me::title_else
My Schedule
12:00 PM
to 2:00 PM
IFC Crossroads House Wristband Pickup
203 schedule::attendees
Location
IFC Crossroads House
eventtype Unofficial Party
event::about
Please be prepared to present photo ID when picking up your wristband.
12:00 PM
to 1:00 PM
Next Stage: The Reality of Cloud Streaming Services featuring Jeff Price (TuneCore), Bruce Houghton (Hypebot) & George Howard (Loyola University)
25 schedule::attendees
Location
Austin Convention Center, Exhibit Hall 3-4
event::about Cloud Streaming has arrived. Bringing successful and viable services to the U.S. market is only a matter of time. The question now becomes, how will this play out as a stream of revenue for rights holders? Join Jeff Price of TuneCore, Bruce Houghton of Hypebot and George Howard, Professor at Loyola University, at Next Stage for a detailed discussion on the six rights every musician has to their work, and how they can be employed best in the cloud streaming service model.
event::tags Trade Show, #SXSWNextStage
12:00 PM
to 1:00 PM
New Music from Wales
82 schedule::attendees
Location
Latitude 30
event::about The best new music from Wales hosted by BBC Radio 1's Jen Long. Free food and drink. Enjoy performances by Gallops, We Are Animal, Bright Light Bright Light and The Last Republic. For guest list: http://www.britishguestlist.info/
12:30 PM
to 12:55 PM
Sea of Bees
58 schedule::attendees
Location
Red Eyed Fly
eventtype Unofficial Music
event::about
Tiger Mountain & Noise Pop present BROOKLYN VS. THE BAY
12:30 PM
to 7:30 PM
KEXP Live @ SXSW
201 schedule::attendees
Location
Mellow Johnny's
eventtype Unofficial Party
Speaker/Artist(s) Info
12:30pm ‒ The Head and the Heart
2:30pm ‒ Yuck
4:30pm ‒ Grouplove
6:30pm ‒ Wild Flag
1:00 PM
to 1:45 PM
DOM
99 schedule::attendees
Location
Shangri-La
eventtype Unofficial Music
event::about
Part of the IAMSOUND 2011 Showcase
2:00 PM
to 3:00 PM
Mobile Music Moves to the Cloud
25 schedule::attendees
Location
Austin Convention Center, Room 11AB
event::about The trend towards shared services, also known as the cloud, is already impacting the world of mobile music in a dramatic way. Instead of paying for individual tracks, some of the most ardent music lovers are choosing to stream music from hosted services. This trend will create new opportunities for companies in the mobile music space, including new partnerships with music providers who can enable users to listen immediately. What role will music discovery services can play in helping consumers enter into and navigate through these huge celestial jukeboxes?
event::tags Late Entry, mobilecloud
2:30 PM
to 3:00 PM
Esben & the Witch
77 schedule::attendees
Location
Lipstick 24
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.
3:00 PM
to 4:00 PM
Fitz & The Tantrums
124 schedule::attendees
Location
Waterloo Records
eventtype Unofficial Music
event::about
Part of Waterloo Records SXSW Showcase
3:00 PM
to 3:45 PM
Foster The People
131 schedule::attendees
Location
Shangri-La
eventtype Unofficial Music
event::about
Part of the IAMSOUND 2011 Showcase
5:00 PM
to 5:30 PM
Oh Land
82 schedule::attendees
Location
Lipstick 24
5:15 PM
to 5:45 PM
Foster the People
177 schedule::attendees
Location
Mohawk Patio
eventtype Unofficial Music
event::about
The Windish Agency / Laneway Festival / Eat Your Own Ears / Austinist present AUSTIN OR BUST! Sponsored by Feiyue and Scion.
6:15 PM
to 7:00 PM
The Chevelles
45 schedule::attendees
Location
Aussie's Grill and Beach Bar
eventtype Unofficial Music
Speaker/Artist(s) Info
The Chevelles
event::about
Presented by:
WeAre78704.com
The Australian American Chamber of Commerce – Houston www.aacc-houston.org
Dart Music International http://dartmusicinternational.org/
event::tags free show, Australia, New Zealand, South Africa, Chile, Peru
7:00 PM
to 2:00 AM
BrooklynVegan SXSW Official Showcase
367 schedule::attendees
Location
Swan Dive
eventtype Unofficial Party
Speaker/Artist(s) Info
8:00 PM Lady Lamb the Beekeeper
9:00 PM Olof Arnalds
10:00 PM Ted Leo (solo)
11:00 PM Sam Amidon
12:00 AM Sharon Van Etten
1:00 AM Evan Voytas
event::about
We are excited to announce the very special lineup of the 2011 BrooklynVegan SXSW Official Showcase which will take place Wednesday, March 16, 2011 at the new and swanky Swan Dive in Austin, TX. Full details, including lineup and set times are below.
BrooklynVegan SXSW Official Showcase
Wednesday, March 16, 2011
at Swan Dive - 615 Red River St, Austin, TX
7 PM - 2 AM
8:00 PM Lady Lamb the Beekeeper
9:00 PM Olof Arnalds
10:00 PM Ted Leo (solo)
11:00 PM Sam Amidon
12:00 AM Sharon Van Etten
1:00 AM Evan Voytas
Ticket Information: Free entry for a limited number of SXSW badgeholders (first come, first served). Tickets for non-badgeholders will be available for purchase at the door (price TBD).
Additional info here: http://www.brooklynvegan.com/archives/2011/02/sxsw_2011_-_bro.html
8:00 PM
to 9:00 PM
Esben and the Witch
136 schedule::attendees
Location
The Windish Agency House @ ND
9:00 PM
to 10:00 PM
Brother
36 schedule::attendees
Location
Latitude 30
eventtype Music
Artists Brother
event::about BROTHER Manifesto: We're really unique and interesting, seriously! We like all types of underground bands that nobody else has ever heard of, and we love all the really really indie movies that only like five hundred people in the whole nation have seen! Oh yeah, and we love foreign films, not the fun or interesting ones, the ones that make you think! ...and let's see...what else... we've read all these books, books that you've never even heard of, books that have started revolutions! We're revolutionaries! ...and let's see... we're not very political, but we hate George W Bush! and we hate Michael Moore too! Let's see... we love the outdoors and we love doing adventurous things, oh yeah, we love travelling too! And we love exotic foods, and did I mention we love travelling? We just want to visit the world!!! .....did somebody say tongue in cheek?
event::tags 21+
9:00 PM
to 10:00 PM
The Boxer Rebellion
133 schedule::attendees
Location
Billboard Bungalow @ Buffalo Billiards
10:00 PM
to 11:00 PM
Mona
69 schedule::attendees
Location
Antone's
eventtype Music
event::about MONA BIOG Devotion. Faith. Abandonment. The ecstasy of salvation, the salvation of ecstasy… There’s a thin line between rock’n’roll and religion, and nowhere thinner than in the intense, sharp, sweat-drenched, duelling-guitar euphoria of Mona. The four-piece Nashville-based band – or family, or gang, or band of brothers – are young, charismatic punk preachers. They’ll testify to the thrill they get from hunkering down in a Nashville, Tennessee basement, writing and recording the best debut album of 2011. They’ll hymn the praises of visceral rock with heavenly fireworks in its soul. They want to convert everyone they come across. This, by the way, isn’t the old God-and-the-devil schticky music-biz hyperbole. Three-quarters of Mona did learn their music – how to play, how to perform, how to work a crowd – in church: frontman/guitarist Nick Brown and drummer Vince Gard in a Pentecostal Charismatic congregation, bass player Zach Lindsey in a Southern Baptist congregation. For all three, while they were growing up, secular music was frowned upon, and transporting an audience – the congregation – was paramount. For all four – guitarist Jordan Young completes the line-up – imbuing secular music with honest passion and true grit is what Mona are all about. Mona keep the faith, “but it’s definitely our own brand, We’ve had to walk away from a lot of the bullshit of church,” says Nick, as verbally forthright offstage as he is forcefully charismatic onstage. We’re all family people. We’re all mamas’ boys. We all try to be good brothers, to be good sons. The same thing with the band – we’re a family. But obviously with the band we’re more like a family in the Mafia sense. We’re a fucking gang as well. It’s all hugs and kisses on the cheek – but if you fuck with us, we’re vicious,” adds the singer who dispensed with the services of his previous lead guitarist by “breaking my fist on his face”. With in-band fraternalism this zealous little wonder, perhaps, that “Mona’s never lost a bar fight.” Mona are Sun Studio’s Million Dollar Quartet (Presley, Perkins, Lewis, Cash) rebooted 54 years on. They’re rock revivalists, in the sense that they like, as Nick puts it, “the golden age of the United States – the James Dean, Marilyn Monroe type stuff.” This iconography and idealism, he says, informed the writing of Listen To Your Love – and the reasons why it became their first single. “It felt kinda reminiscent of some of the old stuff,” he says of the song, released on already-rare and already-pricey seven-inch vinyl only. “Even Roy Orbison-type melodies. But still, a little bit of a punk thing in there. It just felt like a good first introduction, a first impression.” Nick and Vince grew up in Dayton, Ohio. They met via their church musical group. Says Nick, “I needed a drummer and Vince needed an outlet. We didn’t even get along as people, as friends, at all, it was more of a musical connection at first. The friendship thing developed much later. But at first, growing up in church and having a little bit of a chip on your shoulder, you want someone that’s gonna play aggressively and have fun with it. And both of us were very zealous, even in the church, very passionate people. He beat the shit out of the drums and I used to break pianos.” As musical “support act” to the pastor, they learnt how to improvise, and jam, to follow the flow of the service. “That’s kinda how we view rock’n’roll now. I know there’s a lot of stuff that’s about scheduling – with radio and TV and the market now, they want you to fit in to a thing. But we’ve always prided ourselves on the timelessness of the experience. Just let it happen. Even when we write we don’t book writing sessions or schedule time to write. We just get together and whatever happens, happens.” Zach Lindsey is from Bowling Green, located in a dry (booze-free) country in Kentucky. Whereas for Nick and Vince non-religious music was banned (Vince: “but my mom would play me Creedence Clearwater Revival and The Police and tell me not to tell my dad…”), in the bassist’s church non-religious music was tolerated. “I was born listening to The Beatles.” With musical options dead in the water in Dayton, Nick and Vince moved to Nashville. Why? Nick: “It was five hours’ drive away as opposed to 14 hours to New York or 26 hours to LA. And way cheaper. We’re a bunch of poor kids.” Once relocated to America’s Music City, they ran into Zach on the local gig scene. He in turn introduced them to Jordan Young, an old Kentucky friend who had grown up in the farm town of Breeding. Having gone through serial line-up upheaval – including the bust-up with the unfortunate guitarist with the broken face – Mona was complete. “Now we’re four horses pulling the carriage,” says Nick, who’s worked on the “idea” for Mona for years – not least because the band is named after his grandmother. “There’s a lot of people that wanted to be in this band. There’s a lot of people that locally support this band. But as far as having people that understand their roles, and being happy with their roles, it’s chemistry, man. It’s just like a relationship. It’s a marriage.” Nick’s top-to-bottom vision for Mona encompasses everything from the archive pictures picked to feature on the largely monochromatic design of their Myspace; to only making the odd song available, and briefly (“too many people have artistic bulimia,” he spits, “eat and puke it up and they’re onto the next thing. So we made people saviour it”); to creating their own label Zion Noiz; to hammering out a major record company deal that, unusually, stacks things in the band’s favour. In 2011, Mona won’t be hard to find. They’ve already caused a rumpus in the UK this autumn, with the buzzed-about release of Listen To Your Love and two crushing-room-only London shows at Rough Trade East in Brick Lane and at The Flowerpot in Kentish Town. Their next release is the aggressively melodic Trouble On The Way. Nick: “It’s pretty self-explanatory – there’s a sound on the horizon and the volume’s gonna grow. And even though we are full of ambition and very grandiose, at the end of the day it’s about having our own voice and our own career. And we wanna do this for the rest of our lives. And at the end of the day, despite that huge, dramatic claim,” he says with a grin, “we’re just four dudes making some noise in a garage and just having fun.” After that, Teenager is scheduled to be their first fully commercially-available single. Nick: “It’s the song that sums up being a chump, dealing with love and hate and very basic human emotions.” The only thing slick about Mona is their hair. The rest is arm-pumping, vein-throbbing, knee-jittering, raw-throated, singalong rock’n’roll. Thank God they’ve come.
event::tags All Ages
10:00 PM
to 11:00 PM
The Vaccines
243 schedule::attendees
Location
Club de Ville
12:00 AM
to 1:00 AM
Tahiti 80
88 schedule::attendees
Location
512 Rooftop
eventtype Music
Artists Tahiti 80
event::about Tahiti 80 Solitary Bizness EP Out October 25th It is always a pleasure to enter the world of Tahiti 80. If they were a place, we’d never want to leave. The Solitary Bizness Ep, is a prelude to their upcoming full length The Past, The Present & The Possible. It is a journey into the sixth dimension, a cash-in of no limitation or compromise. Ceilings have been removed, bringing forth the strongest experimentation of their career without rewriting a signature. The technisound at Tahitilab is still in-check ! Xavier Boyer heralds his finest breezy to heartfelt analytics while infectious beats, rhythms and boops uncontrollably propel the mind and body. T80 nods heads, slow or fast; gas pedal to the floor, dancing while no one or everyone is watching. Here are six tracks celebrating the addition of two new members of the official line-up Julien Barbagallo and Raphael Leger, in addition to their first release on their own self-run label, Human Sounds. If you thought 2010 was coming to a musical close, October says “Who knows, you might just find some treasure.”
