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17 schedule::attendeesLocation Barbarella Patio
event::about What can I say? Music is a tool that is best served warm. These writings of the Internet can never do justice to real live music. That said, I will try to talk about a group called Sunset. Sunset is a musical ensemble founded by Bill Baird, formerly sound team, from the musical hotbed of Austin, Texas. They play folk and traditional music with a twist of electronic components, perhaps some vocal harmony. Features drums, bass, some analogue keyboards, guitars, and the general listening pleasure. Ancient forests under majestic mountains, the two sides leading your feet back to the sordid music clubs that we all know and love. Moving between the two sides, both because they are just different aspects of the same coin. Real beauty can be found in the dirt. This brings us to the music itself. That does not mean that music is one of the unpleasant dirt or other matter I talked about, but simply because the variety of the music is on a large scale, as in life itself. Which can lead to cognitive dissonance in some, but so be it. Expansive great United States of America as backdrop to their live music as extending of the american songbook. Sunset also happen as friends of mine and they are teaching me to speak and write English, and I am very grateful. Soon I will be able to understand the texts of their songs.
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The Riff Raff
19 schedule::attendeesLocation Barbarella Patio
Artists The Riff Raff
event::about The Riff Raff Biography “I’m unafraid; we’ve come of age” (Lyrics taken from ‘My Blood Is Brave’) The Riff Raff’s sound captures your attention. Masterful in combination, intelligent wordplay weaves throughout four-piece vocal harmonies, infectious melodies and intricate string/guitar arrangements. “Beautifully complex melodies, definitely the new sound” –Sir Paul McCartney Growing up in the Midlands, the prevalent Punk, Ska, and Two Tone scenes with Terry Hall and Gerry Dammers making regular appearances, left a lasting impression on The Riff Raff lead singer/songwriter Alex Thompson. Alongside John Peel’s radio show as a heavy source of inspiration. With first performances on the illegal/free party scene in the midlands, Alex went on to study at Paul McCartney’s Liverpool Music Institute where he met a writing partner in the form of vocalist/ multi-instrumentalist, Harry Robinson. Post education the pair pieced together a live band from friends including Paul Noels guitar, drums and bass with added instrumentation when required. Writing partnerships with Kelli Blanchett gave rise to a series of songs played heavily on French radio across the board. Setting up home studio the Riff Raff focused efforts on independently releasing not only there music but artists around them and taking advantage of new technology and the online social networking boom. In 2007, via the web, early recordings spread and created a buzz that found its way to BBC Radio 1’s Rob Da Bank, who became the first person ever to play an early demo of ‘So Long’ on National radio. The Riff Raff were then invited to record a live set at Maida Vale studios and further support from Huw Stephens, Colin Murray and the BBC Introducing team propelled the band into being asked to headlining Radio 1’s ‘Introducing’ stage at Glastonbury alongside The Ting Ting’s, in national press and live coverage. Performances swing from the raucous energy of ‘Fins in the Dark’ and ‘Changes Everything’, to the beautifully introspective and majestic ‘In a Recession’ with further tracks like ‘Rolling in the Mud’ and ‘NYC loves LDN’ - executed to perfection. Performances across the summer’s festivals culminated in a steamy set at Bestival, a further Maida Vale live recording and an invitation to play a coveted spot at the BBC Electric Proms in London. Following the Electric Proms the Riff Raff were offered a place on the BBC proms live touring around the UK’s top venues with Radio1. New material attracted the prestigious support of Joe Strummer’s New Music Foundation- ‘Strummerville’ and guidance from some of the most famous and prestigious names on the planet. ‘My Blood Is Brave’ was recorded at Trevor Horn’s studio SARM West and featured in the charities advertising campaign and live programme at festivals throughout the summers. The buzz around the band spreading abroad independently was inevitable, with huge support in Paris and France infiltrating Europe was a natural progression. A recent strong inclusion in Grammy Award winning director Don Letts new project based around the charities support programme for bands led to a SXSW trip to Austin Texas early in 2010. The Riff Raff travelled down from New York with East Village Radio and have gained firm support from the station with big plans to be announced in coming months. A recent invitation via Dan the Happy Mondays / Factory 151 team to record in Manchester at Moolah Rouge studios have set the project up on a new tangent for a debut album at the end of 2010. A FEW PRESS QUOTES: -COLIN MURRAY- BBC RADIO1:"DIGITAL KINGS- PERSONAL FAVOURITES’ - KRIS NEEDS @ MOJO MAGAZINE LIVE REVIEW:"A JOYOUS STORM SHOT WITH THE KIND OF DIVERSE MUSICAL STRAINS WHICH SEEM INTEGRAL TO ARTISTS AFFILIATED WITH THE STRUMMER CAMP" - SIR PAUL MC CARTNEY @ LIPA:"SPEAKING ABOUT 'SO LONG'; "BEAUTIFULLY COMPLEX MELODIES, DEFINITELY THE NEW SOUND" - HUW STEPHENS- BBC RADIO1:"ONE OF THE MAIN HIGHLIGHTS OF THE BBC INTRODUCING NEW MUSIC RADIO1 STAGE @ GLASTONBURY, TRULY ENTERTAINING AND WELL WORTH GOING TO SEE THEM LIVE, LEGENDS IN THE MAKING" - ROB DA BANK- BBC RADIO1: "IF THEY ARENT DAYTIME BY NEXT YEAR ILL EAT MY OWN PONYTAIL" - TIMEOUT MAGAZINE: "POP HOODLUMS" - THE TIMES NEWSPAPER- “ On this December day the doors of a small auditorium are flung wide open. Five young men and one woman are belting out modern ska-inflected, post punk anthems against a backdrop of leopardskin sofas, glitterballs and Native American ornaments. They are the Riff Raff, one of a growing number of young British bands who have benefited in these tough times from facilities and advice provided by Strummerville.." Websites: www.facebook.com/theriffraff www.myspace.com/therealiffraff www.twitter.com/therealriffraff
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83 schedule::attendeesLocation Barbarella Patio
