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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.

Katherion: “Roses and Daisies”

Song of the Day is finally back from a much-needed break! And as a token of appreciation for everyone’s patience in the interim, we’ve got some great new picks to catch y’all up on, one of which made an inaugural streaming appearance just last weekend.

We’re talking about Katherine Yuna, also known as Rion Reed, but best recognized by their stage name amalgamation Katherion. This Houston native with growing Austin exposure has been singing their whole life and penning tunes for the past decade, but didn’t unlock and realize their true form as Katherion until a semi-recent, life-changing experience in guided psychoactive therapy.

True to their handle (pronounced “Kath-e-Ryan”), this project provides a healthy balance of masculine and feminine, spiritual and emotional, and sonically speaking…indie and alt-rock. In fact, ahead of their upcoming debut album 33, Katherion teamed up with indie-alt-rock innovator and Song of the Day favorite Walker Lukens to co-produce the record’s lead single, “Roses and Daisies”. So before we’re blessed with the full bouquet of unbridled acceptance on 33 later this Fall, which’ll also include the sophomore single “Thank You” in about a month’s time, bask in the refreshing fragrance of “Roses and Daisies”, whose authentic aromas alternate between vulnerable solo verses and defiant double-tracked choruses. By the time you get across the bridge and into the final hook, you’ll better understand Katherion’s admirable mission of empathy, uplift, and humanity’s mutual bonds, no matter how you identify.

Lunar Gold: “Low Light”

Even though it’ll always be a nightly main attraction, the moon’s also been a hot topic thanks to recent international missions, both successes or failures. But of course, for every state-funded effort, there’s a private space venture in the hands of a billionaire. Which begs a question. Once corporations capitalize the moon, how much of its resources will be scavenged for profit?

We can only speculate about what prized minerals will define the next era of mining, so for now, let’s just focus on Lunar Gold. An endeavor captained by Austin singer-guitarist Jason Morris, Lunar Gold specializes in a dark ambient sound that captures the emptiness of outer space and the loneliness of a largely-untouched surface, whose distant glow ironically affords Earthlings some comfort among the cosmos. Lunar Gold’s still-slim online discography is split between Bandcamp and Spotify, but as we learned with last week’s super moon, good things come to those who wait.

Case in point, ahead of a live set 11PM next Saturday at Stubb’s indoors (with free admission to anyone holding a Local Natives wristband), Lunar Gold’s gifted us the luminous new single “Low Light”. “Low Light” effortlessly passes through rocky phases of prog and psych thanks to Morris’ glorious, reverb-glazed falsetto and his backing quartet’s unified precision despite a challenging, zero-gravity tempo. It’s a dimmer glimmer that beats the hell out of this treacherous Texas sunshine and gives a whole new meaning to moonglow. So rather than let the remainder of the work week eclipse your prospects for next weekend, fade your troubles away in just under five minutes with “Low Light”.

Lion Heights: “Cool & Easy”

Here in the Lone Star State, the authentic “tropical” experience is pretty much limited to South Padre Island, about a six-hour drive from our city limits. But despite Austin’s central location, when it comes to less land-locked sounds (chiefly reggae), we’re actually pretty lucky to have strong local institutions; The Flamingo Cantina’s remained a major draw for fans of the genre since 1991, Austin Reggae Fest since 1994, and in terms of adjacent interests, we also have a relatively lenient (okay, decriminalized) herbal culture compared to our more conservative county neighbors. So it’s not a big shock that reggae acts like Lion Heights claim Austin as their creative den, especially considering their incorporation of “outlaw” (a term typically associated with Texas country rebels like Willie and Waylon) into an otherwise-idiosyncratic Caribbean style. A decade back Lion Heights crawled out as a cub with their debut EP Survival of the Richest, but really roared with higher production value and a vast cast of collaborators on 2021’s Blank Check Riddim. And with the release of the extensive 46-minute False Reality this past April, Lion Heights has clearly worked their way up the food chain to become one of Austin’s finest reggae ensembles. But what’s the point of making it to the top if you’re just gonna ride recent accomplishments? On that note, Lion Heights dropped their eight-track Not Done Fighting Riddim last Friday, a feature-filled pride that showcases Lutan Fyah, Chuck Fenda, Alan Moe Monsarrat, and more. Sure there are some explicit sensi-bilities with opening titles like “Herbsman” and “Love Marijuana”, but by and large this new record (true to its title) champions fist-in-the-air civil disobedience and resilience in our modern era of working class oppression. And fun fact: Lion Heights shakes off their regular crepuscular schedule for an afternoon show 3PM this Sunday at The Far Out Lounge ahead of a regional Texas-Florida tour later this month. Even if the triple digits in the forecast convince you to stay home, you can still counter our painfully noticeable lack of coastal breezes with a tune that instills a chill you just can’t kill, “Cool & Easy”. From its introductory timbale fill and guitar skank to its final full-band chord, “Cool & Easy” (featuring duo Roots Revealers) is like a coconut cocktail you can take anywhere with you; to work, to your home stereo, and of course…if you’re willin’…to the beach.

