Q&A Interview: Theophilus London

Interview by Ian Morales. Promo photo by Jonathan Mannion.

Brooklyn based electro-hip hop artist Theophilus London is ready to take on 2012 after coming off of a career-making year in 2011. There was little that London didn’t do last year. He was signed to Warner Records and racked up some high-profile performances at Lallapalooza, ACL, Letterman and Cannes Film Fest.

If anyone wanted to challenge his hip hop credibility with all those mainstream performances, just ask the New Yorkers at Summer Stage or legendary Big Boi from Outkast with whom London played a string of dates.

London, whether intentional or unintentional, is also becoming somewhat of a style icon, even introducing his own Cole Haan shoe last year, the Blue Suede Buck. It’s an interesting move considering most hip hop artists opt for sneaker deals, but as you can tell from his music, London is as close to an original as they come.

Currently, London is on The Tour of Roses in support of his full length album, Timez Are Weird These Days. A well done fusion of electronic dance music and grimey hip hop, Timez Are Weird These Days was received well by critics and fans alike last year. Even more energetic than his albums and mixtapes is his live show, as fans in Austin will find out tonight at the debut of the new Beauty Ballroom on East Riverside.

Before the show, I spoke with London briefly by phone to talk about his big year, his thoughts on being a style icon and what’s coming up in 2012 after this tour.

It seems as though 2011 was a career year for you. Describe the year you had and what it was like to be you in 2011.

London: Yeah it was great man. I just came off of creating my own buzz with no label behind me yet. I created a whole fan base and that type of shit. I was doing tours going back to London, Germany, doing Cannes (film festival) and all that. When I started working with Warner Bros, it started to be put in perspective. I started playing festivals and working with brands like Pepsi and Cole Haan. It was crazy playing sold out shows and keeping people excited about things.

Now let’s talk about your debut full length album, Timez Are Weird These Days. It seems there wasn’t a critic on the planet that didn’t like the album.

London: Oh yeah…hopefully anyway. That happens every time I put out a project. Somebody’s gonna like it.

Do you feel any pressure this year to follow up with another album? Why or why not?

London: Not for me man. I put out the music and I see everything. I see it all on my own social media. I see people hating my music and I see people say they like it. They’ll say it’s beautiful and people that say “I hate this shit.” It is what it is. Everybody got different feelings about it. If you don’t like it then that’s okay. My job is to move on to the next project.

So you do control and read all your own social media yourself?

London: I’m behind the scenes man. I put out things on Facebook, blogging, tweeting and all that. That’s all me.

While we are on the subject of albums, tell me which records or artists you are listening to right now?

London: Aww man….A$AP Rocky. I like him and his whole movement. I’ve been getting Marvin Gaye back on the playlist digging back in the archives. I just switch up and listen to different shit. I listen to everything and take everything in.

Another interesting thing I found along the way as I followed you online last year was how you have sort of become this fashion icon in the making. The style mags and websites seem to flock to you. Other than the Cole Hann shoe deal, is this intentional? Is a shoe or clothing line a la’ Sean Jean, G-Unit or Rocawear in the making down the road?

London: I mean it ain’t nothin’ I’m working on. I get down on my merch and some designs. People are just excited about my taste level and my clothing options. I can’t control that. I mean, I like the way I look and the way I dress. I just appreciate them writing about me. It seems that every photo taken of me they analyze what I’m wearing. I appreciate it. They think I’m a sexy ass nigga and they want to put that shit out there. That’s what’s up.

What other avenues besides music do you plan to explore or break into?

London: No other avenues right now. I just care about and want to focus on my music. That’s my only focus for 2012.

What is something writers, critics, bloggers, etc still getting wrong about you?

London: I don’t know. I don’t really focus on that. I just focus on what I’m putting out and what the message is behind what I’m putting out. My job is just to stay focused and put the message out.

What would you like people to know about you that isn’t always asked or mentioned often?

London: I’m just a regular dude. I make music. I love my life and I love my family. I love all my fans and that’s it.

What plans do you have for the rest of 2012 and beyond?

London: Oh yeah. There’s a new album coming out in March. It’s going to be twenty seven free songs. It’s going to be a street album for the homies and the fans. When that shit come out, I’m going to go ahead and make my second Warner record. I already got four songs done on that. I’m looking forward to this year.

What is it about Austin that keeps you coming back here so often?

