SXSW 2016

ROZES: THE GIRL BEHIND THE CHAINSMOKERS’ HIT
April 12, 2016 1:31 pm

We sat down with Rozes on a couch studded with roses (unintended) at SXSW to learn more about the girl behind The Chainsmokers‘ mega-hit called…yup “Roses.”

The song rose to #6 on the Billboard charts, is a favorite of Justin Bieb‘s, and has become a radio hit, however for Rozes herself, finding so much success in the electronic scene was completely unexpected…

Rozes_photo3

So this is your first time at SXSW!

Yes, it’s very exciting. We drove from Philly tailing my brother’s band down and I drove with my drummer and my boyfriend.

Oh cool so you have a pretty musical family?  

Yeah we’re like the Partridge family.[Laughs] Well my parents actually work in the medical industry but my dad also teaches guitar lessons and everybody in my family plays at least two instruments so music has like always been our thing.

How many instruments do you play?

Well I started on piano, then I went to violin, then saxophone, clarinet, trumpet, guitar…

Wow quite the variety.

I know, I was in a jazz band too.

So how did you end up in the electronic scene?

I never planned to go the EDM route. It just kind of fell into my lap. My brothers were hit up by this DJ, Just A Gentand they were writing toplines and were like ‘hey you know we have a sister who writes music.’ So they sent them to me and then I just wrote this song called “Limelight” which went huge in the EDM world. Then The Chainsmokers found it and so literally what happened was they followed me and messaged me on Twitter that they wanted to work me. So I was just kind of like pushed toward that path, it just kind of happened.

Rozes_Polaroid_SXSWEverything happened so fast. 

Yeah it’s kind of like we never expected it because when we wrote it we were just like oh this is a cool jam. We didn’t think anything of it we definitely did not think radio, I didn’t think radio, I mean I would have never thought that that’s what was gonna happen, like I was gonna get signed or anything. It’s crazy.

Are you comfortable playing live?

Yeah I am, I’m so comfortable actually. Well, I’ve also grown up in theatre so it’s kind of been my home you know. I was the theatre geek that always felt most comfortable when I could throw life aside and put on my alter ego and just be.

Do you have any pre-show rituals you do before you go on stage?

A glass of wine and I put on my crown and my lipstick.

What is your writing process like?

I write all the songs, but I have a producer who I’ll send all of my songs over roughly on piano or guitar and be like ‘here this is kind of what I want to be like’ and they help build it up from there. I recorded the EP (Burn Wild) in a studio in Delaware with my brother’s guitarist, he goes by ETRON. Now when I go to LA I’ll have different producers and we’ll have writing sessions and record in their studios.

What has the music you’ve been writing lately been about?

I would say they’re kind of about how life is changing for me at the moment and it’s like trying to figure out who is real and who is not because I have a lot of people coming out of the woodwork pretending to be my best friend and wanting to catch up and stuff and it’s me trying to file through who’s actually being genuine or not. It’s also about me coping with the fact that people are going to come out just because I have a hit on the radio not because they want to be friends with me and it’s kind of a rough realization but it’s something that has obviously happened.

The personal experience of a sudden rise to fame has sort of become cliche but I still always find myself thinking about what it must be like for people like, say, Justin Bieber. What has it been like for you?

I’ve actually thought about that because I met Bieber when he came to my show with The Chainsmokers at the Shrine Theatre in LA. He’s such a super nice kid and I just wonder if sometimes he feels like are these people just my friends because I’m Justin Bieber, is anyone a real friend? Nobody is prepared for that life. He’s a kid in his twenties and he’s in the public eye all the time, he’s grown up in it. If people had followed me growing up they would definitely be saying “this girl is crazy.” Britney Spears went through it, Lindsay Lohan went through it. I think it’s good that it’s just happening now for me because I got to see life before it all and so I can stay level headed and I’ve got my people that I trust.

That’s so awesome he came to your show I heard he’s a huge fan of the song “Roses!” Has it opened up a lot of other crazy opportunities for you?

Yeah. It’s definitely like having a resume. Like people see your credentials and they are like ‘oh yeah I’ll write with her’ you know. It kind of sucks that it’s that way because people who don’t have that on their resume its just like ‘oh why should I write with that person’ but they could be an amazing writer. You just have to somehow get lucky and get your foot in the door. It’s not really like having a lot of connections, like a lot of people think it is, but mostly you have to make the way yourself.

