Jack Anderson

Torin Franklin: “For the Birds”

Against the annual challenges of triple digit Texas temps, one AC reigns supreme above all the rest: air conditioning. Well…maybe also the alternating current that makes powering on fans and your Margaritaville possible. Our point is there’s another awesome contender for AC that’s also accessible all-year ’round. That of course is Austin country.

And we try not to take anyone in the Austin country circuit for granted, be they time-tested troubadours or recent up-and-comers like Torin Franklin. Torin’s a truer Texan than many of us city slickers could ever aspire to be, since he was born in Abilene before spending formative time in Corpus Christi and Houston, plus a more recent residence in Austin. Genre-wise Franklin first started off smitten by the folk purity of Bob Dylan and John Prine. But as a die-hard admirer of country heavyweights ranging from Ol’ Hank and Johnny Cash to Townes Van Zandt and Waylon Jennings, Franklin’s lately swapped out his acoustic six-string for a twangy electric and embraced a scorching southern sound on his debut album set to drop next year – For the Birds.

As of this publication, we only have one offering off For the Birds, but boy howdy is it a certified honky tonk two-stepper. Among Torin Franklin’s all-star in-studio accomplices for this record is Chase Risinger – which makes for a bit of serendipity since For the Birds‘ lead single and title track almost sounds like a companion piece to The Pendulum Hearts’ “Lost in Austin”. Yep, “For the Birds” is another lighthearted foray into the forbidden fruit of nightlife and neon that’s all-too-familiar for us here in the Live Music Capital of the World. To prime you for the weekend, we recommend getting sky high, cranking up “For the Birds” so till any flock in proximity chirps out, and pray this ain’t the day your favorite haunt finally pulls in your tab.

Caleb De Casper: “Sik Culture” (prod. Ribongia)

Austin Pride 2024 is tomorrow! As much as we appreciate living in a city progressive enough to even host such a thing, we’re doubly thankful for the cavalcade of LGBTQ+ creators representing Queer culture throughout our city limits. In that vein, we gotta give another shout out to our June 2022 Artist of the Month Caleb De Casper.

The classically trained pianist is always pushing his sonics forward, beginning with Grand Guignol-inspired cabaret and outlandish glam rock to De Casper’s admirable grasp on synthpop. But if there’s one thing that’s a constant throughout Caleb’s catalogue it’s this: candid, hyper-sexualized, and unapologetically Queer lyricism. Well, that and his unwavering audacity for theatrical wardrobe choices.

A couple weeks back Caleb De Casper overthrew the Center for Disease Control for what comes to mind when we see the letters “CDC” with “Sik Culture”. Co-written by Jonathan Horstmann (frontman of fellow KUTX Artist of the Month Urban Heat) and produced by flamboyant Florentine Ribongia, this banger’s all about the un-ending app-obsessed endemic of modern times, made graceful by orchestral elements (as reflected in its worldwide premiere at February’s Indie Orchestra) and the darker side of disco pop, like if the flashy nightclubs of Saturday Night Fever went through a full-blown goth glow-up.

So get off your phone, go show some support, and no matter what, keep on dancing.

Elegant Tiger: “Venus Nights”

Lions. Leopards. Lynx. Our ancestors rightfully had a lot to fear from those primitive predators, and as such us humans have adopted the notion that all big cats are ferocious felines. But in an era where these beautiful species are more endangered than danger, we’ve got to appreciate the intrinsic elegance of what are ostensibly overgrown kittens. So feel free to read this next short sentence in your best David Attenborough voice.

Enter…the Elegant Tiger. As their exceptional name suggests, this Austin trio (who formerly went by Shapescenes) incorporates the most refined stripes of alt-rock, new wave, shoegaze, and synthpop into their brand of aural camouflage. Though it’s not like Elegant Tiger just dragged ’em all in and let ’em out of the bag; there’s an undeniable sophistication to Elegant Tiger’s keep these combinations skulking through the jungle of genres without making them sound slapped together. I mean, rainforest-dense electronic elements rubbing up against anthemic vocal melodies and atmospheric guitar with three players cooperating harmoniously instead of trying to claw their way to the top of this intimate ambush? It’s…well…elegant to say the least.

