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Tuesday, January 22, 2008
Review: The weekend in rock, hip-hop and being cold, part two
Austin Music Source headed over to Flamingo Cantina Sunday night for the inaugural AustinSurreal party thrown by former Houston rap blogger-king Matt Sonzala, who is currently paying the bills as part of the staff of South By Southwest.
Openers Zeale 32 and Gerald G got the crowd moving, but the night belonged to Dallas trio PPT.
Harnessing a level of nerdy weird not seen since Kool Keith at his least druggy or De La Soul at their oddest, PPT MCs Pikahsso, Picnic and Tahiti embodied the thrilling energy that can only come when a hip-hop show is on full blast, mixing straight ahead beats
All three were charismatic, but decked out in a white satin Porsche jacket and a Cub Scout shirt complete with neckerchief done up like an ascot, Pikasso all but owned the place as he hurled himself around the stage, a from-the-heart rap nerd who knew that a corny chorus of A-Ha’s “Take On Me” was worth the dividends in love from the crowd, who were ready the follow PPT off a cliff by the end of the set. Look for a new album later this year.
Live dubsters Grimy Styles headlined. A brilliant evening and a smashing start for Sonzala.
Maybe the entire town was hung over Monday night or maybe Austinites thought they would melt in the rain, but the music district was all but abandoned last night.
This included Emo’s where The Roller, Howl, St. Jude and Canyon of the Skull delivered chunky, louder-than-God crust-metal (heavy metal with a punk-yet-progressive cast and a cranky, end-times worldview) in the small room and Oxbow singer Eugene Robinson held a reading for his hysterical new book “Fight.” Neither show drew more than 20 people, which is a shame, as all four bands were face-pulling. And Robinson is a very funny guy, which you might not realize from his wildly intimidating (and often three-quarters naked) stage presence in Oxbow.
Austin Music Source felt bad about all this lack of turnout and picked up solid EPs from Howl and St. Jude, both of whom hail from the gnarly punk-metal scene in Providence, R.I., as well as a killer Oxbow album from Robinson.
Again, see you at Lupe Fiasco.
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Hannah Montana: The show is almost here
The Erwin Center sent out a news release with day-of-show information for those attending, as well as information on a Miley World event open to the public. Excerpts from the release:
AUSTIN, TEXAS — Teen sensation Hannah Montana will be headed to the Frank Erwin Center for her sold out “Best of Both Worlds” tour this Thursday, January 24, with special guest Aly and AJ. Here are some additional details for fans headed to the show.
· Will Call Open Now - Fans who selected will call as the delivery method for the sold out Hannah Montana show on January 24 should come by the Frank Erwin Center Box Office as soon as possible during regular business hours to pick up their tickets if they have not already done so. Tickets will be available for pick up at will call on the day of the show, but fans are encouraged to pick up their tickets earlier, if possible, to avoid long lines on the day of the show. Frank Erwin Center Box Office hours are 10 a.m. to 6 p.m. Monday through Friday. Show Time - Doors open at 5:30 p.m. The show is scheduled to begin at 7 p.m. and will last approximately 2 1/2 hours. Only fans with tickets will be allowed inside the Frank Erwin Center. · Camera Policy - The show does not allow any audio/video recording devices. Only small digital and instamatic/disposable cameras are allowed. Professional style cameras will be prohibited. · Banner Policy - No large banners are allowed inside the Frank Erwin Center, however signs smaller than 11” x 17” are allowed as long as they do not cause a sightline issue. · Search Policy - No backpacks, knapsacks or oversized bags will be allowed in the building upon doors opening. All small bags and purses will be checked.
