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!
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
Tennis, the Denver-based duo signed to Communion Records, catches a bit of that Holy Ghost w/ the 60’s soul-informed new track “Mean Streets”. Playing out from the record at a pace and quality that’s suggestive it could just be the very only track in the world (the song takes it time), “Mean Streets” leisurely meandering pocket ebbs about Tennis singer Alana Moore’s equally nonplussed but melodically right on vocal. Tennis’ “Small Sound” EP is due November 5.
Tour Dates
11/3 Brooklyn, NY @ School Night Brooklyn Bowl
11/5 New York, NY @ Rockwood Music Hall+
11/6 Washington, DC @ Black Cat+
11/7 Philadelphia, PA @ Underground Arts+
11/9 Montreal, QC @ II Motore*
11/10 Toronto, ON @ The Garrison^
11/12 Bloomington, IN @ Bluebird Nightclub+
11/13 Louisville, KY @ Zanzabar +
11/14 Nashville, TN @ Mercy Lounge+
11/16 Chicago, IL @ Lincoln Hall^
11/17 St. Louis, MO @ Off Broadway^
11/19 Minneapolis, MN @ Varsity Theater+
11/20 Madison, WI @ The Frequency+
11/21 Maquoketa, IA @ Daytrotter+
+ Communion Presents w/ ON AN ON, Night Sweats, Savoir Adore & more
* Support from ON AN ON
One of the best parts of Lollapalooza comes right after Chicago’s Grant Park closes: the after shows. And when you can couple the magic of a beautiful venue, with an artists magnetic personality and captivating storytelling, you’ve reached another level of “Lolla Heaven.”
On Saturday evening, Frightened Rabbit and Wild Belle took the stage at Chicago’s Park West, the 1920’s vaudeville turned concert venue whose romantic character seemed to weave its touch through the evening.
A crowd gathered on the small dance area below the stage while the rest of the show-goers grabbed one of the many booths or stools dotted throughout the venue. Though furbished for the 21st century, the layout of the club is reminiscent of days gone by and you can almost see a leading lady from Hollywood’s Golden Age capturing the crowd on the stage. It was like the ghost of those classic starlets touched Wild Belle’s Natalie Bergman when she took stage. Her mesmerizing voice held the crowd as she seductively swayed behind the mic, caressing it for dramatic effect. It seemed a contradiction at times, her 90’s inspired artist look (floppy black hat and high rise shorts included) with Reggae inspired tunes and moves right out of the 40’s. Add to that her brother Elliot alternating between synths and sax and you have quite the unexpected amalgamation–and it works.
If Wild Belle mesmerized the crowd, Frightened Rabbit got them jumping. The five member Scottish band carries with them the complete aura of their haggis-eating, tartan-wearing, story-telling culture, whether in the very rhythms of the music ringing out in ceilidh-like beats, the subtle Scottish brogue or story-telling lyrics. The men also exude the manliness one equates with Scottish culture, with beards and stockiness evoking William Wallace-like warriors. Besides, as drummer Grant Hutchison picks up steam during the show, his face transforms into a grizzly bear-like menace. You can just picture him running over hills in a kilt throwing javelins.
And then, lead singer Scott Hutchison brings a gem to the crowd–a new song. As the rest of the band members leave the stage, Hutchison sets the scene. Reassuring the crowd over and over again that he does not condone violence and “thinks it’s bullshit,” he launches into the inspiration of this new, enthralling tune.
“I wrote this next song when I was going through a major love affair–as many people do–with Game of Thrones. And I thought about–and I don’t condone violence, it’s fucking terrible–but I just feel like sometimes, men in particular, don’t really fucking fight for their women anymore.” To this, the crowd cheers and you can almost hear the girls’ quick breath intake. “I don’t mean physically fight, but I mean that if it matters to you, you should go and get it. And I’m not really fucking good at doing it.” With this foundation he emphasizes: “So, this song is a fiction. It’s all bullshit. I thought it would be awesome to try and write a super violent love song. And so this is it. This is about as violent as I was comfortable in making it.”
Following a little more banter and a fellow Scot calling out from the crowd, “Good on ya!” Hutchison launches into “Candlelit.”
Love’s checkered past
Is littered with violent acts
And the blood that fills kindless paths
Each drop drawn in her name.
In this modern age
The image of father has changed
But if you’re ready I’m willing to wage a gut-wrenched war
For a minute of your time
I’m done playing stone paper scissors
Gonna take that stone and bring them all down with it
Steal some scissors and cut some throats
Put pen to paper and write you a note
I won’t get in line
I will not wait for this.
With my bare hands I kill
Just to be candlelit
with you.
I have no checkered past
And I’ve never been a violent man
Maybe you’ve changed all that
Each scar I carve is in your name
So let the suitors come
I can see them off one by one
Open every last artery up
Just for a second of your time.
I’m done playing stone paper scissors
Gonna take that stone and bring them all down with it.
Steal those scissors and cut some throats
Put pen to paper and write you a note
I won’t get in line
I will not wait for this.
