Letters to the Editor

SXSW JOURNAL - 2005

"Now in its 18th year, the South by Southwest festival in Austin, Texas, is a veritable fantasyland for music fans. There's a nearly 24-hour-a-day onslaught of live music showcases, parties and panels, as well as a whiplash-inducing propensity to run into other journalists, publicists, long-lost friends…" Billboard.com, March 19, 2004

The 4-day span of SXSW is undoubtedly my favorite 4-day span of each and every year. That honor used to go to the New Music Seminar in NYC, but that convention petered out in the mid-'90s and ever since then it's been all about SXSW.

While I've so far read a couple of early reports bemoaning this year's lineup of talent, I myself had an AMAZING time. With over 50 venues to choose from at any one time, the quality of one's experience is generally down to how well you choose your showcases. As an avid reader of the worldwide music press, I knew exactly what I wanted to see. Nothing was chosen blindly, although I certainly traded last-minute suggestions with friends whom I trust.

Reports indicate that this was the most successful year in SXSW's history. 16,000 people bought either badges or wristbands, and 1,367 acts performed.

Having seen in the neighborhood of 35 music acts over the course of 4 days, I've got a lot of ground to cover. For the sake of brevity, I'm going to skip all the extraneous stuff—registration, panels, schmoozing, CD shopping—and just stick to covering the best of the music showcases I witnessed.

WEDNESDAY, MARCH 16

After a typically long and brutal Manhattan winter, all that my fellow NYC music industry geeks and I could discuss the last few months was getting to Austin in March and basking in the life-affirming Texas sun. So it was quite a disappointment to be greeted with grey skies, temperatures in the 40s, and brisk winds upon arrival. After picking up my badge at the convention center, I set off to get a bite to eat, and then it was straight into the mayhem.

Following the advice of Britain's leading music weekly, the New Musical Express, I chose to lose my 2005 SXSW virginity to the fiendishly named SELFISH CUNT at Club Deville. A trio from London, the Cunts are known for their abrasive noise-rock rhythms and vocalist Martin Tomlinson's confrontational lyrics and shock-rock theatrics. Dressed in a one-piece red & white polka-dotted set of clown pyjamas, accented with white ball tassles, Tomlinson started the set by chanting "WTC—feel the liberty." I groaned. Hearing some preening art wanker use the World Trade Center disaster as a means to rile the audience was so desperate. The set went down from there. The music was uninspired and one dimensional. Just a lot of squall with frenetic drumming. Selfish Cunt was crap and they didn't even have the balls to live up their reputation as provocateurs right in G.W. Bush's backyard. They didn't physically attack anyone. They didn't recklessly toss any instruments into the audience. Heck, nobody even whipped their willy out.

I pulled my thin jean jacket close to my body, and headed out into the chilly wind to catch the 10:00 pm set by LES GEORGES LENINGRAD at the Parish. Arriving early, I got a prime spot on the right side of the stage, and spent a half hour dividing my time between watching roadies, a film crew from MTV, and all the young hipsters wearing the latest fashions. This was by far the youngest and trendiest crowd I would encounter during the conference. But I liked these kids. They looked good, they were friendly, they didn't smell, and best of all, they were enthusiastic once the band took the stage. Geez, how to describe Les Georges Leningrad? They're a trio from Montreal that looked like what Pebble and Bam Bam might have turned out like if they took A LOT of drugs. Poney P, the short but stout female vocalist/keyboardist, wore a tight blue dress and a black wig that was pulled down over the front of her face. She was barefoot, had marks on her legs, and spazzed out to a great degree. The two guys had a fucked-up primitive look going. They both wore fur loincloths and had skulls & crossbones drawn in marker on their hairy chests. The drummer, Bobo Boutin, wore a white ski mask with a fox pelt around his neck. Likewise, the keyboardist/bassist Mingo L'Indien had a mask that made him look like one of those alien toys where the eyes pop out on stalks when you squeeze the head. Musically, L.G.L. owed a lot to Suicide, with a bit of the Locust's ferocity thrown in the mix. It was all New Wave in an Old Wave kind of way, and very spastic. I would now like to hear their recordings and I bet they are much more accessible than the live show.

