KJHK at South By Southwest 2009

i went to South By Southwest 2009...part one

2009-03-28T17:01:00.000-07:00

i will keep this brief, as i can assume that one might be starting to tire of reading so numerous a collection of tales on the same subject.

MARCH 17th
*************
STUFF I SAW
- Daniel Francis Doyle
- Expensive Shit
- Dikes of Holland
- White Denim

me w/ cool dog that hangs out outside some diner in north texas

i left for Austin @ 4:45am on March 17th with Nick, and after stopping to pick up Ian and Alison
*ZIP* ZING* ZOOOM*
13 hours later, we're in Austin. the weather is amazing. a bit traffic-y though.
so we decide to head downtown first to register and give the traffic a chance to go home and leave us alone. to our surprise we actually got badges instead of wristbands, which seemed like a really big deal at the time and i got pretty excited at the anticipation of the new universes of SXSW that would be open to me.
so upon retrieving these status-boosting badges, we promptly headed to the free "Tejas Means Friends" local band showcase across 35 highway @ Ms. Bea's to catch the end of that show.
we walked straight to the patio behind the venue and came upon a gentleman in glasses, surrounded by a heavy load of equipment, vigorously playing the drums and singing his sweaty heart out over several layers of angular guitar loops. it was an explosive wash of noisy-experimental pop. it was awesome. it was Daniel Francis Doyle. geez! what a great way to start off SXSW!
after Daniel was finished and the next band had set up, a small child stepped up to the microphone and declared "this band is Expensive Shit." srsly.

Expensive Shit @ Ms. Bea's

Expensive Shit was a great noise band...well, if you are into noise bands. which i am. and i loved it. lots of churning sine waves and feedback manipulation and non-tempo drums. sweeeet!
Expensive Shit was followed quickly by Dikes from Holland, whom i had been told by my local homies were great. it's true, they were. a noisy-punk band with lots of energy and driving rhythms. they were really solid live, considerably less intense than Expensive Shit, but i still really dug it.
the last band that night was White Denim. this was the only band that i had heard before, maybe that was why i wasn't very impressed with the way they sounded live. it was alright, but it kind of sounded like a jam band covering songs by White Denim. idunno. whatever. after that we jetted to our hotel to fall asleep watching cartoons. i shared a king size bed with Nick. he's cuddly.

*heart*,
- sean

SXSW Day Last: or how Yelle is way better than Little Boots and I almost cried when Daniel Johnston played

2009-03-26T16:34:00.000-07:00

On Saturday night, I wrapped up my South by Southwest experience at Emo's at a pretty strange show. French electro-pop girl Yelle was booked to play with two Austin bands unworthy of naming, along with a night ender of Daniel Johnston. After splitting my day time activities between Four Square Punk Day 3 and Ms. Bea's yet again, I stumbled to a sandwich shop to get some late evening energy before finding Emo's, which I hadn't visited yet.

Because it's a freakin' giant venue, of course Emo's had a giant line leading up to it. Luckily, with my badge the wait wasn't too long and soon enough I was in and saw the Octopus Project playing before me. My only observations about them are that their girl theremin player (I assume she does other things, also), has the most impossibly tiny waist I've ever seen, and they had someone in a big rectangular cartoonish character suit swaying back and forth during their show.

I was there just in time to excitedly move in for the stage standing space to get ready to see Yelle when the Octopus Project fans left. The Emo's staff rushed in to load out Octopus Project's stuff and one guy handed the theremin to a mover, cautioning him, "If you break this you're in deep shit."

So I had my front row spot to see Yelle. They took their time setting everything up. Of course she brought a French live drummer and dj with her--without them she would just be singing along to her own tracks. At last when everything was set up the two guys started playing music and Yelle popped out from stage left in a strange, glittery skin tight bodysuit. The crowd went wild. The sleazy guys standing next to me who had said their had no idea who Yelle is went wild. How could you not? She's an irresistable French hottie and live the music was boss.

I was pretty amused that Yelle spoke to the audience between songs in French with numerous "Merci beaucoup"s, although somehow at one point she proved she knew English. The girls around me were melting in the presence of the "French hotties" Yelle imported to play with her. I'm not gonna lie, it was a great show! Yelle pulls live music off really well. As if her music wasn't a bit dancable already, the dj added even more killer beats and the packed house couldn't keep still. I was in some sort of euphoria during the whole set, and I can't really explain why. It was just awesome. I dare to add Yelle to my list of top three favorite live acts of SXSW 2009.

Yelle was polar opposite of blonde-haired English singer/electro music maker, Little Boots, who I took great pains to see a day or two before and was pretty much disappointed in. Little Boots actually sings, so that might be part of the difference. She also messes around with this square Japanese electronic instrument called the Tenori-on. Little Boots came off as a sort of Christina Aguilera who could play this weird instrument. Even though I had read numerous dance music blogs raving about her, I was not particularly impressed. Maybe the writers of those blogs had never seen her live. Yelle, Yelle, Yelle, Yelle, Yelle.

After my contemplative Yelle experience, I preceded to stand through two Austin bands who I had never heard of and honestly didn't give a crap about. Meanwhile, my legs turned to rubber and Emo's grew more and more crowded. I proceeded to stake out a spot nearish to the stage when the band before Daniel Johnston, a sort of Latin reggae dance band played, and I nearly fell asleep standing up I was so exhausted. This band didn't finish until almost 1 am, when Daniel Johnston was supposed to be doing on. The staff fiddled around with setting up until about 1:15 and I started to get anxious that I would have to leave earlier than I liked to to meet up with everyone at the car at 2. Finally, Daniel Johnston went on stage. He walked up to the mic and said "What sad songs do you guys want to hear tonight?" and almost immediately I was on the verge of tears. It may have been an emotional reaction to my physical fatigue, but really I have no idea why. Maybe the suggestion that every song would be sad seeped unconsciously into my weakened brain. I'm not even a giant Daniel Johnston fan or anything, I just knew I wanted to see him live when I got the chance. Oh course it was great. I stood the whole time gasping and sniffling, embarrassed that the people around me might ask what was wrong. Waiting through those two whatever bands was still totally worth it.

As it neared 2 I tore myself away from Emo's to go back to the car. When we all assembled we decided to attend a bridge show, but upon arriving it seemed it wouldn't be starting for a while, and it was 2:30 in the morning. I drank a Red Bull while we wandered around the pedestrian bridge crowded with bands setting up and drunk people tripping everywhere, but eventually we decided to just go home. We didn't even go to Taco Cabana. That was alright. We had had our four days of fun.

Thanks to Nick and Ian for driving so I could be a backseat bum and do some homework and Sean for letting me hang out with his friends so I wasn't by myself for four days straight. I'll be spending this weekend transcribing some interviews. Over and out.

Knee Deep at SXSW: Day Four - This Boy is Exhausted

2009-03-25T13:37:00.000-07:00

It's ironic that on the day I thought my feet could travel no further (again, if you go to SXSW wear shoes that are MADE FOR WALKING) I ended up doing the most hiking around. But overall, it was worth it as this might have been the most idyllic, pretty awesome day of SXSW for the most part because I pretty much threw my schedule and itinerary out the window. I was sick of seeing bands! Or so I thought. I just needed to find the right place to be.

Given that I think both Nick and I wanted to find a place in the shade to just sit, it worked really well that the Mess With Texas party at Waterloo Park was happening on Saturday. We hiked out there early and found a spot on the dirty ground to sit and watch some shitty band play on the main stage. Then the sun came out and we were hungry and there were NO CORN DOG VENDORS like last year so we hiked all the way out to Opal's Divine Freehouse for hamburgers. We took a detour by the capital building where, wouldn't you know it, there was an anti-war protest a-goin' on.

Look at this beautiful happy dog!

In fear of being tazed, or something like that, we made our way to hamburgers, which like I said, was a hike. A LONG hike, but worth it because I must say, the hamburger I had was one of the best ever. And not only did I get to eat a delicious burger topped with coleslaw, grilled onions, and BBQ sauce. And on top of that, we got to listen to some great tunes courtesy of Kepi Ghoulie and Kevin Seconds playing on the outside porch. I drank many iced teas and was completely relaxed.

Then we hiked back to the convention center which might have been a bad idea given that there was a record sale going on upstairs and I um, ended up spending too much money because the vendors from Euclid Records in St. Louis had pretty much every record I'd been waiting to come into Love Garden forever. And reasonably priced. I blew $75 bucks, but could have easily blown more had Nick not talked me down and helped me to limit my picks. I have a bad habit.

After that, again wanting to stay away from clubs and venues, I went with Nick to the Four Square Punk show Sean and Alison had been raving about the last couple days. It was a hike, but I cannot express how much it was worth the walk. We walked into this vacant lot with four little stages set up adorned with four punk bands. In the corner, a roller skating rink and in the back free Budweiser tall boys. And best of all, undercrowded. Just the right amount and the right kind of people: People looking to throw down. Team Robespierre are by far the highlight given that they played a tune shortly after we walked in that involved everyone rolling around in the dirt, getting sprayed with free beer, and bodies throwing themselves everywhere. Cerebral Ballzy were pretty fucking cool too, but not so much when it came to Golden Arrows and She Rides, who were both pretty boring. But man, when Team Robespierre played it was fucking insane. Eventually they started talking shit on the people sitting on the bleachers and at one point, went INTO the bleachers where I saw one of the dudes chuck not-quite-empty beercan at the back of a kids head (I don't know if it was on purpose or not) and the look on that kids face was a look of "WHAT THE FUCK MAN." Had it been me, I'd have gone on the attack or something but man, that kid just sat there and I think he started bleeding. Kind of a dick move on Team Robespierre's part but they had a point: This was a punk show, no one should have been sitting (although I sat when the shitty bands played, but hey, they sucked). Especially not during Team Robespierre and Cerebral Ballzy where crowd involvement was kind of mandatory. Yeah, check out Alison's write-up on the Four Square Punk event, that pretty much nails it. For now, I'll say the rest with pictures:

y
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So it was awesome. And after the round robin punk thing was over Valiant Thorr played and that was pretty sick.

I didn't want to leave, but there was down time and I got a text from Christine at Pirate! saying that the Dirty Projectors were playing at the French Legation Museum at 7PM. This place had amazing shows last year and amazing shows this year but a.) I could never find them listed online and b.) I had no clue where it was. Nick said it was pretty close to where we were so we hiked in search of it...about 9 blocks away. Seriously, my feet, but whatever, Dirty Projectors were playing and they were in my top ten of bands I haven't seen that I need to see at SXSW. Eventually, we stumbled upon it and I must say it is the most beautiful place that I have seen in Austin. Like, this amazing patch of green and beauty in the middle of dust and drunks.

When we got there Melissa Auf Der Maur of Hole was playing a solo set and it sucked really bad so we decided to go back to the Four Square Punk thing and then return around 7 for Dirty Projectors. Hiked the 9 blocks back and checked out the new crop of bands on the stages. I basically just wanted to see These Are Powers again, Ponytail, and DD/MM/YYY. These are Powers have grown SO much since I saw them in Lawrence last year when they were just a screamy weird punk band. Now they have discovered dance beats and there's a whole aura of cool that surrounds them (they look so cool). However, more people had shown up and they were all acting like a typical bored SXSW crowd unlike the first round. At one point during a Ponytail song they had one of the little kids that had been running around all day in Saucony t-shirts on stage and he was rocking out with these huge headphones on. It was pretty much the most adorable thing ever. And it was all pretty cool, but man, after being to the French Legation Museum I wanted to go back immediately, sit in some grass, drink some beer and watch a cool avant-indie band. So we hiked back.