With my bare hands I kill
Just for the privilege
Look at the blood bath
Look at the mess I have made
With my bare hands I kill
Just to be candlelit
with you.*
And so, as the ladies swoon and testosterone builds in the guys, Hutchison shares his epic “fiction,” drawing out the romance of his land, his culture and his history–and of course that of Game of Thrones. With themes of valor, honesty, heroism and love, coupled with their Scottish rhythms, it’s hard not to love Frightened Rabbit’s bard-like music and even more appreciate it in a romantic setting. The beauty and history of the scene did nothing but enhance the magic.
Ending with the epic notes of “The Loneliness and the Scream,” Frightened Rabbit sent out a wistful crowd with Hutchison’s bard-like lyrics and Scottish rhythms inspiring elation and creativity. Truly, a great treat.
Check out Frightened Rabbit’s “Candlelit” from Park West. You can compare it to this first version performed in Salt Lake City.
A note on the lyrics:
**Coupled with the Scottish brogue and crowd, these are as best I can make out. If you have corrections, let us know!
Swim Deep is a new band on the cusp of an emergence into the mainstream spotlight – having flourished amongst a newly thriving British Midlands music scene. In the 70’s and 80’s Birmingham was a hive of undiscovered rock and metal, producing legends such as Black Sabbath and Led Zeppelin. During the 90’s it was engulfed in the Madchester Britpop movement with bands like The Charlatans and Ocean Colour Scene mimicking what was happening in the North. In truth, it was missing a true musical identity of its own. Fast forward to 2012. The almost overnight success of Peace, a Cure-inspired indie-pop outfit, saw a whole host of indie labels fighting to pluck the next big thing out of dingy nightclubs like The Rainbow, The Victoria and Sunflower Lounge.
Suddenly the city seemed filled with bands making ironically indie-beach-pop music set against a dingy industrial backdrop, christened BTOWN by the locals. The fact that the city is so vast and yet the amount of live music venues is relatively small, has meant that bands have needed to network in ways different from bands in other larger cities. It’s well documented that successful locals such as Peace, Troumaca, Corelli, Wide Eyed, JAWS and Swim Deep were all regular drinking buddies when they were growing up. In turn, this created a chain of bands bringing one-another into the mainstream; Swim Deep began supporting Peace, JAWS started supporting Swim Deep and Wide Eyed have recently begun supporting JAWS. Swim Deep are undisputedly the new next-big-thing to come out of BTOWN. Dressed like ninenties throwbacks and sporting long hair like California surfers you can’t dispute their talent – The dreamy rhythms, the introspection of their lyricism and altogether rawness of their sound. Debut track “King City” flew around the social-web with a video that was paid homage to the city that was backing them, showing the boys skating around run-down graffiti-clad parts of the city and drinking in local bars. Next came “She Changes The Weather”, a laid-back, sleepy love-song that could still be adapted when the band thrashed it out live, stage-dives and all.
Having signed to RCA last year, the four-piece have broken the city limits jetting around the world to spread their sun-kissed tunes supporting the likes of Spector on tour. Swim Deep will no doubt be heading along a path of international recognition with the release of their debut album Where The Heaven Are We making its appearance this September. But they will always be a product of an incredible wave of music that’s coming out of Birmingham. By Angela Newfield
We divided and we conquered. Team B3SCI took to the streets of Austin, TX this past March for the annual SXSW Music Conference. Among the seemingly infinite amount of shows we caught by bands from all over the planet, B3 was there with non-stop coverage including exclusive interviews, take-away performance sessions, and even our B3SCI Presents first ever SX-party! So check out from SXSW 2013 some of what you missed, you remember, and what you straight up forgot about with this firsthand look back:
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Sunday, March 10th
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Seryn @ Holy Mountain
I must confess that I had never heard of Seryn before SXSW. On Sunday night, after a long day of trekking about, I ended up walking into Holy Mountain. As I walked in, and took a gander at the surroundings, the bar was about half full and easily navigable. As I made my way in, the band began to play; I could feel the pulse of the kick drum as the sound waves of the low end penetrated the walls, the layered vocals came through with a bright passion, the accordion mixed with the guitar and bass and complemented the percussion, creating a powerful sound that instantly grabbed me. The growing attentive audience seemed to be in on something that I’ve been missing out on. Seryn has an appreciation for skilled musicianship, that can not be replaced by a programmed loop, and their thoughtfully crafted songs are more orchestral than folk-like. It’s not hard to become a fan of Seryn. By Desiree Autobee
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Monday, March 11th
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Poolside @ Mohawk
I’d say the best time to go to SXSW, and not feel pressure, is the day before the music portion is officially set to start. The place to be that Monday evening was Mohawk – it was a breeze to get in and it was slated with a really great lineup. The perfect band to compliment the calm before the SXSW storm was Poolside. With chill beats and solid bass lines, their songs are ripe for a groove or two. It seemed like the entire crowd sunk their bodies into each song, willingly giving up their control for the opportunity to be transported into the rhythmic world that Poolside has so expertly created. By Desiree Autobee
