As if 2009 wasn’t already loaded with enough good music, it seems like artists are making a last minute dash during the past few weeks to get all of their newest singles and tracks onto the Web. Following up to 2009’s critically-acclaimed Animal Collective release of Merriweather Post Pavilion, many artists have been recording their own take of many of the album’s amazing songs.  Sondre Lerche, the Norwegian-born singer/songwriter, recently released his version of “Bluish,” his favorite track off of Merriweather Post Pavilion.  Stripping down the electronica Animal Collective sound to just a guitar and a few random effects, Sondre was able to transform the beauty of this song into something even more relaxing and enjoyable (Hard to believe this was even possible!)

Check out the link below for a MP3 download of the track, which can also be obtained by signing up for Lerche’s mailing list on his website.

MP3 | Sondre Lerche – “Bluish”

via | Stereogum.com

From his “best” list, Sondre has the Animal Collective Meriweather song, “Bluish” on the tippy top. According to the report:

‘And in honor of it (Bluish) touching him so, Sondre’s memorialized his love for the Collective’s love song by bunkering in a Brooklyn basement — armed with just a guitar, a voice, and an honorary late-breaking splash of weirdo effects — to tape a cover for all to enjoy. It’s going out as a Christmas Eve gift to his mailing list tomorrow, but Mr. Lerche’s kindly sharing it with us now, to help all of us get through this last shopping day.(Stereogum)

Sondre’s List for Best 09 Songs:
Bluish – Animal Collective
11th Dimension – Julian Casablancas
Countdown – Phoenix
Deeper Down – Wilco
Laughing With A Mouth Of Blood – St.Vincent
Why Try To Change Me Now – Fiona Apple
Try Sleeping With A Broken Heart – Alicia Keys
Dreams-Come-True-Girl – Cass Macombs
Island, IS – Volcano Choir
She Wolf – Shakira
Hold Time – M.Ward
Another Universe – Golden Silvers
This Tornado Loves You – Neko Case
Mahogany Nights – Loch Ness Mouse
Cornerstone – Arctic Monkeys
Mother Nature Goes To Heaven – A-ha
Southern Point – Grizzly Bear
Introducing Palace Players – Mew
Baby I’m A Fool – Melody Gardot
Fluorescent Half Dome – Dirty Projectors
From Me To You and You To Me – JBM
The Airport Line – The Week That Was
Warm Heart Of Africa – The Very Best feat Ezra Koenig
The Visitor – Jim O’Rourke
Wallet – Regina Spektor
Fables – The Dodos

Nada Surf, Sondre Lerche, and The People treat us to night of rock ‘n’ roll

Robin Canfield

Nada Surf entertained the nearly full house Wednesday night with a broad sweep of their musical catalog. Sondre Lerche and The People opened with great crowd response. Grant Kaye Barometer Staff Photographer

Barometer Staff Writer

Sondre Lerche

The music of Sondre Lerche featured very strongly in my life this year. I’d heard about him several years ago from my indie-loving friends and downloaded a few of his tracks from Faces Down and Two Way Monologue albums for their quirky, upbeat melodies. But it’s only after watching Dan in Real Life (of which he did the soundtrack for) that I did the “Sondre Lerche Therapy” thing again, which can I say, really works when you’re feeling blue.

This Norwegian dude is like a more intellectual version of Jason Mraz and his songs are the perfect accompaniment to a rainy day. I may not understand what all his existential lyrics are about, but there are always random lines that resonate strongly. Right now, this is my favourite Sondre Lerche song from his latest album Heartbeat Radio, which is about a boy who is cranky about the moon:

What I’ve also discovered, thanks to Youtube, is that he also has a knack for crooning jazz and I bought his Duper Sessions as a little Christmas present for myself. Here’s him singing “The More I See You”:

Got the next tape put together for travel by automobile. After seeing Girls at 7th Street Entry in Minneapolis, I’m leading this tape off with “Lust for Life.” Natch.

