Posts Tagged ‘Texas’

Glorietta is a musical project that brings Matthew Logan Vasquez of Delta Spirit together with some of his closest friends: Noah Gundersen, Kelsey Wilson, David Ramirez, Jason Robert Blum and Adrian Quesada. The group is releasing their debut, self-titled record Glorietta on August. 24th. Even Nathaniel Rateliff, who had an album with The Night Sweats come out earlier this year, joined in and learnt vocals to the track “I Know.”  The release of second single “Golden Lonesome,” which followed the premiere of “Heatstroke” last week.

The track comes from a moment of crisis for Gundersen who, before flying out to the sessions in Glorietta, N.M., was feeling the effects of a recently ended relationship. “I was having a bit of a meltdown,” Gundersen recalled. “I almost considered cancelling my flight. But instead I wrote this song and then called a Lift to the airport.”

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The lyrics of “Golden Lonesome” distinctly come from this place of pain and change: “Better to kill it quickly than to slowly watch it die,” reasons one of the lines. With the vocals at its forefront, the song generates a warm intimacy between performer and listener as a slight echo adds depth while maintaining a live rawness. “Tape ran constantly” during the band’s nine days of recording, capturing an overflowing confessional in “Golden Lonesome.”

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Hailing from the musical mecca that is Austin, Texas, Fanclub initially formed as the brainchild of Mike Lee, to re-record his favourite albums with a rotating cast of musicians. Thankfully after working with vocalist Leslie Crunkilton, Mike decided that actually, it might be a lot more fun to record his own songs. Now joined by drummer Daniel Schmidt, Fanclub as we know it were born, and this week the band have shared their debut single, “Leaves”.

Despite self deprecatingly describing their music as, “Indiepop that probably sounds like everything else”on the evidence of Leaves, Fanclub are considerably more exciting than that sounds. Energetic rhythms play off against tumbling synths and New Order-like guitar exploration, before Leslie’s hushed vocals steal the limelight. On these somewhat overly scorching summer nights, there’s something splendidly Autumnal about the track, with the lyrics references to falling leaves, you can almost feel the nights drawing in around you in their own inevitable, melancholic way. A classic, perfectly formed, indiepop song,

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Leslie sang on a couple songs Mike wrote and they quickly hit it off. They started writing songs together and soon knew there was something special. Combing Mike’s indiepop guitar sound and electronic aesthetic with Leslie’s ethereal yet poignant vocals felt just right. They recruited Mike’s old bandmate Daniel Schmidt to cover percussion duty and together they make what we now know as Fanclub.

Fanclub might just be your new favourite band. Leaves is out now.

Thundering riffs, rumbling drums and sparkling psychedelia recall the glory daze of Cactus, Grand Funk & the James Gang. Unabashedly retro, these fellas still have their own singular vibe. Excellent songwriting and playing throughout. Crank loud and enjoy!  Finding the middle ground between Skynyrd and Sabbath, Crypt Trip have discovered landed in a sweet spot to serve up fine, straightforward rock ‘n’ roll music. This mustachioed trio from San Marcos aren’t afraid to doom out like the children of the grave that they are on apocalyptic revelries like “Tears of Gaia,” but they also have a tune called “Boogie No. 6” that allows them to unleash their inner Canned Heat. While their knowledge of rock history is deep enough to rob the graves of bands past, their repurposing of their findings keeps from becoming corpses themselves.

One of those albums you enjoy from beginning to end without skipping any tracks. Each song flows into the next. Excellent fuzzy psychedelic rock tunes!

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Released January 19th, 2018

The Band:
Ryan Lee: Guitar, Vocals, Elec. Piano
Cameron Martin: Drums, Vocals, Perc.
Sam Bryant: Bass

