Lindsey’s SXSW 2014 Rundown

Coachwhips SXSW

Another year of South by Southwest has come and gone.  It was a landmark year for us at AudioFemme, as we hosted our first ever SXSW showcases.  It was certainly a learning experience, to say the least.  Just as we have in years past, we met a wide array of musicians, promoters, industry folks, and music fans from around the world, an experience as enriching as ever.  But networking and seeing as many bands as one can in five days aren’t the only things that go into the SXSW experience.  At its heart is one weird little city redefining the festival experience.  Here’s a rundown of our best moments from Austin, TX.

Most Memorable Performances:

Traams SXSW


The sun doesn’t shine in the UK the way it does in Austin, and the visible sunburn on these three lads made me feel an empathetic sting.  I caught the post-punk trio at El Sapo, a newly-opened hamburguesa joint on Manor Road, hosting showcases curated by Austin local radio station Music For Listeners.  The showcase included performances from Dublin-based noise pop quartet September Girls, Manchester rockers Pins, and Mississippi psych-pop outfit Dead Gaze, all of whom were arresting.  But there was something especially captivating about the sparks flying during Traams’  frenzied performance, with frontman Stu channeling Alec Ounsworth’s frantic wail.  The boys worked up a real sweat blasting everyone with pummeling pop.

Future Islands

The Baltimore synth punk outfit has long had a reputation as a hardworking and talented live band who’ve released some great albums over the last seven years.  Singles is out March 25th on 4AD and the band took to SXSW for their first time ever to showcase the material, resulting in heaps of long-deserved attention.  I caught their triumphant final performance of eight at Impose’s free Longbranch Inn party, and the vibes were stellar.  Lead singer Samuel T. Herring was absolutely brimming with joy, repeatedly stating how good the energy in the room felt, promising to belt it out until his vocal chords gave up.  The crowd loved him back, bouncing up and down to some stellar new songs, pumping fists, crowd surfing, and begging for another jam before the bar closed for the night.  Future Islands obliged with a hushed version of “Little Dreamer” from 2008’s Wave Like Home.

The Wytches

When we previewed “Wire Frame Mattress” we knew that the UK band were not be missed, and the boys did not disappoint.  Blending surf, sludge, and rockabilly elements with a healthy dose of reverb, The Wytches embodied worst-case-scenario teenage angst like we haven’t seen since watching The Craft at sleepovers.


Jon Dwyer reunited his early aughts garage rock group and it felt so good.  Eschewing stages as often as possible, Dwyer & Co. preferred to set up shop in the Austin dust and totally wreck it.  I saw them once at the Castle Face Records showcase (that’s Dwyer’s label, which is set to re-release Coachwhips debut Hands on the Controls this month) and again on Pfluger Pedestrian Bridge, after which Dwyer set off fireworks during Tony Molina’s set.  Dwyer sings into a mic that looks more like a wad of tape, resulting in a scratchy, unintelligible, yet somehow glorious garble, the short songs every bit as good as those from Thee Oh Sees catalogue but faster, looser, and somehow more primal.

Coachwhips SXSW

Wye Oak

Another Baltimore act that’s been around for years, steadily releasing unnoticed but beautiful records, Wye Oak’s folk-inflected synth pop impressed many a South by audience.  Andy Stack did double duty on drums and keys, using one hand to play each simultaneously.  Just think about that for a minute.  Try to mime those motions.  It’s a good deal harder than rubbing your belly while patting your head, but Stack never missed a beat.  Add to that Jenn Wasner’s honeyed voice, and space rock guitar riffs, and you’ve got a template for the galactic anthems of Shriek, the duo’s fourth studio album.  It comes out April 29th on Merge.

