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"content": "\u003cp>Opera lovers have long wondered about the fuss over Tolkien’s \u003cb>The Lord of the Rings\u003c/b>. Almost a century earlier, Richard Wagner wrote four epic operas in which he told the story of a golden ring that grants great power, but corrupts all who wear it.\u003c/p>\n\u003cp>Now audiences in San Francisco can see if Francesca Zambello’s American-themed \u003cb>Ring of the Nibelung\u003c/b> is worth all the fuss.\u003c/p>\n\u003cp>On Tuesday, the San Francisco Opera premiered Zambello’s first installment, \u003cb>Das Rheingold\u003c/b>, part one of the four-part cycle. The singing was mostly wonderful, but it’s not clear yet, whether Zambello can meld American themes to Wagner’s version of Norse and Germanic myth.\u003c/p>\n\u003cp>Some ideas connect brilliantly. The dwarf Alberich, the Nibelung, comes on stage dressed like a California 49er, toting a pan and pickaxe. The three Rhinemaidens wear girdles and bloomers, like dance hall girls, as they guard their golden hoard in a landscape that seems equal parts Ansel Adams and Albert Bierstadt. Later Alberich guards his treasure at the bottom of a mine, cracking his whip to drive a crew of child miners.\u003c/p>\n\u003cp>Wotan, chief of the gods, dresses like an industrial magnate, in an office that seems vaguely Art Deco, though the spear seems an odd touch for the boardroom. He’s willing to sacrifice his sister-in-law, Freia, and his honor, if he can trick the giants into building his fortress Valhalla (or are they laying the foundations for an American empire?). The giants (and they really are giants — great costumes by Catherine Zuber) are ironworkers. They make their entrance seated on a steel I-beam, descending from a sky filled with cranes and girders. But Freia’s brothers, Donner and Froh, come off as idle playboys, bearing croquet mallets. They’re more Oscar Wilde than Sinclair Lewis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And it’s not clear what Roger Hartley, the production designer, has in mind when he projects a planetarium slideshow on a scrim during Wagner’s long, darkly lush overture. I loved the shot of Saturn and its rings, but I’m baffled at how it serves Zambello’s American theme. Projections of boiling clouds and trippy light shows follow during scene changes to equally spectacular but puzzling effect.\u003c/p>\n\u003cp>Still, if the metaphor doesn’t hang together, the opera cooks along, despite its two hour 35 minute running time, without intermission (as tradition demands). Give lots of credit for that to Zambello’s smart direction and the cast’s fine performances.\u003c/p>\n\u003cp>Baritone Richard Paul Fink steals the show as Alberich, combining potent singing with a brilliant physical perfomance that must be exhausting. Tenor Stefan Margita sings the part of Loge with effortless command of the stage. He plays the trickster god as a political fixer with oily assurance.\u003c/p>\n\u003cp>Jennifer Larmore brings a silky tone to the role of Fricka, Wotan’s wife.\u003c/p>\n\u003cp>Catherine Cangiano, Lauren McNeese and Buffy Baggott (all making their San Francisco Opera debut) are a very sexy trio as the Rhinemaidens, teasing Alberich with their lusty promises.\u003c/p>\n\u003cp>Baritone and former Adler fellow, Mark Delavan, seemed stiff and unsure in his debut in the central role of Wotan. But he hits all his notes, and may relax into the part for future performances.\u003c/p>\n\u003cp>Conductor Donald Runnicles holds it all together from the pit, never flagging despite the heavy lifting demanded by Wagner’s rich score.\u003c/p>\n\u003cp>Maybe Zambello will clarify her American themes as the \u003cb>Ring\u003c/b> cycle continues. The company presents \u003cb>Die Walkuere\u003c/b> (or Walküre) in 2010, and the entire cycle in 2011. \u003cb>Das Rheingold\u003c/b>‘s final scene presents Wotan and the other gods climbing the rainbow bridge to their fortress in Valhalla. The bridge, however, looks more like the gangplank of a ship. If Zambello can’t make this work, we may remember the scene as the gods boarding the Titanic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Das Rheingold\u003c/b> runs through June 28, 2008 at the San Francisco Opera. For \u003ca href=\"http://sfopera.com/opera.asp?o=258\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit sfopera.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera lovers have long wondered about the fuss over Tolkien’s \u003cb>The Lord of the Rings\u003c/b>. Almost a century earlier, Richard Wagner wrote four epic operas in which he told the story of a golden ring that grants great power, but corrupts all who wear it.\u003c/p>\n\u003cp>Now audiences in San Francisco can see if Francesca Zambello’s American-themed \u003cb>Ring of the Nibelung\u003c/b> is worth all the fuss.\u003c/p>\n\u003cp>On Tuesday, the San Francisco Opera premiered Zambello’s first installment, \u003cb>Das Rheingold\u003c/b>, part one of the four-part cycle. The singing was mostly wonderful, but it’s not clear yet, whether Zambello can meld American themes to Wagner’s version of Norse and Germanic myth.\u003c/p>\n\u003cp>Some ideas connect brilliantly. The dwarf Alberich, the Nibelung, comes on stage dressed like a California 49er, toting a pan and pickaxe. The three Rhinemaidens wear girdles and bloomers, like dance hall girls, as they guard their golden hoard in a landscape that seems equal parts Ansel Adams and Albert Bierstadt. Later Alberich guards his treasure at the bottom of a mine, cracking his whip to drive a crew of child miners.\u003c/p>\n\u003cp>Wotan, chief of the gods, dresses like an industrial magnate, in an office that seems vaguely Art Deco, though the spear seems an odd touch for the boardroom. He’s willing to sacrifice his sister-in-law, Freia, and his honor, if he can trick the giants into building his fortress Valhalla (or are they laying the foundations for an American empire?). The giants (and they really are giants — great costumes by Catherine Zuber) are ironworkers. They make their entrance seated on a steel I-beam, descending from a sky filled with cranes and girders. But Freia’s brothers, Donner and Froh, come off as idle playboys, bearing croquet mallets. They’re more Oscar Wilde than Sinclair Lewis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it’s not clear what Roger Hartley, the production designer, has in mind when he projects a planetarium slideshow on a scrim during Wagner’s long, darkly lush overture. I loved the shot of Saturn and its rings, but I’m baffled at how it serves Zambello’s American theme. Projections of boiling clouds and trippy light shows follow during scene changes to equally spectacular but puzzling effect.\u003c/p>\n\u003cp>Still, if the metaphor doesn’t hang together, the opera cooks along, despite its two hour 35 minute running time, without intermission (as tradition demands). Give lots of credit for that to Zambello’s smart direction and the cast’s fine performances.\u003c/p>\n\u003cp>Baritone Richard Paul Fink steals the show as Alberich, combining potent singing with a brilliant physical perfomance that must be exhausting. Tenor Stefan Margita sings the part of Loge with effortless command of the stage. He plays the trickster god as a political fixer with oily assurance.\u003c/p>\n\u003cp>Jennifer Larmore brings a silky tone to the role of Fricka, Wotan’s wife.\u003c/p>\n\u003cp>Catherine Cangiano, Lauren McNeese and Buffy Baggott (all making their San Francisco Opera debut) are a very sexy trio as the Rhinemaidens, teasing Alberich with their lusty promises.\u003c/p>\n\u003cp>Baritone and former Adler fellow, Mark Delavan, seemed stiff and unsure in his debut in the central role of Wotan. But he hits all his notes, and may relax into the part for future performances.\u003c/p>\n\u003cp>Conductor Donald Runnicles holds it all together from the pit, never flagging despite the heavy lifting demanded by Wagner’s rich score.