SCHED* SXSW 2011

We are unofficially kicking off SXSW Interactive with a hyper-local event that convenes the Austin interactive scene with locals and out-of-town visitors. Our goal is to have fun and to cocreate a future possibility of cooperation and shared success like only Austin can.

Live music will be performed by The Erik Hokkanen Band and DJ Dr. Strangevibe!

The indoor stage will be set up to present educational content in a loosely-structured format, but networking and fun will be going on everywhere!

Admission is FREE. Food and drinks are priced reasonably.

http://cohabitat.eventbrite.com/

Come celebrate the official launch of the new PathCrosser mobile app and Moxie's 1st Qtr. location based trends report at one of the best music line-ups of the weekend! 

There will be non-stop good music from 9pm until the wee hours including Dj Kid Slyce, God-Des & She, Theophilus London and of course DJ Questlove (drummer of the Roots)! 

PathCrosser is giving away free drinks to the 1st 250 people who "Cross" with the founders. Moxie is also giving away free drinks to the first 250 people who Tweet a link to their report. 

There's limited space, so arrive early. Doors will be open at 8PM. First 50 People to Follow @PathCrosser on Twitter and tweet link to the party w/ their name in it get to Skip the Line!Learn more:  do512.com/c/sx2011/event/2011/03/11/pathcrosser-w-moxie-presents-questlove-free-w-rsvp-on-do512

Ever wondered what Family Feud with all your favorite tech giants would look like? Well wonder no more. We’ll have some of the largest tech giants on stage competing for the ultimate bragging rights as to who’s the smartest at SXSW.

Not just content with putting them under the spotlight, we’ll have entertainment from master turntablist Cut Chemist and special guests: DJ Orion and local Austin favorites Fresh Millions.

The bar will, of course, be open and the brisket will be ready! This is one party you won’t want to miss.

*Note: Your SXSW IA, GOLD or PLATINUM badge is your ticket when you arrive, but please RSVP to be added to the guest list. Entry will be on a first come, first served basis.

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Follow the action: @skype and @skypedeveloper

http://www.facebook.com/event.php?eid=148966845163780

Ever wondered what Family Feud with all your favorite tech giants would look like? Well wonder no more. We’ll have some of the largest tech giants on stage competing for the ultimate bragging rights as to who’s the smartest at SXSW.

Not just content with putting them under the spotlight, we’ll have entertainment from master turntablist Cut Chemist and special guests: DJ Orion and local Austin favorites Fresh Millions.

The bar will, of course, be open and the brisket will be ready! This is one party you won’t want to miss.

*Note: Your SXSW IA, GOLD or PLATINUM badge is your ticket when you arrive, but please RSVP to be added to the guest list. Entry will be on a first come, first served basis.

###

Follow the action: @skype and @skypedeveloper

http://www.facebook.com/event.php?eid=148966845163780

Ever wondered what Family Feud with all your favorite tech giants would look like? Well wonder no more. We’ll have some of the largest tech giants on stage competing for the ultimate bragging rights as to who’s the smartest at SXSW.

Not just content with putting them under the spotlight, we’ll have entertainment from master turntablist Cut Chemist and special guests: DJ Orion and local Austin favorites Fresh Millions.

The bar will, of course, be open and the brisket will be ready! This is one party you won’t want to miss.

*Note: Your SXSW IA, GOLD or PLATINUM badge is your ticket when you arrive, but please RSVP to be added to the guest list. Entry will be on a first come, first served basis.

###

Follow the action: @skype and @skypedeveloper

http://www.facebook.com/event.php?eid=148966845163780

Ever wondered what Family Feud with all your favorite tech giants would look like? Well wonder no more. We’ll have some of the largest tech giants on stage competing for the ultimate bragging rights as to who’s the smartest at SXSW.

Not just content with putting them under the spotlight, we’ll have entertainment from master turntablist Cut Chemist and special guests: DJ Orion and local Austin favorites Fresh Millions.

The bar will, of course, be open and the brisket will be ready! This is one party you won’t want to miss.

*Note: Your SXSW IA, GOLD or PLATINUM badge is your ticket when you arrive, but please RSVP to be added to the guest list. Entry will be on a first come, first served basis.

###

Follow the action: @skype and @skypedeveloper

http://www.facebook.com/event.php?eid=148966845163780

A stellar line up of Panache bands to warm you up before the week of rock. 12 great bands in an awesome 2 stage venue (one outside plus one inside), great sound, fire pits outside, 2 full bars plus this pre-view sampling of the 40 excellent Panache bands at the festival this year. 

NO RSVPS- OPEN TO THE PUBLIC
(venue subject to capacity, get there early)

Tuesday March 15th
Pre-SXSW Panache Party 
@Scoot Inn 
doors at 7:00
show at 8:00
2 stages
12 bands for FREE!
21 and up

The Ancient Astronauts are Kabanjak and Dogu, a bombastic production and DJ duo hailing from Cologne, Germany. The phenomenon of “ancient astronauts,” a belief that extraterrestrial beings visited Earth in ancient times to mingle and trade ideas with early human civilizations, isn’t an alien concept to these Ancient Astronauts. The cross-pollination and mash-up of ideas, sounds, styles, and a collaborative spirit are their modus operandi. Already having remixed and collaborated with Fort Knox Five, Ladybug Mecca of Digable Planets, Zion I, Imani and Bootie Brown of The Pharcyde, Issa Bagayogo, Vieux Farka Toure, Kid Loco, Zion Train, and Tippa Irie the Ancient Astronauts have linked up with a variety of new sonic collaborators for their kaleidoscopic sophomore album Into Bass and Time!
http://schedule.sxsw.com/events/event_MS15104

The Pyramid Scheme: “It Pays to Believe.” Try shifting gears from writing rhymes to making beats to tearing down a jam-packed club. What’s impossible for most is a way of life for Toronto native 4th Pyramid. For over a decade, this multi-talented MC, producer and DJ has flowed flawlessly from mic to MPD and represents a new hybrid of artist that can do it all...and then some. His debut solo album, The Pyramid Scheme, is just moments from release and features guest appearances and production by Greg Nice, Saukrates, Sheen Bros, Marco Polo, Rich Kidd, Simahlak and more. For 4th Pyramid, this album is an opportunity to showcase his musical evolution and give center stage to his songwriting. On the flipside, Pyramid has become a sought-after party rocker. In 2009, he and turntable legend Cosmo Baker formed the production and DJ group, Sheen Bros. These two have been feeding the kids greasy funk and drippy disco jams ever since. Pyramid’s own brand of beat manipulation via MPD brings innovation to his performance and club crowds to fever pitch. Pretty good for a kid who burst onto the hip hop scene at age 16. Following the release of his ambitious instrumental album, The Light is But the Shade of the Darkness, he was quickly snatched up by then indie powerhouse label, Def Jux, who knew a good thing when they saw it. That set the stage for nonstop touring, recording, mixtape dropping and hotel-hopping as 4th Pyramid travelled the globe alongside hip hop elite. Along the way, Pyramid has always been in and out the studio, stacking collabos and projects with the likes of 45 King, U-God (Wu-Tang), Pete Rock, Cannibal Ox, Akrobatik, C-Rayz Walz, Sammy Bananas and many more. Whether on the dance floor or in your headphones, 4th Pyramid always takes audiences on a trip: from rhymes to beats to tracks, he’s the man to move ‘em.
http://schedule.sxsw.com/events/event_MS11030

