Jack Anderson

Luke Daniel: “Lost in the Gap”

Tom Petty. Bob Seger. Lynyrd Skynyrd. They’re all awesome on their own accord but can you imagine a comprehensive, country-fied, combo of all three? It’s not just the stuff of dreams. Let us introduce you to Lone Star singer-guitarist Luke Daniel. Daniel grew up in podunk Missouri listening to his dad’s record collection; blues-soul stars Isaac Hayes, B.B. King, and Otis Redding were often paired with classic rock royalty like Janice, Jimi, Jethro, and Zeppelin. And although they may not present themselves on an apparent level in Daniel’s music, those retro tendrils are inseparable from LD’s style of songwriting.

When it comes to claiming his own genres, Luke Daniel makes it pretty easy, considering his debut full-length Rock ‘n’ Roll Americana came out this morning. True to its title, RnRA is a nine-track trek through Texas-style country-folk-rock, whose Derek Hames-produced sound merits a listen far beyond our state’s borders. Luke Daniel commemorates the release of Rock ‘n’ Roll Americana with a Central Texas tour and a residency at The Railhouse Bar in Kyle, kicking off 9PM tonight at Armadillo Den. It’ll be your last chance to catch Luke Daniel live in town until Monday, November 7th at Saxon Pub, so come on out and scoot some boots to barn-burners like “Lost in the Gap”.

Lena Luca: “Rosebuds”

With the exception of so-called “industry plants”, it’s pretty rare for a superstar to hit their biggest stride during their first project. Think about Kenny Rogers with The First Edition, Danny Elfman with Oingo Boingo, or even Beyoncé with Destiny’s Child. Lena Luca had a classical background in oboe performance and music education before relocating to Austin in 2015 and becoming a centerpiece vocalist for art-funk outfit Bourgeois Mystics. That only lasted about a year before Luca jumped ship and launched a new project, a darkpop band in the vain of ’90s industrial post-grunge rock called Elevaded. Well, turns out even that wasn’t enough to scratch Luca’s creative itch.

Right around the start of the pandemic, they re-emerged under their current moniker, introducing Austin to an unapologetically-queer producer-singer-synthesist solo sensation. Disco, funk, R&B, indie, dance, and pop have all been up for grabs in Lena Luca’s upbeat, melody-anchored formulas since 2020, with a 4-track EP on the way. So if you’re checking out Remi Wolf this Sunday at Stubb’s, be sure to stick around ’til after 10 for an official after show performance by Lena Luca. If not, enjoy Lena Luca’s official selection from this year’s Austin Music Video Festival that accompanies one of L.L.’s most rousing bass grooves to date, an expertly-executed disco-funk phenom that gives Dua Lipa a run for her money, “Rosebuds”.

Purbayan Chatterjee & Rakesh Chaurasia: “Pahadi”

If you’re a lover of traditional Indian music like I am, you won’t want to miss a certain concert in town this weekend. Just two weeks after the release of their seven-song full-length Saath Saath, Mumbai sitar maestro Purbayan Chatterjee and flautist Rakesh Chaurasia are set to perform 7PM this Saturday at Bates Recital Hall. They’ll be joined by Saath Saath percussionist Ojas Adhiya for an evening of indigenous Indian expression that’s guaranteed to guide your thoughts with salubrious sitar, fervent flute, and tantalizing tabla. Want to appreciate these meditative raggas in the comfort of your own home? Saath Saath is already out on streaming, allowing you to be in the moment, morning, noon, or night. Needless to say, Saath Saath is best experienced front-to-back in full, but if you have only a few minutes to duck out of the work mindset, let Purbayan, Rakesh, and Ojas help you over the hump with “Pahadi”.

Glassreel: “Compromise”

If you dig Belle and Sebastian’s brand of indie pop along with Mazzy Star’s style of alternative rock and have ever wondered what a lovechild of the two might sound like…let us introduce you to Glassreel. This Winnipeg project began as a duo between core songwriters Kelly Beaton and Trevor Graumann before rounding out a rhythm section with Ken Phillips and Andrew Workman. Since Glassreel started sharing singles as a quartet in 2019, they’ve refined a crystalline mix of calm-yet-confident vocals, delightful dynamics, and transportive soundscapes.

