World Cafe

Weekdays at 5am, 6pm and midnight

The premier public radio showcase for contemporary music serving up an eclectic blend that includes blues, rock, world, folk, and alternative country. Visit World Cafe to see what's playing. 

Bloc Party On World Cafe

Nov 7, 2012

Bloc Party is back. The British band whose debut album, Silent Alarm, was a sensation in 2006 released its new album Four this year after a lengthy hiatus. The group's latest departs from recent electronic forays and returns to the artful post-punk sound of Bloc Party's heyday.

Benjamin Gibbard On World Cafe

Nov 6, 2012

After 15 years as the singer of Death Cab for Cutie, Benjamin Gibbard has finally released his first solo album, titled Former Lives. The record moves beyond the indie-pop confines of Gibbard's band, touching on Latin music, alt-country and '70s power pop. It largely consists of songs written in the last eight years that never fit the themes of past Death Cab records.

Next: The Pharmacy

Nov 5, 2012

Scott Yoder and Brendhan Bowers formed The Pharmacy in 2002, envisioning it as a garage-punk band before also embracing dance-pop and psychedelic rock. In 2007, classically trained pianist Stefan Rubicz joined the group, which has since maintained a steady schedule, earning positive reviews and touring with Vivian Girls, Matt+Kim and Japanther.

Afghan Whigs On World Cafe

Nov 2, 2012

One of the most critically acclaimed bands of the '90s, Afghan Whigs recently reunited for a string of live performances in 2012. Singer Greg Dulli, guitarist Rick McCollum and drummer Steve Earle met while attending the University of Cincinnati; bassist John Curley was a photographer at the Cincinnati Inquirer who happened to meet Dulli at a friend's apartment. They became Afghan Whigs in 1986 and attracted a dedicated cult following that's remained fervent long after the band's 2001 dissolution.

Latin Roots: Nuevo Cancion

Nov 1, 2012

Nueva Cancion ("new song") is a style born in the '60s and '70s, when many Latin countries were ruled by repressive dictators. The songs were folk-inspired, with guitar-based song forms, percussive elements and socially charged lyrics. The late Victor Jara is seen as the father of the movement, and he comes up in this conversation.

Pages