\u003c/p>\n\u003cp>Maybe Zambello will clarify her American themes as the \u003cb>Ring\u003c/b> cycle continues. The company presents \u003cb>Die Walkuere\u003c/b> (or Walküre) in 2010, and the entire cycle in 2011. \u003cb>Das Rheingold\u003c/b>‘s final scene presents Wotan and the other gods climbing the rainbow bridge to their fortress in Valhalla. The bridge, however, looks more like the gangplank of a ship. If Zambello can’t make this work, we may remember the scene as the gods boarding the Titanic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Das Rheingold\u003c/b> runs through June 28, 2008 at the San Francisco Opera. For \u003ca href=\"http://sfopera.com/opera.asp?o=258\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit sfopera.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.theaccidental.co.uk/\" target=\"offsite\" rel=\"noopener\">The Accidental\u003c/a>‘s debut album \u003cb>There Were Wolves\u003c/b> is notably lacking in the volume department. Where others might shout and scream, it speaks in understated acoustic whispers. But listen carefully and you will discover a quiet delight, full of hushed beauty, playful surprises, wide-eyed optimism, and dark menace. In the end, its muted tones amplify rather than muffle its impact.\u003c/p>\n\u003cp>The sort-of title track “Wolves” unfolds like a fairytale, using images of innocence to conjur the story of a night out clubbing in some anonymous town. A girl “dancing in a neon cave with a tilted smile and a lover’s laugh” is surrounded by wolves who “can smell the blood on the summer air.” Then, from this forest of metaphor, we circle back to the real world with lyrics that find beauty in the everyday, as the wolves “drink beer from plastic glasses til they find the way to make the first move.”\u003c/p>\n\u003cp>These contradictions, of strong emotions quietly stated, of light and dark, of traditional fable in a modern setting, are just a few of many wrapped up in this release. For example, The Accidental are a British alt-folk supergroup of sorts, but one formed of individuals lurking so far under the radar that the term seems amusingly inappropriate. (For the record, they are: Hannah Caughlin/\u003ca href=\"http://www.myspace.com/thebicyclethieves\" target=\"offsite\" rel=\"noopener\">The Bicycle Thieves\u003c/a>, solo singer/songwriter \u003ca href=\"http://www.myspace.com/liambaileyuk\" target=\"offsite\" rel=\"noopener\">Liam Bailey\u003c/a>, Sam Genders/\u003ca href=\"http://www.tunng.co.uk/\" target=\"offsite\" rel=\"noopener\">Tunng\u003c/a>, and Stephen Cracknell/\u003ca href=\"http://www.thememoryband.com/\" target=\"offsite\" rel=\"noopener\">The Memory Band\u003c/a>. Apologies to any of their lifelong fans.)\u003c/p>\n\u003cp>In the right hands, such mismatches and inconsistencies become happy coincidences. The album came together largely by accident (hence the band’s name) but despite this unplanned conception, and the fact that writing and performing duties switch throughout, the end result is cohesive in tone and structure rather than fractured or rambling as you might expect.\u003c/p>\n\u003cp>And then there are the songs themselves, based on English folk traditions in structure and instrumentation, but recorded with liberal use of subtle loops and samples, most notably on the circular vocals of album opener “Knock Knock” and the quietly insistent rhthym and backing that creeps slowly into the excellent “Illuminated Red.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But then, just as modern production techniques and lyrics that talk of “the clock radio by the bed” or “the lights on the stereo” threaten to drag you into the urban now, suddenly birdsong trills in the background of “Jaw of the Whale,” pulling you instead towards some rural idyll of yesterday. It is a reminder that the whole thing was recorded in the relaxed setting of someone’s living room (albeit on a laptop), and that there are no easy pigeonholes here.\u003c/p>\n\u003cp>And, so, quietly, definitely, inexorably, the album takes you deeper into a world that, despite its contradictions, is fully formed and unique, one that could only be made by The Accidental. As they sing themselves on “Time and Space,” the album closer, “To your own self be true.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>There Were Wolves\u003c/b> is released June 3 on \u003ca href=\"http://www.thrilljockey.com/\" target=\"offsite\" rel=\"noopener\">Thrill Jockey\u003c/a>.\u003c/p>\n\n",
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"excerpt": "\u003ca href=\"http://www.theaccidental.co.uk/\" target=\"offsite\" rel=\"noopener\">The Accidental\u003c/a>'s debut album \u003cb>There Were Wolves\u003c/b> is notably lacking in the volume department. Where others might shout and scream, it speaks in understated acoustic whispers. But listen carefully and you will discover a quiet delight, full of hushed beauty, playful surprises, wide-eyed optimism, and dark menace. In the end, its muted tones amplify rather than muffle its impact.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.theaccidental.co.uk/\" target=\"offsite\" rel=\"noopener\">The Accidental\u003c/a>‘s debut album \u003cb>There Were Wolves\u003c/b> is notably lacking in the volume department. Where others might shout and scream, it speaks in understated acoustic whispers. But listen carefully and you will discover a quiet delight, full of hushed beauty, playful surprises, wide-eyed optimism, and dark menace. In the end, its muted tones amplify rather than muffle its impact.\u003c/p>\n\u003cp>The sort-of title track “Wolves” unfolds like a fairytale, using images of innocence to conjur the story of a night out clubbing in some anonymous town. A girl “dancing in a neon cave with a tilted smile and a lover’s laugh” is surrounded by wolves who “can smell the blood on the summer air.” Then, from this forest of metaphor, we circle back to the real world with lyrics that find beauty in the everyday, as the wolves “drink beer from plastic glasses til they find the way to make the first move.”\u003c/p>\n\u003cp>These contradictions, of strong emotions quietly stated, of light and dark, of traditional fable in a modern setting, are just a few of many wrapped up in this release. For example, The Accidental are a British alt-folk supergroup of sorts, but one formed of individuals lurking so far under the radar that the term seems amusingly inappropriate. (For the record, they are: Hannah Caughlin/\u003ca href=\"http://www.myspace.com/thebicyclethieves\" target=\"offsite\" rel=\"noopener\">The Bicycle Thieves\u003c/a>, solo singer/songwriter \u003ca href=\"http://www.myspace.com/liambaileyuk\" target=\"offsite\" rel=\"noopener\">Liam Bailey\u003c/a>, Sam Genders/\u003ca href=\"http://www.tunng.co.uk/\" target=\"offsite\" rel=\"noopener\">Tunng\u003c/a>, and Stephen Cracknell/\u003ca href=\"http://www.thememoryband.com/\" target=\"offsite\" rel=\"noopener\">The Memory Band\u003c/a>. Apologies to any of their lifelong fans.)\u003c/p>\n\u003cp>In the right hands, such mismatches and inconsistencies become happy coincidences. The album came together largely by accident (hence the band’s name) but despite this unplanned conception, and the fact that writing and performing duties switch throughout, the end result is cohesive in tone and structure rather than fractured or rambling as you might expect.\u003c/p>\n\u003cp>And then there are the songs themselves, based on English folk traditions in structure and instrumentation, but recorded with liberal use of subtle loops and samples, most notably on the circular vocals of album opener “Knock Knock” and the quietly insistent rhthym and backing that creeps slowly into the excellent “Illuminated Red.