SHUSH: Feral Artists Edition

Feral artists and their companions

Once a month, wonky sounds of the deep permeate through the walls and windows within the confines of downtown Austin.  These sounds are the results of SHUSH, an in-your-face bass event thrown by the well-known Grindhouse crew and their latest agency, Feral Artists.  Packing a punch that hertz, SHUSH is defining the space that looms between festival headliner and prospective artist in their hometowns.  With the irony of its name, SHUSH is louder and more exciting than ever, and this time the experience was packed into the most intimately cool-cat venue you’d never know existed.

Scotty Cruz (left), Grime Tribe (right)

Packed into the side of a bar, behind a secret entrance is Vinyl.  This last Saturday, the legendary sound space got a taste of the rich underground scene that is transcending the obscure niches of the ATX nightlife.  Unlike the monotonous expectations of a stereotypical event, the artists at SHUSH were only allowed to spin their own original content.  While many thriving DJs do struggle to fill a whole time-slot with their own productions, the talented members of Feral Artists Agency held their ground, shaking the establishment from wall to wall with comfort and ease.

Blaize (Center)

Featuring Blaize, Grime Tribe, Old Gold, and Scotty Cruz, the cozy quarters quickly amassed an intimate frenzy of unrelenting heathens, caught in the violent ebb and flow of throbbing subs and peaking tweeters.

It was electrifying to say the least. Both new and familiar faces riddled the dance floor.  From one person to another, the event marked a great deal of mutual love from between artist and audience, just as it should be.

Grindhouse has been throwing parties around Austin for years now and they are scaling the ranks with a new wave of Texas artists managed by Feral Artists Agency.  Focusing on the Central Texas area, the bass event company is boasting an even more powerful presence with new events every week including the bi-weekly Rick N’ Morty BBQ at Rio Rooftop, not to mention the Shuttervision Underground Festival Campout of last Spring, which introduced many of these artists to the works of Austin’s lively underground progression.

Austin has always been a pioneer in its genres and motifs, perfectly reflected by the acts under the Feral Artists banner. Boldly embracing the newer forms of sound engineering and sample manipulation, the DJs on the Feral Artists roster are not only along for the ride, they are the ride, laying down new tracks ahead, pun intended.

Grindhouse and Feral Artists Agency will continue to host SHUSH every month, indefinitely, as the momentum of their movement brings the latest in bass genres to the surface. Ascending higher every week, the light will illuminate these artists’ work for the thousands and hundreds of thousands to experience with the same love and appreciation held at obscure venues like Vinyl.

A User’s Guide to One Step Program


One Step Program, a riveting Austin music producer and eccentric animation specialist, is carving a space in the recesses of 90’s nostalgia and bringing it to the forefront of the downtown ATX (Austin TX) music scene.  His unorthodox projection of subjective chaos manifests itself in an electro-hip-hop vibe paralleled by none.  While one foot is in the underground sounds of East Coast, West Coast Hip Hop from his formative years, the other foot is in the creative space of the new age which allows for the inventive conglomerations in which OSP has come to express.

Sharing his work on his two major platforms, Soundcloud and YouTube, OSP channels a poetic cynicism as his skills in the studio are matched by the vocal talent he has refined from his year as a Hip-Hop rapper.  With that chapter of his life far behind him, OSP has since devoted his artistic abilities to the unparalleled sounds of a mind so distant from the norms of which a casual audience may expect.  With no adherence to a single genre, each track is a sample of the pure creation that flows intricately through his fingertips, paralleled with his own track-specific recipe of sonic-wave virtual animations.  As the music touches you in ways you wouldn’t imagine, the videos he formulates are just as well.  Though, chaotic in its very nature, One Step Program’s output is bound by no means of audience expectation and thus it breeds limitless freedom of production.

That voice at the back of most people’s head demanding conformity for the sake of success and recognition is seemingly non-existent to One Step Program.  A single listen to one of his funkier tunes, I See the World Through my Selfies, and suddenly it becomes crystal clear that there is little noise between what goes on in his head and how the music comes out. This creates a special bond between the artist and listener because there is no performing act in the sense of a catered sound. Rather, the music and animations are imperatively made as a window to an idea far greater than the face value of a solitary sound.

Weeks go into each video animation on top of the already complex garage-style mixing of which steadily leaks from the bizarre collective pooling from one of OSP’s ears across to the other.   Having started with digitally-chaotic video animations as a means to portray his music, these videos have developed into a necessary element of the music.  Like a cold beer and a cigarette (or vape), the two aspects of intelligent design drastically complement each other.  Think about a windows 98 desktop. If that’s too much for you, use what you know from that same aesthetic culture and imagine a plethora of random clips without any pertinent context or meaning, then, throw those thoughts against a forever-morphing mess of color and pixel migration.

One Step Program, in the very name, the name suggests a similar feel that the artist is about.  The name refers to common rehab efforts and self-help programs.  Though rehab has very little to do with the artist, that same sarcastic despair of concept is true to the dry humor and crisp melancholy in the lyrics from track to track.