These Are Powers

Ponytail

DD/MM/YYYY
We got back just as Laura Marling (who I love, but didn't really care for seeing that much) and were pointed in the direction of free ice cream! Not like ice cream cone ice cream but like ice cream truck ice cream on sticks from when you're a kid. I got the Ninja Turtles ice cream stick thing and oh man, childhood. It was perfect and wonderful. Then we randomly ran into Hector from AAM and Mona from Domino and I got to feel like I was doing work and hobnobbing with promoters and such, which was nice. I was then alerted to the $1 cans of Lone Star which pretty much made me freak out and I bought two, as evidenced here:

Finally ran into Christine and Dan and that was cool, and all as the sun was setting and the breeze was kicking up on this beautiful piece of land. Next year I'm coming to everything here. Hands down the greatest venue in Austin. Eventually Dirty Projectors played and I sat down in some grass underneath a beautiful tree and just listened to tracks from their new record Bella Orca, which, based on what I heard, is going to be astounding.

I wanted to stay there all night. I'd walked around all day and finally found the Shangri-La of Austin (ironically, we passed a bar called Shangri-La on the way there). But we had to go, and just went back to Ms. Bea's since there wasn't anything else going on and Blank Dogs were supposed to be playing, followed by Eat Skull. I'm not sure who played though, given that I'm not that familiar with Blank Dogs (I've really dug the few tracks I've heard) but I know for a fact that Eat Skull didn't play after then because I've seen Eat Skull and the band that was playing was very definitely NOT Eat Skull. But whatever, it was a great place to rest and drink more Lone Star.

I'd read in the guidebook that Immaculate Machine was playing at 10PM and, having nothing better to do, Nick and I headed to Habana Calle 6 to check them out. Here is where things got more weird, because I was searching around for the band (er, searching for Kathryn Calder) and could not find her. There was a band setting up inside, where they were supposed to play, but it did not look like Immaculate Machine. There were five people fronted by a dude with a mustache that kind of looked like one of the Immaculate Machine dudes. But they are a three piece, so I was skeptical. And neither of the ladies on stage were Kathryn Calder. And then they were introduced as Immaculate Machine and they played songs that sounded nothing like them. Then they played "C'mon Sea Legs," my favorite track from their latest record and the dude sung it and it sucked really bad. Actually, everything they played sucked...well, the three songs we stuck around for before I got really bitchy and realized it would be better to talk shit outside where I didn't have to listen to the shitty band instead of talking shit and having to listen to that garbage.

It kind of pissed me off, but whatever. Eventually I made my way to Emos Jr at 11 to see Voxtrot. Now, here's how Voxtrot works: They put out three really excellent EPs a few years ago and then, pressured by hype, put out a full length that was pretty terrible and were never heard from again. Until SXSW, when they announced they were playing a couple of shows. So I figured it would be great, getting to see them play to a hometown audience and all, and that maybe their new stuff would be a return to form. I was wrong. Very very very very wrong. This was easily one of the worst shows I saw at SXSW. Well, one of the worst shows by a band that should have been so much better. For one, they failed completely to engage the audience who, for the most part, stood motionless. And maybe it's because they played all of their old songs a little too slow (to the point where I was having a hard time singing along to them). They sounded like a band with their balls removed, and they were posturing like they were hot shit, and like their new songs were so so great which they absolutely weren't. The worst thing was that I regretted coming to the show. During, I had a text message exchange with my little brother, who I got into Voxtrot. He loves them too, and he was jealous until I told him what was going on. Maybe they were just rusty, maybe those new songs will sound better on record but based on what I saw and the new track they leaked (which sucked), I'm not getting my hopes up. I feel like they're destined to be one of those tragic bands who had three amazing EPs and then just couldn't get their shit together after flirting with maybe getting big.

By this point in the night, the last two hours of SXSW, my feet could take no more so I made a quick decision that I would go see Titus Andronicus again at Club Deville, a decision made mostly because Ponytail was playing there at midnight and I thought it would be neat to see them on a proper stage. Instead, I got there and crashed in one of the myriad chairs they have lying around all over the place. Ended up having a good SXSW conversation with a girl who worked the American Apparel sale on 4th & Brazos and eventually, Titus Andronicus played and they played pretty much the same set I saw them play before but I didn't care. I love this band right now, and the show was fucking engaging AND they played their cover of Spider Bags "Waking Up Drunk," which was a nice way to cap-off the routinely booze-fueled SXSW.

And while I planned on being exhausted and getting to go back to the hotel at 2AM, I was fucking jazzed and once at the car we traveled out to the Lamar Pedestrian Bridge for an alleged bridge show (last year's with No Age was the highlight of the fest for me). We found a random punk band under the bridge, who were actually really good but I have no clue who they were. On the bridge proper Psychedelic Horseshit was allegedly playing soon but by this time we were all tired and lazy and had to leave at noon the next day so we left. And that was it. I crashed hard and then we spent 14 hours in the car the next day because Texas is a horrible horrible state to drive in (THREE HOURS OF GRIDLOCK! Imagine, if you will, going 150 miles on the highway in 4 hours. That is not right). AND THAT WAS IT!

Ian Hrabe
KJHK Music Director

This post is about how awesome Four Square Punk was

2009-03-24T18:36:00.000-07:00

On Friday the 20th I attended Four Square Punk Day 2 from 2-6pm, featuring Mika Miko, Finally Punk, Tyvek, the Death Set, and the Mae Shi. In my head I had been planning to attend this "Roller Rink Show." It turns out that the show was not really at/in/on a roller rink, but in an empty lot surrounded by chain-link fences, where they had built a day or two before, a small perhaps 40x40 ft wooden roller rink, along with four stages and some bleachers.

I was supposed to interview all girl Austin band Finally Punk after their show here, so Sean and I headed down to the area only to discover, this was going to be five times more awesome than we thought. It wasn't advertised on the flyer or internet, but Four Square Punk had free, pretty much unlimited Bud tall boys all three days. This was now an unexpected paradise for any 21+ attendee. Note: water was not free, but unfortunately a bit necessary while suffering in 85 degree direct sunlight for a few hours.

After sitting on the convenient bleachers that completed the circle of four stages, the show started. When all the bands set up at the same time and stood ready to play while the first band started, I knew something interesting was happening. Mika Miko played one song, then as soon as their song ended, Finally Punk started another, and after them, Tyvek, and then the Death Set. The crowd wandered like sad puppies a few feet from stage to stage in between songs, while the lazies sat on the bleachers taking in the whole scene and frying in the sun. Actually, I take that back, everyone was frying in the sun, but I had learned early on at SXSW that it was necessary to carry sunscreen. Somehow this show never got really crowded, which was awesome, and there was always a place to sit down. More beer for the attendees.

This round robin of sorts went on for a while, though I lost track of time. Each band at least played five songs by the time they had finished taking turns around the circle.

As for the bands, if you don't know about them--Mika Miko are LA venue the Smell's darling girl punk band with a phone mic. One of the girls was wearing a Germs shirt. It was a pleasent set as always. Post SXSW I have now seen them four times.

Finally Punk is an Austin all girl band. They all switch instruments every song, so I think they're pretty talented. I interviewed them after they played by the porta-potties as about ten oogles and their scruffy dogs looked on. They're some nice girls! Nicest band I talked to at SXSW.

Tyvek from Michigan was one of the bands, too. They were the only band I didn't recognize at first, because they didn't have one of their members who had quit to pursue a solo project. I had to go up and ask them inbetween songs. They're songs were ok, at least I got to hear some songs I knew! A lot of people's opinion is that they've gone down hill since their member left.

The Death Set was the last addition to the circle. In the two times I saw them I was astounded how they had upped their punk sound by more than half. I don't know if this was just for live shows or what but both times I saw them everyone loved it. Pretty much the whole crowd was singing along. They sure didn't have a drummer when I saw them a few years ago in Lawrence at the Lawrence Zoo.

Oh, but the biggest treat was yet to come. After the round robin was finished, I interviewed Finally Punk(expect a transcript of this sometime after the weekend) and then Sean, Jackie (another visitor from Lawrence), and I all embarrassingly attempted to rollerskate. I'm really glad no one broke anything, but the Austin Roller Derby Girls majorly showed us up. Funnily enough, the roller rink was sponsored by Saucony shoes, and somehow Sean and Jackie managed to win free shoes. Good job guys.

The Mae Shi finished setting up--by themselves for some reason. I was excited to simply see them live after I had loved their album HLLLYH when it came out last year. The Mae Shi do a really bad job of staying on stage. There was a lot of rolling around in the dust with guitars and mics. Even better was that at the end of their set their pulled out a rainbow parachute for attendees to hold over the perfectly shaped dusty circle space in the middle of the stages. In the least it was magical to have something like this from your childhood used almost ritualistically in a show-setting. It was so much fun. I saw the Mae Shi the next day at Ms. Bea's as well and they pulled the parachute trick again, but it didn't work nearly as well in a rectangle shaped space.

By the time the Mae Shi had finished it was nearly six and we were going to be late for dinner. What a great afternoon.

Four Square Punk for Lawrence, please...

Knee Deep at SXSW: Day 3 - Killer Parties Almost Killed Me

2009-03-24T00:16:00.000-07:00

This is the day that SXSW almost killed me and, if it wasn't for the Hold Steady I wouldn't have made it to 2 AM. The night before I remember getting up after checking e-mail and trying to walk to the bathroom at the hotel and barely being able to do it. It's my own damn fault really, and I realized it was time for my stupid low-top Chucks phase to end. Word to the wise: PLEASE WEAR COMFORTABLE SHOES WITH ARCH SUPPORT TO SXSW. IT IS WAY MORE IMPORTANT THAN TRYING TO LOOK COOL. Anyway, so I didn't know if I was going to make it through the day.

As usual, we got to 6th and Red River at 11:30, about a half hour before everything started up. We stopped by the Planetary promotions party because they had free swag and we got these sweet-ass Fidel Castro-esque hats that would become fixtures on me, Alison, and Sean's head for the next couple of days. But the party kind of sucked. There were a couple of bands I wanted to see (I forget who though) but they weren't playing until later AND it was at Maggie Mae's (which is a fucking shitty venue) AND the band playing when we got there was easily the worst band I have ever seen playing songs in a live setting in my entire life. I don't even want to know what they were called, it was probably something really stupid. But anyway, I split.

After that we all wound up at the AAM day party for the last bit Parenthetical Girls. Again, I love this band but of course, like almost all bands at SXSW, they were playing the same set as the other night...only no one was there and they just looked kinda tired or maybe bummed. The music was still great though, in particular that point in the Orchestral Manoeuveres in the Dark cover they do where it ends with all four of them beating on the drum kit. That was pretty awesome.