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But then, just as modern production techniques and lyrics that talk of “the clock radio by the bed” or “the lights on the stereo” threaten to drag you into the urban now, suddenly birdsong trills in the background of “Jaw of the Whale,” pulling you instead towards some rural idyll of yesterday. It is a reminder that the whole thing was recorded in the relaxed setting of someone’s living room (albeit on a laptop), and that there are no easy pigeonholes here.\u003c/p>\n\u003cp>And, so, quietly, definitely, inexorably, the album takes you deeper into a world that, despite its contradictions, is fully formed and unique, one that could only be made by The Accidental. As they sing themselves on “Time and Space,” the album closer, “To your own self be true.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>There Were Wolves\u003c/b> is released June 3 on \u003ca href=\"http://www.thrilljockey.com/\" target=\"offsite\" rel=\"noopener\">Thrill Jockey\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Revivalism is an essential component of creating a cultural body of work that spans generations. In the arts, originality is usually crowned king, but reviving and celebrating previous artists might be just as important. Without being influenced by older generations, there would be no canon, no tradition, no common thread tugging artists together into a geist-ridden heap. Which brings me to Cluster. With nearly 40 years of albums behind them, Cluster is a German experimental band without a cohesive sound, but instead a wide-ranging sonic landscape defined as avante-garde and inaccessible to many. But in the pantheon of krautrockers, Cluster is a bright star in its firmament, a group of sonic experimenters whose influence on modern music is being recognized as they kick off a California tour. You can check them out tonight, Friday, May 23, 2008 in Big Sur, Saturday, May 24, in Santa Cruz or Sunday, May 25 at the Great American Music Hall in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Cluster got their start at the \u003ca href=\"http://en.wikipedia.org/wiki/Zodiak_Free_Arts_Lab\" target=\"offsite\" rel=\"noopener\">Zodiak Free Arts Lab\u003c/a> in West Berlin in 1969, an experimental live music venue and art collective that lasted only a few months, but played an important role in developing the spacey German sound of krautrock, sometimes called \u003ci>Kosmische Musik\u003c/i>. Dieter Moebius, Hans-Joachim Roedelius and Conrad Schnitzler emerged from the collective as Kluster and went on to release three albums before Schnitzler left the group and the duo re-formed as Cluster. As a trio, the group was highly improvisational with live performances that involved everything from synthesizers to alarm clocks and kitchen utensils. As a duo, Cluster went on to a lengthy career recording albums into the late 1990s that experiment with feedback, ambient sounds, and atmospherics.\u003c/p>\n\u003cp>I got a chance to listen to the 3-CD box set \u003cb>Kluster: 1970-1971\u003c/b>, a compilation of some of Kluster’s earliest works (out this week from the San Francisco-based \u003ca href=\"http://www.runtdistribution.com/water.html\" target=\"offsite\" rel=\"noopener\">Water label\u003c/a>), which was recorded by the band’s first line-up, when Kluster was still spelled with a “K.”\u003c/p>\n\u003cp>I also checked out \u003cb>Cluster 71\u003c/b>, the first recording by the band’s second incarnation. Composed of three tracks named for their lengths, \u003cb>Cluster 71\u003c/b> is a series of aural investigations that feature pulsing synths, drones, and feedback. Sometimes lulling you into a peaceful reverie, sometimes escalating into more urgent sequences with rapid percussive tempos or massively-distorted unease, the album is a feast of German proto-industrial noise that wouldn’t be unusual to find in any modern experimental music venue, like \u003ca href=\"http://www.myspace.com/recombinantmedialabs\" target=\"offsite\" rel=\"noopener\">Recombinant Media Labs\u003c/a> here in San Francisco. The album was the first major label release for Cluster, and forms a distinct phase in their musical evolution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Recorded in just two days in 1976, \u003cb>Sowiesoso\u003c/b> features Cluster in a very different place, a much more peaceful, almost orchestral frame of mind. A tinny and twangy tone runs through the album, which features songs with more traditionally song-like qualities, including harmonious chords and recognizable string parts. There is even a tribal and slightly bluesy track called “Umleitung” that features chanting and shouting in combination with a driving beat and even a little cowbell for a more organic feel. It is fitting that “Umleitung” means “re-direction” or “detour” in German, as the entire album is a conceptual departure for Cluster. Brian Eno had worked with Moebius and Roedelius on a different project prior to the recording of \u003cb>Sowiesoso\u003c/b>, and his influence here is evident.\u003c/p>\n\u003cp>The final album in the compilation is \u003cb>Cluster & Eno\u003c/b>, which features Eno’s instantly obvious handprints all over it. An echoey, repeating piano opens the album in fine Eno fashion, eventually giving way to the more somber synth and guitar duet of “Steinsame.” Strongly ambient in quality, \u003cb>Cluster & Eno\u003c/b> continues Cluster’s migration towards a more melodic and accessible direction. The tracks are shorter and more thematically contained, with the final track “Für Luise” one of the standouts. Cluster’s experiments in ambient music continued through the ’90s, ending only when the band took a ten-year hiatus in 1997.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cluster’s upcoming tour is an obvious don’t-miss chance to see the krautrockers in person, performing in their customary improvisational fashion. The 4-date west coast tour on Memorial Day Weekend features shows that are custom curated with a mix of openers, DJs, VJs, apparel artists and great venues (including the legendary Henry Miller library in Big Sur). San Francisco’s turn is on May 25th at the Great American Music Hall with openers Tussle (SF) and White Rainbow (PDX). For \u003ca href=\"http://www.donutsparty.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit donutsparty.com. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Revivalism is an essential component of creating a cultural body of work that spans generations. In the arts, originality is usually crowned king, but reviving and celebrating previous artists might be just as important. Without being influenced by older generations, there would be no canon, no tradition, no common thread tugging artists together into a geist-ridden heap. Which brings me to Cluster. With nearly 40 years of albums behind them, Cluster is a German experimental band without a cohesive sound, but instead a wide-ranging sonic landscape defined as avante-garde and inaccessible to many. But in the pantheon of krautrockers, Cluster is a bright star in its firmament, a group of sonic experimenters whose influence on modern music is being recognized as they kick off a California tour. You can check them out tonight, Friday, May 23, 2008 in Big Sur, Saturday, May 24, in Santa Cruz or Sunday, May 25 at the Great American Music Hall in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Cluster got their start at the \u003ca href=\"http://en.wikipedia.org/wiki/Zodiak_Free_Arts_Lab\" target=\"offsite\" rel=\"noopener\">Zodiak Free Arts Lab\u003c/a> in West Berlin in 1969, an experimental live music venue and art collective that lasted only a few months, but played an important role in developing the spacey German sound of krautrock, sometimes called \u003ci>Kosmische Musik\u003c/i>. Dieter Moebius, Hans-Joachim Roedelius and Conrad Schnitzler emerged from the collective as Kluster and went on to release three albums before Schnitzler left the group and the duo re-formed as Cluster. As a trio, the group was highly improvisational with live performances that involved everything from synthesizers to alarm clocks and kitchen utensils. As a duo, Cluster went on to a lengthy career recording albums into the late 1990s that experiment with feedback, ambient sounds, and atmospherics.