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Its most compelling track, “Klonopin,” frankly addresses the cocktail of prescription and party drugs Ah Mer Ah Su took to cope with a friend’s suicide. “Run, run / Hide, hide,” she sings in a dreamy falsetto, as if yearning to escape into the world she creates with her drum machine and twinkling keys that evoke a toy piano. \u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/292397825″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>With “Space,” which carries on at the urgent pace of Sia’s “Chandelier,” Ah Mer Ah Su processes the painful experience of dealing with men who are ashamed of their attraction to trans women. (In \u003ca href=\"http://www.papermag.com/premiere-check-out-ah-mer-ah-sus-new-song-space-2079619004.html\" target=\"_blank\" rel=\"noopener\">interviews\u003c/a>, she’s been candid in addressing violence against trans women at the hands of romantic partners.)\u003c/p>\n\u003cp>https://youtu.be/6PZHb8FiMfY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Ah Mer Ah Su told me \u003ca href=\"https://ww2.kqed.org/arts/2017/02/22/star-amerasu-talks-transphobia-addiction-and-assault-with-an-upbeat-electro-pop-twist/\" rel=\"noopener\" target=\"_blank\">earlier this year\u003c/a>, the title \u003cem>Rebecca\u003c/em> comes from Beyoncé’s immortal words “He better call Becky with the good hair” on \u003cem>Lemonade\u003c/em>, and “Meg Ryan” is where Ah Mer Ah Su delves into the “Becky” concept: In the track’s music video, she saunters around town in a blond wig, repeating the refrain “I’m a white woman / I can do whatever I want” in a valley girl voice. \u003c/p>\n\u003cp>The track provides much-needed comedic relief for \u003cem>Rebecca\u003c/em>‘s difficult subject matter, but that’s not to say it’s a dour record. Quite the opposite, actually: Despite the hardships she’s endured, Ah Mer Ah Su finds ways to create gorgeous, imaginative sounds, interweaving clever societal commentary throughout.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Click \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see the rest of our favorite Bay Area albums of 2017. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1726703119,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":376},"headData":{"title":"The 10 Best Bay Area Albums of 2017: Ah Mer Ah Su, 'Rebecca' | KQED","description":"Though it deals with heavy subjects, Ah Mer Ah Su's sophomore EP Rebecca cocoons her listeners in swathes of vocal loops and keyboard melodies that inspire one to imagine a world beyond oppressive forces. But that's not to say that Rebecca is a utopia. Its most compelling track, "Klonopin," frankly addresses the cocktail of prescription and party drugs Ah Mer Ah Su took to cope with a friend's suicide. "Run, run / Hide, hide," she sings in a dreamy falsetto, as if yearning to escape into the world she creates with her drum machine and twinkling keys that evoke a","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2017: Ah Mer Ah Su, 'Rebecca'","datePublished":"2017-12-22T08:00:04-08:00","dateModified":"2024-09-18T16:45:19-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13818045/the-10-best-bay-area-albums-of-2017-ah-mer-ah-su-rebecca","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though it deals with heavy subjects, Ah Mer Ah Su’s sophomore EP \u003cem>Rebecca\u003c/em> cocoons her listeners in swathes of vocal loops and keyboard melodies that inspire one to imagine a world beyond oppressive forces.\u003c/p>\n\u003cp>But that’s not to say that \u003cem>Rebecca\u003c/em> is a utopia. Its most compelling track, “Klonopin,” frankly addresses the cocktail of prescription and party drugs Ah Mer Ah Su took to cope with a friend’s suicide. “Run, run / Hide, hide,” she sings in a dreamy falsetto, as if yearning to escape into the world she creates with her drum machine and twinkling keys that evoke a toy piano. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/292397825″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/292397825″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>With “Space,” which carries on at the urgent pace of Sia’s “Chandelier,” Ah Mer Ah Su processes the painful experience of dealing with men who are ashamed of their attraction to trans women. (In \u003ca href=\"http://www.papermag.com/premiere-check-out-ah-mer-ah-sus-new-song-space-2079619004.html\" target=\"_blank\" rel=\"noopener\">interviews\u003c/a>, she’s been candid in addressing violence against trans women at the hands of romantic partners.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6PZHb8FiMfY'\n title='//www.youtube.com/embed/6PZHb8FiMfY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Ah Mer Ah Su told me \u003ca href=\"https://ww2.kqed.org/arts/2017/02/22/star-amerasu-talks-transphobia-addiction-and-assault-with-an-upbeat-electro-pop-twist/\" rel=\"noopener\" target=\"_blank\">earlier this year\u003c/a>, the title \u003cem>Rebecca\u003c/em> comes from Beyoncé’s immortal words “He better call Becky with the good hair” on \u003cem>Lemonade\u003c/em>, and “Meg Ryan” is where Ah Mer Ah Su delves into the “Becky” concept: In the track’s music video, she saunters around town in a blond wig, repeating the refrain “I’m a white woman / I can do whatever I want” in a valley girl voice. \u003c/p>\n\u003cp>The track provides much-needed comedic relief for \u003cem>Rebecca\u003c/em>‘s difficult subject matter, but that’s not to say it’s a dour record. Quite the opposite, actually: Despite the hardships she’s endured, Ah Mer Ah Su finds ways to create gorgeous, imaginative sounds, interweaving clever societal commentary throughout.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Click \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see the rest of our favorite Bay Area albums of 2017. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13818045/the-10-best-bay-area-albums-of-2017-ah-mer-ah-su-rebecca","authors":["11387"],"categories":["arts_69"],"tags":["arts_3391","arts_1118","arts_596","arts_924"],"featImg":"arts_13818047","label":"arts"},"arts_13817362":{"type":"posts","id":"arts_13817362","meta":{"index":"posts_1716263798","site":"arts","id":"13817362","score":null,"sort":[1513872024000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2017-nef-the-pharaoh-the-chang-project","title":"The 10 Best Bay Area Albums of 2017: Nef the Pharaoh, 'The Chang Project'","publishDate":1513872024,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2017: Nef the Pharaoh, ‘The Chang Project’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Long before the Migos flow saturated the FM dial, a Vallejo rapper named Mac Dre was perfecting the absurdist call-and-response. Now, more than a decade after Dre’s untimely passing, the Bay Area has another promising hip-hop hero: Nef The Pharaoh, a young E-40 protégé hailing from the Valley-Jo.\u003c/p>\n\u003cp>Nef’s 2017 mixtape, \u003cem>The Chang Project\u003c/em>, is unmistakably a Bay Area affair. But Nef demonstrates his broader ambitions from the jump, merging 707 swag with prevailing trends in chart-topping hip-hop. The lead track, “Chang You Are My Life,” features production that borrows from the Dirty South: trilling, rapid-fire hi-hats, screwed-down vocal manipulations, and a spacey, EDM-inflected sheen. However, the song’s bass line makes it clear that Neffie remains loyal to his hometown. It’s raspy, raw, and undeniably buoyant, recalling some of the grittiest passages from the Luniz’s seminal \u003cem>Operation Stackola\u003c/em> and the bacchanal energy of Mac Dre’s “Feelin’ Myself.”\u003c/p>\n\u003cp>https://youtu.be/FJVxiyiVflg\u003c/p>\n\u003cp>If “Chang You Are My Life” fuses ’90s Bay grooves and modern trap flourishes, the tape’s second track, “Out There,” grafts tropical bass tones onto a golden-era East Coast classic, merging a clonking marimba melody with the shimmying, tribal beat from Busta Rhymes’ innovative 1997 track “Put Your Hands Where My Eyes Can See.”\u003c/p>\n\u003cp>Although \u003cem>The Chang Project\u003c/em> makes gestures of respect to those who have come before, it also looks with determination toward the future. Nef’s biggest name collaborator, Ty Dolla $ign, is applied appropriately on the Architekz-produced “Back Out,” the mixtape’s unabashed lovemaking anthem. Here, Ty croons over another reverberant tropical bass beat, spitting the kind of autotuned lines (“the booty got a mind of its own”) that only he could hope to sing with a straight face.