Andy And His Grandmother, the looong-overdue first LP from late great comic/actor/humanoid Andy Kaufman, is a powerful intellectual document for anyone interested in the creative process. For Kaufman, whose performance was so forward thinking that it still makes the avant-garde look passé, the album reinforces that for Kaufman’s life and art were the same, that the constantly shifting organism of existence provides for the most telling glimpses into human psychology. So for Andy, what better way to preserve these transcendent moments than to keep a micro-tape recorder running surreptitiously? Indeed, the great writers don’t create, they draw from existence. And as much as Andy chose to display his extraterrestrial likeness (most famously as Lakta Gravas on Taxi, an offshoot of his foreign man routine on SNL, who first premiered on the show’s fourth episode in 1975), there’s this infatuation with the kaleidoscope of the human palette omnipresent within Kaufman’s work.
One such track off the LP, “Slice of Life”, Kaufman is at his most confident: after sex with his girlfriend. After he gets past the pretense of “make believe that it’s not on”, referring to the recorder, the first line of the “performance” (that is, documented life without script or pretense), he challenges his “audience” (in this case, his girlfriend) with “it didn’t look to me like you were enjoying it that much.” A hilarious and universal motif, but in the context of reality it gains a painful beauty. He continues: “it looked like you were just lying there and like you wanted it to be over soon.” He continues into the topic of marriage, and when his girlfriend says she doesn’t like to joke about marriage, the shock of silence is detectable in Kaufman’s absence.
Produced, edited and sparingly narrated by Vernon Chatman (voice of South Park’s Towelie and co-creator of Wonder Showzen), Andy And His Grandmother has been pared down from 82 hours of material. Given the album’s final track, “I Want Those Tapes” which features Andy’s now-ex telling him to ‘fuck-off’, I’m afraid there’s even more unreleased hours devoted to Andy’s sociopathy, contemplating his death and future immortality.
Andy And His Grandmother is out this Tuesday, July 16th, via Drag City records. An essential listen for both fans of Kaufman’s genius and critics of the celebrity age, which Kaufman’s work foresaw.
The super sultry-voiced UK R&B songstress follows up her great Dev Hynes collaboration “Unravel” with the doubly strong and infinitely sexy “Cold Front”.
The buzz has slowly been building for UK band Daughter, who’s devoted fans gathered in Chicago’s Lincoln Hall on Friday night to hear the trio play new material from their debut album If You Leave, released on April 30th.
New York based WILSEN opened the evening charming the usually chatty crowd with their epic scope, creative instrumentation and dream-like melodies. Using everything from nail files to empty coffee cans to create the perfect sounds, WILSEN showed the utmost skill, giving beautiful layers to music that touches the sublime. This was their last show on tour with Daughter and they played their hearts out, priming the crowd for the treat to come.
Listening to Daughter for the first time feels like hearing the diary of a girl on the verge of pulling a Sylvia Plath. The band’s raw lyrics reverberate the universal chords of torment, stinging like a blunt razor across a partially healed wound. And yet, the sheepish girl that fronts the band is anything but. After being greeted with cheers and “I love you’s”, Daughter’s Elena Tonra whispers a bashful “Thank you” back to the crowd. With her pixie bowl haircut and black French inspired clothes, Elena moves to the mic with unexpected hesitancy and shyness.
Based on Daughter’s self-described depressive music, you’d expect an aloof singer with Daria-like monotone adhering to customary hello’s only. Instead that night Chicagoans met a timid, slightly awkward girl with a sweetness reminiscent of The Office’s Erin Hannon–only Elena Tonra is clearly cool. Over-excited fans squeal, “She’s so cuuuuuuuute!” in a way usually unseen outside of teen girl and boy bands. As Tonra periodically went to the mic, she’d smile sheepishly, making short quips before stepping away almost blushing. From first sight, you really just want to carry her around in your pocket.
However, as the band opens with “Shallows,” Tonra transforms into the forlorn author of her dark lyrics. The contemplative side of her emerges as she sings openly about thoughts usually reserved for diaries. The things you share in the utmost confidence to your bestest friend (if you’re lucky enough to have one), she uncovers for all. Lyrics range from depression, despair, heartache, break-ups and bitterness. In “Smother,” Tonra sings “I sometimes wish I had stayed inside my mother never to come out.” With mesmerizing melody and beats, enhanced occasionally by Jonsi-like violin-bowing to the guitar, Daughter’s music has a texture and ferocity which reverberates through your whole being.
