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"content": "\u003cp>There’s so much about Chapel Hill indie-rock heroes Superchunk that we can learn from right now, while a lot of us are wishing for a hero to pull us out of our political morass. The band has roots in the late-’80s DIY scene, and instead of waiting for someone else to take interest in their music, the booked their own tours and put out their own albums on Merge Records, which they built up as a force to be reckoned with (especially in recent years with their biggest signee, Arcade Fire).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nNNaIGq4IMI\u003c/p>\n\u003cp>The band’s newest album is due out in February, titled \u003cem>What a Time to Be Alive\u003c/em> — the songs on which reportedly not-so-subtly addresses our political climate. And why not? Now almost into their fourth decade, they have nothing to lose by staying quiet. Superchunk has stood up to the corporate music world the way many are yearning to stand up to the White House, and they’ve done it the way I think 2018 will be defined: with fun, in-your-face action instead of mopey shoegazing. Sounds like this new album follows suit. They don’t make it to the Bay Area too often, but they’ve been an erstwhile staple at the Noise Pop Festival, who’ve wrangled them out here to play Feb. 24 at the Great American Music Hall; \u003ca href=\"http://www.slimspresents.com/event/superchunk-gamh-noise-pop-festival-2018-presents/\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "The 10 Best Bay Area Albums of 2017: Trebuchet, 'Volte-Face'",
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"content": "\u003cp>It was 2am, the night before his wedding, when Elliott Whitehurst woke up his dad.\u003c/p>\n\u003cp>The ceremony was already set, friends and family in town. But suddenly, Whitehurst realized he was making a mistake. His dad heard him out, about how he’d wanted to make his fiancée happy but lost himself in the process. He knew it. His friends knew it. His bandmates definitely knew it.\u003c/p>\n\u003cp>Whitehurst’s dad said he understood. Hours before the ceremony, the wedding was called off.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3562985535/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>That night and the events surrounding it form the core of Trebuchet’s \u003cem>Volte-Face\u003c/em>, a gorgeous, indie-folk song cycle about growing older, trying manhood on for size, aiming to please, failing oneself, watching a love turn sour and corrosive, and ultimately choosing self-preservation. It’s not bitter, or angry, or pessimistic. It contains piano, ukeleles, shimmering guitars, and four-part harmonies galore. I surprised myself by listening to it more than any other album in 2017, each time finding new moments of beauty and calm during this year of constant terror.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hailing from Petaluma, Trebuchet put out two previous records that were pleasant enough, but felt too by-the-numbers. Whitehurst, generally a quiet person, comes from a family of bold musical personalities. His sister Emily Whitehurst is best known as the distinctive singer of the pop-punk band \u003ca href=\"https://www.youtube.com/watch?v=ILUDIHIEvto\" rel=\"noopener\" target=\"_blank\">Tsunami Bomb\u003c/a>, and his older brother \u003ca href=\"http://www.loganwhitehurst.com/main.html\" rel=\"noopener\" target=\"_blank\">Logan Whitehurst\u003c/a>, who died of cancer in 2006, was a madcap genius whose clever songs captivated \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127989850\" target=\"_blank\" rel=\"noopener\">Dr. Demento\u003c/a> and the nerdier corners of the early internet. But I often wondered while listening to Trebuchet’s early recordings, “When is Elliott going to find \u003cem>his\u003c/em> voice?”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1069385722/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Volte-Face\u003c/em> is the answer, writ large. With the expert backing of Navid Manoochehri, Lauren Haile, and Paul Haile — whose background with both Fleet Foxes-esque folk forms and majestic, sweeping Explosions In The Sky-type instrumentals is evident here — the songs breathe and pulse dramatically while traversing a relationship that over-ripens and turns into something rotten. By the end, as Whitehurst lets go of all lingering guilt, a giant choir repeats the refrain “She’ll be fine,” as a mantra to washing one’s hands of another’s needs. It’s a perfect ending to the album — a huge release of liberation.\u003c/p>\n\u003cp>Elliott Whitehurst should not get married more often. \u003cem>Volte-Face\u003c/em> is a gift.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top 10 local albums of 2017 every day through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was 2am, the night before his wedding, when Elliott Whitehurst woke up his dad.\u003c/p>\n\u003cp>The ceremony was already set, friends and family in town. But suddenly, Whitehurst realized he was making a mistake. His dad heard him out, about how he’d wanted to make his fiancée happy but lost himself in the process. He knew it. His friends knew it. His bandmates definitely knew it.\u003c/p>\n\u003cp>Whitehurst’s dad said he understood. Hours before the ceremony, the wedding was called off.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3562985535/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>That night and the events surrounding it form the core of Trebuchet’s \u003cem>Volte-Face\u003c/em>, a gorgeous, indie-folk song cycle about growing older, trying manhood on for size, aiming to please, failing oneself, watching a love turn sour and corrosive, and ultimately choosing self-preservation. It’s not bitter, or angry, or pessimistic. It contains piano, ukeleles, shimmering guitars, and four-part harmonies galore. I surprised myself by listening to it more than any other album in 2017, each time finding new moments of beauty and calm during this year of constant terror.