Jack Anderson

Erin Ivey: “I’m in Awe”

A lot of intergenerational discourse about age and beauty got brought up because of The Substance this year. Ya know, out with the old and in with the new by rule of sex appeal. And the way some of these fresh-faced artists skyrocket to half a billion streams seemingly overnight based on Tik Tok clout…it’s hard to shake the preconception that even the music industry is a young gals’ game. But you don’t even need a sense of sight to recognize meaningful songwriting and a keen ear, both of which naturally develop over a lifetime of formative experiences.

You can see where this is going, but rest assured, we’re respectfully shying away from the words “old” and “older” as best we can. Because like haulin’ out a holiday basket of assorted, exceptionally-aged fine wine, this Thursday the 04 Center hosts Merry & Bright: Wavemakers Holiday Concert and Market supporting women over 40 in the music industry that boasts a lineup of Lurleen Ladd, Suzanna Choffel, Wendy Colonna, and today’s spotlight Erin Ivey for an evening of guaranteed great music.

Concerning Erin, it’s been well over a decade since dropping her robust solo debut The 11th Floor. But she’s kept that infectious indie folk infatuation well-fed with the recent release of “Christmas on the Southern Plains” to stuff your yuletide stocking, not to mention her sixth full-length Souvenir from mid-November still piping hot. Created in the aftermath of a cancer diagnosis and a Christmastime surgery, the record’s deceptively simple; the fairly straightforward arrangements almost make light of Ivey’s impressive vocal performances (post-op ability aside) and champion the album’s theme of perseverance in a tastefully subtle way.

In that vein, all ten tracks are “awesome” in the original sense of the word, so check out the LP in its entirety. Or just jump to the proof we point to now: the penultimate memento off Souvenir, “I’m in Awe” that not only sounds like Erin Ivey hasn’t missed a step post-health-complications but indeed that she’s stepped up her game on the whole.

Paper Sister: “Brain Drain”

Post-punk and shoegaze are both sure things when it comes to instant moodmakers. But when paired with chilly weather, overcast skies, and everyone in long sleeve fashion better fit for Portland or Seattle…yeah it definitely hits differently. And if you’re itching for that brisk mix of nippy napes, visible breath and a feast of fuzz for your ears this week, we’ve got good news.

There’s a new sibling in town: Paper Sister. Inspired by Pumpkins, PJ Harvey, Pixies, and a plethora of other ’90s alternative darlings, this Austin four-piece contextualizes those decade-defining influences against a idiosyncratic backdrop of latticed guitar layering and effects-engulfed vocals for their own reimagining of the Lollapalooza ’94 sound. And though as of this publication, we only have one studio single from the quartet, it’s enough to prove that Paper Sister’s setting themselves up to be a formidable act rather than flimsy one.

Fortunately though, Paper Sister is promising the release of more singles across the upcoming Winter season going into next year. So while you could just stay at home and patiently await the next pressing from Paper Sister, you could also see their latest set live at a show 10PM tomorrow night at Hotel Vegas opening for The Distraits at 10:45 and Silver Hour at 11:30 and another one this Saturday at Knomad. Need the fuzz right now?

Well, since your mind may still be scrambled from the weekend, go ahead and put it into prime post-punk shoegaze shape with the beautifully-bleak downtempo mid-fi magic of “Brain Drain”, a three-minute distorted drone that gives us a great glimpse of our footwear while we bob along and obey the beat with an occasional sway of arms.

Is Drake going to be okay?

Confucius and Fresh talk about the implications of Drake’s latest lawsuit, what to expect from Austin hip-hop and R&B going into 2025, and an Unpopular Opinion on the status of regional hip-hop.

Barb: “beside you (so boring!)”

Everyone’s unfurling their year in review and from what we’ve seen so far, the past twelve months have been pretty productive across the Live Music Capital! Case in point: Austin’s Barbara Klavin, AKA Barb. We’ve brought up Barb a couple times already, so you might already know the lowdown. But since it’s been a bit since we touched base, we’ll catch you up the big year that Barb’s had.

