The Last Drop

Reviews and Clues on Music That Matters (to me)

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Written by TopDrop

January 11th, 2019 at 4:00 pm

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Drop Kick: SXSW 2012 Recap Day 3

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Continuing on my binge cleanup of old posts, Day 3 from my last SXSW visit. Some fun shows that somehow fell off my radar (I think I saw Kendrick this day as well?????? Who will ever know if it wasn’t captured in social media?????) but nice to unleash my old memories and 2 min reactions on new artists.

Join me in reminiscing all of the hyped names from Stereogum and Pitchfork I willingly stood in line (for a while to see). Note – not a single thought on Nicolas Jaar. Wasn’t he the second coming of moody ambient electronic music (or maybe he was too busy literally running away from fame)?



Day 3
1100 warehouse
Doomtree – In case you haven’t noticed, POS has built his following. The crew is steady, the fans are ready. And it’s all very tight live. A marked progression from last year’s showcase  – both in  performance and stature – and I can only imagine it’s a matter of time before they finally have one single filter to the mainstream.


Fader Fort
SBTRKT (no mfn comment??? He was just there???? What would I do to my 2012 self…)
Mister motherfuckin Xsquire- Brooklyn hip hop with fur hat

Convention Center
Movie – Sunset Strip

Fader fort
Nicolas Jaar

Ritz- White rapper from Atlanta

Ghetto Boo- Bad female rapper from Memphis

Doritos Stage
Turquoise Jeep – Hip hop parody. How you like your eggs?


Delicate Steve – bluesy jammy rock band/ Allman brothers esque, real young, Singing guitar for the melodies.

St David’s sanctuary

Firehorse – fully formed studio band. Each member represented a stereotype of a band type. Big voice female.  Hated on me when I met them, then chatted me up when they thought I worked for noise pop

LP-  not to be confused with El-P.  family . Disconnect in voice- low speaking tamber, bright singing. Big voice folky.  Andrew Bird like whistling. Citibank commercial

whisper town- hippies from Dolores park found instruments

Rachel Yamagata

Fiona Apple – she’s back! Still slight, still a flight risk, still angry at life. But  consistent. And a reminder of a time when you really believed women were going to take over the world in ALL genre’s. Thank you 90s.

Written by TopDrop

December 27th, 2017 at 8:31 am

Drop Kick: SXSW 2012 Recap Day 2

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Great Scott, I’ve gone back in time! This gem of a post from Day 2 of SXSW 2012 is too good to not post. As is. All first impressions, half baked. No fun linking or songs on this. But such fun to see who made it 5 years later. I’ll just leave this here…


A month and change later, on to Day 2. Make sense? Sure it does.

Day 2
Mellow Johnnies
The War on Drugs- Had these guys pegged for a listen at some point during the festival and was on a massive hunt to find the right show. Little did I know that a bike shop  would save me.

Hype hotel
Jonquil – British dance rock with trumpet. Great sound, evolving presence. Would love to learn more (and so should you)

Ed Shearen (2017 self interjection: !!!!!!! He wasn’t even the headliner!!!!!!!!!)- looped vocals and guitar. Uncanny ability for being 21 (apparently he played 300 shows in one year. Practice makes perfect.). Based on feedback from random Australians, he’s huge down under (pun firmly intended). Based on this show, I could see some promise state side.

Of monsters and men- Icelandic and chill
Avalanche city- screamer rock from Austin

fun – mika is back. Bright voices, big melodies, aptly titled band name

1100 warehouse
Skrillex – bro step at it’s finest.

Written by TopDrop

December 27th, 2017 at 8:19 am

Lost and Found: 2017 Edition

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Let’s cut to the quick: I’ve been a bit lost for a minute. When we (I) last left this space, I was in the midst of regaling the sonic exploits of South By Southwest 2012. Yeah. 5 years ago. I have the half filled notes for Day 2 and 3  sitting perilously in my posts queue. Some non-coherent, some still holding the electricity of the event. And quite a few that turned out to be positively clairvoyant (a 21 year old, looping expert named Ed Sheeran that” I hear the Aussies love” playing at Stubbs to a few hundred semi-committed fans…). Most importantly, there was a clear sense of dedication, energy, duty and an overwhelming sense of fulfillment from reporting on music that mattered to me.

And then it stopped. For a long time.

