me::title_else
My Schedule
3:00 PM
to 4:00 PM
Nikon's D-SLR Photo, Video & Music Meet Up
12 schedule::attendees
Location
Austin Convention Center, Exhibit Hall 3-4
event::about Do you make music videos? If so, this is the Meet Up for you. We are calling all music videographers, music editors, and musicians to come together and learn about the opportunities in this field to network and learn about shooting rock photography and video with Nikon’s latest D-SLR.
event::tags Trade Show, #SXSWMeetUp
1:00 AM
to 2:00 AM
Surfer Blood
409 schedule::attendees
Location
Emo's Main Room
eventtype Music
Artists Surfer Blood
event::about Hailing from West Palm Beach, Florida, the quintet known as Surfer Blood had a breakout year in 2010 with the release of their debut album 'Astro Coast' in January 2010. Months prior to the actual release, Surfer Blood took the CMJ music festival by storm playing an incredible 12 shows. Spending the winter months leading up to their album release, Surfer Blood criss-crossed the nation on tour supporting Japandroids and Art Brut. Never breaking straight into the new year, getting a major boost from all around rave press reviews, including a 'Best New Music' tag from Pitchfork Media, the band continued their incessant touring. This year has taken these Floridians across Europe several times, as far as Japan for Summer Sonic and Australia for Splendour in the Grass festivals; they ended out the year with a support tour for Interpol. Because of their dedication, 12 months later Astro Coast is topping several year end lists. NPR deemed them "America's best new pop band", they made Rolling Stone's "Rookies of the Year" list, Filter Magazine listed their album as #7 of the year, plus making the list of numerous others: MySpace, NME, Urban Outfitters, Rough Trade Shop. Based on the longevity that the album stayed in PopMatter's rotation, they regard it as "unfuckwithable" and PrefixMag said, "Surfer Blood is the best '90s band working today." For 2011, Surfer Blood will return with an EP of new tunes to be released in late spring. More touring will inevitably ensue.
event::tags All Ages
11:00 AM
to 12:00 PM
Handicapping SXSW Showcases
31 schedule::attendees
Location
Austin Convention Center, Room 15
Speaker Taylor McKnight, Jon Sidel, Taylor McKnight, Ollie Hodge, Jeremy Maciak, Vincent Clery-Melin, Kevin McStravick
event::about
There are over 2000 bands playing SXSW and we'll tell you the top 10 you won't want to miss. Experienced ears ponder raw data. "The Buzz" is the industry's most elusive gem. Experts discuss how the internet can propel an artist career. Who are the "buzzbands" for this year's SXSW? Where did their buzz start and will it sustain? How is the industry world-wide adapting A&R and promotions to the changing environment of music on-line?
event::tags Other, handicapping, featured
12:30 PM
to 1:30 PM
Entrepreneurs in Music
38 schedule::attendees
Location
Austin Convention Center, Room 16B
Speaker Jonas Woost, Kevin Arnold, Eric Garland, Angel Gambino
event::about Not just musicians have talent in the music business; management companies, indie labels, niche record shops and more recently, digital music services, are all full of self made entrepreneurs who embrace the independent state of their businesses. This enthusiasm often comes at the price of long hours and initial low financial reward. Competing with the big players in the industry is often harder than anticipated. Successful business people from different areas of the music industry discuss how they manage their careers and keep up motivation in tricky times.
event::tags Other, entrepreneurs
2:00 PM
to 3:00 PM
Our Band Could Still Be Your Life
31 schedule::attendees
Location
Austin Convention Center, Room 16B
Speaker Michael Azerrad, Mookie Singerman, Merrill Garbus, Ahmed Gallab, Scott Plagenhoef, Jarrett Dougherty
event::about 2011 marks the tenth anniversary of Our Band Could Be Your Life: Scenes from the American Indie Underground 1981-1991. The book is not only still in print, but is selling more than it did in the first few years of its publication. Members of some of today's most acclaimed bands and labels discuss not only the impact of the book on their careers but the enduring legacy of the American indie scene of the '80s, and how the infrastructure and philosophy does (and sometimes doesn't) live on in today's indie world.
event::tags History of Music, ourband
3:00 PM
to 4:00 PM
Canadian Blast
167 schedule::attendees
Location
East Tent, Brush Square Park
event::about Kick off SXSW 2011 with the 6th annual Canadian Blast BBQ. Enjoy great hospitality and music by some of Canada’s best emerging indie acts. Join us for live performances by: Buck 65 with Jenn Grant, Karkwa, P.S. I Love You, Diamond Rings, More Or Les, Imaginary Cities. Meet ‘n Greet and find out about all the Canadian talent showcasing this year, including the line-up for Canada House Thurs-Sat – at Paradise Cafe, 6th & Trinity, with daytime Canadian private shows 12-6pm and official SXSW Canadian evening showcases. Learn more at www.canadianblast.com.
8:00 PM
to 9:00 PM
Shit Horse
18 schedule::attendees
Location
Habana Bar
eventtype Music
Artists Shit Horse
event::about Shit Horse began as a street performing "guerrilla" style attack band. They played on a sidewalk during Merge Fest in Chapel Hill, NC three nights in a row with the help of a battery-powered guitar, garage-sale amplifiers, an extension chord, a small drum set, a megaphone and fireworks. The size of the crowd seemed to double every successive night. These uninvited early performances were the only form of "practicing" Shit Horse ever got. The band recorded an EP called "They Shit Horses, Don't They?" on a 4-track tape recorder. After all of the music tracks were done live, Danny Mason showed up and invented all of the lyrics on the spot, earning him the nickname Danny "Magic". He later had to listen to the finished recording and memorize his own words. While some (incorrectly) consider Shit Horse a gimmick or perhaps a novelty act, others like Tom Ravenscroft (son of the late great John Peel) of BBC6 have embraced the album. The first two-three songs of any live Shit Horse performance are almost always met with confusion which eventually dissolves into ecstatic enthusiasm.
