Fun Fun Fun Fest 2010 Guarantees Fun!

Austin, TX -- A press conference with Fun Fun Fun Fest founder Graham Williams and executive team members James Moody (Transmission Entertainment, Mohawk) and Johnny Sarkis took place at Wyndham Garden Hotel today. Conducted in sharp business attire, “Fun-Sultan” and local comedic genius Matt Bearden led the rare sit-down opportunity and welcomed attendees before giving the floor to Sarkis and Moody. The directors of “Research and Design for Fun” and “Marketing and Research for Fun” led an engaging Power Point display which gave more insight into FX3 Fest’s beliefs and primary objectives.

After a slide show of empowering feel good images, Sarkas went over a brief list of bullet points denoting FX3 Fest’s notable recognitions including an “annual increase in beards while maintaining a strict ‘no jam band’ policy.” Moody continued the presentation with a break-down of fun people were having in the categories of Stage Diving, Air Drumming, and Partying/Good Times.” We’re predicating an exponential growth of awesome this year and we’d like for you guys to prepare for that too. We found that these festivals are becoming at least 22.3% more fun, year after and year and this year is no different,” said Moody. “Stage diving is forecasted to increase at least 100% in 2010… this data is directly related to the Black Stage. We do think increases in air drumming will happen at the Yellow Stage.”

With Fun Fun Fun Fest in its fifth year, a concern for fun levels had initially risen amongst the team but Moody has voiced a vow to protect the essence of fun. “We’re concerned about fun in our future. And we’re in for supporting a bail-out for fun, we want to invest in a stimulus package so our grandkids kids can experience fun. Amen.” Apart from stand up comedy, activities including Live Action Wrestling, a Veggie Hot Dog Eating Contest and an Air Sex Contest have been added to the bill.

After a round of applause, Moody handed the microphone to Bearden who announced a handful of acts before full lineup sheets were passed around the room. Concluding a Q&A session was a moment of silence for the late Ronnie James Dio. Attendees were invited to nosh on chicken wings, jelly donuts and cold tap water located in the back of the room.

Fun Fun Fun Fest will be held November 5-7, 2010 at Waterloo Park. The 3 day fest kicks off on Friday at 6 p.m. with legendary Weird Al Yankovic headling. Other distinguished acts include DEVO, MGMT, Bad Religion, Mastadon, GWAR, Slick Rick, Cold Cave, and Dirty Projectors. Limited Early Bird tickets go on sale TODAY.

FUN FUN FUN FEST 2010 COMPLETE SCHEDULE:


ORANGE STAGE:

Devo, MGMT, Weird Al Yankovic, Dirty Projectors, Hold Steady, Deerhunter, Man Man, Cap'n Jazz, WAVVES, Polvo, OS Mutantes, Ariel Pink, Kaki King, Dum Dum Girls, Appleseed Cast, Margot and Nuclear So and Sos, Best Coast, Crocodiles, Toro Y Moi, Magic Kids, Junius, Woven Bones, Royal Forest, Indian Jewelry, Mother Falcon

BLACK STAGE:

Mastodon, Bad Religion, GWAR, Suicidal Tendencies, The Vandals, Dwarves, High on Fire, The Gories, Snapcase, Floor, Municipal Waste, Strike Anywhere, The Bronx, Ringworm, Valient Thorr, Jeff The Brotherhood, Kylesa, OFF!, The Briggs, Power Trip, Eagle Claw, Peelander Z , Hatred Surge, Black Congress

BLUE STAGE:

RJD2, Slick Rick (performing "great adventures of"), A-trak, Yelle, Deakin (of Animal Collective), Delorean, Big Freedia, Designer Drugs, Dam- Funk, Dominique Young Unique, Devin The Dude, Invincible, Butcher Bear and Charlie, League of Extraordinary Gz, DJ Nick Nack, Pharoahe Monch, POS,Jean Grae, Black Nasty, DJ Bird Peterson, Crew 54

YELLOW STAGE:

Cold Cave, Monotonix, Mariachi El Bronx, Live Action Wrestling, Punk Rock Story Time with Joe Sib (spoken word), New Movement (live sketch comedy), Air Sex Contest (presented by Alamo Drafthouse), Live Stunt Show, Veggie Hot Dog Eating Contest, Visual Assault Video Shows, Stand Up Comedy with: Matt Bearden, Altercation Punk Rock Comedy tour and many more.

The Big Pink- A Brief History of Love

The Big Pink first caught my attention with their single "Velvet," a dreamy collage of industrial beats amidst a droning guitar shred. I played it over and over and over until I got my hands on the debut album A Brief History of Love, which became an automatic favorite. While being more reminiscent of Jesus and the Mary Chain, the band took its name from country soul rockers The Band’s debut album Music from Big Pink. The duo consists of multi-instrumentalists Robbie Furze and Milo Cordell.

