Seraphina Lotkhamnga on March 14th, 2013

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[Wednesday’s gallivanting around Austin involved a jam-packed schedule, including Buzz Bands LA’s own South by Southwest “Dear Austin, Love L.A.” day party. There were almost twice as many people out on the streets, but there were also twice as many shows to catch  – and that’s saying a lot when you consider how busy Tuesday already was. Nothing this writer couldn’t handle though; I had my comfy shoes on for the second day. From patio parties to electro tents to intimate sets in a church, here are highlights and other notes…]

@Seraphina_L on Wednesday at SXSW:

Move over, Allen Stone. There is a multi-instrumentalist named Jarle Bernhoft – aka Bernhoft – who’s got just as much soul, blues and falsetto power in him if not more. It was just my luck to arrive early for Boy’s set at Austin’s Central Presbyterian Church; preceding act Bernhoft quickly became my surprise highlight of the night. With plenty of holy space around him, Bernhoft was charming from the start as he thanked everyone with his hands together and then jokingly prayed to God above. No one could be sure if the setting had made the Norwegian artist wear a tie, but his set was anything but serious or religious. Using two guitars – actually, three guitars, including the world’s smallest electric guitar – a piano, and mini Korg, Bernhoft looped vocal percussion and stirring vocal riffs, then got down with some major guitar face. Looking like a Buddy Holly-influenced younger version of Howie Mandell with a Mohawk, Bernhoft’s only cheesy lyric was “Fly away,” and even his cover of Tears for Fears’ “Shout” came across as genuinely fun. In fact, his performance was so captivating he got a standing ovation even before his set was over. “I ain’t done!” Bernhoft humorously exclaimed. “Please be seated.” And when Bernhoft did finish (with his music still looping in the background), fans greeted him at the alter for high-fives.

Also notable. . . 

I guess this was a day for me and Norway, because I happened to also catch Young Dreams – playing with borrowed instruments after travel woes and lost luggage got their SXSW off to a bumpy start – over at Flamingo Cantina earlier in the day. Although that venue tends to be stuffy no matter the weather outside, the sextet’s tunes were breezy enough to keep me happy. Heavy percussion, soaring vocals and buoyant guitar riffs will make fans of Vampire Weekend and L.A.’s very Fool’s Gold drool with each note. I almost did, but it was physically too warm to be that comfortable in that room.

“A is for Alpine.” That’s the name of Alpine‘s forthcoming album, but “A” could also stand for atmospheric, aerobic, adrenal, and definitely attractive. After missing this Australian six-piece play twice in L.A. just last week, it was my goal to see this indie pop band that’s responsible for gems like “Gasoline,” “Hands” and “Villages,” and my quest to enjoy them live was fulfilled. Vocals were thrown back and forth between Phoebe Baker and Lou James and their seductively vogue moves nearly intoxicated the fans in the room. Light, crisp and sweet, this set still had me believing someone in this band has to have some Swedish blood in them.

Sometimes it’s nice to go outside of your bubble, and that’s what I did when I hopped over to the Bungalow to catch a set by Totally Enormous Extinct Dinosaurs (TEED). Despite his bombastic moniker, Orlando Higginbottom was a rather shy guy grooving to his own beats in a nerdy yellow polo shirt. Even when the crowd roared at the beginning of his set, all we got from him was a hint of a smile and a thumbs-up. It was loud and flashy in there, but it was easy to come around to if you simply took it as Junior Boys or Apparat on steroids – which is what I did.

My night ended on a pretty gorgeous note when I allowed to indulge with a set performed by Boy. Don’t know Boy? Don’t let the name fool you. Boy is actually a Swiss-German pop duo of ladies Valeska Steiner and bassist Sonja Glass, but their lyrics do include the word “Boy” quite a bit. Now, everyone knows that’s not news in the singer-songwriter genre, but what was surprising about Boy’s delivery at Central Presbyterian that night was Steiner’s vocals. Clear yet colored similarly to Feist, Steiner’s vocals cut straight to the bone even when they covered a Black Keys song as a bonus song in the set. Which song you ask? “Lonely Boy,” of course.

You know there’s something going on when. . . 

You’re driving next to trees that radiate a blue/purple warmth. Pretty, right? On the way to Viceland, going west…

Say what?. . . 

But what are dopes?