Jack Anderson

The Scary Jokes: “Demons of Accident”

Polymaths aren’t inherently better at their preferred forms of media…but honestly, when you start to think of modern multi-disciplinary creatives like Brandy, Donald Glover or Lucy Liu…it certainly seems like splitting interest into multiple fields can have a big payoff. So let’s talk about Pennsylvania’s Liz Lehman. On top of being an accomplished queer activist and visual artist, Lehman lathes those passions and more together with their truly intriguing synth pop project The Scary Jokes. Less of an abrupt punch line and more of an ongoing engagement that haunts far beyond the final chord, The Scary Jokes enjoyed an auspicious three-record streak between 2014’s Bad At Math and 2019’s Burn Pygmalion!!!. As with the rest of the world, things slowed down when COVID began dominating headlines in 2020, but aside from their 2021 remix of 2016’s April Fools, The Scary Jokes are about to return with their first post-lockdown offering. Championing vintage synth tones and an abundance of analog originality, Retinal Bloom is ten tracks of deep-eared dilations. Faithful to the full-length’s title, these tunes will expand your view of what synth pop really is, with sonic combos that sound like classic video game soundtracks were able to authentically encode Lehman’s supra-human voice, plus a bit of delightfully drab German New Wave. Retinal Bloom drops tomorrow and The Scary Jokes graciously let us open this Pandora’s Box of bizarrely-catchy confessions with its penultimate track “Demons of Accident”. Between its purposeful vibrato-pervading timbres and deliberate reverb-drenched vocals, “Demons of Accident” takes us to an underwater level from which we don’t want to surface.

Bourgeois Mystics: “Gentrification of Planet Earth”

One of the biggest obstacles to a longstanding passion project is that when you get sidelined by the harsh realities of life, sometimes it’s too tough to keep creating. And amidst skyrocketing housing costs coupled with the deficit of live opportunities in the immediate aftermath of COVID, actively gigging with a band while living within Austin’s city limits simply isn’t the way it was ten years ago.

That brings us to Bourgeois Mystics, an art-funk hip-hop collective who first got together in 2014. Amplified by each individual opulent alter ego, this eclectic sextet has spent the past decade wowing crowds with high-energy, theatrical performances and upbeat originals that steer way clear of taking themselves seriously. Yet in 2023, splitting the bill six ways with some members already residing in satellite cities, the actuality of exorbitant rent prices and getting the gang together in one room is nowhere near as feasible as it used to be.

As such, Bourgeois Mystics have made the tough decision to go on indefinite hiatus. But as an Austin staple with as lively as theirs, of course they’re going out with a bang. This weekend Bourgeois Mystics release their second (and for now, final) full-length Gentrification of Planet Earth. While Gentrification finds the semi-fictional figures on 2017’s Eureka! now transformed into hideous Kafka-esque monsters and cartoonish song titles replaced with thematic, feature-laden fireballs, the zany energy that makes Bourgeois Mystics so great is well intact. The LP drops on Friday and Bourgeois Mystics commemorates the end of this era with a farewell show 9PM that same evening at The Parish with openers Lena Luca and Cilantro Boombox.

So while you plan out your pre-game for Gentrification of Planet Earth, dig into the album’s title track, one that sounds like Technotronic, !!!, and The B-52’s split a sack of high-grade salvia, downed some disco biscuits, and giggled their way into this fine-tuned piece of “funk-n-gunk” greatness. True to its name, “Gentrification” districts this three-and-a-half minute dance mania off into clearly defined individual sections for the funkiest piece of gerrymandering you’ll hear this year.

The Sextones: “Without You”

Whether or not it’s a frequency bias we picked up within the past few weeks, we’ve been loving this recent resurgence of retro soul. And for those who’ve been following that particular trend, you probably already know that Monophonics frontman Kelly Finnigan is a leading voice in this genre renaissance. Today, however, we’re not talking about Kelly’s pipes. Instead we’re letting Finnigan’s production skills shine alongside some fellow vintage soul savants.

