Category: Alternative (Page 34 of 155)

SXSW 2010 Quick Hits, Day 2: Stone Temple Pilots

Off to the Austin Music Hall in the warehouse district, where ’90s alternative heroes Stone Temple Pilots were scheduled for a full headlining set. The hall was packed and the band delivered the goods, mixing in strong material from their forthcoming new album with plenty of older classics. “Wicked Garden” sizzled, with vocalist Scott Weiland sounding great and the band firing on all cylinders. “Big Empty,” “Creep,” “Plush” and “Interstate Love Song” all rocked the house. New single “Between the Lines” rocked with the classic STP sound, mixing the hard rock with melodic lyrics, suggesting Weiland’s drug days are finally behind him. A Weiland relapse is the only thing that can stop this band, because the power trio behind Weiland was on fire. Dean DeLeo dazzled on guitar throughout the night, proving a master of grunge guitar, particularly with the tight harmonics. Robert DeLeo and Eric Kretz still make a formidable rhythm section, demonstrating STP as a band ready for a second prime. The new “Huckleberry Crumble” was another winner, combining a groovy bass line with psychedelic guitar for something of a ’60s feel, yet with that modern rock twist. “Sex Type Thing” and “Dead and Bloated” shook the rafters to close the set, but the best was still to come.

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“We’d like to introduce someone that’s part of the greatest rock ‘n’ roll band in history,” said Weiland at the beginning of the encore as he introduced Robbie Krieger from the Doors. The band then tore into a smoking “Roadhouse Blues,” with Weiland nailing Mr. Mojo Risin’s vocals while the DeLeo brothers and Krieger got off on what may have been the best jam of SXSW 2010. The electrifying performance thrilled the assembled, with this clearly being one of those rare and special moments that you hope to be lucky enough to catch at SXSW. Krieger exited triumphantly to a standing ovation and the band then wrapped it up with one of their best tunes, “Tripping on Hole in a Paper Heart.”

SXSW 2010 Quick Hits, Day 2: The Mother Hips, interview with guitarist Tim Bluhm

These veteran Bay Area rockers threw down a jamming set of their melodic psych-roots rock. The band loves to play in Austin and it showed. Bassist Paul Hoagland played his custom 12-string Hamer bass for the entire set, which helped pump up the groove on dynamic tunes like “Magazine” and “Third Floor Story.” Guitarists Tim Bluhm and Greg Loiacono were in fine form, trading riffs and harmonizing vocals throughout the high-energy set, which featured one melodic rocker after another. “Time-Sick Son of a Grizzly Bear” brought the short but sweet set to a rousing conclusion with a furious assault of fuzzy riffs and pounding rhythms.

“Our whole approach to touring these days is to find cities we like to play and go there all the time,” said Bluhm, whom I interviewed at the bar earlier in the afternoon. Bluhm said the band almost broke up in 2005-06, but couldn’t help but come back together. This has a been a boon for music fans, since the band’s last two albums have been among the best work of their career. 2009’s Pacific Dust was recorded at Bluhm’s own Mission Bells Studio in San Francisco, where he also produced the upcoming album from pal Jackie Greene.

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The band also seems to be jamming a little more these days, and Bluhm said that had been a back and forth process.

“We used to jam a lot, then spent a bunch of years intentionally not jamming, trying to shake these distasteful associations we were getting. But then, we always want to change, keep evolving, so right now we are jamming out more and enjoying it, it’s fun,” said Bluhm. Regarding SXSW, Bluhm said he loves to play it but finds trying to go out a bit much.

“I honestly find it’s overwhelming at SXSW, and I never have the patience to stand in line,” said Bluhm when asked about what other bands he wanted to see at the festival. He did say he’d enjoyed seeing Spoon the previous night and was looking forward to Or the Whale, whom the Mother Hips would share a bill with the next day.

SXSW 2010 Quick Hits, Day 2: Red Cortez

After a quick lunch it was over to Cheers Shot Bar on 6th Street, where Jambase was presenting Kayceman’s Treehouse Day Party. This was a small stage, but out on a rooftop deck on a sunny day, very nice setting. Red Cortez out of Los Angeles rocked a two-guitar vintage sound, with vocalist Harley Prechtel-Cortez providing a gritty delivery that grabbed attention. One song sounded a bit like the Airborne Toxic Event, who Red Cortez are friends and former tour mates with. But Red Cortez has a darker and edgier overall sound.

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Photo by Sonia Onate

SXSW 2010 Quick Hits, Day 1: Spoon

I’d passed on Spoon’s headlining set at Stubbs to see Nas & Damian Marley, but the Austin-based indie rockers were still playing when the Emos’ show let out, so I went back in to catch the end of the set. I’ve been lukewarm on the band, although they have certain tunes I dig. I guess I just don’t understand their formula of playing two or three songs that are kinda blah, then throwing down a hard-hitting rocker, then two more blah, then another rocker. So the set was kind of up and down to this reporter’s view, as opposed to last year’s Wednesday night headliner set at Stubbs when the Decemberists captivated the crowd with a full performance of their Hazards of Love album.

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Jen Gloeckner: Mouth of Mars


RIYL: Polly Scattergood, Amanda Palmer, Tori Amos

Jen Gloeckner is…odd. That’s the best way to put it. I’m not good enough a writer to come up with a better word to describe her dark combination of dreamy surrealism and Gothic themes that traverse the genres of Americana, rock and electronic music via liberal use of cello, electric violins and what sounds like a wind chime on at lest one track. Some might call her quirky, but quirky implies a sense of goofiness and a lighthearted tone. And while there is some innocent fun to be had here, such on the 50-second interlude “Let’s Get Honest,” most of Mouth of Mars is either deliberately dark or just downright weird. “Burn Me” seems to be an indictment of a former lover but instead of taking an angry tone, it’s a darkly somber one due to a creaky cello and some haunting vocal effects that turn Jen’s already ethereal voice into that of a ghost. It’s followed up with “Die,” a much more obvious attack on a former flame, where she repeatedly proclaims that “I’m not gonna lie / One of us will have to die” over electric violins and a catchy dance beat. Gloeckner is no doubt amazingly talented and with her second album she’s already found her unique voice and style. It probably won’t appeal to most, but those who dig this will more than likely fall head over heels in love with it. (Spinning Hand Records 2010)

Jen Gloeckner MySpace Page

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