21 November 2009 – 12:30 p.m.

SIDE A
1. Girls – Lust for Life
2. The XX – Crystalized
3. Brakes – Worry About it Later
4. LAKE – Sing 99 & 90
5. Port O’Brien – Oslo Campfire
6. Real Estate – Snow Days
7. Atlas Sound w/ Noah Lennox – Walkabout
8. Grand Archives – Silver Amongst the Gold
9. Woods – The Number

SIDE B
1. The Flaming Lips – Convinced of the Hex
2. Jay Reatard – It Ain’t Gonna Save Me
3. Vampire Weekend – Cousins
4. Sondre Lerche – Good Luck
5. The Shaky Hands – Never Fine
6. Throw Me the Statue – Waving at the Shore
7. The Swell Season – In These Arms
8. Volcano Choir – Island, IS

Hi everyone!  It’s your rock and roll daddy, Max, here with the scoop on all the up and coming musicians that have all the kids talking!

Mom and Dad took me to Huckleberry’s Pizza to another Daytrotter show.  This time we got to see Sondre Lerche, Lissie, and JBM.

JBM played a guitar and wore a flannel shirt and sang some songs.  He has a nice voice and it made me sleepy.

Lissie is from Rock Island where my Grandma and the pizza and my Grandpa are from.  She wears silly glasses and plays a guitar and sings songs about people.  I didn’t sleep very much because the other people eating pizza were very happy to see her and clap their hands when she told them to.  Mom took me to dance in the other big room where a man with a beard talked to me.  Lissie sang a song about Rock Island and a man with pig iron who fooled him and then the song got really, really fast and Mom was very excited.  Rock and roll!

Then all of Lissie’s brothers and sisters and best friends went home after they hugged her and told her how they like rock and roll and bought a t-shirt.  And Mom and Dad moved us to a big table so we could see Sondre but everyone stood up.  Dad told me that he was in a movie that I didn’t see with the silly man from The Office who wants to kiss the pretty lady from The English Patient.  He was loud and very funny and borrowed JBM’s guitar but broke it.  I liked it when all the girls in the room were singing with Sondre because they knew the song.

We were all very tired but it was a lot of fun.  I can’t wait until I am old enough to dance on my own!

Sondre Lerche!??

Sondre Lerche is a 27 year old, Norwegian singer-songwriter best known for composing the score for the 2007 film, Dan in Real Life. Lerche has an eclectic style with songs filled with intricate melodies and complex chord progressions. His influences include: The Beach Boys, A-ha, Elvis Costello, and Nick Drake.

Check out the link for Lerche’s intimate acoustic session where he performs three songs off  of his new album, Heartbeat Radio. If you like what you hear, I recommend you check out his 2007 release, Phantom Punch. Truly a solid album from beginning to end. Link Below!

Tiny Desk Concert (NPR)

Ok, after another justified hiatus, I bring you another song!  It’s oh so pretentiously called “Paul’s First Letter to the Americans.”  I was going to try to veil it’s meaning, but what the hell… everyone knows I’m a hippie so I might as well go for it, right?

In any case, Aaron and I played the Anomy House Halloween party this weekend, and it went smashingly well.  Now, tonight I have an open mic at the Mill, tomorrow I play at Piano Lounge (my first honest-to-god paid musical performance), and the next day I expect I’ll be down at open jam at the Yacht Club!   You can see why my hiatus is justified!

Paul’s First Letter to the Americans

Take a little seat in the middle of the log by the body of the tree you killed
Protect your ears from the splitting and the screaming in the streets because dollars are the only thing that’s left that’s real

Listen real close to the stories of pain from the wrinkled old lips you know
Because the dawning of the age of water bearing sign isn’t coming til we’re all just boxes dirt and bones… with nothing on our heads but hefty stones

And nothing in your lies will change his mind
And nothing in these trials will make me cry

Gather all the rage in your gut for the people on the other side of chance’s game
For soon the things we’ve built strike back with a power of beaten bloody master’s playthings unchained

Wiggle all around in the little wiggle room that you’ve made to justify your sins
And keep that wicked little jig to yourself when we stumble into judgement for the things we thought and what we did… with nothing left to bless this floating rock but dead

And nothing explanations wont change his mind
And the coming lamentations wont make me cry

So maybe down the line when the sounds of machines squeel ugly little throes of death
And all the little flecks of gold like gifts on the ground will be given to the freezing winters that we left

The world is damned old place with a mass too big for the legend of a map
So when we send our bodies to the dirt and the rocks, oh the little green sprouts will raise unthinking heads… and all of this will come to be again

And none of your late pleading will change his mind
And thinking of your ends will make me cry

Tidbit of the Entry: We all love Regina Spektor.  We all want to be/marry her, and many have heard of Sondre Lerche.  Have you heard their duet they made for Dan in Real Life!?  Well, I don’t know if it was made for the movie specifically, but it was in it.  It’s a wonderful classic and playful jazzy number, and I’m guilty of singing it over and over when I walk around downtown.  Anyway, prepare to swoon.

