Austin Sound

Through The Trees’ debut, Dig It Up, is a startlingly audacious ten-song career-opening salvo fired right across the bow. After taking stock of their influences and history – Ben McCormack (vocals/guitars/piano/etc) and Will Tanner (bass/percussion) played together in The Stags, McCormack in a variety of bands ranging from jam to garage band, Rob Jasinski drummed for the long departed garage and hip shaking The Good Looks – Dig It Up is even more disarming. Given where the trio came from, the resulting alt rock as played by late 70s classic rock fans isn’t completely surprising, but it seems refreshingly welcome. Pile on the fact that the band was practically born in the stale beer afternoons at the Hole in the Wall – Tanner owns it, McCormack books it, and Jasinski owns Cream Vintage next door – and one might expect an album of shambling, sloppy burners. Instead, Through The Trees wind up generally soaring through some fifty minutes of majestic rock and roll.

Like so many first albums before it, Smashed, The Blind Pets’ self released debut, is an admirable stab at rock immortality that comes up short while providing a quite a few glimpses at a promising future. Like the image inside the gatefold and printed directly on the disc, Smashed is a fractured record; at times, the band riffs, solos, and shreds its way out of the mundane and slices a mighty groove. Other times, the band freaks out into metallic spasms, seemingly intended to flip their audiences’ ears into a completely different direction. Just because a young band hasn’t quite put it all together yet on their first try doesn’t mean The Blind Pets should be dismissed. On the contrary, it just means listeners will have to work a little harder to find the hidden gems on the record.

Building on the chemistry achieved with their former project, The Story Of, Alex Huff, David McCully, and Michael Brennan teamed with drummer Brian Bolek to create Melogrand earlier this year, and already with a 7″ under their belt, the quartet’s melodic pop has been garnering deserved attention down Red River. While maintaining some of the expansive elements that defined The Story Of’s direction, Melogrand smooths the edges with a tighter focus and Brit-pop touch that can still drift into extensive psych-laced digressions, especially live. The band’s debut LP will be released later this year, and looks already to be one the year’s best local premiers. Melogrand will be joining the giant Red River Rocks party this Saturday, August 28, at the Mohawk, which features three stages of bands and DJs including Dead Confederate, Hacienda, Futurebirds, The Eastern Sea, Frank Smith, The Noise Revival Orchestra, The Mercers, Booher and the Turkeyz, The Georgian Company, ZEALE, Freshmillions, Ume, Built By Snow, The Pons, Stereo is a Lie, The Boxing Lesson, Red Falcon, Young Girls, My Education, Team Fabrication, and much more. The party kicks off at 2:00pm.

Following up their full-of-promise inaugural EP from last year, Hollywood Gossip’s debut full-length finds the band exactly where you would hope to find them. Dear as Diamonds displays an impressive leap in sonic maturity. Whereas You’re So Quiet was a pop purist’s delight, propelled by tunes like “Bicycle” and “Something’s Happening,” Dear as Diamond manages to rock a little more and strike a more reflective tone, but without losing that pop sheen. In progression, the album and band at this point are reminiscent of fellow local pop prospects the Sour Notes. The swooning vocal dives, the jangled guitars, and kick-stepped pep of percussion all feel wonderfully familiar and comfortable, yet surprising moments continually drive the quartet into some impressive new territories.

The Hex Dispensers are brash, bristling, and a burst of unrivaled garage punk energy and intensity. True to their name, however, the quartet are equally as about dispelling the seriousness of their edge with smart but often irreverent shocks of blazing chords and infectiously riotous odes to the otherworldly underbelly and outcasts. The band’s sophomore album, Winchester Mystery House, was released last year courtesy of Douchmaster Records, and they just unloaded a new ghostly single 7″ on Trouble In Mind, featuring a surprising ballad and cover of Denton-based Occult Detective Club’s “I’m a Ghost.” You can watch the Hex Dispensers work their black magic this Saturday, August 7, at Emo’s, as they join a stellar lineup of the Royal Baths, Moonhearts, a Giant Dog and headliner Ty Segall.

