SXSW Day Two: TVOD, Maryze, Gus Englehorn, U.S. Girls, and more
Photo credit: Shannon Johnston (@me_onlylouder) - Slash Need
The second day of our Austin sonic expedition yielded that quintessential SXSW phenomenon—the serendipitous encounter. While anticipating U.S. Girls at Mohawk's patio, we ran into director Grace Glowicki, whose film Dead Lover we had the chance to catch the night before. A snapshot of what makes SXSW so special, she was also there to see Meg Remy, as the mastermind behind U.S. Girls had soundtracked her film. Dead Lover, was made all the more atmospheric thanks to Remy’s sonic fingerprints. If you're a fan of a surreal and sentimental (and gory! and horny!) take on Frankenstein be sure to check it out when you can!
Remy's entrance proved characteristically idiosyncratic—a barefoot procession through the audience before ascending the stage. Her band launched into several cuts from "Bless This Mess" before we executed our strategic extraction toward the showcase at Swan Dive.
The Canadians, despite SXSW's inexplicable deletion of Canada House this year, refused erasure. Gus Englehorn's Swan Dive patio performance unveiled fresh material from "The Hornbook" (which just released, January 2025)—his psych-pop concoctions acquiring additional dimensionality through Anthony Piazza's simultaneous dual projections. This visual bifurcation—screening both inside and outside the venue—transformed Englehorn's already folkloric compositions into full environmental immersion.
Gloin conjured their particular strain of sonic aggression with disarming nonchalance. The Toronto outfit's abrasive-yet-meticulous noise deployment created perfect counterpoint to the showcase's more melodic offerings. Their set—simultaneously brutal and cerebral—demonstrated how ripping their forthcoming album, All of your anger is actually shame (and I bet that makes you angry, is going to be.
Photo credit: Shannon Johnston (@me_onlylouder) - Gloin
La Sécurité know how to pack a room for the second year in a row in Swan Dive's interior confines. Their arsenal now augmented with recent additions "Ketchup" and "Detour," they deployed tambourines, synths, and percussion with strategic precision. The band's SXSW appearances have achieved perennial must-witness status. One of the many highlights from Mothland's showcase was Brooklyn's TVOD. A particularly raucous and rambunctious set had their front man starting mosh pits in the crowd and spurting red bull on the crowd. Closing the night out was Toronto’s Slash Need, who undoubtedly were the talk of the night with their dominatrix style that commands the stage with their techno infused sound. Backup dancers, lots of latex, and stocking masks—the badass visual integrations left a lasting impression for the crowd who were wanting an edgey SXSW experience.
Photo credit: Shannon Johnston (@me_onlylouder)m - TVOD
The Italians Do It Better Showcase at Elysium featured an eclectic and energetic mix of artists. One of our favorites being Montreal's Maryze, dedicated to spreading her "gay french agenda," Maryze brought a passionate crew of fans to the front of the stage and brightened up an otherwise dreary room. She closed her set with her latest track "Versed" and a new track "Shy Party Girl" getting the crowd to sing along with her.
As Day two concluded, the absence of Canada House seemed increasingly irrelevant—Canada still continues to successfully stand out at the festival with attendees desiring to hear what these artists have to offer. The Canadian presence, spread across multiple showcases rather than contained within single branded location, achieves greater penetration into SXSW's consciousness. Sometimes dissolution creates more powerful presence than consolidation.
Tomorrow beckons with additional sonic cartography still unmapped. Stay vigilant for further dispatches from Austin's underbelly.