Music

Music Day 1: NPR Showcase

Photos: James Edward Crittendon

Music Day 1: NPR Showcase

The NPR Showcase definitely stands as one of the festival's marquee events. There's been some grumbling here and there that NPR is like an old man trying to act hip to what the kids are into, when all it really wants to do is scream, a la Abe Simpson, "I'm an old man. I hate everything but Matlock!" But whatever their motives, you can't argue with the results…
I thought Ladyhawke's performance was fairly revelatory. From the moment the dance beats began pummeling us, Ladyhawke's set was a vibrant mix of skeleton-rattling bass, skittery funk chords, and washes of keyboards. To my ears, the band did a much better job of connecting than they have on record.
If Ladyhawke represented the crowd's chance to dance and get down (when they weren't heads-down twittering or updating their Facebook statuses), then the Heartless Bastards were all business with loud, grinding alt-country/garage rock. Songwriter/guitarist/vocalist Erika Wennerstrom led the band through songs from their recent record, The Mountain and seemed right at home on the stage at Stubb's Bar-B-Q.
One thing about Stubb's. The stage is set in this large earthen hollow. Boxed in by the venue's large wrought-iron gate and a ring of walls and outer buildings, it looks like a giant chicken-yard where the chickens have scratched away everything living. When civilization falls, the Stubb's amphitheatre will be where the rulers of Austin hold their mutant gladiator fights. The Avett Brothers seemed right at home (granted, though, you could put those four in an Intel clean room and they'd manage to stomp dust out of the floor). Playing an abbreviated set that mixed new songs with old, the band was reasonably subdued. With their set clocking in at roughly thirty minutes, they wouldn't have had much time to get into full-flight punk/bluegrass mode, anyway. The new songs, from their upcoming Rick Rubin-produced major label debut, sounded strong and even added a piano into the mix. It should at least comfort fans who were afraid the band would lose their "Avettness" (apart from Seth Avett losing his hillbilly beard).
If the surroundings weren't quite where you'd expect to find the Decemberists, they quickly grabbed the night as their own by performing their new record, The Hazards of Love, in its entirety. Hazards is a concept album in the classic sense, telling the tale of Margaret, a young girl who must face rakish men, treacherous plants, and devious woodland royalty. It's a beast of an album, and lead singer Colin Meloy commits to it fully, swinging from fey British folk to heavy metal roar as his story demands, exhibiting a willingness to include a forest queen that would make 2112-era Rush blush. This is drama on a grand scale, sounding like it takes place in the woods outside of Sweeney Todd's neighborhood. The seven-piece band of multi-instrumentalists did a fantastic job of replicating the record. Meloy's backup singers -- one dressed in a white diaphonous robe for the role of Margaret, the other in a tight black dress in the role of the Queen -- roared through their parts, and "The Rake's Song" became an instant highlight when five members of the band attacked it with synchronized drumming.
Music


Books


Film


Recent
Books

Ivy Mix's 'Spirits of Latin America' Evokes the Ancestors

A common thread unites Ivy Mix's engaging Spirits of Latin America; "the chaotic intermixture between indigenous and European traditions" is still an inextricable facet of life for everyone who inhabits the "New World".

Film

Contemporary Urbanity and Blackness in 'New Jack City'

Hood films are a jarring eviction notice for traditional Civil Rights rhetoric and, possibly, leadership -- in other words, "What has the Civil Rights movement done for me lately?"

Books

'How to Handle a Crowd' Goes to the Moderators

Anika Gupta's How to Handle a Crowd casts a long-overdue spotlight on the work that goes into making online communities enjoyable and rewarding.

Music

Regis' New LP Reaffirms His Gift for Grinding Industrial Terror

Regis' music often feels so distorted, so twisted out of shape, even the most human moments feel modular. Voices become indistinguishable from machines on Hidden in This Is the Light That You Miss.

Reviews

DMA's Go for BritElectroPop on 'The Glow'

Aussie Britpoppers the DMA's enlist Stuart Price to try their hand at electropop on The Glow. It's not their best look.

Film

On Infinity in Miranda July's 'Me and You and Everyone We Know'

In a strange kind of way, Miranda July's Me and You and Everyone We Know is about two competing notions of "forever" in relation to love.

Music

Considering the Legacy of Deerhoof with Greg Saunier

Working in different cities, recording parts as MP3s, and stitching them together, Deerhoof once again show total disregard for the very concept of genre with their latest, Future Teenage Cave Artists.

Music

Joshua Ray Walker Is 'Glad You Made It'

Texas' Joshua Ray Walker creates songs on Glad You Made It that could have been on a rural roadhouse jukebox back in the 1950s. Their quotidian concerns sound as true now as they would have back then.

Music

100 gecs Remix Debut with Help From Fall Out Boy, Charli XCX and More

100 gecs' follow up their debut with a "remix album" stuffed with features, remixes, covers, and a couple of new recordings. But don't worry, it's just as blissfully difficult as their debut.

Television

What 'Avatar: The Last Airbender' Taught Me About Unlearning Toxic Masculinity

When I first came out as trans, I desperately wanted acceptance and validation into the "male gender", and espoused negative beliefs toward my femininity. Avatar: The Last Airbender helped me transcend that.

Interviews

Nu Deco Ensemble and Kishi Bashi Remake "I Am the Antichrist to You" (premiere + interview)

Nu Deco Ensemble and Kishi Bashi team up for a gorgeous live performance of "I Am the Antichrist to You", which has been given an orchestral renovation.

Playlists

Rock 'n' Roll with Chinese Characteristics: Nirvana Behind the Great Wall

Like pretty much everywhere else in the pop music universe, China's developing rock scene changed after Nirvana. It's just that China's rockers didn't get the memo in 1991, nor would've known what to do with it, then.

Reviews
Collapse Expand Reviews

Features
Collapse Expand Features
PM Picks
Collapse Expand Pm Picks

© 1999-2020 PopMatters.com. All rights reserved.
PopMatters is wholly independent, women-owned and operated.