The Big Spill 2013 (Early Bird Wristband), Andrew W.K. (Special Solo Performance), Akron/Family

The Big Spill 2013 (Early Bird Wristband)

A full week for various acts who will be visiting Austin for SXSW just an hour away will come to San Antonio to be a part of a well organized, laid back annual music festival. The key organizers behind this festival have played a part in SXSW spillover events all over town for nearly a decade. This year, we are returning back to our staggered one ticket-3 stage format from 2009, 2010 & 2012.

In it's first year, The Big Spill 2009 was a complete success and actually was able to cover all costs and make enough of a profit for the crew to have a nice dinner once we finally got some sleep. 2010 saw the festival scale down to one venue and two stages but still was able to make a buzz in the community once again.

As for The Big Spill 2012 which had a few bumps in the road as we were told no-go on our outside stage about half way through the festival. Rather than trim down to two stages, we took over Bonds 007 Rock Bar for our 3rd stage this year. The festival itself is a chance for our ever growing music community to enjoy a sample of the musical variety SXSW offers each year without having to sell your first born for a wristband.

Best of all, the bands are all under one ticket price each day with multiple stages next door to one another in the heart of San Antonio on the Riverwalk. Indie, Punk, Metal, Ska, Dance & much more will all be a part of this year's event!

Andrew W.K. (Special Solo Performance)

"I'm trying to make the most exciting music possible."--Andrew W.K.
Age 4 Born in California and raised in Michigan, Andrew W.K. begins classical piano lessons. Encouraged by his parents, he continues to play piano throughout his young life, eventually taking up the drums in his teens and playing in numerous Detroit punk and metal bands.
Age 17 Begins recording solo material.
Age 18 Moves to New York City. Early recordings are circulated among record labels with the help of friends.
Age 20 Andrew plays dozens of shows up and down the East Coast, equipped only with a CD player, keyboard and microphone. Girls Own Juice, a debut EP culled from the early solo recordings, is released on Bulb Records.
Age 21 A second EP, Party Til You Puke, is released, also on Bulb. Andrew plays another series of one-man shows--including two support slots for Foo Fighters and a Belgian arts festival--before returning to New York to focus on forming a band. Members are assembled: Guitarist Jimmy Coup, formerly of Minnesota's Coup de Grace, drummer Donald "D.T." Tardy, late of Obituary, bassist Gregg R., and guitarists E. Payne and Sergeant Frank. The crew moves to Florida. Andrew signs to Island Records.
Age 22 Andrew W.K.'s debut album, I Get Wet, is recorded in Michigan, Los Angeles, New York City, Colorado, Minnesota, Florida. On October 29th, Mercury UK releases the "Party Hard" single, which enters the British charts at 14 as Andrew plays a series of sold out shows and appears on the cover of NME (twice!).
March 26, 2002 I Get Wet is released in the U.S. "This record is about 'not stopping' in every sense of the word, and every aspect of life, and it was created with determination that reflected that. Whatever you do in life, if you go full bore you're bound to get wet--with blood, sweat, urine, semen or girls' lubricant. This record is about cutting in to the heart of existence and getting wet. But it's also about having no fear, experiencing intense emotions--from passionate feelings of love and excitement to the most anger filled, hateful rages, and everything in between--embracing life and other people, and coming together as a party in celebration of possibilities, potential and opportunity. It's an explosion of human life."

The Future
"I like things to be strong because I feel that other people can derive strength from that themselves. And I try to reflect that strength, and purity, truth and passion for what we are doing in everything you see and hear. How it's not a fucking joke and that what we mean is very serious to us. I guess you could say this is a cause, but if so, it is a cause that is undertaken simply for its own sake."