The first track "Crystal Visions," brings out the shoe gazer in everyone. The memorizing track explodes into a psychedelic explosion of phase-shifting, echoed guitars and a repetitive bass riff which initially reminded of a Black Angels show I attended a few years back. A pervading warped, chilly, haunted ambiance lingers throughout the track’s hook-heavy reverb.

Third track and first single of the album, “Dominos” commences with rhythmic propulsion of drumming followed by the elated, yet heartless chorus “these girls fall like dominos, dominos… these girls fall like dominos, dominos.” The lyrics allude to the fact and unfortunate pleasure of breaking hearts. Despite this, every song on the album has a different take and angle of love, from starlit romance to destructive desire.

The last track, “Count Backwards from Ten,” begins with someone’s heavy foot on the distortion pedal but quickly unfolds into a cascading melody of sadness. Oddly this track is unlike all the others in that it sounds less industrial machine made and more like something Oasis would put out. Regardless, this album proves to be a modern masterpiece and an honest ode to the greatest feeling in the world, love.

The Big Pink will be playing here in our backyard at the Parish, Thursday, April 8 with a Place to Bury Strangers. Buy yo’ tickets here.

Manfest '09

So, this is how a centaur pees? Via Gary Gaston

Fun Fun Fun Fest only a week away!

In less than a week from now, Fun Fun Fun Fest or the “Greatest. Festival. Ever,” as dubbed by credible music blog the Brooklyn Vegan will take over Waterloo Park. The ultra cool hipster’s wet dream features acts such as Crystal Castles, Of Montreal, Ratatat, Cool Kids, HEALTH, Atlas Sound and Les Savy Fav to name a few. This year’s highlights include Danzig, formerly of the Misfits, recently reunited 1970’s Detroit punk rock band DEATH and alternative rockers The Jesus Lizard, who originally formed in Austin back in the 80’s.

The fourth annual music fest which encompasses the notable genres of indie rock, punk, and hip hop has hosted performers Murder City Devils, Bad Brains, Dan Deacon, Cadence Weapon, MGMT and Atmosphere in the past. The brainchild of former Emo’s talent booker Graham Williams was actually conceived by accident. “I was booking for the club one weekend and a bunch of tours that were hitting Austin at the same time. We couldn’t accommodate them and neither could any other club in town it seemed, so I teamed up with my friends at Alamo Drafthouse, whom I'd done a few events at Waterloo Park with, and we rented the park to have a show...more bands were added and it ended up being a fest by default,” said Williams.

Since its beginning in 2006, the fest has added comedy, a fourth stage and tripled in artist count, bringing the amount close to 90. Also involved in the project are James Moody, owner of the Mohawk and Michael Terrazas of Club DeVille who are also partners in Transmission Entertainment, local music booking and promotions company. The trio met while Williams was trying to find a venue for a band that wouldn’t play Emo’s. He called around to a few places, including the Mohawk and the dialogue with Moody and Terrazas (who is also an investor in Mohawk) just grew from there.

“The partners of Fun Fun Fun Fest are me, Graham and Michael, but we involve everyone, from our stage managers and our bookers Joe, Rosa and Brendan, our sponsor guy---we all vote and talk about bands that would be good. Graham is sort of the final say so because he started it. He’s the founder, but we all work together,” said Moody. Transmission Entertainment was formed almost out of necessity, because the progressive underground music market wasn’t being serviced. “We started it as a market need for local bands and up-in-coming bands,” said Moody. “We wanted to service that market of really talented struggling musicians and no one was really doing it and that’s how we started.”

Before making his home Austin eight years ago, Moody resided in 15 cities. “My dad was in the Air Force and he kind of dragged me all over the world... Germany, Nebraska, South Dakota, California ( a couple times), four different places in Louisiana, lived in Seattle,” he said. Like Williams, Moody also began his music career route by booking gigs for a club in Ruston, Louisiana. “The owner kinda said, “what are the kids listening too?” so I booked some what they called at the time “alternative,” but we don’t use that term anymore.”

We had the chance to ask both Williams and Moody a couple of questions about the festival and here’s what they had to say.

CC: What is your future vision for FFFFEST?

GW: I don't know… the concept has to stay the same from the style of music we book and the mix of genres--the whole scene within a scene concept. I could see it growing a bit, but I know it'll never be TOO big...and I don't want it to be.

JM: To be great at the middle, like to be a solid-medium sized fest. We don’t ever want to be a sort of big, huge fest, because it’s already been done and it’s being done well. We want to try to hold on, as closely as we can to that intimate experience of seeing a really big and talented band in a relatively small environment.

CC: What are some of the highlights this year, which acts are you looking forward to the most?

GW: Man, that's tough. I don't mean to pat myself on the back to hard, but this year is pretty fucking awesome. I mean there are so many bands I want to watch and so many playing at the same time...off the top of my head: The Jesus Lizard, Gorilla Biscuits, Destroyer, Crystal Castles, Pharcyde, GZA, DEATH, Mika Miko, Torche, Les Savy Fav, Buraka Som Sistema, etc, etc.... I'd say 75% of the acts I want to watch this year.

