SXSW 2016: Artists to Watch

Posted on March 13, 2016 by Camren Skelton

With thousands of artists from all over the world traveling to Austin for SXSW, narrowing down who to see can be overwhelming. Luckily, we’re here to make that task a little less daunting. We searched the lineup to find the best up-and-coming artists that could quite possibly be some of your favorite shows of the week.

1. The Accidentals

Billboard’s Breakout Band at SXSW 2015, Winner of the Emerging Artist Series, Winner of WYCE’s Album of the Year 2015—and the list goes on. In just two years, The Accidentals recorded three original albums, scored two films, landed song placements in documentaries, independent films and commercials and played over 700 live shows…and then they graduated high school. The group features an eclectic blend of classical, jazz, bluegrass and indie folk and synthesizes a wide variety of instruments that reflect the group’s impressive orchestral roots.

When to see them:

3/16: 18th Floor at Hilton Garden Inn (8p.m.)

2. Barns Courtney

With an almost accidental launch into the global mainstream, modern day voice and guitar man Barns Courtney is on an exciting (unexpected) journey. After spending most of his childhood in Seattle, Courtney returned to his native UK, and this change comes across clearly in his eclectic mix of US blues-rock, hip-hop and grunge with British indie melodies and an undeniable US-British twang. Courtney’s first track, “Glitter & Gold” was dropped on Soundcloud in September and quickly racked up over forty thousand plays. Another track—“Fire” made it’s way onto the big screen when it caught the ears of Hollywood mega producer Harvey Weinstein who featured it as the main track on the Bradley Cooper-staring film, “Burnt.” With an already impressive start and a debut EP in the works for early next year, Barns Courtney’s journey is an exciting one to follow.

Where to see him:

3/16: Lamberts (10 p.m.)

3/18: Stubb’s (10:40 p.m.)

3/19: Latitude 30 (11 p.m.)

3. Beach Slang

In just two short years, Beach Slang have proved themselves as a band that can write memorable songs and create a devoted fan base. With the release of their first full-length album, The Things We Do to Find People Who Feel Like Us, in November, the band crossed off their only missing element. The group’s tireless love for music and life shines through in the part punk, part pop sound. With youth and vulnerability at the core of each intriguing live show, Beach Slang brings a sound that will stay with you long after they leave the stage.

Where to see them:

3/16: Cheer Up Charlie’s (10:30 p.m)

3/18: The Sidewinder Outside (1 a.m.)

3/18: SXSW Outdoor Stage at Lady Bird (6 p.m.)

4. Cicada Rhythm

What happens when you combine articulate guitar picking with Julliard-trained bass lines? Chilling harmonies, unbridled passion and sincere enthusiasm—a sound that basically sums up Cicada Rhythm. The Georgia-raised duo meanders through the fields of folk, rock and Americana, modernizing each to a chilling degree. Reminiscent and filled with imagery, the lyrics this act brings to the stage tell an invigorating story. Cicada Rhythm has the ability to captivate listeners with the first pick of the guitar.

Where to see them:

3/16: The Velveeta Room (10 p.m.)

5. Dilly Dally

Like the eclectic city they live in, Toronto four-piece band Dilly Dally cannot be defined by just one thing. The band has a mutual appreciation for slurred poetry, pop ballads and grunge-heavy guitars, and these elements are evident in each and every song. Dilly Dally has made a name for themselves amongst Toronto’s noise-punk scene and there’s no doubt they will bring the same energy and overall awesomeness to the SXSW stage.

Where to see them:

3/17: Hype Hotel (10 p.m.)

6. DMA’s

On the heels of their debut album, Hills End, DMA’s are only at the beginning of a promising journey. The Australian rockers epitomize the laid-back lifestyle of their home country and have a sound that is too inviting to be ignored. The record combines each individual’s own influences—folk artists like Bob Dylan, American guitar bands from the 90s, and English bands like The Stone Roses and The La’s—into one enormous sound. Although only just beginning, DMA’s are on the brink of a successful journey to success.

Where to see them:

3/17: Radio Day Stage (5 p.m.)

3/17: Parish (1 a.m.)

3/18: Stubb’s (8 p.m.)

