Song of the Day

Ever get stuck in between states of sleep? Ya know, that Inception-type trip where R.E.M. feels more like reality than when you actually rise? If so…far out, man. Us too. If not, we’ve got just the thing to try and replicate it: Cloud Companion.

Now, the term “collective” gets thrown around a little too often these days. But this Austin outfit embodies the spirit of an art collective in a true sense of the word; by curating multi-media magic complete with bubbles, puppets, and altars…not to mention the mascot-of-sorts, Bardo, a towering solar sorcerer that helps the band cast eerily-cheery spells onto their live audiences. That said, it’s not just a theatrical gimmick. Aside from practicing the ancient art of celestial ceremonies, this solo bedroom pop project turned stage-spanning act sonically fulfills that day dream sensation of finding your mind caught up in the clouds. And that’s earned Cloud Companion the opportunity to share stages with former KUTX Artists of the Month Big Bill, Grandmaster, and Pelvis Wrestley.

After the sun-kissed sounds of last September’s Ordinary Time (and this September’s ExtraOrdinary Time deluxe edition), Cloud Companion continues the sequence with their new EP Waking Up / Falling Asleep – out tomorrow and followed by a gig December 4th at Empire Control Room alongside Holy Wire. While shock rockers aim to churn out nightmare fuel, this Cloud Companion release more like a refinery of dream diesel. WU/FA aspires to explore a cascade of consciousness and a stirring of spirits. It adopts the Pink Floyd approach of bookended album closer/openers – perfect for repeat listens on either side of your sleep cycle. It embraces a twilight aesthetic for a lucid listening experience that soothing, stimulating, and anything but a bedtime bore. And whether intentional or not, this record definitely falls in line with the early evenings we’ve had as of late.

Lastly, we gotta give credit to Cloud Companion for CC’ing us on the EP’s last lead single a day early. Because “Who Took The Night Away” chimes its charm even before the first downbeat and steals your senses in a four-minute, oddly-meditative mantra that evokes that ’80s/’90s transition era of moody and surreal R&B. In other words, “Who Took the Night Away” isn’t restricted to mere earworm status; it may just evolve into a nocturnal thief that echoes through your subconscious delights.

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A lot of self-proclaimed go-getters take full responsibility for their actions and efficacy. The motivation and blueprints to make changes in their lives is always at hand. For others though? They’ve got no opposition to looking up at the sky, acknowledging that the universe’s inner workings are beyond control, and just hoping for help from any sort of higher power, be it the stars themselves, alien life, or what have you. But really with the latter option, we can’t even fault folks for allowing the chance of outside intervention to get unstuck from a bad rut.

All that said, things seem to be shaping up nicely for SKLOSS – the husband-and-wife duo of Austin singer-percussionist Karen Skloss and Glasgow singer-guitarist Sandy Carson. Between their backgrounds with Moving Panoramas and Iglomat, respectively, Skloss and Carson created this collaboration in woodside isolation in the midst of COVID. And as heard on their 2022 debut EP Voices Travel Through This, SKLOSS excels with White Stripes-type drum-and-guitar arrangements and overall some serious kickass energy with a huge sense of volume (both in terms of space and decibels).

This morning, SKLOSS opened up shop on their upcoming full-length The Pattern Speaks, due out next March. For this Charles Godfrey-produced eight-track, SKLOSS indulges in substantial psychedelia, post-metal drones, rhythms ripe for introspection, and that uncomplicated sense of rawness that brought us to SKLOSS in the first place. The announcement coincides with the LP’s lead single, title track, and music video plus a single release show 9PM tomorrow night for the And You Will Know Us By The Trail of Dead afterparty at 13th Floor alongside soundcult. And yeah, the cosmic SOS that is “The Pattern Speaks” is a heavy as hell banger of a sneak peek at what’s to come, just review the CCTV footage below.

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We end up saying this pretty much every pass around the sun, but it ends up proving true every time: 2024’s been a big year for Austin music. Lots of project premieres and lots of studio recordings debuting on streaming. And that includes acts that have only popped up in the past couple months.

A top-tier example: Rojenka – the recent team up of Nairobi singer-songwriter Lin Njoroge and Austin writer-producer Geoff Bradford. Between Bradford’s diverse, multi-national musical upbringing and Njoroge’s intrinsic understanding of Afrobeat and Afrohouse, Rojenka’s been a welcome world music addition to the local landscape. And with a release rate of one single per month, Rojenka’s already demonstrated a respectable drive and a strong sonic brand.

Well, following up the soulful rock of September’s “Fairy Tales” and the steamy reggaeton of October’s “Thanks For Asking”, Rojenka just ripped into their penultimate tune of the year and most Afrobeat-evocative original to date. Sporting all of our favorite Afrobeat accoutrements (a hypnotic rhythm section, Fela Kuti-style sax, and humanity-hopeful lyrics) on top of an impassioned vocal performance and ample electric guitar to give it that Texas rock twist, “Dang Girlfriend” is an extremely diggable delight – one that has us hooked for whatever Rojenka has to offer moving forward.

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Whether you’re an amateur astronomer, unapologetic astrologer, wannabe werewolf, or just love gazing at that big airborne pizza pie every once in a while, pretty much everyone can agree that there’s a certain magic to witnessing a full moon. And depending on how tethered you feel to Earth’s nightlight, as it cycles through phases, you might feel like you’re adopting new attitudes here and there as well.

At least that’s the case for Austin duo Warm Sound. Former romantic partners who’ve since preserved their relationship of creative collaboration as co-producers, Warm Sound has historically relished in a synth-saturated psychedelic style going back to their 2022 debut EP Terminus. But even on last June’s strictly instrumental sophomore record Empty Streets, Warm Sound’s shown a heavy predilection for downtempo drones.

On the appearance of last Friday’s supermoon, however, Warm Sound welcomed harmonized vocals back into the mix and upped the BPM for something with a little more chin-up character than we’re used to. Fittingly titled “Moons”, this tune is all about durability against hardship and taking time for yourself to properly get through trauma. Sonically? It hurdles through the cosmos with subtle arpeggios, spacey pads, highly-driven drum programming, and one hell of a ritardando that puts this glowing beauty to bed on the other side of the horizon.

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Everyone’s capable of “seeing the light”, whether it’s through newfound sobriety, bringing up the “bright side” post-crucifixion, or just waking up a little earlier in your daily routine. But of course, the lead up to those optimistic rays can take some serious time.

Take for instance Collin Mullins and his inspiring personal journey. A staple of the Austin live scene for over a decade now, this multi-instrumentalist/singer-songwriter/producer’s 2010s bragging rights include touring with Black Joe Lewis, tracking with Danny Reisch, landing on streaming platforms as a solo act, and securing an official SXSW showcase with his own outfit. As sweet as all that sounds, the real springboard for his solo career came during COVID, when Collin began mullin’ around the idea of putting his live performance and recording routines on hold to get clean and replace those problematic habits with writing and producing.

Fast forward to this year, where Mullins’ recovery is still going strong and the the music is flowing faster than it ever has before. In fact, with his self-produced debut full-length Sun City on the horizon, Collin Mullins has been enjoying a waterfall-style release regimen with Sun City‘s lead singles, a whopping seven of SC‘s dozen. Altogether they’ve shone light on Collin’s sonic diversity, ranging from turn-of-the-millennium alternative and modern indie pop to jazz, funk, and dad rock.

And even though the record finally drops next Friday, Collins was kind enough to give us one more early glimpse at Sun City with “Sunny Side”. A radiant joy from its first downbeat pairing of guitar and vocals all the way through minimalist drum grooves, cheery chord progressions, and deeply expressive, climactic electric solo, it’s tough to stifle a smile and not feel inspired while spinning “Sunny Side”. Not to mention, with a style that almost marries Mac DeMarco’s downtempo lackadaisical charm with Dayglow’s upbeat and heavily-processed polish, “Sunny Side” and its equally impressive counterparts have us scrambling to the Sun City album release in just one week.

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We’re just two weeks away from Thanksgiving and wouldn’t you know it, it’s finally starting to feel like Fall down here. You’d be hard pressed to find a Texan who doesn’t appreciate the drop in temps, but then again, the spirit of summertime is simply a year-round celebration for some folks. Folks like Austin’s Angela Greco.

When Greco’s not getting down and dirty as a professional gardener and garden designer, this certified green thumb’s got her hands full with the creative harvest that is Days of Summer, a folk-rock cornucopia whose sprouts first surfaced on streaming in May 2022. But the music’s not the garden variety of either folk or rock; though Greco does assume the traditional role of fronting guitarist-singer-songwriter, Days of Summer shines with the addition of flute, bass, and percussion in well-tended acoustic-electric crop patterns and cozy curations best categorized as “woodsy”.

Lately? Greco and co. have been in the weeds for Days of Summer’s sophomore album So Low, out next Valentine’s Day. And on the third of these new cultivations, “Need to Escape”, the Days of Summer crew are joined by Little Mazarn cellist Lindsey Verrill and Denton Audio Works guitarist Joey Cerda for a harmony-enhanced orchestral triumph. So even though the dog days far are behind us and the sun is setting earlier and earlier, you can get a dose of Days of Summer 8PM tomorrow night at Lockhart Arts & Craft alongside Tom’s Parents and Batty Jr.. Or if you just need a five-minute respite from the claustrophobia of cubicle life, sociopolitical distress, or just run-of-the-mill monotony, take a triple meter retreat of string noise, round-style vocals and elegant interval leaps with this slice of the extra soft ’70s that stands on the shoulders of Joni Mitchell and Sandy Denny.

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Itchin’ for a sentimental dish of Southern soul ahead of Thanksgiving? You’re in luck! We’ve got a member of Nashville country royalty gracing us with her presence in just a couple days.

Yes, we’re laying out a path of petals ahead of an upcoming appearance from Maggie Rose. It’s been a decade and a half since the Potomac-born singer-songwriter-guitarist first emerged as Maggie Durante and just shy of a dozen years since the debut LP that introduced her current handle. In that time, Rose has blossomed into one of Nashville’s finest, but her sound certainly isn’t restricted to country; Rose flourishes with pretty much any genre she touches, be it pop, R&B, funk, rock, folk, and beyond – a talent that’s earned her prominent placement on bills with Kelly Clarkson, Joan Jett, and Heart.

For her latest innovation (which has already scored a Grammy nomination for “Best Americana Album”), Maggie Rose commands a crossroad of soul and country, evoking the iconic ’70s-era Laurel Canyon sound on this April’s No One Gets Out Alive. In support of the LP, Maggie’s back on the road and touring these dozen new tunes across the US. So if you want to give Rose her flowers in person, stop by ACL Live at 3Ten 8PM this Friday to catch Maggie alongside opener India Ramey. And if you’re not familiar with the new record yet, go ahead and get started with the eponymous album opener. Because at a room-and-heart-filling five-and-a-half minutes that blooms with a wide dynamic range and an enormous orchestral arrangement, we’re betting “No One Gets Out Alive” from the full-length’s introduction without falling for what may be Maggie’s magnum opus.

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North Carolina’s been in the news a lot lately, and our hearts go out to everyone in Asheville who are rebuilding after Hurricane Helene. Anecdotally, we also know some folks who sought sanctuary in nearby Raleigh, and we’ve learned that Raleigh’s also a refuge for one couple’s killer electronic collaboration.

We’re talking about Waking April, the classically-trained high school romance-turned-savant synth-pop pair. The duo’s been dropping tunes as Waking April for nearly a full decade now, but it wasn’t until the pandemic era that they really proved their firm footing in the Phantogram/CHVRCHES/Sylvan Esso corner of things, negating pretty much everything we’ve presumed around the “stereotypical” Raleigh sound. And that’s a legacy that’s only grown fuller with the release of Waking April’s debut full-length Fear of Failure that came out at the top of the month.

Mastered by Beyoncé/Olivia Rodrigo engineer Levi Seitz and flourishing with all kinds of exciting sounds (both live and synthesized), Fear of Failure spells nothing but mainstream success in our minds for the future of Waking April. The entire record’s an enthralling new chapter for the two-piece that covers plenty of moody, alternative dreamscapes, so if you want to dive headfirst into it, check out the workout-ready drum-and-synth-driven aggression on the second of FoF‘s eleven: “Rules”.

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It’s finally starting to get chilly ’round these parts…at least at night. You know what that means: cuffing season is upon us. So if your slow jams playlist is starting to feel a bit stale, we’ve got great news for you.

Austin soul-funk nine-piece Honey Made just unfurled a sensual five-minute inferno – “Pass Me By”. Is it a departure from their historically uptempo sound? Undeniably. But does it also echo the hot-and-heavy energy of golden age quiet storm, not too far from Between the Sheets-era Isley Brothers? Absolutely.

Even if your evening plans don’t include staying in bed with your boo, you’re in luck too. Honey Made plays a free show 8PM tonight at Drinks Backyard. Either way, for those feeling like their world’s quickly spinning out of control, slow things down a notch or two on your way out of the workweek with this expertly crafted, violin spiced reminder to always love the one you’re with, something that’s sure to wrap you up like a warm, snug blanket throughout the upcoming winter.

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We’re getting to a point in time where, save for hardcore fans of the Rocky franchise, the general population remembers a certain name under only one context. And that was as one of Austin’s premiere ’60s-fied garage pop rock outfits. Ya know…Burgess Meredith.

Still though, it’s a name we haven’t heard in quite some time. A dozen years down the line from their debut EP Banana Moon and seven since their first full-length A Dimension of Sound (which was also the group’s last studio album to date), we’ve all but formally filed a missing persons report on Burgess Meredith. Heck, I personally have a very fond memory of catching Burgess Meredith at the Cactus Cafe somewhere in the mid-2010s and have since caught myself looking back every now and then wondering, “what ever happened to them?”

Well, it turns out Burgess Meredith is alive and well, and their grip on retro pop-garage rock romance is strong as it’s ever been. With a fresh lineup and a baker’s dozen new tunes mostly recorded at the height of social distancing, Burgess Meredith drops their long overdue comeback Person Hat tomorrow. Person Hat heralds the return of Burgess Meredith’s piano-driven arrangements and firm grasp on the baroque/chamber pop aspects of ’60s psychedelia plus Beach Boys-esque vocal unisons and harmonies – everything we’ve always loved about Burgess Meredith. But this time those elements are joined by the welcome orchestral additions of cello, clarinet, and horns plus a generous serving of vocoder, ultimately blurring the lines between Barrett-era Pink Floyd, late Beatles, Simon & Garfunkel, and The Zombies.

If you haven’t seen Burgess Meredith live in concert yet, you absolutely have to check ’em out for the Person Hat record release show this Saturday at BLK Vinyl. If you’ve got somewhere else to be, turn on, tune in, and drop out to the album opener, “Nowhere”, because it’s sure to take you to a far out place with a lotta love in your heart and absolute magic in your ears.

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ACL Fest 2024 already feels like a distant memory. But there’s one more pop-up nugget that we absolutely need to share in the name of Austin music. And that’s on behalf of Midnight Navy, the project of singer-songwriter/saxophonist/producer Francisco Jose Rosales.

Though Rosales first landed on streaming in 2018 with three standalone singles, Midnight Navy really began attracting a fleet of listeners with the release of last April’s De Melón EP, a fruitful six-song exploration of psychedelia, bedroom pop, alt-R&B, Latin indie, and Chicano soul in both English and Spanish. And Midnight Navy’s placement in prominent Austin festivals speaks to the success of De Melón; while Rosales e la familia appeared at ACL Fest the first Friday afternoon on the Tito’s stage, they’ve also been confirmed as an official act for SXSW 2025.

The big news this month? The release of De Melón (Deluxe Edition), which features a new tune that was tracked at Adrian Quesada’s Electric Deluxe Recorders. The Deluxe Edition drops next Friday, right before Midnight Navy embarks on their inaugural Texas tour – four stops across the Lone Star State including a gig Wednesday, November 20th at Empire Control Room alongside La Doña. But back to ACL Fest…several of our pop-up performances that were notably acoustic, bare bones, and frankly quite different from their studio counterparts. However can’t say the same for Midnight Navy; with bongos and cajon, they brought a previously-unheard sense of intimacy to the boda-inspired bolero “Solo Tú” – complete with electric guitar, bass, and keys (not to mention Rosales’ impeccable sax and vocals) for an arrangement that oozes amor.

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It’s Election Day. If you haven’t voted yet, please try and make some time in your schedule to go do so; it’s your civic duty…and it’s kinda cool. At least feeling like you have some semblance of efficacy, that your voice can make a difference. In other words, if you still haven’t cast your ballot, today is not the day to let prospects of being a couch potato tempt you.

What we will jump on is the new single from Austin quartet Futon Blonde. Unlike every other futon that loses its firmness over a few years, Futon Blonde is still in great shape after a full decade together and not folding anytime soon. As a matter of fact, off their March five-track Multiplier, last Friday Futon Blonde dug a fresh one out of the cushions to announce their next EP Monsoon.

Between last night’s downpour and a day that might end up being the eye of a sociopolitical storm, we feel like the announcement for Monsoon couldn’t have come at a better time. Moment of kairos aside, Monsoon seems like a fitting title based on the heavier, darker (dare we say more exotic and Eastern-inspired) twisting rock sound that Futon Blonde explores on the record’s lead single “Drawing Again”. So if you feel imprisoned, like nothing you do makes a difference, or like you’ve just been dealt a shit hand recently, consider taking that frustration straight to the polls. And if you’ve already done so? Well…guess we’ll just have to ante up in anticipation of the Monsoon on the horizon.

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Demanding attention. Acting erratically. Stirring the pot just to start some shit. We’ve seen plenty of all that int the lead up to this election, but truth be told, for some people, that’s just part of their hardwired human nature.

At least that’s the inspiration for the latest single from Deer Fellow. This Austin duo’s coming up on nearly a full decade together, a duration throughout which we’ve broadly categorized their style as indie folk. However, just like you can never keep their namesake Cervidae in just one spot, Deer Fellow’s done a great job of branching out past their folk breeding grounds with ten point bucks of genre crossbreeding, primarily with pop, best exemplified by last April’s Unravel EP.

Based on that, and even this January’s “Closing Time”, we sort of feel caught in the headlights off Deer Fellow’s latest single that dropped last Friday. Yes, it’s still got those charming orchestral elements carefully nestled in rather than haphazardly slapped on the arrangement. But this time the sonic backdrop is a meadow of mellow psychedelia that we’ve never heard Deer Fellow graze before. Yeah, for a song called “Shock Value”, this one goes down super smoothly, with tons of reverb, far out vocal processing, woody snare rim clicks, soulful chord changes, harmonies galore, and of course, that gorgeous violin we look forward to in each Deer Fellow track.

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It’s a new month. It’s new music Friday. And there’s a fresh collaboration out that’ll really spice up your playlists. One that marks the welcome return of Cilantro Boombox.

See, the genre-bonding octet formally entered the Austin scene a dozen years back with their eponymous debut and followed it up a half decade later with their 2017 sophomore full-length Shine. And while Cilantro Boombox did keep our pandemic-addled brains sane with three singles in 2020, the latest pulse we felt from them on streaming was last June’s “Little Sign”. Well, just in time for the release of Geto Gala’s first-ever full-length, Cilantro Boombox has teamed up with one half of Geto Gala and our July 2022 Artist of the Month, Jake Lloyd for another spicy standalone.

Yes, just a week ahead of a gig next Friday at the Sahara Lounge alongside DJ Chorizo Funk and Geto Gala, Cilantro Boombox laced up their coriander kicks with some upbeat pop on the Jake Lloyd collabo “Best Shoes”. Like a finely diced blend of Pharrell’s “Happy” and Janelle Monae’s “Tightrope” garnishing a full plate of hand claps, slick funk rock grooves, G Funk-inspired analogue synth bends, and soulful horn refrains, “Best Shoes” is made easily accessible for those who haven’t fully acclimated to a Latin/Pan-African palate.

We don’t personally think cilantro tastes like soap…but this track is squeaky clean and eager to scrub the dance floor.

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Happy Halloween! We’re hittin’ this hallow-day with…Hans Gruber and the Die Hards?! Wait a minute, haven’t we already decreed that the iconic Bruce Willis/Alan Rickman action comedy is a Christmas staple? Well…whatever.

What we do know for sure is that this Austin five-piece has spent the past decade funneling their passions into all things punk, ska, crossover, and beyond into an all-year-round “trick and treat” creed of casual tomfoolery and unforgettable stage antics. And if you didn’t think Hans Gruber and the Die Hards were a perfect fit for Halloween, you haven’t been paying close enough attention; just look at the tracklist from their 2022 magnum opus With A Vengeance and shudder at song titles like “Blood on the Walls”, “Monster of Walgren Lake”, and “Nothing Like a Good Old Fashioned Witch Hunt”.

The latest from the quintet is their EP split with The Sensations Tokyo Two Step that dropped in early September, right around the same time HGDH celebrated their 10-year anniversary and kicked off the national tour that currently finds them on the Eastern Seaboard. Now, yes, Tokyo Two Step does contain a cover of that Halloween classic “I Put A Spell On You”. But if this election season giving you a sense of Act III freefall, almost like you’re plummeting forty stories straight into the media circus corralled around Nakatomi Plaza, you may just want to dig a hole into your brain and blast some horn-heavy hardcore. If that’s the case, then “Trepanation” is for you. Less of a headbanger and more of skull scraper, “Trepanation” is all over the goddamned place…in the best way possible. And even at just two minutes, it’s plenty enough to rile your spirits, get you wanting to don a costume (literally, emotionally, or what have you), and treat yourself to an intense Halloween in ghoulish rudeboy fashion.

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For a ton of creatives, Halloween is little more than an autumnal gimmick, an excuse to break from the regular programming and indulge in the creepy, macabre, or unnerving. For others though, the elements of Spooky Season might as well be part of the daily routine three hundred and sixty five days straight.

And you know who we’re talking about; goths, punks, metalheads, and any adjacent scenesters. Folks like the four freaks (we mean that endearingly) from Social Dissonance. Bred out of the pandemic, this quartet’s continued to make quakes across Austin as part of their ongoing citywide conquest. But while Social Dissonance’s Frankenstein style of punk, hard rock, metal, and alternative (plus, as you probably guessed from their name, plenty of socio-political commentary) is a sight best beheld in person and in concert, last September’s Choke EP proved that SD’s fully capable of translating their live riots into a high-energy stereo experience.

And Social Dissonance’s sole track of 2024, “Nightstalker”, is no exception. This five-minute monster mash covers a hell of a lot of sonic territory, starting off with hazy and bleak alt-rock before exploding into ghastly heavy metal that’s tailor-made for your next graveyard rave. Sinister whispers? Check. Instrumental breakdowns that’ll leave your neck sore? Check. And an explosive finish that lays these wicked ones to rest? That’s a big check.

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Everyone’s favorite holiday is rapidly descending upon us, and we’re commemorating the occasion by counting down to All Hallow’s Eve with some of the spookiest stuff the city’s had to offer over the past month or so. And we’ll start with Ben Brown, a decade-and-a-half veteran of the local scene who’s historically shared the spotlight with Austin acts The Savage Poor and No Show Ponies. This side of the pandemic though, the singer-songwriter/multi-instrumentalist/producer’s been plugging away at his eponymous solo project, pushing his bold baritone to the center of attention.

Following up 2021’s Sayonara Sorrow and last Summer’s King of Air, Ben Brown kicked off October with his third album Funky Dracula. Brown’s first full-length foray into seasonal curation, Funky Dracula positions itself as a “horror pop satire”, sinking its teeth into all kinds of subgenres and shadowy figures across nearly a dozen tracks. And we appreciate how well the minimalist drum programming and arrangement complements Ben’s far-from-sincere, in-character lyrical musings.

But that’s not to diminish Ben Brown’s status as an impressive performer; his guitar, synth, and vocals collectively invigorate the energy necessary to resurrect that iconic camp of golden age Hammer Horror throughout Funky Dracula. Don’t believe us? Stir your most ghoulish spirits with one of the LP’s centerpieces, “Until the Dead Rise” and see how these tunes extend past mere novelty and enter the annals of legitimately catchy pop-rock Halloween anthems like “Werewolves of London” and “Dead Man’s Party”.

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It’s official. There’s another supergroup in town. And this kitten’s got claws!

We’re talking ameowt _cheetahcheetah_, a rising endeavor that features Live Music Capital veterans from A. Sinclair, BOOHER, Mean Jolene, and Other Vessels. _cheetahcheetah_ has spent this past summer gigging around town and showing off their brilliant spotted patterns of modern art rock, which sound sort of like a more hedonistic, less opiate-obsessed, Warhol-weary Velvet Underground. The quartet also recently confirmed that they’re not a beast just built for live gigs; _cheetahcheetah_ landed on their feet and roared onto digital streaming with the release of their debut studio single last Friday.

And we gotta say, that indoctrination into this big cat cult, “shanti b”, is about as “Bhagwan” as it gets. Brandishing the concise runtime, cheetah-speed time signature shifts, nuance of imperfectly human performance, and lackadaisical charm of Reed, Nico, and co., “shanti b” has our ears perked up, swishing our tail, and purring for more.

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When you’re going through the motions, relying on routine thought loops, and not taking “carpe diem” to heart, life can feel like it’s the same sh*t, different day…over and over again. But bless yourself with the small gift of variety every once in awhile, and you’ll soon find that you’re thriving rather than just surviving.

And Beth Lee definitely knows a thing or two about changing things up; especially through her chapter as Beth Lee & the Breakups, the Houston-honed, Austin-based singer-songwriter has historically harbored a country-friendly sound. But more recent outings have found lee adopting a fresher genre backdrop, leaning further away from her twangy roots and Americana comfort zone and embracing more pop-adjacent formulas that pair the principles of ’70s/’80s/’90s sass with hints of modern indie rock. And with Cat Power/Jack White/Loretta Lynn engineer Stuart Sikes handling recording duties and Chuck Prophet percussionist Vicente Rodriguez returning to the producer role, Lee (alongside some of her Breakups bandmates) takes it even further in that new direction on her next full-length Hardly Matters, out tomorrow.

Despite the title, Hardly Matters is an optimistic if not surreal outlook on life in the Live Music Capital, something else Lee knows quite a bit about, even after a recent string of gigs across West Texas, Oklahoma, Kansas, and AmericanaFest up in Nashville. But that’s all been building up to the Hardly Matters album release show 6PM Sunday night at the Skylark Lounge. So if you’re eager to shake things up this weekend with some heartfelt hometown honesty, let one of Hardly Matters‘ more uptempo additions get you looking forward to “Another Day”.

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If you’ve been itchin’ to catch some good ol’ fashioned Southern rock reminiscent of Sticky Fingers-era Stones or classic Lynyrd Skynyrd, but don’t feel like you’re getting what you need from the local scene, this weekend you’re in luck. And that’s because Stillwater, Oklahoma six-piece Southall‘s gonna be swinging through town.

Despite releasing records together for nearly a full decade now, it’s only been a couple years since the Read Southall Band adopted the abbreviated, mononymous handle we know ’em by today. Still, the sextet’s one of the strongest purveyors of the red dirt sound (which started in their home state) this generation has to offer. For most of this year, Southall’s been struttin’ the stuff off their eponymous full-length re-brand from last September across the country (and Western Europe) as part of the Get Busy Tour.

After several sporadic stops spread out over the Lone Star State, the Get Busy Tour finally brings Southall to Austin – 7:30PM this Friday at Scoot Inn. And because nothing in life is free, complement Scoot Inn’s cover charge by paying dues to Southall‘s centerpiece heavyweight “Scared Money”, a Skynyrd-esque testament to the pursuit of the almighty dollar and making an honest living – be it in the garage, working your farm, riding in a firetruck, or on the road playing tunes with your best buds.

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Feeling comfortable can quickly devolve into a dangerous game. One weekend you decide to kick back and relax with a six pack, then the next thing you know you’re stuck in a daily routine of gettin’ smashed and trashing your home. Yeah, substance abuse and addictive tendencies aside, that “recliner decline” is a slippery slope towards self-destruction that we all risk at some point or another.

And it’s not like it only happens to the chronically lazy. Naw, take Hayden Butler, who on top of singing and songwriting, keeps busy as a bookmaker, painter, photographer, and professional copywriter. The native Austinite’s portfolio paints the picture of a highly-driven individual who’s got the gumption to go places, and the release of Butler’s debut LP Hand of God this July only reinforces that sentiment.

Still though, Hayden’s only human, and the appeal of Lone Star-assisted hedonism can easily overcome any period of productivity. And that’s masterfully reflected in Hand of God‘s midpoint (and music video) “Old News”. So before getting off your ass to see Hayden Butler at The White Horse 10PM tomorrow night alongside Taylor Graves at 8PM and The Shiglers ’round midnight or next Thursday at 10 between Gilded Lows at 8 and Jonathan Terrell at 12, indulge in this double-wide southern rocker that treats Hayden like a Texas twist on The Wall or Citizen Kane. And if you can’t watch the wanton meltdown til the closing bell, might as well crank up “Old News” and let Butler’s simple-yet-sophisticated country twang struggle inspire you to maybe make a much-needed change in what could be problematic monotony.

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For a lot of industry folks who have “made it”, they’re more than happy to use their powers “for good” by helping to boost the profile of “the little guy”…to pretty much whoever’s willing to pay their fee. On the other hand, while Public Hi-Fi headmaster Jim Eno retains a well-deserved rate for most clients, his decades of experience have led to a keen observation; in the world of production, his peers rarely identify as women.

Whether you think of it as philogyny or affirmative action (just don’t call it a DEI endeavor), Project Traction (in its still-young run) has continued to provide strong opportunities for women looking to get some time behind the board in a producer/engineer role. And after the success of the inaugural Volume 1 ATX class of collaborations, Eno’s casting the net further North to tap into the Centennial State.

Yep, Project Traction’s Volume 2: Colorado compilation is chugging along and gearing up to release in full next year. As always, Eno’s there to chime in and give guidance as needed, but by and large, he’s letting these talented ladies have free reign in shaping their recording partners’ sound. The latest example? Fort Collins’ Co-Stanza finding middle ground with Ecuador’s Neoma with “Bet On Love”. In her very first outing producing someone else’s work, Neoma did an outstanding job of finding an ’80s-inspired niche for Co-Stanza’s emotional, breakup-imbued indie pop original, almost like The Cure cozied up to something a little more downtempo and acoustic. All in all? Nicely done and an impressive team effort.

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One of the more intriguing musical migrations as of late has been the blurring of lines between psych, Americana, and synth. Ya know, that hint of trippy in the twang. That splash of pop songwriting against a Southern backdrop. And between our geographical position and Austin’s ever-expanding melting pot status, we’ve witnessed it unfold firsthand.

For a recent example, look no further than Aaron Miller, the former frontman of ATX synth-pop trio Sphynx who’s currently best known by his solo handle Josie Lockhart. As heard on his 2021 debut Santa Rosa, Josie Lockhart’s a genuine innovator of the Cosmic Americana sound first familiarized ’round these parts by the likes of The Bright Light Social Hour, and the international impressions that followed show that interest isn’t regionally limited. What also arrived in Santa Rosa‘s immediate shadow was a retreat by Miller to Durango, Colorado to draft Josie Lockhart’s sophomore follow-up, What Golden Hues.

While those initial sketches maintained the auteur approach of Santa Rosa, the final version of What Golden Hues that we’ll hear next February is more of a full house; Miller recruited session players from both Austin and Nashville, plus Leon Bridges/Steve Earle engineer Steve Christensen and Wild Child/Modern Medicine producer Carey McGraw to elevate this second installation of Josie Lockhart’s discography. The result is a shimmering, contemporary twist on Miller’s heartland rock roots, as introduced by the LP’s lead single, “Every Kind of Light”.

In other words, by dusting off any tired antiquities of Americana and replacing them with a clean sheen of synth and psychedelia, “Every Kind of Light” locks in Josie Lockhart as the sonic cowboy destined to shake up expectations in 2025.

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Think we’re already finished talking about ACL Fest 2024? Don’t be a silly goose! Sure we’re quickly shifting gears to Halloween, Levitation Fest, Thanksgiving, and the Winter Holidays, but we do have one more piece of ACL awesomeness ahead of that Fall gauntlet.

So let’s take a gander at Geese. Almost a decade removed from their fledgling days, Geese and their distinct crossbreed of indie artcore post-punk rock still haven’t run afoul of stagnation. And even as they hatch the next Geese release, this Brooklyn outfit’s still feeling the impact from their golden egg: the Summer 2023 concept album 3D Country, as well the 4D Country outtake offshoot and this June’s Alive & In Person EP. As for the forecast for the rest of this year, it’s about to be open season up in Geese’s BK HQ for the three-day GEESEFEST going down the first week of December.

A couple years after they joined us for our SXSW Studio 6A live broadcast, the cosmos aligned to reunite KUTX with Geese on the second Saturday of Austin City Limits. They turned the KUTX tent into an aural aviary with a trio treatment of the final feather off 4D Country, “Space Race”, during which percussionist Max Bassin relegated both hands to the cajon and one foot to a tambourine, which interestingly offers more of a convincing kit sound.

A deep cut? Perhaps. But a prime piece of Geese? Undoubtedly.

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It’s always super cool to see our KUTX Artists of the Month get some additional hometown love out at ACL Fest. Off the top of our head, this year we saw Kalu & The Electric Joint, promqueen, Chief Cleopatra, and West 22nd added to the lineup. On top of those, we were stoked to see our October 2023 Artist of the Month DAIISTAR get some well-deserved recognition in the stacked ACL schedule as well.

Considering the quartet only hit streaming last February, DAIISTAR is decidedly still in a dawning phase. But with the release of their debut full-length Good Time last September, the four-piece made their mellotron-tinged brand of noise-pop felt far across Austin and beyond. Between a pair of recent remixes, a standalone original that dropped right around SXSW, and a handful of appearances on the West Coast over the next couple of months, 2024’s been a busy year for DAIISTAR.

And that includes the Good Time they had opening up the Miller Lite Stage this past toasty Sunday at ACL. After which DAIISTAR took shelter from the sun, shades still donned, in the KUTX multi-media tent for an unconventional twist on their Good Time closer “Velvet Reality”. Alongside the Sonic Boom remix that came out in April, this low-volume rendition of “Velvet Reality” is a testament to the versatility of DAIISTAR’s songwriting and the absence of limits in the nuanced world of noise.