\u003c/p>\n\u003cp>I got a chance to listen to the 3-CD box set \u003cb>Kluster: 1970-1971\u003c/b>, a compilation of some of Kluster’s earliest works (out this week from the San Francisco-based \u003ca href=\"http://www.runtdistribution.com/water.html\" target=\"offsite\" rel=\"noopener\">Water label\u003c/a>), which was recorded by the band’s first line-up, when Kluster was still spelled with a “K.”\u003c/p>\n\u003cp>I also checked out \u003cb>Cluster 71\u003c/b>, the first recording by the band’s second incarnation. Composed of three tracks named for their lengths, \u003cb>Cluster 71\u003c/b> is a series of aural investigations that feature pulsing synths, drones, and feedback. Sometimes lulling you into a peaceful reverie, sometimes escalating into more urgent sequences with rapid percussive tempos or massively-distorted unease, the album is a feast of German proto-industrial noise that wouldn’t be unusual to find in any modern experimental music venue, like \u003ca href=\"http://www.myspace.com/recombinantmedialabs\" target=\"offsite\" rel=\"noopener\">Recombinant Media Labs\u003c/a> here in San Francisco. The album was the first major label release for Cluster, and forms a distinct phase in their musical evolution.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Recorded in just two days in 1976, \u003cb>Sowiesoso\u003c/b> features Cluster in a very different place, a much more peaceful, almost orchestral frame of mind. A tinny and twangy tone runs through the album, which features songs with more traditionally song-like qualities, including harmonious chords and recognizable string parts. There is even a tribal and slightly bluesy track called “Umleitung” that features chanting and shouting in combination with a driving beat and even a little cowbell for a more organic feel. It is fitting that “Umleitung” means “re-direction” or “detour” in German, as the entire album is a conceptual departure for Cluster. Brian Eno had worked with Moebius and Roedelius on a different project prior to the recording of \u003cb>Sowiesoso\u003c/b>, and his influence here is evident.\u003c/p>\n\u003cp>The final album in the compilation is \u003cb>Cluster & Eno\u003c/b>, which features Eno’s instantly obvious handprints all over it. An echoey, repeating piano opens the album in fine Eno fashion, eventually giving way to the more somber synth and guitar duet of “Steinsame.” Strongly ambient in quality, \u003cb>Cluster & Eno\u003c/b> continues Cluster’s migration towards a more melodic and accessible direction. The tracks are shorter and more thematically contained, with the final track “Für Luise” one of the standouts. Cluster’s experiments in ambient music continued through the ’90s, ending only when the band took a ten-year hiatus in 1997.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cluster’s upcoming tour is an obvious don’t-miss chance to see the krautrockers in person, performing in their customary improvisational fashion. The 4-date west coast tour on Memorial Day Weekend features shows that are custom curated with a mix of openers, DJs, VJs, apparel artists and great venues (including the legendary Henry Miller library in Big Sur). San Francisco’s turn is on May 25th at the Great American Music Hall with openers Tussle (SF) and White Rainbow (PDX). For \u003ca href=\"http://www.donutsparty.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit donutsparty.com. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco indie rockers, Geographer, are a guitar-cello-drums trio gaining buzz around the Bay for their dynamic indie pop sound. The band’s frequently hushed vocals, personal lyrics and intimate melodies betray singer/songwriter Mike Deni’s past involvement in the local folk scene, through which he met collaborators like Kacey Johansing (who sings lead vocals on several songs) and developed some of the songs that have since evolved into Geographer’s seriously anthemic music.\u003c/p>\n\u003cp>That evolution can be attributed to Deni’s love of synths and the impressive chops of Berklee-trained bandmates Nathan Blaz (cello, electronics) and Brian Ostreicher (drums). As we learned during our interview with Mike and Nathan, they’ve been influenced by compositional electronic music, an inspiration evident in the group’s dynamic crescendos and synth layering. The guys are continuing to explore these elements as they further develop their sound.\u003c/p>\n\u003cp>To the band’s credit, Geographer has received a substantial amount of local press prior to releasing an album. Their debut, tentatively titled \u003cb>Innocent Ghosts\u003c/b>, is nearly complete, and the trio expects to release it later this summer. Meanwhile, they’ll be taking a tour of the Pacific Northwest in June while continuing to play around the Bay.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Thursday, May 22nd\u003cbr>Sophia’s (Davis, CA)\u003cbr>with Salt Samovar\u003cbr>10pm, $tba\u003c/p>\n\u003cp>Wednesday, June 11th\u003cbr>Annie’s Social Club (San Francisco)\u003cbr>with Two Sheds, Friday Mile, and Marabelle Phoenix\u003cbr>8pm, $7\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco indie rockers, Geographer, are a guitar-cello-drums trio gaining buzz around the Bay for their dynamic indie pop sound. The band’s frequently hushed vocals, personal lyrics and intimate melodies betray singer/songwriter Mike Deni’s past involvement in the local folk scene, through which he met collaborators like Kacey Johansing (who sings lead vocals on several songs) and developed some of the songs that have since evolved into Geographer’s seriously anthemic music.\u003c/p>\n\u003cp>That evolution can be attributed to Deni’s love of synths and the impressive chops of Berklee-trained bandmates Nathan Blaz (cello, electronics) and Brian Ostreicher (drums). As we learned during our interview with Mike and Nathan, they’ve been influenced by compositional electronic music, an inspiration evident in the group’s dynamic crescendos and synth layering. The guys are continuing to explore these elements as they further develop their sound.\u003c/p>\n\u003cp>To the band’s credit, Geographer has received a substantial amount of local press prior to releasing an album. Their debut, tentatively titled \u003cb>Innocent Ghosts\u003c/b>, is nearly complete, and the trio expects to release it later this summer. Meanwhile, they’ll be taking a tour of the Pacific Northwest in June while continuing to play around the Bay.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Thursday, May 22nd\u003cbr>Sophia’s (Davis, CA)\u003cbr>with Salt Samovar\u003cbr>10pm, $tba\u003c/p>\n\u003cp>Wednesday, June 11th\u003cbr>Annie’s Social Club (San Francisco)\u003cbr>with Two Sheds, Friday Mile, and Marabelle Phoenix\u003cbr>8pm, $7\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If an artists’ collective suggests an insular group of collaborators operating in some isolated or remote universe, that image doesn’t capture a number of musicians’ collectives currently operating in the San Francisco Bay Area. Forsaking insularity, these groups are using the cooperative approach to shed greater visibility upon the talents of all members. It’s a strategy that makes particular sense in an era when young indie bands are increasingly avoiding signing with labels. By sharing traditionally label-driven tasks of promotion, branding, booking, and distribution, many groups are retaining their independence while trying to get their music heard.