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Nicole Miglis’ has a voice that reminds me of Alela Diane, a smooth and billowy timbre that can reach notes with elegance.
#Anita ward ring my bell chopped and screwed full
They remind me of Múm but less odd and full of warmth. At the Elestial Sound label showcase in the Gallery Black Lagoon, an art space way off the SXSW track, Hundred Waters lifted our tired hearts with their weird and wonderful, lush and landscapey music. But I had hired a bike for the week and off I went. Problem? It was up on 43rd Street, 3.5 miles away from my location. On Saturday night, the last night of the festival officially, I became overwhelmed by the mass and picked this time to go and see the only show I could get to from Florida’s Hundred Waters. It will be epic.Īnyone who’s ever experienced Sixth Street in Austin at the height of the weekend will know the discombobulating feeling of being lost in a sea of people with only a fraction of a say into which direction you are walking. There will be an EP release later this year. People were going absolutely apeshit as a result, doing the cooking dance, just losing the plot completely at how good these guys are. Hearing these space-age minimal dance cuts at full volume, where you can hear every last nuanced beat and precision use of bass as the speakers push the air into your body, almost blowing you over with force was some experience and an amazing way to finish off SXSW 2012 on the Saturday. Lunice dropped one of these tunes when he played in Dublin last year but a whole set of them at the Warp Records/ Brainfeeder showcase at Empire Automotive? With massive subwoofers in front? “HOLY SHIT” IS RIGHT. That appears to be the appropriate level of incredulity to assign to what Hudson Mohawke and Lunice have made together as part of their collaborative project. Here are the 20 best bands I saw at SXSW not including the bands that played my party as I’ve covered them before (except for Body Language who deserved a special mention).Īlso, pick up a copy of Day & Night with the Irish Independent today to read an article about how my SXSW party came about and went down. So it’s best to just focus on the music because no-one knows where we the “industry” is headed.
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That’s the music industry in 2012 though. Even my party with The Hype Machine was sponsored by Taco Bell for jaysus sake. It’s contradictory, crass, nothing and everything all at once and that means that SXSW is just a pop-up macrocosm of the music industry as a whole.īands are more likely to get paid from big corporate companies or tech sponsors like Spotify looking to make a splash as most of the music industry can’t pay you that big money anymore. At the same time, you’ve got an art gallery playing host to a hippy-leaning label showcase, the Boiler Room broadcasting leftfield electronica from a backyard out of town, bands busking on the street and industry chasing the buzz for their own benefit. This year a a giant vending machine made the news, commercialism was rampant, Jay-Z playing a gig to credit card customers, Springsteen gave a (mighty) keynote speech while Kanye, Jack White and Skrillex all packed in venues. Bands that travel on blind faith and hope that something will happen for them are delusional and hopefully few and far between these days.įor me, SXSW is a festival that I go to for new music and the opportunity to gorge on it over five or six days.
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Over 2,000 bands visit the Texas capital to try and advance their careers and I wondered why they bothered anymore? Was there actually worth in them playing? Any band who travel the large distance must have a profile, a buzz or are there to strike a deal on Texas soil to make it really worth their while. This year was my fourth South By South West and before I left for Austin, I was apprehensive about the festival’s status as a relevant music event in its 26th year.