7. Japanese Breakfast

A side project from her work as front woman of indie punk band Little Big League, Michelle Zauner released a tape in 2013 under the name Japanese Breakfast. The solo project showcases Zauner’s dark lyrics and unique vocals—a stark contrast to the guitar-based indie rock of Little Big League. Now, Japanese Breakfast is in full-force with the LP and vinyl release of Psychopomp. The album explores new interests, hosts a variety of sounds and chilling new vocals, making it one to watch out for at this year’s festival.

Where to see them:

3/17: Barracuda Backyard (8 p.m.)

8. The Kickback

The modern indie rock group gathered praise from a number of publications including Rolling Stone, SPIN and Chicago Sun Times after the release of a few EPs. With the release of their debut album, Sorry All Over the Place, the group has garnered even more prominence, making them a must-see at this year’s SXSW. The band is influenced by a broad array of cultural references, often referencing the likes of Hunter S. Thompson, David Foster Wallace and David Lynch, and their songs are filled with references and revelations. With their focus on contrast and a fascination with juxtaposition, there’s no doubt that The Kickback will put on a raw and memorable performance.

Where to see them:

3/16: Speakeasy (12 a.m.)

9. Marlon Williams

New Zealand solo artist Marlon Williams brings a sound to the stage that combines folk, country, soul, bluegrass and the blues. Williams first made a name for himself as front-man of The Unfaithful Ways, but has started a successful journey with his solo career. Williams brings an upbeat and sincere vibe to the stage earning him a spot as an artist to watch at this year’s festival.

Where to see him:

3/16: 3TEN Austin City Limits Live (9 p.m.)

3/17: Barracuda (11:15 p.m.)

3/18: Central Presbyterian Church (11 p.m.)

10. Mothers

Originating from Athens, GA as the solo project of Kristine Leschper, Mothers quickly emerged into a full-fledged band, on tour alongside of Montreal, and supporting Unknown Mortal Orchestra. They made the leap to headlining sets in a matter of months and in February, released their debut album, When You Walk a Long Distance You Are Tired, with Drew Vandenberg (of Montreal, Deerhunter). Now, the indie-folk outfit is taking on SXSW. If the vulnerability and raw emotion displayed in their album are any indication of their performance, then Mothers are definitely an act to watch out for.

Where to see them:

3/16: Clive Bar (9 p.m.)

3/18: Mohawk Outdoor (10 p.m.)

11. Moving Panoramas

Hailing from Austin, the all-girl trio that makes up Moving Panoramas will return to their hometown roots for SXSW. The name itself paints a perfect picture of the band’s sound—it’s indie guitar music at its’ finest, and the vocals have a dreamy, ethereal air about them. Each heartfelt lyric envelopes you into the songwriter’s story, making them one you will not want to miss at this year’s festival.

Where to see them:

3/15: The Sidewinder Inside (12 a.m.)

3/16: ScratcHouse Backyard (11 p.m.)

12. Roomsounds

Self-described as a “modern day Tom Petty & The Heartbreakers,” Roomsounds bring an eclectic mix of genres to the stage, making them an act to add to your list. Combine vivid song writing with versatile vocals and you have a group that gets as much out of playing a live show as they do creating a brilliant song. If you don’t know much about the band before seeing them live, you will leave eager to find out more.

Where to see them:

3/17: Lucky Lounge (9 p.m.)

13. Sunflower Bean

What do you get when you channel a passion for Pink Floyd, Led Zeppelin and the Velvets? The sweet sound that is Sunflower Bean. The indie trio hailing from NYC is sure to take the SXSW stage by storm with their rock-influenced vocals and sweet riffs. Their debut album, Human Ceremony, is self-described as a “conflicting interest”—a mixture of dream pop and rock ‘n’ roll. The diversity this group brings to the stage makes them a must-see.

Where to see them:

3/17: Radio Day Stage (3 p.m.)

3/17: Stubb’s (9:25 p.m.)

3/18: Parish (1 a.m.)

3/19: Hype Hotel (8 p.m.)

14. Sweet Spirit

The country/rock band hailing from Austin brings a different, but nonetheless charismatic and vibrant energy to the stage. Ironically, the nine-piece act started as the solo project of Sabrina Ellis, but new members were quickly added. The group began putting out songs at a breakneck speed, and the confident blend of genres that defines Sweet Spirit was born.

Where to see them:

3/19: Parish (10 p.m.)