Next Friday the four-piece unleashes their debut full-length Lustre, an eight-track that coats Glassreel’s existing sound with sheens of Aimee Mann, Phillip Glass, Pixies, Fiona Apple, The New Pornographers, and even Fleetwood Mac. To help match the quality to those legends, Lustre was mastered by Grammy nominee Philip Shaw Bova, who’s engineered the likes of Father John Misty and Angel Olsen. Between Bova’s assistance and the band’s natural maturation, Lustre‘s final lead single, “Compromise” carries McVie-esque keys and tasteful brass chords for an arrangement that proves how far Glassreel’s come in the past three years alone.

Rental House: “Sunday Scaries”

There are so many artists out there with names that are virtually un-Google-able. And if they’re from Austin, it’s not really helping their SEO. I mean just try searching “Hikes Austin”…you’re not gonna find music. Hell, even Spoon might’ve had some trouble in their earlier days. Which brings us to Rental House. No, it’s not Airbnb or Vrbo. It’s an indie pop-rock trio whose moniker came from their place of practice. Each of the three members offers a ton of efficiency for Rental House’s sonic square footage; bassist-singer Scott Hullum helms songwriting and production, singer-guitarist Donnie Kelly spearheads the riffs, and percussionist Nathan Threlkeld masterminds the beats. Oh, and all three throw down on synth. It’s a stimulating mix that’s till taking shape. And with just two studio singles out, the bubble’s not bursting for Rental House anytime soon. A couple weeks back Rental House invited us into their home for the second of those singles, “Sunday Scaries”. With soft shoegaze dynamics and a VHS-shot music video, “Sunday Scaries” may be the perfect encapsulation of procrastination and our endless desire to distract ourselves.

Chancy: “Angels, Darlings”

I suspect that when many people of my generation hear the word “Chancy” out loud, they probably think of that egg loving Pokémon rather than the adjective. And while that demographic tends to have strong feelings about the “original 151”, collectors of indie-pop-rock ought to add Chancy to their musical Pokédex. This Dallas quintet only became Chancy after they found out their first band name “Lovely” was taken several times over. And whatever risk-taking they’ve done since 2019 has clearly paid off, considering they’ve played five festivals in the past two years alone.

This morning Chancy unleashed their latest single and music video, “Angels, Darlings”. It’s a daring addition to Chancy’s rapidly expanding discography, whose upbeat disco drums drive while the rest of the group explores pure pop, subtle psychedelia, and incandescent harmonies that’ll carry you all the way to Monday.

El Mató a un Policía Motorizado: “Yoni B”

If you weren’t aware, today is the first day of Hispanic Heritage Month, which brings up an interesting discourse. Surface level listeners may experience a kind of culture shock when they hear the Spanish language outside of the subliminally-associated genres; if it’s not cumbia, reggaeton, or traditional Latin, it might sound “out of place”. And considering English is often thought of as the international language of pop music, that’s not completely unwarranted. But honestly, it’s a language; it won’t be bound by genre constraints. So it’s important to normalize indie rock groups like Buenos Aires five-piece El Mató a un Policía Motorizado. They dropped their eponymous debut right in the middle of the millennium-era indie explosion, and celebrate their first two decades together in 2023. One listen will tip you off to this, but imagine a Spanish-language version of The Strokes that crosses lanes into Pixies, Ramones, Weezer, Sonic Youth, and even proto-punk pioneers The Velvet Underground. El Mató a un Policía Motorizado does have a U.S. appearance tomorrow in L.A., so today’s offering is strictly a recommendation. “Yoni B” comes courtesy of El Mató’s two-time Latin Grammy nominated LP La Síntesis O’Konor, and may very well have you fire up Duolingo before diving into the rest of their discography.

Garrett T. Capps & NASA Country: “People Are Beautiful”

Steve Miller Band. Jamiroquai. Kacey Musgraves. They’ve all written songs called “Space Cowboy”. And considering the continued popularity of those tunes, it’s safe to say that “space cowboy” is no longer a derogatory term for a shameless stoner. No, it’s something musicians want to wear on their sleeve. Which brings us to Garrett T. Capps & NASA Country.

