AdHoc Unofficial SxSW Showcase

AdHoc Unofficial SxSW Showcase

Snail Mail, Sudan Archives, U.S. Girls, Bad Gyal, Palm, Combo Chimbita, Hatchie, Crumb, Shame, Hovvdy, Flasher, Stella Donnelly, Ought, Cut Worms, Suburban Living, Sun Seeker

Wed · March 14, 2018

12:00 pm (event ends at 6:00 pm)



This event is 18 and over

AdHoc Presents
AdHoc Presents
Snail Mail - (Set time: 5:30 PM)
Snail Mail
Snail Mail is the Baltimore based indie rock solo project of 17 year old, Lindsey Jordan. She released a six song EP titled, “Habit,” on DC punks Priests’ Sister Polygon Records in July of 2016. The record features a full band with Shawn Durham on drums and Ryan Vieira on bass.

In their “Best New Track” review for the EPs opening track “Thinning”, Pitchfork describes Jordan as possessing a voice that “sounds like it’s coming from a distance, perfect for a song with lines about wanting to lie face down on the floor for a whole year and the triumph of wasting time”.

In addition to her standout vocal abilities, Jordan is a classically trained guitarist of twelve years and experiments often with various guitar tunings and techniques in order to generate Snail Mail’s unique sound.
Sudan Archives - (Set time: 5:15 PM)
U.S. Girls - (Set time: 4:45 PM)
U.S. Girls
This year marks a significant anniversary for U.S. Girls, the protean musical enterprise of multi-disciplinary artist, Meg Remy. 10 years ago Remy first used a 4-track recorder and a microphone to self-produce a series of spontaneous, starkly musical, ‘instant expressions’. These collisions of static, clang and sung melody seem in retrospect like a uniquely American display of minimalism, an unmistakably feminine counterbalance to Nebraska or Rev & Vega’s early sonic confrontations. In contrast, her latest work for 4AD and Royal Mountain Records, In A Poem Unlimited, Remy’s 6th album and 2nd LP for the label, was painstakingly crafted in multiple studios by a creative cast of 20+ collaborators. Remy traverses an immediate and increasingly politicized vision over the course of this decade of work. And while U.S. Girls, denoting the plural, is no longer a misnomer, In A Poem Unlimited may be Remy’s most individually distilled protest to date.

Opening with a dark, conga-infused drum break, lead-off track ‘Velvet For Sale’ establishes a moody, distinctly mysterious feel. If Half Free (Remy’s 2015 4AD offering) trafficked in dusty, sample-based textures, Poem represents an inversion of that instrumental formula; the non-sampled rhythms are themselves eminently sample-able. The newfound grooviness speaks to a central element of the new album’s collaborative spirit. All tracks save for two were performed by The Cosmic Range, an accomplished instrumental collective from Toronto, Remy’s adoptive hometown. Assembled by Matthew Dunn in 2014, The Cosmic Range is composed of some of Canada’s most accomplished improvisers, and includes longtime U.S. Girls producer / foil Maximilian ‘Twig’ Turnbull. The Range--whose eclectic combination of improvised psych, jazz, and propulsive dance music was first recorded on their 2016 New Latitudes debut (Idée Fixe)--is put to work here on a song cycle that is typically diverse for a U.S. Girls album. Remy is not content merely to establish a new sonic palette on successive albums. Instead she approaches each song as its own encapsulation, with the effect that her oeuvre is essentially genre-agnostic. On Poem, the buffet of sounds comprises a dizzying variety: disco, employed as a protest vernacular (‘Mad As Hell’), as well as an unrelenting assault (‘Time’); Remy’s beat-driven impulse, extended via The Cosmic Range’s vamping on hip hop producer Onakabazien’s produced loops (‘Incidental Boogie’ & ‘Pearly Gates’); moody, slow-burning funk, on the Twig co-writes (‘Velvet For Sale’ & ‘L-Over’); and forming the emotional core of the album, two earnest synth anthems, written in collaboration with D.C. based instrumentalist, Rich Morel (‘Rosebud’ & ‘Poem’).

As hectic as the stylistic detours may sound on paper, Remy and mixer / co-producer Steve Chahley will a consistent aesthetic into being, however multi-dimensional. With a voice as assured and engaged as Remy’s, track to track, one sees that genre-partisanship, in the contemporary music landscape, represents an irrelevantly conservative approach. The artist is intent on liberation both sonically and lyrically.

Poem features dark meditations reflecting charged atmospheres that directly precede and follow acts of violence. Many of the songs are character studies of women grappling with power; how to gain and exert it spiritually, as well as desperate strategies to mitigate its infliction. In ‘Pearly Gates’ a woman ingeniously decides to seduce St. Peter to assure heavenly entrance, to mixed effect, while in ‘Incidental Boogie’, a battered woman muses ironically that her partner’s abuse leaves so little physical evidence she can continue to show up at her job. Almost all of Remy’s lyrics seem to interrogate notions of morality, and the universal consequence of its deferment. As has so long been suggested in the artist’s work, action and inaction both have broad civic consequences. There is no escaping that the personal is entrenched in a political dimension and an acknowledgement of that may be the only liberator.