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Wye Oak SXSW
photo by @waywaw

Best Venue to Throw a Showcase: The Parish

Our inaugural SXSW showcase was a success!  There’s no way we could thank everyone involved, but extra special thanks go out to eight bands who came from all over the world to play breathtaking sets for us and for our fans:

Wildcat Apollo SXSW

Wildcat Apollo (Austin)

Fenster SXSW

Fenster (Berlin)

Empires SXSW

Empires (Chicago)

Souldout SXSW

Soldout (Brussels)

Jess Williamson SXSW

Jess Williamson (Austin) – check out that bad-ass guitar strap!

Weeknight SXSW

Weeknight (Brooklyn)

Casket Girls SXSW

Casket Girls (Savannah)

Highasakite SXSW

HighasaKite (Norway)

… and CreepStreet for providing goods to give away!

Worst Venue to Throw a Showcase: Upstairs on Trinity

It’s not actual a venue, it’s a wine bar.  After reading the fine print on a very misleading contract, we learned that we’d have to rent an entire soundsystem to even have a show.  We had to hire our own sound guy too.  Even after pulling off both these feats (no easy task considering our out-of-town status), we weren’t allowed to set up until after 7pm, pushing our showcase back an hour.  There weren’t even extension cords at the “venue” so I had to haul ass down 6th to a CVS to purchase whatever they had in stock.  When psych rockers Electric Eye finally took the stage, their unravelling guitars definitely eased my frayed nerves.

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Electric Eye SXSW
Electric Eye

Followed by Cheerleader’s uplifting pop punk, I was starting to feel a little better – until technical difficulties resurfaced.  Live, learn and shrug it all off with some whiskey, that’s what I always say.

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Cheerleader SXSW

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By the time we worked out our sound issues and Samsaya hit the area where a stage might have been in an actual club, I was admittedly wasted, but not enough that I failed to notice how inventive her acoustic set was, featuring musicians from all over the world, and how everyone in attendance – including the bartenders – responded to it.  Leverage Models followed her lead, encouraging some seriously rowdy dancing with their artful antics, only helped by the (still) flowing libations.  I didn’t get any decent pictures of the dance party because of the shitty lighting but also because, you know… libations.  It all ended with me crying alongside I35, unable to get a cab, unidentified cables draped around my neck like someone’s pet python, ’til a random Austinite took pity on us and gave us a lift back to The Enterprise where I passed out in bed still wearing a leather jacket.  We go to pick up our equipment the next day and the venue attempted to overcharge us for an event they had no business booking in the first place and hijacked our rented equipment as collateral while we disputed the bill.  The process of getting it back took up a significant chunk of the rest of the week.  All in all, it presents a gross example of the worst of SXSW profiteering.  But wonderful performances from the bands who played the showcase are what saved the day, so big thanks to them!

Best Random Austin Moment: Salute!

Embattled with the venue from Hell, I was feeling a bit depressed – in part because the show hadn’t gone as planned, we’d inconvenienced Austin friends kind enough to give us rides while juggling insane work schedules, but also because I was missing out on a lot of bands I wanted to check out while going through the whole retracted process.  I smoked some weed a bartender had given me the night before, ate a veggie burrito from Chillitos, and stumbled into The Vortex, a theater/bar in a barn hosting a party that featured Italian bands and a Patrizi’s food truck.  I sat in the sun and took in the sounds of Omosumo, an electronic outfit that could be the lovechild of Led Zeppelin & Daft Punk sent away to boarding school in Palermo.

Runner Up: When Red 7 played The Hold Steady on the soundsystem right before The Hold Steady played