London: I was there for South by Southwest and promoted a lot of my talents there and that really helped me. I think Austin is a very progressive city. Austin has some progressive people there and that’s my audience. That’s why I fuck with Austin.

Watch London's music video for "Last Name London" below. Turn it up loud.

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Q&A Interview: MUTEMATH

Interview by Ian Morales. Promo photo by Claire Vogel.



The best part about a band sticking together for so long is that they get older and more mature as
people. The smart bands don’t try and make the same record over that made them popular early in
their career, even though that’s what local alternative stations love to overplay. That evolution over
time may turn away fans who only like the old stuff, before they became mainstream, but often these bands can learn to make better quality records. That is exactly what happened with Warner Records
recording artist and New Orleans-based MUTEMATH.

The band formed in 2003 thanks to the break up of Christian alt-rock band Earthsuit (see my sentence
about growing older and making better quality records above). MUTEMATH conquered critics and fans
early with the well-received self-titled album and Armstice in 2009. Those records along with their
couple of EPs and live releases could have been enough to secure their place in music had they decided
not to record another album. Last year, however, even after the departure of guitarist Greg Hill,
they released what could be their career defining record, Odd Soul.

Odd Soul is the band’s first self-everything album: self-produced, self-edited, self-written, etc. It is the
record that only the MUTEMATH of today could have made, and it shows. Odd Soul is heavier, more raw,
more rock 'n' roll than soul, as the title implies, and just enough groove not to be annoying. In fact, the
record doesn’t even sound like it's from this era; it should be a vinyl in your parents’ record collection. It’s
that good. One can only hope it will translate well live. I caught up with drummer Darren King recently and asked a few questions about Odd Soul, self-producing and what makes this upcoming tour so special.


Before we look ahead, what was 2011 like for you as a band? What made it memorable in comparison to other years since you started?

Darren King: 2011 was a very eventful year. We worked really hard. It was my first full year as a married man. Paul had his first child and Roy has his second. We also had to deal with a personnel change for the first time in the band’s history. Our guitar player quit in 2010 and finally we got the balls to record a record on our own for the first time. So yeah, it was a stressful year too, but somehow one of the best years I’ve ever had. We’re old enough now not to take anything for granted, especially being around this long and the way I did when I was younger.

Now let’s talk about your latest record, Odd Soul. It is your first self-produced effort and also the first with new member, Todd Gunnerman. First, what does having Todd do for you guys in
terms of energy, sound and overall band cohesiveness?

King: Todd didn’t join the band until after the recording was finished. The funny thing was that
we were courting him throughout that process. We were sending him the songs and he was
playing them. He was able to tell us “hey you guys are doing good” and “that the songs were fun
to play.” It was really just Paul, Roy and me. There were a few times when we’d play with our
friend Rob Cavallo on a song here and there. It was really was this sort of L.A. studio experience
at the end with mixing, but really this album was written, recorded and created entirely at Paul’s
house.

What did you learn about yourselves with this record that you didn’t know or realize with
your previous albums?

King: Producers that have worked with us in the past have sort of considered us control freaks.
Finally we just realized we don’t play well with others in that regard. We loved getting to do
everything ourselves. The downside of it is that the logistics are bad. There’s nobody to help us
do all the boring parts of the recording process and that slows things down. Everything still took
place at a faster pace though because we didn’t have to deal with a relationship struggle and the
political turmoil that having a fourth person with so much political power. And Paul is a great
engineer, while I love editing. I love getting stuff and chopping it together only to put it together
like puzzle pieces. If there was ever a band that was cut out for self-producing, it is probably us.

What will you do differently on your next record, assuming there is a next record?

King: There were a lot of things we realized at about the halfway point of this record. The most
important thing I determined was that if I love something, then it’s good. I won’t worry about if
anyone else is going to think it’s cool. If I love it, it is because I love good music. I spent my entire
life living up to all this. If I don’t trust myself to please me, then I shouldn’t be doing this at all.
It’s taken me a long time to come to that point and that’s what I’m going to take to the next
record. Putting everything I love in one record is going to be the goal for the next record. It’s a
weird thing to be thirty and feel like you’re starting to get a clue.

Now about the upcoming tour, what excites you about this one? Other than supporting the sales of the new album, what is it that makes you want to hit the road again?

