La Snacks
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La Snacks

Austin, Texas, United States | Established. Jan 01, 2013 | INDIE

Austin, Texas, United States | INDIE
Established on Jan, 2013
Band Rock Alternative

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This band has not uploaded any videos
This band has not uploaded any videos

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"Kut Song Of The Day"

On the surface, when you check out the music of Austin band La Snacks, it might seem irregularly constructed and kind of frenzied. Dig deeper, and you discover a lot of thought goes into the arrangements. There’s a melody to the madness.

Their 2009 EP Newfangled reminded some reviewers of college radio circa mid- and late-90's, in the vein of Archers of Loaf, maybe even early Weezer in some parts. There’s a sort of chaotic nature about their approach, but those moves are calculated more craftily than that, and in turn, that’s what makes it so cool. It’s all those erratic motions, with quirky, ever-shifting lyrics delivered by vocalist Robert Segovia, that bind it all together.

Be sure to check out La Snacks when they play Wednesday night at Red 7, 611 E. 7th St. Opening the show is Austin duo Blue Kabuki. Doors open at 8 p.m. Solid double bill. Recommended. - KUT


"Austinist La Snacks Interview"

Austin is obviously the top music oasis in Texas but towns like Denton and El Paso are normally included in that discussion. Lately, a little city east of Houston has been throwing its name in the hat as well. Beaumont, a part of the Golden Triangle (which spawned UGK), has given us Ringo Deathstarr already and is home to the Connect The Dots Festival. And then there’s this band called La Snacks that has been making some noise on both sides of I-45.

Singer and guitarist Robert Segovia is frank when asked why he settled in Austin as opposed to his hometown, “We moved here in 2005 because there was really no future in being a band in Beaumont and I wanted to tour.” But things are changing -- he is quick to add, “Having said that, I think the Beaumont Scene is doing great. Joe Deshotel (former La Snacks guitarist) and I started the Connect The Dots Festival two years ago to have a huge show in Beaumont and it really ballooned. We created a network down there, kinda like a mini-Transmission. We have had great bands like the Givers, Free Moral Agents (members of The Mars Volta), and Moth Fight play there recently to big crowds. I actually talked to Elliot (Frazier) from Ringo Deathstarr about it recently. How different it is there now from just a year ago.”

Segovia handles the booking for Connect The Dots and hopes to propel the festival onto Austin’s and national radars this SXSW via a day show or two. As for his band, he states his goal succinctly, “I think good bands fall into two categories -- bands you can sing along to or dance to. We strive to do both. It's all just rock ‘n’ roll, it's all just rebellion. We came from a scene (Beaumont) that had a ton of bad punk and metal bands so we rebel against it. You try to write music you like, damn the torpedoes. I just want to play great shows and make great records. Everything else is just bullshit fashion.”

La Snacks has released their debut full-length Brown, Orange, Black, Gray in 2005 and the Newfangled EP in 2008. Enjoy their screeching guitar melodies, tongue-in-cheek lyrics, and of course, all the sing-along verses and choruses you can handle tonight at Red 7. The band embarks on an east coast tour next month, starting with the official kick-off show at The Ghost Room on the 13th, and yes, a stop in Beaumont (at The Hub) on the 15th. - Austinist


"Big Western Live Review"

Thursday, January 7, 2010
Seven Nights to Roll
La Snacks, Midgetmen, Frantic Clam, Opposite Day
Red 7, 1/6

I've been humming Nick Lowe's 1985 rockabilly cover "7 Nights to Rock" a lot as my official Austin Free Week theme song. The Rose of England isn't Lowe's best work by a long shot (that's the one where he tragically brought in Huey Lewis to desecrate "I Knew the Bride") but I thought even more of the Basher and his ultimately successful struggle to remain relevant in middle age watching several young bands at Red 7 Wednesday night.

The particular challenge facing the artist in this particular niche -- in Lowe's time it was called "pub rock" -- is how to mature gracefully while continuing to legitimately produce music that sounds off-the-cuff, scruffy, not overly professional. Punk musicians faced the same difficulty, but were eventually able to develop a narrow, orthodox definition of their sound that prevented confusion (and also ensured that the only interesting punk music made since the very early 80's was generally disapproved of by its theoretical core audience). What was "pub rock" in 70's England was lumped in with the more nebulous "new wave" in the 1980's U.S. and retroactively became "indie rock," although that term didn't denote a particular sound rather than a business status until the mid-90's or so.

