Wednesday, January 21, 2015

Migrant Kids in Studio B

We recently had the pleasure of Migrant Kids coming into the studio and put on a live performance. If you weren't there, you now have the opportunity for a glimpse of the smoke machines and purple LED lights that enveloped the walls of synth-keyboard and MIDI pad sounds that filled the night. If you were there, you can relive the glory again and again and again.

Sunday, January 4, 2015

Trinity University's Professor Rando's Top 10 Albums of 2014

One of the super cool professors at Trinity University, Dr. Rando of the English department, has published a list of his top ten favorite albums of 2014 complete with descriptions as to why they made the list. Take a look below!

Honorable Mentions (no particular order):

  • Soused - Scott Walker & Sunn O)))
  • Nothing New - Gill Scott-Heron
  • Gamel - OOIOO
  • Crystal Palace - Ernst Reijseger
  • The Alchemist and Fragmentations, Prayers and Interjections - John Zorn
  • Meshes of Voice - Jenny Hval & Susanna
  • LP1 - FKA twigs
  • The Great Lakes Suites - Wadada Leo Smith
  • Overdrive- Shonen Knife
  • Pom Pom - Ariel Pink
  • Run the Jewels 2 - Run the Jewels
  • Divide and Exit - Sleaford Mods
  • Thumbscrew - Mary Halvorson, Michael Formanek, and Tomas Fujiwara

#10: Electric Brick Wall - Black Bananas

The five best words to describe this album are the five words that comprise Jennifer Herrema’s post-Royal Trux, post-RTX band’s name and its 2014 album title: black bananas, electric, brick wall. That’s because the album is gleefully electric, stubborn as a brick wall (and also “brick walled,” that is, loud), and, like black bananas, an overripe combination of syrupy sweetness and downright scuzzy rottenness.

#9: Imagine Your Self in a Free And Natural World - B L A C K I E 

This time out, abrasive noise rapper B L A C K I E (always all caps with spaces) makes an abrasive jazz noise record. Here B L A C K I E eschews rapping and instead mostly howls over a cacophony of loud layered horns and driving bass, exploring the outer limits of jazz, where, as it turns out, it does not get quieter, but much louder. This is a kaleidoscope of jazz noise, something like what you would get if you crossed Sun Ra with… B L A C K I E.

#8: Lone - Ai Aso 

Ai Aso’s face on the cover of this live album is so light that it almost threatens to fade out of existence. The music is ghostly in just this way: the songs are slow and brittle; they could fall apart after any note, yet they hover on the verge, just like the cover image. Be careful: I think this delicate record aims to haunt you.

#7: Lese Majesty - Shabazz Palaces

Lese Majesty (which means “an offense against the king or state”) doesn’t affront in the way its title might suggest. On “#Cake,” Ishmael Butler repeats, “I’m having my cake and I’m eating cake,” and that’s exactly right: Shabazz Palaces takes an unconventional route—spacey beats, freedom from the verse-chorus-verse tonics—but so consistently and abundantly satisfies its own established conventions that it gets to have its cake and eat it, too.

Perpetual Motion: A Celebration of Moondog - Sylvain Rifflet and Jon Irabagon 

Jazz musicians Sylvain Rifflet and Jon Irabagon chose a children’s chorus for the songs with vocals included on their loving tribute to the singular Moondog. The children’s voices capture the kid-like playfulness of Moondog’s compositions. The musicians stay true to the meticulously fugal quality of Moondog’s minimalist music, which draws as readily from European classical and American jazz traditions as it does from nursery rhymes, simple ditties, and sea chanties, while leaving themselves room for improvisation. They capture the spirit of Moondog’s music perfectly.

#5: Benji - Sun Kil Moon

Benji is an emotion-drenched folk album about love, sex, and—mostly—death (from cancer, working-class accidents, mercy killings, moped accidents, aneurysms, serial murders, school shootings). It is especially about class experience and death, and about Mark Kozelek’s feelings about his home in rural Ohio. So many of the songs reference Kozelek’s travels in order, it seems, to emphasize how far he’s gone from home. Yet deaths in the family have and will keep drawing him back to the place he’s tried to leave. There is one song for each of his parents, one that anticipates and dreads the loss of his mother, and the other, the sunniest song on an otherwise elegiac and melancholy album, records the better and worse, mostly better, of his relationship with his father.

