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B3SCI Staff Top 20s

2012. It was a year. We made it through the hurricane, we survived the apocalypse, we shined bright like diamonds, etc. As we toast 2012 and look forward to a major 2013, join the b3 crew in popping the cap on all our individual favorite songs and albums of the past year. See y’all in 2013!

B3SCI STAFF TOP 20 ALBUMS LISTS

Mike Clemenza

01. Alt-J – An Awesome Wave
02. Miguel – Kaleidoscope Dream
03. Jessie Ware – Devotion
04. Lana Del Rey – Born to Die
05. Frank Ocean – Channel Orange
06. Michael Kiwanuka – Home Again
07. Keaton Henson – Sweetheart What Have You Done To Us
08. Two Door Cinema Club – Beacon
09. Usher – Looking 4 Myself
10. DIIV – Oshin
11. Tame Impala – Lonerism
12. The xx – Coexist
13. Tallest Man on Earth – There’s No Leaving Now
14. Spector – Enjoy It While It Lasts
15. The Vaccines – Come of Age
16. Ellie Goulding – Halcyon
17. Spiritualized – Sweet Heart Sweet Light
18. Flying Lotus – Until the Quiet Comes
19. The Maccabees – Given to the Wild
20. Lucy Rose – Like I Used To

Troy Meyer

01. Miguel – Kaleidoscope Dream
02. Kendrick Lamar – good kid m.A.A.d. City
03. Jessie Ware – Devotion
04. Frank Ocean – Channel Orange
05. Tame Impala – Lonerism
06. Killer Mike – R.A.P. Music
07. Fiona Apple – The Idler Wheel
08. Spiritualized – Sweet Heart, Sweet Light
09. DIIV – Oshin
10. Sharon Van Etten – Tramp
11. Cloud Nothings – Attack On Memory
12. El-P – Cancer For Cure
13. Grizzly Bear – Shields
14. Chromatics – Kill For Love
15. Leonard Cohen – Old Ideas
16. How to Dress Well – Total Loss
17. John Talabot – fin
18. Actress – R.I.P.
19. Cat Power – Sun
20. Jeremih – Late Nights

Christopher Gedos

01. Bob Dylan – The Tempest
02. The Dirty Projectors – Swing Lo Magellan
03. Michael Kiwanuka – Home Again
04. Lianne La Havas – Is Your Love Big Enough?
05. Alt-J – An Awesome Wave

Bruce Rave

01. Django Django—Django Django
02. Muse—The 2nd Law
03. The Vaccines—Come Of Age
04. Jack White—Blunderbuss
05. Silversun Pickups—Neck Of the Woods
06. Howler—America Give Up
07. The Ravonettes—Observator
08. Hot Chip—In Our Heads
09. Madness—Oui Oui, Si Si, Ja Ja, Da Da
10. Metric—Synthetica
11. Passion Pit—Gossamer
12. The Walkmen—Heaven
13. The Hives—Lex Hives
14. Soft Swells—Soft Swells
15. Bloc Party—Four
16. Divine Fits—A Thing Called Divine Fits
17. Cloud Nothings—Attack on Memory
18. The Royalty—Lovers
19. Reel Big Fish—Candy Coated Fury
20. Father John Misty—Fear Fun

Erin Routson

01. Kendrick Lamar – good kid m.A.A.d. City
02. Prinzhorn Dance School – Clay Class
03. Fiona Apple – The Idler Wheel
04. 2 Chainz – Based On a T.R.U. Story
05. Ke$ha – Warrior
06. Freddie Gibbs – Baby Face Killa
07. Frank Ocean – Channel Orange
08. Spiritualized – Sweet Heart Sweet Light
09. Tanlines – Mixed Emotions
10. Sharon Van Etten – Tramp
11. The xx – Co-Exist
12. Neil Young and Crazy Horse – Psychedelic Pill
13. Tame impala – Lonerism
14. Kendrick Lamar – good kid m.A.A.d. City
15. Kendrick Lamar – good kid m.A.A.d. City
16. Kendrick Lamar – good kid m.A.A.d. City
17. Kendrick Lamar – good kid m.A.A.d. City
18. Kendrick Lamar – good kid m.A.A.d. City
19. Kendrick Lamar – good kid m.A.A.d. City
20. Kendrick Lamar – good kid m.A.A.d. City

Jon Herriot

01. Frank Ocean – Channel Orange
02. Of Monsters and Men – My Head Is an Animal
03. Mumford and Sons – Babel
04. The Shins – Port of Marrow
05. Kendrick Lamar – Good Kid M.A.A.D City
06. Rah Rah – The Poet’s Dead
07. Said The Whale – Little Mountain
08. Metric – Synthetica
09. The Lumineers – Submarines
10. Lana Del Rey – Born To Die
11. Passion Pit – Gossamer
12. John K Samson – Provincial
13. Bahamas – Barchords
14. Hoodie Allen – All American
15. Macklemore x Ryan Lewis – The Heist
16. Santigold – Master of My Make-Believe
17. Hannah Georgas – Hannah Georgas
18. Grimes – Visions
19. The xx – Coexist
20. Yukon Blonde – Tiger Talk

Nathan Hetherington

01 Alt-J: An Awesome Wave
02 NZCA/LINES: NZCA/LINES
03 Pond: Beard Wives Denim
04 Polica: Give You The Ghost
05 Andrew Bird: Break It Yourself
06 John Talabot: Fin
07 Django Django: Django Django
08 Tame Impala: Lonerism
09 Mac Demarco: 2
10 xxyyxx: xxyyxx
11 Melody’s Echo Chamber: Melody’s Echo Chamber
12 Lower Dens: Nootropics
13 Allah-las: Allah-las
14 Chairlift: Something
15 The Luyas: Animator
16 Yeasayer: Fragrant World
17 Negative Pegasus: Looming
18 Clock Opera: Ways To Forget
19 Daphni: JIAOLONG
20 Dark Dark Dark: Who Needs Who

Brian Litwin

01. Purity ring – Shrines
02. Kendrick Lamar – good kid m.A.A.d. City
03. The Lumineers – The Lumineers
04. Grimes – Visions
05. Alabama Shakes – Boys & Girls
06. Poolside – Pacific Central Time
07. Tame Impala – Lonerism
08. Bat For Lashes – The Haunted Man
09. Alt-J – An Awesome Wave
10. Death Grips – The Money Store
11. Passion Pit – Gossamer
12. Dirty Projectors – Swing Lo Magellan
13. Japandroids – Celebration Rock
14. Yeasayer -Fragant World
15. The M Machine – Metropolis Pt. 1
16. Macklemore & Ryan Lewis – The Heist
17. Frank Ocean – Channel Orange
18. The xx – Coexist
19. Jessie Ware – Devotion
20. Grizzly Bear – Shields

Russ Ramos

01. Ellie Goulding – Halcyon
02. Lana Del Rey – Born to Die Paradise Edition
03. Frank Ocean – Channel Orange
04. Kitten – Cut It Out
05. Jessie Ware – Devotion
06. Krewella – Play Hard
07. JMSN – Priscilla
08. Meg Myers – Daughter in the Choir
09. Grimes – Visions
10. Zedd – Clarity
11. Kimbra – Vows
12. Sleigh Bells – Reign of Terror
13. Fun. – Some Nights
14. Gotye – Making Mirrors
15. Best Coast – The Only Place
16. Calvin Harris – 18 Months
17. Frank + Derol – Frank + Derol
18. Imagine Dragons – Night Visions
19. Skrillex – Bangarang
20. Alexander Spit – A Breathtaking Trip

B3SCI STAFF TOP 20 SONGS LISTS

Mike Clemenza

01. Yuna – Live Your Life
02. Frank Ocean – Thinking Bout You
03. Big Sean – Clique (Feat. Kanye West & Jay-Z)
04. Tom Odell – Another Love
05. The xx – Angels
06. Muse – Madness
07. Madeon – The City (Feat. Zak Waters)
08. Trails and Ways – Nunca
09. Carly Rae Jepson – Call Me Maybe
10. Rhye – The Fall
11. Schoolboy Q – Hands On The Wheel (Feat. A$ap Rocky)
12. Electric Guest – This Head I Hold
13. The Neighbourhood – Sweater Song
14. The 1975 – You
15. Everything Everything – Cough Cough
16. Jessie Ware – Running
17. Dan Croll – From Nowhere
18. Purity Ring – Odebear
19. Blondfire – Where The Kids Are
20. Chris Malinchak – So Good To Me

Troy Meyer

01. Usher – Climax
02. Frank Ocean – Pyramids
03. Jessie Ware – Running
04. Kanye West – Clique (Feat. Jay-Z & Big Sean)
05. Jai Paul – Jasmine
06. Solange Knowles – Losing You
07. Miguel – Adorn
08. Kendrick Lamar – Bitch Don’t Kill My Vibe (Feat. Lady Gaga)
09. Lana Del Rey – Ride
10. Rihanna – Diamonds
11. Yuna – Live Your Life
12. Ke$ha – Die Young
13. Purity Ring – Obedear
14. Rhye – The Fall
15. The xx – Sunset
16. Meek Mill – Amen (Feat. Drake)
17. The Neighbourhood – Sweater Weather
18. Nicki Minaj – Beez in the Trap (Feat. 2 Chainz)
19. Peace – Follow Baby
20. Father John Misty – Hollywood Forever Cemetery Sings

Bruce Rave

01. Foxy Shazam—I like It
02. Django Django—Default
03. Gold Fields—Moves
04. The Vaccines—Teenage Icon
05. Passion Pit—Take A Walk
06. Fun—Be Calm
07. The Presets—Ghosts
08. The Vaccines—Bad Mood
09. Tilly and the Wall—Heavy Mood
10. Diamond Rings—I’m Just Me
11. Bloc Party—Octapus
12. Battle Tapes—Sweatshop Boys
13. Dirty Projectors—Gun Has No Trigger
14. Beach House—On the Sea
15. Citizens!–True Romance
16. Crocodiles—Endless Flowers
17. The Walkmen—We Can’t Be Beat
18. Citizens!–(I’m In Love With Your) Girlfriend
19. Father John Misty—Nancy From Now On
20. Edward Sharpe & the Magnetic Zeros—Dear Believer

Trevor Meyer

1. Peace – California Daze
2. Gabriel Bruce – Sleep Paralysis
3. George Barnett – Lone Rose
4. Kendrick Lamar – Enjoy
5. Saint Motel – 1997
6. Big Boi – Lines
7. The Record Company – This Crooked City
8. Natural Child – Derek’s Blues
9. The #1s – He’s Too Good For Everyone Else, But He’s Not Good Enough For You
10. Fast Years – Young Hearts
11. Porcelain Raft – Something In Between
12. Tayyib Ali – I Ain’t Scared
13. Sam Sparro – Happiness
14. Wild Nothing – Only Heather
15. Triptides- Bright Sky
16. Azealia Banks – Fuck Up The Fun
17. Tame Impala – Mind Mischief
18. Mike Higbee – The Waltz of Dead Love
19. Go Back To The Zoo – Weekend America
20. Dan Croll – From Nowhere

