Just hours before venerable Hoboken indie rock institution Yo La Tengo descend upon The Parish on September 17th, they'll be all up in your Alamo as part of the Alamo's Cinema Under the Influence Series. In a dazzlingly cross-referency evening, Yo La Tengo will present Four Flies on Grey Velvet, the Dario Argento flick that most influenced them as a band. Also on the bill is Cockaboody, an animated film drawn by YLT drummer Georgia Hubley's parents, who were artistic partners and collaborators--just like Georgia Hubley and her husband Ira Kaplan in Yo La Tengo!

Italian horror auteur Dario Argento (perhaps best known for 1977's Suspiria and for begetting sexxxy daughter Asia Argento) directed Four Flies on Grey Velvet (1972) earlyish in his career, and it's his only film not available on DVD here. It follows the story of a rock drummer who finds himself framed for murder and tormented by a psychotic creep, all set to the unearthly strains of an Ennio Morricone score. (Yo La Tengo, of course, know a little something about film scoring themselves, with June Bug, Short Bus, Old Joy and a Simpsons episode under their belts.)

So now's your chance to relax and luxuriate in the formative 70's giallo essence that helped shape some of the best-loved indie hotness of our day, presumably accompanied by juicy anecdotes from the band. And? The bonus cartoon Cockaboody is not only drawn by Hubley's parents (one of whom used to work for Disney back in the Pinocchio days), but also features animated sequences of Georgia Hubley as tantrum-prone child. Really, has there been a Yo La Tengo trivia night of this magnitude, like, ever?

Yo La Tengo Present FOUR FLIES ON GREY VELVET
Monday, September 17th
7:30pm
Alamo Drafthouse South Lamar
[Tickets]
[More Info]

Austin Sound, if you haven't checked it out already, is a great site featuring information about local music. This Saturday, they're pulling out all the stops to celebrate their one year anniversary, and throwing a mini-ACL that's much, much cheaper. With 13 bands playing, there's bound to be someone to rock your picky ass. Also: free food and FREE BEER for five bucks! We know, it doesn't make sense to us either, but it sounds like a helluva deal. Get there at 3pm when the festivities kick off, and stay for DJ sets from local music bloggers like Covert Curiosity, Party Ends, Side One: Track One, Cubik Musik, and the Austinist (including our beloved Music Section Editor Paige "Drop Shadow" Maguire). Come out and show your support for some folks that help keep momentum behind Austin's scene.

Outside Stage:
11:00pm-12:00am: Golden Bear
10:00-11:00pm: Peel
8:45-9:30pm: Brazos
7:30-8:15pm: Black Before Red
6:15-7:00pm: The Black
5:00-5:45pm: Sunset
4:00-4:45pm: Charles Potts Magic Windmill Band

Inside Stage:
12:00-1:00am: Leatherbag
9:30-10:15pm: Transmography
8:15-9:00pm: Benko
7:00-7:45pm: Virgin of the Birds
5:45-6:30pm: The Narrow Escapes
4:30-5:15pm: Tullie

Austin Sound Off Festival
Saturday, September 1
3 PM, Bands at 4 PM
Scoot Inn [map]
$5, $3 with Do512 RSVP

Photo of Peel courtesy Fernando Flores

Emo's is packing in approximately half of the bands in Austin this evening for a Bacchanalian orgy of rock and roll, Lone Star, and - with all due respect - poorly conceptualized tattoos. Silly tats aside, tonight is guaranteed to be a blowout, and whether you're looking to get familiar with some of the best indie that this town has to offer, or a long-time fan, you'll be sonically satiated come this evening. Here's the breakdown:

Outside, prehistoric prog-metalheads Cavedwellers open for locals The Strange Boys - who hearken back to Beck's early anti-folk insanity circa Stereopathetic Soul Manure. Dark psychedelia will ensue as The Black Angels close things off with their trance-inducing soundscapes.

Inside, kitschy hipster ponces The Laughing open for the Kim Gordon-inspired Ume, who will no doubt have the place nice and sweaty (with a tinge of headbanging neck pain) for the Lemurs, one of Austin's favorite power pop acts.

The lounge will have its own fair share of rock as Golden Bear, Mice & Rifles and the Mercers turn the corner lot into a regular rock'n'roll rhapsody. Everything kicks off at 8 PM tonight, so get washed up and head over for a full venue full of (most of) the best Austin has to offer.

Fill out the form for a chance to see the Black Angels on us tonight:

Congrats, winners!

Black Angels, Lemurs, Golden Bear & More
Friday, August 31
Emo's (all stages)
Doors at 8 PM, All shows at 10 PM
All ages

Photo of Black Angels @ Cacophony Studioes provided by Paige Maguire

You have to love ILYBICD's patience. They haven't played a show in "ages," (according to their MySpace), but will come out from hiding Saturday night at the Mohawk to "Hopefully play some new material." In the fall, the band will be heading back to the studio to begin work on their second full-length.

Their self-titled 2003 release (produced by Brit Daniel) featured the slow-burning and pop-infused "Your Worst Is Your Best," but the long-awaited LP, Fear Is On Our Side, revealed ILYBICD as a visceral exercise in bleak, Joy Division-esque songwriting. Don't pigeonhole though, because the band's strong suit is their ability to flex and stretch in any direction they please. The Daniel connection makes sense, as both 2003-era Spoon favorites and ILYBICD rely on patient, slowly unfolding melodies and hooks carried by a rhythm section that isn't cloying or attention starved. We're quite eager to see what they've been working on Saturday night, and to round out the bill next door at DeVille, Brazilian Girls offer some ass-shaking dance tunes during a very special DJ set. The show is free, so see you there?

I Love You But ... Darkness Official
I Love You But .. Darkness MySpace
Brazilian Girls Official
Brazilian Girls MySpace

I Love You But I've Chosen Darkness & Brazilian Girls DJ Set
Saturday, Sept. 1
Mohawk (912 Red River)
Free!

A Fine Frenzy One Cell in the Sea (Virgin Records)

What’s mediocrity? It’s Lethal Weapon, George Clooney and the latter day works of Stephen King. It’s not bad, but when faced with other, more appealing and engaging choices, it doesn’t seem quite up to par. That’s mediocrity. That’s One Cell in the Sea. But hey, what is one person’s uninspired ‘eh,’ is another person’s guiding star. You could fall in love with the twinkling pop melodies and the crisp, pretty piano ditties. Singer/songwriter Alison Sudol’s vocals are consistently passionate and in sync with the melancholic tracks on the album. A song was featured on season 4 of One Tree Hill. Oh, but wait, that’s mediocre too.

A few tracks did shine a little bit brighter than the others though. “Borrowed Time” is heavy with morose catchiness and “Almost Lover” has an admirable emotional maturity to it within the piano balladry. All-in-all, it could have been a hell of a lot worse. This is Sudol’s debut album, and it shows she has a ton of potential and talent. It’s likely this reviewer will be eating crow at the release of the second.

A Fine Frenzy Official
A Fine Frenzy Myspace

Every fall, Austin looks forward to ACL Fest, and each year, there's always a point where two of your favorite bands are playing on different sides of the park at the exact same time. ACL Band Clash is a weekly series in which Austinist scribes Paige Maguire and Tom Thornton examine the worst ACL scheduling clashes, and try to provide good advice on finding a resolution. Well, good advice might be a stretch, but advice, anyhow. This week, good ole American rock'n'roll battles itself in a best of the midwest bout that's likely to be one of Austin's biggest dilemmas: Chicago's Wilco against Louisville's My Morning Jacket.

Paige: I'm worried that Jeff Tweedy's looming reputation as one of the greatest of our time and the strength of Wilco's catalog will talk even the casual fan out of giving My Morning Jacket a chance to blister their eardrums and seriously consider growing long hair. Even though almost everyone we know will at least have one Wilco album that they like, I feel it's important to flip the coin on this one. While MMJ might not have the solidity in the history of independent music that Tweedy and Co. have obtained, they can certainly compete in the live setting. Their shows are loud, fast-paced and emotive odes to Southern rock, without succumbing to the bad parts of the Allman Brothers' mountain jam-style decadence. That's a compliment, by the way. Any time a band can show up on stage with flying V's, '80s heavy metal hair over their faces, and give unapologetic nods to both '70s jam rock and J Mascis, there's something special happening. Besides, aren't there already a handful of CDs and DVDs available if you want to see what Tweedy is like live?

Tom: This is certainly a tougher call than the last two band clashes, but I'm going with Wilco. Excepting about half of A.M., they essentially haven't ever released a bad record. Like Beck, Jeff Tweedy has experimented to the point where he's retreating a bit right now, so the new album is rather mellow. But have you heard the guitar work? Nels Cline is just destroying Starbucks stereos and multiple Volkswagen commercials with these brilliant pieces that are interspersed with Tweedy's folk jams. You're correct that Kicking Television is available is a document of live Wilco, and anyone who's heard it can tell you that the band is anything but soft live. It's a sometimes ferociously noisy document something akin to Neil Young's Weld. And Tweedy may be headed down the path of Mr. Sideburns: he's still making good work two decades into his career (Uncle Tupelo formed in '87), while his band's format and musical style remain in constant flux. I think that 10 years from now, Wilco is the set that you want to point to on the ACL 2007 poster.

Paige: You're breaking my heart, Tom. Have I heard the guitar work? Nels Cline is the temptation I struggled with before taking a side on this one, and my research made it even harder. While the "Impossible Germany" guitar solo is tempting, I have to stick to my guns. I say this knowing that in recent weeks, Bill Frisell has been joining Wilco on stage and that the Nels Cline Singers album, Draw Breath, is fantastic. What matters here is that MMJ are one of the only rock bands playing to sold out crowds fully espousing the jam band mentality without losing any cred, and that's important. You know that typically I steer as clear from that shit as possible, but when done properly, live experimentation is thrilling to witness. This is the meat and potatoes of live music's joy -- and the heart of what makes people like Cline exciting to see. Still, I'm arguing for the underdog (or trying, anyway). I'm sure Wilco's hour long and carefully manicured set will be great, but even if you had no interest in MMJ, wouldn't you rather wait and see a two hour, three encore Wilco show with special appearances, Mermaid Avenue songs reworked with Frisell and Cline, and the freedom to experiment? I'm passing on Wilco in this environment to hold out for some other event ... maybe a prairie?

Tom: Yeah, that Prairie Home Companion segment was a little stilted and off-putting. But even if it is manicured, Wilco's set should be stellar. At the end of a summer tour, the band will be polished and will know what music will best move the crowd. They're obviously loved here in Austin, so the audience will be enthusiastic and welcoming. And with Tweedy, you never know what will happen... he's a livewire - like a less funny Ryan Adams (not musically, just the stage persona.) He could tell the whole festival to be quiet while he tunes, or fire a band member, or just have lots of fun and tell "Jef Leppard" stories. So there's your element of surprise. In the end, though, it comes down to the songs. MMJ make good albums, while Wilco make great ones. So I'm going for great here. But have fun at your jam session!

[Wilco Official]
[MMJ Official]
[Buy tickets for Day 3 now!]

Both Wilco and My Morning Jacket will be playing at 6:30 p.m. on Sunday, September 16th.

JOSH RITTER

What’s The Deal: Josh Ritter graduated from college with a major in American History through Narrative Folk Music, which makes the title of this folk-pop singer/songwriter’s recently released album, The Historical Conquests of Josh Ritter, fitting as well as boastful. He can boast all he wants with those hearty lyrics fat with imagery and the voluminous songwriting of this, his fifth album. Comparisons to Bob Dylan as well as John Lennon immediately come bubbling to the surface when perusing through his catalog. And somehow, despite a history of gleaming reviews going back to his past two records, Ritter’s music hasn’t seen the explosion of fanaticism it deserves.

He even steps up his game a little on Historical Conquests. Instead of impassioned songs about love and war sung in earnest, the album utilizes piano and horns to add a fuller, more fun sound that clamors and brawls. The opening track, “To the Dogs or Whoever,” leaps into a gallop with pounding keys while Ritter drops lyrical shout-outs to Florence Nightingale, Calamity Jane and Joan of Arc who are all in the belly of a whale. “Minds Eye” with it’s toe-tapping jangly guitar and persistent beat is about a cocksure gunslinger and his challenger’s imminent destruction.

Something Interesting: Ritter’s initial major at Oberlin College was neuroscience. Among his biggest fans are the Irish and Stephen King.

Other Tracks Worth Checking Out: “Girl in the War”

Josh Ritter Official
Josh Ritter Myspace

OH NO! OH MY!

What’s The Deal: They are giving us just one more reason why it’s cool to be geeky. A trend already being kept alive by films like Superbad and comedians like Patton Oswalt. Sorry, dude. This Austin indie-pop powerhouse has very cleverly turned a Star Wars quote into a super-infectious chorus on “Oh Be One” off their recent EP Between the Devil and the Sea. It’s pretty geeky, but just try and keep it out of your head. They bring in a quirky mixture of artful instrumentation (Wurlitzers, accordions, etc.) along with hand claps and falsetto background voices that just wouldn’t work with other bands. But with these guys, you wouldn’t want it any other way.

Something Interesting: The boys are contributing to a Huey Lewis cover disc coming out sometime in 2008. They covered “Finally Found A Home” alongside bands like The Long Winters and My Brightest Diamond.

Other Tracks Worth Checking Out: “The Party Punch”

Oh No! Oh My! Official
Oh No! Oh My! Myspace

Given that Amy Winehouse's "Rehab" has become resolutely unfunny over the past month (even before she canceled), the title of "band with that one hit song that everyone loves" at ACL has fallen squarely on the shoulders of Sweden's Peter, Bjorn, and John. The group have been plugging away at their charming blend of pop, rock, and indie since 1999, and are anything but an overnight sensation. Their breakthrough hit "Young Folks" is actually taken from third album Writer's Block, a record that shows surprising consistency, catchiness, and range. The record is chock-a-block with potential singles, so we won't be surprised if another American hit results in the near future. For most of the year, Peter, Bjorn, and John have traveled the world to promote the album. This included an Austin debut at SXSW 2007 where they played eight shows in 72 hours. The guys will return on September 14th for a mid-afternoon set at Zilker Park during day one of the ACL Festival. We caught up with P,B, and J vocalist/guitarist Peter Morén to ask about Kanye West, memorable moments, and A-Ha.

The band were last here in Austin for SXSW, where you may have set a record for "number of rock shows played by one band in the same place in four days." How did you find the experience, and would you do it again?

