The Seshen Embraces the Changing Nature of Love in Two New Tracks
Coming Out Changed Her Life. Now, Lalin St. Juste Is Ready to Sing About It
On His Solo Debut, The Seshen’s Kumar Butler Puts Activists’ Voices Front and Center
The 10 Best Bay Area Albums of 2020
PHOTOS: Noise Pop 2020 Offered an Exhilarating Mix of Stars and Underground Acts Alike
The Best Bay Area Albums of the 2010s
All Welcome at a Parade of Black Joy in Oakland
Sponsored
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She holds a B.A. in comparative literature from UC Berkeley.","avatar":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twitter":"nananastia","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"podcasts","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Nastia Voynovskaya | KQED","description":"Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g"},"isLoading":false,"link":"/author/nvoynovskaya"},"achazaro":{"type":"authors","id":"11748","meta":{"index":"authors_1591205172","id":"11748","found":true},"name":"Alan Chazaro","firstName":"Alan","lastName":"Chazaro","slug":"achazaro","email":"agchazaro@gmail.com","display_author_email":true,"staff_mastheads":["arts"],"title":"Food Writer and Reporter","bio":"Alan Chazaro is the author of \u003cem>This Is Not a Frank Ocean Cover Album\u003c/em> (Black Lawrence Press, 2019), \u003cem>Piñata Theory\u003c/em> (Black Lawrence Press, 2020), and \u003cem>Notes from the Eastern Span of the Bay Bridge\u003c/em> (Ghost City Press, 2021). He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.","avatar":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twitter":"alan_chazaro","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Alan Chazaro | KQED","description":"Food Writer and Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/achazaro"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13911159":{"type":"posts","id":"arts_13911159","meta":{"index":"posts_1591205157","site":"arts","id":"13911159","score":null,"sort":[1648238233000]},"guestAuthors":[],"slug":"the-seshen-this-time-around-jessica-pratt-cover","title":"The Seshen Embraces the Changing Nature of Love in Two New Tracks","publishDate":1648238233,"format":"standard","headTitle":"The Seshen Embraces the Changing Nature of Love in Two New Tracks | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Over their decade-plus as a band, \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a> has been through a lot together, and they’re processing love and grief on their two new singles, “Beyond Me” and “This Time Around.” Both tracks are part of a new, self-released LP that the Bay Area band is putting out song by song, once a month. [aside postid='arts_13903130']\u003c/p>\n\u003cp>“This Time Around,” out today, is a cover of a \u003ca href=\"https://www.youtube.com/watch?v=FDi6C8AeTVI\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Pratt song\u003c/a> that lead singer Lalin St. Juste and producer and bassist Aki Ehara gravitated towards while navigating an incredibly challenging time. The duo, once a married couple, is the band’s main songwriting force; during the pandemic, they divorced after St. Juste came out as a lesbian. Fortunately, they remain close collaborators and good friends.\u003c/p>\n\u003cp>It might be tempting to draw parallels to other great inter-band breakup songs, like No Doubt’s “Don’t Speak” and Fleetwood Mac’s “Dreams,” but “This Time Around” comes from a place of empathy and understanding of the way relationships change, and how people drift in and out of our lives.\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/track=3579124282/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I felt like even though we needed to heal and mourn in our own ways separately, we could connect musically through this song,” Ehara wrote in a statement about the track. “I knew that this was a song that resonated with each of us. Even through the challenges we were facing, we’d always shared a deep musical connection. I think in starting the [Jessica Pratt] cover, I was hoping to reconnect to that musical bond that brought us together years ago.”\u003c/p>\n\u003cp>“This Time Around” is a quiet contemplation that foregrounds St. Juste’s delicate voice over piano and strings. While Pratt’s original is lo-fi and acoustic, with a mix that conjures the fuzziness of a dusty record player, The Seshen’s take lends it a more full-bodied sheen that brings out its sparse beauty in a different way.\u003c/p>\n\u003cp>“Beyond Me,” released in February, is more propulsive and high-energy, although still introspective. St. Juste wrote the lyrics about tuning into her inner world through the meditation practice she developed during the pandemic. “What I find / when I arrive / The parts of me / I tried to hide,” she sings.\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/track=2343391112/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Seshen will release three more songs from their forthcoming LP, one per month, via \u003ca href=\"https://theseshen.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp\u003c/a> and streaming platforms. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'This Time Around' and 'Beyond Me' make peace with the way people drift in and out of our lives.","status":"publish","parent":0,"modified":1705007045,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/track=3579124282/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/track=2343391112/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":458},"headData":{"title":"The Seshen Embraces the Changing Nature of Love in Two New Tracks | KQED","description":"'This Time Around' and 'Beyond Me' make peace with the way people drift in and out of our lives.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Seshen Embraces the Changing Nature of Love in Two New Tracks","datePublished":"2022-03-25T19:57:13.000Z","dateModified":"2024-01-11T21:04:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"the-seshen-embraces-the-changing-nature-of-love-in-two-new-tracks","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13911159/the-seshen-this-time-around-jessica-pratt-cover","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Over their decade-plus as a band, \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a> has been through a lot together, and they’re processing love and grief on their two new singles, “Beyond Me” and “This Time Around.” Both tracks are part of a new, self-released LP that the Bay Area band is putting out song by song, once a month. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13903130","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This Time Around,” out today, is a cover of a \u003ca href=\"https://www.youtube.com/watch?v=FDi6C8AeTVI\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Pratt song\u003c/a> that lead singer Lalin St. Juste and producer and bassist Aki Ehara gravitated towards while navigating an incredibly challenging time. The duo, once a married couple, is the band’s main songwriting force; during the pandemic, they divorced after St. Juste came out as a lesbian. Fortunately, they remain close collaborators and good friends.\u003c/p>\n\u003cp>It might be tempting to draw parallels to other great inter-band breakup songs, like No Doubt’s “Don’t Speak” and Fleetwood Mac’s “Dreams,” but “This Time Around” comes from a place of empathy and understanding of the way relationships change, and how people drift in and out of our lives.\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/track=3579124282/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>“I felt like even though we needed to heal and mourn in our own ways separately, we could connect musically through this song,” Ehara wrote in a statement about the track. “I knew that this was a song that resonated with each of us. Even through the challenges we were facing, we’d always shared a deep musical connection. I think in starting the [Jessica Pratt] cover, I was hoping to reconnect to that musical bond that brought us together years ago.”\u003c/p>\n\u003cp>“This Time Around” is a quiet contemplation that foregrounds St. Juste’s delicate voice over piano and strings. While Pratt’s original is lo-fi and acoustic, with a mix that conjures the fuzziness of a dusty record player, The Seshen’s take lends it a more full-bodied sheen that brings out its sparse beauty in a different way.\u003c/p>\n\u003cp>“Beyond Me,” released in February, is more propulsive and high-energy, although still introspective. St. Juste wrote the lyrics about tuning into her inner world through the meditation practice she developed during the pandemic. “What I find / when I arrive / The parts of me / I tried to hide,” she sings.\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/track=2343391112/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Seshen will release three more songs from their forthcoming LP, one per month, via \u003ca href=\"https://theseshen.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp\u003c/a> and streaming platforms. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13911159/the-seshen-this-time-around-jessica-pratt-cover","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_13240","arts_3973"],"featImg":"arts_13911161","label":"arts"},"arts_13903130":{"type":"posts","id":"arts_13903130","meta":{"index":"posts_1591205157","site":"arts","id":"13903130","score":null,"sort":[1631896221000]},"guestAuthors":[],"slug":"coming-out-changed-her-life-now-lalin-st-juste-is-ready-to-sing-about-it","title":"Coming Out Changed Her Life. Now, Lalin St. Juste Is Ready to Sing About It","publishDate":1631896221,"format":"standard","headTitle":"Coming Out Changed Her Life. Now, Lalin St. Juste Is Ready to Sing About It | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In the \u003ca href=\"https://www.youtube.com/watch?v=lR7AmjLCnWk\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> that accompanies \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a>‘s 2020 album, \u003cem>CYAN\u003c/em>, you can tell that singer Lalin St. Juste is not at peace. The dreamlike music video sequence shows her crashing through a ceiling, her body subsumed by rubble; later, she fretfully yanks a door open and runs through a series of empty rooms. When she collapses from exhaustion, a group of friends revive her with their healing touch—a visualization of the spiritual nourishment sisterhood and community can offer.\u003c/p>\n\u003cp>Looking back on that project, St. Juste admits that it overlapped with a time of turmoil in her life. After years of identifying as queer and bisexual, she suddenly awakened to the realization that “lesbian” more accurately describes how she feels inside. The epiphany forced a reckoning, and presented a set of daunting complications, both personally and creatively. For the past 10 years, her work with The Seshen revolved around her artistic partnership with her now-ex-husband, bassist and producer Aki Ehara. Suddenly, the way she had arranged her life no longer aligned with her truth.\u003c/p>\n\u003cp>“The origin story of The Seshen is our love—we would talk about the fact that we met [while studying abroad] in Ghana, and fell in love and started this band. That’s been part of the identity and the narrative of The Seshen,” says St. Juste. “Then this thing happened, and it’s so painful. It’s like, how do you publicly share this? Our love is really public, but here’s a moment that things have changed.”\u003c/p>\n\u003cfigure id=\"attachment_13903246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903246\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"A woman gazes pensively into the distance.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a year of grieving and healing while concerts were canceled during pandemic restrictions, St. Juste is ready to write her next chapter. On Sept. 17, she released her self-produced first single, “scar,” from her forthcoming EP, \u003cem>behind my eyes\u003c/em>. She began writing the EP’s four tracks during a residency at the Oakland music incubator Zoo Labs, which gave her the resources and space to process this huge life shift through music.\u003c/p>\n\u003cp>“I want to practice sharing who I am in a bigger way,” she says. “Now is that time. All the pieces are falling into place. And I think I needed this big transformation to actually kick me into gear so that I could develop myself as a songwriter and producer.”\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=603708048/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>In “scar,” a quiet hum grounds the downtempo track in a self-reflective mood that stands apart from The Seshen’s big, propulsive electropop. Snappy snares and soaring synths underscore St. Juste’s optimism about the terrifying, yet ultimately gratifying, process of self-discovery. After a cathartic crescendo of layered vocals, a moment of calm acceptance arrives: “It’s OK, let your heart break,” she repeats to herself in a half-whisper, like a mantra.