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Fun Fest Saturday: Royal Bangs, Crystal Antlers, Death & More
Charged with the bittersweet task of christening the orange stage at Fun Fun Fun Fest, The Laughing - whom many still remember as a band with a fetish/fondness for plush toys and neon - did their best to disabuse audiences of that recollection, playing up beat-based compositions lacking in either face paint or saxophone. The band is sharper this metamorphosis around, with a heavy emphasis on drums. Grant Van Amburgh managed his kit in addition to an extra snare and an electronic pad, juggling an impressive amount of downbeats. The band’s bread and butter remain more or less in place - with songs from their new LP Fever featuring a sharp guitar tone, tremulous vocals and an additional texture of synthesizer that guided the wily “Runner,” for one. For all of their alertness, the band was gracious but possibly nervous (who wants to be the first to show up at a party?) though they managed with their strengths pushed to the forefront. -Adam Schragin
Red Sparowes
The degree to which any lyrics in Red Sparowes’ music would be a cumbersome misstep is more likely to be lost on anyone who hasn’t heard them live. They do well by not letting anything detract from the lush, kinetic guitar doing the speaking.
Speaking to us in a recent interview, Dave Clifford and Greg Burns were more than a little cryptic about their upcoming album. But their Fun Fun Fun Fest performance provided evidence that Red Sparowes will continue to showcase their ability to project cloudy, contemplative melodies that satisfy your inner shoegazer while maintaining the propulsion required for the metal subcategory.
Hypothetically at least, the posture of a band so named and having put out a Maoist China-themed album titled Every Red Heart Shines Toward the Red Sun, revolving darkly around the “Great Leap Forward” mass killing of sparrows, is reasonably assumed to be ironic. However, Red Sparowes stayed true to their metal sensibilities by displaying, beyond an utter lack of irony, an air of completely detached concentration.
At times, the band’s demeanor on stage Saturday approached a kind of stately boredom in regard to the audience. Of course, these are the disaffected airs of any self-respecting prog-metal band, and the volume of it all gave away the fact that Red Sparowes was quite aware of both their audience and The Sword’s, their neighbors on the Black Stage. We’d say it’s not a competition, but who’d we be kidding? -Rachael Sawyer
Royal Bangs
Restraint is not a familiar concept within the Knoxville quintet Royal Bangs, who broke open the other half of the orange stage with a hyper performance that dripped caffeine. A throaty, electronic-based rock band, Royal Bangs pumped through numbers from their latest, Let it Bleep, under a barrage of twin guitar assaults and heavy synthesizer accompaniments. Pumping, acrobatic vocals from Ryan Schaefer set the tone, and jumpy guitar lines bowed in and out of upstart drums and a terrific bass sound (courtesy of Henry Gibson) only teasingly situated in the recordings. Highlight “My Car is Haunted” places !!! and The Rapture’s post-punk in a more melodic, less snickering context, and Gibson’s mid-set jog into the audience brandishing a tambourine set the bar pretty high for band-audience interaction in particular and musical elation in general. -Adam Schragin
Shearwater
Ok, so we admit that Sunday’s Middle Earth-recalling swamp slogs may’ve changed our tune, but Saturday night was gorgeous, Shearwater is gorgeous, and their luminous sets just plain make sense in the open air.
As many a Jonathan Meiburg fan has doubtless noted, he has more than a few birdlike qualities. Included among these is a hawk-like stare, often accompanying a swell of his voice, widening of his eyes, and (somehow simultaneous) narrowing of his gaze, before it fixes way back and settles onto a horizon far beyond the audience.
When encountered live, this mien reminds you how much of his songwriting seems preoccupied with approaches of some kind. All the more sense it makes to see Shearwater outside, where something awaited or unexpected—maybe a Texas storm—is on the horizon. “On the Death of the Waters,” being essentially the musical equivalent of this lookout gesture, it especially stood out as apropos under-the-stars listening.
Auguring well for Shearwater fans eagerly awaiting the release of The Golden Archipelago in February, the high-water mark of Saturday’s set was the live debut of a new song from that album. With an anthemic, equestrian feel, it seemed to announce one step further taken in the integration of Shearwater as a full band (rather than Meiburg’s vocals, et al.- though a nice enough band that would be).
