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It looked as if Hippo Campus would be heading into next month’s South by Southwest Music Conference with ample record labels trying to woo them to their roster, as used to be the guiding m.o. of SXSW. Instead, the young but clearly ready-for-prime-time Twin Cities rockers will be going into Austin’s big hype-building festival as the newest signing by Grand Jury, the burgeoning New York label that’s also home to Chicago’s breaking fuzz-rockers Twin Peaks as well as Elliott Moss and Avid Dancer.
The deal was revealed by Grand Jury today along with a new video for the song “Souls” and a rather impressive list of six gigs Hippo Campus has booked during SXSW. One of their Austin gigs, for instance, is a party for the AV Club that has them sandiwched between the Walkmen's Hamilton Leithauser and Real Estate in the lineup.
Grand Jury will re-release the quartet’s Alan Sparhawk-produced EP, “Bashful Creatures,” on May 5 (“Souls” is one of its six tracks). Another EP will soon follow, which the lads recorded last month under the same circumstances as the first, with Sparhawk at Pachyderm Studio in Cannon Falls.
All still in the 19-20 age range and mostly just a year out of high school (click here for our November profile of them), Hippo Campus’ members will hit the road for their first tour right after SXSW, a month-long trek with California’s fun co-ed ensemble the Mowgli’s (coming April 3 to the Varsity). Before SXSW, they’re playing what is no doubt a well-paying promotional gig for Lagunitas Brewery at Aria Event Center on March 12, tickets for which can be obtained via Eventbrite.
Is there a better finale for five days at South by Southwest than a brass band born out of New Orleans' second-line funeral march traditions? Not this year. In truth, though, one of the reasons we wound up at the Hot 8 showcase on Rainey Street was our easy decision to get as far away from Sixth Street as possible. Austin's answer to Bourbon Street was in its most delirious state Saturday, bulging with hanger-ons and spring breakers who are to SXSW what rubberneckers are to traffic. There was no one performing on Sixth worth the hassle or aroma. Maybe if the rumors of Jack White playing again proved true this year I'd have braved it, but he, too, probably didn't want to deal with the seemingly uncontrollable masses.
BEST OF THE DAY: An up and coming part of the NOLA scene when Spike Lee spotlighted them in his post-Katrina documentaries "When the Levees Broke," the Hot 8 Brass Band are finally starting to tour more beyond Louisiana, which makes them perfect for SXSW exposure. They closed out the party along Rainey at the patio of the Half Step and seemed to display the mixed emotions most attendees and performers feel at the end: glad it's almost over, but it's not over yet. Theirs is a little more contemporary brand of brass funk, with more rap-flavored vocals and extra blasts of bombastic funk. They started with a P-Funk medley and ended with a surprisingly hard-rocking "Sexual Healing," returning for an encore -- a rarity during SXSW -- to do their chanting hometown homage "504." Here's hoping they make it to Minnesota before the next SXSW.
BEST OF THE NIGHT BECAUSE IT WAS OUTSIDE AT NIGHT: One band we already know is coming to Minneapolis -- their April 13 gig at First Avenue sold out fast -- Phantogram wound down its SXSW run on the same hi-fi, high-elevation "Guitar Center Sessions" stage, atop a parking garage where I caught Damon Albarn's taping two nights earlier. Unlike the rather flat Albarn, though, the Upstate New York electronic rockers rose to the impressive settings. Many of the songs on the group's new album, "Voices," reflected the stage's swirling, lights and cosmopolitan vibe with their wildly whirring atmospheric tone and strutting rhythms. One the rockiest of the batch, "Nothing But Trouble," came off especially eerily, while the 2010 hit "Mouthful of Diamonds" shimmered under the stars and city lights, too. Singer Sarah Barthel similarly showed more spark and spectacle than before, dancing with her jet-black hair over her face every chance she could get out from behind her keyboards. Here's hoping the First Ave gig is as mesmerizing, even if it has to be on the ground floor.
THE PARTY TO END ALL PARTIES: Somehow, not-exactly-cool TV cooking show host Rachael Ray has become the host of the biggest closing-day party for the all-too-cool South by Southwest Music Conference. Ray's latest Feedback soirée at Stubb's BBQ was as festive as any, with ample free grub and cocktails and a extra lively dance-party sets by both Cee Lo Green and Blondie.
