Garage rock

The Bug Club: “Better Than Good” [Live In Studio 1A]

Welch trio The Bug Club have been continuing the traditions of garage rock since 2016. Short, punchy songs with humorous lyrics and catchy hooks bulk out the group’s discography, and under the freewheeling rollicking is an understated seriousness to their musicianship. Aside from the wild wall of sound that makes the trio sound like a group of six, there’s a metronomic tightness to their seemingly carefree illusion.

As wild as the energy of their studio sound is, to see the trio live is a total mind bender. The frenetic energy of their songs is matched by the kinetic energy ricocheting across the stage, infecting their audiences with their pinball machine vigor.

The Bug Club is currently on tour supporting both their current Sub Pop album On The Intricate Workings of the System and teasing the upcoming Very Human Features out this summer. Their Austin stop brought them to Studio 1A where they made our Friday afternoon feel like anything but a day at the office.

Gus Baldwin & The Sketch: “Itch” (Live in Studio 1A)

We’re already in April. Q1 is gone but not forgotten. And as a final sendoff to the first part of the year, we’re throwing down with our March Artist of the Month, Gus Baldwin & The Sketch, one more time.

The quartet had an affirming SXSW, playing big shows at 29^th Street Ballroom with Christian Bland & the Revelators and Frankie & the Witch Fingers and Hotel Vegas with Madrid’s Hinds. Those shows were ramping up towards their quick tour kicking-off this week. But before leaving town, they stopped by Studio 1A to bring their live, infectious garage rock energy to our concert club members and airwaves. So let’s give it up once more for our March Artist of the Month!

You can see Gus Baldwin & the Sketch at Mohawk on Monday, April 21st.

Gus Baldwin & the Sketch: “(She’s Gone) Arigato”

After many years of winning the hearts and ears of Austin music lovers both as a solo artist and as a member of the psych outfit Acid Carousel, Gus Baldwin’s name has been in the mouths of bookers and promoters for years, and more recently, he formed Gus Baldwin & the Sketch. And while it still has the tight, catchy hooks of Acid Carousel, the Sketch hangs out in the garage: it’s fuzzy, bold, and full of adrenaline.

Their debut album The Sketch came out last Friday, and while you’ve been hearing their garage rock song “Luxury Television” on the KUTX airwaves, today’s Song of the Day leans a bit more on the power pop side, hitting more like a harder Hot Hot Heat tune than Ty Segall.

“She’s Gone (Arigato)” is just pure fun and adrenaline. It’s punchy, danceable, and it might take you back to the iPod commercials of the mid 00’s. Truly the only bad thing about the song is that it ends. And as highly anticipated as this album has been, the wait was worth it; the sketches were turned in because they were ready; not because it was 11:30.

“(She’s Gone) Arigato” is on The Sketch, out now. You can see Gus Baldwin & The Sketch before they take the album on the road on Thursday February 20^th at 29^th St. Ballroom with Grocery Bag, Blank Hellscape, and Guiding Light.

Burgess Meredith: “Nowhere”

We’re getting to a point in time where, save for hardcore fans of the Rocky franchise, the general population remembers a certain name under only one context. And that was as one of Austin’s premiere ’60s-fied garage pop rock outfits. Ya know…Burgess Meredith.

Still though, it’s a name we haven’t heard in quite some time. A dozen years down the line from their debut EP Banana Moon and seven since their first full-length A Dimension of Sound (which was also the group’s last studio album to date), we’ve all but formally filed a missing persons report on Burgess Meredith. Heck, I personally have a very fond memory of catching Burgess Meredith at the Cactus Cafe somewhere in the mid-2010s and have since caught myself looking back every now and then wondering, “what ever happened to them?”

Well, it turns out Burgess Meredith is alive and well, and their grip on retro pop-garage rock romance is strong as it’s ever been. With a fresh lineup and a baker’s dozen new tunes mostly recorded at the height of social distancing, Burgess Meredith drops their long overdue comeback Person Hat tomorrow. Person Hat heralds the return of Burgess Meredith’s piano-driven arrangements and firm grasp on the baroque/chamber pop aspects of ’60s psychedelia plus Beach Boys-esque vocal unisons and harmonies – everything we’ve always loved about Burgess Meredith. But this time those elements are joined by the welcome orchestral additions of cello, clarinet, and horns plus a generous serving of vocoder, ultimately blurring the lines between Barrett-era Pink Floyd, late Beatles, Simon & Garfunkel, and The Zombies.

If you haven’t seen Burgess Meredith live in concert yet, you absolutely have to check ’em out for the Person Hat record release show this Saturday at BLK Vinyl. If you’ve got somewhere else to be, turn on, tune in, and drop out to the album opener, “Nowhere”, because it’s sure to take you to a far out place with a lotta love in your heart and absolute magic in your ears.

The Jaws of Brooklyn: “Litebringer”

We don’t really put stock in the idea of “talent by association”. Sure, we’ve witnessed plenty of attempts to pivot from a successful group into a profitable solo offshoot. But if they didn’t have the spark to start with, they won’t have much to bargain with on their own. And on the ongoing collaborative level, when one player reaches a certain tier of talent, they rarely lower the bar in terms of the artists they surround themselves with, let alone their choice of creative clientele.

Now bear with us as we break down a bit of history here. Alabama Shakes hires Ben Tanner as a touring keyboardist. Tanner helps Alabama Shakes secure the 2018 Grammy for “Best American Roots Performance”. Then, just last year, Tanner does it again by snagging “Best Roots Gospel Album” for co-producing, engineering, and mixing Echoes of the South by Blind Boys of Alabama. In between it all, Ben continues to prove himself as not just a prized player, but a prolific producer with a musical Midas touch. So for Ben to bring an out-of-state group of relative-unknowns to his Muscle Shoals studio and bang out their debut? Sure says a lot, doesn’t it?

The group in question is The Jaws of Brooklyn, who as you might’ve guess are from…Washington?! Yes, we got our first feel for this Seattle septet from their aptly-titled Summer 2022 full-length The Shoals. And sure, while Tanner did put a proper polish on it, but a firm grasp on the classic garage-soul-rock sound (complete with ’60s-style girl group gusto) was clearly ingrained in J.O.B. from the get-go.

Now, following the fickle affair that is swapping out frontwomen, The Jaws of Brooklyn are back at it with Gretchen Lemon in the lead singer slot. And with Alabama Shakes acolytes Shannay Johnson and Karita Law also returning to Tanner’s auspicious Muscle Shoals recording space, The Jaws of Brooklyn have cranked out a dozen-plus new tunes, soon to be split across two EPs. The first one drops next April, (when J.O.B.’s stint at SXSW 2025 will still be fresh in memory), and we got a taste of that latest batch this morning with the record’s lead single, “Litebringer”.

By hinging on a hefty mix that’s instantly evocative of golden age Alabama Shakes, (snappy percussion, full house vocal harmonies, gritty garage guitar tones, and all) “Litebringer” has our mouth watering for what’s to come from The Jaws of Brooklyn, no matter what they sink their teeth into next.

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.