Queerest Showcase: Y’all or Nothing, Presented by Mouthfeel & Young Creature

Listed as a showcase for “not-so-straight shooters” the bill at Cheer-Up Charlies on Saturday night was stacked beginning-to-end with impressive performers, thoughtfully culled from queer scenes in Austin and beyond.  There was a palpable feeling of community and camaraderie in the air and the evening was all about fun.  Gretchen Phillips’ Disco Plague opened the night on the outdoor stage, situated in a white-stone grotto that forms the venue’s patio.  Her improv dance-punk got the entire crowd going.  Meanwhile, performance art duo Hyenaz brought glammed up electro to the inside stage, and it only got crazier from there.  Austinites Mom Jeans‘ quirky pop punk had me beaming; they dedicated songs to John Waters, weed, and Satan.  Leda introduced her band Crooked Bangs with the declaration “I’m a woman, and I don’t know what that means” before proceeding to mesmerize everyone watching with bass playing so nimble I still can’t get over it.  BLXPLTN’s industrial punk-meets-hip-hop vibe is every bit as brutal as Death Grips, their lead single “Stop & Frisk” lambasting the racist practice.  Big Dipper rapped.  Ex Hex rocked.  We deeply regret missing performances by TacocaT and Christeene and Sharon Needles due to some ongoing drama that needed taking care of.  But we wish we could’ve stayed forever.

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Gretchen's Disco Plague SXSW
Gretchen’s Disco Plague


Hyenaz SXSW


Hyenaz SXSW


Mom Jeans SXSW
Mom Jeans


Ex Hex


Band I Saw Most: Amanda X (3 X)

Not because I’m a stalker, just because they got to play early slots on some really rad bills.  They were on point every time.  Hopefully this means a lot more attention for the Philly-based trio in the upcoming year.

Amanda X SXSW

Best SXSW Tradition: Bridge Parties!

Night one I saw Perfect Pussy throw a bass into the Colorado while Meredith Graves wore a sparkly ball gown, followed by bang-up performances by Nothing and Ex-Cult.

Ex-Cult on the Pfluger Pedestrian Bridge

Night two was the aforementioned fireworks display courtesy of John Dwyer while Tony Molina played.  The cops don’t seem to care and I want to be friends with everyone on that bridge forever.

Best Venue for Charging Phones: Cheer Up Charlie’s

Newly inhabiting the former Club DeVille compound as Wonderland has taken over its old East Side location, this is a haven for anyone with a near-dead battery, though Hotel Vegas was a close second.  Both had multiple outlets that were conveniently accessible (rather than behind a bar that forced you to bug your bartender every time you wanted to Instagram something), often times in full view of a stage where bands were playing so you didn’t have to miss the fun.

Worst Venue for Charging Phones: Red 7

Home of Brooklyn Vegan’s day parties, not only was capacity over-policed after Tyler, the Creator incited a riot at Scoot Inn, but Red 7 has a peculiar sparseness that makes finding outlets nearly impossible.  And you couldn’t just hand your phone over to the bartender without paying a $5 charging fee.  A particularly hostile sign on the sound booth discouraged the uncharged masses from inquiring therein.  Now, I know you don’t have to be able to snap a selfie at a show to have a good time.  I was content to simply watch these lovely performances with documenting them.  But ranting and raving about newly discovered bands enriches that fun and hopefully generates some buzz for the artist, which is kind of the whole point of SXSW.  And communicating with friends still waiting in lines outside is pretty paramount, so cell phones at shows count as a necessary evil and everyone kind of has to get used to it.

Best-Kept Secret: Chain-Drive

This little-gay-bar-that-could is hunkered on a quiet street off the main drag of Rainey District.  Met Christeene and Gretchen Phillips and Big Dipper on Tuesday, but the venue hosted out-of-control, unique line-ups every night.

Chain Drive ATX

Most Inflated Price: $6.99 Non-Bank ATM fee at 7th & Red River.

As in, $2 more than non-badgeholder admission to a show steps away at Beerland, where I caught Connections before heading to Hotel Vegas for Forest Swords.

Number of Chase ATMS in the immediate downtown area: 2

That were able to dispense cash: 0

Best Food: Gonzo

Every year I have to stop by Gonzo’s food truck at the East Side Fillin’ Station for a “Pig Roast” – sweet pulled pork topped with provolone, tangy carrot slaw, and spicy brown mustard on Texas toast.  As I ate my annual sammie I literally found myself thinking about how ingenious Texans were for inventing really thick white bread grilled with butter on it.  Austin’s first-ever In-N-Out location was a close second, because a Double Double Animal Style really is a life-changer.

