Austin Sound

It’s not uncommon these days to hear a story about how musicians, disillusioned by their local music scenes, will find themselves in Austin looking for something more. That’s exactly what happened Language Room’s front man, Todd Sapio. Not long after having made the transition from the City of Angels to the Lone Star State, Sapio bumped into his old friend Scott Graham (lead guitarist) during SXSW 2007. They began working on music together and were soon joined by Graham’s brother Matt (bassist) and Caleb Kelly (drums), thus completing the line-up of Language Room.

Now, I’m not going to lie; after reading that Blue October’s bassist Matt Noveskey served as the producer for Language Room’s debut album, I immediately became skeptical. This has more to do with my extreme disdain for the band Blue October and less to do with Noveskey’s producing skills.

Jay Blazek Crossley is most likely best known for his multi-instrumental work in local punk band Woozyhelmet, the longstanding trio that also features the Octopus Project’s Toto Miranda. So quite a few people might be surprised to hear his screeching vocals be applied to his debut attempt in his realm of folk music. There’s a certain raw and almost uncertain element to Jay’s voice and the music created to frame it in his new album, Tiny Diamonds. Like the few other scattered releases from Soda Pop Sounds, it upholds the quirky, home-produced aesthetic of imprints like Natrix Natrix or SuperPop. The majority of the tracks are no more than 3 minutes long, with Jay cramming as much both lyrically and musically into each song before quickly moving onto the next. His lyrics range from insightful to downright narrative, set to a variation of meandering lo-fi melodies and beats.

Listening to Wideawake’s third album, Something We Can’t Let Go, I inevitably began to reminisce back to the music I listened to in high school. Admittedly, like many of us, I had somewhat questionable taste of music during my teenage years, being the impressionable youth that I was and bound to the perimeters of limited exposure. Listening to this record made me wax nostalgic for the likes of the Switchfoot and Vertical Horizon, the popular alt-rockers of years past. And that should come as no surprise; Wideawake has at some point shared a stage with both bands. But now, as someone who listens to mostly indie rock, I’m not exactly proud of my top 40 phase, and the local quintet’s latest is largely just watered down, right-of-the-dial fodder.

For those of us who tread lightly around the ever-experimental genre of modern rock, Austin sextet the Ars Supernova is one of many bands that will force you to dive in headfirst. Their unique brand of symphonic rock allows no room for the hesitant, and the band’s sophomore album, Lumina, showcases their eclectic mixture of music. While they take inspiration from the likes of the Trans-Siberian Orchestra, along with the greatest (Queen) and latest (Muse), with flourishes of Middle Eastern and world textures, the band’s front man, Jirod Greene, provides surprisingly soulful vocals, creating a sound that is able to evade any category you might attempt to put them in.

Local sextet The Last Gasp has been providing the Austin music scene with great melodic indie rock since their inception in 2006, and their self-titled debut is no exception. The 6-song EP is a wonderfully cohesive package, balancing the right amount of melancholy and longing along with thoughtful lyrics. Like seemingly every good indie act based in Texas, there are subtle hints at country and folk weaved through their melodies, along with violin and piano notes sprinkled throughout the songs to add stunning textures. Add in the harmonizing vocals provided by Emily Burns and Christian Glakas, and you have a unified work of art.

Ever since the Mason brothers officially became Austinites in 1995 (after leaving their native Oklahoma) and releasing their first homemade record in 2002, indie darlings Masonic have essentially become one of many staples around here. With its current incarnation comprised of vocalist Eryn Gettys, the Masons (John on guitar, Brian on drums, and Kevin on keys and guitar) and bassist Trey D’Amico, Masonic has recently returned with a new 10-song LP. Known for sweet-sounding yet danceable electronic pop beats laid underneath Gettys’ breathy, soothing singing, Masonic continues to create their unique brand of indie rock with The Human Blade.

Comprised of both studio and live tracks, The Human Blade has manages to meld a combination of upbeat tracks that never get too energetic and slower songs that never get too sad, making the album wonderfully balanced. Never sticking to any one subgenre of indie yet somehow remaining consistent, the band touches on everything from shoegaze to psychedelic with Gettys leading the way.

Low Line Caller already had a well-established spot as an instrumental indie band in Austin’s music scene before recruiting vocalist Marc Ferrino last year. While the quintet has made some slight adjustments to their overall sound since the addition of their new singer, it’s all been for the best. Without the focus being placed on heavy synth sounds and drumbeats, they’ve progressed into a more genuine brand of melodic post-rock. Their sophomore release, Hi Def Soft Core, is a testament to this fact. Even the title of the six-song release is well suited for their sound: shoegaze tunes that are never too soft or sweet, all the while with an experimental edge.