Posts Tagged ‘Texas’

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.”

http://

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.

 

Fanclub is a little fuzzy cuddly creamsicle indiepop trio from Austin, TX. Mike Lee, Leslie Crunkilton, and Daniel Schmidt craft songs driven by their love of all things twee, indie, and dreamy. On the heels of their debut EP release already at over a million streams, they want to be your personal soundtrack as you conquer the world.

http://

Band Members
Leslie Crunkilton, Mike Lee, Daniel Schmidt

Super-catchy indiepop from Austin, Texas. These songs are so good!

Robert Ellis recasts himself from an alt-country guitar-slinging troubadour to a white-suited, top-hatted barroom pianist making an album full of jaunty stompers about growing up and growing sober (“Topo Chico” and “Nobody Smokes Anymore”) and acerbic, affecting love songs (“Fucking Crazy” and “Passive Aggressive”). Ellis teared down a set at SXSW , The album  is among our music highlights of 2019, and this record is a perfect companion for all the turns 365 days can throw at you.

http://

Released February 14th, 2019

Pianos and Keyboards – Robert Ellis
Guitars – Kelly Doyle
Bass Guitar – Geoffrey Muller
Drums and Percussion – Michael “Tank” Lisenbe
Congas and Auxiliary Percussion – Josh Block
Background Vocals and Vocal Arrangements by Robert Ellis and Michael Lisenbe

All songs written by Robert Ellis

Image may contain: 1 person, smiling, standing, sky and outdoor

Weightless guitar tangents and lush, aquatic soundscapes are a vital part of what embodies “Swim Team”, her debut EP that serves a powerful introduction to Bofale’s budding artistry. Somewhere between influences like Joni Mitchell and Alex G, Bofale has found a sweet spot for her sound that lives between both harsh and gentle terrain, achieving a relaxing, yet rugged tonality.Each track pictured on Swim Team is brushed vividly with colors that illuminate the fear of being honest and doing that much needed personal work. Bofale’s earnest and bravery is a snapshot of black mental health and the nuance it carries. Being real isn’t easy, but it’s crucial in cultivating spaces for healthy discussion and giving other black women like Bofale a platform to do the same.

http://

With her debut EP Swim Team, Congolese American songwriter Christelle Bofale relishes the ebb and flow of love, while also exposing its underbelly. On songs like “Love Lived Here Once” and “U Ouchea,” against a lush guitar backdrop, Bofale’s lyrics land like crashing waves, transforming her innermost revelations of fear and complacency into resonant and prophetic incantations. At times reminiscent of Lianne La Havas’s sophomore effort Blood,Swim Team also pays homage to singer/songwriters like Joni Mitchell and Bill Withers who deeply explored the rich spectrum of love—unearthing its ache, its murkiness, and its confusion.  This EP is one piece of stellar work by this amazing singer/songwriter.

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.

http://

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

No photo description available.

Image may contain: text

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.