This is the most weirdly literal album I’ve ever heard. I doubt Kozelek uses a single metaphor. Instead, he details and enumerates everything, even to the point of overload, annoyance, and discomfort. The album seems to want to test the listener’s limit for personal revelations and to test his or her willingness to hear the names of aging and death stripped of the consolations of figurative language.

#4: Heartleap - Vashti Bunyan

This is Bunyan’s third album of her 45-year recording career, and apparently she has said it will be her last. Just Another Diamond Day (1970) created an otherworldly English fairyland, full of glowworms, dragonflies, lily ponds, and cottages that Bunyan painted with her breathy voice and nursery-rhyme rhythms. Now, improbably, Bunyan’s voice sounds even better than it did in 1970, but the scenes she sets are more serious, quotidian, poignant, and intimate. Back then it was “just another diamond day,” but now, “Every day is every day / One foot in front of the other / Learn to fall with the grace of it all / As stones skip across the water.” All we can do is fall with grace.

Particularly striking is the track, “Mother,” in which Bunyan sings about being a child and secretly watching her mother dance, “briefly unbound,” when she believed that no one was looking. Sometimes her mother would sing, “Songs long learned / So long untuned.” She wants to tell her mother’s story, but it slips away like smoke or water. On “Shell,” she sings, “In the telling of your story / You say there's so much more / Then you curl away from me / To some deeper sea.” 

Now older than her mother had been then, Bunyan, whose own career has seen such long stretches of songs “untuned,” can reflect on those rare freeing moments when music gives relief from duty and responsibility. Like her mother, however, she realizes how difficult it is to share such moments, which is always somehow to part with them. And this is the main struggle on Heartleap: between the desire to share and to withhold, to communicate with others and to be alone, to tune the song or leave it untuned, to sing or be silent. Bunyan wishes to retire to a “blue shed,” but fears, “I might emerge to a sunny day / With everybody gone away.” 

Here there are no glowworms or lily ponds, but rather memories of small moments, of her mother, and of her conflicting desires and fears. These are the “heartleap” subjects that only come from long experience; they tally the losses one must accumulate through life, which over the decades of her career Bunyan was almost magically able to preserve her voice in preparation for finally singing.

#3: Nothing Important - Richard Dawson

I spent much of 2014 listening to Dawson’s 2013 album,The Glass Trunk, which consists of seven largely a cappella folk songs based on reports of deaths and accidents recorded in the archives of Dawson’s native Newcastle, with noisy and inventive guitar and electric harp improvisations spaced between them. Dawson blows into these largely found stories in the way an avant-garde jazz musician might blow into a saxophone. When he sings the ballad that recalls how the village men put an old horse to a slow and brutal death, the suffering of the horse comes through Dawson’s voice until it threatens to burst the ballad form. Rarely have I heard an album more historically and locally grounded, with so much invention brought to its subject, that also seems to touch a nerve at every painful and lovely turn. Nothing Important is like a pendant to The Glass Trunk, two long songs bookended by two short guitar pieces. It is almost like zooming in on a small portion ofThe Glass Truck and recognizing that its shape is a fractal. In these songs one recognizes the intelligence and experimental energy that Dawson brings to folk music.

#2: Syro - Aphex Twin

Syro is a selection of music Richard D. James has made in the 13 years since his last album, but it might as well be a greatest hits collection. Everything that has made James the most inimitable and virtuosic electronic musician in the world since the 1990s can be found on this album, but in a more integrated, condensed, and controlled form than he has ever achieved before. Somehow Syro encapsulates the vast and brilliant range of ideas that James has developed over the decades and integrates them together on Syro in a masterpiece of synthesis. Yet the maestro is impatient. Ideas that once would have played out in the course of an entire song are breezed through here in two or three measures. It is only a slight exaggeration to say that every minute of this album could be the germ of another album. Syro represents the richness that only comes from long practice and mastery of form. But put all of that aside: this is also music that winks and jokes. Syro is the funniest album of the year.