Not long after the release of her debut EP Vintage Love last September, Barb hit a few impressive milestones for someone who’s still an up-and-comer; she played The Drop In at The Long Center, played a festival out in sunny San Diego, and completed her very first tour. And on top of those live accomplishments (plus a promising 2025 that includes a New Year kickoff January 23rd at Hotel Vegas and an opening slot for Max Frost at Scoot Inn in March), Barb padded out Vintage Love and her 2023 introductory singles with another split trinity of studio tunes.

Building on the already sunny sounds of July’s “Just Say So” and August’s “Lately”, this morning’s “beside you (so boring!)” is alt-pop perfection plain and simple, punctuated by Klavin’s inspiring vocal performance, punchy-and-percussion-driven production, and as always, six-string licks that just absolutely rip.

rrunnerrss: “Get Me Out Of Here”

In a lot of ways, Texas is a top tier U.S. state. There’s great food. H-E-B. Beautiful parks with a variety of landscapes and wildlife. H-E-B again. That distinct Southern hospitality you don’t notice until you’re gone. But even if someone’s lived in the Lone Star State their whole life, being a Texas resident in 2024 has literally become unsafe for some. Ya know, the whole metaphor of Austin as the “blueberry in the tomato soup”. So especially post-election, plenty of progressives have piped up that their time to leave Texas (if not the US on the whole) is now.

We’ll get back to that in a moment. Because even though the Turkey Trot’s now a full week behind us, today we’re talking about rrunnerrss. We won’t shy from labeling rrunnerrss as a supergroup, considering that founding songwriter-composer Michael Zapruder (who sports an impressive resume on his own) rounds out this quintet with Austin veterans that have backed Adrian Quesada, Roky Erickson, Polyphonic Spree, Bill Callahan, White Denim and beyond. And together they’ve led a genre-melding marathon of North African Desert Rock, psych, and freestyle guitar since 2021.

So although Zapruder left is currently living in California due to Texas’s draconian policies, that transition didn’t put a damper on the band’s creative passions; Zapruder still slides back into Austin for live shows (including as part of triple single release show 8PM tonight at the Mohawk alongside an acoustic performance from Parker Woodland and Booher) and coordinated the recording of rrunnerrss’s debut self-titled album. Sonically, rrunnerrss covers a 5K of musical territory while thematically reflecting sentiments of self-exile, adversity, and advocacy across nine tunes. And those themes are perhaps most outspoken on the LP’s latest lead single that dropped this morning, “Get Me Out Of Here”, a somber, slow, and sweet piece of acoustic folk rock that almost recalls the poignant magic of Paul Simon’s early solo stuff.

Souls Extolled: “Gold”

That early-’00s indie punk rock sound shaped by heavyweights like Arctic Monkeys and The Strokes is still pretty dang popular. Just listen to some of the most-streamed rock artists these days and you can clearly hear the reverence. That said, it’s not too often that those newer acts actually invite nuance into their originals; it’s all kind of the same ole formula from twenty years ago. It’s a shame, because there’s a ton of potential there. And given that we’re nearly a full generation removed from the style’s origins, we’re optimistic that there’ll be some fresh takes in the near future.

Now there is a group here in Austin that shows promise for those explorations: Souls Extolled. Born out of a desire to imbue indie rock with ska, punk, and psychedelia, this power trio’s refined their own distinct version of indie punk over the past half decade and three full-lengths. But even by the band’s standards, their brand still hasn’t quite been perfected yet.

That all changes with the release of Souls Extolled’s semi-eponymous fourth LP soulsex, out January 2nd. With the help of producer Chris “Frenchie” Smith, Souls Extolled pushes past their usual comfort zone to revisit their roots in an indie-avant-garde lens and cuts out any fat to expose the group’s core energy, making this record the best representation of their unique character to date. And for those in need of some millennium-era nostalgia that glistens against modern light, get in gear for soulsex with the album’s final lead single “Gold“.

Sporting an arrangement that refuses to grow stale between its anthemic stop-and-start bookends, “Gold” sheds the too-cool-for-school attitude of Arctic Monkeys and The Strokes in favor of authentic and invigorating alt-punk passion. So go ahead. Be judgmental. Because we all know it kicks some serious ass.