I rather prefer the anachronistic "pub rock" because it actually relates to what the music sounds like, rather than how it is sold. Lowe and Elvis Costello (initially) and Wreckless Eric and Ian Dury made excellent music to lift glasses to, kept simple enough that the boys in the band could join in the revels without being rendered incapable of playing their instruments. It was irreverent music, but associated informally with a long tradition that required populist touches. The melodies should be strong. The lyrics should be audible and tell stories to which the listener can relate. The songs should be simple, partially reconstructed at times from older folk ("folk" in this context meaning anything from Celtic string bands to the Rolling Stones) but not so obviously thieved that a rowdy and knowledgeable crowd will call you out for it. The tunes should mostly be fast, but there should be a slow one or two in the mix so that the couples in the audience can lurch unsteadily in each other's embrace towards the end of the set. In brief music that sounds simple but requires a craftsman's hand and much sweating of details to fully succeed.

For pub rockers now and then, the trick is to hide the seams. You want songs that are clever and original, but you don't want to seem like prog rockers or professionals while playing them. La Snacks, the best of the bands Wednesday night, have this approach perfected. Their songs are detailed and smartly constructed, but they don't play them elegantly. It's as if they were a nice piece of furniture carefully and professionally assembled, but then with just a few hinges and screws deliberately removed in strategic places to assure that the desk wobbles all over the place (but never collapses completely). This is hard to do. A lesser band would simply play it straight to the ranting of frontman Robert Segovia, but the guitar-bass-drums trio in La Snacks allows Segovia's particular gravity and his tendency to stretch out and emphasize lines in weird, not strictly musical places to pull their playing apart slightly. The effect of this is hard to describe. It's more cumulative than restricted to any single "wow" moment, but by the end of the set, I found my natural tendency to reduce and criticize utterly overwhelmed. I felt more like finding people and persuading them to listen to the band. Like a fan, and I hardly ever feel that way about new bands these days.

It's true that they have a couple of songs that don't change very much, but the chemistry between Segovia and the band is such that even their repetitive pieces have peaks and valleys, tension and release. They remind me of so many different bands that I love -- The Fall, Art Brut, Fugazi, Guided by Voices, even (oddly, but delightfully) Rage Against the Machine -- but they're defined by their songs, not their sound, so they're seldom imitating. They even played a slow one, with their drummer moving to keys and a clunky rhythm loop holding the beat down. It was one of my favorite songs of their whole set.

What's more, they have star power! I've largely given up on trying to take local bands to task for having no stage presence, because outside of the genres where it's still cool to look like you care about your own music (hip-hop and metal mostly) nobody has any. Nothing against their great records, but it's a sign of the times when Spoon are the dominant "indie rock" force in Austin -- every Spoon show I've attended has had all the energy on stage of a regional water reclamation committee meeting. La Snacks have a singer who has a stage persona and acts it out in force, wittily haranguing t - big western flavor


"Washington Post- La Snacks Review"

Our Review

Austin-based La Snacks sound like they might be slackers. That's not a bad thing, mind you. The band's casual songs aren't packed with effects or a bevy of sounds to try to convince you of its members' extremely diverse record collections. Some clever turns of phrase and a slinky guitar line with just the right amount of distortion is enough to make the songs memorable. Sometimes the best way to show off is to show that you don't need to show off. Typefighter, the Ionosphere Club and Transmography make it a full night at the Velvet Lounge.

--David Malitz (Feb. 2010) - Washington Post


"Washington Post- La Snacks Review"

Our Review

Austin-based La Snacks sound like they might be slackers. That's not a bad thing, mind you. The band's casual songs aren't packed with effects or a bevy of sounds to try to convince you of its members' extremely diverse record collections. Some clever turns of phrase and a slinky guitar line with just the right amount of distortion is enough to make the songs memorable. Sometimes the best way to show off is to show that you don't need to show off. Typefighter, the Ionosphere Club and Transmography make it a full night at the Velvet Lounge.

