We’re still awaiting a sophomore album announcement from disco-pop songstress Little Boots, but there’s no dearth of new tracks. Following “Shake”, “I Wish”, “All 4 U”, and “Every Night I Say a Prayer”, check out “Headphones”, which was premiered on BBC Radio 1 last night.

What: This is what happens when you combine Van Halen’s Crystal Pepsi commercial for “Right Now” with anything Madonna did during her Erotica-era. Christ, the ’90s are back.

Directed by: Zaiba Jabbar

For Record Store Day, UK pop songstress Little Boots offered a taste of her upcoming sophomore LP with  ”Every Night I Say A Prayer”. Produced by Hercules and Love Affair’s Andy Butler, the title track came backed by a host of remixes, and was released on limited-edition 12″ vinyl by Trax Records. You can stream and/or download the digital version below.

The number one seed of indie crushes (at least for me personally), Little Boots has released a Valentine’s Day-themed track on YouTube. Boots in her own words:

“happy v day ! here is a love song for all the smug couples out there… i wrote it with the wonderful andy butler although that version has a slowed down techno sample underneath… this unfortunately sounds like its played on a harpsichord as my sustain panel was broke (damn you korg/ yamaha polarity issues). oh well.”

On that note, check out the aptly titled ”All 4 U (apocalpytic valentinez)” below.

Little Boots’ sophomore LP is coming soon.

We’re still two months away from South by Southwest 2012, but today the schedule for the music portion went live, adding a slew of new names to the bill. Previously confirmed acts include Built to Spill, The Magnetic Fields, Talib Kweli, Against Me!, Grace Potter and the Nocturnals, Cloud Nothings, and a keynote speech by Bruce Springsteen.

Update: As a number of readers have pointed out, several acts listed on the festival’s schedule yesterday have since disappeared, including Best Coast, ASAP Rocky, Dan Deacon, Zola Jesus, YACHT, Nicolas Jaar, Azari & III, Bear In Heaven, Caveman, Anika, Cerebal Ballzy, and Charlift. According to festival organizers, this is the result of a number of reasons, including incomplete paperwork. It’s also possible that an artist initially applied to play the festival, but has since changed its plans. As of now, it’s unclear which of the aforementioned acts will end up playing. Stay tuned to our Festival Outlook page for lineup additions and updates.

Now joining them are Best Coast, M. Ward, of Montreal, ASAP Rocky, Danny Brown, Mr. Muthafuckin’ eXquire, Dan Deacon, The Drums, Astronautalis, Bear In Heaven, Ceremony, Chairlift, Crystal Antlers, Little Boots, Deerhoof, Dragonette, Gossip, Matthew Dear, Miike Snow, SBTRKT, Sharon Van Etten, Zola Jesus, Nicolas Jaar, Oneohtrix Point Never, Thundercat, The War on Drugs, Youth Lagoon, and Tennis.

Also set to appear are Lana Del Rey, The Ting Tings, Action Bronson, Apparat, Buraka Som Sistema, Spank Rock, Corrosion of Conformity, Jimmy Cliff, Rye Rye, K’naan, YACHT, Band of Skulls, White Rabbits, Beth Jeans Houghton and The Hooves of Destiny, Supreme Dicks, Caveman, Cerebral Ballzy, Freelance Whales, Here We Go Magic, Free Energy,  Eleanor Friedberger, The Black Angels, Blondes, Busdriver, Ezra Furman, Friends, Memoryhouse, Mikal Cronin, Miniature Tigers, Zechs Marquise, and Purity Ring.

The massive bill also includes Counting Crows, Tommy Stinson, The Wedding Present, Andrew WK, Brendan Benson, Hot Water Music, Gauntlet Hair, Grieves and Budo, Imogen Heap, Ingrid Michaelson, Michael Franti and Spearhead, The Henry Clay People, Justin Townes Earle, The Love Language, Cymbals Eat Guitars, Micachu & the Shapes, The Fresh & Onlys, Gardens & Villa, P.O.S., Anika, And So I Watch You From Afar, Fake Problems, Azari & III, Sleepy Sun, Bahamas, Japanther, The Knux, Carter Tanton, Cassettes Won’t Listen, Jacuzzi Boys, CHALI 2NA, Cities Aviv, Is Tropical, Javelin, Kids These Days, Living Things, Scattered Trees, and Someone Still Loves You Boris Yeltsin.

Update: Despite previously being on the lineup, The Polyphonic Spree are no longer slated to play the festival.

Check out the complete lineup at our Festival Outlook. And stay tuned for additional lineup news and updates — typically, the biggest acts aren’t revealed until just days prior to the festival.

The music portion of South by Southwest 2012 runs March 13-18th in Austin Texas. Registration is now ongoing, with various types of badges to chose from. Click here for all the details.

Last month, UK pop darling Little Boots debuted her first song in a hot minute, the gyration-inducing “Shake”. This month, she teams up with electro producer Michael Woods for another synth-powered epic in “I Wish”. Premiered during Woods BBC Radio 1 Essential Mix last Saturday, “I Wish” is a high-energy club anthem, one of especially bright and bubbly instrumentation and loads of driving bass, with the complexity and surprising emotional impact of a young love affair. Take a listen below.

LittIe Boots feat. Michael Woods – “I Wish”

Stay tuned for more on Little Boots’ upcoming, as-yet-untitled album as it’s announced.

It’s been a hot minute since we’ve heard from UK pop darling Little Boots. But today, she returns with her new single, and the first taste of her upcoming sophomore LP in “Shake”. The six-minute, synth-driven banger, produced by Simian Mobile Disco’s James Ford, was premiered today by Annie Mac on BBC Radio 1, and you can hear a stream below.

In addition to the new single, Little Boots has announced plans for a worldwide DJ tour, set to begin on November 17th in Paris. Check out the itinerary below, as well as a stream for her recently released mixtape, “Shake Until Your Heart Breaks”. And stay tuned for more details on her upcoming, as yet untitled album.