With nothing else on the schedule that caught my attention, I decided to stick around and catch Brooklyn's ENON. I liked last year's Hocus Pocus CD and had been wanting to see them in a live setting. I was a bit surprised that the kids were so familiar with the music. A lot of them were singing along, and just as many were taking pictures with their cellphone cameras. Visually, Enon reminded me of early Talking Heads, before Jerry Harrison joined. Toko Yasuda, the waiflike singer/keyboardist/guitarist and a former member of Blonde Redhead, wore a cute purple dress adorned with a lion's face in sequins. She appeared serious and exhibited control freak tendencies. John Schmersal (vocals/guitar/bass) and Matt Schulz (drums) dressed more conventionally, but were no less cool. Enon's songs were lean and angular, with a prominent electronic pulse. I look forward to hearing more from them.

Although it's only midnight, I decide to call it a night and head back to the hotel. It's cold outside and I want to conserve my energy for the three full-length days of music still to come.

THURSDAY, MARCH 17

Thursday's musical journey begins with my first day party. I'm happy to report that the sun is out, the wind is gone, and the weather is warming up as I arrive at the Yard Dog outdoor party.

A few months ago I was sent an EP by a new signing to Warner Bros. called THE CRIMEA. While I liked the opening "White Russian Galaxy" immediately, I wasn't so quick to warm to the other four cuts. Initially, I thought the title track, "Lottery Winners on Acid," was too self-consciously cute and whimsical. But in time it won me over, and soon I couldn't get the darn thing out of my head. So I was delighted to arrive right as the Crimea was beginning its psychedelic-tinged set. Performing underneath a small tent packed with onlookers, this young British rock act was obviously taking this showcase seriously. Having been the launching pad for Frank Ferdinand (2004) and The Darkness (2003), musicians know SXSW has the clout to make or break careers.

The Crimea's vocalist Davey MacManus has that certain "it" quality that all legendary rockers possess. He's bracingly charismatic. He sings like he means every word. There is no doubt that he is the focal point of the band. He whips up quite a storm on his guitar. And most engaging to me, he has an air of unhinged danger. Often shaking, often screaming, Davey is INTENSE, wielding his guitar like a potential weapon—even on the gentle songs. The Crimea was the first buzz band I encountered this year, and I eagerly await the debut CD Tragedy Rocks in May.

Scotland's DOGS DIE IN HOT CARS played next, and their corker of a single "I Love You Because I Have To" had the crowd singing along and bobbing their heads. After a brief set, NADA SURF provided further power pop pleasure.

Afternoon turned into evening and I found myself waiting in line at La Zona Rosa for 2 hours and 10 minutes in an effort to witness the evening's BBC showcase. I finally entered the venue during the fourth song from Sunderland, England's THE FUTUREHEADS. I'm a big fan of the Futureheads' self-titled debut album from last year, and I'm a sucker for their tight, fast and furious replication of the classic hooks of the Buzzcocks and the Clash. I had a beer and tried to forget the two hours of live music that I had forfeited by standing in that friggin' line.

HOT HOT HEAT were up next. This Victoria, B.C. band is known for its hooks and energy, and especially its hair. Musically, they are not too far removed from the Strokes, but the singer Steve Bays also plays a wicked keyboard. They've got a new album called Elevator in May.

The night's big surprise came in the form of Manchester's THE DOVES. While their albums have had the tendency to leave me a bit cold, they have grown into a truly powerful live unit. If Doves aren't already playing stadium shows, they should be. Their live sound was crystal clear and uplifting. The rich purples and deep blue hues of their lightshow were majestic. They played extremely well and, despite a cold, vocalist/guitarist Jimi Goodwin's enunciation was so clear that you could discern every word. A terrific live act that I highly recommend.

It's 2:00 AM as I finally hit the sheets for some kip.

FRIDAY & SATURDAY, MARCH 18 & 19th

Over the course of the past two days I've managed to catch nine bands. On Friday and Saturday, I took an amazing stride forward and averaged 12 bands per day. So obviously the formula I used above just isn't going to work any more. I have too many other things to do than spend several more hours painstakingly writing cohesive paragraphs. Like wash the dishes. So from this point forward I'm going to mix in concise capsule reviews. Sorry, but that's the way it's gotta be.

