Not quite ours

We're working on getting some video content up here, but post-production isn't quite at that stage yet. In the meantime, I thought it would be interesting to grab some things from and about the artists we're focusing on most, and share them here.

This is from Belaire's Vimeo page and was made by Cari and Christine:


You Really Got Me Goin' from Belaire on Vimeo.

This video is taken from {{{sunset}}}'s blog - I picked it because we have some beautiful footage of Bill Baird playing it, which made me love it even more than I already did.




This is just a cool SOUND Team piece from La Blogotheque's Concerts à emporter. Since SOUND Team is so closely related to {{{sunset}}} I think it's fair enough to include it here.

#SPLIT 07 - SOUND TEAM - No More Birthdays
by lablogotheque

Finally, here's a video of Black Joe Lewis and the Honeybears that I found on Yahoo videos:

Black Joe Lewis - Lolla clip @ Yahoo! Video

"That sounds really cool... what is it exactly?"

People keep telling me that they like reading this blog - right before they ask what exactly the film is about. And while it's a work in progress that's constantly taking on a more exact shape, I can still sum up what it is we're doing. As a handy reference, I've added a link to the sidebar ("about the film") which will explain things.

Basically, we're making a documentary about indie culture in Austin and how it relates to the city. We're exploring artists' process and work, while also covering the landscape of the venues they play, the people who book them, the various sides of the noise ordinance issue, and the changing landscape of Austin both culturally and physically.

So how did I get to be a part of this? I've been working in film and television, with a dash of theatre for good measure, for a few years now. About three years ago a friend of mine told me I should check out a band called Voxtrot, and the whole Austin love affair kind of snowballed from there. I was struck by the interesting sounds and vibrant spirit of the music coming out of here, and by the communal sense each band or artist exuded. When I discovered Belaire I felt like I had stumbled into a whole new universe - especially when the EP I ordered showed up in the mail, completely hand made. Thoughts of moving to Austin and documenting this incredible niche started formulating in my head.

Nathan and I have a mutual friend here in Austin, who forwarded the link for the ATX Converge preliminary piece that was done for this film. I was working on a farm in CT at the time and didn't really want to leave, but I had to take this opportunity - the guy had already started work on my idea! I got in touch with him immediately and basically told him that I'm coming to work on his film, and after showing him the various reasons this would be a good idea, I was invited down as line producer.

All I had wanted to do was to explore the bands I liked and see where it took me. Nathan, however, knows this city much better and has a great eye for the grand scope of things. The Live Music Task Force, the emerging architecture, the dynamics of venues and a knowledge of the people involved. So when I was invited to come down and see Belaire record a new album, interview Bill Baird, go on tour with Peter and the Wolf... well, what would you have said?

So I guess that's basically what the film is about. It's a film about local music from an emotionally invested fan's perspective. It's about every element that comes together when music is made. You can't just have an album; you need artists to record it, who need a stage to perform and hone it on, a workspace to craft it, an audience to listen to it. You need a city that supports the arts, but everything is a compromise.

On the one hand, supporting means allowing freedom for performers. On the other other hand, being a city means respecting citizens, even if those citizens moved into a condo across the street from the Mohawk right before they started complaining about the noise. Developing new condos downtown is the logical next step in expanding industry here, and putting weight under the support beam of local artists -- it can cause conflict, however, when out of towners start taking over the DIY sensibilities of the locals.

So this is why we're filming. This is what we want to capture. We want to be flies on the walls of this town, watching what happens and letting progression and change speak for itself.

You don't know what you'll be listening to next week, but they do

This past Thursday we followed Dániel Perlaky over to Sean O'Neil's office at The Onion, where much was discussed about the usual topics: indie bands, the challenges of Austin living/working, changing landscapes both music and industry-wise etc.


We first spoke with Dániel on the street...


Filming in Sean's office


Nathan, Sean and Dániel

Once again I'm amazed at how interconnected this city is. There hasn't been a single person we've spoken to, who doesn't have ties to at least five others.

In the meantime, we've met with Bryan Keplesky from Misprint about animating some of his work for the film, have interviews lined up with representatives from SIMS (counseling services for musicians) and HAAM (Health Alliance for Austin Musicians), an interview coming up with Austin real estate developer Perry Lorenz, and an amazing cityscape shoot from atop the Austonian (one of the new condo buildings in progress). I would also like to point out, that the previous sentence is not a run-on, and technically grammatically correct. Also: Perry Lorenz will be doing the interview at the Spring condo building which is under construction, so we get to wear hard hats and everything.

