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"content": "\u003cp>I have one foot out the door. “Don’t go,” a woman in the back of the lounge says, “She’s awesome.” Then a steamy voice arises from the crowd. I swim through the bodies until I come to a dark violet figure, the space around her inhabited by a sea of mesmerized faces. “Awesome” is a word I’ve heard too many times to be able to use it to describe the new way I am struck by Krystle Warren. She doesn’t scare me with her skill or shake me with her song. Instead, her husky voice just seeps in, while the subtly electrifying reverberations stir me, like an underground current.\u003c/p>\n\u003cp>She is slender and tough, with her pelvis tilted back behind the guitar. Completely absorbed, she shrugs off a glass of water between songs; “I’m allergic to water.” Her straightforward, focused masculine confidence is overshadowed by her womanly silhouette as she sings of throbbing vulnerability: “Too young to know, too shy to ask. So we lay in the bed with the thoughts in our head…” Her chin perks and her head shimmies with the high notes. Her right arm chugs the guitar like the side rods on a train, and her left foot stomps out an imaginary cigarette; a ricochet of her melodies. Her face cringes into the grimace of a crazed cry. I almost cry with her, my stomach cracking with the tug of her chords, until I see her mouth explode into a wide, toothy grin. She closes her eyes and bites the air with a scintillating high note.\u003c/p>\n\u003cp>“My third love,” she sings, her voice like a bear humming from deep in a cave. Wait. Didn’t she mean “my \u003ci>first\u003c/i> love?” No, she repeats it again and again: “My third love. My third love. My third love.” But it doesn’t matter, because no matter what number this love is, it can still be disappointing. Falling in love has an overarching daze of enchantment to it, but on a day-to-day reality, intimacy is about quirks and compatibility. I hear this as Warren’s voice slips and slides into the sorrow: “My third love was never loving.”\u003c/p>\n\u003cp>Krystle Warren resists being categorized with other famous black female artists. Her voice is sandier and feistier than Chapman’s. She is more hollow and more bass than Hill. And unlike Nina Simone, she is giddily soulful, as she finishes “My Third Love” and tells us, “That was the angriest song here tonight, all the rest are very happy.”\u003c/p>\n\u003cp>Krystle Warren is a preacher, even though she hasn’t started a church yet. Her verse digs into the gut and then tapers off with a wispy, feminine breath. Some sit on the floor wearing wide grins, others bounce their knees from the stools at the bar. She raises a smooth arm and delicate hand to beckon the audience. She scats that she refuses to end her song until we are all singing with her. She invokes love. A roomful of strangers in Amnesia Lounge shyly declares that there is love out there and we will find it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Krystle Warren plays The Great American Music Hall August 24 & 25, 2008. For \u003ca href=\"http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=83178103\" target=\"offsite\" rel=\"noopener\">more information\u003c/a> visit Warren’s profile on myspace.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I have one foot out the door. “Don’t go,” a woman in the back of the lounge says, “She’s awesome.” Then a steamy voice arises from the crowd. I swim through the bodies until I come to a dark violet figure, the space around her inhabited by a sea of mesmerized faces. “Awesome” is a word I’ve heard too many times to be able to use it to describe the new way I am struck by Krystle Warren. She doesn’t scare me with her skill or shake me with her song. Instead, her husky voice just seeps in, while the subtly electrifying reverberations stir me, like an underground current.\u003c/p>\n\u003cp>She is slender and tough, with her pelvis tilted back behind the guitar. Completely absorbed, she shrugs off a glass of water between songs; “I’m allergic to water.” Her straightforward, focused masculine confidence is overshadowed by her womanly silhouette as she sings of throbbing vulnerability: “Too young to know, too shy to ask. So we lay in the bed with the thoughts in our head…” Her chin perks and her head shimmies with the high notes. Her right arm chugs the guitar like the side rods on a train, and her left foot stomps out an imaginary cigarette; a ricochet of her melodies. Her face cringes into the grimace of a crazed cry. I almost cry with her, my stomach cracking with the tug of her chords, until I see her mouth explode into a wide, toothy grin. She closes her eyes and bites the air with a scintillating high note.\u003c/p>\n\u003cp>“My third love,” she sings, her voice like a bear humming from deep in a cave. Wait. Didn’t she mean “my \u003ci>first\u003c/i> love?” No, she repeats it again and again: “My third love. My third love. My third love.” But it doesn’t matter, because no matter what number this love is, it can still be disappointing. Falling in love has an overarching daze of enchantment to it, but on a day-to-day reality, intimacy is about quirks and compatibility. I hear this as Warren’s voice slips and slides into the sorrow: “My third love was never loving.”\u003c/p>\n\u003cp>Krystle Warren resists being categorized with other famous black female artists. Her voice is sandier and feistier than Chapman’s. She is more hollow and more bass than Hill. And unlike Nina Simone, she is giddily soulful, as she finishes “My Third Love” and tells us, “That was the angriest song here tonight, all the rest are very happy.”\u003c/p>\n\u003cp>Krystle Warren is a preacher, even though she hasn’t started a church yet. Her verse digs into the gut and then tapers off with a wispy, feminine breath. Some sit on the floor wearing wide grins, others bounce their knees from the stools at the bar. She raises a smooth arm and delicate hand to beckon the audience. She scats that she refuses to end her song until we are all singing with her. She invokes love. A roomful of strangers in Amnesia Lounge shyly declares that there is love out there and we will find it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Being different is hard work; at least, it must be considering the amount of musicians who fail miserably to excel in the department of individual distinction. Few artists would ever admit that they actually want to sound like someone else (other than the members of Nearvana and Ironically Maiden, perhaps), but the fact that so many never seem to fully escape the orbit of their influences speaks for itself.\u003c/p>\n\u003cp>Thankfully, \u003ca href=\"http://www.31knots.com/\" target=\"offsite\" rel=\"noopener\">31Knots\u003c/a> haven’t been afraid to put in a bit of hard graft in their pursuit of idiosyncrasy. Their new album \u003cb>Worried Well\u003c/b> is a peculiar beast in the best possible sense, a great leap into the upper atmosphere that strains at the seams with new ideas and unexpected changes of direction.\u003c/p>\n\u003cp>The album opens with “Baby of Riots,” just 43 seconds of clicks, whirrs, hand claps, shouts, and yelps that steadily builds momentum before jumping without a pause into the guitar rush of first track proper “Certificate.” From here all the way through to closer “Between 1&2,” which sounds like a recording of a Jamaican steel band being played at half speed from the bottom of the ocean, there is little that seems recycled or predictable. Songs stop, start, deviate, and turn, all the time using strange noises and samples that seem more in tune with the world of experimental electronica than rock.\u003c/p>\n\u003cp>And yet this three-piece probably couldn’t be more pedestrian in composition: Portland-based singer/guitarist Joe Haege and bassist Jay Winebrenner are backed by San Francisco’s Jay Pellici on drums. Together, the three of them sound like a fairly recognizable indie pop band one moment, before becoming speeding, screaming, feedback-driven noiseniks, lurching back to become the house band for a midnight cabaret show in Berlin, then metamorphosing again into some infernal, clanking machine of the gods (often all within the space of a single song).\u003c/p>\n\u003cp>But wait, it gets better. They have all this, and brains too. Song titles such as “Statistics and the Heart of Man” and lyrics like “Better to know your place and to take it / Better to fail the test than to fake it” from “The Breaks,” point towards real intelligence at work in the midst of the chaos. And wit, too: “Compass Commands” at one point breaks into a call-and-response sequence that starts out sounding a little like OutKast’s “Hey Ya!” (“Ladies? \u003ci>Yes?\u003c/i> Are you ready?”) but then quickly shifts tone: “So who can tell me the universal rule of thumb? \u003ci>Kill or be killed.