me::title_else
My Schedule
1:00 PM
to 2:00 PM
Black Joe Lewis & the Honeybears
224 schedule::attendees
Location
Radio Day Stage Austin Convention Center
eventtype Music
Artists Black Joe Lewis & the Honeybears
event::about Joe Lewis is stuffed into a van with his six bandmates and one stranger, as they hurtle across Texas to a gig in Marfa. Most of the guys are sleeping now, content in the knowledge they've just made the record of their lives. All killer, no filler, the fittingly titled, take-no-prisoners Scandalous (Lost Highway)'once again produced by Jim Eno, moonlighting from his main gig as Spoon's drummer'is a churning slab of rock & roll, blues and funk, laced with a double shot of 100-proof punkitude. This band has gotten tight as a gnat's ass through nearly two years of barnstorming without a break. ÂWe've grown a lot as a band, and so has our fan base, the lanky, enigmatic Lewis acknowledges. ÂHopefully it's still going up, but it will ultimately be what we make of it. As the shows get bigger and we get bigger, we have to keep improving to meet the demand. If we can't do that, it won't go anywhere. From the look in Joe's eyes as he glances at the one-stoplight towns and endless open country of central Texas whizzing past, you can tell he knows whereof he speaks. While on the road, they also eagerly soaked up the worldly knowledge of touring mates the New York Dolls and Cedric Burnside & Lightnin' Malcolm. ÂThe Dolls covered Bo Diddley and Sonny Boy Williamson, and so do we, says guitarist Zach Ernst, riding shotgun in the van, as he does in the band. ÂThat youthful, aggressive, unschooled thing is really appealing to us. That's what we like to listen to and what we're shooting for. We've had some lineup changes since the first record, but at its core, it's still the same band, and everyone's excited to move on to the next stage. Like his forebears, Lewis writes from direct, often bitter experience with unflinching veracity. The songs of Scandalous are littered with the debris of age-old issues: hard times and one-night stands, lying and cheating, redemption and revenge. Gritty, raunchy and real, his music is not for the squeamish, but experiencing it fully can be genuinely cathartic. The album opens with the funky fantasia ÂLivin' in the Jungle, as Joe wails with tonsil-shredding abandon over a rhythm section erupting like a tropical storm and horns honking like hyenas in heat. ÂI've always said that if I ever got rich, I would go buy a bunch of land in the Congo or the Amazon, build a nice house and have an Amazon woman to hang out with, he explains, straight-faced. On the following ÂI'm Gonna Leave You, the band sends a jolt of electricity through a Mississippi hill country blues template. ÂIt's about leavin' a girl, just gettin' out while you can, before the shit gets too thick, he says, punctuating the line with a wicked cackle. From there, it's all hands on deck, as one sonic assault after another rips into the eardrums and the pelvis all at once. The instant-classic highway boogie ÂMustang Ranch recounts, in sordid detail, an overnight drive between Salt Lake City and San Francisco, Joe spinning out the narrative as a revved-up talking blues. ÂIt was a long, ridiculous drive, and we got the idea of stopping at the Mustang Ranch, he recalls. ÂWe were like, 'Let's go, man'we got nothin' better to do.' So we stopped in there, and it was a really odd experience. Here, another quick laugh escapes Joe's lips. ÂWe figured out that we don't fit brothels that well, and the girls are all fuckin' busted. But nobody caught anything. Then we left, and we stopped in Reno at six in the morning. It was a freaky experience. We went into a casino and got a cheap breakfast, and all the burnt-out gamblers were walking the town like zombies out there in the early morning. There were even weird lights hovering in the sky. That song's a true story, pretty much. Lewis seems to be channeling Robert Johnson on ÂMessin', which turns on his spooky, low-down vocal and acoustic guitar. ÂI'm just an old-style blues fan, and I'm tryin' to do that kind of thing with it, he says, reeling off the names of his favorite practitioners: Lightnin' Hopkins, Junior Kimbrough, Elmore James, Howlin' Wolf and Magic Sam. The album's biggest surprise is ÂYou Been Lyin', a torrid, politically-themed workout in the tradition of Parliament-Funkadelic and late-'60s Temptations. Featured on this track are the group vocals of the Relatives, a Dallas gospel funk band that made some criminally under-exposed records three decades ago. ÂThey're like the greatest band ever, says Joe, Âand I'm glad we got them on there, 'cause they made the track really sweet. Here and elsewhere, you can also pick up the influence of the Stooges, another of Lewis' touchstones, in the confrontational physicality of the performances. ÂPeople call us a soul band, but we're more of a rock & roll band, he points out. ÂWe feel like what we're doing is different from the soul bands with horn sections that are out there right now, Ernst adds. ÂWe always joke that we would do that kind of music, but we're not good enough: our guitars are too loud, we're too primitive on our instruments, and Joe is more of a shouter and a talking-blues guy than a smooth soul singer. So we're carving out our own thing because it's the only way that we can do it. We can't play it any cleaner or smoother'and we don't want to, either. Growing up in Austin and Round Rock, Joe took it all in'Delta and Chicago blues, Memphis soul, Detroit garage punk'and what came out the other end was, and is, unlike anything else out there. ÂI don't know, man'I just kinda dove into it, Lewis continues. ÂThese neighbors of mine were in this country band and they got to go on tour all the time, and I had to go to work in this stupid factory. I was like, 'Man, I gotta get in on that.' So I pulled a guitar down off the wall of a pawn shop where I was workin' at the time and learned stuff as I went along. The people I was playing with wanted to practice all the time, and I was like, 'No, man, let's get out there'I wanna try to do this shit.' I pretty much learned on stage. After years of struggle to get heard, things started moving fast for Lewis after he and Ernst put together the earliest incarnation of Black Joe Lewis & the Honeybears, naming themselves after a crusted container of honey they found on the floor of their Âdisgusting rehearsal room. They went out with Spoon after Britt Daniel caught a set, and their subsequent, Eno-produced EP caught the ear of Lost Highway's Kim Buie, who signed them to a record deal. Eno then helmed their 2009 debut album for the label, Tell 'Em What Your Name Is!, much of it cut live off the floor. ÂThe album manages to maximize every incendiary second of sonic sexuality the band is putting out, raved PopMatters' Christel Loar. ÂMake no mistake, Lewis knows his history, but he also knows his moment, too, and it's now. The Honeybears aren't afraid to mine the past to make music for the future. That spot-on assessment goes double now. ÂWe pride ourselves on keepin' our own style and staying true to the guys we look up to, says Lewis. ÂWe play the music that we like listening to. It's always about the music first. As night falls, the van pulls into Marfa, the musicians rub the sleep from their eyes and stretch their muscles, which will soon be put to use unloading their gear. This is what they live for'another night blowin' the roof in front of a houseful of boozed-up locals looking for a thrill. For the paying customers, it's a few hours of sweet relief. For Joe Lewis & the Honeybears, it's another long day and hot night in the life of a working band'seven hungry guys with their eyes on the far horizon.
event::tags All Ages
1:00 PM
to 1:40 PM
The BellRays
28 schedule::attendees
Location
Ginger Man
eventtype Unofficial Music
Speaker/Artist(s) Info
The BellRays
event::about
Blurt Magazine / Second Motion Records Showcase
5:00 PM
to 5:30 PM
Ha Ha Tonka
50 schedule::attendees
Location
Yard Dog
eventtype Unofficial Music
Speaker/Artist(s) Info
Ha Ha Tonka
event::about
Bloodshot Records Yard Dog Party
Party sponsored by Rolling Rock and Blurt
Savory and sweet pies by Dangerously Delicious Pies
6:15 PM
to 7:00 PM
Toro y Moi
337 schedule::attendees
Location
East Side Drive-In
eventtype Unofficial Music
event::about
#Offline will take at the East Side Drive-In, located at 1001 E. 6th St., on Thursday, March 17 and Friday, March 18, from noon to 7:00 p.m. Special thanks to Puma, Musicians Institute, Brooklyn Brewery, and Vitamin Water.
6:45 PM
to 7:15 PM
8:30 PM
to 9:30 PM
CurT@!N$
8 schedule::attendees
Location
The Phoenix
8:45 PM
to 9:45 PM
Madness vs. Japanese Jesus
1 schedule::attendees
Location
Fuze
eventtype Music
Artists Madness vs. Japanese Jesus
event::about Texas Battle League is the premier rap battle league in Texas. With a roster of over 40 rappers and expanding, TBL is taking the state by storm. In this battle Japanese Jesus co-owner of TBL and originally from Fayetteville, NC takes on a very well respected national battler, Madness from Florida. You can watch all of our past events at http://www.TexasBattleLeague.com
event::tags 18+
9:30 PM
to 10:30 PM
Outasight
6 schedule::attendees
Location
Emo's Main Room
eventtype Music
Artists Outasight
event::about Richard Andrew, better known by his stage name Outasight, is an American rapper and singer from Yonkers, New York. Though he is considered a Hip-Hop artist, he draws influence from other genres such as classic rock and soul, and describes his music as "Energetic hip hop mixed with melodic soul" [1] In October 2009, Outasight signed with Warner Bros. Records under Asylum Records. His first full length studio album is set to be released by Warner Brothers Records.
event::tags All Ages
9:45 PM
to 10:45 PM
Cowboy Indian Bear
6 schedule::attendees
Location
The Liberty
eventtype Unofficial Music
event::about
Cowboy Indian Bear started off like most bands; in search of a name.
When members CJ Calhoun, Beau Bruns and Marty Hillard came together they couldn’t decide on a band name so they traded a buddy a six pack of beer for the one they settled on. For the Lawrence, Kansas-based trio, the name was essential. With featherweight melodies, ghost-like echoes and whirring rhythms they create an ethereal celebration that is tempered with a tinge of classic rock/pop. Reflective of the free association ethos of the music, Cowboy Indian Bear stands as the perfect name for its sprawling, ambitious sound.
The trio began working on material in April 2008. Building from demos that CJ and Beau compiled on the side of their previous project, the group quickly found themselves moving in a unique direction. With each member drawing from a variety of influences the resulting sound is, at once, a singular statement with timeless appeal. In February 2009 they released a self-titled, three-song EP to critical acclaim and a strong grassroots response from all over the Midwest.
