Put your mind at ease and get blissed with a dreamy trip to the quiet side compliments of Devonshire band Big Wave. -By Erin Feathers
Big Wave – Blissed OutBig Wave 
(Soundcloud)
Rating 8.1
Put your mind at ease and get blissed with a dreamy trip to the quiet side compliments of Devonshire band Big Wave. -By Erin Feathers
Big Wave – Blissed OutBig Wave (Soundcloud)
Rating 8.1
Rufus Wainwright has just released his seventh studio LP Out of the Game. The album is a result of his recent collaboration with friend and producer Mark Ronson. It showcases a mature Wainwright with some of his most honest and intuitive song work to date, with songs being rooted in recent life experiences and personal relationships. The genre-blending album of 70s inspired songs was developed among the two collaborators over a period of six months, followed by an inspiring recording session that tracked 16 songs in just eight days. The album features live takes from musicians out of Ronson’s all-star rolodex as well as appearances by The Dap-Kings, Sean Lennon and Nick Zinner of the Yeah Yeah Yeahs.
B3SCI has an autographed vinyl copy of Out Of The Game for one of you lucky, mad-b3scientists out there. Just email us saying you’d like to be entered into our drawing for the album. That simple, and we will pick our winner at random this weekend. Good luck.
Rufus Wainwright 
(Facebook) (Purchase OOTG)
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TOUR DATES
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May 09- Brooklyn Academy of Music – New York, NY
May 11 – Fox Theatre – Oakland, CA
May 12 – Orpheum Theatre – Los Angeles, CA
May 13 – Humphreys – San Diego, CA
June 10 – Festival Stage – David Pecaut Square, Toronto, ON – FREE
June 15 – Love Over and Over –
The Songs of Kate McGarrigle – Massey Hall – Toronto, ON
June 30 – The Power Center – Ann Arbor, MI
July 25 – Penn’s Landing – River Stage – Philadelphia, PA*
July 27 The PAC at SUNY Purchase – Purchase, NY*
July 28 – Westhampton Beach Performing Arts Center – NY
July 29 – Bank of American Pavilion – Boston, MA*
July 31 – State Theatre – Portland, ME*
August 01 – The Green at Shelburne Museum – Shelburne, VT*
August 03 – House of Blues – Cleveland, OH*
August 04 – Carnegie Music Hall – Munhall, PA*
August 05 – Iroquois Amphitheater – Louisville, KY*
August 07 – Buskirk-Chumley Theater – Bloomington, IN*
August 08 – Bank of America Theater – Chicago, IL*
August 10 – Pabst Theater – Milwaukee, WI*
August 11 – Minnesota Zoo Amphitheater – Apple Valley, MN**
Rufus Wainwright (Facebook) (Purchase OOTG)
Exactly one year ago, Spector released their first single, “Never Fade Away”, covered here at B3SCI upon release. From that review:
“The track plays both big (large passes over simple chord progressions, dynamic building rhythms and instrumentations) and intimate (lyrical content, you feel like you and you alone are privy to sentiment and desire that is revelatory but tightly guarded by its author.)”
It’s a song that’ll sound new in twenty years because it could’ve hit the Billboard top 40 a half century ago, nestled beside The Marvelettes. “Never Fade Away” was supposed to be the introduction of the next great English rock group, The Vaccines but with more gravitas. And although Spector has yet to release their debut LP, visitors to the Satellite Tuesday night, April 17th, were given a sampling of the London five piece’s diverse and precocious musical offerings, which were headed by one spectacular frontman, singer Fred Macpherson.
I think Spector opted for the earlier, 10pm set time to appease any Coachella goers who were either burnt out from the previous weekend or conserving energy for the upcoming. Whether this had a factor in the somewhat modest turnout, I’m still unsure, but considering the stiff competition on Tuesday included Kasabian (@ Music Box), Elvis Costello (@ The Wiltern), We Were Promised Jetpacks (@ The Echo), and Madeon (@ The Roxy) among others, Spector needn’t be concerned. What’s important is that the concert-goers were very much excited to see the group perform.
Spector opened with “What You Wanted”. Fred Macpherson jettisoned within a 4 foot radius while finger snapping furiously. This guy’s got mad charisma. The instrumentation, which is Chris Burman (guitar), Tom Shickle (bass), Jed Cullen (synth, guitar) and Danny Blandy (drums), favored simple arrangements and syncopated beats. Next, “Friday Night” began with its, little bit of, Badfinger/Pete Ham guitar intro eventually leading into its big bridge accompanied with Spector’s (now) trademark handclaps. From there the band rolled into “Grey Shirt and Tie”. Fred Macpherson hammed things up a little bit between songs, appearing sloshed which I think could be homage to one of those Dean Martin type moments. The band was loud in the mix. They were better live than on record, proving the pivotal difference between bands of ‘buzz’ and speculation, and simply good bands able to be judged on performance. The rest of the set went as follows: “Twenty Nothing”, “Celestine”, the recent Mr. Lowe number one, “Lay Low”, presumably off the forthcoming record, “Chevy Thunder” and of course “Never Fade Away” for the finale.
There were no alarms and no surprises. Spector has some great songs and Macpherson is a spectacularly wild and rambunctious frontman, who can even be a little foppish with his trusty comb. As Spector develop, it will be interesting to observe the band’s relationship between their live performance and their studio work. But thou shalt not play devil’s advocate! Spector, it’s time to record a couple more singles for the ages.
Spector 
(Facebook)
Rating: 8.667
B3|fam Chris Gedos recently had the chance to interview a NY group who’s been ample in our discussions within this last year. So it’s great to learn a little more about Slothbear – a band with much more to be learnt about.
CG: A little background. How did Slothbear come into existence? How long have you been playing together for? Who mans what instruments and do you trade off depending on the song?
CH: I wrote to Josh on MySpace in 2006 because I liked his and Doug’s high school band, and kids who played music and were into ‘indie rock’ were impossible to come by. Long Island was pretty much dominated by emo at the time, and may still be for all I know. Ian and I played as a two piece at the time, and we all met at the Jericho Diner, which has since been demolished but was immortalized in all its Google Earth grandeur on the credits page of Qids. We became fast friends and would moonlight in each other’s bands, a tactic that proved hugely influential on the indie scene in Ridgewood, New Jersey.
JG: Each of us led our own band. There was the goofy, very sappy power pop band, The Electric Sentiments, which I fronted, Doug played guitar and Craig played bass in. Then there was Nancy Reagan’s Enduring Love, Craig’s sorta bratty noise rock band, wherein I played bass and Doug and Ian traded off playing drums. Doug fronted this pretty serious band called Ether Switch and Ian had his pet project, Sexually Active Girls, neither of which involved Craig or me.
I’d been trying to put Slothbear–a collaborative, egalitarian band for us four friends–together for a while but it didn’t really crystalize until early 2008, at which point we became the quartet we are today. We started out with pretty rigidly defined roles: Craig and I singing and playing guitar, Doug playing bass and Ian playing drums. When we were tracking
Qids, an album that consists literally of nothing but sounds made by the human voice, bass, drums and electric guitars, Doug started playing around with harmony vocals. On Canter On we all branched out: Craig and Ian play piano, I play bass and some acoustic guitar and Doug sings lead vocals. Now there’s much more flexibility in our roles in the band.
CG: We didn’t hear about Slothbear until Canter On. Can you tell us a little bit about the recording and release history of Qids?
CH: Before Qids we’d only really released a six song, self-titled EP via a netlabel called Rack&Ruin. It’s our only record that Doug hasn’t produced, so I took it upon myself to record the whole thing on a four-track my grandpa gave me, which by then had a broken input and could only pick up the built in mic. Everything — mistakes and all — would go through that, and then we’d overdub more guitars. To top it off, I for whatever reason took it upon myself to crank the treble as far as it would go. Doug made two pretty legit records in high school, but for the rest of us, Qids was the first proper LP we’d ever worked on, and it took a very long time. Doug’s better equipped to go in depth, but on my end, I spent the better part of a year’s time creating static visuals to represent every song, compiled in an art booklet with the disc inside. Only the first 50 copies featured all the art, and printing it cost us nearly as much money as mastering the record, so we probably won’t get to do it again.
DB: Recording Qids was actually the core of my senior project at NYU. I studied recorded music in a selective and theoretically prestigious program, and in order to graduate, I had to produce the album and draft an in-depth business proposal for its success. In the end, I had to “pitch” the record to a panel of industry big wigs, Powerpoint and all. I think the guy who recorded Sublime told me the vocals were mixed too low.
CG: How did the recording for Qids compare to Canter On?
CH: Most of Canter On was done live since the space allowed for it. “Goodnight, Retrograde” is actually several different live improvisations, expertly spliced by Doug Can-style. To date we still can’t play it live.
JG: The most significant difference between the process of making Qids and Canter On was how we wrote. The way we wrote the songs on Qids was usually just that Craig or I would come in with “a song” and just play it in front of the others. Before even hearing the whole song or knowing its structure, the rest of us would come up with something on the fly and start playing along. We’d play it at most twice and then we’d move on to playing something else. Besides the fact the composition of the songs themselves, like “Galloping” or “Goodnight, Retrograde,” was way more collaborative, we started sharing ideas about where we thought the songs could go and how we could improve them. When we were writing Qids, we would literally get angry at each other for stuff like that.
Canter On was written and arranged over a month’s time, but we did more talking about those five songs in that one month than we did on even the most collaborative Qids tracks, over the course of two or three years.