Populated by instrumentalists capable of matching the formidably long strides of Jonathan’s voice, the song hearkens back to the warmth of 2004’s pagan-hymn-turned-bedroom-confession “My Good Deed,” while benefiting from the musical athleticism earned through six years of hard work and maturation as a band. After this set, we’re very much looking forward to another meticulously curated collection of statuesque indie tracks from Shearwater on the horizon. -Rachael Sawyer
Night Marchers
San Diego’s Night Marches took to the black stage in front of a respectable-sized audience for an early afternoon timeslot on Saturday, and immediately proceeded to tear workmanlike through 45 minutes of the jagged rock and roll variety we’ve come to expect from frontman John Reis. The crowd was also treated to a fair dollop of Reis’ ironic stage banter between songs from the band’s debut album See You in Magic, with Reis promising that they were “proud to be a part of the emerging talent here at SXSW” and overall “…mostly happy to be here… fakin’ it a little, but mostly having a good time.” The band was extremely tight as a unit, with the interlocking guitars of Reis and “lead rhythm guitarist” Gar Wood being a particular highlight. Night Marchers might not have the recording history of Reis’ many other projects—Rocket From the Crypt and Drive Like Jehu prime among them—but in spite of that and their singer’s subtle jabs at rock show protocol, they turned in a great set that was clearly appreciated by those in attendance. -Bryan Carroll
Crystal Antlers
After a quick and dirty sound check that seemed to create as many problems as it solved, the Long Beach act Crystal Antlers soldiered on regardless, spinning through their set with a frothy mix of unhinged vocals and sweaty guitar noise, the latter of which was more concerned with texture than concretes. Jonny Bell’s turns on lead vocal and bass were inspiring, odd, and full force. Perhaps even more notable was percussionist Damian Edwards, whose stick-twirling, anxious excitement as he banged on the bongos and a crash cymbal was thrilling. Organist Cora Foxx, when her sound wasn’t lost somewhere in the melee, helped guide the melodies in spite of the aforementioned sound difficulties. Featuring the occasionally bluesy thrust (“Andrew”), the band were consistently unpredictable, including a spate during which Bell lost his handle on his bass guitar strap and had to make do without the support. A more intimate experience watching the band might better play up what makes them so alluring, but a festival stage suited them just fine. -Adam Schragin
Shonen Knife
Here’s a band that is no stranger to the festival circuit. Shonen Knife - in particular Naoko Yamano, the band’s only current original member - played with Nirvana, hit the stage of Lollapalooza, and in general has bridged three decades(!) of rock music with a J-rock bent informed by the imprint of The Ramones. Their latest album Super Group is exceedingly poppy and bubbly but is coupled with serious musical chops. The band’s touring itinerary was a short but packed few weeks touring the States before hightailing it back to Japan, and their Fest performance was pretty damned inspiring (- and so cute! matching outfits and everything!). Given that their 2007 record was entitled Fun! fun! fun! and featured rockers like “Ramones Forever” and “I Want to Eat Cake!”, you’d be hard-pressed to find a band who better understood what this weekend was all about. -Adam Schragin
The Sword
There was no trace of irony at The Sword’s 4:30pm set on the black stage; even though Austin’s best classic heavy metal revivalists were a late addition to the lineup, they attacked Fun Fest like it was Tokyo with some seriously Godzilla-sized riffs. The sizeable crowd was given an early introduction to a set almost exclusively comprised of new songs, many of which will likely be featured on the band’s as-yet-untitled third album, due out next year. The new material was similar in spirit to that of the first two Sword albums, with the only major departure coming in the form of “Lawless Land”—a metalized 12-bar blues so reminiscent of ZZ Top that Billy Gibbons may have a case for claiming a portion of the royalties. Overall though, The Sword’s high-energy take on Sabbath-inspired metal was the order of the day. By the end of their set, with hair flying and shirts soaked through with sweat, the quartet had earned the ubiquitous metal seal of approval, as throughout the crowd, devil horns were thrust enthusiastically into the afternoon sun. -Bryan Carroll
James Husband
