Posts Tagged ‘Austin’

The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick’s ‘Song to Song’, the pair were immediately taken by the city’s bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside.

Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city’s esteemed Keeled Scales label in 2018. The band coined the term ‘regret pop’ to describe the music they made on the ‘Years’ LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach.

Sun June returns with Somewhere, a brand new album, out February 2021. It’s a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it’s had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. “We explore a lot of the same themes across it,” Colwell says, “but I think there’s a lot more love here.”

Somewhere is Sun June at their most decadent, a richly diverse album which sees them exploring bright new corners with full hearts and wide eyes. Embracing a more pop-oriented sound the album consists of eleven beautiful new songs and is deliberately more collaborative and fully arranged: Laura played guitar for the first time; band members swapped instruments, and producer Danny Reisch helped flesh out layers of synth and percussion that provides a sweeping undercurrent to the whole thing.

Throughout Somewhere you can hear Sun June blossom into a living-and-breathing five-piece, the album formed from an exploratory track building process which results in a more formidable version of the band we once knew. ’Real Thing’ is most indicative of this, a fully collaborative effort which encompasses all of the nuances that come to define the album. “Are you the real thing?” Laura Colwell questions in the song’s repeated refrain. “Honey I’m the real thing,” she answers back.
They’ve called this one their ‘prom’ record; a sincere, alive-in-the-moment snapshot of the heady rush of love. “The prom idea started as a mood for us to arrange and shape the music to, which we hadn’t done before,” the band explains. “ Prom isn’t all rosy and perfect. The songs show you the crying in the bathroom,, the fear of dancing, the joy of a kiss – all the highs and all the lows.”

It’s in both those highs and lows where Somewhere comes alive. Laura Colwell’s voice is mesmerising throughout, and while the record is a document of falling in love, there’s still room for her to wilt and linger, the vibrancy of the production creating  beautiful contrasts for her voice to pull us through. Opening track ‘Bad With Time’ sets this tone from the outset, both dark and mysterious, sad and sultry as it fascinatingly unrolls. “I didn’t mean what I said,” Colwell sings. “But I wanted you to think I did.”

“Everywhere” by Sun June from the album ‘Somewhere’ out now via Keeled Scales and Run For Cover Records

One of today’s best songwriters & voices. Laura of Sun June plays a couple solo acoustic tunes off the brand new album “Somewhere” !

Somewhere showcases a gentle but eminently pronounced maturation of Sun June’s sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere. 
Released February 5th, 2021

Laura Colwell: vocals, keys, guitar
Michael Bain: lead guitar
Stephen Salisbury: guitar
Justin Harris: bass
Sarah Schultz: drums

All songs written by Sun June

Natalie Ribbons and Jason Chronis had been kicking around in various musical projects in Austin, Texas, but knew they could fashion something pretty special when they met in outta Austin, Texas, Tele Novella is currently the duo of vintage shop owners. Merlyn Belle is a homespun creative bricolage that pulls from influences as diverse as cowboy troubadours and folk baroque to tell stories that are at once cinematic and deeply personal. Painstakingly assembled using a blend of hi-fi and lo-fi recording gear, Tele Novella have crafted a cohesive pop record that feels equal parts mysterious, evocative, and sincere.

Tele Novella is a project out of Lockhart, Texas living in a small town lost in time–where their classic and sincere pop song writing is slowly processed through a loner medieval-tonk machine and then captured on cassette 8-track. Their forthcoming record, “Merlynn Belle”, was the music they wanted to be making all along but didn’t know until it happened accidentally. It comes out February 2021.  A heartfelt band from Small Town, Texas, with a penchant for pop melodies and medieval harmonies, Tele Novella write songs the old-fashioned way and perform them in a minimal style filled with delicate arrangements. Influences include Connie Converse, Lee Hazlewood, Pentangle, Marty Robbins, The Magnetic Fields, and PRAM.