FRIDAY AFTERNOON SPIN PARTY AT STUBB'S

This party is always a highlight of SXSW, and thanks to headliners the NEW YORK DOLLS, Spin came out trumps again. I was more excited than usual about this particular gig because I had an extra pass and was able to get my 21-year-old niece in the gate. For years I've been trying to influence my 21-year-old niece's musical tastes. When she was 15, I gave her a copy of the first Ramones album. At 17, she got a Donnas album for Christmas. But I never felt like I was making much progress. While she claimed to like my cadeaus du punk, she also listened to a lot of jam bands and nu metal and goofy singer songwriters. So since I live in NYC and she lives in Austin, I saw this Spin party as a rare opportunity to show her the full throttle, no-holds-barred excitement of her uncle's music of choice. Oh well—it was a nice idea. Brooklyn's THE HOLD STEADY proved to be all bluster with no tunes. San Diego's LOUIS XIV tried to get by on rehashed AC/DC riffage. THE FUTUREHEADS made an attempt, but the band's charm and spikey post-punk tunes didn't translate well in this large open air venue. Plus, the bass was too prominent and murky during their set. Ditto for the hugely-hyped BLOC PARTY. During Bloc Party's set, my niece asked me with a hint of disappointment, "Does their album sound like this?" Blessed salvation came in the form of the remaining NEW YORK DOLLS. Although the band only includes two surviving members, the DOLLS looked and sounded terrific and put giddy smiles on all of our faces. Opening with the stone cold classic "Looking For a Kiss," David Johansen, Sylvain Sylvain and four backing dudes further tore through "Private World," "Personality Crisis," "You Can't Put Your Arms Around a Memory," "Puss N' Boots," and more from their proto-punk catalog. The most surreal moment of SXSW 2005 occurred when the DOLLS performed a brand-new song. After a few seconds of doing the math, it struck me that this was the band's first new composition in 31 YEARS. Think about it. That's pretty weird.

The Spin party wrapped around 6:00 which gave me time to get a quick bite before I hit the live music circuit again.

FRIDAY NIGHT

M.I.A. - I caught this Sri Lankan rap artist at the Fader party. She's enjoying a well deserved buzz, and her pretty face is in a zillion magazines this month. I thought her 20-minute performance was pretty terrific, in spite of a technical glitch that left her dj asking if anybody in the audience had a spare Apple power chord.

THE DAWN PARADE - Despite kudos from trusted friends, this up & coming UK act failed to keep my attention.

ANUBIAN NIGHTS - Loved 'em! This West Coast act recently brought in '80s underground star ADELE BERTEI as their new lead vocalist. Adele was a fixture on the early '80s NYC scene, and she recorded a solo album as well as performed with the Contortions, the Bloods, and Thomas Dolby, among others. I'm happy to report that her voice has never sounded better and she was so cool that you couldn't take your eyes off her. Adele's dance moves were exotic. She plonked away at the same vintage organ that she likely used in the Contortions. Her dress sense was as sharp and elegant as her bare midriff was ripped. She had the best haircut of the whole conference. And best of all, her new material with Anubian Nights had the typically staid SXSW crowd grooving on the concrete. The sky is the limit for Adele - at the very least, she should have a recurring role on "The L Word." Check out more about Adele and company at anubianlights.com.

THE ARK - When I discovered a few weeks ago that The Ark was playing SXSW, I nearly released my bladder. For me, the Ark is one of those bands that I never thought I would be lucky enough to see. Although they've released three albums, the Ark have never had an American deal and they've never played the States. And since the band is based in Sweden, I assumed they would join the list of acts that I would never get to see, along the lines of similar faves Phillip Boa & The Voodoo Club (Germany), Blumfeld (Germany), Mylene Farmer (France), Les Rita Mitsouko (France), Indochine (France), and I could go on but you get the idea.

Arriving at the venue 30 minutes before showtime, I was shocked to see that the house was packed and that the line ran down the block. God bless my SXSW badge because it allowed me to waltz right through the door.

