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KUT and KUTX news and music podcasts for Austin, Texas and beyond

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Sam Shaffer: “Sup?”

Seasons are changing and wintertime migrations are abound. But here in the Live Music Capital of the World, we’ve learned that there’s an influx of musicians from other musical metropolitans year-round. One of which, Ohio-raised multi-instrumentalist Sam Shaffer, recently hopped down here not too long ago. After a handful of albums and countless performances with Chicago psych three-piece Faintlife, Shaffer relocated to the Lone Star State in late 2021, right around the same time he recorded his solo debut EP, Quiet Delta. Shaffer kept the momentum from the windy city by writing and recording and first-full-length Valley of the Living Water, which swept through last September. This dozen-song collection offers some pretty honest indie-psych-folk sonics, secured by Shaffer’s velvety vocals and largely unadulterated by post-production effects. That last bit is obviously more impressive live in concert, cold weather be damned. For a Chicagoan like Shaffer, these temps won’t do much to deter him from putting on a killer show 10PM tomorrow night at Hotel Vegas, opening for Sunrosa and Guma. Take today to familiarize yourself with the Valley of the Living Water, and be sure to greet Shaffer on Tuesday evening with one of two questioning song titles off the LP, “Sup?”.

Bennett Dampier: “I Hate You”

Based on one fossil of a film franchise, we’ve pretty much come to belief that most archaeologists have some sort of a side hustle. And although they haven’t had escapades like Indy’s quite yet, today we’re digging into Austin’s Bennett Dampier. Dampier recently wrapped up his Master’s in Archaeology at Texas State, which is impressive on its own but doubly so considering he split that time writing and recording his debut album.

Produced by David Ramirez/Big Bill drummer Jeffrey Olson and Heartless Bastards/Star Parks bassist Sam Pankey, Multiverse Tirade stacks nine tracks into a neat little package. The LP’s chock-full of Dampier’s friends for a real “who’s who” of Austin talent from projects like PR Newman, Annabelle Chairlegs, CAPYAC, Motenko, Batty, Jr., and more. Conceptually a break-up record, each arrangement, each choice of players corresponds with a specific stage of post-relationship coping, collectively into one heck of an emotional experience.

So while we await Multiverse Tirade‘s release date, Dampier’s given us a galloping skiffle-orchestral original to tide us over ’til next week. At just over three minutes, the folksy psych harmonies and melancholy trot of “I Hate You” make it sound like an unreleased B-Side from the Get Back/Let It Be sessions, albeit defined by Dampier’s own McCartney-esque charm.

Night Glitter: “Magic Eyes”

Back in the Summer of 2018 a somewhat unexpected pairing popped up and completely blew all of us at KUTX away. I’m talking about Austin duo (and our July 2018 Artist of the Month) Night Glitter, although technically you could call them a supergroup, considering its core is composed of The Happen-Ins’ John-Michael Schoepf and longtime Thievery Corporation singer/svengali Loulou Ghelichkani. Since launching the project, they’ve learned that parenthood doesn’t necessarily preclude plugging in in the PM hours and producing under the veil of darkness.

And these aren’t just slight hitters. No, they’re noir-y psychedelic cross-genre bangers imbued with hypnotic synth-driven dream pop and Franglais lyrics, like if Cahiers du Cinéma came up with the Blade Runner soundtrack. And lately, Night Glitter’s hinted at a new collection of tunes, due for release sometime in 2023. Once again we’re expecting them to entrance us the moment they crank those analog knobs, as experienced during their seminal studio 1A appearance.

For those who haven’t witnessed Night Glitter live, they’ll be playing back-to-back 3Ten ACL Live performances opening for Poi Dog Pondering in late February. But for the sake of their fans’ well-being, Night Glitter also just released their first single of the year, “Magic Eyes”. From its initial crescendo all the way to its final breath, “Magic Eyes” is a gaze-inducing three-and-a-half minute piece of sonic sorcery that casts its spell with delayed-out vocals, an arpeggiated bridge, and a synesthetic sense of eye contact for your ears.

Advice for Austin Artists

This week Fresh and Confucius get real about what they think artists in the city should do career-wise. They talk about the importance of music videos, and when artists should try to start performing outside of Austin.

Plus, they celebrate Love Austin Music Month by playing an interview with J Soulja from ACLfest.

Fresh states the Unpopular Opinion that paying for features by bigger artists isn’t always the best way to get your music out there.