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/318578914″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>While Nef the Pharaoh is best known for party songs, \u003cem>The Chang Project\u003c/em> proves that he has range. Throughout the tape, Nef repeatedly reminds the listener of the bleak realities of his hometown, though he’s never more direct than he is on “LOE Gino’s Interlude.” Featuring Berkeley MC LOE Gino, the contemplative song gives a shout-out to Maya Angelou and laments violence, generational trauma, and the paralyzing fear of police brutality.\u003c/p>\n\u003cp>Still, there’s little doubt Neffie knows how to turn up. Case in point: “Bling Blaow,” \u003cem>The Chang Project’s\u003c/em> strongest track by far. With a bombastically simple chorus (“Look at my neck / Bling! Blaow!”) and a fiery guest verse from SOB x RBE’s Slimmy B, the song exemplifies Nef’s ability to seamlessly integrate a multitude of styles, from Mac Dre’s sardonic uptalk to flashy triplet flows.\u003c/p>\n\u003cp>It may just be the perfect bridge between the North Bay and North Atlanta.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With its hyphy backbone and trap sensibilities, Nef the Pharaoh's 'The Chang Project' might be the perfect bridge between the North Bay and North Atlanta.","status":"publish","parent":0,"modified":1726703131,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":577},"headData":{"title":"The 10 Best Bay Area Albums of 2017: Nef the Pharaoh, 'The Chang Project' | KQED","description":"With its hyphy backbone and trap sensibilities, Nef the Pharaoh's 'The Chang Project' might be the perfect bridge between the North Bay and North Atlanta.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2017: Nef the Pharaoh, 'The Chang Project'","datePublished":"2017-12-21T08:00:24-08:00","dateModified":"2024-09-18T16:45:31-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Nick Veronin","path":"/arts/13817362/the-10-best-bay-area-albums-of-2017-nef-the-pharaoh-the-chang-project","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before the Migos flow saturated the FM dial, a Vallejo rapper named Mac Dre was perfecting the absurdist call-and-response. Now, more than a decade after Dre’s untimely passing, the Bay Area has another promising hip-hop hero: Nef The Pharaoh, a young E-40 protégé hailing from the Valley-Jo.\u003c/p>\n\u003cp>Nef’s 2017 mixtape, \u003cem>The Chang Project\u003c/em>, is unmistakably a Bay Area affair. But Nef demonstrates his broader ambitions from the jump, merging 707 swag with prevailing trends in chart-topping hip-hop. The lead track, “Chang You Are My Life,” features production that borrows from the Dirty South: trilling, rapid-fire hi-hats, screwed-down vocal manipulations, and a spacey, EDM-inflected sheen. However, the song’s bass line makes it clear that Neffie remains loyal to his hometown. It’s raspy, raw, and undeniably buoyant, recalling some of the grittiest passages from the Luniz’s seminal \u003cem>Operation Stackola\u003c/em> and the bacchanal energy of Mac Dre’s “Feelin’ Myself.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FJVxiyiVflg'\n title='//www.youtube.com/embed/FJVxiyiVflg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If “Chang You Are My Life” fuses ’90s Bay grooves and modern trap flourishes, the tape’s second track, “Out There,” grafts tropical bass tones onto a golden-era East Coast classic, merging a clonking marimba melody with the shimmying, tribal beat from Busta Rhymes’ innovative 1997 track “Put Your Hands Where My Eyes Can See.”\u003c/p>\n\u003cp>Although \u003cem>The Chang Project\u003c/em> makes gestures of respect to those who have come before, it also looks with determination toward the future. Nef’s biggest name collaborator, Ty Dolla $ign, is applied appropriately on the Architekz-produced “Back Out,” the mixtape’s unabashed lovemaking anthem. Here, Ty croons over another reverberant tropical bass beat, spitting the kind of autotuned lines (“the booty got a mind of its own”) that only he could hope to sing with a straight face.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/318578914″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/318578914″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>While Nef the Pharaoh is best known for party songs, \u003cem>The Chang Project\u003c/em> proves that he has range. Throughout the tape, Nef repeatedly reminds the listener of the bleak realities of his hometown, though he’s never more direct than he is on “LOE Gino’s Interlude.” Featuring Berkeley MC LOE Gino, the contemplative song gives a shout-out to Maya Angelou and laments violence, generational trauma, and the paralyzing fear of police brutality.\u003c/p>\n\u003cp>Still, there’s little doubt Neffie knows how to turn up. Case in point: “Bling Blaow,” \u003cem>The Chang Project’s\u003c/em> strongest track by far. With a bombastically simple chorus (“Look at my neck / Bling! Blaow!”) and a fiery guest verse from SOB x RBE’s Slimmy B, the song exemplifies Nef’s ability to seamlessly integrate a multitude of styles, from Mac Dre’s sardonic uptalk to flashy triplet flows.\u003c/p>\n\u003cp>It may just be the perfect bridge between the North Bay and North Atlanta.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817362/the-10-best-bay-area-albums-of-2017-nef-the-pharaoh-the-chang-project","authors":["byline_arts_13817362"],"categories":["arts_69"],"tags":["arts_3391","arts_1118","arts_831","arts_3420","arts_596"],"featImg":"arts_13817824","label":"arts"},"arts_13817762":{"type":"posts","id":"arts_13817762","meta":{"index":"posts_1716263798","site":"arts","id":"13817762","score":null,"sort":[1513785634000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2017-rayana-jay-morning-after","title":"The 10 Best Bay Area Albums of 2017: Rayana Jay, 'Morning After'","publishDate":1513785634,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2017: Rayana Jay, ‘Morning After’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Current-day rap and R&B is full of woozy 3am heartbreak, maudlin poetry and embarrassing #TMI set to hazy burbling beats that — after 10 or 20 or 82 radio plays — all start to sound the same.\u003c/p>\n\u003cp>Rayana Jay could have ridden that wave: Xanax, introversion, passive-aggressive pleading. Instead, she dropped “Magic,” one of the single-most liberating and joyous songs ever to sprout from Bay Area soil, right in the middle of the harrowing claustrophobia of 2017.\u003c/p>\n\u003cp>Releasing a shameless love song with a buoyant melody amidst so much quasi-moody \u003ca href=\"https://www.youtube.com/watch?v=WrsFXgQk5UI\" target=\"_blank\" rel=\"noopener\">“push me to the edge / all my friends are dead”\u003c/a> pap on the airwaves would be enough to win me over. But the driving, unflinching eighth-note bass riff that carries the song and the playful call-and-response of the chorus is the stuff true hits are made of.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MRhlYlROndM\u003c/p>\n\u003cp>A similar optimism carries \u003cem>Morning After\u003c/em>’s other single, “Everything,” a confession of love over a lithe bounce and a weaving, buzzy sub-bass. Most of \u003cem>Morning After\u003c/em> could be a classic beat tape on its own. In fact, Jay has always had a knack for finding great producers. And though there are some familiar faces in the production credits here (Drew Banga, Mikos tha Gawd, Kev Choice), “Magic” (produced by ROMderful) and “Everything” (Gabriel Lambirth) come from relatively obscure names.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/352925687″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>But there’s discovering a great beat, and there’s knowing what to do with it. \u003cem>Morning After\u003c/em> is filled with Jay’s little, rhythmic vocal mini-hooks (especially in the verses of “Sunkissed” — a celebratory ode “about how much I love my people, how much I love black people,” as \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" target=\"_blank\" rel=\"noopener\">she told me\u003c/a> in July). She plays in and around the beat with a jazz singer’s gift — more Sarah than Ella — and makes her imagination sound like canon. Her melodies feel like they’ve always been there, in the air, before she captured them and put them in a song.