Nice tune here from LA’s Lady Danville. The verses sort of have a little bit of a “Harvest Moon” feel to them. Dig it.
Lady Danville – Tired MagicianLady Danville: (Myspace) (Facebook) (WordPress)
Rating: 8.0
Nice tune here from LA’s Lady Danville. The verses sort of have a little bit of a “Harvest Moon” feel to them. Dig it.
Lady Danville – Tired MagicianLady Danville: (Myspace) (Facebook) (WordPress)
Rating: 8.0
Another killer entry from Saadiq’s upcoming Stone Rollin’ LP. “Moving Down the Line” is maybe the new record’s “Big Easy”, the minor key, the shuffle rhythms, the percussive melodies. Keeping with Stone Rollin’s more ’70’s-inspired sound, “Moving Down the Line” is more cinematic, more layered, more dramatic in its arrangement. The strings build and break with the tenor of the tune. Stone Rollin’ is due May 10th on Columbia.
Raphael Saadiq – Moving Down the LineRaphael Saadiq: (Official) (Myspace) (Twitter)
Rating: 9.0
One of the best things about SXSW is that you can just walk down a street and your ears can bring you to something you’ve never heard before. In preparing some post-festival coverage I recalled one of those bands that drew me in. If you’re a fan of Noel Gallagher and his guitar playing, then you can’t resist listening to this. Lydia Des Dolles lead vocals add a fresh compliment to the British sound. Into it.
Sweet Jane – Close Your Eyes (Single Version)Rating: 8.3
Theophilus London @ Mohawk
Theophilus London packed the downstairs room of the Mohawk as part of the Mog/Lexus Party. Theo did an A+ job at engaging not only a kinetic swath of fans but a room, perhaps not so familiar with his music. “Flying Overseas”, “Why Even Try”, “Strange Love”, all the best examples of his unique Electro Hip Hop, hyped the crowd. His brief 30 minute set flew by, with multiple instances of girls-in-attendance brought on stage, numerous hilarious back-and-forths with the audience, and a few indie celeb-in-the-crowd shouts (TVOTR’s Dave Sitek, for one).
Theophilus London – Oops! (Tweet Cover)
Scars on 45 @ Brush Street Park
On our way to catch The Republic Tigers and Joy Formidable at the Chop Shop/Atlantic day showcase we caught the tail end of Scars on 45’s set. On point as they were with their set at Hotel Cafe in LA a month or so earlier, the band played with a hunger and energy that caught me off guard. We were into it. And it seemed that energy set the tone for the following two acts.
Scars on 45 – Loudest Alarm
The Republic Tigers @ Brush Street Park
Having caught The Republic Tigers last with Travis at the Wiltern in LA, we were impressed with their presence. A much more comfortable and confident band than remembered. Previewing material from their forthcoming “No Land’s Man” EP, we believed their songs and style of up-tempo and listener-friendly indie rock and roll. A few songs had a unmistakable Chop Shop tint to them, primed for mainstream TV.
The Republic Tigers – Buildings and Mountains
Joy Formidable @ Brush Street Park
Joy Formidable were one of the most talked about bands of SXSW. Again it proves what a great live show, star quality and some serious work can do for a band. The UK based, female fronted trio, plays with a profound intensity and passion. Their sound has an aggressive character to it, as one would expect from any rock trio, but when complimented with Ritzy Bryan’s vocals and a slick performance quality both confident and intense, the band is a force to be reckoned with. Pending hit songs, these guys have, dare we say, Muse-type potential. (Oh we just did.)
Joy Formidable – I Don’t Want to See You Like This
Oberhofer @ Virgin Mobile Live House
Virgin Mobile Live Host Abbey Braden was rightfully psyched to watch Oberhofer rock a bass and glock during their exclusive acoustic VML House session during SXSW. Their sound is fresh and evolving with a clear direction. Hear the session here.
