austin music

Inesse: “On My Way”

Outside of theater, choir’s typically stereotyped as the vehicle for churning out stars of the next generation. Which makes sense, since it gives you all the essentials to become a singing sensation: allowing harmony to become a natural instinct, blending your voice convincingly alongside others (even in chorus), and most importantly for future potential, maximizing those big solo moments.

So we don’t exactly need to digress when introducing y’all to Austin-based vocalist Inesse Chichou, better known by her mononym Inesse (and that’s “E-ness” for uninitiated). Inesse began climbing the creative ladder through choir, and following a pivotal performance at Carnegie Hall under choral legend John Rutter, broke that focus to recenter on her solo prospects. In that realm, Inesse’s full-bodied, effervescent, and inherently feminine style falls somewhere between Jazmine Sullivan and Alicia Keys, all the while differentiating her voice from the rest by leaning on the exotic, traditional, and often dark Arabic elements of her Moroccan upbringing.

And after her October 2023 debut, Inesse has been putting the work in for 2024; following up four luscious standalone singles, Inesse dropped her freshman collection It Was Good…While It Lasted just a couple weeks back. Revolving through six cylinders of seductive originals (each produced by a different collaborator), It Was Good…tears down the gate between turn-of-the-millennium megastars and modern era heavyweights for a thoroughly unrestricted R&B-soul experience. Yeah, even though Latin R&B is a Goliath of the industry right now, the acoustic guitar-coated EP ender “On My Way” is a little less Latin American and a lot more south of the Mediterranean. “On My Way” instills a certain sense of sultry urgency, all anchored by GRAHAM.‘s gripping beat that drips with swagger, co-writer Elijah Ford‘s cohesive contributions, and of course, Inesse’s immaculate vocal intervals.

Female Gallery: “Simon Says”

Scrolling through social media, watching ten-second clips of people’s little circus acts in the comfort of their own natural habitats…it can sometimes feel like a human zoo. So while we’ll never fully encourage those vapid grasps at short-term stardom, anything that detracts from the oversaturated landscape of bland masculinity in the entertainment sector’s worth the price of admission, right?

On that note, today we’re taking a gander at Female Gallery. The Austin-based four-piece sources their rock-meets-dance (dare we say indie-post-punk?) sound from the likes of Paramore and No Doubt all the way to Pink Floyd. But in terms of Female Gallery’s overall brand, the pairing of Queer identity with Latinx roots almost speaks louder than their literal influences.

And after starting off strong with two back-to-back introductory singles in Spring 2022, Female Gallery’s feel-good energy’s set to score the quartet a new force of fangirls with their upcoming debut EP Best Friends Together Forever, dropping just before Halloween ahead of a namesake tour next summer. As if to put a collective foot down proudly declaring their diversity against cis-heteronormativity, Female Gallery pulled the curtain on their latest, “Simon Says”, last Friday. An uptempo, reverb-washed original that effortlessly shifts gears throughout a sophisticated sequence, this four-and-a-half minute affair’s gonna make you forget all about following the leader and instead will get you fueled up to become BFTFs with Female Gallery six weeks from now.

Allisen & The Wy’s Guys: “Tell Me (Like A Man)”

If you’ve seen Big Wy’s Brass Band, then you’re already hip to the spark that is multi-instrumentalist Wyatt Corder. Furthermore, you’re probably familiar with the fact that Wy’s got high standards for the folks he plays with; if he hand picks you as a performer, it’s a real privilege…especially when it comes to pulling off Amy Winehouse covers.

This is where singer Allisen Hinojosa comes in. Corder and Hinojosa first met as DJ colleagues at KVRX, shared interests in the vintage blues-soul section, got together in 2021 to jam a few times, and soon found success with their Amy Winehouse tribute Back to Black. Back to Black’s still alive and well, but the pair have also begun channeling their chemistry into an original project, aptly titled Allisen & The Wy’s Guys.