event::about Beginning before they were even “old enough to drink,” as frontman/songwriter Dan Layus puts it, the band Augustana has grown up tremendously over the past three years, touring relentlessly while supporting Epic debut All the Stars and Boulevards (which reached #1 on the Billboard Heatseekers chart) and hit single “Boston.” Inking a producer before they’d been seriously tested before an audience, and finding themselves in the recording studio tracking a major-label debut before the masses knew who they were, the band had to grow into the ambitious blueprint they’d set out for themselves, and grow they did. The results of the time in the trenches are found on Can’t Love, Can’t Hurt, the band’s assured follow-up. While the record is about the experience of becoming more seasoned as a band; Layus’ songwriting grew up as well, informed by becoming a husband and father, dealing with life’s attendant challenges. “It really affected us in a positive way,” observes the pianist and native Californian, who formed the band in Illinois with pal Jared Palomar (bass) before finding the missing pieces in L.A.— Justin South (drums) and John Vincent Fredricks (keyboards/vocals), the latter of whom Layus had known for years. Chris Sachtleben (guitar), a childhood friend of Palomar’s, moved from Nashville to join up. The increased responsibility also had Layus getting more serious about his chosen profession. “I took voice lessons, we changed management and I did anything I could to get better and learn—and I’m still doing that,” he says. “I also worked a lot harder on my songwriting, and spent enough time to get it absolutely right.” While most bands spend all their lives writing a debut record—then six months on a follow-up, Augustana actually did it backwards; arriving at the label with what everyone agreed was a solid single and a few other songs, but not much else. “We had six months to write our first record,” Layus recalls. “But then all of a sudden we were on the road for three years, with really nothing to do but write and demo. I was constantly writing songs and weeding stuff out.” As a result, Can’t Love, Can’t Hurt is 10 studiously-chosen cuts of modern, melodic, piano-driven rock, informed by Layus’s love of classic pop/rock songwriters—from The Beatles to Tom Petty—and covering deeper subject matter than the band’s debut. “Still Ain’t Over You” is a love song in the context of a committed relationship, while “Dust,” with its a capella introduction, is the sound of Layus attempting to make peace with his religious upbringing. “Meet You There Someday” was inspired by Layus’s young daughter and his frequent need to leave her behind in order to tour. Augustana hit the road even before All the Stars and Boulevards was released, crisscrossing clubs with the Stereophonics before graduating to much larger venues. By the time the band was logging well-received stints opening for Snow Patrol, Dashboard Confessional and Counting Crows, “Boston” was in rotation on radio, the video was getting plays under VH1’s “You Oughta Know” banner, and the band knew it was onto something. “I didn’t realize that this wasn’t always the way it happens, to come out with your first record and get a single on pop radio,” Layus recalls, laughing. “It was hard to get any real perspective on how incredibly lucky we were to be in that position.” With “Boston” well on its way to being certified digital platinum by the RIAA, the band made appearances on The Late Show with David Letterman, The Ellen Degeneres Show and The Today Show among countless others. The band chose producer Mike Flynn to usher Can’t Love, Can’t Hurt into the world. “I think he did an incredible job in terms of getting me outside my box and really exploring the potential of the songs,” Layus recalls. “Some of these songs I had been singing the same way at shows for over a year. Then comes this producer who says, ‘I think you should try it like this.’ I could feel it, physically, when I’d go home every night, like an uncomfortable stretching sensation. But I can’t look back and see that the songs would be even close to what they are right now if I hadn’t done the stuff that Mike and I had worked on.” The result is an intensely emotional album, borne of the band’s growth, cohesion as a unit, and Layus’ newfound fatherhood. And thanks to Flynn’s spot-on production, the results are delivered winningly. “I’m so happy I actually got to say things the way I wanted to say them and how I wanted to say them,” Layus says. “We all feel really confident about it.”
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145 schedule::attendeesLocation Barbarella Patio
event::about ￼Eisley Bio 2010 THE VALLEY: a low point between peaks. That’s where the DuPree sisters who front Eisley were as they crafted their third album: Sherri enduring a failed marriage, Chauntelle - a broken engagement and Stacy - a painful break up. The only relationship that ended on their terms was the split with Warner Bros. Arising from the depths, Eisley has reappeared with new personal relationships, a new label (Equal Vision Records) and a new album completed on their own - The Valley. Promising to bring listeners through the band’s darkest and most trying times, The Valley reveals in their strength, patience and perseverance. Climbing out of heir darkest valley, Eisley has managed to put forth their greatest and most personal album yet. Sherri and Stacy's exotic harmonies soar throughout the album, stronger than ever, and the band's sublime blend of airy guitar riffs and bright piano textures provide the gorgeous melodic framework for each song; but on tracks like "Smarter" and "Sad," there's a musical aggression and emotional urgency that transports you to the moment they were written that lay bare the open wound of the broken heart. And the chilling album closer, "Ambulance," is an icy snapshot of the very moment of betrayal and abandonment. Elsewhere, there's a stately solace in the hopeful "Kind" and whimsical "Mr. Moon," and buoyant string arrangements decorate opener "The Valley" and "Watch It Die." "There's a sense of self-empowerment in the lyrics, and sometimes downright desperation," says Stacy, who, with Sherri, writes Eisley's songs. "I couldn't help but want to throw myself into these songs and try to make a point about letting something very painful go, and in the process gaining strength and being able to walk away." Of course, it's no surprise to hear Eisley's music maturing. It's been nearly four years since their last album, Combinations, was released. Chauntelle, the bands eldest member was barely old enough to drink when they released their first EP in 2003. Stacy, the youngest sister, had just turned 15. Rounding out this band’s membership are brother Weston DuPree on drums and cousin Garron DuPree on bass who add drive and precision to each composition. Their debut album, Room Noises, earned them a plethora of that most coveted "buzz" and opening spots on tours with artists like Coldplay, Snow Patrol, Mute Math, The Fray, Say Anything. Now out of industry purgatory, Eisley is excited to share their Valley stories with a legion of fans and followers who continue to frequent eisley.com each month. While acknowledging fans patience and devotion, Sherri admits that the wait may have been for the best: “It’s allowed me to step away from it all and see that - wow - it was a crazy time in my life but now it’s in the past and I’m ready to get it out to the world. I can sing the songs live now and not feel all of the heartache and pain that I went through. I sounds really dramatic but had we released it right away, I don’t even know if I would have been able to sing those songs live”. Listen and you’ll hear. The Valley is a mountain-top experience.