\u003c/p>\n\u003cfigure id=\"attachment_13903247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste from The Seshen poses for a portrait at her home in Oakland on Sept. 15, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s accepting the realities of it, and the pain of it, and the beauty of it,” she says. “This is what it means to love, this is what it means to exist, this is what it means to grow: it’s to feel the growing pains of it all, to feel the discomfort of it all. But what you find in your own scar tissue is a beautiful world of all those experiences, and it’s what makes us who we are.”\u003c/p>\n\u003cp>St. Juste and Ehara are still close, and they haven’t slowed down on songwriting or performing with The Seshen. “As difficult as everything has been, we’re both really committed to the friendship because that’s been the basis of our relationship from the beginning,” Ehara says.\u003c/p>\n\u003cp>The expansive band, which also includes drummer Chris Thalmann, keyboard and synth player Mahesh Rao, percussionist Mirza Kopelman and sequencer Kumar Butler, is getting ready to embark on a Northwestern tour next week that concludes with a \u003ca href=\"https://www.ticketweb.com/event/the-seshen-the-new-parish-tickets/11206455?camefrom=CFC_ANOTHERPLANET_web&brand=anotherplanet\" target=\"_blank\" rel=\"noopener noreferrer\">hometown show at the New Parish\u003c/a> in Oakland on Nov. 19.\u003c/p>\n\u003cp>https://youtu.be/lR7AmjLCnWk\u003c/p>\n\u003cp>And St. Juste is pursuing other creative endeavors. She’s releasing \u003cem>behind my eyes \u003c/em>on \u003ca href=\"https://7000coils.com/Info\" target=\"_blank\" rel=\"noopener noreferrer\">7000COILS\u003c/a>, the new, queer- and Black-focused label she co-founded with her new partner, the DJ \u003ca href=\"https://soundcloud.com/privateselecta\" target=\"_blank\" rel=\"noopener noreferrer\">KKINGBOO\u003c/a>. She’s also creating a sound art piece for the experimental music festival \u003ca href=\"https://soundwavesf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Soundwave NEXT: Translocality\u003c/a>, which commissioned a variety of artists to compose location-specific works. Listeners will be able to hear the pieces at different Bay Area landmarks in late October via an app.\u003c/p>\n\u003cp>St. Juste takes a lot of solo walks near bodies of water to gather her thoughts. “I have this really deep connection to the power of water, the stories water holds, the way it moves in our lives. It’s a place I go to grieve and to celebrate,” she says, noting water’s role in her ancestors’ passage from West Africa to Haiti, where her parents are from.\u003c/p>\n\u003cp>Her piece for Translocality explores the history of the one of the places she frequents: Sutro Baths, the ruins near San Francisco’s Ocean Beach. In her research, she learned about an unsung civil rights hero, a Black man named \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/john-harris-civil-rights.htm\" target=\"_blank\" rel=\"noopener noreferrer\">John Harris\u003c/a>, who in 1897 sued Adolph Sutro for discrimination when he was denied access to the baths. Harris’ lawsuit helped reinforce a new California law that granted equal access to public spaces, and set a precedent for desegregation.\u003c/p>\n\u003cfigure id=\"attachment_13903245\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903245\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"A woman smiles in a garden.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m hoping to create some discomfort and some sense of dissonance. I think that’s what we need in order to confront these memories—not even just memories. These are current things that are happening,” St. Juste says of the piece. “Black lives are at threat every single day. … You’re fighting for your space, fighting for your voice, fighting for a right to exist. And in a place like San Francisco, where the demographics have changed so much, and the Black population is so little, I have to explore these things.”\u003c/p>\n\u003cp>Taking an unflinching look at those hard truths, and finding a way to create beauty from them, is key to not only St. Juste’s creative practice, but her way of living. As she says, “All these are steps in the direction of me fulfilling more of my destiny in terms of being more out in every possible way, loud in every possible way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"With her solo work, The Seshen's lead singer processes the beauty and grief of a major life shift.","status":"publish","parent":0,"modified":1705007732,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=603708048/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1121},"headData":{"title":"Coming Out Changed Her Life. Now, Lalin St. Juste Is Ready to Sing About It | KQED","description":"With her solo work, The Seshen's lead singer processes the beauty and grief of a major life shift.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Coming Out Changed Her Life. Now, Lalin St. Juste Is Ready to Sing About It","datePublished":"2021-09-17T16:30:21.000Z","dateModified":"2024-01-11T21:15:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13903130/coming-out-changed-her-life-now-lalin-st-juste-is-ready-to-sing-about-it","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the \u003ca href=\"https://www.youtube.com/watch?v=lR7AmjLCnWk\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> that accompanies \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a>‘s 2020 album, \u003cem>CYAN\u003c/em>, you can tell that singer Lalin St. Juste is not at peace. The dreamlike music video sequence shows her crashing through a ceiling, her body subsumed by rubble; later, she fretfully yanks a door open and runs through a series of empty rooms. When she collapses from exhaustion, a group of friends revive her with their healing touch—a visualization of the spiritual nourishment sisterhood and community can offer.\u003c/p>\n\u003cp>Looking back on that project, St. Juste admits that it overlapped with a time of turmoil in her life. After years of identifying as queer and bisexual, she suddenly awakened to the realization that “lesbian” more accurately describes how she feels inside. The epiphany forced a reckoning, and presented a set of daunting complications, both personally and creatively. For the past 10 years, her work with The Seshen revolved around her artistic partnership with her now-ex-husband, bassist and producer Aki Ehara. Suddenly, the way she had arranged her life no longer aligned with her truth.\u003c/p>\n\u003cp>“The origin story of The Seshen is our love—we would talk about the fact that we met [while studying abroad] in Ghana, and fell in love and started this band. That’s been part of the identity and the narrative of The Seshen,” says St. Juste. “Then this thing happened, and it’s so painful. It’s like, how do you publicly share this? Our love is really public, but here’s a moment that things have changed.”\u003c/p>\n\u003cfigure id=\"attachment_13903246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903246\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"A woman gazes pensively into the distance.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a year of grieving and healing while concerts were canceled during pandemic restrictions, St. Juste is ready to write her next chapter. On Sept. 17, she released her self-produced first single, “scar,” from her forthcoming EP, \u003cem>behind my eyes\u003c/em>. She began writing the EP’s four tracks during a residency at the Oakland music incubator Zoo Labs, which gave her the resources and space to process this huge life shift through music.\u003c/p>\n\u003cp>“I want to practice sharing who I am in a bigger way,” she says. “Now is that time. All the pieces are falling into place. And I think I needed this big transformation to actually kick me into gear so that I could develop myself as a songwriter and producer.”\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=603708048/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>In “scar,” a quiet hum grounds the downtempo track in a self-reflective mood that stands apart from The Seshen’s big, propulsive electropop. Snappy snares and soaring synths underscore St. Juste’s optimism about the terrifying, yet ultimately gratifying, process of self-discovery. After a cathartic crescendo of layered vocals, a moment of calm acceptance arrives: “It’s OK, let your heart break,” she repeats to herself in a half-whisper, like a mantra.\u003c/p>\n\u003cfigure id=\"attachment_13903247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste from The Seshen poses for a portrait at her home in Oakland on Sept. 15, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s accepting the realities of it, and the pain of it, and the beauty of it,” she says. “This is what it means to love, this is what it means to exist, this is what it means to grow: it’s to feel the growing pains of it all, to feel the discomfort of it all. But what you find in your own scar tissue is a beautiful world of all those experiences, and it’s what makes us who we are.”\u003c/p>\n\u003cp>St. Juste and Ehara are still close, and they haven’t slowed down on songwriting or performing with The Seshen. “As difficult as everything has been, we’re both really committed to the friendship because that’s been the basis of our relationship from the beginning,” Ehara says.\u003c/p>\n\u003cp>The expansive band, which also includes drummer Chris Thalmann, keyboard and synth player Mahesh Rao, percussionist Mirza Kopelman and sequencer Kumar Butler, is getting ready to embark on a Northwestern tour next week that concludes with a \u003ca href=\"https://www.ticketweb.com/event/the-seshen-the-new-parish-tickets/11206455?camefrom=CFC_ANOTHERPLANET_web&brand=anotherplanet\" target=\"_blank\" rel=\"noopener noreferrer\">hometown show at the New Parish\u003c/a> in Oakland on Nov. 19.\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/lR7AmjLCnWk'\n title='//www.youtube.com/embed/lR7AmjLCnWk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And St. Juste is pursuing other creative endeavors. She’s releasing \u003cem>behind my eyes \u003c/em>on \u003ca href=\"https://7000coils.com/Info\" target=\"_blank\" rel=\"noopener noreferrer\">7000COILS\u003c/a>, the new, queer- and Black-focused label she co-founded with her new partner, the DJ \u003ca href=\"https://soundcloud.com/privateselecta\" target=\"_blank\" rel=\"noopener noreferrer\">KKINGBOO\u003c/a>. She’s also creating a sound art piece for the experimental music festival \u003ca href=\"https://soundwavesf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Soundwave NEXT: Translocality\u003c/a>, which commissioned a variety of artists to compose location-specific works. Listeners will be able to hear the pieces at different Bay Area landmarks in late October via an app.\u003c/p>\n\u003cp>St. Juste takes a lot of solo walks near bodies of water to gather her thoughts. “I have this really deep connection to the power of water, the stories water holds, the way it moves in our lives. It’s a place I go to grieve and to celebrate,” she says, noting water’s role in her ancestors’ passage from West Africa to Haiti, where her parents are from.\u003c/p>\n\u003cp>Her piece for Translocality explores the history of the one of the places she frequents: Sutro Baths, the ruins near San Francisco’s Ocean Beach. In her research, she learned about an unsung civil rights hero, a Black man named \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/john-harris-civil-rights.htm\" target=\"_blank\" rel=\"noopener noreferrer\">John Harris\u003c/a>, who in 1897 sued Adolph Sutro for discrimination when he was denied access to the baths. Harris’ lawsuit helped reinforce a new California law that granted equal access to public spaces, and set a precedent for desegregation.\u003c/p>\n\u003cfigure id=\"attachment_13903245\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903245\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"A woman smiles in a garden.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m hoping to create some discomfort and some sense of dissonance. I think that’s what we need in order to confront these memories—not even just memories. These are current things that are happening,” St. Juste says of the piece. “Black lives are at threat every single day. … You’re fighting for your space, fighting for your voice, fighting for a right to exist. And in a place like San Francisco, where the demographics have changed so much, and the Black population is so little, I have to explore these things.”