While these shoots are less oriented towards the live music end of things, they should be a pretty fascinating insight into the various cogs and gears of the various elements of this town.

So you're making a low-budget documentary...

This happens to practically anyone trying to make an indie film anywhere these days. Maybe it's because we're halfway through production that I'm feeling the stress a lot right now. The thing is, when you're making a low-budget film, be it documentary or whatever else, you're always improvising new ways of making the best of what little cash you have, and hoping that things will somehow stay in one piece until you finish.

Don't worry, this film will absolutely be finished. We're definitely way past the point of no return, and Reversal Films has put so much into it. I've never worked with a company like this -- the producers spend all of their time working to raise funds, and the crew gets to work without being disturbed. Nathan pretty much has free reign to work as he does best, and it's yielded some incredible ideas (not to mention footage!) so far.

I feel like we're in a slightly odd situation here. Austin isn't exactly known for its film industry, and the more I deal with vendors and rental places, the more I feel like I have to immediately be firm and prove that I'm not some silly kid putting together a half-assed student film or experimental project. That I actually know what I'm doing and am a professional. On the flipside, a lot of artists view us with wary eyes and sidelong glances. I don't blame them either, usually film crews that roll into town filming bands end up exploiting their image and popularity and leave the artists with a crummy rep and barely any cash.

The more we progress the less I feel like the latter is a problem. Still, it's difficult to prove yourself to someone you haven't worked with. You can tell them what you're all about, but until they see it, you're all lip to them. We're well aware of it, not just for the obvious reasons but because it's yet another topic we're exploring. SOUND Team and the way Capitol Records treated them; White Denim and the images they ended up being a part of unwillingly. White Denim was actually very skeptical of us, until Nathan took James Moody, owner of Transmission Entertainment and the Mohawk into the editing room.

Really, all anyone has to do is talk to Nathan for ten seconds. He has such a strong vision and is so passionate about this project, it's impossible not to get caught up. Every couple of days brings a new revelation about where the film is going and what is should say, how it should say it, and how we can find that moment in real life. Of course, I was on board for this film before I even heard about it, but I've seen others' reactions, so technically, that's an unbiased statement.

Sometimes all I see is how narrowly we can make things happen. Other times all I see is everything we've done so far and everything that lies ahead, and the rest just seems like a technicality - once we can maneuver our way through it, we can get back to focusing on the real task at hand.

"The rock is about to be unfolded"

Continuing on our quest to capture every Belaire associated project on film, we shot tonight's JC & Co. show at the Mohawk. JC & Co. is basically Jason Chronis' solo project, for which Cari does backup vocals and ex-Belaire drummer Matt Simon plays drums. A gentleman by the name of Phil plays [a sweet Hofner] bass, and another gentleman by the name of Edward Alan plays lead guitar.



It was a really nasty night out, especially by Austin standards. Freezing cold, just enough so the rain that had been falling all day would bite at your skin but not actually freeze. Few people came out (which, frankly, is kind of lame - the show was indoors, and way better than sitting at home), but the band brought tons of energy and humor to the stage. Jason said he's recording the new tracks that didn't get onto the 7" over the summer, and by the sound of it they're going to be all sorts of great.


Unfolding the rock...


Jason and Jason in Nathan's camera


Cari engages the crowd

I must mention, though it's not really related to our film, the band who played before JC & Co.: Musée Mécanique. They're a Portland band (hence the not being related to our film, though it would be amazing to make a film about that whole scene too), and a few months ago when Belaire's van was broken into during their West Coast tour, they ended up staying with the guys from Musée Mécanique when they got to Portland. Their set was absolutely beautiful, and they even pulled off a great cover of Paul Simon's Graceland. You should check them out.


They looked like such Portlandites. It was a palpably stark contrast to the Austinites present. Very awesome.

Can you move your hips to this, son

Man, I'm tired. Discovering heretofore uncharted territories of awesomeness is exhausting. It's about 4:30 in the morning, so it's been an hour or so since I got home from Beauty Bar, where I saw the greatest lineup play that I've seen for quite some time: No Mas Bodas, Gayle Gold and Fancy Feast.

