The Beat Austin

May 2019 / Issue 1 / Vol 1

THE BEAT

AUSTIN

THE BEAT AUSTIN 3 / Editor's Note

4 / Magic City Hippies 6 / Hozier 8 / boygenius 9 / Lido 10 /Â Cover Story: Jason Robert Blum 13 / The Clientele 15 / Noah Gundersen 17 / Mobley 18 / Ikebe Shakedown 21 / ACL Tips 22 / Danny Martinez 26 / Caitie Butterworth 29 / Brand Board

www.youthmagazine.com info@youthmag.com Published monthly by Teen Publishing Inc. All Rights Reserved.

editor's note

Music brings color to the world of sound. It surrounds us. That beat you’ve heard over and over again in your head for two weeks, that song tied to a memory so emotionally charged it jolts you awake at night, the band that defined your awkward middle school years, the first time you experienced the feeling of home at a concert — it all matters. And it all comes from an essential pillar of the human experience. It’s music. It’s the beat. And we hope to capture just a bit of what it adds to life.

From local live coverage, to national reviews, to personal interviews with artists, The Beat: Austin encompasses the essence of sound’s impact. To us, music is a binding force, and we hope you feel it too as you read.

Contributors: Sierra Rozen

Gianni Zorrilla

Catie Butterworth

Lucas Robbins

REVIEWS

MIAMI-BASED BAND TURNS UP HEAT WITH ENERGIZED, INTOXICATING SHOW

BY GIANNI ZORRILLA

The band kicked off their set with “BRNT,” immediately turning up the heat with the liveliest song on their EP, “Hippie Castle.” If waiting in line out in the biting cold wasn’t enough to prove the dedication of fans, then their energized sing-alongs were, as they happily swayed to most every lyric.

“The only thing in life you’re owning is this little moment inside a sphere,” they The lights of Antone’s nightclub were sang, harkening to the timeless virtue dimmed. Candles placed in translucent of living in the moment and releasing blue jars sat atop small bar tables worries. Between the beats, the booze throughout the room, casting a sultry and bright stage lights, this virtue was glow. Fans and other twentywelcomed wholeheartedly. somethings hummed in anticipation Magic City Hippies, formerly known over half-empty Tito’s cups, dressed for as Robby Hunter Band, is made up of a night on the town. Then the music frontman Robby Hunter and multistarted. And the party immediately instrumentalists Pat Howard and John followed.

Coughlin. The band gained a lot of Last Saturday night, self proclaimed traction after playing the HomeAway indie-funk band Magic City Hippies stage at Austin City Limits Music brought the flavor of Miami, Florida to Austin, Texas. The second to last show Festival last October, and their fanbase only continues to grow. of their headline tour did not disappoint.

Tracks like “Franny,” upbeat and synth-rich, were played to a receptive crowd who then experienced hypnosis by groove as the trio slowed it down with “Hush” and “Limestone.” Hunter maintains a balanced rap-to-sing ratio, melding genres almost as smoothly as they do instrumentals.

Lyrics are charged with passion and allure, often drawing on anecdotal capsules or plain emotion. The end product is simply infectious.

Hunter performed his own rendition of Aminés “Caroline” as an interlude between original songs, and the crowd ate it up.

They also performed “Corazón,” the first song they ever released, which Hunter describes as a tune about falling in love in Argentina (and the wild chain of events that subsequently followed).

The band excels at holding their audience. While their groovy discography alone is enough to induce a good time, their stage presence is the icing on the cake. It is a seduction that borders on playfulness, a suave that’s almost arrogant— and it is just enough to keep a crowd intrigued.

They closed out the night with “Fanfare,” their most popular song (that boasts over eight million streams on Spotify, by the way.) Right when the crowd thought the party was over, Hunter jumped onto the stage in a whirlwind of sound and excitement to play fan favorite, “Bull Ride.”

Magic City Hippies are currently in the studio working on their next fulllength album. It wouldn’t be surprising to see them headlining a venue like Stubbs within the next few years.

Wherever they end up playing, Austin will welcome them with open arms, swaying hips and an insatiable hunger for more.

HOZIER RELEASES HIGHLY ANTICIPATED SECOND ALBUM AFTER FIVE YEAR HIATUS

BY SIERRA ROZEN After five years of sweet, sweet anticipation, Hozier has finally crawled out of whatever forest he was living in to bless our ears with his second album, “Wasteland, Baby!”

With the release of his self-titled debut album, Hozier quickly found himself shooting to Top 40 fame, made possible by the success of his first single “Take Me To Church.” Though disappearing after finding mainstream success is not something most musicians decide to do, it actually works in his favor here.

By giving himself time between albums, Hozier was able to not only avoid a sophomore slump that can be found with such high expectations from fans, but it also allowed him to tinker with and perfect his latest project.