\u003c/i>“\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Snatches of other unexpected influences pop up now and then. “Upping the Mandate” has an eighties R&B synth sound that is pure Prince, while there is a Queen-like theatricality to tracks such as “Strange Kicks.” The combination of metronomic bass and angular guitar that crops up more than once (for example on “Certificate” and “Opaque/White”) recalls The Cure’s early days (think “10:15 on a Saturday Night”). And near-title track “Worried but not Well” has moments of Beatlesque guitar, but in a chopped up way that is more closely related to the left field genius of Danger Mouse’s \u003ca href=\"http://www.spin.com/reviews/danger-mouse-grey-album-wwwdjdangermousecom\" target=\"offsite\" rel=\"noopener\">Grey Album\u003c/a> than any boring, Oasis-style homage. And few of these moments are allowed to hang around long enough to distract before 31Knots lurch onward once again.\u003c/p>\n\u003cp>Someone was obviously paying attention at Weird School. If you want to stand out from the crowd, it isn’t enough to merely copy someone else who sounds a bit strange. No, 31Knots are ringmasters of their own circus, creating an exciting dramatic space full of theatricality, menace, and humor. They also have an ease and assuredness that comes from maturity. With five previous albums and several EPs already under their belts, 31Knots have had the time and space to grow into themselves, and are now thoroughly convincing in their conviction. They succeed in drawing you into the world they’ve created because first and foremost they seem to believe in it themselves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Worried Well\u003c/b> by 31Knots is released August 19, 2008 on \u003ca href=\"http://www.polyvinylrecords.com\" target=\"offsite\" rel=\"noopener\">Polyvinyl Records\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cp>It’s often the case that good music is filled with paradoxes. Whether it’s a calmly beautiful folk song that carries an almost militant political message or a song that’s instrumentally sparse but somehow expresses a complex subject, these songs achieve something spectacular. Such is the case with \u003ca href=\"http://www.myspace.com/okaytheband\" target=\"offsite\" rel=\"noopener\">Okay\u003c/a>‘s new album \u003cb>Huggable Dust\u003c/b> (2008, \u003ca href=\"http://www.absolutelykosher.com/marty.html\" target=\"offsite\" rel=\"noopener\">Absolutely Kosher\u003c/a>).\u003c/p>\n\u003cp>The Fremont band, which is essentially one man, Marty Anderson, and friends, has caught the ears of many passionate and adoring fans throughout the Bay Area and beyond. \u003cb>Huggable Dust\u003c/b>, a followup to the 2005 double-release of \u003cb>Low Road\u003c/b> and \u003cb>High Road\u003c/b>, is characteristic of the sound Okay fans have come to know and love, but with a few extra kicks.\u003c/p>\n\u003cp>The sound itself is filled with contradictions — some tracks as simple as children’s songs, with tinkling piano and guitar, and others densely layered with synth and wind sounds that feel futuristic in contrast to the acoustic base — see track 13, “Poof.”\u003c/p>\n\u003cp>With \u003cb>Low Road\u003c/b> and \u003cb>High Road\u003c/b>, the overdubs were rumored to have exceeded the double digits, and I wouldn’t be surprised if the same is true for some of the songs on \u003cb>Huggable Dust\u003c/b>. But this is just one of the album’s extremes — whether it’s optimism and pessimism, simple and complex, loud and soft, sparse and crowded, it’s got everything — sometimes to a dizzying degree.The first listen is like seeing your first Jackson Pollock painting after looking at Renoir your whole life.\u003c/p>\n\u003cp>Anderson’s somewhat scratchy, almost strained-sounding voice may not resonate with everyone, but if you can hear it for the raw emotion and almost ironic pain that comes through, you’ll be sold. One can’t read about Anderson without learning that he has Crohn’s Disease, a gastrointestinal condition that, to say the least, is incredibly painful and has caused him many a night in the hospital. But what is so noteworthy about this fact is not that he elicits pity for his condition or anything of the sort, but rather that he has managed to take his experiences, build a spectacular outlook on life and craft songs that anyone can relate to — both in pain and elation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout the album you can see Anderson’s struggle — with life, with love, with his disease. The themes flow like rolling hills, changing drastically from the painfully truthful (“What a nightmare to love”) to the almost forcefully optimistic (“I didn’t know that this somethin’ was really nothin’ in my way”), perhaps paralleling the very conflict that runs through each of us.\u003c/p>\n\u003cp>Most tracks contain sparse lyrics that are repeated, almost like a mantra: “There’s always a downside; There’s always an upside,” “I know who my sunshine is,” “I want you … to be happy.” One of the album’s highlights is “Natural,” a painfully sweet love song with the simplest of finger-picked guitar parts and a basic melody that Anderson sings with passion and pain at the same time: “I could write you a novel tonight; I could write you a new song each day; it’s a natural part of my day.” And really, he’s probably telling the truth. Anderson is notoriously prolific.\u003c/p>\n\u003cp>One often worries about the well-being of someone who is capable of expressing such personal sentiments in their songs, as expressing what’s inside of your soul can elicit varied reactions, from ridicule to obsession. But one thing is for sure: the act of delving into this record is very much a personal experience for the listener as well. She can relate to these tribulations in her own life, and she feels a deep and unmistakable compassion for someone who can write such “uplifting” songs, whatever condition he may be in.\u003c/p>\n\u003cp>In a live setting, Anderson is anything but feeble. Having won East Bay Express’s Most Charismatic Performer award in 2005, he and his up-to-7-person band are notorious for antics, from opening with everything from Tibetan bells to toy guns. And as Deerhoof has recently counted Okay as one of their favorite bands, they’ve asked Anderson to join them on two shows this October.\u003c/p>\n\u003cp>But prior to these, Okay will play \u003ca href=\"http://bottomofthehill.com/calendar.html\" target=\"offsite\" rel=\"noopener\">Bottom of the Hill\u003c/a> on Monday, July 28, 2008 with \u003ca href=\"http://www.myspace.com/thewatsontwins\" target=\"offsite\" rel=\"noopener\">The Watson Twins\u003c/a> (LA) and \u003ca href=\"http://www.myspace.com/timfite\" target=\"offsite\" rel=\"noopener\">Tim Fite\u003c/a> (Brooklyn). The show is $10 and will start at 9pm. You can buy \u003cb>Huggable Dust\u003c/b> and other Okay albums \u003ca href=\"http://www.absolutelykosher.com/marty.html\" target=\"offsite\" rel=\"noopener\">via the Absolutely Kosher website\u003c/a>. Listen if you’re happy; listen if you’re sad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is News Editor for \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>It’s often the case that good music is filled with paradoxes. Whether it’s a calmly beautiful folk song that carries an almost militant political message or a song that’s instrumentally sparse but somehow expresses a complex subject, these songs achieve something spectacular. Such is the case with \u003ca href=\"http://www.myspace.com/okaytheband\" target=\"offsite\" rel=\"noopener\">Okay\u003c/a>‘s new album \u003cb>Huggable Dust\u003c/b> (2008, \u003ca href=\"http://www.absolutelykosher.com/marty.html\" target=\"offsite\" rel=\"noopener\">Absolutely Kosher\u003c/a>).\u003c/p>\n\u003cp>The Fremont band, which is essentially one man, Marty Anderson, and friends, has caught the ears of many passionate and adoring fans throughout the Bay Area and beyond. \u003cb>Huggable Dust\u003c/b>, a followup to the 2005 double-release of \u003cb>Low Road\u003c/b> and \u003cb>High Road\u003c/b>, is characteristic of the sound Okay fans have come to know and love, but with a few extra kicks.\u003c/p>\n\u003cp>The sound itself is filled with contradictions — some tracks as simple as children’s songs, with tinkling piano and guitar, and others densely layered with synth and wind sounds that feel futuristic in contrast to the acoustic base — see track 13, “Poof.”\u003c/p>\n\u003cp>With \u003cb>Low Road\u003c/b> and \u003cb>High Road\u003c/b>, the overdubs were rumored to have exceeded the double digits, and I wouldn’t be surprised if the same is true for some of the songs on \u003cb>Huggable Dust\u003c/b>. But this is just one of the album’s extremes — whether it’s optimism and pessimism, simple and complex, loud and soft, sparse and crowded, it’s got everything — sometimes to a dizzying degree.The first listen is like seeing your first Jackson Pollock painting after looking at Renoir your whole life.