\u003c/p>\n\u003cp>Taking an unflinching look at those hard truths, and finding a way to create beauty from them, is key to not only St. Juste’s creative practice, but her way of living. As she says, “All these are steps in the direction of me fulfilling more of my destiny in terms of being more out in every possible way, loud in every possible way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13903130/coming-out-changed-her-life-now-lalin-st-juste-is-ready-to-sing-about-it","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_3973"],"featImg":"arts_13903248","label":"arts"},"arts_13893070":{"type":"posts","id":"arts_13893070","meta":{"index":"posts_1591205157","site":"arts","id":"13893070","score":null,"sort":[1614022539000]},"guestAuthors":[],"slug":"on-his-solo-debut-the-seshens-kumar-butler-puts-activists-voices-front-and-center","title":"On His Solo Debut, The Seshen’s Kumar Butler Puts Activists’ Voices Front and Center","publishDate":1614022539,"format":"standard","headTitle":"On His Solo Debut, The Seshen’s Kumar Butler Puts Activists’ Voices Front and Center | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>[dropcap]I[/dropcap]n my last year as a teacher at Oakland School for the Arts, I was assigned to the old band room on the top floor of the historic Fox Theater, where each day, hundreds of students hustled through crowded hallways, singing, dancing and tuning their instruments. \u003cspan style=\"font-weight: 400\">It all felt like a too-real version of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">High School Musical\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a\u003c/span>\u003cspan style=\"font-weight: 400\">nd I loved it.\u003c/span>\u003c/p>\n\u003cp>My class was the only academic space in an obtuse corner of a hallway. And the room next to mine wasn’t really a room—it was a closet-sized audio production studio, tucked between blue lockers like a hidden passageway at Hogwarts.\u003c/p>\n\u003cp>I hadn’t paid much attention to what went on in there until I realized that the newly hired instructor, Kumar Butler, was also a young man of color, wearing an Oakland A’s cap. After a few conversations, it was clear that Butler—born and raised in Berkeley and Oakland with an Indian mother and Black father—was rooted in himself, his work and his community. It didn’t take long for us to connect outside of class, and before I knew it, I was invited to see his band, \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a>. I caught their shows at a warehouse in West Oakland and at Outside Lands, where they were openers for Flying Lotus. They turned out to be legit, with a \u003ca href=\"https://www.instagram.com/theseshen/\" target=\"_blank\" rel=\"noopener noreferrer\">solid following\u003c/a>. (The band even made KQED’s \u003ca href=\"https://www.kqed.org/arts/13890048/the-10-best-bay-area-albums-of-2020\" target=\"_blank\" rel=\"noopener noreferrer\">Best Bay Area Albums of 2020\u003c/a> list.) Yet Butler was an unassuming, if not quiet, member of the group.\u003c/p>\n\u003cfigure id=\"attachment_13893076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893076\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/image1-1-800x599.jpeg\" alt=\"A band with an electronic producer, drummer, bassist and singer with colorful braids performs on a festival stage. \" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image1-1-800x599.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image1-1-1020x764.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image1-1-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image1-1-768x575.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image1-1-1536x1150.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image1-1.jpeg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kumar Butler (far left) on stage with The Seshen. \u003ccite>(Maya Pisciotto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite his rising profile, Butler exuded genuine humility and creative talent, though—as the electronic producer in the six-person group—he was quite literally in the background. And that’s where he preferred to stay.\u003c/p>\n\u003cp>That’s why I was excited when I heard Butler had dropped a debut solo EP—appropriately titled \u003cem>solidarity\u003c/em>. The project is a radical rethinking of how music in 2021 should be experienced: a tender mix of meditative instrumentals, layered with words from revolutionary speakers about social topics that don’t always get center stage in a profit-driven music industry. In each track, there are no lyrics besides the activists’ words regarding racial justice, police violence, trans rights and the dismantling of prisons. It feels necessary for the times.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/1198246639&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“I was trying to think of how to get my students involved into what was going on in Oakland and the country—without preaching to them, but by providing spaces for them to be authentically creative,” Butler told me over the phone.\u003c/p>\n\u003cp>At the time, he sensed that his students—teenagers who’d elected to be part of OSA’s audio production program, which typically provided access to professional recording equipment—were struggling within a sterile distance learning model. So, like any work that is community-based, Butler began to think about ways to spark his young learners. An instinct to use music based in the real world led him to what would eventually become his first song, “Breonna.”\u003c/p>\n\u003cp>Butler hit the East Bay streets with the \u003ca href=\"https://www.antipoliceterrorproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Anti Police-Terror Project\u003c/a>—a local organization that mobilizes various actions in response to police brutality in Northern California—and started recording prominent voices like Cat Brooks as they spoke out against the injustices of police violence: “There’s a war being waged on our lives, and so we say in the name of Breonna Taylor that it stops today,” Brooks can be heard saying in the track. [aside postid='arts_13887982']\u003c/p>\n\u003cp>Inspired by the experience, Butler flipped the audio files into various folders, then distributed them to his students. He tasked the 9th–12th graders with integrating these political manifestos as lyrics, challenging each pupil to weave the raw language into their own made-from-scratch instrumentals. This later evolved into researching other audio clips from activists worldwide.\u003c/p>\n\u003cp>“We’re in a pandemic, so we have people struggling in many ways to find joy and inspiration, and I think looking at the ways in which these communities are expressing hope and joy is important,” Butler explains. “I’m not saying they do it all the time, or that they live in a state of perpetual joy, but it felt important to me to explore these subversive narratives and contextualize them through music so everyone could engage with it.”\u003c/p>\n\u003cp>[dropcap]W[/dropcap]ith the classroom project a success, Butler realized he might be onto something organic, and continued to engage with diverse topics through his audio wizardry. As a Black man living in Oakland, he brainstormed topics that he was invested in and curious about growing into. Butler openly admits he is no savant with these subjects; rather, he is a student himself, learning and expanding with each audio clip he pulls from the internet to lace over silky beats.\u003c/p>\n\u003cp>In the opening track, “Locked Down,” Butler features the iconic incarcerated revolutionary Mumia Abu-Jamal, who speaks on the role of art in prisons. “Art is that which makes us human,” Abu-Jamal says, “and in [prison], the most inhuman of places, art yet gives colorful, resplendent, original, magical echoes of creativity.”\u003c/p>\n\u003cp>For Butler, lines like this hit particularly close to home. His older brother is currently incarcerated and has been in and out of the prison system for the past 20 years. The music is a way for Butler to process his feelings, while creating spaces for others to develop their own outlooks.\u003c/p>\n\u003cp>“I care about the history of my brother and others like him. They deserve to be heard, and to speak for themselves,” Butler says. “I came across Mumia Abu-Jamal talking about art, and that felt so good to me, and I wanted to include the idea of artistry in prisons as a way to give dimension to their experience.” [aside postid='arts_13892909']\u003c/p>\n\u003cp>But like any layered subject, Butler also reveals the fuller elements of incarceration with an array of additional clips from other voices who broadcast their ideas on \u003ca href=\"https://www.prisonradio.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Prison Radio\u003c/a>, and they weren’t all as optimistic. \u003ca href=\"https://podcasts.apple.com/us/podcast/toppling-white-supremacy-2-41-sergio-hyland/id1438898710?i=1000477957175\" target=\"_blank\" rel=\"noopener noreferrer\">Sergio Hyland\u003c/a>, for example, talks about the history of how prisons were designed in the feudal ages to suppress the working classes, and why he and other activists believe the system needs to be dismantled in modern times. Butler is careful to never inject his own voice throughout his EP; rather, he is a curator of perspectives that illuminate the eclectic, lived experiences of people we often ignore as a general population, or that we aggressively preach “wokeness” about. This EP is neither. It’s a contemplative space for questions to be raised, voices to be heard and further exploration to ensue.\u003c/p>\n\u003cp>[dropcap]B[/dropcap]utler embodies this openness by turning his music inward on the third track, “Be You.” Admitting that trans rights is an issue he knew little about, Butler tapped into his network of both LGBTQ+ and straight friends, and began to collect ideas for a song about trans visibility. As a straight male, he acknowledges that he has much left to learn, but also believes that part of his role is to be an active ally for other marginalized communities.\u003c/p>\n\u003cp>“I wanted to provide a space for myself and for others I know who don’t really talk about trans rights to open a dialogue,” Butler explains. “It’s an open invitation, even if you’re not members of these communities. I think we are all learning at our own paces.”\u003c/p>\n\u003cp>The song samples various figures in the trans community, including \u003cem>Pose\u003c/em> star Indya Moore, activist Jevon Martin and multi-hyphenate media maker Janet Mock. “With visibility comes pain, hurt, and by showing up authentically as yourself, you are bringing awareness to who you are… but the best part is that we have community,” says Martin. [aside postid='arts_13893014']\u003c/p>\n\u003cp>The track encourages the listener to reflect on how they are complicit in these systems of oppression in our society—whether through perpetuating harmful gender norms or other forms of discrimination. It reminds us that it is difficult, even dangerous, for many people to exist in the world as they are. But even with that risk, the speakers assure us that it is worth the struggle, and reveal the possibility of genuine community.\u003c/p>\n\u003cp>The realness in this message goes beyond any one group of people, and conveys that if we hold ourselves accountable for showing up as our wholest, most aware selves, the potential for progress is greater than the consequences of vulnerability. Butler has done some of that work for himself, and in doing so, he invites listeners to embrace the sounds of solidarity.\u003c/p>\n\u003cp>“I saw that Indya Moore actually came across the song and Tweeted in support of it. That’s what this is all about. I only hope to build bridges, since politics can be so divisive in this country,” he says. “Pointing fingers doesn’t make change. We have to be open to talking about these things together, even if we’re uncomfortable about it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Correction: \u003c/em>\u003c/strong>\u003cem>This story originally attributed Jevon Martin’s quote to Indya Moore. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Over meditative instrumentals, 'solidarity' features revolutionary speakers who aren’t often heard in a profit-driven music industry.","status":"publish","parent":0,"modified":1705019446,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1594},"headData":{"title":"On His Solo Debut, The Seshen’s Kumar Butler Puts Activists’ Voices Front and Center | KQED","description":"Over meditative instrumentals, 'solidarity' features revolutionary speakers who aren’t often heard in a profit-driven music industry.