event::tags 21+
8:10 PM
to 9:10 PM
10:00 PM
to 11:00 PM
Li'l Cap'n Travis
35 schedule::attendees
Location
Momo's
eventtype Music
Artists Li'l Cap'n Travis
event::about Old friend, ‘tis been nigh on to ten or eleven years since Austin’s Li’l Cap’n Travis shoved its splintered craft off on a treacherous audio odyssey of country-style portions. 2011 finds LCT once again hunkered down in the ice caves on the outskirts of town conjuring the follow up to 2007’s mystical, masterful “Twilight on Sometimes Island”, the Li’l Cap’n's sound encompassing otherworldly honky-tonk, tear-filled handclaps, strange fuzz-blasted tales and basement epics. The diabolical roqueros of LCT continue to conduct live concert raids into woolly outposts in the heart of Comancheria—Marfa, TX, Norman, OK and Big D to name a few, not to mention mythical down-home throedowns on the weathered stages of Austin. Recent times have also found members of LCT lending cold, efficient expertise to the likes of Bill Callahan, Bruce Robison, the Lonesome Heroes, the North American motion picture industry, high-stakes table tennis and the Stone River Boys, only to reconvene invigorated, rowdy and bolstered, yet not unwary of the dangers that lay just beyond the palisaded plains.
event::tags 18+
10:00 PM
to 11:00 PM
The Vaccines
243 schedule::attendees
Location
Club de Ville
10:00 PM
to 11:00 PM
Wolf Gang
76 schedule::attendees
Location
Latitude 30
11:00 PM
to 12:00 AM
Gold Panda
217 schedule::attendees
Location
Mohawk
eventtype Music
Artists Gold Panda
event::about A culmination of years of work spent refining his sui generis sound, Gold Panda’s eagerly awaited debut album is finally here. An artist at ease traversing genre boundaries in search of new auditory frontiers - whether mixing dissected Hip Hop beats or the pulsating flourishes of minimal Techno - this apropos release will cement the foundations laid by previous output and visions whilst expanding his canon to unparalleled limits. As electronic music gradually arcs into a period of unprecedented successes, Lucky Shiner pits GP firmly at the forefront of a new wave of artists unafraid to challenge preconceptions of what music can be. Mixed by Simian Mobile Disco’s sonic veteran James Shaw and recorded in two session spent in the shady retreat of the English countryside - at his Aunt and Uncle’s Essex home - after, as GP explains “they went away over Christmas for two weeks and asked me to look after their dog. I’d walk Daisy in the morning and then make tunes till she pestered me to take her out again, I’d bounce down what I’d done, stick my headphones on and walk her; get ideas and repeat the process.” The end result is an album as influenced by family as it is by the quickly flashing topography that stretches out of train windows. GP’s mesmerising attention to sound and detail means each beat resonates as past, reflects the present and looks forwards to the potential futures of the individual; listener and artist alike. Originally hailing from Chelmsford, Essex, and having spent the early part of his career as remixer du jour for the likes of Bloc Party, Health, Telepathe, Little Boots and Simian Mobile Disco, Gold Panda’s ascent to the forefront of contemporary electronic music has been steadily meteoric. Nominated as one of the BBC’s sound of 2010 nominees, shows around the world with Caribou, Health, SMD and more to come on his own in the UK and the US with Autolux, a cover star in Japan, three sold out E.P’s and a raft of praise and hyperbole from the mouths that matter (Pitchfork, NME, The Guardian amongst them) only tells half the story however. Lucky Shiner's the piece that completes the picture. Originating in crystal clear vision, the nuance and frenetic cadence of life and the mind’s constant disequilibrium means its final realisation stands as a product that’ll provoke thought as much as enjoyment; pathos as much as praise. “Lots of factors affected the way it came together.“ Gold Panda explains, “touring, mixing, moving house and splitting with a girlfriend. Family, friends and lovers related, places I‘ve never been”. Decamping to an idyllic retreat also means the album bears trademarks of a pastorally hued Englishness, whist’s also coloured by GP’s two years spent studying Japanese culture, language and history at the School of Oriental and Asian studies in Japan. ‘You’, ‘Parents’ (featuring a field recording of GP helping his grandma push a wheelbarrow in the garden ), ‘Marriage’. Lucky Shiner overflows with life. Disengaging with the need for vocal, GP intimates, makes intimate idea’s immeasurably expressive and does so whilst always retaining an unfettered ear for melody. “I didn’t want to write ‘beats’” he says about the album, “I didn’t want bangers. I wanted songs with structure.” With, as he say’s, “two tracks made from a broken Yamaha organ bought for 99p off Ebay. A lot of the drum sounds just vinyl crackle turned really loud”, and one featuring almost solely guitar, “I don’t play guitar”, the album’s a concrete introduction to an artist willing to slip mercury like through constraints of genre, form and concept. And the title’s origins? “Lucky Shiner is my grandmothers name. Sometimes I think she knows exactly how I feel without me even mentioning anything to her.” Deeply personal then, Gold Panda‘s at odds to express that unequivocally on the album. Instead, he say‘s it “would be nice if people could hear the tracks and attach their own significance to them”. Over forty tracks eventually extricated into eleven, cohesion found through the unified fragments that “went together. I wanted a beginning, middle and end” - feelings eventually became sounds, visions graduated into awareness. Do what the artist wants and attach your own significance, if meaning is in nature indeterminate, personal experience can do ought but help.
event::tags 21+
11:00 PM
to 12:00 AM
Yeti Lane
6 schedule::attendees
Location
512 Rooftop
eventtype Music
Artists Yeti Lane
event::about After the acclaim that was heaped on their debut album earlier this year, Parisian psych-poppers Yeti Lane return with the ‘Twice’ EP. It features a re-recording of the title-track (a remix of which was recently premiered on Pitchfork) alongside three new songs. In many ways the EP represents a new beginning for the band, because they are now recording and playing live as a duo. But rather than lose their focus following the amicable departure of LoAc Carron, remaining members Ben Pleng (vocals, guitar, synths) and Charlie Boyer (drums, percussion, synths) immediately returned to the studio. It was the perfect thing to do, because here they sound reinvigorated. The polite and polished indie-pop of the album is roughed up and stretched out with bubbling analogue synths and crunching guitars. In fact Ben’s guitar playing on the EP is positively mercurial, ranging from plaintive Michael Rother-esque drones to wild wah-wah reminiscent of the late, great Eddie Hazel. Sometimes, as is the case on ‘Floating’, in the space of one song. That’s not to say they’ve forgotten the melancholy melodies which made them so adorable in the first place: ‘Speed Me Up’ is a slightly out-of-focus indie-pop gem. But it’s the closer ‘Wave’ which might just prove to be the key track; it starts like something from ‘Neu! ’75’, touches on Kraftwerk’s ‘Neon Lights’ and then builds to a tsunami of a climax unlike anything you’ve ever heard. It’s stunning and hints that Yeti Lane’s second album will be a masterpiece.