\u003c/p>\n\u003cp>Founded in 2007 by members of \u003ca href=\"http://www.myspace.com/builtforthesea\" target=\"offsite\" rel=\"noopener\">Built for the Sea\u003c/a>, \u003ca href=\"http://www.myspace.com/lovelikefire\" target=\"offsite\" rel=\"noopener\">LoveLikeFire\u003c/a>, and \u003ca href=\"http://www.myspace.com/poorbailey\" target=\"offsite\" rel=\"noopener\">Poor Bailey\u003c/a>, \u003ca href=\"http://www.myspace.com/rosehill\" target=\"offsite\" rel=\"noopener\">Rose Hill Collective\u003c/a> is an assembly of talented local bands brought together for collaborative projects like their latest release, a compilation CD titled \u003cb>Rose Hill Collective, Volume 2\u003c/b>. As a multi-band promotional tool, the sampler is a snapshot of an important slice of the Bay Area indie music scene. The participating bands have diverse, individually-developed sounds, and their ranks include a number of the Bay Area’s top local groups, including the anthemic dark rock of LoveLikeFire, the country-influenced balladry of \u003ca href=\"http://www.myspace.com/orthewhale\" target=\"offsite\" rel=\"noopener\">Or, the Whale\u003c/a>, and the layered folk-rock of \u003ca href=\"http://www.myspace.com/nlannon\" target=\"offsite\" rel=\"noopener\">Nyles Lannon\u003c/a>, alongside \u003ca href=\"http://www.myspace.com/hereheremusic\" target=\"offsite\" rel=\"noopener\">Here Here\u003c/a>, \u003ca href=\"http://www.myspace.com/silianrailmusic\" target=\"offsite\" rel=\"noopener\">Silian Rail\u003c/a>, \u003ca href=\"http://www.myspace.com/birdmonster\" target=\"offsite\" rel=\"noopener\">Birdmonster\u003c/a>, \u003ca href=\"http://www.myspace.com/streettonowhere\" target=\"offsite\" rel=\"noopener\">Street to Nowhere\u003c/a>, Built for the Sea, \u003ca href=\"http://www.myspace.com/coldhotcrash\" target=\"offsite\" rel=\"noopener\">Cold Hot Crash\u003c/a>, \u003ca href=\"http://www.myspace.com/thehundreddays\" target=\"offsite\" rel=\"noopener\">The Hundred Days\u003c/a>, \u003ca href=\"http://www.myspace.com/overview\" target=\"offsite\" rel=\"noopener\">Overview\u003c/a>, \u003ca href=\"http://www.myspace.com/audryesessions\" target=\"offsite\" rel=\"noopener\">Audrye Sessions\u003c/a>, and \u003ca href=\"http://www.myspace.com/poorbailey\" target=\"offsite\" rel=\"noopener\">Poor Bailey\u003c/a>.\u003c/p>\n\u003cp>The Rose Hill gang celebrates the release of \u003cb>Volume 2\u003c/b> TONIGHT, Saturday, May 17, 2008 at the \u003ca href=\"http://www.gamh.com\" target=\"offsite\" rel=\"noopener\">Great American Music Hall\u003c/a>. The show is headlined by Built for the Sea, a quartet whose self-titled 2006 album garnished positive reviews for the band’s shoegaze-influenced modern rock and singer Lia Rose’s emotive and melodic vocals. They’ll be joined by Overview, Silian Rail, The Hundred Days, and Cold Hot Crash, along with DJ sets by members of LoveLikeFire and \u003ca href=\"http://www.live105.com\" target=\"offsite\" rel=\"noopener\">Live 105\u003c/a> DJ “Miles the Intern”.\u003c/p>\n\u003cp>Most of the groups on \u003cb>Volume 2\u003c/b> have built their reputations by touring and releasing records without label support. Consistent with that aesthetic, they’ll be giving away copies of the new compilation at Saturday night’s show and on the member bands’ upcoming tours.\u003c/p>\n\u003cp>The concert is $12 and starts at 9pm. You can purchase advance tickets at \u003ca href=\"http://www.gamhtickets.com/evinfo.php?eventid=24375&sid=\" target=\"offsite\" rel=\"noopener\">GamhTickets.com\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben van Houten is Content Editor for \u003ca href=\"http://www.thebaybridged.com\">TheBayBridged.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If an artists’ collective suggests an insular group of collaborators operating in some isolated or remote universe, that image doesn’t capture a number of musicians’ collectives currently operating in the San Francisco Bay Area. Forsaking insularity, these groups are using the cooperative approach to shed greater visibility upon the talents of all members. It’s a strategy that makes particular sense in an era when young indie bands are increasingly avoiding signing with labels. By sharing traditionally label-driven tasks of promotion, branding, booking, and distribution, many groups are retaining their independence while trying to get their music heard.\u003c/p>\n\u003cp>Founded in 2007 by members of \u003ca href=\"http://www.myspace.com/builtforthesea\" target=\"offsite\" rel=\"noopener\">Built for the Sea\u003c/a>, \u003ca href=\"http://www.myspace.com/lovelikefire\" target=\"offsite\" rel=\"noopener\">LoveLikeFire\u003c/a>, and \u003ca href=\"http://www.myspace.com/poorbailey\" target=\"offsite\" rel=\"noopener\">Poor Bailey\u003c/a>, \u003ca href=\"http://www.myspace.com/rosehill\" target=\"offsite\" rel=\"noopener\">Rose Hill Collective\u003c/a> is an assembly of talented local bands brought together for collaborative projects like their latest release, a compilation CD titled \u003cb>Rose Hill Collective, Volume 2\u003c/b>. As a multi-band promotional tool, the sampler is a snapshot of an important slice of the Bay Area indie music scene. The participating bands have diverse, individually-developed sounds, and their ranks include a number of the Bay Area’s top local groups, including the anthemic dark rock of LoveLikeFire, the country-influenced balladry of \u003ca href=\"http://www.myspace.com/orthewhale\" target=\"offsite\" rel=\"noopener\">Or, the Whale\u003c/a>, and the layered folk-rock of \u003ca href=\"http://www.myspace.com/nlannon\" target=\"offsite\" rel=\"noopener\">Nyles Lannon\u003c/a>, alongside \u003ca href=\"http://www.myspace.com/hereheremusic\" target=\"offsite\" rel=\"noopener\">Here Here\u003c/a>, \u003ca href=\"http://www.myspace.com/silianrailmusic\" target=\"offsite\" rel=\"noopener\">Silian Rail\u003c/a>, \u003ca href=\"http://www.myspace.com/birdmonster\" target=\"offsite\" rel=\"noopener\">Birdmonster\u003c/a>, \u003ca href=\"http://www.myspace.com/streettonowhere\" target=\"offsite\" rel=\"noopener\">Street to Nowhere\u003c/a>, Built for the Sea, \u003ca href=\"http://www.myspace.com/coldhotcrash\" target=\"offsite\" rel=\"noopener\">Cold Hot Crash\u003c/a>, \u003ca href=\"http://www.myspace.com/thehundreddays\" target=\"offsite\" rel=\"noopener\">The Hundred Days\u003c/a>, \u003ca href=\"http://www.myspace.com/overview\" target=\"offsite\" rel=\"noopener\">Overview\u003c/a>, \u003ca href=\"http://www.myspace.com/audryesessions\" target=\"offsite\" rel=\"noopener\">Audrye Sessions\u003c/a>, and \u003ca href=\"http://www.myspace.com/poorbailey\" target=\"offsite\" rel=\"noopener\">Poor Bailey\u003c/a>.\u003c/p>\n\u003cp>The Rose Hill gang celebrates the release of \u003cb>Volume 2\u003c/b> TONIGHT, Saturday, May 17, 2008 at the \u003ca href=\"http://www.gamh.com\" target=\"offsite\" rel=\"noopener\">Great American Music Hall\u003c/a>. The show is headlined by Built for the Sea, a quartet whose self-titled 2006 album garnished positive reviews for the band’s shoegaze-influenced modern rock and singer Lia Rose’s emotive and melodic vocals. They’ll be joined by Overview, Silian Rail, The Hundred Days, and Cold Hot Crash, along with DJ sets by members of LoveLikeFire and \u003ca href=\"http://www.live105.com\" target=\"offsite\" rel=\"noopener\">Live 105\u003c/a> DJ “Miles the Intern”.\u003c/p>\n\u003cp>Most of the groups on \u003cb>Volume 2\u003c/b> have built their reputations by touring and releasing records without label support. Consistent with that aesthetic, they’ll be giving away copies of the new compilation at Saturday night’s show and on the member bands’ upcoming tours.\u003c/p>\n\u003cp>The concert is $12 and starts at 9pm. You can purchase advance tickets at \u003ca href=\"http://www.gamhtickets.com/evinfo.php?eventid=24375&sid=\" target=\"offsite\" rel=\"noopener\">GamhTickets.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Port O’Brien, claimed by both the Bay Area and the Central Coast as their own, has been continuously growing in popularity as their music moves beyond the college radio curcuit and across the country. The band’s indie-infused folk tunes are painfully catchy, tugging at heart strings and boot straps alike.