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lluvii: “Up All Night”

As one of the southernmost states to neighbor Latin America, it’s no big surprise that Texas is home to loads of great Latin music. But what really catches us off guard is the abundance of infectious Afrobeat energy right here in Austin. And if we put Latin Psych on the same spectrum as Afrobeat, you start to realize how many local acts get down on each others’ grooves.

Like Austin quartet lluvii. Say it with us: “U-V”. As heard on their debut EP Pacifico from last December, lluvii’s sound breezes through coastal south-of-the-border psychedelia, primal rainforest-ready percussion, and incredibly intriguing indie art rock, all anchored by the idiosyncratic soft siren vocals of frontwoman Carol Gonzalez. For some, that may be enough range to call it a day there and stick to established formulas moving forward. But for lluvii, the journey of genres has only just begun.

lluvii’s got a new EP on the way, produced by Grupo Fantasma/Caramelo Haze visionary Beto Martinez and set for release on August 2nd. The record’s lead offering, “Up All Night”, finds lluvii embarking on an ultra-vibrant, effervescent exploration of Afrobeat that features percussionist Victor Cruz from chicha-cumbia conquistadors Nemegata and keyboardist Anthony Farrell of old school R&B artisans Greyhounds. Even if you’re planning on checking out the single release show 9PM tonight at Cheer Up Charlie’s alongside Sexpop and Rococo Disco, it’ll be a challenge to sit still if you’re stuck in office after pressing play on this one. Because with unbreakable horn lines, un-ending auxiliary percussion, bold beat breakdowns, furious rhythms, buoyant bass work, intoxicating guitar chords, and Gonzalez’s mystic vocal presence, “Up All Night” will keep you going til dawn.

Sean Austin: “Mercy” (Remix) (feat. Lion Heights)

The rapid rate of single rollouts in hip-hop have really made us take remixes for granted. Because when it’s as simple as revisiting the beat, rewriting a verse, and inviting in a few new voices, “I like the remix better” becomes a given with pretty much any commercial success. Which is a shame, since remixes are a great opportunity to breath new life into a piece and reach new listeners with just the right amount of crossover appeal…think “Walk this Way” by Run-D.M.C.. Heck, even if it is pretty much the same song, a fresh set of polish, a literal re-mix, can make an old tune sound new.

If you’re already hip to remix culture, you know it started around in the Dance Halls of ’60s-’70s Jamaica, where DJs stripped and rebuilt reggae, rocksteady, and ska to cater to different audience demographics. And reggae – where the riddim reigns supreme and formal covers are often lost in the id of universally accessible dub bass lines, timbale fills, and guitar skanks – is undeniably an extremely underrepresented arena here in Central Texas. But if there’s one act who just keeps on roaring strong, it’s Austin-via-Chicago four-piece Lion Heights. And of course they’ve incorporated a few other Caribbean-inspired cubs into their pride, including fellow Texas-via-Jamaica reggae purveyor Sean Austin, who they teamed up with on last September’s “Jah Love” (off Lion Heights’ Not Done Fighting Riddim album), 2020’s “One Love”, plus Christmas 2021’s “Same Girl” and “Mercy” (both from Austin’s Purple Hearts LP).

“Mercy”‘s an amazing track, but its relatively lo-fidelity mix leaves the rest of the song quality at the mercy of the listener. Thankfully though, Lion Heights bassist/engineer extraordinaire Dane Foltin worked his magic on “Mercy” to bring it up to snuff with a Tuff Gong mix just in time for a steamy summer. You can hear the difference right away; there’s a newfound clarity and the sense of space is now island-wide, like a long overcast sky suddenly becoming sunny and spotless. Not much more to say other than we love this song, and we’re thrilled to hear it finally get the high-fidelity treatment it’s always deserved.

Lavender Scare: “I Hate Saturdays”

Pride Month kicks off in just a few days, and to help you celebrate in style, we’re swirling the colors with a rising Queer project. And that’s Lavender Scare, whose midcentury reference of a band handle alone tips you off to their championing of LGBTQ identities.

Chief songwriter Ruby Del Mar commands the quartet with high-octane vocals and riveting rhythm guitar, collectively creating what they call “slop pop punk”. And based on what we’ve heard from their upcoming debut Bites, that’s a pretty accurate classification; the power chord subdivisions and instrumental synchronization might not be perfectly precise at these breakneck tempos, but with pop-inspired chord sequences and radio-friendly runtimes, this four-track introduction almost sounds like Against Me! mixed with Yellowcard, all with a bit of a Queer Texas twist.

