Jack Anderson

Caleb Veazey: “Teleprompter”

Let’s say you get selected as a live band member for a certified star…when you’re also scoring for high profile streaming networks and constantly trying not stealing the spotlight as a session musician. Yeah. Chances are, you’re pretty good.

So let’s look at Caleb Veazey – reared here in Austin but now based out of Northeast Los Angeles. Caleb spent a couple years backing KUTX favorite Jess Williamson on vocals, guitar, bass, and synth and continues to receive praise from Jess for his strong songwriting. And on top of providing original scores for the likes of Netflix, Hulu, and Disney, early this year Veazey had the privilege of playing alongside jazz icon Bennie Maupin. As a gun-for-hire, that’s a rap sheet that speaks drastically to Veazey’s versatility and talent.

About a month and a half back, Caleb Veazey unveiled his sophomore full-length, Movie Stars & Politicians, an LP that leaps across modern jazz, indie, pop rock, and dare we say proto-punk. Yeah, aside from individual song similarities to Flaming Lips and Elliott Smith, “Teleprompter” channels the raucous, unrestrained aura of mid-late-’70s CBGB – somewhere between T. Rex, early Devo, Richard Hell, and New York Dolls. It’s unhinged. It’s awesome. And even if you don’t know the words after a few listens, you’ll definitely know your start cue to wig out when the guitar solo kicks in.

Lord Buffalo: “Holus Bolus”

You might’ve caught last Thursday’s Austin Music Minute on Lord Buffalo. But even if you did, it’s a record release worth shouting out again.

You see, this Austin quartet’s been grazing across in the psych-Americana range for a dozen years now – spanning from their 2012 eponymous EP, their 2017 eponymous full-length, and their early pandemic installation Tohu Wa Bohu. And if you couldn’t tell from that last listed entry, Lord Buffalo’s got a real way with words.

Well, true to LB’s latest LP title (which translates to “all at once”), Holus Bolus gives you a bit of everything – post-punk, psychedelia, blues, and of course, Americana – across seven songs mixed and mastered by Danny Reisch and Max Lorenzen, respectively. The record dropped last Friday, just a few hours after Lord Buffalo wrapped up a release show at 13th Floor. But now that Lord Buffalo’s on the road and building up a new herd of listeners on a month-long national tour, we don’t want their hometown fandom to go the way of the…well…do we? So it’s best to set aside the full thirty-eight minutes to appreciate Holus Bolus front to back and uninterrupted, starting with the album opener, title track (and music video), “Holus Bolus”. Walking on water, banging drums against barren landscapes, shredding fiddle in the thick of the woods, curious coyotes, and enigmatic prisms – each cresting across dunes of heavy desert rock? Yeah, “Holus Bolus” has it all.

What’s going on with Cash Money?

Inspired by the recent “Cash Money Reunion” at Essence Music Fest, Confucius and Fresh break down what’s going on behind the scenes with the legendary record label, not to mention an Unpopular Opinion about rappers signing to other rappers.

Sir Woman: “Never Gonna Give Me Up”

Self love. Loss. Disco balls. You’ll feel the freeing energy of all three across two neat little packages later this year.

We’re talkin’ about Austin’s secret soul weapon, Sir Woman. This week Sir Woman broke the news about an upcoming twin release – two full-lengths set to drop this fall – If It All Works Out and If It Doesn’t. The gemini finds Sir Woman in top shape, and marks the first time Kelsey Wilson‘s facilitated some full-band co-writes, ultimately the closest experience to emulating their live shows we’ve received to date. Speaking of live shows, Sir Woman performs this yin-yang across two nights at The Parish on Saturday, July 20th and Sunday, July 21st. And if you really want to do your homework ahead of those shows, check out an extensive interview with Sir Woman’s Kelsey Wilson from yours truly.

But let’s get to this new stuff. While the Burt Bacharach-style, ’60s-swing arrangement of “Who You Gonna Love” perfectly captures the carefree essence of If It All Works Out, its counterpart “Never Gonna Give Me Up” tackles the realist-optimist attitude of If It Doesn’t. A luscious groove from its first snare fill all the way through its tambourine-conga outro, the track’s titular vocal refrain is so damn easy on the ears. And with in-the-pocket vocal harmonies, progressive-soul intersections of piano and organ, plus some tasty breakdowns, Sir Woman’s sense of soul reaches the summit of jazzy classiness, and selective rejection’s never sounded so sexy.

