Daniel Francis Doyle has been one of my favorite Austin musicians for quite some time. He’s always been a unique part of the fabric of this town, whether that’s his looped projects, his bass in Deep Time or his current project Daniel Francis Doyle and the Dreams. Today’s shared single opens with ambient noise, like the onslaught of the tides washing upon the shore. But, at the 40 second mark, the song turns into a pulsating ditty where synths and guitars dance about your ears as Doyle delivers his vocals; I love the way he seems to let his voice rise and fall, depending on the emphasis of the note/lyric…like the stop right before the 2 minute mark. It’s too arty for dance music, but too good to ignore. Look for Unrecognizable on February 15th via Self Sabotage Records.
Welp. We’re just a week away from the release of the brand new Exhalants LP, and why not bring you one final listen before it hits the streets. This time around the band toy with you, and their sound. Guitar lines quietly trickle before a rush of crashing noise lands atop you, and then it recedes. It sets listeners up for a a guttural growl that bursts through the wall of smashing sonics, then again, recedes; it’s a beautiful representation of the power the Austin act brings to both their live shows and their recordings. Look for their self-titled LP to drop on August 24th via Self Sabotage Records.
While my drive for heavier sound has dissipated, there’s something in the craft of Austin’s Exhalants that just begs me to listen…and I’ll oblige. On this single, the band have this crashing hardcore train wreck, something that has me practicing my windmill moves all over my living room as we speak. Vocals are distant, almost echoes from some far off land trying to cut through the noise. Then it’s all turned to an almost catchy driving riff, building the tension all over to unleash a ferocious howl of an ending. Their self-titled debut will be ready to break through your eardrums on August 24th, courtesy of Self Sabotage Records.
Every day I’m surrounded by 13 year olds claiming Post Malone as the best “rapper” around; I always throw some old school reference to my favorite lyricists from when I was a kid (Rakim, Jeru). But, when referencing modern hip-hop, aside from a few releases, I’ve been bored, but that doesn’t look to be the case with this new Young Mothers LP. It opens with this classic vibe, like layered samples, yet from the get-go, that distant xylophone shows something extra in the sound; the rhymes steps in, hitting quick and to the point. Honestly, I’d be keen on all that; it’s like a hyper-active old school vibe, but what really caught me was how they just turn around and blow it all out. Pulling in frantic jazz squawks and off-beat drumming, illustrating that even your hip-hop could use some spicing up. The new LP, titled Morose, will drop on June 22nd via Self Sabotage.
Yea, this is a track from an experimental cellist. Yea, you’re still reading Austin Town Hall. Cry about it–sometimes, you’ve gotta expand your horizons on what you listen to and push yourself in new directions. This direction for me comes in the form of this lovely track from Austin native Randall Holt, who collaborates regularly with the likes ofGodspeed You! Black Emperor, Knest (Thor Harris & Jonathan Horne), and Yann Tiersen. “I felt safe again and was at home” is the kind of track you put on to make yourself feel utterly important, as if you’re the own protagonist of some cinematic masterpiece and this is soundtrack that plays while you’re making a pivotal decision that changes the whole film. Anyways, it’s a lovely track, and it’s even better that it’s locally grown. So take a listen and push yourself a little, if you dig it, Randall Holt will be releasing a new album on Self Sabotage Records on April 20, which you can preorder here.
Collectively, Ralph White and Steve Marsh have a history deep-rooted in the Austin music scene. Together, they’ve written Two Distinguished Gentlemen, with one of the album’s standout tracks running down below. What I’ve come to appreciate about the two is how their musical friendship seems to shine through in their folk stylings, with guitars counteracting, then swinging back into balance. And while those leanings might hint at a purely folk vibe (and it is), there are these light little atmospheric brush strokes that exhilarate even as the song seems to subdue you. It’s the slightest hint of extra effort, elevating the sound beyond mere pastiche. Their LP drops this Friday via Self Sabotage Records.
Don’t have too much time to develop an elaborate post about how much I’m really enjoying Little Mazarn‘s debut for Self Sabotage Records, but I feel that it deserves to take us into the weekend several reasons. First, this is probably the last Austin-based LP being released in 2017…and what a great way to cap off our city’s output. Second, the band is celebrating the release with a huge show over at Central Presbyterian with Twain; it’s probably going to be a packed house, so you have no excuse to miss out! Just enjoy the wintry weather, and let this LP take you into the weekend.
A little over two weeks away from the release of Little Mazarn‘s new album, and here she is with another chance for you to listen to her striking work. In listening, you’re bound to appreciate the care put into the song’s construction, with each note taking on a role of its own, matching the voice of Lindsey Verrill when necessary. There’s a lot of space within too, perfect for drifting in and out of the song’s consciousness (or your own). The LP drops on December 15th via Self Sabotage Records, ready to enchant even the most casual listener.
Lindsey Verrill, aka Little Mazarn, has been an intricate part of the Austin music community for some time, and today she steps out into the big world with a remarkable number. It’s stark from the offset, the careful work of her banjo, and accompanying saw/strings, leaving space for her celestial vocal performance. Each pluck resonates in your stereo, an echo of beauty that leaves room for Verrill’s voice to do the same. Subtly charming, emotionally powerful, you won’t be able to pull yourself away from the depths of this fine tune. Look for her self-titled album on December 16th via Self Sabotage Records; she’ll have a release show at Central Presbyterian Church with Twain on 12/15!
Austin’s Self Sabotage Records is here to provide a home for some of the more experimental vibes to come from within the city, such as More Eaze. Today we’ve got a brilliant tune from the project, giving insight into the latest release, bodiezNc0de. The first minute of this tune offers a minimal deconstruction, almost as if you’re hearing static over distant radio waves. But, listen carefully and you’ll hear the building of strings, allowing for the song to experiment with pop structures. What’s interesting is having the song’s natural tendency (especially with the introduction of vocals) towards pop sensibility sit right next to the sterile electronic notes carefully stuttering in the background. The song will capture the ears of casual listeners, and hopefully, as I suspect is the intent, draw them deeper into the constructionist nature of what’s at work. Impressive from start to finish, look for the release to drop on September 29th.