Charles Innis is a freelance journalist and artist currently based in San Francisco.
By Charles Innis
A Walk Through Deerhoof's 20 Oddball Years
Pulse Music SF Combines Multiple Platforms to Promote Music
Black Cobra Vipers Change Name to 'O' and Prepare Release of New EP
Oakland's Whirr Will Blast the Rickshaw Stop with a New Album
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"title": "A Walk Through Deerhoof's 20 Oddball Years",
"headTitle": "A Walk Through Deerhoof’s 20 Oddball Years | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/deerhoof/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Deerhoof\u003c/h4>\n\u003cdiv class=\"event-desc\">Everyone’s favorite former local indie band.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>November 18, 8pm\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Great American Music Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/deerhoof/\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>One way you can note a band for their enduring quality is by their endless arsenal of ideas. For 20 years Deerhoof have released a delightful stream of unorthodox albums that throw notions of genre into disarray and, so far, they have yet to repeat themselves. Throughout their career they’ve toured with high-caliber artists such as Radiohead, Wilco, The Flaming Lips and Sonic Youth.\u003c/p>\n\u003cp>http://youtu.be/mJLLW8Ye7tI\u003c/p>\n\u003cp>Now, this Bay Area-born band is set to play the Great American Music Hall on November 18 in support of their latest effort \u003cem>La Isla Bonita\u003c/em> and fans may rejoice to their triumphant return.\u003c/p>\n\u003cp>In an attempt to characterize their bizarre sound for those unfamiliar with them, one could describe Deerhoof as a whimsical storm of sugar and spikes. Half the time they will blast you away with their erratic volume and pace, while the other half is spent reeling you in with saccharine melodies.\u003c/p>\n\u003cfigure id=\"attachment_10145489\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/facebook-photo-satomi-e1415693288276.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145489\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/facebook-photo-satomi-e1415693288276.jpg\" alt=\"Satomi Matsuzaki featured above, photo courtesy of band's Facebook page.\" width=\"640\" height=\"530\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Satomi Matsuzaki; Photo from the band’s Facebook page.\u003c/figcaption>\u003c/figure>\n\u003cp>They manage this through a quirky combo of Satomi Matsuzaki’s cheekily high-pitched vocals with restless high-energy rock compositions. Most of their songs are under three minutes, but that doesn’t mean they aren’t full to the brim with delectable hooks and varying dynamics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout their catalog, Deerhoof have put out fine examples of clamorous rock and joyous pop, all the while refusing to stay still in one pool without jumping to the next. They don’t sound like a typical punk band but certainly carry its unabashed spirit for doing \u003cem>whatever they want\u003c/em>.\u003c/p>\n\u003cp>http://youtu.be/41qWrl5GUwg\u003c/p>\n\u003cp>Deerhoof’s lengthy discography is worth checking out, but to make things easier, here is a brief survey through some of their high points.\u003c/p>\n\u003cp>Deerhoof’s 1997 debut LP \u003ca title=\"<i>The Man, The King, The Girl</i>\" href=\"https://killrockstars.bandcamp.com/album/the-man-the-king-the-girl\">\u003cem>The Man, The King, The Girl\u003c/em>\u003c/a> is by no means accessible or their greatest, but for a fan it’s worth checking out to acknowledge their unruly roots. The album hints at all the elements that would make the band notable in the future, including their jumpiness with volume, speed, and off-kilter pop melodies.\u003c/p>\n\u003cp>2002’s \u003ca title=\"<i>Reveille</i>\" href=\"http://deerhoof.bandcamp.com/album/reveille\">\u003cem>Reveille\u003c/em>\u003c/a> is where they first entered the forefront as an unquestionably maniacal, yet tuneful band with an endearing sort of chaos that you can tap your foot to. The album’s mythical opening lyrics “The trumpet scatters its awful sound / Over the graves of all lands / Summoning all before the throne / death and mankind shall be stunned” certainly set the tone.\u003c/p>\n\u003cfigure id=\"attachment_10145496\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145496\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour.jpg\" alt=\"Album cover for The Runners Four\" width=\"600\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Album cover for The Runners Four\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to digest upon first listen, yet anyone with a love of The Beatles’ more experimental excursions and a high tolerance for noise can find it appealing. Subsequent albums \u003cem>Apple O’\u003c/em> and \u003cem>Milk Man\u003c/em> are equally erratic, but toned down to more accessible degrees.\u003c/p>\n\u003cp>\u003ca href=\"http://killrockstars.merchtable.com/music/cds-and-dvds/deerhoof-the-runners-four-cd#.VGHE-YeQtFq\">\u003cem>The Runners Four\u003c/em>\u003c/a>, released in 2005, is unique for being significantly more minimal, lyrical, and subdued than anything Deerhoof had released previously. Unique in their discography, each band member takes turns with vocals and some instrumental roles are reversed. Tracks “Odyssey,” “\u003ca href=\"http://youtu.be/8qGr6vkSEwQ\" target=\"_blank\" rel=\"noopener\">You Can See\u003c/a>” and “Siriustar” are highlights.\u003c/p>\n\u003cp>http://youtu.be/r7etn2czISU\u003c/p>\n\u003cp>2007’s \u003ca title=\"<i>Friend Opportunity</i>\" href=\"http://deerhoof.bandcamp.com/album/friend-opportunity\">\u003cem>Friend Opportunity\u003c/em>\u003c/a> is Deerhoof at their peak. The album features diverse instrumentation, including trumpets and keyboards. The compositions are controlled and dutifully organized. “Whither the Invisible Birds?” is a soft and cinematic rhapsody. \u003ca href=\"https://www.youtube.com/watch?v=V_Pesk9Frkg\">“Matchbook Seeks Maniac”\u003c/a> plays a triumphant chorus that takes the album to lofty heights.