I would do it again. The thing is, we asked for it. Before SXSW, we had toured Australia and Japan for a long time and had plans to go home. Then everyone said that we had to go to Austin for South By. So we made a deal: put in all the promo and gigs you can in three days to really make it worthwhile and we'll come. It was fun. You become kind of hyper and get into the pace of doing three gigs a day. It also works because everything is close to each other. It wouldn't have worked if it were more spread out and you had to travel a lot. I was really exhausted after the last show, though!

Is it ever upsetting to be so closely identified with one song when you have three full albums of work to showcase? Does having a hit like "Young Folks" ever cause problems with pacing your concerts for newer fans?

It can be hard. Naturally we more or less care for all of our material and sincerely hope people will discover it. At festivals sometimes, people might leave after "Young Folks" which is understandable (a lot of bands are playing), but it's a shame as well. We usually end with "Objects Of My Affection" and "Up Against The Wall," which I think are much stronger as live songs then the hit, which is more of studio song. "Young Folks" is really too soft to end with, so it has to be a bit earlier in the set. On the other hand, if we didn't have that song, people might not even know we existed and they would never come to shows or buy the record, right?

As residents of Sweden, is the thought of 100-degree temperatures during your next Austin show a little scary?

Yes. But we played in a lot of hot places this last year, so I think we can handle it by now.

Do you have a favorite moment from all the touring that's resulting from Writer's Block's success? We assume you've met lots of bands and seen some new and interesting locales this year.

We met some bands that we really like and got to know a bit. Of course there's Fujiya & Miyagi and Au Revoir Simone which we toured with, but also during festival season you meet a lot of great people like CSS. In Australia, we got to know the Swedish band Love Is All from Gothenburg. I love them. And it's always nice to see Camera Obscura. Tracy-Anne sings "Young Folks" really amazing when she gets the chance. Japan was weird and is always a great experience, both the food and the people. And Australia was amazing. But this summer, the best time was at festival in Istanbul. It was situated down by a beach, so we took a swim before the gig and then played as the sun set. Then we stayed an extra day to see some of the sites. Benicassim in Spain was also great. We stayed for a week in Barcelona with our girlfriends and had a great vacation. Barcelona is probably my favourite city. And then the festival itself was also really good! Great audience.

This one has been prominent on our radar for awhile: a great show at Emo's featuring some hot, talented girls from Brooklyn, and two of the most solid bands in our scene. Tonight at Emo's don't miss Corto Maltese and their driving, moody rock opening for local pop sensation breakouts Oh No! Oh My!, and headliners Au Revoir Simone with their gleeful casio-rchestrations. A perfect Thursday show if we do say so ourselves.

[Corto Maltese Myspace]
[Oh No! Oh My! Myspace]
[Au Revoir Simone Myspace]

Au Revoir Simone
w/ Oh No! Oh My! and Corto Maltese
Tonight, August 30th
Emo's Inside Stage [map]
Doors at 8pm, Show at 10pm

Augustana. Even if you don’t know the name, chances are you’ve heard their single “Boston” over the past year. You know the one. They played it in on Laguna Beach, Scrubs and The Today Show. It hovered around the thirties on the Billboard Hot 100 chart for a while. You know, it’s a melodic, piano-driven pop rock song with super sweet, almost cherubic vocals played by some baby-faced hipsters with shaggy hair and tight jeans. In the video the singer is on the beach with a bunch of pianos. No? Well anyway, they’re playing ACL. And right after, they go out on tour with Dashboard Confessional. Wow, is there anyone out there who hasn’t forgot about that guy?

Augustana
San Diego, CA
Latest Release – All the Stars and Boulevards, 2005
Saturday the 15th, 12:30p.m., AT&T Stage

Image courtesy of Augustana's website, photographer unknown.

Blue Note recording artist Amos Lee has lived the dream of many musicians. After working for a short time as a teacher after graduating from college, he quickly decided to become a full-time musician. Upon the release of his first EP, he caught the attention of Norah Jones, who then took him out on tour with her and the album to follow brought Lee considerable commercial success. This soulful, folky singer/songwriter has come along way from his days working at a record store in South Carolina listening to Thelonious Monk.

Amos Lee
Philadelphia, Pennsylvania
Latest Release – Supply and Demand, 2006
Sunday the 16th, 5:30p.m., Dell Stage

Image courtesy of Amos Lee's MySpace, photographer unknown.

Those dang Emo's ... always inching around for a little extra room to crowd bands in. We have to say though that we love Emo's Lounge maybe even a little more than the old indoor stage: better sight lines, ingenious two-tiered standing room, and the band has to enter/exit the stage through the crowd, giving you that much more of a chance to feel up Marnie Stern or whoever. Tonight's bill will feature local lacklusters Yellow Fever, who play lovely Moe Tucker-ish pop and are most assuredly NOT that New York fashion-guy-turned-punk/emo/ska artist...thank frickin' god. Preceding will be the excellent likes of punk-funk-drunk-skunks Horse + Donkey, The Little Bicycles, and Year Of The Rat, who although apparently named after the Wipers song play mostly subdued and very cool Mogwai-style ambient rock. Emo's Lounge-it's right on the corner there, you can't miss it!

Yellow Fever, Horse + Donkey, The Little Bicycles, Year Of The Rat
Thursday, August 30
Emo's Lounge [map]
Doors at 8, show at 10

Yellow Fever MySpace
Horse + Donkey MySpace
Little Bicycles MySpace
Year Of The Rat MySpace

UPDATE: We called Frontgate this morning, and were informed that the tickets will indeed be general seated admission. Tickets will be $35 with a $5.50 service fee.

As promised, here are the specifics (as many as we have) on the Joanna Newsom performance with the Austin Symphonic Orchestra in October we mentioned earlier this week.

Tickets go on sale tomorrow morning (August 30) at 10:00 a.m., through Frontgate Tickets, and they are $35 a pop. Although we can't find any information on the time the show will start, if you're interested in going, it's only a matter of days before either Drag City, Riverbend Centre or Frontgate finally get around to adding those details to their sites. You may call Frontgate at 512.389.0315 to charge by phone.

Until then, we'd like to congratulate our winner, Tim, and encourage you all to check back in October, when we'll send another happy couple to see the chanteuse's brilliantly arranged epics about elves and shit. It's sure to be a fantastic show ... and Bill Callahan will be back from tour, so, you know.

Joanna Newsom w/ Austin Symphony Orchestra
Saturday, October 27
Riverbend Centre
Newsom @ Drag City
Austin Symphony

In 2005, Bloc Party released their debut album Silent Alarm, a glorious highlight of the postpunk revival that the New York Times described as "angsty and urgent, with jagged guitars and sexy dance-punk drums." Unlike many of their British rock contemporaries, the band have aggressively toured America in the interim, stopping in Austin for both SXSW and ACL Fest in 2005 and 2007 and at Stubb's in 2006. This approach may help explain why Bloc Party's follow-up album, A Weekend In The City, debuted at #12 on the Billboard charts in February. The group also tackled some thematic musical changes between the two records, as their latest album trades the abstract imagery of Silent Alarm for a more personal and nuanced take on the lives of young Londoners in the wake of 2005's subway and bus bombings. Austinist talked to Bloc Party drummer Matt Tong about festivals, shooting ranges, and stereotypes as the band prepares to tour again in North America this fall.

A Weekend In The City is quite different from the first album in that the songs are told more from an individual's point of view. What inspired the change?

Kele became more confident with his storytelling abilities, moreover I think he was getting tired of writing thematically opaque material. I think his use of imagery on Silent Alarm was excellent, but I think to an extent he was keen on being more direct with the listener the second time around.

Some of the album's songs ("Waiting For The 7:18", especially) really evoke London in a way we haven't felt since moving away from there. How is the band able to write music with such a strong sense of place?

I guess you write about what you know. Regardless of whether we love or hate the place, London is a city which brought this band together and a number of us grew up there. So I think it wasn't too taxing for Kele to come up with stuff that would be resonant. That said, he's always maintained that the themes covered in AWITC are meant to be applicable to any number of Western cities.

Is it tough to reconcile the need for a song to be fun and noisy live, but also be creative and inspiring for you as a band?

Not so much these days. We're fortunate that we came together in a climate where it's plausible to draw from numerous disparate influences and where we don't feel like we have to patronise the listener. That wasn't necessarily the case back when sports metal ruled the roost or further back when two-bit grunge bands were the de rigueur currency.

The Internet has been buzzing with an unofficial compilation called Another Weekend In The City, which simply collects and sequences all the album's B-sides. Was the final running order tough to select given all of the quality material, and have you ever had second thoughts about it since?

Ha. The funny thing was, we pretty much had the album we wanted to record when we got to the studio. We hadn't written enough material for B-sides, and had to go back and prepare additional material some time later. Pretty much all of the B-sides were done in a two-week period last September, which amuses me, since I'm aware some of those songs already have a pretty cultish following. It's all good. If anything, it's shown us that maybe we can be a little more instinctive about our decisions in the studio and work quicker than we have done in the past. I think this is an attitude we want to embrace when we start work on our next album.

Sylvia St. James leads the masses at the House Of Blues’ Gospel Brunch in California. The Sunday menu there features cornbread muffins, hickory smoked bacon and sausage links, and an omelet station, along with inspirational hymns, motivational music, and Miss Sylvia’s vocal prowess (and official title of “Chief Mistress of Ceremonies for House of Blues Entertainment.”) Us lucky Austinites get our chance to witness her magic on Saturday afternoon during the 2007 Austin City Limits Music Festival. Take advantage of the close proximity of the WaMu Stage to the lunch vendors to round off your experience!

Sylvia St. James
Beverly Hills, CA
Latest Release -- Due in October 2007
Saturday the 15th, 12:45 p.m., WaMu Stage

Image courtesy of Sylvia St. James’ website, Author Unknown.

Jeffrey Steele’s versatility has been visible ever since he won the BMI Songwriter of the Year award in 2003. Part producer, part musician, but definitely 100% songwriter, Steele has written ditties for Rascal Flatts, Faith Hill, and LeAnn Rimes. He does also record his own material, having released a number of solo albums, while his production skills have been employed recently by the likes of Keith Anderson and Trick Pony. Well before any of this, Steele fronted the country act Boy Howdy in the 1990’s.

Jeffrey Steele
Burbank, California
Latest Release: Gold, Platinum, No Chrome, And More Steele - Greatest Hits Vol. II, 2007
Saturday the 15th, 6:40 p.m., BMI Stage

Amy Cook landed in Texas via California and has released two solid full-lengths during her time in the Lone Star State. The prolific singer-songwriter wrote her latest album, The Sky Observer’s Guide in a month, citing the “humble” town of Marfa as a big influence. Cook’s music has been featured on shows such as Veronica Mars and Laguna Beach. Catch Cook’s melancholy compositions at noon on Sunday at the 2007 Austin City Limits Music Festival

Amy Cook
Marfa, TX
Latest Release: The Sky Observer’s Guide, 2007
Sunday the 16th, Noon, Austin Ventures Stage

Image courtesy of Amy Cook’ MySpace, drawn by Amy Adler.

California’s Novice headlines a cracking pop bill this Wednesday at Room 710. Future Warped Tour candidates, the band expertly combines catchy melodies, energetic power pop, and mall-punk production. Novice’s discography includes A Day Out In The Sun EP (2003), Interrupting The Scenery (2004), and Forgive The Silence (2006), along with this year’s self titled EP. On the road, they have played with the likes of Less Than Jake and Shiny Toy Guns.

The Most, also from California, open. But we are most excited about the middle (and local!) spot tomorrow evening. We enjoyed Wiretree’s latest release, Bouldin, and Kevin Peroni’s pop sensibility and astute musicianship should make for a solid live display. Hum away your hump day at Room 710 with $2 Lone Stars and affordable well drinks all night long.

Novice: [myspace]
Wiretree: [official] [myspace]
The Most: [myspace]

Novice, Wiretree, & The Most
Wednesday, August 29th
Room 710
10 p.m.

Image courtesy of Novice’s MySpace, Author Unknown.

Pseudosix Pseudosix (Sonic Boom)

Pseudosix began as Tim Perry's solo project, but quickly became a group effort with Emil Amos (Grails, Dolorean), Joe Kelly, and a handful of other local, talented friends. The band has written and recorded with pals from Joggers, Decemberists and The Standard in their relatively short existence, but the impetus has been barreling towards this release since back in the day when Perry wrestled with the nerve to perform live, solo. The music is haunting, catchy and incredibly good -- taking a little from bands like Blitzen Trapper, a dab from Grizzly Bear and an impressive guitar tone that reminds us of Nels Cline's remarkable guitar solo in "Impossible Germany," from this year's Wilco release. The band does not have any out of state tour dates at the moment, but we expect that to change fairly quickly.

Pseudosix Official
Pseudosix MySpace
Pseudosix "Some Sort of Revelation" (mp3)

Aesop Rock None Shall Pass (Definitive Jux)

When the first thing that we're informed of about an album release is who is featured on it, we immediately recoil and start to worry. Aesop Rock's hip hop full-length, None Shall Pass, features the likes of John Darnielle of The Mountain Goats, El-P "and more!" so we're hoping these additions are a supplement to what is already a great album. One thing we love is the art and creativity involved in this album's release: a web site with a video that requires a game win to view, an e-card that quizzes and rewards you along the way, and naturally the Jeremy Fish design that appears throughout the campaign. For fans, the five year wait for new material (aside from Nike's Original Run) will be pleased - at times the record is incredibly DJ Shadow influenced, and at other times (the title track in particular), the keyboard loop borders on cheesy ... unless supported by the strength of AR's ominous backing vocal samples and his own self-reflective lyrical content. Try out the entire album streaming at his MySpace.

Aesop Rock Official
Aesop Rock MySpace
Aesop Rock "Freeze" (video)

Modern Lovers Modern Lovers Reissue & Remaster (Castle)

Jonathan Richman's Modern Lovers came out of Boston in the early '70s, and their self-titled (eponymous) full-length is a legendary statement of allegiance to Massachusetts, geekery and love. Produced by John Cale - a musical wrecking ball in his own right, the man behind Paris 1919 and member of the Velvet Underground -- the record clearly influenced by late '60s Lou Reed, the birth of New Wave and pop music everywhere. Like too many destined-to-be-influential bands of the '60s and '70s, the Modern Lovers suffered a premature breakup and the members went on to other things. Richman followed a softer path and still records music to this day (if you're a total newb you might recall a handsome stranger with a guitar at the end of Something About Mary), Jerry Harrison went on to the Talking Heads, and David Robinson co-founded the Cars. The reissue of this classic art rock record includes eight bonus tracks, 'Dignified & Old', 'I'm Straight', 'Government Center', 'I Wanna Sleep In Your Arms', 'Dance With Me', 'Someone I Care About' (Alternative Version), 'Modern World' (Alternative Version), & 'Roadrunner' (Alternative Version). Includes slipcase & foldout sleeve with extensive liner notes, photos & other memorabilia.