P.S. Dear Youtube, stop being artsy with my videos.  You suck and I’m going to find a website to upload my things to that doesn’t twist every single video I upload in some unique and interesting way.  Sometimes they’re choppy, sometimes the audio’s out of sync and one time (and only one) you added a black border around my video.  >:C

There’re 2 lists, songs with vocals and the others are acoustic inst/ electronic sound arrangement. Though I love all the tracks, but this time I highly recomend the tracks w/o the vocals.

Tracklist 1 (songs):

Adultchild – It’s Rain
Barbra Streisand – Heres That Rainy Day
Clazziquai Project – Gentle Rain
Epik High – Let It Rain
F.T Island – Raining
Gackt – Rain
kei – cerno_mercy rain.
Loveholics – Raining (Play _____)
Lynhurst – Summer Rain
Mika – rain
Sondre Lerche – I Guess Its Gonna Rain Today

Download: Here

Tracklist 2:

Angelmark – flowers washed down by the rain
Emancipator – With Rainy Eyes
gutevolk – portable rain
Hiroki Mizukami – rainy forest
Masuda Toshio – Ame ga Kuru Niji ga Tatsu
REMEDIOS – Rain Down Our Sins
Ryuichi Sakamoto – rain
Tablo + P2ny – Rainclouds In My  Room
tearliner – Rainy Day (Piano Ver.)
wonderland falling yesterday – rain prayer
world’s end girlfriend – call past rain
X-Japan – Endless Rain (Piano Ver.)
Yasue Ois – Raindrops

Download: Here

Ame ga Kuru Niji ga Tatsu: from the OST of the anime Mushishi, the soundtracks haunted me.
Rain Down Our Sins: OST of the movie Picnic – Shunji Iwai. One of his very first movies, dark and haunting, yet the OST are full of meledious and smooth piano.
Endless rain: if you haven’t known X-japan and their awesome music, you may start with their piano – easy-listening and suit most ears.
of world’s end girl friend and wonderland falling yesterday: one artist, 2 different styles of sound mixing & arrangement, both tracks are great pieces. Well I praise cause I’m a fangirl (;_;), but if you want to get a ‘look’ at ambient and experimental electronic sounds, I’m sure those tracks will give you nice time.
Emancipator and Yasue Ois are also very nice, and Angelmark’s track is a little darker than the others…

Sorry, I suck at writing music reviews… ;___;. Plus I’m a little sick now (hope it’s not swine flu *O*), my mind’s totally blank .
Finally, pls enjoy the music and the sounds. ^u^

Qtv has a new feature on their YouTube Channel. It’s called “Guitar ‘How To’ with Q” and features various artists teaching you how to perform their most popular songs. So far we have “Walking With A Ghost” by Tegan and Sara, “A Punk” by Vampire Weekend”, “Fake Empire” by The National and “To Be Surprised” by Sondre Lerche.

It’s interesting to watch the instructional videos as the personality of each artist comes out a little. Sara Quin is probably the most entertaining as she fumbles through her explanation and forgets how to count frets. You can tell Aaron Dressner is more of a shy person as he gets prompted along the way through his video as to what he should talk about next and Sondre Lerche is just all the hell over it. While everyone else’s video are under 5 minutes Lerche takes a staggering 13 minutes to explain his song. The guy is like a surgeon with his explanation with the best line being “you gotta use your Amaj7 wisely”. Word dude.

Det er godt nok længe siden jeg har oplevet at være så fængslet fra første sekund. Sondre Lerche’s musik er et bekendtskab der ligger laaangt tilbage. Præcis hvor langt, kan jeg ikke huske…men jeg forbinder ham med mine kedelige teenage-år, som er et lukket kapitel for mig efterhånden. Og jeg må da også indrømme, at jeg ikke har dyrket ham så meget siden. Selvom jeg tydeligt husker hvor stort et crush jeg havde på ham i en periode, og ét af mine største ønsker var at komme til at se ham live. Dette skete dog også på en SPOT festival (hvilken husker jeg ikke, men den ligger et godt stykke tilbage), som dog kun var 3 numre og en lidt lunken oplevelse, fordi det hele var så uoverskueligt med alle de mennesker.

