austin music

Solo Solo: “No Sleep”

Boy, there’ve been a lot of new Austin acts popping up in 2022. And while artist multiplicity has made gatekeeping and curation a bit more complicated than it was in the pre-DAW era, we still try our best to show off up-and-coming artists around town. Yet our airwaves simply cannot catch everything. That’s why Song of the Day is here to play a little heavy rotation safety, this time on behalf of Solo Solo. Solo Solo is fraternal collaboration front and center; their lifelong bond as brothers slipstreams seamlessly into this synth-injected indie rock project. Their studio singles are still limited as of yet, but considering the standalone caliber of “No Sleep” (not to mention a well-designed character-and-car-driven music video), AND the fact that their next single “Pure Graffiti (Instrumental Version)” is already available for pre-order…seems like Solo Solo’s set to take several more big steps in the near future.

Grandma Mousey: “Freaky Face”

Among the many personality types out there, those whose favorite holiday is Halloween are the ones I prefer to keep close. So if you’re like me and want to get the most brimstone for your buck on October 31st (despite celebrating Halloween year-round), welcome Grandma Mousey into your nightmare. This indie rock trio’s been trickin’ ‘n’ treatin’ around Austin since 2019, their grab bag now filled to the brim with the sweetest morsels of jazz, psychedelia, prog, and more.

Coming off this Spooky Season, Grandma Mousey is set to play 10PM Friday night at Kenny Dorham’s Backyard, along with openers p.s. feels, Lady Chops and the Goddamn Jam, and Bridey Murphy. And right in time for All Hallow’s Eve, Grandma Mousey’s given us an extra piece of shoegaze flair to help get into character for your costume. Just don’t come crying when you can’t take the “Freaky Face” off…

Torre Blake: “Back To You” (prod. Megz Kelli & Jim Eno)

Way back in March we helped to introduce Project Traction, a mentorship program from engineer extraordinaire Jim Eno designed to level the playing field for women and non-binary creatives in the world of production. Well, Project Traction’s got a new batch of tracks, the first of which is a real groove seducer.

About-town Austinites (and loyal fans of The Breaks worldwide) can vouch for the powerhouse passion bestowed in R&B stunner Torre Blake, while local hip-hop connoisseurs will testify to Megz Kelli (of Magna Carda)’s polymath magnificence. But can you imagine what it’d be like if they put in time together at Public Hi-Fi?

It’s not just the stuff of dreams; today Project Traction proudly unveils the latest Jim Eno co-production. Entitled “Back To You”, this one-of-a-kind collaboration captivates straight from the first drum fill. The ensuing synth-guitar sensuality, reverb’d up vocals, coquettish keys, and guest rap verse could easily make high-collaboration stalwarts like Quincy Jones quiver in joy.

Why doesn’t commercial music in the U.S. get any financial support outside of, say, fans?

Austin is home to a thriving music scene, but that scene hasn’t received much financial support outside of fans buying music and going to shows. That’s not uncommon in the U.S. While some art forms like the opera and the symphony get regular public and private investments, commercial music typically gets left to fend for itself. Why is that?

In the first episode of Season 4 of Pause/Play, Hosts Miles Bloxson and Elizabeth McQueen try to answer that question with the help of UT Professor Charles Carson. They also examine the idea that the best music comes from struggle. And they explore what the city of Austin owes the music scene, and how the city might better support the for-profit music sector.

Charles Carson, an associate professor of music at the University of Texas at Austin, is pictured on campus on Oct. 18, 2022, in Austin. Michael Minasi / KUT News

Foxxy Moron: “C’est La Vie”

Your support makes a lot of things possible for us here in Public Radio. One of the coolest of which is our ability to keep a finger on the evolving pulse of Austin music, be it from decades-old artists or brand spankin’ new ones. On that note, you might’ve made a few memories with Austin indie rock quartet Mohawk Bends over the years, but did you know that fronting singer-guitarist Chris Michael just launched a solo project?

Borrowing from the brash, quasi-nihilistic attitudes of Britpop legends James and Arctic Monkeys, Michael’s self-deprecating endeavor Foxxy Moron blurs the boundaries between classic acts like Oasis and contemporary innovators like California’s Young the Giant. Shades on and a full glass in hand, Foxxy Moron’s already nailed “the look”, with his debut single doing the rest of the heavy lifting; touting dynamic tom rhythms, a virtuoso vocal range, kickass guitar work, and hints of a perhaps not-so-legitimate UK accent, “C’est La Vie” is certain to skyrocket Foxxy Moron across the pond and well beyond.

