Wednesday, March 30, 2011
Everyone employed at Santos gets pumped on different shows or parties every day. This asshole Marketing Director tends to stoke out on hardcore and metal shows. Naturally, I've been excited to see Trash Talk and Off! for months. Even with a bum leg last time Trash Talk was here, singer Lee Spielman still ended up standing on our north bar setting it off.
And as seen on the video below, dudes didn't exactly hold back this time around. Spielman sung and ignited pits in pretty much every corner of our beloved North Pole. And it ruled. While I got a little too twisted to stick around for Off! (I saw them 86 times at SXSW anyway), Trash Talk still blew my mind. Highlights included watching RCRDLBL head-honco and Santos' bro Elliot Aronow circle pit and fuck up his arm (prior to saying the phrase 'hardcore rules'), watching Nick Zinner get into Cerebral Ballzy, and feeling the effects of my bro Nick from Alpha & Omega stage dive on top of me at least 10 times. Oh, and of course me stage diving directly onto the floor at about the 3:10 mark. All in all, a solid night.
For all the dudes in the world is freaking out because Odd Future stage dives a bunch during their shows, they should probably go to a Trash Talk show to see the real deal (not hating, just saying). Big shouts to our light wizard Jeff Burton for catching this shitty-to-crappy footage on his Flip Cam.
Tuesday, March 29, 2011
Thursday, March 31, 2011
7:00 PM 18+
TICKETS AVAILABLE HERE and at Other Music (15 East 4th St)
JEFF THE BROTHERHOOD
Real-life brothers and dynamic garage duo Jeff The Brotherhood might be considered a breakout artist these days, but the youngsters have been power-riffing away since the early 2000’s when Jamin and Jake Orrall were in their mid-teens. Their sound is huge compared to their modest setup – a lightly outfitted trap kit and a guitar minus three strings, but the grooves they lay down are weighty and dense, perfectly complimenting their mature songwriting. Strictly DIY in practice, the group run their own label Infinity Cat, and through it produced and released their 2010 album Heavy Days, recorded by Roger Moutenot (Yo La Tengo, Sleater Kinney, Velvet Underground ).
Heavily touted by the likes of Ted Leo and BrooklynVegan, the pop-inspired punk rock of Screaming Females is an undeniably jarring mixture of coarseness and brilliant songwriting. Somehow, they pour on layers of memorable melody despite being a humble trio. Marissa Paternoster earns the most attention as the guitar-savvy frontwoman with the versatile yell as befits the band’s name. Pitchfork approves, saying, “Punk has traditionally prized attitude over abilities, but Screaming Females have both: Rather than muzzle their ferocity, the band's tight, tense dynamic amplifies the fuck-off stridency of their fourth LP, Castle Talk.”
The otherworldly sounds of Juiceboxxx, producer and sometimes rapper, are rooted in hip-hop, but share a kinship with glitch, house, electro, punk and various underground club musics. The world of music journalism is just warming up to this young talent, thanks in no small part to his slot supporting Public Enemy on tour.
Occupying a comfy niche between retro pop and punk, Teen Witch are an unsigned hype not to be underestimated.
Interns will learn about the mechanics and colorful personalities of venue administration, gain hands-on experience with top-tier events featuring preeminent talent, and receive complimentary entry to events and freebies. We will also offer college credit where appropriate.
Andrew W.K. (Owner)
The Yeah Yeah Yeahs
Gang Gang Dance
Peter Bjorn & John
Tim & Eric
Grandmaster Flash, 108,
DJ Sets by Beastie Boys, Animal Collective, Neon Indian
Those interested should e-mail Fred(at)santospartyhouse.com a cover letter and resume. We will not be taking inquiries over the phone.
Thursday, March 24, 2011
The mutation through which music has gone at the hands of the internet has changed our idea of authenticity and the notion of purists. What used to be sell-out is now the paradigm and vice versa. So it’s ironic that a band like Trash Talk can become known as rogues by simply keeping their violent sound unadulterated. Drawing primarily from old crossover era thrash metal and hardcore, they have perfected and slightly updated the techniques of brutality, hiding layers of deceptive complexity under heavily distorted riffs, artillery percussion, and untiring screams. The band have taken full ownership of their vision, publishing their own records and books through their Trash Talk Collective imprint, closely allied with the world of skating. In a review for their 2010 release Eyes & Nines, Pitchfork praised them for “conveying absolute fury,” declaring, “And though you can probably listen to the album more than once on your morning commute, it still works as a full-immersion experience, its sludgy roar hitting hard on a visceral gut-level."
