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

Traams

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.

Coachwhips

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
Cheerleader

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Samsaya

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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

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Hyenaz SXSW
Hyenaz

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Hyenaz SXSW
Hyenaz

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Mom Jeans SXSW
Mom Jeans

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Ex Hex SXSW
Ex Hex

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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
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]

AF LIVE: Spike Hill 12/18

Live Music

Ooooh, we’re having a showcase! Please join us on 12/18 at Spike Hill in Williamsburg, Brooklyn, and peep some local bands who we believe should be heard and seen. Doors are at 730 and the show is free. Below please find artist profiles of the talent we booked. We hope to see you there!

 

8PM: Wildcat Apollo

Wildcat Apollo

Formed in 2012 by Alex Margolin and brothers Taylor and Aaron Eichenseer, with lead singer Cat Tassini completing the indie rock/synthpop band a few months later, Wildcat Apollo released their debut full-length in October of this year. The 12-track eponymous record combines elements of garage rock and dancey shoegaze, full of catchy bass lines and innovative guitar hooks.

AF: We read that you guys are planning to make a permanent move to Austin, TX to join your bandmate Aaron. How do you anticipate that move influencing your sound, or inspiring each of you musically?

 Cat: Well, we’ll all be together, so we’ll be writing together and growing together musically and just feeling more like a unit.  I think Austin’s more relaxed vibe will definitely sink into our skin and come out in our music.  It’s Aaron, Taylor and Alex’s hometown, and even though it’s not mine, I love it there, and I think we’ll all feel really comfortable and confident.  And of course all the festivals and venues there will inspire us to be on top of our game.

AF: You all seem to share a lot of instrumental duties within the band (Cat and Alex both doing percussion and synth, Taylor and Aaron both on guitars). Do you also share songwriting duties? How do you generally go about collaborating as individual artists to create your music?

 Taylor: Everybody in our group contributes to the songwriting; there’s certainly no set process as to how we develop a new song.  It’s a mixed bag.  Sometimes there is an independent writing process going on, where one member will come to the group with a decently formed concept and everybody else is left to fill in the blanks.  Like when I was working at an after-school program and the fourth graders would take pink highlighters and glitter and brown and purple crayons to sketches I would do in my notebook.  Collaboration breeds magic.  You can’t be afraid to let your vision grow into something bigger.  But we also do a lot of jamming and recording of jamming with a loop pedal or on a computer.  This is great because it lets the music be the guide and you can turn your brain off and just let it flow and figure out what happened after the fact.  It’s how we express ourselves, by shutting up and playing.  Also, that everyone is artistically motivated in our group is a real blessing, because we hold each other accountable to be our absolute best.

AF: Where’s some of your current inspiration coming from?

 Cat:  I’ve been listening to Lorde, Miley Cyrus, and Sky Ferreira all week.  Taylor:  Brutally honest self-reflection.

AF: Cat, you’ve said you had no previous experience being in a band before you joined Wildcat Apollo last year. What are some of the things you’ve learned along the way, so far?

 Cat: The biggest lesson I’m learning is giving up control.  My artistic life before the band was dominated by directing.  I was doing performance and video projects where I would handle almost everything and I’d just work with a friend or two on it.  I came up with the idea, figured out all the details and made sure it all happened.  So I didn’t have to depend on anyone else.  But I missed the camaraderie of being a part of a cast and a crew.  And eventually I felt limited and wanted to work with more people, people who were better than me.  And in my the rest of my life, I was traveling and trying different jobs, floating around in the post-collegiate nebulous phase, just being totally free and independent, but also feeling confused and angsty.  And then I got drawn into the band, which sort of came out of nowhere, but gave me a great sense of belonging and gave my life a direction.  But I had to learn how to be a part of a team again and do it in a brand new context.  And that context was a group of guys who had been playing music together their whole lives, so that was intimidating.  Also I tend to have really strong artistic visions, so I had to learn to trust my bandmates and not just reject an idea because it’s different from the idea in my head.  It’s something that I’ll have to keep learning over and over again: how to disregard my perfectionist control freak instincts and just trust the process and the people around me.   Also, I recently co-directed one of our music videos and worked with Bull Moose Pictures on it, and it was a wonderful experience.  So I’m learning and I’m happy the band is giving me an opportunity to experience that.

AF: Since it’s the end of the year and all, what are each of your New Year’s resolutions?

Aaron:  To really push boundaries sonically and to embrace new technology in the song writing process.

Alex:  To find a job.

Cat:  Mine is always to be better with time and money.

Taylor:  To release another, better record by year’s end.

Wildcat Apollo wishes to thank you, Annie, and everyone at AudioFemme for the tremendous opportunity to take part in your monthly showcase, especially considering the abundance of great music in Brooklyn and on the internet at large.

*Aw, yr welcome, Wildcat Apollo. Can’t wait to hear you play tonight!

Listen to “Gotham”, here, via Bandcamp:

 

 

9PM: New Politicians

New Politicians

New Politicians have been building some great hype with their two EPs, Alpha Decay and Drag A City, both released earlier this year. Their self-described post-punk sound has a gritty and straight-forward aesthetic, paired with melancholic lyrics. The four piece band are set to accomplish a lot more in the coming year.

