When I first hooked up with Trent and Amber to form Southern Gun Culture, they said that stoner rock would be the Next Big Thing. At first I didn’t know what they were talking about. I mean, I’d never heard the term "stoner rock." I was into Clutch and Black Sabbath, had seen a Kyuss video many years ago, felt more of a musical kinship with music that came out 20-30 years ago, and thought Nu-Metal blew dogs for quarters and rap-rock was an abomination before God. They took me to a Spirit Caravan show opened up by their friends Dixie Witch and jam room-mates Super Heavy Goat Ass, but due to the crummy sound system I wasn’t too impressed. Of course, the NEXT time I saw those bands I was blown away. That was a year and a half ago, and I’d zrecently moved to Austin to get into music (seemed like a good place to start). I didn’t know what I was looking for musically, but it seems I had found it. I saw the parallels between "grunge" and "stoner rock" right away--they were the next logical step in rock n roll. When music becomes stagnant, rock goes underground and back to the basics--rock as a rule must ROCK!!! Most of the bands you see on MTV and hear on the radio don’t ROCK. So when the music industry descends upon Austin once a year to see what’s going on in music, I sure as hell hope they see some bands that DO rock. So here we are, SXSW 2002--and I saw plenty of bands that fucking rock.
Although it was $10 cover w/o one of those wrist bands, the showcase at the Red Eyed Fly on Friday the 15th was worth every penny. It featured Suplecs, Bottom, Supagroup, Astrosoniq (from the Netherlands), Dixie Witch and Honky. What a line up!!! A cold front had just come through, so the Fly’s outdoor stage was getting a little chilly after sundown--nothing a little rawk and whiskey shots couldn’t handle. Suplecs opened the show a little after 8:00 and did what they do best--ROCK. They let it rip with swamped-out Black Sabbath riffs and pure rock fury. "We come from a piss-smellin town called N’awlins," explained bassist/vocalist Danny, "We need weed and a place to stay. We like to do drugs!" At least he’s honest. They dove back into their set with a vengeance--DAW da-da-rup! Da-da-rup! Da-da-rup-TA!! (I still have that riff in my head). Kudos to Durrel for killer axe work and Andy for being a bad ass drummer. After an unopened beer on stage got kicked around like a soccer ball Danny held it aloft and thanked the Lord Himself for plastic beer bottles; but alas, his thanks were ignored, for upon opening it exploded like Mount Pinotubo. I couldn’t help but notice Clayton from Dixie Witch’s Hiwatt head and cabinet off to the side of the bass rig. "Are you and Trinidad going to do ’Rampage’ again," I asked. "Yeah," he said. "Good. I actually have my camera this time!!!" So I was ready for the tag team combo of Dixie Witch and Suplecs this time. Sure enough, it totally rocked. However, disaster struck as soon as Trini left the stage. Last time I witnessed this song, what followed was Durrel and Clayton exchanging guitar solos like swashbuckling pirates in an Errol Flynn movie, with rock poses not seen since the cover of Kiss "Alive". This time (now that I had my camera), Clayton’s guitar cut out entirely and he couldn’t get it working until the end of the song. Well, shit.
Suplecs/Dixie Witch
Live at Red Eyed Fly
(Click photos for larger versions)
Next in line was the hardest working women in rock, the almighty Bottom. All I can say is, what a difference a week makes. 8 days previous, they played their first show since 9/11 (with Southern Gun Culture at Emo’s in Austin). Nila (bass) insisted that we blew them away, but I pointed out that they were the ones signing autographs for a half hour after the show. They played a few more dates and returned for SXSW. And what a return!!! The lights were dimmed, the crowd went nuts, and Bottom was unleashed. They played a solid set, mostly from their latest, "Feels So Good When You’re Gone," plus some new material. I was hoping they’d play "The Garden," but maybe next time. With Nila’s new fridge cabinet causing minor earthquakes, the fuzzed out raunch of Sina’s Marshall, and Clementine’s overhead drumstick attack, it was clear--Bottom is back, and they WILL rock your world. Viva rock divas, man. They are off to conquer Europe next month, and I hope it goes well for them. Their first European tour was thwarted by 9/11, and it almost broke them as a band; then Man’s Ruin went belly up. Hopefully the only bad luck they’ll run into this time around has already happened--Nila’s strap lock came apart mid-set. They’re back on their feet now, and Sina was even able to get me the $50 from pictures they bought six months ago--that worked out perfect; without it I wouldn’t have had any film for this show!
Bottom
Live at Red Eyed Fly
(Click photos for larger versions)
By this time, the Red Eyed Fly was packed. And as Supagroup from New Orleans took to the stage, the crowd swelled even more. Their approach to rock is old school, like AC/DC and the Rolling Stones. That’s what they do, and they do it well. And they put on a great show. The lead guitarist is like Angus AND Malcolm Young in the same person. I’m assuming the singer/rhythm guitarist is his brother, for they look a hell of a lot alike. They ruled the stage as family and rocked everyone in attendance. I don’t think I can describe them in any way without using the word "rock." Also by this time, my back was giving me grief and as Astrosoniq (from the Netherlands) took the stage, I was preparing to make my exit.