event::tags 21+
11:15 PM
to 12:15 AM
Raphael Saadiq
293 schedule::attendees
Location
Stubb's
eventtype Music
Artists Raphael Saadiq
event::about Since Raphael Saadiq's early days with the groundbreaking 80's soul trio Tony! Toni! Tone! he has carried the torch for old school R&B and in the process has established his place as one of music's most highly regarded recording artists and producers. In addition to releasing a series of critically acclaimed solo albums that have garnered multiple awards and nominations, Saadiq has also worked behind the scenes as an award winning producer, collaborator and sideman for some of music's biggest acts including D'Angelo, John Legend, Joss Stone, The Roots, A Tribe Called Quest, Stevie Wonder, the Bee Gees, The Isley Brothers, Mary J. Blige, TLC, Whitney Houston, Snoop Dogg, Earth, Wind and Fire and more. Now, at the peak of his creativity, Raphael Saadiq has announced the release of his fifth studio album Stone Rollin' on May 10, 2011 on Columbia Records. www.raphaelsaadiq.com
event::tags All
12:00 AM
to 1:00 AM
Colour Revolt
68 schedule::attendees
Location
Lamberts
eventtype Music
Artists Colour Revolt
event::about Pretty much every band in history has had internal conflict, or members leave over some such inter-band strife. Not every band is able to push past that and create some of their most personal and cohesive material to date. Two years after the release of their full length 2008 debut, Colour Revolt –core members Jesse Coppenbarger and Sean Kirkpatrick -- return with their sophomore album “The Cradle.” “The Cradle” is unashamedly candid, and Coppenbarger and Kirkpatrick have no problem pulling back the curtain on the band’s past life and skeletons. In songs like “8 Years” and “Our Names,” the band explores new areas of their songwriting, while their storytelling style vents through personal issues and finds characters like “Carol” in “Reno.” They reveal the private moments of a life on tour and at home in “8 Years,” while the guitars in “She Don’t Talk” mirror Television and Elvis Costello. Brooks Tipton (keys) and Kirkpatrick’s ethereal tones swirl in the background of woven harmonies in the dynamic, pounding march of “Heartbeat” and “Mona Lisa.” Vocal harmonies, infectious melodies, and incessant drums pervade throughout the entire record. It’s evident that Coppenbarger and Kirkpatrick are finding the pulse of honest, brutal songwriting. With studio time booked a month away at Echo Mountain Studios in Asheville, NC, Coppenbarger (Vocals, guitar) and Kirkpatrick (Guitar, vocals) recruited Daniel Davison to add his raw drum style, and Tipton was asked to man the Farfisa, Rhodes and Casios. Producer Hank Sullivant (MGMT, The Whigs) rounded out the lineup on bass. They had a goal to record 11 songs live in 7 days, though the band had never fully played together until a week before the recording session. Sean and Jesse had demoed 20 songs in 2009 and sent 15 to the new band. They met for a week in Jackson, MS and rehearsed in an abandoned trucking company warehouse, hacking through the record song-by-song and played a couple shows prior to the session to work out any nerves. The album reached its full potential after Clay Jones (Modest Mouse), who produced the band’s first record, mixed the 2” tape recordings. In January of 2010, the band created their own imprint, New Fear, under their manager’s (Dualtone) label for the release, allowing them more ownership and creative control of their careers than ever before. As Jesse describes, “New Fear” grew out of “a collapse of interest between the band and Fat Possum. We fell apart. We felt that no one was representing us but us. We lost some brothers, survived and came out feeling like we could do this on our own and better. ‘The Cradle’ will prove that.” In 2006, Colour Revolt’s debut EP garnered national attention when it was re-released by Interscope imprint Tiny Evil. Oxford, MS-based label Fat Possum took notice, signing the band and releasing their first LP “Plunder, Beg, and Curse” in April of 2008. Praise from influential internet and print publications like Stereogum and Paste followed, with Paste naming "Plunder, Beg, and Curse" one of their top 50 releases of 2008. The band spent a year on the road following the release, including a tour with rock pioneers The Breeders and slots at Bonnaroo, Austin City Limits and Lollapalooza.
event::tags 18+
12:00 AM
to 1:00 AM
Har Mar Superstar
92 schedule::attendees
Location
Karma Lounge
eventtype Music
Artists Har Mar Superstar
event::about Like a butterfly emerging from a cocoon, Har Mar Superstar returns this fall with Dark Touches, his first album since 2004’s critically acclaimed The Handler. The new Har Mar retains his defiant sexiness and uncanny knack for irresistible R&B hooks, but fans his colorful wings in the spirit of inclusion. “Har Mar has always represented the most out-there and outrageous and in your face aspects of me,” says Sean Tillmann, the Los Angeles-based singer, songwriter and producer behind the Har Mar Superstar moniker. “I’ve gone through phases where there’s been angry Har Mar and different versions of this guy, but lately it’s all been this vibe that everyone’s included and everyone’s part of this thing, and you feel like you added something to it just by being there. It’s about me going out and getting as sweaty as possible, moving around as much as I can, and in a sense glamour-ing everybody for the night and making them feel better about themselves.” Tillmann spent the past several years playing music with his other projects – Sean Na Na and Neon Neon, whose album Stainless Style was nominated for the 2008 Mercury Music Prize. But he also found time to launch a new career as an actor and screenwriter, earning roles in the upcoming feature films Whip It (directed by Drew Barrymore, and starring Juno’s Ellen Page and Arrested Development’s Alia Shawkat) and Lovely, Still. He’s developing his own movie scripts and sitcom pilots, building on the success of his “Crappy Holidays” videos; in each of the comedic shorts – directed by Ryan Rickett and written with John Ringhoff – Tillmann suffers a different cruel twist of fate for each holiday. “I kind of got sick of the Har Mar persona for a little while,” says Tillmann. “I thought it was time to go away for a little bit, so hung up the Har Mar jacket and went back in my shell and made a new Sean Na Na album and had fun doing that and toured a lot with Neon Neon, and started these film projects with my friends out here.” But Tillmann kept writing tunes throughout those years, and after awhile he found himself feeling much the same way he had when he started Har Mar Superstar ten years ago. “I just got sick of playing guitar music again,” he says. “I realized that I