Tele Novella’s humble country-psych-folk sincerity is magic. They have, quite simply, a belief in the power of song. Timeless, quirky and utterly charming. The two have fashioned up a pretty unique sound – one that touches with a post-modern knowingness and still an absolute sincerity on real deep old country, its sadness and yearning; also knowingly loving the slight absurdity of the form and glorying in it too, much like Jon Spencer Blues Explosion did with the beast of rawk ‘n’ roll.

The two recently relocated to Lockhart, with a pop:12,698 where they eschewed the endless, iterative possibilities of modern recording. Nope, eight-track tape and one song written and recorded at a time. Whole takes, no splicing. “Working with one song at a time allowed us to view each as its own world,” says Jason.

For her part Natalie had a whole set of stories to tell, stepped in influences as diverse as Marty Robbins – and Pentangle. “This is the first time I just let the songs be about real life … real people,” she says.

Release date: February 5th, 2021

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The Reverberation Appreciation Society is proud to launch a brand new live series, Live at Leviation. Recorded over the history of the world renowned event, professionally mixed and mastered, this series captures key moments in modern rock and roll history, and live music in Austin, Texas. The artists and sets showcased here are the apex of modern psychedelia, performing for a crowd of their peers and fans who gather at Levitation annually from all over the world.

The first LP in this series features Japanese psych heavyweights Kikagaku Moyo. This particular record is as strong as it is meaningful in the band’s story. It showcases one of the bands very first US show in 2014 on the A-side and their triumphant return in 2019 on the B- side with them firing on all cylinders amid a sold out US tour.

Kikagaku Moyo have come a long way –both literally and metaphorically– since their humble beginnings busking on the streets of Tokyo back in 2012. A tight-knit group of five friends who bonded over the desire to play freely, and explore music associated with space and psychedelica, their initial ambitions were modest semi-regular slots in the cramped clubs of the city’s insular music scene. Yet the band’s progressive, folk-influenced take on psychedelica marked them out from their peers and re-started Japan’s psych rock scene, and soon brought them international acclaim. Fast forward a few years, and you find the band crushing headline sets at festivals, embarking on sprawling international tours, and a dedicated fanbase for their music and record label Guruguru Brain – all while steadfastly maintaining their creative freedom and DIY allure.

Kikagaku Moyo are the real deal: masterful musicians, a powerful creative force, and one of key bands in the psychedelic rock movement and we are thrilled to have them kick off the “Live at Levitation” series with this incredible record.

Molly Burch’s previous records had a distinctly twangy vibe to them that had her compared to Patsy Cline and other ’60s country singers. But starting with last year’s cover of Ariana Grande’s “Needy,” she’s been heading in poppier directions. New single “Emotion,” which she co-wrote and recorded with Wild Nothing’s Jack Tatum, takes her into disco territory with popping bass and sultry vocals. “For me, the theme of the song is about feeling a spectrum of emotions, embracing that sensitivity, and using it as fuel to create something positive,” says Molly. “‘Emotion’ is a celebration of being alive.”

Austin singer and songwriter Molly Burch returns this new year with a fresh sound on “Emotion’’, a disco-tinged, dynamic shot of adrenaline produced by Captured Tracks label-mate Wild Nothing (Jack Tatum).

In January 2020, Burch headed to Tatum’s hometown of Richmond, Virginia, looking to write new material with a distinct pop sound and production in mind. Sharing some of her latest demos and a playlist of her favourite pop bangers with Tatum, they set out to make a heart-pumping dance track of their own. On “Emotion”, Burch’s voice is as strong and masterful as ever, pairing a lighter, polished vocal performance – a surprising, but captivating departure from her signature smoky delivery – with Tatum’s compelling bass lines, beats, and shimmering synths. Burch says, “for me, the theme of the song is about feeling a spectrum of emotions, embracing that sensitivity, and using it as fuel to create something positive. “Emotion” is a celebration of being alive.”
 