\u003c/p>\n\u003cp>http://youtu.be/XBcy-zOq_QM\u003c/p>\n\u003cp>Although \u003cem>Friend Opportunity\u003c/em> was arguably Deerhoof’s champion statement, their releases following it have a similar maturity of style. \u003cem>Offend Maggie\u003c/em>, \u003cem>Deerhoof vs. Evil\u003c/em> and the danceable tunes of \u003ca href=\"http://deerhoof.bandcamp.com/album/breakup-song\">\u003cem>Breakup Songs\u003c/em>\u003c/a> all offer different perspectives to enjoy this band’s eclectic sound.\u003c/p>\n\u003cfigure id=\"attachment_10145483\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/la-isla-bonita-e1415693929381.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/la-isla-bonita-e1415693929381.jpg\" alt=\"Album cover for La Isla Bonita, released November 4th on Polyvinyl Records.\" width=\"640\" height=\"640\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Album cover for La Isla Bonita, released November 4, 2014 on Polyvinyl Records.\u003c/figcaption>\u003c/figure>\n\u003cp>Their latest LP \u003cem>La Isla Bonita\u003c/em>, released November 4, is a walk away from the synth-charged direction of \u003cem>Breakup Songs\u003c/em> and a return to their more raucous leanings.\u003c/p>\n\u003cp>The band scattered a few years back, relocating to four different cities and continuing their collaboration long distance. Catch Deerhoof when it returns to native soil.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Deerhoof plays November 18, 2014 at The Great American Music Hall in San Francisco. For \u003ca href=\"http://www.slimspresents.com/events/2014-11-18/deerhoof-2/\">tickets and information\u003c/a> visit slimspresents.com.\u003c/p>\n\n",
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"excerpt": "Bay Area-born band Deerhoof returns to San Francisco for a show at the Great American Music Hall November 18 in support of \u003ci>La Isla Bonita\u003c/i>, their latest album.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/deerhoof/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Deerhoof\u003c/h4>\n\u003cdiv class=\"event-desc\">Everyone’s favorite former local indie band.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>November 18, 8pm\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Great American Music Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/deerhoof/\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>One way you can note a band for their enduring quality is by their endless arsenal of ideas. For 20 years Deerhoof have released a delightful stream of unorthodox albums that throw notions of genre into disarray and, so far, they have yet to repeat themselves. Throughout their career they’ve toured with high-caliber artists such as Radiohead, Wilco, The Flaming Lips and Sonic Youth.\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/mJLLW8Ye7tI'\n title='//www.youtube.com/embed/mJLLW8Ye7tI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, this Bay Area-born band is set to play the Great American Music Hall on November 18 in support of their latest effort \u003cem>La Isla Bonita\u003c/em> and fans may rejoice to their triumphant return.\u003c/p>\n\u003cp>In an attempt to characterize their bizarre sound for those unfamiliar with them, one could describe Deerhoof as a whimsical storm of sugar and spikes. Half the time they will blast you away with their erratic volume and pace, while the other half is spent reeling you in with saccharine melodies.\u003c/p>\n\u003cfigure id=\"attachment_10145489\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/facebook-photo-satomi-e1415693288276.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145489\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/facebook-photo-satomi-e1415693288276.jpg\" alt=\"Satomi Matsuzaki featured above, photo courtesy of band's Facebook page.\" width=\"640\" height=\"530\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Satomi Matsuzaki; Photo from the band’s Facebook page.\u003c/figcaption>\u003c/figure>\n\u003cp>They manage this through a quirky combo of Satomi Matsuzaki’s cheekily high-pitched vocals with restless high-energy rock compositions. Most of their songs are under three minutes, but that doesn’t mean they aren’t full to the brim with delectable hooks and varying dynamics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout their catalog, Deerhoof have put out fine examples of clamorous rock and joyous pop, all the while refusing to stay still in one pool without jumping to the next. They don’t sound like a typical punk band but certainly carry its unabashed spirit for doing \u003cem>whatever they want\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/41qWrl5GUwg'\n title='//www.youtube.com/embed/41qWrl5GUwg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Deerhoof’s lengthy discography is worth checking out, but to make things easier, here is a brief survey through some of their high points.\u003c/p>\n\u003cp>Deerhoof’s 1997 debut LP \u003ca title=\"<i>The Man, The King, The Girl</i>\" href=\"https://killrockstars.bandcamp.com/album/the-man-the-king-the-girl\">\u003cem>The Man, The King, The Girl\u003c/em>\u003c/a> is by no means accessible or their greatest, but for a fan it’s worth checking out to acknowledge their unruly roots. The album hints at all the elements that would make the band notable in the future, including their jumpiness with volume, speed, and off-kilter pop melodies.\u003c/p>\n\u003cp>2002’s \u003ca title=\"<i>Reveille</i>\" href=\"http://deerhoof.bandcamp.com/album/reveille\">\u003cem>Reveille\u003c/em>\u003c/a> is where they first entered the forefront as an unquestionably maniacal, yet tuneful band with an endearing sort of chaos that you can tap your foot to. The album’s mythical opening lyrics “The trumpet scatters its awful sound / Over the graves of all lands / Summoning all before the throne / death and mankind shall be stunned” certainly set the tone.