best local records of 2016best local records of 2016
The 10 Best Bay Area Albums of 2016: Con Brio, 'Paradise'
The 10 Best Bay Area Albums of 2016: David Last and Cherushii, 'Plasma Plex'
The 10 Best Bay Area Albums of 2016: Kamaiyah, 'A Good Night In the Ghetto'
The 10 Best Bay Area Albums of 2016: Musk, ‘Musk 2: The Second Skumming’
The 10 Best Bay Area Albums of 2016: CCR Headcleaner, 'Tear Down the Wall'
The 10 Best Bay Area Albums of 2016: Caleborate, '1993'
The 10 Best Bay Area Albums of 2016: E-40, 'The D-Boy Diaries Books 1 & 2'
The 10 Best Bay Area Albums of 2016: Fantastic Negrito, 'The Last Days of Oakland'
The 10 Best Bay Area Albums of 2016: Thao & The Get Down Stay Down, 'A Man Alive'
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That’s especially true in 2016, when they’ve poured pure Pennzoil in their already well-oiled machine by touring around the world, but the essential magic was always there: frontman Ziek McCarter’s nonstop James Brown-by-way-of Michael Jackson moves, the rhythm section’s lock-in-step churn, horn and guitar solos that reach for the fire extinguisher before they begin, and the band’s long dynamic crescendos, building to blissful, explosive release. Most Broadway musicals have one or two numbers that people call “showstoppers”; Con Brio’s set packs in about 11 of them.\u003c/p>\n\u003cp>So when you have a band this goddamn good on stage, the album can be an afterthought. And there’s few things more disappointing than a band that tears the roof off the sucker in a club but who releases a passionless recorded facsimile as a memento. I’m not gonna name names, but it’s happened to you, too, I’m sure — after an unforgettable night, they leave their number on a scrap piece of paper by the door instead of sending a four-page love letter in the mail.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=27sSxCLLM48\u003c/p>\n\u003cp>\u003cem>Paradise\u003c/em> is Con Brio’s four-page love letter. Expertly produced by Mario Caldato, Jr. (Beastie Boys, Beck, Manu Chao), the album sounds sonically large, rather than a cheap CD-R with a Xerox stuffed inside. It also crackles with soul, be it upbeat (“Liftoff”), anguished (“Hard Times”) or seductive (“Honey”), and for longtime Bay Area music fans, comparisons to early Tower of Power aren’t far off.\u003c/p>\n\u003cp>But this is also a crucial time in America, when fear and anxiety are now literally the law of the land. McCarter combats it directly in the organ-heavy “Free & Brave,” a four-on-the-floor stomper that opens with Trayvon Martin and Martin Luther King, Jr. before earnestly addressing whitewashed history, unemployment and poverty. On “Money,” the struggle turns to work versus freedom: “For the green, givin up on your dream, say: no no no! / You’re getting paid, but your souls a slave, say: no no nooo!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is no solitary journey. To paraphrase McCarter, he’s not quite sure how long the fight is, but he knows he can’t do it alone. He’s got an incendiary band. He’s got crowds around the globe. And throughout \u003cem>Paradise\u003c/em>, he seduces from every angle, angling for more recruits on a sweat-drenched mission of love and unity. That’s about all you can ask of an album.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>[\u003ca href=\"https://www.youtube.com/watch?v=sXvq8FBsDhQ\" target=\"_blank\" rel=\"noopener\">Watch Con Brio perform “Living for the City” on the Golden Gate Bridge while KQED Arts’ cameras roll here.\u003c/a>]\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/22/the-10-best-bay-area-albums-of-2016-david-last-and-cherushii-plasma-plex/\" target=\"_blank\" rel=\"noopener\">\u003cem>David Last and Cherushii, ‘Plasma Plex’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/21/the-10-best-bay-area-albums-of-2016-kamaiyah-a-good-night-in-the-ghetto/\" target=\"_blank\" rel=\"noopener\">\u003cem>Kamaiyah, ‘A Good Night in the Ghetto’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/the-10-best-bay-area-albums-of-2016-musk-musk-2-the-second-skumming/\" target=\"_blank\" rel=\"noopener\">\u003cem>Musk, ‘Musk 2: The Second Skumming’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n","blocks":[],"excerpt":"The soul-funk seven-piece has earned a reputation for phenomenal live shows -- but on this sonically huge, social commentary-laced LP, McCarter & Co. pull out all the stops in the studio too. ","status":"publish","parent":0,"modified":1705032068,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":574},"headData":{"title":"The 10 Best Bay Area Albums of 2016: Con Brio, 'Paradise' | KQED","description":"The soul-funk seven-piece has earned a reputation for phenomenal live shows -- but on this sonically huge, social commentary-laced LP, McCarter & Co. pull out all the stops in the studio too. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2016: Con Brio, 'Paradise'","datePublished":"2016-12-23T20:00:33.000Z","dateModified":"2024-01-12T04:01:08.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12521832/the-10-best-bay-area-albums-of-2016-con-brio-paradise","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here is something you may already know: Con Brio is a phenomenal live band. That’s especially true in 2016, when they’ve poured pure Pennzoil in their already well-oiled machine by touring around the world, but the essential magic was always there: frontman Ziek McCarter’s nonstop James Brown-by-way-of Michael Jackson moves, the rhythm section’s lock-in-step churn, horn and guitar solos that reach for the fire extinguisher before they begin, and the band’s long dynamic crescendos, building to blissful, explosive release. Most Broadway musicals have one or two numbers that people call “showstoppers”; Con Brio’s set packs in about 11 of them.\u003c/p>\n\u003cp>So when you have a band this goddamn good on stage, the album can be an afterthought. And there’s few things more disappointing than a band that tears the roof off the sucker in a club but who releases a passionless recorded facsimile as a memento. I’m not gonna name names, but it’s happened to you, too, I’m sure — after an unforgettable night, they leave their number on a scrap piece of paper by the door instead of sending a four-page love letter in the mail.\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/27sSxCLLM48'\n title='//www.youtube.com/embed/27sSxCLLM48'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Paradise\u003c/em> is Con Brio’s four-page love letter. Expertly produced by Mario Caldato, Jr. (Beastie Boys, Beck, Manu Chao), the album sounds sonically large, rather than a cheap CD-R with a Xerox stuffed inside. It also crackles with soul, be it upbeat (“Liftoff”), anguished (“Hard Times”) or seductive (“Honey”), and for longtime Bay Area music fans, comparisons to early Tower of Power aren’t far off.\u003c/p>\n\u003cp>But this is also a crucial time in America, when fear and anxiety are now literally the law of the land. McCarter combats it directly in the organ-heavy “Free & Brave,” a four-on-the-floor stomper that opens with Trayvon Martin and Martin Luther King, Jr. before earnestly addressing whitewashed history, unemployment and poverty. On “Money,” the struggle turns to work versus freedom: “For the green, givin up on your dream, say: no no no! / You’re getting paid, but your souls a slave, say: no no nooo!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is no solitary journey. To paraphrase McCarter, he’s not quite sure how long the fight is, but he knows he can’t do it alone. He’s got an incendiary band. He’s got crowds around the globe. And throughout \u003cem>Paradise\u003c/em>, he seduces from every angle, angling for more recruits on a sweat-drenched mission of love and unity. That’s about all you can ask of an album.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>[\u003ca href=\"https://www.youtube.com/watch?v=sXvq8FBsDhQ\" target=\"_blank\" rel=\"noopener\">Watch Con Brio perform “Living for the City” on the Golden Gate Bridge while KQED Arts’ cameras roll here.