event::tags 21+
12:00 AM
to 1:00 AM
The Greenhornes
120 schedule::attendees
Location
Antone's
eventtype Music
Artists The Greenhornes
event::about The trio of Craig Fox, Patrick Keeler and ‘Little’ Jack Lawrence--heretofore known as The Greenhornes—have been churning out the highest quality rock n roll for well over a decade. Formed in the late 90s in Cincinatti, Ohio, The Greenhornes have toured the world over (and over and over) and released 3 full length albums, an ep and a boat load of singles across a multitude of record labels. After a five year break in which Keeler and Lawrence joined The Raconteurs and Lawrence subsequently joined the Dead Weather, The Greenhornes are back! What to say about the sound…pure, straight up Nuggets inspired rock and roll. And by straight-up we mean sans revisionist new wave of snotty garage rock posturing. These guys have been weened on a diet almost solely consisting of the finest r+b and rock innovators: The Kinks, The Who, The Zombies and The Easybeats are immediately recognizable in their sound. This isn't a hobby or something these guys are doing between projects--it's their life. Good, old-fashioned rock 'n' roll, plain and simple. Their most recognizable tune, ‘There Is An End’, was featured throughout Jim Jarmusch’s 2005 feature ‘Broken Flowers’. After a five year hiatus, The Greenhornes are very excited to have Jack White’s Third Man Records release their brand new full length album, the aptly titled ‘****’ in the fall of this year.
event::tags All Ages
12:00 AM
to 1:00 AM
The Naked and Famous
175 schedule::attendees
Location
The Phoenix
eventtype Music
Artists The Naked and Famous
event::about Everyone knows that the very best music can meddle with your mind, plunging you into the opposite extremes of both happiness and sadness all at once, in intense three minute bursts. It can transport you temporarily to a realm where anything is possible and nothing is out of reach. The latest key holders to that illusive turf are New Zealand's The Naked And Famous. These five young Aucklanders have at their disposal a seemingly effortless ability to capture the giddy fun and relentless hooks one has come to expect from the very best electro-pop, while at the same time striving for something grander, more brooding and atmospheric. It’s this special proposition that has landed the band triumphant success on their native soil (their single ‘Young Blood’ debuted at number one in the NZ chart, as did the album Passive Me Aggressive You on its recent release, both on the group’s own Somewhat Damaged label), and has meant that containing their sounds to their homeland has been something of an impossibility. One of 2010’s genuine organic buzzes has already yielded results that overshadow most hype-bands. Over the past six months the antipodeans’ fantastical glitching gems have scorched through the blogosphere like a hot knife through butter, culminating first in the international release of ‘Young Blood’ on none-other than the most notorious pop-picking label on planet earth, Neon Gold (Marina And The Diamonds, Ellie Goulding etc) and then with the group finding a home away from home on Fiction Records. Now, with Down Under virtually conquered, and ‘Passive Me, Aggressive You’ readied for full international release, the band’s sights are set far and wide. And in keeping with their music’s edifying powers, anything seems possible... Thom and Alisa met at music college in 2008 and formed a songwriting partnership that would become the life force of TNAF. Aaron, a high school acquaintance of Thom’s, was also studying at the same college and soon became a production foil to the duo as they toyed with song and recording ideas after hours in the college studio and various bedrooms. These eventually became The Naked And Famous’s first releases, the twin EPs No Light and This Machine. Forming a live band was secondary to the studio for Thom and Alisa. After the couple’s first tentative steps using backing musicians, they coaxed Aaron out from his role as their live sound engineer to assume suitable knob-twiddling duties onstage - as a sort of electronics overlord - and eventually the perfect rhythm section was found in the shape of another two of their high school mates, Jesse and David. Working furiously throughout 2009 on developing a new live set and dozens of demos, The Naked And Famous embarked on an expansion of their sound, as together they experimented with the epic turns and cinematic moods that define them today. "I feel like a lot of the greatest pop music is the stuff that taps into the really powerful memories or emotions," ponders Alisa. "Just because it's music that can be fun and you can party to, doesn't mean you can't touch upon stuff that can be challenging or heart-wrenching." As early domestic radio love and international cult status began to snowball, a kinship with the widescreen fairytale dance-pop of Empire Of The Sun, MGMT and of course, the ongoing evolutions of LCD Soundsystem, became evident. 'Passive Me, Aggressive You', the debut long-player from TNAF came together at scattered small studio locations around Auckland. Operations, as ever, were overseen by self-confessed 'control freak' Thom, the song ideas coloured by Aaron’s input as he and Thom shared production duties on the album, and constantly guided by Alisa's unique melodies. Singles 'Young Blood' and 'Punching In A Dream' could well do for 3-D synth anthemia what 'Time To Pretend' and 'Kids' did for new psychedelia a few years back. On the record, at its most mountainous, the likes of vacant leviathan 'No Way' and urgent throbbing ascent 'Eyes' work a strange kind of magic. 'Jilted Lovers' wrestles with an unruly synthetic discordance in the vein of the group’s greatest shared and acknowledged influence Nine Inch Nails, while 'A Wolf In Geek's Clothing' takes that same stormy heart and cranks it to near doom-laden bulldozer effect. From fleeting soundscapes like 'The Source' to 'Spank's urgent swamping surge of glitches and fuzzed-out refrains, TNAF never shy away from deconstructing normal indie comfort zones. It stands proud, in a time of quick-fix singles culture, as a genuine album. But anyone who's witnessed TNAF emerge from what they like to call their natural studio habitat to step onstage – where their songs become a truly enveloping experience – will testify to the sheer epic proportions of album closer 'Girls Like You'. Perhaps TNAF at their most realised, it is a complete collision of swooping, chanting hooklines and otherworldly expanses of sound. This is a band set to blow a crater in 2011’s musical landscape, a young group of warped sound merchants making do-or-die, heart-in-mouth, chart-bound pop to invest your heart and soul in.
event::tags 21+
12:00 AM
to 1:00 AM
Young the Giant
170 schedule::attendees
Location
Billboard Bungalow @ Buffalo Billiards
eventtype Music
Artists Young the Giant
event::about Comprised of Sameer Gadhia (vocals), Jacob Tilley (guitar), Eric Cannata (guitar/vocals), Payam Doostzadeh (bass) and Francois Comtois (drums/vocals), Young the Giant’s unique brand of sun-soaked rock has received praise from fans and critics alike, including The New York Times, Wall Street Journal, Billboard, and Nylon Mag. The band’s diverse ethnic backgrounds –Indian, Persian, British, and French-Canadian—translate into an incredibly dynamic sound that offers jazz rhythms, surf pop harmonies, Mediterranean and Caribbean influences, flashes of jolting alt rock and so much more. The band's self-titled debut album, produced by Joe Chiccarelli (White Stripes, My Morning Jacket) was released on January 25th. The band, originally from Newport Beach, CA, has recently hit the road with bands like Minus the Bear, Neon Trees, Marina and the Diamonds, and The Futureheads.
event::tags 21+
12:15 AM
to 1:15 AM
Queens of the Stone Age
455 schedule::attendees
Location
La Zona Rosa
12:30 AM
to 1:30 AM
Duran Duran
428 schedule::attendees
Location
Stubb's
11:00 AM
to 12:00 PM
SXSW Keynote: Bob Geldof
107 schedule::attendees
Location
Austin Convention Center, Room 18ABC
Speaker Bob Geldof
event::about At the end of last year Bob Geldof was described as "one of Ireland's greatest lyricists ever". In a lifetime spent using rock music to change things Geldof now comes to SXSW with his band to play music from his new album How To Compose Popular Songs That Will Sell, and from his long multi-award winning musical life.
event::tags geldof
11:00 AM
to 12:00 PM
The SXSW Brit Rock Bender
177 schedule::attendees
Location
Antone's
event::about Live4ever presents A Two Finger Salute: The SXSW Brit Rock Bender. An afternoon of stellar British rock n roll at one of Austin's hottest venues. Open bar, swag and prizes. Come party hard with our line-up of critically acclaimed acts from the British Isles. Show your SXSW badge for entry. To view the lineup visit: http://www.live4ever.uk.com/2011/02/live4ever-media-announce-sxsw-official-day-party-line-up/
11:00 AM
to 6:00 PM
Filter Magazine's Culture Collide
355 schedule::attendees
Location
Cedar Street Courtyard
eventtype Unofficial Party
Speaker/Artist(s) Info
The Deer Tracks (11am)
The Latebirds (11:30am)
Harrys Gym (noon)
Cary Ann Hearst (1pm)
Cults (2pm)
The Vaccines (3pm)
Foster the People (4pm)
Raphael Saadiq (5pm)
11:00 AM
to 6:00 PM
Prefix Magazine Day Party
296 schedule::attendees
Location
ND at 501 Studios
eventtype Unofficial Party
Speaker/Artist(s) Info
11:00AM-11:30AM Bass Drum of Death
11:50AM-12:20PM Gobble Gobble
12:40PM-1:10PM Das Racist
1:30PM-2:00PM Oh Land
2:20PM-2:50PM Asobi Seksu
3:10PM-3:40PM JEFF the Brotherhood
4:00PM-4:4PM0 Austra
5:00PM-5:40PM Baths
event::about
FREE tacos and beers to the first 100 people to arrive!
event::tags free booze, free food, prefix
12:00 PM
to 1:00 PM
Naked & Famous
90 schedule::attendees
Location
Waterloo Records
eventtype Unofficial Music
event::about
Part of Waterloo Records SXSW Showcase
12:00 PM
to 6:00 PM
MTV Garage
348 schedule::attendees
Location
Red River Garage
eventtype Unofficial Party
event::about
FREE Texas BBQ, fried snickers, brownies, funnel cakes and more!
Live Performances by:
12:30PM Theophilus London
1:30PM Foster The People
2:30PM Tinie Tempah
3:30PM Friendly Fires
4:30PM Kids of 88
5:40PM Matt & Kim
Company MTV
12:40 PM
to 1:10 PM
1:00 PM
to 2:00 PM
Greenhornes
64 schedule::attendees
Location
Waterloo Records
eventtype Unofficial Music
event::about
Part of Waterloo Records SXSW Showcase
1:00 PM
to 1:30 PM
The Boxer Rebellion
120 schedule::attendees
Location
Home Slice Pizza
eventtype Unofficial Music
Speaker/Artist(s) Info
The Boxer Rebellion
event::about
Home Slice Pizza is stoked to announce Music by the Slice 2011. This free day party (no rsvp, no badge required) runs March 17-19, from 1 PM to 7 PM daily. This year, for the first time, we are donating all of the profits from bar sales to charity!!!
Our charity for 2011 are the excellent folks over at Urban Roots – a sustainable farming program for young Austinites. Here is a little bit about them:
Now in our fourth year, Urban Roots is a youth development program that uses sustainable agriculture as a means to transform the lives of young people and increases the access of healthy food in Austin. By growing sustainably farmed vegetables, young people work together to serve the community, cultivate farming and business skills, learn the value of meaningful work, and discover how to eat and cook in healthy ways.
1:30 PM
to 2:15 PM
Foster The People
184 schedule::attendees
Location
Red River Garage
eventtype Unofficial Music
event::about
FREE Texas BBQ, fried snickers, brownies, funnel cakes and more!
Live Performances by:
12:30PM Theophilus London
1:30PM Foster The People
2:30PM Tinie Tempah
3:30PM Friendly Fires
4:30PM Kids of 88
5:40PM Matt & Kim
Company MTV
1:30 PM
to 2:00 PM
2:30 PM
to 3:15 PM
O.M.D.
148 schedule::attendees
Location
Mellow Johnny's
eventtype Unofficial Music
event::about
KEXP is broadcasting live from Austin, TX during the 2011 South by Southwest Music Conference, March 16th through the 18th. Join us at Mellow Johnny’s Bike Shop for exclusive live sets from Wild Flag, The Head and the Heart, The Black Angels, Yuck, Steve Wynn & The Miracle Three, and more. KEXP DJs Cheryl Waters and Kevin Cole will spin music between live sets.
3:00 PM
to 4:00 PM
DeVotchKa
335 schedule::attendees
Location
Radio Day Stage Austin Convention Center
eventtype Music
Artists DeVotchKa
event::about For more than a decade, DeVotchKa has been melting its sweeping collection of influences into an authentic and totally original blend of rock 'n' roll. With the release of the band's fifth album, "100 Lovers" (Anti-, February 2011), the band has headed back to the romantic influences of the Arizona desert with producer Craig Schumacher (Calexico, Neko Case) to create a compendium of short stories inspired by the varied moments the band experienced since the release of A Mad & Faithful Telling (Anti-, 2007). Like many bands, DeVotchKa spent much of their early years traveling the highways and byways searching for gigs and a musical direction. As time went on, the band began to foster important musical collaborations with the unequivocal Calexico and the seminal gypsy punks Gogol Bordello. International tours with Gogol and recordings with Calexico have helped spread the band’s sound around the globe. DeVotchKa's first big break happened when Nic Harcourt, former music director for KCRW, introduced his listeners to a then unknown rock band of worldly sounds on his daily radio show, "Morning Becomes Eclectic". Valerie Faris and Jonathan Dayton, who were listening that day, stumbled upon the sound for their movie, "Little Miss Sunshine". A critical and box office hit, the film was nominated for the Best Picture Oscar and, for DeVotchKa's soundtrack, a Grammy. The little gypsy wedding band from Denver was suddenly known all across the nation, playing large venues and major music festivals, including Coachella, Bumbershoot, Lollapalooza, and Mile High Music Festival. After years of toiling in obscurity, the band was selling out shows at the Fillmore in San Francisco and First Avenue in Minneapolis, with breakout performances at Bonnaroo and Austin City Limits Music Festival. The love spread to Europe, which has become a yearly destination for the band. "100 Lovers" is the album DeVotchKa had always wanted to make. "How it Ends" was recorded and mixed in only nine days, mainly due to lack of funds. On "A Mad and Faithful Telling,” the band had more time and conducted complex arrangements and experimental recording techniques. For "100 Lovers", DeVotchKa spent over a year defining their sound, taking multiple trips to the desert studio to craft twelve new recordings. The final product is the bands strongest album to date, filled with songs fans will love, songs to draw in new listeners, and exciting numbers that fit nicely into their rousing live sets. Guests on the album include members of Calexico and Mauro Refosco, David Byrne and Thom Yorke’s go-to percussionist. With a full tour lined up for the spring and dates booked all over the world, 2011 is gearing up to be the biggest year for DeVotchKa yet. DeVotchKa is: Nick Urata: Vocals, guitars, Theremin, trumpet, piano Jeanie Schroder: acoustic bass, sousaphone Shawn King: drums, percussion, trumpet Tom Hagerman: violin, viola, accordion, piano
event::tags All Ages
3:00 PM
to 4:00 PM
Eliza Doolittle
67 schedule::attendees
Location
PureVolume House
3:15 PM
to 3:45 PM
The Joy Formidable
229 schedule::attendees
Location
The Parish
eventtype Unofficial Music
event::about
NPR Music presents...
