New Music, Emerging from your Local Scene
Kaytranada
October 4th & 11th 5PM @ Miller Lite
Haitian-Canadian DJ mixes dance, funk and hip-hop
Kali Uchis
October 5th & 12th 5PM @ Miller Lite
Neo-soul, reggatone and genre-bending upbeat music
Robyn
October 13th 8PM @ Honda
Dance anthems and electro pop from Sweden
Fisher
October 6th & 13th 5 PM @ T Mobile
Aussie Producer and DJ w Dance/EDM set
Griz
October 6th & 13th 7 PM @ T Mobile
Trip hop and electro-soul with big horn section
Photo Credit: Charles Reagan Hackleman
A heavy southern rock band with a heavier name, Black Heart Saints’ new EP titled Misery blends together heavy southern soul and 80’s power rock. To call it alternative would be a huge understatement.
Altogether the EP is an extensive, solid blend of head-pounding rock. Earth-shattering vocals eclipse the limitless melodies carried by the band with a vigorous consistency. Full of electricity, they have everything they need to make even more great material.
Addicted to Love hits all the sweet spots. Showmanship and stylization only they could pull off has created one amazing cover. All necessary adjustments, made, this flows perfectly into the rest of the Black Heart Saints EP.
– Dylan Welch
This past June Shonen Knife, known for their influence of punk bands such as Nirvana and Sonic Youth, released their 19th studio album Sweet Candy Power. The band played a show last night at the Empire Control Room & Garage, and we were able to get in touch with frontwomen Naoka Yamano for a quick interview. Naoka talks about why she writes about food, what eras Sweet Candy Power plays homage to, and how Shonen Knife doesn’t really identify as a punk band.
The Deli Austin: You started touring in the U.S. in the late 80s, and since then you’ve had a lot of gigs all across the country. Is there anything you particularly enjoy about playing shows here?
Naoko: The audience here in the US is very friendly and cheerful. I like that. I like fish tacos. I can eat various fish tacos here during the tour.
How has the punk scene in Japan changed since you started playing?
I don’t know how to define the “punk scene” but if it means underground scene, the border between major scene and underground became vague. Even if a band is very independent, they can spread their music using the internet. If “punk” is defined musically, when I started the band, punk, hardcore punk were popular but there are various kinds of music. I don’t think Shonen Knife is a punk music band.
So what does punk rock mean to you today?
It means nothing. Actually, we are not a punk band. I write various type of songs not only punk-pop but Hard Rock, Pop, sometimes Disco. In these 20 years, I don’t listen to punk music so much.
I think the two main takeaways people get from your music is a sense of fun, and a craving for all of the food you write about, especially on Sweet Candy Power. What connections do you make between food, fun, and music?
I write songs not only about food but other topics like my experiences. The lyrics are rather positive. I put some essence of fun on it. The topics of some songs are food. Food is a universal thing and everybody can understand easily. But sometimes it is difficult to explain or people misunderstand because if I say “Candy”, I can’t find Japanese style candy here in the US. We have various kinds of candies in Japan. In the US, there are many gummies but we don’t say it’s candy. Candies are like HALLS or Licora which made by sugar, malt syrup and flavors.
Anyway, I write songs about food and fun to make people entertained.
How did you approach compiling material for this latest release? Were there any particular influences for this album’s style?
I usually don’t have any concept for albums. I just make songs which I like and people will enjoy. I like 1970’s and 1960’s classic rock music. This album is a kind of homage to such music.
What is your favorite song on Sweet Candy Power?
“My Independent Country”.
Interviewed by Avril Carrillo
Prolific horn and production collective Soul Food Horns released the single “Hot Air” last Tuesday on Brooklynn based label Sundae Sauuce. Calculatedly relaxed, buoyant trumpet lines and synths float the groove above succinct drums and bass that have no business being as fat as they are. The perfectly titled track smoothly sweeps into your ears and nestles itself somewhere between J Dilla and Chet Baker. Allowing the listener to actively digest the textures or take a reflective backseat, the tune acts as if part of a prestige “Lo-Fi Beats to Study to” playlist
Although meeting in Austin, co-founders Louk Cox and Ari Burns have respectively reestablished themselves in Amsterdam and Chicago. Current Austin-based members include Sam Howden, Dan Fears, and Noé Mina. They don’t let space decrease productivity however as each member has a home workstation that they use to record and exchange ideas to facilitate long distance collaboration. Having all received an academic background, an eclectic body of work has emerged, including but not limited to hip-hop, house, and neo-soul. This open-minded approach has left them in a position to follow their multi-genre interests wherever they may lead.
