Danielle Kourtesis is the Music and Outreach Manager for Rooftop Films; look for more SXSW coverage from her and the rest of the Rooftop crew throughout the week.
It took me a long time to get to Austin. First I flew to Dallas, then to San Antonio, and then I boarded a bus to the capital city. That’s what you do when you want to go to SXSW but have very little money. I think I saved several hundred dollars using that convoluted route and I saw some interesting things on the way. For example, there is a hallway filled with rocking chairs in the San Antonio airport and “The Largest Flea Market in the U.S.” is on I-35.
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[Editor's note: This is the first interview from our friend Danielle Kourtesis, Music and Outreach Manager for Rooftop Films; look out for more music coverage from Danielle and the Rooftop gang when they head down to SXSW in March!]
Since releasing her first LP of home recordings in 2004, Marissa Nadler has consistently created aural landscapes we love getting lost in; thank a childhood spent hibernating from the harsh winters that plague Massachusetts. While her upcoming Kemado release Little Hells (which comes out March 3) is just as rich and moody as previous material (perhaps even more so), for her fourth studio album Nadler’s joined by a full band, giving her work added bite. After the jump, she describes how their backing power could affect her future sound, why it can suck to be a female in the music industry, and what crazy odd jobs she has taken here and there to pay the bills.
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