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The Spinto Band
70 schedule::attendeesLocation Barbarella Patio
event::about The Spinto Band have just competed their third full length album. The recordings were self-produced in their Delaware studio over the course of 2010. In the coming months they are preparing for the release of the album and an accompanying tour. In addition, the band helped create the soundtrack for the 2011 film The Beast Pageant.
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event::about You can go ahead and call Rooney's new album, Eureka, their declaration of independence. After several years trudging under the weight of a major label deal that never quite fit them right, the Los Angeles band is making a bold, fresh start: Rooney recorded and produced Eureka themselves, and will be releasing the disc June 8th on their own new label, California Dreamin' Records through Warner Music Group's Independent Label Group. The 12-track Eureka is their most mature, nuanced collection yet, and still retains their classic buoyancy and catchiness. Eleven years after they started the band as teenaged friends with a shared love of the Beatles, Cheap Trick and ELO, lead singer and guitarist Robert Schwartzman, keyboard player / vocalist Louie Stephens, guitarist / vocalist Taylor Locke, and drummer / vocalist Ned Brower have grown into a modern power-pop band in a class of their own. Over the years, they've toured with everyone from Weezer and The Strokes, winning new fans among all those audiences. 'I don't think there are any modern bands that we have much in common with,' says Locke. Though Eureka is, in many ways, a rebirth for Rooney, the independent spirit behind it is nothing new for the band, which began in 1999, when its members were still in high school. During their early years, the band self-produced and promoted a series of EPs and built themselves a massive hometown fan base by gigging as often as they could in local LA clubs. Their self-titled debut album, released in May 2003, maintained a solid presence on Billboard's New Artists chart for several months, and then shot up in 2004 following a performance on teen dramedy The O.C., known for its taste-making assortment of music from critically acclaimed new bands who had yet to make it mainstream. Slowly and steadily over the course of two years, Rooney's debut disc amassed sales of nearly 500,000 copies. They began making their second album in 2004, and in the three years that followed, they recorded three album's worth of material before finally releasing Calling The World in 2007. The problem, the band explains, was the ongoing pressure from their label, Geffen/Interscope, to come up with a hit song. Producers shuttled in and out, songs were recorded then trashed, and Rooney's members say they became increasingly discouraged. The long lag between albums may not have hurt their sales Calling The World debuted #42 on The Billboard Top 100 Albums chart and lead single 'Where Did Your Heart Go Missing' went to #1 in Germany and in the Top 10 in Italy, France, Ireland and The Netherlands - but it definitely took a toll on their morale. 'The whole culture of major labels is to just keep fucking with shit instead of getting something from an artist that's their vision and supporting it and putting it out and promoting it, the old fashioned way,' says Locke. 'We've heard our story from other bands a million times, where you've got the label telling you remix, re-record, try a different producer, try an outside songwriter, do it here, we're pushing it back to spring, back to summer, fall -- it's never-ending.' 'The pressure of always having to think about what's going to be 'the hit,'' says Schwartzman, 'and all those ideas were interfering with the process of trying to make music that felt really good and felt like it was coming from a good, true place.' Finally, last spring, Rooney parted ways with the label. The guys started recording Eureka in April of 2009, in a new studio Schwartzman built into his Los Angeles home. 'I think the biggest thing I learned working with all the different producers is that you don't need to be in a big fancy studio spending $2,000 a day to make a record that sounds great,' says Schwartzman,. 'We whittled down the list of things you need to make a record and it became a much more realistic list of things to purchase and use.' The process of writing and tracking new material happened more organically than ever before, and though Rooney were excited to be making their first album on their own, they didn't want to rush it. 'We didn't record every day of the week, and we didn't record months consistently,' says Schwartzman. 'We wrote for awhile and then we stopped and then there was more writing, and some more songs were written and recorded once we'd done the original batch of songs.' Yet they didn't want to become complacent, in the absence of outside scrutiny. 'We did try to A&R ourselves through the process -- to question the songs, the flow of the recordings, and to ask ourselves, 'Can we beat this, can we beat that?'' the singer notes. 'We didn't want to just settle for the songs we had. The thing I was most afraid of going into it wasn't 'Can we make good-sounding music?' It was, 'Can we pull out of ourselves what we need to pull out to make great music?' I think if you get too hung up on gear and everything, it's still not really about the songs and the emotion and everything that's happening. I was happy that we were actually able to say to ourselves, 'I don't think we have a first single,' as much as that was so annoying to hear all those years.'' 'Part of the fun was just indulging our influences,' says Stephens. 'One of the reasons I'm happy with the record is that I think we were able to do that in a lot of different, varied ways. 'Holding On' has kind of a [Tom] Petty vibe to the arrangement, and 'Only Friend' and 'Into the Blue' have more of a psychedelic thing that we hadn't fully done before. 'The Hunch' is kind of a balls-out rock song, and 'I Can't Get Enough' has got a little bit of a rhythmic thing.' Schwartzman admits he had Petty in mind when he was writing the song. 'I was watching Running Down a Dream, the Tom Petty documentary, and it was really inspiring,' he says. 'I didn't realize how much of Tom Petty's influences came from a lot of the stuff I really love, which is Fifties and early Sixties pop stuff, just great old songs that are simple and really straightforward. I really like that, and I love the simplicity in the storytelling and the lyric-writing. Afterward, I just wanted to sit down and write, and 'Holding On' and 'You're What I'm Looking For' came out of that.' Petty's inspiration served him well: 'Holding On,' the track that opens Eureka, is not only a classic Rooney-style sing-along, it's also the song that articulates, most directly, how the band has come to view its past, present and future. A first-person narrative, the song tells 'the story of how we met, how this band started,' describing how he moved to New York for college but soon came home just to continue with Rooney. 'And the pre-chorus talks about being wined and dined by all the managers and the lawyers and the agents,' he continues. 'And the lyric goes, 'It's just another meal, I'm fat with regret, placing my bet on me.' The music industry is such a dirty little world, and we've heard our story from bands a million times, but the song about holding on when you're on the edge of something is a wake-up call for us, about entering a new place, a new phase of our career, and breaking away.'
