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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where every week we feature new music by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Remember when the streets were completely desolate during the start of the pandemic? A visceral feeling of uncertainty permeated our day-to-day, and familiar places looked and felt eerie without the usual signs of life.\u003c/p>\n\u003cp>\u003ca href=\"https://idhaz.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">IDHAZ\u003c/a> captures that post-apocalyptic anxiety in his new music video for “if i am afraid,” a heart-racing track where delicate wisps of R&B vocals float like smoke over harsh, industrial electronic instruments. Synths echo like elevator shafts; drums clang like swords drawn from sheathes. Underneath its atmospheric gloom, the track is as textured and tactile as the urban environment in the music video.\u003c/p>\n\u003cp>Directed by \u003ca href=\"http://brandontauszik.com\" target=\"_blank\" rel=\"noopener noreferrer\">Brandon Tauszik\u003c/a>, the video shows IDHAZ dancing in Joker-esque makeup throughout the empty streets of San Francisco, joined by turf dancer Yaya Muhammad and breaker Justice Marttila, both of whom honed their crafts in battles and street performances. The trio’s movements are mesmerizing as they slink their way through a sinister landscape before we’re left questioning whether the whole thing was a dream.\u003c/p>\n\u003cp>“if i am afraid” is the lead single from IDHAZ’ debut full-length album, \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/psychic-behaviors\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>psychic behaviors\u003c/em>\u003c/a>, out now on San Francisco experimental electronic label Left Hand Path.\u003c/p>\n\u003cp>https://youtu.be/7nfptrJpFgs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>On Monday, April 5, a lawsuit was brought against Bassnectar by two women who say they had sexual relationships with the Santa Cruz DJ-producer while they were still underage. The case also accuses the EDM star—real name Lorin Ashton—of human trafficking, as well as making and possessing child pornography. [aside postid='arts_13883674']\u003c/p>\n\u003cp>Co-defendants in the lawsuit include San Francisco record label \u003ca href=\"https://www.amorphousmusic.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Amorphous Music\u003c/a>, along with Bassnectar Touring, \u003ca href=\"https://electronicdivision.redlightmanagement.com/artistmanagement/\" target=\"_blank\" rel=\"noopener noreferrer\">Red Light Management\u003c/a>, \u003ca href=\"https://www.c3presents.com/\" target=\"_blank\" rel=\"noopener noreferrer\">C3 Presents\u003c/a> and the \u003ca href=\"https://interactivegivingfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Interactive Giving Fund\u003c/a> organization. In a \u003ca href=\"https://www.laffeybuccikent.com/world-famous-dj-bassnectar-management-companies-sued-for-human-trafficking-and-sexual-abuse/?fbclid=IwAR3JexSpeAYDCAS1ZVNZSuTWsexet2Bs9GaKjz1otHxsvnoNQlVoaBjoCMo\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a>, a lawyer acting on behalf of Ashton’s accusers, Rachel Ramsbottom and Alexis Bowling, said: “This lawsuit is about seeking justice not just against Bassnectar but against the corporations that cooperate in and help facilitate the abuses he is alleged to have committed.”\u003c/p>\n\u003cp>Ashton’s attorney Mitchell Schuster, \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-lawsuit-sexual-abuse-child-pornography-allegations-1151652/\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement to \u003cem>Rolling Stone\u003c/em>\u003c/a>, called the accusations by Ramsbottom and Bowling “outrageous claims.” He also suggested they were “clearly designed for the media, rather than the courts.”\u003c/p>\n\u003cp>Ashton announced he was \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-sexual-misconduct-allegations-1024324/\" target=\"_blank\" rel=\"noopener noreferrer\">stepping back\u003c/a> from music nine months ago, after multiple allegations about his relationships with young women and girls emerged online. These allegations, along with screenshots of emails and DMs from Ashton, were primarily gathered and shared by the \u003ca href=\"https://www.instagram.com/evidenceagainstbassnectar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@EvidenceAgainstBassnectar\u003c/a> Instagram account that launched in June 2020.\u003c/p>\n\u003cp>Ramsbottom and Bowling say Ashton initiated contact with them both via Twitter, initially in the manner of a friend and mentor. Interactions, they say, later became suggestive. Both say they had sex with him while underage, and that he solicited explicit photos from them. Ramsbottom says that several years later, Ashton offered her money to stay quiet about their former relationship.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the details included in Ramsbottom and Bowling’s lawsuit had already been posted to the @EvidenceAgainstBassnectar Instagram page. Multiple stories shared by the account accuse Ashton of knowingly engaging in \u003ca href=\"https://www.instagram.com/p/CCAmhzFpdPJ/\" target=\"_blank\" rel=\"noopener noreferrer\">sex with minors\u003c/a>, listing “young girls” on \u003ca href=\"https://www.instagram.com/p/CCCBd6VpEmC/\" target=\"_blank\" rel=\"noopener noreferrer\">his rider\u003c/a>, targeting \u003ca href=\"https://www.instagram.com/p/CCEia1apHy6/\" target=\"_blank\" rel=\"noopener noreferrer\">underage girls\u003c/a> online, using methods of \u003ca href=\"https://www.instagram.com/p/CCHUtODJCgn/\" target=\"_blank\" rel=\"noopener noreferrer\">grooming\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CCDV9JkpK-C/\" target=\"_blank\" rel=\"noopener noreferrer\">emotional manipulation\u003c/a>, trying to make girls \u003ca href=\"https://www.instagram.com/p/CB_5_54Jo7M/\" target=\"_blank\" rel=\"noopener noreferrer\">sign NDAs\u003c/a> and encouraging fans to \u003ca href=\"https://www.instagram.com/p/CB_7dy6JIfF/\" target=\"_blank\" rel=\"noopener noreferrer\">bully his critics\u003c/a>. One post claims that the rumors about his relationships with underage girls date all the way \u003ca href=\"https://www.instagram.com/p/CB_1A9FJuT3/\" target=\"_blank\" rel=\"noopener noreferrer\">back to 2010\u003c/a>.\u003c/p>\n\u003cp>Former Bassnectar collaborators \u003ca href=\"https://mimipagemusic.tumblr.com/post/624224339345244160/an-open-letter-to-lorin-ashton-bassnectar-from\" target=\"_blank\" rel=\"noopener noreferrer\">Mimi Page\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CB_1v3LJRvZ/\" target=\"_blank\" rel=\"noopener noreferrer\">Miranda Hughes\u003c/a> have since publicly denounced Ashton. But @EvidenceAgainstBassnectar has also inspired some of his former lovers to write Tumblr essays detailing their own negative experiences with him. “\u003ca href=\"https://mynameislauren2020.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">My Name Is Lauren\u003c/a>” accuses Ashton of committing “psychological abuse for his own perverse pleasure” and “inappropriately target[ing] young women.” And the “\u003ca href=\"https://psychicprincesscreation.tumblr.com/post/623014073571885056/some-notesedits-made-77-bassnectar-told-me\" target=\"_blank\" rel=\"noopener noreferrer\">My EAB\u003c/a>” page claims that Ashton “DEFINITELY knows he’s doing something wrong, otherwise he wouldn’t be sharing that hush money with you, or asking you to hide and delete everything.” [aside postid='pop_61190']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ashton, who rose to fame playing sets at Burning Man and EDM parties in San Francisco, has long publicly identified as anti-sexist. (In one private\u003ca href=\"https://www.instagram.com/p/CCDHkryJwZI/\" target=\"_blank\" rel=\"noopener noreferrer\"> message\u003c/a> shared by @EvidenceAgainstBassnectar, he describes himself as “an earnest feminist, and a total ally.”) In a \u003ca href=\"https://www.instagram.com/p/CCMigC_gkXL/\" target=\"_blank\" rel=\"noopener noreferrer\">statement shared in a private Facebook fan group\u003c/a> last June, the DJ firmly defended himself. “The rumors of sexual misconduct that are circulating about me are completely untrue,” he wrote. “I have never been involved in anything that was not absolutely, unequivocally consensual … I have always supported victims of abuse and assault. I have protected women my whole life and I would simply never harm a woman.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday, April 5, a lawsuit was brought against Bassnectar by two women who say they had sexual relationships with the Santa Cruz DJ-producer while they were still underage. The case also accuses the EDM star—real name Lorin Ashton—of human trafficking, as well as making and possessing child pornography. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Co-defendants in the lawsuit include San Francisco record label \u003ca href=\"https://www.amorphousmusic.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Amorphous Music\u003c/a>, along with Bassnectar Touring, \u003ca href=\"https://electronicdivision.redlightmanagement.com/artistmanagement/\" target=\"_blank\" rel=\"noopener noreferrer\">Red Light Management\u003c/a>, \u003ca href=\"https://www.c3presents.com/\" target=\"_blank\" rel=\"noopener noreferrer\">C3 Presents\u003c/a> and the \u003ca href=\"https://interactivegivingfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Interactive Giving Fund\u003c/a> organization. In a \u003ca href=\"https://www.laffeybuccikent.com/world-famous-dj-bassnectar-management-companies-sued-for-human-trafficking-and-sexual-abuse/?fbclid=IwAR3JexSpeAYDCAS1ZVNZSuTWsexet2Bs9GaKjz1otHxsvnoNQlVoaBjoCMo\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a>, a lawyer acting on behalf of Ashton’s accusers, Rachel Ramsbottom and Alexis Bowling, said: “This lawsuit is about seeking justice not just against Bassnectar but against the corporations that cooperate in and help facilitate the abuses he is alleged to have committed.”\u003c/p>\n\u003cp>Ashton’s attorney Mitchell Schuster, \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-lawsuit-sexual-abuse-child-pornography-allegations-1151652/\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement to \u003cem>Rolling Stone\u003c/em>\u003c/a>, called the accusations by Ramsbottom and Bowling “outrageous claims.” He also suggested they were “clearly designed for the media, rather than the courts.”\u003c/p>\n\u003cp>Ashton announced he was \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-sexual-misconduct-allegations-1024324/\" target=\"_blank\" rel=\"noopener noreferrer\">stepping back\u003c/a> from music nine months ago, after multiple allegations about his relationships with young women and girls emerged online. These allegations, along with screenshots of emails and DMs from Ashton, were primarily gathered and shared by the \u003ca href=\"https://www.instagram.com/evidenceagainstbassnectar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@EvidenceAgainstBassnectar\u003c/a> Instagram account that launched in June 2020.\u003c/p>\n\u003cp>Ramsbottom and Bowling say Ashton initiated contact with them both via Twitter, initially in the manner of a friend and mentor. Interactions, they say, later became suggestive. Both say they had sex with him while underage, and that he solicited explicit photos from them. Ramsbottom says that several years later, Ashton offered her money to stay quiet about their former relationship.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the details included in Ramsbottom and Bowling’s lawsuit had already been posted to the @EvidenceAgainstBassnectar Instagram page. Multiple stories shared by the account accuse Ashton of knowingly engaging in \u003ca href=\"https://www.instagram.com/p/CCAmhzFpdPJ/\" target=\"_blank\" rel=\"noopener noreferrer\">sex with minors\u003c/a>, listing “young girls” on \u003ca href=\"https://www.instagram.com/p/CCCBd6VpEmC/\" target=\"_blank\" rel=\"noopener noreferrer\">his rider\u003c/a>, targeting \u003ca href=\"https://www.instagram.com/p/CCEia1apHy6/\" target=\"_blank\" rel=\"noopener noreferrer\">underage girls\u003c/a> online, using methods of \u003ca href=\"https://www.instagram.com/p/CCHUtODJCgn/\" target=\"_blank\" rel=\"noopener noreferrer\">grooming\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CCDV9JkpK-C/\" target=\"_blank\" rel=\"noopener noreferrer\">emotional manipulation\u003c/a>, trying to make girls \u003ca href=\"https://www.instagram.com/p/CB_5_54Jo7M/\" target=\"_blank\" rel=\"noopener noreferrer\">sign NDAs\u003c/a> and encouraging fans to \u003ca href=\"https://www.instagram.com/p/CB_7dy6JIfF/\" target=\"_blank\" rel=\"noopener noreferrer\">bully his critics\u003c/a>. One post claims that the rumors about his relationships with underage girls date all the way \u003ca href=\"https://www.instagram.com/p/CB_1A9FJuT3/\" target=\"_blank\" rel=\"noopener noreferrer\">back to 2010\u003c/a>.