\u003c/p>\n\u003cp>Port O’Brien’s new album \u003cb>All We Could Do Was Sing\u003c/b> (released Tuesday, May 13, 2008) is a fantastic collection of songs written while the band was living on a fishing boat in Alaska for the summer. The album is exhilarating and refreshing, yet cold and lonely at times, reflecting the idyllic setting in which it was written.\u003c/p>\n\u003cp>The opening track “I Woke Up Today” feels like a modern day “We Will Rock You,” only with a much less forceful message — the kind of tune that you and might sing (or yell) along to while cruising the sidewalks or jumping for joy. These anthemic group vocals have popped up many times in recent indie music, and while it’s not hard to see it getting old, Port O’Brien certainly does it best.\u003c/p>\n\u003cp>It takes a moment to get past some of the clearly out-of-tune (I suppose “dissonant” is a kinder word) vocals in songs like “In Vino Veritas,” but it’s evident that they’re trying to make that a style of sorts — slightly flawed recordings that feel real and not plastic. Listen to it a few times and the tinge of discomfort fades.\u003c/p>\n\u003cp>A highlight of the album is “Close the Lid,” a tune that builds from a simple, stripped-down melody to a danceable, guitar solo-injected rock tune. Some of the lyrics are heart-wrenchingly cute: “I’m not afraid to die / as long as you’re by my side / we can sleep the whole year through.” But this song is the perfect example of the somewhat ambiguous themes that pervade the album — switching between this familiar bliss and the isolation and conflict of being alone: “…we are on the brink / of a long civil war / between my heart and yours / we will fight by ourselves.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This ambivalence is repeated many times throughout the album, with a recurring theme of true love conflicted with isolation, cold, and what goes through your mind when your mind is all you’ve got. The effecting melodies and lyrics are supplemented with simple string parts and lots of percussion. On the lighter side of the album is the stunning “Will You Be There,” the kind of achingly sweet song that sticks with you for days.\u003c/p>\n\u003cp>For the live shows, guitarist/vocalist Van Pierszalowski leads the band with an Elvis-like snarl and an excess of charisma. The band’s chemistry and love of the music comes out in full force. They will play their Bay Area record release show at the \u003ca href=\"http://rickshawstop.com/\">Rickshaw Stop\u003c/a> this Wednesday, May 14, 2008. They will be joined by Missouri indie pop group \u003ca href=\"http://www.myspace.com/boris\" target=\"_blank\" rel=\"noopener\">Someone Still Loves You, Boris Yeltsin\u003c/a>. For \u003ca href=\"http://rickshawstop.com/catalog/product_info.php?products_id=84\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a> visit rickshawstop.com. For more on Port O’Brien, check out \u003ca href=\"http://www.thebaybridged.com/2008/01/15/episode-97-port-obrien/\" target=\"_blank\" rel=\"noopener\">The Bay Bridged podcast\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is News Editor for \u003ca>The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Port O’Brien, claimed by both the Bay Area and the Central Coast as their own, has been continuously growing in popularity as their music moves beyond the college radio curcuit and across the country. The band’s indie-infused folk tunes are painfully catchy, tugging at heart strings and boot straps alike.\u003c/p>\n\u003cp>Port O’Brien’s new album \u003cb>All We Could Do Was Sing\u003c/b> (released Tuesday, May 13, 2008) is a fantastic collection of songs written while the band was living on a fishing boat in Alaska for the summer. The album is exhilarating and refreshing, yet cold and lonely at times, reflecting the idyllic setting in which it was written.\u003c/p>\n\u003cp>The opening track “I Woke Up Today” feels like a modern day “We Will Rock You,” only with a much less forceful message — the kind of tune that you and might sing (or yell) along to while cruising the sidewalks or jumping for joy. These anthemic group vocals have popped up many times in recent indie music, and while it’s not hard to see it getting old, Port O’Brien certainly does it best.\u003c/p>\n\u003cp>It takes a moment to get past some of the clearly out-of-tune (I suppose “dissonant” is a kinder word) vocals in songs like “In Vino Veritas,” but it’s evident that they’re trying to make that a style of sorts — slightly flawed recordings that feel real and not plastic. Listen to it a few times and the tinge of discomfort fades.\u003c/p>\n\u003cp>A highlight of the album is “Close the Lid,” a tune that builds from a simple, stripped-down melody to a danceable, guitar solo-injected rock tune. Some of the lyrics are heart-wrenchingly cute: “I’m not afraid to die / as long as you’re by my side / we can sleep the whole year through.” But this song is the perfect example of the somewhat ambiguous themes that pervade the album — switching between this familiar bliss and the isolation and conflict of being alone: “…we are on the brink / of a long civil war / between my heart and yours / we will fight by ourselves.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This ambivalence is repeated many times throughout the album, with a recurring theme of true love conflicted with isolation, cold, and what goes through your mind when your mind is all you’ve got. The effecting melodies and lyrics are supplemented with simple string parts and lots of percussion. On the lighter side of the album is the stunning “Will You Be There,” the kind of achingly sweet song that sticks with you for days.\u003c/p>\n\u003cp>For the live shows, guitarist/vocalist Van Pierszalowski leads the band with an Elvis-like snarl and an excess of charisma. The band’s chemistry and love of the music comes out in full force. They will play their Bay Area record release show at the \u003ca href=\"http://rickshawstop.com/\">Rickshaw Stop\u003c/a> this Wednesday, May 14, 2008. They will be joined by Missouri indie pop group \u003ca href=\"http://www.myspace.com/boris\" target=\"_blank\" rel=\"noopener\">Someone Still Loves You, Boris Yeltsin\u003c/a>. For \u003ca href=\"http://rickshawstop.com/catalog/product_info.php?products_id=84\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a> visit rickshawstop.com. For more on Port O’Brien, check out \u003ca href=\"http://www.thebaybridged.com/2008/01/15/episode-97-port-obrien/\" target=\"_blank\" rel=\"noopener\">The Bay Bridged podcast\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is News Editor for \u003ca>The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For the past several years, guitarist Meric Long and drummer Logan Kroeber — collectively The Dodos — have been criss-crossing the country, delivering audiences the propulsive folk-rock sound that has made them one of 2008’s most acclaimed bands. Propulsive might actually be an understatement to describe the two, as the group’s dynamic songs often find Long fingerpicking and strumming his acoustic guitar at a feverish pace while Kroeber channels his background in heavy metal into a thundering percussive racket. For an audience member, it feels like there’s always the potential for the whole thing to fly off the rails, but the two have developed such a chemistry that instead the group excels, weaving deftly between tender moments and furious crescendoes.\u003c/p>\n\u003cp>Released in March on French Kiss Records, the band’s new album, \u003cb>Visiter\u003c/b>, captures this chemistry wonderfully, offering a very strong collection of songs that is rightfully earning them international critical praise. Smart production helps capture much of The Dodos’ big live sound. Kroeber’s tom-tom drums sound particularly thick as they guide the songs, while liberal reverb intensify the clang and frenzy of vocals, guitar, and drums alike. Smart use of layered instrumentation, stereo and space make \u003cb>Visiter\u003c/b> a record that richly rewards detailed listening with a good pair of headphones.