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event::about *** Årabrot Biography, 2010 *** Årabrot is a Norwegian noise-rock band from Haugesund, Norway. Årabrot is named after the city garbage disposal and the local authorities also found it appropriate to place a school for troubled youths there. In the same way these garbage disposals are a yeasty oasis of scents and liquids that through the years will mutate into indefinable masses, Årabrot is a band that continuously develops into something more raw and intriguing. Since starting out in 2001, Årabrot’s main core has been Kjetil Nernes (songwriter, guitar and vocals) and Vidar Evensen (drums and visuals), and in recent years noise artist Stian Skagen has been a regular on-and-off member of the band. Collaborating with producers such as Billy Anderson (Melvins, Neurosis), Emil Nikolaisen (Serena Maneesh) and Steve Albini (Nirvana, High on Fire) the band has released three full-length albums and a grotesque bouquet of singles and EPs. 2009 alone produced two critically acclaimed Eps’ ‘AbsoluteNegativism’ and ‘I Rove’, together with a double LP with side project Nernes/Skagen, and last but not least the masterpiece ‘The Brother Seed’, the latter earning lots of international attention and a Norwegian Grammy nomination. The stories surrounding Årabrot are many and we won’t waste time summarising them all, but worthy of notice is Årabrot completing a nine-day tour after vocalist Nernes blew his lung the first show, and that Nernes’ riff arm has steel implants after being manhandled by police and dog. Or that the band’s regular female roadie won a pissing contest with David Yow of The Jesus Lizard. No, now we must stop. Årabrot is about to represent for this generation what the sum of Melvins, Birthday Party and Swans was to the generation before them; a source of pleasure from both auditory and moral excesses. The band’s foundation is noise-rock, but has strong elements of industrial music and noise. In Årabrot there is also a dramatic component few other bands in history possess: histories are told and emotions are laid out in a way that’s closer to the compositional techniques of experimental film and theatre than traditional song structure. Last but not least they are drawn to the lyrics that combine elements of two of the most stimulating works of human kind: The Bible and Pornography.
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8 schedule::attendeesLocation Barbarella Patio
Artists Amber Asylum
event::about Amber Asylum is a highly-variable San Francisco-based music group that serves as a platform for composer, singer, and multi-instrumentalist Kris Force. The music is generally within the avant garde metal, neoclassical and dark ambient genres, and it tends towards the romantic, introspective, and brooding. Classical strings and female voices are the dominant instruments. Players for The Nanotear showcase at SXSW 2011 include; Leila Abdul Rauf - guitar, keys, trumpet, Sarah Rosalena Brady - Viola, RD Davies - Percussion, Kris T Force - violin, voice, Sigrid Sheie - Bass, flute, keys. When not playing with AmberAsylum Leila Abdul Rauf is a guitarist in Hammers of Misfortune, Vastum and formerly of Saros, RD Davies joins Leila in Vastum and Sigrid Sheie is the premiere organist for Hammers of Misfortune. Kris Force has contributed string arrangements, voice work to Swans, Jarboe, Neurosis among others. Discography: * Frozen in Amber (1996, Elfenblut/Misanthropy) (reissued 2003, Neurot Recordings) * The Natural Philosophy of Love (1997, Relapse Records) * Songs of Sex and Death (1998, Relapse Records) * The Supernatural Parlour Collection (2000, Relapse Records) * GardenOfLoveAutonomySuiteStillPoint 10" vinyl EP, (2005, Self Released) * Garden of Love EP, (2006, Paradigms Recordings) * Still Point (2007, Profound Lore Records) * Bitter River (2009, Profound Lore Records)
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16 schedule::attendeesLocation Barbarella Patio
Artists Worm Ouroboros
event::about Worm Ouroboros is Lorraine Rath (Amber Asylum, The Gault) on bass and vocals, Jessica Way (World Eater) on guitar and vocals, and Aesop Dekker (Ludicra, Agalloch) on drums. We set out to create music which explores the lines between fragility and strength, darkness and light, harmony and discord. Drawing inspiration from many places, including metal, doom, folk, progressive, and dark ambient genres, we seek to create a creeping, dark landscape full of murky dreams and emotions.