So do you think you’re going to stay in the EDM route?

No. I definitely plan to get out of the EDM route. It’s just not really my scene. I keep ending up getting featured on tracks because in my free time I’ll just write to music and it’s just kind of how it goes. I think if I were to do another EDM feature it would have to be something different that allows me to keep growing with it.

Have you been writing since a very young age?

Yeah, I think I wrote my first real song in eighth grade.

Awe, do you remember it? What was it about? 

Oh yeah, I remember it. It was like I had been dating this guy, and you know how middle school relationships are you think you’re so in love like “we’re gonna get married!” But it was actually just a horrible relationship and I couldn’t figure out how to get out of it because I had never had a breakup before. So I just wrote a song called “I’ve Come A Long Way” all about realizing how he’s not good for me.

So that was your first real song. Do you find that you get inspired or tend to write about things you are going through?

Oh yeah totally. I’ll feel something and be like I just need to sit down at the piano. People always ask me “what’s the first thing you’ll do when you get home?” and I’m like honestly I’ll probably just sit down at the piano and write. It’s my hobby and my job, and it’s the best thing ever.

Is it harder to write about other people or even yourself knowing now that so many people are going to hear it and listen to it?

I don’t think so. It’s kind of therapeutic for me. It’s like someone accidentally finding my journal. It’s like being able to tell my secrets in a honest creative way and not being judged for it.

What’s next for Rozes?

I think I just want people to be prepared for something different and I don’t want them to expect anything of me, but I also want them to be ready for something that they’ll love, you know. Because what I’m coming out with is so honest and I always say I’m going to always write what’s true.  Whether it’s about somebody else and so hard core true they have to know it’s about them or whether it’s about myself. There’s this new song I wrote called “Under the Grave” that’s actually about myself. So it’s like I’m not even written off you know, I’ll write about myself good or bad too.

Rozes released a new EP Burn Wild in February and is currently working on finalizing her next release.  

TO ERR IS HUMAN; TO YAK, DIVINE
April 4, 2016 2:23 pm

Yak is a difficult band to describe faithfully. Their performances, and even conversations with the band, are kind of like watching the big bang happen—a tiny, tense mass of energy that begins to explode, and then grows exponentially. I still have glass in the treads of my shoes from their Wednesday show at Berlin NYC.

Earlier that night, ATYPICAL SOUNDS sat down with Oli Burslem (vocals/guitar), Leo Kurunis (bass), and Elliot Rawson (drums) to talk sense and nonsense.

yakk

Photo by Sasha Maese

You played last night at Saint Vitus, the metal bar.

OB: It was greeeat.

LK: I liked it. It was a bit of a scuzzy rock venue.

Is this your first time in New York?

ER: We came over last year, we did CMJ. We did Mercury Lounge and Elvis Guesthouse. Elvis Guesthouse was cool, it felt like we were in a sauna.

You just came from SXSW, as well. How many shows did you do?

ER: Six, I think. Six in two days?

OB: I would say “half a baker’s dozen”.

Six? Seven? Six-and-a-half?

OB: You know what? Six-and-a-half, that’s good, because one of them wasn’t at a venue. Cause we did one on a balcony.

LK: Or, we did one song on one stage and then moved our gear to another stage and did a set. So I think it’s definitely half a gig on that one.

OB: Lots of people said it was going to be really hard or whatever, but it was such a great, carnal, atmosphere. And we don’t have much gear, keyboard went out the window…

Literally?

OB: Yeah, sure. It was clammy, it was sweaty. It was so good, it was hot. It was saucy.

Also, a concentrated area of people, I’m not a big fan of musicians to be honest with you, or people in the music business, so you think it was going to be a horrible time. But everyone behaved themselves.

Outside of the industry people, who probably don’t want to be there anyway, it’s people who love music.

OB: I don’t dislike them, but it’s a different vibe. If you get a load of industry people, it’s like “Ok, let’s check these guys out,” and you’ve got a lot of chin-stroking. When I started playing music, it was down at a pub on a Monday night. And that’s the kind of music I like playing. It’s just like people and low-grade budget entertainment. But I really enjoyed it, and Austin was great.

Did you see any bands there you liked?

