[SXSW Interview] Cheers Elephant, SXSW Veterans
Photography by Andrew Zeiter
Watch Cheers Elephant for even a fraction of a sogn and you can tell they've been doing this for awhile. The majority of the upbeat, indie rock from Los Angeles by way of Philadelphia has been playing together since grade school, plenty of time to get to know one another and smooth out the rough spots in any performance piece. Unlike most somewhat-traditional four piece bands I caught throughout the whirlwind that was SXSW, Cheers Elephant (which may have one of the best band name-backstories there are) had life, excitement and personality lost amongst many 'rock' bands today. Frontman Derek Krzywicki, who has a name only I can truly appreciate, is a breath of fresh air onstage, playfully moving his hips in a faux Elvis impression, gliding across the stage, managing to not interrupt a guitar solo while carefully executing yoga-like moves. If he is the hook then the music is the sinker as the rest of the band backs up his front-of-stage heroics with a general aesthetic that perfectly lent itself to a mid-afternoon day in Austin, Texas. Before they got onstage I was able to link up with the guys from Cheers Elephant and chop it up about their packed schedule of twelve shows in a week, how the world has treated them and everything in between just before they took the stage at the Big Picture Media showcase at the Thirsty Nickel on Wednesday March 12. Read the full conversation here.
[SXSW Interview] The Tontons, Well on Their Way
Photography by Andrew Zeiter
Back in November I was in Austin for a different festival, Fun Fun Fun Fest, where I first met Asli Omar and the guys from The Tontons. At the time, the four piece blues-y rock group from Houston was riding a wave of publicity en route to their breakthrough project, Make Out King and Other Love Stories, a harrowing 11-song project that puts forward the young band's strengths both vocally and in building complex, attention-grabbing tracks that have launched them from their native Houston and brought them back to the annual business card emporium that is South By Southwest. Back in November the squad of Omar, Tom Nguyen and Justin and Adam Martinez were hungry, eagerly anticipating the release of their project, Make Out King which dropped soon afterwards on February 18 of this year. Anticipating a big jump in notoriety, the world offered up some obstacles after their drummer, Justin, fell ill with a bad appendix that landed him in the hospital for two weeks, arriving in Austin straight from his stay there, a literal hole still in his side. Rock N' Roll. Anyway, it's obvious the music world has taken The Tontons in directions they would have never expected, and a bit of the frustration was evident in talking to them this time around. Through it all though, The Tontons have an innately upbeat spirit that makes even them jokingly talking about being jaded seem like being on the outside of an inside joke. They play great and make music that transcends radio trends or falsified public relations campaigns. The Tontons are the band you come to SXSW to see, and I was lucky enough to get a few minutes of their time before they played the Big Picture Media Showcase at The Thirsty Nickel to see how everyone was doing and where the ship is headed in 2014.
[SXSW Interview] Bishop Nehru Embodies 'The Twenty Year Loop'
Photography by Asia Ashley
For the length of my career covering music, one theory has always stayed planted firmly in the back of my mind. Explained to me in one of my first interviews, with 9th Wonder in 2009, the 'Twenty Year Loop' has shaped much of the way I have consumed and understood music, culture and art since. The idea is somewhat simple, that every two decades, themes, aesthetics and ideas will re-emerge and manifest themselves once again in popular culture. It can explain the current 90s trend we're enjoying, the bell bottom craze of the late 90s and even bridge to presidents No. 41 and 43. I've never been more eager to sit down with an artist to discuss this phenomena than I was last week in Austin as I arrived at The Omni Hotel to talk to 17-year-old NYC phenom Bishop Nehru. The young artist from Rockland County, NY has a distinctly Nas-like flow that is easily recognizable throughout his breakout project, Nehruvia which was released last year. If we're following the Twenty Year Loop to a t, then that would put us in 1994. On April 19 of that year, Nas released a little project by the name of Illmatic, which can be fully felt on every rhyme Nehru spits. In essence, Bishop Nehru is the Twenty Year Loop personified. This is not to say he is a carbon copy of Nasir Jones, far from it. Instead, the point is to draw a map of the way influences work and how they manifest in music today. To be sure, Nehru has set himself up for a productive career in hip-hop, having been tapped by WorldStarHipHop as their 'Rap Act of the Week' in July 2012 at age 15 for an 8-bar freestyle over Mos Def's "Mathematics". Since then he has garnered co-signs from his idol, Nas, opened for Wu Tang Clan on their 20th Anniversary Tour and positioned himself as the true boom-bap artist to be reckoned with. Currently working on his MF Doom-produced project which he calls 'the first project he's been proud off all the way through,' epect to hear Bishop Nehru's name talked about a couple decades from now when influences get brought up. Check out my Q+A with the budding east coast MC.