Walker Lukens: “Man & Wife”

As a commemoration of factory personnel, harsh conditions, and tumultuous union strikes, Labor Day often loses its meaning for all the folks just enjoying a Monday off. But a century-plus later, we can still take a moment to appreciate some less-industrial aspects of life that often get taken for granted. For example keeping up a clean, appealing appearance usually takes a continued concerted effort, and once those looks help you land a partner for life, the work doesn’t stop; it’s a real labor of love to keep a marriage going strong past the initial honeymoon phase. Keep those in mind as we commend all the hard work Walker Lukens has done over the years. He’s elevated himself from mere multi-instrumentalist/singer-songwriter to a monolithic must-have producer-for-hire here in Austin, not to mention a concept-driven creator who’s helped mastermind the Song Confessional podcast and the vast Texas Wild collaboration. Still, seems like Walker’s got an undying hunger (and somehow enough time) to make great tunes on his own accord. On that note, this Friday Walker Lukens finally unleashes his fourth full-length Accessible Beauty, self-produced and recorded at Lukens’ Paradise Lunch recording studio. He’ll be taking these eight mellow originals on the road for a week-long East Coast tour in October ahead of three Central Texas shows in mid-December, including “The Last Walt” December 15th at The Paramount as part of KUTX’s 10th Birthday Concert Series. But even though the locals will have to wait a while to catch the new Walker live, Lukens was kind enough to toss us some early access to Accessible Beauty with the LP’s latest and final lead single. A spiritual sequel-of-sorts to this April’s “The One Who Loves You”, “Man & Wife” keeps the affection flowing with shimmering synths, vocal harmonies that weep with reverb, and a hard-rocking hook that gives this multi-coupling of sounds some tasteful dynamic range. So consider celebrating Labor Day with a spell of spontaneous romantic gestures that’ll reaffirm the work you’re willing to put into a relationship (be it currently in existence or a dream for the future). And even if you’re single by choice and plan on keeping it that way, the soft, mature sensuality of “Man & Wife” will make your inner beauty feel sexier and more readily available then it’s ever been on a Monday.

The Dead Coats: “Reach”

The outrageous rawness of garage punk has always lent itself to gimmicks. But just because you incorporate a bit of stage antics into the routine doesn’t mean the music can’t carry weight on its own merit. Take for example The Dead Coats, forged by Lauren Warmer in Baltimore a decade back before moving to Austin in 2017. Once they re-tailored themselves into a quartet, The Dead Coats cranked out two fantastically-callous EPs towards the end of the 2010s. And just before the pandemic put a damper on the whole “Live Music Capital of the World” thing, The Dead Coats donned some oddly-prescient dress at Kickbutt Coffee – as nurses that transported Warmer’s living corpse onstage via bodybag. The following March The Dead Coats really caught ears with their debut full-length Big Wish, a record that earned them a sold out show at Empire, plus an Austin Music Award for “Best Rock Act” in 2022, and an induction into Austin Music Foundation’s 2023 Development Class. Since then we’ve just been counting the seconds until another new single; an era of anticipation that ended this morning. With the release of “Reach”, The Dead Coats kicks off the weekend 10PM tonight at The Far Out Lounge for the Virgo Zodiac Party. Doors are at 7, Shelly Webster starts it off at 8, followed by Moon Fuzz at 9, and Pinky Rings close it down at 11. But if Far Out Lounge is a just bit out of reach, you can still get riled up wherever you want in three minutes flat. An instant riot from its first guitar riff to its final chord sustain, “Reach” shrieks and shreds with a wailing vocal performance, pulsing power chords and bass accompaniment, gripping percussion fills, and a much-appreciated change of pace thanks to a half-time breakdown in its bridge. It’s the pinnacle of punk rock, plain and simple.

