Seysei Premieres Flirty Debut Single “Call Me ‘Baby'”

The honeymoon period is typically the most exciting and anticipatory time in a new relationship. We proceed with caution as we seek out those special moments that can send our hearts racing and push our desires into overdrive. During that brief span of time any little idiosyncrasy can make us blush, flutter and tingle. For Indian pop princess Seysei, it’s that first time she hears her name replaced with ‘Baby.’

The Dallas-based singer is currently enjoying her own honeymoon period ever since she made her debut at HypeFest and turned the crowd into a love-struck, gooey pile of mush. Today, Seysei gets our pulses pounding once again with another flirtatious treat in the premiere of her debut single, “Call Me ‘Baby‘”.

This feel good track is all about the effect that a single word can have on a duo’s love connection.

“I really wanted an upbeat love song that reflected my mood on how I feel at the beginning of a relationship,” she says. “That first time he calls me “baby” makes my heart skip a beat.”

Seysei teamed-up with El Paso producer Andoren to create an enticing single that fuses a sexy blend of playful pop with downbeat EDM. The spirited, synth-driven structure is layered cozily beneath Seysei’s enticing R&B vocals with a low-key, hip-hop twist from Matt Swagnew. “Call Me ‘Baby'” is the type of track you could imagine Aaliyah producing if she created her steamy love songs in 2018.

Dallas has got itself a seductive new star in Seysei. And she can call us ‘Baby’ anytime.  Flirt with your girl here and show boo some love by giving her a like and follow.

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Photo Cred: Timothy Hoang

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Surprise! Surprise! Kady Rain Was One of The Bad Kids

Of course Kady Rain has a rebellious streak. Everything about the dashing diva screams liberation. From her glowing neon hair and scantily clad extravagance to the tongue-bathed, single digit salute of her Spotify profile, Kady doesn’t merely walk on the wild side. She is the wild side.

Austin’s most dazzling pop sweetheart may seem like a bag of Skittles now. But, you know damn-well Kady Rain was a Sour Patch Kid growing up…and she’ll tell you all about it with her brand new single, ‘Bad Kids’.

Written by ringleader Kady, her partner in crime Ben Bazzrea, and fellow pop starlet Ariel Abshire, ”’Bad Kids’ is an anthem for ne’er do wells everywhere. It’s a song dedicated to every teenager who skipped school, stole their parent’s liquor and cigarettes, and made out with strangers at parties,” claims Kady.

This is for all the misfits who don’t give a fuck about what other people think; the rebels who go out and do whatever the hell they want! 

‘Bad Kids’ is like a guilty pleasure. You just can’t help yourself to enjoy it so much. The bouncing xylophone carries Kady’s tempting vocals through a groovy pop labyrinth of goodiness.  It’s an infectiously catchy dance track that will peer pressure you into singing along with the chorus. But, be careful and try not to give in too much to Kady. She’s the girl your parents warned you about and will have you breaking all the rules before you know it.

‘Bad Kids’ is Kady’s third single of the Summer and comes on the heals of hits ‘It Wasn’t The Roses’ and ‘Lonely One’. We imagine something huge may be coming from the lovely Soda Pop Queen very soon.

 

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Photo Cred: Sophia Lawson @sophiahelenelawson

Wild Moccasins Take You For A Trip Out Of This World With Latest Release ‘Look Together’

Houston-based band, Wild Moccasins, may leave you wondering where the hell you are and why every color is a brighter shade than you’ve seen before. I can’t answer the latter of those questions, but what I can tell you is that you’re not in Houston anymore.

A transcendent band with an equally as mythical new release, the foursome revealed their third album ‘Look Together’ at the end of June. The innocence of new wave combined with the dreamy vocals of Zahira Gutierrez leaves you dizzy, but excited.

A 12-track album, it kicks off with a ‘boyish wave’ hello. Extra-terrestrial beginnings, it sets the tone for the entirety of the album – preparing the listener for the journey that they’ll take. Sweet tea infused with chalk, there’s something not quite normal about this album – distinctive, and beautifully memorable.

