pop

Allyse: “Lesson”

Austin’s Allyse crafts R&B-infused pop charms to pair with her sometimes self-empowered and sometimes vulnerable songwriting. The military brat fuses all of the cultural touchstones experienced throughout her childhood, her most sensitive song to date. “Lesson” is about just that, specifically lessons around relationships. How to not hurt others, how to be strong when you’re hurt, and more specifically, how to handle it when you’re spiraling and, in her words, wondering if you’re inadvertently going to wind up being someone else’s cautionary tale. Despite the song’s weight, Allyse deftly stays true to her “every song feels like Friday” vibes.

Allyse plays this Saturday at Center Stage on Parmer Lane off Dessau Rd.

AI and the Future of Music

AI is a hot topic right now, but how will it impact music? We discuss everything from fake bands getting millions of listens to a legendary producer vouching for the use of AI to lawsuits by major music groups against AI music generation programs.

In the latest episode, we dive into how Austin musicians are using the tool or staying away. Hear from Chinasa Broxton and Carlos Dashawn Daniels Moore of Tribe Mafia, Walker Lukens, Lauren Bruno, Jonny Johnson, Zeale and Erin Walter share their thoughts on the future of AI and music.

Tell us what you think about AI and Music

Pause/Play is a listener-supported production of KUT & KUTX Studios in Austin, Texas.

You can support our work by donating at supportthispodcast.org.

Mobley: “Yesterday’s Another Day” [Live In Studio 1A]

When it comes to Mobley’s career, what started as writing smart R&B pop bops has grown into full concept albums revolving around racism, technology, and our future, composing cautionary tales warning of a regressing society and the darkest parts of science fiction decaying into neither predictive science nor fiction.

Mobley’s new album We Do Not Fear Ruins continues the story of Jacob Creedmoor, the protagonist at the center of Mobley’s 2022 EP Cry Havoc!, but 300 years in the future.

As the last proper song on the album, “Yesterday’s Another Day” brings us to Creedmoor overcoming his struggles in the current time and redirecting his mission. Our protagonist finds a beautiful metaphor for the post-apocalyptic ruin he’s surrounded by. Ruin can mean recalibration and change. And Mobley punctuates this with an apropos bop that dances between R&B and psych pop.

Mobley stopped by Studio 1A recently to share songs from We Do Not Fear Ruins. You can watch the full Studio 1A set at KUTX.org.

Social Media & Music: Love It, Hate It, or Use It?

Social media has completely changed how musicians share their work and connect with fans — but not everyone is here for the endless scroll. Some artists are over it and have even ditched it altogether.

In this episode, we dive into the love-hate relationship musicians have with social media. Hear from Chinasa Broxton, Carlos Dashawn Daniels Moore of Tribe Mafia, Walker Lukens, Sara L. Houser, and Robert Ellis as they dish on how they do — or don’t — use these platforms to build their careers and stay true to their art.

Britny Lobas: “You Can Have It” [PREMIERE]

Austin’s Britny Lobas is a pop rock powerhouse. Originally a member of the pop rock group Corbella, Lobas broke out on her own. But her volume of output is the opposite of her volume of talent and vocal power, preserving her song coins like the Four of Pentacles and methodically doling out one banger after another, leaving fans in a regular stasis of antici…pation.

The Cleveland, Ohio native releases her new single “You Can Have It” this Friday. While this song leans more on the soul side of her sensibilities, her edge is not dulled, giving Amy Winehouse energy on a track about not throwing down with green-eyed monsters, but dropping them instead. They’re no good!

Lobas celebrates the release of “You Can Have It” this Saturday at Empire Control Room with Glass Mansions and Raycheal Winters

Schmiddy: “Nebula” (ft. Andyah)

Austin beatmaker Blake Schmidt has released a string of instrumental mixtapes under the moniker Schmiddy for the last three years, all the while working towards something more comprehensive. Schmiddy’s background in composing for short films in college for grades to composing hip-hop tracks for fun has led him to last Friday: the release of Schmiddy’s debut album Lightning In A Bottle. The album is not only a showcase of Schmiddy’s brand of beatmaking and production, but of his talent for sourcing and matching the right vocal talent for each track and creating something true to his background: cinematic.

“Nebula” features Nairobi-based artist Andyah as vocalist and co-writer. Her vocals are light but rich, working in tandem to the movement of Schmiddy’s groove. Think of a camera slowly panning down a bolt of layered red velvet with an intoxicating fire burning in the background. And it’s that right kind of spicy that makes you want to sensually slow dance, even if just to yourself in the mirror.

Cloud Companion: “Who Took The Night Away”

Ever get stuck in between states of sleep? Ya know, that Inception-type trip where R.E.M. feels more like reality than when you actually rise? If so…far out, man. Us too. If not, we’ve got just the thing to try and replicate it: Cloud Companion.

Now, the term “collective” gets thrown around a little too often these days. But this Austin outfit embodies the spirit of an art collective in a true sense of the word; by curating multi-media magic complete with bubbles, puppets, and altars…not to mention the mascot-of-sorts, Bardo, a towering solar sorcerer that helps the band cast eerily-cheery spells onto their live audiences. That said, it’s not just a theatrical gimmick. Aside from practicing the ancient art of celestial ceremonies, this solo bedroom pop project turned stage-spanning act sonically fulfills that day dream sensation of finding your mind caught up in the clouds. And that’s earned Cloud Companion the opportunity to share stages with former KUTX Artists of the Month Big Bill, Grandmaster, and Pelvis Wrestley.

After the sun-kissed sounds of last September’s Ordinary Time (and this September’s ExtraOrdinary Time deluxe edition), Cloud Companion continues the sequence with their new EP Waking Up / Falling Asleep – out tomorrow and followed by a gig December 4th at Empire Control Room alongside Holy Wire. While shock rockers aim to churn out nightmare fuel, this Cloud Companion release more like a refinery of dream diesel. WU/FA aspires to explore a cascade of consciousness and a stirring of spirits. It adopts the Pink Floyd approach of bookended album closer/openers – perfect for repeat listens on either side of your sleep cycle. It embraces a twilight aesthetic for a lucid listening experience that soothing, stimulating, and anything but a bedtime bore. And whether intentional or not, this record definitely falls in line with the early evenings we’ve had as of late.

Lastly, we gotta give credit to Cloud Companion for CC’ing us on the EP’s last lead single a day early. Because “Who Took The Night Away” chimes its charm even before the first downbeat and steals your senses in a four-minute, oddly-meditative mantra that evokes that ’80s/’90s transition era of moody and surreal R&B. In other words, “Who Took the Night Away” isn’t restricted to mere earworm status; it may just evolve into a nocturnal thief that echoes through your subconscious delights.

Waking April: “Rules”

North Carolina’s been in the news a lot lately, and our hearts go out to everyone in Asheville who are rebuilding after Hurricane Helene. Anecdotally, we also know some folks who sought sanctuary in nearby Raleigh, and we’ve learned that Raleigh’s also a refuge for one couple’s killer electronic collaboration.

We’re talking about Waking April, the classically-trained high school romance-turned-savant synth-pop pair. The duo’s been dropping tunes as Waking April for nearly a full decade now, but it wasn’t until the pandemic era that they really proved their firm footing in the Phantogram/CHVRCHES/Sylvan Esso corner of things, negating pretty much everything we’ve presumed around the “stereotypical” Raleigh sound. And that’s a legacy that’s only grown fuller with the release of Waking April’s debut full-length Fear of Failure that came out at the top of the month.

Mastered by Beyoncé/Olivia Rodrigo engineer Levi Seitz and flourishing with all kinds of exciting sounds (both live and synthesized), Fear of Failure spells nothing but mainstream success in our minds for the future of Waking April. The entire record’s an enthralling new chapter for the two-piece that covers plenty of moody, alternative dreamscapes, so if you want to dive headfirst into it, check out the workout-ready drum-and-synth-driven aggression on the second of FoF‘s eleven: “Rules”.

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.

Lindsey Rose Black: “One Of Your Girls” [PREMIERE]

As we noted yesterday, it shows real strength to unearth the passion of a certified classic by revitalizing it with a version well outside its initial genre. So we do have another cover today, but this one belongs much more to a contemporary catalogue. Which is frankly a great strategy for appealing to…shall we say…less adventurous listeners who fall in love with one streaming giant of a song, play it to death, and become curious to hear a different take on their favorite earworm.

That brings us to multi-instrumentalist-producer-singer-songwriter Lindsey Rose Black. Raised in Fort Worth and currently splitting time between LA and ATX, Black first caught our attention with her 2022 debut Subterra, an EP that showcased her Tex-ified art-pop-meets-indie-rock sound and delightfully down-to-earth attitude. Sure, Black’s discography’s been a bit lacking since then, yet rest assured, she’s got a ton of new original releases on the horizon throughout the rest of this year and extending into the next.

That said, Lindsey’s kicking off the streak with a sapphic spin on Troy Sivan’s smash hit “One Of Your Girls”. Just like how Aretha Franklin took Otis Redding’s “Respect” and flipped it into a endearing anthem of women’s empowerment, LRB’s version of “One Of Your Girls” is less a shallow lyrical gender swap and more a dream-pop powerhouse that’s perfect for Southern queers, especially the gay ladies. Preferences and orientation aside, anybody can appreciate the subversive positivity of this Texas-bred revisionist rendition, carried immensely by Lindsey’s calm-but-confident and thoroughly impressive pipes.

When Saints Go Machine: “Chainsaw”

There’s probably a big chunk of Texas choosing not to think about the word “saints” after last weekend. But even Cowboys fans can agree that a quality chainsaw is a great way to start carving into the weekend. I mean, chainsaws have been a state pride since 1974, right?

So if you’re overdue for some Danish pop, dig into When Saints Go Machine. Throughout all their pop trials, the Copenhagen three-piece has kept from getting cornered in any one sub-style, be it classic club, hip-hop, or post-punk. But a dip into their discography quickly tips you off to one consistency; what these Danes have been doing for a decade and a half now is a strictly digital endeavor.

That in mind, this morning WSGM hit the world with somewhat of a surprise: the trio’s introductory experiment in acoustic equipment. Alongside “Trying”, which is a real trip of its own, “Chainsaw” comes off awfully organic compared with all the project’s prior outings. But somewhere between the liminal, strobing solitude of its visuals and the fresh perspective on WSGM’s secret formulas, it almost feels like a sin for Saints to have waited this long to “get real” with it.

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.

BOO85: “Retrograde”

You’ve heard the excuse before. Ya know, somebody spaces on a date, forgets to turn in an assignment, or otherwise just kind of has a minor misstep. What do they say after shrugging? “Sorry, man. Mercury must’ve been in retrograde.”

Sure, scapegoating the cosmos for your own shortcomings isn’t the most mature thing…but neither is naming your band BOO85. After kicking things off last Spring with their streaming debut “Just Friends”, this Austin-based all-girl alt-pop-rock project’s still jigglin’, gigglin’, and making great tunes through 2024. And today BOO85 rounds out the summer by completing the pair that began with this February’s “Heart“.

Coincidentally falling on another astrological Friday after last week’s “Like a Sagittarian Archer”, “Retrograde” sets the horoscope for your weekend with a headliner performance 9PM this Sunday at Sahara Lounge after openers Alexi 8Bit and Jay Wanderer. And this latest original racks up another bouncy bop to BOO85’s already-busty brand with carefree sonics like viscous vocals, a breakbeat-adjacent drum pattern, top-gear guitar and bass work, infectious effects, and sanity-demanding lyrics.

ALLYSE.: “Cherry On Top”

Looking to cool off with something super tasty this summer? Austin locals are in luck with an opportunity to sate more than one sense in the same sitting!

And you can thank ALLYSE. for all that. A nomadic military brat and classically-trained singer, ALLYSE. turned ATX into her HQ seven years back, where she’s since lent her vocal and multi-instrumental talents to a pair of pop outfits plus former KUTX Artists of the Month Daniel Fears and promqueen. More recently though, ALLYSE. has spent the past year and a half cementing her solo status as a songwriter-producer in the high-demand pop-R&B sector, having blasted out Billboard-quality originals every few months beginning last January.

But as we mentioned before, ALLYSE.’s latest lists itself on the menu as a multi-sensory sensation. By that we mean at the single release party 4:30PM this Sunday at Jeni’s Ice Cream’s Triangle location, you can try ALLYSE.’s custom ice cream flavor “Sparkling Cherry Pie” while hearing her perform live. And since great taste isn’t limited to your tongue’s buds, and it’s near impossible to spoil an aural appetite, treat your ear’s sweet tooth to “Cherry On Top” – ALLYSE.’s sixth single that’d make Dua Lipa lick her lips and say, “delicious”. Because it’s got all the disco-funk retro-hip-pop sprinkles to make this summer an extra sugary one – each time it pops up on a new playlist.

Isis Destiny: “R U Mine ?” (feat. Opera Mauv)

Poetry. Painting. Tailoring. And that’s all in one audacious Austinite’s regular wheelhouse, without even accounting for their live performance pursuits. Like…save some media forms for the rest of us, sheesh!

While there’s assuredly a ton of people out there who fit that bill, today we’re talking about Austin’s Isis Destiny, formerly Amira Isis Destiny. Since being introducted to guitar and lyrical expression in her mid-tweens, Destiny’s done a damn fine job of drawing others into her multi-disciplinary triumphs – be it dancing, DJing, or anything else to help put on an unforgettable show. On the original music side of things, Isis Destiny’s shown a deep understanding of everything from ’90s neo soul to golden age disco, and weaved those lessons into her own inspiring originals, as heard on last September’s Scorpio Rising EP. And apparently Isis’ inspiration is near endless, since just after returning from her first ever tour, she’s already hopping on something new: an alt-jazz-pop project that goes by The Lover Girls Collective.

Yet once again, that’s not all; Isis Destiny is also embarking on a once-a-month collaborative single release, starting with last weekend’s “R U Mine ?”. Before we hand that off though, we gotta give y’all the scoop on ID’s upcoming gigs: Monday, August 5th at Volstead Lounge as part of the Underground Voices all-girl open mic showcase, Saturday, August 10th at Cozy Canna’s 4th street grand opening, and Sunday, August 11th at Wanderlust Wine Co.’s Barton Springs location. Back to “R U Mine ?”…this shimmering specimen of electro-pop (created in tandem with fellow Central Texan Opera Mauv), flirty synths set the mood for highly refined verse vocals, four-to-the-floor drums, and restless bass. Altogether they swell up to and cool off from the UK garage-style vocal chops and snare shuffle of the tune’s minimalist titular hook in such a way that each chorus drop just seems to go harder and harder.

So go ahead and grab it below; it’s all yours.

arya: “USE ME”

It’s a twofer this Friday! We’ve got a brand new release alongside a weekend show recommendation. And both arrive on behalf of arya.

arya’s not just another dime a dozen bedroom pop Billie Eilish wannabe. No, this Belgrade-born bae is almost overqualified for saturated world of pop-hip-hop-R&B; after a decade in Serbia playing classical piano she received a formal jazz degree here in Austin. Still, even in this decidedly contemporary endeavor, arya retains her status as a one woman show – having scored her first ACL Fest appearance and official ACL Late Night Show last Fall.

And speaking of last Fall, following up last October’s “LOVE ME”, today arya shares the second installment from her upcoming EP Insides – a six-song visual album and narrative set for release later this year. In the immediate forecast, arya’s got a free performance midnight tomorrow night at Empire Control Room as part of Hot Summer Nights, where she’ll certainly perform her latest pop-R&B banger, “USE ME”. We wouldn’t be surprised if we heard a sped up/nightcore version of this new one pop up on TikTok, but for us personally, we love the tune’s relaxed tempo. Because it gives plenty of space to breathe between richly textured drums, fat-as-hell synth bass, and arya’s incredible vocals that could end up making Ariana Grande sound more like GoT series finale Arya Stark in comparison.

Jon Funnell: “BREAKAWAY”

Nobody truly makes it “overnight”, right? Sure, with semi-recent innovations like home studios and TikTok the exposure pipeline is more greased than ever. But even then it’s not like the most skilled songsmith just pens something new, gets it tracked, and has an instant hit the very next day. No, you need years of experience, your share of stages to cut your teeth on, and with rare lo-fi exceptions, a high enough production value to put the hook in the masses.

So today we’re doing our part to help fuel the flames for Austin up-and-comer Jon Funnell. Jon’s Cedar Park upbringing was largely spent with his trusty six-string in tow, but only leaned into his songwriting predilection once he became a Red Raider. When the pandemic hit, it apparently gave Funnell little pause; Jon dropped his aptly-titled debut full-length Coming of Age that same and chased it with the following January’s “Late Night”, which has since acquired a quarter million streams on Spotify alone. Now, after six years of gigging around town, Jon Funnell’s teamed up once again with Victor Gaspar of Orb Recording Studios to produce his finest-polished piece of work to date.

For someone whose tastes were still developing when Demon Days first dropped, you can instantly hear the Gorillaz influence on Funnell’s latest single, “BREAKAWAY” that dropped earlier this week. Between water smooth synths, airtight drums, and Damon Albarn-esque vocals that recall an East Austin nighttime extravaganza that sandwich a super catchy chorus all in two-and-a-half minutes flat, yeah…”BREAKAWAY” may just end up being Jon Funnell’s breakout.

Stephanie Rodd: “Stronger Than Ever”

For us uncultured Americans, we tend to invent a caricature when we hear about a “French songstress”. Yes, we let our assumptions automatically paint a picture of a smoky nightclub against a traumatic war torn backdrop, a slender figure in haute couture wardrobe, cigarette in one hand, microphone in the other, and lyrics toutes en français. The reality, of course, is much more of a mixed bag; I mean c’mon…we’re talking about a massive nation with a century-plus of cross cultural influences here.

Enter: Stephanie Rodd. The Parisian-Londoner up-and-comer pardons herself past the stereotypical chanson midcentury chic of Edith Piaf or Juliette Gréco and instead slides towards the more contemporary energy of acts like Adele, Estelle, and the late Amy Winehouse. Based on what little we’ve heard so far, there’s no doubt that Rodd’s time in England has helped her find the right R&B-soul-pop soundscapes for her singing style that’s reminiscent of Jorja Smith.

And in 2024, as part of a rapid trajectory, Stephanie Rodd’s shooting for the moon with the release of her debut EP next month. Following her mid-February introduction “Worth It”, Rodd’s sophomore single “Stronger Than Ever” finds Stephanie sounding…well…just like the song title. It’s an intriguing, minimalist arrangement filled with passionate chord pads, seductive synth squeaks, carnal guitar, trap-type drums, and soul-warming subs – all anchoring a bold vocal mix of triplet rhythms and unconventional melodies.

Felt Out: “Crash Inside It”

When we last geeked out over Austin’s Felt Out, we broke down their foundation as that of auto-tune innovators on the cutting edge of alt-pop. And following the first anniversary of their second full-length Until I’m Light, that’s clearly still the case for these multi-instrumentalist-producers. They still sound like a next generation Imogen Heap. Their style still scratches that itch within the hyper-processed, accessible-yet-oddball alt-pop niche. And they’re still going strong in 2024.

Yep, after a year of silence for studio releases, Felt Out touched down from their natural habitat way up in the electro-aether last week, almost as if ushered in by the solar eclipse. On Friday they fired off “Know You (closer3.0)” – a Frankenstein re-assembly of leftover samples from their current streaming star – and “Crash Inside It” – which came alongside a minimalist music video. Unlike the polished, narrative-driven visual companion to “Closer”, “Crash Inside It”‘s counterpart lets a flickering frame rate and negative polarization do the storytelling, a return to their earlier aesthetic of amateur footage, analog grain, openness to interpretation, and all.

It’s certainly on brand for Felt Out, that’s for sure. And it’s got us eager to see and hear what they’ll come up with next. You feel us?

francene rouelle: “love wasn’t enough”

When we prioritize praise, obviously the actual performer gets preferential treatment. So when listening to a final product, it can sometimes be easy to overlook the impact of a producer with a calculated vision, especially when they’re still in their salad days.

That brings us to Austin-based, Cambodian-born producer Wil Brookhart, best known by his creative handle waverly. On top of his idiosyncratic trap/pop/R&B sound, and helping catapult his bestie promqueen to local legend status last year, waverly’s also got a brand new retinue – his newly launched label mHart – which caters to Asian-American artists alongside a near-dozen-person all-minority/women team. That’s right; it turns out promqueen was just the initial proof of concept, because ahead of her anticipated sophomore szn two, she’s now joined by the second exciting addition to mHart’s already-promising, all-lowercase roster – francene rouelle.

Still in her early twenties and humbled by an agrarian upbringing, this first generation Filipina’s skipped past any nepotistic child TV star chapter (looking at you, Ariana Grande and Sabrina Carpenter) and straight into the auspicious arena of Asian Pop. And with backing from waverly’s cutesy-yet-sophisticated style of beats, francene rouelle hyper-effeminate fashion and coquettishly-confident vocals altogether gloss a strategically-girly image. In other words, while Ariana Grande grasps at straws, peddling too many versions of the same tired tune, a new Pop/R&B princess begins to seize the throne. So get ready to bend the knee when rouelle’s debut EP finally a fairytale drops April 19th, and charm your weekend with that record’s opening fable, “love wasn’t enough”.