\u003c/p>\n\u003cp>Anderson’s somewhat scratchy, almost strained-sounding voice may not resonate with everyone, but if you can hear it for the raw emotion and almost ironic pain that comes through, you’ll be sold. One can’t read about Anderson without learning that he has Crohn’s Disease, a gastrointestinal condition that, to say the least, is incredibly painful and has caused him many a night in the hospital. But what is so noteworthy about this fact is not that he elicits pity for his condition or anything of the sort, but rather that he has managed to take his experiences, build a spectacular outlook on life and craft songs that anyone can relate to — both in pain and elation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout the album you can see Anderson’s struggle — with life, with love, with his disease. The themes flow like rolling hills, changing drastically from the painfully truthful (“What a nightmare to love”) to the almost forcefully optimistic (“I didn’t know that this somethin’ was really nothin’ in my way”), perhaps paralleling the very conflict that runs through each of us.\u003c/p>\n\u003cp>Most tracks contain sparse lyrics that are repeated, almost like a mantra: “There’s always a downside; There’s always an upside,” “I know who my sunshine is,” “I want you … to be happy.” One of the album’s highlights is “Natural,” a painfully sweet love song with the simplest of finger-picked guitar parts and a basic melody that Anderson sings with passion and pain at the same time: “I could write you a novel tonight; I could write you a new song each day; it’s a natural part of my day.” And really, he’s probably telling the truth. Anderson is notoriously prolific.\u003c/p>\n\u003cp>One often worries about the well-being of someone who is capable of expressing such personal sentiments in their songs, as expressing what’s inside of your soul can elicit varied reactions, from ridicule to obsession. But one thing is for sure: the act of delving into this record is very much a personal experience for the listener as well. She can relate to these tribulations in her own life, and she feels a deep and unmistakable compassion for someone who can write such “uplifting” songs, whatever condition he may be in.\u003c/p>\n\u003cp>In a live setting, Anderson is anything but feeble. Having won East Bay Express’s Most Charismatic Performer award in 2005, he and his up-to-7-person band are notorious for antics, from opening with everything from Tibetan bells to toy guns. And as Deerhoof has recently counted Okay as one of their favorite bands, they’ve asked Anderson to join them on two shows this October.\u003c/p>\n\u003cp>But prior to these, Okay will play \u003ca href=\"http://bottomofthehill.com/calendar.html\" target=\"offsite\" rel=\"noopener\">Bottom of the Hill\u003c/a> on Monday, July 28, 2008 with \u003ca href=\"http://www.myspace.com/thewatsontwins\" target=\"offsite\" rel=\"noopener\">The Watson Twins\u003c/a> (LA) and \u003ca href=\"http://www.myspace.com/timfite\" target=\"offsite\" rel=\"noopener\">Tim Fite\u003c/a> (Brooklyn). The show is $10 and will start at 9pm. You can buy \u003cb>Huggable Dust\u003c/b> and other Okay albums \u003ca href=\"http://www.absolutelykosher.com/marty.html\" target=\"offsite\" rel=\"noopener\">via the Absolutely Kosher website\u003c/a>. Listen if you’re happy; listen if you’re sad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is News Editor for \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>I love my record collection, and I’m pretty sure it loves me. Sure, we’ve had our occasional ups and downs over the years, particularly after I’ve said something thoughtless and stupid like “you’ve got to slim down a bit.” Fortunately, we learned from our mistakes and in the end these hard times only made our bond stronger. But then, in April 2007, things changed.\u003c/p>\n\u003cp>At first I thought my trip to the United States was going to be temporary and we would only be apart for a few months. Then, when I decided to stay here, the months stretched out to more than a year. I’ve got to be honest, it put serious strain on both of us. I even began flirting with new CDs and records here in the U.S. while my collection, my REAL collection, languished neglected in my mother’s attic in Edinburgh.\u003c/p>\n\u003cp>But a couple of months ago, after \u003ca href=\"http://scribacious.blogspot.com/2008/03/small-world.html\" target=\"offsite\" rel=\"noopener\">an arduous 10,000-mile journey by sea\u003c/a>, my music finally joined me here in San Francisco. And that’s when the real work started. Sure, my records hadn’t changed much, but I had gotten married and moved in with my new wife. Plus I had left all of my furniture in the UK, so I now had none of the cases or boxes my record collection used to call home.\u003c/p>\n\u003cp>Rather than pretend nothing had happened, we decided to make a fresh start. Our first step was to visit the wonderful \u003ca href=\"http://www.fentonmaclaren.com/\" target=\"offsite\" rel=\"noopener\">Fenton MacLaren unfinished furniture store\u003c/a> in Berkeley, which sells inexpensive pine shelving units designed to fit CDs, DVDs, records, or books. If their standard sizes don’t work for you, then you can do what I did and have a unit custom-built to your own measurements for not much extra cost.\u003c/p>\n\u003cp>Next came the dreaded question: how to organize it all? With a total of around 1,000 CDs, I realized that I couldn’t just fill the shelves and hope for the best. They had to be sorted in a way that made sense not just to me but to my new wife as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the past I operated a system loosely based on the “cream rises” principle: if you simply stack CDs back on top of each other after you listen to them, less-popular discs will tend to sink to the bottom of the heap, while your favorites will stay nearer the top where they’re easier to get at. I also grouped discs in piles that corresponded loosely to genre, although some of these were admittedly looser than others. My jazz section, for example, would have been obvious to anyone, but the fine line between the subsections devoted to “miserable music” and “CDs to drunkenly fall asleep to” probably wouldn’t have made sense to anyone but myself.\u003c/p>\n\u003cp>The solution to this organizational conundrum was to do something so drastic it still makes me slightly nauseous to even talk about: I alphabeticized my entire collection.\u003c/p>\n\u003cp>(A quick technical note: I ordered by artist name, with solo acts filed by surname. I haven’t been too strict about it though, for example sticking \u003ca href=\"http://www.kqed.org/arts/music/index.jsp?id=18863\">Bill Callahan\u003c/a>‘s solo album next to his recordings as Smog.)\u003c/p>\n\u003cp>You may be wondering why I don’t just get with the 21st century and import all the CDs onto my computer. The truth is I don’t have nearly enough space on my hard disk and, even if I did, it would take me far longer to rip them all than it has done to simply organize them a bit. Plus, I like browsing through physical piles of CDs and records. They have details such as price tags on the cases that remind me where I was when I bought them, or stains on the sleeves from that party where I dropped a beer into my record bag. At the risk of sounding like an over-romantic luddite, you don’t get that from iTunes.\u003c/p>\n\u003cp>One added bonus I gained from the process, other than learning that I have a surprising number of recordings by artists whose names start with P, was that finally I was forced to do something about all those CDs that have thin, sleeve-like covers (mainly singles, promos, and CD-Rs) rather than proper plastic jewel cases with a legible spine. Previously, I had kept them all together in one big, impenetrable bunch, and had rarely bothered searching through them. Now, that was going to change.\u003c/p>\n\u003cp>But how to organize these slim-sided treasures? Mixing them individually with the rest wouldn’t be much of an improvement as they’d be pretty much invisible next to their thicker-cased cousins. Instead, I decided to create groups of them corresponding to each letter of the alphabet, then place these on the shelves to serve as sort of markers for the start and end of each letter’s section in the larger throng. And, rather than just placing these little piles loose on the shelf, I decided to make little cardboard files for them, like \u003ca href=\"http://www.instructables.com/id/Homemade-Cardboard-Magazine-Box/\">the ones you get for magazines\u003c/a> but smaller. That way I can stick little letters on the front too, and … Oh my god. Is this going too far? \u003c/p>\n\u003cp>That’s the problem with organization: knowing where to stop. My record collection used to be an organic mess, one which reflected my eclectic, ever-evolving tastes; now it looks neat and tidy, like an accountant’s sock drawer. Sure I feel organized, but I also feel slightly soiled by the whole process. The next thing you know I’ll be one of those people who has a motorized tie holder in their closet. Is this who I want to be?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I only hope my record collection can forgive me, once again.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I love my record collection, and I’m pretty sure it loves me. Sure, we’ve had our occasional ups and downs over the years, particularly after I’ve said something thoughtless and stupid like “you’ve got to slim down a bit.” Fortunately, we learned from our mistakes and in the end these hard times only made our bond stronger. But then, in April 2007, things changed.