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SXSW 2013: Day 2 afternoon – British Music Embassy at Latitude 30 and Blah Blah Blah Science Party at Maggie Mae’s Rooftop – 12th March 2013

 
By on Monday, 25th March 2013 at 2:00 pm
 

Probably the greatest thing about SXSW is that nearly any time of day or night – or maybe any time before 11 AM – there is someone, somewhere gigging. The numerous day parties given by blogs, magazines, labels, PR companies and anyone else with the money and the get up and go to put on a show are often free and provide an entirely different atmosphere than the evening counterparts. I mean, seriously, where else can you see a show with wonderful sunshine framing the stage? And not to make you jealous or anything, but we had 5 straight days of perfect weather: around 30 C or above and not a cloud in the sky. Many day parties are free too, making it possible to see amazing bands for absolutely nothing if you don’t have the means to buy one of those expensive badges.

On Wednesday, the festival was already in full swing, which meant there was a whole host of great parties to drop in on. The British Music Embassy’s first full afternoon line-up beckoned, and I arrived just in time to miss the complimentary fish and chips (darn) but partake in the open bar (yes!). And then I was off to an interview in the afternoon sun with Adam Kane of Cave Painting, which you can listen to here.

Man Without Country SXSW

After the interview and a quick photo op with the whole band (see photo at top), I snuck back into Latitude 30 to learn if strobes work at 2 o’clock in the afternoon. I arrived just in time to catch the second half of a set by Southern Welsh electronic outfit Man Without Country. I liked what I was hearing – dense, complex soundscapes with an occasional guitar – but I wondered if it was just too early in the day, if people were still hungover from the night before, or if there had been insufficient alcohol flowing that Wednesday afternoon, but the crowd reaction was less than stellar.

Cave Painting SXSW

Next up was something I’d been waiting for for months. It was Cave Painting’s turn on the British Music Embassy stage. This year I noticed there was much more fog being used at Latitude 30, but of all the acts I saw on that stage, it was the Brighton band’s set that used it most effectively, making for a bewitching atmosphere that fit songs from their debut album ‘Votive Live’ perfectly. Singles ‘Leaf’ and ‘Gator’ were more beautiful live than I ever could have imagined.

Sadly though, instead of staying put and relaxing with friends old and new I’d been reunited with at Latitude 30, I had to depart – and miss NZCA/Lines – in attempt #2 to catch the 1975 at the Blah Blah Blah Science party at Maggie Mae’s Rooftop. Your worst enemy at SXSW is often the clock; I had hoped I could fit in the 1975 neatly before the reinvented Charlotte Church went on back at Latitude 30. (I’m still kind of gobsmacked that we saw Charlotte sat cross-legged on the sidewalk, doing her makeup in a handheld mirror. Talk about down to earth. )

Wildcat Wildcat SXSW

Unfortunately, this plan was soon dashed. The Blah Blah Blah Science party was running an hour late, and equipment and successful soundchecks were proving difficult for all bands, including the first band I eventually saw on the rooftop, Wildcat! Wildcat! I’m not sure what the great appeal of this band was to the SXSW crowd. I know I am cynical because I hear so much music, but the rock/electro formula made famous by MGMT is starting to get stale now. I’m not a fan of male falsettos, much less falsetto harmonies. And a repeated theme throughout the week was ill-advised covers, of which Wildcat! Wildcat! became involved with trying to do a reimagined ‘Everybody Wants to Rule the World’ that Tears for Fear wouldn’t welcome. Sorry, but there is only one band – Dutch Uncles – that is allowed to cover that song. After they were done, I kept looking at my watch and getting anxious. When would the 1975 start already? There was something wrong with the adapters for their Macbook and synthesiser, so they would just have to go on without either of them. Groan. The synthesiser is a massive part of their sound…

The 1975 SXSW

However, I was buoyed by the number of punters crammed in on the rooftop to see this band, no doubt having heard the word around town that they’d killed it the night before at Huw Stephens’ UK Trade and Investment showcase (if you recall, that was the same appearance your fearless editor was stuck stood outside Latitude 30 with no hope of seeing anything from the window). Despite the technical difficulties, the 1975 looked ubercool, as a gentle breeze wafted through under the tent roof, tousling singer Matthew Healy’s hair and the band rocked out to ‘Chocolate’ and the audience-demanded ‘Sex’. Before I had to rush back to Latitude 30, I had a word with Matthew to “big up Manchester”, telling him we would be sure to catch them with their full equipment set up in DC on the 30th of March. Then I was off again.

