popwreckoning

The first round of bands to play in Austin at SXSW 2012 has officially been announced. The music portion will take place from Tuesday, March 13 to Sunday, March 18. Below are a few bands among those selected.

Against Me! (Gainesville, FL)
Cloud Nothings (Cleveland OH)
Com Truise (Princeton NJ)
The Ettes (Nashville TN)
Maxim Ludwig & The Santa Fe Seven (Silverlake CA)
Mahogany (Chicago IL)
The Parlotones (Johannesburg SOUTH AFRICA)
Grace Potter and the Nocturnals (Waitsfield VT)
Say Hi (Seattle WA)
Thee Oh Sees (San Francisco CA)
We Barbarians (Brooklyn NY)
Yukon Blonde (Vancouver CANADA)

For a complete list, visit sxsw.com. The lineup is subject to change and there are still more announcements to come within the following months.

If your band is interested in playing, there is still time! The application deadline is November 4 and you can register here.

During the hectic time that is SXSW, Bethany and Casey met up with O’Brother. Bethany does all the talking, Casey watches and laughs occasionally. 

. “Interview with O’Brother”

O’Brother will be out with The Dear Hunter this summer. For tour dates and to listen to some tunes, check out their Facebook. You can also go to their label page on Favorite Gentlemen.

Casey and Bethany talked to Portugal. The Man at the Atlantic/Chop Shop Records Showcase during SXSW this year.

You can check the full interview out below:

. SXSW interview with Portugal. The Man.

Their new album In The Mountain In The Cloud will be available July 19 on Atlantic Records. Pre-order now at portugaltheman.com!

A mixtape for you to enjoy! For FREE.

PopWreckoning teamed up with Element Recording Studios to put together a Kansas City compilation CD to take to South by Southwest. Now that everyone is back to their normal lives here in KC – the mixtape is available for your listening pleasure!

For a physical copy please email your name, mailing address and phone number to casey@popwreckoning.com. No shipping fees are necessary, it’s 100% completely free. There are limited numbers available and once they’re gone – they’re gone!

Artwork was done courtesy of Studio N8 – make sure to check out his website !

Tracklisting:
1. Root & Stem – Desert Roses
2. The Sour Babies – Vagaries & Cemeteries
3. Soft Reeds – Brave New World
4. The Caves – Weekend Blues
5. The Republic Tigers – Merry Make it With Me
6. The Architects – Heartbreaker
7. Spirit is the Spirit – Seafarer
8. Lucky Graves – Torch
9. Bryant Carter Band – One Lane Bridge
10. Jenny Carr – Places I’d Like to Go
11. Kirsten Paludan – Under My Skin
12. Full Bloods – Candy
13. Everyday/Everynight – You’ve Died in a Dream
14. Hipshot Killer – Straight Line
15. Various Blonde – Ringtone Junky
16. Jessica’s Box – 10 Chinese Buffet
17. Beautiful Bodies – You & I

Austin, Texas based singer-songwriter Brandon Kinder has made quite a name for himself. Not only is he the front man for the indie folk rock band The Rocketboys, but he’s ventured out into the solo world as well, under the moniker The Wealthy West. He used SXSW to his advantage to debut some new tunes of his own and though I wasn’t even in attendance, I can tell you they were well-received.

I was lucky enough to experience The Rocketboys firsthand in a live setting, and let me tell you, it was fantastic. I have always held the belief that when a band is better live than they are on the album, that’s when you’ve found a true gem. When a recording can’t express everything that a band is, that’s how you know. That’s the real music; those are the passionate ones. And though I only briefly met them on a college town stop in the middle of Missouri over a year ago, I bought two albums on the spot and don’t regret a dime of it.