Keep an eye out for One Step Program in local venues, for he cannot be missed. Though it is never clear what the future holds, this man will be bringing the past with him, giving funky insight into the sounds of his own world to the weirdest city in Texas.

 

Glass Cannon: Transparent on their latest EP release, Strange Toes

Glass Cannon Strange Toes EP Album cover

 


 

Out on the arid plains of  West Texas, Glass Cannon is harmonizing the next spiritual awakening into an essence of ethereal frequencies seldom heard by man, woman, or child. The audacious trio, having just released their latest Strange Toes EP on Wump Collective Label only days ago, is well beyond the realms of complex logical reasoning, and thus, they leave us with the concentrate of a collaborative concept solitarily translatable through music.  Yeah, it’s like that.

Artists use the word “produce” very lightly in their endeavors of music creation, alas, the mere word “production” pitifully underestimates the rock-y psychedelic chaos and order of Glass Cannon’s output.  Having backgrounds in Metal, Blues, and West Texas rock, Kasey Chesnutt (drummer/producer) and Elias Salaz (guitarist/producer) meticulously weave tribal sounds of the world and radical guitar riffs into a concise interstellar stew of self-reflection, inducing a much needed existential analysis.

Lately, Glass Cannon have found themselves wrapping these righteous rhythms around Dubstep samples. Though, with the immeasurable depth of layers, it is difficult to pay attention to any singular facet at once. Simply brilliant!

Drifting along the high ground in the folds of their tracks, are the other-worldly vocals of the dreamy Holly Harper.  Where the mind wanders in the midst of Glass Cannon’s mystical melodies, it also finds purpose within the timely lyrics, grounded in the heart of the track.  The chemistry between the two creates a juxtaposed friction in which you’ll still find yourself craving when the Texas electronic scene grows stale, as it does at times.

Living in Texas, Glass Cannon conjure a lot of their psychedelic-acoustic inspiration from jam-band shows they have seen, live, all over the state.  For those of you who have never experienced Texas, the local band scene is a thriving niche that Texans relish from town to town.  Glass Cannon has taken extraordinary advantage of ‘jam band’ opportunities and turned them into fuel for the vigorous groove that drives the traditional rock sound behind their songs.  This same inspiration lends to the ironic fact that their ‘wonky’ sound, as they describe it, is something they are trying to introduce and spread across the entire Texas electronic scene.

While Glass Cannon is a definitely a niche sound, they cannot be restrained by one single genre.

Genres have no application to Glass Cannon, so much as a partial vibe in only given moments of their music. However, they do have a goal for a general theme and that in itself is, ‘wonky’.  Make no mistake as this general theme is no limitation to Glass Cannon’s capacities as rhythmic engineers, rather, that their music is non-traditional.  Others might say that Glass Cannon is past the labels we may try to adhere to them.  Given that, you should be gob smacked to know that the fresh release of Strange Toes EP is a year behind their current state of musical affairs.

No secrets need to be unraveled here, though after heavy indulgence of their latest EP, the music that they have in the works for the future, hinting at possible Drum n’ Bass sounds, should do no less than rip the quaint sanity right out of your coddled skull, and explode it into the spatial vacuum of your own immediate vicinity.  Find a safe place and light some sage because the spiritual intensity that lives within Strange Toes EP is a precursor to an era of Glass Cannon that just might move us into the next evolutionary trials of human aspiration.

Glass Cannon is stretching their arms all over Texas as they are talking about a possible tour in the future.  With Wump Collective behind them, Glass Cannon truly wishes to peel open the hearts, minds, and souls of their fan base and future listeners. They want to encourage others to explore what they have, not only inside but on the outside as well. There is whole world out there being uncovered and repainted with colors of ingenuity and original design.  Part of this starts with Strange Toes EP, and the rest is more-so up to your therapist!  If you want to know what the future holds, fire away with Glass Cannon because they will surely continue to blast introspective shrapnel across your cognitive space… man.

Austin Answers Houston Disaster with Bass and Love: 12th Planet and Friends

This Summer, Austin proved its love, deeply and proudly, as the great hearts of our electronic community raised over $7500 toward the Houston relief fund.  12th Planet got manic behind the decks at Vulcan Gas Company with support from Bailo, Grime Tribe, Bird Peterson, and special guest, Crizzly.  Together these talented artists brought the house down in the most endearing of ways.  Complimenting this selflessness, the Austin electronic community appeared in droves to support the Houston people as desperation climbs each and every day.

The masses came and packed Vulcan Gas Company to the brim.  It was truly a night that embodied the profound care and humanity we all share together.  The power of love greatly transcended the taboo of raging on a week night as the beautiful souls of bass and rhythm collectively danced the night away in a manner that only a fan of heavy electronic tunes may understand.