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For a lot of major artists, ACL Fest is just another tour stop. For up-and-comers, it’s the opportunity of a lifetime. But for those who overlap the brackets, the experience falls somewhere in between: somewhat routine, somewhat sentimental.

And we’re guessing Chance Peña lands in that final category. Depending on your age demographic, chances are you’ve already heard of Peña through one avenue or another. Nearly a decade back, Chance Peña caught widespread attention at the tender age of fifteen as a contestant on The Voice. These days, Peña pulls an impressive social media presence and colossal streaming numbers for someone in their mid-twenties.

Yeah, in between the release of his debut full-length Ever-Shifting, Continual Blossoming last month and his current headliner tour that’ll take him across Western Europe and Scandinavia, Chance Peña is pretty much on top of the world. However, we do feel like playing Austin City Limits the first Friday must have been a pretty big deal for a Tyler native, so kudos to the ACL coordinators for showing strong home state support for a young Texan on the up and up. And shoutout to Peña as well for paying that Lone Star love forward with a passionate pop-up performance of his ES,CB standout, “Blackbird”, recorded that same day.

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Another ACL is officially in the books, so we’re keeping those fest memories fresh by bringing y’all some more KUTX-clusive pop-up performances straight outta Zilker Park. And nothing says “Austin City Limits” quite like a band whose handle directly references their UT campus origins.

Yep, our October 2024 Artist of the Month (powered by PNC Bank) West 22nd was among those chosen to represent our city’s elite local acts across ACL’s weekend afternoons. The five-piece effused their carefree and upbeat indie rock flavors throughout the Tito’s Handmade Vodka stage during Sunday One and had no trouble getting hands waving across a multi-generational audience, which is a massive notch on the belt for any outfit still relatively in their infancy.

We’re guessing the fellas of West 22nd are riding high off the experience even now, considering it’s a big benchmark of success ahead of a show in Nashville next month and an album on the way in 2025. So it was a treat to get West 22nd back in the KUTX pop-up tent for a trio interpretation of All The Way Home‘s EP ender “Road Trip”. Because based on the strength of this stripped-down, acoustic session alone, it’s safe to say West 22nd is on their way to well-earned exposure far outside our fair city limits.

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Between the big Texas sky, the sprawling space of Zilker Park, all the dust that gets kicked up across the festival grounds and cowboy hats abound, ACL Fest sure can feel a bit like a rodeo right here within the city limits.

And heading back to the fest, Weekend Two of ACL 2024 certainly won’t be flipturn‘s first rodeo, that’s for sure. Following the recent announcement of their sophomore full-length Burnout Days (set to release next January) The Florida five-piece is back at ACL’s American Express stage at 2:45PM this Sunday for an hour-long set. And on top of that, flipturn’s also going to be playing at Scoot Inn tomorrow evening alongside openers Hotel Fiction.

But if those two options to flip your sh*t over flipturn’s formidable live set aren’t appealing to you quite yet, we’ll point to the pop-up duo rendition of Burnout Days‘ lead single “Rodeo Clown” below. And while we’d never advocate illicit drug use to enhance music, this tune sure does remind us of our fun friend Molly and her ability to make any festival performance feel like you’re floating on cloud nine. Not to mention, with lyrics about wanting to escape from the reality of a reluctant performance, it’d be incredibly meta to watch “Rodeo Clown” played to a crowd of thousands.

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The second Friday of October is upon us, and Austin City Limits Music Fest is about to be in full effect once again. And in the interim that is this Thursday, we got a twofer for ya: a reflection on last weekend and a hint on what to expect for this next one.

So although it’s finally starting to feel a little more like Fall around here, there’s really no bad season to get behind The Beaches. These masters of fashion have been at it for a decade straight now, solidifying the soundtrack to a generation and proving proficiency (sans predictability) in the indie pop rock realm with each release. And after snagging the Juno Award for Breakthrough Group of the year in 2018 and the Juno Award for Rock Album of the Year in 2022, this past March the quartet scored another milestone in winning the Juno Awards for both Group of the Year and Rock Album of the Year.

The Beaches are back at it bringing a bit of The Six down to ATX twice over the next couple days with a completely sold out show 6:30PM tonight at Scoot Inn for Backline’s World Mental Health Day Event followed by a return to the T-Mobile stage 3:20PM this Saturday at ACL Fest, so you may want to give a single day pass a second consideration before The Beaches blow up even more. Because they’re only getting better, y’all. Like, looking back at last Saturday, the Ontario sisterhood rocked it (shades donned and sass intact) on their highest-charting single to date and the album opener off last September’s Blame My Ex, “Blame Brett”with a semi-acoustic rendition that undeniably takes on a new character while keeping the spiteful spark of its anthemic studio counterpart in place. Sorry, Brett; this one ain’t for you. But it sure does slam even with that sole egg shaker keeping the beat.

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When it comes to exposure for international acts here in Austin, you typically think of SXSW. But time and time again, ACL Fest has shown great global flavors, even if the artists in question are quartered stateside.

A perfect example? Mon Rovîa. Songwriter Andrew Lowe was lucky enough to escape his moniker’s namesake in the midst of the Liberian Civil War, and given the Appalachian atmosphere of his current home base, Mon Rovîa’s forged a really fascinating fusion of Afro influences and American folk, shaking up whatever expectations you have surrounding the “Tennessee sound”. Since hitting streaming early on in the pandemic, that formula’s found a strong listenership that only grows with Mon Rovîa’s ongoing streak of about five-to-six singles a year, alongside the three-act EP progression that began with last Summer’s Act 1: The Wandering and culminated in this April’s Act 3: The Dying of Self.

As the BMI Stage’s inaugural act, Mon Rovîa (and his backing band) had the honor of expressing gratitude, championing peace, and setting a pensive mood for ACL’s first weekend with a slew of tunes. And that extended to a pop-up performance of “crooked the road.”, which still feels fresh after debuting just over a month ago. It’s gorgeous. It’s heartwarming. It’s the most tasteful pairing of ukulele and vocal harmonies you’ll hear all week.

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Ask anyone about their favorite ACL Fest performance and there’s no telling what answers you’ll get. But we’re willing to wager that if you ask anyone below the age of thirty, “did you catch Chap-“, there’s a good chance your interviewee will enthusiastically finish your question with, “Chappell Roan?! She was awesome!” Yeah, there’s no doubt Chappell Roan’s among those leading the charge of younger fest attendees this year, but if you’re less in search of the Pink Pony Club and more keen on something to successfully serenade both you, your parents, and their hoss, there’s another “Chap” that was well worth checking out during Weekend One.

And that’s Chaparelle, the Southern supergroup of Zella Day, Jesse Woods, and prolific producer-composer-multi-instrumentalist Beau Bedford. Between the three? A lifetime of country music experience that, when combined, authentically encapsulates the classic midcentury sound that so many of us miss hearing on the airwaves. Based on the level of polish we’ve heard, we already see Chaparelle as a champion of twang made in and for the Lone Star State. And we’re bettin’ they’re gonna go a lot further than that after the release of their debut LP next Spring.

But in the world of country, (at least the real stuff that can’t be wrangled into Top 40 pop), high production values can only take a subpar performance so far…and Chaparelle sure ain’t a case of that. Because while the studio version of Chaparelle’s debut single from this June “Bleeding Hearts” recalls the iconic comfort of prime Patsy Cline recordings, the stripped-down acoustic-electric-vocal arrangement the trio treated us to last Friday at ACL is intimate, unadulterated talent. And like the title suggests, “Bleeding Hearts” isn’t a two-steppin’ barn-burner; it’s a surefire recipe for tears in your beer that’ll have you holding onto your Stetson for emotional support…lest you’ve got a requited love to corral.

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Heads up. Because our amazing multi-media team has been collecting so many great pop-up performances at ACL Fest, we’re gonna be sharing some of those with you over the next couple weeks. But before we dive in, we’d be remiss if we didn’t shine the spotlight on a fresh local release, no ACL tie-in necessary.

And that comes courtesy of Austin two-piece Allwax. Like plenty of other projects from the past half decade, Allwax was born out of the pandemic and the plethora of creative free time that initially came with it. Once they solidified their sleek shoegaze-slathered dream pop style, Allwax started off strong on streaming with five standalone singles in their mere first official year. And although the duo’s discography is still exclusively singles (which are now dropping about twice annually) Allwax’s sonic brand has remained crazy consistent without getting stale at all.

Case in point, ahead of an appearance later this month at The Mohawk on the 22nd opening for French Film, Allwax wheeled out their latest installation “Waves” last Friday. Less of an all day beach party banger and better suited for a coastal convertible cruise, “Waves” has the essential echoes of Summer we’ll need til Texas finally reaches Fall temperatures: a subdued-but-driving rhythm section, effects-drenched guitar, a refreshing sans-drums outro, and Besty Leidal’s reverb-soaked siren singing – all layered together so naturally you’d guess they were mixed together by the tides themselves.

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We’re barely a week into October, everyone’s spooky season decorations are going up, excuses to miss Thanksgiving are already stewing…and we’ve still got highs in the 90s here in Texas. Autumn is a bit ablaze. Just goes to show you that life’s a…Tish?

At least, Tish is a big part of life for one particular group of Austinites. What started out as a sweetheart deal between Ethan Ames and Erin Thelen a half decade back has since rounded out into a four-piece thanks to the addition of AJ Audain and Tyler Rusin. Needless to say Tish has influences galore across their personnel’s varied backgrounds, but we’ll go ahead and put them somewhere around the intersection of indie rock and soul pop.

And this year Tish is finally ready to dish out their efforts onto streaming with the release of their debut studio album early next month, corresponding with an LP release show on November 3rd at Hole in the Wall that’ll be joined by Cash Grab and Foxglove. If you’re trying to stay as far away from ACL this weekend but still want to get out, check out Tish for a single release show 6PM tomorrow night at Knomad alongside openers Tiny Specks at 4PM and Ivy Mine at 5PM. And if you’d prefer to stay a slave to the precious A/C without ever stepping foot outside, go ahead and set your senses aflame with the record’s lead offering “Burning Up”. Evoking the nostalgia of that ’90s tightrope of grunge, alternative, and pop (complete with guitar distortion and unconventional vocal harmonies), “Burning Up” torches with airtight instrumentation, clever section segues, and overall just a ton of heart that leaves us eager to hear more.

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Everyone benefits from the empowerment of self efficacy. And nobody wants to scrape by each day facing a sealed fate. Those truths must have at least subconsciously fueled the landmark success of Terminator 2: Judgment Day, which endures as a surprisingly hopeful narrative despite its status as a relentless “hard R” sci-fi action flick. But as we’ve hinted at, you don’t need to be Sarah Connor going up against Skynet to appreciate the importance of altering a timeline.

Heck, with their latest single even Ram Vela & the Easy Targets have revealed themselves as optimistic revisionists. Over more than half a decade purveying power pop and alternative rock, the Austin quartet’s rarely strayed from themes of modern disenfranchisement, tough truths, and reality-aware humor. So if you feel the “no fate but what we make” principle of T2, you’re gonna love “Life Is Rigged”, on speakers, headphones, or in person for the single release show 8PM tomorrow night at Chess Club following openers Flags at 7PM.

We could totally see “Life is Rigged” playing over the end credits of T2 in an alternate, carefree timeline where James Cameron grew up as a West Coast skater. But T2 tie-ins aside, “Life is Rigged” is rich with that late ’90s/early ’00s intersection of angst, disillusionment, and pop culture references, aided in no small part by killer performances from each of RV&ETs four players, especially those full chorus “HEY”s in the hook.

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As we noted yesterday, it shows real strength to unearth the passion of a certified classic by revitalizing it with a version well outside its initial genre. So we do have another cover today, but this one belongs much more to a contemporary catalogue. Which is frankly a great strategy for appealing to…shall we say…less adventurous listeners who fall in love with one streaming giant of a song, play it to death, and become curious to hear a different take on their favorite earworm.

That brings us to multi-instrumentalist-producer-singer-songwriter Lindsey Rose Black. Raised in Fort Worth and currently splitting time between LA and ATX, Black first caught our attention with her 2022 debut Subterra, an EP that showcased her Tex-ified art-pop-meets-indie-rock sound and delightfully down-to-earth attitude. Sure, Black’s discography’s been a bit lacking since then, yet rest assured, she’s got a ton of new original releases on the horizon throughout the rest of this year and extending into the next.

That said, Lindsey’s kicking off the streak with a sapphic spin on Troy Sivan’s smash hit “One Of Your Girls”. Just like how Aretha Franklin took Otis Redding’s “Respect” and flipped it into a endearing anthem of women’s empowerment, LRB’s version of “One Of Your Girls” is less a shallow lyrical gender swap and more a dream-pop powerhouse that’s perfect for Southern queers, especially the gay ladies. Preferences and orientation aside, anybody can appreciate the subversive positivity of this Texas-bred revisionist rendition, carried immensely by Lindsey’s calm-but-confident and thoroughly impressive pipes.

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No matter how much of an “instant classic” it may have been when it first dropped, after a half century of air play, most people feel like they’ve heard certain songs ad nauseam. That is until you hear a fresh take on it. And we’re not just talking about slapping some drums or a new verse on it and calling it a remix. No, we’re talking about someone from a different cultural background who, without ever having been bogged down by it the way we were, is able to breathe new life into tunes that’ve been around for more than half a century.

Enter Ramiro Pinheiro, a singer-guitarist-composer hailing out of São Paulo. Pinheiro calls Barcelona home these days, but as chamas of Brazilian tradition – be it jazz, bossa, or samba – still burn through his fingers and onto pretty much anything he touches, no matter the music’s origin. Case in point: his second collaborative single of the year “Moon River”.

Recorded alongside fellow Paulistano Rodrigo Balduino, this version of “Moon River” isn’t just a ripple off that mid-’60s flood of Western pop renditions in a bossa nova style. No, there’s intimate honesty to the raw recording of this Breakfast at Tiffany’s triumph that channels the delicate acoustic passion of Jobim or Gilberto, string squeaks, breaths, close quarters instrumentation, and all. And even without translating Johnny Mercer’s lyrics into Portuguese, Pinheiro’s accent alone enchants with an exotic charm, gracing this Henry Mancini mainstay with a new set of legs that’ll last another fifty years, at least.

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Whether it’s the inevitable return from a much-needed vacation, spying some inspiring light post-wrestling with depression, or just the routine changing of the guard between Sunday scaries and Monday blues, the addled and anxious of us can always appreciate an extra minute or two to block everything else out and just breathe, hopefully with a vital reset on the horizon.

But even if you’re cool as a cucumber all year round, we can’t recommend Breathing Space enough. Comprised of Maura Dooley and Emi Salinas, this Austin-via-Houston two-piece has been parsing out the finest elements of dreamy lo-fi for more than half a decade now. Breathing Space was a godsend when they first hit streaming just before the pandemic, and their modern, alternative meditations quickly became an essential part of our COVID routine thanks to a fairly routine single release schedule. And while the duo’s maintained that regimen, they’ve continued to push the boundaries of their sonics. Chiefly in terms of how upbeat can you turn it up with disco-funk elements until you kill the chill (think August’s “DREAMING’S EASY” and Fall 2022’s “GOT IT BAD”) and how mellow can you make things before it’s just plain bleak?

Especially with the latter, that line remains to be drawn in the sand. However, last Friday Breathing Space did blow us away with what may be their slickest production to date, “WASTING”. A relatively simple composition (characterized by a brief runtime, repeated lyrics, and barely more than a pair of chords to alternate between), this intersection of trip hop and alt-R&B expands a surprising amount on behalf of careful vocal layering, sultry saxophone, sneaky sampling, and beautiful bass work.

Lyrically? If you’ve been drooping on a throne of complacency and medication, these two queens may just put that reign on a platter and help you rejoice at the beheading of any bad habits or lingering shortcomings.

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Alt-country trio Next Of Kin is a new project out of Austin that is bringing cult country back to the local music scene with the premiere of their first-ever single, ‘Jekyll & Hyde’, coming out on streaming platforms today, September 27th. The trio of Caelin, Lili Hickman (of Flora and Fawna), and Madison Baker has been in the works since March 2023. What started as a fun collaboration session quickly became a serious project when they discovered just how unique their harmonies can be.

At the start of Next Of Kin, each member was also pursuing their independent projects and endeavors, leaving Next Of Kin as simply a way to decompress and make music with other respective musicians. Almost instantly, they discovered their different perspectives and genre backgrounds created a strong sound of alternative country with a hint of indie-folk twang. Despite this project being in its beginning stages, their ability to emotionalize storytelling has already gained them a loyal following across Austin, Texas.

Their press release describes their sound, as “as if The Chicks and Maggie Rogers had a brainchild.”  With their eccentric lyricism and scarce mix of genres, Next Of Kin’s “Jeckly & Hyde” is a strong foundation for what tone this brand new project will set. Don’t miss the opportunity to hear ‘Jekyll & Hyde’ live tonight at Continental Club, and keep an ear out for ‘Next Of Kin’, because this is just the beginning.

As of today, ‘Jekyll & Hyde’ is officially out on all streaming platforms. Be sure to check out their show tonight at Continental Club! With a great lineup including Shannon McNally @9:30pm, Next of Kin @11pm, Buffalo Hunt @12:30am.

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Austin-based shoegaze duo ‘A Band Called Ma’ is back and better than ever with the premiere of their latest single ‘Walker’, coming out on streaming platforms on September 27th. The unique two-piece comprises Austin Barker and Domonic Sena, who have been making music together under the project ‘A Band Called Ma’ since the beginning of 2023.

They are known around the Austin-scene for bringing a unique perspective to their songs; drawing inspiration from physical surroundings. We see this firsthand in their 2023 single, “Mountaintop” which bridges the relationship between natural environments and self-identity. Nonetheless, they are known to connect the gap between actuality and nature, as their Spotify bio says, “The project is heavily inspired by the vast alien landscape of Big Bend.” With their metaphor-filled lyrics and unique music-making process, this new project is a force to be reckoned with.

Influenced by Alex G, Radiohead, and other Alternative-Rock icons, ‘Walker’ does a phenomenal job of honoring the important aspects of the genre while paving their own eccentric path. With divine harmonizing and a strong instrument presence, A Band Called Ma knows exactly what direction the new music is going in, and “Walker” is nothing short of inspiring.

Be sure to stream ‘Walker’ on 9/27 and don’t miss their single release show tonight (9/26) at Hotel Vegas! They will be on at 11, following Lookalike at 9:30, Hanover at 10:15, and Futon Blonde at 11:45.

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Austin-based singer-songwriter Suzanna Choffel brings relateable emotion and vibrant energy to her latest single, “Get Out,” off her upcoming album Bird By Bird. Known for her genre-blending sound and raw lyricism, Choffel uses this track to dive into the pressures of her modern life—parenthood, relationships, and career struggles—all while trying to maintain a sense of self.

But, “Get Out” doesn’t stray away from what Suzanna Choffel has always aimed to emulate. In fact, like any insightfully charged musician, her journey as an artist has always been tied to her personal life. Since her last album, Hello Goodbye, recorded while she was pregnant with her first daughter, Choffel’s experiences now as a mother of two have reshaped her perspective on songwriting. Balancing family, a music career, and hosting her own radio show on Sun Radio in Austin, she brings a matured yet still playful sound to Bird By Bird.

And often with big changes like these, sometimes a break from routine is needed. Knowing this, Choffel reached out to longtime collaborator Davíd Garza to help produce the record, who recruited a dynamic rhythm section featuring drummer Amy Wood and bassist Sebastian Steinberg, known for his work on Fiona Apple’s GRAMMY award-winning album, Fetch the Bolt Cutters.  Not to mention, the album also features a dash of Austin with guest performances from local friends Adrian Quesada, Carrie Rodriguez, and Elias Haslanger.

The collaboration brings a driving, percussive intensity to “Get Out” while somehow still maintaining a graceful balance with her folksy highs and lows. To bring more of a personal touch to the album, Garza, who’s also a new father, suggested turning the song’s final chorus into more of a celebratory moment capturing the cathartic release that “Get Out” represents.

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When in Austin, you’re bound to run into some cross pollination among bands. For Austin-based duo, The Midnight Stroll, this is nothing short of the truth. Featuring the frontman of Ghostland Observatory, Aaron Behrens, and musical jack-of-all-trades, Jonas Wilson (Heartless Bastards, Urban Heat, Black Angels, and more), their latest and 3rd, upcoming single, “It Ain’t Worth a Dream”, explores the hardships of new beginnings through the eyes of an American immigrant wondering if the reality of it all is worth the cost of his dreams. What someone might not expect though is how the band expresses their sentiment through grungy shoegaze guitar hooks and Grouplove x AC/DC vocals. 

After almost a decade since their second album Western Static, it’s clear to hear exactly where the duo is heading with their upcoming album, Humans Scheme and Headphones Dream, debuting next month. With a little touch of hair rock and dash of multi-track tape recorder effects, the duo’s sound sets them apart from local bands, including their other projects. But despite having to wait a bit longer for the full album, It Ain’t Worth A Dream makes its radio debut TODAY and will be available to listen to tomorrow. 

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For a lot of people with contemporary tastes, exotica only equates to easy listening. Understandably so, since in the modern era it may strike first time listeners as muzak, elevator vapidity…jazz sans soul. But when you strip those biases and revisit the movement that began with the likes of Martin Denny and Les Baxter, you can better appreciate the transportive power of exotica. It’s right there in the name: “exotic”. So while coastal folks are flush with the everyday magic of an oceanside breeze, palm trees, and three hundred and sixty days of perfect weather, we’d argue that city slickers get the most value out of exotica.

At least it seems like that’s what first got Dallas-raised keyboardist-composer-arranger Frank LoCrasto craving something a bit more Bohemian to break out of the urban mindset, which lead to re-christening himself Kolumbo. Now based out of Brooklyn, Kolumbo introduced us to his tropical twists with his Summer 2022 debut Gung-Ho. It sure wasn’t easy wrangling about a dozen musicians together during the pandemic, but if exotica truly was easy, you’d hear a lot more of it, right?

Now, as summer makes way for the fall, LoCrasto proves once again that Kolumbo isn’t just a seasonal excursion. And that’s on behalf of Kolumbo’s sophomore followup Sandy Legs, out this Wednesday. Before we get to spin the LP in full, Kolumbo’s getting the symphonic jazz pop flirtations started with “Spin the Bottle”. Beachside vibes from its first downbeat, “Spin the Bottle” speaks an awful lot for an instrumental. So if you’re dreading this next work week and need a mental vacation wherever’s most convenient for you at the moment, kick off your shoes, close your eyes, imagine digging your toes into some beige grains, and shut everything else out while Kolumbo takes you on a midcentury style tropical tour.

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There’s probably a big chunk of Texas choosing not to think about the word “saints” after last weekend. But even Cowboys fans can agree that a quality chainsaw is a great way to start carving into the weekend. I mean, chainsaws have been a state pride since 1974, right?

So if you’re overdue for some Danish pop, dig into When Saints Go Machine. Throughout all their pop trials, the Copenhagen three-piece has kept from getting cornered in any one sub-style, be it classic club, hip-hop, or post-punk. But a dip into their discography quickly tips you off to one consistency; what these Danes have been doing for a decade and a half now is a strictly digital endeavor.

That in mind, this morning WSGM hit the world with somewhat of a surprise: the trio’s introductory experiment in acoustic equipment. Alongside “Trying”, which is a real trip of its own, “Chainsaw” comes off awfully organic compared with all the project’s prior outings. But somewhere between the liminal, strobing solitude of its visuals and the fresh perspective on WSGM’s secret formulas, it almost feels like a sin for Saints to have waited this long to “get real” with it.

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We don’t really put stock in the idea of “talent by association”. Sure, we’ve witnessed plenty of attempts to pivot from a successful group into a profitable solo offshoot. But if they didn’t have the spark to start with, they won’t have much to bargain with on their own. And on the ongoing collaborative level, when one player reaches a certain tier of talent, they rarely lower the bar in terms of the artists they surround themselves with, let alone their choice of creative clientele.

Now bear with us as we break down a bit of history here. Alabama Shakes hires Ben Tanner as a touring keyboardist. Tanner helps Alabama Shakes secure the 2018 Grammy for “Best American Roots Performance”. Then, just last year, Tanner does it again by snagging “Best Roots Gospel Album” for co-producing, engineering, and mixing Echoes of the South by Blind Boys of Alabama. In between it all, Ben continues to prove himself as not just a prized player, but a prolific producer with a musical Midas touch. So for Ben to bring an out-of-state group of relative-unknowns to his Muscle Shoals studio and bang out their debut? Sure says a lot, doesn’t it?

The group in question is The Jaws of Brooklyn, who as you might’ve guess are from…Washington?! Yes, we got our first feel for this Seattle septet from their aptly-titled Summer 2022 full-length The Shoals. And sure, while Tanner did put a proper polish on it, but a firm grasp on the classic garage-soul-rock sound (complete with ’60s-style girl group gusto) was clearly ingrained in J.O.B. from the get-go.

Now, following the fickle affair that is swapping out frontwomen, The Jaws of Brooklyn are back at it with Gretchen Lemon in the lead singer slot. And with Alabama Shakes acolytes Shannay Johnson and Karita Law also returning to Tanner’s auspicious Muscle Shoals recording space, The Jaws of Brooklyn have cranked out a dozen-plus new tunes, soon to be split across two EPs. The first one drops next April, (when J.O.B.’s stint at SXSW 2025 will still be fresh in memory), and we got a taste of that latest batch this morning with the record’s lead single, “Litebringer”.

By hinging on a hefty mix that’s instantly evocative of golden age Alabama Shakes, (snappy percussion, full house vocal harmonies, gritty garage guitar tones, and all) “Litebringer” has our mouth watering for what’s to come from The Jaws of Brooklyn, no matter what they sink their teeth into next.

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We’ve been gabbin’ a lot about the retro soul renaissance lately…so much so that y’all must be getting pretty sick of reading about it. But what comes after soul? That’s right. Funk. And boy oh boy do we gotta have that funk here in Central Texas.

So with our scopes still set on the Lone Star State, let’s talk Gypsy Mitchell. This Dallas-born singer-songwriter-guitarist-arranger’s had a jam packed journey over the years; he founded gospel funk outfit The Relatives when he was just seventeen, went on to provide six-string for blues legend Buddy Ace in the ’80s, and has played alongside the likes of Little Milton, Johnny Taylor, and Joe Simon. Safe to say, Mitchell’s got an impressive resumé.

These days your best bet to catch Mitchell in person is here in Austin haunting venues like Antone’s and C-Boy’s, but it’s only been within the past year that Gypsy’s shifted gears towards a solo career. Like a fine wine freshly cracked from a well-aged cask, Gypsy Mitchell dropped the introductory “Movin’ (Down the Highway)” last December and teamed up with Houston institution Paul Wall this January for “I’m Still Standing”, all ahead of his debut Love Is…Infinite, out October 25th, with a release show to follow November 15th at Antone’s alongside Egyptian Lover.

And the LP’s latest lead single “Drive By” is joined by a music video that shows a whole lotta love for Busty’s Bar & Jukebox, making it a must-view for motorheads who haven’t made that pilgrimage yet. Bold talk box toggles the ignition on this soul-funk-rocker, chock full of psychedelic lights, classic cars, grins, and tabletop performances. And in light of the video’s charmingly low-budget production, the tune itself is a rich testament to Gypsy Mitchell’s status as a class act as it cruises through bluesy grooves, gospel-style group vocals, virtuoso instrumental riffs (thanks in no small part to longtime collaborators Zach Ernst (guitar) and Matthew Strmiska (percussion) of Black Joe Lewis and the Honeybears), and commanding vocals.

In other words, we sure as hell hope Gypsy doesn’t put things in park anytime soon.

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Outside of theater, choir’s typically stereotyped as the vehicle for churning out stars of the next generation. Which makes sense, since it gives you all the essentials to become a singing sensation: allowing harmony to become a natural instinct, blending your voice convincingly alongside others (even in chorus), and most importantly for future potential, maximizing those big solo moments.

So we don’t exactly need to digress when introducing y’all to Austin-based vocalist Inesse Chichou, better known by her mononym Inesse (and that’s “E-ness” for uninitiated). Inesse began climbing the creative ladder through choir, and following a pivotal performance at Carnegie Hall under choral legend John Rutter, broke that focus to recenter on her solo prospects. In that realm, Inesse’s full-bodied, effervescent, and inherently feminine style falls somewhere between Jazmine Sullivan and Alicia Keys, all the while differentiating her voice from the rest by leaning on the exotic, traditional, and often dark Arabic elements of her Moroccan upbringing.

And after her October 2023 debut, Inesse has been putting the work in for 2024; following up four luscious standalone singles, Inesse dropped her freshman collection It Was Good…While It Lasted just a couple weeks back. Revolving through six cylinders of seductive originals (each produced by a different collaborator), It Was Good…tears down the gate between turn-of-the-millennium megastars and modern era heavyweights for a thoroughly unrestricted R&B-soul experience. Yeah, even though Latin R&B is a Goliath of the industry right now, the acoustic guitar-coated EP ender “On My Way” is a little less Latin American and a lot more south of the Mediterranean. “On My Way” instills a certain sense of sultry urgency, all anchored by GRAHAM.‘s gripping beat that drips with swagger, co-writer Elijah Ford‘s cohesive contributions, and of course, Inesse’s immaculate vocal intervals.

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Scrolling through social media, watching ten-second clips of people’s little circus acts in the comfort of their own natural habitats…it can sometimes feel like a human zoo. So while we’ll never fully encourage those vapid grasps at short-term stardom, anything that detracts from the oversaturated landscape of bland masculinity in the entertainment sector’s worth the price of admission, right?

On that note, today we’re taking a gander at Female Gallery. The Austin-based four-piece sources their rock-meets-dance (dare we say indie-post-punk?) sound from the likes of Paramore and No Doubt all the way to Pink Floyd. But in terms of Female Gallery’s overall brand, the pairing of Queer identity with Latinx roots almost speaks louder than their literal influences.

And after starting off strong with two back-to-back introductory singles in Spring 2022, Female Gallery’s feel-good energy’s set to score the quartet a new force of fangirls with their upcoming debut EP Best Friends Together Forever, dropping just before Halloween ahead of a namesake tour next summer. As if to put a collective foot down proudly declaring their diversity against cis-heteronormativity, Female Gallery pulled the curtain on their latest, “Simon Says”, last Friday. An uptempo, reverb-washed original that effortlessly shifts gears throughout a sophisticated sequence, this four-and-a-half minute affair’s gonna make you forget all about following the leader and instead will get you fueled up to become BFTFs with Female Gallery six weeks from now.

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If you’ve seen Big Wy’s Brass Band, then you’re already hip to the spark that is multi-instrumentalist Wyatt Corder. Furthermore, you’re probably familiar with the fact that Wy’s got high standards for the folks he plays with; if he hand picks you as a performer, it’s a real privilege…especially when it comes to pulling off Amy Winehouse covers.

This is where singer Allisen Hinojosa comes in. Corder and Hinojosa first met as DJ colleagues at KVRX, shared interests in the vintage blues-soul section, got together in 2021 to jam a few times, and soon found success with their Amy Winehouse tribute Back to Black. Back to Black’s still alive and well, but the pair have also begun channeling their chemistry into an original project, aptly titled Allisen & The Wy’s Guys.

The two best bets for which venues you’ll catch Allisen & The Wy’s Guys? C-Boy’s Heart & Soul (where they play 6:30-8:30PM every Thursday this month) and the Continental Club, where they’re staging a two-night takeover. Tonight it’s Back to Black at 11:30PM after openers The Point at 10PM and tomorrow it’s Indoor Creature opening up at 10PM followed by Allisen & The Wy’s Guys at 11:30PM for a single release show.

And the single in question is nothing short of awesome. Absolutely embodying the airtight modern flavors of Mark Ronson and Amy Winehouse, “Tell Me (Like A Man)” is yet another benchmark of Austin’s overall progression from the “boring blues” of decades past to the slick, seductive soulscape it is today.

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For well-established acts, keeping faithful to the formulas that first made ’em famous is often the key to longevity. We’re talking AC/DC, legacy acts that dare not alienate longtime fans by trying to fix what ain’t broke. But the big difference between AC/DC back then versus now is how frequently they put out new material. Yeah, for up-and-comers cranking out at least one studio album a year, staying in just one lane ain’t exactly a great strategy.

Like check out Rett Smith, who flexes the nexus between Austin and Nashville. His post-covid discography alone (of one release per year starting in 2020) speaks to Rett’s relentless work ethic. So with that impressive volume of work already under his belt in such a short time, weighing in on the steady shift towards “shoegaze-icana” isn’t necessarily a threat to Rett’s brand at all. No, we welcome the move for its variety, innovation, and evasion of letting Rett’s style get stale.

Sandwiched right in between a free Waterloo Records in-store performance 5PM today and a headliner show 9PM this Saturday at The Mohawk alongside Travesura, tomorrow we receive Rett Smith’s fifth, A Weighted Remorse, in its entirety. And to help give the LP its official green light, “Stop Signs” (and yet another abstract Super 8 music video that evokes the psychedelic side of “Old Austin”) ought to halt any RS haters dead in their tracks. Revving through tremendous dynamic range in just over two minutes, “Stop Signs” is the hard rock equivalent of alternating a souped up muscle car between peeling out and slamming on the brakes while commuting from a love making session to a late night dive bar gig. So just make sure you’re at least attempting to obey traffic laws when blasting Rett’s latest in your car stereo.

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Since the days of Thoreau, we’ve often romanticized the idea of a creativity-spurring wilderness retreat. That’s especially true of Justin Vernon’s illness-evoked cabin sanctuary that ended up being the backbone of Bon Iver’s 2007 debut. But the product in mind doesn’t always have to be so strictly transcendentalist (or even acoustic for that matter) for an “escape to nature” to yield quality results.

Cut to: Logan, Iowa, the stomping grounds of avid skater and ’90s rock connoisseur Michael “Boz” Bosworth. It sure seemed like Logan was the end all, be all location for Bosworth as he settled into a day job and family life…until he split from the routine and trekked out to an isolated cabin in McLouth, Kansas for some extended songwriting sessions. Just as Boz kindled the cabin’s sole source of heat – a wood stove – so did he stoke the flames of his first proper songs with primitive recordings.