This is not to say that “Wasteland, Baby!” is as strong of an album as “Hozier” is, but it is important as a listener to go into this album without the intent of comparing the two.

“Wasteland” revolves around the idea of the Earth ending, but being ok with it as long as you have your lover with you.

While his first album touched on these ideas, it did so in a gentler way. This album smacks you in the face with it.

We saw the questioning of religion on his debut album, but on “Wasteland” he heavily incorporates it, along with some Greek mythology and political references to top it off.

This is best seen in the opening track “Nina Cried Power,” which features legendary gospel singer Mavis Staples.

The song is an ode to the protest anthem, and namedrops some of the most famous singers credited with this movement, from Nina Simone, to Joni Mitchell and James Brown.

“Nina Cried Power” is the standout track of the album, as it is something very different from Hozier’s usual style with an almost angry vibe to it.

Featuring a heavy drum beat and a gospel choir-like chorus, it will have listeners on their feet, stomping along.

At first listen, Hozier’s music can seem quite innocent with the amount of pretty guitar strumming and subdued vocals he incorporates. He blows this misconception out of the water with tracks like “Talk” and “Be,” back to back songs that can only be described as sexy and soulful. Both tracks bring in lines referencing Greek mythology.

“I’d be the voice that urged Orpheus… and I’d be the immediate forgiveness in Eurydice,” he croons as he draws upon the Greek myth of the doomed lovers.

This language draws listeners in, bringing them to Hozier’s state of mind — more specifically, how he views his love affairs. Yes, he may romanticize them, but it’s a lot more fun to think of them this way.

Overall, Hozier’s second album is a solid effort for a man who was thrown into a spotlight that he subsequently withdrew from. Whether he wrote this album in some kind of hidden woodland paradise or not, we are lucky he decided to write it at all.

And as the man himself says on the final track, “That’s it.”

INDIE ROCK TRIO LEAVES LISTENERS WANTING MORE FOLLOWING EP RELEASE

ELUSPAC

SWEIVER

BY SIERRA ROZEN Indie scene darlings Julien Baker, Phoebe Bridgers and Lucy Dacus have finally blessed our ears with their collaborative EP “boygenius.”

The trio came together after a year of onagain-off-again touring along with being upand-coming, under 25 female musicians. The trio came together after a year of on-again-offagain touring along with being up-and-coming, under 25 female musicians.

This record brings out the best in all three women by combining Baker’s instrumental versatility, Bridger’s tongue-in-cheek lyrics and Dacus’s poetic rhyme. Not to mention, the harmonies the three produce are enough to make a grown man cry.

Standouts of the record and two of my personal favorites are “Me and My Dog,” and “Ketchum, ID.” “Me and My Dog” builds in intensity, not only instrumentally, but also vocally, as the singers beg their significant others to remember that they are still flawed, even with the love they are being shown.

“Ketchum, ID” might strike a question mark into a listener as they try to decipher what the title means. Upon further research, I discovered that it is a city located in Idaho. This puts the line “You say “How are you”, I say “I don’t know”/Let’s dissolve the band, move to Idaho,” into a much better perspective.

The one downside of this EP is exactly that; it’s an EP comprised of only six songs. Listeners will be left wanting more after giving it a listen.

Even so, this record will be on repeat as the colder months approach us.

Until we hear if they will release more music together, I highly recommend giving a listen to each women’s solo stuff.

BY STEVEN SEVERANCE

Lido has created another beautiful piece of music. For any fans of his previous work, “I O U 1” is reminiscent of the sounds on “Everything.”

This most recent project has the same bright and rounded feel as “Everything.”

Lido’s use of crescendos is what makes his music so special. The Norwegian producer focuses on building tension by increasing volume and layers of instruments rather than focusing on a quarter note, eighth note, sixteenth note doubling of rhythm like other EDM artists.

ELUSPAC

FAMILIAR YET EXPLORATORY RHYTHMS

SWEIVER

LIDO’S ‘I O U 1’ TRIUMPHS WITH

This added complexity gives more depth and emotion to his music and it is present as ever in “I O U 1.”

The album begins its rise in the first track, “Liar,” with an intoxicating layering of synths and vocal chops.

The rising action of the album is sustained throughout the twenty minute EP with a percussion-based track, “3 Million,” and synth-heavy tracks “Outstanding” and “Partake.”

Lido leaves us hanging on what seems like an infinite leading tone through the EP until the third minute of “Corner Love,” the final song of his project. The song resolves the EP in this minute with a gorgeous piano ballad.