Modern Lovers @ Wiki
Simes' Jonathan Richman page with complete Modern Lovers Discography

We've just confirmed that Joanna Newsom will be giving a special performance at the Riverbend Centre in October. This will be the first time all of us regular folks stateside will have a chance to experience the whole shebang that audiences in the UK had last year, as she toured Europe in support of Ys. The performance will feature the orchestral arrangements of Van Dyke Parks, who assisted Newsom on the album, and previous performances have garnered praise worldwide -- this isn't one you want to miss.

Joanna first got our attention with her instant classic The Milk Eyed Mender, and last year's Ys was on just about everyone's Top 10 list. Avant folk at its very best, the songs of Ys are epic fairytales: mesmerizing glimpses into melodic genius accompanied by absorbing vocals and Newsom's virtuoso harp playing. "Otherwordly" is an understatement. If you missed Newsom and Smog's last minute performance at Parish last year, here is your chance. Tickets go on sale Thursday, but we'd be glad to give you a pair this afternoon.

Congrats to our winners! This contest is now closed.

Joanna Newsom w/ Austin Symphony Orchestra
Saturday, October 27
Riverbend Centre
Tickets go on sale 8/30

We will have information on times and ticket prices later today.

Joanna Newsom @ Drag City
Austin Symphony

Photo courtesy Farinas on Flickr.

There's always been something undeniable about a quality West Coast power-pop record. From the mainstream success of Tom Petty's Full Moon Fever to the more obscure gems of The Posies and Jellyfish, the records in this oeuvre feel instantly memorable, lighter than air, and modestly perfect. Such sounds are likely what inspires The Broken West, a Los Angeles-based band that channels these sounds and those of Big Star and early Wilco on their debut full-length album I Can't Go On, I'll Go On (Merge). The Onion recently described the album's sound as "...like old-style AM pop with muscle and guts," while the All Music Guide says that the band make "the kind of songs you put near the front of a 'please fall in love with me because I love great music' mixtape." After being warmly received during a series of shows at SXSW 2007, the group will return to Austin in September to play ACL Fest's closing day. We spoke to The Broken West's vocalist and guitarist Ross Flournoy about his time living in Austin, the possible resurgence of college rock, and, well, burgers at Casino El Camino.

We saw you play a SXSW set this year at a BBQ place at about 1pm. Is it damn near impossible for a rock band to play a coherent set so early in the day?

That was actually a walk in the park. We played another day party at 11 in the morning! That was a struggle.

Some of you guys actually were musicians in Austin at one point, right? Can you tell us why you left for L.A.?

I lived in Austin for a little less than two years. I really loved Austin and still do, but I'm originally from California and always knew I would return. So, at a certain point it started to feel like I was spinning my wheels, and that I should just go ahead and get back to California. So I left in May 2004.

How was your Austin experience during SXSW? Harried, or fun, or anything else? (It seems like a logistical and endurance challenge for any band.)

Harried and fun might be the two perfect words to describe it. We played, I believe, eight or nine shows over the course of four days. There was a lot of running around to get from point A to point B, so by Saturday we were all completely exhausted. However, SXSW is always a lot of fun. There's free beer and music everywhere, and lots of tasty food. I'm particularly fond of the burger at Camino El Casino. And SXSW is an opportunity for me to see my buddies who live in Austin.

Although Hoot Nights and Tribute shows tend to occur frequently, Saturday’s extravaganza at Ruta Maya promises to trump all with an extensive lineup of local talent set to cover a variety of tunes recorded (or released) in 1967, known otherwise as the Summer Of Love.

Get there early, even if the music does only start at the respectable time of 4:20 p.m. Full lineup below but we have to mention some of our favorites -- Ringo Deathstarr will perform “Within You Without You” (The Beatles) along with two Velvet Underground & Nico tracks (“Heroin” and “All Tomorrow’s Parties.”)

Christian Bland from The Black Angels will be on hand to do some Pink Floyd and Rolling Stones ditties, while All In The Golden Afternoon cover The Pretty Things, among others. Jason Morales’ take on Cream is definitely highly anticipated and Tammany Hall Machines will dissect a series of Beatles songs. Stellar film footage from 1967 will also be presented between the sets and a portion of the proceeds from the show will be donated to the Roky Erickson Trust.

Lineup after the jump!

Ruta Maya: [official] [myspace]

1967 Hoot Happening
Saturday, August 25th
Ruta Maya HQ
$8 general, $5 velvet, minis, motorcycles, students (No Advance Tickets)
3 p.m. - 3 a.m.

Image by Kevin Peake

The Church of the Friendly Ghost continues to showcase the finest Austin has to offer in the experimental scene this Saturday at the Salvage Vanguard Theater on Manor Road.

The lineup this Saturday is fantastic for fans of minimalist ambient music as well as fuzzy, pedal-induced brainwave avante noise. Rick Reed, who mentioned before, uses old battered electronic devices like sine wave generators, short wave radios and a vintage EMS analogue synthesizers to achieve his unique sound. On Saturday he'll be performing with Brent Fariss as the Deep Dream Decoders.

Loren Dent composes a slightly more soothing sound, depending on your tastes, and will hopefully be playing tunes from his latest album, Empires & Milk, released earlier this year on Contract Killers Records. The lineup is rounded out with inalonelyplace alongside visuals by Paul Baker's visuals.

Rick Reed [MySpace]
Book of Shadows [MySpace]
Loren Dent [MySpace]
Salvage Vanguard [MySpace]

Church of the Friendly Ghost Night w/ the Deep Dream Decoders (Rick Reed & Brent Fariss), Book of Shadows, Loren Dent, inalonelyplace. Visuals by Paul Baker.
Saturday, August 25
Salvage Vanguard Theater [map]
8 PM
$5

Photo of Loren Dent courtesy Craig Washburn - Apologies for missing this earlier, the photo is uncredited on the artist's MySpace

The seasons will change and young lads will grow older and deeper with regret, but Perry Farrell will still be churning out the alternative rock. It’s nice to know that some things are constant. The ex-Jane’s Addiction, ex-Porno for Pyros, Lollapalooza co-creator is bringing the celestial shindig Satellite Party to Emo’s Friday night, along with New York pop rockers Mink. Farrell and team come with their pockets full of uplifting celebration and a sound that makes the memories of growing up in the early '90s come flooding back. It’s probably just the voice.

For anyone who got into music during the heyday of the alternative scene, used to stay up late throughout the summer of ‘93 to watch their idols on 120 Minutes (MTV), grew their blonde hair long and straight, and got accused of bringing porno to class because he had pulled out and was looking at Jane’s Addiction’s Nothing Shocking (it had a picture of two naked women on the cover) when he should have been doing long division, Perry Farrell is probably the last person you think you’d ever get to have a long conversation with.

I’m sure you’ve played in Austin many times over the years. What immediately comes to mind whey you think about playing here?

I think about all the good people in Austin. I’ve got so many friends there, and they really know how to put together parties and concerts. I guess I would say it’s one of the best places in the country to experience live music. I look forward to getting there because live music has been my forte for my entire career. I’ve always bent toward the stage, rather than recording.

Satellite Party w/ Mink
Saturday, August 25th
Emo's (outside)
8 p.m. doors, 9 p.m. show
Tickets $20

[Satellite Party Myspace]
[Mink Myspace]

Image by way of Flickr; Photo by Tyler Curtis

Once in a while, we like to take some time to introduce you to bands -- both local otherwise -- that we think you'd enjoy. Le Diamont Brut aims to showcase those MySpace gems we hope to see shine. Recommend your local suggestions by emailing music@austinist.com.

THE UNFORTUNATE HEADS

What’s the Deal: The Austin indie folk fivesome has just released their sophomore disc, Come Be Light. Featuring multi-instrumentation by the likes of banjo, keyboards, upright bass and theremin all layered over reliable acoustic chords, the group manages a sound that’s familiar with flare. Their last album was darker, more downtrodden, but this one has so many styles and themes swirling that dizziness should be more of a pressing concern than melancholy. The Heads blend slight psychedelia and pop with instrumentals and alt-country, and they throw in the occasional experimentation for table dressing. But, once again there’s that sturdy acoustic guitar like a foot on the floor when you’ve got the ‘spins’.

“92nd Floor,” off the new album, is a driving number about being caught up and carried away. And likewise, it’s easy to picture guitarist/vocalist Lance Sollock strumming away with his eyes shut tight, paying no attention to the layered keyboard ‘pings’ going off all around him.

Something Interesting: It’s by pure coincidence alone that their debut album is called Maritime.

Other Tracks Worth Checking Out: “Nervous, Sorry”

The Unfortunate Heads Myspace
The Unfortunate Heads Official

THE PIERCES

What’s the Deal: Two beautiful-but-dangerous sister songstresses, Allison and Catherine Pierce, command the attention of ears and eyes toward their third release, Thirteen Tales of Love and Revenge. In case you missed blurbs on them in Blender, People, Rolling Stone, Jane and others, this New York by-way-of Alabama duo have pulled together an album steeped in intrigue that straddles the fence quite nicely between Stygian folk tunes and perfectly harmonized electro-pop. Did I mention they also have a sense of humor?

“Boring” is like an old Madonna-meets-Bond theme song, but it lands several successful, sarcastic jabs at the thrill-seeking, aloofness of designer-wearing, extravagant drug-using, chic scenesters. Then, they change course and embark on eerie carnival ride “Secret,” singing, “Why when we do our darkest deeds, do we tell? / They burn in our brains, become a living hell.” with a deranged calliope player in the corner. Whereas their last record was love songs front-to-back, this latest seems more like the sisters are having fun, and it’s catching.

Something Interesting: Catherine’s ex-fiancé is Strokes guitarist Albert Hammond Jr. The girls were home-schooled in the arts and were ballet dancers back in Birmingham. Also, their bio talks about kidnappings and one of the girls being able to control her body temperature by sheer will. But, seeing how the two have a very sarcastic wit, it’s hard to tell fact from fiction.

Other Tracks Worth Checking Out: “Go to Heaven”

The Pierces Myspace
The Pierces Official

MARITIME

What’s the Deal: Legendary emo/indie rock band The Promise Ring may be resigned to live only in our heads and CD collections, but vocalist Davey von Bohlen (also from Cap’n Jazz and Vermont) and drummer Dan Didier along with Justin Klug and Dan Hinz are gearing up for the release of their third full-length for Maritime, Heresy and the Hotel Choir. Due out October 16th, the songs seem to be born of the same catchy and fun take on indie rock of the previous. Von Bohlen’s voice is still full of childhood wonder and emotion, but with a grey wash of light raspiness, blending astutely with the warm guitar chords and jangly ones. There’s definitely traces of The Promise Ring in there, but trust me, it’s a different animal. Maritime has successfully extracted all the vitality left from emo and picked up none of the baggage.
“Guns of Navarone,” (after the Gregory Peck film) off the upcoming album, is a charming, twinkly and peppy indie rock tune that pops with an insightful beat, and it’s simultaneously both a guilty and proud pleasure. It’s something you want to share with friends, but at the same time, it’s got to be shameful to listen to something this catchy. In that respect, it’s just like “Tearing Up the Oxygen” off their last record, We, the Vehicles. Oh, they also have really great song titles.

Something Interesting: Davey von Bohlen has weathered disastrous tour van crashes, a brain tumor and a few surgeries, and he’s still coming strong with the indie rock. Cheers to you, man. The Arcade Fire’s drummer Jeremy Gara played keyboards for them for a short period.

Other Tracks Worth Checking Out: “Parade of Punk Rock T-Shirts!”

Maritime Myspace
Maritime Official

Image of Maritime courtesy of Wikipedia
Image of The Pierces courtesy of their Myspace
Image of The Unfortunate Heads courtesy of their Myspace

The New Pornographers Challengers (Matador)

Once in a while, you walk into a bar, and you order a martini. You know what a martini is, you've drank dozens of martinis in your life. Maybe you have a martini recipe you make at home and particularly love. Maybe you're even the sort of person who can say smart things about the differences in various gins. But, on occasion, you order a martini, and it's not just a martini, it's a very special martini. And, it's still just gin, vermouth and an olive, but the person behind the bar really knows what they're doing and makes a martini for the ages, a martini you will talk about for years. “Remember that night at Vick's,” you'll say, “That was one of the best goddamn drinks I've had in my life.” Occasionally, there is a pop song like that martini. It's still made of hooks, vocal harmonies and clever self-referential lyrics, but it's just better than the sum of its parts. It's a pop song that sinks into your memories, even if, ultimately, it's still just a pop song.

The New Pornographers' latest effort, Challengers includes just such a song. So catchy it's intoxicating, “Myriad Harbour” makes a strong case for the continuing relevance of power pop. There is nothing in the song that's all that new. It is, as suggested previously, made of pop hooks, guitar lines, vocal harmonies and clever self-referential lyrics, but the blend practically sparkles. The sound builds on the brightest bits of the Velvet Underground and the Pixies, and incorporates tricks from the '90s indie pop playbook. It's as brilliant as it is familiar.

Then there is the rest of the album. To be fair, most of it is solid enough. The title track is soothing and sweet sounding, but unexceptional. “Unguided” seems to have a bit of arena-rock influence, building to a chorus that could have been ripped from a particularly clever power ballad. All it needs is a lighter-wielding audience to sing along. Nowhere does Challengers seem to be as strong as it is on “Myriad Harbour.” Ultimately, much of the record seems to meander along, and a few tracks are frustratingly repetitive. “Go Places,” featuring Neko Case's normally captivating vocals, is just flat dull.

2005's Twin Cinema made it obvious that the New Pornographers were a viable band in their own right, and not just a side project for the AC Newman and the group's other notable members. And, while Challengers doesn't make it seem that the act is all washed up, it doesn't match the power of the last album. The strength of “Myriad Harbour” is hardly enough to carry the record. The other outbursts of high pop energy aren't as seductive, and many of the slower tracks lack interest. Fans of the New Pornographers will likely enjoy Challengers; it certainly isn't awful, but for those who were expecting something deeply inspired, this just isn't it.

the New Pornographers Official
the New Pornographers MySpace

Rilo Kiley Under the Blacklight (Warner)

Whereas their last few releases were more Omaha or Seattle and Rilo Kiley frontwoman Jenny Lewis’ solo record last year, Rabbit Fur Coat, was pretty Nashville, this latest effort is totally L.A. With its ensnaring pop choruses, undeniable disco feel and lyrical nods to the porn industry, it is perfectly suited for the extravagant metropolis where people go to give up everything to become a star. With Under The Blacklight, they are definitely on their way ... again.