The Grapes & Friends: “Christmas With My Baby”

Thanksgiving and Black Friday are behind us and Cyber Monday is here. And in terms of the latter two, most of the shopping does happen online these days. But if you did pop into a store or two since last Thursday, you’ll agree: if it wasn’t already by the moment Halloween ended, Christmas music is king for the next three weeks. So as much as we crave some quality Klezmer, we gotta hop on the Yuletide bandwagon and toss y’all a few fresh seasonal originals to stuff your stocking.

And there’s not really a better way to kick off that holiday spirit than with The Grapes & Friends. The genre-spanning Austin supergroup septet has become a cherished live Christmas staple over the past decade and a half, and for the last ten of those years The Grapes & Friends have only enriched that reputation with a release regimen of one new tune each December. One glance at today’s date tells you all you need to know; The Grapes & Friends have officially entered Holiday mode.

Yes, ahead of their 12th annual Christmas Extravaganza at Hole in the Wall this Saturday, The Grapes & Friends have gotten into a clinch with their inner Grinch on “Christmas With My Baby”. With a big cheerful opening (that sports sleigh-bells from the jump), there’s a surface level similarity to what you’d hear on those dime-a-dozen corporate major-key inoffensive Christmas rock playlists. But by the time you get to the first chorus it’s like hearing St. Nick up on the housetop; Christmas is real, and there’s some real soul, passion, and ingenuity to The Grapes & Friends’ songwriting, even if the lyrical protagonist of this latest one is somewhat of a soured, romantic Scrooge. And especially if you’re spending the upcoming holidays solo, you won’t feel so alone with this Huey Lewis-inspired piece of seasonal solidarity that glistens with killer production, outstanding performances, and an arrangement that only a Grinch could scoff at.

dan levine: “a-frame”

It’s #GivingTuesday and pretty much anyone who’s a non-profit is crawling out of the woodwork and trying to stir up some financial love. And of course as a community supported public radio, we could always use a bit of help. That said, the nice thing about tossing KUTX a couple bucks is that you’re also helping our mission of providing a public platform for Austin’s finest and rising, who (especially if you’re sick of us at KUTX asking all the time) could definitely do with an extra dollar or two in the Holiday season.

SEE: songwriter-guitarist-multi-instrumentalist dan levine. If you get into a one-on-one chat with dan, you might classify him as pretty soft spoken. But that’s not from a lack of interesting things to say or complex sentiments to express; it’s just that when levine’s not teaching geography or sustainability studies here at UT, he typically lets his six-string do most of the talking – be it with The Infinites, Exercise, or his all-lowercase eponymous solo project.

And boy did dan put in the work on his latest solo release and debut instrumental full-length a-frame fantasies that just dropped last Friday. Between its masterfully looped-and-layered electric guitar arrangements and sturdy post-punk/indie framework, this LP really does feel like a symmetrical piece of aural architecture. Plus it proves that not every a-frame fantasy needs to be a hazy memory of late night Whataburger or a surreal premonition in an ominous Swedish commune.

Bouncing off the latter though, these dozen dreamy originals (which chronicle levine’s midsummer retreat to a Nova Scotia cabin) do capture that transcedentalist sense of isolation and of boundless, uninterrupted space. But after a successful cassette release show at Chess Club this past Saturday that cleaned out levine’s supply of tapes, there are plenty of digital copies of a-frame fantasies right there on dan’s bandcamp. So if you’re feeling generous, maybe channel the spirit of #GivingTuesday into paying for a-frame fantasies – because it genuinely is a piece of introspective art best enjoyed uninterrupted in full.

Only got time for one and can’t zone out too hard at work? Get comfy, press play on a-frame fantasies‘ abbreviated title track, and quickly find out what images, emotions, and meditations this big gift inspires. All we’ll say for now is this. Well done, dan. Well done.