Erin Routson

01. Solange – Losing You
02. A$AP Rocky – Fuckin’ Problems (Feat. 2 Chainz, Drake & Kendrick Lamar)
03. Meek Mill – Amen (Feat. Drake)
04. Carly Rae Jepsen – Call Me Maybe
05. Kitty Pryde – Okay Cupid
06. HAIM – Hold Me
07. YN Rich Kids – Hot Cheetos & Takis
08. Pac Div – Cross Trainers
09. Chief Keef – I Don’t Like
10. Santigold – Disparate Youth
11. MIA – Bad Girls
12. Fun – Some Nights
13. Kindness – Swingin’ Party
14. Big Boi – Higher Res (Feat. Little Dragon and Jai Paul)
15. Taylor Swift – We Are Never Ever Getting Back Together
16. Blur – Under the Westway
17. Danny Brown – Grown Up
18. The Hood Internet – These Things Are Nice
19. Kanye West – Clique (Feat. Jay-Z and Big Sean)
20. Sinkane – Runnin

Jon Herriot

01. Santigold – Disparate Youth
02. Frank Ocean – Pyramids
03. Capital Cities – Kangaroo Court
04. The Royal Concept – D-D-Dance
05. Passion Pit – Carried Away
06. The Shins – Simple Song
07. Of Monsters and Men – Little Talks
08. The Tallest Man on Earth – 1904
09. The Lumineers – Ho Hey
10. Everything Everything – Kemosabe
11. RAC – Hollywood (Feat. Penguin Prison)
12. Azealia Banks – 212
13. Joey Bada$$ – Survival Tactics
14. Kendrick Lamar – Swimming Pools (Drank)
15. Rah Rah – Prairie Girl
16. Calvin Harris – Sweet Nothing (Feat. Florence Welch)
17. Grimes – Oblivion
18. Wiz Khalifa – Remember You (Feat. The Weeknd)
19. Carousel – Where Have You Gone?
20. Alabama Shakes – Hold On

Erin Feathers

01. Yuna – Lve Your Life
02. Usher – Climax
03. The Lumineers – Ho Hey
04. Jai Paul – Jasmine
05. Grimes – Oblivion
06. Miguel- Adorn
07. Alabama Shakes – Hold On
08. Alt-J – Breezeblocks
09. Kendrick Lamar- Swimming Pools (Drank)
10. Frank Ocean – Pyramids
11. Big Boi – Lines (Feat. A$AP Rocky & Phantogram)
12. Death Grips – The Fever (Aye Aye)
13. Tame Impala – Elephant
14. Schoolboy Q – There He Go
15. PS I Love You – Sentimental Dishes
16. Purity Ring – Obedear
17. RZA – Baddest Man Alive (Feat. The Black Keys)
18. Beach House – Myth
19. The Artic Monkeys – RU Mine
20. Spiritualized – Hey Jane

Nathan Hetherington

01 Grizzly Bear: Yet Again
02 Everything Everything: Cough Cough
03 Purity Ring: Obedear
04 Four Tet: Lion (Jamie xx Remix)
05 Major Lazer: Get Free (Feat. Amber Coffman)
06 Savages: Husbands
07 Bat For Lashes: Laura
08 Jacques Greene, Koreless: Arrow
09 Liars: No. 1 Against The Rush
10 Odd Future: Oldie
11 The 1975: You
12 Daughter: Medicine
13 Porcelain Raft: Is It Too Deep For You
14 Nicolas Jaar: And I Say (With Just One Glance) (Feat. Scout LaRue and Will Epstein)
15 The xx: Angels
16 Splashh: Vacation
17 Foxygen: Shuggie
18 El-P: $Vic/FTL (Me And You)
19 Fear of Men: Green Sea
20 Egyptian Hip Hop: Yoro Diallo

Brian Litwin

01 – Frank Ocean – Pyramids
02 – Alt-J – Fitzpleasure
03 – Grimes – Oblivion
04 – Dirty Projectors – About To Die
05 – Bat For Lashes – Laura
06 – Purity Ring – Fineshrine
07 – Japandroids – The House That Heaven Built
08 – Kendrick Lamar – Swimming Pool (Drank)
09 – Alabama Shakes – Hold On
10 – Disclosure – Latch (Feat. Sam Smith)
11 – Santigold – Disparate Youth
12 – Death Grips – Get Got
13 – Yeasayer – Longevity
14 – AlunaGeorge – Your Drums, Your Love
15 – Tame Impala – Elephant
16 – The xx – Angels
17 – Macklemore & Ryan Lewis Thrift Shop (Feat. Wanz)
18 – Chris Malinchak – So Good To Me
19 – HAIM – Send Me Down
20 – The Soft Pack – Bobby Brown

Russ Ramos

01. Ellie Goulding – Don’t Say a Word
02. Lana Del Rey – Gods & Monsters
03. Frank Ocean – Pink Matter (Feat. Andre 3000)
04. Kitten – G#
05. Jessie Ware – Night Light
06. Krewella – Alive
07. JMSN – Love & Pain
08. Meg Myers – Curbstomp
09. Shlohmo – Changes (Shlomo Remix)
10. Santigold – Disparate Youth
11. Kendrick Lamar – Swimming Pools (Drank)
12. Zedd – Clarity (Aylen Remix)
13. Flinch Light It Up (Feat. Heather Bright)
14. Yuna – Lullabies (Adventure Club Remix)
15. Alexander Spit – B.N.E. (Feat. C.B.G.)
16. Knife Party – Fire Hive (Krewella Remix)
17. Kavinsky – Nightcall
18. Iggy Azaelea – My World
19. The Weeknd – Gone
20. Nero – Must Be The Feeling (Delta Heavy Remix)

reviewed by
12-31-12

Culture Collide Festival Wrap: 2012

Photo by Jasmine Safaeian, Filter

Last week the Culture Collide music festival returned to Echo Park, Los Angeles. The third annual Filter Magazine event produced a four days of non-stop music by emerging talent from around the globe. Team-B3SCI were on the grounds making all the rounds to venues, parking lots, champaign rooms… you name it! Below is a collection of some favorite first-hand accounts from our troops on the ground.

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THURSDAY October 4, 2012
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Photo: Aida Daneshvar

Dean Wareham @ Methodist Church

I feel like a better music fan, and more specifically a better indie music fan, for having seen Dean Wareham at the Methodist Church. The cozy, intimate setting was dimly lit and provided the perfect setting for Wareham’s lo-fi aesthetic. The capacity of around 200 was nearly full, with casual listeners strolling in and out to catch the other acts during the time slot, namely Blood Red Shoes. Wareham is a true rock craftsman — I’m more a fan of his Luna project than Galaxie 500, and although the set was mainly Galaxie material, I found myself recognizing most of the cuts. At his preferred tempo, Wareham is hard to beat. By Chris Gedos


Photo: Andrew Slough

Blood Red Shoes @ The Champaign Room

I left Wareham early to catch the last three songs of Blood Red Shoes’ set. This Brighton duo pack more of a wallop than most three and four-piece groups, check our interview with drummer Steven back in 2k10 for more on their sound. Apparently I had missed some technical difficulties earlier in their set, but the three cuts I heard were raucous, euphoric, abrasive, fleeting, and all those other words which come to mind when thinking of the group. The Champaign Room at Taix was packed to the brim, with a healthy mosh of about 50 adding to the excitement. Unfortunately for this listener, Blood Red Shoes ended almost as soon as they began. By Chris Gedos


Photo: Monique Hernandez

Tribes @ The Champaign Room

I could not have been more pleased with Tribes’ set. They’ve been here in LA for the past couple months recording the follow up to February’s Baby, which btw is sure to land somewhere in my top ten at the end of the year. While the usual smattering of attendees relocated to another room for John Talbot, much of the crowd were engaged singing along, and genuinely pumped to see the Camden four-piece. While Tribes only played “Dancer” off the new album (great cut, similar in sound with a big chorus), the songs off Baby were spot-on. I was especially pleased to hear closer “Bad Apple”, which was left off when they played The Bootleg in March, and of course “Sappho” and “We Were Children”, two of the better power pop songs written since the mid-90s. By Chris Gedos

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FRIDAY October 5, 2012
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Photo: Monique Hernandez

The Balconies @ Taix Lounge

Every music fan hopes to catch a surprise discovery or two during any festival, and my most pleasant surprise at Culture Collide came with the first band I saw. The Balconies from Ottawa/Toronto are a hard rock trio with amazing energy and good melodies. Singer Jacquie Neville not only has all of the moves of a star front woman, but she is also the band’s guitar player. They were on the lips of many during the rest of the weekend. By Bruce Rave


Photo: Bruce Rave

The Royal Teeth

The Royal Teeth from New Orleans delivered a spot on set packed with some flawless harmonies and radio-ready songs. These guys have a band next door kind of vibe, and their “Wild” single has been gaining some traction on many radars. By Bruce Rave

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SATURDAY October 6, 2012
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Photo: Jake Giles Netter

Morning Parade @ Taix Lounge

UK and Morning Parade have seen a fair amount of radio success this year. It’s definitely worth noting that their strong live set helps backs up some of the buzz. By Bruce Rave


Photo: Brian Litwin

Moss @ Taix Lounge

While heading over from the a set at Echoplex, I bumped into the bass player of the next band I was heading to see. We talked over a cigarette about how Moss have enjoyed playing in the US and were going back to Amsterdam shortly after playing this festival. Not giving me much insight into the show I was about to take in, and by some suprise the dutch quartet blew away their small but captive audience. Their unique indie pop sound explores various influences with spot on harmonies and an overall musicianship, that would almost seem like they have been playing together for 20 years, culminating to an outstanding show. A definite highlight of the festival for me and a band worth taking note. By Brian Litwin


Photo: Jasmine Safaeian, FILTER

Ewert and the Dragons @ Echoplex

Ewert and the Dragons hail from Estonia, playing a blend of sweet melodies set in a sort of Mumford & Sons feel. More than just an A+ band name, these guys showed why they were one of the more buzzed-about bands at Culture Collide. By Bruce Rave


Photo: Brian Litwin

Gold Fields @ Echoplex

This show had everything from loads of energy, an injured lead singer, Aussie accents, radio ready songs and cowbell – lots of cowbell. Astralwerks backed Gold Fields had the Friday night Echoplex crowd moving. Playing songs off their 2011 self titled EP and closing with recent single “Dark Again (Lights Out)”. By Brian Litwin


Photo: Brian Litwin

Icona Pop @ Echoplex

Shortly after Gold Fields, the dancing continued for Swedish DJ duo Icona Pop. From the start, the twosome had control of the crowd. When they dropped blogger crazed “I Love It” featuring Charli XCX it sent the crowd into a frenzy, and during the whole performance it seemed the duo were taken aback by how responsive the crowd was. Look for the band’s sophomore showing The Iconic out on October 16th. By Brian Litwin

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SUNDAY October 7, 2012
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DIIV @ Block Party

DIIV (pronounced “dive”) is the perfect band for the Culture Collide crowd, on the vanguard of third or fourth gen shoegaze (depending on who you ask). This band do just about everything right— they play loud and they sound exactly how you would want them to sound live after listening to their acclaimed debut album, Oshin. The audience listened intently with little to no dancing— after all, shoegaze is a sub-genre meant to be listened to with a stoic objectivity. I’m certain that their follow-up show at the Echo on Tuesday night was near max capax and did not disappoint. By Chris Gedos


Photo: Chris Gedos

Tapioca and the Flea @ The Champaign Room

Tapioca and the Flea (top 20 coolest band name in history) played the Taix Champange room as a last-minute addition. Hopefully enough people saw their adroit and energetic set that they’ll be properly added to the bill for next year. They provided an interesting dynamic and can mix up tempos mid-song extremely well. With an aura never quite descending into Sugar Rat indie thanks to some Wayne Coyne lyrical coyness, the keyboardists’ contribution to the arrangements even reminded me of a 21st century Question Mark and The Mysterians. By Chris Gedos