This EP is a great continuation of Lido’s work for those who are already fans and would be a good intro for fans of electronic music who don’t know of Lido.

cover story: jason robert blum on mexico, getting the band together and tequila

BY GIANNI ZORRILLA AND SIERRA ROZEN

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COVER STORY

INTERVIEW

AUSTIN MUSICIAN DELVES INTO CRAFTSMANSHIP, CURRENT MUSICAL PROJECTS AN INTERVIEW WITH JASON ROBERT BLUM

BY GIANNI ZORRILLA AND SIERRA ROZEN

Around this time last year, Jason Robert Blum sat at a rooftop bar in Mexico with a glass of Mezcal tequila beside him, sun beating down and not a care in sight.

What seemed like a blissful early retirement scene was ultimately a facade from escapism, masking a deep sense of misdirection.

“My whole existence was getting drunk,” Blum said. “Everything was easy. Money was different down there.” With a small sum of American cash, resources were stretching pretty far, and those around Blum did their best to keep him afloat.

While life was simple then, Blum somehow knew it was not leading him towards his true desires. He had to make a change.

“It was fun. It was like a sabbatical now that I look back on it, but it could’ve turned pathetic real quick,” he said. “I think sometimes you have to lose some shit to get perspective.”

Prior to settling in Mexico, Blum felt that he had exhausted all of his efforts with his debut album “Invisible Words.” After releasing the record in 2015, he found it difficult for it to take off in the way he had hoped it would.

“I just thought, ‘I’m going to make a great record and it’ll work.’ That’s the way most of my life has not worked out,” Blum said.

Fast forward to the following year: The Troubador was packed. Energy and enthusiasm reverberated throughout the Los Angeles venue as the crowd sang along to his songs.

The timeline leading up to this point was long, winding and challenge-laden, but music always lingered. Much of Blum’s love for music was cultivated by familial influence.

“I’ve been writing songs for a really, really long time,” Blum said. “My father was a guitar player and creative writer.”

When Blum was a child, he and his father would play a game where he would write lyrics and his father would play guitar along with it.

Blum recalls this memory fondly, as it was one of his favorite activities.

“I wanted to be like my dad,” he said. “I’ve always loved the guitar and I’ve always loved the songwriting process.”

Blum’s songwriting inspiration is derived from many sources, with a focus on past imagery.

He aims to tap into what he calls “the true place.” Essentially, when he writes, Blum wants to have something to say. In his personal experience, keeping an open mind has been the most fruitful way to discover songs.

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COVER STORY

“It takes a lot of songs and a lot of practice to get to a true place,” Blum said. “It’s like a sculpture: the big ball of marble that you chip away at until it comes out as an image.”

“Devil’s Playground,” one of Blum’s more popular songs, is symbol-rich. The song is a product of the distinct feeling he had when falling in love with the Big Bend region of Texas over on the Rio Grande border. He had been living in New York City for seven years prior. After a while, the city made him feel closed and constricted, a seeming purgatory for any creative. The vast landscape of Big Bend came as a breath of fresh air, filled with inspiration.

Blum would frequently play the Lajitas Resort, and the drive itself was enough to impact musical ideas.

“When you’re driving down into the ghost town, you can just see this road open up. The entire sky opens up,” Blum said. “Every time we drove over that hill, the sky looked different. It was beautiful. I was like ‘well this never gets old.’ It’s always breathtaking.”

He recalls serene evenings sitting on the porch with friends, watching the sunset together— the main event of his golden days down south. People played guitars, taking turns choosing songs. The dying light shone upon the Chisos Mountains, making them change color. The scene was ever-changing, but it also somehow grounded him.

“I had this feeling of freedom, of ‘everything’s gonna be okay.’ No one was looking over my shoulder, and there was room to breathe,” he said. “I couldn’t believe I was living in this tiny little apartment, getting on the subway with a million people, and all the stuff I was doing to survive. And not getting ahead, you know— feeling contained.”

In retrospect, rock bottom was just what Blum needed to launch himself up. A shining beacon of hope appeared in the form of collaborative band “Glorietta.” The band, including members Noah Gundersen, Adrian Quesada, David Ramirez, Matthew Logan Vasquez, Kelsey Wilson and Blum, formed in early 2018.

INTERVIEW

Each member has been writing, recording and performing their own solo projects for years, with experience in lengthy amounts of touring— something that Blum was not accustomed to.

Instead of allowing this to intimidate him, he decided to dive in head first, taking a chance on the band of misfits.

“Everybody’s sensitive and nice and supportive, and everybody’s a really good musician,” Blum said. “There isn’t a weak link.”

After writing and recording their self-titled album in New Mexico, the group was fully bonded, ready to hit the road on tour.

“Glorietta” is most likely a one time venture, a “one and done,” as Blum describes it. The six musicians have independent careers of their own, and it’s difficult to align conflicting schedules. As a result, Blum finds himself soaking in every moment spent together, basking in the celebration.

“It’s an infectious party,” he said. “I think that people respond to the camaraderie and the friendship that happens to have a really good soundtrack to it.”

