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Austin, Texas, United States | Established. Jan 01, 2009 | SELF

Austin, Texas, United States | SELF
Established on Jan, 2009
Band Rock Alternative




"Texas Music Matters 10th of Always review"

It's all the subtleties on ... second full-length release, 10th of Always, that make it an irresistible poppy gem. There are just the right touches of shoegaze, new wave, indie and French pop-inspired moments that give it a seductive warmth and depth. And there are the sensuous vocals of the band's frontwoman Samantha Constant that bring it all together. Lovely pop perfection! - Texas Music Matters

"My Old Kentucky Blog 10th of Always review"

A few weeks back we shared a new spin on The Car's Moving In Stereo courtesy of devious Austin neo-new wavers... and I gotta admit, I'm really digging this band. Perhaps it has something to do with the way their music veers from Teutonic detachment to dreamy seduction in the bat of a heavily mascaraed eye. Maybe it's the way the paper-thin snare sounds resonate in my cranium. More likely it has something to do with adolescent crushes on the genre's original leading ladies, like Blondie, Terri Nunn and Dale Bozzio. That's neither here nor there, and really, it's nothing that ten years of intense therapy can't solve. - My Old Kentucky Blog

"Flagpole 10th of Always review"

Written right after hot-shit producer Erik Wofford (The Black Angels, Maserati, Voxtrot, The Octopus Project, Explosions in the Sky) joined the band, this focused sophomore album by the potential breakout Austin dream-pop group is romantically adrift in the zero-gravity space-age fantasia of the late '60s and '70s. Coaxing similar vintage futurism to early Air and Ladytron, 10th of Always is all sleek, silvery lines and twinkling stars. Giving the voyage some bite and vibe are fuzzed edges and analog groans.

Besides the impeccable proportions and irresistible furnishing, its cosmic effortlessness comes primarily from the band's tall, polished sense of melody. As pop songs go, seldom do you come across a collection so fluid, consistent and dazzling. Highlights include the sky-riding jaunt of "Still a Star," the celestial lullaby of "Femme Sonique," the ringing triumph of "I Am Radio," the soothing mass of the title track and "Velvet," which swallows the horizon with a mid-song burst in scale. Vibrating with filmic drama and cooing charms, these astral confections seduce with a supine glide and a million-light-year gaze. - Flagpole

"Austin Sound 10th of Always review"

On their sophomore LP, ... jives out powdery synth-pop blended with muted disco and causes one to beg, “More Moog.” 10th of Always purveys movement through space, and its done remarkably well through fleshly synthetic melodies and vibrantly blurred rhythms. Because of all the dripping fuzz and boomeranging reverb on 10th of Always it’s hard to know whether Samantha Constant is saying ‘glide’ or ‘dive.’ But somehow it doesn’t matter. Part of the fun of the album is the ambience, and part of the ambience is traveling on a space ship or Milky Way vessel, as the Strangers beckon, “welcome to my dream, relax and float downstream.” The album is true mood music — much like Al Green or Radiohead — it changes the tone of a room...
It is in their brave navigation of sound, that [Kodachrome] pulls off the space of Major Tom and the futuristic emotionalism of Air... - Austin Sound

"Candi and the Strangers – 10th of Always – “Nico Regrets”"

A free download of this dreamy pop number has been floating around, a preview to the Austin, Texas quintet’s new album, which drops in February 2011. Coming on like a modern-day Blondie, it’s a dance song that progresses evenly at mid-tempo while the chill, sultry vocals both charm and disarm. - americansongwriter.com

"Candi & The Strangers - 10th of Always (CD, Learning Secrets, Pop)"

Candi & The Strangers is the Austin, Texas-based quintet comprised of John Constant, Samantha Constant, Angie Rose, Greg Rose, and Erik Wofford. 10th of Always, the band's sophomore album, is a cool and soothing dose of modern dream pop infused with subtle electronics. Although there are some traces of shoegazer pop here, the songs are actually much smarter than the term might imply...and the melodies are far beyond what one normally hears in the world of shoegazers. These songs are ultimately danceable and inviting...and the similarities to French pop are no mere accident. The cool breathy female vocals (with plenty of reverb added) give these songs a definite warmth and focus, and they provide the perfect central focal point. Wofford (who acts as both a band member and producer) is responsible for the nice thick warm sound quality and dreamy stuff bleeding in and out of the speakers. Plenty of groovy material here...but our own particular favorites include "Still A Star," "I Am Radio," "Nico Regrets," and "The Weather Is Here, Wish You Were Beautiful." Top pick. 5 out of 5 stars. - BabySue.com

"Sound Off: Candi and the Strangers"