\u003c/p>\n\u003cp>At first I thought my trip to the United States was going to be temporary and we would only be apart for a few months. Then, when I decided to stay here, the months stretched out to more than a year. I’ve got to be honest, it put serious strain on both of us. I even began flirting with new CDs and records here in the U.S. while my collection, my REAL collection, languished neglected in my mother’s attic in Edinburgh.\u003c/p>\n\u003cp>But a couple of months ago, after \u003ca href=\"http://scribacious.blogspot.com/2008/03/small-world.html\" target=\"offsite\" rel=\"noopener\">an arduous 10,000-mile journey by sea\u003c/a>, my music finally joined me here in San Francisco. And that’s when the real work started. Sure, my records hadn’t changed much, but I had gotten married and moved in with my new wife. Plus I had left all of my furniture in the UK, so I now had none of the cases or boxes my record collection used to call home.\u003c/p>\n\u003cp>Rather than pretend nothing had happened, we decided to make a fresh start. Our first step was to visit the wonderful \u003ca href=\"http://www.fentonmaclaren.com/\" target=\"offsite\" rel=\"noopener\">Fenton MacLaren unfinished furniture store\u003c/a> in Berkeley, which sells inexpensive pine shelving units designed to fit CDs, DVDs, records, or books. If their standard sizes don’t work for you, then you can do what I did and have a unit custom-built to your own measurements for not much extra cost.\u003c/p>\n\u003cp>Next came the dreaded question: how to organize it all? With a total of around 1,000 CDs, I realized that I couldn’t just fill the shelves and hope for the best. They had to be sorted in a way that made sense not just to me but to my new wife as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the past I operated a system loosely based on the “cream rises” principle: if you simply stack CDs back on top of each other after you listen to them, less-popular discs will tend to sink to the bottom of the heap, while your favorites will stay nearer the top where they’re easier to get at. I also grouped discs in piles that corresponded loosely to genre, although some of these were admittedly looser than others. My jazz section, for example, would have been obvious to anyone, but the fine line between the subsections devoted to “miserable music” and “CDs to drunkenly fall asleep to” probably wouldn’t have made sense to anyone but myself.\u003c/p>\n\u003cp>The solution to this organizational conundrum was to do something so drastic it still makes me slightly nauseous to even talk about: I alphabeticized my entire collection.\u003c/p>\n\u003cp>(A quick technical note: I ordered by artist name, with solo acts filed by surname. I haven’t been too strict about it though, for example sticking \u003ca href=\"http://www.kqed.org/arts/music/index.jsp?id=18863\">Bill Callahan\u003c/a>‘s solo album next to his recordings as Smog.)\u003c/p>\n\u003cp>You may be wondering why I don’t just get with the 21st century and import all the CDs onto my computer. The truth is I don’t have nearly enough space on my hard disk and, even if I did, it would take me far longer to rip them all than it has done to simply organize them a bit. Plus, I like browsing through physical piles of CDs and records. They have details such as price tags on the cases that remind me where I was when I bought them, or stains on the sleeves from that party where I dropped a beer into my record bag. At the risk of sounding like an over-romantic luddite, you don’t get that from iTunes.\u003c/p>\n\u003cp>One added bonus I gained from the process, other than learning that I have a surprising number of recordings by artists whose names start with P, was that finally I was forced to do something about all those CDs that have thin, sleeve-like covers (mainly singles, promos, and CD-Rs) rather than proper plastic jewel cases with a legible spine. Previously, I had kept them all together in one big, impenetrable bunch, and had rarely bothered searching through them. Now, that was going to change.\u003c/p>\n\u003cp>But how to organize these slim-sided treasures? Mixing them individually with the rest wouldn’t be much of an improvement as they’d be pretty much invisible next to their thicker-cased cousins. Instead, I decided to create groups of them corresponding to each letter of the alphabet, then place these on the shelves to serve as sort of markers for the start and end of each letter’s section in the larger throng. And, rather than just placing these little piles loose on the shelf, I decided to make little cardboard files for them, like \u003ca href=\"http://www.instructables.com/id/Homemade-Cardboard-Magazine-Box/\">the ones you get for magazines\u003c/a> but smaller. That way I can stick little letters on the front too, and … Oh my god. Is this going too far? \u003c/p>\n\u003cp>That’s the problem with organization: knowing where to stop. My record collection used to be an organic mess, one which reflected my eclectic, ever-evolving tastes; now it looks neat and tidy, like an accountant’s sock drawer. Sure I feel organized, but I also feel slightly soiled by the whole process. The next thing you know I’ll be one of those people who has a motorized tie holder in their closet. Is this who I want to be?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I only hope my record collection can forgive me, once again.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The melodic folk-rock songwriting of Two Sheds has impressed us since we first heard their terrific debut \u003cb>Strange Ammunition\u003c/b> a couple years ago. At that time, the group resided in Sacramento, where husband and wife duo Caitlin and John Gutenberger still live, but with two band members now based in the City and frequent performances here, we’re proud to consider them rising stars in the Bay Area indie music scene. We certainly aren’t the only ones, as the group’s local profile has been aided by some supportive bands and bloggers.\u003c/p>\n\u003cp>It was a bit disarming to learn that this is Caitlin’s first band, and even more unsettling to find out that the singer-guitarist began writing songs just four years ago. Already, it seems she’s able to build both quiet, moody pieces and up-tempo rockers, while the band’s mix of folk, rock, pop and Americana stays uncluttered, raw, and beautiful. With a new self-titled EP released in May 2008 on the Fllter label and scattered touring throughout the summer and fall, Two Sheds is poised to reach an even bigger audience, and that’s a development we eagerly await.\u003c/p>\n\u003cp>We sat down with Caitlin and John a few weeks ago to discuss their new release, the group’s origins, and life and music in Sacramento. Along with the interview, the episode features two songs from the new EP and two from \u003cb>Strange Ammunition\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Thursday, August 14th\u003cbr>Sophia’s Thai Kitchen (Davis, CA)\u003cbr>with Or, the Whale\u003cbr>10pm, $tba\u003c/p>\n\u003cp>Friday, August 15th\u003cbr>The Blackwater Cafe (Stockton, CA)\u003cbr>with Birds Batteries\u003cbr>8pm, $tba\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thursday, August 21st\u003cbr>Cafe du Nord\u003cbr>with Jackpot, Kings Queens and Bark Hide and Horn\u003cbr>9pm, $10\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The melodic folk-rock songwriting of Two Sheds has impressed us since we first heard their terrific debut \u003cb>Strange Ammunition\u003c/b> a couple years ago. At that time, the group resided in Sacramento, where husband and wife duo Caitlin and John Gutenberger still live, but with two band members now based in the City and frequent performances here, we’re proud to consider them rising stars in the Bay Area indie music scene. We certainly aren’t the only ones, as the group’s local profile has been aided by some supportive bands and bloggers.\u003c/p>\n\u003cp>It was a bit disarming to learn that this is Caitlin’s first band, and even more unsettling to find out that the singer-guitarist began writing songs just four years ago. Already, it seems she’s able to build both quiet, moody pieces and up-tempo rockers, while the band’s mix of folk, rock, pop and Americana stays uncluttered, raw, and beautiful. With a new self-titled EP released in May 2008 on the Fllter label and scattered touring throughout the summer and fall, Two Sheds is poised to reach an even bigger audience, and that’s a development we eagerly await.