Confucius talks about the recent involuntary manslaughter charges against Alec Baldwin, the debate over the debt ceiling, and Dr. Dre’s $200 million catalog sale in Confucius Reads the News

Light Wheel: “Sudden Changes”

Last March we tipped you off about Austin’s Light Wheel, right around the release of their sophomore LP See Through. The Shining-level chemistry between producer Evan Dunivan and vocalist Tyagaraja Welch is still going strong, and still, according to them, best enjoyed live. Rounded out with a two-man rhythm section, Light Wheel continues to put a pretty bright spin on the indie rock genre, covering a wide spectrum from R&B and pop all the way to psych and prog.

Today Light Wheel rolled out their first single of the year, which despite the exigence of its title, is a charming four-minute slow burn. Like a rocky canoe through uncertain waters, “Sudden Changes” softly paddles with acoustic oars and sparse percussion strokes, all steered by by Tyagraja’s serene siren singing. So as us weekday workers transition back into Monday, soak up “Sudden Changes”‘s sonics and save ’em for when you need to ease into the next big shift in your life.

Redbud: “Sad On The North Side”

Over the past couple months, both on air and online, we here at KUTX have all been geeking out over this rising four-piece Redbud. I mean, they’re immaculate. Redbud’s misty indie-psych-pop swamp almost obscures how much each member dedicates to this project; on surface value they all kind of seem too cool for school (especially frontwoman Katie Claghorn), but when you listen to their recordings, you can instantly tell how disciplined and demiurgic this dual dyad is.

This year Redbud’s raring to release their debut EP, The Long Night. If you’re a crusty ex-Game of Thrones fan, don’t be discouraged by its title. Rather than a bungled, essentially-meaningless attempt that could never live up to its own hype, Redbud’s The Long Night is a concise, five-track masterpiece of unearthly arrangements, airtight structures, and a caliber of songwriting we rarely hear from relative newcomers.

The Long Night drops February 24th and Redbud plays 10:15PM tonight opening for The Stacks’ EP Release show at Hotel Vegas. So while you get ready to get rowdy on the east side, practice your howls at home with the sickly sweet “Sad On The North Side”. Expect plenty more mesmerizing percussion patterns, intriguing chord changes, and ghostly vocals to haunt your ear drums through the weekend.

Akina Adderley: “Where Does The Love Go?”

I’ve already chimed in on the use of the word “songstress” plenty before, so I might as well lend my piece to the discourse once again. For me, unless we’re talking about Ella Fitzgerald or Etta James, the term “songstress” comes off as kind of archaic. Like, it’s 2023; should we really single out artists based on sex instead of…you know…altogether ditching an engendered midcentury descriptor and letting the music speak for itself?

Short answer: Sometimes…maybe.

Exhibit A: Austin’s Akina Adderley. Full-bodied performances, unfettering feminist energy, and a direct link to jazz-and-R&B-defining greats? Yeah. That’s a songstress. As the grand-niece of Cannonball Adderley, granddaughter of Nat Adderley, and daughter of Luther Vandross Music Director/Co-Songwriter Nat Adderley, Jr., genre transcendence is literally encoded in Akina’s DNA. And between her eponymous octet, NORI and Charlie Faye & The Fayettes, plus numerous guest appearances on Austin-produced albums, Akina just doesn’t miss.

Akina has some don’t-miss shows over the next couple months, but she’s stolen today’s spotlight thanks to her latest studio single. And it’s the best kind of love song – the torch variety. Bookended by Nat Jr.’s explorative ivories, “Where Does The Love Go?” would make for an intimately welcome intermission between Frank Sinatra’s Only the Lonely and Billie Holiday’s Music for Torching. The sense of space in this arrangement is nothing short of astonishing, easily matching the calibre of your favorite orchestral tearjerkers. The only thing we’re surprised by is that “Where Does The Love Go?” isn’t a Broadway darling…at least not yet.