And this weekend Elegant Tiger flips the switch on their debut album OFF/ON/ON/ON, doing so with a release show 10:30PM this Friday at Stubb’s after The Gaslight Anthem (with free admission if you’ve got a wristband for the latter). You can dig your claws into much of the LP already with its paw-ful of lead singles dating back to last New Year’s Eve. They’re all awesome, but this morning’s offering may just be our favorite. Perfect for a summer sunset drive from its first bass drop through its final ninety-second sans-percussion coast, “Venus Nights” is an ’80s-infused ode to the women of the world, that overall has us thinking Tony wasn’t so crazy about his aspirations for a catlike passenger in Scarface.

Deer Tick: “Sacrosanct”

When it comes to asking about major milestones like birthdays and anniversaries (whether it’s a piece of media, a pet, or a friend’s kid), sometimes the answer leaves you thinking, “it hasn’t been that long…has it?”. Well that’s exactly what went down when we recently realized that in 2024 Deer Tick is officially two decades old.

Yes, just like other early-mid-aught memories that feel like they just happened yesterday, we’re amazed that the passion project of these Providence rockers is nearly of legal drinking age. To clarify, we’re not saying anything like “ew these dudes are old and irrelevant now”. No. Quite the opposite. Instead, we’re pleasantly impressed with the endurance of these indie alt-Americana darlings and their ability to try out fresh formulas and latch onto new listeners while maintaining much of their signature, twang-adjacent sound – particularly if you keep major musical migrations of the past twenty years in perspective.

And there’s ample evidence beyond Deer Tick’s big list of upcoming headliner tour dates. Just look at Contractual Obligations, album number nine that rolled out a little under a month back. Collating the eight absentees from last June’s Emotional Contracts, Contractual Obligations proves that for Deer Tick, even the stuff that initially ended up on the cutting room floor is worth well more releasing to the masses, and not just as shoddy demos. If you haven’t yet heard Contractual Obligations, we won’t hold you to it (at least not in a binding way). But we do insist you spin the EP opener and lead single “Sacrosanct”. Because on top of the high probability it’ll entice you to enjoy the remainder of the record, the sheer quality of “Sacrosanct” makes us reflect on its titular descriptor in a different way; Deer Tick, seemingly determined-as-ever, is simply too vital for the state of modern music to upend anytime soon.

Music of 25: “ME”

Bon Iver. Tame Impala. Bright Eyes. Despite not taking the eponymous route, all three started off as a single singer-songwriter’s efforts and have since expanded far beyond their individual founders. Because even if you’re the chief writer, some of the best ideas simply come from a fresh set of ears, right? Which reminds us of another not-so-solo act smack dab in the the Lone Star State: Music of 25.

Music of 25 is a manifestation of handpicked talent on behalf of former San Antonian/current Austinite Travis Pope. It’s been a decade since Music of 25’s humble origins of ad-hoc ideas scrawled onto cocktail napkins and receipts. But by opening up the project to a revolving door of killer players from Central and West Texas plus Southern Louisiana five years down the line, Music of 25’s matured elegantly with the indie rock energy that can only come from heartfelt, in-person collaboration.

So while yes, clearly these things take time, sometimes the wait between initial inspiration and final tracking is too painful to sustain. This takes us to Music of 25’s three-song EP, Messy, out tomorrow. And though a turnaround from the fledgling sketches of Spring 2022 to the NOLA-based trio recording sessions last fall might not sound all that accelerated, we applaud the release’s title for embodying that bit of a rush to capture greatness. Yet we must confess that the quality of content on Messy is anything but.

