The Best Bay Area Albums of 2018The Best Bay Area Albums of 2018
The 10 Best Bay Area Albums of 2018: Russell E.L. Butler, 'The Home I'd Build for Myself and All My Friends'
The 10 Best Bay Area Albums of 2018: Odie, 'Analogue'
The 10 Best Bay Area Albums of 2018: Rose Droll, 'Your Dog'
The 10 Best Bay Area Albums of 2018: Gilberto Rodriguez y Los Intocables, 'Sabor Maracuyá Desnuda'
The 10 Best Bay Area Albums of 2018: Prezi, 'Do Better'
The 10 Best Bay Area Albums of 2018: Adrenochrome, 'Buzz or Howl Sessions'
The 10 Best Bay Area Albums of 2018: Tune-Yards, 'I can feel you creep into my private life'
The 10 Best Bay Area Albums of 2018: Voicehandler, 'light from another light'
The 10 Best Bay Area Albums of 2018: Girlz N The Hood, 'All 4 Nia'
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Butler, ‘The Home I’d Build for Myself and All My Friends’ | KQED","labelTerm":{"term":6139,"site":"arts"},"content":"\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13847211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/russell-cover-800x801.jpg\" alt=\"\" width=\"800\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-800x801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-1020x1021.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover.jpg 1199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>For some, going to a rave is an opportunity for healing, a way to cultivate a mind-body connection by moving to the rhythm with friends and strangers in the dark. But for Oakland producer \u003ca href=\"https://www.kqed.org/arts/13844497/after-ghost-ship-russell-e-l-butler-composes-a-new-home\" target=\"_blank\" rel=\"noopener\">Russell E.L. Butler\u003c/a>, it’s deeper than that.\u003c/p>\n\u003cp>On their November release, \u003cem>The Home I’d Build For Myself and All My Friends \u003c/em>(Left Hand Path), Butler (who prefers the pronoun “they”) uses techno as a language to grapple with the aftermath of the Ghost Ship fire, which they narrowly escaped. Throughout the album, Butler’s jagged beats, with thudding bass lines and tempestuous synths, give voice to the painful process of recovering from trauma.\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=45713922/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>As many have pointed out, the artists who perished at Ghost Ship gathered in the unsafe warehouse out of necessity amid Oakland’s lack of affordable spaces to live, create and perform. With \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em>, Butler imagines a society that prioritizes the well-being of queer, trans, black, immigrant and low-income artists. But, as Butler told me when I interviewed them in November, there’s no getting there without a fight.\u003c/p>\n\u003cp>Fittingly, the music Butler created to articulate these ideas is rife with friction. After ambient intro “Tuning Fork,” “Builder” cuts in with a pounding break beat. Its yo-yoing synth-lines lull listeners into a hypnotic state before the \u003cem>thwack\u003c/em> of each snare jolts them awake. “No New Neighbors,” another standout track, pulses to a funky bass line as increasingly suspenseful synths build tension that never resolves. [contextly_sidebar id=”MXch0Z3vP2FmUmoWmGgZX2Owfjgsk3gl”]\u003c/p>\n\u003cp>Though the album’s tense mood rarely shifts, the song titles on the second half of the record suggest new growth and regeneration. On “Cure Water,” sparkling synths bubble up out of a long, drawn-out bass line like seedlings sprouting from moist soil. On “Garden’s Gift,” which evokes a bit of Detroit techno, Miami bass and punk rock, fast-and-loose cymbals invite the listener to shake everything off. [contextly_sidebar id=”otqWU6O0wT3dQSxc2qiK5B8HB3BvqUr1″]\u003c/p>\n\u003cp>Not every producer can imbue wordless techno with a tangible concept, but Butler pulls it off by infusing their beats with the visceral feeling of struggle and unease that accompanies going through a period of growth. \u003cem>The Home I’d Build For Myself and All My Friends \u003c/em>is a fascinating work that returns to techno’s roots as a liberatory genre, where rhythm allows humanity to unite and work towards a better future.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n","blocks":[],"excerpt":"The Oakland producer taps into techno's liberatory potential to heal from trauma. ","status":"publish","parent":0,"modified":1705026853,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=45713922/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":464},"headData":{"title":"The 10 Best Bay Area Albums of 2018: Russell E.L. Butler, 'The Home I'd Build for Myself and All My Friends' | KQED","description":"The Oakland producer taps into techno's liberatory potential to heal from trauma. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2018: Russell E.L. Butler, 'The Home I'd Build for Myself and All My Friends'","datePublished":"2018-12-14T16:00:42.000Z","dateModified":"2024-01-12T02:34:13.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13847170/the-10-best-bay-area-albums-of-2018-russell-e-l-butler-the-home-id-build-for-myself-and-all-my-friends","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13847211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/russell-cover-800x801.jpg\" alt=\"\" width=\"800\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-800x801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-1020x1021.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover.jpg 1199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>For some, going to a rave is an opportunity for healing, a way to cultivate a mind-body connection by moving to the rhythm with friends and strangers in the dark. But for Oakland producer \u003ca href=\"https://www.kqed.org/arts/13844497/after-ghost-ship-russell-e-l-butler-composes-a-new-home\" target=\"_blank\" rel=\"noopener\">Russell E.L. Butler\u003c/a>, it’s deeper than that.\u003c/p>\n\u003cp>On their November release, \u003cem>The Home I’d Build For Myself and All My Friends \u003c/em>(Left Hand Path), Butler (who prefers the pronoun “they”) uses techno as a language to grapple with the aftermath of the Ghost Ship fire, which they narrowly escaped. Throughout the album, Butler’s jagged beats, with thudding bass lines and tempestuous synths, give voice to the painful process of recovering from trauma.\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=45713922/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>As many have pointed out, the artists who perished at Ghost Ship gathered in the unsafe warehouse out of necessity amid Oakland’s lack of affordable spaces to live, create and perform. With \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em>, Butler imagines a society that prioritizes the well-being of queer, trans, black, immigrant and low-income artists. But, as Butler told me when I interviewed them in November, there’s no getting there without a fight.\u003c/p>\n\u003cp>Fittingly, the music Butler created to articulate these ideas is rife with friction. After ambient intro “Tuning Fork,” “Builder” cuts in with a pounding break beat. Its yo-yoing synth-lines lull listeners into a hypnotic state before the \u003cem>thwack\u003c/em> of each snare jolts them awake. “No New Neighbors,” another standout track, pulses to a funky bass line as increasingly suspenseful synths build tension that never resolves. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though the album’s tense mood rarely shifts, the song titles on the second half of the record suggest new growth and regeneration. On “Cure Water,” sparkling synths bubble up out of a long, drawn-out bass line like seedlings sprouting from moist soil. On “Garden’s Gift,” which evokes a bit of Detroit techno, Miami bass and punk rock, fast-and-loose cymbals invite the listener to shake everything off. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Not every producer can imbue wordless techno with a tangible concept, but Butler pulls it off by infusing their beats with the visceral feeling of struggle and unease that accompanies going through a period of growth. \u003cem>The Home I’d Build For Myself and All My Friends \u003c/em>is a fascinating work that returns to techno’s roots as a liberatory genre, where rhythm allows humanity to unite and work towards a better future.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13847170/the-10-best-bay-area-albums-of-2018-russell-e-l-butler-the-home-id-build-for-myself-and-all-my-friends","authors":["11387"],"series":["arts_6139"],"categories":["arts_69"],"tags":["arts_1501","arts_1118","arts_1559","arts_6140"],"featImg":"arts_13847212","label":"arts_6139"},"arts_13847129":{"type":"posts","id":"arts_13847129","meta":{"index":"posts_1591205157","site":"arts","id":"13847129","score":null,"sort":[1544716836000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2018-odie-analogue","title":"The 10 Best Bay Area Albums of 2018: Odie, 'Analogue'","publishDate":1544716836,"format":"aside","headTitle":"The 10 Best Bay Area Albums of 2018: Odie, ‘Analogue’ | KQED","labelTerm":{"term":6139,"site":"arts"},"content":"\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13847131\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/odie-analogue-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue.jpg 876w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>Upon first listen, Odie’s \u003cem>Analogue\u003c/em> sounds so agnostic of any one cultural influence or genre that it’s almost impossible to tell where the artist is from. Born and raised in Canada by Nigerian parents before settling in the Bay Area at age 12, the barrier-transcending musician has experienced a life as multi-faceted as his gorgeous take on alt-R&B.