4:30 PM
to 5:00 PM
The Lines
9 schedule::attendees
Location
Lipstick 24
eventtype Unofficial Music
event::about
Part of the All Rights Reserved Party; Indoor Stage
Company All Rights Reserved
5:00 PM
to 6:00 PM
Oh Land
107 schedule::attendees
Location
PureVolume House
6:30 PM
to 7:15 PM
The Joy Formidable
222 schedule::attendees
Location
Mellow Johnny's
eventtype Unofficial Music
event::about
KEXP is broadcasting live from Austin, TX during the 2011 South by Southwest Music Conference, March 16th through the 18th. Join us at Mellow Johnny’s Bike Shop for exclusive live sets from Wild Flag, The Head and the Heart, The Black Angels, Yuck, Steve Wynn & The Miracle Three, and more. KEXP DJs Cheryl Waters and Kevin Cole will spin music between live sets.
8:00 PM
to 9:00 PM
The Strokes
748 schedule::attendees
Location
Auditorium Shores Stage (Lady Bird Lake)
8:30 PM
to 9:30 PM
Foster the People
184 schedule::attendees
Location
Stubb's
10:00 PM
to 11:00 PM
Fitz and the Tantrums
249 schedule::attendees
Location
Rusty Spurs
eventtype Music
Artists Fitz and The Tantrums
event::about Pickin’ Up The Pieces Fitz – vocals Noelle Scaggs – back-up vocals/tamborine James King – saxophone Jeremy Ruzumna - keyboards John Wicks - drums Joseph Karnes - bass In just a year or so, soulsters Fitz & the Tantrums went from the living room to the main stage. The recipe for meteoric success? Six killer musicians, five dapper suits, irresistible songs, some serendipity and one vintage organ. Since their first show at Hollywood’s Hotel Café in December 2008, Fitz and co. have toured with Maroon 5, played to thousands at Colorado’s world famous Red Rocks Amphitheatre, shared the stage New Year’s Eve with Sharon Jones and the Dap Kings, and performed on KCRW’s esteemed show, Morning Becomes Eclectic, all this on the strength of their stellar five-song EP, Songs for a Breakup, Vol. 1. For some bands, it takes a lifetime to build this success, but few performers deliver an unrestrained blast of soul-clapping, get-down-on-the-floor, moneymaker shakers like Fitz and the Tantrums. Now post-release of their debut full length, Pickin’ Up the Pieces, which has since earned them a 3 ½ star album review in ROLLING STONE, the troupe is poised to get down in dancehalls across the universe. It all began when… [cue flashback sounds] “I got a call from my ex-girlfriend,” Fitz explains, “And she said, ‘My neighbor is moving out in a hurry and has to sell everything. And, he has this organ…” Fitz, the Svengali frontman of the crew, describes the find like the discovery of a compass, or that treasure map in Goonies, which undoubtedly leads to adventure. Not one to say no, Fitz called some piano movers, cashed in some favors, and seven hours later, the organ went from the curb to his living room. That night, Fitz stationed himself in front of that vintage instrument and wrote a blue-eyed soul anthem, “Breaking the Chains of Love.” “Sometimes, the Music Gods just give it to you,” Fitz says. The overflow of inspiration startled Fitz. He’d spent years in L.A.’s music industry, writing music and working in a studio with Beck producer, Mickey Petralia. But at those 88 keys, just seven hours after that organ dropped into his life, Fitz had finally found his voice. “I’ve always been a singer,” Fitz says, “but with so much music, I felt that I was trying to push a square peg through a round hole. I was being not true to myself, and it never felt right until I wrote that song, and I sang like that. I thought, this feels so real, so natural.” Fitz shared his vision with long-time friend and saxophonist, James King, who immediately connected with the sound. While the electric guitar drives rock, the saxophone takes center stage in soul, and that’s the way Fitz likes it. “We wanted to find a new vocabulary for the genre, I wanted to make a record without any guitars. Could we make a huge sound with out any guitars?” A huge sound takes a huge studio--Motown had Studio A in Detroit, Philadelphia International had Sigma Studios, Phil Spector’s Wall of Sound was created in Hollywood’s legendary Gold Star Studios-- but when it came time to capture the feeling and the soul of soul, Fitz knew of the perfect studio: his home. There in the living room, he recorded Songs for a Breakup, Vol. 1, a burst of effervescent swingers and floor-stompers, infused with the energy of long forgotten songs. The infectious, rolling rhythms of “Breaking the Chains of Love,” immediately turns your head and actually get cemented in your brain, like a good pop song should. The sound is familiar, but distinct. That’s what grabbed the attention of Maroon 5’s Adam Levine. Levine was getting a tattoo in New York when the tattoo artist told him he had to hear this new band he had discovered. After that one encounter, Levine personally invited Fitz and the Tantrums to join their tour. Like the EP, Fitz recorded the full-length debut back at home, to bottle the lightning that struck in those first jam sessions. He now delves into more acerbic lyrical territory, going on the offensive against gold diggers on the exceptionally funky “MoneyGrabber,” and even gets political on the piano-banging, handclap-driven call to action, “Dear Mr. President.” "L.O.V." is a jaunt through pop music history embarking with a groovy organ intro, meandering through juicy big band breakdowns and Fitz's svelte croons, then carrying us away with flute outro. It's a funk-filled plea to give love a chance. These powerful songs take the band’s energy up a notch, but like their energized performances, they never loose control. Those blistering performances are now well-chronicled for adequate ubiquity, Last Call With Carson Daly nailing the money shot for “MoneyGrabber” at the band’s sold out show in November at LA’s El Rey Theatre featuring a sea of a thousand pogoing fans and a handful of F.A.T.T. gems rocked along with blue-eyed soul vet, Daryl Hall on the band’s spot on Live From Daryl’s House. Lest we forget, an omnipresent T-Mobile HTC ad that actually namechecks the band that, for the past several months, is impossible not to see if you’re watching even an hour’s worth of television. Oh, and there are the hot spots on Criminal Minds, Desperate Housewives and a great many more, not to mention a ton of success at radio for the aforementioned runaway “MoneyGrabber,” all with the promise of more to come. In their sound and on the stage, Fitz and the Tantrums are nothing but professionals, and never less than classy. Enter the Tantrums, Fitz’s airtight ensemble keeping it real like it’s 1969. Funky drummer John Wicks is a Motown B-side aficionado and prolific session player, Jeremy Ruzumna manned the keyboards and was musical director for Macy Gray. James King backed De La Soul and bassist Joseph Karnes is a well sought after session player. Then there’s Noelle Scaggs, the powerful voice behind Fitz’s croons. Make no mistake, Scaggs is not just there for “doo-wops” and handclaps. She shimmies and flirts, she stokes the crowd and simmers them down, and she has no qualms about keeping Fitz in check. “She is not just a backup singer,” Fitz says, “We have repartee. Onstage, we’re Ike and Tina.” There, on the stage, Fitz and the Tantrums are not just a band, they’re an explosion. Scaggs high steps it to the tight-as-hell rhythm section, while Fitz, cooler than cobalt, croons like the aforementioned Mr. Hall for a new generation. It’s obvious that this is no tryst for the band, this is a full-blown, head-over-heels love affair. Pickin’ Up The Pieces is available on the Dangerbird Records website: http://dangerbirdrecords.com/downloads/fitz-and-the-tantrums # # # FOR MORE INFORMATION CONTACT: Perry Serpa/Rob Lawi – Good Cop Public Relations (718) 846-0518 perry@goodcoppr.com rob@goodcoppr.com www.goodcoppr.com Cristina Parker – Noise NY 917 684-0452 cristina@noiseny.com FITZ & THE TANTRUMS: www.fitzandthetantrums.com DANGERBIRD RECORDS: www.dangerbirdrecords.com
11:00 PM
to 12:00 AM
The Kills
514 schedule::attendees
Location
Emo's Main Room
11:45 PM
to 12:45 AM
The Bangles
268 schedule::attendees
Location
Cedar Street Courtyard
12:30 AM
to 1:30 AM
12:30 AM
to 1:30 AM
TV on the Radio
456 schedule::attendees
Location
Stubb's
1:00 AM
to 2:00 AM
Oh Land
115 schedule::attendees
Location
Billboard Bungalow @ Buffalo Billiards
eventtype Music
Artists Oh Land
event::about "What does it sound like? What does it smell like? What does it look like? How does it feel? I always ask myself these questions when I'm writing," says singer and producer Nanna Øland Fabricius. "I think that Oh Land has a unique landscape all on its own. I strive to make the possibilities endless and to have all the senses collide in to a language on their own." Her multi-sensory approach to songwriting has been present from the beginning. Before Oh Land had a name, or even songs, she was a restless child on the outskirts of Copenhagen, where she wove together imaginary languages, characters, and magazines. Though she didn’t know it then, this sense of play would develop naturally into the skewed and rich aesthetic of Oh Land’s music and performance style. She is the product of extremes. A disciplined ballet dancer who was educated with the Royal Danish and Royal Swedish Ballet schools coupled with a “circus-like” upbringing courtesy of a family of creative souls. Their unique and individual talents have left deep imprints on how Oh Land experiences and interprets the world around her. Performance has always been a part of her personal expression as nurtured by the performances of those closest to her. Whether she was learning to see from a sister who designs clothing, to hear from her opera singer mother, or to touch from her church organist father; the mixture of this unique upbringing has contributed to the multi-faceted layers of an ever evolving Oh Land. Oh Land’s music bears the fruit of this incredibly stimulating childhood. She has created a soundscape that dreams as hard as it dances. Her performance style confronts the audience with elements as sonically and visually diverse as drum pads, an omnichord, and a front projector system that broadcasts homemade visuals across balloons. "I want my music to feel like 2050 meets something really classic, like meeting a stranger that feels as familiar as an old friend." says Oh Land. Her approach to songwriting reaches beyond melody to touch on shared experience; her music simultaneously incorporates the whirrs, tics, and thumps of machinery and the soft, human tug of strings and delicately layered vocals. It was this dual quality of her music – human, yet otherworldly -- that landed this peculiar, talented, and determined artist on the radar of Epic Records during a 2009 showcase at SXSW at the end of a brief US tour that Oh Land booked herself. Used to pushing the boundaries of her talent, Oh Land relocated to Brooklyn at the beginning of 2010 to write the latest chapters of her whirlwind story: an ever-evolving album that features speaker-panning samples, honeyed hooks, and the knob-twiddling skills of Dan Carey (The Kills, Franz Ferdinand, Hot Chip) and Dave McCracken (Depeche Mode, Beyoncé, AFI). The jungle drumming and layered vocals of “White Nights” evokes a quest to find peace and a sense of home in the chaos of a city that never sleeps. She sings, “There’s a restlessness in me/Keeps me up ’till the dawn/There is no silence/I will keep following the sirens,” alluding to both the noise and throb of the city and the mythological seducers that call to lonely sailors. “I wanted my new album to strike a balance between the big city and nature,” she explains, “because they’re both pulling me in different directions all the time. I live and grow in the eye of the storm.” That duality is also at play in the steady pulse and lavish loops of “Sun of a Gun,” which layers literal references to the sun (“a symbol of the divine that we’re now afraid of”) over unflinching comparisons to the twilight of an ill-fated relationship. Oh Land’s lyrics evoke storybook imagery that is both rich and moving, inviting the listener to step to the edge of the rabbit hole and plummet. For instance, “Wolf & I” works as both a trippy, heart-stirring ballad as well as a “modern fable about doubt and fear” that tells the tale of a love triangle between a wolf, the sun, and the moon. If her music contains an allegorical element, her connection to performance is almost spiritual. “Even when I was really little and feeling angry about something,” she says, “I knew to shut up the second I went backstage. There’s this magic about performing that’s very holy to me.” That spell was broken ever so briefly when a major back injury caused her ballet career to come to an abrupt halt after being told by a doctor that she would never dance again. “I was like a black hole during that period,” admits Oh Land. “The only thing that got me through it was music, because I felt like I could still dance through it; like I could lie down, close my eyes, and figure out melodies without moving.” This dark period led her to discover that the entire reason she danced in the first place was because of music and that was the creative medium she wanted to mold as her own. This discovery manifested itself in Oh Land’s self-produced debut album, Fauna. Released in 2008 by Scandinavian tastemaker/producer/DJ, Kasper Bjorke, the album featured Oh Land’s first 10 tracks as an artist - lush otherworldly soundscapes that wouldn’t sound out of place alongside the Bjork LPs and trip-hop tracks that she obsessed over while growing up. Her recovery and seamless transition to songwriting is revisited in the new track “Break the Chain,” a heady but hopeful reflection on Oh Land’s journey to reclaim her self-expression and bring to light the ideas that have flooded her subconscious from the start. To try to wrap your head around her disparate influences and patchwork influences might sound complicated, but if you ask Oh Land, what she’s doing now isn’t all that different than the years she spent “styling” clothes her mother made, or teaching younger dance students new routines behind the backs of their teacher. She has always taken the raw materials of expression and used them her way. “When I was younger,” says Oh Land, “We didn’t think, ‘Let’s play with our Barbie dolls or a board game today.’ We were building our own universes. And nothing’s changed, except now I have an audience beyond my parents.”
event::tags 21+
12:00 PM
to 7:00 PM
Requiemme Mgmt and DevilDolls Booking Day Party
90 schedule::attendees
Location
Aquarium
eventtype Unofficial Party
Speaker/Artist(s) Info
Jesse Malin & The St Marks Social 6:15 -7
The Biters 5:30- 6pm
Black Heart Procession 4:30-5:15
Maren Parusel 3:45-4:15
Gun Runner - 3-3:30
The Hot Moon 2:15-2:45
The Fling 130-2pm
Strange Vine 1245pm-115pm
Smokehouse Gamblers - 12PM-1230pm
Jesse Malin & The St Marks Social 6:15 -7
The Biters 5:30- 6pm
Black Heart Procession 4:30-5:15
Maren Parusel 3:45-4:15
Gun Runner - 3-3:30
The Hot Moon 2:15-2:45
The Fling 130-2pm
Strange Vine 1245pm-115pm
Smokehouse Gamblers - 12PM-1230pm
event::about
Management and Booking go hand in hand so it makes sense that these Requiemme Management and Devildolls Booking agencies would join forces to build a great event at SXSW this year.