\u003c/p>\n\u003cp>As Meric Long sings in “Fools,” The Dodos are indeed “wandering” musicians, touching a number of different styles of rock music over \u003cb>Visiter\u003c/b>‘s hour length. Fans of the group’s first album, \u003cb>Beware of the Maniacs\u003c/b>, will welcome the melodic folk-pop found in a number of songs, but they might be surprised by the band’s willingness to delve into more progressive and psychedelic heavy rock terrain as well. Several tracks clock in at over six minutes, showcasing the band’s ability to write multi-movement pieces buoyed by performance skills that keep them moving at a brisk pace. Long’s lyrics, meanwhile, are relatively restrained, offering sketches of personal relationships and introspective self-examination that allow for multiple listener interpretations.\u003c/p>\n\u003cp>While the album’s sonic breadth keeps it challenging, the CD may suffer a lack of overall cohesion. It’s a feeling that diminishes with repeated listens, although the latter half still retains a little bit of a pinball feel, bouncing between more challenging prog songs and more immediately accessible pop ones. Kroeber and Long succeed most when they find a balance between the two extremes, as terrific songs like “Jodi” prove that they can use psychier elements and sophisticated composition alongside thoroughly hummable melodies. All told, there are a ton of great songs here, and fans of psych rock, folk and pop will find much to like in this excellent release.\u003c/p>\n\u003cp>The Dodos will be performing at \u003ca href=\"http://www.amoeba.com\">Amoeba Records\u003c/a> in San Francisco on May 14, and at \u003ca href=\"http://www.theindependentsf.com\">The Independent\u003c/a> on June 19, 2008. Check out \u003ca href=\"http://www.thebaybridged.com/?p=77\" target=\"offsite\" rel=\"noopener\">The Dodos (Dodo Bird)\u003c/a> (at thebaybridged.com), and the \u003ca href=\"http://pitchfork.tv/videos/dodos-fools\" target=\"offsite\" rel=\"noopener\">“Fools” music video\u003c/a> at pitchfork.tv.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben van Houten is Content Editor for \u003ca href=\"http://www.thebaybridged.com\">TheBayBridged.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the past several years, guitarist Meric Long and drummer Logan Kroeber — collectively The Dodos — have been criss-crossing the country, delivering audiences the propulsive folk-rock sound that has made them one of 2008’s most acclaimed bands. Propulsive might actually be an understatement to describe the two, as the group’s dynamic songs often find Long fingerpicking and strumming his acoustic guitar at a feverish pace while Kroeber channels his background in heavy metal into a thundering percussive racket. For an audience member, it feels like there’s always the potential for the whole thing to fly off the rails, but the two have developed such a chemistry that instead the group excels, weaving deftly between tender moments and furious crescendoes.\u003c/p>\n\u003cp>Released in March on French Kiss Records, the band’s new album, \u003cb>Visiter\u003c/b>, captures this chemistry wonderfully, offering a very strong collection of songs that is rightfully earning them international critical praise. Smart production helps capture much of The Dodos’ big live sound. Kroeber’s tom-tom drums sound particularly thick as they guide the songs, while liberal reverb intensify the clang and frenzy of vocals, guitar, and drums alike. Smart use of layered instrumentation, stereo and space make \u003cb>Visiter\u003c/b> a record that richly rewards detailed listening with a good pair of headphones.\u003c/p>\n\u003cp>As Meric Long sings in “Fools,” The Dodos are indeed “wandering” musicians, touching a number of different styles of rock music over \u003cb>Visiter\u003c/b>‘s hour length. Fans of the group’s first album, \u003cb>Beware of the Maniacs\u003c/b>, will welcome the melodic folk-pop found in a number of songs, but they might be surprised by the band’s willingness to delve into more progressive and psychedelic heavy rock terrain as well. Several tracks clock in at over six minutes, showcasing the band’s ability to write multi-movement pieces buoyed by performance skills that keep them moving at a brisk pace. Long’s lyrics, meanwhile, are relatively restrained, offering sketches of personal relationships and introspective self-examination that allow for multiple listener interpretations.\u003c/p>\n\u003cp>While the album’s sonic breadth keeps it challenging, the CD may suffer a lack of overall cohesion. It’s a feeling that diminishes with repeated listens, although the latter half still retains a little bit of a pinball feel, bouncing between more challenging prog songs and more immediately accessible pop ones. Kroeber and Long succeed most when they find a balance between the two extremes, as terrific songs like “Jodi” prove that they can use psychier elements and sophisticated composition alongside thoroughly hummable melodies. All told, there are a ton of great songs here, and fans of psych rock, folk and pop will find much to like in this excellent release.\u003c/p>\n\u003cp>The Dodos will be performing at \u003ca href=\"http://www.amoeba.com\">Amoeba Records\u003c/a> in San Francisco on May 14, and at \u003ca href=\"http://www.theindependentsf.com\">The Independent\u003c/a> on June 19, 2008. Check out \u003ca href=\"http://www.thebaybridged.com/?p=77\" target=\"offsite\" rel=\"noopener\">The Dodos (Dodo Bird)\u003c/a> (at thebaybridged.com), and the \u003ca href=\"http://pitchfork.tv/videos/dodos-fools\" target=\"offsite\" rel=\"noopener\">“Fools” music video\u003c/a> at pitchfork.tv.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Sometime new acts blow onto the music scene like an unforecast hurricane, taking the world by storm in a single Force 12 blast of hype and excitement. But not always.\u003c/p>\n\u003cp>Enter \u003ca href=\"http://theblanktapes.minus-world.net/blanktapes.html\" target=\"offsite\" rel=\"noopener\">The Blank Tapes\u003c/a>, a folky, lo-fi (largely) one-man band, otherwise known as Bay Area local Matt Adams. Released last fall, his latest album \u003cb>Daydreams\u003c/b> arrived with a ripple rather than a splash. But, at 26 tracks and a fill-that-CD-to-the-edges 79 minutes long, there is a lot to chew on. Perhaps it isn’t surprising that it’s taking us all a bit longer than usual to catch up.\u003c/p>\n\u003cp>Of course, the fact that it was released through his own Matty-Made Music label probably doesn’t help either. And the fact that it is self-recorded and self-released goes some way towards explaining a slight lack of… no, not quality control. Long it may be, but padded with fillers it ain’t. Perhaps “restraint” is a better way to put it.\u003c/p>\n\u003cp>Because while \u003cb>Daydreams\u003c/b> may be a bit untidy in terms of structure, it’s also chock full of excellence: overflowing with it in fact. Every time you hit play, another gem pops out from the crowd. But overall it’s just too much, like trying to eat a family pizza on your own.