Tagged: The Carrots

SXSW Day 2 and 3 recap

So, after recovering from the pleasurebomb that was SXSW 2k10, I’m finally able to recap the rest of the week. Tonight, I’ll post my thoughts on Thursday and Friday. Tomorrow, I will summarize Saturday’s festivities and highlight a few of the events I attended on Sunday.

With that, Thursday.

Left work around 4. I had a staff meeting earlier that morning and very much did not want to galivant around in biz-caj attire. I went home to change and of course, by 4:30, traffic was at a stand-still. Parking was harder to come by, so I ended up leaving my car on east 12th in front of my friends’ house. Got to Club Deville around 5.

Liars – If you’ve seen them before, you’d imagine how this went down. Loud, intense, sweaty, and their new album, Sisterworld, sounds good. Not as awesome as when I saw them at the Pitchfork Festival back in 2006 when they were supporting Drum’s Not Dead, but that was one of the best, most exhausting performances I’ve ever seen. Plus, there was some cigarette and pot smoke billowing around the tent outside the venue, but not enough to compare with what was floating around on that muggy Chicago summer day nearly four years ago.

After that, my partner and I ate some Hoboken Pie on the curb out front and plotted out our itinerary. We went to the Ghost Room to catch General Elektrik at 8 p.m., running into our friend Jacqueline along the way. When we got there some pseudo-house band called Scorpio Rising came on. Ugh. The obvious wah-wah bass was surpassed by the outfit’s hippie feel-goodisms. We promptly went to the porch and I read Tracy Morgan’s interview with BUST, his first magazine cover. The upcoming issue also has a feature on sissy bounce, which is a queer hip hop movement based out of New Orleans. Check it out when it hits newsstands.

General Elektriks – White boy French funk outfit. Good energy. Reminded me a little bit of Mellow and Beck circa Midnite Vultures, an era I wouldn’t mind if he returned to at some point.

Mountain Man – Heard about this almost exclusively a capella Vermont-based trio thanks to my friend Will. These women sang in three part harmony only occassionally accompanied by an acoustic guitar, which members Molly Erin Sarle and Alexandra Sauser-Monnig shared at various points during their set at Buffalo Billiards. They’re still new and a bit green, as evidenced when member Amelia Meath intimated that they had never sung with microphones before. Sometimes they weren’t completely together as a group. But when they were, which they were for much of the time, they emphasized the power unaccompanied vocal ensembles have in creating symphonies of sound. I also liked the Sapphic subtext to many of their songs, one of which was about living on a female commune, and the support they gave one another. A lot of hand-holding and hugging on that stage. They’re on my radar.

Explode Into Colors – Their show at Wave was on my must-see list, especially since I missed them at the festival last year. This Portland trio were really great. As I already wrote about them, I’ll say two more things: 1) More bands should have multiple drummers and 2) if you can’t get down with a bassless ESG scoring a post-apocalyptic Western, I can’t help you like things.

After this, we kind of hit a low point. We went to Aces Lounge to check out Jean Grae and Talib Kweli, who were amazing. Unfortunately, 88-Keys and Strong Arm Steady opened for them and they were derivative and making the bill run behind schedule. 88-Keys has worked with Kanye and I could see becoming a bit of a draw, particularly on the college tour circuits like 40 Acres Fest. Unfortunately, he’s also the type of rapper to dedicate songs about his sexual prowess to the laydees and say “no homo” when introducing songs about men (specifically one-minute men, which he assured us he wasn’t). Strong Arm Steady were a West Coast crew who worked with Madlib but were not themselves particularly remarkable and actually pretty messy in terms of delivery. The only highlight of their set was when Fashawn spat a couple verses on some song whose title I didn’t catch. I was getting super-annoyed, but then . . .

Jean Grae – Ya’ll, she’s the king as far as I’m concerned. Smart, challenging, confrontational, ingenuous, and the possessor of a killer flow, she’s one of the best in the game. And I don’t mean “good for a girl.” I mean on equal footing with or better than Mr. Lif, El-P, Brother Ali, Busdriver, Mos Def, Dead Prez, Jay-Z in his prime. She’s my favorite, and a grown-ass woman to boot. And I hadn’t actually seen her in concert since she did the Okay Player tour with The Roots back in 2004. So when she sashayed down a spiral staircase to Nancy Sinatra’s version of “Bang Bang (My Baby Shot Me Down)” in a flared cocktail dress and cardigan (somewhat atypical for her to me, as I’ve usually seen her in jeans and t-shirts), I got amped. And when she demanded that the audience “act right” and participate by dancing and singing along, I obviously complied. She’s Jean fucking Grae.

