Indie-Rock

Trumpeter Swan: “American Dream”

Remember What Made Milwaukee Famous? Along with Spoon, The Octopus Project, and Explosions in the Sky, WMMF helped to hurl Austin’s explosive mid-2000s indie rock scene into the international zeitgeist. But with the exception of a brief 2019 reunion, What Made Milwaukee Famous has remained largely dormant since the release of You Can’t Fall Off the Floor in 2013. Fun fact: that was right around the same time that WMMF co-founder/multi-instrumentalist Drew Patrizi doubled down on another indie rock endeavor – Trumpeter Swan.

Although the then-fledgling project recorded their 2010 debut here in Austin, Trumpeter Swan only released Listen For The Clues after Patrizi’s northward migration up to New York. And after 2013’s The Magnitude of Now, Trumpeter Swan seemed to be flourishing in their nest near the Big Apple, accruing acclaim left and right for their still-limited studio output. Yet in the decade that’s followed The Magnitude of Now, Trumpeter Swan (like WMMF) has been noticeably mute.

Thankfully, Trumpeter Swan didn’t drift too far into the mythos of their eponymous waterfowl, because after repatriating back down to ATX mid-pandemic, Patrizi decided that Trumpeter Swan was still far, far away from their final performance. Last October Trumpeter Swan evened out their discography’s flock formation with their third and most sophisticated, layered, and nuanced full-length to date, Fast We Fall. And now, as we approach SXSW, Trumpeter Swan is once again on the wing with a handful of local live gigs. Trumpeter Swan plays 9PM this Saturday at Hole in the Wall opening for Fun Haunts and Gentlemen Rogues, Friday, March 17th at Vortex for a free SXSW Day Party and Thursday, March 30th opening for Futon Blonde at Chess Club. So even after all these years seems like Patrizi’s living his best life possible, the “American Dream” as it were…which is a pretty fitting title from a band named after America’s heaviest bird, not to mention an instant indie pop-rock earworm.

Domestic Tallboys: “Dead Bread”

In the world of “gotcha”-style band handles (whose spot on a marquee may entice unsuspecting listeners in under false pretenses)…nothing will ever come close to “Free Beer”. As a result, countless college bands and beyond have adopted the “Free Beer” moniker, nowadays either temporarily or often with some kind of modifier (“Free Beer & Pizza” comes to mind). But that gimmick gets old after the initial chuckle, and tricking potential first-time listeners isn’t exactly how you build a dedicated following. With all that in mind, there’s a certain genius to naming a band Domestic Tallboys; Here in the South, especially Texas, it’s pretty much guaranteed that any live venue serves non-imported aluminum pints. So by holding onto the name since 2017, Domestic Tallboys have not only ditched the nefarious bait-and-switch of “Free Beer”, they’ve curated a whole dive bar vibe that they call “sloppy nacho rock”. Well, now that now that the foam from their latest final masters have settled down, Domestic Tallboys are ready to crack open their debut full-length, MAXIMÓN. MAXIMÓN introduces saxophone into the mix for some extra cross-genre carbonation, bringing that beer-braised energy into the comfort of your earbuds. MAXIMÓN is out on Friday, and Domestic Tallboys hits the stage at Swan Dive for the LP release show at 10:30PM that same evening. So get out, cop a couple of your favorite cans at the bar, and soak up some solo-heavy stuff like what you hear in MAXIMÓN‘s final lead single, “Dead Bread”.

Ma: “CALL”

It takes a certain hubris to claim that nature isn’t humankind’s greatest source of inspiration. And in Texas, although they’re all a bit more than a stone’s throw away from Austin, we’re honestly spoiled by our abundance of incredible parks. Between Palo Duro Canyon, the Fort Davis Mountains – and of course – Big Bend, the Lone Star State gives California a run for their money in terms of diverse scenery.

In particular, there’s an otherworldly quality to the almost-limitless terrain of Big Bend, which sparked something in Austin Barker and Dominic Sena. Under the handle Ma, this pair draws from Brian Eno, Radiohead, and Alex G, which has helped them translate Big Bend’s awe-inspiring imagery into ambient-and-grunge-adjacent indie. When Ma’s not cooped up in their home recording studio making magic, they’re playing around town alongside the likes of Redbud and Psychic Shark, and up until now Ma’s music has only been accessible in the live realm.