Garrett T. Capps has been going strong since 2016 and only recently enlisted NASA Country as his backing band. And although “Houston” might’ve been the historic first word transmitted back to Earth from the moon, NASA Country has no plans of relocating their musical mission control center from San Antonio. These unapologetic psychonauts are set to launch their mind-bending style of cosmic country on October 21st with their group debut, People Are Beautiful. This eight-track constellation bridges the brightest bits of retro-synth, jangly two-step, swamp blues, and NASA Country’s beloved “krautrock fiesta” sound. In true celestial fashion, People Are Beautiful‘s two lead singles are the LP’s bookends, the album opener and closer, like the meeting of Elder Bowman and Starchild at the climax of 2001: A Space Odyssey. No shame in starting at the end, right? So lift off with People Are Beautiful‘s title track in T-minus 5…4…3…2…

Shadow Work: “Warm Tones”

There’s no doubt; Denver’s got a splendid music scene. Yet despite an artist multiplicity that gives Austin a run for its money, it’s rare to come across an act that captures several sounds of the city simultaneously. So if you want a calculated combo of post-hardcore guitar, jazz-injected percussion, and turbulent pride-of-punk bass riffs, sign up for shadow work.

This capricious art/math-rock trio first crawled out of the woodwork on last May’s debut album Robben Island and have since gone on to share a handful of singles, including two in 2022 alone. The latest one, “Warm Tones”, (mixed and mastered by Snoop Dogg/Lil Baby/Trey Songz producer John Scott) sets the stage for a Southeastern U.S. tour at the end of the month. shadow work has stops planned for Birmingham, Nashville, and Atlanta, so if you’re the type to hold onto Texas’ high temps as long as possible, consider working their whirlwind “Warm Tones” (with its daring dynamics, melancholy chord changes, and jaw-dropping instrumentation) into your upcoming Fall playlist. Either way, keep on the lookout for a national tour and a new record from shadow work within the next year.

Nick Wallisch: “The Legend of El Champion”

Nick Wallisch and his ever-growing cache of instruments have been a staple of the Live Music Capital for nearly a quarter century now, complete with crushing performances on drums, bass, piano, ukulele, and even penny whistle. That’s not to say Wallisch doesn’t play guitar as well (of course he does) but throughout recent memory he’s relegated lead six-string duties to his dear friend Ed Martinez A.K.A. “El Champion”. Last year Martinez linked up with Wallisch and his father to record an instrumental LP, and quickly stole the show. The Wallisches agreed that Martinez’ guitar talents were going to be front and center but by the time they were putting the finishing touches on the full-length, El Champion passed away. As a result, The Legend of El Champion (which dropped at the top of the month) has been translated into a loving thirteen-song tribute that tears right into the mysticism of its eponymous subject with a truly wonderful guitar solo on the album opener and title track.

Freedy Johnston: “The Power of Love”

Connoisseurs of Americana (or “Americonnoisseurs” as I like to call them) can probably recognize the music of Freedy Johnston within a few notes. Back in the early ’90s Johnston became somewhat of a legend thanks to an unfettered dedication to his craft and a consistent, high quality output of tunes. As a matter of fact, Rolling Stone named Johnston “Songwriter of the Year” in 1994 and within the next couple years he was a staple of film soundtracks (both major and indie). Right around SXSW 2009 Freedy Johnston linked up with KUTX favorite Jon Dee Graham and Susan Cowsill to record At Least We Have Each Other as The Hobart Brothers and Lil’ Sis Hobart. But although he’s found a footing here in Austin, Freedy Johnston’s been noticeably absent since his last solo release, 2015’s self-produced Neon Repairman.

This morning, after seven long years in the shadows, Freedy Johnston is finally back with his latest LP, Back on the Road to You. Cowsill returns as a collaborator on BotRtY along with The Bangles’ Susanna Hoffs, Aimee Mann, and one of the tightest backing bands you can imagine. It paves a path parallel to folk greats like Joni Mitchell, Neil Young, Jackson Browne, and The Byrds all while keeping course on the great Americana highway. Needless to say, after three decades of doing his thing, Freedy Johnston’s still got it, as heard on the road trip-ready folk-country-rocker “The Power of Love”.

