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By Mary Chang
on Wednesday, 16th April 2014 at 4:00 pm
I don’t know about you, but in DC this morning, we had sub zero temperatures. So this new documentary-style video via Adio Marchant – better known at the moment under his solo stage name Bipolar Sunshine – from his time at SXSW 2014 couldn’t have come along at a better time. Sun, shades, good tunes…man I miss Austin!
By Mary Chang
on Monday, 14th April 2014 at 4:00 pm
Why suffer through the Californian desert heat (not to mention the damage to your wallet) when there are nice people on the internet that film entire sets from Coachella such as this one of Haim this past Friday afternoon? I don’t know if acoustics are to blame, but they don’t sound very good at all. Also, is it just me or do the Haim sisters look like they’re in pain and not actually enjoying performing at the festival? And it’s not just Este suffering as John witnessed at Reading 2013. Watch the whole shebang below.
Camden Rocks is one of a new breed of urbane festival that has infiltrated the scene across the U.S. and Europe. It requires the special kind of electric setting that can be found in places like Camden and Dublin, or organically grown ala SXSW; the corner of Texas that grew into national new music mecca. On 31 May, 20 venues across the borough will fire up their PAs, and over 200 bands will take to the stage from midday through to the small hours. There’s no mud, no tents and no burst fibreglass urinals. But what it lacks in escapist appeal, it will surely make up for in cultural backdrop and convenience. The Subways are what you might call the conventional headliners, but you can almost guarantee that it will be one of the plethora of lesser known talent that will steal the headlines.
Camden Rocks was conceived as homage to the borough’s staggering influence over the British music scene for the past 50 years. For so long an incubator of fragile new talent – from psychedelia to punk to Britpop – festival promoters have sought to express this diversity with an eclectic line up set across 20 of the town’s famous aural boltholes. It began as a one off, headlined by Pete Doherty and Carl Barat in 2009, and boasted a distinctly London chic, even if its scope was embryonic by comparison.
Resurfacing again in 2013, this year’s line-up is now a leviathan with hundreds of slobbering, stage-hardened heads just waiting to gnaw your face off. Some, like electronic punk rockers Sonic Boom Six, will be returning for another bite after appearing at the festival’s inception, whilst the likes of young guns The Hell will be attempting to muscle in and gain their share of the spoils. And, with festival scene rival Camden Crawl shipped over to Dublin in 2013, the locale will likely be chomping at the bit to host an event that expresses the veracity of the areas musical mythology.
For many, it won’t be headliners The Subways or Reverend and the Makers that are the big draw (although the £25 ticket fee would get you little change from going to see either individually on any other night). It is in the malaise of the lower line-up that the rare stones can be found. Starting at the top, Turbowolf and Orange Goblin will be representing the more traditional end of the hard rock spectrum, whilst Hacktivist’s intense hip hop/metal crossover is sure to compliment the likes of the anarchic Gnarwolves, and slackers Nine Black Alps. Further down the list and there is a thread of uber aggressive noisemakers that can be traced through the likes of Hang the Bastard, Crazy Arm and The Hell – the latter of which are solely responsible for leaving Watford as the wasteland it is today. Even the famous London poseur will be catered for, thanks to Blitz Kids and The Blackout.
It may just be a hyperbole of a standard Camden evening, but when your starting point is the motherland for so many generations of musical genres, the magnification creates a heady brew. It’s on nights like these, when Dr. Martens delve into every dive bar from Dingwalls to Dublin Castle, that you can sense the ghosts of Hendrix, The Rolling Stones, The Clash and Ramones – even Winehouse. On that Saturday in late May, the music of the new generation will do the talking; Camden Rocks has seen to that. But, it’s rare to find a festival at which the talent will be conscious of playing second fiddle to the venue itself.
Tickets and lineup info are available now from the Camden Rocks Web site.
By the final Saturday of SXSW 2014, my addled brain was full to capacity with new music, new faces, and new experiences. Mary and I got off to a bit of a late start after our busy Friday (read all the recaps including my thoughts on the Communion showcase at St. David’s and more, my review of the full Irish Breakfast at B.D. Riley’s, Mary’s Friday night free-for-all featuring London, Tokyo and Glasgow bands, and Mary’s busy interview schedule), in no small part due to the rainy weather we woke up to. Mary had scheduled a quick stop at Holy Mountain (read the start of her Saturday review here), but I wasn’t officially covering any of Saturday’s events, so I was able to sneak in a leisurely cup of coffee before I headed to the British Music Embassy at Latitude 30. (Where else would we have ended up?)