Little Boots 2011 Tour Dates:
11/17 – Paris, FR @ Chez Moune *
11/18 – Berlin, DE @ Flamingo *
11/20 – New York, NY @ Le Bain *
11/21 – Los Angeles, CA @ Baradot *
11/23 – San Francisco, CA @ Rickshaw Stop *
11/25 – Tokyo, JP @ Le Baron *
11/27 – Beijing, CN @ Yu Gong Yi Shan *
12/03 – London, UK @ TBA *

* = DJ set

Little Boots - ”Shake Until Your Heart Breaks”:

It seemed only fitting that Hesketh chose to play New York City on the night of Hands’ release. As expected, her fans turned out in droves, selling out the Highline Ballroom. Unfortunately, while Little Boots did play a wildly entertaining show that was both auditorily pleasing and visually spellbinding, minus some new lasers and Lady Gaga inspired outfits, the show at Highline felt like it was lacking something.

Little Boots, draped in a shiny full-length robe with hood, took to the stage just after ten. Seated behind her orange Korg near the back of the stage, Boots opened her set with the regimented “Ghosts”. Upon the song’s completion she wasted no time in dropping her cloak, revealing a frilly, gold get-up, and launched right into “New in Town”, the opening track from Hands. With stage lights pulsing and lasers firing throughout the room (Hesketh disclosed that she sort of had a love for lasers), Little Boots seemed in her element. She rattled off “Hearts Collide”, “ Mathematics”, and “Symmetry”, before leaving the stage for an extended costume change.

Boots retook the stage, again dressed in a cloak. Standing on top of a riser in front of her Korg, she stood with her arms spread out by her sides, while a bright beam of light shot up from the floor in front of her. The beam then separated into multiple beams of equal strength.  This, ladies and gentleman, was Little Boots’ laser harp, a device that would make any laser-fetishist quiver with excitement. Boots played this harp by blocking the beams of light at different heights, thereby controlling the notes and pitch. Exciting just to watch her meddle with, when Boots actually used the device to play “Earthquake” it was quite the impressive feat.

Upon the conclusion of “Earthquake” the harp’s beams merged back together before being extinguished, not to return for the rest of the show. Boots went on to close her set with fan-favorite “Meddle” and “Remedy” (it was during these songs that her Tenori-on, a staple at her shows, saw its greatest use). Playing only eight songs at this point, Boots owed her fans an encore. Soon, she again took a seat behind the Korg and played the unreleased “Echoes”, a piano ballad inspired by the Twilight book series. Boots finished the encore by playing “Stuck on Repeat” (both an abbreviated piano version and full electro-pop version).

After the final notes of “Repeat” had wrung out, the lasers were turned off and the house lights came up. It was at this point that it became more evident of what was lacking – a longer set. Little Boots barely played for an hour. Sure, she only had one full LP and another half dozen or so miscellaneous tracks to work with, but the set just seemed too abbreviated. Maybe Boots was still jet lagged from her trip from Britain; maybe she was running late in getting to her after-show party down the block; maybe she wanted to save the audience from epileptic seizures stemming from prolonged laser exposure. Whatever the case was, the show was short. This is not to say that what she did play wasn’t amazing, because it was. Hopefully though, as Little Boots continues to pick up fans (which she will do), her shows will run just a little bit longer.

Setlist:
Ghosts
New In Town
Hearts Collide
Mathematics
Symmetry
Earthquake
Meddle
Remedy

Encore:
Echoes
Stuck on Repeat

The tour will start off without Dragonette, though, as Little Boots arrives at the Highline Ballroom in New York on March 2nd, the same day her debut album, Hands, is released in the U.S. After another solo stop in Canada, Dragonette will join the Boots crew for the remaining six West Coast dates on her tour. A short break (and a Little Boots appearance at Coachella) follows before the two return to the road for a round of East Coast dates in April.

Dragonette is touring in support of its latest album, 2009′s Fixin To Thrill, the followup to the 2007 debut, Galore.

Little Boots 2010 Tour Dates:
03/02 – New York, NY @ Highline Ballroom *
03/05 – Vancouver, BC @ Venue *
03/06 – Seattle, WA @ Neumos *#
03/07 – Portland, OR @ Hawthorne *#
03/09 – San Francisco, CA @ The Fillmore Auditorium *#
03/10 – Los Angeles, CA @ El Rey Theatre *#
03/12 – Pomona, CA @ The Glass House *#
03/13 – San Diego, CA @ Casbah *#
04/18 – Indio, CA @ Coachella Music Festival
04/22 – Atlanta, GA @ Masquerade Hell Stage *#
04/23 – Washington, DC @ 9:30 Club *#
04/24 – Philadelphia, PA @ Pure *#
04/28 – Boston, MA @ Middle East *#
04/29 – Montreal, QC @ SAT *#
04/30 – Toronto, ON @ Phoenix Concert Hall *#
05/01 – Chicago, IL @ Metro *#

* = w/ Fan Death
# = w/ Dragonette

As Drowned in Sound reports, the Later.. Live With Jools Holland Vol. 2 CD will feature recording of the show’s best performances over the past year, which means you’ll be getting the likes of of Muse, MGMT, Bon Iver, Santigold, Lilly Allen, Al Green, Goldfrapp, The Raconteurs and, of course, Holland himself. The CD set is the second such one released by the show (Vol. 1 hit stores last year), which has been on the air since 1992.

The album will be available beginning October 12th via Rhino. For now, a taste of the musical goodness on Later…

Later… Live With Jools Holland Vol. 2 Tracklist:
CD1:
01. Muse – Uprising
02. Elbow – Grounds For Divorce
03. Little Boots – Remedy
04. Hot Chip – Ready For The Floor
05. Keane – Spiralling
06. MGMT – Time To Pretend
07. Lisa Hannigan – I Don’t Know
08. Last Shadow Puppets – The Age Of The Understatement
09. Nicole Atkins – Maybe Tonight
10. Glen Campbell – Wichita Lineman
11. Bon Iver – Skinny Love
12. Friendly Fires – Jump In The Pool
13. Radiohead – Bodysnatchers
14. Santigold – L.E.S Artists
15. Adele & Jools – To Make You Feel My Love
16. Manic Street Preachers – Jackie Collins Existential Question Time
17. Pendulum – Granite