really missed Har Mar.” For Dark Touches, Tillmann recorded with friends like Greg Kurstin of Los Angeles band the Bird and the Bee, rapper P.O.S. of the Rhymesayers collective, singer-songwriter Adam Green, the Faint beatmakers Clark Baechle and Jacob Thiele, and The Handler producer John Fields, whose credits include Andrew W.K., Rooney and the Jonas Brothers. The results soundtrack a retro-futuristic dance party, an exuberant pastiche of late Eighties R&B grooves, crisp synth samples, Tillmann’s soulful falsetto – part Usher, part Todd Rundgren – and cheeky lyrics describing the courtship practices of the lothario known as Har Mar Superstar. “I Got Next,” for instance, was inspired by Tillmann’s habit of asking a cute girl to sign a contract agreeing that, if she should break up with her current beau, Har Mar’s got next. “It’s like, ‘sign this contract, and I’ll come back and make out with you next time,” explains Tillmann, who co-wrote the track with his Neon Neon band mate, Bryan “Boom Bip” Hollon and Bird And The Bee singer Inara George. “I have a lot of contracts signed, on napkins and things. It’s a fun, flirtatious thing to do that feels naughty when you’re on tour.” Tillmann started writing Dark Touches a few years ago, but it took him a minute to realize that the initial ideas worked perfectly as Har Mar Superstar songs. “Tall Boy” (written with Kurstin) and “Girls Only” (written with Fields), for instance, were conceived as tunes for Britney Spears and the Cheetah Girls, respectively, but have twice the spice coming from Har Mar’s perspective. “I realized a song like ‘Girls Only’ is so much more amazing if I sing it,” he says. “I wrote that one for the Cheetah Girls a while ago, and I feel like Disney freaked out a bit after doing a Google search and seeing pictures of me performing in my underwear. I understand why they would pass on that. But it’s one of those things where I was stepping outside of myself and writing totally uninhibited for somebody else. Then, when you come back at the end of the day, you realize you wrote a Har Mar song, and there’s a light bulb that goes off and you’re like, ‘Oh yeah, that’s ME.’” Har Mar Superstar was born ten years ago, when Tillmann was living in Minneapolis, playing guitar-based indie rock. The Har Mar idea, he says, was “a reaction to boring indie rock and how people were taking themselves way too seriously, and any aspect of playing and touring was no fun after a while, and I realized if I go to a dance party and sing an R. Kelly song on a couch, the girls are going to go fucking crazy. So I started transferring that to the stage and doing more R&B-oriented songs, and it really was a no-brainer after I’d done it a few times. Like, ‘why don’t I just make this gross, why don’t I just start writing songs like that?” And as soon as I did, it was obvious, it was like a light bulb went off and I went on my way and got more and more aggressive, and the shows became this weird exercise in sexual tension, and I really learned how to play with that fire and make it work for me.” By the time Tillmann had accumulated eight or nine new tunes last year, he started to embrace the idea of making the album that would become Dark Touches. “I just kept going with it,” he says, “and this record was born.” Embracing the various threads of his personality – the humorous, the self-deprecating, the potty-mouthed, the lusty – Tillmann came up with booty-shakers even more irresistible than The Handler’s hit tune “D.U.I.” “Dope, Man,” – a sunny funk tune about the agony and ecstasy of being a weed dealer – and “Don’t Ask Don’t Tell” – co-written with his buddies Josiah Steinbrick from the band Heavens and Matthew “Cornbread” Compton of Cursive and Engine Down — are the epitome of what Tillmann calls “fun party jams with a deeper subtext or double- or triple-entendre going on in the lyrics.” Elsewhere, he’s more direct: “Gangsters Want to Cuddle Me,” with its lo-fi electro beat and a slinky Sly Stone-style horn loop, tells the story of a how a hoodie covered in puffy neon dinosaurs made Tillmann into the most huggable dude walking down Sunset Boulevard. And “Game Night” –featuring a beat supplied by Minneapolis rapper P.O.S. and a whisper verse by Adam Green — narrates the singer’s habit of inviting friends together in LA for board games and trivia. (He even hosts a popular Sunday night pub quiz at Silverlake Mexican restaurant Malo.) “Har Mar is as much ‘Crappy Holidays’ as it is an album,” says Tillmann. “The place that I’m coming from isn’t going to change, and it all really is an extension of myself. There’s not too much of a division between Har Mar and Sean at this point. I guess it sort of fulfilled the prophecy: I’ve just become my own guy, and that’s what Har Mar records present to people.” -Jenny Eliscu
event::tags 21+
12:30 AM
to 1:30 AM
12:00 PM
to 6:00 PM
Full Metal Texas
88 schedule::attendees
Location
Emo's
eventtype Unofficial Party
Speaker/Artist(s) Info
ALL PIGS MUST DIE
BETTER LEFT UNSAID
DRIVE A
ELYSION FIELDS
HULL
RWAKE
TRAP THEM
event::about
After two wildly successful years, FULL METAL TEXAS is back for a third year of bringing the heavier side of things to Austin during the music festival. This year, Yeah! Management and Branch Marketing Collective have teamed up with Brooklyn Vegan and 1000Knives to bring an even more diverse lineup. The show takes place at Emo's Inside and Outside stages on Thursday, March 17th from Noon til 6pm. 15 bands will tear apart the two stages and the first batch of confirmed acts has been announced:
10:00 PM
to 11:00 PM
Unicorn Kid
30 schedule::attendees
Location
The Phoenix
eventtype Music
Artists Unicorn Kid
event::about "...it's basically music you'd fight ninjas to in Second Life, assuming there are ninjas in Second Life. Or Timbaland if he took coding classes with Zomby. Whatever it is, it exists, it's here, it's great, and it will make you want to put Hackers at the top of your Netflix cue." RCRD LBL "Relying on the sounds of vintage computer games mixed with contemporary production stylings, the electro prodigy puts out an eccentric sound that is part dub step, part pop and part dance music. Listen to 'Dream Catcher,' his latesr brew that is pretty darn genius. ARJAN WRITES New kid on the block Unicorn Kid blasts on to the dance scene with his rather spectacular chiptune infused pop. Unicorn Kid is a musician who has helped to define a generation with his music. But determined to avoid any of the cliches that making dance music imples, Unicorn Kid's aim is to infuse his gamewave, chiptune bleeps and blips with a classic music writing style to make big pop tunes. The end reult is massive stadium anthems with rousing choruses that are both uncategorisable and also make for an exciting new sound.