\u003c/p>\n\u003cp>On \u003cem>Analogue\u003c/em>, Odie’s warm singing voice and ambient synths are reminiscent of Kid Cudi’s moving, melodic rap, while his rhythmic structure and funky production take cues from African drum patterns and old Michael Jackson hits. Opening track “Bliss City,” made entrancingly intimate with Odie’s half-whispered delivery and twinkling keys, sets the tone for the artist’s introspective lyrics.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/486503037″ 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>A captivating debut, \u003cem>Analogue\u003c/em> eloquently explores growing up, figuring oneself out and striving for artistic dreams. On “Story,” Odie half-raps, half-sings about finding the faith to carve his own path, leaning on others to believe and pray as he searches for “the words to my story.” “Northface,” a track about a dead-end job at a winter-wear retailer, attests to Odie’s gift for crafting catchy melodies that catch listeners off-guard before returning to a familiar place. [contextly_sidebar id=”jVsL4MhpTnxvZti6dHl4RpC0juKIOvoc”]\u003c/p>\n\u003cp>Odie begins to fall into more confidently into his own rhythm on the upbeat “Faith,” as he raps “New life takin’ over me / My energy so untamed.” And on the dreamy “Phenomenon,” Odie speaks to the fleeting ambition that plagues every 21-year-old with big goals and no clear game plan: “I can feel it, coming on / I think I want to change the whole world / Can you see the phenomenon / Been living on a prayer, all along.” [contextly_sidebar id=”aYSlcK7sjTGz1e7EnmSupisszqZ0LiTa”]\u003c/p>\n\u003cp>Throughout \u003cem>Analogue\u003c/em>, Odie’s poignant, uncomplicated lyricism underscores quintessential, early-20s growing pains against a backdrop of lush, atmospheric production. With his emotive delivery, he creates a singular sound that can only come from blurring genre, time and cultural lines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Alt-R&B artist Odie creates a singular sound that can only come from blurring genre, time and cultural lines. ","status":"publish","parent":0,"modified":1705026863,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":429},"headData":{"title":"The 10 Best Bay Area Albums of 2018: Odie, 'Analogue' | KQED","description":"Alt-R&B artist Odie creates a singular sound that can only come from blurring genre, time and cultural lines. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2018: Odie, 'Analogue'","datePublished":"2018-12-13T16:00:36.000Z","dateModified":"2024-01-12T02:34:23.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13847129/the-10-best-bay-area-albums-of-2018-odie-analogue","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13847131\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/odie-analogue-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue.jpg 876w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>Upon first listen, Odie’s \u003cem>Analogue\u003c/em> sounds so agnostic of any one cultural influence or genre that it’s almost impossible to tell where the artist is from. Born and raised in Canada by Nigerian parents before settling in the Bay Area at age 12, the barrier-transcending musician has experienced a life as multi-faceted as his gorgeous take on alt-R&B.\u003c/p>\n\u003cp>On \u003cem>Analogue\u003c/em>, Odie’s warm singing voice and ambient synths are reminiscent of Kid Cudi’s moving, melodic rap, while his rhythmic structure and funky production take cues from African drum patterns and old Michael Jackson hits. Opening track “Bliss City,” made entrancingly intimate with Odie’s half-whispered delivery and twinkling keys, sets the tone for the artist’s introspective lyrics.\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/486503037″&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/486503037″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A captivating debut, \u003cem>Analogue\u003c/em> eloquently explores growing up, figuring oneself out and striving for artistic dreams. On “Story,” Odie half-raps, half-sings about finding the faith to carve his own path, leaning on others to believe and pray as he searches for “the words to my story.” “Northface,” a track about a dead-end job at a winter-wear retailer, attests to Odie’s gift for crafting catchy melodies that catch listeners off-guard before returning to a familiar place. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Odie begins to fall into more confidently into his own rhythm on the upbeat “Faith,” as he raps “New life takin’ over me / My energy so untamed.” And on the dreamy “Phenomenon,” Odie speaks to the fleeting ambition that plagues every 21-year-old with big goals and no clear game plan: “I can feel it, coming on / I think I want to change the whole world / Can you see the phenomenon / Been living on a prayer, all along.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Throughout \u003cem>Analogue\u003c/em>, Odie’s poignant, uncomplicated lyricism underscores quintessential, early-20s growing pains against a backdrop of lush, atmospheric production. With his emotive delivery, he creates a singular sound that can only come from blurring genre, time and cultural lines.\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13847129/the-10-best-bay-area-albums-of-2018-odie-analogue","authors":["11391"],"series":["arts_6139"],"categories":["arts_69"],"tags":["arts_831","arts_924","arts_6140"],"featImg":"arts_13847132","label":"arts_6139"},"arts_13847024":{"type":"posts","id":"arts_13847024","meta":{"index":"posts_1591205157","site":"arts","id":"13847024","score":null,"sort":[1544644807000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2018-rose-droll-your-dog","title":"The 10 Best Bay Area Albums of 2018: Rose Droll, 'Your Dog'","publishDate":1544644807,"format":"aside","headTitle":"The 10 Best Bay Area Albums of 2018: Rose Droll, ‘Your Dog’ | KQED","labelTerm":{"term":6139,"site":"arts"},"content":"\u003cfigure id=\"attachment_13847040\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847040\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/rose-droll-800x800.jpg\" alt=\"Rose Droll, 'Your Dog.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Rose Droll, ‘Your Dog.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>One of the strangest and most thrilling records to emerge from the Bay Area’s indie rock scene this year, Rose Droll’s \u003cem>Your Dog\u003c/em> (Father/Daughter Records) is an economic album born of necessity.\u003c/p>\n\u003cp>Droll found herself with too many lyrics to fit into a melody, so she developed a whispery, spoken-word style of rapping that recalls folky genre-benders like Beck and Regina Spektor. Because she lived in a thin-walled apartment with roommates during \u003cem>Your Dog\u003c/em>‘s creation, she couldn’t write the album with the assistance of a drum kit or amps: instead, the dominant instrument became her acoustic guitar, played in a percussive style that utilizes the \u003cem>thump\u003c/em> of Droll’s palm and the \u003cem>shing \u003c/em>of her fingers sliding down the strings.\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=1784071394/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Droll’s intriguing style of beat-driven, bedroom folk-rock parses her coming-of-age move to San Francisco from Modesto, leaving her devout, Christian community behind and discovering herself through art and love. “Hush,” which starts with a chorus of “This little light of mine,” hits the hardest beat change since Travis Scott’s “Sicko Mode” as Droll delivers a hurried verse to a lover who can’t get their shit together. Her whispered confessions feel intimate, beckoning the listener to lean in closer. [contextly_sidebar id=”jbsIwpjUsZ4cWJMOY1GETzbzjT0WhBXk”]\u003c/p>\n\u003cp>Droll, who played all the instruments on \u003cem>Your Dog\u003c/em>, including cello, glockenspiel and piano, is the type of multi-instrumentalist who moves with an inherent musicality. Her gifts for melody are most apparent on “Happy Kitten” and “Fat Duck,” where she breaks from the dense blocks of words and gives her raspy singing voice space to breath. “I don’t have money for the things I think I need / And it takes too much to think of you and me,” she sings on “Happy Kitten” before launching into a yearning, open-throated chorus that tugs at the heartstrings. [contextly_sidebar id=”9oFKz3H3WCB29f6wz81BeNDQiBeVQ0jL”]\u003c/p>\n\u003cp>At a time when much of pop music feels like fast fashion, Droll takes a refreshingly homespun approach, and she impresses with what she’s able to accomplish with little assistance. \u003cem>Your Dog \u003c/em>strikes a delicate balance of D.I.Y. and polish, and flexes Droll’s quiet yet mighty powers as a songwriter and producer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"'Your Dog' strikes a delicate balance of D.I.Y. and polished, and flexes Droll's quiet yet mighty powers as a songwriter and producer.","status":"publish","parent":0,"modified":1705026872,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1784071394/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":437},"headData":{"title":"The 10 Best Bay Area Albums of 2018: Rose Droll, 'Your Dog' | KQED","description":"'Your Dog' strikes a delicate balance of D.I.Y. and polished, and flexes Droll's quiet yet mighty powers as a songwriter and producer.