1990s Cookies (Rough Trade/World's Fair)

The 1990s "play music like a blond gets out of a car." This, we assume based on listening, means something like, "Our sound is snotty, a little fucked up on we-don't-remember-what, and always f-u-n." While John McKeown (Yummy Fur) won't make any news showing his knickers to paparazzi during a limo exit, he will succeed in promoting the display of everyone else's underthings on the dance floor, as Cookies provokes an undeniable swagger that sets hearts and feet a-flutter. Back in the day, Yummy Fur was Glasgow's one way ticket to glam sass and bizarre indie garbage: McKeown is something of a cult hero over there, just ask Franz Ferdinand and Bernard Butler (formerly of Suede), who produced Cookies. It's sort of like Art Brut, but with balls (who brags about how much drugs they do anymore?), a kind of whiplashed garage rock ecstasy trip with your best friend's older, cooler cousin. To put it simply, and to quote Stranger Mag, "If you’re wondering why The Arctic Monkeys and Razorlight leave you feeling cold, unloved and slightly confused at what all the fuss is about, then rest assured – it’s because 1990s nicked all the fun from their music and made Cookies with it."

1990s MySpace
1990s Official
1990s "See You At the Lights" (YouTube)

Bat For Lashes Fur & Gold (Caroline)

Natasha Khan lists her first influence simply, "David Lynch", and after watching the video for "What's a Girl to Do", it all makes sense. The somewhat Lynchian (though predominately Donnie Darko-ish) video features rabbit mask-wearing bmxers creepily appearing from behind the darling's own bicycle, as she mourns her romantic situation along a dark, tree-lined street. As the song begins, and the Ronettes' "Be My Baby" percussion snaps, a gorgeous opposition emerges: tender, innocent love vs. dark, ghostly mayhem. Bat For Lashes is primarily vintage modern folk set softly alongside gothic dance and a seemingly sincere affection for Cocteau Twins mystery, Kate Bush's poetic storytelling and whispered secrets between damsels in dark corridors.

Bat For Lashes MySpace
Bat For Lashes Official
Bat For Lashes "What's a Girl to Do" (YouTube)
Bat For Lashes Photos & Show Review @ PitchforkMedia.com

Department of Eagles The Cold Nose (Isota)

Daniel (claiming Grizzly Bear & his grandfather, Robert Rossen and Fred (claiming his father's translation of Marx's Grundrisse), are the two-man wrecking crew known to most as Department of Eagles. They also claim to be "semi-active". We assume it's because the music plays like a basement summer project (in a good way), focusing on two parts early White Stripes and one part Eagles of Death Metal. Add a pinch of Strokes and you're dangerously close to "Romo Goth." Keep listening, though, and you'll realize that these Romo Goth comparisons might be misleading ... eventually you reach M Ward-ish neuvo-chamber pop tunes like "No One Does It Like You" (a particularly Grizzly Bear reminiscent type of song) and "Deadly Disclosure," another hazy acoustic tune laced heavily with LSD and (yes) recorded in a real studio. Fans of Grizzly Bear (duh), M Ward, Akron/Family and any band that ever used a banjo the proper way will enjoy The Cold Nose.

Deptartment of Eagles Official
Department of Eagles MySpace
Department of Eagles "Romo Goth" (YouTube)

Since their inception in 2001, Portland's The Decemberists have channeled a unique and wide-ranging set of influences (be it R.E.M., Irish folkfore, or Russian literature) into classic indie-pop that has found a large and fervent fanbase. The group's 2006 major label debut The Crane Wife both amazed and shocked music critics, who loved the material but could hardly believe the band's audacity, as two 11-plus minute epics were featured on the disc. The bold strokes of the album certainly didn't keep fans away, as the album debuted at #35 on the Billboard 200 and has since sold over 250,000 copies. The band's higher profile has resulted in a summer orchestral tour of major markets, appearances at Coachella, Bonnaroo, and the upcoming ACL Fest, and even a comic feud with Stephen Colbert over which "green screen" video contest was best. The band also recently taped an episode for the 2007-08 series of "Austin City Limits," which will air on PBS in October. Just before dropping into Austin for both the ACL shoot and a secret show at The Mohawk, Decemberists' bassist Nate Query (pictured far left) called Austinist from California to discuss the band's ACL taping and upcoming Zilker Park appearance.

What attracted you to joining the band in its beginnings?

Well, at the time, I was playing in a couple of different bands in Portland and a guy I knew asked me. He said he was in a really cool band that wanted an upright bass player, and asked if I would want to come to a rehearsal and check it out. And I basically just really liked the music; I didn't know Colin or the other guys, and even the guy that asked me I barely knew. But I was really excited about playing upright and only upright in a rock band, and then just really loved the songs. I liked the drummer, I liked Colin's singing and guitar playing, so it was like "cool, I'll do it!" It was really that simple. And it was definitely music that was a little different that what other people were doing in Portland at the time; there was a lot of alt.country going on, and this was not alt.country.

We live in a very music-savvy town here in Austin, and there are some genres and sounds that are pervasive here. Does Portland's rather unique weather and atmosphere influence your music?

I think it's possible....I'm not sure. (Laughs) I think the thing about Portland is that it's a very laid back kind of city, like Austin, where it inspires people to be creative in an outside-the-mainstream kind of way. You don't feel this pressure to be mainstream, or be successful, and you don't have to work that much to pay rent and get by in a lot of cases. So I think in that sense, Portland was just a good place to start an outside-the-mainstream band. In the beginning, we'd rehearse once a week, and play out maybe once a month, and hardly anybody was coming to the shows...and we were just going farther and farther in this direction of songs like "Odalisque" and "July, July!" We were going out there and exploring tangents, which was really fun. I think some cities would be less conducive to doing something that...weird, basically.

The Decemberists are one of the few indie-rock acts in recent years to avoid the blogosphere insanity of a quick buildup followed by a backlash: while lots of bloggers championed the group, the commercial build of the group was very gradual and organic over a five-year period. Has that helped the band stay sane and grow in a nicer sort of way?

It's funny, because the last interview guy asked me: "Hey, you guys have had really sudden success!" (Laughs) I feel like in a lot of ways I'm surprised by the success we've had, and I appreciate how lucky we've been. But on the other hand, I really like our music and this band, and we've been working very hard since we started, so it makes perfect sense to me that we've grown every year. We've grown at a fast rate, but it's been really steady, and I appreciate that - I think you're right, we have been able to learn how to play bigger shows gradually, learn how to be a bigger band gradually, and I think it'd be odd to go from...say when we first started, and we didn't have any stage antics. We just crowded onto a stage and did the show, and Colin's banter hadn't really developed to a big extent. We didn't have that much physical interplay on stage, and it would've been funny to go from that to what we're doing now overnight, because we've learned a lot along the way about showmanship and sound and all sorts of things.

Jennifer Nicely cites many of country's solid gold heroes as her influences, but she has publicly professed her love for female jazz vocalists including Nina Simone and Billie Holiday. The influences show: her voice has the rich tone of a seasoned lounge singer who's spent too many nights singing her heart out for the indifferent audience, and her music relies on the steady walking beats that have characterized so much produced in the wake of Johnny Cash.

Jennifer Nicely
Nashville, TN
Latest Release: Seven Songs, 2004
Sunday the 15th, 11:15 a.m., BMI Stage

Sahara Smith sounds a little like Marianne Faithful, if Marianne Faithful's voice hadn't been drowned by decades of whiskey, heartbreak, and cigarettes. Smith's folk songs are a little sweet, and a little sad, the vibrato in her voice nearly a tremble. It's the soundtrack for a night spent alone in a crowded room -- probably a crowded room with dark wood paneling and stiff drinks. Not that Smith can drink yet. The teenage Austin local is set to become a musical prodigy story.

Sahara Smith
Austin, TX
Friday the 14th, 11:15 a.m., BMI Stage

Rasputina is one of those bands that sounded like a gimmick but turned out to have the skills to carry the concept far enough to make it interesting. We, like many children of the '80s first became aware of Rasputina when they were one of Marilyn Manson's favorite projects and all the goth kids at our high school were totally, totally into them because they were covering pop songs on cellos and that was just so, you know, awesome.

Rasputina has evolved since then, and the band is currently touring in support of their sixth album, Oh Perilous World out from the Filthy Bonnet Recording Company. Since the days when their work covering bits like "Bad Moon Rising" and "Brand New Key," the band has delved further into distortion and lead singer Melora Creager's obsession with history. The tracks from Oh Perilous World hover in between eerie and jaunty, sweet and sinister, with the vocals contributing to the relative stylistic uneasiness. Get your dose of postmodern Victoriana at the Parish this Saturday, where the band will be joined by ethereal indie rock outfit My Brightest Diamond.

Rasputina with My Brightest Diamond
The Parish Room
Saturday, July 28
Tickets $15
Doors at 8 p.m.

Rasputina [official]
Rasputina [MySpace]
My Brightest Diamond [official]
My Brightest Diamond [MySpace]

[Picture of Rasputina from the Rasputina website.]

The Boggs Forts

Forts is quite possibly a modern breakthrough in the use of fusing modern sampling and eclectic songwriting. The Boggs create a stirring soundscape of both cut-up and collage and multi-cultura pop songs around foreign noise with traditional rock elements (guitar, bass drums etc). There are elements of '60s influence in tunes like the left field "Kinkesque", "Little Windows" and bouncy glam rock ala "Arm In Arm". However, the album really starts going towards the end where we find the band in more reflective moods such as "The Passage" and "So I So You". The album reaches an apex with "Poor Things" and "If We Want (We Can)", which sounds as if Nick Cave went to Nigeria for an afro beat holiday. The later songs uses melodies and rhythms of main man Jason Friedman's homeland of South Africa. The more traditional elements sound a bit more personal than the sonic experiments. Overall, Forts is definitely worth a listen.

The Boggs:[myspace] Gigantic Music [Official]

A Sunny Day In Glasgow Scribble Mural Comic Journal

The strange beauty of Philadelphia's A Sunny Day In Glasgow sets the imagination aflame with their full length debut Scribble Mural Comic Journal; a shimmering eruption of shoegaze melancholy and avant-garde dream pop. As the brainchild of les enfants terribles Ben, Lauren, and Robin Daniels, ASID combines the twee pop aesthetics of British influences such as The Field Mice and American noise terrorists The Swirlies to create a silver cloud blanket of metallic haze. The trance inducing vocals of the Daniels sisters recall early Ecstasy And Wine era My Bloody Valentine, and The Cocteau Twins in their prime. However, the album's homemade DIY production style in combination with overall otherworldly songwriting gives the band a persona and sound all of their own. The spellbinding "C'mon" and "Wake Up Pretty" are examples of this new take on '90s fuzz pop. Elements such as static and tape hiss are used in dazzling effect, with tidal waves of treated guitars and synths giving the songs an underwater quality. The rhythms sound like thundering industrial quakes on tracks like "5:15 Train" and "Ghost In The Graveyard".

A Sunny Day In Glasgow have single handedly updated a genre and have created an atmosphere of wonder; a dreamscape where imaginations run wild across dismal skylines. The album is released on the former Austin now Transcontinental imprint Notenuf Records.

A Sunny Day In Glasgow: [MySpace]
Notenuf Records:[Official]

Look no further than Beerland Saturday night to find some of Austin’s most interesting fledgling indie bands. Headlining is Til We’re Blue Or Destroy, a 9-piece communal rock group utilizing every sound at their disposal. That means occasional horns, digital sounds and synthesizers, vibes, cross-gender choruses and even electronic vocal effects. They could use some wood blocks though. Just a thought.