We’ll be able to sink our teeth into Bites when it hits streaming this Friday or in-person for the record release show 8PM next Thursday at 13th Floor alongside Shysters and Reality Refugee. But until then, embark on Lavender Scare’s snark with the EP’s lead, “I Hate Saturdays”, because like the anthem to a bizarro, weekend-loathing Garfield, this loneliness-engendered tune’s gonna leave you hungry for more.

Cara Van Thorn: “Rage”

Lookin’ to rage this Memorial Day? Well we’ve got something that you might not’ve expected but’ll definitely do the trick.

And that’s in reference to Austin’s Cara Van Thorn, initially born from Donkey Island ex-pats Adam Donovan and Carrie Stephens who continue to spearhead what is now a six-person wagon train. Since Fall 2019, this whimsical, bristly cavalcade’s become a common sight in modern swing circles, but their penchant for upbeat prohibition-era Jazz has always been leveled out with starker styles of rock, specifically ’90s Alternative and ’80s Goth.

And boy did the latter sound steal the show on Cara Van Thorn’s latest single, “Rage”, that just swept through last Friday. Between a menacing theremin, some absolutely disgusting synth bass, simplistic-yet-sinister percussion, subtly tense horn chords, and ominous lyrics that effortless shift between first and second person (further enhanced by additional vocals from A Good Rogering’s Skunk Manhattan), “Rage” sounds like Frankenstein’s monster ripped the bolts out and unleashed all the emotions bottled up beneath to an unsuspecting village. In other words, Cara Van Thorn totally went beast mode on this one.

The Cuckoos: “Dirty Pictures”

If you mainly draw inspiration from older generations, after taking a lengthy break, you may find that the needle on your tastes has moved forward in time too. At least that’s what we’re seeing unfold with Austin project The Cuckoos.

Ostensibly the one-man band (who also operates as a four-piece) of flock leader/multi-instrumentalist/songwriter/producer Ken Frost, The Cuckoos have historically nestled around classic rock, psych, and funk. But after flying off in a near half-decade-long songwriting hiatus, The Cuckoos have recently come home to roost in the best way possible – with a touch of New Wave.

Ahead of their next record (produced by KUTX Favorite Chris “Frenchie” Smith), this morning The Cuckoos clocked in somewhere between Soft Cell and Depeche Mode with “Dirty Pictures”. “Dirty Pictures” goes face to face with the ’80s aesthetic with four-to-the-floor drums, raunchy guitar, salacious synth stabs, arousing lyrics with moody vocals, and a snapshot sound effect that’d make Duran Duran nod knowingly. A lot of producers might say “don’t go crazy” with a new sonic direction…but c’mon Ken…if you keep going cuckoo for the flashback stuff, you sure won’t rustle our feathers.

Grandma Mousey: “When I’m Not There”

Ever since we first caught sight of them in 2022, we’ve continued to make room for Grandma Mousey in our wheelhouse, even after their initial nest expanded from three members to five. Yeah, Granny M’s grown on us so much over the past couple of years, that we don’t mind ratting on their talent again at all.

Because between endeavorous concert stage props, Apollo program-era influences spanning from psych and classic rock to jazz, a humble refusal to take themselves too seriously, and an ongoing obsession with grasshoppers in their song titles (see the previous point), this Austin indie rock lab experiment feels like an anthropomorphic version of Fe, Fi, Fo, Fum, and Phooey, spacey tastes included. And coming off their third studio installment Couch Surfing from last October, they’ve stirred local show rodents into a modest following…at least enough to keep the Orkin man from shuttin’ ’em down.

Now, a half decade out of their hole, Grandma Mousey’s stickin’ their not-so-elderly indie rock whiskers into something that’s a little less Mothers of Inventions and a little more your grandma’s speed – Motown-inspired modern rock. And that’s on behalf of “When I’m Not There”, the lead single from Grandma Mousey’s upcoming EP Slime Community – out this Summer. Where Vanilla Fudge famously put a decelerated, painfully melodramatic twist on The Supremes, Grandma Mousey maintains the powerhouse harmonies, infectious hand claps, upbeat tempo, and major chord progressions of soul’s golden era, albeit into strange places of softly sweet, paradisal psychedelia thanks to some choice synth swells, liquid bass lines, and far out lead guitar.

