austin music

Why Texans can’t vote on abortion or marijuana anytime soon

The fourth largest earthquake on record in Texas struck Wednesday out west, renewing concerns about fracking and seismic activity. Erin Douglas of the Texas Tribune with more on yesterday’s temblor and what researchers and regulators are saying about it.

The latest on a runoff for mayor in Texas’ biggest city.
In San Antonio, plans to close several public schools getting pushback from communities targeted for closure.

The economics of electric vehicles: Is the race to EVs losing power?

And voters in Ohio approve ballot measures on abortion and marijuana this week. Why such measures aren’t likely to land on Texas ballots anytime soon.

Walkabouts: “Sinner”

When you’re surrounded by skyscrapers 24/7, it doesn’t take long to forget; here in Texas…we’ve got plenty of dry, cinematic wilderness. But for those of us who simply can’t squeeze in a road trip in every weekend? Our next best bet for a cinematic desert escape is some good ol’ fashioned Central Texas psychedelia.

That said, don’t let the genre label limit what to expect from Walkabouts, because true to their name, this Austin quartet doesn’t stick to just one corner. No, they chart an incredible amount of middle ground between dream pop and desert rock for live sets and albums blessed by psychedelic stream of consciousness. On top of that, this calculated hippie hermitage has already set a purposeful pace instead of ambling around like so many up-and-comer groups; in just over a year Walkabouts have evolved from playing frontman Sam Shaffer’s solo record Valley of the Living Water into the theatric four-man affair who just released their debut LP Bloomin’ Ocotillo last Tuesday.

Like lush lips on an arid shrub, wrapped up in the very fabric of the universe itself but never taking itself too seriously, Bloomin’ Ocotillo is a half-hour sonic journey, no doubt. But if you’re a psychonaut like me who loves the nuances of a live performance, drop out with Walkabouts 8:15PM tonight at Far Out Lounge in between CLTTR at 7 and Audio Sex Drive at 9:30. And especially if Election Day’s got you out of sorts, get in touch with your inner grunge with Western-ready wind gusts and the heavy-as-hell fuzz bluster that is “Sinner”.

Great Howl: “Violent Wind”

After an especially excruciating summer, the sound of strong winds this past week proved a symphony to our ears. Whether or not that cold front ushers in a full winter season, we’ve been blessed with a chilly aesthetic that’ll keep our spirits warm for months. Which brings us to a fresh Austin octet.

Founded and fronted by multi-instrumentalist/songwriter Matt Mossman, Great Howl captures the best of indie, folk, chamber pop, and rock into a specific kind of soft intensity, almost like if Arcade Fire started crashing with Neutral Milk Hotel and decided not to check out. Less of a caterwaul and more of a mighty bay, we’ve already heard the first instance of Great Howl’s clever dynamics on their first studio single “Meet Your Maker”, released back in September. That tune not only introduced us to the eight-piece’s unique style, but also set the stage for their upcoming debut EP of the same name.

Produced by SMiiLE frontman Jake Miles, Meet Your Maker hits streaming December 15th, with a release show the previous evening at Swan Dive with Sammy G and Dog Island. But if you want to enjoy the weather as it stands right now, your best bet is to catch Great Howl 8PM this Sunday at Coral Snake, alongside Sad Pajamas, Gummy Fang, and Divine Calypso. Either way, Meet Your Maker‘s gale of a sophomore single (which just blew in this morning) “Violent Wind” will blow out any pre-existing earworms with four minutes of carefully subdued orchestral vigor that escalates from a slight breeze of trebly riffs into tempestuous hooks and a real storm of an instrumental outro before settling down with a lulling piano chord. Don’t batten down the hatches; just turn up your headphones and set “Violent Wind” to “repeat”.

LEVITATION: Friday & Saturday

AMM Oct. 27 2023: A few AMM picks for LEVITATION Fri/Sat.

