folk

Erin Ivey: “I’m in Awe”

A lot of intergenerational discourse about age and beauty got brought up because of The Substance this year. Ya know, out with the old and in with the new by rule of sex appeal. And the way some of these fresh-faced artists skyrocket to half a billion streams seemingly overnight based on Tik Tok clout…it’s hard to shake the preconception that even the music industry is a young gals’ game. But you don’t even need a sense of sight to recognize meaningful songwriting and a keen ear, both of which naturally develop over a lifetime of formative experiences.

You can see where this is going, but rest assured, we’re respectfully shying away from the words “old” and “older” as best we can. Because like haulin’ out a holiday basket of assorted, exceptionally-aged fine wine, this Thursday the 04 Center hosts Merry & Bright: Wavemakers Holiday Concert and Market supporting women over 40 in the music industry that boasts a lineup of Lurleen Ladd, Suzanna Choffel, Wendy Colonna, and today’s spotlight Erin Ivey for an evening of guaranteed great music.

Concerning Erin, it’s been well over a decade since dropping her robust solo debut The 11th Floor. But she’s kept that infectious indie folk infatuation well-fed with the recent release of “Christmas on the Southern Plains” to stuff your yuletide stocking, not to mention her sixth full-length Souvenir from mid-November still piping hot. Created in the aftermath of a cancer diagnosis and a Christmastime surgery, the record’s deceptively simple; the fairly straightforward arrangements almost make light of Ivey’s impressive vocal performances (post-op ability aside) and champion the album’s theme of perseverance in a tastefully subtle way.

In that vein, all ten tracks are “awesome” in the original sense of the word, so check out the LP in its entirety. Or just jump to the proof we point to now: the penultimate memento off Souvenir, “I’m in Awe” that not only sounds like Erin Ivey hasn’t missed a step post-health-complications but indeed that she’s stepped up her game on the whole.

Days of Summer: “Need to Escape”

We’re just two weeks away from Thanksgiving and wouldn’t you know it, it’s finally starting to feel like Fall down here. You’d be hard pressed to find a Texan who doesn’t appreciate the drop in temps, but then again, the spirit of summertime is simply a year-round celebration for some folks. Folks like Austin’s Angela Greco.

When Greco’s not getting down and dirty as a professional gardener and garden designer, this certified green thumb’s got her hands full with the creative harvest that is Days of Summer, a folk-rock cornucopia whose sprouts first surfaced on streaming in May 2022. But the music’s not the garden variety of either folk or rock; though Greco does assume the traditional role of fronting guitarist-singer-songwriter, Days of Summer shines with the addition of flute, bass, and percussion in well-tended acoustic-electric crop patterns and cozy curations best categorized as “woodsy”.

Lately? Greco and co. have been in the weeds for Days of Summer’s sophomore album So Low, out next Valentine’s Day. And on the third of these new cultivations, “Need to Escape”, the Days of Summer crew are joined by Little Mazarn cellist Lindsey Verrill and Denton Audio Works guitarist Joey Cerda for a harmony-enhanced orchestral triumph. So even though the dog days far are behind us and the sun is setting earlier and earlier, you can get a dose of Days of Summer 8PM tomorrow night at Lockhart Arts & Craft alongside Tom’s Parents and Batty Jr.. Or if you just need a five-minute respite from the claustrophobia of cubicle life, sociopolitical distress, or just run-of-the-mill monotony, take a triple meter retreat of string noise, round-style vocals and elegant interval leaps with this slice of the extra soft ’70s that stands on the shoulders of Joni Mitchell and Sandy Denny.

Deer Fellow: “Shock Value”

Demanding attention. Acting erratically. Stirring the pot just to start some shit. We’ve seen plenty of all that int the lead up to this election, but truth be told, for some people, that’s just part of their hardwired human nature.

At least that’s the inspiration for the latest single from Deer Fellow. This Austin duo’s coming up on nearly a full decade together, a duration throughout which we’ve broadly categorized their style as indie folk. However, just like you can never keep their namesake Cervidae in just one spot, Deer Fellow’s done a great job of branching out past their folk breeding grounds with ten point bucks of genre crossbreeding, primarily with pop, best exemplified by last April’s Unravel EP.