\u003c/p>\n\u003cp>Former Bassnectar collaborators \u003ca href=\"https://mimipagemusic.tumblr.com/post/624224339345244160/an-open-letter-to-lorin-ashton-bassnectar-from\" target=\"_blank\" rel=\"noopener noreferrer\">Mimi Page\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CB_1v3LJRvZ/\" target=\"_blank\" rel=\"noopener noreferrer\">Miranda Hughes\u003c/a> have since publicly denounced Ashton. But @EvidenceAgainstBassnectar has also inspired some of his former lovers to write Tumblr essays detailing their own negative experiences with him. “\u003ca href=\"https://mynameislauren2020.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">My Name Is Lauren\u003c/a>” accuses Ashton of committing “psychological abuse for his own perverse pleasure” and “inappropriately target[ing] young women.” And the “\u003ca href=\"https://psychicprincesscreation.tumblr.com/post/623014073571885056/some-notesedits-made-77-bassnectar-told-me\" target=\"_blank\" rel=\"noopener noreferrer\">My EAB\u003c/a>” page claims that Ashton “DEFINITELY knows he’s doing something wrong, otherwise he wouldn’t be sharing that hush money with you, or asking you to hide and delete everything.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ashton, who rose to fame playing sets at Burning Man and EDM parties in San Francisco, has long publicly identified as anti-sexist. (In one private\u003ca href=\"https://www.instagram.com/p/CCDHkryJwZI/\" target=\"_blank\" rel=\"noopener noreferrer\"> message\u003c/a> shared by @EvidenceAgainstBassnectar, he describes himself as “an earnest feminist, and a total ally.”) In a \u003ca href=\"https://www.instagram.com/p/CCMigC_gkXL/\" target=\"_blank\" rel=\"noopener noreferrer\">statement shared in a private Facebook fan group\u003c/a> last June, the DJ firmly defended himself. “The rumors of sexual misconduct that are circulating about me are completely untrue,” he wrote. “I have never been involved in anything that was not absolutely, unequivocally consensual … I have always supported victims of abuse and assault. I have protected women my whole life and I would simply never harm a woman.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While the chance to safely attend physical dance parties remains on the horizon, this weekend San Francisco-based nonprofit and experimental art space The Lab will offer the next best thing: a 12-hour Dance A Thon fundraiser.\u003c/p>\n\u003cp>The event features DJs and artists Moor Mother, Brontez Purnell, William Basinski & Preston Wendel, Matmos, Dan Deacon, The Garbage Man (Grouper’s Liz Harris), Deerhoof’s Greg Saunier with Sarah Harris, emcees Peaches Christ, Fauxnique, Marvin K. White, and more. \u003c/p>\n\u003cp>“Funds raised during the Dance A Thon will help The Lab continue to provide direct financial relief to artists,” said Executive Director Dena Beard in a statement, “while offering all of us a chance for celebration and connectivity.” According to Beard, The Lab’s Dance A Thon was inspired by the Dance Marathons of the 1930s, which allowed emotional reprieve amidst the Great Depression.\u003c/p>\n\u003cp>With 50 minutes of dancing followed by a 10 minute break on the hour, the event will run from 7:30pm–7:30am with a mix of DJs, performers, and other artists. Dancers who would like to participate must first set up a pledge page and begin fundraising, much like a school walk-a-thon; they’ll receive a link to join the livestream after raising a minimum of $75. The event is free for the public to watch online. \u003c/p>\n\u003cp>In partnership with Bandcamp, The Lab will offer multiple prizes for dancers throughout the event. A $50 Bandcamp gift card will go to the Best Dancer, determined by the audience. A $150 Bandcamp gift card will go to the Highest Fundraiser, and a $150 Bandcamp gift card will go to the Last Dancer Left Standing. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Lab’s Dance A Thon starts at 7:30pm PST on April 10 and runs until 7:30am PST on Sunday, April 11. \u003ca href=\"https://www.thelab.org/projects/danceathon\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the chance to safely attend physical dance parties remains on the horizon, this weekend San Francisco-based nonprofit and experimental art space The Lab will offer the next best thing: a 12-hour Dance A Thon fundraiser.\u003c/p>\n\u003cp>The event features DJs and artists Moor Mother, Brontez Purnell, William Basinski & Preston Wendel, Matmos, Dan Deacon, The Garbage Man (Grouper’s Liz Harris), Deerhoof’s Greg Saunier with Sarah Harris, emcees Peaches Christ, Fauxnique, Marvin K. White, and more. \u003c/p>\n\u003cp>“Funds raised during the Dance A Thon will help The Lab continue to provide direct financial relief to artists,” said Executive Director Dena Beard in a statement, “while offering all of us a chance for celebration and connectivity.” According to Beard, The Lab’s Dance A Thon was inspired by the Dance Marathons of the 1930s, which allowed emotional reprieve amidst the Great Depression.\u003c/p>\n\u003cp>With 50 minutes of dancing followed by a 10 minute break on the hour, the event will run from 7:30pm–7:30am with a mix of DJs, performers, and other artists. Dancers who would like to participate must first set up a pledge page and begin fundraising, much like a school walk-a-thon; they’ll receive a link to join the livestream after raising a minimum of $75. The event is free for the public to watch online. \u003c/p>\n\u003cp>In partnership with Bandcamp, The Lab will offer multiple prizes for dancers throughout the event. A $50 Bandcamp gift card will go to the Best Dancer, determined by the audience. A $150 Bandcamp gift card will go to the Highest Fundraiser, and a $150 Bandcamp gift card will go to the Last Dancer Left Standing. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Lab’s Dance A Thon starts at 7:30pm PST on April 10 and runs until 7:30am PST on Sunday, April 11. \u003ca href=\"https://www.thelab.org/projects/danceathon\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Sisters With Transistors' Traces Female Pioneers of Electronic Music",
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"content": "\u003cp>In the 1920s, the Russian physicist Leon Theremin debuted an electronic instrument that could be played without any physical contact. Players stood in front of a box and waved their hands over antennas, \u003ca href=\"https://www.youtube.com/watch?v=w5qf9O6c20o\" target=\"_blank\" rel=\"noopener noreferrer\">summoning otherworldly sounds\u003c/a> seemingly from thin air. The theremin might have been regarded as a passing novelty if not for the late \u003ca href=\"http://nadiareisenberg-clararockmore.org/clara-rockmore-biography/\" target=\"_blank\" rel=\"noopener noreferrer\">Clara Rockmore\u003c/a>, a virtuoso who helped to refine the instrument’s design, and wowed concert hall audiences with her performances.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pSzTPGlNa5U\u003c/p>\n\u003cp>Rockmore is but a single figure in a long line of women who have changed the shape and sound of modern music—often invisibly, says filmmaker Lisa Rovner. “I think when most people think of electronic music, in most cases they’ll picture men pushing the buttons, the knobs, and the boundaries.” [aside postid='pop_92372']\u003c/p>\n\u003cp>Rovner’s new documentary, \u003ca href=\"https://sisterswithtransistors.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sisters with Transistors\u003c/em>\u003c/a>, corrects the record. Narrated by \u003ca href=\"https://laurieanderson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Laurie Anderson\u003c/a>, the film celebrates the achievements of early pioneers such as Daphne Oram, who was hired by the BBC as a studio engineer in the 1940s. After hours, Oram began recording and manipulating sounds on magnetic tape, experiments that led to the co-founding of the BBC’s Radiophonic Workshop in 1958. Another pioneer, Delia Derbyshire, crafted sounds for nearly 200 BBC programs, including the \u003ca href=\"https://youtu.be/75V4ClJZME4\" target=\"_blank\" rel=\"noopener noreferrer\">iconic theme music for the sci-fi series \u003cem>Doctor Who\u003c/em>\u003c/a>\u003cem>,\u003c/em> which debuted in 1963.\u003c/p>\n\u003cp>Modular synthesizers soon followed, and the development of the first commercially available models was guided by women. \u003ca href=\"http://www.wendycarlos.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Wendy Carlos\u003c/a> advised Robert Moog on the design of the first keyboard-based model, and introduced it to the general public on her 1968 album, \u003cem>Switched-On Bach\u003c/em>, which sold more than a million copies. \u003ca href=\"https://www.sevwave.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Suzanne Ciani\u003c/a> realized the \u003ca href=\"https://youtu.be/7vZGeHBfxU0\" target=\"_blank\" rel=\"noopener noreferrer\">creative potential\u003c/a> of a contemporaneous system designed by Don Buchla, which allowed artists to patch components together to control characteristics of sound such as pitch and timbre.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Juilliard-trained composer \u003ca href=\"http://retiary.org/ls/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Laurie Spiegel\u003c/a> describes these technologies as revolutionary. “The way composing was previously done was you wrote on a piece of paper, with a pencil, a set of instructions for someone else to make music,” she recalls. Free to realize her own creative vision, Spiegel programmed computer-based music generation systems while working as a researcher at Bell Labs in the 1970s. She was able to fashion \u003ca href=\"https://www.youtube.com/watch?v=BUgSJt7Q7gw\" target=\"_blank\" rel=\"noopener noreferrer\">entirely new sounds, as well as variations within sound itself\u003c/a>, and share her music directly with audiences.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=22PRZO2HnJE\u003c/p>\n\u003cp>In 1977, Spiegel’s work caught the attention of NASA. Her \u003ca href=\"https://youtu.be/ErT83n_YdGs\" target=\"_blank\" rel=\"noopener noreferrer\">musical interpretation\u003c/a> of Johannes Kepler’s “Harmonices Mundi” was included on the Voyager Golden Records, launched into space to represent all of humankind. However, she is quick to point out that she is too often seen as an anomaly. Spiegel recalled being part of an active community of women who were affiliated with university-based and non-profit electronic music studios in and around New York City. Some of those studios, such as \u003ca href=\"https://www.harvestworks.org/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Harvestworks\u003c/a>, are still around today. [aside postid='arts_13892242']\u003c/p>\n\u003cp>In a sense, all music is “electronic” now, since digital technology is a ubiquitous part of how tracks and albums are made and consumed. But composer Yvette Janine Jackson, \u003ca href=\"https://www.fridmangallery.com/product-page/yvette-janine-jackson-freedom\" target=\"_blank\" rel=\"noopener noreferrer\">whose work explores historical events and current social issues\u003c/a>, says there is still plenty of room for innovation and legacy building.\u003c/p>\n\u003cp>“My creative journey with electronic music has been centered around trying to find a voice,” says Jackson, “an African American voice, a queer voice, a female voice, the intersection of these voices.” She hopes tomorrow’s creators will have expanded access to tools, and receive greater recognition for their work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Having premiered at SXSW in 2020, \u003cem>Sisters with Transistors\u003c/em> has screened at prestigious U.S. and international festivals, including Sundance and the AFI. It is slated for national release on virtual cinema platforms early this spring.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Sisters+With+Transistors%27%3A+Pioneers+Of+Electronic+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1920s, the Russian physicist Leon Theremin debuted an electronic instrument that could be played without any physical contact. Players stood in front of a box and waved their hands over antennas, \u003ca href=\"https://www.youtube.com/watch?v=w5qf9O6c20o\" target=\"_blank\" rel=\"noopener noreferrer\">summoning otherworldly sounds\u003c/a> seemingly from thin air. The theremin might have been regarded as a passing novelty if not for the late \u003ca href=\"http://nadiareisenberg-clararockmore.org/clara-rockmore-biography/\" target=\"_blank\" rel=\"noopener noreferrer\">Clara Rockmore\u003c/a>, a virtuoso who helped to refine the instrument’s design, and wowed concert hall audiences with her performances.