Posts Tagged ‘Texas’

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While Madeline Dowd’s visual artwork playfully relays adult themes through childlike imagery, her band Crisman swaps the acrylics and spray paint for hazily-filtered vocals gently layered over slow-core arrangements to find yet another medium for masking emotional turmoil with innocence.

In 2011, Dowd left her hometown of Alpharetta, Georgia for Denton, Texas, where she met Boone Patrello, who records under the moniker Dead Sullivan. Their chemistry led to 2018’s Crisman Tape, which Gold Flake Paint called “a hidden and unhurried gem in the current DIY scene.” For the band’s self-titled debut studio album, Dowd and Patrello teamed up with another fellow Denton musician in MAH KEE OH’s Grahm Robinson. Contrasted against the childlike playfulness of Dowd’s paintings, the band’s collective experience is refracted throughout the measured ten-song collection.

The melancholic and sinuous lead single “Surprise” pulls from childhood memories of wanting to be included and feeling misunderstood in order to lend its start-stop riffs an emotional touchstone. On “Cya,” the band employs acerbic distortion and twinkling arpeggios to explore the immaturity and inevitability of trying to forget a person or feeling that lingers far too long, where final single “Icee Blue” is about experiencing the infectiousness of a romance, a thematic reproduction of the song’s infectious composition.

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Released April 3rd, 2020

Crisman is Maddie, Boone, Grahm and Jordan, Based in Denton, TX

Songs written by Madeline Dowd and Boone Patrello,

With influences of bossa nova and oldies, we create the perfect soundtrack for chillaxin’ by the pool, The group was originally formed around the talents of Matthew Terry (vocalist/guitarist) and Eugene Chung (drummer) during their senior year of high school. Before moving to Austin, Matt and Eugene enjoyed playing intimate shows at small coffee shops, friends living rooms, and local venues around the Dallas and Denton area where they began to work on and craft the musical nature of what is now Summer Salt.

Driving to Hawaii (2014), contains the essence of a never-ending vacation and is rich in guitar pop and silky harmonies that is reminiscent of the Beach Boys. The EP features fan favourites such as Sweet to Me, Rockaway, and of course their title track, Driving to Hawaii, which has iconically represented the basis of all Summer Salt lyrics: trying to slow down and enjoy the ride of chasing what appears to be an unattainable pipe dream.

Their next release, Going Native (2015), was inspired by a trip abroad where Terry began diving into artists such as Joao Gilberto, Antonio Carlos Jobim, and Gilberto Gil which lead to a new writing direction using Latin elements. Succeeding the energetic and live sounds of Going Native, So Polite (2017), was the perfect appetizer for the bands’ debut full-length album, the wildly colorful, Happy Camper (2018) which features a more polished production quality from Sub-Pop stalwart Phil Ek (Fleet Foxes, The Shins).

The infectiously melodic ensemble has cultivated a loyal following with their endless summer, ocean dream music that can be heard in influences such as the Lovin’ Spoonful, Donovan, Frankie Valli, the lovely Lady Day or other musical genres of 1960’s Rocksteady or African Highlife. Moving forward, with the anticipation of their forthcoming release Honeyweed, Summer Salt maintains phonetic components of Brazilian tropicalia and 60’s folk pop while drawing inspiration from seasoned topics of loss and renewal.

Summer Salt’s building success on the road lead to a 31-date sold out North American tour in the Summer of 2018. Featuring the recent addition of guitarist/vocalist, Anthony Barnett, and bassist, Elliot Edmonds, the group is now preparing to embark on their second headlining US tour. 

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Band Members
Matthew Terry,
Eugene Chung

RVRB-029 : Holy Wave - Interloper

Holy Wave is an experimental dream-pop band originally from El Paso, Texas. After seeing a life-altering performance by My Bloody Valentine in 2008, the band moved to Austin to pursue their own vision of Texas psych, their sweet melodies dyed in carefully constructed noise.

Over the course of four albums, the band have cemented themselves as a staple force in the international indie scene, with key performances at Levitation, Desert Daze, and nearly every psych gathering on the planet. They’ve toured the world, and shared the stage with heroes such as Slowdive, Spiritualized, Hope Sandoval and The Black Angels. Their body of work has received critical acclaim from Pitchfork, Consequence of Sound, Paste Magazine and countless others, and in 2020 they are prepared to release their latest body of work.

Interloper sees the band adding new layers to their lush and mesmerizing songwriting style. Written about the duality between life at home and life on the road, it sees the band expanding on their most esoteric and thought-provoking themes. “I’m Not Living in the Past Anymore” is a mantra about breaking the cycle of the mundane, “Escapism” is a dream-like meditation. “Interloper” serves as the centerpiece for this self-expanding record, asking, what happens when the world beneath your feet changes so much that you feel like a stranger in your own shoes? The band turns inward, to blissed-out moments on album opener “Schmetterling”, the saccharine haze of “R&B”, and the freak-out catharsis of live favorite “Buddhist Pete”.