Brandon Kinder’s solo material released under the name The Wealthy West definitely sounds like the material I’m so familiar with, but it has a more intimate and acoustic feel to it. Kinder’s songs are accessible and he has a knack for heartfelt storytelling. His music has a touch of an Americana feel that I’m sure is thanks to his Austin roots. It’s simple and that’s why I think I’m so drawn to it. The first song “Love Is Not Enough” is simply an acoustic guitar, a keyboard and Kinder’s soulful voice singing earnestly and honestly. “Another Bad Idea” features touches of banjo and tinkling percussion; the steady tempo and bright percussion balances nicely with the melancholy lyrics. “Give Me Resurrection” is quiet and intimate with whispered vocals. “You cannot take my love away” is repeated over and over throughout the song with subtle backing vocals to create a truly beautiful piece. “Home” picks up in tempo slightly and features a more hopeful sound with plucked guitars, harmonica, accordion, and banjo as well as female vocals which really add character and warmth. The short and sweet EP wraps up nicely with the now-familiar melancholy musical and lyrical sounds in “Not A Pretty Pair”. It’s a small sample of what’s to come in future volumes, clocking in at a mere fifteen minutes. But I assure you it’s a fifteen minutes well spent.

Be sure and give Brandon Kinder’s music a listen. It’s passionate and simple, and you can’t go wrong with a sweet voice and an acoustic guitar.

Casey kidnapped the Republic Tigers and got a quick interview between sets at the Atlantic Records/Chop-Shop Showcase. Listen!

. “Interview with: The Republic Tigers

Their EP, No Land’s Man, was released on April 18. Pick up a copy at your local record store or hit up iTunes.

The Body Rampant just dropped a new EP, Transient Years. And prior to the EP’s drop, the experimental rock band took SXSW by storm. The group took the time during the festival to chat with PopWreckoning about how they formed, where they got equipped with their well-known paper mache mask accessories and more. You can check out the full interview with the band below:

PopWreckoning: How did you guys meet and form the Body Rampant?
J.M. Lopez, Vocals: I was playing an acoustic show back home and met our bass player, Dylan [Schleifstein]. He was playing in another band. I was in northern California at the time and moved down to LA with this kid, Dylan, and we just recruited basically all the members on different outlets. Me and Jacob [Nichols] had been in touring bands, previously in the past, like hardcore bands, stuff like that. We kind of knew each other–recruited him. Found Ryan [Sabouhi], our other guitar player. off Craigslist.
Ryan Sabouhi, Guitar: Yeah, Craigslist: a really good outlet for several different things – selling shit, etc.
JML: Then we found our drummer, Mike [Thomas]. He’s just a rockstar. We knew about him from basically everyone in town, you know what I mean?
Mike Thomas, Drums: Word of mouth
JML: Yeah, word of mouth. He’s a smoking drummer. We’ve got a good lineup. We’re pumped.

PW: How did the masks on stage thing come about?
MT: Basically,JM knows this guy, Duane Flatmo, who is just this incredible artist and he actually made all these masks out of paper mache. It just catches the eye with an alter-ego kind of thing.
JML: A lot of the breweries and local companies, he does art for them – murals. He’s a world famous artist – he’s been on the Tonight Show and shit. I just, well, he’s a local in northern California, where I’m from, so I’ve just always seen his stuff around. We just hit him up with our music and he liked it and was down to work with us.

PW: Did you draw any influence from other bands that use costumes/masks on stage?
Jake Nichols, Guitar: We don’t really use them on stage, so it’s not like we’re the KISS Army or something like that.
RS: We just use them to basically get our name out there and have this kind of huge thing going.
Dylan Schleifstein, Bass: I think we use them because it enables us – when we put the mask on it gives us the freedom to go out and do what we want and not worry about what else is going on
JML: Our bodies are basically rampant when we have the masks on – we can do what we want. We can get nuts. When we’re on stage, we still get nuts, but we’re a little more ourselves.

PW: What can people expect from your live show?
RS: Energy. Energy for days. We’re like a pop band, alternative rock band, but we like to rock.
JML: We hate when bands just stand there and they’re not loud. We like to be really loud and move around a lot.
MT: A lot of involvement. You want to get the crowd as involved as possible: best way to bring them on.
JN: We just try to have fun with our live show.

PW: Sounds great. Now you have a new EP, Transient Years. Tell me about that and how you came up with the album title?
JML: The album title is kind of loosely based around the masks as well because they’re transient – and it’s like when you’re stuck in time in one place and you’re doing nothing for so long – it sounded cool too. The album comes out April 5. We’re pretty stoked on it.

