SXSW 2022: Snapped Ankles

 Another band playing the C3 party Wednesday at Lamberts.  This article says:

The band, who are admittedly inspired by Kraftwerk, have taken a retro-electronic approach, making their own instruments by modifying old pieces of wood. Logs if you will.

It also says:

The mysterious group contains a member known as Austin on guitar and vocals and another called Chesnutt on keyboards. The evolving band of players that is Snapped Ankles insists on using only surnames to obscure their identity. Their music carries a complex, electronic sound coupled with a primal feel, while being able to maintain a sense of anonymity by employing masks and costumes, allowing the group to immerse more deeply into their performance.  Much of Snapped Ankles’ material is conceived via unstructured drum jam-outs, resulting in synth-driven, post-punk. 

Sounds like a crazy show. "Rhythm is our Business" reminds me of Sigue Sigue Sputnik.  The repetition also reminds me of LCD Soundsystem.  

Here is that song live:

SXSW 2022: Club Intl

C3 just announced their Wednesday day party at Lamberts.  As usual they don't list times. The ones I've covered so far:

Calder Allen
49 Winchester
Bendigo Fletcher
Danielle Ponder

All bands I want to see.  I'll let Pitchfork describe this band:

Club Intl is a new project from New York musician John Eatherly (known as the frontman of Public Access TV). The project is produced by Chromatics’ Johnny Jewel. 

In addition to John Eatherly, the Club Intl collective also includes Maxwell Kamins and Madeline Follin of Cults.

Synth-pop. 

 

SXSW 2022: Charlotte Rose Benjamin

Culture Collide puts on a bunch of shows along Rainey.  This is their schedule for Thursday at Idle Hands:

Black Lips 7pm
Pussy Gillette 5:30pm
The Aquadolls 4:30pm
Catcher 3:30pm
Heartless Bastards  2:30pm
Charlotte Rose Benjamin 1:30

The first slot is a singer/songwriter that grew up on Martha's Vineyard but now resides in NYC.  Her debut album comes out April 22nd on Neon Gold Records (Ellie Goulding, HAIM, CHVRCHES).  

In this article they say this about the song below:

‘Cumbie’s Parking Lot’ is in the same lineage as songs by iconic female artists like Liz Phair, Courtney Love and PJ Harvey. 

Ok.  Not sure I hear that. It's good, though. "Cursed" is good, too.  

SXSW 2022: Cimafunk

Another band playing the KUTX morning session on Thursday is this Afro-Cuban musician.  Rolling Stone says:

The artist, whose real name is Erik Iglesias Rodriguez, grew up in Pinar del Rio, the epicenter of tobacco production in western Cuba. He started singing in church when he was little, playing a “weird trumpet” someone gave him. As a teenager, he dabbled with reggaeton and the more traditional Cuban style of trova, but he found his rhythm after moving to Havana and diving into the rich funk scene there. He played in different bands before he began to perform as Cimafunk — a stage name taken from the word “cimarrones,” used to describe Africans who escaped enslavement in Cuba and created walled palenque communities to protect one another. “That’s always been the base of Afro-Cuban culture for me: People creating, people living, people growing together in community,” he says.

Cimafunk’s foray into music was a risk. He’d left his third year of med school to fully pursue an artistic career, but it paid off.

Apparently his live shows are electric.  Here's his Tiny Desk Concert.  This song is his biggest hit. It's also the last song on the Tiny Desk Concert.

SXSW 2022: Sarah Kinsley

KUTX has moved their morning sessions to Studio 6a on the UT Campus (old ACL taping studio).  Geese is playing on Thursday.  So is Mattiel who just played ACL but we decided to watch Amber Mark instead.  I'd like to see them.  Friday is Gustaf, a band out of Brooklyn that reminds me a little of Laurie Anderson mixed with Patti Smith. I doubt you'll like them. 

Sarah Kinsley is a student at Columbia that makes music on the side.  Here's an interview with her. "Over + Under" sounds like Maggie Rogers.  Here's a quote from another article:

Kinsley says her record “should appeal to a broad audience; Fleetwood Mac fans, Maggie Rogers fans, Robyn fans, and Beabadoobee fans . . .”

"Karma" definitely has the Fleetwood Mac/Christine McVie sound.  This is her biggest hit.