Tag: austin

Day Friend Drop Parasitic Grifter Scum

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Since being turned onto Austin’s Day Friend, we’ve pretty much been the band’s hype machine, and here we are with one final track from the group before they drop their album…which is oddly enough titled Parasitic Grifter Scum. Songwriter Blake said he was jamming to a lot of krautrock, with the metronomic style of the genre dominating the way the track presents itself, driving and crunching while the lyrics have this steadied cool that crosses through the madness. Its clear at this point that the group have locked into their own sound, fusing various brands of rock n’ roll into, ultimately leaving all of their tunes feeling slightly different and loosely linked…the tunes never feel stale when rocked one after the other. Their album will be out this Fall, but if you’re in Austin tonight you can catch them tonight at Knomad!

MoonKill Drop Murderhouse Video

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Feel like there’s a lot of pomp around the Austin scene nowadays. Who’s the next big act? What will draw the big crowds or break out? Sometimes, I just want it gritty and done really well, like MoonKill. They’ve got a sound that aligns with a lot of the horror punk from its heyday, but there are also some sort of sludgy moments to the sound that give it a bit more interesting feel. The video below comes from their debut LP, and I love the opening guitar line, stabbing at the ears while feedback screeches around. Drums drop in, and the guitar dances more; the vocals come in, like they’re being transmitted from the surface of the moon, steady during the verses and growling when necessary. Some of those vocal moments are so emphatic that they create a little hook in the song, which is why I always come back to this brand of punk, as its got an edge but still feels fun. If you’re digging the sound, check out their Moonkill LP, which is available now!

Gus Baldwin Delivers Cherrywood

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I have made no secret of my admiration for Gus Baldwin; he’s one of my favorite current musicians in the Austin scene, whether that’s playing solo or working on various projects about town. Today, we’ve got a brand new track from his forthcoming solo record, and this one definitely feels like the spirit of Jay Reatard spinning through your speakers; it carries that garage punk fuel, particularly in the way that the vocals come across in the verses…sort of scratchy as they claw at melody. And that’s why I love Baldwin’s work, as this tune clearly illustrates a love for hooks galore, and you’ll get plenty of that whether from the chorus or other little pop blips that pop up in this recording. The self-titled LP will drop this October.

Stream SLUDGEcontent from J’cuuzi

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This new EP from Austin band J’cuuzi dropped a week ago, but I hadn’t really had a chance to dive into their weird world of electronica until this week, so I wanted to circle back and give SLUDGEcontent some proper love. It’s five tracks, and they’re all bangers in their own fashion. “Fame by Death” uses this propulsive groove to set up a heavenly vocal that floats until the chorus bites and spins you around. “Bad Toy” hits a little bit of a darker corner, fusing the band’s electronic sound with a bit more gothic underscoring. “You Can’t Wallow With Us” reminds me a lot of early CSS, playful and fun and built for parties. “Big Machine” operates like a B-52s/Pylon B-side, in the best way possible…and the chorus delivers every time. Closing it out with “How 2 Get Everything You Wanted 4 Free (Forever)” goes back to the darker moments, with little rays of pop sunshine breaking through at just the right moment.

Nuclear Daisies Share Toad Single

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What does one do after spending years in the shoegaze/dream-pop realm? Well, like many peers, you pivot to some of the earlier sounds, much like the folks in Nuclear Daisies are doing on their latest single. Sonically, there are elements of the current dreamy genres, though the distortion/feedback seems more like a curtain than an interactive piece; it’s the backdrop atop which the group layer Alex Gehring’s vocals and this 90s electronic groove, straddling the past of acid house and presenting it in an updated fashion. This is the latest glimpse at their new album, First Taste of Heaven, which will drop this Friday via Portrayal of Guilt.

Stella and the Very Messed Release Lack of Secrets

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The last time we checked in on Stella and the Very Messed they were delivering one of the best pop punk tracks we’ve come across on our end this year. Today, as they continue to prep the masses for their next LP, they’re really showing the group’s range and growth, working the first minute with a predominantly electronic groove operating as the background, letting Stella Maxwell control the narrative. Near the minute mark, drums kick in, guitars start to ring, and the familiarity begins to open up; they finish out the song driving an anthemic chorus into your ear, fueled by this intermingling of the electronic groove and the band’s penchant for pop rock hooks…it’s the best of both worlds. They’ll drop their Big Familiar LP September 19th via Double Helix.

The Wild Kindness Release New EP

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Earlier this year, Austin outfit The Wild Kindness unleashed their “Never Better” single, and with that promised us that there was a new EP on the horizon. Well, today is the day you can stream Featuring “Abandon Ship” in its entirety, as the EP kicks off with the appropriate “Abandon Ship.” The first few singles harken to a sort of early Decemberists style, taking elements of folk and indie rock and weaving them into these giant pieces that swell with movement and emotion; I’ll admit, the lyrical content is a little less abstract, and I’m actually quite appreciative of that aspect. Going through the EP this morning, I’m really enjoying “Change” as my personal favorite, working with a bit more of a headstrong indie rocker…straight and bold with nuanced arrangement giving the track the proper depth.

Ingebrigt Haker Flaten Shares Single + Announces Sonic Transmissions

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Seeing as we’re here to get weird on a Friday, there’s definitely a reason to branch out into the realms of the work of Ingebrigt Haker Flaten (Exit) Knarr, as the current ensemble is labeled. The group have recently announced Drops, their latest record, and below you’ve got the jazzy twists and turns tantalizingly tuning in and out. Squeaks and squawks, hammering keys and drums rolls, all peaking in cacophony and coming together harmoniously. It’s this aversion to modern construct that makes the ensemble so captivating. Plus, the group have also blasted news of the next Sonic Transmissions Festival, taking place here in Austin on September 11 thru the 14th, supported by Epistrophy Arts. It’s a celebration of storytelling and sounds that stretch our expectations of what pop is; you can get more details HERE.

Chronophage Drops Musical Attack

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A new release by Chronophage always warrants a celebration; they’re one of the gems of the Austin scene, and just last week they dropped Musical Attack: Communist + Anarchist Friendship. It’s four brief songs, all which seem to explore their various influences in different ways. When the album opens, it almost feels like they’re taking a Dead Kennedy’s approach with that pummeling drum opening, but they waste little time rushing into this fervent guitar jam that just shreds right through your speakers. The dancing guitar line that opens “We Must Be Evil,” embraces the absolute playfulness of the tune, letting the vocals sort of encircle and prance about the musical element. You can even find a nice little video HERE of the closing “Anti-Miracle,” which features this stuttering guitar wiggle that borders on moving into post jam band territory; it’s got this falling little chorus that’s perfect too. If you want a 7″ copy of the EP, grab it from Post Present Medium.

Dress Warm Release Divine Single

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First things first, the single is titled “Divine,” though I’ll admit that the performance is also similarly divine, in its own manner. We’ve covered Dress Warm for some time, trying to get the Austin bunch on your radar, and now that they’ve got a debut planned, we’ve got the album’s first single to share with you. Brandon Price seems to be the main player in the track’s first half, letting the gentleness of his voice work atop the light strums of guitar work; it’s a living room performance, the sort that brings you in with its natural intimacy. They work the song into a lather, letting it build up with this stomping tension before washing it clean by letting the full band sound sweep in and layer the track in emphatic texture. Their debut album, If I Could I’d Take You There is out on August 22nd.

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