\u003c/p>\n\u003cfigure id=\"attachment_10145496\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145496\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour.jpg\" alt=\"Album cover for The Runners Four\" width=\"600\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Deerhoof_RunnersFour-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Album cover for The Runners Four\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to digest upon first listen, yet anyone with a love of The Beatles’ more experimental excursions and a high tolerance for noise can find it appealing. Subsequent albums \u003cem>Apple O’\u003c/em> and \u003cem>Milk Man\u003c/em> are equally erratic, but toned down to more accessible degrees.\u003c/p>\n\u003cp>\u003ca href=\"http://killrockstars.merchtable.com/music/cds-and-dvds/deerhoof-the-runners-four-cd#.VGHE-YeQtFq\">\u003cem>The Runners Four\u003c/em>\u003c/a>, released in 2005, is unique for being significantly more minimal, lyrical, and subdued than anything Deerhoof had released previously. Unique in their discography, each band member takes turns with vocals and some instrumental roles are reversed. Tracks “Odyssey,” “\u003ca href=\"http://youtu.be/8qGr6vkSEwQ\" target=\"_blank\" rel=\"noopener\">You Can See\u003c/a>” and “Siriustar” are highlights.\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/r7etn2czISU'\n title='//www.youtube.com/embed/r7etn2czISU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2007’s \u003ca title=\"<i>Friend Opportunity</i>\" href=\"http://deerhoof.bandcamp.com/album/friend-opportunity\">\u003cem>Friend Opportunity\u003c/em>\u003c/a> is Deerhoof at their peak. The album features diverse instrumentation, including trumpets and keyboards. The compositions are controlled and dutifully organized. “Whither the Invisible Birds?” is a soft and cinematic rhapsody. \u003ca href=\"https://www.youtube.com/watch?v=V_Pesk9Frkg\">“Matchbook Seeks Maniac”\u003c/a> plays a triumphant chorus that takes the album to lofty heights.\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/XBcy-zOq_QM'\n title='//www.youtube.com/embed/XBcy-zOq_QM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although \u003cem>Friend Opportunity\u003c/em> was arguably Deerhoof’s champion statement, their releases following it have a similar maturity of style. \u003cem>Offend Maggie\u003c/em>, \u003cem>Deerhoof vs. Evil\u003c/em> and the danceable tunes of \u003ca href=\"http://deerhoof.bandcamp.com/album/breakup-song\">\u003cem>Breakup Songs\u003c/em>\u003c/a> all offer different perspectives to enjoy this band’s eclectic sound.\u003c/p>\n\u003cfigure id=\"attachment_10145483\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/la-isla-bonita-e1415693929381.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/la-isla-bonita-e1415693929381.jpg\" alt=\"Album cover for La Isla Bonita, released November 4th on Polyvinyl Records.\" width=\"640\" height=\"640\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Album cover for La Isla Bonita, released November 4, 2014 on Polyvinyl Records.\u003c/figcaption>\u003c/figure>\n\u003cp>Their latest LP \u003cem>La Isla Bonita\u003c/em>, released November 4, is a walk away from the synth-charged direction of \u003cem>Breakup Songs\u003c/em> and a return to their more raucous leanings.\u003c/p>\n\u003cp>The band scattered a few years back, relocating to four different cities and continuing their collaboration long distance. Catch Deerhoof when it returns to native soil.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Deerhoof plays November 18, 2014 at The Great American Music Hall in San Francisco. For \u003ca href=\"http://www.slimspresents.com/events/2014-11-18/deerhoof-2/\">tickets and information\u003c/a> visit slimspresents.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pulse Music SF Combines Multiple Platforms to Promote Music",
"headTitle": "Pulse Music SF Combines Multiple Platforms to Promote Music | KQED",
"content": "\u003cp>The soft “click” of a needle dropping on a record marks the starting point of an intimate listening experience, a journey that could be solely personal or shared with others. Whether it’s between musicians and fans at a live show or friends huddled over a spinning record, intimacy is what drives start-up Pulse Music SF.\u003c/p>\n\u003cp>In an effort to forge a sense of community, Pulse Music SF issues records, throws monthly house shows, puts out weekly newsletters and promotes bands through social media and apps. “Pulse seeks to create experiences that unify senses and people through music,” co-founder Elea Carey says. “A vinyl record you touch, an album cover that’s an original work of art, or an intimate party where you make new friends.”\u003c/p>\n\u003cp>Integrity is a driving element of their ethos. As an artistic channel, Pulse Music SF looks for artists that value creativity, sincerity and mindfulness when they curate record compilations and book bands for shows. Founders Elea Carey and Ella Cooley brought Pulse Music SF to life in February of 2014. Since its early stages it has dug its hands into a variety of promotional platforms.\u003c/p>\n\u003cfigure id=\"attachment_10143131\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/IMG_1546-e1412148262994.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143131\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/IMG_1546-e1412148262994.jpg\" alt=\"Pulse Music SF banner shown at the entrance to their house show.\" width=\"640\" height=\"427\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pulse Music SF banner shown at the entrance to their house show.\u003c/figcaption>\u003c/figure>\n\u003cp>One platform the company uses is iOS apps. Pulse Music SF’s parent company and lead investor, a software developer that wishes to remain anonymous, advises them on app-related projects that are currently in production right now. An example that’s currently in demo is an interactive app of music videos. “It’s like having a TV screen with nothing but videos and you change the channel with your finger,” Carey said. The app would update automatically every week with music videos of artists playing shows in the Bay Area.\u003c/p>\n\u003cp>Another idea founders Carey and Cooley are working with is to build an app for an artist that releases disassembled song bits to multiple users. The users then have to get together in order to play the full song. “Our team is technologically advanced,” Carey says. “Yet as a company we’re very adept at creating real intimacy with real folks, sometimes using retro-technology.