Jack Anderson

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.

Days of Summer: “Need to Escape”

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.

Maggie Rose: “No One Gets Out Alive”

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.

Waking April: “Rules”

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”.

Do celebrities respect Austin?

Inspired by a recent visit from T.I., Confucius and Fresh talk about how celebrities treat Austin before moving onto the role of Black celebrities in politics and an Unpopular Opinion on 50 Cent.

Honey Made: “Pass Me By”

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.

Burgess Meredith: “Nowhere”

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.

Midnight Navy: “Solo Tú” (ACL Fest Pop-Up)

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.

Futon Blonde: “Drawing Again”

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.

Deer Fellow: “Shock Value”

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.

Has GloRilla overtaken Cardi B as hip-hop’s “it girl”?

Confucius and Fresh confer on GloRilla’s growing popularity, check the pulse on Austin’s hip-hop scene, and predict the state of Drill music’s foreseeable future.

Cilantro Boombox: “Best Shoes” (feat. Jake Lloyd)

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.

Hans Gruber and the Die Hards: “Trepanation”

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.

Ben Brown: “Until the Dead Rise”

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”.

_cheetahcheetah_: “shanti b”

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.

Been There 3 Interview

Confucius and Fresh are joined by DAWA/Riders Against the Storm’s Chaka and Been There cofounder Aaron Brown to discuss Been There 3: A Party to Support Our Unhoused Neighbors happening November 2nd at Radio East to benefit The Other Ones Foundation. Hear that, a chat on the relationship between hip-hop and Halloween, and an Unpopular Opinion on Kendrick Lamar’s recent choice of media outlets.

Gary Lindsey & the Pleasure Tide: “Idle Hands”

When it comes to co-curating sounds for a city’s specific scene, certain artists and venues can often become inseparable. So when the band breaks up or the venue closes its doors, it’s like their counterpart loses a big piece of their identity as well. And its with reverence and empathy that we now point to a poignant example of that right here in Austin.

See, the surly, stage-filling roots-punk project Gary Lindsey & the Pleasure Tide has spent the first Saturday of each month turning it up at Eastside heavy metal hub The Lost Well for a decade straight. In that time, the seven-to-eight-piece has been perfecting their debut album, which enjoys a bittersweet release the same weekend The Lost Well has its last hurrah. This weekend, to be exact.

A loving tribute that cements The Lost Well’s legacy while providing quick access to the Pleasure Tide on digital platforms, Spirits From The Well can be heard in full during a free show 5-7PM tomorrow at The Lost Well followed by two sets from Amplified Heat’s Mötörhead tribute band Meän Machïne. With no cover charge and no remaining opportunities to enjoy one of the Live Music Capital’s heaviest HQ’s, there’s no excuse to miss this one. And because “Idle Hands”are the devil’s playthings, you’d better bless yourself with the counterculture communion tomorrow night, let your pint catch any stray tears, and spice up our local dystopia with some Celtic-inspired cynicism, courtesy of Gary Lindsey & the Pleasure Tide.