A personal favorite of mine is ‘Seven to One’, cutting the deck in half at the 6th track. An intriguing invitation with an almost breathy vocal that gains power quickly, rolling down a slope and picking up pace with startling velocity before walking the line between the soft dream once again. All in all a song that sits a world apart from anything I’ve heard before, it also sits on my shoulder playing in my ear constantly since I first heard it.

Currently making their way across the US, I highly recommend that you get out to one of their shows – maybe two, I don’t doubt that the experience will be worth it. After all, I’m already lost within the trance that is Wild Moccasins, and I’m not all that sure I want to be found.

Photographer: Max Fields

Sam Pace & The Gilded Grit Deliver a Knockout With Judgement Eve

Make way for the heavy weight champ and get rocked by Sam Pace and The Gilded Grit’s latest album. The Big Dog guitar slinger lands a heavy, soul-rattling knockout with Judgement Eve, a down-and-dirty blues project stuffed with raging rock attitude.

Produced by Chris “Frenchie” Smith, Judgement Eve represents Pace’s third studio album since arriving in Austin via Milwaukee seven years ago. And the Big Dog comes out swinging in Judgement Eve with a furious, psychedelic roundhouse to “Punch ‘Em In The Ear”. Blistering guitar riffs reverberate around Pace’s burly baritone howls and cantorial delivery with this tenacious heavy-hitter. Fretwork creeps towards a more methodical pace during “It All Comes Back To You” before the booming, chorus rapturously calls upon karma’s verdict. Pace’s vocals are immediately distinguishable combining the growling intensity of Neil Fallon with the polished, cantorial assertiveness of Leonard Cohen. Power chords and scorching, arena rock guitar solos intermingle with deep, murky blues themes and soul-packed gospel undertones creating Pace’s most confident and versatile album to date. The Big Dog shows no remorse for getting his hands dirty to knock you on your ass with Judgement Eve.

The album has three years-worth of livin’ crammed in it…a whole lotta love and anger…and the best sounds we’ve ever put out,” claims Pace.” There’s no doubt about that. Judgement Eve struts with soulful swagger and straight-up rock n’ roll bravado.

Sam Pace and The Gilded Grit are currently touring North America. You can find additional information and tour dates on the band’s website.

Sam Pace and The Gilded Grit – Official Video “Undertow”

Judgement Eve Release Party at Swan Dive on June 1st.

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Photos by: Matthew Carlin @yo_mtv_matt

Lola Tried Throws Down at Album Release Party

Balls-to-the-wall, sweat-till-you-fall is the idea behind Lola Tried’s self-titled debut LP. The gritty, garage rock quartet has successfully captured the raw, endorphin-boosting intensity of their live performances and injected it into the 10-track power rock project. Gone is the subtle sweetness of the band’s 2017 Popsicle Queen; in its place a much more aggressive and grungy Lola Tried complete with fuzzy guitar distortion, ‘Grohl-ish’ driving percussion and sassy vocals. Fiery frontwoman, Lauren Burton, carves a comfortable spot for herself somewhere between Allison Crutchfield and Allison Wolfe with emphatic vocal mood swings that flip from delicate and tender to fierce and raging at a moment’s notice. From the scorching, riot grrrl howls of ‘All Sides’ to the southern twang of punky-tonk stomper ‘Katrina’s Number,’ Burton carries a certain swagger that proves she’s found her rightful place affront this raucous rock band. The album explores social anxieties with the introspective and fuzzy ‘Bummer Town’ and youthful romances gone awry with ‘San Marcos’. Powerhouse percussion and psychedelic, effects-pedal fuzz reverberate throughout the LP creating the perfect backdrop for Burton’s angsty vocals. From start to finish the album bursts with adrenaline and raw emotion. Lola Tried has delivered a spectacular punk-pop album that can blow out the garage doors or empower the downtrodden.