The two best bets for which venues you’ll catch Allisen & The Wy’s Guys? C-Boy’s Heart & Soul (where they play 6:30-8:30PM every Thursday this month) and the Continental Club, where they’re staging a two-night takeover. Tonight it’s Back to Black at 11:30PM after openers The Point at 10PM and tomorrow it’s Indoor Creature opening up at 10PM followed by Allisen & The Wy’s Guys at 11:30PM for a single release show.

And the single in question is nothing short of awesome. Absolutely embodying the airtight modern flavors of Mark Ronson and Amy Winehouse, “Tell Me (Like A Man)” is yet another benchmark of Austin’s overall progression from the “boring blues” of decades past to the slick, seductive soulscape it is today.

Rett Smith: “Stop Signs”

For well-established acts, keeping faithful to the formulas that first made ’em famous is often the key to longevity. We’re talking AC/DC, legacy acts that dare not alienate longtime fans by trying to fix what ain’t broke. But the big difference between AC/DC back then versus now is how frequently they put out new material. Yeah, for up-and-comers cranking out at least one studio album a year, staying in just one lane ain’t exactly a great strategy.

Like check out Rett Smith, who flexes the nexus between Austin and Nashville. His post-covid discography alone (of one release per year starting in 2020) speaks to Rett’s relentless work ethic. So with that impressive volume of work already under his belt in such a short time, weighing in on the steady shift towards “shoegaze-icana” isn’t necessarily a threat to Rett’s brand at all. No, we welcome the move for its variety, innovation, and evasion of letting Rett’s style get stale.

Sandwiched right in between a free Waterloo Records in-store performance 5PM today and a headliner show 9PM this Saturday at The Mohawk alongside Travesura, tomorrow we receive Rett Smith’s fifth, A Weighted Remorse, in its entirety. And to help give the LP its official green light, “Stop Signs” (and yet another abstract Super 8 music video that evokes the psychedelic side of “Old Austin”) ought to halt any RS haters dead in their tracks. Revving through tremendous dynamic range in just over two minutes, “Stop Signs” is the hard rock equivalent of alternating a souped up muscle car between peeling out and slamming on the brakes while commuting from a love making session to a late night dive bar gig. So just make sure you’re at least attempting to obey traffic laws when blasting Rett’s latest in your car stereo.

Mozworth: “Postcard”

Since the days of Thoreau, we’ve often romanticized the idea of a creativity-spurring wilderness retreat. That’s especially true of Justin Vernon’s illness-evoked cabin sanctuary that ended up being the backbone of Bon Iver’s 2007 debut. But the product in mind doesn’t always have to be so strictly transcendentalist (or even acoustic for that matter) for an “escape to nature” to yield quality results.

Cut to: Logan, Iowa, the stomping grounds of avid skater and ’90s rock connoisseur Michael “Boz” Bosworth. It sure seemed like Logan was the end all, be all location for Bosworth as he settled into a day job and family life…until he split from the routine and trekked out to an isolated cabin in McLouth, Kansas for some extended songwriting sessions. Just as Boz kindled the cabin’s sole source of heat – a wood stove – so did he stoke the flames of his first proper songs with primitive recordings.

A couple summers back, Boz moved down here to Austin and instantly fell in with the thriving music scene. After revisiting those early demos and recruiting a few like-minded musician friends to help flesh ’em out, Bosworth’s finally to share the cabin’s bounty under a new mononym: Mozworth. Mozworth is an amalgamation of Boz’s core interests: the independence so closely associated with skate culture and angsty energy shared by so many pre-millennium rockers…albeit textured by the mature lyrical reflections that could only come from civilization-removed meditations.

And the first polished piece from those cabin correspondences, “Postcard”, arrived in our collective mailbox today. Packaging everything we love about ’90s indie-alt-rock into a four-minute envelope, “Postcard” proudly puts Mozworth’s stamp on these nostalgic sounds, less of a “wish you were here” and more of a “can’t wait to show you more” ahead of his upcoming debut album.