Azurah Vibez: “Headbanger” (prod. D-Madness)

Austin’s R&B scene…it’s out there; you just gotta know where to look. Now, we’ve kept a close watch on Mélat, Anastasia Hera & The Heroes, and Daniel Fears…but another Texas native has you’ll want to keep on your R&B radar is Azurah Vibez. There’s a chance you recognize the name from a feature we did a couple years back on Brighton Beach’s DVMA/Dama Nilz, but much more likely you’ve seen her name on bills opening for Justin Timberlake, P-Funk, Stevie Wonder, and Black Puma’s Jaron Marshall. In the pre-pandemic days, Azurah also curated the Soapbox Sessions Open Mic series alongside her Musical Director/House Band Leader D-Madness. And yet, in the eyes of the public, her immaculate set of pipes have yet to appear within Azurah Vibez’ azimuth. However, this past year, that all changed.

At the tail end of February, Azurah Vibez dropped her debut studio single, the reggae-R&B foot-rocker “Lover’s Paradise”, following it up with her sophomore “Headbanger” in mid-August. Once again produced by D-Madness, “Headbanger” immediately begs comparison to Dangerously In Love-era Beyoncé and’ll leave you eager for AZ’s first full-length (due out next year). With D-Madness’ MIDI flutes, live drums, and sensational six-string skills, Azurah Vibez received an ideal backdrop to go all out on “Headbanger”. And as tantalizing as “Headbanger” is on its own, it’s nothing compared to the song’s visual counterpart, which voraciously gyrates its way into the ever-growing collection of greatest twerk videos (from Megan Thee Stallion, Nicki Minaj, Lizzo, and more).

Wes Denzel: “Zodiac Killer”

Astrology. It’s a one-of-a-kind litmus test in casual conversation; either people will scoff at you for believing that gobbledegook or chastise you for not knowing your ascendant. But if there’s one demographic who seems to get a unanimous pass, it’s lyricists. From Deep Purple’s “Maybe I’m a Leo” to Des’ree’s “What’s Your Sign?” and Nirvana’s “Heart Shaped Box” to The Supremes’ “No Matter What Sign You Are”, perusing the daily horoscope appears to do pretty well. And as you can tell from that grocery list of greats, genre constraints have no place in the world of celestial phenomena. Which brings us to hip-hop/R&B renaissance man Wes Denzel. To say this San Antonio vocalist/producer is a beast on the mic and a scholar in his rhyme book…well that’s just a criminal understatement. I mean, he’s opened for both Kendrick Lamar and Schoolboy Q. As a matter of fact, we even named Wes Denzel our February 2021 Artist of the Month surrounding his LP I Was Almost Happy. And with the recent release of his fifth single of 2022, the elements seem to be aligning in Denzel’s favor. The latest track pays tribute to Tyrese’s 2002 baby-maker “Signs of Love Makin'” with a steaming, astrologically-sprawling piece of funk-soul sensuality, “Zodiac Killer”.

The Best Around: “Kissing Your Ass”

From the surrealist theatrics of Oingo Boingo and Devo to the esoteric lyricism of Hunky Dory, it seems that not taking yourself seriously can give you a big leg up in the world of art rock. And as with the escapism given to us by those ’70s and ’80s greats, modern day art rockers like Austin’s The Best Around cross the wires between absurdist, non-sequitur humor and biting social commentary. In Spring 2020, Ten years after his indie punk outfit Safeword tapped out, singer-songwriter Camron Rushin created The Best Around along with multi-instrumentalists Todd Pruner (of English Teeth and Kodachrome) and Jon Merz (of Montopolis, My Jerusalem, and Soul Track Mind). They began exchanging stems of new songs and building up arrangements remotely, one instrument at a time, in accordance with pandemic-mandated social distancing. That patience (cue Karate Kid training montage music) lends itself to the work ethic of The Best Around, whose uncouth goofiness may cause cursory critiques to overlook the trio’s underlying discipline.

With Cobrai Kai making its fifth season premiere this Friday and Karate Kid culture back in the zeitgeist, The Best Around are making the most of this moment of Kairos with a new studio single. It’s part of The Best Around’s upcoming debut full-length, which was mixed and mastered by Erik Wofford at Cacophony Recorders here in Austin and is set for release sometime in the next several months. This latest one is a testament to the fact that there’ll never be a demand shortage for breakup songs, and there’ll always be another, more irreverent way to bid farewell to a former fling. Layered with LFO synth flairs, Fastball-style group vocals, bluesy guitar, and mid-’90s Beck-esque production techniques, “Kissing Your Ass” (and its soon-to-be-shared music video) is a perfect funk-rock complement to pop breakup bangers like “thank u, next”.