From their albums I expected the Ark to put on an exciting show. THEY DID NOT DISAPPOINT. From the instant they hit the stage, it was pure glam rock heaven, with the set centering mostly on tunes from the recent State of the Ark, but also reaching back to classics like "Let Your Body Decide," "It Takes a Fool to Remain Sane," and "Calleth You, Cometh I." The crowd went apeshit from the first song, totally seduced by the band's rock star abandon and vocalist Ola Salo's camp command of the stage. Imagine The Soundtrack of Our Lives fronted by Freddie Mercury and you're pretty close to the Ark's live experience. Check out thearkworld.com and don't miss them if they come to your neck of the woods.

THE REZILLOS - Although they've been in existence since at least 1978, this was apparently the first time this Scottish pop/punk band had played Austin. They had the crowd eating out of their hands, which is difficult because the crowd was also pogoing, and it can get quite messy when you pogo and eat simultaneously. New Wave fans will be interested to know that Jo Callis is the guitarist in the Rezillos. Jo took a break from the Rezillos in the early '80s and became a primary songwriter and musician in the Human League during the "Dare" and "Hysteria" period.

SHONEN KNIFE - The last time I saw Shonen Knife was in 1990. They haven't changed much. Which is fine by me.

SATURDAY AFTERNOON

THE DUKE SPIRIT - Musically this British act was reminiscent of the "shoegazing" scene of the early '90s, but you can't really call them "shoegazers" because they jerked around the stage quite a bit. They also whipped up quite a glorious noise and I look forward to hearing more.

FEIST - A former roommate of Peaches, Feist won over the crowd with her minimal vox/guitar/tape loops set. Visually, she looks like the gal in Fiery Furnaces. There's a bit of bossa nova in her sly grooves.

MAXIMO PARK - When their debut album hits in a month or two, this band will be HUGE. A young five-man act from Newcastle, Maximo Park has been winning well-deserved kudos for its ultra-catchy "Apply Some Pressure" single. With his slicked-up flapper-era bangs, frontman Paul Smith is an instant star, coming off like Jarvis Cocker on amphetamines. The band writes short, hooky songs, with irresistible melodies. Maximo Park makes the Kaiser Chiefs seem so last month. Maximopark.com.

SCREAMING AT MOTORISTS - This duo was weird. Both guys look like the hairiest member of Grand Funk Railroad. The vocalist/guitarist was interesting to watch and he danced/slid across the stage in quite a unique manner.

NIC ARMSTRONG & THE THIEVES - The critical cognoscenti are fawning over this British act because they recorded at Toe Rag and they sound like a Beatles-era Merseybeat act. Uhhhh—what's so cool about that?

THE BLOOD ARM - Now this is more like it! The Blood Arm is from Los Angeles! They are unique! They are exciting! They put on a hell of a show! I have Franz Ferdinand to thank for keeping me up until 1:00 AM on the final night of the conference to check out this act. Franz recently did a West Coast tour with the Blood Arm and they were quick to gush over the band in the N.M.E. Musically, they remind me of Tom Jones fronting a less funky version of the Makeup. Singer Nathaniel Fregoso is a veritable whirling dervish in a live setting, crawling up speaker stacks, standing on the drum kit, wading out into the crowd - all the while singing his heart out and shimmying for the boys and girls. The band gets bonus points for being so gosh darned cute, especially the '40s-styled glamour vamp in the red dress behind the keyboard. It depresses me slightly that she isn't featured on the band's website which leads me to think she might not be a permanent member. Thebloodarm.com.

Other bands I caught at SXSW but I'm either too tired or not inspired enough to write about: The Great Lines, Dr. Dog, Cloud Room, The Trachtenburg Family Sideshow Players, Dogs, Wallflowers, 400 Blows, Coachwhips, Surferosa, and a few more that don't come immediately to mind.

RANDY'S 2005 SXSW AWARDS

BEST PERFORMANCE: The Ark

RUNNER UP: Maximo Park

2nd RUNNER UP: The Blood Arm

BEST REVIVAL ACT: New York Dolls

If you've actually made it this far, THANKS FOR READING!!!!

R.