Vacationer @ Mohawk
If ever there was a way to escape a bad day or a general need to have a relaxing good time, I’d recommend seeing a Vacationer show. Their midnight slot at Mohawk on Monday night was packed and it set a great tone for the remainder of SXSW. Vacationer sounded just as good live as they do on the album. Kenny Vasoli does a great job as a frontman, translating Vacationer’s subtly subdued electro-pop sound into a performance that is every bit as energetic as the music is laid-back. Vasoli was genuinely appreciative of the crowd that night, mentioning the band had played SXSW the year before without much notoriety; extensive touring since then with bands along the likes of Tennis, Body Language, and Niki & The Dove, as well as music placements and coverage by the music community has catapulted Vacationer’s fan base – deservedly so. By Desiree Autobee
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Tuesday, March 12th
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Dan Croll @ Cheer Up Chalie’s
Dan Croll hit it out of the park Tuesday afternoon at Cheer Up Charlie’s. His electronic-fused singer/songwriter pop was truly infectious and took hold of the audience. He and his band played tight, sounding great in addition to being charming with banter in between songs. Croll has become a true professional in the short time that he’s made an impact on the music scene. By Desiree Autobee
Zak Waters @ Cheer Up Charlie’s
Zak Waters is a force to be reckoned with. From the moment go, he and his band made you almost forget it was the middle of the afternoon on a Tuesday. Waters’ high energy matched the high danceability to his soulful music and the crowd couldn’t move from stage-one (previous performance) to stage-two (where he was) fast enough; Cheer Up Charlie’s turned into a midday dance party. I saw many bands play at SXSW, Zak Waters was a standout. By Desiree Autobee
Guards @ Empire Control Room
New York’s Guards have been creating a stir. They delivered a stellar set at the Empire Control Room on Tuesday despite crappy sound in a room that seems mostly perfect for hardcore punk or metal bands. In a live setting Guards have a straight forward, energetic, hard pop approach that supports consistently good songs. Their debut album is yet to drop, but last song of their set, “Ready to Go” is a single that is putting people on notice that this is a band to watch. By Bruce Rave
Young Girls @ BD Riley’s
Roaming about on 6th St., I followed my ears into BD Riley’s Irish Pub. The scene was a bit strange at first, as I walked in and felt as though I had interrupted a PTA dinner convention, but the music was in wonderful stark contrast to the visual before me, and sounded like it should have been coming from a sun-kissed Levi’s commercial (or similar,etc). It became easy to forget about the people around me and the chaos outside, and to focus on the warm, retro-garage pop being played. Young Girls aren’t young girls, rather they are a quartet of young men, and their music makes you want to take a sick day and head out to the beach. Song after song, they played their hearts out and created a hazy west-coast vibe in the middle of SXSW. This Texas band is one to watch. By Desiree Autobee
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Wednesday, March 13th
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Blondfire @ B3SCI PRESENTS @ MAGGIE MAE’S
Amidst non-stop touring in support of their numerous successful and recent releases, around noon, Blondfire kicked off the B3SCI Presents dayparty at Maggie Mae’s with a line out the door. Erica Driscoll took charge of her four-piece band, initiating the first daytime of SXSW music with a high energy output of hits and fan favorites like “Where The Kids Are,” “Waves” and “Trojans.”
NO CEREMONY /// NOC @ B3SCI PRESENTS @ MAGGIE MAE’S
For their first ever show in the United States NO CEREMONY /// delivered a stirring representation of ambient pop music without hesitation. The Manchester collective performed as a trio, and their electronic set up was accompanied with live vocals, guitars, bass and a variety of percussion. Stunning graphics displayed via mounted projector on stage with the band, accenting yet another layer of depth behind the elusive band. I went on to see /// NOC three more times during SXSW and thus are one of our favorite take-aways from the festival.
Ghost Beach @ B3SCI PRESENTS @ MAGGIE MAE’S
Having seen Ghost Beach perform before, I knew to expect a high energy, electro-pop blow out from the band at Maggie Mae’s for B3SCI’s showcase. The New York duo absolutely rocked the house and have since become a favorite of mine. Playing different songs from their self-titled EP and 2012 release Modern Tongues, Ghost Beach proved to be on the lips of a lot of people at SXSW. It also helps that they would go on to play 8 showcases during the conference. Worth noting, the band had recently taken an ad space in Times Square promoting a social experiment of theirs that asks artists if they are for or against piracy. It’s pretty cool, check it out here. By Brian Litwin
Phil Beaudreau took to the rooftop at Maggie Mae’s with Grammy Award winning producer Dawaun Parker for a first time ever live performance on Wednesday at SXSW. You wouldn’t have known it though. The LA based duo root back to Berklee U in Boston and they had a certain chemistry on stage. Performing early tracks surfaced from Beaudreau’s anticipated debut, Ether, like “This Is Why,” “Anyway,” and “Take It High,” in addition to unreleased material, the two worked the stage. The group’s collaboration of progressive urban beats and new school soul is a winning sound for pop in our books. You can check some footage of their performance here.