Pale Dian: “Misanthrope”

Back in my day if you wanted to be one of the first to lay eyes on a new music video, you basically had to stay locked onto TRL. And if you wanted your music video to get played, you probably had to have an industry contact in the early internet era. So no disrespect to Carson Daly, but our ability to showcase Austin visuals freely is all thanks to you.

And since our Fall Membership Drive steers near to Halloween, skies are grey and pallor is back in seasonal fashion. Which brings up to Pale Dian. Spearheaded by visceral vocalist-synthesist Ruth Ellen Smith, Pale Dian purveys a Post-Punk-meets-Shoegaze style that’s been deemed “Nightmare Pop”. Since their 2016 debut Narrow Birth, these bleak dissociations have trickled across time and genre, in way where a Roy Orbison collaboration with Cocteau Twins wouldn’t be unheard of.

Like a double-exposed dream dipped in desire and doused in delight, Pale Dian dropped their sophomore follow-up Feral Birth yesterday. The band celebrated with a record release last night at Hotel Vegas two weeks before their upcoming appearance at the Galveston Art Festival. But you won’t need to make a beach trip to enjoy Pale Dian’s off-kilter optics; today they’ve unleashed a one-of-a-kind counterpart to Feral Birth. Animated by longtime Richard Linklater collaborator Wiley Wiggins (Dazed and Confused, Waking Life, etc.) “Misanthrope” will momentarily transport you out of the beginning-of-week mindset so you can turn on, tune in, and drop out to watch reality melt.

Redbud: “Kin”

If you’re an outdoorsy Austinite, “Redbud” ought to inspire idyllic images of the not-so-remote isle well within our city limits. But in fact there’s also a blossoming Austin quartet who goes by the name Redbud, helmed by the magnificently-melancholic singer-songwriter Katie Claghorn. Claghorn launched the project as means of self-expression in the early pandemic era, but the Unknown Mortal Orchestra-meets-Hiatus Kaiyote overtones were simply too tempting to keep cooped up to herself.

Redbud’s bloomed into an atmospheric four-piece, whose upcoming EP Long Night ensures a psychedelic and soulful panorama of meditative originals. You can catch Claghorn performing solo today at French House’s Fall Harvest Benefit before their full-band release party this Sunday at Hole in the Wall, with another one November 5th at the same spot (along with our September 2017 Artist of the Month Duncan Fellows). So what do you say? Want to get in good with the Redbud family? Well then fire up “Kin” in the player below and bless ’em with a follow on your preferred streaming platform.

Luna Luna: “Call Me Up” (ACL Fest Pop-Up)

We’re on Day Two of featuring our Austin City Limits pop-up performances, and given the recent shift in seasons (plus a gorgeous full moon casting joy across Zilker during Weekend One), we’d be remiss if we didn’t listen back to Luna Luna. Following up their third full-length Flower Moon (and a steadily growing brand of tantalizing visuals), the Austin-via-Dallas indie-pop project made their official ACL Fest premiere by ringing in the afternoon rays during Sunday One on the Barton Springs stage.

Shortly afterwards they managed to squeeze all five live players into KUTX’s backstage pop-up space, where they treated us to comfy rendition of one of Flower Moon‘s centerpieces, “Call Me Up“. Take a look back to the mesh sesh in the video below and celebrate democracy alongside Luna Luna via livestream on November 8th for the #iVoted virtual festival.

Jake Lloyd: “Sweat”

Weekend Two of ACL, baby! Those gates are wide open and ready to receive fest-goers of all kinds. For those who’ll be out at Zilker early tomorrow, you shouldn’t have a lot of trouble getting close up to the T-Mobile stage for a favorite of The Breaks and beyond, R&B vocalist-songwriter-producer Jake Lloyd. Along with our August 2022 Artist of the Month Deezie Brown Jake Lloyd makes up one half of Geto Gala, and be he paired up or strictly solo, you can always tell how much pure passion is stored in his pores.

The temps don’t look terrible for this weekend, but knowing Jake’s work and performance ethic, he’s sure to work up something 12:45PM this Saturday, whatever the weather. We’ve included a couple pop-ups from the past below to get a sense of what to expect. However, if you’re the type to lock into an artist and learn all the lyrics so you can impress your festy-bestie by singing along in concert, check out the full video and animated short for Jake’s latest banger. Wonder what ’80s-era Stevie Wonder would sound like if he’d ever teamed up with Sir Mix-a-Lot in his prime? Simply press start on “Sweat”, another outstanding entry into Jake Lloyd’s already-resplendent discography.