Mamahawk: “Fighter Jet”

As a war wages in Ukraine, aspects of the military industrial complex are front and center in the news; with each international donation to the effort, headlines interject model names right into casual lexicon, so presumably the layperson now knows the difference between a Leopard 2 and an F-16. And while the four members of Mamahawk haven’t necessarily shown off that knowledge of hardware specifics, when it comes to combatting crappy music, they’re a major aggressor. After a modest immobilization with their 2015 self-titled debut, Mamahawk really brought the offensive to a brink on “Brain Invaderz!” an operation that earned them the rank of KUTX’s August 2018 Artist of the Month. Their sophomore six-track of the same name came in hot the following February, and this past April Mamahawk showed that they’re still on the wing with “Walk in the Fire”. Well the spacey rock squadron might as well’ve teamed up with Skunk Works, because their latest doesn’t just buzz the tower; it throttles up to the stratosphere for aural superiority. On “Fighter Jet”, Mamahawk cuts the afterburners and coasts at a slower tempo than we’ve heard from them recently. That said, “Fighter Jet” delivers an massive payload in just four minutes, thanks to a Tomahawk missile’s-worth of jazz-prog key chords, laser-accurate delayed-out electric guitar slides, long bass tones that capture that high-altitude hum, plus a canopy of crisp drums and clean vocals. Catch the full sortie midnight tomorrow night at Sagebrush along with openers Aubrey Hays at 11PM and Sammy G at 10. Til then, quit the habitual bitchin’, strap in, and set course for a relaxing Labor Day weekend.

Wendy Colonna: “Inspired”

Concerning attempts to beat the heat, we’re guessing all Texans are giving it their best shot right about now. And huge kudos to the creatives making content that at least invites a cool mindset, even if we’re physically still melting.

In that vein, we especially appreciate Louisiana native Wendy Colonna for returning a favor to her current HQ. See, Colonna moved here to Austin at the turn of the millennium pretty much immediately after soaking up the beloved Barton Springs ambiance. And since embracing our city limits as her home, Colonna’s become a staple of the local scene thanks to her luscious soul-informed vocals, eagerness to form new bonds, and undying enthusiasm to collaborate.

Speaking of the latter, for her next collection The Paradigm Project, Colonna recruited some of Austin’s finest both for the in-studio arrangements and live performances. The roster includes The Belle Sounds frontwoman Noelle Hampton, Willie Nelson collaborator Matt Hubbard, and horn section leader Kevin Flatt, all of which you can see share the stage for a double single release show 7-10PM this Thursday at The Pershing alongside Suzanna Choffel, whose also a contributor to this Central Texas supergroup. So while Barton Springs remains the only public pool with a price this summer, Colonna looks back at two decades-worth of memories filtered through Edward’s Aquifer with “Inspired”. The music video puts you right on the waterfront, availing the rest of your senses to cool down with this heartwarming, horn-driven, Hampton co-penned piece of blue-eyed disco, no hula hoop required.

Hot Boys and Girls

Fresh and Confucius talk about the impact that this year’s record heat is having on live music in Austin. Then, inspired by Asian Doll’s comments about not wanting to rap at 30, they debate the merits of older rappers.

You’ll learn Hip-Hop Facts about how Andre 3000 lived in Austin, why Dr. Dre turned down opportunities to work with Michael Jackson and Prince, what Missy Elliot song contains Beyoncé’s first solo outing and more.

Fresh states the Unpopular Opinion that people don’t actually separate the art from the artists, but instead just decide what bad behavior they will or won’t tolerate.

Confucius talks about Trump’s mug shot, the recent Republican Party presidential debate, the Biden Administration’s new student loan repayment plan, and more.

B.R. Lively: “Hope in My Heart”

With the oppressive heat and an especially tantalizing 24-hour news cycle, it’s worth taking a moment or two to just breath. So while neither we nor the artists we curate can claim to be mindfulness experts, we feel like today’s feature is pretty fitting for anyone in need of a mindset shift. It comes courtesy of Austin multi-instrumentalist-singer-songwriter Bryan Richard Blaylock (better known as B.R. Lively), whose well…livelihood….lies roughly within the boundaries of folk, outlaw country, southern R&B, and jazz. Lyrically Lively derives a lot from literature, but rest assured, his tunes aren’t so high brow that they’re inaccessible to the layperson. Lively first crested over the horizon with his debut Into the Blue in 2017, and tracked a companion piece fast in the aftermath. Well after nearly a half decade of solo touring across the US, Lively’s back in Austin and eager to unleash those counterpart recordings from their hard drive confines. Where Lively considers Into the Blue as an introspective, melancholic inhale, his sophomore follow-up People completes the process of process aural respiration with an exhalation of poignant wisdom, emotional growth, and realistic optimism; a Yin to Into the Blue‘s Yang. Lively takes the stage next Tuesday at High Noon for the People release show alongside Lola and returns the following Tuesday with Brothers of Mercy. But with scant chances of rain between now and then, let’s leverage those aspirations with “Hope in My Heart”. Co-produced by Band of Heathens collaborator Gordy Quist, mixed by Robert Ellis/Khruangbin engineer Steve Christensen, and arranged by string-and-horn visionary Thomas Avery, the sense of space, level of polish, and discipline of performance on this waltz are all nothing short of jaw-dropping. And as auspicious as it is awe-inspiring, “Hope in My Heart” will reward you with the essence of its title whenever the bleakness has got you feeling meek.