Talib Kweli – Obviously amazing and great, as well as the reason for the showcase, as he is the owner of Blacksmith Records. He and Jean also had a lot of rapport, cracking each other up as they performed together.

After that, I snuck a peak at Phantogram at Red 7 and saw The Very Best begin to play Beauty Bar‘s backyard, where our friend Barrett was working security and had met JD Samson of MEN a few hours earlier. Then home, because Friday was going to be hella busy.

I took Friday off from work so I could help out at the GRCA day show at the relocating Cafe Mundi. Totally worth it. OMG, are there ever so many women and girls ruling it out there. After set-up, Kristen at Act Your Age and I got to watch Charlie Bell and Darling New Neighbors perform. After that, we interviewed several acts who were on the bill, including some long-time heroines of mine. I’m happy to report that Exene Cervenka, Jessica Hopper, and Viv Albertine are very nice in person. Hopefully all of the footage (much of which was shot by Kristen as well as Zoe from Schmillion and I’m the Fox) will be up on the Web in the immediate future. We got a lot of interesting opinions from these ladies.

Jessica Hopper – Did a reading from her book, The Girl’s Guide to Rocking, which she also signed for people.

Exene Cervenka – Still great, still political, still rockin’ a spare set-up with acoustic guitar and back-up singer. I also appreciated that she mentioned during her set how important it is to have spaces like GRC for girls’ self-empowerment.

Akina Adderly & the Vintage Playboys – Straight-ahead funk with great vocals, fronted by GRCA vocal coach Adderly.

Chatmonchy – All-female Japanese rock band that aren’t as well-known in the states but are royalty overseas.

BO-PEEP – In my opinion, the best show of the day. Loud, theatrical, high-energy all-female punk band from Japan. They were also very nice when I interviewed them, particularly since I couldn’t speak any Japanese and they weren’t proficient with English. However, I did discover that they love The Smashing Pumpkins and that they design and make all of their costumes. If they’re playing near you, go see them.

White Mystery – A close second to BO-PEEP for best set. A brother-sister guitar-drum duo from Chicago, currently on up-and-comer indie label HoZac. Please don’t dismiss them as the next iteration of The White Stripes and please don’t reduce them to their big red manes. These kids ruled it classic rock style. Also, the Whites are super-nice people. In our interview, we discovered that their mother makes a lot of their wearable goods (including underwear), singer-guitarist Alex runs merchandise workshops for Chicago’s chapter of GRC, drummer Francis was born on Keith Moon’s birthday, and so much about gear and the importance of bands running their merch booths.

Girl in a Coma – Really excited to see this San Antonio-based power trio, who I’ve somehow missed for the past year despite the fact that members are themselves involved with GRCA. Their songs were great and they really got the crowd rockin’ with their timely cover of The Runaways’ “Cherry Bomb.”

Viv Albertine – A cheeky, stylish lady with a dry sense of humor and a romanceless attitude toward love. Really enjoyed her new material and got to chat with her a little bit about acts she’s into, like Talk Normal and Grass Widow. Also has the coolest business card I’ve ever seen, though hopefully I convinced her to make them scratch and sniff.

Rosie Flores – Legendary punkabilly. Didn’t get to interview her, but enjoyed her set.

And with that, Kristen made her way home and my partner and I met up with our friend George at TerrorBird and some really nice deejays from Berkeley’s KALX. Frank was closed for a private party, so we decided to head over to El Chilito to catch our second wind.

Zs – Something tells me these guys are familiar with Big Black, Glenn Branca, and The Flying Luttenbachers. Profoundly loud, crushing, guitar-based free jazz. I can dig it. They were playing at Beauty Bar’s backyard at one of Panache’s many showcases. I hung out there for a few other bands.

The Carrots – Hadn’t seen this local indie pop outfit since SXSW 2006 and they’ve only gotten tighter. Cute, fun, and coordinated — this is the band you want playing your prom. Also, a nice sonic contrast to frontwoman Veronica Ortuño’s other band, Finally Punk.

Julianna Barwick – Man, I really like her music. Some people might find a girl singing into a loop station boring, but fuck them. Barwick’s approach to song formation is to improvise parts and feed them through her loop station until she’s built an entire choir out of her own voice. I was riveted.