\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/pSzTPGlNa5U'\n title='//www.youtube.com/embed/pSzTPGlNa5U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rockmore is but a single figure in a long line of women who have changed the shape and sound of modern music—often invisibly, says filmmaker Lisa Rovner. “I think when most people think of electronic music, in most cases they’ll picture men pushing the buttons, the knobs, and the boundaries.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rovner’s new documentary, \u003ca href=\"https://sisterswithtransistors.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sisters with Transistors\u003c/em>\u003c/a>, corrects the record. Narrated by \u003ca href=\"https://laurieanderson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Laurie Anderson\u003c/a>, the film celebrates the achievements of early pioneers such as Daphne Oram, who was hired by the BBC as a studio engineer in the 1940s. After hours, Oram began recording and manipulating sounds on magnetic tape, experiments that led to the co-founding of the BBC’s Radiophonic Workshop in 1958. Another pioneer, Delia Derbyshire, crafted sounds for nearly 200 BBC programs, including the \u003ca href=\"https://youtu.be/75V4ClJZME4\" target=\"_blank\" rel=\"noopener noreferrer\">iconic theme music for the sci-fi series \u003cem>Doctor Who\u003c/em>\u003c/a>\u003cem>,\u003c/em> which debuted in 1963.\u003c/p>\n\u003cp>Modular synthesizers soon followed, and the development of the first commercially available models was guided by women. \u003ca href=\"http://www.wendycarlos.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Wendy Carlos\u003c/a> advised Robert Moog on the design of the first keyboard-based model, and introduced it to the general public on her 1968 album, \u003cem>Switched-On Bach\u003c/em>, which sold more than a million copies. \u003ca href=\"https://www.sevwave.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Suzanne Ciani\u003c/a> realized the \u003ca href=\"https://youtu.be/7vZGeHBfxU0\" target=\"_blank\" rel=\"noopener noreferrer\">creative potential\u003c/a> of a contemporaneous system designed by Don Buchla, which allowed artists to patch components together to control characteristics of sound such as pitch and timbre.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Juilliard-trained composer \u003ca href=\"http://retiary.org/ls/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Laurie Spiegel\u003c/a> describes these technologies as revolutionary. “The way composing was previously done was you wrote on a piece of paper, with a pencil, a set of instructions for someone else to make music,” she recalls. Free to realize her own creative vision, Spiegel programmed computer-based music generation systems while working as a researcher at Bell Labs in the 1970s. She was able to fashion \u003ca href=\"https://www.youtube.com/watch?v=BUgSJt7Q7gw\" target=\"_blank\" rel=\"noopener noreferrer\">entirely new sounds, as well as variations within sound itself\u003c/a>, and share her music directly with audiences.\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/22PRZO2HnJE'\n title='//www.youtube.com/embed/22PRZO2HnJE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1977, Spiegel’s work caught the attention of NASA. Her \u003ca href=\"https://youtu.be/ErT83n_YdGs\" target=\"_blank\" rel=\"noopener noreferrer\">musical interpretation\u003c/a> of Johannes Kepler’s “Harmonices Mundi” was included on the Voyager Golden Records, launched into space to represent all of humankind. However, she is quick to point out that she is too often seen as an anomaly. Spiegel recalled being part of an active community of women who were affiliated with university-based and non-profit electronic music studios in and around New York City. Some of those studios, such as \u003ca href=\"https://www.harvestworks.org/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Harvestworks\u003c/a>, are still around today. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a sense, all music is “electronic” now, since digital technology is a ubiquitous part of how tracks and albums are made and consumed. But composer Yvette Janine Jackson, \u003ca href=\"https://www.fridmangallery.com/product-page/yvette-janine-jackson-freedom\" target=\"_blank\" rel=\"noopener noreferrer\">whose work explores historical events and current social issues\u003c/a>, says there is still plenty of room for innovation and legacy building.\u003c/p>\n\u003cp>“My creative journey with electronic music has been centered around trying to find a voice,” says Jackson, “an African American voice, a queer voice, a female voice, the intersection of these voices.” She hopes tomorrow’s creators will have expanded access to tools, and receive greater recognition for their work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Having premiered at SXSW in 2020, \u003cem>Sisters with Transistors\u003c/em> has screened at prestigious U.S. and international festivals, including Sundance and the AFI. It is slated for national release on virtual cinema platforms early this spring.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Sisters+With+Transistors%27%3A+Pioneers+Of+Electronic+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Pass the Aux: New Tracks by Gunna Goes Global, DÆMON, Kehlani, Ian Kelly and Nihar",
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"content": "\u003cp>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003cem>Pass the Aux\u003c/em>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/cgBzWvwvWc4\u003c/p>\n\u003ch2>Gunna Goes Global, “Blue Klux Klan”\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://linktr.ee/GunnaGoesGlobal\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> started off Black History Month by releasing a song that stands as a statement: “Blue Klux Klan.” It’s a straightforward shot at white supremacy, police brutality and racism in America.\u003c/p>\n\u003cp>The actor and rapper begins the track with a monologue. “The most heinous acts of violence in American history have been committed against Black bodies with no legal ramifications, no apologies, no acknowledgement, no accountability; just more atrocities,” says Gunna. “Malicious acts do not come from fear, they come from hate. That shit is over with.”\u003c/p>\n\u003cp>The video, directed by Ace, shows Gunna witnessing a cop stalk a young Black child, much in the same way Trayvon Martin was reportedly followed by George Zimmerman before the young boy was killed. In this fictional depiction, Gunna gets to the stalker before the stalker gets to the child, killing the cop in cold blood. Both the song and the video are centered on the trial that follows the fictional killing. While on the stand, Gunna lyrically goes through the cop’s background and upbringing—turning the justifications typically used for police violence on their head.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The track concludes with another monologue from Gunna, this one about tangible actions needed to change the reality Black people face in America. “Retroactive prison reform, marijuana conviction expungement, Black faces in tech spaces,” are among the objectives he names. Gunna tells me that while this song is art based in reality, it’s also part of a forthcoming documentary about some of the very real issues covered on this track.\u003cem>—Pendarvis Harshaw\u003c/em>\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=2065646827/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2136189519/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Auton, “Beneath Paving Stones” (Nihar remix)\u003c/h2>\n\u003cp>When the Ohio producer \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/without-hindrance\" target=\"_blank\" rel=\"noopener noreferrer\">Auton\u003c/a> performed in the Bay Area for a 2018 Honey Soundsystem party, she quickly caught the attention of local label Left Hand Path. Three years later, the San Francisco label is releasing Auton’s \u003cem>Without Hindrance\u003c/em>, an album inspired by the May 1968 uprising in France, made up of four original tracks and four remixes. Among those remixes, San Francisco producer (and label co-owner) Nihar turns “Beneath Paving Stones” into a mental journey that’s as thrilling as it is deep. Starting with a simple high-C note on repeat, new elements slowly introduce themselves, one by one, pulling your brain into its moving tapestry. Two minutes later, the track no longer resembles its origins; the frequencies are lurching and buzzing and slicing. By the time you’re through, don’t be surprised if you don’t resemble your origins either.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/qNrM3QqTkdQ\u003c/p>\n\u003ch2>DÆMON and Endgame, “Eye Teeth”\u003c/h2>\n\u003cp>\u003ca href=\"https://daemondaemon.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DÆMON\u003c/a> is a hip-hop artist from Oakland whose style is what some might refer to as experimental or alternative. No matter the label, his music is definitely unique. His latest track, “Eye Teeth,” a single from the \u003ca href=\"https://infinitemachine.bandcamp.com/album/im082-d-mon-endgame-dxe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>DXE\u003c/em> EP\u003c/a>, is a collaborative effort with Endgame of Precious Metals. The song’s uptempo drum pattern seem like it could’ve been used in a scene from \u003cem>Mortal Kombat\u003c/em>. It’s matched with aggressive synthesizers that sound like they’re directly from 1984, and makes for a sound the artists describe as “cybernetic warfare melodies.” [aside postid='arts_13891687']\u003c/p>\n\u003cp>The lyrics are about DÆMON’s pursuit of an attractive woman who won’t be stopped or limited by any man or occupation. But the icing on the cake is the video. Shot inside of the Home Depot in Emeryville by director Brandon Tauszik, the video uses 360-degree technology to turn a casual walk through the hardware store into a full-blown experience. The song and video are on par with the experimental stylings of DÆMON, who is not new to obscure videos. For the song “\u003ca href=\"https://youtu.be/7NgyIrNV8vk\" target=\"_blank\" rel=\"noopener noreferrer\">In-App Purchases\u003c/a>,” he filmed a video inside of a vacant mall. And for the track “\u003ca href=\"https://youtu.be/OT0AzsIunGg\" target=\"_blank\" rel=\"noopener noreferrer\">Sirenxe\u003c/a>,” I can’t even explain what’s going on there. But it’s thrilling. Looking forward to more from DÆMON.\u003cem>—P.H.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/RkVyo5RRYU0\u003c/p>\n\u003ch2>Ian Kelly, “Gold Chain”\u003c/h2>\n\u003cp>The concept of building a legacy is heavy on \u003ca href=\"https://iankelly.fanlink.to/kellsisdead\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>’s mind on “Gold Chain,” a standout track on his latest album, \u003ci>Kells is D.E.A.D\u003c/i>. The name of the song might have you expecting three minutes of braggadocio, but Kelly hits his listeners with a pump fake, rhyming instead about treasuring family heirlooms (in the forms of both gold and knowledge), and sacrificing temporary flashiness for long-term gains. The track is sunny and airy, with an 808 bounce punctuated by an organ loop, and lines like “I got my ancestors’ respect” make you perk your ears up as you bob your head, lest you miss any of the generations-old wisdom Kelly shares. \u003ci>Kells is D.E.A.D.\u003c/i> is the Oakland artist’s latest release with \u003ca href=\"https://www.jamlarecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamla\u003c/a>, 9th Wonder’s independent label that also reps Rapsody, and it’s well worth your time.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/GZagrum0fbQ\u003c/p>\n\u003ch2>Lil Durk feat. Kehlani, “Love You Too”\u003c/h2>\n\u003cp>Oakland born-and-raised R&B star \u003ca href=\"https://www.kehlani.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a> joins forces with Chicago’s Lil Durk for “Love You Too,” a somber three-minute track that dropped Wednesday night. With his signature drawling and crooning style, Lil Durk alternates between singing and rapping over a dark, brooding beat before Kehlani joins with her sharp pen and raspy vocals. “Never takin’ love for granted / Many die young before they have this,” they sing together, emphasizing their gratitude for a once-in-a-lifetime connection.