King: Playing music is my favorite thing about being alive. I feel really guilty saying that, but
it’s true. I feel like it should be something else but it isn’t. Our new songs are more fun to play
than the old ones. I love being in bus, sleeping in a bunk. I love playing shows and I love meeting
people. I love the fact that this tour has the most well put together crew of people working it.
That’s really tough to do. It’s not easy to get twelve people together with really good vibes.
Everyone on the tour, including the band that’s opening for us, are all my best friends. I feel
really spoiled right now. I feel guilty about the fact that I get paid to play music with these
people. I’m not getting filthy rich with it or anything, but I’m eating.

What are your plans for the rest of 2012 after this current tour is over?

King: We get to go to Australia for three weeks. We are about to film a music video for the
song “Allies.” We want to go to Canada, so hopefully we’ll be able to do that because we love
it there. And we’d like to get back to Europe. For some reason or another we’ve never done
terribly well in Europe. We tried, but it didn’t take. We’d really like to go again because I love
it there. Touring is one of the most fun things I’ve ever done so hopefully we get to keep doing that. It is hard to think too much about that because I’m so excited about this tour and how great it is
going to be.

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MP3: "Prurien†" by ††† (Crosses)

Posted by Eli Watson.
Who would have thought Chino Moreno had such a soft side? Known for being the frontman of alternative rock group Deftones, Moreno shows a more softer, yet still haunting persona in side project Crosses, featuring long time friends and collaborators Shaun Lopez of FAR, and Chuck Doom. Having debuted with their well-received EP Cross (also known as EP 1), the band returns with EP 2, a release that shows the group retaining their minimalist, less-is-more sound, inviting listeners into their moody abyss.

Formed last year Crosses remained secretive about their debut, silently releasing EP 1 for free, on their official website. The release gained immediate attention from Forbes.com, who named the release one of the best free albums of 2011. The album's mysterious atmosphere is compelling: "This Is A Trick" oozes with Nine Inch Nails eeriness, militaristic percussion punching wildly, as Moreno's soothing delivery crescendos into a powerful, shrill scream. "Option" begins with ominous, distorted guitar, exploding into a wall of unrelenting sound.

EP 2 follows in similar manner. Electronic, Aphex Twin-esque percussion looms in the background, as somber, melancholic melodies accompany Moreno's slithering delivery in leading track "Prurient," while final track "1987" sets an apocalyptic tone with its menacing synths and unnerving vocals. EP 2 is available now as a standard digital download for $3.99, and as a deluxe version for $6.99. Featuring high-quality audio versions of the songs, demos, and many other bonuses, the deluxe version has plenty to offer for its price.

The group will also be making their live debut on the dates listed below, before embarking to South America to play Lollapalooza Chile and Quilmes Rock in Argentina.

Listen to "Prurien†" from EP 2 below and download from the SoundCloud player directly.



Crosses Tour Dates

Jan. 31     The Glass House      Pomona, CA
Feb. 1       The Casbah             San Diego, CA
Feb. 3       Ace of Spades         Sacramento, CA
Feb. 4       Slim's                      San Francisco, CA
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They Might Be Giants announce new tour dates and video

Alternative rock music conossieurs They Might Be Giants continue to expand their presence in the music realm. Expanding into children's albums, They Might Be Giants have acheived golden status with their album Here Come the ABCs. Though many fans remember the Brooklyn natives from their Grammy winning single, "Boss of Me" from Malcolm in the Middle theme, fanatics across the television viewing spectrum and music world continue to recognize their playful and lighthearted music.

They Might Be Giants are going on tour across the United States, celebrating the release of their video "When Will You Die?" The video delineates the life of the 18 foot replica of the pink monster hearse that embellishes the front cover of their album. The tour, in support of both albums Join Us and Album Raises new and Troubling Questions, is will be previewed on Conan on January 26. The trek continues in Santa Cruz on January 27, scale the United States, and culminate their tour in their hometown in New York on March 10.

Check out their video "When Will You Die?" and their 2012 tour dates below:


Jan. 27        The Rio Theatre                     Santa Cruz, CA
Jan. 28        Royce Hall at UCLA               Los Angeles, CA (Special Family Show)
Jan. 28        Royce Hall at UCLA               Los Angeles, CA (30th Anniversary Show)
Jan. 29        Marquee Theatre                   Tempe, AZ 
Jan. 30        The Rialto Theatre                 Tucson, AZ    
Feb. 1          Cain's Ballroom                     Tulsa, OK                        
Feb. 2         The Granada Theatre              Dallas, TX 
Feb. 3         La Zona Rosa                      Austin, TX                     
Feb. 4          Tipitina's                               New Orleans, LA            
Feb. 7          The Ritz Ybor                       Tampa, FL
Feb. 8          Hard Rock Live                     Orlando, FL 
Feb. 9          Ponte Vedra Concert Hall      Ponte Vedra Beach, FL
Feb. 10        Variety Playhouse                 Atlanta, GA                     
Feb. 11        Variety Playhouse                 Atlanta, GA       
Feb. 12        Track 29                               Chattanooga, TN  
Feb. 14        McGlohan Theatre                 Charlotte, NC                  
Feb. 15        Lincoln Theatre                      Raleigh, NC 
Feb. 16        Jefferson Theatre                   Charlottesville, VA           
Feb. 17        Ram's Head Live                    Baltimore, MD                  
Mar. 8          Calvin Theatre                       Northampton, MA            
Mar. 9          Lupo's Heartbreak Hotel         Providence, RI                  
Mar. 10        Terminal 5                             New York, NY             
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Concert Review: Rise Against, A Day To Remember & The Mezingers at Austin Music Hall

Review by Holly Aker. Photos by Stephanie Meza.
The first night of any tour is always a gamble. It's either going to be a mess with technical difficulties and possibly even the realization that the bands on the lineup don't mix well. Or it's going to awesome. Luckily for the first night of Rise Against's Spring 2012 US tour, which took place at Austin Music Hall, it was the latter.  

The Menzingers, a punk rock band from Scranton, Pennsylvania, opened up the show to a pretty sizeable and eager crowd. The Menzingers are one of the bands that you have to see live to really experience their energy. While their recordings are all very good and really capture their punk rock roots, their live performance has a whole other element: an almost Touché Amoré-ish(http://toucheamore.com/) grittiness that takes their show to a different, harder level. It was this level that conjured up a very unexpected yet respectable circle pit about halfway through the band's set. Unfortunately, The Menzingers' energy fizzled out towards the end of their set, and they lost the attention of a majority of the crowd.

However that all changed within the first seconds of A Day To Remember's opening song, “The Downfall of Us All,” which caused the energy level in the room to go through the roof and the entire crowd to smash up against the stage. The Florida pop punk band has a garnered a reputation for putting on one of the best shows in the scene, and this night was no different. The music and vocals were spot on for every song including crowd favorites “2nd Sucks,” “I'm Made of Wax Larry, What Are You Made Of?” and “The Plot to Bomb the Panhandle,” and the band was exploding with energy, running all around the stage. Also to the crowd's delight, the band didn't forget to bring their typical fun and games like the flood of inflatable beaches balls and toilet paper rolls thrown into the crowd and lead singer Jeremy McKinnon climbing into a huge clear ball and running around on top of the crowd. 

Rise Against closed out the show with a performance that honestly could have been better. The punk rock band did a great job getting the crowd pumped up and shouting along, especially with help from guitarist Zach Blair and his crazy high kicks, and they played a very good variety of old and new songs including “Prayer of The Refugee,” “Audience of One” and “Like the Angel.” But their show was ridiculously loud. I'm not talking 70-year-old, turn-that-gosh-darn-rock-and-roll-racquet-down loud. I'm talking so loud it affected Rise Against's sound quality. The vocals were turned up so high, you could just barely make out individual words, and the rest was just fuzzy, indiscernible distortion. Hopefully that was just an opening night malfunction or a fault of Austin Music Hall, or else that is going to be one long, deafening tour.

Get the flash player here: http://www.adobe.com/flashplayer


(Rise Against performed at Austin Music Hall on January 17, 2012)
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Concert Review: Avicci at Austin Music Hall

Review by Trevor Talley. Photos by Kristie Bocanegra.
I knew it was happening, I'd even had a few brief brushes with it before, but until I saw that sea of '80s Day-Glo caps and t-shirts on dudes that looked like high school football players, I didn't fully understand the extent of the thing. Electronic music is now fully mainstream with the kids of America's high schools, and for this writer, the Avicii show on Monday January 16 at the Austin Music Hall showed just how true that statement is. The show came in the middle of Avicii's House for Hunger tour, a country-spanning trip with shows in most major cities and from which the artist plans to donate $1 million to buy food for hungry Americans at the end of the tour. On the one hand, the show was an unequivocal success for electronic music and music as a whole, and on the other, it was a fascinating if somewhat worrying look into the future of the genre.