Going into 2011’s SXSW, one of the most discussed acts in heavy music is OFF!, a veritable underground supergroup, boasting members such as vocalist Keith Morris (who served in Black Flag and Circle Jerks) and bassist Steven McDonald (Redd Kross). At first, they present tightly honed punk chops with streetwise inflection, but the complexity these musicians have built over the years soon reveals itself upon second listen. Guitarist Dimitri Coats explains, "There's a dark sarcasm that's prevalent throughout his body of work and it fits with what we're trying to get across with our band." They formed in 2009 and in late 2010 released a compilation of their first four EP’s, with 16 tracks boasting just over a minute’s length each, true OG punk style.Punknews has gotten on board, saying “With 16-minute shows and 18-minute "albums," OFF! is reclaiming what can be absolutely great about punk rock. There's not a millisecond of wasted time, not a single wasted breath, not a single crack of the drums that doesn't drive the music forward. That's”
The Brooklyn quintet Cerebral Ballzy can boast an accomplishment that most punk groups envy: a balance between snark and ferociousness. Often seen playing alongside Japanther and the Death Set, they recall the era of Minor Threat and Bad Brains with remarkable accuracy.
Wednesday, March 23, 2011
Wednesday, March 16, 2011
"... The next night we might have a gay party on a biblical scale come through and just [explode]..."
Mainstage: SALEM with Lil Ugly mane, Shams, DJ's Aaron K, Becka Diamond, XMOFOX, MDMA Arthur and Cool Hand Luke (downstairs level included)
Downstairs ($5 cover does not include mainstage): Ghxst, Black Hearted Diamond Boy, Blissed Out, Gospels, Food Stamps
Saturday, March 19, 2011
9:00 PM 18+
(MAINSTAGE) TICKETS AVAILABLE HERE and at Other Music (15 East 4th St, Manhattan)
Friday, March 11, 2011
Enjoy the Official Death Match player and make sure to come by our FREE party to see these bands live!
Thrasher Magazine and Santos Party House present:
DEATH MATCH DAY PARTY at South by Southwest!
Pentagram, Odd Future, Das Racist, Green & Wood, Killer Mike, Sweet Apple, Fang Island, Danny Brown, and Balance & Composure with Ghe20 G0thik DJ's and your host Andrew W.K.
Friday, March 18, 2011
The Scoot Inn (1308 E 4th St, Austin, TX 11230)
12PM - 6PM
Friday, March 4, 2011
The New York Times' Ben Detrick stopped by our Emergency Party unveiling celebration in and was pretty impressed by what he saw. His article comes with a nice little slideshow.
Last Saturday, a stream of artists, fashion designers, gallery owners, writers and their scene-y cohorts descended into the basement of Santos Party House, which had been transformed into a rotating art installation. It was the return of the Emergency Party — a kind of Warhol Factory meets a dive bar started by Parinaz Mogadassi, a curator, and Spencer Sweeney, one of Santos’s art-minded owners.
Peter Doig, an abstract painter from Trinidad, colored the cinderblock walls in one corner in Caribbean pastels. The artist Rita Ackermann and Lizzi Bougatsos, a musician in the electronic group Gang Gang Dance, contributed paintings that hung in the upstairs windows, and remade an Ol’ Dirty Bastard track that played in the entrance.
“People are trying to get back that ’80s thing where the art world and clubbing was synonymous,” said Matthew Higgs, the director of the White Columns gallery.
By midnight, as a fog machine clouded the air and disco thumped, the club was packed with a raffish crowd that included a sprinkling of stars like Chloë Sevigny and MC Spank Rock.
More installations and accompanying parties to follow. If you need more convincing, here's The New York Press' read on the series.
Tuesday, March 1, 2011
Friday, March 4th, 2011
7:30 PM 18+
TICKETS HERE (and at Other Music - 15 E 4th St, Manhattan)
Stuffy music critics tend to label Marnie Stern “artrock,” perhaps because the idea of a woman commanding progressive metal is easier for them to stomach when referred to by misty catchalls. But with all due respect, none who have been branded as such can shred this well, and Stern possesses the finger-tapping acumen that Eddie Van Halen would envy. Her music runs the gamut in terms of emotional bent, but as a whole it is bright and uplifting, propelled by fleet polyrhythms and Stern’s playful lyricism. Pitchfork has said of her second self-titled LP released in 2010, “There's plenty here for musicians to analyze and dissect with envy, but first and foremost, this is an album for the body and the soul.”
The mischievous and infinitely original nature of Tera Melos does not give easily to classification. Their harmonic sensibilities fit tenuously in the world of post-hardcore, but the phrasing of be-bop and the raw irreverence of punk are also very present in the music. And while most of their grooves don’t require a calculator, expect odd rhythms and whimsical time signatures to enter into the fray. The technical superiority of this trio is adds density to their music, making it infinitely relistenable, while allowing them to expand into heavier and/or stranger sonic territories. They’re currently hot off the heels of the release of their Zoo Weather EP, a compilation of original jams as well as remixes.
The profundity of Headless Horseman is in their ability to reveal the menacing in nearly every kind of music they explore in their psychedelic collage of styles. You’ve got your pop, folk, blues, dance and noise music all handled efficiently, with a healthy dose of the sinister underlying everything. Electronic trickery is the centerpiece of their sound, with guitars, drums and various acoustic appendages adding to the mix, all handled by Connor O’Neill and Fareed Sajan (Bottle Up & Go) . Stereogum called them a "band to watch," we'll do them one better and give them a listen!