#1: Ruins - Grouper

For me, the most magical musical moment this year comes during “Labyrinth,” a slow and contemplative piano piece whose variable tempo keeps the listener hanging on each successive note. Like Satie, Harris’s piano pieces are strangely beguiling and often outright beautiful. At the end of the track we hear the incongruous beep of a microwave, as though unexpectedly coming back on after a power outage. It breaks the spell of the night and of the album, catching and exposing us at our most entranced. Wonderfully, when the beep breaks the illusion that we are all alone with Harris and her piano and her room in Aljezur and its surroundings, it also strangely reinforces the feeling of intimacy: it is simultaneously a self-destructing and self-perpetuating illusion. 

Harris uses subtle effects and her arrangements are deceptively complex. Her voice rarely rises above a whisper; the frogs outside, a thunderstorm, and the tape hiss from the portable 4-track are neither background nor competition, but complementary tones and shades. The “ruins” of the album title are ruins of love (“Maybe you were right when you said I’ve never been in love”), but it is also about sweeping the ruins away. The song title, “Clearing,” could describe any track here. 

This is the opposite of headphone music. It is environment music. John Cage insisted that a cough or a baby crying could not ruin a good piece of modern music. Ruins fills any room it enters, yet space for the ambient sounds in your room and outside of your house seem already to be factored into this record. Like the microwave beep that at once pushes the song away and pushes it closer, Harris gives us music that generously lets you live inside of it, even as it slowly settles inside of you.

Wednesday, November 26, 2014

FFF Fest Review

FUN FUN FUN fest 2014

Several of our interns had the good luck to make it to Fun Fun Fun Fest in Austin, TX earlier this month. Check out some of the things they had to say about the shows! 

Fat White Family

When I think of Fat White Family, sophisticated is not the word that comes to my mind. In fact, whatever you consider the opposite of sophisticated would probably work best. For me, it’s punk. The word ‘punk’ first originated as a derogatory slang for prostitute, degenerate, or really anybody that you considered to be a filthy, low-life human being. Once bands like The Stooges or The Sex Pistols started coming out with their gritty, ear-numbing style of rock, they took on the term punk rock. Over time, many bands have started misappropriating punk rock, and those who were punk took on a lifestyle and music that disillusioned punk rock and has left us wondering where are the punks? What happened to Rock'n'Roll? Now, I can take comfort in knowing that Fat White Family exists. They live and breathe as the physical embodiment of punk rock; however, most of this can only be seen in their live show. They had every awkward quality that seems necessary of a rock band from the UK, and their performance at Fun Fun Fun Fest was incredible. From the jerky, arrhythmic pelvic thrusts, to the shirtless corduroy pant combo with missing belt loops, tucked-in T-shirt, long, greasy sideburns
and platform shoes, every member of the band took part in the irreverent worship of punk-rock past. Or maybe themselves? Either way, they looked the part, and they’re neck-vein-popping, spine-writhing, sunken-dead-eye style of performance only made it more enjoyable to watch. Their performance made it clear that they live the punk rock lifestyle, and are most likely the most authentic Rock’n’Roll band out there today. Is that a good thing or not? I have no fucking idea. Do they give a shit? Probably not. And because of that, I will remain in steadfast prayer to the newborn son of punk.
- Joseph Erik


Though the will call line was half a mile long the first day of Fun Fun Fun Fest 2014, everyone was definitely there when alt-J took the stage Friday night. alt-J’s set began with the blinking of a red light to the opening notes of “Hunger of the Pine,” as the audience eagerly awaited the arrival of our English friends. As soon as they took the stage, the crowd immediately erupted then quickly silenced, as front man Joe Newman began to work his magic on the mic. The band then continued to play both favorites and deep cuts from their latest album This Is All Yours with many throwbacks from An Awesome Wave mixed in. For me, alt-J has always been more of a mellow band perfect when accompanied by rainy drives or last minute term papers. However, after seeing this show, I can now say they are quite the opposite. alt-J commanded the stage like no other band I saw at Fun Fun Fun. They didn’t get on stage and talk to the audience. They didn’t headbang, jump around, or exaggerate notes. They got on stage and performed, and it sounded perfect. It was like I was listening to their albums in full surround sound, each drum beat shaking Auditorium Shores, and each note resonating in the mass of people.  Tack on the amazing light display, and the stunned, speechless, deer-in-the headlights look from concert-goers at the closing note of “Breezeblocks” was completely understandable.
- Benji Gomez