Your typical electronic music show is plenty full of teenagers, but until the last two or three years, these were almost exclusively of the "out of the mainstream" variety. We're talking ravers, burners, hip nerds, candy kids, and just generally those with a penchant for the different and weird. The Avicii crowd, my friends, was not that crowd. Since acts like Deamau5 and Skrillex have blown up electro and dubstep in the mainstream world, it's become more and more acceptable for anyone to listen to electronic music. I believe that I saw the physical manifestation of that sea change at the Avicii show, with mostly normal-looking kids under 21 showing up and engaging in what seemed like a watered-down version of raving which included a few staples like glowsticking but with much less crazy outfits and makeup.

That's not to say these kids didn't get down to the music, they just do it a little different. Toddy B was up on the decks when I entered Austin Music Hall, pumping out a set of mostly club house and electro that favored an interesting beat and a bit of melody over vocals, and the young crowd was just eating it up. It was truly great seeing kids outside of the typical electronic scene getting down to something other than dubstep and the poppier, more commercial end of electro. Toddy definitely had the whole crowd rocking, and a few of his drops and transitions caused enough of a ruckus that I was wondering if we'd hit peak energy for the night more than once before the main act even came out.

Toddy B wasn't alone on stage, however, as he switched off every few tracks with local talent Allen Tagle. Usually opening acts just do their thing, unplug and let the next guy take over, but Tagle and Toddy were bouncing around stage and playing off each other's energy, which only made the show better for the crowd. Tagle played a bit more pared down house music, playing tracks that focused on a few simple yet catchy elements, which played perfectly against Toddy's tracks which became more and more punchy and drop-heavy as the night amped up. Ego-less, audience-centric moves like these guys sharing the stage are what make me love Austin DJs, and with talent like that of Toddy B and Allen Tagle to back it up, it made for a perfect set up for the main act.

When the young star of the night showed up on stage, it was obvious that the equally young if not younger crowd considered him a super star. It's still weird to see this kind of reaction to something other than a band, and at the other shows I've been to with acts with this level of mainstream support (cough..Skrillexcough), it hasn't been something I felt the act was worthy of. Rather quickly, however, Avicii proved that he was deserving of the title by throwing out electro-influenced house tracks that makes our American electro seem even more gimmicky and cheap than it already does. Even despite the power cutting out on the whole stage twice right at the beginning of the show, Avicii managed to keep the energy in the stratosphere, which is no mean feat. Part of the credit has to be given to the crew running the light show, which was some top-notch blinking, strobing and beaming that perfectly matched the music. The best moment of the night came when Avicii dropped his megahit "Le7els" and the people running the lights pulled out all the stops, instantly causing the crowd to go into a frenzy.

Toddy B summed up the feeling of the night perfectly when, with a wild grin on his face, he screamed "We sold out this bitch on a Monday!" It was hugely surprising and impressive to see such a large, young, atypical crowd show up for a rather pricey show, but maybe it shouldn't be so shocking anymore. This show proves that the world of electronic music has merged with that of popular music, and we've got a whole new set of fans to party with. The worry is that these kids will only follow the trends and hype without bothering to find out about the history and scope of the genre, but if they keep making ridiculously skilled artists like Avicii into superstars, we might not have anything to worry about.

Get the flash player here: http://www.adobe.com/flashplayer
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MP3: "Our Pleasant Home" by Big Sir

Written by Eli Watson. Promo photo by Marianne Williams.
Big Sir just cannot stop teasing us. The collaborative effort between The Mars Volta bassist Juan Alderete and singer/songwriter Lisa Papineau, first gave us the Bjork-friendly pop gem, "Ready On the Line," and now the duo returns with "Our Pleasant Home." Taken from their forthcoming album, Before Gardens After Gardens, "Our Pleasant Home" is the dark antithesis to "Ready On the Line."

Sinister, fuzz-heavy synths invite you into Big Sir's pleasant home; a cacophonous guitar can be heard in the background, crescendoing spontaneously behind Papineau's somber vocals. Guest contributor Cedric Bixler-Zavala (The Mars Volta) guides Papineau out of the darkness with his drums, splashes of hi-hat cymbals and drum fills intertwined with Alderete's soothing bass. Layers of Papineau's vocals add to the song's enrapturing atmosphere, as ethereal synths sway back and forth menacingly. Before Gardens After Gardens will release on February 7 through Omar Rodriguez Lopez Productions/Sargent House.

Listen to "Our Pleasant Home" below and download here.

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