PW: Who would you say are some of your influences on the album?
DS: So many.
RS: We have varied, but similar musical styles. Casey Bates–we got to work with on a lot of the songs. Definitely working with a producer who had that much input and had worked with so many other big bands that could coach us to be as on point as possible. Musical styles? Could go for days. Anybody’s who’s good.
DS: We listen to hip hop, oldies, metal, grind – everything.
RS: You’d never know that by listening to the CD. A lot of different artists we listen to have to do with our style.

PW: So who are some of the people you’ve been checking out at SXSW? Have you had much time?
MT: That’s the problem when you’re a band at southby, you don’t have time to see your favorite artists. We tried a couple times.
JN: Saw Wiz Kalifa – that was awesome.
JML: Saw The Limousines – they were sick. Mike, did you see anyone? Mike was the drunkest, haha.
MT: Dude. I probably did, but I don’t remember. The Stroke s- I wanted to see the Strokes really bad.
DS: Saw the singer and drummer walking around. He was so dirty. haha.
MT: He gets paid basically to be that way.
DS: If i was him, I’d get that dirty.
JML: Girls love that.

PW: So what’s after South by for you?
JML: We are during a lot of online, commercial stuff.

PW: What’s your favorite social media outlet to reach out to your fans?
JML: Facebook.
DS: Facebook’s where’s it’s at.
JN: There’s been a lot of cool things we’ve seen popping up at SXSW and a lot of people approacing you about it. Everyone’s trying to build the new Twitter.
MT: The new iPhone app.
JN: We usually use Twitter and that goes to everything else. we like to keep it simple. post to Twitter.

You can follow the Body Rampant on Twitter here and find out more from them on Facebook here.

The Gallery is a rock band that knows how to write catchy hooks and sharp lyrics. The Florida band by way of Massachusetts is made up of brothers Brendan Cooney (vocals/guitar) and Ryan Cooney (drums) and their friends Shea Brennan (guitar) and Dave Mozdzanowski (bass/vocals).The band recently performed at SXSW 2011 and took some time to chat with PopWreckoning about their Come Alive EP, the festival and future plans. You can read the full interview below.

Bethany, PopWreckoning: Let’s start at the beginning. Where’d you guys meet and how did you form the Gallery?
Ryan Cooney, drummer: Brendan [Cooney] is my brother, so we met at my house. Haha. Shea [Brennan] lives in our town and Dave [Mozdzanowski] lives near by, so we’ve all been friends. We’ve played together and we kind of branched off from all the people that we were playing with and started playing in our basement and went from there. 

PW: I know on your bio that is says you’re all from Massachusetts, but you call Florida your second home. What’s the connection between the two?
Dave Mozdzanowski, bassist: We went to school down there. I went down for school, then Ry came down after a couple of years and then these two guys [Brendan and Shea] came down a couple years after. Then we met a lot of friends down there, so we have all those connections.

PW: For people who haven’t heard your band, how would you describe your sound and what are some of your influences?
Ryan: We just say rock. It’s so easy to put a bunch of adjectives in there, but I guess people say it has a kind of folk feel. We do listen to a lot of music like that. Bob Dylan – we’ve learned a lot from his songs. Then Tom Petty, 90s rock bands like Oasis or Third Eye Blind or Matchbox 20. We like everything, so I guess it just comes together to form some sort of rock music.

PW: You guys have a lot of support from a lot of online and print publications. You were just involved with a Rolling Stone unsigned cover battle contest. How did you get picked for that? Is that still going on?
The Gallery: We got involved in it – we played Miami for a festival that someone in the industry suggested that we go to and then next thing you know, we got picked. We were just in the top 16. The top 8 have already moved on. It’s over now for us.

PW: You guys have been playing every single day of SXSW. What have you learned from your experience and if you had to, what would be in a SXSW survival kit for you?
Ryan: We’ve…moderation would be the key, probably. A lot of bands, I’m sure, only play one set or a couple sets and then have the rest of the week to do whatever they want, but if you’re busy playing everyday, it’s probably not the best idea to stay up really late. Especially if you’re sleeping on the floor of hotel. We’re at the Marriott – downtown Marriott. We had to sneak in through the garage last night. Take it easy, enjoy the music and stay busy.