Hall Johnson: “OMWO”

If a classically-minded academic comes across the name “Hall Johnson”, they’ll likely think of one figure and one figure only: the highly-renowned composer, arranger, and choir conductor of African-American spirituals. And although we are rapidly approaching Black History Month, contemporary scholars of the local scene have probably already pieced together who we’re really talking about…indie-rock quartet Hall Johnson. These childhood friends have spent the past half decade perfecting their performance, four of those years right here in Austin. They’ve played alongside indie rock icons like Beach Fossils but as has sadly become standard in the last couple years, the COVID-19 pandemic put a stop to Hall Johnson’s 2022 West Coast tour plans. Hall Johnson ended up seizing that newfound time to write and record their third EP A Slow Descent, all the while keeping their debut full-length cooped up in post-production. You see, Hall Johnson tracked Haymaker back in August 2021 against the bucolic backdrop of Ashlawn Recording Company in rural Connecticut. Thanks to a month-long pastoral production period, isolated trails, pickup basketball, lakeside wakes, and skipping stones are all ingrained in Haymaker‘s eleven originals. You’ll be able to drop a needle on Haymaker once it hits vinyl in May, but given the level of wanderlust that Haymaker‘s piqued, you’ll want to unpack its lead single, “OMWO” now. An immaculately-balanced, easy-going indie-rock bop, “OMWO” ought to sate your trumpet-arrangement tastes and chase away any malaise while Hall Johnson is on their way out with more.

The Stacks: “St. Michael”

For the better half of last year, our staff made damn sure you knew the name Jake Ames. As co-founder of our May 2022 Artist of the Month Good Looks, Ames helped introduce us to “Vision Boards”, a KUTX airwave darling that’s seemingly become a generation-defining indie rock anthem. You may also remember that Ames was struck by a car on the verge of an expansive Good Looks tour..but don’t worry; he’s fine now and ready for you to feast on his latest collaborative labor of love…via The Stacks.

The Stacks got their start back in 2015, and have kept Ames’ insatiable, auteurist hunger and guitar-engulfed earworms front and center ever since. Pre-pandemic, the three-piece strictly existed in the live performance realm, only sharing their first studio single “Chicon” on April Fool’s Day 2021. “Chicon” proved far from a holiday farce and instead shook things up in the right direction for The Stacks, whose madman amp accumulation finally hits wax this weekend.

The Stacks’ debut 8-track, Lay Me Down To Rest, coincides with a record release show 9PM this Friday at Hotel Vegas alongside openers Rusty Dusty, Redbud, and Sammy G. So check out just how well this un-toppleable trio…stacks up in person and anoint yourself with one of Lay Me Down To Rest‘s most serene blessings. “St. Michael” was actually The Stacks’ sophomore studio offering (initially issued in May 2021), but its hallowed vocal harmonies, empyrean rhythms, and blissful six-string licks slap so hard, even an erratic archangel could be cajoled back to a state of calm.

Felt Out: “Closer”

Given the generation-sprawling success of industry darlings like Billie Eilish and Future, it’s safe to say that the use of auto-tune has become a near-universally-accepted aesthetic. Or at least more so than when “Believe” first broke conventions in 1998 or when the disdainful “D.O.A.” dropped in 2009. Auto-tune’s ascent into ubiquity has also aligned nicely with an advent of alt-pop over the past decade, a movement that wouldn’t be what it is without acts like Felt Out.

Cemented in ten years of friendship, Austin multi-instrumentalist/producers Sowmya Somanath and Walter Nichols first showed off their sultry smooth style on Felt Out’s 2019 debut full-length Superfluid. The pair also passed off a trio of Superfluid B-Sides back in 2021, but since then we’ve felt a bit in the dark about what’s next for Felt Out. Today, that all changes.

Felt Out announced their sophomore full-length Until I’m Light earlier this morning. The ten-track LP’s set for release on April 14th, toting some of the most innovative harmonic auto-tuning we’ve heard since Imogen Heap’s mid-2000s heyday. The record’s lead single “Closer” just touched down alongside a phantom-filled music video, whose forlorn dynamics and fleshly form will make you feel held all the way up to Until I’m Light‘s release day.

Why Bonnie: “Apple Tree”

After enough time in a live music hub such as ours, one of the most satisfying things to see is when local acts join forces, hit the road together, and take the nation by storm. Want to bear witness yourself this weekend? You’re in luck! As part of our 10th Birthday Concert Series, this Sunday KUTX presents a dual tour kickoff featuring two of Austin’s finest indie-adjacent outfits. I’m talking about our March 2021 Artist of the Month Sun June alongside our September 2020 Artist of the Month (and today’s spotlight) Why Bonnie. Founded by Houstonian Blair Howerton a half decade back, Why Bonnie began evolving into the “shoegaze-icana” phenomenon we’ve grown to adore over the course of three EPs: 2018’s In Water and Nightgown followed by 2020’s Voice Box. Last August, Why Bonnie rounded out their lineup as a quintet and blew us away with their debut full-length 90 in November, a ten-track half-hour human piece of imperfect heaven. Why Bonnie and Sun June are set to be West buds as they co-headline a six-stop week-long West Coast tour, prefaced by an 18+ show along with Redbud 8PM this Sunday at Antone’s. The opportunity to catch two KUTX Artists of the Month for the price of one (post-Free Week) seems like a great value. But if you’re not ready to brave the downtown crowds, you can certainly still appreciate the autumnal trot of “Apple Tree”, the soothing seed of a 90 in November B-Side just unearthed on Tuesday.