Photo: Monique Hernandez

School of Seven Bells @ Block Party

School of Seven Bells can be slotted under the classification “Interpol-wave”, and in fact their band came to fruition opening for Banks and company. Their style is a refined and nuanced art-rock which held up rather well in front of the slaphappy West Coast crowd. Singer Alejandra Deheza has an enchanting presence, to say the least. By Chris Gedos


Photo: Bruce Rave

The Wombats @ Echoplex or Block Party

The Wombats are finally nearing the end of a long run supporting their album This Modern Glitch, which contains surprise US radio hit “Jump Into the Fog”. Most of the band’s set rejoiced from This Modern Glitch but their UK smash “Let’s Dance to Joy Division” recieved great reaction, and will always be a standard for them. The Wombats were one of the more fun bands at Culture Collide, which the crowd was happy to share. By Bruce Rave


Photo: Brian Litwin

Class Actress @ Block Party

Class Actress, an electro-pop duo, drew many festival goers away from the limited shady spots located near the hot and sunny main stage on the closing day. Fusing pop-friendly lyrics and heavy synth leads and instrumentals, lead singer Elizabeth Harper swayed side to side of the stage moving the crowd along. Playing mostly from their 2011 release Rapproacher, Class Actress set the stage nicely for the acts coming up. By Brian Litwin


Photo: Brian Litwin

Poolside @ Block Party

Brazilian trio Bonde do Role couldn’t make the show due to some Visa issues so festival producers had to scramble quickly to get a replacement band. They signed on LA’s own Poolside, which proved to be a very nice surprise. Laying down some daytime disco, the crowd started to really get into it. Grooving to songs like “Next to You” and “Kiss You Forever” the crowd didn’t mind that Bonde do Role couldn’t be there. Ironically enough, Poolside starts a fall tour in San Francisco today (October 10th) with Bonde do Role and headliner Com Truise. By Brian Litwin


Photo: Carl Pocket

Nikki and the Dove @ Block Party

Nikki and the Dove set the trippy stage for the Of Montreal out-of-this-world main course that would soon follow. As for numbers, Nikki and the Dove had nearly as many people in attendance as Of Montreal would anc their set was loud enough to reach other galaxies. I loved their stage presence, and while there’s a part of their musicianship eerily reminiscent of Prince, it’s debatable how much of their panache translates to CD. By Chris Gedos


Photo: Chris Gedos

Of Montreal @ Block Party

Of Montreal provided the perfect capstone to a weekend of great musical variety. Within the first few songs a fleet of aliens and a giant ghost (consisting of three performers)had already stormed the stage. Lead / musical virtuoso Kevin Barnes relished his moment as headliner and delivered a set of fitting distinction, one which touched upon the entirety of the band’s catalog, from its more traditionally quirky indie roots of Satanic Panic in the Attic and The Gay Parade, to the indie psych of Hissing Fauna, are you the Destroyer, to the neo-indie-soul of their most recent compositions. By Chris Gedos

reviewed by
10-11-12

Exclusive: Diamond Rings (Live Session)

About a year ago we invited Diamond Rings to stop by and perform some of his songs for our freshly minted session series. And so, the man himself soon visited Feliz hts. during a brief west coast stint with Twin Shadow for a close and personal look at the songwriting behind the artist. Armed with just his 6-string, John O shared “It’s Not My Party” and a rad rendition of “Wait and See,” performed on the fire escape right outside of our window. Camera acrobatics and all, we captured the moment!

Check out this exclusive and previously unreleased performance footage from Diamond Rings below, and be sure to mark you calendars for his new full length Free Dimensional dropping this October.

Diamond Rings (Facebook) (Pre-order Free Dimensional)

Diamond Rings performs “Wait and See”

Diamond Rings performs “It’s Not My Party”

reviewed by
09-22-12

Interview w/ Jason Karaban plus “Devil That I Know”

We recently had the chance to chat with good-songs-man Jason Karaban about conspiracy theories, songwriting in the biz and more! Check out our conversation below and listen to “Devil That I Know”, a new collaboration with Lucy Schwartz previewed here from his forthcoming Shift (9/4) release.

Jason Karaban – Devil That I Know

B3: Why is it you’ve found recorded music to be your ideal way to share songs?

JK: With technology and the internet, recorded music is the quickest and most convenient in terms of sharing your music… it takes seconds to get your music out there and can be accessed from anywhere in the world.

B3: What lessons come from the Jason Karaban school of hard knocks that you’d like to share with any self-proclaimed reclusive-type musicians out there?

JK: It does help to understand what you are up against. I believe that the growth of technology and the rise of the independent artist is a great thing, but if you want to embrace it, you need to learn about it… If you aspire to be a musician who wants to make a living from making music than know the business that you are in. Unless of course you get very lucky and find someone who can do it for you.

B3: Roughly speaking, how many songs are chill in and unreleased in the Karaban-archives?

JK: Thousands. Roughly speaking of course.

B3: What is it about writing music that brings you peace, or a level of serenity?

JK: The process itself… because whenever anything truly creative happens you’re on auto pilot. Once you start thinking about it it becomes something else. The content becomes more important than the art, which in my experience doesn’t hold up too well.

B3: How has Los Angeles factored into your evolution as a musician and person?

JK: In a word, access. Los Angeles seems to be one of the meccas to where musicians and artists flock which puts a lot of great talent all in one place. As a person i’ve become a lot more humble and gracious after coming across so many artists who work twice as hard as I do and are so talented but are still struggling to be recognized.

B3: Do you think the music biz allows great talent to slip through the cracks for alterior benefits?

JK: Not on purpose…. otherwise we’d be getting into conspiracy theories.

B3: Have you written music especially for film or TV? How would you compare it with your album(s) material?

JK: Yes, I have, and the process is quite different because the overall objective and concept is being dictated by the film or TV show. And if you are the kind of writer who is a bit ambiguous in your writing, then you need to balance your ambiguity with something that people can understand and connect the song back to the subject you are writing about. It’s the difference between relying on your GPS for directions or just winging it… The trickiest part is that you have to deliver what whoever you are working for is trying to accomplish but at the same time you want to put your own stamp on it and keep it somewhat representative of who you are as an artist.

B3: If there is one thing that you would like people to take away from your new album Shift, what is it?

JK: I leave that entirely up to the listener…

B3: Are there any songs in particular on Shift that you feel especially close to?

JK: Yeah, but actually it varies from day to day depending on my serotonin levels.. at the moment I’d say “Pay with a .45”, “What Do You Say (To That)” and “Misplaced”.

B3: We can’t get enough of that tuba and trombone arrangement on “Succeed 101”.. it just seems like there must be a story behind it?

JK: One of the producers I worked with, Shane Smith, didn’t want any of my acoustic guitar parts to sound standard or recognizable as an acoustic guitar, so he did something to it with some sort of effect that emulated a tuba. After listening to it we decided to cut a tuba which the other producer, Barrie Maguire, managed to do using a sample.

B3: How did you connect with your label Ascend Records? It seems like it’s been a fitting relationship?

JK: I recorded an album for Maverick Records that ultimately wasn’t put out. The Ascend guys came across it and were enthusiastic about the music. They started Ascend Records basically to put out that record and we’ve worked together ever since. They are one of the few labels that I feel actually care more about the music and the artists than the business.

B3: Are there any contemporary artists that you are a fan of?

JK: Well, I’m a fan of everyone I’ve worked with on my records. Other than them… Tom Brousseau, Lykke Li, Conor Oberst, Jeff Tweedy, Paul Westerberg and my brother Dave Karaban come to mind.

B3: So we’ve got this serious Time Machine over at B3SCI HQ. Who is your dream collab with?

JK: Ideally both John Lennon and Nick Drake

Jason Karaban california (Facebook)

Rating 8.3

brown8

reviewed by
08-20-12

GIVEAWAY! Blues Traveler Signed Harmonica

Blues Traveler recently turned 25 years young and has celebrated with the release of a new album, their first original album in four years, Suzie Cracks The Whip. The LP showcases more contemporary elements in the band’s vision while maintaing a trueness to those beloved Blues Traveler signature sounds (yeah Popper we’re looking at you..)! Catch the band’s new single “You Don’t Have To Love Me” on a radio station near you and/or check out the music video below.

And while we’re on a roll, take a look at this sweet prize-pack of authentic BT swag that we’re hooking up for one lucky B3SCI reader! That’s right, you can get your paws on a T-shirt, some official stickers, and a John Popper signed harmonica! To enter it’s simple… just email us here for your chance to win. Let us know that you want the Blues Traveler prize pack and we will enter you in our contest drawing to take place later this month on August 24, 2012. Good luck!

Blues Traveler (Official) (Purchase)

Even more exciting for you 90s enthusiasts, Blues Traveler embark upon a massive 30-city “Last Summer on Earth” US tour with Barenaked Ladies, Cracker and Big Head Todd.

August 7 Minneapolis, MN—Weesner Amphitheatre
(w/o Big Head Todd & The Monsters)
August 9 Council Bluffs, IA—Harrah’s
August 10 West Allis, WI—State Fair
August 11 Detroit, MI—DTE Energy Music Theatre
August 12 Indianapolis IN—The Lawn at White River
August 14 Wantagh, NY—Jones Beach Amp
August 15 Philadelphia, PA—Penn’s Landing
August 17 Bethlehem, PA—Sands Bethlehem
August 18 Boston, MA—BOA Pavilion
August 19 Bangor, ME—Bangor Waterfront

reviewed by
08-07-12

INTERVIEW: Slothbear

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B3|fam Chris Gedos recently had the chance to interview a NY group who’s been ample in our discussions within this last year. So it’s great to learn a little more about Slothbear – a band with much more to be learnt about.

CG: A little background. How did Slothbear come into existence? How long have you been playing together for? Who mans what instruments and do you trade off depending on the song?

CH: I wrote to Josh on MySpace in 2006 because I liked his and Doug’s high school band, and kids who played music and were into ‘indie rock’ were impossible to come by. Long Island was pretty much dominated by emo at the time, and may still be for all I know. Ian and I played as a two piece at the time, and we all met at the Jericho Diner, which has since been demolished but was immortalized in all its Google Earth grandeur on the credits page of Qids. We became fast friends and would moonlight in each other’s bands, a tactic that proved hugely influential on the indie scene in Ridgewood, New Jersey.

JG: Each of us led our own band. There was the goofy, very sappy power pop band, The Electric Sentiments, which I fronted, Doug played guitar and Craig played bass in. Then there was Nancy Reagan’s Enduring Love, Craig’s sorta bratty noise rock band, wherein I played bass and Doug and Ian traded off playing drums. Doug fronted this pretty serious band called Ether Switch and Ian had his pet project, Sexually Active Girls, neither of which involved Craig or me.

I’d been trying to put Slothbear–a collaborative, egalitarian band for us four friends–together for a while but it didn’t really crystalize until early 2008, at which point we became the quartet we are today. We started out with pretty rigidly defined roles: Craig and I singing and playing guitar, Doug playing bass and Ian playing drums. When we were tracking
Qids, an album that consists literally of nothing but sounds made by the human voice, bass, drums and electric guitars, Doug started playing around with harmony vocals. On Canter On we all branched out: Craig and Ian play piano, I play bass and some acoustic guitar and Doug sings lead vocals. Now there’s much more flexibility in our roles in the band.

