austin music

Bourgeois Mystics: “Gentrification of Planet Earth”

One of the biggest obstacles to a longstanding passion project is that when you get sidelined by the harsh realities of life, sometimes it’s too tough to keep creating. And amidst skyrocketing housing costs coupled with the deficit of live opportunities in the immediate aftermath of COVID, actively gigging with a band while living within Austin’s city limits simply isn’t the way it was ten years ago.

That brings us to Bourgeois Mystics, an art-funk hip-hop collective who first got together in 2014. Amplified by each individual opulent alter ego, this eclectic sextet has spent the past decade wowing crowds with high-energy, theatrical performances and upbeat originals that steer way clear of taking themselves seriously. Yet in 2023, splitting the bill six ways with some members already residing in satellite cities, the actuality of exorbitant rent prices and getting the gang together in one room is nowhere near as feasible as it used to be.

As such, Bourgeois Mystics have made the tough decision to go on indefinite hiatus. But as an Austin staple with as lively as theirs, of course they’re going out with a bang. This weekend Bourgeois Mystics release their second (and for now, final) full-length Gentrification of Planet Earth. While Gentrification finds the semi-fictional figures on 2017’s Eureka! now transformed into hideous Kafka-esque monsters and cartoonish song titles replaced with thematic, feature-laden fireballs, the zany energy that makes Bourgeois Mystics so great is well intact. The LP drops on Friday and Bourgeois Mystics commemorates the end of this era with a farewell show 9PM that same evening at The Parish with openers Lena Luca and Cilantro Boombox.

So while you plan out your pre-game for Gentrification of Planet Earth, dig into the album’s title track, one that sounds like Technotronic, !!!, and The B-52’s split a sack of high-grade salvia, downed some disco biscuits, and giggled their way into this fine-tuned piece of “funk-n-gunk” greatness. True to its name, “Gentrification” districts this three-and-a-half minute dance mania off into clearly defined individual sections for the funkiest piece of gerrymandering you’ll hear this year.

Tina Piranha: “A Budding Interest in Treason”

The power of lyrical impact can be timeless, but as great as words over melody can be, there’s a whole different appeal to sans-lyrical explorations. For example, when added onto styles like funk or soul, the genre modifier “cinematic” usually tips listeners off to a strictly instrumental experience, where the lack of lyrics not only allows extra space for meditation, but also opens up your imagination to fill in the blanks – be it with visuals, Rod Serling-esque internal monologue, or just abstract emotional reactions to exotic sounds.

A top notch purveyor of such is Austin’s Tina Piranha, whose eight-player appetite chomps out the rarest bits of ’60s soundtracks, Turkish psychedelia, Ethiopian jazz and beyond into accessible, bite-sized soul tracks. Last year Tina Piranha teamed up with Grammy winner Beto Martinez to record and mix the octet’s debut EP Komissar 13, the ultimate horn-heavy score for any wannabe jet-setting G Men with too many jazz cigarettes on hand. This year, in an effort to change up the sonic scenery, Tina Piranha’s joined forces with Quiet Company’s Matt Parmenter, who’s already ushered in four new singles within the past five months.

With that rapid of output, Tina Piranha’s definitely far from having their fill for 2023, so keep your ears peeled on your preferred streaming platform. ‘Til next month’s meal, go ahead and take “A Budding Interest in Treason”. Just don’t let your boss catch you working on your midcentury espionage spec script.

Space Trayn: “Red Lipstick”

When a budding band is high off their own early momentum…at least not in an overt back-patting way or one in which they take themselves way too seriously…the grinning can get contagious. Take for example Austin three-piece Space Trayn, whose nuanced brand of ’70s-inspired funk-jazz-rock stations itself somewhere between Todd Rundgren and Steely Dan. Chiefly conducted by singer-guitarist Jerome Vivino, with Justin Murawski and Nané veteran Jordan Espinoza coupling behind, Space Trayn’s debut 2021 EP Not So Fast rode the rails of classic soul and soft yacht rock with four cars of genre bending tones.

