Posts Tagged ‘Austin’

Third album from Austin, Texas indie pop duo Hovvdy! Following their excellent previous albums Taster and Cranberry on Double Double Whammy. Hovvdy’s music is the sonic equivalent of a hug. Austin-based Charlie Martin and Will Taylor have been enveloping listeners in their soft, cozy, slow rock since 2014, when they released their debut EP on Bandcamp. Now, after five years, two split releases, and two albums they’re announcing their third album.  It arrives after Hovvdy’s tour with Lomelda, with whom the band recently released a split EP of covers.

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Hovvdy have always had an uncanny ability to create a comforting effect with their songs, even when those songs are about fear, anxiety and their own personal shortcomings. Fans of their zoned-out, slowed-down indie-pop have come to rely on the duo for their consistently soothing music, and it’s a mantle they’ve gladly taken up. “I was really trying to make something that would make people feel better,” Martin says of Heavy Lifter, on the phone from his bandmate Taylor’s house in Austin. “And I think they have served that purpose for me too, just from making them.”

While Heavy Lifter does come off as familiar, the record also expands their sound. Working in close collaboration with engineer and producer Ben Littlejohn in various makeshift studios around Texas, they’ve refined their languid melodies and expanded on their previously muted production. It’s still cozy, but it also veers toward the cinematic, with brief forays into Auto-Tune, distorted drum machines,

releases October 18th, 2019

all songs written by Hovvdy
produced by Ben Littlejohn and Hovvdy

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Hovvdy’s music is the sonic equivalent of a hug. Austin-based Charlie Martin and Will Taylor have been enveloping listeners in their soft, cozy, slow rock since 2014, when they released their debut EP on Bandcamp. Now, after five years, two split releases, and two albums (2016’s Taster and 2018’s Cranberry), they’re announcing their third album. Heavy Lifter will be released on October 18th via Double Double Whammy s.

Hovvdy have always had an uncanny ability to create a comforting effect with their songs, even when those songs are about fear, anxiety and their own personal shortcomings. Fans of their zoned-out, slowed-down indie-pop have come to rely on the duo for their consistently soothing music, and it’s a mantle they’ve gladly taken up. “I was really trying to make something that would make people feel better,” Martin says of Heavy Lifter, on the phone from his bandmate Taylor’s house in Austin. “And I think they have served that purpose for me too, just from making them.”

While Heavy Lifter does come off as familiar, the record also expands their sound. Working in close collaboration with engineer and producer Ben Littlejohn in various makeshift studios around Texas, they’ve refined their languid melodies and expanded on their previously muted production.

It arrives after Hovvdy’s tour with Lomelda, with whom the band recently released a split EP of covers.

Hovvdy’s third full length album, “Heavy Lifter”, is out October 18th, 2019. Charlie Martin and Will Taylor met at a baseball game while on tour drumming for different bands. Back home in Austin, the two Texas natives discovered both held batches of compatible songs, intended for solo projects. They merged as Hovvdy instead.

Penned separately, the duo’s first-ever songwriting efforts coalesce seamlessly on debut LP Taster . To this day, Charlie and Will create like satellites on the same orbit, combining bedroom recordings into a singular worn-in sound. Their downtempo rock found an audience in the Austin and New Orleans scenes, elevated by support from small indie Sports Day Records.

Brooklyn label Double Double Whammy re-released “Taster” in 2017, followed by “Cranberry” in 2018. The sophomore work solidified the group’s sturdy guitar strums and rhythmic instincts, enveloped in nostalgic glow. Third LP “Heavy Lifter” finds new dimensions in the Hovvdy soundscape.

For Heavy Lifter , the duo worked with producer, engineer, and multi-instrumentalist Ben Littlejohn. Throughout Autumn 2018, the team built out the album in makeshift home studios around Texas. Both singers’ voices cut through more decisively than ever, carried by vivid storytelling and production eccentricities.

