SXSW AMERICAN PANCAKE PICS FOR TODAY- click on the name link for set times-
excerpted info from official SXSW site and American Pancake-
Yacht: YACHT is a Band, Belief System, and Business conducted by Jona Bechtolt and Claire L. Evans of Marfa, Texas and Portland, Oregon, USA. All people are welcome to become members of YACHT. Accordingly, YACHT is and always will be what YACHT is when YACHT is standing before you.
The War On Drugs: Philadelphia’s The War on Drugs reside at the blurred edges of American music: overexposing studio limitations, piling tape upon tape to maximum density, and then — with each song — they pull off the scaffolding to reveal what sticks, keeping only what’s absolutely necessary and dig into what sounds like the best kind of fucked up. As on their 2008 debut, Wagonwheel Blues, central member Adam Granduciel takes small moments occurring over multiple tapes and multiple song versions, and puts every last drop of trust in his own keen instinct of momentum.
Youngblood Hawke: Youngblood Hawke captures the sound of 5 friends in mid-journey. It is the snapshot of a state of mind where one mountain has been climbed, and there are more in the distance. But for right now, the view is beautiful. - official SXSW "Youngblood Hawke sound like a sunny surf ride after you just met the girl (or boy) of your dreams" - Adler Bloom
Guadalupe Plata: Ubeda, Spain. Two young swamp blues worshippers - Pedro de Dios Barcelo and Carlos Jimena - perform a chemical experiment by mixing the rusty-water-wheel chant of Hound Dog Taylor, the darkness of Skip James, the hypnotic rhythm of John Lee Hooker and R.L.Burnside, the madness of Screamin' Jay Hawkins, the sweet sound of Tampa Red, the killer slide of Elmore James and the essence of Son House.
White Rabbits: White Rabbits signed to TBD Records (US home to Radiohead/Other Lives/Hatcham Social) and erected a makeshift studio in their basement rehearsal space to demo new material. Band members popped in and out over the course of several months lending ideas and personality to a new batch of songs that defy instant categorization. After enlisting tourmate, friend and songwriter Britt Daniel (Spoon) as producer, the pair began the process of exchanging demos between Brooklyn and Portland. White Rabbits recorded It’s Frightening over the course of four weeks, only taking a break to play the Transmusicales Festival in Rennes, France.
The Magnetic Fields: The Magnetic Fields' classic songwriter Stephin Merritt enjoys working with themes: escape, country roads, vampires, miniatures. There is no official theme for The Magnetic Fields’ tenth full-length release, Love at the Bottom of the Sea, but Merritt describes it as a return to their roots-- synths! In it, he challenged himself to use synthesizers in different ways. “Our no-synth trilogy being over, we are now gleefully using synthesizers in ever more improbable ways, often sounding like electronic swarms of crickets and that sort of thing."
Mr. Gnome: Inspired by a taste for the surreal, Cleveland's Mr. Gnome has been creating a singular amalgam of gritty, space-psychedelia since 2005, gaining them an ever-growing cult following across North America and Europe, as well as praise from the likes of Rolling Stone, Paste, Spin, Bust, and more. With a nod to the off-kiltered, the constantly touring duo are set to release their third full-length album, Madness In Miniature, October 25th on El Marko Records. While the previous two albums offered mere glimpses, the new album is an all-encompassing gaze into two delicate yet roaring, hypnotic yet beautifully disconcerting minds that come together to make sense as one.
The Drums: While the band continue to expand their sonic palette, one consistency has been their unabashed love for The Wake, whose influence is even more pervasive than on their earlier work. “I’d be sitting down with a bass guitar, and I’d think, how can we do a bass line like The Wake? It’s still a band that we cited on this record, even though our influences on this record definitely changed. They’re just so good,” enthuses Hanwick.
Grimes: There is a powerful harmony in Grimes. It is a project which is both musical and visual, embodying the arts of 2D, performance, dance, video and sound. Claire Boucher weaves these together to a strong rhythmic effect, “the marriage between the voice of a human and the heartbeat of a machine” [Bullett Magazine].