Based on that, and even this January’s “Closing Time”, we sort of feel caught in the headlights off Deer Fellow’s latest single that dropped last Friday. Yes, it’s still got those charming orchestral elements carefully nestled in rather than haphazardly slapped on the arrangement. But this time the sonic backdrop is a meadow of mellow psychedelia that we’ve never heard Deer Fellow graze before. Yeah, for a song called “Shock Value”, this one goes down super smoothly, with tons of reverb, far out vocal processing, woody snare rim clicks, soulful chord changes, harmonies galore, and of course, that gorgeous violin we look forward to in each Deer Fellow track.

Mon Rovîa: “crooked the road.” (KUTX Pop-Up at ACL Fest)

When it comes to exposure for international acts here in Austin, you typically think of SXSW. But time and time again, ACL Fest has shown great global flavors, even if the artists in question are quartered stateside.

A perfect example? Mon Rovîa. Songwriter Andrew Lowe was lucky enough to escape his moniker’s namesake in the midst of the Liberian Civil War, and given the Appalachian atmosphere of his current home base, Mon Rovîa’s forged a really fascinating fusion of Afro influences and American folk, shaking up whatever expectations you have surrounding the “Tennessee sound”. Since hitting streaming early on in the pandemic, that formula’s found a strong listenership that only grows with Mon Rovîa’s ongoing streak of about five-to-six singles a year, alongside the three-act EP progression that began with last Summer’s Act 1: The Wandering and culminated in this April’s Act 3: The Dying of Self.

As the BMI Stage’s inaugural act, Mon Rovîa (and his backing band) had the honor of expressing gratitude, championing peace, and setting a pensive mood for ACL’s first weekend with a slew of tunes. And that extended to a pop-up performance of “crooked the road.”, which still feels fresh after debuting just over a month ago. It’s gorgeous. It’s heartwarming. It’s the most tasteful pairing of ukulele and vocal harmonies you’ll hear all week.

Daniel Nunnelee: “Do You?”

We’ll level with y’all. Between Song of the Day and Austin Music Minute, we here at KUTX try our very best to get everybody caught up on new releases and local shows. But, the human beings in a bustling musical metropolis that we are, stuff does slip through the cracks. And especially for our out-of-state neighbors who don’t have regular shows here in town, a late shoutout’s better than nothing, right?

So it’s not like featuring Daniel Nunnelee dawned on us just now. Naw, for nearly a decade now, this Memphis-born Nashvillian’s carved a unique niche for himself in the highly competitive fields of folk and indie rock. When Nunnelee’s not out and about photosynthesizing new inspirations in nature, he’s reflecting, recording, and opening for the likes of Madi Diaz and Austin’s own Shakey Graves.

Nunnelee’s streaming numbers have always spoken for themselves, but between the viral explosion of early 2022’s “Pick and Choose” and the release of Daniel’s latest June, Baby a couple months back, it’s clear that Daniel’s ascended to a whole new level of accessible artistry. Now Nunnelee is currently committed to rounding out his national tour through the start of November, so here’s hoping that his recent 3Ten performance wasn’t the last time Daniel Nunnelee steps foot in our fair city limits (maybe a SXSW 2025 appearance? Fingers crossed.).

Again, though, we’re all about giving folks the flowers they’ve earned. And with that we gotta revisit June, Baby‘s second of ten tracks “Do You?”. It’s almost impossible not to crack a smile throughout the tune’s tree-climbing, forest-frolicking music video but the effect is just as impassioned on the audio alone, should you skip the visuals. And that’s on behalf of a beyond-bright arrangement and instrumental refrain, Daniel’s effervescent vocals that add textures like a beautiful hue of bark, and the perfectly flawed lyrical pairing of love-drunk wanderlust with reality-weary romance.

Anna May: “The Show”

As much as we admire an intricate arrangement and a progressive song structure, not every tune needs to tout itself as a pocket symphony. I mean, we’ve already got one “Bohemian Rhapsody”, right? So while house and hip-hop may spring to mind when thinking about repetition, there’s an intrinsic simplicity to other styles of songwriting – chiefly in the acoustic corner of things – that makes “one note” compositions truly compelling.