Tonra exudes a type of “love-lorn yearning” as she almost revels in painful heartbreak and relational anger. The chorus to “Landfill” reads “This is torturous the electricity between both of us and this is dangerous because I want you so much but I hate your guts. I hate you.” Ironically enough, she sings this next to her long-time boyfriend, guitarist Igor Haefeli. Let’s hope the song’s about a previous relationship… Either way, the girl’s got balls.
As songs end, Tonra switches back to display her polar-opposite cheerful self. A silent crowd watches noiselessly trying to adjust between these personality extremes while the band (Tonra, Haefeli and drummer Remi Aguilella) tunes between songs. At one point Haefeli remarks smartly, “This is the quietest show we’ve had in a while. Thanks for making us feel nervous.” One fan responded summarizing the sentiment of the entire room: “It’s because we’re overwhelmed!”
Between songs, Tonra easily converses with the crowd, buying time as she tells the horror story of their last trip in Chicago–their car accident on the way to the show, running to the venue in the rain, arriving drenched and late, having to do their soundcheck in front of a full audience and ending with Haefeli breaking the neck of his guitar. “So,” she finishes, “it’s good to be back with you with all of our limbs intact.” “Although, we did bring the weather. Sorry about that,” Haefeli added, referring to the surprising English-like cold and rainy weather after the previous day’s warmth and sunshine. Later, Tonra almost knocks over her acoustic guitar and catches the neck just in time. Shortly after, her pick breaks mid-song and she manages to finish with the fragile pieces. “As I hold on to the remnants of my pick,” showing the crowd. To which Igor adds a comedic, “It’s happening again!”
Post set, Daughter return to the stage for an encore cover of their own creation using Bon Iver’s “Perth” and Hot Chip’s “Ready For The Floor.” Fans cheer and then wait several minutes as the band sorts themselves. Smiling slightly, Tunra breaks the silence with a jovial “Anticliiiiiiiiiiiimax,” before returning to tune the guitar.
Tonra’s performance and personality seem a contradiction in terms, and yet that’s exactly the depth needed to add potency to Daughter’s music. The band’s magic lies in this dichotomy. Tonra is a cheerful and quirky girl while Haefeli shows dry humor (though Aguilella remains silent), and they are all hugely relatable. You want to hang out with them. And yet, they share all of the depressing and secret thoughts we’ve all had.
The show had the most peculiar take-away. I left reflecting pensively and yet smiling as I remembered the entertaining moments. I never thought I’d define a show as overwhelming, depressing and…. cute. Weird but true.
Daughter finishes up their first North American stop over next week, visiting Seattle, Portland, Vancouver, San Francisco and LA before going back across the pond. Don’t worry, though. They’ll be back in the US in August.
*Review and Photos By Jessica Greene
Tour Dates:
16 May Seattle, Neumo’s
17 May Vancouver, Commodore
18 May Portland, Doug Fir Lounge
20 May San Francisco, Amoeba Music (in-store performance)
21 May LA, Troubadour
22 May Hollywood, Amoeba Music (in-store performance)
At only 15 years old, UK based producer Kyogi has a pulse on electro music which excels beyond many contemporaries. Resident b3scientist Brian Litwin recently had the chance to chat with the young producer for some insight on his evolution as a musician, forthcoming super secret projects, Usher and more. Check out their conversation below.
B3SCI: Had never heard of your hometown and so I had to look it up. What’s it like in Totnes, Devon, Britain and how is the music scene there?
KYOGI: It’s a pretty town, but a lot of people here have a pretty backward attitude to just about everything. It’s totally riddled with the sort of people who are too scared to admit that some aspects of politics might not actually be bad ideas for fear of it compromising their bohemian, carefree image. Luckily, the music scene here is amazing. My best mate Frank produces house and techno under the moniker Endlines. Obviously I recommend you check his stuff, but I’d honestly be recommending him even if he was some Austrian hermit whom I stumbled across on Soundcloud, his music’s fantastic. Totnes is also home to Alfie and Caleb, better known as Circula and Hanga. These guys have begun making some waves in the wider techno scene, which is well deserved as their tunes are just tooooo much. They’re also two of the core members of the Groundvibes Collective; a local soundsystem who’ve thrown some amazing free parties down here recently. Check it.