Enter Reno four-piece The Sextones. What began as a mutual infatuation over ’60s-’70s soul and a clever fetishization of a family surname has, since the release of The Sextones’ 2017 debut Moonlight Vision, excelled exponentially. And while founding guitarist-vocalist Mark Sexton and bassist Alexander Korostinsky also moonlight an intrinsically-cinematic style through Whatitdo Archive Group, The Sextones instead adhere to a sextant of truly classic R&B-soul songwriting. In doing so The Sextones have earned the professional respect of Finnigan, and subsequently, the caress of his keen ear for their upcoming sophomore full-length.

That LP Love Can’t Be Borrowed drops September 29th, and each lead single (now half the album’s ten tracks) eases us closer to settling the debt and resetting a heritage for the next generations of retro-soul curators. Between the interpersonal simplicity of its title, call-and-response, unison-to-harmony vocal structure, razor sharp rhythm section, vibrant brass and beguiling ivory chords, “Without You” sounds just like an analog-tracked Stax standout or a Motown mainstay remastered for the modern era.

Tina Piranha: “A Budding Interest in Treason”

The power of lyrical impact can be timeless, but as great as words over melody can be, there’s a whole different appeal to sans-lyrical explorations. For example, when added onto styles like funk or soul, the genre modifier “cinematic” usually tips listeners off to a strictly instrumental experience, where the lack of lyrics not only allows extra space for meditation, but also opens up your imagination to fill in the blanks – be it with visuals, Rod Serling-esque internal monologue, or just abstract emotional reactions to exotic sounds.

A top notch purveyor of such is Austin’s Tina Piranha, whose eight-player appetite chomps out the rarest bits of ’60s soundtracks, Turkish psychedelia, Ethiopian jazz and beyond into accessible, bite-sized soul tracks. Last year Tina Piranha teamed up with Grammy winner Beto Martinez to record and mix the octet’s debut EP Komissar 13, the ultimate horn-heavy score for any wannabe jet-setting G Men with too many jazz cigarettes on hand. This year, in an effort to change up the sonic scenery, Tina Piranha’s joined forces with Quiet Company’s Matt Parmenter, who’s already ushered in four new singles within the past five months.

With that rapid of output, Tina Piranha’s definitely far from having their fill for 2023, so keep your ears peeled on your preferred streaming platform. ‘Til next month’s meal, go ahead and take “A Budding Interest in Treason”. Just don’t let your boss catch you working on your midcentury espionage spec script.

Space Trayn: “Red Lipstick”

When a budding band is high off their own early momentum…at least not in an overt back-patting way or one in which they take themselves way too seriously…the grinning can get contagious. Take for example Austin three-piece Space Trayn, whose nuanced brand of ’70s-inspired funk-jazz-rock stations itself somewhere between Todd Rundgren and Steely Dan. Chiefly conducted by singer-guitarist Jerome Vivino, with Justin Murawski and Nané veteran Jordan Espinoza coupling behind, Space Trayn’s debut 2021 EP Not So Fast rode the rails of classic soul and soft yacht rock with four cars of genre bending tones.

On Space Trayn’s sophomore follow-up We Have Lyftoff (produced and mixed by Austin treasure Chris “Frenchie” Smith), the trio beams full steam ahead at an even higher octane; these five jet-fueled originals cross tracks of ’90s-alternative, psychedelia-drenched jams, turn of the millennium indie rock and even some Parliament-adjacent prog-disco, complete with some mind blowing solos just before the record grinds to a halt. We Have Lyftoff dropped at the tail end of April, but if you’re looking for a good time this evening, even after blasting the new Space Trayn at volume 11, you’re in luck. Space Trayn takes the stage at 10PM tonight at The 13th Floor, preceded by Elijah Delgado and followed by Upper Level Lows at 11PM and Polarizado at midnight. So in the spirit of these fun-lovin’ buds, come as you are and settle in for a great time. But if you wanna be extra, let Space Trayn doll you up before you drop out with the classic psych rock crimson of “Red Lipstick”.