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26 schedule::attendeesLocation Barbarella Patio
Artists Witch Mountain
event::about Witch Mountain was formed in Portland, OR in 1997 by Rob Wrong (Iommi Stubbs, M99) and Nate "Nanotear" Carson (Point Line Plane, Two Ton Boa, Sunn0))) collaborator). By 2000, the groundwork had been laid, the demo "Homegrown Doom" was remastered and released in Europe, and Dave Hoopaugh (Iommi Stubbs, Comavoid, Towers) was brought in to be the final bass player after a string of many. Debut album ...Come the Mountain was released to critical acclaim in 2001. Man's Ruin tried to license it stateside, but they went under before it could happen. The first printing sold out in 2 months, and an expanded edition was released with bonus tracks composed for the unreleased PC/Dreamcast video game "Shrapnel". A partial list of bands Witch Mountain shared the stage with between 1997 and 2002 includes: Lost Goat, Bongzilla, Goatsnake, Acid King, Bottom, High on Fire, Spaceboy, Add-X, Village Idiot, Merde, Diesto, Wapeka, Blood Hag, Crow (Japan), Orange Goblin, Electric Wizard, YOB, Sea of Green, Dixie Witch, (men of) Porn, HC Minds, Unearthly Trance, Enemymine, Unsane, EyeHateGod, Spirit Caravan, Alabama Thunderpussy, Weedeater, Stovokor, Cuda, The Glasspack, Fireballs of Freedom, Clutch, Gunpro, Unida, Solitude Aeturnus, Unorthodox, Sour Vein, Isis, Soilent Green, Jumbo's Killcrane, Karma to Burn, Nebula, Penance, Raging Slab, Shamelady, Warhorse, Agalloch, Thrones, The Whip, etc, etc. Witch Mountain's last tour was in 2002 with Eternal Elysium from Japan. After that, a period of hibernation was in effect. Rob and Dave had children to raise and families to look after. Nate was touring constantly with PLP. In 2005, WM shook the dust off for an appearance with the mighty YOB (their last Portland gig before their own hiaturs) and Totimoshi. Seasonal gigs followed with Acid King, Atomic Bitchwax, Wolves in the Throneroom, and others. It became clear that the chemistry was better than ever, and the songs had really bloomed over time. 2006-2007 marked the return of Witch Mountain to Portland stages as a trio with new songs and veteran tone and ability. Gigs with Danava, Gargantula, Green Milk from the Planet Orange, Stovokor, Buried Blood, and old friends the Glasspack made for good times and further deafened the local audience. In 2009, Witch Mountain finally found a voice to match its mighty instrumental prowess. Uta Plotkin keeps the tunes strong and melodic, and the music sounds better than ever. With Uta in tow, WM resumed its history of gigging strong with the likes of Pentagram,Saint Vitus, Jucifer, Ludicra, Lesbian, Slough Feg and the reformed YOB. 2010 will be an auspicious year for WM as the sophomore album South of Salem has finally been recorded at Smegma studio with mega-producer Billy Anderson. Mastering has been handled by Mell Dettmer. The results speak for themselves. Oregon is a stronghold for heavy music and its fans. In the valley between YOB's cosmic doom and Red Fang's brash party rawk, there lies a mountain
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50 schedule::attendeesLocation Barbarella Patio
event::about For fourteen years the Pacific Northwest group Agalloch has carved out a multifarious sound consisting of black metal, folk, progressive rock, and ambient soundscapes that has marked them as a pioneer in the contemporary dark music scene. Their dynamic approach to metal began with the demo From Which of this Oak released in 1997. This demo exhibited a deep connection with the early recordings of bands like Ulver, In the Woods, and Katatonia. The band released one more demo before securing a three-album deal with The End Records resulting in the releases Pale Folklore (1999), The Mantle (2002), and Ashes Against the Grain (2006). In between each of these full-lengths the band pushed on the flexible boundaries they had developed around themselves through a series of limited releases that found the band experimenting with post-rock/experimental rock (The Grey EP, 2004), and neo-folk/psychedelic folk (The White EP, 2008). Beginning in early 2003 the band began performing live. Their stripped down and explosive live shows stretched from the west coast to the east coast of the US all the way through central Europe. Recently the band performed two sold out shows in Romania and was the first metal band to perform at the historical Reduta Cultural Center in Brasov. In late 2008 the band’s live performance was captured on DVD in Belgium and released under the title The Silence of Forgotten Landscapes (Shiver Records). In their eight year history of playing live Agalloch has had the pleasure of performing with such diverse groups as The Gathering, Dornenreich, Alcest, Subarachnoid Space, OvO, Satyricon, Saturnus, and many others. Such varied lineups are a testimony to the ease with which Agalloch can cross musical genres and styles. Now, after a long four year wait, Agalloch returns with their fourth full-length album Marrow of the Spirit to be released on November 23rd, 2010 through Profound Lore Records. This new record encompasses the vast musical landscape Agalloch has traversed for fourteen years and sees them continuing to stretch and enrich their sound.
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event::about Opening for Eryka Badu and Angie Stone has been the highlights of the band's young career. On both occasions Nexcyx left a crowd of almost 10,000 begging for more. Starting as a six member group they have evolved into a tightly knit, high energy, four member band with a unique sound and style. With their blend of Pop and Hip Hop sprinkled with Rock guitar, this explosive young band never met a crowd that it couldn't rock. The members, Mahalia Phillips-vocals, Andre Clarke – keyboards, Kris Clarke – Bass and Russell Padmore – Guitar honed their skills performing on the club scene in Barbados where they have become the island’s most sought after act. Nexcyx has had successful performances throughout the Caribbean and in New York. 2010 has already seen the band headline at The Bequia Music Festival, Child Fest (St.Maarten) and the recently concluded South by South West in Austin, Texas. With these successes along with their new hit single ‘On The Floor’ Nexcyx has shown that they are ready to make their mark on the international stage. The band is currently working on a five track EP scheduled to be released by year’s end.
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3 schedule::attendeesLocation Barbarella Patio
Artists The Coolness
event::about The national guard have been put on red alert for The Coolness' forthcoming SXSW appearance. With recent London shows attracting crowds of 1000+ the East London electro-riot collective have caused road blocks and carnage throughout the capital. Mayhem and chaos seem follow The Coolness everywhere they go. Infamous for wild live shows that mix the best elements of KISS, Rocky Horror, acid house and 90s rave, as well as guerrilla gigs, impromptu psychedelic jams, and mass stage invasions, a Coolness gig is must see experience. Hyped by the likes of The NME, The Evening Standard, The Guardian, DJ Magazine, Tatler and Vice Online, guests lists for the band's shows read like a who's who of London's fashionista glitterati these days. Following last year's SXSW slot at Emo's Annex, a much-talked about jam with George Clinton's backing band, and a string of outrageous music videos, MTV Iggy chose The Coolness as one of the 25 'Best New Bands In The World'. 2011 sees them ready to take their face shredding brand of electro punk to the Barbarella Patio venue on Friday with everything turned firmly up to 12. With a recently completed debut album ("Lost In A Disco") ready, expect frontman Chaz John Ross to lead The Coolness in a full-frontal assault on Texas this year. The last great rock n' roll story has arrived. Be there or beware.... Myspace http://www.myspace.com/tenderlovingcoolness Facebook http://www.facebook.com/tenderlovingcoolness Youtube http://www.youtube.com/user/tenderlovingcoolness
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11 schedule::attendeesLocation Barbarella Patio
event::about Celldweller – a hybrid fusion of aggressive electronic music combined with orchestral and rock influences. Klayton, the multi-instrumentalist artist, producer, songwriter, performer, programmer, and re-mixer, is the mastermind behind it all. Known worldwide for pioneering new sounds and methods for creating his tracks, Klayton continues to generate music that resonates and relates to both fans and the entertainment industry worldwide. His music has been heard by millions between internet play and his placements in film, T.V., and video games.