Released January 1st, 2021

Molly Burch “Emotion” feat. Wild Nothing · available on Captured Tracks Released on: 2021-01-01

bonnie whitmore music magazine

Best described as a roots or Americana artist, Austin, Texas’ Bonnie Whitmore is a veteran musician who has trod the boards throughout North America as an in-demand session and stage bassist for more than two decades. But she has also developed a unique musical compositional style all her own – one that combines many elements of the music she loves, regardless of genre, and a lyrical directness and powerful honestly that makes for a truly compelling listening experience.

Whitmore released her latest album, “Last Will & Testament” in October, through her own label, and Whitmore herself co-produced the 10-song release alongside Scott Davis, working out of the Ramble Creek Recording Studio. Although the word eclectic can sometimes be over-used or mis-used, it is rather appropriate for Last Will & Testament, as Whitmore is unafraid to mix and meld styles and genres to suit the emotional and lyrical tapestry she weaves with each individual song.

“To me as an artist, it’s about the creation of whatever it’s going to be, and not to make it form into something that’s supposed to be more marketable, which I know goes against everything you’re supposed to be doing in music if music is your livelihood,” she said, from her home in Austin, where she is doing her best to stay busy writing new material and promoting the album during the Covid-19 lockdown.

“I think I have a very eclectic taste, so I am not surprised that my music is eclectic within itself. I do like to take things that are sort of polar opposites of each other and mix them together. As a bass player, my influences are [legendary session player] Carol Kaye and Kim Deal of the Pixies – very different bass players, but both are integral parts of where I come at it musically. Americana is just sort of the all-encompassing, ‘everybody’s welcome,’ kind of genre, because they accept everybody into it.”

With the release of Bonnie Whitmore’s latest record, the celebrated Texas-based singer-songwriter and multi-instrumentalist borrows just enough stylistic “ingredients” from just enough musical “neighbours,” she succeeds in baking one of the tastiest confections of 2020 — a soaring seduction that owns roadhouse authenticity and drips cathouse allure. Among the record’s many highlights, “Time to Shoot” shines brightly. 

Written by Bonnie Whitmore From the album “Last Will & Testament” (2020) CD Baby (on behalf of Aviatrix Records)

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So far, Austin five-piece Sun June has done an excellent job of selling their forthcoming record Somewhere to its intended nostalgic audience, in turn referring to it as their “prom record” and describing their sound as “regret pop.” To add to that, vocalist Laura Colwell describes it as being “bigger, fatter, sadder” than its predecessor when introducing its latest single, the dusty-trail dream-pop (and prom-ready) “Bad Girl,” which longingly looks back on the freedom of Colwell’s teenage years.

To introduce the new single, the band is unveiling a vibrant, sun-soaked visual for the track, setting its moody tones to an ecstatic dance routine. While the influence of Terrence Malick—whose set for Song to Song is where Colwell and bandmate Stephen Salisbury met—is evident in the contemplative cinematography, the band claims to have taken inspiration from “films like Blood Simple and What’s Eating Gilbert Grape, which were also shot in rural towns just outside of Austin.”

“Bad Girl” is about a younger version of myself I like to obsessively despise while desperately trying to emulate. It’s about a self-destructive past and how my fear of death and FOMO (for lack of a better term) affected my decision making.  I really wanted to make a dance video because the song has so much attitude. The dancer/choreographer Sarah Navarrete really captured the push and pull of the lyrics. The video is like a noir narrative, 

“Bad Girl” by Sun June from the upcoming album ‘Somewhere’ out February 5th, 2021 via Run For Cover Records

The music of Alex Maas has always mesmerised. Now, on his soul-baring solo debut “Luca”, the Texan and The Black Angel’s singer journey is taking an equally hypnotic detour along the wild trails of his indigenous homestead. Driven by the force of nature, each phase of life is celebrated through songs of love, hope, human connection whilst navigating perils of modern society and tentatively facing the darkness. As the shamanic vocalist and bass player of The Black Angels, Alex Maas knows neo-psych-rock well; yet its menace is barely noticeable across his masterfully crafted soul-baring debut solo album. Named for Maas’ firstborn, whose name means “bringer of light,” Luca was a long time coming, with some of its songs dating back almost a decade, put together piece-by-piece over the course of a couple years. The record began its transformation from loner folk leanings to a worldlier embrace of gentle psychedelia.