Oberhofer – Away From You
Little Dragon @ Cedar Street Courtyard
Yukimi’s dances moves are adorable. Well, they’re less like moves and more like poses. Stop motion. Hold the frame. Hit all the angles. Make the next pose. Yukimi’s moves were adorable. The band’s performance was really not. The band seemed tired, bored, disinterested. The venue (Cedar Street Courtyard) was wrong. It’s outdoor stage doesn’t work for a band so dependent on atmosphere. Yukimi’s voice got lost. Much of the cool ambient synth work that make the band’s songs got lost too. Machine Dreams highlights like “Blinking Pigs” and “Feather” both never really worked. The crowd, too, seemed, at times, disinterested. The band did run through a new song or two. Showing off a sound that seemed to be more spread out, more engaged in space. Almost a more deep electro kind of sound. The songs centered on repetition of a few simple rhythmic figures with Yukimi’s vocal acting more as a frame to the rhythm than as the carrier of a tune. The new songs seemed to work better for the band in the outdoor setting. The band also seemed more interested. Little Dragon’s Cedar Street performance was not the worst thing we saw at SXSW but it certainly was a disappointment. We still you guys though! And the next gig in Boston or LA, we’ll still be there! We got you!
Little Dragon – Twice (Freddie Joachim Remix)
Ghost of a Saber Tooth Tiger @ Elysium
Ghost of a Saber Tooth tiger unfortunately lived up to expectations. I hoped that we would experience glimpses of Sean’s 2006 solo record, Friendly Fire, but instead we got a heavy dosage of maybe the Lennon family’s worst enemy… love. Kemp Muhl just doesn’t hold ground with a Lennon. Really, how many do?
Granted Sean said that the extra stage musician had one day to learn the entire set… it became increasingly clear that that may have been true for the entire band. Just Sean and his guitar would have sufficed. But then again, we wouldn’t be stretching the truth to say that we’d hoped to catch maybe a glimpse of Yoko Ono (also performing on that night’s bill) on stage with her son. In any event, the crowd was treated to large doses of Lennon wit. Sean got jokes. That’s genuine wit, folks, in the blood.
The Ghost of a Saber Tooth Tiger – Jardin du LuxembourgCatch all of b3sci’s SXSW 2011 coverage HERE
Photography contributed by Genevieve Sheehan
We arrived during Cults set, and caught a band often too overlooked on last year’s ‘best of’ lists. But not by everybody, “Go Outside” was recently re-released through Columbia. Judging by their set, and if we were gamblers (and a gentleman never tells), we’d bet pretty handsomely that you’ll be seeing a lot more action from Cults in 2011.
Cults – Go Outside
The Vaccines set was full of energy, fast-paced, and over before you knew what had happened. It says a lot when a band with a set full of short-running songs can so captivate their public (their first single runs only 1:24 long). With catchy hooks and melodies on songs like “Blow Up” and “If You Wanna”, they impressed a courtyard of eager listeners. “Wreckin’ Bar” killed. “Post Break Up Sex” had us popping around. The set was kinetic and fun. Pay attention, kids, cause The Vaccines are definitely a band to watch out for in 2011. And stay tuned for an exclusive b3sci interview with the band backstage after their set. And yes, the interview is about 50% talk about penises. C’mon what did you expect?
The Vaccines – Norgaard
Foster The People again played to make some noise. That’s sick set #2 we’d caught from them. 2-0, boys. Read about sick set #1 here.
If you know b3sci then you know that we are BIG fans of Raphael Saadiq, so suffice to say we were pretty excited to see his set next. We’d missed him at Stubb’s the night prior but left the performance at Cedar Street impressed nonetheless. Strongly rooted in jazz, blues, and R&B, Saadiq gave a performance that was funky and full of soul, mixing influences from greats like Chuck Berry and James Brown. Saadiq’s band was great. Consisting of a drummer, a bassist, two guitarists, a keyboardist, and two excellent backup singers, the Saadiq band provided a proper foundation for his sound. The pocket was tight, the harmonies were on point, and the vibe was right. Material wise, we heard a collection of new tracks from Saadiq’s forthcoming studio album, Stone Rollin’. What we heard was really really good. More of that 70’s soul inspired sound we’ve heard in singles “Good Man” and “Radio” with big beats and huge hooks.