It was a century ago when I first saw Akron/Family perform, in the tiny back room of a bar in Brooklyn that held perhaps 20 people. Akron sat in chairs on a small stage festooned with red velvet and small theater light bulbs, their plentiful gadgets and musical toys littering more than a few tables – always seemingly on the verge of collapse. The young men awkwardly held their guitars in their laps or gently played drums/percussion, apparently trying not to knock anything over (to disastrous results) mid set. Cables and extension cords laced through their legs, they proffered a sort of delicate, improvisational experimentalism, laced with occasional rock grooves, but most extraordinarily, often punctuated with beautiful 4 part harmonies...
Time passed, and I recall seeing them at a sold out show somewhere in Europe and thinking "Wait! This is fucking Led Zeppelin!" - and that is a huge vote of approval. They sounded nothing like LZ of course, but something about the supercharged commitment and force of the sound evoked a similar full blooded ROCK, albeit with an adventurous, skewed bent and a marked tendency to let things suddenly collapse into utter chaos then snap back just as quickly into focus in a moment of pure, unabashed sonority. Absolutely thrilling, stunning, and great fun, too...
More time passed, and they worshiped at the throne of late period Beatles, filtered through the lens of their own idiosyncratic tendency to mash things up and change atmosphere/context in an instant...
Yet more time passed and free jazz improv and deep sonic meditations came to the fore, always brought into focus with their unique brand of vocal harmony and frankly trenchant melodies...
Now even more time has passed, and we find them rocking (still rocking) but now in a skittering kaleidoscope. The shards of music styles and influences flung through the speakers from all directions, congealing for a second, then just as quickly dissolving into something new and unexpected. They're amphetamine crazed jugglers of sound and texture, but there's always those vocals, rooting the thing in a deep and satisfying place.
It seems to me lots of groups these days view the whole history of music as fair game for their palette, which might be understandable, since it's all there at easy access now, but most of it seems like playing dress up to me, and certainly it exists in inverted commas.
There are no inverted commas in the world of AK. They're inside the music, grinding it, fighting it, chewing it, digesting it, then spewing it up to the sky in a multicolored spray of endless sound and love.

I wrote these random, extremely inarticulate notes while listening to Sub Verses:
"Seeing this: a thick purple perfumed mist spreads out across the cracked desert floor as the raider AKs ride forth on bloodied white stallions - somehow quintessentially American. A conflation of orchestrated Jazz, Prog Psych, R&B and devotional mantras. Their hermetic hero guitars serve the master sky...
Stomping monsters harried by stuttering tin fractured birds set a scene for cycling Akron call and response....
Nothing's predictable, forms shifting...
Song structure dictated only by forward momentum, the sprawl of unfolding sound...
Weirdly effeminate whimsy leads quickly to brash and brazen hard rock before dissolving into an echo of itself...
All sound fed to the grinder...
Grizzled Beach Boys, fully bearded and flea infested willfully surrendering to the lysergic gas attack. Hold your shriveled ego and watch it unfold like a purple meat-flower in your grubby hand...
Clouds shifting at full speed – gelatinous, deliquescing tectonic plates lurching overhead...
Mothers of Invention berate and whip Beefheart on a leash through traffic. Cars are rabid dogs nipping at the heels of rhythm. Growling, time breaks down and Beach Boys reappear swinging sledgehammers that melt instantly as they strike and flow/melt into hot red lava in a desert ditch then steams in metal drones of vapor, aluminum sheens hovering just above the sand...
Chet Baker's trumpet spills silver toxic goo on cracked filthy bare feet....
Sudden industrial grind sets scene for hairball shaman rant....
These omnivores are cannibals too...
Pop/rock music of the last 50 years put through a meat grinder and leavened with battery acid and honey....
Who would have thought they'd become voracious beasts...
Orchestrated chaos...
Genesis P-Orridge's Throbbing demon screeching through the throats of suddenly fever-eyed ordinary American optimist males...
Reach to the sky, but the sky is a thick swirl of purple/brown goo...
Big ass rock riffs trudge awkwardly forward with some kind of internal simian elegance of purpose...
A giant concrete hall teeming with naked hairy fans shining with sweat and writhing like upright snakes to the curling cycling riffs of the crazed and lit avatars of a new perversely inverted animal psych....
Ghost of Spector/Lennon in another concrete hall in the same filmic world where Lynch's Eraserhead lives...
An herbal guitar solo unfurls liquidly, redly, into smoke machine haze...
Music dissolves in sad earnest mist of drenched melancholy, spent... "

Michael Gira | Swans | Young God records

The album started with visions of large monumental sounds inspired by Heizer and Turrell; American works on a grand scale, monuments, dirty hands and an epic American masculinity. Dust, Stone, Sky, Earth.
These broad, bold strokes would come to pass but not quite as expected.
A Sci Fi aesthetic narrative emerged. Tackling distant pasts and future humanism, the pain and idiocy of our contemporary culture. How to deal with it open heartedly? The boredom, the sadness and speed. The plots within plots of Dune mirrored in many layers of sound. Creating 3D sonic atmospheres that our songs and singers inhabit.
Our story, a story, all stories. Told in verses, in underground language, in sub frequencies. Not audible, only felt, intuited, imagined in some deepest psychic space that you are yet to know. A strange story. Of the future, of yourself. Of everyone. We are all we are, only this and yet we move forward. Along some line to somewhere. And who knows?