We’ll pop in the music video for Messy‘s centerpiece “GS Feels” when it formally rolls out tomorrow, but for now, get Messy this Monday with the EP opener “ME”. The honey-sweet arrangement oozes through sophisticated section changes, incredible instrumental interplay, and a highly dynamic hook, not to mention an extended jam-out bridge that tastefully breaks up the tune’s first half from its last. What more can we say other than that “ME” might be just for you.

mr.kat: “SAW III”

Pop culture references in lyrics. True, they’re most abundant in hip-hop where wordplay is king. But no matter what genre, and honestly no matter the overall song topic, hearing an interjection of media consumption really grounds things in reality. It’s candid. It’s unpretentious. It’s relatable.

Following that cold open, we find ourselves in good company with mr.kat. What started off as the solo sadgirl endeavor of singer-guitarist Kat De Leon has since evolved into a quartet, and more recently a three-piece. Considering mr.kat’s debut single only dropped back in 2022, the indie garage pop outfit’s decidedly still in their kitten phase. But in 2024 mr.kat has been cooking! Err…making biscuits.

After their debut EP I’ll Make It, I Always Do from January and March’s devilish standalone “Sandbox Love”, this morning mr.kat dragged “SAW III” onto streaming. This mid-fi masterpiece is bookended by some seriously sinister tape crackling and sprawling with audio verité (organic mouth clicks intact), but production techniques aside, “SAW III” is actually one of the sweetest things mr.kat’s ever released (in this case, more like freed from a cell). Because there’s no better way to beat the blues of unrequited love quite like some good old fashioned torture porn, right?

Saint Mary’s Street: “Down in the Storm”

Would you check out a Manhattan theatre troupe called “Broadway”? What about a local DJ named “Dirty Sixth”? Or a NOLA band who goes by “Bourbon Street”? While all those hypothetical examples may actually exist, today we’re keeping it south of Travis County with something in the same vein, albeit much more tasteful and mature.

So let’s make our way to Saint Mary’s Street – a project powered by up-and-coming singer-guitarist-songwriter Jake Roberts. Based on Roberts’ moniker, (which refers to a midtown entertainment mecca just a stone’s throw away from Austin), fellow Central Texans have probably already put two and two together that Saint Mary’s Street is from San Antonio. But don’t let any prior experiences on the Strip trip you up when it comes to initial expectations from Saint Mary’s Street, since the on-streaming iteration of SMS is barely two months old.

That’s right; between late May’s impressive introductory single “Already Yours” and the debut album from Saint Mary’s Street (States and Countryside, out September 4th), yesterday Roberts rolled out his sophomore offering (complete with a demo version and B-side counterpart) “Down in the Storm”. Less a literal testament to testy weather and more an emotionally raw response to racial tensions and gun violence, “Down in the Storm” not only showcases Roberts’ intrinsic vocal-and-instrumental talent but his knack for take-it-or-leave it lyrics – which you’ll surely appreciate whether you’re driving out of Greenville, stuck in office, or chilling at home for its sincere pondering of the state of the nation.

The Palms: “Pretenders”

Few instant pleasures compare with the in-person sight of a palm tree. And Arecaceae have become symbolic for everything from tropic and subtropic vacation spots to nature’s simple gifts and resilience against time and the elements. So we think the name’s a perfect fit for Los Angeles duo The Palms – down to their transportive sound, refreshing coastal flavors, and ability to stay relevant.

In other words, we’ve got no qualms with The Palms and we’d much rather bask in their shade than ever toss it their way. Yep, almost a full decade removed from their breakout hit “Push Off”, The Palms have maintained the mellow that made us fall for them in the first place. And they’ve continued to fan us with the same comfy caliber of retro-inspired rock throughout their post-COVID discography, most recently with the release of Wonderland in April.

This weekend The Palms breeze through Austin! Catch ’em at 3Ten this Friday alongside openers future.exboyfriend and make sure you’re an authentic enough attendee by familiarizing yourself with one of Wonderland‘s heavyweights, “Pretenders”. Because the blend of modern psych-pop influences crashing against chillwave-adjacent choices is truly the heart of Palms.