Best Metal Band We Stayed With But Didn’t See Live: Christian Mistress of Portland

They were all very nice but their hair made us jealous.

Christian Mistress

Best Movie We Saw While Charging Phones/Re-Charging Selves At Jackalope: Daughters of Darkness

Best Austinites: It’s a tie!

Jenn from Guitar Center rented us four monitors, two speakers with stands, six fifty foot cables, a sixteen channel mixer, two DI boxes, and two mics with stands within a days notice, and didn’t change us extra when a snafu with the shittiest venue in Austin forced us to keep it longer than we’d planned.  In general she was super understanding, knowledgable, professional, and friendly.

Chris English of Haunted ATX gave us a lift whenever we needed it in a hearse tricked out into a six-seat limo.  We flagged him down out of a cab line a mile long trying to get from the downtown Hilton to the South Lama for Ground Control’s famed Pfluger Pedestrian Bridge punk party.  The TV in the back was playing Dune.  The next night, after another bridge party was announced, we texted him for another ride and he showed within fifteen minutes, giving us the same deal.  Then he came in with an assist in The Great Equipment Rescue of SX2014 when none of our friends were able to help us schlep our equipment from venue to where we were staying, and he gave us a mini-tour of an Austin cemetery because that’s what he normally uses the limo for – haunted tours of Austin.

Best Non-Austinite: Giselle from Vancouver

…who came to our Tuesday showcase.  Bowled over by our line-up, she proclaimed it was one of the best at SXSW and couldn’t understand why anyone would “wait so long to see Jay-Z ” when they could have been partying with us.  Giselle is a little older, probably in her 40’s or maybe early 50’s.  Having recently entered my thirties, I’ve often wondered if I was too old to be so invested in such a youth-centric industry.  Giselle gives zero fucks about that.  She isn’t even in the industry; she told me she “just likes to go to shows”.   She makes trips to Austin each year (as well as to New York for CMJ), travels for other events and festivals and attends shows at home, where she uses her iPhone to snap pics of up-and-coming bands she started finding “when the internet came around and made it easier to discover bands”.  It might be that Giselle is actually myself from the future, sent to the showcase to give me the hope and reassurance I need to keep going.  If that’s so, I’m here to tell you that based on her outfit, normcore will be bigger than ever in fifteen years.

Best Almost-Brushes With Celebrity:

I was invited to go to Willie Nelson’s ranch and was hoping to hang with the country legend, but thanks to the showcase debacle didn’t make the limo.  Annie almost interviewed Debbie Harry of Blondie but the Queen of New Wave rescheduled and switched to over-the phone.

Number of Wrist-bands Accrued: Only one.

A friend said to me, “That’s kinda sad and kinda really amazing.”  But between putting on our own showcases and going to everyone else’s, I didn’t have time to wait around in lines for wristbands, then wait for lines to get into a venue, then wait for lines to get to the patio of the venue where bands were actually performing.  And in what little time I did have, I chose to attend smaller events that lacked the corporate sponsorship necessitating said lines and said wristbands.  So someone else was the one to Instagram Lady Gaga getting puked on; meanwhile I got to see shows unobstructed by big-box advertising that felt way, way more personal and memorable.  For instance: I closed out SXSW at The Owl, a DIY space on the East Side with Eagulls, Tyvek, and Parquet Courts headlining.

Eagulls SXSW
Eagulls at The Owl. Phone died for the last time at SXSW shortly thereafter.

Number of Messages on Thursday morning asking if I was safe:

Lots & lots; truly felt loved. Our hearts go out to those that didn’t get a message back.