After powwowing later in the week with new band, photographer and blogger friends, Charlotte Church was their biggest draw all week. And I missed her. Sigh. Nevertheless, I had headed back to the British Music Embassy to see a band I’d been wanting to see at last year’s Great Escape. In Brighton, I was thwarted on the third day of the Great Escape 2012 by their frontman being poorly, only to find out they’d been replaced at the Dome by Splashh. I am, of course, speaking of Sheffield’s Reverend and the Makers. There seems to be some weird disconnect with nearly every single British friend of mine who does not like this band; I don’t know how you could *not* like them. I love to dance and I love electropop, so the Rev and his crew fit me to a T.

Reverend and the Makers SXSW 1

Remember how I said that strobes didn’t work a couple hours earlier? Well, wipe that image out of your head because the crowd did a 180 when it came time for Reverend and the Makers. This was also my first encounter with a very energetic American bloke super dancer in a Hurts t-shirt who Jon McClure later in this set anointed as the best dancer in the club. (The same man later showed up at several other gigs I attended- it’s nice to know there are Americans who love British music and with such dedication as much as I do. British bands, take note: there are more of us from where I came from.)

Reverend and the Makers SXSW 2

Playing mostly from their third UK album and debut American album released this month, ‘@Reverend_Makers’, the band wowed, turning the British Music Embassy into an unlikely but an entirely enjoyable and hedonistic rave even before tea time. I can say without a doubt as an American that this was one of the most incredible shows I’ve ever been to. Equally chuffed with the American reception was McClure himself, who I nabbed after the set for a lovely chat. Listen to the interview here. It was only the second day of SXSW Music and I was already getting a delightful Northern – specifically Sheffield – vibe and I couldn’t have been happier. And that’s what SXSW is all about, isn’t it? Getting closer to the music that means so much to you in a way that you never imagined. Only the afternoon of day two, and I was already on cloud nine. You’re brilliant, SXSW.

 

TGTF Guide to SXSW 2013: Electronic and DJ UK artists showcasing at this year’s SXSW

 
By on Tuesday, 22nd January 2013 at 11:00 am
 

Please note: all information we bring you about SXSW 2013 is to the best of our knowledge when it posts and bands scheduled to appear may be subject to change.

We here at TGTF have already brought you the pop and pop hybrid acts list and the follow-up addendum, plus last week’s rock, metal and punk acts list. What I had envisioned this guide to be was simply a handy resource if you were wondering which acts to catch at this year’s marathon week of showcases, parties and secret shows. But even if you’re not attending the big event, I hope it’ll also introduce you to the solo artists and bands you haven’t heard of, because that’s the most exciting thing about SXSW: at any one moment, you could walk into a bar, a club, a hotel, a warehouse, wherever…and you might just discover the next big thing in music. And that isn’t limited to one place or one event. You can find new music anywhere.

This week? Part three of the genre section of the exclusive TGTF Guide to SXSW 2013 continues today with electronic and electronic-based acts and DJs. This kind of music is very near and dear to my heart; when I was younger it was dance music, music with a good beat that you could dance and forget the terrible things I was dealing with in my life. It was weirdly appropriate reading an interview with Ed Macfarlane of Friendly Fires many years later, explaining their music as escapist. I never looked at electronic music was that black and white; just like any other music, you get out of it something different than the next person. But electronic music in particular has a way of making me feel alive in a way that many other types don’t. Below is a listing of all the UK acts I’ve classed as electronic or electronic-based, or are straight DJs.

Electronic / electronic-related bands

The Adamski Kid – is it a commentary of our reliance on electronics these days that there are so many bands now that are only ‘bands’ in the live sense? In the case of The Adamski Kid, the act is Adam Karayiannis, mashing up dance and rock in crazy fashion, the way Talking Heads were crazy. Already a fave of Tom Robinson and Chris Hawkins on 6music and BBC Introducing on Radio1 with Jen and Ally, he’ll probably become a fixture in the UK soon.