Damascan Daydreams: “People” (prod. Oddmanrush)

Making memorable trip-hop’s not just a matter of slowing down breakbeats, and swapping out rap verses with some reggae-dub bass and exotic-sounding samples. No it’s a tricky tightrope that walks the thin line between sneaky and seductive, mellow and bangin’, and of course, hip-hop and psychedelia. And in our opinion, the tunes with women singers have shown a lot stronger of staying power.

In an ideal example of the “two heads are better than one” approach, dark dream pop singer-songwriter Damascan Daydreams recently teamed up with post-industrial multi-instrumentalist-producer Oddmanrush to create a sprawling, seventeen-minute exploration of that iconic ’90s style. Appropriately titled Archangel, these four originals capture that fall-from-grace vulnerability with a post-pearly gates perspective and ethereal-meets-sinister atmosphere.

In other words, it’s a awesome experience of flawed humanity best experienced front-to-back, or better yet, on-stage and in-person. So catch the pair performing later this fall on November 10th at Hotel Vegas and again on November 15th at DadaLab. And if you’re feeling a little gloomy going back into the workweek, let Archangel‘s sophomore song “People” put you in comparable, Portishead-esque spirits. A real achievement of minimalism, this downtempo trip-trop treat touts simple synth chord progressions, bare bones MIDI drum programming, and vocals that swerve between reverb-enriched and almost completely dry.

BOO85: “Retrograde”

You’ve heard the excuse before. Ya know, somebody spaces on a date, forgets to turn in an assignment, or otherwise just kind of has a minor misstep. What do they say after shrugging? “Sorry, man. Mercury must’ve been in retrograde.”

Sure, scapegoating the cosmos for your own shortcomings isn’t the most mature thing…but neither is naming your band BOO85. After kicking things off last Spring with their streaming debut “Just Friends”, this Austin-based all-girl alt-pop-rock project’s still jigglin’, gigglin’, and making great tunes through 2024. And today BOO85 rounds out the summer by completing the pair that began with this February’s “Heart“.

Coincidentally falling on another astrological Friday after last week’s “Like a Sagittarian Archer”, “Retrograde” sets the horoscope for your weekend with a headliner performance 9PM this Sunday at Sahara Lounge after openers Alexi 8Bit and Jay Wanderer. And this latest original racks up another bouncy bop to BOO85’s already-busty brand with carefree sonics like viscous vocals, a breakbeat-adjacent drum pattern, top-gear guitar and bass work, infectious effects, and sanity-demanding lyrics.

Motenko: “Free Yourself”

Here at Song of the Day, we’ve observed a resurgence of classic-style soul in recent years, and reported plenty on it too. As a matter of fact, when Sir Woman’s Kelsey Wilson came by KUTX a couple months back, we had to ask the genre authority whether or not she’s picked up on a retro-soul renaissance. The verdict? A resounding “yes”.

So it totally checks out that one of Kelsey’s Wild Child chums, keyboardist-singer Micah Motenko, is savant of Motown mimicry himself. Well, we should say Micah and his namesake Austin-based quartet Motenko, who’ve been masterfully sourcing inspiration from soul’s golden era for nearly half a decade now. Between their eponymous debut early on in the pandemic and last November’s What You Want, Motenko’s scored some pretty respectable streaming numbers, a trend we expect to continue with yet another fall release – that of their third EP To Grow, out next month.

This extended play foray finds Motenko further embracing the magic of modern production: emphasizing digitally layered multi-instrumentalism on one track before stripping down to an intimate keyboard-vocal duet the next. But the one that takes the biggest advantage of Micah’s vintage variety is the embodiment of a beautiful exchange with his late mother, the EP’s lead single “Free Yourself”. Butter-smooth singing, sultry guitar chords, slick bass work, and air tight drumming make the verses enough to get you feeling emotional, and the addition of falsetto vocal harmonies, soaring orchestral swells, and well-placed pizzicato plucks propel “Free Yourself” to a wholly empowering experience without overstaying its welcome past three fleeting minutes.

