It’s time for the annual pilgrimage for Tex Mex, margaritas, sunshine, and thousands of emerging bands playing in any place that has an Austin, Texas zipcode. Yes, SXSW is back and so is another excellent edition of Floating Fest. We’re back at Hype Machine’s Hype Hotel presented by Taco Bell again this year and are super stoked to give you the below lineup, which we think is quite a sexy beast in its own right:
What: Floating Fest 2014
Where: 505 E. 7th St @ Hype Machine’s Hype Hotel presented by Taco Bell
When: Wednesday, March 12 from 8:00PM to 2:00AM
8:00 – Sylvan Esso
9:00 – Bipolar Sunshine
10:00 – Young and Sick
11:00 – Mutual Benefit
12:00 – SOHN
1:00 – Chromeo
PLEASE MAKE SURE TO RSVP IF YOU WANT TO ATTEND, FLOATING FEST WILL GET CROWDED AND WE WANNA SEE YOU: RSVP HERE
The music industry’s biggest suggestion: that you probably shouldn’t immediately follow an album release with another album release – well, no one told Baltimore synth pop experimentalists Raindeer that. That or someone told them and they’re doing it anyway. Releasing their sophomore effort Tattoo in the middle of last year, the quintet must’ve went to work again almost immediately after to have their newest record You Look Smashing right on its heels. It’s not out yet, and won’t be for some time but it’s coming and coming quick if first single “Blasting” is any indicator.
One of the most delightful things about Raindeer songs and their albums in general is you never really know what you’re going to end up with this early in the game. Based on the singles, you weren’t likely to guess that their self-titled debut would be a sort of sci-fi B movie homage or Tattoo would at its greatest points would resemble a fantasy epic. So it’s a little difficult going to and figuring out what sort of album “Blasting” will be a part of. Which doesn’t distract from it at all. “Blasting” sort of captures the spirit of the two within it – A smooth middle school dance resembling tune which Charlie Hughes populates with space allusions and a number of willowy interludes.
Seattle singer-songwriter Julie Byrne may have just released her debut album Rooms With Windows and Walls last month but that doesn’t stop her from taking her Nico-channeling ways into new releases, including the lovely, pastoral “Melting Grid”. If you’re going on a road trip soon or plan on eating cochineal beetles anytime soon (odds on, you are without knowing it), let “Melting Grid” guide you along the way…
Even among the sea of spindly interlocking guitars and complex drum rhythms, the voice of Salt Cathedral vocalist Juliana Ronderos has always served as it’s primary focal point; everything built around it. So it’s exceptionally fitting that as Salt Cathedral continue to refine and evolve their sound that Ronderos vocals continue to guide them forwards.
“Good Winds” takes the stuttering, rhythmic focus that makes up the core of Salt Cathedral’s characteristic sound and more or less does away with it completely. “Good Winds” shines an even stronger light on Ronderos’ vocals while toning down their tropicalia-infused experimentalism in favor of unfettered emotion. Salt Cathedral update the standard slow jam by allowing it to accumulate additional layers and interesting musical moments just moments after eschewing them. Coupled with the radical inclusion of synths, “Good Winds” manages to bridge a marked different compositional approach – highlighting exactly what Salt Cathedral have to offer even as they slip into a more Brooklyn-esque level of accessibility.
It’s more than mere coincidence that brought me to Kingston based experimentalist Shana Falana. The duo featuring the eponymous frontwoman on vocals and guitar recently performed not only with Brooklyn’s Widowspeak but also the previously spotlighted Albany band Hand Habits.
Considering the amount of layering required to create the psych pop that Shana Falana strives for, it’s a bit shocking to discover it’s mostly the work of Falana herself (with drums provided by Michael Amari), but with the mastery of a loop pedal and good old fashioned recording materials anything is possible. Her latest track, “Gone”, released in support of an upcoming anthology release of sorts, is a hold over from Falana’s former Brooklyn based duo Skirt and features less angular jags and more svelte, gliding vocal lines and a misty dream pop haze. That and some pretty intense drumming that keeps everything firmly on rightful, less aimless path.
“Gone” is one of the many tracks featured on Shana Falana Sings Herself to Sleep, an exclusive collection of demos, field recordings, and audio diaries available only through her Indiegogo campaign. If that sort of things your bag, you might want to contribute for a copy here. If not, Shana Falana has more music available the old fashioned way via her Bandcamp.
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