Their refreshing take has allowed them to open for such esteemed artists as Peter Bjorn and John, The Appleseed Cast, Murder by Death, and The Republic Tigers. After signing to Kansas City label The Record Machine in early 2010, the band released a 7-inch split with It’s True!, a quintet from Omaha, NE. Eagerly awaiting the release of their full-length debut album “Each Other All The Time”, Cowboy Indian Bear is confident that a six pack was a small price to pay.
Website www.midcoasttakeover.com
10:00 PM
to 11:00 PM
AM & Shawn Lee
30 schedule::attendees
Location
The Ale House
eventtype Music
Artists AM, !!!, AM & Shawn Lee
event::about Critically acclaimed indie pop artist AM and groove master Shawn Lee have created a new album of electro soul that will be showcased through live performances on March 17 & 18 at the SxSW Music and Media Conference in Austin, Texas. The as-yet-unnamed album - the first-ever collaboration between AM and Lee -- is currently being shopped to record labels. They are releasing a limited edition gold colored 12-inch single to celebrate Record Store Day on April 16th. The new album promises to push the boundaries of soul, pop, electronica and Latin grooves. Strategic Revolution Media Group client AM combines several musical styles including pop, soul and R&B, tropicalia, British Invasion and '60s psychedelia. His music has been compared to the likes of Beck and Jeff Tweedy. His album Future Sons & Daughters was named in the Top 100 albums of 2010 by Rough Trade, given a four-star rating by Q and a five out of five-star rating by U.K. Sunday Express as "one of the great pop albums of the year." Lee, who also records as Shawn Lee's Ping Pong Orchestra, is well known as an innovative instrumentalist whose music spans funk, soul, acid jazz, and electronica. Lee's landmark recording Strings and Things: Ubiquity Studio Sessions, Volume 3 was described by music critic site Allmusic.com as is a hotbed of mischievous imagination, intense focus, and crazy mad technique, as well as loads of fun. Lee has also collaborated with artists ranging from Jeff Buckley to producer Clutchy Hopkins (the latter as Clutch of the Tiger). According to Strategic Revolution Media Group, the collaboration between AM and Lee started after AM heard Lee's Music and Rhythm album on the radio in Los Angeles. After AM reached out to Lee, the two became quick friends, sharing a similar love for vintage grooves and '60s and '70s soundtrack music. The two decided to record together after AM played guitar on a few of Lee's Ping Pong Orchestra shows (including KCRW's Morning Becomes Eclectic) in summer 2010. Lee, armed with a four-track and other vintage tape machines in his London studio, started sending AM drum and percussion beats over the Christmas holiday in December. AM took the beats into the studio in Los Angeles and wrote songs and lyrics over the grooves, adding guitars, Casio synths, vocals and occasional bass. Lee added more instrumentation such as bass, keys, guitars, glockenspiel and other assorted instruments. Lee then mixed the tracks in his groove lab, co-producing the tracks with AM, resulting in a special brand of electro soul that will rock SxSW 2011. The new music occurs amid busy period of touring and recording for both AM and Lee. AM spent 2010 on the road opening for AIR, Caetano Veloso and Charlotte Gainsbourg while Lee played Bonnaroo and toured the west coast of the United States. Their recording will build off a music portfolio that has appeared in more than 200 movies and television shows, with AM's music appearing in shows like Big Love and Friday Night Lights and Lee's in Desperate Housewives and Lost. AM's music and more about this album collaboration can be explored on his website www.amsounds.com, Facebook www.facebook.com/am, MySpace www.myspace.com/amsounds, Twitter www.twitter.com/amsounds and YouTube www.youtube.com/amsounds.
event::tags 21+
10:00 PM
to 11:00 PM
Blueprint
25 schedule::attendees
Location
Emo's Main Room
10:30 PM
to 11:30 PM
Pharoahe Monch
48 schedule::attendees
Location
Emo's Main Room
eventtype Music
Artists Pharoahe Monch
event::about Pharoahe Monch is one of the uniquest emcees in hip-hop today. After releasing three albums with the group Orgainzed Konfusion he went on to have a successful solo career releasing two critically acclaimed albums. His next album "W.A.R. (We Are Renegades)" is set to drop this Spring.
event::tags All Ages
10:30 PM
to 11:15 PM
Bleach Bloodz
4 schedule::attendees
Location
The Liberty
eventtype Unofficial Music
Speaker/Artist(s) Info
Bleach Bloodz
event::about
The Midwest Music Foundation is proud to present the MidCoast Takeover, March 18th and 19th, 12pm-2am, at The Liberty showcasing over 30 acts from Kansas City, Lawrence, and the Midwest region. Partnering with Midwestern Indie label The Record Machine, music magazines PopWreckoning and INK, and Kansas City’s premiere live music venues The Record Bar, Crosstown Station, and The Riot Room, MidCoast Takeover will bring artists from Kansas City and the region to the national stage at South by Southwest. Sponsored by Kansas City’s Boulevard Brewing Company, (available on tap throughout the event) MidCoast Takeover promises two days of music, mayhem, and general debauchery-the definitive Midwestern musical throw down. The Midwest Music Foundation is proud to support the DIY spirit of Kansas City’s intrepid and inspired music community. Up from the gut, out from the middle, we are the sound of the heart of American music.
Website http://www.midcoasttakeover.com/
11:00 PM
to 12:00 AM
Charles Bradley & Menahan Street Band
74 schedule::attendees
Location
Cedar Street Courtyard
eventtype Music
event::about Charles Bradley was down and out when Gabriel Roth of Daptone Records happened upon him performing his Black Velvet act at the Tarheel Lounge in Bed Stuy. Roth recognized his raw talent and directly brought him into the Daptone “House of Soul” Studios for a session with the Sugarman 3. "Take It As It Comes" was Charles' first single on Daptone and it proved him as a worthy vocalist. Roth eventually brought Charles out to Staten Island to see Dirt Rifle and the Bullets, a young funk band playing James Brown and Meters influenced songs. Thomas Brenneck, songwriter and guitarist for the Bullets, hit it off with Charles and they began working together. They released two singles on Daptone under the name “Charles Bradley and the Bullets,” but the Bullets soon dismantled in order to form the afrobeat influenced Budos Band. However, Brenneck knew that Charles had something more to give and after moving to Bushwick himself, he and Charles reunited. In time, they became close friends and Charles confided his life story in Brenneck. The young producer was moved when he heard Charles tell the painful story of his brother’s death. Brenneck said, "Charles, we gotta put that story to music." At the time, Brenneck was in the process of forming Menahan Street Band, an amalgamation of members of Sharon Jones & the Dap-Kings, El Michels Affair, The Budos Band, Lee Fields & the Expressions and Antibalas. You may not know it, but you've probably heard the Menahan Street Band. Jay-Z sampled their signature horn sound for his smash "Roc Boys (And The Winner Is)" while Kid Cudi sampled their guitar lines for "Mr. Solo Dolo." The list goes on as Menahan Street Band is quickly becoming one of the most sampled current bands in the business. All this shouldn't come as a surprise for those who have checked out the band on their own. The music is steeped in classic soul and afrobeat but displays an acute awareness for hip hop. It is lush, gritty, retro and modern all at the same time. Formed in Brenneck's bedroom, Mehanan Street Band began as a studio project. Brenneck was looking to record music in between his busy tour schedules when he called in friends from all sides of the Brooklyn Soul Scene. Each track was recorded over time with a rotating rhythm section all topped with the unique horn stylings of Dave Guy and Leon Michels. The final result was exciting to all those involved, and Brenneck released the first Menahan Street Band single, "Make The Road By Walking" on his burgeoning label, Dunham Records, a division of Daptone Records. Dunham continued to release Menahan Street Band singles and eventually a full-length album, "Make The Road By Walking." The records are characterized by an experimental element. Whether it be a unique instrument or simply an unusual beat, Menahan Street Band attempts to broaden the horizon of funk and soul music through these qualities. However, the term experimental far from describes the final product. The music is always founded in a solid beat and simple changes making it accessible to a broad spectrum of listeners. Brenneck's dedication to high quality analog sound is another staple element of the “Menahan Sound.” The process of recording to tape -- the limited track count, the tape edits, the natural tape compression -- has a great influence on the final product. Brenneck’s new sound was the perfect compliment for the heartfelt and troubled lyrics that sprang from Charles’ story. With drummer Homer Steinweiss, Brenneck launched Dunham Records in 2008 and released Charles’ "The World (Is Going Up In Flames)" and "Heartaches and Pain" as its’ second single. A departure from his Black Velvet act, the songs showed a new side of Charles as a compelling artist in his own right and proved to be a great success. Many late night writing and recording sessions later, he and Brenneck completed their first full-length record, "No Time For Dreaming." Charles always knew he was born to entertain, but in the making of this record he discovered a proclivity for songwriting as well. The record was a labor of love for both Charles and Brenneck. Charles and the Menahan Street Band have been touring, while Charles has been honing his passion as a singer and an entertainer. After years of working together, "No Time For Dreaming" is due for international release on Dunham Records on January 25, 2011.
