|
|
Home  Archive music profiles Bands to Watch at SXSW and In the Lou
|
Bands to Watch at SXSW and In the Lou |
|
|
|
Written by Laura Hamlett
|
|
Friday, 16 December 2005 |
We here at Playback St. Louis have scoured the South By Southwest music
festival and St. Louis/Columbia concert listings so you don’t have to.
Here are some bands that’ll be passing through both cities, as well as
our recommendations.
Blue October
SXSW: La Zona Rosa,
March 20, 10 p.m.
STL: The Pageant, March 19
Fingers crossed: it appears Blue October’s time has — finally! —
arrived. The San Marcos, Texas, quintet released its third album,
History for Sale (Brando/Universal), last summer; what began as an
indie release following their drop from Universal (Consent to
Treatment, 2000) turned into a happy reunion, as Blue October was
re-signed to Universal. The band will be prominently featured at this
year’s Austin festival: with a 10 p.m. Saturday night slot, Blue
October follows Liz Phair and precedes both Cracker and Camper van
Beethoven. Singer/songwriter Justin Furstenfeld writes
heart-wrenchingly personal lyrics; his delivery ranges from a soothing
murmur to an anguished howl. But the remaining bandmates are no
slouches, lending intricate orchestrations (including the occasional
aching violin) to complete the experience. You can catch their blend of
beauty, noise, and angst when they hit the Pageant stage March 19 in
support of Better Than Ezra. (LH)
British Sea Power
SXSW: Rockstars, March 19, 10 p.m.
STL: Mojo’s (Columbia), March 4
Pick up the debut LP (The Decline of British Sea Power) from this
Brighton, England, quartet and listen to the first two songs. Both are
fast, spastic, and nasty. Hit pause, and wait five minutes; come back,
hit play, and listen. What the hell happened? What happened is the band
that may not get the hype of Interpol, but whose British retro act has
more sincerity than those hair stylists could ever muster. More Bowie
and Bunnymen than Joy Division, BSP is swinging through Columbia on
their way to SXSW before heading back across the pond. Therefore, get
off your hinder and break it down to Tiger Country. I know you’ve got
plenty of sick days left. (DL)
+/-
SXSW: Friends, March 18, 11 p.m.
STL: Mississippi Nights, March 27
Originally conceived as a side project, +/- has now released two albums
and is touring in support of the latter. You Are Here (Teenbeat) is a
beautiful, angst-filled CD, replete with catchy musical hooks,
interesting sounds, timing shifts, and insinuating vocals. Formed by
ex-Versus members James Baluyut and Patrick Ramos (each
vocals/guitar/keyboard), +/- also includes Austin drummer Chris Deaner.
There are elements of the Faint, New Order, and Death Cab for Cutie in
You Are Here, yet +/- remains very much their own band. Expect the live
show to deliver harder and louder interpretations of songs from the
often-gentle record; in other words, bring your earplugs, and prepare
to be amazed. (LH)
The Walkmen
SXSW: Exodus, March 18, 12:00 a.m.
STL: Mojo’s (Columbia), March 13
Rising from the ashes of the celebrated Jonathan Fire Eater in 2000,
The Walkmen modify that fierce garage sound and deliver an eerily
unique and diverse musical style. Three members remain from the
original group, who gained acclaim and a Dreamworks contract through
ferocious live performances. Former Recoys’ bassist Peter Bauer and
singer Hamilton Leithauser joined the group and helped to craft their
surprising rhythms, which effectively match his haunting vocal
delivery. The Walkmen are currently touring behind their sophomore
album, Bows and Arrows, released in February to very positive reviews.
(DH)
The Wrens
SXSW: Friends, March 18, 1 a.m.
STL: Music Café (Columbia), March 15
In the mid-’90s, The Wrens were an underground sensation on the cusp of
success. Collectively, brothers Kevin and Greg Whelan (bass/piano and
guitar, respectively), Jerry Macdonald (drums), and Charles Bissell
(guitar) released their second full-length, Secaucus, in 1996 to
critical acclaim on Grass Records. Halfway into their first tour in
support of the disc, they were pressured to sign a high-dollar contract
and make music that is more radio-friendly; they declined, parting ways
with the label. Legal complications ensued, and The Wrens nearly fell
prey to the complications. Fast-forward to fall 2003, when the band
re-emerged with The Meadowlands (Absolutely Kosher). Now, finally, the
waiting world can hear the intelligent indie rock that is The Wrens.
|
|
|