A couple summers back, Boz moved down here to Austin and instantly fell in with the thriving music scene. After revisiting those early demos and recruiting a few like-minded musician friends to help flesh ’em out, Bosworth’s finally to share the cabin’s bounty under a new mononym: Mozworth. Mozworth is an amalgamation of Boz’s core interests: the independence so closely associated with skate culture and angsty energy shared by so many pre-millennium rockers…albeit textured by the mature lyrical reflections that could only come from civilization-removed meditations.

And the first polished piece from those cabin correspondences, “Postcard”, arrived in our collective mailbox today. Packaging everything we love about ’90s indie-alt-rock into a four-minute envelope, “Postcard” proudly puts Mozworth’s stamp on these nostalgic sounds, less of a “wish you were here” and more of a “can’t wait to show you more” ahead of his upcoming debut album.

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We’re starting to sound like a broken record over here…but the retro soul renaissance? Not only is it verifiable; it just keeps getting better and better. And one of the movement’s biggest players is back at it again.

We’re talking about Kelly Finnigan, the chief songwriter and class act frontman of psychedelic soul giants Monophonics who’s also found plenty of success on the solo tip. When you hear Kelly sing, you might assume that his pipes are his strongest skillset outside of piano. But even when he’s not behind the mic or the ivories, Finnigan’s become a prized producer and engineer for other soul outfits thanks to his careful flirtations with pretty much anything you could categorize as “classic R&B-soul”, including a deep understanding of old school mixing. Seriously, it’s almost unnecessary to liken Kelly’s compositions and arrangements to specific artists, since his expansive discography offers so much ’60s-and-’70s-inspired variety.

And although we were anticipating the instrumental version of 2022’s Sage Motel for the next installment of Kelly Finnigan’s incredibly consistent release schedule, this year we’re getting something completely fresh: A Lover Was Born, out October 18th. Kelly hasn’t missed yet, and we’re not expecting him to on this near-dozen batch of new tunes. Because where some of the most creative beatmakers have breathed new life into dusty sounds through sample flips, Kelly once again internalizes and rejuvenates those R&B-soul rarities that exist within and enhance said genres.

Hear for yourself on the LP’s second lead single, “Be Your Own Shelter”, and try not to imagine Isaac Hayes and co. nodding their heads in approval.

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Making memorable trip-hop’s not just a matter of slowing down breakbeats, and swapping out rap verses with some reggae-dub bass and exotic-sounding samples. No it’s a tricky tightrope that walks the thin line between sneaky and seductive, mellow and bangin’, and of course, hip-hop and psychedelia. And in our opinion, the tunes with women singers have shown a lot stronger of staying power.

In an ideal example of the “two heads are better than one” approach, dark dream pop singer-songwriter Damascan Daydreams recently teamed up with post-industrial multi-instrumentalist-producer Oddmanrush to create a sprawling, seventeen-minute exploration of that iconic ’90s style. Appropriately titled Archangel, these four originals capture that fall-from-grace vulnerability with a post-pearly gates perspective and ethereal-meets-sinister atmosphere.

In other words, it’s a awesome experience of flawed humanity best experienced front-to-back, or better yet, on-stage and in-person. So catch the pair performing later this fall on November 10th at Hotel Vegas and again on November 15th at DadaLab. And if you’re feeling a little gloomy going back into the workweek, let Archangel‘s sophomore song “People” put you in comparable, Portishead-esque spirits. A real achievement of minimalism, this downtempo trip-trop treat touts simple synth chord progressions, bare bones MIDI drum programming, and vocals that swerve between reverb-enriched and almost completely dry.

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You’ve heard the excuse before. Ya know, somebody spaces on a date, forgets to turn in an assignment, or otherwise just kind of has a minor misstep. What do they say after shrugging? “Sorry, man. Mercury must’ve been in retrograde.”

Sure, scapegoating the cosmos for your own shortcomings isn’t the most mature thing…but neither is naming your band BOO85. After kicking things off last Spring with their streaming debut “Just Friends”, this Austin-based all-girl alt-pop-rock project’s still jigglin’, gigglin’, and making great tunes through 2024. And today BOO85 rounds out the summer by completing the pair that began with this February’s “Heart“.

Coincidentally falling on another astrological Friday after last week’s “Like a Sagittarian Archer”, “Retrograde” sets the horoscope for your weekend with a headliner performance 9PM this Sunday at Sahara Lounge after openers Alexi 8Bit and Jay Wanderer. And this latest original racks up another bouncy bop to BOO85’s already-busty brand with carefree sonics like viscous vocals, a breakbeat-adjacent drum pattern, top-gear guitar and bass work, infectious effects, and sanity-demanding lyrics.

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Here at Song of the Day, we’ve observed a resurgence of classic-style soul in recent years, and reported plenty on it too. As a matter of fact, when Sir Woman’s Kelsey Wilson came by KUTX a couple months back, we had to ask the genre authority whether or not she’s picked up on a retro-soul renaissance. The verdict? A resounding “yes”.

So it totally checks out that one of Kelsey’s Wild Child chums, keyboardist-singer Micah Motenko, is savant of Motown mimicry himself. Well, we should say Micah and his namesake Austin-based quartet Motenko, who’ve been masterfully sourcing inspiration from soul’s golden era for nearly half a decade now. Between their eponymous debut early on in the pandemic and last November’s What You Want, Motenko’s scored some pretty respectable streaming numbers, a trend we expect to continue with yet another fall release – that of their third EP To Grow, out next month.

This extended play foray finds Motenko further embracing the magic of modern production: emphasizing digitally layered multi-instrumentalism on one track before stripping down to an intimate keyboard-vocal duet the next. But the one that takes the biggest advantage of Micah’s vintage variety is the embodiment of a beautiful exchange with his late mother, the EP’s lead single “Free Yourself”. Butter-smooth singing, sultry guitar chords, slick bass work, and air tight drumming make the verses enough to get you feeling emotional, and the addition of falsetto vocal harmonies, soaring orchestral swells, and well-placed pizzicato plucks propel “Free Yourself” to a wholly empowering experience without overstaying its welcome past three fleeting minutes.

And before hitting the road for a Wild Child tour a couple months from now, Motenko makes an appearance 10PM this Saturday at Far Out Lounge in between openers Égaux sells at 9PM and closers Uncle Roy & Spice at 11PM and again Thursday, September 19th at Antone’s alongside Toubab Krewe.

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For a lot of people, when you think of synth pop, you think “inorganic”. You think “artifice”. Which, to be fair, “synthesizer”, “synthetic”…we get it. But despite the constructed character of those modern mood makers, there’s plenty of potential for passion and authenticity in the synth pop sector.

So let’s get into the The Belle Sounds. This morning the five-piece indie-folk-rock family affair unfurled their fourth EP Oh Humanity – a six-song stretch of anthemic hooks, in-the-pocket vocal harmonies, and retro-inspired textures that tastefully recycle the best elements of ’80s pop. And if you want to rock out to the Blondie-esque bops in person, catch The Belle Sounds at a double release show 8PM this Saturday at 3Ten ACL Live alongside Ray Prim and Suzanna Choffel.

Still not sold on the heart of this synth pop art? Let the EP opener and title track “Oh Humanity” convince you of otherwise. Because despite its lyrically bleak outlook, its a brief, upbeat piece of pop perfection (anchored by riling arpeggios, killer chords, and pleasant pads) that’ll make for an banging addition to your retro pop playlist.

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Blues is an almost stereotypical staple of the “old Austin” Sixth Street sound. But if you wanna break out of the city limits, let loose, feel unleashed and all that good stuff? Of all the notable places to split from the whole program and make the best of the blues, New Orleans always stands tall at the top of the shortlist. So it makes sense that rising NOLA blues rocker Sonny Gullage graced his recently-unfurled debut full-length with the title Go Be Free.

Gullage’s journey began way back as a precocious twelve-year-old writing heartfelt reflections on the BP oil spill. And that ability to translate a complex sense of understanding into readily accessible blues is alive and well a little over a dozen years later as Gullage finally hits streaming. Sure, Sonny leans on fellow twenty-five-year-old Clarksdale guitarist Christone “Kingfish” Ingram for one of the LP’s heavyweights “Worried About the Young”, but aside from that Go Be Free is a fervent, self-fueled endeavor.

The twelve-track (produced by Grammy nom Tom Hambridge) navigates a tightrope of consistency and eclecticism that makes for forty-plus minutes of exceptional blues rock. And like any good blues, Go Be Free also reckons universal suffering with everyday ebullience, as heard on the album’s eponym “Go Be Free”. It rocks. It riles. It’s as real as it gets. And we can’t wait to see what this keyboardist-singer has in store for us next.

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You ever notice a name pop up more and more in a music scene, almost nearing non-stop status, and wonder to yourself, “sure just one person can’t squeeze in the time and energy for all this”…only to find out it’s not a sole person after all, nor even the namesake of one of its members? It’s more common a phenomenon then you might expect. And given the big year they’ve had so far, we suspect it’s happened thoroughly for new listeners of a certain Austin three-piece.

So let’s have a lil powwow with Parker Woodland. Named after the local intersection of Parker Lane and Woodland Avenue, this indie-pop-meets-punk-rock trio’s been on top of things since sharing their debut EP The World’s on Fire (And We Still Fall in Love) in early 2021. Already a certified perseverant standout of the Live Music Capital, this September’s set to start off an extra special era for Parker Woodland, as they power through a packed show schedule surrounding their debut full-length, There’s No Such Thing as Time.

Yeah, there’s no time like this week to seek out Parker Woodland in person; they’ll be palling around a VIP vinyl listening party tomorrow, enjoying an in-store performance and record signing at Waterloo Records on Friday at 5, and tearing into a two-part album release show at the Mohawk, 8PM that same sold out evening and again 2PM the next afternoon for a matinee multi-member birthday celebration. Oh, and did we mention the City of Austin’s proclaiming September 12th as Parker Woodland Day next weekend?

The hype isn’t just real. It’s fully warranted and well-earned. But if you haven’t heard why yet…well it’s time to climb up and face the music with the LP’s second lead single (and lyric music video) “Ladder At Your Window”. Major Go-Go’s energy on this one and major kudos to Parker Woodland for propelling themselves this far and presumably well past what’s set to the be the first of many more milestones.

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We don’t want to alarm anybody…but today is the last day to submit considerations for the 2025 Grammy Awards. Congrats to everyone who made the deadline, good luck to those still watching the clock and waiting on the latest batch of masters, and condolences to anyone who plain spaced on the date.

Those in that first category find themselves in good company with David Rosenblad. Which makes sense, since David’s what you’d call “hip to the industry”; on top of his status as a longtime Austin mainstay multi-instrumentalist-singer-songwriter-producer, Rosenblad’s also an accomplished TV-film composer and sound designer, not to mention co-founder of Lotus Rose Healing Arts Center, and owner of both DRM: Sir Reel Sound and local studio Thirteenth Moon. And it’s through Thirteenth Moon (which doubles as a label) that David Rosenblad’s set to break a near-half-decade release hiatus with his next album The Sound and the Meaning.

But back to the Grammys…This morning David Rosenblad enhanced his chances with The Sound and the Meaning‘s first two lead singles: “Enough is Enough” and “Like a Sagittarian Archer”. On the latter, Rosenblad adds some healthy horns to the horoscope thanks to trumpeter Wyatt Corder of Big Wy’s Brass Band and Sir Woman for a truly lively effect. Yeah “Like a Sagittarian Archer” hits a bullseye with ’70s-esque energy reminiscent of Stealer’s Wheel and Harry Nilsson.

Grammy worthy? Without getting specific with categories, we’d like to think so.

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Feeling comfortable just in your own skin is a luxury we often take for granted. Sure, adjusting to a problematic puberty is a fairly common experience, as are life-altering eating habits even later on. But where a good chunk of population at least reaps the benefits of a cis-heteronormative construct, the trans community faces struggles even with a sense of belonging in their own skin, let alone within a still-regressive society.

With that in mind, shift your focus to Locuust. Errrr…actually YoursTruuly. Frankly it doesn’t matter, considering it’s the same person: Austin’s Xóchitl who goes by the aforementioned handles as a rapper and producer, respectively. These dynamic double double-U’s might sound familiar if you caught the Song of the Day spotlight on fellow local hip-hop provocateur Free Hamze a couple weeks back. At just shy of twenty, Xóchitl’s alter egos have already proven remarkable maturity, a saga that continues this weekend with their feature-laden debut full-length, Apparent Incoherence.

Apparent Incoherence is a relentless, risqué eleven-song swarm of poignant candor, crushing beats, clever wordplay and undoubtedly a creative A.I. we can all get behind. You can fall in love with the album live when Locuust and YoursTruuly simultaneously takes the stage 11PM tomorrow night at Hole in the Wall for the release show following openers (consisting entirely of Apparent Incoherence guests) CENSORED dialogue, Kardinal Bloo, Chucky Blk, and khxnid!. And on the LP’s sole “leak” “Acupuncture”, Locuust delivers a lyrical plague that grapples with gender dysphoria and body positivity over YoursTruuly’s Alchemist-esque instrumental, which when combined, provide a thoroughly therapeutic experience akin to the track’s title.

So in light of this week’s forecast, like Locuust says…don’t expect it to “rain in the summer”. But you can expect a downpour of multi-disciplinary talent from this young, unconventional up-and-comer as they enter mainstay status here in the Live Music Capital of the World and far beyond.

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As the birthplace of industry heavyweights like Spoon, indie rock is perhaps the most outspoken apex of the Austin soundscape. But depending on who you ask, indie is undoubtedly one of the safest, most inoffensive sonics rock has to offer, at least in the grand scheme of that genre’s mega-spectrum. But if you want something with a little tougher substance underneath the surface, rock ‘n’ roll that bleeds and induces bruises in the audience, there are some solid options right here in the city limits.

Like Ne’er-do-well. Although it started as the one-man endeavor of singer-guitarist Bryan Rolli, Ne’er-do-well’s leveled up into a fiery four-piece. These all-black fashioned rapscallions thrash around the avenues of arena rock and pop-punk for some truly kickass kinetics. Ne’er-do-well’s live shows are like a spate for your heart rate, something that’s been translated impressively well on their September 2022 debut EP Fun Days.

If you want to face the stage antics for yourself, slide by Ne’er-do-well’s single release show tomorrow night at Valhalla alongside Chancla Fight Club and Subpar Snatch. But if you just need a pop-punk pick-me-up to push you through the mid-week hump, fire up Ne’er-do-well’s third single of 2024, one that preserves the hand-drawn skeleton aesthetic of their visual artwork thus far and keeps the energy at its apogee through a three-minute sprint. Yeah, from its introductory drum fill through its rapid fire verses, melodic choruses, virtuoso solo riffs (both on lead guitar and lead vocals), breakneck midpoint bridge, and explosive finish, “I Want It All” almost sounds like Journey if they’d started at the turn-of-the-millennium instead of the early ’70s, albeit with a lot more of that Green Day-esque adrenaline.

So while Ne’er-do-well wants it all, damn if this new tune doesn’t leave us wanting more.

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We’ll level with y’all. Between Song of the Day and Austin Music Minute, we here at KUTX try our very best to get everybody caught up on new releases and local shows. But, the human beings in a bustling musical metropolis that we are, stuff does slip through the cracks. And especially for our out-of-state neighbors who don’t have regular shows here in town, a late shoutout’s better than nothing, right?

So it’s not like featuring Daniel Nunnelee dawned on us just now. Naw, for nearly a decade now, this Memphis-born Nashvillian’s carved a unique niche for himself in the highly competitive fields of folk and indie rock. When Nunnelee’s not out and about photosynthesizing new inspirations in nature, he’s reflecting, recording, and opening for the likes of Madi Diaz and Austin’s own Shakey Graves.

Nunnelee’s streaming numbers have always spoken for themselves, but between the viral explosion of early 2022’s “Pick and Choose” and the release of Daniel’s latest June, Baby a couple months back, it’s clear that Daniel’s ascended to a whole new level of accessible artistry. Now Nunnelee is currently committed to rounding out his national tour through the start of November, so here’s hoping that his recent 3Ten performance wasn’t the last time Daniel Nunnelee steps foot in our fair city limits (maybe a SXSW 2025 appearance? Fingers crossed.).

Again, though, we’re all about giving folks the flowers they’ve earned. And with that we gotta revisit June, Baby‘s second of ten tracks “Do You?”. It’s almost impossible not to crack a smile throughout the tune’s tree-climbing, forest-frolicking music video but the effect is just as impassioned on the audio alone, should you skip the visuals. And that’s on behalf of a beyond-bright arrangement and instrumental refrain, Daniel’s effervescent vocals that add textures like a beautiful hue of bark, and the perfectly flawed lyrical pairing of love-drunk wanderlust with reality-weary romance.

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As much as we admire an intricate arrangement and a progressive song structure, not every tune needs to tout itself as a pocket symphony. I mean, we’ve already got one “Bohemian Rhapsody”, right? So while house and hip-hop may spring to mind when thinking about repetition, there’s an intrinsic simplicity to other styles of songwriting – chiefly in the acoustic corner of things – that makes “one note” compositions truly compelling.

With that in mind, turn your attention to Nashville’s Anna May. Hailing out of Connecticut, this rising singer-guitarist-songwriter specializes in what she calls “alternative tragic Americana”, an unyielding take on the classic Western sound through intimate intersections of jazz and folk. But despite Anna May’s immersion in the healing powers of meditation, so far she’s refrained from recording anything close to what you’d call a raga in terms of runtime.

That is, until today. This morning Anna May rolled out her lengthiest original to date, “The Show”. At almost eight minutes, the duration might be daunting to those who haven’t already pressed “play”. But rest assured, once you fire up “The Show”, you’ll be fully engaged in the jam. Because not only does it showcase Anna May’s endurance, innovation, and country-adjacent charm on both vocals and six-string, but also the poetic, stream-of-consciousness, and scene-setting lyrics that makes old school blues so timeless.

A bit “one note”? Of course. But intriguing front to back? Absolutely.

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It’s New Music Friday. It’s time to pump some fresh life into your playlists so let’s get straight to it; there’s new stuff from an awesome Austinite and a Howdy Gals-presented release show this weekend to boot. Both of which you might’ve already caught wind of through yesterday’s Austin Music Minute.

Yep, it’s Madison Baker, the sultry songwriter who first cut their teeth with classic country and R&B covers in rural East Texas. For the past half-decade-plus, however, they’ve settled nice and naturally into Austin’s abundant indie-alt-pop atmosphere and earned a respectable following on streaming starting with 2019’s “Champagne Shine”. Outside of the solo front, it’s the beginning of a bold new era for this intimate mood-maker as they launch their “cult country” trio Next of Kin next month with the three-piece’s debut single.

And while Next of Kin ticks the box for Baker’s country background, their newest standalone is a real return to form in terms of their R&B upbringing. Instantly entering the ranks of wonderful “Wannabe”s right up there with Spice Girls, GloRilla, and Megan Thee Stallion, Madison Baker just shared “WANNABE” ahead of a single release show tomorrow night at Antone’s alongside our January 2023 Artist of the Month Skateland and The Past Lives. You’re gonna wanna be there, no doubt. Can’t make it? Well, you can still admire the intricate arrangement on “WANNABE”, one that inspires awe with all-too-relatable relationship turmoil, drum fills that hit you right in the feels, sophisticated chord changes, haunting vocal harmonies, and a ton of other nuances that make “WANNABE” a ripe candidate for repeat listens, well after you’ve already memorized the biting lyrics.

So the next time someone realtively-ill-suited behind the mic brags that they’re a sensational singer, you might wanna politely point to this one and say, “you’re just a Madison Baker wannabe”.

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Earlier this year we helped introduce the world to Austin’s TIGERS EYE and today we’re keeping the marble rolling with their latest. To recap, this Austin four-piece is the passion project of frontman Jeremy Baker, an ex-pat of California’s Cydeways and a recent transplant. TIGERS EYE only made their streaming debut this past March, but in the short time since, have earned their stripes when it comes to stalking the grounds of indie, psych, and surf, all of which capture the silky lustre of their namesake.

If you’re eager to get some Eastside action ahead of the weekend, catch TIGERS EYE 10:45PM tonight at Hotel Vegas alongside Jenny & the Jetts at 10PM, Daymares at 11:30PM, and Killer Kaya a quarter past midnight. The occasion? TE’s third official single as part of the band’s full unreleased eleven-track album, “All We Ever Know”. Between the tune’s anthemic lead guitar riff, verses that slink through the intersection of upbeat and mellow, and choruses so smooth it almost hurts, it’s gonna be tough to break contact with TIGERS EYE’s newest chuff.

And as for the show tonight? Go get ’em, tiger.

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You find an act in town. You fall in love with their music. You start making regular appearances at their shows. And then, sometimes seemingly out of the blue…they quit giggin’. Most of us have been there; it’s more or less a rite of passage for any dedicated scenester. But when that act does make that triumphant comeback? Boy, oh boy, how sweet it is.

So we have fantastic news for lovers of longtime Austin indie rock institution BOOHER: they’re back, babyyy! That’s right, after putting things on pause for both pandemic and personal purposes, the eponymous passion project of Michael Booher finally breaks a near-half-decade hiatus. And with some welcome new additions to boot; alongside guitarist Ben Lance, bassist Evan Crowley, drummer Keith Lough, and multi-instrumentalists Michael St. Clair and Brent Baldwin, this latest era of BOOHER invites A. Sinclair’s titular frontman Aaron Sinclair into the fold as a chief collaborator.

The BOOHER boys have been cookin’, and not just in the Texas heat, but with a handful of bold new tunes that feature both Michael and Aaron in the producer’s chair. They’ll be unfurling some of that fresh stuff 10:45PM this Saturday at Chess Club as part of a triple single release show , following Paul Stinson at 9PM, Intercom Heights at 9:45PM, and Dossey at 11:45PM. And the single in question, “All Out Of Ideas” (with its grungy gauge on dynamic range and a hypnotic lead guitar riff) proves that Michael B. et al. are clearly anything but. And between two more originals set to drop in October and December, respectively, plus an album aiming for streaming next Summer, it’s never been a better time to get behind BOOHER.

To any haters? We say “boo hoo”.

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Buenos Aires. Miami. Los Angeles. All three coastal (or with the latter at least coast-adjacent) metropolises that perfectly embody the breezy, night drive-friendly feel of synth-pop. But no matter where contributions to that style get made, once they’re unleashed, they enter the subconscious for world’s internal ’80s-inspired electronic score, whether you’re attempting to court a provocateur, on the lam from the law, or crushing it on the dance floor.

So with roots in Buenos Aires and Miami plus a current HQ in L.A., Magdalena Bay are some of the most qualified international ambassadors and arbiters of the synth-pop sound. For nearly a decade now, these hyper-stylized partners in crime, music, and romance have soared upward to become a mainstay soundtrack for younger generations. And it makes sense. The duo deeply understands the intricacies of proper pop songwriting and production, and have curated a delightfully DIY visual brand that’s clearly clicked with the Tik Tok crowd.

This Friday Magdalena Bay shares their sophomore full-length Imaginal Disk, ahead of the Imaginal Mystery Tour, which includes a stop at Scoot Inn on September 28th. The official website gives you a vivid idea of the vibe on Imaginal Disk (especially with the interactive roadmap and early-internet aesthetic), as does the music video for the LP’s second of three lead singles, “Image”. Because between effects-drenched Minogue-esque vocals, Moroder-reminiscent instrumental tones, and the overall insanely catchy combo of chords and melody, “Image” showcases one the slickest implementations of synth pop formulas this side of the millennium, even by Magdalena Bay’s standards.

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Over the past three weeks you’ve heard plenty about our August 2024 Artist of the Month Big Bill. But be honest…have you seen them live yet? Because despite the quality of their studio recordings, the real magic happens once Big Bill sets foot onstage to a packed house.

Fortunately for those who haven’t yet witnessed the madness firsthand, KUTX Presents Big Bill next Saturday at the Mohawk alongside fellow recent Artists of the Month Grandmaster and Superfónicos plus Cloud Companion. With a bill as big and eclectic as that, you’re gonna get your money’s worth if you stick around all night. But if those other acts don’t scratch a particular itch, and you’re still on the fence about paying the price of admission just to catch Big Bill at the Mohawk, we’ll let their latest offering do the talking for us.

And that’s on behalf of one hell of an accurate sneak peak: a live music video taken from a performance at the very same venue. Sure, Big Bill’s latest, Strawberry Seed, marks a new direction for the band, but there’s no denying the crowd-pleasing cacophonies of their earlier material. So the two-tune medley of “Hawk” / “Trick Everybody” (from 2022’s Public Freakout Compilation and 2017’s Stand By Your Bill, respectively) goes just as hard as the crusty, claustrophobic house shows of Big Bill’s salad days. With frequent cuts to the crowd, the audience engagement is palpable. And with stylistic choices like non-stop jump cuts (seriously, we don’t envy anyone transcribing this to a shot list), hyper grainy resolution, and extreme close-ups, these visuals feel like they came straight out of a late ’90s skate video. And see all those folks up front meshing in with the mosh? That could be you next Saturday…

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Folk music fosters some of the most wholesome creators. And when you look past the transplant apathy that’s rampant within our city limits, you’re usually reminded of that greater Lone Star State trait: kindness to strangers. So naturally, Texas folk musicians are some of the sweetest people you’ll ever meet.

Perfect example? Grace Roberson, who these days goes by the handle Gracky. The Corpus Christi-born Austinite’s got an authentic affection for entertaining audiences of all kinds; long before she was a regular performer at retirement homes, Roberson was an avid national anthem executant, college cover song curator, and talent show competitor, having even passed through an un-televised American Idol audition. With that many things in one woman’s wheelhouse (on top of a recent songwriting and recording routine), you might wonder, “when does she sleep?!” Well, today we may have gotten an answer.

This weekend Gracky releases her fifth studio single since her streaming debut late last Fall, marking her second original offering of the year. “Up All Night” is an affectionate four-minute piece of acoustic ecstasy, whether it’s paired with those 3AM caffeine beans or your new boo’s band jams. The emotional piano-guitar-vocal arrangement is just begging to be used during a dramatic end-of-Act-II montage, not to mention an endearing reminder that listening to Gracky’s velvety voice, even in small doses, is just as fulfilling as a forty-year relationship.

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Song quality is rarely measured in runtime; as long as it “hits”, there’s no need to wear out your welcome. Like for every “In-A-Gadda-Da-Vida” there’s a “Song 2” or a “Disciples”, right? Because when you’ve done everything you need to do to make a tune total, and as long as a quick dose of dopamine translates to the listener experience, there’s a real charm to wrapping your originals up into a neat little package. And that’s doubly true when the number of songs you’ve worked on enters the triple digits.

So it’s not a tangent to bring up drummer-gutiarist-singer-songwriter extraordinaire Josh Halpern, better known these days on the solo front as J Halp. Prior to embarking on this one-man endeavor right as the pandemic hit, Halpern had already entered the annals of Austin music legends thanks to his work with Still Corners, Bayonne, Shearwater, and of course as one half of 2010s local legends Marmalakes. When someone’s memorized as many songs as Halpern has, you might think they’ll end up sacrificing quality for quantity. But instead, this multi-disciplinary madman’s shown he can easily translate his godly endurance for jamming into recording room brevity, and sure as hell hasn’t let us down yet.

Well, hot off a performance with Voxtrot at Primavera Fest out in Barcelona, J Halp’s jumping in with his first solo single of 2024, “You Let Me Down”. Clocking in at just under one hundred seconds, “You Let Me Down” is an impressive psychedelic lesson in the less-is-more mindset, one that manages to squeeze in all-organic drum breaks that spill out killer fills, infectiously unhinged guitar, a hypnotic vocal refrain, and instrumental inserts that make the absolute most of their brief appearances. And since a shorter duration does demand more repeat listens, all we’ve left to say is, “well played, Halpern. Well played…”

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Fifty years down the line from its humble block party origins, we can officially classify hip-hop as a legacy genre. And although there are plenty of genre stalwarts who themselves are “over the hill” and still cranking out quality material, there’s no denying rap is a young man’s game. In terms of the latter, it’s especially impactful when the radical energy shared by so much youth gets even more invigorated over a fire beat.

With that, Free Hamze enters the frame. This Lebanese-born Austin-based rapper’s always relished in the exotic Eastern-meets-Western intersection made popular at the turn of the millennium by The Neptunes. And that ethnic-meets-urban international sound is alive and well on Free Hamze’s next record: FREETAPE 4: Renegade Rap – produced entirely by fellow Austinite YoursTruuly, who at just nineteen years old also makes a couple vocal contributions on FT4:RR under their handle Locuust.

Safe to say, it’s a combination that demands to be seen live. And we’re in luck with two opportunities leading up to the weekend; you can catch Hamze and YoursTruuly tomorrow night at DAWA HQ and again 7-9PM this Friday for the EP pop-up release show at the Airport Blvd location of Abe’s Smoke Shop. So to give you a taste of Renegade Rap, turn up the volume on “Two $idez”, which perfectly encapsulates The Alchemist-meets-Benny the Butcher energy of The Plugs I Met that permeates through all of FT4‘s six chambers, and is a tough contender for the hardest thing you’ll hear all week.

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Between Elon Musk centering his SpaceX escapades in the Lone Star State and wearing a ten-gallon hat backwards…the dude is trying way too hard to be a “space cowboy”. But for those of us who’ve spent enough time here in Texas, at least those who’ve made acquaintances with a few certified cosmic countrymen, we know that’s bogus. Because from what we’ve witnessed, you don’t need an aeronautics degree nor be the world’s richest man to make a name for yourself as an intergalactic vaquero.

Case in point: Garrett T. Capps & NASA Country. For the better part of the past decade, the namesake chief commander of this San Antonio coalition’s shown an impressive flexibility across the nexus of Tex-Mex, but with NASA Country, it ain’t the “cosmic Americana” sound that so many city-slickin’ hipsters relish in; instead it’s what NASA Country calls “cowboy kraut” – a bit of that bold kraut rock mixed in with high octane southern rocket fuel with thrust support from far out grooves and homegrown folk.

The latest update from GTC mission control? Everyone is Everyone, out October 4th (appropriately on Spaceflight Records). Here we thought we’d heard the full “Shadows Trilogy” saga when People Are Beautiful dropped last September, but turns out the “prequel” has just been waiting for the pod bay doors to rotate and open. On Everyone is Everyone, Garrett T. Capps and NASA Country hurdles past any lingering star child infancy and climbs through the synth-acoustic constellations to new heights with the most adventurous route of “cowboy kraut” we’ve heard to date. And while Everyone is Everyone‘s lead single doesn’t formally launch until this Friday, most of us (particularly that poor pair of astronauts stuck in orbit right now) would kill for some of that Colorado climate right about now (maybe save for the hot springs). So if your dogs are already barking this early in the week, take a load off with “Ouray” – because at just over five minutes it makes for one hell of a smoke break soundtrack, whether you’re on a tour pit stop, taking a much-needed respite from work, baying at the moon, strumming a six-string, or gazing into a loved one’s eyes. Not much more needs to be said about this one other than “awoooooo”.

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Ah, Bossa Nova. That jazzy genre so emblematic of playful times na praia, sandy sensuality, intimate sunsets, and overall just good ol’ fashioned summer fun. But whereas in the ’60s Bossa was the genre every pop artist had to try their hands at, these days you rarely get the fresh stuff outside of Brazil. So when you do hear that distinct South American shuffle, no matter what category it’s camouflaged against, it inspires something extra special.

And speaking of “extra special”, let’s make our way back north of the equator to Marlei. Having only introduced herself to the masses in late 2021, the tides are still rising for Houston-born, Austin-based singer Marlei Dismuke. But even with only four singles to her mononymous handle, Marlei’s eclectic respect for all kinds of sounds, infectiously bubbly personality that instantly translates over her recordings, and engrossingly gorgeous vocals, Marlei’s hooked listeners not just in Austin, Dallas, and San Antonio, but way down in Santiago and Buenos Aires. Clearly she’s doing something right to engage international audiences…

Which brings us to Marlei’s latest. Like a pisces leading a full school towards an ocean of infatuation, “No Matter” casts an Ariana Grande-esque trap-pop net over that classic Bossa guitar rhythm for a modern masterpiece of musical migrations. Rain or shine, “No Matter” sounds good in any circumstance. And concerning Marlei’s laughter through a cautious affirmation of that last take at the song’s final sunset? Yeah, girl. “That was it”, for sure.

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Against the annual challenges of triple digit Texas temps, one AC reigns supreme above all the rest: air conditioning. Well…maybe also the alternating current that makes powering on fans and your Margaritaville possible. Our point is there’s another awesome contender for AC that’s also accessible all-year ’round. That of course is Austin country.

And we try not to take anyone in the Austin country circuit for granted, be they time-tested troubadours or recent up-and-comers like Torin Franklin. Torin’s a truer Texan than many of us city slickers could ever aspire to be, since he was born in Abilene before spending formative time in Corpus Christi and Houston, plus a more recent residence in Austin. Genre-wise Franklin first started off smitten by the folk purity of Bob Dylan and John Prine. But as a die-hard admirer of country heavyweights ranging from Ol’ Hank and Johnny Cash to Townes Van Zandt and Waylon Jennings, Franklin’s lately swapped out his acoustic six-string for a twangy electric and embraced a scorching southern sound on his debut album set to drop next year – For the Birds.

As of this publication, we only have one offering off For the Birds, but boy howdy is it a certified honky tonk two-stepper. Among Torin Franklin’s all-star in-studio accomplices for this record is Chase Risinger – which makes for a bit of serendipity since For the Birds‘ lead single and title track almost sounds like a companion piece to The Pendulum Hearts’ “Lost in Austin”. Yep, “For the Birds” is another lighthearted foray into the forbidden fruit of nightlife and neon that’s all-too-familiar for us here in the Live Music Capital of the World. To prime you for the weekend, we recommend getting sky high, cranking up “For the Birds” so till any flock in proximity chirps out, and pray this ain’t the day your favorite haunt finally pulls in your tab.