OB: Thee Oh Sees I’ve wanted to check out for a long time. So that was good, and we wanted to go see stuff, but we hit a bar afterwards, and you meet some guys, locals. And we were just having a good time. So we probably could’ve seen Iggy and everyone we wanted to see, but I was talking to a guy, and he said he had a gun, so I was trying to get him to shoot. I said “Can you shoot me?” but he didn’t have the gun.

You just released your video for “Harbour The Feeling” as well. Was it your idea to do a music video?

OB: Everyone was on a hiatus, and I was the only one left in London. And we released some live videos, but we got bored of that. So we sat around at a pub with my mate who shot it, Ben [Crook], who’s a wicked guy, and we were there for like three hours. And we got to the part where we went “Oh, we could drive a car through a desert”. So we got all these things, and we got to the end and it was like, “We shouldn’t do a video”, it’s a waste of money, and we don’t have an idea, and no band members.

And then a few days later, we were like “Bucking yak! That’s hilarious.” And then we built the Yak [sign]. We got up at five in the morning, drove to south London to find the bulbs, and then I couldn’t find the thing, so I went to north London. I spent the whole day driving around, I was like “Wow, this is being in a band. Finding bulbs.” And then we spent a whole day wiring it up with our friend Levi who built all the pedals. And it took a day to do it all. But it was like the best feeling ever. We just plugged in and turned on, and it was like “Ahh.” This is what it feels like to be a functioning human being. Being in a band is like…sometimes it’s great, I’m not complaining, but you’re not directly helping anyone.

You are, though.

OB: You maybe are, it’s just like…

ER: He wants to be a nurse.

OB: I want to be a nurse, yeah. Just something that makes me feel good.

You go to a town, you get pissed, you feel guilty about it, you go to a museum, you relieve the guilt, you go to a bar. You go to the bar, you wake up feeling really bad, you go see the Statue of Liberty, you go to a museum, you feel better. That’s why in Amsterdam, that’s why the Van Gogh museum is always packed, full of like people eating mushrooms.

Is it a lot of tourists?

OB: It’s people with a lot of guilt inside them. They need to relieve it and then get back to the bar.

So art is something you do to relieve guilt?

OB: Yep. And being generous as well. I’m only being facetious. I don’t really believe that.

I’ve read two of you were selling curiosities before you were in the band [Oli gestures to himself and Leo]. Where were you finding that stuff?

[A/N: I realized after this interview that it was actually Oli and original bassist Andy Jones who were the curiosities dealers. So Oli and Leo could’ve been fucking with me.]

OB: That would be giving away trade secrets.

LK: We’re not really allowed to say.

Are you going through the garbage at weird, old mansions?

OB: Anywhere you feel, really.

LK: My mother does it for a living, and she has her own shop. You had your own shop as well, didn’t you?

OB: Not technically.

LK: You didn’t, did you?

ER: You don’t know who’s listening.

OB: Basically, I had loads of jobs, then I was lucky enough to get a van. So I started going to auctions and buying stuff, and then selling it. A glorified van man. But I enjoyed it, I like that.

LK: There’s a good buzz to it.

OB: It’s not even a money thing sometimes. It’s just like, I had a space and every week I’d change it into something else. And I liked that. It’s just like music. If you walk down the street, and you see people walking slightly different, it’s the same with this kind of stuff. You can dress it differently.

We went to a museum yesterday in Philadelphia.

The Mütter Museum?

OB: Yeah, and everyone’s body language was like this [he mimes someone looking guarded, hands folded over his chest]. Cause everyone was so uncomfortable. I was more interested in the people that were alive, to be honest, than the ones who were dead.

If you’re working in antiques, some of that stuff is probably really dirty.

LK: It’s a nice trade, it’s a good trade to be in, and how many people you meet in it as well. There’s some really funny characters, they’re so far out of society, some of them. Lots of funny people with lots of different histories.

OB: There could be a man and his wife, and they could be millionaires, but they’d also be homeless. It’s a big hustle. I like the sales that aren’t on the internet. Like someone would be deceased, and all of their belongings would be at an estate sale. So you’d be looking through loads of books and then you get a book and you go “Ah, hang on, that’s an interesting book to have”, and then I’d go to the auctioneer and ask which furniture the [deceased] guy had. And then I’d buy like books, and books, and books, and everything I was obsessed with if the guy seemed cool. So I’d just buy all of it, and I’d sit until four in the morning, just going through it all. Just going, “Oh wow, he was Jewish, he was a doctor, and he was into industrial furniture.” And in my head I was picturing this guy. I don’t know it sounds mental.