event::tags 21+
11:00 PM
to 12:00 AM
Danny Brown
11 schedule::attendees
Location
Beauty Bar-Palm Door
eventtype Music
event::about Bridging the gap between hipster and hood rap without ever compromising his integrity, Danny Brown, the Hybrid of Hip Hop is on the brink of hitting the big time. His hometown, the once thriving city of Detroit and it's current hardships are a strong influence on his lyrics. With five mixtapes and two albums under his belt, Danny Brown has built up a diverse fan base over the last six years. He made the decision to release all of his music for free, explaining, 'If I'm not being paid to make music, then I shouldn't be selling music. Producers give me the beats for free; engineers give me studio time for free. I don't pay to write these raps, so why should I charge people? I want people to hear it more so than I want to profit from it anyway.' The rapper has had close brushes with mainstream success, most significantly when Roc-A-Fella Records showed interest in him back in 2004. For those that don't know what happened next, the record label disbanded, leaving Brown with little choice but to move back to Detroit. With his first mixtape, Browntown completed under Roc-A-Fella, he began work on the first in the Detroit State Of Mind mixtape series. Unfortunately the law came knocking and Brown was sentenced to a year in jail. He spent his time wisely, writing rhymes every day to J Dilla's Donuts, which played on repeat in his head. On his release, Brown made three records within a year, including his first album, Hot Soup, which was released when he was still sleeping on his grandma's floor. 'I was just getting out of jail so I didn't have nowhere else to go, I've got my own apartment now so I'm climbing up a little bit.' After a two-year rest, Brown came back with his second album, The Hybrid, released in March this year. 'Ain't shit to do but play target practice on each other out here.' From an early age Brown knew what he wanted to do in life. 'When I was five I would get asked what I wanted to be when I was older, I used to say a rapper and the whole class would laugh.' Eventually becoming embarrassed by his classmates' reactions, Brown expressed a desire to become a comedian. He took his new career choice seriously, and learnt how to set up jokes for stand up, something that has obviously crossed over into his rapping. He admits that his comedic side is probably his reaction towards anger. 'For the most part I'm kind of funny, I like to have fun. I'm a stoner, so I'm too high to be angry.' Brown is a funny guy and his dry humour is present throughout the interview. When asked if he is an angry person, he responds, 'Uh, I have emotions like normal human beings.' Even his ad-libs are amusing, in particular his trademark high-pitched laugh. On some songs, Brown's voice seems to be filled with anger, but he explains that it is simply due to his desire to express emotion. 'I'm just trying to prove that I can make good music. I don't think I'm angry, maybe hunger's the right word for it, I just really want people to understand what I'm doing.' The raw, scratchy tones on Greatest Rapper Ever, an example of this hunger, are enough to convince you that the title is true. The same tones can be heard on Re-Up in which he documents a life of crack dealing, in which a former Motown singer became a customer. Seeing the tragic transformation of the once flourishing city of Detroit has obviously affected those old enough to remember the days of Motown. 'We used to walk past Motown every day, the actual recording studio and didn't feel nothing. In some sense it's bitter sweet. We made all this good music here, but they took it away from us and it's never been back again.' Brown explains that the former glory of Motown has been left to crumble. 'In the sixties, Detroit was the most thriving economy for black people; it built a lot of shit. When we had the Motown shit popping off, they were buying mansions in the hood, building them from scratch. Forty years later, that mansion is boarded up.' Shockingly, the younger generation cares little about the glamorous past life of their city. 'I don't think a thirteen-year-old would know how big it was. They wouldn't give a damn.' Growing up in Detroit has caused the rapper to feel anger towards the situations his peers face. 'When you walk out of your house everyday and see the living conditions we have, it wouldn't makes too many people happy.' Having seen the collapse of the motor industry and the effect it had on lives, issues involving money frustrate him the most. 'Why have you got casinos in the brokest city in America? That's like kicking people when they're down. Selling people this dream that they can put a dollar on a slot machine and become a millionaire. So you're trying to take our last?' His own grandmother was personally affected, 'Someone like my grandma, who worked her whole life to retire and be able to live good the rest of her life is broke now because of a casino.' On Hot Soup, a track called Succeed features a sample quote that claims six out of ten teenagers are unable to get a job upon leaving school. When asked if that is still the case, Brown responds, 'Six out of ten? I would say it's more like eight out of ten now.' Changes are taking place in Detroit however, although they may not improve the living conditions of all Detroit natives. A number of big budget Hollywood movies have been shot in the city over the last three years, something that looks set to become a trend. 'What they're gonna do eventually is take Detroit back and regentrify it. All the broke people here are gonna be moved out to a suburb on the outskirts. It's changing in some sense but it's not changing for the better, they're just kicking the broke people out. In a minute, it's gonna be too expensive to live in Detroit, especially with them shooting all these movies out here. It's gon' change.' But for now Brown is making the most of Detroit's appeal. 'I just saw a million dollar movie being shot on my corner, I ate well off them yesterday, thanks to the movie budget. I stole mad sodas! I got soda in my refrigerator thanks to that movie. Good looking SWAT 2.' His music has brought opportunities to travel around America leaving him with a perspective that is different to his peers. 'There's a lot of people that feel that Detroit is a great city and they love living here and it's fun but then I'm like, 'You never been nowhere then. Ain't shit to do but play target practice on each other out here'.' He goes on to add, 'To be honest with you, I don't think I knew how bad Detroit was until I was an adult. It let me know how bad my city was when I went to a place like New York which they say is bad.' Despite the city's influence on his music, Brown expresses a desire to escape. 'I just wanna get out of Detroit, because me being here, the only possibilities are bad ones.' Elaborating on this point, he explains, 'Before this whole situation that's just come up, I was ready to start back selling weed. I'm not about to start selling weed. Shows weren't coming like I figured they would and I still gotta pay bills, man.' Though his life is improving through his music, the changes have come through his own hard work. Brown once said in an interview that Obama's presence in the White House would never change his life and he confirms that he still feels this way, 'I'm still sitting in Detroit with the same living conditions I did before. My life ain't changed, I mean besides me not sleeping on my mom's floor no more.' With a laugh he reveals the only difference in his life has been linked to sexual appeal, 'Interracial has been popping. I wasn't getting this many white girls before so thanks, shout out to Obama for that.'
event::tags 21+
11:30 PM
to 12:30 AM
Chino XL
14 schedule::attendees
Location
Venue 222
eventtype Music
Artists Chino XL
event::about Chino XL. He’s a 6’2”, 240lb lyrical beast, Mensa member & one of the most widely recognized names in the rap game. His nickname; “The Puerto Rican Superhero.” But the road to recognition was not easy; it was a struggle from birth. Chino’s father left when he was 3, leaving his mother to raise her only child. Living in the hood in New Jersey , Chino had to hustle to survive. His only escape was music. As a youth, he traveled alongside some of Hip Hop’s most celebrated artists, including Afrika Bambaataa and Ice-T. his uncle being BERNIE WORRELL , of Parliment Funkadelic Music was in his blood. At 12, Chino began performing at local talent shows in New Jersey and quickly emerged as one of the best lyricists in his neighborhood. His demos eventually caught the ear of Def Jam founder Rick Rubin, who immediately signed Chino XL to Def American Records. His first album on Def American, “Here To Save You All” had an instant impact on the Hip Hop charts. Chino had found his audience. His premiere single, “Kreep” peaked at the #2 slot on MTV. Tracks from the album regularly featured on the internationally syndicated Wake Up Show, and his lyrics were placed in the “Source Quotables.” Making him the first Latin artist to receive the honor "…with equal amounts of style and substance, Chino XL incorporates elements of both coasts' sounds...." -The Source "…Chino XL is riveting precisely because he doesn't pull punches…."- NME Magazine he also received a high rating from ROLLING STONE MAGAZINE , It wasn't long before Chino XL was recognized and beckoned into the studio by some of the most respected artists in the Hip Hop community. From Ras Kass, from Bun B, from TECH9 to Snoop Dog, Chino XL has collaborated with some of the greatest names in the game. After this transforming experience, Chino XL withdrew from the rap game. Chino XL explained, “I just felt that it was time to move on…I wanted to expand my skills, just get out and do something new.” Chino XL began acting. His natural talent for acting quickly put him on the map. He starred in films alongside Kate Hudson, Luke Wilson, and Rob Reiner. Chino XL still continues a career in acting, appearing in several films and making a guest appearance in the Comedy Central’s sitcom Reno 911, CBS sitcom The Young and Restless, CBS CSI: Miami, and most recently as a series regular role on CineMax’s Zane’s Chronicles. In addition to this, he had a project debut at Robert Redford’s Sundance Film Festival. Nevertheless, even with a successful acting career, Chino XL never lost his love for music. He began writing new lyrics, with a renewed sense of passion and inspiration. Chino XL described why he came back: “I wanted to add something new to music. It felt as if the same ideas and topics were being used over and over. So I got to work.” He added, “It seems like the stars lined up for me because, I’ve gotten better, Latin’s are getting more love in Hip Hop, and the music game needs a new voice with a different flavor.” Sway from MTV discusses Chino XL’s new music: "Chino XL turned hardship and tragedy into triumph, and expresses it with his new music. It immediately connected with me in a major way. He's a seasoned artist now, and one of the best lyricists of all time, period. It's unbelievable how the man keeps getting better and better..." Chino XL is currently working on a new album, for 2011“RICANstruction". He also continues his socially aware movement alongside his fellow Rebel Armz brother Immortal Technique raising money through benefit shows to aid children worldwide also speaking to at risk youth , Chino XL song “WORDSMITH” considered by many as one of the greatest lyrical pieces of all time has been featured in Ivy League college YALES ANTHOLOGY OF Rap. Chino XL has done over 100 live shows just this past year. After this transforming experience, Chino withdrew from the rap game. Chino explained, “I just felt that it was time to move on…I wanted to expand my skills, just get out and do something new.” Chino began acting. His natural talent for acting quickly put him on the map. He starred in films alongside Kate Hudson, Luke Wilson, and Rob Reiner. Chino still continues a career in acting, appearing in several films and making a guest appearance in the Comedy Central’s sitcom Reno 911, CBS sitcom The Young and Restless, CBS CSI: Miami, and most recently as a series regular role on CineMax Zane’s Chronicles. In addition to this, he had a project debut at Robert Redford’s Sundance Film Festival. Nevertheless, even with a successful acting career, Chino never lost his love for music. He began writing new lyrics, with a renewed sense of passion and inspiration. Chino described why he came back: “I wanted to add something new to music. It felt as if the same ideas and topics were being used over and over. So I got to work.” He added, “It seems like the stars lined up for me because, I’ve gotten better, Latin’s are getting more love in Hip Hop, and the music game needs a new voice with a different flavor.” Sway from MTV discusses Chino’s new music: "Chino turned hardship and tragedy into triumph, and expresses it with his new music. It immediately connected with me in a major way. He's a seasoned artist now, and one of the best lyricists of all time, period. It's unbelievable how the man keeps getting better and better..." Chino XL is currently working on a new album, for 2011“RICANstruction". He also continues his socially aware movement along side his fellow rebel armz brother IMMORTAL TECHNIQUE raising money through benefit shows to aid children worldwide also speaking to at risk youth , Chino XL's song "WORDSMITH" considered by many as one of the greatest lyrical pieces of all time . has been featured in YALES ANTHOLOGY OF Rap. Chino XL has done over 100 live shows just this past year. He is also a member of MENSA
event::tags 21+
12:00 AM
to 1:00 AM
Freddie Gibbs
78 schedule::attendees
Location
Emo's Main Room
eventtype Music
Artists Freddie Gibbs
event::about Freddie Gibbs is a direct product of Gary, Indiana’s East Side. An uncut distillation of his surroundings, Gibbs was born into a dire situation; industrial divestment from the Midwest has created a vacuum of poverty. It’s a tragic sight, or it would be if there were anyone to document it. Freddie Gibbs had his work cut out for him. Freddie’s keen survivalist mentality and work ethic won him a scholarship to Ball State for football after high-school, but he was dismissed over questionable allegations. It’s fair to assume that Freddie hadn’t completely divorced himself from the streets, but whatever the case, higher education was no longer a viable option. Gibbs was cast back into the sink-or-swim realities of his upbringing, and he resorted to pimping and manufacturing freebase to keep the lights on. A humble critic, Freddie never meant to be a part of the problem, and explored means of supporting himself without partaking in the cyclical plague of drugs and prostitution. A gifted writer who stood out amongst his peers with his reserved wit and command of language, Freddie began to rap about the things he saw. As word of his skills spread to the coasts, he aligned himself with notable producers like The Alchemist, Polow Da Don, Just Blaze, and Buckwild to create a discography that illustrates his experiences as a struggling denizen of a blighted community, but he doses each compilation with positivity and humor as well. XXL Magazine caught wind of Freddie’s unique approach and nominated Gibbs to their Freshman Top 10 earlier this year, a prophetic announcement that has come fully to fruition. Freddie Gibbs’ mixtapes are amongst the most praised of the last few years, frequently capturing the forsaken instrumental aesthetic of 90’s boom-bap and juxtaposing it with his distinctly Midwestern double-time flow. Freddie Gibbs has positioned himself as a recession-era mascot for the disenfranchised Midwestern working class and he wears the title exceptionally well while also giving a cognizant nod to the classic sonic pillars of hip-hop. This sound is fully evident in his release with Decon, the Str8 Killa EP. It was Public Enemy’s Chuck D that once famously called hip-hop “the CNN of the ghetto”, and the sentiment is particularly applicable to Freddie’s music. In 2010 Gibbs is reporting live, stay tuned.