Seth Olinsky | Akron/Family

As with other Akron/Family records the Idiomatic perspective shifts restlessly. From Shamanic hypno-mantras to Noise-damaged Soul anthems to North african street frenzy, from Droning Microtonal Balladry to modular synthesizer destruction to Lynchian Doo-Wop and back again. The sound is propulsive and driven by it's physicality, and a disciplined acknowledgement of Lineage. Akron/Family is here, with drums and guitars like divining rods calling on Sonny Sharrock and Link Wray, on Elvin Jones and John Bonham, on Jimmy Garrison and Aston Barrett. But when we sing we are calling on ourselves, on the deep river of inspiration that connects the whole. We are singing Old Stories. The narrative thread is one of the Desert, that ancient ocean floor, long dried to reveal a barren expanse of scorched fossils. Of Life and Death and Time, of a vision of a people, weary and traumatized - driven from their nobility and sense of purpose to the brink of total nihilism under the lash of information overload. Intelligence giving way to remix culture, nothing to do but blindly live as customers, stumbling, content drunk through the digital bazaar. A bunch of fucking Payers. All of us. The hot wind is blowing hard on us and what is there to do but turn our face to it and sing?

Miles Seaton | Akron/Family

Less Than Jake

Playing music is about moments. A collection of great moments definesan amazing record. An avalanche of powerful moments tumbles into an engaging live show. The moment when band and fan become one and the same, the moment of interaction, is the type of moment that lasts forever.

Twenty years into its pioneering journey, Gainesville, Fla., natives Less Than Jake – comprised of lyricist/drummer Vinnie Fiorello, vocalist/guitarist Chris DeMakes, vocalist/bassist Roger Manganelli, saxophonist Peter "JR" Wasilewski, and trombonist Buddy Schaub – have had their fair share of moments. For a band obsessed with interacting with its fans, both online and after shows; for a band that is so concerned with making sure the fan gets the perfect experience, with well-known hijinks in every live performance; for a band with seemingly unlimited creativity in the form of physical products, from custom-made cereal boxes to unique vinyl packaging; and for a band that is so passionate when writing new music, 20 years begins to seem like an even longer amount of time. A lot of moments add up over two decades – teenagers grow into men over two decades – dare we say, things change?

Ever-adapting to the constant change in an unsure music industry, Less Than Jake is still making cannonball-sized splashes in the deep end while many of its peers timidly eye shallow waters. With the release of Season's Greetings From Less Than Jake this sentiment is as true as ever. A fivetrack release recorded at The Moathouse in Gainesville and produced by Less Than Jake's own Roger Lima, Season's Greetings is a wintertime accompaniment to last summer's Greetings From Less Than Jake EP. Don't let the title of the EP fool you, though. The five tracks on Season's Greetings are barn-burners, more intended to get long-time fans and first-time listeners warmed up and moshing in their living rooms than meant to listen to while cuddling up to a warm fireplace. Keeping its signature mix of punk roots and horn-driven melodies, songs like "A Return To Headphones" and "Finer Points of Forgiveness" take the best of old-school Less Than Jake and put on a fresh coat of point for an ampedup listening experience.

"I think in today's music industry, people can digest smaller amounts of music more so than large amounts," Fiorello says of writing two EPs instead of a full-length. "On our end, creatively it's less of a daunting task to try to put together five songs instead of 12 songs or so. We can cut the fat, make sure each song is powerful and has its own feel, and still retain a Less Than Jake sound to the whole release. At the same time people can get into each song more."

The two EPs follow up 2010's TV/EP and the band's last full-length, 2008's GNV FLA. As the past few releases have been, Season's Greetings is being released by the band-owned and operated Sleep It Off Records, as Less Than Jake has spent the past few years completely independent from the major-label ties it used to incur. With a year of worldwide touring ahead, the group is still following through on its mission to please the fan, wherever the fan may be. More so than many bands that have been doing this for so long, Less Than Jake continues to provide output that loyal fans love. From a 16-minute EP of TV theme show cover songs to re-releases of their classic back catalog to live shows of genre staples "Losing Streak" or "Hello Rockview" in their entirety, Less Than Jake has done it all. Less Than Jake will continue to do it all.

"We're constantly pushing ourselves to come up with new ways to present the band," says Schaub, "whether it be within the writing of our songs, ideas for keeping our live shows fresh, coming up with crazy new merch ideas, or just coming up with the best joke in the van. Keeping your band new and innovative is the key to lasting around for more than a minute in the minds of fans."