Then, there’s The Corto Maltese, who already gain major points for naming themselves after the '70s comic series of the same name about a swashbuckling sea captain. Formed just last year, this indie pop foursome are already building a buzz and are often compared to Arcade Fire.

A different kind of indie pop, The Unbearables have been known to bring a 14-person stage show with grandiose arrangements and a flare for the dramatic. Not only did they write and perform a zombie rock opera last year, but they have released a concept CD of those epic tunes called Just One Bite: Selections from “Bitten!: A Zombie Rock Odyssey". With moog, clarinet, Farfisa and the Zombie Girls Choir chanting “people, people, we’re gonna eat ‘em” how could they go wrong? Opening the show are The Dirty Hearts with their appropriately dirty rock (or rawk!) complete with brash punk attitude and some new wavey synth for good measure.

Til We're Blue Or Destroy w/ The Corto Maltese, The Unbearables, The Dirty Hearts
Saturday, July 28th
Beerland
Doors 8pm, Show 9pm

Til We're Blue Or Destroy Myspace
The Corto Maltese Myspace
The Unbearables Myspace
The Dirty Hearts Myspace

Image courtesy of Til We're Blue Or Destroy's Myspace, by Felicia Graham.

We know you've heard the name, and we know you know they're not Japanese. Or police. They're actually just some kids from Canada who met in fourth grade and are living the dream: playing in an awesome, fun, and increasingly popular band. Elementary friends David Monks (vocals, bass), Graham Wright (keyboard), and Josh Hook (guitar) met Greg Alsop (drummer) in high school and formed Tokyo Police Club. Shortly thereafter, and totally out of the blue, they got signed to Paper Bag Records, quit school, worked during the day and played music at night, and ended up on the Late Show with David Letterman a year later. They've got a cool/nostalgic video of "Your English is Good," have played all kinds of notable festivals (SXSW, Coachella, Sasquatch etc.), and are known for their infectious songs and fun shows. They're young, they've got heart, and they're in town this weekend.

Not Friday, not Saturday, but SUNDAY night, they're playing at Emo's with Ra Ra Riot and current local faves White Denim. It will be rock/pop delight, and you will not be disappointed. We know you're frustrated with going out in the rain, and we can commiserate. But even though the weekend's forecast is gloomy, we don't care. It's summer, and we're going, okay? We're going. Won't you come, too?

Tokyo Police Club w/ Ra Ra Riot, White Denim
Sunday, July 29th
Emo’s - outside stage
Doors at 9 pm, show at 10 pm

Tokyo Police club on [MySpace]
Ra Ra Riot on [MySpace]
White Denim on [MySpace]

Photo courtesy the band's web site

Tonight, after you've enjoyed the soothing Scottish sounds of Travis @ La Zona Rosa, head over to Emo's Lounge for an after party featuring the dance-pop goodness of Scissors for Lefty. Their latest album, Underhanded Romance, features more of what fans have come to love (and expect) from the band ... toe-tapping tunes full of indie-pop swellness and contagious hooks that are sure to please a sweaty Austin crowd.

You guys all like that kind of thing, don't you?

Scissors for Lefty [MySpace] [Official]

Scissors for Lefty w The Real Heroes, The Bourbon Legends & The Jungle Rockers
Thursday, July 26
Emo's Lounge (Red River & 6th St)
Doors at 8 PM, show at 9:30 PM
Tickets $8

Photo courtesy the band's MySpace, author unknown

Paul McCartney - Memory Almost Full

The problem with rock legends, assuming they live past 30, is that they are held to such high standards. But for Sir Paul McCartney, age 65, such standards exist nowhere if not in his own driven psyche. In the past two years, he has released a politely (read: coolly) received acoustic album, Chaos And Creation In The Backyard, performed an extravagantly surreal rendition of "Yesterday" with Jay-Z at the Grammies, signed an unprecedented album distribution deal with Starbucks, and endured a messy and highly public divorce. McCartney has described the latter event, a tabloid phenomenon, as the worst period of his life. But they say that all good art comes from pain, and one can infer from the hype surrounding McCartney's new album, Memory Almost Full, that his personal problems have resulted in a creative rejuvenation.

That said, this is still McCartney we're talking about. There's going to be a fair amount of schmaltz to deal with, represented by tracks like "The End Of The End" ("The Long And Winding Road" rewritten by a retiree) and the strictly-grade school mad/glad/sad lyrical scheme on "See Your Sunshine" (unfortunately not a naughty double entendre). But it's mostly gorgeous schmaltz, and the goopy stuff is balanced by a surprising amount of snarly distorted guitars and edgy vocal performances. Forty years removed from their heyday, McCartney's pipes are none the worse for wear--on the closing rocker "Nod Your Head," he lets it rip "Helter Skelter"-style, a feat far younger performers would have trouble with (hi, Axl), and on "Only Mama Knows" his furious vocals drives a disquieting tale of childhood abandonment to a manic catharsis. It's a surprisingly modern-sounding recording, and the album's glossy digital enhancements mesh remarkably well with McCartney's classicist pop compositions. For all the hype, it's probably one of the few items at Starbucks actually worth buying.

Official website
"Dance Tonight" video
"Maybe I'm Amazed" promo (1974)

Page France - ...And The Family Telephone

Page France's new album ...And The Family Telephone inhabits a magical sparkling world where every song sounds like The Velvet Undergrounds' "Sunday Morning" and trumpet solos blossom like daffodils under your bare feet. If the previous sentence made your lip curl, this record is probably not for you; the incessantly cheery melodies and general 60s-pop-without-the-drugs vibe requires a certain childlike mindset to be fully appreciated. Though off-putting at first, singer Michael Nau's voice (no one in the band is named Page or France) acquires a certain nasally charm as the album progresses, a hybrid of The Mountain Goats' John Darnielle and croaky-period Nico. The album is simple and pleasant, but in the long run suffers from a washed-out same-iness; the band's sound is probably more suited to the single/EP format in this regard.

Page France website
on MySpace

Single Frame has been creating eclectic electro-pop for a good number of years now. The band formed in 2000 in Austin and early recordings included a first full-length, Wetheads Come Running, and the Burn Radio Airtest EP released under their original moniker Single Frame Ashtray. Now veterans of two additional records, Single Frame distinguishes itself with eccentric pop that utilizes a variety of jingles, be it the simply synth outputs or unusual sounds obtained from air horns, television sets, and what not. The band made a few line-up adjustments this year and are hard at work on a new record, due in spring next year, according to keyboardist Jason Schleter. Drummer and vocalist Adreon Henry adds that six tracks have been recorded already. Expect further bursts of quirky pop, diverse beats, and of course, more punk you can dance to. Single Frame also has much love for some of our favorites, citing Clap!Clap!, Zykos, Yellow Fever, and The Octopus Project as other local acts they are fond of. Local Music Is indeed Sexy!

Car Stereo (Wars) provide the entertainment between bands, and if their recent "Only Child Mix" (that spans everything from The Cribs to Paul Simon) is a sign of what’s to be expected, we cannot wait to dive into the dance floor. Chris Rose also informs us that CSW will be releasing a record (The Bandit) next month, so expect to hear some previews from that.

Supplemented by appetizers from La Snacks and a healthy dose of The Carrots, the Mohawk on Thursday evening should make for one satisfying meal.

Single Frame: [official] [myspace]
The Carrots: [myspace]
La Snacks: [myspace]
Car Stereo (Wars): [official] [myspace]

Single Frame, The Carrots, La Snacks, and Car Stereo (Wars)
Thursday, July 26th
Mohawk

Image courtesy of PartyEnds.com.

Mindful of the rain and lightning debacles that canceled both the Blonde Redhead and Yo La Tengo shows earlier this year, promoters have moved tonight's Travis gig to the drier confines of La Zona Rosa. All tickets purchased for the Stubb's show will be honored, and will-call tickets have all been moved to the new venue. Doors open at 7pm, and the show begins at 8.

We doubt that Travis are afraid of the rain given that they're from Scotland, but it's nice of the promoters to try and keep everyone dry and comfortable this evening.

[Travis MySpace]
[Travis Official Site]

Travis
Thursday, July 26th
La Zona Rosa (moved from Stubb's)
Doors at 7, Show at 8
$27 + s/c [tickets]

Image via Travis' MySpace page. Photographer uncredited.

Let's get to it: ACL Fest organizers dropped the aftershow schedule yesterday, and it's fairly extensive. Stubb's, La Zona Rosa, The Parish, and Antone's will all host aftershows over the Thursday to Sunday that everyone is in town for the big event. Highlights include an intimate show from The White Stripes and Cold War Kids at Stubb's, an extra gig from Argentina's loungerific Gotan Project (also at Stubb's), appearances by Spoon, Common, and Queens Of The Stone Age at La Zona Rosa, and a Rodrigo y Gabriela show at Antone's. Other notable gigs include a Blonde Redhead/The National double bill and a Stephen Marley/Zap Mama night at Emo's. It's also worth noting that much of the Antone's schedule and Saturday night at Stubb's have not yet been announced. Rumor has it that Wilco will eventually fill the Stubb's spot, while we're unsure if Antone's will host additional shows. The schedule as we know it is listed below:

Antone's: Rodrigo y Gabriela (9/15, 10:30pm)

Emo's: Stephen Marley/Zap Mama (9/14, 11pm), Blonde Redhead/The National (9/15, 9:30pm), STS9 DJ Set (9/15, Emo's Lounge, TBD)

La Zona Rosa: Spoon/Sound Team (9/13, 9pm), STS9 (9/14, 10pm), Queens Of The Stone Age/Dax Riggs (9/15, 10pm), Common (9/16, 9pm)

Stubb's: Gotan Project (9/13, 8pm), Paolo Nutini/Peter, Bjorn, and John (9/14, 9:15pm), The White Stripes/Cold War Kids (9/16, 8pm)

The Parish: JJ Grey & MOFRO (9/13, 10pm), Robert Earl Keen (9/14, 11pm), Heartless Bastards/White Denim (9/15, 11pm), Yo La Tengo (Monday 9/17, 8pm)

All ACL aftershow tickets go on sale via Frontgate Tickets on Saturday, July 28th.

When browsing the Frontgate site, Austinist noticed that Saturday one-day passes have now sold out, presumably to 55,000 people who are excited to complain to their friends about missing either The White Stripes or The Arcade Fire. We actually find Sunday's roster to be the strongest, as one could throw together an incredible parlay of Yo La Tengo to The National to Ben Kweller to DeVotchKa to Bloc Party to Midlake to Regina Spektor to Wilco to Ghostland Observatory, and that's assuming you're tired and actually skip Bob Dylan. Yikes.

Also buried in today's announcement was a truly interesting tidbit: the list of performers who will tape an ACL appearance just before or after the festival. ACL's TV tapings will feature all of the following artists: Regina Spektor, Crowded House, Bloc Party, The Arcade Fire, Wilco, and Lucinda Williams. So perhaps one should head on over to KLRU and get in line, as these shows will all be in high demand. Look for more details on ticket drops for these tapings both on Austinist and on local radio a few days prior to ACL Fest.

What do you think of the 2007 ACL aftershow lineup? Are you surprised that one-day passes are selling out at $80 each? Let us know in the comments.