By bringing together six different musicians with their own respective followings, it isn’t surprising that the band has a substantial cult following.

Blum still finds himself surprised, yet delighted when he looks out into a smiling crowd.

“Those moments when people are singing your tunes and looking you in the eyes joyfully…it’s just worth it, you know?”

For now, Blum resides in Austin pursuing his revitalized music career, and he loves the city more than ever.

“Austin is a very different kind of Texas…so beautiful and unique and very self aware,” Blum said. “I don’t feel lost here or mourn for the past. I see all my old friends, I see people thriving, and I love it.”

THE CLIENTELE’S ALBUM REVITALIZES ESSENCE OF AUTUMN 9 YEARS AFTER RELEASE

BY GIANNI ZORRILLA

With the subtle egress of October and the presence of the most autumn-esque time of year, music is significant to feeling connected with the season. This month marks the ninth anniversary of “Bonfires on the Heath,” London-based indie pop band The Clientele’s fourth studio album.

Since their 1997 formation, the band has produced an extensive discography. On this bewitching record, they venture back to their roots, exemplifying the magic of fall through surrealism-inspired lyricism, reverb-rich instrumentals and mellow sound.

The Clientele has been credited time and time again with the ability to create an entire world contained in a single record, and “Bonfires on the Heath” is no exception. The start of the album marks the entrance into a new space. Frontman Alasdair Maclean illustrates this space through the hazy lens of a dream.

Autumnal imagery is a perpetual stimulant of wonderment. Many elements evoke an almost childlike sense of curiosity. It is a staple component of this record as songs are portrayed in cinematic stills. Images of “bats from the eaves shivering by” and “scarecrows watching the verges of light” are melodically described in MacLean’s characteristically breathy fashion on “Harvest Time.”

“Late October sunlight in the wood” conjures a hauntingly serene atmosphere on the album’s title song, “Bonfires on the Heath.” This atmosphere, dense with sentimentality, highlights persistent memory without crossing into the clichés of generic nostalgia.

“Bonfires on the Heath,” along with much of The Clientele’s catalog, is an album of poetic analyzation— a vision quest.

Suppose a spectrum existed upon which one end is where you presently are and the opposite end is the world of MacLean’s narrative lyricism. With “Bonfires on the Heath,” you are placed right in the middle, left to wander the gentle haze of what is and what is not. Listeners are removed from present happenings to undergo desolation in imagery as direct presence is substituted for distant, sublime observation. Echoes of soft, controlled drumming and simple chord progressions reverberate.

There is no doubt that a certain familiarity endures throughout the album.

The outskirts of nostalgia are explored intently in almost every song, yet it never once crosses into superfluity. With this stylistic framework comes a distinct fragility. The band departs from it occasionally, making a quick, upbeat detour in “Sketch.”

A similar departure from the norm is made on “Share the Night,” yet symbol-laden imagery still appears. “Share the night with me,” MacLean urges, “As the baby bats fly…through the sycamore leaves, the sycamore trees, the haunted faces in the streets.” Horns accompany the song, similar to that of “I Know I Will See Your Face.”

In this album’s particular world, the most mundane sights or faintest sounds can leave one awestricken. MacLean’s fascination often settles upon the very essence of nature’s elements — specifically evening sunlight or the rustling leaves of trees — and dissects its personal meaning to him, backed by gentle guitar and violin work.

The symbolic narratives included in the album are personal enough to suggest the feelings and experiences of the writer himself, yet vague enough to resonate with most any listener, exemplifying a notable attribution of The Clientele: painting serene landscapes with sound.

Songs like “Walking in the Park” exhibit a controlled intensity as MacLean sings of the world around him—boundlessly beautiful. In certain moments it becomes all too overwhelming for him to convey lyrically. “I don’t know what more I can say,” MacLean whispers, closing out the album. And perhaps that is all that needs to be said.

NOAH GUNDERSEN PUTS ON INTIMATE, ACOUSTIC PERFORMANCE FOR AUSTIN FANS

BY SIERRA ROZEN Concerts, by their definition, are one of the most intimate things a human being can experience. A group of strangers coming together for one night only and bonding over a shared love of music? Heaven.

This feeling amplified this past Saturday for Noah Gundersen’s acoustic performance at Cactus Cafe. After putting out his third fulllength studio album over a year ago, he returned to Austin for an intimate show.

Having previously seen him live two times, I was not disappointed.

The venue itself was an intimate setting deep within the student union of the University of Texas. Once I was able to find the venue, I quickly realized why it was named what it was. The walls were adorned with cacti and brightly woven rugs.

Being such a small space, the venue could only accommodate around 150 people.

This led to the show being completely sold out and allowed me to be up close and personal with the stage.

The crowd ranged from young to old– making for great people-watching. Having never attended a concert by myself before this one, I can now heavily recommend it to anyone having doubts.