Margo Scout: “Otters”

Ready for something brand new? We got you! Take our paw, lean back, crack a clam open on your belly, and float downstream with some fresh ATX talent.

Introducing Margo Scout. This the inaugural indie rock project of Austin singer-songwriter Rachel Pierron, who just graduated from UT. So sure, Pierron may still be young. But with Margo Scout’s basal offering, Rachel’s shown wisdom well beyond her years – not just in terms of songwriting expertise, but indeed deep understanding and authentic empathy.

So it’s with great pride that we premiere Pierron’s very first studio single, “Otters”. Taking inspiration from toxic relationships impaired by codependency, chemical addiction, and emotional instability, “Otters” aren’t so cute and cuddly in this all-too-human context. Liquid guitar riffs, distant shimmering keys, and babbling percussion patterns paddle perfectly alongside the drowning imagery of Pierron’s pained-yet-powerful vocals. And especially after the fragile piano-vocal duet outro of “Otters”, our hopes are about as high as they get for Margo Scout’s future musical prospects.

Passiflora: “Backyard Birds”

Feeling the heat and humidity outside for just thirty seconds confirms it: we’re well past the season of birds and bees. Yet even as cicadas steal the atmospheric spotlight with that iconic, steamy soundscape of theirs, birdsongs never really go out of style – Cindy, ornithological vocalizations, or otherwise.

So let’s talk Passiflora. Having only released their debut EP eponymous last March, this Austin three-piece (who performs live as four with the addition of bass) is still only a nestling with a handful of tracks to their name. But their jazzy juxtapositions of neo-soul and alt-R&B (not to mention, all around just great hair) have made Passiflora into sensuous Central Texas vibe – one that we could easily see Erykah Badu getting behind.

And as we endure this summer’s early trials, Passiflora have teamed up with producer Rafi Rosenthal to incorporate something new into their aural aviary: synth. Passiflora’s resting up from last night’s release show at Community Garden, but their latest single, “Backyard Birds”, is only just now spreading its wings. And boy oh boy does it sure beat the raucous squawks of H-E-B Hancock’s ever-growing grackle plague. Over the course of this new tune’s four-and-a-half minutes, you might just dissociate enough to confuse the ground with the sky, thanks to subtle shifts from muffled MIDI programming to airtight physical drums, featherweight vocals (complete with some surprise processing), and guitar grooves that carry this musical migration all the way to the horizon.

Amy Annelle: “East Texas Son”

When you look past the vast sea of love lyrics out there, songs inspired by natural phenomena are just about the greatest equalizer across music’s history. And it makes sense; there’s something so primal and timeless about evoking the rumble of thunder, the whip of wind, or the roar of the ocean. Sure, you can point to jazz or blues as place for many a rainy day refrain, but if we’re talking about a truly bucolic bond to nature, even in modern digital times, folk really relishes in reflections on the weather – be it good or bad.

Yes there are plenty of youngsters who appreciate that longstanding tradition, but here in Austin we’re doubly lucky to have a two-and-a-half decade veteran who clearly “gets” what makes folk tick – Amy Annelle. Going back to 1999’s Which One’s You?, this singer-guitarist (who also once went by The Places) has made her largely-percussion-less, Muir-esque musings a delight to listen to, whether you’re in the midst of a midday picnic or a weekend-long hike through the nearest national park. On top of a provably popular take on Townes Van Zandt’s “Buckskin Stallion Blues”, Amy Annelle’s rightfully earned opportunities to work with folk legends Bill Callahan and Daniel Johnston, and corralled her own octet of handpicked Austin talent to help enhance her transportive originals – The Velvet Hand.

Fortunately in 2024 Amy finds herself on the other side of a long struggle with chronic illness. With her health back in good shape and the life lessons of those tough years under her belt, Amy’s eager to pay that array of recent experiences forward with The Toll, out August 2nd. With the help of The Devil Makes Three’s Cooper McBean on production, Neko Case engineer-producer Darryl Neudorf on mixing, and industry icon Greg Calbi handling the master, The Toll is a one dozen offering of fine-tuned folk that sounds as pristine on home stereo as it would strumming and humming in a dilapidated deep woods cabin. At the tail end of this month, Amy Annelle’s set to play The Toll in full for the album release show on Saturday, July 27th at Scottish Rite Theater alongside opener Creekbed Carter, benefitting Communities For Recovery. But now that that’s in the forecast, let’s get back to nature.