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2018: Rose Droll, 'Your Dog'","datePublished":"2018-12-12T20:00:07.000Z","dateModified":"2024-01-12T02:34:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13847024/the-10-best-bay-area-albums-of-2018-rose-droll-your-dog","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13847040\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847040\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/rose-droll-800x800.jpg\" alt=\"Rose Droll, 'Your Dog.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/rose-droll.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Rose Droll, ‘Your Dog.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>One of the strangest and most thrilling records to emerge from the Bay Area’s indie rock scene this year, Rose Droll’s \u003cem>Your Dog\u003c/em> (Father/Daughter Records) is an economic album born of necessity.\u003c/p>\n\u003cp>Droll found herself with too many lyrics to fit into a melody, so she developed a whispery, spoken-word style of rapping that recalls folky genre-benders like Beck and Regina Spektor. Because she lived in a thin-walled apartment with roommates during \u003cem>Your Dog\u003c/em>‘s creation, she couldn’t write the album with the assistance of a drum kit or amps: instead, the dominant instrument became her acoustic guitar, played in a percussive style that utilizes the \u003cem>thump\u003c/em> of Droll’s palm and the \u003cem>shing \u003c/em>of her fingers sliding down the strings.\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=1784071394/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Droll’s intriguing style of beat-driven, bedroom folk-rock parses her coming-of-age move to San Francisco from Modesto, leaving her devout, Christian community behind and discovering herself through art and love. “Hush,” which starts with a chorus of “This little light of mine,” hits the hardest beat change since Travis Scott’s “Sicko Mode” as Droll delivers a hurried verse to a lover who can’t get their shit together. Her whispered confessions feel intimate, beckoning the listener to lean in closer. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Droll, who played all the instruments on \u003cem>Your Dog\u003c/em>, including cello, glockenspiel and piano, is the type of multi-instrumentalist who moves with an inherent musicality. Her gifts for melody are most apparent on “Happy Kitten” and “Fat Duck,” where she breaks from the dense blocks of words and gives her raspy singing voice space to breath. “I don’t have money for the things I think I need / And it takes too much to think of you and me,” she sings on “Happy Kitten” before launching into a yearning, open-throated chorus that tugs at the heartstrings. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At a time when much of pop music feels like fast fashion, Droll takes a refreshingly homespun approach, and she impresses with what she’s able to accomplish with little assistance. \u003cem>Your Dog \u003c/em>strikes a delicate balance of D.I.Y. and polish, and flexes Droll’s quiet yet mighty powers as a songwriter and producer.\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13847024/the-10-best-bay-area-albums-of-2018-rose-droll-your-dog","authors":["11387"],"series":["arts_6139"],"categories":["arts_69"],"tags":["arts_2415","arts_21788","arts_596","arts_6140"],"featImg":"arts_13847041","label":"arts_6139"},"arts_13846895":{"type":"posts","id":"arts_13846895","meta":{"index":"posts_1591205157","site":"arts","id":"13846895","score":null,"sort":[1544545752000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2018-gilberto-rodriguez-y-los-intocables-sabor-maracuya-desnuda","title":"The 10 Best Bay Area Albums of 2018: Gilberto Rodriguez y Los Intocables, 'Sabor Maracuyá Desnuda'","publishDate":1544545752,"format":"aside","headTitle":"The 10 Best Bay Area Albums of 2018: Gilberto Rodriguez y Los Intocables, ‘Sabor Maracuyá Desnuda’ | KQED","labelTerm":{"term":6139,"site":"arts"},"content":"\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13846901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/gilberto-800x806.jpg\" alt=\"\" width=\"800\" height=\"806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-800x806.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-768x774.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-1020x1028.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto.jpg 1191w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-1180x1189.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-960x967.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-240x242.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-375x378.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-520x524.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. Check \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>Listening to \u003ca href=\"https://gilbertorodriguez.bandcamp.com/album/sabor-maracuy-desnuda\" target=\"_blank\" rel=\"noopener\">Gilberto Rodriguez y Los Intocables\u003c/a>, one can’t help but wonder what kinds of old souls are hiding within these young musicians fusing Chicano soul and Afro-Caribbean sounds steeped in 1960s San Francisco.\u003c/p>\n\u003cp>Some might be familiar with Gilberto Rodriguez, one-third of San Francisco psychedelic cumbia band Almas Fronterizas. With help from Ahkeel Mestayer on percussion, Ruben Sandoval on keys, and brothers Carlos and Jorge Rodriguez on trumpets, Rodriguez’ \u003cem>Sabor Maracuyá Desnuda\u003c/em> (\u003cem>Taste of Naked Passionfruit\u003c/em>) cultivates an unsuspected fusion of sounds that represents his and his bandmates’ diverse musical upbringings. For Rodriguez, that includes blues from West Oakland; Central American sounds heard in East Oakland; the drum circles he participated in with Native Americans; and Afro-Indigenous sounds and poetry heard in San Francisco.\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=261647053/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Take the track “Bahiá Caliente” (The Hot Bay), which pays homage to the Bay Area, featuring guest vocals from Ilia Correa Sepulveda, who plays in Las Bomberas De La Bahia, an all-women bomba ensemble. Taking cues from Puerto Rican bomba, an interactive collaboration between dancers, percussionists and singers, “Bahía Caliente” melodiously blends the conga drums and the güiro, a hand-held percussion instrument, with Rodriguez’ soft, raspy vocals and sprightly trumpet riffs. [contextly_sidebar id=”37m4on0oz8kKndcMToSo2781HovhFkMp”]\u003c/p>\n\u003cp>Rodriguez’ lyrics, sung mostly in Spanish, are minimalist yet evocative. For the first five minutes of “Entre Las Estrellas,” for instance, all you hear is the interplay of the percussion instruments and a simple yet beautiful chanting. If the remaining five minutes had no lyrics, it wouldn’t matter. But then Rodriguez’ vocals come in: “Los intocables se encuentran en las estrellas / Los intocables se encuentran con ella” (“The untouchables live among the stars / The untouchables live with her”). [contextly_sidebar id=”0m3GnlimGaTLeexmp4BlwgZXKLAK2uHU”]\u003c/p>\n\u003cp>Gilberto Rodriguez y Los Intocables’ debut LP \u003cem>Sabor Maracuyá Desnuda\u003c/em> submerges the senses with an experimental, poetic synthesis of sounds that might be foreign to your ears but is worth listening to from beginning to end.\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Rodriguez' inventive fusion of Latin soul and Afro-Caribbean percussion captivates with its deep grooves.","status":"publish","parent":0,"modified":1705026879,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=261647053/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":374},"headData":{"title":"The 10 Best Bay Area Albums of 2018: Gilberto Rodriguez y Los Intocables, 'Sabor Maracuyá Desnuda' | KQED","description":"Rodriguez' inventive fusion of Latin soul and Afro-Caribbean percussion captivates with its deep grooves.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2018: Gilberto Rodriguez y Los Intocables, 'Sabor Maracuyá Desnuda'","datePublished":"2018-12-11T16:29:12.000Z","dateModified":"2024-01-12T02:34:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Azucena Rasilla","path":"/arts/13846895/the-10-best-bay-area-albums-of-2018-gilberto-rodriguez-y-los-intocables-sabor-maracuya-desnuda","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13846901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/gilberto-800x806.jpg\" alt=\"\" width=\"800\" height=\"806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-800x806.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-768x774.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-1020x1028.