Superhouse - "TECHyes"

Superhouse
TECHyes
By Jack Frink


        Austin psycho-fun rock group

Superhouse didn’t take any time off after

the release of their debut, Friends

Forever, Fighting Together. That album

was a refreshingly ragged introduction to

the quartet’s theatrical breed of sci-fi

electro-alternative and it contained many

excellent tracks, but it was also overlong

and a bit too loose for its own good.

       It was a good thing they didn’t rest on their laurels. The progression as songwriters and arrangers the group has gone through is immediately evident on TECHyes, when an echoing rhythm track leads off opener “Sacred Rings” and Doug Pena’s candy-coated vocals morph into a chorus harmony that would be at home on the work of post-Pet Sounds Beach Boys. TECHyes delivers exponentially on all the promises Friends Forever and the Fever Medicine EP made. It is one of the great releases of 2010.

       Superhouse make the most out of 16 tracks on the record, which measure up to a massive 76 minutes of extra-terrestrial dance music. The group benefits from having three strong songwriting voices working together in Pena (guitar), Phil Aulie (keyboards and ukulele) and Greg Spencer (bass). Aulie’s abrasive vocals and Spencer’s bubbly attack meld beautifully with Pena, and even drummer Ben Humphreys gets in on the fun – he not only delivers his typically outstanding drum parts, his baritone voice gets a lot of exposure throughout.

There are several masterpiece compositions. “Haunted House” fires jagged, 50’s-sounding keyboard and guitar lines and a creepy lyric – “my house is haunted/I sleep with ghosts/the fallen heroes/defeated foes” – into a howl-at-the-moon chorus. “The Dilemma of Prince King” holds Pena’s finest vocal performance to date and reveals the legitimate sentiment and pathos Superhouse is capable of.

The album is laid out as a concept record, telling a tale about planetary exile and revenge. “Eighty-Thousand Eighty-Five” and its Side B post-script lay out the story, and the rest of the songs fit in even if they only forward the narrative in tangential ways. “Tin Men” is an epic, multi-part kickoff to Side B that tips the band’s Queen influence. “Heavens Forfend Their Victory” charges with a heady, nervous momentum into ethereal Flaming Lips territory. “The Courageous Confidence Character” finds humor (Pena almost laughs during the song) and Zeppelin-caliber riffing in exasperated existentialism.

Even the band’s gambles, like a mid-song rap breakdown by Austin hip-hop artist D.C. Parr on “Creature Song” or the found-sound instrumental medley of “Robots Attack!,” pay off beautifully during the record’s arc. “Floating Thru Space,” the penultimate track, contains lyrics that are a bit on-the-nose but the atmosphere is so intoxicating they’re beside the point.

TECHyes ends on its best and most triumphant song. “Megatron Magnifique” throws in everything the group has left – a kids-on-the-street choir, dueling trumpet and violin parts by Patrick McMinn and Alexa Skillicorn, an outro that goes on and on and on – to close the album with such excitement and cinematic prowess that even after the LP’s marathon runtime you want to spin it again.

This disc is filled with vital music, and with it Superhouse is primed to re-make the scene in its own image. The only thing they have to do is get the record out to the public. Catch the group now; they’re riding huge waves on the way to something else entirely.

 
Final Grade: ***** (out of five)

Website: http://www.superhouserock.com/

Tony Campise Birthday Bash Fundraiser - 2/21/10

A who's who of Austin musicians line up Sunday, February 21, at 7:00 p.m. at Antone's for the Tony Campise Big Band Birthday Bash. Admission is by donation at the door. Tony Campise is a renowned Austin jazz musician who was injured in an accident in October of 2009. He suffered major brain damage, but has shown marvelous recovery well beyond the doctor's expectations. He has moved to Querencia, a skilled nursing home here in Austin.
 
The line-up includes: Monster Big Band, Baker's Dozen, James Polk Sextet, John Mills Times Ten, Butch Miles Jazz Express, Tony Campise Big Band; and guest vocalists: Ray Benson, Kat Edmonson, Rick Trevino, Mandy Lauderdale and Mr. Fabulous.

More at Tony Campise Friends FB page

Crazy Development

Austin's Stephen Bruton (left) and T Bone Burnett on set of "Crazy Heart." Bruton, who helped write the film's music, died last year, and now his will is being contested.

