The Austin Chronicle

More Flava Than Juicy Fruit

Wednesday Night SXSW Picks & Sleepers

By Andy Langer, March 10, 2000, Music


TROY YOUNG CAMPBELL: This former Loose Diamond successfully traded in roots-rockin' for a more experimental brand of singer-songwriter fare on last year's Man vs. Beast. With a new album due before year's end, this one looks like a great opportunity for both SXSW's European guests and locals alike to spend 45 minutes with one this town's finest and most consistent pure songwriting talents. (Antone's, 9pm) -- Andy Langer

LAURI KRANZ: An L.A. transplant from NYC, Kranz's debut album has been out, literally, only days (really, it's not available at night). Kidding. Released the first week of March, the Jebin Bruni-produced How to Disappear is a whispy collection of musical laments and testimonials. (Cue Lounge, 9pm) -- Michael Bertin

THAMUSEMEANT: ThaMuseMeant is a formerly local fourpiece now based out of northern New Mexico. Their music stems from the grass roots of Irish, bluegrass, country, rock, and swing -- evinced on ThaMuseMeant's three albums and the upcoming fourth, Grow Your Own, on High Sierra Records. (Iron Cactus, 9pm) -- Jim Caligiuri

THE PARANOIDS: Here's a veteran local trio well-steeped in the finer points of both classic and modern garage punk. They've got all the sneering vocals, crunchy guitars, and primitive drums you need, plus the Paranoids have also been known to have a killer cover or two up their sleeve, such as Daniel Johnston's "My Life Is Starting Over Again" on 1996's Live at the Blue Flamingo. (Flamingo Cantina, 9pm). -- Greg Beets

AURORA PLASTICS CO.: This Austin-based twosome-cum-collective are purveyors of Grade A industrial and non-industrial noise with prepared ambient sounds. Anne Heller and Lars Nilsen lead with ordinary instruments used unusually (treated and re-tuned guitars) as well as plain old unusual instruments like kitchen pots, and a homemade theremin. On their self-released Live at the $100 Misunderstanding, APC assertively convey their message of controlled chaos using sonic hues. Sensory overload, here we come. (Soho Lounge 9pm) -- David Lynch

SACK: Hailing from Dublin, Ireland, this fivepiece band's brand of guitar-driven introspective pop with a sardonic edge reveals definite Smiths and Morrissey influences. Having enjoyed chart success in Ireland with their albums You Are What You Eat and Butterfly Effect, Sack recently signed a U.S. soundtrack deal for The Rage: Carrie 2, together with Type O Negative and Fear Factory. (Park Ave., 10pm) -- Mary Fitzgerald

TEXACALA JONES AND HER T.J. HOOKERS: Soaked in enough cigarettes and whiskey to make Axl Rose swoon, Texacala Jones' voice must be heard to be believed. Something that raw and seasoned should marinate on the grill for 30-45 minutes. And her band the T.J. Hookers, led by ex-Hickoid Jeff Smith, know a thing or two about back-alley blues. (Hole in the Wall, 10pm) -- Christopher Gray

BAGHOUSE: The raison d'être of Athens, Ga.-based Baghouse is eclectic and instrumental, groove-based jazz. While their original compositions hit like a less-refined point on the Charlie Hunter/MMW continuum, the trio -- guitar, drums, and bass -- looks to Bitches Brew for inspiration. If you're lucky, maybe they'll do a frenetic Ministry cover. (Iron Cactus, 10pm) -- David Lynch

DRESSY BESSY: With Apples in Stereo guitarist John Hill doing double time in this Denver group, you know that Dressy Bessy is diabetes-inducingly sweet. But the cuddlecore quartet is more Hill's girlfriend, Tammy Ealom; it's her voice and songwriting that makes 1999's Pink Hearts Yellow Moons (Kindercore) the blissful sugar shock that hearkens back to the cynicism-free Saturday mornings of your youth. (Emo's Jr., 11pm) -- Kim Mellen

AMBERJACK RICE: No matter who's short a bass player, the remedy is the same: "Call Rice." Reigning sixth man of the Hole in the Wall scene, Rice Moorhead has also been known to step out front on occasion, guiding his fleet-fingered pickup bands through tasty sets of bluegrass, Blue Meanies, and everything in between. (Pecan St. Ale House, 11pm) -- Christopher Gray

DIAL-7: No DJ here. The Long Beach fivepiece throws hip-hop vocals over a rhythm section rooted in funk and reggae grooves with an ex-punk guitarist adding flavor. The results, all over the Warner Bros. debut Never Enough Time, sound something like Run-DMC meets Fishbone. (Atomic Cafe, 11pm) -- Michael Bertin

DYZACK: Unexpected pleasures at SXSW are oft to be found by blindly diving into the sea of international bands, and this oddly named selection from this year's Dutch entries is no exception. Having recently released the delightful Rat Dance Refizz, which compares favorably with Pete Townshend's Empty Glass, Dyzack are a touch more quirky, as witnessed by titles as "Wacked Slave on the Moon" and "Giving You a Hat On." (Ruta Maya Coffee House, 11pm) -- Ken Lieck