CONCERT COVERAGE

Finally, Noah Gundersen and his sister Abby took to the stage. For those who have never listened to his music, Gundersen plays with the majority of his family on his records. Abby provides backing vocals and violin.

The duo opened up with “Isaiah,” a track from Gundersen’s debut album “Ledges.”

The song deals with themes of cheating, mixed with religious undertones. They then followed up with “Halo (Disappear/Reappear),” a song off of his sophomore release “Carry the Ghost.”

Though Gundersen’s musical style changed, involving more rock and electric sounds on his latest album “WHITE NOISE,” he still managed to do some beautiful renditions of songs from it, including the closing song “BAD DESIRE.” Gundersen’s talent is something to marvel at, from his strong, raw vocals on his most heart-wrenching songs, to the falsetto he employs on tender moments that make you feel like you are experiencing his pain.

Fans in the crowd were delighted to hear that new music is in the works as Gundersen played a few unreleased tunes from his upcoming album. Gundersen has a quiet stage presence, cracking the occasional joke. He is relieved at not being able to see the crowd in the dark, perhaps due to there being less pressure when he can’t see us.

“Nice affirming sounds from a faceless crowd,” Gundersen joked.

His humble nature also carries off stage, as I managed to catch him outside after the show to sing his praises well. All the while he looked shy, unaware of how impactful his music truly is.

Intimate, stunning and unforgettable. I look forward to the next time Mr. Gundersen comes to town and graces us with his musical presence.

LOCAL MUSICIAN ‘ROCKS THE PARK’ AT KUTX CONCERT SERIES

BY MADELEINE MCILHERAN

On Sept. 28, local musician Mobley performed at “Rock The Park,” a series of family-friendly, free concerts hosted

by KUTX each Fall. The show opened with Groundwork Music Orchestra, another local group, and Mobley came onto the stage just as the sun was setting. The one-man-band performed a mix of his upbeat hits- such as “Torch,” “Tell Me” and other sultry songs.

Mobley kept the audience actively engaged, and before performing “Stay Volk,” he selected volunteers from the crowd to act as a “human drum set.”

He set up many different wires and showed how a high five to each of the four people would produce four different sounds. He then proceeded to perform “Stay Volk” using both the volunteer drum set and his guitar.

Halfway through the show, Mobley handed out drumsticks to the children up front and invited them to a drum circle to play along for a song.

“We originally came to these shows because my friend invited us, so our girls could play together. We’ve kept coming back because we end up really loving the artists,” Marissa Flores, mother of five-year-old Mickala, said.

The show attendees were mostly young families, but college students turned out as well, along with dog parents and their furry friends to enjoy the music. Children drew on the stage using chalk alongside their parents, and kids danced and played on the lawn. The excitement and energy of the kids seemed to influence the adults, as many kicked off their shoes and danced on picnic blankets with them.

Richard Delgado, father of two, danced and blew bubbles with his son and daughter.

“This is the second concert we’ve come for.

We live in the neighborhood so it’s really fun to come and hang out with the kids and dance,” Delgado said.

A group of college students from the University of Texas sat on a blanket together and nodded their heads to the music.

“I’ve seen Mobley live before, so I was like ‘hey, guys, we should go to that.’ His music is just even better live,” Connor Goins, a sophomore psychology student at UT, said.

Goins plans on attending the final concert for this year’s “Rock The Park” series, on Nov. 9. Walker Lukens will perform for the last show and is expected to attract a large crowd.

NEW YORK INSTRUMENTAL BAND BRINGS FRESH SOUND, STYLE TO ACL FESTIVAL

BY GIANNI ZORRILLA AND JOEY HADDEN Since their 2008 formation in Brooklyn, New York, Ikebe Shakedown has worked to put a unique twist on afro-beat and psychedelic soul music, forming their own distinct and recognizable sound in the process. Each song, solely instrumental, tells a story, encouraging listeners to create their own meaning as they move to the rhythm.

During the second Saturday of Austin City Limits, Gianni Zorrilla and Joey Hadden sat down with Robin Schmidt, guitarist of the vibrant, vintage funk band. Just a few hours prior, they played a non-stop, energetic set at the Tito’s Handmade Vodka Tent stage.

Obviously you guys have been at this for a long time (over 10 years now), so how do you feel your music has evolved in that time period?

That’s a great question. We have been doing it for almost ten years now, basically with almost the exact same crew of people, which is sort of unusual with seven people. We run the band democratically too, so there’s no band leader or anything like that, and we have kind of evolved in our influences over the years. When we started out we were trying to do more afro-beat and more sort of straight ahead funk, and now we’ve tried to bring in more cinematic elements, more western stuff, more soul and our writing process changed too, so that really has changed things.