--David Malitz (Feb. 2010) - Washington Post


"MCRIPROCK’S LONESTAR SIXPACK PROJECT La Snacks"

La Snacks–Newfangled: La Snacks got its start in the good ol’ town of Beaumont, TX under a different name with a more punkish sound with front man Robert Segovia pushing schoolmates to accompany him on stage and get loud. Many moons later, with college degrees, lineups altered and a band name change, La Snacks has solidified. Although it’s been a long road to get to Austin, they wouldn’t be able to showcase their sarcastic songwriting skills and adventurous sounds without the journey behind them. They pay great homage to their early 1990s Pavement heroes and in this album they pull off cool exceptionally well. 5.0 McRiprock’s out of 6 - http://www.austindaze.com


"The Big Takeover Magazine Review: La Snacks - Newfangled"

Frontman Robert Segovia originally formed La Snacks back in his Beaumont, TX high school with a different lineup and name. Now based in Austin, the foursome returns with this six-song follow-up to 2005's debut Brown, Orange, Black and Gray. They play quirky, yet finely honed and melodic indie pop, peppered with slight dreampop/shoegaze overtones. On the surface, they recall a number of bands such as Sebadoh, early Teenage Fanclub, and Superchunk, yet they also manage to sound esoteric and hard to pin down. Perhaps it's the way Segovia delivers his clever, wry lyrics (which namecheck Jesse Jackson and Neville Chamberlain!) in a vaguely detached style that oddly resembles Ray Davies, that set them apart. Whatever the Reason, their unpredictability and elusiveness is part of what makes them so darn good.

Mark Suppanz - The Big Takeover Magazine


"Leonardslair Review: La Snacks – Newfangled"

For many new bands, the intention is to appeal as wide a range an audience as possible. After all, we’re in a credit crunch and we all have to earn a living. This issued eosn’t seem to trouble Texan outfit La Snacks who have clearly gone for the slacker American rock niche market with lo-fi production and a selection of sarcastic songs covering such light topics as Hunter S. Thompson and the trade deficit with China. We must applaud their move for cultdom as this is EP is made up of sterling stuff.

Some heroically off-key vocals and an equally off-key melody do sometimes make a great song and they certainly do for Pavement-esque anthems ‘Kristin Was A Meteorologist’ and ‘Devil Has Left The Building’. ‘The Circle Argument’ is summery and dreamy like French Kicks messing around on the beach with The Sea And Cake (if they ever felt inclined to do so) whilst ’Oil And Water’ coaxes a chest-beating vocal from frontman Robert Segovia, embellishes it with some glammed-up guitars but still sounds defiantly alt-rock.

Admittedly, the challenge to fill seventeen minutes with greatness is easier than cramming it on to a proper album. No matter, La Snacks have put together six excellent tracks of warped but tuneful indie rock which hark back to a time when this kind of music filled college radio airwaves in the 1990’s.
- http://leonardslair.wordpress.com/


"Red Alert Track Review Kristin was a Meteorologist"

Newfangled is a winsome collecton of melodic indie-pop and agreeably off-kilter indie-rock like "Kristin was a Meteorologist" (with its shout-outs to Neville Chamberlain). Lesser bands would regurgitate this in a dozen different approximations and call it a year, but La Snacks pursue some different stylistic directions, all seemingly guided by songwriting style that's ramshackle on the surface with smarts lurking underneath. If that all sounds a bit familiar to your indie-tested ears and you're about to invoke the P-word or start singing a certain Adele single, read this strange thread in which a blogger is personally offended that you would even make that lazy, careless comparison - and a reasonable representative from La Snacks explains why PR companies like it when their under-the-radar bands are compared to really famous bands. - http://www.theredalert.com


"Austin Sound La Snacks - Newfangled"

Like the early-90’s Pavement-rock genre that the band in part pays homage to, La Snacks have an undeniable air of “cool” that emanates from their otherwise gritty guitar tones. But also like their forefathers, this is a calculated cool, where every seemingly off-the-cuff utterance and lick likely precipitated only from hours of arrangement and endless toiling. It’s a dangerous game, but La Snacks perform the feat with apparent ease, delivering six songs that wholly capture both the enticing 90’s-era “cool” that the band has been molding for some time, but also the more satisfying songwriting prowess of La Snacks.

The album’s leader, “Kristen was a Meteorologist,” which makes reference to Britain’s Neville Chamberlain (famous for his “appeasement” approach to Germany which led to WWII/failed), is La Snacks’ “cool” at its finest: the vocals and guitar play a brilliant melody and countermelody charade, while the equally prominent drums lay into a beat that all but invites you to grab some writing utensils and drum along. La Snacks are at their best when following this simple, but extremely effective layout. Both “A Drink” and “Jackson 88” do just that, but with more guitar, more vocal parts, and overall more energy. On the surface, that’s Newfangled: simple and enjoyable. But it’s hardly as spontaneous as it may seem.