DJ SUN's new release is the first single off a forthcoming album, due in Spring 2011, entitled “One Hundred”. The new single features two songs that reflect back to an era of production that emphasized the analogue elements which DJ SUN has used to stamp his signature in production. A midtempo head-nodder, “Fun” keeps a steady beat while employing a 70's atmospheric feel to the melody structure. The flipside “Bus”, at the same tempo, employs some 70's horns while the driving beat is enhanced by familiar guitar riffs. About DJ SUN: Recording Artist, DJ and radio show host, DJ SUN recently released his second EP Para. With his first, Monday Drive, listeners quickly learned they could trust him to take them on an international exploration of old-school soul, jazz, reggae and even disco. DJ SUN has been a tastemaker in the Southwest region of the US for the last 15 years, with a strong reach through his acclaimed radio show, Soular Grooves (Pacifica Radio, KPFT 90.1). A successful DJ and radio career has propelled DJ SUN into the world of music production, steadily building a catalogue of quality tracks which incorporate old-school production techniques and analogue sounds that characterize his signature. His network of artists that have contributed remixes and done work with DJ SUN have included J Boogie (OM Records), DJ Presto (Concrete Grooves), DJ Sabo, and others. DJ SUN holds down a regular bi-monthly residency at Eighteenth Street Lounge in DC and four weekly residencies in Houston. This new single by DJ SUN is a lead-in to the first full-length for DJ SUN due in Spring 2011. ONE HUNDRED will be released right in time for SXSW. A marketing campaign is being put in place to promo the album and it includes this single and will possibly include 1 more, prior to the release of the album.
http://schedule.sxsw.com/events/event_MS14483

Over radio waves and through dancehalls across the globe, soulful mix master J-Boogie has been innovating music as we know it for almost 20 years. No stranger to the Bay Area's music scene, and with a reputation as today's hardest working DJ and producer, he was among the first to fuse live vocals and instruments with electronic dubs on the turntables, creating a style that defies categorizing and showcases multilingual talents. In addition to rocking the party as a DJ and producing music on Om Records, he leads his band 'Dubtronic Science' with a horn section, MCs and Latin percussionists that mix funky dub vibes with downtempo, hip-hop, funk, reggae, Afro, Latin, bhangra, electro, disco and house beats to create a soul music of the future.
http://schedule.sxsw.com/events/event_MS13356

DJ Chicken George's (CG) unique "Jazztronica" style of incorporating and fusing diverse genres of music has garnered him several international appearances in Sweden, Paris, London, Amsterdam, Vancouver, the Middle East and across the U.S. including Los Angeles, New York, Chicago, San Francisco, Portland, Las Vegas, Detroit and Philly. CG also deejayed on extensive radio tours with sets on Betalounge Radio, Dublab.com, Eavesdrop Radio & Beatsauce Radio hosted by Om Records' recording artist, J-Boogie. CG has shared the stage with a wide range of talent including The Wailers, Pete Rock, Jazzanova, John Legend, Cody ChesnuTT, Spoon, Echo and the Bunnyman, Grandmaster Flash, Brad Paisley, Biz Markie, Grupo Fantasma, The Neptunes, Saul Williams, The Roots, Talib Kweli, DJ Jazzy Jeff, Sharon Jones & The Dap Kings, KC & the Sunshine Band, Afrika Bambaataa, Antibalas Afrobeat Orchestra, Steve Miller Band and Erykah Badu. CG knew at a young age that his intrigue and passion for music would become a life-long endeavor. His appreciation for music can largely be attributed to his parents who made music an important part of family life. He was born in Boston, Massachusetts, later moved to Houston, Texas and is currently residing in Austin, Texas. Arriving in March of 2003, he quickly became a local favorite and was voted Best Live (Club / Party) DJ for the Austin Chronicle "Best of Austin" Readers Poll. CG has also released 2 e.p.'s on the world renowned, Stockholm-based label, Swedish Brandy. His releases, DJ Chicken George Presents: The Swed.u.s.h Connection 1 & 2 are distributed world-wide.
http://schedule.sxsw.com/events/event_MS14754

The Echocentrics is a new project of psychedelic, cinematic and dusty soul produced by Adrian Quesada. Loads of spring reverb, psyched out farfisa organs and heavy drums back soulful vocals sung in English, Spanish and Portuguese by Tita Lima from Brazil and Natalia Clavier from Brooklyn, NY via Argentina. Out on Ubiquity Records April '11.
http://schedule.sxsw.com/events/event_MS14005

"Italian soundtrack funk that sounds like Goblin recording at Stax!" -Wax Poetics Magazine Research begun years ago, digging dusty vinyl crates for obscure samples. The discovery of Italian '60s and '70s soundtracks was a crucial point; from that moment on nothing sounded as good and interesting as electrifying tracks from exploitation movies. By the summer of 2007, Tommaso Colliva (Muse, Franz Ferdinand, Arto Lindsay) invited an incredible band formed by Massimo Martellotta (Stewart Copeland) on guitars and lapsteels, Enrico Gabrielli keyboards and brass, Fabio Rondanini on drums and Luca Nano Cavina on bass to record at omniaB studios in Milan. During the first two days of long recording sessions, Calibro 35 became a killer combo performing classic and obscure themes, aiming to bring something contemporary to the compositions but still remaining very respectful to the originals. Original tunes appeared soon with the same aim, recreating the attitude, the sound and that strange mixture between jazz, funk, rock, classical and improvisation that made Italian soundtracks known worldwide. The band started touring in Europe a few months later, having their first ever gigs in Luxemburg and Belgium and then moving back to Italy for some very crowded shows during the spring and summer of 2008. They also made their way to the U.S. in October of 2009 playing at Nublu and other various venues in New York City and the west coast, including an in-studio appearance on KCRW's "Morning Becomes Eclectic."
http://schedule.sxsw.com/events/event_MS11212

"Chico Mann finished the showcase with far-reaching, utterly danceable electronica...  The songs, in Spanish, swept through a 1970s African diaspora — stop-start funk, Afro-Cuban Santeria rhythms, reggae vocal lines, Miami disco, early hip-hop thuds and claps — to dissolve decades, along with borders."  - Jon Pareles - NY Times The sounds of Africa have taken multi-instrumentalist Chico Mann—aka Marcos García—all over the world.  So itʼs fitting that after spending years learning to speak Afrobeat, albeit with a Cuban accent, Chico Mann has employed several dialects to make a larger musical statement, creating a hybrid of Afro-Cuban rhythms, Afrobeat and classic freestyle that has emerged to be one of the new, vibrant musical styles of today.   Born in New York City to Cuban parents—his mother a pianist and disc jockey, his father a record label head and producer of merengue  records—a young Chico started early, diving headlong into the spheres of guitar, piano, and break dancing; the works of Willie Colón, Fela Kuti, Lisa Lisa, and Afrika Bambaataa led the way. His father told him to steer clear of the business, but did he really have a choice? Fast forward to the early 2000s. When he wasnʼt burning up stages worldwide with the mighty Antibalas Afrobeat Orchestra, Chico was home cooking up a more personal sound, featuring himself on all the instruments (guitar, bass, keyboards, programming) and vocals (in Spanish!). A debut album Manifest Tone, Vol. 1 emerged in 2007 and now 2010, he is ready to drop another groundbreaking statement - Analog Drift, his first for Wax Poetics Records.  Here Chico Mann introduces the rhythms of Afrobeat to the music of Cuba, the Latin freestyle flavors of 1980s New York and Miami, and the synth-heavy electro beats of dance floors across the globe. This is music is good for your mind and behind.  And itʼs always real. The total package.   Chico says it best himself: “If you want it you can have it / If you want it, you can take it, you can grab it.”  So go out and get what you want, and let Chico Mann provide the soundtrack.
http://schedule.sxsw.com/events/event_MS12519