event::tags All Ages
12:00 AM
to 1:00 AM
Pill
6 schedule::attendees
Location
Fuze
eventtype Music
Artists Pill
event::about Career- In early 2009 Pill's first mixtape 4180: The Prescription and his first single "Trap Goin' Ham" was released. While his lead single rapidly spread outside of his hometown of Atlanta, his mixtape drew in millions of fans. It garnered such a national frenzy in the underground hip-hop circuit that music industry executives were soon knocking on his door. Receiving offers from every major record label including industry heavyweights such as Universal Motown, Def Jam, Atlantic, and Interscope, he chose to sign on the dotted line at Warner Music Group through their Asylum imprint. With his deal finalized by the end of the year, his career continued to take off running. He went into 2010 fresh with his second mixtape 4075: The Refill and landed on the cover of XXL Magazine's April Issue featuring the top 10 hottest new MC's of 2010. Being consistent in releasing quality hip-hop music he has continued to cultivate his fanbase and receive high acclaim from the press. He has earned a multitude of esteemed reviews from veteran critics and has gained features in various publications including The New York Times, Vibe Magazine, The Fader, Spin Mag, The Source, Complex, The Atlanta Examiner, Ozone Magazine, and more. In June of 2010 he released his third mixtape, 1140: The Overdose, a Gangsta Grillz Edition hosted by DJ DRAMA. The enormous response from music fans and critics alike has confirmed that this young rising star has staying power in a business that can sometimes be very much undecided. With a number of downloads that has surpassed the million mark and continues to rise daily Pill continues to prove that he is a definite force to be reckoned with. His fans will only continue to show support watching every move that this young star makes with a bright future on the horizon. His most recent credits/appearances include: performing live Late Night on the Jimmy Kimmel show, a role in a major motion picture "96 Minutes" (directed by Aimee Lagos, distr. by Warner Bros., due out later this year), and a documentary project highlighting the issue of public housing in his hometown of Atlanta, GA (directed by the UN for discussion in Switzerland).
event::tags 18+
12:00 AM
to 1:00 AM
The Republic Tigers
58 schedule::attendees
Location
Maggie Mae's Rooftop
eventtype Music
Artists The Republic Tigers
event::about Chop Shop Records’ experimental indie pop band The Republic Tigers will release a much-awaited 4-song EP, “NO LAND’S MAN,” on April 16, their first release since their 2008 debut album, “KEEP COLOR.” Self-produced and recorded in the band’s hometown of Kansas City, MO, “NO LAND’S MAN” includes three new songs, plus “The Nerve (Nervous Dancing),” an uptempo reworking of the song “The Nerve” from “KEEP COLOR.” “NO LAND’S MAN” will be available exclusively at independent record stores in celebration of Record Store Day on April 16. The digital configuration of the EP will be available the following Tuesday, April 19 at all online retailers. In addition to the EP, the band will release a colored vinyl 7” piece featuring “Merrymake It With Me,” the first track on the EP, and “Whale Fight,” an exclusive b-side. Prior to the release of “NO LAND’S MAN,” The Republic Tigers will hit the annual South By Southwest (SXSW) festival in Austin, TX. 2008’s “KEEP COLOR” drew widespread critical praise for the quintet. Blackbook described the album as “a tapestry of instruments and perfected harmonies,” and Filter asserted that the album “begs repeat listens.” Following the release of “KEEP COLOR,” The Republic Tigers performed their breakout song, “Buildings & Mountains,” on “Late Night With David Letterman,” and toured for months on end, opening for Travis both in the UK and Stateside, in addition to several U. S. headline runs of their own. In other news, the band has begun work in Kansas City on their second full-length album, expected to arrive later in 2011. THE REPUBLIC TIGERS --“NO LAND’S MAN” EP Available April16 through Chop Shop Records 1. Merrymake It With Me 2. The Infidel 3. Lonely As I Was 4. The Nerve (Nervous Dancing)
event::tags 21+
12:00 AM
to 1:00 AM
Toubab Krewe
27 schedule::attendees
Location
Copa
eventtype Music
Artists Toubab Krewe
event::about Some music cannot be found on a map or within iTunes categories. Some music is so original it seems snatched from the great, invisible substrata that runs below all human activity, a sound aching to be born without a flag or fixed allegiance – free, questing, overflowing with immediate, tangible life. This is the music of Toubab Krewe, the vibrant Asheville, NC-based instrumental powerhouse that creates a sonic Pangaea that lustily swirls together rock, African traditions, jam sensibilities, international folk strains and more. While nearly impossible to put into any box, it takes only a few moments to realize in a very palpable way that one is face-to-face with a true original who recognizes no borders in a march towards a muscular, original, globally switched-on sound. Formed in 2005, Toubab Krewe has tenaciously honed their craft through relentless touring and a fierce dedication to carving out something they can truly call their own. The fruits of this hard work can be heard on their scintillating new long-player, TK2, being released September 7, 2010 on Nat Geo Music. What Justin Perkins (Kora, Kamelngoni, guitar, percussion), Teal Brown (drums, congas), Drew Heller (guitar, piano, fiddle), David Pransky (bass, guitar), and Luke Quaranta (Djembe, percussion) have wrought on TK2 reflects the many miles and musical journeys that have transpired since their studio debut. "It's five years later since our last studio album, and we've been doing almost nothing but playing together," says Drew Heller. "We've had a lot of time to further our musical relationships. I feel like this album was recorded at a really perfect time. The last track on the new album is an improvisation that was the very first sounds captured, and other things came out of that initial rush." This process of recording in the spirit and sifting for gold afterwards mirrors the Beastie Boys approach during the creative peak that produced Check Your Head and The In Sound From Way Out! Toubab Krewe exhibits a similar take-no-prisoners singularity in their work. This is a band that actively draws inspiration from whatever source floats into their purview, something they've exhibited in their half decade of heavy gigging, including regular appearances at major U.S. festivals like Bonnaroo, High Sierra, Rothbury and Wakarusa, and abroad at such legendary gatherings as Festival In The Desert in Mali. Their globe-hopping propensity has made them an emerging headliner at their hometown's famous Orange Peel and a familiar face as similar venues throughout the country. Whether on their own or collaborating with luminaries like the Last Poets' Umar Bin Hassan or Uncle Earl's Rayna Gellert, Toubab Krewe has already earned the attention and respect of a broad musical community. Toubab carries echoes of African greats like Ali Farka Toure, Orchestra Baobab and Salif Keita, no doubt picked up during the group's many visits to the Mother Continent to study and live in Guinea, Ivory Coast and Mali. What differentiates Toubab Krewe from other Statesiders inspired by African music is how they innovate on what they've learned, not simply recreating tradition but carving out a new trail that honors the African originators they admire by making something alive and contemporary that moves the line forward, something that's easy to pick up on with TK2. "We had a month and a half in the studio, and we were able to relax and play, almost a smudging process getting the energy in the right place," says Heller. "The time we had to record this album was conducive to not worrying about anything and just having fun, playing and getting into the creative process." From the ragtime piano tinged opener "Mariama" to the percussion fueled, slide guitar glide of "Gine Fare" to the subtle, inviting African echoes of "Konkoba" to the hypnotic, psychedelic slow burn of "Holy Grail," TK2 reveals Toubab Krewe to be rare innovators in a modern age often too ready to settle for more of what's been. Toubab Krewe is happily an exception to this rule, and those willing to take the journey with them are in for one hell of a cool, exciting ride.
event::tags 21+
12:15 AM
to 1:15 AM
Homeboy Sandman
14 schedule::attendees
Location
The Marq
eventtype Music
Artists Homeboy Sandman
event::about Homeboy Sandman is New York City's premier talent based hip hop emcee. Mainstream. Underground. Period. His latest release "The Good Sun," reached #1 on CMJ's national music chart. He's been in the big mags and on the big channels. Prioritizing quality content, live shows, and fan building ahead of hype, he is the blueprint for the self-sustaining, landscape shifting, indie artist in the new millennium.
