words by Elliot Cole
photos by Randy Cremean and Victor Yiu
Moth! Fight!
Soundcheck Magazine took over the Emo’s Annex Friday afternoon, handing out food from Austin staple El Arroyo and putting together an eclectic set of infectious pop, soft-spoken folk, and engaging rock. For those brave enough to challenge the gods of SXSW hangovers early on, free tacos and a set by Austin favs Moth! Fight! cooked up a welcome breakfast of shrieks, yelps, fuzzy guitars and diverse instrumentation. The best local adaptation of the Animal Collective mold was dreamy and abrasive all at once, using a variety of horns, strings, and electronics to wake up the Emo’s Annex. Moth Fight lulled listeners with psychedelic spells but quickly shifted into aggressive, screeching guitars.
Motel Motel 
Motel Motel adjusted to Austin better than most bands, readily admitting to downing Texas’ cheap wonderbeer Lone Star and eating breakfast tacos to get the day started. With swooning vocals and a southern touch, the Brooklyn/Denver-based group’s first trip to Texas was well-received. Gentle slide guitars weaved around the rolling tracks, while the singer’s drawl reminded the audience of the endearingly emotional drunk at a party. Each porch-folk chord was warm and sincere, and the set was captured in the tent like helium in a balloon, lifting everybody up just a little bit.
The Antlers
One of the best surprises of SXSW was The Antlers, who are poised to make noise in 2009. The Brooklyn trio reeled off a series of lush, pastoral tracks that varied from haunting to poignant. It was music for the broken hearted, with frontman Peter Silberman crooning as if he were Ben Gibbard fronting Sigur Ros. The Antlers pulled tracks off of their stellar, recently-released “Hospice” album, carving up some spacious, soundtrack-worthy melodies that should catapult the band to the top of all those “Bands to Look Out For” lists.
Harlem Shakes
Completing Soundcheck’s trio of Brooklyn-based bands, the sextet had one of the biggest audiences of the day. With wailing saxophone work, well-placed effects, and melodic keys, Harlem Shakes presented an energetic cluster of songs that conveyed both a depth in the songwriting and a simple dance-inducing stroke of pop. Singer Lexy sounded like a more composed version of Clap Your Hands Say Yeah’s Alec Ounsworth, and had a tangible stage presence. Despite acknowledging the band’s collective hangover, the group was vigorous and lively while earning the title of “Band That Most Obviously Looks Like It’s From Brooklyn”.
Pete & The Pirates
Although my hopes that Pete & The Pirates would show up in full pirate garb were dashed (the group instead sported their own T-shirts…either a promotional tour or result of a lack of clean laundry), nothing about the English band was disappointing. With a no-frills approach to infectious pop music and some fat 1980s shades, Pete & The Pirates charmed the Annex. One of the next big things from across the pond proved why they’ve garnered so much press in Europe, using sparkling guitars and straightforward melodies to capture the audience.
Blind Pilot
The lo-fi quality of Blind Pilot’s sound seems better suited for a back porch than a stage, but it resonated comfortably in the Emo’s tent with a sound that is transcendent of any particular era. Both simple and nuanced, the band comes off as professional and polished. Blind Pilot seemed genuinely (and endearingly) thankful to be playing, with smiles shooting back and forth. While acoustic guitar makes for the backbone of the group, whimsical percussion, banjos, horns, and charming xylophone interconnected for a relaxed and compelling sound. “The Story I Heard” made for one of the brightest songs of the festival.
Fanfarlo
The poise of Fanfarlo belies the respective age of the bandmembers. Despite this veteran savvy, the group plays with a given excitability draped over each of their nuanced, carefully-arranged pop songs. On Friday, the band wielded an array of instruments – clarinets and violin were integrated seamlessly – to achieve an orchestral and sweeping set that reminded more than one fan of Beirut. With a shy demeanor, the group gently swooned through their songs with soft-spoken humility. The tracks demanded attention, with the occasional melodica, rousing marching structures, and everything in between.
Port O’ Brien
With a stirring stage presence, California’s Port O’ Brien made for a more than capable headliner for Soundcheck’s birthday party. The group’s folk-friendly sound held a significantly rougher, rock-heavy edge during their set. The drums were storming and the guitars wielded a heavy tone, all blanketed by forceful group vocals. While M. Ward’s favorite band still held their porch-folk sensibilities, their headlining slot will be remembered as an inspiringly active set. As the evening beers began to pour, Port O’ Brien closed out the Annex for Soundcheck Magazine.