Valley Flower: “Valley Flower”

“Black Sabbath” by Black Sabbath. “Bo Diddley” by Bo Diddley. “Motörhead” by Motörhead. Is there a way to introduce a new band’s brand better than by making your debut song title and project name one in the same?

Well, especially within the proving grounds of bluegrass – where instrumental choices are often near-identical and distinguishing act from act is usually a matter of vocal character – we think it’s a great strategy. And that brings us to Valley Flower. Given our place in the lush Hill Country, you might’ve already guessed that Valley Flower is based here in Austin. But that doesn’t subtract from some member’s out-of-Texas exposure and upbringings in states like Minnesota, North Carolina, and Virginia – worth mentioning since it’s clearly infused Valley Flower with some unique regional influences that help this quintet stand out in the fields of Central Texas bluegrass.

But it’s not like Valley Flower vilifies bluegrass as bland. Instead Valley Flower cross pollinates those iconic Appalachian sounds with the freshest petals of country, folk, and jam. And while gearing for a pair of shows in late August (The White Horse on the 21st and Sagebrush on the 24th), last week Valley Flower plucked out and presented its eponymous debut to the world, which quickly landed in the bouquet of Spotify’s New Grass playlist. And you can hear why.

In its earliest moments, “Valley Flower” blooms with a twangy ritardando before launching into an ode for life outside the city limits. And though it may seem like the energy wilts after a hair over two minutes…that’s just the halfway mark. What follows is a classic upbeat string sound, no doubt. But in context of the full composition, it’s plenty enough passion, variety, and instrumental expertise to convince us to keep Valley Flower in our viewfinder leading up to their upcoming inaugural EP.

ALLYSE.: “Cherry On Top”

Looking to cool off with something super tasty this summer? Austin locals are in luck with an opportunity to sate more than one sense in the same sitting!

And you can thank ALLYSE. for all that. A nomadic military brat and classically-trained singer, ALLYSE. turned ATX into her HQ seven years back, where she’s since lent her vocal and multi-instrumental talents to a pair of pop outfits plus former KUTX Artists of the Month Daniel Fears and promqueen. More recently though, ALLYSE. has spent the past year and a half cementing her solo status as a songwriter-producer in the high-demand pop-R&B sector, having blasted out Billboard-quality originals every few months beginning last January.

But as we mentioned before, ALLYSE.’s latest lists itself on the menu as a multi-sensory sensation. By that we mean at the single release party 4:30PM this Sunday at Jeni’s Ice Cream’s Triangle location, you can try ALLYSE.’s custom ice cream flavor “Sparkling Cherry Pie” while hearing her perform live. And since great taste isn’t limited to your tongue’s buds, and it’s near impossible to spoil an aural appetite, treat your ear’s sweet tooth to “Cherry On Top” – ALLYSE.’s sixth single that’d make Dua Lipa lick her lips and say, “delicious”. Because it’s got all the disco-funk retro-hip-pop sprinkles to make this summer an extra sugary one – each time it pops up on a new playlist.

What was the worst period in hip-hop?

Confucius and Fresh contemplate what Hip-Hop’s worst era was before moving onto a modern existential debate over the importance of record certifications, plus an Unpopular Opinion on Lil Keke’s impact on Houston rap and beyond.

Lizzie Karr: “Honey”

Yesterday we praised Queen Serene for their ability to pivot away from pigeonholing their own sound. So in that same sentiment of dodging predictability, today we’re calling on another Austinite who’s kept us guessing: Lizzie Karr.

With a range of inspirations that span from D’Angelo to Ani DiFranco, you can already tell from the get-go that Lizzie’s got a lot to offer in terms of widening sonic horizons. And now, a half decade out from Karr’s summer 2019 start and a mere year since last July’s In Real Life EP, this singer-songwriter’s finally earned some well deserved success that’s reflected in recent streaming numbers, especially last October’s “Bitter Lemon” and early March’s “Light On”.