event::tags 21+
12:50 AM
to 1:50 AM
The Raveonettes
295 schedule::attendees
Location
Rusty Spurs
eventtype Music
Artists The Raveonettes
event::about When you've had a cult fan base for as long as The Raveonettes have, it's only a matter of time before some of your most-loyal of acolytes begin branching out and make their own kinds of beautiful noise. In recent times, the musical DNA of Sune Rose Wagner and Sharin Foo has been cropping up with such regularity that it prompted the British music press staple NME.com to declare the Danish duo to be responsible for sparking 'America's pop renaissance.' It was a long overdue tip of the hat which drew comparisons between the Raveonettes' melodic magic and such modern tunesmiths as The Drums, Best Coast, Vivian Girls, Dum Dum Girls and even British bands like The Vaccines and Glasvegas. But why take NME's words for it? The bands themselves are only too happy to give credit where it's due and explain why the Raveonettes have been such a prominent reference point. 'They taught me a thing or two about pop music,' admits Jonathan Pierce of New York indie-pop trio the Drums. 'I've always been drawn to bands who are driven by a strong concept and The Raveonettes have been doing it consistently, uncompromisingly and unashamedly since their very first EP 'Whip It On' (2002). I listened to that record religiously for two years after it came out and still find myself going back to it now. They're the modern king and queen of melody and mood.' It's a sentiment that's also echoed by Dee Dee of Sub Pop starlets The Dum Dum Girls who has also been loyally following our Danish heroes from day one. 'They are one of a few bands I took direct kindred inspiration from when I started writing and recording my own songs. They are a constant reminder to keep the teeth of sound intact while courting the pop hook- a recipe I follow in my own work.' But it is perhaps the testimony of one Mr James Allan that exemplifies the Raveonettes-effect most dramatically. Back in 2004, James was jobless and aimless as he sat in Glasgow's famous King Tut's Wah Wah Hut venue drowning his sorrows one Friday afternoon. By coincidence, The Raveonettes happened to be playing the venue that very night and, whimsically hoping that some music would cheer him up, James spent his last bit of cash on a ticket. His money didn't just buy him a quick pick-me-up, it bought him a new lease of life. 'They were touring their 'Chain Gang Of Love' (2003) album- a modern day dream-pop masterpiece in my opinion,' he remembers. 'I left the venue so inspired. I didn't give a fuck about getting a job after that. It just further reinstated my longing to be in a rock 'n' roll band.' That band turned out to be the all-conquering Glasvegas for whom James became the talismanic frontman. Needless to say, he doesn't spend too much time worrying about getting a job these days. If The Raveonettes decided to call it a day tomorrow, we would undoubtedly remember them with nothing but love. But it's partly down to the fact that they've spawned this new generation of talent that the band have strived to move themselves forward with their fifth album. After the best part of a decade honing their instantly recognizable sound and seeing it co-opted by so many other bands aspiring for a similar level of greatness, Sharin and Sune are blazing a newer, darker trail with the brilliant 'Raven In The Grave'. 'I think we have finally hit on something quite important and different for this album,' explains Sune. 'This is the first Raveonettes album we've done which doesn't feature the signature Raveonettes surf drumbeat. None of the tunes have any real sunshine to them. It's all very un-Rave.' 'It has a mood of ethereal defiance' Sharin adds. 'It's dark but not bleak, like the single minded determination caused by crisis that is not quite hope but just as powerful. It's the perfect winter soundtrack just in time for spring'. It doesn't take long to hear how the band have superseded their traditional sound. Of course, melody is still key to what the Raveonettes do, but the familiar bombastic beats and squalls of guitar-noise take a backseat during much of 'Raven In The Grave'. Instead, the album is awash with ghostly synths and chillingly beautiful riffs that leave you feeling simultaneously unsettled and enchanted. It's easily the most soulful music the band have created to date. But once you scratch that sombre surface and dig a little deeper, you'll find that 'Raven In The Grave' has an even darker lyrical heart. Inspired as ever by their own first hand experiences, many of the songs explore the disheartening finiteness of relationships and the devastating effects they can have when they do disintegrate. 'Yeah, there are a lot of those kind of themes,' admits Sune. ''With Recharge & Revolt' I was trying to write an epic love song of longing and restlessness, 'Summer Moon' is about the blossoming of something beautiful which turns sour and starts deteriorating right in front of you and 'My Time's Up' is about the perils of non-commitment to affection and the dangers of short-changing your life.' When you combine The Raveonettes expanded musical palette with this stream of nakedly honest emotions, the end result is an album so compelling and sincere that you could almost live (and potentially, die) inside it. The Raveonettes evolution won't stop with the new album either. As the band set off on tour to support their latest creation, their constantly changing live line-up will be bolstered by a two-drummer line up to help ensure that the depth of 'Raven In The Grave' is recreated on stage. It's just another example of how Sharin and Sune are not content to rest on any laurels. The ten years of inspiring music they've already clocked up has already produced an undeniable legacy, but 'Raven In The Grave' is proof that the Raveonettes are already soaring above all of their past achievements. Catch them if you can.
1:00 AM
to 2:00 AM
1:00 AM
to 2:00 AM
The Appleseed Cast
125 schedule::attendees
Location
Skinny's Ballroom
eventtype Music
Artists The Appleseed Cast
event::about Sagarmatha, the seventh full length by Appleseed Cast, finds the band self-assured and largely home-recorded, indulging in the creation of their art beyond the pressures of hype or doubt that compromise younger and lesser bands. It seems that they understand that for a band that's been making music for ten years to sound fresh, their ideas must be fresh. Sagarmatha integrates the more anthemic sensibilities of Two Conversations (mainly in the very catchy vocal melodies) and the density and distorted rock moments of Peregrine with the experimental tendencies of both Low Level Owl records. While LLO alternated noise and song over two records, pushing and pulling the listener in and out of the din and the narrative, Sagarmatha is a world where the melodic vocals and knotty delayed guitars Appleseed Cast is known for are supported by (and can't exist without) the ambient noise, electronic beats, bells, percussion, and keyboards the band has grown to love. They've been pegged with various genre names over the years, most of which they've outgrown and outlived. At this point, I think they are best described as weavers: of sounds beautiful and horrible, always intriguing, and of stories in sometimes inscrutable but always evocative lyrics. Their songs draw you in immediately, but demand multiple listens, which is how it should be I think, and is why they've inspired such a loving and long-lasting following. They've weathered many storms of fashion. Sagarmatha is mountain-climbing music, Appleseed Cast are mountain-climbers. Sagarmatha is epic in scope and sound, evoking the horror and beauty of nature, the sublime. A band bred by the ocean and born in Kansas is unafraid to stare into the void of sea or sky. As points of reference, I suggest this record fits somewhere between the intersection of Low and the Flaming Lips, Can and the Postal Service, or Fugazi and Sigur Ros.
event::tags 21+
1:15 AM
to 2:15 AM
1:30 AM
to 2:15 AM
Nomathmatics
3 schedule::attendees
Location
The Liberty
eventtype Unofficial Music
Speaker/Artist(s) Info
Nomathmatics
event::about
The Midwest Music Foundation is proud to present the MidCoast Takeover, March 18th and 19th, 12pm-2am, at The Liberty showcasing over 30 acts from Kansas City, Lawrence, and the Midwest region. Partnering with Midwestern Indie label The Record Machine, music magazines PopWreckoning and INK, and Kansas City’s premiere live music venues The Record Bar, Crosstown Station, and The Riot Room, MidCoast Takeover will bring artists from Kansas City and the region to the national stage at South by Southwest. Sponsored by Kansas City’s Boulevard Brewing Company, (available on tap throughout the event) MidCoast Takeover promises two days of music, mayhem, and general debauchery-the definitive Midwestern musical throw down. The Midwest Music Foundation is proud to support the DIY spirit of Kansas City’s intrepid and inspired music community. Up from the gut, out from the middle, we are the sound of the heart of American music.
Website http://www.midcoasttakeover.com/
12:00 PM
to 1:30 AM
Midcoast Takeover by Boulevard Brewing Company
35 schedule::attendees
Location
The Liberty
eventtype Unofficial Party
Speaker/Artist(s) Info
12:00PM Everyday/Everynight
12:45PM Expassionates
1:30PM Sons of Great Dane
2:15PM John Velghe & His Prodigal Sons
3:00PM Ha Ha Tonka
3:45PM Drag the River
4:30PM The Latenight Callers
5:15PM Capybara
6:00PM Lazy
6:45PM Soft Reeds
7:30PM Roman Numerals
8:15PM Baby Teardrops
9:00PM Appropriate Grammar
9:45PM Waiting for Signal
10:30PM Audiovox
11:15PM Black Cheerleader
12:00AM Vertigone & Trystyl
12:45AM Les Izmore
event::about
The Midwest Music Foundation is proud to present the MidCoast Takeover, March 18th and 19th, 12pm-2am, at The Liberty showcasing over 30 acts from Kansas City, Lawrence, and the Midwest region.Partnering with Midwestern Indie label The Record Machine, music magazines PopWreckoning and INK, and Kansas City’s premiere live music venues The Record Bar, Crosstown Station, and The Riot Room, MidCoast Takeover will bring artists from Kansas City and the region to the national stage at South by Southwest.
Sponsored by Kansas City’s Boulevard Brewing Company, (available on tap throughout the event) MidCoast Takeover promises two days of music, mayhem, and general debauchery-the definitive Midwestern musical throw down.
The Midwest Music Foundation is proud to support the DIY spirit of Kansas City’s intrepid and inspired music community. Up from the gut, out from the middle, we are the sound of the heart of American music.
Website http://www.midcoasttakeover.com/
1:30 PM
to 2:15 PM
Sons of Great Dane
1 schedule::attendees
Location
The Liberty
eventtype Unofficial Music
Speaker/Artist(s) Info
Sons of Great Dane
event::about
The Midwest Music Foundation is proud to present the MidCoast Takeover, March 18th and 19th, 12pm-2am, at The Liberty showcasing over 30 acts from Kansas City, Lawrence, and the Midwest region.Partnering with Midwestern Indie label The Record Machine, music magazines PopWreckoning and INK, and Kansas City’s premiere live music venues The Record Bar, Crosstown Station, and The Riot Room, MidCoast Takeover will bring artists from Kansas City and the region to the national stage at South by Southwest.