The Beaches: “Orpheus”

Like the Jan Brady of national holidays, Labor Day is an oft-overlooked middle child between the Fourth of July and Thanksgiving. So, quick bit of “birthday” trivia; although it’s American-manufactured, some historians believe Labor Day may have been inspired by Toronto’s worker-centric parades held in 1882. Which means we ought to recognize our neighbors to the North and celebrate with some continental solidarity. However, if you got screwed out of the long weekend for whatever reason, you can find a instant escape with The Beaches.

Their namesake canonically pays tribute to a shared neighborhood, but it also evokes the quartet’s willingness to bury college plans in the sand and fully invest themselves in their music. Nowadays, in light of more than 50 million stream on Spotify alone, three JUNO Awards, and fanship from Elton John, it’s damn near impossible to cast doubt on that decade-old decision. Lately, however, inspired by the likes of Austin’s own Dayglow, The Beaches have seemed to heed changing tides and begun testing deeper waters of indie pop after years in the rock sandbar. This questionable shift comes right after the full-length merge of The Beaches last two EPs and a U.S. tour kicking off next month, but as we’ve learned before, it’s best to trust The Beaches’ intuition. Considering the pulsing, Phoenix-esque, indie pop masterpiece “Orpheus” that just came out? Give ’em all the resources in the world for them to do whatever the hell they want.

Takuro Okada: “Sand”

John Lennon. Kate Bush. Nels Cline. They’ve all dabbled in what mainstream listeners consider to be “dark arts” (the avant-garde genre)…but only after becoming pop stars. And well after his mid-2010s tenure with Tokyo indie-folk-rock sensation Mori Wa Ikiteiru, guitarist-songwriter Takuro Okada has begun ascending into their ranks. Ever since he went solo, Okada, (ever equipped with his fully-loaded pedal board and vintage amplifier), has reconsidered what defines “pop” music other than commercial radio and stream numbers. Hell, he even took it a step further and dove down a discourse of what “music” is.

In that “post-modern pop” spirit, Takuro Okada shared his sophomore full-length Betsu No Jikan this past week. A far cry from his indie-rock roots, Betsu No Jikan guides you on a reflective six-song journey through first-rate improv jazz, mind-melting ambient soundscapes, exotic instrumentation, and an exciting touch of experimentalism. With the exception of the album opener (which covers Coltrane’s classic “A Love Supreme”) the record effortlessly lays landmark motifs based around natural landscapes, such as the sifting, cinematic late-A-Side opus,”Sand”.

Killer Kaya: “Seasons of Unrest”

When California comes to mind, it’s easy to imagine three hundred and sixty sunny days a year. But between earthquakes, floods, mudslides, wildfires, and other natural disasters (we’ll even throw in this global pandemic for posterity)…it’s not just a coastal breeze over there. Whatever the weather, Cali can always rely on some really cool cross-cultural sounds; think about the psychedelia of Haight-Ashbury, surf rock, ’70s Chicano soul, Latin-introduced tropicalia, or the unique jazz style of West Coast swing.

If you’re looking for a contemporary combination of all those genres that collides like tectonic plates and never phones in a half-baked pastiche, check out Killer Kaya. This Santa Barbara five-piece has already opened for the likes of Shuggie Otis, Cat Power, and even Nuggets legends The Strawberry Alarm Clock. Killer Kaya’s first two albums 29 Lives (2017) and Persimmon Perspective (2018) both leaned on a commanding horn section, but once their 2020 tour got cancelled amidst COVID, the band stripped themselves of brass and broached a fresh approach.

It’s been two years…but Killer Kaya is finally back. Their already-rich psych-rock sound is now complemented by an incorporation of synths as well as the addition of die-hard, adrenaline-drenched drummer Justin Kass. These changes’ll come into play on Killer Kaya’s upcoming LP Tunnel at the End of the Light (out October 7th) as heard on one of Tunnel‘s most exciting singles, “Seasons of Unrest”. Like the effects-heavy, falsetto-fueled wrath of an angry God, “Seasons of Unrest” paints a dramatic picture of existential dread over California climate patterns in an operatic prog-rock original that lands somewhere between Santana, Mars Volta, and The Doors.

