Grim Streaker and the Rambunctious ‘Miami Girl’

Packing one hell of a punch, Grim Streaker has crafted a mix of sugar, spice, and everything punk-rock to create a sound that is best characterized by its divine chaos. The Brooklyn-based group has just released “Miami Girl,” an explosive follow-up to their debut 2017 single “Guts.” The five-piece has started gaining traction due to their honed sound and uninhibited live performances that are driven by vocalist Amelia Bushell. The single can be found on Grim Streaker’s upcoming EP Girl Minority, which is to be released later this summer.

Dazing chaos punches you in the face from the beginning as swirling feedback introduces us to the minute-and-a-half long rollercoaster ride. An ebulliently fuzzy riff pushes at the front of the battle lines, allowing for the equally frenetic vocals and drums to unleash hell within the mix. A kick in the guitar and drums frequents the song, and keeps you on your toes. The real magic of the piece comes from Bushell’s vocal stylings, which create an intense back-and-forth between the band’s noise and her yelling. Her bewildering yell mesmerizes with a story of the groups havoc-filled trip to, as you probably guessed, Miami. “Come at me, bro!” she yells, speaking of a fight that erupted when a man randomly walked up and punched guitarist Dan Peskin in the face. Bushell says that this song was inspired by that kind of “random, comically dumb violence.”

Grim Streaker jumped in the DIY scene of Brooklyn with a promising amount of potential. Although still young, they have already proven themselves with two rambunctiously punk tracks in their discography. With talent, momentum, and a lot to say, they are on the right track to punk prominence. Grim Streaker’s unique sound resonates with fans of late-70s/early-80s punk, but still paves the path for the new wave of modern counterculture’s sound.


Written by: Sawyer Click


Devin The Dude at Empire Control Room Photo Review

Your ‘favorite rapper’s favorite rapper’ and Odd Squad oddball, Devin The Dude, hit the stage at Empire Control Room on Sunday evening floating on a purple cloud of velvet laced rhymes. At 46, the middle-aged stoner still possesses an infectious on-stage energy that gets a crowd half his age vibing from the contact-high. The rapper’s calm, easygoing demeanor and laid-back persona provide an enjoyable authenticity to his music and have helped him acquire fans of all demographics. He’s a lovable everyman…a storyteller who fills his rhyming narrative with relatable anecdotes and humorous recollections derived from a life of chasing vices. Devin’s latest album, Acoustic Levitation, is his first full-length since 2013’s Landing Gear and is an ode to the classic themes The Dude loves most…weed, wine and women. After the crowd got lit with openers Pure Pressure, 5-D and King Tez & Sukeyy, it was time for Empire to levitate with The Dude. Photographer J. Alan Love captured the cloudy highlights below.


Venue: Empire Control Room

Photos by: J. Alan Love


Dance-Pop jACQ Announces Cosmic Affair EP with “This is The Time”

DFW electronica artist jACQ has announced her debut solo effort, Cosmic Affair, to be released June 16th, and has given fans a taste with the irresistible “This is The Time.” Having already topped EDM/electronica charts with her features and songwriting abilities, she has proven herself a force to be reckoned with in the music realm. Now with a solo pop-electronica career as her main focus, jACQ will be able to deliver the purest version of her music as possible.

Goosebumps race up your arm at the start of EP opener “This is The Time,” moving slowly as the beat progresses. jACQ’s chilling voice flows through the cosmic background with ease, allowing listeners to connect with the motivating lyrics without having to search too hard. The laid-back track is driven by vocals and an accentuated beat, both of which contribute to the memorable melodies. “Back to Life” is the EP’s bad boy, offering moments with intense blasts in the EDM-heavy background and seconds of uncontrolled chaos that quickly fade to jACQ’s innocently vulnerable voice. The bouncy track moves like electricity, beautiful in both riotus-form and deep-rooted meaning. June Nawakii controls the beat, allowing for mesmerizing layered harmonies from jACQ to slide peacefully into place. The final piece, “Euphoria,” lives up perfectly to the name and bleeds joy and elation. The hyper-positive track floats through the air, following suit with the easy listening of the EP. The track seems almost ephemeral, leaving you pressing the play button over and over to feel the magic again.

The complexities of the EP mesh together to venture into a blend that is mostly uncolonized by modern music. jACQ’s musical expressions reflect her breaking free from artistic restraints and defining herself as a musician, which makes this grouping of tracks truly special and heart-felt. The pop tastes give the EP a sense of connectivity to contemporary music, while the electronica-based backing tracks identify the effort as being independent from modern routines.