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hailing from Petaluma, Trebuchet put out two previous records that were pleasant enough, but felt too by-the-numbers. Whitehurst, generally a quiet person, comes from a family of bold musical personalities. His sister Emily Whitehurst is best known as the distinctive singer of the pop-punk band \u003ca href=\"https://www.youtube.com/watch?v=ILUDIHIEvto\" rel=\"noopener\" target=\"_blank\">Tsunami Bomb\u003c/a>, and his older brother \u003ca href=\"http://www.loganwhitehurst.com/main.html\" rel=\"noopener\" target=\"_blank\">Logan Whitehurst\u003c/a>, who died of cancer in 2006, was a madcap genius whose clever songs captivated \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127989850\" target=\"_blank\" rel=\"noopener\">Dr. Demento\u003c/a> and the nerdier corners of the early internet. But I often wondered while listening to Trebuchet’s early recordings, “When is Elliott going to find \u003cem>his\u003c/em> voice?”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1069385722/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Volte-Face\u003c/em> is the answer, writ large. With the expert backing of Navid Manoochehri, Lauren Haile, and Paul Haile — whose background with both Fleet Foxes-esque folk forms and majestic, sweeping Explosions In The Sky-type instrumentals is evident here — the songs breathe and pulse dramatically while traversing a relationship that over-ripens and turns into something rotten. By the end, as Whitehurst lets go of all lingering guilt, a giant choir repeats the refrain “She’ll be fine,” as a mantra to washing one’s hands of another’s needs. It’s a perfect ending to the album — a huge release of liberation.\u003c/p>\n\u003cp>Elliott Whitehurst should not get married more often. \u003cem>Volte-Face\u003c/em> is a gift.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top 10 local albums of 2017 every day through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Toro y Moi’s Chaz Bear \u003ca href=\"https://www.newyorker.com/culture/culture-desk/diddys-favorite-indie-musician-chaz-bear-of-toro-y-moi\" target=\"_blank\" rel=\"noopener\">parties with Diddy\u003c/a>, but he’s just as likely to be spotted at neighborhood cafes in Berkeley and Oakland.\u003c/p>\n\u003cp>But on \u003cem>Boo Boo\u003c/em>, his fifth and best album, the South Carolina native is lonely.\u003c/p>\n\u003cp>“My baby got fed up with my ego,” he croons in “No Show,” a keenly-crafted electropop track that’s all wistful keys and pulsing tones that clang like guilt manifest. \u003cem>Boo Boo\u003c/em>, which was recorded months before his breakup, finds Bear assessing the emotional aftermath of a relationship already on the outs. It’s his most intimate release to date.\u003c/p>\n\u003cp>https://youtu.be/9rPOuZ4vY50l\u003c/p>\n\u003cp>“You say there’s a missing piece / Are you searching for both of us?” Bear sighs on “Labyrinth” over a chain of plodding bass lines and swooning electronic washes that never really seem to interlock. “Windows,” which sounds like a hollowed-out version of one of Drake’s dancehall experiments, is overlaid with the same shade of melancholy blue that washes his album cover.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it’s not all bleak: “Inside My Head” — which has an ’80s dance vibe reminiscent of Blood Orange’s kiss-off “You’re Not Good Enough” — is an ode to solitude. “Girl Like You” is as close to a pure pop hit that Bear has crafted, its wistful hook (“What’s it gonna take for a guy like me to find a girl like you?”) as sweetly sung as anything by Miguel or the One Direction boys. There’s also “Mirage,” \u003cem>Boo Boo\u003c/em>’s squiggly funk opener, which burbles and grooves like an unvarnished outtake from his 2013 album \u003cem>Anything in Return\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/jLbpMxZwZ-c\u003c/p>\n\u003cp>But, crucially, \u003cem>Boo Boo\u003c/em> is not a breakup album, but an ode to the Bay Area community where his baby resided, where the mayor \u003ca href=\"https://pitchfork.com/news/toro-y-moi-honored-in-berkeley-with-chaz-bundick-day/\" target=\"_blank\" rel=\"noopener\">commemorated him with a day\u003c/a> in his honor, and, really, where his distinctive voice emerged.\u003c/p>\n\u003cp>All throughout \u003cem>Boo Boo\u003c/em>, drums and synths knock with the sound of an imagined ’80s, but they just as often shift into the old-school hip-hop and R&B architecture that inspired Kamaiyah’s \u003cem>A Good Night in the Ghetto\u003c/em>. Toro y Moi unifies the distinct sonic aesthetics he found in the Bay Area into an adventurous bricolage of sound that appeals just as easily to hip-hop heads as it does to the KALX rock set.\u003c/p>\n\u003cp>Chaz Bear mourns a love lost on \u003cem>Boo Boo\u003c/em>, but more than anything else, the album serves as a portrait of him embracing a home that has fully embraced him back.