And before hitting the road for a Wild Child tour a couple months from now, Motenko makes an appearance 10PM this Saturday at Far Out Lounge in between openers Égaux sells at 9PM and closers Uncle Roy & Spice at 11PM and again Thursday, September 19th at Antone’s alongside Toubab Krewe.

The Belle Sounds: “Oh Humanity”

For a lot of people, when you think of synth pop, you think “inorganic”. You think “artifice”. Which, to be fair, “synthesizer”, “synthetic”…we get it. But despite the constructed character of those modern mood makers, there’s plenty of potential for passion and authenticity in the synth pop sector.

So let’s get into the The Belle Sounds. This morning the five-piece indie-folk-rock family affair unfurled their fourth EP Oh Humanity – a six-song stretch of anthemic hooks, in-the-pocket vocal harmonies, and retro-inspired textures that tastefully recycle the best elements of ’80s pop. And if you want to rock out to the Blondie-esque bops in person, catch The Belle Sounds at a double release show 8PM this Saturday at 3Ten ACL Live alongside Ray Prim and Suzanna Choffel.

Still not sold on the heart of this synth pop art? Let the EP opener and title track “Oh Humanity” convince you of otherwise. Because despite its lyrically bleak outlook, its a brief, upbeat piece of pop perfection (anchored by riling arpeggios, killer chords, and pleasant pads) that’ll make for an banging addition to your retro pop playlist.

Parker Woodland: “Ladder At Your Window”

You ever notice a name pop up more and more in a music scene, almost nearing non-stop status, and wonder to yourself, “sure just one person can’t squeeze in the time and energy for all this”…only to find out it’s not a sole person after all, nor even the namesake of one of its members? It’s more common a phenomenon then you might expect. And given the big year they’ve had so far, we suspect it’s happened thoroughly for new listeners of a certain Austin three-piece.

So let’s have a lil powwow with Parker Woodland. Named after the local intersection of Parker Lane and Woodland Avenue, this indie-pop-meets-punk-rock trio’s been on top of things since sharing their debut EP The World’s on Fire (And We Still Fall in Love) in early 2021. Already a certified perseverant standout of the Live Music Capital, this September’s set to start off an extra special era for Parker Woodland, as they power through a packed show schedule surrounding their debut full-length, There’s No Such Thing as Time.

Yeah, there’s no time like this week to seek out Parker Woodland in person; they’ll be palling around a VIP vinyl listening party tomorrow, enjoying an in-store performance and record signing at Waterloo Records on Friday at 5, and tearing into a two-part album release show at the Mohawk, 8PM that same sold out evening and again 2PM the next afternoon for a matinee multi-member birthday celebration. Oh, and did we mention the City of Austin’s proclaiming September 12th as Parker Woodland Day next weekend?

The hype isn’t just real. It’s fully warranted and well-earned. But if you haven’t heard why yet…well it’s time to climb up and face the music with the LP’s second lead single (and lyric music video) “Ladder At Your Window”. Major Go-Go’s energy on this one and major kudos to Parker Woodland for propelling themselves this far and presumably well past what’s set to the be the first of many more milestones.

David Rosenblad: “Like a Sagittarian Archer”

We don’t want to alarm anybody…but today is the last day to submit considerations for the 2025 Grammy Awards. Congrats to everyone who made the deadline, good luck to those still watching the clock and waiting on the latest batch of masters, and condolences to anyone who plain spaced on the date.

Those in that first category find themselves in good company with David Rosenblad. Which makes sense, since David’s what you’d call “hip to the industry”; on top of his status as a longtime Austin mainstay multi-instrumentalist-singer-songwriter-producer, Rosenblad’s also an accomplished TV-film composer and sound designer, not to mention co-founder of Lotus Rose Healing Arts Center, and owner of both DRM: Sir Reel Sound and local studio Thirteenth Moon. And it’s through Thirteenth Moon (which doubles as a label) that David Rosenblad’s set to break a near-half-decade release hiatus with his next album The Sound and the Meaning.