As the release of Season's Greetings proves, this isn't a band content to rest on the laurels of past success. In fact, 2012 is more about pushing forward and breaking new ground, rather than contemplatively reflecting on the success of yesteryear. A constantly innovative force in the industry, DeMakes says the band has managed to stay around so long by staying true to themselves. "Twenty years of blood, sweat and beers," DeMakes says. "It's been a privilege and a pleasure. We have survived more trends than we can count and have managed, so far, to leave a legacy of music two decades long.

"If this counts as a job, sign me up for another 20 years!"

Marduk was formed by Morgan Steinmeyer Håkansson in order to form the "most blasphemous band in the world". Their musical style was that of a straight-forward death metal influenced take on black metal music, but as the years progressed their style and imagery became more of a fast and intense form of black metal. Marduk's predominant lyrical topics are Satanism, anti-Christianity, Biblical tales, death, Third Reich history and World War II. The latter two are a later addition to their lyrical/conceptual themes, stemming from their 1999 release Panzer Division Marduk. Marduk have recorded further songs relating to those chapters of human history, such as "The Hangman of Prague" (moniker of Reinhard Heydrich - second in command of the SS - in his capacity as the de facto Reichsprotektor of Bohemia and Moravia), "Night of the Long Knives," "Deathmarch" and others.

Chelsea Light Moving (Thurston Moore)

CHELSEA LIGHT MOVING is the current group led by Sonic Youth founder Thurston Moore. He is the songwriter and plays over-amped hyper electric guitar and sings with raw-glam-destructo vocals. The band is a four piece featuring Samara Lubelski, who has played violin with TM on his last two solo LPs (Demolished Thoughts and Trees Outside The Academy) and with CHELSEA LIGHT MOVING plays deep psyche pop metal bass guitar. Keith Wood, who records under the aegis Hush Arbors, plays electric guitar with a pick forged from angel wing and John Moloney, aka “Pegasus”, approaches the drums like an asteroid hurtling toward Earth. The first CD self-titled was recorded in two spurious sessions with engineer Justin Pizzoferrato in Sone Lab, a killer studio in Easthampton MASSACHUSETTS.

The Spits

Damn if The Spits don't make their brand of musical retardation all seem so easy: Like all their releases before them, they've stocked School's Out with 10 instant classics, with each and every song in its place and every single one of 'em indispensable. Don't know about you, but as far as I'm concerned, that's pretty rad and in the pantheon of all that was originally cool about first wave American punk (and why it still remains as essential as it did from day one), with this, their best release to date, The Spits have earned themselves a much deserved seat at the table alongside groups like the Ramones, Bullet-era Misfits, Crime, The Eat, et all...

Spiced up with some Are We Not Men-era Devo and maybe a little dash o' Chrome thrown in too (bassist Erin Wood's SPIDER side project showing through), School's Out is the accumulated, fetid stew of body fluids left behind in the mattress room of Plato's Retreat where some crotch crickets got introduced to the tableau and ultimately made the place really start to jump, and on these ten songs they're jumping every which way.... School's Out is so enjoyably diseased, your pie hole will stretch and bear pearly whiteness ear-to-ear. School's Out's a proverbial flea circus celebration of nihilism, wanton drunkenness, incorrigibility, juvenile delinquency, teen sex, vandalism, petty crime, hooliganism, self-mutilation and aliens-which is just about everything in a not-so-perfect world punk rock is supposed to be.

See, The Spits are so much of THAT era, but not a revivalist act by any stretch. For one thing, they're FRESH and newfangled without the vagaries of modernization or plasticized homage that'd otherwise give 'em a whiff of falsehood and illegitimacy. The Spits actually manage the not so easy trick of making it all their own and consequently they've pretty much single-handedly revitalized this thing of ours and paved the way for a completely new generation of maladjusted squids giving 'em the go-ahead to squirt ink anew. And if all that seems rife with over-statement, then stop and consider the long line of bands who site The Spits as a major influence (Black Lips, King Khan....) or the laundry list of new-jack labels currently du jour (HoZac, Woodsist-hell, even the newly reconstituted Siltbreeze to name several) in one form or another shine a little brighter because of them.