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9 schedule::attendeesLocation Barbarella Patio
Artists Torpedo Boyz
event::about ATTENTION! Extremely Funky Break Beat Alarm!!! The TORPEDO BOYZ can’t be stopped! Berlin is not a place where things happen according to the normal rules. And Berlin’s Torpedo Boyz — winners of the 2009 Independent Music Award for best dance/electronica album for Cum On Feel the Boyz — are proof of that. Just like the city’s legendary nightlife — where fresh ideas instantly become clubland reality and the scene maintains its edge with shape-shifting spontaneity — the Torpedo Boyz came into existence as a spark of an idea and, as their new album, Return of the Ausländers, shows, they continue to constantly evolve. But we’re getting ahead of ourselves. It all began back in 2004. That’s when Kentastic — a pop DJ who also fronted an indie band — and former house DJ Rollin Hand began screwing around with some beats during a recording session and came up with the rowdy, rambunctious “Gimme a Bassline!” Initially released as a one-off 12-inch, the track immediately struck a chord, quickly climbing into the Top Five of the German club charts. Soon after, New York’s Ursula 1000 included the track on his Ursadelica compilation, released by Thievery Corporation’s ESL label, and Puma snapped up the tune for a major TV campaign. Their musicianship, infectious energy, and zany outfits helped take what was already becoming a global phenomenon to the next level. In rejecting the rules of electronic-production-duo-by-the-numbers, the Boyz won over audiences everywhere they played, from Canada’s Whistler to Moscow and back home in legendary Berlin venues like Tresor. Word of their incredible live show spread along with their tunes, and in 2009 the band was invited to tour Asia and Spain. Alongside these full-band gigs, Kentastic continued to spread the funk Torpedo style with DJ appearances, jetting around the world to spin in the UK, France, Israel, Portugal, Korea, China, Holland, Russia, Spain, Bulgaria, Hungary, Japan, Ukraine, Slovakia, Poland, Canada, and all across Germany. Which finally brings us up to the present, and the Torpedo Boyz’ third LP, Return of the Ausländers. The title is a rye comment on the Boyz’ allencompassing philosophy, with their lyrics in Japanese, English and German, and their musical miscegeny blurring borders between genres. The new record once again defies expectations, bringing in new sounds—like Returner’s Krautrock influenced “Maschinenwelt” and Daisuke’s exposing “Ich bin Ausländer” (“I’m a Foreigner”). Davey Woodward from the Experimental Pop Band turns up on “That Is So Beautiful.” The tune “Your Input Is Not Correct!” includes a sample of a Moscow hotel’s automated wake-up call system recorded while out on tour; In “Fat Man’s Walk” Returner celebrates a liberating rejoinder to Randy Newman’s “Short People.” Sure, the Torpedo Boyz will always throw down plenty of danceable break beats, but their irrepressible sense of fun means you’ll also hear totally unexpected sounds — a nod to Kentastic’s indie pop background here, the jarring cut n’ paste mania of “Kokoro Ni Rock’n’Roll” there. In short, the new album is anything but a halfassed return to the well. It’s an upbeat, breaktastic record ready to get the party started on your block—whether your block is in Brooklyn, Bristol, or Beijing.
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28 schedule::attendeesLocation Barbarella Patio
Artists Chateau Marmont
event::about Four Frenchmen, childhood friends, united in their love of synth music: dare we say it’s a tale of mystery and imagination, of friendship and self-discovery? Chateau Marmont’s story is half Stand By Me, half Solaris, half Logan’s Run and, yes, it doesn’t add up. They’ve known each other since forever, as children stranded in a hostile landscape dominated by hypertrophied bullies and pathetic louts. They found themselves and each other through synthetic music, so bright and remote in its promises of infinity and eternal bliss, so hard, cold and disturbing when its outlook turns dystopian. Chateau Marmont remixed Poney Poney, Koko Von Napoo, Midnight Juggernauts and most recently La Roux, Heartsrevolution and Ladyhawke. Solar Apex is their first record. They come from a time when people still believed in the future. A time when the proto French Touch, helmed by Space and Jean-Michel Jarre, dominated the airwaves. The Alan Parsons Project and classic French soundtracks (think Francis Lai) still radiate through their music. And their name is resonant not of faded glories, awkward suicides, scuffed gold stars and velvet-roped junkies, but of widescreen romance, vintage melancholia and studied postures.
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10 schedule::attendeesLocation Barbarella Patio
event::about Hailing from Elva (a tiny, then-Soviet occupied town of 5,000 people in the forest) Estonia, Kerli always dreamed she would leave and experience the world. Her musical journey took her to the Baltics where she won an American Idol-style talent competition at 14, which ultimately led to her signing at Island Records. Kerli's single 'Walking On Air' was downloaded over 550,000 times during iTunes' "Single of the Week" promotion in July 2008 the largest in iTunes history. In a unique partnership, Kerli and AOL teamed up to debut her electro-pop track 'Army Of Love', produced by Jean Baptiste (Black Eyed Peas, Rihanna, Beyonce), and co-written by Kerli. Kerli notes, 'This song and video really set the tone for my new album. I am very happy that I can launch it with such a strong partnership with AOL and reach so many people. I hope that the message - creating an Army of Love that will bring Integrity, Love and Unity into the world -- will inspire young people in all areas of their lives.' Kerli's vision of Integrity, Love, Unity permeates her writing process and her life. She launched a community four years ago to live these concepts herself and with her fans. These three components are represented by the 'moon dots' that she and her fans (Moon Children) wear. For more info on the Moon Children, check out www.iamamoonchild.net. Kerli describes her first cd as the 'struggle' while the new release will be about 'overcoming that struggle, and going through the tunnel and into the light.' She explains, 'The first album was really all about painful and introverted experiences, while this album really reflects how one goes through that pain and rises above it, to be the best that you can be.'