Courtney Barnett

From the singer-songwriter/rock mixed genre, to the clever lyrics and deadpan singing, I have been a fan of Courtney Barnett’s music for a while; however, I was not prepared at all prepared for her performances at Fun Fun Fun Fest. Although there was plenty of acoustic guitar and piano in her record, they were not to be found with her on stage at all. Instead, she exchanged these for a well loved fender telecaster with a single distortion pedal plugged into her overdriven fender combo amp. I am still in shock from the heavy and grungy set that Courtney would perform both for her show at the Belmont and on stage at the festival. In fact, only next to Fat White Family, she performed one of the strongest sets at the festival for the weekend. Rather than starting soft with a piano, like the album, A Sea of Split Peas, they started hard with overdriven bass, pounding drums and surprisingly noisy guitar riffs from their guitarist. Several times, Courtney would cover the mic with her mouth and growl at the ends of phrases, while the show
ended with her turning the gain on her pedal all the way up and placing it in the crowd to play with and destroy their ear drums. In fact, the resemblance between Courtney at her performances and a young Kurt Cobain are uncanny. The long dangling hair, the plaid flannel shirt, worn-in jeans and converse hi-tops made me wonder if Courtney did all of this in tribute; however, it is clear that Courtney is her own person. She is a powerful frontwoman, able to expose other acts for the mainstream fluff pieces that they are. She is able to establish a strong identity through her music and now has shown us that she can work that identity however she pleases. Courtney Barnett’s performance has made me reimagine her album and work everytime I listen to it, and now leaves me anxious to hear more from one of the few powerful and grungy frontwomen that we have in the music scene today.
- Joseph Erik

Fred Armisen

What I thought was going to be a stand up comedy sketch turned out to be an easy going set by Fred Armisen, main protagonist in IFC’s Portlandia.  Being the comedian that he is, Armisen started the set by pretending to be Ian Rubbish and the Bizarros. Complete with a blonde wig, Cockney accent, and cheeky remarks, Armisen was reminiscent of Russell Brand. The first song was called “Hi Police Man,” a parody of Ian Rubbish’s “Maggie Thatcher” and the second song in the set was called “Livin’ In the Guttah,” both overflowing with a brand of sarcasm and attitude you can only find in the UK. After a few more Brit-pop tunes, Mr. Rubbish went backstage to change and out came Fred for real this time. Performing as himself, Fred and his band delivered a short thirty minute set of danceable tunes. He wasn’t wild and crazy, rather a rhythmic bounce and lean to each song. No crazy strobes or fog machines or other bells and whistles, just a man and his guitar accompanied by bass and drum. Fred also invited Tim Kerr from the Big Boys to perform a tune with him.  This is significant for two reasons: 1. The Big Boys are native to Austin, Texas, and 2. this is Fred’s long time favorite band.  After their performance together, Tim left and Fred punctuated his set with a song he loved listening to growing up from The Big Boys called Sound on Sound.  Overall, Fred’s set had the amount of comedy, fun, and energy one would expect from the SNL and Portlandia star.  I was so elated to see one of my all-time favorite actors in person, performing some pretty awesome tunes.  Until next time Fred!
- Bria Woods


I spent most of my time walking through downtown Austin on my way to the festival wondering why the UK band from the 70’s was performing at Fun Fun Fun Fest, and why they were performing so early on the second day; however, as I walked up to the stage, and heard flying cymbals and rolling toms, I knew that this could not be the same analog-synthesizer-exclusive group that I thought it was. They weren’t. And I am glad they weren’t. Zorch is an analog synth and drum kit duo that gives an unending energy and an unbelievably full sound through the illusion of their music. Stage presence is hard enough to pull off when you have three guitarists running around on stage, so the thought of having one keyboard player and one drummer astounded me. It was through their music that the energy came to life on stage. The employment of live triggered sound rather than pre-recorded loops, and their mirrored set-up on stage allowed them to communicate effectively. The push and pull of their rhythms and the dynamic phrasing convinced the audience to sway to the music with them. They did not need a light show or dancers or an alcohol-induced rage to provide a great show; instead, the combination of their constant communication and their driving pseudo-electronic-pop-noise songs made them a powerful ensemble, even with only two players. And for that, I will be eternally grateful I saw Zorch and not the two old dudes from the UK.
- Joseph Erik

