popwreckoning updates |  |
| Remix Monday: The Juan MacLean Posted: 30 Mar 2009 02:26 PM PDT
This track is a minimalist house tune with deep and dark, half sung, half spoken word vocals. It’s carried a long by a variety of programmed drum beats of various persuasion. The most pleasurable part of this song is the chorus, sung by Nancy Whang, “One day baby you’ll realize that I’m the one day baby…” This track is too short, ending when it feels like it’s just starting. Simple it may be, but it’s an elegant mix of 80s rave and pop. It mixes the aesthetic that DFA drives for, danceable dance-punk, though fusing plenty of disco into the seams, which “One Day” features enough of to pop, formulating a neo-future paradigm of it’s own. Surkin is one of the wonder boys out there right now. Certainly one of the most innovative and interesting DJs/musicians currently making music. As most people are sampling the 80s and bucking that trend hard, Surkin takes a slightly different route. Though 80s can be felt in his seamless and signature tracks, he really takes his style from one of the least inspiring decades; the 90s. His sound follows a 90s rave feel and this mix is the one track repeating on my iTunes. On this track he cuts out everything extraneous and leaves the best part, what I mentioned above, Nancy Whang’s chorus. Sure it’s typical Surkin looping vocals, but you never get tired of hearing it. He builds the rest of his mix around this, with his lo-fi synths, old school house notes and the classic end where the last two minutes have the climactic ending of a grand musical composition; you can’t really describe the sound, you just know it when you hear it. Hint: It starts at 2:59 in this one. James Curd Remix This is less stellar than Surkin’s, but that’s to be expected. It’s more similar to the original, a little faster and a little more energy. All lyrics are kept, the song runs through, but Curd adds a layer that sounds like electronic wood winds amongst a background of electronic tinkering. The Juan MacLean: website | myspace  Related Posts |
| Explosions in the Sky @ Auditorium Shores Stage, SXSW, Austin TX Posted: 30 Mar 2009 01:15 PM PDT There was one band’s performance that was too big for any of the little bars and venues found on 6th St. Austin’s very own Explosions in the Sky were set to play at 8PM at the Auditorium Shores Stage by Lady Bird Lake. They were given amphitheater treatment. The entire park was fenced in with its own vendors separate from the rest of the festival. This performance was set to be of epic proportions not just because the band happened to be hometown heroes, but also because there have been many rumors that the band is on the brink of retirement and this would be one of their final shows. Promptly at 8, instead of the instrumental rockers taking stage, hip hop artist Erykah Badu greeted the crowd instead. She played only a short three song set, which makes me suspect she showed up let and insisted she still get to perform something rather than getting entirely cut. The rushed performance was so-so, but I think that was partly because the timing of the show was poor: not only was it rushed, but Badu ended up against the not-so-secret Kanye West performance set to happen at the Fader Fort. So her usual fans were off waiting for that. Explosions in the Sky are quite stoic. Not only are their no vocals, but they don’t talk at all during their performances. So there was no verbal confirmation that this would be one of their final shows. Nonetheless, their music did plenty of talking for them. With each instrumental swell, cymbal crash and guitar riff, Explosions in the Sky filled the park with their rich sounds. For a grand finale, the band gave the crowd some real explosions in the night sky and fireworks heralded the conclusion of their performance. If this is the end, they will be missed.               Explosions in the Sky: website | myspace  Related Posts |
| Posted: 30 Mar 2009 12:06 PM PDT It doesn't matter whether you're the world's biggest fan, an artist, or a semi-pro blogger, like just about anything in life, South By Southwest is what you make of it. Each year, the music industry invades Austin and holds what could be called the biggest multimedia talent show in the world. Bands with buzz, mega-stars, and fledgling indies alike find themselves mingling with all sorts of PR, A&R, and self-made critics in the hopes that perhaps they can redeem some street credibility or make themselves known. Whether it's exposure or a good time that you're seeking, there's no disputing the fact that SXSW is the industry's biggest and best coming out party. In the weeks leading up to the festival, it became clear to me that it was too late to work a proper press pass and that I was too poor to procure one for myself. So as the schedule of shows began to take shape in late February, so did my anxiety. Countless lists, parties, and show announcements flooded my inbox, and I spent a ridiculous amount of time researching bands and putting together an extreme schedule for myself. There must have been at least a hundred shows on my list. But, without the right credentials, I couldn't help but feel as though my efforts may be in vain. I had to face the fact that my time at SXSW would be uncertain and that I needed