While some of the slower songs sag and lose some of the pent up energy the band harnesses so effectively, it is ultimately the calmer moments of the driving numbers that are most impressive. With many modern bands relying on either gimmicks or all-out melody assaults (typically with eardrum-decimating synthesizers), La Snacks add unmatched dynamic to their music through the seemingly unheard of “Less is More” approach. In “Jackson 88,” for example, we find the band confident enough in their guitar melody to let it hang out unobstructed, spending a good deal of time jamming on that single hook. But when the chorus kicks in, and the guitars flip into arpeggios, the effect is rendered that much more dynamic. Replicate this same process successfully a few more times and you’ve got Newfangled.

For all the band owes to that sense of “cool,” it owes equally as much to simple, intelligent songwriting. La Snacks aren’t far off from the process by which the music industry used to churn out hits in the glory days. What seems misunderstood by many of the band’s peers is that this process never becomes worn: songs may age, whether by time or extensive Top-40 play, but effective song writing will always remain key. La Snacks may use different inputs for the process (i.e. a bit more distortion and lyrics about 1930’s England), but they follow through on classic songwriting in a sorely needed way. The result is Newfangled, and it bears all the signs of its honest inception. - http://www.austinsound.net/


"Partyends Interview"

October is officially in full swing at this point. You should go ahead and do a few things:

1) Buy some good candy, may I suggest Whoppers.

2) 2) Stock up on Oktoberfest brews. Live Oak has it down. and despite being owned by Anheuser-Busch Widmer Brothers make a mighty fine one….

3)3) Head out to the Mohawk tonight for the cd release party for Austin’s most sweatpants loving band La Snacks. A 2008 hybrid between Pavement and Archers of Loaf the group sings sing-along songs that are lyrically multi-layered and chock full of fervor. Everyone thru the door gets their very own copy of the new EP Newfangled and will cherish it the rest of their lives. Transmography will melt some faces with their mathy experimental rock and follow that bird will remind carry the Sleater Kinny punk torch and be playing hits of THEIR new release which came out last week. Apparently Transmography is giving out an audiotape tonight also. For real.

I asked Robert Segovia frontman of La Snacks a few questions about the record in what we here at partyends questions about the record in what we here at partyends call an “interview.” I am not very good at it. … so here goes nothing.

PartyEnds: Tell me about working on Newfangeld with producer Andrew Hernandez? What other projects has he worked on?
La Snacks: He is in charge of Bruce Robison’s Premium Recording and he is the engineer our record. He has worked with The Sword, Zookeeper, Snowden, Brazos, Balmorhea and Zykos. The Studio has also recorded acts like Bill Callahan, Okkervil River, and Voxtrot although I’m not sure Andrew was involved in those sessions. He is a very nice guy and is in a band called Meryll who is very good.

PartyEnds: How would you describe the sonic change from the last record Brown, Orange, Black, Gray?
La Snacks: First off I think the recording is much better, both because we know what we’re doing a little more and were in a nicer studio. We also weren’t as rushed. I think the big difference lyric wise on this record is that it’s more about me than about geography. The first record was about where I grew up (“Port Arthur/Lost Streets”) or about the wide world culturally/politically (“Are we in danger”, “Emo Kind of Love”). This record is more about relationships both with myself (although their was some of that on the first record), with women, and with old/new friends. I think the music is less raw more confident, just from the point of view of the singer but I am not an expert. The band just sounds better musically…

PartyEnds: How do the tracks begin? Tell me about “the process?” And please don’t use the word “jamming.”
La Snacks: They kind come about in 4 rooms, I usually write lyrics in notebooks and then synch them to music but sometimes I come up with them on the spot. I usually do a ton of editing before the lyrics are complete. Trae, Joe and now Frazier or Jimmy (from Transmography) bring songs musically to rest of the band and then we work them out. I would not call it jammin not because I don’t like the term but because we can’t do it… we suck at it. We write a ton of songs before we keeping one. Our songwriting process usually ends with joy or huge recriminations. One person saying I thinking the new song is really good and another person saying “how can they think that is good.” I’m usually the referee. Our policy is all about the song not the concept; some good ideas make for bad songs. You have to try to not let your ego get in the way of a good song, if your part should be simpler for the good of the song then make it simpler. By the time we get into the studio we have the songs about 80% done, we come up with background vocals, piano/organ parts, extra guitars but the song structure and the main parts are usually down by heart. We don’t like writing in studio because that leads to wasted time and bad songs.