In terms of Grandma Mousey’s gig next Friday at Anderson Mill Pub? We hope you’ll be there. To Grandmother’s mouse we go!

Carson McHone: “I Couldn’t Say It To Your Face”

No matter how much success a young artist finds down the line, there’ll always be opportunities to pay respects to their predecessors and contemporaries. Whether it’s an early choice (Nick Cave & The Bad Seed’s Kicking Against the Pricks), a mid-career reset (Souxsie and the Banshees’ Through the Looking Glass), a later vocation salute (Bruce Springsteen’s We Shall Overcome), or the final chapter of a band’s studio discography (RATM’s Renegades), a collection of covers can make for a real triumph within a musician’s catalogue.

Among the Austinites with bright futures, bygone muses, and a legitimate respect for their musical elders? Our October 2016 KUTX Artist of the Month, Carson McHone ranks high. A decade removed from her debut Goodluck Man, collective millions of streams accrued for her originals, and current headquarters in Southern Ontario, Carson’s certainly manifested a fast track to international recognition. But despite that familiarity in the Folk-Americana-Country forum, McHone will still take prudent humility over precocious hubris any day, as made clear on her upcoming EP ODES, out July 19th.

Just like the title implies, ODES holds a handful of homages to some of McHone’s biggest influences from the ’60s and ’70s – including Conway Twitty, MC5, and Margo Guryan. And the EP announcement arrived this morning alongside the third of ODES‘ four covers and the EP’s lead single – Carson’s take on a Arthur Russell posthumous fan favorite with an already-rich history of cover versions from the likes of Glen Hansard and The Avett Brothers, and inherently feminine renditions on behalf of Jessie Baylin and Elizabeth Moen. But where Baylin approached “I Couldn’t Say It To Your Face” entrenched in folkadelia and Moen with eggshell delicacy, Carson’s evokes her trademark warmth and Southern confidence by swapping out the original organ for a pretty straightforward acoustic-electric-guitar-and-piano pairing, all while maintaining the original’s tasteful breakdowns and painful farewells. And after watching the accompanying music video, we just can’t wait to watch Carson McHone perform this one in person…honestly with a little eye contact and face time preferred.

Indoor Creature: “Cross The Line”

Although we’re bound to find a silver lining eventually, when we take the time to really look at the world we live in – gross injustices, grievous atrocities, shared struggles and all – it can make staying inside super appealing. And for sonic creators, as long as the bleakness doesn’t make the music meek, the weight of societal commentary can say a lot about an artist’s maturation.

So let’s talk Austin Indoor Creature, who you may remember as our June 2021 Artist of the Month. Initially born from a stripped-down duo between singer-songwriter Caleb Fleischer and drummer-guitarist Travis Kitchen in the mid-2010s, Indoor Creature’s since evolved into one beast of a six-piece that breathes new life into their retro collection of influences. For any project who made it to this side of the pandemic, the outlook’s gotta be more optimistic. But as we mentioned before, harsh realities don’t just get hushed when the juices start flowing.

Marking their second standalone installation since 2021 full-length Living in Darkness, last Friday Indoor Creature embraced iniquity once again on “Cross The Line”. With a robust pop backbone and Fleischer’s vocals that evoke Thomas Mars, “Cross The Line” reminds us of the tragedy-spurred background behind Phoenix’s Ti Amo. But instead of gating the heck out their instrumentation and keeping the BPM far north of 90 (both straight out of Phoenix’s radio-friendly playbook), “Cross The Line” relishes in a spacious, stereo-spanning mix and a truly introspective tempo. And for an act that call themselves “Indoor Creature”, they’re sounding awfully human on “Cross The Line”, thanks to its jazzy dynamic range, soulful chord progressions, extended jammy outro, and of course, the socially-conscious lyrics.

Wild Wren: “I’M A BIRD”

Back in the day, if you were to walk around downtown, you’d hear one predominant sound spilling out of at least every other 6th Street venue: blues rock. But as the landscape of the “Live Music Capital of the World” has evolved and diversified, frankly, so has the state of blues rock itself. And if we’re talking local aural ornithology, there’s a fine specimen that just chirped out something bold.

And that’s Wild Wren. Having only released their debut LP Love Deluge in March 2022, this quartet is still in their fledgling phase, no doubt. But through that nine-tune torrent, Wild Wren’s proven that they’re not just pigeonholed to the the traditional twelve-bar bore. Instead, those straight up jams soar across hard alternative textures and indie-inspired licks, essentially capturing a piece from that turn-of-the-millennium commercial radio backdrop and making it their own in a contemporary context.