Had there been seating anywhere, I probably wouldn't have left the AAM party because the line-up was so super solid. Even the bands playing first were solid, including That Ghost, who I never would have seen had they not been on such a solid bill. I checked them out inside mainly because their latest record got voted into rotation so it must have been decent...and there was nowhere to sit. But I was glad I went inside because they were pretty good! Of course, they weren't that good, given that I can't remember what they sound like at all (indie____) . Like, seriously. I cannot even remember so, you know. But I do remember it wasn't bad.

Fortunately, HEALTH started playing outside soon after and that really picked me up a bit. I'd never listened to HEALTH. I thought they were another one of those myriad electronica bands that all the kids love right now but man was I fucking wrong because these guys slayed. But of course, I was lame and only watched 60% of their set because my feet were about to fall off and I found a chair inside where I sat. God, how lame is that! I started wishing that some of the downtown shops would sell insoles at ridiculous prices because they could make a bunch of money in that racket I think. Anyway, HEALTH was one of the myriad bands I caught at SXSW that made me want to check out their record when I got home.

Inside, Titus Andronicus played and this brought me back to life. Titus Andronicus are one of my absolute favorite bands right now, and I only realized this in February when I saw them open for Los Campesinos! I realized that their debut LP The Airing Of Grievances, which I initially panned, was fucking brilliant and that Patrick Stickles is one of the most interesting songwriters of right now. They kind of remind me of a less polarizing Hold Steady. Very wordy with lots of old-school rock and roll influence played by dudes that play it because it's fun to play old school rock and roll and bust out guitar solos. At the same time, they sound nothing like the Hold Steady. They sound exactly like Titus Andronicus though, and the set killed. I secretly hoped they'd bust out the 7-minute jam "No Future Part 1" but it was OK that they didn't, I don't think I could have handled it anyway. What I COULD handle though was finding that as soon as they started up with "Titus Andronicus" my feet were suddenly fine and I could rock out and sing along as much as I wanted without dying. Other jams included "My Time Outside the Womb," monster jam "Upon Viewing Brueghel's 'Landscape with The Fall of Icarus,'" "Joset of Nazareth's Blues," and closing with "Fear and Loathing in Mahwah, NJ." I watched patiently on "Fear and Loathing," watched the quiet build up and then watched all of the band members' faces when they all shouted "FUCK YOU" and that was really transcendent. These guys give a fuck. They all kind of seem to hate life a little bit but this is how they're fighting back, or something.

And man, for a rock triumvirate, The Mae Shi played outside next. I wanted to catch them in Austin so they could give me a reason to listen to their records and they did a hell of a job of that. I could only stick around for about half of the set (as my feet started quitting again) but from what I saw I could easily see myself getting obsessed with this band within the next couple of weeks. What I want to happen is that I fall in love with them and then call myself a big baby for not seeing their whole set (I really wish I caught them at the Four Square Punk thing where Alison and Sean raved about the whole elementary school parachute thing they did, that would have sealed the deal). "Oh, my feet hurt, boo fucking hoo." But yeah, I'm an idiot. Always get arch support, otherwise you watch half of the Mae Shi's set and then realize if you don't sit down you're going to fall over.

So I got a sandwich at that same sandwich shop from the night before, and the rest of the day is kind of fuzzy. I don't remember what I did at all, but I'm sure it involved a lot of sitting and a lot of drinking water. OH, you know what I did! I remember now. I walked around and waited in lines. That's actually the opposite of sitting, come to think of it. But I walked to Club DeVille to try to get in to see the Thermals and the Hold Steady but the line was ridiculous, then to Emos Jr to see the Dirty Projectors, where the line was also ridiculous. So I went around the side of Emos and went in there, where there was no line. Why did I go to Emos? Was it because Wavves was about to play? No, because I knew I could sit somewhere. And then somehow I ended up back at Club DeVille an hour later and the line was much shorter and I got right in. This is where the day started looking up.

So, I get into the place and they're selling "unlimited beer" wristbands for two-dollars. It's pretty late, and I regret not getting here earlier and taking advantage of this sweet deal, but given that I'm about to see the Hold Steady, where it is improper to see them without a beer in your hand to raise on lines like "Gonna walk around and drink some more," I figured I'd better do it. The place was packed with people who, again, probably didn't give a shit about the Hold Steady so I moved my way as close as I could to the edge of people who were into it. I figured if someone gave me shit for getting in front of them I would ask why they weren't rocking out and to shut up or something. This band does things to me, I swear. Surprisingly, their set is different from the day before and I don't know why I think this is surprising, given that the Hold Steady are pretty much the greatest band ever and of course they would switch it up. Of course, the monster jams like "Sequestered in Memphis," "Your Little Hoodrat Friend," "Stuck Between Stations," and "Stevie Nix" are there, but they're mixed in with some deeper cuts from the first record that I hadn't heard them play live, including "Barfruit Blues," "Hornets Hornets," and my all-time favorite Hold Steady jam "How a Ressurection Really Feels." Hearing that opening riff I completely lost my shit and sang along with the people singing around me. It was a transcendent moment. I realized that during their whole set my feet didn't hurt at all, and that it was going to be absolutely necessary for me to see them at midnight next door at the Mohawk. This was decided. This was how I was going to get through SXSW. And then they eventually broke into "Stay Positive," and when I was chanting along the chorus "Whoa OH oh, Whoa OH oh, we've gotta stay positive" I knew that is exactly what I needed.

Again, at 6 PM I stumbled back to meet the crew for dinner in a euphoric post-Hold Steady daze.
Dinner involved hiking, but it also meant eating at a fancy-ass Thai restaurant where we, us grungy sweaty t-shirted kids, dined amongst fancy folk wearing ties and shit. But whatever, it was good. HERE IS A PICTURE OF IT. Here is also a picture of my little bowl of rice that came with a carrot heart. SO CUTE!

With some great fortune, the Thai place was literally a block away from the Karma Lounge, where I had prepared to start off Friday night seeing one of my favorite new bands the Manhattan Love Suicides at 8:20. Since it was about 7:30 and I had nothing to do, I figured I'd catch openers I am David Sparkle. I got to the place at 7:30 sharp and nothing was happening, they were still setting up their stuff and this went on for about 40 minutes. I didn't mind that much, as I had an ice cold Lone Star in hand and was content to sit on the funky couches that you might expect to find at a place called the Karma Lounge. Eventually one of the SXSW workers says that the technical difficulties are solved and the show starts at about 8:10. I Am David Sparkle are kind of what SXSW is all about, or what I realized it should be about: seeing bands you've never heard of and then, subsequently if you're lucky, really enjoying them. I Am David Sparkle are four dudes from Singapore playing Mogwai/Explosions in the Sky/Do Make Say Think influenced post-rock...and they're really good. I don't even listen to post-rock that much (I have the attention span of a gnat when it comes to music sometimes) but this stuff is really good. Nothing too outstandingly original, but still really solid. At one point the SXSW worker goes to the side of the stage and says they can play as long as they want and don't have to cut their set short since the Manhattan Love Suicides said they'd cut theirs short, or something. In front of me, a British woman gets VERY CRANKY at this and takes the worker aside to complain. "I came to see the Manhattan Love Sucides! I'm on a schedule!" and the worker rightfully gives her a "what is your fucking problem lady?" look and brushes her off. The woman's face is priceless, she pouts and throws a little fit and stands with her arms crossed like a five year old. She's gotta be in her fifties. Anyway, somehow this doesn't bother me, the Manhattan Love Suicides set getting cut short because right now, I am really enjoying I Am David Sparkle.

Do you want to know what the worst feeling in the world is? Well, not worse than like, having your ankles feel like they're about to fall off or heartbreak, but like, hyperbolically? It's when you see a band you love's setlist and you see the ONE song you REALLY REALLY wanted to see crossed out in black sharpie. That's what happened with the Manhattan Love Suicides, crossing out "You'll Never Get That Guy." I sighed, but it didn't matter too much as I saw they were opening with "Keep it Coming," my second favorite jam. Their live set is incredibly short and I regret not seeing them earlier in the week. So, the Manhattan Love Suicides do not come from Manhattan, they come from England. And they play noisy, shoegazey indie-pop loaded with genius pop hooks. I'm sad that they breeze through their set in about 20 minutes and they don't play my favorite song, but at the same time I'm satisfied.

After the show I finish my beer and head outside. I pass a couple of the dudes from I Am David Sparkle and tell them what a great show they put on and I notice there is a dude videotaping me. His name is John, and he is doing a documentary on the band's first trip to America. We had a long conversation about indie music in Singapore and Asia and he told me how hard it is for bands like I Am David Sparkle to get by because there is no local support there, and about how a band like Mogwai will come play and it will cost five times as much to see them there than in America. It made me want to be an ambassador or something, helping bands get to America where their music will stand a chance without being fetishized like Asian music often is here. I thought about the myriad Japanese punk bands I'd seen walking to and from the convention center--all leather with huge mohawks and caked on make-up. It was a good conversation. Then the topic veered to who we'd been seeing at SXSW and he mentioned he'd seen Grizzly Bear at the Central Presbyterian Church the other day and I was a little jealous. Based on his recommendation, I decided that I would try to see them at the Cedar Street Coutryard at 11:45 that night and headed that way when we were done talking.

I got there and it was packed. Not packed in the sense that say, the Bottleneck is packed and people go home when it is sold out. I'm talking inside the tiny courtyard people could barely move and there were at least a few hundred people crammed around outside trying desperately to get in. I managed to find the tiny badge line amidst the sea of people and talked to an older couple about it. They were there to see Dinosaur Jr (playing after Grizzly Bear, what a bill right?) and they expressed their disgust that none of the younger kids they'd talked to even knew who they were. I shared this disgust with them and then we got in. The place was more packed than I thought and made my way to the bathroom where I waited twenty minutes. In this twenty minutes of waiting, I had a revelation. Sure, I could see Grizzly Bear here but I wouldn't enjoy it. I would be seeing Grizzly Bear for the sake of seeing Grizzly Bear and my feet hurt and I would feel miserable afterward. Plus I'd have to suffer through Peter, Bjorn and John, which I absolutely did not want to do. So, after the bathroom I fought my way out of the crowd, offering up my spot in the courtyard to someone willing to tolerate that mess of people.

I realized that it was Friday night and that I wanted to party. I had been such a baby the last day and a half, I needed to shut right the fuck up and get down. So I hiked down 6th street through the mass of people simulating Mardi Gras and onto Red 7 where I hoped Nick was up to something nefarious at a pop-punk show. My pop-punk roots drove me there and when I got there I felt right at home, even more so with a Lone Star tallboy in hand and watching The Girls. They were nothing special, but it was better than forcing myself to watching some hype band for the sake of watching a hype band no matter how much I loved their music. This, you see, was my pre-party because at midnight I would go see the Hold Steady again at the Mohawk and I had a good hour until that started. I drank more beers and hung out with Nick until the Cute Lepers started.

Thought I've kind of cut my ties with pop-punk, and modern pop-punk even more so, I really like the Cute Lepers. We had their last record in rotation and it's just a good time. Their stage set-up is really strange and wonderful, too. To the left on bass and guitar are dudes who look like Rudeboys. To the right there are two beautiful back-up singer-type girls. The drummer looks like a punk rock drummer and frontman Steve E. Nix looks totally dapper in a pink button down shirt. It makes sense that I would like the Cute Lepers because I always liked the Briefs between the ages of 16-18. It's a good time, better than waiting on pained feet to see Grizzly Bear and when they wrap up I finish my beer and head to the Mohawk (just a little early) because there is more preparation to be done if I'm going to see the Hold Steady properly.