B3SCI: How did you get involved with music? Was there a specific path that lead you into the electronic ethos? What lead you to start producing?
KYOGI: I got into producing by complete coincidence really. There was a skating competition at my local skate park, so Frank and I thought we’d go and see what was happening. There were a couple of local guys DJing for the afternoon – Pat and Romek. I had no idea what they were playing at the time, but I remember being completely fascinated by what I was hearing. I now know it was drum n bass, and I suppose I’ve just been into electronic music since that day. I’ve always been musical, I’ve been drumming for years, so I guess learning to produce came naturally after listening to electronic music for a little while. I was making dnb and dubstep initially, and I’m just making what I am now after discovering new genres in Youtube’s ‘related videos’ section, stumbling upon people on Soundcloud, things like that.
B3SCI: Here is a fun fact, you were 3 years old when Usher’s “U Got It Bad” was first released. Your take on it is pretty awesome. Assuming Usher is an influence of yours, who else inspires you to write?
KYOGI: Haha, that song has aged so well! And thanks, I was never too sure about it but a few friends convinced me that putting it up would be a good idea, and sure enough, Fat! wanted to release it.
I’ve always been into the French label Ed Banger; home to Justice, Breakbot, Sebastian, formerly Daft Punk and the late DJ Mehdi. Also, French producer 123mrk is a big inspiration. Closer to home, I’m really enjoying tunes by Bondax, Maribou State and Werkha at the moment. There’s a mysterious American producer called Anthony Ellect whose music I love, and my friend Salute from Austria is putting out some stunning music, I think he’s one of the most consistent producers in the game. Lastly, our styles are very different but my mate Oli, known better as Network, is making the fatttttest house tunes I know of.
B3SCI: Google translate told me that Kyogi or 虚偽 means falsehood or lies. When choosing Kyogi as your name, is that what you were going for or something completely else? Does the name factor into a philosophy behind your music… or music in general?
KYOGI: That one’s actually quite simple, Burial’s Untrue album is one of my favourite records of all time, and Kyogi translates as untrue. It’s something of a homage to him, I guess. I kind of feel like everyone owes something to Burial, this scene wouldn’t have happened without him.
B3SCI: You are getting comparisons to some of the better hot dj/producers out there right now like Disclosure, Ryan Hemsworth and Flume to name a few. Do you see yourself in that same field of young flag bearers of the genre?
KYOGI: Disclosure and Flume are huge influences, Flume in particular, so that’s pretty insane. I guess I’m bound to be lumped into the same category as those guys regardless of my age, because a scene like this has never really happened before, so no one’s really sure what to make of it. Pretty amazing category to be lumped into though, right? I don’t really have much of a say in how people perceive me but I think that I’ve got the same mindset as those guys. Just a kid with too much spare time, making music for the love of music.
B3SCI: If you had a choice to collaborate with any artist out there right now, who would it be with and why?
KYOGI: Probably (would’ve been) Curtis Mayfield. I don’t really need to do much explaining, he just wrote amazing songs and had a brilliant voice. I’d also love to work with a proper UK Hip Hop MC, someone really pioneering and influential, maybe Jehst.
B3SCI: What does the future of electronic music sound like to you? What are you listening to right now and is there anything that we can anticipate inspiring you next?
KYOGI: So many directions it could go! I don’t know how long the current deep house revival will last, but after that, God knows. But, given how much influence Daft Punk have over just about everything, I don’t think a disco comeback is looking too unlikely since the release of Get Lucky. The embarrassing Dad in me would love to see that. I’ve begun working at slower tempos to try and separate myself from the house scene as there are so many mediocre producers trying it now, it’s getting a little difficult to stand out and be taken seriously. I can see a lot of other producers also dropping the bpm by 10 and getting a bit funkier. Take Armeria for instance, he’s started doing this low slung, dusty, 110bpm slo-mo underwater funk thing, and it’s insane. If every producer starts doing something a little different to the next man, then the future of British bass music is sounding very nice indeed.