Sandwiched between Blondie and Cee Lo on the hilltop stage opposite the main Stubb's stage -- what a choice time slot! -- Har Mar Superstar and his band kept the party going with a wham-bam tear through "Tallboy," "Lady You Shot Me," "Restless Leg" and other recent standards. He actually stopped the fun in a good way when he sent his band off stage he stood there shirtless with a guitar and sang a naked cover of Sam Cooke's "Bring it on Home." It was a bigger wow moment and prettier finale than his old show-stopping routine of taking his pants off.
"I'm your adult entertainment for the evening," Cee Lo said as he took the stage with female band mates dressed in see-through garb befitting a Las Vegas dancer. He went on to sing funked-up David Bowie and MGMT songs and reunited with his former Goodie Mob mate Big Gipp. After four days in Austin, Blondie's Debbie Harry fought through a raspy voice but had plenty of help from the crowd during a rowdy cover of the Beastie Boys' "Fight for Your Right (To Party)" -- perfect for the occasion.
BAD RAP/WRAP ON THE FEST?: Los Angeles rapper Tyler the Creator was read his rights at the Austin airport Saturday. The hubbub on SXSW's final day was Tyler's arrest for inciting a riot at his showcase a night earlier. Online video shows the ringleader of the juvenile rap crew Odd Future telling fans outside the packed show to break down barricades and rush in, which they did. By coincidence, Tyler was the performer about to go on at Mohawk nightclub on Thursday morning when the fatal car rampage happened outside the venue. He had a pretty easy opportunity to make a positive return after the tragedy, but instead he stupidly put more people in danger -- in a year when the atmosphere at SXSW had already grown so volatile with the overcrowding on the streets. Too bad he'll wind up being the rapper most talked about after the fest, not Nas, Schoolboy Q or Chance the Rapper.
See all our SXSW coverage and Tony Nelson's photo galleries at startribune.com/sxsw.
And the bands played on. And on. And on. Friday is always when everything really starts running together at South by Southwest. The whole experience of jumping from show to show begins to feel incredibly redundant and numb, although your feet are anything but numb. The only thing that really keeps the senses aroused and the body going is that fresh sense of discovery. It definitely provided a spark as the fourth night got going this year.
BEST OF THE DAY: I can’t remember the last time I heard a bona-fide buzz band play a Cajun tune at Austin’s mega-fest. New Orleans-based Americana quintet Hurray for the Riff Raff did a full-on Lafayette dancehall burner, plus it spiked a lot of other tunes with Cajun-y fiddle playing and rhythms. That’s not to say they’re a band you will only hear on NPR during the great “American Routes” show. Heck, I could imagine hearing them on Cities 97 back home. Performing on the Pandora stage behind the Gatsby, singer/songwriter Alynda Lee Segarra – who was actually raised in the Bronx – showed off a piercing, husky voice that sort of sounding like Fiona Apple as a street busker. She lays it on thick and offers a dark undertone, but she also seems to add a light tough to all her songs, with frequent traces of country gospel. Her shining moment was the anti-murder ballad, “Body Electric.” Not just Friday’s highlight, Segarra’s troop was my favorite of the fest so far.
BEST OF THE DAY BY SOMEONE NOT TRYING: When you play six or seven gigs in three or four days during the South by Southwest Music Conference, you probably appreciate the short and less meaningful ones. But you probably shouldn't announce to the crowd which ones those are, as one of this year's buzziest rappers, Schoolboy Q, did Friday afternoon.
"This is the easiest show I have to do. I don't even need to try," the gravelly voiced L.A. MC said midway through his half-hour set at Spin magazine's party outside Stubb's BBQ.
Thankfully, Schoolboy was either joking, or he’s so good he really doesn’t need to try. The songs from his new album, “Oxymoron,” were a riot live, especially the raunchy grinder “Los Awesome.” He was actually a lot more entertaining than the Spin party’s other big rap act, Future, who played a few sets later and never really got into a groove. But then, it’s hard to find your pace when you have to stop and remind the audience every two or three minutes what day your album is coming out, what the title of it is, and whether or not you should go buy it.
OTHER HIGHLIGHTS: Despite a lineup change and the much-publicized transformation of frontwoman Laura Jane Grace (formerly Tom Gabel), Against Me! proved they’re still one of the mightiest, most viscerally enjoyable punk bands around at the Spin party. Grace bellowed out the personal epics from their new album, “Transgender Dysphoria Blues,” with the force and drama of someone starting a revolution. No question whether or not she was trying.