Do you prefer photo albums over other kinds of books?

OB: I’m pretty illiterate, so…well I’m not illiterate, but…I, uh, yeah.

You’re doing four dates with The Last Shadow Puppets in April. Were you freaking out when you got the gig? Are you big Arctic Monkeys fans?

ER: It’s just another gig, really.

OB: [Speaking in a robotic voice] It’s a great gig, and we’re really honored, and pleasured, and in such awe to be able to have the opportunity, and we’re really happy to do that.To be in front of all the people who have gone to see a great band as The Last Shadow Puppets.

Is there a band you dream about being able to tour with?

OB: Well, if it isn’t The Last Shadow Puppets, it would probably be the Arctic Monkeys.

Did you have a falling out with Alex [Turner]?

OB: I actually had a nice night with Alex, and he was a gentleman. He invited us around to his house, and he was a pleasure, he gave me a drink, and we had a good chat. And he’s a talented man. There’s not that many rock stars that can exist anymore, people come and they go, and there’s this level at the top, and he’s managed to secure himself there. And rightly so, I think. His lyrics are good, and he’s got money and he’s doing it and doing the rock star thing. And why not?

And I can’t wait to get out there and play some shows, and I hope we do them proud.

Your first album is coming out in May as well. Is there anything you’d like people to know before they listen to it?

OB: It’s probably the most important album of the last ten years, guitar-music wise, from England. It’s the most important album to come out of the suburbs of Wolverhampton for the last five years.

What other bands are from Wolverhampton?

OB: Slade, Babylon Zoo, Robert Plant, Killing Joke‘s bass player [Paul] Raven. There’s quite a lot. I feel quite proud of being from the Midlands. I mean, I was born in Wolverhampton, and have family from there, but I lived in the suburbs seven miles out. There’s something quite nice about being from there, I’m quite proud of it. But I don’t really belong anywhere, really. Like everyone else.

I’m from the suburbs of New York, but I couldn’t wait to get out. I found it suffocating.

OB: I think it’s just a part of growing up.

ER: When you’re growing up in New York City, you’re just thinking you want to get out of New York City. I’m the same, from New Zealand. Everyone’s like “Oh, New Zealand’s beautiful.” Yeah, fucking beautiful, but look at me. Look at me. Have you seen me play? Look at me. LOOK AT ME.

[Everyone laughs]

Sorry, I’m losing the plot here. [Pause] Imagine if I had no face.

That would be scary. Like that woman that got her face ripped off by a chimp.

yak

Photo by Sasha Maese

You’re all based in London now, right?

OB: It’s great. It’s great for modeling.

Do you model?

OB: Yeah, I can’t wait to do more. I know Elliot’s really keen on me doing it. You know what, what’s the point? What’s the fucking point?

Of modeling? Of anything?

OB: There’s no romance, we are shit, and it’s all a fucking joke. [He giggles]

You’re doing pretty well.

OB: It’s bullshit, and we won’t be long in this house. I cannot stand being in a band with him [gestures towards Leo] and him [gestures towards Elliot].

How long have you been on the road so far?

OB: Two weeks [they all laugh uproariously]. I just wanna get naked. Not physically. Mentally. You know what? I don’t even know why we are doing this. We’re not getting paid.

I’m not getting paid.

OB: And I don’t love it [they continue to laugh]. Nah, I do. I don’t know. I think I’m just tired.

A friend and I are going to be in London in July. What should we do while we’re there?

OB: Come visit us.

LK: We’re going to interview you.

I’m not that interesting.

LK: You are, Sasha. Everybody’s interesting. Everyone’s got something to say.

Actually, after this, I want to go talk to that other Sasha I met earlier. I don’t meet other Sashas too often.

ER: He’s a nice guy. I’ve known him from New Zealand for 15 years.

He’s from New Zealand too?

ER: Yeah, he’s a good dude.

Did you hear Flight of the Conchords are coming here? They’re doing two dates. The first one sold out as soon as the tickets went on sale.

ER: Americans love Flight of the Conchords. It was always on American TV, wasn’t it?

It was.

ER: They were a proper band, like a comedy band, for years before their TV show.

And Bret was in that ukulele orchestra, as well.

ER: They’re both really good musicians. They really cashed in on the TV thing.

Do you guys have any songs you look forward to performing the most?