DB: Recording Canter On was my stab at the Albini method of production—record everything as quick and as live as possible. The experiment yielded mixed results. Most of the recording took place over a couple of days and that was cool, but mixing the EP took months! I probably won’t work that way again until I’m more self-assured about getting the sort of results I’m looking for in a short amount of time. Editing “Goodnight, Retrograde” felt liberating to being given thirty minutes of jamming and then having to construct a song out of it, without these clowns getting their grimy hands all up in the honeypot. It was a new experience, to say the least. Furthermore, I like that the final product sounds a few shades more three-dimensional than the rest of the EP—of all the songs, it does the best job of capturing the sound of Josh’s old living room. Come to think of it, I spent a lot time in that space as a teenager, so it’s actually quite nice to have this sonic photograph to remember it by.
CG: You guys sort of vacillate between straight-forward Rock and something more experimental. Does that happen on a song by song basis, or rather something you try to identify within a particular cut?
CH: Whenever I listen back to Qids I think it’s funny how many unabashedly ‘Rock’ songs there are because when we were writing and rehearsing that record, I was really into Animal Collective, and Josh and Ian listened to lots of hip hop. And now that we’ve come to terms with our love of The Rock, our newest songs are weirder and mellower. Josh and I often play in our own alternate tunings, and have since the beginning of the Slothbear Era. I guess it’s like Thurston Moore said, ‘when you’re always playing in standard, you’re sounding pretty standard.’ (no diss to the Beatles).
DB: Rock, being badass… these things are of a surprising importance to me. Although I’ve aspired to be innovative and “weird” all my life, I’ve found that there’s always someone else standing there to outinnovate and outweird you when it counts. And so I’ve decided it’s best to just to say ‘fuck it’ and join the party that is Straight-forward Rock.
None of this really has to do with my approach or artistic intent in Slothbear, but I do think it bears noting.
CG: We’re in love with the dual lead guitar. What are your ideas and ideals for how a guitar band should sound?
CH: I think it’s cool that anyone considers us a dual lead band, because Josh and I have very different ways of ‘stepping out’ on guitar. Not to burst any bubbles, but the two solos on “White Christmas” are just different Josh takes, and other than the two chords and some feedback, all the six-string insanity on “Djam” is Josh as well, at least until those arpeggios come in. I’ve always identified most with guitarists like Johnny Marr, who does really ornate and dense things but who never gets truly heroic on the axe. I’d call it kind of a ‘lead rhythm’ guitar, because it’s not just some strummy bar chords in the background, but it’s not melting faces, either. The intro for “White Christmas” is kind of my humble, depraved little nod to that school of guitar. We’ve always been very cognizant of our ‘tandem’ dynamic in writing parts, although ironically Doug is far and away the best guitarist in the band. I just take solace in the fact that a blogger recently described my guitar on G’nite Retro as sounding like “crazy ass ray guns.”
Other than obvious teams like Television or Sonic Youth, a personal fave of mine is Women, just the way they played off each other and were so texturally nuanced and subtly complex, I think that’s what I find most engaging. An active band who do it really well are Strange Shapes from Brooklyn.
CG: You use these dynamic background vocals very effectively and non-traditionally, thinking of “Galloping” and “White Christmas” in particular. Does something spontaneously harmonic happen during recording or are these vocals written into the song?
CH: We’re actually very self-conscious about our singing, so thanks! Josh and I have vocal-only practice twice a week to try and tighten up our trouble spots, and it’s definitely the ‘final frontier’ in my mind as far as becoming a tight live act goes. “Galloping” was an instance of Josh playing the main riff while goofing around and me pouncing on it even though he didn’t think it was much. I put some parts around it and showed it to him, and we went from there. I distinctly remember the two of us walking around campus talking shop, each asserting that our own vocal melodies for the chorus were better despite not even hearing each other’s ideas. That mentality is indubitably endemic to how the song developed vocally.
JG: Those songs being weirder vocally stemmed directly from the fact their music was written collaboratively. “White Christmas” was pretty conventional, I wrote the music for the verses and Craig wrote the chorus. When it came to arranging the vocals, we ended up trading verses and each singing our own part to the chorus. I’m a sucker for wordless “ooo-ing” vocalizations in the vein of “Cut Your Hair,” which go alongside ith Craig’s singing words. “Galloping” was trickier though, because its structure is less Josh-part-Craig-part-Josh-part-Craig-part. We both had a melodic vision for the song, so rather than fighting over who got to sing it, or one of us singing words and the other “ooo-ing”, we decided to just each do our own thing.
By the time we recorded “Galloping” all our parts were composed. Two sets of lyrics were written and recorded never having been shared with one another. However, my “ooos” on “Goodnight, Retrograde” and “Wide Berth” were written completely on the spot and premeditated in no way.
CG: At the end of “Wide Berth”, is the sound after the repeated lyric a clicking of the tongue? If so, brilliant!
Slothbear – Wide BerthCH: Yep! It initially just had a conventional, melodic resolution but I think I was listening to Syd Barrett-era Pink Floyd around the time of recording and was into the idea of just making wacky mouth-sounds. I’ve been likened to both an Australian and a squirrel on this track, so there’s that. Ian actually thought the clicking was his ride cymbal.
GG: There’s a wistful existentialism to the lyrics, such as “In the end, in the end, you’re just as small as all your friends,” (Don’t Taunt a Tiger) and “If you love someone you’ll let them run and go have fun.” (Ex-teen) Can you tell us a little bit about autobiographical inspiration and possible literary influences?
CH: I don’t mean to sound snarky at all when I say I’m always psyched to see the different transcriptions of the chorus to Tiger (laughs), not to break the fourth wall but I’ve always wanted to bust out “(laughs)” in an email interview, though Josh stole my thunder all over this thing, but the actual lyrics are “In the end, in the end/Justice mauls all your friends.” Josh and I talked about how it’d be funny to write a song about the tiger that mauled those kids at the San Francisco Zoo when they harassed her a few Christmases ago, and I put it into practice. Yours is probably a more cutting commentary, though. I think our friend Noah actually had your version verbatim, but I’m not sure. The guitarist in his old band once drunkenly told us that his whole family sang “INDIANS, INDIANS!” in the car, and my pal Hank from Spirit People thought it was “In and out, in and out/This is what it’s all about.” How lascivious!
JG: I think one of the things that is cool about lyrics is the subjectivity of what the “real” lyrics are. I’ve had some fairly profound experiences with lyrics to a song only to discover that I’d misheard them but that never changed how they impacted me. as for “Ex-teen”…
When I wrote “Ex-teen” I was looking to write a cathartic break-up song but something went wrong and I got introspective and wrote something that felt like a coming of age. I was shy about the song being so introspective, so I tried to focus on the object of the song (the girl I was sad about) rather than its grammatical subject (yours truly).
Most of “Ex-teen” is set on this secluded beach that I almost drowned at two summers back. I was 20 then, an ex-teen, visiting my then-nineteen-year-old, then-girlfriend. I sing “Got nipped by minnows in the bay, ex-teen. The teen’s areolae were…,” but it sounds like “Got nipped by minnows in the bay. Ex-teen, the teen’s, areolae…,” what with the embedded clause, characterizing the presumed titular character as being a teen. Playing around with sentence structure and punctuation allow the lyrics to mean something different in print than they would just being heard.
The song is about recognizing my impulse to settle settle down with someone and coping with the fact my still-teenaged lover is not on the same page as I am, not necessarily because she doesn’t love me but because she is too young to love me the way I love her. Sometimes I get really serious when I write songs. On the next record I’ll have better jokes.
The writers whose ideas and ways with words contribute to how I think and the aesthetics of my writing most are Joanna Newsom, Thomas Pynchon, David Foster Wallace, Milan Kundera and Bill Callahan. Lil Stevie Malkmus, too.
CG: Some in the blogosphere have compared Slothbear to Pavement. Is it an apt comparison, or do have a better band to complete the sentence: “If you like _______, you will like Slothbear.”
CH: Josh and I are probably to this day administrators of the Facebook group “Pavement Is the Greatest Band Ever” (Bob Nastanovich joined). As cherished a band as they were and still are to us, I think I speak for all of us when I say that slacker ethos are fairly antithetical to our approach to live music. Which isn’t to say that we didn’t have a great time seeing them on the reunion tour—we even conned people into thinking we were opening! Brooklyn Vegan and Consequence of Sound both listed us as openers for Central Park SummerStage, and QRO Magazine emailed us asking for a press pass. I told them we could do the interview in the crowd, Among the People. They declined.
CG: Greenpoint vs. Williamsburg? DiMaggio vs. Mantle? Jets vs. Giants?
CH: I work in Greenpoint, and I often find myself driving around Williamsburg, so neither of those. Bushwick is the ‘hip’ one now but while we play there a lot we’re kind of outsiders. Mantle is the better player and the more likable guy… DiMaggio was kind of a stiff whereas Mantle was like a hilarious frat dude. I’ll go Maris, the true homerun champ, for my dad. I’ve been a Giants fan since the tail end of the 2001 season, and I have the Kerry Collins jersey to prove it.
DB: Ultimately, I find myself roaming Williamsburg more often than Greenpoint, but that’s because I’m a yuppie at heart. Or maybe it’s because when I asked a girl where I could find another “unattainable girl genius,” she told me to “try Bedford Ave” (clearly referring to between Metropolitan and N 9th or10th).
Haha, “bears noting.”
CG: What’s next for the band? Any plans to hit the West Coast this summer wink wink?