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The song reflects on the importance of valuing your partner, intermingled with Lil Durk’s declarations of both admiration and attraction. He vows to never let his feelings go unknown, repeating the line, “So come through, I’ma show you.” With two weeks left before Valentines Day, “Love You Too” is a beautiful sonic reminder to show the people you love how much you care.\u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003cem>Pass the Aux\u003c/em>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cgBzWvwvWc4'\n title='//www.youtube.com/embed/cgBzWvwvWc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Gunna Goes Global, “Blue Klux Klan”\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://linktr.ee/GunnaGoesGlobal\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> started off Black History Month by releasing a song that stands as a statement: “Blue Klux Klan.” It’s a straightforward shot at white supremacy, police brutality and racism in America.\u003c/p>\n\u003cp>The actor and rapper begins the track with a monologue. “The most heinous acts of violence in American history have been committed against Black bodies with no legal ramifications, no apologies, no acknowledgement, no accountability; just more atrocities,” says Gunna. “Malicious acts do not come from fear, they come from hate. That shit is over with.”\u003c/p>\n\u003cp>The video, directed by Ace, shows Gunna witnessing a cop stalk a young Black child, much in the same way Trayvon Martin was reportedly followed by George Zimmerman before the young boy was killed. In this fictional depiction, Gunna gets to the stalker before the stalker gets to the child, killing the cop in cold blood. Both the song and the video are centered on the trial that follows the fictional killing. While on the stand, Gunna lyrically goes through the cop’s background and upbringing—turning the justifications typically used for police violence on their head.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The track concludes with another monologue from Gunna, this one about tangible actions needed to change the reality Black people face in America. “Retroactive prison reform, marijuana conviction expungement, Black faces in tech spaces,” are among the objectives he names. Gunna tells me that while this song is art based in reality, it’s also part of a forthcoming documentary about some of the very real issues covered on this track.\u003cem>—Pendarvis Harshaw\u003c/em>\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=2065646827/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2136189519/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Auton, “Beneath Paving Stones” (Nihar remix)\u003c/h2>\n\u003cp>When the Ohio producer \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/without-hindrance\" target=\"_blank\" rel=\"noopener noreferrer\">Auton\u003c/a> performed in the Bay Area for a 2018 Honey Soundsystem party, she quickly caught the attention of local label Left Hand Path. Three years later, the San Francisco label is releasing Auton’s \u003cem>Without Hindrance\u003c/em>, an album inspired by the May 1968 uprising in France, made up of four original tracks and four remixes. Among those remixes, San Francisco producer (and label co-owner) Nihar turns “Beneath Paving Stones” into a mental journey that’s as thrilling as it is deep. Starting with a simple high-C note on repeat, new elements slowly introduce themselves, one by one, pulling your brain into its moving tapestry. Two minutes later, the track no longer resembles its origins; the frequencies are lurching and buzzing and slicing. By the time you’re through, don’t be surprised if you don’t resemble your origins either.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qNrM3QqTkdQ'\n title='//www.youtube.com/embed/qNrM3QqTkdQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>DÆMON and Endgame, “Eye Teeth”\u003c/h2>\n\u003cp>\u003ca href=\"https://daemondaemon.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DÆMON\u003c/a> is a hip-hop artist from Oakland whose style is what some might refer to as experimental or alternative. No matter the label, his music is definitely unique. His latest track, “Eye Teeth,” a single from the \u003ca href=\"https://infinitemachine.bandcamp.com/album/im082-d-mon-endgame-dxe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>DXE\u003c/em> EP\u003c/a>, is a collaborative effort with Endgame of Precious Metals. The song’s uptempo drum pattern seem like it could’ve been used in a scene from \u003cem>Mortal Kombat\u003c/em>. It’s matched with aggressive synthesizers that sound like they’re directly from 1984, and makes for a sound the artists describe as “cybernetic warfare melodies.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lyrics are about DÆMON’s pursuit of an attractive woman who won’t be stopped or limited by any man or occupation. But the icing on the cake is the video. Shot inside of the Home Depot in Emeryville by director Brandon Tauszik, the video uses 360-degree technology to turn a casual walk through the hardware store into a full-blown experience. The song and video are on par with the experimental stylings of DÆMON, who is not new to obscure videos. For the song “\u003ca href=\"https://youtu.be/7NgyIrNV8vk\" target=\"_blank\" rel=\"noopener noreferrer\">In-App Purchases\u003c/a>,” he filmed a video inside of a vacant mall. And for the track “\u003ca href=\"https://youtu.be/OT0AzsIunGg\" target=\"_blank\" rel=\"noopener noreferrer\">Sirenxe\u003c/a>,” I can’t even explain what’s going on there. But it’s thrilling. Looking forward to more from DÆMON.\u003cem>—P.H.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RkVyo5RRYU0'\n title='//www.youtube.com/embed/RkVyo5RRYU0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Ian Kelly, “Gold Chain”\u003c/h2>\n\u003cp>The concept of building a legacy is heavy on \u003ca href=\"https://iankelly.fanlink.to/kellsisdead\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>’s mind on “Gold Chain,” a standout track on his latest album, \u003ci>Kells is D.E.A.D\u003c/i>. The name of the song might have you expecting three minutes of braggadocio, but Kelly hits his listeners with a pump fake, rhyming instead about treasuring family heirlooms (in the forms of both gold and knowledge), and sacrificing temporary flashiness for long-term gains. The track is sunny and airy, with an 808 bounce punctuated by an organ loop, and lines like “I got my ancestors’ respect” make you perk your ears up as you bob your head, lest you miss any of the generations-old wisdom Kelly shares. \u003ci>Kells is D.E.A.D.\u003c/i> is the Oakland artist’s latest release with \u003ca href=\"https://www.jamlarecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamla\u003c/a>, 9th Wonder’s independent label that also reps Rapsody, and it’s well worth your time.\u003cem>—N.V.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GZagrum0fbQ'\n title='//www.youtube.com/embed/GZagrum0fbQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Lil Durk feat. Kehlani, “Love You Too”\u003c/h2>\n\u003cp>Oakland born-and-raised R&B star \u003ca href=\"https://www.kehlani.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a> joins forces with Chicago’s Lil Durk for “Love You Too,” a somber three-minute track that dropped Wednesday night. With his signature drawling and crooning style, Lil Durk alternates between singing and rapping over a dark, brooding beat before Kehlani joins with her sharp pen and raspy vocals. “Never takin’ love for granted / Many die young before they have this,” they sing together, emphasizing their gratitude for a once-in-a-lifetime connection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The song reflects on the importance of valuing your partner, intermingled with Lil Durk’s declarations of both admiration and attraction. He vows to never let his feelings go unknown, repeating the line, “So come through, I’ma show you.” With two weeks left before Valentines Day, “Love You Too” is a beautiful sonic reminder to show the people you love how much you care.\u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Did you know that the A-X in Stax Records stands for Estelle Axton, one of the country’s first female record executives? Or that a Black, bisexual guitarist named Sister Rosetta Tharpe was a major influence of Chuck Berry, Elvis Presley and Bob Dylan?\u003c/p>\n\u003cp>Speaker, writer and composer Mark Montgomery French is on a mission to make sure that the legacies of these and other influential women in music aren’t forgotten. In early 2020, French enjoyed a successful run with his talk “All Your Favorite Music is (Probably) Black.” And during the pandemic, he’s stayed busy with various projects, including creative directing the online broadcasts for GLIDE Memorial Church, writing for \u003ca href=\"https://www.popmatters.com/\" target=\"_blank\" rel=\"noopener noreferrer\">PopMatters\u003c/a> and managing queer country singer \u003ca href=\"https://emchy.bandcamp.com/album/the-chaser\" target=\"_blank\" rel=\"noopener noreferrer\">Secret Emchy Society\u003c/a>. Now, he’s getting ready to launch a new online course, “\u003ca href=\"http://www.rhythmix.org/events/unsung-women-of-music/\" target=\"_blank\" rel=\"noopener noreferrer\">The Unsung Women of Music\u003c/a>,” through Rhythmix Cultural Works. [aside postid='arts_13873204']\u003c/p>\n\u003cp>Beginning on Feb. 23 and running through the end of March, Women’s History Month, the course is divided into six subject areas: rock ’n’ roll; jazz and hip-hop; songwriters and composers; R&B and electronica; blues, gospel and country; and iconoclasts and inventors. (You can either sign up for the full six-week course or drop into one session at a time.)\u003c/p>\n\u003cp>Music lovers might recognize some of the featured artists, such as jazz harpist Dorothy Ashby—a favorite of Stevie Wonder’s—or Wendy Carlos, an electronic music innovator and soundtrack composer (\u003cem>A Clockwork Orange\u003c/em>, \u003cem>The Shining\u003c/em>) whose public coming out was huge for trans visibility in the late ’70s. “I definitely talk about some people who were behind the scenes as well that people don’t know, who started labels, were equipment manufacturers or were guitarists who played on records,” French says.\u003c/p>\n\u003cp>Indeed, to fully appreciate women’s contributions to popular music, those behind-the-scenes figures are just as important to celebrate as the stars: even now, only 5% of music producers are women. The music industry has a tremendous way to go when it comes to gender equality, and French’s project reminds us that to move forward towards progress, we must also honor the past.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More information on “The Unsung Women of Music” can be found \u003ca href=\"http://www.rhythmix.org/events/unsung-women-of-music/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Did you know that the A-X in Stax Records stands for Estelle Axton, one of the country’s first female record executives? Or that a Black, bisexual guitarist named Sister Rosetta Tharpe was a major influence of Chuck Berry, Elvis Presley and Bob Dylan?\u003c/p>\n\u003cp>Speaker, writer and composer Mark Montgomery French is on a mission to make sure that the legacies of these and other influential women in music aren’t forgotten. In early 2020, French enjoyed a successful run with his talk “All Your Favorite Music is (Probably) Black.” And during the pandemic, he’s stayed busy with various projects, including creative directing the online broadcasts for GLIDE Memorial Church, writing for \u003ca href=\"https://www.popmatters.com/\" target=\"_blank\" rel=\"noopener noreferrer\">PopMatters\u003c/a> and managing queer country singer \u003ca href=\"https://emchy.bandcamp.com/album/the-chaser\" target=\"_blank\" rel=\"noopener noreferrer\">Secret Emchy Society\u003c/a>. Now, he’s getting ready to launch a new online course, “\u003ca href=\"http://www.rhythmix.org/events/unsung-women-of-music/\" target=\"_blank\" rel=\"noopener noreferrer\">The Unsung Women of Music\u003c/a>,” through Rhythmix Cultural Works. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beginning on Feb. 23 and running through the end of March, Women’s History Month, the course is divided into six subject areas: rock ’n’ roll; jazz and hip-hop; songwriters and composers; R&B and electronica; blues, gospel and country; and iconoclasts and inventors. (You can either sign up for the full six-week course or drop into one session at a time.)\u003c/p>\n\u003cp>Music lovers might recognize some of the featured artists, such as jazz harpist Dorothy Ashby—a favorite of Stevie Wonder’s—or Wendy Carlos, an electronic music innovator and soundtrack composer (\u003cem>A Clockwork Orange\u003c/em>, \u003cem>The Shining\u003c/em>) whose public coming out was huge for trans visibility in the late ’70s. “I definitely talk about some people who were behind the scenes as well that people don’t know, who started labels, were equipment manufacturers or were guitarists who played on records,” French says.\u003c/p>\n\u003cp>Indeed, to fully appreciate women’s contributions to popular music, those behind-the-scenes figures are just as important to celebrate as the stars: even now, only 5% of music producers are women. The music industry has a tremendous way to go when it comes to gender equality, and French’s project reminds us that to move forward towards progress, we must also honor the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Xyla’s Thoughtful Electronic Music Warms Up a Winter at Home",
