Austin Sound

“There’s too many artists, too much hype and not enough genius.”

Those lines are taken from the bridge of the opening track on The Black and White Years’ latest release Patterns, and it seems to quantify every notion that contemporary skeptics have about today’s musical climate. Bands get hyped and they fizzle out after a descent debut only to end up swallowing Soco-lime shots at the end of the bar in the Brooklyn Bowl like Neon Indian is probably doing right now. (Just kidding NI, I love you.) The odds of success in today’s indie monsoon are bleak (is anyone really expecting a second great album out of Surfer Blood?) which is why this reviewer finds it strange that Scott Butler, lead “Year”, writer and vocalist, preludes Patterns with such a disclaimer. A jittery confidence can only get you so far in the world of 80’s inspired indie rock, and if Patterns‘ obtuse and deep synth-laden exterior didn’t gleam with such a shiny, well-produced veneer, I doubt Butler would have sounded so bold only a couple of minutes into the band’s second LP.

That Hard Proof – formerly and/or still alternately known as Hardproof Afrobeat – exists, much less released an album, is simply amazing. Consider it: in Austin, most bands with just three or four members probably average single digit gigs for the duration of their careers (if you will). Schedules, lives, outside interests, personal and musical differences — all common and valid reasons for promising bands to splinter. So, what were the odds of a band of nine (credited!) musicians sticking around long enough to record an album of fifteen original funky afrobeat tunes? These guys play in bands as wide ranging as The Calm Blue Sea, the Bruce James Soultet and 100 Flowers and as well traveled as Black Joe Lewis & The Honeybears, yet they somehow found time for Hard Proof. Beyond amazing.

Brian Eno is believed to have once said that “”Only five thousand people ever bought a Velvet Underground album, but every single one of them started a band.” The same sentiment might one day apply for Austin’s The Weird Weeds as well — except that they make their listeners want to make loose concept albums based around harmonious open-field vocals, and indie-prog instrumentals.

Upon a first listen, Help Me Name Melody, the fourth LP from the Weird Weeds and second for local imprint Autobus, continues on in the same way their previous albums played (2008’s I Miss This, and 2006’s Weird Feelings) — polite jam rock that resonates somewhere near the warm fuzzy center Olivia Tremor Control managed to find among the hearts of critics. The Weird Weeds are undecided.

Milo Goes To Austin. Devo’s cancellation certainly didn’t seem all that important the second the Descendents climbed onto the stage. When was the last time people in Austin crowd surfed.. much less crowd walked.. from the back of a park to the front of the stage? “Sour Grapes.” “Suburban Home.” “Silly Girl.” “Clean Sheets.” It was all there. It was a sing along. And it was awesome. And when the band returned for an encore with a cover of Devo’s “Uncontrollable Urge,” it seemed all was set more than right with the fest. Thank you Transmission for finding the absolute best last minute replacement headliner ever.

I’ll openly admit to having been with the Hold Steady since album number one. Having seen them in little bars, big bars, with co-drunks Drive By Truckers, and solo (you are missed, Franz Nicolay) it was hard not to be completely disappointed with their almost-sober album Heaven Is Whenever. But, with a new keyboardist (once again, Franz Nicolay you are missed) and an extra guitarist in tow, the band tried to make amends. The old songs — from “The Swish” to “Stuck Between Stations” — sounded as boozy and trashy as always. The new songs not so much. Fortunately, old songs outnumbered the new songs by a good margin… and when the crowd sung along to “Stay Positive” to close the set, it almost made me forget that entire new album debacle.

Bradford Cox’s Deerhunter have been critical darlings since their 2005 debut Cryptograms. After misfiring with Microcastle, the band stormed back this year with Halcyon Digest. Unfortunately, the beautiful textures of the new songs didn’t quite translate to a dusty field. Rather, the band appeared to be trying to muscle its way through the crowd.. and instead they wound up sounding a bit too much like a derivatively boring arena rock band at times. Nonetheless, when things clicked, they really clicked and showed why they are deserving of all the praise. Let’s just not do this in a field next time.

Holy wow! - why Yelle was sequestered to the small blue stage is beyond us, because that was incredible. Part disco bliss, part sensuous jams, the French chanteuse emerged dressed as some kind of outfit like a feathered bog beast, but soon shed the cloak and quickly upped the rave. Despite the nearly 20 minute delay as they soundchecked to the point of absurdity, and the subsequent much too short set, no one was left un-entranced when Yelle finally did emerge and proceeded to seduce the packed audience while throwing one hell of a party.

Polvo: Indie Rush Metal Rock for the nerds in all dudes. Whatever was going on over at the “Metal” and “Punk” stage didn’t even matter once Polvo started playing. Simply amazing. Heavy and intense but incredibly tight jams from the reunited North Carolina quartet. Even the poem reading Chicago transplant paid rhythmic homage to the boys! So, next year, how about Fun Fun Fun Fest find Chavez and Bottomless Pit and put them on the Orange Stage!?

Suppose it’s great that someone wants to rip off the Breeders, but I’m really not sure why. Best Coast looked, felt, and sounded like the Breeders. Just without the Deal ego… or something. The blogs love ‘em, and I can see why, if you never heard the originals. All said, it’s not that bad.. it’s just not worth this time slot at this festival.

Cults looks like the cast of “Hair” but (thankfully?) clothed. Seriously, so…much…hair! But their music is airy and bright pop, and a nice late addition to the Fun Fun Fun lineup. While “Go Outside” is definitely their best tune, and the New York outfit delivered it quite well as the dust begins to kind of take over here in Waterloo Park, it’s still a bit too early to judge how far Cults will go with the initial buzz they’ve gotten this year. We’re willing to put some money down on them, though.