Doug Van Pelt

SXSW_2007.3 (part one)

Day Three, where are you?
The times and days start to flow together as one big mass of stream of chronology as the late nights and walking around start stacking on top of one another. This day started with a very pleasant interview (for the HM Magazine Podcast) with Dustin Kensrue (Thrice frontman, who has a splendid new solo album that just came out). Lord willing, if the recording levels turn out right, you'll hear this in a future podcast, along with his latest single.



After that I marched downhill for the Paste Magazine shindig at Maggie Mae's. Their whirligig was fantastic, as juicy smoked BBQ brisket, potato salad, chicken was piled high. Before grabbing a plate I went to the restroom to freshen up and I noticed that voice as I walked past the stage. It was the lovely Rosie Thomas crooning away with Denison Witmer on a couple chairs atop a small stage that would present some killer music for this packed and getting larger by the hour party. Rosie was reading lyrics from a notepad during the first song, accompaning herself, along with Denison, on acoustic guitars. Her beautiful voice filled the club all the way to the balcony overlooking the club upstairs. Denny Wit sang a lead song and they both harmonized on "Carry The Weight." What a treat.



Eisley played an upbeat set that made them seem more rock than pretty voices, although each harmonized voice was just lush and pristine. They started off with "Beautiful Things" and then followed it with a song off their new album (which should hit sometime in June). It was called "I Could Be There For You" and it was sung with strong harmony vocals. They followed it with "Golly Sandra," which was dedicated to those from Texas (who speak with a slow drawl and actually say words like "golly"). Another new one was called "Invasion," based on a book they'd recently read about an alien invasion. It started off with a cool spacy intro, which could've been coaxed out of the guitar or synth (or both). They closed with another new one, "Many Funerals," which featured a cool call and response vocal approach (as well as their trademark swirling harmonies, albeit a little more straightforward than airy).



The Coldwar Kids played to a bursting-at-the-seems crowd, jamming their rock hard, fast, and passionate. I was reminded of the John Lennon classic tune "Cold Turkey" by the minor guitar sounds and vocals of many of their songs. Now I know why this band is buzzing so loudly. They're really good, melodic, and load some heavy hooks in their songs.



Afterwards I went over to the Austin Convention Center, where Direct TV has set up those studio/stages. The Bat Bar was showcasing The Polyphonic Spree, which I'd never seen live before. I couldn't resist the opportunity to take it in. Boy, what I glad I did. They were a phenomenally wonderful experience. Sporting about 20 people on stage, from six microphone weilding dancer/backup singers to a walking percussionist, a piano player, bass, guitar, someone who played a giant hanging xylophone, a giant stringed harp, and about six other instruments I can't remember. It was a memorable and wonderful thing to experience. Think of all the best moments from Pink Floyd's The Wall (you know, those songs you'll want to sing along to, minus the progressive jamming) ... with a little bit of that summertime fun of The Beach Boys. Bombastic, sweet cherry pop, and feel-good lymerics are the easiest way to describe this thing. Every note seems to be searching for joy. With just a touch of over-the-topness in grandeous terms (like a symphonic Queen rock opera, maybe), these songs were extremely good. I now consider myself a fan.




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