The band dropped their album on Tuesday with a crazy release party at Hotel Vegas with special guests Duncan Fellows, Ringo Deathstarr and Blushing. The release show was also the official tour kick-off for Lola Tried who are heading out for a string of shows up north for the next few weeks. Check their website for tour dates and additional info. Scope out some of the sweat-drenched shots below to get an idea of what Lola Tried has packed into their LP.

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Photos by:Matthew Carlin @yo_mtv_matt

Fair City Fire Will Shake Your Bones With Their Sophomore Album

Fair City Fire gets straight to the point with the anthemic opener of their sophomore album. Raging southern rock guitar riffs and driving percussion pack the fuzzy soundscape offering a powerful glimpse of the baggage that’s about to be unloaded over the course of the record. FCF intends to shake your bones, dig into your gut and knock your lights out. And Hell, if they can squeeze a few teardrops out of you along the way, all the better.

Self-described as a “groove-oriented, in-your-face rock band,” FCF proves with Shake Your Bones they are all of that and so much more. The 10-track album is an emotional rollercoaster flying over a web of tracks from furious pseudo-medal bangers and rich southern rock melodies to groovy blues rhythms and heartfelt singer-songwriter ballads. But, as lead singer Brian Wolff puts it, he’s just out here singing about his emotions.

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Whether he’s offering a reprieve from the same ol’ shit through the classic rock stanzas of the title track or breaking free from the heartache of a toxic relationship with the howling third-person vocals of “Alone,” those emotions boil over on nearly every track. The album is highlighted with passionate ballads and soaring instrumentals (‘Hold On To You’) and blues-rhythmed righteousness (‘No Further Questions”). FCF showcase a poignant singer-songwriter dexterity with the downbeat alternative rock of ‘Another One’ and shell out some vengeance with ‘Hand Drawn Records.’ The album mellows over the third act and heart-warming melodies replace the headbanging intensity with ‘Fault Lines’ and closes on an upbeat and encouraging, guitar-driven sendoff with ‘Love and Music.’

Shake Your Bones is most definitely an ‘in-you-face’ rock record. But, at the same time, it’s also an ‘in-year-heart and soul’ record with passionate songwriting and diverse instrumentation that ventures into a vast range of genres to articulate emotional baggage we all can understand.

Fair City Fire released Shake Your Bones on April 13th. The official Austin release party was held at Stubb’s the following night with special guest Torino Black. The band is currently on tour in support of the new album and tour dates can be found here.

Check out a few highlights below from the Shake Your Bones release party at Stubb’s.

Photos by: Anie Walsh

Enjoy Flat Earth Day With Ty Richards’ Sophomore Album

Ty Richards’ fans may feel torn over the psychedelic spaceman’s sophomore album, Welcome to Flat Earth. Those who enjoy discovering new sounds will really love it. Those who don’t…probably really won’t. But that certainly doesn’t make the limit pushing, all-analog, DIY record any less impressive.

Welcome to Flat Earth represents a new direction for Richards and a devolution from his 2016 psychedelic dance rock debut, Zillion. “I think there’s going to be a bigger divide with this record,” admits Richards. “Zillion was a pretty mainstream album. It was psychedelic…but very much based in pop. Welcome to Flat Earth is kind of the opposite with a more distinct, unapologetic sound.” The uniquely classified Nintendo-punk album combines aggressive electronic-rock with mischievous satire to poke fun at the “post-truth” world. Think early Queens of the Stone Age pseudo-metal meets the satirical ridiculousness of Devo at The Palace in Hawkins, IN. And Viola! Welcome to Richards’ Flat Earth.

All seven of its original tracks were written and recorded at the same time on a Tascam 388 reel-to-reel tape machine with zero computers and zero editing…a very anti-pop and non-modern production method for sure. However, there’s certainly a heavy dose of new wave elements tucked into Welcome’s video game beats, psychedelic fuzz and sci-fi themes.

