This sounds great! Count me in. I expect to grab alot of b-roll footage that we can all open source and mash if anyone else wants to mix it up too.
What tag(s) are people planning on using? I was thinking "06vlogsxsw"
- Ted
On 2/27/06, Corey Denis <[EMAIL PROTECTED]> wrote:
hi there,
Just got the confirmation for an IODA podcasting/ vcasting lounge
across the street from our party at sxsw - we have rented additional
space for podcasters & 'casters & vloggers in general to conduct artist
interviews & 'casts. if you will be around sxsw/ austin on the 15th
let me know and we can set it all up. over 205 artists from our labels
have shows at sxsw, so there's lots of interviewing possibilities.
meanwhile, here are the party details, (below) with the lounge info at
the bottom. You can also opt to interview/ do a piece on the artists
at our party - just contact me so we can work out the details etc. You
can email me directly here: [EMAIL PROTECTED]
hope everyone is well
Corey
http://IODAlliance.com
http://promonet.iodalliance.com
IODA's 2nd Annual SXSW Kickoff Party
Presented by OutThink Media, Groupie Tunes, Indie911 and
SynthesisMagazine
When: Wednesday March 15, 2006 1- 6 PM
Where: Emos Annex (Corner of 6th and Red River)
1:00pm The Herms (Jackpine Social Club)
1:30pm Phosophorescent (Misra Records)
2:00pm Magneta Lane (Paper Bag Records)
2:30pm Oranger (Amazing Grease Records)
3:15pm The Mutts (FatCat Records)
3:45pm The Slip (ReapandSow)
4:30pm Dengue Fever (M80 Records)
5:15pm Heavyweight Dub Champion w/ special guests Dr. Israel & AWOL One
IODA SXSW PODCAST LOUNGE
Live Broadcast and Interviews with IODA Artists, Sponsors, Labels,
Friends & More.
When: 3-6 PM 3/15/06
Where: K-Bar (Alternate Corner of 6th and Red River – Directly across
the street from Emo's Annex)
for anyone interested in info about the bands at the emo's annex party,
here are some blurbs :-)
THE HERMS
Maybe all you really need to know about the Herms can be gleaned from a
careful listen to about 30 seconds of "Volleyball Song," By the song's
second verse, the saccharine drip of major-chord cheer and a bouncing
backbeat has lulled us into a calm just short of a diabetic coma. It's
familiar and comfortable. But then, out of nowhere, there's a sucker
punch of unexpected melody and tonal oddities. Lutz bats the song about
like a coy kitten before letting it scurry away on that backbeat. To
the drunks and the bookish types alike, it's clear that he's not merely
a clever slacker with a guitar; he is a musician who can raise the hair
on the back of your neck.
- Nate Cavalieri SF Weekly
PHOSPHORESCENT
Built on the solid foundations of last year's The Weight Of Flight EP,
Aw Come Aw Wry is a musical conglomeration of brash horns, rollicking
hoedown rhythms, gospel choirs, all underscored by the slightly askew
voice of Houck.
– Hybrid Magazine
Poets rarely show their faces. Will Oldham, Elliott Smith, Will Sheff
have all stuck their necks out, and it may well be time to add Matthew
Houck to that list. With his Athens, Ga., outfit Phosphorescent,
Houck's fragile voice cracks with angst of the heart on the group's
sophomore release, Aw Come Aw Wry, their first on Austin's Misra label.
That introspection turns into extreme exclamations of joy as
Phosphorescent's heavenly trumpets blare and funereal strings scream.
Opening with the defensive "Not a Heel," Houck clears the path for the
downtrodden and misunderstood with the simple tinkling of the piano and
acoustic strumming. –The Austin Chronicle
ORANGER
Culled from such notables as American Sensei and the Stick Figures,
Oranger (Mike Drake-Guitar/Vocs, Matt Harris-Bass/Vocs and Jim
Lindsay-Drums) rocketed onto the San Francisco music scene with their
debut "Doorway To Norway"(Pray For Mojo) in 1998. Critics heralded them
as "Pretty Good. Pretty Damn Good, I'll Tell You What!". "Doorway"
contained the runaway smash(in Latvia) "Mike Love, Not War" as well as
unforgettable tunes like "Eggtooth" and "Donald, You're Freaking Out".
Continued rockin' live performances garnished them a reputation as a
band people would pay good money to see. This was helped, in part, by
the lovable onstage antics of drummer Jim Lindsay who earned favorable
comparisons to Keith Moon and Olivia DeHaviland. 2001 saw the release
of "The Quiet Vibrationland" (Amazing Grease) and the addition of
Patrick Main(Jolly) on Keyboards. The group's sophmore effort found
them heading into territory once only inhabited by the high and the
mighty. Standouts like "A View Of The City From An Airplane" and "Texas
Snow" proved the band still knew how to rock and rock hard, while
tracks like "sorry Paul" and "Falling Stars" showed a softer,
introspective side. Touring throughout that year gave them their
reputation as a "band's band" being asked to join such notables as
Guided By Voices, Elliot Smith and Wilco as support. Fast forward to
2003 and the release of "Shutdown The Sun"(Jackpine Social Club). The
band has found a distinct voice and every track on the album is a
standout. The lucky few who bought one of the first 5000 copies of
"Shutdown" also received the 34 track(!) companion cd "From The Ashes
Of Electric Elves". With the further addition of Bob Reed(Overwhelming
Colorfast) on guitar, the future looks Oranger than ever! - P. Stoff,
Flying Pretend Magazine
THE SLIP
Is the Slip an anomaly? Or is music becoming more and more the
bailiwick of the stage, less reliant on successful recordings? I'm not
sure, and neither is the Slip. But given their current success, the
band — Andrew Barr (drums), Marc Friedman (bass), and Brad Barr
(guitar, vox), all Berklee dropouts — isn't quibbling.