One might never expect such a rich and mighty voice to emerge from Kendra Morris' petite frame. Her potency as a singer and performer grew from a childhood immersed in music, traveling with her family to perform gospel in the prison ministries and asylums of St. Petersburg, Florida. Kendra moved to New York in 2003, making music inside a tiny closet with only a guitar and 8-track recorder, always keeping it simple ' an aesthetic that continues to shape her sound. The southern influence of the soul and humidity in her voice adds a raw energy that one would attribute to a generation long lost to the internet and digital media. Morris' voice is a courier to a world where oral story telling is the only means for passing on life's lessons, humor, and drama. After releasing two self-produced EP's she teamed up with seasoned producer Jeremy Page (The Cars, Ed OG, That Handsome Devil) to work on this self-titled EP. The collaboration has birthed a collage of tracks that echo the music and experiences of her childhood. Kendra's real strength lies in combining mysticism and the strange emotions invoked by the human spirit.
http://schedule.sxsw.com/events/event_MS13994

Audible Treats' 2nd Annual Official SXSW Hip-Hop Showcase will take place on Thursday, March 17th at The Scoot Inn and will feature a solid line-up of legendary and rising hip-hop artists including Talib Kweli, Casual, Pep Love, and Opio of The Hieroglyphics, Nottz, Black Milk, Strong Arm Steady, Derek 32Zero, DJ Toure, Moe Green, TRUTHLiVE, Kokayi, The Niceguys, DaVinci, Erk Tha Jerk, Roach Gigz, League510, and Kyle Rapps, with producer IMAKEMADBEATS serving as the official DJ for the night.

Continuing a tradition that began with Audible Treats' inaugural CMJ Showcase in 2009, a number of exclusive, limited edition gift bags will be distributed throughout both evenings, courtesy of the showcase lifestyle sponsors FLüD Watches, IMKING Clothing, Orisue Clothing, and Rocksmith Tokyo Clothing.

http://www.audibletreats.com/download/sxsw2011/

Toure “DJ Toure” Duncan of Hieroglyphics grew up playing drums in church and at school. Drums were his first instrument, then he studied piano, took piano lessons as a child. Interest into drumming led to production, started Djing at the age of 12 in the 6th grade. Started purchasing equipment as a pre-teen and began to teach himself the art of Djing and the skills to become a producer. Playing Drums and being in Oakland which had a strong music scene, he was influenced by a variety of musicians and musical styles. From Hip Hop to Gospel to R&B. Sonic influcences Hieroglyphics Attended elementary school with Casual in the 4th grade, they became friends. They kept their relationship strong. A-Plus, Tajai and Opio lived close by in the neighborhood over the hill from Toure’s home, and they began to form a crew. When Del officially started the Hieroglyphics crew in the late 1980s, Toure was Casual’s DJ and the crew began to come together. Independent Production Incubator for the Bay Area As a producer of hits for Hieroglyphics crew and the solo and group members, Toure began to make a name for himself as a producer in the Bay Area. He began to branch out with production for Dolla Will who was signed to Too $hort’s record label. Since that time he has worked with many independent artists in the Bay Area including Too $hort, E-40, Father Dom, Beeda Weeda, Goapele, and many others. With his production company, 101% Music, Toure has singlehandedly acted as an incubator for new talent in the Bay for Hip Hop, Rap, Soul, R&B and other genres of music. Renown for his DJ skills, he has been featured as a DJ on songs including “That’s How it Is”, Casual’s first single, As a tour DJ Toure has traveled the Americas, Canada and internationally to Japan as a DJ and member of Hieroglyphics and rocked stages alongside the X-Ecutioners, Mos Def, Wu-Tang, Nas, Common, Talib Kweli and countless others. As a drummer Toure has toured as a member of Mystic’s band alongside Black Eyed Peas in Canada and the United States.
http://schedule.sxsw.com/events/event_MS13601

Something happens to hip-hop producer NeMo when he steps in the lab. He becomes fully engulfed in his craft and transforms into his alter ego IMAKEMADBEATS. People first became aware of IMAKEMADBEATS from his 2009 effort The Transcontinental with emcee Roc C. Moving forward, the Brooklyn-based producer is headed towards big things with projects including, but not limited to, his self-titled debut as well as his dual-EP concept album Daylight/Nightlight. With a new year on the horizon, 2011 looks to be the year IMAKEMADBEATS becomes one of the most sought after producers in the game.
http://schedule.sxsw.com/events/event_MS13848

For Princeton, New Jersey Native Kyle Rapps recording a song with one his top influences and heroes in Hip Hop, the Teacher himself Blast Master KRS ONE was easily a full circle move for him. “I used to study his song structures, rhyme patterns and live shows,” remembers Kyle. After featuring KRS ONE on the Buzz worthy “RENT” single and video, under the name Black Skeptik, Kyle began to gain the attention of press, TV and radio nationwide. Kyle describes his own music as witty and youthful yet insightful and catchy. “Hip Hop is about stories and connecting the dots, some of the stories can be meaningful and still be fun and appealing. I rarely ever write a song that I can’t relate to in some way, shape, or form. My music will always reflect who I am.” By age 20 Kyle started winning poetry slams in NYC with a concept-strong, socially-sharp raw hip hop delivery. Kyle attended Rutgers University in NJ and formed the acclaimed underground hip hop group, Thought Breakers under the Psuedonym Skeptik. By the time he graduated Rutgers with a B.A. in Spanish, Thought Breakers were local legends, having opened up for Wyclef Jean, Fat Joe, Talib Kweli, and Dead Prez, Independently selling 10,000 copies of their Album, Episode One. After his poetry career has taken off with The Mayhem Poets playing children’s theatres and schools all around the country, Kyle has returned to his roots with concept driven hip hop music. Under the name Black Skeptik, he followed the “Rent” single (featuring rap legend KRS ONE), with “Frankenstein Saves Hip Hop” (featuring production by Blockhead and a video with Crazy Legs of Rocksteady crew). Solidifying a more positive out look on things, he changed his name to Kyle Rapps and release a 3rd single, “Love, Love” (Featuring KRS-One and Homeboy Sandman), which reached #1 on the college radio charts for Hip-hop. Eager to show people the benefits of combining Hip- hop with education, Kyle is gearing up to release his debut EP, RE-Edutainment. This “revisit” of Boogie Down Productions classic album is produced by Kev Brown, and features songs with KRS-One, Joell Ortiz and U-N-I. Kyle is also finishing up his debut album, which was recorded in LA, NY, and on a Liberian refugee camp in Ghana, Africa. So stay tuned Kyle Rapps is definitely taking the steps to gradually become a household name amongst Hip Hop fans worldwide.
http://schedule.sxsw.com/events/event_MS13539