Sponsored by Kansas City’s Boulevard Brewing Company, (available on tap throughout the event) MidCoast Takeover promises two days of music, mayhem, and general debauchery-the definitive Midwestern musical throw down.
The Midwest Music Foundation is proud to support the DIY spirit of Kansas City’s intrepid and inspired music community. Up from the gut, out from the middle, we are the sound of the heart of American music.
Website http://www.midcoasttakeover.com/
6:00 PM
to 7:00 PM
Soft Reeds
2 schedule::attendees
Location
The Liberty
eventtype Unofficial Music
event::about
The debut release of Kansas City band Capybara is filled to the brim with jangly synth melodies, light falsetto harmonies, and a syncopated percussive style that perpetually threatens to start a raucous party. Try Brother, self-produced in the Spring of 2009 in the mountains of northern New Mexico, blends earnest eyes-wide-open lyrics with delicate multi-instrumental arrangements. Their style draws on many influences, evoking classical chamber pop, down-home banjo folk rock, and soaring indie riffs in equal measures.
Website www.midcoasttakeover.com
6:35 PM
to 6:55 PM
6:45 PM
to 7:30 PM
Soft Reeds
3 schedule::attendees
Location
The Liberty
eventtype Unofficial Music
Speaker/Artist(s) Info
Soft Reeds
event::about
The Midwest Music Foundation is proud to present the MidCoast Takeover, March 18th and 19th, 12pm-2am, at The Liberty showcasing over 30 acts from Kansas City, Lawrence, and the Midwest region.Partnering with Midwestern Indie label The Record Machine, music magazines PopWreckoning and INK, and Kansas City’s premiere live music venues The Record Bar, Crosstown Station, and The Riot Room, MidCoast Takeover will bring artists from Kansas City and the region to the national stage at South by Southwest.
Sponsored by Kansas City’s Boulevard Brewing Company, (available on tap throughout the event) MidCoast Takeover promises two days of music, mayhem, and general debauchery-the definitive Midwestern musical throw down.
The Midwest Music Foundation is proud to support the DIY spirit of Kansas City’s intrepid and inspired music community. Up from the gut, out from the middle, we are the sound of the heart of American music.
Website http://www.midcoasttakeover.com/
6:55 PM
to 7:20 PM
8:00 PM
to 9:00 PM
Blaqstarr
67 schedule::attendees
Location
La Zona Rosa
eventtype Music
Artists Blaqstarr
event::about Blaqstarr There's a term DJs use when talking with each other that describes an experience all of them strive for but that isn't always achieved. The term is "club banger," or "club killer," and while different DJ crews in different places around the world probably have their own variation on the wording, what the term describes is always the same: a song or record, often new but familiar, that is dropped at the right time during a set; a tune that taps into the immediate energy happening at a club or house party and then pushes it over the edge sending the dancefloor into a communal frenzy. It's the perfect song at the right time, and if you've ever experienced it on the floor or behind the decks it's a rapturous feeling. Baltimore-based DJ, producer, and artist, Blaqstarr, produced his first "club banger," when he was 16-years old, a local Baltimore Club track that he produced called "TK (Need to find out the exact name of this track)." In fact, before he was even 20 years old, Blaqstarr (real name Charles Smith) had produced over half-a-dozen original tracks that were the biggest tunes in Bmore and whether they were broadcast in his own sets at some eastside house party or spun on the radio at a neighborhood block jam, seemingly every tune Blaqstarr would put out has been a straight "club banger." It's that Midas touch of Blaqstarr's that thrust him out of the typically provincial, claustrophobic world of B-more clubland and into the world at large. It's why M.I.A. trusted a then relatively unknown Blaqstarr as a key collaborator for her wildly original second album (Kala) and its hit single, "Paper Planes." And it's why Blaqstarr found a home as part of Diplo's Mad Decent family and got to take his music around the world. In just a short period of time, Blaqstarr's seemingly effortless string of catchy, booming club tracks has made him one of the most anticipated and observed beat-makers in the world. And it is in that atmosphere that the 25-year old releases the Divine EP, his first release for Neet Records, M.I.A.'s label through Interscope. "Baltimore is such a small world, but there's so much love there for the music, that most people never need to leave," says Blaqstarr. "Baltimore folks like music fast that's the sound of the city and if you can make the beats fast and the floor shake, you can be a star right there for a long time. Never have to go nowhere else." Indeed, for the uninitiated, Baltimore Club music has been the soundtrack to life in the onetime thriving port city for over two decades: built on fast beats, booty shaking, raunchy lyrics in songs and suggestive call-and-response provocations from DJs armed with mics. It's the ubiquitous soundtrack of an entire city of people blowing off steam from an otherwise struggling, frustrating environment. And it only exists in Baltimore a little north in Philly, and they don't get it; a little south in DC and they'd rather hear the punch of go-go music. Local Bmore DJs can make more money off the thousands of mix-CDs they sell at local mom-and-pop stores than they would if they had a hit single on national radio. Since 2003, some of Blaqstarr's songs that found audiences beyond Baltimore include, "Rider Girl," "Hands Up Thumbs Down," and "Shake It To The Ground," featuring the Baltimore vocalist/MC (and fellow Interscope artist) Rye Rye who he discovered, and all released on his own Starr Productions label. The song has a catchy hook and an irresistible bounce, but what made "Shake It To The Ground" a fast-traveling hit outside city limits was the way Blaqstarr chopped up Rye Rye's vocals into rapid-firing syllables that sounded like MPC-created samples; and how Blaqstarr stitched together the song's rhythm track from what sounds like multiple layers of beats at different speeds, creating a mesmerizing syncopation to the whole tune. The song bears a sophistication to its production that draws people to it, even if they can't point out exactly why. That is what has helped propel Blaqstarr beyond the confines of Baltimore a fierce desire to try out different ideas matched with a fearlessness and curiosity. One of Blaqstarr's signature tunes is "Tote It," in which instead of using standard drum sounds or a sampled break, the percussion of the fast-paced club banger was sampled gun-shots. It was something no one had thought of doing before, and perfectly symbolized that kind of sound of the city. "When I dropped that for the first time," he says, "the party went wild." Club Banger, indeed. For the Divine EP and the album he plans to record shortly thereafter Blaqstarr is looking to explore more of his collaborative songwriting than simply his beat-making; that is, more of what he did in working with M.I.A. than the club bangers he's mostly known for. He admits to being really fascinated with the art and form of the pop song, as well as with more experimental instrumental hip-hop and the palette those abstract compositions might offer. "But I'm still gonna do the club thing," he says. "It's universally correct. I can't leave those out. It's in my soul." # # #
event::tags All Ages
8:00 PM
to 9:00 PM
Rockwell Knuckles
5 schedule::attendees
Location
Nuvola
8:00 PM
to 8:45 PM
9:20 PM
to 10:20 PM
Black Milk
67 schedule::attendees
Location
Billboard Bungalow @ Buffalo Billiards
eventtype Music
Artists Black Milk
event::about As the buzz of many of hip hop’s young leaders-to-be evolves from loud commotion into hushed whispers, Black Milk has stayed relevant by remaining focused on creating music that endures. He’s achieved recognition from fans, critics, and his peers as one of the best producers around, and when coupling that talent with his sharp lyricism and stylish delivery as an emcee, Black has proven to be one of the most vital hip hop artists of his generation. This is already clear to those who heard his 2008 album "Tronic," which capped a successful and astonishingly prolific year (in which he also released collaborative full-length releases with rappers Bishop Lamont and Fat Ray, as well as producing the acclaimed solo album from Slum Village’s Elzhi). Tronic showcased a growth in production technique that few expected from a beatmaker best-known for chopping samples, as his signature drums were now peppered with live instrumentation and richer arrangements. 2009 looked to be another year of tremendous progress for Black Milk’s career. After touring Europe with his newly-formed band, consisting of drummer Daru Jones and keyboardist/singer AB, he returned home to Detroit ready to launch efforts on his next album. The year took an unexpected turn as his mentor Baatin of Slum Village–who Black credits with launching his professional career–suddenly passed away. Only weeks later, Black’s manager HexMurda fell into a coma and was paralyzed with a rare pontine stroke. The quick succession of these events eerily mirrored the abrupt deaths of Detroit legends J Dilla and Proof in 2006, stunning the close-knit hip hop community in the Motor City. Things only got worse for Black as he dealt with additional deaths within his family over the next few months. 2009 had become the most difficult year of his life. As the year came to a close, he returned to recording, and announced that his next release would be audaciously titled "Album of the Year." Black quickly explained that the title was referring to the course of events from the previous 12 months. Many fans and critics discounted that explanation, expressing either excitement or objection that he was brashly proclaiming that his work would be the year’s best before the year had even started. Far from a melancholic work, "Album of the Year" once again sees Black Milk working to break new ground in hip hop production, and to both refine and redefine his sound. While continuing to construct the skeletons of the tracks on his same trusted AKAI MPC-2000 XL that he’s been using for years, he now employs a team of studio musicians and session players to add new layers of fat and muscle to his songs, with most of the players’ parts composed by the artist himself. A broad range of influence shines through in the tracks, with tinges of rock, reggae, and afrobeat joining his trademark hip hop bangers. Few artists in hip hop are able to create music that can rise above expectations and defy categorization. Black Milk welcomes the challenge to accomplish what others cannot, and he’s doing it not only with his acclaimed recordings but also with an electrifying live show. Performing with Daru Jones and AB, the tracks are taken to another level on stage. Both "Album of the Year" and exciting live performances across the globe are sure to elevate Black Milk that much closer to the star status many have predicted.