Raphael Saadiq – Good ManCatch all of b3sci’s SXSW 2011 coverage HERE
Photography contributed by Genevieve Sheehan
Contributed by Bruce Rave
When the tribal rhythms of Lykke Li’s “Get Some” hit the internet last fall, it became a fave track for me but I wondered what kind of depth we’d get on her second album. Good news! While there’s nothing else that has the same feel, Lykke has shown she can deliver from different directions. “Youth Has No Pain” is the opener. It has a garage feel complete with a 60’s organ sound. Check it out here:
Lykke Li – Youth Knows No PainCatch Bruce on Moheak Radio Fridays 1-3pm PST
Rating: 8.3
James Blake @ Stubb’s:
There was definitely an air of anticipation (and weed) for James Blake’s first SXSW performance. After an approx. 30 minute delay due to technical problems the superstar of the Indieverse took the stage. First things, we noticed were 1) James Blake is really fucking tall. Like dude towers over everyone else on stage. 2) His band is very young. The other lads in the band were maybe 22-23. Blake started the set with “What Was It You Said About Luck”, immediately we’re struck by how strong the vocals come off live. The R&B influences are particularly palpable as Blake smooths in and out of each syrupy melodic line. The bass was really loud; windpipe shaking, back of your mouth rattling loud. The interplay between the physical intensity of the bass, the sweetness of the vocal, and the detached withdrawn quality of much of James Blake’s songs was quite powerful. “Limit to Your Love” was a highlight that included an excellent 4-5 minute dub reggae-styled section.
James Blake – Wilhelm Scream
Mona @ Antone’s:
Dressed in plain t-shirts and styled in pompadour-esque haircuts, Nashville’s Mona ripped into set opener “Trouble on the Way”. Despite some tepid early interactions with Antone’s house soundguy, the band blazed through an approx. 30 minute set with an absolute confidence and strong focus. Second song “Teenager” soared, “Listen to Your Love” filled the room. The venue was maybe 3/4’s full but those there were really feeling it and the band seemed to (almost unbelievably) level up with each song. Mona were great, a band truly in top form. Later in the set, they played some newer more Nashville, sort of Gospel-influenced material. What we heard sounded solid, with frontman Nick Brown sounding almost Joshua Tree-era Bono-esque (in a good way) at times. Mona are stars and primed to blow the fuck up on both sides of the Atlantic, and with sets like Wednesday Night’s at Antone’s (a favorite of SXSW thusfar) they’ve got the live performance chops to back up the hype.
Mona – Teenager
Belle Brigade @ The Phoenix:
We made it over to the KCRW showcase at The Phoenix just in time to catch the later half of Belle Brigade’s set. What we experienced was a well crafted, energetic set of tunes that showcased the band’s excellent harmonizing and onstage performance skills. Set closer “Losers” really cut the room well with the LA brother-sister duo’s backing band doing great work to really lift the song’s best moments.
Belle Brigade – Losers
Chapel Club @ The Phoenix:
Anticipation was high at the capacity filled Phoenix for Chapel Club’s up-to-this-date rare U.S. performance. The band opened with “Surfacing” and, at times, seemed tenuous, as if the weightiness of the moment caught the band a bit off guard. “Roads”, from the “Wintering” EP, was next and showed off the band’s newer more atmospheric sound. The chemistry onstage between guitarists Michael Hibbert and Alex Parry is really phenomenal. Their performances were definitely the highlight of the set. Singles “O Maybe I” and “All the Eastern Girls” engaged the crowd. Singer Lewis Bowman commented several times during the set to the effect that, the band were “suprised to be there”. We weren’t. Despite a few dodgier edges, Chapel Club certainly played as if they belonged on a stage like the Phoenix… or larger.
Chapel Club – After the Flood
Ellie Goulding @ Bat Bar:
The Bat Bar was packed for Ellie Goulding’s midnight set. A significant overflow crowd filled the street outside the small venue. Ellie and her fans seemed totally captivated with each other. That interaction was great. The kid’s knew and sang back the lyric to every song. What wasn’t good: The venue. Ellie and her band were jammed into a corner of a long brick corridor. The basic space and acoustics of the room made for some poor sound. We had difficulty hearing the band, hearing Ellie. From what we could hear, the band sounded small, too small for her sound. Set closer “Starry Eyed” ended the night on a positive note as the oblong room went brick discotheque, arms flailing wildly, bodies in motion, post-adolescent girl to aging hipster dude.
Tinie Tempah – Wonderman (feat. Ellie Goulding)Contributed by Alex Sheehan
Photography contributed by Genevieve Sheehan
Following a day of packed interactive, legal panel discussions like “Data Customization and Privacy – Can they Coexist?” and “The Convergence of Traditional and Internet TV” it was time to jam:
First was an off-the-beaten-path-party hosted by fellow Virgin Mobile 25 brothers the BroBible at The Belmont. Got to hand it to them, dudes can throw a party… chilled shots from giant ice sculptures, models, celebrities… and great tunes. Chiddy Bang and Hoodie Allen fronted the bill but we were most psyched for the set from Columbus native producer RJD2. Ramble John Krohn owned the tables and worked the packed invite-only party as if it were his own. His smooth blend of eclectic beats made for a great atmosphere and set the mood for the night to come.