Gold Fields @ B3SCI PRESENTS @ MGGIE MAE’S
Gold Fields didn’t merely play the B3SCI Presents SXSW party, they stormed it. The energy of their live show surprises those who only know their Black Sunday album, which the band toned down to display their electronic nuances. Their set-closer “Moves” was the most dynamic single song I heard played all week in Austin, and many people were talking about this band’s live shows. By Bruce Rave
SKATERS @ B3SCI PRESENTS @ MAGGIE MAE’S
SKATERS seemed to have a lot to say in Austin this year. The band is hot off the heels of their “I Wanna Dance” single with some major press surrounding it. Live, the band is loud, tight and singer Michael Ian Cummings was as charismatic as dare we say.. Julian Casablancas. But more than anything, the self described plasma-punks delivered the goods. Not like your too-frequent NYC guitar band, SKATERS have a direct quality. A sound that’s to the point, one that will last well beyond most basements in Williamsburg. A recently announced national tour with Portugal. The Man might serve as some indication of this bands potential and future trajectory.
The 1975 @ B3SCI PRESENTS @ MAGGIE MAE’S
One of the most exciting acts of SXSW 2013 was Manchester’s The 1975. Being big fans of this band from their early days, it was surreal to see them headline the first ever B3SCI Presents SX-event. It became clear that The 1975 raise the bar when it comes to performing. With live shows a big part of their message, the band spared no expense showcasing their major festival ready material, intricate arrangements, explosive performance and impressive musicianship. Besides the musical inclination, there is a timelessly dramatic quality to their sound, offering elements that a diverse climate of fans can relate to. With their pleathera of jukebox ready tunes, and a capitivating live performance to boot, The 1975 were a standout of SXSW for many that we talked to. Keep an eye out for a debut album from the lads dropping later this 2013.
Trails & Ways @ B3SCI PRESENTS @ MAGGIE MAE’S
Passion & belief, the two things that, for us, define a lot of Trails & Ways live show… and really much anything about the Bay Area band’s trajectory up to now. The band’s connection to their (excellent) material and to their performance is really remarkable. A singular and unique mix of indie pop, Brazilian music and R&B; songs like single “Nunca” and the sunny yet literate “Border Crosser” come off in comparable quality to the records, but with that added art-as-experience (and aforementioned) belief and passion. Trails & Ways are a band that has to make (this) music and has to make records like this. To experience it is really very powerful.
Flume @ Red 7
21 year old producer Harley Streten, has garnished a lot of attention in recent months. From releasing tracks that have exploded all over the internet and in turn making his self titled album Flume a platinum record in his home country of Australia, the hype behind him has been large. The line to see Flume at Red 7 was huge, and a lot fans waiting knew they weren’t going to get into one of the evening’s hotter showcases at the venue as well (CHVRCHES was playing just 30 minutes after in the larger patio area). Harley came out a bit slow, but things picked up quickly. He dropped familiar tracks to those who follow him like “Insane,” “On Top,” “Left Alone” and a crowd favorite “Holdin’ On”. By Brian Litwin
Autre Ne Veut @ Empire Auto Club
Arthur Ashin aka Autre Ne Veut has made waves with his new release Anxiety on Software Records. With a lot of hype comes a lot of expectations and at the Empire Auto Club Autre Ne Veut met all of them. Ripping through the album’s two singles “Counting” and “Play By Play,” he had the entire audience in awe. Though the experimental pop singer’s music is not very intense, the live performance is. Autre Ne Veut was all over the stage literally throwing himself into falsettos and dropping down to the ground with the heaviness of the lyrics. I can easily say that this was the best performance I saw at SXSW. By Brian Litwin
CHVRCHES @ Red 7
Of the last to be announced by SXSW, CHVRCHES (pronounced churches) might have won ‘the most buzz’ award at this years SXSW. The Glasgow three piece is an electropop group, consisting of Lauren Mayberry, Iain Cook and Martin Doherty. The trio fulfilled much of the hype surrounding them at Red 7 that Thursday night. Having gained numerous fans online and the attention of indie all-stars Glassnote Records, CHRVCHES came out calm and collected. Bouncing between the select amount of songs they have, they had the Red 7 crowd grooving, playing hits like “Recover” and “The Mother We Share.” By Brian Litwin
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Thursday, March 14th
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SIR SLY @ HYPE HOTEL
Given the explosive success for bands like Foster the People following SXSW 2011, Sir Sly were high on my list of bands to see in Austin this year. Like the aforementioned, the trio are from Los Angeles and only had 3 songs out before the conference. The differences are though plenty still, and definitely in tone and image. Sir Sly have a darker sensibility to their pop music. Near equally as melodic, their live show is also more refined. Sir Sly delivered a solid set of new material proving that they too are ones to be watched out for in 2013.
HAERTS @ RED EYED FLY
There was little known about Haerts leading into SXSW 2013. With no pictures of the band available on line, and only one song, “Wings” (of which is great) available, the packed back patio at the Red Eyed Fly anxiously awaited the band’s set. And the multi-cultural collective based out of NYC Hearts delivered on expectations, doing so with a dynamic performance of new material. With enough contemporary elements to maintain a progressive sound in today’s musical ecosphere, my favorite elements of the band harkened at their classic rock roots, summoning CSNY, Fleetwood Mac, and Neil Yong to name a few.