What Elephant?: “Made Up Words”

Thanksgiving’s behind us and Christmas is on the way, so ’tis the season for white elephant gift exchanges, right? And depending on you or your family’s level of southern drawl, if someone’s ever suggested “white elephant?” as the next activity, they may have inadvertently uttered today’s feature. Because unless it’s a drift-caught quip to “don’t think about Elephants”, an oblivious retort to “let’s talk about the elephant in the room”, or just a moment when you’re simply looking the wrong direction at the wildlife refuge, it’s rare to hear “What Elephant?” uttered unprompted.

What Elephant? Well, the question is the answer. Punctuation mark perpetually in tow, What Elephant? is a two-member multi-instrumental mammoth based out of Pennsylvania. And although the duo only got started in 2024, it’s been a big year. Yeah, they’ve already wrapped their collective trunk around two full-lengths and an EP on top of a handful of A/B-side singles that’ve trickled in tandem since September.

Yes, it’s a lot to catch up with. But you could easily make a white elephant game out of those eight alternative-autumnal tunes; give each of ’em a spin, snag the ones you want for your personal playlist, and don’t fret about prying ears stealing your picks, because there’s plenty to go around. And just like that Thanksgiving spread, each song has a distinct flavor that’s great on its own, but adds up to one hell of a tasty plate when enjoyed back to back.

So dig in beginning with one of two latest offerings from What Elephant?, “Made Up Words”, which transcends the languages of alternative, folk, psych, and indie rock for a sound that’s somewhere in between Paul Simon, Road to Roen-era Supergrass, and Animal Collective.

The Delines: “Left Hook Like Frazier”

You know what they say: you can take the woman out of Texas but you can never take Texas out of the woman. It’s a bit of a moot point, considering the Lone Star State sure ain’t a shining beacon of women’s rights, and that sets natives up to become ex-pats. Still, it’s a sentiment that rings true…especially in the world of music.

Like, look at singer-guitarist Amy Boone. Back at the turn of the millennium, Amy was a real boon to the Austin scene thanks to her work with The Damnations. These days though Amy’s up in Portland as frontwoman of retro country-soul quintet The Delines, sporting a twangy southern charm that’s inseparable from her vocal performances – and a perfect fit for the rhythm-and-songwriting team of prominent Richmond Fontaine veterans. But after a dozen years together and loads of lyrics that dwell on downfalls, The Delines are setting themselves up for a more optimistic outlook in 2025.

And that’s through their fifth full-length, Mr. Luck & Ms. Doom, dropping next Valentine’s Day. On top of the usual Americana-folk infusions found in their sound, Luck & Doom takes a noticeably upbeat and soulful approach to the protagonists of these eleven women-driven narratives – a welcome change of pace to those who are sick of getting punched down on. And speaking of punches, since the Tyson-Paul matchup was such a disappointment, we’re thankful for the contender that is Luck & Doom‘s lead single, “Left Hook Like Frazier”.

Good vibes from the first guitar chord all throughout its conga-and-tambourine pulse, heart-mending horns, and evocative vocals, “Left Hook Like Frazier” will easily leave a couple marks on your face. Not with a broken jaw or a disfigured ear, but with a smile and an earworm.

Isak Thomas and The Stoop Boys: “Miss Strut”

It’s T-minus 48 hours until prep for the big feast and other Thanksgiving festivities. And even though some always end up just getting some takeout, the Turkey Day hunger is munching on most Americans’ minds right about now. But if you’ve got your meal all planned out and are still in need of some soul food for your ears long after unfastening that belt, you’re in luck.

In other words, you can give thanks to Isak Thomas and The Stoop Boys – a healthy helping of handmade soul-funk from right here in Austin, seasoned with players from Nashville and L.A.. Despite their handle, The Stoop Boys are far from lower-tier, and they sure as hell don’t need to rely on busking to get by; since 2018 they’ve shown an insanely strong grip on grooves, reached the upper steps of Texas’ retro soul-funk scene, and cemented their status with a couple singles that’ve racked up streams in the multi-millions, not to mention an equally impressive cumulative metric.

So, through three EPs and the 2019 full-length Somewhere, Somehow, we’ve heard a lot from Isak Thomas and The Stoop Boys. But after doing the dang thang for more than half a decade now (and stepping up the production quality and songwriting formulas with each release), it’s not a bad idea for the band to re-introduce themselves, especially if you’re putting them in the same room as your folks for the first time.