And if there’s any producer here in Austin that understands the harder side of that indie-alternative spectrum, it’s Chris “Frenchie” Smith, whose ever-growing brag sheet includes work with Jet and The Darkness. Wild Wren recently linked up with Frenchie for their latest single, and surprise to know one, the result finds the four-piece’s already-fuzzy style fluttering to new, expertly-engineered heights. At a feather under four-and-a-half minutes, “I’M A BIRD” instantly reminds us of a time when acts like Audioslave and Foo Fighters dominated the airwaves, with slower and soulful blues-infused chord changes defining the verses while heavily-melodic motivation overtakes the hooks, including a masterful dynamic range reset midway through.

Ready to get on the wing with Wild Wren? Catch ’em live WTF Icehouse 8PM next Wednesday and again in a few weeks, 10:45PM on Friday, June 7th at Saxon Pub, ’cause those shows definitely aren’t just for the birds.

Genuine Leather: “Getting Used to the Feel”

For a lot of self-made bedroom producers, lo-fi isn’t just a creative choice; it’s a necessity. Yeah, not everyone has the technical prowess, access to equipment, or funding to match the pristine masters of their commercial radio contemporaries. But when lo-fi folks like that gain the resources to make the leap up, it’s hard to step back down.

Now let’s jump to multi-instrumentalist-producer Chris Galis, AKA Genuine Leather. Galis has spent a decade tanning Genuine Leather’s lo-fi synth-pop-rock sound, so when GL’s label-supported debut Genuine Pleasure dropped last November, the higher production value felt like a significant departure – even though the songwriting formulas were still intact.

Well, given their latest standalone, Genuine Leather’s clearly comfortable in their newfound high-fidelity factory…and we sure as hell aren’t complaining. “Getting Used to the Feel” maintains that Tame Impala quality we gushed about last June, but slows its roll and finds Galis’ vocals in a more spacious arrangement, which totally makes sense in the context of its immediate post-COVID “return to normalcy” penning. That said, the tempo is real treat for a mix as polished as this one, and there’s no way “Getting Used to the Feel” could carry that arena-filling energy in a lo-fi forum. But we’re sure it’ll translate onstage when Genuine Leather plays the single release show 8PM this Thursday at the Mohawk alongside Minivan Dad and Mr. Kat. As far as Genuine Leather headlining bills and dropping highly professional recordings? Better get used to it.

Big Bill: “Emotions”

If you’ve kept posted on Austin quartet Big Bill, you know they’re in somewhat of a post-pivot position. Yeah, after years of establishing their space in the oddball-deadpan-art-punk sector, Big Bill pulled off a risky switch to more of a ’90s-style indie rock sound with their Summer 2022 full-length Public Freakout Compilation. And while we’d never go so far as to call our bbs in B.B. “inoffensive”, the exploration of indie does add a sense of mass accessibility to Big Bill’s idiosyncratic, off-kilter aural antics and intoxicating melodies.

So given their ongoing path in that same direction, we’re already drooling over Big Bill’s upcoming third LP Strawberry Seed. See, in carving out a more “mature” niche in indie rock, Strawberry Seed actually seeks to emulate the childhood nostalgia of a kindergarten art project – less the acceptance of anxiety in adulthood and more the abstract incipience of early, blissfully unaware expression. In that pursuit of fuzzy warmth, Big Bill’s included backup singers, acoustic guitar, synthesizers, and piano to their traditionally straightforward punk arrangements.

We won’t be able to harvest the fruits of Strawberry Seed until it hits streaming June 14th, the same day Big Bill plays a free in-store performance 5PM at Waterloo Records. But if you want to get an early taste, Big Bill’s set to share some samples 9PM tonight at The Mohawk as part of a big bill that also includes Tied Up and Gustaf. And if you want to blow your mind with how much Big Bill’s sound has evolved, fire up “Emotions” – which is decidedly less like Suicide and more akin to The Black Keys trying to out-weird The Minutemen. It’ll leave you feeling a way for sure.

Tobias Lund: “Let Me Know” (feat. Phono Magic)

Everyone’s got their favorite blue-eyed soul artists. And sure, it’s technically a derogatory term, but if you’re after some super blue-eyed soul…like so blue-eyed it’s Scandinavian, then look no further than Austin’s Tobias Lund.

