Jack Anderson

Queen Serene: “Isengard”

The “dog days” of summer formally ended last Friday and fall doesn’t officially start until late September…so with consistent triple digit temps determined to become that weekly standard, I can’t be the only Austinite who’s stopped checking the ten-day forecast. But that doesn’t mean we can’t recognize this period typically associated with seasonal transition, which among other things, continues to provide auspicious pivots for singer-guitarist Sarah Ronan.

Ronan’s origins can be traced to Tallahassee a decade back, where she and two of her college chums co-founded an indie garage rock project that evolved into The Naked Tungs. The Naked Tungs found their footing in Austin as a four-piece just before dropping their debut EP Hear It Calls in the summer of 2017 but fizzled out after “Give Me Back My Man” in September 2019. COVID soon saw Ronan quartered away and recording solo in her bedroom, and post-emergence she recruited Naked Tungs’ drummer to supplement these new tunes with percussion and synth. With the subsequent addition of bassist Dale Pohly and guitarist-vocalist Matt Galceran, Sarah Ronan finally ascended the throne as Queen Serene.

Queen Serene shared their inaugural pair of studio singles right around this same time of year back in 2021 and by last fall’s Levitation Fest, the quartet’s shoegaze domain helped them claim a supporting slot for Psychedelic Porn Crumpets. Well now that we’re once again at that seemingly-magic time of year, Her Majesty Serene’s droning, angular monarchy makes another bold appearance.

Sharing its title with the obsidian Tolkein-esque stronghold and complemented by a music video looks like it was shot by Andy Warhol in the heyday of CBGB, “Isengard” goes hard. So ahead of Queen Serene’s single release show 8PM tomorrow night at Hotel Vegas ahead of Holy Wave at 9PM, crank the gain, don the shades, and get to shoegazin’.

Alabaster DePlume: “Naked Like Water” (feat. Donna Thompson)

Depending on who you talk to, friends of composers, performers, and producers often present them as “prolific”. Which makes sense. No one wants to admit to sedentary songwriting, right? But when you come across someone with a truly bountiful output, more often than not, they’re not bragging; they’re just dedicated craftspeople who love to create. People like Manchester-born multi-instrumentalist Guy Fairbairn. For the past eleven years he’s been blasting out albums under the handle Alabaster DePlume. Sound-wise this experimental jazz project features Fairbairn on tenor sax, guitar, synth, and vocals and lyrically serves as Fairbairn’s artistic avenue for publishing poetry. When combined, Alabaster DePlume’s discography tenders a sprawling saga of unconventional sounds across six studio albums, plus a remix record and a collection of instrumentals. So with no no depletion of drive in sight for this Londoner, Alabaster DePlume unsurprisingly has yet another new LP coming out soon. That dozen-song endeavor Come With Fierce Grace drops September 8th, and based on the name alone we’re expecting an upper echelon of experimental jazz-folk. This morning, ahead of a maiden month-long U.S. tour, DePlume deployed Come With Fierce Grace‘s final lead single, oen that’s amplified by touring drummer Donna Thompson‘s towering pipes. On “Naked Like Water”, Thompson takes on the role of Lady of the Lake, whose vocals extend Saxcalibur to King Alabaster from a misty, aural Avalon. Rippling with liquid minimalism and leaving little to hide, “Naked Like Water” really lets the reverb and sense of space do a lot of the heavy lifting. In doing so these cleansing waves bare all and drip with ambient avant-garde vulnerability.

SATALiGHTS: “Sirenas”

If you’ve kept a close pulse on the local circuit the past half decade, you’ve probably already got SATALiGHTS on your radar. But even if you haven’t, the title of their 2017 debut Post-Bedroom Rock ought to tip you off to their genre preferences, at least historically. We say that because although this multi-national quartet’s orbited around post-punk, shoegaze, and alt-rock, SATALiGHTS have recently changed course.

See, ahead of their upcoming third full-length Veluga, SATALiGHTS kicks off the scuffed converses of shoegaze and shuffles into some slick electro-cumbia botas on the LP’s lead single, “Sirenas”. An outlandish piece of nautical mysticism and cultura mexicana, this locally-sourced siren song leans on the earnest reverence and playful pageantry of Dia de los Muertos for an eccentric reflection on the inevitability of death.