Glass Mansions: “Nearsighted”

As temps heat up across Texas, a sun-soaked lethargy is sure to overshadow any idealized productivity. And it seems like a lot of acts have recently been seizing the day by releasing their roadmaps for the rest of the year. So let’s go ahead and add a danceable data point to our early album detection system. It’s an open house from Austin alt-pop duo Glass Mansions, whose banging electronic beats and ardent vocals (courtesy of frontwoman Jayna Doyle) provide a clean contrast to the pair’s smoky, high octane live performances. The pair’s transparent passion balances out beautifully with their opaque take on opulent electro-pop, and visually, their synesthetic aesthetic is a glistening finish. But back to planning things out in advance…we’ve gotta give credit to Glass Mansions for their forethought in releasing a transitory piece that bridges the gap between last year’s “Standing O” and their upcoming 2023 EP. A gorgeous cacophony of color haunted by Doyle’s tortured, ghostly apparition, the music video for “Nearsighted” is definitely the best way to absorb Glass Mansions’ latest gift. Strictly on the sonic front, the industrially processed sub bass, reverb-drowned snaps, and sinister synth arpeggiator provide the perfect bed for Doyle to belt the hell out vocally.

Flora & Fawna: “Costume Party”

Now that COVID-19’s no longer deemed a public health emergency, the fog of the past three years has begun to dissipate, and memories of the “before times” don’t seem so distant now. Like, remember when KUTX named Austin duo Flora & Fawna as our September 2019 Artist of the Month? We made a real airwave darling out of the pair’s debut single “Slow Burn” throughout the fall, but by the time Flora & Fawna was gearing up for their first official SXSW appearance, well, a little global pandemic stole their thunder. In the spirit of their handle, Flora & Fawna kept their creative ecosystem thriving by focusing efforts on a sophomore follow-up to their eponymous debut EP. That essence of growth despite a harsh environment couldn’t have been fostered as well as it has without the help of multi-instrumentalist-producer Misha Hercules, who’s worked with everyone from Kendrick Lamar and Jungle to Maggie Rogers and Steve Lacy. An ongoing work in progress under the veil of quarantine, Flora & Fawna balanced out their studio time with some impressive appearances – hitting some hometown milestones with both ACL and SXSW last year, not to mention supporting slots alongside Son Little, Thievery Corporation’s David Garza, and even Harry Styles. Well, finally, after all on-stage and in-studio flourishing, Flora & Fawna’s next EP is set to see the light of day in 2023. In light of its Halloween-evoking title, the record’s third lead single “Costume Party” just touched down with care-free summer-luvin’ goodness. It encapsulates taboos you only witness at such masquerades, like the one-of-a-kind kismet of catching Dracula swapping spit with Wonder Woman or a Squid Game security guard starting a drunken spat with Ted Lasso. Specifically, “Costume Party” relives a forbidden kiss with a past fling, and in doing so channels the flirty dirtiness of Charli XCX or Carly Rae Jepsen. So whether you use it to make amends with your own missteps, or just want something you can both blast with the top down and dance ’til your pores are drenched, “Costume Party” is ready for your RSVP.

Artist Interview: The Tender Things – “One Like You”

The Tender Things cooked up a classic song based on reckless decision gone wrong. In Part 1, you heard the confession and The Tender Things’ live recording of “One Like You”. In this episode, when Walker talks with Jessie about the confession, how it inspired the song, self care, and a whole host of other fun stuff.

Got a story you want to confess and maybe have it turned into a song? Join the Song Confessional mailing list to stay up to date on all of our latest episode, news, and the whereabouts of our confessional booth: https://songconfessional.com/connect.

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Among Lynx: “Lola Luna”

With a keen ear and an ability to recognize and synthesize defining patterns, musicians can realistically recreate any style with a bit of fine-tuning, even if they’re across the globe from their sonic scene of choice. But to escalate regional emulation into innovation without tipping listeners off to your nationality? That takes a special breed.

So naturally, as a global hub for chart-topping pop, Sweden harbors plenty of creators that are well-versed in appetizing multicultural recipes. And while the boldest outputs (at least here in the states) can be traced to Max Martin, ABBA, Ace of Base, Yung Lean, Pete Björn and John, or the late great Avicii, we can’t overlook an extra tempting contemporary piece of Scandinavian taciturnity.