In addition to hosting performances at venues along Red River, downtown, and South Austin, LEVITATION has a new central wind down hub, Levitation Lounge at 809 E. 6th, where festival goers can take a break and maybe catch a few Levitation artists doing DJ sets. You’re gonna need it during this busy weekend. And you know how the AMM does this thing – here are a handful of picks for tonight, Friday Oct. 27, and Saturday, Oct. 28. So much going on that it hurts:

Tonight – Recent Studio 1A guest Alan Palomo at Empire Garage on E. 7th (“La Madrinleña” from World of Hassle is featured on today’s AMM); Allah-Las at Far Out Lounge and Stage in South Austin; the incomparable Flying Lotus takes over the room at The Concourse, 8509 Burleson Rd.; Bully is back in Austin for a performance at The Parish, 501 Brushy St.; celebrating more than 10 years of Sorrow and Extinction, Pallbearer reigns with doom at The 13th Floor on Red River; and celebrating their new self-titled LP, Queen Serene starts out the evening for Ulrika Spacek at Antone’s, with Holy Wave.
Saturday’s hot spots – Amyl & The Sniffers at Stubb’s; Mercury Rev’s Clear Light Ensemble presenting a live score for the 1932 horror classic Vampyr at Elysium; Kris Esfandiari‘s heartstopping King Woman performs at Empire Garage, and with new music from Wait Til I Get Over, Durand Jones headlines at Mohawk.

More LEVITATION selections from the AMM coming up tomorrow. Stay tuned.

So Very Curious, Indeed

AMM Oct. 26 2023: A Curious Mix of People release show at The Parlor.

Surely you heard about it on an extra cool episode of My KUTX.

Your AMM host recommends A Curious Mix of People: The Underground Scene of ‘90s Austin by aforementioned My KUTX hosts (and former KVRX DJs, by the way), filmmaker Richard Whymark and writer Greg Beets. Both authors experienced the madness and mayhem firsthand, so this sharply crafted compilation of interviews with fellow ’90s scenesters, show and venue photos, and badass flyers provides a fascinating and entertaining oral history of Austin’s burgeoning underground scene.

Following a recent panel at Austin Central Library for the book launch, the celebration continues with several familiar faces reuniting for a big show Saturday Oct. 28 at The Parlor, 4301 Guadalupe. A few original bands, and some new iterations make one sick line-up: Glorium, the original Austin version of Gomez, The Living Pins, Jesus Christ Superfly, Yard Work, The John-Pauls, and Hammel On Trial. It all kicks off with a special invocation presented by Mike Henry at 3 p.m.

-Special thanks to Richard Whymark for use of the photos below (Sincola, Inhalants, Wannabes) and on KUTX’s homepage (Cathy Shive of Furry Things) for the Austin Music Minute.

Friday at Radio East

AMM Oct. 25 2023: Latasha Lee and Blakchyl at Radio East.

The new Eastside location of Radio Coffee and Beer has been open only a few days, and already it’s buzzing with so many upcoming shows. The AMM got word about a big one coming up this week, a spectacular benefit on Friday in support of the DAWA Fund, created to support BIPOC community frontliners financially and through culturally-relevant health-centered programming.

Black Live Music Fund and Radio will host two powerhouse performances for this event: Savor the classic R&B/soul vibes by the sensational Latasha Lee, and the absolute poetic force of a rap/R&B vocalist recently featured on a KUTX pop up set at ACL Fest, Blakchyl. And rounding out the night, all the high-energy spins courtesy of DJ Bad Apple.

It’s happening this Friday night, Oct. 27, at the new Radio East, 3504 Montopolis, in support of DAWA. Doors at 7 p.m.

Knock. You. Out.

Haunt Me and Dark Shadows

AMM Oct. 23 2023 – Goth Gala at Sagebrush

It wasn’t a terribly exciting soap opera in the beginning.