The Casbah, Bar Pink and Call The Office are also part of the mix so its not a surprise this is a deep and talented lineup!
and come thirsty Lagunitas Brewing is providing Indian Pale Ale for the event as well.
NO BADGES NEEDED
Management and Booking go hand in hand so it makes sense that these Requiemme Management and Devildolls Booking agencies would join forces to build a great event at SXSW this year.
The Casbah, Bar Pink and Call The Office are also part of the mix so its not a surprise this is a deep and talented lineup!
and come thirsty Lagunitas Brewing is providing Indian Pale Ale for the event as well.
NO BADGES NEEDED
12:00 PM
to 6:00 PM
The Windish Agency's 6th Annual Austin Day Party
371 schedule::attendees
Location
Emo's
eventtype Unofficial Party
Speaker/Artist(s) Info
Braids, Cults, Chain Gang of 1974, Esben and the Witch, Foster The People, Friendly Fires, Givers, The Naked And Famous, Toro Y Moi, Twin Shadow
12:30 PM
to 1:15 PM
Sean Rowe
9 schedule::attendees
Location
Clive's
eventtype Unofficial Music
Speaker/Artist(s) Info
Sean Rowe
event::about
Sneak Attack Media is coming to Austin with The Vinyl District and Luv Luv Luv Records - come party with us!
Nicole Atkins, Craig Wedren, Only Son, Babeshadow, Hanni El Khatib, Saadi and Sean Rowe will be rocking Clive Bar from noon to 6pm on Friday March 18th. And be sure to enjoy from delicious free nachos from Austin's own Zocalo Café.
12:30 PM
to 6:00 PM
SPIN Magazine Party
395 schedule::attendees
Location
Stubb's
events::invitation
NOTE THIS EVENT IS BY INVITATION ONLY
eventtype Unofficial Party
Speaker/Artist(s) Info
TV on the Radio
The Kills
OMD
The Vaccines
OFF!
Smith Westerns
As well as up-and-comers:
MNDR
Young the Giant
Dom
Electric Child
28 Noth
In between all the bands, the event will feature DJ sets from:
Skrillex
Wolfgang Gartner
Designer Drugs
Anika
event::about
To win passes to this invite only event follow @spinSXSW on Twitter and Spin on Facebook.
After being awarded album of the year twice by Spin Magazine, TV on the Radio will headline the annual SPIN@Stubb’s party during the SXSW festival. This will be the band’s first performance in support of their upcoming album, Nine Types of Light, which is set to be released April 12.
1:15 PM
to 1:45 PM
The Chain Gang of 1974
108 schedule::attendees
Location
Emo's Jr
eventtype Unofficial Music
event::about
The Windish Agency is excited to announce our 6th annual Austin day party, a massive event happening on March 18 from noon to 6pm. Every year since 2006, we’ve taken over Emo’s and Emo’s Jr. on the Friday of SXSW, assembled an unrivaled array of amazing bands, and made it 100% free and open to everyone. Now, with help from our friends at Time Out, Groupon, and Ticketweb, we’re thrilled to be bringing another stellar lineup to both stages in the hallowed halls of Emo’s.
2:00 PM
to 3:00 PM
Fitz and the Tantrums
217 schedule::attendees
Location
Radio Day Stage Austin Convention Center
eventtype Music
Artists Fitz and The Tantrums
event::about Pickin’ Up The Pieces Fitz – vocals Noelle Scaggs – back-up vocals/tamborine James King – saxophone Jeremy Ruzumna - keyboards John Wicks - drums Joseph Karnes - bass In just a year or so, soulsters Fitz & the Tantrums went from the living room to the main stage. The recipe for meteoric success? Six killer musicians, five dapper suits, irresistible songs, some serendipity and one vintage organ. Since their first show at Hollywood’s Hotel Café in December 2008, Fitz and co. have toured with Maroon 5, played to thousands at Colorado’s world famous Red Rocks Amphitheatre, shared the stage New Year’s Eve with Sharon Jones and the Dap Kings, and performed on KCRW’s esteemed show, Morning Becomes Eclectic, all this on the strength of their stellar five-song EP, Songs for a Breakup, Vol. 1. For some bands, it takes a lifetime to build this success, but few performers deliver an unrestrained blast of soul-clapping, get-down-on-the-floor, moneymaker shakers like Fitz and the Tantrums. Now post-release of their debut full length, Pickin’ Up the Pieces, which has since earned them a 3 ½ star album review in ROLLING STONE, the troupe is poised to get down in dancehalls across the universe. It all began when… [cue flashback sounds] “I got a call from my ex-girlfriend,” Fitz explains, “And she said, ‘My neighbor is moving out in a hurry and has to sell everything. And, he has this organ…” Fitz, the Svengali frontman of the crew, describes the find like the discovery of a compass, or that treasure map in Goonies, which undoubtedly leads to adventure. Not one to say no, Fitz called some piano movers, cashed in some favors, and seven hours later, the organ went from the curb to his living room. That night, Fitz stationed himself in front of that vintage instrument and wrote a blue-eyed soul anthem, “Breaking the Chains of Love.” “Sometimes, the Music Gods just give it to you,” Fitz says. The overflow of inspiration startled Fitz. He’d spent years in L.A.’s music industry, writing music and working in a studio with Beck producer, Mickey Petralia. But at those 88 keys, just seven hours after that organ dropped into his life, Fitz had finally found his voice. “I’ve always been a singer,” Fitz says, “but with so much music, I felt that I was trying to push a square peg through a round hole. I was being not true to myself, and it never felt right until I wrote that song, and I sang like that. I thought, this feels so real, so natural.” Fitz shared his vision with long-time friend and saxophonist, James King, who immediately connected with the sound. While the electric guitar drives rock, the saxophone takes center stage in soul, and that’s the way Fitz likes it. “We wanted to find a new vocabulary for the genre, I wanted to make a record without any guitars. Could we make a huge sound with out any guitars?” A huge sound takes a huge studio--Motown had Studio A in Detroit, Philadelphia International had Sigma Studios, Phil Spector’s Wall of Sound was created in Hollywood’s legendary Gold Star Studios-- but when it came time to capture the feeling and the soul of soul, Fitz knew of the perfect studio: his home. There in the living room, he recorded Songs for a Breakup, Vol. 1, a burst of effervescent swingers and floor-stompers, infused with the energy of long forgotten songs. The infectious, rolling rhythms of “Breaking the Chains of Love,” immediately turns your head and actually get cemented in your brain, like a good pop song should. The sound is familiar, but distinct. That’s what grabbed the attention of Maroon 5’s Adam Levine. Levine was getting a tattoo in New York when the tattoo artist told him he had to hear this new band he had discovered. After that one encounter, Levine personally invited Fitz and the Tantrums to join their tour. Like the EP, Fitz recorded the full-length debut back at home, to bottle the lightning that struck in those first jam sessions. He now delves into more acerbic lyrical territory, going on the offensive against gold diggers on the exceptionally funky “MoneyGrabber,” and even gets political on the piano-banging, handclap-driven call to action, “Dear Mr. President.” "L.O.V." is a jaunt through pop music history embarking with a groovy organ intro, meandering through juicy big band breakdowns and Fitz's svelte croons, then carrying us away with flute outro. It's a funk-filled plea to give love a chance. These powerful songs take the band’s energy up a notch, but like their energized performances, they never loose control. Those blistering performances are now well-chronicled for adequate ubiquity, Last Call With Carson Daly nailing the money shot for “MoneyGrabber” at the band’s sold out show in November at LA’s El Rey Theatre featuring a sea of a thousand pogoing fans and a handful of F.A.T.T. gems rocked along with blue-eyed soul vet, Daryl Hall on the band’s spot on Live From Daryl’s House. Lest we forget, an omnipresent T-Mobile HTC ad that actually namechecks the band that, for the past several months, is impossible not to see if you’re watching even an hour’s worth of television. Oh, and there are the hot spots on Criminal Minds, Desperate Housewives and a great many more, not to mention a ton of success at radio for the aforementioned runaway “MoneyGrabber,” all with the promise of more to come. In their sound and on the stage, Fitz and the Tantrums are nothing but professionals, and never less than classy. Enter the Tantrums, Fitz’s airtight ensemble keeping it real like it’s 1969. Funky drummer John Wicks is a Motown B-side aficionado and prolific session player, Jeremy Ruzumna manned the keyboards and was musical director for Macy Gray. James King backed De La Soul and bassist Joseph Karnes is a well sought after session player. Then there’s Noelle Scaggs, the powerful voice behind Fitz’s croons. Make no mistake, Scaggs is not just there for “doo-wops” and handclaps. She shimmies and flirts, she stokes the crowd and simmers them down, and she has no qualms about keeping Fitz in check. “She is not just a backup singer,” Fitz says, “We have repartee. Onstage, we’re Ike and Tina.” There, on the stage, Fitz and the Tantrums are not just a band, they’re an explosion. Scaggs high steps it to the tight-as-hell rhythm section, while Fitz, cooler than cobalt, croons like the aforementioned Mr. Hall for a new generation. It’s obvious that this is no tryst for the band, this is a full-blown, head-over-heels love affair. Pickin’ Up The Pieces is available on the Dangerbird Records website: http://dangerbirdrecords.com/downloads/fitz-and-the-tantrums # # # FOR MORE INFORMATION CONTACT: Perry Serpa/Rob Lawi – Good Cop Public Relations (718) 846-0518 perry@goodcoppr.com rob@goodcoppr.com www.goodcoppr.com Cristina Parker – Noise NY 917 684-0452 cristina@noiseny.com FITZ & THE TANTRUMS: www.fitzandthetantrums.com DANGERBIRD RECORDS: www.dangerbirdrecords.com
event::tags All Ages
3:15 PM
to 3:45 PM
Esben and the Witch
139 schedule::attendees
Location
Emo's Jr
eventtype Unofficial Music
event::about
The Windish Agency is excited to announce our 6th annual Austin day party, a massive event happening on March 18 from noon to 6pm. Every year since 2006, we’ve taken over Emo’s and Emo’s Jr. on the Friday of SXSW, assembled an unrivaled array of amazing bands, and made it 100% free and open to everyone. Now, with help from our friends at Time Out, Groupon, and Ticketweb, we’re thrilled to be bringing another stellar lineup to both stages in the hallowed halls of Emo’s.
4:00 PM
to 5:00 PM
Oh Land
90 schedule::attendees
Location
Waterloo Records
eventtype Unofficial Music
event::about
Part of Waterloo Records SXSW Showcase
4:00 PM
to 4:45 PM
Old 97's
231 schedule::attendees
Location
Barbarella Patio
eventtype Unofficial Music
event::about
Co-presented by KF Records (Knitting Factory) and Partisan Records.
4:15 PM
to 4:45 PM
The Naked and Famous
165 schedule::attendees
Location
Emo's Jr
eventtype Unofficial Music
event::about
The Windish Agency is excited to announce our 6th annual Austin day party, a massive event happening on March 18 from noon to 6pm. Every year since 2006, we’ve taken over Emo’s and Emo’s Jr. on the Friday of SXSW, assembled an unrivaled array of amazing bands, and made it 100% free and open to everyone. Now, with help from our friends at Time Out, Groupon, and Ticketweb, we’re thrilled to be bringing another stellar lineup to both stages in the hallowed halls of Emo’s.
8:00 PM
to 9:00 PM
Comedy Showcase: The Benson Interruption
44 schedule::attendees
Location
Esther's Follies
event::about Doug Benson brings his celebrated live show, and now Comedy Central hit, to SXSW. Join Doug and his bad manners as he welcomes a classified cast of very special guest comedians to the stage... then he interrupts them. Because it's not called The Benson Behaves Politely.