Hertil aften fik jeg ham så endelig støvet lidt af igen, og oplevet ham i levende live. Langt om længe. Og det var fantastisk! Selvom man dog nogle gange godt kunne have savnet et band, så var det nu også meget rart at have ham helt for sig selv med hans smukke blå Gibson hængende over hans spinkle skuldre, og opleve ham springe rundt med store spillende blå øjne og komme med skøre indfald og historier. Som for eksempel da han spillede på Roskilde i 2002 (første og eneste gang), og skøjtede rundt i thousand island dressing under hele koncerten, fordi der var én der havde kastet en kæmpe burger op på scenen under første nummer. Kontakten med publikum var intakt hele vejen igennem og pigerne på første række dånede i takt. Det blev især tydeligt under sidste ekstranummer, Modern Nature, hvor de agerede som spontant kor (som erstatning for den kvindestemme der normalt synger i duet med Lerche med på pladen). Det var ret underholdende, og det syntes Lerche tydeligvis også, da han spillede det sidste stykke af nummeret uden hjælp fra hverken forstærker eller mikrofon, og de snakkende publikummer kunne endelig lære at holde deres kæft. Det sidste minut. Det var så smukt, befriende, sjovt og charmerende på én gang.

Selv den største kyniker ville ikke kunne stå for denne charmetrold. Jeg selv var ikke i mit bedste hjørne da jeg først på aftenen mødte op alene i Lille Vega, og jeg spottede hurtigt alle de dånende piger og kunne ikke helt sætte mig i deres sted, indtil det sekund Lerche sprang op på scenen…Jeg har overgivet mig…jeg er forelsket og smiler stadig indvendig. Magen til optræden skal man lede længe efter!

Earlier this year I explored Brit Rock starting from The Killers and other artist suggested by friends.. Friendly Fires, Whitest Boy Alive, Just Jack, The Streets and Sondre Lerche. I love the accent! When I had this web project in Ortigas, I sneaked out in one of the drives and saw this mp3 folder named Euro Rock.. I’m a thief! I copied those files to my iPod =) cool finds..

• Travis
• The Libetrtines
• We are Scientists
• Supergrass
• Futureheads

I even got Trip Hop tracks from Hooverphonic, Snicker Pimps, Massive Attack and Portishead. Now I wonder who owns this playlist.. maybe i’ll like him haha.

Heartbeat Radio is the fifth album by Norwegian singer-songwriter and guitarist Sondre Lerche. The songs mix acoustic guitars and grand gestures of orchestral pop with elements of anything from ’50s Jazz via ’60s and ’70s Brazilian psych-folk to state-of-the-art ’80s pop masters such as Prefab Sprout, Scritti Politti and Fleetwood Mac. While it maintains the studio polish of his groundbreaking debut, Faces Down, there’s also a sense of musical adventure that stems from his later work. Having written, scored, and recorded all songs for the Dan in Real Life soundtrack, as well as earned Rolling Stone “top 50″ nods, and Elvis Costello’s fan-ship, Lerche is no stranger to acclaim. But the story doesn’t stop there. Heartbeat Radio is Sondre Lerche’s boldest and most challenging record yet.

download Sondre Lerche – Heartbeat Radio

Last night was another fantastic show. Almost perfect all around. Great music, great segues, and the phone was ringing off the hook. Not even just the phone, but the instant messages too. So much so that it was almost stressful trying to keep up. I was actually sweating because of it.

I found out last night that our station streams perfectly fine over an iPhone just by going to www.thecore.fm and clicking to listen. I’m assuming this will work on any other smartphone too, I guess I never thought about it before.

Apparently, we’re supposed to get a Nor’easter this weekend so that’s going to put a damper on my Field of Terror plans, but I’m still excited to see Gaslight Anthem, Murder By Death, and The Loved Ones on Sunday in Philly. And it seems that there are still tickets for the Monday night show as well. You may want to check that out. Either way, expect a full report next week.

Anyway, here’s what I played…

Source: 90.3 The Core

Tickets were scarce for this evening of sublime and twisted songwriting, we sent photographer Minh Le along to capture the performances.