But we prefaced all this by preparing you for a hard left turn, so here it is. Where late June’s “One Woman Army” corralled itself around Texas country soul, Lizzie Karr’s third single of the year “Honey” drips with turn-of-the-millennium nectar and buzzes around the same beehive of blues rock that gave The White Stripes so much grit. As a disdainful tale of a loud-mouthed attention-seeker, “Honey” sure does have some extra Machiavellian oomph against our current political backdrop. But it stays timeless, because just as folks like Honey will continue to spout the same lies over and over, there’ll always be people like the song’s namesake trying to stick out in society where you’d rather they just stick it somewhere out of sight.

Queen Serene: “Glowing”

They say you shouldn’t judge a book by its cover. But in an era where song options are limitless, song lengths are preferred shorter, and attention spans are especially acute, patience rarely proves a virtue for new listeners, which means strong first impressions are still worth fighting for.

On that note, this time around we’ll spare the detailed specifics of how Naked Tungs frontwoman Sarah Ronan ascended to sovereign status of yet another four-piece and instead cut straight to it; Queen Serene will make you question every expectation you have about Austin rock. Because as shown on the band’s eponymous debut eight-track from last Fall, Queen Serene serenades through all kinds of courts – from post-punk, grunge, and shoegaze to progressive time signature switch ups, noise, and even ambient piano-synth instrumental. Which, honestly if you were to make assumptions based on the group’s handle alone, really only that last isolated style might match your initial inclinations.

Queen Serene’s current quest? Perfecting the quartet’s second full-length, set to drop this October. Fortunately this weekend us peasants can score a quick listen to some of Queen Serene’s latest through their single release show 10:45PM on Sunday at Hotel Vegas alongside openers Variety at 10PM and closers Water Damage at 11:30 And particularly in a period where women in leadership roles and limited information rollout have both become hot topics in the headlines, we gotta appreciate this sophomore LP’s sole lead single, “Glowing”, for what it is and in all its majesty.

Eager screeches sporadically burst throughout this near-five-minute headbanger, whose distorted full-band riff is heavier than the Iron Throne ever could be. But in line with their penchant for subverting expectations, Queen Serene regally reshapes the mood of “Glowing” with a poppier verse chock full of pleasant vocal harmonies and strangled lead guitar. The lyric-less bridge-to-outro section is arguably the heftiest part of this heavyweight and sets things up nicely for an immediate re-listen.

But again, based on Queen Serene’s ability to keep us guessing, who knows where this post-hardcore spark will eventually lead us? One thing we’re sure of though; Queen Serene’s about to go medieval on our collective ass.

Sweet Slacks: “Scratch Off”

Depending on your office’s dress code, you might’ve gotten a sarcastic compliment on your khaki business bottoms. Or maybe someone once gave you genuine praise on a sanguine series of work messages. If not, we’ve got a good reason for the phrase “sweet slacks” to enter your mind and exit your mouth.

And that’s on behalf of Austin four-piece Sweet Slacks, who first got together in 2018. The quartet started off strong with a pair of EPs in 2019, plus a third one the following Fall. That said, Sweet Slacks’ studio output has been relatively quiet on this side of the pandemic, that is, up until recently. See, over the past couple years, Sweet Slacks has really been busting their hump with a series of new singles, all of which pinch the band’s collective inseam and press out the creases for some of their best sounding releases to date.

As we zip up to Sweet Slacks’ upcoming full-length, today we officially hit the three quarters mark of this debut LP’s dozen with “Scratch Off”. Where late June’s “Stitches (1&2)” explored the melodic momentum of pop-punk and mid-July’s “Shine” showed the group’s grasp on sparkly shoegaze, “Scratch Off” is a lucky draw for indie rock purists who prefer a middle ground between those two predecessors. After one hell of an anthemic intro riff that goes on to evenly split this four-and-a-half-minute moseyin’, “Scratch Off” breathes easy with distinct dynamic shifts, where the lowered volume of its verses provides some nice variety its more ecstatic, explosive hooks.