Written by: Sawyer Click

Rosi Golan Reawakens With ‘Underneath’

After a year-long hiatus in Paris, Rosi Golan returns to her music career with a reawakened sense of self and a new album. “I didn’t feel like I was connecting with what I was writing,” Rosi says in retrospect. “So I decided I needed to take a break, go on hiatus and accept the fact that the world wouldn’t end if I didn’t make music for a year.” (With her significant fanbase and decade of major sync success, that was easier said than done!)

Golan’s third full-length project, Collecting Bullets, due out this summer, is proof that a little time off can do wonders for the mind, body and creative soul. The new album marks Rosi’s transition into pop/electro-pop and features collaborations with Madi Diaz, Greg Laswell, Richard Harris and producer Kevin Seaton (Snoop Lion, Active Child, Shy Girls). The album’s first single, “Underneath,” releases on iTunes and Spotify this Friday, May 19th.

‘Underneath’ takes a plunge into a hypnotic pool of swirling electronic textures. Heavy drums kick and shatter as the pulsating bass massages the senses and awakens the vascular system. Golan’s seductive vocals bestow a euphoric trance as she melodically recites ‘You never hear me calling / I never see you leaving / I’ll never close my eyes / Wait for the dream to come / And pull me underneath.

“‘Underneath’ describes that feeling of when someone is near you but also disconnected from you,” Golan says. “It’s about that feeling of being lonely next to someone, but still feeling so co-dependent that you can’t pull away from the situation – so you hope for something else to kind of end it for you.”

Make no mistake! ‘Underneath’ is a very dark and somber story disguised as infectious dance pop. Melancholy has never sounded so luscious.

Rosi Golan 1

Trae Tha Truth ‘Changed On Me’ ft. Money Man

Let’s face it. Trae Tha Truth isn’t so much the Asshole By Nature he claims to be. Deep down, he’s truly a nice guy with a heart of gold. Otherwise, why would he throw a bone to Atlanta trap rapper Money Man and carry the Future-reincarnate through their latest 808 Mafia produced collaboration, ‘Changed On Me’? Oh, yeah…that’s right…Trae recently brokered a deal with Atlanta’s living legend, T.I. making Houston’s ABN the VP of Grand Hustle Entertainment. Unfortunately, VP job duties also include carrying less talented cookie-cutter rappers to stardom as ‘Changed On Me’ is not only redundant to current industry…It’s just flat-out boring.

There was a time when buying the new Trae album meant you were about to hear some of the sickest shit Houston had to offer. Unfortunately, that’s no longer a guarantee. The rich and immersive productions that characterized Trae’s early career have been replaced with the bland, droning, trap beats of today’s industry standards. Losing Composure, Same Thing Different Day and to a lesser extent, SLAB, all seem like a lifetime ago as the huge sweeping choruses and flash-flood delivery of those rookie years have become a distant memory. Trae has left all of that rhythmic diversity behind him and instead chosen to crank up the intimidation factor as the guttural growl in his voice has become his main melodic focus. Kewl. Don’t get me wrong. Trae still possesses the ability to carry some hefty bars when he wants. But, he’s not really spitting vocabulary of any significance here. And Money Man’s contribution is absolutely forgettable.

By no means is ‘Changed On Me’ the worst song in the world. But, unfortunately, it just leaves more to be desired and I find myself wondering what could have been had this collaboration been with…let’s just say…Z-RO? Hopefully Trae can follow T.I.’s direction and make it mainstream while also staying true to his originality. But, that transition is currently proving difficult.


Jen Zava Premiers Inspirational ‘Power To Change’

Soulful alt-rock artist Jen Zava has mapped a career ‘covering’ Austin’s vast musical terrain. Since relocating in 2001, the Georgia-born songstress has ‘done a little bit of everything in the music world’ while contributing to the works of many local favorites. However, a career focused on supporting the musical ventures of others forced Zava’s own music to simmer on the back burner. Fortunately, the time has come for the passionate and fiery siren to formally introduce herself with her debut solo album, Power To Change, due out June 2.

We received a sneak-peak at Power To Change this morning when Zava shared the album’s inspirational title track. Originally crafted as a personal pep-talk, ‘Power To Change’ deals with battling life’s struggles and overcoming the petty emotions that often consume us. The soulful alt-pop melody radiates with a fierce sense of determination and is a testament to what Zava stands for; that in changing yourself, you have the power to change the world. “This song is about fighting that inner negative voice that shows itself in the form of self-doubt, negativity, jealousy, comparisons and telling yourself you’re not capable,” admits Zava. “I’m talking to all those negative inner emotions and telling myself that I do have the power to change the things about myself that I don’t like or that don’t serve me well.”

The self-reflective track features Zava’s uninhibited, soul-baring lyrics belted through ethereal chords of enthusiasm. Striking keys and harmonious acoustic shuffles peppered by rattling hand percussion ground the upbeat pop tempo with a deep rootsy, gospel base.