[SXSW Interview] The Radkey Brothers Are Bringing Punk Back
Photography by Ra Ra Photography
By the time I had gotten to The Hangar on 4th and Colorado, SXSW had begun to weigh on me. In what is easily evident from the journals throughout the week, this year's South By was filled a bit more to the brim with corporate positioning and exclusive shows than actually enjoying new, fresh music on the cusp. These three brothers from St. Joseph, Missouri, however changed all that pretty quickly. I jogged up the last step to the rooftop of The Hangar with my photographer, Asia Ashley, right on my heels as Radkey tore into the beginning of their set. As a decent crowd stood back, drinks in hand, smug looks in place watching the three young artists it became readily obvious these guys were a little different. With powerful chord progressions and vocals that stack beautifully and play well to the ear melodically, Dee Solomon and Isaiah pulled the crowd toward them one by one. As if in a trance, couples began gyrating towards each other, older men nodded their heads and stomped their feet and some stood open-mouthed. It seems somewhat uncomfortable, if only because it had been awhile since anyone had heard an act like this in today's electronically-saturated music climate. Isaiah rolled on the floor furiously tearing away at his white guitar as Dee handled the vocals and stood, power-stanced at the mic. As calm as could be, the youngest brother Solomon kept pace on the drums. The three brothers stand out in punk rock, a genre that has been largely out of the spotlight for the better part of a decade, both for their smooth playing and their age. As part of a new resurgence in the genre that is led by both them and The Orwells, these three brothers from a little town in Missouri are ready to take the music to the forefront once again, with true punk grit to match. While their live show may be a frenetic, in your face experience, Dee, Isaiah and Solomon may be the nicest bunch I've had the chance to interview. The next few months will find them across the country and in Japan, the mecca of some of their favorite pastimes: Anime and video games. Check out my candid Q+A with the next big thing out of St. Joseph, Missouri.
[SXSW Journal] Day 4
Photo by Kristen Wrzesniewski
The weekend in Austin started off quickly with several interviews on the docket early. My feet, blistered, sore and just generally unhappy about the situation, slipped into a pair of Converse boots with the thought it would help with all the moving. Strapped up and ready to go I headed out to The Blind Pig on 6th Street to talk to The Lonely Biscuits, a four piece jam/hip-hop/indie group from Nashville. The Belmont University students were on the back end of a wild collection of shows throughout SXSW and played a fitting mid-afternoon set after we had a chance to sit down and talk. As soon as I was done there, I raced across town to the Omni Hotel where I was to interview New York City’s rising star, 17-year-old Bishop Nehru. Sans photog for the week, I was able to get the lovely pair of Rasha Mosa and Asia Ashley of The Lab3l to lend a hand for what ended up being one of the more interesting interviews I’ve done in awhile. We discussed the theory of the ‘twenty year loop’, his ties to Nas and what we can expect next, words on that coming soon.
After that it was off to 502 Brushy Street on the other side of the highway to catch Chicago local Taylor Bennett perform at the House of Aura showcase. Technical problems led to him doing a rousing acapella performance before launching into a full set list. A trip to the Rap Genius Ranch ended up just getting me more miles on my ragged feet as we made the trip just a bit too late to catch Nas actually talking about Illmatic. It was at about this point I realized the ridiculousness of this ‘festival’ and how impractical a town Austin really is. There is a ton going on in ATX for SXSW, so much in fact you can find music just about anywhere you go. However, once you walk up to that venue with your Bomberman-looking arm of wristbands, trying desperately to find the one for this particular venue, you’ll likely find there is an extra hierarchy above your ‘credential’ (i.e. it’s a corporate party with people who don’t really even like the music), or you’ll be directed to a mile-long line with a shrug and a ‘good luck’. So, I spent a good amount of time Friday walking to shows like SaveMoney’s set at Clive, only to hear Tumblr only likes folks in badges and decided to pack it in and meet up with some familiar faces at D.B. Riley’s on 6th where Marrow played an absolutely fantastic SXSW debut. Going back to Austin being impractical, keep in mind there is little to no public transportation, the highway system is like a toddler’s SimCity game and they have a train that literally runs like every three hours in a straight line down one street. Sorry guys, you have a way to go before you get true ‘city’ status. Anyway, after Marrow injected happiness into the souls of D.B. Riley’s patrons, I decided it was time to get out of the city and ended up at a mansion party about 20 minutes outside of town where we partied through the night. Looking forward to the last day, ready to get back to Chicago.