But back to the Grammys…This morning David Rosenblad enhanced his chances with The Sound and the Meaning‘s first two lead singles: “Enough is Enough” and “Like a Sagittarian Archer”. On the latter, Rosenblad adds some healthy horns to the horoscope thanks to trumpeter Wyatt Corder of Big Wy’s Brass Band and Sir Woman for a truly lively effect. Yeah “Like a Sagittarian Archer” hits a bullseye with ’70s-esque energy reminiscent of Stealer’s Wheel and Harry Nilsson.

Grammy worthy? Without getting specific with categories, we’d like to think so.

Ne’er-do-well: “I Want It All”

As the birthplace of industry heavyweights like Spoon, indie rock is perhaps the most outspoken apex of the Austin soundscape. But depending on who you ask, indie is undoubtedly one of the safest, most inoffensive sonics rock has to offer, at least in the grand scheme of that genre’s mega-spectrum. But if you want something with a little tougher substance underneath the surface, rock ‘n’ roll that bleeds and induces bruises in the audience, there are some solid options right here in the city limits.

Like Ne’er-do-well. Although it started as the one-man endeavor of singer-guitarist Bryan Rolli, Ne’er-do-well’s leveled up into a fiery four-piece. These all-black fashioned rapscallions thrash around the avenues of arena rock and pop-punk for some truly kickass kinetics. Ne’er-do-well’s live shows are like a spate for your heart rate, something that’s been translated impressively well on their September 2022 debut EP Fun Days.

If you want to face the stage antics for yourself, slide by Ne’er-do-well’s single release show tomorrow night at Valhalla alongside Chancla Fight Club and Subpar Snatch. But if you just need a pop-punk pick-me-up to push you through the mid-week hump, fire up Ne’er-do-well’s third single of 2024, one that preserves the hand-drawn skeleton aesthetic of their visual artwork thus far and keeps the energy at its apogee through a three-minute sprint. Yeah, from its introductory drum fill through its rapid fire verses, melodic choruses, virtuoso solo riffs (both on lead guitar and lead vocals), breakneck midpoint bridge, and explosive finish, “I Want It All” almost sounds like Journey if they’d started at the turn-of-the-millennium instead of the early ’70s, albeit with a lot more of that Green Day-esque adrenaline.

So while Ne’er-do-well wants it all, damn if this new tune doesn’t leave us wanting more.

Madison Baker: “WANNABE”

It’s New Music Friday. It’s time to pump some fresh life into your playlists so let’s get straight to it; there’s new stuff from an awesome Austinite and a Howdy Gals-presented release show this weekend to boot. Both of which you might’ve already caught wind of through yesterday’s Austin Music Minute.

Yep, it’s Madison Baker, the sultry songwriter who first cut their teeth with classic country and R&B covers in rural East Texas. For the past half-decade-plus, however, they’ve settled nice and naturally into Austin’s abundant indie-alt-pop atmosphere and earned a respectable following on streaming starting with 2019’s “Champagne Shine”. Outside of the solo front, it’s the beginning of a bold new era for this intimate mood-maker as they launch their “cult country” trio Next of Kin next month with the three-piece’s debut single.

And while Next of Kin ticks the box for Baker’s country background, their newest standalone is a real return to form in terms of their R&B upbringing. Instantly entering the ranks of wonderful “Wannabe”s right up there with Spice Girls, GloRilla, and Megan Thee Stallion, Madison Baker just shared “WANNABE” ahead of a single release show tomorrow night at Antone’s alongside our January 2023 Artist of the Month Skateland and The Past Lives. You’re gonna wanna be there, no doubt. Can’t make it? Well, you can still admire the intricate arrangement on “WANNABE”, one that inspires awe with all-too-relatable relationship turmoil, drum fills that hit you right in the feels, sophisticated chord changes, haunting vocal harmonies, and a ton of other nuances that make “WANNABE” a ripe candidate for repeat listens, well after you’ve already memorized the biting lyrics.