JM: Oh Danzig for me, just because I grew up with Misfits. Jesus Lizard getting back together is huge because David Yow is crazy and always puts on an insane show. Les Savy Fav, Pharcyde and one of the biggest stories, DEATH.

CC: How do you remain energetic throughout the weekend?

GW: I eat healthy; I try and get some sleep. I don't drink, so that helps. It's tough, because aside from all the set up and running the show, we also have all these big after parties at night during the festival, so we're out super late every night too and then back down there crack of dawn.

JM: I use a lot of tools, things like booze, Red Bull, gum, friends, popcorn, candy, coffee… Amongst all those things I tend to make it through plus we work all year for this, so the adrenalin alone gets me through the weekend, but I always crash real hard by the time Monday rolls around.

CC: Any advice for people who aspire to work in the music scene?

GW: You have to do it because you love it or want to do it, never because you think you'll make a ton of money. It's like playing music, being an artist, etc… if you do it right and because you want to do it and it's something you believe in, it usually works out. I think too many people go into it thinking it's going to be like any other job, but it’s not.

JM: You gotta fight for it; it’s a labor of love. You may never make money in it, but that’s not what it’s about. Those that make money in it are very few; but if you can make just enough money in it to make a decent living and pay your rent, then your blessed and lucky and that’s what you should fight for being able to do what you love and live in a place like Austin… those are my goals. Stay committed to it and it’ll happen, but also, make sure your goals are more around the music than around the business… then you’ll probably do well.

CC: What's currently rotating in your CD player? (What are you listening to?)

GW: I've been listening to DEATH a lot and that new Phoenix is the jam too. Been playing Negative Approach on my iPod a lot since they're playing a FFF afterparty and it's got me in the mood. And for some reason I've noticed me playing "Tim" by the Replacements a bunch these past few weeks. Not sure why, but it's been on regular rotation and all that. The Burn 7" I've played a good amt lately for some reason as well. The new YYY’s is underrated… Oh yeah, that Mayer Hawthorne record is really good too.

JM: I’ve been listening to Fugazi, School of Seven Bells….The new Dinosaur Jr. is amazing. I’ve been listening to the Junior Boys, Murder City Devils and rotating some more Danzig into my system just to get ready for November.

Tickets for the two-day festival are still available and you can purchase them HERE.

Review: Dino Jr. & Built to Spill

Disco Doom, a relatively unknown band from Zurich, Switzerland was the opening band for Saturday’s 90’s indie explosion at Stubb's. The Swiss rockers were a perfect addition to the full lineup with their mixture of instrumental distortion, exploding atmospheric rhythm, mesmerizing guitar vibrato and down-tempo vocals. Second on the list were Dinosaur Jr.’s bassist Lou Barlow & The Missing Men, which were sort of a back-up band for Barlow’s solo stuff. Serving double duty, Barlow mostly played songs off his new record Goodnight Unknown which was released earlier in the month. Despite stopping and restarting the opening track twice, the rest of the set ran smoothly.


Following were notoriously loud alt-rockers Dinosaur Jr. Fans unequipped with ear plugs found themselves covering their ears more often than not as guitarist J Mascis’ distorted sonic waves boomed loudly over the three Marshall quad cabinets behind him. Almost from the beginning, a rowdy mosh pit consisting of mostly younger men slamming and shoving into each other occupied the front of the stage. “Murph is sick, he has the flu” announced Barlow over the microphone which loud applause from the slew of varied demographic of younger-aged and “back in the day” fans. The crowd went wild when the trio played “Feel The Pain,” off their 1996 release Without a Sound, the band’s most commercially successful album. “I Don’t Wanna Go There,” off the new album Farm concluded the deafening performance.


Before Built to Spill, the evening’s headliners, came on stage, Chicago based poet Thax Douglas recited a few lines inspired by the band. Douglas is a notorious “rock poet” who has read poetry before other notable acts including Andrew Bird, the Arctic Monkeys, Guided by Voices, The Flaming Lips, Of Montreal, Wilco, The White Stripes and Modest Mouse to name a few. He has since moved to Austin and has been spotted around town reading poetry for acts such as Sunny Day Real Estate.


Several minutes later, Built to Spill emerged from the darkness and commenced with “Three Years Ago Today,” a track from their latest release There is No Enemy. They followed with crowd pleaser “Distopian Dream Girl,” which solicited dancing and singing from fans. Front man Doug Martsch uttered “thank you” almost after every song. Mid-set, guitarist Brett Netson went into a political rant stating that “tonight is the 80th Anniversary of the American Stock Market crash, we’re in the second” while he pointed at the apartment complexes around the venue. He then said, “the next two songs are for the Texas Liberals.” The first of the two was “Wherever you Go,” a very jam and spacey melodic track off their 2006 release You in Reverse followed by “Planting Seeds” off of recent album There is No Enemy.