On Space Trayn’s sophomore follow-up We Have Lyftoff (produced and mixed by Austin treasure Chris “Frenchie” Smith), the trio beams full steam ahead at an even higher octane; these five jet-fueled originals cross tracks of ’90s-alternative, psychedelia-drenched jams, turn of the millennium indie rock and even some Parliament-adjacent prog-disco, complete with some mind blowing solos just before the record grinds to a halt. We Have Lyftoff dropped at the tail end of April, but if you’re looking for a good time this evening, even after blasting the new Space Trayn at volume 11, you’re in luck. Space Trayn takes the stage at 10PM tonight at The 13th Floor, preceded by Elijah Delgado and followed by Upper Level Lows at 11PM and Polarizado at midnight. So in the spirit of these fun-lovin’ buds, come as you are and settle in for a great time. But if you wanna be extra, let Space Trayn doll you up before you drop out with the classic psych rock crimson of “Red Lipstick”.

Glass Mansions: “Nearsighted”

As temps heat up across Texas, a sun-soaked lethargy is sure to overshadow any idealized productivity. And it seems like a lot of acts have recently been seizing the day by releasing their roadmaps for the rest of the year. So let’s go ahead and add a danceable data point to our early album detection system. It’s an open house from Austin alt-pop duo Glass Mansions, whose banging electronic beats and ardent vocals (courtesy of frontwoman Jayna Doyle) provide a clean contrast to the pair’s smoky, high octane live performances. The pair’s transparent passion balances out beautifully with their opaque take on opulent electro-pop, and visually, their synesthetic aesthetic is a glistening finish. But back to planning things out in advance…we’ve gotta give credit to Glass Mansions for their forethought in releasing a transitory piece that bridges the gap between last year’s “Standing O” and their upcoming 2023 EP. A gorgeous cacophony of color haunted by Doyle’s tortured, ghostly apparition, the music video for “Nearsighted” is definitely the best way to absorb Glass Mansions’ latest gift. Strictly on the sonic front, the industrially processed sub bass, reverb-drowned snaps, and sinister synth arpeggiator provide the perfect bed for Doyle to belt the hell out vocally.

Flora & Fawna: “Costume Party”

Now that COVID-19’s no longer deemed a public health emergency, the fog of the past three years has begun to dissipate, and memories of the “before times” don’t seem so distant now. Like, remember when KUTX named Austin duo Flora & Fawna as our September 2019 Artist of the Month? We made a real airwave darling out of the pair’s debut single “Slow Burn” throughout the fall, but by the time Flora & Fawna was gearing up for their first official SXSW appearance, well, a little global pandemic stole their thunder. In the spirit of their handle, Flora & Fawna kept their creative ecosystem thriving by focusing efforts on a sophomore follow-up to their eponymous debut EP. That essence of growth despite a harsh environment couldn’t have been fostered as well as it has without the help of multi-instrumentalist-producer Misha Hercules, who’s worked with everyone from Kendrick Lamar and Jungle to Maggie Rogers and Steve Lacy. An ongoing work in progress under the veil of quarantine, Flora & Fawna balanced out their studio time with some impressive appearances – hitting some hometown milestones with both ACL and SXSW last year, not to mention supporting slots alongside Son Little, Thievery Corporation’s David Garza, and even Harry Styles. Well, finally, after all on-stage and in-studio flourishing, Flora & Fawna’s next EP is set to see the light of day in 2023. In light of its Halloween-evoking title, the record’s third lead single “Costume Party” just touched down with care-free summer-luvin’ goodness. It encapsulates taboos you only witness at such masquerades, like the one-of-a-kind kismet of catching Dracula swapping spit with Wonder Woman or a Squid Game security guard starting a drunken spat with Ted Lasso. Specifically, “Costume Party” relives a forbidden kiss with a past fling, and in doing so channels the flirty dirtiness of Charli XCX or Carly Rae Jepsen. So whether you use it to make amends with your own missteps, or just want something you can both blast with the top down and dance ’til your pores are drenched, “Costume Party” is ready for your RSVP.

Artist Interview: The Tender Things – “One Like You”

The Tender Things cooked up a classic song based on reckless decision gone wrong. In Part 1, you heard the confession and The Tender Things’ live recording of “One Like You”. In this episode, when Walker talks with Jessie about the confession, how it inspired the song, self care, and a whole host of other fun stuff.