MØ @ RED EYED FLY
MØ (pronounced meh I’m pretty sure…) was a favorite surprise of the week. Also, with only a few tracks released to her name, the Danish female indie popstar in the making took to stage with an attitude that beemed nothing short of confidence. Her music is almost as unique as her name and presence: high energy, tons of odd contortions, and really really good. Excited to see what the future holds for this young artist that definitely knows how to operate outside of the box.
Phosphorescent @ Willie Nelson’s Ranch
I had the incredible opportunity to get away from the chaos of SXSW and join some of the locals at Willie Nelson’s Luck, Texas ranch for the Heartbreaker Banquet showcase. Topping the bill for this small capacity outdoor venue were Jim James and Michael Kiwanuka. Though buzzing artist Phosphorescent is who caught my eye. The booze was free that day, the weather was incredible and the fans came by the mini-van full, making a perfect setting for the Matthew Houck lead group. It was more than appropriate for Phosphorescent to play at Willie Nelson’s Ranch considering his 2009 release was titled To Willie, and his most recent album Muchacho, is getting rave reviews. The single off Muchacho, “Song For Zula,” might just be one to see some radio play in 2013. By Brian Litwin
Toy @ Cedar Street Courtyard
This was the first-ever US gig for this Brit band. They had just arrived in Austin the late night before. Their single is “Motoring” and that is a perfect description of Toy’s live show, which literally motors along. They play tight and are capable of longer jams, for example their performance of tracks like “Kopter”. Toy anticipate an extensive US tour upon approval of longer-term visas. By Bruce Rave
The Neighbourhood @ ASOS Lounge
Having exploded as one of the most talked about bands of the past year The Neighbourhood came well equipped to their first ever SXSW. Cohesive is actually a good way of putting it. The Neighbourhood is a band without identity crisis. Their look is as dapper punk as their music is similarly pop. Indie rock with the lush overtones of the pacific coast crashed through The Neighbourhood’s set of most spectacular, alternative radio friendly songs. Much more to come from The Neighbourhood.
Peace @ The Mohawk
The Birmingham, UK band Peace are still very new to the rock and roll limelight. They have a compelling, slightly dark, slightly off kilter style and look that totally works. Peace had some tight songs such as “Wraith” and “Bloodshake,” but also stretched out on a dark jam every now and then. Peace are psychedlic Brit rockers for the radar. By Bruce Rave
Palma Violets @ The Mohawk
These UK newbies showed that their pre-album NME hype was well deserved. Palma Violets had NME’s #1 track of 2012 with “Best Of Friends”. This band has an onstage confidence that would lead us to believe they’d been topping the charts for 5 years. They completely nailed “Best Of Friends” live, while the entire set hammered us with consistency, power, and intensity. By Bruce Rave
Disclosure @ 1100 Warehouse
The Disclosure duo, consisting of brothers Guy and Howard Lawrence, was a must see at this year’s SXSW. Everyone was at this show, industry players, fans, bloggers and even fellow DJ duo Bondax. The set was pure fire, blasting their singles “Latch” and “White Noise” and at the same time infusing live elements like drums, vocals and bass. People didn’t care that it was well past midnight for the beginning of their set, and that the venue was far removed from the more congested 6th street. They all came to see one the top draws of the whole festival, and Disclosure didn’t disappoint. By Brian Litwin
JAKE BUGG @ HYPE HOTEL
Jake Bugg took to arms with just his acoustic guitar at the Hype Hotel for a brief set late Thursday night. Possibly because things were delayed, and it was something like 2am, but the young lad from Knottingham brought his mod folk song sensibility to the eager crowd. The writing wisdom of the 18 years old Bugg is pretty incredible, combining influences from Dylan to Ashcroft. Only a microphone and a guitar is all Jake Bugg will ever need.
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Friday, March 15th
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Alpine @ Red 7
The debut LP from Alpine was released in their native Australia last year. It’s not often that a band can make a quality album from beginning to finish, but Alpine has done just that. The band apply that same level of craftsmanship to their live performance as well. During one of their SXSW shows at Red 7 on Friday, I noticed a few fans up front (myself included), the band played to a mostly fresh crowd, as the troves poured in during their set. Each song Alpine played built upon the previous, gaining momentum and energy as the set went on, turning a room full of unsuspecting ears into a room full of grooving SX-goers. Alpine have a unique formula for blending rock, pop, vocal and synth elements, seemingly creating new song forms altogether. Frontwomen Phoebe Baker and Lou James artfully combined demureness with high energy, for a dynamic performance that the band and the audience came alive from. By Desiree Autobee
Merchandise @ Red 7
Punks turned Artful Punks, Merchandise most definitely brought the Punk to SXSW. They rather fortuitously (or not, depending on your perspective) also brought pieces and parts of the more updated elements of their sound to their brief late afternoon set at Red 7. Aside from the weirdness (read hilariousness) of the band members accents sounding EXACTLY like some of my family from Tampa, FL., Merchandise’s performance was loud, noisy, fast and really really good.