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By retro-technology, Carey is refering to vinyl records; Pulse Music SF has issued two so far this year. Their first was a 7” single with artists Lyttle King and Tino Drima.\u003c/p>\n\u003cfigure id=\"attachment_10143139\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/serendipity-e1412149076999.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143139\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/serendipity-e1412149076999.jpg\" alt='Cover of \"Serendipty\", a vinyl compilation issued by Pulse Music SF. Artwork by Nick Sirotich.' width=\"640\" height=\"543\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cover of \u003ci>Serendipty\u003c/i>, a vinyl compilation issued by Pulse Music SF; Artwork by Nick Sirotich\u003c/figcaption>\u003c/figure>\n\u003cp>The company’s second vinyl release is a compilation titled \u003ci>Serendipity\u003c/i>, featuring eight Bay Area artists, including Coo Coo Birds and Kara Hesse, which had a limited, 300-copy release. \u003c/p>\n\u003cp>The third, currently in the works, is a Christmas-themed 7” by local band Happy Fangs.\u003c/p>\n\u003cp>While the company’s primary products are apps and records, its most popular outlet is regular house show. Pulse Music SF books artists to play a small show at a San Francisco residence roughly once each month. Their last show on September 15 filled out an apartment studio in the Richmond District. Eight-piece folk orchestra Patchy Sanders from Ashland, OR will headline an upcoming show in November.\u003c/p>\n\u003cp>Keeping their hands busy in multiple promotional channels may be an arduous undertaking, but such versatility is a key component to Pulse’s identity. “Pulse will always use technology hand-in-hand with human connection,” Carey says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://tumblr.pulsemusicsf.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> about Pulse Music SF’s upcoming releases and shows, visit pulsemusicsf.com and sign up for their newsletter. Pulse Music Presents Patchy Sanders on November 20, 2014 at a San Francisco location TBD. For \u003ca href=\"http://www.eventbrite.com/e/pulse-music-presents-patchy-sanders-and-kendra-mckinley-tickets-13885861987\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit eventbrite.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The soft “click” of a needle dropping on a record marks the starting point of an intimate listening experience, a journey that could be solely personal or shared with others. Whether it’s between musicians and fans at a live show or friends huddled over a spinning record, intimacy is what drives start-up Pulse Music SF.\u003c/p>\n\u003cp>In an effort to forge a sense of community, Pulse Music SF issues records, throws monthly house shows, puts out weekly newsletters and promotes bands through social media and apps. “Pulse seeks to create experiences that unify senses and people through music,” co-founder Elea Carey says. “A vinyl record you touch, an album cover that’s an original work of art, or an intimate party where you make new friends.”\u003c/p>\n\u003cp>Integrity is a driving element of their ethos. As an artistic channel, Pulse Music SF looks for artists that value creativity, sincerity and mindfulness when they curate record compilations and book bands for shows. Founders Elea Carey and Ella Cooley brought Pulse Music SF to life in February of 2014. Since its early stages it has dug its hands into a variety of promotional platforms.\u003c/p>\n\u003cfigure id=\"attachment_10143131\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/IMG_1546-e1412148262994.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143131\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/IMG_1546-e1412148262994.jpg\" alt=\"Pulse Music SF banner shown at the entrance to their house show.\" width=\"640\" height=\"427\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pulse Music SF banner shown at the entrance to their house show.\u003c/figcaption>\u003c/figure>\n\u003cp>One platform the company uses is iOS apps. Pulse Music SF’s parent company and lead investor, a software developer that wishes to remain anonymous, advises them on app-related projects that are currently in production right now. An example that’s currently in demo is an interactive app of music videos. “It’s like having a TV screen with nothing but videos and you change the channel with your finger,” Carey said. The app would update automatically every week with music videos of artists playing shows in the Bay Area.\u003c/p>\n\u003cp>Another idea founders Carey and Cooley are working with is to build an app for an artist that releases disassembled song bits to multiple users. The users then have to get together in order to play the full song. “Our team is technologically advanced,” Carey says. “Yet as a company we’re very adept at creating real intimacy with real folks, sometimes using retro-technology.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By retro-technology, Carey is refering to vinyl records; Pulse Music SF has issued two so far this year. Their first was a 7” single with artists Lyttle King and Tino Drima.\u003c/p>\n\u003cfigure id=\"attachment_10143139\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/serendipity-e1412149076999.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143139\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/serendipity-e1412149076999.jpg\" alt='Cover of \"Serendipty\", a vinyl compilation issued by Pulse Music SF. Artwork by Nick Sirotich.' width=\"640\" height=\"543\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cover of \u003ci>Serendipty\u003c/i>, a vinyl compilation issued by Pulse Music SF; Artwork by Nick Sirotich\u003c/figcaption>\u003c/figure>\n\u003cp>The company’s second vinyl release is a compilation titled \u003ci>Serendipity\u003c/i>, featuring eight Bay Area artists, including Coo Coo Birds and Kara Hesse, which had a limited, 300-copy release. \u003c/p>\n\u003cp>The third, currently in the works, is a Christmas-themed 7” by local band Happy Fangs.