Frankly, after Friday’s whirlwind of music and interviews, I was ready to let loose and dance. Happily, the lineup at Latitude 30 seemed tailor-made to accommodate me. The afternoon started off slowly with Welsh singer/songwriter Sweet Baboo, but the energy level was quickly ratcheted up by Scottish rockers Meursault, Oxford groove factory Glass Animals, Sheffield’s latest and greatest, The Crookes, Brighton-based Kins, and London jazz/funk/pop band Melt Yourself Down. Mary has already covered the acts we saw in detail here, so I will just add that I did indeed fall in love with the edgy rock of Meursault and that my second time seeing Glass Animals was every bit as steamy as the first.
By the time the fourth act, The Crookes, came on stage, I was on my fourth gin and tonic. At some point in the set, I believe I may have had a mildly embarrassing exchange with lead singer George Waite about the errant button on his shirt. I can only hope that everyone else’s memories of that are as cloudy as my own. Luckily for me, I was able to disguise my blushing with one last feverish dance to ‘Afterglow’.
We did actually end up stretching our SXSW Saturday for just a few hours more with sushi and acts at the Hype Hotel (read Mary’s thoughts on the night here), but in my heart, that last dance at Latitude 30 was the perfect wrap up to a perfect week. I had a fabulous time, and I honestly wouldn’t change a thing about it, though I did learn a few lessons that might prove useful for next time. And yes, Mary and I are already scheming and planning for next year!
On that note, and in closing, I have to thank Mary for bringing me along with her on this year’s SXSW adventure. I had a 12-hour road trip home from Austin, and I spent all of it listening to music I’d picked up along the way, mentally revisiting the faces and places I’d seen. Despite the lengthy trip, it was an incredible week in so many ways, and I look forward to giving it another go in 2015.
Au revoir, Austin!
After spending the entirety of my SXSW 2014 Friday afternoon at B.D. Riley’s on 6th Street for the Full Irish Breakfast, I had just enough time to dash up the hill to 8th Street to St. David’s Episcopal Church for a quick interview before the Communion Music Showcase. I had heard rave reviews of the acoustics inside the sanctuary at St. David’s, as well as the consistently amazing lineups sponsored by Communion Music, so of course I was fairly bubbling over with excitement by the time I reached the church.
Evening activity was just beginning to pick up in downtown Austin, and the outside of the church was still mostly quiet when I arrived. By the time I finished my interview with the lovely and laid back Nick Mulvey in the Holy Grounds coffee shop, music fans were beginning to queue for showcases in both St. David’s venues, the main sanctuary and the smaller Bethel Hall. I chatted cordially with a few other music fans in the queue, and the wait to get into the sanctuary seemed very short indeed.
Unfortunately, I was far enough back in the queue that I didn’t get a fabulous seat inside the sanctuary. To be clear, as far as the acoustics are concerned, there aren’t any bad seats. But I was hoping to snap a few photos, so I chose to sit along the center aisle, and even though I was several pews back, I think I managed to capture the ambience of the evening.
The first band on the showcase was London folk trio Bear’s Den, who stopped in Austin as part of a full North American tour. They had evidently become used to more raucous American audiences than the polite crowd at St. David’s Sanctuary, as lead singer Andrew Davie paused more than once to tell us that our stillness made him a bit nervous. His mild admonitions did lighten up the somewhat stiff atmosphere, and by the time Bear’s Den reached the last song in their set, which included singles ‘Agape’ and ‘Writing on the Wall’, they were comfortable enough to step forward and do it “unplugged”. I was so delighted by their echoing vocal harmonies, and the rest of the congregation were as jovial as they could possibly be while seated on wooden pews.
The showcase was perfectly organized and running on a tight schedule, so there wasn’t much time for audience members to shift in and out of the church between Bear’s Den and the aforementioned Nick Mulvey. Luckily, not many people chose to leave, as we were treated to a set that spanned Mulvey’s short but impressive solo career. I smiled to myself at the sound of familiar tunes ‘Fever to the Form’ and ‘Nitrous’, but it was the new (or new-to-me) tunes that proved most captivating. This was my first time hearing ‘The Trellis’, from Mulvey’s November 2012 EP of the same name, and a pin drop would have echoed mightily in the sanctuary when he finished it. Also well received was the newer and more upbeat track ‘Meet Me There’, which is due for release in May along with his full length album ‘First Mind’.
As Mulvey closed his mellow set, the sanctuary began buzzing with anticipation for Irish singer/songwriter Hozier. Having already gained radio play in America with his religiously analogous single ‘Take Me to Church’, Hozier was ready to preach his gospel to those in attendance St. David’s Church, and he certainly made a believer out of me. I was stunned by the power in every song on his set list, from the earthy, deceptively sweet folk of ‘In A Week’ to the visceral blues and overt sexuality of ‘Angel of Small Death and the Codeine Scene’. And while the gospel tinge of ‘Take Me to Church’ might have been appropriate for the setting, Hozier’s performance of it on the night was enough to steam up every single one of the stained glass windows.