\u003c/a>]\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/22/the-10-best-bay-area-albums-of-2016-david-last-and-cherushii-plasma-plex/\" target=\"_blank\" rel=\"noopener\">\u003cem>David Last and Cherushii, ‘Plasma Plex’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/21/the-10-best-bay-area-albums-of-2016-kamaiyah-a-good-night-in-the-ghetto/\" target=\"_blank\" rel=\"noopener\">\u003cem>Kamaiyah, ‘A Good Night in the Ghetto’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/the-10-best-bay-area-albums-of-2016-musk-musk-2-the-second-skumming/\" target=\"_blank\" rel=\"noopener\">\u003cem>Musk, ‘Musk 2: The Second Skumming’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12521832/the-10-best-bay-area-albums-of-2016-con-brio-paradise","authors":["185"],"categories":["arts_69"],"tags":["arts_1580","arts_1579","arts_1118","arts_596","arts_924"],"featImg":"arts_12521834","label":"arts"},"arts_12518132":{"type":"posts","id":"arts_12518132","meta":{"index":"posts_1591205157","site":"arts","id":"12518132","score":null,"sort":[1482436825000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2016-david-last-and-cherushii-plasma-plex","title":"The 10 Best Bay Area Albums of 2016: David Last and Cherushii, 'Plasma Plex'","publishDate":1482436825,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2016: David Last and Cherushii, ‘Plasma Plex’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>I remember vividly the first time I played a video game. I was young enough (4 or 5) to be so impressionable that “imprintable” seems more accurate, and I visited a friend’s house, where he revealed to me the wonder that was Super Mario Bros. on the Nintendo Entertainment System.\u003c/p>\n\u003cp>Instantly I was hooked, enthralled by the promise of a virtual world whose rules could be easily understood and manipulated for gain, where the myriad limitations of my physical body were meaningless.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12518133\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG.jpg\" alt=\"cs3146570-02a-big\" width=\"700\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-150x150.jpg 150w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/a>\u003c/p>\n\u003cp>Fast forward several decades and video games, once considered the exclusive domain of nerds and social outcasts (this author included humbly therein), have become a multi-billion dollar business whose philosophical trappings can be traced back from Neal Stephenson to William Gibson to the Italian Futurists. \u003cem>Meow Wolf’s Arcade Soundtracks: Wiggy’s Plasma Plex\u003c/em>, from San Francisco producers David Last and Chelsea Faith (aka Cherushii), is a musical love letter to (and from) virtual worlds — and one of 2016’s best records.\u003c/p>\n\u003cp>As its title suggests, \u003cem>Plasma Plex\u003c/em> is a soundtrack — to a video arcade inside Meow Wolf, a multi-disciplinary \u003ca href=\"https://meowwolf.com/\" target=\"_blank\" rel=\"noopener\">semi-permanent art installation\u003c/a> in Santa Fe, NM. (If that sounds confusing, it is, but no matter — this record stands perfectly well enough alone, intended functionality notwithstanding.) Spread across two discs, Plasma Plex is a kaleidoscopic listen, jumping from funky electro-pop to hard-driving techno to nostalgic moody grooves from one song to the next.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rw5uK_4rOEw&feature=youtu.be\u003c/p>\n\u003cp>In fact, it’s hard to imagine a better record to introduce someone to the wonders of electronic music: \u003cem>Plasma Plex\u003c/em> flows over with hyperreal sound design and production, but it’s anchored by brilliant songwriting and catchy pop hooks. This record may sound cybernetic, but it’s got real human heart.\u003c/p>\n\u003cp>It would be remiss to end without mentioning that Chelsea Faith (who appears here under a number of monikers — solo as Cherushii and Yvette Sheurich, and in collaboration with David Last as Pleasure Corporation, Tristan Zero, and Soft Crash Crew) was but \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">one of the many otherworldly talents lost to us in the Oakland fire on Dec. 2\u003c/a>. My selection of \u003cem>Plasma Plex\u003c/em> is not intended as an end-of-life tribute, but a simple recognition of her enormous, seemingly boundless talent. Her spirit lives on in her beautiful music, adding poignant overtones to what was already a remarkable listen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/21/the-10-best-bay-area-albums-of-2016-kamaiyah-a-good-night-in-the-ghetto/\" target=\"_blank\" rel=\"noopener\">\u003cem>Kamaiyah, ‘A Good Night in the Ghetto’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/the-10-best-bay-area-albums-of-2016-musk-musk-2-the-second-skumming/\" target=\"_blank\" rel=\"noopener\">\u003cem>Musk, ‘Musk 2: The Second Skumming’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n","blocks":[],"excerpt":"A soundtrack to a video game arcade inside an art installation might sound a bit inaccessible -- but this collaboration between gifted electronic musicians overflows with personality and heart.","status":"publish","parent":0,"modified":1705032084,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":488},"headData":{"title":"The 10 Best Bay Area Albums of 2016: David Last and Cherushii, 'Plasma Plex' | KQED","description":"A soundtrack to a video game arcade inside an art installation might sound a bit inaccessible -- but this collaboration between gifted electronic musicians overflows with personality and heart.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2016: David Last and Cherushii, 'Plasma Plex'","datePublished":"2016-12-22T20:00:25.000Z","dateModified":"2024-01-12T04:01:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12518132/the-10-best-bay-area-albums-of-2016-david-last-and-cherushii-plasma-plex","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I remember vividly the first time I played a video game. I was young enough (4 or 5) to be so impressionable that “imprintable” seems more accurate, and I visited a friend’s house, where he revealed to me the wonder that was Super Mario Bros. on the Nintendo Entertainment System.\u003c/p>\n\u003cp>Instantly I was hooked, enthralled by the promise of a virtual world whose rules could be easily understood and manipulated for gain, where the myriad limitations of my physical body were meaningless.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12518133\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG.jpg\" alt=\"cs3146570-02a-big\" width=\"700\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-150x150.jpg 150w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/a>\u003c/p>\n\u003cp>Fast forward several decades and video games, once considered the exclusive domain of nerds and social outcasts (this author included humbly therein), have become a multi-billion dollar business whose philosophical trappings can be traced back from Neal Stephenson to William Gibson to the Italian Futurists. \u003cem>Meow Wolf’s Arcade Soundtracks: Wiggy’s Plasma Plex\u003c/em>, from San Francisco producers David Last and Chelsea Faith (aka Cherushii), is a musical love letter to (and from) virtual worlds — and one of 2016’s best records.\u003c/p>\n\u003cp>As its title suggests, \u003cem>Plasma Plex\u003c/em> is a soundtrack — to a video arcade inside Meow Wolf, a multi-disciplinary \u003ca href=\"https://meowwolf.com/\" target=\"_blank\" rel=\"noopener\">semi-permanent art installation\u003c/a> in Santa Fe, NM. (If that sounds confusing, it is, but no matter — this record stands perfectly well enough alone, intended functionality notwithstanding.) Spread across two discs, Plasma Plex is a kaleidoscopic listen, jumping from funky electro-pop to hard-driving techno to nostalgic moody grooves from one song to the next.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/rw5uK_4rOEw'\n title='//www.youtube.com/embed/rw5uK_4rOEw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In fact, it’s hard to imagine a better record to introduce someone to the wonders of electronic music: \u003cem>Plasma Plex\u003c/em> flows over with hyperreal sound design and production, but it’s anchored by brilliant songwriting and catchy pop hooks. This record may sound cybernetic, but it’s got real human heart.\u003c/p>\n\u003cp>It would be remiss to end without mentioning that Chelsea Faith (who appears here under a number of monikers — solo as Cherushii and Yvette Sheurich, and in collaboration with David Last as Pleasure Corporation, Tristan Zero, and Soft Crash Crew) was but \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">one of the many otherworldly talents lost to us in the Oakland fire on Dec. 2\u003c/a>. My selection of \u003cem>Plasma Plex\u003c/em> is not intended as an end-of-life tribute, but a simple recognition of her enormous, seemingly boundless talent. Her spirit lives on in her beautiful music, adding poignant overtones to what was already a remarkable listen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/21/the-10-best-bay-area-albums-of-2016-kamaiyah-a-good-night-in-the-ghetto/\" target=\"_blank\" rel=\"noopener\">\u003cem>Kamaiyah, ‘A Good Night in the Ghetto’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/the-10-best-bay-area-albums-of-2016-musk-musk-2-the-second-skumming/\" target=\"_blank\" rel=\"noopener\">\u003cem>Musk, ‘Musk 2: The Second Skumming’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12518132/the-10-best-bay-area-albums-of-2016-david-last-and-cherushii-plasma-plex","authors":["11317"],"categories":["arts_69"],"tags":["arts_1580","arts_1579","arts_1501","arts_1118","arts_596"],"featImg":"arts_12520206","label":"arts"},"arts_12512423":{"type":"posts","id":"arts_12512423","meta":{"index":"posts_1591205157","site":"arts","id":"12512423","score":null,"sort":[1482350455000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2016-kamaiyah-a-good-night-in-the-ghetto","title":"The 10 Best Bay Area Albums of 2016: Kamaiyah, 'A Good Night In the Ghetto'","publishDate":1482350455,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2016: Kamaiyah, ‘A Good Night In the Ghetto’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Let’s just get this out of the way: “How Does it Feel to Be Rich” is an impeccable song, the type of thing you play to your 13-year-old niece who likes Nicki Minaj and your 45-year-old “there’s no good rap music anymore” uncle alike, a timeless jam wrapped in a 1990s vibe, the squirreliest synth bass this side of “Boss Tycoon,” a rhetorical question answered by its popularity, the minitruck anthem that never was, a shot of aural morphine to anyone raised on Bay Area hip-hop.