One of The Toll‘s two originals that engage with the gargantuan aura nature wields over us all, the LP’s third lead single “East Texas Son” arrives especially poignantly as Tropical Storm Beryl leaves millions of fellow Texans without power. From flowing rivers and raging hurricanes to hungry quicksand and breezy, burning thunder, the ominous lyrical precautions of “East Texas Son” are elegantly offset by an optimistic orchestral, acoustic arrangement, one that reminds us of the healing power of nature, even after a catastrophe. But it’s also the sound of a seasoned songsmith returning to form at the top of her game.

Is that thunder you hear? No. It’s our applause for Amy Annelle.

Karima Santi: “Arizona”

Short attention spans and TikTok sensations. That’s one of the biggest pairings in modern media today. So you can’t really blame younger creators for taking the quantity-over-quality approach and just cranking out singles, essentially playing a numbers game for potential traction. But let’s be honest. You’d rather hear something from a patient perfectionist than an enthusiastic opportunist, right?

That brings us to Karima Santi. Santi’s spent her life developing into a prolific songwriter, but found herself at the tail end of her twenties with only one single on streaming to prove it, a revelation that she wasn’t getting any younger, and a desire to take action instead of wondering, “what if”. Ever since, this Nigerian-Austinite’s honed in on a relationship with stalwart producer Chris “Frenchie” Smith to further flesh out Santi’s very best and package them together as a cohesive formal introduction.

And that takes the form of Karima Santi’s debut EP, Queen of Regret, out September 13th. A six-song reckoning with the problematic perfectionism that’s prevented so many from hearing Santi’s talent, Queen of Regret is a measured acceptance of human flaw, intrinsic to the type of vulnerable indie rock Santi’s always excelled at. So while physically visiting the state itself doesn’t sound all that appealing in the midst of another summer heatwave, the EP’s latest lead single “Arizona” transports you to Queen‘s immense emotional landscape and earns its place among other great women indie rock compositions with location-based song titles, like Mitski’s “Valentine, Texas” and Maggie Rogers’ “Alaska”.

Is Raunchiness in Rap really that new?

Inspired by discourse around the recent BET Awards, Confucius and Fresh discuss why some folks are reacting oddly to what’s perceived as uncouth behavior alongside an Unpopular Opinion Puerto Ricans’ place in the rise of Hip-Hop.

Foxglove: “Sunday Highs”

Craving some musical soul food for this weekend? Treating yourself to some Foxglove ought to be a good fit!

Since 2022 this Austin six-piece has scattered their musical remedies through fields of funk, soul, and R&B alongside forays into indie and hard rock. And as heard on last October’s Ephemeral Daydreams EP, Foxglove forgoes the generic formulas in favor of authentic, moving passion pieces.

They’ll be taking the stage as part of the Happen Twice Showcase 8PM tomorrow night at Güero’s Taco Bar, where their handful of recorded tunes will be joined by Foxglove’s latest newcomer: “Sunday Highs”. There are a lot of moving parts to this single; how it starts sure ain’t how it ends. But the complex song structure of “Sunday Highs” alone speaks volumes to Foxglove’s versatility, not to mention how well each member’s talents play off one another in this sprawling five-minute emotional journey.

Counterfeit Cowboy: “20 Beers”

Happy Fourth of July! As with every Independence Day, you know people are gonna be celebrating loudly, music blaring. If you’re set to watch fireworks from Lady Bird Lake, from experience we can expect a cacophony of sonics from the sea of individual bluetooth speakers. But by and large, across the Lone Star State, we’re foreseeing another July 4th full of country tunes. And while we recognize that country is often stereotyped as that blindly patriotic genre, that stance does overlook all the human nuance and contrasting aspects of American culture that songwriters have innovated with over the decades, no matter how ranch-ready their fashion may be.