League510 hailing from Oakland, CA is a team of positive, driven and well established artists (T.K., Mr. Knowitall, Monty, and Blacksmith) who've become pioneers in a sea of musicians. They've most certainly proven their determination, fortitude and tenacity in striving to desecrate the stigmas that have been placed to separate music. League510 has ranked amongst the best of rising artists on numerous, recognized lists in the entertainment world. These include Mtvu, Mtv Jams, Vh1.com and SpikeTV.com. The group has also toured throughout the United states, which has brought about a major following to their music. In correlation to their love for music, League510 has sought to bring light to a new sound dubbed Town Techno, It takes hip-hop's basis of beats and rhymes, filters them through an uptempo techno influence, and then liberally swathes it all with synthesizer riffs. League510 is genuinely intrigued by the musical evolution of humanity and have an honest desire to spread good energy through vocal art.
http://schedule.sxsw.com/events/event_MS13576

Sometimes, preconceived notions are good; the comfort of expectations met is often a welcomed feeling. For the more adventurous among us, though, the best part of defined expectations is having them broken, shattered even... in a good way. Enter: The Niceguys, a four-member Houston-based group with Southern roots and musical sensibilities that stretch far beyond the city’s limits. A self-contained unit, The Niceguys comprises one MC (Yves ‘Easy Yves Saint’ Ozoude), one DJ (Lucien ‘DJ Candlestick’ Barton) and two producers (Todd ‘Cristolph’ Louis and Winfrey ‘Free’ Oribhabor). “I’m originally from Queens, New York, but I relocated to Houston when I was 18,” says Yves Saint. “I began attending the University of Houston in 2003, and spent the next two years moving back and forth between Texas and New York before I finally stayed in Houston for good.” Similarly, while Free, Candlestick, and Christolph now call Houston home -- the four met at the University of Houston -- each hails from different towns from the Lone Star state, and each bring their own musical style to the group. “The first song that I memorized top to bottom was Nas’ ‘The Message,’” says Yves, who, along with the rest of The Niceguys, cite influence from such artists as J Dilla and MF DOOM in the same sentence as Houston legend Scarface and their hometown Screw music. “After hearing the way J Dilla and Pimp C flipped soul samples,” says Free, “It made me want to do it.” Despite garnering national attention in late 2009, the origins of the group actually date two years prior, when Yves, DJ Candlestick, Christolph, and Free came together in 2007, releasing their inaugural project, a mixtape titled Niceguys Finish Last Vol 1, taking a little over two years to perfect their chemistry before releasing 2009’s The Green Room, a highly lauded seven-song free EP backed by 2DopeBoyz.com and Fatlace. An eclectic combination of soulful, boom bap-era beats backing Yves’ nimble rhymes, the EP -- with tracks including the playful streetwear giant-ode “Supreme Team” and “Not At All”, with its the horny bravado supporting Yves’ witty lyrics and bouncing flow -- served as rock-solid precursor to the group’s forthcoming debut LP, The Show. “Its a double entendre,” Yves says of the album’s title. “The Show as in we are entertainers and that's what people expect and pay for, but also, it’s a metaphor for life; regardless of all the crap that goes on within the music and outside of the music, the show must go on.” With tracks like the organ-eavy “Mr. Perfect,” Yves Saint’s nimble, double-time flow on “It’s Like That,” and the vintage sound and feel of “On This Road,” The Show is both a logical extension of the sound heard on The Green Room but also a step up and clear progression for the young group. “The sound of the album is big,” says Cristolph, smiling. “A large percentage of the songs are high-energy and fast paced, like you’re at a live show. It’s like being at a concert right next to those 10-foot speakers: loud and in your face. But in a good way, of course.” Humble yet full of bravado and confidence -- the group, also heavily into fashion with their own burgeoning Nice Look clothing line, released their own line of panties for female fans -- The Niceguys know they have a sound that defies what listeners might expect, and they also know that sound is going to pay dividends in the long run. “In five years I want to have at least three successful albums, tour as much as possible all over the world, and be an established and well respected hip-hop group,” says Free. Now that sounds nice.
http://schedule.sxsw.com/events/event_MS11759

Born and raised in San Francisco's Fillmore District, DaVinci represents a neighborhood long recognized as the city’s center of Black culture. As a product of his environment, DaVinci’s words paint vivid portraits of inner-city themes, gentrification, and life as a young Black male in an ever-declining American landscape. DaVinci's debut album, The Day The Turf Stood Still, has garnered him a great deal of buzz and praise locally and nationwide. Since the release of his album, he has been named HipHopDX's DX Next emcee, named one of [Bay Area radio station] 106.1 Kmel's "Bay Area Freshmen 10," was the first SF artist to ever appear on Shade45 (Soul Assassin's The West Wing Radio) and has been on the national radar with features from premier outlets such as XLR8R, Wax Poetics, Fader, Pitchfork, URB, XXL, SF Weekly, The Smoking Section, 2Dopeboyz, Nah Right, and AllHipHop, among many others.
http://schedule.sxsw.com/events/event_MS14990

Selected as one of 106 KMEL’s Top 10 Freshman Rappers of the Bay Area, 21-year-old San Francisco native Roach Gigz has gone from virtually unknown to one of the hottest artists on the West Coast in just four years. Born and raised in San Francisco, CA, Roach was conceived in Nicaragua during the Contra and Sandinista war. His father was a supporter of the Sandinista Liberation Front and has never lived in the United States but Roach’s mom moved to San Francisco and raised him as a single mother. Growing up in such a racially diverse city directly affected Roach’s approach to his art. “If people have only heard my music and know my name but have never seen me, they are surprised to find out I’m not Black,” says Roach. “From my experience growing up, race was never really an issue. I’m just an authentic and cool dude and I think my fans see that. It ain’t about race. It’s about the music.” Roach Gigz first gained local fame with close friend Lil 4Tay as one half of the group Bitch I Go (B.I.G.). The duo made some noise with the hyphy hit song “I Get It.” However, with no official album or mixtape to tide the fans over things started slowing down for B.I.G. in 2008 and Roach decided to focus more on his solo career. It was 2009’s Buckets and Booty Calls mixtape that truly introduced Roach’s face and Frisco swagger to the masses. The conceptual mixtape, released last September and inspired by real was both funny and filled with good music. “I got in this big car accident after a show and my scraper got totaled. After that I bought a bucket Ford Tempo for $100 off my cousin. I was driving in that for like two months, and one night the idea just popped in my head.” The mixtape containing several examples of what Roach calls his “late night pussy expeditions,” took off overnight spawning the Northern California anthem “My Bitch Look Better.” The mixtape to date has been downloaded over 45,000 times. In May of 2010 Roach followed Buckets and Booty Calls with the lyrically superior Roachy Balboa mixtape. Where B &B was just a small part of his story, Balboa, both a play on fictitious boxer Rocky Balboa and Roach’s own Italian heritage, gave a deeper glimpse into his potential as an artist. “I put all my money into renting this tiny empty room and built my own little studio. I stayed in that bitch all the time, making music and just training to get better. Roachy Balboa is just the first preview of that,” says Gigz. “I feel like I’m growing how anybody should if their doing what they love and putting their all into being the best they possibly be at. I’m not there yet, but I’m on my way.” Balboa has already exceeded its predecessor’s numbers in listens and downloads in just a fraction of the time. With two successful mixtapes under his belt Roach is currently preparing his debut album, tentatively titled Therapy Sessions, which is scheduled to be released this fall. The album is shaping up to be a very personal one. Roach says the music will touch on the ups and downs of his life from the struggles he’s been through growing up in the Bay to the birth of his newborn son. “I’ve seen the hunger in his eyes since day one,” says Mistah F.A.B. “With the proper support he may get his chance to be the new voice of the modern day Bay Area.” With his unconventional style and undeniable charisma it is only a matter of time before the rest of the world feels the same way.
http://schedule.sxsw.com/events/event_MS14992

