It’s here! All the best music from the Bay Area in 2024. Or at least the best of everything we listened to (there was a lot).
In this first of four parts, we’ve got selections from the likes of Asha Wells, Bastiengoat, Bored Lord, Chrissy, Cone Shape Top, and Fake Fruit, spanning a wide spectrum of sounds – noise machine metropolises, uplifting and joyous house music, glittery jangle pop, psychedelic salsa, indie electronic stylings, and more.
Affectionately – “Your Life Is the Wheel”
Not yet reviewed by White Crate.
GENRES: rock, garage, indie
Albert Yeh – Motors/Pulses
“Inspired by the age of accelerationism, the rapid rise of machine led processes, the inevitable breakdown of organic functions.”
An amorphous, dark ambient affair, Motors/Pulses is the second full-length album by Albert Yeh, marking the artist’s debut on LA imprint Dragon’s Eye Recordings. Carefully crafted with the close attention of human touch, yet through electronics erecting an imaginary metropolis of machine and noise, it is like an alien museum piece, sparking wonder, curiosity, and even a little fear.
The album exhibits its full spectrum of sound in the first two tracks, sharply veering from the slow-motion dread tones of the opener “Exordium” into wild skittering and pulsing synthesizers on “The Tempest.” There are brief reprieves: Halfway through the album (“among the grains and the waves…”), a classical guitar lullaby channels gentle warmth. And a gorgeous solo piano piece (“Clausula”) closes the album. But otherwise, the album is uneasy listening—unsurprising given the themes Yeh chooses to explore—but essential for seekers of art truthfully reflecting the world.
— Ronny Kerr
Artelia Green – In No Particular Order
Not yet reviewed by White Crate.
GENRES: alternative, gospel, hip hop
Asha Wells – Tears of a Clown
Not yet reviewed by White Crate.
GENRES: alternative, indie, folk
August Lee Stevens – Better Places
Not yet reviewed by White Crate.
GENRES: alternative, neo soul, pop
Bastiengoat – Endogenous
Not yet reviewed by White Crate.
GENRES: electronic, juke, bass
Bill Orcutt – The Four Louies
Not yet reviewed by White Crate.
GENRES: experimental, minimalism, rock
Blaine Todd – Goodbye ‘Til I Do Good by You
Not yet reviewed by White Crate.
GENRES: americana, experimental, folk
Bored Lord – New Moon Ritual to Protect Against Medical Transphobia
“This mix is dedicated to the trans angels all over the earth. As fascism grows bolder by the day, remember that we have always been here and always will be. No amount of violence, suppression, or systemic oppression will stop us.” — Bored Lord
Even though we’re three months late to this one, the time is still right because we’re back in the same lunar phase: New Moon Ritual to Protect Against Medical Transphobia is a 78-minute mix by Bored Lord fluidly gliding through vast, pulsing waves of deep house. Mixed in the name of trans rights—and dedicated to everyone who has to deal with the healthcare complex and other oppressive systems of the status quo—the Bandcamp and cassette-only release is uplifting and joyous, groovy and seductive, potent and satisfying. And it’s a great mix to revisit for those who can’t get enough of Bored Lord’s last single “Like a Summer” (via no Bias), featuring her wife Jaelynn Walls.
The all-vinyl mix is the third release by Deep Listening Experience, a multidisciplinary project by Sasha Fuentes that “focuses on archiving and honoring POC art and artists that have shaped their life and practice.”
— Ronny Kerr
Carlos Niño, Idris Ackamoor, Nate Mercereau – Free, Dancing…
Assembled from material recorded in 2022 and 2023, Free, Dancing… is the first release by Carlos Niño, Idris Ackamoor, and Nate Mercereau. Depending on which circles you run in, any of these names could be well-known to you. Carlos Niño rapidly rose into the mainstream in November simply by virtue of having co-produced André 3000’s solo album debut New Blue Sun. Idris Ackamoor is a multi-decade legend from the SF jazz scene, and with his shapeshifting group The Pyramids in 2023 released one of our favorite Bay Area albums of the year, Afro Futuristic Dreams. And Nate Mercereau, some will recall, famously recorded a “duet” with the howling Golden Gate Bridge during the pandemic.
An amalgamation of experimental ambient jazz—it’s okay, “new age” isn’t an insult anymore—Free, Dancing… compiles material from the trio’s first three meetings (in Suisun Valley and San Francisco, including their performance at SFJAZZ last year for Noise Pop Fest). Brian Eno famously defined “ambient” music in 1978 as being “as ignorable as it is interesting,” and so the music here is possibly anti-ambient. It cannot be ignored. Because it’s not just interesting, it’s totally alive. Feathers waving, cymbals and bells shuddering beneath wailing sax, droning synth and electric guitar bellowing below, above, and through it all. The musicians are friends and they are making this music in the moment, with no agenda, and yet with full intention. And that’s what it sounds like.
— Ronny Kerr
Chime School – The Boy Who Ran the Paisley Hotel
“Why shouldn’t everything sparkle?”
Chime School’s The Boy Who Ran The Paisley Hotel begs this question. The sophomore full-length from the Slumberland jangle pop masters glitters in every way, from the brightly layered guitars to the infectious melodies to the nostalgic imagery. It feels like a sunny day.
Andy Pastalaniec, the creative driver of SF-based Chime School, is an inspirational force in the rich DIY landscape of Bay Area bands. Written, recorded, and produced by Pastalaniec in his home studio, The Boy Who Ran The Paisley Hotel attains an impressive level of production. Every sonic element (blistering drums, sparkling guitars, attractive harmonies, melodic bass) supports the expertly crafted songs, and the polish only helps the details stand out more. Bass doubling the vocal line, tambourine hits, organ! Chime School serves up craftsmanship and care—and leaves you wanting more.