Met back up with my partner, who tried to catch She & Him and John Doe to no avail. Caught the last few songs of Uffie’s set at Mohawk, which were whatever. Some people are excited about her, and I’m not sure why. Sure, she’s young and French and there’s the connection with Justice. But she endorses this “I’m young and bratty and materialistic” ethos that I wish certain feminists weren’t so quick to champion (see also the Married to the Mob clothing line, though I do want MTTM’s Lady Kier t-shirt). I think we’re better than that. And I think this shit is boring, and I bet it gets hella played at American Apparel.

Fashawn – I think this Fresno kid has star quality. Put him on your mix tapes, boys and girls.

The Entrance Band – I’m not so into psychedelic hard rock, but they’re fucking great. Caught them at Red 7, the third time I’ve seen them in as many SXSWs. Nothing really to say other than bassist Paz Lenchantin rules the planet. Melissa Auf Der Maur, who was two people to my left during their set, seems to think so too.

After that, there were a few shut-outs. I couldn’t get back in to the Mohawk to see Grass Widow, perhaps because all the people with badges were watching Mayer Hawthorne and the County. We couldn’t find the Independent to see Anti-Pop Consortium. The xx show at Central Presbyterian Church was badges only. So we ended things with Dengue Fever at Encore. Fun retro pop outfit from Los Angeles and Cambodia.

Phew! That’s enough for now. I’ll wrap up my thoughts tomorrow. Thanks for reading.

My SXSW 2k10 guide

SXSW 2010; image courtesy of undertheradarmag.com

Wristbands for SXSW went on sale today. Perhaps it comes as no surprise that the music festival is my favorite time of the year. I get no sleep, somehow go to work during the day, my feet hurt real bad, I smell like garbage soup come Sunday morning, and I usually end my nights with deliciously greasy food to soak up the beer. Absolute best. But since I know the proceedings can be a little overwhelming, I thought I’d offer some tips.

First, some petty bullshit.

-Calling it “South By” sounds like you’re trying to break into the industry. If you keep going, you’ll find that “South West” rolls right off the tongue. Okay, you can call it “South By.” Especially if we’re friends. I won’t correct you or make a face. But I will call it “South By South West.”

Now, some practical information regarding comfort.

-Relaxed dress code, ya’ll. Many follow the impulse to get styled out. And hey, power to you if you’re young and like playing with clothes. And if you decide that leather jodhpurs look great with your aunt’s vintage blue sequined tube top and later discover that you’re horribly wrong, Vice or Look At This Fucking Hipster might still take your picture and you can tell/text/Tweet your friends. I’m more casual, however. Hence why you haven’t seen me. The best you could hope for from me is being the brown-haired girl in a red hooded sweatshirt standing almost out of frame smirking at the girl wearing a tube top and jodhpurs.

-Keep in mind that you’ll be on your feet 98% of the time. You’ll be standing in lines or in front of bands or walking to places where you’ll be standing in lines or in front of bands. Some of these places will be outdoors where you’ll kick up dirt. It could rain. Some asshole might drop a full beer bottle or step on your toes. This is not the time to break out those pointy flats, gladiator sandals, platform pumps, peep-toe booties, jellies, or whatever fashionable shoe begs an audience. Think sneakers or, if you must be cool, flat-heeled boots. Also, since the 90s are back, maybe you still have a pair of floral print Doc Martens. If you have them in a size 5 and don’t want them anymore, give them to me.

Want; image courtesy of blackdovevintage.blogspot.com

-Free beer is great. If candy be dandy, then liquor be quicker. But you’re gonna need to drink lots of water. Dehydration is not the move.

-Remember that deliciously greasy late-night food I was talking about? Might I recommend Star Seeds or the vegan-friendly Kebabalicious for your cravings? Can’t go wrong with a treat from Mrs. Johnson’s either, especially since you can get a fresh glazed donut for free. I haven’t been to the 24 Diner yet, but it might be worth pursuing. If you wanna go the drive-thru route, What-A-Burger is Texas’s gift to tourists. I’m not so into Kerbey Lane or Magnolia Café, but they get it done. These are just some after-hours options. Entertaining the idea of what restaurant to eat at in Austin is a decision to step into a larger world. We’ve got good food locked down. If you’re looking for vegan fare, Lazy Smurf was good enough to provide a comprehensive list of restaurants. Happy eating!

-Sunscreen is a buddy. Earplugs are buddies too. But I always forget to bring them.

And now, the music.