 Like a close family, the stage was a busy conglomerate of cheerful souls performing their pieces together, seamlessly.  Answering these coordinators of jest and jive were the savage creatures of the night- the loving workers of the day, together an unstoppable momentum for good.

Sweating and raging the night away in a timely-choreographed procession of neck-breaking headbanging, the dance floor was writhing. It was a prophetic exchange between selector and audience.  The whole establishment was pounding from top to bottom with all of those wishing to administer love to our fellow Texans in dire need of all the help they can get. And that’s exactly what they did. The air carried a sentimentality beyond the saturated commercialism so often curated at local electronic events.  Alas, this fateful Wednesday, financial gain was the last thing on anyone’s minds.

The walls echoed a previous era of clubbing, lost in the midst of a since-grown lust for revenue.  The DJs were not only a paid component of the evening, no, they were a warm complement to crowd and Austin culture that sought to better our society by performing and dancing equally and with equal intentions at heart.  As most shows are an experience, they have an underlying flavor of commercial gain, however that was not the case this particular evening.

With tickets sold at bare-minimum price and the promise of an unforgettable night, it wasn’t hard to believe the unending affection and respect that each person had for one another as the mutual understanding of a beneficial cause united everyone under sounds that mere mortals should only hear in their worst nightmares and wildest dreams.  Such is the case with Austin’s growing riddim scene, not to mention the legendary sounds put out time and time again by theworld’s beloved 12th Planet.  Back-to-back, the lads twisted, chopped, and faded the night onward into a righteous oblivion, leaving it all on the field in a high-octane display of ecstasy and passion.

Ending the night, a calculated $7500 was raised by none other than the beautiful patrons of Austin’s local electronic community, growing in size and friendship each and every day.

It is no secret the special bond shared by everyone who attended that evening and all of those whose thoughts were with Houston that night.  The future is determined by efforts and action.  To no one’s surprise, Austin answered in many ways to the travesty of Houston’s current devastation, this event was only one of them. What an event it was!

Our thoughts and prayers go out to Houston and its neighboring towns as we hold tight and stay vigilant to help those in need.  This event will forever reflect the virtues we hold close to us as fellow humans in the State of Texas.

Texas EDM: Let there be Blaize!

 


 

Hitting the scene in Texas this Fall, packing his arsenal with steadfast weapons of rhythm and bass is Blaize, otherwise known as Texas native, Austin Moses. Bursting from the sprawling woodwork of San Antonio, Moses is about to boast his latest work as his originality poses an even greater threat to the stagnant waters of the beloved Texas electronic scene than anyone else in his position.  Allow yourself the pleasure of indulging this mastermind of the works with his latest Faded EP, one song at a time on select dates in the next month!

As the culture of electronic music is so wonderfully rich in various tones and feelings through and through, you’ll find very quickly that Blaize has a very keen grasp of the whole pallet.  Anyone could swear each song was produced by separate artists, however those thoughts quickly vanish as an underlying theme of poetic intelligence becomes clearer and clearer with each song.  It is truly a journey with this artist.

Inspired by his roots of hip-hop, Austin Moses decided he would incorporate the rhythm and flow into his music as he sought to master the various bass genres, mid-tempo, riddim, trap, dubstep, you name it. And, well, lo and behold he’s done it! There is no mystery behind his growing traction throughout Texas and not only in San Antonio.  His sound will be widely adopted by the rest of the country as this beloved state pioneers Moses into the ears and minds of our hopeful and joyous youth!

Go Hard!

Already released is his first track of the EP, Everything, which is available for free download on his Soundcloud, signed with KNA Records. The track is an excellent precedent to the beasts in chains, waiting to be unleashed upon the masses!  Speaking of the Masses, catch Blaize this Fall for Foam Wonderland in San Antonio where he will be playing with the internationally praised artists- Deorro, and Breathe Carolina!

As for the release dates, Faded EP will be coming out, track by track, consecutively every week.  If you’ve never heard Blaize before, you’re making a mistake as his being is truly embedded with his music as he realized earlier on that instead of pleasing everyone with a variety of genres, you must please yourself.

He states,

“I realized I’m not doing this for everyone else. I’m doing it for me. That’s when I started making music with no boundaries.”

As the weeks fly by, this timeless philosophy will ring true, heavily, as his bangers will drip into the grimy, bass coffee pot on these select dates…


September 11th – Ganja (Opulence Records)

September 18th – Fade (Riddim Cartel)

September 25th – Big Daddy (Recall Records)

October 2nd – Infinity (Blaize)

Foam Wonderland! – September 30th


 

This month will be ripe with anticipation for a lot of things, school, sports, and music.  As Blaize is representing Texas EDM with flying colors, it would be simply traitorous to miss the obscene sounds this man has planned for everyone.  Get your squads and waters ready, because your local clubs are going to be shaking at their very foundations as your openers and local talent will find that the peaks of their sets may just be a Blaize anthem, peaking through the dance floor, and rightfully so!