8:30 PM
to 9:30 PM
The Vaccines
241 schedule::attendees
Location
Stubb's
9:30 PM
to 10:30 PM
Eugene Mirman
71 schedule::attendees
Location
Esther's Follies
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+
11:10 PM
to 12:10 AM
The Joy Formidable
230 schedule::attendees
Location
Billboard Bungalow @ Buffalo Billiards
eventtype Music
Artists The Joy Formidable
event::about There's something panoramic about The Joy Formidable's music - their mountainous, fuzzed out riffs and ferocious, earthy rhythms shrouded in ethereal haze. It sounds like where they're from: Childhood friends Ritzy Bryan (vocals, guitar) and Rhydian Dafydd (bass, vocals) grew up in rural North Wales, surrounded by rolling green hills and little else. "There's a beauty and a loneliness to the landscape there," says Dafydd. "We had no neighbors growing up," Bryan notes. "I think my parents looked for a house with no neighbors so they could play their music as loud as possible." For her part, Bryan loved the isolation. Growing up as an only child, the singer immersed herself in her parents' enormous record collection and the classical guitar studies she took on at the age of seven. "I loved playing guitar by myself, back then I was quite introverted with my music," she says. Bryan and Dafydd had been writing music separately from one another, and worked together in a couple of short-lived local bands after finishing school. They knew they wanted to collaborate, but didn't manage to make it work until a few years ago. "We kept missing each other," Ritzy says. Bryan went off to Washington, D.C "on a whim" and returned to Wales in 2008 with renewed focus. "My family situation wasn't easy to go back to" says Bryan. "I came back out of necessity and found a lot of sanctuary recording with Rhydian and having this new band to concentrate on." For six months, the pair wrote together, experimenting with different sonic approaches. "We'd go for walks in the hills between recordings," Dafydd remembers. "We'd write for hours and hours," adds Bryan, "and if we got frustrated, we'd go stomp it out, up and down the mountains." But as the sessions began yielding signature tunes like "Austere" and "Cradle" - tracks that combined the duo's interest in thick, textured noises with clear, shimmering pop hooks - they knew they'd found their sound. "We'd always been into writing strong melodies," Bryan says. "The sparks really flew when we started messing with things that were choral and symphonic, mixed with what both of us had already enjoyed separately: dirty, loud, rhythmic guitars and thick bass-lines." The Joy Formidable released "Austere" in July 2008, followed by "Cradle" on double 7" later that summer, and quickly produced an eight-track EP, A Balloon Called Moaning, which they released themselves in the U.K. in early 2009. Having relocated to London and recruited drummer Matthew Thomas, the trio quickly earned a reputation for blistering live performances. "We love and encourage the beautiful double-pedal," says Bryan, with a chuckle. "We do lean towards a slightly metal aesthetic when it comes to drums, which makes it very loud and heavy and all the things we want to be as a live entity. The new album definitely explores those elements, and that's because of Matt being in the band." The trio spent 2009 touring the U.K., Europe and Australia with bands including Editors, Temper Trap and Passion Pit, mastering tiny clubs and festival stages alike. Their introduction to American audiences came early this year, when Passion Pit invited The Joy Formidable to open a pair of sold-out shows at New York's Terminal 5. In late April, they teamed with a new label started by Passion Pit's Ayad Al Adhamy, Black Bell Records, to release A Balloon Called Moaning in the U.S. The New York Times' Jon Pareles praised the EP's "cryptic lyrics that glint with urgency," and said that "the music regenerates the turbulent haze of 1990s rock, but it's less tormented and more anthemic, confident of the pop structures at its core." They've also earned critical raves from NME, The Guardian, the London Times, Spin and Pitchfork, heavy rotation on Sirius XM's indie rock channel, Sirius XMU, and praise from Garbage's Shirley Manson and Courtney Love, among others. This summer, The Joy Formidable signed with Canvasback Records, and will release their debut album for the label, The Big Roar, early next year. When they weren't on the road, the band worked on writing and tracking the material for The Big Roar. "We recorded in a tiny corner of our London bedroom" Bryan says. "It was great, because you could capture that moment when you wake up in the middle of the night with a melody or an image or a lyric." Working on and off for a year, The Joy Formidable crafted a remarkable collection of modern rock songs that explore what Bryan describes as "the possibility of victory in a hopeless situation.” Adds Dafydd: "The album covers a lot of emotional range. It's captured the battle between the eternal optimist and the manic depressive." They produced The Big Roar themselves - with help from engineer Neak Menter - and traveled to Los Angeles this summer to mix it with producer Rich Costey (Muse, Foo Fighters, Glasvegas). A single from those sessions, "I Don't Want To See You Like This," is due out this autumn, with the full-length to follow in early 2011. The Joy Formidable will headline the Emerge NME Radar tour in September and October, making stops at various venues throughout the UK, and return to the U.S. for a headlining run in November
event::tags 21+
11:20 PM
to 12:20 AM
Dum Dum Girls
331 schedule::attendees
Location
Red 7 Patio
11:45 PM
to 12:45 AM
Filter
55 schedule::attendees
Location
Austin Music Hall
12:00 AM
to 1:00 AM
Chromeo
389 schedule::attendees
Location
La Zona Rosa
eventtype Music
event::about Imagine, if you will, a yacht. It’s forged of gold and strong African teak, bobbing gently at anchor somewhere between the French Riviera and Detroit. A statue of the late Roger Troutman is affixed to the stern like a guardian angel. The ladies of Klymaxx wander the decks serving strawberries and cream on silver platters. Sylvester himself is the skipper, and Hall & Oates are down below, keeping the engines in shipshape. This is the S.S. Chromeo, and the two men who create the smoothest of music under the same moniker are at rest aboard, preparing for another global voyage of lovers’ funk ambassadorship. Here we have Dave 1, the suave professor, the voice and intellect, enjoying a rosé as he ponders French literature. And with him we have the one and only P-Thugg, the brawn and the body, sipping on the ghetto cocktail known as Thug Passion and proudly going through his mental rolodex of jeep beats and funky flourishes. The men of Chromeo are about to release Business Casual, which is their third full-length album and a testament to the growth and further sophistication the band has undergone over the many years they’ve been collaborating. After their sophomore release, Fancy Footwork, pushed them into the stratosphere of party-rocking, club-banging, and heart-thrilling electrofunk, we might consider Business Casual their postgraduate work. Where does a group go after mastering their craft? Do they rest on their laurels? Do they retreat into self-parody? Neighbor, please. Chromeo, in 2010, have pushed forward into yet newer levels of song craft and body moving music that is respectfully indebted to its noble inspirations while still being fully contemporary. Are there lush string arrangements on “Don't Walk Away”? Do we have Moroder-esque analog synth layers draped all over “Don't Turn The Lights On”? Is there a fully authentic French ballad (don't forget, Dave and P are of the Québécois persuasion and will never abandon those roots) in “J’ai Claqué la porte”? Well yes, actually, to all of the above. But what’s this we have here? The flip side of Chromeo, the emotional gangster tracks, are still here on Business Casual, represented by titles such as “Hot Mess,” "I’m Not Contagious," and "You Make It Rough." And, newly added to the roster, we have the straight-up pop, vanilla in the best sense (creamy and smooth), of “The Right Type,” a get-up-and-go tune in the greatest 80s tradition, and the album closer, “Grow Up,” which almost sounds like golden era Billy Joel backed up by Cameo. How real is that? Lyrically, Dave continues to mine the rich vein of affairs of the heart. Is there really any other topic that Chromeo needs to cover? Arrogant ladies, dancefloor seduction, boudoir skills, love gone wrong, and knights in shining armor… Chromeo does all this and more with their trademark Franco-insouciance-that-borders-on-coolness and their always sexy worldliness (pause). In these uncertain times of financial upheaval and musical mediocrity, Chromeo’s Business Casual is a testament to the fact that inspirational funk shall always prevail. Vive le Chromeo!
event::tags All Ages
12:50 AM
to 1:50 AM
The Raveonettes
295 schedule::attendees
Location
Rusty Spurs
eventtype Music
Artists The Raveonettes
event::about When you've had a cult fan base for as long as The Raveonettes have, it's only a matter of time before some of your most-loyal of acolytes begin branching out and make their own kinds of beautiful noise. In recent times, the musical DNA of Sune Rose Wagner and Sharin Foo has been cropping up with such regularity that it prompted the British music press staple NME.com to declare the Danish duo to be responsible for sparking 'America's pop renaissance.' It was a long overdue tip of the hat which drew comparisons between the Raveonettes' melodic magic and such modern tunesmiths as The Drums, Best Coast, Vivian Girls, Dum Dum Girls and even British bands like The Vaccines and Glasvegas. But why take NME's words for it? The bands themselves are only too happy to give credit where it's due and explain why the Raveonettes have been such a prominent reference point. 'They taught me a thing or two about pop music,' admits Jonathan Pierce of New York indie-pop trio the Drums. 'I've always been drawn to bands who are driven by a strong concept and The Raveonettes have been doing it consistently, uncompromisingly and unashamedly since their very first EP 'Whip It On' (2002). I listened to that record religiously for two years after it came out and still find myself going back to it now. They're the modern king and queen of melody and mood.' It's a sentiment that's also echoed by Dee Dee of Sub Pop starlets The Dum Dum Girls who has also been loyally following our Danish heroes from day one. 'They are one of a few bands I took direct kindred inspiration from when I started writing and recording my own songs. They are a constant reminder to keep the teeth of sound intact while courting the pop hook- a recipe I follow in my own work.' But it is perhaps the testimony of one Mr James Allan that exemplifies the Raveonettes-effect most dramatically. Back in 2004, James was jobless and aimless as he sat in Glasgow's famous King Tut's Wah Wah Hut venue drowning his sorrows one Friday afternoon. By coincidence, The Raveonettes happened to be playing the venue that very night and, whimsically hoping that some music would cheer him up, James spent his last bit of cash on a ticket. His money didn't just buy him a quick pick-me-up, it bought him a new lease of life. 'They were touring their 'Chain Gang Of Love' (2003) album- a modern day dream-pop masterpiece in my opinion,' he remembers. 'I left the venue so inspired. I didn't give a fuck about getting a job after that. It just further reinstated my longing to be in a rock 'n' roll band.' That band turned out to be the all-conquering Glasvegas for whom James became the talismanic frontman. Needless to say, he doesn't spend too much time worrying about getting a job these days. If The Raveonettes decided to call it a day tomorrow, we would undoubtedly remember them with nothing but love. But it's partly down to the fact that they've spawned this new generation of talent that the band have strived to move themselves forward with their fifth album. After the best part of a decade honing their instantly recognizable sound and seeing it co-opted by so many other bands aspiring for a similar level of greatness, Sharin and Sune are blazing a newer, darker trail with the brilliant 'Raven In The Grave'. 'I think we have finally hit on something quite important and different for this album,' explains Sune. 'This is the first Raveonettes album we've done which doesn't feature the signature Raveonettes surf drumbeat. None of the tunes have any real sunshine to them. It's all very un-Rave.' 'It has a mood of ethereal defiance' Sharin adds. 'It's dark but not bleak, like the single minded determination caused by crisis that is not quite hope but just as powerful. It's the perfect winter soundtrack just in time for spring'. It doesn't take long to hear how the band have superseded their traditional sound. Of course, melody is still key to what the Raveonettes do, but the familiar bombastic beats and squalls of guitar-noise take a backseat during much of 'Raven In The Grave'. Instead, the album is awash with ghostly synths and chillingly beautiful riffs that leave you feeling simultaneously unsettled and enchanted. It's easily the most soulful music the band have created to date. But once you scratch that sombre surface and dig a little deeper, you'll find that 'Raven In The Grave' has an even darker lyrical heart. Inspired as ever by their own first hand experiences, many of the songs explore the disheartening finiteness of relationships and the devastating effects they can have when they do disintegrate. 'Yeah, there are a lot of those kind of themes,' admits Sune. ''With Recharge & Revolt' I was trying to write an epic love song of longing and restlessness, 'Summer Moon' is about the blossoming of something beautiful which turns sour and starts deteriorating right in front of you and 'My Time's Up' is about the perils of non-commitment to affection and the dangers of short-changing your life.' When you combine The Raveonettes expanded musical palette with this stream of nakedly honest emotions, the end result is an album so compelling and sincere that you could almost live (and potentially, die) inside it. The Raveonettes evolution won't stop with the new album either. As the band set off on tour to support their latest creation, their constantly changing live line-up will be bolstered by a two-drummer line up to help ensure that the depth of 'Raven In The Grave' is recreated on stage. It's just another example of how Sharin and Sune are not content to rest on any laurels. The ten years of inspiring music they've already clocked up has already produced an undeniable legacy, but 'Raven In The Grave' is proof that the Raveonettes are already soaring above all of their past achievements. Catch them if you can.
