Wednesday 23 Jul
 
 

TJ Mayes - "When Love Comes Down"

’50s era rock ’n’ roll had been long overdue for a rebirth. Thankfully, the stockpile of capable luminaries has not been in short supply over the past few years. 

07/23/2014 | Comments 0

Boare - "playdatshit"

The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
07/23/2014 | Comments 0

Broncho - "Class Historian"

Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
07/23/2014 | Comments 0

Manmade Objects - Monuments

No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.

And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
07/15/2014 | Comments 0

Admirals - Amidst the Blue

Sometimes it helps to not be very good.

Some of the best albums and artists were born out of happy accidents owed to varying degrees of early suckage — the perfect note or chord for a song found by missing the one you are aiming for, failed mimicry of an idol bearing something entirely new and great instead.

07/09/2014 | Comments 0
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Songs of the South


Which Okie acts at this year’s South by Southwest are poised for greatness in the years to come? Our SXSW correspondent picks five that are alive with pleasure.

Stephen Carradini March 27th, 2013

Year three of the Oklahoma Film & Music Office’s Buffalo Lounge at the South by Southwest music conference in Austin, Texas, built on past successes by adding space and a slew of new bands to its proceedings.

The Kamals
Photo: Stephen Carradini
Taking place March 12-17, the event’s switch from the single-story Friends Bar to The 512, a two-story location, allowed for two stages without too much noise interference, which is almost always a problem at SXSW.

The open-air upstairs stage had a bit of peripheral sound invasion, but even during Samantha Crain’s set of gentle folk tunes, she played it for a joke. The Shawnee native claimed that all the excess drumming had been recorded into her new album, Kid Face, and that SXSW merely was providing accompaniment that already was there.


Pop

The biggest surprise for me was Tallows, an Oklahoma City quartet playing experimental indie pop. The band combined atmospheric electronic elements, vocal melodies and intricate instrumentals into a head-turning, unique amalgam.

Tallows juxtaposes intimate, delicate arrangements with zooming, towering rock moves. “Small Talk,” which found three members tapping out melodies on their fretboards, was an especially impressive turn.


Folk

Crain’s aforementioned set was a highlight, as she played new tunes and some old favorites. Her voice was in full form, and she wowed with her dramatic, absorbing melodies.

Her ability to turn a hectic event such as SXSW into a warm, friendly space is a testament to her songwriting prowess. This is a credit to her band as well, which moved the sound along without impeding her voice. It was a thoroughly enjoyable set, as I found myself head-bobbing, toe-tapping and singing along.

Desi and Cody’s set of country, folk and even a little bit of Western swing also carved out a unique space amid the festival’s hustle and bustle. Desirae Roses’ alto vocals are engaging from the first second, as she knows how to set a mood with the tone of her voice.

The Tulsa duo’s performance was incredibly tight, making the whole set feel stately, cohesive and not at all like a slapdash SXSW set. The striking vocals, appealing instrumentals and strong collaboration between both created tunes that were among the festival’s most memorable.


Rock
Tulsa’s The Del Toros played a particularly thundering set of rock, not watering their tunes down with any adjective modifiers. They came out with heavy riffs and rode them through the entire set.

In an era where rock songs almost always drop into a softer section for the chorus, it was exciting to hear a band continue the energy and passion through the choruses. Those riffs, however, proved the highlight: two guitars and a bass melded together into one freight train of a sound.

Oklahoma City’s The Kamals also leaned heavily on riffs. Their bluesy, hard-rock sound hearkened to ’60s and ’70s rock, but this is no simple retro band.

The barely contained fury with which they attacked their instrumental sections was amazing. In the middle of one particularly loud tune, lead singer Zak Kaczka also broke out quite possibly the most intimidating harmonica solo I’ve ever heard. The heavy, thrashy sound was gripping to hear and watch live.

Hey! Read This:
• Samantha Crain’s Kid Face album review      
SXSW 2013 preview     
SXSW 2013: Bowlsey / Desi and Cody / Brave   
SXSW 2013: Guardant / The Del Toros / The Kamals / Josh Sallee   
SXSW 2013: Horse Thief / Colourmusic   
SXSW 2013: OK Sweetheart / Defining Times / Samantha Crain   
SXSW 2013: Paperscissor     
SXSW 2013: Tallows   
SXSW 2013: Zach Winters / Parker Millsap  


 
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