“We’re going to have to skip a song,” announced Martsch before going into “Big Dipper.” After finishing and thanking the audience, the band walked off stage only minutes to return to a crowding chanting “one more song, one more song.” “Stop the Show” from the band’s third album Perfect from Now On was the encore. The distorted chord progressions, swirly-psych riffling and upbeat drumming were a wonderful exit piece for a night of mind-blowing and eardrum busting music.

All photos by Ed Lehmann. Go to AustinExposure.net to see more.

Why There Are Mountains- Cymbals Eat Guitars

Why There Are Mountains is the independently released debut for indie rockers Cymbals Eat Guitars. Heavily reminiscent of Built to Spill, Pavement, and early Modest Mouse, Cymbals Eat Guitars encompass that familiar indie 90’s era with their slow disheveled strummed verses and loud boisterous choruses. Forming in 2005, the quartet hails from Stanton Island, New York and consists of lead vocalist/guitarist Joseph D'Agostino, drummer Matthew Miller, bassist/vocalist Neil Berenholz and keyboardist/vocalist Brian Hamilton.

The first track entitled “And the Hazy Sea,” erupts into an explosion of noise rock and screaming, but quickly defuses into a more passive melodic harmony only to skyrocket back into an outburst of guitar-saturated bombast. The song moves into a pattern of quiet, hushed moments followed by clamorous intervals. The back and forth bipolar rollercoaster ride concludes with an intensely layered concoction of distorted guitars, almost inaudible vocals and gentle cymbal tapping. This track is also the album’s debut single.

“Indiana,” features a Polyphonic Spree melody gracefully accompanied by D’Agostino’s nasally adenoidal vocals. This track is probably the most upbeat and “happiest” of the album with its poppy composition of soft piano and bubbly guitar.
Despite being engaging and convincing, transitions between songs of the album are seemingly non-existent. While many of the tracks sound like they’ll lead flawlessly into the next song, they usually don’t and are often followed by a track which is completely different from the preceding.

The album’s concluding track “Like Blood Does” starts off tranquil and slow-paced, but like most of the other songs mutates into an orchestration of loud vocal resonance, guitar distortion and prolonged reverberation. The crazy instrumentation lasts 40 seconds which is long enough to take someone for a ride mentally.
The band, which is currently on tour with the Pains of Being Pure at Heart played the Mohawk a few weeks ago. While we were unable to attend, we heard that they absolutely killed it!

Why There Are Mountains drops next Wednesday, October 14th.

The XX

XX is the debut album for The xx, a South West London quartet who aren’t even old enough to drink in United States. The four 20-year olds met at Elliott School in London, whose notable alumni include Hot Chip, Four Tet and dubstep producer Burial. The band consists Romy Madley Croft on vocals and guitarist, Oliver Sim on vocals and bass, Baria Quershi on guitar and Jamie Smith on sampler.

The album's opening number is a 2 minute instrumental prelude into this dreamy pop album. The song is reminiscent of something you’d hear on a Pure Moods CD commercial with its new age guitar riff, tribal drum beat and chanting. “VCR” begins with a toy xylophone melody which is quickly joined by a down tempo guitar rift. The album’s second single “Crystallized,” is undeniably the album’s stand out track; commencing with a gradually increasingly high pitch “oooh” sound which becomes almost uncomfortable until interrupted by an arpeggio of guitar chords. “Islands,” is the most upbeat track of the entire track which offers some sort of hope for love.

“Fantasy” is a sensual, yet disconnected reverb heavy track that seems to serve no real purpose other than an introductory to the sultry “Shelter.” The only thing perpetual about “Infinity” is Sim’s persistence in pleading Oliver to “give it up.”Oliver repeatedly refutes with a soft, almost desensitized “I can’t give it up.” The last track entitled “Stars” begins with a heavy bass line which seems like it’s going to go in the Talking Heads’ “Psycho Killer.” After a few strums, the beat is abruptly consumed by a sequence of three piano notes which play over and over throughout the song.

This overtly sensual and slow-strummed album encompasses a theme relating to relationships, feelings, and love, and has become a personal favorite. I look forward seeing The xx when they open up for Friendly Fires at the Mohawk on Thursday, November 19. You can buy your tickets at the door.

• The xx - "Crystallized"
• The xx - "Basic Space"
• myspace.com/thexx

Back to the drawing board, literally.

I used to have my own comic strip in my hometown newspaper and in the college paper at Texas Stae. I kind of stopped drawing for a while because when it becomes a job it often isn't fun anymore. Anyhow, I've decided to start drawing again. I'll upload NEW and old in the coming days.

Monolith Festival-Sunday

SUNDAY




The sun radiated through the early morning clouds and light drizzle for the majority of day two at Monolith, which hosted a crowd sporting more neon than an American Apparel display window.

Rahzel, virtuoso beatboxer and former member of The Roots began his routine at the Esurance (Main) Stage at 2 p.m.