1:00 AM
to 2:00 AM
The Jim Jones Revue
67 schedule::attendees
Location
Emo's Jr
eventtype Music
Artists The Jim Jones Revue
event::about The Jim Jones Revue are described as sounding like a car crash between Little Richard and The MC5. They play supercharged rock’n’roll inspired by The Killer, The Georgia Peach and of course The Memphis Flash and the deranged sons of Detroit. The ‘Revue were formed in 2007 by Jim Jones and Rupert Orton on a mission to strip rock’n’roll right back to the bone. They enlisted three other London hoodlums, Elliot Mortimer, Nick Jones and Gavin Jay and together they became The Jim Jones Revue. The band released their debut self titled album in the UK in September 2008 to critical acclaim and followed it up with “Here To Save Your Soul” , a collection of the JJR’s singles released in October 2009. The JJR are an astonishing live phenomenon and have relentlessly toured across Europe in the last two years, playing shows and festivals in the UK, France, Spain, Holland, Finland, Germany, Sweden, Portugal, Slovenia, Ireland, Belgium, Norway and Bulgaria. JJR played six block rocking shows at SXSW in March 2010, then returned to the UK for a 17 date tour throughout March and April. Their first New York appearances in the summer of this year were attended by the likes of Spin, Rolling Stone, New York Magazine, Huffington Post and Brooklyn Vegan, all who went on to rave about the band in later reviews. A recent tour of the US created a whole new fan base, with Variety claiming they are one of the best rock and roll bands out there. The band are now back in the UK on a sold out tour and recently made their first UK TV appearance on Later With Jools Holland. Among the JJR fan base, more well known converts include Jack White (White Stripes, The Raconteurs & The Dead Weather), Chris Robinson (Black Crowes), Mick Jones (The Clash, Big Audio Dynamite & Carbon Silicon), Steve Lamacq (BBC Radio),Tony James (Generation X, Sigue Sigue Sputnik & Carbon Silicon), March Riley (BBC Radio), Bobby Gillespie (Primal Scream),Mark Lamarr (BBC Radio), Noel Gallagher (Oasis), Jim Scalvunos (Nick Cave & The Bad Seeds & Grinderman), Jon Spencer (Jon Spencer Blues Explosion & Heavy Trash), Bob Harris (BBC Radio 2) and Gem Archer (Oasis).
event::tags All Ages
1:00 AM
to 2:00 AM
The Naked and Famous
175 schedule::attendees
Location
Maggie Mae's Rooftop
eventtype Music
Artists The Naked and Famous
event::about Everyone knows that the very best music can meddle with your mind, plunging you into the opposite extremes of both happiness and sadness all at once, in intense three minute bursts. It can transport you temporarily to a realm where anything is possible and nothing is out of reach. The latest key holders to that illusive turf are New Zealand's The Naked And Famous. These five young Aucklanders have at their disposal a seemingly effortless ability to capture the giddy fun and relentless hooks one has come to expect from the very best electro-pop, while at the same time striving for something grander, more brooding and atmospheric. It’s this special proposition that has landed the band triumphant success on their native soil (their single ‘Young Blood’ debuted at number one in the NZ chart, as did the album Passive Me Aggressive You on its recent release, both on the group’s own Somewhat Damaged label), and has meant that containing their sounds to their homeland has been something of an impossibility. One of 2010’s genuine organic buzzes has already yielded results that overshadow most hype-bands. Over the past six months the antipodeans’ fantastical glitching gems have scorched through the blogosphere like a hot knife through butter, culminating first in the international release of ‘Young Blood’ on none-other than the most notorious pop-picking label on planet earth, Neon Gold (Marina And The Diamonds, Ellie Goulding etc) and then with the group finding a home away from home on Fiction Records. Now, with Down Under virtually conquered, and ‘Passive Me, Aggressive You’ readied for full international release, the band’s sights are set far and wide. And in keeping with their music’s edifying powers, anything seems possible... Thom and Alisa met at music college in 2008 and formed a songwriting partnership that would become the life force of TNAF. Aaron, a high school acquaintance of Thom’s, was also studying at the same college and soon became a production foil to the duo as they toyed with song and recording ideas after hours in the college studio and various bedrooms. These eventually became The Naked And Famous’s first releases, the twin EPs No Light and This Machine. Forming a live band was secondary to the studio for Thom and Alisa. After the couple’s first tentative steps using backing musicians, they coaxed Aaron out from his role as their live sound engineer to assume suitable knob-twiddling duties onstage - as a sort of electronics overlord - and eventually the perfect rhythm section was found in the shape of another two of their high school mates, Jesse and David. Working furiously throughout 2009 on developing a new live set and dozens of demos, The Naked And Famous embarked on an expansion of their sound, as together they experimented with the epic turns and cinematic moods that define them today. "I feel like a lot of the greatest pop music is the stuff that taps into the really powerful memories or emotions," ponders Alisa. "Just because it's music that can be fun and you can party to, doesn't mean you can't touch upon stuff that can be challenging or heart-wrenching." As early domestic radio love and international cult status began to snowball, a kinship with the widescreen fairytale dance-pop of Empire Of The Sun, MGMT and of course, the ongoing evolutions of LCD Soundsystem, became evident. 'Passive Me, Aggressive You', the debut long-player from TNAF came together at scattered small studio locations around Auckland. Operations, as ever, were overseen by self-confessed 'control freak' Thom, the song ideas coloured by Aaron’s input as he and Thom shared production duties on the album, and constantly guided by Alisa's unique melodies. Singles 'Young Blood' and 'Punching In A Dream' could well do for 3-D synth anthemia what 'Time To Pretend' and 'Kids' did for new psychedelia a few years back. On the record, at its most mountainous, the likes of vacant leviathan 'No Way' and urgent throbbing ascent 'Eyes' work a strange kind of magic. 'Jilted Lovers' wrestles with an unruly synthetic discordance in the vein of the group’s greatest shared and acknowledged influence Nine Inch Nails, while 'A Wolf In Geek's Clothing' takes that same stormy heart and cranks it to near doom-laden bulldozer effect. From fleeting soundscapes like 'The Source' to 'Spank's urgent swamping surge of glitches and fuzzed-out refrains, TNAF never shy away from deconstructing normal indie comfort zones. It stands proud, in a time of quick-fix singles culture, as a genuine album. But anyone who's witnessed TNAF emerge from what they like to call their natural studio habitat to step onstage – where their songs become a truly enveloping experience – will testify to the sheer epic proportions of album closer 'Girls Like You'. Perhaps TNAF at their most realised, it is a complete collision of swooping, chanting hooklines and otherworldly expanses of sound. This is a band set to blow a crater in 2011’s musical landscape, a young group of warped sound merchants making do-or-die, heart-in-mouth, chart-bound pop to invest your heart and soul in.
event::tags 21+
1:10 AM
to 2:10 AM
Das Racist
369 schedule::attendees
Location
Emo's Main Room
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 All Ages
10:30 AM
to 4:00 PM
Rachael Ray Feedback Party
427 schedule::attendees
Location
Stubb's
eventtype Unofficial Party
Speaker/Artist(s) Info
The Bravery, Tapes 'n' Tapes, Fitz and the Tantrums, The Cringe, FreeSol, J Roddy Walston & the Business, Das Racist, Bob Schneider, Royal Bangs, Charlie Mars, Eli "Paperboy" Reed
11:00 AM
to 6:00 PM
Filter Magazine's Culture Collide
246 schedule::attendees
Location
Cedar Street Courtyard
eventtype Unofficial Party
Speaker/Artist(s) Info
Indigo Tree (11am)
Kyst (11:30am)
KAMP! (noon)
Scars on 45 (1pm)
Those Dancing Days (2pm)
Datarock (3pm)
The Naked and Famous (4pm)
Little Dragon (5pm)
12:00 PM
to 6:00 PM
MOG at the Mohawk
373 schedule::attendees
Location
Mohawk
eventtype Unofficial Party
event::about
Main Stage:
4:40-5:40p - Big Boi
3:10-4:10p – TV on the Radio
2:00-2:40p – Okkervil River
1:00-1:40p - Wild Flag
12-12:40p - Smith Westerns
Inside Stage:
4:10 – 4:50 – Yuck
2:40 - 3:20 – Twin Shadow
1:40 –2:20 – Theophilus London
12:40 – 1:20 – Tune-Yards
4:00 PM
to 5:00 PM
Neon Trees
141 schedule::attendees
Location
Waterloo Records
eventtype Unofficial Music
event::about
Part of Waterloo Records SXSW Showcase
8:00 PM
to 9:00 PM
Eliza Doolittle
83 schedule::attendees
Location
The Tap Room at Six
eventtype Music
Artists Eliza Doolittle
event::about In the charming video for her first U.S. single, “Rollerblades,” Eliza Doolittle, a lanky, saucer-eyed brunette in a white tank top and denim short shorts, cycles leisurely around New York’s Lower East Side. A boy from her past appears to tie a bunch of bright blue balloons to the back of her bike, disappears, then reappears with her on a sofa on the sidewalk, then evaporates again before reappearing to buy her an Icee, after which Doolittle leaves him in the dust, jumping into a shopping cart with her girlfriends and riding off into a perfect Manhattan afternoon. “The boy in the video is a bit unreliable the way he keeps popping in and out,” Doolittle explains, “so it’s kind of a metaphor for him not knowing what he wants. In the end I realize that I need to move on from that and get on with my life.” If only we could all live in Eliza Doolittle world. The Cass Bird-directed clip, which also shows Doolittle frolicking joyfully in the cooling spray from a busted hydrant, manages another neat trick. It beautifully captures the idyllic feeling of being young and carefree on a summer’s day — a mood that saturates the 22-year-old London-born singer and songwriter’s self-titled debut album, which was released in the U.K. in July and will be released Stateside in 2011. Doolittle has already created a buzz across the Atlantic with her breezy singles “Skinny Genes” and “Pack Up,” the latter of which climbed to No. 5 on the UK Singles Chart and has been a mainstay in the Top 10 for months. The album was certified gold in the U.K. within four weeks of its release. The album’s appeal is rooted in Doolittle’s rich, feel-good vibe of the music, which she co-wrote with a host of top-notch songwriters and producers, including Greg Kurstin (Sia), Steve Chrisanthou (Corinne Bailey Rae), the late Jonny $ (Kylie, Massive Attack), and Craigie Dodds (Amy Winehouse). Vintage sounds from the ’60s and ’70s are merrily mined and wed to buoyant melodies informed by classic pop, old soul, ska, folk, and even good old-fashioned barbershop quartet, creating something with a happy-go-lucky retro feel, but still indisputably youthful and fresh. “’Rollerblades was the first song I wrote, and I knew I had something special with the sound,” Doolittle says. “It’s got something to it that I hadn’t quite heard before, so when it came time to write the whole album, I made sure I put my stamp on it with that sound no matter which producer I was working with.” “Pack Up” boldly raids the chorus of the George Henry Powell marching song “Pack Up Your Troubles In Your Old Kit Bag” and repurposes it to startling effect, creating a dance-hall ode to the joys of being the eternal optimist. “Money Box” is an orchestrated rant against senseless materialism, with Doolittle touchingly insisting “I don’t need no cash machine…all I need’s right here, right here with you my dear.” “Police Car,” a down-tempo lament swaddled in melancholy woodwind, is about Doolittle getting herself in trouble with her bluntness. “I do regret my mouth sometimes,” she says, “but then I think, ‘Well, that’s what I think, it doesn’t matter.’ But maybe I’m still learning!” Her disarming frankness and tart observations are actually her strong suits. “Skinny Genes” is “a cheeky song about a really annoying boy who has no good qualities, except for one really good one,” she says, while “Nobody” dismisses the cheap lure of fame with a simple question: “What’s wrong with being a nobody?” “Everyone's got a dark side, but mine definitely isn't the first thing you notice about me,” she says. “So it was important to me to be in touch with my personality through the music, and I think this album really shows that.” Raised by a piano-playing dad and singing mom, Doolittle has been writing songs since she was 12. “I told my mum that I wanted to be a singer and she told me to start writing because that’s where the money was,” Doolittle says with a laugh. “I love the writing aspect of what I do. That fulfilling feeling of finishing a song is just incredible. It’s like making babies. I mean, I'm sure when I have a real baby it will be a stronger feeling than this, but creating a song is like giving birth. Though perhaps not quite as painful.” Her precocious songwriting talent soon got her noticed, and Doolittle signed a publishing deal at 16. As she matured, her songs began to flower into the magical blooms they are today. Although she is a diehard fan of classic pop, and cites the Beach Boys, The Kinks, and Stevie Wonder as influences, Doolittle doesn’t see herself fitting in to a cut-and-dried pop mold. “I’d like to be a pop musician in the proper old school vein of pop when there weren’t any different genres like there are now; it was all just pop music,” she says. “I just want to write songs people can sing along to. I can’t think of anything more exciting than traveling the world and playing to audiences and having them sing your words with you.”
event::tags 21+
8:00 PM
to 9:00 PM
IAMDONALD: Donald Glover + Childish Gambino
128 schedule::attendees
Location
Red 7 Patio
8:00 PM
to 9:00 PM
Comedy Showcase: The Benson Interruption
40 schedule::attendees
Location
Esther's Follies
event::about Doug Benson shakes the comedy tightrope with a surprise group of special guest comedians.
8:00 PM
to 2:00 AM
Requiemme Management Showcase
64 schedule::attendees
Location
Maggie Mae's Gibson Room
eventtype Unofficial Party
Speaker/Artist(s) Info
Black Heart Procession 1am
Jesse Malin and The St Marks Social 12am
Maren Parusel 11pm
Gun Runner 10pm
The Hot Moon 9pm
Light FM 8pm
Black Heart Procession 1am
Jesse Malin and The St Marks Social 12am
Maren Parusel 11pm
Gun Runner 10pm
The Hot Moon 9pm
Light FM 8pm
event::about
Black Heart Procession headlines
Requiemme Management’s 2011 Official SXSW showcase
Requiemme Management is proud to have Black Heart Procession headline this year’s Official SXSW showcase Saturday March 19th at Maggie Mae’s Gibson Room. The band now on Brooklyn’s Temporary Residence just finished touring as a duo, but arrives in Austin this time with a full band.
More than the dark emotions that Black Heart has been known to evoke over seven records, Pall Jenkins and Tobias Nathanial have established themselves as respected song writers and experts in the studio creating moving and eloquent heart wrenching classics that are both timeless and epic.
New York City’s Jesse Malin and the St Marks Social also appears supporting the release of “Love it to Life” on SideOneDummy Records. Malin called on friends like Ryan Adams and label mate Brian Fallon to write an album’s worth of anthems. And as one writer put it, “Malin's solo career has always shown promise, but Life finally makes good on it.”
German Born Maren Parusel and her band return to celebrate the new release of their first full length “Artificial Gardens” produced by Black Heart Procession’s Pall Jenkins. He found emotion in her beat driven pop songs for a recording with songs that are upbeat and catchy yet poetic and stirring as well.
Making its debut at SXSW is Gun Runner fresh from the studio completing their first full length record.
Principal Songwriter Sean Davenport is a Berklee grad and former member of Brooklyn’s Abigail Warchild.