Faith is something that MC, producer and Interdependent Media (iM) owner Evan “TRUTHLiVE” Phillips understands. The name “TRUTHLiVE” came from a traumatic teen experience that saw Phillips undergo three heart surgeries to control his rare condition of supraventricular tachycardia. Amidst a lot of doubt on his life, the artist and entrepreneur says he had an epiphany on how to devote his time on earth. “Live truth. Truth life,” he says were the exact words of the awakening. Thus, TRUTHLiVE. Often misleading to new listeners, he corrects “I’m not proclaiming myself as the truth, end-all be-all, it’s more of a reminder to myself as how to conduct my life, and my career.” The MC best summates, “My music is my truth and my life.” That meaningful music arrives in the form of Patience, TRUTHLiVE’s debut release, coming in the spring of this year. TRUTHLiVE’s career began as what he deems a “bedroom DJ and garage MC” for over a decade. Developing through the battle circuit, TRUTHLiVE surprised his peers as the DJ snuck behind a microphone and made his writing and rapping abilities known to the public. Besides just school friends, TRUTHLiVE joined Shaya and Eyezon (both iM artists today) in selling homemade CDs hand-to-hand in Southern California. “That’s what made me drop out of college, that’s what made me go for my dream,” says the artist today of his ventures in being a professional musician at the grassroots level. In the years since, the emcee revisited his youth as a DJ and developed a sense for production. Having moved back to the northern part of the state, TRUTHLiVE performed frequently, sharing stages with Common, Murs and Hieroglyphics. Now a complete artist, after years of dedicated fine-tuning, “The whole thing has been a growing process to get it to the point where it was something that was totally me, still raw, but more mature and polished,” he says of his arrival Patience. “We hold the late ‘90s underground hip-hop era in such high regard, that we never really left that era. We’re still living that golden era of independent hip-hop. My own path has just taken so long to get to this path that I’m on now. That’s us paying dues, and I’m still paying dues,” says TRUTHLiVE about his direction and inspiration, as well his respect for the culture. With nearly 100 songs completed for the album, the work also lends itself for listeners to track that process with a promotional EP to set-up for the album. It is through this free, digitally-available release that TRUTHLiVE will showcase his production skills. This also allows fans to process the emcee’s unique approach while he locks in a date among his roster of artists. As longtime fans and new followers get acquainted through the EP, The Unlearning features production from respected names including The Are (K-Otix, EMC), Tha Bizness (50 Cent, Lil Wayne), Vitamin D (Redman, Lifesavas) and J-Zone (Biz Markie, Cage, Incredibad). “They’re better at it than I am,” admits TRUTHLiVE, “and my emceeing is stronger my production, and I don’t really have time to hone that craft when I’m doing all this other stuff.” There is much to be done for TRUTHLiVE and iM, but with a unique mission and perspective, both entities breathe truth and life to where it’s so sorely lacking. For his retail release Patience he says “It was more of a natural evolution, it wasn’t necessarily a concept record that I set out to do.” The title Patience is simple taken from the length of time it took to complete the project. With the album entirely produced by Jake One he feels fortunate to work with the producer of his caliber.
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Critical Praise for Moe Green: Selected as a member of 106 KMEL's Freshmen Class of 2010 (the biggest Bay Area hip-hop station). The rap game is overflowing with aspiring new MCs, all crammed into a single ring fighting for that lone heavyweight title. One particular competitor who has fully dedicated himself to the good fight is 22-year old Moe Green from Vallejo, California. His debut album, Rocky Maivia: Non-Title Match, is titled after Dwayne "The Rock" Johnson’s first professional ring name and perfectly embodies Moe's place in today’s hip-hop circuit – the newcomer who is one day going to hold the championship belt. “The idea behind Rocky Maivia is the come up,” says Moe. “It’s about stepping into the league with the pros and aiming for the stars.” While his parents spun old school funk, jazz, and, occasionally, hip-hop, Moe's early musical influences stemmed from whatever was popular at the time, not necessarily what hip-hop purists lauded. As part of the TRL generation, Moe incorporates elements of pop music, often draping his impressive verses over the kind of beats most people wouldn’t assume an up-and-coming hip-hop artist would use. Moe’s sound beds range from sparse and blunted (“Ride”) to jazzy (“KIM”), and he’s just as comfortable singing hooks over driving soul-tinged beats (“Search Party”) as he is rapping over electro-house artist Kavinsky’s 80’s soundtrack-like sounds (bonus track “Lights, Camera, Action”) and a drippy, spacey dubstep version of synthpop duo La Roux’s “In The Kill” (“Going For The Kill”). But to this day, Moe’s main source of inspiration comes from his hometown of Vallejo. Tucked away in the San Francisco Bay Area, Vallejo is well documented as the birthplace of rap legends E-40 and Mac Dre, but despite the city's recognition as a hip-hop hot spot, Vallejo is suffering its own fair share of hardships. In 2008, Moe’s hometown became the largest city in the state to file for bankruptcy and continues to struggle from financial adversity. The domino effect of these events has directly affected the morale of his community and motivates Moe to create sincere music that inspires his peers. “After hearing my music, I want people to recognize me as somebody they can relate to because I make honest music,” says Moe who cites the track "Day Dreamer" featuring Ragen Fykes as an example of the honest, everyday emotions expressed in his music. “Everybody hates being broke, hates their job, goes through relationship problems, wants dope shoes and clothes, has guilty pleasures and that's what I rap about.” Like any fighter, years of training, dedication, and discipline are required to claim the top spot. Moe has been training for this his entire life. Having competed in speech and poetry meets growing up, Moe found himself genuinely attracted to the creative freedom music imparted early in his life, even writing rhymes in kindergarten with his childhood best friend and E-40’s son, Droop-E. What initially began as a childhood hobby progressed into a full-blown passion when Moe resolved to make music his life. “I decided to make a career out of music when I realized I wanted to find something to do with my life that didn’t make me hate waking up in the morning,” says Moe who, on the somber "Emerald City," raps about his desire to look back on life happy with his decisions and the conflicts encountered on the road to success. “Growing up, my mom always said she should have been in Hollywood. I don’t want to look back on my life someday and wonder ‘What if’?' I’m ready to fight for my place in hip-hop.” Listeners of Rocky Maiva can expect to hear tales from a young man from a hard hit city trying to find his way in the world the best he can. On growing from Rocky Maivia to one day standing amongst the greats, Moe says, “I need to win a couple belts first. I have to prove that I have the skill to do that and this album is like my wrestling debut.” And so, the journey begins.
http://schedule.sxsw.com/events/event_MS13939