Got a story you want to confess and maybe have it turned into a song? Join the Song Confessional mailing list to stay up to date on all of our latest episode, news, and the whereabouts of our confessional booth: https://songconfessional.com/connect.

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Mass Minor: “Worthy”

Even though its initial ubiquity arrived in the late ’70s/early ’80s, synth-driven compositions, regardless of which decade they came from, continue to sound intrinsically futuristic. I mean down to the digital DNA underneath the instrument’s nuts and bolts, the synthesizer has always embodied a sci-fi aesthetic. Of course, nearly a half century down the line, even with astounding breakthroughs in MIDI technology, there’s a certain retro quality to pushing the synth front and center of arrangements, regardless of genre. As such, Austin’s synth scene is like a perpetual time machine, one that sends listeners back to the ’80s glory days of synth pop before hurdling them into the distant unknown. Within that crowd, we’re proud to have Mass Minor call our town home. Beginning with their 2020 debut LP Become Each Other, this trio’s top-graded a sense of timelessness through synth-pop, synth-wave, and electronic rock. They spent much of last year captivating crowds, including appearances at SXSW and supporting slots alongside our July 2022 Artist of the Month Urban Heat and Depeche Mode tribute project Strangelove. But in 2023, considering their rise amongst “uncertain times”, Mass Minor is set to beckon in the post-public health emergency era of COVID with a new piece of temporal exploration. For their upcoming sophomore full-length Mass Minor teamed up with Robert Plant/David Bowie producer Tim Palmer, with a release date set for later this year. Today Mass Minor emerges from their neon-bathed portal with the record’s lead single and their first studio since the turn of the decade. Kicking off with a Tron-ready arpeggiator, “Worthy” wheelies right past the competition with turbulent subdivisions, heroic vocals, and a whirlwind of a hook, which at just over three minutes, makes it an ideal choice for your next montage sequence, be it working out, working through personal stuff, or straight up saving the world. Is it f-ing not enough? Hell no. It’s beyond “Worthy”.

Wilson Marks: “Mother’s Day”

When it comes to songs about holidays (at least here in the U.S.), the most popular is of course Christmas, followed by Halloween, and perhaps…St. Patrick’s Day coming in at third? Either way, it’s a rarity to hear a “holiday” song that doesn’t lean into the Hallmark hokeyness.

But if there’s one thing that Wilson Marks does on any day of the calendar, it’s subvert expectations. On top of his life as an enthusiastic music educator and prolific sideman, this Austin singer-pianist-guitarist brought us two dozen genre-bending tunes through his first full-lengths, 2015’s What Was Made for Weathering and 2018’s Peregrine. By the time Wilson’s third dozen arrived in October 2020 with True Beauty Is in the Random, he’d established his own set of hallmarks: slick witticisms and lighthearted reflections on the flaws that unite us, instrumentation that’s carefully modified to capture a unique timbre, and an accessible style of pop that’s informed by folk and Crescent City jazz.

Marks and his backing band plan on releasing yet another full-length closer to the turn of Winter, padding out the inter-seasons with a more stripped-down EP. So with what may be your final reminder for Mother’s Day before the weekend, Wilson Marks shares one of his slinkiest singles to date. Rooted as always in true storytelling that doesn’t skimp on emotion, the simplicity and sincerity of “Mother’s Day” is shoe-in to mom’s heart, especially if she’s a fan of Graceland. And if you really want to wow her with a belated Mother’s Day date, consider taking her out to see Wilson Marks Trio live next Wednesday at the Elephant Room.

Polarizado: “Twin Liquor On Sunday”