Supagroup
Live at Red Eyed Fly
(Click photos for larger versions)
I lingered around to see what they sounded like, and mingled with friends in the crowd. Astrosoniq had a DJ of sorts, using a CD-turntable and samples to add the "Astro" to their Soniq. It was only when the singer talked between songs that his accent was apparent--his singing was pretty straight forward. It makes me think of the comedian I saw talking about how some English guys sing like they’re from Texas. Once the mix was evened out, it was hard to tear myself away. I wanted to see Dixie Witch and Honky as well, but we were playing with them the following afternoon.
Astrosoniq
Live at Red Eyed Fly
(Click photos for larger versions)
I talked to my bandmates, Trent and Amber, and asked what they were going to do. Amber recalled that a local rock station was broadcasting from the Hard Rock Café on Sixth Street, and if we went there we might get our CD played and an interview. I had a newly mastered promo CD in my car, and Trent and I would go get that while Amber used her feminine charms and fake wristband to infiltrate the Hard Rock Café. It was by then windy and cold, but the walk down Sixth Street helped my back a little. The place was bustling with activity, with music coming out of every single club. Not that much of it was listenable. It was interesting to see what else was going on at least. When we got to the Hard Rock, I looked up and saw Amber peeking through the blinds of an upstairs window. Of course she got in--she prides herself on being able to sneak or talk her way backstage, and could probably waltz through airport security. I held aloft the aforementioned CD, and she made her way downstairs. Standing outside and not in line, Trent and I were in everybody’s way. I caught a glimpse of her heading towards the door, but she then turned back… Okay. After another fifteen minutes of waiting, she emerged. "Once you leave you can’t come back," said the door guy. "I’m not coming back," she said. Turns out, after getting in she snuck through the kitchen and made her way to the top floor--right when she got to there, the radio people said, "Sorry, we shutting down now." A minute too late! Oh, well. We headed back to the Red Eyed Fly, where Trent and Amber returned to catch Dixie Witch and Honky, and I headed home to rest up for the next day.
The next day, Saturday the 16th, featured a non-SXSW showcase at Room 710. The show was titled "It’s A God-Damned Texas Rock-And-Roll Show!!". And it was!! It featured Activator, Southern Gun Culture, Honky, Transmaniacon MC and Dixie Witch, bright and early at 1:00 pm. SGC hadn’t practiced all week, so Trent, Amber and myself had to jam out that morning and then head to the show. After breakfast at Furr’s and a hasty practice, we were late to the show. But so was everyone else. It seems that every band on the bill and everyone in the audience had been up late (most of them at the Red Eyed Fly the night before) and were hungover, so it was very laid back--everyone understood. Which made for a better show, it seems. It was also a free show, which added to the looseness of the afternoon. But it was a blast to all involved and all in attendance, as much a family reunion as a showcase. Everybody knew everybody, and everyone caught up on what happened after the show at the Fly last night. When Activator started at about 1:30, the show was already behind schedule but no one seemed to mind.
Activator gets better every time I see them. And this was the best I’d seen them so far. One of Austin’s few stoner rock bands, they opened up with a riff heavy sonic blast that gives anyone standing too close a smooth shave and permanent hearing loss. Yeah, they’re pretty loud. Justin and Jason trade guitar fuzz and singing duties while the rhythm section pounds away. They blew through a short set that left you crying uncle, but begging for more. The crowd was deceptively small for the first two bands; Room 710 has a weird design that divides it into 3 sections--it is split down the middle by a circular bar of marvelous workmanship, with the stage area on one side, and a lounge on the other, connected by a cavernous hallway in the back painted with psychedelic murals. You can be in the lounge and not necessarily watch the band, but still hear them. Also there is an upstairs balcony overlooking the stage. A very unique place.
Activator
Live at Room 710
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Up next was another Austin band, Southern Gun Culture. I can’t exactly review my own band--that would be just plain odd. But I’ll still write about it. We should have practiced a bit more; we hastily arranged a set that had us playing an awful lot of instrumental stuff and Amber not singing enough. I thought we could have played better, but everyone was complementary. With the weird set up of Room 710, it seemed like the crowd was thin, but friends in attendance said, "Everyone was over there (the lounge) but they were still digging you guys." I think the fact that it "seemed" like no one was there loosened us up a lot--we weren’t as worried about making a good impression on the more established bands, because we didn’t know they were there. Our vocals were in key, my guitar tone sounded good, Amber’s bass was fat, and Trent played well except for the last note of the last song. He totally botched it, but recovered well by going "Fuck!!" into his vocal mic. That got some good laughs.