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"content": "\u003cp>When \u003ca href=\"https://xylasf.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Xyla\u003c/a> first arrived in San Francisco from the Houston area as an undergraduate in 2013, it was to study French horn performance at the prestigious San Francisco Conservatory of Music. While there, she toured Europe with the SF Youth Orchestra and studied under SF Symphony French horn player \u003ca href=\"https://sfcm.edu/faculty/jonathan-ring\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Ring\u003c/a>. But midway through her four years at the school, something happened that set her on a different path, one that led her to release one of the most exciting Bay Area electronic music albums of 2020.\u003c/p>\n\u003cp>“I went through what most people do in college, where you say, ‘Is this really what I want to do?’” Xyla says from her home in San Francisco’s Sunset District. She found her calling when the conservatory had opened up a program called \u003ca href=\"https://www.kqed.org/arts/13826120/in-san-francisco-video-games-are-classical-musics-new-frontier\" target=\"_blank\" rel=\"noopener noreferrer\">TAC\u003c/a> (Technology and Applied Composition) that caters to students studying production and sound engineering. On a whim of curiosity, Xyla decided to enroll in an Intro to Ableton elective and a light bulb went off.\u003c/p>\n\u003cp>“I hadn’t used [Ableton] before, but I immediately thought it was so cool and fell in love with it my last year and a half of college,” she says. “For me, producing was a way to decompress from conservatory life as a classical French horn player. As much as I love the instrument and the genre, I couldn’t feel as creative as I wanted to be.”\u003c/p>\n\u003cp>Xyla’s debut album, \u003ca href=\"https://xylasf.bandcamp.com/album/ways\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ways\u003c/em>\u003c/a>, was released on Oct. 30 on \u003ca href=\"https://leavingrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">LEAVING Records\u003c/a>. It’s a polished expression of IDM and footwork rhythms, with undertones of R&B and atmospheric drum and bass. Its eight tracks clock in at a mere 37 minutes, but when it’s over, inspired moments of pushing forward in the face of heartbreak have washed over you, like the fog rolling over the stillness of San Francisco’s outer extremities. Ways slots in masterfully alongside LEAVING’s roster of the eclectic and avant-garde, including the liquid jazz of \u003ca href=\"https://samgendel.bandcamp.com/album/drm\" target=\"_blank\" rel=\"noopener noreferrer\">Sam Gendel\u003c/a>, the desolate beauty of harpist \u003ca href=\"https://nailahhunter.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nailah Hunter\u003c/a> and the smoky jungle of San Francisco’s own \u003ca href=\"https://broganbentley.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brogan Bentley\u003c/a>.\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=1252696711/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3274083478/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The path from classical music student to a signed electronic producer has indeed been anything but linear for Xyla.\u003c/p>\n\u003cp>At the end of 2019, she quit her job and “escaped” to Berlin. She felt overwhelmed by the loss of friends who exited her life one way or another and admits that she was in a very transitional phase. The producer, who identifies as queer, would spend her days walking around Berlin’s hip and lowkey Kreuzberg district and working on new compositions in bed by day, then going to clubs and concerts at night. It was here that she felt she was finally honing in on the music she wanted to make. Around this time, she was surprised to find a reply from LEAVING label boss \u003ca href=\"https://matthewdavidmcq.bandcamp.com/album/outmind\" target=\"_blank\" rel=\"noopener noreferrer\">Matthewdavid\u003c/a> to a message she had sent him on Soundcloud a couple months prior. Their exchange was brief. She soon returned to San Francisco in the dead of winter, a time of year when the weather systems here don’t offer much in the way of emotional support.\u003c/p>\n\u003cfigure id=\"attachment_13889185\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/xyla_selects_high-res_v2_13.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/xyla_selects_high-res_v2_13.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/xyla_selects_high-res_v2_13-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/xyla_selects_high-res_v2_13-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Xyla found her love of Ableton in the SF Conservatory’s Technology and Applied Composition program. \u003ccite>(Mariah Tiffany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I came back from Berlin, it was very cold here…\u003cem>very\u003c/em> winter, \u003cem>very\u003c/em> foggy,” Xyla says. “I was kind of alone and depressed and I’d wake up and all I would do was produce. It was the only thing I had the energy to do.”\u003c/p>\n\u003cp>She sent LEAVING a demo and when April came around, Matthewdavid asked if she wanted to take part in their pandemic livestream series, opening for revered experimental hip-hop and free jazz producer Flying Lotus. Of course she obliged. Shortly thereafter, Xyla came on to the label’s roster, even though she didn’t have an album to release yet per se.\u003c/p>\n\u003cp>“I never went into [producing for] the album process,” she says. “But when he asked me, I knew every single track that I would want to be on it. Everything I was working on fell into place.”\u003c/p>\n\u003cp>On the title track, a deep bass punch hits like standing in front of a speaker at a rave. D&B snares pair with shades of Detroit techno and an underlying ambient hip-hop vibe stitched throughout. Xyla explains that going to underground raves and hip-hop shows in the Bay Area influenced these types of compositions.\u003c/p>\n\u003cp>“Cold” takes a slowed down footwork breakbeat and acid house rhythm juxtaposed with a sample from Ashanti’s “Foolish.” The beat hits and your mind is sent into shifting directions, trying to grapple with how it makes you feel and the questions linger, like effective IDM. It speaks to Xyla’s penchant for prodding at different moods.\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=1252696711/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1357473444/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“I’m very much a nostalgic and romantic, so that really affects my music a lot,” she says. “I think my music makes you remember those amazing moments of being in front of a big sound system. But also of being pensive, alone in a room and thinking on what the music makes you feel like.” [aside postid='arts_13887363']\u003c/p>\n\u003cp>This is indeed music for both sides of the brain—the part that seeks comfort in living room solitude and the part that craves a club with just the right amount of darkness. But as we all know, one of those experiences isn’t possible in this pandemic era. So Xyla, who admits she’s not a DJ, sees the upside in how the circumstances affect the experience of what she’s created.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Music has a lot of different facets. It’s not just listening—it’s also community, events, the socialization aspect of it,” she says. “But when you take all of those things away, all you’re really left with, is the most important part: \u003cem>Listening to the music\u003c/em>.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://xylasf.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Xyla\u003c/a> first arrived in San Francisco from the Houston area as an undergraduate in 2013, it was to study French horn performance at the prestigious San Francisco Conservatory of Music. While there, she toured Europe with the SF Youth Orchestra and studied under SF Symphony French horn player \u003ca href=\"https://sfcm.edu/faculty/jonathan-ring\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Ring\u003c/a>. But midway through her four years at the school, something happened that set her on a different path, one that led her to release one of the most exciting Bay Area electronic music albums of 2020.\u003c/p>\n\u003cp>“I went through what most people do in college, where you say, ‘Is this really what I want to do?’” Xyla says from her home in San Francisco’s Sunset District. She found her calling when the conservatory had opened up a program called \u003ca href=\"https://www.kqed.org/arts/13826120/in-san-francisco-video-games-are-classical-musics-new-frontier\" target=\"_blank\" rel=\"noopener noreferrer\">TAC\u003c/a> (Technology and Applied Composition) that caters to students studying production and sound engineering. On a whim of curiosity, Xyla decided to enroll in an Intro to Ableton elective and a light bulb went off.\u003c/p>\n\u003cp>“I hadn’t used [Ableton] before, but I immediately thought it was so cool and fell in love with it my last year and a half of college,” she says. “For me, producing was a way to decompress from conservatory life as a classical French horn player. As much as I love the instrument and the genre, I couldn’t feel as creative as I wanted to be.”\u003c/p>\n\u003cp>Xyla’s debut album, \u003ca href=\"https://xylasf.bandcamp.com/album/ways\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ways\u003c/em>\u003c/a>, was released on Oct. 30 on \u003ca href=\"https://leavingrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">LEAVING Records\u003c/a>. It’s a polished expression of IDM and footwork rhythms, with undertones of R&B and atmospheric drum and bass. Its eight tracks clock in at a mere 37 minutes, but when it’s over, inspired moments of pushing forward in the face of heartbreak have washed over you, like the fog rolling over the stillness of San Francisco’s outer extremities. Ways slots in masterfully alongside LEAVING’s roster of the eclectic and avant-garde, including the liquid jazz of \u003ca href=\"https://samgendel.bandcamp.com/album/drm\" target=\"_blank\" rel=\"noopener noreferrer\">Sam Gendel\u003c/a>, the desolate beauty of harpist \u003ca href=\"https://nailahhunter.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nailah Hunter\u003c/a> and the smoky jungle of San Francisco’s own \u003ca href=\"https://broganbentley.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brogan Bentley\u003c/a>.\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=1252696711/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3274083478/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The path from classical music student to a signed electronic producer has indeed been anything but linear for Xyla.\u003c/p>\n\u003cp>At the end of 2019, she quit her job and “escaped” to Berlin. She felt overwhelmed by the loss of friends who exited her life one way or another and admits that she was in a very transitional phase. The producer, who identifies as queer, would spend her days walking around Berlin’s hip and lowkey Kreuzberg district and working on new compositions in bed by day, then going to clubs and concerts at night. It was here that she felt she was finally honing in on the music she wanted to make. Around this time, she was surprised to find a reply from LEAVING label boss \u003ca href=\"https://matthewdavidmcq.bandcamp.com/album/outmind\" target=\"_blank\" rel=\"noopener noreferrer\">Matthewdavid\u003c/a> to a message she had sent him on Soundcloud a couple months prior. Their exchange was brief. She soon returned to San Francisco in the dead of winter, a time of year when the weather systems here don’t offer much in the way of emotional support.\u003c/p>\n\u003cfigure id=\"attachment_13889185\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/xyla_selects_high-res_v2_13.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/xyla_selects_high-res_v2_13.