Postcards from Austin: South by Southwest 2008
Photos & words by Aubrey McInnis
J. MASCIS
There's something totally enchanting about warm southern air and getting caught in an enormous sea of people whose hearts beat in time to the exact same thing - good music. For a week in Austin, crunchy noise beckons audiences from every corner of the downtown core. Like going to any amusement park, the biggest thrills accumulate the longest line-ups.
The occasion was South by Southwest (SXSW) 2008. Each year, the interactive, film and music festival and conference takes over downtown Austin, Texas. Austin is a cosy city populated by over 700,000 impeccably mannered residents who call the live music capital of the world home. For four days, the music industry lovingly burned out their ears and feet to bring home to our respective corners of the world the inside scoop on all the best music to watch out for this year.
The SXSW experience is divided into two parts. First, the official SXSW experience which consists of the meticulously organized interactive, film and music conference and festival. The SXSW conference headquarters are located in the Austin Convention Center, where the trade show occurs and where a handful of live performances are broadcast on satellite TV. The big draw to the ACC is the annual Flatstock (poster art) exhibition featuring folks like Calgary's Clay Hayes of GigPosters.com. Official band showcases begin each night at 8pm and last until 2am.
The second part of the SXSW experience includes unofficial day parties which usually start at noon and go until 6pm. Dependably a spectacle with plenty of annoying party photographers, day parties are highly sponsored affairs consisting of six to a dozen bands, free food, drinks and swag. Since bands usually have quick 30 minute sets, it's a good time to revisit bands or scout out acts you're curious about, but don't want to see during longer evening showcases.
This year, one emerging trend included aggressive experimental music set to steady, tribal percussion. The more melodic trend was white hot duos led by a gal and a guy. Titans of indie rock making official appearances included J. Mascis, Thurston Moore, Lou Reed, Yo La Tengo and X. Talented acts representing Team Calgary included Lorrie Matheson, the Smalltown DJs, Hot Little Rocket and Woodpigeon.
Alright, gang. Four days, 49 acts. Here are the highlights.
THE RAVEONETTES
The Raveonettes put on the most sonically heady sets of the week chock full of rave-ups and slow ' n' sultry dance numbers mostly taken from their fourth pristine long-player, Lust Lust Lust. Performed live, the songs made a damn fool out of my home stereo (your tinny days are numbered, junior). The endlessly cool duo of guitarists Sune Rose Wagner and Sharin Foo were backed by the fantastic percussionist, Leah Shapiro, who pounded a tom and snare with primal gusto. With dreamy harmonies, whitewash guitar noise and songs befitting full moon gazing, The Raveonettes were understandably in hot demand, making a dozen appearances in four days. We were treated to a similar batch of winsome songs during The Raveonettes' appearance in Calgary last autumn, but not with bass as delectably interactive as during their Vice showcase (my clothes were vibrating). The talented and beautiful Sharin Foo graciously lingered to take pictures with all the star-struck girls and boys after the shows. People were star-struck for a good reason - this band is amazing.
THE KILLS
Another wildly impressive duo was Alison 'VV' Mosshart and Jamie 'Hotel' Hince, who both owned the stage with confrontational sexiness during their smouldering set. Imagine Boss Hog (during the juicy part of their career), but more electrifying and modern. Both playing guitar, Hince kicked his amp with his pointy boot for added noise while Mosshart coolly worked the stage. Together, they put on one of the most compelling and chic rock performances of the week. Gal/guy duos with a cheeky rock swagger was a winning combo at SXSW. The Kills' electric new album, Midnight Boom, is out now.
A PLACE TO BURY STRANGERS
Brooklyn's A Place to Bury Strangers continued transforming uppity music nerds into rabid fans at SXSW. The trio's SXSW appearances felt like consecutive teasers for the highly anticipated live album due this year. As you can estimate from the live action photograph, Oliver Ackermann nearly strangled his guitar to death on a few occasions last week. He's the master of guitar pedals (see: DeathByAudio.com) and concocted the most enthralling mixture of white noise and sombre vocal melodies while the rhythm section of bassist Jono Mofo and drummer Jay Space held down the fort. This trio is officially unstoppable. Their noise is enough to renew shivers and giddiness to those of us going to bed each night hugging our Jesus & Mary Chain and Cure records.
