Alt Pop

The uneasy lullabies of Furrows' "Fisher King"

The debut full-length set by Furrows, called Fisher King, is basically the folk-rock-baroque-dream-pop version of William Wordsworth’s The Prelude or, Growth of a Poet’s Mind because on this record Mr. Furrows (a.k.a. songwriter/multi-instrumentalist Peter Wagner) stares into a chasm and declares it sublime

Sounds like bullshite, you say? Well, mmmaybe, but I'm sure my high school English teacher would be impressed. Anyway, if you’re looking for a record that’ll help you to achieve a state of mellow euphoria, with more than a hint of longing to throw oneself into the abyss, and with lyrics overflowing with pastoral nature imagery like “shining suns” and stars and mountains and horizons and “skies receding out of sight” and “the sounds of the sea filling the air” and really all that’s missing is the “craggy ridge” that got Wordsworth so hot and bothered—then lucky for you because now you’ve found it. (note: even the word furrow itself refers to "a long narrow trench made in the ground by a plow" so it's nature-adjacent at least)  

Given Fisher King’s immersive yet highly generalized lyrical imagery, it’s easy to let your mind drift away and get lost in the pure essence of the music and, fortunately, that’s where Furrows excels most of all. Assisted by producer Sahil Ansari, this is a record full of cellos and Mellotrons and tense synths and “delay wobbles” and “psychic spaces”—played over bedrock layers of delicately strummed acoustic guitars and gently shimmering electric guitars and a rhythm section (Mr. Wagner's on bass, natch) that somehow maintains a steady beat despite all the sedatives they must’ve ingested before hitting the record button.

And sure, there’s some other bands from the past that have given off a similar eternal-golden-hour-bathed-in-a-meloncholy-glow impression ranging from the Chills to the Shins—but this is the present and Furrows’ music speaks to the present-day widespread state of generalized anxiety masked by numbness. (tho’ don't get me wrong, it’s a beautiful album and you’re allowed to be happy while listening to it, you sick bastard!) Either way...we all need to take the edge off sometimes, no? Rest assured this long-playing rekkid will help you to do just that. But only if you don’t mind an uneasy undertow underneath it all which is, as Mr. Furrows himself puts it on “Grey Cities,” “unseen, but always there.” (Jason Lee)

   

Alt Pop

Time: 
20:00
Band name: 
S.C.A.B.
FULL Artist Facebook address (http://...): 
https://www.facebook.com/scabscabscab/
Venue name: 
TV Eye
   

VIDEO: Dinner | ‘Connection’

photo credit: Anders Rhedin

 

 

Dinner, the project from Danish multi-instrumentalist Anders Rhedin, premieres the Annabel Van Royen-directed music video for “Connection,” (featuring vocals from Molly Burch) the second single from Dinner’s new album Dream Work, due for release October 22nd on Captured Tracks

The track opens with an organic-sounding, lightly-phased synth pad that evokes hazy rays of morning sun breaking through an overcast sky, before arpeggiated guitar, drum and bass enter to support it. Rhedin’s baritone voice is not the most flashy instrument, but it carries an authentic vibe, as if your good friend or someone at an open mic were singing sincerely and intimately to you. The chorus, where Rhedin is joined by both a heavily-vibratoed lead guitar and the subtly ethereal backing vocals of Burch, is a pleasing, satisfying climax with a vibe halfway between 60s “groovy” and 2020s sheen. Rhedin walks a fine line here but the warm, three-dimensional production and the unfussy arrangement meld seamlessly.

The music video, meanwhile, goes for even more understated. Shot in a single location—a gently smoke-filled midcentury modern building in a sun-lit wood, a young woman in contemporary clothing alternately paces, plays with herself as if she’s a puppet, and flashes smiles for short moments before reverting to an expressionless visage. Regarding the video, director van Royen explains: "The video is a portrait of a young person expressing themselves with their body in the space and through connection with the viewer." Adds Rhedin: "I had many long talks with Annabel, the director. I thought I was going to be very involved with this video. But in the end, I just had to let go, and trust Annabel’s ideas and her vision. Let her creativity take over. I’m very glad that I did. To me the video is about a liminal state between reality and something else." Gabe Hernandez


 

   

Lovelorn wants to know "What's Yr Damage"?