The sun still squarely above us (oh, how we’d miss it come Sunday), James Husband took to the yellow stage at around four with a band in tow that also featured members of of Montreal, Husband’s, (a.k.a. Jamey Huggins’) other, festival-tested neo-pop outfit who were to close the festivities the next evening. But this was Huggins’ show, and his set was more closely personal and intimate than the psychedelic fever dream of his other band. That’s not to say they weren’t flashy - just more restrained. Huggins looked the part of the adorable celluloid cowboy, though keys player Dottie Alexander sported his red (5? 6?) gallon hat for the majority of the set. Husband’s performance follows the long-awaited release of his first record, A Parralax I, a collection of heartfelt tunes augmented by clever instrumental accompaniments. Live, this meant vocal effects and Husband’s turn on both acoustic and electric guitar. While it might be odd to see Huggins stripped of the glow of strobe lights or a pair of ass-less chaps (see: the Vegas performance), the songs, specifically strong opener “Greyscale” did not lose any charm. The sweet but possibly ominous “While the Boys Went Down Under” was a slower highlight, and peppier “Little Thrills” was all kinds of wonderful. -Adam Schragin
Melt Banana
Japan has this weird duality, doesn’t it? At least from our perspective, you have uber-cutesy anime and big, puffy, rosy-cheeked mascots that look like marshmallows, and then there’s this other creepy world of underpants-sniffing and tentacle fetishes and all that. The aural equivalent of some unsettling anime, Melt Banana are surprisingly darling for abrasive noise-punk fanatics, thanks in some part to a recent musical direction that revels more in song structure than just abrasive vocals and guitar squeals. That’s not to say their latest album Bambi’s Dilemma is grandma-ready (unless your grandma is Yoko Ono), but it assaults and pleases sensibilities in equal measure. Lead singer Yasuko Onuki’s sharp yelping was a perfect foil to guitarist Ichirou Agata’s manic shredding, and the whip-smart “Blank Page of the Blind” was just one highlight. -Adam Schragin
7 Seconds
Even if you’ve never heard 7 Seconds before, you’ve probably seen their name emblazed on a cut-to-pieces denim jacket, the kind favored by pit-stalking, punk-loving people the world over. Fronted by Kevin Seconds, the band is gritty and unmistakably old school hardcore - with all of the complications that label entails. Lead singer/yeller Kevin Seconds is a livewire performer, by turns gracious to the audience and appropriately angry during the band’s more corrosive numbers. For the most part, it was difficult to catch wind of particulars during the band’s set, as the audience whipped itself into a concentrated frenzy of crowd surfing and what newscasters always refer to as “slam-dancing” during mosh pit exposés. Seconds was charmingly self-deprecating, but seemed to perfectly understand what a unique position he and his band occupied. Derided thirty years ago as sophomoric, simplistic or, worse, corrupting, punk rock has outlived its detractors and spawned a million seedlings. That alone helped steel us through an extended, walking tour through the cover of Nena’s dorky “99 Red Balloons” which served as their set closer.-Adam Schragin
Foot Patrol
Fresh festival feet never had a chance tip-toeing their way up to the blue stage Saturday afternoon. As "Aww shit! Work that foot!" beamed from the speakers, ears undoubtedly perked and heads probably tilted. Foot Patrol reign supreme at turning a creepy fetish into glorious weirdness. Giving shout outs to all the pretty ladies with nice feet, frontman TJ Wade gracefully embraced his inner freak. Jazzy dance beats and refrains swimming in synths set the perfect foundation for a high-energy show. Band members were costumed in shady cop uniforms and jailbird outfits and dancers had their moves choreographed to the tunes. As if there wasn't enough distraction, dancers began acrobatic moves midway through the set, dizzying the mind. Did we mention the killer saxophone and trumpet blasts, too? Despite the sordid craziness, Foot Patrol is not just about laughs. Their seasoned musicianship is ever present throughout kooky lyrics and stage stunts, broadcasting their singularity even further. -Candace Birkelbach
Yeasayer