In an era of heightened turmoil, artists contend with a crossroads decision on cultural content, and how we engage with it as individuals. There is no shortage of media that lends distraction and offers a balm of comforting fantasy. For those, on the other hand, craving a thoughtful and probing inquiry into the iniquity of power, In A Poem Unlimited poses a substantial question; can you dance while you think?
Bad Gyal - (Set time: 4:30 PM)
Bad Gyal
Palm - (Set time: 4:00 PM)
Palm plays rock music backwards. Their songs bear a certain methodology, though there is a tendency towards impulse which seems almost violently opposed to it. The band deals willfully in contradictions like this. The elements of any given song fit together like slightly melted puzzle pieces, serving up rigidity and looseness in equal measure. Palm songs imply architecture, but their compositional structures are somehow bound by different rules of physics than the ones we know. Lattices of guitar language (provided by Eve Alpert and Kasra Kurt) intersect the rhythmic organism characterized by the twitchy throb of Gerasimos Livitsanos' bass and the careless tumble of Hugo Stanley's drums, with a layer of disembodied vocals draped atop the whole thing. Emotional yet clinical, wild yet contained, the sounds they offer are equally bizarre as they are pleasantly pretty.
Palm formed around 2011, shortly after its members met in college in Upstate New York. The years they spent writing and playing when not in school culminated into the release of Trading Basics in 2015, around which time they relocated to Philadelphia. Since then they've been playing shows throughout the country while they continue to hammer out their sound to be as refined as it is outlandish. More to come.
Combo Chimbita - (Set time: 3:45 PM)
Hatchie - (Set time: 3:15 PM)
Crumb - (Set time: 3:00 PM)
Shame - (Set time: 2:30 PM)
Hovvdy - (Set time: 2:15 PM)
hovvdy is from austin. songs by charlie and will, we spell it weird for google.
Flasher - (Set time: 1:45 PM)
Flasher is a trio from Washington, DC consisting of childhood friends Emma Baker (drums),Taylor Mulitz (guitar+vocals), and Daniel Saperstein (bass+vocals). After nearly a decade of cutting their teeth on a handful of different projects in the DC DIY scene, Flasher formed in late 2015. They released their debut 7 song self-titled EP on Sister Polygon Records in April 2016.
Stella Donnelly - (Set time: 1:30 PM)
Stella Donnelly
Ought - (Set time: 1:00 PM)
Ought's debut More Than Any Other Day brought the band sudden and universal critical acclaim – including high praise from Drowned in Sound, Exclaim, Rolling Stone, NME, and a Best New Music nod from Pitchfork. They have been on the road ever since, where their channeling of passion, politics and charisma consistently connects with and galvanizes each and every audience.

Based in Montreal, Ought are a thrilling and adventurous quartet, delivering an earnest and exuberant post-punk: dextrous and exacting while bursting with propulsive and fluid energy, as indebted to Cap'n Jazz as to Talking Heads. The band shifts adeptly from sharp angles and stuttering counterpoint to softer edges and chiming flow, the instrumental interplay consistently whipsmart, supple and deceptively simple. Guitarist and vocalist Tim Beeler's declarative, observational style ranges from stately, composed oratory to ragged, impassioned yelp, by turns wide-eyed and worried, but never submitting to cool irony or emotional detachment.

More Than Any Other Day was released by Constellation on 29 April 2014. The band returned to the studio in early summer to record updated versions of some older songs and one new one. The resulting EP, Once More With Feeling..., hits stores 28 October 2014, as the band continues to tour extensively throughout the autumn in North America and Europe.
Cut Worms - (Set time: 12:45 PM)
Cut Worms
Suburban Living - (Set time: 12:15 PM)
Suburban Living
Suburban Living aka Wesley Bunch recently relocated to Philadelphia from Virginia Beach, VA. Bunch released the highly acclaimed EP, Copper's Dream in 2012, followed by the "Always Eyes" 7" single in 2013 on Dialog Records. In the past year, Suburban Living has toured frequently up and down the East Coast, and made appearances at CMJ, SXSW and multiple festival dates in Japan. After which Bunch returned to Virginia Beach to record his self-titled debut record at EarthSound Studios with good friend and engineer Mark Padgett. With the full-length album, Suburban Living enters a new saga with a refined "Dream Pop" sound - darker, with a more personal lyrical approach.
Sun Seeker - (Set time: 12:00 PM)
Sun Seeker
Venue Information:
Cheer Up Charlie's
900 Red River St.
Austin, TX, 78701