Time for Round 2: There are nearly 2,000 artists performing at SXSW, in over 70 venues throughout five nights. How do you decide who to see? What happens when two cool and promising acts are booked at the same time on the same night? Thankfully, the SXSW Web site helps you out with samples of songs by the up-and-coming artists. For the first round of the SXSW Music Face-Off, let’s examine Thursday, March 19, at 9:00 p.m.
In this corner we have Leeds, UK glam rockers Wild Beasts, who offer some jangly pop inside lush arrangements and concise melody. These young Brits are playing Latitude 30 on March 19, and click here to check out their danceable “Brave Bulging Buoyant Clairvoyant.” So, it’s not terribly far from Latitude 30, but in the same slot, in the other corner is Brooklyn buzz band Dirty Projectors. The band of grainy indie-folkies will release their fifth album this summer and they’ve already developed a strong following amongst hipster circles. But now, they are breaking into the indie mainstream, thanks to a new deal with taste-making Domino Records. Their new six-piece lineup will make its live debut on March 19 at Emo’s Annex. Click here to sample the textured and tender “Rise Above.” See what I mean? Who to see? Decisions, decisions…
Okay, SXSW starts Friday, and the music portion of the event begins next Wednesday. The other day, a friend asked which bands I was excited to check out, and my response was… “I dunno.” I’ve been so spoiled by working at SXSW, that I knew immediately the handful of acts worth checking out. When you work in the offices, you get a daily preview of which artists are the ones to track. Now that I’m attending as a civilian, I’m gonna have to slice and dice the schedule like the masses. So, to help preview some of the artists play the fest as well as explore some of the scheduling conflicts, I’m gonna start a daily installment of the SXSW Music Face-Off. There are nearly 2,000 artists performing at SXSW, in over 50 venues throughout only five nights. How do you decide who to see? Thankfully, the SXSW Web site helps you out with samples of songs by the up-and-coming artists. For the first round of the SXSW Music Face-Off, let’s examine Wednesday, March 18, at 12:00 a.m.
In this corner, we have School of Seven Bells, a Brooklyn trio comprised of members from Secret Machines and On Air! Library. The band plays in this slot, at Buffalo Billiards on 6th Street (home to many legendary SXSW shows, see: Fraz Ferdinand and The Go! Team). Check out an MP3 of their song “Half Asleep.” It floats, it rollicks, it’s catchy. It’s tempting. Now, in the other corner, for the same March 18 slot, we have Monokino, a Dutch/Chinese trio that blends Depeche Mode synths with more streamlined dance-pop and vocals that recall Placebo. They’re playing, at the same time, over at Elysium (a good several blocks walk from Buffalo Billiards). Check out an MP3 of their song “New Kid.” And, now you see, two different acts that both sound pretty good. Decisions, decisions…
In this week’s Austin Chronicle, filmmaker Bryan Poyser files a report from the set of the Duplass (Jay and Mark) Brothers’ new feature film (and follow-up to the much-heralded The Puffy Chair), a work called Baghead. Principal photography recently wrapped in Bastrop, TX (a few miles outside Austin) for what promises to be another must-see film. Don’t count on seeing it anytime soon, though, as the Dupes’ busy Hollywood schedule (a good problem to have) will keep them from finishing the post-production until sometime next year. Regardless, here’s some of what Poyser had to say:
Just before The Puffy Chair arrived in theatres, the Duplasses signed a deal with Universal Pictures to write and direct a new feature, while also agreeing to write a pilot for a TV series to be produced by another brotherly duo, American Pie’s Chris and Paul Weitz. A prominent independent distribution company offered the brothers a $1 million budget for Baghead, but they turned it down. They’re making it in the same way they’ve made all of their films since their shot-in-an-afternoon short “This Is John” caught the eye of Sundance in 2003: no stars, no money, no big crew, not even a tripod. There’s a script, but no one looks at it – not even the actors. When Bryant’s father comes to the set to play a small role – as with The Puffy Chair, the filmmakers are keeping it in the family – Mark explains, “Our method is just that you do what you would normally do in this situation, and we record it. If we want you to do something different, we’ll tell you.”
Allow me a moment to get on a soapbox… The Austin arts community is on the eve of a very important vote. This coming November (early voting begins late October), in addition to the governor’s race (go Kinky!), there will be a series of Propositions on the ballot. This includes Proposition 4, which is on the ballot to offer some assistance to various aspects of Austin’s arts scene. These include: Austin Film Society / Austin Studios ($5 million to help expand and improve studios, stages and digital facilities)
Zachary Scott Theatre Center ($10 million to help construct new theatre complex and children’s classrooms)
Mexic-Arte Museum ($5 million to help build new museum building and expand education services
Asian-American Resource Center ($5 million to help construct new cultural center, classrooms and display hall)
African American Heritage & Cultural Society ($1.5 million to help build new cultural center, live arts and music facilities)
Mexican-American Cultural Center ($5 million to help construct new arts facility and lakeside performance space)
What does this mean for Austin taxpayers? A few extra dollars a month, and that’s it. And in exchange, Austin gets to build upon its arts community. And, despite what the most conservative voices will tell you, this isn’t about using tax money to make art. It’s using tax money to maintain infrastructure, make/keep jobs, and build opportunities for kids. It’s about thriving. So, Prop 4 should mean something to anyone who makes art, consumes art, or loves someone doing either. A campaign is underway, called “I’m For 4.” Learn more.
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