It’s a record fuelled by memories of an upbringing in the strange, unique paradise of his father’s plant nursery in Seabrook, Texas by the waterfront of the Gulf of Mexico, and the Native American sounds that would drift through the garden’s hidden speakers, ricocheting off multi-coloured pottery mazes of curiosities from across the world.

Casting shades of deeply personal wide-eyed innocence and the darker realms of paranoia, Luca has its sights set on the near and distant future. Subtle psychedelic flourishes and instrumentation come from a cast of expert players in Austin but this is a deeply personal endeavour.

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 It’s been a while since the Black Angels released an album and I’m happy to hear Alex’ Voice again, Driven by the force of nature, The Black Angels singer’s solo journey takes an hypnotic detour along the wild trails of his indigenous homestead with songs of love, hope, human connection whilst navigating perils of modern society and tentatively facing the darkness.

released December 4th, 2020

The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick’s ‘Song to Song’, the pair were immediately taken by the city’s bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside. 

Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city’s esteemed Keeled Scales label in 2018. The band coined the term ‘regret pop’ to describe the music they made on the ‘Years’ LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out Sun June returns with “Somewhere”, a brand new album, out February 2021. It’s a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it’s had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. “We explore a lot of the same themes across it,” Colwell says, “but I think there’s a lot more love here.

Somewhere is Sun June at their most decadent, a richly diverse album which sees them exploring bright new corners with full hearts and wide eyes. Embracing a more pop-oriented sound the album consists of eleven beautiful new songs and is deliberately more collaborative and fully arranged: Laura played guitar for the first time; band members swapped instruments, and producer Danny Reisch helped flesh out layers of synth and percussion that provides a sweeping undercurrent to the whole thing. Throughout Somewhere you can hear Sun June blossom into a living-and-breathing five-piece, the album formed from an exploratory track building process which results in a more formidable version of the band we once knew. ’Real Thing’ is most indicative of this, a fully collaborative effort which encompasses all of the nuances that come to define the album.

“Are you the real thing?” Laura Colwell questions in the song’s repeated refrain. “Honey I’m the real thing,” she answers back. They’ve called this one their ‘prom’ record; a sincere, alive-in-the-moment snapshot of the heady rush of love. “The prom idea started as a mood for us to arrange and shape the music to, which we hadn’t done before,” the band explains. “ Prom isn’t all rosy and perfect. The songs show you the crying in the bathroom,, the fear of dancing, the joy of a kiss – all the highs and all the lows.”  It’s in both those highs and lows where Somewhere comes alive. Laura Colwell’s voice is mesmerising throughout, and while the record is a document of falling in love, there’s still room for her to wilt and linger, the vibrancy of the production creating  beautiful contrasts for her voice to pull us through.

Opening track ‘Bad With Time’ sets this tone from the outset, both dark and mysterious, sad and sultry as it fascinatingly unrolls. “I didn’t mean what I said,” Colwell sings. “But I wanted you to think I did.” Somewhere showcases a gentle but eminently pronounced maturation of Sun June’s sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere. “Karen O” by Sun June from the upcoming album ‘Somewhere‘ out February 2nd, 2020 via Run For Cover Records,

We are extremely happy to be announcing the February 5th release of Sun June’s forthcoming LP Somewhere. “We shot the video out on a Texas Hill Country ranch with a spotlight ranchers use to check on cattle at night (very Texas of us). We thought the stage lights and disco ball helped draw out the connection between feeling an emotion and performing it, both for yourself and others. We got lucky and happened to shoot during a lightning storm, so we went full melodrama with it.”

Releases January 10th, 2021

The goal was to push my brain to places it didn’t want to go. The idea was to not have any idea – to keep myself confused about what I was doing,” frontman Will Sheff says about Okkervil River’s newest album ‘I Am Very Far’. It’s a startling break from the band’s previous work: terrifying and joyous, violent and serene, grotesque and romantic, it’s a celebration of forces beyond our control. 