15. Saint Pé

After 10 years of recording and touring with Black Lips, Ian Saint Pé decided it was time for a change. His solo act—Saint Pé—was born. If you love Black Lips, then hopping on board with Saint Pé will be an easy feat. It has the same garage flavor and rock ‘n’ roll sound but with a sunnier, more pop-influenced side. Saint Pé brings a sound to the stage that is refreshingly upbeat and will leave you wanting more.

Where to see him:

3/18: Valhalla (1 a.m.)

16. Spookyland

The 4-piece act from Sydney received both local and international praise from the likes of NME, Rolling Stone and Pitchfork with their debut EP, ‘Rock and Roll Weakling.’ In 2015, an appearance at Lollapolooza landed them a spot in Consequence of Sound’s Top Ten acts not to miss. The band has a knack for delivering raw, emotional music that sticks with you long after they leave the stage. With their debut album, Beauty Already Beautiful, set to release in May 2016, Spookyland is well on their way to garnering even more prominence and prestige, making them a must-see at this year’s SXSW.

Where to see them:

3/16: Buffalo Billiards (9 p.m.)

3/17: Latitude 30 (12 a.m.)

17. T. Hardy Morris

For 10 years, T. Hardy Morris has explored the parallels between grunge and Southern rock with his band Dead Confederate. His first solo effort was 2013’s Audition Tapes, a relatively melancholy, confessional work likes so many of the records out of Nashville. His latest release, Drownin on a Mountaintop, is the complete opposite. Unsentimental, enthusiastic and rowdy, the album gives Morris’s voice ample space to roam and cut loose. Although Morris is not new to the music scene, his work as a solo act is well worth talking about.

Where to see him:

3/19: Parish (12 a.m.)

18. Tedo Stone

Garage/psych-rocker Tedo Stone forged a love for music at an early age, forming his first band at the age of 12. While living in the musically rich town of Athens, GA, Stone dove further into the music scene and his sound took on a noisier, carefree character that caught the attention of producer Drew Vandenberg (Deerhunter, of Montreal). After pairing up with him, Stone released a follow-up to his 2013 debut. 2015’s Marshes is decidedly grittier in comparison to his debut, Good Go Bad, and is definitely one to watch out for as it garners a larger fan base.

Where to see him:

3/17: Yard Dog (1 p.m.)

SXSW 2016: Bayonne x Vinyl Mag

Posted on March 11, 2016March 11, 2016 by Jacklyn Citero

Musically, Roger Sellers is many things – talented composer, accomplished musician, aural experimenter, electronic/minimalist pioneer – he is not, however, a DJ. To clarify any misunderstandings of this fact Sellers has distinguished his electronic material by adopting the alias “Bayonne.” Seller’s debut as Bayonne, Primitives (March 25th, Mom + Pop), is a richly layered soundscape; an hypnotic electronic dream that takes you on a winding journey into another world. With SXSW around the corner and a US tour on the horizon, we sat down with Sellers to talk about the new album and get an inside look into Bayonne.

Vinyl Mag: This month you will re-release Primitives under Bayonne on Mom + Pop. How has the transition been in having your electronic/minimalist material be identified with this moniker while keeping your folk-based material associated with your own name Roger Sellers?

Roger Sellers: The transition has been pretty smooth so far, being that many of the songs in Primitives were written at a time I was also focused on more folk-based writing. The styles easily overlapped. I feel it all comes from a similar place, “Bayonne” is a way for the audience and myself to distinguish the two.

VM: You’ve said many of the songs on Primitives came from experimenting, what does that creative process look like behind all of the sound layering and experimentation?

RS: Primitives is largely based on loops and layers. I found myself purchasing a looper in early college and started experimenting. I liked the ideas I would come up with rather quickly because it wouldn’t allow for second guessing. I soon became very intrigued by this process and decided to put these loops into a live performance, which led to the record years later.

VM: What three words would you use to describe Primitives?

RS: Repetitious, dense, and melodic.

VM: The artwork for Primitives and that translucent turquoise vinyl, is stunning! How was this design and color palette created/chosen?

RS: Well, the way I imagined my environment while working on primitives was like being in a dark, but colorful crystal cave or something. The record and process had a very earthy feel to me so I did the best I could describing that to Rob Carmichael, the artist. The turquoise translucent vinyl worked really well with the color scheme and gives it a crystal effect.