For all of the on-screen drama that led “Crazy Heart” to three Academy Award nominations, an equally poignant tale is unfolding behind the scenes of the film in a battle over the estate of the songwriter Stephen Bruton, who co-produced the “Crazy Heart” soundtrack and tutored Jeff Bridges on guitar for his Oscar-nominated role as an aging country singer seeking love and redemption.

Read more in the New York Times article

Douglas Kent - "The Way I Am"

Douglas Kent
The Way I Am (Roofbeam Records)

By Jack Frink
               
Douglas Kent’s debut album holds a sharp contrast to the live demeanor he’s honed over several years playing the Texas country ring. Whereas a typical show from Douglas Kent and the Homewreckers is a sweaty, gritty affair, The Way I Am presents a cleaner, more concise version of the same songs. Kent sounds comfortable with professional recording techniques, but fans will miss the beer-and-heartache vibe that has become synonymous with his brand of country and western.

Arrangement-wise, Kent offers little outside of the expected Country and Western sound. There’s a rhythm section that booms and shuffles courtesy of drummer Mark Henne and bassist Morgan Patrick Thompson. Twangy guitars, chirpy lap steels and frolicking fiddles (provided by the exuberant Geoff Queen and Shawn Dean), back Kent’s subtly drawling leading man vocals. Lyrically, Kent’s characters are often defeated and frustrated, asking self-pitying questions like “Why’s the world picking on me?” and “Where did all the good times go?”

If this is the way he is, Kent comes off as a bit of a sad sack. What counteracts the sob stories are Kent’s enthusiasm and encyclopedic knowledge of the country songbook. Many of the 12 self-penned originals have mellifluous melodies, and the music ranges from waltzing duets (“Where Did All the Good Times Go,” with guest vocalist Brennen Leigh) to spunky dance-hall rockers (“Soriano’s Girl”).

“Stillhouse” opens the album with a spirited tale of old-time bootleggin’. Other notable tracks on Side A are the desperation-of-a-dream “Blood on the Strings” and resonant, regretful “Magnolia Morning,” which tugs the heartstrings even with its awkward finale.

However, the album’s second side betrays Kent’s limitations as a songwriter. The first six songs establish his status as a purveyor of classic country techniques, but he doesn’t expand much beyond the lyrical palette of hard-luck, hard-drinkin’ tales of lost love and old wounds. A shout-out to Austin in “Here at Home” doesn’t change the fact that it expresses the same sentiments as “Why’s the World Picking On Me?” The Way I Am sounds too smooth and spotless overall; the production undercuts the beaten-up bitterness that increasingly becomes the engine of the songs.

On the record’s best song, “Music’s Made a Fool Out of Me,” Douglas provides a lyric straight from his own life of living as a musician on the road. The rasping guitar and pensive melody create the hardest-hitting and most personal four minutes on The Way I Am. Songs like this could be a goldmine for Kent.

Unfortunately, his greatest triumph is followed by the album’s nadir. “The Way I Am” marries the LP’s clumsiest melody to its shallowest lyric. The album’s finale is the hokey, vulgar “You Can All Go to Hell,” which comes from the phrase every Texan has heard. It’s filler and ends the album on an abrupt note.

The Way I Am shows us the tools Douglas Kent is working with, but he remains a more interesting musician in person than on record. It is far from a bad start – several of the songs will likely remain with Kent for many performances to come – but it’s far from a breakthrough.

more: www.douglaskentmusic.com

SXSW - Preparations Primer: 2/2/2010

Join Austin Music Foundation for a panel discussion as they explore how area musicians can make the most out of the largest music event of the year. Learn about promotion, making contacts, how to focus your efforts, common pitfalls, and more.

Music Industry Boot Camp: SXSW Strategies for Success

Tuesday, February 2

7:00 pm

La Zona Rosa

612 W 4th St



This event is FREE to attend and open to the public.

You can't just show up at SXSW and wait for the magic to happen.  Even though SXSW is one of the most important music industry conferences on the planet, creating a game plan will maximize your experience and give you the best shot at advancing your career.