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5 schedule::attendeesLocation Barbarella Patio
event::about COLOMBIAN ELECTRO DUB CUMBIA ACT MONARETA “Their infectious cumbia-laden mix makes it impossible to stand still.” - KCRW “The Colombian-born team have been churning out their style of danceable electro-cumbia and breakbeat since 2000, influenced both by their home country and Brooklyn's electro scene... and just as cutting edge.” - RCRD LBL “Colombia's most progressive deejay duo of the moment.” - NY DAILY NEWS “For Monareta, nods to forró, spectral dub and super-retarded ’80s synth-pop show off versatility that would most certainly bloom into Day-Glo intensity with a booming system and a sweaty dance floor.” – TIME OUT NEW YORK New Album ‘Fried Speakers’ Is Set For Release October 12th; It Is The Follow-Up To Critically-Acclaimed Album ‘Picotero’ Which Was Featured In High-Profile Placements From “Pride & Glory” (Warner Pictures) To “Ugly Betty” (ABC) Just This Year, Monareta Has Rocked Major Stages From Colombia’s Rock Al Parque Festival To Belgium’s Antilliaanse Festival And From Stockholm To Berlin Colombian electronica act Monareta is back with new album ‘Fried Speakers’ out October 12th. The group drew critical raves for their previous release, ‘Picotero,’ with tracks licensed to high-profile productions like Warner Pictures film “Pride & Glory” and the ABC hit drama “Ugly Betty.” They packed rooms with tours from SXSW to Los Angeles and Denver to New York City. Just in the past year, Monareta has taken their show to the globe, from Colombia’s Rock Al Parque Festival to Belgium’s Antilliaanse Festival and from Stockholm to Berlin. With their new album, Monareta elevates their exploration of dub and cumbia sounds to the next level. “On ‘Fried Speakers,’ we head deep into the genre of rocksteady, paying tribute to the Jamaican icon Alton Ellis, who passed away recently,” says lead vocalist/guitarist Andres Martinez. “We also experimented with styles like merecumbe, which is an awesome fusion of cumbia and the Dominican genre merengue. Our recording process now involves an in-studio drummer, Sergio Medina, and I’ve also been putting the guitars into over-drive, re-discovering my post-punk days of the 90s.” “The overall concept is similar to ‘Picotero,” Martinez continues. “A balance of lyrical and instrumental songs with the goal of making an album that can serve as a soundtrack for any road, sea, jungle… or city. Inspiration for sounds on the album range from fish frying on a pan to a crazy distorted speaker and a freaky human to the vibrations of the Walls of Jericho.” Different aspects of the sea play a large role throughout ‘Fried Speakers.’ “The tracks ‘El Combate del Parlante’ and ‘Hotel Eskal’ are inspired by the lives of two close friends of the band that have what we consider to be one of the most admirable professions: fishermen,” Martinez says. “Every morning, these guys set out for the fight of their life.” Martinez attributes particular Spanish influence to the two tracks “Las Rutas del Mar” and “Gitana Llorana.” “‘Las Rutas del Mar” was inspired by an old love that I had when I was living in the coastal city of Valencia, Spain,” he explains. “I felt sort of trapped in the space within the Mediterranean Sea, the Atlantic, and Pacific coasts. There are such strong currents, yet no where to really get to.” “‘Gitana Llorana’ digs back into history, tracing the adventures of the first ‘cantadores ida y vuelta,’ Spanish gypsies who came to the original Colombian colony,” Martinez says. “When they returned to Spain, they had created a new flamenco style called ‘Colombiana.’ This song pays tribute to that era.’” Songs like title track “Fried Speaker” and “Arrastrado” were developed and recorded in live studio jams between the group’s studios in Bogota and Brooklyn. The intent was to capture the raw energy and atmospheric sounds of the space. Monareta is at once intelligent and danceable—a unique fusion of styles refined over several years since Martinez started mixing break beats and hip hop flows with live keyboard performances with Camilo Sanabria. The duo became popular in clubs and electronic music festivals throughout their hometown of Bogotá. Once Monareta had begun to develop their sound, Martinez received a Fulbright scholarship to pursue a Master of Arts in composition and film scoring at New York University. He moved from Bogotá to New York City and immersed himself in the local experimental music scenes. Monareta found an especially receptive crowd in Brooklyn and Martinez integrated what he was learning with his studies into the group’s cinematic sound. Taking their name from the brand of BMX bike they rode avidly as kids, Monareta makes music that is influenced by a lot of what was cool to them in those formative years. “Growing up, even as young as 11, I was really involved in the local freestyle street bike scene,” Martinez says. “All the street bikers in Colombia were heavily influenced by the break dance and electric boogaloo arriving from the U.S. We heard groups like the Beastie Boys and Public Enemy and they completely changed our lives. And so that’s how we got the name for our group: It’s a homage to the `80s break dance, hip hop, BMX and the fashion scene that came from abroad to influence us in South America.” For more information about Monareta and ‘Fried Speakers’,
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4 schedule::attendeesLocation Barbarella Patio
event::about "SKAMPIDA" have become one of the most successful and popular group's to emerge from Colombia. In over 12 years of existence, "SKAMPIDA" has demonstrated to be one of the most versatile and restless musical groups from Colombia and Latin America. "SKAMPIDA" is one of the top musical groups of their time. They launched their first album titled "No Te Quedes Afuera," or "Don't Stay Outside" in 2002. Among the long plays recorded by them during this time, the most remarkable are "INDIFERENCIA', "CASTANEDA", "CIRCULO VICIOSO", "FUERZA DE TRABAJO" and "UNA ESTRELLA MAS." "SKAMPIDA" has been climbing the musical ladder since they first carne onto the music scene in 1998. They have performed with renowned artists and musical groups such as ALICIA KEYS, MANU CHAO, BLANQUITO MAN, WHITE LION, and GOGOL BORDELLO. They have received much praise and have earned several awards including "Best Live Performance" for their performances through out Colombia. "SKAMPIDA'S" time in the U.S., although short, has proved to be very lucrative. They have a strong audience and dedicated fans that have helped them gain the notoriety they have today. Local