CG: We didn’t hear about Slothbear until Canter On. Can you tell us a little bit about the recording and release history of Qids?

CH: Before Qids we’d only really released a six song, self-titled EP via a netlabel called Rack&Ruin. It’s our only record that Doug hasn’t produced, so I took it upon myself to record the whole thing on a four-track my grandpa gave me, which by then had a broken input and could only pick up the built in mic. Everything — mistakes and all — would go through that, and then we’d overdub more guitars. To top it off, I for whatever reason took it upon myself to crank the treble as far as it would go. Doug made two pretty legit records in high school, but for the rest of us, Qids was the first proper LP we’d ever worked on, and it took a very long time. Doug’s better equipped to go in depth, but on my end, I spent the better part of a year’s time creating static visuals to represent every song, compiled in an art booklet with the disc inside. Only the first 50 copies featured all the art, and printing it cost us nearly as much money as mastering the record, so we probably won’t get to do it again.

DB: Recording Qids was actually the core of my senior project at NYU. I studied recorded music in a selective and theoretically prestigious program, and in order to graduate, I had to produce the album and draft an in-depth business proposal for its success. In the end, I had to “pitch” the record to a panel of industry big wigs, Powerpoint and all. I think the guy who recorded Sublime told me the vocals were mixed too low.

CG: How did the recording for Qids compare to Canter On?

CH: Most of Canter On was done live since the space allowed for it. “Goodnight, Retrograde” is actually several different live improvisations, expertly spliced by Doug Can-style. To date we still can’t play it live.

JG: The most significant difference between the process of making Qids and Canter On was how we wrote. The way we wrote the songs on Qids was usually just that Craig or I would come in with “a song” and just play it in front of the others. Before even hearing the whole song or knowing its structure, the rest of us would come up with something on the fly and start playing along. We’d play it at most twice and then we’d move on to playing something else. Besides the fact the composition of the songs themselves, like “Galloping” or “Goodnight, Retrograde,” was way more collaborative, we started sharing ideas about where we thought the songs could go and how we could improve them. When we were writing Qids, we would literally get angry at each other for stuff like that.

Canter On was written and arranged over a month’s time, but we did more talking about those five songs in that one month than we did on even the most collaborative Qids tracks, over the course of two or three years.

DB: Recording Canter On was my stab at the Albini method of production—record everything as quick and as live as possible. The experiment yielded mixed results. Most of the recording took place over a couple of days and that was cool, but mixing the EP took months! I probably won’t work that way again until I’m more self-assured about getting the sort of results I’m looking for in a short amount of time. Editing “Goodnight, Retrograde” felt liberating to being given thirty minutes of jamming and then having to construct a song out of it, without these clowns getting their grimy hands all up in the honeypot. It was a new experience, to say the least. Furthermore, I like that the final product sounds a few shades more three-dimensional than the rest of the EP—of all the songs, it does the best job of capturing the sound of Josh’s old living room. Come to think of it, I spent a lot time in that space as a teenager, so it’s actually quite nice to have this sonic photograph to remember it by.

CG: You guys sort of vacillate between straight-forward Rock and something more experimental. Does that happen on a song by song basis, or rather something you try to identify within a particular cut?

CH: Whenever I listen back to Qids I think it’s funny how many unabashedly ‘Rock’ songs there are because when we were writing and rehearsing that record, I was really into Animal Collective, and Josh and Ian listened to lots of hip hop. And now that we’ve come to terms with our love of The Rock, our newest songs are weirder and mellower. Josh and I often play in our own alternate tunings, and have since the beginning of the Slothbear Era. I guess it’s like Thurston Moore said, ‘when you’re always playing in standard, you’re sounding pretty standard.’ (no diss to the Beatles).

DB: Rock, being badass… these things are of a surprising importance to me. Although I’ve aspired to be innovative and “weird” all my life, I’ve found that there’s always someone else standing there to outinnovate and outweird you when it counts. And so I’ve decided it’s best to just to say ‘fuck it’ and join the party that is Straight-forward Rock.

None of this really has to do with my approach or artistic intent in Slothbear, but I do think it bears noting.

CG: We’re in love with the dual lead guitar. What are your ideas and ideals for how a guitar band should sound?

CH: I think it’s cool that anyone considers us a dual lead band, because Josh and I have very different ways of ‘stepping out’ on guitar. Not to burst any bubbles, but the two solos on “White Christmas” are just different Josh takes, and other than the two chords and some feedback, all the six-string insanity on “Djam” is Josh as well, at least until those arpeggios come in. I’ve always identified most with guitarists like Johnny Marr, who does really ornate and dense things but who never gets truly heroic on the axe. I’d call it kind of a ‘lead rhythm’ guitar, because it’s not just some strummy bar chords in the background, but it’s not melting faces, either. The intro for “White Christmas” is kind of my humble, depraved little nod to that school of guitar. We’ve always been very cognizant of our ‘tandem’ dynamic in writing parts, although ironically Doug is far and away the best guitarist in the band. I just take solace in the fact that a blogger recently described my guitar on G’nite Retro as sounding like “crazy ass ray guns.”

Other than obvious teams like Television or Sonic Youth, a personal fave of mine is Women, just the way they played off each other and were so texturally nuanced and subtly complex, I think that’s what I find most engaging. An active band who do it really well are Strange Shapes from Brooklyn.

CG: You use these dynamic background vocals very effectively and non-traditionally, thinking of “Galloping” and “White Christmas” in particular. Does something spontaneously harmonic happen during recording or are these vocals written into the song?

CH: We’re actually very self-conscious about our singing, so thanks! Josh and I have vocal-only practice twice a week to try and tighten up our trouble spots, and it’s definitely the ‘final frontier’ in my mind as far as becoming a tight live act goes. “Galloping” was an instance of Josh playing the main riff while goofing around and me pouncing on it even though he didn’t think it was much. I put some parts around it and showed it to him, and we went from there. I distinctly remember the two of us walking around campus talking shop, each asserting that our own vocal melodies for the chorus were better despite not even hearing each other’s ideas. That mentality is indubitably endemic to how the song developed vocally.

JG: Those songs being weirder vocally stemmed directly from the fact their music was written collaboratively. “White Christmas” was pretty conventional, I wrote the music for the verses and Craig wrote the chorus. When it came to arranging the vocals, we ended up trading verses and each singing our own part to the chorus. I’m a sucker for wordless “ooo-ing” vocalizations in the vein of “Cut Your Hair,” which go alongside ith Craig’s singing words. “Galloping” was trickier though, because its structure is less Josh-part-Craig-part-Josh-part-Craig-part. We both had a melodic vision for the song, so rather than fighting over who got to sing it, or one of us singing words and the other “ooo-ing”, we decided to just each do our own thing.

By the time we recorded “Galloping” all our parts were composed. Two sets of lyrics were written and recorded never having been shared with one another. However, my “ooos” on “Goodnight, Retrograde” and “Wide Berth” were written completely on the spot and premeditated in no way.

CG: At the end of “Wide Berth”, is the sound after the repeated lyric a clicking of the tongue? If so, brilliant!

Slothbear – Wide Berth

CH: Yep! It initially just had a conventional, melodic resolution but I think I was listening to Syd Barrett-era Pink Floyd around the time of recording and was into the idea of just making wacky mouth-sounds. I’ve been likened to both an Australian and a squirrel on this track, so there’s that. Ian actually thought the clicking was his ride cymbal.

GG: There’s a wistful existentialism to the lyrics, such as “In the end, in the end, you’re just as small as all your friends,” (Don’t Taunt a Tiger) and “If you love someone you’ll let them run and go have fun.” (Ex-teen) Can you tell us a little bit about autobiographical inspiration and possible literary influences?

CH: I don’t mean to sound snarky at all when I say I’m always psyched to see the different transcriptions of the chorus to Tiger (laughs), not to break the fourth wall but I’ve always wanted to bust out “(laughs)” in an email interview, though Josh stole my thunder all over this thing, but the actual lyrics are “In the end, in the end/Justice mauls all your friends.” Josh and I talked about how it’d be funny to write a song about the tiger that mauled those kids at the San Francisco Zoo when they harassed her a few Christmases ago, and I put it into practice. Yours is probably a more cutting commentary, though. I think our friend Noah actually had your version verbatim, but I’m not sure. The guitarist in his old band once drunkenly told us that his whole family sang “INDIANS, INDIANS!” in the car, and my pal Hank from Spirit People thought it was “In and out, in and out/This is what it’s all about.” How lascivious!

JG: I think one of the things that is cool about lyrics is the subjectivity of what the “real” lyrics are. I’ve had some fairly profound experiences with lyrics to a song only to discover that I’d misheard them but that never changed how they impacted me. as for “Ex-teen”…

When I wrote “Ex-teen” I was looking to write a cathartic break-up song but something went wrong and I got introspective and wrote something that felt like a coming of age. I was shy about the song being so introspective, so I tried to focus on the object of the song (the girl I was sad about) rather than its grammatical subject (yours truly).

Most of “Ex-teen” is set on this secluded beach that I almost drowned at two summers back. I was 20 then, an ex-teen, visiting my then-nineteen-year-old, then-girlfriend. I sing “Got nipped by minnows in the bay, ex-teen. The teen’s areolae were…,” but it sounds like “Got nipped by minnows in the bay. Ex-teen, the teen’s, areolae…,” what with the embedded clause, characterizing the presumed titular character as being a teen. Playing around with sentence structure and punctuation allow the lyrics to mean something different in print than they would just being heard.

The song is about recognizing my impulse to settle settle down with someone and coping with the fact my still-teenaged lover is not on the same page as I am, not necessarily because she doesn’t love me but because she is too young to love me the way I love her. Sometimes I get really serious when I write songs. On the next record I’ll have better jokes.

The writers whose ideas and ways with words contribute to how I think and the aesthetics of my writing most are Joanna Newsom, Thomas Pynchon, David Foster Wallace, Milan Kundera and Bill Callahan. Lil Stevie Malkmus, too.

CG: Some in the blogosphere have compared Slothbear to Pavement. Is it an apt comparison, or do have a better band to complete the sentence: “If you like _______, you will like Slothbear.”

CH: Josh and I are probably to this day administrators of the Facebook group “Pavement Is the Greatest Band Ever” (Bob Nastanovich joined). As cherished a band as they were and still are to us, I think I speak for all of us when I say that slacker ethos are fairly antithetical to our approach to live music. Which isn’t to say that we didn’t have a great time seeing them on the reunion tour—we even conned people into thinking we were opening! Brooklyn Vegan and Consequence of Sound both listed us as openers for Central Park SummerStage, and QRO Magazine emailed us asking for a press pass. I told them we could do the interview in the crowd, Among the People. They declined.

CG: Greenpoint vs. Williamsburg? DiMaggio vs. Mantle? Jets vs. Giants?

CH: I work in Greenpoint, and I often find myself driving around Williamsburg, so neither of those. Bushwick is the ‘hip’ one now but while we play there a lot we’re kind of outsiders. Mantle is the better player and the more likable guy… DiMaggio was kind of a stiff whereas Mantle was like a hilarious frat dude. I’ll go Maris, the true homerun champ, for my dad. I’ve been a Giants fan since the tail end of the 2001 season, and I have the Kerry Collins jersey to prove it.