No more pictures exist between 11:30 and 1:30. Despite the fact that the screen on my camera got broken earlier from rocking out to the Hold Steady (messed up by my lighter or my keys) , despite this I specifically put the camera in my bag because to hell if I was going to interrupt my rocking out with picture-taking. Especially since I was planning on forcing my way to the very front of the stage to sing along with every word.

I got into the Mohawk no problem (thank you to the gods for getting us badges instead of wristbands this year, surprisingly after we got the badges I decided to use the hell out of mine). I doublefisted a doublewhiskycokenoice and a Lone Star and finished them quickly, in time to grab one more Lone Star before they started. This timing worked out perfectly and by the time the Hold Steady took the stage I was absolutely ready. Beer in hand, ready to raise it to St. Joe Strummer and anytime Craig Finn mentioned partying. I realized that this was exactly where I needed to be at this very moment in time, and the crowd seemed a lot better than earlier. A little thinner, more room to move, and I made my way to the front, where I patiently waited until the first song broke open.

And of course, they started with "Positive Jam," because as Craig Finn notes, "You gotta start it with a positive jam." Keyboardist Franz Nicolay, the classy motherfucker he is, is sipping from a bottle of cheap wine at the side of the stage and the crowd is patiently waiting for the signal to lose their shit. I read on some other blog that Hold Steady shows usually have twenty people who are completely obsessed. I am one of those twenty people, and sure enough, there are twenty people here just like me. I spot them right up front and center. As soon as the band lays into the Husker Du inspired buzzsaw guitar riff on "Constructive Summer," I split my way through couples holding hands and photogs holding cameras to join these people. At a Hold Steady show, these people are your friends. There's no arguing about who's the bigger fan because you're ALL the biggest fan because you're all holding beers or drunk (or both, hopefully) and you know all the words and you came to have a good ass time. Here's a video of this pulled from youtube:

This is why I am a music geek. A rock chump. There is something about this that makes me feel amazing, something amazing about bumping into strangers and having some random dude say he hopes they play "Slapped Actress" and me screaming back in his face "I HOPE SO TOO" and when they play it, something about the bond we have in our mutual howls of "OH FUCK YES!" I think we almost hug we're so excited. The whole set is like this, and I dare say it might be the best show I've ever seen, rivaling the first night I saw them back in the last days of 2006 (which has stood as my favorite show of all time since). They play everything I want to hear, or as much as they can play given that I want to hear every song. "Stuck Between Stations" is epic and I almost cry and I REALLY almost cry when they close with "Killer Parties," the same song they closed with at that show back in '06 and the most fitting song for the Hold Steady to close a show to. "Killer parties almost killed me," Craig Finn intones to us. He opens the song with a little off the cuff SXSW banter. "I've seen some old friends, I've met some brand new creeps, and a smarter man than me said 'it's only rock and roll, but I like it,'" he says, quoting the Stones. "And today here's what I say: There is SO much JOY in what we do up here. I want to thank you all for being here tonight to share that joy with us," he finishes as the song comes crashing in. It literally moves me to tears, somehow validating everything in my life and every reason why I love this band and why I saw them three times at SXSW. It may only be rock and roll, but I like it, and I like that a band with this much love for playing music exists and they bring it EVERY SINGLE TIME. Here's some more youtubed video of that:

After the Hold Steady there is no way I'm going to see another band. Crystal Stilts are playing at Emo's Jr but I can't really handle anything else right now but sitting and waiting for 2AM. I run into Nick at one of the little stores while picking up a bottle of water and we head to Emos because I think the Black Lips are playing and well, why not. I'm wrong and it's King Khan & the Shrines and I'm AGAIN too tired to do anything but sit and watch. It's insane, I can't believe that there are so many bands here going insane and playing their hearts out and making me believe that everything is going to be OK and that modern music is a wonderful, wonderful thing and that rock and roll is very much alive and well. Here's me in a post-Hold Steady haze not knowing what else to do but just enjoy it. I think I'm a little surprised that I can still stand after that...

That was the third day of SXSW. Stick around for the electrifying conclusion in which it's darkest before the sun rises.

Ian Hrabe
KJHK Music Director

Knee Deep at SXSW: Day Two - Let's Wrestle, Let's Fucking Wrestle!

2009-03-23T10:36:00.000-07:00

*Note: I have videos and stuff and I will post them as soon as I can find a place to host them that will actually upload them and not mess up!*

After running out of steam at the end of Wednesday night, I woke up Thursday morning quite refreshed and excited. I was also excited that, that afternoon, Daniel Johnston and the Wrens were playing back to back at the Paste Magazine/ Brooklyn Vegan party at the Radio Room. While I absolutely despite Paste magazine, I will say that they know how to organize a hell of a show (they did the same thing last year too). That and free Magic Hat beer, which was quite tasty and SUPER refreshing given it was something like a million degrees outside.

The Radio Room is a really cool venue, and was kind of the place to be this year. Every time I walked past it there was a huge line and this was one of the few times I waited in line all SXSW (I'm incredibly impatient, and I would rather see a band playing than wait in a line to see another band, it depends really) because fuck, it's Daniel Johnston and the Wrens! Both were in my list of Top 5 Bands I NEED TO SEE AT SXSW, Johnston being numero uno. And it's a good thing that the venue is large, with a big inside area, a patio with vendors (can you say SWEET POTATO QUESIDILLAS!) and free beer is always a big plus. So yeah, then there was some music.

First up was the New York electro-duo New Villager. Maybe I was just in a good mood from the summery sun and the free beer, but I really, really dug these guys. Drum machines and synthesizers over one of the dudes singing in a kind of cheesy falsetto that really worked for the music.

After that I went inside to catch the Donkeys. I'd seen them twice before in Lawrence and they have a reputation of being one of those bands I never heard opening for a band I loved (Casiotone for the Painfully Alone) and were one of the most pleasant surprises I can think of in recent memory. They opened with the alt-country twinged "Come on Virginia," the jam from their self-titled debut LP, which was a good sign. Of course their show was fantastic. How could it not be? I was in Austin, Texas, the sun was shining and their breed of breezy, laid back California (they're from San Diego) pop was exactly what I needed. And all of the new stuff they played was great (and they even broke out a sitar at one point!). I seriously cannot recommend this band enough, and I'm kind of bummed that I didn't know where they were playing the rest of the fest. Afterwards I went up and talked to Anthony, their keyboardist and he was easily the nicest musician I've ever met. Actually, all of these guys are because every time I see them I always go up and tell them thank you and they're always just the sweetest dudes. I really love that, bands that like it when people like their band. It was also kind of cool because Owen Ashworth AKA Casiotone for the Painfully Alone was there rocking out, mirroring the Donkeys showing up at his show the night before and rocking out. It was really cute. I got a super cool t-shirt and then went to see what was going on outside.

It was Bishop Allen. Despite the fact that I thought their latest record Grrr... was pretty good, their live show was incredibly boring. Well, the seven or so minutes I watched of it. I feel like I can judge the show based on that because if those were the first seven or so minutes I would have left because it was boring. It's poppy, sure, but none of the hooks are worth ten cents. So, I went to nom on a sweet potato quesidilla, which was way better than Bishop Allen. Seriously, that quesidilla ruled, one of the highlights of the trip.

After Bishop Allen left, it was time for Daniel Johnston (backed by a band called the Hymns). Of course the tent on the patio was jam packed and fortunately, one of the sponsors was a company called Alternative Apparel, who were giving away free cheap sunglasses! It was so sunny I broke my own rule of never wearing sunglasses over my regular glasses and yeah, it helped. The Hymns played two of their own songs before Johnston came on stage and they sucked. Like, I mean, they were incredibly bad almost bordering on cock rock. Like indie cock rock or something like that, just completely bland without a single interesting thing to say. But then Daniel Johnston came out and they played "Rock This Town" and that was OK. The best part though, was when they left and a dude came out with an acoustic guitar to play while Daniel sang. He played "Living Life" and my life was pretty much complete after that happened. It's easily my favorite Daniel Johnston song, and perfect for that day and the whole SXSW experience. "This is life, and everything's alright/ Livin livin livin livin livin life," he sang. The one drawback was that this was SXSW, and of course no one really gives a shit so it was a little hard to hear over people chatting all around me. Something I realized though, is that after seeing Daniel Johnston, I don't need to see him again. It's like an experience that I needed to have, but I decided that I didn't need to see him again on Saturday night (which I had been planning). I was satisfied.

Oh, and the Pains of Being Pure at Heart were supposed to play but didn't show, which was kind of a bummer, but it was kind of OK since I know they probably would have played the same show they did the day before. After Daniel Johnston it was time for the Wrens. This is a band I've had with me for a good five years and a handful of bad break-ups and I can easily say that The Meadowlands is among the top five greatest break-up records of all time. This summer Luke from Baby Birds and I had a ritual of listening to that record late at night when we were feeling miserable and getting to see them live was kind of well, god, well, let's just say their live show is not what I expected. Because they were fucking ON! You know, I expected some kind of sad older dudes and no, no they were fucking jazzed. Bassist Kevin Whelan played the role of ringleader, baiting the crowd and at one point, standing on top of an amp and jumping off of it. I swear, these guys have to be in their late 40s/early 50s and they rocked harder than bands half their age. It was an amazing show and, amongst quite a bit of new stuff were jams like "This Boy is Exhausted," "Everyone Choose Sides" (which fucking slayed), "Faster Gun," and Meadowlands closer, the sole desparate piano/voice track "This is Not What You Have Planned" which pretty much (in my head) brought the house down. There's a little video of it on here. I was sad when it ended, and I really kind of regret not seeing them when they played later on in the week becuase seriously, when am I gonna get to see the Wrens again? Like the Hold Steady, they're a band I could see a million times and never, ever, ever get sick of.

After having my mind severly blown by the Wrens, I thought it would be best to head across the street to the Team Clermont party at the Flamingo Cantina and see Mirah. I found my TC rep, Steve, and we quietly gushed about our Mirah love. Her set was lovely, exactly what I wanted at that moment (and with Tara Jane O'Neill on guitar!). While I thought "Jerusalem" was going to be my highlight, when she broke into "Cold Cold Water" at the very end I literally went weak at the knees. SERIOUSLY. I felt them turn to putty and I almost dropped my Tecate and melted onto the tile floor.

After my knee-melting Mirah experience I headed to Room 710 to say hi to Christine from Pirate! and Dan from Spectre, but told them that I could not stay because somewhere in Austin, the Hold Steady were going to play and I needed to be there. I don't know if they understood, but I hope they did as I used one of their drink tickets to down a whiskycoke and barreled out of the place to Red 7.