So to commemorate our nation’s birthday, let’s crack open a couple cold ones with a handful of righteous DFW dudes – Counterfeit Cowboy. Despite their deceptive handle, these five fellas are actually pretty damn authentic in the Americana country corner of things, as heard in their still-limited discography that just kicked off this May. And we’ll CC y’all on Counterfeit Cowboy’s upcoming couple of live local shows – 8PM on Monday, July 29th at Hole in the Wall and again 8PM the following Monday, August 5th at Sagebrush.

But back to the big holiday. If egregious intake is in the cards for you, number one: enjoy responsibly. Number two: pair your favorite cooler pick with Counterfeit Cowboy’s second ever single that just dropped last week, “20 Beers”. Sure it’s a few shy of a full case but at just short of four minutes, “20 Beers” sates with a “Bad Baby”/Sarah Jaffe type chord progression and the soulful inclusion of wide vocal harmonies, bongos, and keys, all of which will make you want to sip united with your fellow statesmen rather than hog all the cans for yourself.

The Brothers Burn: “Stepped In Gum”

What happens when you possess all the technical prowess to make a modern record and a newfound abundance of time, but you’ve never tried your hand at music? Best get crackin’, right?

At least that’s the backstory behind Austin producer Scott Osborn, better known by his creative alias The Brothers Burn. Sure, Scott’s already in his sixties, but that hasn’t stopped this retiree from swinging for the fences – with a personal goal to crank out this generation’s Speaking In Tongues, Wild Planet, or even Demon Days. And those big three give you a great sense of The Brothers Burn’s style, pop and funk with a little bit of a electro and lot of party appropriateness, which we’ve heard plenty of since The Brothers Burn’s Christmas 2020 debut.

But at his age, Osborn’s also got the wisdom to know not every song needs profound lyrical inspiration; you truly can just say “life sucks sometimes” and hit record. Case in point: The Brothers Burn’s latest single that hit the proverbial pavement this morning. Channeling that electronic adjacent, mid-late-’90s/early millennium aggression in the ilk of Korn, Linkin Park, or Limp Bizkit, “Stepped In Gum” is somewhere between a spiritual successor to “Break Stuff” and a cut track from the Blade II soundtrack.

So Scott, where’s the vampire rave at?

deCasa: “INSTIGATOR”

Remember that expression “in the house” that was used to show enthusiasm about someone or something’s presence in close proximity? Yeah, you don’t really hear that one much anymore in the 2020s… But if you do want something that’s retro without sounding too dated, deCasa is sheer delight.

Since 2019, deCasa’s Ricky Santiago-Cruz has incorporated his Puerto Rican upbringing into this Austin solo project with effusive flavors of funk, soul, hip-hop, and reggae for a breezy, inner-city-meets-remote-island vibe. On top of that, this Caribbean Cowboy’s the head honcho of his very own label, the emerging Rock Bottom Cartel. And with the added experience of playing alongside KUTX favorites Mobley and The Bright Light Social Hour, Santiago-Cruz has mastered the art of moving the crowd as deCasa.

Speaking of which, ahead of an open invite free house party on Saturday, July 20th (DM Ricky on Instagram for all the deets), last week deCasa rolled out a soulful, synth-y piece of daytime disco. So if you wanna start shit on the dance floor without breaking too much of a sweat, “INSTIGATOR” is short, sweet, and begging for rhythmic feet with a relaxed uptempo energy that doesn’t sacrifice the accessibility of its slick, Jamiroquai-esque grooves.

Jenny Parrott: “When I’m In Need of a Loving God”

Omnichord milestones seem to come once every couple decades. Just look at the space between Eurythmics’ “Love Is a Stranger”, Gorillaz’ “Clint Eastwood”, and Meshell Ndegeocello’s Grammy-winning The Omnichord Real Book from last year. From those big three alone, we think it’s fair to say this kooky little electronic contraption’s not just a novelty. Instead its chock full of possibilities, even within genres you might not expect.

For further proof, we can just point to Jenny Parrott. You might’ve seen or heard this Connecticut-born Austinite play with swing folk trio Shotgun Party or with the indie folk duo Loves It!, both of which overlap with another of Parrott’s biggest prides: their solo career. And as Parrott eases into parenthood and approaches their forties, last weekend they released their fourth LP, Love Spell, which is less a full-length seduction and more a fourteen-track foray into the complex spectrum that is that most amorous emotion.