Motenko: “Lifted”

Here at KUTX, we’ve never been shy about our love of Wild Child; hell I myself even played a show or two with ’em back in the day. But while lead singer Kelsey Wilson often steals the spotlight (and deservedly so), there’s no sense in denying the vast talent toted by each individual member. Among the masterful many is keyboardist-vocalist Micah Motenko, who on top of touring alongside Wild Child and Jade Bird, also moonlights as frontman and chief composer for his mononymous quartet Motenko. Meshing the best retro-soul bits of Muscle Shoals and Motown with modern pop and R&B, plus some impresas of Mac DeMarco and Steve Lacy and Motenko’s eponymous 2020 debut EP’s received nearly a million streams on Spotify alone. On the technical side, Micah’s dexterity has turned him into a two-time Austin Music Award nominee for “Best Keyboardist”. Well, with the release of a pair of singles last summer, some of Wild Child’s road-wise shine must’ve rubbed off on Motenko’s songwriting, since they now seem like they’re breaking out of their “safe” formulas in favor of “riskier” structures and arrangements. In fact, Motenko recruited some of Sir Woman’s awesome entourage to provide backing vocals and fill out the arrangement on their latest single “Lifted”. On top of that, Motenko teamed up with Twin Shadow producer extraordinaire Austin Smith to punch up this already-rich piece of tip-top soul-pop into pure perfection. Fingers crossed that “Lifted” gets the live treatment when Motenko plays midnight next Wednesday at C-Boy’s Heart & Soul with openers Madison Baker at 10PM and Skylar Rose Wilson at 11PM. So if you woke up tired and hazy this morning and but don’t want to get drunk off the strength of your own will for Thirsty Thursday, the melodica cocktail that is “Lifted” will definitely help you grapple with your own motivation.

Jane Leo: “Wow”

A lot of rising acts have made their way into the Austin pop culture lexicon since the pandemic started wrapping up. But one of the most memorable new names actually comes from two familiar favorites joining forces. We’re talking about our March 2023 Artist of the Month Jane Jane Leo, formed by Jane Ellen Bryant and Daniel Leopold using the Sofi Tukker approach to their band handle.

This power pair popped up in the summer of 2021 with their single “Tell Me (I’m on your Mind)”, making a compelling first impression with what’s still their most-spun track to date. After coming out of the gate big and bold, these art rock wonder twins compiled their introductory batch of originals into an eponymous debut full-length this past February. Since then we’ve basically been begging for more from this power duo, and boy did they deliver last week.

On Friday Jane Leo issued us to the kickass opening chapter for their next album with “Wow”. Packing wonky, high-octane energy into two-and-a-half minutes, “Wow” could easily become a companion piece to the chart-topping tunes of Post Malone and Tiesto bearing the same title and near-identical durations. Tomorrow Jane Leo jumps onto their inaugural national tour alongside Cannons, one that”ll swing by Austin on September 20th at Stubb’s and October 6th at ACL Fest. But today the big news is the amazing music video for “Wow” that flew in this morning.

In it Bryant and Leopold heed the call of a conspicuous red hotline, snap on the spandex, and transform into unconventional-yet-competent caped crusaders that give the Justice League a run for their initials. So behold JL’s superhuman abilities of pedestrian protection, fire extinguishing, and…vacuuming? It’s a vibrant divergence from their typical high contrast black-and-white “neon noir” visual brand that’s as playful as it is punchy. On top of that, every shot in this convivial sprint is so much of a treat that you can easily find a friend or five that’ll love it. Who knows? You might just end up recruiting your own set of aural Avengers that uses “Wow” as their anthem to assemble.