“There’s not a ton of guitar on this project,” admits Richards. “A lot of the guitar sounds are actually synthesizers and at times it’s near impossible to tell the difference”. The most notable exception, however, is the album opener, ‘Western Chauvinist‘; an aggressive punk track that burns down the establishment with a Stratocaster dropped through a fuzz pedal creating a quasi-White Stripes rhythm. The swanky, bass-driven ‘Red Pill,’ with its velvety fuzz and Mario Bros. hook is the other major exception. Drum machines and bouncing synths battle the lizard people of ‘Merry Go Round’ in Richards’ Mushroom Kingdom of bleeps, bloops and blerps. The chart-topping rocker returns to his “Beck Zeppelin” traits with the Odelay-ish ‘Killjoy’ and revives an iconic piece of rock history with an elusive and psychedelic rendition of The Kink’s classic, ‘All Day and All of the Night”. The electronics mellow towards the end of the album and take a hypnotic dance with the Devil on ‘Kissing The Wizard’ and blissfully purr in closing with ‘Bleed Yourself Dry‘.

Welcome to Flat Earth oozes with VHS Era nostalgia as Richards focuses a satirical lens on a modern world of conspiracy theories and what ifs. The themes feel just as relevant today as during the height of the Cold War. “The album is jokingly named after the growing Flat Earth Theory movement of the present day,” states Richards. “Over time though, the title and the vibe of the record as a whole has come to represent a much deeper theme in humanity – why do we trust authority? There is a strong use of absurd satire and ironic humor throughout the album. I don’t know that this record is going to be for everyone,” he admits. “But, it’s supposed to be fun and I hope people can enjoy the lightheartedness of it and at minimum get a smile from it.”


Welcome to Flat Earth ​will be released April 20, 2018, ​just before the weekend of Earth Day. The album can be pre-ordered on vinyl, cassette tape and digital download here​. Ty Richards’ record release show for Welcome to Flat Earth will take place at Mosaic Sound Collective, a former juvenile delinquent facility, also on Friday, April 20. VIP and general admission tickets can be purchased ​here, and for more information, please see tyrichards.com.

Die Blonde Seduces With Their Devilish Novato

Die Blonde’s dark and gritty debut EP comforts like a guilty pleasure. It feels almost sinful to relish the delectable gloominess of Novato so much. However, as I find myself devouring its potent five tracks, I can’t help but crave more.

Spawned from sibling songwriters Bob and May Wild, Die Blonde applies a soot-covered coating to traditional American roots music by implementing wicked themes and dark gothic undertones. Their album’s eerie Appalachian anthem rock is suited for a soundtrack somewhere between True Detective and O Brother Where Art Thou.

Novato’s sermon is led by the wailing guitar chords of “Lonely Road,” a psych-laced, classic rock track with strands of bluegrass DNA. Guitarist Neal Campbell’s 70’s-era howls succumb to the sibling vocalists’ murky harmonies as the haunting opener sets into the misty backwoods of the primal subconscious. The Wild’s swampy vocals parallel in perfect unison providing a raspberry contrast, both soft and sweet, sharp and sour. The devilish “Dirty Rotten Son” bounces with shuddering bluegrass, intimidating vocals and a hellfire guitar solo. Die Blonde soldiers on with the upbeat Americana and spacious harmonies of “LA & Nashville” before settling in with bluegrass stomper “The Moon”. The most enthralling portion of Novato comes in the intoxicating title track, a bloodlusty, psychedelic macabre of cruel intentions with sweeping instrumentals and bone-chilling vernacular.

Die Blonde’s shadowy interpretation of Americana stands out with Novato and the band makes their biggest impact when they deviate from the traditional genre tropes. Taking a nocturnal approach to the typically upbeat genre is a bold move that pays off dearly in Novato’s most intriguing moments. There’s a gripping reality within the songwriting that can be a little startling at first…if not slightly scary. I probably shouldn’t enjoy Die Blonde’s noir-Americana and seductive murder ballads so much. But, goddamn, does it feel good.