Image via The White Stripes MySpace page; photo by Autumn De Wilde. YouTube clip: Gotan Project's "Santa Maria."

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Photos by Eric Uhlir, Aasim Syed and Keith Gaddis.

The Mohawk's summer of "secret" musical showcases continued on Friday night with a special performance by local heroes, Spoon. Fresh off the release of their critically lauded new album, Ga Ga Ga Ga Ga, the band took to the outdoor stage, tented against the threat of rain, ready to rock the capacity crowd.

Bishop Allen The Broken String (Dead Oceans)

So, the Brooklyn-based (man, it gets tiring typing that out every week) blog band Bishop Allen are a sort of east coast Voxtrot in that they've wet the pop-frenzied masses with a series of well-received EPs over the last couple of years. Instead of releasing an album full of highly anticipated new material, however, they've polished a bunch of old tracks (and previously only available live songs) and re-released them on this full length. That's not necessarily a bad thing: the band has adopted a beautiful new aesthetic design-wise, a look that compliments the sophistication they've worked to bring to their catchy pop ditties. One thing that sets them apart is their ability to write decent pop lyrics, while managing not to stray too far from the likable Mothersbaugh-ish vibe they seem to be going for. Fans of '80s Paul Simon (think "Me & Julio ... ") will be pleased if they've remained uninitiated until now. They're playing on the 27th at Emo's, you should buy your tickets now.

Bishop Allen MySpace
Bishop Allen MySpace
Bishop Allen on NPR's Soundcheck
Bishop Allen "Click Click Click Click" (mp3)

John Vanderslice Emerald City (Barsuk)

John Vanderslice is paranoid. He writes love songs that creep into darkness and mystery quickly, disarmingly. Written in the midst of an apparently harrowing experience with immigration officials surrounding his girlfriend's attempt to get a visa (she's a French national), Emerald City is typically Vanderslice: sad, hopeful, wavering. It was recorded, mostly live, at Tiny Telephone in San Francisco. The album was performed by David Broecker, Dave Douglas, Ian Bjornstad, Scott Solter, and JV. This, all embedded in a somewhat bizarre reference to Baghdad's "Green Zone". Part reaction to current events, part reflection on love and the difficulty surrounding its progress, Emerald is a gorgeous, brilliant effort.

John Vanderslice MySpace
John Vanderslice Official
John Vanderslice audio & video @ Barsuk

UNKLE War Stories (Surrender All)

James Lavelle and Richard File have been together as UNKLE for nearly thirteen years, and in that time, they've only released three albums. It's probably entirely appropriate, given the fact that they excel at re-organizing other people's work, and shine as artists in their own right when given the chance to acquire vocalists according to the sound they've designed -- a luxury most bands don't have. The mixture of trip-hop beats, traditional hip-hop and clear and abundant love of rock 'n' roll are apparent. All in all, it's typical UNKLE, and we totally went back and found Thom Yorke's "Rabbit In Your Headlights" to check and yes, it stands up.

UNKLE MySpace
UNKLE Official
UNKLE on Fuse TV

With bands constantly forming, regrouping, burning out or fading away, it takes moxie to stick around on the Austin club scene long enough to get noticed. Case in point: Elliott Frazier and his jangly noise-pop trio Ringo Deathstarr. Frazier originally formed Deathstarr two years ago with confederates fom his hometown of Beaumont; following a seemingly endless period of lineup changes, the band is currently making waves on fancy music blogs and radio playlists worldwide. We sat down with Frazier and bassist Sarah Starke last week to talk about revolving doors, rock-star toilets, and the (literally) paint-peeling atmosphere of Beaumont, TX.

P.S. Ringo Deathstarr are playing tonight at Plush. Details below.

Good afternoon, Ringo Deathstarr.

Elliott Frazier: (holds up Chronicle with Curt and Cris Kirkwood of Meat Puppets on cover) You’d think they would’ve got a better photo of these guys.

Yeah, but they’re so old anyway…

EF: They’re all sweaty—he looks like one of those people with no teeth who does the Popeye face.

So how’d you get together?

EF: We basically started 2 1/2 years ago, it’s just been a revolving door of people. For one reason or another, they all leave.

Why’s that?

EF: The first people in the band moved. We were all originally from Beaumont, and we all moved here, and, like most people from Beaumont, they gave up and moved back. So then I had to get somebody else from Beaumont. This girl named Jamie, who drums for La Snacks, Steven from For Those Who Know, who had just broken up at the time, joined on bass. And then we got another Beaumont guy on bass and Steven moved to guitar, and blah blah blah, here I am.

Coldplay's Chris Martin recently described Travis as "the band that invented my band and lots of others." That should give most people a solid idea of what to expect when Glasgow's indie-pop quartet stop into Stubb's Thursday night. After debuting with the raucous pub rock album Good Feeling in 1997, the band did an about-face with 1999's The Man Who, a moody, ballad-filled acoustic record produced by Nigel Godrich (Radiohead, Beck) that produced several huge hits and propelled the band to arena rock status all over Europe. At the time, the band was seen as a welcome respite from the myriad Oasis and Blur clones, which the band found hilarious given that hit single "Driftwood" was liberally lifted from the chord structure of "Wonderwall." (The band was friendly with Oasis, who gave permission for the winking thievery.)

Travis' sensitive rock triumphs essentially kicked open the door for a wave of bands in England including frontrunners Coldplay and Snow Patrol and also-rans Keane and Starsailor. The listener can decide whether they consider this a good thing, but there's no denying the band's influence on not just UK rock, but the general nature of the (Beatlesesque, pounding drum-filled, heart-on-sleeve) power ballad in the 2000's.

Thursday's Stubb's gig comes in support of this year's The Boy With No Name, which makes mocking reference to singer Fran Healy's inability to decide on his son's name for several days after the child's arrival. We recently described The Boy With No Name as "a welcome return to comfortable environs after the disappointing 12 Memories, this newest album finds Travis singing about love, babies, friendship, and optimism...which is exactly what fans of the group want to hear." So if this is your music genre of choice, there's simply no excuse not to turn up Thursday and smile while weeping into your pint. Support on the night comes from John Paul White, a Alabama singer-songwriter that seems made from the Ray LaMontagne beardy and earnest mold.

Check out the two videos from Travis' new album at right, which feature cameos from Ben Stiller ("Closer") and interpretive signage from comedian Demetri Martin ("Selfish Jean").

[Travis MySpace]
[Travis Official Site]

Travis w/ John Paul White
Thursday, July 26th
Stubb's Outdoors [map]
Doors at 7pm, Show at 8pm
$27 + s/c [tickets]

Image via Travis' "Selfish Jean" single artwork.

It's been a gloomy day, but leave it to Britt Daniel and Co. to save the evening with a surprise show at our beloved Mohawk. The Decemberists went off without a hitch last week, but this time is guaranteed to be even more awesome, in that it's outside (don't worry, there's a big tent). Spoon is gonna pack in as many as can possibly fit in the warm bosom of the Mo', but if, god forbid, you don't make it in time, people will get wristbands to hang out at Club Deville next door and hear the shebang once removed. You can't lose.

Spoon
Tonight at The Mohawk
Doors at 9pm, Music at 10pm
$10

Brian McBride began Stars of the Lid here in Austin years ago, but his solo album, When the Detail Lost its Freedom, is one that gestated during a time of terrible strife (divorce, harrowing move to new city) in McBride's life. Recorded almost exclusively on an SR X keyboard sampler, Detail utilizes guitar, piano, vocals, harmonica, trumpet and strings, abandoning keyboards and synthesizers entirely. The result is a lovely, gentle and ultimately emotional album that even Harold Budd approves of.

Loren Dent is an Austin-based musician and producer (formerly of Purchase New York) whose latest album, Empires & Milk, was released in March and offers soothing and addictive ambience using humming static, chasmal feedback, and carefully placed transitions, making it one of the most impressive minimalist albums released in Austin that we've heard.

Tomorrow night, Austinites will have a chance to enjoy both artists as Austin's Museum of Digital Art presents the two at the Volitant Gallery. We highly recommend the event for lovers of art, minimalism and all things subtle.

Brian McBride [MySpace]
Volitant Gallery [Official]
Loren Dent [MySpace]

Brian McBride, Loren Dent & Steve Bernal
Saturday, July 21st
Volitant Gallery (320 Congress Ave)
8 - 10 PM
$10 for AMODA Members, $12 general
All ages

Wisecracking aside, lots of really excellent things have come out of Jersey.* Things like Bruce Springsteen and Zach Braff and the Wrens. This weekend, the Wrens will be wrapping up what has been a four-year, weekends-only tour of the country, supporting their album the Meadowlands. But, the boys in the band will be taking a breather only after playing Emo's this Friday night.

The four-year tour might seem a bit excessive, but it came at the end of what had become an extremely lengthy hiatus. After the band released their 1996 sophomore album Secaucus to critical acclaim, Alan Metzer (yes, the man who made Creed) tossed them off the label. So, for 7 years, audiences either waited patiently for the follow up or forgot the band entirely. When the Wrens finally produced another record, though, it was the Meadowlands, an album perhaps better referred to as "a heartbreaking work of staggering genius" than anything Dave Eggers has ever written (not to totally diss Eggers, but this album is beyond good). It's music for disappointed people who are sure it's going to work out later. And, despite that, it still rocks way more than it wails. It's an album so stirring it justifies a 7-year wait, and, a 4-year tour produced by a band that has managed what so few performers manage: to age gracefully without stagnating creatively.

The Wrens will be storming the trenches tomorrow night at Emo's. Seriously, get it while you can, because we know if we were just ending a 4-year tour, we wouldn't be planning on hitting the road again for a while.

the Wrens w/Get Him Eat Him/moonlight towers
Saturday, July 21
Emo's (outside)
Doors at 8 p.m., Show starts at 10 p.m.
Tickets $10 in advance

the Wrens [official]

*Hey, and it's 4th in eggplant production in the U.S. That has to count for something, to those of you who don't, like us, despise eggplant.

[Image courtesy the Wrens' web site. If, while in Austin, they manage to recreate that photo using the UT tower, we will buy each member of the band a drink. Seriously. They can even get crazy froufrou drinks with Cointreau or something in them.]

If you’re looking to expand your knowledge of Icelandic bands beyond the normal Björk, Sigur Rós, and Múm, then you needn’t look further than Emo’s Lounge Friday night. Benni Hemm Hemm come bearing orchestral pop tunes from their chilly island nation with titles like “Snjorljossnjor.” This soft-spoken band comprised of between 8 and 17 revolving-door musicians features conventional rock elements as well as a full horn section.

Austin natives Loxsly may not be able to offer any further edification in the realm of exotic languages from far away lands, but they have a Power Point presentation on boisterous, synth-heavy pop. It’s also a great chance to hear some new material, as their upcoming album awaits only label procurement. Opening is Bill Baird and Silent Sunset’s folky experimentalism.

Benni Hemm Hemm w/ Loxsly, Bill Baird and Silent Sunset
Friday, July 20th
Emo's Lounge [map]
Doors at 9pm, Show at 10pm

Benni Hemm Hemm [Myspace]
Loxsly [Myspace]
Bill Baird and Silent Sunset [Myspace]

Earlier today, we told you about the Pinker Tones show happening at Mohawk tonight. Well, things change kids. We've notified our winners from this afternoon, and now we're notifying you: the Pinker Tones have canceled but the show will go on, with White Denim.