\u003c/p>\n\u003cp>Imagination, optimism, playfulness — these are sensations that were all too foreign in 2017. With \u003cem>Morning After\u003c/em>, Rayana Jay reminded us that love and happiness aren’t dead yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Imagination, optimism, and playfulness — sensations all too foreign in 2017 — propel 'Morning After,' Rayana Jay's ode to love in all its forms.","status":"publish","parent":0,"modified":1726703159,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":463},"headData":{"title":"The 10 Best Bay Area Albums of 2017: Rayana Jay, 'Morning After' | KQED","description":"Imagination, optimism, and playfulness — sensations all too foreign in 2017 — propel 'Morning After,' Rayana Jay's ode to love in all its forms.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2017: Rayana Jay, 'Morning After'","datePublished":"2017-12-20T08:00:34-08:00","dateModified":"2024-09-18T16:45:59-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13817762/the-10-best-bay-area-albums-of-2017-rayana-jay-morning-after","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Current-day rap and R&B is full of woozy 3am heartbreak, maudlin poetry and embarrassing #TMI set to hazy burbling beats that — after 10 or 20 or 82 radio plays — all start to sound the same.\u003c/p>\n\u003cp>Rayana Jay could have ridden that wave: Xanax, introversion, passive-aggressive pleading. Instead, she dropped “Magic,” one of the single-most liberating and joyous songs ever to sprout from Bay Area soil, right in the middle of the harrowing claustrophobia of 2017.\u003c/p>\n\u003cp>Releasing a shameless love song with a buoyant melody amidst so much quasi-moody \u003ca href=\"https://www.youtube.com/watch?v=WrsFXgQk5UI\" target=\"_blank\" rel=\"noopener\">“push me to the edge / all my friends are dead”\u003c/a> pap on the airwaves would be enough to win me over. But the driving, unflinching eighth-note bass riff that carries the song and the playful call-and-response of the chorus is the stuff true hits are made of.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MRhlYlROndM'\n title='//www.youtube.com/embed/MRhlYlROndM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A similar optimism carries \u003cem>Morning After\u003c/em>’s other single, “Everything,” a confession of love over a lithe bounce and a weaving, buzzy sub-bass. Most of \u003cem>Morning After\u003c/em> could be a classic beat tape on its own. In fact, Jay has always had a knack for finding great producers. And though there are some familiar faces in the production credits here (Drew Banga, Mikos tha Gawd, Kev Choice), “Magic” (produced by ROMderful) and “Everything” (Gabriel Lambirth) come from relatively obscure names.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/352925687″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/352925687″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But there’s discovering a great beat, and there’s knowing what to do with it. \u003cem>Morning After\u003c/em> is filled with Jay’s little, rhythmic vocal mini-hooks (especially in the verses of “Sunkissed” — a celebratory ode “about how much I love my people, how much I love black people,” as \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" target=\"_blank\" rel=\"noopener\">she told me\u003c/a> in July). She plays in and around the beat with a jazz singer’s gift — more Sarah than Ella — and makes her imagination sound like canon. Her melodies feel like they’ve always been there, in the air, before she captured them and put them in a song.\u003c/p>\n\u003cp>Imagination, optimism, playfulness — these are sensations that were all too foreign in 2017. With \u003cem>Morning After\u003c/em>, Rayana Jay reminded us that love and happiness aren’t dead yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817762/the-10-best-bay-area-albums-of-2017-rayana-jay-morning-after","authors":["185"],"categories":["arts_69"],"tags":["arts_3391","arts_1118","arts_596","arts_1723","arts_3392"],"featImg":"arts_13817764","label":"arts"},"arts_13817491":{"type":"posts","id":"arts_13817491","meta":{"index":"posts_1716263798","site":"arts","id":"13817491","score":null,"sort":[1513713603000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2017-sob-x-rbe-sob-x-rbe","title":"The 10 Best Bay Area Albums of 2017: SOB x RBE, 'SOB x RBE'","publishDate":1513713603,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2017: SOB x RBE, ‘SOB x RBE’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When his time came to address the crowd at the 2017 Warriors championship rally, Draymond Green \u003ca href=\"https://www.youtube.com/watch?v=7t66s8EpQQU\" rel=\"noopener\" target=\"_blank\">walked out to “Anti,”\u003c/a> SOB x RBE’s underground hit. As Green bobbed to the track on national TV, supporters of the young Vallejo rap crew danced along — their fandom affirmed — while the rest were left to ask, “Song??!” in comments and tweets.\u003c/p>\n\u003cp>https://youtu.be/WM5yCRiSQPY\u003c/p>\n\u003cp>Prior to the release of their 2017 self-titled mixtape, SOB x RBE had already amassed a Bay Area following through YouTube hits that drew millions of views. “Anti” — which blared out of countless cars this year — was the national tipping point for the rambunctious crew. \u003c/p>\n\u003cp>\u003cem>SOB x RBE\u003c/em>, the album-length release that followed, solidified the collective’s identity, showcasing its members’ different, dynamic voices. There’s Yhung T.O., a melodic master who harmonizes about love as fluidly as he does about guns; DaBoii, arguably the crew’s best lyricist, with an emphatic delivery that borders on a growl; Slimmy B, the charismatic elder who consistently delivers clever bars; and Lul G, the youngest member who experiments with both singing and rapping.\u003c/p>\n\u003cp>On \u003cem>SOB x RBE\u003c/em>, the four young men rap and sing candidly about unity, distrusting outsiders (they repeat “circle got small” throughout the album), and wariness of law enforcement. Their production travels all over the West Coast, fluctuating between laid-back, soulful melodies and brazen, minimal beats that borrow from N.W.A. But the project manages to carry a sonic cohesiveness due in large part to T.O.’s autotune-lacquered hooks — a connective tissue between the album’s spirited verses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/344376861″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>“Lane Changing,” which features all four members, is an exemplary showcase of SOB x RBE’s collective identity of brotherhood and self-reliance. On the jubilant track, which re-works Chaka Khan and Rufus’ “Ain’t Nobody,” each member asserts the crew’s unshakeable bond in his own style: “Strictly Only Brothers / If you not, you irrelevant,” raps DaBoii. \u003c/p>\n\u003cp>Following the success of their mixtape, SOB x RBE kept busy with a national tour, capped by a homecoming appearance at 106.1 KMEL’s Summer Jam. The crew’s members have also put out a flurry of solo releases. One of the strongest is T.O.’s \u003cem>On My Momma\u003c/em>, featuring a vulnerable, heartfelt titular track and the charming flex, “Blame ‘Em.” DaBoii’s \u003cem>Young Wild N-gga\u003c/em>, another standout solo project, gave us “Humble,” a self-assured introvert’s anthem, and “Beastmode,” a repartee with Yhung T.O. over one of the zaniest beats of the year. \u003c/p>\n\u003cp>Establishing their individual identities will, no doubt, make each member of SOB x RBE stronger for their next collective output — which fans across the country eagerly await. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The young Vallejo rap group's fiery debut attracted an avid following that extends to the NBA and beyond. ","status":"publish","parent":0,"modified":1726703173,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":571},"headData":{"title":"The 10 Best Bay Area Albums of 2017: SOB x RBE, 'SOB x RBE' | KQED","description":"The young Vallejo rap group's fiery debut attracted an avid following that extends to the NBA and beyond. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2017: SOB x RBE, 'SOB x RBE'","datePublished":"2017-12-19T12:00:03-08:00","dateModified":"2024-09-18T16:46:13-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Ruth Gebreyesus","path":"/arts/13817491/the-10-best-bay-area-albums-of-2017-sob-x-rbe-sob-x-rbe","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When his time came to address the crowd at the 2017 Warriors championship rally, Draymond Green \u003ca href=\"https://www.youtube.com/watch?v=7t66s8EpQQU\" rel=\"noopener\" target=\"_blank\">walked out to “Anti,”\u003c/a> SOB x RBE’s underground hit. As Green bobbed to the track on national TV, supporters of the young Vallejo rap crew danced along — their fandom affirmed — while the rest were left to ask, “Song??!” in comments and tweets.