CD2:
01. Lily Allen – It’s Not Fair
02. Paolo Nutini – Candy
03. Al Green – Let’s Stay Together
04. Melody Gardot – Sweet Memory
05. Vampire Weekend – Mansard Roof
06. Morrissey – Something Is Squeezing My SKull
07. New York Dolls – ‘Cause I Sez So
08. Paul Weller – Push It Along
09. Seasick Steve – I Started Out With Nothin’ And I Still Got Most Of It Left
10. Jools Holland – I Went By
11. Golden Silvers – True Romance
12. Madness – Forever Young
13. Natty – July
14. Karima Francis – Use Somebody
15. Goldfrapp – Happiness
16. Monkey – Monkey’s World
17. The Raconteurs – Salute Your Solution

When Yes Giantess took the stage, they had a few devotees in the crowd who squealed with delight as the first notes of every song started, but everyone else seemed like they just wanted someone to keep them dancing. Luckily, it worked out well for the audience and band. The four members walked on stage, gave their smiles to the crowd, and then threw down a synthpop party that made you forget the ‘80′s ever went away. Lead singer Jan Rosenfeld’s voice has the bashful earnestness of a teen in love. After all, you need to be able to sell a line like, “Never got a chance to follow that dream/slipped through my hands like soft ice cream”, and a brooding emo persona wouldn’t do it. Instead, Rosenfeld sings as if he might actually win the girl if he’s convincing enough. At The Empty Bottle, he squeezed his eyes shut, opened them wide, and furrowed his brow at the audience-anything to prove he meant what he sang.

Halfway through the band’s set, the audience members began to uncross their arms and give in to the music. The band’s mission was to get people dancing-you could tell from the way they all hunkered over their instruments, throbbing to the music in unison. The band certainly fits comfortably in the synthpop genre that Passion Pit and MGMT have made chic. Yet, Yes Giantess takes the synth part of that title more seriously than either of those bands. “Can’t Help It” was an arms-in-the-air experience that felt like a paean to an era when dancing was reason enough to write a song. At times, Rosenfeld’s voice was less than pristine, and that probably turned off some listeners, but it retained a raw passion to it. I don’t doubt that the band could sit down and do an acoustic-albeit radically different-set with no jumping around and they’d sound tight and sweet with slick vocals. But in the moment you want to feel like you’re in a party. After 30 minutes, the band left and the audience actually cheered for an encore, which didn’t happen. Considering they were the middle of the lineup, it’s fair to say they won the crowd over.

As for the evening’s headliner, I can’t say much more than Alex Young said of Little Boots’ previous night’s performancein New York. Victoria Hesketh’s brief 45-minute set was high on energy and some of the catchiest hooks you’ll hear all year. Although I found her LP Hands to be less stellar than her EP had teased, the live versions showed what she’s really about. Hopefully the U.S. embraces her sense of smart pop in a way it never quite did with Kylie Minogue or Annie. Still, I was shocked by how crisp her voice was live and her ability to work a stage in a bar that seems more suited for a gritty hipster band than a pop chanteuse. For an artist whose album hasn’t even been properly released in the U.S., Little Boots had a sold out audience singing every word and taking her picture every few notes. If the music world is fair, Little Boots is on her way to stardom and unfortunately we won’t see her in such an intimate venue again.

Five months later, in March during South by Southwest, I had another opportunity to see Little Boots. The differences between the two performances were astronomical. Gone was the stillness behind the microphone, replaced by some movements, and dare I say, crowd interactions. The subdued vocals had succumbed to an air of confidence. She even had a legitimate backing ensemble to provide a bit of depth to those beats and that electricity. A transformation had begun, a star was being born.

In the months that followed her performance in Austin, TX, the 25-year-old Blackpool, U.K. native more properly known as Victoria Hesketh, has seemingly exploded onto the map. Her debut album, Hands, hit #5 on the U.K. charts. She played Glastonbury, Reading and Leeds, and Beastival to massive crowds. Hell, her song “New In Town” found its way into Megan Fox’s upcoming film, Jennifer’s Body.

11 months after CMJ and six months after SXSW, Boots took to New York’s Bowery Ballroom for what was a short headlining trek designed to better acquaint Hesketh to audiences here in the states ahead of the U.S. release of Hands, expected early next year.

However, the sold out audience singing along and dancing to the beat proved that no introduction was needed. “I wasn’t sure what to expect since most of these songs aren’t out in the states yet,” Hesketh told the crowd mid-way through her performance before offering a smile. “But you seem to know them all anyway.”

Instead, what resulted was a 45-minute performance that reflected why, despite the fact that Boots has only released a four-track EP, she has already garnered an adoring fanbase. The reason, you see, is that aforementioned transformation is now complete.

Taking the stage wearing an elegant blue sequin dress, Little Boots immediately showed a swagger that can only be explained by months of acclaim and festival appearances. The quiet and withheld girl of October has become a full-fledged star. And while she did not realize this in March, she does now… and it showed on Wednesday night.

Boots performance at Bowery was nothing less than dazzling. From the opening chords of “Meddle” to the closing beats of “Stuck on Repeat”, the beats were heavy, the vocals strong and confident, her backing band tight (being a star gets you a new synthesizer don’t you know), and a presence that made blinking virtually impossible. There was improvisation (“Mathematics” has evolved into an epic live masterpiece). There were lights (bright flashing ones!). There was a spectacle (resulting from all of the above), and most importantly, there was a star.

Ladies and gentlemen, Little Boots has arrived.