This is the third time we’ve talked up Tobias, and long story short, the keyboardist-singer’s already shown a ton of talent across the soul-pop spectrum. So after a strong sequence of sultry standalone solo and collaborative singles, imagine our delight upon hearing about Tobias Lund’s debut EP, Leap of Faith, out next Thursday.

Lund plays a set Hole in the Wall 10PM that same evening with EP guests Camila Rivers and Phono Magic, plus The VYB Project alongside opener EddieAngel at 9PM and closer Chico Jones at 11PM. And just yesterday Lund lent us the album’s second lead single made in cooperation with Phono Magic, “Let Me Know”. We knew Tobias was smooth, but damn, this one just breathes baby-makin’ magic. Whichever way you lean, this erotic piece of modern R&B is an instant aphrodisiac for aural arousal.

Honey Luck: “Red Line”

Summer’s just over a month away. And with the birds and the bees still bringing new life into Spring, it’s a great time to appreciate fresh acts. So let’s stick a dipper into one of the latest projects to come out of Austin, Honey Luck.

This Americana trio was born out of an auspicious meeting between Brian Pounds and Beth // James’ Jordan and Mikaela Burchill during a Kerrville songwriting competition. The buzz between them was too good to pass up and ever since a session at the Burchills place years later, they’ve stuck together as Honey Luck. Now technically, Honey Luck only made things official this past January. But like a nectar-encrusted horseshoe ringing the stake on the very first throw, Honey Luck’s already had a prosperous start to what’ll surely crystalize into a long-preserved career.

By that we mean Honey Luck’s landed a sweet residency 6PM each Monday in May at the Saxon Pub opening for Austin icon Bob Schneider and recruited six-time Grammy Winner Vance Powell of Chris Stapleton and Sturgill Simpson fame to produce their debut single. A viscous mix of vocal harmonies, heartfelt guitars, and Western fashion paired with a pseudo Super 8 music video that oozes with contagious laughter, sincere smiles, and joyous local performances, “Red Line” has given us our first taste of what’s to come from Honey Luck. And with more tunes already solidifying in their hive, we feel like Honey Luck’s good fortune’s still got a long way to go.

Jomo & The Possum Posse: “La Quinta”

Short-term shelter ain’t just part of a discreet routine for affairs and flings. Naw, as an integral piece to any touring musician’s itinerary, lodging has found a cozy place in the songwriter space, ranging from themes of post-breakup lifelessness (“Heartbreak Hotel”), raunchy encounters (“Chelsea Hotel #2”), and tour torpor (“Holiday Inn”) to whatever the hell “Hotel California” is about. That said, the humor intrinsic to a hotel setting (ya know…where depending on your chain preferences you might end up in near-identical rooms no matter your place in the nation) rarely shines through.

But if there’s one person who can appreciate the comic side of musician life (even in motel minutiae), it’s Austin’s Jomo Edwards of Jomo & The Possum Posse. Most folks know Jomo from his virally successful 2011 Guy on a Buffalo YouTube series. But Jomo’s not just a one-trick marsupial. And after three studio full-lengths, a live LP, and an EP of hip-hop covers, him and The Possum Posse certainly aren’t playing dead anytime soon either.

In fact, for their fourth studio offering Yesterday’s Coffee, they may have even stepped their game up by handing production duties over to Shinyribs’ Kevin Russell. So naturally, shortly after the album drops, Jomo & The Possum Posse open for Shinyribs themselves 8PM tomorrow at Radio East. And if you really want to curb that Jomo FOMO, catch The Possum Posse 5PM today for a free in-store performance at Waterloo Records. In the meantime, we’ll get you checked into “La Quinta”, which evokes the bleary-eyed elevator ride up that’s defined so many wind-downs – ideal for a Side A closer. And given its place in the ranks of treasured Texas staples spawned in San Antonio like H-E-B and Academy, it’d be no huge surprise if “La Quinta” scored The Possum Posse an ad placement on behalf of their corporate namesake.

Either way, with pizzicato plucks, six-string stabs, wailing organ, a bridge fit for a continental breakfast, and a chorus so catchy you’ll be singing it all the way to the front desk, “La Quinta”‘s earned Jomo et al. a complimentary stay in the Presidential Suite for sure.