 

 

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Photo by: Jun Cleveland @juntastic

 

Guitar Slinging Andy MacIntyre is the Meloman

Post-grunge meets the blues in Austin-based Andy MacIntyre’s brand new single, “Meloman.” Check out the Track Rambler premiere of “Meloman” below.

With “Meloman” as the lead single, MacIntyre is set to release his genre-bending, six-track EP, Melomania, on April 14 with a release party at Antone’s featuring support from Van Wilks, Jacqui Walker and special surprise guests.

The title of track two is ‘Meloman,’ which means ‘music lover,’ so the title ‘Melomania,’ I think, implies someone who lives for and through music, it’s part of who they are,” Macintyre said.

The Chicagoan-turned-Austinite specializes in a wonderful hybrid of rock and country, all enveloped underneath a blues umbrella. Transitions between angst and mansuetude fill the single as MacIntyre’s guitar fluidly moves between a gracefully-clean sound to one of distortion. His guitar-forward playing has been noticed by the likes of Austin-legend Gary Clark Jr.

“This dude can play a mean Stratocaster,” said Clark Jr. “I realized that I needed to go practice after meeting this dude.”

MacIntyre worked with Grammy-nominated mixing engineer Tim Palmer (Pearl Jam, U2, Tears for Fears, Blue October), and recorded at Wire Recording with Stuart Sullivan (Sublime, Meat Puppets, Jimmie Vaughan) and Eric Harrison at Studio 601 (MGMT, Capital Cities, Jason Isbell) to produce his EP.

Kalu & The Electric Joint Unwind With Time Undone

Inspired by a return home to Nigeria to mourn the loss of his father, soul singer/songwriter Kalu James has resurfaced with a new group, album, and purpose. Led by the rich timbre of James’ soulful tenor, Kalu & the Electric Joint have released Time Undone – a nine-track venture into loss and defying the underdog stigma.

A solo-artist by origin, James originally made a name for himself with his residency at Austin’s Continental Club. During this time, he released four solo albums that helped to define his Afro-funk-motivated blues sound. James’ time in Nigeria, however, left him a bit lost – unsure at times if he wanted to come back home. James did return to Austin and brought back a renovated spirit that was determined to succeed.

Enter the Electric Joint, the fantastic completion of James’ sound. Consisting of guitarist Jonathan “JT” Holt and drummer John Speice (Grupo Fantasma, Ocote Soul Sounds, Brownout), the instrumental powerhouses add wide-level dramatics with a flourishing blend of varying effects, instruments, and influences.

From the heavy fuzz of “Too Low to Get High” to the fusing of southern blues and African rhythms in “Testify,” the trio explore the plains of American and West African sounds. The large-scale influences ameliorate the core heavy-blues sounds of the group rather than oversaturating the album with meaningless dives.

Holt’s energetic American rock-and-blues guitar melodies push a southern rock sound akin to Stevie Ray Vaughan and Eric Clapton. “Get It Right” features a solo from Holt that is fueled by distortion and American soul. In contrast to the liveliness of “Get It Right,” “Sea of Life” features a dialed-down and focused Holt, shining through simplicity.
No need to fight it / I am here to stay,” begins “Stay.” While the entire album centralizes around the idea of fighting for what you want and not backing down, “Stay” is the concentrated proclamation. James’ refined voice is put to work on this track, using layers of different effects and notes to fill the soundscape.

The blending of each of the trio’s talents feeds into the charisma of the thirty-minute LP. Pure musicianship and personality play into the group’s dynamic, which more than definitely shows a fully-realized Kalu & the Electric Joint. Laced with an indescribable quality that begs for continual listening, Time Undone is very well done.

Check out the photos below from Kalu & The Electric Joint’s Saturday show at The Mohawk along with a sample of what Time Undone has to offer.

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Article by: Sawyer Click

Photos by: Demetrius Judkins @wolfspiritofthesun