A line of almost 40 people long formed outside the Woxy Stage set up in an interior room of the venue’s lower deck, in hopes of catching indie-electro duo Neon Indian---which filled to capacity 30 minutes before show time. The band originally hailing from Brooklyn recently re-located to Austin. They are scheduled to play an ACL after show at Emo’s and Fun Fun Fun Fest.

During that time, garage/prog-rock group Monotonix of Tel Aviv, Isreal rocked in nothing but 70’s short shorts and chest hair at the Southern Comfort Stage. The setup was one which took place within the audience. Even before finishing the first song, singer Ami Shalev stage-dove into the crowd and gauchely crawled and climbed on enthused hipsters. Banned in several venues around the world including Flamingo Cantina located here in Austin, the trio are notorious for their over the top antics which include setting things on fire, beer spitting, climbing on bars and over-zealous interactions with fans.

Following the energetic performance we sat down with guitarist Yonatan Gat, singer Ami Shalev and drummer Haggai Fershtman.
CC: What’s the origin of name Monotonix?
HF: Too long to describe it, it’s a very complicated story.
YG: When Haggai went to art school, when he was a teenager, everybody thought he was retarded... It’s just his lip went to the side a little bit. And he would say the same thing over and over again and everyone would say “you are very monotonic” and then we added the “x,” because he couldn’t say ‘x’.
HF: This is the real story.
YG: It’s the first time we tell anybody.

CC: How did you snap out of it?
YG: He got a chicken bone stuck in his throat once and Avi gave him the Heimlich and ever since he stopped being a “retard.”
HF: Monotonix! Monotonix… I could say the ‘x’.

CC: Where have you performed and what are your favorite and least favorite venues?
HF: Austin is one of the best!
YG: Austin is fun. We played good shows at a place called the Mohawk, we played SXSW. One of the venues we don’t like is Flamingo Cantina because we’re banned from there.

CC: How much lighter fluid do you go through in a tour? Usually you light your drums on fire.
AS: Depends. Sometimes if it’s too crowd, we can’t use the lighter fluid. We have to talk to the venues, fire is sensitive issue.

CC: What kind of access do fans have to your music?
HF: Combination of many things. Record company… iTunes, Myspace.. We have a Twitter that someone we don’t know is doing.

CC: Someone you don’t know is tweeting for you?
YG: We have a fan twitter.
HF: Yeah, he’s twittering! Haha…

CC: Israel is pretty far away. Do you have a US home base?
AS: We have friends that we love, they love us and we see them while we’re touring. But home is where the heart is, like Frank Zappa’s song.
Quite the opposite of their crazy, raucous stage personas, the trio was reserved yet charismatic. They are scheduled to play Emo’s (outside) Friday, September 25. You can buy tickets HERE!

Check out this amateur video we got of them at Monolith!


The Glitch Mob dropped dope beats on the Esurance stage while one of this year’s most anticipated acts Passion Pit rocked the Southern Comfort stage. The pavement slab in front of the stage vibrated and shook throughout the set, especially during the dance-y number “Sleepyhead.”

MSTRKRFT canceled their appearance at Monolith due to an untimely illness. Replacing them on the main stage were French alternative rock band Phoenix. They opened up with "Lisztomania,” the first single of their upcoming album Wolfgang Amadeus Phoenix. In spite of the slow start, the band had the entire venue dancing with their jaw-dropping performance.



Concluding the evening were experimental-progressive rockers The Mars Volta. They commenced their powerful set with “Inertiatic ESP,” off their 2004 release De-Loused in the Comatorium. Their stage set featured an array of psychedelic colors and patterns on the rock wall behind them. They ended with “Wax Simulacra,” the first single off their fourth studio album The Bedlam in Goliath.

Monolith Festival-Saturday

The third annual Monolith Festival was this past weekend at Red Rocks in Morrison, Colorado. The two day fest was undoubtedly a hipster’s wet dream with acts such as Girl Talk, Passion Pit, Phoneix, M. Ward, Of Montreal, and Neon Indian to name a few. Despite a downpour of intermittent showers and temperatures in the upper 40’s on Saturday, indie-fans congregated for what has to be the biggest catalog of indie acts at one venue.


Pains of Being Pure at Heart played at the Southern Comfort stage amidst steady rainfall. In spite of the low temperatures and cold rain, they remained ardent and even joked that they were the ‘Rains of Being Pure of Heart.’


Ok Go played on the larger stage sponsored by Esurance. Mid set, Damian Kulash stepped over the railing into the rain with his guitar and told the crowd that this would probably be the only time they’d see him literally playing in the rain.


Meanwhile, Hamilton Leithauser of The Walkmen crooned tracks off the You & Me album on the upper level Southern Comfort stage. Almost like lightning the mellowed-out crowd broke into a dance at the start of “The Rat,” the hit single from the band’s debut album Bows + Arrows. Following The Walkmen on that stage was iron-masked DOOM, whose set up took longer than 30 minutes due to technical difficulties.