PW: What have been some of the craziest or coolest things you’ve seen since you’ve been here?
Brendan Cooney, singer/guitar: We were actually saying it’s not exactly as crazy as we thought it would be. I think it’s just the type of people that are attracted to this kind of music fest. There have been a lot of drunk people. That’s the craziest that I’ve seen. Coolest things? We only caught one song, but this Augustana set – that song – was the best song that I’ve seen all of SXSW.
Ryan: I feel like yesterday [Friday] we saw the best bands. At least my preference.
The Gallery: This guy from The Testament over at Rusty Spurs – this jazz fusion thing. That was the best.

PW: What’s next for you after SXSW?
Brendan: We’re actually going back to Florida and we’re playing some music festivals in Florida. Then we’re going to tour up the East coast and do some shows in the New England area. Then we’re going to hit the road for a month or so after that.

PW: You guys just released an EP. Is there a plan for a full-length?
The Gallery: We’re kind of playing it by ear. We’re not sure, but we’re always writing, so there’s always an opportunity for the next release.

The Gallery’s Come Alive EP is available now. Get it on iTunes and Bandcamp at thegallerymusic.bandcamp.com.

Ethereal Brooklyn act Acrylics had a busy schedule at 2011′s SXSW, but they found some time to catch up with PopWreckoning. The synth heavy duo, Jason Klauber and Molly Shea, chats about new album Lives and Treasure, Super moon vibes and the influence of “Twin Peaks. Check the full interview out below: 

PopWreckoning: You just played a set here at SXSW, earlier, right?
Jason Klauber, Acrylics: Yes.
PW: Was that your first SXSW performance ever?
Molly Shea, Acrylics: First of this year.

PW: You’re a fairly new band and you just had an EP that came out on Grizzly Bear‘s Chris Gehringer‘s label – the first to come out on his label. How did you get hooked up with him?
JK: Pretty much we’re a part of that Brooklyn band cesspool. We’ve crossed path Chris over the years and he thought it’d be fun to have us record some sessions. These sessions ended up being put out as an EP, so they just put it out. At the time they were just doing singles, and we were just going to record a single, but it stretched out into a 5-song thing. It was really casual. We spent about a week in a church that he records out of. It was really fun to do that. That was our first release and we’re putting out a new record – well it just came out.
MS: It came out March 1.
JK: We’ve been working on it for so long that it’s hard to say – to put it in the past tense, but it did come out.

PW: It’s still pretty new. Present tense. Now on that record, you did a song with Chairlift‘s Caroline Polachek.
MS: She’s just a friend that we met three or four years ago just through musicians in Brooklyn. It’s really true about Brooklyn, I guess.

PW: Well how would you describe that Brooklyn scene? Is it like just being in a family or…?
MS: It’s so huge that there’s so many different groups of bands that know each other. It’s hard to classify the whole sphere.
JK: It’s more of a social thing. Musicians like to hang out with musicians, and there’s a lot of them in Brooklyn. It’s as simple as that. With Caroline, she came to visit us in the studio one day and we had that song going.
MS: Very casual event.
JK: Yeah, we said you want to sing some backup vox? And she said yes, so next thing you know she’s singing.
MS: We thought it was the perfect song for her.
JK: She did some vocal athletics at the end of the song and it’s very atmospheric. Like, “ah-ah-ah-ah,” so we thought she deserved a feature and credit on it.
MS: It was a vocal solo.
JK: She’s a phenomenal singer, so it’s just fun to have her lend her talents to what we were working on.

