Texas bands – Page 2 – 7th Level Music

Review: Why Bonnie – Voice Box

Austin’s Why Bonnie have put out an EP that sounds like it could’ve been recorded this year or in the early 1990’s when bands were still experimenting with different ways to produce loud yet atmospheric sound instead of just blasting guitars and yelling lyrics about being angry at their fathers. Why Bonnie’s Voice Box is lush, a bit smoky, and intriguing, and the influence of Austin’s psychedelic music scene is evident at the edges.

The opening guitars of “Bury Me” reflect that Austin sound as singer / guitarist Blair Howerton sings about wishing her ex could bury her (metaphorically, that is) and the past and move on from something that was never going to work out in the first place. My favorite line in the song is “I based too much of my happiness on the site of your face.” Not “sight of your face,” but rather “site of your face” according to the EP’s lyric sheet. Howerton realizes se wasn’t so much dependent on her lover’s looks, but rather on her lover just being there – as normal a sight as a lamp or the refrigerator.

The title track has Howerton singing a lovely song about controlling her rage (“I don’t wanna yell. Take my voice box out. I can’t control myself.”). The growling bass of “Athlete” begins the great swagger of the tune pushed along by the drum beat. Howerton admits she can’t keep up with her lover, who doesn’t even want her on their team.

The guitars of “Jet Plane” sound a bit like a music box as Howerton sings about wishing her lover would stay behind but also knowing she can’t hold them in place forever. The rhythm of “No Caves” is intoxicating, and its lyrics about Howerton thinking of a lost lover while she performs at a gig are revealing and witty.

Howerton is a skilled songwriter and singer, and her band pack a strong punch behind her. Voice Box is one of the more intriguing EP’s of 2020 so far.

Keep your mind open.

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Khruangbin’s new single, “Time (You and I),” is a stunner.

“Time changes everything.” — Khruangbin

Khruangbin, the Houston-based group comprised of bassist Laura Lee Ochoa, guitarist Mark Speer, and drummer Donald “DJ” Johnson, are pleased to announce their new album, Mordechai, out June 26th on Dead Oceans, in association with Night Time Stories. Mordechai comes two years after the release of their beloved and acclaimed breakthrough, 2018’s Con Todo El Mundo, and was preceded earlier this year by Texas Sun, the group’s collaborative EP with Leon Bridges. Today, they present the vibrant, Felix Heyes & Josh R.R. King-directed video for Mordechai’s lead single, “Time (You and I)”.

Khruangbin has always been multilingual, weaving far-flung musical languages like East Asian surf-rock, Persian funk, and Jamaican dub into mellifluous harmony. As a first for the mostly instrumental band, Mordechai features vocals prominently on nearly every song. It’s a shift that rewards the risk, reorienting Khruangbin’s transportive sound toward a new sense of emotional directness, without losing the spirit of nomadic wandering that’s always defined it. And it all started with them coming home.

By the summer of 2019, Khruangbin had been on tour for nearly three-and-a-half years, playing to ever-expanding audiences across North and South America, Europe, and southeast Asia in support of both Con Todo El Mundo and their 2015 debut, The Universe Smiles Upon You. They returned to their farmhouse studio in Burton, Texas, ready to begin work on Mordechai. But they were also determined to slow down, to take their time and luxuriate in building something together.

It’s a lesson Lee had recently learned with the help of a new friend, a near-stranger who had reached out when she was feeling particularly unmoored, inviting her to come hiking with his family. That day, as they’d all made their way toward the distant promise of a waterfall, Lee had felt a dawning clarity about the importance of appreciating the journey, rather than rushing headlong toward the next destination. When they reached the waterfall at last, Lee’s friend urged her to jump, a leap she likens to a baptism. As she did, he screamed her name—her full name, the one she’d recently taken from her grandfather. In that instant, Laura Lee Ochoa was reborn. She emerged feeling liberated, grateful for what her friend had shown her. His name was Mordechai.