DB: Ultimately, I find myself roaming Williamsburg more often than Greenpoint, but that’s because I’m a yuppie at heart. Or maybe it’s because when I asked a girl where I could find another “unattainable girl genius,” she told me to “try Bedford Ave” (clearly referring to between Metropolitan and N 9th or10th).

Haha, “bears noting.”

CG: What’s next for the band? Any plans to hit the West Coast this summer wink wink?

JG: We’ve been rehearsing this eighteen song batch for over a year now and calling it Grey and Depraved. Those should start turning up soon, over the course of a couple singles, an album and an EP. That batch includes “Agonistes” and “Yorkshire Sash,” which there are decent videos of, some heavily reworked older tracks that have appeared in other live clips or radio sessions like “TXTMSG Never Sent” and “Tucked in Trees” and a bunch of other songs we’re pretty excited about like “Ranch Row,” “JZ,” “Please Don’t” and “Birds,” to name a few.

We’re also finishing up a video for “Wide Berth,” which should be a hoot.

CH: I’m currently in the throes of booking us a grossly ambitious cross-country ‘international’ tour to Vancouver and down through California.

DB: I’m working on a solo EP at the moment, but I plan on wrapping that up soon in order to start working on other projects, primarily the next SB album. I’m also very eager to get on the road with the band this Summer and begin filming our tour document/internet miniseries, The Torbus Diaries. The shows will be fun as well.

Slothbear newyork (Facebook)

reviewed by
04-21-12

SXSW WRAP: 2012

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B3SCI took to the streets of Austin in March for the 25th annual South by Southwest. We braved/raged through the musical flurry of performances, ridiculous entourages, grid-locked streets, fantastic rumors and more while covering some of the world’s top breaking talent. Below are some choice highlights from our experience (during festival highlights here), including our most recent Virgin Mobile Live broadcast featuring tunes from festival acts as well interviews with Fast Years, Tashaki Miyaki, PAPA and Saint Motel tracked on the streets of SX.


Full set list here.

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WEDNESDAY March 14, 2012
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Roll the Tanks @ RED 7

Millennial music-host royalty Carson Daly kicked off Wednesday evening at his Last Call showcase with punked-out pop rockers Roll the Tanks. After a flattering introduction from Daly himself, Roll the Tanks and their Never Mind the Bollocks-informed post 90s-fueled power-pop set a familiar tone. Some songs had a definite Weezer-type approach, in a cheeky sort of way, and when combined with the energy of decades worth of nostalgic punk, and for that the band made some new fans. Sans some technical difficulties, the band powered through a well versed set of savvy- for-commercial-voltage rock music.

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SOFI @ Parish

SOFI is a contemporary pop artist. A type that might foreshadow a new wave of SXSW popular artists. Sophie brought her brand of Lady Gaga electro-heavy pop to Parish on 6th street with a strut. It was a spectacle of dancers, poles, lights, a mic, and some backing tracks. That about covers it, a few timely electro pop songs and a hot stage show that clearly attracted some die-hard fans. The bass-driven atmosphere worked so well that I wondered about the possible scheduling conflicts with the Winter Music Confrence just a Gulf of Mexico away.

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The Knocks @ Parish

The Knocks knocked it. The NYC duo finessed their gadgetry with a heaviness and energy that translated directly into a hall of moving bodies, a/k/a a serious party. In today’s Sea of electronic noise these dudes can mix in something like the B-52s with a freshness that doesn’t sound self conscious. The Knocks’ show works because of the duo’s dynamic urgency in performance.

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Friends @ Hype Hotel

Take a quick glimpse at Friends. If your hipster radar isn’t freaking out at this band then get it’s battery checked. When Friends rhythmic and tropically based glam-pop grace the stage you should be ready to see a fashion show along with your concert. Not unlike everything that is endearing about novelty disco, the band’s minimal sound is an urban jungle. Lead vocalist Samantha Urbani jumps into the crowd like it’s her loft party. Once this band dials in there’s no stopping the impending Studio 54. Friends’ catalogue can be spotty at times but they do have some songs that stick; like it’s that sort of abstract, new wave-flavored stick that can only come from deep record collection gold like the Thompson Twins.

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POND @ Hype Hotel

Pond fucking rock. I walked into the band’s first set of SXSW and was shocked at what I saw; definitely something to see. The Perth band (worth noting, come from some Tame Impala blood) are one of the most charismatic bands I’ve seen in a minute. From fixing his hair on stage, the swinging of microphones, the sneering, the dinosaur-raptor like convulsions… front dude Nick Allbrook has a strong comfortability on stage to say the least. A sort of stage presence that walks the line of over-the-top and sheer genius. Pond’s sound encompasses a striking blend in qualities of classic rock. When the band’s ambitiousness and stoner, punk, and classic rock influiences congregate, the resulting product is a high level brand of rock and roll. POND leave an impression, enough of one that lead us to three more gigs throughout SXSW this year. More to come.

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Gary Clark Jr. @ La Zona Rosa

What kind of artist is Gary Clark Jr.? Is he a AAA radio staple still looking for that crossover hit? Is he the blues guy on your favorite festival circuit? or his he that guy that you and your dad can both rock out to? (Clapton fans were looking at you.) He’s probably a little bit of all the above. Gary Clark Jr. has the talent regardless of any label to be slapped on him. . His more popular songs like “Don’t Owe You a Thang” and “Bright Lights” stole the set at a song level but it was the sheer charisma of young G.C. that stole the show. Take Gary Clark featured on a guitar solo, take him featured as a vocalist.. our word, take him anyway that you can get him.

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THURSDAY March 15, 2012
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Lee Fields and The Expressions @ Hype Hotel

In the everdeep sea of soul pop legends, Lee Fields is a pearl. Coming to and from in a career of ups and downs, twists and turns, this man is still at his best. Dressed from what seems a Ross’ out of rural Nebraska, Little J.B. adeptly worked his crowds. He’s a pro. “I still got it” he sings from “…the new CD” (Faithful Man – get it) and he’s not kidding. Fields’ band, The Expression add an energy that other artists Field’s age wouldn’t be able to keep up with. Late in the set, ‘On a whim’ Fields directed his faithful band into an unrehearsed performance of their new song “Hanging On” from ‘the new CD’ (Faithful Man – get it). While getting down to the funky soul tones of Lee Fields, it was pretty hard to not notice that the dude loves singing to the ladies. Lee closed the set with “Faithful Man” which is the title track from the the CD. After letting fly his blood curdling screams of infidelity, Fields came back for a rare mid-day SXSW encore by audience demand.

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BRETON @ Latitude 30

BRETON performed their first set on US soil at Lat 30 during SXSW, the perfect venue for those ‘different’ sounding brits (to of course American ears), and as expected, were greeted with mixed reactions (playing both for and against their favor depending on how you like to look at it). The projects team delivered a set of electro pop that’s all their own. There’s a youthful energy in the band’s near Vans-tour style presence. With a new skool approach to pop instrumentation, Breton are likely to introduce electronic music to a few youngins or two. With BRETON’s remix work already catching fire, this band seems to have the right formula as was further evident in what we heard original material-wise.

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Love Language @ Cheer up Charlie’s

In scurrying to make an interview we missed a set from Moonlight Bride but in the process we were pleased to stumble on a great set from Merge Recordings act Love Language. The band’s soothing middle of the road pop rock brought me back to the days of bands like The Stills. Love Language seemed to play because they live for it.

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Alabama Shakes @ Hype Hotel

Athens, AL based four piece Alabama Shakes were definitely a band to see on most everyones list during SXSW. The good news is that the band played like 8-10 sets so that you couldn’t miss them. Regardless, frontgal Brittany Howard puts it all out on the table. Even after all the hype, all the Lefsetz, all the usual ‘ha-bub’, you still can’t take your eyes and ears off of Alabama Shakes. This is a band clearly eager to explore the depths of their musical creativity. With newer songs in the dylan’esque transition Beatles style and less of the swamp tinted pentatonic rock (which many have come to love from them), Alabama Shakes still at their heart have a soulful swagger. They are aiming for the top, which is what separates them from much of the hype. A career is about longevity. For now, Alabama Shakes are destined for festival billing but whether or not Alabama Shakes will deliver further (say an iconic album for the books) remains to be seen. Only the strong survive.

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Tashaki Miyaki @ Cheer Up Charlie’s

Tashaki Miyaki are a band with little to be known about. IS there something wrong with a band wanting the music to be what everything is all about? Isn’t that the way it should be? Adding a bass player helps with the live show of some generous covers appreciation. The band’s downtempo sound (which might sound familiar to some) is a signature stamp. Songwise – Buddy Holly, Bob Dylan, Sam Cooke, The Everly Brothers… the singing-drummer duo has an appreciation for the singles era. An era where an artist’s tastes could be appreciated in a less time intensive fashion. Kinda ironic how the attention spans of music fans in the 50’s have never rang more true today. Tashaki Miyaki’s shoe gaze and wash of Lucy’s vocal coos and Rocky’s fuzzed guitar is a winner combination for us. Lucy sings and plays like its all she knows, beautiful consonant octaves at the third or fifth.

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Dirty Beaches @ Cheer up Charlie’s

The shameless and expressive musical rantings of Dirty Beaches. I don’t know how Alex Zhang Hungtai can replicate the emotions performance after performance that he pours into each of his live shows, but I am always grateful for the chance to experience it. There is difficulty in always finding the pocket dealing with a more abstract/impulsive sound palette; but this dude is dialed in.

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Colleen Green @ Vegas Hotel

Colleen Green makes timeless strung out chic pop. The simplicity of her songs is a heavy contrast to the reflective themes that she conjures up in powerful doses. The short set of tracks was rocked at a full capacity; a bit of her pedal, a bit of Happy birfday Jeff! and a bit of moody power chord pop; perfect for this off beaten path Hotel Vegas venue.

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Kendrick Lamar @ Stage on 6th

K Dot had control of the house from moment one as he rolled through an energetic albeit brief set, comprised mainly of highlights from his much lauded Section.80 mixtape. There was a heaviness and rasp in Lamar’s voice that revealed a bit of fatigue (The guy has been literally all over Austin the past few days) but there was no let up in performance quality as the L.A. rapper 100% knocked it out.

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Nicolas Jaar @ Central Presbyterian Church

22 year-old American-Chilean musician Nicolas Jaar kept the lights down low for his headlining slot at Central Presbyterian Church for Pitchfork’s party. Reading the room, the trio brought experimental electronic jazzish composition to a packed room of enthusiasts looking for an intimate experience outside of the chaos down on 6th street. Saxophone, laptops, strings, drums, no instrumental territory was off limits. Atmospheric in all of it’s aspects, lush, strings, electro, world beats, Jaar’s music generates a big sound both controlled and intellectual.

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FRIDAY March 16, 2012
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Ed Sheeran @ Cedar Street

Ed Sheeran kicked off Friday morning SXSW 2k12 with something fierce. Armed with only his guitar, the UK dude tore it up at the Filter mag party.

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Tristen @ Cedar Street Courtyard

It was at the same venue that I ran into Tristen last year at SXSW. How could those hauntingly beautiful tones not draw us back in? Her’s is a brand of poetic folk rock that touches every music lover’s inner country music. Tristen’s voice, in performance, floats as if were made for neo-trad pop. Tristen are a band comfortable in their own skin. Big.

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U.S. Royalty @ VML House

Good old classic rock that’s not afraid to let its roots shine through. When shredding and belting vox out like American Royalty, we mean US Royalty… we mean dubbaya.