. “Sparrow Song” ft. Caroline Polachek

PW: So for people who haven’t heard your music, why should they check your record out?
JK: It’s a good record.
MS: We put our hearts and souls into it. I know it sounds corny, but it’s true.
JK: I think there’s some good songs on it and it’s produced in a way that makes it a great record to listen to by yourself in an intimate space. It was created much with that type of intimacy. It’s like watching a movie that takes you from place A to place B while you’re lying in bed. I think you can achieve something similar if you run through the course of our record a few times as well.
MS: It’s a personal, intimate record. I imagine people listening to it on their headphones.
JK: It’s certainly not for everybody, but I think that people who will connect to it, will connect and have connected, in a very sincere and meaningful way. That’s what it’s about for us.

PW: Who are some of your influences on the record?
MS: Tough question.
PW: That’s supposed to be one of the easy questions.
JK: Haha, yeah. We didn’t want to sound like anybody else, but if we ended up sounding like everybody else, it can be a good thing, you know?
MS: We listen to a lot of different – I mean, I love a lot of 60s psychedelic music. I love a lot of loud, hard rock. That might not have come across in an obvious way on the record, but it’s there. We have a lot of punk rock roots that we feel are strong.
JK: I was in the middle of the “Twin Peaks” series when we were making the record so a lot of the Angelo Badalamenti scores for that project had some influence over the sound. In terms of the songwriting, we were just taking from everywhere. For me – most of those songs are just written on acoustic guitar in your bedroom. You decide as just two people how to build up your sound. I think we were interested in cinematic, rich, layered textures. When we were making this record, I wanted something that was connected to a classic, rooted American feeling, but we also wanted to bring in other worldly elements, so that together you’re home, but also somewhere else. You know, that feeling when you come home from being away and you feel great to be home, but at the same time, home looks different than how you remembered it. That sense of being somewhere else when you’re somewhere familiar. That sort of weird – we were going for that.

PW: Since we’re talking while at SXSW and this is kind of a huge and crazy festival, what are some of the coolest and craziest things you’ve seen while here?
JK: A fight! We saw a really crazy fight.
MS: We walked really far into East Austin to check out our friends Das Racist play yesterday. It took us about on hour to get there and it was in a strange part of town and a fight broke out after the show.
JK: Like someone getting his head stomped kind of fight. Very scary. Everyone ran out. It was like walking out into rural Arkansas in the 1960s. We live in the ghetto of New York, so…
MS: We love that kind of shit. We love to go on adventures like that.
JK: We lapped it up like a cat.
MS: We saw all sorts of strange things happen the other night.
JK: There’s this thing called the extreme super moon, which is coming on Saturday. It means that the moon is the closest to Earth that it’s been in 18 years. I think this stuff happening coincidentally with the super moon, is dark vibes.
MS: So everyone be vigilant.
JK: We thrive off those sorts of vibes. We wear black on the outside because black is how we feel on the inside. Haha. I say with a smile. Haha.

PW: Haha. So what’s next for you after South by?
MS: We’re going on a national tour, late April to May, with Junip – Jose Gonzalez‘ band. So we’re super stoked about that because we’ve never done a full tour.
JK: We’re bringing the message to the people. We’re in the process of writing a new record as well.

PW: One record just out and you’re already doing the next one?
G: Absolutely. We stay working. All the time. Writing. That’s what we do.

You can find more about the Arcylics, including tour dates, at myspace.com/acrylicsnyc.

Saturday at SXSW was a day of great excitement mixed with a little sadness. This was the final day of the festival, which meant there some big heavyweights to look forward to, but this was also it. When the music stops on this day, it’s time to go back to reality.

I had big plans for Saturday, and sorry folks, but they didn’t include Kanye. I didn’t really care to trek all the way out to that venue just to gain street ‘cred.’ Saturday I was anticipating seeing Community’s Donald Glover rap, Panic! at the Disco‘s return with just two of the original members and of course, some of my favorite local bands.

I began my day on a very sunny rooftop (hello, sunburn) to interview some of the fantastic artists on Big Picture Media‘s roster. PopWreckoning talked to bands such as LoveBettie, Death on Two Wheels and more. We even talked to a representative from To Write Love on Her Arms. You will find those interviews posted on PopWreckoning in the come days.