The song represents Zava’s internal strength, hopefulness and desire to improve herself and the world around her. She has finally decided that now is the time to share her genre-bending music because it’s definitely worth hearing. After listening to ‘Power To Change,’ we’re just curious what the hell took so long?

The Official Power To Change Release Party w/ special guest Ray Prim will be held Thursday June 1 at The Townsend located at 718 Congress Ave. Suite 100, Austin, Texas 78701. Doors will be at 7:30 p.m. and the show will begin at 8 p.m.

Tickets can be purchased here.

Ten percent of ticket and album sales will be donated to Kids in a New Groove to provide instruments and music lessons to children in foster care.

Visit for additional information.

Jen Zava press photo 1

Photo by: Todd Wolfson

Written by: Douglas Leach

Post-Rock Virtuosos Mogwai Return With ‘Coolverine’

With eight studio albums of boundless post-rock instrumental epics in which you can practically see the Scottish-based band teasing the melancholy from their six strings, it is very easy to take Mogwai for granted. ‘Coolverine’, the group’s first taster of upcoming record, Every Country’s Sun, follows in a long line of Mogwai slow burners with cataclysmic climaxes that feature ridiculous monikers (see ‘I’m Jim Morrison, I’m Dead’, ‘Glasgow Mega Snake’ & ‘I Love You, I’m Going to Blow Up Your School’). Yet to write them off as one trick would be to take away from their years of well-honed dexterity; it’s better to view the band as soundtrack artists with each LP scoring music for a film that never was.

From the opening echoes of ‘Coolverine’ you can almost envision a camera sweeping across an ice-encased Siberian landscape before settling on a lone individual trudging through the unforgiving mass of snow, the biting cold nipping at his face through the fur of his parka’s hood. The track is practically structured like a storm, calming down midway to make way for some 8-bit style keys before an icy blizzard envelopes the white plains, drums slicing through the choral hum of the synths before balance is restored and the guitars fade into the clouds.

Arriving at the start of winter, Every Country’s Sun promises to soundtrack those cold lonely evenings in front of a roaring fire. Mogwai may not evolve on ‘Coolverine’ but they do lay the ground work for their next adventure.

Every Country’s Sun is released 1st September.


Written by: Matthew Barnard

Q&A With Emily Bell Post-Kali Release

Now that the Emily Bell’s highly anticipated release of Kali has come and gone, and the after party has subsided, we spoke to the very busy rocker on how she feels about the EP.

How are you finding the reception of Kali?
Pretty great I think! I can only really gauge the reception by the energy at the show and playing this music live has been the most fun I’ve ever had on stage. Honestly, any reaction is welcome. Music is so personal and subjective, so it’s almost impossible for me to judge it one way or another. When you pour your heart out and leave it on the table, all bets are off!

Has this differed much to your first release?
Yeah in a lot of ways. The first record was recorded live more, a lot of the production and style happened in the moment. With Kali, I took a much different approach. I spent a lot of time crafting the parts and style. The guys and I got down to the brass tacks and just demoed and played and played and demoed until we got to where we wanted to be. I got to a place of trusting myself more creatively and was able to put a lot more of myself into the details.


How was the Kali release show at 3Ten ACL Live?
Magical. If I could have kissed everyone there on the mouth I would have.

How was recording the EP, any hiccups?
It was awesome. The studio is my favorite place to be. Sometimes the hiccups are the best part, it’s when you get to problem solve and get really creative. I did leave a pot of rice on the counter long enough for it to turn into a science experiment though. None of us wanted to deal with it so we just let it sit there and watched it like a petri dish through the glass top. A friend stopped by the studio and was thoroughly disturbed so he took it outside and hosed it down. I guess the point being, the studio has a way of warping your mind.

Why did you choose these songs for this EP?
They were what happened when I got down to writing. These were the first songs I wrote after we lost my partner’s daughter to a chronic disorder. I had these ideas of radical change before she suddenly passed and when she did, I knew that I had to completely throw myself into the deep end because that’s what she would have done and what she would have wanted me to do. It took me a while to reckon with everything and write again, but eventually, I was ready. I wanted it to feel triumphant and not defeating. Feminist anthems while still reckoning with pain and loss.

Which is your favorite song, and why?
I have a special relationship with all of them of course. But I guess right now if I had to name one, I would say Goddess of Destruction. There’s a lot packed into that song. But in short, it’s about embracing anger, that anger can be a very useful catalyst for change. And where we are at today, there are just so many reasons to be angry. It is so necessary that we recognize the anger and not let it fester, but channel it into action.