My music is the sum total of my experiences, wrought with humor, pain,love, hope, fear and angst. Filtered through hip hop and punk sensibilities, performed at 150% of my being, TheCaesarz and I seek to capture minds 1 cell at a time. We seek to leave stages thoroughly wrecked. A synaptic overload of afropunk/hiphop/funk/rock/psychodiscobilly. Whichever box you seek to put him in, he explodes out of. Kokayi (Carl Walker) is a Grammy-nominated singer/songwriter, emcee, producer and educator. Pronounced 'Ko-Kah-Yee' (or KOKE for short), this Washington D.C. native takes his name from the Swahili word meaning 'to summon the people'. Musically self-sufficient and versatile in ways that are reserved for upper-echelon talents, he produces his own music, writes his own rhymes, sings from the gut, and is self-taught on several instruments. On his own, he's already independently released his debut album Mass Instructions (2007), toured the world and snagged the aforementioned 2009 Grammy-nod for Best Urban/Alternative Performance for his work as a vocalist and co-producer on 'Lovin' You (Music)' by Ethiopian singer Wayna. He also produced Wayna's 'Moonlight Rendezvous' which spent 7 consecutive weeks on Billboard's Top 10 R&B/Hip Hop Singles & 100 Hot Singles Sales charts, peaking at #3 and #12 respectively. What's equally impressive, is his prolific output. Kokayi keeps busy on multiple fronts with several side-projects – as one half of the electro-hop duo, Dastardly (with DJ/Producer Sharkey), and his long-time Afropunk outfit, TheCaesarz – each of which has self-released albums to much critical acclaim. He's produced the MTV Jams staple, 'Jet Setter' for fellow D.C. artist Tabi Bonney and created the theme to BET's 'How I'm Living', as well as music for various commercials on MTV/Nickelodeon. He's also collaborated with Miss D.C. pageant-winner and Goodwill of Greater Washington to write and produce 'Dream Without Boundaries'; the proceeds of which go directly to Goodwill. Currently his album, Robots & Dinosaurs has garnered critical acclaim, been labeled as genre bending, given a 93/100 from the tastemakers at Okayplayer, and his video for lead single 'RoxTar' won 'The Freshmen' contest for MTVU and is currently in rotation on the network. 'Believe It', a song featured on the album, was licensed for the short film, A l'arrach© directed by Paul Manate, screened at the Cannes Film Festival and broadcast throughout France on Canal+. With this album, Kokayi has managed to create a work that highlights the spaces between the extremes of modern pop, rock & hip hop and subsequently delete them. With his high level of productivity, quality music, electric live performances – Kokayi goes a long way to prove his self-proclaimed mantra of 'Less Talk, More Walk'.
http://schedule.sxsw.com/events/event_MS11412

As the buzz of many of hip hop’s young leaders-to-be evolves from loud commotion into hushed whispers, Black Milk has stayed relevant by remaining focused on creating music that endures. He’s achieved recognition from fans, critics, and his peers as one of the best producers around, and when coupling that talent with his sharp lyricism and stylish delivery as an emcee, Black has proven to be one of the most vital hip hop artists of his generation. This is already clear to those who heard his 2008 album "Tronic," which capped a successful and astonishingly prolific year (in which he also released collaborative full-length releases with rappers Bishop Lamont and Fat Ray, as well as producing the acclaimed solo album from Slum Village’s Elzhi). Tronic showcased a growth in production technique that few expected from a beatmaker best-known for chopping samples, as his signature drums were now peppered with live instrumentation and richer arrangements. 2009 looked to be another year of tremendous progress for Black Milk’s career. After touring Europe with his newly-formed band, consisting of drummer Daru Jones and keyboardist/singer AB, he returned home to Detroit ready to launch efforts on his next album. The year took an unexpected turn as his mentor Baatin of Slum Village–who Black credits with launching his professional career–suddenly passed away. Only weeks later, Black’s manager HexMurda fell into a coma and was paralyzed with a rare pontine stroke. The quick succession of these events eerily mirrored the abrupt deaths of Detroit legends J Dilla and Proof in 2006, stunning the close-knit hip hop community in the Motor City. Things only got worse for Black as he dealt with additional deaths within his family over the next few months. 2009 had become the most difficult year of his life. As the year came to a close, he returned to recording, and announced that his next release would be audaciously titled "Album of the Year." Black quickly explained that the title was referring to the course of events from the previous 12 months. Many fans and critics discounted that explanation, expressing either excitement or objection that he was brashly proclaiming that his work would be the year’s best before the year had even started. Far from a melancholic work, "Album of the Year" once again sees Black Milk working to break new ground in hip hop production, and to both refine and redefine his sound. While continuing to construct the skeletons of the tracks on his same trusted AKAI MPC-2000 XL that he’s been using for years, he now employs a team of studio musicians and session players to add new layers of fat and muscle to his songs, with most of the players’ parts composed by the artist himself. A broad range of influence shines through in the tracks, with tinges of rock, reggae, and afrobeat joining his trademark hip hop bangers. Few artists in hip hop are able to create music that can rise above expectations and defy categorization. Black Milk welcomes the challenge to accomplish what others cannot, and he’s doing it not only with his acclaimed recordings but also with an electrifying live show. Performing with Daru Jones and AB, the tracks are taken to another level on stage. Both "Album of the Year" and exciting live performances across the globe are sure to elevate Black Milk that much closer to the star status many have predicted.
http://schedule.sxsw.com/events/event_MS14542