VM: You have quite a few US tour dates coming up, are there any venues/festivals/cities in particular on this tour your are excited to play/visit?

RS: I’m really stoked to play SXSW as always along with Levitation this year. Outside of my home state Im very excited to visit Montreal and Toronto for the first time, as well as hitting the road with Small Black in April.

VM: Do you have any pre-show rituals or routines?

RS: It depends on the show, but I’ll usually try to chill out as much as I can and conserve energy for the performance. Stretching is something I do close to show time, and I’ll usually jump around right before I go on to get the energy up after chilling.

VM: If you could collaborate with any artist, who would it be?

RS: There’s many artists that would be awesome to collaborate with. I’d love to do something in the studio with Wye Oak. I love the way they write and structure their music, and Jenn has the voice of an angel. They rule.

VM: What artists are you excited to see while at SXSW?

RS: It’s funny I just found out Wye Oak will be playing and I’ve never seen them live before. Plus they’re playing at my favorite venue, The Mohawk. Unfortunately I’m playing a set at that same exact same time.

VM: What do you plan on doing in Austin when you’re not performing?

RS: There’s usually little time between shows, meetings, practice, and press during SX to do other things. When I do have time I like to hang with friends of colleagues from out of town that I don’t get to see as often.

VM: Tacos and BBQ seem to rule the SXSW food scene every year. Being from Texas, if you could only choose one or the other as your favorite, which would you choose?

RS: Texas BBQ rules, and so do tacos in Austin. It really depends on what I’m in the mood for but I’d say this year I’ll be more on the BBQ side of things if I had to choose. I eat tacos ALL the time.

Catch Bayonne at SXSW 2016!

3/13 (Sun) Barbarian Group @ Mohawk (Outdoor) – 7:20pm

3/15 (Tue) Bayonne In-store @ Waterloo – 5:00pm

3/17 (Thu) Mom+Pop Showcase @ Container Bar – 1:30pm

3/17 (Thu) Secretly Group Showcase @ Barracuda – 8:15pm

3/18 (Fri) ASCAP Showcase @ The Driskill – 11:59pm (aka midnight)

Artist to Watch: Rayland Baxter

Posted on February 14, 2016February 14, 2016 by Nikki Smith

After a friend recently saw Rayland Baxter in Atlanta, she convinced me to listen to his most recent EP, SOHO. It’s been four years since Baxter released his debut, full-length album, Feathers & Fishhooks. Most of the tracks on SOHO were previously featured in Baxter’s full-length album, Imaginary Man.

Upon listening to SOHO, it is clear that Baxter finds harmony in simplicity. With a sound that can only be contributed to his musical history in Tennessee, Baxter exhibits subtle, southern guitar riffs and a slight vocal twang. All of these things make up Baxter’s folk-rock persona. It is no surprise that Baxter’s father, known as William Baxter, worked with artists Bob Dylan and Ryan Adams among others. Furthermore, Baxter has come into his own style of feel-good folk albums that seem to embody the spirit of the southeastern mountains.

SOHO opens with “Mr. Rodriguez.” With a fluid acoustic sound, Baxter harmonizes with his equally smooth vocals and soft inflections. His single, “Yellow Eyes” follows; the track previously appeared on Imaginary Man, accompanied with a soft drumbeat and subtle female vocals. However, SOHO focuses strictly on Baxter’s stripped down solo sound. “Oh My Captain” continues the slow, somber style with a an uplifting chorus that allures its listener to match Baxter’s powerful vocals and signature whistle.

Equally as impressive as his sound are Baxter’s lyrics. It is quite obvious that SOHO, or any of Baxter’s albums for that matter, is not strictly about a man and his guitar but about an experience that Baxter wants to poetically share with his listeners. Baxter seems to elicit the story-telling talents of Leonard Cohen. This is especially true in “Freakin Me Out.” SOHO ends with a cover of My Morning Jacket’s “Bermuda Highway.”

My only qualm with SOHO is that it is too short. While the chance to catch Baxter in Georgia has passed, he is scheduled to play at Bonnaroo 2016 in Manchester, Tennessee.