———

]]> Hands, hit #5 on the U.K. charts. She played Glastonbury, Reading and Leeds, and Beastival to massive crowds. Hell, her song "New In Town" found its way into Megan Fox's upcoming film, Jennifer's Body. 11 months after CMJ and six months after SXSW, Boots took to New York's Bowery Ballroom for what was a short headlining trek designed to better acquaint Hesketh to audiences here in the states ahead of the U.S. release of Hands, expected early next year. However, the sold out audience singing along and dancing to the beat proved that no introduction was needed. "I wasn't sure what to expect since most of these songs aren't out in the states yet," Hesketh told the crowd mid-way through her performance before offering a smile. "But you seem to know them all anyway." Instead, what resulted was a 45-minute performance that reflected why, despite the fact that Boots has only released a four-track EP, she has already garnered an adoring fanbase. The reason, you see, is that aforementioned transformation is now complete. Taking the stage wearing an elegant blue sequin dress, Little Boots immediately showed a swagger that can only be explained by months of acclaim and festival appearances. The quiet and withheld girl of October has become a full-fledged star. And while she did not realize this in March, she does now... and it showed on Wednesday night. Boots performance at Bowery was nothing less than dazzling. From the opening chords of "Meddle" to the closing beats of "Stuck on Repeat", the beats were heavy, the vocals strong and confident, her backing band tight (being a star gets you a new synthesizer don't you know), and a presence that made blinking virtually impossible. There was improvisation ("Mathematics" has evolved into an epic live masterpiece). There were lights (bright flashing ones!). There was a spectacle (resulting from all of the above), and most importantly, there was a star. Ladies and gentlemen, Little Boots has arrived. --------- ]]> http://consequenceofsound.net/2009/09/little-boots-dazzles-bowery-ballroom-916/feed/ 11 http://consequenceofsound.net/2009/06/album-review-little-boots-hands/ http://consequenceofsound.net/2009/06/album-review-little-boots-hands/#comments Thu, 11 Jun 2009 13:35:54 +0000 Anthony Balderrama http://consequenceofsound.net/?p=15971 When Little Boots‘ early tracks began to trickle across the blogosphere, she caught my (and a lot of people’s) attention because she was shamelessly poppy but with quirks to set her apart. However, I was concerned that once she released a full album, the leaked songs would be the best ones and the rest of the album would be filler.

Now that Hands is out, my fears aren’t unfounded, but they haven’t been entirely proven true, either. Little Boots (née Victoria Hesketh) has the potential to become a household name with this album if it’s marketed right. “Meddle” was already used in a Victoria’s Secret ad, and the buzz surrounding her has seeped from the blogosphere niche to mainstream outlets. She’s poised to be a star.

Therein lies the problem.

When “Stuck On Repeat” was released on her Arecibo EP last year, we finally felt like we knew what Goldfrapp remixing Kylie Minogue would sound like. It was six minutes of thumping synth that contained very few vocals, but the ones it did have were icy and seductive. The version that made it to Hands is half the length and doesn’t have any breathing room. Hesketh doesn’t let her voice hang in the air. There’s not a beat between the last note of the verse and the first syllable of the chorus. It’s still catchy and could become one of the most deserving summer jams in recent memory, but it’s not the stunner it could have been.

Let me say this, though: Hands is a good album. There’s not a bad song on it, and there are some standouts. It’s not the cerebral dance experience Roisin Murphy and Matthew Herbert songs are. But it definitely nods to each of these artists, and that’s not a bad amalgamation to be.

Take “Remedy”, which wouldn’t sound out of place in Minogue’s Fever. From the rising notes of the opening to the metaphor of love as a dancefloor, this song is pleading to have a choreographed dance set to it. And it deserves it. “No more poison killing my emotion/I will not be frozen/Dancing is my remedy, remedy/Stop praying ‘cause I’m not, not playing” isn’t deep, but it fits the tone of the song (and album) perfectly.

“Meddle” is still an irresistible track and probably the closest Little Boots comes to Roisin Murphy territory. With a crunch bass line, some unearthly electronics in the background and an eerie choir of men during the bridge, it’s the kind of pop song that’s interesting to listen to again and again.

“New In Town” , the album’s lead single, is equally as fun. Once again, her feelings about the song’s love interest are best expressed in terms of having fun and dancing the night away. On “Symmetry”, she has so much fun with the different settings of her synthesizer that it’s hard to keep track of how many beats are weaving in and out at any single time. Hesketh possesses a soft voice that can easily be kittenish, but more often than not she pulls it back in the mix, so that she sounds like part of the background noise. Rarely are her vocals pushed forward in the mix, and I think this was a smart decision. On most tracks she’s not the focal point of the songs. In fact, her duet with The Human League’s Phil Oakey on “Symmetry” is as much his song as it is hers. By allowing herself to blend into the electronic atmosphere she’s created, she’s actually set herself apart from most of the dance hits you’ll hear on the radio.

Hands might not rise to the level of Goldfrapp’s catalog or shake up the music world all that much. But it deserves to the be de facto party album of 2009. As long as Hesketh continues to keep her pop interesting and maintains this level of fun, she’ll be worth listening to. And if she indulges her ambient side once again, her next release could surpass this one.

Check Out:
“Meddle”

Buy:
Hands

Needless to say, it comes as a bit of surprise to hear/see that Boots still has managed to find time to take on such equally awesome tasks as recording a cover of Blur‘s “To the End” in her bedroom and uploading it onto YouTube for all of us to enjoy. Yet, she’s done just that ladies and gentlemen.

Boots’ rendition of Blur’s 1994 classic is simple and subtle, a far cry from the flourishing original version found on Parklife. Yet this particular version showcases the English native’s excellent vocal range and piano skills – yes, there’s Tenori-on in this song, ultimately enablining Boots to maintain the same honesty and passion on “To The End” that was heard when Blur first debuted the song some 15 years ago.

Take it in, folks. It’s worth the listen.

No, in fact, it’s just the latest video from the musician born Victoria Hesketh. In anticipation of the June 2nd release of her debut LP, Hands, Boots has offered up the album’s first single, “New in Town”, to video.

The three-and-a-half minute ditty sees Little Boots following in the footsteps of recent collaborator Joe Goddard and Hot Chip’s newest video. In this case, the town is a poverty stricken area, and Boots, all dolled up, certainly looks out of place, or should I say, “New in Town”. Of course, that doesn’t stop everyone from eventually becoming tantalized by the synth-approved sounds of the song and joining together in unison for one giant dance party.

Ah…the power of Boots!

Victoria Hesketh, aka Little Boots, aka the 25-year-old English native who has dazzled us on multiple occasions over the last 12 months, has finally announced plans for her debut full-length effort. Well, at least a few details.

Entitled Hands and due for release in early June, the record will feature the production talents of Greg Kurstin, who most recently worked with Lily Allen and Ladyhawke, along with a duet The Human League’s Philip Oakey on a track called “Symmetry”. Another number, entitled “New in Town” will serve as the album’s first single, and will released on May 25th. However, the song is currently available as a stream via littlebootsmusic.co.uk.

