Great Wilderness is a dream rock band from San Josť, Costa Rica
influenced by British post punk, alternative rock and inspired by bands
such as B.R.M.C., The Big Pink, M83, Joy Division and Sonic Youth." -
SXSW Band Info
a brief stop at the hotel I walked back towards the main 6th Street
drag, but stopped at "The Studio" to see The Great Wilderness for an early 8 pm showcase. The set was not bad and well received by the small but enthusiastic crowd.
Audio: The Great Wilderness - Nicholas Cage (from SXSW event page)
Video from this show.
would two people from sunny San Diego feel compelled to sing the blues?
This is a question pondered while listening to the debut LP from Little
Hurricane, a Southern California duo specializing in hulky guitar
riffs. While there’s no escaping their rock and blues roots, these two
employ enough of pop sensibility to keep things interesting." -
Katherine Flynn, Consequence Of Sound
usually get bored
quickly by guitar/drum duos, especially when they sound like a carbon
copy of The White Stripes, but Little Hurricane did well keep my
attention during the last of several SXSW performance in front of
Audio: Little Hurricane - Haunted Heart (from SXSW event page)
Video: Little Hurricane - Lies (from another show during SXSW 2012)
With a bit of time to kill before the next set on my schedule I stopped at Maggie Mae's Gibson Room to see Sahara Smith
play a couple of songs. Hard to get a good read on an artist in under
10 minutes, but what I heard sounded very polished and ready for a
mainstream Pop audience.
roots-rockers probably hew most accurately to an alternative country
identity. Hailing from Toronto, the quartet just issued its fifth
album, Morning Comes, which was produced by Blue Rodeo's Greg Keelor.
Released in Canada late last year, it's the band's first concept LP and
has been nominated for a prestigious Juno Award." – Jay Trachtenberg,
Nine hours after starting my day at Trinity Hall I was back to see Cuff The Duke. The last time I had seen them at SXSW was back
in 2006 when they shared a bill with Matt Mays and Leeroy Stagger. I
don't remember exactly why, but back then I left the show early and
disappointed. But their latest Morning Comes
is simply a great album, so gave them another chance and was rewarded
with a stellar performance. Especially guitarist Dale Murray was on
fire and the crowd loved their set.
Audio: Cuff The Duke - Count On Me (from SXSW event page)
Video: Cuff The Duke - Time Is Right
rapturous Sabbath-stomp riffs sit alongside the Californian narcotic
warmth of The Doors, as well as the musical exploration of the 13th
Floor Elevators, while patches of British blues and pastoral-pop are
also thrown in." - Chybucca Sounds
after year I wonder whether SXSW event organizers have ever been inside
of BD Riley's. Or in the this case, ever looked at the tiny "stage"
through the windows. But maybe it's intentional, because even if the
venue is at capacity you can just watch the bands form the
street. I usually end up at BD Riley's for at least one showcase,
and this year was no exception. The Flying Eyes did their best to
connect across the barrier that separates the stage from the audience.
Not bad, but I had to move on halfway through their set to start the
trek to my next destination.
Audio: The Flying Eyes - Don't Point Your God At Me (from SXSW event page)
Video: Watch a full concert from 2011 here.
"Women & Work
is the sound of a mature, confident band, fully embracing their
hometown's musical legacy, and wrapping it inside their own sound,
making each both larger and deeper. All killer, no filler." - Thom
good news was that I got into Bar 96 without any line-up. The bad news
was that the number of people let in seemed to match the size of the
entire compound, but the relatively small area where the stage could be
seen was absolutely packed. Lucero were already on stage when I arrived
and it took a lot of time and effort to move into a position where
getting some half-decent shots was possible.
Video: Lucero - Nights Like These (from this show)
hardcore Lucero fans in front of the stage retreated to the bar after
the band finished their set, allowing me to move into a prime spot
right in front of the stage. While I own all studio albums Dinosaur Jr
released over the last 25+ years, I had seen the band only once back in
1988, although I did catch a couple of Sebadoh and J Mascis shows
since. This showcase ended up being a highlight of the day and of the
entire week. About half-way through the show a moshpit started to
emerge and I had to move a bit to the side, but the show was a blast
beginning to end.
Video: Dinosaur Jr - Thumb (from this show)
Video: Dinosaur Jr - No Bones (from this show)
It to Life is Malin at his most vital, writing and singing the best
material of his career thus far with a scarred heart and bloody but
unbowed attitude and genuine laughter on full display. There isn’t
anything left to prove: as a fine straight-up rock & roll poet and
songwriter, he's as fine as they come; the only places to go now are
wider and deeper." - Thom Jurek, allmusic.com
was almost 2 in the morning when I walked along 4th Street, and for
once there was no line in front of Cedar Street Courtyard. Jesse Malin
was still playing and didn't seemed inclined to stop, so I got see him
do a couple of songs to end another 13-hour day at SXSW.
Audio: Jesse Malin - Burning The Bowery (from SXSW event page)
(c) Steffen Paulus 2012