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto.jpg 1191w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-1180x1189.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-960x967.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-240x242.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-375x378.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-520x524.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/gilberto-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. Check \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>Listening to \u003ca href=\"https://gilbertorodriguez.bandcamp.com/album/sabor-maracuy-desnuda\" target=\"_blank\" rel=\"noopener\">Gilberto Rodriguez y Los Intocables\u003c/a>, one can’t help but wonder what kinds of old souls are hiding within these young musicians fusing Chicano soul and Afro-Caribbean sounds steeped in 1960s San Francisco.\u003c/p>\n\u003cp>Some might be familiar with Gilberto Rodriguez, one-third of San Francisco psychedelic cumbia band Almas Fronterizas. With help from Ahkeel Mestayer on percussion, Ruben Sandoval on keys, and brothers Carlos and Jorge Rodriguez on trumpets, Rodriguez’ \u003cem>Sabor Maracuyá Desnuda\u003c/em> (\u003cem>Taste of Naked Passionfruit\u003c/em>) cultivates an unsuspected fusion of sounds that represents his and his bandmates’ diverse musical upbringings. For Rodriguez, that includes blues from West Oakland; Central American sounds heard in East Oakland; the drum circles he participated in with Native Americans; and Afro-Indigenous sounds and poetry heard in San Francisco.\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=261647053/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Take the track “Bahiá Caliente” (The Hot Bay), which pays homage to the Bay Area, featuring guest vocals from Ilia Correa Sepulveda, who plays in Las Bomberas De La Bahia, an all-women bomba ensemble. Taking cues from Puerto Rican bomba, an interactive collaboration between dancers, percussionists and singers, “Bahía Caliente” melodiously blends the conga drums and the güiro, a hand-held percussion instrument, with Rodriguez’ soft, raspy vocals and sprightly trumpet riffs. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Rodriguez’ lyrics, sung mostly in Spanish, are minimalist yet evocative. For the first five minutes of “Entre Las Estrellas,” for instance, all you hear is the interplay of the percussion instruments and a simple yet beautiful chanting. If the remaining five minutes had no lyrics, it wouldn’t matter. But then Rodriguez’ vocals come in: “Los intocables se encuentran en las estrellas / Los intocables se encuentran con ella” (“The untouchables live among the stars / The untouchables live with her”). \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Gilberto Rodriguez y Los Intocables’ debut LP \u003cem>Sabor Maracuyá Desnuda\u003c/em> submerges the senses with an experimental, poetic synthesis of sounds that might be foreign to your ears but is worth listening to from beginning to end.\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>\u003cbr />\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13846895/the-10-best-bay-area-albums-of-2018-gilberto-rodriguez-y-los-intocables-sabor-maracuya-desnuda","authors":["byline_arts_13846895"],"series":["arts_6139"],"categories":["arts_69"],"tags":["arts_1118","arts_2519","arts_596","arts_6140"],"featImg":"arts_13846917","label":"arts_6139"},"arts_13846539":{"type":"posts","id":"arts_13846539","meta":{"index":"posts_1591205157","site":"arts","id":"13846539","score":null,"sort":[1544457651000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2018-prezi-do-better","title":"The 10 Best Bay Area Albums of 2018: Prezi, 'Do Better'","publishDate":1544457651,"format":"aside","headTitle":"The 10 Best Bay Area Albums of 2018: Prezi, ‘Do Better’ | KQED","labelTerm":{"term":6139,"site":"arts"},"content":"\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13846576\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/prezi-do-better.jpg\" alt=\"\" width=\"630\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-150x150.jpg 150w\" sizes=\"(max-width: 630px) 100vw, 630px\" />\u003c/p>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>In the fall of 2017, \u003ca href=\"https://soundcloud.com/prezimusic\" target=\"_blank\" rel=\"noopener\">Prezi’s\u003c/a> “Do Better” emerged from the undercurrents of Bay Area rap to become a regional hit, logging 5 million YouTube views and airplay on 106.1 KMEL. Much of its power lies in the Hunters Point rapper’s anxiously sung chorus: “Family tellin’ me to do better / I’m a do better.” Delivering his verses over a thumping mid-tempo beat that matches his world-weary words, Prezi encapsulated the life of a 26-year-old who’s been in and out of jail and fallen prey to his worst impulses, and also personified anyone who struggles to rise above their day-to-day circumstances with a measure of grace. It was a poetic expression of personal trials and tribulations that felt universal.\u003c/p>\n\u003cp>Released in January, Prezi’s subsequent \u003cem>Do Better\u003c/em> album builds on that breakout single with a sound full of slapping, block-hugging mob music. Oddly, he never returns to the anxious mid-range singing voice he deployed for that transcendent title track (although the album includes a high-profile “Do Better” remix with Philthy Rich, OMB Peezy and Mozzy). [contextly_sidebar id=”FftNeH3xYC1N4Er4KqncPzRzfjiaBkyd”]\u003c/p>\n\u003cp>Instead, Prezi relies on a grizzled, sand-papery flow for tracks like “Come & Go,” where he raps over an arrangement of ominous keys, “These streets taught me never trust a soul.” Much of it sounds like pure venting, a chance for him to release his frustrations about friends who “claim to fight for me, never took a punch” and women who thought he was ugly until he established a viable music career. But he sets aside some tenderness for “Family,” a warmly melodic collaboration with Mozzy and singer Tree Thomas. “Long way up out the projects, just wanna make my mama proud / Head to the sky, like ‘If Grams could just see me now,'” he raps, then adds a shout-out for his daughter’s mom, whose “loyalty was never a question.” [contextly_sidebar id=”ABosYc7S2LHRF5jGQTfviJhfVP4oZ1rh”]\u003c/p>\n\u003cp>Throughout \u003cem>Do Better\u003c/em>, Prezi taps into a rich vein of Northern California hip-hop that commemorates the struggle to find a better way of life, and is unapologetic about the means—criminal or otherwise—that one uses to reach that goal. Prezi’s grit and hustle may make him the “president” of a neighborhood often marked by civic neglect, but even in the wider realm of street rap, it has also brought him an inarguable breakthrough, one of the best singles in recent memory and a promising full-length debut. He’s here now.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/2UpcGeI8kxbeRkxUJBAEY3\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Prezi's debut personifies those who struggle to rise above their day-to-day circumstances. ","status":"publish","parent":0,"modified":1705026887,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":479},"headData":{"title":"The 10 Best Bay Area Albums of 2018: Prezi, 'Do Better' | KQED","description":"Prezi's debut personifies those who struggle to rise above their day-to-day circumstances. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2018: Prezi, 'Do Better'","datePublished":"2018-12-10T16:00:51.000Z","dateModified":"2024-01-12T02:34:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13846539/the-10-best-bay-area-albums-of-2018-prezi-do-better","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13846576\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/prezi-do-better.jpg\" alt=\"\" width=\"630\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-150x150.jpg 150w\" sizes=\"(max-width: 630px) 100vw, 630px\" />\u003c/p>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>In the fall of 2017, \u003ca href=\"https://soundcloud.com/prezimusic\" target=\"_blank\" rel=\"noopener\">Prezi’s\u003c/a> “Do Better” emerged from the undercurrents of Bay Area rap to become a regional hit, logging 5 million YouTube views and airplay on 106.1 KMEL. Much of its power lies in the Hunters Point rapper’s anxiously sung chorus: “Family tellin’ me to do better / I’m a do better.” Delivering his verses over a thumping mid-tempo beat that matches his world-weary words, Prezi encapsulated the life of a 26-year-old who’s been in and out of jail and fallen prey to his worst impulses, and also personified anyone who struggles to rise above their day-to-day circumstances with a measure of grace. It was a poetic expression of personal trials and tribulations that felt universal.