This chapter has been a long time coming; we recorded almost every show from the American and European 2018 #intherainbowrain tour so it took a long time to sort through it all. Also, the audio liner notes are…. just shy of 5 hours long? Almost a whole audiobook in themselves. I’m super proud of the music on here and so excited for you all to hear it! Thank you all so much for coming on this journey with us and if anybody’s hesitated till now climb aboard and scope out the whole thing!

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I’ve had some of my most fun onstage experiences of the past few years doing the “Rarities & Requests” touring format, but because of logistics we’ve often had to restrict these shows to larger markets. Under the current quarantine situation, I thought it would be really cool to play a streaming “Rarities & Requests” show where we could open the request pool to anybody all over the world.
This will be the first Okkervil streaming show we’ve done his year, and I’m super excited about it. We’ll have more details soon on when it will air, but we wanted to open requests ASAP. So if you plan to watch start submitting requests via the request form link in the comment section! (But not in comments themselves please). Note that we’ll still be taking requests from the big cities but we’ll be giving extra weight to requests from people in towns we’ve never hit with the #raritiesandrequests format.

Releases September 18th, 2020

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Hovvdy released a new single, “Runner,” last month, and now they’ve followed it with a second, which “is about the mixed emotions when a relationship has to change or end,” Will Taylor says. “Grief and relief. We were excited to pull the guitars back to let the vocals and ambient textures shine. The clank and swing of the programmed drums create a resonance and energy that brings it all together.”

Hailing from Austin, Texas, indie-pop duo Hovvdy are back again with another sumptuous treat for our ears with new single; ‘I’m Sorry’. Shortly after their release of ‘Runner’ — released just last month — ‘I’m Sorry’ is Will Taylor and Charlie Martin at their finest; delightfully odd as always, whilst showcasing dreamy melodies that are best suited to lying in bed on a calm Sunday morning.

Slightly muted vocal melodies greet us from the get-go, along with a reverberated kick and snare beat that echoes through your soul to the very end. The song in its entirety feels somewhat zephyr-like; feelings of heartache but also of healing: a journey downstream that Hovvdy are kind enough to let us in on. Gradually swelling in volume, accompanied by wispy, mellow vocals throughout; ‘I’m Sorry’ is a harmonically beautiful, and melodically considerate track — created for the disenfranchised, and executed to foggy, ambiguous perfection.

Fundamentally acoustic, Hovvdy also incorporates elements of electronica in the most subtle ways; pulling us in gently at the beginning with synth-enhanced vocals and rhythms, then reverting to their familiar, honestly indie style, before welcoming back the electronic-inspired rhythms, vocals and synths for the end of the track — bringing closure in a familiar, comforting way.

Stacking on Will Taylor’s growing pop sensibility, “I’m Sorry” carves a beat around the artist’s hollowed-out, echoing vocals. Jumbled feelings in flux swirl a cloud of granular electronic ambience. “I’m sorry,” he sings. “Going under the water again.”

Of the song and stylistic venture, Taylor says: “‘I’m Sorry’ is about the mixed emotions when a relationship has to change or end. Grief and relief. We were excited to pull the guitars back to let the vocals and ambient textures shine. The clank and swing of the programmed drums create a resonance and energy that brings it all together.”

Effortlessly minimalistic in nature, Hovvdy is consistent in delivering stunningly layered instrumentals lead by melodically sweet, wistful vocals that haunt you and soothe you in equal measure; providing a plethora of influences from pop to hip-hop. All-in-all, ‘I’m Sorry’ is the oh-so-familiar nostalgia trip that Hovvdy never fail to contribute to this ever-expanding world of plentiful music that we’re currently living in. Unapologetically honest, inexplicably raw, and invariably delightful; I’m Sorry is yet another notable mark on the musical map — transcending above normality and welcoming us in to their world of authentic memories.