5/5

Artist to Watch: Gideon King & City Blog

Posted on January 25, 2016 by Maria Lewczyk

All about bringing together musicians that have a passion for jazz, Gideon King & City Blog is straight out of New York City with a modern twist on the classic jazz genre. With elements of jam bands and big band sound, Gideon King & City Blog released a full length album titled City Blog that is a sultry love letter to the city that never sleeps.

More interesting than the name of the band itself are its members. Boasting some of the most diverse talent available, Gideon King & City Blog managed to get together James Genus, the bassist from Daft Punk and the Saturday Night Live band, Carolyn Leonhart, a key member of Steely Dan’s vocal team, and many other notable musicians. With such a wide variety of members, the sound can only be described as a collective.

City Blog grabs you by the hand and drags you onto the dance floor with its creative and smooth style. City Blog is a rainy date night in Manhattan, where your date offers you their umbrella after a delicious meal at an upper scale restaurant. The album as a whole can only be described with scenarios, because it gives off more than just words. The feelings are present in every improvised piano part, while skillfully crafted with a surreal-sounding mash of backing instruments that all get their separate time to shine in solos.

The title track “City Blog” displays the album clearly and honestly: it’s cool to the touch and easy on the ears. The good thing about jam bands and their derivatives are that the music can never get repetitive as long as you have a decent pairing of vocals, which Gideon King & City Blog have excelled at.

“Friendship Cliche” takes on an alternative indie rock spin, if you consider having a horn section and wind instrument section as rock. All the combinations of instruments result in such a visceral experience that can only enhance surroundings. The only criticism on City Blog stems from the slowness of some of the tracks, particularly “What Say You” which drags on for the full four minutes.

Aside from a couple misses like that, the funk is alive and thriving in New York City among lots of different aliases, but Gideon King & City Blog is a name to remember.

Gideon King & City Blog can be found on its Facebook page, here.

Superbody: “Camera”

Posted on January 23, 2016 by Nikki Smith

Since Tennessee-based duo Superbody released their dreamy debut album, Hades Land, Caleb Dills and Robert McCurry have released their newest single “Camera.” With a breathy opening, the track starts with energy and vibrancy. Similar to their ethereal, 80’s styled predecessor, “Camera” plays in the same vein, with McCurry’s deep fluid vocals, juxtaposed with Dills’ taut, synth-laced beats. The track slightly strays from the haunting melodies of Hades Land, instead adopting a more synth-pop sound.

No doubt, this track will sound even better live. Superbody is no stranger to Athens. Catch McCurry and Dills at Caledonia Lounge on February 13^th.

Artist to Watch: Idiot Grins

Posted on January 18, 2016January 18, 2016 by Maria Lewczyk

Recent trends in music have revolved around synth pop and overproduced albums, so it is rare to find a big band sound in the mix. Idiot Grins, a five man soul rock band from Oakland, California, has managed the impossible. By getting musical help from Johnnie Bamont, the saxophone player from Huey Lewis and the News, and Mic Gillette, the trumpet player from Tower of Power, Idiot Grins lends a homage to the greats of years ago. Big Man transcends the line between old and new by making a soulful big band swing that sounds like it belongs in the ‘60s, but was made in 2015. The best part, it makes you want to sing along too.

The 11 track album hits all the right notes with each song being reminiscent of the last, without sounding exactly the same. “How To Get To (Baltimore)” is classic and upbeat, with a chorus that sounds almost exactly like the chorus from “Science Fiction Double Feature” in Rocky Horror Picture Show. That isn’t a bad thing, either. The call-and-response element of the music makes the listener want to croon along.

Another standout from the album is the second track “Poppy Piss”. A swing tune that is simple (Keep It Simple, Stupid) is a good indication for the style of Idiot Grins. The song is two and a half minutes of almost the same beat, which seems repetitive, until you get to the wild vocal ups and downs of lead singer John Hansen. The variation is necessary in a track of the same melody, but Idiot Grins has the whole change game under control.

A complaint would be that the majority of the album is ballad-style, with slower melodies dominating the flow and energy of the initial three tracks. That’s not to say that those songs aren’t good in their own right, seeing as “One Reason” and “Paso Robles” are excellent representations of versatile styles. “Paso Robles” utilizes a country croon while “One Reason” is the stereotypical “down-up” beat from the ‘60s with clean sounding horns that really make the track special. Instead of a slow-down near the end of the album (with an exception for the tangy “Ovaltang”), a much needed pick-me-up would have been a better way to seal the deal on Big Man.