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dzY6doznXQM\u003c/p>\n\u003cp>Which is why Kamaiyah’s proper follow-up, \u003cem>A Good Night in the Ghetto\u003c/em>, could have been such a letdown. Or, at least, a stale victory lap for “How Does it Feel,” cashing in on its success through remixes and retreads. Instead, it keeps the same subwoofer-in-the-trunk, Members Only-jacket feel, with a bright young rapper on the mic ready to claim her territory.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/attachment-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12512424\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/attachment-1-800x800.jpg\" alt=\"attachment-1\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Said territory-claiming shouldn’t be too hard. This year, Kamaiyah filled a featured spot on YG’s “Why You Always Hatin’” from his stellar album \u003cem>Still Brazy\u003c/em>, and, in Oakland, opened two nights in a row for Drake. But it’s the vibe of the cover photo — a crew of friends, some liquor, those apartment steps — that keeps \u003cem>A Good Night in the Ghetto\u003c/em> rooted in Oakland soul, no matter how far Kamaiyah’s star ascends. Here’s to a full-length follow-up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/the-10-best-bay-area-albums-of-2016-musk-musk-2-the-second-skumming/\" target=\"_blank\" rel=\"noopener\">\u003cem>Musk, ‘Musk 2: The Second Skumming’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n","blocks":[],"excerpt":"The Oaklander's debut full-length showcases a bright young rapper on the mic, ready to claim her territory.","status":"publish","parent":0,"modified":1705032096,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":335},"headData":{"title":"The 10 Best Bay Area Albums of 2016: Kamaiyah, 'A Good Night In the Ghetto' | KQED","description":"The Oaklander's debut full-length showcases a bright young rapper on the mic, ready to claim her territory.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2016: Kamaiyah, 'A Good Night In the Ghetto'","datePublished":"2016-12-21T20:00:55.000Z","dateModified":"2024-01-12T04:01:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12512423/the-10-best-bay-area-albums-of-2016-kamaiyah-a-good-night-in-the-ghetto","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s just get this out of the way: “How Does it Feel to Be Rich” is an impeccable song, the type of thing you play to your 13-year-old niece who likes Nicki Minaj and your 45-year-old “there’s no good rap music anymore” uncle alike, a timeless jam wrapped in a 1990s vibe, the squirreliest synth bass this side of “Boss Tycoon,” a rhetorical question answered by its popularity, the minitruck anthem that never was, a shot of aural morphine to anyone raised on Bay Area hip-hop.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dzY6doznXQM'\n title='//www.youtube.com/embed/dzY6doznXQM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Which is why Kamaiyah’s proper follow-up, \u003cem>A Good Night in the Ghetto\u003c/em>, could have been such a letdown. Or, at least, a stale victory lap for “How Does it Feel,” cashing in on its success through remixes and retreads. Instead, it keeps the same subwoofer-in-the-trunk, Members Only-jacket feel, with a bright young rapper on the mic ready to claim her territory.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/attachment-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12512424\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/attachment-1-800x800.jpg\" alt=\"attachment-1\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Said territory-claiming shouldn’t be too hard. This year, Kamaiyah filled a featured spot on YG’s “Why You Always Hatin’” from his stellar album \u003cem>Still Brazy\u003c/em>, and, in Oakland, opened two nights in a row for Drake. But it’s the vibe of the cover photo — a crew of friends, some liquor, those apartment steps — that keeps \u003cem>A Good Night in the Ghetto\u003c/em> rooted in Oakland soul, no matter how far Kamaiyah’s star ascends. Here’s to a full-length follow-up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/the-10-best-bay-area-albums-of-2016-musk-musk-2-the-second-skumming/\" target=\"_blank\" rel=\"noopener\">\u003cem>Musk, ‘Musk 2: The Second Skumming’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12512423/the-10-best-bay-area-albums-of-2016-kamaiyah-a-good-night-in-the-ghetto","authors":["185"],"categories":["arts_69"],"tags":["arts_1580","arts_1579","arts_1118","arts_1558","arts_596"],"featImg":"arts_12512426","label":"arts"},"arts_12508709":{"type":"posts","id":"arts_12508709","meta":{"index":"posts_1591205157","site":"arts","id":"12508709","score":null,"sort":[1482264058000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2016-musk-musk-2-the-second-skumming","title":"The 10 Best Bay Area Albums of 2016: Musk, ‘Musk 2: The Second Skumming’","publishDate":1482264058,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2016: Musk, ‘Musk 2: The Second Skumming’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Musk is the scent of unwanted materials that were moist for too long. It’s the smell of organisms growing in deep, dark places that no one wants to visit. It’s the stink that comes from unwashed balls after they’ve marinated in sweat. It’s a word that few associate with pleasantries, and it’s also a band from Oakland who are dead set on challenging your senses.\u003c/p>\n\u003cp>The music Musk plays sounds like it comes from a dank basement, written by guys who the rest of world forgot. Their influences are obvious: late ’80s noise rock, raw country balladry of ’70s-era Rolling Stones or early Beasts Of Bourbon, and even the jazzier parts of the Birthday Party. Yet somehow in their shambolic, crumbly tunes they find enough space to jam like Led Zeppelin, but instead of taking stabs at bloated, wannabe-funk, Musk uses the moments to run wild, bashing and crashing and screaming and wailing. Give the band 20 minutes and what you’ll hear will be unpredictable — in a good way.\u003c/p>\n\u003cfigure id=\"attachment_12508900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12508900\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-800x800.jpg\" alt=\"Cover art for Musk's 'Musk 2: The Second Skumming'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Musk’s ‘Musk 2: The Second Skumming’ \u003ccite>(Art by Rob Vertigo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In essence, the band’s second album, \u003cem>Musk 2: The Second Skumming\u003c/em>, is a nervous breakdown caught on tape. There’s a lot of moodiness and drama. The songs sound fresh, organic and in no way mathematically-composed like most other rock tracks (verse-bridge-chorus-verse, etc). Guitarist Chris Owen doesn’t even really play riffs; there are riffs in there, but much of the time Owen is just letting his guitar feedback, accenting certain verses with ice pick stabs of fuzz guitar. Sometimes he hits notes that make your eyes twitch.\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=29180045/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2429006852/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ci>The Second Skumming\u003c/i> is such a unique beast because it’s so obvious that it only came together because of the four people working on it. Owen’s guitar antics, the slow and steady bass playing of John Laux, Brendan Leonard’s Keith Moon-like drumming, and Rob “Vertigo” Fletcher’s yipping and howling are all necessary ingredients for this underground masterpiece. Sadly, that model of the machine will not be making music anymore, since Leonard recently left Oakland for Boston. But the band chugs along with a new drummer, and they still have that unfiltered magic when they play live. Personally, I think it’s because they’re not writing music for the radio — they’re creating a spectacle. They were left to write their songs in mildew-caked Oakland, and what resulted was exciting and ugly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hey, no one ever said art had to be pretty.