When Candi and the Strangers released their eponymous debut album last winter, it was a surprising rush of rich, throbbing textures coursing around the ethereally entrancing vocals of Samantha Constant. There are flashes of Stereolab-esque, Euro electro-pop, but the most impressive elements of the local quintet’s sound emerge from the intricate melding of varied and complex arrangements into such seamless pop tunes, at once dense and airy. The band is planning on releasing their second album this fall, and you can watch them bring the sound to life with their recently added visuals at the Mohawk this Friday, July 16, as they join the lineup for the “From the Mind of Adi” series for an Art/Fashion/Music Extravaganza benefiting HAAM. Also playing amid the spectacular are the Happen-Ins and the Bubbles. - Austin Sound

"House of the Rising Tetsu"

Wait- no need to put that LSD in your coffee this morning. Just watch the highly addictive new video from Candi and the Strangers for their song Tetsu. At first it seems too simplistic and low budget to get into, but then a perfect psychedelic storm hits of strobe lights, vibraphones, blacklights, trippy film projections, shoegazy vocals and omnichords. I can’t stop watching it. It is burrowing into my head like an bollweevil on acid. - partyends.com

"Candi and the Strangers - Candi and the Strangers (SR)"

It’s startling to hear a band so decided in their sound on a first album. You expect them to be scattered and unsure of themselves — to have almost unwittingly stumbled upon something to be perfected in future albums. But Candi and the Strangers self-titled debut LP seems to have such an assured character already. There’s something intentionally seductive layered into Candy and the Strangers LP - a permeation of sex into dark, driving, indie-rock, which makes for good listening by principle (think of the successes of international act the XX, or the awkwardly erotic phonetics of Nico with the Velvet Underground.) A little tension is good, and Candi and the Strangers seem to revel in the fusing of dark, bedroom-style synth-pop with breathy, subdued, near-hypnotic female vocals.

Throughout the LP, they retain a stark take on indie-rock through fits of arcadian, sun-tanned ballads about boys, and other brooding numbers that expand in ambient melancholy. Often, the latter is an undertone of the former threading a nice dichotomy of optimistic innocence (read: naïveté) and real world despondency into the heart of this record.

It’s apparent on the first track, “Tetsu”. The synth and drums kick in deceptively ominous until the entire track shimmers to a major mode turn in Samantha Constant’s fleeting and feminine melody. Tonally, “Tetsu” lays ground for the rest of the album, which dutifully leads us into the mechanical and ethereal “MRI”. Constant’s panache to breathily and lustfully sing the mantra “you are the best part of me” over the song’s eerie, monochromatic, and siren-like rock sounds is completely natural, so much so that other tracks like “The Future isn’t What it Used to Be”, “She Walks in Beauty”, and “Pictures” (excepting the punchy guitar work) become common sounding re-hashes for such a sonically expansive aesthetic.

But for every dark undertone, Candi and the Strangers are sure to counter with melody and lyric of a positive nature. Unlike other indie/pop/electro rock acts, such as Austin’s Octopus Project, Candi and the Strangers play more straightforward, 4-minute, verse-chorus-verse-chorus songs, which allow the space for such pop driven writing to thrive. Where they could be drawing the listener deeper into their sonic landscapes (which they do on the wordless “Isabella Blue’s Crash Landing”) CatS likes to give their music a certain amount of accessibility. They capitalize on such opportunities with songs like “Sunshine” and “Sensitive Kid”, both cut from the same bubble-gum-on-my-shoe, boy meets girl persona that make their darker and meditated material more contrastingly stark.

Candi and the Strangers have crafted an album based on the art of contrast. For every dark and foreboding note in the LP, there is a poppy and happy-sounding release, mostly via the vocal work of Samantha Constant. And for a debut release, Candi and the Strangers have demonstrated that they have stumbled upon a decisive sound - not one that is completely without homage, but still wholly made their own on the LP.

-Chris Galis - Austin Sound

"Music Ready to Break"

Sounds like something that would have been in Lost in Translation had it been a less somber movie. With a light new wave synth quality, it sounds something like Ultra Orange & Emmanuelle (Roman’s Polanski’s wife’s band) combined with electro-pop group Glass Candy. - Randomville

"Man On A Mission Music Review"

Close to 1,800 bands traveled from across the country and the world to showcase their musical prowess. However, one of the most magical selections of music was the original score of Man on a Mission. Composers Brian Satterwhite and John Constant musically capture the intensity of the training mission in Russia, while building up to the airy mystery of outer space with heroic proportions. Austin band, Candi and the Strangers, contribute with futuristic pieces that allude to the unknown, almost serving as the soundtrack to Garriott’s own fantastical, mysterious alter gaming-ego, Lord British.