First Aid Kit

Staying true to their folk and bokeh-infused niche, First Aid Kit brought all of these elements with them on stage. Sisters Johanna and Klara Söderberg made a charming duo, decked out in sequined jackets and performing every song with a combination of excitement and earnest focus. They managed to join sultry power in their vocals with genuine happiness at being on stage. Most songs came off their latest album, Stay Gold, but favorites, such "Emmylou" and "The Lion's Roar" bookended their set. They also included a cover of Jack White’s “Love Interruption.” The sisters managed to stay true to the original song while including more of their signature harmonies and emphasis on folksy guitar. Klara’s guitar added more elements to the White’s simple version, while their all-female version of the harmonies made for an interesting variation on the original. Whether Johanna and Klara were singing a cover or an original song, their distinctive voices were the main focus, which has always remained consistent in their albums. Though their talent is evident in recordings, the power and energy behind their voices was especially clear on stage. Often, their live renditions added emphasis and power behind certain words that were glossed over in the studio versions, adding more insight into song meanings. With their first albums focusing mostly on Klara’s guitar and the sister’s harmonies, their music has continued to add elements over the years. However, hearing their live performance with these special moments of emphasis brought the focus right back to their vocals. Their songs typically showcase both sisters’ voices but performing live also allowed them to display their individual personalities as well. Johanna hair-flipped her way through the set while Klara stood quietly at her mic, but the combination made for a fun and endearing show. Clearly, these Swedish sisters have evolved from a charming child duo to powerful performers who command attention while remaining true to their sweet, harmonic roots.
- Elena Souris

Yo La Tengo

Yo La Tengo is a band that always leaves me confused. I always revisit their music, hoping to find the value that many people see. Their performance at Fun Fun Fun Fest didn’t help. Performing as their usual 3-piece set up, they struggled on stage to maintain a full sound throughout the show. Whenever Ira Kaplan would drop from maintaining the harmonic phrase, there was a clear drop in the sound, even as he added noise. And when they performed three, 8+ minute tunes that consisted of 2 minutes of song material with the rest being a noise jam where the drums and bass would maintain a monotonous riff and rhythm, the thin sound made it difficult to remain attentive. I found this difficult to believe for a veteran band such as Yo La Tengo, especially when Kaplan had two guitars doing feedback on stage and he somehow found a way to make it quiet and unimportant. There were some moments where the sound was full, and there was a catchy riff placed in there, but the performance’s tendency to drift into ambling jam sections reaffirmed their lack of harmonic and melodic direction. The final straw for me was when was when Kaplan started swinging his guitar in an attempt to create feedback and ended up making zero sound. I love listening to the same riff 30,000 times as much as the next guy, but I am not gonna pretend that their use of quiet, almost inaudible noise jams lived up to their cult reputation. Keep swinging, Kaplan. Keep swinging.
- Joseph Erik

Modest Mouse

Day two of Fun Fun Fun Fest closed with Modest Mouse, and it was clear from the massive huddle of Mouse followers that I was not the only fan to arrive early and wait through hours of other shows just to get the best spot possible for Isaac Brock, Jeremiah Green, and Eric Judy. I was very excited to hear the band open with my favorite song, “The World at Large,” since they skipped over it when I saw them at Coachella 2013. They were wildly energetic, mirroring their dancing and lively fans. In the past, Isaac Brock has been known to go a bit psychological on his fans - for example, at a show last year he repeatedly discussed the tricks the mind can play on us all in between songs. With that habit of the lead singer in mind, it was surprising and unexpected to see the band abandon their deep life advice performance for one that was carefree and featured more music, less talk. Although this approach was better for fans that only wanted to hear music and dance, it took away from the fans who were interested in the personality of the band and the beliefs that define Modest Mouse’s band culture. They kept the mood lively by skipping slower, sentimental hits such as “Little Motel” in favor of upbeat songs that kept the crowd moving. Bonus magic moment: during “Dark Center of the Universe,” a huge meteor could be clearly seen flying across the nighttime Austin sky. Their set included tunes from across their discography, such as “Custom Concern,” “Fire it Up,” and the ever popular “Float On.” They also played several newer songs from the past few years, such as “Sugar Boats” and “Lampshades on Fire,” that are rumored to be on their upcoming first full album since 2007’s We Were Dead Before the Ship Even Sank. Finally, the band encored with crowd favorite “The Good Times are Killing Me.” All in all, it was (as always) a terrific live show from Modest Mouse.
- Elyssa Garza