Oh, and Hands has some pretty stellar artwork and by that I mean just another picture of the lovely Little Boots…

In many ways it was, but that didn’t stop everyone from punching in and out in a very work-like fashion. After all, this isn’t your typical music festival, where every band’s there to just rock out. Most acts, if not all of them (save for the big ones), were there to shatter the proverbial bars they all set for themselves months or years beforehand. This is where songwriters sweat from playing hard and being nervous. It’s where everything is raw and everyone is on their game. This has always been the case with SXSW and nothing has changed this year — only the bands and a newer, trendier logo.

Unlike last year, when our correspondent Matt Sanders went solo into the city-spanning chaos, Consequence of Sound (CoS) took it upon itself to not only cover the event this year, but to get involved as well. With two parties and a showcase, we found ourselves working nonstop, yet we were only waist deep in the media muck that could swallow even the strongest, most ambitious patron. That’s why we decided to start early, arriving Tuesday night, on the eve of the week’s most insane and surprising festivities.

Needless to say, our knees are sore, our ankles feel swollen, and our eyes feel like they’re going to pop. Awesome? You be the judge…

Tuesday, March 17th:

While Tuesday served more as the closing for the interactive and film portion of this year’s South by Southwest, there was music to be found, particularly at La Zona Rosa where the SXSW Interactive Closing Party was going down.

Hailing from Montreal, Winter Gloves pleased on lookers with a collection of synth friendly sounds that blended groovy electro beats with a youthful indie persona. Think Holy Fuck-lite, add vocals, and a touch of Clap Your Hands Say Yeah. Needless to say, the quartet made for a great way to kick off SXSW.

As did the band that followed. In what was their first live performance in well over a year, Voxtrot used their first of two SXSW appearances to further introduce a packed crowd to the band’s new darker, heavier, and somewhat synthy – yes, more synth! – style that the world first got wind of last week with the release of “Trepanation Party”. Fortuanly, these sounds don’t contrast with the ear pleasing vocals of Voxtrot’s clean shaven frontman Ramesh Srivastava. In fact, they worked quite well together, resulting in a set that can’t help but get one excited over the band’s upcoming, yet-to-be-announced endeavors.

Wendesday, March 18th:

The first “official” day of South by Southwest’s music portion offered a brilliant example at just how incredibly overwhelming and mind-numbingly chaotic the week can, and eventually would be.

Over at Red 7, Force Field PR and Terror Bird Media offered a day party showcasing a rather eclectic mix of up-and-comers and industry favorites. Despite the early afternoon time slot and subdued feel of his sound, Swedish multi-instrumentalist Emil Svanängen, aka Loney Dear, garnered quite a crowd with his sweet and innocent melodies, while The Thermals basically blew off the roof – well, they would have if there had been a roof in the outside area of Red 7 – with a ruckus 35-minute set. Consisting mostly from material from the band’s forthcoming studio album, Now We Can See, which in the end, basically sounds the same as any of its past work give or take a guitar solo or two, the set earned Hutch Harris and Co. quite a reception, and a positive first of eight SXSW sets.

Inside, two hip-hop outfits hailing from completely different backgrounds each had no trouble making quite te impression. Though still baby faced and raw, the duo known as DMG$ (pronounced Damaged Goods) exhibited a charisma and spunk that can best be described as jaw-dropping. Between their on stage dance moves and in crowd free styling, DMG$ has a persona comparable to the best of their contemporaries. The potential is there and once the rhymes solidify, which will come with time, the duo should have no problem make a name for itself in the coming years. The same can probably be said about fellow hip-hoppers Themselves. Well, that is if they stay together. Doseone and Jel took the Red 7 stage on Wednesday for what was one of their first performances since reuniting after a five year hiatus last month. The talent is still there and in a big way. The only question now is whether Themselves will stay Themselves long around long enough to see this talent through.

Three blocks and four hours later, it was Stubb’s time to shine. Playing hosts to NPR’s official showcase, the Red River Street venue was jam packed from the get go with hungry SXSW’ers looking to get a good spot for the evening’s best bill, one which in the end, failed to disappoint.

Albeit featuring a much different style the acts to come, Phillipa Brown showed just why nearly every Australian and Perez Hilton is clamoring over the musician better known as Ladyhawke. Sounding a cross between Madonna and Peaches, Ladyhawke turned Stubb’s into an 80s dance floor during her nearly 45 set, well, give or take the time she dabbled in some guitar playing.

These days, it isn’t often you find down right dirty rock ‘n’ roll, but then again, these weren’t any ordinary days. So perhaps it was only appropriate that one of Texas’ own brought some of the dirtiest rock South by Southwest would see. Playing a set consisting of material mostly from their recently released new studio album, The Mountain, the Heartless Bastards to put it blatantly, shredded for the better part of 40 minutes. Punchy, punctuating, and powerful is another good way to put it, especially during renditions of “The Mountain” and “Hold Your Head High”.

Equally compelling was the night’s next act, just in an entirely different way. With cello, bass, and banjo in hand, The Avett Brothers took to Stubb’s to offer one of a kind folk styles, or in other words, some of the most enthusiastic unplugged music one will stumble upon. The one problem? Due to the extensive set up required for such an act, the band was limited to a 25 minute set.

At first look, it would seem as if The Decemberists would be the perfect act to close such a showcase. Not only Colin Meloy and Co. offer the best of both worlds when it came to the sounds of the previous bands, but they would also be using sets to introduce the industry to their forthcoming studio album, The Hazards of Love. Yet for as unique of an opportunity as the set was, it may have also set up The Decemberists for failure. By no means, was their performance of the 17-track effort in its entirety bad, because in reality, it was anything but that. In fact, it was almost too much; too many sounds, too many musical shifts, too much texture, all which in the left left fans dazed at what had just taken place in front of them. Some left the sluggish, prog-rock rifts early, others heckled for old favorites amidst the band’s Arcade Fire-like tribal drumming. Needless to say, the reaction was almost as emotional as the album itself.