OB: The idea of the set is pretty loose, so we kind of do a different version of a song every night. I look forward to playing them all, and sometimes we’ll do something we haven’t done before, and that’s the bits where it really gets me excited about wanting to do music.

LK: Making it changeable.

OB: That’s probably the reason why we do it.

You must need to work pretty closely to improvise like that.

OB: It’s quite a boring genre, rock and roll is not complicated. No one can really explain it, because it’s so simple.

What is your average number of chords used per song?

OB: More than three. I like it simple, but there’s a thing about guitar, bass, drums, and we’ve been on all the records. Disregarded all of them, disregarded the drum kit on the recording, just played the shells, disregarded the bass in one song and just did feedback, disregarded the guitar and just hit it. It’s about energy, I think. All these things we can flip so it’ll be a new song.

Does that go along with your feeling that art produces relief?

OB: I don’t think our band has anything to do with art. I think music is quite low-grade, it’s like beans.

You’d be amazed at what passes for art.

OB: I know, but when bands get into that territory, it makes me feel…I like the bands that are like, “Let’s get the denim on. Let’s get out there and play some gigs.” And it’s just entertainment. People go to the cinema, the casino, the pub, or they could see a band. And that’s the level we’re working at. I don’t think there will ever be a band again that will work like the Beatles, changing society. It’s like a carwash, cleans your car; a band should make you feel excited and on edge.

When you first got into playing music, was there a musician or band you really wanted to be like?

OB: Start at the top. And I thought when I was six, I would be like Elvis but bigger. And then I thought the Beatles. And then it just goes down and down, and you end up at the bottom. And then you work yourself back up. “I’m just gonna be a cool band in London.” I’m not even that cool. And then you drop. And you put Fun House by The Stooges on and you go “Well that’s just fucking good, isn’t it? Why don’t I just do that?”. I listened to that when I was 14 and then you go up. I don’t know where I’m at now.

I think it’s also hard to be creative in London because it’s such an expensive city to be in.

OB: I got there when I was 17, so that’s quite a long time ago. And I was doing loads of jobs, but it’s character building and I couldn’t write the songs I did then, now. I was just hungry to be in a band, I didn’t know why. But now, it feels like an expression of that struggle. And we’ve had a lot of help along the way from people in bands. We’ve had a lot of help, and this hasn’t just come about by us being a good band.

Is there anything you do to prepare for life on the road? Is touring hard for you?

ER: It’s fucking easy. Not easy, but we’ve all worked jobs that sucked.

LK: I’m sick of working jobs for people that I hate.

ER: But we’ve all had shit jobs.

LK: We absolutely love this. I don’t care about sleepless nights, we’d still get up and do it and play.

ER: It’s not going to last forever. When the wheels fall off, they fall off, and we’ll go back to doing other jobs.

OB: The only thing we could do with our skillset would be coffin bearers. We could carry stuff, and we’re emotionally discharged. So we could be hauling out corpses.

LK: I bet you can’t name a good, simple, rock and roll band that’s not outstayed their welcome. It’s the careerists that get it wrong. My idea is that we go hit it hard as we can, and then retire and be happy people and not have anything to do with this. I don’t want to be famous or anything like that. And all the bands that we like, I think, have a good period of intensity. And that feeling, I think, bands miss it.

What if you get to the point where you are famous and you try to go somewhere and people are freaking out?

OB: It doesn’t happen. See this is a myth that everyone always talks about. The bands will never be like that again.

The 1975 has kind of turned into that.

OB: Yeah, but he has to look himself in the mirror every day. He’s gonna have depression. I hope he’s got a lot of money, because he’ll need a lot of counseling.

Do you guys have any last words before you perform tonight?

[Their tour manager walks over]

Tour Manager: Hey, sorry, it’s time.

ER: America’s been great, we’re really happy to be here, we want to come back.

LK: We love it, and we love you, and…

OB: It’s been brilliant. It’s…just music.

It’s everything.

SXSW SPOTLIGHT ON: LENA FAYRE
March 18, 2016 11:38 am

When listening to Oko, Lena Fayre’s debut album, for the first time, I did a lot of giggling. She’s 19 and is already brimming with all this talent, so I really don’t know what to do other than laugh because of how good she is. I refer to this as the Steph Curry Giggle for obvious reasons.