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it’s not all bleak: “Inside My Head” — which has an ’80s dance vibe reminiscent of Blood Orange’s kiss-off “You’re Not Good Enough” — is an ode to solitude. “Girl Like You” is as close to a pure pop hit that Bear has crafted, its wistful hook (“What’s it gonna take for a guy like me to find a girl like you?”) as sweetly sung as anything by Miguel or the One Direction boys. There’s also “Mirage,” \u003cem>Boo Boo\u003c/em>’s squiggly funk opener, which burbles and grooves like an unvarnished outtake from his 2013 album \u003cem>Anything in Return\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jLbpMxZwZ-c'\n title='//www.youtube.com/embed/jLbpMxZwZ-c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But, crucially, \u003cem>Boo Boo\u003c/em> is not a breakup album, but an ode to the Bay Area community where his baby resided, where the mayor \u003ca href=\"https://pitchfork.com/news/toro-y-moi-honored-in-berkeley-with-chaz-bundick-day/\" target=\"_blank\" rel=\"noopener\">commemorated him with a day\u003c/a> in his honor, and, really, where his distinctive voice emerged.\u003c/p>\n\u003cp>All throughout \u003cem>Boo Boo\u003c/em>, drums and synths knock with the sound of an imagined ’80s, but they just as often shift into the old-school hip-hop and R&B architecture that inspired Kamaiyah’s \u003cem>A Good Night in the Ghetto\u003c/em>. Toro y Moi unifies the distinct sonic aesthetics he found in the Bay Area into an adventurous bricolage of sound that appeals just as easily to hip-hop heads as it does to the KALX rock set.\u003c/p>\n\u003cp>Chaz Bear mourns a love lost on \u003cem>Boo Boo\u003c/em>, but more than anything else, the album serves as a portrait of him embracing a home that has fully embraced him back.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With the Bay Area’s history as a breeding ground for heavy metal, it’s probably not a surprise that emerging local bands are continuing to find new and compelling ways to cross-pollinate metal’s many strains.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/succumbsf/\" target=\"_blank\" rel=\"noopener\">Succumb\u003c/a> and \u003ca href=\"https://www.facebook.com/Funeral-Chant-1286274381479402\" target=\"_blank\" rel=\"noopener\">Funeral Chant\u003c/a>, for example, are contorting black metal and death metal into unpredictable new sounds. The former band’s first LP, arriving on reliable local label The Flenser, debuted to widespread critical acclaim; the latter group’s murky, lo-fi demo tape, with its warped, unsettling sound, marks the band as one to watch.\u003c/p>\n\u003cp>Other local heavy groups, \u003ca href=\"https://www.facebook.com/brumeband\" target=\"_blank\" rel=\"noopener\">Brume\u003c/a> and \u003ca href=\"https://www.facebook.com/bodyvoid\" target=\"_blank\" rel=\"noopener\">Body Void\u003c/a>, offer contrasting approaches to atmospheric doom metal. Brume fuses doom’s heaviness to sprawling, psychedelic compositions, while Body Void layers its songs with abrasive noise. Perhaps the most high-concept of the doom-influenced bands included here is \u003ca href=\"https://www.facebook.com/squalus.band/\" target=\"_blank\" rel=\"noopener\">Squalus\u003c/a>. Formed by members of Giant Squid, the group’s first LP is a musical re-imagining of the film \u003cem>Jaws\u003c/em>.\u003c/p>\n\u003cp>This mixtape collects new and recent music from ten local metal bands, but it really only scratches the surface of the wealth of metal talents in the Bay Area. If you like what you hear in this mix, be sure to check out the label \u003ca href=\"http://transylvaniantapes.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Transylvanian Tapes\u003c/a>, which has released works from a number of the bands included here and whole bunch of others worth digging into.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all ten included bands.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=128915127&s=143441\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Subscribe to The Bay Bridged Podcast!\u003c/strong>\u003c/a>\u003c/em>\u003c/p>\n\u003ch2>Track Listing\u003c/h2>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/succumbsf/\" target=\"_blank\" rel=\"noopener\">Succumb\u003c/a>\u003c/strong> – “Survival”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Funeral-Chant-1286274381479402\" target=\"_blank\" rel=\"noopener\">Funeral Chant\u003c/a>\u003c/strong> – “Flood of Damnation”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Ails-1480944935537950/\" target=\"_blank\" rel=\"noopener\">Ails\u003c/a>\u003c/strong> – “Dead Metaphors”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/hazzardscure/\" target=\"_blank\" rel=\"noopener\">Hazzard’s Cure\u003c/a>\u003c/strong> – “Master of Heathens”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/brumeband\" target=\"_blank\" rel=\"noopener\">Brume\u003c/a>\u003c/strong> – “Call the Serpent’s Bluff”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/bodyvoid\" target=\"_blank\" rel=\"noopener\">Body Void\u003c/a>\u003c/strong> – “Swan”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/squalus.band/\" target=\"_blank\" rel=\"noopener\">Squalus\u003c/a>\u003c/strong> – “The Orca”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Cardinal-Wyrm-157603967620024/\" target=\"_blank\" rel=\"noopener\">Cardinal Wyrm\u003c/a>\u003c/strong> – “The Resonant Dead”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://akatharsia.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Akatharsia\u003c/a>\u003c/strong> – “No Generation Without Corruption”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/BadrVogu\" target=\"_blank\" rel=\"noopener\">Badr Vogu\u003c/a>\u003c/strong> – “Anathema of Time”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the Bay Area’s history as a breeding ground for heavy metal, it’s probably not a surprise that emerging local bands are continuing to find new and compelling ways to cross-pollinate metal’s many strains.