Summer’s just over a month away. And with the birds and the bees still bringing new life into Spring, it’s a great time to appreciate fresh acts. So let’s stick a dipper into one of the latest projects to come out of Austin, Honey Luck. This Americana trio was born out of an auspicious meeting between Brian Pounds and Beth // James’ Jordan and Mikaela Burchill during a Kerrville songwriting competition. The buzz between them was too good to pass up and ever since a session at the Burchills place years later, they’ve stuck together as Honey Luck. Now technically, Honey Luck only made things official this past January. But like a nectar-encrusted horseshoe ringing the stake on the very first throw, Honey Luck’s already had a prosperous start to what’ll surely crystalize into a long-preserved career. By that we mean Honey Luck’s landed a sweet residency 6PM each Monday in May at the Saxon Pub opening for Austin icon Bob Schneider and recruited six-time Grammy Winner Vance Powell of Chris Stapleton and Sturgill Simpson fame to produce their debut single. A viscous mix of vocal harmonies, heartfelt guitars, and Western fashion paired with a pseudo Super 8 music video that oozes with contagious laughter, sincere smiles, and joyous local performances, “Red Line” has given us our first taste of what’s to come from Honey Luck. And with more tunes already solidifying in their hive, we feel like Honey Luck’s good fortune’s still got a long way to go.

If you’re a fan of that synth pop section of indie electronica in the ilk of Goldfrapp, Grimes, and CHVRCHES…there’s a relatively recent artist right here in town that’ll absolutely scratch that itch. And that’s Steel Gemini, the Austin-based project of singer-songwriter-producer Joy Baldwin. Ever since her December 2022 debut, Baldwin’s been a real joy to listen to thanks to everything we mentioned last March. With a brand already as strong as her metal namesake and a standard of quality consistent enough to match, Steel Gemini’s standalones have left us patiently waiting for a fuller collection of tunes. But that’s in no way meant to knock her sixth single “Only Freak” that just dropped last weekend. Its introductory four-bar coupling of sampled vocals and electric guitar almost misdirects you into thinking the rest’ll sound like The xx. But really, that’s more of an atmospheric backdrop throughout “Only Freak”‘s four minute runtime, where minimalist drum programming, massive bass synths, shimmering pads, and Baldwin’s featherweight vocals end up stealing the show. Safe to say, the only thing freaky about this is if it ended up being Steel Gemini’s sole output of the year.

In an environment as dense and competitive as Americana, a unique set of lens can really help you stand out. But if that habitat appears even remotely unnatural to others, every little bit of local color improves your odds of surviving in the long run. Meet Jana Mila. Mila’s Amsterdam upbringing was spent in the cross-cultural intersection of her family members’ individual passions: Brazilian, Big Band, and Indian. Ultimately though it was indie folk Americana that inspired the rising multi-instrumentalist singer-songwriter to take her originals to local Dutch stages at the turn of the last decade. Fast forward to Summer 2022, when Mila moseyed over to Nashville for a songwriting excursion. The connections she made there led to a strong start to Mila’s studio discography with her introductory “When Times Get Rough”, which has already raked in millions of streams. Turns out Jana Mila blends in so well with the Nashville aesthetic that you’d never guess she wasn’t a native. And that’s absolutely reflected on her ten-tune debut Chameleon. Tracked and produced at Todd Lombardo’s studio in the heart of Music City, USA, this introductory LP carefully camouflages Mila’s unique character against backdrops of West Coast Folk, ’70s rock, and Tennessee country. The announcement of Chameleon‘s August 30th release came last Tuesday alongside the arrival of its lead single, “Somebody New” – an honest reflection on a mid-relationship self-revelation. At just short of three minutes, “Somebody New” is a no-nonsense, straightforward piece of intimate storytelling and an ideal addition to your next breakup playlist, with one hell of an earworm hook.

If this late Spring’s got your spirits shook up and you’re looking for some renewed motivation to tend to your garden (be it literal or figurative), we’ve got a DFW act that’ll make you go hard in the yard. And that’s on behalf of singer-guitarist-keyboardist R. Hennessy, AKA “Henry O”, who’s been hitting the mark as Henry the Archer for nearly a decade and a half now. A consecutive two-time winner of Fort Worth Magazine‘s “Artist of the Year” distinction, this Fort Worth three-piece aims at the the broad genre target of alt-rock, perfect for groupings within surrounding styles. But that’s not to say Henry the Archer’s arrangements aren’t accurate or precise, since the trio’s clearly struck something strong to earn several streaming heavyweights. This morning, marking Henry the Archer’s first record since 2017’s Zero Is a Number, their EP The Garden is finally ready to harvest. It’s a six-song plot blooming with indie-folk (“The Garden”), pop-punk (“One or Two”), brassy ska (“Sheep Song”), reggae (“Someone Beautiful”), and even a stripped-down keyboard-and-vocal duet (“People Make a Place”) – but ultimately all rooted in alt-rock. The album release show is next Saturday out in Arlington, but Henry the Archer does have a couple of shows here in town at the turn of the next month – 7:30PM on Friday, May 31st for a SoFar Sounds session and 8PM on Saturday, June 1st at ABGB alongside Mr. Kat. So fire up The Garden‘s bullseye of a lead single and EP opener “ViolinT”, which totally reminds us of millennium mainstream indie rock era, The Hives-style howling vocals and all.