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Written by TopDrop

January 29th, 2017 at 10:31 am

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Drop Kick: SXSW 2012 Recap Day 1

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It’s only fitting that I make a marked return to The Last Drop for South by Southwest Coverage. After all, last year, I was running at a stellar clip, blogging each night to capture my first impressions of this noise explosion that overuns Austin. No live blogging this year. However, I attempt to actually further everyone’s knowledge by sharing a piece of each band that I saw. Overall, I think I upped the number of bands I had never heard and reduced the pursuit of super hyped shows (read: I stole back the 6 hours of my life spent chasing Kanye /Jay-Z/Vevo from last year) which is more of a feat than you would imagine as there was a terrible glut in mainstays making an appearance at the festival. Alright, talk is cheap, and type is even cheaper. Let’s get it on.

Day 1
Fader Fort
Alice Smith – first show of the day after a long travel cycle to get to Austin thanks to SFO and United (without you two, who knows how many more places I would go on time…). Fader seems content to give you a glimpse at the very near future and rarely a hard look at the truly new world prospects. Alice was no different than this formula – all the gusto and wail of a ’60’s R&B/blues singer that you would expect. Raw and uncontrolled which most readily translates into loud. And which seems to move the masses these days. But not me. Variety is the spice of life, no? Alice could definitely use some. The basic chops are there, but the memorableness (yes, this is a word. Peep that Oxford.) remains to be seen. Not to say it can’t happen. It just hasn’t.

Gary’s Song

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Gary Clark Jr.
– ah, an Austin native! Insert self satisfied pat on the back for “keeping it local”. I think I first heard him on an episode of Friday Night Lights unsurprisingly. It’s nice to see that a heavy blues influenced rock band is getting a lot of buzz nowadays to help shake up a somewhat stale genre. Yes, I am making a strong assertion that rock is stale in spite of indie rock’s recent heaving period of growth as witnessed by Arcade Fire and Bon Iver stealing the Grammy buzz. As long as Foo Fighters can continue to write the same album and win listeners (and a Grammy), you haven’t changed much in the past decade (no disrespect to Dave Grohl though, I still have love…). Even if award shows are not the best indicator of all consumer interest, you will be hard pressed to convince me that this genre has sustained a fraction of progression that has been seen in hip hop or country or many other genres. Alright, soapbox safely packed away for the day. Mr. Clark was fun, solid and tight, but again nothing too unique. Nevertheless, I think there will always be a place for a bluesy guitar driven roots rock band. Just not in my daily rotation.


Don’t Owe You a Thang

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Central Presbytarian Church

Fiona Apple – this was the only bonafide star I chased on Thursday. With very little effort. I’ve seen Ms. Apple before so this was more of a check-in than reliving the past. And, honestly, I had to see if she could simply do it – a bit of car crash rubber necking was at play and I am not ashamed. It’s been 7 years since her last album that had a title that wasn’t (there’s a pawn and it broke and then there was 5 more sentences, right?) and her innate abilitly to craft some stellar songs is only matched by her notorious breakdowns and ficklness in live performance. So. We meet again. In a church. Intimate and stifled by expectation. Literally, a crowd of breathe pregnant by baiting. Would she make it? I think she did. Nothing mind blowing, but a solid return. If not entertaining, it was technically proficient. A peace offering of sorts – all the hits were on display with no short shrift , some less popular back catalog made its way in to satisfy the fanatics, and two new songs to tease us all for the upcoming release. The formula for a strong comeback was on display at this showcase and I’m hopeful for the end result. She proved that there is still a void in well crafted, lyrics first female songwriting which she alone fulfills. BTW – if you haven’t listened to Sleep to Dream in a while, do. I forgot how intensely satisfying it is.
Extraordinary Machine

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Hype Hotel

ThEESatisfaction – Well, there is just so much I could say for these girls. First act on my list of “must sees” that was crossed off. But more importantly, we connected. A lot. Like an unbelieveable amount. And by connection, I take the literal definition. I met them earlier in the day at the Fader Fort (to a bit of shock at the ease of interaction. I still get star struck easily) where they kindly shared their performance times for later in the night. Later in the night came and I caught their performance. Better than anticipated, thanks to the help of synchronized dancing (more to come on this tactic later in the festival) and a truly unique music style that they conveyed easily. I think it’s pretty hard to come up with a female duo of indie R&B/ hip hop that doesn’t rapidly move into either esoteric imagery and sound or stereotypical lyrical content (here’s to you, Floetry). They took it all in stride, one foot proudly in artistic expression, the other in tounge & cheek pop topics (kudos for making a R&B anthem for being bisexual that does NOT include any R. Kelly imagery). In short, it all seemed to work. After the performance, we caught up again, hopeful to catch some of the same acts at some point during the fest. Little did I know that I would end up seeing them everywhere. No, for real. Everywhere. At the Convention Center to catch a film, there they are. At a random showcase that was half full, there they are. It got bad enough that someone at the Fader Fort thought I was IN the group (hmmm, if only I had the time to interject another rant on being black in America. Next time….). In spite of the seemingly creepy “random” meetings, I still think these two are a force to watch this year. They worked well as hook hawkers on Shabazz Palaces’ latest and are even better on their own. They’re odd, but listenable, inviting and dare I say fun. Let’s hope the rest of the world catches on too.