Two of the band members, Lewis and guitarist/vocalist Blake Sennett, are already grappling with whatever psychoses that remain after careers as child actors, and because they’re both vocalists and songwriters and happen to have been in a relationship together, a fair amount of tension exists within the group. Hopefully this, the start of their major label career and their most poppy release yet, won’t signal the end. According to their cover story in the latest Spin Magazine, Lewis is unsure about how long she will continue with the band. As she steps further into the forefront of the group and sings most of the songs, which was originally going to be Sennett’s spot, he is likely feeling a little under-appreciated. Being dwarfed behind the charismatic lead singer is too often the fate of those introverted creative types on guitar, drums and definitely bass.

But, cheer up Sennett. “Dreamworld,” the one track on Under the Blacklight where you take the vocal reigns, is stellar. The track, much like the rest of the album, is very rhythm-heavy with subtle guitars and obedient vocals falling right in line with the prominent and reliable bass and drums. The influence of producer Mike Elizondo (Dr. Dre, 50 Cent, Fiona Apple) is certainly felt. Here, Sennett’s lyrics are sensually whispered stepping to an undeniable beat. There is an awful lot more gloss on this song and throughout the majority of the album that reeks of high production costs that didn’t exist on albums prior, but it’s essential here to look at the album from a different view than the previous.

Better yet, forget about those when you listen to this one. Tossing it aside because it’s more dance floor than indie rock dive would be doing it a great disservice. “Dejalo” is an ideal example of a track that’s about as far away from what you’d expect out of the group as possible. A song written by Lewis and live-in boyfriend singer/songwriter Johnathan Rice, it features a verse or two in Spanish, an upbeat chorus, a '70s-inspired disco appeal and playfully sexual lyrics. “I’ve got a tail if you want to chase it /I’ve got a tongue if you want to taste it,” is just about as blunt as it gets. Then there’s “She is yours for the taking / You know you wanna make her / Show her your money maker,” from “The Moneymaker.” It’s a song that sounds just as sleazy as the porn star subject matter with groping guitars and lyrics that mimic moans. But it, like most of the songs on the album, is quite dance floor-friendly. It’s a great departure from homogeneous indie rock.

Also, they have some for naming the album Under the Blacklight, which immediately conjures up images of smoke filled basements and the glow from blacklight posters of skulls, Led Zeppelin and pot leaves with Bob Marley pumping through the speakers, and someone saying, “That’s a really sick jam.”

There’s a very fine line.

Rilo Kiley Official
Rilo Kiley Myspace
Rilo Kiley "The Moneymaker" (Youtube)

Now that Spoon have a Top 10 album on the Billboard charts, if there's a new king of the Austin indie-rock scene, it's Ghostland Observatory. If you've not heard them yet, we'll classify them as a dance and electronic rock duo who utilize synths, drum machines, and guitars to create a fairly unique sonic space for themselves which never fails to get a crowd moving. The duo of Thomas Turner and Aaron Behrens have gone from local obscurity to playing Lollapalooza and selling out UT's Hogg Auditorium in less than three years. They've also taped an episode of the 2007-08 season of Austin City Limits which will air in October. With all of the activity, the guys are quite busy these days, but they found a few minutes to email us about the state of the band, playing festival gigs, and (possibly) expanding their record label someday.

What was the inspiration behind your "Ghostland At The Opera" theme night you did in January? Were you pleased with the results?

Thomas: I wanted to use a unique venue that was not intended for our type of show. When I looked at Hogg, I felt it had an old opera house vibe, and I thought it would be perfect to play the production off of that. I was very pleased with the results!

Your performance at ACL 2006 was often mentioned as a highlight of the festival. How do the two of you work to project to a festival crowd in a meaningful way?

Aaron: We just do it the way we always do! Pushing it to the limit, MAD MAX STYLE!

Your music has been championed by national and local media, from our parent site Gothamist to Spin to Seattle's great KEXP. Do you have a city outside of Austin that you feel you're "most popular in" or that has the best audiences for GLO?

Aaron: Actually, there are a lot of cities that are starting to get crazy and we can't pick just one. They are all starting to let loose and get buck wild!

Mid-week malaise got you down? Step inside Stubb’s this evening for a chopped beef sandwich and easy melodies to help your melancholy mood. Singer-songwriter Gary Jules provides a gentle folk sprawl of guitar and hand claps that will help you get over any hump day. A veteran of fine albums such as Greetings From The Side and Trading Snakeoil For Wolftickets, his latest self-titled effort matches their potency by once again lacing his acoustic folk-rock with beautiful, complimentary lyrics. Jules’ resume includes contributions to Donnie Darko (“Mad World” -- a Tears For Fears cover) and Digging To China (“Greetings From The Side”) while his vast and diverse personal experiences only augment his story-telling capabilities. “Falling Awake,” which appears on his new album, was also featured on Grey’s Anatomy.

Here's your chance to examine Jules’ compositions on us!

This contest is now closed - thanks so much for reading, and congratulations to our winner, Keith!

Gary Jules: [official] [myspace]
Jim Bianco: [official] [myspace]

Gary Jules and Jim Bianco
Wednesday, August 22nd
Stubb’s Indoors
[Tickets]
$15, Doors @ 9 p.m.

Photo courtesy of Gary Jules’ MySpace, Author Unknown.

Update (Tuesday, 7pm): from the Mohawk: "Ghosthustler and the Party could not make it down and had to cancel."

The Mohawk’s Tuesday Residency rolls on tonight. This week, recent Band Slam victims Ghosthustler provide the regulars with bumping dance beats and thumping electro-clash. The Denton act recently released a video for “Parking Lot Nights” directed by Pete Ohs. Check it out on YouTube.

The Party featuring DJs $elect and Sober gets the shindig going at 9 p.m. And don’t forget, it’s always 18+ at the Mohawk Residency.

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.

Ghosthustler: [myspace]
The Party: [myspace]

Ghosthustler and The Party
Tuesday, August 21st, 9 p.m.
The Mohawk
$2

Stay tuned this week for full-length review of the latest New Pornographers and Rilo Kiley albums.

Caribou Andorra (Merge)

Dan Snaith's project formerly known as Manitoba is the realization of a degree in mathematics, numerous electronic gadgets and a nothing if not agile companionship between the past and the present. Though Andorra is the product of Snaith's deft handling of quite modern equipment, the feeling of listening is more nostalgic than expectant. "Melody Day," the first single, opens with sleigh bells, a dated snare sound and Ventures-esque guitar hooks reminiscent of '60s pop, Californian surf instrumentals and LSD-laced daydreams. Swirling flutes, squiggly guitars and heavily echoed vocals (lots of vocals) pervade the entire album, and at times the trite references are totally unavoidable. "Eli"'s guitar could have easily been ripped from an early '70s George Harrison tune, and the soaring falsettos are unmistakably Wilson-inspired. "She's The One" stands out as a swoon-worthy favorite, an almost heart-breaking sob story laced with snappy snare and high hats, claps and a chorus that reveals itself like the slow realization of longing. Snaith's own background vocals crooning the song's title against chugging synths, persistent percussion and softly uttered manifestations of unmistakable yet hopeless devotion are perhaps the album's highlight.

Caribou Official
Caribou MySpace
Caribou "Melody Day" (YouTube)

Architecture In Helsinki Places Like This (Polyvinyl)

Architecture In Helsinki's spastic indie-pop does not stray from the formula on this, their third full-length album. AIH aim to get catchy (often looped) beats against unforgiving melodies and avant approaches to composition successfully. Fans of older AIH work might find this album tame, but given the fact that one of the sextet's members relocated to Brooklyn (look to your left, now look to your right, one of you three will end up in Brooklyn before the year is out) during the writing process, the cohesion is remarkable. To their credit, eclectic arrangements and instrumentation cozy nicely with their somewhat simmered aesthetic, all while staying true to the idyllic notion of grown-up freedom, charming snottishness and genuine enthusiasm.

Architecture In Helsinki "Heart It Races" (mp3)
Architecture In Helsinki "Heart It Races (YouTube)
Architecture In Helsinki Official
Architecture In Helsinki MySpace

No Age Weirdo Rippers (Fat Cat)

Weirdo Rippers is a sort of bizarro best of album featuring tracks previously found only on vinyl-only short form releases by No Age, one of the most intriguing bizarro bands around. The duo, comprised of former Wives men guitarist Dean Spunt with drummer and vocalist Randy Randall, might rightly be described as one of the world's last great jam bands, riding on the unorthodox joy of noise, togetherness and spasm to great ends. Built on the simplicity of the most necessary instruments needed to produce the loudest and most abrasive shock to the system (their live shows are legendary), the songs on Weirdo Rippers are a throwback to the early days of show-going, the days when Guy didn't have to know how to sing to move you, sheer intensity was capable of being great, and purity of heart shone like a light to like hearts. The drums of "Boy Void" standing alone might make you call the cops if overheard from a neighbor's garage, but we dare you to stand still should you happen to walk in on a practice.

No Age MySpace
No Age Official
No Age Weirdo Rippers Promo (YouTube)

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Photos by Eric Uhlir

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ME Television (Time Warner cable channel 15), Austin's local music video station, is gearing up for their own reality show which will be based on their nationwide search for two new VeeJays. The first set of open auditions takes place Thursday, August 30 in Austin. These auditions will be filmed for the reality series, which will start showing on ME in October.

Duties of ME VeeJays include artist interviews, as well as coverage of ACL Fest, SxSW, and other local music festivals. If you are interested in auditioning to be a VJ, Executive Producer Jacqueline Renee warns, "I want everyone to come with a fantastic 60 seconds on who they are and why they should be on ME Television. Everyone should work on their interviewing skills and prepare a short talent segment covering music and entertainment news and introducing videos." Renee says that previous open call auditions have been fruitful in the past (most of the ME on-air talent have been discovered in such auditions).

This time, though, everything is recorded. So even if you don't make the VJ call-backs, there is still a chance you'll get some on-air time on the reality show.

ME's The Next Veejay auditions
Thursday, Aug. 30, 12pm-8pm
Midnight Rodeo
2201 E Ben White Blvd [map]

Image from ME Television's MySpace

It's August already, and if you haven't sweated it out to some great rock outside at Emo's yet, you can't claim to be an actual citizen of this 'burg, let alone a real human in the world. It can be a trying, vaguely sensual experience testing your physical, mental, and spiritual stamina amongst so many different flavors of scenester/hipster/regular Joe, all with their own fragrance and fashion aesthetic - or lack thereof. Also, due to the aggregated body heat of so many amped up fans, temperatures in the belly of the beast can reach upwards of 169 degrees, so shove a snow cone down your trousers (or up your skirt) and head out this evening to the indie-rock gauntlet you might have been avoiding all Summer.

Tonight, New York rock outfit White Rabbits, headline with their Ceasers-esque sneers and fevered Art Nouveau dreams cast in Pop and tropical percussion. Kinda like The Walkmen on vacation in Costa Rica, dig? Three-piece The Clutters take the stage beforehand to show off their distinct twist on the trio-from-hell equal parts McClusky and MC5. Gore Gore Girls precede with their flanged '60s cemetery freak-outs, all dirty go-go boots and pastel headbands. Architects open.

We love you like sisters and brothers so we're giving away a free Clutters CD and T-Shirt in addition to guest list spots! Fill out the form!

This contest is now closed - thanks for reading and congratulations to our winners!

[White Rabbits Myspace][Official]
[The Clutters Myspace][Official]
[Gore Gore Girls Myspace][Official]

White Rabbits w/
The Clutters, Gore Gore Girls, and Architects

Saturday, August 18th
Emo's Outside Stage [map]
Doors @ 8pm

Z-Trip is one of the foremost live DJs on the planet at the moment. Many would say he pioneered the art of the mash-up before it got ruined by gimmicks and Girl Talk, his independent debut Uneasy Listening is a classic, and he's a festival-headlining rock star in Europe and Australia. Combining the dark atmospherics of DJ Shadow (a close friend) with party-starting club bangers, his sets are perfectly paced with drama to spare. Z-Trip's bringing his All-Pro Tour to The Parish Room tonight with lots of friends, most notably the criminally overlooked West Coast mc Aceyalone. (By-the-by, The Parish Room is generally recognized as having the best indoor sound system in Austin, so if you're going to see a DJ set downtown you should start there.)

All Pro Tour feat. DJ Z-Trip, Aceyalone, DJ Tricky T, DJ Tats, Nerdy Harry
The Parish Room [map]
Doors @ 9pm
$20 presale 18+ [tix]

Heavy Metal -- the phrase has been used in various connotations since Black Sabbath (arguably) generated the first metal ‘sound’ back in the late 60’s. Ever since, the genre has fluctuated between differing standards and floated through a number of decades. Be it radio friendly acts such as Godsmack, the thinking man’s Tool, the stoner riffs of Fu Manchu, or local flavor in the form of The Sword, the current state of metal crosses many borders and fans.

There is no shortage of metal music in Austin. Emo’s and Beerland, along with Headhunters and Room 710 constantly supply a venue for the genre to expose itself to the city. Now Red 7 (intriguingly located between The Beauty Bar and Plush) has become a strong force in providing some of the best in metal to Austin. This weekend they host the Extreme Texas Metal Fest, a two-day salute to wailing riffs, headbanging beats, and general metal mayhem. So march on down to Red 7 this Saturday and Sunday to catch the likes of Scattered Remains, Mala Suerte, Forever Mourne, Belligerency, Ruins Of Honor, crazy fonts, and what not. (Band Slam take note!)

Oh, and there’s a pre-party (or Pre-Fest Metal Assault as it’s called) on Friday night at Room 710 featuring Merciless Death and DogmaHollow, among others.

Red 7: [myspace]
Extreme Texas Metal Fest: [official] [myspace]

Extreme Texas Metal Fest IV
Saturday, August 18th, & Sunday, August 19th
[Red 7] : 611 E. 7th Street - Austin, TX 78701

Image courtesy of Extreme Texas Metal Fest’s MySpace, Author Unknown.

The Carousel Lounge is hosting a night of mysterious, dark and definitely dense music tomorrow in the form of a couple of reclusive Texas bands.

