A thrillingly diverse music line-up, brough to you by SXSW 2015's Hype Hotel.
The line-up for one of SXSW's most anticipated showcases, Hype Hotel Presented by Feed the Beat, has now been announced - and it looks like 2015 is setting up for some up and coming talent of epic proportions come March 17th. As if the Austin festival wasn't getting hot enough!
Line-up addition Natalie Prass is not to be missed
Selected by a variety of top music blogs via Hype Machine, Hype Hotel presents the best in new talent from every genre in a spectacular showcase at SXSW which this year takes place between March 17th and 21st 2015. On the pop spectrum, we have everything from BBC Sound of 2015 winners Years And Years to Nashville singer Natalie Prass, whose classic songwriting calls to mind the likes of Beth Orton and a little Springfield. More on the electronic side of things is Michigan's own Daniel Wilson and Autre Ne Veut whose 2013 single 'Play By Play' was a definite fan favourite, and who bear some musical resemblance to Brit duo Hurts. Also worth a watch are US Heatseekers chart topper Ryn Weaver, Nashville indie quartet Coin and the very alternative Raury from Atlanta.
Only Real AKA Niall Galvin used to make music on a battered laptop in the West London suburbs and, like many bedroom aesthetes, he worked with what he had, producing functional yet appealing songs that he's affectionately unafraid to have described as "Ramshackle". To an extent, riding the tails of Rizzle Kicks' Year 11 brat-rap, the contents of Galvin's début EP 'Days In The City' was just as pop, but in a looser, less calculated way than the Brighton duo. Now signed to Virgin, 'Jerk At The End Of The Line' was part recorded in far off Atlanta and was helmed by the sometime Hot Chip, Sia and Franz Ferdinand big-hitting collaborator Dan Carey, along with some game changing lessons Galvin ruefully admitted in a recent interview on "Real drum machines".
Any expectations you may have had about this professional company spoiling the rampant adolescent streak in Galvin's nature are gleefully despatched about ten seconds into opener 'Intro (Twist It Up)', on which his voice is morphed into a ridiculous helium sounding parody. That he feels confident enough to ridicule himself before we've even started plays much to an ambience that's straightforward but never far from the money in terms of big choruses: all these songs want to be in reality is loved, scolded or forgiven.
Fans from the beginning will be pleased to know that despite all of the expensive knob twiddling, songs like 'Yesterdays' and 'Pass The Pain' still employ a guitar line rooted in sky scraping reverb and some basic beats, alongside a vocal delivery somewhere between rapping and reading the ingredients of a pot noodle after a heavy night. This naivety is in fact the "realness" of Galvin's adopted moniker: in true punk style you feel that 95% of people on the street could come up with something as rudimentary as 'Backseat Kissers', given a couple of days training.
Continue reading: Only Real - Jerk At The End Of Line Album Review