\u003c/p>\n\u003cp>Released in January, Prezi’s subsequent \u003cem>Do Better\u003c/em> album builds on that breakout single with a sound full of slapping, block-hugging mob music. Oddly, he never returns to the anxious mid-range singing voice he deployed for that transcendent title track (although the album includes a high-profile “Do Better” remix with Philthy Rich, OMB Peezy and Mozzy). \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Instead, Prezi relies on a grizzled, sand-papery flow for tracks like “Come & Go,” where he raps over an arrangement of ominous keys, “These streets taught me never trust a soul.” Much of it sounds like pure venting, a chance for him to release his frustrations about friends who “claim to fight for me, never took a punch” and women who thought he was ugly until he established a viable music career. But he sets aside some tenderness for “Family,” a warmly melodic collaboration with Mozzy and singer Tree Thomas. “Long way up out the projects, just wanna make my mama proud / Head to the sky, like ‘If Grams could just see me now,'” he raps, then adds a shout-out for his daughter’s mom, whose “loyalty was never a question.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Throughout \u003cem>Do Better\u003c/em>, Prezi taps into a rich vein of Northern California hip-hop that commemorates the struggle to find a better way of life, and is unapologetic about the means—criminal or otherwise—that one uses to reach that goal. Prezi’s grit and hustle may make him the “president” of a neighborhood often marked by civic neglect, but even in the wider realm of street rap, it has also brought him an inarguable breakthrough, one of the best singles in recent memory and a promising full-length debut. He’s here now.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/2UpcGeI8kxbeRkxUJBAEY3\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\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>\u003cbr />\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13846539/the-10-best-bay-area-albums-of-2018-prezi-do-better","authors":["11855"],"series":["arts_6139"],"categories":["arts_69"],"tags":["arts_1118","arts_831","arts_4017","arts_596","arts_974","arts_6140"],"featImg":"arts_13846574","label":"arts_6139"},"arts_13846544":{"type":"posts","id":"arts_13846544","meta":{"index":"posts_1591205157","site":"arts","id":"13846544","score":null,"sort":[1544198443000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2018-adrenochrome-buzz-or-howl-sessions","title":"The 10 Best Bay Area Albums of 2018: Adrenochrome, 'Buzz or Howl Sessions'","publishDate":1544198443,"format":"aside","headTitle":"The 10 Best Bay Area Albums of 2018: Adrenochrome, ‘Buzz or Howl Sessions’ | KQED","labelTerm":{"term":6139,"site":"arts"},"content":"\u003cfigure id=\"attachment_13846546\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846546\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/adrenochrome-800x802.jpg\" alt=\"Adrenochrome, 'Buzz or Howl Sessions.' \" width=\"800\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-800x802.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-1020x1023.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome.jpg 1197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Adrenochrome, ‘Buzz or Howl Sessions.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>Oakland’s \u003ca href=\"https://adrenochromeoakland.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Adrenonchrome\u003c/a> is a modern-day post-punk supergroup comprised of members from local bands such as False Figure, Ötzi, and Cruz de Navajas. Their debut album, \u003cem>Buzz and Howl Sessions \u003c/em>(Near Dark Records), is a six-track deathrock explosion clocking in at under 17 minutes. The rapid-fire EP is both a sharp shock to the system and a magickal mystery tour of the sacred and arcane.\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=2453273291/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>With Brianne Hanshaw’s fierce drums as a driving force, Alex Rivas’ looming bass lines anchor the project and Andres Ruiz’ pinwheeling guitar riffs launch it into the stratosphere. Adrenochrome draws influence from decades of gothic gloom. You might hear traces of old Bauhaus in the bass line one moment and Christian Death in the guitar the next. Adrenochrome’s lead vocalist (and founder of Near Dark Records), Gina Marie, maintains a gravely howl mixed low, lending the music a rough-edged texture. [contextly_sidebar id=”eM9rsp6FSQwdyPWVViIVRCcJ4bQmFVx5″]\u003c/p>\n\u003cp>Lyrically, the songs hew closely to the somber themes favored by the still-strong darkwave and dark punk scene embedded in Oakland. With the downcast “shadows of a forgotten time” in “Fool’s Paradise” and the frenetic struggle against mind control in “Shattered Frames,” Adrenochrome’s explorations give voice to the rage and frustration of the nonconformist class, without devolving too deeply into the outright maudlin.\u003c/p>\n\u003cp>A recurring theme (if themes can be said to recur in a 16-minute album!) is that of magick, which, like deathrock, has been enjoying something of an East Bay revival. Two songs, “Celebration” and “Burn Away,” can be received as transmissions from this realm. Co-written with Akiko Sampson—co-founder of Ötzi, Gina Marie’s other band—both unambiguously describe states of ritual and revelation. Each embrace the forces outside of us that contribute to the power within—a power that pushes us to bravely face the future without abandoning the past.\u003c/p>\n\u003cp>https://youtu.be/a4xMJZa96wM\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The post-punk EP is both a sharp shock to the system and a magickal mystery tour of the sacred and arcane.","status":"publish","parent":0,"modified":1705026896,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=2453273291/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":367},"headData":{"title":"The 10 Best Bay Area Albums of 2018: Adrenochrome, 'Buzz or Howl Sessions' | KQED","description":"The post-punk EP is both a sharp shock to the system and a magickal mystery tour of the sacred and arcane.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2018: Adrenochrome, 'Buzz or Howl Sessions'","datePublished":"2018-12-07T16:00:43.000Z","dateModified":"2024-01-12T02:34:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13846544/the-10-best-bay-area-albums-of-2018-adrenochrome-buzz-or-howl-sessions","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13846546\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846546\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/adrenochrome-800x802.jpg\" alt=\"Adrenochrome, 'Buzz or Howl Sessions.' \" width=\"800\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-800x802.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-1020x1023.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome.jpg 1197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/adrenochrome-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Adrenochrome, ‘Buzz or Howl Sessions.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>Oakland’s \u003ca href=\"https://adrenochromeoakland.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Adrenonchrome\u003c/a> is a modern-day post-punk supergroup comprised of members from local bands such as False Figure, Ötzi, and Cruz de Navajas. Their debut album, \u003cem>Buzz and Howl Sessions \u003c/em>(Near Dark Records), is a six-track deathrock explosion clocking in at under 17 minutes. The rapid-fire EP is both a sharp shock to the system and a magickal mystery tour of the sacred and arcane.\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=2453273291/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>With Brianne Hanshaw’s fierce drums as a driving force, Alex Rivas’ looming bass lines anchor the project and Andres Ruiz’ pinwheeling guitar riffs launch it into the stratosphere. Adrenochrome draws influence from decades of gothic gloom. You might hear traces of old Bauhaus in the bass line one moment and Christian Death in the guitar the next. Adrenochrome’s lead vocalist (and founder of Near Dark Records), Gina Marie, maintains a gravely howl mixed low, lending the music a rough-edged texture. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Lyrically, the songs hew closely to the somber themes favored by the still-strong darkwave and dark punk scene embedded in Oakland. With the downcast “shadows of a forgotten time” in “Fool’s Paradise” and the frenetic struggle against mind control in “Shattered Frames,” Adrenochrome’s explorations give voice to the rage and frustration of the nonconformist class, without devolving too deeply into the outright maudlin.\u003c/p>\n\u003cp>A recurring theme (if themes can be said to recur in a 16-minute album!) is that of magick, which, like deathrock, has been enjoying something of an East Bay revival. Two songs, “Celebration” and “Burn Away,” can be received as transmissions from this realm. Co-written with Akiko Sampson—co-founder of Ötzi, Gina Marie’s other band—both unambiguously describe states of ritual and revelation. Each embrace the forces outside of us that contribute to the power within—a power that pushes us to bravely face the future without abandoning the past.