Steel Gemini: “Only Freak”

If you’re a fan of that synth pop section of indie electronica in the ilk of Goldfrapp, Grimes, and CHVRCHES…there’s a relatively recent artist right here in town that’ll absolutely scratch that itch.

And that’s Steel Gemini, the Austin-based project of singer-songwriter-producer Joy Baldwin. Ever since her December 2022 debut, Baldwin’s been a real joy to listen to thanks to everything we mentioned last March. With a brand already as strong as her metal namesake and a standard of quality consistent enough to match, Steel Gemini’s standalones have left us patiently waiting for a fuller collection of tunes.

But that’s in no way meant to knock her sixth single “Only Freak” that just dropped last weekend. Its introductory four-bar coupling of sampled vocals and electric guitar almost misdirects you into thinking the rest’ll sound like The xx. But really, that’s more of an atmospheric backdrop throughout “Only Freak”‘s four minute runtime, where minimalist drum programming, massive bass synths, shimmering pads, and Baldwin’s featherweight vocals end up stealing the show. Safe to say, the only thing freaky about this is if it ended up being Steel Gemini’s sole output of the year.

Mikky & The Doom: “Garbage, USA”

In most situations, if you got it, flaunt it. But in an industry that demands infinitely more from your ears than from your eyes, if the hottest person on the planet doesn’t have the pipes to match their looks, they probably don’t have a shot at succeeding as a singer.

So let’s talk newcomer Mikky Rib and her Austin outfit Mikky & The Doom. A quick stroll through the band’s Instagram instantly tips you off that sex appeal is core to their brand. But with a proven ability to parrot the timbres of Amy Winehouse, Stevie Nicks, Gwen Stefani, and Lana Del Rey (all of which influence her own unique sound) in an uncanny way, their eponymous frontwoman can’t be written off as just eye candy.

This year Mikky & The Doom have been following a roadmap to their debut studio EP Garbage, USA. Produced entirely by our April 2018 Artist of the Month Mobley, this introduction explores low-light garage rock, hook-driven indie, and sex-positive electro-pop while lyrically relishing in all kinds of societal litter. There’ll be a few stops on the way before the album’s May 17th release date, including two more lead singles, a show 8PM next Thursday at The 13th Floor Alongside Jeremiah Jackson and Scotty B and The Hive, and an appearance at Hot Luck Fest on May 24th. Given that growing population for Garbage, USA, you’re just three drum stick clicks away from the record’s title track, because it’s anything but trash. An anarchistic, pyromaniac anthem, the catchy-as-hell “Garbage, USA” sounds like The Strokes woke up with a little extra dissonance in their system, heavily-processed instrumentation, pop-informed production, radio-ready brevity and all.

Grandmaster: “Castle Door”

Watch out, Golden Dawn Arkestra…there’s a new costumed collective in town, and they’re hunting for for fresh converts! But instead of frenetic Afro-inspired dance grooves, these fanatics have so far stuck to the slower side of ’70s-style jazz funk rock; think War whisked together with Steely Dan.

Not that you’d be able to tell from your first look at ’em. Yeah…between their cloaked, crowned, and ember-eyed namesake leader (ceremonial thurible and staff ever at the ready) and ten black-suited, red-hatted, and white-gloved Zealots (eyes always redacted by clever lenses), Grandmaster is an great example of “appearances can be deceiving”. Creepy cult getups aside, in the sole year since their first performance, this eleven-piece has already indoctrinated an impressive sect of followers. And based on the caliber of those live stage-filling rituals, they won’t need much proselytizing to add a digit or two to their current numbers. Probably just a bigger place of worship.

Well right after winning an American Songwriter contest that re-united The Grandmaster with Bootsy Collins during SXSW, the cosmos smile once again ahead of Grandmaster’s Nolan Potter-produced self-titled debut. By that we mean they’ll be celebrating an album release show at The Paramount’s State Theatre 7PM this Saturday for The Grandmaster’s Gala, alongside openers Nolan Potter’s Nightmare Band and Dodo. With proceeds benefitting the SIMS Foundation, and a sophomore follow-up already foretold in The Grandmaster’s prophecies, this Gala’s a good opportunity to catch the band before their concerts demand venues with larger capacities.

To any who still resist temptation, we point to Grandmaster‘s second incantation “Castle Door”. Because with a goblet-sloshing groove, a palace-spanning chord progression, and a truly regal arrangement, “Castle Door” lowers the yacht rock drawbridge and raises the prog-funk portcullis to one hell of a good time.

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