event::tags 21+
10:30 PM
to 11:30 PM
Portugal. The Man
310 schedule::attendees
Location
Stubb's
12:00 AM
to 1:00 AM
Cold War Kids
539 schedule::attendees
Location
Lustre Pearl
1:00 AM
to 2:00 AM
J. Roddy Walston and the Business
57 schedule::attendees
Location
Soho Lounge
eventtype Music
event::about j roddy walston is not soft like someone born into privilege, but he does bear the hesitant scars of a man who fought his way out of a pedigree. yoked from day one to a musical lineage that included “both kinds of music – country and gospel.” he was told with regularity that it was close to sin to play either for any reason but God and Family. and that when the city comes courting with contracts and such he was expected to follow tradition…and walk away. “a weight is kindly put upon you with a heritage, and a choice comes to you in time, at that point you can just become an extension or you can get born and grow legs of you own.” it is a stranger south that j roddy walston lived in, a place where radio gave equal ear to classic rock, hell-fire evangelists, and the elephant six. powered and inspired by this mixture of art, spirit, and temptation he left home, in as much an attempt to bring his kin due credit as to rebel against the very things they had stood for. he followed a girl north enough, and landed in baltimore with a low budget sense of manifest destiny and a handful of high dollar songs. an undecided magnet started to draw to him a group of players. first came the challenge and compliment of billy gordon a musical mirror-image of j roddy and then steve colmus a sportly southpaw with a heavy snare hand. in them raw power met story and neither would compromise. they felt a city squeeze. they formed an intangible thumb, and they them turned into a fist. knowing good and well that you can predict a purebred, j roddy walston and the business opted to create a monster of the unknown, they threw what seed and egg they had into an american grab bag and hit the road. bending highways and rearranging maps to their fancy, making a different america for itself. vision casting a strange view of the states to all who would listen, their agenda seems to be some sort of anti-secession, a growing over, rather than a breaking away. a ceaseless expansion of the world where the rust belt and bible belt have been grown together to form a rock and roll quilt that knows no end. i have seen their world. they perform in a place where the hedonists and believers are cut from the same cloth. well-educated blue collars from busted boom towns forced to school when the factory option was taken away. blue bloods working for a dime instead of taking the family money. renters and owners, evangelicals and recovering Catholics, nine to fivers and the service industry. they all touch there. i stumbled through a one way door. i now have a knowledge of these beatnik/honkey tonks and i can’t seem to unknow it. in these places j roddy walston and the business is the hometown band.
event::tags 21+
12:00 PM
to 7:00 PM
12:00 PM
to 5:00 PM
Shirts For A Cure Party
108 schedule::attendees
Location
Red 7
eventtype Unofficial Party
Speaker/Artist(s) Info
Paint It Black
Fake Problems
BANE
Title Fight
Riverboat Gamblers
Dave Hause
The Flatliners
event::about
The Shirts for a Cure Project is very excited to announce this year’s SXSW day party. Donations will be collected at the door and are strong encouraged.
9:00 PM
to 10:00 PM
Gallops
16 schedule::attendees
Location
Latitude 30
eventtype Music
Artists Gallops
event::about "the jerky propulsion of Foals, the riffs-as-rhythm of Pivot and the synthy tomfoolery so beloved of Battles" NME GALLOPS are where live electronics and jagged guitars meet on the floor and thrash the s**t out of each other until neither one is left standing. Seamlessly blending organic and synthetic in a cohesive manner, while showcasing progressive song-writing without alienating the listener. This is as much for headphone listening in a dark room as it is for festival dance-offs. Taking influence from such drastically varied artists (Aphex Twin, Fugazi, Vangelis, Sun-Ra, Steve Reich...) goes someway to explaining the provocatively unique shape of this, their 5 track debut EP, which firmly stakes a claim on behalf of the 4 piece as 1 of the UK's brightest hopes. A limited edition collaborative release from 2 of the UKs most exciting DIY labels; Holy Roar (Rolo Tomassi, Pulled Apart By Horses) and Blood and Biscuits (Three Trapped Tigers, Tall Ships) this EP is destined to be one of those evasive records, which the snoozers will hunting down on e-bay in 6 months time. The 4 piece from Wrexham (yes, Wrexham!?) are a band of few words, infact this EP doesn't contain any. The closest you'll hear to vocals on the entire EP is a heavily manipulated hoover synth on 'Miami Spider' which sound as if it's been transmitted from extra terrestrials, speaking from galaxies away in an unidentifiable tongue, to steer the record to its ultimate conclusion. Much like some of our favourite pieces or art, books, films and records, the open interpretation only enhances the experience. So are GALLOPS willing to give us an insight into their stimulus, their methods, their evolution, their mindset, their intentions? "We just hope we are doing something a bit different and giving people enjoyment". We'll take that as a "no". http://www.myspace.com/thegallopsband
event::tags 21+
9:45 PM
to 10:45 PM
Ludachrist
14 schedule::attendees
Location
Mohawk Patio
eventtype Music
Artists Ludachrist
event::about The live act from the minds of Jacob (Kill The Noise, Ewun) and Nicholas (Evol Intent, Brosafari) has begun their tour for the second full length album "Talk Is Cheap". Performed w/ laptops and various midi controllers, the live set is known to most as a "mash-up set" but to those who have witnessed the show live, they know its much more than that! Expect the hear lil' wayne rappin' about sellin' crack over zz top. Only these two have the power to bring biggie smalls back from the grave and make him rhyme over techno beats. Lets not forget the highlight of the show, Metallica - "Enter Sandman" + Darude - "Sandstorm" = "Enter Sandstorm".
event::tags All Ages
11:00 PM
to 12:00 AM
Das Racist
327 schedule::attendees
Location
The Phoenix
eventtype Music
Artists Das Racist
event::about Das Racist is a weed edge/hare krishna hard core/art rap/freak folk music trio based in brooklyn, new york, comprised of queens-born himanshu kumar suri, san francisco-born victor vazquez, and queens-born ashok kondabolu. Suri and vazquez met at sarah lawrence bard pomona wesleyan art college in massachusetts, where victor was himanshu's resident advisor in a "students of color for social justice" themed freshman year dormitory. The duo later added kondabolu as a hype man and spiritual advisor. After a couple of years of occasional drunken freestyles with each other, Himanshu and Victor decided to record a couple of raps together. The first of which was called "We Made It" and immediately became a hit amongst stupid assholes who like rap from the 1990s and really want that shit to keep happening. The second track was called "Fever" and it was fucking terrible - really bad. Then they made some other songs and then they made "Combination Pizza Hut and Taco Bell" which is the one that everyone likes and then they made some other songs.