Dear friends, I realized recently that it’s the tenth anniversary of the release of Rook, the second of our three Matador albums, and one that has a special place in my heart. (It’s also, strangely, the only SW LP that I no longer own; I’ve tried to convince Matador to reissue it on vinyl, but so far to no avail.)
It’s hard to remember some things about the sessions for it now, up at the Echo Lab in Argyle, Texas.  The electric guitar wasn’t speaking to me then for some reason, so I mostly played the studio’s piano and my little old acoustic on the album, which features some of my favorite performances from Thor, Kim, and Howard, as well as some beautiful string arrangements by Mark Sonnabaum.  Matt Barnhart guided the whole thing into shore, and was very patient with me when I wasn’t quite sure what I wanted – which, in those days, was most of the time.
I remember Thor dismantling a dead oak by the studio, turning its limbs into beautiful firewood that seemed to burn forever in the fire pit out back; I also remember the sound of coyotes and barred owls calling to one another in the ravine down below, and kettles of turkey vultures wheeling overhead.
We premiered the album in New York with a live performance at Florence Gould Hall (which you can find here), which included a string section, a grand piano, and our dear friend Elaine Barber on the harp—as well as two brand-new members in Jordan Geiger and Kevin Schneider—and I don’t think I’ve ever been so nervous before a show.  I remember willing my hands to stop shaking before “leviathan, bound”, and a sweet little moment of silence in “lost boys”; and a great feeling of relief when it was all over. That was back before I really thought about writing songs that felt comfortable for me to sing, so the melodies seem almost absurdly high-pitched and complicated to me now when I listen back.

I’ll be posting a few odds and ends related to the album, but I don’t have a deluxe edition to sell you, or anything like that. What I do have is a feeling of deep gratitude to all of you, many of whom I first met way back then; you’ve been keeping me going ever since.
I feel very lucky to have met and worked with so many extraordinary people for so long.

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Recorded live at Florence Gould Hall in NYC May 5th, 2008.

To commemorate the 20th Anniversary of the release of Rook, JM made a video with his thoughts on the album, and shows some artifacts from the making of the album. He also sings “I Was A Cloud”.

Hovvdy’s debut LP was nothing’ short of lovely. there are too many reasons to count why y’all should be excited about ‘Cranberry’ It feels like Austin indie duo Hovvdy have been rolling out their sophomore album, Cranberry, for years — actually, lead single “Petal” dropped in late October and now at last the whole, beautiful thing is here for your enjoyment. In addition to “Petal,” we’ve also heard “Late,” “Cranberry,” and “In The Sun,” all of which provided a good sense of the album’s sighing lo-fi slowcore feel. Surveying the album in full is like being suspended in a state of waking up from a dream in a very comfortable bed. I recommend getting under a blanket and enjoying it on this frigid February day — especially if you’re into (Sandy) Alex G, American Pleasure Club, and the like.

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Cranberry is out 2/9 on Double Double Whammy

Bass on 1, 2, 4, 6, 8, 9, 12 by Ben Littlejohn
Bass on 10 by Hannah Read 
Drums on 1 by Andrew Stevens
Add’l Drums on 9 by Andrew Stevens 
Backing Vocal on 9 by Mallory Howard 
Pedal Steel on 9 by Ben Littlejohn

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Austin rockers White Denim have announced they will release their seventh full-length album, Performance, on August 24th via their new label City Slang Records, with whom the band recently signed.

The group has also shared the album’s first single, the thumping, strutting “Magazin,” which can be heard in the  below, along with also announcing a batch of fall USA tour dates, more sandwiched between two European runs.

See White Denim’s tour schedule below.

August 28 – London, UK – Rough Trade East
August 29 – London, UK – Moth Club
August 31 – Vlieland, NL – Into the Great Wide Open
September 2 – Larmer Tree Gardens, UK – End of the Road Festival

Taken from the new album PERFORMANCE

Texas singer-songwriter Alejandro Rose-Garcia, Aka Shakey Graves, is known for twangy, blues-rooted Americana that charms your socks off, the kind fit for dancing barefoot on a back porch in the southern heat. On Can’t Wake Up, his fifth album, he gambles with the very formula that brought him fame. Armed with new instruments and a lifetime of dreams, he forgoes his boot-stomping, cheeky folk for a sound that fluctuates between finely-tuned rock and full-band pop. Alejandro Rose-Garcia pulls it off in large part due to his storytelling prowess; these songs would be welcoming, even enthralling, in any style.

Last December, Rose-Garcia took to Twitter to hint at the change: “Next album. New sound. Sell your suspenders.” While the message is apt in that straightforward folk is nowhere to be found on Can’t Wake Up, it’s best to keep the suspenders on for support given the amount of trekking through new soundscapes. It’s a dense listen Shakey Graves  describes life lessons he’s learned over the years . He says: I honestly don’t want to blab too much about it outside of saying that I couldn’t be more proud of every aspect of this record.  It is vast in sonic range but was built at home the same way I’ve always done it.  some of the songs where it sounds like a small confused symphony is merely one excited boy and a tape machine.