-If you wanna gadabout and maybe see some shows, there’s lots of options. The festival offers tons of free, all-ages stuff put together by good people like Todd P. They’re even nice enough to offer those listings in neat little indexes you can fold in your back pocket. But if you want to see specific acts, particularly buzz artists covered by The Onion, Pitchfork, NPR, or others, you’re most likely gonna need a wristband. This is an international festival. Venues fill to capacity. If you can’t make this happen but you’re a student on spring break or can take off work, day shows and after-hours parties are your buddies. You can see a lot of up-and-coming acts that will be playing in the evening for little to no cover.

-Even if you can make it happen, take some time to enjoy the day shows. KVRX always delivers. TerrorbirdMedia put together great showcases. Yard Dog is for sweethearts. NPR is a buddy. GRCA is putting together a great day show.

-If you are coming in from out of town, please make sure you check out our local talent. Austin’s touted as the live music capital for a reason, as the city is lousy with awesome bands. One only needs to check out Matador’s Casual Victim Pile compilation for recent evidence (note: the title is an anagram for “live music capital” — har har). As a local, I tend not to see so many local bands during the evening because they’re around and I have to prioritize. But if I didn’t, I’d see as many Austin bands as I could. You should too.

-If you like an act, check to see what label they’re on. Chances are you might like another band on the roster. If you do, it’s probably worth checking out the label’s showcase. Some record labels I follow: Merge, DFA/Astralwerks, Warp, Kill Rock Stars, K, Stones Throw, anticon., XL, 4AD, Carpark, Kranky, and Sub Pop. They usually put on day shows as well, sometimes with other labels.

-If you feel like exploring new sounds or are intrigued by an act because of its name, do a little investigating. Might I suggest checking in with that thing called MySpace as a starting point? It has to be good for something.

-Don’t be afraid of bands you don’t know. Trust your friends and their tastes if you have evidence of compatibility, because you might discover something really special. In 2005, I remember going to the Church of the Friendly Ghost (RIP) to see a band because someone I knew thought I’d really like them. They were a British dance band and I don’t believe they had a deal in the states yet. They were a polite, brainy bunch who put on a great show and had lots of energy. They even did a charming cover of Fleetwood Mac’s “Miracles.” Their name is Hot Chip and I haven’t been able to catch them since.

Hot Chip: officially too big to call me back; image courtesy of guardian.co.uk

-Build a schedule. You can do it through SXSW’s Web site. Print it out or plug it into your phone. You’ll want it with you at all times.

-Stay connected. I posted this today, but acts will be added up to the last possible minute. Check SXSW’s Web site, Twitter, Facebook, listservs, various e-mags, etc. I will also update this post as more acts I like are announced.

-Finally, I’ll offer up lists of bands I’m planning to see so that setting a schedule can be a bit more manageable. This is by no means a comprehensive list, but rather my list. I’m not interested in being a tastemaker. I’ve taken the liberty of putting my selections in tiers. Tier 1 are acts you can only see during SXSW (last year’s example was Flower Travellin’ Band, a 60s-era Japanese psych-noise band). Tier 2 are the acts I’m really hoping to see. Tier 3 are the acts that have a lot of hype around them or staying power to them and are worth seeing. The Texas section is self-explanatory, and is all-killer, no filler. It’s a hierarchy, but it keeps things tidy. Also, I provided links to every artist so you can check ’em out.

Tier 1
Anti-Pop Consortium, Big Star, Death (returning after Fun Fun Fun Fest), The Zeros. (Note: Where are the women besides Wanda Jackson? Melissa at GRCA would also like to know.)

Tier 2
Aa, Julianna Barwick, The Besnard Lakes, Best Coast, Black Dynamite Sound Orchestra, Black Milk, Bomba Estéreo, Breakestra, Califone, Carolina Chocolate Drops, Exene Cervenka, Daedelus, Kimya Dawson, Dengue Fever, Dosh, Damaged Good$, Dam Funk, The Entrance Band, Explode Into Colors, Fashawn, Flying Lotus, GZA, Invincible, Jean Grae, Sharon Jones and the Dap-Kings, Les Savy Fav, Liars, Lyrics Born, Madlib, Major Lazer (their debut album didn’t meet my lofty expectations, but they should be fun in a live setting), Mayer Hawthorne and the County, Memory Tapes, MEN, Mountain Man, Murs, 9th Wonder, Peanut Butter Wolf, Jemina Pearl, People Under the Stairs, Phantogram, Pharoahe Monch, Psalm One, Smoosh, Themselves, Tobacco, Toro Y Moi, Total Abuse, Viv Albertine, The Walkmen, Wye Oak, The xx, YACHT.