Now, here is how I approach SXSW. The bands I love, I love more than anyone else there and I will do anything to see them. So when I saw the Red 7, I pulled a hardcore cutsy (the same thing I did last year for Los Campesinos!) in which I pretended to know someone up front and just snuck in because no one in those lines is ever paying attention. After sneaking in, I headed to the back patio where the Hold Steady were waiting for me and noticed that No Age was setting up inside! Seriously, this is SXSW for you, where I have to decide between two amazing bands. But, alas, the Hold Steady beats all cards. And wouldn't you know it, some motherfuckers were saying we couldn't go out to the back patio because it was at capacity EVEN THOUGH PEOPLE KEPT LEAVING. Fuck them, I have never been more frustrated in my life (ok, maybe that's hyperbole) but yeah, I didn't know what to do. They were clearly not letting anyone in. Since the guy didn't see me, I went to the bar and got a beer and then went back in which I pulled maybe the greatest feat ever, in which I just acted like I was supposed to be in there and then convinced the door guy that I had just come in to use the restroom and that I needed to get back out there. He relented and I went out to an absolutely packed back patio...clearly at capacity. Ha. But whatever, the Hold Steady played and anything bad I'd been feeling was washed away when Craig Finn hollered out the chorus of "Your Little Hoodrat Friend." I wanted to make my way up front to the linke minded people with their fists in the air, but it was just too packed. Seriously, who goes to a Hold Steady show to stand around... oh wait, this is SXSW where people go to see bands for the sake of having said they'd seen certain bands. I just don't understand people at Hold Steady shows who do not freak out (or at least rock out) becuase to me, this is the music that most inspires rocking out. Anyway, the set put me in a great mood regardless.

And what a world I live in where I can stumble out of a killer rock show and into another killer rock show. No Age had about three songs left in their set and the SECOND I walked in the door they were busting into "Eraser." I ran quickly to the front and waited for that point in the song where everything comes crashing down. It was intense. A nice awesome little surprise that set me up for the dinnertime lull.

After a taste sandwich at the Austin Picnic Company (I think that's the place) at 6th & Sabine (easily my favorite part of downtown Austin, where the river runs through and it's loaded with beautiful trees and always cool and breezy) I took some downtime to plan the rest of the day and at about 7:30 decided it was time to hike down to the Mohawk (my favorite venue in Austin!) to catch the Secretly Canadian/Jagjaguar/Dead Oceans party. Why? Because these are three of the best record labels around right now and the early part of the line-up had some bands I really wanted to see!

I got there as Richard Swift started his set, and his set was really really boring. Although, that was to be expected. I hoped he'd play "Buildings in America," the sole jam on his record Dressed up for the Letdown which was, of course, a letdown. And yeah, another letdown when he didn't play that song but whatever, I went inside to see Mt. St. Helens Vietnam Band because I liked their debut LP on Dead Oceans. However, I just liked it and their live show didn't really do much for me. Actually, I take that back, it made me realize something. It made me realize that there are some bands who have It and some bands who don't, and that Mt. St. Helens Vietnam Band doesn't have It. You see, this band is technically very deft, they are all very good at what they do, playing their instruments, putting it all together, etc, but at the same time their songs don't have that certain quality that makes something great or lasting. This is a band no one will ever remember. It's great that they are doing what they're doing and having a good time but musically, I don't think they're going anywhere.

After that, I went outside to sit in the cool breeze and rehydrate and guess who was playing again! Bishop Allen! And guess what! THEY WERE STILL FUCKING BORING. I'm sorry, but here's another band that doesn't have It. Maybe other people like it, I don't know, but I watched about four songs and none of them did anything for me. Fortunately, Julie Doiron was playing inside!

Before leaving for Austin, I promised my Julie Doiron obsessed girlfriend that I would see her (and when I told her she was playing back to back with Phosphorescent she punched me out of jealousy). It was a good call. I'm a huge Eric's Trip fan and her new record (which features her former bandmate/lover Rick White on Bass) is really, really really good. That and Heart and Crime is one of my top 5 all time nap records (and has been in heavy rotation this winter). She played mostly new stuff, but more stripped down as she was only accompanied by drummer Fred Squire. The set was really quite wonderful. Really relaxed, and she just has one of those perfect voices. A voice that's so human, so heartfelt that you can't help but feel what she's singing. The highlight was the stripped down performance of "Consolation Prize," the clear-cut jam from her new record I Can Wonder What You Did With Your Day. An excellent set from one of my all-time indie rock crushes.

After Julie it was time for Phosphorescent on the outside stage. I saw them play on this stage last year and it might have been the best show I saw all SXSW, so I figured I needed to see them again. That and Matthew Houck, like the Donkeys, is one of the sweetest musicians I've ever met and I don't know why I think that's odd because his music is so beautiful and human (again, human, the word I use for bands who come off as being real, ordinary people). They opened with "A Picture of Our Torn Up Praise" and proceeded to play a mix of tracks from their latest proper LP Pride and older stuff, and I don't think I heard any Willie Nelson songs (as featured on their tribute to Willie To Willie, out on Dead Oceans). Actually, there may have been a couple, but it wasn't overbearing and it all sounded really nice. It was exactly after I needed after a hard afternoon of rocking. The highlight though, was when Houck stated that "This next song is called 'I am a Full Grown Man'" and I yelled "FUCK!" really loud and the girl next to me asked if I was OK. I told her that it was just my favorite song. The live version was slowed down, lovely, gorgeous, as all of Phosphorescent's music is. I still can't figure out how this band is THIS good.

After having my mind blown, I head down to the Stolen Recordings showcase to see Let's Wrestle, another one of my TOP TEN BANDS I MUST SEE. But, on the way I realize that I can catch the last half of the Hello Seahorse set at the Flamingo Cantina, which is right on the way. Of course they start playing my absolute favorite song, the one song I wanted to hear, right as I walk through the door. Background, Hello Seahorse is an indie-pop band from Mexico now signed to the wonderful Magic Marker records and they have this song called "Won't Say Anything" which is a monster pop jam. You should listen to it. It's so good. Anyway, they're playing it slower and it's really cool and slowly, the song starts to build pace until about halfway through when it goes full speed. Awesome awesome awesome awesome. And you know what's more awesome?

Right after that they bust into "Rapper's Delight" by the Sugarhill Gang! Seriously, imagine a Mexican indie-pop band doing hip-hop. Please, do this, actually, you don't need to because here's a video:

Yeah, they were great. And I got to Wave just in time to catch Let's Wrestle, whose noisy, bratty, off-the-cuff Brit-pop-punk has been in heavy rotation for the past few months. They're one of those bands just under the radar that I hope is going to break soon (along with labelmates Pete & the Pirates) because their single, "I Won't Lie To You" is an insanely good jam. When they play it I freak out as best I can on the crowded rooftop which I deem to be one of the worst venues ever. It's completely narrow and the bar takes up half the space. But I'm on a rooftop seeing an amazing band I could never see in Lawrence so everything is OK.

After Let's Wrestle I'm disoriented and aimless and my ankles feel like they're about to fall off from standing forever. I somehow manage to get to El Sol y La Luna, where King Khan & the Shrines are playing at midnight. This is a bad idea for someone who is completely exhausted. Somehow, I weasel my way past some french guys who are idly chatting deciding whether or not to go in and I'm the last badge wearer allowed before they hit capacity. While standing idly I'm pretty sure I see the guy who plays Roy on The Office and I think I creep him out by looking in his direction trying to figure out if it's him. I'm pretty positive it was. King Khan & the Shrines are impossible to describe, but what I will say is that I spend a lot of time trying to determine which drug would be best to be on while seeing this band. Not that I do drugs or anything, or condone that, but really, the show is fucking SURREAL. THERE IS A CHEERLEADER ON STAGE AND A CHUBBY INDIAN DUDE SINGING A HYBRID OF ROCK & ROLL AND SOUL. I don't know how to handle it. I wish I could properly rock out, because this is one of THOSE shows. After saying that he's going to sing a song about welfare (and ripping his shirt off and putting on a sailor hat sort of thing) I see a guy burning a twenty dollar bill. It's weird. The show is awesome, I wish I felt awesome enough to truly appreciate it.

Here's a video, again bathed in red light. I don't think it captures a 1/10th of the insanity:

Despite feeling the need to collapse and my feet telling me that I am a bad, bad person, I somehow make it back to the Stolen Recordings showcase to see Pete & the Pirates. While I never really got into their record Little Death, I kind of just knew they would be one of those bands I'd need to see live to really get and um, I was right. Their set was so great! Jangly indie-rock that has something I really can't put my finger on that makes me love it immediately. I highly recommend seeing these guys live if you get a chance. It was a good way to end a long day where I thought I might collapse at any moment.

Somehow, I managed to make it back to the car (and completely sober!) and I'm pretty sure the second I got into the hotel room I passed out. I don't really remember, but I do remember that I don't think I've ever felt that exhausted before in my life.

That was the second day of SXSW.
Write-ups for the next two days will follow shorty, however, more R&R and maybe a trip to Free State is required to help in my reassimilation to Lawrence after the surreal rock & roll fantasy that was Austin.

Ian Hrabe
KJHK Music Director

SXSW Day Four Re-Cap and Trip Home

2009-03-23T08:58:00.000-07:00

The last day of SXSW was pretty damn weird. Everyone in out crew was pretty much wiped out, and Ian and I went over to spend the day sitting in Waterloo Park for Mess With Texas. Well, the clouds cleared away, the sun came out, and suddenly sitting in the middle of an open park under the sky didn't seem like such a good idea. We saw Red Cortez play some pretty generic alt-radio indie rock, looked at the schedule and realized it would be a long wait until anyone we wanted to see would pay, plus I wanted to grab some lunch and see some bands, so we began what would become an epic trek over to Opal Divine's.

On the way over there, we walked past the Texas state capital building, where it appeared there was an anti-war rally. Then, all of a sudden, the guy running the rally stopped yelling about what he was yelling about an introduced Wavy Gravy. Yes, that Wavy Gravy, the fellow who helped run Woodstock, noted ant-war gentleman, hippie clown, etc. He sang a few verses of some song by Emma Goldman, then we hightailed it out of there before someone decided to taze us.

*Please note that the preceding statement was intended as humor and in no way reflects on the fine men and women of the Texas Rangers.*

After walking quite a few blocks, we ended up at Opal Divine's right as our hunger was starting to get the better of us. We also got there right as Kepi and band was getting started. So, we sat there, eating some amazing burgers, and we got to watch Kepi, and then Kevin Seconds, play some folk punk. Kevin backed Kepi on drums, and then vice versa, while Kevin's wife Alison played tambourine and sang back-up. Two of my favorite punk front men strumming acoustic guitars while I relaxed and ate lunch? One of the best ways to spend a day I could think of.

Afterward, there was a bunch of wandering around while Ian and I hit up a record show at the convention center, checked out some stuff at the American Apparel flea market, and then walked over to the other side of the highway to check out the Four-Square Punk show that MyOpenBar was putting on. There were free Budweiser tallboys, free coconut water (much-needed rehydrator), and four punk bands playing one song each, right after one another. It was pretty much crazy, with beer cans flying everywhere, people getting knocked to the ground, band climbing trees (and one another), and just blasting the shit out of some music. Cerebral Ballzy were crazy as hell, Team Robespierre may be my new favorite live band, and I can't really remember as to whether or not I cared about the other two bands.