With that in mind, turn your attention to Nashville’s Anna May. Hailing out of Connecticut, this rising singer-guitarist-songwriter specializes in what she calls “alternative tragic Americana”, an unyielding take on the classic Western sound through intimate intersections of jazz and folk. But despite Anna May’s immersion in the healing powers of meditation, so far she’s refrained from recording anything close to what you’d call a raga in terms of runtime.

That is, until today. This morning Anna May rolled out her lengthiest original to date, “The Show”. At almost eight minutes, the duration might be daunting to those who haven’t already pressed “play”. But rest assured, once you fire up “The Show”, you’ll be fully engaged in the jam. Because not only does it showcase Anna May’s endurance, innovation, and country-adjacent charm on both vocals and six-string, but also the poetic, stream-of-consciousness, and scene-setting lyrics that makes old school blues so timeless.

A bit “one note”? Of course. But intriguing front to back? Absolutely.

Gracky: “Up All Night”

Folk music fosters some of the most wholesome creators. And when you look past the transplant apathy that’s rampant within our city limits, you’re usually reminded of that greater Lone Star State trait: kindness to strangers. So naturally, Texas folk musicians are some of the sweetest people you’ll ever meet.

Perfect example? Grace Roberson, who these days goes by the handle Gracky. The Corpus Christi-born Austinite’s got an authentic affection for entertaining audiences of all kinds; long before she was a regular performer at retirement homes, Roberson was an avid national anthem executant, college cover song curator, and talent show competitor, having even passed through an un-televised American Idol audition. With that many things in one woman’s wheelhouse (on top of a recent songwriting and recording routine), you might wonder, “when does she sleep?!” Well, today we may have gotten an answer.

This weekend Gracky releases her fifth studio single since her streaming debut late last Fall, marking her second original offering of the year. “Up All Night” is an affectionate four-minute piece of acoustic ecstasy, whether it’s paired with those 3AM caffeine beans or your new boo’s band jams. The emotional piano-guitar-vocal arrangement is just begging to be used during a dramatic end-of-Act-II montage, not to mention an endearing reminder that listening to Gracky’s velvety voice, even in small doses, is just as fulfilling as a forty-year relationship.

Valley Flower: “Valley Flower”

“Black Sabbath” by Black Sabbath. “Bo Diddley” by Bo Diddley. “Motörhead” by Motörhead. Is there a way to introduce a new band’s brand better than by making your debut song title and project name one in the same?

Well, especially within the proving grounds of bluegrass – where instrumental choices are often near-identical and distinguishing act from act is usually a matter of vocal character – we think it’s a great strategy. And that brings us to Valley Flower. Given our place in the lush Hill Country, you might’ve already guessed that Valley Flower is based here in Austin. But that doesn’t subtract from some member’s out-of-Texas exposure and upbringings in states like Minnesota, North Carolina, and Virginia – worth mentioning since it’s clearly infused Valley Flower with some unique regional influences that help this quintet stand out in the fields of Central Texas bluegrass.

But it’s not like Valley Flower vilifies bluegrass as bland. Instead Valley Flower cross pollinates those iconic Appalachian sounds with the freshest petals of country, folk, and jam. And while gearing for a pair of shows in late August (The White Horse on the 21st and Sagebrush on the 24th), last week Valley Flower plucked out and presented its eponymous debut to the world, which quickly landed in the bouquet of Spotify’s New Grass playlist. And you can hear why.

In its earliest moments, “Valley Flower” blooms with a twangy ritardando before launching into an ode for life outside the city limits. And though it may seem like the energy wilts after a hair over two minutes…that’s just the halfway mark. What follows is a classic upbeat string sound, no doubt. But in context of the full composition, it’s plenty enough passion, variety, and instrumental expertise to convince us to keep Valley Flower in our viewfinder leading up to their upcoming inaugural EP.

Amy Annelle: “East Texas Son”

When you look past the vast sea of love lyrics out there, songs inspired by natural phenomena are just about the greatest equalizer across music’s history. And it makes sense; there’s something so primal and timeless about evoking the rumble of thunder, the whip of wind, or the roar of the ocean. Sure, you can point to jazz or blues as place for many a rainy day refrain, but if we’re talking about a truly bucolic bond to nature, even in modern digital times, folk really relishes in reflections on the weather – be it good or bad.