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n","blocks":[],"excerpt":"With a name like Musk and cover that looks like the inside of a mutated mouth, you probably have an idea of what their new album sounds like.","status":"publish","parent":0,"modified":1705032108,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=29180045/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2429006852/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":511},"headData":{"title":"The 10 Best Bay Area Albums of 2016: Musk, ‘Musk 2: The Second Skumming’ | KQED","description":"With a name like Musk and cover that looks like the inside of a mutated mouth, you probably have an idea of what their new album sounds like.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2016: Musk, ‘Musk 2: The Second Skumming’","datePublished":"2016-12-20T20:00:58.000Z","dateModified":"2024-01-12T04:01:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12508709/the-10-best-bay-area-albums-of-2016-musk-musk-2-the-second-skumming","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Musk is the scent of unwanted materials that were moist for too long. It’s the smell of organisms growing in deep, dark places that no one wants to visit. It’s the stink that comes from unwashed balls after they’ve marinated in sweat. It’s a word that few associate with pleasantries, and it’s also a band from Oakland who are dead set on challenging your senses.\u003c/p>\n\u003cp>The music Musk plays sounds like it comes from a dank basement, written by guys who the rest of world forgot. Their influences are obvious: late ’80s noise rock, raw country balladry of ’70s-era Rolling Stones or early Beasts Of Bourbon, and even the jazzier parts of the Birthday Party. Yet somehow in their shambolic, crumbly tunes they find enough space to jam like Led Zeppelin, but instead of taking stabs at bloated, wannabe-funk, Musk uses the moments to run wild, bashing and crashing and screaming and wailing. Give the band 20 minutes and what you’ll hear will be unpredictable — in a good way.\u003c/p>\n\u003cfigure id=\"attachment_12508900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12508900\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-800x800.jpg\" alt=\"Cover art for Musk's 'Musk 2: The Second Skumming'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/MUSK_iTunes.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Musk’s ‘Musk 2: The Second Skumming’ \u003ccite>(Art by Rob Vertigo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In essence, the band’s second album, \u003cem>Musk 2: The Second Skumming\u003c/em>, is a nervous breakdown caught on tape. There’s a lot of moodiness and drama. The songs sound fresh, organic and in no way mathematically-composed like most other rock tracks (verse-bridge-chorus-verse, etc). Guitarist Chris Owen doesn’t even really play riffs; there are riffs in there, but much of the time Owen is just letting his guitar feedback, accenting certain verses with ice pick stabs of fuzz guitar. Sometimes he hits notes that make your eyes twitch.\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=29180045/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2429006852/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ci>The Second Skumming\u003c/i> is such a unique beast because it’s so obvious that it only came together because of the four people working on it. Owen’s guitar antics, the slow and steady bass playing of John Laux, Brendan Leonard’s Keith Moon-like drumming, and Rob “Vertigo” Fletcher’s yipping and howling are all necessary ingredients for this underground masterpiece. Sadly, that model of the machine will not be making music anymore, since Leonard recently left Oakland for Boston. But the band chugs along with a new drummer, and they still have that unfiltered magic when they play live. Personally, I think it’s because they’re not writing music for the radio — they’re creating a spectacle. They were left to write their songs in mildew-caked Oakland, and what resulted was exciting and ugly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hey, no one ever said art had to be pretty.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12508709/the-10-best-bay-area-albums-of-2016-musk-musk-2-the-second-skumming","authors":["93"],"categories":["arts_69"],"tags":["arts_1580","arts_1579","arts_1118","arts_596","arts_769"],"featImg":"arts_12511007","label":"arts"},"arts_12499910":{"type":"posts","id":"arts_12499910","meta":{"index":"posts_1591205157","site":"arts","id":"12499910","score":null,"sort":[1482177600000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall","title":"The 10 Best Bay Area Albums of 2016: CCR Headcleaner, 'Tear Down the Wall'","publishDate":1482177600,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2016: CCR Headcleaner, ‘Tear Down the Wall’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Some of the songs on CCR Headcleaner’s \u003cem>Tear Down the Wall\u003c/em> end with their guitar amps petering out just like they do on old Misfits and Melvins records, and it makes the album that much more perfect. When a song like “I’m Alive” finishes, you want to hear it die like a squealing animal after it beat you down with its sweet riffage. \u003c/p>\n\u003cp>A record like \u003cem>Tear Down the Wall\u003c/em> should be that kind of trip — heavy, dark and BRUTAL. You don’t put on a record that has naked woman swinging a guitar on fire at a wall of amps on the cover and expect to hear soothing acoustic guitars and a choir singing. You wanna hear screaming — lots of it — and you want those riffs to be as face-melting hot as the flames coming off that guitar.\u003c/p>\n\u003cfigure id=\"attachment_12506340\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12506340\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e.jpg\" alt=\"The cover art for CCR Headcleaner's 'Tear Down the Wall.'\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cover art for CCR Headcleaner’s ‘Tear Down the Wall.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Tear Down the Wall\u003c/em> is the 8-year-old San Francisco band’s second album, but it seems like it’s the first one that has a shot at making the band something bigger. The label that released it, In The Red, became somewhat of a household name thanks to garage punk groups like Jay Reatard and the Reigning Sound. But label head Larry Hardy long ago eschewed any rules for his label stable, and in recent years he’s been supporting heavy neo proto-metal groups like Fuzz, Wand and the Zig Zags (whose \u003ca href=\"https://zigzags.bandcamp.com/album/running-out-of-red\" target=\"_blank\" rel=\"noopener\">new album on Castleface\u003c/a> is a must-own). With Hardy on their team, CCR Headcleaner might see some of the same success as labelmates Thee Oh Sees and Ty Segall.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ntL-pP6axwo\u003c/p>\n\u003cp>Label support and popularity aside, this record just plain smokes. In our formula-loving world, \u003cem>Tear Down the Wall\u003c/em> could be described as the Butthole Surfers at their most Black Sabbathy, but with the sonic force of My Bloody Valentine’s \u003cem>Loveless\u003c/em>. Yet that base description leaves out the genius of CCR Headcleaner’s musical pivots, like the one in “Eat This Riff” that goes from a chugging KARP-inspired verse to a chorus that could’ve been written by The Hunches, the noisy-but-tuneful punkers from Portland. It’s so technically difficult it’s almost “prog,” but the results are too brutal to be put in the same camp as a Yes song.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In conclusion, \u003cem>Tear Down the Wall\u003c/em> is for serious riff lovers like myself. Yes, we’re still out there, and we’d like to say “thank you” CCR Headcleaner for remembering us during a time when more people are playing laptops than guitars. It’s a dark time; it feels like riffs aren’t worshipped like they were, even though bands like Sabbath and Metallica are still around. Thankfully we have CCR Headcleaner, who are still preaching the gospel and still taking us to church.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n","blocks":[],"excerpt":"The San Francisco noise-punk quartet give us hope for a new world — one full of sweet, salty, face-melting guitar riffs. ","status":"publish","parent":0,"modified":1705032124,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":564},"headData":{"title":"The 10 Best Bay Area Albums of 2016: CCR Headcleaner, 'Tear Down the Wall' | KQED","description":"The San Francisco noise-punk quartet give us hope for a new world — one full of sweet, salty, face-melting guitar riffs. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2016: CCR Headcleaner, 'Tear Down the Wall'","datePublished":"2016-12-19T20:00:00.000Z","dateModified":"2024-01-12T04:02:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12499910/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some of the songs on CCR Headcleaner’s \u003cem>Tear Down the Wall\u003c/em> end with their guitar amps petering out just like they do on old Misfits and Melvins records, and it makes the album that much more perfect. When a song like “I’m Alive” finishes, you want to hear it die like a squealing animal after it beat you down with its sweet riffage. \u003c/p>\n\u003cp>A record like \u003cem>Tear Down the Wall\u003c/em> should be that kind of trip — heavy, dark and BRUTAL. You don’t put on a record that has naked woman swinging a guitar on fire at a wall of amps on the cover and expect to hear soothing acoustic guitars and a choir singing. You wanna hear screaming — lots of it — and you want those riffs to be as face-melting hot as the flames coming off that guitar.\u003c/p>\n\u003cfigure id=\"attachment_12506340\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12506340\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e.jpg\" alt=\"The cover art for CCR Headcleaner's 'Tear Down the Wall.'\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/66e11a167ee01934409e2a416c66897dde0a713e-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cover art for CCR Headcleaner’s ‘Tear Down the Wall.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Tear Down the Wall\u003c/em> is the 8-year-old San Francisco band’s second album, but it seems like it’s the first one that has a shot at making the band something bigger. The label that released it, In The Red, became somewhat of a household name thanks to garage punk groups like Jay Reatard and the Reigning Sound. But label head Larry Hardy long ago eschewed any rules for his label stable, and in recent years he’s been supporting heavy neo proto-metal groups like Fuzz, Wand and the Zig Zags (whose \u003ca href=\"https://zigzags.bandcamp.com/album/running-out-of-red\" target=\"_blank\" rel=\"noopener\">new album on Castleface\u003c/a> is a must-own). With Hardy on their team, CCR Headcleaner might see some of the same success as labelmates Thee Oh Sees and Ty Segall.\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/ntL-pP6axwo'\n title='//www.youtube.com/embed/ntL-pP6axwo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Label support and popularity aside, this record just plain smokes. In our formula-loving world, \u003cem>Tear Down the Wall\u003c/em> could be described as the Butthole Surfers at their most Black Sabbathy, but with the sonic force of My Bloody Valentine’s \u003cem>Loveless\u003c/em>. Yet that base description leaves out the genius of CCR Headcleaner’s musical pivots, like the one in “Eat This Riff” that goes from a chugging KARP-inspired verse to a chorus that could’ve been written by The Hunches, the noisy-but-tuneful punkers from Portland. It’s so technically difficult it’s almost “prog,” but the results are too brutal to be put in the same camp as a Yes song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In conclusion, \u003cem>Tear Down the Wall\u003c/em> is for serious riff lovers like myself. Yes, we’re still out there, and we’d like to say “thank you” CCR Headcleaner for remembering us during a time when more people are playing laptops than guitars. It’s a dark time; it feels like riffs aren’t worshipped like they were, even though bands like Sabbath and Metallica are still around. Thankfully we have CCR Headcleaner, who are still preaching the gospel and still taking us to church.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12499910/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall","authors":["93"],"categories":["arts_69"],"tags":["arts_1580","arts_1579","arts_1118","arts_596","arts_769"],"featImg":"arts_12506339","label":"arts"},"arts_12492601":{"type":"posts","id":"arts_12492601","meta":{"index":"posts_1591205157","site":"arts","id":"12492601","score":null,"sort":[1481918441000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2016-caleborate-1993","title":"The 10 Best Bay Area Albums of 2016: Caleborate, '1993'","publishDate":1481918441,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2016: Caleborate, ‘1993’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The biggest stories in rap this year were about comebacks: A Tribe Called Quest’s first album in 18 years, Gucci Mane’s release from prison and welcome re-entry on the charts. But in the Bay, as it usually is, the story was all about new birth – and from most angles, no rapper represented vital emergence more than Caleborate with \u003cem>1993\u003c/em>.\u003c/p>\n\u003cp>If the 23-year-old Caleb Parker wanted to make an album to appeal to old Tribe heads, or early Kanye stans, or puritans dedicated to “the culture,” he succeeded. 1993 knocks with all the dependable head-nodding elements: soul samples, boom-bap beats, squiggly bass lines. One of the album’s best tracks, “Thank God,” actually opens with the line “I miss the old days.” And the album’s named for \u003ca href=\"https://ww2.kqed.org/arts/2014/11/05/the-top-five-hip-hop-songs-from-1993-with-marc-bamuthi-joseph/\" target=\"_blank\" rel=\"noopener\">the Golden Year of Hip-Hop\u003c/a>, fer chrissakes. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X139sHYUQLc\u003c/p>\n\u003cp>But \u003cem>1993\u003c/em> isn’t a throwback for throwback’s sake. “Aug. 28” describes Parker’s journey to the Bay Area from his native Sacramento with a raw hunger and determination, backed by a sparse drum slap and oscillating waveform. “250 AM” describes conditions once he came here: exorbitant rent, low vacancy, gentrification, white kids at his shows pretending to be hood. Throughout, the album is peppered with conversations about the changing face of West Oakland and the Fillmore, and about the decimation of Oakland’s culture. \u003c/p>\n\u003cp>These are resonant issues in the Bay, where the black population in San Francisco \u003ca href=\"https://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" target=\"_blank\" rel=\"noopener\">is on an alarming decline\u003c/a>, and where hip-hop talent \u003ca href=\"https://ww2.kqed.org/pop/2016/06/29/on-zion-is-tech-a-housing-crisis-turns-personal/\" target=\"_blank\" rel=\"noopener\">like Zion-I is priced out\u003c/a>. And though there’s no rule mandating that rap music must address these issues — too many listeners of hip-hop demand that victims also be vocal activists — Caleborate does so with both mindfulness and heart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LmmpSqj56Wk\u003c/p>\n\u003cp>He’s also not in it only for the serious stuff. On \u003cem>1993\u003c/em>, the “world’s hottest rapper still tryin’ to finish school” mellows out with friends (“Consequences”), plays video games in the middle of the street (see the video above for “Game Over”), and tries not to get derailed in his craft by beautiful girls (just about every other song). In other words, he’s a regular 23-year-old — albeit one that \u003ca href=\"https://www.instagram.com/p/BOBsCLuBaiW/\" target=\"_blank\" rel=\"noopener\">performed in front of thousands\u003c/a> at Oracle Arena this week, opening for collaborator and supporter G-Eazy.\u003c/p>\n\u003cp>Parker might want to get used to those stages. Earlier this year, when I \u003ca href=\"https://ww2.kqed.org/arts/2016/09/16/meet-23-year-old-caleborate-the-east-bays-next-rap-titan/\" target=\"_blank\" rel=\"noopener\">hung out with him for a week\u003c/a>, I watched fan after fan approach him on the street to take selfies. When I saw him at UC Berkeley, or Hiero Day, or in a club setting with a live band, he won over the crowds with his charm, determination and talent. If he keeps making slam-dunk albums like \u003cem>1993\u003c/em>, they’ll only get bigger. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n","blocks":[],"excerpt":"The 'hottest rapper still tryin' to finish school' put out an impeccably produced, serious-minded album about being a 23-year-old in a rapidly changing Bay Area.","status":"publish","parent":0,"modified":1705032154,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":552},"headData":{"title":"The 10 Best Bay Area Albums of 2016: Caleborate, '1993' | KQED","description":"The 'hottest rapper still tryin' to finish school' put out an impeccably produced, serious-minded album about being a 23-year-old in a rapidly changing Bay Area.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2016: Caleborate, '1993'","datePublished":"2016-12-16T20:00:41.000Z","dateModified":"2024-01-12T04:02:34.