Headdress (formerly Worship) specialize in predominately instrumental songs thick with echo, space and traditional elements. Fans of Dirty Three will like the band's latest album, Turquoise, a dark, brooding jaunt into a dimly lit motel room on the edge of some southwestern town. Each note and every carefully chosen guitar lick fall carefully into place, purposefully, amidst the ominous compositions. They'll be joined by San Marcos' Silver Pines, a band that manages to bring together French horn, country-tinged guitars and soaring yet frail female vocals together. Both of these bands bring a certain kind of darkness to traditional country and folk music, and will be exciting for fans of older Shearwater tunes, the previously mentioned Dirty Three and Low. They'll be joined by Cavedweller, specializing in lo-fi psych folk.

Silver Pines [Silver Pines]
Headdress [MySpace]
Cavedweller [Cavedweller MySpace]

Silver Pines, Headdress & Cavedweller
Saturday, August 18
Carousel Lounge (map)
9 p.m.

Photo of Headdress courtesy TotemSongs

What's that, you say? DJs don't release albums? Uh, have you ever heard of Girl Talk? The DJ Kicks series? The prolific DJ Shadow? It happens. A lot. And tomorrow night, it's happening at Beauty Bar: Austin's Car Stereo (Wars) will release its first ever LP, The Bandit, to the accompanying sounds of cacophonous rockers White Denim, found-sounds rockers Single Frame, and guest DJ sets by Team Fabrication, Josh Mills (of Clap! Clap!), and Terry Diabolik (of New York's Finger on the Pulse).

With the recent trend and mainstreamization of mashups and remixes (you can hear Royksopp in teeny bopper stores or the Peter, Bjorn and John remix of The Shins' "Australia" on internet radio), DJs are getting more than just a nod from most, and their art is finally being seen--by some--as such. Car Stereo (Wars), otherwise known as Chris Rose, has attempted to join the multitudes of mix-mashers and make a way for himself, starting in the, ahem, thriving Austin dance scene. Rose has been opening Ghostland Observatory shows, sold out his SXSW showcase this year, and was called the "discovery of the night" by Blender's SXSW blogger.

The Bandit is Rose's Burt Reynolds obsession come full circle; in fact, the first 500 copies of the LP include a fake mustache on the cover and a one off 'Bandit' polaroid inside. Lucky for you, the $5 cover for the show includes a free CD. When you get your free copy, be sure to let it spin for a while: Rose hopes that "even on the 3rd or 4th listen there will be samples that will pop out that feel new and unnoticed." If history is any indication, this will happen. In fact, most CSW experiences have left us thrilled with the combination of classic and random tracks, the kind of random that makes you say, "I thought I was the only one that knew/loved this song!" Examples include Flat Pack's "Sweet Child of Mine" cover and the Doug theme song. These memorable CSW experiences have also left us satisfyingly exhausted, so be sure to disco nap before you head out. We know you're going, so why not go for free? Give us your info, and cross your fingers.

Congrats, Dustin!

Car Stereo (Wars) CD Release w/ White Denim, Single Frame, guest DJs
Saturday, August 18th
Beauty Bar [get there]
Show at 10pm, $5

Car Stereo (Wars) on MySpace
White Denim on MySpace
Single Frame on MySpace

Poster by Sparrowhead

Providing hours and hours of entertainment to the city of Austin daily, KOOP 91.7 FM requests you to join them this evening at The Scoot Inn for a multi-talented line-up of local acts. And all for a mere five bucks of your hard earned money for all the fun. Not bad a deal, we think. Hosted specifically by Now Playing Austin (which airs every Thursday at 6 p.m.), headliners on the night include Peel and Horse+Donkey. The former was recently featured on NPR’s All Songs Considered and their label (Peek-A-Boo Records) has helpfully linked the show through their website. One can also stream the new self-titled Peel record from the same.

Peel’s infectious pop-rock will be preceded by the apocalyptic drone of Horse+Donkey and indie-rock from Diagonals. (Have to mention that Wiley Wiggins is a band member of the latter!) The wonderfully named Notorious H.E.B. (a-k-a John Erler from KOOP’s Elk Mating Ritual Show, as well as Master Pancake Theater) mixes and mashes the beats inside at midnight.

Peel: [official site] [myspace]
Horse+Donkey: [myspace]
Diagonals: [myspace]
Notorious H.E.B.: [myspace]

Peel, Horse+Donkey, Diagonals, & Notorious H.E.B.
Friday, August 17th
The Scoot Inn
Doors at 8 p.m.
$5

Image provided by Horse+Donkey.

Last week, Paige sent me a link to this story in Spin magazine, which parses the subject of leaked recordings and their effect on album sales (verdict--noncommittal). The story recounts Jack White's infamous tirade toward a Chicago DJ over the broadcast of White's album prior to the album's release, including his priceless appraisal of early album listens as "messing up the entire music business."

It's a good article with lots of fascinating industry details, but all the bands featured therein are fully established acts with millions of records sold. The story doesn't address the effect of leaks and file-sharing on unkown or up-and-coming artists, except to quote an industry guy saying "I don't think anyone's come up with a direct correlation" between file sharing and record sales.

As any music fan with too much web-surfing time on their hands know, new bands are popping up like weeds these days. Not that new bands haven't been popping up like weeds since rock's inception 50-odd years ago, but thanks to MySpace, YouSendIt, and the sheer volume of web content at our disposal these days (most of it certifiably asinine), yesteryear's Monday night showcase at Red's Pub are this year's boutique label signees and festival sub-sub-sub-headliners. That said, the same rules for success still apply. Here are the top five essentials, more or less in order:

1.) work hard
2.) write good songs
3.) slay live
4.) keep at it for 10+ years
5.) get lucky

So, fundamentally, what has changed about the music industry in our current moment of unlimited access? I want to open this one up to the comments section because I'm curious what you guys have to say about this. Less people are buying music, but are more people listening, and to a broader range of sounds and textures? Does MySpace really make it easier to get a career off the ground? Do leaked records really hurt sales? Will the internet eventually render copyright law obsolete?

Have fun down there, guys.

Stock photo from Bell Labs

If you learn nothing else about Brooklyn-based indie rock group Ladybug Transistor and the secrets behind their bittersweet pop, know this: their mothers are really proud. Of the three classic pearls of wisdom from mom - ‘Wait at least an hour to swim after eating,’ ‘Too much TV will rot your brain,’ and ‘Always remember to share.’ - Ladybug Transistor has at least one of those down to a mutually beneficial science. Lending their skills to other groups as well as borrowing musicians from bands like Architecture in Helsinki and The Clientele has turned Ladybug’s sound into particularly matured indie pop. This ‘all are welcome’ philosophy practiced in the recording precess of their recently released sixth album (Can’t Wait Another Day) may not translate perfectly to the Emo’s stage Friday - obviously not all of the borrowed musicians can be there - but gleaming melodies and infectious song-craft will certainly be sitting in with them on a song or two. 'Playing nice' with Ladybug Friday night are The Dodos, Papercuts and Sub Pop's Jennifer Gentle.

We recently caught up with founding member of Ladybug Transistor Gary Olson to discuss collectives, Stephin Merritt and working with Soft Machine's Kevin Ayers.

I've noticed you guys have done some trading with other musicians on Merge Records. Is it a very incestuous family there? Kind of like a collective?

I wouldn't call Merge a collective, but more of a big loving family these days. We've had a long history of sharing band members (Julia Rydholm and Jeff Baron) with Essex Green. Alasdair from The Clientele, who are label mates, helped us out with some guitar for two songs on the new album.

Lick Lick and The Invincible Czars head up an evening of eccentric rock n’ roll tonight at Room 710. Self classified as “prunk”, the former concentrates on post-punk assembled with catchy guitar riffs and per their MySpace page, “Lick Lick are sure to make prunk a household term in 2007.” The band is set to join the likes of Tia Carrera, Gorch Fock, and Attack Formation on the local Australian Cattle God Records for the release of their upcoming record.

The Invincible Czars churn out an interesting brand of math-rock, heavily influenced by classical music, polka, some country, and even some jazz. A highly energetic and largely original sound, the band’s live show is a fist pumping dance party. The Invincible Czars impressive resume includes arranging music for works like Tchaikovsky's “The Nutcracker Suite” and Mussorgsky's "A Night on Bald Mountain." A studio recording of the Tchaikovsky piece is in the works as well. Also, there is a good chance you’ll hear some random covers at the show -- the band has been known to play songs by artists ranging from Iron Maiden to Roy Orbison. “Infinite Dreams” please!

Lick Lick: [official] [myspace]
The Invincible Czars: [official] [myspace]
The Company Corvette: [myspace]
Amanda Lepre: [official] [myspace]

Lick Lick, The Invincible Czars, The Company Corvette, & Amanda Lepre
Thursday, August 16th, 10 p.m.
Room 710

Image courtesy of Lick Lick’s MySpace, Author Unknown.

Every fall, Austin looks forward to ACL Fest, and each year, there's always a point where two of your favorite bands are playing on different sides of the park at the exact same time. ACL Band Clash is a weekly series in which Austinist scribes Paige Maguire and Tom Thornton examine the worst ACL scheduling clashes, and try to provide good advice on finding a resolution. Well, good advice might be a stretch, but advice, anyhow. This week, Las Vegas squares off with Reykjavik as the pop-rock stylings of The Killers meet the art princess known simply as Björk.

Tom: The Killers certainly know how to write a single. Despite (or maybe because of) the Springsteen worship, I really enjoyed "Read My Mind" earlier this year, and "When You Were Young" isn't bad, either. But I went to see them a few years back at Irving Plaza in NYC, and they were truly a comedy of errors. First of all, Brandon Flowers was wearing makeup and looked jowly in that 'Eddie Izzard in drag' manner, and they essentially stared at the floor while standing stock still as they ran through the Hot Fuss album. My friend Scott tapped me about six songs in and said "erm, are you totally bored with this, too?" And we both liked their record! We ending up leaving early, so when The Killers played The Erwin Center earlier this year, I wasn't even tempted. My wife wanted to see them, too, until she saw a YouTube video of their total lack of stage presence. So I'm going with Bjorkers here in a landslide.

Paige: I have to agree with you. While I have a soft spot for "Mr. Brightside" (don't ask, because I'm not telling), I can't think of much I'd like to see less than a narcissistic Killers set. I probably would have given them a chance over Bjork if this show happened post-Hot Fuss, though. Given the direction they've gone in since then, I simply can't force myself to give a shit. To their credit, they'll always have a pretty solid debut album under their belts. Their recent turn to what (I assume) they think are classic American favorites (dressed up in Las Vegas drag) isn't appealing to me. I'd like to see them play their grittier songs in some dive bar, not at a festival. So, Bjork it is: not because I'm a huge fan (well, not since Post), but because the performance is going to be first rate. I have to believe that part of the festival's appeal is that it gives us the chance to be moved by some things that we might not normally sign up for, so given the fact that I'd never ever buy Bjork tickets, I'm looking forward to the luxury of feeling a little high as she launches into "Army of Me".

Tom: There's also the issue of toughness here. The Killers pick fights with bands like The Bravery, who I think either of our kids could probably beat up. Bjork, on the other hand, punches paparazzi in the face when they annoy her at the airport. So...one-nil to Bjork. I also like Bjork's artwork better. On the Killers' new album, they're all beardy and hanging out in a Vegas trailer park. On Bjork's album, she's either wearing a huge Christmas ornament with huge ogre feet, or she's wearing war paint and has flames coming off of her! I know the fire is Photoshopped, but I give Bjork credit for thinking "hey, I'd look really cool with war paint on and ON FIRE for this photo shoot." I'm also worried about The Killers taking their Springsteen fixation a little too far and either (a) hiring a sax player or (b) bringing Courtney Cox onstage for an 'impromptu' dance with Brandon Flowers. That brings me to my last point: last names. The guy from The Killers is named "Flowers." Flowers do not a killer make. On the other hand, Bjork doesn't even bother to use her last name, which is (wait for it)... Guðmundsdóttir! That name could win the World's Strongest Man contest simply through sheer intimidation, in spite of the fact that she's likely only 5 feet tall and weighs 105 pounds soaking wet. Anyhow, even the intangibles all favor an Icelandic evening.

Paige: Intangibles are important! One last thing: it's undeniable that The Killers have always had a penchant for theatrics, whether in the form of biopic lyrics reflecting a rough love life in Sin City or similarly played character-driven pieces revolving around a misunderstood rock'n'roller plagued by small-town blues. Theatrics aren't a bad thing, though. One of the best shows I saw at SXSW was Mew at Stubb's, and they're nothing if not theatrical. In this case, however, my vote goes to Icelandic eccentricities over Springsteen hangovers.

Both The Killers (at 8:15pm) and Björk (at 8:30pm) play the Austin City Limits Festival on Friday, September 14th.

[The Killers MySpace]
[Björk MySpace]
[ACL Tickets - Friday]

Opposite Day Safety First (Eat A Finger Peach Look Music): Austinites Opposite Day have been cranking out weirdo punk music for six years now, and Safety First is the band's third album, which makes them "official." Like most punk bands, the majority of songs last around two to three minutes. And while Opposite Day is definitely punk, the album's 17 tracks explore motley styles, ranging from hardcore to acoustic to experimental to Incubus-esque, all with silly and strange lyrics, which is why they call themselves "absurdist." The bass is, of course, a key element in Safety First, although sometimes it's a little too high and sometimes a little too funky and sometimes just immature. "Laurentide" surprisingly brings a bit more pop and accessibility, and "Astronomy Overflowed" carries a Simon-and-Garfunkel vocal style over a guitar that trickles like a gentle stream.

Opposite Day on MySpace
Opposite Day Official Site

The Loose Salue Tuned To Love (Graveface Records): This album could not begin on a better note. "Death Club" immediately disarms with its bells, its Beach Boys aesthetic and soft, Brian Wilson vocals; it rounds out with a rather pleasant country twang in the style of The Thrills. But then the dream is gone, and an overly dramatic, even breathy, self-aware female vocalist dominates most of the album. Sure, her voice could be compared to Jenny Lewis, but the way she sings can grate on the ears. Aside from her voice and including the tracks with the male vocalist, Tuned To Love is a pretty endearing mix of country and twee pop, somewhere in between Camera Obscura and Calexico. However, the album gets negative points for the song "Why'd We Fight?" which is, in fact, as lame as it sounds. Please note The Loose Salute's excellent effort to include all folk/country/pop/rock instruments in this album, including the vibra-slap (ref. Cake).

The Loose Salute on MySpace
The Loose Salute Official Site

Try something new tonight at the Church of the Friendly Ghost: Aurora Plastics, Xathax and Clear Spot will perform a variety of noise, experimental and ambient music and Paul Baker (Astral Projections) will provide a multimedia audio & visual experience for a mere $5.