YO LA TENGO
Along with the eternally boyish Thurston Moore, the unchanging look of Yo La Tengo proves that rock'n'roll keeps you young. Barely chatting with the audience, Ira Kaplan, Georgia Hubley and James McNew put on a calm and serene performance until Kaplan started swingin' his guitar around for a refreshing (albeit too brief) spell of noise. It would have been better to hear a longer and less mellow set, but it was still magic to hear Yo La Tengo pull out the classic "Tom Courtenay" and their rocker "Watch Out for Me Ronnie."
SHE & HIM
Merge Records' latest gem includes the talent of actress/singer Zooey Deschanel and M. Ward. Appearing on the same bill as Portastatic (the earnest voiced Mac McCaughan), the Radar Brothers and the Shout Out Louds, She & Him were the warmest of the bunch. All eyes were locked on vocalist/pianist Deschanel, who along with Ward, put on a delightful performance similar to the twang-laced tunes of fellow actress/singer, Jenny Lewis. While Deschanel and Ward seemed to be working out a few kinks during the week, overall, they're a charming addition to the music scene. Extra points awarded for having a cool guitarist/producer/engineer in the band, Mike Coykendall, who donned the brilliant "London, Paris, Rome, Portland" t-shirt. Bang on the money, mister.
HEALTH
It's one of the most unsexy band names ever, but Health is the sound of the future and you'll need industrial strength earplugs to retain your hearing while worshipping them. Loud bands with abrasive noise set to a tribal beat sounded off all the right bells to gig-goers this year. Those of us waiting for other gigs to begin eagerly exchanged notes and enthusiastic queries of "have you seen Health yet?" Expectedly, the LA band developed a white hot buzz as did electronic duo Fuck Buttons, No Age and riled-up Toronto punk rockers, Fucked Up. All of it proved to be fascinating, explosive and best suited for ornery tailgaters or anyone craving music they can sink their teeth into.
THE SADIES
Since Calgary is lucky to have The Sadies kindly pay us a visit nearly once each year, we're fondly acquainted with their musical dexterity and legendary bag of tricks. Year after year, we keep flocking back for more with friends and family in tow. Our American pals seem to be at the beginning of their courtship with The Sadies and less familiar with the boys' onstage prowess and genius musical aptitude. When brothers Dallas and Travis Good executed their tricky fret board exchange, audience members visibly lost composure. It was fun to watch others experience one of Canada's greatest bands for the first time. The Sadies are nominated for Roots & Traditional Album of the Year By a Group for the 2008 Juno Awards. If they don't win, there'll be a riot and I'll be leading it.
AKRON/FAMILY
While I'm not a member of the Akron/Family church, there's no doubt about it, the band puts on sonically interesting performances. The band is devoted to making meaningful connections with their audience... which often included their number one fan and CJSW's music director, Myke Atkinson. Their final SXSW set concluded with the band leading their entire audience from Emo's onto the streets of Austin, where they embraced each other in a circle singing about geometric shapes. Hmm. Everyone was hugging at the end. Hmm. If this was any other band, I probably would have rolled my eyes. Since Akron/Family had already proved their musical sincerity, any gut instinct to mock the geometric shapes sing-along was (reluctantly) abandoned.
