Hogan Sullivan + Candi Declue Sextet

Hogan Sullivan

Hogan Sullivan drove to Austin from Terlingua,Texas 3 years ago to make Cactus-Jazz and Desert-Punktry. Sullivan has teamed up with another Terlinguan turned Austinite, William Blackstock to deliver on those brands. Together they employ half the musical workforce in Austin as the backing band "Solitarios".

Tracks such as, "The Attention" with it's barbed "Cactus-Jazz" stylings, "Angeline" as a heartbreaking tale of birth and death in the Chihuahuan desert (that Sullivan and Blackstock call home) and the shimmering but haunting "Aphrodite", are staples of the Sullivan's writing style which dances through time changes, and turn on a dime arrangements. Hard earned grace and tenacity run like steel wires through the heart of these tunes though, which show a fundamental dedication to song-writing craft (which Sullivan helms) and attention to arrangement (which Blackstock applies to the tunes).

The singularity and solitude that informs these tunes is apparent upon both initial listening and under close examination of the tunes. Take some time to do both and catch Hogan Sullivan and Will Blackstock deliver on some musical branding that could only come from Far West Texas.

Check out these and other tunes at the following links




With its members hailing from all over the state, Kalijah plays their own distinctly Texan brand of indie rock in the bars and venues of Austin. Based on the songs of guitarist/vocalist Micah Paredes, the band specializes in homegrown, hand rolled rock 'n roll and dusty, sun baked folk. Featuring the beautiful Breanna Lynn on vocals, piano, ukulele, and other miscellaneous instruments, chief of mischief Trae Doty on lead guitar, baron of bass Kevin Beery, and a back beat provided by the mysterious Mr. William Hughston, Kalijah can be found making their rounds as they prepare a debut release.

Trust the Finch

Trust the Finch resides in a niche all its own, but from thence it hails in relateable ways; that is to say, you can hear where they're coming from in their music, but if you listen you can also hear where you're from. Everyone in the band is from Texas. Three of them grew up in the middle of the Chihuahuan desert, hearing only what percolated through the cultures around- whatever indie came out of El Paso, the metal that has been the backbeat of America for years, and the rabble of Tejano and country that scrambles through the radio stations you can half pick up. As a band they are from Austin, where they now play more or less weekly. They have the garage sound of a band that does, in fact, practice in a garage, but the layers on their studio tracks (which lend a mellifluous drone to every composition) and the perfectly on-point slide guitar don't belie any single origin. So things go.
Trust the Finch's studio recordings do bear a little polishing and layering in the process, but there is still a rawness in tone that makes itself felt in most of their tunes. More so live. This is an earnestness that comes out crisp. The beat is there for dancing but people tend to stop and watch- there is something happening here that you can't dance past, can't dance off. What we have in Trust the Finch is something unusual-- an amalgam of its components, and then a push beyond that. A singer-songwriter subverted to a sound, an outfit with a genuine voice, and a live performance that entails no less.
Front man Sam Walker's unique vocal style makes each track unmistakeably theirs, even with the occasional well-curated cameo on stage or in recordings. Brothers George and Ira Blanton cover percussion and lead guitar, grounding the band in their performances with level-headed and knowing familiarity with their craft and with one another. Ira was involved in a head-on-collision in 2011 that left him missing most of three fingers on his left hand. Passionate to not lose his ability to play guitar, he began teaching himself how to play lefty. Trust The Finch is his first project since the accident , and he is now a fully functional left handed guitarist. Thomas Tellar on bass tends to bridge the sensible foundation that the Blantons lay to Walker's unexpected lyrical peregrinations with lines that are intricate but viscerally right, jammable despite their complexity.



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