So before Veluga breaches on November 7th, try and count all the locations you recognize in “Sirenas”‘ music video and keep up with the nameless narco’s almost-aimless gyrations as you follow along (trust us, it’s easy enough). It’s a minimalist visual journey for sure, but it does an amazing job of complementing the hypnotic simplicity of “Sirenas”‘ Latin sonics. All in all, with this new south-of-the-border direction, we sure wouldn’t mind riding shotgun with SATALiGHTS all summer long…to the mercado, the chatarrería…or just a for a quick dip in the kiddie pool.

West 22nd: “Sweet!”

If this intense summer heat is starting to fry your synapses and your mind is in need of a holiday…but you don’t really have time on the calendar or money in the budget for proper R&R, there’s a broad sonic convoy right here in town that’ll take your brain places, for sure. We’re talking about Austin quintet West 22nd. Based on the campus-adjacent coordinates in their handle, you can probably guess where West 22nd got their start. But it’s worth mentioning that the five members have home state backgrounds ranging from Georgia to California, a critical piece of West 22nd’s “cross-country road trip” aesthetic within their indie-folk-rock excursions. For those staying connected with the Live Music Capital from outside the city limits, let West 22nd take you All The Way Home this Friday with their debut EP that shares the title. For the locals, West 22nd commemorates the occasion with a release show 8PM that same evening at Mohawk indoors alongside Daydream Twins, Knox Write, and Sounds by Moonbby. And for everyone, West 22nd simmers and shimmers on All The Way Home‘s latest lead single, “Sweet!”. Simple kick drum and snare rim, easy-strolling bass, and soft-swaying six-string warm this arrangement up before impassioned pipes bring this thing to a peak, but the inter-instrumental energy across this relatively complex song structure is really what escalates “Sweet!” past vapid and saccharine and into satiating and sanguine.

CLUB COMA: “Collage”

If you’re a fan of Boyfrndz, Stiletto Feels, and Ume, chances are you’ll love CLUB COMA. Featuring seasoned veterans from all three, this Austin supergroup-of-sorts builds bops that hop around retro French flourishes, all things rock n roll, and experimental pop. An early recording of that killer combo piqued the interest of Spoon’s Jim Eno, who eventually decided to apply his Midas touch production to CC’s self-titled debut album, and boy is it a beaut.

Released just last weekend, this eponymous eight-track explores a ton of sonic territory, and showcases some incredibly inventive songwriting that’ll lock you in for the not-so-long haul. Safe to say, the seven originals are the star of the show, but we can’t overlook the ingenuity of the clever James Gang interpolation “Collage” that kicks of CLUB COMA‘s final act.

So before you catch CLUB COMA 10:45PM this Thursday at Hotel Vegas alongside openers Megafauna at 10PM and closers The Well at 11:30PM, de-fumigate that weekend brain fog with a hyper-modern jolt of James Gang that may eventually eclipse the ’69 original with its ambitious and auspicious acoustics.

Wednesday Kid: “Like You Are”

Between everybody’s favorite TV goth girl and the beloved mid-workweek benchmark, the word “Wednesday” carries some pretty positive connotations. And even on “new music Friday”, every day of the week is Wednesday in one way or another for Houston-raised, Austin-based singer-guitarist Will Derden. See, this young up-and-comer’s been crafting his own unique style of indie and folk since the start of the pandemic, Derden’s senior year in high school. Now that he’s officially into his early twenties and quarantine conditions have been largely lifted, the world is Derden’s oyster, and he’s been reaping some impressive pearls with his project Wednesday Kid. Clearly comfortable in both a full band and solo setting, it’s pretty interesting to track Derden’s quick progression as a songwriter when scrolling through Wednesday Kid’s Instagram feed. And we already got a sense of that crazy good range on Wednesday Kid’s debut five-song EP from last March, Elephant. But today Wednesday Kid’s returned with something that hits a little harder than Elephant‘s minimalist folk-pop. The pairing of folksy vocals and jangly acoustic guitar is still intact, but now Derden shifts Wednesday Kid’s dynamics into a higher gear with a fresh foray into indie rock, “Like You Are”. We’re picking up strong Van Morrison vibes on this one, albeit with a sunny Central Texas twist that sounds good any day of the year.