JG: We’ve been rehearsing this eighteen song batch for over a year now and calling it Grey and Depraved. Those should start turning up soon, over the course of a couple singles, an album and an EP. That batch includes “Agonistes” and “Yorkshire Sash,” which there are decent videos of, some heavily reworked older tracks that have appeared in other live clips or radio sessions like “TXTMSG Never Sent” and “Tucked in Trees” and a bunch of other songs we’re pretty excited about like “Ranch Row,” “JZ,” “Please Don’t” and “Birds,” to name a few.
We’re also finishing up a video for “Wide Berth,” which should be a hoot.
CH: I’m currently in the throes of booking us a grossly ambitious cross-country ‘international’ tour to Vancouver and down through California.
DB: I’m working on a solo EP at the moment, but I plan on wrapping that up soon in order to start working on other projects, primarily the next SB album. I’m also very eager to get on the road with the band this Summer and begin filming our tour document/internet miniseries, The Torbus Diaries. The shows will be fun as well.
Slothbear (Facebook)
By Gareth O’Malley
I’m not sure why it is – maybe I sympathise, or even identify with it – but I find myself drawn to the kind of intimate devastation that lies at the heart of Keaton Henson’s debut. My favourite album of all time is The Antlers’s Hospice, and one of my favourite debut albums from the last three years is Learning by Perfume Genius. All three of the aforementioned records are difficult to listen to, but what sets Henson’s album apart is that, while the heart-wrenching sadness of Peter Silberman (The Antlers) and Mike Hadreas (Perfume Genius) was covered up by lo-fi production, before they moved on to other things – the follow-ups to both of those albums were markedly different – the production values of Keaton Henson’s Dear… mean that every word leaves the reclusive singer-songwriter’s lips is clearly audible.
Keaton Henson does no press, would rather that he didn’t have to play live, and was prepared to never let anyone else hear these songs, originally recorded in his bedroom. He didn’t get his way, and that’s worked out very well indeed. ‘Get distracted by my music, think of nothing else but art / I’ll write my loneliness in poems if I can just think how to start,’ he says on “Small Hands”; and in two lines, Henson has summed up the essence of his debut. It is an intensely personal record: 10 songs which consist a solitary guitar, a quavering, soft singing voice, heartbreaking honesty, and little else. Embellishments are few and far between, only ever employed – as on “Not That You’d Even Notice” – when they will exacerbate the effects of Henson’s music; otherwise, they are completely unnecessary.
Lead single “You Don’t Know How Lucky You Are” seems most reminiscent of Mike Hadreas’s work; melodically straightforward, yet focusing on guitar and instead of piano, and absolutely drenched in self-reflection: ‘Do you know your lip shakes when you’re mad? / And do you notice when you’re sad? You don’t like to be touched, let alone kissed.’ There are moments when Henson explicitly refers to himself, as he does on the upsetting “Flesh and Bone”, a song which, more than any other on Dear… is excruciating to listen to, as the singer paints a picture of a life – and a body – falling apart: ‘My body’s weak, feel my lungs giving up on me / I’m worried it might just be something my soul needs.’
I very much doubt there will be anyone out there who’s able to listen to Dear… without having some sort of emotional reaction. It’s so intense and reflective that one gets the sense that Henson is well within his rights not to play it live, or at least not tour it until he feels ready; the unsettling “Party Song”, written from the perspective of someone who’s just gone through a messy break-up but has been invited to a party by his ex, who now has a new lover, is harrowing stuff. If he doesn’t feel comfortable with singing lines like, ‘I’m afraid I’d kill your lover while your back was turned … I see pictures now, of the two of you, and it makes me sick,’ on a stage, that’s all fine. His reclusive nature, and the depths of his inner turmoil, are made easier to understand by his debut album – but he has also created a truly beautiful listening experience, and should be applauded for that. In more ways than one, Dear… is astonishingly brave.
Keaton Henson (Facebook)
Rating 8.75
B3SCI took to the streets of Austin in March for the 25th annual South by Southwest. We braved/raged through the musical flurry of performances, ridiculous entourages, grid-locked streets, fantastic rumors and more while covering some of the world’s top breaking talent. Below are some choice highlights from our experience (during festival highlights here), including our most recent Virgin Mobile Live broadcast featuring tunes from festival acts as well interviews with Fast Years, Tashaki Miyaki, PAPA and Saint Motel tracked on the streets of SX.
Full set list here.
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WEDNESDAY March 14, 2012
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Roll the Tanks @ RED 7
Millennial music-host royalty Carson Daly kicked off Wednesday evening at his Last Call showcase with punked-out pop rockers Roll the Tanks. After a flattering introduction from Daly himself, Roll the Tanks and their Never Mind the Bollocks-informed post 90s-fueled power-pop set a familiar tone. Some songs had a definite Weezer-type approach, in a cheeky sort of way, and when combined with the energy of decades worth of nostalgic punk, and for that the band made some new fans. Sans some technical difficulties, the band powered through a well versed set of savvy- for-commercial-voltage rock music.
SOFI @ Parish
SOFI is a contemporary pop artist. A type that might foreshadow a new wave of SXSW popular artists. Sophie brought her brand of Lady Gaga electro-heavy pop to Parish on 6th street with a strut. It was a spectacle of dancers, poles, lights, a mic, and some backing tracks. That about covers it, a few timely electro pop songs and a hot stage show that clearly attracted some die-hard fans. The bass-driven atmosphere worked so well that I wondered about the possible scheduling conflicts with the Winter Music Confrence just a Gulf of Mexico away.
The Knocks @ Parish
The Knocks knocked it. The NYC duo finessed their gadgetry with a heaviness and energy that translated directly into a hall of moving bodies, a/k/a a serious party. In today’s Sea of electronic noise these dudes can mix in something like the B-52s with a freshness that doesn’t sound self conscious. The Knocks’ show works because of the duo’s dynamic urgency in performance.
Friends @ Hype Hotel
Take a quick glimpse at Friends. If your hipster radar isn’t freaking out at this band then get it’s battery checked. When Friends rhythmic and tropically based glam-pop grace the stage you should be ready to see a fashion show along with your concert. Not unlike everything that is endearing about novelty disco, the band’s minimal sound is an urban jungle. Lead vocalist Samantha Urbani jumps into the crowd like it’s her loft party. Once this band dials in there’s no stopping the impending Studio 54. Friends’ catalogue can be spotty at times but they do have some songs that stick; like it’s that sort of abstract, new wave-flavored stick that can only come from deep record collection gold like the Thompson Twins.
POND @ Hype Hotel
Pond fucking rock. I walked into the band’s first set of SXSW and was shocked at what I saw; definitely something to see. The Perth band (worth noting, come from some Tame Impala blood) are one of the most charismatic bands I’ve seen in a minute. From fixing his hair on stage, the swinging of microphones, the sneering, the dinosaur-raptor like convulsions… front dude Nick Allbrook has a strong comfortability on stage to say the least. A sort of stage presence that walks the line of over-the-top and sheer genius. Pond’s sound encompasses a striking blend in qualities of classic rock. When the band’s ambitiousness and stoner, punk, and classic rock influiences congregate, the resulting product is a high level brand of rock and roll. POND leave an impression, enough of one that lead us to three more gigs throughout SXSW this year. More to come.
Gary Clark Jr. @ La Zona Rosa
What kind of artist is Gary Clark Jr.? Is he a AAA radio staple still looking for that crossover hit? Is he the blues guy on your favorite festival circuit? or his he that guy that you and your dad can both rock out to? (Clapton fans were looking at you.) He’s probably a little bit of all the above. Gary Clark Jr. has the talent regardless of any label to be slapped on him. . His more popular songs like “Don’t Owe You a Thang” and “Bright Lights” stole the set at a song level but it was the sheer charisma of young G.C. that stole the show. Take Gary Clark featured on a guitar solo, take him featured as a vocalist.. our word, take him anyway that you can get him.
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THURSDAY March 15, 2012
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Lee Fields and The Expressions @ Hype Hotel
In the everdeep sea of soul pop legends, Lee Fields is a pearl. Coming to and from in a career of ups and downs, twists and turns, this man is still at his best. Dressed from what seems a Ross’ out of rural Nebraska, Little J.B. adeptly worked his crowds. He’s a pro. “I still got it” he sings from “…the new CD” (Faithful Man – get it) and he’s not kidding. Fields’ band, The Expression add an energy that other artists Field’s age wouldn’t be able to keep up with. Late in the set, ‘On a whim’ Fields directed his faithful band into an unrehearsed performance of their new song “Hanging On” from ‘the new CD’ (Faithful Man – get it). While getting down to the funky soul tones of Lee Fields, it was pretty hard to not notice that the dude loves singing to the ladies. Lee closed the set with “Faithful Man” which is the title track from the the CD. After letting fly his blood curdling screams of infidelity, Fields came back for a rare mid-day SXSW encore by audience demand.
BRETON @ Latitude 30
BRETON performed their first set on US soil at Lat 30 during SXSW, the perfect venue for those ‘different’ sounding brits (to of course American ears), and as expected, were greeted with mixed reactions (playing both for and against their favor depending on how you like to look at it). The projects team delivered a set of electro pop that’s all their own. There’s a youthful energy in the band’s near Vans-tour style presence. With a new skool approach to pop instrumentation, Breton are likely to introduce electronic music to a few youngins or two. With BRETON’s remix work already catching fire, this band seems to have the right formula as was further evident in what we heard original material-wise.
Love Language @ Cheer up Charlie’s
In scurrying to make an interview we missed a set from Moonlight Bride but in the process we were pleased to stumble on a great set from Merge Recordings act Love Language. The band’s soothing middle of the road pop rock brought me back to the days of bands like The Stills. Love Language seemed to play because they live for it.