Sounds like: the product if Django Django and Darwin Deez had a love child and then spray painted his face so he’d look like King Tut.

[youtube]http://www.youtube.com/watch?v=2pO_7AahdqY[/youtube]

CHVRCHES – if you never thought the words ‘Scottish’ and ‘electropop’ should be in the same sentence like I did, think again. Having landed in the BBC Sound of 2013 longlist, been voted to the top of Generator’s Tipping Point Top of the Tips 2012, and receiving praise from Pitchfork, my opinion doesn’t count for much. But personally, it sounds too cartoony to me to be serious.

Sounds like: bubblegum pop’s wash put through a synth wringer

Alex Clare – 2012 was a big year in America for Alex Clare, and he has Microsoft to thank for that: the computer giant used the East Londoner’s song ‘Too Close’ on their Internet Explorer 9 adverts, firmly embedding the slow-burning, soulful love song with wub wub wubs into the American consciousness and leading to a sold out tour of North America in autumn 2012. While it’s virtually guaranteed that all of Clare’s appearances at SXSW will be rammed, for sure he won’t be playing after sundown Friday until Saturday evening: he’s an Orthodox Jew.

[youtube] http://www.youtube.com/watch?v=zYXjLbMZFmo[/youtube]

Chad Valley (added 10/01/13) – Oxford chillwave at its finest.

Dauwd – In an interview with the Ableton Web site, Dauwd Al Hilali describes his musical process as “[finding] a groove in something that perhaps you wouldn’t expect, for example maybe a recording of an object falling and rolling on the ground. There would be an infinite amount of detail in this, where you could isolate any part and work with the ‘natural groove/rhythm’ it creates. This would be impossible to recreate through MIDI alone, and gives a really organic sound.” Hmmm. Electronic, with a difference?

Duologue – electronic bedroom experimentalists that turned themselves into a full-fledged band playing an interesting mix of electronic and guitar rock.

Catch all of our previous coverage on Duologue here.

[youtube]http://www.youtube.com/watch?v=BpAPvrQs4y8[/youtube]

Eaux – this London trio – formed from the remnants of the Sian Alice Group – make music that’s too dark to be called dream pop, but nevertheless captures your imagination like snowflakes in the deepest, darkest night.

Sounds like: the xx, but more subversive; the Hundred in the Hands, but less dance; Bjork, but less oddball

[youtube]http://www.youtube.com/watch?v=u0rQoLqih_A[/youtube]

Fenech-Soler (added 10/01/13) – Originally from Kings Cliffe, the synth-loving foursome that made ‘Stop and Stare’ a massive radio hit in 2010 are ready for their SXSW close-up. They’ve already made a huge stir with new single ‘All I Know’, having landed at #6 on our 10 for 2013 readers’ poll.

[youtube]http://www.youtube.com/watch?v=TWrBP6ttlBQ[/youtube]

Read all of our previous coverage of Fenech-Soler here.

The Ghosts – wonder what happened to the other members of Ou Est Le Swimming Pool after the untimely death of their singer at Pukkelpop 2010? Ex-Ou Est… member Alex Starling is the frontman for this electronic outfit also starring New York trained jazz drummer Ian Palmer and Canadian keyboardist / violin player Rayna Ferner.

[youtube]http://www.youtube.com/watch?v=lIC-bOdZmA4[/youtube]

K.I.D.S. – Can anyone out there give me some more info on this band? Besides a pretty anonymous Soundcloud, there’s not much else on the net.

Little Boots – Victoria Hesketh’s most recent single releases, spring 2012’s ‘Headphones’ and ‘Every Time I Say a Prayer’, sees the former La Roux sparring partner head into a more dance – and less pop – direction for her new album, out later this year.

All of our previous posts on Little Boots are here.

[youtube]http://www.youtube.com/watch?v=pJaH2GqT220[/youtube]

Man Without Country – Southern Welsh electronic duo with an unusual writing style: you see, Ryan James and Tomas Greenhalf met in university but now live in different cities, requiring long-distance collaboration. Live, they bring in drummer Mike Monaghan, adding an extra element to the duo’s already rich-sounding soundscapes. They’ve already opened for Mute labelmate M83, so all signs are good for them to be well received at SXSW.