Barb: “Someone Like June”

Hearing a fresh artist find their footing is a real joy. And with the recent launch of her mononymous project Barb Austin singer-guitarist Barbara Klavin’s been havin’ us gabbin’ over each new single. Sure, there are some obvious sonic similarities between January’s “Liar” and March’s “Don’t Call”, but spinning last September’s “Small Talk” back-to-back with last month’s posse cut “it’s alright” will tip you off to Barb’s palatial range and impressive progression over a pretty short period of time.

Since Barb’s already put the hook in us, we can’t complain about her coasting away from surf-inspired stuff and settling into more of an indie-alt space. Because in just a few weeks, that space finally gains a name – Vintage Love. This maiden EP arrives September 1st, right after SXSW 2024’s early entry deadline and about two months ahead of its final deadline for submissions, plus a release show at the Mohawk on Saturday the 2nd with Retro Cowgirl and Deer Fellow. We’ve got our fingers crossed that Vintage Love earns Barb the hometown recognition she so earnestly deserves, and our hopes high that the release reaps Klavin a whole new class of fans from far beyond the Austin City Limits.

So as we champion for Barb’s art to reach different places, you can get acquainted with Barb’s rad new sounds on Vintage Love‘s latest – “Someone Like June”. On this one, Barb and her backing two-piece stick with the songwriting formula of slick lead guitar licks, buoyant bass, and dexterous drums but amends it with sharp instrumental stabs and a half-time breakdown that gives “Someone Like June” some powerful variety. All that said? The undeniable star of the show is still Klavin’s distinctive dynamo pipes.

Ex Romantika: “Muevelo Ya”

Although self-sufficient prodigies like Henry Invisible do a damn good job of filling out a fiery funk set entirely on their own, it’s tough for any one-person performance to go toe-to-toe with with a full funk ensemble. And fortunately for us, the “everything’s bigger in Texas” philosophy applies to several stage-sprawling acts right here in Austin – which has become a fruitful haven for latin funk over the past decade and a half.

Like, check out Ex Romantika, who’ve been doing there thing since 2018. This high-energy collective doesn’t need to rely on theatrics to enhance their sound, yet their penchant for colorful attire does complement their vibrant, bilingual sound. Ex Romantika’s sensibilities really exploded on their 2020 debut full-length Latin Funk Konnection, an eleven-song collection of extended horn solo sections, impassioned group vocals, and just a ton of inventiveness.

For their latest single that dropped at the end of July, Ex Romantika issued a reggaeton-esque reproach over the 2019 El Paso mass shooting on “Muevelo Ya”, that in light of its heavy subject matter, is an instant motivator to move your body. And you can do so in person 11PM this Saturday at Swan Dive with openers Serumn (formerly known as Continental Drift) at 10PM and closers Big Wy’s Brass Band at midnight. Until then, fire up “Muevelo Ya” on repeat and shake your groove thang, no knowledge of Español necessary…unless you want the full societal discourse.

Grimson: “Round Trip Ticket”

The vast majority of songwriters are…just…well…song writers. That is, their ability to convey emotion or tell a story is strictly restricted to lyric and melody. So while we won’t detract from those who navigate that task masterfully, we also gotta pay dues to the multidisciplinary folks who single-handedly offer a “fuller” package. Take Aiden Berglund for example. A quick glimpse at the artwork for his dispersed discography tips you off to a well-calculated aesthetic, maybe even more so than the song titles themselves. And that’s because Berglund independently helms each aspect of his Berlin-based project Grimson, from the words and music all the way to a distinctive visual style full of woolly things, crowns of kings, and ominously ethereal scenery. And although an artist designing their own graphics in an era when access to photoshop and its derivatives comes at the click of a button isn’t nearly as impressive as it was pre-millennium…it’s this next part that blows our mind; when Berglund launched Grimson in the spring of 2021, he began bringing that growing cast of characters to life through animation, thereby establishing a multi-media brand, not just a musical one. Comparing the level of care and dedication required for that type of craft with the, simple, patronymic approach to his handle (literally as his father Grim’s next of kin) can be funny at first, but that’s when you actually start grasping Grimson’s strongest asset – his music. Grimson’s moving indie rock originals engulf the raw emotions of Elliott Smith and chronicle a gradual maturation of Berglund’s passions from late teens through early twenties – all recorded in the humble confines of a bedroom. After soaking up his ten existing singles, there’s certain to be no soot clogging up Grimson’s debut full-length Climbing Up The Chimney, out Friday, September 1st. Also, huge kudos to Berglund for his willingness to pass the animation tablet off to Yana Pan on Climbing Up The Chimney‘s latest lead look and listen, “Round Trip Ticket”. In doing so, Grimson’s melancholy universe opens up even further, fitting for a track whose the expansive orchestral arrangement orbits Berglund’s bittersweet singing. So even though this beautiful new tune is already paired with visuals, we wouldn’t be surprised if “Round Trip Ticket” popped up in a film/TV/commercial soundtrack sometime soon.