White Denim will be playing at midnight, filling the hole in the lineup for the evening, confirming our unwavering opinion that these fellas are true work horses. Grab your umbrella and head downtown -- they always put on a great show. What's even better is they've sweetened the deal: the show is now $4, not the previous door price of $12. That's 8 extra dollars to drink with, folks.

White Denim w/ Markus with a K and Astronautilus and Natives of the New Dawn
TONIGHT!
Mohawk (912 Red River)
$4

White Denim MySpace
Astronautalis MySpace
Markus With a K

Alexis Jones’ powerful voice paces The Jones Family Singers’ uplifting message and equally inspirational music. However, it is Dr. Fred A. Jones, a pastor as well as band manager, who binds this gospel act together. The Jones Family Singers, as the name would imply, consists of Dr. Jones’ daughters, sons, grandson, and even a son-in-law. The band’s resume includes an appearance on BET as well as tours all over North America.

The Jones Family Singers
Bay City, TX
Latest Release: Taking It To The Next Level, 2007
Sunday the 16th, 1 p.m., WaMu Stage

Image courtesy of The Jones Family Singers’ website, Author Unknown.

Cary Ann Hearst’s full-length Dust And Bones contains sprawls of country-folk shaded by insightful lyrics and genuine emotion. The album has won over many critics in Charleston and also caught the attention of Band Of Horses, who invited Hearst to open for them in select cities. The act’s MySpace page paints a most interesting picture of the band’s origins -- “Cary Ann Hearst first found the Gun Street Girls living in various conditions of squalor in the dilapidated neighborhoods of Charleston, SC / As they sat baking in the shade that day, they found in common a lust for heartbreak and a lack of transportation, the Gun Street Girls traded their switch-blades to the corner boys for a handle of Evan Williams and learned to play instruments salvaged from the post industrial wasteland beside the Cooper River.” We’re intrigued!

Cary Ann Hearst & The Gun Street Girls
Charleston, NC
Latest Release: Dust And Bones, 2007
Saturday the 15th, 3 p.m., BMI Stage

Image courtesy of Cary Ann Hearst & The Gun Street Girls’ MySpace, Author Unknown.

Black Nasty Feed From Me

It's hard not to start by saying "This music is totally offensive, completely cringe-worthy, and absolutely not appropriate in almost any situation you can imagine."

There, we didn't start by saying that.

Feed From Me is a maxi single (not an EP, CD or regular single, these are different times, folks) with ten songs that push the boundaries of what most normal people consider music. Influenced by the olden days of hip-hop when songs were little stories that progressed through a repeated chorus (seriously, think "Funky Cold Medina", only about bestiality and period blood), Nasty's songs are about things that you assume your parents don't know exist in the world, with cock-sure vigilance to boot. The Black Nasty character is a sort of caricature of every obnoxious suburban rapper you've ever laughed at in the mall, the creepy postal service worker you suspect might sniff your packages when you aren't looking, and, well, people that are in jail. It's awful. Just awful.

But here's the thing: Black Nasty's music is important. Arguably more important than his sister's very socially acceptable project. Don't balk, hear us out. While Pink Nasty is a NPR Song of the Day darling, a Mark Kozelek-opening act beauty, and -- perhaps above all -- an enjoyable listen, her brother is the social activist of the pair. In a fairly brilliant (if its intentional) slap in the face to modern politically correct notions of what's ok and what isn't, Black Nasty urges listeners to exercise a type of philosophical impossibility: actively agree that no form of expression is unacceptable in the world of art by listening to songs that are absolutely unacceptable.

Damned if you do, damned if you don't, right?

Sure, you can listen to it and simply say, "Nah, it's not for me. I hate electronic hip-hop made on a computer by some self-important douchebag." Fine, be that way. There might be people who find the fairer Nasty offensive, if they're way into the hip-hop bestiality and rape fantasy scene. There's no accounting for taste, folks.

The other possibility is that Black Nasty has found himself entrenched in the bowels of a pretty self-conscious music scene here in Austin, a scene that tends to treat local bands (even friends in local bands) like celebrities, and wants to give some side-armed commentary. To our credit, a lot of the idolization is warranted, but at the same time, the worth repeating adage "You never know you're in a bubble until it pops" is alarmingly accurate, and in many ways, Nasty pops that bubble (figuratively, but probably literally, too) every time his record is listened to.

On his best day, Black Nasty is the Lenny Bruce of self-promoted, vulgar rap music. On other days, he's a mildly demented social misfit that created his own way of expression by means of pushing buttons that we didn't know we had. We didn't think we'd ever need to say things like, "Well, maybe he means that AIDS won't stop him from enjoying a high quality of life. No? Shit."

Black Nasty MySpace
Black Nasty Official
Black Nasty "HI5" (.mov) - Don't watch this at work, or if your mom might walk in at any time.
Pink Nasty MySpace

Photo of Black Nasty courtesy Asim Syed on Flickr

Perhaps best known for the 1998 underground classic Riddim Warfare, DJ Spooky (aka Paul Miller) is one of American trip-hop's forefathers and has collaborated with everyone from Saul Williams to Slayer drummer Dave Lombardo. He's performing at The Parish tonight; if you likes the turntablism, this is your kind of thing. Need we say more?

This contest is now closed

DJ Spooky live at The Parish
Thursday, July 19
214 E. 6th St [map]
doors @ 8
$15 online presale [tix]

Salvador Rey (vocals, guitar, keyboards, flute) and Alex Llovet (keyboards, samples, drums) have been forging ahead in the Spanish pop scene with their unique brand of electro-pop since 2004, and in that time, they've acquired quite the following. Fans of the Pizzicato Five here in the States will love them for their brisk attention to detail, the fusion of '60s bossa nova with modern day cartoon-ish charm, and those who lean more towards British new wave synths will swoon over songs like "Maybe Next Saturday" from their latest album, The Million Color Revolution.

You can check them out tonight at the Mohawk, where they'll be supported by a variety of sweet local talent, including our favorite up and coming DJ, Markus with a K.

This contest is now closed

Pinker Tones [MySpace]
Pinker Tones [Official]
Pinker Tones ["Karma Hunters" (YouTube)]

Pinker Tones w/ Astronautilus, Natives of the New Dawn & Markus with a K
Thursday, July 19
Mohawk (912 Red River)
$10 pre-sale & $12 at the door (tickets)
Doors at 9:00 PM
18+

Spoon
Waterloo In-store
6th & Lamar Downtown
5:00 PM
free

Would you like to film a secret show at a downtown Austin venue this Friday Night? SUPER!ALRIGHT! media is offering a rare chance to see a monster band in a small intimate setting in exchange for your video footage.

Show up with your equipment, get into a show, film the event and receive a free ticket to the show (duh), 2 drink tickets, a t-shirt (they've assured us it won't be off their back ... unless you're into that kind of thing), and a giant high five. If interested, please send your resume and information about the kind of camera you own to info@superalright.com. HDV is preferred but not required. Submissions deadline is Thursday at 6 PM!

Wiretree Bouldin

Austin's Kevin Peroni has been writing songs under the moniker of Wiretree since 2005, when he released his first EP. The latest album, Bouldin, is a nine song testament to American chords, everything that was good about real folk music, bridging the gap between The La's and late '70s George Harrison with ease. Peroni's vocals are at times extremely Elliott Smith-ish, but that's not a bad thing. The songs are reminiscent of all those great bands the people who are slightly older than you are remember buying: Smithereens, Squeeze and the the Posies all make their appearances in the influenced-by department, but so do Tom Petty, James Taylor and Brendan Benson. "Big Coat" is the stand-out track, featuring big hooks and a hummable chorus that sticks with you (and begs to be a Cingular commercial). Bouldin is, at the end of the day, a sweet, inoffensive collection of tunes that are perfect for drives to the lake, first date dinner at my house evenings and chilly fall morning mixtapes for boys and girls that don't know you exist yet.

Wiretree MySpace
Wiretree Official
Buy Bouldin Online

Dandi Wind - Concrete Igloo (Summer Lovers Unlimited Music)

Ok, we are fond of electronic duos. Even more so when they hail from Canada. Dandi Wind (comprised of Dandelion Wind Opaine and Szam Findlay) tests our undying affection with their hit or miss debut, Concrete Igloo. The duo combines a variety of genres to conjure up an adrenaline fueled, almost destructive sound that clicks wonderfully on songs like “Slumlord” and “Apotemnophilia.” The insistent “Hitch-Hiker” could be the soundtrack to your next night out while CD closer “Mafu Cage” might as well accompany a bad trip. Findlay’s panache keeps the beats flowing while Opaine’s eccentric vocal style floats all over the layered textures. Part industrial thump-fest, part dance-party, Concrete Igloo comes armed with ten music videos on the disc to add to the experience. Opaine evokes Toni Halliday and M.I.A. with her vocals that appease and annoy alike, and there is a hint of Nine Inch Nails about the whole thing. While there are only a handful of attention grabbing tracks on Concrete Igloo, the album does more than enough to reveal the Dandi Wind’s talent and musicianship.

Catch Dandi Wind live at the Beauty Bar on July 19th.

Dandi Wind: [official] [myspace]

The Cribs - Men’s Needs, Women’s Needs, Whatever (Wichita Recordings)

There is no shortage of bands from the UK singing about adolescent issues, girl problems, and taking the piss in general. The Cribs are guilty as charged and continue in that vein for their 3rd release, the all-encompassing Men’s Needs, Women’s Needs, Whatever. Comprised of three brothers from Yorkshire, the Cribs’ biggest claim to the fame in Austin is their plethora of energetic shows at SxSW 2006. The opening songs on the new record, “Our Bovine Public” and “Girls Like Mystery” set the tone with immediate effect boasting sing-along chorus’, melodious backing vocals, and catchy hooks. Shimmering guitars carry “My Life Flashed Before My Eyes” while distorted six strings aided by chants of “Margaret Hammond, Haemorrhaged in Merrie City” end “Ancient History.” Album title themed tracks “Men’s Needs” and “Women’s Needs” highlight the siblings’ pop sensibility, and production by Alex Kapranos (Franz Ferdinand) enhances the Cribs’ final product. The lyrics, call ‘em witty or silly, fit well -- “I’m a realist, I’m a romantic, I’m an indecisive piece of sh*t” (I’m A Realist”) and “I can’t find time for her, oh no / Because of M.T. / Because of M.T.V., oh no / Because I’m empty” (Major’s Tilting Victory.) While some of those lyrics might find the Cribs a place in the hearts of pop-punkers in America (if not a spot on the Warped Tour), their appeal remains widespread. The down on the world “Be Safe” features spoken-word segments by Sonic Youth’s Lee Ranaldo and is a tad out of place with the generic pop standards of the rest of the record but remains one of the stand-out tracks. Although “Hey Scenesters!” (off The New Fellas) was an instant hit, its Men’s Needs, Women’s Needs, Whatever that ultimately brings to light the Crib’s pop potential.

The Cribs: [official] [myspace]

Each week, Austinist's staff takes some time to introduce you to the bands playing at this year's Austin City Limits festival. Some you know, some not so much, but they're all going to be here, so stay tuned. --Paige Maguire, Music Editor

The Gospel Silvertones specialize in soothing R&B and soul fit to kick off most mornings -- the band plays regularly at some of Austin’s favorite breakfast and brunch spots on weekends. They recently wrapped up recording their latest effort, On The Battlefield, which will be available at their performance on Friday at the Washington Mutual Stage. The album is also available at Salvation Army locations in Austin. (The band members met at the organization.)