Later on Tuesday night, the Autumn Defense – led by Wilco’s John Stirratt and Pat Sansone -- breezed through a set of sunny, Big Girly guitar-pop and not-far-from-the-tree twang-rock a la “A.M.” at the Maggie Mae’s Gibson Room. Their set felt as pleasantly familiar as the one that followed by fellow Chicago vets Urge Overkill, who played some newer songs that carried all the smacking grunge-pop sharpness of the older tunes played, including “Crackbabies.”
Back on the newcomer front, Australian singer/songwriter Vance Joy performed at the St. David’s Sanctuary, another downtown church that lets the rock roll in its pews during SXSW. The Aussie folk-rocker – real name: James Keogh -- sounded like a sweeter, more lovelorn version of his Glassnote labelmate Marcus Mumford, with some traces of Van Morrison to boot. His was a nice chill-out show to catch before ending the night at the Volstead Lounge in east Austin for Minneapolis’ dueling-guitar noise-blasting punk trio the Blind Shake, who had the crowd chanting for more once they left the stage. Or at least I think they were asking for another one. My ears were pretty well blown to know for sure.
BIGGEST LETDOWN: Perhaps it was too abrupt a transition going from the sweet and joyful performance by Hurray for the Riff Raff straight into a bitter and ferocious set by Syracuse punk band Perfect Pussy, but the latter group didn’t do it for me. It was all roar, little nuance and quite half-ass. After a flurry of other gigs in the fest, perhaps the young quintet was where Schoolboy Q was at and not really caring about its official showcase on the Red 7 Patio. It only played a 15-minute set, in which time Meredith Graves’ vocals never rose above the loud, muddy dueling guitars. It was like she was screaming and snarling in a vacuum. Hopefully, it was just a fluke of a show, but even by SXSW’s messy wham-bam standards it was abysmal.
SXSW entered its third day on a somber note, as news of the wee-hour fatal car rampage came more to light. A few day parties near the sight of the incident were canceled. Organizers of the music conference quickly set up a fundraiser effort for the victims. They and police kept festival goers and Austinites informed. By mid-afternoon, though, things were mostly back to usual, with the occasional moment of silence being asked for at gigs – Houston’s Wild Moccasins even made their moment a full minute of silence. Here’s more of what we took in Thursday:
BEST OF THE DAY: As was forecast in my SXSW bands-to-watch preview, psychedelic Japanese punk band Bo Ningen provided a riotous kick to the fest with an intensity not seen elsewhere at SXSW besides the few metal showcases. The wild-eyed quartet (now based in London) kicked off its first showcase of the week on the east side of I-35 at the Vegas Hotel’s patio -- a booking just begging for noise complaints.
By the second song, “Haken,” the band was furiously bouncing around the stage in unison to its roller-coastery waves of reverberating guitar noise and pulsating rhythms. Singer/bassist Taigen Kawabe led the charge with a manic, sometimes cackle-like vocal style and dramatic, wild-eyed gestures that included a tear through the middle of the crowd near the end of the set, .
BIGGEST LETDOWN: In terms of the venue, Thursday’s second of two big SXSW gigs by Blur frontman Damon Albarn was through the roof. No really: The gig was the first in three nights of “Guitar Center Sessions” TV tapings atop a five-story parking garage in downtown Austin. The city’s skyline – rife with new condo towers and construction cranes nowadays – provided an impressive backdrop for the session, although Albarn seemed to take umbrage with one major entity looming across the street.
“We’re gonna perform for you tonight under the benign presence of Chase Manhattan,” he wryly joked of a neighboring office tower with the baking giant logo on top.
Unfortunately, Albarn himself never rose to the occasion. Playing songs from his new solo album, “Everyday Robots,” he and his otherwise terrific band stayed in a mid-tempo rut for most of the shows. Too many of the songs limply plodded along, including the title track, while “Heavy Sea of Love” boasted an awkwardly tuned sound. Even the older tune “Tomorrow Comes Today” lacked the funky zest of the original, by Albarn’s other group, Gorillaz.
The other, more minor letdown Thursday was the late-night set by New Jeresey quartet Real Estate, which seems poised to become a top-tier indie-rock act this year with the release of its third album, “Atlas.” As lovely as the new songs are on record, though, with their Luna/VU-style hazy-sun guitar interludes, the band still lacks luster on stage.