RJD2 – GhostwriterOn the other-side of town and musical spectrum I hit up the Pitchfork Media Showcase at Emo’s. It was funny, the official “music” part of the festival had not even begun and there was already a line for badge holders. I figured, if there was any time to wait in lines at SXSW this year… why not make it on Tuesday night?
I may have missed the 3D presentation of a Deerhunter live performance, but the wait in line was worth it for Canadian noise-rock duo PS I Love You. The oddly imaged pairing of a more hip Jorge Garcia look alike and a drummer somewhere between a dark haired Larry Mullen Jr. and this guy worked better than most would think. Unlike what Surfer Blood would produce later in the evening on the same stage, these guys were rough in all of the right ways. Dynamic levels of overdrive on fantastically ragged guitar sounds combined with pounding rhythms and Paul Saulnier’s impulsive vocals to create pleasantly low-end rock and roll noise.
PS I Love You – 2012
So you’re at SXSW, you’ve made it through the line and you’re about to enter the venue and start jamming. Nah, dude, not at Emo’s. Nah, man, there’s a SECOND line for the INDOOR stage. Bogus. While waiting in the second line, I chatted up some Aussies who advised on some cool new electro acts including Skrillex and Emalkay. Sick. Sporting a dark hoodie and what looked like one of those vintage High School sports shirts that Abercrombie has been taking the piss on for the last 10 years, UK producer Derwin Panda hit the Emo’s stage; and so the digital dance party began. Lush synth queues, almost shoegaze, “chillwave?”-influenced vibes, hip-hop beats. Smooth transitions were plenty with sounds bridging gaps between dubstep and chillwave. Gold Panda showed off an excellent currency in today’s electro, working flawlessly with simple yet manic builds and tasteful well-placed samples.
Gold Panda – Marriage (Star Slinger Remix)
Back at the outdoor stage Surfer Blood had some sound issues… even losing audio for about 15 seconds at one point. Like pros though, they played through with their blend of feel good riff-based neo-surfer alternative. The band played very well together and the new material sounded promising. Minus weak live vocals these guys definitely delivered on the P-fork sound rather nicely. Familliar but still annoying enough to not be pleasant. They finished the set with “I’m Not ready” from their forthcoming release. CDQ.. we’re on the look out.
This sweet track shows just how much Daedelus’ upcoming LP, Bespoke, has in store. Check out the preview at Ninjatune and tour dates at FoF.
Daedelus – Overwhelmed (Feat. Bilal)Daedelus: (Official) (Myspace)
Rating: 8.3
“All At Once” is the title track from the forthcoming and sophomore LP from the Airborne Toxic Event. This stripped down live take is solid. The, dare we say, Spingsteen-like qualities also heard in “Sometime Around Midnight” are showcased in a fresh and inviting type of way.
Airborne Toxic Event – All At OnceGet the new single “Changes” on iTunes
rating: 8.3
Everybody’s fav bearmored turkey Cee-Lo Green gets his single “Bright Lights Bigger City” re-taylored (haha, get it?) by the Taylor Gang’s chief chiefer Mr. Wiz Khalifa. Accompanying the new remix is a vid for the tune that looks, well, pretty much how the song’s title would indicate it would. BRIGHT lights (All of the Lights?) BIG city. How’s Wiz doing here? Let us know.
Cee-Lo Green – Bright Lights Bigger City (Remix) (Feat. Wiz Khalifa)Cee-Lo Green: (Amazon) (Official) (Facebook)
Rating: 8.0
Previewed here is a new dialed back version of a track Blackbird Blackbird first dropped in November called “Modern Disbelief”. All the cool shit that made the earlier version great are still there while much of the more goofy affectations (that robot sounding synth melody) have been 86’d. Overall, the track does play much smoother. And with the addition of Orlando artist Emily Reo’s faraway harmonies and melodic lines, the tune takes on an almost choral sort of quality. Sweet!
Blackbird Blackbird – Modern Disbelief (Feat. Emily Reo)Rating: 8.0