B3SCI: Can you tell us about some upcoming projects or releases that fans can keep an eye out for?
KYOGI: DE$iGNATED’s Valentine E.P is out in about a month, featuring the remixes from myself, Applebottom, Carling Ruse and Knuckle. I’m getting an E.P together too, no idea what label will release it, but I know what one I want it to be released on. I’ve also got a super secret project with another producer underway now, but that’s the thing with super secret projects, they’ve got to remain super secret…
Soul man Jared Evan lets loose “Bad News”, a Statik Selektah-produced bonus track from his very good Boom Bap & Blues project from earlier this year. A very tasty blend of 60’s, 70’s & modern soul & R&B stylings, “Bad News” is the sort of track yr Grams, yr Moms & yr Crew can probably all get with. We’re into it.
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
Hip Hop was born on innovation. People hadn’t heard anything like it before and so they flocked to it. They couldn’t help but enjoy originality. Not only was Hip Hop different, lots of skill was involved. Fans respected Hip Hop artists for doing things that they couldn’t, and they were enlightened with a new, refreshing culture.
Most of these pioneers have run their course. New generations seem to rarely relate to the sweat and blood these human beings initially put into this style of music. Seldom will todays generation notice that legendary rappers were going against all odds. Today flashiness and personality make Hip Hop look easy with many artists boasting about the things that fans would love. These are the same individuals that frequently “make it” via the highly accessible Internet… and the over-saturation ensues.
In opinion, the Hip Hop industry needs to revert back to a time when every song had to be a hit, a new sound, more lyrical, more passionate, etc. What’s special about a Hip Hop artist that follows trends and only makes one type of harmony? These artists won’t be remembered beyond ten years if their albums cannot generate the need to press repeat. Yes, we’re talking the whole album from start to finish.
As a child, I believed the mainstream was my only road to great rap music. I pondered, ‘if this rapper isn’t famous, then it’s because he is not good.’ However, wisdom comes with age and today I see talented underground emcees doing things right, the way that our Hip Hop fathers did. That is, fighting against the brick walls and working hard to develop something with lasting appeal. They’re generating projects that may be overlooked at first in today’s bombardment of new media and flash based Hip Hop. But talent can only be ignored for so long.
Growing up in Philadelphia, I saw that the city’s musicians (as a whole) were commonly neglected by radio/TV. I remember people saying things like “Just a battle rapper” about my favorites. Yesterday’s Philly rapper may have been that. But, today’s hates that and has dedicated their life to proving that statement wrong. Mont Brown is clearly one of the best in the game and he’s been making music in Philly for years. He is surely debunking said stereotype, along with his go-to beat smith Pace-O Beats. Check out these examples:
The track “Hi Top Fade” screams emcees that know their roots. Mont and Pace most likely said “Let me show some love to the greats and blow out some speakers with big bass.” And, also “Let me be original enough to let listeners understand that it’s not a gimmick.”
“Fantastic” is Pop music for sure. Mont and Pace don’t want to just make street anthems. They want to go platinum. So, they created a soothing beat as a backdrop to feel good lyrics, without sacrificing the quality of the song. That’s something that is so rare these days. “Let’s have a good time, I’m on cloud 9.”
“Rent” proves Mont and Pace didn’t forget about the strippers. They can use auto-tune just as effectively as your favorite rapper and indeed make them asses clap, while doing so.
“All I Had” is Mont and Pace letting out the pain and suffering. There is meaning here. And you can’t compare the beat to anything you’ve heard before. It’s distinct, something that is lacking far too much in rap. These guys came from the bottom and still are at the bottom. What’s crazy is, as you can see, they’ve had plenty of hits before this one.
Finally, “All Tied Up” is Mont and Pace recognizing that songs for the ladies can’t always be strip club bangers or pop-tunes. You have to make some baby making tracks too. They once again showcase you can make music for the masses without watering down anything.
You don’t have to keep downloading one or two songs from everyone’s albums, when you have someone that never releases bad music. Mont Brown and Pace-O Beats did all of this independent. I’m interested to see what they do with the proper recognition.
Stay tuned for my take on more of the best underground Hip Hop for your speakers.