Church of the Friendly Ghost Night w/ Aurora Plastics, Xathax, Clear Spot & Paul Baker
Tuesday, August 14
Salvage Vanguard Theater (2803 Manor Rd.)
8 PM
$5

Aurora Plastics [MySpace]
Xathax [Fuzz Profile]
Astral Projections [MySpace]
Paul Baker [Sounds Seen Installation @ Alamo Drafthouse]

Scotland's Paolo Nutini truly leads a charmed life. At the age of 20, he will return to Austin to perform at ACL Fest for a second consecutive year and at Stubb's (along with Peter, Bjorn, and John in support) for an ACL aftershow. Last year, he also had the honor of taping an episode of the Austin City Limits television program. Nutini's debut disc These Streets has gone platinum in the UK, and as a result, he's already opened for the likes of Paul Weller and The Rolling Stones. This fall, he'll co-headline a North American theater tour with troubled sensation Amy Winehouse (if she shows up). Somewhere between being compared to Al Green and sharing a stage with Solomon Burke, the pop-rock sensation found time to speak with Austinist about last year's festival experience and the troubles of writing a second album on the road.

You played ACL before as a newcomer before. How was the experience for you last year?

Last year was so bloody hot! We had a morning radio session to do, which we spruced up with some "Texas Teas". We were on early, so it was nice to see the crowd gather gradually as we played. It's all very relaxed in Austin.

The organizers also got you to tape an episode of the Austin City Limits TV show. Had you even seen the program before since you're based in Scotland?

I had never seen the show at all prior to taping it. Although...as soon as you walk in the studios, you get the sense that you have. I mean, the portraits of past performers seem pretty familiar. It was a very surreal and happy night.

Your debut album These Streets has proven so popular that you've been touring a great deal. Have you had time to write material for a second album yet?

I'm writing all the time, but songs haven't been coming as easy, though. It's weird: when I was writing the songs that became the first album, I felt lonely and was needing some respite. Now there are people with me on tour all the time. It's a big difference in situation. You experience more, but less, if you get what I mean.

We've read that you were invited on stage once with soul legend Solomon Burke. Is that a career highlight?

Yeah. It was at the Montreux Jazz Festival last year. I was invited to take part in a show for the late Ahmet Ertegun. Les McCann played first, then I got to play two tunes. Ben E. King followed, and Solomon Burke was to bring an end to the first half of the show. For his last song, he did a version of "What'd I Say" by Ray Charles and called up Les McCann to join him, who in turn called up Ben E. King, who to my delight called me up. That will always be an amazing moment for me.

Nearly a year after the release of Drive-By Truckers’ magnificent A Blessing And A Curse, Jason Isbell departed (in friendly fashion) from the band in April of this year. In July, he emerged with his first solo effort, Sirens Of The Ditch on New West Records. Recorded at the Fame Studios (graced in the past by the likes of Little Richard and Aretha Franklin) in Alabama, the album is chock-full of bluesy alt-country balanced by catchy guitar riffs. The lyrics are reflective -- tracks like “Try” and “Dress Blues” bleed sincerity and are aptly complemented by southern strains and steel guitars.

Isbell and the 400 Unit will be preceded by a Texas two-step this Tuesday at The Mohawk. Micah P. Hinson from Abilene gets things started while Denton’s Centro-Matic occupy the middle spot. The latter is always a big draw in Austin and has performed on varying stages in the city, ranging from The Parish to The Continental Club. Will Johnson’s fine lyricism backed up by the band’s earnest indie-rock should be a perfect stepping stone to the Isbell’s impending wit and twang.

Jason Isbell & the 400 Unit: [myspace]
Centro-Matic: [official] [myspace]
Micah P. Hinson: [official] [myspace]

Jason Isbell & the 400 Unit, Centro-Matic, and Micah P. Hinson
Tuesday, August 14th, 10 p.m.
The Mohawk

Image courtesy of Jason Isbell’s MySpace, Author Unknown.

If you happened to be downtown two weekends ago, you might have found yourself startled, amused, or even aroused (it’s okay, you’ll be totally accepted at some clubs in Japan) by the sight of four human forms wandering the streets in golden, skin-tight zentai suits. There must be something in the way head-to-toe spandex outfits cling to one’s body, because clubbers all over downtown were completely enamored with the mysterious beings - perhaps it was all in their shining strut. Sightings first occurred at The Beauty Bar on 7th St and Club De Ville on Red River. They continued on the sidelines of Mohawk's Spoon show, at Oilcan Harry's on 4th, even on stage with The Scabs at Antone's. Some passers-by marveled at the group and courteously screamed, "Welcome to Earth! Come party with us!" Others took a more direct approach at showing their fascination with the golden enigmas by attempting to grope them while yelling, "I want to have your baby!" Who were these people gaining interest all at once from the hipsters, the gays, the goths, the frat boys, the musicians, etc.? It was all very cryptic. However, if you were lucky enough to get a Polaroid with the group or a sticker (gold, of course) that they were passing out freely, you found that it came with an answer as to what the whole phenomenon was about.

The Gold Show, an event presented by The United States Art Authority that is billed as a “free display of art, music and film,” takes place on August 11th (yeah, you missed that one) and August 18th (you can still catch it). Has anyone noticed how the decrepit building next to Spider House suddenly became occupied and is now sporting a classy USAA sign? That’s where the event will go down – 510 W. 29th St. If you don’t like art, music, or film, you still have reason to attend – a full bar accompanies all of the artistic expression.

Floratone Floratone (Blue Note)

The band is called Floratone, but given the fact that Bill Frisell is the guitarist, it's sort of impossible to leave that out of the title of this week's NRT. Frisell's history in the guitar world is long and impressive, and this collaboration with drummer Matt Chamberlain (a notable musician in his own right, having performed with everyone from Pearl Jam to Neil Finn) is another beautiful addition to his innovative take on the creation and direction of music.

Frisell studied music at Berklee in Boston under the tutelage of Jim Hall -- a former New York Jazz Critics Circle Award winner for Best Jazz Composer/Arranger and Bill Evans collaborator -- and got his first big break when Pat Metheny recommended him to Paul Motian. It wasn't long before Frisell was considered the studio jazz guitarist, and his first solo release of original material came in 1983. The album, In Line, was almost entirely solo guitar work and and it cemented his reputation on the frontlines of experimental jazz.

Frisell's work is watermarked by his dedication to perfect tone and innovative equipment. He adores his Fender Telecaster, and makes use of delay, distortion, reverb, octave shifters and more whenever he performs. His work on Floratone is no exception to this rule. Born out of studio jazz sessions with Chamberlain, the songs on Floratone became subjects of the producers' (Lee Townsend and Tucker Martine) insight and digital prowess before being returned to Frisell and Chamberlain to tinker with. Townsend and Tucker took the raw session material and shaped it into individual songs, using a variety of editing, looping, and processing techniques. After the songs were crafted, Frisell and Chamberlain went back to the studio with a couple of friends and perfected what they had. The process earned Townsend and Tucker co-composer credits on the album.

Townsend calls the Floratone sound "futuristic roots" music, but it's also full of really ambient moments and a kind of slowly shaped softness that motivates artists like Amiina and Colleen. Frisell leads the charge, no matter what the definitive sound is, with his easily recognizable tone and ability to stylistically soar beyond the expectations of the listener. There are elements that tend to sit stagnant, however, and they're easy to spot within the context of the rest of the album. Frisell & Co. shine when they're working around the loops and edits with both nimbly fingered and more sparing licks, but become a little closer to trite and predictable with the "roots and groove" bits.

Regardless, the piece as a whole has been sculpted by a handful of the most talented musicians and producers working in their field today, and the distinctive approach to its composition deserves recognition. Collective interpretation between composer, musician, producer and player is what makes Floratone a unique listening experience, even if it sounds (at times) like coffee shop background music. Frisell has always been masterful when it comes to guitar work (and yes, soloing) that fills space but doesn't eat it: he's not trying to stomp on every beat, he's working around and with all of them, letting the space do its thing as well. He doesn't stray from that with these songs, and his partners stand alongside him in that respect. Overall, the album manages to sound pure, unique and not too unlike what you'd imagine a really tight jam session with someone like Frisell might be like. The added bonus is that despite all the editing and computer work that went into it, it still maintains a feeling of spontaneity.

Floratone: [MySpace] [Official]

SkylesBayne Company has an interesting property for sale - 18,048 square feet at the corner of Sixth and Red River for a tasty $265 per square foot. You may know it as the home to Emo's Lounge. SkylesBayne is also doing some powerful guerrilla marketing on a new website called "craigslist." The listing claims to include both Emo's lounge and Emo's itself, but we've been told that only Emo's Lounge is for sale.

Are you a Guitar Hero champion? Find out tonight at Stubb's as 101X and C3 present the first of a three night competition, followed by a performance by Austin's Alice Rose.

Here's what you need to know: rounds one and two are strictly for qualifying. Show off your skills this evening and make the cut, then you'll be placed into a bracketing system. The opportunity to qualify is based on a first come, first serve basis, so it's important to arrive on time! Registration begins at 5:00 p.m., round one begins promptly at 6:00 p.m.

Check out the 101X Web site for details, and be sure to practice on the difficulty level you intend to compete at. After working up a sweat pretending to play "Barracuda," stick around for The Alice Rose, providing catchy power pop and bittersweet vocal strains reminiscent of Squeeze, Crowded House and even a little Alex Chilton thrown in for good measure.

Guitar Hero Championships, Round 1
Monday, August 13
Stubb's BBQ - 8th & Red River (Directions)
Doors at 6 PM, Alice Rose at 10:30 PM
Registration between 5 - 5:45 PM
Buy tickets

The Alice Rose [MySpace] [Official]
Guitar Hero [Official Site]
101X [Event Details]

Photo courtesy Rob Boudon on Flickr

Tyler's most adorable quintet are promoting their latest album, Combinations, at the Parish tonight with a special seated show. Dallas' best new act in 2003 was just the beginning for the group, as their brand of harmony-driven indie pop has earned them touring privileges with the likes of Coldplay. Their sound is reminiscent of '90s female led pop groups like Belly, Throwing Muses and Julianna Hatfield. The Combinations tour is acoustic, so be prepared for lilting vocals, soothing acoustics and a lot of feelings tonight as the band prepares for a long road ahead on tour.

Eisley Special Seated Show
Monday, August 13
Parish (214 E 6th St)
8 PM
$15 (tickets)

Eisley [MySpace] [Official] ["Invasions" (YouTube)]

Best Fwends generate energetic bursts of post-punk mayhem complemented heavily by assorted electronic output as well as random keyboard and video game noises, among other things. The band’s sometimes annoying but often catchy everything but the kitchen sink sound can be found on their album, Alphabetically Arranged, available for purchase at pure groove.

The band states the album "contains some of the best and worst songs we've made over the past four years" while their label (Moshi Moshi Records) website reports Best Fwends "have already toured on the "don't need a stage" circuit in the style of bands like Lightening Bolt and Coachwhips - performing in their underpants with taped up faces and ipod backing tracks." The band was recently featured on Paper Thin Walls but we’ll let you decide if it’s substance or crap. Be a part of the madness Saturday evening at Emo’s (Lounge.) The Show Is The Rainbow and Pataphysics open.

Best Fwends: [myspace]
The Show Is The Rainbow: [myspace]
Pataphysics: [myspace]

Best Fwends, The Show Is The Rainbow, & Pataphysics
Saturday, August 11th
Emo’s Lounge
10pm

Image courtesy of Best Fwends’ MySpace, Author Unknown.

Dean and Gene Ween are playing this evening at Stubb's, which is sure to be the high-water mark of the year as far as glue-sniffing tongue-in-cheek former Garage-Proggers go. Even though you most likely already have heard of Ween, for those of you who haven't they're basically Garbage Pail Kids + They Might Be Giants. A gross, unfair distillation of their wide-ranging catalog, to be sure, but the show is sold out anyway.

Oh wait. We have some tickets to give away. Quickly now!

This contest is closed - congratulations to our winners!

Ween
Tonight @ Stubb's
SOLD OUT

Saturday night at Stubb's will likely be awfully warm (the forecast shows around 90 degrees), but it's worth braving the August heat for this strong of a bill. For reasons unknown to us, Rufus Wainwright and Neko Case are both playing at Stubb's, a venue that either performer could likely play on their own.

Rufus Wainwright is the moody, theatrical brother in the musical Wainwright clan, which includes father Loudon Wainwright III, sister Martha, and mother Kate McGarrigle. Wainwright's music leans toward orchestral pop, with some operatic and caberet notes thrown in for good measure. He's certainly not afraid of laying on the strings and lush production when it suits the material. In our opinion, his finest work to date is 2002's Poses, which (not coincidentally) is his most straightforward pop-rock album. The man's back story is also fascinating: Rufus was briefly Leonard Cohen's housemate, played an all-Judy Garland concert at Carnegie Hall, and spent time as a resident of Manhattan's infamous Chelsea Hotel. He's also always been nothing but candid about both his status as a gay man as well as his sometime problems with drug dependency. This honesty and candor seems to funnel itself directly into Wainwright's music, so we'll be curious to see him again in a live setting.

Adding to Saturday night's intrigue, Neko Case is simply a musical force of nature. In addition to her unquestioned Top 3 status (along with Jenny Lewis and Feist) in the "every indie-rocker's pretend girlfriend" contest, Neko fronts her awe-inspiring alt.country band while moonlighting as a vocalist for The New Pornographers. While Ms. Case's lyrics are often oblique, the words aren't nearly as important as the purity and power of her vocals. We're simply unable to name anyone else today with such an amazing, haunting, and versatile voice. Her popularity has risen considerably in recent years, as rave reviews for her live shows and 2006's Fox Confessor Brings The Flood have boosted her into heavy rotation on stations like KGSR and Seattle's internet radio kings KEXP. She also recently headlined a show at Central Park's SummerStage and shared billing on a spring tour with country legend Merle Haggard.

Rounding out the triple bill is Los Angeles' A Fine Frenzy, fronted by young singer/songwriter Alison Sudol. The band has a very VH1-friendly sound that's rather more conventional, safe, and pop sounding than either Wainwright or Case.

The show is sold out, but you've got a chance to go, on us!

This contest is closed, but thanks for reading!

[Neko Case MySpace]
[Neko Case Official Site]
[Rufus Wainwright MySpace]
[Rufus Wainwright Official Site]

Rufus Wainwright and Neko Case w/ A Fine Frenzy
Saturday, August 11th
Stubb's Outdoor [map]
Doors at 7pm, Show at 7:30pm
$26 + s/c UPDATE: The show sold out this morning. [tickets]

Image via Maggiejumps on Flickr.