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/xyla_selects_high-res_v2_13-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/xyla_selects_high-res_v2_13-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Xyla found her love of Ableton in the SF Conservatory’s Technology and Applied Composition program. \u003ccite>(Mariah Tiffany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I came back from Berlin, it was very cold here…\u003cem>very\u003c/em> winter, \u003cem>very\u003c/em> foggy,” Xyla says. “I was kind of alone and depressed and I’d wake up and all I would do was produce. It was the only thing I had the energy to do.”\u003c/p>\n\u003cp>She sent LEAVING a demo and when April came around, Matthewdavid asked if she wanted to take part in their pandemic livestream series, opening for revered experimental hip-hop and free jazz producer Flying Lotus. Of course she obliged. Shortly thereafter, Xyla came on to the label’s roster, even though she didn’t have an album to release yet per se.\u003c/p>\n\u003cp>“I never went into [producing for] the album process,” she says. “But when he asked me, I knew every single track that I would want to be on it. Everything I was working on fell into place.”\u003c/p>\n\u003cp>On the title track, a deep bass punch hits like standing in front of a speaker at a rave. D&B snares pair with shades of Detroit techno and an underlying ambient hip-hop vibe stitched throughout. Xyla explains that going to underground raves and hip-hop shows in the Bay Area influenced these types of compositions.\u003c/p>\n\u003cp>“Cold” takes a slowed down footwork breakbeat and acid house rhythm juxtaposed with a sample from Ashanti’s “Foolish.” The beat hits and your mind is sent into shifting directions, trying to grapple with how it makes you feel and the questions linger, like effective IDM. It speaks to Xyla’s penchant for prodding at different moods.\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=1252696711/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1357473444/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“I’m very much a nostalgic and romantic, so that really affects my music a lot,” she says. “I think my music makes you remember those amazing moments of being in front of a big sound system. But also of being pensive, alone in a room and thinking on what the music makes you feel like.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is indeed music for both sides of the brain—the part that seeks comfort in living room solitude and the part that craves a club with just the right amount of darkness. But as we all know, one of those experiences isn’t possible in this pandemic era. So Xyla, who admits she’s not a DJ, sees the upside in how the circumstances affect the experience of what she’s created.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Music has a lot of different facets. It’s not just listening—it’s also community, events, the socialization aspect of it,” she says. “But when you take all of those things away, all you’re really left with, is the most important part: \u003cem>Listening to the music\u003c/em>.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Five months into sheltering in place, it’s clear that Instagram concerts and YouTube recaps of music festivals can never replace the feeling of getting blissfully lost in live music among a sea of strangers. But since that’s not an option right now, one artist whose vintage synthesizer sorcery is worth witnessing—even if it’s only online—is Kaitlyn Aurelia Smith.\u003c/p>\n\u003cp>On Aug. 13, the experimental musician livestreams her first-ever performance of her new album, \u003cem>The Mosaic of Transformation\u003c/em>, \u003ca href=\"https://www.outermostagency.com/stream/kaitlyn-aurelia-smith-gray-area\">online\u003c/a>. Full of bright, bubbling melodies, emotive string sections and hypnotizing, chant-like vocals, the meditative new project invites the listener to cultivate a sense of wonder in a world that currently feels so dark. It plays like stumbling upon an enchanted clearing in a forest—surprising yet full of calm, with warm, healing tones that put the listener at peace, much like the spiritual jazz of the 1960s and ’70s. Smith describes the album as a “bubble of joy.”\u003c/p>\n\u003cp>For the livestreamed concert, filmmaker and animator Sean Hellfritsch created visuals for the event, and a portion of proceeds go to the \u003ca href=\"https://www.artsbusinesscollaborative.org/asp-products/black-trans-femmes-in-the-arts-sponsored-projected_/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Trans Femmes in the Arts Collective\u003c/a>. Details \u003ca href=\"https://www.outermostagency.com/stream/kaitlyn-aurelia-smith-gray-area\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\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=3623353059/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Five months into sheltering in place, it’s clear that Instagram concerts and YouTube recaps of music festivals can never replace the feeling of getting blissfully lost in live music among a sea of strangers. But since that’s not an option right now, one artist whose vintage synthesizer sorcery is worth witnessing—even if it’s only online—is Kaitlyn Aurelia Smith.\u003c/p>\n\u003cp>On Aug. 13, the experimental musician livestreams her first-ever performance of her new album, \u003cem>The Mosaic of Transformation\u003c/em>, \u003ca href=\"https://www.outermostagency.com/stream/kaitlyn-aurelia-smith-gray-area\">online\u003c/a>. Full of bright, bubbling melodies, emotive string sections and hypnotizing, chant-like vocals, the meditative new project invites the listener to cultivate a sense of wonder in a world that currently feels so dark. It plays like stumbling upon an enchanted clearing in a forest—surprising yet full of calm, with warm, healing tones that put the listener at peace, much like the spiritual jazz of the 1960s and ’70s. Smith describes the album as a “bubble of joy.”\u003c/p>\n\u003cp>For the livestreamed concert, filmmaker and animator Sean Hellfritsch created visuals for the event, and a portion of proceeds go to the \u003ca href=\"https://www.artsbusinesscollaborative.org/asp-products/black-trans-femmes-in-the-arts-sponsored-projected_/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Trans Femmes in the Arts Collective\u003c/a>. Details \u003ca href=\"https://www.outermostagency.com/stream/kaitlyn-aurelia-smith-gray-area\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\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=3623353059/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Let’s Time Travel to the ’90s With Rave Movies ‘Go,’ ‘Groove’ and ‘Human Traffic’",
"headTitle": "Let’s Time Travel to the ’90s With Rave Movies ‘Go,’ ‘Groove’ and ‘Human Traffic’ | KQED",
"content": "\u003cp>Let us now take you back in time to another world. A world where face masks are just kooky accessories and cell phones exist but nobody uses them. A world where Napster has been invented but CD sales are \u003ca href=\"https://www.statista.com/statistics/186772/album-shipments-in-the-us-music-industry-since-1999/\" target=\"_blank\" rel=\"noopener noreferrer\">at an all-time high\u003c/a>. It’s a post-internet, pre-social media world, which means everyone feels futuristic but still has to leave the house to see other people. And so they do. They crowd into small cars and sweaty rooms and dance their faces off at raves until dawn, unimpeded by selfies, sobriety or—*checks notes*—sheltering in place.\u003c/p>\n\u003cp>[aside postid='arts_13883181']How can we transport you back to this land that time forgot, you ask? Via three movies—\u003cem>Groove, \u003c/em>\u003cem>Human Traffic \u003c/em>and \u003cem>Go. \u003c/em>Each of which provides a perfect snapshot of rave culture as the new millennium approached. Back then, dance culture was big enough to be internationally popular but small enough to remain independent and scrappy.\u003c/p>\n\u003cp>\u003cem>Go\u003c/em> was by far the shiniest of the bunch. To start with, \u003cem>Human Traffic, \u003c/em>set in working class Wales, and \u003cem>Groove, \u003c/em>set in San Francisco’s pre-condo “warehouse district,” are both indies. But they also both offer grittier realities, in which no one would ever confuse aspirin for ecstasy, as green teens do in \u003cem>Go\u003c/em>. What all three movies \u003cem>do\u003c/em> have in common, however, is a thirst for escapism, a passion for irresponsible behavior and—we mention this up front so you have the option to leave if you wish—a very cavalier attitude towards illegal drug-taking.\u003c/p>\n\u003cp>That was not unusual for the time. Between 1998 and 2001, dance culture brought with it the first open, mass acceptance of hard drug use since the Summer of Love 30 years before. According to an in-depth \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2967577/#R6\" target=\"_blank\" rel=\"noopener noreferrer\">2011 study\u003c/a>, ecstasy use during those years “rose sharply [and] doubled among 12th graders, college students, and young adults, and nearly doubled in the lower grades. In 2000 even the 8th graders showed a significant increase in use. Among young adults, the increase in use occurred primarily among those under age 29.”\u003c/p>\n\u003cp>\u003cem>Human Traffic\u003c/em> doesn’t just reflect that period, it actively endorses it. In one scene at the club, a voiceover from protagonist Jip dreamily states: “We forget all the pain and the hurt in life. We want to go somewhere else. All our insecurities have evaporated. We’re in the clouds now. We’re spacemen orbiting the earth. We risk sanity for moments of temporary enlightenment. We embrace an overwhelming feeling of love. We flow in unison. We’re together.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HAPK6ZYq_p0\u003c/p>\n\u003cp>In another, when a doctor warns that ecstasy use can cause depression, sexual dysfunction and heatstroke, Jip argues: “Statistically you’re more likely to die from choking on a cabbage leaf or an argument in the pub than you are from dropping an E. Alcohol kills 30,000 people a year alone in Britain. But that’s alright because it’s a good taxable drug nonetheless.” At the end of the night, he and best friend Koop talk philosophy over lines of cocaine. Despite all of the drugs he’s taken, no one worries about Jip driving everyone home at sunrise.\u003c/p>\n\u003cp>\u003cem>Groove\u003c/em> was equally unconcerned about driving under the influence, and equally happy to promote ecstasy use. “Pop and beer, they fuck you up,” Cliff, full-time teacher’s assistant and part-time drug dealer, advises. “This enhances you. It heightens your awareness, especially touch. The feeling of connection, openness, honesty. It’s like being a kid…”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1k9pAL8Qg-I\u003c/p>\n\u003cp>Mostly though, \u003cem>Groove\u003c/em> focused on the sheer effort and organizational clout it took to throw unlicensed parties back then, as well as emphasizing how worthwhile it all was. The film follows several groups of dance enthusiasts who battle power cuts, unreliable DJs, bad directions, sticker-wielding candy ravers and a cop (played by a pre-fame Nick Offerman) in order to have their party—but party they do, against all odds. (Talk about a mid-pandemic fantasy!)\u003c/p>\n\u003cp>Success is hard won in \u003cem>Go\u003c/em> too—a movie that uses a Christmas rave in L.A. as the backdrop for intertwining tales about three broke teenagers, their obnoxious British co-worker, two gay soap opera actors and a gun-toting ecstasy dealer. The Mary X-Mas dance party is a laser-blasted, blacklit spectacular full of glowsticks, bucket hats, mini backpacks and the kinds of space bun hairdos that disappeared with the last century.