King Tuff: (from SubPop) King Tuff sits, center stage between Magic Jake and Kenny, his trademark guitar, Jazijoo, on his lap while the rhythm section diligently loops the groove under Tuff’s frenetic fingering.
Silent on a marble staircase, a ghost of a child, King Tuff, expressionless, leans back into a half shadow, with rays of silver rings leaping under incandescent light.
Big Deal: Alice Costelloe and Kacey Underwood voices often times coalesce like those couples you know that finish each others sentences but as Big Deal this merging of male and female voices is not annoyingly syrupy sweet like that but, instead feels more like the tentative and some times scarey first steps of a budding romance. Bolstered by simple acoustic and electric guitars (merging as well) their songs hinge on the intimacy of their voices and the trepidation of love and loss. After awhile you will not be able to imagine one voice without the other. - Adler Bloom (American Pancake)
Ava Luna: New York natives six strong, their Spector-esque girl-group harmonies are interwoven with funk, noise, and pop to create an aural headrush that will travel directly down to your feet, which should begin dancing.
Daughter: ‘The Wild Youth’ is the new EP from 21 year old Elena Tonra aka Daughter.
A collection of four dark, ethereal & beautiful new songs, ‘The Wild Youth’ showcases a young musician experimenting delicately with a rich array of songwriting ideas and yet still intent on pouring out her soul pure and unadulterated.
Gashcat: fter finding a magic tape machine in the middle of nowhere, Mississippi, the Gashcat collective/family recorded their first EP and moved to Austin, TX.
Since then, they've bounced around the west coast several times and have recorded their first full length... Reunion! With songs ranging from lo-fi acoustic hiss to full on psychedelic fuzz, the ever-expanding Gashcat family throws shows that are an unpredictable, wall of sound ruckus.
Alabama Shakes: In October, the Shakes gave a performance at the CMJ Festival in New York City that earned a glowing review from the New York Times. Jon Pareles described the band as “a thunderbolt dressed in bluejeans,” with music that’s “aching when it’s slow and growling and whooping when it’s fast.” NPR named them one of the best bands of 2011, while MTV called them one of the top bands to look for in 2012.
Of Monsters and Men: Of Monsters and Men is an amiable group of day dreamers who craft folkie pop songs. But last year, the normally mild-mannered six pack—who’s releasing their EP, Into the Woods, on December 20—transformed into total rock stars after stomping out their competition during Músiktilraunir, a yearly battle of the bands in their native Iceland.
Papa: “Everyone becomes sea urchins and rats at night,” says PAPA's Darren Weiss, laughing slyly. “It’s the nature of being young.”
Like with an inside joke you know, you smirk along, succumbing to a moment of reverie. The suggestion of crawling so close to the dirt floods in bastard memories. And so, when the versatile drummer, singer and principle songwriter next puts his band's musical efforts in simple terms such as, setting out to make “American soul music with a punk-rock mentality” on its forthcoming EP, A Good Woman is Hard to Find, you nod along, like, yeah that sounds about right.
Punch Brothers: Punch Brothers are the New York City-based quintet of mandolinist Chris Thile, guitarist Chris Eldridge, bassist Paul Kowert, banjoist Noam Pikelny and violinist Gabe Witcher. Their new album Who’s Feeling Young Now?, produced and engineered by Jacquire King, contains some of the most exhilaratingly direct, sonically daring performances the group has ever recorded. Already, Vanity Fair has hailed the album as "their most expressive work yet as an ensemble -- sophisticated, pop-y, kinetic and profound, all at once." The New Yorker calls it "a mystical alchemy of old-time music and contemporary sensibilities" As the five members, ranging in age from their mid-20's to mid-30's, have matured together on the road and in the studio, their approach to writing and performing has, conversely, become looser, simpler, and, in a sense, more unaffectedly youthful. In fact, the title song on the new disc—featuring rumbling bass, skittering violin, and wailing multi-tracked vocals—sounds like hard-charging string-band punk rock.
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