\u003c/p>\n\u003cp>We sat down with Caitlin and John a few weeks ago to discuss their new release, the group’s origins, and life and music in Sacramento. Along with the interview, the episode features two songs from the new EP and two from \u003cb>Strange Ammunition\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Thursday, August 14th\u003cbr>Sophia’s Thai Kitchen (Davis, CA)\u003cbr>with Or, the Whale\u003cbr>10pm, $tba\u003c/p>\n\u003cp>Friday, August 15th\u003cbr>The Blackwater Cafe (Stockton, CA)\u003cbr>with Birds Batteries\u003cbr>8pm, $tba\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The nationwide decline of public school arts programs due to budget shortfalls is one of those perplexing tragedies of public administration which finds few supporters and fewer explanations. While there doesn’t seem to be any prospect of this trend reversing, an alternative to school-sponsored music performance and education programs is emerging from a group long ignored in the schools — rock musicians.\u003c/p>\n\u003cp>Aspiring young Bay Area rockers are no longer relegated to bedrooms and basements, with a number of established and emerging groups offering year-round classes and summer camps dedicated to teaching songwriting and music performance far afield of the traditional school orchestras and jazz bands. \u003ca href=\"http://www.schoolofrock.com/\" target=\"offsite\" rel=\"noopener\">The Paul Green School of Rock\u003c/a> is the oldest and probably most famous of these groups, with its founder credited as an inspiration for the popular movie \u003cb>School of Rock\u003c/b>, but each organization has a unique model for youth education, including the \u003cb>Bay Area Girls Rock Camp\u003c/b>, which runs Monday through Friday this week at the \u003ca href=\"http://www.juliamorganschool.org/\" target=\"offsite\" rel=\"noopener\">Julia Morgan School for Girls\u003c/a> in Oakland.\u003c/p>\n\u003cp>This is the inaugural year for the Bay Area camp, a program for young women ages 8 to 18. Each girl picks an instrument before arriving (guitar, bass, keyboards, drums, or vocals), with no prior musical experience necessary, and forms a band on the first day. Led by a staff of volunteers, the campers then spend the next week taking songwriting classes and holding practices for their new groups.\u003c/p>\n\u003cp>The program draws inspiration from the acclaimed \u003ca href=\"http://www.girlsrockcamp.org/\" target=\"offsite\" rel=\"noopener\">Rock ‘n’ Roll Camp for Girls\u003c/a> in Portland, Oregon, at which several BAGRC founders had worked in previous years. As profiled in the documentary \u003cb>Girls Rock!\u003c/b> (\u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=22404\">read a review\u003c/a>), the Rock ‘n’ Roll Camp was founded in 2001 to fight the barriers facing young women who want to be involved in music, including the continued sexist representations and corresponding lack of empowering female role models in popular music. The Bay Area founders share these goals, explaining on their web site that the organization “strives to challenge gender stereotypes, encourage collaboration and tolerance among peers, and provide a comfortable space for people of all backgrounds to express themselves. Through music lessons, workshops, group activities and performance, girls acquire skills that will help guide them throughout their lives.”\u003c/p>\n\u003cp>While its message remains focused on cultivating an environment of creativity and support, the idea of a rock camp for girls by necessity confronts an ugly truth about indie music, that much like the mainstream corporate music industry, the indie world remains dominated by male musicians, industry members and journalists. It’s therefore encouraging to see that \u003ca href=\"http://www.girlsrockmovie.com/special/rockcamp\" target=\"offsite\" rel=\"noopener\">similarly minded girls’ rock camps\u003c/a> are operating in eight states, England and Sweden, with a number of other camps scheduled to open in the near future. If it’s too much to hope that this movement helps stop the gender imbalance in rock music, it’s at least nice to know that the participating children are getting the opportunity to express themselves musically in a supportive, educational environment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the young rockers practice all week, the camp culminates, naturally, in a live show at Bottom of the Hill in San Francisco. The show featured thirteen camp-formed bands each playing one original song written during the week. While it is too late to join the current camp, you can find out more about the camp’s \u003ca href=\"http://www.bayareagirlsrockcamp.org/\" target=\"offsite\" rel=\"noopener\">activities and plans for 2009 sessions\u003c/a> at BayAreaGirlsRockCamp.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben van Houten is Content Editor for \u003ca href=\"http://www.thebaybridged.com/%20target=\" offsite>The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The nationwide decline of public school arts programs due to budget shortfalls is one of those perplexing tragedies of public administration which finds few supporters and fewer explanations. While there doesn’t seem to be any prospect of this trend reversing, an alternative to school-sponsored music performance and education programs is emerging from a group long ignored in the schools — rock musicians.\u003c/p>\n\u003cp>Aspiring young Bay Area rockers are no longer relegated to bedrooms and basements, with a number of established and emerging groups offering year-round classes and summer camps dedicated to teaching songwriting and music performance far afield of the traditional school orchestras and jazz bands. \u003ca href=\"http://www.schoolofrock.com/\" target=\"offsite\" rel=\"noopener\">The Paul Green School of Rock\u003c/a> is the oldest and probably most famous of these groups, with its founder credited as an inspiration for the popular movie \u003cb>School of Rock\u003c/b>, but each organization has a unique model for youth education, including the \u003cb>Bay Area Girls Rock Camp\u003c/b>, which runs Monday through Friday this week at the \u003ca href=\"http://www.juliamorganschool.org/\" target=\"offsite\" rel=\"noopener\">Julia Morgan School for Girls\u003c/a> in Oakland.\u003c/p>\n\u003cp>This is the inaugural year for the Bay Area camp, a program for young women ages 8 to 18. Each girl picks an instrument before arriving (guitar, bass, keyboards, drums, or vocals), with no prior musical experience necessary, and forms a band on the first day. Led by a staff of volunteers, the campers then spend the next week taking songwriting classes and holding practices for their new groups.\u003c/p>\n\u003cp>The program draws inspiration from the acclaimed \u003ca href=\"http://www.girlsrockcamp.org/\" target=\"offsite\" rel=\"noopener\">Rock ‘n’ Roll Camp for Girls\u003c/a> in Portland, Oregon, at which several BAGRC founders had worked in previous years. As profiled in the documentary \u003cb>Girls Rock!\u003c/b> (\u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=22404\">read a review\u003c/a>), the Rock ‘n’ Roll Camp was founded in 2001 to fight the barriers facing young women who want to be involved in music, including the continued sexist representations and corresponding lack of empowering female role models in popular music. The Bay Area founders share these goals, explaining on their web site that the organization “strives to challenge gender stereotypes, encourage collaboration and tolerance among peers, and provide a comfortable space for people of all backgrounds to express themselves. Through music lessons, workshops, group activities and performance, girls acquire skills that will help guide them throughout their lives.”\u003c/p>\n\u003cp>While its message remains focused on cultivating an environment of creativity and support, the idea of a rock camp for girls by necessity confronts an ugly truth about indie music, that much like the mainstream corporate music industry, the indie world remains dominated by male musicians, industry members and journalists. It’s therefore encouraging to see that \u003ca href=\"http://www.girlsrockmovie.com/special/rockcamp\" target=\"offsite\" rel=\"noopener\">similarly minded girls’ rock camps\u003c/a> are operating in eight states, England and Sweden, with a number of other camps scheduled to open in the near future. If it’s too much to hope that this movement helps stop the gender imbalance in rock music, it’s at least nice to know that the participating children are getting the opportunity to express themselves musically in a supportive, educational environment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the young rockers practice all week, the camp culminates, naturally, in a live show at Bottom of the Hill in San Francisco. The show featured thirteen camp-formed bands each playing one original song written during the week. While it is too late to join the current camp, you can find out more about the camp’s \u003ca href=\"http://www.bayareagirlsrockcamp.org/\" target=\"offsite\" rel=\"noopener\">activities and plans for 2009 sessions\u003c/a> at BayAreaGirlsRockCamp.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben van Houten is Content Editor for \u003ca href=\"http://www.thebaybridged.com/%20target=\" offsite>The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Is director Bill English crazy — or simply just ambitious enough?