Thursday, March 18th:

While Full Metal Texas kept to capacity over at Emo’s Annex, down the road at the Radio Room, where Brooklyn Vegan’s day party kicked off, things were heating up — literally and metaphorically. Brooklyn’s own Bishop Allen held the attention of most daytime attendees, where at least five hundred folks cluttered the outside patio. In a flannel button up, vocalist Justin Rice sweat from every pore, his back an engulfing mass of perspiration, which made their catchy song, “Rain”, a rather hopeful one. Both he and instrumentalist Christian Rudder kicked things up a notch with the Nick & Norah favorite, “Middle Management”, which rocked n’ rolled just about every sweaty hipster wearing too much black or too many layers for comfort. Some new material off of their latest, Grrr…, went over well, but past hits (“Click Click Click”, for one) were sorely missed.

Maybe it was all the Brooklyn influence (that might be a good educated start), but everyone seemed to be quite the fish out of water. Between the skinny jeans and the Wayfarers, Greenwich Village was well represented here, with artist types up the ying yang. Some were acts waiting off to the side to play, which included the very posh Hymns, who would go on to back Daniel Johnston on a few tracks. The New York quartet looked like four Jason Schwartzman’s, only slightly taller with more of the silent treatment. Their jangly sound seemed to combine ’60s Rolling Stones and Gimme Fiction-esque Spoon. It was a lovely sound for the afternoon, though cut short with the inclusion of legend Johnston, who started with “Mean Girls” and digressed into something else altogether. The wild songwriter looked wild in general, with color-streaked silver hair and a tense, apprehensive stare. With his songbook in tow, the West Virginian held his own with the crowd, though his popularity was unmeasured with the acts present.

Back inside, things, to quote the late Johnny Carson, got a “lil crazy, a lil wild”, as These Arms Are Snakes pretty much destroyed the indoor stage. Despite hailing from Seattle, the amicable-if-not-highly-disgusting quartet held a somewhat hillbilly look, perhaps in honor of the Texas spirit. The skeleton skinny frontman Steve Snere battled the stage himself, jumping over amps, gyrating stupendously, and kicking over various chairs off stage. At one point, the bratty frontman spit up a loogy, only to catch it on his hand and lick it up again. Think that’s gross? How about the moment he pulled a Jim Morrison by sliding his fingers down his pants, only to kick it up an extra notch by licking ‘em after. Everything about this act was performance which is unfortunate because their music isn’t interesting in the slightest. It’s unfocused distortion without being shoegaze, which in other words, is somewhat irritating — especially with the sprawling screaming that seems to pre-date them to 2002. On a good day, they could be likened to At The Drive-In, but that comparison stems from the fact that both Snere and guitarist Ryan Frederiksen seem to play the Cedric Bixler/Omar Rodriguez playbook note for note. If anything, they’re fun to watch on stage, but hardly a logical act to get behind.

Call it what you will, but Cursive‘s live show is one of this year’s best on the scene. Vocalist and guitarist Tim Kasher is quickly becoming one riotous hero in the indie community. His vocals have grit, his movements are concentrated and fitting, and the emotion is always raw and vital. Under a thick mop of sweaty hair, Kasher led a jagged, if not downright exceptional rendition of “Art is Hard”, one of the band’s best tunes live. The swinging violins, the dancey drums, and the crunchy guitars are too addicting. While playing a great deal of their latest record, Mama, I’m Swollen, the Nebraska heavies kept it “old-school” with plenty of old time favorites, too. While an early set, and the first of many SXSW appearances, Kasher & co held a larger than expected crowd, with a line coming in that sweltered by the minute. To be fair, it wasn’t just Cursive picking up the pace, and Kasher took note of this: “The Wrens are playing outside. I’d much rather be there right now, but I’ll have to catch them another time.” Fortunately for the crowd, Kasher stuck around and punched in an exceptional set, rewarding the Brooklyn blog with some very necessary props.

So, The Hold Steady took to Red 7 in the late afternoon as part of the Found Magazine and Quackmedia Day Party. Or, at least we think…

Kidding aside, The New York Times was there, as was Tiny Mix Tapes. So read about it there.

Is 80s influences, electro infused, synth heavy, Apple approved music your thing? Then Emo’s Annex was the place to be on Thursday evening for The Windish Agency official showcase.

With their new album, Bitte Orca, set to hit record stores in a couple months, Dave Longstreth and the Dirty Projectors took to Emo’s to offer fans a taste of what is to come, and on first listen, it’s pretty damn solid. Cool and funky are some words that come to mind in describing the poppy, yet heavy, R&B, yet artsy nature of the band’s 45 minute set, but in this case, maybe it’d be better to just take a listen yourself. NPR is currently streaming the entire set right this second.

Based off their recently released debut album, The Spirit of Apollo, there was probably no act more anticipated at this year’s than N.A.S.A. Draped in space suits and backed by a barrage of movie clips from who knows where, the DJ duo of Squeak E. Clean and Zegon had both a successful lift off, and minus a few rough patches (was it just us, or was 30 minutes of dancing aliens just too much?), their expedition proved to be quite successful. Highlights included remixes of Yeah Yeah Yeahs, Kanye West, and Nirvana, along with a Girl Talk-like on stage danceapalooza that left Emo’s sole bouncer in a state of sheer pandemonium.

Since stumbling upon Little Boots at Brooklyn Vegan’s day party at CMJ last fall, we have been pretty big fans of the 25-year-old Brit. Ok, we’ve been obsessed. But even that didn’t stop us from noting the changes in both Little Boots’ on stage performance; in just six short months, her vocals have transcended from cute and innocent to powerful and engaging, while her sways behind the microphone have been replaced by confident crowd interactions. This Madonna Jr. now not only exuberates potential, she is finally beginning to realize, and in the end, it’s only a matter of time before the entire world knows the name Little Boots.