Harnessing a handle that perfectly channels their mysterious, secret-keeping character, Among Lynx and their style of North American roots rock sound like the perfect surrogate score for True Detective. The core duo of vocalist-guitarist-percussionist Eva-Mi Ringqvist and singer-harmonicist Elin Öberg first broke out in 2015 with Among Lynx’s eponymous debut EP and completed their evolution into a fully matured quintet with 2017’s Revolution and 2019’s Movement.

In a moment of kismet, last week I caught Ringvist and Öberg performing at Hole in the Wall ripping stripped-down renditions from the near-dozen set of dreary, desert-friendly originals off Among Lynx’s third full-length Once In A Blue Moon, which came out late February. Hole in the Wall proved to be an ideal environment for Among Lynx’s dusty, low-light drip; they were like a pair of semi-tamed hellcats effortlessly displaying their discipline for us Lone Star-fiending losers. All self deprecation aside, each phase of Blue Moon performed on the front stage really pounced on the Hole and Among Lynx’s proven cinematic potential. So if you’d like to turn your favorite dive bar into an awesomely melancholic acid Western, or just love Among Lynx’s mythically masterful take on America’s rustic roots, perhaps us Austinites can howl loud enough for the whole five-piece to return sometime after their ongoing tour back in Scandinavia. In the mean time, toss the telescope out and strap on the headphones for one of Blue Moon‘s brilliantly bleakest illuminations, “Lola Luna”.

Mass Minor: “Worthy”

Even though its initial ubiquity arrived in the late ’70s/early ’80s, synth-driven compositions, regardless of which decade they came from, continue to sound intrinsically futuristic. I mean down to the digital DNA underneath the instrument’s nuts and bolts, the synthesizer has always embodied a sci-fi aesthetic. Of course, nearly a half century down the line, even with astounding breakthroughs in MIDI technology, there’s a certain retro quality to pushing the synth front and center of arrangements, regardless of genre. As such, Austin’s synth scene is like a perpetual time machine, one that sends listeners back to the ’80s glory days of synth pop before hurdling them into the distant unknown. Within that crowd, we’re proud to have Mass Minor call our town home. Beginning with their 2020 debut LP Become Each Other, this trio’s top-graded a sense of timelessness through synth-pop, synth-wave, and electronic rock. They spent much of last year captivating crowds, including appearances at SXSW and supporting slots alongside our July 2022 Artist of the Month Urban Heat and Depeche Mode tribute project Strangelove. But in 2023, considering their rise amongst “uncertain times”, Mass Minor is set to beckon in the post-public health emergency era of COVID with a new piece of temporal exploration. For their upcoming sophomore full-length Mass Minor teamed up with Robert Plant/David Bowie producer Tim Palmer, with a release date set for later this year. Today Mass Minor emerges from their neon-bathed portal with the record’s lead single and their first studio since the turn of the decade. Kicking off with a Tron-ready arpeggiator, “Worthy” wheelies right past the competition with turbulent subdivisions, heroic vocals, and a whirlwind of a hook, which at just over three minutes, makes it an ideal choice for your next montage sequence, be it working out, working through personal stuff, or straight up saving the world. Is it f-ing not enough? Hell no. It’s beyond “Worthy”.

Wilson Marks: “Mother’s Day”

When it comes to songs about holidays (at least here in the U.S.), the most popular is of course Christmas, followed by Halloween, and perhaps…St. Patrick’s Day coming in at third? Either way, it’s a rarity to hear a “holiday” song that doesn’t lean into the Hallmark hokeyness.

But if there’s one thing that Wilson Marks does on any day of the calendar, it’s subvert expectations. On top of his life as an enthusiastic music educator and prolific sideman, this Austin singer-pianist-guitarist brought us two dozen genre-bending tunes through his first full-lengths, 2015’s What Was Made for Weathering and 2018’s Peregrine. By the time Wilson’s third dozen arrived in October 2020 with True Beauty Is in the Random, he’d established his own set of hallmarks: slick witticisms and lighthearted reflections on the flaws that unite us, instrumentation that’s carefully modified to capture a unique timbre, and an accessible style of pop that’s informed by folk and Crescent City jazz.