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12492601/the-10-best-bay-area-albums-of-2016-caleborate-1993","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The biggest stories in rap this year were about comebacks: A Tribe Called Quest’s first album in 18 years, Gucci Mane’s release from prison and welcome re-entry on the charts. But in the Bay, as it usually is, the story was all about new birth – and from most angles, no rapper represented vital emergence more than Caleborate with \u003cem>1993\u003c/em>.\u003c/p>\n\u003cp>If the 23-year-old Caleb Parker wanted to make an album to appeal to old Tribe heads, or early Kanye stans, or puritans dedicated to “the culture,” he succeeded. 1993 knocks with all the dependable head-nodding elements: soul samples, boom-bap beats, squiggly bass lines. One of the album’s best tracks, “Thank God,” actually opens with the line “I miss the old days.” And the album’s named for \u003ca href=\"https://ww2.kqed.org/arts/2014/11/05/the-top-five-hip-hop-songs-from-1993-with-marc-bamuthi-joseph/\" target=\"_blank\" rel=\"noopener\">the Golden Year of Hip-Hop\u003c/a>, fer chrissakes. \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/X139sHYUQLc'\n title='//www.youtube.com/embed/X139sHYUQLc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But \u003cem>1993\u003c/em> isn’t a throwback for throwback’s sake. “Aug. 28” describes Parker’s journey to the Bay Area from his native Sacramento with a raw hunger and determination, backed by a sparse drum slap and oscillating waveform. “250 AM” describes conditions once he came here: exorbitant rent, low vacancy, gentrification, white kids at his shows pretending to be hood. Throughout, the album is peppered with conversations about the changing face of West Oakland and the Fillmore, and about the decimation of Oakland’s culture. \u003c/p>\n\u003cp>These are resonant issues in the Bay, where the black population in San Francisco \u003ca href=\"https://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" target=\"_blank\" rel=\"noopener\">is on an alarming decline\u003c/a>, and where hip-hop talent \u003ca href=\"https://ww2.kqed.org/pop/2016/06/29/on-zion-is-tech-a-housing-crisis-turns-personal/\" target=\"_blank\" rel=\"noopener\">like Zion-I is priced out\u003c/a>. And though there’s no rule mandating that rap music must address these issues — too many listeners of hip-hop demand that victims also be vocal activists — Caleborate does so with both mindfulness and heart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/LmmpSqj56Wk'\n title='//www.youtube.com/embed/LmmpSqj56Wk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He’s also not in it only for the serious stuff. On \u003cem>1993\u003c/em>, the “world’s hottest rapper still tryin’ to finish school” mellows out with friends (“Consequences”), plays video games in the middle of the street (see the video above for “Game Over”), and tries not to get derailed in his craft by beautiful girls (just about every other song). In other words, he’s a regular 23-year-old — albeit one that \u003ca href=\"https://www.instagram.com/p/BOBsCLuBaiW/\" target=\"_blank\" rel=\"noopener\">performed in front of thousands\u003c/a> at Oracle Arena this week, opening for collaborator and supporter G-Eazy.\u003c/p>\n\u003cp>Parker might want to get used to those stages. Earlier this year, when I \u003ca href=\"https://ww2.kqed.org/arts/2016/09/16/meet-23-year-old-caleborate-the-east-bays-next-rap-titan/\" target=\"_blank\" rel=\"noopener\">hung out with him for a week\u003c/a>, I watched fan after fan approach him on the street to take selfies. When I saw him at UC Berkeley, or Hiero Day, or in a club setting with a live band, he won over the crowds with his charm, determination and talent. If he keeps making slam-dunk albums like \u003cem>1993\u003c/em>, they’ll only get bigger. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12492601/the-10-best-bay-area-albums-of-2016-caleborate-1993","authors":["185"],"categories":["arts_69"],"tags":["arts_1580","arts_1579","arts_1604","arts_1118","arts_831","arts_596"],"featImg":"arts_12492804","label":"arts"},"arts_12487289":{"type":"posts","id":"arts_12487289","meta":{"index":"posts_1591205157","site":"arts","id":"12487289","score":null,"sort":[1481832000000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2","title":"The 10 Best Bay Area Albums of 2016: E-40, 'The D-Boy Diaries Books 1 & 2'","publishDate":1481832000,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2016: E-40, ‘The D-Boy Diaries Books 1 & 2’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>E-40 is one of the most exuberantly acrobatic rappers around, a stylist besotted with how non-lexicon coinage and contorted enunciation inflect words with new feeling and meaning. That spirit characterized his earliest work, as a member of Vallejo outfit The Click, and it defined an independent solo career that remains an aspirational beacon for Bay Area artists who want a regional empire with a national reputation. And the same sort of boundless invention helps explain why, after 25 solo releases, the appearance of 42-track double-album \u003cem>The D-Boy Diaries Books 1 & 2\u003c/em> is still an event.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KxOoK36G2-Q\u003c/p>\n\u003cp>D-Boy Diaries opener “Stack it to the Ceiling” puts E-40’s carnivalesque wordplay at the fore with its circuitous riffs on weed-spilling party fouls, adobo, and a sucker “so full of sh*t you like a dog park mark-ass poodle.” (The last bit unfurls like one word.) Though there’s no local tribute-track here quite as charming as “707,” from 2014’s \u003cem>Sharp on All 4 Corners\u003c/em>, features from upstart rappers (and signees to 40’s Sick Wid It label) abound: Vallejo’s Nef the Pharaoh gamely guests alongside Mistah F.A.B. on “Bring Back the Sideshow.” And Funktown’s Ezale — whose 2016 DJ Fresh collaboration \u003cem>The Tonite Show\u003c/em> deserves note of its own — reveals a relatively understated, breathy flow on hyphy throwback “Straight to the Point.” (You just have to endure a typically wooden G-Eazy verse first.)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12487305\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-800x400.png\" alt=\"e-40-the-d-boy-diary-books-1-2-iamhiphoptv\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-800x400.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-768x384.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-1020x510.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-1180x590.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-960x480.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-240x120.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-375x188.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-520x260.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv.png 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Radio hopeful “Savage” features one of those strangulated hooks popularized by Fetty Wap, but it lacks the singular charisma of E-40’s recent hits such as “Choices (Yup).” That’s hardly to the overall detriment of D-Boy Diaries, a generously stuffed album from an artist who could coast on clout if he wanted. And it bears mention that 40’s delivery in recent years feels even more embodied than it once did; he draws vigor and breath from chambers most humans aren’t blessed with.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>Previously:\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito, ‘The Last Days of Oakland’\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">Thao & the Get Down Stay Down: ‘A Man Alive’\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">Jay Som, ‘Turn Into’\u003c/a>\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"After 25 solo releases, an E-40 double album is still an event, thanks to the Vallejo rapper's boundless drive for invention.","status":"publish","parent":0,"modified":1705032184,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":397},"headData":{"title":"The 10 Best Bay Area Albums of 2016: E-40, 'The D-Boy Diaries Books 1 & 2' | KQED","description":"After 25 solo releases, an E-40 double album is still an event, thanks to the Vallejo rapper's boundless drive for invention.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2016: E-40, 'The D-Boy Diaries Books 1 & 2'","datePublished":"2016-12-15T20:00:00.000Z","dateModified":"2024-01-12T04:03:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12487289/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>E-40 is one of the most exuberantly acrobatic rappers around, a stylist besotted with how non-lexicon coinage and contorted enunciation inflect words with new feeling and meaning. That spirit characterized his earliest work, as a member of Vallejo outfit The Click, and it defined an independent solo career that remains an aspirational beacon for Bay Area artists who want a regional empire with a national reputation. And the same sort of boundless invention helps explain why, after 25 solo releases, the appearance of 42-track double-album \u003cem>The D-Boy Diaries Books 1 & 2\u003c/em> is still an event.