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PAPA @ Cheer Up Charlie’s

PAPA sound great. PAPA were tight, in the pocket, on their soul. And for their fourth show of the day the band were dialed in to the frequency of the circus of Austin around them. Mid-set frontman Darren Weiss even did handstands. (seriously is was pretty fucking hilarious). He said, “it does taste like chicken” and proceeded to lay down more of the soul-informed rock vibes from the band’s A Good Woman Is Hard to Find EP, and also offering some hints towards what to expect from a forthcoming new album release.

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HAIM @ VML House

HAIM drew second looks at the Virgin Mobile Live house early Friday evening. The 3:1 lady lead collective sounded big. Crossover type big. Like advert campaign big. It will be interesting to see how and if this group will develop. It wasn’t that any of the musicianship on display was anything that would blow your mind, it was more the profound feel the band convey that drew us in. We will be watching what happens next with HAIM in 2012.

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DJ Jacques Green took to the decks for those lucky enough to catch a glimpse between all the action of band’s outside.

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Fast Years @ Fire House

Fast Years are like the Motley Crew of jangle pop. Four cool looking dudes with a great feel for pop-informed rock music. While the fog machine (and LASERS) inside the Fire House was a bit over the top (almost choked then blinded us to death), the band still seemed to manage it. It was guitarist Mikah’s birthday and it was clear the partying on stage during set was no doubt part of the day’s celebration. With a nice collection of songs in the can, the group can look forward to hitting the road and honing their set for the masses.

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Willy Mason @ St. David’s Church

Willy Mason is a good answer to AAA rock-leaning fans of artists like Noel Gallagher. Mason’s a sure bet expert collection of folk and classic rock songwriting was on display throughout the entire performance; each song telling a better tale than the last. Mason rocked the church with his fantastic band and his make-shift 19th century player-kick drum; a novelty on site but it actually added a musical depth to the mix.

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Daughter @ St. Davids Church

Another band with a lot of hype leading in to SXSW were Daughter. Daughter have a uniquely intimate style to their songwriting. Lead singer Elen Tonra brings you into her vulnerable world with lyrics sung like they can only be said through song. Guitarist Igor Haefeli put on display one of the most beautiful/tasteful exhibitions of guitar work I’ve seen in years with such a mature sense of instinct and control. Should Daughter continue down a road of great songship, legions of fans await.

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Michael Kiwanuka @ St. David’s Church

Michael Kiwanuka brings gospel-informed writing back to the mainstream of crossover songwriter pop. Like Jack Johnson, Michael Kiwanuka can pick up a guitar and potently tell a quiet story to masses of media-bombarded music consumers. Presences like his make for timeless moments and hit records. Kiwanuka is a budding talent with likely incredible things on his horizon.

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Dinosaur JR. @ Fender Party

Strolling back to my hotel room Friday night, I heard a gnarly version of The Cure’s “Friday I’m In Love” echo through the streets. Fuck it I’m at SXSW. I followed my ears and (surprise!) I found Dinosaur Jr. rocking the 80’s classic. Not much to say about Dinosaur Jr. except it’s the only thing that could have picked me up at 2am. The trio play like they just discovered rocking out with each other in their garage yesterday.
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SATURDAY March 16, 2012
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The War on Drugs @ Mohawk

I ran into Michael Kiwanuka watching The War on Drugs. He seemed captivated by the band. Can you blame him? The War on Drugs are easily one of the next great American folk rock legacies. Frontman Adam Grundencial delivers dylan’esque rambles with brilliance. Guitar riffs played an important role in the songs as well; vocal and instrumental melodies met with a rootsful backing.

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POND @ Maggie Mae’s

By the time we caught our third set of Pond I was convinced to have some conclusion. Especially after catching a second set in a venue better suited to host MMA on Pay-Per-View, and awful sound. Frontman Nick Allbrook took to the crowd in an early St. Patties Day jabber something like, “Busting is it? We’re Pond from Brixton. I’m Irish…” as they slammed into their blues rock, Led Zeppelin like wall of sound. The upstair patio at Maggie Mae’s took notice. Pond had the right amount of tameness this time, like their appearance at Hype Hotel two days earlier, and about 40% more tame than the ‘cage-match’ show the day before. With each set tactically different than the last, and this one being 20 some minutes in length, Pond held a captive audience. The band brought the pace back for “Broke My Cool”, a classic rock like ballad that showcased Allbrook’s voice more so than his personality; at moments Jagger-like in its’ tone-deffness. Perth’s Pond, have character. Some of the most character I’ve seen in a rock band in a minute. Add the Tame Impala backstory and a hearty new album, and we’ve got a band that might have us at fan status.

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Bob Mould @ Mohawk

Bob Mould tore in to a complete performance of Sugar’s Copper Blue at the MOG party at Mohawk. Again he proved the album’s a classic, Sugar was epic, he’s a genius. Mould’s attitude and deamenor simply reads something like ‘fuck it’. The trio on stage killed the songs like they just wrote them yesterday. There’s something to admire about musicians that never loose the sight for and passion in their roots.

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Clock Opera @ Hype Hotel

Clock Opera are a good reference point for contemporary indie pop rock bands. The five piece out of London put on a solid set of, mostly air-tight, rhythmically driven songs, and dis-enfrachised lyrics with non-traditional melodies and structures that you can’t get out of your head. Plus the band occasionally rock out on household kitchen ware! The crowd partied at the Nialler 9 showcase with an uptempo set of Clock Opera songs from their previous EP’s as well as their forthcoming Ways to Forget debut LP release.

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Ceremony @ Red 7

This was a punk rock show. Posers take note. Provocatively genuine microphone gestures, moshers who mosh like it’s a profession, shit breaking on stage. The Bay area band ripped through an arsenal of material including cuts from their latest Matador release, Zoo. See this band but stand in the back.

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Odonis Odonis @ Red 7

O^2 bring out the inner garage rock in everyone. The muddied abrasive, but still melodic, guitars frame songs with lyrics that live forever (when audible.. which is kind of the point). In fact it inspired me so much that I was compelled to buy one of the band’s cassette tapes (yes, that’s right a cassette tape). This Toronto trio will rip your head off it you’re not ready for them. The music, as energetic as it was loud, was played HARD with a washy mix of heavily fuzzed guitars. The band’s song structure is simple and on the punkier side of garage music. “Handlebars” stood out as a favorite with it’s British-y sneer and kowabunga cool vibes.

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Forest Fire @ Red 7

Forest Fire are a band waiting for that big moment. With an almost Monkees quirkiness to them, the band must be on deck for the next Austin Powers movie. Plus lead singer Mark Thresher clearly knows a good parka when he sees one (James Brown would probably give it an 8.5)! Following the stage after Ceremony could not have been a good feeling for this band who might as well had been playing hippy rock in a field of daffodils. Still good pop is good pop music, and where stage experience lacked the, band made up for in melody and pure song.

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The Velvet Teen @ Red 7

After what seemed a soundtrack from hell, the Velvet Teen launched into their much anticipated set. The jagged chords of “Radiapathy” would soon lead the crowd’s delight. A new track presumably from their forthcoming 6 years in waiting LP was mainly rhythmic and had no guitar. In fine Velvet Teen fashion, a departure from anything expected next out of the band. Judah Nagler got the crowd into it “come on Austin”! but there wasn’t much selling needed to be done.

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Django Django @ Latitude 30

One of the most hyped acts at SXSW this year seemed to be Django Django. Lat 30 was packed to catch a glimpse of these popular new wave revivalists. The London collective rocked a new school DEVO type vibe. And like DEVO, in our opinion, DD either strike out or hit a homerun with what they are doing. Django Django are the type of band that relies on a penchant for strong tunes and consistency and have a successful career waiting where a boppy aesthetic makes for pleasant listening. It will be interesting to follow what 2012 (and potential music licensing, these are tunes that scream advert placement) will have in store for them.

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D/R/U/G/S @ Latitude 30

The Manchester based beatsmith D/R/U/G/S filled in for Maverick Sabre who unfortunately couldn’t make it to Austin. While musically a major departure from the originally scheduled act, D/R/U/G/S took the stage, cast on left-arm and ready to deliver an electro induced set of dancey mayhem. Synced with his custom visuals, the DJ rocked through a set of intricate sound layers and manipulation. The music was great and his freshly minted remix on Lana Del Rey’s “Blue Jeans” stood a set highlight

reviewed by
04-09-12

FESTIVAL REVIEW: Culture Collide, October 6-9, 2011, Los Angeles

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Last weekend (October 6-9), FILTER Magazine sponsored their second annual Culture Collide festival. Exposing international artists to the ears of Angelenos is the name of the game at Culture Collide, and this year’s Echo Park-based festival saw CSS (Brazil), Clap Your Hands Say Yeah (USA), Liam Finn (NZ), and Datarock (Norway) as well as artists from Australia, China, Czech Republic, Denmark, Finland, France, Germany, Iceland, Iran, Ireland, Israel, etc. Here’s a re-cap of what you missed.

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Nirvana: Live at the Paramount: Screening @ Los Feliz Vista Theater Wednesday October 5, 2011

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Culture Collide kicked off in a big way on Wednesday evening with a showing of the recently released Nirvana: Live at the Paramount, a Seattle homecoming from Halloween night, 1991, just five weeks after the release of Nevermind. The film screened at the famous Vista Theater, located at the intersection of Sunset and Hillhurst in the Los Feliz neighborhood of LA. Live at the Paramount is the only Nirvana show ever shot in its entirety on 16mm film (how is this even possible!?), which makes the concert all the more special. We’ve been conditioned to digest Nirvana’s performance via 30 second midi video clips which have aired on VH1 continuously since 1995, so to see Nirvana without commercial breaks is quite exhausting – I can only imagine the electricity inside the Paramount 20 years ago. Flanking the sides of the stage are two dancers, an androgynous boy wearing a shirt that says ‘girl’ and an androgynous girl with a shirt that says ‘boy’, a gentle reminder of how Cobain and co. playfully tested the public’s perception of society as a whole.

Grohl does most of the between song banter, with a little help from Novoselic, but Cobain remains nearly mute. It’s important to appreciate that even on the eve of worldwide fame Cobain was uncomfortable with his status as an (albeit budding) “rock star”. Also, Nirvana was anything but a DIY project by October, 1991, as they’d already been given a healthy advance for a major label release. Societal implications aside, Nirvana is merely a band with one fantastic album and two very good albums. But Live at the Paramount reminds us that Nirvana can never be separated from the culture which catapulted them to fame. – Chris Gedos

Nirvana – Rape Me (Home Acoustic Demo)
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Liam Finn @ Echo Thursday October, 6 2011

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To start his set, Liam Finn joked that his band ‘had traveled the longest way’. The New Zealand-bred Finn (son of Crowded House leader Neil Finn), who had likely traveled further distance than anyone else at The Echo on Thursday night, brought his serious songwriter and musical chops. The sort of chops that, like some of the best — Buckley comes to mind (father/son coincidence aside), where the music just seems to pour out of them. Like it’s just an extension of who they are, like having arms or legs or cool hair or whatever, it is their person. In describing Finn’s music and performance, we heard influences like whisperers Travis and Elliot Smith up to the straight folk rock of the 70’s and it’s modern disciples like Wilco. During the set, the band joked they didn’t have enough room on stage, and they kind of didn’t – as we counted up to 9 musicians on stage at any one point. Percussion played a big role (think WIND CHIMES), Liam even occasionally guest-dueled on drums, hitting the skins like a pro. “Gather to the Chapel” was a favorite take from the dynamic set. The band played through each tune, song for song, like seasoned folk pop professionals (maybe Decemberists-esque) and left a half full venue crowd (those that were there really into it) cheering, screaming, clamoring for more.