\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/a4xMJZa96wM'\n title='//www.youtube.com/embed/a4xMJZa96wM'\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>\u003cbr />\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13846544/the-10-best-bay-area-albums-of-2018-adrenochrome-buzz-or-howl-sessions","authors":["11497"],"series":["arts_6139"],"categories":["arts_69"],"tags":["arts_1501","arts_1118","arts_596","arts_913","arts_905","arts_6140"],"featImg":"arts_13846571","label":"arts_6139"},"arts_13846464":{"type":"posts","id":"arts_13846464","meta":{"index":"posts_1591205157","site":"arts","id":"13846464","score":null,"sort":[1544112002000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2018-tune-yards-i-can-feel-you-creep-into-my-private-life","title":"The 10 Best Bay Area Albums of 2018: Tune-Yards, 'I can feel you creep into my private life'","publishDate":1544112002,"format":"aside","headTitle":"The 10 Best Bay Area Albums of 2018: Tune-Yards, ‘I can feel you creep into my private life’ | KQED","labelTerm":{"term":6139,"site":"arts"},"content":"\u003cfigure id=\"attachment_13846469\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13846469 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Tune-Yards, ‘I Can Feel You Creep Into My Private Life’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check back here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>\u003cem>I can feel you creep into my private life\u003c/em> can be an uncomfortable album, but it’s meant to feel that way.\u003c/p>\n\u003cp>On “Colonizer,” the fulcrum of Merrill Garbus’s fourth \u003ca href=\"http://tune-yards.com/\" target=\"_blank\" rel=\"noopener\">Tune-Yards\u003c/a> LP, an Afro–pop-inspired beat drops and the Oakland vocalist, producer and multi-instrumentalist sings: “I use my white woman’s voice to interpret my travels with African men / I turn on my white woman’s voice to contextualize acts of my white women friends / I cry my white woman tears carving grooves in my cheeks to display what I meant.”\u003c/p>\n\u003cp>Awkward, right? Garbus prods at the nuances of her existence in a world of white privilege, and it can come across as a bit cringey. But in a year where Oakland once again galvanized a national conversation about racial equality (and a white woman virally enshrined as “\u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener\">BBQ Becky\u003c/a>” was reduced to tears when she couldn’t grapple with her own racism), Garbus’ self-reflective lyrics navigate her role as a white Oakland resident with audacity and wit. [contextly_sidebar id=”sFYYEd4xmikhxc7KHkF5zcx6h9ILllcS”]\u003c/p>\n\u003cp>It’s been a busy year for Garbus, who also scored Boots Riley’s influential film, \u003cem>Sorry To Bother You\u003c/em>. Before beginning to write and produce \u003cem>I can feel you\u003c/em> with longtime collaborator Nate Brenner, she attended a six month program at the East Bay Meditation Center called “White and Awakening,” which proved to be a catalyst for the album’s cental theme.\u003c/p>\n\u003cp>“Now As Then,” predicated on a drum beat reminiscent of Aphex Twin, expresses a mentality that white people don’t want to admit: “I am exceptional / I am an exception / I am the exception.” “Honesty,” with its refrain of “Honesty, honesty gone / Do you really wanna know?” alludes to Garbus’ self-inquiry throughout the project.\u003c/p>\n\u003cp>https://youtu.be/3-7je-jsuC4\u003c/p>\n\u003cp>Garbus’ throaty delivery is at its absolute richest on “Hammer,” where congas, claps, bass and a pipe flute unfold into layers that sound like a backing chorus of Merrill Garbuses—the hallmark Tune-Yards sound. Album opener “Heart Attack”—which features drum programming from Chance The Rapper affiliates Nico Segal and Nate Fox—sees Garbus paying homage to Detroit house and disco that she gravitated towards as a DJ.\u003c/p>\n\u003cp>While much of contemporary American pop (and Tune-Yards’ discography, one could argue) has roots in traditionally black genres like funk, soul, house and rap, we seldom see white artists acknowledging their privilege or influences. \u003cem>I can feel you creep into my private life\u003c/em> doesn’t just feel like mere acknowledgement, however, but an homage to the music’s lineage.\u003c/p>\n\u003cp>We’re living in an insane time within our functionally racist society, when, en lieu of challenging racism within our families and selves, liberal whites try to “out-woke” each other at cocktail parties and on Twitter. Garbus, who’s never explored a concept and not totally gone for it, refreshingly tells it like it is, willingly (and effectively) at her own expense.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/08eRmv5QDqzFkLR0B8DhoO\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Within our functionally racist society, Merrill Garbus' examination of her white privilege is awkward yet necessary. ","status":"publish","parent":0,"modified":1705026908,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":567},"headData":{"title":"The 10 Best Bay Area Albums of 2018: Tune-Yards, 'I can feel you creep into my private life' | KQED","description":"Within our functionally racist society, Merrill Garbus' examination of her white privilege is awkward yet necessary. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2018: Tune-Yards, 'I can feel you creep into my private life'","datePublished":"2018-12-06T16:00:02.000Z","dateModified":"2024-01-12T02:35:08.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Adrian Spinelli","path":"/arts/13846464/the-10-best-bay-area-albums-of-2018-tune-yards-i-can-feel-you-creep-into-my-private-life","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13846469\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13846469 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Tune-Yards, ‘I Can Feel You Creep Into My Private Life’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check back here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>\u003cem>I can feel you creep into my private life\u003c/em> can be an uncomfortable album, but it’s meant to feel that way.\u003c/p>\n\u003cp>On “Colonizer,” the fulcrum of Merrill Garbus’s fourth \u003ca href=\"http://tune-yards.com/\" target=\"_blank\" rel=\"noopener\">Tune-Yards\u003c/a> LP, an Afro–pop-inspired beat drops and the Oakland vocalist, producer and multi-instrumentalist sings: “I use my white woman’s voice to interpret my travels with African men / I turn on my white woman’s voice to contextualize acts of my white women friends / I cry my white woman tears carving grooves in my cheeks to display what I meant.”\u003c/p>\n\u003cp>Awkward, right? Garbus prods at the nuances of her existence in a world of white privilege, and it can come across as a bit cringey. But in a year where Oakland once again galvanized a national conversation about racial equality (and a white woman virally enshrined as “\u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener\">BBQ Becky\u003c/a>” was reduced to tears when she couldn’t grapple with her own racism), Garbus’ self-reflective lyrics navigate her role as a white Oakland resident with audacity and wit. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s been a busy year for Garbus, who also scored Boots Riley’s influential film, \u003cem>Sorry To Bother You\u003c/em>. Before beginning to write and produce \u003cem>I can feel you\u003c/em> with longtime collaborator Nate Brenner, she attended a six month program at the East Bay Meditation Center called “White and Awakening,” which proved to be a catalyst for the album’s cental theme.\u003c/p>\n\u003cp>“Now As Then,” predicated on a drum beat reminiscent of Aphex Twin, expresses a mentality that white people don’t want to admit: “I am exceptional / I am an exception / I am the exception.” “Honesty,” with its refrain of “Honesty, honesty gone / Do you really wanna know?” alludes to Garbus’ self-inquiry throughout the project.\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/3-7je-jsuC4'\n title='//www.youtube.com/embed/3-7je-jsuC4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Garbus’ throaty delivery is at its absolute richest on “Hammer,” where congas, claps, bass and a pipe flute unfold into layers that sound like a backing chorus of Merrill Garbuses—the hallmark Tune-Yards sound. Album opener “Heart Attack”—which features drum programming from Chance The Rapper affiliates Nico Segal and Nate Fox—sees Garbus paying homage to Detroit house and disco that she gravitated towards as a DJ.\u003c/p>\n\u003cp>While much of contemporary American pop (and Tune-Yards’ discography, one could argue) has roots in traditionally black genres like funk, soul, house and rap, we seldom see white artists acknowledging their privilege or influences. \u003cem>I can feel you creep into my private life\u003c/em> doesn’t just feel like mere acknowledgement, however, but an homage to the music’s lineage.\u003c/p>\n\u003cp>We’re living in an insane time within our functionally racist society, when, en lieu of challenging racism within our families and selves, liberal whites try to “out-woke” each other at cocktail parties and on Twitter. Garbus, who’s never explored a concept and not totally gone for it, refreshingly tells it like it is, willingly (and effectively) at her own expense.