Who the Hell are the Biters Who the hell are the Biters? To start with, they are a four-piece band based in Atlanta, GA, with the exception of one member who lives in Baltimore. The members of the band are; Tuk, formally of the Heart Attacks, on guitar and lead vox, Matt (guitar, background vox), Travis (bass, background vox) and Joey (drums. He ain’t Phil Collins). Matt, the newest member, is the one who lives in Baltimore for those paying attention. The band came together with the addition of Matt in November of 2009 and hit the ground running. The band began rehearsals as the Biters, with their first show that month. From there, they started making quick noise in the Atlanta music scene. Rising to become one of the top bands in the city. Their record label, Underrated Records, also based in Atlanta, has a series of EPs planned for the band in 2010. Songs like the debut EP’s lead single and brilliantly fun “Hang Around” to “So Cheap, So Deadly” show the beginnings of the bands breadth all the while still sounding like the same band. Just like the Biters influences: Cheap Trick, Sweet, T-Rex, and Big Star all five of the songs on the EP contain lots of harmonies and strong chorus’ and a concerted effort to sound as good as possible. Something the band feels is lacking in so much of modern day underground rock. The music does not need to be polished spit-shine clean, but it should always sound as good as possible otherwise what’s the point. The lyrics, while seemingly innocent, actually may imply something more sinister; a really good time either going on or already had. The listeners get to choose and find out for themselves. In addition to the Biters, Tuk is a part of a gang called the Hate City Rockers. This benevolent crew puts together great shows in Atlanta and is working on a follow up to the successful “Now Dig This” video series. The idea is to bring back the rock shows (think Old Grey Whistle Test and Top Of The Pops), from the 60’s and 70’s. The first installment of “Now Dig This”, which featured a select group of 5 Atlanta bands shot in the winter of 2010, has spread like wildfire by word of mouth. In between recording, the band has hit the road, bringing their fantastic live show to the masses and building a solid, faithful, supportive and strong fan base. This is another area in which the Biters work very hard; play great shows. The band wants to be able to deliver each song live just as they do on record, but with even more energy and heart. The kind of energy only a live show can allow. This idea, while not new but somewhat forgotten, has worked very well for the four guys. Fans love it, as do many of those who have never seen them and are not familiar with the Biters. After one show or listen, the Biters are hard to forget.
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Banner Pilot is a young punk rock quartet from Minneapolis that formed in 2005 and used to jokingly describe their band as, “if Jawbreaker, The Lawrence Arms, and Alkaline Trio got in a knife fight and Jawbreaker won… but just barely.” Hell, that’s actually a pretty good description! But that would make for a pretty bunk band bio and it doesn’t quite sum it all up. Any time you have a band made up of hard-drinking bookworms, you just know there’s a good story and some hijinx. First and foremost, they just unleashed Collapser unto the world. It’s their first for the San Francisco punk label, Fat Wreck Chords. But before we get to that stuff, a brief history lesson and some insights… There’s a theory going around that attempts to explain why so many great bands come from Minneapolis. It suggests that the sub-zero Winter temperatures leave young Minnesotans with few options when it comes to activities and that the bitter cold compels them to hunker down and create art in basements and practice spaces. For those of you unfamiliar with the extreme weather we’re referring to, let’s just say that all the analogies involving witch’s teats and brass bras can’t possibly do it justice. It’s fuckin’ cold in the Twin Cities. And it sucks. But that never seemed to bother any of the locals, and Minneapolis is known as an overachiever when it comes to music scenes. We’re not just talking about the Replacements and Prince; there’s a lot of great indie bands, punk bands, and even an especially vibrant underground hip hop scene. Thus explains the urgency and drive behind Banner Pilot; and like their contemporaries, the intensity of their music rivals the harsh conditions. Whatever doesn’t kills these bands, seemingly makes them stronger. Before the band caught Fat Mike’s interest, they actually released a previous full length with NYC’s Go-Kart Records that put them on the map, so Banner Pilot didn’t come out of nowhere. Half of the band emerged from the ashes of a Minneapolis outfit known as Rivethead, who were the train-hopping, dumpster-diving darlings of the basement scene. Bassist Nate also moonlights as a member of Off With Their Heads and has played on all their records. To put it simply, their punk cred is not in question. But that kind of stuff is not a concern of Banner Pilot’s and never has been—they’re a band that does things for the right reasons and their sincere, punchy punk anthems are proof of that. They’re a truly Midwestern band in that respect: earnest, cerebrial, and passionate.
http://schedule.sxsw.com/events/event_MS12324

Punk rock used to be about haggard road warriors. Before all the breakdowns and flat irons, there were busted transmissions and collect calls home. The Flatliners grew up believing in the later and rejecting the former, and after seven years playing together, they're unleashing Cavalcade, their third full-length record and an epic sonic testament to the life they've chosen. Over the last four years, the Flatliners have spent almost thirty months in vans, dive bars, and concert halls across North America, Europe, and Japan, building up a dedicated following with a sound that mixes the endless fury of '90s skate punk with the nuanced, intelligent songwriting of classic post-punks like the Replacements and Hot Water Music. After releasing the ska-punk tinged Destroy to Create (Union Label Group) in 2005, the band evolved into a harsh melodic machine with 2007's The Great Awake (Fat Wreck Chords), completing their transition into a vital modern punk unit with the Cynics 7" (Fat Wreck Chords) in late 2009. For Cavalcade, the Flatliners once again teamed up with long-time producer and friend Steve Rizun, recording sporadically between tours in their hometown of Toronto over the course of 2009. Seeking to immortalize the last year of their lives on the road, the end result is easily the band's finest hour; from the thrashy immediacy of "The Calming Collection" to the dub-influenced "He Was A Jazzman", it's the sound of a band hitting their stride musically and finding their voice lyrically, exploring the idea of unity through disconnectedness, of positivity in uncertain times. Driving home the theme are the numerous guest appearances on the record: members of Cancer Bats, A Wilhelm Scream, Dillinger Four, The Snips, Junior Battles, Permanent Bastards, and the Expos all contributed to Cavalcade. Add to that the presence of veteran punk Fat Mike, who flew up to jam with the band in November of 2009, earning an additional production credit and making one of the band's childhood dreams come true. They've grown up on record and in front of a crowd of like-minded punks. They've made sacrifices to keep the wheels of their van on the road, and Cavalcade is the reward. It really is, as the band says, "a call to arms to all who travel throughout the world on the wings of their creativity."
http://schedule.sxsw.com/events/event_MS13668

Hailing fro San Francisco, Dead To Me have graced the music world with two LPs(Cuban Ballerina 2006, African Elephnats 2010)and one EP(Little Brother 2008) on the legendary Fat Wreck Chords. While one might expect to hear the typical fast beats with snotty immature lyrics and bro dude attitude of some of their label mates, DTM is a band that takes great pride in being an original sounding band with well thought out lyrics ranging from political to personal, sad to hopeful, and pissed off to posi. These "old soul" punks get more inspiration from books and the multicultural spirit that permeates the San Francisco streets than they do from their punk rock contemporaries. With sounds ranging from straight forward punk and indie rock, to reggae and 90's grunge Dead To Me has always kept fans guessing and anxious to hear what they will do next. In a scene chock full of bands that choose to play it safe and regurgitate tried and true riffs, Dead To Me dares to explore new ground on every release and insist on pushing themselves and their music to achieve consistent originality and constant relevance. Having survived a couple of line up changes, the newest formation is here to stay and the punk scene is better for it.
http://schedule.sxsw.com/events/event_MS14259

For those that aren’t familiar with them (frankly, you should be ashamed of your self), Screeching Weasel have been a stalwart of the pop-punk scene for 25 years. Back in ’86 they took up the Ramones’ torch and have since created a bonfire. With legions of dedicated fans and a whole slew of acclaimed releases under their belt Screeching Weasel have firmly entrenched themselves as living legends in the punk rock world. Not satisfied to rest on their laurels, the band recently reformed and completed their first new material in 11 years, First World Manifesto. Comprised of 14 tracks, First World Manifesto has all the hallmarks of an instant Weasel classic. From the short fast punk rock standards bearing Ben’s trademark ire (this time directed at message board tyrants, scenesters, and blind followers) to the traditional mid-tempo girl oriented songs, it’s all in there. Musically, First World Manifesto delivers on expectations with their emblematic guitar driven sound ringing throughout, due in no small part to the return of famed guitarist Dan Vapid. Additionally, they enlisted Mike Kennerty (All-American Rejects) to take the reins as producer, and threw in some backing vocals by Dr. Frank (Mr. T Experience) and Joe Queer (The Queers). First World Manifesto is the masterpiece that Weasel fans have been dreaming about for the past decade of silence.
http://schedule.sxsw.com/events/event_MS12355