Welcome to the latest edition of Band Slam!, wherein I navigate the murky waters of Austin's club listings for the best and worst band names playing this week. The only rule: I can't know anything about the actual band, thus limiting my critique strictly to the band's chosen moniker. Cum on, feel the noise!

Comanche Abortion - Snake Eyes Vinyl, 08/09

Oof. Who knows what kind of nightmare gave birth to this one (yuk yuk), but I'm glad I didn't have it. War whoops, bonfires, face paint, blood and feathers everywhere...if this band was Slayer in 1987 I don't know if they could do the name justice. But they can certainly try.

Gay Beast - Parlor, 08/11

These guys need to team up with MVSCLZ and do a split 7" or something--talk about a match made in heaven, hopefully by Rob Halford. Speaking of which, this better be some melt-your-face metal; blastbeats make everything better but they would put this so far over the top it'd be underground again.

Higher Than Why - Flamingo Cantina 08/09

Have you ever been so high that this phrase made sense to you?

Okkervil River The Stage Names (Jagjaguwar)

Like a knight clad in frail, antiquated armor but with precise and impeccable form, Okkervil River have proven on their latest release they have what it takes to awe a crowd that has come to expect so much from them. The Stage Names makes good on all forecasts calling for Will Sheff’s shaky, vulnerable vocals and sturdy indie folk songs with a eye for infection. They deliver a little something extra in the way of astutely woven cellos, mandolins, organs, and others giving the tracks a little thicker crunch. This, their fourth full-length for Jagjaguwar, is perfect for those who have outgrown emo but are still carrying around a messenger bag full of feeling and unanswered questions of meaning. The mix of earnest, acoustically sullen songs and occasional bursts of brightness makes it the perfect soundtrack to sulking mid-afternoon or dancing in front of the mirror using a comb as a makeshift mic (not that anybody does that). These Austin natives didn’t deviate much from the formula of previous album and indie cult favorite Black Sheep Boy. With a nigh unstoppable mold, why would they need to? They once again employed Brian Beattie as producer, who did the last three as well, and brought in Spoon drummer Jim Eno to mix the record.

One of the only noticeable differences is the lack the occasional cracking shout that seemed to be so painful to belt out that punctuated songs on early albums so sharply. Also, Sheff’s breathy whisper that accompanied some of his more delicately somber tracks is in short supply here. It’s featured in “Savannah Smiles,” however, which is a tender lullaby with instrumentation as airy as a wisp but with weighty lyrics about a father’s troubled relationship with his daughter that makes the listener feel like a voyeur in an intensely personal situation. It’s like watching someone you hardly know cry. The character in the story reads his daughters diary by accident, discovers some unsettling information, and then asks “Is she someone I don’t know at all? Is she someone I betrayed?” all while sounding on the verge of tears.

There’s a silver lining though, depending on how much of a Beach Boys fan you are. “John Allyn Smith Sails,” the final track and a tune about the suicide of American poet John Berryman, turns all of a sudden from softening folk rock into a cover of “Sloop John B.” Alright, so the beginning of the song is still pretty bleak with Sheff singing “From a bridge on Washington Avenue, the year of 1972 broke my bones and skull, and it was memorable.” But the song switches gears from sub-zero chiller to a sing-along almost seamlessly. “A Hand to Take Hold of the Scene” is constituted of an undying dance-off beat, a touch of a trumpet straight out of Tijuana and sporadic strings, and it’s one of those mirror songs. It’s a more lighthearted tune providing a brief respite between heavy-handed songs. “A Girl in Port” picks back up with Sheff’s seriousness and introspection. He uses a sailor’s life out on the sea as a metaphor for his own feelings toward life out on tour. He sings, “These several years out on the sea, made me empty, cold and clear, pour yourself into me” while piano and organ gently grace the background.

And then there’s the artwork. William Schaff, not to be confused with Will Sheff, creates a cover as enticing and raw as the music within. Schaff has made artworks for bands such as Okkervil River, Godspeed You! Black Emperor and Songs:Ohia. Many of his non-music related projects focus on inhumanity and particularly the Holocaust and acts of terrorism. These grim topics make him the perfect artist for an album that is similarly dismal. There’s something about drawn cover art instead of band photos or slick graphics always makes the album a little more human and passionate, and Okkervil River always delivers.

Okkervil River "Our Life Is Not a Movie or Maybe" (mp3)
Okkervil River Official
Okkervil River Myspace

Brooklyn based The National will grace our town with their presence at the 2007 Austin City Limits Music Festival. The band is comprised of Matt Berninger, Aaron Dessner, Bryce Dessner, Bryan Devendorf, and Scott Devendorf. (Yes, that’s two sets of siblings!) The National expertly combine catchy riffs and appropriate strings with affecting lyrics (sometimes poignant, while seemingly abstract on other occasions). Although we feel that their music is best suited for a late night, we recommend getting out to Zilker Park early enough to catch their set on Sunday, September the 16th.

The National recently released their fourth full-length, Boxer, and we caught up with Matt Berninger to discuss his voice, among other things.

After the critical acclaim received by Alligator, was there any change in mind when the band went in to record Boxer?

Not really. We were very happy that people were starting to pay attention but it didn't change the way we work. If anything, we wanted to avoid making another Alligator. That would have been too obvious and we'd much rather try new things and fail than repeat ourselves.

JJ Grey & Mofro churn out funky swamp rock of the breed that made Creedence Clearwater Revival famous, minus the whole, you know, Vietnam War protesting angle. The sound is southern rock full up of funk -- music for getting down, even when the steam's so thick you could cut it with a knife.

JJ Grey & Mofro
Jacksonville, FL
Latest Release: Country Ghetto, 2007
Friday the 14th, 5:15 p.m., Austin Ventures Stage

Like many great bluesman, Charlie Musselwhite spent some time in Memphis. He also battled alcoholism and staged a comeback. Today, Musselwhite continues to produce rich delta blues, heavy on history and musical skill. Even if you've never bothered much about the blues, you've probably heard a few of his licks -- much of the music on Black Snake Moan is actually Musselwhite's work.

Charlie Musselwhite
Sonoma County, CA
Latest Release: Delta Hardware, 2006
Sunday the 16th, 4 p.m., WaMu stage

If the closest you come to contemporary hip hop is dodging the Spiro's crowd on your way to Emo's, then we have news for you: there IS more out there. No, you need not subject yourself to the abrasive and, dare we say, bastardized sounds of Dirty South hip hop, nor need you dig up your old De La albums (though you should anyway) because tonight Talib Kweli is at Emo's to show you the light.

Talib Kweli (pronounced Tal-EEB KWAL-y) is at the vanguard of the alternative hip hop movement, which includes acts like Common, MF DOOM, Dangermouse, Mos Def, Kanye West, The Roots, and the like. Raised by two professor parents in Brooklyn, Kweli began avidly writing as a kid, and in the late 1990s began rapping with Mos Def under the moniker Black Star. It took Kweli a bit longer than Mos Def to break out with a successful solo career, but in 2002 he released Quality, which earned positive criticism and spearheaded Kweli's movement into the mainstream; you might remember the album's Kanye West-produced single "Get By". Kweli has released one other album since then (2004's The Beautiful Struggle) and will release Ear Drum in two weeks on his own Blacksmith Records (Warner Bros. will distribute). The new album features Kanye, Norah Jones, and Hi-Tek, who produced for Black Star in Brooklyn. Talib Kweli is known for his more intelligent, socio-political lyrics, straying from violence but maintaining an aggressive aesthetic. In an interview with britishhiphop.co.uk, Kweli said it's more about "hard beats and hard lyrical content, which deals with hard subjects." DJ Chaps opens the show. Come: there is hope yet for hip hop.

Talib Kweli w/ DJ Chaps
Wednesday, August 8th
Emo's outside [map]
Doors at 9pm, show at 10pm

Talib Kweli [Official Site]
Talib Kweli on [MySpace]

Photo courtesy Talib Kweli's web site

It’s a free show Wednesday night at the Mohawk outside for those over 21. And, unlike most of the bars on and around 6th street, they shouldn’t need a barker to shout, “Live music! No cover! $2 shots!” (We can’t vouch for the third one). It’s going to be a free night of electro-freak indie fun.

First up, The Laughing. A great name for a band that doesn’t take themselves too seriously. Bringing the art rock with synth, glockenspiel and some sax solos by way of sleeveless shirts, popped collars and even a mask or two is either them having a laugh or their super-eccentric way of expressing their inner whatever. Either way, it’s pretty amusing. They also have a few videos on Myspace that feature their teary-eyed white tiger emblem that are really pretty funny.

Then, it’s on to Loxsly, who are still in the process of releasing their latest album in all its indie pop glory, no doubt supported by playful electronic ‘beeps’ and ‘blips’. They even do a cover “I Don’t Want to Get Over You,” a Magnetic Fields song off Volume One of their 69 Love Songs album. From then until the wee hours of the night, it’s headliners Sound Team with a whole mess of pretty and persuasive indie rock.

Sound Team w/ Loxsly and The Laughing
Wednesday, August 8th
Mohawk
Doors at 9pm, Show at 10pm, outside stage
Free Show!

Sound Team Myspace
Loxsly Myspace
The Laughing Myspace

Every fall, Austin looks forward to ACL Fest, and each year, there's always a point where two of your favorite bands are playing on different sides of the park at the exact same time. ACL Band Clash is a new, theoretically weekly series in which Austinist scribes Paige Maguire and Tom Thornton examine the worst ACL scheduling clashes, and try to provide good advice on finding a resolution. Well, good advice might be a stretch, but advice, anyhow. This week's entry looks at the Friday clash between local heroes Spoon and hard rockers Queens Of The Stone Age.

Tom: I think Spoon is the better band of the two. And Ga Ga Ga Ga Ga is a great album. But why would any self-respecting Austinite give away a prime ACL Fest slot for a band they can see four times a year? I mean, Spoon played at Fun Fun Fun Fest in December, then at SXSW, and recently they did a secret gig at Mohawk and an in-store at Waterloo. So that's four appearances in the last eight months! They're also playing the Thursday night of ACL at La Zona Rosa, so anyone in Austin that likes Spoon should have seen them at least once in the last year or two. So, why not see the out of town band, even if it's not as much my bag?

Paige: I hear you, and given the fact that Spoon is still perfecting a truly stadium-ready live performance, I'd be tempted to agree. Do you remember last year, waiting for The Flaming Lips amidst a sea of Tom Petty fans? I was sandwiched in between a couple of grandmas in straw bonnets with ice chests (no clue how they got those inside, I couldn't even bring a Nalgene through the gate) and a quartet of burned out hippies in lawn chairs, seemingly unaware of their location. I imagine waiting for Queens of the Stone Age would feel almost as alien: a sea of roid-raged dudes with their girlfriends on their shoulders, waves of people with lower back tattoos, people who are there to see QOTSA and White Stripes, and...that's about it. I can't even fathom trying to enjoy that shit when I can go to a less crowded stage (I'm assuming here, but I think your argument backs me up) and watch local favorites play a set full of songs I know and love. That being said, "No One Knows" is a pretty fantastic fucking song, and might be worth getting a little moshed. Nah, no way. Hey, doesn't he look a lot like Craig Kilborn?

Tonight's KEXP sponsored Hot Freaks + Gorilla vs. Bear blow-out features Dallas' Ghosthustler and Cry Blood Apache. We have a feeling there will be a lot of sweaty dance-a-holics leaning on each other They Shoot Horses, Don't They?-style on Red River Tuesday night.

As always, the shows happen each Tuesday night, with the headliners taking turns. Shapes Have Fangs will lead the way next week, but for tonight, grab $2 and head downtown. Doors will open at 8 PM, and the first act will take the stage around 9:30 PM. Hey, these residency shows are always 18+, which makes us really happy!

Ghosthustler "Busy Busy" (mp3)
Ghosthustler "Parking Lot Nights (YouTube)

Mohawk Residency w Ghosthustler, Cry Blood Apache
Tuesday, August 7
Mohawk Austin (912 Red River)
$2 / 18+
Doors at 8 PM, Bands at 9:30 PM

Mohawk Austin MySpace
Ghosthustler MySpace
Shapes Have Fangs MySpace
Cry Blood Apache MySpace

Nowhere to go this Tuesday night? No worries because Emo’s presents a bill of (pre) historic proportions. New York’s Pterodactyl headline in support of their debut full-length, titled either Blue Jay or simply Pterodactyl, depending on where you purchase it.

Out on two labels (Brah Records and Cardboard Records), the album contains energetic post-punk full of throbbing start-stop guitar rock and pulsating harmonies.

Local outfit When Dinosaurs Ruled The Earth precede Pterodactyl in support of Snacks. This seven piece is adept at creating thunderous rock fit to awaken any ancient fossil. WDRTE seem to have two of everything -- guitars, drums, vocals -- definitely enhancing their ability to generate noise in large (and loud) volumes. Their fairly well organized wall of sound, along with their clever song titles should add to this entertaining line-up, so leave those Sci-Fi movies at home for a night. Instead, enjoy a bit of post-everything at Emo’s. Look Mexico (from Tallahassee) and Houston’s Bring Back The Guns open.

Pterodactyl: [myspace]
When Dinosaurs Ruled The Earth: [myspace]
Look Mexico: [myspace]
Bring Back The Guns: [myspace]

Pterodactyl, When Dinosaurs Ruled The Earth, Look Mexico & Bring Back The Guns
Tuesday, August 7th
Emo’s Inside
10pm

Image courtesy of Pterodactyl’s MySpace, Author Unknown.

In an unusual turn of events, Denton's Midlake were heralded as the next big thing in the UK before anyone had really ever heard of them here in Texas. Signed to The Cocteau Twins' label Bella Union (which is also home to Explosions In The Sky), Midlake toured Europe behind lo-fi debut album Bamnan and Slivercork before returning home to create a defining work. They finally received some domestic notice with the release of 2006's The Trials Of Van Occupanther, an instant classic full of 70's guitar sounds and subdued melodies that prompted comparisons ranging from Fleetwood Mac to Blue Oyster Cult and America. The album ended up at #6 on Austinist's Top Albums of 2006 list and has received many similar accolades worldwide. We last saw the band here in Austin during SXSW 2007, but in September, the group will return to play the much bigger stage of ACL Fest in a prime Sunday afternoon slot. We recently spoke to Midlake guitarist Eric Pulido about newfound success, Lindsey Buckingham, and the differences between Texas' two most interesting music towns.