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/08eRmv5QDqzFkLR0B8DhoO\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\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>\u003cbr />\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13846464/the-10-best-bay-area-albums-of-2018-tune-yards-i-can-feel-you-creep-into-my-private-life","authors":["byline_arts_13846464"],"series":["arts_6139"],"categories":["arts_69"],"tags":["arts_10589","arts_1118","arts_596","arts_3652","arts_6140","arts_1584"],"featImg":"arts_13846470","label":"arts_6139"},"arts_13846432":{"type":"posts","id":"arts_13846432","meta":{"index":"posts_1591205157","site":"arts","id":"13846432","score":null,"sort":[1544041540000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2018-voicehandler-light-from-another-light","title":"The 10 Best Bay Area Albums of 2018: Voicehandler, 'light from another light'","publishDate":1544041540,"format":"aside","headTitle":"The 10 Best Bay Area Albums of 2018: Voicehandler, ‘light from another light’ | KQED","labelTerm":{"term":6139,"site":"arts"},"content":"\u003cfigure id=\"attachment_13846437\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/voicehandler-800x800.jpg\" alt=\"Voicehandler, 'light from another light.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Voicehandler, ‘light from another light.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A wealth of improvised music appeared from Bay Area experimentalists in 2018, often featuring electronic and acoustic instruments nestled together. Zachary Watkins and Marshall Trammell released their final project as Black Spirituals, and \u003ca href=\"https://www.kqed.org/arts/13844696/improviser-bill-orcutts-brace-up-marks-an-incredible-second-act\" target=\"_blank\" rel=\"noopener\">Bill Orcutt\u003c/a> partnered with Chris Corsano on the combustible \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Brace Up! \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">And among the local free music scene’s most inspired dispatches is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">light from another light \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(Humbler Records)\u003c/span>\u003cspan style=\"font-weight: 400\">, Danishta Rivero and Jacob Heule’s second full-length as \u003ca href=\"https://humbler.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Voicehandler\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The two are fixtures in Oakland’s experimental set: Rivero, working with voice and modular electronics, is also one half of left-field reggaet\u003c/span>\u003cspan style=\"font-weight: 400\">ó\u003c/span>\u003cspan style=\"font-weight: 400\">n duo\u003c/span>\u003cspan style=\"font-weight: 400\"> Las Sucias, while Heule is an active show booker and serially collaborating percussionist. As Voicehandler, who last released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Song Cycle \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">in 2015, Rivero and Heule have a sensitive, painterly rapport and a seemingly bottomless supply of technique and expressive ingenuity. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Light from another light\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> collects loose improvisations, free of easily discernible motifs but suffused with enchantment and otherworldly allure.\u003c/span>\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=935253021/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Absent of blustery chaos, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">light from another light \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">feels at once free and focused. The album features three pieces, each recorded a week apart last summer. They’re strikingly divergent from one another in terms of tone and intensity: opener “June 8” is feverishly abuzz with manic scatting; “June 1” builds up a meditative drone with an air of suspense; closer “May 25″ is at first halting and spare, rendering Heule’s percussion with painstaking clarity. [contextly_sidebar id=”sS8gh6XyfkSTixt0FTvIsqE5Ukz1e0l2”]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The album starts at its busiest point, with a rush of pinball percussion and spiraling cries, but upon repeat listens its softest and steadiest passages emerge as the most captivating: hushed breath and brushwork near the end of “May 25,” for instance, or the buzz-roll bobbing in static on “June 1.” Heule is a bravura drummer with a surgical sense for accents, stressing beats you forgot existed with timbres that might never reappear, but the music isn’t cluttered. Nor is it totally austere; in a quiet moment, Rivero playfully mimics the sound of a broken speaker. [contextly_sidebar id=”09EDgHNEZkYZmakOKRah3Lcd53y93tis”]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The abstract album cover, a chemically distorted photograph by Brittany Nelson, looks organic but alien. The picture rhymes with the music: Nelson’s image is fibrous from afar and scratchy up close, just as Rivero’s fricative rasp morphs between mesh and daggers. Yet Voicehandler’s music, if it was represented on a canvas, would involve more negative space; Heule and Rivero seize every chance to make the void sing.\u003c/span>\u003cbr />\n[ad fullwidth]\u003cbr />\n[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Alien and enchanting, Voicehandler's voice and drum improvisations have a seemingly bottomless supply of technique and expressive ingenuity.","status":"publish","parent":0,"modified":1705026913,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=935253021/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":459},"headData":{"title":"The 10 Best Bay Area Albums of 2018: Voicehandler, 'light from another light' | KQED","description":"Alien and enchanting, Voicehandler's voice and drum improvisations have a seemingly bottomless supply of technique and expressive ingenuity.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2018: Voicehandler, 'light from another light'","datePublished":"2018-12-05T20:25:40.000Z","dateModified":"2024-01-12T02:35:13.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13846432/the-10-best-bay-area-albums-of-2018-voicehandler-light-from-another-light","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13846437\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/voicehandler-800x800.jpg\" alt=\"Voicehandler, 'light from another light.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Voicehandler, ‘light from another light.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A wealth of improvised music appeared from Bay Area experimentalists in 2018, often featuring electronic and acoustic instruments nestled together. Zachary Watkins and Marshall Trammell released their final project as Black Spirituals, and \u003ca href=\"https://www.kqed.org/arts/13844696/improviser-bill-orcutts-brace-up-marks-an-incredible-second-act\" target=\"_blank\" rel=\"noopener\">Bill Orcutt\u003c/a> partnered with Chris Corsano on the combustible \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Brace Up! \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">And among the local free music scene’s most inspired dispatches is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">light from another light \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(Humbler Records)\u003c/span>\u003cspan style=\"font-weight: 400\">, Danishta Rivero and Jacob Heule’s second full-length as \u003ca href=\"https://humbler.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Voicehandler\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The two are fixtures in Oakland’s experimental set: Rivero, working with voice and modular electronics, is also one half of left-field reggaet\u003c/span>\u003cspan style=\"font-weight: 400\">ó\u003c/span>\u003cspan style=\"font-weight: 400\">n duo\u003c/span>\u003cspan style=\"font-weight: 400\"> Las Sucias, while Heule is an active show booker and serially collaborating percussionist. As Voicehandler, who last released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Song Cycle \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">in 2015, Rivero and Heule have a sensitive, painterly rapport and a seemingly bottomless supply of technique and expressive ingenuity. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Light from another light\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> collects loose improvisations, free of easily discernible motifs but suffused with enchantment and otherworldly allure.\u003c/span>\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=935253021/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Absent of blustery chaos, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">light from another light \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">feels at once free and focused. The album features three pieces, each recorded a week apart last summer. They’re strikingly divergent from one another in terms of tone and intensity: opener “June 8” is feverishly abuzz with manic scatting; “June 1” builds up a meditative drone with an air of suspense; closer “May 25″ is at first halting and spare, rendering Heule’s percussion with painstaking clarity. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The album starts at its busiest point, with a rush of pinball percussion and spiraling cries, but upon repeat listens its softest and steadiest passages emerge as the most captivating: hushed breath and brushwork near the end of “May 25,” for instance, or the buzz-roll bobbing in static on “June 1.” Heule is a bravura drummer with a surgical sense for accents, stressing beats you forgot existed with timbres that might never reappear, but the music isn’t cluttered. Nor is it totally austere; in a quiet moment, Rivero playfully mimics the sound of a broken speaker. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The abstract album cover, a chemically distorted photograph by Brittany Nelson, looks organic but alien. The picture rhymes with the music: Nelson’s image is fibrous from afar and scratchy up close, just as Rivero’s fricative rasp morphs between mesh and daggers. Yet Voicehandler’s music, if it was represented on a canvas, would involve more negative space; Heule and Rivero seize every chance to make the void sing.\u003c/span>\u003cbr />\n\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>\u003cbr />\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13846432/the-10-best-bay-area-albums-of-2018-voicehandler-light-from-another-light","authors":["11091"],"series":["arts_6139"],"categories":["arts_69"],"tags":["arts_1501","arts_3607","arts_1118","arts_596","arts_6140"],"featImg":"arts_13846438","label":"arts_6139"},"arts_13846266":{"type":"posts","id":"arts_13846266","meta":{"index":"posts_1591205157","site":"arts","id":"13846266","score":null,"sort":[1543956340000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2018-girlz-n-the-hood-all-4-nia","title":"The 10 Best Bay Area Albums of 2018: Girlz N The Hood, 'All 4 Nia'","publishDate":1543956340,"format":"aside","headTitle":"The 10 Best Bay Area Albums of 2018: Girlz N The Hood, ‘All 4 Nia’ | KQED","labelTerm":{"term":6139,"site":"arts"},"content":"\u003cfigure id=\"attachment_13846324\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846324\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/all4nia-800x800.jpg\" alt=\"Girlz N The Hood, 'All 4 Nia.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Girlz N The Hood, ‘All 4 Nia.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check back here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>This year, \u003ca href=\"https://www.instagram.com/girlznthehood_/\" target=\"_blank\" rel=\"noopener\">Girlz N The Hood\u003c/a> faced the biggest tragedy that could befall a tight-knit group of friends: their bestie and bandmate, Nia Wilson, was gruesomely murdered on the platform at MacArthur BART station. Some media reports called it a random act of violence, but for many Oaklanders, the murder felt like yet \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\" target=\"_blank\" rel=\"noopener\">another attack\u003c/a> on young, black lives amid our country’s racially fraught climate.\u003c/p>\n\u003cp>If tragedy is a test of character, then Girlz N The Hood’s album \u003cem>All 4 Nia \u003c/em>demonstrates the tremendous resilience and grace of Nia’s girl squad. Comprised of Nia’s sister Shi (Tashiya Wilson, who witnessed the attack) and friends Mylly, Shotta and Ty, Girlz N The Hood channel their vitriol and sadness into a fiery project with the distinct knock and funky bass of Bay Area mob music. (Parts Unknown, who produced SOB x RBE’s breakout hits, has credits on the project.)[contextly_sidebar id=”gGWZWXfuFb4TtuyRoNfAH9wEmBobJvRb”]\u003c/p>\n\u003cp>With uptempo beats and tough-talking bars, the girls wrangle a fierce determination to make the most of life in Nia’s honor. Touchingly, the project features Nia herself. The laidback, G-funk “Run Yo Mouth,” a diss track by Nia and Shi about a rival girl gang, initially brought Girlz N The Hood together. The music video shows Nia, a camera-shy 18-year-old, following her older sister’s lead, goofing around while trying to look tough in the studio. Hearing the song, one can’t help but imagine what Nia could’ve become had she been allowed to blossom as a woman and artist.\u003c/p>\n\u003cp>https://youtu.be/bcXY1Lls_Y8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.thefader.com/2018/11/21/nia-wilson-oakland-girlz-n-the-hood-all-4-nia-interview\" target=\"_blank\" rel=\"noopener\">interview\u003c/a> with Ruth Gebreyesus in The Fader, the girls described Nia as a loyal friend, blunt truth-teller and eternal optimist. Mylly’s nickname for her was “Turnt Cuz” for her ability to smile and keep it pushing no matter what she was going through. Nia’s personality, sweet yet unafraid to stand up for herself, inspired the girls to grit their teeth and turn up for their friend through the hurt.\u003c/p>\n\u003cp>On the wistful closing track, “\u003ca href=\"https://youtu.be/M0Cfp-oeJIo\" target=\"_blank\" rel=\"noopener\">All 4 Nia\u003c/a>,” Ty sums it up best: “It’s kind of crazy how you gone, you was a real one / You my dawg, you gon’ always shine in peace / Never folded on a n-gga, always ready for the beef.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/4Iv7KZK0Nlac7zzOd1mqFx\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\n","blocks":[],"excerpt":"Girlz N The Hood are determined to keep Nia Wilson's name alive. ","status":"publish","parent":0,"modified":1705026923,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":449},"headData":{"title":"The 10 Best Bay Area Albums of 2018: Girlz N The Hood, 'All 4 Nia' | KQED","description":"Girlz N The Hood are determined to keep Nia Wilson's name alive. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2018: Girlz N The Hood, 'All 4 Nia'","datePublished":"2018-12-04T20:45:40.000Z","dateModified":"2024-01-12T02:35:23.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13846266/the-10-best-bay-area-albums-of-2018-girlz-n-the-hood-all-4-nia","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13846324\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846324\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/all4nia-800x800.jpg\" alt=\"Girlz N The Hood, 'All 4 Nia.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Girlz N The Hood, ‘All 4 Nia.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check back here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>This year, \u003ca href=\"https://www.instagram.com/girlznthehood_/\" target=\"_blank\" rel=\"noopener\">Girlz N The Hood\u003c/a> faced the biggest tragedy that could befall a tight-knit group of friends: their bestie and bandmate, Nia Wilson, was gruesomely murdered on the platform at MacArthur BART station. Some media reports called it a random act of violence, but for many Oaklanders, the murder felt like yet \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\" target=\"_blank\" rel=\"noopener\">another attack\u003c/a> on young, black lives amid our country’s racially fraught climate.\u003c/p>\n\u003cp>If tragedy is a test of character, then Girlz N The Hood’s album \u003cem>All 4 Nia \u003c/em>demonstrates the tremendous resilience and grace of Nia’s girl squad. Comprised of Nia’s sister Shi (Tashiya Wilson, who witnessed the attack) and friends Mylly, Shotta and Ty, Girlz N The Hood channel their vitriol and sadness into a fiery project with the distinct knock and funky bass of Bay Area mob music. (Parts Unknown, who produced SOB x RBE’s breakout hits, has credits on the project.)\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>With uptempo beats and tough-talking bars, the girls wrangle a fierce determination to make the most of life in Nia’s honor. Touchingly, the project features Nia herself. The laidback, G-funk “Run Yo Mouth,” a diss track by Nia and Shi about a rival girl gang, initially brought Girlz N The Hood together. The music video shows Nia, a camera-shy 18-year-old, following her older sister’s lead, goofing around while trying to look tough in the studio. Hearing the song, one can’t help but imagine what Nia could’ve become had she been allowed to blossom as a woman and artist.\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/bcXY1Lls_Y8'\n title='//www.youtube.com/embed/bcXY1Lls_Y8'\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>In an \u003ca href=\"https://www.thefader.com/2018/11/21/nia-wilson-oakland-girlz-n-the-hood-all-4-nia-interview\" target=\"_blank\" rel=\"noopener\">interview\u003c/a> with Ruth Gebreyesus in The Fader, the girls described Nia as a loyal friend, blunt truth-teller and eternal optimist. Mylly’s nickname for her was “Turnt Cuz” for her ability to smile and keep it pushing no matter what she was going through. Nia’s personality, sweet yet unafraid to stand up for herself, inspired the girls to grit their teeth and turn up for their friend through the hurt.\u003c/p>\n\u003cp>On the wistful closing track, “\u003ca href=\"https://youtu.be/M0Cfp-oeJIo\" target=\"_blank\" rel=\"noopener\">All 4 Nia\u003c/a>,” Ty sums it up best: “It’s kind of crazy how you gone, you was a real one / You my dawg, you gon’ always shine in peace / Never folded on a n-gga, always ready for the beef.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/4Iv7KZK0Nlac7zzOd1mqFx\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13846266/the-10-best-bay-area-albums-of-2018-girlz-n-the-hood-all-4-nia","authors":["11387"],"series":["arts_6139"],"categories":["arts_69"],"tags":["arts_3156","arts_1118","arts_5357","arts_5355","arts_596","arts_6140"],"featImg":"arts_13846329","label":"arts_6139"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. 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