media outlets such as "The New Times" and "Shock Magazine" have awarded "SKAMPIDA" the title of "Best Ska and Reggae Band" and "Best Live Performance." "SKAMPIDA" enjoys a blooming career which is gaining acclaim throughout the entire world, including Latin America, North America, and parts of Europe. Their most recent work is a CD and DVD compilation, in which they mix innovative and diverse forms of musical styles which include Afro-Caribbean, reggae, folklore, hip hop, and cumbia. They were also invited to participate in the world famous "Festival de Nuevas Bandas 2009" in Caracas, Venezuela during the month July. "SKAMPIDA" performed to a sold out crowd of thousands and had everyone dancing. This annual festival brings together both national and international bands of a rock/ska genre and caters to a collegiate demographic, although all ages are welcome. "SKAMPIDA" has received great honors in the short amount of time that they have been in the mainstream music market. They have obtained an impressive following of fans who request as much music as they can deliver. They truly are extraordinary in the music field. "SKAMPIDA'S" inventive and cutting edge sound, filled with deep emotion and conviction penetrates their listeners deep inside their soul and makes them evaluate life as a whole. Successful in Latin America and North America, "SKAMPIDA" holds the promise of musical generations to come. "SKAMPIDA'S" 12 year reign on the music scene has only just come to light through their rocket rise to the top of the charts in their music genre. Given more time and more music, "SKAMPIDA" is sure to leave more than just a mark in musical history. Their interpretations have been heard in the most remote cities in Colombia and neighboring countries like VENEZUELA, CHILE, ECUADOR, and ARGENTINA. They are exceptional in their style and in their interpretation of the RockjSka Genre, which is now so ever popular in the South American Continent. Their concerts are spectacular and their fans wait through rain, sun, and cold weathers to hear them play. Spanish Info Con 12 años de carrera artística, Skampida se ha convertido en una de las bandas mas influyentes del rock Bogotano. Su sonido se caracteriza por una fuerte combinación de géneros como ska, punk, klezmer, polka, rockabilly y powercore; sonido con el que logra shows con una gran descarga de energía en todos los escenarios a los que acude. En su historial de conciertos a nivel nacional e internacional se destacan 3 participaciones en el enorme festival en Bogotá 'Rock al Parque', festival 'Nuevas Bandas' en Caracas (VE), 'Carnaval de Negros y Blancos' en la ciudad de Pasto, concierto benefico 'Haiti cuenta contigo', festival 'CaliUnderGrond', 'Ska Antipersonal' en Medellin, teloneando para Skatalites y una gira en U.S.A. en importantes bares como CBGBs, SOBs, Irving Plaza, D'Antigua, Warsaw, Frying Pan (estos en NYC) Tobacco road, Transit Lounge, Churchill's (Miami), Trocadero (Philadelphia), 9:30 club (Washington DC), Roxy (Boston) por nombrar los mas representativos. Su discografia se compone de: "FDT' (sencillo), "No te quedes afuera" (EP), "Stereoblaster" (album larga duración), "Irun Bulgaria" (supersencillo), y sus mas recentes sencilos "La manifestacion" y "Zombie Policers" pertenecientes a su ultima produccion discografica; ademas de su video de "circulo vicioso" que rotó en canales como playtv y citytv y obtuvo reconocimientos como: mejor video Ska-Reggae premios Much Music 2005 y nominado a mejor video Festival de Cine de Cartagena 2005. Cabe mencionar sus presentaciones para medios televisivos: Univision en NYC, Sañal Colombia, Citytv en Bogota. Skampida ha recibido varias nominaciones y premios, como 3 nominaciones a mejor banda ska/reggae premios shock, mejor puesta en escena premios shock 2004, mejor banda latina New Times Awards 2006 y nominaciones a mejor banda ska premios subterranica 2009 y 2010. En verano de 2010 realizan su gira Zombie Policers, el segundo tour por Norteamerica (Canada y US) en los meses de Julio y Agosto donde promocionan su compilacion "Autopirate" que incluye temas de 'Stereoblaster', los sencillos recientes y 3 temas nuevos. Este tour incluye el Victoria Ska Fest, (uno de los mas grandes del genero), 4 shows en las islas de British Columbia y los clubes Venue y Cobalt (en Vancouver); Miami y NY en clubes ya conocidos por la banda y el Gypsy Fest '10 Tabor.
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Ricky Rick & DJ Kane
2 schedule::attendeesLocation Barbarella Patio
Artists Ricky Rick & DJ Kane
event::about Ricky Rick & Dj Kane aren't new faces to the world of music, having both experienced successful careers with the Kumbia All Starz and Kumbia Kingz respectively filling stadiums internationally as well as conquering the hearts of a worldwide fan base. Currently Ricky Rick & Dj Kane are collaborating on an album together titled "La Formula" promoting their first single "Contigo Me Voy" produced by Grammy and ASCAP winning producers Robert "Bobbo" Gomez and Yeyo Cancio-Bello. The new album is a fusion of Cumbia with tropical, urban and pop rhythms.
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5 schedule::attendeesLocation Barbarella Patio
event::about GUSTAVO GALINDO was born in Mexico City and moved to California at an early age. He grew up playing guitar with his dad and listened to various kinds of music, from rancheras written by Jose Alfredo Jimenez to the pop melodies of Juan Gabriel and Luis Miguel to international bands like The Beatles and U2. In college he drew inspiration from the new breed of Latin artists, from Mana to Ozomatli, whose music defied traditional labels. Not restricted by language or genre, Gustavo writes and performs in both English and Spanish. His sound is a combination of traditional and contemporary Mexican and American styles. Today Gustavo is a favorite among both music fans and professionals who have seen him perform relentlessly, opening up opportunities to support several top Latin acts. In addition to legends such as Enrique Iglesias and Juanes, he has shared the bill with Zoe, Kinky, Gloria Trevi, Ximena Sariñana, Natalia Lafourcade, Ely Guerra, Alejandra Guzman, Babasonicos, Alex Cuba, Los Amigos Invisibles and more. Those who have followed his early career have witnessed the emergence of a serious talent, and expectations for the release of “Barco De Papel” have been building as he has played for audiences across the country. Without a doubt, his debut album ENTRE LA CIUDAD Y EL MAR is shaping up to be one of this year’s most impressive debuts.
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