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/succumbsf/\" target=\"_blank\" rel=\"noopener\">Succumb\u003c/a> and \u003ca href=\"https://www.facebook.com/Funeral-Chant-1286274381479402\" target=\"_blank\" rel=\"noopener\">Funeral Chant\u003c/a>, for example, are contorting black metal and death metal into unpredictable new sounds. The former band’s first LP, arriving on reliable local label The Flenser, debuted to widespread critical acclaim; the latter group’s murky, lo-fi demo tape, with its warped, unsettling sound, marks the band as one to watch.\u003c/p>\n\u003cp>Other local heavy groups, \u003ca href=\"https://www.facebook.com/brumeband\" target=\"_blank\" rel=\"noopener\">Brume\u003c/a> and \u003ca href=\"https://www.facebook.com/bodyvoid\" target=\"_blank\" rel=\"noopener\">Body Void\u003c/a>, offer contrasting approaches to atmospheric doom metal. Brume fuses doom’s heaviness to sprawling, psychedelic compositions, while Body Void layers its songs with abrasive noise. Perhaps the most high-concept of the doom-influenced bands included here is \u003ca href=\"https://www.facebook.com/squalus.band/\" target=\"_blank\" rel=\"noopener\">Squalus\u003c/a>. Formed by members of Giant Squid, the group’s first LP is a musical re-imagining of the film \u003cem>Jaws\u003c/em>.\u003c/p>\n\u003cp>This mixtape collects new and recent music from ten local metal bands, but it really only scratches the surface of the wealth of metal talents in the Bay Area. If you like what you hear in this mix, be sure to check out the label \u003ca href=\"http://transylvaniantapes.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Transylvanian Tapes\u003c/a>, which has released works from a number of the bands included here and whole bunch of others worth digging into.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all ten included bands.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Thee Oh Sees' John Dwyer Returns to His San Francisco Roots",
"headTitle": "Thee Oh Sees’ John Dwyer Returns to His San Francisco Roots | KQED",
"content": "\u003cp>As Thee Oh Sees prepare to close the second headlining set of their two-night September residency at the Great American Music Hall, the band’s frontman, John Dwyer, explains how it’s going to go down. “We are going to do two more songs,” he tells the buzzing Thursday-night crowd. “One regular one and one long one. And that’s it.”\u003c/p>\n\u003cp>Dwyer and co. launch into their finale and the crowd explodes. Plastic drink cups go flying into the air as the floor undulates under hundreds of stomping feet. Dwyer lets out a few of his signature banshee yelps, made all the more potent by slap-back echo and the accompanying squeal of his guitar. One of the band’s dual drummers, Paul Quattrone — also of Sacramento disco punk outfit !!! — casts sidelong glances at Dwyer. His cheeks puff with each heavy breath as he hammers away at his kit in unison with co-drummer Daniel Rincon. His expression seems to say: “Are we almost done here, boss?”\u003c/p>\n\u003cp>https://youtu.be/K2fNxWG8E0o\u003c/p>\n\u003cp>Quattrone and Rincon, positioned next to one another at the front of the stage, are the thundering heart of the well-oiled machine that is Thee Oh Sees, and Dwyer is the wild-eyed conductor — orchestrating the chaos with the kind of comfort and familiarity that only comes from years of experience. One of the hardest working men in garage rock is at the height of his powers: The full midweek crowd, the precision of the band, and the energy in the room are all a testament to Dwyer’s songwriting and showmanship.\u003c/p>\n\u003cp>About a month after the show, Dwyer is driving home from a hike with longtime collaborator Brigid Dawson. He calls to apologize for missing the appointed start of the interview, promising that he’ll reconnect on his landline shortly. When he rings again, the caller ID displays a 323 area code, not the 415 number that had heralded his cell-phone call. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prior to his move to Los Angeles in 2014, Dwyer was a fixture on the San Francisco garage revival scene for 17 years. He created some of the weirdest and most compelling music to come out of the city during the mid-2000s while also promoting shows and championing bands on his label, Castle Face Records. The imprint has put out records by some of San Francisco’s best psychedelic and indie rock bands acts, including Kelley Stoltz, White Fence, Fresh & Onlys, and Ty Segall — Dwyer’s contemporary and another luminary in the SF garage scene who once described the Oh Sees frontman as “the mayor of San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13814927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-800x600.jpg\" alt=\"John Dwyer (left) wrote 'Memory of a Cut Off Head' with longtime collaborator Brigid Dawson. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Dwyer (left) wrote ‘Memory of a Cut Off Head’ with longtime collaborator Brigid Dawson. \u003ccite>(Courtesy of John Dwyer )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, as housing costs continued to rise in the Bay Area, Dwyer moved south. “I couldn’t afford to live there anymore,” he says of San Francisco. “I didn’t really have a choice.”\u003c/p>\n\u003cp>When Dwyer first moved to San Francisco from Providence, Rhode Island, he says finding a place was a “cakewalk.” By the end of his stay, it had become untenable. He was looking at living in apartments with upwards of five roommates. Now, Dwyer owns a home where he can rehearse and record in Los Angeles’ Eagle Rock neighborhood.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/339324287″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Dwyer and Dawson are currently putting the finishing touches on a new album and rehearsing for a string of four shows, which will benefit homelessness charities in San Francisco and Los Angeles. The record, \u003cem>Memory of a Cut Off Head\u003c/em>, is Dwyer’s 20th full-length Oh Sees release and the 100th pressing on Castle Face. It’s due out on Nov. 17.