Ochoa’s rejuvenation found its expression in words—hundreds of pages’ worth, which she’d filled over a self-imposed day of silence. As Khruangbin began putting together the songs that would make up Mordechai, discovering in them spaces it seemed like only vocals could fill, they turned to those notebooks. Khruangbin had experimented with lyrics before, but this time Ochoa had found she had something to say. Letting those words ring out gave Khruangbin’s cavernous music a new thematic depth.

Chief among those themes is memory—holding onto it, letting it go, naming it before it disappears. The sun-dappled disco of lead single “Time (You And I)” evinces the feeling of a festival winding down to its final blowout hours. Its accompanying video features comedian Stephen K. Amos and Lunda Anele-Skosana. The duo wander around London, placing singular sandcastles throughout the city’s various scenery.

Musically, the band’s ever-restless ear saw them pulling reference points from Pakistan, Korea, and West Africa, incorporating strains of Indian chanting boxes and Congolese syncopated guitar. But more than anything, Mordechai became a celebration of Houston, the eclectic city that had nurtured them, and a cultural nexus where you can check out country and zydeco, trap rap, or avant-garde opera on any given night. It is a snapshot taken along a larger journey—a moment all the more beautiful for its impermanence. And it’s a memory to revisit again and again, speaking to us now more clearly than ever.

Watch the Video for “Time (You and I)” –
https://www.youtube.com/watch?v=oc50wHexbwg

Mordechai Tracklist:
1. First Class
2. Time (You and I)
3. Connaissais de Face
4. Father Bird, Mother Bird
5. If There is No Question
6. Pelota
7. One to Remember
8. Dearest Alfred
9. So We Won’t Forget
10. Shida

Pre-order Mordechai –
https://khruangbin.ffm.to/mordechai

Keep your mind open.

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[Thanks to Sam at Pitch Perfect PR!]

Anthology Editions to release “13th Floor Elevators: A Visual History.”

“Their journey still occasions wonder and awe. For so many years, it was hardly told. Here it is, in pictures and words. This is the way, step inside.” – Jon Savage

13th Floor Elevators: A Visual History, written and curated by Paul Drummond and published by Anthology Editions, will be released April 21st, and is available for preorder now. Direct orders of the book through the Anthology website will be shipped immediately. 13th Floor Elevators: A Visual History tells the complete and unvarnished story of a band, which, until now, has been thought of as tragically underdocumented. Drummond has spent years amassing an unprecedented archive of primary materials, including scores of previously-unseen band photographs, rare and iconic psychedelic artworks, and more. A full list of visual assets can be found below.

Preview 13th Floor Elevators: A Visual History

Born out of a union of club bands on the burgeoning Austin bohemian scene and a pronounced taste for hallucinogens, the 13th Floor Elevators formed in late 1965 when lyricist Tommy Hall asked a local singer named Roky Erickson to join up with his new rock outfit. Four years, three official albums, and countless acid trips later, it was over: the Elevators’ pioneering first run ended in a dizzying jumble of professional mismanagement, internal arguments, drug busts, and forced psychiatric imprisonments.

In their short existence, however, the group succeeded in blowing the lid off the budding musical underground, logging early salvos in the countercultural struggle against state authorities, and turning their deeply hallucinatory take on jug-band garage rock into a new American institution called psychedelic music. Before the hippies, before the punks, there were the 13th Floor Elevators: an unlikely crew of outcast weirdo geniuses who changed culture. 13th Floor Elevators: A Visual History places the band finally and undeniably in the pantheon of innovators of American rock music to which they have always belonged.

13th Floor Elevators: A Visual History Visual Assets:
●      Rare photos, including many newly-discovered color shots
●      Family scrapbook photos and clippings
●      Photography and ephemera from the band’s friends, a who’s-who of the 1960s Austin arts scene
●      Stills from the band’s television appearances
●      Contemporary newspaper and underground press clippings covering the band’s rise (and fall)
●      Materials from the books that inspired the band’s unique iconography
●      Internal documents from the band’s label International Artists documenting the disastrous business side of the Elevators’ career in detail
●      Materials relating to the band’s legal troubles, from handwritten drug deal letters to Austin Police Department surveillance photos to mugshots and draft cards
●      The most complete collection of show flyers and handbills ever assembled, including many rare alternate printings of iconic psychedelic posters

About the Author:
Paul Drummond is a renowned antiquarian bookseller based in London. He has spent years documenting every aspect of the history of the 13th Floor Elevators, and is the author of Eye Mind (2007), the exhaustive and definitive biography of the band.