Marks and his backing band plan on releasing yet another full-length closer to the turn of Winter, padding out the inter-seasons with a more stripped-down EP. So with what may be your final reminder for Mother’s Day before the weekend, Wilson Marks shares one of his slinkiest singles to date. Rooted as always in true storytelling that doesn’t skimp on emotion, the simplicity and sincerity of “Mother’s Day” is shoe-in to mom’s heart, especially if she’s a fan of Graceland. And if you really want to wow her with a belated Mother’s Day date, consider taking her out to see Wilson Marks Trio live next Wednesday at the Elephant Room.

Polarizado: “Twin Liquor On Sunday”

Compared with the political climate of our neighbors, Central Texas, and in particular, Austin, may seem like kind of a sect within the Lone Star State. And that’s not just a matter of being the “blueberry in the tomato soup”. It’s a reflection of our regional music styles as well. To an outsider, our ability to keep stately subgenres like Outlaw Country, Western Swing, and – right down to its name – Tex Mex – relatively contatined within our borders, kind of seems a little clique-y. That’s where multi-instrumentalist Felix Bergman comes in. See, before moving here from Oakland, Bergman bolstered his musical journey playing everything from guitar to keys and even trumpet across a ton of sounds – Latin jazz, glam rock, Blues, and hardcore punk to name a few. So after making his eastward migration, he quickly picked up on Texas’ location-tailored tastes, and wanted in immediately. With his project Polarizado, Bergman indoctrinates listeners into what he calls “Cult Americana” – solely outing himself as a non-native through earnest yet lighthearted observations only recognizable by “outsiders”. Later this year Polarizado follows up their 2018 eponymous EP with Welcome Back… due out August 3rd. Based on the record’s latest single, we’re looking forward to an indie-swamp-rock take on some of our not-so-treasured Texas customs, such TABC’s Bible belt tutelage on the short and sweet “Twin Liquor On Sunday”. Catch Polarizado ’round midnight next Friday at The 13th Floor alongside openers Elijah Delgado, Space Trayn, and Upper Level Lows, and fill a glass with your favorite beverage with this tune that sounds like a cocktail between CCR and Nick Waterhouse, albeit with some extra vocal grit.

Paige Hill: “Sticks and Stones”

As much as us at KUTX sing the praises of native Austinites, we’d never dream of detracting from their adjoining contemporaries who are essentially a stone’s throw outside our city limits. Take for example Austin born-and-raised singer Paige Hill, who’s currently headquartered in Dallas. As part of her steady ascent to statewide stardom, Paige partakes in a regular routine of entertaining her fellow Dallasites, characterized by all kinds of Central Texas ridges – Americana, country, blues, and soul.

Weekends off are largely a thing of the past for Paige; when Hill’s not crushing it with her outfit The Kitchen Section, she’s supporting Evan Boyer & The Remedy or contributing her pipes for more pious purposes at her neighborhood church. In keeping up with her fervently feminine counterparts, Paige Hill’s lyrical prominence lies in relating personal experiences of heartache, infatuation, brood pride, and comeback character arcs. And thankfully, alongside her willingness to offer up services as a vocal accompanist or co-writer for hire, Hill’s original works inspire listeners to dance through the damage, laugh through the tears, or cry out frustration when stuck in a rut.

That gendered sense of strength surrounds Paige Hill’s upcoming debut EP Good Woman, a five-song summit that embodies some of the most resilient female characteristics. This handful of tracks tackles ’70s-style country and classic soul on top of contemporary rock and blues for an Americana-anchored odyssey of well-intentioned, bricks-bouncing-off-bones toughness. So before Good Woman arrives, take a page out of Hill’s book by overlooking life’s more paltry remarks with the the one tune on the record not entirely penned by Paige herself. A collaboration between co-writer Guillermo Murillo and horn arranger Preston Lewis, the optimistic soul of “Sticks and Stones” (complete with sax and trumpet stabs, adroit organ and keyboard work, plus Paige’s powerhouse vocals atop it all) soars far above expectations for a newcomer like Paige within a succinct three-minute runtime.