In most situations, if you got it, flaunt it. But in an industry that demands infinitely more from your ears than from your eyes, if the hottest person on the planet doesn’t have the pipes to match their looks, they probably don’t have a shot at succeeding as a singer. So let’s talk newcomer Mikky Rib and her Austin outfit Mikky & The Doom. A quick stroll through the band’s Instagram instantly tips you off that sex appeal is core to their brand. But with a proven ability to parrot the timbres of Amy Winehouse, Stevie Nicks, Gwen Stefani, and Lana Del Rey (all of which influence her own unique sound) in an uncanny way, their eponymous frontwoman can’t be written off as just eye candy. This year Mikky & The Doom have been following a roadmap to their debut studio EP Garbage, USA. Produced entirely by our April 2018 Artist of the Month Mobley, this introduction explores low-light garage rock, hook-driven indie, and sex-positive electro-pop while lyrically relishing in all kinds of societal litter. There’ll be a few stops on the way before the album’s May 17th release date, including two more lead singles, a show 8PM next Thursday at The 13th Floor Alongside Jeremiah Jackson and Scotty B and The Hive, and an appearance at Hot Luck Fest on May 24th. Given that growing population for Garbage, USA, you’re just three drum stick clicks away from the record’s title track, because it’s anything but trash. An anarchistic, pyromaniac anthem, the catchy-as-hell “Garbage, USA” sounds like The Strokes woke up with a little extra dissonance in their system, heavily-processed instrumentation, pop-informed production, radio-ready brevity and all.

It’s the classic end to an encounter. You meet someone new. Sparks seemingly fly. You have fun for a night. But when you wake up ready to tell your new boo you’d like to see ’em again…they’re long gone. Hell, and in the modern era, that might all happen on just on an app alone. That’s all to say that in the dating world, whether intentions are casual or not, the one who cares the least holds the most power. A sad truth for sure, but not exactly news to seasoned songwriters like Emily Shirley. On top of membership in both The Belle Sounds and Sister Golden Hair, Shirley’s solo discography dates back to 2010. Her vocal delivery may seem nonchalant, but between expert breath control (seriously, listen to some of those long tones), pitch perfect pipes, and learned lyricism, there’s obviously a ton of passion imbued in this Austinite. And with passion comes pursuit, right? Well, it turns out Emily Shirley’s no stranger to the ol’ post-connection cease-and-desist in interaction either. Because you don’t need to be a paranormal investigator to have questions arise over the ghosts in our lives, be it self-doubt or just wanting a sense of closure. And that’s all reflected in Shirley’s brand new bittersweet single “Morning Light”, an amorous phantom of multi-tracked vocal harmonies, spectral electric lead guitar, and an almost-incorporeal arrangement. So before you decide to block contact with your latest fling, really get a handle on how the other side feels with “Morning Light”. And for all those who’ve been on the receiving end, this tune’s a perfect approach to taking heartbreak like a champ. And don’t forget, Emily Shirley graces the airwaves in a solo set with our buds over at KOOP 91.7FM 3PM this Saturday on The Singer & The Song.

Watch out, Golden Dawn Arkestra…there’s a new costumed collective in town, and they’re hunting for for fresh converts! But instead of frenetic Afro-inspired dance grooves, these fanatics have so far stuck to the slower side of ’70s-style jazz funk rock; think War whisked together with Steely Dan. Not that you’d be able to tell from your first look at ’em. Yeah…between their cloaked, crowned, and ember-eyed namesake leader (ceremonial thurible and staff ever at the ready) and ten black-suited, red-hatted, and white-gloved Zealots (eyes always redacted by clever lenses), Grandmaster is an great example of “appearances can be deceiving”. Creepy cult getups aside, in the sole year since their first performance, this eleven-piece has already indoctrinated an impressive sect of followers. And based on the caliber of those live stage-filling rituals, they won’t need much proselytizing to add a digit or two to their current numbers. Probably just a bigger place of worship. Well right after winning an American Songwriter contest that re-united The Grandmaster with Bootsy Collins during SXSW, the cosmos smile once again ahead of Grandmaster’s Nolan Potter-produced self-titled debut. By that we mean they’ll be celebrating an album release show at The Paramount’s State Theatre 7PM this Saturday for The Grandmaster’s Gala, alongside openers Nolan Potter’s Nightmare Band and Dodo. With proceeds benefitting the SIMS Foundation, and a sophomore follow-up already foretold in The Grandmaster’s prophecies, this Gala’s a good opportunity to catch the band before their concerts demand venues with larger capacities. To any who still resist temptation, we point to Grandmaster‘s second incantation “Castle Door”. Because with a goblet-sloshing groove, a palace-spanning chord progression, and a truly regal arrangement, “Castle Door” lowers the yacht rock drawbridge and raises the prog-funk portcullis to one hell of a good time.