\u003c/p>\n\u003cp>While the company’s primary products are apps and records, its most popular outlet is regular house show. Pulse Music SF books artists to play a small show at a San Francisco residence roughly once each month. Their last show on September 15 filled out an apartment studio in the Richmond District. Eight-piece folk orchestra Patchy Sanders from Ashland, OR will headline an upcoming show in November.\u003c/p>\n\u003cp>Keeping their hands busy in multiple promotional channels may be an arduous undertaking, but such versatility is a key component to Pulse’s identity. “Pulse will always use technology hand-in-hand with human connection,” Carey says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://tumblr.pulsemusicsf.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> about Pulse Music SF’s upcoming releases and shows, visit pulsemusicsf.com and sign up for their newsletter. Pulse Music Presents Patchy Sanders on November 20, 2014 at a San Francisco location TBD. For \u003ca href=\"http://www.eventbrite.com/e/pulse-music-presents-patchy-sanders-and-kendra-mckinley-tickets-13885861987\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit eventbrite.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Black Cobra Vipers Change Name to 'O' and Prepare Release of New EP",
"headTitle": "Black Cobra Vipers Change Name to ‘O’ and Prepare Release of New EP | KQED",
"content": "\u003cp>Changing your name to something as unsearchable as O may seem like an odd choice for a rising band in 2014, but the three-piece San Francisco group formerly known as Black Cobra Vipers made the switch for pretty sensible reasons. \u003c/p>\n\u003cfigure id=\"attachment_10143721\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-Band1-e1412961293940.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-Band1-e1412961293940.jpg\" alt=\"From the right, Rob Mills, Gregory DiMartino, and Julian Borrengo; courtesy of artist's Facebook.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10143721\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From the right, Rob Mills, Gregory DiMartino, and Julian Borrengo; courtesy of artist’s Facebook.\u003c/figcaption>\u003c/figure>\n\u003cp>After enlisting Richard Barns (the same man responsible for naming The Who) for help, he offered them the name “O” on account of its head-turning and interpretive nature. To add, in the ever-expanding universe of Internet buzz bands, a symbol as simple as a circle may stand out more than any adjective + noun combination one casually scrolls by on music sites.\u003c/p>\n\u003cp>In tandem with the name change, O’s forthcoming self-titled EP turns heads with its lively collection of jams. \u003ci>O\u003c/i>’s eclectic 22 minutes defy easy genre labeling by besieging rock n’ roll from many angles. It combines psychedelic, jazz, soul and pop ingredients into a joyous package of engaging and challenging tunes. \u003c/p>\n\u003cfigure id=\"attachment_10143722\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-Band2BW-e1412932106553.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-Band2BW-e1412932106553.jpg\" alt=\"O depicted above; courtesy of artist's Facebook.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10143722\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">O depicted above; courtesy of artist’s Facebook.\u003c/figcaption>\u003c/figure>\n\u003cp>Opening track “I Reek” causes a double take at the get-go by faking out with a stagger of chords before breaking into a triumphant sprint. The track charges forward with uplifting chord progressions, heightened by chiming keys and vocal harmonies. “I guess my heart ain’t made of iron / I toss and turn in pure desire,” lead-singer Gregory DiMartino croons before the song erupts in chorus. It’s an ecstatic romp that soars in many directions, building and releasing in swells until its fist-pumping close. \u003c/p>\n\u003cp>Indeed, it is readily apparent that \u003cem>O\u003c/em> is a solid step forward from the band’s previous output as Black Cobra Vipers. \u003c/p>\n\u003cfigure id=\"attachment_10143725\" class=\"wp-caption alignright\" style=\"max-width: 488px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-slims-promo-e1412932249521.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-slims-promo-e1412932249521.jpg\" alt=\"Promotional poster for O's upcoming show at Slims; courtesy of artist's Facebook.\" width=\"488\" height=\"640\" class=\"size-full wp-image-10143725\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Promotional poster for O’s upcoming show at Slims; courtesy of artist’s Facebook.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://blackcobravipers.bandcamp.com\">Black Cobra Vipers’ \u003ci>EP\u003c/i>\u003c/a> showcased a young band with strong technical ability and a distinctive style. It jumps around with a similar vivacity to \u003cem>O\u003c/em>, but with simpler song-structures and level-headed instrumentals. Many elements introduced in that release, such as vocal harmonies and soft-loud dynamics, are fleshed out to a greater degree in \u003cem>O\u003c/em>. The newly amped-up version of “On The Road”, a previous highlight from \u003cem>EP\u003c/em>, duly shows this improvement. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More instruments have also been added without too many arbitrary embellishments. Submerged keys and chimes decorate “Deepthroat Love.” A tender piano leads “Breach,” the lush closing track. A buzzing synth lead comes straight out of left field in “Secret Lover,” like someone blowing hard on a kazoo, perhaps the only questionable addition that could startle casual listeners.\u003c/p>\n\u003cp>The band employs studio effects throughout the recordings without over-relying on them to fill in space. The focus, as it should be, is DiMartino’s vocals and the dynamic song structures. DiMartino stands out prominently as a talented vocalist in his new environment. His singing captures a wide range of emotions, from belting with passion in “I Reek” to restrained and lovesick in “Deepthroat Love.” His wailing resembles a less guttural Tom Waits. \u003c/p>\n\u003cp>As a whole, \u003cem>O\u003c/em> is a solid collection of individual songs, but is somewhat all over the place as a unit. This is a common characteristic on EPs, so perhaps with an album release somewhere down the line, O will establish smoother continuity. But the strength of these fresh recordings, especially tracks “I Reek” and “Breach,” proves that the members of O are technically adept, brimming with ideas and willing to challenge themselves with interesting compositions. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>O is still negotiating with potential record labels concerning the release of this EP. Hear some of it live at when the band plays Slim’s in San Francisco this Thursday, October 16, 2014 before embarking on a cross-country tour. For \u003ca href=\"http://www.slimspresents.com/events/2014-10-16/o-formerly-black-cobra-vipers/\">tickets and information\u003c/a>, visit slimspresents.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Changing your name to something as unsearchable as O may seem like an odd choice for a rising band in 2014, but the three-piece San Francisco group formerly known as Black Cobra Vipers made the switch for pretty sensible reasons. \u003c/p>\n\u003cfigure id=\"attachment_10143721\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-Band1-e1412961293940.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-Band1-e1412961293940.jpg\" alt=\"From the right, Rob Mills, Gregory DiMartino, and Julian Borrengo; courtesy of artist's Facebook.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10143721\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From the right, Rob Mills, Gregory DiMartino, and Julian Borrengo; courtesy of artist’s Facebook.\u003c/figcaption>\u003c/figure>\n\u003cp>After enlisting Richard Barns (the same man responsible for naming The Who) for help, he offered them the name “O” on account of its head-turning and interpretive nature. To add, in the ever-expanding universe of Internet buzz bands, a symbol as simple as a circle may stand out more than any adjective + noun combination one casually scrolls by on music sites.\u003c/p>\n\u003cp>In tandem with the name change, O’s forthcoming self-titled EP turns heads with its lively collection of jams. \u003ci>O\u003c/i>’s eclectic 22 minutes defy easy genre labeling by besieging rock n’ roll from many angles. It combines psychedelic, jazz, soul and pop ingredients into a joyous package of engaging and challenging tunes. \u003c/p>\n\u003cfigure id=\"attachment_10143722\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-Band2BW-e1412932106553.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-Band2BW-e1412932106553.jpg\" alt=\"O depicted above; courtesy of artist's Facebook.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10143722\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">O depicted above; courtesy of artist’s Facebook.\u003c/figcaption>\u003c/figure>\n\u003cp>Opening track “I Reek” causes a double take at the get-go by faking out with a stagger of chords before breaking into a triumphant sprint. The track charges forward with uplifting chord progressions, heightened by chiming keys and vocal harmonies. “I guess my heart ain’t made of iron / I toss and turn in pure desire,” lead-singer Gregory DiMartino croons before the song erupts in chorus. It’s an ecstatic romp that soars in many directions, building and releasing in swells until its fist-pumping close. \u003c/p>\n\u003cp>Indeed, it is readily apparent that \u003cem>O\u003c/em> is a solid step forward from the band’s previous output as Black Cobra Vipers. \u003c/p>\n\u003cfigure id=\"attachment_10143725\" class=\"wp-caption alignright\" style=\"max-width: 488px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-slims-promo-e1412932249521.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/O-slims-promo-e1412932249521.jpg\" alt=\"Promotional poster for O's upcoming show at Slims; courtesy of artist's Facebook.\" width=\"488\" height=\"640\" class=\"size-full wp-image-10143725\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Promotional poster for O’s upcoming show at Slims; courtesy of artist’s Facebook.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://blackcobravipers.bandcamp.com\">Black Cobra Vipers’ \u003ci>EP\u003c/i>\u003c/a> showcased a young band with strong technical ability and a distinctive style. It jumps around with a similar vivacity to \u003cem>O\u003c/em>, but with simpler song-structures and level-headed instrumentals. Many elements introduced in that release, such as vocal harmonies and soft-loud dynamics, are fleshed out to a greater degree in \u003cem>O\u003c/em>. The newly amped-up version of “On The Road”, a previous highlight from \u003cem>EP\u003c/em>, duly shows this improvement. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More instruments have also been added without too many arbitrary embellishments. Submerged keys and chimes decorate “Deepthroat Love.” A tender piano leads “Breach,” the lush closing track. A buzzing synth lead comes straight out of left field in “Secret Lover,” like someone blowing hard on a kazoo, perhaps the only questionable addition that could startle casual listeners.\u003c/p>\n\u003cp>The band employs studio effects throughout the recordings without over-relying on them to fill in space. The focus, as it should be, is DiMartino’s vocals and the dynamic song structures. DiMartino stands out prominently as a talented vocalist in his new environment. His singing captures a wide range of emotions, from belting with passion in “I Reek” to restrained and lovesick in “Deepthroat Love.” His wailing resembles a less guttural Tom Waits. \u003c/p>\n\u003cp>As a whole, \u003cem>O\u003c/em> is a solid collection of individual songs, but is somewhat all over the place as a unit. This is a common characteristic on EPs, so perhaps with an album release somewhere down the line, O will establish smoother continuity. But the strength of these fresh recordings, especially tracks “I Reek” and “Breach,” proves that the members of O are technically adept, brimming with ideas and willing to challenge themselves with interesting compositions. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>O is still negotiating with potential record labels concerning the release of this EP. Hear some of it live at when the band plays Slim’s in San Francisco this Thursday, October 16, 2014 before embarking on a cross-country tour. For \u003ca href=\"http://www.slimspresents.com/events/2014-10-16/o-formerly-black-cobra-vipers/\">tickets and information\u003c/a>, visit slimspresents.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland's Whirr Will Blast the Rickshaw Stop with a New Album",