\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/KxOoK36G2-Q'\n title='//www.youtube.com/embed/KxOoK36G2-Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>D-Boy Diaries opener “Stack it to the Ceiling” puts E-40’s carnivalesque wordplay at the fore with its circuitous riffs on weed-spilling party fouls, adobo, and a sucker “so full of sh*t you like a dog park mark-ass poodle.” (The last bit unfurls like one word.) Though there’s no local tribute-track here quite as charming as “707,” from 2014’s \u003cem>Sharp on All 4 Corners\u003c/em>, features from upstart rappers (and signees to 40’s Sick Wid It label) abound: Vallejo’s Nef the Pharaoh gamely guests alongside Mistah F.A.B. on “Bring Back the Sideshow.” And Funktown’s Ezale — whose 2016 DJ Fresh collaboration \u003cem>The Tonite Show\u003c/em> deserves note of its own — reveals a relatively understated, breathy flow on hyphy throwback “Straight to the Point.” (You just have to endure a typically wooden G-Eazy verse first.)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12487305\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-800x400.png\" alt=\"e-40-the-d-boy-diary-books-1-2-iamhiphoptv\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-800x400.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-768x384.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-1020x510.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-1180x590.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-960x480.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-240x120.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-375x188.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-520x260.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv.png 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Radio hopeful “Savage” features one of those strangulated hooks popularized by Fetty Wap, but it lacks the singular charisma of E-40’s recent hits such as “Choices (Yup).” That’s hardly to the overall detriment of D-Boy Diaries, a generously stuffed album from an artist who could coast on clout if he wanted. And it bears mention that 40’s delivery in recent years feels even more embodied than it once did; he draws vigor and breath from chambers most humans aren’t blessed with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>Previously:\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito, ‘The Last Days of Oakland’\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">Thao & the Get Down Stay Down: ‘A Man Alive’\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">Jay Som, ‘Turn Into’\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12487289/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2","authors":["11091"],"categories":["arts_69"],"tags":["arts_1580","arts_1579","arts_1601","arts_831","arts_596"],"featImg":"arts_12487496","label":"arts"},"arts_12479032":{"type":"posts","id":"arts_12479032","meta":{"index":"posts_1591205157","site":"arts","id":"12479032","score":null,"sort":[1481745616000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland","title":"The 10 Best Bay Area Albums of 2016: Fantastic Negrito, 'The Last Days of Oakland'","publishDate":1481745616,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2016: Fantastic Negrito, ‘The Last Days of Oakland’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>If the title \u003cem>The Last Days of Oakland\u003c/em> sounds a bit overdramatic, rest assured: it actually matches the stakes delivered by Xavier Dphrepaulezz’s debut full-length as Fantastic Negrito.\u003c/p>\n\u003cp>The singer and multi-instrumentalist, who was thrust into the spotlight last year after winning \u003ca href=\"http://www.npr.org/event/music/391288717/fantastic-negrito-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">NPR’s inaugural Tiny Desk Concert Contest\u003c/a>, has a now well-documented back story: A difficult adolescence in Oakland in a family with 14 kids. Sneaking into rehearsal rooms at UC Berkeley to practice instruments. A red herring of a jackpot in the form of a major-label contract in 1996, which produced a slick R&B album the same year — and which turned out to be a commercial flop and a creative disappointment for Dphrepaulezz. And then, the clear death/rebirth point on this classic hero’s journey: a car accident that nearly killed the singer, putting him in a coma and temporarily rendering him unable to use his hands.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12483344\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-800x800.jpg\" alt=\"eaa8abdaab1b5beab048189af0d27c91-1000x1000x1\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>That Dphrepaulezz (the human) seems to deal in unlikely comeback stories in which beauty springs from darkness is far from lost on Fantastic Negrito (the artist), who has savvily wrangled this archetype into a battle cry. Fantastic Negrito makes punk-flecked roots music, unconventional blues songs about surviving against all odds.\u003c/p>\n\u003cp>The band has done its homework; the arrangements on \u003cem>The Last Day of Oakland\u003c/em> are rooted in traditional songs and gospel, but with a layer of joyful experimentation and thoroughly modern chaos slathered all over the place. That deft mixture has, unsurprisingly, propelled the band into a spotlight of a different kind; they just wrapped up 2016 by touring internationally with Temple of the Dog, followed by a Grammy nomination.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W66D31klLCk\u003c/p>\n\u003cp>In Fantastic Negrito’s hands — of which, thankfully, he regained use — words about specific modern-day social injustices feel less topical and more, well, naked. “Sip fancy coffees / step over body / outside he door / him fancy condo / he she call po po / me sing too loud,” he chants wryly in the danceable stomper “Working Poor,” equal parts resigned and resistant.\u003c/p>\n\u003cp>As the record’s title suggests, gentrification (and the havoc it’s wreaking on Oakland) certainly loom large throughout. You’d have to be a fantastically stubborn optimist to expect The Town’s artistic heartbeat to ever bounce back quite as fully as Dphrepaulezz’s did — but as the kickoff to a hopefully long and fruitful career, this record sure helps remind us that nothing worth fighting for ever comes without a struggle.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003cstrong>\u003cem>Previously:\u003c/em>\u003c/strong>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">Jay Som, ‘Turn Into’\u003c/a>\u003c/em>\u003cbr>\n\u003cem> \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/a>\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"NPR's inaugural Tiny Desk Concert Contest winner makes good on the buzz with a roots album that's equal parts bluesy lamentation and punk-rock protest.","status":"publish","parent":0,"modified":1705032199,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":479},"headData":{"title":"The 10 Best Bay Area Albums of 2016: Fantastic Negrito, 'The Last Days of Oakland' | KQED","description":"NPR's inaugural Tiny Desk Concert Contest winner makes good on the buzz with a roots album that's equal parts bluesy lamentation and punk-rock protest.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2016: Fantastic Negrito, 'The Last Days of Oakland'","datePublished":"2016-12-14T20:00:16.000Z","dateModified":"2024-01-12T04:03:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12479032/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the title \u003cem>The Last Days of Oakland\u003c/em> sounds a bit overdramatic, rest assured: it actually matches the stakes delivered by Xavier Dphrepaulezz’s debut full-length as Fantastic Negrito.\u003c/p>\n\u003cp>The singer and multi-instrumentalist, who was thrust into the spotlight last year after winning \u003ca href=\"http://www.npr.org/event/music/391288717/fantastic-negrito-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">NPR’s inaugural Tiny Desk Concert Contest\u003c/a>, has a now well-documented back story: A difficult adolescence in Oakland in a family with 14 kids. Sneaking into rehearsal rooms at UC Berkeley to practice instruments. A red herring of a jackpot in the form of a major-label contract in 1996, which produced a slick R&B album the same year — and which turned out to be a commercial flop and a creative disappointment for Dphrepaulezz. And then, the clear death/rebirth point on this classic hero’s journey: a car accident that nearly killed the singer, putting him in a coma and temporarily rendering him unable to use his hands.