\u003c/p>\n\u003cp>Memory is a departure from most of what Dwyer has been concocting of late. Instead of the rollicking, shrieking, acid frenzies of \u003cem>A Weird Exits\u003c/em>, \u003cem>An Odd Entrances\u003c/em>, and \u003cem>Orc\u003c/em> — all three released over the course of 2016 and 2017 — the new album is a return to \u003ca href=\"https://soundcloud.com/ocs89471/sets/3-4-songs-about-death-and\" target=\"_blank\" rel=\"noopener\">the very first, hushed bedroom recordings\u003c/a> Dwyer made with Dawson in the early aughts. That was back when he lived in the Lower Haight, and when she worked at a now-closed coffee shop called Bean There on the corner of Waller and Steiner streets.\u003c/p>\n\u003cfigure id=\"attachment_13814963\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814963\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-800x600.jpg\" alt='Ty Segall once referred to John Dwyer as the \"mayor of San Francisco\" for his pioneering work with Thee Oh Sees.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Segall once referred to John Dwyer as the “mayor of San Francisco” for his pioneering work with Thee Oh Sees. \u003ccite>(Courtesy of John Dwyer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It harkened back to just me and John sitting together — him singing me a song and me making the harmonies,” Dawson says of the process of writing \u003cem>Memory\u003c/em>. “It feels very familiar.”\u003c/p>\n\u003cp>\u003cem>Memory\u003c/em> is far more polished than those first bedroom works, and not nearly as ramshackle as the droning, Velvet Underground and Nico-tinged tracks found on 2006’s \u003cem>The Cool Death of Island Raiders\u003c/em>.\u003c/p>\n\u003cp>Those well-versed in Dwyer’s work will find parallels to \u003cem>Memory\u003c/em> in the meandering, lo-fi, freak-folk excursions of his second Oh Sees album, \u003cem>2\u003c/em>. When that record was released in 2004, the project was known simply as OCS, an acronym that originally stood for Orinoka Crash Suite. From there, the name went through a number of permutations, including The Oh Sees, Thee Oh Sees, and just plain Oh Sees. On the forthcoming \u003cem>Memory of a Cut Off Head\u003c/em>, Dwyer has once again taken up the moniker OCS — a nod to his earlier, mellower collections.\u003c/p>\n\u003cp>Featuring eight players in addition to Dwyer and Dawson, the record includes a menagerie of instruments: singing saws, honking horns, swelling strings, and warm, analog electronics. Dwyer says the album was initially supposed to just be a stripped down acoustic affair, before it evolved into something far more baroque — a beautiful amalgamation of pop, psychedelia, folk, and indie rock. Call it Dwyer’s \u003cem>Sgt. Pepper’s\u003c/em>.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/340187897″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Dwyer plans to mark the occasion of his latest album’s release with a pair of local shows aimed at offering hope to those facing a cold, wet winter on the streets. Proceeds from the two concerts — Dec. 17 and 18 at \u003ca href=\"https://www.thechapelsf.com/event/1574558-ocs-mellow-quiet-set-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Chapel with Ty Segall and Shannon Lay\u003c/a> — will benefit the \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness San Francisco\u003c/a>. Both shows have already sold out.\u003c/p>\n\u003cp>Beyond the two local OCS shows and a pair of L.A. performances to benefit the food justice nonprofit \u003ca href=\"http://www.lakitchen.org/\" target=\"_blank\" rel=\"noopener\">L.A. Kitchen\u003c/a>, Dwyer isn’t exactly sure what comes next. The only sure bet is that there will be more music. After dedicating the past two decades of his life to rock ‘n’ roll, it’s all he can really think to do.\u003c/p>\n\u003cp>“I don’t plan on doing anything else,” he says. “I don’t have a job or anything.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-800x449.jpg\" alt=\"Thee Oh Sees' John Dwyer returns to his quieter, more subtle musical roots with his upcoming album, 'Memory of a Cut Off Head.'\" width=\"0\" height=\"0\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The garage rock luminary's new album, 'Memory of a Cut Off Head,' harks back to his days of hanging out in Lower Haight coffee shops. ",
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"description": "The garage rock luminary's new album, 'Memory of a Cut Off Head,' harks back to his days of hanging out in Lower Haight coffee shops. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As Thee Oh Sees prepare to close the second headlining set of their two-night September residency at the Great American Music Hall, the band’s frontman, John Dwyer, explains how it’s going to go down. “We are going to do two more songs,” he tells the buzzing Thursday-night crowd. “One regular one and one long one. And that’s it.”\u003c/p>\n\u003cp>Dwyer and co. launch into their finale and the crowd explodes. Plastic drink cups go flying into the air as the floor undulates under hundreds of stomping feet. Dwyer lets out a few of his signature banshee yelps, made all the more potent by slap-back echo and the accompanying squeal of his guitar. One of the band’s dual drummers, Paul Quattrone — also of Sacramento disco punk outfit !!! — casts sidelong glances at Dwyer. His cheeks puff with each heavy breath as he hammers away at his kit in unison with co-drummer Daniel Rincon. His expression seems to say: “Are we almost done here, boss?”