detroit native Daniel James grew up around music and musicians, but it wasn’t until he left home that he really took stock of the music scene. The singer-guitarist eventually ended up at a writing program in San Francisco, where he met Kentucky transplant Ben Cook and the two bonded over a love of classic rock and vintage sounds. After some unsuccessful attempts to find a third member, they decided to make a go of it as a duo and released a self-titled album, which garnered critical praise and substantial college radio airplay.\u003c/p>\n\u003cp>Several years later, the band now celebrates the release of \u003cb>Ain’t No Surprise\u003c/b>, a second full-length album that strikes our ears as a sign 2009 will be another great year for Bay Area music. The group has accomplished no easy feat, turning its melting pot of influences into songs that, for all the talk of “vintage,” feel both innovative and exciting. After the record was completed, Cook left the group to pursue his career in 2008, meaning that along with the new release James is also introducing Leopold and his Fiction (Mach II), a trio that includes Micayla Grace (bass/vocals) and Jon Sortland (drums/vocals/organ). The new members bring new sounds and ideas to the mix and James is clearly excited about the band’s new direction. Judging from the terrific new album, we are too.\u003c/p>\n\u003cp>We sat down with Daniel James last week to speak about \u003cb>Ain’t No Surprise\u003c/b>, the songs he’s now creating with his new bandmates, and the influence of his upbringing on his musical interests. We’ve got four great songs from the new album included in this episode.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Tuesday, March 10th\u003cbr>Bottom of the Hill\u003cbr>with Spindrift and The Upside Down\u003cbr>9pm, $8, All Ages\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Prejudice is never an attractive trait, but sometimes it’s completely unavoidable. Forgivable, even. One such instance might be when an act describes itself as a “chamber folk ensemble,” an unfortunate choice of words that screams “band geek” almost as loudly as naming your Portland, Oregon band after Scotland’s largest lake says “geography dork.”\u003c/p>\n\u003cp>But you shouldn’t allow these minor (albeit troubling) details to stop you from giving \u003ca href=\"http://www.myspace.com/lochlomondmusic\">Loch Lomond\u003c/a> a chance to redeem themselves. After all, you have very little to lose: the band’s new EP \u003cb>Trumpets for Paper Children\u003c/b> is available as a \u003ca href=\"http://hushrecords.dreamhosters.com/zencart/index.php?main_page=product_info&products_id=137\">free download\u003c/a> from Hush Records, and it would be unwise for any of us to let our assumptions get in the way of a free lunch in these grim economic times. And taking this small leap of faith will bring rich rewards. Sure, the music skirts the fringes of pretension in places, momentarily reinforcing some of the preconceptions and fears you might have started out with, but there is more than enough invention and imagination packed into these five tracks to compensate.\u003c/p>\n\u003cp>That “chamber folk” tag is most likely an attempt by the band to distance themselves from the far more dreary “alt folk” albatross they may have been lumbered with otherwise. And to be fair to the band, their songs do feel almost orchestral at times. Lush strings sweep in around moments of quieter acoustic introspection, perhaps most notably on “Field Report,” which quickly builds from its understated, stripped-down introduction into a lush landscape of sound. But to characterize their music is merely “folk plus classical” is to ignore other, equally compelling parts of a much more complex equation. These include the idiosyncratic vocal flourishes of lead singer Ritchie Young, the band’s gloriously ramshackle rhythm section, and even the surpising inclusion of a singing saw on at least two songs on this EP.\u003c/p>\n\u003cp>Perhaps “circus folk” would be a more appropriate description. The songs certainly tumble and swoop, while Young’s voice acts as ring leader for the multitalented cast of performers he has gathered around him (their numbers vary, but the band is currently performing as a seven-piece). Together they conjur up a joyful sense of youthful innocence and wide-eyed magic, one that suggests endless possibilities, unconstrained by such earthly concerns as dull conformity or cynical calculation.