The Sideshow Tragedy—Self Titled: Their first studio album begs a full variety of instrumentation using the mandolin, banjo, keys and percussion widely with back up singers. They set out to release an album that reflects their live show performances. Juxpositioned against cleaner and more arranged works in the past they create an album full of gutsy, glory with energy to boot. Standouts include a slow almost-ballad “Cards,” deeply rooted in the sorrow of lost love, “Ain’t No Woman,” is a song possessed with attitude and rock n’ roll. It pieces an electrifying barrage of guitar together with husky vocals and twists and turns the listener around with a force that throttles. They will be celebrating the release of their album on June 4th at The Continental Club.
Fresh Millions—Self Titled: Austin’s trio Fresh Millions has been money in the making. It had to come a long way starting with Geoff Earle. Early days include trying his hand as a pop producer, Columbia Records, and finally, the formation of Fresh Millions. It’s an electronic band with a sound that’s not exclusively dance or electronic, but a careful blending of both and they happen to capture your ears quite easily. Often compared to Caribou, Yeasayer, Passion Pit and Ratatat they are able to stand alongside their possible influences all the while holding their own ground quite strongly. Insect Records released their first album with a debut party on May 7th at Scoot Inn. They have a fresh sound that is unbearingly catchy. A live performance would be a treat.
Miguel Kertsman—Time? What Time? Brazilian-born composer and virtuoso releases an album beyond categorization. It is a voyage into soundscapes that are both fascinating and dark. It is an atmospheric album with tone changes throughout. He explores different ambient sounds using lush string ensembles, vintage synth beds, baroque voices, and a full symphony orchestra. “Promises, Lies and Deception,” holds to an acid-jazz piano structure, whereas, “The Drifter,” produces a prog-metal sound.