After a raging set, the masses made their way towards the main stage where Girl Talk, aka Greg Gillis remixed and mashed up samples ranging from Missy Elliot to Flashdance to the Jackson 5. Rain poured heavily throughout the set while presumably over 100 fans crowded Gillis on stage.


Ending the evening were the Yeah Yeah Yeahs. While the audience had thinned out to almost a 3rd of the seating due to weather conditions, the confetti, extravagant stage décor, and Karen O’s multi-color bell sleeve romper were more than enough to rock the house. Among the songs played were "Heads Will Roll," "Zero," and “Maps.” The encore was "Y Control.”

Here’s some amateur video we got of the YYY’s performing Black Tongue:


All photos courtesy of Mary Rehak. Go here to see more shots from the festival. We'll have a recap of Sunday at Monolith up shortly...

Find of the week

I came across a good find the other day. After a few listens I came to the conclusion that the four tracks were from a long lost Pink Floyd and Leonard Cohen collaboration. ...I'm just kidding. The artist solely known as Gary W. put forth 4 tracks from his debut album.

The first track commences with a futuristic sound which quickly dissolves into a soft tangy guitar riff. Gary’s, cigarette smoker vocals transpire an emotion of devastating lost love.

“Remember me,” exhorts the pleading question of recognition. The singer inquires “Do you remember, Do you remember loving me? Do you remember, do you remember me?” The slow pace track offers soft guitar picking and subtle cymbal tapping.

The third track, “Wonderful Things,” is the catchiest and more uplifting of the other tracks. It inhibits an almost innocent and juvenile attribute.

“You are you are,” reverts to the dark corner of a broken heart. The lyrics are admiring of the muse, but clearly express the singer’s distress. A Pink Floyd-esque electric guitar solo commences midway through the track and blends with the sorrowful vocals.


To listen to these songs, click HERE.

Hot, hot, hot stuff...

I accidently ripped off Donna's face when I removed the price tag. Although I colored it in w/ crayon... You can barely tell.

From the Future- Lord Scrummage

From the Future is the first full length debut for experimental trio Lord Scrummage. The Detroit based band is made of Conor Edwards, Alex Lauer, and Ben Christensen, all current members of indie rockers Benny Stoofy.

The term “scrummage” stems from the genre which refers to a collective group of musicians in the Detroit music scene who share an underground experimental sound.

The first track entitled “W.W.D.D.” takes world music to a whole different level with its infused tribal drums and hindu sitar rifts over faint female vocals. Despite being a mere 2 minutes, the track proves to be an appropriate instrumental interlude into an experimental cough syrup world.

The melodic instrumental arrangements in “Clyd Moop How Did You Know,” further propel the listener into an abyss of laser lights and imaginative space rock.

“Abe Lincoln’s Skeleton,” is a mind altering substance in the form of 70’s science program keyboards and haunting vocals that highlight the plaintive psychedelia of the piece while remaining an organic layer in the fabric of submersive consciousness.

The track “Captain Rat,” begins with an ambient Final Fantasy piano riff admist lyrics about animals before transporting the listener to a simulated Rainforest Café experience topped with bird squawking, lion roaring, insect buzzing goodtime. Like many of the tracks on the album, the analog-synth clouds billowing around barely lucid vocoder vocals offers the listener an escape from the “real world.”

Truthfully, Lord Scrummage is the equivalent of licking an entire LSD sheet and finding yourself sitting between Dan Deacon and Deastro at a Black Moth Super Rainbow show.

Moondagger- Deastro

Moodagger is the full-band debut by Deastro, real name Randolph Chabot. Hailing from Sterling Heights, MI, Chabot began writing music at age 13 and recorded three previous albums in his parent’s basement. Now 22 years old, Chabot has become notable for his live performances.
The recently released album is a euphoric, synth-driven neon fantasia of swooning dream-pop fitting an epic videogame soundtrack category, particularly one which would incorporate or house a Final Fantasy or Space Harrier theme.
The first track entitled, “Biophelia,” commences with an 8-bit beat, similar to an old school Final Fantasy IV Super NES start menu loop. The ambient intro transforms into an electro-pop synth cantata permeated with incessant drumming and rocket blasting sirens. “Toxic Crusaders,” details the self-acceptance of a mutant do-gooder born with one eye who pleas for his love to be reciprocated. The track incorporates a toy piano whose simple melody conveys a juvenile innocence. “Pyramid Builders,” is a starry-eyed instrumental piece fusing an array of rhapsodic futuristic loops and beats. The eighth track
“Daniel Johnston Was Stabbed In the Heart With The Moondagger By the King of Darkness and His Ghost is Writing This Song as a Warning to All of Us,” remains to have the longest title ever, coming in at 29 words!
The 14 track album includes two bonus tracks, “The Shaded Forests (Gift Giver’s Version),” and “Tree Frog.” While “Tree Frog” sounds similar to the other tracks on the album, “The Shaded Forests,” stands out in that it sounds more fully constructed; created and performed by a band rather than just a keyboard and computer.