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On His Solo Debut, The Seshen’s Kumar Butler Puts Activists’ Voices Front and Center","datePublished":"2021-02-22T19:35:39.000Z","dateModified":"2024-01-12T00:30:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13893070/on-his-solo-debut-the-seshens-kumar-butler-puts-activists-voices-front-and-center","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n my last year as a teacher at Oakland School for the Arts, I was assigned to the old band room on the top floor of the historic Fox Theater, where each day, hundreds of students hustled through crowded hallways, singing, dancing and tuning their instruments. \u003cspan style=\"font-weight: 400\">It all felt like a too-real version of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">High School Musical\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a\u003c/span>\u003cspan style=\"font-weight: 400\">nd I loved it.\u003c/span>\u003c/p>\n\u003cp>My class was the only academic space in an obtuse corner of a hallway. And the room next to mine wasn’t really a room—it was a closet-sized audio production studio, tucked between blue lockers like a hidden passageway at Hogwarts.\u003c/p>\n\u003cp>I hadn’t paid much attention to what went on in there until I realized that the newly hired instructor, Kumar Butler, was also a young man of color, wearing an Oakland A’s cap. After a few conversations, it was clear that Butler—born and raised in Berkeley and Oakland with an Indian mother and Black father—was rooted in himself, his work and his community. It didn’t take long for us to connect outside of class, and before I knew it, I was invited to see his band, \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a>. I caught their shows at a warehouse in West Oakland and at Outside Lands, where they were openers for Flying Lotus. They turned out to be legit, with a \u003ca href=\"https://www.instagram.com/theseshen/\" target=\"_blank\" rel=\"noopener noreferrer\">solid following\u003c/a>. (The band even made KQED’s \u003ca href=\"https://www.kqed.org/arts/13890048/the-10-best-bay-area-albums-of-2020\" target=\"_blank\" rel=\"noopener noreferrer\">Best Bay Area Albums of 2020\u003c/a> list.) Yet Butler was an unassuming, if not quiet, member of the group.\u003c/p>\n\u003cfigure id=\"attachment_13893076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893076\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/image1-1-800x599.jpeg\" alt=\"A band with an electronic producer, drummer, bassist and singer with colorful braids performs on a festival stage. \" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image1-1-800x599.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image1-1-1020x764.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image1-1-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image1-1-768x575.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image1-1-1536x1150.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image1-1.jpeg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kumar Butler (far left) on stage with The Seshen. \u003ccite>(Maya Pisciotto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite his rising profile, Butler exuded genuine humility and creative talent, though—as the electronic producer in the six-person group—he was quite literally in the background. And that’s where he preferred to stay.\u003c/p>\n\u003cp>That’s why I was excited when I heard Butler had dropped a debut solo EP—appropriately titled \u003cem>solidarity\u003c/em>. The project is a radical rethinking of how music in 2021 should be experienced: a tender mix of meditative instrumentals, layered with words from revolutionary speakers about social topics that don’t always get center stage in a profit-driven music industry. In each track, there are no lyrics besides the activists’ words regarding racial justice, police violence, trans rights and the dismantling of prisons. It feels necessary for the times.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/1198246639&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“I was trying to think of how to get my students involved into what was going on in Oakland and the country—without preaching to them, but by providing spaces for them to be authentically creative,” Butler told me over the phone.\u003c/p>\n\u003cp>At the time, he sensed that his students—teenagers who’d elected to be part of OSA’s audio production program, which typically provided access to professional recording equipment—were struggling within a sterile distance learning model. So, like any work that is community-based, Butler began to think about ways to spark his young learners. An instinct to use music based in the real world led him to what would eventually become his first song, “Breonna.”\u003c/p>\n\u003cp>Butler hit the East Bay streets with the \u003ca href=\"https://www.antipoliceterrorproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Anti Police-Terror Project\u003c/a>—a local organization that mobilizes various actions in response to police brutality in Northern California—and started recording prominent voices like Cat Brooks as they spoke out against the injustices of police violence: “There’s a war being waged on our lives, and so we say in the name of Breonna Taylor that it stops today,” Brooks can be heard saying in the track. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13887982","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Inspired by the experience, Butler flipped the audio files into various folders, then distributed them to his students. He tasked the 9th–12th graders with integrating these political manifestos as lyrics, challenging each pupil to weave the raw language into their own made-from-scratch instrumentals. This later evolved into researching other audio clips from activists worldwide.\u003c/p>\n\u003cp>“We’re in a pandemic, so we have people struggling in many ways to find joy and inspiration, and I think looking at the ways in which these communities are expressing hope and joy is important,” Butler explains. “I’m not saying they do it all the time, or that they live in a state of perpetual joy, but it felt important to me to explore these subversive narratives and contextualize them through music so everyone could engage with it.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>ith the classroom project a success, Butler realized he might be onto something organic, and continued to engage with diverse topics through his audio wizardry. As a Black man living in Oakland, he brainstormed topics that he was invested in and curious about growing into. Butler openly admits he is no savant with these subjects; rather, he is a student himself, learning and expanding with each audio clip he pulls from the internet to lace over silky beats.\u003c/p>\n\u003cp>In the opening track, “Locked Down,” Butler features the iconic incarcerated revolutionary Mumia Abu-Jamal, who speaks on the role of art in prisons. “Art is that which makes us human,” Abu-Jamal says, “and in [prison], the most inhuman of places, art yet gives colorful, resplendent, original, magical echoes of creativity.”\u003c/p>\n\u003cp>For Butler, lines like this hit particularly close to home. His older brother is currently incarcerated and has been in and out of the prison system for the past 20 years. The music is a way for Butler to process his feelings, while creating spaces for others to develop their own outlooks.\u003c/p>\n\u003cp>“I care about the history of my brother and others like him. They deserve to be heard, and to speak for themselves,” Butler says. “I came across Mumia Abu-Jamal talking about art, and that felt so good to me, and I wanted to include the idea of artistry in prisons as a way to give dimension to their experience.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13892909","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But like any layered subject, Butler also reveals the fuller elements of incarceration with an array of additional clips from other voices who broadcast their ideas on \u003ca href=\"https://www.prisonradio.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Prison Radio\u003c/a>, and they weren’t all as optimistic. \u003ca href=\"https://podcasts.apple.com/us/podcast/toppling-white-supremacy-2-41-sergio-hyland/id1438898710?i=1000477957175\" target=\"_blank\" rel=\"noopener noreferrer\">Sergio Hyland\u003c/a>, for example, talks about the history of how prisons were designed in the feudal ages to suppress the working classes, and why he and other activists believe the system needs to be dismantled in modern times. Butler is careful to never inject his own voice throughout his EP; rather, he is a curator of perspectives that illuminate the eclectic, lived experiences of people we often ignore as a general population, or that we aggressively preach “wokeness” about. This EP is neither. It’s a contemplative space for questions to be raised, voices to be heard and further exploration to ensue.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>utler embodies this openness by turning his music inward on the third track, “Be You.” Admitting that trans rights is an issue he knew little about, Butler tapped into his network of both LGBTQ+ and straight friends, and began to collect ideas for a song about trans visibility. As a straight male, he acknowledges that he has much left to learn, but also believes that part of his role is to be an active ally for other marginalized communities.\u003c/p>\n\u003cp>“I wanted to provide a space for myself and for others I know who don’t really talk about trans rights to open a dialogue,” Butler explains. “It’s an open invitation, even if you’re not members of these communities. I think we are all learning at our own paces.”\u003c/p>\n\u003cp>The song samples various figures in the trans community, including \u003cem>Pose\u003c/em> star Indya Moore, activist Jevon Martin and multi-hyphenate media maker Janet Mock. “With visibility comes pain, hurt, and by showing up authentically as yourself, you are bringing awareness to who you are… but the best part is that we have community,” says Martin. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13893014","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The track encourages the listener to reflect on how they are complicit in these systems of oppression in our society—whether through perpetuating harmful gender norms or other forms of discrimination. It reminds us that it is difficult, even dangerous, for many people to exist in the world as they are. But even with that risk, the speakers assure us that it is worth the struggle, and reveal the possibility of genuine community.\u003c/p>\n\u003cp>The realness in this message goes beyond any one group of people, and conveys that if we hold ourselves accountable for showing up as our wholest, most aware selves, the potential for progress is greater than the consequences of vulnerability. Butler has done some of that work for himself, and in doing so, he invites listeners to embrace the sounds of solidarity.\u003c/p>\n\u003cp>“I saw that Indya Moore actually came across the song and Tweeted in support of it. That’s what this is all about. I only hope to build bridges, since politics can be so divisive in this country,” he says. “Pointing fingers doesn’t make change. We have to be open to talking about these things together, even if we’re uncomfortable about it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Correction: \u003c/em>\u003c/strong>\u003cem>This story originally attributed Jevon Martin’s quote to Indya Moore. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13893070/on-his-solo-debut-the-seshens-kumar-butler-puts-activists-voices-front-and-center","authors":["11748"],"categories":["arts_1"],"tags":["arts_10278","arts_4730","arts_3973"],"featImg":"arts_13893075","label":"arts"},"arts_13890048":{"type":"posts","id":"arts_13890048","meta":{"index":"posts_1591205157","site":"arts","id":"13890048","score":null,"sort":[1607456010000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2020","title":"The 10 Best Bay Area Albums of 2020","publishDate":1607456010,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2020 | KQED","labelTerm":{},"content":"\u003cp>2020 threw the music industry for a loop. So many listeners said they had a hard time keeping up with new releases. Instead, old favorites became their emotional-support companions as they navigated a completely new reality. The artists themselves also had to make difficult adjustments: many asked themselves whether it was worth it to drop projects they recorded in the before-times. Were songs about pre-pandemic life still relevant? Did fans want music that reflected what was going on in the world or an escape?