Different Sleep @ Hudon’s on Fifth
If you read B3SCI, then you know that Different Sleep’s name pops up on the frequent. There is good reason for that. For being a sophomore in college, Rafa Alvarez amazes us constantly with his downtempo, chillers. I got a chance to chat with him and catch his set at Hudson’s on 5th. His set was dope and expect to hear my exclusive interview with him on the streets of Austin via B3SCI sometime soon. By Brian Litwin
San Cisco @ Maggie Mae’s
Keeping it in the British Commonwealth, Australia’s San Cisco has improved exponentially every time I’ve seen them perform. This very young band scoarched an onlooking crowd with tightness and energy at Maggie Mae’s on Friday. Highlights included “Awkward” and “Rocket Ships” from their Awkward EP. With talented 19 year old singer Jordi Davieson at the helm, San Cisco are proving themselves highly popular with the young girls, and they also did very well playing just before The Vaccines at a show that I had caught in LA not too long ago. By Bruce Rave
Beware of Darkness @ Blackheart
Beware of Darkness is a young LA trio that rocks hard. For a power trio this band is inventive. Think Zeppelin meets early Bowie. Like many of these more promising bands, they have yet to release an album, but their song “Howl” is a winning single. Frontman Kyle Nicolaides shows major star potential. By Bruce Rave
BONDAX @ LA ZONA ROSA
Things got down really quick at La Zona Rosa when UK DJ duo Bondax, George Townsend and Adam Kaye, took over the decks. At this venue near the river, fans got to experience what the UK has been digging for quite some time. Switching between who was at the helm, George opened the set with Moon Boots’ remix of “Gold,” which set the party off right. Throwing in some deep house and smooth samples and closing the set with the original version of “Gold,” Bondax really put their foot down on Austin. Review By Brian Litwin
Savages @ 1100 Warehouse
We’ve heard “Husbands” a lot. It’s one of those “buzz singles” that’s not easy to miss. “Husbands, husbands, husbands”, it’s all right and ok; the single plays fine enough. The walloping we got with the London band’s 1100 Warehouse set, though, was a complete surprise, and most definitely one of the strongest sets we experienced during the whole of SXSW. Heavy, and in the best sort of highly focused, highly compressed, highly syncopated kind of way; Savages live set deviates tremendously from their records. And most notably, the instinctiveness of crop-cut singer Jehnny Beth, and the quietness, rage and laser intensity through which her performance and vocal is really special, and easily one of Savages’ best assets.
FIDLAR @ FILTER CLIVE BAR
I can’t think of a better place for FIDLAR to have played late Friday night than FIlter’s Clive Bar on Rainy Street. The house party vibe is all set. It’s a house, the band is in the back yard, the beer was flowing everywhere, you could barely move an inch in any direction and the band tore the roof off (if there was one). A rock and roll band for another generation of musical youths, FIDLAR bring the party wherever they go. See this band live.
Charlotte Church @ VEVO Control Room
Yes, that Charlotte Church. The PBS “Girl With The Golden Voice of an Angel” turned trashbag pop star/tabloid pariah’s return to music ran through SXSW and a performance at the oddly named VEVO Control Room. Well… the set, the material, the performance were all phenomenal (really phenomenal). The notion that Ms. Church can sing has never really been questioned and the vocal she gave during this show was truly something special. Charlotte’s new Bjork meets Earth Mother meets Portishead meets ? sound, and the structure of her songs, really gives her the ability and opportunity to perform and showcase the outstanding quality of her singing. It’s almost as if singing in a pop format is something that she’s only now first realizing.
Ryan Hemsworth @ 512
We made it rain Pokemon cards in the club. Though beat dropper/rainman Ryan Hemsworth didn’t repeat that deluging down of Charizards & Bulbasaurs for the crowded 512 Rooftop, the Halifax native did well to translate to a live setting his realer than Real Deal Holyfield mix of electro booty rap mixes and Legend of Zelda-referencing space bass jams.
Rudimental @ Hype Hotel
You could spot all the real Britons assembled at Hype Hotel for electronic/R&B crossover act Rudimental’s late night set by who knew how to dance to drum & bass and who didn’t. Moving in time with a drum & bass rhythm is something that has alluded us Americans for what seems like millennia. Rudimental, who went 9-deep on stage, did well enough to keep all the Solange (next act on stage) kids checked into the Hype Hotel engaged and interested in material they were likely hearing for the first time. The energetic 30-40 minute set was definitely highlighted by the big energy (these Brits work on stage) performance of new single “Waiting All Night” and the impressive vocal of singer Ella Eyre.
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SATURDAY, MARCH 16TH
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Blue Hawaii @ HYPE HOTEL
Riding a wave of chill infused daytime disco, Blue Hawaii are at the front of a movement that is only becoming more popular. The male/female duo did an exempilary job of delivering their material in a live setting. Their combination of live sampling manipulation and vocal performance was both exciting and intriguing in a live setting.