The first words from Danny Malone’s mouth are strangely obvious as I can hear the hiss of inclement weather on the line, but he manages to give it a name, a definition as a sort of enigmatic, chance poet. It’s the kind of dry lyricism coloring the earthy tones of last year’s release, Cuddlebug, that also pervade his conversation. Not much is certain about Danny Malone — even he can attest to that. He has curious bios online, claiming he’s a number of fantastical things, but these all seem fabrications of Malone’s overactive imagination, and almost diversions from the heartfelt songwriter that listeners find in his music. What we do know is that July 29th has been officially declared Danny Malone Day here in Austin, and Malone himself remains humble and politely reticent of his local fame. Austin Sound sat down with the twenty-something songsmith to chat about his commemoration, his seemingly endless ambition as a musician, his forthcoming album, and the Parkside vs. Best Wurst controversy, about which he cares so deeply.

The Crack Pipes are an Austin institution, ripping up Red River for the past 15 years. The quintet pummels out a garage blues that is unleashed with a punk catharsis and soulful swagger. It’s an impressive melding of styles that actually justifies their wide range of influences listed below (from Stax to SST). Though it’s been a while since the Pipes smoked out a new recording, their return to the stage in 2008 following guitarist Billy Steve Korpi’s diagnosis with Leukemia has helped brace the upstart Austin garage scene with a sense of the mid-Nineties tradition that preceded it. Few things match the Crack Pipes fervent energy onstage, led by the manic sermonizing of frontman Ray Pride, which you can get a taste of with the classic “Q&A” for download below. The Crack Pipes will taking over Emo’s Inside this Saturday, July 24, along with John Schooley and His One Man Band, and with the legendary Delta bluesman T-Model Ford headlining.

What Made Milwaukee Famous, aside from its cheeky name, is quietly recognized as one of the most notorious indie rock bands of the last decade to come from Austin, or anywhere for that matter. They toured with indie icons like the National, had placement on national television, and were regular and much anticipated faces on the summer festival circuit. Yet despite getting all the appropriate breaks, they still never have managed to gain significant traction. But with such a regal, indie pedigree, it makes sense that Drew Patrizi’s solo endeavor of his own stockpiled material from the last couple years — which has donned the name Trumpeter Swan — would take the power-pop, crank-the-stereo idioms that defined WMMF’s visceral and heartfelt rock to the next level. Patrizi, in his solo effort, has opted for chamber-pop and studio acrobatics to produce an emotive and lush record, comparable in emotional scope to any of his previous group’s pursuits.

When Candi and the Strangers released their eponymous debut album last winter, it was a surprising rush of rich, throbbing textures coursing around the ethereally entrancing vocals of Samantha Constant. There are flashes of Stereolab-esque, Euro electro-pop, but the most impressive elements of the local quintet’s sound emerge from the intricate melding of varied and complex arrangements into such seamless pop tunes, at once dense and airy. The band is planning on releasing their second album this fall, and you can watch them bring the sound to life with their recently added visuals at the Mohawk this Friday, July 16, as they join the lineup for the From the Mind of Adi” series for an Art/Fashion/Music Extravaganza benefiting HAAM. Also playing amid the spectacular are the Happen-Ins and the Bubbles.

For most people, there’s maybe a five point completely non-descriptive spectrum for rating an album “Awesome, Good, Ok, Not-So-Good, Turd”. With Indian Jewelry’s Totaled, there probably should be a sixth super descriptive option: “What the hell” (followed either by a series of exclamation points, possibly exclamation points and question marks, just question marks, or perhaps a single solitary period).

The new full-length album by the Houston noise gang is somewhere between completely confounding, disturbing, and unlistenable yet listenable. At first listen, Totaled comes across as the loose watery beer bowel movement of a bunch of Reznor-cum-Curtis fans, particularly on “Oceans” and “Look Alive”: just industrial and clanky enough for the former, just morose and despondent for the latter.