Alabama Shakes @ Hype Hotel
Athens, AL based four piece Alabama Shakes were definitely a band to see on most everyones list during SXSW. The good news is that the band played like 8-10 sets so that you couldn’t miss them. Regardless, frontgal Brittany Howard puts it all out on the table. Even after all the hype, all the Lefsetz, all the usual ‘ha-bub’, you still can’t take your eyes and ears off of Alabama Shakes. This is a band clearly eager to explore the depths of their musical creativity. With newer songs in the dylan’esque transition Beatles style and less of the swamp tinted pentatonic rock (which many have come to love from them), Alabama Shakes still at their heart have a soulful swagger. They are aiming for the top, which is what separates them from much of the hype. A career is about longevity. For now, Alabama Shakes are destined for festival billing but whether or not Alabama Shakes will deliver further (say an iconic album for the books) remains to be seen. Only the strong survive.
Tashaki Miyaki @ Cheer Up Charlie’s
Tashaki Miyaki are a band with little to be known about. IS there something wrong with a band wanting the music to be what everything is all about? Isn’t that the way it should be? Adding a bass player helps with the live show of some generous covers appreciation. The band’s downtempo sound (which might sound familiar to some) is a signature stamp. Songwise – Buddy Holly, Bob Dylan, Sam Cooke, The Everly Brothers… the singing-drummer duo has an appreciation for the singles era. An era where an artist’s tastes could be appreciated in a less time intensive fashion. Kinda ironic how the attention spans of music fans in the 50’s have never rang more true today. Tashaki Miyaki’s shoe gaze and wash of Lucy’s vocal coos and Rocky’s fuzzed guitar is a winner combination for us. Lucy sings and plays like its all she knows, beautiful consonant octaves at the third or fifth.
Dirty Beaches @ Cheer up Charlie’s
The shameless and expressive musical rantings of Dirty Beaches. I don’t know how Alex Zhang Hungtai can replicate the emotions performance after performance that he pours into each of his live shows, but I am always grateful for the chance to experience it. There is difficulty in always finding the pocket dealing with a more abstract/impulsive sound palette; but this dude is dialed in.
Colleen Green @ Vegas Hotel
Colleen Green makes timeless strung out chic pop. The simplicity of her songs is a heavy contrast to the reflective themes that she conjures up in powerful doses. The short set of tracks was rocked at a full capacity; a bit of her pedal, a bit of Happy birfday Jeff! and a bit of moody power chord pop; perfect for this off beaten path Hotel Vegas venue.
Kendrick Lamar @ Stage on 6th
K Dot had control of the house from moment one as he rolled through an energetic albeit brief set, comprised mainly of highlights from his much lauded Section.80 mixtape. There was a heaviness and rasp in Lamar’s voice that revealed a bit of fatigue (The guy has been literally all over Austin the past few days) but there was no let up in performance quality as the L.A. rapper 100% knocked it out.
Nicolas Jaar @ Central Presbyterian Church
22 year-old American-Chilean musician Nicolas Jaar kept the lights down low for his headlining slot at Central Presbyterian Church for Pitchfork’s party. Reading the room, the trio brought experimental electronic jazzish composition to a packed room of enthusiasts looking for an intimate experience outside of the chaos down on 6th street. Saxophone, laptops, strings, drums, no instrumental territory was off limits. Atmospheric in all of it’s aspects, lush, strings, electro, world beats, Jaar’s music generates a big sound both controlled and intellectual.
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FRIDAY March 16, 2012
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Ed Sheeran @ Cedar Street
Ed Sheeran kicked off Friday morning SXSW 2k12 with something fierce. Armed with only his guitar, the UK dude tore it up at the Filter mag party.
Tristen @ Cedar Street Courtyard
It was at the same venue that I ran into Tristen last year at SXSW. How could those hauntingly beautiful tones not draw us back in? Her’s is a brand of poetic folk rock that touches every music lover’s inner country music. Tristen’s voice, in performance, floats as if were made for neo-trad pop. Tristen are a band comfortable in their own skin. Big.
U.S. Royalty @ VML House
Good old classic rock that’s not afraid to let its roots shine through. When shredding and belting vox out like American Royalty, we mean US Royalty… we mean dubbaya.
PAPA @ Cheer Up Charlie’s
PAPA sound great. PAPA were tight, in the pocket, on their soul. And for their fourth show of the day the band were dialed in to the frequency of the circus of Austin around them. Mid-set frontman Darren Weiss even did handstands. (seriously is was pretty fucking hilarious). He said, “it does taste like chicken” and proceeded to lay down more of the soul-informed rock vibes from the band’s A Good Woman Is Hard to Find EP, and also offering some hints towards what to expect from a forthcoming new album release.
HAIM @ VML House
HAIM drew second looks at the Virgin Mobile Live house early Friday evening. The 3:1 lady lead collective sounded big. Crossover type big. Like advert campaign big. It will be interesting to see how and if this group will develop. It wasn’t that any of the musicianship on display was anything that would blow your mind, it was more the profound feel the band convey that drew us in. We will be watching what happens next with HAIM in 2012.
DJ Jacques Green took to the decks for those lucky enough to catch a glimpse between all the action of band’s outside.
Fast Years @ Fire House
Fast Years are like the Motley Crew of jangle pop. Four cool looking dudes with a great feel for pop-informed rock music. While the fog machine (and LASERS) inside the Fire House was a bit over the top (almost choked then blinded us to death), the band still seemed to manage it. It was guitarist Mikah’s birthday and it was clear the partying on stage during set was no doubt part of the day’s celebration. With a nice collection of songs in the can, the group can look forward to hitting the road and honing their set for the masses.
Willy Mason @ St. David’s Church
Willy Mason is a good answer to AAA rock-leaning fans of artists like Noel Gallagher. Mason’s a sure bet expert collection of folk and classic rock songwriting was on display throughout the entire performance; each song telling a better tale than the last. Mason rocked the church with his fantastic band and his make-shift 19th century player-kick drum; a novelty on site but it actually added a musical depth to the mix.
Daughter @ St. Davids Church
Another band with a lot of hype leading in to SXSW were Daughter. Daughter have a uniquely intimate style to their songwriting. Lead singer Elen Tonra brings you into her vulnerable world with lyrics sung like they can only be said through song. Guitarist Igor Haefeli put on display one of the most beautiful/tasteful exhibitions of guitar work I’ve seen in years with such a mature sense of instinct and control. Should Daughter continue down a road of great songship, legions of fans await.
Michael Kiwanuka @ St. David’s Church
Michael Kiwanuka brings gospel-informed writing back to the mainstream of crossover songwriter pop. Like Jack Johnson, Michael Kiwanuka can pick up a guitar and potently tell a quiet story to masses of media-bombarded music consumers. Presences like his make for timeless moments and hit records. Kiwanuka is a budding talent with likely incredible things on his horizon.
Dinosaur JR. @ Fender Party
Strolling back to my hotel room Friday night, I heard a gnarly version of The Cure’s “Friday I’m In Love” echo through the streets. Fuck it I’m at SXSW. I followed my ears and (surprise!) I found Dinosaur Jr. rocking the 80’s classic. Not much to say about Dinosaur Jr. except it’s the only thing that could have picked me up at 2am. The trio play like they just discovered rocking out with each other in their garage yesterday.
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SATURDAY March 16, 2012
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The War on Drugs @ Mohawk
I ran into Michael Kiwanuka watching The War on Drugs. He seemed captivated by the band. Can you blame him? The War on Drugs are easily one of the next great American folk rock legacies. Frontman Adam Grundencial delivers dylan’esque rambles with brilliance. Guitar riffs played an important role in the songs as well; vocal and instrumental melodies met with a rootsful backing.
POND @ Maggie Mae’s
By the time we caught our third set of Pond I was convinced to have some conclusion. Especially after catching a second set in a venue better suited to host MMA on Pay-Per-View, and awful sound. Frontman Nick Allbrook took to the crowd in an early St. Patties Day jabber something like, “Busting is it? We’re Pond from Brixton. I’m Irish…” as they slammed into their blues rock, Led Zeppelin like wall of sound. The upstair patio at Maggie Mae’s took notice. Pond had the right amount of tameness this time, like their appearance at Hype Hotel two days earlier, and about 40% more tame than the ‘cage-match’ show the day before. With each set tactically different than the last, and this one being 20 some minutes in length, Pond held a captive audience. The band brought the pace back for “Broke My Cool”, a classic rock like ballad that showcased Allbrook’s voice more so than his personality; at moments Jagger-like in its’ tone-deffness. Perth’s Pond, have character. Some of the most character I’ve seen in a rock band in a minute. Add the Tame Impala backstory and a hearty new album, and we’ve got a band that might have us at fan status.
Bob Mould @ Mohawk
Bob Mould tore in to a complete performance of Sugar’s Copper Blue at the MOG party at Mohawk. Again he proved the album’s a classic, Sugar was epic, he’s a genius. Mould’s attitude and deamenor simply reads something like ‘fuck it’. The trio on stage killed the songs like they just wrote them yesterday. There’s something to admire about musicians that never loose the sight for and passion in their roots.
Clock Opera @ Hype Hotel
Clock Opera are a good reference point for contemporary indie pop rock bands. The five piece out of London put on a solid set of, mostly air-tight, rhythmically driven songs, and dis-enfrachised lyrics with non-traditional melodies and structures that you can’t get out of your head. Plus the band occasionally rock out on household kitchen ware! The crowd partied at the Nialler 9 showcase with an uptempo set of Clock Opera songs from their previous EP’s as well as their forthcoming Ways to Forget debut LP release.