The Gospel Silvertones
Austin, TX
Latest Release: On The Battlefield, 2007
Friday the 14th, 12:45 p.m., WaMu Stage

Image courtesy of The Gospel Silvertones' website, Author Unknown.

The Shields Of Faith spread the Word of God in the form of inspirational music and lyrics. The gospel group has been around since the mid-80’s, encouraging the masses to bring Jesus Christ into their lives, and conveying this message via performances at churches, restaurants, and business events. The Shields Of Faith have a series of dates scheduled at Stubb’s in Austin in July and August, but you can catch ‘em bright and early at the Washington Mutual stage on the final day of the festival.

Shields Of Faith
San Antonio, TX
Latest Release: Keeping The Faith, 2007
Sunday the 16th, 11:30 a.m., WaMu Stage

Image courtesy of Shields Of Faith’s MySpace, Author Unknown.

We like trying to coerce you into going to shows. We're fans of music, you know. We're fans of live music, especially, and since you never know when a show will knock your socks off, we say it's totally worth the few skrilla you'll drop on getting inside. Especially for bands like The Format, a few guys who won't be stuck into any, er, formatted music style. Tonight they're playing at Antone's with Mike Birbiglia, Limbeck, and Steel Train.

For those of you who know very little about The Format, we're here to tell you that, well, we don't know much either. Our friends over at LAist love them, though, and interviewed them last November. Our personal highlight from this interview was the description of their band: "Most of it is just us trying to rip off the Beatles and coming out very unsuccessful." We think this is a pretty accurate statement, and we're softies when it comes to the Beatles. "I love love. I love being in love. I don't care what it does to me" is something we're excited to sing, so this ("Inches and Falling") and other songs off of 2006's Dog Problems have piqued our interest. Have we piqued yours?

This contest is now closed. Thanks for participating, and congratulations, Ryan!

The Format w/ Mike Birbiglia, Limbeck, Steel Train
Tuesday, July 17th
Antone's
Doors at 6pm, show at 7pm, $14

The Format on [MySpace]

Photo courtesy the band's MySpace

Last March, Birmingham, England's Editors made quite an impression on those who attended their packed SXSW showcases. An airtight quartet, the band blazed through their sets with energy and precision. A measured mix of post-punk and UK arena rock, Editors project intensity and a dark mood throughout their recorded output. Their debut album The Back Room went gold and produced four Top 40 singles in the UK, and American hipster mag The Fader liked them so much they released the album under their own imprint. The band return to US record stores today with sophomore effort An End Has A Start, which offers bigger production and more ornate instrumentation without departing from Editors' rather serious lyrical content. An End has already gone to #1 in the UK this summer, selling over 60,000 copies in a single week. Lead vocalist and guitarist Tom Smith from Editors recently spoke with Austinist about being labeled as gloomy, rocking out to The National, and the grind of a SXSW appearance.

The new album An End Has A Start sports somewhat more anthemic production and a more arena-rock sound than The Back Room. What prompted the stylistic shift?

There's definitely much more going on in this record than on The Back Room. The Back Room was a much more claustrophobic record, but with [the new album] we wanted to try out more instruments, pianos, strings, acoustics, synths, etc. As musicians, we get a buzz from trying out new things. We can't make the same record over and over again. As for the production, to me, sonically it sounds like a great modern rock record... rather than some post-Libertines 'recorded for two bob' bollocks. I actually think the most anthemic thing we've recorded is "Bullets," but what do I know?

Do you feel the blogosphere perception of Editors as a perpetually gloomy band is unfair?

Our music is based in serious things. As far as most pop music goes, we are pretty gloomy, I guess; Akon we are not. I don't think our fans see us as just a gloomy band, and I don't care about anyone else's perception.

Is it strange to play huge venues in the UK, then come across to the US where Editors are less well known and play small clubs?

No, there's always work to be done wherever we go. [It's] part of the job, and if we have a problem with that then we're in the wrong job.

Critics love to lob Joy Division and Interpol references into your reviews. What artists were actually most influential on the band?

R.E.M., The Strokes, Elbow, Spiritualized, The Walkmen, The National, Echo and The Bunnymen, and Radiohead.

The Cribs Men's Needs, Women's Needs, Whatever (Warner Bros)

Yorkshire's Cribs are a three-piece outfit made up of three brothers, each equal parts befuddling and beguiling. On their major-label debut, the brothers Jarman find themselves channeling everyone from Malkmus to Johnson (that's Calvin), combining sharp-tongued irony with trademark British snarl, shining most when their catchy, sharp hooks let their claws out. The Cribs aren't necessarily doing anything new, but the finely polished pinnacle of sassy brit-indie accepts, offering interesting moments of American influence urge the songs on towards an interesting outcome, suggesting that it might be possible to be entirely Yorkshire pop while being influenced by sarcastic pop gents from across the pond.

The Cribs Official
The Cribs MySpace
The Cribs "Men's Needs" (YouTube)

Editors End Has a Start (Fader)

Editors have a lot to live up to on their sophomore release, but given the fact that the UK reception has been more than generous and supportive, we encourage high hopes. End Has a Start continues where the band left off with The Back Room, opening the door a little for more stadium ready sprawl, a bit more Bernard Sumner and a pinch less Ian Curtis. That being said, the centerpiece remains vocalist / guitarist Tom Smith's voice: a distinctive tenor that demands your attention, even when the lyrics aren't as smart as you'd hope. The voice, mind you, is what enables Editors to appeal to arena crowds and intimate indie venues: he can wail against squealing guitars or croon atop a gloomy piano, and it's all equally moving. Austinist music writer Tom Thornton interviewed Tom Smith, do check it out.

Editors Official
Editors MySpace
Editors "Smokers Outside the Hospital Doors" (YouTube)

Magic Numbers Those the Brokes (EMI/Heavenly)

It's easy to say that the Magic Numbers are a simple, straightforward pop four-piece with sugary and always somewhat sappy subject matter, but we'd be betraying the beauty therein. Simple pop songs? Maybe -- but you try performing them at karaoke. There's not much better in a world full of self-conscious and self-important solo acoustic projects and collectives than a gang of remarkably unremarkable folks writing tight, shimmering pop songs that have you tapping your feet and trying to sing along all while realizing that the words you're learning are actually somewhat heartbreaking. "This Is a Song" quickly digs in, and as the finely tuned vocal harmonies grab you, it becomes apparent that the song is about being in the acute corner of a love triangle.

The Magic Numbers Official
The Magic Numbers MySpace
The Magic Numbers "This Is a Song" (YouTube)

Darkest Hour Deliver Us (Victory Records)

The constant shelling of everything that is optimistic and poppy by this metalcore howitzer is relentless, genuine and mysterious. Their sixth release is full of double bass drum thumping, throaty screams and metal guitar chugs and soloing. Eschewing sappy melodic breakdowns that come off making the whole thing contrived, this volatile DC quintet adhere to a steady diet of nitro-fueled scorchers. But somehow, the lyrics are still audible, which is something lacking in most groups of this genre. Instead of hacking sounds and garbled phrases, words like “cascading” and “serenity” get a guttural wash over but stay discernible. One of the more unforgiving tracks on the Deliver Us is “Tunguska”, which can only be a reference to the Tunguska Event: a mysterious explosion in the Siberian wilderness in 1908 that felled trees for 830 square miles, left unexplained for many years. A miniature black hole passing through the earth and the annihilation of antimatter were hypotheses, but now it’s believed to have been caused by a comet or meteoroid exploding before impact.

Suitable subject matter for a band known to thrust their heads through drywall and generally run amuck.

Darkest Hour Official
Darkest Hour Myspace

Chicago based David Vandervelde plays Emo’s this evening in support of his debut full-length The Moonstation House Band, out now on Secretly Canadian. The album highlights Vandervelde’s versatility and multi-instrumental panache. His ability to tint pop songs with an orchestral emphasis, psychedelic strains, and worldly sounds results in an intriguing and enjoyable product. Vandervelde’s vocals bleed sincerity and the live show tonight should combine all his potential into one powerful performance. Blitzen Trapper from Portland support with alt-country pop while local duo Mike Booher and Catherine Davis (of Zykos) kick things off at 10 p.m. Join us!

David Vandervelde & The Moonstation House Band: [official] [myspace]
Blitzen Trapper: [official] [myspace]

David Vandervelde & The Moonstation House Band, Blitzen Trapper, and Mike Booher & Catherine Davis
Monday, July 16th,
Emo’s Inside
Doors: 8 p.m. / Show: 10 p.m.

Image courtesy of David Vandervelde’s MySpace, Author Unknown.

If you've seen You're Gonna Miss Me, Kevin MacAlester's unflinchingly intimate documentary about the bewildering life and times of Austin's own psychedelic-rock icon Roky Erikson, you were probably left wondering, with good reason, what direction Roky's life took when the cameras stopped rolling. Years of untreated schizophrenia, shock therapy and acid trips had taken such a toll on the erstwhile rock star that he seemed unable--or unwilling--to contemplate life beyond a spacey Grey Gardens-like existence with his mother in a junk mail-crammed apartment outside of Austin.

If you haven't seen You're Gonna Miss Me: it's fantastic, eerie and always riveting. In between gushing testimonials about Erickson's primal talent from the likes of Patti Smith, ZZ Top, and Thurston Moore, there's also amazing early-60s footage of Roky and the 13th Floor Elevators, bizarre interludes with Roky's mother Evelyn, decades' worth of schisms and misunderstandings amongst the troubled Erickson family, and many squirm-inducing moments of oversharing, like Roky's brother rolling around on the floor with his therapist or Evelyn tenderly saving Roky's giant, matted dreadlock in a paper bag. The Erickson family were unbelievably candid while being filmed, giving the filmmakers more than enough material to weave together a thoroughly fractured family portrait.

Tonight is a great night to view (or review) this film: It's Roky's 60th birthday, and he's made a dramatic recovery in the years since You're Gonna Miss Me was filmed. Following years of therapy and time spent in his brother's care in Philadelphia, Erickson is now leading a pretty much normal life. Even more improbably, he's returned as a rock god--creating a frenzy this year with triumphant performances at the Austin City Limits Festival and Coachella--when only a few years ago it was unthinkable that he might ever leave his house, let alone pick up a guitar. Tonight, in celebration of his 60th, Roky Erickson and the Explosives will take the stage at the Paramount following the screening of the film. After watching all that footage of him hovering on the brink of devstation, watching Roky getting his renewed feral yell on is sure to be an experience akin to seeing a unicorn or catching a rainbow in a jar.

You're Gonna Miss Me followed by Roky and the Explosives LIVE
Friday, July 13th
Paramount Theater
doors @ 7pm, show @ 8pm
[Tickets]

Mohawk, how we love thee. Let us count the ways ... With so many great shows and events, we don't know how you keep up. Yet on any given evening you offer us a great band, a film screening, secret and not-so-secret shows, a cheap drink, or simply a place to hang our hats before we trudge into the chaotic maw of the Red River District. Tearing up here, so we're gonna quit with the mushy stuff while we're ahead.