Confession & Song: The Tender Things – “One Like You”

The Tender Things cooked up a classic song based on reckless decision gone wrong. In Part 1, you’ll hear the confession and The Tender Things’ live recording of “One Like You”. Tune in for the next edition, when Walker talks with Jessie about the confession, how it inspired the song, self care, and a whole host of other fun stuff.

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Softee: “U + Me (WDYT)”

As progressive as some parts of the US purport to be, it can be insanely easy to not fit within the cog-work of traditional Western values. And without access to proper support, that absence of belonging can tragically lead some “outcasts” to take drastic measures – destruction towards themselves or others. It’s a human condition, plain and simple. But the ability to recognize that placeless-ness and understand its origins (often by gesturing broadly at our increasingly complicated society) before allocating that uncertainty into a nuanced piece of art that perhaps makes others feel more accepted? That’s divine.

Dating back to its origins in the late-’70s days of Studio 54 disco domination, electronic music has consistently provided a safe haven for “alternative lifestyles”. Even if the performers themselves aren’t explicitly part of the counterculture, the innate desire to dance our troubles away on a welcoming dance floor has created a shared identity for lovers of all things four-to-the-floor. That about brings us to Moorhead, Minnesota songwriter Nina Grollman, better known by her stage name Softee.

When Softee relocated to Brooklyn just under a decade ago, her unapologetic queerness and undyingly creative personality began to make a lot more sense. Already primed to be a pop star, Softee made her studio debut with her August 2019 EP Slow Melt, and impressively kept the momentum with another batch of ten infectious tunes via Keep On the following year. Softee’s racked up some admirable streaming numbers since then, but she sure as hell hasn’t lost sight of her music’s empathetic potential for anyone losing sleep over rampant emotions.

With that, Softee is set to reemerge anew and stronger than ever with her sophomore full-length Natural. As seen in the macabre, medieval imagery of the various single artwork, Softee is picking up where Beyoncé’s Renaissance left off by axing regressive representation and re-establishing the dance floor as a harmless melting pot of all human behavior. In teaming up with Berlin’s Sweetbbyj, Natural is enhanced by an extra Eurodance aesthetic over which Softee goes hard. It’s like a mixtape of all the best electronic styles swirled together by Softee’s virtuosic vocal performance and sanguine synth work. Hear for yourself on Natural‘s latest offering “U + Me (WDYT)”, whose “Apache”-esque breakbeat, instant classic of a hook, and wah-drenched funk rhythm guitar all make the bed for Softee to uphold the prowess of pre-millenium electro-pop-R&B queens like Robyn or Janet Jackson. So…what do you think?

Bobby Harden & The Soulful Saints: “One Tribe”

Even though it’s been five years since Charles Bradley left us, the sensation’s parting message still stands strong: that it’s never too late to break out and follow your dreams. Bradley’s experience is plenty inspiring on its own, but imagine having a bona fide genre legend tell you they remind you of themselves in their midcentury heyday.

That’s exactly what happened when church-taught, wedding-refined singer Bobby Harden was recruited into The Blues Brothers Band a little over a decade back. Harden’s passionate pipes quickly earned endorsements from Blues Brothers co-founders Steve Cropper, Lou Marini, Matt Murphy, and most notably – touring frontman and Stax superstar Eddie Floyd. These auspicious affirmations eventually enticed Harden to form his own outfit – Soul Purpose – a formative but relatively short-lived endeavor that passed on right around the same time that Charles Bradley did.

That’s not to say Harden’s spark died alongside Bradley; instead, with the help of veteran trumpeter/producer Billy Aukstik, Bradley’s backing group reformed behind Bobby Harden as The Soulful Saints. Between the band’s canonized handle and the passing of torches from Floyd and Bradley, the spiritual weight within Bobby Harden’s most recent chapter can’t be overstated. But rather than revert back to his developmental gospel days, Bobby Harden & The Soulful Saints are revitalizing the best of retro-soul.