Yes, with a bit of soul, a bit of avant-folk, and plenty of Omnichord, Love Spell is inspiring piece of universal acceptance and eclectic adoration, all bolstered by the Omnichord’s idiosyncratic clicks and blips alongside Parrott’s piercing falsetto. We recommend sitting down with the record in full, starting off with the album opener and music video, “When I’m In Need of a Loving God”, because with its heartwarming harmonies, balance of acoustic, electric and synthetic, and featherweight vocal performance, it’s beautifully profound – no matter your religious upbringing – or lack thereof.

Ray Prim: “The Joker”

You can be a valedictorian classically trained vocalist. You can work with the best producers. You can run circles around your songwriting contemporaries. But one thing you can’t fake, no matter how much work you put into it, is a natural sense of soul.

That’s why Ray Prim is such an Austin treasure. Heck, he even prefers to call himself a “soulwriter”. Ray may have had gray hair since he first started dropping music, yet like a fine wine he’s only gotten better with age and the window on “prime Prim” seems to update with each new release. Now nearing a dozen albums under his belt, it’s safe to say this Black Fret recipient’s not slowing down his sonic life lessons anytime soon.

And we can easily confirm that with the recent announcement of Ray Prim’s upcoming eleventh LP Through it All, out September 7th corresponding with a release show at 3Ten alongside The Belle Sounds and Suzanna Choffel. As already hinted at by the direction of early June’s “Mr. Midlife”, there’s somewhat of a Black Pumas-esque backdrop to Through it All. But where “Mr. Midlife” shines in a sanguine, slower, orchestral spirit, Through it All‘s latest lead single “The Joker” is more like a manic and sinister piece of soul rock seduction, which Prim will be performing for the very first time on stage 8PM tomorrow night at The Saxon Pub. Prim’s similarities to his progressive soul predecessors like Al Green and Bill Withers is more prevalent than ever on this one, vocal performance, clavinet, bongos, strings and all, albeit a little less “Grandma’s Hands” and more like a twisted take on “Use Me”.

Rulitos: “Envuelto En Tus Uñas”

Rhythm, melody, and chords. Those are what make the language of music universal. And that’s why even if we can only sing along phonetically, we still appreciate the beauty of a tune, no matter what tongue it’s in – no subtitles necessary.

So let’s talk Rulitos. The Chilean-American multi-instrumentalist-songwriter behind this curly-haired handle is Daniel Sanchez, who first earned local familiarity through his electric guitar work with Austin quintet Turtle Pond and original scores for dance productions and films. And no doubt those multifaceted experiences (especially aligning movement and emotion with music) have helped Sanchez’ strength on the solo front as Rulitos. Seriously, Rulitos soars with an atmospheric acoustic folk aura that makes him sound like the bilingual, Spanish-speaking love child of Nick Drake and Elliott Smith for a wholly transportive effect, and when you hear his recent recordings, you know we’re not exaggerating.

Speaking of such soft sensations, Rulitos’ introductory collection of cuatro canciones, EP 1, is out tomorrow. Rulitos will be taking these new numbers to stage for a free EP release show tomorrow at Vaquero Taquero alongside Fuvk, Sprig, and Cloud Companion and again Saturday evening at Coral Snake with Pam Reyes and Other Vessels. Ready to wrap your fingers around EP 1? Luckily the record’s lead single “Envuelto En Tus Uñas”, is the polar opposite of nails scraping on a chalkboard; minimalist MIDI drum patterns massage unhurried acoustic guitar arpeggios underneath ethereal layers of breathy vocals and a pseudo-orchestral climax to create a serene en Español scene that’ll leave you thinking, “que linda es” to say the least.

Sam Franklin: “Blanket”

If you want quality culture here in Texas, the surname Franklin has been shown to be a strong indicator. There’s BBQ pitmaster Aaron Franklin, The Suffers’ frontwoman Kam Franklin, and…native Austinite Sam Franklin.

This producer/engineer/songwriter’s been formally doing his solo thing since the mid twenty-teens, and if you check out his streaming numbers on Spotify alone, they’re not too shabby! Although his style is mainly anchored at the bay of indie pop rock, Franklin (with his fervent falsetto vocals, multi-instrumental mastery, and proven understanding of pristine mixing) actually has some dang good range; Franklin keeps his formulas fresh with elemental forays into trap, R&B, soul, and breakbeat.