Como Las Movies: “La Tiendita” (feat. Finessa)

As is tradition here at KUTX, ACL tends to dominate our airwaves the first half of October. But overlapping across both fest coverage and Hispanic Heritage Month is our October 2022 Artist of the Month, Como Las Movies. With the exception of a two-year hiatus, the Spotify-curated, AMA-nominated Austin-based cumbia-indie-pop quartet has been spearheaded by asombroso songwriter Nelson Valente Aguilar for nearly a decade now.

You’ve heard the Studio 1A veterans‘ latest cut “Café” (co-produced and recorded by Beto Martinez) on our airwaves as a heavy rotator these past couple weeks. So ahead of CLM’s ACL appearance 12:45PM this Saturday on the Honda Stage, we’ve got a little something in store for ya courtesy of a collaboration with Finessa, “La Tiendita”.

Urban Heat: “City Lights” (Live in Studio 1A)

It’s been really cool to see folks we’ve featured as our Artists of the Month advance up into official ACL acts. Yesterday we gave a shoutout to our May 2022 AotM Good Looks and today we move onto Urban Heat. This post-punk three-piece first stopped into Studio 1A back in February to swelter listeners with their latest set of sinister, cinematic, synth-driven originals. And by July, when their EP Wellness began making its rounds, we’d named Urban Heat as our Artist of the Month.

Temps may have cooled off a bit since mid-Summer, but Urban Heat has continued to crank things up as they perfect their live performances. If you want to test your fest thermostat in the early afternoon, Urban Heat’ll be playing ACL 3PM this Sunday on the BMI Stage. If you’d prefer to avoid the “City Limits” for Weekend Two and instead enjoy the “City Lights” from the comfort of your home, heat up your Hump Day with the live rendition listed below.

Good Looks: “Walker Lake”

As promised, we’re perusing a whole new batch of Austin ACL acts for you to enjoy during Weekend Two, continuing today with indie four-piece Good Looks. We named Good Looks as our May 2022 Artist of the Month right around the release of their landmark debut LP Bummer Year. But despite the seven-song’s title, and an accident that could’ve gone much worse, Good Looks has spent 2022 proving they’re an airtight, need-to-see live act. As such, best pressed to catch Good Looks at Austin City Limits 1PM this Saturday at the Tito’s Handmade Vodka Stage. Expect to hear Bummer Year in its entirety, and relish in the Barton Springs-adjacent atmosphere with infectious indie inlets like “Walker Lake”.

J Soulja: “BUTTA” (prod. Cush With A C)

The dust may still be settling from Weekend One of ACL, but if the past three days of festin’ just weren’t enough for you, we’ve got a whole new batch of recommendations. Big fans of The Breaks ought to recognize the name J Soulja as one of the specialty show’s longest heavy rotation mainstays, and this Saturday you can catch the official Swisher Sweet endorser 12pm on the Tito’s Handmade Vodka Stage.

With a creative appetite that’s as voracious as his verses, J Soulja’s creamy blend of hip-hop and R&B makes for a great appetizer to start your Saturday at ACL. We’re a little bummed his performance is scheduled at the same time as fellow Breaks favorite Jake Lloyd, but given the close proximity between the Tito’s and T-Mobile Stages, you can probably squeeze in both locals with just a quick jaunt. Regardless, we’ll keep our fingers crossed that J Soulja cuts into his latest Cush With A C-produced blunt-ready bop, “BUTTA”.

Adrian Quesada’s Boleros Psicodélicos: “Ídolo” (feat. Angélica Garcia) (Live in Studio 1A)

Grupo Fantasma. Brownout. Black Pumas. Glorietta. Ocote Soul Sounds. No matter what outfit you know him from the best, it’s adequately clear that Adrian Quesada has a near-unquenchable artistic appetite. And on the verge of his upcoming instrumental LP Jaguar Sound – the visionary’s second full-length for 2022 – Quesada and his Boleros Psicodélicos crew are eager to put their passions on display 2:15PM this Saturday on the Honda stage at Austin City Limits Music Festival and 8PM this Sunday for an official ACL taping.

Quesada’s promised a “nasty-ass backing band” and “lush orchestration” plus his international roster of vocalists for these two performances, none of which have been heard in-person since their live debut in Studio 1A this past June. And with just a week and a half left, Boleros Psicodélicos is an ideal countercultural companion piece to Hispanic Heritage Month. So toss on the record and find your personal favorite among the features, like the Angélica Garcia-graced “Ídolo”.