An Alphabetical List of Bands I Saw:

Amanda X, BLXPLTN, Big Dipper, Big Ups, Bo Ningen, The Casket Girls, Cheerleader, Coachwhips, Connections, Crooked Bangs, Dead Gaze, Eagulls, Electric Eye, Empires, Ex-Cult, Ex Hex, Far-Out Fangtooth, Fenster, Forest Swords, Future Islands, Gretchen’s Disco Plague, Guerilla Toss, Habibi, HighasaKite, The Hold Steady, Hundred Waters, Hyenaz, Jess Williamson, Juan Wauters, Kishi Bashi, Leverage Models,  Mom Jeans, Nothing, Parquet Courts, Perfect Pussy, Pins, Potty Mouth, Residuels, Samsaya, September Girls, SOLDOUT, STRNGR, Tony Molina, Traams, Tyvek, Vadaat Charigim, Warm Soda, Weeknight, Wild Moccasins, Wildcat Apollo, Wye Oak, The Wytches, Young Magic[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]


fenster Audiofemme

This month’s Band Of The Month is the Berlin quartet Fenster, whose new album we can’t quite get enough of. It comes out March 4th on Morr Music, and is garnering raves already. Be sure to catch these guys on one of their many tour stops (listed below) including a handful of SXSW shows. Here are our thoughts about the elusive German lo-fi group’s forthcoming album, The Pink Caves: International quartet Fensters sophomore collection, The Pink Cavescreates its own reality: self-contained, rich, surreal. Vocals and instrumentation feel entirely synched in their intent, and draw together a lush and layered aesthetic that’s as unspecifically visual as the soundtrack to a David Lynch film. That uniformity makes sense, considering the nuts and bolts of the way the album was put together: the group (Jonathan Jarzyna, JJ Weihl, Rémi Letournelle and Lucas Chantre) laid down the tracks on this album simultaneously, in an East Germany cabin with its wiring rigged to distribute different elements of the recording process over four rooms. So while the album retains all the polish of a studio recording—more polish than many studio recordings, actually—you do get the feeling of togetherness listening to The Pink Cavesas you might expect to find in an especially well-orchestrated live show. I wouldn’t call it spontaneity—on the contrary, every move the group makes in this album is palpably deliberate. However, the music maintains remarkable cohesion throughout. The Pink Caves‘ seamlessness makes it a little difficult to find a point of entry into the album. The world the group imagines is so self-sufficient, it’s hard to locate Fenster in any one era or style. The lyrics, while subtle, feel directed towards high philosophy, and a brief investigation will tell you that The Pink Caves seeks to grapple with an imaginary heaven that is at once both pointless and triumphant for the fact that it exists only in your mind. This idea weaves in and out of the music, but is often buried pretty deep: so closely do the instrumentals parallel this concept of spaciness and alienation that it’s often hard to grasp what the group’s aiming for. Without focus, the music becomes aimless and melts into a swirling, crushed-velvet panorama that’s mesmerizing, but leads to nowhere. The male-female call and response duets go a long way towards humanizing the album. In these sections, The Pink Caves takes on a sweetness that mellows out the stark, albeit beautiful, passages . Although I was too distracted by the gorgeously complex fabrications taking place in opening track “Better Days” and the suavely faraway vocals of “In The Walls” to crave more narrative, when the duet in “Mirrors” showed up, it occurred to me that having a more clearly delineated vocal line structure may be exactly what The Pink Caves is missing. There’s no danger of any listener mistaking Fenster’s musical landscape for ordinary, and there could never be, even if all of the album’s vocals were as accessible as they are on “Mirrors.” Using vocals as a foothold would strengthen the album’s philosophical bent, too: The Pink Caves’ message lies layers deep, like a shadow always turning around a corner before it’s fully in view. Though this contributes to the album’s dystopia, that aesthetic wouldn’t be lost if its foundation were more explicit. In fact, the experience of listening to the album would benefit from having a narrative guide through its dreamworld.  Listen to “Mirrors,” off The Pink Caves, below via Bandcamp: We had the opportunity to chat with Fenster regarding life, love, inspiration and music, of course. Here’s what they had to tell us: AF: Bones is such a different sounding album than The Pink Caves.  While the latter is difficult to assign to any genre, Bones seems to be more folk-pop influenced.  What inspired digressing towards the abstract?