THE DONNAS
After The Donnas released their most lascivious love letter to hard rock, Bitchin' (on their new imprint Purple Feather Records, 2007), it was clear that the quartet was reborn with unbridled energy. After seeing them first at CMJ in 1999 and then in years since, I was curious to see how their independence and second wind would translate live. They had just finished a big tour with The Hives and their SXSW showcase was the last gig of the tour. They should have been dog-tired and dragging their butts. Not a chance. Brett Anderson was jumping around and cheekily working the audience like it was the opening night of a fresh tour. Allison Robertson's souped-up guitar moves were actually jaw-dropping. I might have squealed when the two rockers engaged in synchronized hair helicopters, but I also have a hard time keeping Rock Goddess and Girlschool off my turntable. The Donnas put on one hell of a party to end one noisy, insane week.
RACHAEL RAY's FEEDBACK BBQ
File under: Sorta Random. If anyone has ever been a fan of Rachael Ray, you know that the 39 year-old television personality/author loves live music. So fittingly, the queen foodie threw a cool day party at SXSW featuring hot bands and hot food. A catering company dished out the eats so Ray could enjoy all of the bands from the front row. The venue was one of Austin's coolest - the Beauty Bar. Looking like a '60s salon, the Beauty Bar is comprised of a front patio, a mid-sized inside room and a large backyard. Ray's BBQ was set up in the patio (beside a gaggle of Rachael Ray look-alikes), DJs spun in the inside room and bands played in the backyard. The line-up to get into her party was down the block and I had to cough up my media credentials to get in. While I was finishing up at another party and negotiating the crowds, I had missed her lawyer-husband's band, The Cringe, who was joined by ZZ Top's Billy Gibbons (mistakenly called Billy Simmons on her official website... meep). I caught San Francisco's Scissors for Lefty, who put on an infectiously energetic set. Before departing for the next gig, I took a few bites of one of Ray's 7 Layer Sliders (verdict: best little burger ever!) and saw The Stills, who debuted a ton of huge-sounding material from their forthcoming album. Only at SXSW, gang.
For photographs of other gigs attended (Kimya Dawson, Thurston Moore, Film School, Times New Viking, My Morning Jacket and more) head on over to the full SXSW 2008 album at: www.flickr.com/photos/teamrocknroll
Photos & words by Aubrey McInnis
J. MASCIS
There's something totally enchanting about warm southern air and getting caught in an enormous sea of people whose hearts beat in time to the exact same thing - good music. For a week in Austin, crunchy noise beckons audiences from every corner of the downtown core. Like going to any amusement park, the biggest thrills accumulate the longest line-ups.
The occasion was South by Southwest (SXSW) 2008. Each year, the interactive, film and music festival and conference takes over downtown Austin, Texas. Austin is a cosy city populated by over 700,000 impeccably mannered residents who call the live music capital of the world home. For four days, the music industry lovingly burned out their ears and feet to bring home to our respective corners of the world the inside scoop on all the best music to watch out for this year.
The SXSW experience is divided into two parts. First, the official SXSW experience which consists of the meticulously organized interactive, film and music conference and festival. The SXSW conference headquarters are located in the Austin Convention Center, where the trade show occurs and where a handful of live performances are broadcast on satellite TV. The big draw to the ACC is the annual Flatstock (poster art) exhibition featuring folks like Calgary's Clay Hayes of GigPosters.com. Official band showcases begin each night at 8pm and last until 2am.
The second part of the SXSW experience includes unofficial day parties which usually start at noon and go until 6pm. Dependably a spectacle with plenty of annoying party photographers, day parties are highly sponsored affairs consisting of six to a dozen bands, free food, drinks and swag. Since bands usually have quick 30 minute sets, it's a good time to revisit bands or scout out acts you're curious about, but don't want to see during longer evening showcases.
This year, one emerging trend included aggressive experimental music set to steady, tribal percussion. The more melodic trend was white hot duos led by a gal and a guy. Titans of indie rock making official appearances included J. Mascis, Thurston Moore, Lou Reed, Yo La Tengo and X. Talented acts representing Team Calgary included Lorrie Matheson, the Smalltown DJs, Hot Little Rocket and Woodpigeon.
Alright, gang. Four days, 49 acts. Here are the highlights.
THE RAVEONETTES
The Raveonettes put on the most sonically heady sets of the week chock full of rave-ups and slow ' n' sultry dance numbers mostly taken from their fourth pristine long-player, Lust Lust Lust. Performed live, the songs made a damn fool out of my home stereo (your tinny days are numbered, junior). The endlessly cool duo of guitarists Sune Rose Wagner and Sharin Foo were backed by the fantastic percussionist, Leah Shapiro, who pounded a tom and snare with primal gusto. With dreamy harmonies, whitewash guitar noise and songs befitting full moon gazing, The Raveonettes were understandably in hot demand, making a dozen appearances in four days. We were treated to a similar batch of winsome songs during The Raveonettes' appearance in Calgary last autumn, but not with bass as delectably interactive as during their Vice showcase (my clothes were vibrating). The talented and beautiful Sharin Foo graciously lingered to take pictures with all the star-struck girls and boys after the shows. People were star-struck for a good reason - this band is amazing.
THE KILLS
Another wildly impressive duo was Alison 'VV' Mosshart and Jamie 'Hotel' Hince, who both owned the stage with confrontational sexiness during their smouldering set. Imagine Boss Hog (during the juicy part of their career), but more electrifying and modern. Both playing guitar, Hince kicked his amp with his pointy boot for added noise while Mosshart coolly worked the stage. Together, they put on one of the most compelling and chic rock performances of the week. Gal/guy duos with a cheeky rock swagger was a winning combo at SXSW. The Kills' electric new album, Midnight Boom, is out now.
A PLACE TO BURY STRANGERS
Brooklyn's A Place to Bury Strangers continued transforming uppity music nerds into rabid fans at SXSW. The trio's SXSW appearances felt like consecutive teasers for the highly anticipated live album due this year. As you can estimate from the live action photograph, Oliver Ackermann nearly strangled his guitar to death on a few occasions last week. He's the master of guitar pedals (see: DeathByAudio.com) and concocted the most enthralling mixture of white noise and sombre vocal melodies while the rhythm section of bassist Jono Mofo and drummer Jay Space held down the fort. This trio is officially unstoppable. Their noise is enough to renew shivers and giddiness to those of us going to bed each night hugging our Jesus & Mary Chain and Cure records.
YO LA TENGO
Along with the eternally boyish Thurston Moore, the unchanging look of Yo La Tengo proves that rock'n'roll keeps you young. Barely chatting with the audience, Ira Kaplan, Georgia Hubley and James McNew put on a calm and serene performance until Kaplan started swingin' his guitar around for a refreshing (albeit too brief) spell of noise. It would have been better to hear a longer and less mellow set, but it was still magic to hear Yo La Tengo pull out the classic "Tom Courtenay" and their rocker "Watch Out for Me Ronnie."
SHE & HIM
Merge Records' latest gem includes the talent of actress/singer Zooey Deschanel and M. Ward. Appearing on the same bill as Portastatic (the earnest voiced Mac McCaughan), the Radar Brothers and the Shout Out Louds, She & Him were the warmest of the bunch. All eyes were locked on vocalist/pianist Deschanel, who along with Ward, put on a delightful performance similar to the twang-laced tunes of fellow actress/singer, Jenny Lewis. While Deschanel and Ward seemed to be working out a few kinks during the week, overall, they're a charming addition to the music scene. Extra points awarded for having a cool guitarist/producer/engineer in the band, Mike Coykendall, who donned the brilliant "London, Paris, Rome, Portland" t-shirt. Bang on the money, mister.
HEALTH
It's one of the most unsexy band names ever, but Health is the sound of the future and you'll need industrial strength earplugs to retain your hearing while worshipping them. Loud bands with abrasive noise set to a tribal beat sounded off all the right bells to gig-goers this year. Those of us waiting for other gigs to begin eagerly exchanged notes and enthusiastic queries of "have you seen Health yet?" Expectedly, the LA band developed a white hot buzz as did electronic duo Fuck Buttons, No Age and riled-up Toronto punk rockers, Fucked Up. All of it proved to be fascinating, explosive and best suited for ornery tailgaters or anyone craving music they can sink their teeth into.