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WM5yCRiSQPY'\n title='//www.youtube.com/embed/WM5yCRiSQPY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Prior to the release of their 2017 self-titled mixtape, SOB x RBE had already amassed a Bay Area following through YouTube hits that drew millions of views. “Anti” — which blared out of countless cars this year — was the national tipping point for the rambunctious crew. \u003c/p>\n\u003cp>\u003cem>SOB x RBE\u003c/em>, the album-length release that followed, solidified the collective’s identity, showcasing its members’ different, dynamic voices. There’s Yhung T.O., a melodic master who harmonizes about love as fluidly as he does about guns; DaBoii, arguably the crew’s best lyricist, with an emphatic delivery that borders on a growl; Slimmy B, the charismatic elder who consistently delivers clever bars; and Lul G, the youngest member who experiments with both singing and rapping.\u003c/p>\n\u003cp>On \u003cem>SOB x RBE\u003c/em>, the four young men rap and sing candidly about unity, distrusting outsiders (they repeat “circle got small” throughout the album), and wariness of law enforcement. Their production travels all over the West Coast, fluctuating between laid-back, soulful melodies and brazen, minimal beats that borrow from N.W.A. But the project manages to carry a sonic cohesiveness due in large part to T.O.’s autotune-lacquered hooks — a connective tissue between the album’s spirited verses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/344376861″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/344376861″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Lane Changing,” which features all four members, is an exemplary showcase of SOB x RBE’s collective identity of brotherhood and self-reliance. On the jubilant track, which re-works Chaka Khan and Rufus’ “Ain’t Nobody,” each member asserts the crew’s unshakeable bond in his own style: “Strictly Only Brothers / If you not, you irrelevant,” raps DaBoii. \u003c/p>\n\u003cp>Following the success of their mixtape, SOB x RBE kept busy with a national tour, capped by a homecoming appearance at 106.1 KMEL’s Summer Jam. The crew’s members have also put out a flurry of solo releases. One of the strongest is T.O.’s \u003cem>On My Momma\u003c/em>, featuring a vulnerable, heartfelt titular track and the charming flex, “Blame ‘Em.” DaBoii’s \u003cem>Young Wild N-gga\u003c/em>, another standout solo project, gave us “Humble,” a self-assured introvert’s anthem, and “Beastmode,” a repartee with Yhung T.O. over one of the zaniest beats of the year. \u003c/p>\n\u003cp>Establishing their individual identities will, no doubt, make each member of SOB x RBE stronger for their next collective output — which fans across the country eagerly await. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817491/the-10-best-bay-area-albums-of-2017-sob-x-rbe-sob-x-rbe","authors":["byline_arts_13817491"],"categories":["arts_69"],"tags":["arts_3391","arts_1118","arts_596","arts_2623"],"featImg":"arts_13817788","label":"arts"},"arts_13817300":{"type":"posts","id":"arts_13817300","meta":{"index":"posts_1716263798","site":"arts","id":"13817300","score":null,"sort":[1513627258000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2017-meklit-when-the-people-move-the-music-moves-too","title":"The 10 Best Bay Area Albums of 2017: Meklit, 'When the People Move the Music Moves Too'","publishDate":1513627258,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2017: Meklit, ‘When the People Move the Music Moves Too’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Oakland singer-songwriter Meklit has belted out funk with James Brown’s saxophonist, covered indie rock hits with sweet \u003ca href=\"https://www.youtube.com/watch?v=wot63F4rFQ0\">soulman Quinn DeVeaux\u003c/a>, and collaborated with musicians from across Northeast Africa for \u003ca href=\"http://nileproject.org\">the Nile Project\u003c/a>, a visionary NGO she co-founded. Her translucent voice finds a cozy home in every far-flung setting, but she’s never sounded as free and grounded as on \u003cem>When the People Move the Music Moves Too\u003c/em>, which was released this past June on Six Degrees Records.\u003c/p>\n\u003cp>https://youtu.be/MwDrcvGTODs\u003c/p>\n\u003cp>A creative breakthrough born out of bandstand experimentation, the album weaves together Meklit’s Ethiopian roots with a propulsive menagerie of African-diaspora grooves. As the album’s title suggests, Meklit captures the way culture and beats evolve as people move across regions and continents. Her lyrics evoke the love and ache for worlds left behind, but tracks like the soaring opener “This Was Made Here” also speak to the ecstatic power of self-reinvention.\u003c/p>\n\u003cp>Recorded in Addis Ababa, Los Angeles, New Orleans, and San Francisco, the album is a collaboration with Grammy Award-winning LA songwriter and \u003ca href=\"https://danwilsonmusic.com/about/official-bio/\">producer Dan Wilson\u003c/a>, renowned for his work with Adele, the Dixie Chicks, and Taylor Swift. Rather than trying to fit the uncategorizable Meklit into a neat, pop niche, he expands her textural palette with guest artists Andrew Bird (on violin and whistling), the Preservation Hall Jazz Band, and top-shelf session players from LA.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1405085050/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seminal Ethiopian vibraphonist-composer Mulatu Astatke once \u003ca href=\"http://www.sfgate.com/music/article/Meklit-s-music-takes-off-on-an-odyssey-from-7521764.php\" target=\"_blank\" rel=\"noopener\">instructed Meklit\u003c/a> to find her own voice beyond Ethio-jazz. With \u003cem>When the People Move\u003c/em>, she’s clearly risen to the challenge, building her new sound on a jazz-steeped rhythm section featuring drummer Colin Douglas, percussionist Marco Peris Coppola (on Balkan frame drum), and bassist-arranger Sam Bevan. She accompanies her lilting vocals with guitar and the six-string \u003cem>krar\u003c/em>, an Ethiopian lyre. \u003ca href=\"https://www.facebook.com/extranappy/\">Howard Wiley\u003c/a>’s churning lines on tenor and baritone saxophones provide the band with a big, thumping bottom.\u003c/p>\n\u003cp>Though Meklit laces the album with Ethiopian cadences, it’s striking when an unexpected sound moves to the foreground, as on the thrumming, bittersweet ballad “Yesterday is a Tizita,” which flows from Meklit’s \u003cem>krar\u003c/em> to Tassew Wondem’s ethereal wooden flute (\u003cem>washint\u003c/em>). Whether you call it Ethio-East Bay funk, Bay-Amharic boogie, or NoLa Addis-soul, \u003cem>When the People Move\u003c/em> is a deeply satisfying project that also suggests half a dozen new directions Meklit might travel in the future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Oakland-based Ethio-jazz singer concocts a new, kaleidoscopic sound that spans continents. ","status":"publish","parent":0,"modified":1726703187,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1405085050/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":450},"headData":{"title":"The 10 Best Bay Area Albums of 2017: Meklit, 'When the People Move the Music Moves Too' | KQED","description":"The Oakland-based Ethio-jazz singer concocts a new, kaleidoscopic sound that spans continents. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2017: Meklit, 'When the People Move the Music Moves Too'","datePublished":"2017-12-18T12:00:58-08:00","dateModified":"2024-09-18T16:46:27-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13817300/the-10-best-bay-area-albums-of-2017-meklit-when-the-people-move-the-music-moves-too","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland singer-songwriter Meklit has belted out funk with James Brown’s saxophonist, covered indie rock hits with sweet \u003ca href=\"https://www.youtube.com/watch?v=wot63F4rFQ0\">soulman Quinn DeVeaux\u003c/a>, and collaborated with musicians from across Northeast Africa for \u003ca href=\"http://nileproject.org\">the Nile Project\u003c/a>, a visionary NGO she co-founded. Her translucent voice finds a cozy home in every far-flung setting, but she’s never sounded as free and grounded as on \u003cem>When the People Move the Music Moves Too\u003c/em>, which was released this past June on Six Degrees Records.