As clearly indicated by its title, What’s Yr Damage (6131 Records)the debut LP by Philly-purveyors-of-psychotronic-rock Lovelorn clearly pays tribute to two iconic ‘80s bands—the first of which being Big Fun whose one-and-only Stateside hit came in 1988 with “Teenage Suicide (Don’t Do It),” the bombastic-dance-pop-with-a-social-message classic featured in the homicidal-high-school-rom-com Heathers (the second greatest movie ever made!) with its iconic catch phrase “What’s your damage?”; and the second of which being Black Flag, the iconic California hardcore-sters whose debut LP Damaged (1981) served as a paganistic paean to teenage alienation and craving (“Gimmie Gimmie Gimmie!”) with squalls of squalid guitar courtesy of Greg Ginnwhich isn't to dismiss the other influences at play here (industrial, shoegaze, dream pop, trip hop, who knows what else!) and despite being released two months ago it still sounds pretty darn good.

Across the album’s ten tracks the duo of Anna and Patrick place these disparate sonic fragments into close proximity like tectonic plates colliding and coalescing and forming into massive land masses and, I mean, just take a listen to the album’s second track “Sickness Reward,” which kicks off with an ambient Cabaret Voltaire-y soundscape (R.I.P. Richard H. Kirk) that's soon overlaid with a massive industrial-disco beat and heavy synth, and then stripped down to a minimal electro-pop groove when the vocals first enter, and then built back up again but with a growing sense of sonic disorder seeping in around the edges (the manic guitar, the power-drill synth) and be sure to check out the music video too (dir. Daniel Fried) which opens with a flipped Cannon Films logothe production studio that put out the greatest piece of cinema ever Ninja III: The Domination (don’t worry, it doesn’t matter if you’ve seen the first two) and I’m hoping the eventual sequel to this video sees the field-and-track athletes inexplicably attacked by a crazed ninja but I digress. 

Anyway, this is a record that really creates its own lane. And likewise for the lyrical content which addresses such serious topics as eating disorders, mental illness, and creating one's own lane (shades of Big Fun again and yes I know I know) but which also captures pure desire in the starkest of terms (“Gimmie Gimmie Gimmie”) or as Lovelorn themselves put on it on "Tiger," the final track of What’s Yr Damage: “I justify what I want / I already waited too long.” (Jason Lee)

   

Austin City Locals, Weekend One: Bat City’s Best

After months of impatient waiting — tantalized by lineup announcements, tormented by rumors of cancellations and pending permits — Austin City Limits is finally upon us. A slightly less star-studded lineup than usual has drawn more than its fair share of criticism, but here at The Deli Austin (and across the city at large) that is cause for celebration.  
Now more than ever, leading local luminaries and hopeful aspirants alike need support and an opportunity to rebound from a truly devastating 18 months. With ACL 2021, C3 Presents has provided that platform: over the course of two weekends, 25+ local (and quasi-local) acts will be showcasing their considerable talents all over Zilker Park. The Grammy-nominated Black Pumas will surely be the biggest draw, but don’t understand the appeal of Dayglow’s warm, fuzzy pop or MISSIO’s woozy, bass-driven alt-electro-hop either. With hundreds of millions of plays on streaming services rewarded with high-profile afternoon spots, we have no doubts that these local favorites’ adoring audiences will turn out in droves.
 
But we’re more interested in the more under-the-radar the acts for whom this opportunity is the culmination of years of blood, sweat and tears (rather than a remarkable and glorious homecoming), and for whom ACL 2021 could be the springboard to launch into the stratosphere of success with which Austin artists so frequently flirt, but all-too-rarely achieve.
 
We are beyond excited to witness these five local artists (and so many others) seize their moment. Play your part. Get to Zilker early. Buy merch. Give back to the community and the culture that has built our city into this tremendous mecca of music, and see for yourself why we are the Live Music Capital of the World.

Audic Empire — Friday at 1:00PM, Tito’s Handmade Vodka Stage
Armed with a decade’s worth of mellow, reggae-tinged jams, Audic Empire will be kicking off the festivities in style on the Tito’s Vodka Stage (Friday at 1:00PM — we know it’s early, but security is also notoriously more lax when it comes to daytime doobies).


Loosen ya limbs and lose yourself in a cloud of ganja smoke as these long-time Flamingo Cantina favorites unleash their signature strain of effervescent reggae-rock on an adoring hometown crowd. High-octane tracks like “Come and Toke It” showcase frontman Ronnie Bowen’s smooth hip-hop sensibility (and more than a sprinkling of Bradley Nowell) alongs with sharp solos from guitarist Travis Brown, while the hypnotically up-beat bounce behind “Don’t Wait Up” is sure to seduce audiences across Zilker into the skank pit (not what it sounds like), where frustration and negativity melt away into the liquid sunshine floating out of the speakers.