Liam Finn – Gather to the Chapel

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Lindstrom @ Echoplex Thursday October 6, 2011

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Norwegian producer Lindstrøm closed the evening at Echoplex with a set of late night nu-disco macparty music. A chilled but focused Hans-Peter vibed his way through a mind-bending set of contemporary retro electronic music. On-lookers couldn’t help but move.

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The Postelles @ Taix Friday October 7, 2011

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The Postelles took the stage Friday night at Taix. It’s been a while since I’ve seen a band this tight. They’re unconcerned with fads and styles while relating to the present and having something relevant to say for the year 2011. After being dropped by Capitol/EMI last year, the group didn’t skip a beat and eventually released the Albert Hammond Jr. produced, eponymous debut with +1 records this past June. As I write this, “Bad to Me” by Billy J Kramer and the Dakotas plays at the café, which is fitting because the Postelles truly sound like the lost songs of Lennon/McCartney (in a very good way). Is there anything left to say about the songs band vs. ideas band debate? Songs have always and will always win out.

A band of lesser value may not have survived as unscathed by a similar corporate runaround. But the Postelles sound even better than their videos online from eighteen months ago. “123 Stop” has to be one of the top rock songs of 2011. By channeling Eric Carmen and the spirit of (dare I say) Lee Mavers, the Postelles have created one of the most perfectly retro albums since Is This It. Properly rooted in the CKLW sound of 1960’s Detroit, these guys have been listening to their complete Motown Singles! The last, best thing I can say about them is that their new songs sound even more complex and intricate, with increased vocal duties on the part of the lead guitarist. The Postelles are touring America with The Wombats and then The Kooks at the end of October and through November. Drive the necessary distance and see these guys live, if only to know that old time Rock n’ Roll is alive and well. – Chris Gedos

The Postelles – Hold On

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Tennis System @ Taix Friday October 7, 2011

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Tennis System, recent LA Transplants via Washington D.C., plays a hard but endearing mix of Psych-Pop and Shoegaze. I can’t say I’m a big fan of the name, but many of my favorite albums in recent memory have come from bands with immeasurably more preposterous names (Clap Your Hands Say Yeah to name one). They’re loud but not abrasively so, as they’re well aware that playing at a decibel level above 100 doesn’t make you automatically good. At the same time, they were shut down at SXSW for noise complaints. They’re like Weekend but more pop. “Hey, We Tried” (love the comma!) wouldn’t sound out of place on either Loveless or Carnival of Light. At the same time, Tennis System isn’t a genre band per se, succeeding with a sound which channels a wide spectrum of influences as far back as Pink Floyd and as recent as The Flaming Lips. Most importantly, they’re not just a live band, since their EP makes for a captivating and intimate listen. – Chris Gedos

Tennis System – Arcane

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Avi Buffalo @ Taix Friday October 7, 2011 and @ Toyota Antics Block Party Sunday October, 9 2011

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Long Beach collective Avi Buffalo made use of their Friday and Sunday sets to deliver a fresh take on 2011 indie rock. Avi Buffalo are a band able to walk the line of producing popular songs like “What’s In It For?” while maintaining an off-the-beaten-path musical identity relative to other bands in their space. For example, how many other bands can actually play blistering guitar solos for minutes in the vain of Dave Gilmour or even Stevie Ray Vaughan? Or rather, how many other indie bands actually have the balls to rock out a 5-string bass on stage? Avi Buffalo march by the beat of their own drum (or 5-string bass slap). AB’s mostly moderately paced set was chock full of the most of dynamic crescendos and Neil Young-like shrieking by lead singer Avigdor Zahner-Isenberg. The band even delivered a moving version of ole Shakey’s “Cortez the Killer”. While Avi Buffalo is certainly rooted firmly with the pantheon of great 70’s classic rock groups, they aren’t shy about embracing more contemporary elements. Take for example, their bringing on stage of an MC, who joined the band at various points to spit rhymes over some of the set’s more funkified music beds. Also the shoes! The band had great contemporary-lookin’ shoes!

Avi Buffalo – What’s In It For?

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Yacht @ Echoplex Friday October 7, 2011

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Yacht drew a packed house for their headlining slot at Echoplex Friday night. Yacht brought funk. The house got down. Phased-out and clean guitar effects, tight on-the-beat syncopations, cow bell, Eurythmics, you get the picture. Lead singer Claire L. Evans was in control taking charge of the party atmosphere and not letting go throughout the entire high energy set. The band’s spot-on cover of The B-52s “Mesopotamia” fit the pocket, a solid example of the best sort of minor keyed pop song. With a full and accomplished sound, Yacht are still that crossover hit away from landing on the commercial landscape. Do they care? Probably not.

YACHT – It’s All The Same Price (Featuring Eats Tapes)

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Asteroids Galaxy Tour @ Echoplex Friday October 7, 2011 and @ Toyota Antics Block Party Sunday October 9, 2011

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Danish pop collective The Asteroids Galaxy Tour brought the full production for their Friday (Echoplex) and Sunday (Toyota Antics Block Party) sets. One of the more pop-orientated groups at Culture Collide this year, the band’s uptempo set fused high energy soul with an almost Brit-pop strut. The theatrics of lead singer Mette Lindberg were a highlight and the band definitely ramped up some well deserved anticipation for their forthcoming sophomore release Out of Frequency, due early 2012.

The Asteroids Galaxy Tour – Inner City Blues

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Clap Your Hands Say Yeah @ Toyota Antics Block Party Sunday October 9, 2011

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Clap Your Hands played a very respectable 45 minute set in between Asteroid Galaxy and Datarock. They had been scheduled to play at F*** Yeah Fest on 3 September but were unable to travel west due to hurricane Irene. My main gripe is through no fault of their own: it seemed they wanted to play longer than they did, but were forced to stick to the strict time constraints mandated by the two stages’ proximity to one another. In fact, PA music came on before their encore! 45 minutes is ample time for a nice, thorough sound check, but for a band like Clap Your Hands Say Yeah, who officially has a body of work now, the set seems way too short, especially since a majority of the set was from their now iconic, 2005 self-titled debut, a release which embodied the DIY movement at the time.

Regarding that debut, few albums come along with as cohesive or a singular of a purpose. I will forever compare Clap Your Hands Say Yeah to Ziggy Stardust if only because both albums run through 12 tracks in 38 minutes, and because Bowie championed Clap Your Hands when they first broke through. The Philadelphia five-piece opens with “Sunshine and Clouds and Everything Proud”, a little ditty which is track 4 on the aforementioned debut. This choice of opener suggested that the set wouldn’t be about Hysterical, the John Congleton-produced LP which was released on September 20th in The States, but rather their LP which was released 6 and a half years ago. I can’t say that the crowd minded the preponderance of older material. “In This Home on Ice”, my personal fav, was spot-on, and “The Skin of My Yellow Country Teeth”, their undisputed most popular song, sent the crowd rocking back and forth in place. As for the new album, “Hysterical” begins unassuming but builds throughout to something with a level of urgency. The single, “Maniac”, would make a nice B-side from their first album. Unfortunately for Mr. Ounsworth and co., however, the band has lost much of their relevancy and have therefore come to be defined by their past as opposed to their future. Whether Hysterical will set their career on a new trajectory remains to be seen.– Chris Gedos

Clap Your Hands Say Yeah! – Maniac

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Datarock @ Toyota Antics Block Party Sunday October 9, 2011

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What you see is what you get with Norwegian heavyweights Datarock, which is a lot. Tight, concise guitar licks, kraut-house melodies and vocals which serve as atmosphere during the verse and go big during the chorus. To say that Datarock brings a lot of energy to stage would be a vast understatement. They bubble over with energy, jumping up and down in their trademark red jumpsuits with a fair bit of running man thrown in for good measure. Frontman Fredrik Saroea is the group ambassador, drummer Tarjei Strøm donates several drum sticks to the audience and bassist Thomas Larssen never stops head banging. But Kjetil Møster, while not a founding member, is arguably their heart and soul. He mixes in layers of synths with a killer saxophone solo on several of their best known tracks. I saw Datarock at the Echoplex back in March and must say that their sound lends itself better to an indoor environment, as it seemed they weren’t quite as loud on Sunday night. Yet their performance was clear proof why they’ve been darlings of the electro rock scene for nearly a decade. – Chris Gedos

Datarock – The Pretender
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CSS @ Echoplex Saturday October 8, 2011 and @ Toyota Antics Block Party Sunday October 9, 2011

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CSS brought some Brazilian soccer culture worthy-type “A” game to Culture Collide – headlining stages on both Saturday (Echoplex) and Sunday (Toyota Antics Block Party) nights. Perhaps the festival’s biggest draw, the band’s tight mix of multicultural nightlife soul won over the crowd of both new and longtime fans.

CSS – Red Alert (Feat. Ratatat)

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reviewed by
10-13-11

LIVE SHOW REVIEW: Girls / Nobunny / PAPA @ Lincoln Hall, Chicago 09/29/11

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Girls came to Lincoln Hall in Chicago last week to headline a show. You’re seeing these words, so I can assume you’re interested in this band. I’m interested in them too; I even like them and have for a little while now. Their new album came out last month, and that’s why this show happened.

A four piece named PAPA opened the show. Their name is in all caps. First of all, I have to tell you that they have a singing drummer. If I were you, I would really want to know that before anything else.
Aside from the fascination I have with the sheer phenomenon of the singing drummer, Darren Weiss immediately snapped feeling into the room. With accents from organ and electric guitar, the rhythm section drove every number forward without coming close to sacrificing a song’s pace. Each tune carried a simultaneously pulsing, easy, and forceful tone. “Ain’t It So” hung with me throughout the set. I don’t want to be that guy that names other acts, but I was thinking Walkmen and the Band at various times throughout the set. What may be an unusual sentiment during an opening band, I never found myself waiting for PAPA to stop playing.

Nobunny came on stage next. You know he wears a rabbit mask and no pants, right? Anyway, there’s this place across the street that has a pretty decent Mexican hamburger with avocado. I opted for waffle fries on the side. It was really good.

You may have seen pictures or videos of Girls’ recent performances. No gospel choir showed up, but keeping with tradition for this tour, rainbowed bouquets of flowers lay across amps and hung from all mic stands. The two constant members, front man Christopher Owens and instrumentalist JR White, walked on stage backed by none other than good ol’ PAPA.

They tumbled right into the show leading off with “Laura” off their first record. Not my first guess or preference, but after ten seconds it sunk in and carried on as the perfect choice. A not-so-fast, jangly start felt just right and led into the rest of things. After a short lull, “Honey Bunny” and “Alex” came next. Probably two of the best songs on the new album, they sounded tighter and more energetic than
I would’ve imagined them being on stage. Not bad! But wait it gets a little better right here.

After another healthy dose of forced banter and tuning after the first lump of songs, Girls let loose with the acapella intro to the album’s yearning soul track, “Love Life.” The plaintive jam immediately pulled everyone together in attention. Smiles and nodding abounded. I do want to pause and tell you that Christopher was wearing blousy, caramel colored corduroys topped with a denim shirt. All white oversized Air Force Ones completed the ensemble. Song after song, he poured himself into each number while seeming genuinely somewhere just short of disinterested and careless. During instrumental breaks, Owens writhed and twisted away from the microphone doing a ‘luuded-out Bo Diddley type thing; I was feeling it.