Marrow at D.B. Riley's
Taylor Bennett at House of Aura
The Lonely Biscuits at The Big Picture Media Showcase
[SXSW Journal] Day 3
Photo by Kristen Wrzesniewski
After a whirlwind Wednesday that had me crisscrossing the town chasing interviews left and right, Thursday took on a bit of a different tone. The festival continued on in the wake of the terrible accident that took the lives of two on Red River Street the night before as a car plowed through crowds to avoid a DUI check. With that in the back of their minds, festival-goers stormed the streets of Austin en masse. Seriously, en masse. The sheer number of people who made it out for either SXSW official and unofficial showcases, the iTunes Festival, the MTV Woodie Awards or one of the dozen parties taking place was pretty astounding. Deciding to experience a little more of what was happening everywhere, I hopped the ATX version of a Divvy bike and headed into town where I made my first stop at the Fader Fort for some much needed early cocktails and people watching. After awhile, I left to see what the Woodie Awards was all about since Austin Vesely was a strong favorite to capture his first major film award for ‘Best New Video’ for his work on Chance The Rapper’s “Everybody’s Something”. Before any of that could go down, or I can continue further with the story, I have to mention that the Woodie Awards really have no business being in Austin during SXSW. There is plenty to do and see without quite literally another festival being dropped right inside of it. But, Vic Mensa took the stage to screams as he opened with “Orange Soda” and moved into his up-tempo hit “Feel That”. I left there to head down to the Complex House where Schoolboy Q and Ab-Soul took the stage to a packed house that seemed to know more of the words to their songs than they did. In the middle of the Schoolboy Q show, a fan got punched in the face, only to get called out by Q for not fighting back. “Don’t act like a bitch and let him fuck up your day! Do You!” Shouted the TDE rapper before launching into “Man of the Year” which popped the top off the party in a hurry. Scurrying out of there, I met up with a few local Chicago acts and stopped in the Columbia College AEMMP Hip-Hop Showcase which put on for the full breadth of the burgeoning scene in the city. Later that night, standing near where the accident happened a night before, a wall of people, shouting and walking with intense purpose began marching down Red River in a huge crowd. The crowd turned out to be none other than the A$AP Mob, with General Rocky leading the charge. It was weird, but I guess an interesting show of force. Thursday was slow, but Friday is going to be turnt, stay tuned for more and keep up with my experience at SXSW.
[SXSW Journal] Day 2
Photo by Asia Ashley
I started the day by drinking a large cup of water and putting on three pairs of socks. The second night of my SXSW had gotten cut short due to Austin Fire Marshalls with weak capacity rules and my feet weren’t getting any better after subjecting them to what was essentially a barefoot marathon in Converse. With my feet neatly packaged into my Bucketfeet sneakers, I set off for my busiest day yet since getting to ATX. Catching a ride downtown by the grace of friends, I was able to make it to the Big Picture Media showcase at the Thirsty Nickel where I met up with The Tontons for the first time since we met at last November’s Fun Fun Fun Fest, also in Austin, and caught up on all the band has been through in the few months since the festival that seemed to be their big stepping out party. I had expected to talk about their new album, Make Out King and Other Stories Of Love and the big rise in popularity they’ve seen since. Instead we talked about burst appendixes and the intricacies of Spenzo’s hit song “Wife Er” which is plastered on seemingly every pole in town, staring down a familiar face on the opposite side of the street as Lil Herb’s Welcome To Fazoland gets a big push down south. After the Tontons, I had the chance to talk to another BPM client, the Philadelphia-by-way-of-Los Angeles indie rock foursome Cheers Elephant. Interviews from both acts are coming soon, but check out the short Instagram previews for some fun facts about both.
After watching both perform, I hiked my way down sixth street to The Fader Fort presented by Converse, slipping in and managing to snag a free drink in time to catch one of my most anticipated bands, Elmhurst, Il-based punk band The Orwells who showed why their building a buzz as one of the leaders of a new school of the genre, as lead singer Mario Cuomo, always an enigma, was at his best in front of the Converse chucks mosaic of the Fader Fort. Writhing on his back onstage, standing in the crowd, singing with his fans, the frontman made sure to leave his mark one of the most popular unofficial showcases at SXSW. The longtime family friends played good, played hard; and then walked offstage. One of TDE’s latest signees, Isaiah Rashad took the stage afterwards, another act with a lot to prove. The Chattanooga native did just that, working through his catalogue and tracks of his latest project, Cilvia, even bringing out label-mate SZA who performs there later this week. After Rashad, my photographer Asia Ashley and I ran to our next interview. Continuing on the punk trend that had been established at the Fader Fort, we arrived at The Hangar Lounge just in time for St. Joseph, Missouri-based punk trio Radkey who put on one of the most authentically punk rock sets I’ve ever seen. The three brothers, Solomon (16), Isaiah (18) and Dee (20) absolutely killed their set and set themselves as a perfect complement to an act like The Orwells in the rise of punk rock again. The preview of that interview is also below. After that, I cruised sixth street, watched people pack the sidewalk outside of the G.O.O.D. Music event on 4th and Brazos and managed to not get caught up in the ugly car accident that left two dead and several injured after a motorist ran his car into a crowd watching the Mohawk/Tyler, The Creator show. Wednesday was also the first day of the vaunted IllMore after party, long known as the premier after party for SXSW. Moved to a larger complex this year, the event, put on by IllRoots and Scoremore felt more concert-like than last year, having traded the old plantation-style home and surrounding grounds for a modified indoor skating rink. Big Sean took the stage and ran through his hits, joined onstage by Travi$ Scott after several DJs rocked the crowd, fueled by a steady supply of Red Bull and Tito’s vodka. Overall, not a terrible day at all despite the tragedy that took place last night. Check back in tomorrow for more updates!