THE SADIES
Since Calgary is lucky to have The Sadies kindly pay us a visit nearly once each year, we're fondly acquainted with their musical dexterity and legendary bag of tricks. Year after year, we keep flocking back for more with friends and family in tow. Our American pals seem to be at the beginning of their courtship with The Sadies and less familiar with the boys' onstage prowess and genius musical aptitude. When brothers Dallas and Travis Good executed their tricky fret board exchange, audience members visibly lost composure. It was fun to watch others experience one of Canada's greatest bands for the first time. The Sadies are nominated for Roots & Traditional Album of the Year By a Group for the 2008 Juno Awards. If they don't win, there'll be a riot and I'll be leading it.
AKRON/FAMILY
While I'm not a member of the Akron/Family church, there's no doubt about it, the band puts on sonically interesting performances. The band is devoted to making meaningful connections with their audience... which often included their number one fan and CJSW's music director, Myke Atkinson. Their final SXSW set concluded with the band leading their entire audience from Emo's onto the streets of Austin, where they embraced each other in a circle singing about geometric shapes. Hmm. Everyone was hugging at the end. Hmm. If this was any other band, I probably would have rolled my eyes. Since Akron/Family had already proved their musical sincerity, any gut instinct to mock the geometric shapes sing-along was (reluctantly) abandoned.
THE DONNAS
After The Donnas released their most lascivious love letter to hard rock, Bitchin' (on their new imprint Purple Feather Records, 2007), it was clear that the quartet was reborn with unbridled energy. After seeing them first at CMJ in 1999 and then in years since, I was curious to see how their independence and second wind would translate live. They had just finished a big tour with The Hives and their SXSW showcase was the last gig of the tour. They should have been dog-tired and dragging their butts. Not a chance. Brett Anderson was jumping around and cheekily working the audience like it was the opening night of a fresh tour. Allison Robertson's souped-up guitar moves were actually jaw-dropping. I might have squealed when the two rockers engaged in synchronized hair helicopters, but I also have a hard time keeping Rock Goddess and Girlschool off my turntable. The Donnas put on one hell of a party to end one noisy, insane week.
RACHAEL RAY's FEEDBACK BBQ
File under: Sorta Random. If anyone has ever been a fan of Rachael Ray, you know that the 39 year-old television personality/author loves live music. So fittingly, the queen foodie threw a cool day party at SXSW featuring hot bands and hot food. A catering company dished out the eats so Ray could enjoy all of the bands from the front row. The venue was one of Austin's coolest - the Beauty Bar. Looking like a '60s salon, the Beauty Bar is comprised of a front patio, a mid-sized inside room and a large backyard. Ray's BBQ was set up in the patio (beside a gaggle of Rachael Ray look-alikes), DJs spun in the inside room and bands played in the backyard. The line-up to get into her party was down the block and I had to cough up my media credentials to get in. While I was finishing up at another party and negotiating the crowds, I had missed her lawyer-husband's band, The Cringe, who was joined by ZZ Top's Billy Gibbons (mistakenly called Billy Simmons on her official website... meep). I caught San Francisco's Scissors for Lefty, who put on an infectiously energetic set. Before departing for the next gig, I took a few bites of one of Ray's 7 Layer Sliders (verdict: best little burger ever!) and saw The Stills, who debuted a ton of huge-sounding material from their forthcoming album. Only at SXSW, gang.
For photographs of other gigs attended (Kimya Dawson, Thurston Moore, Film School, Times New Viking, My Morning Jacket and more) head on over to the full SXSW 2008 album at: www.flickr.com/photos/teamrocknroll
For the review of SXSW 2007, click on April 2007 in the Archives menu to your right and please scroll down.
Labels: SXSW 2008
posted by Aubrey at 11:28 PM
Subscribe: 
0 Comments:
Post a Comment
<< Home