Familiar fuzz maintains the warmth of past work, but Heavy Lifter is never muffled. Clear-cut characters and scenes emerge in the 13 tracks. Antsy love song “1999” wanders around a small town, while bright pop piece “Mr. Lee” retells a lonely day in reverent detail. Lo-fi Daniel Johnston moment “Tell me I’m a singer” empathetically enters an artistic perspective, unwound lyrically as: “Tell me I’m a singer.”

You can get an early taste via first single and video, “Cathedral,” that blankets you, warm and comforting, in a drowsy sort of way.

Memories inform present decision-making throughout the album. Two tracks dive into family legacies, “Pixie” admitting “outside my mind/ is where i’m gonna be/ not what i had hoped at 14.” “Sudbury” recounts childhood major league dreams: “front yard catch, you got a plan/ to be a baseball star/ texas ranger shortstop.”

Breaking from the confines of guitar-based slowcore, pop and hip-hop influences expand Hovvdy’s established framework. Propulsive, straightforward hooks usher in autotuned tweaks, chugging beats and genre exploration. By pulling apart slightly, Charlie and Will step into new spaces on Heavy Lifter . Always in sync, it’s a balanced effort.

Rightfully hailed as “the noisiest pop music on the planet” by Pitchfork, Austin, TX’s cult noise rock trio Cherubs have been purveyors of sonic bedlam since their inception in 1991. After an unforeseen return to the scene from a two-decade hiatus in 2014, the Cherubs have now joined forces with the equally revered Relapse Records for the release of their fifth long-player Immaculada High. Recorded and engineered by Erik Wofford (Explosions in the Sky, The Black Angels, My Morning Jacket) at Cacophony Studio in Austin, Immaculada High is 11 songs of signature Cherubs clamor with an added twist of Texas-sized, psychedelic racket. Smooth, rumbling low-end rhythms interplay with feedback drenched, chuggin’ guitars, relentless tone and vocalist Kevin Whitley’s shrill, life-of-the-LSD-party vocals. On Immaculada High, Cherubs loudly proclaim their title as bonafide noise rock legends who continue to forge transgressive yet remarkably accessible punk for a jaded world.

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Formed in 1992, Cherubs emerged on the Austin, TX, LSD punk scene with a jackhammer of nightmarish, rhythm-driven song structures and plenty of Butthole Surfers whimsy and terror to keep things more than interesting. Fast forward 20 years later and the band has reformed with more energy and songwriting acumen then ever.

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Austin, Texas-based songwriter Christelle Bofale will be the first to tell you the importance of family roots and mental health, considering how much those things aided her own self-discovery. Being the first American born in her family, the rich heritage of the Congo is deeply rooted in her upbringing and relationship with sounds.From singing and dancing with her mother as a child, to praying to Congolese music with her grandmother, to her father, a soukous guitar player and musical director for the Congregation at his church, Bofale’s journey as a musician has been defined in tiny intervals throughout the course of her life. As a songwriter, she infuses hints of the Congo into various aspects of her music,

Christelle Bofale’s “Swim Team” is a sumptuous introduction to Bofale’s unparalleled sound. The Austin Texas based singer brings multiple influences to Swim Team—Bofale counts Joni Mitchell and Alex G as inspirations—including jazz, rock, soul, and the musical traditions of her family’s native Congo. “Moving On, Getting On,” the album’s opening song, pairs Bofale’s resonant voice with sweeping guitar riffs. On the soulful “Origami Dreams,” Bofale sings, “Make up your mind, I don’t have the time to wait on you.” Album standout, “U Ouchea” is a seven-minute narrative that merges Bofale’s steady voice, melancholy lyrics, and an expansive guitar melody. At its core, “Swim Team” is an album about mental health and serves as a keyhole opening to Bofale’s inner life and a primer for her unique voice.

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This album is just stellar. Christelle Bofale has given us a big piece of her heart. released May 31st, 2019

The first thing to jump out about Fanclub’s “Leaves” is the run of sharp little synth stabs, each of which injects the song with a tiny hit of sugar. Influences dating back as many as 40 years make their way into the mix — the synth-pop of the early ’80s, the smeared-out shoegaze of the early ’90s, the twee bedroom pop that’s taken off in the Internet era, and so on — but they’re all in service of hooky, timeless pop songwriting and the charming vocals of Leslie Crunkilton.