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MwDrcvGTODs'\n title='//www.youtube.com/embed/MwDrcvGTODs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A creative breakthrough born out of bandstand experimentation, the album weaves together Meklit’s Ethiopian roots with a propulsive menagerie of African-diaspora grooves. As the album’s title suggests, Meklit captures the way culture and beats evolve as people move across regions and continents. Her lyrics evoke the love and ache for worlds left behind, but tracks like the soaring opener “This Was Made Here” also speak to the ecstatic power of self-reinvention.\u003c/p>\n\u003cp>Recorded in Addis Ababa, Los Angeles, New Orleans, and San Francisco, the album is a collaboration with Grammy Award-winning LA songwriter and \u003ca href=\"https://danwilsonmusic.com/about/official-bio/\">producer Dan Wilson\u003c/a>, renowned for his work with Adele, the Dixie Chicks, and Taylor Swift. Rather than trying to fit the uncategorizable Meklit into a neat, pop niche, he expands her textural palette with guest artists Andrew Bird (on violin and whistling), the Preservation Hall Jazz Band, and top-shelf session players from LA.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1405085050/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seminal Ethiopian vibraphonist-composer Mulatu Astatke once \u003ca href=\"http://www.sfgate.com/music/article/Meklit-s-music-takes-off-on-an-odyssey-from-7521764.php\" target=\"_blank\" rel=\"noopener\">instructed Meklit\u003c/a> to find her own voice beyond Ethio-jazz. With \u003cem>When the People Move\u003c/em>, she’s clearly risen to the challenge, building her new sound on a jazz-steeped rhythm section featuring drummer Colin Douglas, percussionist Marco Peris Coppola (on Balkan frame drum), and bassist-arranger Sam Bevan. She accompanies her lilting vocals with guitar and the six-string \u003cem>krar\u003c/em>, an Ethiopian lyre. \u003ca href=\"https://www.facebook.com/extranappy/\">Howard Wiley\u003c/a>’s churning lines on tenor and baritone saxophones provide the band with a big, thumping bottom.\u003c/p>\n\u003cp>Though Meklit laces the album with Ethiopian cadences, it’s striking when an unexpected sound moves to the foreground, as on the thrumming, bittersweet ballad “Yesterday is a Tizita,” which flows from Meklit’s \u003cem>krar\u003c/em> to Tassew Wondem’s ethereal wooden flute (\u003cem>washint\u003c/em>). Whether you call it Ethio-East Bay funk, Bay-Amharic boogie, or NoLa Addis-soul, \u003cem>When the People Move\u003c/em> is a deeply satisfying project that also suggests half a dozen new directions Meklit might travel in the future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817300/the-10-best-bay-area-albums-of-2017-meklit-when-the-people-move-the-music-moves-too","authors":["86"],"categories":["arts_69"],"tags":["arts_3391","arts_1118","arts_1420","arts_596"],"featImg":"arts_13817412","label":"arts"},"arts_13817414":{"type":"posts","id":"arts_13817414","meta":{"index":"posts_1716263798","site":"arts","id":"13817414","score":null,"sort":[1513368053000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2017-rexx-life-raj-father-figure-2-flourish","title":"The 10 Best Bay Area Albums of 2017: Rexx Life Raj, 'Father Figure 2: Flourish'","publishDate":1513368053,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2017: Rexx Life Raj, ‘Father Figure 2: Flourish’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Growing up, Rexx Life Raj didn’t think he could sing. His family was active in the local church choir and the bar seemed too high for him, so he found an artistic outlet in rapping instead. \u003c/p>\n\u003cp>But melody has turned out to be one of the 28-year-old rapper’s most formidable strengths. On his second album, \u003cem>Father Figure 2: Flourish\u003c/em>, the Berkeley artist flashes a dexterous flow and a rich, dynamic delivery as a singer, rendering \u003cem>FF2\u003c/em> as much of an accomplishment in R&B as it is in hip-hop. \u003c/p>\n\u003cp>https://youtu.be/RfN7djUdFFY\u003c/p>\n\u003cp>Like any good Bay Area rap album, much of \u003cem>FF2\u003c/em> is predicated on a swagger that emerges from — and in spite of — struggle. But now, this rapper has found enlightenment and purpose. On “Never Had Shit,” Raj reconciles the roles of the two central figures in his life, his parents, finally making sense of advice they gave him when he was younger. Later, on “Level Up” — a horn-heavy banger backed by the Mary Jane Girls’ “All Night Long” sample — he channels his youthful rebellion into professional drive: “Now look at how the stars align / You know that it takes some time,” he sings softly before the bass drops into a bouncy, ecstatic hook. \u003c/p>\n\u003cp>Raj’s confident flair is strong on tracks like “Level Up” and “Forever Lit,” which features G-Eazy, but he’s also more than willing to show his sensitive side. On perhaps the album’s most overtly New Edition-style R&B love song, “More Than Enough,” he channels his inner Johnny Gill, convincing his girl that he’s worth the trouble (“I still don’t show emotions that I feel / Mindful of flaws that I won’t reveal / Acting like you won’t accept me when I know you will.”) \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/376243595″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cem>FF2\u003c/em>’s production features a welcome slate of Bay Area producers who comprise one of the nation’s most overlooked and creative hip-hop scenes. Among them are largely unheralded workhorses like Ian McKee and Kyle Betty, along with rising producers Drew Banga, Mikos Da Gawd, and JULiA LEWiS (all highlighted in KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" rel=\"noopener\" target=\"_blank\">Behind the Beats\u003c/a> series). LEWiS presides over the album’s cleanest beat, on the perfectly punchy and rhythmically precise “Lowkey Lovesong.”\u003c/p>\n\u003cp>Throughout \u003cem>FF2\u003c/em>, Raj sprinkles in audio of his parents bestowing words of encouragement and wisdom. They advise him on his career, reflect on the uniqueness of the Bay Area, and affirm their support of his journey. For Raj — a former college football player and Boise State graduate — \u003cem>FF2\u003c/em> is his statement on love, loss, growing up, and the hustle it takes to rise in the ranks of one’s chosen craft. It’s a triumphant celebration of the happiness and success he’s found in striving for his goals as an artist and man. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top 10 local albums of 2017 every day through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"On his sophomore album, the Berkeley rapper imbues dynamic flows with soulful melodies and pearls of parental wisdom. ","status":"publish","parent":0,"modified":1726703195,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":590},"headData":{"title":"The 10 Best Bay Area Albums of 2017: Rexx Life Raj, 'Father Figure 2: Flourish' | KQED","description":"On his sophomore album, the Berkeley rapper imbues dynamic flows with soulful melodies and pearls of parental wisdom. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2017: Rexx Life Raj, 'Father Figure 2: Flourish'","datePublished":"2017-12-15T12:00:53-08:00","dateModified":"2024-09-18T16:46:35-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Adrian Spinelli","path":"/arts/13817414/the-10-best-bay-area-albums-of-2017-rexx-life-raj-father-figure-2-flourish","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up, Rexx Life Raj didn’t think he could sing. His family was active in the local church choir and the bar seemed too high for him, so he found an artistic outlet in rapping instead. \u003c/p>\n\u003cp>But melody has turned out to be one of the 28-year-old rapper’s most formidable strengths. On his second album, \u003cem>Father Figure 2: Flourish\u003c/em>, the Berkeley artist flashes a dexterous flow and a rich, dynamic delivery as a singer, rendering \u003cem>FF2\u003c/em> as much of an accomplishment in R&B as it is in hip-hop. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RfN7djUdFFY'\n title='//www.youtube.com/embed/RfN7djUdFFY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like any good Bay Area rap album, much of \u003cem>FF2\u003c/em> is predicated on a swagger that emerges from — and in spite of — struggle. But now, this rapper has found enlightenment and purpose. On “Never Had Shit,” Raj reconciles the roles of the two central figures in his life, his parents, finally making sense of advice they gave him when he was younger. Later, on “Level Up” — a horn-heavy banger backed by the Mary Jane Girls’ “All Night Long” sample — he channels his youthful rebellion into professional drive: “Now look at how the stars align / You know that it takes some time,” he sings softly before the bass drops into a bouncy, ecstatic hook. \u003c/p>\n\u003cp>Raj’s confident flair is strong on tracks like “Level Up” and “Forever Lit,” which features G-Eazy, but he’s also more than willing to show his sensitive side. On perhaps the album’s most overtly New Edition-style R&B love song, “More Than Enough,” he channels his inner Johnny Gill, convincing his girl that he’s worth the trouble (“I still don’t show emotions that I feel / Mindful of flaws that I won’t reveal / Acting like you won’t accept me when I know you will.”) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/376243595″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/376243595″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>FF2\u003c/em>’s production features a welcome slate of Bay Area producers who comprise one of the nation’s most overlooked and creative hip-hop scenes. Among them are largely unheralded workhorses like Ian McKee and Kyle Betty, along with rising producers Drew Banga, Mikos Da Gawd, and JULiA LEWiS (all highlighted in KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" rel=\"noopener\" target=\"_blank\">Behind the Beats\u003c/a> series). LEWiS presides over the album’s cleanest beat, on the perfectly punchy and rhythmically precise “Lowkey Lovesong.”\u003c/p>\n\u003cp>Throughout \u003cem>FF2\u003c/em>, Raj sprinkles in audio of his parents bestowing words of encouragement and wisdom. They advise him on his career, reflect on the uniqueness of the Bay Area, and affirm their support of his journey. For Raj — a former college football player and Boise State graduate — \u003cem>FF2\u003c/em> is his statement on love, loss, growing up, and the hustle it takes to rise in the ranks of one’s chosen craft. It’s a triumphant celebration of the happiness and success he’s found in striving for his goals as an artist and man. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top 10 local albums of 2017 every day through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817414/the-10-best-bay-area-albums-of-2017-rexx-life-raj-father-figure-2-flourish","authors":["byline_arts_13817414"],"categories":["arts_69"],"tags":["arts_3391","arts_1118","arts_596","arts_1983"],"featImg":"arts_13817516","label":"arts"},"arts_13817309":{"type":"posts","id":"arts_13817309","meta":{"index":"posts_1716263798","site":"arts","id":"13817309","score":null,"sort":[1513267246000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2017-trebuchet-volte-face","title":"The 10 Best Bay Area Albums of 2017: Trebuchet, 'Volte-Face'","publishDate":1513267246,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2017: Trebuchet, ‘Volte-Face’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It was 2am, the night before his wedding, when Elliott Whitehurst woke up his dad.\u003c/p>\n\u003cp>The ceremony was already set, friends and family in town. But suddenly, Whitehurst realized he was making a mistake. His dad heard him out, about how he’d wanted to make his fiancée happy but lost himself in the process. He knew it. His friends knew it. His bandmates definitely knew it.\u003c/p>\n\u003cp>Whitehurst’s dad said he understood. Hours before the ceremony, the wedding was called off.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3562985535/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>That night and the events surrounding it form the core of Trebuchet’s \u003cem>Volte-Face\u003c/em>, a gorgeous, indie-folk song cycle about growing older, trying manhood on for size, aiming to please, failing oneself, watching a love turn sour and corrosive, and ultimately choosing self-preservation. It’s not bitter, or angry, or pessimistic. It contains piano, ukeleles, shimmering guitars, and four-part harmonies galore. I surprised myself by listening to it more than any other album in 2017, each time finding new moments of beauty and calm during this year of constant terror.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hailing from Petaluma, Trebuchet put out two previous records that were pleasant enough, but felt too by-the-numbers. Whitehurst, generally a quiet person, comes from a family of bold musical personalities. His sister Emily Whitehurst is best known as the distinctive singer of the pop-punk band \u003ca href=\"https://www.youtube.com/watch?v=ILUDIHIEvto\" rel=\"noopener\" target=\"_blank\">Tsunami Bomb\u003c/a>, and his older brother \u003ca href=\"http://www.loganwhitehurst.com/main.html\" rel=\"noopener\" target=\"_blank\">Logan Whitehurst\u003c/a>, who died of cancer in 2006, was a madcap genius whose clever songs captivated \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127989850\" target=\"_blank\" rel=\"noopener\">Dr. Demento\u003c/a> and the nerdier corners of the early internet. But I often wondered while listening to Trebuchet’s early recordings, “When is Elliott going to find \u003cem>his\u003c/em> voice?”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1069385722/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Volte-Face\u003c/em> is the answer, writ large. With the expert backing of Navid Manoochehri, Lauren Haile, and Paul Haile — whose background with both Fleet Foxes-esque folk forms and majestic, sweeping Explosions In The Sky-type instrumentals is evident here — the songs breathe and pulse dramatically while traversing a relationship that over-ripens and turns into something rotten. By the end, as Whitehurst lets go of all lingering guilt, a giant choir repeats the refrain “She’ll be fine,” as a mantra to washing one’s hands of another’s needs. It’s a perfect ending to the album — a huge release of liberation.\u003c/p>\n\u003cp>Elliott Whitehurst should not get married more often. \u003cem>Volte-Face\u003c/em> is a gift.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top 10 local albums of 2017 every day through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'Volte-Face' is a gorgeous, indie-folk song cycle about canceling a wedding at the last minute.","status":"publish","parent":0,"modified":1726703215,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3562985535/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1069385722/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":441},"headData":{"title":"The 10 Best Bay Area Albums of 2017: Trebuchet, 'Volte-Face' | KQED","description":"'Volte-Face' is a gorgeous, indie-folk song cycle about canceling a wedding at the last minute.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2017: Trebuchet, 'Volte-Face'","datePublished":"2017-12-14T08:00:46-08:00","dateModified":"2024-09-18T16:46:55-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13817309/the-10-best-bay-area-albums-of-2017-trebuchet-volte-face","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was 2am, the night before his wedding, when Elliott Whitehurst woke up his dad.\u003c/p>\n\u003cp>The ceremony was already set, friends and family in town. But suddenly, Whitehurst realized he was making a mistake. His dad heard him out, about how he’d wanted to make his fiancée happy but lost himself in the process. He knew it. His friends knew it. His bandmates definitely knew it.\u003c/p>\n\u003cp>Whitehurst’s dad said he understood. Hours before the ceremony, the wedding was called off.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3562985535/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>That night and the events surrounding it form the core of Trebuchet’s \u003cem>Volte-Face\u003c/em>, a gorgeous, indie-folk song cycle about growing older, trying manhood on for size, aiming to please, failing oneself, watching a love turn sour and corrosive, and ultimately choosing self-preservation. It’s not bitter, or angry, or pessimistic. It contains piano, ukeleles, shimmering guitars, and four-part harmonies galore. I surprised myself by listening to it more than any other album in 2017, each time finding new moments of beauty and calm during this year of constant terror.