Early on, it was like somebody would have a song, bring it in, and we’d all put our own spin on it, but it was very much like OK, this is this person’s tune, and now it’s much more of a group process.

We’re interested in hearing about the early days and formation of the band. We know you guys are from Brooklyn, so how do you feel the Brooklyn soul scene influenced your music? What about New York City is an inspirational force for you?

We actually started as a band before that in college. The bass player and drummer and I went to college together at Bard College, which is two hours north of New York City, which was awesome.

We had a band there, which was a different sort of thing– we basically had a funk quartet with an organ player up there, and then when we moved down to the city, it was like somebody met somebody met somebody and we gradually added everybody. Obviously the Brooklyn soul scene was definitely a big influence on us as well. A lot of our influences are from the ‘60s and ‘70s, but you can’t deny that a lot of our influences are also from now, not only Brooklyn, but certainly there’s the Daptone scene and we recorded one of our albums at Daptone because we were loving that music. We draw from the California scene too and so many different people that we know that are contemporaries are also influences.

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This ties into your interest in soulful and funky music. Where did that stem from? You did mention some of your influences, so I’m assuming that is a part of it.

Yeah, I mean obviously I’m sure it’s different for different people in the band. For me, I started liking that stuff in my early to mid teens. Just sort of hearing different artists that were doing that in the late ‘90s early 2000s, that dates me but you know, I think for all of us it was different. We each have different influences in that vein, but we all sort of love the same stuff… like the Meters are incredible, we have Booker T and the MGs, like we all love that stuff. We all love Chris Mayfield, Isaac Hayes, all this amazing ‘60s and ‘70s soul and funk. There’s a million different bands I can name, but there’s just so much awesome stuff from that era.

That’s sort of where we’re coming from, and then we try to do something with it.

It’s hard to come by an instrumental band at ACL. You guys are definitely an outlier in that sense, which sets you apart. Do you think that there are other aspects of your band or you guys as musicians that set you apart from the other artists that are here this weekend?

Yeah, that’s a good question, too. That certainly is a thing, and it is unusual to see instrumental bands, and that’s sort of been what we’ve done, and we’ve thought about partnering with some singers. That may still happen but in general we’re an instrumental band. I think aside from that, we are bringing this combination of instrumental music, soul and sort of a cinematic vibe at the same time… trying to bring out all seven peoples’ influences together, and again us doing that as a unit of seven people is a unique thing. I think that a lot of bands that are of our size have somebody leading, but for us it’s not– we’re doing it all together.

Another thing that I think sets you apart from other guitarists here is that you have experience playing with a horn section. How do you think that has influenced your style and/or skills as a guitarist?

That’s also a really interesting question. I like that question. Yeah, it’s totally a different thing, right, and it’s not just necessarily horns versus rhythm section, but even just the size of the band. The more people you have, it’s cool you have so many different elements, but at the same time, you have more elements that you’re trying to work in between. So if you’re like a duo or trio, you can play a lot more, and you probably should play a lot more. If you’re playing in a smaller setting, you kind of have to pare it back a little and be like ‘OK, what fits in this space? Where is the space? How do I make that feel right?’ And that’s true definitely with a horn section. It’s like I’m not playing the melody; the horns are usually playing the melody, and I’m usually playing more of a rhythm part, but maybe there’s a part where I come forward with the melody and then they start playing more like chord voicings, or we trade off solos. There are so many different ways of doing that, but it is a different thing.

Ideally, how would you want your fans to interpret your music? Do you feel that each song tells a distinct story, or do you want them to infuse it with their own meaning?

This is also a good question. As an instrumental band, I think a lot of it is people forming their own meaning. Certainly we go into the writing process with intention as far as how we feel each section is coming across, and like the vibe, and you know, we try not to overthink it, but we also do think about those things. At the same time we know and we hope that people who hear it will form their own idea of what it means to them. Their own imagery will appear. That’s part of the cinematic experience that we hope that people will hear and form their own view of it.

FESTIVAL SEASON IS HERE: PREPARE FOR ACL WEEKENDS WITH THESE 4 TIPS

BY GIANNI ZORRILLA It’s that time of year again. On its 17th year of music and memories, Austin City Limits Music Festival continues to outdo itself. Maybe you’ll be attending with a one day pass, or maybe you’re brave and plan on enduring the fest from start to end. Whether you’re a first-time attendee or a seasoned professional, planning is essential. Here are a few tips to get you through your weekend at Zilker Park.

TIP 1: Download the app With eight stages and over 130 bands, you might need some help with scheduling. The Official ACL Festival Mobile App allows you to create your own custom schedules and map out the park prior to attending. All possible information about the festival including set times, emergency information, weather updates and special offers are readily available.

Brockhampton, Father John Misty and Hozier are playing at the same time? Well, that’s stressful, but at least you’ll have an app to organize which sacrifices you’re willing to make. Remember to optin for push notifications!