Tender Wolf: “Good Day”

The dog days formally end this Friday, but each triple new digit forecast says otherwise. So while we approve of any and all forms of aestivation throughout this enduring inferno, we’re pretty blown away by all the projects that’ve premiered throughout this historic summer. One perfect example from right here in Austin? Tender Wolf. Founded by singer-guitarist J. Summar, cellist Courtney Waldron Daehne (both of Milktoast Millie & the Scabby Knees), Moving Panoramas/Sanco Loop drummer Phil McJunkins, and Schatzi bassist-vocalist Chris Nine, Tender Wolf began their languid bay back in June with their debut single “Piccadilly”. We’re not mussing up the four-piece’s fur when we say that they’re still in a pup stage, but between “Piccadilly” and Tender Wolf’s sophomore follow-up that just dropped last weekend, their brilliantly bleak folk-rock originals are plenty promising enough to make us want to get in good with the pack. So before the quartet takes the stage 8PM next Friday at Captain Quackenbush’s along with Bridey Murphy, let Tender Wolf take a bite out of your summertime blues with “Good Day”. Orchestral-grunge verses rev up to big impact choruses, but the real star of “Good Day” is its instrumental interplay; deft snare brushes and agile acoustic guitar riffs paw around steady cello swells, pizzicato plucks, and a minimalist bass line, creating a cozy foundation for those featherweight vocal harmonies.

Tobias Lund: “Hurts Just A Little”

This past Monday we premiered something from Norwegian producer-arranger-composer Morten Martens, and his project Les Imprimés. Well, not even a full week later, we’ve got another new Scandinavian tune for you. But unlike Martens, this Nordic songwriter lives right here within the Austin City Limits.

We’re referring to Tobias Lund, who moved here from Copenhagen last year. Sure, the migration was primarily in pursuit of a law degree, but once Lund acclimated to “the Live Music Capital of the World” culture, he quickly felt his artistry ascend to an even higher level. Like anyone with good tastes, Tobias Lund draws a lot from Stevie Wonder’s iconic style of jazz-soul, but you’ll instantly recognize the modern influence of pop-R&B innovators like Eloise and Mac Ayres.

Today, Tobias was kind enough to give us an early listen to his debut studio single, “Hurts Just A Little”, and boy are we glad he did. At a hair over three-and-a-half minutes, “Hurts Just A Little” kicks off with erotic key chords and Lund’s passionate pipes before graduating up to a brilliantly simple drum beat, staccato six-string rhythms, backup call-and-response harmonies, clever bass lines, a couple synth stabs for good measure. Once you’re past the lush choruses, falsetto flourishes, cool-as-hell guitar solo and rousing trumpet riffs, you’ll feel lovey dovey for days to come. All in all? It’s an outstanding first entry into Tobias Lund’s discography, and we frankly can NOT wait for more of this Dane’s dashing and jazzy soul-pop dalliances.

Swimwear Department: “We Need A Place”

The turn of the millennium was an outstanding time to be an adolescent developing their music tastes, for better or worse. And while it’s easy to look back at has-been fads like rap-rock and scoff, it’s just as easy to overlook one the coolest innovations of the late nineties/early aughts: dance-punk. Thankfully that playful angst of post-punk plastered over frenetic disco-inspired drums still makes waves well past the era when acts like LCD Soundsystem, !!!, and The Rapture reigned supreme.