\u003c/p>\n\u003cp>As the year progressed, the answer proved to be a combination of both. Some of our favorite music gave us catharsis, some reflected our pain and some offered a joyful vision of what’s possible.\u003c/p>\n\u003cp>Below, KQED Arts & Culture contributors give us their top Bay Area albums of the year. Whether you’re into rap, indie rock, classical, jazz, folk or pop, there’s something for you on this list.\u003c/p>\n\u003cp>And, it’s worth noting, independent artists are cut off from touring and need our financial support now more than ever. So if you like what you hear, consider buying it on Bandcamp or iTunes. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3156800882/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"https://thaoandthegetdownstaydown.bandcamp.com/album/temple\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Thao & The Get Down Stay Down, \u003cem>Temple\u003c/em> (Ribbon Music)\u003c/h2>\n\u003cp>We children of immigrants carry the weight of our parents’ struggles on our shoulders; they sacrificed so much, so we feel the pressure to repay them by achieving the American dream. \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thao Nguyen\u003c/a> flips the narrative with her piercing howl on the title track of \u003cem>Temple\u003c/em>, where she writes from the perspective of her mother, who fled Vietnam as a war refugee. With lyrics like “I lost my city in the light of day / Thick smoke and helicopter blades,” the punchy dance-rock track creates images of destruction, loss, survival and hope so visceral, they send chills. It’s a theme especially resonant during a year filled with a different kind of grief, where many of us have had to say goodbye to loved ones and old ways of life. \u003cem>Temple\u003c/em>’s hard, driving rhythms and fuzzed-out guitars give voice to necessary conversations about immigration, queerness and the quest to live fully in one’s power. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/murder-weapon/1498266889\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>The Jacka, \u003cem>Murder Weapon\u003c/em> (The Artist Records/EMPIRE)\u003c/h2>\n\u003cp>After Dominick “The Jacka” Newton was killed in 2015, his manager PK pieced together old recordings for his posthumous album, \u003ca href=\"https://music.apple.com/us/album/murder-weapon/1498266889\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Murder Weapon\u003c/em>\u003c/a>. Although \u003cem>Murder Weapon\u003c/em> was recorded over the span of a few years, it still sounds current. It might help that it features well-known lyricists Styles P, Curren$y and Grammy nominee Freddie Gibbs, as well as The Jacka’s long-time collaborators Husalah, Rydah J. Klyde and producer RobLo.\u003c/p>\n\u003cp>The album is full of heavy bass lines and the gangsta-lifestyle lyrics you’d expect from The Jacka. There are references to drug consumption and distribution on “They Know What This Is” (featuring Paul Wall and Boo Banga) and evidence of extraterrestrial life on “Ancient Astronaut” (featuring Killah Priest). “We Outside,” a standout track with a catchy hook sung by what sounds like a chorus of children, is a bit ironic for 2020—but keep in mind it was released before shelter-in-place orders came down. When the Pittsburg-based MC drops the biographical bar, “Love me cause I’m gangsta, but I’m really trying to teach Islam,” I was reminded of my appreciation for an artist who so passionately balanced his human flaws and religious beliefs. \u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=202612447/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Discos Resaca Collective and Mariposas Del Alma, \u003cem>Y Te Cuento\u003c/em> (self-released)\u003c/h2>\n\u003cp>The first full-length album from cumbia collective \u003ca href=\"https://www.discosresaca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Discos Resaca\u003c/a> is a masterclass in what makes the Bay Area yell, “Wepa!” \u003cem>Y Te Cuento\u003c/em> (\u003cem>And I’ll Tell You\u003c/em>) melds traditional cumbias from Central and South America with hip-hop and oldies to create a sound that’s powerful in its imagery and danceability. Hometown party anthems like “Cumbia de San Jose” tell the story of the local South Bay scene, while “Chupacabra” and “Se Va El Agua” employ the evocative storytelling traditions of cumbia.\u003c/p>\n\u003cp>Resaca cool things down on the album’s title track, a pensive tribute to lost loved ones, and on the DJ favorite “I Love You For All Seasons,” a mid-tempo cumbia sung by three Oakland sisters known as \u003ca href=\"https://mariposasdelalma.bandcamp.com/album/la-morena-sonidera-la-oaklandesa\" target=\"_blank\" rel=\"noopener noreferrer\">Mariposas Del Alma\u003c/a>. The collective features accordion master Ivan Flores, percussionist Wilson Posada, conguero Pedro Rosales, producer Xian Ballesteros and guitarists Fabian Martinez and Erik Molina, in collaboration with rapper Deuce Eclipse and Philthy Dronez. \u003cem>—Jessica Lipsky\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1015931905/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>James Wavey, \u003cem>Babe\u003c/em> (self-released)\u003c/h2>\n\u003cp>The 2020 release \u003cem>Babe\u003c/em> from Oakland-based rapper and producer \u003ca href=\"https://alleyesmanifest.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">James Wavey\u003c/a>, a.k.a. Alleyes Manifest, takes the listener on a smooth, sonic journey through blurred genre barriers, like a vintage mixtape that flows in fun and unpredictable ways. The project calls to mind snippets of lowrider oldies, Stax Records classics from RZA’s \u003cem>Shaolin Soul Selection\u003c/em>, nu-jazz and hip-hop. Wavey suavely layers his verses over warm samples warped with reverb and delay. The result is a catchy and soulful album presented in 10 short but flavorful tracks that are perfect for solo kitchen dance parties. \u003cem>—Masha Pershay\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=676995628/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kronos Quartet, \u003cem>Long Time Passing: Kronos Quartet and Friends Celebrate Pete Seeger\u003c/em> (Smithsonian Folkways Recordings)\u003c/h2>\n\u003cp>At a time when this country seems to be closing in on itself, the \u003ca href=\"https://kronosquartet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a>’s careening exploration of the music and ideas of great American folk bard Pete Seeger opens up possibilities. The ever-peripatetic San Francisco string quartet has a knack for collaborating with some of the world’s most interesting musicians. \u003cem>Long Time Passing\u003c/em> enables us to listen to even the most picked-over songs from the Seeger cannon—“If I Had a Hammer,” “We Shall Overcome”—in a way that feels both edgy and comforting.\u003c/p>\n\u003cp>The album approaches transcendence not with these lovely covers of Seeger’s songs, but rather with a pair of contemporary, original tracks inspired by Seeger’s life. San Francisco born-and-raised composer Jacob Garchik’s spiraling “Storyteller” weaves snippets of Seeger’s singing and speaking voice, riffing on subjects as varied as his work with ethnomusicologist Alan Lomax and Marlene Dietrich’s German-language take on “Where Have All the Flowers Gone?” (“Sag’ mir, wo die Blumen sind”). And the version of folksinger Zoe Mulford’s “The President Sang Amazing Grace,” which singer Meklit performs with quiet intensity above long, spartan string chords, recalls what it means to be human in the face of disaster. \u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/let-me-go/1531051491\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Shy’An G, \u003cem>Let Me Go\u003c/em> (STP)\u003c/h2>\n\u003cp>If you prefer a more lyrical flavor of hip-hop, look no further than \u003ca href=\"https://music.apple.com/us/album/let-me-go/1531051491\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’An G\u003c/a>, a Berkeley rapper and producer whose \u003cem>Let Me Go\u003c/em> positions her as a multifaceted artist to watch. In an era where a “scam or be scammed” philosophy seems to touch all aspects of American culture, Shy’An G raps with a refreshing sincerity about trying to forge an honest path in a broken world. On the project, her rhymes move freely between motivation, social critique and clever witticisms. Thoughtful gems like “Who gets offended by generosity? / Hard work, patience, agility” from the somber, piano-driven “Remember This Day” sit comfortably beside the bass-heavy rambunctiousness of “Don’t Lose Focus” (a standout line: “My grandma in her 80s and she still rock stilettos”). Fans of Rapsody, Noname and Anderson .Paak should add Shy’An G to their collections. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=277021995/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Dougie Stu, \u003cem>Familiar Future\u003c/em> (Ropeadope)\u003c/h2>\n\u003cp>It takes a certain degree of humility to do whatever is necessary to elevate an ensemble’s sound for years before finally taking the helm of your own project. \u003ca href=\"https://dougiestu.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Stuart\u003c/a> has been that humble sideman, a vital bass and keyboard player on some of the Bay Area’s best and most eclectic acts: Bells Atlas, Meernaa, Brijean and astronauts, etc. On \u003cem>Familiar Future\u003c/em>, his debut as Dougie Stu, we see the crowning moment the multi-instrumentalist and composer has been working towards.\u003c/p>\n\u003cp>A cool and collected free jazz exploration with Stuart as bandleader, \u003cem>Familiar Future\u003c/em> calls upon a diverse cast of stellar musicians to enact his vision. “Henny” feels deftly inspired by Bob James’s iconic “Nautilus,” with Stuart’s far-out bass dancing alongside Jeff Parker’s guitar, Hamir Atwal’s jazzy drums, Rob Shelton’s hazy Korg synth and the violin/cello combo of Shaina Evoniuk and Crystal Pascucci. “BB’s Birthday” shines as Stuart’s finest arrangement, with Marcus Stephans’ flute and Brijean Murphy’s congas taking us into space. As its title suggests, \u003cem>Familiar Future\u003c/em> is an album about knowing where the road goes but biding your time to strike at the right moment. Stuart and his players have found it. \u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/enlighten-the-night/1518607463\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Mahsa Vahdat, \u003cem>Enlighten the Night\u003c/em> (Six Degrees Records)\u003c/h2>\n\u003cp>Unable to pursue her career in Iran, where women vocalists are largely banned from performing solo in public, Mahsa Vahdat has found a place to thrive in the Bay Area. Last year she and her sister, vocalist Marjan Vahdat, collaborated with Kronos Quartet on a gorgeous album exploring themes of displacement and exile, \u003cem>Placeless\u003c/em>. Living in Berkeley with her husband, multi-instrumentalist and arranger Atabak Elyasi, she crafted a breathtaking collection of new songs on \u003cem>Enlighten the Night\u003c/em>. While working mostly within classical Persian modes, she weaves a numinous musical mélange with the Norwegian jazz trio of pianist Tord Gustavsen, bassist Gjermund Silset and drummer Kenneth Ekornes. Her compositions illuminate the work of beloved Persian poets like Rumi, Hafez and Omar Khayyam while also drawing on essential 20th-century Iranian writers like Nimā Yushij and Mohammad Ebrahim Jafari, the great poet and painter who provides the words for the quietly ecstatic opening piece “The Act of Freedom.” \u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=983504168/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>The Seshen, \u003cem>CYAN\u003c/em> (Tru Thoughts)\u003c/h2>\n\u003cp>It feels like an eternity ago when \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a> debuted the \u003ca href=\"https://youtu.be/lR7AmjLCnWk\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> to accompany the release of their third LP, \u003cem>CYAN\u003c/em>, at San Francisco’s Rickshaw Stop in late February. Lead singer Lalin St. Juste appeared equal parts raw, hopeful, emotive and mystical in the film. She seemed both at peace and nearly coming apart at the seams at the foot of the ocean’s crashing waves. \u003cem>CYAN\u003c/em> explores the many dimensions of depression, and today it feels prescient considering St. Juste is not alone in taking a long hard look at ourselves and what the heck is happening around us. The album jostles us gently on the synth pop swing of “Close Your Eyes,” and comforts us with the sea foam-like rhythm of “Faster Than Before” and hypnotic depths of “Still Dreaming.” Producer Akiyoshi Ehara sets up canvases for us to splash into like gooey oil paints as we navigate through St. Juste’s elegant neo-R&B delivery. The album’s moments of beauty recall that late-February night show, when we had no idea what was about to hit us. \u003cem>—A.S.