Fayre gets those SCGs out of me because, similar to the Davidson product, her range seems to be limitless. In her earlier work, she was able to show off her pop star impression on “Love Burning Alive”, which has everything a great pop song needs: strong vocals, a catchy hook and a heavy handed innuendo pertaining to sex. All of it came easy to her.

On Oko, Fayre wisely slows things down and focuses on opening up her entire tool chest to get it to work in her favor. ‘The Tiger’s Bride” shifts from delicate to powerful seamlessly in a stripped down effort. For the most part, the instrumentals are buoyed by a single patch of drums, and with that, she’s still able to make a booming chorus that’s catchy.

By opting to go minimal, the structure of the song, or its sonic accompaniment isn’t what’s being focused on. It’s a wise move that puts Fayre’s dynamic voice as the engine of the song instead of just an alternator (I needed to call my cousin who works with cars in order to complete this clunky metaphor). On “Ophelia”, her voice conducts the song’s pace. The piano compliments her timid moments perfectly, and when she builds up to a moment, the strings soar with her. 

The moments of overt liveliness isn’t as prominent compared to her EPs, but they’re each more well deserved while fitting to the flow of the album. “Games” has a droney dance floor vibe that makes everything appear to be going in slow motion. And the all over the place glitchy paradise that is “Intimacy Is Me” is a true gem. Neither have the directness of her earlier work, but it works more effectively because of the intimacy that surrounds this entire record.

Lena Fayre is only going to get bigger and better, seeing how she’s only 19 and has already gotten the modern day sultry R&B style down to a tee already. I’m expecting to do plenty more Steph Curry giggles at her music in the future. It’s why we’re excited for her to be performing at our SXSW this year…….TODAY! If you’re in town for the festivities, be sure to check us out at Darwin’s Pub. We’re kicking ass there all day from 11:30AM-6:00PM.

And if you’re not in Texas and still unsure about who Steph Curry is at this point, please watch a Golden State Warriors game for christ’s sake.

SXSW SPOTLIGHT ON: MAINLAND
10:31 am

With their feel good vibe, and button down shirts, Mainland brings a California feel to the East Coast. Even their name reminds me of a classic surf-rock band, however there’s no surfing in New York.

Mainland is a Brooklyn based four-piece who recently put out an EP called Outcast. Sunny yet dark, their eclectic mix of West Coast pop and East Coast punk gained the attention of bands including Atlas Genius and Marianas Trench.

While more recently the term “vintage” has been used to describe anything quirky the band actually has a real vintage aesthetic that’s fun and fresh. I don’t feel like I’m watching a sad “Grease” parody when I’m watching their videos. As Spring is coming closer and closer the bright sound of Mainland HAS to be on everyone’s driving playlist.

Mainland will be preforming at ATYPICAL SOUNDS’ annual SXSW day party at Darwin’s Pub in Austin, Texas on Friday, March 18th at 3:15 PM. Don’t miss it!

SXSW SPOTLIGHT ON: NEW MYTHS
March 16, 2016 11:51 am

“We are an all-girl electronic power trio”

Occasionally it’s just easier to let a band introduce themselves.  Drummer, percussionist, and backing vocalist Rosie Slater couldn’t have summed it up better in an article featured in Modern Drummer Magazine.

Post-Punk revivalists New Myths follow a deep tradition of New York underground rockers that have payed sonic homage to their music idols while offering their own sleek iteration. You can make easy comparison’s to the Yeah Yeah Yeahs, who introduced a new indie-obsessed generation to the icy shriek of Siouxsie Sioux, or Interpol’s metro-polished take on Joy Division’s Ian Curtis.  New Myths’ guitarist and lead-singer Brit Boras summons the haunting vocal muse of Blondie, but injects it with grungy guitar-pop more akin to Paramore.

 

??CMJ day 4! Today were playing @ @rockwoodmusichall @ noon & @thedelancey [downstairs] @ 2:15pm! thanks again to @melismaticdiva for the GIF! @pancakesandwhiskey @atypicalsounds #cmj2015 #cmjmusicmarathon #cmjmusicfestival #newmyths #melismaticblog #thedelanceynyc #rockwoodmusichall #nyc

Posted by New Myths on Friday, October 16, 2015

New Myths quickly gained traction in 2013 after an endorsement by the late Lou Reed. The legendary Velvet Underground singer-songwriter/noise-rock-pioneer hand-picked “False Gold” off of New Myths self-titled debut EP and showcased the track on XM Radio syndicated “Lou Reed’s New York Shuffle”.  When New Myths convened a year later to record their full-length Give Me Noise, they were fortunate to collaborate with veteran producer Seth Glassman, who’s worked side by side with Paul McCartney, James Brown, Elvis Costello, and many others. You can check out the bulk of New Myths music on their SoundCloud.