Dark Shadows was promoted as a “gothic” program, which mostly meant darkened corners, blowing curtains, and thunder and lightning around the Collinwood mansion, where the Collins family and all the drama resided. It attempted to cater to a specific gender normative audience – the “housewife” – with the usual 1960s daytime television fare. Then producer Dan Curtis, always envisioning more, added a ghost to haunt one of the old empty homes near the Collinwood mansion. Plenty of viewers may have said, “What the hell am I watching?!” But the supernatural themes drove the ratings up (“We had to go all the way with the spook-o…” Curtis once said). However, that was nothing compared to what was about to happen, an unprecedented move that would change TV forever. His name: Barnabas Collins, cousin Barnabas from England, portrayed by classically-trained actor Jonathan Frid. The Collins family are stunned by the striking resemblance between their mysterious new relative and the portrait of Barnabas’ ancestor on the wall at Collinwood. Little did they know a vampire was now in their midst.

The skyrocketing popularity was unbelievable, and overwhelming for Frid, who honestly had no idea that he’d become a sex symbol. And from this madness came the film based on the series, House of Dark Shadows (1970), maintaining the basic storyline but with more gore and fangs. Don your best cape and head to Sagebrush for a special screening of this classic at 7 p.m. tonight, Monday Oct. 23, at the Gothic Gala. It’s followed by a performance by AMM goth/darkwave fave Haunt Me at 9 p.m.

Full disclosure: Your AMM host is also host of this specially curated evening. Fangs out, homie. The Collins’ are expecting us.

*Barnabas Collins (Jonathan Frid) & Maggie Evans (Kathryn Leigh Scott) in* House of Dark Shadows (1970).

Bienvenido al Laboratorio

AMM Oct. 21 2023: Carrie Rodriguez’ LABORATORIO

A recent Instagram post by Alex Marrero encapsulated a perfect but all-too-familiar sentiment.

Marrero, known for his work in Brownout, Grupo Fantasma, Los Lobos and numerous others, is part of the multi-talented house band of Carrie Rodriguez‘ LABORATORIO, an ongoing musical project exploring and celebrating Latinx culture and its many contributions to the ongoing American experiment. Rodriguez, Marrero, Roscoe Beck, David Jimenez and Peter Stopchinski are the alchemic artists making every LABORATORIO collaboration a unique and magical experience, and tomorrow’s beautifully crafted set at Stateside will mark the series’ twenty-second installment. In a nutshell, it keeps getting more stunning and amazing with every uplifting performance.

All this circles back to Marrero’s wry observation: Enthusiastic inquiries made about LABORATORIO always seem to come his way after the fact. It’s time to change that.

Catch the next LABORATORIO tomorrow night at Stateside at the Paramount, featuring newly-signed Partisan Records artist Angélica Garcia (the compelling “El Que” is on today’s AMM – and you may recall Garcia’s vocals on Adrian Quesada’s “Ídolo”); and lauded writer/photographer Cat Cardenas, whose work has appeared in Rolling Stone, the New York Times, Washington Post and Texas Monthly. Doors open at 6 p.m. The show begins at 7 p.m.

Full disclosure: Your AMM host will serve as emcee for this spectacular event. Avoid ruminating after the fact. See you Sunday night.

Get It

AMM Oct. 20 2023 – Tomar and The FCs at C-Boy’s.

AMM fave “Enough is Enough” from Rise Above by Tomar and The FCs is today’s featured track, but make sure to add the sensational “New Way” to your library, a single that’s turning 1 year old this weekend. Another burner with killer horns and Tomar Williams killing it on vocals, as always.

Music is a family affair for Williams. He started his career with his family’s bands in the late ‘80s along the Chitlin Circuit, and though the young Williams had never performed before, he carried a natural ability that shined immediately. He picked up various instruments with an instinct and versatility that was mind-blowing, in addition to having a voice beyond his years. In the early 2000’s, Williams and brother Salih became more involved in the production and songwriting end of music, but it was clear that those vocals belonged front and center. Tomar and the FCs was launched in 2015, a far different time from Williams’ first Austin gig in ’86-’87 with his sibs at a place called the Cave Club at 7th and Red River. But that award-winning voice was better than ever and ready to go.