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When it comes to asking about major milestones like birthdays and anniversaries (whether it’s a piece of media, a pet, or a friend’s kid), sometimes the answer leaves you thinking, “it hasn’t been that long…has it?”. Well that’s exactly what went down when we recently realized that in 2024 Deer Tick is officially two decades old.

Yes, just like other early-mid-aught memories that feel like they just happened yesterday, we’re amazed that the passion project of these Providence rockers is nearly of legal drinking age. To clarify, we’re not saying anything like “ew these dudes are old and irrelevant now”. No. Quite the opposite. Instead, we’re pleasantly impressed with the endurance of these indie alt-Americana darlings and their ability to try out fresh formulas and latch onto new listeners while maintaining much of their signature, twang-adjacent sound – particularly if you keep major musical migrations of the past twenty years in perspective.

And there’s ample evidence beyond Deer Tick’s big list of upcoming headliner tour dates. Just look at Contractual Obligations, album number nine that rolled out a little under a month back. Collating the eight absentees from last June’s Emotional Contracts, Contractual Obligations proves that for Deer Tick, even the stuff that initially ended up on the cutting room floor is worth well more releasing to the masses, and not just as shoddy demos. If you haven’t yet heard Contractual Obligations, we won’t hold you to it (at least not in a binding way). But we do insist you spin the EP opener and lead single “Sacrosanct”. Because on top of the high probability it’ll entice you to enjoy the remainder of the record, the sheer quality of “Sacrosanct” makes us reflect on its titular descriptor in a different way; Deer Tick, seemingly determined-as-ever, is simply too vital for the state of modern music to upend anytime soon.

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Bon Iver. Tame Impala. Bright Eyes. Despite not taking the eponymous route, all three started off as a single singer-songwriter’s efforts and have since expanded far beyond their individual founders. Because even if you’re the chief writer, some of the best ideas simply come from a fresh set of ears, right? Which reminds us of another not-so-solo act smack dab in the the Lone Star State: Music of 25.

Music of 25 is a manifestation of handpicked talent on behalf of former San Antonian/current Austinite Travis Pope. It’s been a decade since Music of 25’s humble origins of ad-hoc ideas scrawled onto cocktail napkins and receipts. But by opening up the project to a revolving door of killer players from Central and West Texas plus Southern Louisiana five years down the line, Music of 25’s matured elegantly with the indie rock energy that can only come from heartfelt, in-person collaboration.

So while yes, clearly these things take time, sometimes the wait between initial inspiration and final tracking is too painful to sustain. This takes us to Music of 25’s three-song EP, Messy, out tomorrow. And though a turnaround from the fledgling sketches of Spring 2022 to the NOLA-based trio recording sessions last fall might not sound all that accelerated, we applaud the release’s title for embodying that bit of a rush to capture greatness. Yet we must confess that the quality of content on Messy is anything but.

We’ll pop in the music video for Messy‘s centerpiece “GS Feels” when it formally rolls out tomorrow, but for now, get Messy this Monday with the EP opener “ME”. The honey-sweet arrangement oozes through sophisticated section changes, incredible instrumental interplay, and a highly dynamic hook, not to mention an extended jam-out bridge that tastefully breaks up the tune’s first half from its last. What more can we say other than that “ME” might be just for you.

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Pop culture references in lyrics. True, they’re most abundant in hip-hop where wordplay is king. But no matter what genre, and honestly no matter the overall song topic, hearing an interjection of media consumption really grounds things in reality. It’s candid. It’s unpretentious. It’s relatable.

Following that cold open, we find ourselves in good company with mr.kat. What started off as the solo sadgirl endeavor of singer-guitarist Kat De Leon has since evolved into a quartet, and more recently a three-piece. Considering mr.kat’s debut single only dropped back in 2022, the indie garage pop outfit’s decidedly still in their kitten phase. But in 2024 mr.kat has been cooking! Err…making biscuits.

After their debut EP I’ll Make It, I Always Do from January and March’s devilish standalone “Sandbox Love”, this morning mr.kat dragged “SAW III” onto streaming. This mid-fi masterpiece is bookended by some seriously sinister tape crackling and sprawling with audio verité (organic mouth clicks intact), but production techniques aside, “SAW III” is actually one of the sweetest things mr.kat’s ever released (in this case, more like freed from a cell). Because there’s no better way to beat the blues of unrequited love quite like some good old fashioned torture porn, right?

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Would you check out a Manhattan theatre troupe called “Broadway”? What about a local DJ named “Dirty Sixth”? Or a NOLA band who goes by “Bourbon Street”? While all those hypothetical examples may actually exist, today we’re keeping it south of Travis County with something in the same vein, albeit much more tasteful and mature.

So let’s make our way to Saint Mary’s Street – a project powered by up-and-coming singer-guitarist-songwriter Jake Roberts. Based on Roberts’ moniker, (which refers to a midtown entertainment mecca just a stone’s throw away from Austin), fellow Central Texans have probably already put two and two together that Saint Mary’s Street is from San Antonio. But don’t let any prior experiences on the Strip trip you up when it comes to initial expectations from Saint Mary’s Street, since the on-streaming iteration of SMS is barely two months old.

That’s right; between late May’s impressive introductory single “Already Yours” and the debut album from Saint Mary’s Street (States and Countryside, out September 4th), yesterday Roberts rolled out his sophomore offering (complete with a demo version and B-side counterpart) “Down in the Storm”. Less a literal testament to testy weather and more an emotionally raw response to racial tensions and gun violence, “Down in the Storm” not only showcases Roberts’ intrinsic vocal-and-instrumental talent but his knack for take-it-or-leave it lyrics – which you’ll surely appreciate whether you’re driving out of Greenville, stuck in office, or chilling at home for its sincere pondering of the state of the nation.

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Few instant pleasures compare with the in-person sight of a palm tree. And Arecaceae have become symbolic for everything from tropic and subtropic vacation spots to nature’s simple gifts and resilience against time and the elements. So we think the name’s a perfect fit for Los Angeles duo The Palms – down to their transportive sound, refreshing coastal flavors, and ability to stay relevant.

In other words, we’ve got no qualms with The Palms and we’d much rather bask in their shade than ever toss it their way. Yep, almost a full decade removed from their breakout hit “Push Off”, The Palms have maintained the mellow that made us fall for them in the first place. And they’ve continued to fan us with the same comfy caliber of retro-inspired rock throughout their post-COVID discography, most recently with the release of Wonderland in April.

This weekend The Palms breeze through Austin! Catch ’em at 3Ten this Friday alongside openers future.exboyfriend and make sure you’re an authentic enough attendee by familiarizing yourself with one of Wonderland‘s heavyweights, “Pretenders”. Because the blend of modern psych-pop influences crashing against chillwave-adjacent choices is truly the heart of Palms.

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“Black Sabbath” by Black Sabbath. “Bo Diddley” by Bo Diddley. “Motörhead” by Motörhead. Is there a way to introduce a new band’s brand better than by making your debut song title and project name one in the same?

Well, especially within the proving grounds of bluegrass – where instrumental choices are often near-identical and distinguishing act from act is usually a matter of vocal character – we think it’s a great strategy. And that brings us to Valley Flower. Given our place in the lush Hill Country, you might’ve already guessed that Valley Flower is based here in Austin. But that doesn’t subtract from some member’s out-of-Texas exposure and upbringings in states like Minnesota, North Carolina, and Virginia – worth mentioning since it’s clearly infused Valley Flower with some unique regional influences that help this quintet stand out in the fields of Central Texas bluegrass.

But it’s not like Valley Flower vilifies bluegrass as bland. Instead Valley Flower cross pollinates those iconic Appalachian sounds with the freshest petals of country, folk, and jam. And while gearing for a pair of shows in late August (The White Horse on the 21st and Sagebrush on the 24th), last week Valley Flower plucked out and presented its eponymous debut to the world, which quickly landed in the bouquet of Spotify’s New Grass playlist. And you can hear why.

In its earliest moments, “Valley Flower” blooms with a twangy ritardando before launching into an ode for life outside the city limits. And though it may seem like the energy wilts after a hair over two minutes…that’s just the halfway mark. What follows is a classic upbeat string sound, no doubt. But in context of the full composition, it’s plenty enough passion, variety, and instrumental expertise to convince us to keep Valley Flower in our viewfinder leading up to their upcoming inaugural EP.

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Looking to cool off with something super tasty this summer? Austin locals are in luck with an opportunity to sate more than one sense in the same sitting!

And you can thank ALLYSE. for all that. A nomadic military brat and classically-trained singer, ALLYSE. turned ATX into her HQ seven years back, where she’s since lent her vocal and multi-instrumental talents to a pair of pop outfits plus former KUTX Artists of the Month Daniel Fears and promqueen. More recently though, ALLYSE. has spent the past year and a half cementing her solo status as a songwriter-producer in the high-demand pop-R&B sector, having blasted out Billboard-quality originals every few months beginning last January.

But as we mentioned before, ALLYSE.’s latest lists itself on the menu as a multi-sensory sensation. By that we mean at the single release party 4:30PM this Sunday at Jeni’s Ice Cream’s Triangle location, you can try ALLYSE.’s custom ice cream flavor “Sparkling Cherry Pie” while hearing her perform live. And since great taste isn’t limited to your tongue’s buds, and it’s near impossible to spoil an aural appetite, treat your ear’s sweet tooth to “Cherry On Top” – ALLYSE.’s sixth single that’d make Dua Lipa lick her lips and say, “delicious”. Because it’s got all the disco-funk retro-hip-pop sprinkles to make this summer an extra sugary one – each time it pops up on a new playlist.

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Yesterday we praised Queen Serene for their ability to pivot away from pigeonholing their own sound. So in that same sentiment of dodging predictability, today we’re calling on another Austinite who’s kept us guessing: Lizzie Karr.

With a range of inspirations that span from D’Angelo to Ani DiFranco, you can already tell from the get-go that Lizzie’s got a lot to offer in terms of widening sonic horizons. And now, a half decade out from Karr’s summer 2019 start and a mere year since last July’s In Real Life EP, this singer-songwriter’s finally earned some well deserved success that’s reflected in recent streaming numbers, especially last October’s “Bitter Lemon” and early March’s “Light On”.

But we prefaced all this by preparing you for a hard left turn, so here it is. Where late June’s “One Woman Army” corralled itself around Texas country soul, Lizzie Karr’s third single of the year “Honey” drips with turn-of-the-millennium nectar and buzzes around the same beehive of blues rock that gave The White Stripes so much grit. As a disdainful tale of a loud-mouthed attention-seeker, “Honey” sure does have some extra Machiavellian oomph against our current political backdrop. But it stays timeless, because just as folks like Honey will continue to spout the same lies over and over, there’ll always be people like the song’s namesake trying to stick out in society where you’d rather they just stick it somewhere out of sight.

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They say you shouldn’t judge a book by its cover. But in an era where song options are limitless, song lengths are preferred shorter, and attention spans are especially acute, patience rarely proves a virtue for new listeners, which means strong first impressions are still worth fighting for.

On that note, this time around we’ll spare the detailed specifics of how Naked Tungs frontwoman Sarah Ronan ascended to sovereign status of yet another four-piece and instead cut straight to it; Queen Serene will make you question every expectation you have about Austin rock. Because as shown on the band’s eponymous debut eight-track from last Fall, Queen Serene serenades through all kinds of courts – from post-punk, grunge, and shoegaze to progressive time signature switch ups, noise, and even ambient piano-synth instrumental. Which, honestly if you were to make assumptions based on the group’s handle alone, really only that last isolated style might match your initial inclinations.

Queen Serene’s current quest? Perfecting the quartet’s second full-length, set to drop this October. Fortunately this weekend us peasants can score a quick listen to some of Queen Serene’s latest through their single release show 10:45PM on Sunday at Hotel Vegas alongside openers Variety at 10PM and closers Water Damage at 11:30 And particularly in a period where women in leadership roles and limited information rollout have both become hot topics in the headlines, we gotta appreciate this sophomore LP’s sole lead single, “Glowing”, for what it is and in all its majesty.

Eager screeches sporadically burst throughout this near-five-minute headbanger, whose distorted full-band riff is heavier than the Iron Throne ever could be. But in line with their penchant for subverting expectations, Queen Serene regally reshapes the mood of “Glowing” with a poppier verse chock full of pleasant vocal harmonies and strangled lead guitar. The lyric-less bridge-to-outro section is arguably the heftiest part of this heavyweight and sets things up nicely for an immediate re-listen.

But again, based on Queen Serene’s ability to keep us guessing, who knows where this post-hardcore spark will eventually lead us? One thing we’re sure of though; Queen Serene’s about to go medieval on our collective ass.

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Depending on your office’s dress code, you might’ve gotten a sarcastic compliment on your khaki business bottoms. Or maybe someone once gave you genuine praise on a sanguine series of work messages. If not, we’ve got a good reason for the phrase “sweet slacks” to enter your mind and exit your mouth.

And that’s on behalf of Austin four-piece Sweet Slacks, who first got together in 2018. The quartet started off strong with a pair of EPs in 2019, plus a third one the following Fall. That said, Sweet Slacks’ studio output has been relatively quiet on this side of the pandemic, that is, up until recently. See, over the past couple years, Sweet Slacks has really been busting their hump with a series of new singles, all of which pinch the band’s collective inseam and press out the creases for some of their best sounding releases to date.

As we zip up to Sweet Slacks’ upcoming full-length, today we officially hit the three quarters mark of this debut LP’s dozen with “Scratch Off”. Where late June’s “Stitches (1&2)” explored the melodic momentum of pop-punk and mid-July’s “Shine” showed the group’s grasp on sparkly shoegaze, “Scratch Off” is a lucky draw for indie rock purists who prefer a middle ground between those two predecessors. After one hell of an anthemic intro riff that goes on to evenly split this four-and-a-half-minute moseyin’, “Scratch Off” breathes easy with distinct dynamic shifts, where the lowered volume of its verses provides some nice variety its more ecstatic, explosive hooks.

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Poetry. Painting. Tailoring. And that’s all in one audacious Austinite’s regular wheelhouse, without even accounting for their live performance pursuits. Like…save some media forms for the rest of us, sheesh!

While there’s assuredly a ton of people out there who fit that bill, today we’re talking about Austin’s Isis Destiny, formerly Amira Isis Destiny. Since being introducted to guitar and lyrical expression in her mid-tweens, Destiny’s done a damn fine job of drawing others into her multi-disciplinary triumphs – be it dancing, DJing, or anything else to help put on an unforgettable show. On the original music side of things, Isis Destiny’s shown a deep understanding of everything from ’90s neo soul to golden age disco, and weaved those lessons into her own inspiring originals, as heard on last September’s Scorpio Rising EP. And apparently Isis’ inspiration is near endless, since just after returning from her first ever tour, she’s already hopping on something new: an alt-jazz-pop project that goes by The Lover Girls Collective.

Yet once again, that’s not all; Isis Destiny is also embarking on a once-a-month collaborative single release, starting with last weekend’s “R U Mine ?”. Before we hand that off though, we gotta give y’all the scoop on ID’s upcoming gigs: Monday, August 5th at Volstead Lounge as part of the Underground Voices all-girl open mic showcase, Saturday, August 10th at Cozy Canna’s 4th street grand opening, and Sunday, August 11th at Wanderlust Wine Co.’s Barton Springs location. Back to “R U Mine ?”…this shimmering specimen of electro-pop (created in tandem with fellow Central Texan Opera Mauv), flirty synths set the mood for highly refined verse vocals, four-to-the-floor drums, and restless bass. Altogether they swell up to and cool off from the UK garage-style vocal chops and snare shuffle of the tune’s minimalist titular hook in such a way that each chorus drop just seems to go harder and harder.

So go ahead and grab it below; it’s all yours.

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If you’re into Japanese cuisine, you know the fresh fish is the best: the nigiri, the good stuff. And while we wouldn’t recommend going so far from fresh that you end up with surströmming, you don’t gotta be a skater to know that there’s a real appeal going for Stalefish.

Faithful to their name, Stalefish stakes the bays of ’90s/’00s rock that’s defined so much of skating culture. But the Austin six-piece does manage to keep those now-antiquated trucks nice and shiny for modern listeners by reeling in the best catches of modern pop techniques, not to mention cycling between three lead singers. But despite making their mark on the local scene with the release of their debut LP Stalefish Does America, the Texas sextet’s facing some trouble sticking the landing altogether – at least in person.

See, one third of the outfit’s splitting from Austin in the near future. But that didn’t stop Stalefish from seizing the moment and making the most out of their physical proximity while it lasts. To that effect, they’re releasing their sophomore album It’s All Down Here From Hill on August 9th. And following up late June’s lead “The Conversation’s Over”, last weekend Stalefish gave us “Becoming the Square”. It’s got that feel good turn-of-the-millennium love right from the get-go, but with the subtle addition of auxiliary percussion and keys plus a psych-out false ending before the real big finish, “Becoming the Square” reminds us why Stalefish stands out in the sea of otherwise blah alt rock.

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It’s a twofer this Friday! We’ve got a brand new release alongside a weekend show recommendation. And both arrive on behalf of arya.

arya’s not just another dime a dozen bedroom pop Billie Eilish wannabe. No, this Belgrade-born bae is almost overqualified for saturated world of pop-hip-hop-R&B; after a decade in Serbia playing classical piano she received a formal jazz degree here in Austin. Still, even in this decidedly contemporary endeavor, arya retains her status as a one woman show – having scored her first ACL Fest appearance and official ACL Late Night Show last Fall.

And speaking of last Fall, following up last October’s “LOVE ME”, today arya shares the second installment from her upcoming EP Insides – a six-song visual album and narrative set for release later this year. In the immediate forecast, arya’s got a free performance midnight tomorrow night at Empire Control Room as part of Hot Summer Nights, where she’ll certainly perform her latest pop-R&B banger, “USE ME”. We wouldn’t be surprised if we heard a sped up/nightcore version of this new one pop up on TikTok, but for us personally, we love the tune’s relaxed tempo. Because it gives plenty of space to breathe between richly textured drums, fat-as-hell synth bass, and arya’s incredible vocals that could end up making Ariana Grande sound more like GoT series finale Arya Stark in comparison.

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Nobody truly makes it “overnight”, right? Sure, with semi-recent innovations like home studios and TikTok the exposure pipeline is more greased than ever. But even then it’s not like the most skilled songsmith just pens something new, gets it tracked, and has an instant hit the very next day. No, you need years of experience, your share of stages to cut your teeth on, and with rare lo-fi exceptions, a high enough production value to put the hook in the masses.

So today we’re doing our part to help fuel the flames for Austin up-and-comer Jon Funnell. Jon’s Cedar Park upbringing was largely spent with his trusty six-string in tow, but only leaned into his songwriting predilection once he became a Red Raider. When the pandemic hit, it apparently gave Funnell little pause; Jon dropped his aptly-titled debut full-length Coming of Age that same and chased it with the following January’s “Late Night”, which has since acquired a quarter million streams on Spotify alone. Now, after six years of gigging around town, Jon Funnell’s teamed up once again with Victor Gaspar of Orb Recording Studios to produce his finest-polished piece of work to date.

For someone whose tastes were still developing when Demon Days first dropped, you can instantly hear the Gorillaz influence on Funnell’s latest single, “BREAKAWAY” that dropped earlier this week. Between water smooth synths, airtight drums, and Damon Albarn-esque vocals that recall an East Austin nighttime extravaganza that sandwich a super catchy chorus all in two-and-a-half minutes flat, yeah…”BREAKAWAY” may just end up being Jon Funnell’s breakout.

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If you fancy yourself as a rock and roll historian, there’s a high likelihood that you already know the name Jesse Malin. One of the earliest purveyors of the New York hardcore sound, Malin began mounting his place as a pop culture icon in the ’80s with Heart Attack before becoming a glam punk powerhouse in the ’90s as singer of D Generation. Malin went solo at the turn of the millennium and has since shared a stunning nine full-lengths.

But longterm success rarely comes without significant hurdles. Last May Malin suffered a stroke that left him paralyzed from the waist down. All things considered, Jesse’s doing okay; he’s gaining strength in his legs and on a daily regimen of physical therapy to get him back onstage doing what he loves the most. That’s of course a costly endeavor, so thankfully those who’ve felt Malin’s impact are giving back in a big way. And that’s through Silver Patron Saints: The Songs of Jesse Malin – out September 20th.

With all proceeds benefitting Jesse Malin’s Sweet Relief Fund, this loving tribute album pulled in heavy hitters like Bruce Springsteen, Lucinda Williams and Elvis Costello, Dinosaur Jr., Spoon, and so, so, so many more. Including some more modern acts who can dutifully introduce Malin’s immense work to the younger generations. By that we’re referring to industry darling Jack Antonoff’s indie pop project Bleachers, who brought a super fresh take to the Glitter in the Gutter cut “Prisoners of Paradise”.

So if “Prisoners of Paradise” captivates you and you want to help with Jesse Malin’s recovery, pre-order Silver Patron Saints on vinyl.

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Let’s say you get selected as a live band member for a certified star…when you’re also scoring for high profile streaming networks and constantly trying not stealing the spotlight as a session musician. Yeah. Chances are, you’re pretty good.

So let’s look at Caleb Veazey – reared here in Austin but now based out of Northeast Los Angeles. Caleb spent a couple years backing KUTX favorite Jess Williamson on vocals, guitar, bass, and synth and continues to receive praise from Jess for his strong songwriting. And on top of providing original scores for the likes of Netflix, Hulu, and Disney, early this year Veazey had the privilege of playing alongside jazz icon Bennie Maupin. As a gun-for-hire, that’s a rap sheet that speaks drastically to Veazey’s versatility and talent.

About a month and a half back, Caleb Veazey unveiled his sophomore full-length, Movie Stars & Politicians, an LP that leaps across modern jazz, indie, pop rock, and dare we say proto-punk. Yeah, aside from individual song similarities to Flaming Lips and Elliott Smith, “Teleprompter” channels the raucous, unrestrained aura of mid-late-’70s CBGB – somewhere between T. Rex, early Devo, Richard Hell, and New York Dolls. It’s unhinged. It’s awesome. And even if you don’t know the words after a few listens, you’ll definitely know your start cue to wig out when the guitar solo kicks in.

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You might’ve caught last Thursday’s Austin Music Minute on Lord Buffalo. But even if you did, it’s a record release worth shouting out again.

You see, this Austin quartet’s been grazing across in the psych-Americana range for a dozen years now – spanning from their 2012 eponymous EP, their 2017 eponymous full-length, and their early pandemic installation Tohu Wa Bohu. And if you couldn’t tell from that last listed entry, Lord Buffalo’s got a real way with words.

Well, true to LB’s latest LP title (which translates to “all at once”), Holus Bolus gives you a bit of everything – post-punk, psychedelia, blues, and of course, Americana – across seven songs mixed and mastered by Danny Reisch and Max Lorenzen, respectively. The record dropped last Friday, just a few hours after Lord Buffalo wrapped up a release show at 13th Floor. But now that Lord Buffalo’s on the road and building up a new herd of listeners on a month-long national tour, we don’t want their hometown fandom to go the way of the…well…do we? So it’s best to set aside the full thirty-eight minutes to appreciate Holus Bolus front to back and uninterrupted, starting with the album opener, title track (and music video), “Holus Bolus”. Walking on water, banging drums against barren landscapes, shredding fiddle in the thick of the woods, curious coyotes, and enigmatic prisms – each cresting across dunes of heavy desert rock? Yeah, “Holus Bolus” has it all.

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Self love. Loss. Disco balls. You’ll feel the freeing energy of all three across two neat little packages later this year.

We’re talkin’ about Austin’s secret soul weapon, Sir Woman. This week Sir Woman broke the news about an upcoming twin release – two full-lengths set to drop this fall – If It All Works Out and If It Doesn’t. The gemini finds Sir Woman in top shape, and marks the first time Kelsey Wilson‘s facilitated some full-band co-writes, ultimately the closest experience to emulating their live shows we’ve received to date. Speaking of live shows, Sir Woman performs this yin-yang across two nights at The Parish on Saturday, July 20th and Sunday, July 21st. And if you really want to do your homework ahead of those shows, check out an extensive interview with Sir Woman’s Kelsey Wilson from yours truly.

But let’s get to this new stuff. While the Burt Bacharach-style, ’60s-swing arrangement of “Who You Gonna Love” perfectly captures the carefree essence of If It All Works Out, its counterpart “Never Gonna Give Me Up” tackles the realist-optimist attitude of If It Doesn’t. A luscious groove from its first snare fill all the way through its tambourine-conga outro, the track’s titular vocal refrain is so damn easy on the ears. And with in-the-pocket vocal harmonies, progressive-soul intersections of piano and organ, plus some tasty breakdowns, Sir Woman’s sense of soul reaches the summit of jazzy classiness, and selective rejection’s never sounded so sexy.

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Ready for something brand new? We got you! Take our paw, lean back, crack a clam open on your belly, and float downstream with some fresh ATX talent.

Introducing Margo Scout. This the inaugural indie rock project of Austin singer-songwriter Rachel Pierron, who just graduated from UT. So sure, Pierron may still be young. But with Margo Scout’s basal offering, Rachel’s shown wisdom well beyond her years – not just in terms of songwriting expertise, but indeed deep understanding and authentic empathy.

So it’s with great pride that we premiere Pierron’s very first studio single, “Otters”. Taking inspiration from toxic relationships impaired by codependency, chemical addiction, and emotional instability, “Otters” aren’t so cute and cuddly in this all-too-human context. Liquid guitar riffs, distant shimmering keys, and babbling percussion patterns paddle perfectly alongside the drowning imagery of Pierron’s pained-yet-powerful vocals. And especially after the fragile piano-vocal duet outro of “Otters”, our hopes are about as high as they get for Margo Scout’s future musical prospects.

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Feeling the heat and humidity outside for just thirty seconds confirms it: we’re well past the season of birds and bees. Yet even as cicadas steal the atmospheric spotlight with that iconic, steamy soundscape of theirs, birdsongs never really go out of style – Cindy, ornithological vocalizations, or otherwise.

So let’s talk Passiflora. Having only released their debut EP eponymous last March, this Austin three-piece (who performs live as four with the addition of bass) is still only a nestling with a handful of tracks to their name. But their jazzy juxtapositions of neo-soul and alt-R&B (not to mention, all around just great hair) have made Passiflora into sensuous Central Texas vibe – one that we could easily see Erykah Badu getting behind.

And as we endure this summer’s early trials, Passiflora have teamed up with producer Rafi Rosenthal to incorporate something new into their aural aviary: synth. Passiflora’s resting up from last night’s release show at Community Garden, but their latest single, “Backyard Birds”, is only just now spreading its wings. And boy oh boy does it sure beat the raucous squawks of H-E-B Hancock’s ever-growing grackle plague. Over the course of this new tune’s four-and-a-half minutes, you might just dissociate enough to confuse the ground with the sky, thanks to subtle shifts from muffled MIDI programming to airtight physical drums, featherweight vocals (complete with some surprise processing), and guitar grooves that carry this musical migration all the way to the horizon.

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When you look past the vast sea of love lyrics out there, songs inspired by natural phenomena are just about the greatest equalizer across music’s history. And it makes sense; there’s something so primal and timeless about evoking the rumble of thunder, the whip of wind, or the roar of the ocean. Sure, you can point to jazz or blues as place for many a rainy day refrain, but if we’re talking about a truly bucolic bond to nature, even in modern digital times, folk really relishes in reflections on the weather – be it good or bad.

Yes there are plenty of youngsters who appreciate that longstanding tradition, but here in Austin we’re doubly lucky to have a two-and-a-half decade veteran who clearly “gets” what makes folk tick – Amy Annelle. Going back to 1999’s Which One’s You?, this singer-guitarist (who also once went by The Places) has made her largely-percussion-less, Muir-esque musings a delight to listen to, whether you’re in the midst of a midday picnic or a weekend-long hike through the nearest national park. On top of a provably popular take on Townes Van Zandt’s “Buckskin Stallion Blues”, Amy Annelle’s rightfully earned opportunities to work with folk legends Bill Callahan and Daniel Johnston, and corralled her own octet of handpicked Austin talent to help enhance her transportive originals – The Velvet Hand.

Fortunately in 2024 Amy finds herself on the other side of a long struggle with chronic illness. With her health back in good shape and the life lessons of those tough years under her belt, Amy’s eager to pay that array of recent experiences forward with The Toll, out August 2nd. With the help of The Devil Makes Three’s Cooper McBean on production, Neko Case engineer-producer Darryl Neudorf on mixing, and industry icon Greg Calbi handling the master, The Toll is a one dozen offering of fine-tuned folk that sounds as pristine on home stereo as it would strumming and humming in a dilapidated deep woods cabin. At the tail end of this month, Amy Annelle’s set to play The Toll in full for the album release show on Saturday, July 27th at Scottish Rite Theater alongside opener Creekbed Carter, benefitting Communities For Recovery. But now that that’s in the forecast, let’s get back to nature.

One of The Toll‘s two originals that engage with the gargantuan aura nature wields over us all, the LP’s third lead single “East Texas Son” arrives especially poignantly as Tropical Storm Beryl leaves millions of fellow Texans without power. From flowing rivers and raging hurricanes to hungry quicksand and breezy, burning thunder, the ominous lyrical precautions of “East Texas Son” are elegantly offset by an optimistic orchestral, acoustic arrangement, one that reminds us of the healing power of nature, even after a catastrophe. But it’s also the sound of a seasoned songsmith returning to form at the top of her game.

Is that thunder you hear? No. It’s our applause for Amy Annelle.

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Short attention spans and TikTok sensations. That’s one of the biggest pairings in modern media today. So you can’t really blame younger creators for taking the quantity-over-quality approach and just cranking out singles, essentially playing a numbers game for potential traction. But let’s be honest. You’d rather hear something from a patient perfectionist than an enthusiastic opportunist, right?

That brings us to Karima Santi. Santi’s spent her life developing into a prolific songwriter, but found herself at the tail end of her twenties with only one single on streaming to prove it, a revelation that she wasn’t getting any younger, and a desire to take action instead of wondering, “what if”. Ever since, this Nigerian-Austinite’s honed in on a relationship with stalwart producer Chris “Frenchie” Smith to further flesh out Santi’s very best and package them together as a cohesive formal introduction.

And that takes the form of Karima Santi’s debut EP, Queen of Regret, out September 13th. A six-song reckoning with the problematic perfectionism that’s prevented so many from hearing Santi’s talent, Queen of Regret is a measured acceptance of human flaw, intrinsic to the type of vulnerable indie rock Santi’s always excelled at. So while physically visiting the state itself doesn’t sound all that appealing in the midst of another summer heatwave, the EP’s latest lead single “Arizona” transports you to Queen‘s immense emotional landscape and earns its place among other great women indie rock compositions with location-based song titles, like Mitski’s “Valentine, Texas” and Maggie Rogers’ “Alaska”.

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Craving some musical soul food for this weekend? Treating yourself to some Foxglove ought to be a good fit!

Since 2022 this Austin six-piece has scattered their musical remedies through fields of funk, soul, and R&B alongside forays into indie and hard rock. And as heard on last October’s Ephemeral Daydreams EP, Foxglove forgoes the generic formulas in favor of authentic, moving passion pieces.

They’ll be taking the stage as part of the Happen Twice Showcase 8PM tomorrow night at Güero’s Taco Bar, where their handful of recorded tunes will be joined by Foxglove’s latest newcomer: “Sunday Highs”. There are a lot of moving parts to this single; how it starts sure ain’t how it ends. But the complex song structure of “Sunday Highs” alone speaks volumes to Foxglove’s versatility, not to mention how well each member’s talents play off one another in this sprawling five-minute emotional journey.

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Happy Fourth of July! As with every Independence Day, you know people are gonna be celebrating loudly, music blaring. If you’re set to watch fireworks from Lady Bird Lake, from experience we can expect a cacophony of sonics from the sea of individual bluetooth speakers. But by and large, across the Lone Star State, we’re foreseeing another July 4th full of country tunes. And while we recognize that country is often stereotyped as that blindly patriotic genre, that stance does overlook all the human nuance and contrasting aspects of American culture that songwriters have innovated with over the decades, no matter how ranch-ready their fashion may be.

So to commemorate our nation’s birthday, let’s crack open a couple cold ones with a handful of righteous DFW dudes – Counterfeit Cowboy. Despite their deceptive handle, these five fellas are actually pretty damn authentic in the Americana country corner of things, as heard in their still-limited discography that just kicked off this May. And we’ll CC y’all on Counterfeit Cowboy’s upcoming couple of live local shows – 8PM on Monday, July 29th at Hole in the Wall and again 8PM the following Monday, August 5th at Sagebrush.

But back to the big holiday. If egregious intake is in the cards for you, number one: enjoy responsibly. Number two: pair your favorite cooler pick with Counterfeit Cowboy’s second ever single that just dropped last week, “20 Beers”. Sure it’s a few shy of a full case but at just short of four minutes, “20 Beers” sates with a “Bad Baby”/Sarah Jaffe type chord progression and the soulful inclusion of wide vocal harmonies, bongos, and keys, all of which will make you want to sip united with your fellow statesmen rather than hog all the cans for yourself.

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What happens when you possess all the technical prowess to make a modern record and a newfound abundance of time, but you’ve never tried your hand at music? Best get crackin’, right?

At least that’s the backstory behind Austin producer Scott Osborn, better known by his creative alias The Brothers Burn. Sure, Scott’s already in his sixties, but that hasn’t stopped this retiree from swinging for the fences – with a personal goal to crank out this generation’s Speaking In Tongues, Wild Planet, or even Demon Days. And those big three give you a great sense of The Brothers Burn’s style, pop and funk with a little bit of a electro and lot of party appropriateness, which we’ve heard plenty of since The Brothers Burn’s Christmas 2020 debut.

But at his age, Osborn’s also got the wisdom to know not every song needs profound lyrical inspiration; you truly can just say “life sucks sometimes” and hit record. Case in point: The Brothers Burn’s latest single that hit the proverbial pavement this morning. Channeling that electronic adjacent, mid-late-’90s/early millennium aggression in the ilk of Korn, Linkin Park, or Limp Bizkit, “Stepped In Gum” is somewhere between a spiritual successor to “Break Stuff” and a cut track from the Blade II soundtrack.

So Scott, where’s the vampire rave at?