AF: How did you guys come together as a band? Are you all still based out of New Jersey?

Gian:  All four of us are currently based out of New Jersey. Around the time the band was formed though, I was living in Philadelphia attending college and Renal was working in Manhattan. We would share files via email and then come home to Centerville on the weekends to jam. As brothers, Renal and I have always connected over music and have been writing together since we were young. Winston and I went to school together and had been playing in a few projects before the idea for New Politicians was formed. When I tracked the demos for some of our first songs, I brought it to them and we decided to form a band around it.

Q: Your two EPs were released about 6 months apart. How do you think you developed as a band in that time and in what ways are the two releases unique from each other?

Gian: Well, since the release of Alpha Decay we’ve had a lot of opportunities to play live in New York and New Jersey which has given us plenty of experience playing together as a group. We recently recruited a new drummer, Chris, who allowed us to implement a pretty rigorous practice schedule that’s been refining our skills collectively and individually as well. From the song writing aspect I think there is a continuity between the songs on both EP’s. The only major difference is that Drag a City was self-produced at home in our apartment where we didn’t feel the restrictions of time and money during the process. That allowed us to take control of our sound for the first time and we ended up with a record that we’re really proud of.

 Q: Your most recent EP includes a song titled “Are We The Dining Dead?,” presumably a reference to the Eternal Sunshine line. What other non-musical sources do you draw inspiration from?

Renal: Why yes, it is a reference to Eternal Sunshine. At the time of writing the lyrics to that particular song I had finally gotten around to watching the movie from beginning to end. Lyrically, I tend to draw most of my inspiration from life experiences as well as books and movies. Finding connections between my life and what I am reading or watching helps me generate multiple perspectives. While we were writing for the Drag a City EP, I had just finished reading Tender Is the Night and “Winter Dreams”, both Fitzgerald stories that served as a catalyst for my ideas.

 Q: What’s the story with your band name?

Gian: Renal came up with the name New Politicians and when he brought it to the group we immediately liked the irony of calling a rock band “politicians.” It’s more tongue-in-cheek than it is a deep statement or anything. However, a lot of truth is said in jest.

 Q: What are your plans and goals for the upcoming year? A full-length release, perhaps?

Gian: We’re planning to play as many shows as we can in support of Drag a City as well as continue to promote the record with the goal of receiving some label attention.  So far there’s been a lot of positive feedback on our social media sites and we hope to continue to gain new fans throughout 2014. A full-length isn’t completely out of the question but we feel we don’t currently have access to the resources necessary to make a quality debut record. Regardless we will continue to write, record, and build our song catalog so who knows what the future holds for New Politicians.

Listen to “The Length Of Our Love” here, via Bandcamp

 

10 PM: Wild Leaves

Wild Leaves

This folksy five-piece and their “sun-drenched harmonies” sound like a far cry from Brooklyn’s cityscape, but the fresh local band is making waves with their debut EP, Wind & Rain. The 7-track release is a confident showcase of their wispy, nostalgic melodies, which are sure to bring some comfort and warmth to our showcase!

AF: How and when did you guys come together as a band?

 WL: Wild Leaves officially formed as band in January of 2011. But its roots run much deeper.  We had the pleasure of being friends in college, moving to Brooklyn together, and experiencing a similar struggle to find our respective places in the world. The band formed in the midst of that struggle as we began to articulate the challenges we experienced, through songs. Starting with intimate two-piece performances in our Crown Heights apartment, and growing into regular gigs, across the city, as a five-piece.

AF: What are you focusing on right now? Any plans in place for 2014?

 WL: We just recorded a new batch of songs a couple weeks ago so we are mixing them now. This is a fun part of the process because a lot of the pressure is off (temporarily) The songs are what they are at this point and we get to just focus on putting the whole presentation together.  We’re looking to do a release in early 2014 followed by massive amounts of touring.  We’ve got people to see all across this beautiful country.

AF: Seven tracks is a good amount for an EP. Why did you decide to go with an EP release and not a full-length album debut?

 WL: Ultimately it came down to releasing something that encapsulated a moment. We had a bunch of songs that didn’t make the cut because they felt ancillary to the place we were in.  Recording those seven songs was a turning point in our collective time together in this city. A lot of work had gone into our transition and the songs were a away of acknowledging the past, while still embracing the future.

AF: What are your long-term goals for the band? Where do you anticipate going from here?

WL: Our long-term goal as a band is to write songs powerful enough to change the world. One of the major driving forces in our creative process is the open conversation we maintain with the people we come across on the road.  Whether its through lyrics, a performance, or a conversation after the show, we view each experience as an opportunity to exchange ideas and hopefully make the world a better place.

AF: What are your New Year’s Eve plans this year? Any parties, shows, etc?

 WL: Our new years plans are to lay low and spend some quality time with our loved ones.  It’s been a wonderfully busy year. We played something like sixty shows, made new friends in many new places, but didn’t spend a lot of time at home.  Winter is the perfect time for reflection and recuperation.

Listen to “Everyone”, here, via Bandcamp:

 

After the live show, stick around for dancing, courtesy of the ever-wild, B-Tips, who’ll be spinning all your faves til late.

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