— Ainsley Wagoner
Chrissy ft. Carrie Wilds – “Things Can’t Go On Like This Forever”
“Like a facsimile of the late 1980s house/freestyle record that you never owned”
Freestyle heads rejoice: SF producer and DJ Chrissy took a brief step back from slanging other artist’s dance bangers on his label Maximum Airtime (just launched last year) to deliver juiced up throwback “Things Can’t Go on Like This Forever.” Featuring pleading, powered up vocals by Carrie Wilds, the club-ready track comes in both classic Chicago house and Latin freestyle flavors, each one scratching the itch for old-school dance fans. Stabby synths, throbbing bass, and that mind-elevating voice: It will be a thing of beauty on the dancefloor. The release also includes Gerd Janson’s remix of “So I Go Dancing,” a Chrissy track from 2019.
— Ronny Kerr
Combo Tezeta – “Ritmo Interestelar”
“When we went to Mexico, we gained a sort of reputation. ‘The Discodelics are the crazy ones who go around the world looking for strange discos.’” — Ruben “Ruffy” Rangel, co-founder of Discodelic, in KQED
Nice to see that the Discodelic crew didn’t have to travel too far to find their latest prize. With a pair of hella delightful and danceable música tropical songs, Bay Area septet Combo Tezeta lands on Discodelic with a limited edition single: “Ritmo Interestelar” b/w “Condores al Viento” marks the first local artist release for the Mission District-based label.
Everywhere the band goes—Noise Pop Fest, Hardly Strictly Bluegrass, out in the middle of the peninsula redwoods—smiling energetic dance parties erupt, and these newly released recordings show the reason why. True to its name, the first track electrifies with psychedelic salsa, while the flip side drives forward with cutting guitar and maximum rhythm section.
Don’t forget to visit Discodelic at their home in the Mission at 3174 24th St.
— Ronny Kerr
Cone Shape Top Imprint – Cicada
“we are here, we were always here”
Simultaneously an artifact of the past, a piece of the present, and a nod to the future, Cicada is a new compilation of experimental electronic ambient and drone by Cone Shape Top, the boundary-pushing specialty art and music center based in Oakland.
It is a look to the past because the anthology compiles 10 “experimental longform transmissions” by 10 (mostly Bay Area) artists released by CST since the heart of the pandemic in 2020, beginning with an hourlong work by Amma Ateria. It is also situated in the present because—in addition to the previously released pieces by Joel St. Julien, Jerod S. Rivera, Gabby Wen, and IDHAZ—Cicada features two new works: the droning, shape-shifting “Cicada 11” by Oakland cellist transcriptions01 and the twisted string chamber reverie “Cicada 12” by Catalina Africa.
Looking to the future, perhaps most exciting of all is the fact that this release marks the launch of the label Cone Shape Top Imprint. Since 2017, CST has been a purveyor of important though often neglected cultural works, be it rare disco vinyl, rave pamphlets from the 90s, limited release cassettes by unnamed artists, or even one-of-a-kind apparel pieces. The specialty shop and project space operates in the furthest reaches of experimental and underground art, but it’s precisely there where ideas, perspectives, and possibilities are formed; the same ideas, perspectives, and possibilities that later shape the mainstream world we live in. It’s heartening to see CST, with the support of KADIST, expanding its footprint and continuing to provide a platform for experimental artists in the Bay.
— Ronny Kerr
Esotérica Tropical – Esotérica Tropical
Esotérica Tropical, the Latin alternative project of singer-songwriter María José Montijo, debuted this month with a self-titled album described as a collection of love letters to Puerto Rico from the artist’s current home in Oakland. Connecting one homeland to the other, the songs are buoyant, fresh, nourishing, gentle, and jubilant, reflecting the artist’s aim to transform trauma into art. With two decades of experience across a wide range of healing practices—including tai-chi and qi-gong practice, meditation, traditional medicine, and acupuncture—Montijo’s music is infused with intention and spirit.
From the words and sound of the first song “Despierta” (“Wake Up”), for example, the artist offers up gratitude for the sun, the sea, friends, her body, and breath. Then comes “Huracán” (“Hurricane”), addressing “colonialism, vulture capitalism, and femicide” in the wake of Hurricane Maria, the devastating Category 5 hurricane that struck Puerto Rico in 2017. It’s a singular work by a budding artist, creatively blending Latin rhythms and indie electronic stylings in collaboration with many other musicians, including Merrill Garbus of Tune-Yards on “Realismo Mágico.”
— Ronny Kerr
Fake Fruit – Mucho Mistrust
Listening to Fake Fruit’s Mucho Mistrust feels like having the answers. Like even if you are still figuring things out, ultimately you already know.
On their second full-length album, Fake Fruit takes their signature post-punk sound—multi-level guitars, keep-you-on-your toes drumming, D’Amato’s incredible lure-you-out-of-the-house-and-chew-you-up vocal range—and expands, polishes. This is on triumphant display with “Cause of Death,” with the core instrumentation buoyed by a huge bedrock of harmonies and woodwinds.
Fake Fruit’s music is so attractive because they sound fully formed and confident, but their repertoire remains equally dynamic and varied. They nail sassy cynicism while still expressing vulnerability and confusion. They don’t take their audience for granted: Every song is a fresh opportunity to connect and share the successful collaboration that this group embodies. All anyone wants is to do more of what they love, and get better each time, and Fake Fruit shows us how.
— Ainsley Wagoner
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