[youtube]http://www.youtube.com/watch?v=3shX5CuyTs0[/youtube]

Read our live coverage of the duo here.

Modestep – a live dubstep (yes, those wub wub wubs) and electronic band from London. Are they really necessary? I guess we will find out, with their debut album ‘Evolution Theory’ out on the 14th of January 2013 on A&M.

The 1975 – a band from Manchester blending synth into rock? You don’t say! (I readily admit to being completely sceptical about another band from the city that gave us the legendary New Order.) Us here at TGTF actually like The 1975 a lot, especially after they ditched their old name The Big Sleep to avoid confusion with another band from New York of the same name. A number gives you uniqueness, character…something that also describes their music.

Read all of our previous coverage on The 1975 here.

NO CEREMONY/// – you may recall this mysterious Manchester act (why does it feel like I’ve been typing that phrase out umpteenth times?) by the remixes they’ve done for The Good Natured, Zulu Winter, and more recently, their fellow Mancunians the 1975. It’s not clear what those three backslashes are for – maybe they stand for three band members? – but until I physically see any of them live, I’m assuming it’s three skinny English blokes in front of synths and sequencers that together weigh more than they do. Paul Lester wants it to be Natalie Curtis channelling her late father, but I don’t have such fanciful notions…

[youtube]http://www.youtube.com/watch?v=gtNL3Ic30Rc[/youtube]

NZCA/LINES – “A beautiful electronic ode to dislocation.”

Reverend and the Makers – Jon McClure and his merry band from Sheffield will be bringing their high energy, electro-tinged rock to SXSW and not a moment too soon. I was gutted when they pulled out of their Brighton Dome slot at last year’s Great Escape, so it’ll be cool to see them in an entirely different environment.

Read all our previous coverage on the Rev here.
[youtube]http://www.youtube.com/watch?v=Qjq2kiuSikw[/youtube]

Tropics (added 10/01/13) – a Southampton version of Caribou – chillwave, polyrhythmic, Afrobeat-ish.

Young Fathers – “Ol’ Dirty chose his moniker because there was no father to his bastard style. Young Fathers earn theirs by making something so fresh it doesn’t yet have a name. These are three fellas from Edinburgh who’ve been working together since they were 14, who have an elastic mind meld that mimics their fused sensibility of sound, who one day locked themselves in a dingy Scottish basement and came out with something that’d never been done — a fearless combination of beat, rap and song that smells not only of its dark and dank birthplace, but of discovery and of communion.”

Grab a free mp3 of ‘Deadline’, from their release ‘Tape One’, fom this previous MP3 of the Day post.

DJs

Bonobo – named after and not actually a chimpanzee (that much I figured, but you know how my boffin mind works…) London musician, DJ and producer who have already blown minds around the world, so expect the same in Austin.

DELS – The fastest growing genre at SXSW in recent years has been urban / hip hop, though Londoner Kieren Dickens can be described not just in hip hop terms but also on the experimental scene, mixing his loves of garage, electro, and dance. His Facebook says live he tours with three other bandmates but it remains to be seen if they will be brought over for this year’s SXSW.

DJ Abrantee – he’s the host of Choice FM’s drive time show Monday through Saturday and its Popular and Trending Afrobeats show each Saturday night, has his own Sky TV programme (since 2009, and is an actor. Afrobeats are celebratory, and I’m sure he’ll be bringing his carnival to wherever he’s dropping beats during SXSW.

DJ Edu – Kenyan-born, London-based DJ Edu should be familiar to regular BBC 1Xtra listeners, presenting the Destination Africa show, described on the BBC’s Web site as “bringing the sound of the African underground to the speakers of the UK and the world.” Anticipate the best and latest Afrobeats to be dropped.

DJ Yoda – hip hop meets turntables. FACT Magazine describes his music as “technicolour boom-bap and plenty of notable guest spots.” Make of that what you will.