It’s a show that must be experienced live. Tomar and the FCs takes over C-Boy’s Heart and Soul at 10 p.m. tonight and tomorrow night, sharing the bill with Go Machine this evening, and with The Soul Supporters tomorrow.

Caramelo Haze: “Una Mañana” (ACL Fest Pop-Up)

We may already be knee deep in Levitation Fest, but that’s not stopping us from sharing just a couple more pieces of backstage magic from ACL Fest. And that cavalcade of unique performances continues today with Caramelo Haze.

This Grupo Fantasma/Brownout offshoot made a bold entrance last June with their debut full-length Noestasaqui, whose lead single “Window Seat” quickly became a KUTX airwave heavyweight. Based on the band’s membership, a baseline of Latin neo-soul is to be expected. But what separates Caramelo Haze from its predecessors is a stronger emphasis on synth sonics, rather than more traditional conjunto arrangements.

Noestasaqui not only scored the quartet an official SXSW spot (plus an appearance during our Scholz Garden live broadcast), but also a big break on that ambitious BMI Stage this past Sunday at ACL Fest. So after enjoying some elbow room atop BMI, the live five-piece managed to cram into KUTX’s pop-up space for a bit more personal of a performance; Caramelo Haze gave us a glimpse of a prettier tomorrow with their rendition of a José José 1969 classic, “Una Mañana”, which at the time, had barely been on streaming for a full day. Beauty may be in the ear of the beholder, but if you don’t like this one, frankly, you’re wrong.

Blakchyl: “Ja Morant” (ACL Fest Pop-Up)

If you were out at ACL Fest this past weekend you might’ve caught Confucius and Fresh from The Breaks at the Bonus Tracks Stage. What were the fellas up to other than getting their buzz on at Zilker? Interviewing a real sultry-voiced stunner, that’s what.

Austin hip-hop/R&B vocalist Blakchyl‘s been building a hell of a brand for herself in the local scene and beyond since her debut EP On Paper in 2019. Alternating between singing and rapping with a beautifully-blunted voice (somewhat reminiscent of fellow Austinite Megz Kelli’s), Blakchyl’s only gotten better on this side of the 2020s. On top of that, Blakchyl’s eagerness to work with others and ability to adapt her eloquent verbal style to complement said guests has made for some super fruitful collaborations, most notably her duo with Nez Tha Villain, G.E.N.I.U.S.’s, eponymous 2022 LP.

This year’s been a big one for Blakchyl, considering she’s already shared two standalone singles, the Call Me Sometimes EP, and, just at the top of October, her full-length Better Than I Imagined. And yeah, as alluded to before, Blackchyl also brought her A-Game to ACL last weekend, playing at the Tito’s Handmade Vodka stage Saturday afternoon, sitting down with The Breaks‘ boys, and even squeezing in a pop-up performance of “Ja Morant” for our multi-media team. It’s pretty clear that Austin is Blackchyl’s court, so we’re hoping to see this poet of a point guard shoot for the MVP in the coming years.

Toda Esta Musica

KVRX Presenta Un Show Hispano

*Sabrina Ellis and Nelson Valente of Como Las Movies.*

Today’s AMM includes a shout out to our colleagues at UT’s student-run station KVRX 91.7. It’s important to note that “None of the hits, all of the time” includes lots of musical discovery at KVRX-hosted live shows, too. There’s one this week at Chess Club in honor of Hispanic/Latine Heritage Month, KVRX Presenta Un Show Hispano, putting the spotlight on Latine artists in Austin.

This is a sick line-up: Como Las Movies (featured on today’s AMM with the new track “La 6” including vocals by Sabrina Ellis), songwriter/vocalist Marylynn Alvarado, rock en Español/rock independente con Jabalí, and cosmic cumbia reggae provided by Roleros Cosmicos, plus a set by KVRX DJ Hierba Malita. It’s all going down tomorrow night, Thursday Oct. 19, at Chess Club on Red River. Doors at 6 p.m.