Order 13th Floor Elevators: A Visual History
https://bit.ly/2QY4jgv

Keep your mind open.

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[Thanks to Pitch Perfect PR!]

Why Bonnie release title track from upcoming EP – “Voice Box.”

Austin-based band Why Bonnie announces their new EP, Voice Box, out April 10th on Fat Possum. Via The FADER, they have premiered its title track and an accompanying video.
“Voice Box” fumes with quiet wisdom, and is “about the societal pressure to silence yourself, and the frustration and self doubt that comes with battling sexism,” says the band. Its video, directed by Shelby Bohannon, features the band and highlights the rift between reality and what is expected of a person.

Watch the Video for “Voice Box”
https://youtu.be/Ptt9ZEne38Q

The Voice Box EP celebrates unhindered expression through beguiling, propulsive guitar pop. Fuzzed-out guitars and crystalline vocals drive a tough-edged struggle in the space between suppression and artistic liberty. Front woman Blair Howerton explains: “It encapsulates a disconnect between my inner and outer world, and not being able to express myself authentically because of that. But, ultimately knowing I will crash and burn if I don’t.”

Why Bonnie is the dazzling, full-band emotional release of Howerton. In a decisive step to start performing her backlogged material, Howerton moved back home to Texas after graduating college in 2015. In Austin, Howerton joined lifelong best friend Kendall Powell, who she met in preschool. Powell’s classical piano chops swapped to synth for the new project. Both active in the Austin scene, guitarist Sam Houdek and bassist Chance Williams later joined to complete the lineup.

In 2018, the band emerged on petite indie outlet Sports Day Records with In Water. The EP eulogized Howerton’s older brother, who passed away years prior. Follow-up Nightgown expanded the effort, pulling lush Mazzy Star and Cranberries influences.

This spring, Why Bonnie will tour in support of Voice Box, including SXSW and dates with Squirrel Flower and Kevin Krauter. A full list of dates can be found below and tickets are on sale now.

Pre-order Voice Box EP
WhyBonnie.lnk.to/VoiceBoxEP

Voice Box EP Tracklist
1. Bury Me
2. Voice Box
3. Athlete
4. Jetplane
5. No Caves

Why Bonnie Tour Dates
Wed. March 18 – Austin, TX @ Beerland (High Road Touring Showcase)
Sat. March 21 – Austin, TX @ Hotel Vegas (Burgermania)
Mon. March 23 – Phoenix, AZ @ Rebel Lounge *
Wed. March 25 – Los Angeles, CA @ The Echo *
Thu. March 26 – San Francisco, CA @ Bottom of the Hill *
Sat. March 28 – Seattle, WA @ Barboza *
Sun. March 29 – Portland, OR @ Doug Fir Lounge *
Tue. March 31 – Salt Lake City, UT @ Kilby Court *
Thu. April 2 – Denver, CO @ Larimer Lounge *
Fri. April 3 – Omaha, NE @ (drips)
Sat. April 4 – Iowa City, IA @ Mission Creek Festival
Mon. April 6 – Minneapolis, MN @ 7th Street Entry *
Tue. April 7 – Chicago, IL @ Schubas *
Wed. April 8 – Cleveland, OH @ Mahall’s *
Fri. April 10 – Brooklyn, NY @ Elsewhere
Mon. April 13 – Asheville, NC @ The Mothlight
Tue. April 14 – Oxford, MS @ Proud Larry’s
Thu. April 16 – Houston, TX @ White Oak Music Hall (Upstairs)
Fri. April 17 – Austin, TX @ Mohawk Indoors
Sat. April 18 – Dallas, TX @ Ruins
Tue. April 21 – Bloomington, IN @ The Bishop Bar
Wed. April 22 – Cincinnati, OH @ MOTR Pub
Thu. April 23 – Detroit, MI @ Sanctuary #
Fri. April 24 – Toronto, CA @ Baby G #
Sat. April 25 – Montreal, QC @ Brasserie #
Mon. April 27 – Allston, ,MA @ O’Brien’s Pub
Tue. April 28 – Philadelphia, PA @ Boot & Saddle #
Wed. April 29 – Washington, DC @ Pie Shop #
Thu. April 30 – Richmond, VA @ Richmond Music Hall #
Fri. May 1 – Carrboro, NC @ Cat’s Cradle (Back Room) #
Sat. May 2 – Atlanta, GA @ Drunken Unicorn #
Sun. May 3 – Nashville, TN @ DKRMTTR #