Failure was an alternative rock band from the 90’s that only performed for about seven years before disbanding. They developed a strong cult following that apparently has remained trued for a decade and a half. And I think all of their followers were there at their performance for Fun Fun Fun Fest. Many people sung along strongly for this long awaited reunion, and I even think someone next to me started crying at the end of their set. Even with all of this, I could not help but feel like their performance was as artificial as their reunion this year. Frontman Ken Andrews looked Rivers Cuomo trying to sing like Kurt Cobain while playing what looked like a mirror plated Gibson Les Paul. All members remained completely still, while the sound was so modified that the drum kit sounded like it was electric. And most distant of all was the lack of any amplification on stage. I am almost positive that the guitarist and bassist were playing directly into the sound system, and Ken Andrews was using an iPad for his digital guitar effects. After every song, Andrews would walk off stage to adjust the levels on his guitar and voice. This lead to several sound problems where Andrews’ guitar would just cut out and there would no longer be any guitar. The bass was so loud that the notes were indistinguishable. And ultimately, the sound of the performance was only a reflection of the distance that they had from the audience and maybe even their own music. The same effect probably could’ve been had if you went to your car stereo, played the song at full volume with the low end turned all the way and the high ends all the way down. Either way, it was clear that others around me were very happy to sing along to a band that has been gone for almost twenty years, even though all I could see was a fake performance of the band formerly known as Failure.
- Joseph Erik

Friday, May 23, 2014


Check out some of the videos from our session with Islands & Tigers. You can find more on our Youtube channel at

Monday, March 31, 2014

Maverick Music Festival Run Down


The Maverick Music Festival was a whirlwind of bands, vendors, and San Antonio charm. KRTU's Indie Overnight had the pleasure of sponsoring and covering this up and coming festival. Check out Matt, Joseph Erik, and Elena's thoughts and reviews from the festival and Michelle's photography from this two day event. 


Roky Erikson

Roky Erikson was the first show I caught at the Maverick Music Festival this past weekend and it was a good way to kick off the weekend. Roky has lived a colorful and exciting life both onstage and off. Playing onstage since he was 18, his comfort with the stage was evident while he played a fairly tame set. However, tame definitely does not mean boring. Never leaving center stage or speaking, he sang with a passion that was sadly lacking in some of the other bands that would take the stage later that day. While some members of the audience found it understated and by the book, I disagree. This was good old rock n roll with a slight Texas twang. I thoroughly enjoyed the sincerity and tunes that Roky was throwing down.
 -Matt Peebles

The Joy Formidable 

The Joy Formidable put on a solid show that was unfortunately struck with a slew of sound problems for the first 10 minutes of their act. Lead vocals were not properly mic'd for the first song and the drums were suppressed for the first half which made for a rocky start. But those problems aside, the Joy Formidable entertained us and each other thoroughly with their set. The band commands an impressive stage presence, Ritzy wooed us with tunes from both of their released albums, the drummer, Matthew Thomas, stood on his set and practically tackled Rhydian Dafydd on bass. The entire set was a flirtatious affair and set the mood wonderfully for Washed Out and Phantogram later on in the night. 
 -Matt Peebles

Washed Out

Washed gave a great performance of an excessively layered and surprisingly acoustic show. I feel like everyone under the age of 30 likes Washed Out, and that was the crowd set-up for the night. I even saw a 10 year old boy walking into the VIP section for Washed Out’s performance. Either way, having heard Washed Out before, and not bowing to the east five times a day for them, I was ready to watch the fingers on a MIDI pad fly; however, to my surprise, Ernest Greene, master of the stationary keyboard head-bob, started with an acoustic guitar and had a full band with him! It was nice to see Greene incorporating a band for his performance, but this would lead to some other growing pains. Along with Greene’s acoustic guitar came four synthesizers and two drum pads, excluding the drum set, electric guitar and bass. At one point, I saw Greene playing a triad with one hand, the second guitarist playing the lead, and the girl in the back playing something, which I have no clue what it was. This kind of setting, whether it was doubled on the synths or the drum pads, continued for most of the night. The incorporation of this full band setting was a nice surprise for me, but the translation from tracks on computer to a full band could use some work. The performance was smooth, and I’m pretty sure Washed Out was the first band to not have sound problems, so overall a good performance from Ernest Greene and all those who imitated his computer with him
-Joseph Erik Montano