Yes there are plenty of youngsters who appreciate that longstanding tradition, but here in Austin we’re doubly lucky to have a two-and-a-half decade veteran who clearly “gets” what makes folk tick – Amy Annelle. Going back to 1999’s Which One’s You?, this singer-guitarist (who also once went by The Places) has made her largely-percussion-less, Muir-esque musings a delight to listen to, whether you’re in the midst of a midday picnic or a weekend-long hike through the nearest national park. On top of a provably popular take on Townes Van Zandt’s “Buckskin Stallion Blues”, Amy Annelle’s rightfully earned opportunities to work with folk legends Bill Callahan and Daniel Johnston, and corralled her own octet of handpicked Austin talent to help enhance her transportive originals – The Velvet Hand.

Fortunately in 2024 Amy finds herself on the other side of a long struggle with chronic illness. With her health back in good shape and the life lessons of those tough years under her belt, Amy’s eager to pay that array of recent experiences forward with The Toll, out August 2nd. With the help of The Devil Makes Three’s Cooper McBean on production, Neko Case engineer-producer Darryl Neudorf on mixing, and industry icon Greg Calbi handling the master, The Toll is a one dozen offering of fine-tuned folk that sounds as pristine on home stereo as it would strumming and humming in a dilapidated deep woods cabin. At the tail end of this month, Amy Annelle’s set to play The Toll in full for the album release show on Saturday, July 27th at Scottish Rite Theater alongside opener Creekbed Carter, benefitting Communities For Recovery. But now that that’s in the forecast, let’s get back to nature.

One of The Toll‘s two originals that engage with the gargantuan aura nature wields over us all, the LP’s third lead single “East Texas Son” arrives especially poignantly as Tropical Storm Beryl leaves millions of fellow Texans without power. From flowing rivers and raging hurricanes to hungry quicksand and breezy, burning thunder, the ominous lyrical precautions of “East Texas Son” are elegantly offset by an optimistic orchestral, acoustic arrangement, one that reminds us of the healing power of nature, even after a catastrophe. But it’s also the sound of a seasoned songsmith returning to form at the top of her game.

Is that thunder you hear? No. It’s our applause for Amy Annelle.

Rulitos: “Envuelto En Tus Uñas”

Rhythm, melody, and chords. Those are what make the language of music universal. And that’s why even if we can only sing along phonetically, we still appreciate the beauty of a tune, no matter what tongue it’s in – no subtitles necessary.

So let’s talk Rulitos. The Chilean-American multi-instrumentalist-songwriter behind this curly-haired handle is Daniel Sanchez, who first earned local familiarity through his electric guitar work with Austin quintet Turtle Pond and original scores for dance productions and films. And no doubt those multifaceted experiences (especially aligning movement and emotion with music) have helped Sanchez’ strength on the solo front as Rulitos. Seriously, Rulitos soars with an atmospheric acoustic folk aura that makes him sound like the bilingual, Spanish-speaking love child of Nick Drake and Elliott Smith for a wholly transportive effect, and when you hear his recent recordings, you know we’re not exaggerating.

Speaking of such soft sensations, Rulitos’ introductory collection of cuatro canciones, EP 1, is out tomorrow. Rulitos will be taking these new numbers to stage for a free EP release show tomorrow at Vaquero Taquero alongside Fuvk, Sprig, and Cloud Companion and again Saturday evening at Coral Snake with Pam Reyes and Other Vessels. Ready to wrap your fingers around EP 1? Luckily the record’s lead single “Envuelto En Tus Uñas”, is the polar opposite of nails scraping on a chalkboard; minimalist MIDI drum patterns massage unhurried acoustic guitar arpeggios underneath ethereal layers of breathy vocals and a pseudo-orchestral climax to create a serene en Español scene that’ll leave you thinking, “que linda es” to say the least.

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.