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12483344\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-800x800.jpg\" alt=\"eaa8abdaab1b5beab048189af0d27c91-1000x1000x1\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/eaa8abdaab1b5beab048189af0d27c91.1000x1000x1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>That Dphrepaulezz (the human) seems to deal in unlikely comeback stories in which beauty springs from darkness is far from lost on Fantastic Negrito (the artist), who has savvily wrangled this archetype into a battle cry. Fantastic Negrito makes punk-flecked roots music, unconventional blues songs about surviving against all odds.\u003c/p>\n\u003cp>The band has done its homework; the arrangements on \u003cem>The Last Day of Oakland\u003c/em> are rooted in traditional songs and gospel, but with a layer of joyful experimentation and thoroughly modern chaos slathered all over the place. That deft mixture has, unsurprisingly, propelled the band into a spotlight of a different kind; they just wrapped up 2016 by touring internationally with Temple of the Dog, followed by a Grammy nomination.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/W66D31klLCk'\n title='//www.youtube.com/embed/W66D31klLCk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Fantastic Negrito’s hands — of which, thankfully, he regained use — words about specific modern-day social injustices feel less topical and more, well, naked. “Sip fancy coffees / step over body / outside he door / him fancy condo / he she call po po / me sing too loud,” he chants wryly in the danceable stomper “Working Poor,” equal parts resigned and resistant.\u003c/p>\n\u003cp>As the record’s title suggests, gentrification (and the havoc it’s wreaking on Oakland) certainly loom large throughout. You’d have to be a fantastically stubborn optimist to expect The Town’s artistic heartbeat to ever bounce back quite as fully as Dphrepaulezz’s did — but as the kickoff to a hopefully long and fruitful career, this record sure helps remind us that nothing worth fighting for ever comes without a struggle.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003cstrong>\u003cem>Previously:\u003c/em>\u003c/strong>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">Jay Som, ‘Turn Into’\u003c/a>\u003c/em>\u003cbr>\n\u003cem> \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12479032/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland","authors":["7237"],"categories":["arts_69"],"tags":["arts_1580","arts_1579","arts_1588","arts_1118","arts_596","arts_1143"],"featImg":"arts_12482948","label":"arts"},"arts_12474459":{"type":"posts","id":"arts_12474459","meta":{"index":"posts_1591205157","site":"arts","id":"12474459","score":null,"sort":[1481644833000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive","title":"The 10 Best Bay Area Albums of 2016: Thao & The Get Down Stay Down, 'A Man Alive'","publishDate":1481644833,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2016: Thao & The Get Down Stay Down, ‘A Man Alive’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Thao Nguyen’s voice changes like San Francisco weather. At one moment wistful, confessional, vulnerable, it turns on a dime into righteous physical joy, or fury, or a primal wail that undoubtedly contains both.\u003c/p>\n\u003cp>Nguyen spent the early part of the aughts deploying this skill in the service of irrefutably catchy, dancey, sometimes anthemic indie-pop. But as a wise woman once sang, time makes you bolder, even children get older, and then, if you’re lucky, you become friends with Merrill Garbus.\u003c/p>\n\u003cp>Okay, so that’s taking a few liberties with Stevie’s words, but it’s true that \u003cem>A Man Alive\u003c/em>, Thao & the Get Down Stay Down’s fourth studio album, has all the swagger of a woman unafraid to take chances — even if the results don’t turn out pretty.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fokoZs6SLdI\u003c/p>\n\u003cp>Garbus, the creative force and rhythm wizard behind Oakland’s tUnE-yArDs, produced this album. And it shows: coming from an artist who’s often described as twee, this is a hard, welcome lean into cacophonous funk, all left angles and looping pedals, over which Nguyen’s wailing vocals and intensely intimate songwriting (several tracks revolve around her absent father) sound less “bird with a broken wing” and more “tired but potentially dangerous animal that you probably shouldn’t have pissed off.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We are not born for departure/but we do learn to take it,” she deadpans bitterly on “Departure,” over digitally manipulated hand claps and blown-out bass. The low end and guitar distortion on the rocker “Nobody Dies” makes it land with Breeders-esque weight. Even the album’s most melty, introspective track, “Millionaire,” is propelled by the heartbeat of an enormous kick drum. If it seems incongruous that some of Nguyen’s most personal songwriting of the past few years accompanies her first tracks that might make sense pumping through club-size speakers, so be it. She has very few f*cks left to give. And apparently, that’s very lucky for us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Previously: \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">Jay Som, ‘Turn Into.’\u003c/a>\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Thao Nguyen and Merrill Garbus came together for this compelling, fearless party -- all booming bass, hard angles, and gleefully cacophonous funk. ","status":"publish","parent":0,"modified":1705032221,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":388},"headData":{"title":"The 10 Best Bay Area Albums of 2016: Thao & The Get Down Stay Down, 'A Man Alive' | KQED","description":"Thao Nguyen and Merrill Garbus came together for this compelling, fearless party -- all booming bass, hard angles, and gleefully cacophonous funk. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2016: Thao & The Get Down Stay Down, 'A Man Alive'","datePublished":"2016-12-13T16:00:33.000Z","dateModified":"2024-01-12T04:03:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12474459/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thao Nguyen’s voice changes like San Francisco weather. At one moment wistful, confessional, vulnerable, it turns on a dime into righteous physical joy, or fury, or a primal wail that undoubtedly contains both.\u003c/p>\n\u003cp>Nguyen spent the early part of the aughts deploying this skill in the service of irrefutably catchy, dancey, sometimes anthemic indie-pop. But as a wise woman once sang, time makes you bolder, even children get older, and then, if you’re lucky, you become friends with Merrill Garbus.\u003c/p>\n\u003cp>Okay, so that’s taking a few liberties with Stevie’s words, but it’s true that \u003cem>A Man Alive\u003c/em>, Thao & the Get Down Stay Down’s fourth studio album, has all the swagger of a woman unafraid to take chances — even if the results don’t turn out pretty.\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/fokoZs6SLdI'\n title='//www.youtube.com/embed/fokoZs6SLdI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Garbus, the creative force and rhythm wizard behind Oakland’s tUnE-yArDs, produced this album. And it shows: coming from an artist who’s often described as twee, this is a hard, welcome lean into cacophonous funk, all left angles and looping pedals, over which Nguyen’s wailing vocals and intensely intimate songwriting (several tracks revolve around her absent father) sound less “bird with a broken wing” and more “tired but potentially dangerous animal that you probably shouldn’t have pissed off.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We are not born for departure/but we do learn to take it,” she deadpans bitterly on “Departure,” over digitally manipulated hand claps and blown-out bass. The low end and guitar distortion on the rocker “Nobody Dies” makes it land with Breeders-esque weight. Even the album’s most melty, introspective track, “Millionaire,” is propelled by the heartbeat of an enormous kick drum. If it seems incongruous that some of Nguyen’s most personal songwriting of the past few years accompanies her first tracks that might make sense pumping through club-size speakers, so be it. She has very few f*cks left to give. And apparently, that’s very lucky for us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Previously: \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">Jay Som, ‘Turn Into.’\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12474459/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive","authors":["7237"],"categories":["arts_69"],"tags":["arts_1580","arts_1118","arts_596","arts_1583","arts_1584"],"featImg":"arts_12474651","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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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":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"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. 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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. 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