Clues- Clues

“Clues” is the self-titled debut album for Montreal indie poppers Clues. Brain child of ex-Unicorn Alden Penner and ex-Arcade Fire member Brendan Reed, the quintet includes multi-instrumentalists Ben Borden, Lisa Gamble, and Nick Scribner. Forming in 2007, Clues has established a following despite the use of any social media promotion such as Myspace, Facebook and Twitter.

The album's opening track, entiled “Haarp,” is reminiscent of early Flaming Lips circa Clouds Taste Metallic. An incomprehensive lyric begins the song but is quickly disrupted by the clash of a sole cymbal followed by rumbling guitar distortion. Penner’s falsetto vocals peak in periodically throughout the track, setting a steady tone for the dense layer of guitars and drumming that saturate the album.

“Remember Severed Head,” begins with an almost robotic instrumentation subtly joined by a clanky marching band drum beat before churning into a very “Unicorns” sound lullaby. The lyrics “who here wants to sleep in the dragon’s mouth, who here wants to feel” are also sung on the album’s eighth track, “Cave Mouth” which sounds more like a refined version of “Remember Severed Head.”

A tedious piano riff formulates “Perfect Fit,” one of the album’s catchiest tracks. “Elope,” is the LP’s longest and softest track---a serenity level comparable to that when listening to Simon and Garfunkel is sure to transpire. Penner’s quiet vocal amidst soft organ and gentle guitar strumming is a change of pace for the album before resuming into the funkiest album track, “Cave Mouth.”

Clues will play in Austin on June 10th at The Independent, a new 300 capacity venue on E 5th St. and I-35. If these guys are as fun as their debut album, their live shows are not to be missed.

"Dancing Guy "shakes it in San Marcos

Todd Andrews, aka “The Dancing Guy.”

By ASHLEY CASS
News Reporter

Sunglasses, visor and an iPod are a few of the tools of Todd Andrews’ trade, which consists of dancing for an apartment locating company on Aquarena Springs Drive.

Locally known as “Dancing Todd” or “The Dancing Guy,” Andrews began his dancing career at Liberty Taxes going on four years ago and moved to Little Caesar’s before he caught the eye of Jason Tarr, owner of Great Locations, the real estate company.

“I used to dance in front of Liberty Taxes and managers would drive up to me, give me their card and offer me jobs,” Andrews said. “The manager of Little Caesar’s came up to me and offered me a better paying job, so I started working there for about a year and then Jason Tarr got a hold of me and said he wanted me to work for him.”

With the incentive of more money and a flexible schedule, Andrews began working for the Great Locations in 2007.

Before moving from San Diego to San Marcos, the “Dancing Man” was involved in a fatal multi-rollover accident at age 16, in which he was pronounced DOA, dead on arrival. Resuscitated and revived, Andrews suffered full paralysis on the right side of his body, which he overcame through seven years in rehabilitation.

With a substantial insurance settlement in tow, Andrews moved to Texas in 2004 to find a home.

“I moved to Texas because the housing market was better and the cost of living was lower,” Andrews said. “I really love this town.”

While capable of driving back and forth to work and home, Andrews continues to visit a rehabilitation center in San Marcos.

“Basically I’m kinda still in one, in general,” he said. “I just go over to shower, eat and they take me home. That’s all I need them for and I drive to work and I drive to my house.”

With numerous commercials, interviews, YouTube videos, and even a larger than life billboard, Andrews is well known and recognized by San Marcos residents and Texas State students.

“I was standing in line at the H-E-B and this woman told me she saw me on TV,” Andrews said. “It’s pretty common that I get recognized. The students here come up to me and always say, ‘Hey you’re that dancing guy.’”

Texas State student Liliana Hinojosa recalled her early memories of moving to San Marcos and seeing the dancing man in action.

“I remember when I first moved to San Marcos, I saw Todd dancing on the sidewalk and I asked my friend what that guy was doing,” Hinojosa said. “She responded with ‘That’s Dancing Guy! He’s always dancing on that corner.’ It seems like that guy is always dancing. Besides on Aquarena Springs, I’ve seen him shake it at Nephews. He’s a San Marcos novelty. I can’t help but smile when I see him.”

Currently on repeat on the “dancing man’s” iPod is Country Singer Trace Adkin’s “Got My Game On.”

Said Andrews, “I’m a big Trace Adkin’s fan. His music makes me dance. So, that’s what I listen to when I’m outside shaking it for all the drivers.”

Great Locations Vice President of Operations Julie Hutchins said Andrews’ cheerful demeanor is consistent around the clock.

“Todd always comes into work with a positive, ‘ready-to-work’ attitude,” Hutchins said. “He’s just as energetic off the streets as he is when he’s waving to the cars. Since Todd joined Great Locations, we’ve provided him with outlets to grow his personal reputation while promoting our company at the same time.”

Said Andrews, “I enjoy this gig. I get a lot of respect from people. That’s what I do for a job. Who else would go out there and shake their thing?”