Ceremony @ Red 7
This was a punk rock show. Posers take note. Provocatively genuine microphone gestures, moshers who mosh like it’s a profession, shit breaking on stage. The Bay area band ripped through an arsenal of material including cuts from their latest Matador release, Zoo. See this band but stand in the back.
Odonis Odonis @ Red 7
O^2 bring out the inner garage rock in everyone. The muddied abrasive, but still melodic, guitars frame songs with lyrics that live forever (when audible.. which is kind of the point). In fact it inspired me so much that I was compelled to buy one of the band’s cassette tapes (yes, that’s right a cassette tape). This Toronto trio will rip your head off it you’re not ready for them. The music, as energetic as it was loud, was played HARD with a washy mix of heavily fuzzed guitars. The band’s song structure is simple and on the punkier side of garage music. “Handlebars” stood out as a favorite with it’s British-y sneer and kowabunga cool vibes.
Forest Fire @ Red 7
Forest Fire are a band waiting for that big moment. With an almost Monkees quirkiness to them, the band must be on deck for the next Austin Powers movie. Plus lead singer Mark Thresher clearly knows a good parka when he sees one (James Brown would probably give it an 8.5)! Following the stage after Ceremony could not have been a good feeling for this band who might as well had been playing hippy rock in a field of daffodils. Still good pop is good pop music, and where stage experience lacked the, band made up for in melody and pure song.
The Velvet Teen @ Red 7
After what seemed a soundtrack from hell, the Velvet Teen launched into their much anticipated set. The jagged chords of “Radiapathy” would soon lead the crowd’s delight. A new track presumably from their forthcoming 6 years in waiting LP was mainly rhythmic and had no guitar. In fine Velvet Teen fashion, a departure from anything expected next out of the band. Judah Nagler got the crowd into it “come on Austin”! but there wasn’t much selling needed to be done.
Django Django @ Latitude 30
One of the most hyped acts at SXSW this year seemed to be Django Django. Lat 30 was packed to catch a glimpse of these popular new wave revivalists. The London collective rocked a new school DEVO type vibe. And like DEVO, in our opinion, DD either strike out or hit a homerun with what they are doing. Django Django are the type of band that relies on a penchant for strong tunes and consistency and have a successful career waiting where a boppy aesthetic makes for pleasant listening. It will be interesting to follow what 2012 (and potential music licensing, these are tunes that scream advert placement) will have in store for them.
D/R/U/G/S @ Latitude 30
The Manchester based beatsmith D/R/U/G/S filled in for Maverick Sabre who unfortunately couldn’t make it to Austin. While musically a major departure from the originally scheduled act, D/R/U/G/S took the stage, cast on left-arm and ready to deliver an electro induced set of dancey mayhem. Synced with his custom visuals, the DJ rocked through a set of intricate sound layers and manipulation. The music was great and his freshly minted remix on Lana Del Rey’s “Blue Jeans” stood a set highlight
“All You”, new from L.A.’s, The Cataracts is about to set pop radio on fire. “All You” ticks all the 2012 radio smash boxes and then some (big EDMish chorus, spazed out rapper verse, a cool sample of a recent hit – in this case the also Cataracts-produced “In the Dark” by Dev.) Seriously though, ever thought you’d hear (give Waka a beat, 10 G’s, and a ton of weed and he’ll probably rap over anything) Waka Flocka spit flames on a Kaskade sample? In theory, Waka’s inclusion on a track like this might invite notions of “train wreck” “are you shitting me?” and “ugh” but somehow it totally works! We love it, get with the new jam. (SB)
The Cataracts 
(Facebook)
Rating 8.3
Contributed by James Giblin
I Get Wet, Andrew W.K.’s first big studio album was released in 2001 about a month and change after 9/11. Pretty much everyone had other things to worry about at the time. We all got to it at our own pace. The music on the album itself is not simple to categorize. It’s music that Fox Network can and will use in programming bumpers until the end of time. It’s music that lends itself as well to a session of Playstation hockey as it does to a mid-afternoon minivan trip to Taco Bell. The music is utterly mindless lyrically but if you listen long enough, it tugs your heartstrings with the mad, fumbling practice of a first-ever make-out session. It’s music a better-informed Bill & Ted would have traveled through time just to learn how to play. Most tracks on I Get Wet are musically quite similar with guitar-driven power rock ballads with piano accompaniment that champion the tenets of partying. The songs alternate between being earnest and hilarious.
Andrew W.K., at some lengthy interval in the years 2000-01, composed
the vast majority of the I Get Wet album himself and performed each
instrumental section individually himself, then textured them together
to create the unique sound in his imagination, then assembled a
touring band to deliver it unto the masses. That initial tour was quite
bizarre and wonderful, and I will be comparing today’s tour with the
original throughout this review. Andrew W.K. has recently determined
that the world is in dire need of I Get Wet‘s return. Beyond mere
comparison with its predecessor, let us examine whether, in this
solitary instance on a Thursday in Hollywood, Andrew’s determination
held true.
After thoughtfully confirming whether we, the paying customers were in fact ready for Andrew, the Avalon’s warm-up staff darken the lights on the rather amusing backdrop of our protagonist’s bloodied nose and maw. This image is the album cover of I Get Wet, an image which once caused controversy in European markets for being a possible veiled
reference towards cocaine over-usage. In reality, it’s an image of a guy who hit himself in the face with a brick, and that’s as good a primer as any for what we’re about to see.
The band members emerge one by one and appear to range from motor-oil
drinking body builders to Fuel-era James Hetfield, to Steve Perry, to a
WWF diva. Tension mounts and bubbles and everyone unanimously agrees
that we are in for a treat, though many are far to nervous to say so
with their mouths, claps or other noise-making gestures. Andrew is
last to emerge to the crowd’s eager yells, ruckus and shuffling of
feet. Mr. W.K. steps up to the microphone and engages with the crowd
as only he can.
If you’ve never had the pleasure of a conversation with Andrew W.K., I
can help fill in at least some of the blanks for you. Personality-wise, he is a cross between Tony Robbins, Henry Rollins, “Evil” Ed from the original Fright Night, and your imagined persona of your dad when he was your age. An interview with him generally vacillates between; Andrew making weird faces or noises, Andrew encouraging you to follow your dreams and trust in yourself and squeeze the absolute limit of human experience out of your limited time on the planet, genius-IQ Andrew working to elucidate in simple terms the intricacies of how and why he does what he does while
battling the perceived dichotomy inherent in his music and in his public image, and Andrew having fun, joking around and lighting up the room with his good-natured sense of humor.
On stage, Andrew is, impossibly, an even more confusing mix of all and
none of the above. He alternates between sticking the microphone in
his pants, punching himself in the side of his head in order to
release a major wad of spit, and lurching his legs around manually (by
hand) like a damaged, fun-loving Terminator unit. He elicits support
from the crowd during, but never before the start of his inter-song
shenanigans and peppers us with sincere, deranged statements about his
and our relative performance during the show. He is invulnerable and
indefatigable. He will never age and this night will clearly never end
(it ends at 10pm sharp (more on this later)).
The set kicks off with “It’s Time to Party”, and rolls into “Party
Hard” almost seamlessly as the crowd is absolutely devouring it. These
two songs have appeared in more big screen frat house camera sweeps
and EA Sports games than any other form of media (other than perhaps
Lit’s “My Own Worst Enemy”). Bleary-eyed thirty-somethings are
immediately transported to their own A.W.K. memoria; though their
lives have changed, this music and this feeling have remained just the
same as they left it. Hell, even the band looks pretty much identical
to a 2002-04 Andrew W.K. tour – with perhaps one exception.
As the audience’s lives have grown and changed over the past ten
years, so too has Andrew’s – in his case the addition a wedding banded
finger, and in turn, a wedded band member. Meet Cherie Lily, Andrew’s
bride and perhaps by default New York City’s pre-eminent chanteuse
and partying fitness model. Cherie Lily is dressed
as a dominatrix Jane Fonda; Cherie Lily puts the “melt” in “cameltoe.”
Along with her on-stage moves, which are unarguably as suited as any
towards the A.W.K. sound, Cherie brings with her the main conundrum of
the evening. Mrs. Lily was not present in Andrew’s life at the time
some of this music was made, or for any of the original tours, yet she has
toured by his side for at least the past year by my reckoning. By
contributing vocals to every song and appearing in her own loud, tan
and toned fashion next to Andrew, does she change the nature of the
show? Is the 10th Anniversary I Get Wet show altered too
unrecognizably from the original? Is our trusty old partying buddy’s
flashy new wife cool enough to hang out and head bang with us? Are we
grown-ups? We will re-visit this later.
Moving through “Girls Own Love” and “Ready to Die”, we take a long
look at the rest of the band, and fans of the original I Get Wet tour like what
they see. On that original tour, fans (dozens of fans, simultaneously)
were often invited on stage to party near the last few songs of the
set to end the show. As Andrew himself stands at a stout 6’3″ and at
least 250 lbs., and all of his band members have perenially been
bearded, muscled goliaths, there was very little even the drunkest
fans could do to disrupt the show, aside from toppling a keyboard,
which security always seemed to have their eye on somehow. Andrew’s 5
or 6 guitarists would grimly strum and thumb away as a variety of
idiots caromed off of them and into each other before plummeting back
into the writhing arms of the crowd. It is difficult to imagine that
many of today’s fans will be able to stage-jump at the freaking
Avalon, and with the presence of Cherie it is hard to imagine that the swarming masses will be able to push, shove and get their faces rocked on literally by this band.