When a seasoned musician wades out of their genre comfort zone, you love to hear it. Because the technical expertise, jam stamina, and songwriting skills are already in place, but opening the gate to different inspirations and influences is always a welcome breath of fresh air. So let’s talk Rod Gator, who – as you might’ve guessed from his stage surname – leans on his steamy Louisiana bayou upbringing for a swamp-swept sound. Gator’s kept us sated with his own stuff as recently as last September with the release of his LP Conqueror. Interestingly enough, that was also ’round about the same time Gator linked up with fellow Sagebrush door staffer Leo Lydon (lead guitarist/vocalist of Austin trio Rickshaw Billie’s Burger Patrol) for a songwriting session. Sparks flew, heaviness ensued, and with the addition of Nico and Willie Jansen, the southern metal endeavor Trip Cigs was born. Fast forward to a couple weeks back, when the quartet opened up the stable for Trip Cigs’ debut EP Hoss. Heavy without being excessively brutal, swampy without getting bogged down in sludge, this record’s got an incredibly thick consistency to it. And since it maintains that session energy so effectively, its best recommended to set aside fifteen minutes to appreciate the EP in full. Definitely take a deep breath before saddling up and dig into whatever stirrups you may have on hand, ’cause with minimal space between songs, and a bucking start to each of its six tracks right out the gate, this thing is a steed who needs no speed. If you’ve only got time for one quick ride, get a feel for Hoss with Trip Cigs’ very first foal, “Comeback Kid”.

In terms of musical association, at least outside the world of film soundtracks, U.S. southwestern scenery often gets associated with country. But there’s a certain psychedelic quality to our regional deserts that we just love to see artists embrace. Folks like Rett Smith, based here in Austin, but bred out of West Texas, so you know he appreciates all kinds of sandy, desolate miscellanea. Historically, Rett’s smithing has involved all things Americana blues. And while that’s certainly still his skillset, for his upcoming album A Weighted Remorse (out September 13th), Smith finds himself trudging through the dunes of shoegaze. And the result is heavy as hell, almost bordering on sludge thanks to its subterranean six-string tone and massive drums. Alongside its music video, “Sunsets” feels less like hiking the Fort Davis trails and more like watching The Holy Mountain if it was shot on Super 8, ’70s abstract psychedelia and all. We’re getting major Black Angels vibes from this one, and we have a feeling that when Rett returns from his Western European tour, he’s gonna translate his travels into something else equally arid-inspired and aurally exciting.

Lyrics are a fickle field. You can be wordy as hell, hoping that at least one line sticks in listener’s minds. Or, you could just loop the hell out of some barebones sentences – guaranteed to have a lot more hypnotic staying power through sheer repetition, especially in the realm of dance music. Now let’s talk about Ben Fish, who operates here in Austin under a few different avenues: as a DJ, as frontman of his full band Viben & The Submersibles, and as the mononymous solo act Viben. Viben categorizes his stuff as “Scuba Funk”, a label that totally mirrors his liquid grooves, but doesn’t necessarily require a lot of deep diving in terms of lyrical accessibility. So while Viben’s sophisticated soundscapes have earned him a place on our local sonar since his start in 2018, his latest release proves that a more basic approach can be just as good. Which reminds us of the great Pablo Picasso, who once said, “It took me four years to paint like Raphael, but a lifetime to paint like a child.” And that quote really resonates with the vibrant simplicity of Viben’s latest, “Pablo Picasso”. This super trendy, Euro-friendly piece of house chic translates Picasso’s genius brushstrokes into brilliantly swung drums, synth, rhythm guitar, and bass, while Viben’s vocals pine for an artistic ascent towards the tune’s namesake legendary status. Will Viben one day become a celebrated painter? We don’t know. But will “Pablo Picasso” be remembered as an uncomplicated piece of genuine expression in Austin’s electronic oeuvre? No doubt.