But today Franklin returns to his forte of radio-ready indie rock with Sam’s latest standalone “Blanket”, that just as he describes is, “kinda like Weezer meets Dayglow”. At least we can hear it. It’s got that eponymous blue debut guitar distortion setting the mood, infectious lead refrains and lyrical vulnerabilities that give Rivers Cuomo a run for his money, and that emo-adjacent emotional weight that makes folks like Sloan Struble and Sam Franklin such accessible streaming darlings.

SPRY: “All In Good Time”

It’s our Summer membership drive! And to help say thanks for all of your generous contributions, we’re giving back with some KUTX-clusive premieres for the rest of the week, starting off with a rockin’ rebrand.

If you’ve kept up with Austin outfit Mohawk Bends, you might’ve caught wind that they’ve recently called it quits…at least under the previous handle. Yep, following the departure of a longtime member after five years of firing up crowds, these indie-alt-rockers are putting the Mohawk Bends to bed…but fortunately picking up where they left off with a fresh face on bass (Kyle Russell) as SPRY.

True to their new namesake, SPRY’s already leapt into action with a promising roadmap. They will be pulling Mohawk Bends’ self-produced 2018 debut Stay a While from digital platforms soon, but plan on replacing it with an updated, re-recorded take as SPRY. And even though we might end up personally stylizing this rendition as Stay a While (SPRY’s Version) for the sake of clarity, fans of the first one definitely won’t mistake this as the original; although four of Stay a While‘s favorites are still intact (two of which have already hit streaming) a salvo of five new tracks fires off this next chapter as SPRY.

So catch SPRY 11PM this Friday at Coral Snake alongside Knetx at midnight and our April 2015 Artist of the Month Abram Shook at 10PM. You may accidentally deadname SPRY a couple of times between now and the show, but as with any new transition, adjustments come “All In Good Time”. And boy oh boy is this first installation a behemoth. Walking that tricky alt-rock tightrope of heavy and mellow and anchored by an exceptional mix, “All In Good Time” is like the arrival of a long awaited sonic sequel, and an awesome way for the boys of Mohawk Bends to resume their much-missed, enthusiastic work in the live scene. Go get ’em, SPRY.

Painterly: “Ok/Alright”

What’s that old stereotype about the acting hubs of L.A. and New York? Oh right. Every server you meet is actually an actor who’s just waiting tables ’til they score that sweet screen time. Which is fairly different from music hubs like Austin, where success is less about streaming numbers and more about overcoming artist multiplicity to make yourself stick out amongst the crowd. Yeah, the dissonance between the “Live Music Capital of the World” and status as one of the most expensive places to live has pretty much guaranteed that if you’re not in a corporate role…there’s a fifty/fifty chance you’re also a musician in your free time. And if you can find a profession that matches your passion, more power to you.

Take people like JC Barrett. If you’ve attended any of the events from the recently-wrapped 2024 spring season of KUTX’s Rock the Park live series, you’ve heard Barrett and his fellow Werd Company engineers making our featured artists sound mighty fine out at Mueller. But outside The Werd Company (which, full disclosure DOES serve a sponsorship role for Song of the Day), Barrett applies that technical prowess and tremendous passion to his Austin project Painterly. Serving as chief producer, songwriter and multi-instrumentalist, Barrett’s already steered this indie pop three-piece through an enthusiastic introduction, culminating in Painterly’s debut EP from last April, What’s the Year?

Last Friday Painterly unfurled their latest single and music video “Ok/Alright”. As the stylized title implies, it’s somewhat of a two-parter with a bit of a left turn in its final minute. But don’t get thrown off by the “blah” aspect of the words themselves in the title. Because “Ok/Alright” is actually an awfully optimistic piece of indie pop, one that’s an actually an endearing testament to the comforting power of love and connection in the face of day-by-day medicated malaise.

So if the Monday blues have got you down, cheer up. It’ll be Ok. Alright?

Interview with Dr. Rosalind Oliphant and Terry P. Mitchell

Confucius and Fresh sit down with Founder Dr. Rosalind Oliphant and Author Terry P. Mitchell to discuss the Austin African American Book Festival and The City We Built: Black Leaders of Austin, happening June 29th, plus Hip-Hop Facts, reactions to the latest headlines, and an Unpopular Opinion on Tyler the Creator’s role as a West Coast representative.