A.W.K. used to bounce around like a spring all show. I saw the guy do a show in a
wheelchair and he literally hopped around in it all over the place,
broken leg swinging around like a piñata. As the track “Take it Off” brings us
another step through the I Get Wet canon, Andrew replaces some of his
explosiveness with attention towards his bandmates, making sure to
circulate to sing and lean upon each, which is quite a task
considering there are a total of 8 people on stage at all times.
“I Love New York City” is received enthusiastically by the L.A. crowd, lending some credence to the easily assumed fact that no one attending this show is actually from
LA. Andrew W.K., though originally from Michigan, is a New York guy
through and through; judging by his tour stops, much of his devoted
fanbase lies between those two bounds. At this point in the show,
Andrew, in his infinite Andrew, elects to strap on a trusty ESP LTD guitar to
thrash out an extended solo upon. Much of this is objectively quite
horrible, and some of the fans let him hear it. Andrew’s response is
to make faces and pound a big old loogie of spit out of his own mouth.
They love it! Rule Number One: Know thy audience.
Proceeding briskly through the album’s 12 tracks the band
plays “She is Beautiful”, a blistering ode to romantic love and the
virtues of taking a chance. There is possibly no better time to
revisit Cherie Lily as we have now been exposed to quite a bit of her
vocals. I’m not going to say that she is doing great at singing Andrew
W.K. songs; she is however fun while performing them. Even if her
vocal contributions lie firmly in the question mark column, which they
do, it’s quite an untenable situation for her in the first place.
Andrew W.K.’s songs, by their very nature, make little sense and hold
less water when performed by anyone but himself. Most importantly to
the show itself, the somewhat alarming lack of vertical motion by Mr.
W.K. is being addressed quite robustly by Mrs. Lily, as she bops
nimbly back and forth, engaging in various swoops and flourishes as
demanded by the beat.
As always, the end of a song marks the return of the spotlight to
Andrew. This is the point in the show where some eager Andrew W.K.
fans feel a slight panic, as the friends/boyfriends/girlfriends they
are hoping to convert are exposed to Andrew at his most base. The
crowd is gleefully petitioned with the following: “Have you ever…
vomited?” “Have you ever….. BARFED?” cheers>
This all leads us into “Party Til You Puke”, a paean to a time-honored
celebratory ritual that many of the thirty-somethings in attendance
have left far behind them. An interesting cross-section of persons has
come to attend this show. Most are obviously dedicated fans, as they
are clad in Andrew gear or often enough dressed as the white-shirted,
white-denimed party rocker himself. I Get Wet‘s original tour was
famous at the time for attracting a non-sensical mix of rockers,
skaters, fratboys or preppies as they were once known, grungies or
dirties, proto-hipster indie kids, the goth/black metal set, and
basically anything else in between. This is not to say that Andrew
W.K. had or ever has had universal appeal; it is simply to say that
the sort of music you were into had little determination in whether
you “got it” or not. Basically, if you didn’t get it, you probably
hated it; if you got it, and if you didn’t care what your friends
thought, you were more than likely at the Andrew W.K. show. I would
like to say that this particular aspect of the original show has held
up but I really can’t tell as the only two cliques at rock shows in LA
seem to be “hipster” and “other”. I am delighted however to report
that both hipsters and others were in attendance and circle-moshing
quite vigorously.
“Fun Night” is the next track, continuing the theme of the album,
which I believe has something to do with partying. It is known to many
New Yorkers that Andrew W.K. co-owns a joint called Santos Party
House, a dual-floored Manhattan party outlet which is described by
various well-respected magazines and newspapers as one of New York
City’s best venues and hottest dance nights. A point of contention for
many of Andrew’s detractors is the subject of how genuine Andrew is.
In order to grasp the appeal of this music that is so elusive for
many, it seems that one must buy into the idea that Andrew is indeed
all about partying, all the time. As foolish or unrealistic a concept
as that seems from a distance, it is hard to escape concluding it as a
certainty while observing him in his party element, whether it be a
rock show or a night at Santos. Another piece of evidence supporting
his legitimacy is the fact that Andrew W.K. is possibly more popular
in Japan than he is in the U.S., much like noted party animal Edward
Furlong.
The second-to-penultimate verse of I Get Wet, known as “Gotta Do It”,
is followed by a rather extended series of antics from Andrew, as he
pleads the audience to raise its activity level, the punishment
apparently being that he will act really weird if we don’t.
Fumbling with his button fly, Andrew inserts his microphone into an
unknowable crevice and pretends to be some kind of satanic primate as
onlookers cheer and howl.
Pantomiming a slow death of thirst proves the perfect transition into
“I Get Wet,” the album’s title track. Punctuated by water bottle
showers courtesy of Cherie Lily, the audience’s eyes are reflexively
closed as they swoon towards the reality that a mere one track remains
on the album, and doubtlessly thus the concert. It’s weirdly about
8:45pm. Aside from the fact that it’s a school night, who do I blame
for this? According to reviewer Chris Gedos, it might be the fact that
the Avalon likes to have the place clear for their DJ night before it
gets too late. Bummer.
I Get Wet comes to a close with “Don’t Stop Living In The Red”, a
track that reminds me of another contrasting quality of this tour vs.
the original. Namely, it’s this: Andrew W.K. has spent virtually zero
time proselytizing the crowd. Generally, in the old days, an audience
would get quite the hefty dose of Andrew’s life philosophy, in
addition to the constant urging to party and let loose. Crowds would
be told things along the lines of “This is right and so are you.” or
other similar things espousing the power of will, self-confidence and
being true to yourself. There was very little of this kind of thing
over the course of the entire night. This was always part of the
unique charm of Andrew, he was performing music, but he would lapse
into being a self-help guru at the drop of a drumstick. I’m not sure
whether the removal of this is a good or a bad thing for the show but
I look forward to philosophers debating the question for decades to
come.
With this, Andrew and the gang bid adieu to the now very animated
attendees. Ever the crowd-pleaser, the crowd is allowed a good four
minutes during which they move from “ONE! MORE! SONG!” (the dumb
crowd’s version of encore according to a great LA stand-up comic who I
will credit when I remember who it was I think it was John Vargas) to
a final convergence upon “WE! WANT! FUN!”, a much more fitting cheer
for an Andrew encore by any measuring stick you have handy. After a
few more minutes in which the audience’s family jewels drop through
the floor in anticipation, the band comes back out and we have
ourselves a whole ‘nother show! Yahoo!
If scientists worked to create one awesome track with which to come
back from intermission, “Victory Strikes Again,” the opening track
from Andrew W.K.’s second big studio album, The Wolf, would fall
awfully close to the mark. At this point the crowd is full-on, fever
pitch, loving it. Every person near to me is jumping up and down.
Taking pictures is becoming quite the challenge. I slip out of the
reviewer’s brain and into the reptile brain. I’ve watched the show and
analyzed it, but how does it really feel to be here?
Every person in attendance, regardless of row or column except for the
very back of the room, is now being moved by the circle pit. Things
are officially out of control. Andrew said earlier in the show that
“THE MORE YOU DO, THE BETTER ANDREW DOES.” It’s his turn to provide
half of the equation.
I enter the pit for the first time to the sounds of “Long Live The
Party”. I do not bring anything expensive with me. Knees, elbows,
faces, fists, shoulders and more all compete for my immediate
attention. I stay on my feet. Some idiot falls down. Five people help
him up. Bodies are being launched in a surf toward the stage with
alarming regularity. As close as this is to how it was ten years ago,
something’s a bit different. I set out to determine what it is. I
decide after racking my brain while being jostled and head-butted that
the music is not as loud as it should be. I struggle to determine
whether this is because I am old and deaf or because the Avalon is
subject to more stringent noise pollution laws than the venues of my
youth. Both prospects depress me.
The next song is “Never Let Down” and the tempo change grinds the pit
to a halt. This song is a slow-paced rock ballad that evokes the
spirit of camaraderie and devolves our spirited melee into something
resembling a group bro-hug. I make my exit at this point and realize
that the music hasn’t changed, but I have. “Totally Stupid” is the
next track to play, and its lyrics are directly evocative of its
title. My thoughts can’t help but turn critical. I’m not 16 anymore,
inside or outside. The concert experience of my youth slides ever so
much farther from reach. A cold tick echoes inside the mechanics of my
heart clock. The crowd sways, hoots and hollers as I grit my teeth and
wonder.
The fanfare briefly weakens but Andrew is an old hand at this kind of
situation. As some of the audience, your trusty correspondent
included, reach into our old bag of tricks and come up wanting, Andrew
reminds us that his bag has all the same tricks it’s ever had. He
proceeds to literally carry the crowd on his own shoulders.
Look at that. That doesn’t happen every day. My spirits are renewed. I
am reminded of why I love Andrew W.K. concerts. It is the kind of
feeling that lasts for a brief moment but makes you wonder why you
ever feel any other feeling.
We are now offered some newer tracks; from Close Calls With Brick
Walls, a 2006 double-CD release, we have two very strong and energetic
tracks in “You Will Remember Tonight” and “The Moving Room”. These
served as a welcome injection of energy into the room as some in the
crowd had grown restless, but were now drawn fully back into the show.
This is the point at which A.W.K. begins teasing the crowd before and
after each song that “THIS IS YOUR LAST CHANCE”, though it seemingly
never is.