It is so important that we continue to point out that what is happening in our country right now is not right, that it is putting our most vulnerable citizens in danger. Millions of people marched on January 22nd 2017 because we are very angry at this administration’s treatment of women, the LGBTQ community, the sick, the poor, immigrants, Muslims, Latinos, African Americans. So I’ll choose that song because it’s a reminder that it’s not healthy to allow anger to fester nor is it healthy to ignore it. The only thing do is to use it to ignite continued change for good.

What are your plans for the future?
To keep getting better at what I do. I’m always going to want to top what I just did. So that’s what I plan to do.

What would you tell any young girl who wants to be in your position?
Listen to your inner voice. Take your time and enjoy the journey. Stay hungry for knowledge. There is always something new to learn. Never give your power away to anyone and never compromise when it comes to your art and your image. You are more powerful and capable than you might think. It’s a hard truth that young women are very vulnerable in this business. We have to be very selective with the people we keep around us and who we take advice from. Work with other women, and support other female artists, they are your greatest allies. Take care of your voice. Singers don’t get to put their vocal cords in a case after the show. Your body is your instrument, love it and protect it!

Her EP is available to stream and buy on her website

Twitter @EmilyBellMusic
Insta @EmilyBellMusic

Author: Megan Matthews

Emily King ‘You and I’ Tour at Antone’s Photo Review

NYC’s Grammy-nominated Emily King showcased her lush pop, soul and indie flavor at Austin’s iconic Antone’s Sunday evening as part of her current acoustic ‘You and I’ tour. King presented her collection of polished, stripped down songs in the manner they were originally crafted…just her and a guitar. Photographer J. Alan Love witnessed King bare her soul at the intimate performance. See a few highlights from the evening below.



Photos by: J. Alan Love

girling and Their Tragically Hip ‘Side 1’

Austin’s alt-pop-rock girling has unveiled their most recent effort, “Side 1”, which is set to release Friday, May 19. The official girling “Side 1” release show will take place the same date at The Sidewinder in Austin with support from the rock group A. Sinclair & alt-rock artist Ben Millburn. Acting as a continuation of the band’s signature nerdy, garage-rock sound, the follow-up to girling’s 2016 self-titled album is riddled with warm familiarities: the lullaby-like keys, the howling vocals, and distorted guitars. Tragic lyrics reside behind these sweet-sounding melodies, giving special insight into guitarist/vocalist Andy Sharp’s life. The five-track EP is filled with poetic stories of regret and sincerity that are all disguised by the aromatic musicality.

“It’s a dark sensibility wrapped in a pop kind of candy wrapper,” says drummer Rusty Zagst of girling’s sound. The opening track, “Shattered,” is syncopated, smooth, and full of soul. It’s a track of distress, describing how easily love can shatter you and leave you in a million pieces. “Fiction” is the perfect embodiment of girling’s dark, sugar-coated rock sensibilities. A joyous beginning quickly turns awry with Sharp’s caterwauling “I had a brother who drowned in the lake / He swallowed water until he sank / His girlfriend told me to stay in the boat / Said it’s just another one of his jokes.” A bright mix of keys and guitars shroud the melancholic lyrics, leaving them waiting to be discovered. Eventually, emotions swell together and push back against the buoyant track, but instead of a displacing interruption there remains a beautiful mix of dark, light, and Patrick Swayze dancing in the moonlight. In a complete turn, a sense of pure grit and toughness resides in “You’re Not Right” thanks to the distorted guitars, heavy drums, and the accusing lyrics that proclaim “you’re not right.” Sharp describes the song as being “weird, raw, and full of swagger.” Melodies are a primary focus of this album, whether it be in the keys, guitar or vocals. These cheery and well-crafted melodies help throw the calamities behind a guise. The tracks all come together to create an encyclopedic album that archives emotions that often get lost in most modern music.

girling is more than just music for this group of guys. It’s a family affair when it comes to the five of them. Zagst speaks about the family chemistry of the group, saying that the allure isn’t “lost on us that when the five of us come together in a room that we’ve got something pretty special.” It’s about creating magic and telling the stories that you can’t get out all on your own. It’s music for a more thoughtful audience, those that look beyond the surface and try to find a deeper connection. When asked about the themes and stories that follow the EP, Sharp says that “A lot of the stories and a lot of the darkness comes from saying things in a song that you can’t actually say to people in real life.” Music is an outlet for more than just the musicians. It’s a living art that has a varying effect depending on who is listening. girling’s tragically hip customs have transcended past the ‘who’ and ventured into the ‘why’. It’s a bitter taste of the real world, but it comes with the sweet aftertaste of knowing there’s an entire community out there that feels the same way.


Written by: Sawyer Click