Tomorrow evening is no different, with Mohawk once again offering us a delicious Neapolitan ice cream scoop of local - and semi-local - bands. The Corto Maltese is first on deck with their uber-catchy indie-pop and relentless hooks. You'll be lucky if you leave without one of their new demo's songs playing in your brain's stereo on repeat. Don't be fooled as you return to the stage after their performance. That's not Wayne Coyne's slightly younger yet equally prematurely silver-streaked brother. It's the guitar player for Buttercup, peddlers of tightly wound R'n'R, some of which sounds like it could cuddle up between tracks on the best Teenage Fanclub albums (Thirteen and Bandwagonesque, if you didn't already know). Afterwards, the baton is to be handed off to The Laughing, a band almost completely subsumed by their radioactive forcefield of irony, a disorienting barrage of tight jeans and baritone saxophone solos. Golden Bear top things off with their good-natured and sprawling pop anthems. They're the type of indie-band you wouldn't hesitate to take home to meet the folks, being both "aw shucks" earnest and talented, unafraid to bring down the house yet sticking around to clean up afterwards. Highly recommended.

[The Corto Maltese Myspace]
[Buttercup Myspace]
[The Laughing Myspace]
[Golden Bear Myspace]

Golden Bear and Friends
Saturday, July 14th
The Mohawk [map]
Doors @ 9pm

Photo by Matt Wright

Belaire'sExploding Impacting is an album that very well captures the essence of summer madness: the spectral emotional range goes from playful romanticism ("You Really Got Me Goin'") to the deeply reflective ("Waiting Patiently" and You're Not A Kid Anymore". ) The band's sound is somewhere between '60s Brazilian Tropicalia (Caetano Velosco, Gilberto Gil, Os Mutantes) and early '80s synth-pop (Gary Numan, Talking Heads, OMD) taken in a new direction. Though twin sisters Cari and Christa Palazzolo sing like they could very well be back up for Mariah Carey, there is more to Exploding Impacting than just sonic nostalgia.

The songs are uniquely progressive, retaining a certain element of childlike innocence. The CastleVania-like opus of "Shadows Moving On the Wall" and the percolating rock of "Step Step Step" are perfect examples of the steady relationship between new-new-wave rock and nonchalance. Synthesizers go ballistic as buzzing oscillators swell in orchestral unison with the air tight rhythm section courtesy of Matt Simon and Jason Chronis. The album is wistful, yet assertive in confidence. Overall the album is truly an excellent work of songwriting and fantastic production.

Belaire: [myspace]

Johnny Goudie and his new band, the Little Champions, will be performing at the Beauty Bar tonight for the first time ever. He's been working on a new album with the new band, enlisting the help of Lomita's Jonas Wilson behind the board.

Sound-wise, Goudie's brit-pop influence is his greatest asset, mixing the sounds of early Suede with more contemporary this-side-of-the-pond pop sensibilities. Melodic, atmospheric rock tempered with rock star swagger and a mean pair of aviators make his show an interesting proposition for a Friday night. If you'd like to check it out, fill out the form:

This contest is closed.

Johnny Goudie & the Little Champions w/ Haunting Oboe Music
Friday, July 13
Beauty Bar
10 PM
$2 @ the door

[Johnny Goudie MySpace]

Minus the Bear Planet of Ice (Suicide Squeeze)

There is so much angular guitar work on Minus the Bear's third full-length, it’s like navigating through a triangle factory. The problem is, however, stumbling down hallways full of scalenes and equilaterals makes it all too easy to snag an elbow on a sharp 60 degree angle, and the record has a high burnout rate. Thankfully, the synthesizer helps diffuse the sometimes jarring guitars.

They’ve come up with a blend of pangy, well-worked guitar lines, warm melodies and a rhythm section prone to smart time changes that’s, well, unmistakably Minus the Bear. And if being yourself is all one can hope for, then this band is good, real good. They found a recipe that agrees with them and they’re sticking with it. All of the diehard MTB fans out there can rejoice that they haven’t deviated. For everyone else, a few of the download-worthy tracks are “Burying Luck” and “Knights.”

Whatever happens, they should definitely resurrect the practice of giving their songs atypical names. There’s no replacing “Absinthe Party at the Fly Honey Warehouse” and “Lemurs, Man, Lemurs.”

Minus the Bear Official
Minus the Bear Myspace

We talked about Ryan Adams' latest full-length, Easy Tiger , just recently:

The album is truly an Adams Tex-Mex combo meal: an entrée of Heartbreaker, Gold, and Cold Roses with a side of Rock’N’Roll ... Fans will really like this record, while newcomers might ask someone to recommend the five best tracks to download (we’d start with “These Girls,” “Oh My God, Whatever, Etc.,” and “Everybody Knows.”)

If you're an old school fan or a late-blooming heartbreaker, you'll have a chance to see Adams and his Cardinals tomorrow night at the Paramount theatre in downtown Austin. Fill out the form here for your chance to win:

Ryan Adams [MySpace]
Ryan Adams [Official]

Ryan Adams & the Cardinals
Saturday, July 14
Paramount Theatre (713 Congress)
Doors at 7:00 PM, show at 8: 00 PM
$36.50 - $41.50 (tickets)

Photo by Chromeswaves on Flickr

Everyone knows that Thursday night is the beginning of the weekend, a night to be spent with a hearty dose of fresh energy stored up from a week of working just hard enough to not get fired. This fresh energy should, as always, be spent dancing. Tonight is just your Thursday night for dancing, in fact, since The Black and White Years and DJs KidIndie and Eric will be at Beauty Bar. KidIndie, as you may have experienced, is known for playing the freshest jams; whatever's new, he's spinning it and whatever's danceable, he's bringing it. The Black and White Years, as you may not have experienced, are an indie rock band, drawing influences from the Talking Heads and Bowie and eliciting comparisons to Of Montreal. We seriously dig Of Montreal, so really, we'll have to see about this one. Come twist and shout with us.

The Black and White Years, DJs KidIndie and Eric
Thursday, July 12th
Beauty Bar

The Black and White Years on [MySpace]

Photo courtesy the band's MySpace

If you don't already know about Nick Lowe, it's time you found out. The quick and dirty: He's been around since the mid-'60s, playing a mixture of country, rock, blues, and pop. His first band Brinsley Schwarz is constantly noted as a major influence on '70s punk. He wrote "Cruel to Be Kind" and "(What's So Funny 'Bout) Peace, Love and Understanding," a song destined to become an Elvis Costello hit in 1979; in fact, he produced several Costello albums. The man has 19 albums of his own and has produced scores more beyond that. He was Johnny Cash's son-in-law (for a while). They played together, and Cash even recorded some of Lowe's tunes.

Tonight, they're celebrating the living legend at the Continental Club. Opening the event (and hosting the evening) are The Lowelies, an Austin-based Nick Lowe tribute band. This is happy hour time (7 pm), so you have no excuses for missing. Stay for The Costellophones, an Austin-based (you guessed it!) Elvis Costello tribute band. Rounding out the night are Ron Flynt & Eric Hisaw and Paul Minor. Also, they'll be giving away Lowe's newest album At My Age and featuring a "most excellent montage" of Nick footage, contributed by Kier-La of the Drafthouse’s Music Mondays.

The Nick Lowe Tribute Show & Record-Release Party
Thursday, July 12th
Continental Club [map]
Show at 7pm, runs til 2am

Benefiting the Austin Music Foundation
The Lowelies on [MySpace]

Images courtesy Super Amanda on tribe.net and YottaMusic

The Starlight Mints might occasionally be dismissed as an oddity, but the Oklahoma band’s albums reveal an invigorating, stimulating product. The band sways between Beatles-esque pop and Flaming Lips like eccentricity without missing a beat, all while adding their unique flair and assorted instrumentation and orchestration to the tunes. Allan Vest’s vocal chops combine effortlessly with the wide range of sounds and “Eyes Of The Night” could should win over most skeptics. Their live shows tend to be one big party, usually accompanied by a screen displaying trippy imagery for further ambiance.

Fellow Norman act, The Separation open with pretty colors, melodious pop and member alias’ such as Cheese, and Hot Dogs, and Cupcakes. And Potato Salad. Austin’s Low Line Caller supply the meat in the middle spot with well constructed ambient rock. Join us!

The Starlight Mints: [official] [myspace]
Low Line Caller: [myspace]
The Separation: [official] [myspace]

The Starlight Mints, Low Line Caller, and The Separation
Thursday, July 12th, 9 p.m.
Mohawk
[Tickets]

Image courtesy of The Mohawk.

It's not often that an indie blues-rock combo from Northwest England go from garage band to a Mercury Music Prize, but that's exactly what happened to Gomez nearly a decade ago. Formed for fun in late 1996, the band's demos ignited a bidding war in the post-Britpop era and produced a classic debut album, Bring It On (hear two singles by clicking on the YouTube links below.) Since then, the band has produced four more full-length albums, most recently the critically acclaimed How We Operate featuring producer Gil Norton (Pixies, Foo Fighters). Gomez have built their fan base the old-fashioned way; not through blogs or hype but from incessant club and festival touring. Along the way, they've accumulated enough hits to produce both an ace singles collection (Five Men In A Hut) and a live record in recent years.

Gomez are spending the summer as openers on an arena tour by popsters The Fray, but are swinging by The Parish Room this weekend for a low-key gig on a night off from the sheds. During a rare break in the Gomez tour calendar, Austinist exchanged emails with drummer Olly Peacock (center above). We inquire about his best night out in Austin, riding out the British hype, and living on a bus in the questions below.

Gomez seems to roll through Austin annually like clockwork - do you guys ever get to go home and rest?

We have toured our arses off for the last year and half, and I think we've been everywhere three or four times. The sense of deja-vu has now become terribly unfunny. (I am presently on the couch at home, after a month's European holiday, by the way.)

What makes the band so willing to tour the USA repeatedly? Most British bands seem to dread the prospect of this.

We took time out from the States after our second album, so when we returned to find everyone as enthused as before, we knew we had to take advantage of such an audience. In doing so, we realised the size of the States and took to touring it realistically. So many British bands misconceive that because they receive so much praise back in England, they can hop over the pond and have the same success.

How did you get involved with taskmaster Gil Norton on your last album?

Our label (ATO) suggested we try a producer for the first time. We had deliberated it before, but never felt comfortable with someone poking around with our music. It becomes a very precious thing. Gil made sense, since he was from our neck of the woods (near Liverpool) with a clear concept of what he liked and thought we were as a band.

Award-winning afro-beat singer, composer and band leader Femi Kuti along with his band, Positive Force, will shower Stubb’s outside with Nigerian grooves, American funk and soothing jazz. Son of the legendary musician Fela Kuti, Femi has taken many traditions from his father, such as his struggle to effect positive social and political change in his Nigerian homeland. Also, Femi is working to keep their musical lineage alive. His teenage son plays alto sax in his group, which is exactly what he did for his father. But, whether for a taste of African culture or the beat there’s sure to be some dancing in the Texas heat. You've got a chance to watch his ACL taping on Sunday, courtesy ACL:

Austin City Limits will be taping a performance by Kuti on Sunday, July 15, at 8 p.m. Space Available tickets will be distributed at noon on Thursday, July 12, at KLRU-TV. KLRU is located on the University of Texas Campus in Communications Building B at the corner of Dean Keeton and Guadalupe. The free tickets will be given out on a first-come first-served basis. Each person will only receive two tickets and a ticket does not guarantee admission to the taping. Supplies are limited.