After a bit of a delayed start following DEATH's performance, Yeasayer delivered a truly magical gift for a mostly patient, kind crowd. We eased our way up to a sweet center stage spot, tuned out the crowd chatter, and waited for the glory to unfold. Soft blue romantic lights shone, and each song was played in a delectably different manner than it's recorded version cousin. Some reggae and 80s electronica noise were a nice departure for this indie group. We've been hooked on the "Tightrope" jam since it was released in February on the Dark Was the Knight compilation album. Saturday night, we found a way to love that song even more. The already all-consuming piece had a much slower pulse and synthesized melody with a backdrop of wizardly percussive techniques. Singer Chris Keating's bellowing, echoey voice serves as a medium for the band's no bullsh*t approach to music. Watching Yeasayer perform feels like peering into their practice room—they're completely inoculated in the driving force of the moment and really playing for themselves. Yet, they still run like a well-oiled machine, just without all the disingenuous frills. Keating teased about giving us a taste of some "new shit," presumably from their anticipated 2010 release, Odd Blood. He promised this "new shit" was ridiculous, but alas stuck with the playing the "old shit" from All Hours Cymbal. Luckily it all felt new to us. It's relieving to hear something familiar with a bit of a twist to keep the set engaging but invigorating. -Candace Birkelbach
Ratatat
We had a chance to meet up with Ratatat earlier in the day for a quick video interview. At noon they were still clutching the coffee, but by showtime they were wide awake and in performance mode. Members Evan Mast and Mike Stroud appeared meek and mellow behind the scenes, but the Ratatat boys brought full-throttle guitar riffs, giving a large beacon to the heavily electronic blanket of backbeats. Stroud proceeded to do spine curving back bends throughout the set adding some much needed rock n roll to the orange stage. There were some technical glitches throughout the set but the constant haze of smoke and visuals kept most from noticing or caring too much. They chose selections almost entirely from their latest album, LP3, but also wrangled out some from earlier albums Classics and Ratatat to keep new and old fans bouncing along to their favorites. It's sometimes hard to distinguish one Ratatat song from the next when listening to the full-length recorded albums, but the live show kept a good balance of quick-paced and whimsical tracks. An eerie quietness during the "Loud Pipes" melody was quickly retaliated with the conga-themed "Mirando" and "Brulee". Typically, instrumental bands can be a bore to see live, but with Ratatat it's the opposite. Beyond the trippy video clips and stoner kids, the intertwining of instrumental layering begins to unfold. Something you never noticed on the record will pop out beautifully, like a harp or sleigh bell sound effect. It would've been cool to have a surprise entrance from Kid Cudi to sing their latest collaboration "Alive," but we can't complain about the energy Ratatat brought all on their own. -Candace Birkelbach
Les Savy Fav
Wildly provocative singer Tim Harrington led Les Savy Fav onstage with what some might call "a bang." Regaled in his "step grandmother's" wedding dress and a lizard mask, Harrington shouted through a few songs while smearing red paint on himself and his ticked-off looking bass player. We soon learned why he's been known to request for 30 foot mic cables for a set when he lept into the crowd, traveling all the to the sound booth and back. It wasn't until Harrington stripped from his dress and pants that the show really began. Revealing neon purple tights with his junk held secure only by a small pair of tighty blueys, Harrington quickly revealed how far his stage tactics can go. He brought a ladder from behind stage out into the crowd and used it as a pogo-stick to jump about, shouting from the top step for fans to climb up with him. Suddenly, the bottom of the latter is lifted into the air and Harrington is now climbing a horizontal stretch of latter that's supported only by the terrified clenched fingers of unsuspecting fans. Finally, "that guy" gets on the ladder to join Harrington. They fight for control of the mic for a bit before engaging in some jaw-dropping dry humping while still on the fan-supported ladder beams. The fan was quickly tossed over by Harrington and the craziness subsided for a bit. Oh yeah—the music was pretty good too. For a man with no inhibitions, he managed to deliver a collected and powerful performance. Though eyes were on Harrington most of the set, the band members of Les Savy Fav held their own in delivering some hardcore art punk for ever-feasting fans. -Candace Birkelbach