Girl Unit – neither a girl, nor a unit – it’s one man, Philip Gamble, a dubstep musician and producer. Groan. His 2012 EP ‘Club Rez’ has already been reviewed – and favourably – on Pitchfork, so I think it’s not much of a guess that his SXSW appearances will be rammed.

Jackmaster – Glasgow’s Jack Revill has been DJaying now for a decade, but he’s kept himself fresh by puttin<a hrefg his hand in four labels, a club night, and a day job, besides his DJ gigs. Having DJayed all over the world and having made an appearance late last year at Manchester’s Warehouse Project, he’s more than ready for his close-up at SXSW.

Jam City – identity unknown, but he (?) is on Night Slugs with Girl Unit and interviewed him for this Hyponik feature, so my guess is that their vibes are similar. Just a random guess though.

L-Vis 1990 – James Connolly is the co-founder of Night Slugs, whose roster includes previously discussed DJ acts Girl Unit and Jam City and whose origin arose from a monthly club night he and another London DJ Bok Bok hosted. Though he’s found fame as a remixer for Orbital (grab the remix of ‘New France’ here), Passion Pit, Frankmusik and Crystal Fighters, my guess is he’ll be bringing his blend of Chicago house, drum and bass, grime and Baltimore club to Austin.

[youtube]http://www.youtube.com/watch?v=j2sCjO4UeBo[/youtube]

Mista Silva – is Boomboomtah you new religion? Then you’ve already heard of Mista Silva. For everyone else though, I was seriously amused by this bit from his official Web site: “Being of Ghanaian origin, Kwame Amponsa was brought up around the sounds of hi-life and its modern form hip-life where artists rapped and sung in their native tongue over hard hitting and melodic beats. Mista Silva later adapted this to Funky House and became known for blending catchy bars inhis native language with common club chants[,] e.g.[,] the crowd enticing “Kelebom, go down low!” Keen to pay full homage to his roots, Silva made the swift transition from Funky House to Afrobeats.“ And that’s all she wrote.

Redinho – London producer Tom Calvert’s formative years in America could be to blame for what he’s doing now: elevating turntablism to an art form, and mixing hip hop and electronic into his sound. He appeared at last year’s Isle of Wight and will appear at Barcelona’s Razzmatazz right before heading over to Austin, so his name, style and reputation should precede him.

[youtube]http://www.youtube.com/watch?v=oV1oJOB1nqE[/youtube]

Sophie – I’ve no idea what he (?) sounds like, as all I’m seeing online are remixes. But he’s signed to Huntley and Palmers’ label and keeps having shows with other London DJs, he must be doing something right.

Southern Hospitality DJs – DJs Rob Breezy and Superix founded the now infamous Hip Hop Karaoke London, the first of its kind in the UK and an event that has been a road-block every single month at the Social in central London. Recognised for this and many other dance nights their group put on by tonnes of tv and radio stations, newspapers and other media outlets in Britain, they’ve become a DJ force to be reckoned with and won’t be going anywhere anytime soon. Just shut up and dance!

Sticky – one of the UK’s leading club music producers in the height of the UK Garage scene. His distinctive sound not only made his music unavoidable in the clubs during this era, but also launched the careers of a number of the UK’s leading talents including the 2002 Mercury Prize-winning Ms. Dynamite.

TCTS – Manchester DJ and producer Sam O’Neill offers “futuristic garage with echoes of neo soul and soft whispers of classic Chicago house”.

Toddla T – and speaking of repeat nod surprises, Toddla T gets another nod from SXSW 2 years in a row too, leading me to believe that he’ll again be asked to preside over the dancey DJayed end of some night of British Music Embassy programming at Latitude 30 again. Not really my thing but if that’s what they’re looking for…

Previous coverage of Toddla T are here.

Next week here on TGTF we’ll be bringing the fourth and final genre chapter of the TGTF Guide to SXSW 2013. On Tuesday, we bring the singer/songwriters and folk artistes. Catch us then!

 

Live Review: The Xcerts and Man Without Country at ILMC show at Camden Barfly – 9th March 2012

 
By on Friday, 23rd March 2012 at 5:00 pm
 

The ILMC is a conference that comes to London once a year and in between a lot of industry meetings and themed events, there’s a fair few showcases of some of the best up and coming music. Tonight, TGTF is at Camden Barfly for one such show and aside from the incredible mismatching of the trio of acts on display, is rather optimistic about the evening’s proceedings.