event::tags 21+
12:00 AM
to 1:00 AM
Penguin Prison
62 schedule::attendees
Location
Friends
eventtype Music
Artists Penguin Prison
event::about In addition to his expertly crafted songwriting and production, Penguin Prison has quickly become one of the most promising new live music acts around. Screaming guitar solos, James Brown-esque vocal riffs and some rather unusual dance moves are all staples of the live show, proving his talents are not just the product of studio wizardry. Dance parties break out inevitably at every performance as the band take the songs to new heights while also faithfully recreating the sounds of the recordings flawlessly.
event::tags 21+
12:00 AM
to 1:00 AM
PS I Love You
104 schedule::attendees
Location
Club de Ville
eventtype Music
Artists PS I Love You
event::about Kingston, Ontario’s quick-rising duo, PS I Love You, unleashed their brilliant debut album on October 5th, 2010 on Paper Bag Records. The ten-track album titled, Meet Me At The Muster Station, is a relentless listen that grips and pulls the listener through just under thirty-minutes of squalling Marshall feedback, searing solos, soaring melodies and rock-steady beats and will surely be considered one of this year’s finest debuts. PS I Love You have been extremely busy over the past couple of years having already released two acclaimed 7″ singles. The first was a split 7″ with friend Diamond Rings in August of 2009. Earlier this year, the band released a 7″ for ‘Starfield’ before wowing audiences at their Canadian Music Week and NXNE showcases. Recently, the band has shared the stage with the hottest indie acts including label-mates Born Ruffians as well as Japandroids and Wavves. PS I Love You was originally the solo project for multi-instrumentalist Paul Saulnier who has performed in everything from a country-rock band to an improvised noise duo. PS I Love You was intended to be his experimental, pop music outlet using guitar looping pedals, keyboards with some gadgets and gimmicks. The addition of Benjamin Nelson on drums suddenly transformed PS I Love You’s little songs into mini, soaring rock anthems.
event::tags 21+
12:00 AM
to 1:00 AM
Skrillex
134 schedule::attendees
Location
Mohawk Patio
eventtype Music
Artists Skrillex
event::about 'I've been deep into electronic music my entire life. The first records I ever owned were 'Fat of Land' by the Prodigy and 'Come To Daddy' by Aphex Twin,' raves Sonny Moore, better known as emerging electronic visionary SKRILLEX. 'Marilyn Manson and Nine Inch Nails were also early influences. I've been dabbling in making electronic tracks on programs like Fruity Loops since I was 14 years old.' SKRILLEX is part of a new generation of artists that refuse to be restricted by preconceived notions or outside expectations. 'Genre has never been important to me,' he insists. 'I've never thought about music that way.' Describing his current sound as 'a mix of dubstep, electro and glitch all thrown together,' new SKRILLEX release 'SCARY MONSTERS AND NICE SPRITES' reflects all of the above and beyond. The uplifting post-trance synth melodies of 'ALL I ASK OF YOU' (featuring the soaring vocals of Penny) stands in stark contrast to the face-melting electro bass blasts of the massive electro-dubstep hybrid 'ROCK N' ROLL (WILL TAKE YOU TO THE MOUNTAIN).' 'I've listened to so much music for so long, it's more about instinct than influence,' Moore explains about his sonic inspirations. 'Coming up, I was into a lot of artists on the Warp record label like Autechre, Squarepusher, and Aphex Twin, so SKRILLEX tracks are inclined to have more changes than most dance tracks normally have. I can draw influences from almost anything. I just like to mess around and create cool new sounds and noises. I just go where the music takes me.' After just one hugely successful independent release, 'SCARY MONSTERS AND NICE SPRITES' is the first SKRILLEX release on Big Beat Records, in conjunction with fellow electronic revolutionary Deadmau5's freshly minted Mau5trap record label. 'For years, the artists needed the record labels. I don't feel that way at all,' Moore stresses. 'SKRILLEX has been 100% independent until now. I think it's so important to be self-sufficient as artist. Working with Atlantic / Big Beat, and cooperating with Mau5trap, allows us all to work as a team and expand on what's already been built.' Following its release on Beatport, the 9-song EP dominated the charts on the site, with the title track claiming the site's #1 slot (the first time a dubstep track has ever done so), 8 songs breaking into the top 10, and multiple tracks claiming the #1 slots on several of the site's subgenre charts, including Dubstep, Electro House, Progressive House. Aside from the immediate success of 'SCARY MONSTERS AND NICE SPRITES,' SKRILLEX has also made a name for himself as a highly sought-after remixer. He's already produced officially commissioned remixes for such A-list artists as the Black Eyed Peas ('Rock That Body'), Lady Gaga ('Bad Romance' and 'Alejandro'), and La Roux ('In For The Kill'). SKRILLEX stands not only at the vanguard of electronic dance music, but the perpetually evolving new music industry as a whole. 'For me, it's important to believe in and love the music you're making. I gave away my first EP on my manager's website, just so people could hear the music,' he enthuses. 'It was downloaded by the thousands in just a couple of months, and it hasn't let up since. That's all the inspiration I need to keep making music. 'SKRILLEX can be anything I want it to be,' he continues hopefully. 'There are so many different avenues for music now. Video games, movie scores - the possibilities are endless, and I'm excited to be a part of it.' November 2010
event::tags All Ages
12:00 AM
to 1:00 AM
Wolf & Cub
26 schedule::attendees
Location
Swan Dive
eventtype Music
Artists Wolf & Cub
event::about It’s been over three years since Australian quartet Wolf & Cub broke cover with their debut album Vessels. The album was released around the world and the band found itself touring Japan, Europe, the UK, and the States, as well as appearing TV On The Radio, The Killers, Queens of the Stone Age, Wolfmother, and Primal Scream. Once their uproarious lives settled down a bit, the guys of Wolf & Cub headed back Down Under to get started on some new material. But given the restlessness at the core of Wolf & Cub’s creativity, there was never any chance things would be done the same way a second time. New influences, new gear, and new ideas necessitate a new approach. A major part of this new approach was the band’s decision to work with fellow Australian producer Chris Colonna (aka Bumblebeez), someone guaranteed to challenge the band in intense new ways. Colonna’s hip-hop cut-and-paste production style seemed an odd fit at first, and was originally shrugged off as too left of field even by the band’s standards. However they were intrigued enough to make the trek out to Colonna’s studio in his hometown of Braidwood just outside of Australia’s capital city Canberra, to work on a track they had previously demo-ed. And that’s where Science & Sorcery began. What had originally concerned the band now inspired them; there was energy in Colonna’s take on their music that they could feed