Jeremiah Jackson is an up and coming blues guitarist from Waco, Texas. His sound blends blues with a both mellow vibes and punk rock sensibilities. Other musical contributors include Patrick Saikin on guitar, vocals, and […]
Post-punk, prozac-inspired, bread-punned rockers — Chris Toast & The Jerks are perhaps the newest band in Austin’s music scene.
The OV crew jumped at the chance to feature these progressive punk Austinites.
If any readers regularly follow On Vinyl’s Vinyl List, it will already be blindingly obvious that my own passion for music stems from and resides somewhere in the capability to create entire worlds for an audience to imagine, to inhabit and (ideally) to learn from. These worlds can be based in mood, shepherding listeners and eliciting particular emotions, or they can be based in thought and wonder, transporting listeners to a place that feels almost-physical. The best music, I would argue, is that which combines the somatic and the spiritual, carefully constructing a soundscape and a corporeal experience that appeals to both.
With their upcoming LP Oceansoft, Wonderbitch have committed mind and soul to creating this all-encompassing musical experience for their listeners through a modern reimagining of 1980s new wave synth-pop that they affectionately deem “new yacht rock.” The transportive nature of their music is both physical and temporal, their shiny blend of new whisking listeners away to “an alternate dimension 1980s where money doesn’t matter and nature is taking over civilization,” and what an adventure it is.
In the wake of the Las Vegas music festival shooting, the deadliest mass shooting in modern US history, Austin City Limits brought together legendary performers from all generations and proved that people will not be intimidated from coming together to enjoy music because of evil in the world. Boasting performances from Jay Z, the XX, Solange, Ice Cube, Martin Garrix, The Killers, The Gorillaz, The Red Hot Chili Peppers, Chance the Rapper, and more the festival drew fans from around the world to Zilker Park. However, this festival also showcased more than a dozen local Austin groups and musicians. Below I highlight the profiles of 10 local musicians and groups that played for Austin City Limits.
H*ck Fest is breaking city limits with their DIY mentality and bringing artists from across the Lone Star State into center stage.
Autumn is a beautiful time of year, a season that encourages both introspection and a deep appreciation of the people who surround us. Perhaps it is the changing colors that resonates within us to think about our own self and the changes we too must undergo; perhaps the mounting cold simply encourages us to cherish the warmth we find within one another. Or maybe it’s just a reflexive need to find someone with whom we can cuddle up with and be physically and emotionally cozy.
There exists a perplexing tendency to romanticize the music of past generations and lament the “downfall” and gradual erosion of music over time. It is the critical equivalent of the age-old “grass is always greener” adage, a wistful longing for a return to the “golden generation” of music. The reality, however, is that music does not regress —it only progresses. Music is by its very nature dynamic, constantly transforming and adapting to explore new ideas and to revisit old ideas in innovative ways. Our culture is not a vacuum; today’s music is both an homage to and progression of that which came before it. There does not exist any “golden age” of music, nor of any genre; the golden age of music is the entire history and the complete body of music that has been created throughout human history.
This revelation came to me induced by a conversation with Austin’s very own Huggy & The Feel Goodz, a seven-piece soul outfit dedicating themselves to replenishing the world with much-needed good vibes through their unique brand of “New R&B.” With the release of their brand-new EP, Chapter One, the Feel Goodz expand upon the soulful standards set by genre-defining pioneers like Marvin Gaye and D’Angelo and imbue them with their own fresh attitude and desire to connect to new and modern audiences. We had the chance to ask Huggy himself and musical director Ari Burns a few questions that arose out of repeated listens to the Chapter One EP. We think that their answers will enrich your own listening experience, as they did ours; as such, this piece begins with an interview delving into the creative minds behind the EP’s concoction before we explore the music itself.