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"content": "\u003cp>The tempestuous sounds of Oakland rock quintet Whirr walk a bold line between menace and comfort. Like being wrapped in layers of heavy blanket, their music can be sweltering and claustrophobic or comfortably warm.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/whirrpipedreams.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/whirrpipedreams.jpg\" alt=\"whirrpipedreams\" width=\"640\" height=\"640\" class=\"alignright size-full wp-image-10141090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>They pull this off by producing a big onslaught of sound. On their debut LP \u003ci>Pipe Dreams\u003c/i>, Whirr’s three heavily amplified guitarists play over each other, cloaking their melodies in thick distortion. Within the guitars’ aggressively brutal textures are quietly caressing vocals that seem contrastingly innocent and gentle. Tracks “Flashback” and “Formulas and Frequencies” move at a leisurely pace with sweet, sunbathed melodies. “Bogus” and “Home is where my head is” accelerate and explode.\u003c/p>\n\u003cp>The effect of this dual nature can be polarizing. The album could provide the background music for a relaxing drive on a cloudy day or be the soundtrack for an anxiety attack. It’s too raucous to be denoted as typical shoegaze and too lush and wistful to be punk. Live, Whirr’s volume is almost ear shattering, but even then its noisy envelopment is captivating. \u003c/p>\n\u003cp>Now, after months of touring and songwriting post \u003ci>Pipe Dreams\u003c/i> and 2013’s \u003ci>Around\u003c/i> EP, Whirr is set to release its second album \u003ci>Sway\u003c/i> on September 23, 2014. Luckily, fans can catch the band’s record release show at the Rickshaw Stop on August 30 and get a live preview. Tickets are $10 in advance or $12 at the door.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whirr’s already shared two tracks online from the upcoming album. The singles, “Mumble” and “Heavy,” show that the band hasn’t changed its sound, but has grown more focused and streamlined in delivery.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/160114439″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>Unlike the somewhat jarring guitar textures of \u003ci>Pipe Dreams\u003c/i>, these two songs display a more coordinated interplay of guitar work with cleaner production. The blurriness that once shrouded the melodies has subsided, without sacrificing the lustrous reverb the band is known for. The lead guitar lines on “Mumble” stay clear and distinct, even when the song erupts in fuzz 2/3 of the way through. The appropriately titled “Heavy” begins with a dismal, sludgy crawl and then expands and builds with tuneful intensity. Both tracks have an ebb and flow of conflicting elements — of beauty and ugliness, aggression and restraint — that make them captivating.\u003c/p>\n\u003cp>I spoke to guitarist Nick Bassett briefly about Whirr’s origin, their general sound, and the new album. Judging from Bassett’s confidence, we should expect it to be a good one.\u003c/p>\n\u003cp>\u003cb>How did Whirr get together?\u003c/b>\u003c/p>\n\u003cp>We’ve all been friends since after high school. We were all into punk and skating and stuff like that and we just hung out, decided to start a band.\u003c/p>\n\u003cp>\u003cb>How would you characterize Whirr’s sound? What bands or artists do you draw inspiration from?\u003c/b>\u003c/p>\n\u003cp>I don’t know, there’s not any particular band, I think. I don’t know any — honestly there are so many different bands; it’s not just pigeonholed into My Bloody Valentine or something like that. There are all kinds; we all listen to different stuff. We all listen to [laughs] ZZ top, R&B, soul, all kinds of punk and hardcore.\u003c/p>\n\u003cfigure id=\"attachment_10140781\" class=\"wp-caption alignright\" style=\"max-width: 989px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates.jpg\" alt=\"Whirr tour poster. Taken from artist's website.\" width=\"989\" height=\"1280\" class=\"size-full wp-image-10140781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates.jpg 989w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates-400x517.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates-231x300.jpg 231w\" sizes=\"(max-width: 989px) 100vw, 989px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Whirr tour poster\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How has Whirr’s sound changed over the years?\u003c/b>\u003c/p>\n\u003cp>I guess it’s changed but it’s not intentional, it just happened. We just keep writing songs and they keep going however they’re going to go. We didn’t set out to change our sound on our new record or anything like that\u003c/p>\n\u003cp>\u003cb>What was the writing process like for \u003ci>Sway\u003c/i>? Was it any different from \u003ci>Pipe Dreams\u003c/i>? If so, how?\u003c/b>\u003c/p>\n\u003cp>It was different since I was in Philadelphia. so I wasn’t around for all of it. We weren’t together really. But other than that we all just wrote songs, came together and recorded them. It wasn’t too different.\u003c/p>\n\u003cp>\u003cb>How do you feel about the completed product? Does it live up to your expectations?\u003c/b>\u003c/p>\n\u003cp>Yes, I think it’s perfect.\u003c/p>\n\u003cp>\u003cb>How does this record differ from your previous releases?\u003c/b>\u003c/p>\n\u003cp>Well, every record we do is better than the last one and this one is following that same stairway up to the top.\u003c/p>\n\u003cp>\u003cb>What is your favorite venue to play in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>Probably The Ol’ Dopehouse. It’s in Oakland on 14th and Wood Street.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whirr’s record release party is on August 30, 2014 at The Rickshaw Stop in San Francisco. For \u003ca href=\"http://www.rickshawstop.com/event/622893-whirr-record-release-san-francisco/\"> more information \u003c/a> visit rickshawstop.