The collective began simply as a horn section playing diverse gigs, establishing musical intimacy, and recording for artists such as Netherfriends, Magna Carda, and Mathien. Falling deeper into the world of recording, SFH became enamored by the craft of production. This interest led them to begin to produce independently for themselves and others, notably on Austin-local rapper and poet Chucky Blk’s debut “A Prequel To” and the collaborative LP “Koi Pond” with Cloudchord.
“Hot Air” came about naturally as Mina was visiting Cox in Amsterdam. Setting up shop in a makeshift studio “in the attic of an old building in the center of the city,” Cox recalls “making the beat with the idea of capturing the sound of the summer breeze coming through the window.” As that goal has been elegantly captured, make sure to check out their other Cloudchord collaboration Moon Fortune, the fresh Chucky Blk single “Get That”, and another Sundae Sauuce single in October.
When the drumbeat of the lonely transforms into synth hooks and pulsating rhythms, this is what the essence of Hayden James emanates. James, an Aussie electro artist, has built his profile over the last five years by consistently creating music and refusing to stay complacent in his songwriting. James has opened shows for Odesza and Disclosure but he is beginning to build his own wave of audio ubiquity, especially since releasing his debut studio album, Between Us, in June 2019.
Hayden James sold out the Vulcan Gas Company on Friday night and tickets soared on the secondary market, going for as much as $150, up from $25. Naations, another Australian electro act, performed as the opener for James but also collaborated on the hi-frequency pop hit “Nowhere To Go” that James would perform during his set. Naations was bursting with infectious energy that originated from an intense live set and left quite an energy drop-off once they left the stage.
A simple yet dazzling minimalist stage setup gave Hayden James the environment in which he could be equal parts mysterious and invigorating. Understated yet sultry tracks like “Better Together” and “Something About You” melted an inhibitive audience into a melange of collective cool. A beautiful night came to a close abruptly and prompted the audience to beg for more. Hayden James is a master of the exit, leaving his fans clamoring for a morsel more.
In the city of eclectic talent, Austin Texas, Indigo Bunting is an art-pop trio that stands out to the crowd. They have a unique sound with calming vocals and upbeat instrumental, that fills your soul with euphoria and bliss. Giving us another dose of their music, the trio recently just dropped a new single.
“White Noise(Don’t be a Winner)”; giving off 60’s vibes and harmonic voices with new and modern sound effects. Perfect for soothing car rides no matter where one is at, or going. As if listeners could not get enough there is a side B to the new single with the same dreamy attitude.
“I don’t Mind”; will leave one happy and sad all at once. The lyrics are beautifully articulated and connected. Cannot help but notice how the vocals and instrumental counteract each other so well. These two tracks go along with Indigo Bunting’s new and upcoming album.
Be ready for the trio’s album coming out later this fall, as it will be just as interesting and enjoyable as “White Noise(Don’t be a Winner)/ I don’t Mind”. Lifting spirits with their old but new, experimental sounds. Even though the summer has come to an end, extend it with the sun soaked music brought to you by Indigo Bunting.
-Miranda Letz
Foxtales released a new single “Save Ya” this past Friday. Songwriter and multi-instrumentalist, Jonathan Fox, wrote the song while he was making sense of a broken heart. Given that Fox is naturally drawn towards a more upbeat style, “Save Ya” is full of glossy pop melodies interwoven with heavier lyrics dealing with the guilt and grief that comes after a difficult breakup.
The song captures how difficult it can be to process the end of a relationship. When discussing his creative process in writing “Save Ya,” Fox explained “The more I recognized the creative walls I’d put up, and looked to move past them, the less obstructed the story itself seemed to be in getting out. And then it started flowing out." The lyrics have a natural progression as they follow the song’s narrative, and the simple but impactful rhyme scheme flows easily alongside the beat.
The sadder lyrics don’t weigh down the songs uplifting soundscape. Fox bandages his heartbreak with layers of synth and dance music. It’s encouraging to listen to. Fox especially shines on the indie-pop inspired backdrop. The fast-paced layering of electropop loops and subtle bass drops make you want to dance. It’s the sort of song that’s gratifying to listen to when you need a pick-me-up.