Sugar Purr: “Other Heart”

As we hit double digit days in the new year, it’s worth mentioning that in the past week and a half alone, a bevy of superb songs have already sweetened the deal for 2023. And there’s proof in the purring! Roughly one year after premiering a triplet of live performance videos on YouTube, Austin quartet Sugar Purr just gave us a double lump with their debut pair of studio singles last Saturday. And before you hiss at their handle; you’d better believe these morsels are for more than just Meow-Meows! Spearheaded by singer-guitarist John Wilhelm, Sugar Purr crafts complex sonic cocktails; they refine and reverberate elements of Pink Floyd, Andy Schauf, and Santo & Johnny into psychedelic country-tropical concoctions, somehow ideal for both lonesome buckaroos and boozy beach bums alike. The newly-released B-Side is just as much of a treat as its predecessor but we had to unwrap Sugar Purr for newcomers with the luau-ready lap steel and siesta-friendly structure of “Other Heart”. Just don’t nod off at work.

Barb: “Liar”

We hint quite a bit about the significance of risky pivots. Of course, as casual listener-observers, we usually only see the success stories, not the hurdles to get there. But when someone does pull it off, it’s incredibly satisfying to see (and hear). Which brings us to Barb.

Born Barbara Klavin, this Austinite spent her first two and a half decades engrossed in athletics, most notably as an active, excelling participant in Texas Rowing. However in the midst of some emotional turmoil, Klavin recently hung up the oars, picked up the pen and six-string, and made way for Barb.

Last year Klavin introduced us to her candidly queer identity and soulful brand of indie-surf-rock with Barb’s debut single, “Small Talk”. And today she’s followed it up with what’s easily my favorite tune of 2023 so far. Encased in coquettish guitar riffs, poignant lyrics, and bittersweet chord changes, (not to mention Barb’s heart-melting vocals and some exceptional percussion fills) “Liar” is a truly beautiful track, (even if you’re kinda f****d up right now). Listen all you like in the player below and catch Barb live at Swan Dive next Friday and on Friday the 20th.

Skateland: “Wreck”

We’re still only in the first handful of days for 2023, and in the Live Music Capital of the World…you know what that means. It’s Free Week! And if you haven’t heard yet, KUTX has a locally-curated showcase coming up in a couple days. It’ll kick off 8PM this Friday at Cheer Up Charlie’s with a bill that includes Como Las Movies, Redbud, 10pmtoclose and Skateland. Born Dorian Williams II, this multi-instrumentalist/singer/producer came to Austin from Las Vegas in pursuit of a degree at UT. But as with many other young creatives, Austin’s artistic aura helped sway Williams to also cement a musical project of his own, Skateland. Skateland’s trucks balance between moody alt-pop and tranquil indie-shoegaze, like if St. Vincent and Weyes Blood were grinding rails and transferring pipes alongside Beach House and Alvvays in the same park. Sure, Skateland’s only got a couple studio singles out as of now, but both of ’em are sensationally mellow cross-genre bops. As such, Skateland put his formula right there in the title of his upcoming debut EP: New Wave Revival. We’re looking forward to more lyrical gloom, retro instrumentation, and proven pop production methods when New Wave Revival drops on February 16th, and during Skateland’s set 9:40PM on Friday. Just don’t let his latest Weeknd-esque earworm (and music video) “Wreck” wipe out your productivity this Wednesday.

Ladyfang: “D C L”

Back in Summer of 2016 a quartet calling themselves A Case For Brooklyn treated the Austin area to an ear-catching original; entitled, “All Your Money”, it was a killer tryst of styles that recalled RHCP, Björk and No Doubt, which is a pretty strong start to say the least. Yet soon after these longtime friends shed the ACFB handle in favor of something a little more ferocious…Ladyfang.

Since that switch, Ladyfang’s flourished atop unfettered feminine flamboyance and chaotic pop rock combos, sinking one infectious incisor after another into listeners old and new. This year, however, we’ll finally be getting a filled-out row from Ladyfang, courtesy of the four-piece’s upcoming self-titled full-length.