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Remember that expression “in the house” that was used to show enthusiasm about someone or something’s presence in close proximity? Yeah, you don’t really hear that one much anymore in the 2020s… But if you do want something that’s retro without sounding too dated, deCasa is sheer delight.

Since 2019, deCasa’s Ricky Santiago-Cruz has incorporated his Puerto Rican upbringing into this Austin solo project with effusive flavors of funk, soul, hip-hop, and reggae for a breezy, inner-city-meets-remote-island vibe. On top of that, this Caribbean Cowboy’s the head honcho of his very own label, the emerging Rock Bottom Cartel. And with the added experience of playing alongside KUTX favorites Mobley and The Bright Light Social Hour, Santiago-Cruz has mastered the art of moving the crowd as deCasa.

Speaking of which, ahead of an open invite free house party on Saturday, July 20th (DM Ricky on Instagram for all the deets), last week deCasa rolled out a soulful, synth-y piece of daytime disco. So if you wanna start shit on the dance floor without breaking too much of a sweat, “INSTIGATOR” is short, sweet, and begging for rhythmic feet with a relaxed uptempo energy that doesn’t sacrifice the accessibility of its slick, Jamiroquai-esque grooves.

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Rhythm, melody, and chords. Those are what make the language of music universal. And that’s why even if we can only sing along phonetically, we still appreciate the beauty of a tune, no matter what tongue it’s in – no subtitles necessary.

So let’s talk Rulitos. The Chilean-American multi-instrumentalist-songwriter behind this curly-haired handle is Daniel Sanchez, who first earned local familiarity through his electric guitar work with Austin quintet Turtle Pond and original scores for dance productions and films. And no doubt those multifaceted experiences (especially aligning movement and emotion with music) have helped Sanchez’ strength on the solo front as Rulitos. Seriously, Rulitos soars with an atmospheric acoustic folk aura that makes him sound like the bilingual, Spanish-speaking love child of Nick Drake and Elliott Smith for a wholly transportive effect, and when you hear his recent recordings, you know we’re not exaggerating.

Speaking of such soft sensations, Rulitos’ introductory collection of cuatro canciones, EP 1, is out tomorrow. Rulitos will be taking these new numbers to stage for a free EP release show tomorrow at Vaquero Taquero alongside Fuvk, Sprig, and Cloud Companion and again Saturday evening at Coral Snake with Pam Reyes and Other Vessels. Ready to wrap your fingers around EP 1? Luckily the record’s lead single “Envuelto En Tus Uñas”, is the polar opposite of nails scraping on a chalkboard; minimalist MIDI drum patterns massage unhurried acoustic guitar arpeggios underneath ethereal layers of breathy vocals and a pseudo-orchestral climax to create a serene en Español scene that’ll leave you thinking, “que linda es” to say the least.

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If you want quality culture here in Texas, the surname Franklin has been shown to be a strong indicator. There’s BBQ pitmaster Aaron Franklin, The Suffers’ frontwoman Kam Franklin, and…native Austinite Sam Franklin.

This producer/engineer/songwriter’s been formally doing his solo thing since the mid twenty-teens, and if you check out his streaming numbers on Spotify alone, they’re not too shabby! Although his style is mainly anchored at the bay of indie pop rock, Franklin (with his fervent falsetto vocals, multi-instrumental mastery, and proven understanding of pristine mixing) actually has some dang good range; Franklin keeps his formulas fresh with elemental forays into trap, R&B, soul, and breakbeat.

But today Franklin returns to his forte of radio-ready indie rock with Sam’s latest standalone “Blanket”, that just as he describes is, “kinda like Weezer meets Dayglow”. At least we can hear it. It’s got that eponymous blue debut guitar distortion setting the mood, infectious lead refrains and lyrical vulnerabilities that give Rivers Cuomo a run for his money, and that emo-adjacent emotional weight that makes folks like Sloan Struble and Sam Franklin such accessible streaming darlings.

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What’s that old stereotype about the acting hubs of L.A. and New York? Oh right. Every server you meet is actually an actor who’s just waiting tables ’til they score that sweet screen time. Which is fairly different from music hubs like Austin, where success is less about streaming numbers and more about overcoming artist multiplicity to make yourself stick out amongst the crowd. Yeah, the dissonance between the “Live Music Capital of the World” and status as one of the most expensive places to live has pretty much guaranteed that if you’re not in a corporate role…there’s a fifty/fifty chance you’re also a musician in your free time. And if you can find a profession that matches your passion, more power to you.

Take people like JC Barrett. If you’ve attended any of the events from the recently-wrapped 2024 spring season of KUTX’s Rock the Park live series, you’ve heard Barrett and his fellow Werd Company engineers making our featured artists sound mighty fine out at Mueller. But outside The Werd Company (which, full disclosure DOES serve a sponsorship role for Song of the Day), Barrett applies that technical prowess and tremendous passion to his Austin project Painterly. Serving as chief producer, songwriter and multi-instrumentalist, Barrett’s already steered this indie pop three-piece through an enthusiastic introduction, culminating in Painterly’s debut EP from last April, What’s the Year?

Last Friday Painterly unfurled their latest single and music video “Ok/Alright”. As the stylized title implies, it’s somewhat of a two-parter with a bit of a left turn in its final minute. But don’t get thrown off by the “blah” aspect of the words themselves in the title. Because “Ok/Alright” is actually an awfully optimistic piece of indie pop, one that’s an actually an endearing testament to the comforting power of love and connection in the face of day-by-day medicated malaise.

So if the Monday blues have got you down, cheer up. It’ll be Ok. Alright?

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Yesterday was the summer solstice, not that you’d be able to tell with how grey and rainy it was. So to complement this week’s inclement weather, we’re getting a little foggy this Friday. And that’s on behalf of Fogwood.

Down to three members from the original four we heard on Fogwood’s eponymous 2022 debut, this Austin outfit lets their multi-instrumental imagination run loose with players alternating between guitar, keys, synth, mellotron, cello, and theremin. In doing so, Fogwood almost obscures who’s playing what and when, which is ultimately an ideal for their meditative, transformative, and free associative electronic instrumental arrangements.

Well, just in time for the summer solstice, Fogwood and the celestial elements aligned with the release of their sophomore full-length Inner Chambers yesterday. True to its title, Inner Chambers is a cavern-deep sonic experience that expands more than you may expect, albeit with no tight squeezes spoiling transitions between the seven intriguing tunes. They’re all great. They’re all weird. And they’ll all fill you with a feeling of awe. But we’ll give a special shoutout to Inner Chambers‘ centerpiece “The Mystic Valley” for its percussion-less, Philip Glass-esque arpeggios and atmospheric pads that almost sound like a cut track from the Koyaanisqatsi soundtrack.

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In the casual hookup community, even lovers with the highest body counts (especially those outside cis-hetero norms) might agree; it’s not size, shape, presence, or lack of specific anatomical features that make the biggest impression after the act. No, the quality of your “bits” may actually come second to a sense of enthusiasm when turning what could’ve been a vapid interaction into an unforgettable encounter. You know…”the motion of the ocean” and all that.

Sorry. We’re not trying to give anyone the ick. We just needed a little foreplay before introducing you to Subpar Snatch. First off, “Supbar Snatch” ain’t a bait-and-switch…like if a middle aged man named Richard were to go by “Mid Dick”; check their labian logo lest you misinterpret the band’s handle. Secondly, this Austin ménage à trois of mania and talent has managed to standout in the turbulent world of punk and garage shows which, whether in liminal concrete spaces or on sticky dive bar stages, are usually messy encounters full of technical missteps, sloppy techniques, hair getting caught in things, and performances so short they often climax before the crowd’s hardly half-cocked.

Haven’t slid into Subpar Snatch live in concert yet? Let ’em satisfy you this Pride Month with a gig next Wednesday at Still Austin Whiskey Co. for Gay Heat: Benefit for Equality Texas and a single and music video release show 11:30PM tomorrow night at Chess Club, with openers Sunspite at 10 and Bat Lips at 10:45, plus closers Hell Fury a quarter past midnight. And that new single, “Juicy Booty” is one of the trio’s most aggressive and accessible to date. With a pristine mix that preserves that in-garage gusto, a start-and-stop instrumental riff that’ll make you pull something in the pit, a half time bridge breakdown that edges towards a big finish, and individual intensities that layer together perfectly, “Juicy Booty” is a succulent, stimulating testament to what makes this three-piece anything but subpar…and why denying naughty song titles is plain asinine.

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Happy Juneteenth! While it’s now a national holiday, it’s always been a celebration here in Texas, where historically Black hubs like Houston were notified of the Emancipation Proclamation and the Civil War’s end later than the rest of the states.

And it’s Houston that gave us our July 2021 Artist of the Month Daniel Fears. We’ve already gushed about Daniel a ton, chiefly around his Frank Ocean-esque vocals, sophisticated sense of liquid R&B sonics, and seamless transitions between trombone and piano. These days Daniel’s a household name all on his own, but that couldn’t’ve happened without all his time spent as brass-for-hire in the neo-classical circuit.

That neo-classical element recently had a real full circle moment with the release of Close To Home a couple weeks back. Recorded live at KMFA’s Draylon Mason Music Studio, this six-song session presents Fears’ passionate compositions in an unforgettable, all-acoustic and unplugged orchestral way, one that simultaneously emphasizes Daniel’s individual talents as well as the importance of thorough, thoughtful arrangements. Well, just in time for Juneteenth, there’s a screening of If They Took Us Back (the score for which Daniel contributed to) alongside a special solo concert appearance 7PM tonight at The Paramount Stateside.

That said, if the high chance of thunderstorms has you considering couch lock for this evening, transport the Draylon Mason Music Studio to your living room stereo with the Close To Home cut of “Home”. Because everyone has the right to feel at home, no matter who they are.

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We’re right at Pride Month’s midpoint, so just as a refresher: no matter how you identify, be proud of yourself! At the same time, it’s worth acknowledging our place in a progressive city, a quarter century into the 21st, because not every Queer person’s been blessed with those privileges; more often than not, it’s a real struggle for acceptance that ends with the ostracized eventually splitting town.

Like, look at singer-songwriter-pianist Luke Smith. After spending time in Seattle with outfits like St. Yuma and Westmoreland, Smith has cemented himself within our city limits, where he (with the help of his backing trio) dropped his debut LP The World Is Such a Beautiful Place a month back. Not the biggest transition in terms of migrating between musical hubs, but growing up Queer in rural Oklahoma was obviously a much different story.

And as a matter of fact, that was the basis for Smith’s own fictional retelling of events, “Jimmy”. Wrapping up the The World…‘s first act, “Jimmy” maintains the LP’s mellow keyboard core and sense of cautious optimism against oppressive realities, in this case delivered from the perspective of an estranged sibling. It’s a poignant addition to an already-powerful album and a beautifully bleak interpretation of how much pain can come from a loss of belonging.

So remember, make others feel welcome around you. Otherwise you might end up making them leave. And there’s no need to put extra pain on anyone else’s plate in this perfectly flawed planet.

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In the world of singers, acting cutesy doesn’t necessarily negate sophistication. Like, we’ve seen a lot of success in going north of mere infantile novelty and co-opting that puppy love naivety in a way that’s accessible to all age groups. And while we can point to a major movement of such with jazz-pop hits from the ’40s through ’60s, it’s especially true post-Ariana Grande’s impact on our modern musical environment.

Just ask Alexi 8bit. This Austin multi-instrumentalist-producer just wrapped up last month with her sophomore EP Softy. Between Alexi’s pink dress, ribbons in hair, and oversized teddy bear on the album artwork and track titles like “Dreaming From My Childhood Bed”…yeah…there’s some extremely girly energy engulfing Softy on first glance. But past that surface level aesthetic, when you actually sit down and listen to this thing, it’s clear that no one other than a grown ass person could accomplish something so mature. I mean you can’t score an ongoing residency at Fairmont Austin’s Room 725 lounge without having ample class, right?

And you don’t have to identify any which way to be moved by Softy‘s five-song selection either. So before you celebrate Pride Month with Alexi and the full 8bit band on Sunday, June 30th at Cheer Up Charlie’s, kick back with the cool keys, expertly-executed vocals, bear-hug-big harmonies, and comforting lyrical company of the Norah Jones-esque “You Don’t Have to Be Alone Anymore”.

I’m not crying; you’re crying.

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Depending on who you ask – a coworker, a friend, or a family member – they’ll all have slightly different takes on your “character” based on previous interactions and observations. But what about those parts of our identities that never reach the surface? Those personality traits that stay buried deep within us?

Well, we won’t pretend to be experts on your psyche. But we will point to some folks who are fascinated with those covert personas. And that’s Molecular Steve. Don’t be fooled by the name; it’s not a solo act. Instead, what started off as a father-son endeavor has expanded into the Austin nine-piece it is today, full of close knit bonds compounded by a shared creative drive. And while this atomic family affair’s still in a fledgling phase, you wouldn’t be able to tell just from the caliber of their existing material.

Following up last month’s introduction “Heavens to Betsy”, today Molecular Steve takes another small step towards their eponymous fourteen-track full-length, set for release July 19th. All about unearthing those beasts within, Molecular Steve‘s second lead single (and music video) “Wolfman” is a sonic silver bullet that pierces through bluesy layers of cosmic Americana and indie psychedelia.

Howl yeah, Steve. Put us down for a spot in the microscopic pack.

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Random acts of kindness: we can’t recommend ’em enough. Because it’s those little gestures you catch in the wild that help us make new connections (no matter how brief or passing), break past malaise and monotony, and recognize the world as a more compassionate place. And new connections are also a key component to what makes The Wild Kindness one of a kind.

We wouldn’t call The Wild Kindness’ frontman Mike Alexis a wunderkind, but we do give him kudos for evolving his former Bay Area solo act into the five-piece it is today by recruiting some of Austin’s finest, post-relocation. Now, a dozen years down the line from TWK’s debut Coming Down to the Ghost, this quintet’s cemented itself among the city’s chief chamber rock projects. No, it’s not like their compositions are contrapuntal, convoluted, or anything; it’s just the welcome inclusion of orchestral elements like strings, brass, and woodwings that really makes these jangly arrangements stand out in the artist-flooded field of indie rock.

Well, comin’ up in a couple days, The Wild Kindness has one heck of a weekend in store. They’re sharing The Blind Trust this Friday, followed by a free EP cassette release show 8PM this Saturday at Drinks Backyard alongside The Heavenly States and Great Howl. But you don’t have to put your faith in The Blind Trust strictly on our word. Because the album’s lead single that dropped last October, “No One Belongs Here More Than You”, is the coziest piece of melancholy to come out in a while. The two alternating chords and candid lyrics of its verses alone are enough to get us emotional immediately, but its the well rounded instrumentation (slow cello swells, rainy ride cymbals, rippin’ lead guitar, et al.) and uplifting dynamic range make “No One…” a true triumph of human acceptance.

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When you’ve spent decades making great records for other people, you’ve got all the tools to do it on your own, right? Yeah, although producers often get relegated to a “man behind the curtain” position for other artists’ critical success, at the end of the day they’re some of the strongest shapers of sound.

Take industry heavyweight producer-engineer-songwriter Mark Hallman, who’s been helping elevate albums for nearly half a century now. Mark’s best known for his work with Ani DiFranco, Eliza Gilkyson, and Carole King, the latter of which moved down here with him to Austin back in 1980. Since then Hallman’s been a standout in Austin’s already rich production roster, but with the exception of 2016’s “The Voyage“, he’s kept his own solo compositions largely cooped up.

At least he did until this past May, when Mark Hallman released his debut full-length Light Trick, seven tracks that capture Mark’s amalgamation of musical talents. The material may be recent, but the sound is exactly what you’d expect from Hallman’s late ’70s upbringing, folk rock formulas and all. So set some time aside to let Light Trick take you on an eclectic trek, starting with the LP opener “Bright Star”. Don’t stop shinin’ anytime soon, Mark.

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Since its advent at the turn of the millennium, the term “swag” has lent itself to plenty of manufactured personalities. We don’t hear “swag” much anymore, which is fine by us, since swagger ought to come naturally; it shouldn’t be too sophisticated.

You take one look at multi-instrumentalist Jared Mullins, who (in the best way possible) looks like a mix between Robert Plant and Big Lebowski‘s “The Dude”, and you know right away he’s a shining specimen of swagger. And appearances aside, Mullins’ project Holy Roller Baby – now half a decade strong – even refers to their spectrum-spelunking style of rock (heavy more often than not) as “primitive swagger”. HRB’s debut LP Frenzy was a ferocious feast that kept us pretty full for the pandemic’s first couple of years, but we sure were pleased to get a second round of standalone singles starting last March.

Well it turns out the Austin quartet’s already got another one in the can and ready to let loose in the coming months. They announced their next full-length Smile In Heaven (set for release August 23rd) last Friday with the record’s lead single “Speaking In Tongues”. We won’t recommend making out in the middle of train tracks for obvious safety concerns, but we will urge you to check out the Super 8 music video for “Speaking In Tongues”, since it’s such a powerful emotional accompaniment to what sounds like Holy Roller Baby’s Central Texas twist on Radiohead’s “Creep”, high contrast dynamics, unhurried grunge arrangement, impassioned vocal performance, and all. Rock on, Rollers. Rock on.

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Ah, Friday afternoon. A beautiful time to be a daily worker, at least in an era where weekends are the norm. And not just because of the standardized two days off. No, there’s also new music from Austin outfit Daily Worker.

The trio typically conjures a non-centrist, counter-capitalist aesthetic, down to their choice of band handle and favorite fonts. Though even if you don’t jive with their specific societal commentaries, the music itself – eclectic by all accounts but most often seeped in the psych-folk-rock made familiar by fronting singer-guitarist Harold Whit Williams other project Cotton Mather – doesn’t require much convincing to enjoy on its own.

It’s been nearly a full year since Daily Worker last recorded with KUTX favorite Chris “Frenchie” Smith at The Bubble, and we’re finally approaching the release of their upcoming EP MF Genius, dropping July 30th. Just from the production value alone, there’s clearly been a ton of loving care and consistent work put into MF Genius, which undeniably elevates Daily Worker’s historically lo-fi sound. And this morning we got the record’s centerpiece and second of five originals, “Street Cred“. Saturated in that turn-of-the-millennium alternative rock aura that Frenchie’s so efficient at fulfilling, “Street Cred” basks in the accessible simplicity that only a sub-three-minute track (and minimalist music video) can offer, even with a rippin’ Robert Fripp-esque guitar solo fit for The Court prog-ing out its midpoint. You don’t gotta be smart to know this rocks.

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You might’ve caught wind of our own Michael Crockett’s retirement announcement, which means his Sunday evening program Global Grooves will grinding to a halt in just a few weeks. It’s a bittersweet end to an era, no doubt, but fortunately there are other potent purveyors of world music right here in the city limits.

Folks like Austin four-piece Atlas Maior, whose masterful melding of international influences with experimental jazz have made them one of the most truly unique acts in ATX over the last decade and a half, with a recent itinerary that speaks for itself. Hot off a month-long tour over in Morocco, Atlas Maior’s back in town and about to tear into the Deluxe Edition of last February’s EP Hadal.

Hadal Deluxe Edition marks Atlas Maior’s first physical vinyl release as a culmination of their past four years of flourishing, and they commemorate the moment tomorrow night with a two-performance live taping (8PM and 10PM, respectively) at one of the quartet’s favorite haunts, Monk’s Jazz Club. And it’s not just a matter of finally getting to hear Hadal on wax; Atlas Maior made sure to include a couple eclectic goodies in the package as well. Side B’s latter half pairs two non-Hadal remixes that both dropped in April 2021, the latter of which, “Jah Ali – Doctor Phono Remix”, exudes exactly the right kind of breezy Middle Eastern energy to keep our heads cool through what’s set to be a scorching summer.

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Progressive metal and drum n bass. Two high octane genres that we here at KUTX could be a lot better at curating. Just for today, though, we’re getting some local help from a whole new world of both styles.

We’re talking about Austin’s Bryn Terranova, who on top of her time as a graphic designer and a consistent cat foster parent, has also recently been making a name for herself as a pretty kickass vocalist-producer. Terranova introduced us to her complex, frenetic sound back in April with her debut streaming single “Lost in Echos” – a must-hear for any upbeat electronic enthusiast. In the month-plus since it dropped, “Lost in Echos” has kept our blood pumping and our heart rate at a healthy high, but Bryn Terranova’s newest really ratchets up the aggression by smelting some much appreciated metal into the mix.

With the help of Pulso Critico vocalist Natalia Nekare, Terranova’s sophomore installation “Fueled By Fate” is unfalteringly ferocious from front to back. Down to the choice of kick drum tones and pairing of saturated synths and distorted guitar, “Fueled By Fate” does a great job of blurring the lines between synthetic and organic, DnB and prog metal, and emotional and unhinged. Whether you’re speeding down the highway, flying through the gates of Valhalla, or just getting some work done, “Fueled By Fate” will put your gear into overdrive and keep your motor roaring whenever you need a double dose of sonic adrenaline.

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Despite the already-blistering temps down here in Texas, Summer doesn’t officially start for another couple weeks. And with exactly one month to go until Independence Day, Hot Dog Season is coming up quick too. But you can’t have hot dogs without ketchup, right?

Well, we’re set to have plenty of ketchup on deck over the summer thanks to our November 2018 Artist of the Month Zettajoule’s frontwoman Meggan Carney. These days Carney’s up north in New Jersey raising a family with her fellow Zettajouler Matt Sheffer. It’s a big life update and a gargantuan undertaking, but that hasn’t made Meggan forget about her musical roots. Nope, a full decade removed from her last EP BOMBZ AWAY, Meggan Carney’s finally back pursuing her passion in solo songwriting.

Perhaps inspired by her now-two-year-old son, and consequently any toddler’s favorite condiment, Meggan Carney will be sharing a sling of singles over the upcoming months that’ll be bottled together as The Ketchup Chronicles. The Ketchup Chronicles‘ first dab – aptly titled “Ketchup“ – came out a month back. “Ketchup” doesn’t attempt to be overly fancy in its phonics; instead it relishes in the lo-fi indie folk psychedelia that’s always made Meggan such a treat to listen to. But with production provided by Sheffer himself, “Ketchup” is a huge step up in sound from Meggan’s pre-existing discography, retro sensibilities aside. Seriously, “Ketchup” sounds like a long lost tape from the ’70s, that, just like ketchup packets, enjoys zero listed expiration date.

So what are you waiting for? Catch up with Carney and The Ketchup Chronicles before your plate gets too full.

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We rarely get to bask in the music of The Balkans, so there’s never a bad opportunity to toss the spotlight over to Romania. There’s a language barrier to the lyrics, no doubt, but the actual sounds are often familiar enough to make them plenty accessible to Westerners.

Case in point: om la lună, which translates to “man over the moon” in English. Over the past half decade this quartet’s proven themselves to be one of Bucharest’s best, thanks to their one-of-a-kind fusion of post-punk, indie rock, and synth pop. Still high off their live album Fazele Lunii from this past February, om la lună kept on the wing with the release of their latest single “Pescărușii zboară” last Friday.

With a title of “Seagulls Fly” for us English speakers, this tune and A Flock of Seagulls’ iconic ’80s style are absolutely birds of a feather. Everything about it, the driving drums, slick synth arpeggios, gargantuan guitar reverb, and impassioned vocals make for an exceptional driving playlist addition – whether you’re just headed to your local grocery store or trekking from the Danube Delta past the Carpathian Mountains.

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As one of the southernmost states to neighbor Latin America, it’s no big surprise that Texas is home to loads of great Latin music. But what really catches us off guard is the abundance of infectious Afrobeat energy right here in Austin. And if we put Latin Psych on the same spectrum as Afrobeat, you start to realize how many local acts get down on each others’ grooves.

Like Austin quartet lluvii. Say it with us: “U-V”. As heard on their debut EP Pacifico from last December, lluvii’s sound breezes through coastal south-of-the-border psychedelia, primal rainforest-ready percussion, and incredibly intriguing indie art rock, all anchored by the idiosyncratic soft siren vocals of frontwoman Carol Gonzalez. For some, that may be enough range to call it a day there and stick to established formulas moving forward. But for lluvii, the journey of genres has only just begun.

lluvii’s got a new EP on the way, produced by Grupo Fantasma/Caramelo Haze visionary Beto Martinez and set for release on August 2nd. The record’s lead offering, “Up All Night”, finds lluvii embarking on an ultra-vibrant, effervescent exploration of Afrobeat that features percussionist Victor Cruz from chicha-cumbia conquistadors Nemegata and keyboardist Anthony Farrell of old school R&B artisans Greyhounds. Even if you’re planning on checking out the single release show 9PM tonight at Cheer Up Charlie’s alongside Sexpop and Rococo Disco, it’ll be a challenge to sit still if you’re stuck in office after pressing play on this one. Because with unbreakable horn lines, un-ending auxiliary percussion, bold beat breakdowns, furious rhythms, buoyant bass work, intoxicating guitar chords, and Gonzalez’s mystic vocal presence, “Up All Night” will keep you going til dawn.

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The rapid rate of single rollouts in hip-hop have really made us take remixes for granted. Because when it’s as simple as revisiting the beat, rewriting a verse, and inviting in a few new voices, “I like the remix better” becomes a given with pretty much any commercial success. Which is a shame, since remixes are a great opportunity to breath new life into a piece and reach new listeners with just the right amount of crossover appeal…think “Walk this Way” by Run-D.M.C.. Heck, even if it is pretty much the same song, a fresh set of polish, a literal re-mix, can make an old tune sound new.

If you’re already hip to remix culture, you know it started around in the Dance Halls of ’60s-’70s Jamaica, where DJs stripped and rebuilt reggae, rocksteady, and ska to cater to different audience demographics. And reggae – where the riddim reigns supreme and formal covers are often lost in the id of universally accessible dub bass lines, timbale fills, and guitar skanks – is undeniably an extremely underrepresented arena here in Central Texas. But if there’s one act who just keeps on roaring strong, it’s Austin-via-Chicago four-piece Lion Heights. And of course they’ve incorporated a few other Caribbean-inspired cubs into their pride, including fellow Texas-via-Jamaica reggae purveyor Sean Austin, who they teamed up with on last September’s “Jah Love” (off Lion Heights’ Not Done Fighting Riddim album), 2020’s “One Love”, plus Christmas 2021’s “Same Girl” and “Mercy” (both from Austin’s Purple Hearts LP).

“Mercy”‘s an amazing track, but its relatively lo-fidelity mix leaves the rest of the song quality at the mercy of the listener. Thankfully though, Lion Heights bassist/engineer extraordinaire Dane Foltin worked his magic on “Mercy” to bring it up to snuff with a Tuff Gong mix just in time for a steamy summer. You can hear the difference right away; there’s a newfound clarity and the sense of space is now island-wide, like a long overcast sky suddenly becoming sunny and spotless. Not much more to say other than we love this song, and we’re thrilled to hear it finally get the high-fidelity treatment it’s always deserved.

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Sometimes all you need to reignite a long dormant project is just revamping the name. Well…that and maybe a brush with death for good measure.

At least that’s what recently rekindled the creativity for Nashville four-piece Babe & The Crystals, who first started out a decade back under the handle Kid Freud. Kid Freud called it quits in 2018 and the pandemic rolled through soon after, as did a tornado that tested frontman Alex Tomkins’ limits. But with everybody ultimately okay and Kid Freud’s catalogue accruing impressive streaming numbers online, Tomkins’ latest batch of tunes proved too good to keep cooped up. And after the release of their existing material under the Kid Freud umbrella album this March, it was finally time to put that six-year hiatus to bed and re-solidify the fellas as Babe & The Crystals.

Based on how natural and rejuvenated Babe & The Crystals sounded on this month’s reintroduction “Forevereverever”, you’d have never guessed they spent so much time apart. And though that revival evoked the artsier side of indie rock (spoken word verse and crazy catchy hook included), Babe & The Crystals really shine on their millennium-enmeshed second installment, “The Way You Love Me”. If you made a dartboard of your favorite indie pop rock radio darlings from the late ’00s, “The Way You Love Me” hits the bullseye dead center between ’em all. Rock on, babe. Rock on.

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Pride Month kicks off in just a few days, and to help you celebrate in style, we’re swirling the colors with a rising Queer project. And that’s Lavender Scare, whose midcentury reference of a band handle alone tips you off to their championing of LGBTQ identities.

Chief songwriter Ruby Del Mar commands the quartet with high-octane vocals and riveting rhythm guitar, collectively creating what they call “slop pop punk”. And based on what we’ve heard from their upcoming debut Bites, that’s a pretty accurate classification; the power chord subdivisions and instrumental synchronization might not be perfectly precise at these breakneck tempos, but with pop-inspired chord sequences and radio-friendly runtimes, this four-track introduction almost sounds like Against Me! mixed with Yellowcard, all with a bit of a Queer Texas twist.

We’ll be able to sink our teeth into Bites when it hits streaming this Friday or in-person for the record release show 8PM next Thursday at 13th Floor alongside Shysters and Reality Refugee. But until then, embark on Lavender Scare’s snark with the EP’s lead, “I Hate Saturdays”, because like the anthem to a bizarro, weekend-loathing Garfield, this loneliness-engendered tune’s gonna leave you hungry for more.

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Lookin’ to rage this Memorial Day? Well we’ve got something that you might not’ve expected but’ll definitely do the trick.

And that’s in reference to Austin’s Cara Van Thorn, initially born from Donkey Island ex-pats Adam Donovan and Carrie Stephens who continue to spearhead what is now a six-person wagon train. Since Fall 2019, this whimsical, bristly cavalcade’s become a common sight in modern swing circles, but their penchant for upbeat prohibition-era Jazz has always been leveled out with starker styles of rock, specifically ’90s Alternative and ’80s Goth.

And boy did the latter sound steal the show on Cara Van Thorn’s latest single, “Rage”, that just swept through last Friday. Between a menacing theremin, some absolutely disgusting synth bass, simplistic-yet-sinister percussion, subtly tense horn chords, and ominous lyrics that effortless shift between first and second person (further enhanced by additional vocals from A Good Rogering’s Skunk Manhattan), “Rage” sounds like Frankenstein’s monster ripped the bolts out and unleashed all the emotions bottled up beneath to an unsuspecting village. In other words, Cara Van Thorn totally went beast mode on this one.

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If you mainly draw inspiration from older generations, after taking a lengthy break, you may find that the needle on your tastes has moved forward in time too. At least that’s what we’re seeing unfold with Austin project The Cuckoos.

Ostensibly the one-man band (who also operates as a four-piece) of flock leader/multi-instrumentalist/songwriter/producer Ken Frost, The Cuckoos have historically nestled around classic rock, psych, and funk. But after flying off in a near half-decade-long songwriting hiatus, The Cuckoos have recently come home to roost in the best way possible – with a touch of New Wave.

Ahead of their next record (produced by KUTX Favorite Chris “Frenchie” Smith), this morning The Cuckoos clocked in somewhere between Soft Cell and Depeche Mode with “Dirty Pictures”. “Dirty Pictures” goes face to face with the ’80s aesthetic with four-to-the-floor drums, raunchy guitar, salacious synth stabs, arousing lyrics with moody vocals, and a snapshot sound effect that’d make Duran Duran nod knowingly. A lot of producers might say “don’t go crazy” with a new sonic direction…but c’mon Ken…if you keep going cuckoo for the flashback stuff, you sure won’t rustle our feathers.

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Ever since we first caught sight of them in 2022, we’ve continued to make room for Grandma Mousey in our wheelhouse, even after their initial nest expanded from three members to five. Yeah, Granny M’s grown on us so much over the past couple of years, that we don’t mind ratting on their talent again at all.

Because between endeavorous concert stage props, Apollo program-era influences spanning from psych and classic rock to jazz, a humble refusal to take themselves too seriously, and an ongoing obsession with grasshoppers in their song titles (see the previous point), this Austin indie rock lab experiment feels like an anthropomorphic version of Fe, Fi, Fo, Fum, and Phooey, spacey tastes included. And coming off their third studio installment Couch Surfing from last October, they’ve stirred local show rodents into a modest following…at least enough to keep the Orkin man from shuttin’ ’em down.

Now, a half decade out of their hole, Grandma Mousey’s stickin’ their not-so-elderly indie rock whiskers into something that’s a little less Mothers of Inventions and a little more your grandma’s speed – Motown-inspired modern rock. And that’s on behalf of “When I’m Not There”, the lead single from Grandma Mousey’s upcoming EP Slime Community – out this Summer. Where Vanilla Fudge famously put a decelerated, painfully melodramatic twist on The Supremes, Grandma Mousey maintains the powerhouse harmonies, infectious hand claps, upbeat tempo, and major chord progressions of soul’s golden era, albeit into strange places of softly sweet, paradisal psychedelia thanks to some choice synth swells, liquid bass lines, and far out lead guitar.

In terms of Grandma Mousey’s gig next Friday at Anderson Mill Pub? We hope you’ll be there. To Grandmother’s mouse we go!

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No matter how much success a young artist finds down the line, there’ll always be opportunities to pay respects to their predecessors and contemporaries. Whether it’s an early choice (Nick Cave & The Bad Seed’s Kicking Against the Pricks), a mid-career reset (Souxsie and the Banshees’ Through the Looking Glass), a later vocation salute (Bruce Springsteen’s We Shall Overcome), or the final chapter of a band’s studio discography (RATM’s Renegades), a collection of covers can make for a real triumph within a musician’s catalogue.

Among the Austinites with bright futures, bygone muses, and a legitimate respect for their musical elders? Our October 2016 KUTX Artist of the Month, Carson McHone ranks high. A decade removed from her debut Goodluck Man, collective millions of streams accrued for her originals, and current headquarters in Southern Ontario, Carson’s certainly manifested a fast track to international recognition. But despite that familiarity in the Folk-Americana-Country forum, McHone will still take prudent humility over precocious hubris any day, as made clear on her upcoming EP ODES, out July 19th.