Southern Gun Culture
Live at Room 710
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The mighty Honky (San Marcos/Austin) took the stage next, and the place was mobbed by the time they went on. I say "by the time they went on" because guitarist Bobby Landgraf was about twenty minutes late showing up. They closed the show at the Red Eyed Fly last night, and everyone understood. People mingled, free beer was provided to the bands; still no Bobby. He finally showed up and what followed was a fine set by the clown princes of Texas rock. Songs like "Don’t Shoot Baby, I Love You," "Your Bottom Is At The Top Of My List," the live album "Attacked By Lesbians in a Chicago Bowling Alley," what more can I say? This is the wiseass of rock bands, in full effect. Former Butthole Surfer Jeff Pinkus rules on the flying-V bass, surly and silly despite the tattoos covering his arms and neck. With his graying billygoat beard, Bobby is the steamboat captain of rock. Something about his face makes drummer Lance Farley look like he doesn’t always know what is going on; but he does, and lays down a solid beat to match. Speaking of Lance, their closing number will go down as the worst, but most heart-felt Lynyrd Skynyrd cover I’ve ever had the pleasure of experiencing. Trinidad from Dixie Witch hopped behind the drums and Lance took to the mic for "Simple Kind of Man," and the rest was a blur of good vibes. For one thing, he didn’t know the words and didn’t sing even close to being on key--but the passion of his delivery brought everyone to tears (of laughter). He dedicated lines to people in the audience: "Find a woman… Trent and Amber, everybody! and you’ll find looooooooove," and so on. Even I was singing along and snapping pictures at the same time. Good times, good times.
Honky
Live at Room 710
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Houston’s own Transmaniacon MC kept the show rolling along. Featuring original Honky guitarist Carson and JT from the Drunks, this band kicks major ass. Down home, whiskey drinkin, ass-kickin rock n roll. If they weren’t musicians, these guys look like they’d be souping up hotrods. In fact, Carson was splattered with motor oil from a mechanical mishap on the way in. With his rawhide cowboy hat and his patchwork of arm and neck tattoos he commands the Les Paul and microphone, belting out lyrics like "To the le-e-eft!! It’s to the left of Texas!!" To left of him, the recently acquired JT puts on his own private rock show. With a rare Flying-V in hand he dances, does Gene Simmons tongue flicks, alternates his cap from front to back in response to song changes, and does some killer leadwork as well. On bass, Trevi makes a mean face and lays it down, while dreadlocked Matt plays some seriously rockin beats. Why isn’t this band more well known?
Transmaniacon MC
Live at Room 710
(Click photos for larger versions)
Topping off what has already been a killer line up and an incredibly fun show, were the kings of Texas. Ladies and gentlemen, I give you Dixie Witch. I say this with all sincerity--this band is going to be huge. I wish I could have seen them at the Red Eyed Fly the previous night; Trent and Amber described the show to me, "They finished playing, walked off stage, and they were stars." The set they played at Room 710 seemed just as memorable. From behind his monstrous double-kick drum set, Trinidad commands the stage like a preacher, spreading the good word of rock n roll. His speaking voice has just as much soul as his singing voice, so when he talks to the crowd it just makes you feel good. "This is a song about taking time out to enjoy life, like we’re all doin’ here today." With that they pounded into "Makin’ Time." Curt’s monolithic bass rig shook houses twenty miles away; one of his three Sunn heads finally blew, so he borrowed someone’s JCM 800 to take its place!! Clayton’s guitar playing was as fluid as ever, his fingers flew over the fretboard in a blur. Both of them had more stage prescence than ever; they used to just head bang and play, but the band’s confidence as a whole is just immense now. "This next song will be on our next record, hopefully coming out this fall… someone’ll put it out!" No shit, Trini. My guess is that by their third record, they’ll be on a major label. After the show Curt confided that they had more fun playing this show than the (huge) show last night, and it showed not only in their performance but also in the crowd response. Last night they played for a wide variety of people, but today they played for their close friends and true fans. It was an incredible vibe, and I hope my pictures captured a little of that. "You guys rule, man," was all I could say.
Dixie Witch
Live at Room 710
(Click photos for larger versions)
After Trent, Amber and I unloaded our gear into our room at the Music Lab, Transmaniacon and Honky showed up to unload theirs--Honky’s room is down the hall. We all ended up in their now cramped room hanging out and talking, making plans to continue the party at the High On Fire/Alabama Thunderpussy/Mastadon show at Emo’s later that evening. Alas, my back was still pissing me off so I had to bow out. Trent and Amber didn’t make it either. From what I hear it was an incredibly bad ass show, actually being written up in the paper (unlike the Red Eyed Fly show). Of course, the "pussy" in Thunderpussy was censored, and it was reported that Matt Pike of High On Fire helped invent "stone rock"… -sigh- All in all, SXSW 2002 was a super cool, kick ass, memorable experience. Much more memorable than 2000, where I attended no shows and had my car window broken out by someone who didn’t even have the common courtesy to steal anything. Next year I’ll get a fake wrist band. Rock is alive and well, you just have to dig down a little to find it. It may be awhile before the mainstream picks up on it, but as long as its kept real with honesty and integrity, it can’t go wrong.
Until then, Rock on.
