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Aubrey Hays Band releases new single, "Isn't It Enough"

The thunderous four-piece Aubrey Hays Band, led by none other than its titular member, just released her first single, "Isn't It Enough." Produced at King Electric Studios by engineer/producer David McDonald, the song is an ethereal, vulnerable glimpse into a tender heart, one unsure of where she stands in her lover's life, and even more unsure of her own sense of belonging. Despite its angst-ridden subject matter, "Isn't It Enough" shimmers with an ineffable feeling of hope, as if, just maybe, things are going to be okay.

Hays' voice is an instrument unto itself, full of rich, varied tones, technical dexterity, and bursting with emotion. As a singer and a songwriter, she's prolific, and a force to be reckoned with on the Austin indie scene, and beyond even that, soon enough. Listen to the single below! - Ethan Ames

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My Empty Phantom Is Ready to Tour the World, Again

 

My Empty Phantom is the solo project of Jesse Beaman, a multi-instrumentalist and composer who is based in Austin. After taking time off touring to finish his latest album, Beaman is embarking soon on a 12-city international tour, beginning with Mexico City on March 26th. 

 

Over the past few years, My Empty Phantom has toured the globe playing instrumental soundscapes while sharing the stage with acts such as Cocorosie, This Will Destroy You, Dosh and many others. Touring on his upcoming album, Beaman will be joined by Brandon Curtis ( Interpol, Secret Machines) who helped produce the album and will elevate the live show experience with his musicianship.

 

Beaman’s stage performance explores a combination of multiple instruments being looped live; often mixing piano, synthesizers and drums. The resulting sound is a wave of blissful effervescence with a swirling undercurrent of sonic chaos. Beaman’s unique style and performance has earned him a dedicated cult following worldwide and enthusiastic crowds manifest for his shows regularly, which feature intricate visual film and light design. Check out My Empty Phantom at any of these dates listed below (with more dates to be added):

 

 


3/26 Mexico City, Mexico 
@ Departamento 

4/2 Boston, MA
@ LilyPad

4/3 Portland, ME 
@ SunTiki 

4/4 Brooklyn, NY 
@ Littlefield

4/8 Burlington, VT 
@ Monkeyhouse

4/9 Montreal, Canada 
@ Le Ritz
  
4/11 Buffalo, NY
@ Revolution Gallery

4/13 Chicago, IL 
@ The Empty Bottle
 
5/1 Rotterdam, NL 
@ Hostel Room Rotterdam

5/7 Berlin, Germany
@ Loophole

5/8 Berlin, Germany
@ Loophole

5/11 Stockholm, Sweden
@ Larry’s Corner

5/12 Stockholm, Sweden
@ Larry’s Corner

5/15 Glasgow, Scotland 
@ M Gallery 

5/16 Glasgow, Scotland
@ M Gallery

7/7 Los Angeles, CA
@ Kinship Yoga Event Studio

7/9 Los Angeles, CA
@ The Satellite

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Lower Dens Inspires at Barracuda

 The chilled 80s synth rock of Lower Dens and front person Jana Hunter creates a unique sort of rock enigma on stage, as evidenced by the gentle “Will you please have my babies” cried out by an audience member during their show at the Barracuda this past Friday. 

The opening bands perfectly fit the dynamics at play within Lower Den’s aesthetic. Local jangle pop band, Slideshow, maintained a good energy and experimental sitar player and vocalist Ami Dang was transcendent. Both acts worked well with the crowd’s growing anticipation and made the venue their own. 

 When Lower Dens took the stage, they did not disappoint. As great as all of the band’s records are, the songs take on an entirely different form when played live. They become more vibrant, and the energy is amped up about a thousand times. The synth packs a deeper punch underneath the drums and bass when played live. Hunter also has a strong stage presence; he held all the attention in the room without demanding it or taking up too much space. New and old songs were played with the same amount of passion. “Drive” and “Ondine” were both played beautifully and received well. 