Parking Information - Fans should not park in the small lot between the Frank Erwin Center and Hargis Hall just north of the building or they will be towed. Lots 80 (near the Swim Center), 70 and 99 (south of Mike A. Myers Track and Field Stadium) and lots 103, 104 (next to UFCU Disch-Falk Field) will be available starting at 4:30 p.m. The cost is $10 per vehicle. All university garages will be open to the public at noon including Trinity Garage, Manor Garage and Brazos Garage. The cost is $10 per vehicle. The state parking garages and lots along Trinity from 12th Street to MLK and garages Q & R on San Jacinto and Lot 7 across from the Bob Bullock Texas State History Museum will be open to the public starting at 5 p.m. The cost is $5 per vehicle except for in the Capitol Visitor Parking Garage where the first two hours are free, then cost $.75 every 30 minutes up to $6. See the following for a map of state parking garages: http://www.tspb.state.tx.us/spb/plan/floorplan/pdf/CapitolComplexEmployeeParking.pdf Mobility Impaired Information - Limited mobility impaired parking is available in Lot 108 ($10 per vehicle) and in front of the Frank Erwin Center on a first-come, first-served basis. The mobility impaired entrance is at Red River.
·Miley World - Fans are welcome to come to the north plaza near the flagpoles starting about 3:30 p.m. the day of the show to enjoy Miley World. This event is open to the public and will take place rain or shine. There will be a dance floor, karaoke and inflatable globes. Restrooms will be available.
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Record shop coming to East Austin
Longtime Waterloo Records clerk Spot (not the former SST producer) hopes to open Trailer Space Records next door to East Side Pies (1401 Rosewood Ave.) by the end of January. Record bins will be moved in Wednesday.
“Remember when record stores were fun places to hang out?” Spot asks rhetorically, “where you’d get turned onto records that would change your life? We want Trailer Space to be that kind of place.”
Trailer Space, which had originally planned to open at the corner of Pedernales and Cesar Chavez streets last year but got tangled in red tape, will focus on vinyl and in-store appearances. Spot says he envisions the Space as an occasional live music venue, beginning with the Golden Boys show Feb. 22. The shop will team with East Side Pies and Bearded Lady Printing to host a free outdoor stage during SXSW.
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Review: The weekend in rock, hip-hop and being cold
While the fine people at the Onion asserted that there was no reason to stay in last Friday night, we submit that there was no reason to stay in any night this past weekend.
Unless, of course, you didn’t like the cold and the rain. As Bavu Blakes said at Matt Sonzala’s AustinSurreal event at Flamingo Cantina Sunday night, “It looks like ‘8 Mile’ in here.”
Austin Music Source was out every night over the long weekend and AMS is hoping to keep the streak alive this coming week. We’ll see you at Lupe Fiasco tonight.
Friday night, AMS started out at the DJ Shadow/Cut Chemist show, but managed to completely screw up the time, so we saw a hunk of Kid Koala’s set before having to head across town.
Super primitive rockers Coma in Algiers threw down at the Scoot Inn, one of AMS’s favorite venues. They’re still breaking in a new drummer, and could stand to step up the time between songs, but they’re still Austin’s only exponents of weirdo-caveman thud-punk a la the Electric Eels.
AMS ended the night at the first night of MegonFest at Beerland. Our conclusions? The Young will be headlining shows soon, Manikin might be the most weirdly slept-on punk band in Austin, and Chicago lifers Masters of the Obvious will live forever.
Saturday night, AMS spent the night between Emo’s inside and outside stages.
Inside was night two of MegonFest, where the highlight to AMS’s ears was Hex Dispensers, who have become the Austin’s best garage band virtually overnight.Look for a new seven-inch single from them later in the year.
Latino hardcore kids Deskonocidos opened the show with a fierce, screaming set, while Portland old school punk revivalists Criminal Damage held down the third slot. They were a little too traditional for AMS’s ears, but this is a minority opinion among hardcore punk connoisseurs. The Marked Men headlined. A great two-days all around.
Outside, Le Savy Fav sold the place out with their panicked punk rock. Fatal Flyin’ Guilloteens also threw themselves around the stage and covered the Jesus Lizard’s “Gladiator,” which should qualify them for some sort of awartd for Least Essential Cover Ever. Attack Formation opened, looking like Crass on laundry day (lots of folks on stage, no black clothing; someone will find this joke funny).
More about Sunday and Monday to come.
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Lupe Fiasco at Waterloo Records
An update: Lupe Fiasco’s appearance at Waterloo Records at 5 p.m. today is an autograph-signing session only. He plays at 10 tonight outside at Emo’s, 603 Red River St. $20.