Giulia Millanta: “I Dance My Way”

Few people are as effervescent about their passions than those from Florence. But we’re not talking about the tiny Texas town about half an hour north of here. No, we mean the Tuscan capital that gave us cultural heavyweights like Leonardo da Vinci, Raphael, Michelangelo, Gucci, Cavalli, and more.Well, in a testament to “you can take the woman out of Italy but you can’t take Italy out of the woman”, Austin multi-hyphenate Giulia Millanta‘s pace of polymath output raises her profile towards that of her legendary Florentine predecessors. She’s a professional chef and a published author. Yet Millanta still finds the time and energy to write and record original music – which doesn’t sound quite as impressive as it truly is until you factor in what all she’s working with: guitar, upright bass, ukulele, plus vocals with lyrics in English, Italian, Spanish, and French. Yeah…Giulia’s the real deal.And this year is set to be another fruitful one for Giulia Millanta’s big batch of crafts; she’s soon set to share a new Italian cookbook – Dinner with Giulia – Flavors, Songs and Stories of a Florentine Troubadour, not to mention her ninth solo full-length, Only Luna Knows on April 19th. And while yes, you can hire Millanta to cook, spin yarns, and sing songs right in your own home, you can also familiarize yourself with this indie folk innovator in some more open settings – 8:30PM this Saturday at The Purple Barn in Wimberley, 7PM next Thursday at Pecha Kucha, 6PM at Guero’s on Wednesday the 17th, and the Only Luna Knows LP release party 6PM on Saturday April 20th at Saxon Pub.So there you have it – a full course of Giulia Millanta concerts to choose from. Now treat yourself to one of Giulia’s three pieces of antipasta from the album. We recommend last Friday’s “I Dance My Way”, since it’s got that ristorante-ready arrangement of piano, electric guitar, double bass, percussion, and vocals – all for that extra zest of Texan + Tuscan twang. Mangia bene.

Anna Tivel: “Disposable Camera”

It’s a total no-brainer. 2020 and quarantine conditions left countless with a bizarre bevy of time to reflect and be inspired, no matter how dire the world felt. And with a lot of those early-COVID-era compositions, the final products reached masses within the first year or two. But some of those existential episodes must’ve made others question what the rush even is, since some of those songs still won’t land in fan’s laps until they’re just right.

It makes sense that Portland’s Anna Tivel falls in the latter category, since she’d already established herself as a modern folk force between a handful of studio albums and a few million streams by the time lockdown came around. And yet COVID didn’t seem to slow down her output. That summer, Tivel tailed 2019’s The Question with a full LP all-acoustic re-imagining, Blue World in 2021, Outsiders in 2022, and Outsiders‘ own acoustic revisit last August. In contrast to Tivel’s pensive, unhurried musical character, it’s honestly crazy to think about how quickly Tivel was cranking ’em out without sacrificing quality.

But apparently, not even all that could fully capture what Anna Tivel penned in the pandemic. Just this past Tuesday Tivel announced her sixth full-length Living Thing, set for release the final day of May. Marking a decade milestone since her debut Before Machines and nearly a half decade since the initial lockdown days, Tivel really upped the ante on Living Thing by collaborating with Bon Iver/Field Report producer Shane Leonard to meticulously maximize each track over an intensive two-month session. The record’s lead single, “Disposable Camera”? Far from a throwaway. Its minimalist music video definitely deserves a few more eyes, and the accessibility of the lyrics make “Disposable Camera” feel like flipping through all-too-familiar snapshots of the recent past. In other words…it’ll click with you.

Creekbed Carter Hogan: “If I Was”

In the past half decade, we’ve witnessed some surprisingly progressive turns in the historically conservative field of folk and country music; be it Orville Peck eclipsing his contemporaries in the mainstream, a Tracy Chapman cover dominating charts, Kacey Musgraves’ ongoing expansion of the genre’s inclusiveness, or Lil Nas X making people debate what even constitutes a country tune. It’s beyond refreshing to watch these tides shift, and thankfully for us Austinites, it’s not just a national trend.