TIP 2: For the love of hydration, bring a reusable water bottle Either bring one or purchase one at the fest. The merch tent sells reusable bottles with a new, colorful design each year. It makes for a necessary fest accessory and a charming commemorative item for years to come. Hydration stations are posted around the park, giving you easy access to refills.

Between dancing with your friends, to running across the park to make the next set, to lounging under the unforgiving Texas sun, hydration is a must.

TIP 3: Dress to impress (but not too much) A cross between stylish and comfortable is in fact possible. As someone who has experienced ACL Fest for a few years now, it is safe to say that dangly jewelry, long sleeved anything, or any footwear besides sneakers are a no-go. It is also important to prepare for any type of weather that may occur. The event will go on rain or shine, so be sure to pack items like a poncho and sunglasses.

TIP 4: Don’t blow your money on merch and food This is an easy mistake to make. Trust me, I’ve been there. Picture this: a wideeyed, first-time-fest-goer and absolute band fanatic walks into the merchandise tent, almost immediately acting on impulsivity by purchasing three T-shirts.

The total? Over 80 dollars. (It’s me, I’m the fest-goer.) Don’t make the same mistake. At most, I would go for an official ACL T-shirt, or simply purchase online at a time when you are less compelled to spend. The merchandise tent is very alluring, especially as a first time attendee, but it is simultaneously a dollar drain. As for food, “ACL Eats” is an oasis of Austin’s well-known local food vendors– a huge step up from your typical festival eats. While there are delicious options available, buying multiple meals there throughout the day can add up. Try eating elsewhere before getting to the park.

MARTINEZ ON MUSIC: E V E R Y O N E D I E S I N U T A H F R O N T M A N D A N N Y M A R T I N E Z O N I N S P I R A T I O N , T O U R I N G , P E R F O R M A N C E , A N D T H E B E S T A D V I C E H E ' S E V E R R E C E I V E D B Y : C A I T I E B U T T E R W O R T H

Singer, actor, touring musician in a metal band with 100,000 likes on Facebook, Temple-based artist Danny Martinez is the kind of person who owns any stage and refuses to be ignored.

His electronic metalcore band, Everyone Dies in Utah, has seen 45 states, two continents, and tens of thousands of fans across the world.

Founded in 2008 by Martinez and a friend, Dustin Dow, the group has released four full albums, two singles, two highly sought-after Katy Perry covers, and shared the stage with the likes of Silent Planet, Suicide Silence, Alesana, and Memphis May Fire.

So what does Martinez have to say about his experiences as a musician?

Quite a lot.

With roots as a musical theater performer, much of modern music to Martinez is about performative expression and escalating intrigue.

Inspired by Enter Shikari, a British rock band known for their wild, bombastic

aesthetic and visually captivating performances, Martinez confirms that his approach to music is performanceminded.

“For me, having the theater background definitely helps because whenever I think of a song, I think of how it’s going to be performed and how it’ll translate live,” Martinez says. “I want the song to have a fun show to it, not just like, when you’re listening, it sounds cool; I want it to sound cool and look visually awesome and fun.”

In a live setting, Martinez’s focus on performance becomes obvious. At the shows following their most recent original single release, “X”, the band featured an “X”-shaped light fixture flashing in bright colors to the beat of the drums and bass. Martinez engages the audience frequently, hyping them up for next song, cracking jokes between short breaks, making the audience feel like they too are an important part of the performance.

Everyone Dies in Utah has fans across

the globe. Having toured most of the United States over the course of nine years, EDIU is more accustomed to life on the road than most.

The band makes their way travelling across the country in an old white van named “Esther,” purchased originally from an Austin church. They perform in venues of all kinds, from abandoned buildings in the Midwest to large Texan biker bars to Six Flags to the hot, summer stages of the much-acclaimed Vans Warped Tour. According to the members of EDIU, their audiences can range from five people to several thousand.

The unpredictability accompanying a modern music career poses a common problem for many modern musicians: financial struggle.

“I mean, money is always a big issue,” Martinez explains, “At least for us. We’ll have van issues because we’re going thousands and thousands of miles, something is bound to happen with the vehicle. One time it caught on fire twice, [I] think, within the first week of the tour, and then we got two flats.”

Other issues, some more surprising than others, arise while touring as well.

“Parking,” Martinez claims, is one of the

seemingly smallest, but most frustrating struggles that comes with touring life.

“Parking is a huge issue when we’re playing in big cities like Austin,” says Martinez. “They won’t provide a spot for vans to park in. You just gotta hope there’s something nearby so no one steals your stuff.”

“And that’s not just Austin,” Martinez adds. “That’s just every big city.”