I needed some fresh air after the breathtaking sublimity of Hozier, so I stepped outside to gather my thoughts and check in with Mary via text. Once outside the venue, I quickly realized that I would have some difficulty getting back in, as the queue was growing for the final acts on the Communion roster, Tennis, Sam Smith and Vance Joy. I would later regret missing out on those artists, especially after seeing this video of Smith’s recent single ‘Stay With Me’.
In the end, I hedged my bets and headed to the British Music Embassy to meet Mary for another band I’d recently written about, Scottish duo Honeyblood. The queue outside Latitude 30 wasn’t much shorter than the one at St. David’s, but I did eventually make it inside. Mary was, naturally, down the front, but I wasn’t able to squeeze in through the enthusiastic crowd, and I had to settle for a spot in back near the bar. My photos of Honeyblood weren’t fabulous but for my money, neither was the band’s performance. Their single ‘Bud’ was the only song that stood out among their muddled, distorted grunge pop set. The sound at the venue had been fine all week, so I have to assume that this less than stellar show was a just a small blip on Honeyblood’s radar.
Disappointed, I met up with Mary for a brief conference in what had become a customary spot for us in the alley outside Latitude 30. Our energy was waning by this point, but I convinced her (read: begged and pleaded with her) to make the short walk back to B.D. Riley’s, where we’d taken in the Irish Breakfast earlier in the day, to have another listen to Rams’ Pocket Radio.
It seems silly, at a festival like SXSW, to see the same bands over and over again when there are so many options so close at hand. We’d already seen Rams’ Pocket Radio twice, but both times I’d been a bit distracted, and I felt that I hadn’t given the songs their proper due, at least in my own mind. This late night show suffered from a few technical glitches and the wandering attention of the audience, which slightly marred the emotional connection of the music. Despite those frustrations, I was increasingly fascinated by his juxtaposition of beautiful, rich musical textures and curious, often strange lyrics. Maybe this is why the ever present ‘Dieter Rams Has Got the Pocket Radios’ appeals so much to me, but I did find myself missing the more straightforward ‘Love is a Bitter Thing’ when he left it off the set list. I didn’t walk away from this show feeling any more enlightened about Rams’ Pocket Radio, but my interest is most definitely piqued to see what he does next.
For the moment, I had to put my bewildered thoughts aside in preparation for the following day, which would be our last at SXSW 2014. But even weeks later, I find myself amazed as I mentally revisit the spectrum of mixed emotions and musical styles from that exhilarating Friday.
One of the events I was most looking forward to at SXSW 2014 was the Full Irish Breakfast at B.D. Riley’s hosted by Music From Ireland. I must admit upfront that the actual meal is not my particular cup of tea (and in the interest of full confession, I drank coffee) but it was a nice part of the general atmosphere of the event. Our editor Mary joined me for part of the day’s festivities and has already touched on the Irish Breakfast in her Friday coverage.
When we walked in to B.D. Riley’s, we were warmly greeted by Mary’s friend and event organizer, Music from Ireland’s Angela Dorgan, as well as a host of other now familiar faces including several acquaintances made at the British Music Embassy over the course of the week. We were sat at a table in the front of the room near the sound desk, which gave us easy access to photos and quick chats with the artists on the schedule, and I quickly made the decision to set up camp there for the entire day. I was over the moon, as the lineup for the day included several acts I’d been dying to see.
We had missed UNKNWN earlier in the week at the Creative Belfast showcase, but we didn’t have to wait long to have our curiosity satisfied at B.D. Riley’s. The Northern Irish electro duo of music producer Chris Hanna (identified singularly as Unknown) and vocalist Gemma Dunleavy provided us with our morning slow jam, even as the clock crept into afternoon territory. Hanna’s deep and dreamy bass groove combined with Dunleavy’s smooth, clear vocals created a very chill, relaxed sonic atmosphere to start off the day.
The next band, Dublin sister act Heathers, couldn’t have been more of a stylistic contrast to UNKNWN. I had gotten a sneak peek at them at the Music From Ireland showcase on the Wednesday night, so I knew to expect a change of pace. Of course, it helped that before they went on stage, Ellie Macnamara was kind enough to grant me a cheeky photo of her set list.
Heathers’ edgy, energetic rock, interlaced with tightly woven vocal harmonies and countermelodies, was the perfect antidote to the hearty Irish breakfast we’d just consumed. After their set, I was able to set up a quick interview with the sisters Macnamara for a bit later in the day.