So while we don’t envy Houston’s sweltering humidity during this historic heatwave, we’re pretty jealous that Swimwear Department kicks it in the Bayou City’s backyard. This receipt-fiending aquatic quartet first got their ankles wet half a decade back on their EP Turn Over! Go Under!, a seven-song dip that sticks to two strict lyrical lanes: swimming pools and shopping malls. Music-wise, Swimwear Department doggy paddles around DEVO, backstrokes with The B-52’s, and front crawls up to early Elvis Costello… and their collective pH level’s only gotten better; no need to scrub that infectious punk gunk off with any commercial pop chlorine.

Well, as we near the tail end of these dog days, there’s hardly a better time for Swimwear Department to cannonball into streaming services with their sophomore follow-up. This Friday the four-piece reemerges shocked and invigorated on The Poolest of the Mall, bringing a whole new meaning to the term “swimmer’s ear” with all types of sonic oddities. Fortunately for those who want to dive in headfirst, half the record’s ten originals have already submerged as part of a year-long release schedule, all ahead of an Austin show at Valhalla on Saturday, September 23rd with fellow weirdos Big Bill. So if you’re feeling a little juvenile this Tuesday, let The Poolest of the Mall’s album opener splash you with a clearance discount on gratifying crassness, courtesy of “We Need A Place”. At just under five minutes, “We Need A Place” offers slippery sanctuary to all who need a zany post-punk plunge ASAP.

Les Imprimés: “You”

When a genre breaks out of its birthplace, it opens itself up internationally to interpreters and innovators of all kinds. So while we most closely associate the soul sound with Detroit and Memphis, especially amidst this blissful retro-soul resurgence, you can find fascinating takes on soul from corners of the globe you might not expect. Say for example Kristiansand, Norway. That’s the home base of producer/arranger/multi-instrumentalist Morten Martens. After scoring Norway’s equivalent to a Grammy for hip-hop production back in 2006, Martens’ creative craftsmanship has only evolved alongside his low-key lifestyle; a turn away from touring led Martens to construct his own home studio and turned recording and producing others into a full-time gig. Yet it was only the onset of COVID that gave Martens the time, even in an already-isolated setting, to revaluate all the skills he’d accrued over the years and funnel them all into his ’60s-’70s inspired soul-funk-pop project Les Imprimés. As heard on Les Imprimés’ upcoming debut LP Rêverie, Martens doesn’t exactly have the kind of pipes you’d expect from the classic Motown/Stax era. But backed by vintage-style arrangements and recording techniques, Les Imprimés transcends “blue eyed soul” with truly beautiful originals, all the product of Martens dreaming big. So before getting lost in the dozen-song daydream when Rêverie drops on August 11th, take a step into the time machine with the album’s latest lead single, “You”. Because at a clean three minutes, “You” presents those throwback chart-topping pop formulas in a way that makes it sound like a long-lost Delfonics rarity just got a healthy remaster. We’re calling it now – Morten Martens is on the fast track to becoming Norway’s answer to Kelly Finnigan.

A Band Called Ma: “Mountaintop”

The days of flipping through the dictionary to help decide on a new band name are long gone, and not just due to digitization. No, even amidst exponential artist multiplicity, a good chunk of modern music makers have a penchant for near banal minimalism when it comes to titling their projects, even if it makes them nigh-unfindable at first. But of course, for every Q there’s a …And You Will Know Us By the Trail of Dead, and just some great sweet spots in between. Like earlier this year, Austinites Dominic Sena and Austin Barker wheeled out their Big Bend-inspired two-piece MA with “CALL”. But they quickly discovered that even with modifiers like “band” “music” and “Austin”, that MA was virtually unsearchable online. Since then they’ve wisely rebranded themselves as A Band Called Ma, and yes, it’s like A Tribe Called Quest, you say the whole thing. Don’t worry though, Barker and Sena still nurture future-nature sounds in the ilk of Alex G, Radiohead, and Brian Eno in their Daytime Moon home studio. And there’s plenty of proof in the pair’s third recording of the year “Mountaintop”, which just dropped this morning; sultry acoustic riffs softly expand against spacious percussion, ethereal electric guitar, and multi-tracked vocals for a real triumph that peaks with poignant spoken word and soaring saxophone before a splendidly steady descent.