However, I did, in fact, care very much about the band that played next: Valient effing Thorr. The band went pretty much crazy with their brand of hard rock metal punk from another planet. The crowd kind of thinned out when they started, but the people there just rocked the hell out. Everyone knew the words, threw up hands and had fun. The band played what has to be my favorite song of theirs, that being the paen to professional wrestling "No Holds Barred," which got sent out to the Von Erichs instead of Hacksaw Jim Duggan, as "this is Von Erich country!" This was probably my third or fourth time seeing the band, and they never disappoint.

It was at this point that Ian and I started wandering around. I ditched my bag at the convention center (hence no more pictures from this point out), and we ended up heading over to the French Legation Museum, where we met up with Dan and Christine, who are promo folks, as well as running into Hector from AAM and Mona from Domino. Sitting there, drinking dollar Lone Stars, surrounded by green and shade and wonderfully old buildings, talking with like-minded music folks, as the sun set probably ranks up there as one of the most perfect moments of SXSW. The Dirty Projectors played and it was like we were at just the right place at just the right time.

After that, really, it was just pretty much boring, seeing shows type stuff. Saw a bit of the Goner showcase at Red 7, checking out Ty Segall, and then said, "to hell with it," and went to Emo's Annex. I suffered through the Stone Gods, the new band from the dude who was in the Darkness. They were awful. It was even more of a parody than the Darkness. Justin Hawkins can't sing, the band sounded like Poison, and their guitar player was dressed like he was supposed to be in Queen. Atrocious, and pretty much abusive behavior towards my ears.

The next two bands were also abusive to my ears, but in a volume way. A day and a half later, and I still have hearing loss in my left ear. Punk rock bands + huge speaker stacks = danger.

Thank you, Street Dogs. "Toby's Got A Drinking Problem" and your cover of "Rise Above" left my throat sore and raw, and your energy and reciprocal admiration to your fans never fail to impress.

Thank you, Riverboat Gamblers. "Rattle Me Bones" destroyed what was left of my throat, and your on-stage antics always leaves me in awe that a frontman can put himself in so many precarious situations and not die. Climbing the speaker stacks, throwing the microphone in the air... the perfect end to the week.

We left early, at noon yesterday, and got back into Lawrence right around 2am today. Traffic between Austin and Dallas / Ft. Worth is the most awful thing I've ever experienced, second only to the last two hours' worth of driving, when I started to hallucinate from exhaustion. But, we made it home, we had a GREAT time, aloe vera fixes the sunburn, sleep fixes the exhaustion, and time will heal my throat (along with some green tea). Tomorrow, I return to work, class, and being a decent student and making sure KJHK runs. Thanks to all the bands, the people I met, Ian, Alison, and Sean for being great tourmates, and to the city of Austin for being amazing. -Nick Spacek

IHEARTCOMIX Showcase at Beauty Bar, Thursday, March 19th

2009-03-22T09:07:00.000-07:00

My whole time at SXSW has been pure gold, and Thursday night was no exception at the Beauty Bar, with acts like The Death Set, Juiceboxxx, HEARTSREVOLUTION, The Golden Filter, not to mention Ocelot, Radioclit, and Drop the Lime.

HEARTSREVOLUTION was in my top five want to see live list, so I headed over to the Beauty Bar extra early to make sure I could get in. When I got inside it was obvious I hadn't missed anything, so I headed to the Backyard of Beauty Bar to check out the stages there. None other than Ocelot, a pair of DJs from England, was on the stage, with the whole house jumping up and down.

When I got a little weary of the thumping of the ten foot tall speakers, I headed back inside and totally didn't realize that the Death Set were playing. The Death Set had brought out their punk set with drum machines in full force. There was definitely some moshing going on, I walked up only to have one of the members almost kick me in the face as he was crowd surfing. It was pretty impressive though--the crowd was totally into it, willingly holding up the dude from the Death Set so that at more than one point his feet were actually touching the ceiling.

I decided this was a good place to be, so I stayed on to see Juiceboxxx, who for some reason I've never seen before even though he's played in Lawrence like ten billion times. And man, does he not give a shit. He jumped up and down hitting everything on stage. At the beginning of his set he declared, "Nobody can get on stage! It's my stage!" A really excited Japanese kid didn't hear this part and got on stage only to have Juiceboxxx yell at him, "Get the fuck off the stage, man! You can't be on stage." Anyways Juiceboxxx was part rapper, part pre-constructed beats and full of mad energy. I was glad I got to see him.

Finally, after waiting around for hours upon hours, HEARTSREVOLUTION got up on stage. They used a live drummer, and it worked out really well. The girl was wearing her signature pink make up smear across her eyes and over the bridge of her nose, not to mention a really cute outfit. Listening to HEARTSREVOLUTION live was no doubt magical for me, but half of the appeal was probably their stage presence. Lots of the items on stage used for the performance, like the mic handle and a megaphone the girl used were discoed out and covered with tiny jewels. Also, some of their cables were pink! So awesome. The girl had a really gutsy stage personality--coaching the audience to "Shut the fuck up" and "Shut and listen. I'm going to sing now." The music itself was a total success live, a virtual disco-rock rave. It was one of my top three favorite performances of SXSW.

The night wasn't over yet. Earlier in the day I had heard the magical sounds of the Golden Filter drifting out of the over packed Peacock Lounge after I had interviewed Harlem at the Gorilla Vs. Bear party. I decided to stick around and see them for real, and they were totally rad. They pretty much sound like what Glass Candy should have evolved into, but didn't. They're a three piece from NY with a girl drummer, really tall, blond, I think possibly English vocalist, and a quite short dude synthesizer player. Another great show for this great night.

There wasn't much left to the night by the time the Golden Filter finished playing. I headed out to the Beauty Bar Backyard one more time to catch the last act. It was Drop the Lime, which I'm proud to say I've seen now, but he was freaking out at the sound guy and flipping him off the whole time because the dude was doing a bad job. I don't know who to blame, but the his was kind of tainted because of both of those things. Still, over all, the IHEARTCOMIX Showcase, was a dream come true.

SXSW Day Three Re-Cap

2009-03-21T07:57:00.000-07:00

Much as I'd like to try and demonstrate how absolutely cool I was by starting my day off by walking in and out of about three different venues and walking out with three new books, a hat, and yet another reusable tote bag, I won't. I could show how hip I was by talking with Hector from AAM and getting free drinks for the whole crew while we watched Parenthetical Girls, HEALTH, and Titus Andronicus first thing in the morning. How indie, right?

But, sadly... I am not hip, nor am I cool. Despite the fact that Titus Andronicus pretty much made me like them, because while their album kind of bored me, live they sound an awful lot like Against Me! and other bands of that ilk. Lots of big guitar sound with three guys blasting big chords simultaneously. But, even though I was kind of rocking it out to various ultra-hip rockers, I still ended up leaving to see punk bands.

I went from Habana Calle 6, where the AAM party was kicking, to just a little over to Beerland. I could tell I'd been spending a good amount of time there, because their doorguy just waved me in. I was getting ready to walk inside when I saw a guy I thought I recognized outside. Lo and behold, I did know him - it was Mr. Mitch Clem, of Nothing Nice to Say and record art fame. I talked with him and his friend Ben, and then we all went inside to see Hunx & His Punx, the reason we were there.

Hunx said a lot of things that I'm going to repeat here, for the most verbatim, so please don't inundate the station with e-mails calling me homophobic, 'cause I'm just repeating what the man said. "The gayest show in Austin," for instance. Seeing the man's "dong," etc. Honestly, the show was such a spectacle, it's difficult to remember what the music sounded like. They started out with "You Don't Like Rock 'n' Roll," and it just got better from there. Lots of prancing, preening, and at one point early on Hunx said that he wished he had a boner. Given the scant attire of prettty much the entire band, that probably would not have been a good thing. I mean, I still ended up seeing his tackle, but tumescent would have been a bit worse. Fun show.

And then I left Beerland to go over to Red 7, where with the exception of a break with the crew to go have dinner at Thai Passion, I would spend the next 10 hours. Ten hours on my feet, watching pop-punk. I really could not ask for a better way to spend my Friday afternoon. The weather was perfect under the roof out back on the patio, and the bands were all just bursting with energy. I don't know if it was a perfect storm of punk, but from the moment Dillinger Four hit the stage until the Queers played hours later, it was pretty much my dream lineup.

The highlights? Drinking a doublewhiskeycokenoice while D4 played the song of the same name. Seeing the Bouncing Souls for the first time in 11 years, and getting to hear them play not only "I Like Your Mom," but "These Are the Quotes From Our Favorite '80s Movies," too. The new stuff like "Airport Security" didn't really grab me in the same way "Kate Is Great" does, but they're still putting out good tunes. The Souls celebrate twenty years this year, and it's impressive to note that they've really failed to put out anything that's lousy in that time (although the argument could be made that The Gold Record was pretty weak). They ended their set with "Born Free," and I went and had amazing Thai food with the rest of the crew, then walked right on back to the club for the pop-punk perfect storm.

Kepi and Band started out, playing songs to sing along to, and valiantly struggling against the strains of death metal coming from inside. The band featured Kevin Seconds on drums, and his wife Alison singing back-up and playing tamborine, in addition to the usual Kepi and Dino. He played not only his own tunes like "Supermodel" and some Groovie Ghoulies tunes, but he also knocked out a cover of Daniel Johnston's "Devil Town" that had a huge sing-along. I would see this man play every day if I could, really.

Kepi was followed by Poison Arrows, not to be confused with The Poison Arrows. They used to be called the Heart Attacks. They play sleazey garage rock, and have stage banter that's more appropriate to a hip-hop show. Still, they played not only an MC5 cover, but Cock Sparrer's "I Got Your Number," which pretty much got my attention. I was in the bathroom (port-o-john) while they were playing it, which pretty much sucked, though. Entertaining, if not too terribly PC.

The Dollyrots played next, and it's a testament to their spunkiness and drive that they just didn't come off as saccharine after their lead-in. Blasting out stuff like "Jackie Chan" and "Because I'm Awesome," the band actually sounds way more edgy live than they do on disc. They're a band I've been trying to see for something like three or four years now, ever since Eat My Heart Out was released on Panic Button. I'm not going to say it was a wait well worth it, because the vocals were a little scratchy, and not nearly as sweet and cuddly as they sound on the records. It's the cutesy mixed with the punk rock that really makes the band, and getting a little too far in either direction causes them to lose that thing that makes them stand out.

The Cute Lepers and the Pink Spiders played next, and while I'm a big fan of the Cute Lepers on record, I really couldn't get into them live. They had back-up singers doing synchronized dance moves like the Ronnettes or something, the band was dressed to the nines like some sort of power-pop big band, and yet I don't really remember a damn thing about their set other than the fact that I shook and shimmied a lot, and they played "Terminal Boredom." The Pink Spiders I've seen enough times to really not care about any more. Their set sounds pretty much the same every time, and I really only get lit up when they play "Modern Swinger." The news stuff sounds like AC/DC, and while I love AC/DC, I tend to not like bands that sound like AC/DC.