Just like the title implies, ODES holds a handful of homages to some of McHone’s biggest influences from the ’60s and ’70s – including Conway Twitty, MC5, and Margo Guryan. And the EP announcement arrived this morning alongside the third of ODES‘ four covers and the EP’s lead single – Carson’s take on a Arthur Russell posthumous fan favorite with an already-rich history of cover versions from the likes of Glen Hansard and The Avett Brothers, and inherently feminine renditions on behalf of Jessie Baylin and Elizabeth Moen. But where Baylin approached “I Couldn’t Say It To Your Face” entrenched in folkadelia and Moen with eggshell delicacy, Carson’s evokes her trademark warmth and Southern confidence by swapping out the original organ for a pretty straightforward acoustic-electric-guitar-and-piano pairing, all while maintaining the original’s tasteful breakdowns and painful farewells. And after watching the accompanying music video, we just can’t wait to watch Carson McHone perform this one in person…honestly with a little eye contact and face time preferred.

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Although we’re bound to find a silver lining eventually, when we take the time to really look at the world we live in – gross injustices, grievous atrocities, shared struggles and all – it can make staying inside super appealing. And for sonic creators, as long as the bleakness doesn’t make the music meek, the weight of societal commentary can say a lot about an artist’s maturation.

So let’s talk Austin Indoor Creature, who you may remember as our June 2021 Artist of the Month. Initially born from a stripped-down duo between singer-songwriter Caleb Fleischer and drummer-guitarist Travis Kitchen in the mid-2010s, Indoor Creature’s since evolved into one beast of a six-piece that breathes new life into their retro collection of influences. For any project who made it to this side of the pandemic, the outlook’s gotta be more optimistic. But as we mentioned before, harsh realities don’t just get hushed when the juices start flowing.

Marking their second standalone installation since 2021 full-length Living in Darkness, last Friday Indoor Creature embraced iniquity once again on “Cross The Line”. With a robust pop backbone and Fleischer’s vocals that evoke Thomas Mars, “Cross The Line” reminds us of the tragedy-spurred background behind Phoenix’s Ti Amo. But instead of gating the heck out their instrumentation and keeping the BPM far north of 90 (both straight out of Phoenix’s radio-friendly playbook), “Cross The Line” relishes in a spacious, stereo-spanning mix and a truly introspective tempo. And for an act that call themselves “Indoor Creature”, they’re sounding awfully human on “Cross The Line”, thanks to its jazzy dynamic range, soulful chord progressions, extended jammy outro, and of course, the socially-conscious lyrics.

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Save for those with seemingly disposable resources, often nonprofits get stuck in their original stomping grounds. So when a local endeavor expands enough to inspire, incorporate, and impact folks far beyond their initial reach, it’s cause for celebration.

That brings us back to Project Traction, spearheaded by our personal favorite philogynist audiophile – Spoon drummer/Public Hi Fi producer-engineer Jim Eno. Through Project Traction, female and gender-fluid musicians pair up, put fresh perspectives in the producer’s chair and find middle ground with all-women artists. And sure, Eno is present to provide technical expertise and a keen editorial ear during these sessions, but really, it’s the women who turn Project Traction into such magic. Sadly though, the depressing lack of women-on-women productions isn’t just limited to the creators of Central Texas.

Thankfully though, Project Traction’s already gained enough ground to grow past Austin’s city limits and all the way up to Colorado. And the forthcoming Project Traction: Volume Two kicks off today with a pairing of Producer Briana Harris (alto saxophonist of Greeley soul nonet The Burroughs) with Denver indie rock trio Barbara. Together alongside Eno, Briana and Baraba have mind melded the masterfully-mixed, super moody “For Good Measure”. It starts off as a pretty simple, straightforward indie rocker, but just past the halfway point, the dynamics shift, the arrangement gets more abstract, and the overall artistry goes off the wall all the way to its beautifully abrupt final chord. Well done, ladies. Well done.

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For us uncultured Americans, we tend to invent a caricature when we hear about a “French songstress”. Yes, we let our assumptions automatically paint a picture of a smoky nightclub against a traumatic war torn backdrop, a slender figure in haute couture wardrobe, cigarette in one hand, microphone in the other, and lyrics toutes en français. The reality, of course, is much more of a mixed bag; I mean c’mon…we’re talking about a massive nation with a century-plus of cross cultural influences here.

Enter: Stephanie Rodd. The Parisian-Londoner up-and-comer pardons herself past the stereotypical chanson midcentury chic of Edith Piaf or Juliette Gréco and instead slides towards the more contemporary energy of acts like Adele, Estelle, and the late Amy Winehouse. Based on what little we’ve heard so far, there’s no doubt that Rodd’s time in England has helped her find the right R&B-soul-pop soundscapes for her singing style that’s reminiscent of Jorja Smith.

And in 2024, as part of a rapid trajectory, Stephanie Rodd’s shooting for the moon with the release of her debut EP next month. Following her mid-February introduction “Worth It”, Rodd’s sophomore single “Stronger Than Ever” finds Stephanie sounding…well…just like the song title. It’s an intriguing, minimalist arrangement filled with passionate chord pads, seductive synth squeaks, carnal guitar, trap-type drums, and soul-warming subs – all anchoring a bold vocal mix of triplet rhythms and unconventional melodies.

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Back in the day, if you were to walk around downtown, you’d hear one predominant sound spilling out of at least every other 6th Street venue: blues rock. But as the landscape of the “Live Music Capital of the World” has evolved and diversified, frankly, so has the state of blues rock itself. And if we’re talking local aural ornithology, there’s a fine specimen that just chirped out something bold.

And that’s Wild Wren. Having only released their debut LP Love Deluge in March 2022, this quartet is still in their fledgling phase, no doubt. But through that nine-tune torrent, Wild Wren’s proven that they’re not just pigeonholed to the the traditional twelve-bar bore. Instead, those straight up jams soar across hard alternative textures and indie-inspired licks, essentially capturing a piece from that turn-of-the-millennium commercial radio backdrop and making it their own in a contemporary context.

And if there’s any producer here in Austin that understands the harder side of that indie-alternative spectrum, it’s Chris “Frenchie” Smith, whose ever-growing brag sheet includes work with Jet and The Darkness. Wild Wren recently linked up with Frenchie for their latest single, and surprise to know one, the result finds the four-piece’s already-fuzzy style fluttering to new, expertly-engineered heights. At a feather under four-and-a-half minutes, “I’M A BIRD” instantly reminds us of a time when acts like Audioslave and Foo Fighters dominated the airwaves, with slower and soulful blues-infused chord changes defining the verses while heavily-melodic motivation overtakes the hooks, including a masterful dynamic range reset midway through.

Ready to get on the wing with Wild Wren? Catch ’em live WTF Icehouse 8PM next Wednesday and again in a few weeks, 10:45PM on Friday, June 7th at Saxon Pub, ’cause those shows definitely aren’t just for the birds.

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For a lot of self-made bedroom producers, lo-fi isn’t just a creative choice; it’s a necessity. Yeah, not everyone has the technical prowess, access to equipment, or funding to match the pristine masters of their commercial radio contemporaries. But when lo-fi folks like that gain the resources to make the leap up, it’s hard to step back down.

Now let’s jump to multi-instrumentalist-producer Chris Galis, AKA Genuine Leather. Galis has spent a decade tanning Genuine Leather’s lo-fi synth-pop-rock sound, so when GL’s label-supported debut Genuine Pleasure dropped last November, the higher production value felt like a significant departure – even though the songwriting formulas were still intact.

Well, given their latest standalone, Genuine Leather’s clearly comfortable in their newfound high-fidelity factory…and we sure as hell aren’t complaining. “Getting Used to the Feel” maintains that Tame Impala quality we gushed about last June, but slows its roll and finds Galis’ vocals in a more spacious arrangement, which totally makes sense in the context of its immediate post-COVID “return to normalcy” penning. That said, the tempo is real treat for a mix as polished as this one, and there’s no way “Getting Used to the Feel” could carry that arena-filling energy in a lo-fi forum. But we’re sure it’ll translate onstage when Genuine Leather plays the single release show 8PM this Thursday at the Mohawk alongside Minivan Dad and Mr. Kat. As far as Genuine Leather headlining bills and dropping highly professional recordings? Better get used to it.

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If you’ve kept posted on Austin quartet Big Bill, you know they’re in somewhat of a post-pivot position. Yeah, after years of establishing their space in the oddball-deadpan-art-punk sector, Big Bill pulled off a risky switch to more of a ’90s-style indie rock sound with their Summer 2022 full-length Public Freakout Compilation. And while we’d never go so far as to call our bbs in B.B. “inoffensive”, the exploration of indie does add a sense of mass accessibility to Big Bill’s idiosyncratic, off-kilter aural antics and intoxicating melodies.

So given their ongoing path in that same direction, we’re already drooling over Big Bill’s upcoming third LP Strawberry Seed. See, in carving out a more “mature” niche in indie rock, Strawberry Seed actually seeks to emulate the childhood nostalgia of a kindergarten art project – less the acceptance of anxiety in adulthood and more the abstract incipience of early, blissfully unaware expression. In that pursuit of fuzzy warmth, Big Bill’s included backup singers, acoustic guitar, synthesizers, and piano to their traditionally straightforward punk arrangements.

We won’t be able to harvest the fruits of Strawberry Seed until it hits streaming June 14th, the same day Big Bill plays a free in-store performance 5PM at Waterloo Records. But if you want to get an early taste, Big Bill’s set to share some samples 9PM tonight at The Mohawk as part of a big bill that also includes Tied Up and Gustaf. And if you want to blow your mind with how much Big Bill’s sound has evolved, fire up “Emotions” – which is decidedly less like Suicide and more akin to The Black Keys trying to out-weird The Minutemen. It’ll leave you feeling a way for sure.

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Short-term shelter ain’t just part of a discreet routine for affairs and flings. Naw, as an integral piece to any touring musician’s itinerary, lodging has found a cozy place in the songwriter space, ranging from themes of post-breakup lifelessness (“Heartbreak Hotel”), raunchy encounters (“Chelsea Hotel #2”), and tour torpor (“Holiday Inn”) to whatever the hell “Hotel California” is about. That said, the humor intrinsic to a hotel setting (ya know…where depending on your chain preferences you might end up in near-identical rooms no matter your place in the nation) rarely shines through.

But if there’s one person who can appreciate the comic side of musician life (even in motel minutiae), it’s Austin’s Jomo Edwards of Jomo & The Possum Posse. Most folks know Jomo from his virally successful 2011 Guy on a Buffalo YouTube series. But Jomo’s not just a one-trick marsupial. And after three studio full-lengths, a live LP, and an EP of hip-hop covers, him and The Possum Posse certainly aren’t playing dead anytime soon either.

In fact, for their fourth studio offering Yesterday’s Coffee, they may have even stepped their game up by handing production duties over to Shinyribs’ Kevin Russell. So naturally, shortly after the album drops, Jomo & The Possum Posse open for Shinyribs themselves 8PM tomorrow at Radio East. And if you really want to curb that Jomo FOMO, catch The Possum Posse 5PM today for a free in-store performance at Waterloo Records. In the meantime, we’ll get you checked into “La Quinta”, which evokes the bleary-eyed elevator ride up that’s defined so many wind-downs – ideal for a Side A closer. And given its place in the ranks of treasured Texas staples spawned in San Antonio like H-E-B and Academy, it’d be no huge surprise if “La Quinta” scored The Possum Posse an ad placement on behalf of their corporate namesake.

Either way, with pizzicato plucks, six-string stabs, wailing organ, a bridge fit for a continental breakfast, and a chorus so catchy you’ll be singing it all the way to the front desk, “La Quinta”‘s earned Jomo et al. a complimentary stay in the Presidential Suite for sure.

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Summer’s just over a month away. And with the birds and the bees still bringing new life into Spring, it’s a great time to appreciate fresh acts. So let’s stick a dipper into one of the latest projects to come out of Austin, Honey Luck.

This Americana trio was born out of an auspicious meeting between Brian Pounds and Beth // James’ Jordan and Mikaela Burchill during a Kerrville songwriting competition. The buzz between them was too good to pass up and ever since a session at the Burchills place years later, they’ve stuck together as Honey Luck. Now technically, Honey Luck only made things official this past January. But like a nectar-encrusted horseshoe ringing the stake on the very first throw, Honey Luck’s already had a prosperous start to what’ll surely crystalize into a long-preserved career.

By that we mean Honey Luck’s landed a sweet residency 6PM each Monday in May at the Saxon Pub opening for Austin icon Bob Schneider and recruited six-time Grammy Winner Vance Powell of Chris Stapleton and Sturgill Simpson fame to produce their debut single. A viscous mix of vocal harmonies, heartfelt guitars, and Western fashion paired with a pseudo Super 8 music video that oozes with contagious laughter, sincere smiles, and joyous local performances, “Red Line” has given us our first taste of what’s to come from Honey Luck. And with more tunes already solidifying in their hive, we feel like Honey Luck’s good fortune’s still got a long way to go.

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If you’re a fan of that synth pop section of indie electronica in the ilk of Goldfrapp, Grimes, and CHVRCHES…there’s a relatively recent artist right here in town that’ll absolutely scratch that itch.

And that’s Steel Gemini, the Austin-based project of singer-songwriter-producer Joy Baldwin. Ever since her December 2022 debut, Baldwin’s been a real joy to listen to thanks to everything we mentioned last March. With a brand already as strong as her metal namesake and a standard of quality consistent enough to match, Steel Gemini’s standalones have left us patiently waiting for a fuller collection of tunes.

But that’s in no way meant to knock her sixth single “Only Freak” that just dropped last weekend. Its introductory four-bar coupling of sampled vocals and electric guitar almost misdirects you into thinking the rest’ll sound like The xx. But really, that’s more of an atmospheric backdrop throughout “Only Freak”‘s four minute runtime, where minimalist drum programming, massive bass synths, shimmering pads, and Baldwin’s featherweight vocals end up stealing the show. Safe to say, the only thing freaky about this is if it ended up being Steel Gemini’s sole output of the year.

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In an environment as dense and competitive as Americana, a unique set of lens can really help you stand out. But if that habitat appears even remotely unnatural to others, every little bit of local color improves your odds of surviving in the long run.

Meet Jana Mila. Mila’s Amsterdam upbringing was spent in the cross-cultural intersection of her family members’ individual passions: Brazilian, Big Band, and Indian. Ultimately though it was indie folk Americana that inspired the rising multi-instrumentalist singer-songwriter to take her originals to local Dutch stages at the turn of the last decade. Fast forward to Summer 2022, when Mila moseyed over to Nashville for a songwriting excursion. The connections she made there led to a strong start to Mila’s studio discography with her introductory “When Times Get Rough”, which has already raked in millions of streams.

Turns out Jana Mila blends in so well with the Nashville aesthetic that you’d never guess she wasn’t a native. And that’s absolutely reflected on her ten-tune debut Chameleon. Tracked and produced at Todd Lombardo’s studio in the heart of Music City, USA, this introductory LP carefully camouflages Mila’s unique character against backdrops of West Coast Folk, ’70s rock, and Tennessee country. The announcement of Chameleon‘s August 30th release came last Tuesday alongside the arrival of its lead single, “Somebody New” – an honest reflection on a mid-relationship self-revelation. At just short of three minutes, “Somebody New” is a no-nonsense, straightforward piece of intimate storytelling and an ideal addition to your next breakup playlist, with one hell of an earworm hook.

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If this late Spring’s got your spirits shook up and you’re looking for some renewed motivation to tend to your garden (be it literal or figurative), we’ve got a DFW act that’ll make you go hard in the yard.

And that’s on behalf of singer-guitarist-keyboardist R. Hennessy, AKA “Henry O”, who’s been hitting the mark as Henry the Archer for nearly a decade and a half now. A consecutive two-time winner of Fort Worth Magazine‘s “Artist of the Year” distinction, this Fort Worth three-piece aims at the the broad genre target of alt-rock, perfect for groupings within surrounding styles. But that’s not to say Henry the Archer’s arrangements aren’t accurate or precise, since the trio’s clearly struck something strong to earn several streaming heavyweights.

This morning, marking Henry the Archer’s first record since 2017’s Zero Is a Number, their EP The Garden is finally ready to harvest. It’s a six-song plot blooming with indie-folk (“The Garden”), pop-punk (“One or Two”), brassy ska (“Sheep Song”), reggae (“Someone Beautiful”), and even a stripped-down keyboard-and-vocal duet (“People Make a Place”) – but ultimately all rooted in alt-rock. The album release show is next Saturday out in Arlington, but Henry the Archer does have a couple of shows here in town at the turn of the next month – 7:30PM on Friday, May 31st for a SoFar Sounds session and 8PM on Saturday, June 1st at ABGB alongside Mr. Kat. So fire up The Garden‘s bullseye of a lead single and EP opener “ViolinT”, which totally reminds us of millennium mainstream indie rock era, The Hives-style howling vocals and all.

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In most situations, if you got it, flaunt it. But in an industry that demands infinitely more from your ears than from your eyes, if the hottest person on the planet doesn’t have the pipes to match their looks, they probably don’t have a shot at succeeding as a singer.

So let’s talk newcomer Mikky Rib and her Austin outfit Mikky & The Doom. A quick stroll through the band’s Instagram instantly tips you off that sex appeal is core to their brand. But with a proven ability to parrot the timbres of Amy Winehouse, Stevie Nicks, Gwen Stefani, and Lana Del Rey (all of which influence her own unique sound) in an uncanny way, their eponymous frontwoman can’t be written off as just eye candy.

This year Mikky & The Doom have been following a roadmap to their debut studio EP Garbage, USA. Produced entirely by our April 2018 Artist of the Month Mobley, this introduction explores low-light garage rock, hook-driven indie, and sex-positive electro-pop while lyrically relishing in all kinds of societal litter. There’ll be a few stops on the way before the album’s May 17th release date, including two more lead singles, a show 8PM next Thursday at The 13th Floor Alongside Jeremiah Jackson and Scotty B and The Hive, and an appearance at Hot Luck Fest on May 24th. Given that growing population for Garbage, USA, you’re just three drum stick clicks away from the record’s title track, because it’s anything but trash. An anarchistic, pyromaniac anthem, the catchy-as-hell “Garbage, USA” sounds like The Strokes woke up with a little extra dissonance in their system, heavily-processed instrumentation, pop-informed production, radio-ready brevity and all.

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It’s the classic end to an encounter. You meet someone new. Sparks seemingly fly. You have fun for a night. But when you wake up ready to tell your new boo you’d like to see ’em again…they’re long gone. Hell, and in the modern era, that might all happen on just on an app alone. That’s all to say that in the dating world, whether intentions are casual or not, the one who cares the least holds the most power.

A sad truth for sure, but not exactly news to seasoned songwriters like Emily Shirley. On top of membership in both The Belle Sounds and Sister Golden Hair, Shirley’s solo discography dates back to 2010. Her vocal delivery may seem nonchalant, but between expert breath control (seriously, listen to some of those long tones), pitch perfect pipes, and learned lyricism, there’s obviously a ton of passion imbued in this Austinite. And with passion comes pursuit, right?

Well, it turns out Emily Shirley’s no stranger to the ol’ post-connection cease-and-desist in interaction either. Because you don’t need to be a paranormal investigator to have questions arise over the ghosts in our lives, be it self-doubt or just wanting a sense of closure. And that’s all reflected in Shirley’s brand new bittersweet single “Morning Light”, an amorous phantom of multi-tracked vocal harmonies, spectral electric lead guitar, and an almost-incorporeal arrangement. So before you decide to block contact with your latest fling, really get a handle on how the other side feels with “Morning Light”. And for all those who’ve been on the receiving end, this tune’s a perfect approach to taking heartbreak like a champ.

And don’t forget, Emily Shirley graces the airwaves in a solo set with our buds over at KOOP 91.7FM 3PM this Saturday on The Singer & The Song.

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Watch out, Golden Dawn Arkestra…there’s a new costumed collective in town, and they’re hunting for for fresh converts! But instead of frenetic Afro-inspired dance grooves, these fanatics have so far stuck to the slower side of ’70s-style jazz funk rock; think War whisked together with Steely Dan.

Not that you’d be able to tell from your first look at ’em. Yeah…between their cloaked, crowned, and ember-eyed namesake leader (ceremonial thurible and staff ever at the ready) and ten black-suited, red-hatted, and white-gloved Zealots (eyes always redacted by clever lenses), Grandmaster is an great example of “appearances can be deceiving”. Creepy cult getups aside, in the sole year since their first performance, this eleven-piece has already indoctrinated an impressive sect of followers. And based on the caliber of those live stage-filling rituals, they won’t need much proselytizing to add a digit or two to their current numbers. Probably just a bigger place of worship.

Well right after winning an American Songwriter contest that re-united The Grandmaster with Bootsy Collins during SXSW, the cosmos smile once again ahead of Grandmaster’s Nolan Potter-produced self-titled debut. By that we mean they’ll be celebrating an album release show at The Paramount’s State Theatre 7PM this Saturday for The Grandmaster’s Gala, alongside openers Nolan Potter’s Nightmare Band and Dodo. With proceeds benefitting the SIMS Foundation, and a sophomore follow-up already foretold in The Grandmaster’s prophecies, this Gala’s a good opportunity to catch the band before their concerts demand venues with larger capacities.

To any who still resist temptation, we point to Grandmaster‘s second incantation “Castle Door”. Because with a goblet-sloshing groove, a palace-spanning chord progression, and a truly regal arrangement, “Castle Door” lowers the yacht rock drawbridge and raises the prog-funk portcullis to one hell of a good time.

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When a seasoned musician wades out of their genre comfort zone, you love to hear it. Because the technical expertise, jam stamina, and songwriting skills are already in place, but opening the gate to different inspirations and influences is always a welcome breath of fresh air.

So let’s talk Rod Gator, who – as you might’ve guessed from his stage surname – leans on his steamy Louisiana bayou upbringing for a swamp-swept sound. Gator’s kept us sated with his own stuff as recently as last September with the release of his LP Conqueror. Interestingly enough, that was also ’round about the same time Gator linked up with fellow Sagebrush door staffer Leo Lydon (lead guitarist/vocalist of Austin trio Rickshaw Billie’s Burger Patrol) for a songwriting session. Sparks flew, heaviness ensued, and with the addition of Nico and Willie Jansen, the southern metal endeavor Trip Cigs was born.

Fast forward to a couple weeks back, when the quartet opened up the stable for Trip Cigs’ debut EP Hoss. Heavy without being excessively brutal, swampy without getting bogged down in sludge, this record’s got an incredibly thick consistency to it. And since it maintains that session energy so effectively, its best recommended to set aside fifteen minutes to appreciate the EP in full. Definitely take a deep breath before saddling up and dig into whatever stirrups you may have on hand, ’cause with minimal space between songs, and a bucking start to each of its six tracks right out the gate, this thing is a steed who needs no speed. If you’ve only got time for one quick ride, get a feel for Hoss with Trip Cigs’ very first foal, “Comeback Kid”.

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In terms of musical association, at least outside the world of film soundtracks, U.S. southwestern scenery often gets associated with country. But there’s a certain psychedelic quality to our regional deserts that we just love to see artists embrace.

Folks like Rett Smith, based here in Austin, but bred out of West Texas, so you know he appreciates all kinds of sandy, desolate miscellanea. Historically, Rett’s smithing has involved all things Americana blues. And while that’s certainly still his skillset, for his upcoming album A Weighted Remorse (out September 13th), Smith finds himself trudging through the dunes of shoegaze.

And the result is heavy as hell, almost bordering on sludge thanks to its subterranean six-string tone and massive drums. Alongside its music video, “Sunsets” feels less like hiking the Fort Davis trails and more like watching The Holy Mountain if it was shot on Super 8, ’70s abstract psychedelia and all. We’re getting major Black Angels vibes from this one, and we have a feeling that when Rett returns from his Western European tour, he’s gonna translate his travels into something else equally arid-inspired and aurally exciting.

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Lyrics are a fickle field. You can be wordy as hell, hoping that at least one line sticks in listener’s minds. Or, you could just loop the hell out of some barebones sentences – guaranteed to have a lot more hypnotic staying power through sheer repetition, especially in the realm of dance music.

Now let’s talk about Ben Fish, who operates here in Austin under a few different avenues: as a DJ, as frontman of his full band Viben & The Submersibles, and as the mononymous solo act Viben. Viben categorizes his stuff as “Scuba Funk”, a label that totally mirrors his liquid grooves, but doesn’t necessarily require a lot of deep diving in terms of lyrical accessibility. So while Viben’s sophisticated soundscapes have earned him a place on our local sonar since his start in 2018, his latest release proves that a more basic approach can be just as good.

Which reminds us of the great Pablo Picasso, who once said, “It took me four years to paint like Raphael, but a lifetime to paint like a child.” And that quote really resonates with the vibrant simplicity of Viben’s latest, “Pablo Picasso”. This super trendy, Euro-friendly piece of house chic translates Picasso’s genius brushstrokes into brilliantly swung drums, synth, rhythm guitar, and bass, while Viben’s vocals pine for an artistic ascent towards the tune’s namesake legendary status.

Will Viben one day become a celebrated painter? We don’t know. But will “Pablo Picasso” be remembered as an uncomplicated piece of genuine expression in Austin’s electronic oeuvre? No doubt.

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Any profession requires quotas…whether that’s how many tickets you write or how many kids pass your class. And when music is your source of income, the obvious metric to measure by is quantity of shows played. But as with any creative endeavor, there’s an opportunity to move the needle in many directions, which makes “success” a complicated thing to assess.

So let’s get a quick look at Ruel Thomas. The Native Austinite developed his guitar-vocals-and-harmonica style around folk-pop-rock icons like Bob Dylan, Paul McCartney, and Paul Simon while still in Australia. When he moved back to the Live Music Capital about a half decade back, everything fell into place to become a certified full-timer. And Ruel Thomas has done just that, with thousands of gigs in the bag across the Lone Star State, the Tonight and Myself full-length from 2022, and last May’s Texas Castle EP.

You might’ve noticed that time spent onstage and on the road outweighs studio offerings by a country mile. But remember what we said about moving the needle in new directions? Yeah, in 2024, Ruel Thomas has vowed to drop a new single every two months, no small feat for someone who needs to wrangle a band for every recording. And last Friday that new series continued with “I Am Today”, which sounds somewhere between a decades-old yesterday and a fast-approaching tomorrow in terms of classic influences and modern mixing – thanks to Luna drummer/NYC Producer Lee Wall. At just a hair over three minutes, the ever-rolling rhythm section behind “I Am Today” dangles tomorrow’s horizon in the distance, while Ruel’s rich vocals and Americana guitar keep you right in the moment.

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The very nature of Americana is rooted in traditional music. But it also lies at the crossroads between folk, country, and rock. So if an Americana act decides to veer into new lanes, the choices are limited and somewhat predictable. And yet it’s still such a joy to hear an artist explore new sonic territory, no matter how established they may be.

Having said that, we’re happy to hear that Nashville’s Drew Holcomb & The Neighbors will be joining us in our neck of the woods later this week. That’s right, on the heels of their ninth full-length Strangers No More, the Americana connoisseurs kick off a month-long national tour right here in town. The Find Your People Tour fires off 7:30PM this Thursday at the Scoot Inn, and our newfound neighbors will be stopping by Central Texas again for the Kerrville Folk Festival late next month.

And since Austin is such a hard left turn from Holcomb et. al’s Nasvhille stomping ground, the band gave us an early listen to their latest shifting of gears. On “Suffering”, the grit is real, and the rock is Southern. It captures the rudest elements of Lynyrd Skynyrd, Molly Hatchet, and Marshall Tucker band, albeit with that one-of-a-kind Holcomb character. Safe to say that if Southern rock is your bag, “Suffering” is so good it hurts.

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When you have roommates, at least good ones you get along with, group activities naturally arise around the house. For most folks, it’s watching TV, recreational smoking and drinking, or maybe the occasional board game. For musicians, however, having a practice space within eyeshot of your bedroom door is too good of a scenario to pass up.

At least that’s the situation that producers Patrick Insull and Austin Pedersen find themselves in; they’ve spent the past three years patiently penning in their apartment on behalf of their Austin quintet Melotheory. And who has a better insight into both blooming and wilting romances then your roommate? Maybe that’s why the sad boi aesthetic shines so bright on their debut batch of indie-rock love songs, which are genre dalliances themselves, albeit with disco rhythms.

This morning, ahead of a FREE release show 7:30PM tonight at the Cactus Cafe, Melotheory rolled out their eponymous debut full-length. At thirty-six minutes and ten tracks melotheory is a journey best enjoyed front-to-back, no doubt. That said, we also get why Melotheory chose “Breathe” as the LP’s lead single. There’s a serious Thomas Mars quality to the vocals , which quickly draws comparisons to everyone’s favorite Versailles indie rock revolutionaries. But where Phoenix flourishes with pop radio-ready, heavily gated, conservatively contained choices, “Breathe” maximizes their mix with stereo-sprawling selections over crests and valleys of dynamic shifts. Well…we’ve said enough. Time to exhale out of the work week and let “Breathe” do its thing.

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Unlike the legendary machines of Stax and Motown who relied on a ton of well oiled cogs to make any R&B singer into a star, these days the new blood has to do everything themselves, talent agent or not. And while not everyone can be Prince or D’Angelo in terms of multi-instrumental discipline, bringing something extra behind the mic, whatever it may be, really makes a rising singer stand out in the endless milky way of could-be R&B stars.

That puts us into orbit around Myia Thornton, songwriter-bassist-producer with Los Angeles ties but a current home base here in Austin. Beginning with her 2018 start date on streaming, she’s shown herself to be a spiritual pupil of Jill Scott, Erykah Badu, Lauryn Hill, and Missy Elliott. Thornton’s clearly learned that everyone’s voice has its own unique character, even if the difference in timbre is more of a gradient than a completely different shade, and has accordingly made the most of her proficiency on bass guitar to attain that extra “it” factor.

But as with any R&B songstress, romantic turmoil can have a huge impact on lyrical inspiration and overall motivation. And once that comfort from a significant other’s gone, you just gotta get back to work and not take for granted what makes you intrinsically (and us as listeners) happy. So with her fourth release in just 2024 alone, Myia Thornton continues to break past the hiatus that’d been in place since her 2022 collaboration “Lexus”. Less of a tearjerker and more of a “how’d you get so ugly” piece of post-relationship clarity, Thornton’s self-produced “Never Good 4 Me” is about as bad as it gets. Arrangement-wise the sparseness of its verses is nothing short of genius, especially compared to the stereo-spanning lushness of its hooks, classy key chords, sexy MIDI strings, onion-layered vocals and all. Get it, Myia.

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We won’t say that successful collaborations should mandate a solo artist’s trajectory. But if something built together leaves people wanting more, it’s not a bad idea to get back together and sate those desires, right? Because what’s unachievable on the individual level often just needs to get catalyzed by some good collabo chemistry.

So let’s talk about two creators who we both like independently, but especially love to hear join forces. That’s Rhythm&Truth, the soul-pop-jazz-funk foray from Austin producer-songwriter-percussionist Daniel Anstandig and fellow up-and-comer Sakari, who specializes in stunning neo-soul vocals. Since both projects were born out of the early pandemic era, it naturally took a couple of years into each’s career to break out of their bubbles, find one another, and let the sparks fly. But boy did they ever on last November’s Midnight Vinyl, a passionate pastiche of after-hour radio atmosphere showcasing R&T’s robust arrangements and and Sakari’s sensational pipes.

Now, in between the final installment of Rhythm&Truth’s Time Travlr trilogy this July and Sakari’s last release a little over a month ago, the two buddied up once again to dial in yet another late night dedication. In the pair’s own words, “Bring It All Back” champions the importance of showing up in person and rekindling a sense of community post-COVID. And given how enormous the sense of space is on this song, we can’t help but heed that invitation; it’s like the soundscapers behind Cherelle, Chaka Khan, and Sade got together to reminisce over that mid-late ’80s heyday of women-driven R&B in a more modern spirit. Between all that and a truly hypnotic hook, “Bring It All Back” just earned a top spot on the playlist for any top down joyride in the coming summer months and beyond. Time to reunite with your ride-or-die and let ‘er rip…

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When rappers claim to be “the best on the mic”, they’re talking about verbal skills, not their technical prowess with any specific equipment. Clearly that’s the case, since you’ll see those same people spend a whole set cupping the SM58 ’cause it turns out their mic technique actually sucks.

But in terms of intimate familiarity with spoken vocal performance, be it in the studio tracking voice overs, in the stadium making announcements, or onstage ripping up a show, few Central Texas figures rack up to the orator that is Ray Villarreal, better known as Tone Royal. Because between his home recording, sports work, and hip-hop side hustle there’s no such thing as an off-season for Tone. A slayer of sibilance and preventer of plosives, the San Antonio native also happens to have wealth in the ways of lyrical wordplay, as we’ve heard intermittently over the past decade.

On last Friday’s “Alone”, Tone Royal finds himself in good company with forlorn ’80s synths and a ’90s boom bap shuffle, not to mention Austin’s Daddy NAT gracing the hook with some sultry refrains. All in all, “Alone” would sound right at home in between Notorious B.I.G.’s “Juicy” and 2Pac’s “Only God Can Judge Me” thanks to those retro qualities, and yeah…Tone’s undying affinity for putting himself in front of the mic and unleashing the rhymes.

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When we last geeked out over Austin’s Felt Out, we broke down their foundation as that of auto-tune innovators on the cutting edge of alt-pop. And following the first anniversary of their second full-length Until I’m Light, that’s clearly still the case for these multi-instrumentalist-producers. They still sound like a next generation Imogen Heap. Their style still scratches that itch within the hyper-processed, accessible-yet-oddball alt-pop niche. And they’re still going strong in 2024.

Yep, after a year of silence for studio releases, Felt Out touched down from their natural habitat way up in the electro-aether last week, almost as if ushered in by the solar eclipse. On Friday they fired off “Know You (closer3.0)” – a Frankenstein re-assembly of leftover samples from their current streaming star – and “Crash Inside It” – which came alongside a minimalist music video. Unlike the polished, narrative-driven visual companion to “Closer”, “Crash Inside It”‘s counterpart lets a flickering frame rate and negative polarization do the storytelling, a return to their earlier aesthetic of amateur footage, analog grain, openness to interpretation, and all.

It’s certainly on brand for Felt Out, that’s for sure. And it’s got us eager to see and hear what they’ll come up with next. You feel us?