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Clive Bar

Kendrick Lamar – Act two on my list of “must sees”. But wait, I had already seen him last year (and liked what I saw), why the second effort? Well, now that he’s made a name for himself as well as his entire crew, this was a celebratory lap of sorts. And I think Kendrick was in it for the same reasons. Last year, he played the early sets at the broad based hip hop day showcases. This year, he closed out a night showcase dedicated to only his labelmates and had prime billing at Fader. His stature has grown mightily over the last year. And, personally, I’m claiming a bit part of acknowledging this success. Why not celebrate? Lots of stereotypical hip hop show maneuvers (queue air horn, “throw your hands in the sky”, look at all of these people with chronic medical conditions that only marijuana can help with…) but all in the spirit of fun. I’ve never seen a Cheshire grin suit a man so well. And it’s nice to know that success isn’t always a headache (Drake, you hear that???). This is the kind of repeat performance that you live to see – your musical “child” growing up right before your eyes.



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Written by TopDrop

March 31st, 2012 at 1:40 am

New Issue: St. Vincent

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St Vincent, Strange Mercy –  It’s time to face a reality – it’s truly hard to have a love affair without really knowing the person. With that being said, I’m finding it harder and harder to describe my relationship with Annie Clark and her music – obsession seems to oblique, idolized has odd religious undertones, and respect seems to clinical. Needless to say, this will be yet another glowing review of her latest musical installment, Strange Mercy.

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Written by TopDrop

February 28th, 2012 at 1:00 am

New Issue: SchoolBoy Q

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Schoolboy , Habits and Contradictions –  Gothic gangster rap at it’s finest. Lyrically a little weak, you can tell his age, but a strong initial concept and effort for an emerging crew of hip hop innovators. Where Section 80 presented consciousness in a mostly well packaged display, Habits exceeds in aurally mapping grit, danger, solitude, machismo, and anything else SchoolBoy wants to address. For a foundationally scary album, it’s a joy to listen to.

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Written by TopDrop

February 27th, 2012 at 1:00 am

New Issue: Kendrick Lamar

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Kendrick Lamar, Section.80  – I need to be more diligent. For many reasons. But recently, I’ve been sleeping on plenty of music that I’ve 1) heard at SXSW or 2) seen live. Kendrick fits both. And yet somehow I still missed out on this goodness for most of 2011. Well, I guess it’s never too late to say your sorry. Or to enjoy good music, cause this is the realness. Read the rest of this entry »

Written by TopDrop

February 13th, 2012 at 8:34 pm

New Issue: Thao & Mirah, Thao & Mirah

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Thao & Mirah, Thao & Mirah  – “Singer-songwriter” has never come to sell me on any musician. In fact, it usually signals a chance for me  to save my cash for something else. Like gum. Or toothpaste. Anything really. Put two together and it only multiplies my antipathy. Much to my surprise, Thao & Mirah are starting to chip away at my well honed diffidence to the term. It doesn’t hurt that they have enlisted the help of my favorite artist of 2011 to date.

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Written by TopDrop

February 1st, 2012 at 10:18 pm

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New Issue: tUnE-yArDs, whokill

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tUnE-yArDs, whokill – Wow. I sat on this draft for over 6 months. And this is probably my favorite album of last year. Well, here’s to cleaning up that old drafts box.

Eccentricity. What’s not to love?! Sure, anyone can come up with a slightly off hand band name, push further into excess with an even odder presentation of the name, and then a crazy sound to boot. Take this for example. But few can pull this off with ease and grace. And subtlety. I know, not quite what one should expect from an album with “kill” in it. But there it is – choice, intention, space – saddling up to experimentation like they belong. And making a good show of it. Yes, I am spending way too much time to say that this will probably be one of my favorite records of the year. So kill me. Read the rest of this entry »

Written by TopDrop

February 1st, 2012 at 9:00 pm