Ash and the Endings: “Squelching Sneaks”

Some of the most upbeat, major key arrangements in blues music can still back some of bleakest yarns, ranging all the way from heartache to institutionalized oppression. So even if the traditional scales and chord changes behind with this landmark genre may not appeal to everyone, its anguished lyrical standards will always present a primitive yet therapeutic option for an artist in pain, no matter their main stylistic preferences. Take for example relative newcomers Ash and the Endings and their eponymous frontwoman Ashton Chase, whose compelling contralto crosscuts between Patsy Cline, Dusty Springfield, and Karen Carpenter. This Austin five-piece offers up harmony-heavy alt-rock with cinereous traces of psych and indie, placing them approximately in the same pack as Dr. Dog, The Cranberries, and Paramore. And last June, Ash and the Endings’ debut self-titled EP showed off a ton of range on a seven-song set, illustrating a mastery over slow, fast, loud, and soft. But after the overturn of Roe v. Wade, the opportunity to unabashedly share opinions on the poisonous patriarchy that permeates throughout the Lone Star State was too poignant to pass up for Chase. And what better avenue to express that than the blues? You’ll learn more about that inspiration in an upcoming article for Sidecar Junkaroo, but sonically, this follow-up to spring’s “Austin Flower Co.” hears Ashton’s typically tame vocals take on more of a tortured Janis Joplin-esque moan, similar to what we’ve already heard on “Shake Shake” and “Woman (It’s Up To You)”. Between that and its straight-ahead blues rock approach, “Squelching Sneaks” shows how capable this quintet is when it comes to expanding their idiosyncratic formulas to fresh-yet-familiar territories. And since we’d far prefer splashing in puddles over protecting paws from scorching pavement right about now, go ahead and lace up “Squelching Sneaks” and put it on repeat.

Marcus Morales: “Damned If You Do…”

For even some of the most talented, well-established artists, working with a new producer can really shed some divine light on sonics and take things to the next level. And there’s plenty of proof in today’s premiere from Marcus Morales. Both solo and alongside his backing band The Chorizo Grease All-Stars, this singer-guitarist has been developing his distinctive variety of ambient-psych-blues-rock and busting his hump here in Austin for the past decade and a half. Morales made his studio debut with two tunes in the summer of 2017, that, when paired together, really illuminate mastery over the light/heavy dynamic spectrum in Morales’ song structures and carefully orchestrated arrangements. That tasteful contrast really shined on Marcus Morales’ 2019 debut EP Bohemian Groove, albeit with a more-refined, harder-hitting sound. Recently, after flexing immense A Momentary Lapse of Reason vibes on last January’s “Headspace”, Marcus Morales has enlisted the help of producer Chris “Frenchie” Smith at The Bubble to glow up an already-great track. This precedes plans for a whole new string of singles on top of statewide tour stops and local residencies, all of which ought to feature Morales in top form. And today, Frenchie, Morales, and The Chorizo Grease All-Stars blew us away with “Damned If You Do…”, whose hard-blues-rock second-and-third act structure channels Johnny Lang, but whose processed lead guitar tones and sultry intro scream David Gilmour. As a result, this fine-polished psych-blues blend transcends decades and genre tastes for one of Morales’ strongest standalones to date. It’s not really a Catch-22; just go ahead and click “play” on “Damned If You Do…”.