Phantogram is an expertly articulated group who commands a stage presence unlike any of the other bands that night. Their minimal setup on stage represented the blend of acoustic and electric sounds that they are so fond of on their records. Not all of the songs are exactly the most exciting or great songs(at one point she called one of their ballads the kind of song that you wave your lighters too, sooo…. Yea, I shut down after that one), but they all knew how to work the stage and how to maintain their energy in a somewhat awkward venue; however, the reflection that their setup initiated also led to a static translation from the albums to the stage. There weren’t any surprises or anything unexpected that you can’t get from listening to the albums. Although the music that was coming from the stage was not anything new from the albums, it was nice to see a strong and confident performance from those who know how to feed themselves off of stage energy.
 -Joseph Erik Montano


Main Stage

Lonely Horse

Lonely Horse is probably one of the biggest trending bands in San Antonio right now. As I walk around San Antonio, I hear people asking each other if they’re going to the Lonely Horse show. So it was nice to see Lonely Horse getting a slot on the main stage that only one other local band would get. Although Lonely Horse has an energy like no other, there are still adjustments to make when you stand on platform that is five feet above the ground, with a giant sound system into a huge open area with a an audience that does not move easily. Johnny made good use of the space around him and his noise sets and effects translated well through the system. There were some awkward tensions as Johnny begged the audience to dance and the few that were there refused. Even with some of these pains of being on the big boy stage, Lonely Horse has shown that they have the ability to grow and are ready for more stage time.
 -Joseph Erik Montano


Part of the reason Rock Angels may have been a bit dull is because YACHT was anything but. Probably my favorite show of the entire festival, Claire Evans is an absolute fireball on stage singing absurdly catchy lyrics and infecting the audience with her dance moves. She simultaneous infatuated and seduced when she hopped off stage and pulled people right up to her face and sang with only the microphone separating their lips. Characterized by heavy synths, vocoders, French, and tons of personality, their sound is shamelessly electronic pop and damn fun.
 -Matt Peebles

Black Angels

I’m hesitant to be critical of bands as they put their heart and soul into what they do but Black Angels was incredibly disappointing. The heart was missing from their set, looking like they were just playing for the paycheck. Every song sounded exactly the same, the similar chords, similar lyrics, similar melodies, and similar everything. They had opportunities to capture the audience when they sped up the time but that became rote too. Singing with a Texas twang and rather upbeat tone, these guys don’t play bad music by any means and it could be somebody’s cup of tea. I’d play it while writing or concentrating on some task but it’s not something where I would sit down and honestly listen.
 -Matt Peebles


These guys have been around for a while and know what it means to rock. Playing a set that spanned from their 1993 self-titled album to their 2012 Love Stories & Other Musings, it was a nice tour through the last 20 years of Candlebox’s evolution as a rock band. And there is no other way to describe them. They are a rock band through and through. Screaming and spittle was flung around along with the microphone while they picked up the audience and relentlessly shoved us along. The audience loved it, the band loved it, and I loved it. It was an experience and really set the tone for the Psychedelic Furs to take the stage later that night. 
 -Matt Peebles

Run the Jewels

I’m not sure I have ever seen a weirder and more wide-spread range of humans at a festival than I have at the Maverick music festival. From the eight year old boy at Washed Out, to the Hispanic league of family members at Candlebox, and to the typical hipster crowd at Joy Formidable, there has never such an awkward bunch (probably a trademark of San Antonio). Run the Jewels was, strangely enough, one of the only bands to reach them all. Killer Mike and EL-P were surprisingly encouraging of the confused San Antonio crowd and got them chant “RUN THE JEWELS” at any moment. Along with their pretty talented DJ, Run the Jewels made use of the stage and reached everyone in the strange crowd with ease.  
 -Joseph Erik Montano