Based an hour outside of Austin, Martinez and his band have developed a strong familiarity with Austin’s music and performance scene. I asked Martinez for his opinion of Austin as a place to launch a musical career and following. “[Getting famous] is a hit or miss thing,” Martinez muses. “It really just takes one good song to get super famous. There’s no right or wrong place to do it at.”

On Austin specifically, he elaborates: “There are a lot of producers you can go to in Austin and it depends the genre you are working in. We only just recently found a pretty decent producer for our genre in Georgetown.

I really think it depends on what you’re playing...there’s so much that goes into becoming a successful musician that goes beyond being in a city.”

“You’re literally in a city that has music on every door, on every block--what makes you different from the person next door? You have to market yourself right, have good recordings, have good music. How do you catch people’s ear? I went to sixth street last Saturday and there were so many bands, so much music on 6th street that I couldn’t focus on any sound.”

“Is it better to go to the small city where you can be the big fish, or do you go to the big pond where there are millions and millions of fish? It’s a tough call.”

What is it that makes a musician successful, special and significant within such an environment of such explosive creativity?

“I honestly don’t know--we started blowing up when we were a pretty young band. I constantly think of what it was that gave us that niche that attracted record labels and other people to look at us and even give us the time of day and I think it takes a lot of…”

Martinez hesitates before continuing.

“Live performances need to be solid, it needs to be something people want to go and see. When we first started, we were playing in Temple a lot. People would see us in Temple--every time we would perform we would add something different, a little more weird or crazy, something that’s just slightly different from anything else.”

He explains how marketing and image can make, break, or establish a band.

“Social media back in the day...I come from a background of graphic design, but I always made sure when we put stuff out it was pretty professional. We had a brother band when we first started. They were a lot bigger than us and actually toured and did the record label stuff. The best advice they could give us was ‘if you want to be big, you have to act big and look big wherever you go.’ When people look at your merch table, they’re gonna get that first impression of who you are as a band from your merchandise.” That’s what I try to do presentation-wise with merchandise and all that. Back in the day, when MySpace was the huge thing, I would pay to get the most badass layouts that people don’t have. I’d try to think of cool ways to make it so it was what you wouldn’t see on other band pages.”

“I still try to stay on top of doing good designs on the way we present our band.�

Austin is oversaturated.

IT'LL BE SUNNY BY TOMORROW: LOOKING FORWARD WITH CAITIE BUTTERWORTH

BY LUKE ROBBINS

It’s the damn live music capital of the world, to be fair. The music industry, to be even more fair, is itself oversaturated.

It’s a complex issue for a musician, especially one living in Austin, Texas. It’s certainly not a bad thing for art creation, Caitie assures me, but it does make it challenging to stand out and to get paid well. The fear of musicians not being valued for their artistry—something which the digital music industry supports and helps people without access achieve —is constantly on Caitie’s mind.

A venue owner once told her, “hopefully being overly cynical,” that musicians are hired just to “sell alcohol.” The situation is made worse by the city’s growth projections: it’s already hard enough for a musician to find a gig, but they can’t find parking and pay that makes up for the difficulty in playing live shows. For instance, the parking often costs more than a gig’s worth, and the venues aren’t willing to help the musicians out because of rising property taxes.

Sitting outside, it’s a particularly humid day in Austin. It’s overcast, and the weather forecast shows no signs of sun. Caitie sits across from me smiling, though, because it’s almost over. During the last few weeks of her senior year at St. Edward’s University, she has to finish out her English Writing degree, move into a new apartment (after she finds roommates to live with), apply for jobs, and figure out how and when to pursue her music career. Her band, Jade Vine, is going into the studio to record tonight. It’s stressful.

Coming to Austin from Berkeley College of Music in Boston, she’s just happy to be alive and in Austin.

Asking her what Berkeley was like, she immediately describes a “huge attitude of negativity” running throughout the school: “we’re not good” was the motto.

Caitie has been playing and pursuing music since she was 3.

She started on the piano, and at 6, when she started band class, graduated to the sax; an instrument which is technically easy to play but equally easy to quack (a sound much like a duck quack that comes from bad tone).

She managed not to quack much for four years, where she landed a spot on her high school’s prestigious pit band. From there the pressure was overwhelming, but Caitie undertook all tasks thrown at her: at one point she was asked to learn to play the clarinet two days before a performance.

It’s still cloudy outside, but Caitie starts to relax toward the end of our talk. She’s pragmatic, so she begins to think through her options for the future. The situation with her music career starts to line up exactly with her writing career: it’s hard to stand out. Leaving Berkeley for Austin may have seemed like a move that would slow the competitiveness down, but it’s constantly on her heels.

Both paths she wants to walk down are narrow and filled with other people walking with her, trying to stand out in various ways. “Companies make it hard to market yourself in an interview” she says, even though she knows she has a voice which deserves to be heard. “It’s hard to be paid for the work you’re doing— especially if it’s creative.”

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