Shlohmo, Mount Kimbie, Baauer @ 1100 Warehouse
Things got down right dirty at the 1100 Warehouse for the Ray Ban – Boiler Room sponsored party on the last night of SXSW. With a lineup such as the one that the Boiler Room had curated, things were bound to get weird and possibly blow up in everyone’s faces. Chief Keef was supposed to be a main draw for the show, but knowing his history and legal issues, he did not show up. The reason is still up in the air, but really, who cares. Before things even got started, you could tell the production team and people from the Boiler Room looked worried at potential technical difficulties bound to happen. Unfortunately, this was the overall theme.
Hitting the stage first was the young LA based, oddball producer Shlohmo. With all that was going on at the venue and with visuals all over the walls, Shlohmo’s beats were a perfect soundtrack to the night. Flipping through different mixes, the crowd already excited just by being in the Warehouse started really feeling it. Joining Shlohmo on stage for a track were The Underachievers, sharing only one mic.
Lunice then hit the decks, throwing together a monster set, making way for Mount Kimbie. The London duo of Dominic Maker and Kai Campos had been ‘the’ electronic act in 2010. On this night, with again all the technical issues, they played some old tunes and some new tunes. The Austin audience started to feel their unique and “post-dubstep” sounds. For their only performance at SXSW this year, they definitely made it worth it.
The smoothest set out of all of them was Baauer’s and RL Grime’s back to back. The bass was extra heavy and as the decks switched back and forth, the crowd got rowdier and rowdier. Harry Rodrigues, Baauer, and Henry Steinway, RL Grime, are both young, talented bass engineers who have incredible futures in front of them. Of course, Baauer has seen more fame with the viral craze of his hit “Harlem Shake,” while RL Grime has made a nice name for himself in the music community as well.
This party, on paper, was one for the ages, and it was, but all the issues it had hampered the overall success of it a bit. Skream closed out the show with a set, and this video [above] kind of says it all… Review By Brian Litwin
HAIM @ STUBBS
One of the most exciting acts that I’d seen come out of SXSW 2012 was Haim. Low and behold, a year later, and the sisters lead group were packing the house at one of SXSW’s largest capacity venues. Haim have done justice to their hype. There songs are anthemic and have the perfect new wave of pop, indie production and classic rock sensibility. Speaking of classic rock – ehemmm, Fleetwood Mac, the collective even shamelessly, and appropriately, covered them during their set. Haim delivered the perfect cap to a SXSW festival that had been most insightful and musically rewarding.
*See below for more pictures and a mix of tunes from our favorite artists at SXSW this year!
Kids These Days @ Hype Hotel
MS MR @ Hype Hotel
TOY @ Latitude 30
Citizens! @ Tap Room
NO CEREMONY /// @ B3SCI Presents. Maggie Mae’s Gibson Room
Almost every college has a fund to bring music talent to their school and to entertain the student body at large. USC’s student run radio station put on it’s annual KXSC Fest this past weekend, boasting some serious names from the indiesphere. Last year’s festival included Starfucker and Nosaj Thing (pretty awesome), and this year, Chelsea Wolfe and Dan Deacon were mashed together, making this one of the oddest/greatest bill pairings I have ever experienced.
If there was a consistent theme of any sort that Saturday night, it was that both Chelcea Wolfe and Dan Deacon are not normal humans. For example, take Chelsea Wolfe, a stunningly beautiful, black hair, pale faced Los Angeles native that plays extraordinarily dark folk music. Performing tracks from her 2011 release Apokalypsis and 2012’s Unknown Rooms: A Collection of Acoustic Songs, Chelsea wowed the student body with her unique dissonance and foreboding tones.
Dan Deacon’s live set followed, and the experience was basically the absolute opposite of the prior. Deacon took stage – and by stage, I mean his small table with a buffet of pedals and gadgets, next to a not working light rig with a skull that lights up during different cues in his set. As weird as shit got, in typical Dan Deacon fashion, it was all about the track performances and the artist’s interactions that made this show so entertaining. Dan’s 2012 hyped release, America, has recently been one of the more talked about albums, and frankly, it is a well crafted electronic production. Deacon’s vibes were everywhere. He had students running around in a circle, high-fiving each other. He also invited everyone to download the Dan Deacon app and use it during a song, creating a crowd sourced light show, which was just brilliant. The whole experience was original and everyone, even the security guard standing next to me, was in awe.
Dan’s look is not one of a rock star or some sort of label pushed pretty face that echoes a team of writers. His look is that of his music; odd, unabashed and completely unique. I can say, for the countless shows I have been to in my short time alive, that this may have been one of the most entertaining I have ever witnessed. Please do yourselves a favor and see Dan Deacon live. Review By Brian Litwin
Races’ much anticipated debut LP, Year of the Witch, is a loose concept album about a uniquely difficult break-up, was released Tuesday, March 27th via Frenchkiss Records, with Friday night’s sold out show at the Echo serving as its official unveiling for their faithful Los Angeles following (which has witnessed Races’ steady rise to the top of the indie rock buzz list). It’s well deserved adulation; Races is a great live band. All six members are essential in creating a subtly dynamic, captivating and extremely successful live performance.