With Interloper Holy Wave weaves together a contemplative tapestry that can serve as a road map for the diffident, a soundtrack to self-realization, or simply an invitation to escape.

Interloper sees the band adding new layers to their lush and mesmerizing songwriting style. Written about the duality between life at home and life on the road, it sees the band expanding on their most esoteric and thought-provoking themes. “I’m Not Living in the Past Anymore” is a mantra about breaking the cycle of the mundane.

The Reverberation Appreciation Society is proud to announce Interloper, the new record from Holy Wave, out May 8th, 2020.

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Caroline Rose’s “Loner” is a masterstroke of an album, and the three singles that proceeded it give you insights to the vast array of soundscapes and moods that encompass this career defining album. I found these songs on constant repeat all last year long. If you’re not familiar, now’s your chance to change that! Don’t let it pass you by without warming up to this stellar collection of songs.

With her all-red wardrobe and wild dance moves, you may feel an urge to assign Caroline Rose the description “quirky.” Resist it. The Austin, Texas-based indie pop artist isn’t an oddity—she’s a hungry artist on a quest for constant evolution. Beginning in the Americana scene back in 2014 with her debut album I Will Not Be Afraid, Rose later abandoned her country pursuits for a chance at making something much more unique: satirical, endlessly catchy synth-pop. That was the crux of her 2018 record Loner. Now, she’s back with something new: an underdog’s odyssey set to music. Lead single “Feel The Way I Want” is a lose-yourself dance track, but “Freak Like Me” is a classy piano ballad. There’s no telling what the entirety of Superstar will sound like. What can’t this girl do?

Band Members:
Caroline Rose, Abbie Morin, Josh Speers, Willoughby Morse<

MOLLY BURCH – ” Needy “

Posted: February 14, 2020 in MUSIC
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“Anyone who follows me or my music knows that I stan Ariana Grande. On my last tour, I thought it would be fun to cover one of her songs and it ended up being my favorite part of the set. It was very freeing for me to dip my toes into a style I’ve always wanted to sing, and I think it was a fun treat for my audience too. I got some requests from sweet people asking me to record the song – so this is dedicated to them.”
Molly Burchhttps://www.youtube.com/watch?v=Jv693Qfd1xM

Released February 14th, 2020

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This album made my night. Such a beautiful, unexpected surprise. Just like everyone who has discovered Shakey Graves, his music has carried me through many trials & tribulations over the years.

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released February 9th, 2020

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Iconic and iconoclastic Texan singer songwriter and visual artist Terry Allen’s heartbreaking, hilarious new album, his first set of new songs since 2013’s Bottom of the World, features the full Panhandle Mystery Band, including co-producer Charlie Sexton (Dylan, Bowie, Blaze), Shannon McNally, and Jo Harvey Allen; mainstays Bukka AllenRichard Bowden, and Lloyd Maines; and co-writes with Joe Ely and Dave Alvin.

The connections to Melville’s masterpiece are metaphorical and allusive, as elusive as the White Whale. The masterly spiritual successor to Lubbock (on everything), “Just Like Moby Dick” casts its net wide for wild stories, depicting, among other monstrous things, Houdini in existential crisis, the death of the last stripper in town, bloodthirsty pirates (in a pseudo-sequel to Brecht and Weill’s “Pirate Jenny”), the wars in Iraq and Afghanistan (in the “American Childhood” suite), a vampire-infested circus, mudslides and burning mobile homes, and all manner of tragicomic disasters, abandonments, betrayals, bad memories, failures, and fare-thee-wells.

Appropriately, then, his heartbreaking, new album “Just Like Moby Dick”, is first set of new songs since 2013’s Bottom of the World, takes its title from the archetypal monster of American literature and the American imaginary. (Coincidentally—or not—his label Paradise of Bachelors also takes its name from a Herman Melville story.) “Memory shot her crystals as the clear ice most forms of noiseless twilights,” Melville writes, and for most of the novel, Moby Dick himself remains hidden, haunting Ahab as a crystalline monster of fathomless memory, a terrible fever dream from the depths. The whale remains a specter on Allen’s record too, appearing explicitly only in the briny final line of the last song “Sailin’ On Through,” and on the artist’s Side D vinyl etching and CD insert drawings, where he lurks menacingly beneath the roiling seas of Thomas Chambers, the 19th-century maritime painter whose floridly freaky nautical scenes adorn the album jacket.

Fortunately, Just Like Moby Dick features friends in spades, including the full Panhandle Mystery Band in its current, formidable iteration. It is the most collaborative album in Allen’s catalog and arguably his most sonically rich and varied as well. Terry shares keyboard duties with his son Bukka Allen, who also plays accordion and piano. Pedal steel master and de facto Panhandle bandleader Lloyd Maines contributes slide guitar and dobro, while Richard Bowden brings his characteristically kinetic and lyrical fiddle; both musicians have appeared on every Allen album since Lubbock (on everything).

