The days following SXSW almost always feel the most noisy. As the week-long hangover wears off and the last bit of dust leaches out of our pores, an accidental drop of a drinking glass by an overworked busboy serves as a shell-shocked reminder of crashing cymbals banging out of every club. Trash trucks replace the boom of kick drums and the seething wind is more deafening than the white noise before a sound check. Austin plays its own soundtrack as the wake of one of the world’s largest music festivals fades to a close.
Try to imagine this in reverse, the storm before the calm, as the credits are rolling to a film scored by this year’s SXSW’s artists. The opening scene might be set to Oh Land providing the film was directed by Wes Anderson. Kurt Vile would no doubt be crooning over the speakers at the diner when boy meets girl and Surfer Blood would be an obvious choice for when the sparks start flying. The scene where the guy gets the girl would most certainly be scored by Dirty Beaches and the long club sequence where the ex-boyfriend gets wasted with his buddies by none other than Odd Future. Competing for the night driving scenes, coupled with a flip through the dial, would be San Francisco dark wave threesome The Soft Moon or perhaps Ariel Pink, depending on the destination. The car chase scene would be played by Los Angeles’ punk outfit OFF! and the part where the perp gets arrested by Jeff and the Brotherhood. Right before everything synthesizes together in this epic tesseract, New York’s Supercute! come in with a ukulele and keyboard cover off Led Zeppelin’s ‘Houses of the Holy’ to remind us that even in dark times there is light. End scene.
As we exit the theater for this veritable pomp and circumstance we can’t help but embrace feelings of satiation that once again SXSW was carefully curated to appeal to all walks off life, especially ones marching to the sound of their own drum.
-- Dustin Beatty, Anthem Magazine.
Courtesy of Anthem Magazine. Read the original story here.