The audience is asked if it would like to hear a NEW SONG, and we
proceed into what I believe was called “Head Banger.” The contents of
the package match the label, and we are treated to quite the husband
and wife head-bang sesh. It must be true that the family that rocks
out together stays together. If I’m forced to call in a decision from
my jury on the Cherie Lily A.W.K. era, I’d have to say that most fans
of the original tour should approve. So much of the original tour was
sort of a “Cult of Andrew” and adding a new on-stage personality is
bound to sort of detract from that, but the two of them playing off of
each other adds a positive wrinkle to the show – one must also wonder
if her presence has sort of muted Andrew the Philosopher as well. The
net result comes out to the show being more about the music and less
about the cult figure, which must be viewed as a win for fans of the
music. For those who only value Andrew for his existence as a kind of
larger-than-life character, there’s still plenty here at the show to
enjoy and you even get to see him in a new light. Who knows, maybe
some day Andrew or Andrina Jr. will be up there rocking along with the
whole family.
The song that everyone wanted to hear at that point is “We Want Fun”,
a 2000 un-released EP’s hit single that propelled Andrew’s early
career with the help of a video featuring Jackass cast members and
various skate-boarders. This is Andrew as his earliest fans remember
him, and as they would probably wish to remember themselves at the
time they listened to it. Exhausted, the crowd allows Andrew to
withdraw, W.K. himself showering the front row with beatific praise
and high fives as the band completes a triumphant exit. It’s weirdly
about 10pm.
Did the world need a return of I Get Wet? Andrew is as close to his
original form as any fan could beg for, and on his side of things this
tour is probably calculated to provide a strong launch for his new
work. I can imagine no better way to do that than a return to his cult
favorite album and evidently neither could his management. The show
was packed in and there were more than just die-hard dress-up fans
there – there were many new listeners I spoke to and plenty of people
who had dusted off old .mp3 folders and worked themselves up into a
frenzy they hadn’t seen in a decade in anticipation of this night.
Those are the ones who needed this show.
Andrew W.K. (Facebook)
Rating 7.9
Hey family. It’s that special time of the year again when the glitterati of the music industry descend on ATX to slap each other fives, layer their forearms in VIP wrist bands, and hopefully catch some cool bands. Planning for SXSW can be a daunting ask. The sheer number of bands, shows, parties, etc is ginormous. SXSW planning fatigue is real but b3sci is here to help! We’re setting you up with all our picks for can’t miss sets (our Top 5 for each nighttime hour of the festival) and showcases (our 3 faves for each night). Lego!
TUESDAY
Kendrick Lamar takes the 1100 Warehouse stage at 1 AM on Tuesday.
Showcases where you want to be:
1) Pitchfork @ Mohawk (& Patio): Schoolboy Q, Shlohmo, Star Slinger, Mr. Muthafuckin’ eXquire, Tycho
2) Warner Bros. @ La Zona Rosa: Flux Pavilion, Santigold, Theophilus London, Neon Hitch
3) Stone’s Throw @ Swan Dive: The Stepkids, MED, Strong Arm Steady
Can’t miss sets:
8:00-8:59 PM:
1) Shlohmo @ Mohawk (Pitchfork) (8:30)
2) Neon Hitch @ La Zona Rosa (Warner)
3) Boy Friend @ Swan Dive (Yours Truly)
9:00-9:59 PM:
1) Star Slinger @ Mohawk Patio (Pitchfork)
2) Theophilus London @ La Zona Rosa (Warner) (9:30)
3) Capital Cities @ Buffalo Billiards
10:00-10:59 PM:
1) The Stepkids @ Elysium (Stone’s Throw) (10:30)
2) Santigold @ La Zona Rosa (Warner)
3) Mr. Muthafuckin’ eXquire (Pitchfork)
11:00-11:59 PM:
1) Electric Wire Hustle @ Swan Dive (Yours Truly)
2) Beach Fossils @ Club 606 (Root Music) (11:30)
3) Tycho @ Mohawk (Pitchfork) (11:30)
12:00-12:59 AM:
1) Schoolboy Q @ Mohawk Patio (Pitchfork)
2) Caveman @ Bat Bar (Campfire Trails)
3) Flux Pavilion @ La Zona Rosa (Warner)
1:00-1:59 AM:
1) Kendrick Lamar @ 1100 Warehouse (XXL Mag)
2) Saint Motel @ Treasure Island
3) Built to Spill @ The Belmont (Space Ducks)
WEDNESDAY
NPR’s Wednesday night showcase features a 9 PM performance from Sharon Van Etten.
Showcases where you want to be:
1) NPR @ Stubb’s: Sharon Van Etten, Fiona Apple, Alabama Shakes
2) Last Call w/ Carson Daly @ Red 7 Patio: Cults, Tennis, Lee Fields & The Expressions
3) Innovative Leisure @ 512: Hanni El Khatib, Nick Waterhouse, Allah-Las
Can’t miss sets:
7:00-7:59 PM:
1) Fiona Apple @ Stubb’s (NPR)
2) CFCF @ Barbarella (Dummy XO)
8:00-8:59 PM:
1) Fidlar @ The Main (Vans)
2) Mux Mool @ Club de Ville (Ghostly)
3) Anoraak @ Mohawk Patio (The Agency)
9:00-9:59 PM:
1) Sharon Van Etten @ Stubb’s (NPR)
2) Big K.R.I.T. @ Antone’s (Pandora)
3) Tristen @ Central Presbyterian
4) Ed Sheeran @ La Zona Rosa (Warner) (9:30)
5) Mansions on the Moon @ Velveeta Room
10:00-10:59 PM
1) Miguel @ The Belmont (SOB)
2) Kimbra @ La Zona Rosa (Warner)
3) Tennis @ Red 7 Patio (Carson Daly)
4) The Wedding Present @ Swan Dive (Suicide Squeeze)
5) Mannie Fresh @ Hotel Vegas Patio (10:30)
11:00-11:59 PM:
1) Alabama Shakes @ Stubb’s (NPR)
2) Lee Fields & The Expressions @ Red 7 Patio (Carson Daly)
3) Juvenile @ Hotel Vegas Patio
4) xxxy @ Barcelona (Halo Cyan)
5) Bahamas @ St. David’s Bethell Hall (Brushfire) (11:30)
12:00-12:59 AM:
1) Miike Snow @ Hype Hotel (Hype Machine)
2) Gary Clark Jr. @ La Zona Rosa (Warner) (12:30)
3) 2 Chainz @ The Belmont (SOB)
4) Nick Waterhouse @ 512 (Innovative Leisure)
5) The Pierces @ The Studio (HGTV)
1:00-1:59 AM:
1) Kasabian @ 1100 Warehouse (101x)
2) Purity Ring @ Chevrolet Sound Garage
3) We Were Promised Jetpacks @ Easy Tiger Patio (Scottish)
4) The Drums @ Stage on Sixth (Frenchkiss)
5) Hanni El Khatib @ 512 (Innovative Leisure)
THURSDAY
The newly reunited Jesus and Mary Chain play The Belmont at midnight Thursday.
Showcases where you want to be:
1) Secretly Canadian/Jagjaguwar/Dead Oceans @ Mohawk (& Patio): Sharon Van Etten, The War on Drugs, Nite Jewel, Gardens & Villa, Bear in Heaven, Gauntlet Hair
2) Music Matters @ Stage on Sixth (& Patio): Nneka, Miguel, Marsha Ambrosius, Big Sean, Stalley, Kendrick Lamar, Machine Gun Kelly, Smoke DZA, Big K.R.I.T.
3) Pitchfork @ Central Presbyterian: Nicolas Jaar, Grimes, Purity Ring, Charli XCX, Fiona Apple
Can’t miss sets:
8:00-8:59 PM:
1) Body Language @ The Madison (Bond)
2) Shigeto @ Barcelona (Surefire)
3) Stalley @ Stage on Sixth Patio (Music Matters) (8:30)
4) Family of the Year @ Maggie Mae’s Rooftop (Chop Shop)
5) The Chevin @ Latitude 30 (The Agency)
Prev. Mentioned: Electric Wire Hustle @ Driskll Victorian Room (StyleX), Fiona Apple @ Central Presbyterian (Pitchfork)
9:00-9:59 PM
1) Benjamin Francis Leftwich @ Latitude 30 (The Agency)
2) Gardens & Villa @ Mohawk Patio (Secretly Canadian) (9:30)
3) Charli XCX @ Central Presbyterian (Pitchfork) (9:30)
4) White Arrows @ Stubb’s (Spinner) (9:30)
5) Penguin Prison @ Lustre Pearl (Dickies)
Prev. Mentioned: Kendrick Lamar @ Stage on Sixth Patio (Music Matters)
10:00-10:59 PM:
1) Nneka @ Stage on Sixth (Music Matters)
2) Howler @ Bar 96 (Converse)
3) Girls @ Stubb’s (Spinner)
4) Robert Glasper @ Elephant Room
5) Curren$y @ La Zona Rosa (Warner)
Prev. Mentioned: Lee Fields @ ND (Windish), Purity Ring @ Central Presbyterian (Pitchfork) (10:30), Saint Motel @ Stubb’s (Spinner) (10:30)
11:00-11:59 PM:
1) The War on Drugs @ Mohawk Patio (Secretly Canadian) (11:30)
2) Meek Mill, Stalley & Wale @ La Zona Rosa (Warner)
3) Colleen Green @ Hotel Vegas (Hardly Art)
4) Class Actress @ 512 Rooftop (Carpark)
5) Grimes @ Central Presbyterian (Pitchfork) (11:30)
Prev. Mentioned: Big K.R.I.T. @ Stage on Sixth Patio (Music Matters), CFCF @ The Madison (Bond), Miguel @ Stage on Sixth (Music Matters), Mux Mool @ Barcelona (Surefire), Nick Waterhouse @ ND (Windish), Schoolboy Q @ Clive Bar (S.O. Terik), Tennis @ Club de Ville (Paradigm)
12:00-12:59 AM:
1) The Jesus and Mary Chain @ The Belmont
2) Nicolas Jaar @ Central Presbyterian (Pitchfork) (12:30)
3) The Temper Trap @ Stubb’s (Spinner)
4) Dev @ Chevrolet Sound Garage (12:30)
5) Seapony @ Hotel Vegas (Hardly Art)
Prev. Mentioned: Hanni El Khatib @ ND (Windish), Miike Snow @ Lustre Pearl (Dickies), Sharon Van Etten @ Mohawk Patio (Secretly Canadian) (12:30)
1:00-1:59 AM:
1) T.I. @ La Zona Rosa (Warner)
2) The Peach Kings @ Club 606 (The Roxy)
3) Oneohtrix Point Never @ Red 7 (Mexican Summer)
4) Niki & The Dove @ Driskill Victorian Room (StyleX)
5) Nite Jewel @ Mohawk (Secretly Canadian)
FRIDAY
Michael Kiwanuka will perform a set at St. David’s Sanctuary at Midnight on Friday night.