Produced by Chris “Frenchie” Smith and Brett Marcom at The Bubble, Ladyfang is guaranteed to be the group’s most coherent experience to date outside of live performances. And the proof is in the premolars! Today Ladyfang unfurled their first foray for 2023 and the eponymous LP’s second lead single. Don’t be deceived by the mellow guitar intro of “D C L”; by the 40-second mark all hell breaks loose in this masterclass of pop rock dynamics.

Sam Pace and the Gilded Grit: “The Light”

Happy New Year! I spent the last bit of December collecting some truly outstanding new music that I’m eager to introduce to y’all…starting today with Austin’s Sam Pace and the Gilded Grit. One glance at Pace’s striking eyes, vicious visage, and black wide-brimmed hat is all it takes to imagine him as a rugged 19th-century, mixed-morality dime novel protagonist, but really he’s more of a contemporary Southern soul-rock scarecrow.

But don’t be intimidated by appearances! Anchored by his bewitching baritone and stinging six-string techniques, Sam Pace and the Gilded Grit have stayed strong across Austin and beyond for just over a decade now. They’ve got four phenomenal full-lengths out and on streaming for you to peruse through, though the big news for the Gilded Grit in the New Year is a single release show, 10PM this Friday at Saxon Pub.

However, Friday’s all the way at the end of the week, and I know folks are trying to hit the ground running in 2023 (myself included). That’s why, in keeping pace with the passing of a year, Sam and the Gilded Grit have gifted us an early piece of inspiration. Its message essentially champions resilience and courage when faced by darkness, and between production by Chris “Frenchie” Smith, a guitar solo that’d make Jack White’s jaw drop, and an airtight arrangement, “The Light” extends well past “carpe diem”, and instead begs you to “carpe annum” over the next twelve months.

David Shabani: “Holiday Blues”

It’s the final five features for Song of the Day‘s 2022 season. We’re taking a vacation for a couple weeks, but don’t fret; we’ll be back bright and early next year. Until then we’re hanging some of the very best musical mistletoe of the past months, starting off with Austin’s own David Shabani. Born in Paris and raised in Canada, Shabani’s blessed the Live Music Capital with gripping alternative hip-hop in the vein of Lupe Fiasco, Childish Gambino, Kaytranada, and Kid Cudi. Shabani’s outstanding verbal skills, butter-smooth singing, and brilliant taste in beats have earned him supporting spots for international icons like Ashanti and Trinidad James, local legends Black Joe Lewis and Blackillac, and consistent placement as an airwave heavyweight on our Hip-Hop/R&B specialty show The Breaks. After nearly thirty live appearances since January, Shabani, along with his backing group The Nu Leopards, have had a pretty good year for themselves. Considering Shabani’s motto (“I feel good right now”), being in the moment is a gift available to anyone, anywhere. So even if you’ve got a stocking full of “Holiday Blues”, the sleigh bells, slick instrumentation, and modern Dickensian storytelling of Shabani’s latest single ought to keep your heart warm for the winter.

waverly: “overcomplicated” (feat. mHart)

Trap-pop. It’s decidedly a young person’s game. I mean sure, you’ve got “older” folks like Drake and Doja Cat purveying it on the Billboard charts but really, the target demographic and the generation who’s going to take it to the next level are people in their teens and twenties. Which brings us to Wil Brookhart. Born in Cambodia and now based right here in Austin, Brookhart’s been no stranger to collaborations in recent years; a continuing contributor and Artist Instructor for Mother Falcon Music Lab, this multi-instrumentalist/producer has also helped shape the sound of Carley Bearden, fruit collective, and most recently Casie Luong. Throughout all those endeavors, Brookhar balanced guitar-driven indie with MIDI-textured R&B, but his jump from producer to solo songwriter is really what propelled Brookhart into the big top of pop trapeze within the past year. That shift coincided with the adoption of a new handle, waverly, and the release of four standalone singles since April. Electric guitar is still the central instrument, but beats, bass, synth pads, and now, Brookhart’s processed-yet-velvety vocals complement these otherwise-spacious arrangements. Today, on Brookhart’s 24th birthday, waverly stirs a little bit of Juice WRLD into a three-minute sonic smoothie. Unmarred by complex techniques or convoluted chord changes, the simplicity of “overcomplicated” (compared with its emotional weight) is what guarantees it to be an enduring, widely-accessible earworm.
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