to switch gears. So, take two, I decided to head to Texas stress-free, with my fingers crossed that I could weasel into a few decent shows. Armed with a point and shoot skinny enough to fit into the back pocket of my jeans, I was going to try to see what kind of trouble I could wrangle on my own without expectation. This ended up being pretty easy to manage given the insane amount of bands performing, enough free day parties to send even the most on-point PR guru into a tailspin, and more attractive people than necessary, all within a 10-block radius. Little did I know that all of my wildest "South-By" fantasies were about to come true. A week later and I'm still gushing. I got to see my favorite band from the front row, landed in Texas plus one and ended up rolling 5 deep, rented a room in a stranger's "4:20-friendly" home and didn't care that I spent the week covered in Chihuahua hair and smelling like a limited edition Bath and Body Works fragrance, got stupid-silly-drunk and danced a lot, had VIP access for a private studio session with one of the most reclusive singers in music, and found a new band obsession who we saw two nights in a row. Who needs a press pass? Day One: I arrived in Austin via Houston, dropped my stuff off at the house I was staying at, and checked the day's lineup before heading down to 6th Street. The legendary Emo's was my first stop. The place was teeming with greasy hipsters, metal dudes, hordes of hot and sticky Nikon-strapped lads and ladies, and was littered with PBR tallboys. While I had no idea who was on stage, I was content to spend my first stop absorbing the scene with a crispy-cool Stella in hand. There was so much to do, so much to see, and music coming at me from every direction. While I wanted to stay to see Wavves, my only goal for the day was to see An Horse, an indie rock duo from Brisbane, and my new favorite band, perform at Maggie Mae's Rooftop later that night. After catching a quick set by The Von Bondies at Red 7, I ran into an old friend on the street. We ended up sharing two bottles of Prosecco on her company card and then stumbling over to Maggie Mae's hours before show time. While waiting, we checked out a set by Black Cherry, an unsigned electro-indie-rock outfit from Britain. With a slow rising dark swagger, peppered with elements of funk and dance-pop, Black Cherry were impressive. Front woman Megane Quashie, (think M.I.A. meets Lisa Stansfield) has a voice that is at times soulful and at others sinister, which complimented the band's genre-fusing sound. When Kate Cooper and Damon Cox of An Horse took the stage, my heart was racing. I knew I had to catch this band while I still had the chance. Recently signed to Mom & Pop Records, days after a stint on Letterman, and having been properly pimped by SPIN as a must-see SXSW pick, this band is blowing up as we speak. Their debut EP is filled with authentic lyrics that channel gut wrenching missed connections and an awkward kind of confessional ferocity. Bypassing the syrupy sound of traditional indie pop for more of an unrefined rock and roll feel, this band's debut, Rearrange Beds, has had some serious play on my iPod upon discovering them in October of last year and they were every bit as good live. I was hardcore rocking the front row and didn't stir even when I saw my friend, the one with the company card, being carried out of the bar by two bouncers with a glazed look in her eyes. I stayed to see Hesta Prynn in Civil Sheperd (Hesta Prynn of Northern State) perform songs from her self-titled debut, featuring producer credits by Sara Quinn (Tegan and Sara). Not straying far from the ubiquitous sound of electro-pop at SXSW, Hesta Prynn added her own hip hop signature to the genre and rocked a solid set that got the late night crew at Maggie Mae's jumping like Kris Kross had just entered the room. After Hesta's set I was ready to return to my dog hair infested cave and crash. Mission complete. I saw An Horse. I was happy. Day 2: My second day in Austin got off to a bit of a rough start thanks to the heavy- handed vodka seltzers being poured at Maggie Mae's the night before. I didn't let this stop me though. I was there to see music, not to sloth around in bed all day watching cable. I learned on day one that the key to seeing bands you really want to see is to get to the spot early, so I narrowed down my list to just a handful of shows. After picking up a wingman from my 'hood who also happened to be in Austin for South By, we attempted to truck it to the Urban Outfitters Back Lot party where Crystal Stilts, Abe Vigoda, Vivian Girls, and Titus Andronicus among others were scheduled to play. It turned out that the venue was far too many blocks from 6th, and without a cab in sight, we ended up turning around after over an hour of walking in the relentless sun. We ended up at this random Punk barbershop at the top of a hill. My friend commented that perhaps we had just stumbled upon the underbelly of SXSW. BMX bikes and a crazy dancing fool with big giant boom box adorned the exterior of the shop, inside amongst the mullets, mohawks, and braided tails were turntables and libations. I never figured out what was being promoted but it was too steamy to stay long enough to find out. Instead, we decided to follow the sounds of