 
Nané — Friday at 1:00PM, Lady Bird Stage
First set time of the festival and we already have conflicts. Thanks C3 for getting that out of the way early. Nothing gold can stay. Those less tempted by Audic Empire’s fleeting promise of carefree youthfulness will find their own thrills during Nane’s woozy, bluesy set. Simultaneously slick and profoundly vulnerable, vocal virtuoso Daniel Sahad spearheads this thrilling six-piece outfit with psychedelic flair.


 Whether mourning love’s decay on neo-soul slow-burner “Ladybird” or half-moaning punk-infused angst on the pounding, pulsing anthem “Seventeen,” Sahad bleeds personality and exudes emotion with endearing abandon — and without drowning out the equally-incredible contributions of his tight and talented band, whose roster includes keyboardist JaRon Marshall (of Black Pumas fame) and fellow UT graduate and longtime collaborator Ian Green.


 

 
Nané is a young band with exceptional talent. They are adventurous and nostalgic, polished and raw, gritty and smooth — and barely a month into their first ever tour. As the group sheds the sonic skin of some more blatant inspirations (Black Pumas and Bloc Party stand out) to refine and define their sound, Nané is poised and primed for the limelight.


 

 

Primo the Alien — Friday W1 at 1:45PM

The 1980s are back with a vengeance. Between a bewildering revival for parachute pants and mullets and a frustrating rise in conservative politics, that might not be a good thing.

Thankfully, Primo the Alien is on a one-woman mission to ensure that glorious decade (which gave us the Talking Heads, Nintendo game systems, Do the Right Thing, MTV and so much more) is immortalized for the right reasons. Her glittery, gleaming brand of synth-pop reimagines and revitalizes the ‘80s as they could have been, as they should have been: bright, fun, sparkly, sexy.

 

 Merging Kavinsky’s infrared retro-wave aesthetic with CHVRCHES’ relentless, unabashedly pop energy, Primo effortlessly melds genres and generations, breathing new life into sounds that somehow still feel futuristic 30-odd years later. Maybe she really is from another dimension. Maybe, if we’re lucky, she’ll take us back with her.

Sir Woman — Saturday at 1:00PM, Tito’s Handmade Vodka Stage

What started as a means for escape and exploration for Wild Child frontwoman Kelsey Wilson quickly built momentum, snowballing out of control and into our hearts, minds and most beloved stages.
Leaving her band’s folksy limitations and lonely lamentations behind (at least temporarily), Wilson turned her talents toward funk and r&b, where she finds herself empowered to express herself in new and uplifting ways under a new moniker.

  

 The response has been deafening: with only a few singles under her belt, Wilson’s new project Sir Woman won Best New Act at the 2020 Austin Music Awards. New single “Blame It On The Water” is a particular standout, the joyful, jazzy break-up song from a woman ready for a new beginning.  Her set promises to be a joyful celebration of life, love and liberation.


 

Deezie Brown — Sunday at 12:15PM, Miller Lite Stage 

Backed by a Bastrop-rooted family with a profound generational love for Southern hip-hop (and connections to Houston hero/Smithville native DJ Screw), Deezie Brown has quickly and not-so-quietly hurdled past his competition to the forefront of the vibrant (and largely underestimated) Austin hip-hop community.
Over the course of three years and three albums, Deezie has drawn inspiration from and contributed to (in equal parts) the mythology of Southern hip-hop with a series of concept albums, all of which fit into a larger universe (his “Fifth Wheel Fairytale”) and message surrounding the possibility of imagination, and the imagination of possibility.

 
Though individual tracks like “Drive” or the Chris Bosh-featuring “Imitate” are immediate earworms, Deezie’s most cohesive project is recent collaboration with charismatic R&B smooth-talker Jake Lloyd, The Geto Gala EP, which spurns egotistic posturing and one-upmanship to invite audiences everywhere to a blue-collar celebration of a bright past and a brighter future.

 
Poetic, principled and profound, Deezie Brown’s music is a testament to the vitality—living, breathing, evolving—of the South’s legacy, a reminder that the region does indeed still have “Sumn’ To Say” and his performance will be as much a coronation as celebration.