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2886199336/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Ismay, \u003cem>Songs of Sonoma Mountain\u003c/em> (Ismay Music)\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In 2017, something spared Petaluma from the fires. It wasn’t a first responder, a quick-thinking housemate or even a sign from above. Sonoma Mountain, where songwriter \u003ca href=\"https://www.ismaymusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Avery Hellman\u003c/a> lives on a ranch, seems to have protected the North Bay town: Fires have a hard time descending downhill, and Petaluma contains less fast-burning vegetation than surrounding areas, which bought firefighters time. Hellman’s debut full-length album, recorded under their folk project Ismay, is set on Sonoma Mountain, and spends its eight tracks saying thank you to the land. Opener “A Song in Praise of Sonoma Mountain” imagines the flora and fauna of the ranch singing their own expressions of joy, while “When I Was Younger I Cried” uses river rocks and mountain sides as metaphors for gender identity. It’s an utterly lovely feat of folk imbued with gentle gratitude for Northern California. \u003cem>—Jody Amable\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"2020 threw us for a loop. Here’s the music that kept us afloat through it all. ","status":"publish","parent":0,"modified":1705019760,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=3156800882/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://embed.music.apple.com/us/album/murder-weapon/1498266889","https://bandcamp.com/EmbeddedPlayer/album=202612447/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1015931905/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=676995628/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://embed.music.apple.com/us/album/let-me-go/1531051491","https://bandcamp.com/EmbeddedPlayer/album=277021995/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://embed.music.apple.com/us/album/enlighten-the-night/1518607463","https://bandcamp.com/EmbeddedPlayer/album=983504168/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=2886199336/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":2092},"headData":{"title":"The 10 Best Bay Area Albums of 2020 | KQED","description":"2020 threw us for a loop. Here’s the music that kept us afloat through it all. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2020","datePublished":"2020-12-08T19:33:30.000Z","dateModified":"2024-01-12T00:36:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2020 in Review","sourceUrl":"https://www.kqed.org/2020inreview","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13890048/the-10-best-bay-area-albums-of-2020","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>2020 threw the music industry for a loop. So many listeners said they had a hard time keeping up with new releases. Instead, old favorites became their emotional-support companions as they navigated a completely new reality. The artists themselves also had to make difficult adjustments: many asked themselves whether it was worth it to drop projects they recorded in the before-times. Were songs about pre-pandemic life still relevant? Did fans want music that reflected what was going on in the world or an escape?\u003c/p>\n\u003cp>As the year progressed, the answer proved to be a combination of both. Some of our favorite music gave us catharsis, some reflected our pain and some offered a joyful vision of what’s possible.\u003c/p>\n\u003cp>Below, KQED Arts & Culture contributors give us their top Bay Area albums of the year. Whether you’re into rap, indie rock, classical, jazz, folk or pop, there’s something for you on this list.\u003c/p>\n\u003cp>And, it’s worth noting, independent artists are cut off from touring and need our financial support now more than ever. So if you like what you hear, consider buying it on Bandcamp or iTunes. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3156800882/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"https://thaoandthegetdownstaydown.bandcamp.com/album/temple\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Thao & The Get Down Stay Down, \u003cem>Temple\u003c/em> (Ribbon Music)\u003c/h2>\n\u003cp>We children of immigrants carry the weight of our parents’ struggles on our shoulders; they sacrificed so much, so we feel the pressure to repay them by achieving the American dream. \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thao Nguyen\u003c/a> flips the narrative with her piercing howl on the title track of \u003cem>Temple\u003c/em>, where she writes from the perspective of her mother, who fled Vietnam as a war refugee. With lyrics like “I lost my city in the light of day / Thick smoke and helicopter blades,” the punchy dance-rock track creates images of destruction, loss, survival and hope so visceral, they send chills. It’s a theme especially resonant during a year filled with a different kind of grief, where many of us have had to say goodbye to loved ones and old ways of life. \u003cem>Temple\u003c/em>’s hard, driving rhythms and fuzzed-out guitars give voice to necessary conversations about immigration, queerness and the quest to live fully in one’s power. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/murder-weapon/1498266889\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>The Jacka, \u003cem>Murder Weapon\u003c/em> (The Artist Records/EMPIRE)\u003c/h2>\n\u003cp>After Dominick “The Jacka” Newton was killed in 2015, his manager PK pieced together old recordings for his posthumous album, \u003ca href=\"https://music.apple.com/us/album/murder-weapon/1498266889\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Murder Weapon\u003c/em>\u003c/a>. Although \u003cem>Murder Weapon\u003c/em> was recorded over the span of a few years, it still sounds current. It might help that it features well-known lyricists Styles P, Curren$y and Grammy nominee Freddie Gibbs, as well as The Jacka’s long-time collaborators Husalah, Rydah J. Klyde and producer RobLo.\u003c/p>\n\u003cp>The album is full of heavy bass lines and the gangsta-lifestyle lyrics you’d expect from The Jacka. There are references to drug consumption and distribution on “They Know What This Is” (featuring Paul Wall and Boo Banga) and evidence of extraterrestrial life on “Ancient Astronaut” (featuring Killah Priest). “We Outside,” a standout track with a catchy hook sung by what sounds like a chorus of children, is a bit ironic for 2020—but keep in mind it was released before shelter-in-place orders came down. When the Pittsburg-based MC drops the biographical bar, “Love me cause I’m gangsta, but I’m really trying to teach Islam,” I was reminded of my appreciation for an artist who so passionately balanced his human flaws and religious beliefs. \u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=202612447/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Discos Resaca Collective and Mariposas Del Alma, \u003cem>Y Te Cuento\u003c/em> (self-released)\u003c/h2>\n\u003cp>The first full-length album from cumbia collective \u003ca href=\"https://www.discosresaca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Discos Resaca\u003c/a> is a masterclass in what makes the Bay Area yell, “Wepa!” \u003cem>Y Te Cuento\u003c/em> (\u003cem>And I’ll Tell You\u003c/em>) melds traditional cumbias from Central and South America with hip-hop and oldies to create a sound that’s powerful in its imagery and danceability. Hometown party anthems like “Cumbia de San Jose” tell the story of the local South Bay scene, while “Chupacabra” and “Se Va El Agua” employ the evocative storytelling traditions of cumbia.\u003c/p>\n\u003cp>Resaca cool things down on the album’s title track, a pensive tribute to lost loved ones, and on the DJ favorite “I Love You For All Seasons,” a mid-tempo cumbia sung by three Oakland sisters known as \u003ca href=\"https://mariposasdelalma.bandcamp.com/album/la-morena-sonidera-la-oaklandesa\" target=\"_blank\" rel=\"noopener noreferrer\">Mariposas Del Alma\u003c/a>. The collective features accordion master Ivan Flores, percussionist Wilson Posada, conguero Pedro Rosales, producer Xian Ballesteros and guitarists Fabian Martinez and Erik Molina, in collaboration with rapper Deuce Eclipse and Philthy Dronez. \u003cem>—Jessica Lipsky\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1015931905/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>James Wavey, \u003cem>Babe\u003c/em> (self-released)\u003c/h2>\n\u003cp>The 2020 release \u003cem>Babe\u003c/em> from Oakland-based rapper and producer \u003ca href=\"https://alleyesmanifest.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">James Wavey\u003c/a>, a.k.a. Alleyes Manifest, takes the listener on a smooth, sonic journey through blurred genre barriers, like a vintage mixtape that flows in fun and unpredictable ways. The project calls to mind snippets of lowrider oldies, Stax Records classics from RZA’s \u003cem>Shaolin Soul Selection\u003c/em>, nu-jazz and hip-hop. Wavey suavely layers his verses over warm samples warped with reverb and delay. The result is a catchy and soulful album presented in 10 short but flavorful tracks that are perfect for solo kitchen dance parties. \u003cem>—Masha Pershay\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=676995628/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kronos Quartet, \u003cem>Long Time Passing: Kronos Quartet and Friends Celebrate Pete Seeger\u003c/em> (Smithsonian Folkways Recordings)\u003c/h2>\n\u003cp>At a time when this country seems to be closing in on itself, the \u003ca href=\"https://kronosquartet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a>’s careening exploration of the music and ideas of great American folk bard Pete Seeger opens up possibilities. The ever-peripatetic San Francisco string quartet has a knack for collaborating with some of the world’s most interesting musicians. \u003cem>Long Time Passing\u003c/em> enables us to listen to even the most picked-over songs from the Seeger cannon—“If I Had a Hammer,” “We Shall Overcome”—in a way that feels both edgy and comforting.\u003c/p>\n\u003cp>The album approaches transcendence not with these lovely covers of Seeger’s songs, but rather with a pair of contemporary, original tracks inspired by Seeger’s life. San Francisco born-and-raised composer Jacob Garchik’s spiraling “Storyteller” weaves snippets of Seeger’s singing and speaking voice, riffing on subjects as varied as his work with ethnomusicologist Alan Lomax and Marlene Dietrich’s German-language take on “Where Have All the Flowers Gone?” (“Sag’ mir, wo die Blumen sind”). And the version of folksinger Zoe Mulford’s “The President Sang Amazing Grace,” which singer Meklit performs with quiet intensity above long, spartan string chords, recalls what it means to be human in the face of disaster. \u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/let-me-go/1531051491\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Shy’An G, \u003cem>Let Me Go\u003c/em> (STP)\u003c/h2>\n\u003cp>If you prefer a more lyrical flavor of hip-hop, look no further than \u003ca href=\"https://music.apple.com/us/album/let-me-go/1531051491\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’An G\u003c/a>, a Berkeley rapper and producer whose \u003cem>Let Me Go\u003c/em> positions her as a multifaceted artist to watch. In an era where a “scam or be scammed” philosophy seems to touch all aspects of American culture, Shy’An G raps with a refreshing sincerity about trying to forge an honest path in a broken world. On the project, her rhymes move freely between motivation, social critique and clever witticisms. Thoughtful gems like “Who gets offended by generosity? / Hard work, patience, agility” from the somber, piano-driven “Remember This Day” sit comfortably beside the bass-heavy rambunctiousness of “Don’t Lose Focus” (a standout line: “My grandma in her 80s and she still rock stilettos”). Fans of Rapsody, Noname and Anderson .Paak should add Shy’An G to their collections. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=277021995/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Dougie Stu, \u003cem>Familiar Future\u003c/em> (Ropeadope)\u003c/h2>\n\u003cp>It takes a certain degree of humility to do whatever is necessary to elevate an ensemble’s sound for years before finally taking the helm of your own project. \u003ca href=\"https://dougiestu.