Relatively speaking, you guys are our neighbors, as you're just a few hours away in Denton. What do you think are the differences between the music scenes of Denton and Austin?

I really love both cities and music scenes, but because of Austin's size, I would think it easier to get lost in the sea of bands there. In Denton, there is a sense of community among bands and musicians that is easier to come by with the smaller population. There is so much amazing music that has come out of Denton over the years and because of the community amongst musicians, everyone promotes one another and the city, which in turn grows the scene.

How was it that you secured a foreign record deal (on Bella Union) before you found a domestic one? Was it the result of SXSW, demos, or something else?

The band Lift To Experience is from Denton and they were discovered by Simon Raymonde of Bella Union at SXSW. After hearing of their success and relationship with a label abroad, we were drawn to the opportunity to get our music out there. Andy Young from LTE sent our demos from Bamnan and Slivercork to Simon and he wrote back to us saying, "I want to have Midlake's babies." We thought that was a good thing and began a relationship that is still strong today.

Local favorites Okkervil River released their new full-length today. It's called The Stage Names, and we'll be running a feature length review of it on Thursday.

Art in Manila Set the Woods on Fire (Saddle Creek)

Orenda Fink, ne half of the now-defunct Azure Ray, has been writing and recording solo work for a while now, but her most recent project is a collaboration between Fink and a group of folks that used to be, quite simply, her touring band. After building a strong relationship with Adrianne Verhoeven (The Anniversary), one of the band members, Fink began writing songs that featured the strengths of the people she'd been performing with as a solo artist to promote her first individual work, The Invisible Ones. The now unified band, led by Fink's lush vocals and distinctive guitars, is a grower, becoming more than midwest Americana the more you listen. Set the Woods on Fire was recorded in Omaha, Nebraska, by Joel Petersen (The Faint, Broken Spindles).

Art in Manila "Set the Woods on Fire" (mp3)
Art in Manila MySpace

Flight of the Conchords The Distant Future EP (SubPop)

If you work at a job with humans, or own a computer, you've heard about the HBO show called Flight of the Conchords, a sort of Tenacious D for a slightly younger set, made possible by a pair of hilarious and talented New Zealanders. They're on YouTube -- you should check it out. Their EP (which features songs that will probably also appear on a full length album, also put out by SubPop later this year) is a nice little collection of tunes you've probably heard, and could watch online with hilarious facial expressions, but ... perhaps you want to hear it in the car on the way home from work, before you proposition your lady for some lovin'. You know, to get inspired.

Flight of the Conchords on HBO
Flight of the Conchords Official

Marissa Nadler Songs III: Bird on the Water (Peacefrog/Kemado)

Marissa Nadler's album is a quintessential break-up record: isolated acoustic picking, themes of overwhelming loneliness and grief, and spare but fluid accompaniments from cellos, pianos and other various thoughtful instruments. Though the female folk singer/songwriter market is absolutely saturated with just this sort of thing, we believe that Nadler's songs deserve a listen outside of whatever preconceived notion you might be harboring, thanks to your ex-girlfriend's most recent performance at Halcyon. For the record, we left right after she started into her "That'll never be me, that'll never be me, that'll never be, never be me noooo ... " and we're not really sure if what she said about you after that is true or not.

Marissa Nadler Official
Marissa Nadler MySpace

• Attention local bands: SXSW 2008 is accepting your applications to be showcase performers during the week long festival come March. The deadline is November 9, 2007 for stateside applicants. If your band has a Sonicbid membership, you can register using that account. Otherwise, register online.
• Future SXSW attendees can register online to attend, too: music badges are a mere $500 through September 28.
• Paper Thin Walls feature Austin's Best Fwends: "It's a very mixed up scene, like a high school where everyone gets along. Except in reality, high school students can only get into shows at a few places. The bar scene still controls downtown Austin, so the real places to play are record stores, pizza places or house parties."
• Don't miss the Blitzen Trapper live studio performance on KUT.org. The band's latest album, Wild Mountain Nation, is getting plenty of nods around the music community.
• Chicagoist helps sort through Lollapalooza '07.
• Tim Smith, of Denton's Midlake, talks to Pitchfork about some of his favorite things. "I didn't listen to too much this year-- new stuff. It's most been '70s stuff. I guess out of new stuff, I guess I could say Antony and the Johnsons-- I think he's genius. I love that album-- I Am a Bird Now. There's a guy named John Vanderslice. I love his stuff, and I'm friends with him so I don't know if it's bad to say that."
• The Top Ten Accessories for Music Geeks according to Stylus Magazine.

So which influential band would you die for? Tonight offers a mouth-watering choice of Hoot Nights for two legendary bands. Stubb’s Inside hosts acts such as The Christophers, Robbie and the Robots, and The Wailing Walls covering the plethora of material put out by Oklahoma’s eccentric pop outfit, The Flaming Lips. A complete line-up can be found on do512.

We’re leaning towards a similar event at Emo’s Lounge with alt-country legends Wilco being the object of affection. Spearheaded by The Georgian Company (formerly Just Guns) and The Mercers, the line-up of Wilco devotees includes Golden Bear, Lalaland, and Shane Bartell.

Pack up your boxing gloves and pick your poison -- either event should make for a stellar night of covers and general shenanigans.

Wilco: [myspace]
The Flaming Lips: [myspace]

Wilco Hoot Night vs. Flaming Lips Hoot Night
Friday, August 3rd
Emo’s Lounge vs. Stubb’s Indoors
$ 5 vs. $7
Doors 8 p.m. for both!

Photo courtesy of The Georgian Company.

If you're looking for a diamond in the rough among over-hyped or just plain shitty Austin bands, head over to Emo's tonight for You Were Always. The quartet is composed of Cam Houser, Aubri Hughes, Topher Hyink (formerly of Just Guns) and Tim Faehnle, and their newly released EP is a breath of fresh, if not vulnerable, air.

With steady, patient songwriting, the songs on the EP build and reveal slowly, and are reminiscent of early Low or Ocean Beach-era Kozelek. Finger-picked electrics layered over analog synthesizers dovetail with male/female harmonies to create hushed, delicate compositions. In "Always", the climax comes in a particularly bare package: whispered words over a quiet guitar, and a quieter keyboard accompaniment aren't rushed, and it works. As Low became known for "slowcore" albums that defined a sort of minimalist payoff, You Were Always pay homage to the beauty of patience while delivering the heart wrench in the form of sentimental (but not sappy) lyrics, intimating an impatience for a long-distance loved one that balances the scales otherwise heavily weighted towards scarcity.

Like most Austin bands, there are interesting ties abound: Topher Hyink used to play with Just Guns, and Cam Houser first started playing music in Austin when he moved here several years ago with What Made Milwaukee Famous' Michael Kingcaid. You Were Always began years later, with Houser as the primary songwriter. The EP is for sale, and you have an opportunity to grab it tonight at their show, so get on out there.

Mandible, Midgetmen, You Were Always, Sloppy Kisses
Friday, August 3
Emo's (Inside)
Doors at 8 PM, show at 10 PM

You Were Always MySpace
Mandible MySpace
Midgetmen MySpace
Sloppy Kisses MySpace

Surely by now you've heard about this big boat party bash we're co-sponsoring on Sunday with Green Potato Ventures, PartyEnds.com, Independence Brewery, Super!Alright! and Progress Coffee.This party's going to be off the hook. Seriously. Five hours on a lake on a boat full of good music and great people*. And food. If you want to take a pop at getting yourself a spot on the list without having to pony up the entry fee like us regular folk, well, plug and play below.

This contest is closed - thanks for participating!

And, if you'd rather go with the sure thing, tickets are $20 a pop, and you can buy yours now. A few limited amount of tickets are left.

Summer Extrav-O-Ganza 2
with White Denim, Markus with a K, Hustle Simmons
Sunday, August 5th
2pm-7pm
$20

*those who wish to get off the boat early may do so, for a nominal fee -- Ed Note

Chicago has been a hotspot all summer long, hosting the Pitchfork Music Festival and Wicker Park Fest recently, and now Lollapalooza this very weekend. However, Chicago’s own instrumental masterminds, Pelican, take a break from the windy city to play Emo’s Inside on Saturday night. Pelican’s detailed arrangements and song structures feature a shift towards more melodic soundscapes than before on their latest effort, City Of Echoes. According to guitarist Laurent Schroeder-Lebec, "City of Echoes stands for the feeling of sameness brought on by globalization. It's visiting countries and seeing slight differences through the window, only to end up at the club and feel like you didn't see anything at all." (As per the band’s label site.) Most interesting!

Besides Pelican’s geographical themes, seasonal song titles, and current philosophy, one best be prepared for a sizzling live performance. Walls of wailing guitars that complement and clash in typical Pelican post-rock style should appease loyal fans and spawn new ones. Houston’s Fatal Flying Guilloteens open with previews from their upcoming release, Quantum Fucking, due in October, while Clouds metal up the middle spot.

This contest is now closed - thank you for reading Austinist.com!

Pelican: [myspace]
Clouds: [myspace]
Fatal Flying Guilloteens: [myspace]

Pelican, Clouds, & Fatal Flying Guilloteens
Saturday, August 4th
Emo’s Inside
10 pm

Photo courtesy of Pelican’s MySpace, by Ryan Russell.

KVRX 91.7 FM presents a double bill straight from California this Saturday at Stubb’s. Headliners The Lovemakers construct crystal clear electro-pop, complete with blistering beats and catchy melodies, while pop infused post-punk from Death Of A Party kicks off the shindig. Check it out on us!

This contest is closed - thank you for playing along and congrats to our winner!

The Lovemakers: [official] [myspace]
Death Of A Party: [official] [myspace]

The Lovemakers and Death Of A Party
Saturday, August 4th
Stubb’s Indoors
[Tickets]
$10, Doors @ 9 p.m.

Photo courtesy of The Lovemakers’ MySpace, by Neil Motteram.

The Austin/San Francisco-based thoughtful, ambient rock group Monahans (previously Milton Mapes) is, according to The Parish calendar, having its CD release show there Thursday night. However, the album was released over a month ago, so make of it what you will. Either way, their soothing sounds of longing are sure to put you in a trancelike state, not unlike the effect of mixing old R.E.M. and hallucinogenics on a long, solemn sea voyage.

Monahans’ (named after the West Texas town) Low Pining, is not only the title of their debut effort, but also a perfect description of the album’s tone. Although, within these somber, entwining songs about the sea the sounds of their previous moniker, which was frequently compared to Crazy Horse, is still present.

Bill Baird and Silent Sunset’s pleasantly intriguing experimental folk will grace the stage during the opening hours along with the bluesy roots rock of Black Water Gospel.

Monahans w/ Bill Baird and Silent Sunset, Black Water Gospel
Thursday, August 2nd
The Parish
8 pm doors, 9 pm show

Monahans Myspace
Bill Baird Myspace
Black Water Gospel Myspace

Photo courtesy of Myspace

Teenagers from the Isle of Man, Back Door Slam are a blues-rock three-piece drawing influences from all corners of the blues genre, even some outside of it. In fact, although most of Roll Away is littered with embellished guitar solos and high notes (the kind you can picture way down on the base of the guitar neck), some of the tracks are more folk-centered, even acoustic, and sound akin to contemporary country and western. Yet, with the depth and rasp of a 60-year-old blues veteran, vocalist Davy Knowles keeps the trio grounded in a true blue sound.

Back Door Slam
Douglas, Isle of Man, UK
Roll Away: 2007
Saturday the 15th, 1:50pm, Austin Ventures Stage

No, Mario Matteoli is not, as his name suggests, an Italian shoe designer. He's actually a California native, Austin resident, and folk/country singer-songwriter. His album Hard Luck Hittin' combines elements of turn of the century (20th century, that is) folk, jazz, steel guitar-style country, and even ragtime. It's almost as though the 25-year-old intentionally created an album absolutely perfect for Austin City Limits festival: accessible, easily enjoyable, but layered with a motley mix of feeling and soul.

Mario Matteoli
Austin, TX
Hard Luck Hittin': 2007
Sunday the 16th, 6:40pm, BMI Stage

Images courtesy the bands' MySpace

Tonight at Emo's Lounge be sure to check out a show with some heavy-hitting sponsors (Filter , Both Sides of the Mouth, and Zune) behind it in order to put some great music in front of you. Straight outta Compton (well, LA at least) is Great Northern, a band that's been making waves of late. Listen closely to their instantly appealing pop and you'll hear the burnt edges and dark undertones. Your head will keep bobbing, regardless. The Comas lead up with their punchy, crunchy, pysch-lite, along with Possessed By Paul James' lurching acoustic insanity. Locals Experimental Aircraft open.

But hell, if good music isn't enough to send you on your way, sign up to receive a free prize pack that includes the following:

1 Vagrant Records T-shirt
1 Great Northern T-shirt
1 copy of The Comas debut record Spells
1 copy of Great Northern's Trading Twilight for Daylight
A button pack containing buttons designed by GN

Free is good. Fill out the form!

[Great Northern] [Myspace]
[The Comas] [Myspace]
[]Possessed By Paul James] [Myspace]
[Experimental Aircraft] [Myspace]

Zune, Filter, and Both Sides of the Mouth present:
Great Northern
w/ The Comas, Possessed By Paul James, and Experimental Aircraft
Tonight, Aug. 2nd
Emo's Lounge [map]
Doors at 8, show at 9
All Ages, $10

Welcome to the latest edition of Band Slam!, wherein I navigate the murky waters of Austin's club listings for the best and worst band names playing this week. The only rule: I can't know anything about the actual band, thus limiting my critique strictly to the band's chosen moniker. Let's get it on!

MVSCLZ - Mohawk, 8/02

Not many people turning "V"s in "U"s these days--I guess it was more of a Roman thing. I like this a lot: rendering a testosterone heavy word like "muscles" with no vowels and all caps strikes a weirdly disturbing balance between kitschy and macho/sadist. It's something you'd expect to see chiseled over the entrance to a steamy Turkish bath, albeit one frequented by black metal singers. Apparently this is the guy from Assacre, and I get the feeling it's a similar type deal--a dude in spangly underwear and a black cape doing push-ups and cock-rocking out to old Mayhem cassettes.

Oklahomos - Room 710, 8/04

Texas is still #1 for beers and steers, but apparently we've let the queers roam north. This can't not be a punk rock band; as to what strain, you could go in a couple different directions. Limp Wrist-style queercore? Sophomoric jock-punk? For some reason the name conjures an image of makeup-smeared psychobillies, including an upright-bass player and a foxy girl singer. I'd be kind of disappointed if it were anything else.