Tier 3
Matias Aguayo, Andrew WK, Blue Scholars, BO-PEEP, Sarah Borges and the Broken Singles, Bowerbirds, Kría Brekkan, Broken Bells, Broken Social Scene, Buckshot, !!!, Class Actress, Cocktail Slippers, Crystal Antlers, Drawlings, The Ettes, 4th Pyramid, The Fresh & Onlys, General Elektriks, Golden Triangle, Ha Ha Tonka, Hole (if it happens), Horse Feathers, Hunx and his Punx, jj, Kid Sister, KIT, Solange Knowles, Sondre Lerche, Thurston Moore, Neon Indian, Nappy Roots, No Age, Denitia Odigie, Peelander-Z, Pocahaunted, Pomegranates, Ra Ra Riot, The Raveonettes, Rhymefest, The Ruby Suns, Rye Rye, School Of Seven Bells, She & Him, Slum Village, Surfer Blood, Thee Oh Sees, Titus AndronicusTyvek, Uffie, The Very Best, Visqueen, Washed Out, Wale, Warpaint, The Watson Twins, Yip-Yip, Jonneine Zapata, Zs.

Texas
Balmorhea, Best Fwends, Scott H. Biram, The Carrots, Dikes of Holland, Daniel Francis Doyle, Follow That Bird, Girl in a Coma, Paradise Titty, Pink Nasty, RATKING, Spoon (sorta local, though a big-tent act; they get a pass because Transference is my favorite album of 2010 thus far), The Strange Boys, T Bird and the Breaks, Ume, When Dinosaurs Ruled The Earth, Wine and Revolution, Woven Bones, White Ghost Shivers, YellowFever.

Have fun! See you around town!

R.I.P., Ellie Greenwich

 

Ellie Greenwich at the piano; image courtesy of urbanhonking.com

Ellie Greenwich at the piano; image courtesy of urbanhonking.com

Brill Building pioneer songwriter Ellie Greenwich died of a heart attack yesterday after complications with pneumonia. She was 68.

Greenwich was most famous for the songs she wrote for girl groups. She rose to success with her husband Jeff Barry with smash hits like The Ronnettes’ “Be My Baby” and The Crystals’ “Da Doo Ron Ron.”

She also penned or helped write songs like The Exciters’ “He’s Got The Power,” The Dixie Cups’ “Chapel of Love,” and The Shangri-Las’ tragic “Leader of the Pack.”

It should be mentioned that she started making a name for herself in the early 1960s, a time when women’s “proper” full-time job was as wife and mother. Instead, she slogged it out, working with male producers like svengali Phil Spector as well as her male colleagues at the Brill Building, including her husband. As I mentioned in a review of Charlotte Greig’s Will You Still Love Me Tomorrow?, Greenwich also had to negotiate the pressures of being a professional woman with being a traditional wife, opting for the former over the latter when she and Barry divorced.

In addition, she wrote so many monster hits, primarily for women and girls, many of whom were girls of color and were also finding access to careers beyond the clerical field and service industry during the time of this nation’s (on-going) integration. And she continued as a writer even after the girl group era, penning her autobiography, a musical, and songs for folks like Cyndi Lauper, who recorded “Right Track Wrong Train” as the b-side to “Girls Just Wanna Have Fun.” In recognition of their contributions to popular music, she and Barry were inducted into the Songwriter Hall of Fame in 1991.

I’d also add that Greenwich’s songs were tremendously informative on punk and indie rock. Bands like The Velvet Underground and The Ramones took to the Brill Building’s hollow sound and economical, riff-based songwriting, a legacy to which Greenwich contributed (of course, VU singer and guitarist Lou Reed got his start as a hack songwriter for Pickwick Records). Indeed, it doesn’t take much to turn the Brill Building’s assembly line style into a commentary and joyful celebration of consumer culture and America’s odd normality, something Parenthetical Girls seem to be doing here.

And her songs continue to be covered extensively. Every holiday season, you assuredly hear this song if you’re at the mall, which Barry and Greenwich wrote together.

I’ve also heard local or less-established bands who are heavily influenced by girl groups cover Greenwich’s work. Take “Then He Kissed Me.” The Crystals recorded it in 1963. Yet bands still cover it. I remember it being a setlist staple for The Carrots, a local band heavily influenced by the girl group, when they started out.

The Carrots; image courtesy of pukekos.org

The Carrots; image courtesy of pukekos.org

So, Greenwich will be missed, but her memory will live on as long as her records keep spinning. I think I’ll go throw one on right now.