To be continued…

]]> Consequence of Sound (CoS) took it upon itself to not only cover the event this year, but to get involved as well. With two parties and a showcase, we found ourselves working nonstop, yet we were only waist deep in the media muck that could swallow even the strongest, most ambitious patron. That's why we decided to start early, arriving Tuesday night, on the eve of the week's most insane and surprising festivities. Needless to say, our knees are sore, our ankles feel swollen, and our eyes feel like they're going to pop. Awesome? You be the judge... Tuesday, March 17th: While Tuesday served more as the closing for the interactive and film portion of this year's South by Southwest, there was music to be found, particularly at La Zona Rosa where the SXSW Interactive Closing Party was going down. Hailing from Montreal, Winter Gloves pleased on lookers with a collection of synth friendly sounds that blended groovy electro beats with a youthful indie persona. Think Holy Fuck-lite, add vocals, and a touch of Clap Your Hands Say Yeah. Needless to say, the quartet made for a great way to kick off SXSW. As did the band that followed. In what was their first live performance in well over a year, Voxtrot used their first of two SXSW appearances to further introduce a packed crowd to the band's new darker, heavier, and somewhat synthy - yes, more synth! - style that the world first got wind of last week with the release of “Trepanation Party”. Fortuanly, these sounds don't contrast with the ear pleasing vocals of Voxtrot's clean shaven frontman Ramesh Srivastava. In fact, they worked quite well together, resulting in a set that can't help but get one excited over the band's upcoming, yet-to-be-announced endeavors. Wendesday, March 18th: The first "official" day of South by Southwest's music portion offered a brilliant example at just how incredibly overwhelming and mind-numbingly chaotic the week can, and eventually would be. Over at Red 7, Force Field PR and Terror Bird Media offered a day party showcasing a rather eclectic mix of up-and-comers and industry favorites. Despite the early afternoon time slot and subdued feel of his sound, Swedish multi-instrumentalist Emil Svanängen, aka Loney Dear, garnered quite a crowd with his sweet and innocent melodies, while The Thermals basically blew off the roof - well, they would have if there had been a roof in the outside area of Red 7 - with a ruckus 35-minute set. Consisting mostly from material from the band's forthcoming studio album, Now We Can See, which in the end, basically sounds the same as any of its past work give or take a guitar solo or two, the set earned Hutch Harris and Co. quite a reception, and a positive first of eight SXSW sets. Inside, two hip-hop outfits hailing from completely different backgrounds each had no trouble making quite te impression. Though still baby faced and raw, the duo known as DMG$ (pronounced Damaged Goods) exhibited a charisma and spunk that can best be described as jaw-dropping. Between their on stage dance moves and in crowd free styling, DMG$ has a persona comparable to the best of their contemporaries. The potential is there and once the rhymes solidify, which will come with time, the duo should have no problem make a name for itself in the coming years. The same can probably be said about fellow hip-hoppers Themselves. Well, that is if they stay together. Doseone and Jel took the Red 7 stage on Wednesday for what was one of their first performances since reuniting after a five year hiatus last month. The talent is still there and in a big way. The only question now is whether Themselves will stay Themselves long around long enough to see this talent through. Three blocks and four hours later, it was Stubb's time to shine. Playing hosts to NPR's official showcase, the Red River Street venue was jam packed from the get go with hungry SXSW'ers looking to get a good spot for the evening's best bill, one which in the end, failed to disappoint. Albeit featuring a much different style the acts to come, Phillipa Brown showed just why nearly every Australian and Perez Hilton is clamoring over the musician better known as Ladyhawke. Sounding a cross between Madonna and Peaches, Ladyhawke turned Stubb's into an 80s dance floor during her nearly 45 set, well, give or take the time she dabbled in some guitar playing. These days, it isn't often you find down right dirty rock 'n' roll, but then again, these weren't any ordinary days. So perhaps it was only appropriate that one of Texas' own brought some of the dirtiest rock South by Southwest would see. Playing a set consisting of material mostly from their recently released new studio album, The Mountain, the Heartless Bastards to put it blatantly, shredded for the better part of 40 minutes. Punchy, punctuating, and powerful is another good way to put it, especially during renditions of "The Mountain" and "Hold Your Head High". Equally compelling was the night's next act, just in an entirely different way. With cello, bass, and banjo in hand, The Avett Brothers took to Stubb's to offer one of a kind folk styles, or in other words, some of the most enthusiastic unplugged music one will stumble upon. The one problem? Due to the extensive set up required for such an act, the band was limited to a 25 minute set. At first look, it would seem as if The Decemberists would be the perfect act to close such a showcase. Not only Colin Meloy and Co. offer the best of both worlds when it came to the sounds of the previous bands, but they would also be using sets to introduce the industry to their forthcoming studio album, The Hazards of Love. Yet for as unique of an opportunity as the set was, it may have also set up The Decemberists for failure. By no means, was their performance of the 17-track effort in its entirety bad, because in reality, it was anything but that. In fact, it was almost too much; too many sounds, too many musical shifts, too much texture, all which in the left left fans dazed at what had just taken place in front of them. Some left the sluggish, prog-rock rifts early, others heckled for old favorites amidst the band's Arcade Fire-like tribal drumming. Needless to say, the reaction was almost as emotional as the album itself. [youtube 8gyUeUVfapo] Thursday, March 18th: While Full Metal Texas kept to capacity over at Emo's Annex, down the road at the Radio Room, where Brooklyn Vegan's day party kicked off, things were heating up -- literally and metaphorically. Brooklyn's own Bishop Allen held the attention of most daytime attendees, where at least five hundred folks cluttered the outside patio. In a flannel button up, vocalist Justin Rice sweat from every pore, his back an engulfing mass of perspiration, which made their catchy song, "Rain", a rather hopeful one. Both he and instrumentalist Christian Rudder kicked things up a notch with the Nick & Norah favorite, "Middle Management", which rocked n' rolled just about every sweaty hipster wearing too much black or too many layers for comfort. Some new material off of their latest, Grrr..., went over well, but past hits ("Click Click Click", for one) were sorely missed. Maybe it was all the Brooklyn influence (that might be a good educated start), but everyone seemed to be quite the fish out of water. Between the skinny jeans and the Wayfarers, Greenwich Village was well represented here, with artist types up the ying yang. Some were acts waiting off to the side to play, which included the very posh Hymns, who would go on to back Daniel Johnston on a few tracks. The New York quartet looked like four Jason Schwartzman's, only slightly taller with more of the silent treatment. Their jangly sound seemed to combine '60s Rolling Stones and Gimme Fiction-esque Spoon. It was a lovely sound for the afternoon, though cut short with the inclusion of legend Johnston, who started with "Mean Girls" and digressed into something else altogether. The wild songwriter looked wild in general, with color-streaked silver hair and a tense, apprehensive stare. With his songbook in tow, the West Virginian held his own with the crowd, though his popularity was unmeasured with the acts present. Back inside, things, to quote the late Johnny Carson, got a "lil crazy, a lil wild", as These Arms Are Snakes pretty much destroyed the indoor stage. Despite hailing from Seattle, the amicable-if-not-highly-disgusting quartet held a somewhat hillbilly look, perhaps in honor of the Texas spirit. The skeleton skinny frontman Steve Snere battled the stage himself, jumping over amps, gyrating stupendously, and kicking over various chairs off stage. At one point, the bratty frontman spit up a loogy, only to catch it on his hand and lick it up again. Think that's gross? How about the moment he pulled a Jim Morrison by sliding his fingers down his pants, only to kick it up an extra notch by licking 'em after. Everything about this act was performance which is unfortunate because their music isn't interesting in the slightest. It's unfocused distortion without being shoegaze, which in other words, is somewhat irritating -- especially with the sprawling screaming that seems to pre-date them to 2002. On a good day, they could be likened to At The Drive-In, but that comparison stems from the fact that both Snere and guitarist Ryan Frederiksen seem to play the Cedric Bixler/Omar Rodriguez playbook note for note. If anything, they're fun to watch on stage, but hardly a logical act to get behind. Call it what you will, but Cursive's live show is one of this year's best on the scene. Vocalist and guitarist Tim Kasher is quickly becoming one riotous hero in the indie community. His vocals have grit, his movements are concentrated and fitting, and the emotion is always raw and vital. Under a thick mop of sweaty hair, Kasher led a jagged, if not downright exceptional rendition of "Art is Hard", one of the band's best tunes live. The swinging violins, the dancey drums, and the crunchy guitars are too addicting. While playing a great deal of their latest record, Mama, I'm Swollen, the Nebraska heavies kept it "old-school" with plenty of old time favorites, too. While an early set, and the first of many SXSW appearances, Kasher & co held a larger than expected crowd, with a line coming in that sweltered by the minute. To be fair, it wasn't just Cursive picking up the pace, and Kasher took note of this: "The Wrens are playing outside. I'd much rather be there right now, but I'll have to catch them another time." Fortunately for the crowd, Kasher stuck around and punched in an exceptional set, rewarding the Brooklyn blog with some very necessary props. So, The Hold Steady took to Red 7 in the late afternoon as part of the Found Magazine and Quackmedia Day Party. Or, at least we think... Kidding aside, The New York Times was there, as was Tiny Mix Tapes. So read about it there. Is 80s influences, electro infused, synth heavy, Apple approved music your thing? Then Emo's Annex was the place to be on Thursday evening for The Windish Agency official showcase. With their new album, Bitte Orca, set to hit record stores in a couple months, Dave Longstreth and the Dirty Projectors took to Emo's to offer fans a taste of what is to come, and on first listen, it's pretty damn solid. Cool and funky are some words that come to mind in describing the poppy, yet heavy, R&B, yet artsy nature of the band's 45 minute set, but in this case, maybe it'd be better to just take a listen yourself. NPR is currently streaming the entire set right this second. Based off their recently released debut album, The Spirit of Apollo, there was probably no act more anticipated at this year's than N.A.S.A. Draped in space suits and backed by a barrage of movie clips from who knows where, the DJ duo of Squeak E. Clean and Zegon had both a successful lift off, and minus a few rough patches (was it just us, or was 30 minutes of dancing aliens just too much?), their expedition proved to be quite successful. Highlights included remixes of Yeah Yeah Yeahs, Kanye West, and Nirvana, along with a Girl Talk-like on stage danceapalooza that left Emo's sole bouncer in a state of sheer pandemonium. Since stumbling upon Little Boots at Brooklyn Vegan's day party at CMJ last fall, we have been pretty big fans of the 25-year-old Brit. Ok, we've been obsessed. But even that didn't stop us from noting the changes in both Little Boots' on stage performance; in just six short months, her vocals have transcended from cute and innocent to powerful and engaging, while her sways behind the microphone have been replaced by confident crowd interactions. This Madonna Jr. now not only exuberates potential, she is finally beginning to realize, and in the end, it's only a matter of time before the entire world knows the name Little Boots. To be continued... ]]> http://consequenceofsound.net/2009/03/sxsw-09-in-review-tuesday-thursday/feed/ 1 http://consequenceofsound.net/2009/02/listen-little-boots/ http://consequenceofsound.net/2009/02/listen-little-boots/#comments Fri, 13 Feb 2009 18:45:28 +0000 Anthony Balderrama http://consequenceofsound.net/?p=11815 Little Boots, née Victoria Hesketh , has found herself on the receiving end of Web 2.0′s version of the Best New Artist Grammy. So much blogger hype (I realize the irony here) before a full-length LP has surfaced and the poor woman is already being hailed as the next big thing. Yet, can she possibly live up to the praise? Eh, it’s her fault for teasing us with some very catchy tunes.

