Monday night at Viceland: Breakbot, PEACE, Brenmar, and The Hood Internet

Monday night at the Viceland grounds was stellar. Each act’s energy built up the next, fueling the crowd with constant dancing all night. Half of The Hood Internet was there to get things started by mashing up some more mainstream tunes. Usually, I would not have been a fan of his music selection, but the finesse with which he did this kept me and the rest of the crowd dancing.

Next up was DJ/producer Brenmar, who also played an awesome, energetic set. His set consisted of more hip hop, trap, and rap, with some bass music in between. Once again, the crowd loved it and continued to dance. Brenmar dropped some nice tracks including the “Turn Off The Lights” remix by Lloyd, “Stop Me Now” by Sj Sliink, “Wildfire” by SBTRKT, and some old classics like “Naughty Girl” by Beyonce. Sadly, in this set he didn’t seem to play much of his own productions, but if you want to check them out you can hit up his Soundcloud.

The plot twist to the all-DJ night was an energizing performance from the four-piece Brit-rock group PEACE. They played songs including “Bloodshake” off their EP Delicious. Their music sounds like the Arctic Monkeys with a more surfy flow. In my opinion, PEACE was good but nothing special. Rock groups have the challenge nowadays of trying to do something original in a genre that for the most part has been tried and tested. PEACE didn’t cross this threshold of originality. Despite the lack of originality, they were fun to watch and were certainly able to stand their ground in a DJ-filled lineup.

After PEACE was the main event: Breakbot. Breakbot has been traveling through the airwaves playing some funky French house. He is signed to Ed Banger, the the same label as Justice. In a sense this is very fitting because Breakbot is in the same vein as Justice, but less dark and rocky. Instead Breakbot picks up a post-disco, jazz-funk, and ’80s R&B flair, and gives it a modern twist. One song he played called “Forget Me Nots” by Patrice Rushen really alludes to possible inspiration for his own music.  The most surprising thing about Breakbot’s set was his versatility. I was expecting strictly french house all night, but he was able to dissolve my expectations. At one point he seamlessly transitioned into a TNGHT song, followed by “Girl in The Hood” by Riton, and then he played the new Drake song “Started from The Bottom.” At the end of the Drake song he started to mix in “Move Your Feet” by Junior Senior super slowed down. As he picked up the tempo the crowd got more and more excited. During the night he also played his two most notable tracks “Baby I’m Yours” and “One out of Two.” Breakbot’s set was definitely one of my favorite sets of SXSW so far.

Post by Sam Friedlander. His DJ show “____lander” airs Thursdays at 1 a.m.

UPDATE: We apologize for having to postpone Pinkney Hall’s Free Reed Festival. Last Friday, Kenny Joe was too sick to preside over the Free Reed Festival, or any festival, for that matter. We’ve reshcueduled it for this Friday, March 22. The next few editions of Pinkney Hall (9-10 a.m. Fridays) will have the following themes:

March 22 — The Pinkney Hall Free Reed Festival, featuring accordions, harmonicas, bandoneóns, harmoniums and perhaps other less-respected free reed instruments.

March 29 – On Good Friday, we usually play tunes involving crucifixion. We’ve run out of crucifixion songs, so on Good Friday, you will hear “automation” while we are in New York City scouring the city for new sounds so we don’t have to keep playing the same records over and over.

April 5 — On the first Friday in April, we feature songs by artists born in April.

April 12 — Are there enough good songs about murders out there for a show? Sure there are!

April 19 —  We will feature music from the English folk revival of the 1960s and 1970s.

Requests that fit these themes can be made prior to the shows by email to wrctpinkney@gmail.com or during the show to the WRCT request line (412-621-9728).

As the stage was being set up and a cello and an accordion came onto the scene, I knew I was going to love Murder by Death. I wasn’t wrong, as they opened with a rousing song about “Kentucky Bourbon,” that got the audience jumping and clapping. Throughout the entire show they delivered an energetic performance that utilized their diverse instrumentation in a unique way. Plucked cello lines harmonized with subtle accordion and keys to create the backdrop for energetic acoustic guitar strumming, bass and drums. One unique feature of Murder by Death’s live shows is that they prefaced a lot of their songs with the story behind them. “I Came Around,” one of the band’s newer releases, recounted the story of “going to the funeral of an asshole just to spite him, only to later find out that you were wrong about him.” Instrumentally sound with a strong storytelling heritage, Murder by Death delivered an honest and sincere performance of good old american folk music.

Post by Kyle Henson. His DJ show “The Roots of Pop” airs Sundays at 6 p.m.