Arya: “Love Me” (ACL Fest Pop-Up)

For some ACL Fest attendees, especially on Day Two or Three after imbibing on Friday, making it out to Zilker Park to catch the first day’s first act is a little too inconvenient. But for the passionate performers bestowed with opening up this internationally acclaimed festival? To call it an honor is an egregious understatement.

Among them is classically-trained, Bachelor’s-in-Jazz-certified pianist-singer Arya, formerly based in Belgrade and now a noteworthy pro in the Austin music scene. After steppin’ into our city limits with her debut 2019 EP, Arya’s continued to introduce us to an array of pop-R&B originals à la carte. Which isn’t totally fair to say, considering each new release will eventually amount to their carefully crafted visual album Insides, out early next year.

Regardless, rocking their own iconic sense of fest fashion, complete with a freshly shaved head, Arya braved it straight past any anxiety for her premiere festival appearance right around noon on ACL’s massive T-Mobile Stage. Again, to call it a “big deal” doesn’t do this opportunity justice. So you can imagine by the time Arya arrived at the KUTX tent for a pop-up session, she was absolutely beaming. See and hear for yourself on Insides‘ latest that just dropped last Thursday, “Love Me”. Based on the merits of this beat-less arrangement (coupled with the banger retro-electronic synth sound of its studio version) we have a feeling Arya’s got a good shot at poppin’ off both on Tik-Tok and NPR Tiny Desk. Get it, girl!

Frogmouth: “Not Listening”

Especially in their respective genre’s salad days, too many garage rockers and punks alike have inadvertently honored the unofficial “live fast die young” creed. But in recent times, some of the elder statesmen seem to only be having more fun as they’ve matured. And we’re not just talking about Iggy Pop. No, for the sake of this argument, and without trying to come off as ageist, let’s look at those who were young punks themselves back in the ’80s.

Folks like the four veteran rockers behind Frogmouth. They may be well-seasoned players of the local scene and beyond, but Frogmouth itself as an institution is hardly out of the tadpole phase. That hasn’t stopped these rowdy polliwogs from padding out a middle ground between classic acts like Velvet Underground and The Replacements and fresher threads to Rancid and The Strokes, all for an amphibious ecosystem of grungy, power-alt-garage-indie-punk rock that never takes itself too seriously.

Frogmouth’s spent much of 2023 ribbiting singles out onto streaming, all ahead of their debut EP Humor Me, which finally drops this weekend. The quartet headlines an all-ages release show Saturday night at The Mohawk starting 8PM with openers Space Cushion, Dropped Out, and Ne’er-Do-Well. So if you’re feelin’ froggy, hop on out there. If you’re more of a home toad, you can at least defy titles by cranking “Not Listening” up to 11, because this near-four-minute dynamic leap across retro power temperaments will activate your inner angsty teen in the best, catchiest way possible.

Ama: “I See You See”

In this era where dropping digitally exclusive albums is not only the most affordable option for artists but also the best strategy to reach the masses, it can be tough to justify a physical format. But for some multi-disciplinary creatives, commemorating a release in a tangible format only arrives once framed within a fuller picture; people like Austin polymath Blair Robbins. On top of being an insanely talented visual artist and passionate pro-musician activist, this singer-multi-instrumentalist poet/songwriter’s been sharing their art under the handle Ama for the past decade. As Robbins’ philosophies and aesthetic’s evolved over time, so has Ama’s sound and personnel; it started out as a quartet in 2014 but without the restriction of a fixed lineup, Blair allows Ama’s artistry to permeate whenever the inspiration strikes, a liberty that extends to their abstract paintings as well. Sonically, Ama’s caught adoration thanks to retro-alt-indie rock, as heard on their mid-2010s EPs Losing Less and Trilogy, but their magnum opus to date is decidedly the 2020 full-length Both/And, a nine-track that’s racked up tons of support on Bandcamp. Both/And never received a physical print, and that’ll still be the case at least for the foreseeable future. That said, ahead of their sophomore LP Mother, Ama commemorates the record with a zine release 10:30pm this Saturday at Captain Quackenbush’s Soundscape alongside openers Frozen Orange at 8:30 and Dwight Smith at 9:30. We’re sure this zine will gives us some more personal context on the emotionally erudite enigma that is Both/And, plus a complete package of everything Robbins’ been refining over time. So grab a copy in person, gift yourself a one-of-a-kind multimedia experience, and crack open Blair’s cranium with the Elliott Smith-meets-Alvvays-esque original “I See You See”. Because after its four-and-a-half minutes, you’ll see exactly why Blair’s a rising force to be reckoned with.