Sondre Lerche

John Darnielle (Mountain Goats)

There are real places, imaginary places, and places where our experience of reality is enhanced by how we imagine those places to have been, or to be. We tour those invisible cities of the mind by walking their actual streets and placing a layer of knowledge and imagination on top of the sights we see. We also move to places which spark the dreams we have for our lives, hoping to make a fantasy life into something real.

If we never make it to such places, or never succeed in them, we can still read about them and hear about them. New recordings from Sondre Lerche and Joe Henry sing us tales of places which are real and imaginary at the same time, Williamsburg and New Orleans. Superficially, there may seem to be a large gap in ambition between the two records, “Heartbeat Radio” and “Blood From Stars,” but the difference is in the personal direction the two musicians take – the results are comparably grand and wonderful.

Sondre Lerche is very much a first person singular musician, not only with everything sung from an “I,” but the sense that it’s actually him, not the singer playing characters in his songs. This makes it easy to accept how incredibly unfair he is, both to his peers and himself, with the opening track ‘Good Luck,’ which is five minutes and fifteen seconds of arguably the greatest pop music made since the start of the rock era; a sweetly muscular, soaringly grand song which builds in layers from shimmering guitars, a rolling Bo Diddley beat and a brilliant string section solo extending the end. On top is Lerche’s dry, clear tenor and his immensely appealing rueful good cheer. The song has everything one could ask for in great pop music; charm, wit, energy, a great beat, a great hook, a bridge that’s out of the ordinary enough to be pleasantly surprising and a real climax. It’s worth the price of the record alone.

It’s no criticism to point out that few will be humming the melody, though. Lerche is an excellent melodist, fitting his lyrics seamlessly and naturally to his tunes, and he can do this because he is an excellent singer, with range and solid pitch. While too many contemporary pop singers are extremely limited as singers, forcing their music into predictably short, clipped phrases and tightly compressed melodic ranges, Lerche can sing wide intervals and long phrases with ease and so can make melodies with a breadth and depth which are uncommon. A good singer should have no problem with the A-B-C#-D-A octave arpeggiation he opens with, but contemporary pop music is so dreary in part because there is so little of this open, generous vocal sunshine brightening the landscape.

After this spectacular opening, “Heatbeat Radio” satisfies. Lerche is a Norwegian transplanted to Williamsburg, a neighborhood which over the last decade has drawn young people from all over the country and the world seeking the comfort and excitement of a place where art, music and fashion are happening, where they will be understood by like-minded peers and dream great things. Call them Hipsters, but they are this generation’s version of the kids who used to head to Greenwich Village, or San Francisco. Williamsburg grows in their imaginations long before they ever face the reality of living there, and Lerche’s is a Williamsburg of the mind, where the girls are lithe and pretty and the boys are charming, sweet and mature in an age-appropriate way. He captures a joie-de-vivre and sense of human capability beyond those on display in “Bored To Death,” and a fundamental optimism which, though it’s at odds with the reality of development in the neighborhood, renews this dream with each song. The album is unswervingly good-natured but not simplistically sweet. There’s a rough sense of the narrative of a charmed, youthful life, but the last third of the record takes a subtle, darker turn. In the wonderful ‘I Guess It’s Gonna Rain Today,’ an understanding and acceptance of failure creeps in, and Lerche expresses a rueful self-awareness: “Oh, the fine line/between street-smartness/and a smart-ass. Oh, the skipping beats of confidence/and the drum-roll/that you thought you could play.” Not everyone who moves to Williamsburg to be in a band can actually play music, not every girl appreciates your charm, and accepting these means seeing there is reality to enjoy along with dreams. The songs which follow, ‘Almighty Moon,’ ‘Don’t Look Now’ and ‘Goodnight’ have an added sense of weight, toughness and maturity in contrast to the exuberance which preceded them and from which they developed. They bring the album to a completely satisfying close, consolidating the explosive dazzle of the first track into a fully realized emotional journey. “Heartbeat Radio” is not perfect; while it is full of great songs, music and details, not all the details are great – the pedestrian bass line of the witty ‘Like Lazenby’ threatens to pin the music to the ground, and the lyrics of ‘Words & Music’ alternate between fine metaphor and weak, elementary school rhymes. It doesn’t need to be perfect, though, when it’s enduringly joyful.