Throughout all the years of Moonspell existence I've been responsible by issuing and composing up to date Moonspell biographies maybe because I was the most familiar with writing or because I have been in ALL the moments of Moonspell story, whatever... and throughout the years I've done several biographies according to the ideological and musical oscillations and evolution's we have experienced as a band and as individuals. So I started off with very "eloquent", "poetic" biographies, totally non informative but that value for the over the top language and epicism of a really simple story.
Naturally these "novels" were totally useless for labels and promoters and I had to step to more formal biographies. I have even done a middle term one between information and delirium to magazines and fanzines that could use both sides of Moonspell biographies. So I ended up with dozens of different biographies each for its use but I was only being bureaucratic about it so I dropped the case and let Century Media do the dirty doings. But I offered my services to our Internet page so, after the biography of my biographies, I should just put into life Moonspell's current biography that I really do not know how it will turn out. So I hope you get informed about the band since this all virtual hype is information anyway but let me warn you I am not capable of doing a formal biography. But let us cut this talk before gets as boring as it got paternal so ...
The band real beginning was back in mid-1989 when myself, Ares and two other guys ,whose names are irrelevant for our history, formed a band called MORBID GOD. This was already a culmination of a long process of talking about doing a band, drawing logos, writing lyrics, designing and conceiving layouts and above all dreaming about the privilege of doing music. The closest thing to a band we had besides Morbid God was a project called ARCHANGEL (which I still think is a very good name for a band, so if you are looking for one...) where I was supposed to play drums and Ares was supposed to sing. Anyway as we realised it would be difficult and dull to have two bands with the same guys on different functions, we decide to concentrate on Morbid God as something more serious and left behind prolific names and ideas that bring a red colour to our faces when we mention them occasionally.

Today is the Day

Led by "charismatic cult leader" Steve Austin, Today Is The Day is
renowned as one of the most unique and influential bands of the past
15 years. Austin's iconic presence and fearless brand of metal,
noise, psychedelia, and rock have earned the band worldwide acclaim.

Today Is The Day has toured the world with the likes of Motorhead,
Melvins, Morbid Angel, Converge, Napalm Death, and Neurosis and has
released eight studio albums on labels including Amphetamine Reptile,
Relapse, and SuperNova. Ex-members of Today Is The Day include Brann
Dailor and Bill Kelliher of Mastodon. As a producer, Steve Austin has
recorded albums by Lamb Of God, Converge, Deadguy, and many more.

The New York Times has hailed Today Is The Day with the following
description: "Proud noisemakers for 15 years now, Today Is The Day
starts with brutal blues-rock and completely disfigures it with sheets
of distortion and the bestial ravings of Steve Austin."

Alternative Press Magazine has offered this praise: "Today Is The Day
founder Steve Austin has functioned as a cultish Robert Fripp/John
McLaughlin hybrid; a noise-rock auteur known as much for his
off-kilter, damaging riffs and vocals as for his soaring David Gilmour

The live Today Is The Day line-up consists of frontman Steve Austin, bassist Ryan Jones
(Wetnurse) and drummer Curran Reynolds (Wetnurse).

Mondo Generator

The brain of Nick Oliveri is sick. He is crazy and at times psychotic. He is not putting on an act..or trying to be 'bizarre.' Nick is the real deal. It's in the eyes…...

Mondo Generator is the creation of the demented mind of bassist Nick Oliveri. His achievements include:

* Played in KYUSS, from their inception up to Blues for the Red Sun
* Played in the Dwarves under the moniker 'Rex Everything', and had the honor of being kicked out for being 'too fucked up!' Yet, recently has been asked back for some recordings and shows.
* Currently plays bass in the Queens of the Stone Age, and also sings some songs.

The list of players that Nick has assembled for Cocaine Rodeo is a complete who's-who of heavy rock, stoner rock, metal..whatever you wanna call it. Josh Homme (Kyuss, Queens of the Stone Age, Desert Sessions): Plays guitar on many of the tracks. Brant Bjork (Fu Manchu,Kyuss, Desert Sessions): Plays drums on 3 tracks. Rob aka 'Up N Syder' (Karma to Burn): Plays drums on many of the tracks.

In fact, the tracks that feature the lineup of Nick, Josh and Brant (Tracks 1,7,10) are technically the very last Kyuss recordings! They are all written by Nick and (now the clincher!) ARE CURRENTLY PLAYED IN THE QUEENS OF THE STONE AGE LIVE SET!!!!

And if that hasn't sold you, '13th Floor ' (1st track) is also on the Queens of the Stone Age album Rated R released by Interscope Records! Of course, the version here is better!! Definitely raw and much heavier…without the major label gloss.

This is all fine and good, but what the hell does Mondo Generator sound like? Well, given the lineup, it's obviously brutal and punishing! Reference points are: Kyuss, Neurosis, Jesus Lizard, the Dwarves, and the Dead Boys. Very aggressive, very loud, very heavy!



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