Riders Against the Storm Host Festival and Drop Single "OverUnder"

Local hip-hop funketeer group, Riders Against the Storm, are revving up the 5th annual RAS day which will feature other headliners like the legendary Saul Williams, NYC rapper Nitty Scott, and the Brazilian afro-rockers, Gato Preto.  This years RAS day fest has some magnified significance this year because of the targeted bombings that were perpetrated against people of color earlier this year, and the resilience of that community which would rather express themselves artistically rather than continue the hate.  While music is the main attraction at RAS Day, art and wellness are also on the docket for an immersive experience. RAS day tickets are $20 and can be bought here.  As we get ready for the festival on the 25th, Riders Against the Storm just dropped a new single "OverUnder" for you to imbibe prior to the event! 




Billy King and the Bad Bad Bad Debut Music Video "Methmatics"

A relative quick ascendancy to the forefront of the Austin music scene, Billy King and the Bad Bad Bad have brought a blue-collar work ethic to their psychedelic ‘surf-rock from hell’ aesthetic. Endeavored consciously or not, Billy King and the Bad Bad Bad are carrying on a rich history of psych-rock in Austin. The proverbial doors of psych-rock perception were opened by bands like Roky Erikson and the 13th Floor Elevators, Conqueroo, and Shivas Headband in the 60’s, all the way up to the ‘Levitation King’ himself, Christian Bland, and the Black Angels. What makes BKBBB infatuating, is their lack of self-seriousness paired with lyrical landscapes of fantasy that are fortified by hypnotic drums, mind-melting riffs and dramatic choral swings.


 On their first music video “Methmatics” lead singer, Will Reynolds, gives a comical stare through classic 60’s liquid oil projections, only to follow up with a wrecking ball of anti-establishment rhetoric and a sledgehammer of a chorus. 


 “My consciousness is fully plugged into the TV/ Where the mainstream media uses propaganda to fool me/ With fear as their weapon/ to try and fucking control me”


The formula has worked on other BKBBB tracks off of their Fever Dreamin’ EP, like “Night Terror” and “Werewolf of Love”. Reynolds is a premier frontman with perfectly graveled falsetto howl and engaging stage presence, but it is guitarist, Cam Wren, who sows the elements together with a deft axe of unmerciful riffs and solos. While their content can be playful, their sound is a gravitating sonic assault that beckons a visceral head-bang in lieu of a spaced-out daydream.


Indie Rock

Band name: 
The Human Circuit
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Black Joe Lewis Is Back With New Single "Culture Vulture"

 It's always uplifting news when some new Black Joe Lewis songs begin to trickle out in anticipation of a new album and tour. Joe and the sextet of musicians that make up his backing band, the Honeybears, are purveyors of down-home blues rock that has working class appeal, but also deftly colaesces with awe-inspiring technical musicianship.  The upcoming album features producer, Stuart Sikes, who is no stranger to Joe's music but also claims an impressive resume that includes past relationships with the White Stripes, Cat Power, and Modest Mouse. The upcoming album will be supported by a five week Fall tour that kicks off in September and will hit all of the major markets in the US and Canada. Unlike Gary Clark Jr, who rocketed into the stratosphere of the music world relatively quickly, Joe has been on a steady grind building his fan base outside of Austin. While there are plethora of music acts in Austin that come in a myriad of different genres and styles; Black Joe Lewis and the Honeybears stand apart having a distinct Austin blues flavor that pays tribute to Stevie Ray, WC Clark, Albert King and other forefathers.  Though Austin is a growing town with a deluge of talent, there may not be another band that is as accurate of a representative of the city's charm and as deserving of success, as Black Joe Lewis and the Honeybears.

Check out the new track "Culture Vulture" here


Deafheaven Delivers Epic Show at Mohawk

The sweltering Texas heat had just barely subsided when it was time for the bands to take the stage at the Mohawk on a Saturday night. An open-air venue, like the Mohawk, is a godsend for all parties involved since it offers an alternative hard to the sauna-like hotbox that is most Austin indoor venues.  Deafheaven, a band that has been vilified by metal purists for their genre-bending, decided to incorporate an even more atypical opening act for their tour in Drab Majesty, a retro-wave Los Angeles duo.  While both band’s music can be considered dark, morbid, and alternative, there is very little else that connects their sound, yet despite this, the show ended up being highly entertaining.


Drab Majesty has a tragic and disaffected aura that is framed with synth-heavy hooks and new wave beats.  The futuristic-looking L.A. duo mix their alien aesthetic with beautiful soundscapes that tantalize the ears and eyes. While Drab majesty seemed to entrance the audience at times, their music was a fairly stark contrast to the shoegaze metal of Deafheaven. 


After Drab Majesty left the stage, the San Francisco headliners assumed the stage in their classic style of humble pageantry. Lead singer, George Clark, is a hero to legions of fans who relate to his fiery masculine passion, which is ribboned with a relatable streak of self-doubt. Like Deafheaven’s music, which shirks the unrelenting testosterone of typical heavy metal for a more introspective slow burn, it’s fan base is also a bit more layered than your typical headbanger.


There aren’t many bands that can cover an hour and a half with only eight songs, but that is exactly what Deafheaven accomplished.  An obvious focus on their latest record, Ordinary Corrupt Human Love, netted half of the songs on their set.  However  it was the tracks off of their first album, Sunbather, that gauged the most visceral reaction.  While the venue was already packed to a suffocating maximum, “Sunbather” got a rabid response from the pit and every echelon.



While the songs off the new album got head nods and recognition, the venue literally began to tremble during the encore performance of “Dream House”.  At some point, watching Deafheaven becomes less of a concert and more of a therapy session, as George’s screams are met with hundreds of others, and the expulsion of energy propels the energy in the building to unheralded levels. An intense night at Mohawk passed like a thunderstorm, going from tense and riotous until it finally dissipated into a serene calm.