Compared to what was sitting on Girls’ two albums, these performed versions seemed to care nothing about their recorded counterparts. The songs were unfurling, new things unto themselves, and they looked and sounded killer. “Die” is the guitary, soaring, rock track on Father, Son, Holy Ghost; I normally flip past it. As both guitars started into the live version, out rolled galloping, crunchy harmonies. It sounded completely right. It wasn’t quite what one would expect from the wistful, druggy, west coast rock dudes, but it leapt out and left everybody full and grinning. During the focused mess, Owens stood upright with unusually good posture strumming sometimes aimlessly, and occasionally earnestly and haphazardly. His face was about two feet right of the microphone, but his lips casually mouthed “Ba ba bas” while he pointed half-closed eyes in no specific direction. You could tell these songs were supposed to be like this.

From that point there were five or six more songs. The band seemed less and less keen to be playing for the people watching them. I can’t really blame them; there were a lot of girlfriends-rubbing-their-boyfriends-back-during-the-show type of folks. You know, the people who actually make it into the show that sells out early. Yeah, bummer. Some of the last songs got iffy. “Hellhole Ratrace,” the hazy, slow building (and best) track off the Girls’ first album, was played in its entirety. But it was also done in half the time. And with that, their forced encore, the band left the stage.

I don’t think I would’ve preferred a show that built to multiple crescendos brimming with smiling musicians that gave the crowd compliments in between applause. Girls aren’t a flawless band, and they don’t have a flawless sound. They stick with you by way of all their nicely bent corners and familiar frayed edges. Why would we want anything less when they stood right in front of you? Contributed by John Ennis. Photos by Joe Annoreno and John Ennis.

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Girls california (Myspace)
Nobunny california (Myspace) (Facebook)
PAPA california (Twitter) (Facebook)

reviewed by
10-05-11

B3SCI Top 50 Albums of 2010

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2010! What a year! We laughed, we cried, we got into it! It’s mid to late December, so you know what time it is, the presents are being wrapped, the tree is being trimmed, and all the world’s music writers are popping champagne and slapping each other fives, cause it’s Best of list season! So here goes the b3sci staff’s picks for the Top 50 LPs of the year. P.S. Many thanks to our readers for a super cool 2010, the blog has grown in ways we never could’ve imagined really. 2011 is going to be massive (unveiling the now under-construction site redesign!) so stay tuned to b3sci in the new year!

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Kanye West – All of The Lights (Feat. Elton John, Alicia Keys, Fergie, The-Dream, Tony Williams, Rihanna, Kid Cudi, John Legend, Charlie Wilson, Ryan Leslie, Elly Jackson)

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Gorillaz – Stylo (Feat. Bobby Womack and Mos Def)

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Flying Lotus – Mmmhmm (Feat. Thundercat)

04-arcade-fire-the-suburbs
Arcade Fire – Sprawl II (Mountains Beyond Mountains)

05-erykah-badu-new-amerykah-part-2-the-return-of-the-ankh
Erykah Badu – Fall in Love (Your Funeral)

06-cee-lo-green-the-lady-killer
Cee-Lo Green – Bright Lights Bigger City

07-foals-total-life-forever
Foals – Spanish Sahara

08-sade-soldier-of-love
Sade – The Moon and the Sky

09-tame-impala-innerspeaker
Tame Impala – Alter Ego

10-the-national-high-violet
The National – Bloodbuzz Ohio

11-the-black-keys-brothers
The Black Keys – The Next Girl

12-aloe-blacc-good-things
Aloe Blacc – You Make Me Smile

13-deadmau5-4-x-4-12
Deadmau5 – A City in Florida

14-the-tallest-man-on-earth-the-wild-hunt
The Tallest Man on Earth – A Lion’s Heart

15-janelle-monae-the-archandroid
Janelle Monae – Neon Valley Street

16-bonobo-black-sands
Bonobo – Stay the Same (Feat. Andreya Triana)

17-gil-scott-heron-im-new-here
Gil Scott-Heron – Me and the Devil

18-agalloch-marrow-of-the-spirit
Agalloch – They Escaped the Weight of Darkness

19-beach-house-teen-dream
Beach House – 10 Mile Stereo

20-big-boi-sir-lucious-left-foot-the-son-of-chico-dusty
Big Boi – General Patton

21-jose-james-blackmagic
Jose James – Lay You Down

22-first-aid-kit-the-big-black-and-the-blue
First Aid Kit – Hard Believer

23-salem-king-night
Salem – Frost

24-the-walkmen-lisbon
The Walkmen – Lisbon

25-band-of-horses-infinite-arms
Band of Horses – Infinite Arms

26-deerhunter-halcyon-digest
Deerhunter – Desire Lines

27-big-krit-wuz-here
Big K.R.I.T. – Hometown Hero

28-the-roots-how-i-got-over
The Roots – Dear God 2.0 (Feat. Monsters of Folk)

29-four-tet-there-is-love-in-you
Four Tet – Plastic People

30-the-morning-benders-big-echo
The Morning Benders – Excuses

31-mount-kimbie-crooks-and-lovers
Mount Kimbie – Adriatic

32-phantogram-eyelid-movies
Phantogram – When I’m Small

33-raheem-devaughn-the-love-war-masterpeace
Raheem DeVaughn – I Don’t Care

34-broken-bells-broken-bells
Broken Bells – The High Road

35-currensy-pilot-talk
Curren$y – Breakfast

36-corinne-bailey-rae-the-sea
Corinne Bailey Rae – I’d Do It All Again

37-tinie-tempah-disc-overy
Tinie Tempah – Snap

38-bob-the-adventures-of-bobby-ray
B.o.B. – Past My Shades (Feat. Lupe Fiasco)

39-grinderman-grinderman-2
Grinderman – Mickey Mouse and the Goodbye Man

40-the-soft-pack-the-soft-pack
The Soft Pack – Answer to Yourself

41-rick-ross-teflon-don
Rick Ross – Maybach Music III (Feat. T.I., Jadakiss, and Erykah Badu)

42-surfer-blood-astro-coast
Surfer Blood – Harmonix

43-massive-attack-heligoland
Massive Attack – Splitting the Atom (Feat. Horace Andy)

44-seu-jorge-seu-jorge-and-almaz
Seu Jorge – The Model

45-example-wont-go-quietly
Example – Kickstarts

46-delphic-acolyte
Delphic – Clarion Call

47-laura-marling-i-speak-because-i-can
Laura Marling – Blackberry Stone

48-futurebirds-hamptons-lullaby
Futurebirds – Johnny Utah

49-mia-maya
M.I.A. – XXXO

50-best-coast-crazy-for-you
Best Coast – Crazy For You

Honorable Mention:
TOKiMONSTA – Midnight Menu
UNKLE – Where Did the Night Fall
Crookers – Tons of Friends
Neil Young – Le Noise
Sharon Jones & the Dap Kings – I Learned the Hard Way
Broken Social Scene – Forgiveness Rock Record
Darker My Love – Alive As You Are
Lissie – Catching a Tiger
Ty Segall – Melted
Avi Buffalo – Avi Buffalo
Kings of Leon – Come Around Sundown
Summer Fiction – Summer Fiction
Small Black – New Chain
Freddie Joachim – Midway
Reflection Eternal – Revolutions Per Minute
Warpaint – The Fool
Nas & Damian Marley – Distant Relatives
Magnetic Man – Magnetic Man
Sleigh Bells – Treats
Local Natives – Gorilla Manor
Belle & Sebastian – Write About Love
Gayngs – Relayted
Professor Green – Alive Til I’m Dead
Deftones- Diamond Eyes
Ellie Goulding – Lights

reviewed by
12-17-10

The Cribs live @ The Roxy Monday November 9, 2009

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The Cribs – Last Year’s Snow
The Cribs – You’re Gonna Lose Us

The Cribs tore through a classic energy induced set at The Roxy this past Monday, with new fourth member, legendary guitarsmith Johnny Marr. and while he may be almost old enough to be their pops, the chemistry between marr and the other cribs was no less notable. sporting t-shits, leather biker jackets and early Richard Hell vs. current Kings of Leon butch haircuts, The Cribs wasted no time bashing out some brash gritty rock n roll.

the set was bold, unabashed. there was no banter between songs; aside from a request from Ryan Jarmen, that the lights be turned off in between songs (so the band could “look like rockstars”). and after their full-on feedback masterpiece of an ending to the set, there was no encore. and why should there have been? The Cribs had already put it all out front and on the table, the set being everything rock n roll and right fuckin classy. this was a classy fuckin’ show. fuckin’ class rock and roll.

kicking off on a high note with a new stomping anthem “We Were Aborted” from their latest release Ingnore the Ignorant, The Cribs then rolled straight into fan favorite and a somewhat ironic West LA theme on the night, “Hey Scenesters”. from there things soared, as the 4 piece performed a diversed set from their entire catalogue including favorites as “Men’s Needs,” “What About Me,” “Things Aren’t Gonna Change” and new favorites “Last Year’s Snow” and the single “We Share the Same Skies”. i found myself reflecting on a few things throughout this set:

1. these guys are fucking punk rock
2. this band belongs in clubs absolutely packed with 200 drunks spilling beer, slamming into each other, shouting at the stage and throwing their fists in the air..
3. Marr is a perfect addition, wayyy more appropriate than that Modest Mouse thing.
4. are those two really twins?
5. how do they keep doing that shit with their voice?!

In conclusion, The Cribs are the type of band that is imperfect in all the perfect ways. the groups fourth studio LP Ignore the Ignorant, released yesterday November 10th in the states, has shaped to be one of our favorites of the year. if you haven’t checked it out yet, then get familliar. also, stay tuned to b3science for an exclusive interview with the band..

myspace
buy Ignore the Ignorant

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rating: 8.3

brown8

reviewed by
11-11-09

TRACK BATTLE: The Who – “Love Reign O’er Me” vs. Dirty Projectors – “Stillness Is the Move”

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 The Who – Love Reign O’er Me

The first single from the forthcoming Quadrophenia is also the first Who song that actually sounds like a single. I know what you’re thinking: Another blowhard straining his powers of pretension to compare experimental rock bands to random bursts of commercial radio. What I’ll say is that Pete Townshend, the band’s guitarist, vocalist, and primary songwriter, is a very talented musician whose creative restlessness has made most of his albums fascinating but difficult to listen to. Here, though, there’s much-needed breathing room. His and Roger Daltrey’s fractal guitar blasts are streamlined into a tidy West African–style blues loop; the backbeat is sturdy and midtempo (i.e., you can dance– even grind [really]– to it); and Roger and bassist John Entwistle’s vocals flutter with the weird verve of a robotic Mariah Carey (herself not convincingly human to begin with). All this and a massive, melodic chorus! One you can sing along with! But the biggest revelation here is the lyric. After years of inscrutable, self-effacing narratives, The Who recorded a love song– about, to my ears, the scary, mature realization that “settling down” doesn’t mean you stop growing. I mention it in part because it moves me, and in part because it’s a compact metaphor for both song and album: a band realizing that slowing their role doesn’t mean giving up– and might even mean making leaps they couldn’t have made before.

Read the review for the Dirty Projectors – “Stillness Is the Move”.

Dirty Projectors – Stillness Is the Move

i got something deep inside of me. courage is the thing that keeps us free.

buy the who here

buy dirty projectors here

reviewed by
04-20-09