THEBROSFRESH: “Consequence Remains”

Well folks, it’s finally that time of year; Austin City Limits Music Festival is upon us, so for the next couple weeks we’ll be highlighting acts you ought not miss. And today we start off strong with a six-string sibling escapade. Since their 2018 EP Hereditary, Baton Rouge brothers Thurman and Torrence Thomas have balanced their instrumental, vocal, and production talents as THEBROSFRESH. Lately the Austin duo’s been describing their Shea butter-smooth sound as “GuitaR&B” (like a truncated two-man version of D’Angelo and the Vanguard), but a quick listen to their evolving discography reveals earlier elements of upbeat ’80s-esque synth-pop and unhurried, ’90s-style melody-driven hip-hop.

Even in light of an oft-coordinated wardrobe, THEBROSFRESH manage to breathe freely across a variety of subgenres both in-person and in-studio. And hot off a recent appearance out at El Cosmico in Marfa, they’ll be taking the Tito’s Handmade Vodka stage 1:30PM this Friday at ACL Fest. So prepare yourself for a forty-five minute set of handsome harmonies, pristine pipes, perfectly polished arrangements, and heart-rattling beats with old and new bangers like the nuanced, chillingly-catchy “Consequence Remains”.

John Wesley Coleman III: “Talk About the Good Times”

Songwriters can often canter by on their high horse, claiming to be a contemporary Virgil or Homer with stanzas in hand. So it’s a breath of fresh air when you come across truly talented self-deprecators like Austin-via-Irving singer-guitarist John Wesley Coleman III. Coleman calls himself a “trash poet”, eschewing hubris in favor of fun, accessible material, be it through standup comedy, movie scripts, books or music. Since his rowdy 2009 debut Steal My Mind, Coleman’s incorporated the most raucous bits of garage, indie rock, lo-fi punk, and even a bit of ’60s skiffle into his earworm formulas. And while he’s fine tuned some of his techniques to appear at least adjacent to what’s considered “professional”, his idiosyncratic style’s remained intact.

Coleman’s saga continues on October 14th with Kiss Apocalypse, produced by White Denim’s Steve Terebecki and mixed by Cat Power engineer Stuart Sikes. Kiss Apocalypse features familiar Austin favorites like Moving Panorama’s Leslie Sisson, Trail of Dead’s Jason Reece, and more, for a full-length fireball of beautifully-flawed local artistry. The record release show is October 16th at Saddle Up and John Wesley Coleman III plays tonight at Chess Club along with openers Narrow Haunts and Blair Brown & The Western Hearts starting at 9PM. Between those two easy opportunities to witness Coleman’s uncouth commentary, there’s no excuse not to make some new memories that’ll let you “Talk About the Good Times” later on.

Nolina: “Tourist”

Decades after acts like Les Paul & Mary Ford, Captain & Tenille, and Ike & Tina had their heyday, seeing the phrase “husband-and-wife duo” can personally make me wince. Like we get it; you love each other, you’ve got great chemistry together, and you have a lot of emotions you need to dispense, but often, quality output gets masked by the consummation of that creative process. So it’s refreshing as hell when you hear a married pair who removes their relationship from the sonic center stage. Folks like vocalist Stef Atkinson and multi-instrumentalist Nick Atkinson with their Austin-based project Nolina.

Since 2018 Nolina’s been blending synth-pop, new wave, indie rock, and even Italo Disco into their guitar-and-vocal-driven electronic sound. After dropping their Danny Reisch-produced debut EP The Otherside last November and a Mariclaire Glaeser-co-produced contribution to Jim Eno’s Project Traction, Nolina has just shared their latest standalone single, “Tourist”. And while “Tourist” does lean on themes of romance, its genre-inclusive arrangement and nuanced performances easily overshadow any matrimonial gimmicks.

Lena Luca: “Rosebuds”

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

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

Is Rap Dead?

Confucius and Fresh discuss why some artists are so selfish and delusional. Then they try and nail down what makes an album a “classic.”

You’ll learn Hip-Hop Facts about how Prodigy and Busta Rhymes almost ended up with the beat for Jay-Z’s “U Don’t Know,” what happened when Michael Jackson met Princess Diana, how the Lox almost got signed by Suge Knight, and more!

Fresh states the Unpopular Opinion that hip-hop is dead.

Confucius talks about the death of PnB Rock, Lindsay Graham’s proposed 15-week abortion ban, Cardi B’s plea deal, and more on Confucius Reads the News.