Isis Destiny: “R U Mine ?” (feat. Opera Mauv)

Poetry. Painting. Tailoring. And that’s all in one audacious Austinite’s regular wheelhouse, without even accounting for their live performance pursuits. Like…save some media forms for the rest of us, sheesh!

While there’s assuredly a ton of people out there who fit that bill, today we’re talking about Austin’s Isis Destiny, formerly Amira Isis Destiny. Since being introducted to guitar and lyrical expression in her mid-tweens, Destiny’s done a damn fine job of drawing others into her multi-disciplinary triumphs – be it dancing, DJing, or anything else to help put on an unforgettable show. On the original music side of things, Isis Destiny’s shown a deep understanding of everything from ’90s neo soul to golden age disco, and weaved those lessons into her own inspiring originals, as heard on last September’s Scorpio Rising EP. And apparently Isis’ inspiration is near endless, since just after returning from her first ever tour, she’s already hopping on something new: an alt-jazz-pop project that goes by The Lover Girls Collective.

Yet once again, that’s not all; Isis Destiny is also embarking on a once-a-month collaborative single release, starting with last weekend’s “R U Mine ?”. Before we hand that off though, we gotta give y’all the scoop on ID’s upcoming gigs: Monday, August 5th at Volstead Lounge as part of the Underground Voices all-girl open mic showcase, Saturday, August 10th at Cozy Canna’s 4th street grand opening, and Sunday, August 11th at Wanderlust Wine Co.’s Barton Springs location. Back to “R U Mine ?”…this shimmering specimen of electro-pop (created in tandem with fellow Central Texan Opera Mauv), flirty synths set the mood for highly refined verse vocals, four-to-the-floor drums, and restless bass. Altogether they swell up to and cool off from the UK garage-style vocal chops and snare shuffle of the tune’s minimalist titular hook in such a way that each chorus drop just seems to go harder and harder.

So go ahead and grab it below; it’s all yours.

Stalefish: “Becoming the Square”

If you’re into Japanese cuisine, you know the fresh fish is the best: the nigiri, the good stuff. And while we wouldn’t recommend going so far from fresh that you end up with surströmming, you don’t gotta be a skater to know that there’s a real appeal going for Stalefish.

Faithful to their name, Stalefish stakes the bays of ’90s/’00s rock that’s defined so much of skating culture. But the Austin six-piece does manage to keep those now-antiquated trucks nice and shiny for modern listeners by reeling in the best catches of modern pop techniques, not to mention cycling between three lead singers. But despite making their mark on the local scene with the release of their debut LP Stalefish Does America, the Texas sextet’s facing some trouble sticking the landing altogether – at least in person.

See, one third of the outfit’s splitting from Austin in the near future. But that didn’t stop Stalefish from seizing the moment and making the most out of their physical proximity while it lasts. To that effect, they’re releasing their sophomore album It’s All Down Here From Hill on August 9th. And following up late June’s lead “The Conversation’s Over”, last weekend Stalefish gave us “Becoming the Square”. It’s got that feel good turn-of-the-millennium love right from the get-go, but with the subtle addition of auxiliary percussion and keys plus a psych-out false ending before the real big finish, “Becoming the Square” reminds us why Stalefish stands out in the sea of otherwise blah alt rock.

What’s next for The Breaks?

Confucius and Fresh reminisce on their journey so far over the past eight years and what to expect next before dissecting what makes LL Cool J such a significant figure in hip-hop history, plus an Unpopular Opinion on Drake’s status as a so called “culture vulture”.

arya: “USE ME”

It’s a twofer this Friday! We’ve got a brand new release alongside a weekend show recommendation. And both arrive on behalf of arya.

arya’s not just another dime a dozen bedroom pop Billie Eilish wannabe. No, this Belgrade-born bae is almost overqualified for saturated world of pop-hip-hop-R&B; after a decade in Serbia playing classical piano she received a formal jazz degree here in Austin. Still, even in this decidedly contemporary endeavor, arya retains her status as a one woman show – having scored her first ACL Fest appearance and official ACL Late Night Show last Fall.