Caravan Strange: “Samra”

SXSW attracts musical acts and fans alike from all over. As a result, curated regional/national showcases usually get a pretty big draw, usually with at least a handful of locals in attendance. Yet beyond that week-long whirlwind of global sounds, us Austinites can easily take our year-round resident international acts for granted. Sure, we’ve got our fair of “world music” groups, but their Central Texas “twist” typically appropriates the most exotic-sounding bits without representing the full cultural context. And sadly, outside of treasures like Flamingo Cantina and Sahara Lounge, these whitewashed pastiches often overshadow their more-authentic counterparts in terms of streaming numbers and live opportunities. Amid the more recent roster of “genuine” Austin world acts? Caravan Strange. This fresh-faced four-piece was co-founded by Cairo-raised guitarist-composer Moe Diab, whose Egyptian upbringing invites all kinds of North African sounds into the quartet’s bilingual, cross-continental formulas. Caravan Strange’s wacky cavalcade began in early 2021 with a real reggae banger that sets itself apart with prominent ethnic percussion and amazing Arabic scale melodies. And after a brief break, this odd convoy continues towards Bazaar Bizarre, the homophonic umbrella that several new tunes have been huddling under since April. Bazaar Bizarre‘s officially at five tracks now, each as nuanced as its predecessor. So start working your way back through Caravan Strange’s wagon train with the latest of two singles that dropped last week. Sporting some sweet Middle-Eastern-inspired MIDI tones, prolific instrumental riffs, and infectious call-and-response vocals, “Samra” also spoils us with some Walter Becker-esque guitar, almost like Steely Dan stepped into Caravan Strange’s oasis for the final thirty seconds.

Diane and The Gentle Men: “Walk With Me” (feat. Alejandro Escovedo)

Although his prevalence on our playlists isn’t exactly what it used to be, longtime KUTX listeners know that historically our airwaves were all about Alejandro Escovedo. Aside from his ongoing bromance with KUTX host Jody Denberg, this San Antonio native has continued to represent a Central Texas sound across Austin, Dallas, and beyond, leaving an idiosyncratic imprint on pretty much anything he touches. And that of course includes his many collaborations, the latest of which teams Escovedo up with another accomplished sonic confederate, NYC native Diane Gentile.

Picking up where Lucinda Williams, David Bowie, and The Rolling Stones left off, Diane and The Gentle Men made their merry retro-informed studio debut with a pair of singles in 2016, an EP in 2019, and their debut LP The White Sea shortly after COVID swallowed everything. Well, coming up in about a month and a half, Diane and The Gentle Men make their triumphant return with a help of a few friends on The Bad and the Beautiful.

True to the ensemble-esque title, The Bad and the Beautiful sees Diane and The Gentle Men joining forces with the likes of James Maddock, Jesse Malin, and as you’ve probably already guessed, Al Escovedo. At ten tracks, The Bad and the Beautiful boasts ample space for Gentile to tinker around with the three-act structure and arrange these near and dear stories in a way that’s meaningful, both as individual “scenes” and in its entirety, sating her Shakespearean tastes. Sonically, Diane and The Gentle Men gave us a sneak peak ahead of The Bad and the Beautiful‘s release on September 15th with the album opener “Walk With Me” – a harmony-hinged heartland-rock-meets-mercurial-Americana-punk duet with Escovedo – though we’ve learned there’ll also be explorations into folk-rock and maybe even disco as well. We guarantee you Escovedo’s not taking a trot in this Texas heat, so instead shine some streams for Al, Diane, and The Gentle Men with the synergistic stroll that is “Walk With Me”.

Alex Ward: “Blazing”

This past week we’ve praised those with consistent release schedules. But today’s spotlight takes it to a whole other level. See, Alex Ward‘s not only the bassist for acclaimed Austin punk rock outfit Animals on TV. He’s also amassed tons of solo tunes over the past decade and a half. The first phase of Ward’s discography came in 2018 and 2019, but as with countless others, hit a period of “radio silence” when the pandemic rolled on through. Well, unwilling to let this ever-growing treasure trove of tunes collect dust on his home hard drive, Alex picked up where he left off in February and went full speed ahead, dropping a new single every Friday, seemingly with no stop in sight. This impressive series spans far across a spectrum of genres, all the way from synth pop and ambient to hip-hop and indie rock, where Ward’s multidisciplinary talents shine over a myriad of production styles. And kudos to Alex for recognizing when a song simply doesn’t need vocals and entrusting the intrinsic power of a great instrumental, like the short-and-sweet but super badass “Blazing”, which just came out this morning. At just a hair over one minute, “Blazing”‘s oblique synth swells steer this vignette straight into electronic dance territory, grounded by some really tasty bass work, as is the standard for Ward.