Compared with the political climate of our neighbors, Central Texas, and in particular, Austin, may seem like kind of a sect within the Lone Star State. And that’s not just a matter of being the “blueberry in the tomato soup”. It’s a reflection of our regional music styles as well. To an outsider, our ability to keep stately subgenres like Outlaw Country, Western Swing, and – right down to its name – Tex Mex – relatively contatined within our borders, kind of seems a little clique-y. That’s where multi-instrumentalist Felix Bergman comes in. See, before moving here from Oakland, Bergman bolstered his musical journey playing everything from guitar to keys and even trumpet across a ton of sounds – Latin jazz, glam rock, Blues, and hardcore punk to name a few. So after making his eastward migration, he quickly picked up on Texas’ location-tailored tastes, and wanted in immediately. With his project Polarizado, Bergman indoctrinates listeners into what he calls “Cult Americana” – solely outing himself as a non-native through earnest yet lighthearted observations only recognizable by “outsiders”. Later this year Polarizado follows up their 2018 eponymous EP with Welcome Back… due out August 3rd. Based on the record’s latest single, we’re looking forward to an indie-swamp-rock take on some of our not-so-treasured Texas customs, such TABC’s Bible belt tutelage on the short and sweet “Twin Liquor On Sunday”. Catch Polarizado ’round midnight next Friday at The 13th Floor alongside openers Elijah Delgado, Space Trayn, and Upper Level Lows, and fill a glass with your favorite beverage with this tune that sounds like a cocktail between CCR and Nick Waterhouse, albeit with some extra vocal grit.

Confession & Song: The Tender Things – “One Like You”

The Tender Things cooked up a classic song based on reckless decision gone wrong. In Part 1, you’ll hear the confession and The Tender Things’ live recording of “One Like You”. Tune in for the next edition, when Walker talks with Jessie about the confession, how it inspired the song, self care, and a whole host of other fun stuff.

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Evan Charles: “Low Road Runnin'”

With our ever-expanding skyline, congested traffic, and high urban density, living within Austin’s city limits can almost trick us into forgetting we’re in Texas. But a short drive out can quickly remind us of our immediate rustic surroundings – hill country, deserts, forests, lakes, caves, and more. So even in big metropolitan hubs like ours, the vastness and variety of the Lone Star State unsurprisingly inspires an abundance of nature-loving folk, cosmic Americana, and southern rock acts.

A quick glance at Austin outfit Altamaesa’s discography – The Long Ride Home (2016) and Idol Frontier (2019) – instantly tips you off to that specific sense of Southern wanderlust and bucolic storytelling. And maybe it’s that same spirit of adventure, coupled with his induction into Project ATX6’s Season Six lineup, that’s led fronting guitarist-vocalist Evan Charles to temporarily excuse himself from his chair at Altamesa’s high table and explore new opportunities as a solo artist.

In this endeavor, Evan Charles emerges as a reinvigorated raconteur, eager to lean into the timeless power of natural narratives with his upcoming debut album Between Two Worlds. Featuring titles like “Ask the Dust”, “Heavy Rains Back Home”, and “Horizon Line”, Between Two Worlds brings twelve trail tunes, countryside ballads, idyllic interludes, and miscellaneous ruminations into Mr. Pink Records’ Bastrop recording studio, with the full polished collection arriving later this summer. Evan Charles celebrates early with two local performances; a single release show 10PM this Friday at Hole in the Wall and again 8:30PM this Saturday at Continental Club for the Mr. Pink Showcase. If you can’t saddle up to either of those shows, open up the throttle with Evan on BTW‘s latest lead single, the briskly-whisked ranch-ready Americana yarn “Low Road Runnin'”. At just over three minutes, this fast-travelin’ track is a must-play for all types of settings: in your dust-rustlin’ truck, underneath those big and bright Texas stars, or just at home brewing your favorite morning roast.

Danny Golden: “22 Tango”

Pop music is chock full of people flexing. Sure, it goes all the way back to the days of vaudeville, but especially in the 21st century, Billboard chart-toppers can’t seem to stop talking about how hot, rich, or tough they are. Such bold boasts are appealing to emulate amidst teenage angst, but as music lovers mature, they’ll realize that lyrical brags aren’t as impactful as they may seem at first, at least compared to forming a legitimate connection between performer and listener. That’s where Austin multi-instrumentalist Danny Golden comes in. In the near-ten years since he wrapped up his Bach-meets-bluegrass college thesis, Danny’s learned that the golden ticket to truly unique impressions is overlooking the frivolity of possessions and appearance and diving straight into the universal well of emotions. In that spirit, Danny Golden’s upcoming full-length Being There isn’t just a platform to work with John Mayer/Leon Bridges/Paul Cauthen producer Electrophunck or jam with contributors from Texas Gentlemen, Sir Woman, and Jon Batiste’s band; it’s a potent nine-tune exploration of human fragility created through a shared sense of time and space. True to its title, Being There‘s reflections on staying in the moment, of not looking too far back or forwards, lends itself to the LP’s sonic eclecticism, that while rooted in indie rock, features some out-there flavors that reflect the nuances of our feelings. Shortly after Being There drops on Friday, Danny Golden is set to spend the rest of the month on a national tour alongside KUTX favorite Matthew Logan Vasquez, where he’ll no doubt forge plenty of fervent bonds with listeners across the country. So like a sonic trust fall, step into your own personal Danny Golden therapy session with a four-minute testament to the magic of inherent human relation, “22 Tango”.