St Louis-based indie punk group The Living Things took stage before Races. The band brought a solid, MC5-style set, replete with yelping and a surety of purpose. They’ve got good licks and a wealth of political overtones – as frontman Lillian Berman is a sort of 21st century folk hero, having been shot at in Dallas and stabbed in the leg while crowdsurfing in Kansas City, so goes the Wiki-lore. Berman and his two brothers, Eve and Bosh, were joined by two female back-up vocalists, giving their music a beneficial, softening effect. Most were engaged in the set, with many fans there to see The Living Things specifically. They slayed it in no small part to their tremendous Matchless amps (keeping it local to LA roots).
As remaining concert goers filed into the max capacity Echo, Races began a lengthy soundcheck. The atmosphere was exactly as you’d want at a concert: a little uncomfortable and flooded with the smell of common humanity. I overheard some dude say, “This is the longest sound check!” They also had a long soundcheck when I saw them open for Caveman on December 8th, but I’d much rather have a band tinker around with their levels for a few extra minutes as opposed to not. To me it shows that Races takes great pride in the quality of their live performance. They’ve been touring incessantly for the past six weeks and this was to be a special moment within the Races’ gigography.
They played almost everything off of Year Of The Witch, (if not everything—the turnout made it difficult to keep tabs on a setlist), in addition to a previously unheard-by-my-ears cut for the encore. “Hey, we’re Black Jesus!” lead singer Wade Ryff quipped a couple songs in, referencing their previous band name. In all likelihood this was the tightest show I’ve seen since WU LYF at the end of July. And while both groups have concept LPs involving a loosely entwined narrative, WU LYF’s magic is centered on Ellery’s nebulous grunts; in contrast, Ryff’s lyrics are easily deciphered. The delicate arrangements and prominent backing vocals make Races’ live performance all the more impressive. It’s a very good album, but it gains a certain mystique when viewed within the context of their live performance. They dropped a cache of balloons at the end of the set, in reference to the “Big Broom” video, but that was only window dressing. Races doesn’t need to rely on gimmickry to deliver a powerful set. They’ve earned their buzz the old fashioned way.
Year Of The Witch doesn’t have those giant Tom Petty choruses or that same “epitome of a niche generation” appeal as an album like Funeral, but it’s not 2004 anymore. Kerry lost and indie grew up. It’s 2012 now, and Year Of The Witch is the most enjoyable and cohesive album the year has given us thus far.
Art Brut’s performance at Echo this past Friday was the final of 4 small Los Angeles club dates in support of their new third album Art Brut vs. Satan, which was produced by some Charles dude. The record title as front man Eddie Argos explains, “Satan is everybody that’s against us. If you are not for us, then you are Satan, and I am against you.” Well said Eddie.
And so, how was it? Well.. was their hour and a half set of 2-3 minute songs nice, tight and pollished? Fuck no, well it was kind of tight, but for the most part blaring guitars complimented everything genuinely dirty, loud, obnoxious and brilliant that is Art Brut. And aside from their self-righteous commentary “we are Art Brut” before, during and after almost every song, which had me laughing for the the first 40 minutes before I realised they might be serious, the British/German hybrid found themselves extra enthusiastic about their week’s LA theme. Guitarist Jasper “Jeff” Future’s white Telecaster sported a classy Amoeba Music sticker (although most likely from their recent San Francisco in-store..), and Eddie Argos wasn’t shy to let everyone know how he felt about their city “…move to la you know every body hates you… I bought all my clothing within two blocks of here [and] Paris and LA are my favorite places in the world”. All appropriate before their fine rendition of “Moving To LA”.
When Eddie wasn’t jumping in the crowd for poetic monologues, he was doing some standard band slagging. “My sex is on fire?” “Are we human or are we dancer?” … “I don’t need to tell you what’s wrong with those bands”. A personal favorite off the new record “Slap Dash For No Cash,” closed the set beckoning “Why is everyone trying to sound like U2? It’s not a very cool thing to do. Why would you want to sound like U2?”. A song calling out all that is wrong with contrived music. His passion for honest music continued, before “Formed A Band” he rallied “we need more records in record shops, start a band…start a band”. Agreed.
Other highlights from the set included new single and set opener “Alchoholics Unanimous,” another newbie “DC Comics and Chocolate Milkshake” and quite a few from their debut Bang Bang Rock and Roll, like “Emily Kane” and “Good Weekend”.
The night proved many things are admirable about Art Brut… the fact their drummer plays his full kit standing up, in what looked like boxer shorts, that they preferred to play a string of nights in packed intimate venues rather than 1 night at a less personable one, Eddie Argos will shamelessly throw handfuls of Planned Parenthood’s condoms into a crowd of horny youngins shouting “these wont work,” and most importantly that they are a no bullshit rock and roll band.. As they say “here’s one chord, here’s two more, now form a band”. If punk still exists, it exists in Art Brut.