Yes, after a five-single-streak that started in early September, Isak Thomas and co. drop The Stoop Boys this Friday. Now, the LP release show is already behind us, so if you’re stuck at home with the family or succumbing to couch lock, you don’t need to change your plans. On the other hand, if you need to get your metabolism back on track after all that stuffing and tryptophan, spinning The Stoop Boys straight through is a solid first step. Don’t believe us? Press play on The Stoop Boys‘ lead “Miss Strut” and see just how long you can stay still to this soft-spoken, super slick possessor that falls somewhere between Durand Jones & The Indications, Jungle, and “That Lady”-era Isley Brothers.

Muzeke: “New Man”

Like it or not, we are in the home stretch for 2024. So don’t be too surprised when you start hearing everyone talk about their lofty New Year’s resolutions in the coming weeks. But if you yourself need some extra solidarity to help turn a new leaf and hit the ground running in 2025, we’ve got just the thing for you.

We’re talking about Austin’s Muzeke – the La Fayette-born-and-boiled singer-songwriter (and former Uncommon People frontman) that’s full of R&B, soul, rap, and alternative flavors. Beginning on a couple of collaborations with MILD Inconveniencé and continuing with another two pairs of solo tracks across last year and 2024, Muzeke’s mashup of melodic vocal lines and confessional lyrics always makes for a smooth (albeit, often poignant) listen.

So, while Muzeke will most likely spend part of this Thanksgiving week showing his usual gratitude to music as an expressive platform (duh; it’s right there in the moniker), we may bear witness to a slightly altered, more matured person on Muzeke’s debut EP next Spring. How do we know? Well, last Friday Muzeke shared his second single of the year (and the lead off the EP), “New Man”. Chronicling a recent big shift and closing a chapter of past romances, “New Man” also marks the introduction of a more determined individual whose unafraid to get a little aggressive. Not to mention, this Caribbean-inspired instant cuffing season classic might be the hottest ménage à trois of riddim, sensual electric guitar, and vocal seduction this side of the holiday season.

What happened to R&B?

Confucius and Fresh talk about the evolution of R&B’s character over the decades, hip hop and drug usage, and an Unpopular Opinion on Drake’s potential to “fall off”.

Swimming With Bears: “Patient Disguise”

If you stop to think about it, there are really only two typical climate observations from astute Austinites. 1: It’s too hot and the sun is literally cooking us alive. 2: It’s too cold and the sun needs to come back ASAP. Yeah, we’re a special kind of simple southerners in our own way. But with folks eager to fill up next week with Thanksgiving and the biological “winter coat” that always follows, there’s no better time to bring up Swimming With Bears.

Unless you were hoping for interspecies extracurricular activities, Swimming With Bears will not disappoint. Yeah, the Austin indie rock quartet’s got a pretty good thing going for ’em; just check out some of Swimming With Bears’ streaming numbers over the last decade. And although those studio recordings do provide that infectious, upbeat-and-soulful early-mid-2000s energy, Swimming With Bears is best enjoyed in person.

Haven’t done it yet? Catch a gig headlined by Swimming With Bears that kicks off 8PM tonight at Far Out Lounge alongside Noho and Ruthie Craft. Want to stay in and hibernate instead? Well you can get the experience of being the sole audience member of a private SWB performance with “Patient Disguise” – the band’s only single from 2024. So get your gloves off and your hands on the music video below, whether or not the weather’s got you gearing up to get Far Out or just huddling at home by the hearth embracing your inner Ursidae.

Cloud Companion: “Who Took The Night Away”

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.

SKLOSS: “The Pattern Speaks”

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.

Rojenka: “Dang Girlfriend”

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.

Warm Sound: “Moons”

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.

Who benefits more from the marriage: Jay-Z or Beyoncé?

Confucius and Fresh weigh who gains the most from their industry relationships: Jay-Z or Beyoncé and Young Thug or Gunna, plus an Unpopular Opinion on the future of white rappers.

Collin Mullins: “Sunny Side”

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.