Venus Loves Mars: “Is It Time?”

When soon-to-be-newlyweds exchange vows, they’re typically talking in terms of for better, for worse, for richer, for poorer, or in sickness and in health. But for more creatively-charged couples it goes without saying that there’s also a dedication to high-quality collaboration, through thick and thin.

Take for instance native Austinites Mac and B McNally, who’ve been inseparable since the mid-’90s. After nearly three decades together and countless individual hours performing with other groups, these unapologetic lovebirds have recently formalized their undying bond with a new musical project, Venus Loves Mars. So far they’ve maintained that exceptional standard of quality likely unspoken during their marital exchanges; in 2021 they recorded their first-ever single “The Score” with Chris “Frenchie” Smith at The Bubble, and this year they’ve teamed up with Grammy winner Beto Martinez at Leche House.

Martinez’ idiosyncratic contributions to Grupo Fantasma and Caramelo Haze lends a subtly cinematic Latin-psych flair to the power couple’s still-evolving classic-soul-meets-garage-rock style, which we’ll hopefully hear more of on VLM’s upcoming debut seven-song EP. #VLM4EVER is set for release this July, a new music video is in the works, and ahead of a live appearance tomorrow afternoon at No Filter Fest, Venus Loves Mars begs an important question, whose implied answer is best left unsaid in lieu of repeat listens, “Is It Time?”

Donovan Keith: “Heartbreak Soliloquy”

When he founded Austin retro-R&B-soul septet Soul Track Mind in 2008, there’s no way fronting singer Donovan Keith could predict how much his favorite genre would grow over the next fifteen years. In that decade and a half, the efforts of Sharon Jones & The Dap-Kings, Charles Bradley, Mayer Hawthorne, and these Texas trendsetters evolved into an international movement, the mainstream resurgence of classic (or, depending on who you’re talking to, “original”) ’60s-and-’70s-style R&B-soul. To suddenly have an abundance of pertinent material after accepting the inherently temporal and finite limits of digging through crates of oldies was nothing short of exhilarating.

Well in 2016, the same year that Sharon Jones passed away, Soul Track Mind’s rolled out their final release to date, the Generations EP. Reluctant to disembark from the vintage R&B-soul bandwagon as such a seasoned singer, Donovan Keith made his solo debut with the standalone “Last Chance For Love” in the summer of 2019. Marking a whole year since he unfurled his first full-length, Hot off the Wire, today Keith commemorates the occasion with a real stud of a single.

Impressively penned in absence of any instrumental accompaniment, Donovan Keith’s debonair vocal delivery steals the whole arrangement on “Heartbreak Soliloquy”, even paired against Emily Keeley. By tossing Americana, pop, and folk into the usual heritage mix, this soft, sunny charmer is ideal for an afternoon affair. So why not catch Donovan Keith 5:30PM this Friday at Central Market North Lamar or 2PM this Sunday and each Sunday in May at Banger’s?

Friends To The End: “Chinese Underground”

When art rock first emerged against the counterculture explosion of the late ’60s, its ability to slyly insert societal and political remarks into avant-garde arrangements and multi-sensory experiences (think Warhol’s relationship with The Velvet Underground) was a real piece of modern renaissance. As the ’70s transitioned into the ’80s, art rock’s prime offspring (punk rock and new wave) began to shed the subtle nuance of prior decades in favor of more blatant, less open-to-interpretation lyricism, albeit with a wider distribution network for the multi-media aspect, thanks to MTV. Now, thirty years post-Cold War, in an era where creative dissenters can directly confront public figures by tagging them on Twitter or re-appropriating their image on TikTok for the whole world to see, such explicit callouts have become the status quo in art rock.