Today, that all changes; Ma just dropped their debut studio single “CALL”, the first of a few new tunes to be released in 2023. It sounds almost like Tears for Fears dehydrated themselves of their synth-pop sonics and swapped them out for a stripped-down grunge arrangement. The chord progression evokes wanderlust, the vocal harmonies inspire mesa-height hope, the drum patterns clatter like an abrupt rocky descent, and some of the guitar work sounds straight out of a revisionist Western soundtrack.

Charley Horse: “Ball Cap”

The first time I heard the phrase “charley horse” was as a little brat needling and buzzing my way below the belt on that Hasbro “board game” Operation. Fast forward to college, when I experienced my first abrupt leg spasm…and yeah, they’re not fun. So whether the term conjures thoughts of cursory surgery techniques or just a pain in the leg, there’s an indie rock outfit here in Austin eager to reclaim the mane and breed a positive connotation for Charley Horse.

These five friends rode in with their first pair of demos right around this same time last year, and followed it up that May with their appropriately-titled debut studio EP Summer. And even though Summer only clops in at about thirteen minutes over four tunes, it showed off Charley Horse’s versatility by galloping and cantering across power pop, psych, and alt-rock. Well, next Friday Charley Horse is set to hitch listeners in once again with their sophomore offering, Foothills

Foothills keeps it short and sweet at three brief tracks, which is honestly plenty enough to pad out their live performances and studio output as Charley Horse matures from foal into yearling. So while die-hard MLB fans count the days until March 30th, NBA heads dribble around in anticipation of the 30th Anniversary All-Star game this Sunday, and sunbathers count the clouds until spring, today Charley Horse chimes in with a bit of profound fashion-and-posture advice. If you’re chasing serenity, do it with your chin up, your eyes on the horizon, and your “Ball Cap” tipped high.

Space Tan: “I Don’t Wanna Die”

Maybe it’s this never-ending relay race of global pandemics, the collective cabin fever many of us endured during the recent ice storm, or just a gentle mist of malaise. Whatever the affliction, if the Milky Way’s main attraction is shining when you’re feeling imprisoned indoors, it’s always worth taking a couple of minutes to soak up some rays if you can. So with brighter days and clearer skies approaching with spring, perhaps it’s best to follow cues from our climate and embrace a sense of clarity.

Well, in the Austin rock realm, few indie-pop acts have managed to keep things as “clear” as Space Tan. Spearheaded by chief songwriter Gianni Sarmiento, Space Tan maintains transparency across both sonics and lyrics, leaving their melodies and messages ripe for in-ear radiance and emotional reflection. And on Friday, following up 2020’s Don’t Worry About Me and 2021’s Inti Raymi, Space Tan champions the obliteration of internal barriers on Prison Planet.

Prison Planet doesn’t want you to rot in a cell of your own inhibitions or deflective tendencies. Instead it incarcerates you in an energetic five-inmate gen pop of unconventionally inspirational indie rock, guaranteed to leave you re-evaluating any reservations you have for the coming year. Space Tan celebrates Prison Planet on March 3rd at Swan Dive for a joint release show with Domestic Tallboys alongside AMA and our January 2023 Artist of the Month je’Texas. And today, like an adorably deadpan indirect response to Youth Brigade’s 1983 call, Space Tan’s handed us a Strokes-esque testament to the value of life, “I Don’t Wanna Die”.

The Western Civilization: “If You’re Lucky”

It’s been a tough week across Central Texas. Hundreds of thousands are still without power. Agitations over limited amenities reveal just how much we depend on electricity and WiFi to fully participate in our “advanced society”. The worst of this severe winter weather already seems behind us, so might as well return to routine and re-engage with Austin’s cultural capital. In today’s case, The Western Civilization. The fabric of The Western Civilization was sewn in Houston back at the turn of the millennium between Rachel Hasbro and Reggie O’Farrell. Now, two decades later, they split their time as a quartet between H-Town and ATX. If you haven’t checked out The Western Civilization yet, we definitely recommend starting with their 2007 debut LP Letters of Resignation. Once you’re done you might be disappointed by the lack of a sophomore follow up fifteen years down the line. If that’s the case, don’t turn tail quite yet, ’cause you’re in luck. Today, following last October’s “Bible Verses for Kids”, The Western Civilization shared the second single from their upcoming full-length Fractions of a Whole, due this fall. If you’re able to wait a whole week to unleash your cabin fever, you can let it all out 8PM next Friday for a free single release performance at ABGB. If you’re unfortunate enough to still not have power and just here to grasp some modicum of modernity, The Western Civilization’s latest original is available below. “If You’re Lucky”, you’ll appreciate a tune that sounds like Broken Social Scene was tempered by Arcade Fire in a forge of much-needed, off-kilter indie rock warmth.

Sam Shaffer: “Sup?”

Seasons are changing and wintertime migrations are abound. But here in the Live Music Capital of the World, we’ve learned that there’s an influx of musicians from other musical metropolitans year-round. One of which, Ohio-raised multi-instrumentalist Sam Shaffer, recently hopped down here not too long ago. After a handful of albums and countless performances with Chicago psych three-piece Faintlife, Shaffer relocated to the Lone Star State in late 2021, right around the same time he recorded his solo debut EP, Quiet Delta. Shaffer kept the momentum from the windy city by writing and recording and first-full-length Valley of the Living Water, which swept through last September. This dozen-song collection offers some pretty honest indie-psych-folk sonics, secured by Shaffer’s velvety vocals and largely unadulterated by post-production effects. That last bit is obviously more impressive live in concert, cold weather be damned. For a Chicagoan like Shaffer, these temps won’t do much to deter him from putting on a killer show 10PM tomorrow night at Hotel Vegas, opening for Sunrosa and Guma. Take today to familiarize yourself with the Valley of the Living Water, and be sure to greet Shaffer on Tuesday evening with one of two questioning song titles off the LP, “Sup?”.

Hall Johnson: “OMWO”

If a classically-minded academic comes across the name “Hall Johnson”, they’ll likely think of one figure and one figure only: the highly-renowned composer, arranger, and choir conductor of African-American spirituals. And although we are rapidly approaching Black History Month, contemporary scholars of the local scene have probably already pieced together who we’re really talking about…indie-rock quartet Hall Johnson. These childhood friends have spent the past half decade perfecting their performance, four of those years right here in Austin. They’ve played alongside indie rock icons like Beach Fossils but as has sadly become standard in the last couple years, the COVID-19 pandemic put a stop to Hall Johnson’s 2022 West Coast tour plans. Hall Johnson ended up seizing that newfound time to write and record their third EP A Slow Descent, all the while keeping their debut full-length cooped up in post-production. You see, Hall Johnson tracked Haymaker back in August 2021 against the bucolic backdrop of Ashlawn Recording Company in rural Connecticut. Thanks to a month-long pastoral production period, isolated trails, pickup basketball, lakeside wakes, and skipping stones are all ingrained in Haymaker‘s eleven originals. You’ll be able to drop a needle on Haymaker once it hits vinyl in May, but given the level of wanderlust that Haymaker‘s piqued, you’ll want to unpack its lead single, “OMWO” now. An immaculately-balanced, easy-going indie-rock bop, “OMWO” ought to sate your trumpet-arrangement tastes and chase away any malaise while Hall Johnson is on their way out with more.

The Stacks: “St. Michael”

For the better half of last year, our staff made damn sure you knew the name Jake Ames. As co-founder of our May 2022 Artist of the Month Good Looks, Ames helped introduce us to “Vision Boards”, a KUTX airwave darling that’s seemingly become a generation-defining indie rock anthem. You may also remember that Ames was struck by a car on the verge of an expansive Good Looks tour..but don’t worry; he’s fine now and ready for you to feast on his latest collaborative labor of love…via The Stacks.

The Stacks got their start back in 2015, and have kept Ames’ insatiable, auteurist hunger and guitar-engulfed earworms front and center ever since. Pre-pandemic, the three-piece strictly existed in the live performance realm, only sharing their first studio single “Chicon” on April Fool’s Day 2021. “Chicon” proved far from a holiday farce and instead shook things up in the right direction for The Stacks, whose madman amp accumulation finally hits wax this weekend.

The Stacks’ debut 8-track, Lay Me Down To Rest, coincides with a record release show 9PM this Friday at Hotel Vegas alongside openers Rusty Dusty, Redbud, and Sammy G. So check out just how well this un-toppleable trio…stacks up in person and anoint yourself with one of Lay Me Down To Rest‘s most serene blessings. “St. Michael” was actually The Stacks’ sophomore studio offering (initially issued in May 2021), but its hallowed vocal harmonies, empyrean rhythms, and blissful six-string licks slap so hard, even an erratic archangel could be cajoled back to a state of calm.

Barb: “Liar”

We hint quite a bit about the significance of risky pivots. Of course, as casual listener-observers, we usually only see the success stories, not the hurdles to get there. But when someone does pull it off, it’s incredibly satisfying to see (and hear). Which brings us to Barb.

Born Barbara Klavin, this Austinite spent her first two and a half decades engrossed in athletics, most notably as an active, excelling participant in Texas Rowing. However in the midst of some emotional turmoil, Klavin recently hung up the oars, picked up the pen and six-string, and made way for Barb.

Last year Klavin introduced us to her candidly queer identity and soulful brand of indie-surf-rock with Barb’s debut single, “Small Talk”. And today she’s followed it up with what’s easily my favorite tune of 2023 so far. Encased in coquettish guitar riffs, poignant lyrics, and bittersweet chord changes, (not to mention Barb’s heart-melting vocals and some exceptional percussion fills) “Liar” is a truly beautiful track, (even if you’re kinda f****d up right now). Listen all you like in the player below and catch Barb live at Swan Dive next Friday and on Friday the 20th.

July Talk: “Human Side”

You’ve heard of Christmas in July…but July Talk in December? No, your calendar’s not having an existential crisis. But if you want new music at home and live in person, today we’ve got a recommendation and premiere all packed into one.

Chances are, you’ve never experienced anything quite like July Talk. For the past decade this spectacle of a Toronto sextet has electrified crowds with a relatively unconventional lineup in the indie rock realm; two fronting vocalists, bewitchingly balanced bass and guitar, and most recently the addition of a second drummer. Their 2012 eponymous debut proved right away that July Talk’s raucous chemistry isn’t constricted to the stage, and their full-length formulas have only become more and more refined at a pace of about one record every four years.

But true to their name, July Talk’s identity is an ongoing conversation. While the band’s back-and-forth fury is certainly still there, themes of rebirth, renewed strength, and voicing dissent dominate their fourth LP, Remember Never Before. This masterfully-inventive eleven-track drops January 20th, and July Talk wraps up a week-long U.S. tomorrow night in Dallas. Tonight at 9PM July Talk takes the stage at Antone’s along with Austinites Darkbird for an 18+ show. So if you want to rock out with these ACL Fest veterans, you can squad up to Antone’s OR let it all out on Remember Never Before‘s latest! Buckle up, ’cause from its sparse first downbeat all the way to its cacophonic final chord, “Human Side” is a helluva sendoff to 2022.

Looney Gloomers: “Faking Paintings”

Whether it’s an overblown urban legend or merely a misunderstood statistic, here in the states, the month between Thanksgiving and the New Year is often thought as one of the toughest, emotionally. So we’d be remiss if we didn’t remind those who are struggling that there are resources readily available to you, all around the globe. Even the most secure folks ought to have tunes and tools close at hand rather than let a wintertime sense of doom continue to loom over their head, which leads us to Looney Gloomers.

This London-and-Copenhagen quartet hasn’t been around for too long, but in the short time since sharing their debut single last summer, Looney Gloomers has kept a steady leg up on the competition. That’s in-part thanks to the four-piece’s fearless candor about life’s less-glamorous moments; song titles like “Pleasent Panic”, “Shit on My Wall”, and “Cheer for Me” showed up on their 2021 debut full-length House of Dying Days, offering several catchy pieces of solidarity under duress. Aside from depicting an honest portrait of life exactly as is, HoDD also highlighted Looney Gloomers sonic versatility with eleven originals that lilted between lighthearted and lugubrious.

If you were to put an umbrella label on Looney Gloomers, indie rock seems like a good suit. But as heard on their EP Sunny Day Off earlier this month, the group isn’t afraid to explore depths of proto-punk and alt-pop either. So we’ll expect that same balance for their upcoming eight-track, Between Good Friends, out next Wednesday. Far from an art forgery, this morning Looney Gloomers gave us BGF‘s lead single, “Faking Paintings”. Inspired by all-too-relatable bouts with insomnia and other late-night afflictions, “Faking Paintings” is a jimp junction of rowdy rock and inner doubt that winds up from subtle indie-pop dynamics straight into a double-time punk eruption.

Half Dream: “Roses”

With the autumnal onset of dreary, drippy weather here in Central Texas, this past weekend was kind of a wash for live events; at KUTX, we ended up postponing our final Rock the Park performance of 2022 a full week. But if you’re not as easily deterred by the elements, you might’ve made your way out to ABGB this weekend for a free show featuring Mean Jolene and Austin quartet Half Dream.

Masterminded by chief vocalist Paige Renee Berry, Half Dream’s been hammering down a hazy brand of indie pop rock for about half a decade. True to their name, Half Dream’s lucid instrumentation sounds like an original score to a fevered hallucination, one you won’t want to wake up from right away. The reason Half Dream was hunkering down at ABGB? The group’s latest single, “Roses”.

“Roses” fell last Friday, and Half Dream opens up for Shooks’ residency at Hotel Vegas 10PM tomorrow night. Myself? I’ll probably show support from home with fuzzy slippers on and a hot chocolate steaming. So if you’re like me and want some synesthesia for your senses without ever leaving the cave, get a whiff of languid rhythms, jangly guitar, and of course, Half Dream’s signature harmonies, with “Roses”.

Solo Solo: “No Sleep”

Boy, there’ve been a lot of new Austin acts popping up in 2022. And while artist multiplicity has made gatekeeping and curation a bit more complicated than it was in the pre-DAW era, we still try our best to show off up-and-coming artists around town. Yet our airwaves simply cannot catch everything. That’s why Song of the Day is here to play a little heavy rotation safety, this time on behalf of Solo Solo. Solo Solo is fraternal collaboration front and center; their lifelong bond as brothers slipstreams seamlessly into this synth-injected indie rock project. Their studio singles are still limited as of yet, but considering the standalone caliber of “No Sleep” (not to mention a well-designed character-and-car-driven music video), AND the fact that their next single “Pure Graffiti (Instrumental Version)” is already available for pre-order…seems like Solo Solo’s set to take several more big steps in the near future.

Grandma Mousey: “Freaky Face”

Among the many personality types out there, those whose favorite holiday is Halloween are the ones I prefer to keep close. So if you’re like me and want to get the most brimstone for your buck on October 31st (despite celebrating Halloween year-round), welcome Grandma Mousey into your nightmare. This indie rock trio’s been trickin’ ‘n’ treatin’ around Austin since 2019, their grab bag now filled to the brim with the sweetest morsels of jazz, psychedelia, prog, and more.

Coming off this Spooky Season, Grandma Mousey is set to play 10PM Friday night at Kenny Dorham’s Backyard, along with openers p.s. feels, Lady Chops and the Goddamn Jam, and Bridey Murphy. And right in time for All Hallow’s Eve, Grandma Mousey’s given us an extra piece of shoegaze flair to help get into character for your costume. Just don’t come crying when you can’t take the “Freaky Face” off…

Dehd: “Control” (ACL Fest Pop-Up)

Oh boy, after two long weekends out at Zilker Park, we’re betting the vast majority of fest-goers are dead tired after Austin City Limits. Not us though! Our impeccable multimedia team’s been hard at work turning around an exclusive batch of intimate, backstage performances, starting today with Dehd. Six years since their eponymous debut, these Chicago indie rockers dropped their fourteen-track fourth full-length Blue Skies back in late May. Post-Blue Skies, Dehd’s been dominating a tour that extends to Scandinavia and the UK before a three-night New Year’s Eve wrap-up back in their hometown’s Empty Bottle.

That tour included a couple pit stops here in town for our humble festival, and following the first of two Sunday afternoon performances on the T-Mobile stage, Dehd was kind enough to treat us to something a little more stripped down than what the rest of the fest got. Rather than double down on their usual dose of decibels, instead Dehd took a minimalist approach for the arrangement of Blue Skies‘ short-but-sweet anxiety-inspired album opener, “Control“

Chancy: “Angels, Darlings”

I suspect that when many people of my generation hear the word “Chancy” out loud, they probably think of that egg loving Pokémon rather than the adjective. And while that demographic tends to have strong feelings about the “original 151”, collectors of indie-pop-rock ought to add Chancy to their musical Pokédex. This Dallas quintet only became Chancy after they found out their first band name “Lovely” was taken several times over. And whatever risk-taking they’ve done since 2019 has clearly paid off, considering they’ve played five festivals in the past two years alone.

This morning Chancy unleashed their latest single and music video, “Angels, Darlings”. It’s a daring addition to Chancy’s rapidly expanding discography, whose upbeat disco drums drive while the rest of the group explores pure pop, subtle psychedelia, and incandescent harmonies that’ll carry you all the way to Monday.

El Mató a un Policía Motorizado: “Yoni B”

If you weren’t aware, today is the first day of Hispanic Heritage Month, which brings up an interesting discourse. Surface level listeners may experience a kind of culture shock when they hear the Spanish language outside of the subliminally-associated genres; if it’s not cumbia, reggaeton, or traditional Latin, it might sound “out of place”. And considering English is often thought of as the international language of pop music, that’s not completely unwarranted. But honestly, it’s a language; it won’t be bound by genre constraints. So it’s important to normalize indie rock groups like Buenos Aires five-piece El Mató a un Policía Motorizado. They dropped their eponymous debut right in the middle of the millennium-era indie explosion, and celebrate their first two decades together in 2023. One listen will tip you off to this, but imagine a Spanish-language version of The Strokes that crosses lanes into Pixies, Ramones, Weezer, Sonic Youth, and even proto-punk pioneers The Velvet Underground. El Mató a un Policía Motorizado does have a U.S. appearance tomorrow in L.A., so today’s offering is strictly a recommendation. “Yoni B” comes courtesy of El Mató’s two-time Latin Grammy nominated LP La Síntesis O’Konor, and may very well have you fire up Duolingo before diving into the rest of their discography.

Garrett T. Capps & NASA Country: “People Are Beautiful”

Steve Miller Band. Jamiroquai. Kacey Musgraves. They’ve all written songs called “Space Cowboy”. And considering the continued popularity of those tunes, it’s safe to say that “space cowboy” is no longer a derogatory term for a shameless stoner. No, it’s something musicians want to wear on their sleeve. Which brings us to Garrett T. Capps & NASA Country.

Garrett T. Capps has been going strong since 2016 and only recently enlisted NASA Country as his backing band. And although “Houston” might’ve been the historic first word transmitted back to Earth from the moon, NASA Country has no plans of relocating their musical mission control center from San Antonio. These unapologetic psychonauts are set to launch their mind-bending style of cosmic country on October 21st with their group debut, People Are Beautiful. This eight-track constellation bridges the brightest bits of retro-synth, jangly two-step, swamp blues, and NASA Country’s beloved “krautrock fiesta” sound. In true celestial fashion, People Are Beautiful‘s two lead singles are the LP’s bookends, the album opener and closer, like the meeting of Elder Bowman and Starchild at the climax of 2001: A Space Odyssey. No shame in starting at the end, right? So lift off with People Are Beautiful‘s title track in T-minus 5…4…3…2…

Sweet Slacks: “Cruise Control”

There’s no sensation quite like discovering a new artist, and when a group has really fun song titles, that joyous curiosity can show up well before you even press “play”. One glance at track names like “Tijuana Blowout”, “Check Please”, and “Whiskey Diviner” clues you into the inherent lighthearted friendship that fuels Austin quartet Sweet Slacks. Like a perfect pair of trousers, over the the past four years Sweet Slacks has seamlessly slipped into their hem of harmony-heavy, guitar-driven indie rock and pop-punk. Sweet Slacks’ three studio EPs came out in a two-year sprint (between their January 2019 debut Fever Breaks and their latest, October 2020’s Strays). But recently they’ve hit a stride that matches closer to the pedestrian pace of our pandemic-era. Sweet Slacks has sewn three standalone singles over the last few months, each toting an inseam of matured, retro-beckoning indie. So with sultry showers dominating our skies, you can switch on “Cruise Control”, set your sights on the crying clouds, and let your foot tap to its fullest – no pants required.