After grabbing some much needed coffee after the interviews, I decided to check out the PureVolume House. I hadn’t been yet this year and was feeling guilty for already missing out on so much of their amazing lineup. PureVolume throws one of the best parties at the fest. After grabbing some free pop chips and and a drink, I found a nice spot to watch James Vincent McMurrow. I had heard the name, but had yet to actually hear any of the music. The vocals were amazing – just beautiful. The gentle folk tunes performed a nice backdrop for this guy’s standout voice.

Home Video followed with some fun pop rock songs, but I had to head out after just a song because I had a long walk to catch one of my favorite formerly-local bands.

I hope these guys know how much I love them, because it was quite a trek across the interstate to find the tiny park that the Noise FM were about to play in. My poor feet! This Chicago trio (formerly of Lawrence, Kan.) delivers fun indie dance rock songs. Singer/guitarist Alex Ward‘s voice was a little scratchy from the jam-packed week of performances, but it was still fun and his sore throat didn’t stop his good humor – there were plenty of jokes to be had about the Pabst sponsorship.

From there it was back to the main stretch of the fest to catch the ever-so-wonderful Chop Shop/Atlantic Records Showcase. (PopWreckoning has interviews to come from that showcase as well, so keep an eye out). Scars on 45 had just started when I made my way in. The six-piece British band quickly had me hooked with their catchy indie pop tunes with passionate lyrics.

After Scars on 45, I caught another performance from Kansas City’s very own the Republic Tigers. I had already caught them at SXSW at the Central Presbyterian Church, which was an ok performance, but the guys seemed a lot more together for this one. It was a huge improvement and especially showed on their newer songs, which were a lot more engaging this time around. Perhaps all they needed was that extra rehearsal, but boy, what a difference it made. “Merrymake It With Me” especially stands out from the new material and really gets you dancing.

My final Chop Shop/Atlantic performance was the rock/punk act the Joy Formidable. Frontwoman Ritzy Bryan was mesmerizing to watch as she executed some beautiful dynamic control. The petite woman has some power to her pipes.

A brief phone charge and a giant water later, I found myself in line in front of Red 7. A group of us were eagerly anticipating seeing one of our favorite NBC comedy stars: Donald Glover. But instead of performing comedy, we’d get to see him rap. Unfortunately there seemed to be some confusion about what line we were supposed to be in. Our line had merged with a line for the Beauty Bar’s “secret show.” The secret act? Death from Above 1979. It was very tempting to stay in the line I had accidentally ended up in for Death from Above 1979. Very. But I was excited about Glover and there were like 20 other acts I wanted to still see that night. If I went to DFA, I’d be committing myself to only seeing them after a long wait. I tweeted what I was considering, but settled on finding the correct line for Glover.

Some running around with a group of Glover fans and we finally found where we were supposed to be for Glover’s performance as Childish Gambino. By some crazy luck, once inside the venue, I found myself standing right next to Glover’s “Community” co-star: Danny Pudi. Nicest and most genuine guy ever. He talked to everyone around him, answered tons of questions and took photos with a people with a very authentic smile. It was great to see him there supporting his best friend, not only on television, but in real life as well. When it came time for Childish Gambino to start, Glover began with, “Alright. Where’s my boy, Danny? Let’s get a light on Danny.” A spotlight found where Pudi was standing and everyone cheered. With a big grin, Glover finally set into his first rap.

Glover’s rapping isn’t quite as smooth as his acting, but he has a lot of potential. His lyrics are hilarious and filled with pop culture refrences. Some roughness to his voice and occassional rushing of the lyrics against the music where his primary flaws, but those are things that I have no doubt he can work out with more practice and chances on stage. This was, after all, one of his first live performances as Childish Gambino.

From Childish Gambino, I found myself at Stubbs. I had no idea who was about to perform, but there was a group of guys very, very excited in the front row. I asked them the band about to play. “Tres Mountains!” they excitedly responded. They looked a bit aghast when my face still didn’t register any sign of recognition. “Pearl Jam‘s guitarist!” They finally cheered together. I admit, the music was not my type of thing. The guitar solos were pretty amazing, so I get the excitement there, but as a whole, the songs really blended after awhile: none really stood out.