And unless you’ve been living under a rock, you know that COVID-19’s created a lot of discourse worth responding to. Among the many supplying contemporary commentary is Austin songwriter Thom Kurtz, who, since 2016, has contributed his fair share of off-kilter cross-genre observations with his project Friends To The End. Although Friend To The End’s averaged at about two singles per year, we haven’t heard from Kurtz since last summer’s “ROBOT ODDiTY”.

Today Friends To The End tosses us back into the satirical trenches with “Chinese Underground”. When you watch its blunt lyrics flash over the cartoonishly-hyperbolic imagery of its music video, “Chinese Underground” seems like a straightforward mockery of Mao Zedong on a surface level. But try digging into “Chinese Underground” by recognizing the subtext of its oriental orchestration (akin to the implementation of African sounds underneath David Byrne’s blight-biting lyrics on Remain in Light) as a stylistic choice rather than a reinforcement of potentially harmful sonic stereotypes. Once you do, you’ll appreciate this infectious ’80s-style oddball tune through a whole new lens – as a reflection on the invincibility of an idea.

Tearjerk: “Show You”

As of this publication, there’s a decent chance of severe thunderstorms in today’s forecast. But if you’re the type that doesn’t mind braving the elements (or at least a chance of getting rinsed in a car-to-front-door sprint) to support your local music scene, 1) you’re a trooper that deserves commendation and 2) we’ve got one hell of a recommendation.

It comes on behalf of Austin’s Tearjerk, a passion project of guitarist-vocalist-songwriter Vanessa Jollay rooted in inconsolable indie-folk-rock and distraught dream-pop. That’s not to say that Tearjerk is a practice in sadness just for sad’s sake. Instead it’s an expression of emotional weight and hard conversations alongside the turmoil and transformations that invariably follow.

This morning Tearjerk released their six-song debut EP Face to Face, recorded by David Dalton at Driftwork Sound and featuring Jeremy Brandilek on pedal steel, Carissa Giard on drums, and Jake Stuart on bass. This melancholy collage begs to be heard all the way from top to bottom, in-person, on-streaming, and definitely on-cassette. So while the sky is crying, why not enjoy one of two back-to-back Face to Face album release shows? The first is at 4PM for an in-store at End of an Ear Records, followed by Tearjerk’s final April residency appearance 10PM this evening at Hotel Vegas with openers Specific Thing and Harry & Emmy. So if you could benefit from some solidarity on top of great music in the midst of the rainy day blues, shake off the sulk and let Tearjerk “Show You” a good time.

Confession Response #2: Omg you drank my…

We’re back with the premiere of a new song that was submitted in response to our latest open confession call, in which a woman unknowingly drinks a container of…idk you’ll have to find out. This episode features the song “Wild at Heart” by Kelly Dugan. Walker and Zac break down the song and how it aligns so well with the confession.

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Dan Peters: “Jenny Lake”

As a native Austinite that rarely spends a week out of eyeshot of our ever-elevating skyline, I’m hardwired to be somewhat of a city slicker. So I’m always kind of surprised when a folk performer decides to settle down in our noisy, crowded, metropolitan hub. But hey, more folk music for us, right?

Among those we’ve welcomed with wide open arms is pianist-guitarist-vocalist Dan Peters, whose current urban digs are a stark contrast from his coastal Massachusetts upbringing. Dan moved down here at the turn of the decade not only to pursue a career as an environmental scientist but also to reap the benefits of residing in the Live Music Capital. As a result, when he’s not off the grid collecting empirical data, he’s playing keys with local bossa nova/tropicalia outfit Nossas Novas. But of course, with his love of North American landscapes in mind, Peters naturally gravitates towards folk in the vein of Wilco and John Prine as a solo songwriter.

Rooted in such (and in line with the wilderness-inspired titles of his existing standalone tracks “Bottom of the Sea” and “The Birds Are Louder in Texas”), Dan Peters drops his Ramble Creek-recorded debut EP Ocean and the Wind this June. Based on Ocean and the Wind‘s fiddle-infused lead single “Jenny Lake”, which takes us on a cross-country trek from toasty Texas to the snow-capped peaks and tranquil pools of Wyoming, we’re expecting a wholesome Americana-folk sonic safari in store for us this summer.