Stella and the Very Messed: “Merchandiser”

Lots of longtime local concertgoers are likely to remember Cruiserweight. Now Cruiserweight has shared new music as recently as 2021, but not long before that, a couple of its crew members split off and started something a bit more…messy. We’re talking about Dave Hawkins and Stella Maxwell, co-founders of Austin quintet Stella and the Very Messed.

After testing out a couple of stripped-down demos at the turn of the decade, Stella and the Very Messed got a jump on the impending pandemic in early 2020 with their debut nine-track as a five-piece On Fences. Sure, S.a.t.V.M. retain a lot of the straightforward pop-rock formulas, hook-ready melodies and all, of their predecessor, but Stella et. al are admittedly more risky when it comes to playing around with arrangements and placement of instruments. Even though they kept listeners engaged with a triplet of new tunes in mid-2021 (Marigold), Stella and the Very Messed reckoned with the all-too-real creative obstacle of parenthood last year and ultimately decided to tap the brakes.

Well Stella and the Very Messed are finally back, and apparently pretty keen on making the most of their latest batch. They joined forces with Test Tube Audio producer Kevin Butler as well as Paradise Lunch co-producers Adam Mason and Walker Lukens to elevate a pair of pop originals into the pantheon of 2023 Austin-originating stunners. Catch the full band next Saturday at Sunny’s Backyard for an Oktoberfest release show, get a glimpse into “Crystal Ball” when you can, and make some space in your wardrobe for a T-shirt or two as you cash in with “Merchandiser”. It’s got a deceptively gentle introduction, because once “Merchandiser” hits the 40-second mark, the five-piece fires on all cylinders with ’80s-style synth arpeggios and MIDI percussion, moody electric guitar chords, a serious strut of a bass groove, and, almost goes without saying, the frontwoman’s fierce, refreshingly human vocals.

Click-Clack: “Welcome To Texas”

By design, the world of hip-hop is full of braggadocious personalities. But even the most prolific boasters can get tripped up by a perfectionist approach. Take for instance Austin rapper-producer-brandmaker Eric Mikulak, better known by his creative handle Click-Clack. Back in the early 2010s, alongside his role as frontman for rap-rock outfit Karmatron, Click-Clack used to crank out tracks nonstop from his home studio, sometimes writing, producing, and recording up to three tunes from scratch in a night. And the scorpio that he is, there’d typically be a roisterous social media presence before and after each new single release. Of course, as the genre’s evolved over time, Mikulak’s only matured, and it’s safe to say that making hip-hop entirely on his own is no longer a challenge. So while the confidence is rightfully still there, Click-Clack’s shifted focus towards fine-tuned, full-length collaborations with a rolodex of producers from across the globe, and entrusted mixing-mastering duties to other industry pros. As a matter of fact, Click-Clack just shared his second LP of the year, Hypercritical, last Friday. At just shy of a dozen tunes, Hypercritical offers yet another candid look into Mikulak’s complicated mind, flaws, insecurities, and all. Seven of the eleven enroll at least two outside producers in a sprawling sonic tapestry draped behind Click-Clack’s idiosyncratic verbal formulas, including “Welcome To Texas”, which enlists olly and fr4ud for a two-minute chop-heavy chipmunk soul masterpiece.