The brilliant Charlie Sexton, a veteran of Bob Dylan’s bands since 1999—he’s also played with David Bowie and Lucinda Williams and stars as Townes Van Zandt in Ethan Hawke’s 2018 Blaze Foley biopic—co-produced the record with Terry at Austin’s Arlyn Studios, plays guitar, and sings. Drummer Davis McLarty, a Mystery Band mainstay since Human Remains (1996) is joined by more recent rhythm section additions Glenn Fukunaga (bass) and Brian Standefer (cello). Terry’s other son Bale Allen sits in on djembe on “Abandonitis.”

The most clearly transformative new presence here, however, is Shannon McNally, who sings sublimely throughout, taking lead on “All These Blues Go Walkin’ By” and Jo Harvey’s jazzy “Harmony Two” and duetting with Sexton on “All That’s Left Is Fare-Thee-Well,” making this the only Allen album to cede lead vocals to other performers. Just Like Moby Dick is also unusual in featuring five songs co-written, in various permutations, with fellow travelers Joe Ely and Dave Alvin, as well as Sexton,

Following the release of her critically acclaimed sophomore album, ‘First Flower’, last October, Texan chanteuse Molly Burch returns with two heart-stopping tracks. Entitled ‘Ballads’ in homage to the strong and powerful female vocalists that she admires, this 7” EP embodies what Burch loves to do and what she does best: crafting music with emotion, drama and romance, giving her voice all the room it needs to burn bright.
 Molly’s sweet and smooth voice makes the heartbreak on “Only One” sound more devastating.
released August 2nd, 2019

Easy/Turns Blue

Taking inspiration from the original concept behind the founding of Saddle Creek, as an attempt to highlight our home city through music and art, we began the Document Series in 2017. Each release featured in the Document Series is comprised of an exclusive record featuring unreleased music from artists outside of the label’s roster, along with a specially curated zine created by the artist. The fifth installment in the series comes from Austin, Texas based Hovvdy.

Hovvdy (pronounced “howdy”) is the writing and recording project of Charlie Martin and Will Taylor. The duo, both primarily drummers, first met in the fall of 2014 and quickly bonded over a love for quiet music. Within a few weeks, they had combined songs and began recording their first EP in bedrooms and family homes across Texas.

By 2016 the two had committed to each others growth in songwriting and recording, resulting in their debut album Taster , originally released on Sports Day Records and reissued in 2017 by Double Double Whammy. They followed this in 2018 with the release of Cranberry , which Pitchfork described as, “Foggy, warm, and wistful, it sounds like faded time.” Hovvdy has found a unique identity in rhythmic, down-tempo pop songs that are hopeful, yet melancholy; relatable, yet distinguishable.

As on Side 1, the mics open up into the moment preceding the music, letting our ears wander into the room seconds before the song starts. The light that was dappling on “Morning Is My Godmother” is seen from higher up at the top of the flip, as Bill gives us an airplane song in the grand tradition of Lightfoot and Denver, Chuck Berry and Steve Miller. “747” slips easily into cruising altitude, a staunch full band collaboration, while Bill wanders absently through yearning visions of selfhood before landing us on the moon, “like flies on a mule.” The baby’s head first appears here. “Watch Me Get Married” fills in the patchwork like we’re flipping through a scrapbook. This particular marriage is to cosmic oneness (always the best bet to avoid the divorce courts) sounding like the swelling of true happiness, with the gentlest of oom-pah-pahs suggested in the backdrop. Throughout the side, the twinklings of the firmament are represented by instrumental comings and goings, adding shading and color on an almost line-by-line basis. Never one to dwell overlong on a sweet moment, Bill‘s attention turns to “Young Icarus”, whose fate we thought we knew. Here, the story sounds similar to what Bill once wryly termed “the pornography of my past” or, even further back, the tale of “a teenaged Smog.”

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Odd details and signature changes trace this path, a synth flashing peripheral commentary as the old ways of “Ballad of the Hulk” are glimpsed in their death poses. The brevity of these melodies are a microcosm of the album; flowing moments of honey that turn, smoothly abrupt, into other sweet moments, leaving a track in the listener’s mind that grows wider with time. Suddenly, dark clouds blow in. Like a flashback within a flashback, “Released” cracks and groans with mounting angst, a struggle in vacuous space, with Bill spitting out a sharp and disgusted “get fucked” as he silently watches the horsemen of the Apocalypse advance on their trail of corruption.

The acoustics palpably breathe: keyboards suddenly appear, hang translucent in the air, then wink out, and the stretching and crackling of skin acts as a part of the arrangement. At 2:22, this would be the shortest song on a Bill Callahan album, but on Shepherd In a Sheepskin Vest, it is one in a series of epic miniatures; small moments composed of even smaller moments, all fluidly sliding into the next. Bringing us to quintessential side-ender, and one of the barest moments on the album, “What Comes After Certainty.” Over a guitar duet, Bill ruminates on love, lyrically revolving on a carousel that touches on his honeymoon and the dreams of his life and career, opining that they are not magic, but a part of unknowable destiny, and adding, “God’s face on the water/though plain to see/still hard to read.” When the honeymoon is over, this is what we’re left with at best. And for anyone who’s married well, it is very good.