 Bones was our first record, made in a state of pure naive bliss. We had never played a show before and it came from a world that was really all in our heads. I guess it was a record that really reflected that time, the influences we had gathered as individuals and the special chemistry between us and our producer. It was very much a winter record and very much a Berlin record for us. It was made in a basement and recorded with one old Russian ribbon microphone. We wanted to capture the simplicity and dark playfulness of morbid dreams, coupled with the sounds of the city and the sounds of objects we found that inspired us, like shovels and slamming doors. After that record came out and we started touring a lot, our world sort of exploded. Everything we thought we knew was kind of turned upside down, and we encountered so many extremes. We were exposed to so many new places and people and music and we just took it all in I guess, whether it was conscious or subconscious I think the world changed and shaped us both as people and as musicians. When we decided to take a break from touring and compose and record a new album, we found that the influences and instruments we had been inspired by simply changed and instead of trying to recapture that minimal innocence, we embraced this new world we felt emerging, following the different aesthetics we were drawn to, which were maybe more psychedelic and wobbly than before.
 AF: You have New York and Berlin listed as places the band members hail from.  What has been the most rewarding aspect of having those different perspectives?  Do you find your sound changing in relation to the geography you inhabit?
JJ is a born and raised New Yorker, Jonathan is half Polish and from Berlin, Rémi and Lucas are from France and our producer Tadklimp is Greek. I guess the music has benefited from not really belonging to one place although Berlin is a sort of Never Never land at the moment where a lot of different people from different places seem to collide, so Fenster definitely owes its existence to what Berlin is right now. It’s hard to tell if that has really shaped our sound but I guess it always adds some kind of dimension when different cultural references and backgrounds meet.
 AF: Your website is almost as dizzying as your music.  What is the story behind some of that imagery?  The bone-headed dinosaur, the man bent backwards, the religious icons…
The website was made by our friend and collaborator Florian Sänger who embodies a particular kind of understated genius that one rarely encounters. The inspiration for the imagery came out of long afternoons spent in junk shops trolling through crumbling children’s books, medical encyclopedias from the last century and religious propaganda pamphlets. We wanted the website to be an entrance into the world of the album which for us meant a creepy dream logic where Jesus is on street signs and men float through the air. After we handed over the piles of collected materials to Florian, along with some images from our own dreams, he basically channeled it all into that website. Word.
 AF: What contemporary bands are you most interested in collaborating or playing with?
 Ahhhh there is so much good music being made at the moment, but there are two artists that are particularly inspiring to us… Connan Mockasin and Sandro Perri.
 AF: Your music exists in a space that is difficult to label; because of that it is difficult to imagine your songwriting process.  How do you typically commence the creation of a song? Its kind of different every time…some ideas have been festering for years, some just appear out of the clear blue sky. But our process is that once we have collected enough little bits and pieces of ideas, we go somewhere and make little pre-recordings or sketches of each song with all of the arrangements mapped out. We write and re-write lyrics dozens of times, singing and reading them out loud to see if they stick. Its important for us not to judge the creation as its happening, that comes later in the recording process when things become more concrete.
 AF: I attempted researching what Fenster meant.  Aside from a last name it appears to refer to a tectonic window.  Also, maybe some sort of tape?  Where did you get the name? Yeah, Fenster means window in German. A window fell on JJ’s head when we were recording Bones, but other than that we just like that its kind of an empty word, an object you look through instead of at.
 AF: I read in Morr Music that you are fans of post-apocalyptic novels.  Any favorites?
The Drowned World by JG Ballard is a classic and as for post human novels, Snow Crash by Neal Stephenson and Do Androids Dream of Electric Sheep? by Philip K. Dick.