Despite minor issue with maintaining a cohesive flow of energy and rest within the album, Idiot Grins puts a modern spin on classic instruments minus the grainy quality.

Big Man was released on April 6, 2015 and is available for purchase or download at the Idiot Grins website.

Basement: “Aquasun”

Posted on January 14, 2016 by Maria Lewczyk

Basement, a five piece melodic hardcore band from Suffolk, England, is back with a new album. After releasing their first and second albums I Wish I Could Stay Here (2011) and Colourmeinkindness (2012), the band went on hiatus without any foreseeable reunion. Luckily for fans, the band released an EP titled Further Sky in 2014 along with a slew of tour dates, indicating a reunion for the band.

The reality is that Basement is back, with the highly anticipated album Promise Everything to be released through Run for Cover Records on January 29, 2016. To promote the album and create excitement for the new record, Basement has been slowly releasing singles from Promise Everything with tracks “Promise Everything” and “Oversized” already available for streaming and purchase.

Today, Basement released a music video for the single “Aquasun”, which is track four off of the new album. Check out the video here, and look out for Promise Everything coming out soon.

The track listing for the upcoming album is as follows:

1. Brother’s Keeper
2. Hanging Around
3. Lose Your Grip
4. Aquasun
5. Submission
6. Oversized
7. Blinded Bye
8. For You The Moon
9. Promise Everything
10. Halo

Artist to Watch: The Boy From The Crowd

Posted on January 10, 2016 by Maria Lewczyk

From London, UK, The Boy From The Crowd is made up of Vinny Placa and Vegas Ivy. With Placa on vocals and guitar while Ivy manages drums and percussion, The Boy From The Crowd creates a blues-infused rock sound that walks the line between cult favorite and top 40s, resulting in songs that are eclectic but still make you bob your head to the beat. Their most recent release titled Where the Bees Come to Die introduces the band’s mechanical and lyrical skills, while also allowing room for improvement.

The first track, “Revelator”, showcases The Boy From The Crowd’s London rock flair with bluesy influence. The sound is catchy, upbeat and progressive throughout despite the repetitive lyrics, while the differences in the song are shown through the changing instruments and the evolving bass and guitar riffs. The use of backing vocals is spot on, especially with its use in the chorus as more of a shout and as a quieter, more intimate repetition for lyrics within the rest of the song.

“All I Need” shows a musical style similar to a combination of earlier Kings of Leon, the White Stripes and The Arctic Monkeys but with a scruffier lead singer (if that was even possible with Kings of Leon). Halfway through the song it cuts to silence with the lead singer still singing, allowing a really nice change of pace. Overall it flows very nicely, however for a five minute song some differences in instrumentation and vocals are necessary.

Different than the prior two tracks, “The Road” sounds more drowned out and surf rock-esque, giving much more of a pop sound. An interesting inclusion to the album, “The Road” really showcases the versatility of the band in terms of genre experimentation, but the guitar hero solo about halfway through the song indicates that some further tweaking is needed to perfect a cohesive sound for an album.

The final two tracks are “All I Need (Single Edit)” and “Where the Bees Come to Die”, both of which have issues. “All I Need” is on this album twice, and with only five songs total that is unnecessary repetition without much change between the two versions (although the second “All I Need” cuts out about a minute and a half of useless jamming). “Where the Bees Come to Die” has a bluesy steel guitar introduction that sounds too blues-influenced to be surf rock but still retains intrigue. The entire ending track is an instrumental, which is a strange choice considering there are only three true songs on the album.

Overall, The Boy From The Crowd has the chops to create something exciting and catchy, but falls short in delivery on Where the Bees Come to Die. The lack of cohesiveness on the album indicates some indecision in terms of the style of the band, which can either be a good thing or a bad thing for the future of the band. However, the interesting style of blues and rock is definitely something that holds promise.

The Boy From The Crowd released Where the Bees Come to Die on December 7, 2015 and is currently available for purchase on its Bandcamp, here or on The Boy From The Crowd website, here.

