It has been a relatively rocky road for Weatherford alt-country outfit Green Corn Revival, which has seen its share of highs (acting as backing band for rockabilly icon Wanda Jackson) and lows before an (amicable) split in the road led half of the original lineup to forming Honeylark.
Oklahoma is quickly becoming the indie Christmas music capital of the world, it seems, with yearly compilation albums featuring everyone from Stardeath and White Dwarfs to Graham Colton. So it makes sense that Colourmusic — freak-poppers hailing from Stillwater — would craft a full album of original, offbeat holiday tunes themselves.
The Oklahoma City metro has a thriving garage rock scene. With seasoned acts like Broncho and Copperheads carrying the modern-day torch, the way has been paved for a flock of gritty, young, guitar-centric acts. But nascent Norman trio Poolboy has a knack for riotous hooks that few of its contemporaries can boast.
The Flaming Lips’ longevity has allowed them to cover a lot of sonic terrain over the years. Yet they’ve arguably become more adventurous with age, jeopardizing a good portion of their fan base in favor of fascinatingly bleak experiments in sound, beginning with Embryonic in 2009 and, more recently, The Terror.
I don't know if there's a music fan alive who hasn't dreamed of being in a band. Unfortunately, this dream often goes unrequited. But for those struggling to keep the embers of a dream alive, "Todd P. Goes to Austin" is a can of gasoline.
Todd P is a do-it-yourself show promoter; he describes his job as making music louder and making sure someone's at the door taking money. He waxes philosophical about the meaning of music, verbally punishes anything related to the music industry, and generally loves indie rock with all his being. Instead of dropping all of that on you at once, brilliant director Jay Buim intersperses interview footage among the tales of several vans heading down to Austin for a subversive, unofficial showcase headed up by Todd P in the middle of South by Southwest.
The bands chosen by Todd P are what make this film so excellent: the hyperkinetic and über-enthusiastic Matt and Kim get substantial camera time, the manic and incredible The Death Set own a storyline, and the attitude-filled girl punks Mika Miko take up another chunk. The final storyline is Todd P's own van, which has all the gear for the show. Oh, yes, there will be breakdowns.
The documentary does an outstanding job of capturing the frenzy and freedom of being in an underground rock band; the whole affair is painted as dramatic, romantic and enthusiastic. If you have a pulse, you will want to quit your job and form a band about halfway through the documentary. You will want to repeat the documentary as soon as it's over. You will need someone to restrain you from jumping up and down during the final montage.
The documentary is perfectly paced, beautifully shot and masterfully edited. It sprints by your eyes, stirring up endorphins and adrenaline. The only thing that the documentary does poorly is show how boring a lot of being in a band actually is. But why fixate on that crap?
"Todd P Goes to Austin" is the most entertaining music documentary I've ever seen, and high on my list of favorite documentaries.