off the excitement in operating outside their comfort zone. Existing demos were built on, disassembled, reconstructed, sidelined, rediscovered, and reassembled. New material was built from the ground up. During the early stages nothing was considered stable, everything had the possibility to change, evolve, disappear and be reborn. Through this process the body of work that constitutes Science & Sorcery eventually took form. Science & Sorcery is a continuation in the ever-evolving sound of Wolf & Cub. Main songwriter Joel Byrne captures the whole experience when he says; “This album was made amidst a sea of conflict; conflict within the band, between the band and Chris, within myself, so in order to actually complete it we were all forced to address and deal with certain issues that were becoming road blocks. This album is really about trying to move forward in life and overcoming those tactics you unconsciously put in place to sabotage it. It’s about fear of change. Overall, it’s not an attempt by us to change “our sound” or do something completely different from previous releases, it’s more a case of us trying to alter or experiment with the process that creates the outcome. I’ll leave it up to others to decide if the sound has gone anywhere else, because I don’t know where it was before. It’s still Wolf & Cub, just another piece of the puzzle.” Wolf & Cub is: Joel Byrne – Guitars/Vocals Wade Keighran – Bass Marvin Hammond – Drums/Percussion/Keys Joel Carey – Drums Science And Sorcery Out Now on Last Gang Records
event::tags 21+
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+
11:45 AM
to 12:45 PM
Yorkshire and North East SXSW Party
106 schedule::attendees
Location
Latitude 30
event::about The first part of Northern day sees some of the hottest bands from the region grace the stage at Latitude 30. Performances by Pulled Apart By Horses, Dinosaur Pile Up, Little Comets, David Thomas Broughton (acoustic). And Viva City. Free food and drink. For guest list: http://www.britishguestlist.info/
12:00 PM
to 1:00 PM
M for Montreal/Brooklyn Vegan
255 schedule::attendees
Location
Red Eyed Fly
event::about By far the craziest daytime party you’ll witness, the Brooklyn Vegan / M for Montreal Daytime Party brings you the best of Montreal and America under one roof, many stages and some 15 acts to rock your socks. So Montreal might be cold during winter but we sure as hell bring the bacon and light the fire when we head south.
7:00 PM
to 8:00 PM
ALTAAR
17 schedule::attendees
Location
Valhalla
eventtype Music
Artists ALTAAR
event::about ALTAAR is the new band of Andreas Tylden and Sten Ove Toft. Tylden has been the single most important character within Norwegian hardcore the last decade through now disbanded JR Ewing, and Toft is Norway's king of noise. They've assembled an all-star team for ALTAAR, consisting of Espen Hangård (KILLL/Diskord/NoPlaceToHide), Didrik Telle (Obliteration), Kenneth Lamond (JR Ewing) and sometimes Jørgen Munkeby (Shining). Together they fuse inspiration ranging from Phillip Glass to Barthory, the result is a diabolic soundscape and soundwaves which transmit emotion and atmosphere. Defying the normal boundries of genres, their music is best described as droning doom-sludge with black metal aesthetics. The result is a jaw-dropping, fantasticly intense live-experience somewhere between SUNN0))), Isis and Wolves In The Throne Room. Here's a snippet to see for yourself: http://www.youtube.com/watch?v=AS7ck_ggqWQ They are currently building a great buzz, and were one of the most acclaimed bands among foreign journalists at last year's by:larm and Øya festivals. Spinner, The Fader and CMJ Magazine were among media lauding them. Their debut cassette is due for re-release on vinyl this spring, and their debut album is due early this summer. One to watch as a coming stalwarts of Norwegian metal.
event::tags 21+
9:00 PM
to 10:00 PM
Joan of Arc
64 schedule::attendees
Location
The Parish
eventtype Music
Artists Joan of Arc
event::about Although most bands struggle with distancing themselves from the seemingly infinite number of musicians who have come before, when Joan of Arc set about writing its new record the innovative group had only one past example to compete with: itself. "I think it's harder for a band to make a tenth record, than it is to make a first record," says Tim Kinsella, who remains the one permanent member of the Joan of Arc lineup. "There is more freedom to be daring, but there is also your own standard to live up to and surpass." It's obvious that Kinsella has succeeded in doing just that. Given the unconventional music style that characterizes the group's discography, Flowers pushes new boundaries by housing 13 songs that seamlessly glide together in a unique fashion. Here, the band weaves organized, structured pieces with frequent instrumental stretches to create a very natural flow from start to finish. To complete this collection of songs, Kinsella and the latest incarnation of his live band entered the studio with no instruments, and hardly any completed songs. Instead, the group simply did what felt right, using what was available to all the musicians who had recorded there previously "pianos, acoustics, and synthesizers" to create a new batch of music after only two days. The song "Fasting"is one of Flowers' more expressive instrumentals. A consistent, electronic droning illustrates the mood and paves the way for the following track "Explain Yourself #2." This song is strikingly opposite with a concise, driving drum beat matched with random bursts of guitar and organ. Kinsella sings, "No one wants to die with a couple hundred bucks still stuck in the sock drawer." Wanting to counteract the raw emotional overtones of Boo Human, Kinsella describes Flowers as "more like sculpting a garden as a whole. Even before we started, we knew Flowers would have to be a little cooler and more formal." That's not to say this record doesn't contain the unique characteristic staples Joan of Arc is known for. On songs like "Fogbow,"Kinsella dabbles with gargling electronic synthesizers while stating the painfully obvious: "Some people try not to eat too much. Some other people try to eat enough." These contradictory associations are what Kinsella illustrates so well in Flowers. Just as the title Flowers could suggest the album is an offering for everything in life 'love and death, celebration and consolation," also could be read in the sense of growth. Birthing new forms and techniques are what make Joan of Arc who they are, and Flowers illustrates this idea of maturation perfectly. Over the course of a year in four different sessions with four different lineups, Flowers evolved into what it is now. Recorded and mixed by Graeme Gibson (Califone, The 1900s, Catfish Haven) at Chicago's Clava Studios, Flowers encapsulates the idea of improvisation and growth perfectly. This experience summarizes the spirit of Joan of Arc. It is a mentality that embraces contradictions and tears apart common musical structures only to rebuild them without a blueprint. Joan of Arc continue to succeed in doing what many strive for with a new album: creating an obscure combination of familiar, obvious ideas while sticking with the notion that "if it feels good, do it."