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WSOBdkzG1YI&t=87s\u003c/p>\n\u003cp>In the end, \u003cem>Human Traffic\u003c/em>, \u003cem>Groove\u003c/em> and \u003cem>Go\u003c/em> all captured lightning in a bottle. Partly because of good timing, partly because they were all made by people who understood the culture they were documenting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='arts_13877402']More importantly for us, escapism looms large over all of them. In \u003cem>Human Traffic\u003c/em>, for Jip and Nina, clubbing makes selling popcorn and jeans all week a little more bearable. In \u003cem>Groove\u003c/em>, when Harmony sees her fiancé making out with a man, she simply goes back to where the DJ is and lets loose. In \u003cem>Go\u003c/em>, the only time we see Ronna not stressing about her rent money is when she’s on the Mary X-Mas dance floor. As long as we no longer have the same means to escape our daily realities, it’s a surprisingly good time watching them do it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let us now take you back in time to another world. A world where face masks are just kooky accessories and cell phones exist but nobody uses them. A world where Napster has been invented but CD sales are \u003ca href=\"https://www.statista.com/statistics/186772/album-shipments-in-the-us-music-industry-since-1999/\" target=\"_blank\" rel=\"noopener noreferrer\">at an all-time high\u003c/a>. It’s a post-internet, pre-social media world, which means everyone feels futuristic but still has to leave the house to see other people. And so they do. They crowd into small cars and sweaty rooms and dance their faces off at raves until dawn, unimpeded by selfies, sobriety or—*checks notes*—sheltering in place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>How can we transport you back to this land that time forgot, you ask? Via three movies—\u003cem>Groove, \u003c/em>\u003cem>Human Traffic \u003c/em>and \u003cem>Go. \u003c/em>Each of which provides a perfect snapshot of rave culture as the new millennium approached. Back then, dance culture was big enough to be internationally popular but small enough to remain independent and scrappy.\u003c/p>\n\u003cp>\u003cem>Go\u003c/em> was by far the shiniest of the bunch. To start with, \u003cem>Human Traffic, \u003c/em>set in working class Wales, and \u003cem>Groove, \u003c/em>set in San Francisco’s pre-condo “warehouse district,” are both indies. But they also both offer grittier realities, in which no one would ever confuse aspirin for ecstasy, as green teens do in \u003cem>Go\u003c/em>. What all three movies \u003cem>do\u003c/em> have in common, however, is a thirst for escapism, a passion for irresponsible behavior and—we mention this up front so you have the option to leave if you wish—a very cavalier attitude towards illegal drug-taking.\u003c/p>\n\u003cp>That was not unusual for the time. Between 1998 and 2001, dance culture brought with it the first open, mass acceptance of hard drug use since the Summer of Love 30 years before. According to an in-depth \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2967577/#R6\" target=\"_blank\" rel=\"noopener noreferrer\">2011 study\u003c/a>, ecstasy use during those years “rose sharply [and] doubled among 12th graders, college students, and young adults, and nearly doubled in the lower grades. In 2000 even the 8th graders showed a significant increase in use. Among young adults, the increase in use occurred primarily among those under age 29.”\u003c/p>\n\u003cp>\u003cem>Human Traffic\u003c/em> doesn’t just reflect that period, it actively endorses it. In one scene at the club, a voiceover from protagonist Jip dreamily states: “We forget all the pain and the hurt in life. We want to go somewhere else. All our insecurities have evaporated. We’re in the clouds now. We’re spacemen orbiting the earth. We risk sanity for moments of temporary enlightenment. We embrace an overwhelming feeling of love. We flow in unison. We’re together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/HAPK6ZYq_p0'\n title='//www.youtube.com/embed/HAPK6ZYq_p0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In another, when a doctor warns that ecstasy use can cause depression, sexual dysfunction and heatstroke, Jip argues: “Statistically you’re more likely to die from choking on a cabbage leaf or an argument in the pub than you are from dropping an E. Alcohol kills 30,000 people a year alone in Britain. But that’s alright because it’s a good taxable drug nonetheless.” At the end of the night, he and best friend Koop talk philosophy over lines of cocaine. Despite all of the drugs he’s taken, no one worries about Jip driving everyone home at sunrise.\u003c/p>\n\u003cp>\u003cem>Groove\u003c/em> was equally unconcerned about driving under the influence, and equally happy to promote ecstasy use. “Pop and beer, they fuck you up,” Cliff, full-time teacher’s assistant and part-time drug dealer, advises. “This enhances you. It heightens your awareness, especially touch. The feeling of connection, openness, honesty. It’s like being a kid…”\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/1k9pAL8Qg-I'\n title='//www.youtube.com/embed/1k9pAL8Qg-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mostly though, \u003cem>Groove\u003c/em> focused on the sheer effort and organizational clout it took to throw unlicensed parties back then, as well as emphasizing how worthwhile it all was. The film follows several groups of dance enthusiasts who battle power cuts, unreliable DJs, bad directions, sticker-wielding candy ravers and a cop (played by a pre-fame Nick Offerman) in order to have their party—but party they do, against all odds. (Talk about a mid-pandemic fantasy!)\u003c/p>\n\u003cp>Success is hard won in \u003cem>Go\u003c/em> too—a movie that uses a Christmas rave in L.A. as the backdrop for intertwining tales about three broke teenagers, their obnoxious British co-worker, two gay soap opera actors and a gun-toting ecstasy dealer. The Mary X-Mas dance party is a laser-blasted, blacklit spectacular full of glowsticks, bucket hats, mini backpacks and the kinds of space bun hairdos that disappeared with the last century.\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/WSOBdkzG1YI'\n title='//www.youtube.com/embed/WSOBdkzG1YI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the end, \u003cem>Human Traffic\u003c/em>, \u003cem>Groove\u003c/em> and \u003cem>Go\u003c/em> all captured lightning in a bottle. Partly because of good timing, partly because they were all made by people who understood the culture they were documenting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>More importantly for us, escapism looms large over all of them. In \u003cem>Human Traffic\u003c/em>, for Jip and Nina, clubbing makes selling popcorn and jeans all week a little more bearable. In \u003cem>Groove\u003c/em>, when Harmony sees her fiancé making out with a man, she simply goes back to where the DJ is and lets loose. In \u003cem>Go\u003c/em>, the only time we see Ronna not stressing about her rent money is when she’s on the Mary X-Mas dance floor. As long as we no longer have the same means to escape our daily realities, it’s a surprisingly good time watching them do it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mutek, the electronic music and arts festival founded in Montreal, expanded to San Francisco in 2018. The vibe is part museum and part rave: festival-goers dance at late-night shows to legacy techno acts and new artists alike; play with installations that use augmented reality and interactive video; and attend panels with artists and thinkers at the cross-sections of music, digital art and science.\u003c/p>\n\u003cp>Dance club the Midway, experimental art space Gray Area and even the California Academy of Sciences have been involved in Mutek’s events over the last two years. And now, during the pandemic, the festival is going entirely online.\u003c/p>\n\u003cp>On May 23 and 24, Mutek.SF presents \u003ca href=\"https://nexus.mutek.us/\" target=\"_blank\" rel=\"noopener noreferrer\">NEXUS Experience\u003c/a>: two days of performances, short film screenings, a digital art gallery and more. It’s hosted on an interactive platform called Currents.FM, where attendees can hang out in virtual viewing rooms with their friends and navigate the festival almost as if it were a physical space.\u003c/p>\n\u003cp>The event is entirely donation-based. Attendees can register for free, but a sliding-scale donation gives additional perks like the ability to host a private viewing room where one can video chat (and dance!) with up to 10 friends.\u003c/p>\n\u003cp>The first wave of the musical lineup is below. \u003ca href=\"https://nexus.mutek.us/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Florian Schneider, one of the founders of the pioneering and highly influential German electronic music group Kraftwerk, has died. He was 73 years old.\u003c/p>\n\u003cp>His death was confirmed by his former bandmate, Ralf Hütter, in a statement issued Wednesday. Hütter said that Schneider died “from a short cancer disease just a few days after his seventy-third birthday.” No other details were provided.\u003c/p>\n\u003cp>Schneider was the son of the well-known German modernist architect \u003ca href=\"https://www.deutsche-biographie.de/sfz114511.html\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Schneider-Esleben\u003c/a>. He began playing with Hütter, Kraftwerk’s other founder, in 1968 when both were students at the Robert Schumann Conservatory. Originally, they teamed up as the group Organisation; under that name, they released an album, \u003ca href=\"https://www.youtube.com/watch?v=s-wNx-6mMkU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tone Float\u003c/em>\u003c/a>, in 1969.\u003c/p>\n\u003cp>The following year, they reshaped their musical vision into Kraftwerk (“power station” in German), and opened a studio, Kling Klang, in their home city of Dusseldorf. That was also when the band released its first, eponymously titled album.\u003c/p>\n\u003cp>Schneider sang and played a variety of instruments, including synthesizer, electric flute, electric guitar and violin. Hütter sang and played keyboards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kraftwerk—which Hütter described in Wednesday’s statement as a “multi-media project” rather than a band—offered a new, industrialized, robotic sound. In an \u003ca href=\"https://daily.redbullmusicacademy.com/2012/08/kraftwerk-interview\" target=\"_blank\" rel=\"noopener noreferrer\">2010 interview\u003c/a> with Red Bull Music Academy, Hütter said Kraftwerk was very much linked to the political and artistic atmosphere not just of post-war Germany, but also specifically the upheavals of \u003ca href=\"https://www.npr.org/series/576782307/1968-how-we-got-here\" target=\"_blank\" rel=\"noopener noreferrer\">1968\u003c/a>.\u003c/p>\n\u003cp>“We had no father figures, no continuous tradition of entertainment,” Hütter said. “Through the 50s and 60s everything was Americanized, directed towards consumer behavior. So, we were part of this ’68 movement, where suddenly there were possibilities, and we performed at happenings and art situations.”\u003c/p>\n\u003cp>Of their recordings, only one album, 1974’s \u003cem>Autobahn\u003c/em>, became a certified hit in the U.S.; its title tune cracked the Top 40. But through their performances and ten studio albums, the band influenced a dizzying array—and generations—of musicians who followed. Kraftwerk’s music had a significant impact on new wave, rock, pop, industrial, hip-hop, and of course electronic dance music.\u003c/p>\n\u003cp>On his \u003cem>Heroes\u003c/em> album, David Bowie paid homage to Kraftwerk’s co-founder on his song “V-2 Schneider,” and Kraftwerk has been sampled in hundreds of other artists’ songs, including music by Afrika Bambaataa, New Order, Madonna, Jay-Z and Coldplay.\u003c/p>\n\u003cp>Schneider left the group at the end of 2008. In 2014, he, along with the band’s other members, were given a Grammy \u003ca href=\"https://www.grammy.com/grammys/news/lifetime-achievement-award-kraftwerk\" target=\"_blank\" rel=\"noopener noreferrer\">Lifetime Achievement\u003c/a> Award. In its citation, the Recording Academy said: “Along came this music that sounded as mechanized as a Ford assembly plant … and music would never be the same.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OQIYEPe6DWY\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Co-Founder+of+Kraftwerk%2C+Florian+Schneider%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Florian Schneider, one of the founders of the pioneering and highly influential German electronic music group Kraftwerk, has died. He was 73 years old.\u003c/p>\n\u003cp>His death was confirmed by his former bandmate, Ralf Hütter, in a statement issued Wednesday. Hütter said that Schneider died “from a short cancer disease just a few days after his seventy-third birthday.” No other details were provided.\u003c/p>\n\u003cp>Schneider was the son of the well-known German modernist architect \u003ca href=\"https://www.deutsche-biographie.de/sfz114511.html\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Schneider-Esleben\u003c/a>. He began playing with Hütter, Kraftwerk’s other founder, in 1968 when both were students at the Robert Schumann Conservatory. Originally, they teamed up as the group Organisation; under that name, they released an album, \u003ca href=\"https://www.youtube.com/watch?v=s-wNx-6mMkU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tone Float\u003c/em>\u003c/a>, in 1969.\u003c/p>\n\u003cp>The following year, they reshaped their musical vision into Kraftwerk (“power station” in German), and opened a studio, Kling Klang, in their home city of Dusseldorf. That was also when the band released its first, eponymously titled album.