Panelists include:

Brent Grulke, Creative Director, SXSW Conferences and Festivals

Randy Miller, Partner, Rainmaker Artists and Primary Wave Music Publishing

Casey Monahan, Director, Texas Music Office

Paul Oveisi, Owner, Momo's & Second Floor Management, member Austin Music Commission

www.austinmusicfoundation.org for more information

Help Austin Help Haiti, Austin Music Hall 1/24/2010

And even more acts to be announced...

Folks, if you're fretting about having to decide between this concert and the football games, they've got you covered—the games will be shown on screens at the venue, so you can attend the concert, see the games, and help Haiti, all at the same time.

"We Wanna Help Will Sexton" Benefit at Antones, Monday 2/15/2009

Will Sexton (at left) with Ken Stein (2008).

In December of 2009, Will Sexton suffered a minor stroke. Will is doing really well, but his bills and doctor visits, will be ongoing.
He has lost some of his cognitive functions, part of which is his ability to remember any of the songs he has written and sung for most of his life, and this affects his ability to do the thing he loves most, which is also his primary source of income.

Will is a beloved member of the Austin music community, and his contribution to the scene as writer, player, accompanist, teacher & friend cannot be overstated. He is one of the most respected musicians in town.

As of press time the following have committed to the benefit:

Terry Allen
Eliza & Tony Gilkyson
Patty Griffin
Victoria Williams
Jimmy Lafave
Bill Carter & the Blame
& brother Charlie Sexton is sure
to play with more than one of these acts...

The exact times, official line-up and players will be FULLY listed as soon as possible.

Links:
Facebook
Will Sexton Chip In
My Space

Patty Griffin, Scott Miller, and more, perform Austin's Grounded In Music benefit 1/21/2010

Patty Griffin, Jack Ingram and Scott Miller perform at this year's VIP fundraiser for Austin's Grounded In Music, Thursday, January 21 at the Paramount Theatre. Doors open at 7:00 p.m. and students participating in the Grounded in Music program will kick off with an 8:00 p.m. performance.  The event includes a VIP cocktail party at the State Theater from 6:00 to 7:30 p.m. featuring performances by Porterdavis and Suzanna Choffel and a silent auction.

The event is open to the public and proceeds go towards purchasing musical instruments for under-privileged youth, provide education in musicianship, teach music theory, as well as offer music-related opportunities outside of performance.

Tickets can be purchased online at www.austintheatre.org 
VIP party and auction contact: lindsay@groundedinmusic.org

Launched in 2007 in Austin, Texas, Grounded In Music is a non-profit corporation whose mission is to change the lives of under-privileged children in grades 4-12 by exposing them to the possibilities available by choosing music as a career, hobby, or alternative to life on the streets.

Cactus Cafe hosts House the Homeless Benefit 11/17/09

Tuesday, November 17th @ 8pm  the Cactus Cafe hosts House the Homeless featuring David Garza, Sara Hickman, Abra Moore and Kat Edmonson with Kevin Lovejoy and Todd V. Wolfson. Donations are kindly requested and all benefits go to Austin's House the Homeless

House The Homeless is the oldest all volunteer grass roots homeless organization in the state of Texas. House The Homeless is made up of homeless, formerly homeless and persons who want to end homelessness in our life time. They are an Education and Advocacy group around homeless issues and have successfully created scores of successful programs throughout the years. For example; they created Kids for Kids Sake where children from two different school Districts came together and created holiday cards (twelve in a packet) and raised money to build a play-scape for homeless children to use while their parents were  looking for work.  They created Jobs Plus now operating as Hands up to Housing which provides the first and last month's rent and security deposit for people attempting to transition out of housing.

House the Homeless also works on the national level, and they are working on fixing the Federal Minimum Wage. They have devised a single national formula, based on existing government guidelines, that ensures that anyone working 40 hours in a week will be able to afford basic food, clothing, shelter (utilities included) wherever that work is done throughout the United States. This is in reference to the Universal Living Wage created and championed right here in Austin by the founder and President of House the Homeless, Richard R.Troxell.

For more information, contact Jo Rae DiMenno at 512-236-0969

~Jason Repko

Austin City Limits 2009 Festival: Wrapped Up

The 2009 Austin City Limits Music festival proved to be many things this go around.