The Tontons:
Cheers Elephant:
Radkey:
[SXSW Journal] Day 1
Photo by Andrew Zeiter
After sixteen and a half hours in my past-her-prime Chevy Trailblazer, my knees were sore and my back was knotted but I had gotten to Austin, and it was time to dive back into the deep sea that is South by Southwest. After hiking downtown through the cab-less wasteland that is downtown ATX and picking up the proper credentials, I took off for the W Hotel where local Chicago music label Maek was taking part in the Fashion Brain Bar, a cocktail party and show on the fourth floor of the W that served to introduce invitees to new acts. So, there are always lessons, and this year I got one early.
Having found a pair of brand new Converse Chucks in my closet from Christmas, I decided to run around my first day of SXSW tearing up my feet to the point of almost utter disrepair. Gingerly walking my way down the vaunted sixth avenue I came across artists from around Chicago’s scene including Calez, Legit, Eryn Allen Kane and Stefan Ponce as everyone milled about, looking for the thing to do on a fairly dead Monday night offset by the rain. I had the chance to catch Charlotte, NC dance duo Styles N’ Complete who got the rooftop indoor-outdoor space jumping with hip-hop infused production pieces that were equal parts sample and original work. After that I rushed down to the other side of the freeway to link up with Supa Bwe, Karl, Blakkass Westley and Netherfriends who put on a set at the Volstead that set the bar high on night one as he killed his night cap with his looping sounds, interesting overall aesthetic and powerful stage presence got the alcohol-infused crowd that got pushed out at close.
Waking up the next morning, startled again by the lack of white icy hills outside my window in March, I continued a slow transition into the full breadth of what SXSW can offer as Chicago came out in full force, led by the enumerable Mayor Rahm Emmanuel himself for a pre-party at the aptly-named The Chicago House, which was filled with artists, media members and local movers and shakers from around the Windy City. Red 7 on 6th St. and Red River was the setting for Chicago Made Blog’s showcase, hosted by Hologram Kizzie, which started off with a rousing, endearing set from ProbCause, who when paired with his live drummer Cofresh is a true sight to see and got the steadily-building crowd worked up before the very talented singer-songwriter Bonzie took the stage, changing the aesthetic as the sun began to wane. Rockers Autumn Defense and Archie Powell and the Exports did their thing, showing Chicago has much more than just the hip-hop that has burst from it’s streets over the past couple of years. ShowYouSuck did what ShowYouSuck does, joined again onstage by compatriot Auggie The 9th he put on one of his best sets to date, crowd surfing, moving erratically from one side of the stage to the other and waxing knowledge on everything from ‘Big Gulps’ to ‘80’s Boobs’. As fans patiently waited, the show slowly ground to it’s headliner after a heavily Kanye-influenced DJ set from The Hood Internet, who flexed his production muscle a bit by bringing up a host of earlier performers onstage to do a series of tracks including ‘Sub-Zero’ off of ProbCause’s The Recipe Vol. 2 which may go down as one of the cooler moments of this years SXSW, as Auggie The 9th showed how hungry he is to take his game to the next level, eagerly tearing through bar after bar with vigor. Chicago seems to have a new act pop every year, and Auggie made a case for himself surrounded by some of the city’s finest. The big moment finally came around 1 am for Chance The Rapper and Peter CottonTale to take the stage, which revamped the crowd who had stood in line and inside the venue for nearly six hours. Chano started things off with the familiar “Good Ass Intro”, dropping into “Brain Cells” which got a juke mix before rolling through his Acid Rap catalogue. But, suddenly, as seems to happen in Austin during SXSW, the fire Marshalls called, the police showed up and a comfortably outstanding show was cancelled. And that was it. Two days down so far, plenty more to go.