Bob Boilen

In 1988, a determined Bob Boilen started showing up on NPR's doorstep every day, looking for a way to contribute his skills in music and broadcasting to the network. His persistence paid off, and within a few weeks he was hired, on a temporary basis, to work for All Things Considered. Less than a year later, Boilen was directing the show and continued to do so for the next 18 years.

Significant listener interest in the music being played on All Things Considered, along with his and NPR's vast music collections, gave Boilen the idea to start All Songs Considered. "It was obvious to me that listeners of NPR were also lovers of music, but what also became obvious by 1999 was that the web was going to be the place to discover new music and that we wanted to be the premiere site for music discovery." The show launched in 2000, with Boilen as its host.

Before coming to NPR, Boilen found many ways to share his passion for music. From 1982 to 1986 he worked for Baltimore's Impossible Theater, where he held many posts, including composer, technician, and recording engineer. Boilen became part of music history in 1983 with the Impossible Theater production Whiz Bang, a History of Sound. In it, Boilen became one of the first composers to use audio sampling — in this case, sounds from nature and the industrial revolution. He was interviewed about Whiz Bang by Susan Stamberg on All Things Considered.

In 1985, the Washington City Paper voted Boilen 'Performance Artist of the Year.' An electronic musician, he received a grant from the Washington D.C. Commission on the Arts and Humanities to work on electronic music and performance.

After Impossible Theater, Boilen worked as a producer for a television station in Washington, D.C. He produced several projects, including a music video show. In 1997, he started producing an online show called Science Live for the Discovery Channel. He also put out two albums with his psychedelic band, Tiny Desk Unit, during the late 1970s and early 1980s. Boilen still composes and performs music and posts it for free on his website BobBoilen.info. He performs contradance music and has a podcast of contradance music that he produces with his son Julian.

Boilen's first book, Your Song Changed My Life, was published in April 2016 by HarperCollins.

There was an awful lot of dancing going on the first time I stumbled upon the music of Cheick Hamala Diabate. On the dance floor at U Street's Tropicalia that night was a rich cross-section of D.C. life, all entranced by the music of Mali.

Merriam-Webster defines parallel as, "extending in the same direction, everywhere equidistant, and not meeting." The luscious and expansive song, "Parallel," from Morgan Nagler's indie project Whispertown and the accompanying music video both explore the term in magnificent ways. The video, made from creative commons videos on YouTube edited together by Morgan Nagler's brother (he wishes to go by "Morgan's Brother") illustrates the concept of parallel by showing a myriad of different scenarios that mimic each other. It's a bit of magic, really.

Last night I witnessed an intense and commanding performance. The band was Deafheaven and lead singer George Clarke kept me riveted. Here's what it looked like captured by my phone:

Maya Beiser's Twitter handle — @CelloGoddess — says it all. She's a brilliant cellist with a stunning command of her instrument, and she's tightly tied to technology. Beiser takes the sound of her cello and runs it through loop pedals, effects and other electronics to make her instrument shimmer, drone and groove. Then there's her magnificent sense of melody.

Sixteen years after collaborating on the Lost Highway soundtrack, David Lynch and Trent Reznor are back together. The always eerie Lynch oversaw the video for Nine Inch Nails' first single in five years, "Came Back Haunted," which was posted early Friday morning.

The power of music paired with imagery never ceases to amaze me. For this video by Lowland Hum, three unrelated sets of found footage connect in powerful ways to the song "War Is Over."

OK Go helped us move the Tiny Desk from our old building to NPR's new headquarters, and The National performed the first full new-building Tiny Desk Concert we posted to the site, but Billy Bragg gave us the first full Tiny Desk Concert

I adore this song, and the video makes me love it all the more. "Green Blood" is from Sonny and the Sunsets' new album, Antenna to the Afterworld. It's a record filled with cinematic tales, told simply with guitars, bass and drums. And none of those tales are told as endearingly as they are in this song and video about love on a distant planet.

Rhye, Live In Concert

Jun 4, 2013

This is some of the sexiest music I've heard in years, with seductive sounds that are subtle and fragrant. Rhye is the music of Danish songwriter-producer Robin Hannibal and Toronto-born Mike Milosh, a man with an androgynous and mysterious voice. In fact, when the band's music first surfaced — with no press photos or posted lineup — many thought a woman was singing these songs.

The Tiny Desk has moved, and OK Go has helped make it so.

Earlier this year, we needed to figure out the best possible way to move my Tiny Desk from NPR's old headquarters to our new facility just north of the U.S. Capitol. We wanted to go out with a bang and arrive at our new space in style, so our thoughts naturally turned to a catchy pop band we love: OK Go, whose unforgettable videos have been viewed tens of millions of times on YouTube.

"No Need for a Leader," from Unknown Mortal Orchestra's recent album II, is the song that really drew me into the band's recent concert at Washington, D.C.'s Rock and Roll Hotel, recorded live on Feb. 27. A cocktail of riff-rock and Black Sabbath-style psychedelia, it's a tremendous introduction to the trio, which began as a solo project for frontman Ruban Nielsen.

Each time I see James Blake and his band perform, I feel the extreme rush of hearing something for the very first time. The sound is sharp and visceral; it oddly vibrates the hair on my arms and, at moments of extreme bass, gets me feeling claustrophobic before the inevitable release when Blake sings. It's hopeful, mournful, always thoughtful.

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