Austin Sound

On a quiet (or not so quiet) Monday night at Momo’s, I overflowed. I walked away overflowing with the overwhelming feeling of being touched by a musical performance bigger than the stage it poured from. Momo’s has a way of doing this. Some of my favorite bands I discovered within its dimly lit walls, cementing themselves stealthily within the monthly rotation of resident bands and musicians. But then again, nothing less could be expected from a location that gave birth to the South Austin Jug Band.

Moral of the story: on Monday night, Tiny Tin Hearts gave me faith once again that there is still exciting, stimulating music being made within the city limits. These eight people, who were until very recently strangers, leave me speechless every time. First time I heard them I was freaking out, texting everyone I knew who had the slightest connection in Austin music, about the little known band who had just blown my mind.

The simple task of setting up the amount of equipment needed for a french horn, trombone, keyboard, drum kit, bass, violin, cello, and guitar, not to mention the occasional trumpet, banjo, and lap steel was in and of itself an enormous feat. Having all those instruments there in the flesh made the product of their intertwining a sight to behold. Nothing was artificial, and yet they achieved catchy pop melodies and backgrounds that a much smaller ensemble often tries to achieve through electronic means. The presence of horns and strings did not lead to what I thought would be more typical Austin-type bluegrass, oh no. They took on a completely different role, although the bluegrass influence is there. What really shines through is a classical chemistry that only talented, highly trained, and educated musicians could accomplish. Orchestral roots flower into a genre bending sound that flutters between symphonic and southern without blinking.

Opening song “Manhattan” set the tone by pressing a heavy wall of sound on the audience in the gentlest and most loving of ways. Seth Osborn, on keys, occasionally banjo, and lead vocals, has an organic ability to write soothing and melodic ballads that you can emotionally connect with. Yet, the majority of the songs performed were not at all singularly defined by the lyrics or vocals alone. Which can sometimes happen to strong singer songwriters who decide to form a band. The birth of the Tiny Tin Hearts happened in that way, but has become a true creative collective of artists. Every single member offers an amazing component to the overall melody and base line.

On that tiny stage the Tin Hearts shared a synergy. In “The Last Flight of the Martyr Aviator” (also the tentative title for their debut album), the musicians moved up and down in great crescendos sprinkled with thoughtful lyrics and noticeable bass by Melanie Martinez. It was long, but not too long; it was perfectly precise. Just to prove the point they aren’t defined by the lyrics, they headed into an instrumental number - “Gnossienne #2.”

If you have any idea what that title is alluding to, then you will for sure appreciate the classical influences guiding the Tiny Tin Hearts. But, for those of you, like myself, who are not classically trained pianists, gnossienne is a term coined by French composer Erik Satie. Who incidentally is one of Osborn’s big influences.

“Gnossienne #2” is really what cemented their unique sound for me. Because even though it did sound orchestral and not exactly modern, there was an indie pop like presence rearing its head at every turn. It sounded like creepy circus music, but it wasn’t creepy, and I wasn’t at a circus. It was beautifully composed and catchy all at the same time. Their other gnossienne, aptly titled “Another Gnossienne” was played as a prelude to another song “Love and Jet Engines”. It started out as this wintery Nutcracker-esqe compilation, but I was completely enthralled in a sound that captured the beautiful antiquity of music at its very roots and topped it off with a modern ballad that epitomizes the influences of our generation.

Sandwiched between the songs that were eerily reminiscent of Neutral Milk Hotel and The Shins, Osborn picked up a banjo, Sean Ziegler took on lap steel and the songs became obviously Austin born. It was especially apparent in the song “Luke” that exuded that folkie southern bluegrass style. They also did a great cover of “To Love Somebody” which they will probably be playing during the Nina Simone tribute on February 21st at the historic Victory Grill.

Seth Osborn, Jenni Wieland, Donald McDaniel, Sean Ziegler, Jessie Poole, Melanie Martinez, Jim Korioth, and Dan Eversole of the Tiny Tin Hearts, several of whom are involved in other creative endeavors, are currently recording a debut album due out sometime this spring. Until then, you can catch this great new act in rotation at Thunderbird Coffee and Momo’s, or at Emo’s on January 23rd with Silent Land Time Machine. A four track demo is also available, but it is unfortunately not representative of what they truly sound like. With a hook on every chorus and flutter of the heart at every crescendo, catching them live is absolutely necessary at this point.