OK first of all, No Mas Bodas was fantastic. They took the stage and a few minutes later Nathan and I had this moment -- we looked at each other and both of us wordlessly agreed with the other, that this was something really amazing. He grabbed a camera and started filming then and there.



They're experimental, they're fascinating, they're original and they're an all girl four-piece to boot! Christina, the lead singer, is a sweet looking honey voiced, adorably dressed, curly haired 50's sweetheart with a style and passion that's as gritty as her aesthetic isn't. The band uses pre-recorded sounds as well as live, the latter of which includes a cello. I must admit, I have a soft spot for classical instruments used in modern music. They're playing at Christina's house in a couple of weeks, and you can bet we'll be there!







Then Gayle Gold played, who also played at Emo's when we filmed The Cari and Jason Band last week. They are still awesome and have a great energy and songs to warrant it. When your lead singer launches into cartwheels in the middle of the audience, you probably don't have to worry too much about putting on a great show.






Cari watching Gayle Gold

And finally, Cari took the stage as Fancy Feast. Most of her music was pre-recorded and came from her iPod. Now, don't you even try to raise that eyebrow; I haven't been rocked this hard since I can't even remember. For the first time since I started photographing shows, I put my camera on hold because I just had to dance! The energy in the room built incredibly fast and didn't break until the end of the show. Cari kept it going with a lot of dancing in the midst of the crowd.







Cari's sister Christa added some vocals to the mix

I could make this an endless entry about all that is brilliant about this woman. Alas, it is very late (bordering on alarmingly early) so I'll keep it brief. Her music is original and inspiring, full of youth and energy and experimentation. She embodies it when she performs, but what's really striking is how she brings a completely different energy to the stage depending on which of her projects she's perfoming with, while retaining her personality and artistic essence completely. I've never seen an artist quite this, nor with such an infectious energy and creative spirit. She's also extremely generous with her work, which she's put up on Bandcamp for everyone to partake -- just make sure to spread the word and share!

Did I also mention...


Girl sprained her ankle and still danced like a fiend. B a d a s s.

More frequent updating, I swear

I know, I know. I was at Sundance most of the week and we've started work on editing so even though we're all insanely busy, I figure lengthy accounts of our adventures with Final Cut may not be what you, the reader, is looking for at this moment in time.

Last night, however, we shot a Stormshadow show at Red 7. The Fresh Boy Crew were all there, who I finally met (since only the film crew has been going to shoot their meetings - we like to give the artists space to work and not crowd them more than neccesary). You should check out the links, they're intensely badass.

Speaking of badass, Cari from Belaire went in to our office to check out what we've filmed so far this week and was really impressed. She's doing a Fancy Feast show at Beauty Bar this coming Sunday night, which we'll be filming. This is very exciting. Why? Oh, I'll tell you.

Fancy Feast was Cari's solo project around 2005. She hasn't done a show in ages (as Fancy Feast, I mean), especially since the Belaire wheels started turning faster and faster. So this show is going to be pretty special. Personally, I didn't think I'd even get to see one while here in Austin, and it's perfectly timed since we're still in production! Should be good times indeed.

The Cari and Jason Band plays Emo's

Last night Business Deal had a record release show at Emo's, for the Band Lotto album. The idea was basically: 33 musicians were picked at random, put into one of 9 bands, assigned an instrument and a song subject at random. The album is a compilation of what they came up with. A few of the bands who contributed members to the project played the release show, including Gayle Gold and Pataphysics, who put on pretty crazy/awesome live shows.


The crew gets ready to shoot...

We were there to film the Cari and Jason Band, however, and needless to say, those two have a very unique stage presence. I watched the show with a friend who hadn't seen them play before, and she spent pretty much the entire show elated at how endearing they were and what a great sound they had. What was really interesting was hearing a couple of songs that Belaire also plays, but with only Cari and Jason playing them, the energy seemed to have been reshuffled a bit, certain sounds more prominent than others.







There's something very unique about indie music in Austin. It's palpable if you just listen to tracks, but seeing bands live brings it out all the more. There's a freedom, an unassuming sense of experimentation and pure youthful excitement about artistry. It's not just a bunch of kids with guitars and drums making sounds. They're musicians, people with a craft who know how to use it and push boundaries without fear of doing so.