So while we can certainly point to Pelvis Wrestley’s Benjamin Violet as a force for the androgynous queer cowboy visual aesthetic, when it comes to clear-cut alt-country and folk music, we gotta give kudos to Creekbed Carter Hogan. See, in the short time since Hogan shared their debut 2021 Good St Riddance, we’ve seen huge leaps not just in terms of musical maturity, but indeed through major milestones like legally changing their name, having their uterus removed, and publishing their first book. And through this transition, CCH has created a powerful advantage that makes him stand out in the crowded world of Americana-country-folk, and that’s his unique vocal register, much higher than the majority of men but not necessarily feminine in character.

Well, following up last Spring’s Split EP, Creekbed Carter Hogan is taking things to the next level with their eponymous sophomore full-length Creekbed Carter, out March 22nd. Style-wise it maintains the same blunt, clever, and intrinsically queer twist on roots music we’ve come to adore. But strictly speaking to audio quality, it’s a huge step up from the CCH’s relatively lo-fi discography thus far, with glistening sonics that’ll fill a stereo just as well as it could the Grande Ole Opry. Based on what we’ve heard so far, we’re even willing to wager that Creekbed Carter could challenge Golden Hour when it comes to the finest mixes in acoustic music. So as these Texas temps slowly creep up, crawl into the Creekbed with Hogan for a single release show 8PM this Saturday at Radio/East alongside Large Brush Collection, Kind Keith, and Leila Sunier. Until then, show Hogan some love in the streambed by giving a spin to the record’s first offering, “If I Was”. Because at five-and-a-half minutes, bordered by the prettiest instrumental string arrangement we’ve heard all year (which includes Pelvis Wrestley’s Zach Wiggs on pedal steel and Little Mazarn’s Lindsey Verrill on bass), and joined by Large Brush Collection’s Nora Predey and Grabiela Torres in its climax, “If I Was” marks a melancholy beginning for trans folk’s next generation.

Ethan Azarian: “Hawaii”

Us Austinites love to brag about living in the “Live Music Capital of the World”. But that moniker’s not just a matter of venue multiplicity; no, there’s something about our city limits that not only creates a gravitational pull, but also dips newcomers right into a fast-acting melting pot.Case in point? Ethan Azarian, a Vermont-raised singer-songwriter-painter who moved down here in the late ’80s shortly before founding a quickly-beloved local institution, The Orange Mothers. Well, outside of the Mothers, Azarian’s also an accomplished solo folk/pop artist, and on top of raising Blue Cow Studios from the ground up and more recently spearheading the Songwriter’s Happy Hour at Hole in the Wall, two decades after the release of his solo introduction Captain of the Town, Ethan’s still going strong.As a matter of fact, just in time for this big freeze, Ethan Azarian’s offering up a much-welcomed change of scenery with his latest full-length Hawaii. Featuring not just the album artwork of Ethan’s son Francis but some really tasteful piano and organ as well, Hawaii is a gorgeous, sans-percussion folk family affair. And you can see the father-son chemistry live at a free show 7PM this Saturday at the Cactus Cafe with fellow Hawaii contributors Lindsey Verrill, Jeff Johnston, and special guest Amy Annelle. By then we’ll have warmed up just enough to want to get out, thanks in no small part to Hawaii‘s title track. Despite its beautifully-barren, wintry arrangement, the lyrics that carry “Hawaii” paint a transportive tropical portrait of volcanos, green waters, and enveloping island voices.

Middle Sattre: “Hate Yourself to the Core”

The 1998 flick SLC Punk! entertained audiences with all kinds of counterculture cliques, and in doing so, they also exposed Utah’s more ingrained sociopolitical climate – that of Reagan-era republicans, yuppies, and the Mormon church. Whether or not the movie feels “authentic” to you, it’s not unreasonable to guess there’ve been plenty more who’ve felt oppressed in the SLC area since the turn of the millennium.

Take for instance singer-songwriter Hunter Prueger, who spent much of his life repressing his intrinsically gay identity under strict Mormon tutelage. Solo home recordings in Salt Lake City, borrowing from the DIY philosophies of noise music, provided Prueger with some much-needed solace. In 2022 Prueger’s project Middle Sattre (pronounced “sat-tree”) relocated to the so-called “blueberry in the tomato soup” here in Austin, Texas, and soon expanded into a six-piece, then eventually the experimental folk octet we know today. Unbound by obsolescent beliefs, this eight-piece continues to defy convention, even when it comes to how their instruments are played.