event::tags 21+
10:00 PM
to 11:00 PM
Jonquil
72 schedule::attendees
Location
Emo's Jr
eventtype Music
Artists Jonquil
event::about Jonquil are Hugo Manuel, Sam Hudson Scott and Robin McDiarmid, three men in their early twenties living in Oxford, England. The band rehearse and record at home in their new east Oxford studio, having recently relocated from the House of Supreme Mathematics that they shared with Foals during the writing of Total Life Forever and Jonquil’s own One Hundred Suns. All tracks continue to be produced by Manuel who also records solo under the name Chad Valley. Part of Oxford’s Blessing Force collective, Jonquil, alongside Pet Moon, Trophy Wife, Fixers, Rhosyn and Chad Valley, represent a groundswell of new creative output from the city that promises much over the coming years. From their bedroom beginnings (early release Sunny Casinos being tagged a late night listening album of creeped-out dusty attic music) via their folk-pop adolescence (second album Lions seeing out the drones and seeing in the songs) the band now emerge as a fully realized proposition, their live show honed from heavy European touring. November sees Jonquil’s first stateside release, with the One Hundred Suns EP coming out on New York’s Dovecote label (home to The Futureheads and Hooray For Earth). "Jonquil's self-proclaimed "Paul Simon's take on The Smiths" tag nails them well, however the six-piece also encompasses a level of intricacy not unlike a more subtle Dirty Projectors without the R'n'B. There's also an inclusion of a majestic summer flourish of romantic indie-pop very much in the modern tradition - similar to Beach House, Vampire Weekend or Wolf Parade. Emerging initially as the more folky end of Oxford's burgeoning math rock scene that brought us (close friends of Jonquil and recent touring partners) Foals and Youthmovies, Jonquil have constantly evolved and morphed into a very accomplished and mature band with a now newly focused, fresh output of work.” Dan Monsell // Rockfeedback // 2010
event::tags All Ages
12:00 AM
to 1:00 AM
Drag The River
32 schedule::attendees
Location
Barbarella
eventtype Music
Artists Drag The River
event::about During the early days of the Blasting Room there were many open hours for learning how to make records. Jon & Chad recorded around 20 some songs in late '96 & early '97. Whoever was in the studio that day could play. They just basically had to learn the songs in the time it took to play them. Over the next couple years those recordings were bootlegged alot. So they finally released "Hobo's Demos" and did some touring around the turn of the millennium. In March 2002 the band released "Closed" which was also on Upland/O&O records. That label is owned & operated by the All-Descendents family & co run by Joe Carducci of the legendary SST label. They put out all your favorite 80's punk records like Black Flag, the Minutemen, DESCENDENTS, Meat Puppets, FIREHOSE, Husker Du.....all those and too many more to mention. At that time Karl Alvarez left & J.J. from the NOBODYS joined and they started traveling more seriously. Later that Oct. 2002 they put out "Live at the Starlight" on Mars Motors (Jon, Flash and Chris Irwin's label) & produced their live, vinyl only release. That was a bar room idea that had little chance but actually happened. The companion to "Live at the Starlight" is "At the GREEN DOOR O.K.C." a humbling & totally different show recorded five days later in front of a less than excited crowd. The "Chicken Demos" is the sister release of "Hobo's Demos" and came out May 2004, also on Upland/O&O. "Hey Buddies" e.p. was released in Nov. '04. 6 songs co-released by the fine people at Red Sand. It was super limited to begin with and more limited when more than half of them were stolen at a show in Green Bay. Two months later a more widely available version with different art & packaging was released by Mars Motors & distro'd by suburban home records....beginning that relationship. At this point Zach went back to school and the band kept on as a four piece....but not without infrequent visits from Chad Rex who easily stepped in when available. Casey Prestwood picked up the steel & lead duties for a year and a half from Feb. 2005 thru Oct. 2006. In October 2005 Paul entered his silver years surfing in California. He was in the band a full decade. He later joined the Street Dogs Dogs from Boston & has sat in with DTR on several occasions since. Dave Barker played drums for a year and a half from the end of 2005 to the beginning or 2007. In Dec. '05 the band mixed songs for 3 different 7inches. Chris Peirce of ''technical ecstasy studio" in N.J. mixed & recorded two songs for a "THIRD WORLD INDUSTRIES" 7in. & the others were mixed at Jon's where they were recorded. the first release is from our friend Darick's label "wallride" in MD. In January '06 the band recorded a new record at the Hideaway in Sedalia Co. with Marc Benning. An all analog studio totally lost in the Colorado mountains. There is also a split with the DENTS from Boston where the bands cover each others songs. & Roger De Rok released ''gabba gabba HEY BUDDIES'' on vinyl w/ bonus songs. "It's Crazy" from Suburban Home Records came out June 6th 2006. 10 years of music for the band. January 2008 "you can't live this way." was released. Summer '08 more songs have been tracked & mixed in the garage and at the Blasting Room. Shows happened and continue to happen. Some are Jon & Chad duo shows & as many are with J.J., Zach & Chris Pierce of N.J. on drums. ....it never ends.
event::tags 21+
12:30 AM
to 1:30 AM
Hanson
130 schedule::attendees
Location
Antone's
eventtype Music
Artists Hanson
event::about Native sons of Tulsa, Oklahoma, HANSON has been making music together for nearly two decades. Thirteen years ago, their out-of-the-blue, soul-inspired brand of American pop-rock‘n’roll was introduced to the world. Unaffected by charts or fads, they’ve spent more than a decade building a community of fans connected to one another and fueled by the energy and craftsmanship of three brothers and their music. Their fifth studio album, Shout It Out, was released on June 8th 2010 on their label 3CG Records. They deliver a powerful group of soulful, melodic tunes that will leave you with a contagious sense of optimism for the future and welcomed reminiscence for American rock ‘n’ roll.
event::tags All Ages
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