I was especially excited to see Rams’ Pocket Radio again, after having heard his set at Creative Belfast on the Monday night. As he mentioned in my interview with him from that night, he came to SXSW with a full band of musicians, who were tightly packed onto the small stage at B.D. Riley’s. Once again, they played a set featuring several tracks from Rams’ Pocket Radio’s album, ‘Béton’, including ‘Dogs Run in Packs’, ‘1+2’, ‘Dieter Rams Has Got the Pocket Radios’, and current single ‘Love is a Bitter Thing’. (My recent review of ‘Love is a Bitter Thing’ can be found here.)
As I’ve previously mentioned, I found Rams’ Pocket Radio a bit difficult to photograph due to his emphatic performance style. I was able to catch a few decent photos at the Irish Breakfast, but unfortunately it distracted me a bit from listening to the music. I made a mental note to try to return for his late show that night, also at B.D. Riley’s, so I could listen unfettered by the camera.
After Rams’ Pocket Radio, I stepped outside and around the corner for the aforementioned interview with Heathers, which you can read here. On my way back in, I noticed that there was a passing crowd gathered outside B.D. Riley’s, listening to the music from the open air stage. The space outside the venue proved to be a popular gathering place and was almost as full as the inside bar area for most of the day.
Mary and I were both excited to hear the Wonder Villains play again after speaking with them at the British Music Embassy on the Monday night. We were once again somewhat amazed by the colorful attire of the Wonder Villains’ leading ladies, Eimear Coyle and Cheylene Murphy. But more importantly, we were also amazed by the band’s high-spirited performance. Their latest single, ‘Marshall’, had been playing on the PA system between sets, and by the time the band played it live, everyone in the bar was singing and dancing along, including our indefatigable editor.
Mary ducked out after the Wonder Villains played, leaving me to the saccharine-sounding garage pop charms of Dott. Their single ‘Small Pony’ is every bit as bouncy and danceable as ‘Marshall’, but Dott were, inevitably, more reserved on stage than the bright and brash Wonder Villains. Little wonder, as I discovered later that they were nearing the end of a full American tour. Their tour diary for the trip, including their time at SXSW, can be viewed here.
I was practically dancing with excitement myself to hear the next band on the playbill, The Young Folk. I’d met them briefly on the Wednesday night at Maggie Mae’s Gibson Room and gotten a sneak preview of their forthcoming album, ‘The Little Battle’, and frankly, I was already hooked. Their live performance didn’t disappoint, despite the number of instruments they had to squeeze onto the tiny stage.
Songs from ‘The Little Battle’ predominated the set, but The Young Folk also included non-album tracks ‘A Song About Wolves’ and ‘Hold On To Your Hat’. I was impressed most by their ability to convey the tender lyrical moments in their songs without dampening the lively mood of the crowd. Their relaxed but animated performance style was definitely a hit among those in attendance at B.D. Riley’s
Note ‘The Little Battle’ CD taped to Anthony’s guitar.
After The Young Folk played their set, I ducked outside again for an interview with them, which you can read here if you haven’t already. They proved to be quite easy to talk to, and before I knew it, I had missed most of the next set inside the venue. When I came back in, September Girls were rocking the stage with their reverb, rhythm and vocal harmonies. I did manage to peek between the enthusiastic patrons at the front to snap a few quick photos before the band wrapped up.
Mary returned from her own afternoon interview adventures with DJ Colette and Until the Ribbon Breaks and checking out some of the day’s activities at British Music Embassy in time to catch the last two bands on the schedule, WOUNDS and Kid Karate. I would never have guessed that she would be a fan of either band, but the bass player in her showed through as she headbanged along with WOUNDS.
Editor Mary got her groove on.
Both WOUNDS and Kid Karate required the use of earplugs, especially at the close range where we were seated. Of the two, WOUNDS were definitely the harder, heavier thrashing rock, but they managed to keep their performance confined to the stage.
Kid Karate, on the other hand, were not inclined to that much restraint. By the end of their brazenly bluesy set, guitarist and front man Kevin Breen had completely abandoned drummer Steven Gannon to join the audience for an impromptu moshing session. It was the perfect surprise ending to what had been a showcase full of variety and high quality music.
Once again, I hated to leave after the end of the showcase. Part of my mind lingered at B.D. Riley’s when I dashed off to my next appointment, even as I eagerly anticipated the Communion Records showcase that was still to come at St. David’s Episcopal Church.
Thanks to Brian, Ciaran and Jim for their assistance with interviews and photos at this event. (And special thanks to Angela and the staff at B.D. Riley’s for their help in rescuing my lost voice recorder!)
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