Think Cold War kids meets Gnarls Barkley with a little Tom Petty in the mix.
The Hot Moon includes members of The Album Leaf, Grand Ole Party and the rhythm section from Black Heart Procession. But it all comes together with the vocals of singer Sasha Evangelista who seems to channel Billy Holiday.
Light FM from Los Angeles kicks the night into gear with the use of catchy hooks, disarmingly heart felt lyrics and guitar riffs that are distorted to precision.
It’s one gem after another coupled with quirky arrangements, bleepy-bloopy synths and off-kilter drums…what’s not to love?
For interviews or hi res photos or more information:
Mario Escovedo
Requiemme Mgmt and Booking
event::tags Black Heart Procession, Jesse Malin, Maren Parusel
11:00 PM
to 12:00 AM
Eliza Doolittle
68 schedule::attendees
Location
Cedar Street Courtyard
eventtype Music
Artists Eliza Doolittle
event::about In the charming video for her first U.S. single, “Rollerblades,” Eliza Doolittle, a lanky, saucer-eyed brunette in a white tank top and denim short shorts, cycles leisurely around New York’s Lower East Side. A boy from her past appears to tie a bunch of bright blue balloons to the back of her bike, disappears, then reappears with her on a sofa on the sidewalk, then evaporates again before reappearing to buy her an Icee, after which Doolittle leaves him in the dust, jumping into a shopping cart with her girlfriends and riding off into a perfect Manhattan afternoon. “The boy in the video is a bit unreliable the way he keeps popping in and out,” Doolittle explains, “so it’s kind of a metaphor for him not knowing what he wants. In the end I realize that I need to move on from that and get on with my life.” If only we could all live in Eliza Doolittle world. The Cass Bird-directed clip, which also shows Doolittle frolicking joyfully in the cooling spray from a busted hydrant, manages another neat trick. It beautifully captures the idyllic feeling of being young and carefree on a summer’s day — a mood that saturates the 22-year-old London-born singer and songwriter’s self-titled debut album, which was released in the U.K. in July and will be released Stateside in 2011. Doolittle has already created a buzz across the Atlantic with her breezy singles “Skinny Genes” and “Pack Up,” the latter of which climbed to No. 5 on the UK Singles Chart and has been a mainstay in the Top 10 for months. The album was certified gold in the U.K. within four weeks of its release. The album’s appeal is rooted in Doolittle’s rich, feel-good vibe of the music, which she co-wrote with a host of top-notch songwriters and producers, including Greg Kurstin (Sia), Steve Chrisanthou (Corinne Bailey Rae), the late Jonny $ (Kylie, Massive Attack), and Craigie Dodds (Amy Winehouse). Vintage sounds from the ’60s and ’70s are merrily mined and wed to buoyant melodies informed by classic pop, old soul, ska, folk, and even good old-fashioned barbershop quartet, creating something with a happy-go-lucky retro feel, but still indisputably youthful and fresh. “’Rollerblades was the first song I wrote, and I knew I had something special with the sound,” Doolittle says. “It’s got something to it that I hadn’t quite heard before, so when it came time to write the whole album, I made sure I put my stamp on it with that sound no matter which producer I was working with.” “Pack Up” boldly raids the chorus of the George Henry Powell marching song “Pack Up Your Troubles In Your Old Kit Bag” and repurposes it to startling effect, creating a dance-hall ode to the joys of being the eternal optimist. “Money Box” is an orchestrated rant against senseless materialism, with Doolittle touchingly insisting “I don’t need no cash machine…all I need’s right here, right here with you my dear.” “Police Car,” a down-tempo lament swaddled in melancholy woodwind, is about Doolittle getting herself in trouble with her bluntness. “I do regret my mouth sometimes,” she says, “but then I think, ‘Well, that’s what I think, it doesn’t matter.’ But maybe I’m still learning!” Her disarming frankness and tart observations are actually her strong suits. “Skinny Genes” is “a cheeky song about a really annoying boy who has no good qualities, except for one really good one,” she says, while “Nobody” dismisses the cheap lure of fame with a simple question: “What’s wrong with being a nobody?” “Everyone's got a dark side, but mine definitely isn't the first thing you notice about me,” she says. “So it was important to me to be in touch with my personality through the music, and I think this album really shows that.” Raised by a piano-playing dad and singing mom, Doolittle has been writing songs since she was 12. “I told my mum that I wanted to be a singer and she told me to start writing because that’s where the money was,” Doolittle says with a laugh. “I love the writing aspect of what I do. That fulfilling feeling of finishing a song is just incredible. It’s like making babies. I mean, I'm sure when I have a real baby it will be a stronger feeling than this, but creating a song is like giving birth. Though perhaps not quite as painful.” Her precocious songwriting talent soon got her noticed, and Doolittle signed a publishing deal at 16. As she matured, her songs began to flower into the magical blooms they are today. Although she is a diehard fan of classic pop, and cites the Beach Boys, The Kinks, and Stevie Wonder as influences, Doolittle doesn’t see herself fitting in to a cut-and-dried pop mold. “I’d like to be a pop musician in the proper old school vein of pop when there weren’t any different genres like there are now; it was all just pop music,” she says. “I just want to write songs people can sing along to. I can’t think of anything more exciting than traveling the world and playing to audiences and having them sing your words with you.”
event::tags 21+
11:00 PM
to 4:00 AM
Stereogum Last Night Party
292 schedule::attendees
Location
PureVolume House
eventtype Unofficial Party
Speaker/Artist(s) Info
12AM Puro Instinct
12:45AM Owen Pallet
1:30AM The Cults
2:15AM Das Racist
event::about
11:15 PM
to 12:15 AM
Beardyman
35 schedule::attendees
Location
La Zona Rosa
eventtype Music
Artists Beardyman
event::about What exactly is Beardyman? One minute he's winning the UK Beatbox competition, twice, next he's winning best MC at Breakspoll, then he's playing a sold-out run of solo comedy shows at the Edinburgh Fringe. A uniquely gifted performer, his refusal to be put in a box has seen him beatbox all over the world including support slots touring with Groove Armada and hosting huge festival main stages. However, frustrated with the restrictions of the human mouth, but still obsessed with it's unparalleled capabilities, Beardyman has quickly became a leading figure in the emerging trend of live-looping, being the first to appropriate the Korg Kaoss Pad as a live-looping tool and pushing his beatbox-based art form into the entrancing and uncharted realms of live-production. Now, when playing to screaming fans all over the world, he uses an ever-growing arsenal of sound manipulation technology to take the ever-growing crowds with him on full-length musical journeys, darting from exhilaratingly ad-hoc rave-up to comedic musings and interpretations and mash-ups of classic tunes from a huge range of genres. His YouTube videos, which range from the comedic and ridiculous to the downright breathtaking, have been viewed tens of millions of times and it's hard to find a bad comment on any of them. His debut album is completely nuts, but absolutely enthralling: a hilarious and screw-face inducing roller-coaster ride through the twisted mind of a high-functioning musical savant. As challenging as it is entertaining, it's a genre-crossing yet highly focused expertly-produced master-work which is set to smash peoples expectations once again. The first single from ‘I Done A Album’ is Where Does Your Mind Go: a warped, and unusual electro-ballad, this track showcases Beardyman as an artist capable of delivering songs with lyrics as twisted and introverted as Nine-Inch-Nails or Sonic Youth whilst being truly unique in sound and production style, echoing French house but being somehow closer to Chemical Brothers meets T-Rex. Cool, yet tense, it worms its way in and out of balladry and build-up, finally settling on banging gutter-strut electro-tear-out before disappearing into atmospherics again leaving the listener disorientated but invigorated.
event::tags All Ages
11:15 PM
to 12:15 AM
Donald Glover
57 schedule::attendees
Location
Esther's Follies
11:30 PM
to 12:30 AM
Panic! At The Disco
176 schedule::attendees
Location
Stubb's
12:00 AM
to 1:00 AM
Jesse Malin & The St Marks Social
81 schedule::attendees
Location
Maggie Mae's Gibson Room
eventtype Music
event::about After three critically acclaimed solo records, dozens of world tours and TV appearances, Jesse Malin found himself back in New York City questioning his next move. From his days fronting seminal hardcore trio Heart Attack and infamous glam punks D Generation, then seven years on the road as a solo artist, Malin had cultivated a devout fan base. He'd shared stages with everyone from The White Stripes to Counting Crows, The Hold Steady to Lucinda Williams, but felt like he was losing the plot. Malin contemplated going back to school, becoming a standup comedian or a Las Vegas wedding DJ, and even started work on a documentary film about DC hardcore Rastafarians The Bad Brains. For over a year he didnít play or record. When asked by a Hollywood screenwriter to pen songs for a film about author J.D. Salinger, Malin ó a fan of Catcher in the Rye and other Salinger works ó traveled to Cornish, NH hoping to speak to the famous recluse. In typical punk-rock fashion, instead of getting the interview, Malin landed at the local precinct for trespassing and was released only after the cops watched his video duet with Bruce Springsteen for "Broken Radio" on YouTube and were convinced he was just a writer doing research. Though he never met Salinger (who passed away this past January), Malin made the most of the experience by writing "The Archer" and "Lonely at Heart"ótwo songs that would make him want to work again and become the basis for his new album. Over the summer of 2009, in the basement of Avenue A watering hole Hi- Fi, the songs came forth. Malin, with impresario Don DiLego, drummer Randy Schrager, guitarist Matt Hogan, and bassist/DJ Tommy USA, worked with his newly formed band to bash out an album's worth of gritty anthems, and The St. Marks Social was born. A solid band, but one with an open door to Malin's community of musician friends - longtime partner in crime Ryan Adams, pop singer Mandy Moore, fellow label mate Brian Fallon, and former bandmates from D Generation Howie Pyro and Danny Sage - the Social is a group effort to keep the P.M.A. Says Malin, "To me, rock 'n' roll is an exorcism that begins every night when the sun goes down, the music starts playing, and the spirits start flowing. It helps to say things in public over dirty microphones. It's a way to spit out the poison." When Jesse met producer Ted Hutt (Lucero, Flogging Molly, The Gaslight Anthem) one drunken night at a local bar, their talk of making a record fast, loose, and raw, was the beginning of Huttís quest to create a record that would encompass Malin's roots and evolutionófrom hardcore thrasher to punk/folk singer-songwriter. The album's basic tracks were laid in three days at Greenpoint, Brooklynís Mission Studios, and the rest at Sonic Youth's Think Tank Studios in Hoboken, NJ. Filled with the characters Malin does bestómessengers and misanthropes, hipsters and hypocritesóand as always, his constant themes of redemption, nightlife, heartbreak, and survival, LOVE IT TO LIFEóa sentiment taken from a ticket stub Joe Strummer autographed for Jesseówas built with desperate optimism that shouts in gang vocals that no matter how bad it gets, youíre never alone. LOVE IT TO LIFE will be in stores on April 27, 2010. Jesse Malin and The St. Marks Social will start a residency this month at the Bowery Electric in New York to get warmed up for a run of dates with label mates Gogol Bordello in April.
event::tags 21+
12:00 AM
to 1:00 AM
The Raveonettes
273 schedule::attendees
Location
Cedar Street Courtyard
eventtype Music
Artists The Raveonettes
event::about When you've had a cult fan base for as long as The Raveonettes have, it's only a matter of time before some of your most-loyal of acolytes begin branching out and make their own kinds of beautiful noise. In recent times, the musical DNA of Sune Rose Wagner and Sharin Foo has been cropping up with such regularity that it prompted the British music press staple NME.com to declare the Danish duo to be responsible for sparking 'America's pop renaissance.' It was a long overdue tip of the hat which drew comparisons between the Raveonettes' melodic magic and such modern tunesmiths as The Drums, Best Coast, Vivian Girls, Dum Dum Girls and even British bands like The Vaccines and Glasvegas. But why take NME's words for it? The bands themselves are only too happy to give credit where it's due and explain why the Raveonettes have been such a prominent reference point. 'They taught me a thing or two about pop music,' admits Jonathan Pierce of New York indie-pop trio the Drums. 'I've always been drawn to bands who are driven by a strong concept and The Raveonettes have been doing it consistently, uncompromisingly and unashamedly since their very first EP 'Whip It On' (2002). I listened to that record religiously for two years after it came out and still find myself going back to it now. They're the modern king and queen of melody and mood.' It's a sentiment that's also echoed by Dee Dee of Sub Pop starlets The Dum Dum Girls who has also been loyally following our Danish heroes from day one. 'They are one of a few bands I took direct kindred inspiration from when I started writing and recording my own songs. They are a constant reminder to keep the teeth of sound intact while courting the pop hook- a recipe I follow in my own work.' But it is perhaps the testimony of one Mr James Allan that exemplifies the Raveonettes-effect most dramatically. Back in 2004, James was jobless and aimless as he sat in Glasgow's famous King Tut's Wah Wah Hut venue drowning his sorrows one Friday afternoon. By coincidence, The Raveonettes happened to be playing the venue that very night and, whimsically hoping that some music would cheer him up, James spent his last bit of cash on a ticket. His money didn't just buy him a quick pick-me-up, it bought him a new lease of life. 'They were touring their 'Chain Gang Of Love' (2003) album- a modern day dream-pop masterpiece in my opinion,' he remembers. 'I left the venue so inspired. I didn't give a fuck about getting a job after that. It just further reinstated my longing to be in a rock 'n' roll band.' That band turned out to be the all-conquering Glasvegas for whom James became the talismanic frontman. Needless to say, he doesn't spend too much time worrying about getting a job these days. If The Raveonettes decided to call it a day tomorrow, we would undoubtedly remember them with nothing but love. But it's partly down to the fact that they've spawned this new generation of talent that the band have strived to move themselves forward with their fifth album. After the best part of a decade honing their instantly recognizable sound and seeing it co-opted by so many other bands aspiring for a similar level of greatness, Sharin and Sune are blazing a newer, darker trail with the brilliant 'Raven In The Grave'. 'I think we have finally hit on something quite important and different for this album,' explains Sune. 'This is the first Raveonettes album we've done which doesn't feature the signature Raveonettes surf drumbeat. None of the tunes have any real sunshine to them. It's all very un-Rave.' 'It has a mood of ethereal defiance' Sharin adds. 'It's dark but not bleak, like the single minded determination caused by crisis that is not quite hope but just as powerful. It's the perfect winter soundtrack just in time for spring'. It doesn't take long to hear how the band have superseded their traditional sound. Of course, melody is still key to what the Raveonettes do, but the familiar bombastic beats and squalls of guitar-noise take a backseat during much of 'Raven In The Grave'. Instead, the album is awash with ghostly synths and chillingly beautiful riffs that leave you feeling simultaneously unsettled and enchanted. It's easily the most soulful music the band have created to date. But once you scratch that sombre surface and dig a little deeper, you'll find that 'Raven In The Grave' has an even darker lyrical heart. Inspired as ever by their own first hand experiences, many of the songs explore the disheartening finiteness of relationships and the devastating effects they can have when they do disintegrate. 'Yeah, there are a lot of those kind of themes,' admits Sune. ''With Recharge & Revolt' I was trying to write an epic love song of longing and restlessness, 'Summer Moon' is about the blossoming of something beautiful which turns sour and starts deteriorating right in front of you and 'My Time's Up' is about the perils of non-commitment to affection and the dangers of short-changing your life.' When you combine The Raveonettes expanded musical palette with this stream of nakedly honest emotions, the end result is an album so compelling and sincere that you could almost live (and potentially, die) inside it. The Raveonettes evolution won't stop with the new album either. As the band set off on tour to support their latest creation, their constantly changing live line-up will be bolstered by a two-drummer line up to help ensure that the depth of 'Raven In The Grave' is recreated on stage. It's just another example of how Sharin and Sune are not content to rest on any laurels. The ten years of inspiring music they've already clocked up has already produced an undeniable legacy, but 'Raven In The Grave' is proof that the Raveonettes are already soaring above all of their past achievements. Catch them if you can.