So, while SXSW is officially over, the experience truly lives on in this incredibly well-documented and edited film with an equally as profound storyline and score – not bad for a bunch of dreamers from Austin. - Door Number 3

"Weekend Music Preview"

Candi and The Strangers is respected local producer Erik Wofford’s (Cacophony Recorders) first foray into what he calls “the other side of the glass.” Their debut full-length is a sonically pleasing collection of exquisitely arranged dream-pop -- pick up the record tonight at this special CD release show. - Austinist

"Candi and The Strangers, The Great Nostalgic, Leatherbag Play Saturday at The Ghost Room"

Yay for local music! And there’s an Austin triple bill that is sure to please the ears this Saturday night at The Ghost Room, 304 W. 4th St. Here’s the schedule:

11:45 p.m. - Indie/shoegazy pop quintet Candi and The Strangers is having its CD release party in support of their new self-titled album, a dreamy and hazy swirl with frontwoman Samantha’s ethereal vocals. Check it out. - Texas Music Matters KUT

"Candi and the Strangers"

It is my utmost pleasure to introduce to you the band that has been playing in your head while you dream. Austin’s own Candi and The Strangers have been blessing the music scene lately with their unique brand of ethereal psych pop, the kind of music that you could totally trip balls on acid to, but while hanging out with your kids. Imagine Alice in Wonderland with a killer soundtrack. They combine deep rhythms (my favorite word), heavenly vocals and the use of unique instruments (including an omnichord and an electric vibraphonette) to create a musical landscape that will have you chillin with your headphones, floating on a puffy cloud. - Rhythm Sektion

"Low Line Caller"

...Equally ethereal locals Candi And The Strangers marry twinkling, cotton-candy keyboard textures to driving beats, layers of brass and vibraphone, and breathy female coos for a sound that owes equally to shimmying French yé-yé and the noirish, blissed-out reveries of Blonde Redhead.
- A. V. Club Austin

"Movie Review: 'Red on Yella, Kill a Fella'"

Let’s talk about the musical score for “Red on Yella, Kill a Fella” for a moment. Yes, you did read that correctly. There is an actual score for a low-budget independent film that sounds like a million dollars (or more). Composer John Constant gives you exactly what you would expect in a spaghetti western… and I mean that as a compliment. - The Examiner


EP: Road To the Stars
Feb 5, 2013

LP: 10th of Always
Feb 8, 2011

LP: Kodachrome
Nov 3, 2009

Tracks that receive airplay: Tetsu, Sunshine, MRI, She Walks in Beauty, Building a Rocket



These ethereal Austin, TX natives officially formed January 2009 after their producer, Erik Wofford (The Black Angels, Explosions in the Sky, Bill Callahan), stepped out from behind the mixing board and joined founding members John and Samantha Constant. Lush arrangements, driving beats, layers of vibraphone, organ, omnichord and guitar mix with honeyed female vocals to produce a sound which gives a nod to the bright French yé-yé paired with haunting electronica and shoegaze. Over the course of supporting their first two records, the band became known for cinematic soundscapes and psychedelic audio-visual live performances, culminating in being voted Top 10 Best New Bands of 2011 in the Austin Music Awards / Austin Chronicle, winning the silver at Park City Music Fest for Best Impact of music in a documentary and subsequently releasing 2013's Road To The Stars (Interference), a group of instrumental tracks with theremin highlights performed by Yvonne Lambert (The Octopus Project). The tracks merge indie space pop, the electronic elegance of the theremin, and string / horn arrangements which pay homage to Ennio Morricone's Spaghetti-Western genre to create futuristic frontier landscapes.

Building more breadth and depth into their new-retro Spaghetti-Western sound the group spent the better part of 2014 completing the next feature film soundtrack, 16 ghostly songs by John Constant for Red on Yella, Kill a Fella, a dark western set in early 1900's Texas. Following in their soundtrack tradition, producer Erik Wofford brought in many of Austin's most impactful musicians to his studio Cacophony Recorders. Featured vocalizations by Aaron Behrens (Ghostland Observatory), guitars from Nic Armstrong (Nic Armstrong and the Thieves) and Jesse Ebaugh (The Heartless Bastards), drumming from Billy Potts (The Black and White Years), and eerie strings from Leigh Mahoney and Tracy Seager (Tosca String Quartet) make for a dynamic and sometimes cryptic sound conjuring images of a mystic, psychedelic Texas landscape. The film and soundtrack are due for release in 2015.

The band is now returning to their indie-noise-pop roots completing their 3rd record, a psych-drone plane layered with the luscious melodies of Samantha Constant. This recording represents the sound and song that the band has strived for incorporating new members from film endeavors. 

John Constant

Band Members