Saturday
Once I arrived at Oblivion Access on Saturday morning, I made my way to Native Hostel to check out the art and merch on display. From the fest’s own psychedelic-hued merch to a Polyvinyl pop-up shop, to local artists such as Decadent West, the jewelry shop Desired Objects, and the custom embroiderer Rodeo Rainbows, the goods on display were a vibrant and well-curated introduction to the festival’s unique energy. Talking to the artist behind Desired Objects, they explained that they’d taught themself the art of creating chainmail via online tutorials during lockdown; similarly, OA co-founder Dusty Brooks told me that the fest’s team had discovered new artists to add to the lineup via YouTube recommendations. I felt that the vendor aspect of OA epitomized the fest’s anything-goes, DIY attitude- plus I was able to make sure that I was dressed to impress when I headed out to the shows!
OA merch. Photo by Ismael Quintanilla III // @ismaelquintanillaiii
I started at Empire Garage and Control Room, an indoor/outdoor venue and bar that hosted some of the best shows I saw that weekend. I arrived just in time to catch Kool Keith indoors. The Bronx rap iconoclast’s set was fantastic- freestyling over beats both classic and unexpected (including an amazing reworking of a DJ Shadow classic), Kool Keith blew the crowd away with his trademark lyricism and humor.
Next up on the indoor Empire stage was Melt-Banana, a Japanese noisecore band who was one of my most anticipated acts from the festival. While angling for a spot close to the stage, I met some fellow Melt-Banana fans (shoutout to Christa and Jules!) and found that a lot of the crowd at the packed show were at OA in part because of their love for the punk legends. Their set incorporated oddball synth samples, fantastic vocals, and some of the absolute weirdest guitar noises I’ve ever heard, and added up to a truly brain-melting experience. I finished up my afternoon at Empire by enjoying a great set from the punks Youth of Today, whose lead singer preached positivity and self-improvement from onstage in between pounding blasts of old-school hardcore.
Melt-Banana. Photo by Robert Hein // @lowkeythelowlife
After those great sets, I headed over to the Belmont, another indoor/outdoor venue and bar on Austin’s infamous Sixth Street. Outdoors was a series of hardcore bands- Judiciary, Drain, and Fury- and I walked away as a new fan. Indoors, I caught an amazing set from Vile Creature, an innovative, experimental doom metal band whose awesome VHS-themed long-sleeved shirts were quickly becoming some of the most in-demand merch at the fest, despite the scorching heat. I saw some great bands that weekend, but Vile Creature may have been the heaviest of them all- I can’t wait to see how their sound continues to develop. Headlining the set at Belmont was some totally righteous noise from NYC hardcore punks Show Me The Body, who push the sonic limits of the electric banjo to levels I hardly thought possible. The crowd went wild for it, especially during the classics sprinkled into their setlist.
I finished the night with two more shows outdoors at Empire: Xiu Xiu and Blonde Redhead. Both bands drew crowds big enough to fill Empire’s outdoor stage with fans anticipating their favorite songs. Between sets, Empire’s spacious patio was a great place to hang out, cool off, and meet some new friends. One of the best things about Oblivion Access was the fantastic community surrounding the fest, and by the end of Saturday, I felt both exhausted yet energized for the final day.
Sunday
For me, Sunday started with the iconic metalcore band Converge’s show at Mohawk. The band tore through some of their very best songs, sending the crowd into a state of pure chaotic bliss, and even invited attendees to another free show in Austin they were playing the next day.
Converge. Photo by Robert Hein // @lowkeythelowlife
Like many other bands at the fest, Converge’s singer took a moment to discuss the powerful legacies left behind by two musical luminaries who have recently passed away, Gabe Serbian of The Locust and Trevor Strnad of The Black Dahlia Murder. Their loss was keenly felt at the fest, especially as The Locust were originally going to be headlining, and at this point, many attendees (including myself) had tears in their eyes. In the wake of such tragic events, Converge and the other bands who took a moment to honor our fallen musical heroes really touched our hearts.
After the fantastic Converge set, I took a few minutes to cool down, relax, and slowly make my way over to Elysium for the next few shows. At times like these, I really appreciated how well Oblivion Access meshed with its surroundings in Austin’s vibrant Red River Cultural District. Metalheads fresh from Converge’s set milled around the drag show taking place at a bar next door, and newly-minted fest friends in patch-covered battle jackets grabbed tacos, BBQ and drinks at the local establishments scattered around the neighborhood. I couldn’t imagine OA taking place anywhere else.
Next up were ambient shows by Robert Aiki Aubrey Lowe and William Basinski at Elysium, an alternative and goth club so cool that I was tempted to stay late for their 80’s dance night. Robert Aiki Aubrey Lowe’s gorgeous, textural soundscape felt like the soundtrack to a dream, and William Basinski’s set was a sea of fascinating sounds.
Robert Aiki Aubrey Lowe. Photo by Ismael Quintanilla III // @ismaelquintanillaiii
As the sun set on the final day of Oblivion Access, I made my way back to Empire for shows by Cattle Decapitation, a grindcore band founded by Gabe Serbian, and the experimental artist Eartheater. As the last shows of the fest, both drew huge and enthusiastic crowds, and both shows seemed like perfect ways to cap off the fest.
Ultimately, I thought Oblivion Access was an absolute triumph. From its focus on artistry, inclusion, and inclusivity to the absolutely amazing shows throughout the fest, I couldn’t have hoped for a better fest experience. Hope to see you all there in 2023!
-Chloe Liebenthal, KTRU Station Manager