Deerhunter @ The Georgia Theater

Posted on January 10, 2016 by Nikki Smith

The move to go backstage was sudden. Without a choice, my friend and I were told, “Let’s go,” as Lockett Pundt’s cousin (a friend from home) told us to follow her backstage, along with the rest of Lockett’s close relatives. Guitarist, Lockett Pundt leads us up multiple flights of stairs to Georgia Theater’s “backstage.” Bradford sits on an ottoman, surrounded by his family members. His aunt is sewing a “Volvo” patch on his red jacket. Notorious Deerhunter dog, Faulkner, greets us, and Cox relates family stories as if he had known us for years. It seemed as if we were an audience to Pundt and Cox’s family affairs, but in no way did it feel like intruding. Cox’s bubbly humor and Pundt’s stoic poise created the atmosphere of a friendly hang out, and the same is true of their performance.

We left backstage to leave the family members to their pre-show reunion and found a spot on the balcony, right above the stage. Bitchin Bajas opened with an instrumental, psychedelic jazz sound. Their combination of saxophone and keyboard offered a smooth transition to Deerhunter’s loud, pop rock style. With the theater packed, Deerhunter enters onto a neon stage in front of what one security guard predicted as “close to a thousand” audience members. Cox honors those who saw their show at the Variety Playhouse in Atlanta (Deerhunter’s origin) the night before. Guitarist, Josh McKay, greeted the audience as an Athens native. Cox joked, “We loved Athens so much we imported their guitarist.” Deerhunter dedicated various songs from their new album, Fading Frontier, to their family members. Cox dedicated “Take Care” to his mom, who watched from the VIP section.

I found my gaze leaving the stage throughout the set to watch audience members. People swayed back and forth, a guy jumped up and down out of rhythm to the songs, couples stood together. On stage, Cox invites the boys of Bitchin Bajas to join them, and the show eventually became an extended jam session between good friends. Songs like “Snakeskin” played longer for a 5-minute, ambient collaboration. The song ends as Cox slowly kneels on the floor, eventually hovering over his guitar on the stage floor. It’s obvious the other band members are unsure what’s happening. Pundt leans to Cox and laughingly asks the audience if there’s a doctor around, because Cox had “seized” and “couldn’t get up.” Cox immediately stands up and laughs about Pundt’s inadequate delivery of the joke.

The band continued their set for a twenty-minute encore before Cox thanked the audience and told us goodbye. The show harbored a sense of familiarity and friendliness. Deerhunter performed in such a way that audience members, or myself at least, felt comfortable. In no way did the band members seem “untouchable,” instead they were welcoming and real. Of course, Deerhunter is on their way to wider recognition, but it was obvious as I watched backstage and from the balcony above, family and friends play a large part in Deerhunter’s success and will continue to keep them grounded, and their warm interactions with the audience will keep us all coming back for more.

Artist to Watch: Bad Reed

Posted on January 4, 2016January 4, 2016 by Maria Lewczyk

With only one official musical release, Bad Reed is transcending genres. The four piece jack-of-all-trades band from Brantford, Ontario shows their versatile chops on the Bad Reed EP. Over the course of three songs, Bad Reed manages to capture elements of psychedelic funk metal, rhythmic southern blues and synth rock in a way that is reminiscent of the ‘90s.

“Punch It”, the first track off of the EP, introduces refreshingly clear vocals to the hash-mash of instruments going on in the background. The song builds up, gradually including more guitar parts and more synth patterns until the lead vocalist is slowly lost into the mix. Whether or not that effect was intentional is unclear, but if the purpose of the track is to have the listener melt into their surroundings, then it works very well.

A personal favorite, “Slackjaw Romance” creates the perfect balance of calm and cool. It sounds like something you’d hear in a jazz nightclub around 12 a.m., and commands the same attention from listeners (no matter where they are). The combination of dark lyrical content and swanky yet collected vocals results in a track that is both memorable and catchy.

The final track “Cassava” sounds like a lost Incubus track, allowing singer Sydney Sollazzo to showcase her range and smooth delivery. About halfway through the track is a mini acoustic session that is a confusing break from the previous progression, but segways nicely into the remaining two minutes. Using acoustic guitar parts and drowned out synth as a build up and the reintroduction of electric guitar and drums is made possible by the consistent nature of the straight-forward vocals, which tie the tracks together where they otherwise would have fallen apart.

Bad Reed released the Bad Reed EP on June 13, 2015 and is currently available for free download (or suggested donation) on its Bandcamp. More information about the band Bad Reed is available on their website, here.