Williamsburg is not for everyone though, which is just a small loss. New Orleans is not for everyone either, and that is a tragedy. The aftermath of Hurricane Katrina is obvious enough, a government’s complete disregard for human beings who didn’t fit into their grandiloquently posturing, self-absorbed worldview, but at the core of it is the embrace or rejection of this very country. New Orleans, more than any other single point on the map and place in the imagination, is the essence of America. From it’s very first days, this country was populated by peoples of many cultures, languages and colors, here voluntarily or otherwise. Geographically, this country was first circumscribed then bridged by the Mississippi River, and New Orleans is the fecund mouth which birthed culture and commerce through it into America, a humid polyglot stew of English, Spanish, French, Catholicism, Voodoo, Blues, Jazz, whites, blacks and every color in between, standing as a rebuke to the fetishization of homogenization which those who came later to this country – the Protestant swaths swallowed up by the great plains and selfish, frightened demagogues like Pat Buchanan – anxiously cling to, dearly wishing to keep the map of this great and broad land niggardly small. Reject New Orleans, and one rejects America, while loving the city is as patriotic a thing as one can do.

Joe Henry loves New Orleans, and loves America. He’s made a musical career of describing the America of the imagination, putting together a blend of archaic, modern, rural and urban, white and black musical styles. At his best, he’s magnificent, and he seems to seek a sense of grandeur. Musically and lyrically he strives for archetypal metaphors and unified gestures that could stand as the paragon of American-roots music. It’s ambitious, and he has succeeded, especially with the fully-realized “Scar,” but he’s most often inconsistent, mixing powerful music with songs that don’t quite sustain the weight placed on them, which sound more constructed than played. “Blood From Stars” works completely, though, not only his best record since “Scar,” but a real personal masterpiece for Henry.

It’s a New Orleans record, intentionally or not, and stands as a companion to Allen Toussaint’s “The Bright Mississippi,” which Henry produced. That record is hampered by a self-conscious sense of trying to make a musical point, while this one is completely focussed around a musical core, and flows unerringly forward, like a raft heading down the big river. It’s New Orleans in the way it puts different ingredients together into a stew which comes out being it’s own dish. In the past Henry has gone from country to funk to rock to jazz on different tracks on an album, here each song is a mix of musics together, especially blues and rural funk, with touches of gospel, marches, jazz and rock. Henry carries this off through his songs and through the band he assembles, which includes Marc Ribot, David Piltch, Jay Bellerose and Levon Henry, with a wonderful cameo from Jason Moran opening and closing the album with the gorgeous ‘Light No Lamp When The Sun Comes Down’ (Henry has great taste in sidemen, previously employing Don Byron, Brad Mehldau and Ornette Coleman). The music lives and breaths, everything works together, the rhythms, harmonies and cadences seem ideal for each song and phrase and each song seems the ideal vehicle for Henry’s richly colored, warbley singing. He uses specific details which indicate his desire to make something clearly and powerfully American, his imagined America, but the details are just that; accessories which pull the whole outfit together, not arguments to make. The lyric “Of briar and roses” in ‘This Is My Favorite Cage’ points to a specific and important American tradition, but the song is Henry’s own creation, the detail merely conveys his context. Likewise the tango blues ‘Death To The Storm,’ which lays out Henry’s response to a real New Orleans musical tradition. As on previous records, he sprinkles samples in the background, and these bits of old-time music and Paul Robeson provide a sonic background for this imagined country. The record has a full, rich bottom and an insistent, serious tone, but Henry sounds liberated and light-hearted, even on the slow ballads, as if he’s found himself in a state of complete mastery of all the music he has worked to apprehend over the years, and this made his way to his true voice. This is nowhere more clear than on the incredible ‘All Blues Hail Mary,’ which begins with the greatest rural blues riff one is likely to ever hear, and maintains the blues feel and structure while eliding in enough gospel harmonies for the music to have the delicate tang of funk and fervor needed to match the lyrics: “All blues sing of love and death/and you as chances yet to take . . . All blues and grace by God/And I will have to learn the rest.” Henry’s disposition is darker than Lerche’s, the music much funkier and bluesier, but his sense of determination allows no despair. This is music which pushes mountains, tiny bit by tiny bit, until a country moves. [Watch/listen to a performance at KCRW here]