\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/K2fNxWG8E0o'\n title='//www.youtube.com/embed/K2fNxWG8E0o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Quattrone and Rincon, positioned next to one another at the front of the stage, are the thundering heart of the well-oiled machine that is Thee Oh Sees, and Dwyer is the wild-eyed conductor — orchestrating the chaos with the kind of comfort and familiarity that only comes from years of experience. One of the hardest working men in garage rock is at the height of his powers: The full midweek crowd, the precision of the band, and the energy in the room are all a testament to Dwyer’s songwriting and showmanship.\u003c/p>\n\u003cp>About a month after the show, Dwyer is driving home from a hike with longtime collaborator Brigid Dawson. He calls to apologize for missing the appointed start of the interview, promising that he’ll reconnect on his landline shortly. When he rings again, the caller ID displays a 323 area code, not the 415 number that had heralded his cell-phone call. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prior to his move to Los Angeles in 2014, Dwyer was a fixture on the San Francisco garage revival scene for 17 years. He created some of the weirdest and most compelling music to come out of the city during the mid-2000s while also promoting shows and championing bands on his label, Castle Face Records. The imprint has put out records by some of San Francisco’s best psychedelic and indie rock bands acts, including Kelley Stoltz, White Fence, Fresh & Onlys, and Ty Segall — Dwyer’s contemporary and another luminary in the SF garage scene who once described the Oh Sees frontman as “the mayor of San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13814927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-800x600.jpg\" alt=\"John Dwyer (left) wrote 'Memory of a Cut Off Head' with longtime collaborator Brigid Dawson. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Dwyer (left) wrote ‘Memory of a Cut Off Head’ with longtime collaborator Brigid Dawson. \u003ccite>(Courtesy of John Dwyer )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, as housing costs continued to rise in the Bay Area, Dwyer moved south. “I couldn’t afford to live there anymore,” he says of San Francisco. “I didn’t really have a choice.”\u003c/p>\n\u003cp>When Dwyer first moved to San Francisco from Providence, Rhode Island, he says finding a place was a “cakewalk.” By the end of his stay, it had become untenable. He was looking at living in apartments with upwards of five roommates. Now, Dwyer owns a home where he can rehearse and record in Los Angeles’ Eagle Rock neighborhood.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/339324287″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/339324287″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dwyer and Dawson are currently putting the finishing touches on a new album and rehearsing for a string of four shows, which will benefit homelessness charities in San Francisco and Los Angeles. The record, \u003cem>Memory of a Cut Off Head\u003c/em>, is Dwyer’s 20th full-length Oh Sees release and the 100th pressing on Castle Face. It’s due out on Nov. 17.\u003c/p>\n\u003cp>Memory is a departure from most of what Dwyer has been concocting of late. Instead of the rollicking, shrieking, acid frenzies of \u003cem>A Weird Exits\u003c/em>, \u003cem>An Odd Entrances\u003c/em>, and \u003cem>Orc\u003c/em> — all three released over the course of 2016 and 2017 — the new album is a return to \u003ca href=\"https://soundcloud.com/ocs89471/sets/3-4-songs-about-death-and\" target=\"_blank\" rel=\"noopener\">the very first, hushed bedroom recordings\u003c/a> Dwyer made with Dawson in the early aughts. That was back when he lived in the Lower Haight, and when she worked at a now-closed coffee shop called Bean There on the corner of Waller and Steiner streets.\u003c/p>\n\u003cfigure id=\"attachment_13814963\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814963\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-800x600.jpg\" alt='Ty Segall once referred to John Dwyer as the \"mayor of San Francisco\" for his pioneering work with Thee Oh Sees.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Segall once referred to John Dwyer as the “mayor of San Francisco” for his pioneering work with Thee Oh Sees. \u003ccite>(Courtesy of John Dwyer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It harkened back to just me and John sitting together — him singing me a song and me making the harmonies,” Dawson says of the process of writing \u003cem>Memory\u003c/em>. “It feels very familiar.”\u003c/p>\n\u003cp>\u003cem>Memory\u003c/em> is far more polished than those first bedroom works, and not nearly as ramshackle as the droning, Velvet Underground and Nico-tinged tracks found on 2006’s \u003cem>The Cool Death of Island Raiders\u003c/em>.\u003c/p>\n\u003cp>Those well-versed in Dwyer’s work will find parallels to \u003cem>Memory\u003c/em> in the meandering, lo-fi, freak-folk excursions of his second Oh Sees album, \u003cem>2\u003c/em>. When that record was released in 2004, the project was known simply as OCS, an acronym that originally stood for Orinoka Crash Suite. From there, the name went through a number of permutations, including The Oh Sees, Thee Oh Sees, and just plain Oh Sees. On the forthcoming \u003cem>Memory of a Cut Off Head\u003c/em>, Dwyer has once again taken up the moniker OCS — a nod to his earlier, mellower collections.