Teenage Bottlerocket came out and lit the place on fire. They blasted through probably fifteen or twenty songs in the time most bands would do half that. "Bloodbath At Burger King," "Radio," "Bottlerocket," "In the Nuthouse," and I canot believe how these guys have just perfected pop-punk. It's fast, loud, there's not a lot of between song banter, and they bounce around like toddlers given their first sip of soda. I can't explain why they're one of my favorite bands, except for those prior reasons.

The Queers headlined, and my feet hurt so fucking bad that I went searching for a place to sit. Red 7 is many things, but a sitting-friendly place is not one of them. I saw the Queers play "No Tit," and hauled keister. Ian and I found one anaother and ended the night sitting on the bleachers at Emo's, watching King Khan & the Shrines play while we just wondered how we could be so lucky. One more day to go... if my feet can handle it. I am so sore, so tired, and so ready to just sit around and do nothing. Still - Teenage Bottlerocket plays again at Emo's Annex in just under an hour, and there's Mess With Texas, too... I might survive. - Nick Spacek

SXSW Wednesday the 18th, "Music Made By Women" Showcase at Ms. Bea's

2009-03-20T08:44:00.000-07:00

My first real day at SXSW I knew EXACTLY what I wanted to do. We had all stopped by Ms. Bea's on Tuesday night to hang out, and found out it was a really neat place--a whole bunch of kids hanging out outside and around the empty lot next to it.

First up was Anni Rossi, famous for her violin and singing skills. I had seen her maybe three or four years ago at a tiny show at Solidarity in Lawrence. There weren’t many people around at this pointing the morning, around 12 pm. She was pretty good, but to my surprise I recognized a few songs she had played years ago. A drummer also played along with her and her violin.

Next was Forever from Portland. They were a two girl/two guy band that seemed kind of punk but also utilized a sort of harmonizing blue grass female vocals. Forever wasn’t really my thing, but they did do a great cover of X’s “Johnny Hit and Run Paulene.” Forever reminded me a bit of the sound of bands like Gun Outfit, who are hard to categorize into a specific genre.

After them I was lucky to get to see Micachu and the Shapes. Now this band blew me away. I've decided that this band is one of my few favorites from SXSW this year. To start with they’re from England, and from London more precisely, I believe. I knew they were going to be a little weird when the two girls and a guy were setting up on stage in their cute white t-shirts that each had a pattern of a different shape printed on them. Micachu, a tiny, boyish-girl played a sort of ukulele and also a small, altered, electric guitar while singing the main parts of the songs. I think she’s probably older than she looks. The band also has a drummer and a girl keyboard player, and they often join in on vocals, sometimes yelling, all in their delightful British accents of course. The music was experimental, yet not noise, with some electronics thrown in on the keyboard. They looked like they were having so much fun playing, too. My favorite song was called “Curly Teeth.” Check out this band already!

http://www.myspace.com/micayomusic

Then Tacocat played. I know you're thinking, what a great band name! It really is. The cute little vocalist had orange dyed hair and a long braided rat tail. They played a cover of Replacements and later in their set covered Bikini Kill's "Carnival." It was kinda obvious that Bikini Kill was their favorite band, with some definite pop punk influence. Overall, they had a pretty strong set, except for a song about getting a UTI, which was kind of just gross, but besides that they were adorable and awesome!

http://www.myspace.com/tacocattacocattacocat

I also saw the Coathangers--the badass girls on Die Slaughterhaus Records along with the Black Lips and the Hipshakes. Coathangers are girl garage punk with a keyboard at its most intense, no dresses or anything, but lots and lots of high-pitched shrieking. I liked seeing them live, but I was glad more bands weren't as intense as them. http://www.myspace.com/fuckthecoathangers

Next was the Carrots. If you're a fan of Finally Punk, you might know that this band has two members of FP and existed before FP. Oh my god, I wish there were more bands like the Carrots. They're pretty much a full force doowap band styled after the oldies bands. They all wore sailor costumes for their set. I really respect these guys--it seems like it would really be a challenge to make doowap music. So they're another band you should check out. http://www.myspace.com/thecarrots

Also, PRE played. This was the crazy Aids Wolfe-esque band I was too shy to try to get into rotation. PRE is interesting because they're made up of three really clean-cut looking British guys and then a Japanese girl named Akiko who dresses really crazy and goes insane screaming when the music starts. Pre had a new drummer who had only played one show with them before, but their set was great! They mentioned that they will have a new album out in May called "Hot Pricks" (I think that was what they said).

http://www.myspace.com/prepreprepre

Another highlight of this showcase was Pocahaunted from LA. They were a five piece with two girls who looked like sea sirens who had washed up on a beach, no joke. Both of their hair was really long and tangled. This band is experimental, yet psychedelic and creepy with distorted vocals.

http://www.myspace.com/pocahaunted

SXSW Day Two Re-Cap

2009-03-20T08:00:00.000-07:00

Thanks to some serious walking that had to be done, I spent most of SXSW Thursday in two places, with a couple of side trips. I started the day off seeing Ruby Isle over at the Flamingo Cantina. I went mainly to talk with Bill, who runs Team Clermont, and is probably the nicest, most reasonable promo person ever. He also books a damn fine show and promotes good records. Ruby Isle were dance-your-pants goodness, and seemed to me to be a lot like a more whimsical version of the Faint (less guitars). I enjoyed what I saw, but got sidetracked by a phone call from my wife, and missed most of the middle of their set.

There wasn't really a lot I wanted to see after that, so I popped over to the convention center after Ruby Isle got done and checked out the trade show and Flatstock. The trade show was bigger than last year, but still pretty much a bust in terms of anything worth my time. I grabbed a bunch of Irish and British comp CDs for Will D. and Across the Pond, so that's smething. Flatstock always leaves me feeling like I should be independently wealthy, with several thousand square feet of wall space.

I then hauled ass way the hell on the other side of the highway to Bird's Barbershop, where there was a show sponsored by Bust Magazine, Dewar's Scotch, and Steamworks Brewing Company. Quite honestly, my sobriety took a bit of a vacation for the next couple of hours. It was hot, there was no shade, and what better way to deal with the heat than cold, tasty, free beer? Yes, I know - water. But the beer was easier to get.

Anyhow... I saw Busdriver play a couple of songs, and I was actually pretty impressed. Live DJ, live instrumentation, not playing from a CD or iPod - usually a decent indicator for a hip-hop act. Still, the real reason I walked all the way over there was to see King Khan & the Shrines. No matter how good the recordings are, nothing prepared me for seeing the band live. I'd seen him with BBQ the night before at Emo's, but I was right there at the front of the stage, there was a go-go dancer, people in the audience were grooving, and this was just one of those great shows. It's like King Khan has studied every Otis Redding, James Brown, and classic r&b performer to just knock a show out of the park.

After that, it was a long, slightly wobbly walk over to Breakaway Records to see the Girls and Gentleman Jesse. A long, hot, drunk walk. By the time I got over there, my water bottle was empty, I was sweaty, and I was amazingly dismayed to discover that the bands were playing in a parking lot. Then the frontman, Shannon, came out wearing nothing but Chucks, sunglasses, a hat, and black bikini briefs, and I knew everything would be ok. They played something like five songs - one of which being "Transfer Station," and that made the mile or so I'd walked to get there totally worth it. Then Gentleman Jesse & His Men rocked it, playing a set that made me think that I should really have gotten their record a good long while ago. They're really Costello-friendly, and not a little like him doing the more upbeat numbers on Almost Blue. Country-tinged new wave guitar pop? Something like that. They were worth seeing twice, which is why I went and saw them again at Beerland that night. I would've like to have stuck around to see the Cute Lepers, but I have a chance to see them at Red 7 with Teenage Bottlerocket, and I had to meet the gang for dinner.

Now, before I go into detail about my night at Beerland, I do need to mention that before heading over there, I went to Red 7 to see Total Abuse. It was a mercurial show. There weren't very many people there, one of the guitars kept feeding back horribly, and the drum kit kept falling apart. There was a minute of regrouping between every song. But the songs... wow. Cyclical, ebb-and-flow hardcore that's obviously influenced by Fucked Up, but bordering on some sort of brilliance that I think Fucked up left behind. The kids didn't quite know what to make of it, and the one attempt at a pit seemed to just die a horrible death before anyone was really able to start wrecking stuff. One of my new favorites.

After that, I spent the rest of my evening at Beerland. It was a pretty enjoyable affair of seeing a lot of garage rock from Cause Co-Motion, BBQ, and Gentleman Jesse (again). All the bands pretty much brought what I thought they'd bring, and it was pretty cool to see BBQ solo.

The real reason to be at Beerland, however, was because the Circle Jerks were playing. However, before the Jerks played, there was a band called Easy Action, who sounded a lot like those old Confederacy of Scum bands like Cocknoose or Antiseen. Sadly, they weren't entertaining like those bands were, and pretty much just droned on and on for well past the point of welcomeness for me. The Circle Jerks were all right, but by the time they went on, I was exhausted, the club was full of wasted people, and the sound was muddy as hell. It was cool to see the band in such a small venue, but I think Keith blasted his voice the night before at Emo's. He also acknowledged the fact that it was past his bedtime. I was having the same problem. -Nick Spacek

Knee Deep at SXSW: Day One

2009-03-19T08:30:00.001-07:00

With nothing to do until about 12:30, I hiked down to Ms. Beas for the beginning of their Music Made by Women showcase and was delightfully surprised to see Anni Rossi (granted, I was less delightfully surprised that she started about a half-hour late and I ended up missing lake). Really pretty, voice. Something like a cross between Mirah and, I don't know, Regina Spektor.

After that, it was onto the Terrorbird day party at Red 7. I distinctly remember when Caroline told me the line-up for this party and I freaked out. Like, literally started screaming in the office. I show up a few minutes before Wavves goes on and of course, the show is pretty fantastic. Totally sick, you know? I know everyone's doing the noisy guitar and drum punk thing but goddamn, Wavves just hold that shit down. A great way to start off the day.

After grabbing another Lone Star I head inside and see Shout Out Out Out start their set. Imagine, if you will, four or five very good looking, frat-dudeish Canadian dudes making electro (replete with vocoders). The worst thing, though, is the constant mugging going on and EVERYONE in the band is contributing, but mostly it's the occasional bass player with the "God, we are so fucking good" look on his face as he mouths along all the lyrics. It's the kind of face that I just can't help but want to punch.

Instead of subjecting myself to a certain death by shitty bands, back outside Loney, Dear was setting up. I didn't plan on seeing Loney, Dear, even though I really like them and, well, whatever subconscious reason I had for not wanting to see them that bad manifested itself as the three swedes took the stage, or four if you count the terrible sound quality. You see, on their last album they incorporated some electronic beats and stuff, and here they were playing those off of an iPod, and it sounded really shitty. The songs were good though, and made up for that, but just barely.

Instead of waiting outside for the Thermals, I decided to go inside and check out the much hyped Max Tundra. If you know me, you know that I really don't give a damn about electronic most of the time. Not to say I don't respect it as a genre, but you know, it just doesn't do much for me. But every once in a while I really like something, like Max Tundra, who was amazing. Absolutely full of energy, jumping around the stage, picking up random instruments (a recorder, even, at one point), blasting out sweet synthesizer jams. Of course, no one dances (myself included, but I only dance to very specific songs). I've noticed that this year, and it really kind of bothers me that no one ever seems to really get into the music. I mean, I try, I do as much as I can. My standard foot tap and head bob at varying degrees, but here everyone up front is only there to take a thousand pictures on their digital camera. I should note that I will rail against these people, and I feel kind of like a hypocrite but then I don't because I only take a few pictures of each band and I rarely ever use flash (which, you will learn later, can ruin a show like nobody's business).