* = w/ Squirrel Flower
# -w/ Kevin Krauter

Keep your mind open.

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Review: Ancient River – After the Dawn

Ancient River (J. Barreto – guitars and vocals, Alexis Cordova – percussion and vocals) describe their new album, After the Dawn, on their Bandcamp page as “A dark, moody collection of songs written primarily on the band’s tours.” That’s as accurate a description as any I could write, but I would add one word to it – “heavy.” This is easily the heaviest, fuzziest Ancient River record I’ve heard in a long while.

The opener, “So Long Ago,” almost lulls you into a euphoric daze at first before a wrecking ball of distorted guitar fuzz and massive fills smacks you in the face. “Trust in Me” has a malevolent chug running throughout it, like something moving at the bottom of a witch’s cauldron. Cordova’s drums on “Until the End” bring Black Sabbath to mind, and Barreto’s riffs alternate between psychedelic trips and skull battle ax skull-crushers.

“The Nothing” is a quick instrumental that leads into “King Freak,” which brings in a little shoegaze to the heavy fuzz assault. “With Love” pulls you down into a world of incense smoke and peyote visions. The album ends with “Under the Stone,” which is over eight minutes of heavy jamming that will induce slow, rhythmic nodding and upper torso undulations from the sheer gravitational pull of it.

I don’t know what kind of weird, creepy things Ancient River saw on their recent tours to inspire these songs. Perhaps they ran into the monster depicted on the cover while driving their van down a dark Pacific Northwest road or stopped at a roadside market somewhere in Montana to buy some handcrafted Native American jewelry and met a talking crow. Again, I don’t know. I’m not even sure they could explain it, but that’s okay. The mystery is sometimes better than the answer, and this album is a mystery that can have different solutions depending on the kind of day on which you hear it and / or your state of mind at the time. Open it and let it alter your perception.

Keep your mind open.

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ThunderStars release “Not That Far” from upcoming EP.

Austin shoegaze trio ThunderStars share a new single from their forthcoming album, Number Stations today via Treble Zine. Hear and share “Not That Far” HERE. (Direct Bandcamp.)

Echoes & Dust previously hosted lead track “Ride” HERE. (Direct Bandcamp.)

ThunderStars is a shoegaze/dreampop band from Austin TX. Formed in the fall of 2018, it marks the return to music of longtime Margot & the Nuclear So and Sos multi-instrumentalist, Erik Kang (guitar, lead vocals). The 3-piece solidified when Sven Bjorkman (drums), posted a random thought about creating a band to use the name ThunderStars, which was coined by his toddler daughter during a stress-fueled trip to the hospital.

This art-out-of-chaos theme has hung over the band since its inception. After their second live show, their bassist, Omar Richardson, was assaulted by a vagrant outside the venue, which resulted in a concussion and subsequent trip to the ER. This incident was covered extensively in Austin news, which raised the band’s profile unexpectedly. ThunderStars demos also were well received publicly, and the band subsequently received considerable radio and podcast plays, as well as show bookings with many touring acts.

Number Stations will be available on January 10th, 2020 on LP and digital on Mariel Recording Company. Pre-orders are available HERE.

Keep your mind open.

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