\u003c/p>\n\u003cp>Adams is, apparently, aware of the problem. As he says on his \u003ca href=\"http://blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=4767557&blogID=302098233\" target=\"offsite\" rel=\"noopener\">MySpace page\u003c/a> (in response to an earlier review pointing out that \u003cb>Daydreams\u003c/b> may be a little, y’know, lengthy): “yes it’s true, my albums are f@#king long. Oh well, I can’t seem to change that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Athough this may seem frustrating at first, try thinking of the CD less as a finished product and more as a sort of DIY work in progress. Welcome to the flatpack album release, which is one of the beauties of the post-iTunes musical landscape: we are now free to take the raw materials of any album (in this case, a 25-song hodgepodge) and chop, change, cut, and paste to our heart’s content. \u003c/p>\n\u003cp>For example, you could easily make two great albums from this single CD, but how you split the tracks is up to you: do you sort them by pace (separating the upbeat rockers and rollicking folk stompers from the sad acoustic ballads and stoned moaners), by quality (cutting together a slimmed-down main release of your favorites next to an album of bonus material), or even just crudely cleave it in half down the middle?\u003c/p>\n\u003cp>For me, there was an obvious split between the more folksy, acoustic Americana of tracks such as “This is What’s Inside,” and the rockier indie of “When I See You.” But (and this is where it gets complicated) many of the album’s best tracks arrive when the two styles collide.\u003c/p>\n\u003cp>For what it’s worth, my perfect mix starts with the excellent trio of tracks 17 through 19: “Oh My Love” (think \u003ca href=\"http://www.tapesntapes.com/\" target=\"offsite\" rel=\"noopener\">Tapes ‘n Tapes\u003c/a> with a country beat and you won’t be far off), “Part the Clouds” (an upbeat, salty shanty worthy of \u003ca href=\"http://www.thecoral.co.uk/\" target=\"offsite\" rel=\"noopener\">The Coral\u003c/a>), and the more light-hearted “Listen to the One.”\u003c/p>\n\u003cp>Elsewhere, I’ve included “Long Ago” (like \u003ca href=\"http://www.notwist.com/\" target=\"offsite\" rel=\"noopener\">The Notwist\u003c/a> at their soft-focus folkiest), “Silverado” (which couldn’t be more charmingly Neil Young-like if it tried), and retro-indie classics “We’re Better Not Together” and “We Can Still Be Friends” (both of which party like it’s 1989).\u003c/p>\n\u003cp>My mix closes by sneaking in the pretty, whimsical “Why Must I Fall in Love” as a kind of “hidden” final track. Unfortunately, this ignores the existing album’s only real nod towards structure, which is the inclusion of (oops) a “hidden” final track. This one ends, appropriately, with the clunking sound of the stop button being pressed on a tape recording. I guess it’s time to start work on compilation two…\u003c/p>\n\u003cp>Of course, no matter which way you decide to cut it, you may end up with a few tracks left over. Don’t panic: Just think of them as lost B-sides, to be included in your very own deluxe double-disc reissue in 20 years’ time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Blank Tapes are touring Portland, Washington, and California during April and May: \u003ca href=\"http://collect.myspace.com/index.cfm?fuseaction=bandprofile.listAllShows&friendid=4767557&n=the+blank+tapes\" target=\"offsite\" rel=\"noopener\">check here for details\u003c/a>. \u003cb>Daydreams\u003c/b> is out now on Matty-Made Music.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometime new acts blow onto the music scene like an unforecast hurricane, taking the world by storm in a single Force 12 blast of hype and excitement. But not always.\u003c/p>\n\u003cp>Enter \u003ca href=\"http://theblanktapes.minus-world.net/blanktapes.html\" target=\"offsite\" rel=\"noopener\">The Blank Tapes\u003c/a>, a folky, lo-fi (largely) one-man band, otherwise known as Bay Area local Matt Adams. Released last fall, his latest album \u003cb>Daydreams\u003c/b> arrived with a ripple rather than a splash. But, at 26 tracks and a fill-that-CD-to-the-edges 79 minutes long, there is a lot to chew on. Perhaps it isn’t surprising that it’s taking us all a bit longer than usual to catch up.\u003c/p>\n\u003cp>Of course, the fact that it was released through his own Matty-Made Music label probably doesn’t help either. And the fact that it is self-recorded and self-released goes some way towards explaining a slight lack of… no, not quality control. Long it may be, but padded with fillers it ain’t. Perhaps “restraint” is a better way to put it.\u003c/p>\n\u003cp>Because while \u003cb>Daydreams\u003c/b> may be a bit untidy in terms of structure, it’s also chock full of excellence: overflowing with it in fact. Every time you hit play, another gem pops out from the crowd. But overall it’s just too much, like trying to eat a family pizza on your own.\u003c/p>\n\u003cp>Adams is, apparently, aware of the problem. As he says on his \u003ca href=\"http://blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=4767557&blogID=302098233\" target=\"offsite\" rel=\"noopener\">MySpace page\u003c/a> (in response to an earlier review pointing out that \u003cb>Daydreams\u003c/b> may be a little, y’know, lengthy): “yes it’s true, my albums are f@#king long. Oh well, I can’t seem to change that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Athough this may seem frustrating at first, try thinking of the CD less as a finished product and more as a sort of DIY work in progress. Welcome to the flatpack album release, which is one of the beauties of the post-iTunes musical landscape: we are now free to take the raw materials of any album (in this case, a 25-song hodgepodge) and chop, change, cut, and paste to our heart’s content. \u003c/p>\n\u003cp>For example, you could easily make two great albums from this single CD, but how you split the tracks is up to you: do you sort them by pace (separating the upbeat rockers and rollicking folk stompers from the sad acoustic ballads and stoned moaners), by quality (cutting together a slimmed-down main release of your favorites next to an album of bonus material), or even just crudely cleave it in half down the middle?\u003c/p>\n\u003cp>For me, there was an obvious split between the more folksy, acoustic Americana of tracks such as “This is What’s Inside,” and the rockier indie of “When I See You.” But (and this is where it gets complicated) many of the album’s best tracks arrive when the two styles collide.\u003c/p>\n\u003cp>For what it’s worth, my perfect mix starts with the excellent trio of tracks 17 through 19: “Oh My Love” (think \u003ca href=\"http://www.tapesntapes.com/\" target=\"offsite\" rel=\"noopener\">Tapes ‘n Tapes\u003c/a> with a country beat and you won’t be far off), “Part the Clouds” (an upbeat, salty shanty worthy of \u003ca href=\"http://www.thecoral.co.uk/\" target=\"offsite\" rel=\"noopener\">The Coral\u003c/a>), and the more light-hearted “Listen to the One.”\u003c/p>\n\u003cp>Elsewhere, I’ve included “Long Ago” (like \u003ca href=\"http://www.notwist.com/\" target=\"offsite\" rel=\"noopener\">The Notwist\u003c/a> at their soft-focus folkiest), “Silverado” (which couldn’t be more charmingly Neil Young-like if it tried), and retro-indie classics “We’re Better Not Together” and “We Can Still Be Friends” (both of which party like it’s 1989).\u003c/p>\n\u003cp>My mix closes by sneaking in the pretty, whimsical “Why Must I Fall in Love” as a kind of “hidden” final track. Unfortunately, this ignores the existing album’s only real nod towards structure, which is the inclusion of (oops) a “hidden” final track. This one ends, appropriately, with the clunking sound of the stop button being pressed on a tape recording. I guess it’s time to start work on compilation two…\u003c/p>\n\u003cp>Of course, no matter which way you decide to cut it, you may end up with a few tracks left over. Don’t panic: Just think of them as lost B-sides, to be included in your very own deluxe double-disc reissue in 20 years’ time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Blank Tapes are touring Portland, Washington, and California during April and May: \u003ca href=\"http://collect.myspace.com/index.cfm?fuseaction=bandprofile.listAllShows&friendid=4767557&n=the+blank+tapes\" target=\"offsite\" rel=\"noopener\">check here for details\u003c/a>. \u003cb>Daydreams\u003c/b> is out now on Matty-Made Music.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
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