El Combo Oscuro: “Despegue”

For nearly a full century now, Cumbia’s infectious rhythms have crept out further (both North and South) from its breeding grounds in Colombia. That intercontinental dissemination has led to a plethora of subgenres, and thanks to Texas’ relatively close proximity to Central and South America, some those tendrils (most notably ’60s-style Peruvian psychedelic cumbia or “chicha“) have found new roots here in the Lone Star State. Even here, a several hour drive from the US-Mexico border, we’re blessed to have some prolific cumbia acts call Austin their home. While groups like Grupo Fantasma, Superfónicos, and Money Chicha already found their footing before the turn of 2020, there’s also an exceptional outfit that emerged out of the darkness of our pandemic era. Austin six-piece El Combo Oscuro dropped their debut single “Calavera” right around one year after COVID-19 led to the abrupt cancellation of SXSW (where we usually get an influx of awesome international cumbia acts). Since then they’ve released two EPs (2021’s Que Sonido Tan Rico and 2022’s aptly-titled Cumbia Capital), racked up two Austin Music Awards nominations for “Best Latin Act”, and brought the heat to gatherings like Utopiafest, Levitation, and Chicha Summit. But as quickly as El Combo Oscuro’s come up, like 99% of Austin artists, they could always benefit from a little extra shine. On that note, they’ve recently been inducted into the Austin Music Foundation’s Artist Development Program – Class of 2023/ADP6 alongside KUTX favorites Jake Lloyd, S.L. Houser, and Grace Sorensen. By collaborating with The Bubble recording studio and in-house producer Chris “Frenchie” Smith, ADP helps propel some of Austin’s most talented-yet-overlooked musicians closer to the stratosphere of wider awareness and higher streaming numbers. Today, ahead of live performances next Friday at Arts Mission Oak Cliff in Dallas and next Sunday for Austin psych fest at Far Out Lounge, El Combo Oscuro offers up a first-class seat on a non-stop cumbia flight piloted by ADP. So buckle up for some frenetic Latin turbulence and get ready to take off towards cumbia’s critical altitude with “Despegue”. And to appease some passengers, we’ll go ahead and leave the “no smoking” sign switched off…

Tone Royal: “Nick at Nite”

If you’ve attended your fair share of hip-hop shows, this has happened to you at least once. You discover a new rapper, fall in love with their music, and seize an opportunity to see them live. But right after they take the stage, they inexplicably start cupping the mic, distorting their once-intelligible lyrics into gobbledygook. It can really put a damper on things, even when they’re clearly giving it their all. So when you watch a seasoned emcee prove their worth as a “mic controller” in what could’ve quickly become a garbled cacophony, it’s refreshing as hell.

Considering Ray Villareal’s various public-facing side hustles – as an esteemed stadium sports announcer (for NCAA, UT, and beyond), frequent Double Toasted Bites podcast contributor, or as an outspoken pal determined to buy a round of Buds for the whole bar – it makes sense that Tone Royal treats microphones with a lot of technical understanding and respect. Tomorrow night, the San Antonio-raised, Austin-based vocalist assumes the headlining throne for Empire Control Room’s all-ages “Slow Roasted” 4/20 showcase, preceded by openers MCs Unknown, Shrt_lyf, Daddy Nat, and ZC3, all alongside DJ Buck Rodgers.

This morning Tone Royal sparked up the anticipation with his first single since last August’s “I Hate You”. While the straight-laced often associate 3AM with the witching hour, lonely partakers of the herbal persuasion can relate to the red-eyed reflections and retro re-runs that reside shortly before the day’s first 4:20. Somewhere between a modern torch song and a blunt-rolling bop, “Nick at Nite“ picks up where Passion Pit and Timmy Trumpet left off with a fresh interpolation of Mary O’Hara’s “Óró Mo Bháidín” baking under hazy sax in the background. Tone Royal’s trademark laid back swagger (on both the studio and live version of “Nick at Nite”) has us begging for a full-band full-length follow-up to 2018’s Late some time in the near future, but until then, we’re just fine with putting the remote in the freezer and letting the dial collect dust.