Grunge

Rival Waves: “Time’s Up”

When you’re in the high seas, you’re at the mercy of rogue waves. When you’re in Texas during the summertime, you’re at the mercy of heatwaves. But if you’d prefer to get thrashed around and work up a sweat without ever facing the sun or leaving port, here in Austin we’ve got Rival Waves.

Starting with their 2018 debut full-length Transducer, this quintet’s ebbed and flowed through all kinds of rocky channels, ranging from alternative and indie to grunge and punk. Sure, the tides of mainstream music have shifted, and we’re at least a couple decades removed from most of those genres’ commercial heydays, but that hasn’t stopped Rival Waves from making a big splash in the local scene and beyond; just check out their respectable streaming numbers between last August’s A Meaningless Chaos and late April’s NAMI EP alone.

Well, ahead of a single release show 8PM next Friday, June 21st at The Courtyard ATX, Rival Waves has a foreboding message to any remaining naysayers: “Time’s Up”. Like the training montage soundtrack that escalates to a final climactic battle, Rival Waves crash against high octane punk and melodic alternative with an almost operatic song structure and chord sequence on “Time’s Up”. But in terms of Rival Waves’ still-cresting career? They’re not stopping the clock any time soon.

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.

Ana Zae: “Lifted”

Over the past two months alone we’ve seen some pretty promising new names emerge from the Austin area, even if the artists behind the project have been in plain sight for some time.

Take for example longtime live scene veteran Ana Zae, whose prior solo iteration Liza Day (Rose) first popped up in August 2020 with six soulful self-recorded originals. Heavy on the multi-tracked vocal harmonies but angled towards acoustic authenticity, those tunes told us everything we needed to know about this mature music-maker; she had the stuff.

Fast forward to this February, when the singer-guitarist rolled out her rebrand as Ana Zae with two stellar singles. Thanks to Black Pumas collaborator Will Grantham engineering and producing the pair, Ana’s sound has undeniably leveled up from the humble, stripped-down home studio aesthetic of her antecedent. Between a previously unheard one (“Set Me Free”) and “Lifted” (lifted from her Liza Day debut Roses and Waves), this two-part reintroduction channels the waltzy rhythms and sultry chord changes of classic Patsy Cline through the lens of golden era grunge electric guitar, both of them teetering with triplets, love-hungry lyrics, and a set of pipes that put more than plenty to shame. And with a full album reportedly on the way from Ana Zae, our fandom stands to stay unfazed.

Sap: “Pickle Song”

There’s been a ton of new music trickling down the Live Music Capital’s trunk this summer, so fingers crossed that the laziness typically associated with these dog days doesn’t slow that flow down anytime soon. Because among that gradual deluge of easily-accessible inoffensive homegrown genres, there’s also some seriously thick high-octane shit oozing out of Austin as well. Say, for example, Sap a trio who extracts direct influence from the golden age of ’90s grunge for a viscous mix of pre-millennium alternative hard rock and modern sensibilities. These three crude dudes started sampling their sound with a string of studio singles back in February. Titles like “Kiss My Kitty Cat”, “Big Fat Macho Man”, and “Hairy Jerry” paired with tormented-yet-cartoonish pieces of artwork quickly clue you into the uncouth juvenility of Sap, but the Nirvana-esque sonics and concise, catchy structures assure you that these are in fact well-seasoned students of their favorite styles, with mad instrumental discipline and songwriting chops to boot. Well, tomorrow Sap’s standing solidifies with their debut studio album Lard Baby a real gooey bundle of revivalist grunge joy. The fellas celebrate with a release show next Friday at Hole in the Wall opening for Violent Vira and Max Diaz and today you can make like hungry grunge bugs on a sticky limb by lapping up the new Sap with Lard Baby‘s final lead single. Far from a sour slurp, “Pickle Song” goes down real easy thanks to a soft, xylophone-fueled buildup, but once the lid comes off out spills a sporadic, bloodthirsty sprint. Put simply? “Pickle Song” kicks ass.

on being an angel: “brit boy”

It’s a gloomy start to 2022’s final thirty-nine steps. And in embracing the wintertime blues, it’s the perfect time to indulge in a hazy, understated, all-lowercase aesthetic. Which, here in Austin, brings us to on being an angel. For the past three years this quartet sewn seeds of pop melodies across faint fields of fuzz and gritty landscapes of ’90s-style grunge. With an outspoken preference for the tried-and-true analogue sound over its precocious DAW descendants, the latest milestone in on being an angel’s ongoing mid-fi mission is on being a tape vol. ii. Issued last Friday, on being a tape is a beautifully-flawed four-track whose heart’ll never need any digital clarity to move you. The EP wraps up with an inventive Lucinda Williams cover, but perhaps its biggest standout is the record’s penultimate track and final original. For a fully immersive analogue-and-fisheye experience, “brit boy” begs to be enjoyed alongside its black-and-white VHS-style music video. If that’s not enough, you might even be able to see on being an angel in-person, opening for The Lemonheads, Bass Drum of Death, and Juliana Hatfield on tour over the next month!