Newfangled will be available online on itunes, cd baby, and Dig Station. Locally it will be at Waterloo and Ear of an Ear maybe others. Get it for free TONIGHT at the show. Cover will be cheap and Lonestar Tallboys will be a plenty.
- http://partyends.com/


"Madeloud Review La Snacks-Newfangled"

If La Snacks had been around in 1995, they probably would have been a college radio staple. That’s intended as a compliment, as comparison points for the Texas-based quintet’s latest EP, Newfangled, include many of the last decade’s most coveted name-checks. Which isn’t to say the band is derivative; on the contrary, there’s a bold vein of originality running through La Snacks’ mishmash of sounds and styles.

The lively opener “Kristin Was a Meteorologist” is emblematic of the band’s quirky appeal. Imagine Archers of Loaf (clearly a major influence) playing a Pixies cover with new lyrics by Stephen Malkmus and you’ll have some estimation of their approach to indie pop. Robert Segovia’s vocals definitely bring to mind a young Eric Bachmann, albeit with a somewhat goofier bent. His upbeat homage to a weatherlady with “a head as big as the sun” is probably the first song to employ Neville Chamberlain as a romantic metaphor, and it works.

Those three reference points alone would make for a pretty impressive pedigree, but each of the six tracks here elicits flashes of indie bands of days gone by. The elegant “The Circle Argument” rides Trae Branham’s bass line and Joe Deshotel’s sparkling guitar with a smooth, Yo La Tengo-esque effect. The slow boil and self-deprecation of the melancholy “Devil Has Left the Building” contains hints of early Weezer, and there’s even a touch of toned-down Sonic Youth to be found in “Oil and Water.”

Bring all of those elements together and you’ve got a familiar yet distinctive sound that’s not quite like anything on indie radio today. Segovia’s lyrical prowess and confident delivery may be Newfangled’s biggest selling point. He’s a songwriter capable of shifting from clever (“I’m wearing myself so discretely / I take care of myself / I complete me”) to poignant (“It doesn’t much matter to me / You can live your life or you can atrophy / Being alone’s all right for me”) to flat-out weird (“Now that I know that I feel superior to / my peers and my betters / you’ll have to forgive me for my rambling intrigue / I was born to a lion in a garden”), sometimes over the course of a single track.

Over the brief span of six songs, La Snacks pulls off the neat trick of sounding retro but not dated. They wear their influences on their sleeves, but they draw from such a deep well that everything stays fresh and vibrant. All told, Newfangled meets the measure of any successful EP – making the listener wish it was a full-length album.

Ira Brooker - www.madeloud.com


"Space Rock City La Snacks-Newfangled"

There's a lot to like on La Snacks' Newfangled EP, with all its throwback-ness to my own personal indie-rock heyday, when Pavement was great, The Pixies and Sebadoh were gods, and Spoon weren't famous yet. It's got a great, fuck-it-all looseness to it, oozing so much Malkmusian laidback ease that the sound at times threatens to knock you unconscious. The guitars are totally '90s-esque, dirty-but-not-grimy and unlayered as hell, with just one guitar switching back and forth between crunching chords and quasi-tonal Black Francis lines (the band's apparently a five-piece, by the way, but I've got no clue why they need all those people, since they sound like a power trio). Plus, the band originally hails from sister city Beaumont, which always makes me puff up with Southeast Texan pride.
And lyrically, while a few of the lines are clunkers, even those somehow stick; I cringe every time Robert Segovia gets to the "I'll be your Neville Chamberlain / You can have my Sudetenland" line in opener "Kristin Was A Meteorologist," but I'll be damned if I don't catch myself muttering it under my breath half a dozen times a day. The rhythms shamble and stumble, meandering along heavy-lidded, like you just stumbled on the band jamming in their practice space and they really don't care if you're watching; see the Spoon-meets-Weezer ramble of "Devil Has Left the Building" for proof.
Then there's "Jackson 88," both the literal midpoint and high point of the album, all triumphant and addictive, with a beautiful, New Pornographers-esque cascading guitar line and some bitter, ambiguous lyrics about family (love the "I was raised by loudmouths" bit) and childhood. I can't figure out how Segovia gets from a Jesse Jackson t-shirt on a sidewalk in 1979 to Jackson's actual political runs in '84 and '88, but hell, I don't mind. It's a brilliant little burst of indie-rock glory, one seemingly tailor-made for a mixtape you give your closest friends. - www.spacerockcity.com


"La Snacks Blurbs"

La Snacks Blurb AKA Stuff Not Big Enough For It's Own Up Load

"La Snacks' music resembles a home improvement project. It sounds like amateurs performed the work in a garage on the weekend; it feels like the band abruptly wrote and recorded it, but it works."