DAVID GRAY: If Van Morrison suddenly embraced the synthesizer and sang of "chemicals rushing through his bloodstream," he'd sound like David Gray. This award-winning Welsh singer-songwriter's fourth album White Ladder sees him depart from the guy-with-a-guitar mold to offer folk-tinged lonesome ballads with an electronic edge for the chemical generation. (Antone's, 11pm) -- Mary Fitzgerald

IGNORANCE PARK: This local punk outfit has made a quick impression at the Flamingo Cantina, mostly with a full-speed-ahead, sweaty, no-frills, shirts-off, semi-dangerous, anything-can-happen stage show. Think Black Flag meets Denton's Baboon and you're on the right track. (Beerland, 11pm) -- Andy Langer

LOVE CARS: Slo-core meets pop. Idaho meets Sunny Day Real Estate. Same result. On its I'm Friends With All-Stars release, Minneapolis' Love Cars has that sullen, depresso vibe down, but also has a good knowledge of where the acceleration pedal lies and more importantly how to depress it, and not the listeners. (Blind Pig Pub, 11pm) -- Michael Bertin

M.I.R.V: Only in San Francisco could Nambla and Metallica produce the Tubes 2000. Or is that Rap Against the Residents? Dancing Naked in a Minefield, the group's third full-length, sounds like the Castro on Halloween -- street party mayhem for the freak set. "Fuck You Bruce" is neither about Spielberg's shark nor karate king Lee, but still sounds mighty familiar. (Atomic Cafe, Midnight) -- Raoul Hernandez

THE HELIO SEQUENCE: Life is good when you're young and in love with your effects processor. This Beaverton, Oregon-based bedroom duo uses modern technology to get neck-deep in the trappings of psychedelia on their four-song EP Accelerated Slow Motion Cinema (3B). The end result crosses My Bloody Valentine with the XTC alter ego the Dukes of Stratosphear. (Buffalo Billiards, Midnight). -- Greg Beets

GLEN HANSARD: Once upon a time, Irish band the Frames were high-speed Pixies wannabes until the late Nineties, when they discovered lo-fi and swapped most of their angry guitar riffs for eerie atmospherics. Their 1999 album Dance the Devil fuses mellow acoustic layers and traces of their heavier rock roots with the sometimes soaring, sometimes whispered vocals of main singer-songwriter Glen Hansard to create brooding soundscapes of the Mercury Rev/dEUS ilk. (Park Ave., Midnight) -- Mary Fitzgerald

THE BICYCLE THIEF: The Bicycle Thief is the latest creation of former Thelonious Monster frontman Bob Forrest. The band's debut, You Come and Go Like a Pop Song, is another of Forrest's self-examining depresso-repentance pleas, but there's something exciting and fresh about this batch of pop rocks, exciting enough for the band's guitarist to turn down an offer to tour with Nine Inch Nails to play in the L.A. trio. (Maggie Mae's West, Midnight) -- Michael Bertin

FLICK: Flick ain't Hanson nor are they 98 Degrees, but they are teens transplanted from the heartland to California (okay Stockton, but Cali nonetheless), and they seem to share Billy Corgan's affinity for big Seventies arena rock (Lucy's Retired Surfers Bar, Midnight) -- Michael Bertin

BLINK: Irish pop pranksters return to Austin for the second year running to offer another infectious slice of their genre-plundering sound. Stealing techno and punk influences, mixing in deliriously silly lyrics and finishing off with an overall sound that is unashamedly in-yer-face pop, this Dublin-based quartet provide a feel-good antidote to po-faced purism. (Park Ave., 1am) -- Mary Fitzgerald

ANGEL ROT: Rhode Island's contribution to the Man's Ruin label, Angel Rot's craggy stoner metal needs no other introduction than the title of their Kozik-sponsored mayhem, Unlistenable Hymns of Indulgent Damage. At Emo's last year, they were in fact unlistenable and indulgent, but that's why we had the Seventies -- to get over all that love crap and pop shit! (Flamingo Cantina, 1am) -- Raoul Hernandez

PETER BRUNTNELL: One of the new breed of performers hailing from England, Peter Bruntnell's latest release is Normal for Bridgwater (Slow River/Rykodisc). It was recorded with the assistance of Dave Boquist (Son Volt) and Erik Heywood (Son Volt, Freakwater, Richard Buckner) and has drawn comparisons to the work of Jimmy Webb and Glen Campbell. (Pecan St. Ale House, 1am) -- Jim Caligiuri

LOWER CLASS BRATS: Punk's not dead! That sobriquet was coined God knows how long ago by the Scottish flailers the Exploited, and they were right. As long as there are Austin torchbearers like the Lower Class Brats and their brand of streetpunk/oi riffage, there will always be a little bit of '77 to hang onto. (Beerland, 1am) -- Jerry Renshaw

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