So the next time someone realtively-ill-suited behind the mic brags that they’re a sensational singer, you might wanna politely point to this one and say, “you’re just a Madison Baker wannabe”.

BOOHER: “All Out Of Ideas”

You find an act in town. You fall in love with their music. You start making regular appearances at their shows. And then, sometimes seemingly out of the blue…they quit giggin’. Most of us have been there; it’s more or less a rite of passage for any dedicated scenester. But when that act does make that triumphant comeback? Boy, oh boy, how sweet it is.

So we have fantastic news for lovers of longtime Austin indie rock institution BOOHER: they’re back, babyyy! That’s right, after putting things on pause for both pandemic and personal purposes, the eponymous passion project of Michael Booher finally breaks a near-half-decade hiatus. And with some welcome new additions to boot; alongside guitarist Ben Lance, bassist Evan Crowley, drummer Keith Lough, and multi-instrumentalists Michael St. Clair and Brent Baldwin, this latest era of BOOHER invites A. Sinclair’s titular frontman Aaron Sinclair into the fold as a chief collaborator.

The BOOHER boys have been cookin’, and not just in the Texas heat, but with a handful of bold new tunes that feature both Michael and Aaron in the producer’s chair. They’ll be unfurling some of that fresh stuff 10:45PM this Saturday at Chess Club as part of a triple single release show , following Paul Stinson at 9PM, Intercom Heights at 9:45PM, and Dossey at 11:45PM. And the single in question, “All Out Of Ideas” (with its grungy gauge on dynamic range and a hypnotic lead guitar riff) proves that Michael B. et al. are clearly anything but. And between two more originals set to drop in October and December, respectively, plus an album aiming for streaming next Summer, it’s never been a better time to get behind BOOHER.

To any haters? We say “boo hoo”.

Big Bill: “Hawk” / “Trick Everybody” (Live at Mohawk)

Over the past three weeks you’ve heard plenty about our August 2024 Artist of the Month Big Bill. But be honest…have you seen them live yet? Because despite the quality of their studio recordings, the real magic happens once Big Bill sets foot onstage to a packed house.

Fortunately for those who haven’t yet witnessed the madness firsthand, KUTX Presents Big Bill next Saturday at the Mohawk alongside fellow recent Artists of the Month Grandmaster and Superfónicos plus Cloud Companion. With a bill as big and eclectic as that, you’re gonna get your money’s worth if you stick around all night. But if those other acts don’t scratch a particular itch, and you’re still on the fence about paying the price of admission just to catch Big Bill at the Mohawk, we’ll let their latest offering do the talking for us.

And that’s on behalf of one hell of an accurate sneak peak: a live music video taken from a performance at the very same venue. Sure, Big Bill’s latest, Strawberry Seed, marks a new direction for the band, but there’s no denying the crowd-pleasing cacophonies of their earlier material. So the two-tune medley of “Hawk” / “Trick Everybody” (from 2022’s Public Freakout Compilation and 2017’s Stand By Your Bill, respectively) goes just as hard as the crusty, claustrophobic house shows of Big Bill’s salad days. With frequent cuts to the crowd, the audience engagement is palpable. And with stylistic choices like non-stop jump cuts (seriously, we don’t envy anyone transcribing this to a shot list), hyper grainy resolution, and extreme close-ups, these visuals feel like they came straight out of a late ’90s skate video. And see all those folks up front meshing in with the mosh? That could be you next Saturday…

Gracky: “Up All Night”

Folk music fosters some of the most wholesome creators. And when you look past the transplant apathy that’s rampant within our city limits, you’re usually reminded of that greater Lone Star State trait: kindness to strangers. So naturally, Texas folk musicians are some of the sweetest people you’ll ever meet.