\u003c/p>\n\u003cp>Featuring eight players in addition to Dwyer and Dawson, the record includes a menagerie of instruments: singing saws, honking horns, swelling strings, and warm, analog electronics. Dwyer says the album was initially supposed to just be a stripped down acoustic affair, before it evolved into something far more baroque — a beautiful amalgamation of pop, psychedelia, folk, and indie rock. Call it Dwyer’s \u003cem>Sgt. Pepper’s\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/340187897″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/340187897″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dwyer plans to mark the occasion of his latest album’s release with a pair of local shows aimed at offering hope to those facing a cold, wet winter on the streets. Proceeds from the two concerts — Dec. 17 and 18 at \u003ca href=\"https://www.thechapelsf.com/event/1574558-ocs-mellow-quiet-set-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Chapel with Ty Segall and Shannon Lay\u003c/a> — will benefit the \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness San Francisco\u003c/a>. Both shows have already sold out.\u003c/p>\n\u003cp>Beyond the two local OCS shows and a pair of L.A. performances to benefit the food justice nonprofit \u003ca href=\"http://www.lakitchen.org/\" target=\"_blank\" rel=\"noopener\">L.A. Kitchen\u003c/a>, Dwyer isn’t exactly sure what comes next. The only sure bet is that there will be more music. After dedicating the past two decades of his life to rock ‘n’ roll, it’s all he can really think to do.\u003c/p>\n\u003cp>“I don’t plan on doing anything else,” he says. “I don’t have a job or anything.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As fires rage on in the North Bay, art and culture events throughout the East Bay are being cancelled or postponed due to concerns about air pollution.\u003c/p>\n\u003cp>Air quality in Berkeley and Oakland has marginally improved as of Friday, but \u003ca href=\"https://ww2.kqed.org/science/2017/10/11/bay-area-air-quality-worst-on-record-check-out-your-city/\">remains some of the worst on record since 1999. \u003c/a>Nevertheless, the Air Quality Index rating continues to classify Berkeley and Oakland as “Unhealthy for Sensitive Groups.” Under this classification, active children, adults, elderly people and people with respiratory conditions should limit their presence outdoors.\u003c/p>\n\u003cp>Here is a list of some events within the East Bay that will be cancelled and postponed until further notice.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.facebook.com/thenationalofficial/posts/10154770888001010\">Indie rock band The National’s shows at the Hearst Greek Theatre in Berkeley will be postponed\u003c/a>. The National was slated for an evening show on Saturday and a matinee show on Sunday, but both shows will be rescheduled for another date. Tickets for this weekend’s shows will be honored for the upcoming show.\u003c/li>\n\u003cli>\u003ca href=\"https://www.facebook.com/events/505302546477181/permalink/538224373184998/\">The 25th annual Indigenous Peoples Day Powwow \u003c/a> is cancelled. Although it was set to take place tomorrow, Oct. 14, at Martin Luther King Jr. Civic Center Park, there are no plans to reschedule the Powwow. “The poor quality of breathable air in Berkeley caused by northern wild fires has made us realize that the health of our community overrides the desire for celebration at this moment in time,” writes event coordinator Gino Barichello in a statement.\u003c/li>\n\u003cli>The following day’s event at Martin Luther King Jr. Civic Center Park, the third annual \u003ca href=\"https://www.facebook.com/events/361613934292593/\">\u003cem>Celebrando Comunidad en la Placita\u003c/em>\u003c/a>, will be postponed until further notice due to “air quality concerns.”\u003c/li>\n\u003cli>\u003ca href=\"https://www.facebook.com/SundayStreetsBerkeley/\">Sunday Streets Berkeley\u003c/a> — an open-street event running through Shattuck Ave. on Sunday, Oct. 15 — will be cancelled. Its companion events, including a pet parade, salsa dancing and a block party on Vine St., will also not be held. There is no word if the event will be rescheduled for a following Sunday. “Sunday Streets Berkeley is a diverse celebration of our community, and we could not in good conscience ask members of our community, especially children, seniors, and other sensitive individuals to risk their health and safety,” says Heather Hensley of the North Shattuck Association in a press release.\u003c/li>\n\u003cli>\u003ca href=\"http://lil10.youthspeaks.org\">Life is Living Festival’s 10th iteration\u003c/a>, which was set to be held at Lil’ Bobby Hutton (DeFremery) Park in West Oakland on Oct. 14, will be rescheduled for another weekend. Hosted by Youth Speaks, the festival was set to host a series of theater, hip-hop and visual artists, including children’s hip-hop musicians Alphabet Rockers and storyteller Emily Butterfly.\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As fires rage on in the North Bay, art and culture events throughout the East Bay are being cancelled or postponed due to concerns about air pollution.\u003c/p>\n\u003cp>Air quality in Berkeley and Oakland has marginally improved as of Friday, but \u003ca href=\"https://ww2.kqed.org/science/2017/10/11/bay-area-air-quality-worst-on-record-check-out-your-city/\">remains some of the worst on record since 1999. \u003c/a>Nevertheless, the Air Quality Index rating continues to classify Berkeley and Oakland as “Unhealthy for Sensitive Groups.” Under this classification, active children, adults, elderly people and people with respiratory conditions should limit their presence outdoors.\u003c/p>\n\u003cp>Here is a list of some events within the East Bay that will be cancelled and postponed until further notice.