Band Members
Leslie Crunkilton, Mike Lee, Daniel Schmidt

Moving Panoramas will be at SXSW 2019

In recent years, Moving Panoramas‘ members have undergone lineup changes and health issues, but their new album, In Two, is still an impressive leap forward: a joyous and confident collision of girl-group harmonies and hazy dream-pop, with an agreeably beachy vibe that recalls the best of Best Coast. Bandleader Leslie Sisson enlists a new permanent lineup and an array of guests — including Nada Surf’s Matthew Caws and a few of Moving Panoramas‘ past members — to bring to life a perfect soundtrack to the first blush of springtime.

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In the beginning, Michelle Soto’s melodies were just trapped in her head. “I had no experience with electric instruments,” the Blushing guitarist/songwriter explains of her 2015 mindset. “What was so frustrating was that I had these songs I wanted to write, but I had all these barriers to actually make this music: ‘I’m not good at guitar, I can’t sing.'”

Then, she approached longtime friend and classically trained singer Christina Carmona. Blushing thus began as an acoustic duo, but the early living room sessions yielded more Indigo Girls and less the celestial, Cocteau Twins-infused shoegaze they pummel now. Carmona picked up bass, and in 2016 they added their husbands to the lineup. Jake Soto’s years of drumming in hardcore bands and Noe Carmona’s expertise on guitar rounded out the quartet’s thundering wall of sound.

The band found an early supporter in Cheer Up Charlies booker Trish Connelly, who booked Blushing’s first gig in 2017. They quickly became omnipresent locally, churning out two EPs while their debut LP, recorded and produced by Ringo Deathstarr’s Elliott Frazier, is due later this year. Blushing’s name now appears constantly on Austin bills, their live sets an intensified version of the studio work.

“I grew up playing the piano and violin,” says Carmona. “When I plugged the bass into the amp, I was like, ‘Whoa, this is so much power!’ We wanted to play into that.”

Blushing’s tactile sound blossoms from a juxtaposition of gutsiness: Carmona’s break from the rigidity of classical training and Soto’s innate composing from an untrained background. The former admires the latter’s intuitive approach. “When you don’t have a whole lot of knowledge in a subject, you’re not afraid to make mistakes,” Carmona says. “You don’t know what the mistakes are, so you don’t limit yourself.”

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The 13th Floor Elevators were a band from Austin, Texas, formed by guitarist and vocalist Roky Erickson, electric jug player Tommy Hall, and guitarist Stacy Sutherland. The band was together from 1965 to 1969,

As garage rock turned psychedelic by the latter half of the ’60s, “You’re Gonna Miss Me” was a significant milestone along the way. First released in January 1966, the song showcases Roky Erickson’s otherworldly shriek and Tommy Hall’s eerie electric jug. Hailing from Austin, Texas, 13th Floor Elevators managed four albums and seven singles in their brief run from 1965-69 (and Erickson went on to subsequent acclaim and notoriety), but “You’re Gonna Miss Me” remains the group’s defining statement.

The 2005 documentary You’re Gonna Miss Me specifically credits Tommy Hall with coining the term “psychedelic rock”, although artists such as the Holy Modal Rounders and the Deep had described their music as “psychedelic” earlier. Their contemporary influence has been acknowledged by many of todays musicians.

As garage rock turned psychedelic by the latter half of the ’60s, “You’re Gonna Miss Me” was a significant milestone along the way. First released in January 1966, the song showcases Roky Erickson’s otherworldly shriek and Tommy Hall’s eerie electric jug. Hailing from Austin, Texas, 13th Floor Elevators managed four albums and seven singles in their brief run from 1965-69 (and Erickson went on to subsequent acclaim and notoriety), but “You’re Gonna Miss Me” remains the group’s defining statement.

Original LP Mono Mix version (1966). By the psychedelic rock band “13th Floor Elevators”.