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.


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.