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hailing from Petaluma, Trebuchet put out two previous records that were pleasant enough, but felt too by-the-numbers. Whitehurst, generally a quiet person, comes from a family of bold musical personalities. His sister Emily Whitehurst is best known as the distinctive singer of the pop-punk band \u003ca href=\"https://www.youtube.com/watch?v=ILUDIHIEvto\" rel=\"noopener\" target=\"_blank\">Tsunami Bomb\u003c/a>, and his older brother \u003ca href=\"http://www.loganwhitehurst.com/main.html\" rel=\"noopener\" target=\"_blank\">Logan Whitehurst\u003c/a>, who died of cancer in 2006, was a madcap genius whose clever songs captivated \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127989850\" target=\"_blank\" rel=\"noopener\">Dr. Demento\u003c/a> and the nerdier corners of the early internet. But I often wondered while listening to Trebuchet’s early recordings, “When is Elliott going to find \u003cem>his\u003c/em> voice?”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1069385722/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Volte-Face\u003c/em> is the answer, writ large. With the expert backing of Navid Manoochehri, Lauren Haile, and Paul Haile — whose background with both Fleet Foxes-esque folk forms and majestic, sweeping Explosions In The Sky-type instrumentals is evident here — the songs breathe and pulse dramatically while traversing a relationship that over-ripens and turns into something rotten. By the end, as Whitehurst lets go of all lingering guilt, a giant choir repeats the refrain “She’ll be fine,” as a mantra to washing one’s hands of another’s needs. It’s a perfect ending to the album — a huge release of liberation.\u003c/p>\n\u003cp>Elliott Whitehurst should not get married more often. \u003cem>Volte-Face\u003c/em> is a gift.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top 10 local albums of 2017 every day through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817309/the-10-best-bay-area-albums-of-2017-trebuchet-volte-face","authors":["185"],"categories":["arts_69"],"tags":["arts_3391","arts_1118","arts_21788","arts_596","arts_3231"],"featImg":"arts_13817310","label":"arts"},"arts_13817018":{"type":"posts","id":"arts_13817018","meta":{"index":"posts_1716263798","site":"arts","id":"13817018","score":null,"sort":[1513206033000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2017-toro-y-moi-boo-boo","title":"The 10 Best Bay Area Albums of 2017: Toro y Moi, 'Boo Boo'","publishDate":1513206033,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2017: Toro y Moi, ‘Boo Boo’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Toro y Moi’s Chaz Bear \u003ca href=\"https://www.newyorker.com/culture/culture-desk/diddys-favorite-indie-musician-chaz-bear-of-toro-y-moi\" target=\"_blank\" rel=\"noopener\">parties with Diddy\u003c/a>, but he’s just as likely to be spotted at neighborhood cafes in Berkeley and Oakland.\u003c/p>\n\u003cp>But on \u003cem>Boo Boo\u003c/em>, his fifth and best album, the South Carolina native is lonely.\u003c/p>\n\u003cp>“My baby got fed up with my ego,” he croons in “No Show,” a keenly-crafted electropop track that’s all wistful keys and pulsing tones that clang like guilt manifest. \u003cem>Boo Boo\u003c/em>, which was recorded months before his breakup, finds Bear assessing the emotional aftermath of a relationship already on the outs. It’s his most intimate release to date.\u003c/p>\n\u003cp>https://youtu.be/9rPOuZ4vY50l\u003c/p>\n\u003cp>“You say there’s a missing piece / Are you searching for both of us?” Bear sighs on “Labyrinth” over a chain of plodding bass lines and swooning electronic washes that never really seem to interlock. “Windows,” which sounds like a hollowed-out version of one of Drake’s dancehall experiments, is overlaid with the same shade of melancholy blue that washes his album cover.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it’s not all bleak: “Inside My Head” — which has an ’80s dance vibe reminiscent of Blood Orange’s kiss-off “You’re Not Good Enough” — is an ode to solitude. “Girl Like You” is as close to a pure pop hit that Bear has crafted, its wistful hook (“What’s it gonna take for a guy like me to find a girl like you?”) as sweetly sung as anything by Miguel or the One Direction boys. There’s also “Mirage,” \u003cem>Boo Boo\u003c/em>’s squiggly funk opener, which burbles and grooves like an unvarnished outtake from his 2013 album \u003cem>Anything in Return\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/jLbpMxZwZ-c\u003c/p>\n\u003cp>But, crucially, \u003cem>Boo Boo\u003c/em> is not a breakup album, but an ode to the Bay Area community where his baby resided, where the mayor \u003ca href=\"https://pitchfork.com/news/toro-y-moi-honored-in-berkeley-with-chaz-bundick-day/\" target=\"_blank\" rel=\"noopener\">commemorated him with a day\u003c/a> in his honor, and, really, where his distinctive voice emerged.\u003c/p>\n\u003cp>All throughout \u003cem>Boo Boo\u003c/em>, drums and synths knock with the sound of an imagined ’80s, but they just as often shift into the old-school hip-hop and R&B architecture that inspired Kamaiyah’s \u003cem>A Good Night in the Ghetto\u003c/em>. Toro y Moi unifies the distinct sonic aesthetics he found in the Bay Area into an adventurous bricolage of sound that appeals just as easily to hip-hop heads as it does to the KALX rock set.\u003c/p>\n\u003cp>Chaz Bear mourns a love lost on \u003cem>Boo Boo\u003c/em>, but more than anything else, the album serves as a portrait of him embracing a home that has fully embraced him back.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Toro y Moi's fifth and best album is keenly crafted electropop pulsing with '80s dance beats. ","status":"publish","parent":0,"modified":1726703220,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":498},"headData":{"title":"The 10 Best Bay Area Albums of 2017: Toro y Moi, 'Boo Boo' | KQED","description":"Toro y Moi's fifth and best album is keenly crafted electropop pulsing with '80s dance beats. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2017: Toro y Moi, 'Boo Boo'","datePublished":"2017-12-13T15:00:33-08:00","dateModified":"2024-09-18T16:47:00-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13817018/the-10-best-bay-area-albums-of-2017-toro-y-moi-boo-boo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Toro y Moi’s Chaz Bear \u003ca href=\"https://www.newyorker.com/culture/culture-desk/diddys-favorite-indie-musician-chaz-bear-of-toro-y-moi\" target=\"_blank\" rel=\"noopener\">parties with Diddy\u003c/a>, but he’s just as likely to be spotted at neighborhood cafes in Berkeley and Oakland.\u003c/p>\n\u003cp>But on \u003cem>Boo Boo\u003c/em>, his fifth and best album, the South Carolina native is lonely.\u003c/p>\n\u003cp>“My baby got fed up with my ego,” he croons in “No Show,” a keenly-crafted electropop track that’s all wistful keys and pulsing tones that clang like guilt manifest. \u003cem>Boo Boo\u003c/em>, which was recorded months before his breakup, finds Bear assessing the emotional aftermath of a relationship already on the outs. It’s his most intimate release to date.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9rPOuZ4vY50l'\n title='//www.youtube.com/embed/9rPOuZ4vY50l'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“You say there’s a missing piece / Are you searching for both of us?” Bear sighs on “Labyrinth” over a chain of plodding bass lines and swooning electronic washes that never really seem to interlock. “Windows,” which sounds like a hollowed-out version of one of Drake’s dancehall experiments, is overlaid with the same shade of melancholy blue that washes his album cover.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it’s not all bleak: “Inside My Head” — which has an ’80s dance vibe reminiscent of Blood Orange’s kiss-off “You’re Not Good Enough” — is an ode to solitude. “Girl Like You” is as close to a pure pop hit that Bear has crafted, its wistful hook (“What’s it gonna take for a guy like me to find a girl like you?”) as sweetly sung as anything by Miguel or the One Direction boys. There’s also “Mirage,” \u003cem>Boo Boo\u003c/em>’s squiggly funk opener, which burbles and grooves like an unvarnished outtake from his 2013 album \u003cem>Anything in Return\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jLbpMxZwZ-c'\n title='//www.youtube.com/embed/jLbpMxZwZ-c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But, crucially, \u003cem>Boo Boo\u003c/em> is not a breakup album, but an ode to the Bay Area community where his baby resided, where the mayor \u003ca href=\"https://pitchfork.com/news/toro-y-moi-honored-in-berkeley-with-chaz-bundick-day/\" target=\"_blank\" rel=\"noopener\">commemorated him with a day\u003c/a> in his honor, and, really, where his distinctive voice emerged.