Prayer for Animals- Swell (preview)

Prayer for Animals
…from the upcoming LP Swell
www.myspace.com/prayerforanimals

The four-track album is a preview of Prayer for Animal’s upcoming summer release Swell. Hailing from Mansfield, Texas (with the exception of the drummer) the band is now based in Austin and consists of Brent Sluder on electric piano/organ and vocals, Jeremy Jenkins on bass, Ryan Gitman on drums, John Pitts on guitar and slide guitar and Adam Brisbin on guitar and vocals. Both Brisbin and Pitts split lead guitar duties while Brisbin and Sluder split vocal duties.

The first track “Recollection,” contains a psychedelic Doors-y, Thirteenth Floor Elevators element permeated with vintage guitar tones. “Neutral Bees,” a melodic fusion of rock, blues, captivating vocals and poetic prose--- “Neutral Bees don’t sting unless they eat, heaven found a reason yet to sting,” is the probably the grooviest track of the album. The experimental guitar riff featured in the track compliments Sluder’s whiskey soaked vocals suitably and creates a 1970’s feel. The concluding track, “Brains,” begins slowly with a soft tambourine jiggling, slide guitar picking and progresses into an explosion of psychedelic rock.

This short preview sells elevated expectations of the full-length album which is set to release this summer- embracing a cool late 1960’s-early 1970’s epoch and being a perfect choice to put on at chill get together.

The album’s art is simple and consists of a coffee brown fabric decorated with flowery paisleys pasted onto the white surface of the case. The interior flaps include the band’s name in a bubbly design and the four track titles etched in back pen; the back is plain.

The Bright Light Social Hour-Back and Forth

The Bright Light Social Hour
Back and Forth
www.myspace.com/thebrightlightsocialhour

Back and Forth is the third EP release for Austin based rockers The Bright Light Social Hour. Like its predecessor "Love Like Montopolis," the album only consists of three tracks one of which is “Back and Forth-Part Two,” a catchy tune and undeniable crowd pleaser which even has its own video. Their first EP “Touches,” had five songs on it. Formed in 2004 with the inclusion of original and current members vocalist/bassist Jack O’Brien and vocalist/guitarist Curtis Roush; keyboardist and vocalist A.J. Vincent and drummer Joseph Mirasole have since joined the group.

The first track entitled, “Back and Forth-Part One,” serves mostly as an instrumental prelude to “Back and Forth-Part Two,” the EP’s standout track. The 2 ½ minute ambient keyboard line and soft cymbal tapping adjusts into the gateway bass and drum riff for “Part Two” two seconds before it ends. “Back and Forth-Part Two,” continues where “Part One” leaves off but manifests a polka-esque kuitar beat and rock guitar riff. A placid innuendo at the beginning, Roush sings “I’m going back and forth, been going back and forth, been going back and ahh I want you feel everything that I feel….” Only is it apparent what the song is really about when the song goes into the fourth verse--- “I’m going in and out, then going in and out, then going in and out, I just don’t know what to do—to move with you.” Midway through the song, O’Brien adds some Spanish lyrics admist Roush and Vincent’s soft “ooohh oohhhs,” which is preceded and concluded by the ‘back and forth’ chorus. The third track, “Rhubarb Jam” begins with a sound bite reasoning why the wind blows hard before a titillating bass riff commences a loud explosive jam which mellows out halfway into a cool jazzy groove.


The album art done in light and dark shades of yellow and pink features the image of female caricature demonstrating an expression of sheer pleasure-head titled back, eyes closed and mouth baring upper teeth. The band’s name and album title is printed on the lower left side of the cover.

The Bright Light Social Hour

I was hanging out at my apartment after work yesterday and was watching ME television when The Bright Light Social Hour's video for Back and Forth came on---what an energetic fun song/video. So convincing that I decided to go see the BLSH at the Parish last night. I caught the last song of the second opening band, The Frontier Bros but didn't see much to form a complete opinion. I really dug BLSH's set; I'd classify it as electro jam if there is such category. The bassist Jack O'Brien reminded me of Earth, Wind and Fire's bassist Verdine White in that he had a permanent smile on his face the entire time. Regardless, here's the video to their catchy song Back and Forth:

Birds Barbershop "Comin' At Ya!" Grand Opening 3-D Party, May 8th!

Birds Barbershop is having a Grand Opening bash Friday, May 8th from 9 to midnight for their new location on 1902 S. Congress.

Free performances from indie hip-hop superstar Astronautalis, local boat party enthusiast Neiliyo and the Dj-ing skills of Andy (the Mouth) all night long.

Birds will also be providing a free 3-D photobooth, video installations and plenty of 3-D glasses to properly view the shop's mural by local artist Luther Himes.

Complimentary Drinks will be provided by Sweet Leaf Tea, Tito's Vodka, and Lone Star Beer. Visit birdsbarbershop.com or call 445-0500 for more details.