hardcore music coming from across the street to a bar where they were grilling in the backyard. After refueling with burgers and beer, we hit the road again. We didn't care much about being shut out of Grizzly Bear at the Central Presbyterian Church because taking top spot on our agenda for the night was Tigercity, a Brooklyn-based funky, electro-pop quartet that channel the slinky, synthy-sounds of Hall and Oates and Prince while rocking geodes around their necks. These guys have quickly become my new obsession. The band, which claims to be un-ironic in their love and pursuit of all things sexy and smooth, had me unable to deny my inner soul child on the tiny, narrow dance floor at Barcelona. After a few false starts, we hit our stride and day two ended up being just the kind of night I needed. Day 3: My last day in Austin proved to be the best by far. In fact, I want say it was the greatest 24 hours of my life, but I think I'm still buzzing. Here's what happened. My buddy had heard a rumor that PJ Harvey and M. Ward were playing somewhere a little outside of town on Congress. By this time, we had figured out that it was more fun to rock without a solid plan, so without hesitation, we jumped in a cab and decided to check it out. We got dropped off at ME Studios, a public access television network. ME was hosting Seattle-based radio station KEXP, which was broadcasting live from SXSW all week. We showed up on the last day of the broadcast when Andrew Bird, Peter Bjorn and John, PJ Harvey, and M. Ward were scheduled to perform. While most attendees waited in line outside the venue, under the beat of the Southern sun, we walked in and acted like we belonged, just as my brilliant and fearless friend suggested. We ended up hanging out at the open bar, mingling with industry execs, taking in the view of downtown Austin from the roof deck in between shows, and got our hands on a VIP Pass. Turns out we were able to just walk right up to the front row of the performance space before they were even done sound checking. I don't know how it happened, but we made it happen and this is one time in my life when I don't feel guilty for not following the rules. Peter Bjorn and John debuted songs from their much anticipated follow up to Writer's Block entitled Living Thing, slated for release tomorrow, March 31st. Their set was a quirky, head-bopping romp. After a short break, we stood in awe as we watched PJ Harvey take the stage in front of no more than 50 of us. As a longtime fan of the notoriously private Polly Jean, I couldn't believe that I was seeing her so close, seeing her process, and watching her bring new songs from her upcoming album, A Man a Woman Walked By, to life right in front of us. It was somewhat of a religious experience for me as I think it was for most people in the room who didn't utter a single word throughout the set. We watched her step into character and hold what could have possibly been a séance where she called the soul of her songs to the stage. It was clear from the intensity of her performance and the intimacy of the setting that we were privy to something extraordinary that day. After PJ, we saw M. Ward perform. It was getting late at that point and the crowd had thinned out. There were probably only 30 people in the room. If I wasn't a fan of his Americana infused country-folk before this performance, I became one by the end. Just a man and his guitar, with his hat-tipped down low, we barely caught a glimpse of his face as he shared a collection of songs that spanned his entire catalog. Again, we felt like we had won the biggest prize of SXSW. Seeing M. Ward perform is like being around a campfire with someone who's singing your history and telling your fortune all at the same time. We were flying high as we left ME studios that night. All of our SXSW expectations had been blown away by what we walked into and there really wasn't anything else I felt I had to see after that, except of course another Tigercity show where we danced with triumph for the second night in a row. Our SXSW adventure wrapped at the Semi Precious Weapons show at 1 AM. I believe that this was my first mosh pit experience and I think I did pretty well for a girl barely reaching 5 feet, until an extremely large dude rammed into me from behind and tried to take down the lead singer. I gladly stepped aside after that and enjoyed the band and all of their fabulous glam-rockness from the periphery. My South By crew and I didn't want the night to end even though we were pretty beat. It had been such a perfect day. We tried getting a hotel room to finish off the festival like true rock stars, picturing champagne, a hot tub, and all of us in white hotel robes, talking about how cool we were and how amazing our day was, but everything was booked. Instead, we ended up having an old-school slumber party and crashing extremely hard on an air mattress. When I woke up in the morning, I was still giddy. While I was sad to leave Austin and secretly wished that everyday could just be about seeking out music and good times, I couldn't have written a better time if I tried.             South By Southwest: website Related Posts |
| Lollapalooza tickets on sale tomorrow! Posted: 30 Mar 2009 10:26 AM PDT