This Friday Bobby Harden & The Soulful Saints release their debut full-length Bridge of Love, ten tracks that pave a soul expressway between urbane ballads, elegant ’70s-style pop, rudimentary R&B, and more. These originals would’ve been incredible had they been performed by Harden alone, but the Soulful Saints really bless this collection with seductive strings, heavy horns, buoyant backup vocals, and a bit of Latin-tinged rhythms to top it all off. Hear for yourself on Bridge of Love‘s latest lead single “One Tribe”, which channels the progressive psych-soul arrangements of early-mid-’70s Curtis Mayfield and The Temptations – almost like an equal-and-opposite companion piece to both “Freddie’s Dead” and “Ball of Confusion” – while retaining Harden’s idiosyncratic howl. From its initial snare taps straight to its final exclamation mark of a horn hit, we’re positive you’ll find more than “One Tribe” who’ll love this record.

Whatitdo Archive Group: “Astral-Desia”

Us at KUTX have never felt a need to shy away from our unabashed love of multi-national-inspired psych; a typical playlist of ours will usually pepper in some Adrian Quesada, Khruangbin, or Golden Dawn Arkestra, so today we’ve got great news for anyone with similar tastes.

It comes on behalf of Reno three-piece Whatitdo Archive Group, who shared their debut full-length The Black Stone Affair in April 2021. The tracks on The Black Stone Affair (like “Ethiopian Airlines”, “Last Train to Budapest”, and “Italian Love Triangle”) were fairly blunt about their international multiculturalism, almost like a spiritual successor to Duke Ellington’s The Far East Suite. Ultimately it was an outstanding first introduction to the vintage-soundtrack-ready jazz-adjacent instrumentals of this desert-dwelling trio, but with the release of their sophomore follow-up Palace Of A Thousand Sounds this morning, we can assure you that Whatitdo’s ascended into ciné-psych royalty.

Down to its song titles and mystifying artwork, the beautifully-bizarre aesthetic behind Palace Of A Thousand Sounds picks where Martin Denny’s mid-century exotica left off. This thirteen-tune sequence ditches specific locations in favor of abstract, otherworldly scenes, a choice that complements Whatitdo Archive Group’s stronger emphasis on psychedelia this time around. Of course, for the authentic old-school experience, you’d better grab one of the limited-supply vinyls for your collection while they still last. But if you’re stuck in work mode and can’t take the full forty-three-minute tour right now, you can still bask in the psychoactive galactic glory of Palace‘s second lead single, “Astral-Desia”. Like thick incense smoke obscuring a telescope’s lens “Astral-Desia”‘s regal groove offers a Bohemian soundscape that’s ideal for both narrative voiceover and psychotropic meditations, as does its dozen other Palace counterparts.

Modern Fools: “Wasting”

For as many people (especially bombastic media personalities) who’ve made a monkey of themselves in the COVID climate, we’d like to think that just as many, if not more, have done a lot of growing up instead. In the past three years we’ve seen a ton of such success stories, and today we’re commending the hurdle-topping turnaround of Josh Blair.

Even before the start of the pandemic, this New Hampshire singer-guitarist had already lost a friend to substance abuse and endured strains in his romantic relationship. When Blair began traveling the nation in a short bus at the height of lockdown conditions, he had plenty of time to reflect on his musical path leading up to this period of dejection; he’d been a punk drummer as a juvenile before graduating into bassist and guitarist for a hip-hop/psych/rockabilly outfit. But in this newfound, fragile mindset, Blair didn’t quite resonate with the overtly downtrodden discourse of many punk lyrics nor the slapdash style-over-substance approach of his subsequent cross-genre project. Instead Josh Blair turned to the matured wisdom of blue buckaroos like Townes Van Zandt and Hank Williams, and in doing so laid the groundwork for Modern Fools.

Rather than split the difference by going straight to cowpunk or psychobilly, Modern Fools embraces the timelessness of classic crybaby country as Blair’s first foray into bandleading and songwriting. Blair recruited longtime buds Justin Gregory and Jon Braught to record Modern Fools’ 2020 debut Seer – albeit completely separate due to COVID restrictions – and tomorrow, with the addition of Ian Galipeau, Modern Fools unfurls their formalization as a four-piece.