In complete contrast to Tres Mountains, the band that followed blew me away. Awolnation came out and the way the audience responded, you would have thought that this was some sort of legendary act that had been around for years – not some band that just got their first single on the radio just a few months prior. Perhaps some of the excitement was carryover for singer Aaron Bruno, who started Awolnation as a solo project after his other band, Under the Influence of Giants, went on hiatus. Awolnation is atmospheric indie rock – there’s almost a spacey quality to it, but it is also very heavy, and thusly, grounded. It isn’t what I’d usually call danceable, but there’s an element of dance to it at times. It’s a big blend of a bunch of different genres and these guys pull it off well.

Bruno is very charismatic on stage. A stretch of his arms produces a wild cheer from the crowd. A reach out of the microphone gets a huge chorus response. Bruno was also the first musician that I heard bring up the tragedy of the earthquakes and tsunamis in Japan. He not only voiced his concern and support of the country, but he also wrote it on his arm.

The band I was most eager for at Stubbs was Panic! at the Disco. I know that I lose hipster points for liking such mainstream music, but I can’t help it; they’re fun. This performance was a of particular interest to me because not only were they debuting several new songs, but it was also one of their first performances since the band was reduced to just two of the original members: singer/pianist Brendon Urie and drummer Spencer Smith. Two friends filled in on the bass and guitar parts vacated by the former bandmates.

This was a ridiculously fun set. We laughed, sang and danced. Urie has one of the most animated faces that I’ve ever seen in music. Even when he flubbed some lyrics on a new song and had to peek at a cheat sheet, it was still a fun moment. I also really enjoyed when he squeezed in “super moon,” into of his lyrics: “your eyes are the size of the super moon.” This band has come a long ways from when I first saw them six years ago and brushed them off as Fall Out Boy ripoffs. I stand corrected for my younger self’s comment.

To end out my night, I decided I would hole up at the PureVolume House. They had a great lineup planned to close out the evening. One of my favorite violinists, Owen Pallett was finishing tuning when I arrived. I found some friends at the venue and found a spot to watch Pallett. They had never even heard of him and were a bit wary of a guy with a violin, doubting he could really rock out. Their jaws dropped once he began playing. Pallett is a one-man show, but he creates his full sound by engaging in loops. He plays out a line on the violin and records it. Then plays it back as he plays or sings something new. It’s fun to watch him build songs on stage. His music is sweet and breathtaking. For those unfamiliar, you might recognize his signature sound on some early Arcade Fire work. He used to heavily involved with their string arrangements and he even wrote one of his songs about the love story of Will and Regine from that band.

I had already caught a Cults set during SXSW, but they continued to impress with their mysterious lyrics and lo-fi indie rock.

It was getting late and I was ready to grab some Z’s before having to drive back home the next day. However, I was determined to make SXSW go out with a bang, so I planned on sticking around for PureVolume’s final band of the night: Das Racist. Some DJ kept the crowd awake and moving, but what should have been a fifteen minute started to turn into over an hour. Finally, the duo in Das Rascist jumped up on the stage. After all the anticipation, this was my biggest flop of SXSW. These guys were so drunk that they were barely together and coherent. It was a complete mess. Some drunk kids up front still seemed to enjoy it, but after waiting for as long as I did for the shit show, I quickly left after two songs. This was not worth it, but at least I saw plenty of other amazing acts to make up for it.

My phone had died ages ago, shortly after my last tweet about possibly seeing Death From Above 1979. So I was surprised when I had tons of missed calls, missed texts and missed tweets about what happened to me. True, I hadn’t meant to be out past four – dumb Das Racist’s fault – but the amount of worry about my whereabouts seemed a bit much. Turns out the Death from Above 1979 set turned into a riot and police had to come pepper spray and taser some of the crowd. People thought I might have been a part of that because of my last tweet. Eeks. Maybe I ended out my night the right way after all. Regardless, this was a very memorable experience and I look forward to seeing what future years at SXSW bring.
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Check back for interviews from SXSW. You can see more from PopWreckoning’s Bethany and her experience at SXSW at the following links: Day 1, Day 2 and Day 3. Check out more photos from Saturday, March 19 below: