shoegaze

Paper Sister: “Brain Drain”

Post-punk and shoegaze are both sure things when it comes to instant moodmakers. But when paired with chilly weather, overcast skies, and everyone in long sleeve fashion better fit for Portland or Seattle…yeah it definitely hits differently. And if you’re itching for that brisk mix of nippy napes, visible breath and a feast of fuzz for your ears this week, we’ve got good news.

There’s a new sibling in town: Paper Sister. Inspired by Pumpkins, PJ Harvey, Pixies, and a plethora of other ’90s alternative darlings, this Austin four-piece contextualizes those decade-defining influences against a idiosyncratic backdrop of latticed guitar layering and effects-engulfed vocals for their own reimagining of the Lollapalooza ’94 sound. And though as of this publication, we only have one studio single from the quartet, it’s enough to prove that Paper Sister’s setting themselves up to be a formidable act rather than flimsy one.

Fortunately though, Paper Sister is promising the release of more singles across the upcoming Winter season going into next year. So while you could just stay at home and patiently await the next pressing from Paper Sister, you could also see their latest set live at a show 10PM tomorrow night at Hotel Vegas opening for The Distraits at 10:45 and Silver Hour at 11:30 and another one this Saturday at Knomad. Need the fuzz right now?

Well, since your mind may still be scrambled from the weekend, go ahead and put it into prime post-punk shoegaze shape with the beautifully-bleak downtempo mid-fi magic of “Brain Drain”, a three-minute distorted drone that gives us a great glimpse of our footwear while we bob along and obey the beat with an occasional sway of arms.

Allwax: “Waves”

Heads up. Because our amazing multi-media team has been collecting so many great pop-up performances at ACL Fest, we’re gonna be sharing some of those with you over the next couple weeks. But before we dive in, we’d be remiss if we didn’t shine the spotlight on a fresh local release, no ACL tie-in necessary.

And that comes courtesy of Austin two-piece Allwax. Like plenty of other projects from the past half decade, Allwax was born out of the pandemic and the plethora of creative free time that initially came with it. Once they solidified their sleek shoegaze-slathered dream pop style, Allwax started off strong on streaming with five standalone singles in their mere first official year. And although the duo’s discography is still exclusively singles (which are now dropping about twice annually) Allwax’s sonic brand has remained crazy consistent without getting stale at all.

Case in point, ahead of an appearance later this month at The Mohawk on the 22nd opening for French Film, Allwax wheeled out their latest installation “Waves” last Friday. Less of an all day beach party banger and better suited for a coastal convertible cruise, “Waves” has the essential echoes of Summer we’ll need til Texas finally reaches Fall temperatures: a subdued-but-driving rhythm section, effects-drenched guitar, a refreshing sans-drums outro, and Besty Leidal’s reverb-soaked siren singing – all layered together so naturally you’d guess they were mixed together by the tides themselves.

A Band Called Ma: “Walker”

Austin-based shoegaze duo ‘A Band Called Ma’ is back and better than ever with the premiere of their latest single ‘Walker’, coming out on streaming platforms on September 27th. The unique two-piece comprises Austin Barker and Domonic Sena, who have been making music together under the project ‘A Band Called Ma’ since the beginning of 2023.

They are known around the Austin-scene for bringing a unique perspective to their songs; drawing inspiration from physical surroundings. We see this firsthand in their 2023 single, “Mountaintop” which bridges the relationship between natural environments and self-identity. Nonetheless, they are known to connect the gap between actuality and nature, as their Spotify bio says, “The project is heavily inspired by the vast alien landscape of Big Bend.” With their metaphor-filled lyrics and unique music-making process, this new project is a force to be reckoned with.

Influenced by Alex G, Radiohead, and other Alternative-Rock icons, ‘Walker’ does a phenomenal job of honoring the important aspects of the genre while paving their own eccentric path. With divine harmonizing and a strong instrument presence, A Band Called Ma knows exactly what direction the new music is going in, and “Walker” is nothing short of inspiring.

Be sure to stream ‘Walker’ on 9/27 and don’t miss their single release show tonight (9/26) at Hotel Vegas! They will be on at 11, following Lookalike at 9:30, Hanover at 10:15, and Futon Blonde at 11:45.

Rett Smith: “Stop Signs”

For well-established acts, keeping faithful to the formulas that first made ’em famous is often the key to longevity. We’re talking AC/DC, legacy acts that dare not alienate longtime fans by trying to fix what ain’t broke. But the big difference between AC/DC back then versus now is how frequently they put out new material. Yeah, for up-and-comers cranking out at least one studio album a year, staying in just one lane ain’t exactly a great strategy.

Like check out Rett Smith, who flexes the nexus between Austin and Nashville. His post-covid discography alone (of one release per year starting in 2020) speaks to Rett’s relentless work ethic. So with that impressive volume of work already under his belt in such a short time, weighing in on the steady shift towards “shoegaze-icana” isn’t necessarily a threat to Rett’s brand at all. No, we welcome the move for its variety, innovation, and evasion of letting Rett’s style get stale.

Sandwiched right in between a free Waterloo Records in-store performance 5PM today and a headliner show 9PM this Saturday at The Mohawk alongside Travesura, tomorrow we receive Rett Smith’s fifth, A Weighted Remorse, in its entirety. And to help give the LP its official green light, “Stop Signs” (and yet another abstract Super 8 music video that evokes the psychedelic side of “Old Austin”) ought to halt any RS haters dead in their tracks. Revving through tremendous dynamic range in just over two minutes, “Stop Signs” is the hard rock equivalent of alternating a souped up muscle car between peeling out and slamming on the brakes while commuting from a love making session to a late night dive bar gig. So just make sure you’re at least attempting to obey traffic laws when blasting Rett’s latest in your car stereo.

Elegant Tiger: “Venus Nights”

Lions. Leopards. Lynx. Our ancestors rightfully had a lot to fear from those primitive predators, and as such us humans have adopted the notion that all big cats are ferocious felines. But in an era where these beautiful species are more endangered than danger, we’ve got to appreciate the intrinsic elegance of what are ostensibly overgrown kittens. So feel free to read this next short sentence in your best David Attenborough voice.

Enter…the Elegant Tiger. As their exceptional name suggests, this Austin trio (who formerly went by Shapescenes) incorporates the most refined stripes of alt-rock, new wave, shoegaze, and synthpop into their brand of aural camouflage. Though it’s not like Elegant Tiger just dragged ’em all in and let ’em out of the bag; there’s an undeniable sophistication to Elegant Tiger’s keep these combinations skulking through the jungle of genres without making them sound slapped together. I mean, rainforest-dense electronic elements rubbing up against anthemic vocal melodies and atmospheric guitar with three players cooperating harmoniously instead of trying to claw their way to the top of this intimate ambush? It’s…well…elegant to say the least.

And this weekend Elegant Tiger flips the switch on their debut album OFF/ON/ON/ON, doing so with a release show 10:30PM this Friday at Stubb’s after The Gaslight Anthem (with free admission if you’ve got a wristband for the latter). You can dig your claws into much of the LP already with its paw-ful of lead singles dating back to last New Year’s Eve. They’re all awesome, but this morning’s offering may just be our favorite. Perfect for a summer sunset drive from its first bass drop through its final ninety-second sans-percussion coast, “Venus Nights” is an ’80s-infused ode to the women of the world, that overall has us thinking Tony wasn’t so crazy about his aspirations for a catlike passenger in Scarface.

Impasto Gardens: “Glass Dose”

Now that we’ve had ample time to metabolize our holiday meal, might as well move back to the normal programming with the final New Music Friday of November. And today we’re listening to Austin singer-guitarist-producer Joseph McCaffrey, who you might recognize as the cofounder of mid-aughts indie pop outfit Nightmare of You. It’s been a little over a decade since we last heard from NoY, and now that McCaffrey’s entered his 40s, he’s leaning into that middle aged call to cultivate.

That’s right, just last month McCaffrey formally introduced us to his new solo project Impasto Gardens, a visually inspired crossbreed of shoegaze, pop rock, and indie psych – tangled somewhere in between Ride, Slow Dive, Explosions in the Sky, The Stone Roses, and The Jesus and Mary Chain. Late last month, the first single for Impasto Garden’s upcoming eponymous debut, “Support Systems”, made for a great introduction to McCaffrey’s newfound style, and has already racked up 40,000 spins on Spotify alone. And today he takes those textured nuances even further with the LP’s second harvest ahead of its release next January.

As the eighth of Impasto Garden‘s near-dozen tracks, “Glass Dose” provides a pivotal beat to transition into the album’s final act. Spacey guitar subdivisions and a complex drum pattern instantly paint a picture in the initial moments of “Glass Dose”, and as the reverb soars, so does the sense of translucent psychedelia in this succinct yield that’s strong enough to stand on its own – complete with quick-pan piano, un-buriable bass lines, and vegetative vocals.

Little Jungles: “Happy In Our Winter”

Finding time to perfect your craft as an adult can already be challenging enough. But becoming a husband and father of two? Talk about cutting down on your ability to monkey around in the studio. At least that’s the experience of Kelowna producer-songwriter Michael Niemann, better known by his creative handle Little Jungles. Little Jungles first crept out of the bush in 2011 with Wuts Goin Thru Yer Head, a debut that caught ears and earned acclaim thanks to Niemann’s electro-meets-shoegaze bedroom-style indie sound. Unfortunately in the aftermath, wut began going through Niemann’s head alongside the praise was enough pressure in place for a survival of the fittest mindset. But his amygdala didn’t fight or fly; it froze. The anxiety of achieving a worthy follow-up caused Little Jungles to overanalyze his originals, and as such, last summer’s I Would Kill For Some Sunlight LP came out with basically no promotion. Now that he’s a family man with shifted priorities, Niemann’s taken on a new approach; strike when the inspiration hits, knock out what you can whenever you can, and rather than give yourself the unlimited options to “fix it in post”, track it all to tape. And after six long years of careful home and vacant business recordings, we finally heard the proof of that concept just last Friday with LOOM. Like the title suggests, LOOM finds Little Jungle’s artistic vision once again naturally interlaced with the other threads of life, and the dedication to tape goes a long way. Hear for yourself with the jangling guitar riffs, unprocessed drum sounds, and delightfully lackadaisical vocal harmonies that are sure to lift your spirits, (no matter the reason or season) on “Happy In Our Winter”.

Queen Serene: “Isengard”

The “dog days” of summer formally ended last Friday and fall doesn’t officially start until late September…so with consistent triple digit temps determined to become that weekly standard, I can’t be the only Austinite who’s stopped checking the ten-day forecast. But that doesn’t mean we can’t recognize this period typically associated with seasonal transition, which among other things, continues to provide auspicious pivots for singer-guitarist Sarah Ronan.

Ronan’s origins can be traced to Tallahassee a decade back, where she and two of her college chums co-founded an indie garage rock project that evolved into The Naked Tungs. The Naked Tungs found their footing in Austin as a four-piece just before dropping their debut EP Hear It Calls in the summer of 2017 but fizzled out after “Give Me Back My Man” in September 2019. COVID soon saw Ronan quartered away and recording solo in her bedroom, and post-emergence she recruited Naked Tungs’ drummer to supplement these new tunes with percussion and synth. With the subsequent addition of bassist Dale Pohly and guitarist-vocalist Matt Galceran, Sarah Ronan finally ascended the throne as Queen Serene.

Queen Serene shared their inaugural pair of studio singles right around this same time of year back in 2021 and by last fall’s Levitation Fest, the quartet’s shoegaze domain helped them claim a supporting slot for Psychedelic Porn Crumpets. Well now that we’re once again at that seemingly-magic time of year, Her Majesty Serene’s droning, angular monarchy makes another bold appearance.

Sharing its title with the obsidian Tolkein-esque stronghold and complemented by a music video looks like it was shot by Andy Warhol in the heyday of CBGB, “Isengard” goes hard. So ahead of Queen Serene’s single release show 8PM tomorrow night at Hotel Vegas ahead of Holy Wave at 9PM, crank the gain, don the shades, and get to shoegazin’.

Lady Chops & The Goddamn Jam: “Funeral Clown”

This whole week is shaping up to be a trying triple-digit scorcher, a bold barge-in of that iconic Lone Star sun. But if you’re the type who prefers to keep their sights locked onto their sneakers rather than ever glance up at the horizon, we’ve got something that’ll stick your soles straight to the pavement. We’re talking about Lady Chops & The Goddamn Jam, fronted by Lady Chops herself, singer Bethony Harnden. Backed by a tight three-piece with diverse musical tastes and backgrounds, Lady Chops & The Goddamn Jam served up their stealthy lo-fi debut single “Up To You” in the summer of 2020, stepping up the production value with the sparsely arranged “End All Be All” that October. This year, ahead of their first studio full-length, Time, the quartet’s given us sneak peeks at an impressive pace, with lead tracks trickling out in February, March, and April. Just like its title, the release date for Time is still uncertain. But thanks to tastefully restrained sonics that erupt like Pagliacci, a chord progression up to par with Broadway and opera, and disciplined vocal and instrumental performances that almost sound effortless, the record’s fourth single “Funeral Clown” will for sure keep your spirits cool enough for the foreseeable heatwave.

Lauren Lakis: “Terror Tears”

When an actor gets their first big break out in L.A., most folks can quickly differentiate between the pretty faces and those with a burning creative core underneath. A dead giveaway for the latter? Other than a luminous performance that transcends the screen and leaves a lasting impact on the audience…maybe the most obvious tell is passionately and outwardly pursuing a separate discipline.

Just take a look at Lauren Lakis. The Baltimore native’s ever-growing feature-length filmography began in 2011, and while taking the whole singer-songwriter thing seriously probably did cross her mind several times, it really wasn’t until Lakis relocated from Los Angeles to Austin about ten years back that she doubled down on her musicianship. Lakis stayed busy at the turn of the last decade with her 2018 debut LP Ferocious, 2019’s Sad Girl Breakfast EP, and Daughter Language from 2021, not to mention recent live appearances at SXSW and Levitation alongside the likes of KUTX airwave alumni Holy Wave and Ringo Deathstarr.

Seemingly unable to take an extended siesta at this stage in her career, Lauren Lakis has been building hype around her third full-length A Fiesta and a Hell, out later this fall. This album perfectly preserves Lauren’s legacy as a rockstar stuck in a hard place with an authentically-emotional, infectiously-magnetic take on the shoegaze genre, as heard already on its delectably droning, reptilian crawl of a first glimpse, “Take My Hand“. Today, A Fiesta and a Hell‘s sophomore offering lobs Lakis’ already-leering mystique straight back to the late-’70s/early-mid-’80s golden age of post-punk goth rock with a stern ultimatum surrounding the divisive tactics of mainstream media and the capitalism that backs it. “Terror Tears” fearlessly lets the mascara flow freely and floods the ducts with deft retro dynamics, sweet-yet-sinister verses that strike a contrast from its animosity-anchored choruses, and a fuzzy-beyond-belief bridge section chock-full of vocal delay, that, altogether, expands Lakis’ purview to an almost satirical sense of sick dystopian schadenfreude.

Sugar Purr: “Other Heart”

As we hit double digit days in the new year, it’s worth mentioning that in the past week and a half alone, a bevy of superb songs have already sweetened the deal for 2023. And there’s proof in the purring! Roughly one year after premiering a triplet of live performance videos on YouTube, Austin quartet Sugar Purr just gave us a double lump with their debut pair of studio singles last Saturday. And before you hiss at their handle; you’d better believe these morsels are for more than just Meow-Meows! Spearheaded by singer-guitarist John Wilhelm, Sugar Purr crafts complex sonic cocktails; they refine and reverberate elements of Pink Floyd, Andy Schauf, and Santo & Johnny into psychedelic country-tropical concoctions, somehow ideal for both lonesome buckaroos and boozy beach bums alike. The newly-released B-Side is just as much of a treat as its predecessor but we had to unwrap Sugar Purr for newcomers with the luau-ready lap steel and siesta-friendly structure of “Other Heart”. Just don’t nod off at work.

