Nov 2007
Austin's FunFunFun fest makes its name stick
15/11/07 17:48
By SAM LADACH-BARK
The second annual FunFunFun fest energized the first weekend of November at Waterloo Park in Austin, TX. With three stages and over 50 bands, it had plenty of ear candy for all.
Each stage had a different theme, with both local and out of town acts. Stage 1 featured well-known hip-hop and electronic artists such as Girl Talk, Mc Chris and Cadence Weapon.
Stage 2, lovingly dubbed "The Indie Stage," included Austin-bred Explosions in the Sky and I Love You But I've Chosen Darkness along with Cat Power, Of Montreal, The New Pornographers and Battles.
Stage 3 became home to the best punk, metal and hardcore, with Neurosis, Murder City Devils and Against Me.
So FunFunFun satisfied all, and it should get better every year. Here's some of what it looked like.
All photos by Sam Ladach-Bark
MC Chris ( a k a Chris Ward) lays out his
gangster geek rhymes.
Of Montreal wowed the crowd just before
dusk.
Dan Bejar (right), Carl Newman and Neko Case of
New Pornographers
Chan Marshall, a k a Cat Power, and Ian Williams
of Battles
The second annual FunFunFun fest energized the first weekend of November at Waterloo Park in Austin, TX. With three stages and over 50 bands, it had plenty of ear candy for all.
Each stage had a different theme, with both local and out of town acts. Stage 1 featured well-known hip-hop and electronic artists such as Girl Talk, Mc Chris and Cadence Weapon.
Stage 2, lovingly dubbed "The Indie Stage," included Austin-bred Explosions in the Sky and I Love You But I've Chosen Darkness along with Cat Power, Of Montreal, The New Pornographers and Battles.
Stage 3 became home to the best punk, metal and hardcore, with Neurosis, Murder City Devils and Against Me.
So FunFunFun satisfied all, and it should get better every year. Here's some of what it looked like.
All photos by Sam Ladach-Bark
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Radiohead's back -- and you'll get what you pay for
01/11/07 14:44
By SAM LADACH-BARK
The legacy of Radiohead will live on in the hearts of today's generation for years to come. Albums like OK Computer, the controversial Kid A and 2003's Hail to the Thief -- the last album they would produce for four years -- have assured that status.
Some consider them the Rolling Stones of the 1990s, likewise doomed to draw quizzical looks from children 15 years from now who are trying to understand what it was about Radiohead that makes grownups giddy. They could have faded into nothingness years ago without jeopardizing their indie-god standing.
When Hail to the Thief was released in mid-2003, it seemed they had found the perfect balance between their British rock roots and their eclectic electronic future. Soon after their contract with EMI was fulfilled, and it was hoped they would soon begin work on a self-produced album.
After a short time rehearsing and recording in their Oxford studio in 2004, many of the members went on sabbaticals free from recording contract pressures. Ed O'Brien (backup guitar) and Colin Greenwood (bass) took time out with their families. Johnny Greenwood (lead guitar) mused with independent interests, producing orchestral pieces for shows on the BBC and silently contributing to musical scores for There Will Be Blood and Harry Potter and the Goblet of Fire.
Thom Yorke (lead vocals, guitar, piano), however, began work on a solo album titled Eraser, released by independent label XL in early 2006. A blend of electronic and synthesized beats on top of Yorke's choirboy vocals, it was satisfying but not the next Radiohead album. It just proved that Radiohead is much more than Yorke's voice.
Finally, after being on a TBA list of upcoming releases for more than two years, the independently produced and released In Rainbows surged forward this month. Found as a digital copy you download from their Web site, it's available at any price you deem worthy to pay. You literally could pay a penny.
"We wanted to make the fans really think about how much music was worth to them," Johnny Greenwood said in an interview. It was reported that 1.2 million digital copies were downloaded on the first day of release.
Very minimal in its approach, In Rainbows feels like a much more complete approach to Yorke's Eraser. The opener, "15 Step," sets the bar high for the rest of the album, with sickle cell guitar riffs and rough synthesized beat intro.
More importantly, you know almost instantly that you're listening to a Radiohead album. "Bodysnatchers" feels like it could have been a B-side from OK Computer, with its squelchy guitars and mid-song psychedelic slide. Yorke's vocals penetrate without taking control, doling out a derisive look from the eyes of the dead.
In its composition and organization, the album stays true to Radiohead style, with complementary tracks that perfectly bleed into one another. It was this same deliberate association that made OK Computer seem flawless.
Other highlights include the Kid A-esque landscape that is "Weird Fishes/Arpeggi" and "Jigsaw Falling Into Place," with a seething intro fueled by Yorke's moans, quickening percussion and acoustic guitar (essentially the ingredients of any perfect Radiohead track).
While it's not OK Computer or Kid A, this latest album has still cemented its place on the best of 2007 list. At present, Radiohead plans to keep their label-independent status intact, which may slow the recording process. But 20 years from now, it will be the quality, not the quantity, that fans remember.
You can download your copy here.