Once again I can't help but be amazed at what's happening here. That this energy exists, not only despite most of those involved barely making a living at it, but that this energy that draws so many people here, so much money and involvement and attention -- how is it not getting its due? I'm glad we're making this film now. I think we're making it right, saying what needs to be said and appreciating what is in front of us.

Town of Machine

By Nathan

Note: This is a little late in coming but, being one of our best shoots, it's definitely worth a blog.

Construction, progress, noise.

photo by Kate Boswell

We're shooting the skeletal high-rise condos in our film as if they are characters themselves. Noisy, moving, rhythmic.

We shot the IDM duo Machine over the holiday break (Ha! Break!) as they walked through the construction sites of the soon-to-be lofts for Austin's well-monied. The workers slammed, hammered, and drilled and Machine recorded it. They looked like two musical bandits, aiming their shotgun mics directly at the sound (music).

Machine walked along railroad tracks. A train blew by. They got as close as they could to the clanging and screeching while Rob and I filmed it all, my voice rising above the noise: "Don't get too close to the tracks!" They were so focused.

Jonathan - the keyboardist, with his bleached white hair and Chase, down by the tracks in a placid crouch. When the train passed, they looked up at each other and smiled knowingly. Jonathan simply said, "We got it," and they walked down the tracks with their newly-collected booty.

Later that night, and in the nights that followed (including New Year's Eve), Machine got to work, standing before their analogue motherboard of keys, sequencers, Kaos pads, and turntables, turning the city sounds into percussive beats. With Chase living in Boston and Jonathan living in sometimes San Antonio, sometimes Austin, their meetings together are long and intense dump sessions of all the backlogged material they'd both been toying with in the previous year. Their song titles are hallucinatory dream-like portraits of parallel worlds:
'Order in the Clockroom'
'Andromedia'
'Town of Machine'
or
musical sketches of poetic moments:
'Sun Slipping
'Balloon at My Door'

photo by Kate Boswell

After a 2am lull, they launch into an industrial freakout number called 'Moonface,' morphing the hissing drone of the city into an undefinable cacophony. This is not exactly Lou Reed's Metal Machine Music, but Machine's music is taking us into experimental realms we haven't yet explored. Beyond this, they are the youngest musicians to show up on-screen. Walking down Lamar, Chase marvels at how quickly the city is changing. Because they aren't ingrained in the "scene" (a term I'm usually loathe to use), there is a freedom about the way they operate. In the grander scope of the film, they represent the young artist taking a seemingly untenable change and turning it into something beautiful.

photo by Kate Boswell

After the New Year's countdown is over and cracked drunk voices croon 'Auld Lang Syne', Machine leads us into the next chapter. Jonathan sits against a wall and recounts a story of the first time he ever heard a drum machine mixed with organic instruments, many years back. The band he had heard was just getting on their feet themselves.

"I had no idea what I was getting myself into," he says.

"What was the band?" I ask.

"The Octopus Project."

Focus Group @ Beauty Bar

Last night we filmed Focus Group playing at Beauty Bar, which was actually an EP release party for another band, but Focus Group was our main... well, focus.

These guys are incredibly nice, and were very open to us. Before the show we went outside, up 7th street a few buildings and shot an interview with them on the street. There was much talk - of course - of the experience of the Austin musician, and how it compares to playing music in other towns.



The show itself was amazing. They mix pre-recorded and live music, which is always interesting but they have a great sense for sounds and rhythms. They're tight as a band, and have some intensely danceable/moveable tracks.





The best track was one that, last night, was called Yugoslavia. Basically, while the others start playing, Donald goes out into the crowd and asks various people various questions. One person is asked to make their favorite animal noise, another their favorite Batman fight sound etc. The last question was a guy's favorite country, which he said was Yugoslavia (which, for the record, isn't actually called Yugoslavia anymore) - hence the song's title. Donald then went back to play guitar, and as the song progressed, Andrew mixed in the samples they had just recorded from the audience.



Audience interaction is always a plus at live shows, but it was really interesting to see how they incorporated it into the music. The song is different every time they play it live, and you have to enjoy it as you hear it because it's in the moment. So great.