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Stuart\u003c/a> has been that humble sideman, a vital bass and keyboard player on some of the Bay Area’s best and most eclectic acts: Bells Atlas, Meernaa, Brijean and astronauts, etc. On \u003cem>Familiar Future\u003c/em>, his debut as Dougie Stu, we see the crowning moment the multi-instrumentalist and composer has been working towards.\u003c/p>\n\u003cp>A cool and collected free jazz exploration with Stuart as bandleader, \u003cem>Familiar Future\u003c/em> calls upon a diverse cast of stellar musicians to enact his vision. “Henny” feels deftly inspired by Bob James’s iconic “Nautilus,” with Stuart’s far-out bass dancing alongside Jeff Parker’s guitar, Hamir Atwal’s jazzy drums, Rob Shelton’s hazy Korg synth and the violin/cello combo of Shaina Evoniuk and Crystal Pascucci. “BB’s Birthday” shines as Stuart’s finest arrangement, with Marcus Stephans’ flute and Brijean Murphy’s congas taking us into space. As its title suggests, \u003cem>Familiar Future\u003c/em> is an album about knowing where the road goes but biding your time to strike at the right moment. Stuart and his players have found it. \u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/enlighten-the-night/1518607463\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Mahsa Vahdat, \u003cem>Enlighten the Night\u003c/em> (Six Degrees Records)\u003c/h2>\n\u003cp>Unable to pursue her career in Iran, where women vocalists are largely banned from performing solo in public, Mahsa Vahdat has found a place to thrive in the Bay Area. Last year she and her sister, vocalist Marjan Vahdat, collaborated with Kronos Quartet on a gorgeous album exploring themes of displacement and exile, \u003cem>Placeless\u003c/em>. Living in Berkeley with her husband, multi-instrumentalist and arranger Atabak Elyasi, she crafted a breathtaking collection of new songs on \u003cem>Enlighten the Night\u003c/em>. While working mostly within classical Persian modes, she weaves a numinous musical mélange with the Norwegian jazz trio of pianist Tord Gustavsen, bassist Gjermund Silset and drummer Kenneth Ekornes. Her compositions illuminate the work of beloved Persian poets like Rumi, Hafez and Omar Khayyam while also drawing on essential 20th-century Iranian writers like Nimā Yushij and Mohammad Ebrahim Jafari, the great poet and painter who provides the words for the quietly ecstatic opening piece “The Act of Freedom.” \u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=983504168/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>The Seshen, \u003cem>CYAN\u003c/em> (Tru Thoughts)\u003c/h2>\n\u003cp>It feels like an eternity ago when \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a> debuted the \u003ca href=\"https://youtu.be/lR7AmjLCnWk\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> to accompany the release of their third LP, \u003cem>CYAN\u003c/em>, at San Francisco’s Rickshaw Stop in late February. Lead singer Lalin St. Juste appeared equal parts raw, hopeful, emotive and mystical in the film. She seemed both at peace and nearly coming apart at the seams at the foot of the ocean’s crashing waves. \u003cem>CYAN\u003c/em> explores the many dimensions of depression, and today it feels prescient considering St. Juste is not alone in taking a long hard look at ourselves and what the heck is happening around us. The album jostles us gently on the synth pop swing of “Close Your Eyes,” and comforts us with the sea foam-like rhythm of “Faster Than Before” and hypnotic depths of “Still Dreaming.” Producer Akiyoshi Ehara sets up canvases for us to splash into like gooey oil paints as we navigate through St. Juste’s elegant neo-R&B delivery. The album’s moments of beauty recall that late-February night show, when we had no idea what was about to hit us. \u003cem>—A.S.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2886199336/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Ismay, \u003cem>Songs of Sonoma Mountain\u003c/em> (Ismay Music)\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2017, something spared Petaluma from the fires. It wasn’t a first responder, a quick-thinking housemate or even a sign from above. Sonoma Mountain, where songwriter \u003ca href=\"https://www.ismaymusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Avery Hellman\u003c/a> lives on a ranch, seems to have protected the North Bay town: Fires have a hard time descending downhill, and Petaluma contains less fast-burning vegetation than surrounding areas, which bought firefighters time. Hellman’s debut full-length album, recorded under their folk project Ismay, is set on Sonoma Mountain, and spends its eight tracks saying thank you to the land. Opener “A Song in Praise of Sonoma Mountain” imagines the flora and fauna of the ranch singing their own expressions of joy, while “When I Was Younger I Cried” uses river rocks and mountain sides as metaphors for gender identity. It’s an utterly lovely feat of folk imbued with gentle gratitude for Northern California. \u003cem>—Jody Amable\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13890048/the-10-best-bay-area-albums-of-2020","authors":["92"],"categories":["arts_1"],"tags":["arts_12958","arts_10342","arts_10278","arts_831","arts_2244","arts_6500","arts_3973"],"featImg":"arts_13890079","label":"source_arts_13890048"},"arts_13875813":{"type":"posts","id":"arts_13875813","meta":{"index":"posts_1591205157","site":"arts","id":"13875813","score":null,"sort":[1583179548000]},"guestAuthors":[],"slug":"photos-noise-pop-2020-offered-an-exhilarating-mix-of-stars-and-underground-acts-alike","title":"PHOTOS: Noise Pop 2020 Offered an Exhilarating Mix of Stars and Underground Acts Alike","publishDate":1583179548,"format":"standard","headTitle":"PHOTOS: Noise Pop 2020 Offered an Exhilarating Mix of Stars and Underground Acts Alike | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>What started as a $5 indie rock gig in 1993 has since evolved into a week-long, diverse festival celebrating independent music.\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://www.noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a>, which ran from Feb. 24 to March 1, included dozens of touring acts and more than 70 local artists. It stretched across big and small venues all over the Bay Area (including a new four-night series at SFJAZZ), and extended to Sacramento and Santa Cruz.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">Raphael Saadiq\u003c/a> put on a fiery hometown show on Feb. 28 at Oakland’s Fox Theater, and it was one of the festival’s biggest highlights. Playing guitar and piano, and sharing stories from his childhood in Oakland, Saadiq managed to make the sold-out concert feel like an intimate house show while delivering hit after hit.\u003c/p>\n\u003cp>Known for encouraging music discovery, Noise Pop continued its tradition of pairing artists in new, exciting ways. Emily Afton’s indie-rock ballads and \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>’s hip-hop vocals were a fitting introduction on Feb. 27 for fans of The Seshen, a six-piece band that hybridizes the two styles, mixing in a little Latin flavor. On Feb. 26, the crowd at Great American Music Hall swooned over Angelica Garcia’s delicate yet soulful pop songs. Drawing from classical singing and opera, she transfixed the crowd before headliner Helado Negro hit the stage.\u003c/p>\n\u003cp>Post-punk quartet Mannequin Pussy put on a mosh pit-worthy performance at the Regency Ballroom on Feb. 29, which contrasted with \u003ca href=\"//6\">Best Coast\u003c/a>’s soft, heartfelt songs off of the band’s new album \u003cem>Always Tomorrow\u003c/em>, about finding positivity during dark times.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See our photos with highlights from Noise Pop 2020 below.\u003c/p>\n\u003cfigure id=\"attachment_13875764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7488-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raphael Saadiq headlines the Fox Theater in Oakland on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7661-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Fox Theater in Oakland during night five of the Noise Pop Music and Art Festival on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8090-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Best Coast Headlines night six of the Noise Pop Music and Arts Festival at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8131-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875782\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875782\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8004-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mannequin Pussy play night six of the Noise Pop Music and Arts Festival at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7415-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Seshen headline the Rickshaw Stop on night four of the Noise Pop Music and Art Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7238-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mahawam plays at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7096-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helado Negro backstage at the Great American Music Hall on Wednesday, Feb. 26, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7150-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helado Negro plays a sold out show the Great American Music Hall during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 26, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7204-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Afton backstage at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7259-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Afton plays at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875794\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875794\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Velvet Negroni performs among festival attendees at the Starline Social Club on Tuesday, Feb. 25, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7840-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7685-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls backstage at Cafe du Nord during night five of the Noise Pop Music and Art Festival on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7882-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Holmes plays night six of the Noise Pop Music and Arts Festival at the Swedish American Hall on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"The festival activated intimate clubs and big venues, bringing stars like Raphael Saadiq and Best Coast together with a variety of buzzworthy acts.","status":"publish","parent":0,"modified":1705021190,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":584},"headData":{"title":"PHOTOS: Noise Pop 2020 Offered an Exhilarating Mix of Stars and Underground Acts Alike | KQED","description":"The festival activated intimate clubs and big venues, bringing stars like Raphael Saadiq and Best Coast together with a variety of buzzworthy acts.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"PHOTOS: Noise Pop 2020 Offered an Exhilarating Mix of Stars and Underground Acts Alike","datePublished":"2020-03-02T20:05:48.000Z","dateModified":"2024-01-12T00:59:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Estefany Gonzalez","templateType":"standard","featuredImageType":"standard","path":"/arts/13875813/photos-noise-pop-2020-offered-an-exhilarating-mix-of-stars-and-underground-acts-alike","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>What started as a $5 indie rock gig in 1993 has since evolved into a week-long, diverse festival celebrating independent music.\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://www.noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a>, which ran from Feb. 24 to March 1, included dozens of touring acts and more than 70 local artists. It stretched across big and small venues all over the Bay Area (including a new four-night series at SFJAZZ), and extended to Sacramento and Santa Cruz.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">Raphael Saadiq\u003c/a> put on a fiery hometown show on Feb. 28 at Oakland’s Fox Theater, and it was one of the festival’s biggest highlights. Playing guitar and piano, and sharing stories from his childhood in Oakland, Saadiq managed to make the sold-out concert feel like an intimate house show while delivering hit after hit.