– Avril Carrillo
House music in Austin is an undercurrent, barely noticeable beneath the deluge of more mainstream genres that have much more visibility. Yet, occasionally a gem shines through that makes you want more. Paty Gomez-Palacio, aka DJ Frooot, found her break in the UT greek party scene, playing parties where she impressed attendees leading to bigger and higher profile shows. Frooot is young, female and determined, but Austin isn’t the most nourishing scene -especially since Kingdom and Ethics were shut down in the past year. Gomez-Palacio has persevered, expanding her show circuit to include other Texas cities, festivals and recurring shows at venues like Scratchouse and Vulcan Gas Company. A steady stream of consistent and quality released tracks also serve as harbingers of Frooot’s longevity and success moving forward.
Kalijah, the 4 piece post-indie, sensuous rock band in Austin, Texas released their debut EP Mouth of the Cave complete with mouth watering melodies and lyrics that punch you awake. The namesake song of the album whisks your consciousness from where you last left it and you’re hearing words like:
“mouth of a cave was open up wide,
we climbed over teeth and we crawled deep inside,
crystal formations the size of a man,
a shining blue light on the red coral sand.”
The gruff vocals quickly endear you and the band’s full sound immerses you in the song, and then you’re the one in the mouth of the cave. Another notable song from the EP, “Man of Wealth” picks up the cave narrative and spurlunks deeper, reflecting on the complex nature of the human psyche. They sing, “I’m going to own myself. I’m a man of wealth,” in the face of a dark, daunting cave of subconsciousness; Plato would be impressed. What an empowering mantra of self-ownership and self-worth. Kalijah’s poetics amplify their already strong and cohesive sound.
Their spotify account reaches active listeners from, of course, good ole Texas all the way to our South American brothers and sisters in Brazil and Uruguay. Music so beautifully and indiscriminately brings people together from all backgrounds, and there’s no better time than now for music to build community and heal the world, right? Kalijah, thank you for bringing ears and hearts together through your sheer humanity and psychedelica-tinged resonance.
-Melissa Green
Hippo Campus opened the show for The Head and the Heart at ACL Live on Wednesday night. Their charisma and emotive performance stirred the crowd into dance, readying them for the headlining act. The penultimate song of their set, South, is inspired by Texas, they said. A great set, great presence; visiting from St.Paul, Minnesota, the band brought electric energy for the Austin crowd.
The Head and the Heart have toured through Austin numerous times earning them a warm reception. They opened the show with “All We Ever Knew,” and immediately hooked the room with the hit song from their 2016 album, Signs of Light. The band played a balanced mix of tunes from their old and new albums; their newest album, Living Mirage, released earlier this year. The all-ages crowd indiscriminately bopped to the acoustic chords from their earlier music and the synthy sounds from on the newest record.
Admittedly, the most cheesy moment of the performance was when the lead singer, Josiah Johnson, paused in the middle of the beloved “Let’s Be Still,” with a call for flashlights: “Everyone, take out your phone flashlights and let’s fill this room with fireflies.” Somehow it seems less romantic when the musician makes this request, compared to the days past of music loving audiences spontaneously breaking out their lighters.
Although their sound is evolving, they’ve maintained a deep sense of lyricism. The album’s single, “Honeybee,” sings of a relationship sticking it out through hard times, and is not at all about bees: “Such a fool, I took your love and I bent all the rules…stuck around to let me know, built a family of our own.” Frontwoman and violinist, Charity Thielen explains that “‘Honeybee’ really captures the idea of realizing you may have been living a life complacent with the familiar. Maybe even taking the person closest to you for granted and regretting not expressing your love towards them until it’s too late.”
They closed the evening with the song everyone was waiting for, Rivers and Roads, reminding us of why we fell in love with them in the first place. Released in 2011, the song’s sentiments grow more relatable each year contributing to it being a timeless favorite in the neo-folk canon. They sing, “a year from now we’ll all be gone, all our friends will move away.” Imagine now all the change you’ve experienced in the last 8 years. Do you relate? Does this song resonate? Do Charity’s haunting vocals still move you like the first time you heard it?
-Melissa Green