The quartet tracked their magnificent sophomore album Strange Offering together in Blair’s home studio, and that sense of unity really ratchets up the caliber of these forlorn originals. These ten gloomy cosmic country tunes arrive bright and early tomorrow, so be sure to set some time aside this weekend to appreciate Strange Offering in full. And if you want to open up the contemporary-tinged, vintage-inspired waterworks early, “Wasting” is where you wanna be. Like admiring the slow slip of sunlight into a distant horizon, “Wasting”‘s languid trot, softly-howled harmonies, stoic lyrics, sanguine song structure, and abrupt heartbreak of a final chord – all at just over five minutes – is by no means a misuse of your time.

Evan Charles: “Low Road Runnin'”

With our ever-expanding skyline, congested traffic, and high urban density, living within Austin’s city limits can almost trick us into forgetting we’re in Texas. But a short drive out can quickly remind us of our immediate rustic surroundings – hill country, deserts, forests, lakes, caves, and more. So even in big metropolitan hubs like ours, the vastness and variety of the Lone Star State unsurprisingly inspires an abundance of nature-loving folk, cosmic Americana, and southern rock acts.

A quick glance at Austin outfit Altamaesa’s discography – The Long Ride Home (2016) and Idol Frontier (2019) – instantly tips you off to that specific sense of Southern wanderlust and bucolic storytelling. And maybe it’s that same spirit of adventure, coupled with his induction into Project ATX6’s Season Six lineup, that’s led fronting guitarist-vocalist Evan Charles to temporarily excuse himself from his chair at Altamesa’s high table and explore new opportunities as a solo artist.

In this endeavor, Evan Charles emerges as a reinvigorated raconteur, eager to lean into the timeless power of natural narratives with his upcoming debut album Between Two Worlds. Featuring titles like “Ask the Dust”, “Heavy Rains Back Home”, and “Horizon Line”, Between Two Worlds brings twelve trail tunes, countryside ballads, idyllic interludes, and miscellaneous ruminations into Mr. Pink Records’ Bastrop recording studio, with the full polished collection arriving later this summer. Evan Charles celebrates early with two local performances; a single release show 10PM this Friday at Hole in the Wall and again 8:30PM this Saturday at Continental Club for the Mr. Pink Showcase. If you can’t saddle up to either of those shows, open up the throttle with Evan on BTW‘s latest lead single, the briskly-whisked ranch-ready Americana yarn “Low Road Runnin'”. At just over three minutes, this fast-travelin’ track is a must-play for all types of settings: in your dust-rustlin’ truck, underneath those big and bright Texas stars, or just at home brewing your favorite morning roast.

Danny Golden: “22 Tango”

Pop music is chock full of people flexing. Sure, it goes all the way back to the days of vaudeville, but especially in the 21st century, Billboard chart-toppers can’t seem to stop talking about how hot, rich, or tough they are. Such bold boasts are appealing to emulate amidst teenage angst, but as music lovers mature, they’ll realize that lyrical brags aren’t as impactful as they may seem at first, at least compared to forming a legitimate connection between performer and listener. That’s where Austin multi-instrumentalist Danny Golden comes in. In the near-ten years since he wrapped up his Bach-meets-bluegrass college thesis, Danny’s learned that the golden ticket to truly unique impressions is overlooking the frivolity of possessions and appearance and diving straight into the universal well of emotions. In that spirit, Danny Golden’s upcoming full-length Being There isn’t just a platform to work with John Mayer/Leon Bridges/Paul Cauthen producer Electrophunck or jam with contributors from Texas Gentlemen, Sir Woman, and Jon Batiste’s band; it’s a potent nine-tune exploration of human fragility created through a shared sense of time and space. True to its title, Being There‘s reflections on staying in the moment, of not looking too far back or forwards, lends itself to the LP’s sonic eclecticism, that while rooted in indie rock, features some out-there flavors that reflect the nuances of our feelings. Shortly after Being There drops on Friday, Danny Golden is set to spend the rest of the month on a national tour alongside KUTX favorite Matthew Logan Vasquez, where he’ll no doubt forge plenty of fervent bonds with listeners across the country. So like a sonic trust fall, step into your own personal Danny Golden therapy session with a four-minute testament to the magic of inherent human relation, “22 Tango”.