Perfect example? Grace Roberson, who these days goes by the handle Gracky. The Corpus Christi-born Austinite’s got an authentic affection for entertaining audiences of all kinds; long before she was a regular performer at retirement homes, Roberson was an avid national anthem executant, college cover song curator, and talent show competitor, having even passed through an un-televised American Idol audition. With that many things in one woman’s wheelhouse (on top of a recent songwriting and recording routine), you might wonder, “when does she sleep?!” Well, today we may have gotten an answer.

This weekend Gracky releases her fifth studio single since her streaming debut late last Fall, marking her second original offering of the year. “Up All Night” is an affectionate four-minute piece of acoustic ecstasy, whether it’s paired with those 3AM caffeine beans or your new boo’s band jams. The emotional piano-guitar-vocal arrangement is just begging to be used during a dramatic end-of-Act-II montage, not to mention an endearing reminder that listening to Gracky’s velvety voice, even in small doses, is just as fulfilling as a forty-year relationship.

J Halp: “You Let Me Down”

Song quality is rarely measured in runtime; as long as it “hits”, there’s no need to wear out your welcome. Like for every “In-A-Gadda-Da-Vida” there’s a “Song 2” or a “Disciples”, right? Because when you’ve done everything you need to do to make a tune total, and as long as a quick dose of dopamine translates to the listener experience, there’s a real charm to wrapping your originals up into a neat little package. And that’s doubly true when the number of songs you’ve worked on enters the triple digits.

So it’s not a tangent to bring up drummer-gutiarist-singer-songwriter extraordinaire Josh Halpern, better known these days on the solo front as J Halp. Prior to embarking on this one-man endeavor right as the pandemic hit, Halpern had already entered the annals of Austin music legends thanks to his work with Still Corners, Bayonne, Shearwater, and of course as one half of 2010s local legends Marmalakes. When someone’s memorized as many songs as Halpern has, you might think they’ll end up sacrificing quality for quantity. But instead, this multi-disciplinary madman’s shown he can easily translate his godly endurance for jamming into recording room brevity, and sure as hell hasn’t let us down yet.

Well, hot off a performance with Voxtrot at Primavera Fest out in Barcelona, J Halp’s jumping in with his first solo single of 2024, “You Let Me Down”. Clocking in at just under one hundred seconds, “You Let Me Down” is an impressive psychedelic lesson in the less-is-more mindset, one that manages to squeeze in all-organic drum breaks that spill out killer fills, infectiously unhinged guitar, a hypnotic vocal refrain, and instrumental inserts that make the absolute most of their brief appearances. And since a shorter duration does demand more repeat listens, all we’ve left to say is, “well played, Halpern. Well played…”

Free Hamze: “Two $idez” (feat. YoursTruuly)

Fifty years down the line from its humble block party origins, we can officially classify hip-hop as a legacy genre. And although there are plenty of genre stalwarts who themselves are “over the hill” and still cranking out quality material, there’s no denying rap is a young man’s game. In terms of the latter, it’s especially impactful when the radical energy shared by so much youth gets even more invigorated over a fire beat.

With that, Free Hamze enters the frame. This Lebanese-born Austin-based rapper’s always relished in the exotic Eastern-meets-Western intersection made popular at the turn of the millennium by The Neptunes. And that ethnic-meets-urban international sound is alive and well on Free Hamze’s next record: FREETAPE 4: Renegade Rap – produced entirely by fellow Austinite YoursTruuly, who at just nineteen years old also makes a couple vocal contributions on FT4:RR under their handle Locuust.

Safe to say, it’s a combination that demands to be seen live. And we’re in luck with two opportunities leading up to the weekend; you can catch Hamze and YoursTruuly tomorrow night at DAWA HQ and again 7-9PM this Friday for the EP pop-up release show at the Airport Blvd location of Abe’s Smoke Shop. So to give you a taste of Renegade Rap, turn up the volume on “Two $idez”, which perfectly encapsulates The Alchemist-meets-Benny the Butcher energy of The Plugs I Met that permeates through all of FT4‘s six chambers, and is a tough contender for the hardest thing you’ll hear all week.

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.