Lollapalooza happens August 7-9 in Chicago's Grant Park, and will welcome 130 acts over the three days. Rumors abound over the acts on this year's bill, but fans will have to wait until April 21st for the official lineup release. Tickets and show information are available now at lollapalooza.com. Lollapalooza 2009 is generously sponsored by Budweiser, PlayStation, VitaminWater, Citi, BMI, f.y.e. adidas, State Farm, Sweet Leaf Tea, Lifeway Kefir, and Southern Comfort. Related Posts |
| Interview With: Christopher Browder of Mansions Posted: 30 Mar 2009 08:50 AM PDT The last time PopWreckoning tried to meet up with Christopher Browder of Mansions, a flat tire prevented Joshua from making it to the show. Perhaps, if he had seen them this summer, the band would have recognized him and Browder’s tour mates would not have freaked out when they looked in their tour van to see what appeared to be homeless Joaquin Phoenix sitting in the front. So aside from this mishap of mistaken identity, the interview with Browder went quite well. Bethany mainly handled the questions and by the end of the night, Browder gave PopWreckoning some Doghouse Records stickers saying that those stickers made us official members of the Doghouse team. Check the interview out here: Bethany Smith, PopWreckoning: I guess for people who don't know, how did Mansions come about? PW: How did you choose Mansions? PW: You talked about being in a bunch of different places and on your MySpace page it says like Louisvile and Carolina, so where are you based from? PW: You're touring with a group, but most of the stuff on the album is all you. PW: In addition to doing all the musical parts and writing everything, you also do a lot of artwork. PW: Speaking of the EP initiative, why'd you decide to release your music in chunks like that? PW: But that all sold out didn't it? Joshua Hammond, PopWreckoning: I think it was also really cool that you guys chose to go through the smaller media also. Like you guys easily could have gone through Pitchfork and AbsolutePunk and you chose to go through us, and it helped us out. PW: A lot of, well I think all of the songs on the album, came from the EPs, how did you decide what was going on New Best Friends? PW: But there were a few older songs, like "Por Favor" was initially acoustic. PW: The new album just came out. I think it sounds great. PW: Your current girlfriend, does she get awkward about any of the songs? PW: I know "I Told a Lie" and "Curacao Blue" are linked together. Any of the other songs linked together like that? PW: I love how blunt and honest you are about things, like "Fuck you and your goddamn scene," "you're an asshole", and you have no problem saying that, but it makes you come off as a little harsh on the album. Yet in person you're like super nice and really laid back and chill. How do you balance those two different attitudes? PW: I don't know how you feel about getting compared to artists like Brand New and Manchester Orchestra, but Brand New kind of goes through the same thing, too where like they'll have very angry lyrics and people will just brush Jesse Lacey off as an ass. PW: Back to questions. You said this album had been a long time in the works. Have you already started working on new material and started thinking about the next album even though this just came out? JH: Are there any plans to release this album on vinyl? PW: Ok, well I guess just for fun, I know you're a Watchmen fan. Did you see the movie and how do you think it compares to the graphic novel?  Related Posts |
| Chairlift @ Urban Outfitters, SXSW, Austin TX Posted: 30 Mar 2009 07:33 AM PDT Chairlift had to be one of the busiest artists at SXSW. It seemed like I had seen them on the schedule as playing every single venue at some point or other, yet, despite the many opportunities to see them, I could never seem to make it to any of their shows. Determined, I called a cab to catch the trio at the very faraway Urban Outfitters Backlot show they were playing one of the days. With all the kids in their scarves, skinny jeans and boots despite the 80 degree weather, I was a little annoyed with the scenesters who all thought they were too cool for school before the set even started. Granted, I was at Urban Outfitters, so I don’t know what I quite expected. During Chairlift’s first song, which they began without a smile or a word to the crowd, I was worried I would be driven mad by their scencester attitudes that worked for the crowd, but pissed me off. Fortunately, the trio warmed up and let loose by the second number. As the band members twirled and danced more, they accomplished what the free Pabst Blue Ribbon failed to do: they got those indie kids in the audience to actually smile and dance, too. As a final crowd pleaser, Chairlift wrapped up with the song that many are familiar with from countless commercials, “Bruises”. It was a short set of about four songs, but it was a good enough sample that I’d watch them again.          Related Posts |
| You are subscribed to email updates from popwreckoning To stop receiving these emails, you may unsubscribe now. | Email delivery powered by Google |
Inbox too full?  Subscribe to the feed version of popwreckoning in a feed reader. | |
| If you prefer to unsubscribe via postal mail, write to: popwreckoning, c/o Google, 20 W Kinzie, Chicago IL USA 60610 | |
