Doug Van Pelt

SXSW_2007.2

Day 2 saw me trying to rise up early in vain, instead saying, "To heck with catching that 11am movie on Kurt Cobain. Instead I drove in late and got involved in the "good parking lots that take credit cards are full" and the "gridlock" traffic situations. After spending 45 minutes driving in giant loops in and around downtown Austin, my friend Tony Shore (the doctor) bailed me out with a wad of cash that I threw at the parking garage gate keeper as I sped up the ramp to the ninth floor. We both knew that, at 4:35 in the afternoon, all the food from the 2-5pm SPV Records and Metal Maniacs Magazine party would be long gone -- only leaving us the smell of good Texas (Iron Works) BBQ in the air over the empty food trays. Much to our surprise, though, the spreads were full and dripping with flavor. Score one for the metal label.



As we walked outside, we noticed a cool looking band all clad in white jumpsuits (Colourmusic) playing some harmonized smart rock. On the schedule was After Eight, a talented band I'd hoped to see. Little did I know that they were playing their hearts out next door as I stuffed my face with potato salad and beef brisket. (A special "I'm sorry" goes out to all the vegans that might read this).



The first show I caught Thursday night was one Sarah Kelly, who was performing at the Ameoba Music showcase about a mile east of downtown Austin. She belted out tunes that showed off why someone would handpick her from the millions of musical talents out there. She's got a set of pipes that might rival a young Janis Joplin, and she's even got moppy long hair to boot. While competing with a screamo band not too far away (whose sound bled over during each between-song pause), Miss Kelly introduced her last song with: "This is about as much of my heart as I can put into a song." She certainly let it fly. A sweet sounding violin and acoustic guitar and drums accompanied her on the piano.



After trekking on foot from East Austin all the way past Congress Avenue just to duck into the Viper Room in Austin party for a can of my favorite energy drink. You see, Monster Energy Drink was one of the sponsors. It was funny, because a zealous and angry bouncer destined for prime time was guarding the door. I had thought it was a free party instead of one of these "invitation only" affairs. After standing in the roped-off line, thinking my plans were dashed, I saw someone with a snake-like laminate flash it in front of this bouncer guy. I recognized the logo and thought, 'I got one of those in the mail.' After rifling through my backpack, I found it and was inside (only after having to wave my driver's license and prove that I was over 21, haha -- that makes an old guy feel good). Once inside I noticed that I was in coolsville. This was the "in" place to be (or so thought all the black-clad beautiful people inside). It was wall-to-wall with people "mingling" and looking around at each person in the room, sizing everyone up for a game of "values clarification" of another kind. The arrogance was so thick in the place, it was hard to walk through. People were dressed in rock and roll garb as if they were living their "seen to be seen" dreams in Hollywood, California. After making the rounds, looking for an iced tub of the blue Monster Energy Drink, I sauntered up to the bar and asked if they were serving it. He popped one open and handed it to me and said, "That'll be three bucks." Funny thing is I had spent my last two dollars in cash to help split a cab fair with a friend earlier, so I handed the drink back to the bartender and left that alien nation of a club scene behind. I felt free again once out on the sidewalk, stepping around a silicon-enhanced rock chick giving the bouncer a big "won't you let me in now" hug.
Ugh!



Mute Math played a pretty small club with a tiny stage. The place was packed when they went on, nailing their 11 pm set time start on the button, flying through songs that have been staples of their concerts for the past year -- "Typical," "Chaos," "We All Break The Same" and "Reset." Like any really good and interesting band, there's always something different to notice. I had never picked up on Paul Meaney using his voice as an instrument before. His "ah ahs" would fill the air just like any of the other members of the band will dress up and add rolls and flair to parts of songs. It was pretty cool to be about six inches from the flying elbows, drumsticks, and sweat from their drummer. I had gotten to the club while the previous band was playing and was able to grab one of those "the stage is in my hands" spots. I was afraid my white shirt would get splattered with blood from this guy's stage antics, but I made it through the 45-minute set unscathed.



I stuck around for Lenny's 1am set, which started for them the previous night when their van broke down. The shop they took it into was able to get it up and running by morning, and they drove 17+ hours from Jackson, TN all the way to Austin, arriving just 90 minutes or so prior to their set. They were in the process of earning a stripe or two. They sounded pretty good, with a second guitarist that adds a lot of depth, with chiming leads to accompany the rhythm. Many times, too, he matched the vocal lines (like the song "Something's Gonna Change"). The vocals were not separated from the mix very much, with two speakers acting as the "mains" and standing on poles just 4 feet apart from each other. It didn't provide for much of a stereo effect. The band ended with "Rapture," making for a solid but not spectacular SXSW showing.




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