event::tags 21+
9:50 PM
to 10:50 PM
Meat Puppets with Roky Erickson
204 schedule::attendees
Location
Austin Music Hall
eventtype Music
Artists Meat Puppets with Roky Erickson
event::about It doesn't take long after listening to the Meat Puppets' thirteenth studio album overall, Lollipop, to realize that they have boiled the essence of what the group is all about right down to its core. As a result, singer/guitarist Curt Kirkwood, bassist Cris Kirkwood, and drummer Shandon Sahm have an instant Meat Puppets classic on their hands, and an album that fits in perfectly with such mid '80s classics as Up on the Sun and the underrated Mirage (while not coming off as an attempt to recreate a certain musical era of the group). Interestingly however, the Meat Puppets did not achieve this by working out the songs' arrangements beforehand, or even extensively rehearsing together. "This one here was an experiment in just viewing the parts as Tinkertoys, and seeing the little Tinkertoy circus that needed to be built, and putting it together simply like that," explains Curt. "With just the band in the studio and the engineer, we didn't learn the songs - we just went in the studio, and went, 'OK, here's your part. Now play this good.' So we cut the stuff on acoustic guitar and drums first, and then built it. It's an interesting concept of a way to do something. It seems like it might be a stiff way to do something, by just putting it together a piece at a time like that. But I really enjoyed it. I think the overall sound of the way it came out is kind of a contradiction of the way it was recorded. To me, that's the coolest thing - to put something together like that, so you have the sum of the parts, and then the whole. The whole thing about the whole being greater than the sum of the parts. To force yourself to do it that way. We were able to keep track of the music." Produced once more by Curt, Lollipop signals the re-entry of former Puppets drummer Sahm back into the band (who previously played on the 2000 Puppets release, Golden Lies, and supporting tour). Sahm elaborates: "In October [2009], Curt called. I said, 'Aren't you supposed to be out on tour with the Stone Temple Pilots? What's up?' He said, 'Do you want to fill in and do these dates?' We only had one day to practice. That was the icebreaker. The first show was in Mobile, Alabama at BayFest. It was probably 5,000 to 10,000 people. Right afterwards, Robert and Dean DeLeo came up and said, 'You're really great in the band. You really drive the band cool. You should be in there.' And I was like, 'Well, I'm filling in for right now. It would be cool...talk to 'the boss'.' Robert goes, 'I'll talk to him.' Recorded at Spoon’s HiFi Studio’s in Austin, Lollipop is chock full of tunes that run the stylistic gamut. Case in point, the opening keyboard-laced "Incomplete" (that Curt wrote back in 1983, and envisioned as "something that I thought would be good for Elvis or Engelbert Humperdinck in the '60s") and the rocking "Hour of the Idiot," to the sunny ska of "Shave It," and such acoustic country ditties as "Baby Don't" and "The Spider and the Spaceship." And Cris certainly approves of the finished product. "The continuity that runs through Curt's work is just a trip, and how you can reference different parts. I think it's a fairly bitching effort, considering the amount of time we put into pre-work. I think it's indicative of where the band's at right now. It's a fairly fluid moment, and that's a trip, considering how long we've been at it and the band's history. Curt's been at it non-stop, and I'm pleased to be able to provide him with a stable outlet for his art." And according to Curt, the band got back to trusting their instincts once more - a major catalyst in their earlier work. "The similarity between the '80s and now is that once we started getting a lot of attention in the '90s, we brought producers in and stuff, and there was a thing that started happening - and it might sound egotistical - but this band always ran off of my intuitions. As much as songwriting or anything else. I write intuitively, and I never wanted to be a songwriter - I just got into it when I had the band. I just wanted to be in a band. So it's all been this intuition of 'This is what we need to do.' This was kind of taken away from us in the '90s, as money came in and people said, 'You need to do this.' It clouded the whole easygoing...like, 'Well, what does Curt think?' You could say it was the money or it was the thrust of popularity stuff or the Nirvana thing. But it just was like the band as a whole quit trusting that, I think. We just became more compliant, and like they say, 'Cooperation leads to corruption.' So in this way, I think the album harkens back to that." To support Lollipop, the Meat Puppets are planning on touring steadily, including the group's first substantial European tour in nearly two decades. Curt - "We took a good amount of time off in this last year and didn't do any real big tours, so we could get this record done and just cool our heels a little bit. Now, we're ready to get going again." Cris adds, "We're getting back to a place where...he and I have a bitching wavelength that we were able to get to. He so doesn't need my support in a way, but I think he appreciates it in a way, and I know I love our relationship and the music we make together." As they say, the proof is in the pudding, and Lollipop is one tasty listening experience from beginning to end.
event::tags All Ages
10:00 PM
to 12:00 AM
Audience Award Winner - 24 Beats Per Second
4 schedule::attendees
Location
Vimeo Theater
eventtype Film
10:15 PM
to 11:15 PM
Curren$y
64 schedule::attendees
Location
Billboard Bungalow @ Buffalo Billiards
10:25 PM
to 11:25 PM
Planet Asia
8 schedule::attendees
Location
Venue 222
11:00 PM
to 12:00 AM
Tamar-kali
6 schedule::attendees
Location
Karma Lounge
eventtype Music
Artists Tamar-kali
event::about Brooklyn native and resident hardcore-soul queen, Tamar-kali, wields her pen and guitar with equal ferocity. Her hard-rocking brand of outsider art leaps from every track on her 2005 solo EP, Geechee Goddess Hardcore Warrior Soul, enchanting you with its melody, while delivering a swift kick to the gut with its incisive emotional core. Her first full-length release, Black Bottom, packs an even harder punch as audiences are invited to gaze deeper into the recesses of this urban warrior’s mind. Her tales of revolution and love may seem contradictory, but the two worlds are inextricably linked by this powerful artist who grasps for the truth in both ideals. Tamar-kali travels a lonely road of independence that finds many artists of her caliber overworked and underappreciated. Her album title is no mere piece of alliteration, but a reflection of where she found herself after a particularly disheartening period. “I was in the ‘Bottom.’ I felt like a shark with no teeth.” But after some soul-searching, she came to a pivotal realization, “I don’t have to fight for a right to exist – I do exist.” From there, the piercing Black Bottom sprang forth and each track drips with the frustration, passion and conviction of an artist on a mission. Her longevity proves that she has what it takes to appeal to hipsters, punks, hip-hop heads and soul/jazz aficionados without compromising her individuality to kowtow to anyone’s expectations. The uninitiated may have discovered Tamar-kali when she appeared in James Spooner’s award-winning Afro-Punk documentary, with clips of her incendiary performances putting the world on notice to her unsung talent. Others saw her dynamic energy support artists like Fishbone and OutKast on the group’s acclaimed sophomore album, ATLiens. A whole new audience will feel her full force when Black Bottom her first full length releasehits the streets this summer. The cathartic, orgasmic emotion Tamar-kali brings with every song leaves her peerless above or underground. One thing to remember with Tamar-kali’s sound is, as with any good piece of drama, there’s a twist. Nothing is exactly as it appears and by the time you discover the trickery, you’re uncontrollably writhing your hips and pumping your fists in the air. As she says in the pulsating “Warrior Bones,” “These warrior bones ache for revolution/but the people ain’t ready.” How can anyone be ready for the aural assault Tamar-kali brings? For warriors and lovers alike, the thrill of the unexpected makes her music all the more necessary.
event::tags 21+
11:10 PM
to 12:10 AM
Big K.R.I.T.
86 schedule::attendees
Location
Billboard Bungalow @ Buffalo Billiards
eventtype Music
Artists Big K.R.I.T.
event::about Imagine Kanye West being born and raised in Meridian, Mississippi. Now imagine him being produced by Organized Noize. That imagery would create music almost identical to the Crooked Letter state’s next hip-hop heavyweight, Big K.R.IT (King remembered in time). The 24-year-old rapper slash producer defied the odds of both his personal life and hip-hop’s current landscape to be the most in-demand and respected rookie on the Cinematic Music Group/Def Jam Records roster. Rapping since twelve-years-old and producing from age 14, KRIT personifies the term Student of the Game. Being a product of one of the smallest cities below the Mason Dixon line the young MC didn’t have the financial means required to purchase tracks and studio time. So K.R.I.T took a much more economical approach and began mastering the MTV Music Generator on his Playstation. Wanting to elevate his sonic craft he then studied local friends who were a bit more advanced in certain areas of production, or sit for hours and watch an engineer homie mix a song. On the lyrical side, Big K.R.I.T kept an ear bent to the cadence and profound pronunciation of great orators like the Notorious B.I.G, Tupac and Pimp C. The Mississippi eagle also bathed in the classic compositions of legendary teams like OutKast and 8ball and MJG. “These guys influenced me because they rapped about what they knew about and they kept it 100,” says K.R.I.T. “Even like an Organized Noize––they stayed true to what they did and branded a sound. So they influenced me to stay true to myself and rap about what I know about.” Instead of making the mistake many a young artist in search of an identity commit––becoming a Xerox copy of their influences–– K.R.I.T developed his own sound. That he was raised on his parents’ soul music (Bobby Womack, Willie Hutch) explains why his production comes rich with rolling percussion, smooth yet potent baselines and keys that are sugar cane sweet. It’s homemade molasses in stereo. With a perfect self-produced score as the backdrop, K.R.I.T uses a fluid and personable flow to captivatingly give his own Merridian, Mississippi narrative, complete with entertaining quips, steely confidence and food for thought. During a time when southern MCs succeed by hanging their hat on their drug dealing history or street lord affiliation, whether authentic or fictitious, K.R.I.T.’s true-to-self approach is a courageous one. “People wanna hear relatable music––something not so far from their every day,” he says, before adding. “A lot of times people get caught up in making a hit and it isn’t timeless because it doesn’t serve a purpose. If I have a voice and the opportunity to speak to millions of people I at least have to say something important.” The Big K.R.I.T. formula was not only pure it was undeniable. His underground ascendance began in 2005 when an Atlanta DJ placed his song “We Gon’ Hate” on their mixtape without request. Feeling validated K.R.I.T decided to put 100% into upgrading his music dreams to reality. The next year he would drop out of Meridian Community College and move to Atlanta. In the peach state, K.R.I.T. would get a crash course in industry biz. Whether it was selling discounted beats to local artists, engineering their sessions and/or mixing their songs–––being that he was talented at more than just beat making––K.R.I.T did it to make ends meet. After a few years of releasing underground music K.R.I.T.’s music started to catch peoples attention, allowing him to entertain the countless music execs and managers who expressed interest in him throughout his years in Atlanta’s underground. One of those interested was Jon “Shipes” Shapiro, head of Cinematic Music Group (Sean Kingston, Nipsey Hussle). The two agreed on a deal in January 2010 and set forth to turn B.K into the next hip-hop superstar. According to Shipes K.R.I.T.’s palpability makes his market potential a no-brainer: “In real life he’s just a kid from a small town whose music is phenomenal.” K.R.I.T. then went to work on his Cinematic Music Group debut, the street album K.R.I.T. Wuz Here. The underground opus that birthed gems like the trunk rattler “Country Shit,” poignant “Children of The World” and irresistible Devin The Dude assisted “Moon & Stars” snatched the attention of many hip-hop heads; none more important than former 50 Cent manager and G-Unit Records President Sha Money XL. Upon receiving an early preview of K.R.I.T. Wuz Here, Sha was “blown away.” So once the veteran exec landed a position at Def Jam as Senior VP of A&R last April he made sure his first signee was K.R.I.T. Though at the time the Mississippi gem’s John Hancock was also being sought aggressively by other labels, K.R.I.T. chose the exec with the most enthusiasm for his music. “Sha just kept saying ‘I love this! I believe in it,’” tells K.R.I.T. “He was just so adamant about it.” Now, the rap game has received a breath of country fresh air: an artist that insists on remaining an individual and feeding his growing audience with feel-good rhythms and “rhymes with morals.” Big K.R.I.T. is in fact The Truth. Within a month of acquiring his deal he was not only critically acclaimed and courted for interviews by media giants like XXL, The Source, Rapradar.com and MTV.com, he gained fans in his own peer group––from buzzing newbies (Wiz Khalifa, Currensy and Smoke Dza) to living legends (Ludacris, Bun B). Today whether its hip-hop lovers in the skyscraping offices of Def Jam or those in the small town of Meridian, MS, they’re all feeling the synergy being churned by the birth of rap’s next royalty. So until Mr. King Remembered In Time releases his 2011 Def Jam debut all hip-hop can do is witness a reign on the rise.