\u003c/p>\n\u003cp>Known for encouraging music discovery, Noise Pop continued its tradition of pairing artists in new, exciting ways. Emily Afton’s indie-rock ballads and \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>’s hip-hop vocals were a fitting introduction on Feb. 27 for fans of The Seshen, a six-piece band that hybridizes the two styles, mixing in a little Latin flavor. On Feb. 26, the crowd at Great American Music Hall swooned over Angelica Garcia’s delicate yet soulful pop songs. Drawing from classical singing and opera, she transfixed the crowd before headliner Helado Negro hit the stage.\u003c/p>\n\u003cp>Post-punk quartet Mannequin Pussy put on a mosh pit-worthy performance at the Regency Ballroom on Feb. 29, which contrasted with \u003ca href=\"//6\">Best Coast\u003c/a>’s soft, heartfelt songs off of the band’s new album \u003cem>Always Tomorrow\u003c/em>, about finding positivity during dark times.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See our photos with highlights from Noise Pop 2020 below.\u003c/p>\n\u003cfigure id=\"attachment_13875764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7488-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raphael Saadiq headlines the Fox Theater in Oakland on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7661-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Fox Theater in Oakland during night five of the Noise Pop Music and Art Festival on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8090-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Best Coast Headlines night six of the Noise Pop Music and Arts Festival at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8131-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875782\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875782\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8004-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mannequin Pussy play night six of the Noise Pop Music and Arts Festival at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7415-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Seshen headline the Rickshaw Stop on night four of the Noise Pop Music and Art Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7238-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mahawam plays at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7096-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helado Negro backstage at the Great American Music Hall on Wednesday, Feb. 26, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7150-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helado Negro plays a sold out show the Great American Music Hall during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 26, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7204-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Afton backstage at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7259-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Afton plays at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875794\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875794\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Velvet Negroni performs among festival attendees at the Starline Social Club on Tuesday, Feb. 25, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7840-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7685-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls backstage at Cafe du Nord during night five of the Noise Pop Music and Art Festival on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7882-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Holmes plays night six of the Noise Pop Music and Arts Festival at the Swedish American Hall on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13875813/photos-noise-pop-2020-offered-an-exhilarating-mix-of-stars-and-underground-acts-alike","authors":["byline_arts_13875813"],"categories":["arts_69"],"tags":["arts_1118","arts_21788","arts_1694","arts_924","arts_3973"],"featImg":"arts_13875749","label":"arts"},"arts_13871739":{"type":"posts","id":"arts_13871739","meta":{"index":"posts_1591205157","site":"arts","id":"13871739","score":null,"sort":[1576717114000]},"guestAuthors":[],"slug":"the-best-bay-area-albums-of-the-2010s","title":"The Best Bay Area Albums of the 2010s","publishDate":1576717114,"format":"aside","headTitle":"The Best Bay Area Albums of the 2010s | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\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=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\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=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\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=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\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=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\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=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\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=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\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=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\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=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\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=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\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=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\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=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\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=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n","blocks":[],"excerpt":"Our music editor humbly offers 20 of the most memorable and impactful local albums of the decade.","status":"publish","parent":0,"modified":1705021644,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":44,"wordCount":2078},"headData":{"title":"The Best Bay Area Albums of the 2010s | KQED","description":"Our music editor humbly offers 20 of the most memorable and impactful local albums of the decade.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Best Bay Area Albums of the 2010s","datePublished":"2019-12-19T00:58:34.000Z","dateModified":"2024-01-12T01:07:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13871739/the-best-bay-area-albums-of-the-2010s","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\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=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\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>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\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=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\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=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\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=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\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=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\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=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\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=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\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=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\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=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\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=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\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=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\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=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13871739/the-best-bay-area-albums-of-the-2010s","authors":["11387"],"categories":["arts_69","arts_235"],"tags":["arts_1501","arts_1588","arts_1118","arts_831","arts_21788","arts_1420","arts_1558","arts_1829","arts_2244","arts_1803","arts_1723","arts_3823","arts_2623","arts_2021","arts_9344","arts_3973"],"featImg":"arts_13933782","label":"arts"},"arts_13824581":{"type":"posts","id":"arts_13824581","meta":{"index":"posts_1591205157","site":"arts","id":"13824581","score":null,"sort":[1518650324000]},"guestAuthors":[],"slug":"all-welcome-at-a-parade-of-black-joy-in-oakland","title":"All Welcome at a Parade of Black Joy in Oakland","publishDate":1518650324,"format":"standard","headTitle":"All Welcome at a Parade of Black Joy in Oakland | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>What better way to celebrate Black History Month in the Bay Area than participating in Oakland’s first annual Black Joy Parade? Founder Elisha Greenwell says black people gather often to resist, but not nearly enough to celebrate. \u003c/p>\n\u003cp>“It’s heavy to resist all the time,” she told us. “I just want to spend one day where there’s nothing to push up against. It’s purely just about celebrating whoever you already are and will be.”\u003c/p>\n\u003cp>The parade route runs from 14th and Alice Streets to Broadway and Berkeley L. Thomas Way. At the end, the parade becomes a “hyper-positive,” family-friendly celebration featuring food trucks, black artists, and a performance by The Seshen, a terrific R&B band. And it’s all for free. Also, just because it’s called “Black Joy” doesn’t mean it’s exclusionary — Greenwell emphasized that anyone of any race is welcome, “as long as you’re an ally.” My co-host Jamedra Brown Fleischman is bringing her kids and husband. The parade begins at 12:30pm on Sunday, Feb. 25, and more information can be seen \u003ca href=\"https://www.blackjoyparade.org/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=4&v=IC2_N3uscug\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A parade celebrating black joy comes to Oakland Feb. 25 as Black History draws to a close","status":"publish","parent":0,"modified":1705028496,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":220},"headData":{"title":"All Welcome at a Parade of Black Joy in Oakland | KQED","description":"A parade celebrating black joy comes to Oakland Feb. 25 as Black History draws to a close","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"All Welcome at a Parade of Black Joy in Oakland","datePublished":"2018-02-14T23:18:44.000Z","dateModified":"2024-01-12T03:01:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13824581/all-welcome-at-a-parade-of-black-joy-in-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>What better way to celebrate Black History Month in the Bay Area than participating in Oakland’s first annual Black Joy Parade? Founder Elisha Greenwell says black people gather often to resist, but not nearly enough to celebrate. \u003c/p>\n\u003cp>“It’s heavy to resist all the time,” she told us. “I just want to spend one day where there’s nothing to push up against. It’s purely just about celebrating whoever you already are and will be.”\u003c/p>\n\u003cp>The parade route runs from 14th and Alice Streets to Broadway and Berkeley L. Thomas Way. At the end, the parade becomes a “hyper-positive,” family-friendly celebration featuring food trucks, black artists, and a performance by The Seshen, a terrific R&B band. And it’s all for free. Also, just because it’s called “Black Joy” doesn’t mean it’s exclusionary — Greenwell emphasized that anyone of any race is welcome, “as long as you’re an ally.” My co-host Jamedra Brown Fleischman is bringing her kids and husband. The parade begins at 12:30pm on Sunday, Feb. 25, and more information can be seen \u003ca href=\"https://www.blackjoyparade.org/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \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/IC2_N3uscug'\n title='//www.youtube.com/embed/IC2_N3uscug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13824581/all-welcome-at-a-parade-of-black-joy-in-oakland","authors":["32"],"programs":["arts_140"],"categories":["arts_835","arts_69","arts_75"],"tags":["arts_3972","arts_1006","arts_596","arts_1143","arts_3974","arts_3973"],"featImg":"arts_13824594","label":"arts_140"}},"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. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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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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For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.","airtime":"SAT 4pm-5pm","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png","officialWebsiteLink":"https://www.revealnews.org/episodes/","meta":{"site":"news","source":"npr"},"link":"/radio/program/reveal","subscribe":{"apple":"https://itunes.apple.com/us/podcast/reveal/id886009669","tuneIn":"https://tunein.com/radio/Reveal-p679597/","rss":"http://feeds.revealradio.org/revealpodcast"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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