JOEY CAPE On Joey Cape’s debut full-length solo album Bridge, he cuts the sonic flowers that potentially would have come to fruition as his band Lagwagon’s punk anthems and presents them in a more subtle state; as bold and vibrant as they are fragile and clinging to life. Written, performed, and recorded by Cape himself at his home studio (The Crank Lab), Bridge is the glorious outcome of two years of false starts, fatal hard drives, and possibly a lost mind. Equal parts solo record and labor of love in the truest sense. Cape on his solo experience, “Sitting alone in a room for hours on end brings out true expression; either that or insanity!” Drawing inspiration from the candle lit emotion of Kill Rock Stars era Elliott Smith and an upbringing steeped in acoustic acts such as Simon & Garfunkel and Cat Stevens; Cape’s acoustic efforts stand up on their own and finally introduce him as a promising addition to the pantheon of great American singer-songwriters. Pulling up his roots from the tried and true genre he helped establish and nurture over the past 20 years as front man for influential modern punk pioneers Lagwagon; Cape’s work is apparently not even close to being finished. As he digs into this new landscape a fresh sensibility is revealed that’s been covered in loud fast and stunted by preconceived notions for far too long. Cape says, “Both (punk and acoustic music) share certain intensity and integrity. Dynamically, they are very different…but they are similar in that they are both very honest approaches.” Joey Cape has always been drawn to diversity. His compulsion to try new things is evident in the side-projects he’s done along the way: the experimental indie-rock of Bad Astronaut, all-star party/cover band Me First & the Gimme Gimmes, power-pop combo The Playing Favorites and his work as a producer for bands such as The Ataris and Nerf Herder. “I am a musician, I don’t have that gang-mentality. I make music and life is short. I want to create as much as possible before I lose my muse”, says Cape. While he remains dedicated to each of his projects, Cape is that rare artist who seems to be able to move with diplomatic immunity between contrasting genres. His sheer refusal to be held captive by regulation and expectation is, after all, punk at its most basic premise. Bridge may simultaneously be the most AND least punk record of his career. Cape finishes, “You definitely get a different insight into the songwriter on an acoustic recording… I think most people who enjoy what I have done will appreciate my acoustic recordings.” Bio written by: Marko DeSantis, July 2008 *Note: quotes taken from a Joey Cape interview for Paradigm Magazine
http://schedule.sxsw.com/events/event_MS14249

This stripped down, guttural sludge-doom band from Richmond, VA formed in 2005 and has independently released an EP, The Kingdom, as well as a full-length album Sigillum Luciferi via Forcefield Records. The band has recently written the follow-up to Sigillum Luciferi and has been working on the album with producer Sanford Parker. The new full-length, titled 'Ritual Abuse', was released Fall 2010 on Relapse Records. Over the past 5 years they have played everywhere from New York City to Austin, TX to Seattle, WA and opened for headlining acts such as Pentagram and Trouble.
http://schedule.sxsw.com/events/event_MS13907

Brooklyn post-rock/metal band PRIMITIVE WEAPONS has signed to NYC’s Shinebox Recordings for the release of its debut EP in early 2011. The group features in its ranks ex-members of Milhouse, Error Type 11, Mind Over Matter, Chariots, Instruction, Milagro and Aeschylus and “bonds the American tradition of pointless art with the ecstatic nature of religious ceremony to provide a new aural ritual for the bored."
http://schedule.sxsw.com/events/event_MS13991

A dark, enlightening foresight into the future of humankind dictated by singer/songwriter Nathan Opposition. Ancient VVisdom was founded in Austin, TX in late 2009 with the order consisting of Nathan Opposition (ex-integrity drummer 2005-2010), Justin 'Ribs' Mason (iron age bassist) on second acoustic guitar, and Nathan's brother, Michael Jochum (ex-integrity guitarist 2003-2010) on electric guitar. In 2010, they recorded and released a split 12″ EP with Charles Manson entitled 'Inner Earth Inferno' (Withdrawal Records), which garnished praise from critics and cultists alike. The band spent the rest of the year sharpening their blackened craft, using acoustic guitars to give the music an organic connection to the nefarious rites they beget. Writing well over an albums-worth of material, they chose the most appropriate songs for their debut LP ' a godlike inferno' to record at The Bubble, a local, vvorld renowned studio in Austin, TX. For the recording , they enlisted additional instrumentation by Alex Hughes (Hatred Surge, Iron Age) to play the bowed stand-up bass, Wade Allison (Iron Age) machete percussion and guest guitar lead on 'lost civilization', Chase VVarlow on bamboo percussion and Jason Buntz (engineer and co-producer) on select guitar and synth. Not unlike early death rock and neo-folkore sound, Ancient VVisdom incorporates electric guitar effects, synth sounds, vocal harmonies and abstract percussion to create a deeper, ethereal quality to their minimalist arranagements. Nathan's powerfully honest voice is complimented by lyrics ranging from mysteries of the occult, paganism, satanic philosophy, and forbidden knowledge. In 2011 'A Godlike Inferno' will be released, as if commanded by the dark one himself. Written by Jason Tarpey and Nathan Opposition
http://schedule.sxsw.com/events/event_MS13436

We’ve got something heavy here, man. The incarnation of Brooklyn, NY’s Naam manifests a signature brand of super-sonic and ultimately mesmerizing heavy psychedelia. Trance-like and punishing at times, this trio of psychonauts (John Bundy – bass, vocals / Ryan Lugar – guitar, vocals / Eli Pizzuto – drums) mold elements of classic psychedelia and prog with modern elements of jam-heavy bliss and apocalyptic amplitude. Naam’s self-titled debut is more so an aural-intoxicating odyssey than an album. Recorded on a 100-acre farm in upstate New York, Naam manages to capture an elemental sound, surfacing the hidden wisdoms of the forest and the fields while capturing the mysticism of the night sky. In its increasingly dark and sinister progression, the album depicts an unholy spiritual journey in the search for a higher plane of enlightenment. Naam delivers their deafening sermon to bring a new dawn for all civilization. The vast seas cannot drown Them, the darkest caverns cannot conceal Them, They will conquer insurmountable foes. They are war, They are peace, They are time and space, They are infinite, They are Naam. Naam's debut record came out in 2009 on Tee Pee Records. They are currently writing for their next 7" and record.
http://schedule.sxsw.com/events/event_MS12511

They've been called doomcore, sludge and stoner rock, survived line-up shuffles, label hassles and a short-lived split. And after 23 years of creating some of the most corrosive, vile music known to man, EyeHateGod still hasn't lost the piss and vinegar that fueled them back in '88. .. ..
http://schedule.sxsw.com/events/event_MS14153