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SXSW pirates take it outside
Adam Brewer’s annual Texas Rockfest, a thorn in the side of South By Southwest organizers for nine years, is accepting applications from bands to play two outdoor stages at Trinity Street near Sixth Street on March 12- 15. You can apply here for $20.
Brewer, who started the unsanctioned event (originally called Heart of Texas Quadruple Bypass Fest) after his film was rejected by SXSW in 1999, has long complained of harassment from SXSW’s “Parasite Crew,” formed to fight those “piggybackers” SXSW organizers feel are out to damage the fest.
Meanwhile, the Nashville-based RedGorilla Music Fest is moving into some of the Sixth Street danceclubs previously used by Texas Rockfest. RedGorilla is collecting a $30 submission fee from bands.
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Waterloo Top 10 for the week ending Jan. 20
Various Artists, ‘KGSR Broadcasts Vol. 15’ (KGSR)
Radiohead, ‘In Rainbows’ (ATO)
Magnetic Fields, ‘Distortion’ (Nonesuch)
Various Artists, ‘Juno’ Original Soundtrack (Rhino)
Robert Plant & Alison Krauss, ‘Raising Sand’ (Rounder)
Iron & Wine, ‘The Shepherd’s Dog’ (Sub Pop)
Band of Heathens, ‘Live at Antone’s’ (self-released)
Spoon, ‘Ga Ga Ga Ga Ga,’ (Merge)
Ghostland Observatory, ‘Paparazzi Lightning’ (Trashy Moped)
Beirut, ‘The Flying Cup Club’ (Ba Da Bing/4AD)
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Review: Big Sam’s Funky Nation
The presidential nomination season could have been over already, if only one of the candidates had thought to hire Big Sam Williams as campaign manager. The minute he took the stage Saturday night at the Continental Club and told people to start moving, they started moving — no first-song shyness, no waiting until the second or third cocktail kicked in.
For some two-and-a-half hours, the dancing just got wilder and wilder, the packed club a morass of wiggling hips, shimmying shoulders and waving arms. When the leader of Big Sam’s Funky Nation said “jump,” everybody pogoed like 8-year-olds, and when he crouched low, the whole crowd squatted down until he led the movement to boogie back up. His offhand exclamation of “Who dat?” started a rowdy Texan chorus of the New Orleans Saints fan chant.
Big Sam’s own moves are too advanced for amateurs, but by the end of the night, he had everybody executing a fairly complicated dance routine, even though it was still so jammed in front of the stage, there were inevitable collisions when he called out “To the left! To the right!” Such is the force of Big Sam’s personality, he could doubtless have had a caucus of the most rigid conservatives obeying his musical commands to “Move that body,” “Shake that thang,” and even “Second-line over and vote for Kucinich.”
Big Sam is as formidable a trombonist as he is a frontman, his solos as beautifully structured as they are technically dazzling. Usually, the Funky Nation also showcases the quicksilver harmonic instincts he honed early in his career, as a member of New Orleans’ celebrated Dirty Dozen Brass Band. However, on this occasion he left the rest of the Funky Nation’s horn section at home.
Long jams incorporated such New Orleans classics as “Palm Court Strut,” “Li’l Liza Jane” and “When the Saints Go Marching In,” but the set leaned more toward slamming funk, driven by bassist Doug Dietrich and substitute drummer Jamal Watson, with guitarist Casey Robinson frequently shredding like P-Funk’s Eddie Hazel or the Meters’ Leo Nocentelli in a metallic mood.
Keyboardist Adam Matasar frequently deployed a clavinet sound reminiscent of Stevie Wonder at his funkiest, and turned to celestial organ tones for sparkling jazz solos. Two Austin saxophonists took turns sitting in for a good part of the night, with Topaz McGarrigle providing a particularly strong foil for Big Sam.
Austin’s Black Joe Lewis & the Honey Bears were an inspired choice as the opening act. Between songs, Lewis was almost as retiring as Big Sam is extroverted, but Lewis is a superb blues shouter and arrestingly percussive guitarist. The young band’s horn-fueled fusion of gutbucket blues, raunchy R&B and psychedelic garage-rock was very different from the headliner’s sound, but its fearsome energy output was nearly as high.
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