SXSW Song Of The Day: Lift To Experience – Just As Was Told

Posted on by Paul in Song of the Day, South By Southwest | Leave a comment

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Denton, Texas-based band Lift To Experience has had a bit of an interesting history. After playing the 2000 edition of SXSW, the trio signed to London-based label Bella Union and went on to release only one album. That album, 2001’s The Texas-Jerusalem Crossroads, would go on to attain a certain cult status, although the band seems to have gained more of a following in the UK than they ever did stateside.

Now, all these years later, the band is back with a reissued, remastered version of the album and playing a couple of shows for SXSW 2017, including one in a church, which seems somewhat fitting for a band that made a post-rock/shoegaze concept album about the second coming of Jesus Christ in Texas.

Check out “Just As Was Told,” the Slint-esque opening track from that album below:

SXSW Song Of The Day: Whitney Rose – Bluebonnets For My Baby

Posted on by Paul in Song of the Day, South By Southwest | Leave a comment

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Though her SXSW bio page may say that she’s from Austin, we Canadians know where Whitney Rose is really from. Regardless of her origins though, the P.E.I. born and previously Toronto-based musician does a great job of capturing that authentic old school country sound to an extent that I’m sure a lot of Texans wouldn’t mind claiming her as their own. Unless they’re one of those “welcome to Austin, don’t move here” types, in which case, they probably won’t be in town for SXSW anyways, so whatever.

Check out ’50s-style slow dance number “Bluebonnets For My Baby” from Whitney Rose’s latest release South Texas Suite below:

Concert Review: Agnes Obel, March 4, The Great Hall

Posted on by Paul in Concerts | Leave a comment

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As the 9:00pm start time for Saturday night’s sold out Agnes Obel show approached, the bulk of the crowd were surprisingly still waiting in line, literally left out in the cold and wondering what the hold-up was all about. Once everyone was inside and the show was finally underway, Agnes Obel apologized for the delay and explained what had happened. She announced that she and her band would be performing an “extra acoustic set” due to a pool of water that had affected the synthesizer and mellotron prior to the show. Obel didn’t seem to be too put off by the mishap, though she did take a bit of a shot at the venue, noting, “It’s not the Great Hall, it’s the leaky hall.”

Obel and her three piece band sounded fantastic – had she not announced that they were playing a somewhat stripped down set out of necessity, one might have assumed it was an intentional choice. In fact, some of the more impressive moments came not from the instrumentation, but when all four women onstage were harmonizing together. Obel herself may not have agreed, noting later in the set that she didn’t know what was going on with her voice due to a “crazy night” the night before in Ottawa where their bus had frozen over. I certainly didn’t notice any vocal issues though, and I don’t think too many in attendance did either. Technical difficulties aside, Obel and her band still managed to put on a great performance, with the dark beauty of her compositions coming through clearly in the slightly reworked arrangements.

SxSW Song of the Day: Temples, Certainty

Posted on by Gary in Song of the Day, South By Southwest | Leave a comment

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Late in 2014, Ricky mused laconically about where the 70s-energy of Temples would be in 2017. Let’s review: “The Golden Throne” from Temples was a compelling track from the moment it opened with an exotic guitar theme. It never let up and held an extremely tight composition throughout the rest of the disco-hued track. Well, here we are now and I’m happy to report that they aren’t bagging groceries, and they’re not going anywhere fast.

That was a compliment. Still dishing out their brand of “name theme, expand theme, and radiate”, we find that they aren’t limited to courting throwbacks. In the new track “Certainty,” Temples wears a new-found joy that conjures some of the same magic, had the jingle from Futurama’s Game of Tones been piled into phyllo pastry layers in a confectionery. Despite the new sound, you can forget about finding a signature. Apparently, their stamp is not in a melody or tempo, but the metaphysical sense of “GLORY”. I believe that’s two for two now, and I only hope they continue to write along this trajectory. Yes, I borrowed from Ricky shamelessly without trying to figure out why their music is interesting. Bite my shiny metal amygdala.