The night begins with powerful electronic artists Man Without Country. The Welsh band’s music on its own is a storm of enthralling music, but when translated live creates an atmosphere that’s hard to break out of. With a series of smoke and lights the band create pulsating silhouettes of themselves whilst playing true to record in a synth-heavy setup. Tracks from their ‘King Complex’ EP and new single ‘Puppets’ feature in their relatively short, yet powerful set as those present stand silent and still.

After the endearing Northern charm of Karima Francis brings acoustic guitars and a small increase in crowd enthusiasm to the dark upstairs of the Barfly, it’s time for rock music to echo through the small venue. Tonight’s headline act are the Xcerts, and even though it’s an industry show they don’t seem to have any issues with playing to the full. Whilst the volume may be a bit low and the “professionals” are standing comatose at the back, there are maybe ten people at the front who’re here for the band and they have no qualms making that clear.

“I like your hair!” shouts one. “Oh, the last time someone said that, there was, erm, trouble…” frontman Murray Macleod replies before getting back into the swing of things with new track ‘Shaking in the Water’. The Scottish rock band’s heavy touring schedule may have left them sounding flat from time to time over the last few months, but seemingly revitalised by their national support slots for Brand New, they’re back on electric form for tonight. Playing from both of their records’ singles collection the set is little of a surprise, but for industry members, it’s probably the best choice. They’ll be on the festival circuit this summer, but it’ll be the next album’s material that could turn all these half hour slots into hours in major venues for the Xcerts. Tonight, they’ve proved why.

 

Live Review: M83 with Man Without Country at London Heaven – 1st December 2011

 
By on Thursday, 8th December 2011 at 2:00 pm
 

‘Hurry Up, We’re Dreaming’ has been out for a while now (read my review here). It’s a magical journey through time and space, almost, and now Anthony Gonzalez is on tour with it and tonight M83 land in London.

Before the dream-drenched sounds of M83 though come Man Without Country, another Mute signing. A constantly evolving and intense live act, today they bring their mix of dub influences and soaring synths with huge amounts of energy to Heaven. You can almost hear the influence of M83 on tonight’s support and the duo on stage really revel in the opportunity to be in front of such a big crowd. They’re given a warm send off and it’s likely that many will go home and listen to them some more. A definite band to watch in 2012.

Half an hour later and the party atmosphere’s starting to wear thin. The show’s running later than advertised and the drinks are expensive. You have to question how many you’ve had though when a fictional character appears on stage. Wookie meets gremlin as the creature slumps onto the stage and slowly beckons us into the world of M83. Opening aptly with ‘Intro’, you can tell that the fremch dream-poppers have put effort into making themselves sound as tight as possible live. They keep to record and add even more as nearly 2000 heads and knees bob in time to the wall of sound created.

Playing exclusively from their latest and most recognisable three records, Gonzalez and co. tear through a host of tracks, confident enough in their music to put huge tracks from ‘Saturdays=Youth’, ‘Kim&Jessie ‘and’ We Own the Sky ‘in the middle of the set, as well as the hugely bold ‘Steve McQueen’ which, like a few others tonight, has been given live gleam. At times, you wonder if you’ve stepped into one of Heaven’s famous club nights as the dance vibe to Claudia Lewis extends over 7 minutes of pure dance. It’s the same kind of party that Friendly Fires bring, but with less Caribbean and more Paris.

‘Midnight City’ is undoubtedly the highlight of the night though. Undoubtedly the alternative anthem of the year, everyone present, including the band have smiles on their faces as it kicks in and following it with ‘A Guitar and a Heart’, the main set closes with an extended party. Of course there’s an encore and that just brings a euphoria of reserved dance. That’s the only issue tonight, everyone’s too polite. There’s not as much dancing as you might expect, especially as the vibe is so loose and happy.  Regardless, everyone’s in they’re in their own little world as the atmosphere M83 create is enough to put everyone on a high for the rest of the week. Gig of the week? Maybe of the year.

 
 
 

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There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF was edited by Mary Chang, based in Washington, DC.

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