It proved to be another top-flight lineup buoyed by excellent mid-level talent and scores of up-and-coming stars. On Friday, fans were treated to a short, albeit riviting performance from the Yeah, Yeah, Yeahs and R&B sensationJohn Legend, Theivery Corporation and Kings of Leon. A highly anticipated performance by Raphael Saadiq delivered. When he came on stage sporting a black suit and tie, Saadiq shed his layers as fast as the sun made the day hot. Eddie Vedder teamed up with Kings of Leon and people were actually chilly when the sun went down. Can you believe it?

More on the music in a minute, because what makes the ACL Music Festival so special, is more than just the acts that play over the three day weekend. ACL nestles into the delicate and urban-situated Zilker Park. 48 acres of lush green grass - thanks to labor from the City of Austin and an agreement with C3 Productions - were rolled out this summer to improve the grounds. On Friday, it was on grand display. You've never seen 60,000 people smile so often, most of them walking in their bare tootsies. It was as if something funny was put in the water.

And speaking of water, Barton Springs Pool and its over-run step child the *spilloff,* never got over run. The sky was blue, the temperature was perfect. Someone flipped a switch in September and turned off the 100-degree temperatures Austin was forced to endure since the end of May. Everyone benefitted - from the thousand's of workers that spent over a week setting up the grounds, to the profiteers selling Wellies come Sunday morning. Now we're getting a little ahead of things.

On Saturday the skies opened up. Not like in 2006 during the festival's closing Sunday performance by Tom Petty. No, more like in big spurts and short stops, which would mark the uneveness of day two. There were Austin's own Ghosland Oberservatory who seem to rise to every occasion no matter how big the pressure (or how large the backing band!) And there was Mos Def, who took the stage nearly 25 minutes late and who had a large following of geeked up fans wandering off about 25 minutes later. The Dave Matthews Band, to many a trite headliner, proved the right ingredient for the evening's finale. The man simply makes hits and is still churning out fine numbers without coming off hackneyed or overused. Matthews brought the crowd up and down at the right times and sent everyone home soggy, but extremely happy.

This year's green effort, a $3 Fan Tag to offset one's carbon footprint, was an optional purchase. It proved popular and it continues ACL's ethos of environmental responsibility. It is heading in the right direction and far better than the plastic cup idea from a few years ago. Recycling locations seemed more visible and increased in numbers from the previous year - always a good thing. My biggest complaint was the full-color booklet that is personally handed out on day one and by day two, left unnoticed in boxes 100 located yards from the festival entrance. Although it's full of great information (and advertisements), I think efforts like the ACL iPhone application are the direction for the future. The book must cost tens of thousands to produce and seems a considerable effort of people power for all the writing, layout and printing, let alone the difficulty in getting them handed out. By the time people get to the festival grounds these days, they have already read through the endlessly available blogs and music sites (like this one) to help them research and determine the bands they are going to see. Besides that, organizers should work to mobilize and centralize the thousands of resources that are already out there to create a *Friends of ACL* web of information. Taking advantage of social networking is the way to go. ACL's website or application can remain the hub, but the work is already done for them - no need use up additional resources. That's being green, among other things.

By Sunday, things were definitely not green. Zilker Park turned into a scene right out of a muddy Woodstock, and the good vibrations could be felt all around. Fans were walking barefoot and many were diving into the mud-poo like pigs in heat! The fun was certainly not over.

Whether it was the thrashing of Clutch, or Preservation Hall Jazz Band playing ice cream man, or Pittsburgh native Greg Gill's mashup project Girl Talk and the scores of young fans absolutely loving every moment of it, nothing, absolutely nothing iced the mud-cake like Pearl Jam. The two hour set included the old and new, guest appearances from Ben Harper, Perry Farrell (closing acts are supposed to have on-stage guests dang it, yes!) and a Neil Young cover. And it had *Alive,* quite possibly the quintessential anthem of the survivors of 90's rock.

How does the ACL festival seem to get better every year? It has now faced two years of big name cancellations (Beastie Boys '09, Amy Winehouse '08) and its first mudbowl. We at Austin Music + Entertainment magazine can only say it's an uncompromising commitment to the most culturally and style-crossed talent - from the bottom to the top of the lineup, it is the most unique and cozy of settings in a city which prides itself in presenting outstanding live music entertainment. You put all that together, and the proof simply rises to the top.

~Jason Repko