\u003c/p>\n\u003cp>For some reason, the SF Playhouse’s Artistic Director decided to rehearse a cast of mostly part-time actors to put on the stage version of John Kander and Fred Ebb’s legendary \u003cb>Cabaret\u003c/b> in four short weeks. But they’ve done it. In fact, it’s a testament to San Francisco’s downtown theatre scene that the Playhouse pulled off an impressive interpretation that spotlights some of the best of this city’s talent.\u003c/p>\n\u003cp>Make no mistake — producing this play is a serious task. Consider its legacy: over 42 years, five major revivals (two Broadway, three West End), and an Oscar-winning film adaptation that sealed the fame of Liza Minnelli and Joel Grey, \u003cb>Cabaret\u003c/b> has become an institution. Thankfully, the mercilessly short prep time didn’t prevent the Playhouse cast and crew from producing a deft, passionate interpretation that brought the sold-out house to its feet.\u003c/p>\n\u003cp>Set in Berlin in 1930 during the Nazis’ rise to power, \u003cb>Cabaret\u003c/b> centers itself at the decadent Kit Kat Klub and focuses on two doomed love stories. One of these is between British cabaret performer Sally Bowles (played by the director’s daughter Lauren English) and newly arrived young American writer, Cliff Bradshaw (Daniel Krueger); the other is between German boarding house owner Fräulein Schneider (Karen Grassle, who played Ma in the ’70s TV series \u003cb>Little House on the Prairie\u003c/b>) and elderly Jewish fruit vendor Herr Schultz (Louis Parnell). Key to the play is the Emcee character — played by the inimitable Bryan Yates Sharber — a one-man Greek chorus who presents the performances at the Kit Kat as prescient commentary on the state of society in Weimar Germany. \u003c/p>\n\u003cp>English smartly takes his cue from the two ’90s London revivals directed by Sam Mendes, which among other things results in a more sexualized take on the book — one that highlights Cliff’s bisexuality and includes boys among the Kit Kat girls. The choreography for the Kit Kat numbers is heaped with polyamorous crotch-grinding and ass-slapping, an extra touch of bawdiness that works well both for its own sake and in contrast to the tenderness of the older couple.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also like Mendes, English resourcefully uses the musical talents of many of his cast members in the 8-person Kit Kat band, resulting in brilliant moments like Sharber being tossed his clarinet to vamp on eight quick bars in the middle of the tune “Money.”\u003c/p>\n\u003cp>With such a squeezed schedule in front of him, English made crucial casting decisions for the Emcee and Bowles characters. Grey’s ownership of the Emcee role in the original Broadway show has made later interpretations by stars like John Stamos and Neil Patrick Harris seem like well-crafted clonings. But rather than mimicking Grey’s famously mincing, marionette-ish persona, Sharber projects a brassy, physical, almost lion-like character, and pulls off both lusty song-and-dance numbers and ominous narration with aplomb.\u003c/p>\n\u003cp>Of course, a successful \u003cb>Cabaret\u003c/b> depends on a larger-than-life Sally Bowles, and Lauren English indubitably delivers the goods. As an actor and singer, she’s definitely got the personality to fit such a wide-ranging role. Both her wonderful smirk in “Don’t Tell Mama” and the genuine hysteria she injects into the tragic title tune speak volumes of her capability, and she’s an excellent counterpoint to Krueger’s skillful take on the anxious Cliff.\u003c/p>\n\u003cp>Finally, English’s production team has truly sealed \u003cb>Cabaret\u003c/b>‘s success. Tatjana Genser’s versatile stage management showed a real instinct for economizing space, while both Valera Coble’s costuming (especially the simple black-and-red outfits in “Two Ladies”) and Mike Oesch’s intuitive lighting design amplified both the show’s glitz and its sense of tragic irony.\u003c/p>\n\u003cp>Yes, on paper, English’s scheduling for \u003cb>Cabaret\u003c/b> does seem mad. But on stage, it’s simply excellent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Cabaret\u003c/b> is playing at the SF Playhouse. For \u003ca href=\"http://www.sfplayhouse.org/season0708/cabaret.php\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.sfplayhouse.org or call 415-677-9596.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also like Mendes, English resourcefully uses the musical talents of many of his cast members in the 8-person Kit Kat band, resulting in brilliant moments like Sharber being tossed his clarinet to vamp on eight quick bars in the middle of the tune “Money.”\u003c/p>\n\u003cp>With such a squeezed schedule in front of him, English made crucial casting decisions for the Emcee and Bowles characters. Grey’s ownership of the Emcee role in the original Broadway show has made later interpretations by stars like John Stamos and Neil Patrick Harris seem like well-crafted clonings. But rather than mimicking Grey’s famously mincing, marionette-ish persona, Sharber projects a brassy, physical, almost lion-like character, and pulls off both lusty song-and-dance numbers and ominous narration with aplomb.\u003c/p>\n\u003cp>Of course, a successful \u003cb>Cabaret\u003c/b> depends on a larger-than-life Sally Bowles, and Lauren English indubitably delivers the goods. As an actor and singer, she’s definitely got the personality to fit such a wide-ranging role. Both her wonderful smirk in “Don’t Tell Mama” and the genuine hysteria she injects into the tragic title tune speak volumes of her capability, and she’s an excellent counterpoint to Krueger’s skillful take on the anxious Cliff.\u003c/p>\n\u003cp>Finally, English’s production team has truly sealed \u003cb>Cabaret\u003c/b>‘s success. Tatjana Genser’s versatile stage management showed a real instinct for economizing space, while both Valera Coble’s costuming (especially the simple black-and-red outfits in “Two Ladies”) and Mike Oesch’s intuitive lighting design amplified both the show’s glitz and its sense of tragic irony.\u003c/p>\n\u003cp>Yes, on paper, English’s scheduling for \u003cb>Cabaret\u003c/b> does seem mad. But on stage, it’s simply excellent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Cabaret\u003c/b> is playing at the SF Playhouse. For \u003ca href=\"http://www.sfplayhouse.org/season0708/cabaret.php\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.sfplayhouse.org or call 415-677-9596.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the mid-1990s, a Houston DJ named DJ Screw gained widespread attention for pioneering a unique style of remixing known as “Chopped and Screwed,” in which he would use a turntable to shift an existing rap or R&B song’s pitch significantly downward and drastically slow its tempo. While the pitch adjustment added an unsettling and occasionally menacing effect, the slowed tempos provided an exaggerated abundance of room for the songs to breathe, and sounds or lyrics previously obscured in the mix were unveiled to listeners under the screwed-up microscope. When it worked, it could be moving or downright revelatory.\u003c/p>\n\u003cp>\u003cb>Young Family Song\u003c/b> isn’t a rap album, and it certainly hasn’t been Chopped and Screwed, but San Francisco’s Last of the Blacksmiths filter their folk-rock through a slowed-down approach that similarly maximizes the impact of every detail. The album is the group’s second, following a 2005 self-titled debut which drew numerous favorable reviews comparing them to artists like Son Volt and The Band, from whose \u003cb>Cahoots\u003c/b> album the Blacksmiths draw their name. Beyond the nominal connection, LotB share their predecessors’ love for warm multi-part harmonies and an inclination toward genre-melding jams that incorporate elements of Americana, country, blues and R&B for a sound that feels equally recognizable and unique.\u003c/p>\n\u003cp>Utilizing a diverse arsenal of styles and sounds, the Blacksmiths build and deconstruct some seriously hypnotic grooves. The first song, “Autumn Vacation,” alone has three distinct movements: a lonely piano-backed introduction, which morphs into a slowcore-touched rock ballad, and then into a horn-punctuated swell. Others aren’t quite as structurally ambitious, but their moments work just as well, like the beautiful guitar solo that closes “The Records,” or the evolving interplay between guitar and organ throughout “Beard Tongues.” Things remain pretty stripped-down throughout, but the Blacksmiths have the skill to make each subtle shift matter.\u003c/p>\n\u003cp>While the music is moody, the alternating feelings of mournful and wistful reflection that pervade are driven by the lyrics, through which the band looks back on once-loved records and once-loved lovers with an eye for fragmentary moments and details. The vocals weave in and out of the music, sometimes lost in the sound, or soaring through some beautiful, fragile harmonies. On “Giving Up,” perhaps the album’s most fully realized distillation of R&B mixed with droning rock, the singer’s caution that he’s not giving up on his lost love floats vulnerably above the thick bass and organ tones that cement the mood.