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The tempestuous sounds of Oakland rock quintet Whirr walk a bold line between menace and comfort. Like being wrapped in layers of heavy blanket, their music can be sweltering and claustrophobic or comfortably warm.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/whirrpipedreams.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/whirrpipedreams.jpg\" alt=\"whirrpipedreams\" width=\"640\" height=\"640\" class=\"alignright size-full wp-image-10141090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>They pull this off by producing a big onslaught of sound. On their debut LP \u003ci>Pipe Dreams\u003c/i>, Whirr’s three heavily amplified guitarists play over each other, cloaking their melodies in thick distortion. Within the guitars’ aggressively brutal textures are quietly caressing vocals that seem contrastingly innocent and gentle. Tracks “Flashback” and “Formulas and Frequencies” move at a leisurely pace with sweet, sunbathed melodies. “Bogus” and “Home is where my head is” accelerate and explode.\u003c/p>\n\u003cp>The effect of this dual nature can be polarizing. The album could provide the background music for a relaxing drive on a cloudy day or be the soundtrack for an anxiety attack. It’s too raucous to be denoted as typical shoegaze and too lush and wistful to be punk. Live, Whirr’s volume is almost ear shattering, but even then its noisy envelopment is captivating. \u003c/p>\n\u003cp>Now, after months of touring and songwriting post \u003ci>Pipe Dreams\u003c/i> and 2013’s \u003ci>Around\u003c/i> EP, Whirr is set to release its second album \u003ci>Sway\u003c/i> on September 23, 2014. Luckily, fans can catch the band’s record release show at the Rickshaw Stop on August 30 and get a live preview. Tickets are $10 in advance or $12 at the door.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whirr’s already shared two tracks online from the upcoming album. The singles, “Mumble” and “Heavy,” show that the band hasn’t changed its sound, but has grown more focused and streamlined in delivery.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/160114439″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/160114439″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Unlike the somewhat jarring guitar textures of \u003ci>Pipe Dreams\u003c/i>, these two songs display a more coordinated interplay of guitar work with cleaner production. The blurriness that once shrouded the melodies has subsided, without sacrificing the lustrous reverb the band is known for. The lead guitar lines on “Mumble” stay clear and distinct, even when the song erupts in fuzz 2/3 of the way through. The appropriately titled “Heavy” begins with a dismal, sludgy crawl and then expands and builds with tuneful intensity. Both tracks have an ebb and flow of conflicting elements — of beauty and ugliness, aggression and restraint — that make them captivating.\u003c/p>\n\u003cp>I spoke to guitarist Nick Bassett briefly about Whirr’s origin, their general sound, and the new album. Judging from Bassett’s confidence, we should expect it to be a good one.\u003c/p>\n\u003cp>\u003cb>How did Whirr get together?\u003c/b>\u003c/p>\n\u003cp>We’ve all been friends since after high school. We were all into punk and skating and stuff like that and we just hung out, decided to start a band.\u003c/p>\n\u003cp>\u003cb>How would you characterize Whirr’s sound? What bands or artists do you draw inspiration from?\u003c/b>\u003c/p>\n\u003cp>I don’t know, there’s not any particular band, I think. I don’t know any — honestly there are so many different bands; it’s not just pigeonholed into My Bloody Valentine or something like that. There are all kinds; we all listen to different stuff. We all listen to [laughs] ZZ top, R&B, soul, all kinds of punk and hardcore.\u003c/p>\n\u003cfigure id=\"attachment_10140781\" class=\"wp-caption alignright\" style=\"max-width: 989px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates.jpg\" alt=\"Whirr tour poster. Taken from artist's website.\" width=\"989\" height=\"1280\" class=\"size-full wp-image-10140781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates.jpg 989w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates-400x517.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates-231x300.jpg 231w\" sizes=\"(max-width: 989px) 100vw, 989px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Whirr tour poster\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How has Whirr’s sound changed over the years?\u003c/b>\u003c/p>\n\u003cp>I guess it’s changed but it’s not intentional, it just happened. We just keep writing songs and they keep going however they’re going to go. We didn’t set out to change our sound on our new record or anything like that\u003c/p>\n\u003cp>\u003cb>What was the writing process like for \u003ci>Sway\u003c/i>? Was it any different from \u003ci>Pipe Dreams\u003c/i>? If so, how?\u003c/b>\u003c/p>\n\u003cp>It was different since I was in Philadelphia. so I wasn’t around for all of it. We weren’t together really. But other than that we all just wrote songs, came together and recorded them. It wasn’t too different.\u003c/p>\n\u003cp>\u003cb>How do you feel about the completed product? Does it live up to your expectations?\u003c/b>\u003c/p>\n\u003cp>Yes, I think it’s perfect.\u003c/p>\n\u003cp>\u003cb>How does this record differ from your previous releases?\u003c/b>\u003c/p>\n\u003cp>Well, every record we do is better than the last one and this one is following that same stairway up to the top.\u003c/p>\n\u003cp>\u003cb>What is your favorite venue to play in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>Probably The Ol’ Dopehouse. It’s in Oakland on 14th and Wood Street.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whirr’s record release party is on August 30, 2014 at The Rickshaw Stop in San Francisco. For \u003ca href=\"http://www.rickshawstop.com/event/622893-whirr-record-release-san-francisco/\"> more information \u003c/a> visit rickshawstop.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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