\u003c/p>\n\u003cp>Schneider sang and played a variety of instruments, including synthesizer, electric flute, electric guitar and violin. Hütter sang and played keyboards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kraftwerk—which Hütter described in Wednesday’s statement as a “multi-media project” rather than a band—offered a new, industrialized, robotic sound. In an \u003ca href=\"https://daily.redbullmusicacademy.com/2012/08/kraftwerk-interview\" target=\"_blank\" rel=\"noopener noreferrer\">2010 interview\u003c/a> with Red Bull Music Academy, Hütter said Kraftwerk was very much linked to the political and artistic atmosphere not just of post-war Germany, but also specifically the upheavals of \u003ca href=\"https://www.npr.org/series/576782307/1968-how-we-got-here\" target=\"_blank\" rel=\"noopener noreferrer\">1968\u003c/a>.\u003c/p>\n\u003cp>“We had no father figures, no continuous tradition of entertainment,” Hütter said. “Through the 50s and 60s everything was Americanized, directed towards consumer behavior. So, we were part of this ’68 movement, where suddenly there were possibilities, and we performed at happenings and art situations.”\u003c/p>\n\u003cp>Of their recordings, only one album, 1974’s \u003cem>Autobahn\u003c/em>, became a certified hit in the U.S.; its title tune cracked the Top 40. But through their performances and ten studio albums, the band influenced a dizzying array—and generations—of musicians who followed. Kraftwerk’s music had a significant impact on new wave, rock, pop, industrial, hip-hop, and of course electronic dance music.\u003c/p>\n\u003cp>On his \u003cem>Heroes\u003c/em> album, David Bowie paid homage to Kraftwerk’s co-founder on his song “V-2 Schneider,” and Kraftwerk has been sampled in hundreds of other artists’ songs, including music by Afrika Bambaataa, New Order, Madonna, Jay-Z and Coldplay.\u003c/p>\n\u003cp>Schneider left the group at the end of 2008. In 2014, he, along with the band’s other members, were given a Grammy \u003ca href=\"https://www.grammy.com/grammys/news/lifetime-achievement-award-kraftwerk\" target=\"_blank\" rel=\"noopener noreferrer\">Lifetime Achievement\u003c/a> Award. In its citation, the Recording Academy said: “Along came this music that sounded as mechanized as a Ford assembly plant … and music would never be the same.”\u003c/p>\n\u003cp>\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/OQIYEPe6DWY'\n title='//www.youtube.com/embed/OQIYEPe6DWY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Co-Founder+of+Kraftwerk%2C+Florian+Schneider%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How SF's Dirtybird Grew from Outsider Party to Beloved House Music Label",
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"content": "\u003cp>Claude VonStroke, a.k.a. Barclay Crenshaw, remembers the first party he threw in San Francisco’s Golden Gate Park in 2003. He’d only obtained a permit to host a picnic, not to bring a sound system, but that didn’t matter—only around 12 people showed up anyway, including the DJs. At the time, a smoother, more minimal sound reigned in San Francisco’s electronic music scene, and Crenshaw and his collaborators were seen as a band of outsiders.\u003c/p>\n\u003cp>Yet slowly, the crew’s DIY appeal caught on, along with the funky, danceable style of house music they championed—a sound heavy on low-end frequencies, with elastic \u003cem>boings \u003c/em>and propulsive grooves better suited for shaking your booty than nodding your head. The Golden Gate Park party started to become a word-of-mouth phenomenon, and in 2005, VonStroke and his cohorts established \u003ca href=\"https://dirtybirdrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dirtybird Records\u003c/a>.\u003c/p>\n\u003cp>Now, Dirtybird is one of the United States’ most popular house music labels. This year it celebrates 15 years in business with a new album from Crenshaw, \u003cem>Freaks & Beaks\u003c/em>, out Feb. 21.\u003c/p>\n\u003cp>Before Dirtybird acquired a cult following for touring house music barbecues and festivals, Crenshaw remembers, he and his collaborators Chris and Justin Martin weren’t always embraced in the Lower Haight dance scene. In fact, it took them blowing up in Europe after their third release, Crenshaw’s \u003cem>Deep Throat\u003c/em>, for the label’s hometown to catch on.\u003c/p>\n\u003cp>https://youtu.be/CzALJvtJWkE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In the Lower Haight, you’d really have to earn it. It was kind of too cool for school,” Crenshaw says. “It was hard for them to accept this gritty, bumpy, slightly aggressive, dirtier sound.”\u003c/p>\n\u003cp>Yet the initial lukewarm reception didn’t deter Crenshaw. An outsider approach has always been part of his hallmark: though originally from Detroit, the birthplace of techno, he was a hip-hop head growing up and didn’t attend his first rave until he was 25 years old. His route to becoming a house music producer was an unconventional one. While embarking on a career in film (he was a production assistant on 1997’s \u003cem>Batman & Robin\u003c/em> and \u003cem>Con Air\u003c/em>) he began an ambitious self-funded project: an exhaustive documentary on the history of electronic music, titled \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0415882/?ref_=ttfc_fc_tt\" target=\"_blank\" rel=\"noopener noreferrer\">Intellect\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>For \u003cem>Intellect\u003c/em>, Crenshaw interviewed over 50 DJs, including big names like Derrick May and Paul Van Dyk. While filming the project, he ran out of money—then borrowed money from friends, and ran out of that. (“Everyone hated me,” he says.) Because he didn’t have enough funds to license music from all the artists he interviewed in the film, he had to learn to figure out how to make the soundtrack himself, creating his own interpretations of the featured DJs’ styles.\u003c/p>\n\u003cp>“It was kind of like graduate school—I made my own grad school, basically,” he says.\u003c/p>\n\u003cp>As Crenshaw found his groove as a producer, a scene began to coalesce around Dirtybird in the late 2000s. Artists like J.Phlip, Worthy, Tim Green and Style of Eye joined the label, and Crenshaw began curating Dirtybird parties at the Mezzanine—one of the venue’s biggest draws from 2008 until it closed on New Year’s Eve last year.\u003c/p>\n\u003cp>https://youtu.be/uc8lkLQ3sO4\u003c/p>\n\u003cp>After Crenshaw relocated to Los Angeles (he regularly returns to San Francisco for Dirtybird events), business continued to pick up. In 2015, Crenshaw started the Dirtybird Campout, which takes place this year in Modesto. He’s intentionally kept the event small (at around 7,000 attendees) to retain its feeling of intimacy. Unlike at EDM mega-fests like Electric Daisy Carnival, DJs and fans alike participate in summer camp activities like archery and kayaking, and dance parties rage on until sunrise.\u003c/p>\n\u003cp>With the help of his wife, Aundy, who is the label’s chief operating and marketing officer, Crenshaw has grown Dirtybird in many different directions: live events on both coasts, the \u003ca href=\"https://claudevonstroke.com/birdhouse\" target=\"_blank\" rel=\"noopener noreferrer\">Birdhouse\u003c/a> Radio Show, merch, even an art book (also out Feb. 21) illustrated by San Francisco artist Jeremy Fish. Yet through it all, the label has remained independent and held on to its outsider appeal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have a vibe—it’s not a big barrier between the artists the fans at our shows,” Crenshaw says. “No one is untouchable.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Claude VonStroke, a.k.a. Barclay Crenshaw, remembers the first party he threw in San Francisco’s Golden Gate Park in 2003. He’d only obtained a permit to host a picnic, not to bring a sound system, but that didn’t matter—only around 12 people showed up anyway, including the DJs. At the time, a smoother, more minimal sound reigned in San Francisco’s electronic music scene, and Crenshaw and his collaborators were seen as a band of outsiders.\u003c/p>\n\u003cp>Yet slowly, the crew’s DIY appeal caught on, along with the funky, danceable style of house music they championed—a sound heavy on low-end frequencies, with elastic \u003cem>boings \u003c/em>and propulsive grooves better suited for shaking your booty than nodding your head. The Golden Gate Park party started to become a word-of-mouth phenomenon, and in 2005, VonStroke and his cohorts established \u003ca href=\"https://dirtybirdrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dirtybird Records\u003c/a>.\u003c/p>\n\u003cp>Now, Dirtybird is one of the United States’ most popular house music labels. This year it celebrates 15 years in business with a new album from Crenshaw, \u003cem>Freaks & Beaks\u003c/em>, out Feb. 21.\u003c/p>\n\u003cp>Before Dirtybird acquired a cult following for touring house music barbecues and festivals, Crenshaw remembers, he and his collaborators Chris and Justin Martin weren’t always embraced in the Lower Haight dance scene. In fact, it took them blowing up in Europe after their third release, Crenshaw’s \u003cem>Deep Throat\u003c/em>, for the label’s hometown to catch on.\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/CzALJvtJWkE'\n title='//www.youtube.com/embed/CzALJvtJWkE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In the Lower Haight, you’d really have to earn it. It was kind of too cool for school,” Crenshaw says. “It was hard for them to accept this gritty, bumpy, slightly aggressive, dirtier sound.”\u003c/p>\n\u003cp>Yet the initial lukewarm reception didn’t deter Crenshaw. An outsider approach has always been part of his hallmark: though originally from Detroit, the birthplace of techno, he was a hip-hop head growing up and didn’t attend his first rave until he was 25 years old. His route to becoming a house music producer was an unconventional one. While embarking on a career in film (he was a production assistant on 1997’s \u003cem>Batman & Robin\u003c/em> and \u003cem>Con Air\u003c/em>) he began an ambitious self-funded project: an exhaustive documentary on the history of electronic music, titled \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0415882/?ref_=ttfc_fc_tt\" target=\"_blank\" rel=\"noopener noreferrer\">Intellect\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>For \u003cem>Intellect\u003c/em>, Crenshaw interviewed over 50 DJs, including big names like Derrick May and Paul Van Dyk. While filming the project, he ran out of money—then borrowed money from friends, and ran out of that. (“Everyone hated me,” he says.) Because he didn’t have enough funds to license music from all the artists he interviewed in the film, he had to learn to figure out how to make the soundtrack himself, creating his own interpretations of the featured DJs’ styles.\u003c/p>\n\u003cp>“It was kind of like graduate school—I made my own grad school, basically,” he says.\u003c/p>\n\u003cp>As Crenshaw found his groove as a producer, a scene began to coalesce around Dirtybird in the late 2000s. Artists like J.Phlip, Worthy, Tim Green and Style of Eye joined the label, and Crenshaw began curating Dirtybird parties at the Mezzanine—one of the venue’s biggest draws from 2008 until it closed on New Year’s Eve last year.\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/uc8lkLQ3sO4'\n title='//www.youtube.com/embed/uc8lkLQ3sO4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After Crenshaw relocated to Los Angeles (he regularly returns to San Francisco for Dirtybird events), business continued to pick up. In 2015, Crenshaw started the Dirtybird Campout, which takes place this year in Modesto. He’s intentionally kept the event small (at around 7,000 attendees) to retain its feeling of intimacy. Unlike at EDM mega-fests like Electric Daisy Carnival, DJs and fans alike participate in summer camp activities like archery and kayaking, and dance parties rage on until sunrise.\u003c/p>\n\u003cp>With the help of his wife, Aundy, who is the label’s chief operating and marketing officer, Crenshaw has grown Dirtybird in many different directions: live events on both coasts, the \u003ca href=\"https://claudevonstroke.com/birdhouse\" target=\"_blank\" rel=\"noopener noreferrer\">Birdhouse\u003c/a> Radio Show, merch, even an art book (also out Feb. 21) illustrated by San Francisco artist Jeremy Fish. Yet through it all, the label has remained independent and held on to its outsider appeal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have a vibe—it’s not a big barrier between the artists the fans at our shows,” Crenshaw says. “No one is untouchable.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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