The Blackpool, Lancashire native made a cyber splash with “Stuck on Repeat” and “Meddle”, two tracks from her Arecibo EP. The former track is nearly seven minutes of a synth loop combined with Little Boots’ barely tweaked vocals and the result is irresistible mid-tempo dance. The other track, “Meddle”, is a more conventional pop tune that carries a dark edge to it with turntable scratching behind it.

In many ways, she evokes Santigold, another delightful genre-marrying  blogosphere darling who dangled two irresistible tracks in front of us before gracing us with her LP. Like Santigold, Little Boots seems to know how to work with the right people to bring out her best qualities, as “Meddle” and other tracks on her upcoming album are produced by Joe Goddard of Hot Chip. (Not incidentally, she’s also covered Hot Chip’s eternally enjoyable “Ready for the Floor” and made it very much her own, which isn’t easy to do with one of 2008′s best tracks.) Plus, the artwork she’s employed for her EP and online sites is definitely a descendant of Goldfrapp’s Black Cherry days, and if you want to learn how to be a sexy, smart dance floor icon, few acts are better examples.

Considering that she’s set the bar so high and that part of her charm is having one hand in the pop world and another in the seedy disco world that Scissor Sisters frequents, Little Boots faces a big challenge: making an album that’s just as enjoyable as her teaser tracks without being too disparate. I’d guess that she’ll meet the challenge, or at least give us an entertaining journey that’s worth listening to.

Check Out:
“Meddle”