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.facebook.com/thenationalofficial/posts/10154770888001010\">Indie rock band The National’s shows at the Hearst Greek Theatre in Berkeley will be postponed\u003c/a>. The National was slated for an evening show on Saturday and a matinee show on Sunday, but both shows will be rescheduled for another date. Tickets for this weekend’s shows will be honored for the upcoming show.\u003c/li>\n\u003cli>\u003ca href=\"https://www.facebook.com/events/505302546477181/permalink/538224373184998/\">The 25th annual Indigenous Peoples Day Powwow \u003c/a> is cancelled. Although it was set to take place tomorrow, Oct. 14, at Martin Luther King Jr. Civic Center Park, there are no plans to reschedule the Powwow. “The poor quality of breathable air in Berkeley caused by northern wild fires has made us realize that the health of our community overrides the desire for celebration at this moment in time,” writes event coordinator Gino Barichello in a statement.\u003c/li>\n\u003cli>The following day’s event at Martin Luther King Jr. Civic Center Park, the third annual \u003ca href=\"https://www.facebook.com/events/361613934292593/\">\u003cem>Celebrando Comunidad en la Placita\u003c/em>\u003c/a>, will be postponed until further notice due to “air quality concerns.”\u003c/li>\n\u003cli>\u003ca href=\"https://www.facebook.com/SundayStreetsBerkeley/\">Sunday Streets Berkeley\u003c/a> — an open-street event running through Shattuck Ave. on Sunday, Oct. 15 — will be cancelled. Its companion events, including a pet parade, salsa dancing and a block party on Vine St., will also not be held. There is no word if the event will be rescheduled for a following Sunday. “Sunday Streets Berkeley is a diverse celebration of our community, and we could not in good conscience ask members of our community, especially children, seniors, and other sensitive individuals to risk their health and safety,” says Heather Hensley of the North Shattuck Association in a press release.\u003c/li>\n\u003cli>\u003ca href=\"http://lil10.youthspeaks.org\">Life is Living Festival’s 10th iteration\u003c/a>, which was set to be held at Lil’ Bobby Hutton (DeFremery) Park in West Oakland on Oct. 14, will be rescheduled for another weekend. Hosted by Youth Speaks, the festival was set to host a series of theater, hip-hop and visual artists, including children’s hip-hop musicians Alphabet Rockers and storyteller Emily Butterfly.\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On the Do List this week, we welcome back Jamedra Brown Fleischman, co-host of KQED’s podcast \u003cem>The Cooler\u003c/em>, to help with the show. And we found plenty to entertain us: a singer with a luscious voice, a black-light experience that’s a great family choice, the answer to the question, “what does art sound like,” and the kings of surf-goth.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Sept. 26\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVE7\" target=\"_blank\" rel=\"noopener noreferrer\">Singer-songwriter \u003c/a>\u003ca href=\"https://wp.me/p4oi3Y-VVE7\" target=\"_blank\" rel=\"noopener noreferrer\">Moses Sumney plays the Great American Music Hall\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 25-27\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVEn\" target=\"_blank\" rel=\"noopener noreferrer\">Crotchety Comedian John Witherspoon comes to San Jose Improv\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Sept. 16:\u003c/strong>\u003ca href=\"http://www.blacklightslide.com/sanjoseca/\" target=\"_blank\" rel=\"noopener noreferrer\"> Glowing up with a blacklight slide at the Santa Clara County Fairgrounds\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Through Jan. 1, 2018:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVEM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Soundtracks\u003c/em> is an exhibition at SFMOMA that you have to hear to believe \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Sept. 6 and 8-11: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVER\" target=\"_blank\" rel=\"noopener noreferrer\">SoCal pop stars The Growlers play San Jose and San Francisco \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 27, Sept. 1, and Sept 11: \u003c/strong>\u003ca href=\"http://www.livinonahighnote.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The legendary gospel and soul singer Mavis Staples is busy in Northern California \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 27:\u003c/strong> \u003ca href=\"https://ticketing.us.veezi.com/purchase/3985?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">Thronies Alert: a season finale viewing party for \u003cem>Game of Thrones\u003c/em> at the New Parkway in Oakland\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 27:\u003c/strong> \u003ca href=\"https://allevents.in/oakland/hella-insecure-battle-of-the-sexes-oakland-edition/140263023229703\" target=\"_blank\" rel=\"noopener noreferrer\">And \u003cem>Insecure\u003c/em> fans get a season finale party of their own, at the Au Lounge, also in Oakland\u003c/a> \u003ca href=\"https://ticketing.us.veezi.com/purchase/3985?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thee Oh Sees\u003cbr>\nThe Coathangers\u003cbr>\nJay Som\u003cbr>\nSean Hayes\u003cbr>\nDUCKWRTH\u003cbr>\nBells Atlas\u003cbr>\nNever Young\u003cbr>\nRayana Jay\u003cbr>\nMadeline Kenney\u003cbr>\nTino Drima\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Phono del Sol Music and Food Festival takes Saturday, June 17 at Potrero del Sol Park in San Francisco. Tickets ($29 and up) and \u003ca href=\"http://phonodelsol.com\">more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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