The romantic dystopia that Lower Dens creates in their music is wonderfully replicated on stage, as well. Most of Hunter’s music deals with isolation in confrontation with desire and identity, and in doing so he creates a space for his audience to seek comfort they wouldn’t be able to find elsewhere. It was easy to find that comfort on stage, with warmth emanating from each member as they performed. The live performance cuts right through the bones of the loneliness the music speaks of. If this wasn’t obvious alone from their performance, the looks of comfort and quiet rapture on the faces of more committed audience members certainly provides enough evidence for it. 

 

The quieter moments had a very 'last call at the bar' vibe. The band held intimate moments within each beat that gave people space to interpret the song however they wanted. “Suckers Shangi-la” was a perfect moment of catharsis. It was the soft, lonely fantasy world everyone needs to escape to once in awhile.

 

- Avril Carillo


 

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Silversun Pickups Shine at Stubbs

 A quiet Wednesday night became bustling with hundreds of people at Stubbs. People were willing to bear the cold on this once-in- a-lifetime chance to see a show that could never be forgotten. With about a 20 year build up and opening for many bands such as MetallicaSilversun Pickups left the audience in a buzz with their latest leg of their tour thru Austin. Anticipation was filling the air and everyone knew that what was about to be experienced would be worth the bitter chill of the windy February night. 

Silversun Pickups have seemed to remain under the alternative rock main stream radar since their hits in the mid 2000's, most notably Lazy Eye from the debut LP in 2006 Carnavas, and their second being Panic Room from the second full length LP Swoon in 2009. But don't let that take away from the endless talent possessed by Brian Aubert and Nikki Monninger, with Brian on guitar and vocals and Nikki on bass as well as vocals. They compose such entrancing landscapes of harmonies and progressions that just take you away from the world you exist in and let you wander off into a world they created with much time and work. All of their albums up to their latest release Widow's Weeds in 2019, have had 3-4 years of separation  in between. As writers and musicians they've discovered a perfect formula of touring, recording, and releasing to keep fans coming back for more, but also being strong and staying loyal to always progressing as a band. Still as tight as ever, they're unique structure of sound is still as fresh as the day they started playing small clubs. 
 
Stubb's was radiating energy all over. Each song was so individually strong and hit your heart so hard. It felt as if everyone was just melding together in this shared experience. Silversun Pickups had created a place where everyone seemed to just loose themselves into what was in front of them. Simple lights and giant LED strips was all they needed to help novelize what was satisfyingly piercing into our brains. It doesn't seem like in 20 years they have even missed a beat. Blending all the greatness of Shoe-gaze, Alt Rock, and Post Punk they're able to create a large fan base that stays true to them because of the unique and effect behind their music and lyrics. If there's ever the opportunity to catch them, which surely there will be with their track record, make sure you do yourself a favor and treat yourself to a night that will change your life. 
 
- Dylan Welch
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Holy Wave shines at Mosaic Sound Collective’s Pop-up Party

 


As the crowd began to fill Mohawk indoors for Texas psych-rock staple Holy Wave, Mosaic Sound Collective founder Dan Redman took the stage. He spoke on the mission of the organization, the growth they’ve seen, and plans for the future. In almost opposite energy, attention was directed to a live mural painting by Kengo Hioki, aka “Yellow” from comic punk act Peelander-Z. Hioki, who performed music later in the night, screamed “I don’t know how to paint!” and began to attack a huge yellow tarp with giant pink brush strokes and blue splatter. The mural quickly became fully realized, colors dripping down and seeping into one another, and as “Yellow” yelled his adieu and focus was shifted back to the stage.

 

Holy Wave took their places behind their instruments and began their first tune. The 5-piece seemed to breathe the same breath, interlocked drums and bass grounded sprawling synths and woven guitars creating a thick aura of tactile motion. Many of the song’s arrangements seamlessly grew from their initial grooves into denser, more intricate resolutions. Each of the band’s singing voices were so distinct, fresh vocals and lush harmonies ebbed and flowed from track to track. A multitude of sounds criss-crossed through the audience’s ears as effects pedals and samplers were utilized to distance the group from more tiresome rock groups. Evoking Pink Floyd and Spaceman 3, these compositional choices make the band truly psychedelic. 

 

Towards the end of the set, center stage guitarist/keyboardist/singer Ryan Fuson told the crowd the set had been entirely new songs. With their last album Adult Fear being released early 2018, a new record seems just on the horizon.


 

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