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Feliz sexta! Today we’re talking about Tagua Tagua, the passion project of São Paulo songwriter-producer Felipe Puperi. Now, Brazil is an enormous country, full of fervent creators; it takes a ton of traction to get towards the top. But in the seven years since Puperi launched off, Tagua Tagua’s become one of the nation’s most promising acts – heck I even Shazam’d one of their songs in the wild last September during my two-week stint in Recife.

So if you’re like me and want Brazilian music all the time, be it bossa nova, tropicalia, or samba, Puperi’s got some ótimo news. Following up an appearance here in Austin during SXSW, Tagua Tagua is set to share their next EP Todo Tempo on May 24th. Stepping away from the full-band rock arrangements of 2020’s Inteiro Metade and last year’s Tanto, the standouts of those albums have been translated into stripped down acoustic forms – neo-soul essence still intact.

The effect is reminiscent of classic midcentury icons like Jobim, Gilberto, and Bonfa, albeit with some 21st century polish, as heard on Todo Tempo‘s intimate lead reimagining “4AM (Acústico)”. Now that the weekend’s here, Tagua Tagua’s putting any late night insomnia to bed, and we’ve got todo o tempo do mundo…caipirinhas anyone?

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If we’ve learned one thing from Destiny’s Child, it’s that vocal groups aren’t always limited to one breakout singer. Even if fate favors one over another in the long run. And that’s kind of lining up with how we see some of the expats from former Austin R&B trio Keeper.

See, while Keeper’s Yadira Brown has kept busy with longtime collaborator BoomBaptist through The Vapor Caves, her fellow Keeper co-founder Lani Thomison only started picking up speed with her solo project Street Peach in the past few months. As we already heard in Tomison’s work with Keeper, Street Peach’s techniques blend R&B, soul, and choral, plus (as you might’ve guessed from her handle) some extra urban sex appeal as well. Sure, Street Peach’s introductory standalone, “Qiller”, has kept us as sated as possible since May 2020. But truthfully, we’re already licking our lips over news of a full batch this fall.

That basket arrives this October in the form of Street Peach’s debut EP, Monarch, a seven-song spreading of wings created alongside producer Willie Green. And following Monarch‘s first offering that’s already enjoyed consistent spins on recent episodes of The Breaks (mid-February’s “Caroline”), another nubile installation just landed in our lap. “Heavy” lays the seduction on thick, thanks to delineated drums, drizzling synths, and a Sylvia Striplin-style chord progression channeled through a killer chorus guitar groove – one that makes the bed for Street Peach’s featherlight vocals. And those steamy conditions forecast for next week? They could get you sweatin’ juuust right for when Street Peach heats up the stage 7:15PM next Thursday at Hotel Vegas ahead of Daphne Tunes.

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As our ever-evolving hip-hop scene steadily expands, so does the representation of nations, cultures, and identities from its contributors. And for some truly refreshing cross-cultural flavors that have made their way into the ATX hip-hop melting pot, look no further than Faaris.

Brought up in a Pakistani household right here in Austin, Faaris brings a perspective not often recognized here in Central Texas. In the short time since he’s been making a name for himself (dating back to just 2021), Faaris has shown a skillful strive for variety, as heard on his 2023 LP Change of Scenery. But his standalone singles are what have propelled Faaris’ collective streaming numbers into the millions.

And this weekend we’re getting what’ll probably turn into another streaming heavyweight. Almost picking up where Britney Spears’ “Toxic” left off (sans mainstream appropriation), “Taken Not Given” puts a more authentic voice over those South Asian strings and Drum and Bass-style beat. Besides being an absolute banger, the lyrical braggadocio of “Taken Not Given” grounds itself in a clarion call for the historically conservative creatives of India and Pakistan to get with a more progressive program. And at just shy of two minutes, “Taken Not Given” begs for several repeat listens, no matter what tribe you call your own.

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They say, “write what you know”. And in music, if you know something well enough to perfect its performance, that usually means you’ve absorbed the material enough to build upon it and make it your own.

So let’s talk about Austin’s Adam Sultan. Sultan started off a singer-guitarist in the ’90s with Poi Dog Pondering before moving onto Flying Saucers, Hollowbody, and Mistress Stephanie And Her Melodic Cat. Adam’s also collaborated with Graham Reynolds for Richard Linklater scores, not to mention ascended to multi-hyphenate status, splitting time as a podcast host, meditation teacher, theater player, photographer, storyteller, and even a perfumer.

But here’s the kicker. Adam Sultan is a bona fide master when it comes to the art of musical tribute; his ongoing work with Super Creeps and Magnifico has granted Adam an intimate perspective to the discographies of David Bowie and Queen, respectively. And since you don’t just play those golden oldies time and time again without soaking up some of the timbres and songwriting formulas, when Sultan puts his six-string and pen to work, that classic rock royalty oozes right out onto the record. That’s something you can quickly pick up on with Adam Sultan’s two recently released singles. Where last month’s “Hard to Kill” captures Bowie’s earlier baroque folk era, January’s “The Great Divide” dives right into that later, heavier, glam rock period. Crazy to think we’re hearing such retro-sounding stuff like this in 2024, so major kudos to the Sultan himself for keeping those styles alive.

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As an unabashed Pink Floyd fan, I can’t tell you how much I’m looking forward to firing up the Atmos mix of Animals on my home theater setup when the BluRay drops next month. Sure, the full record’s been etched in my memory forever now, but through the lens of the latest mix an full surround encoding, it’ll be like hearing it for the first time. And that’s a safe bet for most modern psych fans, right? Far out, effects-dense arrangements with a little bit of digital polish to make the mix pop more?

At least that’s what’s been doing it for us with Flicker Vertigo, the near decade-old project of multi-instrumentalist/producer/engineer Nathan Nicholson. Brought up in Melbourne and now based out of Bournemouth. this walking enpsychlopedia of ’60s sounds and techniques flashes between dream pop, shoegaze, house, and of course psych rock for a feverish experience. Flicker Vertigo’s full discography has been great to dissociate to, so as we approach the post-eclipse era, we’re greeted with the news of more meditations.

On June 14th Flicker Vertigo unfurls their sixth full-length Infinite Verve. And this morning we got the first dose of IV with “Midnight Fantasies Upon Prospect Hill”. Despite its mouthful of a title, there’s a pleasant simplicity to this cosmic cacophony as it strobes through a dizzying drone of delay-drenched vocals, like if Kevin Parker ditched the day disco of The Slow Rush in favor of an all-night lo-fi dance frenzy.

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You’ve heard it a million times before: a picture is worth a thousand words. But go ahead and try it out if you dare. Pick a picture and start verbalizing. Yeah…you’ll give up far before you get anywhere close to a four-digit word count. Music on the other hand? Each chord carries various connotations, which become more complex once in the context of a full progression. And for first time listeners, lyrics typically get eclipsed by the overall musical character. So when a picture inspires a piece of music, abstract beats verbose, because that pairing of art forms often has a more profound impact than words alone ever will.

Which brings us to Barry Stone, a real stalwart of Austin’s ’90s scene through his work with noise rockers johnboy and Desafinado. That legacy largely belongs to Stone alone. But the same can’t be said of the upcoming release from Stone’s indie folk trio Mountains in Stars. See, their debut album Watch the Years Gather interpolates century-old heirlooms from Stone’s great grandfather’s personal photography collection, (dating back to the early 1900s) for a new mixed media experience. From what we’ve seen so far, these skillfully-composed snapshots capture a bucolic equine atmosphere – which perfectly match the melancholy acoustic originals on this record.

More than a decade and a half after its initial recording, the full Watch the Years Gather package (40-page photo book and all) is finally being made available next Thursday thanks to a live music grant from the City of Austin Economic Development Department. You can get your hands on these temporally transportive documents straight from the source 4PM that same day at Northern-Southern Gallery as part of Fusebox Festival when Mountains in Stars performs alongside Knife in the Water pedal steel player Bill McCullough. And for early entry into this interpretative exhibit, sink your teeth into the soothing LP opener “Hazards of Loving Creatures”. Eerie, gorgeous, and otherworldly, it’s just the right kind of calm we could all use before a busy celestial weekend.

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As with any active artistic community, the Austin music scene has suffered its share of too-soon tragedies. And the passing of Daniel Sahad – the flamboyant frontman of Austin sextet Nané who left us in April ’22 – still feels especially fresh in our memory.

Thankfully Daniel’s legacy still lives on through his music, Nané’s remaining members, and the pair of recorded performances Nané gifted KUTX (as our January 2021 Artist of the Month who finally slid into Studio 1A later that December) that have since become treasured mementos and unbiased testaments to Sahad’s dearly missed talent. But also, this weekend marks the anniversary of April 7th as Nané Day, which was officially decreed by the city mere weeks before Daniel’s death.

So come help celebrate Sahad’s life on Nané Day 8:30PM this Sunday at Empire Garage featuring Nané with Quentin Arispe guesting on lead vocals, plus opener Jefferson Clay for a tribute concert and closing ceremony whose proceeds benefit the SIMS Foundation. If you can only attend in spirit, at least revisit the video of Nané’s December ’21 Studio 1A session below. Because the whole set captures Sahad’s nimble charisma, immense kindness, and tip-top vocal execution, particularly on the band’s biggest hit “Always On My Mind” – which, down to its title, beautifully embodies the enduring imprint of Daniel on his former bandmates and anyone else who ever felt his touch.

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Prayers for rain resonate all throughout the Lone Star State year-round…even in April with a once-in-a-lifetime solar eclipse on the horizon. So without wanting to entice a cosmically inconvenient drench, let’s dip our toes into The Watters.

This Americana soul love affair is teeing up to hit the two-decade mark, but the bond between husband and wife Daniel and Jenna Watters goes all the way back to grade school. After soaking up all that Los Angeles, Denver, and Nashville had to offer, the Sedona, Arizona pair eventually planted themselves here in Austin, where they’ve since gone on to play pretty much every venue within the city limits. And despite a rap sheet that includes opening for Michael McDonald and Devon Gilfillian, landing local grants and national songwriting awards, completing two full-lengths and an EP, and a recent leap into parenthood – The Watters aren’t slowing their flow anytime soon.

No, next Thursday The Watters roll out their third LP Duality, with a release show at Sagebrush 8PM that same evening with Tomar and the FCs and Rent Party. They’ll also be doing their thing out at Utopia 3PM this Saturday if you wanna catch the full band against a gorgeous natural backdrop. Either way, the new tunes off Duality are about to drop like April showers for just in time for a summer-ready, lake-lovin’ playlist. And like the rest of Duality, “Set to Cruise” makes for smooth sailing with channel-deep mixing and ocean-spanning arrangements that favor instrumental virtuosity and group momentum. So cop your captain’s hat, climb aboard, and don’t plan on disembarking anytime soon.

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Don’t you love those unexpected brushes with old chums during South By South West? Sure, for us native Austinites they feel less like chance encounters and more like the inevitable kismet of living in a metropolitan area as small and dense as ours. But there’s still nothing quite like finding an old friend return to their old stomping grounds in top form.

So imagine how it felt upon learning that Fabi Reyna – who we remember from our high school and college days playing in Code Rainbow, The Silver Series, and Patches – was going to come down from Portland for KUTX’s latest Scholz Garten live concert broadcast. Yes, the matriarch of She Shreds herself graced us with Reyna Tropical‘s presence right in between SPRINTS and Hinds back in mid-March. Frankly, Fabi was in high spirits, even after the tragic passing of fellow Reyna Tropical co-founder “Sumohair” Diaz in Fall 2022. But this contrast matches that of Malegría – the near-untranslatable emotion of “bad happiness” and twenty-track debut full-length that landed online last Friday, which has already raked in some impressive streaming numbers.

Well, in getting to Scholz by 10AM that SX Wednesday, la raza y la gente scored a sneak peek at Malegría, and not just the LP’s lead singles. No, they got a better-than-coffee, tastier-than-tequlia concierto brimming with Chicana charm, thanks to exhilarating, en-español renditions like that of “Sauvecito”. Heck, we don’t wanna jinx anything, but we do suspect this might go down as one of those “you had to be there before they blew up” pieces of pre-superstardom magic as Fabi makes her way across the nation with Portugal. The Man and Malegría makes its way across the globe.

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Search “reverend” on any streaming platform and you’ll see just how many clergy folk make the most out of their musical passion – and not just in the world of gospel. You’ve got Al Green, Gary Davis, hell we’ll even throw Horton Heat in there. Here in Austin? We don’t get on our knees and pray, because The Reverend Shawn Amos makes us want to get on the dance floor and slay.

Born in the Big Apple to a nightclub singer and a talent agent turned cookie mogul, Amos has been releasing records for nearly three decades – and as “The Reverend” for ten years now. Throughout, his sonic proselytizing through blues, soul, and roots has converted casual listeners into hardcore fans, made clear by Amos’ collective millions of streams. And following the release of last October’s “Revelation” and February’s “Back to the Beginning”, the good Reverend is getting settled into his next set of sermons.

That’s right, the anticipation for Soul Brother No. 1 (out May 3rd) has been building up for months now. The album stacks ten tracks – nine originals and a Sly Stone cover – which we only mention because the LP’s latest, “It’s All Gonna Change (For the Better)” boasts major Family Stone energy, wailing organ, wah guitar, brazen vocals, optimistic outlook and all. To best soak up this groove, we recommend checking out its succulent music video, one that captures that earthly essence of fluid transformation in a really fascinating and satisfying way.

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As Women’s History Month comes to a close this Sunday, we assure y’all that we’ll keep featuring the countless talented women of our fair city all year ’round. But March 2024 does end with a unique spectacle this weekend, thanks to a fierce feminine force who’s already left her historic mark on Austin’s steadily diversifying music scene.

And that’s Qi Dada, one half of the husband-and-wife hip-hop duo, Riders Against the Storm, one of KUTX’s very first Studio 1A guests and some of Austin’s most influential socially conscious creators. Following a track record of promoting Black and Brown women’s voices through RAS Day Fest (currently on hiatus) and Body Rock ATX (which has found new legs at Sahara Lounge), Qi Dada’s put something together just for the ladies…well…at least lineup-wise.

That’s right, audiences of all kinds are welcome to join Qi Dada and her handpicked crew for a live concert taping and post-show ceremony – Black Divas – 6:30-8:30PM this Saturday at Austin PBS. It’s all in the name of uplifting motherhood and maternal health, aiming to raise awareness around the rise of maternal death rates in Texas and beyond, so you know your cover fee is going towards a great cause and great music. And although we wish we could spin stuff from the whole roster of performers, we also don’t want to spoil the Black girl magic ahead of the actual event. So instead we’re bending the knee to Austin’s certified queen of the hustle with an oldie-but-goodie Qi Dada solo cut from RAS’ 2021 LP Flowers For the Living. Because with empowering triplet-ripplin’ lyrics and a sassy bass-heavy beat to match, “Black Girl Payday” is the alarm you need to keep from sleeping on Black Divas this Saturday.

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It’s well-known that we here at KUTX have a soft spot for Alejandro Escovedo – a love affair that’s lasted far longer than we’ve even been a station. So it’s our due diligence to let you know that Señor Escovedo does have a new record entitled Echo Dancing dropping this weekend. That said, we’re not just talkin’ up Al today.

No, we gotta jump in and tip our hat to Escovedo’s returning tour mate, Mr. James Mastro. A fellow pioneer in the early days of punk rock, this singer-songwriter/multi-instrumentalist/producer’s already had the privilege and pleasure to perform across the globe more times than we can count, including in the company of Patti Smith, Ian Hunter, Judy Collins, and Robert Plant. This year, Mastro’s been riding high off his latest LP Dawn of a New Error, which dropped the final week of February.

Over the next month-plus of national touring, Escovedo and Mastro will likely be playing some of these new tunes in front of a live audience for the very first time. So as the pair escape the clouds and thunderstorms dominating Austin’s forecast for the next fortnight, familiarize yourself with “The Face of the Sun” and all the other cuts off Dawn of a New Error and Echo Dancing with the shared tour kickoff 8PM this Friday at Antone’s.

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If you’re already planning out your weekend and want to offset the Sunday scaries with some fresh visuals, consider checking out a three-act bill that coincides with a music video premiere.

The ringleader behind the affair is Nakia, the mononymous grifter of Austin’s vibrant blues scene. With only two records to his name at the time, Nakia started off the 2010s strong as a semi-finalist on The Voice‘s inaugural season. That’s absolutely an accolade worth bragging about, but nothing compares with new content, right? Well, keeping pace with his already-robust post-pandemic output, Nakia’s got some new optics he’s about to drop under the spotlight.

This Sunday Nakia commemorates the music video release for last October’s “Thrill-O-Matic”, a tune that was actually penned right after The Voice‘s finale, demo files long lost to the aether before a recent recovery made it a reality. Doors are at 7PM, Junerise kicks it off at 7:15, Nakia does his thing at 8:15 (your only opportunity to see “Thrill-O-Matic” before it hits the internet on Monday morning) and our June 2023 Artist of the Month Pelvis Wrestley wraps it up a quarter past 9. Until then, vanquish any Tuesday blues with the soul-rockin’, Abbey Road-mastered, Dolby Atmos-mixed mechanics of this Nathaniel Rateliff-esque original.

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Few people are as effervescent about their passions than those from Florence. But we’re not talking about the tiny Texas town about half an hour north of here. No, we mean the Tuscan capital that gave us cultural heavyweights like Leonardo da Vinci, Raphael, Michelangelo, Gucci, Cavalli, and more.Well, in a testament to “you can take the woman out of Italy but you can’t take Italy out of the woman”, Austin multi-hyphenate Giulia Millanta‘s pace of polymath output raises her profile towards that of her legendary Florentine predecessors. She’s a professional chef and a published author. Yet Millanta still finds the time and energy to write and record original music – which doesn’t sound quite as impressive as it truly is until you factor in what all she’s working with: guitar, upright bass, ukulele, plus vocals with lyrics in English, Italian, Spanish, and French. Yeah…Giulia’s the real deal.And this year is set to be another fruitful one for Giulia Millanta’s big batch of crafts; she’s soon set to share a new Italian cookbook – Dinner with Giulia – Flavors, Songs and Stories of a Florentine Troubadour, not to mention her ninth solo full-length, Only Luna Knows on April 19th. And while yes, you can hire Millanta to cook, spin yarns, and sing songs right in your own home, you can also familiarize yourself with this indie folk innovator in some more open settings – 8:30PM this Saturday at The Purple Barn in Wimberley, 7PM next Thursday at Pecha Kucha, 6PM at Guero’s on Wednesday the 17th, and the Only Luna Knows LP release party 6PM on Saturday April 20th at Saxon Pub.So there you have it – a full course of Giulia Millanta concerts to choose from. Now treat yourself to one of Giulia’s three pieces of antipasta from the album. We recommend last Friday’s “I Dance My Way”, since it’s got that ristorante-ready arrangement of piano, electric guitar, double bass, percussion, and vocals – all for that extra zest of Texan + Tuscan twang. Mangia bene.

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The taste-ranging genre gastronomy of our latest Scholz Garten lineup alone made it one for the books. And that A.M. affair simply couldn’t have been complete without SPRINTS. Because…yeah, the pairing of a Dublin four-piece – garage grit, post-punk precociousness, and all – against a full KUTX crowd at one of Texas’ oldest venues was exactly what you’d expect: a pre-St. Paddy’s blast.

SPRINTS just made Letter to Self public this January, and the eclectic, confessional record has already reached millions of streams worldwide – no small feat for any up-and-comers’ big debut. But sudden success clearly hasn’t killed frontwoman Karla Chubb’s of-kilter candor, since she expertly steered her quartet through a mad dash of lyrical honesty and aural adrenaline. SPRINTS heads back to the UK next week, so fingers crossed when they’re planning their next tour, our KUTX-clusive live recording of their show closer, “Literary Mind” preserves the memory and inspires another Austin appearance some time in the future.

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We’re still recovering from the flood of foreign artists that turned our fair city (and Scholz Garten) into an international exhibition last week. And if that worldwide melting pot of genres is best embodied by any SXSW 2024 performer, multi-instrumentalist Ahmed Gallab definitely makes the short list.

Born in London, Gallab spent a chunk of his childhood in Sudan and the remaining rearing in Ohio. The Buckeye State’s rich punk culture rubbed off on Gallab, whose multi-faceted talents and one-of-a-kind musical perspective led to session work with the likes of Caribou, of Montreal, and Yeasayer. Through his solo focus Sinkane, Gallab was able to refine his kitchen sink of sounds, but a dozen years down the line from their debut record MARS, we haven’t heard a lot of new studio stuff from them on this side of the pandemic.

Well, with the release of Sinkane’s eighth LP We Belong on April 5th, we know exactly what we’ll be sinkin’ our teeth into next month. And that cross-genre sense of acceptance was strong when Sinkane wrapped up our the morning’s live lineup last Friday at Scholz Garten. A shining specimen of modern gospel soul spiced up with that idiosyncratic Sinkane twist, the new album’s second installment, “How Sweet Is Your Love” was a solid standout of their live set. Oh, how sweet it was…

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Shoutout to everyone who caught our Scholz Garten live series last week for SXSW, either in person or over the airwaves! But if you didn’t turn out or tune in, don’t fret; we’re taking the next few days to recap some key performances.

Starting off today with Brooklyn’s Kassa Overall. This Grammy nominee is about as expert as it gets when it comes to drumming, yet by stepping behind the mic or into the producer’s chair, Kassa’s not just sequestered to the rhythm section. After landing a real KO on last May’s ANIMALS LP, Kassa Overall came in hot last Thursday at Scholz with his sonic supercollider of jazz and hip-hop.

Starting off at 11AM, the set’s energy was a real pre-noon pick-me-up. Auxiliary percussion, keys, and pair of saxes rounded out these retro arrangements for some truly magical moments, like the band’s rendition of “Make My Way Back Home”. Let’s just hope that Kassa Overall makes their way back to Austin sooner rather than later.

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Just in the past year alone, there’s been an impressive (and welcome) rise of AAPI representation in Austin’s music scene, chiefly in the sector of R&B/pop/hip-hop. And we’re not just referring to promqueen, francene rouelle, or anyone else in that mHART roster.

No, we’re talking about ttt, pronounced “Triple-T”. Vocalist-songwriter Trung Tran was born in Vietnam and raised in Houston, where the city’s distinct hip-hop character found its way into Tran’s creative course. After soaking up the narrative strategies and verbal styles of heavyweights like Travis Scott, J. Cole, and Kendrick Lamar, Tran first stepped out as ttt at the turn of the pandemic with a few singles leading up to his debut EP See Me Walk that November. Since then he’s kept a steady pace of releases, including the 2021 mixtape Trungo x Chief Rafif and four standalone single collaborations from last year.

That’s all been building up to ttt’s sophomore EP The Line, dropping April 11th. The first lead, “Runaway” came out at the end of February, flaunting a best-of blend between Toro y Moi and Yung Bae. And today ttt’s given us an exclusive first listen to the record’s title track, “The Line”. A sparse, processed breakbeat sets the tempo and Spanish guitar sets the tone for ttt to sprint all the way to “The Line”‘s finish with melodic raps, sung ad-libs, and overall just a great sense of youthful, modern, and urban energy.

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We’re not really squealing on ourselves when admitting that we here at KUTX love yacht rock. And given our ties to the university, it’s also no secret that we like to shine the spotlight on UT alum. So today we’re giving y’all the best of both.

We’re talkin’ about singer-songwriter/guitarist Nick Teale, a former longhorn now based out of Louisville. Teale’s proven a steal in terms of widespread appeal, thanks to his zeal for everything from Jason Isbell and Sturgill Simpson to Iron Maiden and Judas Priest. That said Nick primarily refers to his sound as “indie jazz rock”, further informed and made unique by the sonic treks to Middle Eastern territory Teale began taking in grad school.

This year, Teale’s been putting together a new reel to follow up his 2022 debut Still in Limbo – Glitterfingers, out this summer. Just like the name suggests, Teale graces every genre on Glitterfingers‘ roster with his Midas touch of talent…and he got really steely for us Dan fans last Friday with the LP’s latest lead single, “Half Genius”. Unconventional Fagen-like vocal intervals, Becker-esque guitar work, unstoppable chord progressions, intricate arrangements and all, “Half Genius” is a no-brainer for any yacht rock playlist.

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When you operate all the way up until the witching hour, there’s no such thing as bad weather for sunglasses. So if you’re a degenerate lowlight reptile like us, we’ve got the perfect tint for you on the verge of severe thunderstorms this weekend.

We’re talking about Polarizado, the solo songwriting project of Austin producer/multi-instrumentalist Felix Bergman that dates back to 2018. Already a veteran of too many styles to list here, Bergman refers to his style as “Cult Americana”, obscuring all kinds of genre influences behind a thick film of Southern idiosyncrasies. And following a sole studio offering from last year, Bergman’s been busy lately, promising the release of “many singles” over the course of 2024.

Today, ahead of a single release show at Far Out Lounge on March 26th alongside Cobra Cats and The Discount Pills that promise came in like a clarion with “Pagan Love Call”. Like a sonic accompaniment to this Central Texas humidity, there’s no sacrificing the twang in this thang. So embrace the steam and put the remainder of your work week in a death roll, because “Pagan Love Call” is must-play for all kinds of weekend heathens.

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Punk is a young person’s game, no doubt. Because while the counterculture spirit, tattoos, and tinnitus stay ’til death, even punk rock pioneers eventually mellow out towards “refined tastes” once they get comfortable on the other side of the hill.

Case in point: Ian MacDougall of The Riverboat Gamblers fame, who first broadened his genre horizons with Broken Gold alongside fellow Gambler Patrick Lillard over a decade and a half back. The offshoot’s initial indie punk prospects shined on their 2011 debut LP Recovery Journal, and have only departed further from the signature RG sound since, most notably on last March’s Live at Paint by Numbers. Well after waiting long enough, Broken Gold’s finally giving us another full-length entry into their studio discography.

Wild Eyes (out May 3rd) strikes gold with mixing from Modest Mouse/White Stripes engineer Stuart Sikes and mastering from twenty-one-time Grammy winner Howie Weinberg, not to mention one hell of a guest appearance. We’re talking about “Bad Days“, a look back to when Riverboat Gamblers were operating full tilt on tour, almost like a generations-later continuation of Ramones’ “I Wanna Be Sedated”. It dropped last Friday and features vocals from KUTX favorite Alejandro Escovedo, who could certainly lean on his formative days with The Nuns for similar inspiration. So as Broken Gold shifts the fuzz pedal into overdrive for SXSW, catch ’em 10:15PM tomorrow night at Valhalla for the Chicken Ranch Records Party and 5:45PM on Sunday at Empire Control Room for Smartpunk House. They’ll both be good nights for sure.

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All-day unofficial hangs, boozy activations, and making new friends with your line neighbors are great and all…but for us the biggest joy of SXSW is that fast influx of international acts. Artists who might not ever consider the U.S. Southwest for their previous tours instead flood our city with tons of show options, which always makes staying in Austin this week well worth it.

So we gotta give a big shoutout to Elle Shimada, who, on top of juggling vocals, dance routines, turntables, and several instruments, also has her hands full with in-town appearances over the next few days. The Tokyo-born, Melbourne-based multi-hyphenate has been coming up quick in the Australian underground scene thanks to her infectious flirtations with drum n bass, nu jazz, R&B, electronic, and beyond, not to mention a bold Takashi Miike-esque aesthetic to her releases’ artwork and unwavering allegiance to the dancefloor. And since SXSW is so often a catalyst towards superstardom, this week may turn out to be one of those pivotal leg ups in terms of international exposure.

Elle Shimada plays 4:20PM tomorrow at Empire Control Room, Friday afternoon at Lucille (Australia House), 7:50PM Friday evening at Lefty’s Brick Bar, and wraps it up 8:30PM Saturday night at Shiner’s Saloon…plenty of opportunities to tap into Shimada’s unique pulse in-person. So while a proper introduction to Elle is the quick trip through her discography, Shimada does shimmer supremely on her latest single that dropped at the top of the month. Between sweeping synths, soaring guitar, and a rhythm section that cranks the chillwave vibe up a big notch, “RESOLUTE” is the perfect score for a super-stylized sci-fi crime romance epic, like if one of those massive Blade Runner holograms was swapped out with Shimada’s striking visage and shintai-ascending voice.

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It doesn’t matter whether or not lyrics are written before or after the instrumentation; there’s always room to build contrast between subject matter and sonic character. Like for each individual genuinely troubled by the texts of “Pumped Up Kicks” or “Semi-Charmed Life”, there’s a multitude more who just love what they’re hearing without second guessing the words or inspiration. Which proves you can appeal to the masses based on a great groove alone – without having to sacrifice any lyrical integrity.

That just about tees us up for the new one from Kev Bev. For more than a decade now, multi-instrumentalist/singer-songwriter Kevin Collins has helmed this eponymous Austin thirteen-piece, formerly known as Kev Bev and The Woodland Creatures. This hefty ensemble is about as festive as it gets, thanks to the bevy’s proclivity towards dance, loyalty to the jam (sans genre constraints), and especially their collective grasp of historical musicology.

But Kev Bev’s knowledge of history isn’t limited to sound alone. In fact, they’ve just reflected on the heavy lessons from a poignant chapter in our nation’s past: that of the 1921 Tulsa Race Massacre. And this where the power of positivity comes into play. “History Books“ (the lead single and title track off KB’s next LP) confronts some tough stuff for sure, but balances the abysmal with killer brass, incredible rhythms, slick transitions, and easily accessible choreography, even if you’re in the library. The movement-inducing music video arrived just in time for International Women’s Day, not to mention a pop-up performance 5:45PM this Saturday at Austin City Hall for the Falasteen Street Museum and a record release show 8PM next Friday at ABGB alongside Bali Yaaah. So credit to Kev Bev, ’cause edutainment is rarely this infectious.

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Swapping out lead singers can be risky for established listener-ships, but shaking up your sound can also reap some serious rewards and keep fans on their toes in the best way possible. So while not every band can boast a membership as eclectically talented as that of Fleetwood Mac, Pink Floyd, or The Beatles, a little vocal variety does go a long way. And that’s where Austin quintet KONZI finds themselves today.

KONZI’s been kickin’ it since the start of the pandemic – always with the co-lead vocalists in mind – but only implemented that dream on streaming this morning. Rest assured, the ’90s alternative/turn-of-the-millennium indie style that we heard on KONZI’s eponymous debut last year is well preserved. But there’s no denying the newfound fire from singer Carly Jo Jackson on this new one off KONZI’s upcoming sophomore album.

For a truly proper introduction, face the full-band effect with the music video for “Red Velvet Room”. To say “Red Velvet Room” absolutely rips is a criminal understatement, thanks in no small part to Jackson’s firecracker performance. So if you need a quick rock caffeine pick-me-up, step into “Red Velvet Room” with the volume up to eleven.

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We haven’t even hit SXSW yet, but we’re already hearing hype for some freshly-minted, must-know Austin acts. And with another new arrival this morning, our ear drums feel especially touched by an angel.

We’re talking about a four-piece whose fast ascent to their current status requires a bit of quick history. It started off a couple years back as Saturnia Pavonia, the solo outlet for Austin guitarist-singer-songwriter Laura Delarosa. Despite three lifelong multi-instrumentalists (Laura’s lead guitarist husband Josh, drummer Eleanor Lindsey, and bassist Aja Pollock) entering the mix last summer and hurling a pumped up post-punk sound into the stratosphere with their first full band foray “Control”, Delarosa and her disciples have held onto the Saturnia Pavonia handle ever since…until today.

Say hello to Wild Heaven: new name, still untamed. This beastly blessing is plain paradise for that lawless, aggressive ’90s-evocative alt-rock – a real godsend in this hyper-polished era of pristine digital production. How do we know? Well, Wild Heaven just opened up the pearly gates on this iteration’s debut single, “What You’re Looking For”, which is exactly that if you’ve been huntin’ for some recent Riot Grrrl material. Power chords straight out the gate, lyrics dishing out ex hate, and feminine adrenaline all on one plate, “What You’re Looking For” is a dish best served loudly. Catch ’em in person 10PM this Saturday at Vaquero Taquero downtown or 1PM this Sunday at Buzz Mill!

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Over the past two months alone we’ve seen some pretty promising new names emerge from the Austin area, even if the artists behind the project have been in plain sight for some time.

Take for example longtime live scene veteran Ana Zae, whose prior solo iteration Liza Day (Rose) first popped up in August 2020 with six soulful self-recorded originals. Heavy on the multi-tracked vocal harmonies but angled towards acoustic authenticity, those tunes told us everything we needed to know about this mature music-maker; she had the stuff.

Fast forward to this February, when the singer-guitarist rolled out her rebrand as Ana Zae with two stellar singles. Thanks to Black Pumas collaborator Will Grantham engineering and producing the pair, Ana’s sound has undeniably leveled up from the humble, stripped-down home studio aesthetic of her antecedent. Between a previously unheard one (“Set Me Free”) and “Lifted” (lifted from her Liza Day debut Roses and Waves), this two-part reintroduction channels the waltzy rhythms and sultry chord changes of classic Patsy Cline through the lens of golden era grunge electric guitar, both of them teetering with triplets, love-hungry lyrics, and a set of pipes that put more than plenty to shame. And with a full album reportedly on the way from Ana Zae, our fandom stands to stay unfazed.

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Once you hit your third or fourth full-length, you’re established. By album seven or eight you’re a heavyweight. But when your discography reaches its teens, the list of contemporaries to compare to starts running thin…and that’s the position Scott H. Biram is about to enter.

With a catalogue reaching back to the turn of the millennium, this Austin singer-guitarist has officially been in the game for a quarter century, and two decades removed from a pivotal brush with death. Biram’s is the type of music that could really only stem from Texas, with a gratuitous amount of southern grit ingrained in his exploration of blues, punk rock, and beyond. And his streaming numbers are certainly nothing to scoff at.

Recently, rockin’ the Fu Manchu mustache, gold tooth, and all, Scott’s gotten caught up in recapturing the lo-fi charm of his earlier installations, a wager he’ll make good on with his thirteenth full-length The One & Only Scott H. Biram, out March 29th. Based on the record’s first three singles (including this morning’s “No Man’s Land“) we definitely feel greeted back to that grizzled territory like a musty junkyard mutt crawling back inside a rusty jalopy frame. The shitkickers will love it, but that doesn’t neglect the uncouth sophistication of these new, idiosyncratic compositions. Rock on, Scott. Rock on.