Twin Shadow 

After having been a little disappointed by some of the earlier bands on Saturday, Twin Shadow was the perfect band to catch that night. Each song had a lot of power and layers and while they sounded original and had a lot of variety, the songs were also just repetitive enough to be catchy so even a new audience could sing along. When he performs, George Lewis Jr. commands the stage and audience, interacts well with them, and knows how to capture attention and draw it to his music. Although Twin Shadow is specifically focused on him, the songs aren’t vocal-heavy and include strong beats between the drums and keyboards. All of these factors make Twin Shadow enjoyable to hear at home, but they translated even better into an amazing live performance that I was sad to see end. 
 -Elena Souris

The Psychedelic Furs

The Psychedelic Furs were the last band I caught at Maverick but definitely stood out the most to me. Of course, the musicians were older than all the other bands, but they seemed to have the most personality and stage presence. Richard Butler, the lead singer, was incredibly exuberant and almost flamboyant with his hand motions and dances, and the rest of the band looked like they were having just as much fun. Like the musicians, the songs themselves had a lot of variety and took turns focusing on drums, sax, guitar, bass, and keyboard. It’s rare to see a band right now that includes sax, which was a welcome change, especially since Mars Williams wasn’t just playing in the background, but often took center stage. Each instrument created its own layer in a song and sometimes they fit perfectly together and other times they were disjointed enough to highlight them individually. With all these different layers, technical skill, and personality, The Psychedelic Furs were one of the most original and enjoyable shows I saw, and the perfect way to end the festival.  
 -Elena Souris

Arneson River Stage

Dark Planes

Dark Planes is a great punk band to watch. They are all veterans of the rock-n-roll world and know how to guide their music to an audience. It truly is a strange mix of internal stage performance that somehow reaches the audience; however, upon getting to the stage, I noticed a fourth member in the band, one that I had not recognized as playing with Dark Planes. It was Nick Federico, who I know has played in the band Last Nighters. This new addition could not have been a better one. The second guitar allows more freedom and independence of lines for each instrument while maintaining fullness of sound throughout the performance. Dark Planes no longer has to worry about filling the sound or a loss of sound as some takes a solo, and this allows for such a dynamic show, even more so than they already had. They’re energy on stage was fantastic, even with the separation across the river on the Arneson theatre, and the sound was a great new refresher.
 -Joseph Erik Montano


Crown is a fantastic local band that vomits energy and showmanship. Tasting vaguely of surf, blues, and psychedelic rock, they played with an almost overwhelming bass and a melody best described as haunting. The bass may have been a side effect of the stage and sound but it did not lessen their vibe at all. Each song was characterized by Carlos Zubillaga waxing poetic over quieted instruments and then loud helter-skelter, hair everywhere rock.  While the venue was slightly awkward, the band was comfortable interacting with the audience and even congratulated a newly-wed couple as their riverboat slowly meandered through their set. A talented group of guys, Crown knows how to put on an entertaining show and should be on your list of up and coming San Antonio bands.
 -Matt Peebles

Carlton Zeus

I wasn’t completely sure what to expect from Carlton Zeus, having never really heard his music before. I listened to one song online before Maverick, but honestly, he sounded very different live. The sound levels seemed a bit off, with the drums and beats much louder than Carlton Zeus himself. However, his rapping reached impressive speeds and though the songs were somewhat repetitive, the entire show felt like one big party. I’ve never seen an audience with such a wide age range that were all equally excited to be there and sing along. The show included tossing shirts across the river to the audience with incredible aim and taking pictures with the crowd. I’d imagine that it’d be difficult as a musician to really get an audience excited at a venue with mostly seats, but at Carlton Zeus, the crowd was dancing anyway. Even the riverboat drivers passing by joined in, making it a memorable and fun show.
 -Elena Souris


FEA was a band I stumbled across and would never have discovered without Maverick and I’m glad I did. They stood out to me from the other bands I saw with their unique style. Their sound is more aggressive than a lot of the other artists, especially from the vocals, but with the prominent drums and guitar, they all get equal focus and work well together. Their songs are fast, intense, and also cover a wider range of topics than any other band I saw. The lyrics, especially to songs like “Blame Yourself” were interesting and grabbed my attention. Especially live, FEA was a great experience.
-Elena Souris