Femi Kuti Official
Femi Kuti Myspace

Femi Kuti & The Positive Force
Monday, July 16
Stubb's Outdoors
Doors @ 7 pm
$25
[Tickets]

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After lining up for the better part of the day, 200 die-hard fans and a smattering of other lucky individuals got in to The Decemberists' "secret" MySpace show at the Mohawk.

Patsy’s Cowgirl Café, 5001 E Ben White Blvd, proudly announces the lucky return of the Rosie Flores Trio on Friday the 13th. Six months ago Rosie was told she would not be able to play guitar due to arthritis. After several gigs in California, she's back in town and Patsy's owner and Esther's Follies alum Shannon Sedwick is asking Austinistes to come out and show Rosie their support.

Rosie, who has been known to say, "If Patsy Cline and Brian Setzer were to have had a child who grew up listening to Billie Holiday and Keith Richards perhaps they’d sound like me," sounds like a great complement to Patsy's down-home country fare.

Patsy’s Cowgirl Café
5001 E Ben White Blvd

photo courtesy Rosie Flores' myspace page

It's tough to believe that Spoon have been playing in Austin for almost thirteen years. Few who saw them gig during their early, Pixies-inspired days would've predicted that in 2007, Spoon would have one of the most bulletproof catalogs in indie rock. Their entire tenure with Merge Records has been stellar, showcasing a band who found confidence in independence and the concept of a slow but deliberate artistic and commercial build. Britt Daniel hasn't relied much on showmanship during the process, as his black and white outfits aren't a White Stripes-style diversion but rather a reflection of his simple and precise musical raison d'être.

What we admire most about the band is the ability to stay consistent while continuing to grow. While other rock saviors get stuck repeating themselves (Interpol, The Strokes) or overreaching (The Killers), Spoon seem to keep some core elements in place (short songs, great basslines, and concise lyrics) on every album, but throw us new twists every time. This formula of 80% reliable, 20% experimental has turned them into the Clint Eastwood of the genre: critically respected, commercially accessible, and appreciated more over time.

The winning streak continues on Ga Ga Ga Ga Ga, Spoon's oddly-titled but hugely enjoyable new album. The experimentation is surprisingly pushed right to the front of the running order, as politically charged "Don't Make Me A Target" marries angry words about "nuclear dicks with their dialect drawls" with discordant noise that gradually moves to the front of the mix over the song's short playing time. Second track "The Ghost Of You Lingers" gets even weirder, with staccato piano bits mixed with heavily muffled, haunting vocals. "Ghost" is jarring on first listen, but gradually gets prettier as one gets their mind around the spooky minimalist vibe. So about eight minutes into the record, you're sure that Daniel has decided to go arty at last, gunning for a "statement" album at the expense of casual fans and record sales. And then...

"You Got Yr Cherry Bomb" is the most commercial and radio-friendly track Spoon have ever recorded. It's even got a horn section, for the love of Stax. The 3:08 of "Cherry Bomb" may be the most fun thing you hear on an album this year, and will undoubtedly be played to death on satellite radio and on umpteen fall TV shows. Not that we mind. The album then mines familiar territory with "Don't You Evah," which has Girls Can Tell written all over it for the devoted Spoon listener. Also, it has lots of clapping. The album's midsection continues in this vein, evoking the beloved sounds of Girls and Kill The Moonlight with lots of space between notes, great hooks, and a faintly sinister vibe a la "Everything Hits At Once." That section concludes with the second catchiest tune on the album (and first single) "The Underdog." The horn section is once again employed to positive effect, and the song's simple chord structure and shuffling rhythm section put the listener into the mood to dance, or at least shoulder shimmy a bit. The album's close returns to some slight experimentation, as there's a noisy art number with static and sitar ("My Little Japanese Cigarette Case"), a jammy bit ("Finer Feelings"), and an acoustic, Beatlesy ending ("Black Like Me"). As with other Spoon releases, the band is smart enough to keep the album length short and leave the listener wanting a little more.

In the end, at the very least Spoon will be remembered as the benchmark for Austin's indie-rock scene. But it's more likely than not that they'll continue in the vein of bands like Wilco, forging ahead with their personal musical mission while continually building a groundswell of support for who they are and what they do. And in today's download-crazy, short attention span musical climate, that's as much as one can ask.

[Spoon MySpace]
[Spoon Official Site]

Image via Merge Records.

Fionn Regan The End of History (Lost Highway)The End of History signals the auspicious beginnings of this Irish singer/songwriter who strikes up comparisons to Ryan Adams, Neil Young and at times, Conor Oberst. The occasional female backing vocal, banjo and violin are spun around herculean, plucked acoustic numbers and personal tales beaming with imagery and intelligent melody. “Be Good Or Be Gone” and especially “Put a Penny in the Slot” showcase the authenticity of Regan’s songs securing his place at the head of the pack of folk revivalists. Regan won over Lost Highway, a label infamous for releasing successful Americana and country/folk acts like Lucinda Williams, The Jayhawks and Ryan Adams, making this the label’s first debut release by a UK/Irish artist. There’s no doubt this album will win him many American hearts, but topping this with a follow-up is going to be an uphill battle to say the least.

Fionn Regan Official
Fionn Regan Myspace

Justice † (Vice)

You might have familiarized yourself with French dance duo Justice courtesy the remix of Simian's "Never Be Alone", and such an introduction wouldn't be a false start, though the album is a bit different. Justice, who have received (mostly justified) comparisons to Basement Jaxx and Daft Punk, seem to shine when given someone else's work to toy with, but seem less dynamic when working from their own toolbox. This album claims no sampling (we're not so sure but are hardly experts), and though it's hard to resist tracks like "DANCE", we'll reserve ultimate judgment for the next time we're a Beauty Bar at 1:45 a.m., falling down a pole and squeezing Cape Cod out of our hair.

Justice "DANCE" (Plus Move Pirate Remix mp3)
Spank Rock vs Justice "Thunderous Bumps" (mp3)
Justice Official
Justice MySpace

Crowded House Time On Earth (ATO)

Melbourne's golden boys never really went anywhere: Neil Finn has been making really fantastic music since the band dissolved, even since Paul Hester's suicide in 2005. Though its been quite a year for reunions (everything from Poison to Smashing Pumpkins), this one is special. Though Americans know the band primarily thanks to John Hughes and VH1 Classic, the scope of their work as musicians with more than hits has never been lost on New Zealand or Europe, for that matter. "Don't Stop Now", the single, is unsurprisingly good, and Austinites can reignite their love for the band in the coming months: they'll be performing at ACL.

Crowded House Official
Crowded House MySpace
Crowded House "Fall At Your Feet" Live (YouTube)

We know, we know: the new Spoon record came out today, as well as Interpol's latest. We'll have reviews of both of those records later this week.

Another Tuesday means another stellar evening featuring Texas bands at the Mohawk. Horse+Donkey and Basic brought the rock last week for a festive pre-4th of July effort, complete with chants of “U.S.A.” This week, recent Red River regulars Ume headline a night of amazing, ear-shattering noise-rock at the weekly series. Ringo Deathstarr open with their brand of Jesus and Mary Chain inspired feedback, reverberations, and shoegazing sensibility. We cannot stop listening to their demos on MySpace -- check out “Some Kind Of Sad” if you have a minute or two. And get there early to catch ‘em live!

The Mohawk Residency Series is presented by KEXP, Gorilla Vs. Bear, and Hot Freaks!, and sponsored in part by The Onion, And/Or Gallery, Launchpad, and Austinist.

Ume: [myspace]
Ringo Deathstarr: [myspace]

Ume and Ringo Deathstarr
Tuesday, July 10th, 10 p.m.
Mohawk
$2

Bummed that you missed out on tickets for the Austin City Limits taping? You're in luck.

The Decemberists are playing a (not so) secret acoustic set on the inside stage at The Mohawk this Wednesday. Doors at 7pm, show at 8pm. Get there early, because if the line outside KLRU's studios today was any indication, it's gonna be nuts.

Also, it's completely free.

The Decemberists
Wednesday, July 11th
The Mohawk
Doors at 7pm, Show at 8pm

As Austin emerges from the thorough soaking we've received over the past few weeks, it becomes time to dry off in the warm breeze of some talented female singer-songwriters. Saturday night at The Parish, you can do just that. St. Vincent (aka Annie Clark) headlines, supporting her first proper LP Marry Me, an album that will mercilessly wallop your preexisting notions of not just female artists, but any artist writing compelling music out there. She's got Laurie Anderson's artistic cojones, Annie Lennox's pop sensibilities, and with her penchant for smooth eclecticism, could have easily been the fourth member of the ridiculously unappreciated Rollerskate Skinny (R.I.P.). If that's not enough, she gets big ups from her shows with indie rock luminaries such as The Arcade Fire, Xiu Xiu, and Sufjan Stevens. Also, along with the rest of the population of the Dallas metroplex, she was once a member of The Polyphonic Spree. Much respect.

We are unable to merely lend a cursory mention to opener Scout Niblett. The little Brit with a voice like a world-weary Care Bear - somewhere between Joanna Newsom, Chan Marshall, and a bag of organic cheese puffs - is pretty much awesome. Just ask Steve Albini. It's some of the cutest widdle indie-minimawism you're likely to hear this side of Coco Rosie trapped inside of a giant marshmallow, possessing the power to subvert even the most jaded hipster heart. So allow the edges of your mouth to point skyward even though it hurts and come out to The Parish tomorrow evening.

[St. Vincent Official Site][Myspace]
[Scout Niblett Official Site][Myspace]

St. Vincent
w/ Scout Niblett
Saturday, July 7th
The Parish [map]
Doors @ 8:30pm, $13

The official single from Spoon's latest, Ga Ga Ga Ga Ga, "The Underdog", was directed by Keven McAllester and features a ton of Austinites. Point out your favorite cameo appearance in the comments, and Pre-order Ga Ga Ga Ga Ga while you prepare for the release next Tuesday.

Spoon Official
Buy a Spoon Coffee Cup?

After an incredibly (too) long hiatus, the lovable local kaleidoscopic synth pop band Belaire return with a brand new album titled Exploding, Impacting, despite the non-stop touring schedule of members Jason Chronis and Matt Simon (thanks to a little side project they have called Voxtrot) and twin sister (and singing partner) Christa Palazzolo now living in New York City.

The album is a tour de force of Cari Palazzolo, who, with this release, has emerged as one of Austin's most gifted and talented songwriters. Exploding, Impacting is a carefully crafted, homemade sonic summer love letter, with influences that range from anywhere to '80s video game nostalgia to intelligent dance and new wave a la Orchestral Maneuvers In The Dark and The Tom Tom Club , to the complex guitar work of João Gilberto and the experimentations of Os Mutantes.

Belaire are a band whose technical prowess is comparable to that of a supernova. The band reunites to get the party hot at Emo's Friday night with fellow Voxtrot alumni Yellow Fever, as well as Red Leaves, and TJ Laserphone. DMX is also playing the outside stage. Can you dig it?

We're sorry, but this contest is closed!

Belaire: [myspace]
Yellow Fever: [myspace]
Red Leaves: [official] [myspace]

Belaire, Yellow Fever, Red Leaves, TJ Lazerphone
Friday, July 6th
Emo's
8 PM

If your Saturday night is still up in the air, may we direct your attention to the Continental Club where Li'l Cap'n Travis will be unveiling their new album, Twilight on Sometimes Island, out on Seattle's Glurp Records. Unlike the Waterloo in-store the band is doing tonight at 5 p.m., the Saturday show will also feature Brothers and Sisters and Gary Newcomb.