We’re excited to announce that New Myths will be performing at our very own ATYPICALSOUNDS SXSW Day Party this Friday, March 18th, at Darwin’s Pub. We’ll see you there!

SXSW SPOTLIGHT ON: THE DISFUNCTION
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When you think of a city that produces fresh musical talent, how long would it take you to think of Rincón, Puerto Rico?

A long time, right? Maybe never.

It’s entirely possible that before reading this, you were unaware that a city called Rincón even existed on the northwestern tip of a tiny island nestled snugly between the Dominican Republic and the U.S. Virgin Islands.

Well exist it does. But then, why should you care?

It so happens that this isolated little surf town in the middle of the Caribbean Sea has produced a band of surprising novelty and popular appeal, one that has been making a splash far, far from home all the way up in Brooklyn, N.Y.

The Disfunction is a band that you love to love, because they play music for what we like to call the “right reasons.” Theirs is the classic story of a group of childhood friends coming together to play music, just for the fun of it. Isn’t that what music is supposed to be about in the first place?

Is there anything more authentic, more real?

Ok, yes, that opinion may sound a little trite.

But in today’s world of manufactured pop-stars, lone-wolf basement producers, and melodramatic indie acts, wouldn’t it be nice to just listen to a band have fun every once in a while?

disfunctionThe Disfunction is a band that sound like they’re having fun.

Their music is as laid back as the beach scene they came from (and still often play to; they split their time between New York and Puerto Rico, playing shows to a very proud home crowd).

Think of them as a less frenetic Libertines, but with a killer keyboardist and drum pads. Like British Punk without the politics, or like American Indie Electronica without being so over-the-top dreamy.

The Disfunction plays the sort music you’d like to hear as the sun goes down, right as the tiki torches are being lit and another lazy day somehow transforms into the electric atmosphere of the night time party scene.

Expect more good things.

They are currently at work on their new studio album, titled 1,2,3…Testing, while simultaneously touring back home in Puerto Rico. 

And if past efforts are any indication of future progress, you can expect an upbeat album replete with richly layered synth and bass, and topped with smart, punky vocals.

It’s fun, but not frivolous. Carefree without being careless.

It’s music that glorifies all the good in life while silently acknowledging all the bad that hides in the darkness.

The Disfunction will be on display Friday, March 18th at this year’s SXSW at Darwin’s Pub, presented by yours truly, ATYPICALSOUNDS.

GET OUT AND DO512
March 9, 2016 5:45 pm

Hello, fellow party goers/people that love fun. As a New Yorker, there’s a multitude of places I can refer to to get a head’s up of what’s going on around town. This city is always hustling and bustling and because of that there is always something fun happening. For me, I have my personal stash of outlets like Thrillist, Eater, Gotham, and ILoveFreeConcerts for stuff like top margarita spots, best bottomless brunch, outdoor summer movies, and the list goes on and on.

In light of next week’s SXSW, we at ATYPICAL SOUNDS are highlighting one particular site that does for Austin what many great sites do for SXSW.

Do512.com is a site where you can find a high variety of different events to do in the 512 (Austin area code). The whole DoStuff Network has a plethora of other cities in its grasp; Do617 for Boston, Do312 Chicago, Do503 Portland and many others.

With categories like: Music, Comedy, Arts & Fashion, Happy Hours, Sports & Outdoors, Film and Food, the site manages to keep the citizens of Austin in a constant state of happy by promoting places where this kind of stuff can be revered.

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Austin is on the rise to a social utopia, breaking barriers in the past few years to become the hotspot it is now. It’s basically the Portland or Brooklyn of Texas. A city that people can look to as a place where art and business can flourish together.

And although we can’t put all the credit on SXSW, we also can’t ignore that the festival has done for Austin what Comic Con has done for San Diego.

In the Atypical Beasts spirit, this is one place that we revere because of their attitude. It is a city that stands for a place where your passion and your career can be one in the same.

Go to the site to check out some great, and cheap, places to go while you’re down there in Austin, as well as some great parties to keep your SXSW experience one to remember…or not remember.