Pale Dian: “Misanthrope”

Back in my day if you wanted to be one of the first to lay eyes on a new music video, you basically had to stay locked onto TRL. And if you wanted your music video to get played, you probably had to have an industry contact in the early internet era. So no disrespect to Carson Daly, but our ability to showcase Austin visuals freely is all thanks to you.

And since our Fall Membership Drive steers near to Halloween, skies are grey and pallor is back in seasonal fashion. Which brings up to Pale Dian. Spearheaded by visceral vocalist-synthesist Ruth Ellen Smith, Pale Dian purveys a Post-Punk-meets-Shoegaze style that’s been deemed “Nightmare Pop”. Since their 2016 debut Narrow Birth, these bleak dissociations have trickled across time and genre, in way where a Roy Orbison collaboration with Cocteau Twins wouldn’t be unheard of.

Like a double-exposed dream dipped in desire and doused in delight, Pale Dian dropped their sophomore follow-up Feral Birth yesterday. The band celebrated with a record release last night at Hotel Vegas two weeks before their upcoming appearance at the Galveston Art Festival. But you won’t need to make a beach trip to enjoy Pale Dian’s off-kilter optics; today they’ve unleashed a one-of-a-kind counterpart to Feral Birth. Animated by longtime Richard Linklater collaborator Wiley Wiggins (Dazed and Confused, Waking Life, etc.) “Misanthrope” will momentarily transport you out of the beginning-of-week mindset so you can turn on, tune in, and drop out to watch reality melt.

Intercom Heights: “Fascinated”

During the heyday of Seattle’s grunge scene singer-guitarist Harris Thurmond was a key player in groups like Hammerbox, Orbiter, and Sanford Arms, and has called Austin his home for the past decade and a half. Following that relocation, Thurmond became a major contributor for Austin outfit New Roman Times, but even though they called it quits after three albums, Thurmond had discovered an indelible chemistry between himself and fellow New Roman Times alum, singer-bassist Josie Fluri.

8Fluri and Thurmond expressed a mutual interest in pursuing a new project, and with the recruitment of Black Books synth-keyboardist Meg Bernhard, Intercom Heights came to fruition. The trio’s psych-pop-meets-shoegaze style bridges the difference between M83 and The National, and their debut album Night Measures was mixed by Spoon’s Jim Eno. You can size up Night Measures in full when it drops on September 10th, but with a full month to go, you’d better keep your interest piqued with the record’s latest single, “Fascinated”!

Armlock: “Power Of A Waterfall”

In their salad days of jazz standards, Melbourne multi-instrumentalists Simon Lam and Hamish Mitchell first connected over a mutual disgust in the genre they rehearsed academically. Fast forward a full decade, where, following shared endeavors with experimental electronic in I’lls and Couture, Mitchell and Lam are now tackling a lo-fi indie-shoegaze sound as Armlock.

Armlock released their debut Trust today, a seven-song whose delicate sonics imply an air of simplicity, masking how masterfully produced this record truly is. The poignant lyrics’ll tear straight to your core and the soft-spoken melodies (like those heard on “Power Of A Waterfall”) will leave you feeling melancholy in the best way possible.

dreamgoth: “cant wait to die”

Claiming Austin as their local haunt, guitarist-vocalist Marshal Spaulding has built up a repertoire of primarily electronic music under the handle dreamgoth. But as one might expect from the moniker, dreamgoth does indeed dabble with the dark arts of dreampop and shoegaze in their more recent arrangements, soon to be heard on their new EP damien grey.

Dropping July 1st, damien grey digresses a bit from dreamgoth’s typical formulas, venturing into the pop realm with some subtle new wave production elements, but where Depeche Mode “Just Can’t Get Enough”, dreamgoth doles out dreariness on “cant wait to die”!