At some random point I decided to walk out on Max Tundra and good thing I did, because the Thermals were just starting outside. I didn't really plan on seeing the Thermals (I've seen them twice) but holy shit, goddamn, this set was fantastic. Laced with brand new stuff off of their forthcoming record Now We Can See and classic cuts like "No Culture Icons." I mean, look at Kathy Foster's hair in that picture! They are incredible, goddamnit, I need to see them 100 more times at SXSW. Always a good show. And from what I heard of the new record, it's going to be fucking AMAZING.

After the Thermals, instead of going back inside for whatever shitty band was there I bought more beer and hunkered down in a corner somewhere in waiting for Yoni Wolf of Why? After a long, grueling set-up (in which a sustain pedal was missing or not working, something like that), he played for fifteen minutes. This was kind of a bummer, but whatever I'll take what I can get. Something that sounded new, "The Hollows," and "These Few Presidents" stuck out, made my knees weak, etc.

Again, instead of going back inside after Yoni Wolf's set, I hunkered down with more beer and awaited the Pains of Being Pure at Heart, one of my absolute favorite bands of right now. They capture noisy, reverbed indie-pop like nobody's business and when they finally play, well, it sounds really shitty. Not that the songs are bad, they opened with "This Love is Fucking Right," one of my favorite songs of theirs, but the sound (again) was pretty awful. It sounded like a mess of distortion, which can be a good thing but really, I couldn't hear anything that I needed to hear. The lead vocals were muddled, the back-up vocals were inaudible, but I guess the guitars sounded good. But I realized that the Pains of Being Pure at Heart sound EXACTLY like "Sunny Sunday Smile" EP Era of My Bloody Valentine. It's not a bad thing, well, maybe it is because now I can't listen to them without thinking about that. Or maybe it's just that the sound is shit and I'm too tired and kind of bored with the day party.

After Pains of Being Pure at Heart, I just wait outside for Vivian Girls to play because I haven't seen them and I really figure I should see them while I have the chance, however once they started playing I felt like I was seeing Vivian Girls for the sake of seeing them. I didn't really have any drive to and once they started playing I just couldn't help but think that their kind of boring. Don't get me wrong, I love their LP, but I found myself watching them not giving a damn. That, and the new songs they played from their forthcoming record didn't really do much for me.

After Vivian Girls I stumbled out to have dinner, which actually was a good way of getting rehydrated given that my spicy noodle dish was much hotter than anything I've ever had in my life and I downed at least eight glasses of water. And then went to the Central Presbyterian Church to see M. Ward and Department of Eagles at the 4AD showcase. I couldn't think of anything else to do and was sick of standing and walking. This proved to be kind of a really stupid idea, because what happened was I ended up spending three hours sitting in a pew at a church where maybe 500-1000 people were waiting outside to get in. I saw Anni Rossi again, and it was interesting since I'd seen her play in a parking lot to about ten people earlier in the afternoon and now she was playing to 350 in a sold out church with beautiful acoustics (which is really the only thing that place has going for it, they don't even have a bathroom you can use and the pews are solid wood and will kill you after a while). After that, M. Ward played to the tune of 8 million blinking flashbulbs for a solid fifteen minutes which pretty much ruined the show for me. Seriously, I don't get it. I don't get how that sort of thing is allowed. Eventually, the flashes started giving me a headache and I really wanted to leave. Fuck that shit, seriously. NOBODY NEEDS TO TAKE 100 PHOTOGRAPHS OF M. WARD. But eventually the assholes left the front of the house and he played "Poison Cup" (by request, apparently) which was easily the highlight of my day as it's one of my favorite songs. Absolutely beautiful.

Department of Eagles were really boring. I hate to say that, because I love In Ear Park, but I kept trying to find a good time to sneak out, but I really wanted to hear "No One Does it Like You." When they finally played it, it was completely stripped down, which was kind of cool but mostly still really boring. Maybe it was the 3 hours sitting in that church, but I felt sick after finally getting out. I stumbled (there was a lot of stumbling) down to 6th and ate some pizza and felt better, but not that much better. Maybe I'm just getting old but it's not as easy this year to stay up for 14 hours wandering all around Austin seeing great music. I eventually made my way to Red Eyed Fly to catch Human Highway (the collaboration between Nick Thorburn of Islands and Jim Guthrie) at the Suicide Squeeze showcase. Had I not been exhausted, I would have ate this up but instead I just quietly observed, smiling most of the time because the stage banter was you know, pretty funny and they played all of the songs I wanted to hear and, with the exception of Jim Guthrie's unfortunate hairdo, everything was pretty excellent.

The exhaustion hit really hard after this. I realized that I had two more hours of seeing amazing bands and didn't know if I could handle it, but alas, I soldiered on to the Beauty Bar for the K Records/ Tomlab showcase. The Beauty Bar that night was easily the most frustrating venue I've been inside of in Austin. The inside's not so bad but the backyard where the cool bands were there was no room and it was weird, but everyone there seemed like an idiot. See, I do this whereI get really defensive of bands that I love, in this case Parenthetical Girls and Casiotone For the Painfully Alone, and I got kinda pissed that the crowd was populated by people who looked like they would ever, ever listen to these bands and when they started playing they stood and talked to their friends and took pictures. Bah, the little elitist in me is coming out, but that's what Austin has done to me. Seriously, why do people have to talk through shows and what is the obsession with constant photography. I know I run the risk of looking like a hypocrite, but I don't take more than five pictures at any given show and if I do I don't spend the entirety of the performance checking the photos, deleting them, and taking the same photos again. Blug. At this point in the evening I want to fall down and die, but I stick around for most of CFTPA's set (which is mostly made up of new stuff that sounds pretty good) but once I know I'm not going to hear "Scattered Pearls," which might have pepped me up, I split.

And that was my first day of SXSW.

Ian Hrabe
KJHK Music Director

SXSW Day One Re-Cap

2009-03-19T07:45:00.000-07:00

I had grand plans to write this last night, but "last night" was technically "this morning at 3am," and I figured some sleep was in order. Anyhow - I saw something like two dozen bands yesterday. Unlike last year's SXSW, where I felt the absolute pressing need to see each and every band that was on my schedule, no matter if it meant leaving in the middle of a set I was really enjoying, this year's been far more sedate. I've accepted the fact that I will not, and cannot, see every band I want to. I have been making sacrifices, and I think I'm a better person for it.

The highlight of the day was seeing the Luchagors from Atlanta. Featuring former WWE wrestler Amy "Lita" Dumas on vocals, I figured it would be worth seeing them for a lark. Surprisingly, they ended up being really good. The crowd at BD Riley's went from a handful to a packed house, as folks heard their L7 meets Toilet Boys trash rock and came in off the street. They knocked out a cover of the Cramps' "New Kind of Kick," which came off without a hitch - no mean feat at 2:30 in the afternoon. I checked 'em out again at 10pm as part of Texas Rock Fest, and while their set only ran about fifteen minutes, it did feature the additional entertainment of seein their quite drunk guitarist knock a full-size amp and headunit to the ground and continue playing regardless.

I also managed to finally see Fake Problems, a band whose albums I've loved, but keep missing for whatever reasons. They played outside at the Music Gym, which is a musician's co-op on the other side of I-35. I got there a little early, and managed to get my socks rocked off by the So So Glos, who sounded like a Modern Lovers LP playing at 45 instead of 33. It was a pleasant discovery, and I would have preferred to have been able to talk with their lead singer, Alex, without sounding like a complete idiot. I'm sure I said something about "finding new bands and being surprised," and I think he mocked me a little. Still, I've got both of their CDs now, and look foward to spinning them.

Most improved band that I saw at last year's SXSW and have seen thus far goes to the Turbo Fruits. Last year, they were just a Be Your Own Pet side project, but with the demise of that band, and the passage of a year's time, the band has really come into their own. I'm sure there's a host of factors as to why they were better this year than last - the passage of time, the fact that they're a regular band and not a side project, playing inside at Beerland to a fairly full house, as opposed to fucking nobody on the Mohawk patio... all of those could be it. Regardless, their garagey goodness is even better, and starting out with "Volcano," an ode to a speciality device for marijuana consumption (and a KJHK hit a year or two ago) wasn't a bad way to start.

Speaking of starting out well, the Homosexuals opened with "Hearts In Exile." Opening with your hit = punk rock, even if the hit was minor and three decades ago. The rest of their set was equally as entertaining, and I'm happy to see that Bruno is actually calling the band the Homosexuals, as opposed to a long-winded speech about how the band is actually a new band, blah blah blah.

There's a lot more that I could talk about, but really, those were the highlights. Texas' own Iron Age scared me, as did Trash Talk. I think hardcore isn't fun anymore. Evidently, "posi" is out and "scaring the shit out of Nick and making him fear for his life" is in, because I thought the dude from Trash Talk was going to kill someone. The bands put on shows, tho', which is a rarity. I mean, there was probably still more of a floor show than what was on stage, but the bands knew how to play to the audience by jumping out in the audience, etc. And at the Iron Age show, there was a distro. A DISTRO!!! With boxes upon boxes of records! I came into the hardcore scene (however peripherally) around '97, and distros were already supplanted by the Internet. This was awesome! And novel. The ATM was busted, so my checking account manages to survive for another day.

I'll just say that Zolof the Rock and Roll Destroyer played "Can't Stand It" and "That's the Way It Goes" back to back, M. Ward was pretty much ruined by flash photography, I could only see King Khan's guitar stock during his set with BBQ (although I did get to watch a bunch of little kids boogie down to that song that goes "I don't give a FUCK!"), and Anni Rossi did an Ace of Base cover ("Living In Danger," for those that wants to know such things). I leave you with something that I feel sums up the SXSW experience pretty well - a picture of someone taking a picture of Vivian Girls:
Keep up with all my stuff via Twitter. I am tweeting lots. More SXSW content from some great writers is also available at Pop Wreckoning. Disgustingly talented folks over there. -Nick Spacek

KJHK @ SXSW

2009-03-17T22:03:00.000-07:00

So yeah, today Nick, Alison, Sean, and I drove a long time and eventually we got to Austin and it was pretty cool. Amazingly, the wristbands we were supposed to get were upgraded to badges and, while we had derided badge-wearers on the escalator ride up to find out that we were getting badges, once getting them we donned a collective "this is better than Christmas" attitude as it means we are now able to get into all the cool shows we wanna get to by means of basically cutting in line. Which is awesome.

SO, after that we ate hot dogs. That was cool too, and then to the Todd P. curated showcase at Ms. Beas made up of Texas bands. Here, I reunited with Lone Star beer (which is, as I remembered, pretty awesome) and more importantly, got to see White Denim and it was a pretty perfect way to start SXSW. I am now completely locked into SXSW mode (which prepares me for 14 hour days of amazing bands and amazing drinking) and there are about 8 million bands I need to see tomorrow.

Ian Hrabe
KJHK Music Director