Monday, March 19, 2012
Still rocking/streaming/somewhat downloadable
NPR's SXSW 2012 live streams, now mostly posted, w some downloadable (ditto sev from prev years, still up). Comments posted on ILX:
Sharon Van Etten mentioned in post-show interview that she and colleagues couldn't hear the music, but decided they were okay w that. To me, there was an undertow of doubt, or at least monotony through most of it--though the first solo acoustic performance, "Give Out"(which dirty ol' me inferred as "put out") worked, ditto closer "Serpent," as monotones slid into doooomtones, cool. Maybe she's just basically monotonous, and the National 'ducer-dude fixed it in the studio mix.
Alabama Shakes totally worked, w classic sounds meeting personal expression,: "Hold On" is about little boy and girl, a friendship forcibly broken up by "grown-ups." Very disturbing, as it rolls along, no big drama of tension and release, but no depression/inspiration either. By "classic sounds" also get extended through the moment's re-focus etc, not just good ol stage moves. Brittany's a bit like young Etta James, that mix of sucker punches and nuance.
Polica should be seen while heard (think the vid's posted too, but mute it while listening to the audio stream, if still possible, to avoid glitches). Dig Channy's Tinkerbell moves amidst the windowbox of beats, vs. her somewhat outsized, rough-edged lush slurs--John Martyn meets the xx. Some npr chatsters hated it: "where's the words? Enunciate!" Others said the lyrics are on the band site, and pretty harrowing, so maybe she wants protection. Anyway, it's a form of livetronica, with programmed elements constantly tweaked, ditto her vocal filters.
Another female writer now in a band, still dominating: Jana Hunter in Lower Dens. Sorta Pink Floyd meet New Order? Kinda slow for me, but I'll check 'em out some more. Mag Fields started out tediously, slowed by Merritt's apparently diagnosed hearing problems (a chatster gave the medical name, but blanking). He asked audience to restrain applause, no prob far as I was concern. Then, bless him, he rose above--not a very Merritt-like phrase, but he did, and I also enjoyed Claudia Gonson's vocals (support, duet and solo). La Vida Boheme: just heard the last couple songs live, but good Clash meets Rock En Espanol, momentum sweeping eclectic urges right along, have to check podcast. Meh on Sugar Tongue Slim: "Women Weed and What To Wear" seemed far too much about what to wear, if anything at all. Dan Deacon: Alvin and the Chipmunks on LCD, exhorting the very white people into a dance-off, which looked like a limb or torso or so waking up feels, def en masse--apres Van Etten, "a palate cleanser," as one of the NPR hosts helpfully suggested. Thanks, don't mind if I do, and girl in the purple dress, wherever you are, keep on dancing. don allred
¶ 3/19/2012 Sharon Van Etten mentioned in post-show interview that she and colleagues couldn't hear the music, but decided they were okay w that. To me, there was an undertow of doubt, or at least monotony through most of it--though the first solo acoustic performance, "Give Out"(which dirty ol' me inferred as "put out") worked, ditto closer "Serpent," as monotones slid into doooomtones, cool. Maybe she's just basically monotonous, and the National 'ducer-dude fixed it in the studio mix.
Alabama Shakes totally worked, w classic sounds meeting personal expression,: "Hold On" is about little boy and girl, a friendship forcibly broken up by "grown-ups." Very disturbing, as it rolls along, no big drama of tension and release, but no depression/inspiration either. By "classic sounds" also get extended through the moment's re-focus etc, not just good ol stage moves. Brittany's a bit like young Etta James, that mix of sucker punches and nuance.
Polica should be seen while heard (think the vid's posted too, but mute it while listening to the audio stream, if still possible, to avoid glitches). Dig Channy's Tinkerbell moves amidst the windowbox of beats, vs. her somewhat outsized, rough-edged lush slurs--John Martyn meets the xx. Some npr chatsters hated it: "where's the words? Enunciate!" Others said the lyrics are on the band site, and pretty harrowing, so maybe she wants protection. Anyway, it's a form of livetronica, with programmed elements constantly tweaked, ditto her vocal filters.
Another female writer now in a band, still dominating: Jana Hunter in Lower Dens. Sorta Pink Floyd meet New Order? Kinda slow for me, but I'll check 'em out some more. Mag Fields started out tediously, slowed by Merritt's apparently diagnosed hearing problems (a chatster gave the medical name, but blanking). He asked audience to restrain applause, no prob far as I was concern. Then, bless him, he rose above--not a very Merritt-like phrase, but he did, and I also enjoyed Claudia Gonson's vocals (support, duet and solo). La Vida Boheme: just heard the last couple songs live, but good Clash meets Rock En Espanol, momentum sweeping eclectic urges right along, have to check podcast. Meh on Sugar Tongue Slim: "Women Weed and What To Wear" seemed far too much about what to wear, if anything at all. Dan Deacon: Alvin and the Chipmunks on LCD, exhorting the very white people into a dance-off, which looked like a limb or torso or so waking up feels, def en masse--apres Van Etten, "a palate cleanser," as one of the NPR hosts helpfully suggested. Thanks, don't mind if I do, and girl in the purple dress, wherever you are, keep on dancing. don allred