Dan Warner & The Night Parrots: “Every Moon is Blue”

Between Methyl Ethyl, Jen Cloher, Tame Impala, G Flip, Courtney Barnett, and The Avalanches…KUTX plays so much ‘down under’ music that we could probably get away with rebranding ourselves “The Aussie Music Experience”. But that’s not just a bad pun; there’s plenty of truth behind the cross-continental exchange between America and Australia. See, Austin does have a sister city in the form of Adelaide, but it’s Melbourne that’s more analogous to our “Live Music Capital” character. And from the ’70s through the ’90s, the Melbourne scene had a bit of an obsession with the American country, folk, and blues. Singer-guitarist Dan Warner found his footing in the midst of that craze, and became well known for his alt-country duo The Warner Brothers by the mid-late-’80s.

Inevitable legal action eventually transformed The Warner Brothers into Overnight Jones. But by the turn of the millennium and knee deep in artist-label tension, the group dissolved. Warner enjoyed a brief stint in New York City in the early-’00s, but since settling back in his hometown, he’s taken his solo career to the next level. The most recent development has been the formation of The Night Parrots – a permanent backing band of longtime friends and collaborators, dedicated to keeping Warner’s decades-worth of compositions alive and well.

Last Friday Dan Warner & The Night Parrots announced their upcoming LP Maybe, then…with the release of the record’s lead single “Every Moon is Blue”. It’s a tranquil testament to Dan Warner’s one-of-a-kind artistry, graceful vocals, and mastery of dynamics and arrangement that’ll keep you in good company ’til Maybe, then… drops on October 14th.

Sweet Slacks: “Cruise Control”

There’s no sensation quite like discovering a new artist, and when a group has really fun song titles, that joyous curiosity can show up well before you even press “play”. One glance at track names like “Tijuana Blowout”, “Check Please”, and “Whiskey Diviner” clues you into the inherent lighthearted friendship that fuels Austin quartet Sweet Slacks. Like a perfect pair of trousers, over the the past four years Sweet Slacks has seamlessly slipped into their hem of harmony-heavy, guitar-driven indie rock and pop-punk. Sweet Slacks’ three studio EPs came out in a two-year sprint (between their January 2019 debut Fever Breaks and their latest, October 2020’s Strays). But recently they’ve hit a stride that matches closer to the pedestrian pace of our pandemic-era. Sweet Slacks has sewn three standalone singles over the last few months, each toting an inseam of matured, retro-beckoning indie. So with sultry showers dominating our skies, you can switch on “Cruise Control”, set your sights on the crying clouds, and let your foot tap to its fullest – no pants required.

Kevin Galloway: “The Luckiest Creole In Terrebonne Parish”

Before the indie pop chirality of Lucius caught on our airwaves, and heck, even before KUTX was its own music station, there was only one “Lucius” to be reckoned with on Austin radio – Uncle Lucius. From the early-mid-oughts all the way through the late twenty teens, frontman Kevin Galloway and his keen grasp of blues-R&B-country rock helped make Uncle Lucius a household name here in the Live Music Capital. But within the same year that Uncle Lucius called it quits, Galloway pulled off a well-calculated creative transition; his solo debut The Change dropped in fall 2018, raking up acclaim and giving Galloway the confidence boost to keep ’em comin’.

Right around the same season that he introduced us to The Change, Kevin Galloway recently returned with his sophomore full-length, Secondhand Starlight. Considering that these easy-going performances were captured with the help Doug Strahan and the Good Neighbors alongside Kelley Mickwee and Jamie Lin Wilson, to say that the stars aligned on this record is an astronomical understatement. Following the release of Secondhand Starlight on June 24th, Galloway’s been gearing up for a regional tour followed by three-stop stint in the UK. So give Secondhand Starlight some streams while Kevin Galloway rounds out his travel log, something that already includes the Zydeco-influenced crawfish-broiler, “The Luckiest Creole In Terrebonne Parish”.