\u003c/p>\n\u003cp>There are a number of hummable and more immediately accessible moments on this album too, but I think it’s best to give \u003cb>Young Family Song\u003c/b> a close listen and just get lost in it, as every spin seems to reveal new details to enjoy. That might be too heavy a burden if you’re just looking for some background music, but there’s a real joy to continuing to unfold new layers from this album, and I don’t expect to have it fully figured out any time soon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last of the Blacksmiths will be performing on Thursday, July 3, 2008 at \u003ca href=\"http://www.12galaxies.com/\" target=\"offsite\" rel=\"noopener\">12 Galaxies\u003c/a> alongside Raleigh band \u003ca href=\"http://www.myspace.com/megafaun\" target=\"offsite\" rel=\"noopener\">Megafaun\u003c/a> and an artist to be announced. To purchase \u003ca href=\"http://12galaxies.inticketing.com/evinfo.php?eventid=26063\">advance tickets\u003c/a> visit 12galaxies.inticketing.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben van Houten is Content Editor for \u003ca href=\"http://www.thebaybridged.com/\" target=\"offsite\" rel=\"noopener\">TheBayBridged.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the mid-1990s, a Houston DJ named DJ Screw gained widespread attention for pioneering a unique style of remixing known as “Chopped and Screwed,” in which he would use a turntable to shift an existing rap or R&B song’s pitch significantly downward and drastically slow its tempo. While the pitch adjustment added an unsettling and occasionally menacing effect, the slowed tempos provided an exaggerated abundance of room for the songs to breathe, and sounds or lyrics previously obscured in the mix were unveiled to listeners under the screwed-up microscope. When it worked, it could be moving or downright revelatory.\u003c/p>\n\u003cp>\u003cb>Young Family Song\u003c/b> isn’t a rap album, and it certainly hasn’t been Chopped and Screwed, but San Francisco’s Last of the Blacksmiths filter their folk-rock through a slowed-down approach that similarly maximizes the impact of every detail. The album is the group’s second, following a 2005 self-titled debut which drew numerous favorable reviews comparing them to artists like Son Volt and The Band, from whose \u003cb>Cahoots\u003c/b> album the Blacksmiths draw their name. Beyond the nominal connection, LotB share their predecessors’ love for warm multi-part harmonies and an inclination toward genre-melding jams that incorporate elements of Americana, country, blues and R&B for a sound that feels equally recognizable and unique.\u003c/p>\n\u003cp>Utilizing a diverse arsenal of styles and sounds, the Blacksmiths build and deconstruct some seriously hypnotic grooves. The first song, “Autumn Vacation,” alone has three distinct movements: a lonely piano-backed introduction, which morphs into a slowcore-touched rock ballad, and then into a horn-punctuated swell. Others aren’t quite as structurally ambitious, but their moments work just as well, like the beautiful guitar solo that closes “The Records,” or the evolving interplay between guitar and organ throughout “Beard Tongues.” Things remain pretty stripped-down throughout, but the Blacksmiths have the skill to make each subtle shift matter.\u003c/p>\n\u003cp>While the music is moody, the alternating feelings of mournful and wistful reflection that pervade are driven by the lyrics, through which the band looks back on once-loved records and once-loved lovers with an eye for fragmentary moments and details. The vocals weave in and out of the music, sometimes lost in the sound, or soaring through some beautiful, fragile harmonies. On “Giving Up,” perhaps the album’s most fully realized distillation of R&B mixed with droning rock, the singer’s caution that he’s not giving up on his lost love floats vulnerably above the thick bass and organ tones that cement the mood.\u003c/p>\n\u003cp>There are a number of hummable and more immediately accessible moments on this album too, but I think it’s best to give \u003cb>Young Family Song\u003c/b> a close listen and just get lost in it, as every spin seems to reveal new details to enjoy. That might be too heavy a burden if you’re just looking for some background music, but there’s a real joy to continuing to unfold new layers from this album, and I don’t expect to have it fully figured out any time soon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last of the Blacksmiths will be performing on Thursday, July 3, 2008 at \u003ca href=\"http://www.12galaxies.com/\" target=\"offsite\" rel=\"noopener\">12 Galaxies\u003c/a> alongside Raleigh band \u003ca href=\"http://www.myspace.com/megafaun\" target=\"offsite\" rel=\"noopener\">Megafaun\u003c/a> and an artist to be announced. To purchase \u003ca href=\"http://12galaxies.inticketing.com/evinfo.php?eventid=26063\">advance tickets\u003c/a> visit 12galaxies.inticketing.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben van Houten is Content Editor for \u003ca href=\"http://www.thebaybridged.com/\" target=\"offsite\" rel=\"noopener\">TheBayBridged.com\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>So much of listening to music is about context. The same tune can sound completely different depending on where, when, and how you hear it. Equally, there is some music for which such petty considerations fade, music so ubiquitous it’s virtually timeless and placeless.\u003c/p>\n\u003cp>For example, I can’t remember the first time I heard a Bob Dylan record. His music seems to have always just been there, to exist on a higher plane, untouched by mere day-to-day circumstance. Which is not to say that context has disappeared entirely, just that it takes some major shift to make music like this seem new, to let you hear it with fresh ears.\u003c/p>\n\u003cp>Luckily, it turns out that moving from Britain to the United States has given me exactly that kind of jolt. Since arriving in San Francisco just over a year ago, I’ve been given a whole new perspective on the American music I once heard from afar, particularly artists such as Dylan whose music is steeped in the history of the place.\u003c/p>\n\u003cp>What was once vague and distant, like a half-remembered story from my youth, has been reinvented as something rooted in a specific place, much more real, concrete, and suddenly relevant.\u003c/p>\n\u003cp>Which got me to thinking, what precisely is Americana? It is a hard concept to pin down. But that’s also one of the things that makes American music so fascinating, as these three recent albums demonstrate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.lauracantrell.com/\" target=\"offsite\" rel=\"noopener\">Laura Cantrell\u003c/a>: \u003cb>Planes And Boats And Trains\u003c/b>\u003c/p>\n\u003cp>Nashville-born New Yorker Cantrell pulls off the remarkable trick of reminding us what’s great about country music while simultaneously helping us forget all that’s bad about most of its modern incarnations. Better still, she steers us on this path with such an easy grace that you almost don’t realize it’s happening.\u003c/p>\n\u003cp>Her latest download-only album of covers is based around the theme of travel, so it was fitting to first hear it while driving through the countryside around Tahoe. In a place like that, Cantrell’s elegant, bewitching voice singing “The legend lives on from the Chippewa on down / Of the big lake they call Gitche Gumee” makes perfect sense. The effect is, like the landscape in that part of Northern California, both delightful and dramatic.\u003c/p>\n\u003cp>The songs are drawn from disparate sources, ranging from the predictable (folk legend Gordon Lightfoot’s “Wreck Of The Edmund Fitzgerald,” quoted above), to the unexpected (a haunting version of New Order’s “Love Vigilantes”). But none seem odd or forced, including the title track, a perfectly weighted take on the Bacharach and David song, which brings out its delicate emotion without ever turning saccharine.\u003c/p>\n\u003cp>\u003cb>Trains and Boats and Planes\u003c/b> is available for download from iTunes, Amazon, and eMusic.\u003c/p>\n\u003cp>\u003ca href=\"http://www.blindwillies.net/\" target=\"offsite\" rel=\"noopener\">Blind Willies\u003c/a>: \u003cb>Everybody’s Looking For A Meal\u003c/b>\u003c/p>\n\u003cp>Imagine the White Stripes driven by the fevered folk of Leadbelly and Woody Guthrie, and you might get some idea of where the Blind Willies are coming from. Duo Annie Staninec and Alexei Wajchman have brought a punky attitude to bear on songs whose templates have long histories.\u003c/p>\n\u003cp>Alexei’s voice drawls and snarls over agitated guitar, while Annie’s fiddle playing gives the music it’s whirling, devilish heart. Like Meg and Jack before them, they combine to create a sound bigger than the mere sum of their parts. High points include the rich, sneering sarcasm of “Mom Says No,” the bluesy, Jagger-esque swagger of “Shark Out of Water,” and the dark gypsy sorcery of “Sinners Medley.” \u003c/p>\n\u003cp>The line between the past and present is muddied in the melée: You can as easily imagine “If You Was a Good Pimp” being penned in a dingy prohibition-era juke joint as by Snoop Dogg. It’s this sound, of traditional music being seized by musicians with new, fiercely held ideas of their own, that makes this album so invigorating.