BIGGEST SURPRISE: It probably shouldn’t have come as a shock having seen her conquer Twin Cities audiences over the past year, but Lizzo’s official SXSW showcase at the North Door was an eye-opening moment. Playing to a nearly full crowd inside one of the bigger venues east of the Interstate, the Minneapolis rapper sparked a rowdy dance party with “Batches & Cookies” and other songs from last year’s “Lizzobangers” album. The high-profile gig proved her buzz is catching on elsewhere. Granted, about 80 percent of all the Twin Cities musicians in Austin for SXSW were at the gig, which was part of the Totally Gross National Product showcase (also featuring Marijuana Deathsquads, Har Mar Superstar, the Cloak Ox and Pony Bwoy). But the Minnesotans were just a small part of the overall crowd -- and in true Minnesota fasion they weren’t the ones dancing the wildest.
BEST ‘HOW DID I GET HERE?’ MOMENT: Playing the role of Young New Guy with all the humility he can muster (which is a lot), Jeremy Messersmith sat in on a noontime SXSW panel at the Austin convention center alongside indie-rock big-wigs Bob Mould, Britt Daniel (Spoon), Matthew Caws (Nada Surf) and Steve Wynn (Dream Syndicate). The title of the discussion was “Warehouse: Songs & Stories,” named after the last record by Mould’s band Hüsker Dü, and true to the ad the guys all offered songs and stories. Mould played a touching new one called “The War.” Messersmith delivered “Steve” after explaining it was inspired by a homophobic blog post that read, “God didn’t make Adam and Steve” (Mould visibly enjoyed both the song and the story).
Given the chance to ask his more experienced co-panelists a question at the end, Messersmith asked if they approach songwriting as a “disciplined, everyday thing.” Mould answered in the affirmative: “You should be very grateful that this is what you get to do with your life, and you don’t want to let it rust.”
See a full photo gallery from Tuesday at startribune.com/sxsw.
Buzz bands from the U.K. are usually sixpence a dozen at SXSW, which became the go-to U.S. launching point for such recent British breakouts as Alt-J and the Vaccines. This year’s crop seems a little different, though. For one, there are a lot of them, with a lot of different sonic styles represented between them. What’s more, quite a few of them really deserve the hype, as I found out by catching many of them on stage Wednesday.
The best and the brightest – quite literally, given the glitzy stage production at the Fader Fort – was London Grammar. A vaguely trip-hoppy, Portishead-influenced trio from Nottingham (with London roots), the band itself showed off a compellingly nervous elegance and subtle edge. But the star of the show was unquestionably singer Hannah Reid, the most genuine new talent I’ve seen so far in the fest. The 23-year-old dressed in jeans and a casual top for the Fader Fort gig, which belied her stylish and sophisticated pop-chaunteuse vocals, with Adele being an obvious (and deserved) comparison.
Earlier at the Fader Fort, the slender wiz kids of Temples churned out a thick, murky but also uptempo and sometimes poppy brand of psychedelic haze-rock. The band sounded and even looked like early Pink Floyd, with singer James Bagshaw singing with Syd Barrett’s nasal tone while he and bassist Thomas Warmsley sported hairdos near identical to ‘60s-era Barrett and Roger Waters. Alas, the music itself was not so impressively shorn, sometimes droning on without enough flair.
At Stubb’s for the annual NPR showcase, Leeds’ scorching quintet Eagulls had all the flair necessary to win over the packed crowd. Visually the band was about as dull as the Stubb’s dirt floor – singer George Mitchell sort of sways leisurely in one place like the Stone Roses’ Ian Brown – but sonically it cut like a table saw with constantly buzzing guitars and thunderous rhythms.
Worst among the Brit pack – easily the worst thing I’ve seen over two days, in fact – 21-year-old electro-pop-punk wannabe Charlie XCX came off like an entirely prefab act, sort of like a cross between a Disney TV starlet and Billy Idol. Mind you, she earned a lot of pre-SXSW praise from critics. Also disappointing, we tried to take in yet one more U.K. darling act at the end of the night on the Maggie Mae’s rooftop, Nick Cave's upcoming tour openers Warpaint. However, they soundchecked for 40 minutes and then played an abbreviated set, which only confirmed the sound still needed tweaking. Thus, I’ll reserve judgment.
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