Middle Sattre embarked on their maiden tour last July, shared their first studio single “Pouring Water” in September, and followed that up with powerful pair of originals in November. All of this sets the stage of Middle Sattre’s debut album, Tendencies, out February 9th. At just shy of an hour long and sporting song titles like “I Once Felt Safe”, “Imperfect Hands”, and “Seven Years Since the Fall”, Tendencies is a deeply confessional saga of queer self-acceptance. That vulnerable, candid character glows throughout the record’s fourth lead single, “Hate Yourself to the Core”, releasing midnight tonight. Its lyrics chronicle Prueger’s deep-seated anguish, ideations of self-harm, and repeated depletions of self-esteem, and its gorgeous string sonics perfectly capture such shared experiences of disquiet. When combined, “Hate Yourself to the Core” sounds like a next generation Elliott Smith song that can comfort anyone who’s ever faced similar desperation.

Great Howl: “Violent Wind”

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

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

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

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.

Tender Wolf: “Good Day”

The dog days formally end this Friday, but each triple new digit forecast says otherwise. So while we approve of any and all forms of aestivation throughout this enduring inferno, we’re pretty blown away by all the projects that’ve premiered throughout this historic summer. One perfect example from right here in Austin? Tender Wolf. Founded by singer-guitarist J. Summar, cellist Courtney Waldron Daehne (both of Milktoast Millie & the Scabby Knees), Moving Panoramas/Sanco Loop drummer Phil McJunkins, and Schatzi bassist-vocalist Chris Nine, Tender Wolf began their languid bay back in June with their debut single “Piccadilly”. We’re not mussing up the four-piece’s fur when we say that they’re still in a pup stage, but between “Piccadilly” and Tender Wolf’s sophomore follow-up that just dropped last weekend, their brilliantly bleak folk-rock originals are plenty promising enough to make us want to get in good with the pack. So before the quartet takes the stage 8PM next Friday at Captain Quackenbush’s along with Bridey Murphy, let Tender Wolf take a bite out of your summertime blues with “Good Day”. Orchestral-grunge verses rev up to big impact choruses, but the real star of “Good Day” is its instrumental interplay; deft snare brushes and agile acoustic guitar riffs paw around steady cello swells, pizzicato plucks, and a minimalist bass line, creating a cozy foundation for those featherweight vocal harmonies.

Noni Culotta: “Gimme Sunshine”

Happy Fourth of July! As with basically any other autonomous country who celebrates their independence, the United States of America’s origin story came amidst some turmoil to say the least. But today we’re looking at another set of cross-national new beginnings courtesy of Noni Culotta.

Like countless non-native New Yorkers, Culotta’s escapades in the Big Apple only came after she was bit by the acting bug. Once up there though, Culotta recalled the traditional Irish American songs that filled her youth, embraced the spirit of busking, and went to work, eventually leveling up from subway platforms to the many bars and theatres abound in Brooklyn and Manhattan. This is when the turmoil turned up. The crushing weight of sudden COVID conditions, complicated further by a divorce, led Culotta to the tough choice of leaving the scene in which she’d seeded herself for a decade and relocating from one metropolitan area to another; from NYC to ATX.

It didn’t take all that long for Noni to acclimate back to her home state and click with fellow contributors to our “Live Music Capital”, thanks in no small part to her ever-growing repertoire of folk-pop originals in the ilk of Iris DeMent or late Austin City Limits veteran Nanci Griffith. With a reported hundred songs under her belt and an incandescent voice to match, Noni Culotta cut down her colossal collection of originals down to fourteen of some of her most heartfelt tunes and began arranging with her dream team of collaborators. The result is Noni’s debut full-length Gimme Sunshine, which came out towards the tail end of June. Looking at the forecast, that request for rays has been obliged just in time for July 4th, and the LP’s title track enters the pantheon of great “Gimme” songs, but where More, Danger, Shelter, and All Your Lovin’ tote somewhat of a “rockstar” edge, “Gimme Sunshine” instead radiates with wholesome Pet Sounds-meets-Tapestry energy whose luminous licks will have you photosynthesizing for months to come.