\u003c/p>\n\u003cp>\u003cb>Everybody’s Looking for a Meal\u003c/b> is out now on \u003ca href=\"http://www.blindwillies.net/store.html\" target=\"offsite\" rel=\"noopener\">Diggory Records\u003c/a>. Blind Willies are currently touring the western states, with details available \u003ca href=\"http://www.blindwillies.net/gigsandnews.html\" target=\"offsite\" rel=\"noopener\">on their website\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.boniver.org/\" target=\"offsite\" rel=\"noopener\">Bon Iver\u003c/a>: \u003cb>For Emma, Forever Ago\u003c/b>\u003c/p>\n\u003cp>Bon Iver started building a steady snowstorm of praise for their debut album even before it was released early this year. However, despite the presence of some twanging banjo, it isn’t exactly typical Americana. It sounds more like a downtempo, acoustic version of a \u003ca href=\"http://www.tvontheradio.com/\" target=\"offsite\" rel=\"noopener\">TV on the Radio\u003c/a> album, if you can imagine such a thing. There are modern rhythms (the subtle, insistent electronic thump that drives “Lump Sum”); unusual arrangements (“The Wolves Acts I & II,” which starts with a simple strumming guitar, but ends up tripping and clattering in all sorts of directions); and, all the while, multitracked falsetto vocals that reach for notes and emotions far beyond the typical range.\u003c/p>\n\u003cp>Despite all this, it’s also unmistakeably American and rural; it is Americana in the simple sense that it couldn’t have been recorded anywhere else. The album is the result of three months Justin Vernon, the band’s creative force, spent writing and recording in a cabin during the remote desolation of a Wisconsin winter. It is no surprise, then, that it is filled with isolated longing and space, as well as a wonderful, raw honesty on tracks such as “Skinny Love” and “Creature Fear.” It is an album to treasure, wherever you are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>For Emma, Forever Ago\u003c/b> is out now on \u003ca href=\"http://www.jagjaguwar.com/\" target=\"offsite\" rel=\"noopener\">Jagjaguwar\u003c/a>. Bon Iver play the \u003ca href=\"http://www.sfoutsidelands.com/\" target=\"offsite\" rel=\"noopener\">Outside Lands\u003c/a> festival in San Francisco’s Golden Gate Park on 24 August.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So much of listening to music is about context. The same tune can sound completely different depending on where, when, and how you hear it. Equally, there is some music for which such petty considerations fade, music so ubiquitous it’s virtually timeless and placeless.\u003c/p>\n\u003cp>For example, I can’t remember the first time I heard a Bob Dylan record. His music seems to have always just been there, to exist on a higher plane, untouched by mere day-to-day circumstance. Which is not to say that context has disappeared entirely, just that it takes some major shift to make music like this seem new, to let you hear it with fresh ears.\u003c/p>\n\u003cp>Luckily, it turns out that moving from Britain to the United States has given me exactly that kind of jolt. Since arriving in San Francisco just over a year ago, I’ve been given a whole new perspective on the American music I once heard from afar, particularly artists such as Dylan whose music is steeped in the history of the place.\u003c/p>\n\u003cp>What was once vague and distant, like a half-remembered story from my youth, has been reinvented as something rooted in a specific place, much more real, concrete, and suddenly relevant.\u003c/p>\n\u003cp>Which got me to thinking, what precisely is Americana? It is a hard concept to pin down. But that’s also one of the things that makes American music so fascinating, as these three recent albums demonstrate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.lauracantrell.com/\" target=\"offsite\" rel=\"noopener\">Laura Cantrell\u003c/a>: \u003cb>Planes And Boats And Trains\u003c/b>\u003c/p>\n\u003cp>Nashville-born New Yorker Cantrell pulls off the remarkable trick of reminding us what’s great about country music while simultaneously helping us forget all that’s bad about most of its modern incarnations. Better still, she steers us on this path with such an easy grace that you almost don’t realize it’s happening.\u003c/p>\n\u003cp>Her latest download-only album of covers is based around the theme of travel, so it was fitting to first hear it while driving through the countryside around Tahoe. In a place like that, Cantrell’s elegant, bewitching voice singing “The legend lives on from the Chippewa on down / Of the big lake they call Gitche Gumee” makes perfect sense. The effect is, like the landscape in that part of Northern California, both delightful and dramatic.\u003c/p>\n\u003cp>The songs are drawn from disparate sources, ranging from the predictable (folk legend Gordon Lightfoot’s “Wreck Of The Edmund Fitzgerald,” quoted above), to the unexpected (a haunting version of New Order’s “Love Vigilantes”). But none seem odd or forced, including the title track, a perfectly weighted take on the Bacharach and David song, which brings out its delicate emotion without ever turning saccharine.\u003c/p>\n\u003cp>\u003cb>Trains and Boats and Planes\u003c/b> is available for download from iTunes, Amazon, and eMusic.\u003c/p>\n\u003cp>\u003ca href=\"http://www.blindwillies.net/\" target=\"offsite\" rel=\"noopener\">Blind Willies\u003c/a>: \u003cb>Everybody’s Looking For A Meal\u003c/b>\u003c/p>\n\u003cp>Imagine the White Stripes driven by the fevered folk of Leadbelly and Woody Guthrie, and you might get some idea of where the Blind Willies are coming from. Duo Annie Staninec and Alexei Wajchman have brought a punky attitude to bear on songs whose templates have long histories.\u003c/p>\n\u003cp>Alexei’s voice drawls and snarls over agitated guitar, while Annie’s fiddle playing gives the music it’s whirling, devilish heart. Like Meg and Jack before them, they combine to create a sound bigger than the mere sum of their parts. High points include the rich, sneering sarcasm of “Mom Says No,” the bluesy, Jagger-esque swagger of “Shark Out of Water,” and the dark gypsy sorcery of “Sinners Medley.” \u003c/p>\n\u003cp>The line between the past and present is muddied in the melée: You can as easily imagine “If You Was a Good Pimp” being penned in a dingy prohibition-era juke joint as by Snoop Dogg. It’s this sound, of traditional music being seized by musicians with new, fiercely held ideas of their own, that makes this album so invigorating.\u003c/p>\n\u003cp>\u003cb>Everybody’s Looking for a Meal\u003c/b> is out now on \u003ca href=\"http://www.blindwillies.net/store.html\" target=\"offsite\" rel=\"noopener\">Diggory Records\u003c/a>. Blind Willies are currently touring the western states, with details available \u003ca href=\"http://www.blindwillies.net/gigsandnews.html\" target=\"offsite\" rel=\"noopener\">on their website\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.boniver.org/\" target=\"offsite\" rel=\"noopener\">Bon Iver\u003c/a>: \u003cb>For Emma, Forever Ago\u003c/b>\u003c/p>\n\u003cp>Bon Iver started building a steady snowstorm of praise for their debut album even before it was released early this year. However, despite the presence of some twanging banjo, it isn’t exactly typical Americana. It sounds more like a downtempo, acoustic version of a \u003ca href=\"http://www.tvontheradio.com/\" target=\"offsite\" rel=\"noopener\">TV on the Radio\u003c/a> album, if you can imagine such a thing. There are modern rhythms (the subtle, insistent electronic thump that drives “Lump Sum”); unusual arrangements (“The Wolves Acts I & II,” which starts with a simple strumming guitar, but ends up tripping and clattering in all sorts of directions); and, all the while, multitracked falsetto vocals that reach for notes and emotions far beyond the typical range.\u003c/p>\n\u003cp>Despite all this, it’s also unmistakeably American and rural; it is Americana in the simple sense that it couldn’t have been recorded anywhere else. The album is the result of three months Justin Vernon, the band’s creative force, spent writing and recording in a cabin during the remote desolation of a Wisconsin winter. It is no surprise, then, that it is filled with isolated longing and space, as well as a wonderful, raw honesty on tracks such as “Skinny Love” and “Creature Fear.” It is an album to treasure, wherever you are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>For Emma, Forever Ago\u003c/b> is out now on \u003ca href=\"http://www.jagjaguwar.com/\" target=\"offsite\" rel=\"noopener\">Jagjaguwar\u003c/a>. Bon Iver play the \u003ca href=\"http://www.sfoutsidelands.com/\" target=\"offsite\" rel=\"noopener\">Outside Lands\u003c/a> festival in San Francisco’s Golden Gate Park on 24 August.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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