Tribe Mafia: “Take Me” (feat. Erik Goca)

It’s beyond satisfying to hear a homegrown Austin artist not just outside the local city limits, but in a piece of media that gets global reach. And while it may be impossible to top White Denim in the official Nintendo Switch trailer, we gotta give it up to Tribe Mafia for their recent induction into the world of film. Following a formidable debut in 2016, this Austin-based hip-hop/R&B duo’s dropped at least an EP’s worth of singles each year, save for an understandable lull between their March 2020 LP Teepee Gang and last Valentine’s Day’s “Sound of a Heartbreak”. But now, on the other side of the pandemic, Tribe Mafia’s once again in tip-top shape and sharing their gifts at an impressive rate. And it’s not just a matter of quantity over quality; no, these songs could only be sourced from two well-seasoned sonic shaman. And there’s proof in the pudding! One of Tribe Mafia’s latest and greatest found its way not only into the trailer for My Partner, but as an emotional centerpiece of this groundbreaking queer artistic accomplishment. So even if you haven’t seen My Partner yet, if you take a minute to sit black, close your eyes, and let the Erik Goca-featuring “Take Me” paint a picture behind your eyes, you’ll quickly pick up on its intrinsically provocative cinematic pop character, not unlike Swae Lee and Post Malone’s Spiderverse “Sunflower”.

Daniel Fears: “Say Something”

Here at KUTX and Song of the Day, we try to be as dutiful as we can in providing both an accurate representation of the Austin Music Experience and great tunes. But honestly, all talent aside, for some local artists we often have to dig around to find something that’s actually airwave worthy. Daniel Fears, on the other hand? He’s done a damn fine of delivering his fair share of bar-raising originals to Austin’s ever-growing musical accoutrements.

And that’s a big part of why we named him our July 2021 Artist of the Month, right around the release of his debut EP Canopy. Based on its towering soul-R&B-hip-hop caliber, Fears has understandably been flying high off of Canopy over the past couple years. Now that doesn’t mean downfall is in the cards for Daniel Fears anytime soon; no, the consistency of Fears’ artistic drive is still deafening to this day, even if his dynamics of choice are more subdued. Well, following a pair of standalones in 2022, and hot off a Mongolian tour providing brass for Gina Chavez’s band, Daniel Fears sets course clear of mediocrity once again with Enough.

As the title implies, Enough achieves an infectious equipoise of emotional vulnerability and seductive self-esteem thanks to Fears’ faultless falsetto, kaleidoscope of sonic influences, and recognizable calling card of production techniques. On Enough‘s lead single, “Say Something”, there are some clever threads ranging from D’Angelo, Sly Stone, Bobby Womack and even Musiqsoulchild in its final moments, none of which could’ve landed if not for Fears’ top tier backing band. Between a liquid guitar groove, spacious snaps, hypnotic bass, atmospheric keys, and of course, Daniel’s Frank Ocean-esque vocals, safe to assume “Say Something” may just leave you speechless.

Restos: “Time”

If you remember Western Youth, then you’re familiar with Graham Weber. And if you know Graham Weber, you know he lays down great work wherever he may wander. A decade and a half into his solo discography, Weber launched Western Youth right here in Austin in the late twenty-teens and spearheaded their solo eponymous full-length. However, on the other side of the pandemic, that iteration of the Central Texas sextet’s since ridden off into the sunset. But save for one straggler, the cavalcade continues with their spiritual successor Restos in 2023. With Weber overseeing but not monopolizing this well-seasoned five-piece’s style, Restos retain much of the Americana-rock aura that defined their predecessor, albeit with a bit more of a modern kick. This Friday Restos drop their debut LP Ain’t Dead Yet and celebrate with a release show 11PM that same evening at Continental Club alongside opener Jaimee Harris at 10PM and closers The Irons half past midnight. As you’ll soon find out from the live performance, the tunes on Ain’t Dead Yet defy any potential decline in quality from Weber and his posse. Instead Restos channel the energy of an armadillo, bear, bison, gator, rooster all kickin’ in the barn together, pushing their primitive musical instincts to the limit and leaving the rest behind. So before Restos rear into their Thursday night residency at C-Boy’s each week from 6:30-8:30PM, take a little “Time” to appreciate Graham and the boys’ incredible progress over a handful of years in just under five minutes with one of the record’s latest early looks.