event::tags 21+
12:15 AM
to 1:15 AM
Neon Trees
207 schedule::attendees
Location
Emo's Main Room
eventtype Music
Artists Neon Trees
event::about Neon Trees Tyler Glenn: lead vocals/keyboards Chris Allen: guitars Branden Campbell: bass Elaine Bradley: drums/vocals “I wanna shake up your system/I wanna rattle your bones/I wanna take you to the stars/And then I’ll leave you alone.” “Farther Down” Like their name, Neon Trees are a combination of slick pop hooks and sturdy organic rock, both melodic and hard-hitting, their anthems of adolescent angst, longing, love lost and found, delivered with the kind of heart-on-the-sleeve passion that only comes from hard work and commitment. Their Mercury/Island Def Jam debut, Habits, produced by Tim Pagnotta, is a refreshing blast of timeless rock energy and spirit that wouldn’t sound out of place at any point from ‘60s garage-rock to 2010 dance rock, with the first single, “Animal,” taking off from a round of weaving, angular guitars into a song equally at home in the arena as on the dance floor, a paean to sexual longing in which singer/front man Tyler Glenn wails, “Take a bite out of my heart tonight.,” and you have no reason to doubt his sincerity. Take hook-happy new wave, add to it the classic-rock story-telling humanity and leaven with other-worldly charisma, and you begin to understand the palette Neon Trees are working from. “I have this weird, obsessive nature of wanting to be a superhero,” admits Glenn, who cites his two favorite performers as the Boss and the King of Pop. “I just want to help my friends and the people I love by saving them, only to realize they’re really saving me by listening to the music. The songs are all about forgiveness, love and passion, which basically sums up the whole vibe of what we’re about as a band, professionally and spiritually.” In the opening “Sins of my Youth,” Tyler reminisces about a childhood of trial, error and eventual self-discovery. “I’ve got these habits I cannot break… Call me crazy/I was born to make a mess.” “Your Surrender” takes Roy Orbison’s romantic plaint and sets it up against Phil Spector’s Wall of Sound, while “Girls and Boys in School” speaks for itself, with a playground chant over a dark yet sing-along synth-pop chorus. Chris Allen has a quirky, edgy Johnny Marrr-meets-The Edge guitar playing while drummer Elaine Bradley drums with the intensity of John Bonham adding a heartbeat to the sensuality of the songs. “We’re all about songs which relate the human experience,” says Las Vegas native, bassist Branden Campbell. “The emotion is very important to us. Our logo is a human heart with wings. We try to keep it real, but we’re not afraid to dream, either, work hard and admit we want success.” “We approach the songs from a classic perspective,” adds guitarist Chris Allen, who formed the initial group in Southern California with neighbor Tyler, who lived around the corner. “Even from the start, it was all about the music for us. We didn’t even talk, just practice.” “I’ve always tried to keep my feet on the ground with my songwriting,” adds Tyler, a self-taught musician who began composing when he was six. “I try to focus on getting out what I’m thinking and feeling. It’s a tool to help me cope with all the weird things that come into my mind. I’m just happy to have found that outlet.” When Allen moved to Provo, UT, to attend school, Glenn followed him, knowing he wanted to play music with Allen. “That was a real awkward trip,” laughs Chris. “We drove all the way out there and hardly said a word to each other. All we knew was we wanted to play music together.” Once there, they were soon joined by Campbell on bass and drummer Bradley, a Midwestern Led Zeppelin/Depeche Mode fan, a combination that clicked despite the fact the individual members eventually discovered they were all very different people. “We are all so fascinatingly different,” explains Bradley, who has been playing in bands since she was 14, first as a guitarist then as a drummer. “Tyler’s the quirky serious type who is really a goofball. Branden’s the musical history encyclopedia. Chris is the manual labor. Being in this band is like an arranged marriage where divorce is not an option, and I’m ok with that.” Being signed to a major label hasn’t changed Neon Trees one bit. “Our goal and how we play are still the same,” insists Tyler. “We’ve always tried to evoke a larger-than-life feel, even if we’re playing to 10 people in a garage. We’re just trying to keep our feet on the ground and remember why we started doing this in the first place.” “Music is a sacred act of communion for me, offering hope and love,” says Tyler. “That’s the heart of this band. Just like in life, though, you need to have fun, too, you have to laugh and dance and sing. The songs that last and get people to feel something are the ones they can sing along to and really identify with.” “There’s so much breath to what we do,” adds Elaine. “Every song represents a different aspect of our sound. We don’t stick to a single formula. And we have the goods to back it up live.” “Our favorite thing is playing live shows, traveling, seeing new places, meeting new people,” adds Chris. “We just want to share that feeling we got from the bands that inspired us, and then We want to pass the torch.” With their major label debut, Habits, Neon Trees light the fire.
event::tags All Ages
12:45 AM
to 1:45 AM
The Bravery
177 schedule::attendees
Location
Stubb's
eventtype Music
Artists The Bravery
event::about Some of the longest waits are the most worth it. You'd be forgiven for thinking you'd heard the last of The Bravery the NYC future-synth post-punks who rampaged through the UK in 2005-6 with their thunderous Top Ten hit 'An Honest Mistake' and the inspired eponymous Top Five album from which it sprang. A record that combined electronica, funk, pop and punk in such dazzling combinations it resembled, by turn, a psychopathic electro-punk outfit, The Strokes wired to the National Grid and no band we'd ever heard the like of before. With their hard drinking, wild partying and songs of electrifying brilliance, The Bravery seemed sure to burn bright and brief. Far from it: in their absence from the UK spotlight prompted by wrangles with their UK label which stymied the release of their second album in Britain - they've become one of America's most runaway success stories. 'We've been focussing on the States,' says Sam Endicott, somewhat modestly. 'It was great [2007 single] 'Time Won't Let Me Go' was the biggest hit that we had and then [its follow up] 'Believe' came out and was even bigger than that. It was a really ubiquitous song in America for a long time. Touring America takes forever so we got used to touring constantly and played with a lot of great bands.' He considers all of his major US and UK hits, his mountain of radio plays, his standing as one of the most sought-after songwriters in America today. And he sighs a sigh full of appreciation and relief. 'We have the best fans.' The Bravery, you see, were never quitters. This is the band, formed in 2003 around the core of Sam and keyboardist John Conway, who built a die-hard fanbase with exhaustive tours and residencies in New York and London throughout 2004. Who were among the first to utilise Myspace long before The Arctic Monkeys had even found the boot button. And the band who, even when their star was in the ascendance in the UK, never slacked - at one point in May 2005 they hired helicopters to play three gigs in one day. This was a band too dedicated and determined to be throttled to death by a little bit of red tape. 'All the stuff that happened in the UK was exactly the sort of thing we swore we'd never get involved with,' says Sam, 'the industry battles, the red tape, the bureaucracy. So we just said 'we're not gonna do that anymore' so we left. In the States there was none of that, we could just put out music and be a band, so it was very free-ing.' The Bravery threw themselves into conquering their homeland instead, with spectacular results. Having toured supporting the likes of U2 and Depeche Mode, in 2007 they embarked upon three solid years of touring the States (including a stint on Green Day's stadium tour), recording new material in bedrooms and the back of the bus as they went. The twelve songs that started coming together were amorphous beat-beasts, and The Bravery struck on a concept worthy of their name. After recording a slick, less synth-heavy studio version of the songs over a month in producer Brendan O'Brian's studio in Atlanta and releasing it as second album 'The Sun And The Moon', they completed their more electro-fried self-recorded versions and released 'The Sun And The Moon Complete': a 2CD set consisting of the same twelve songs recorded in opposite ways one CD (the 'Moon' side) of their lo-fi home recorded versions and one slick studio version ('Sun'). 'It's interesting because some people gravitate more towards one side and some towards the other,' Sam claims. 'When you hear a song recorded in two different ways you understand it better, you get more of a full perspective of it.' Like a modern day 'Melon Collie And The Infinite Sadness', the album made a huge splash in the States, debuting at Number 24 in the US album chart and spawning two major radio hits widescreen Americana first single 'Time Won't Let Me Go' broke the Alternative Top Ten while the funk-pop follow-up 'Believe' reached US indie classic status, staying at Number Four in the Modern Rock charts for six weeks. As 2009 dawned, however, not everything was going Sam's way. 'We'd been touring a very long time, too much. I had a very long relationship and ultimately all the touring destroyed it, so I was pissed at that, angry with the whole thing. And that was reflected in the music. I often write journals or on scraps of paper or napkins and I'd go back and read these scraps of paper and a lot of them would be really angry. I used to not show that to anyone, I'd hide these things. So I thought it was time for me to put that side out there. 'Stir The Blood' is an expression that means to awaken yourself, to create energy, to revitalise.' Hence The Bravery's third album 'Stir The Blood' recorded in a disused church in upstate New York over the summer of 2009 with producer John Hill and released in the US in December 2009 was a return to their churlish electronic roots. 'It's a darker album. That's the place where I was at the time, that's how I was feeling. So it was more angry than the previous album. We wanted to take it back to where we started, in the basement.' Darkness? Anger? It was right there in the subterranean J&MC atmospheres and self-destructive intent of the (remarkably catchy, considering) first single 'Slow Poison'. Or in 'Adored', the escape song based on a story Sam was told in a New Orleans bar called Bucket Of Blood by a couple who'd barely survived Hurricane Katrina. Or in the anger sex of 'Hatefuck', complete with a video, directed by bassist Mike 'Dirt' Hindert, which features a girl in a gas mask cutting a vagina into a man's groin. Vicious, terrifying and sado-masochistic stuff, but as Sam explains, 'a lot of the songs are about the intensity of being in love and how that can turn on itself. To me it's about transcending, about taking something positive out of a negative situation. There was a positive thing that comes out of all the songs. There's a transcendence.' He chuckles to himself. 'The guy that mixed our last album said that our songs are happy from the waist down and sad from the waist up.' It's the waist-down element that's turned Sam into one of US pop's most significant modern songwriters, though. John Hill had connections with MIA and Santigold and so - while working on Bravery music together, writing up to ten songs a day - Sam suddenly found a new outlet for the tracks that didn't fit his band. Before he knew it he'd penned three songs for Shakira's last album (including worldwide hit 'She Wolf') and was working with Santigold on a song for Christina Aguilera's forthcoming record. So how does he feel about being the man who made the globe howl like a weremodel? 'It was something I stumbled into,' Sam explains. 'I'd write a song and think it wouldn't make sense for me to do it. So what do I do? Throw it out? I started to realise I could give these things to other people, so it's very creative. Sometimes I get to write with really interesting people, I've been doing hip-hop and R&B stuff. I can do a hip-hop song and learn something about The Bravery.' And if The Bravery weren't already becoming a cultural force all of their own, their brand new track 'Ours' also turned up as a main song on the latest Twilight movie soundtrack. 'We wrote it with no intention of the Twilight thing,' Sam says, 'but the woman who was in charge of making the soundtrack heard a demo of the song and really liked it. The Twilight soundtrack is its own phenomenon.' Not bad for a band who've spent half a decade in 'the wilderness', huh? And finally Britain is about to get its chance to fall for The Bravery all over again with their label issues finally resolved, they hit the UK again at the start of the year for a residency at London's Hoxton Bar And Kitchen and nationwide dates, ahead of a record release later in the year. 'We couldn't be happier, very excited,' Sam enthuses. 'We always loved playing the UK, we toured there more than any non-British band during that period. We're very happy to be free of the past situation and ready to come back.' Y'know, you just don't know what you've got 'til its gone. And some other country is hogging it
event::tags All
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