Showcases where you want to be:
1) KCRW @ The Parish: The Temper Trap, Crystal Fighters, Clock Opera, Alice Russell & Quantic
2) NME @ Latitude 30: Howler, Big Deal, Kindness, Chad Valley, Tashaki Miyaki
3) Biz 3 @ 1100 Warehouse: Skrillex, El-P, Hanni El Khatib, Nick Waterhouse
Can’t miss sets:
8:00-8:59 PM:
1) Alice Russell & Quantic @ The Parish (KCRW) (8:30)
2) 1,2,3 @ ND (Windish)
3) Tashaki Miyaki @ Latitude 30 (NME)
Prev. Mentioned: Ed Sheeran @ Stubb’s (Time Out), Nick Waterhouse @ 1100 Warehouse (Biz 3) (8:30), Tycho @ Clive Bar (S.O. Terik) (8:30)
9:00-9:59 PM:
1) AraabMUZIK @ Mohawk Patio (AM Only)
2) JMSN @ Club 606 (IAMSOUND)
3) Clock Opera @ The Parish (KCRW)
4) D/R/U/G/S @ The Madison
5) The Mynabirds @ Lamberts (Saddle Creek)
Prev. Mentioned: Hanni El Khatib @ 1100 Warehouse (Biz 3)
10:00-10:59 PM:
1) El-P @ 1100 Warehouse (Biz 3) (10:30)
2) Crystal Fighters @ The Parish (KCRW) (10:30)
3) Kindness @ Latitude 30 (NME)
4) The Big Pink @ Lustre Pearl (Dickies)
5) Karen Elson @ Stage on Sixth (Third Man)
Prev. Mentioned: Caveman @ Hype Hotel (IGIF), Nite Jewel @ Barbarella Patio (Wax Poetics), Star Slinger @ MACC (Pan Americana)
11:00-11:59 PM:
1) Thundercat @ Beauty Bar Backyard (Madison House)
2) St. Lucia @ Karma Lounge (Neon Gold)
3) Jack White @ Stage on Sixth (Third Man) (11:30)
4) Talib Kweli @ La Zona Rosa (Blacksmith) (11:30)
5) White Rabbits @ Hype Hotel (IGIF)
Prev Mentioned: Saint Motel @ Empire Automotive, Grimes @ Clive Bar (S.O. Terik)
12:00-12:59 AM:
1) Michael Kiwanuka @ St. David’s Sanctuary (Communion) (12:30)
2) Sepalcure @ The Madison
3) Cults @ ND (Windish)
4) YACHT @ Clive Bar (S.O. Terik) (12:30)
5) Daedelus @ Barbarella (Ninja Tune)
Prev Mentioned: Alabama Shakes @ Easy Tiger Patio (Girls Rock Camp), The Drums @ Stubb’s (Time Out), Howler @ Latitude 30 (NME), The Temper Trap @ The Parish (KCRW), The Pierces @ Stubb’s (Time Out)
1:00-1:59 AM:
1) Skrillex @ 1100 Warehouse (Biz 3)
2) Cloud Nothings @ ND (Windish)
3) PAPA @ Club 606 (IAMSOUND)
4) Girl in a Coma @ Easy Tiger Patio (Girls Rock Camp)
5) Laidback Luke @ Mohawk Patio (AM Only)
Prev. Mentioned: Alice Russell & Quantic @ Barbarella Patio (Wax Poetics), Dev @ Haven (Moodswing 360), xxxy @ Barcelona (Surefire)
SATURDAY
UK producer SBTRKT closes out the SBTURKS showcase at the Madison at 1 AM on Saturday night.
Showcases where you want to be:
1) Flowerbooking & FatCat @ Red 7 (& Patio): The Velvet Teen, Odonis Odonis, Ceremony, Breton, The Twilight Sad, We Were Promised Jetpacks, Star Slinger
2) Warp Records & Brainfeeder @ Empire Automotive & Club 606: Starkey, TOKiMONSTA, Daedelus, Hudson Mohawke & Lunice (TNGHT)
3) Huw Stephens @ Latitude 30: Toddla T, Slow Club, Maverick Sabre, Django Django, Clock Opera
Can’t miss sets:
8:00 PM – 8:59 PM:
1) Ceremony @ Red 7 Patio (FatCat)
2) Odonis Odonis @ Red 7 (FatCat) (8:30)
3) Savoir Adore @ Swan Dive (Red Ryder)
Prev Mentioned: Michael Kiwanuka @ Stubb’s
9:00-9:59 PM:
1) A$AP Rocky @ The Madison (SBTURKS)
2) The Velvet Teen @ Red 7 (FatCat) (9:30)
3) Blouse @ Frank (The Great Escape)
4) Charlene Soraia @ Frank (The Great Escape)
5) Madi Diaz @ St. David’s Bethell Hall (Hotel Cafe) (9:30)
Prev. Mentioned: Alice Russel & Quantic @ Stage on Sixth Patio (Nat Geo), Clock Opera @ Latitude 30 (Huw Stephens)
10:00-10:59 PM:
1) Breton @ Red 7 (FatCat)
2) Fanfarlo @ Hype Hotel (Hype Machine)
3) The Belle Brigade @ Clive Bar
4) Blackbird Blackbird @ Malverde (Bond)
5) Starkey @ Empire Automotive (Brainfeeder)
11:00-11:59 PM:
1) Maverick Sabre @ Latitude 30 (Huw Stephens)
2) TOKiMONSTA @ Empire Automotive (Brainfeeder)
3) Best Coast @ Hype Hotel (Hype Machine)
4) White Denim @ Jacked Stage (Doritos)
5) Gemini @ Beauty Bar (UKF) (11:30)
Prev. Mentioned: Nneka @ Stage on Sixth (Nat Geo)
12:00-12:59 AM:
1) The Heavy @ Stage on Sixth (Nat Geo) (12:30)
2) Dom Kennedy @ Scoot Inn (Thrasher) (12:30)
3) Jacques Greene @ Barcelona (XLR8R) (12:30)
4) Jimmy Cliff @ Stage on Sixth (Nat Geo) (12:30)
5) Hatcham Social @ 512 Rooftop
Prev. Mentioned: Anoraak @ Malverde (Bond), Daedelus @ Empire Automotive (Brainfeeder), We Were Promised Jetpacks @ Red 7 (FatCat)
1:00-1:59 AM:
1) SBTRKT @ The Madison (SBTURKS)
2) Slim Thug @ Barbarella Patio (Texas Showdown) (1:30)
3) Braid @ Dirty Dog
4) Hudson Mohawke & Lunice @ Empire Automotive (Brainfeeder)
5) XV @ Hype Hotel (Hype Machine)
Prev. Mentioned: Beach Fossils @ The Parish (Captured Tracks), Star Slinger @ Red 7 (FatCat)
By Chris Gedos
The Brooklyn band Porcelain Raft proves once again that great things can happen by sticking to the shoegaze formula with zero deviation whatsoever. Most shitty shoegaze takes the formula and tinkers unnecessarily, but Porcelain Raft writes and performs shoegaze pop very, very well, and “Something in Between” is a great example of that, right down to the blatantly ambiguous title. The accompanying video is also of great merit, featuring an animated black dot dancing about the image throughout. With both Porcelain Raft and Damien Jurado making serious noise, shared label Secretly Canadian is having a mammoth 2k12 thus far.
Porcelain Raft – Something In BetweenPorcelain Raft (Facebook)
Rating 8.07
So “Devil’s Work” was awesome, “Paddling Out” knocked us out, and now latest Happy To You track “Black Tin Box” transports us to another dimension? universe? somewhere not unlike Sweden? This more spaced-out look from the Snow boys is another top shelf entry to their canon. You will best want to be clicking that play button right about now.
Miike Snow – Black Tin Box (Feat. Lykke Li)Miike Snow 
(Facebook)
Rating 8.5
Contributed by Chris Gedos
“Last Memories” by Welsh band The Revolutionary Spirit is a demo of big ideas. They’re a new band that’s also a mature band, both in demeanor and the development of their sound. I would expect nothing less from a band called The Revolutionary Spirit. Move the drums to the middle and you’ve got yourself gold.
The Revolutionary Spirit – Last MemoriesThe Revolutionary Spirit 
(Facebook)
Rating 8.2