Punk Planet

“La Snacks brings a good mix of alt-rock, post-punk and cynicism.”

Splice Today

“The lyrics teeter on nursery rhyme fundamentals and then go into the lyrical realm that I'm perhaps a sucker for most– witty pop culture and irony. The balance of both is masterful.”

Partyends.com

“Slow burn in a minor key”

Austin Chronicle

“The blissfully slacked-out La Snacks would have found good company in the mid-’90s sandwiched on a Pavement/Archers of Loaf bill, but even Pavement rarely wrote songs as simultaneously snarky and reverent as “Emo Kind of Love.”

The Onion AV Club

“Fuzzy guitar-driven indie straddling the punk border, La Snacks find themselves on the receiving end of endless early Pavement comparisons. La Snacks stand out among their peers for unusually witty lyrics.”

Austin.com

“Come see La Snacks go nuts with their Hold Steady lyrical earnestness and Paper Chase angular guitar melodies.”

Covertcuriosity.com

"Lastly, is one of my favorite bands to sing along to and perhaps more importantly drink beer to La Snacks. This group is straight up rock and roll but without any annoyingly hip haircuts or complicated shoes that are commonly (unfortunately) associated with the genre. In fact, at some shows you might spot a pair of sweatpants on stage."

breagrant.com

"Austin, we miss you. And we’re jealous ‘cause La Snacks is so your next big thing. And those Woven Bones kids ain’t bad either!

xoxo c. hotpoint, who sometimes just doesn’t have enough fun at shows in NYC anymore"

Rich Girls Are Weeping

"My expectations were high when I sat down to listen to their debut LP. Brown Orange Black & Gray didn’t let me down. It’s a fan-pleasing melange of catchy riffs, hooks, and idiosyncratic but intelligent songwriting."

Insite Magazine - Everyone


Discography

Brown, Orange, Black, and Gray (Cash Cow Records) 2005
Newfangled (Foolish Boy Records) 2008
AA (Foolish Boy) 2011
Le Dope March 1st 2014

Photos

Bio

At its heart,
La Snacks is a band you can sing and dance along with.
...and in these dark days,
this is something we need more of.

Kind Words

Washington Post

"Austin-based La Snacks sound like they might be slackers. That's not a bad thing, mind you. The band's casual songs aren't packed with effects or a bevy of sounds to try to convince you of its members' extremely diverse record collections. Some clever turns of phrase and a slinky guitar line with just the right amount of distortion is enough to make the songs memorable. Sometimes the best way to show off is to show that you don't need to show off."

Big Takeover

"Christ Sakes and Milkshakes is buzzing, bouncy guitar pop, while My Little Sugary Friend is more relaxed and reflective. As before, singer Robert Segovia delivers his wry, acerbic lyrics in an assertive, brash, talk-sing style that vaguely recalls Ray Davies"

Onion

"The blissfully slacked-out La Snacks would have found good company in the mid-90s sandwiched on a Pavement/Archers of Loaf bill, but even Pavement rarely wrote songs as simultaneously snarky and reverent as Emo Kind of Love."

......................................................................

Some Bands we have played with

Reverend Horton Heat
These United States
The Coathangers
Astronautalis
Ringo Deathstarr
Thao and The Get Down Stay Down
R Stevie Moore
Follow That Bird
Free Moral Agents
Mini Mansions (Queen of The Stone Age)
Deleted Scenes
Pretty and Nice
Ume
My Education
Zs
Munch Munch

......................................................................

Festivals we have played:

SXSW (offical)
Connect Dots Festival
Dicth The Fest

Airplay Press Etc.

KVRX, Washington Post, Large Hearted Boy, The Onion, Loud Loop Prees, KGSR, Onion, NPR, Big Takeover, 101x (Austin), KXLU, Breagrant.com, Splice Today, KOOP, WRPI, DC Rockclub

Band Members