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No matter how talented an individual vocalist is, the addition of live instrumentation can really elevate a performance to the upper tier. Like can you imagine if Rage Against the Machine was just De La Rocha spitting over pre-recorded tracks with a DJ instead of their legendary full-band energy? Us neither.

So we’re not really going out on a limb when we say that Austin four-piece Sweet Limb has a pretty swell thing going for them. The project started off over a decade back as a solo outlet for singer/rapper Chris Robinson but really took off post-COVID when Sweet Limb branched out to include bass, drums, and keys. Thanks to Robinson’s seasoned Frank Ocean-esque verbal skills, killer grooves that fuse multiple styles, plus the intentionality of their arrangements and proven understanding of dynamics in live settings that’s gotta pull plenty of new listeners, Sweet Limb’s been getting some admirable streaming traction just from releases over the past couple months alone.

Well, just in time for a few unofficial SXSW appearances over the next week (this Sunday afternoon at LuxeArt Agency, next Monday at Coconut Club, and next Thursday at Full Circle Bar) Sweet Limb released their first full-length Thank You For Not Snitching last Friday. Clocking in at a hair under half an hour, Thank You For Not Snitching packs ten tracks of black talent you’ll wanna tell everyone about, made in collaboration with local scenesters like KUTX favorites Ben Buck, Breadcouch, and Norman BA$E, who lends his production chops to the LOW KEY EP holdover “Meditate”. Like an alternate Persona 5 composition recut to capture a jazzy, placid Austin aesthetic, “Meditate” is a great way to clear the mind going into another work week on the verge of South By.

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Austin may be a metropolis, but it’s still smack dab in the middle of Texas, football fanaticism, Western legends, vast landscapes, and all. There are a lot of artists who embody that Lone Star aesthetic, but today we’re tippin’ our hat to Scott Ballew.

After his initial acts as football star and filmmaker, this central Texas troubadour is now living middle age to the fullest as a songwriter. Scott’s quick to point to his documentary work with Terry Allen as a pivotal moment in his career, and sure, you can see similarities in just comparing album covers , like the cresting scenery of their respective debuts Juarez vs. Talking to Mountains or the minimalist interiors of Lubbock (On Everything) vs. Middle Age Crazy. But that said, there’s something especially cinematic-minded about his cosmic Americana compositions that he couldn’t have simply copped from Allen’s outlaw country repertoire.

And that Western aesthetic really comes to a head on Scott Ballew’s third LP, Rio Bravo, out March 29th. Down to its already iconic title (Cat Ballou would’ve been too on the nose, right?) Rio Bravo is shaping up to be a ten-scene saga of survival, less in the realm of gunfighter ballads and more so contemporary confessions, like if Ennio Morricone brought his timeless Spaghetti Western magic to a newly-unearthed Townes Van Zandt album. Ballew started saddling up for Rio Bravo last month with “Suicide Squeeze” and galloped further today with “Mutiny”. Safe to say we’ll spend this next month patiently awaiting the rest of the stragglers, whose full posse of songs could’ve only been made in Texas, plain and simple.

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It’s a total no-brainer. 2020 and quarantine conditions left countless with a bizarre bevy of time to reflect and be inspired, no matter how dire the world felt. And with a lot of those early-COVID-era compositions, the final products reached masses within the first year or two. But some of those existential episodes must’ve made others question what the rush even is, since some of those songs still won’t land in fan’s laps until they’re just right.

It makes sense that Portland’s Anna Tivel falls in the latter category, since she’d already established herself as a modern folk force between a handful of studio albums and a few million streams by the time lockdown came around. And yet COVID didn’t seem to slow down her output. That summer, Tivel tailed 2019’s The Question with a full LP all-acoustic re-imagining, Blue World in 2021, Outsiders in 2022, and Outsiders‘ own acoustic revisit last August. In contrast to Tivel’s pensive, unhurried musical character, it’s honestly crazy to think about how quickly Tivel was cranking ’em out without sacrificing quality.

But apparently, not even all that could fully capture what Anna Tivel penned in the pandemic. Just this past Tuesday Tivel announced her sixth full-length Living Thing, set for release the final day of May. Marking a decade milestone since her debut Before Machines and nearly a half decade since the initial lockdown days, Tivel really upped the ante on Living Thing by collaborating with Bon Iver/Field Report producer Shane Leonard to meticulously maximize each track over an intensive two-month session. The record’s lead single, “Disposable Camera”? Far from a throwaway. Its minimalist music video definitely deserves a few more eyes, and the accessibility of the lyrics make “Disposable Camera” feel like flipping through all-too-familiar snapshots of the recent past. In other words…it’ll click with you.

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We here at KUTX have kept a pulse on the local scene long and close enough to realize that we’re essentially tracking the progression of individual talents in real time. And though we’re admittedly quick to stick up for twenty-somethings who’ve bottled lightning for their debut releases, frankly there are very few youngsters that genuinely make us think “oh, they’re only gonna get better and better from here on out” each time we see them play live.

Think about The Peterson Brothers, who initially entertained us almost a full decade back when they made their first Studio 1A appearance as mere teens. Just as they did back then, Glenn, Jr. and Alex both continue to slay it on vocals, but their deft instrumentation on guitar and bass, respectively, always steals the show. Which totally tracks, considering up until 2020’s The Intro, The Peterson Brothers were primarily a live staple. So just when we began to fear that their mature emulsifications of blues, funk, soul, and jazz might’ve hit a limit, The Peterson Brothers have bested themselves yet again with their full-length Experience, out April 12th.

And since The Peterson Brothers have already shared a stage with The Roots, who better to help translate their live energy to the studio than Grammy-nominated Roots/Lauryn Hill/Mark Ronson producer Ray Angry? Mixed for ATMOS and mastered at Abbey Road Studios, the resulting Experience is exactly what it claims to be, an eight-track sonic excursion best enjoyed in surround sound. So while mid-January’s “Too Soon” teased that hyper-polished production value with echoes of The Brothers Johnson, yesterday’s “Family” sounds more like The Whispers rejuvenated their signature synth sound with organic sonics and some playful brass. It’s an embrace of everyone who’s supported them along the way, blood relations be damned, and holy moly does it make us feel like Experience will be TPB’s alma mater…at least until the next one.

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Over the past 40 years R&B’s only gotten more electronic, more reliant on post-production “studio magic”. And for the more recent half of that period, R&B’s also become so intertwined with hip-hop that the two genres are now almost inseparable. Thankfully, just like the recent retro-soul renaissance, there are still purveyors of real “rhythm & blues” who ascend past contemporary commercial trends and instead blend the best of classic and modern.

And that includes Austin acts like Autumn Cymone, who draws just as much from Prince and Erykah Badu as she does Betty Davis and Astrud Gilberto. But seemingly impervious to a bad hair day and ever equipped with her trusty six-string, a quick listen to this “Queen of the vibe”‘s catalogue tells you that she’s much more than just another Janelle Monáe wannabe. And in the half decade since the straightforward rock arrangement paired with R&B drums of Cymone’s debut single “Silence”, we’ve heard a really impressive progression into the nuanced songwriting and authentic acoustics she’s blessed us with this side of the pandemic.

This Thursday Autumn Cymone shares her EP …all my surprises, followed by a show 10PM Friday night at Busy Signal and what may very well be her final unofficial SXSW performance 5PM next Saturday at New Bloom. So as Autumn Cymone slides towards superstardom, try not to get hot and bothered by the new album’s latest lip-biter, “Slippery”. Between a voracious back-and-forth lyrical structure with James Barmore that catalyzes sexual chemistry and the infectious complexities of its overall arrangement, “Slippery” feels like a modernized Motown duet overflowing with hormones and rock overtones.

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It’s a new week and nearly a new month so might as well break into some new music, right? Today we have the privilege of premiering the first-ever studio single from a fresh outfit – Tigers Eye. Like their namesake quartz, this quartet has a more exotic appeal than many of Austin’s other musical marbles, thanks to their mining of indie, surf, and psych.

Tigers Eye’s spent the past year earning their stripes with a series of live performance videos, including several covers that tip us off to some of the band’s inspirations like Arc De Soleil, Velvet Underground, Jimi Hendrix, Allah-Las, and Khruangbin. And speaking of live performances, Tigers Eye plays their maiden single release show 8PM next Tuesday at Mohawk alongside Trace of Lime and Buzzard Company. So while we don’t have a concrete timeframe for when the group drops their debut full-length, we did just get our paws on the record’s first offering, “Goodbye Again”.

Clocking in at just under four minutes, “Goodbye Again” makes us ready to great spring and summer with a grin, thanks to an upbeat arrangement, driving rhythms, and super catchy melodies – all of which demand we keep a close eye on these cool cats moving forward.

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We’ve said it once and we’ll say it again: we’ve been loving the recent ride of this retro soul-funk renaissance, especially with so much dynamite coming right out of the central state area. And today a new name emerges within that ongoing saga of nostalgia: Silver Skylarks.

Fly like the birds, and slick like the cars, Silver Skylarks is the DFW duo comprised of songwriter Danny Balis and producer Jeff “Skin” Wade, born from early pandemic demos. Taking cues from the ’70s vinyl rarities that crate diggers crave, Balis and Wade have been steadily elevating those ten demos into Silver Skylarks’ debut LP The Number One Set and Sound – out May 3rd.

But the pair didn’t go it alone. Instead they called up some of the best session players they’ve met, plus a few superstars to really spice things up. On top of the mix that includes Large Professor, Robert Ellis, and The D.O.C., Silver Skylarks also tapped into some outstanding Austin talent; Uncle Roy & Spice, the Austin vocalists better known as US!, lends their pipes to the record’s Side A closer “Power Moves”, while Adrian Quesada commandeers the six-string. The result is a progressive groove that’d quickly catch Roy Ayers’ ear, complete with horn swells, Coffy-esque vocals, and an intoxicating breakbeat-indulging bridge, that all just scream to be played over some sassy vigilante’s intro credits.

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Once you get locked into a flock, life without group benefits sounds like a nightmare. And if you want to break away to steer your own migrations, you might just sacrifice a chunk of your following in the process. Not only that, there’s always the risk of ending up far from where you wanted.

Yet it sure seems like singer-songwriter Eric Baker (formerly of Tomar & the FCs and currently behind keys for Shinyribs) has found the right fit with Wrongbird, which he founded as a solo project more than half a decade back. Since Baker’s early 2018 debut Epitome of the Opposite, Wrongbird’s wings have spread into a core duo with producer-guitarist Michael Blake and eventually the quartet we know today. Wrongbird’s made all the right choices when it comes to what they weave into the nest: strings, horns, backup singers, and anything worth foraging from the ’60s-’70s golden age of art pop. But following their late 2018 EP Who Is Wrongbird?, the band went awfully quiet…up until their big return in 2023 with April’s “Mr. April” and November’s “Western Hero”, the latter of which has already become their most streamed single on Spotify.

Clearly Wrongbird’s not interested in letting their still-limited discography dry up, and as such, they’re leading us to an oasis of a new record at some point in 2024. And while there’s no official release date for that sophomore album as of yet, Wrongbird does have a single release show 6:30PM next Wednesday at Vinyl Beauty Bar with Allisen & Wy plus Lady Chops & the Goddamn Jam. And that latest lead single from LP feels like finally reaching a distant mirage, that instead of evaporating upon arrival, gleefully transforms into a full-blown Bourbon Street affair. Because by barreling together Three Stooges dialogue samples, speakeasy-approved horns, tipsy stride piano, trippy guitar, tumbling drums, and swaggering vocals, “Sons of the Desert” effortlessly encapsulates a prohibition-era sense of mischievousness. Just don’t get yourselves into too much trouble with this one, boys…

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Last May we took a gander at a real Good Woman, Austin-born-and-raised and now Dallas-based singer-songwriter Paige Hill, who shared her debut EP of the same name last year. Pious yet uninhibited, motherly without hovering, and faithful to her state but enticed by adventure, Hill embodies those personal complications often overlooked in the Americana-country-folk-rock realm.

She’s the type of artist who soaks up inspiration wherever she goes and from whoever she meets, so it’s no huge surprise that she’s settled on People & Places as the title for her upcoming first full-length. Chronicling ten tender years over the course of nearly as many tunes, People & Places is set to showcase a seasoned sense of wisdom that can only come from a modern Texas woman.

So as we move towards People & Places – out later this Spring – we join Paige Hill on the journey she took from her native Austin out to the California coast way back when. Aptly “Go West”, this lead single makes us want to get up and move, plain and simple. While its instrumental arrangement is pretty tight, Paige’s soulful, reverberating vocals round out the song’s sense of space like a cross-country snow globe. And with an expert sense of dynamics that tracks Hill’s heeding of westward advice, “Go West” will encourage you to take the leap and make the changes you’ve been meaning to do from its first full-band downbeat through its final, optimistic chord.

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Once we got used to their abrasive calls, Hitchockian congregations at HEB Hancock, and overall recklessness, we’ve actually enjoyed being in good graces with grackles. Sure, they’re a bit more obnoxious than, say, the blind salamander, but squawking, flash-flocking and all, grackles instantly evoke a Central Texas aesthetic.

And we can say much of the same about musical up-and-comers Grackles; being loud is in their nature, they flock as octet in concert, and the Americana-country feathers they shed bear distinct characteristics of the Lone Star State. If you didn’t know, this formation is led by drummer extraordinaire Jimmy Paxson, Ben Harper guitarist Jason Mozersky, Austin’s own Noah Lit, and Edie Brickell/Paul Simon Producer Kyle Crusham, and for the past few months we’ve been monitoring Grackles’ migration towards their eponymous debut album, which finally releases this Friday.

That star power extends all throughout Grackles‘ ten tracks, but especially on its guest features, including two with Texas icon Kat Edmonson and two with Lauren Harris, who appears with guitarist David Grissom and real-life Elwood Charlie Musselwhite, respectively. So as we approach the Grackles release show 8PM this Saturday at Pershing Hall alongside Passiflora, let Musselwhite’s mouth harp and Harris’ vocals treat you to some extra twang with the Grackles’ road trip-ready alternate history anthem that is the LP’s first single, “San Antone”.

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Bugs…they’re super weird! They’re everywhere, they’re ancient, their appearance is alien and for every beautiful-looking specimen there’s an equal and opposite that makes us feel icky. And if there’s anyone up to the massive task of adapting…bugs to an aural experience, it’s Golden Hornet, and not just because they have a bug in their name.

No, this Austin-based string-heavy endeavor spearheaded by Artistic Director Graham Reynolds has never really been bound by the rules of conventional composition; instead Golden Hornet stings with unbridled variety and adventurous arrangements, no matter what genres they’re crossbreeding with. And the latest from Golden Hornet finds Reynolds uniting with ex-Kronos Quartet cellist Jeffrey Zeigler and renowned percussionist Susie Ibarra to create INSECTUM, a nine-song collection as eclectic as the specimens they interpret.

INSECTUM is avant-garde down to a microscopic level, and far from the most accessible thing you’ll hear all year. So if you’ve been bit by the bizarre music bug, support our classical-curating colleagues and march on over to the Draylen Mason Music Studio 7PM this Thursday for KMFA’s Offbeat series. We guarantee it’ll be a life changing concert, and not in a nightmarish Kafka-esque way. Just crank up the volume, zone out, and lose your mind to INSECTUM‘s penultimate offering “Army Ants” and you’ll hear exactly what we mean.

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We often think of glass as fragile, delicate, a superficial separation from whatever’s on the other side. Yet glass can only come from an intensive process, and can be tempered to withstand extreme duress. And that latter association seems to speak a lot more to Copenhagen pair Lisbet Fritze and Louise Foo, better known as Glas.Both members of this Denmark duo started off in the early-to-mid-2010s pop noir outfit Giana Factory, before Fritze began providing vocals and guitar for electronic sensation Trentemøller while Foo joined forces with her sister to form the avant-garde pop project SØSTR. Now, ten years after Giana Factory’s final single, Foo and Fritze have reunited for the transparent display of alt-pop talent that is Glas.Glas shared their first single “Melting Point” last Fall, and followed it up with “Midnight Fay” in mid-January. And today, just a month away from their debut Trentemøller-produced full-length Kisses Like Feathers, Glas has graced us with “Hungry Moon”. Phasing between the opening guitar chords that sound like a bleaker, modern take on “Pictures of Matchstick Men”, pristinely-polished vocal harmonies that float above brilliantly spacious drums and cave-like keys, plus a climactic dive into distortion that tapers off into static, “Hungry Moon” will instantly sate any alt-pop appetite.

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When we last spoke of Wilson Marks, it was just before Mother’s Day, and in fact for his newly-released song “Mother’s Day”. And wouldn’t you know it, when Wilson Marks sparks our interests yet again…it’s the day after Valentine’s. So while we won’t beleaguer you with delusional theories on causation versus correlation concerning Wilson’s releases and U.S. holidays, we will give you the rundown on what Wilson’s been working on since we last caught up.Just as planned, Wilson Marks did share another release late last year, but it ended up being the stripped-down EP they previously alluded to, Won’t Fit In a Song, instead of the trio’s next full-length as anticipated. Rest assured though, Wilson et al are still working on that LP and are looking at a drop date some time this spring. In the meantime, Marks has been making the most of a Monday night four-band residency at Sagebrush, continuing on the 19th – 8PM to midnight with opener Aaron Huff alongside closers Alex Riegelman & Friends and Virginia Creeper.Marks is definitely gonna be in good company for the remainder of that in-city, four-performance residency, and yet today he painted a very different picture with the upcoming album’s second single, “Isolation Town”. Between its bluesy trot, (breezy drum brushes and all), a real horse gallop of a woodblock pattern, some cozy chorus effects on the guitar, warm bass, wistful whistling and an oddly daunting second-person lyrical perspective and vocal character that both remind us of Roger Waters, “Isolation Town” channels that brilliantly wonky kind of early Pink Floyd-era psychedelia that almost borders on exotica.

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There’s a crass type of middle school comedy that still elicits cackles far past its “prime”. And following the rich Texas tradition of juvenile band handles like Dicks and Butthole Surfers, the name choice behind BOO85 is a breasty testament the infectious fun from five bosom buddies…even though it is pronounced like a mid-decade spectral scare (“boo eighty-five”).

This all-women Austin outfit navigates the cleavage of rock between alternative and pop. And that titillating twist is perfectly pressed against BOO85’s penchant for swaying bass and guitar, well-rounded drums, and lascivious vocals. BOO85 first slipped out onto streaming right around this same time last year, followed by the Exposed EP that summer and their jangly rendition of “Santa Baby” for the holidays. Clearly, they’re not going tits up anytime soon.

And this Valentine’s Day, as the girls gear up for a March 15th show at Knomad Bar, BOO85 presents their strongest recording yet. The opening bars of their new single “Heart” instantly recall Pixies, but soon shape up into some dream pop shimmer on the hooks, a “how was this not made in the ’90s” bridge section, and an intrinsically feminine energy throughout. So while we hope BOO85’s taking the tunes seriously doesn’t cover up the group’s characteristic fun…”Heart” is seriously good.

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Valentine’s Day’s not just for the couples. No, there’s an extensive list of local events offering RSVPs to love fools, lonely hearts and relationship-skippers alike. Among that full house of options? Austin’s very own Free Hamze.

Originally enticed into the genre by the Arabic incorporations of Mos Def and Lupe Fiasco (and the early/mid-2000s sound they helped proliferate), this Lebanese-born rapper’s really been blazing up an electic reputation since releasing his debut record Green Alchemy back in Summer 2022. Aside from his sword-surpassing penmanship and complex flow cadences, Free Hamze’s also somewhat of a bleeding heart, having founded the pro bono endeavor Sahar Studios and begun developing a 40-acre sustainable desert community. And while music is unmistakably Free Hamze’s brightest guiding light, principles of relentless liberation, of (true to his handle) freedom in any form, definitely inform Free’s impressive drive, which continued last winter with FREETAPE 3: Survival of the Realest.

So if you’re already falling in love with the idea of feeling Free Hamze’s heat tomorrow night, make it a date and drop by Electric Lounge 7PM then – followed by Kizzy Zeniba at 8 and Space Goonz at 9. But if you’d rather stay home and feel too cool for this Hallmark holiday, sub out a bottle of prosecco with a fresh production from Sekko that came out last Friday, “nothing4granted“. Hazy guitar chords, sensually subtle drums, and laid back lyrical triplets steal the show on this new sentimental standalone, one that easily elevates Free Hamze over the cookie cutter “mumble rap” slurs of his contemporaries.

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Here in Austin, we like to make a big fuss over our Central Texas music icons, erecting statues and renaming streets in their honor. So while the respective likeness and namesake of Stevie Ray Vaughan and Willie Nelson have become local landmarks, in reality, our city limits have several legends just hiding in plain sight.

Like Tommy Taylor, whose deft drumming on Christopher Cross’ ’79 debut undeniably helped make it the timeless classic it is today. But that’s just scratching the surface; on top of a longtime spot in Eric Johnson’s band, Taylor’s played with the likes of SRV, Charlie Sexton, Jerry Jeff Walker, Shawn Colvin, Ray Benson and many more over what must be an incredibly fulfilling career. Turns out though that Tommy Taylor wasn’t too keen on just letting those records speak for themselves, since after several years of encouragement, he recently put his voice front and center of his own tunes.

Created in collaboration with fellow legend and multi-Grammy winner Michael Omartian, Across the Stars came out last September. Between Omartian’s top notch production techniques and Taylor’s well-seasoned sense of songwriting (fleshed out characters and all), Across the Stars is an astronomical entry for this pair of yacht rock royals. So don’t expect any tumbleweeds or crickets when the silence comes at the end of this nine-song journey, because even early pieces like the album opener “Ghost Town” just sound plain great. Since we’re guessing there’s a galaxy’s worth of other material under Taylor’s belt, here’s hoping Across the Stars won’t be a standalone in Tommy’s discography.

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Listening to Alesia Lani is like the first kiss from a longtime crush. Her music makes hearts skip beats and occupies thoughts long after it’s left. But even though Alesia Lani’s flirtations with R&B-Soul are strong enough to make a full standing room swoon, she’s got a bit of an introverted nature underneath the tunes. And despite a SoFar Sounds Valentine’s Day show 8PM next Wednesday for all the wannabe lovers, Lani just dropped an anthem of sorts for us wallflowers.

It comes ahead of her next album love like lofi, out March 8th. Based on the name, we’re expecting a little less production fidelity than what we heard on last October’s Self Titled, but based on the quality of content from that last LP, the caliber of songwriting and performance has still gotta be high. So with showers in the forecast, this morning Alesia Lani drew back the curtain on love like lofi with the record’s lead single, “homebody“, one that finds her teaming up with eclectic beatmaker FLOST8.

The pitter patter of precipitation trickles past the pane to prime “homebody” and its ode to the rainy day mentality. Order a pizza, sprawl out on the couch, roll up something nice, flick on the mood lighting, and snuggle with the cat. Because it’s not lazy. It’s just lowkey.

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In the eons since Prometheus’ divine theft, we’ve figured out that starting a fire from anything is better than completely starting from scratch, even if it’s a step up from a random damp spot to a ring of rock. It’s true; even if your last burn didn’t leave any charcoal, the ashes of the past can still kindle in new contexts. And that’s not just Camping 101. It also rings true for a local outfit.

And that’s Ash and the Endings, founded and fronted by namesake lead singer Ashton Chase alongside four embers…er…members. Ranging from quadruple digit sessions and concerts, to acting and penning theatre, to running a floral design company, each member’s background lends itself to Ash and the Endings’ eclectic style and ability to give old experiences new beginnings. Starting off with their eponymous Summer 2022 LP, this quintet’s continued to dust off nooks of psych rock, three-part harmonies and all, across their expansive alt-rock attic.

If you want to catch Ash et al live, they’ll be celebrating Valentine’s Day 8PM next Wednesday at Far Out Lounge with openers Betty Benedeadly at 7 and closers NSFWho at 9. And although their latest studio offering doesn’t officially drop until tomorrow, the band was gracious enough to pry back the spring and let us crawl into “Victor’s Trap”. A perfect preface to Valentine’s Day, this reflection on intrinsic attractiveness, dating apps, and sex appeal in commercial music will easily infiltrate any ’90s grunge playlist. It might not be as romantic as a Victor Hugo novel, but it kicks off with a stirring bass line, that gears you up for gritty guitar, impressive vocal intervals, obliterating drums, and one heck of a long tail after a rolling cadence of a bridge. Not a fan of Ash and the Endings yet? “Victor’s Trap” might just snatch you up.

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You know the expression “when life gives you lemons, make lemonade”? We’ve always though the phrase was a bit unfair to the citrus, because cultivation is actually a tedious process of temperature control, planting trees, pruning, and patiently waiting for seedlings to get big and yellow. Not only that, but once the batch is ripe and hardy, lemonade is just one of the many recipes that infuse those unique flavors.

So we’ve been kind of thinking about The Lemon Twigs with a similar outlook; ten years since the D’Addario bros started their high school pet project, The Lemon Twigs sound more mature than ever, and over that decade they’ve lent their style to dishes of baroque pop, art rock, glam, indie, and beyond. And especially in the last year or so, the boys have been busy! With the retro soft rock taste of last May’s Everything Harmony still fresh in our mouths, this morning The Lemon Twigs announced their sixth full-length A Dream Is All We Know – out May 3rd.

Yes, we were foolish enough to assume that early January’s “My Golden Years” was all the stand had to offer for now. Instead it’s just the first offering and album opener from this fresh, dozen-track bushel of pond-crossing ’60s sensibilities. Like swingin’ London squeezed the sweetest bits out of the Haight-Ashbury scene and vice versa, that well-aged jangle really pops on A Dream…‘s sophomore song, “They Don’t Know How To Fall In Place”, which, down to the grainy look and color processing of its music video, oozes that iconic 1960s counterculture aesthetic.

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It’s been a long time since Matt the Electrician made his last official house call. But although the days of his eponymous trade are behind us, Matt’s still got the spark to put a tap in our foot and a smile on our face each time he plays. In our ever-crowding, sometimes cocky live scene, Matt the Electrician really does humble the competition thanks to decades of astute observations and unpretentious performances, unplugged or otherwise. And with a discography as deep as his, comparing the output from his folk rock contemporaries to Matt the Electrician is almost like a drop in the ocean.

Speaking of which, Matt the Electrician just finished up his latest installation last Friday with his full-length The Ocean Knocked Me Down, a sixteen-track tidal wave of lighthearted fun and buoyant optimism that features some Austin favorites. Over the next couple weeks, this electrician will be workin’ on a regional circuit, with stops in Arkansas, Missouri, and Kansas before returning to Texas in March. Glancing at Matt the Electrician’s calendar, there’s a suspicious gap right where SXSW lands, but we do know for sure that he’ll have another Austin show on April 20th at The Rollins Theater.

Until then, if you’ve depleted your remaining surplus of holiday cheer, let The Ocean Knocked Me Down wash away that wintertime blues with charming originals like “Human Echo”. The second track in The Ocean…‘s new batch, “Human Echo” reverberates with skanky ukulele, unruffled trumpet riffs, big bear hugs of group vocals, tasteful key chords, and the jocund wisdom that whatever it will be…is whatever it will be.

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You never want to spread your style thin by dabbling with too many different sounds, especially when you’re starting out. We’re not saying you should oversimplify things when those bits of inspiration hit. If you can successfully finesse ’em in there without derailing your stylistic strengths, then more power to you. But a little consistency early on can do wonders for an artist’s reliability down the road.

That said, we really love what we’ve been hearing from Austin’s Baby the Band. Not to be confused with fellow Texas musicians Baby…the band. Considering core member Norrie Swofford, a veteran of Nolan Potter’s Nightmare Band who’s currently behind synth and keys for Dayglow, it makes sense that Baby the Band sort of sits in the middle; they scour off some of Dayglow’s pristine pop polish and reel in a bit of that absolute Nolan Potter madness. Baby the Band’s mellow wheelhouse of ethereal psych-pop-rock crafts with consistent timbres and mixing techniques, which made them a dream come true when they first appeared on streaming right after lockdown.

Far from a blemish on their legacy, Baby the Band gave us the new two-parter “Stain” / “Not Forever” just a couple weeks back. The former’s just as good as the latter, and the seamless flow between the two proves the pieces’ companionship. But we gotta give special credit to “Not Forever” for its execution of brevity without cutting the jam too short, wailing hard on a near-two-minute-long sax solo and never letting the energy drag. Either way, both’ll sound nifty if you’re trippin’! And both are aural euphoria at the press of “play”.

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Love at first sight has ignited countless fairy tales, both modern and classic. But as common as those instantaneous head-over-heels plunges are in day-to-day life, statistically speaking, “happy endings” are a lot less likely. And breakups sure do suck…but that’s why breakup songs go so hard, regardless of your relationship status.

This is where we call in Caelin, an Austin singer-songwriter who categorizes their sound as “dreamy emo country”, which, while accurate, excludes the elements of folk, R&B, indie Americana, and pop we heard on her debut record save me from me that dropped last May. This year, Caelin’s coming hot off some caught feelings…well…more like getting over an intense infatuation. And she’s set to expand on that timeless “loved and lost” outlook over the course of her sophomore EP Strangers In Love, out sometime around late Spring or early Summer.

For Strangers In Love, Caelin enlisted the production talent of KUTX favorite Walker Lukens as well as the Big Apple’s Ben Coleman to help this poignant post-mortem panoply of past memories and soul searching really pop. This morning Caelin released Strangers In Love‘s introduction, “Will I Ever Love Again”, ahead of a show 9PM tonight at Mohawk alongside Madison Baker, Barb, and a DJ set from Vonne. Just in time for the flurry of Valentine’s Day drivel that always floods the first half of February, this Lukens-produced lead single captures the enduring, existential pain of occupied thoughts over the one who got away for a wholly pensive effect…all without sounding pouty or puerile. Between an ethereal arrangement, lyrics that scour emotional scars, and one hell of a vocal performance, “Will I Ever Love Again” might bury you alive in heartbreak. So remember. The magic may be momentary. But the music and its empathic abilities last forever.

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It’s nifty how different sorts of sporty recreation mingle with specific subgenres of music; think surf, skate punk, or yacht rock. But since you can also just longboard down the access road, sippin’ Ocean Spray to some classic Fleetwood Mac without a care in the world, the rules clearly aren’t hard and fast. What’s most important is the meditation in motion, a flow state inspired by the movement of the music itself.

So even though roller skating may be most closely associated to disco (at least historically speaking), there’s an Austin outfit putting those trucks on a whole new set of wheels. That’s The Lonesome Heroes, who’ve endured the rinks of the local live scene (and far beyond) for nearly twenty years now, weaving between the best parts of indie, country, and Americana. Most recently, this veteran quintet scored another milestone with their sixth LP Seasons Change, which has already racked up some impressive streaming numbers in the short time since its November release.

And in line with frontman Rich Russell’s decision to open up the record’s writing process to a few Austin friends, these hometown heroes are lookin’ a little less lonesome in the album opener “Placebo Sun”‘s new music video…as a matter of fact they rounded up a whole roller posse to kick off their boots and strap on some skates! To fully soak up the authentic cosmic Americana radiance of “Placebo Sun”, you’ll have to keep The Lonesome Heroes company 10PM tonight at Hotel Vegas ahead of Alien Eyelid at 10:45, Shinglers at 11:30, and Automatic Weekend half past midnight, no paddling, skiing or interstellar travel required…maybe just a show-stealing, shot-bombing pooch.

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Just like the three wise monkeys, it can be enticing to turn a blind eye rather than than process a harsh reality. So even though switching on tunnel vision is probably your best bet when passing a bad roadside accident, it’s a lot tougher to avert your gaze from a “dumpster fire” at large. Because what you choose to observe directly affects both your wisdom and skepticism.

At least that’s the vibe we get from singer-songwriter-guitarist-producer Leila Sunier, who moved down here from her native New York not too long after dropping her 2020 sophomore Where Everything Is Perfect. A big fan of filled-out arrangements and compressor-contradicting dynamics, Sunier’s indie-pop-folk-alt-rock concoction has caught plenty of attention, including that of At the Drive-In producer Alex Newport and Austin’s own Ghostland Observatory, for whom she opened up last June.

Now that those flavors have ripened within Austin’s “blueberry in the tomato soup”, Leila Sunier’s set to hit high marks for self-reflection and social commentary on Too Big For Right Now, out this July. Ahead of a gig 10:30PM this Friday at Captain Quackenbush’s (with openers Taylor Kron at 8:30 and Howdy Cherry at 9:30), last weekend Leila shared the latest in a panoply of delicate-yet-purposeful folk forays off Too Big For Right Now, “All I Choose”. So if you typically try to cram multiple shows into the start of your weekend, maybe just stick with the obvious choice this time around. For right now, though, feast on the meditative roadside visuals of “All I Choose”, whose minimalist eggshell sonics swell into something much bigger than expected without becoming bombastic. It’s beautiful. It’s brilliant. And it’s a sure sign that Sunier will keep on soaring upward.

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Thanks to a nationwide renaissance, Chicano Soul’s been getting a lot of recent praise for its bridging of Mexican and American, of Spanish and English, in a way that blurs national and ethnic boundaries. And if we’re talking about musical movements in the same ilk, right down to its name, Tejano has to be be towards the top of that list.Of course, to authentically contribute to that sound, an artist has to have substantial experience on both sides of the border. Which brings us to Muchacho Sanchez. Sanchez split his early days between the L.A. metro and the majestic ranchos of Durango before spending a chunk of his twenties traveling across the country, soaking up every inspiring sight and unique sound in the process. Well, even though Sanchez settled down in Austin back in 2012, that nomadic drive is still alive and well in Muchacho’s music, as heard and seen in the backdrop of a trío of YouTube demos.This morning we received the debut studio single from Muchacho Sanchez, one that proves this young troubadour’s already shaping up to be a rad hombre. Recorded and produced by Charley Crockett/Sentimental Family Band collaborator Billy Horton, “First Mind” is a passionate primer paso empowered by Sanchez’ pure soul and road-wise experience. So if you’re craving some quality Tex-Mex but only have time for a quick two-step, turns Muchacho’s volume up to the max and let loose, because “First Mind” absolutely hits the spot in three minutes flat.

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