And speaking of last Fall, following up last October’s “LOVE ME”, today arya shares the second installment from her upcoming EP Insides – a six-song visual album and narrative set for release later this year. In the immediate forecast, arya’s got a free performance midnight tomorrow night at Empire Control Room as part of Hot Summer Nights, where she’ll certainly perform her latest pop-R&B banger, “USE ME”. We wouldn’t be surprised if we heard a sped up/nightcore version of this new one pop up on TikTok, but for us personally, we love the tune’s relaxed tempo. Because it gives plenty of space to breathe between richly textured drums, fat-as-hell synth bass, and arya’s incredible vocals that could end up making Ariana Grande sound more like GoT series finale Arya Stark in comparison.

Jon Funnell: “BREAKAWAY”

Nobody truly makes it “overnight”, right? Sure, with semi-recent innovations like home studios and TikTok the exposure pipeline is more greased than ever. But even then it’s not like the most skilled songsmith just pens something new, gets it tracked, and has an instant hit the very next day. No, you need years of experience, your share of stages to cut your teeth on, and with rare lo-fi exceptions, a high enough production value to put the hook in the masses.

So today we’re doing our part to help fuel the flames for Austin up-and-comer Jon Funnell. Jon’s Cedar Park upbringing was largely spent with his trusty six-string in tow, but only leaned into his songwriting predilection once he became a Red Raider. When the pandemic hit, it apparently gave Funnell little pause; Jon dropped his aptly-titled debut full-length Coming of Age that same and chased it with the following January’s “Late Night”, which has since acquired a quarter million streams on Spotify alone. Now, after six years of gigging around town, Jon Funnell’s teamed up once again with Victor Gaspar of Orb Recording Studios to produce his finest-polished piece of work to date.

For someone whose tastes were still developing when Demon Days first dropped, you can instantly hear the Gorillaz influence on Funnell’s latest single, “BREAKAWAY” that dropped earlier this week. Between water smooth synths, airtight drums, and Damon Albarn-esque vocals that recall an East Austin nighttime extravaganza that sandwich a super catchy chorus all in two-and-a-half minutes flat, yeah…”BREAKAWAY” may just end up being Jon Funnell’s breakout.

Jesse Malin: “Prisoners of Paradise” (feat. Bleachers)

If you fancy yourself as a rock and roll historian, there’s a high likelihood that you already know the name Jesse Malin. One of the earliest purveyors of the New York hardcore sound, Malin began mounting his place as a pop culture icon in the ’80s with Heart Attack before becoming a glam punk powerhouse in the ’90s as singer of D Generation. Malin went solo at the turn of the millennium and has since shared a stunning nine full-lengths.

But longterm success rarely comes without significant hurdles. Last May Malin suffered a stroke that left him paralyzed from the waist down. All things considered, Jesse’s doing okay; he’s gaining strength in his legs and on a daily regimen of physical therapy to get him back onstage doing what he loves the most. That’s of course a costly endeavor, so thankfully those who’ve felt Malin’s impact are giving back in a big way. And that’s through Silver Patron Saints: The Songs of Jesse Malin – out September 20th.

With all proceeds benefitting Jesse Malin’s Sweet Relief Fund, this loving tribute album pulled in heavy hitters like Bruce Springsteen, Lucinda Williams and Elvis Costello, Dinosaur Jr., Spoon, and so, so, so many more. Including some more modern acts who can dutifully introduce Malin’s immense work to the younger generations. By that we’re referring to industry darling Jack Antonoff’s indie pop project Bleachers, who brought a super fresh take to the Glitter in the Gutter cut “Prisoners of Paradise”.

So if “Prisoners of Paradise” captivates you and you want to help with Jesse Malin’s recovery, pre-order Silver Patron Saints on vinyl.