All roads lead to Latitude 30 in Austin, and we were back in one of our favourite venues to present four great bands from past and present.
First up was Zulu Winter whose Foalian funk and slices of indie sonics were a great start for the packed venue. They aren’t shy with large hooks and even a problem with a synth couldn’t dampen their brewing anthems.
Breton, one of Clash’s early ones to watch back in 2011 were on fine form. Knocking together their now trade marked block rocking beats, processed melodies and urgent vocals it was a delight to hear their recent LP deployed so slickly. Its easy to appreciate the amount of hours they toiled away at BretonLabs, their disused bank in south London, now their HQ and studio space. Lead singer Roman’s vocals are a grounded delight in unaffected expression. Soon Breton will be bigger than their name sake.
The penultimate act, Slow Club are the darlings of our heart, yet we were surprised and invigorated by two tracks from their forthcoming single on Moshi Moshi where more blues and soul seep out of their tender exchanges. Slow Club get better and better with every passing year. And the analogue love affair of Rebecca and Charles instruments is the voodoo is this beautifully simple of bands.
Finally our headliners Clock Opera aptly justified their position as a band with many eyes and ears tracing their trajectory. From rumbling chorus to mellifluous, fast hammered piano and into their swirling backdrops this band forge BIG singalong anthems ready for BIG crowds. Clock Opera are counting down the hours to large levels of fame.
All this was brought together by the kind activity of Ben Sherman who on the day made the bands shine even more with a relentless line of fine threads.
Check back for the fuller review and the detailed blogs from each day at SXSW. We’re risking liver failure for your ears, so keep ‘em peeled.
Visit Clash’s SXSW 2012 hub for more reviews, galleries and antics.
Photo by Al De Perez