AF: Given the change from your first album to your sophomore, where do you see your direction going in the future?  Sonically speaking.
Sonically speaking, the next record will probably be completely different than the last two. We don’t like repeating ourselves, and at the same time we can’t force things…we like to sort of let them happen naturally and somehow be true to where we are in our lives at the time.
AF: What have you been listening to most recently?
Basically everything…Milton Nascimento’s 80s stuff, Fleetwood Mac (mostly Tusk), 70s Turkish disco, The Art of Noise, the new Japanther record, Caramel by Connan Mockasin, Impossible Spaces by Sandro Perri, sleazy french composer Francis Lai, Carol King!, Aphex Twin always, Kendrick Lamar, just discovered the album Trans by Neil Young, German krautrock legends Holger Czukaj and Irmin Schmidt…
AF: Do you find that what your listening to greatly effects your songwriting, or do you try to separate the two?
Everything that goes in has to come out somehow…The world and books and movies and music and stuff all play a part, but some things are more influential than others. Sometimes you hear, see or read something that unscrews something in your brain and you feel inspired instantly and other things leave you totally cold but maybe these things also contribute somehow. It’s mysterious and unpredictable and we like it like that.
 AF: The Pink Caves is an interesting album because at on instant it is romantic, another mournful, and then the song changes and you want to dance.  It also has so many digital and instrumental intricacies that it’d be a shame to miss them.  Given the dynamism of the record what environment would you say is the best way to listen to it?  Headphones?  Live?
Wherever you listen to it, definitely listen to it loud! Maybe because we watch so many movies it feels like some weird soundtrack to a film, so listening to it  while driving in a car or riding your bike or your horse around town could be cool. It’s definitely worth trying to listen to it as a whole album. That’s at least what we were going for because we personally really love records that take you on a trip.
 AF: You mention finding interest in graveyards, and religious iconography.  Surely being from Berlin and New York you must have some favorite cemeteries and cathedrals.  Care to share for your fans with the same taste for the macabre?
There is a truly crazy and macabre cathedral in Portugal made of bones and skulls and decorated with a golden skeleton called Capela de Ossos and a church outside of Prague in Kutna Hora that is decorated with intricate sculptures made of human skeletons that were apparently designed by mad and blind monks. Paris is always a fun place for graveyards and Vienna has more dead inhabitants than living ones.
 AF: Where does your fascination with the strange, morbid and mystical come from?
Its sort of engrained in everything…you just have to look for it. We like the autumn, its the time of year when everything dies. Dried flowers are just more beautiful, more timeless. We’ve always been really fascinated by cults, by movements of people that believe something so strongly they would die for it.  The mystical is actually just another way of looking at the ordinary. Some people see a mirror and find it endlessly fascinating and mysterious and some people just look at themselves.
AF: I was watching your music video for “Oh Canyon.”  It’s certainly proof of your sense of humor.  I couldn’t help but be reminded of Wes Anderson’s imagery, but what did you guys have in mind while making it?
 Our good pal and long time collaborator Bryn Chainey who has made three videos for us came up with the concept which was to make a sort of fake documentary about the “Amateur Cosmozoology Society” exploring questions like, “space, what is that?” and the history of animals being catapulted into the cosmos to try to figure out what’s out there. The found footage he incorporated of monkeys holding hands and cats freaking out in zero-gravity spaceships is absurd and fascinating. Science!
 AF: You’ve been consistently lauded for your ability to render songs both sweet and eerie.  Is there a band mate who contributes to one aspect of the sound more than the other?  Basically, who is the creepy one in the band?
Maybe the band has a mind of its own that’s greater than the sum of its parts…we’re all huge Cronenberg fans and we like sci-fi a lot. Keep it sexy, keep it spooky and keep it real in 2014. Peace and love.
AF: WE SURE AS HELL WILL!!  Thanks for speaking with us and congrats on being named AF’s band of the month. Much love to you, from NYC to Berlin.

The Pink Caves is out March 4th. Go here to read more on the band and listen to more of the new album! Below, watch the teaser for The Pink Caves.