Have you ever woken from a dream, questioning whether what you’d seen had really happened? A disconnect from what is real, and what is imagined? Enter Diaries, the newest work of fast rising Irish producer MMOTHS, who at only 19, is adept at rendering reality from the lack there of.
Diaries’ lead track, appropriately titled “One”, lulls and pulls you into a hypnotic state, with a gentle progression from simple cymbal to something much more emotionally dense. “One” feels like when the dusk meets the dark, a proposal of possibility without certainty. Another stand out song on the EP is, “For Her” featuring Young & Sick. The track showcases a level of depth from the collaboraters with its colorful pallet of glittery clicks and sounds, abounding only the best types of memories. With verse lyrics like “Earth is an ocean, a feather in flames”, the track builds an image of elemental perfection, as well as destruction. The music speaks of an all-consuming beauty summed up with the lyric, “There’s nothing like us, nor like you.”
Jumping from lust to sadness, tracks like “For Her” and “Losing You” bleed into “No One”. Calling up a wide range of emotions which deals with the gain, loss, and the odd places in between those you’ve cared about. The single release from Diaries, “All These Things” features Holly Miranda and surfaces late in the EP and offers a welcoming uplifting vibe, further highlighting Diaries clearly well devised range of moods. Miranda’s vocals sing, “you’ve been on my mind, now let me get in yours” with urgency, yet never hitting desperation showcasing a beautiful restraint.
“Too Real” winds the EP down with a glassy look at yearning, happiness, and notably sadness. MMOTHS makes emotions that are so very hard to identify, glaring with this track and the entirety of Diaries. By Phoebe Anne Severin
New York soul songwriter Jared Evan makes his B3 debut with the feel good “Are We Almost There Yet?” Evan gets on well enough on the track; particularly in the melody department, where JE’s laid back flow and in-no-hurry sung hook do nicely to complement Statik Selektah’s excellent (and the track’s true star) sunny Sunday afternoon beat. Jared Evan’s Boom Bap and Blues project is due a week from today, February 26th.
We LOVE Jessie Ware. Love Love Love Love. That level of love, admiration and Devotion seemed to radiate not just the (infinitely psyched) members of the b3 team at Thursday night’s Rickshaw Stop show but the entirety (and this is not hyperbole) of the sold-out house on hand. So much love. After a somewhat banter-formulaic beginning (shout the city, tell them how good it is to be there, how cool that city is), that love seemed to overwhelm and grab hold of our Ms. Ware not long into her approximately 60 minute set. “(San Francisco) really is our favorite city.”
Jessie Ware, who first emerged in 2010 & 2011 as a featured vocalist on electronic and dubstep tracks by artists like SBTRKT & Joker, received near universal praise for her debut LP Devotion last year. Blending the classic R&B strains of artists like Aaliyah and Sade with more modern arrangements & instrumentations, the album’s (which somewhat ludicrously has not yet seen a physical release in the U.S.) 10 tracks span various and disparate (yet entirely complementary) styles of production and writing and our #5 album of last year.
Jessie Ware’s vocal performance. Just WOW. The quality, texture & conviction of her singing was very very impressive. Captivating without resorting to cheap needless theatrics; commanding while seeming totally accessible; Ware’s on stage persona and performance is one of a star. It seemed odd that Ware would play a venue as tiny as the roughly 200-person capacity Rickshaw Stop and her star was no doubt much larger than the venue size.
Opener & b3 fave Rochelle Jordan’s brief 20 minute set did also impress. The Torontonian soulstress’ spare voice + MPC set included roughly four-five songs and was highlighted by the excellent Kaskade-sampling “Shotgun”.
Thursday night’s performance felt special; it felt starmaking; it felt rare & valuable. We were witness to the emergence of a major star and Ms. Ware’s arrow could not point further northward now. A+.
One the music blogosphere’s original blog rock darlings Southern California’s Cold War Kids return with a definite upside surprise in new track “Miracle Mile”. “MM” amounts to a bit of stylistic deviation for CWK with its four-on-the-floor beat and heavily harmonized chorus intervals; new ground for a band that has made some kind of formula out of singular beefy warbles on top of waves upon waves of syncopations.
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)
(via Drag City)