event::tags 21+
12:00 AM
to 1:00 AM
Invincible + Waajeed
9 schedule::attendees
Location
Karma Lounge
12:00 AM
to 1:00 AM
Someone Still Loves You Boris Yeltsin
210 schedule::attendees
Location
The Parish
eventtype Music
event::about Let It Sway isn't just the title of Someone Still Loves You Boris Yelstin's third full-length -- it's a philosophy that ultimately helped save the band. After enduring numerous tension-filled sessions while self-recording 2008's Pershing, the band members decided it would be best to relinquish control over production and pursue new options when it came time to record their next album. "With Pershing we tried to micromanage our sound and it wasn't a fun process," recalls drummer/vocalist Phil Dickey. "So for the new record it seemed like a good idea to try something we've never tried before." Plus, as guitarist/vocalist John Cardwell adds, "It just seems lazy to not want to make the best-sounding record possible." Not knowing which producer to contact, they began their search by reaching out to Death Cab For Cutie guitarist and respected engineer Chris Walla -- a fan and friend of SSLYBY since the release of 2005's Broom -- to see if he had any recommendations. Unexpectedly, Walla quickly replied he had the perfect person in mind -- himself. And so, at his suggestion, SSLYBY made the trek from their hometown of Springfield, MO to Madison, WI -- home of the famed Smart Studios (Nirvana's Nevermind, Smashing Pumpkins' Gish). Working with Walla (Tegan and Sara, The Decemberists) and resident producer Beau Sorenson (Death Cab For Cutie, Sparklehorse), the band members crafted the final list of 12 songs that appear on Let It Sway. "When we got to the studio the songs were about 75 percent completed, which ended up being perfect," says guitarist Will Knauer. "It allowed them to grow naturally -- with Chris and Beau guiding the songs with sounds we wouldn't have had access to and ideas we wouldn't have thought up ourselves." The influence the producers had on shaping the finished album is especially evident on "Sink/Let it Sway," a song that Walla and Sorenson helped sculpt from ideas, fragments, and four different demo versions into a complete whole, as well as "In Pairs," a short, infectious track the band had never played together until Walla heard the opening riff while setting up mics and exclaimed "We have to record it!" "For the first time, the goal was to write good songs and not worry about how they were going to be produced," says Dickey. "We trusted Chris and Beau 100 percent." That faith was certainly not misplaced, as Let It Sway takes cues from the band's quiet Broom-era bedroom recordings and couples them with the polished sound of Pershing to create a whole new aesthetic most evident on songs like album opener "Back in the Saddle" and the slow burner "Stuart Gets Lost Dans Le Metro." Ironically, despite its high-profile studio origin, the record has a more authentic and "live-sounding" feel than if the group had recorded at home. "We generally tracked one song a day and just used the best performances -- even if there were little flubs," reveals Dickey. "Chris and Beau decided to do it that way, which is good because we're perfectionists and would probably still be recording the album today." In the end, the circumstances surrounding the making of the record -- in which the band rode bikes to the studio each morning and slept on the floor of Sorenson's home (while Walla inhabited a tent in the backyard) -- was exactly the kind of environment SSLYBY needed to recapture the essence of what it is to be a band. "Recording the album reminded me of how everything was when we first started playing together," says Dickey. "Everything about making music with your friends seemed fun and perfect all over again." As Someone Still Loves You Boris Yeltsin learned firsthand, when pressure is mounting, sometimes you just gotta Let It Sway.
event::tags 21+
12:00 AM
to 12:45 AM
Vertigone & Trystyl
2 schedule::attendees
Location
The Liberty
eventtype Unofficial Music
Speaker/Artist(s) Info
Vertigone & Trystyl
event::about
The Midwest Music Foundation is proud to present the MidCoast Takeover, March 18th and 19th, 12pm-2am, at The Liberty showcasing over 30 acts from Kansas City, Lawrence, and the Midwest region.Partnering with Midwestern Indie label The Record Machine, music magazines PopWreckoning and INK, and Kansas City’s premiere live music venues The Record Bar, Crosstown Station, and The Riot Room, MidCoast Takeover will bring artists from Kansas City and the region to the national stage at South by Southwest.
Sponsored by Kansas City’s Boulevard Brewing Company, (available on tap throughout the event) MidCoast Takeover promises two days of music, mayhem, and general debauchery-the definitive Midwestern musical throw down.
The Midwest Music Foundation is proud to support the DIY spirit of Kansas City’s intrepid and inspired music community. Up from the gut, out from the middle, we are the sound of the heart of American music.
Website http://www.midcoasttakeover.com/
12:15 AM
to 1:15 AM
Gangrene (Alchemist & Oh No)
26 schedule::attendees
Location
Fuze
eventtype Music
Artists Gangrene (Alchemist & Oh No)
event::about In the early 90s, The Alchemist was inspired by street level hip-hop at a young age, but his surroundings differed starkly from those surrounding his favorite MCs. Seeing beyond the glimmering façade of his Beverly Hills neighborhood, he sought mentors who would expose him to a different reality. Cypress Hill's DJ Muggs kept him grounded under his tutelage, schooling him on the use of the ASR-10 sampler. Muggs eventually began to pass on work to the young producer/MC who landed his first beats on Mobb Deep's Murda Muzik. After visiting, Al felt more home in the cramped quarters of NYC and made the trans-continental leap of faith in order to better acquaint himself with the environment that had birthed hip-hop culture and he thrived amongst it. His solo debut, 1st Infantry, was a veritable who's-who of mean-mugging rhyme spitters like The Lox, Mobb Deep, and The Game and it served as the red carpet that introduced Al as a formidable rhyme teller himself. Meanwhile, in Oxnard, Stones Throw Records had just gotten off the ground, bolstered by the success of their premier release, Lootpack's Soundpieces: Da Antidote. Lootpack member and Stones Throw exec Madlib had tapped his younger brother for a few verses, and the fledgling rapper/beatmaker went by Oh No. His subsequent releases on the label, 2004's The Disrupt and 2006's Exodus into Unheard Rhythms, were later met with a great deal of acclaim. Oh No cemented his status as one of the most forward thinking instrumentalists and lyricists making hip-hop with the release of Dr. No's Oxperiment, a concept record that lifted samples strictly from Middle Eastern and Mediterranean vinyl. Three years after the creative mutagen was introduced, the Alchemist and Oh No stand upon a seething heap of rugged de-compositions to be released as an album titled Gutter Water on Decon. Together as Gangrene they present a dense canvas from which verses by guests Planet Asia, Raekwon, Evidence, MED, Twins Gambino, Fashawn and Roc-C leap into action alongside rhymes of their own. Oh No explains, 'Our sounds are really raw, gritty. It just worked.' Though both are life long students of the school of sampling, they're approach to doing so differed initially. Gradually breaking down analog recordings to there elements, Al and Oh have since become a force of nature, accosting beautiful pieces of music, turning them inside out and repackaging them into an ominous, pitch-colored void of thuggery. Gangrene is a hood-certified existential demonstration of creative conceptualism; creating something by taking less from more, returning an organic creation to the soil, diamonds into coal.
event::tags 18+
12:40 AM
to 1:40 AM
Schoolboy Q
3 schedule::attendees
Location
Venue 222
12:45 AM
to 1:30 AM
Les Izmore
2 schedule::attendees
Location
The Liberty
eventtype Unofficial Music
Speaker/Artist(s) Info
Les Izmore
event::about
The Midwest Music Foundation is proud to present the MidCoast Takeover, March 18th and 19th, 12pm-2am, at The Liberty showcasing over 30 acts from Kansas City, Lawrence, and the Midwest region.Partnering with Midwestern Indie label The Record Machine, music magazines PopWreckoning and INK, and Kansas City’s premiere live music venues The Record Bar, Crosstown Station, and The Riot Room, MidCoast Takeover will bring artists from Kansas City and the region to the national stage at South by Southwest.
Sponsored by Kansas City’s Boulevard Brewing Company, (available on tap throughout the event) MidCoast Takeover promises two days of music, mayhem, and general debauchery-the definitive Midwestern musical throw down.
The Midwest Music Foundation is proud to support the DIY spirit of Kansas City’s intrepid and inspired music community. Up from the gut, out from the middle, we are the sound of the heart of American music.
Website http://www.midcoasttakeover.com/
1:00 AM
to 2:00 AM
Jean Grae
32 schedule::attendees
Location
Karma Lounge
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