The album’s dioramic artwork depicts Shakey Graves in a ghost town, enrobed in purple and a dazed expression, walking between vibrant violet and magenta plexiglass plates. Above, a human face peers through the clouds, curious as to what could happen next.

As a freshly minted 30-year-old, Rose-Garcia has accumulated a surplus of memories; he dug as far back as high school to pen those that appear on the album. He’s mining for moods and moments, not people or particulars. By utilizing this open-ended storytelling, Shakey taps into powerful feelings: the specific aching brought on by sleepless nights of love-sickness, the stubborn denial of continuing to use selfish excuses, the humanitarian curiosity that arises when comparing your neighbor’s lifestyle to your own. In the album’s most despondent number, “Tin Man,” his final words hang with the asteism of someone who missed the chance to advise his younger self: “Day by day, if the posted limit you obey / Then the biggest shot in your life / Will be dressed with salt and lime.”

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It’s the way Shakey Graves delivers these sentiments that illuminates Can’t Wake Up. He’s evolved from a campfire storyteller into a songwriter armed with a full band, and the rich instrumentation clouds around his lyrics like Broadway set designs: “Aibohphobia” walks through a kitschy, old-timey cartoon thanks to a Mellotron; the use of a retro Optigan makes “Climb on the Cross” sound like it’s playing through a boombox on the beach; “Dining Alone” dances through the countryside with slide guitar and backup vocals by alt-country fellow musician Rayland Baxter (he also joins on guitar elsewhere). Perhaps the biggest trick is how Shakey Graves vocals use slightly out-of-sync double tracking for a dreamy, disillusioned feeling.

Listen closely to the one-two punch of kick drum-heavy “Cops and Robbers” and 1990s ode “Mansion Door.” Though they’re dazzled up in dreams and electric guitar, this is the same Shakey Graves that captured hearts with his debut seven years ago. When creativity and charm are ingrained in your DNA, everything else is malleable.

Can’t Wake Up comes out NEXT FRIDAY, MAY 4th, on Dualtone Records

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The Blind Owls are a 4-piece Rock n’ Roll band from Corpus Christi, Texas formed in 2012. After nearly three years spent of constant performances around Texas and festivals around the country ferociously banging out an authentic Rock n’ Roll repertoire with passion and fury each performance, 2015 saw the release of their first EP ‘The Blind Owls Say Goodbye,’ followed by their debut album ‘All Day & Night’ from Soundflat Records in 2017. The Blind Owls embarked on their first tour to the West Coast in 2017 where they performed in 6 different states and performed for 3 weeks straight. The Blind Owls continue their momentum into 2018, where they plan on making it another successful and exciting year for their music and performances.

“Their debut LP, All Day and Night, echoes Merseybeat and early Rock n’ Roll with a hint of US garage, played with verve and vigor and a musicality beyond their tender years.” Shindig Magazine (UK)

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“Pure rock ‘n’ roll and raw talent takes you back to a 1960s day dream” Cereal and Sounds

Buck Meek - Ruby

Buck Meek, is the lead guitarist and founding member of Big Thief, just released he has a second single, “Ruby,” off of his solo album which is set to be released in full on May 18th. “Ruby” is a laid back alt-folk track that is filled to the brim with country-influenced guitar and charming lyrics. This two minutes and thirty three seconds is that small blip in time with a lover that seems to feel infinite. Buck Meek stretches this moment by guessing names, noticing lights left on, tasting strange Coca-Cola and having sudden existential thoughts, “Ruby, I’m too young to die.” This song explores every corner of a moment, leaving no stone unturned, allowing us to be there with him (and Ruby) completely. Buck Meek is already a much-loved member of Big Thief but is proving to be a true force on his own, and we cannot wait to be submerged in the rest of his story.

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Wimberley, Texas is about 45 minutes out from Austin by car or truck — far enough to allow a music scene independent of Austin’s own to thrive in that hill country. Alexander Buck Meek grew up in that scene, among the jazz manouche, blues and outlaw country guitarists of the region. Even though Buck Meek’s work with Big Thief has taken him far away from his Texas home,

Buck Meek’s self-titled debut album comes out on May 18th via Keeled Scales