\u003c/p>\n\u003cp>All throughout \u003cem>Boo Boo\u003c/em>, drums and synths knock with the sound of an imagined ’80s, but they just as often shift into the old-school hip-hop and R&B architecture that inspired Kamaiyah’s \u003cem>A Good Night in the Ghetto\u003c/em>. Toro y Moi unifies the distinct sonic aesthetics he found in the Bay Area into an adventurous bricolage of sound that appeals just as easily to hip-hop heads as it does to the KALX rock set.\u003c/p>\n\u003cp>Chaz Bear mourns a love lost on \u003cem>Boo Boo\u003c/em>, but more than anything else, the album serves as a portrait of him embracing a home that has fully embraced him back.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817018/the-10-best-bay-area-albums-of-2017-toro-y-moi-boo-boo","authors":["11371"],"categories":["arts_69"],"tags":["arts_3391","arts_1118","arts_21788","arts_596"],"featImg":"arts_13817337","label":"arts"},"arts_13817067":{"type":"posts","id":"arts_13817067","meta":{"index":"posts_1716263798","site":"arts","id":"13817067","score":null,"sort":[1513108805000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2017-the-classical-survival-of-the-softest","title":"The 10 Best Bay Area Albums of 2017: The Classical, 'Survival of the Softest'","publishDate":1513108805,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2017: The Classical, ‘Survival of the Softest’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On the Classical’s \u003cem>Survival of the Softest\u003c/em>, Berkeley singer-producer Juliet Gordon sings as if she’s sharpening a blade. The dark, experimental pop record speaks from the point of view of a “soft” person who’s had enough of being submissive, malleable, and meek: In other words, she’s finally snapped. “Why’s it selfish to try to survive?,” she asks on the high-drama opening track, “Theme for a Gorgon.” The song, with its swelling synths and thundering snares, builds suspense at the slow pace of menacing footsteps echoing down a concrete hallway.\u003c/p>\n\u003cp>https://youtu.be/y0ub7QshOqk\u003c/p>\n\u003cp>The reference to the gorgon, the snake-haired creature from Greek mythology, speaks to Gordon’s embracing the archetype of a female monster throughout the album, turning the tables on oppressive and obnoxious men. On “Why Don’t You Make Me Smile,” she flips the stereotypical street harasser’s pick-up line. “Why don’t you make me smile? / I learn nothing but patience here / From your incessant diatribes,” she taunts, mustering the faux-sincere tone of a woman who’s nodded politely to mansplainers one too many times.\u003c/p>\n\u003cp>But Gordon’s lyrics aren’t just righteous anger. In fact, her fictionalized persona throughout the album is more of a misunderstood anti-hero who reveals both her vulnerabilities (“Uh Oh”) and morbid fantasies (“My Death”). (It should come as no surprise that Gordon has a background in acting.) The album taps into a similar feeling of a breaking point that catalyzed the #MeToo movement, and the diabolical, unhinged personas Gordon inhabits can feel cathartic for anyone who’s felt stunned or helpless in the face of sexist microagressions.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3618206652/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gordon’s production on \u003cem>Survival of the Softest\u003c/em> evokes trip-hop forebears like Massive Attack, as well as contemporary revivalists like FKA Twigs. The light, airy “Uh Oh,” with its hand-claps and euphoric piano melody, is the album’s emotional high point, but even there, Gordon tempers its floaty feeling with a twinge of melancholy.\u003c/p>\n\u003cp>\u003cem>Survival of the Softest\u003c/em> is the Classical’s final release, as Gordon and her collaborator Britt Ciampa disbanded earlier in the year. (Ciampa is not credited on this album.) While it’s unfortunate the project has been put to rest, this last effort proves Gordon to be one of the East Bay’s most creative songwriters. She recently joined indie outfit Golden Drugs as a vocalist, but let’s hope she emerges with another solo project soon.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top 10 local albums of 2017 every day through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"On this dark, trip-hop-influenced record, Juliet Gordon embraces the archetype of the female monster. ","status":"publish","parent":0,"modified":1726703225,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=3618206652/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":476},"headData":{"title":"The 10 Best Bay Area Albums of 2017: The Classical, 'Survival of the Softest' | KQED","description":"On this dark, trip-hop-influenced record, Juliet Gordon embraces the archetype of the female monster. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2017: The Classical, 'Survival of the Softest'","datePublished":"2017-12-12T12:00:05-08:00","dateModified":"2024-09-18T16:47:05-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13817067/the-10-best-bay-area-albums-of-2017-the-classical-survival-of-the-softest","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the Classical’s \u003cem>Survival of the Softest\u003c/em>, Berkeley singer-producer Juliet Gordon sings as if she’s sharpening a blade. The dark, experimental pop record speaks from the point of view of a “soft” person who’s had enough of being submissive, malleable, and meek: In other words, she’s finally snapped. “Why’s it selfish to try to survive?,” she asks on the high-drama opening track, “Theme for a Gorgon.” The song, with its swelling synths and thundering snares, builds suspense at the slow pace of menacing footsteps echoing down a concrete hallway.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/y0ub7QshOqk'\n title='//www.youtube.com/embed/y0ub7QshOqk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The reference to the gorgon, the snake-haired creature from Greek mythology, speaks to Gordon’s embracing the archetype of a female monster throughout the album, turning the tables on oppressive and obnoxious men. On “Why Don’t You Make Me Smile,” she flips the stereotypical street harasser’s pick-up line. “Why don’t you make me smile? / I learn nothing but patience here / From your incessant diatribes,” she taunts, mustering the faux-sincere tone of a woman who’s nodded politely to mansplainers one too many times.\u003c/p>\n\u003cp>But Gordon’s lyrics aren’t just righteous anger. In fact, her fictionalized persona throughout the album is more of a misunderstood anti-hero who reveals both her vulnerabilities (“Uh Oh”) and morbid fantasies (“My Death”). (It should come as no surprise that Gordon has a background in acting.) The album taps into a similar feeling of a breaking point that catalyzed the #MeToo movement, and the diabolical, unhinged personas Gordon inhabits can feel cathartic for anyone who’s felt stunned or helpless in the face of sexist microagressions.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3618206652/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gordon’s production on \u003cem>Survival of the Softest\u003c/em> evokes trip-hop forebears like Massive Attack, as well as contemporary revivalists like FKA Twigs. The light, airy “Uh Oh,” with its hand-claps and euphoric piano melody, is the album’s emotional high point, but even there, Gordon tempers its floaty feeling with a twinge of melancholy.\u003c/p>\n\u003cp>\u003cem>Survival of the Softest\u003c/em> is the Classical’s final release, as Gordon and her collaborator Britt Ciampa disbanded earlier in the year. (Ciampa is not credited on this album.) While it’s unfortunate the project has been put to rest, this last effort proves Gordon to be one of the East Bay’s most creative songwriters. She recently joined indie outfit Golden Drugs as a vocalist, but let’s hope she emerges with another solo project soon.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top 10 local albums of 2017 every day through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817067/the-10-best-bay-area-albums-of-2017-the-classical-survival-of-the-softest","authors":["11387"],"categories":["arts_69"],"tags":["arts_3391","arts_1118","arts_596"],"featImg":"arts_13817182","label":"arts"}},"programsReducer":{"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. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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