Over the past year and a half, the trio has made the kind of progress
that local bands only dream about. They've played festivals like
Bonnaroo (yep, 80,000 plus fans), Bumbershoot out in Seattle, and SXSW
down in Austin. They've played the stage of Austin City Limits and
opened a few shows for the Allman Brothers Band. This kind of thing
isn't supposed to happen to outfits from our neck of the woods. But
it's happening for the Slip, in a most unorthodox way….
… I mean, [The Slip] cleverly devised a way to turn their idiosyncratic
craftsmanship into something universally appealing. Strange thing is,
that has nothing to do with selling a boatload of records, packing in
tight, supersaturated power chords into three-minute uber-productions,
or riffing over a monotonous funk rhythm. Rather, it's just the
opposite. The Slip sound is a mix of hippie jug band, jazz fusion, and
ambient pop. They rarely lapse into cliché. They always find a zone in
which listeners discover the dazzling possibilities and revelations of
improvisation.
-Bob Gulla, Providence Phoenix
MAGNETA LANE
Guided by their influences, The Kinks, Sonic Youth, Velvet Underground
and Nancy Sinatra, Magneta Lane have created a sound, mood and style
all their own. Impressively they preserve their femininity while
engaging the audience in positively gritty sounds and wise beyond their
year's lyrics.
- New Music Canada
THE MUTTS
The band, who recently played the CMJ festival in New York and are set
to perform at SXSW in Austin Texas in March as a precursor to a full US
tour in the early spring, have announced three UK dates to coincide
with the single release.
A ferocious live act propelled along by Chris Murtagh's primal vocals,
the last year has seen the band tour extensively with the likes of the
Soledad Brothers and The Dirtbombs. A full UK tour to coincide with the
release of a new EP is planned for the Spring of 2006, set to herald a
more diverse, heavy and blues oriented chapter in the bands recorded
history.
DENGUE FEVER
Dengue Fever is in the vanguard of an emerging global pop sensibility,
making music that's both familiar, yet eerily unique. Fronted by
Cambodian pop star Ch'hom Nimol, who sings in Khmer, the Los Angeles
sextet blends the rhythms of '60s Cambodian pop - heavily influenced by
American surf, rock and early psychedelic garage bands - with their own
eclectic mix of American and international styles.
Unlike the world music bands of the late 80s, Dengue Fever is more
concerned with a universal groove and breaking down musical barriers
than with notions of authenticity. There are echoes of Bollywood
soundtracks, Ethiopian soul, American R&B, Cambodian folk, Spaghetti
Western weirdness and girl group angst in the mix, but the resulting
concoction is all their own.
HEAVYWEIGHT DUB CHAMPION
w/ special guests Dr. Israel & AWOL one
A live mix on 50 channels of audio, featuring 3 shamanistic sonic
alchemists (Resurrector, Patch and Totter Todd), one of the best
turntablists in the West (DJ Illnaughty), ceremonial guidance and hip
hop divinations by A.P.O.S.T.L.E., reverence and ragga revolution
represented by Stero Lion, guest appearances by Wailer B, J Criminology
and others, the HDC+ Liberation Process is an extreme musical event.
All HDC+ music is fervently original and virtually all sounds are
created from scratch.
The live performance is a mixture of prerecorded Champion Nation sounds
and beats individually manipulated on analog sound consoles filtered
through vintage effects and layered with live performance on vintage
synthesizers, saxophone, turntables (for scratching only), percussion,
calculated feedback, and vocals. The HDC+ stage set consists of
thousands of pounds of some of the most powerful music equipment ever
made.
Dr. Israel
Brooklyn-based singer/producer Dr. Israel isn't a real MD, but he
deserves an honorary degree in alchemy for his crafty synthesis of
roots reggae, frenetic jungle rhythms, gritty New York hip-hop, and the
occasional rattling metal riff. The good doctor has been promoting his
musical Frankenstein since the mid '90s, but his latest album still
bristles with the earnest agit-prop and idealistic radicalism of a
fresh-faced activist. –Boston Phoenix
AWOL one
Along his journey, AWOL has performed alongside the likes of Common, 2
Live Crew, Eminem, De La Soul, Beat Junkies, Funkdoobiest, Jurassic 5,
Del The Funky Homosapien, Hieroglyphics, Aceyalone, Tha Liks, Dilated
Peoples, Living Legends, Mix Master Mike, Abstract Rude, Kool Keith,
Cypress Hill, Afrika Bambaataa, Swollen Members, Visionaries, the
Breeders, Atmosphere, Sage Francis, Fishbone, Los Lobos, Lyrics Born
and many many more. AWOL's music has been featured on MTV Road Rules,
The Source Sound Lab, and magazines such as URB, Spin, XLR8R, Slap,
Thrasher, Vice, Life Sucks Die, Mean Street, Big Time, Revolver,
RapPages, L.A. Weekly, O.C Weekly and was winner of 2002 LA Weekly
Music Award and many more. . .
--
Ted Tagami
Principal, Universus Networks
U N I V E R S U S . N E T
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