\u003c/p>\n\u003cp>The lyrics reflect this too, with colorful imagery occasionally evolving into strange stories and streaks of playful surrealism. “I never learned to spin plates on sticks,” Young intones at the start of “Bird and a Bear,” before proceeding to demonstrate his masterful ability to juggle words and phrases instead. Unexpected, certainly. But it’s amazing what surprises can lie in wait when we put aside our prejudices.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Loch Lomond’s \u003cb>Trumpets for Paper Children\u003c/b> is available as a \u003ca href=\"http://hushrecords.dreamhosters.com/zencart/index.php?main_page=product_info&products_id=137\">free download\u003c/a> from Hush Records. They play San Francisco’s \u003ca href=\"http://rickshawstop.com/phpEventCalendar/index.php\">Rickshaw Stop\u003c/a> as part of \u003ca href=\"http://www.noisepop.com/the-2009-festival\">Noise Pop\u003c/a> on February 28, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prejudice is never an attractive trait, but sometimes it’s completely unavoidable. Forgivable, even. One such instance might be when an act describes itself as a “chamber folk ensemble,” an unfortunate choice of words that screams “band geek” almost as loudly as naming your Portland, Oregon band after Scotland’s largest lake says “geography dork.”\u003c/p>\n\u003cp>But you shouldn’t allow these minor (albeit troubling) details to stop you from giving \u003ca href=\"http://www.myspace.com/lochlomondmusic\">Loch Lomond\u003c/a> a chance to redeem themselves. After all, you have very little to lose: the band’s new EP \u003cb>Trumpets for Paper Children\u003c/b> is available as a \u003ca href=\"http://hushrecords.dreamhosters.com/zencart/index.php?main_page=product_info&products_id=137\">free download\u003c/a> from Hush Records, and it would be unwise for any of us to let our assumptions get in the way of a free lunch in these grim economic times. And taking this small leap of faith will bring rich rewards. Sure, the music skirts the fringes of pretension in places, momentarily reinforcing some of the preconceptions and fears you might have started out with, but there is more than enough invention and imagination packed into these five tracks to compensate.\u003c/p>\n\u003cp>That “chamber folk” tag is most likely an attempt by the band to distance themselves from the far more dreary “alt folk” albatross they may have been lumbered with otherwise. And to be fair to the band, their songs do feel almost orchestral at times. Lush strings sweep in around moments of quieter acoustic introspection, perhaps most notably on “Field Report,” which quickly builds from its understated, stripped-down introduction into a lush landscape of sound. But to characterize their music is merely “folk plus classical” is to ignore other, equally compelling parts of a much more complex equation. These include the idiosyncratic vocal flourishes of lead singer Ritchie Young, the band’s gloriously ramshackle rhythm section, and even the surpising inclusion of a singing saw on at least two songs on this EP.\u003c/p>\n\u003cp>Perhaps “circus folk” would be a more appropriate description. The songs certainly tumble and swoop, while Young’s voice acts as ring leader for the multitalented cast of performers he has gathered around him (their numbers vary, but the band is currently performing as a seven-piece). Together they conjur up a joyful sense of youthful innocence and wide-eyed magic, one that suggests endless possibilities, unconstrained by such earthly concerns as dull conformity or cynical calculation.\u003c/p>\n\u003cp>The lyrics reflect this too, with colorful imagery occasionally evolving into strange stories and streaks of playful surrealism. “I never learned to spin plates on sticks,” Young intones at the start of “Bird and a Bear,” before proceeding to demonstrate his masterful ability to juggle words and phrases instead. Unexpected, certainly. But it’s amazing what surprises can lie in wait when we put aside our prejudices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Loch Lomond’s \u003cb>Trumpets for Paper Children\u003c/b> is available as a \u003ca href=\"http://hushrecords.dreamhosters.com/zencart/index.php?main_page=product_info&products_id=137\">free download\u003c/a> from Hush Records. They play San Francisco’s \u003ca href=\"http://rickshawstop.com/phpEventCalendar/index.php\">Rickshaw Stop\u003c/a> as part of \u003ca href=\"http://www.noisepop.com/the-2009-festival\">Noise Pop\u003c/a> on February 28, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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