Li'l Cap'n Travis will be serving up their homebrewed Americana starting at midnight-thirty (who says nothing good happens after midnight), but sneak in early to catch the aforementioned opening acts.

Li'l Cap'n Travis with Brothers and Sisters and Gary Newcomb
Saturday, July 7
first act at 10 p.m.
The Continental Club

Li'l Cap'n Travis [official]
Li'l Cap'n Travis [Myspace]
Brothers and Sisters [Myspace]
Gary Newcomb Trio [Myspace]

Image of Li'l Cap'n Travis at the Continental Club from the Li'l Cap'n Travis website.

What’s in a name? (I think Abraham Lincoln said that.) The answer is, not much, especially if your band sucks, which it probably does. (I said that.) Still, picking a good band name from the rapidly dwindling supply of word combinations available can be a tricky business, fraught with dead ends, desperation, and 31 flavors of WTF?. Therefore, I’m inaugurating a monthly edition of Hots On called, mmhmm, Band Slam!, wherein I attempt to break down the names of local bands on the club scene. The only rule is that I can’t have heard the band’s actual music, thereby limiting my judgment solely to the name they’ve chosen to represent themselves. So let’s take a jaunt through the club listings for this week and see who’s calling what what, wot wot?

In a town as creative as ours, there is plenty of ongoing chatter about “the next big thing," and (usually) further discussions regarding the viability of the buzz related to those bands. We strive to bring our readers show listings and news updates for some of Austin’s finest, be it Spoon or Ghostland Observatory. Amidst all that, we also do our best to recommend some of the city’s lesser known but equally talented acts.

This Thursday, two local bands with fast growing fan-bases and infinite potential bring their pop-rock to the Parish. Oh No! Oh My! have already started capturing hearts and blogs with their sincere, uplifting pop. After a brief stint in Nashville, the band has settled back into life in Austin. Synth nuances and folk hints accentuate Oh No! Oh My!’s catchy tunes and their live show packs more than a fair punch. This particular show also marks the release of their latest effort, Between The Devil & The Sea. Preceding them on stage will be Black Before Red, whose debut full-length, Belgrave To Kings Circle, is a collection of well-arranged tracks portraying a band adept at morphing assorted instrumentation and distinct sounds into a unique product quite unlike any other. Recently the band recorded a mysterious live session at the Main Building on the University of Texas campus for KUT. Yes, we can’t wait to check it out either, but join us at the Parish in the meantime on Thursday. Abby Birds open.

Oh No! Oh My!: [official] [myspace]
Black Before Red: [official] [myspace]
Abby Birds: [myspace]

Oh No! Oh My!, Black Before Red, & Abby Birds
Thursday, July 5th
The Parish : [Map]
9pm

Image courtesy of Oh No! Oh My!’s MySpace, Author Unknown.

It’s really cold right now in Sydney. But Australia’s arty-pop, indie rock five-some, Dappled Cities Fly (although they are taking a break from the ‘Fly’ for a while), are about to make the trek across the ocean and the seasons to begin their first U.S. tour. They’ve built up a sizable resume of flattering Australian press. But now, with the release of Granddance in the U.S. earlier this year, these Aussie lads are beginning to feel the buzz in the States as well. The band was scheduled to be in Austin late July, and even though that date is looking less likely, we wanted to catch up with Alex Moore (the band's bass player) and the land down under. Be sure to check out Dappled Cities' Granddance, or catch them on one of their other tour dates (road trip to Omaha, anyone?).

Dappled Cities Fly [website]
Dappled Cities Fly [myspace]

How many name changes have you guys gone through?

Probably about four now. They gradually get better and better and easier to understand. When we decided to call ourselves Dappled Cities Fly, it was either that or You Are The Mushrooms. So, I think everybody should be pretty happy we picked Dappled Cities Fly.

Photo courtesy Daniel Boud

Hello Lovers -- Vanity Fair (Inchworm): If it is possible to musically capture a lovesick, misunderstood poet wailing and moping about drunkenly in a scummy apartment overlooking a dark and lonely city, Austin’s Hello Lovers have done it. In fact, they have positioned their sound around the voice that embodies said misunderstood poet: that of J.C. King. If you can’t latch on to King’s Antony-esque vibrato, Colin Meloy-esque (of The Decemberists) nasality, or off-melody, sputtering sing-talk style, then move on: Hello Lovers just ain’t for you. (We understand that the unpredictable cadence and style can be a bit annoying and difficult to access). But if you are patient or if your ears are generous or if, to you, King’s voice sounds just plain fantastic, then you’ll be able to enjoy the lovely (sometimes manic) saxophone, string, and accordion accompaniment to spoken poems about being nakey.

Hello Lovers MySpace
Inchworm Records

Yip-Yip -- In The Reptile House (SAF): There’s a kind of music that says it’s music but is really just “experimental” noise. This is that kind. Florida’s Yip-Yip began as a kind of visual music experience, and it shows. The sound doesn’t translate well on an album because it wasn’t meant for ears alone. If you were to soundtrack In The Reptile House to a video game, then maybe you’d have something. But alas, even though it’s beat-driven electronica, you can’t dance to it: not predictable enough. And even though it’s got its bearable moments, you can’t just put it on casually because, if you don’t already have ADD, you will develop it. In fact, in one track, Yip-Yip will have mixed more than 10 different synthetic sounds to as many different beats. All at a really really fast tempo.

Yip Yip MySpace
Yip Yip Official

Follow the jump for William Mills' review of Silverstein's Arrivals & Departures.

Rain or shine, the Mohawk Residency for July kicks off tonight with Horse+Donkey and Basic!

The Residency Series is presented by KEXP, Hot Freaks!, and Gorilla Vs. Bear, and sponsored in part by The Onion, And/Or Gallery, Launchpad, and Austinist.

Horse+Donkey, Basic
Tuesday, July 3rd
The Mohawk
10pm

It must be the week of a major holiday, because there won't be a lot of new beautiful stuff on the walls at Waterloo or End of an Ear this week. If you're anxious for Kelly Rowlands' latest (Ms. Kelly), you're breathing a big sigh of relief right now, but H-town is about as close to home as it gets July 3 (please correct us if we're wrong).

The new Madlib effort, Yesterday's New Quintet, offers Yesterdays Universe: Prepare for a New Yesterday (Volume One), a Madlib-produced collection of songs by Karriem Riggins & Mamao (Azymuth) on drums. The album features 13 groups that rose from the original Quintet, and Otis Jackson Jr. There were 6 phases and numerous rebirths ... we're pretty sure it still sounds like Madlib.

Locally, we're gearing up for several new releases. Thursday we'll be celebrating Oh No! Oh My!'s release at the Parish, and their CD, Between the Devil & the Sea, is already getting high praise around the interwebs ... we hope that it is, in some small part, named for the Stephen Rea film with a similar name. Regardless, the simple but timeless pop harmony and nonchalance will continue to impress. Other bands with new records we'd like to nod to on this off-major release day include Mark David Ashworth's Viceroy, Cue's Wedding Bell, Tia Carrera's Heaven/Hell EP, and Li'l Cap'n Travis' Twighlight on Sometimes Island. Cap'n et. al. can be caught celebrating their latest release this Saturday at the Continental Club, by the way.

In other local music news, you can continue to overdose on Voxtrot over at La Blogotheque with "Trouble", there's a new mixtape offered by Party Ends by Markus with a K, the Weary Boys are calling it a day, and Low Line Caller give good interview to Austin Sound, discussing their latest step forward: a venture into the world of vocals, utilizing Black Before Red vocalist Marc Ferrino. Oh, and What Made Milwaukee Famous have a cute new video:

Follow the jump for the rest of the official releases, and we'll see you next week with new albums by Spoon, Justice, St. Vincent and Interpol.

In a (somewhat) surprising announcement via press release mid-afternoon Monday, Austin's legendary venue Emo's, announced a partnership with local talent buying firm, C3 Presents. The announcement arrives on the heels of another announcement: Transmission Entertainment's official bid in the Austin talent buying and event booking business.

In many ways, the partnership between Emo's and C3 is a match made in heaven: Stubb's, which is co-owned by Charles Attal, a partner at C3, is a neighbor to the three-stage club situated on 6th & Red River. Frank Hendrix, owner of Emo's, stated that the match was a "perfect fit," citing the venues' long-standing history of working independently to bring large-scale events to town. Local booking will continue to be managed by Michael Booher and Deb Gill.

C3 handles many large festivals, including Austin City Limits, and already has a strong footing in the larger venues around town, including Stubb's, and dabbles in artist management too, handling bands like Ben Kweller, What Made Milwaukee Famous and Blues Traveler. Transmission Entertainment, which is now effectively booking at ten locations around town, lets Graham Williams, the former head talent buyer at Emo's, handle their national touring acts.

So as you can see, this is all very interesting.

Photo courtesy Level9ganon on Flickr.

Local children's show stars The Biscuit Brothers are celebrating the Fourth of July with a special concert at the Paramount Theatre. The performance is their biggest ever, and will be filmed for a DVD. All profits go towards funding the duo's third season of family-friendly, music-centric (not to mention Emmy Award-winning) programming on KLRU/PBS. If you'd like to win a free family pack to the show, fill out the form below!

This contest is closed! Thanks for reading!

Here's to hoping their surprise guests are Gorilla Biscuits, who take the stage and sing songs about being drug free alongside Tiny Scarecrow.

The Biscuit Brothers' Red White & Blue Benefit Concert
Tuesday, July 3
Paramount Theatre Downtown
713 Congress Avenue
5:30 PM / Doors @ 4:30 PM
Tickets
More Info

Ryan Adams – Easy Tiger (Lost Highway): We like Ryan Adams: he’s witty, annoying, moody, talented, and 100% rock star. It’s unfortunate, then, that his output is so often uneven. Like a poster child for iPod album editing, Adams throws a handful of gems on each album, then adds lots of C+ songs with gratuitous swearing and purposefully off-key vocals. Easy Tiger isn’t the complete return to glory that early press suggested, but it is better than anything he’s done solo besides Heartbreaker and Cold Roses. Not as twangy as his last couple of albums, the mood falls somewhere near VH-1 and KGSR-friendly alt.country. The album is truly an Adams Tex-Mex combo meal: an entrée of Heartbreaker, Gold, and Cold Roses with a side of Rock’N’Roll. There’s not much filler here, but one gets the feeling that Adams can do a little better than what you’re hearing. Fans will really like this record, while newcomers might ask someone to recommend the five best tracks to download (we’d start with “These Girls,” “Oh My God, Whatever, Etc.,” and “Everybody Knows.”)

Beastie Boys – The Mix-Up (Capitol): After delivering their most heartfelt (but least good) album in To The 5 Boroughs, the Beasties return with an instrumental-only album of funk and retro wah-wah type tunes. Whether this is intended as a serious project or a stop-gap is uncertain, but the songs do have a groove and charm to them. Unfortunately, they all start to sound like a mix of Shuggie Otis, 70’s film scores, and Blind Faith after a while, but simply aren’t as good as any of those things. It leaves the listener wondering if the Beastie Boys have fallen into the R.E.M. category of aging artist: talented people who still want to play together, but who cannot come up with much that’s meaningful or exciting as a unit. We hope this isn’t true long-term, but in the meantime, consider this a release for serious fans only.

Image via Ryan Adams' MySpace page. Photographer uncredited.