No longer in her ingenue phase, Mexico’s Silvana Estrada has maintained her wunderkind rise. With her birdsong voice and her signature Venezuelan cuatro guitar as a vessel to carry her stories of love, grief, and growth.

Ahead of her newly announced international tour and album, Vendrán Suaves Lluvias, out in October, Estrada’s released “Dime,” a deceptively lovely song about post-breakup wild rage, that point where you only feel like your time was wasted, and everything was a lie. Was it really? Who cares? We’re mad now.

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Well howdy! Happy Labor Day! The weather may or may not be participating in our final romp of summertime, but Austin’s Grackles are here to make the day sunny despite Mother Nature.

What began as a side project made up of touring and studio musicians for A-list artists such as the Chicks and Paul Simon and a GRAMMY winner has now produced two albums of sawdust hall bangers to keep your dirt kickers moving. From their sophomore album Grackles Deux: The Grackling, the plague gives us “There Will Be Time,” a twangy, kinetic, fiddle-led romp to get you dancing, whether you’re spending Labor Day at the pool or at home working on that honey-do list.

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At this point, Adrian Quesada is a man who needs no introduction. With a musical curiosity rivaling Beck, project to project, he conjures up albums thoughtfully marrying tradition or inspiration to Quesada.

On both iterations of the Boleros Psicodélicos albums, Quesada explores the centuries-old, Cuban-rooted tradition of the Bolero, beautiful, dramatic love songs deep with passion and steeped with stories of love unrequited, forsaken, and everlasting. As part of his latest Studio 1A performance, he brought in a fellow Grammy winner: the renowned Puerto Rican bolero songstress iLe to perform “Bravo,” a beautiful piece to the ear, but a biting, award-winning telenovela take-down monologue to ignite your soul.

Boleros Psicodélicos II is out now on ATO Records. You can see the Studio 1A video at KUTX.org.

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Song of the Day has returned from vacation, and I can’t think of a better way to come back than with my favorite dance-pop group this city has to offer. We’ve been following the rise of Jane Leo since its origins, and since the last time we checked in with the duo, they supported indie group Cannons on what was Jane Leo’s first national tour; played a ton of music fests; and their single “Wow” landed in ads for both Google Pixel and Michael Kors.

Over the last year or so, they’ve breadcrumbed a few bangers, many leading to the release of their sophomore album Creature of Destruction, out September 19th. “Goldmine” is our last nugget before the album, and while it may be among the more subdued songs Jane Leo has released, it is still dripping with energy and that funky “Imma dance here in my own little circle, in my own little world” energy. Bouncy, sexy, and more vintage than much of what we’ve heard in the past, “Goldmine” is a cheeky reminder that even if you go to Jane Leo show to dance with one foot in the future, they’ve got plenty of tricks up their sleeve to subvert expectations without losing an ounce of their allure.

Jane Leo is hitting the road with indie duo New Constellations. That tour lands at Empire Control Room on Thursday, November 6th, and Jane Leo will return to Studio 1A on Thursday, September 11th.

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Team Trust call themselves art rock, which is somewhat fitting, but if we want to be specific, I’d call them quirk-punk. The Austin trio sounds a bit like Being Dead and your cool, Gen-X brother’s punk demos he recorded at home the summer before they wound-up on tour with Black Flag, opting for a rotisserie of raucous harmony, melting breakdowns, and swaths of minimal instrumentation with syncopated lyrics that sound like they were recorded in a tin can. It’s excellence in weird.

Team Trust releases “Wuggis” today ahead of their debut album Treat Box out later this year. You can see Team Trust at Mohawk tonight with Fifi Knifefight, Modernform, and Skratz.

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Austin’s Russell Taine, Jr. blends indie rock with an Austin and Texas twist. It’s indie music powered by chords and melodies that you imagine being played at dusk in your cool friend’s backyard with a chain link fence and an oak tree in the background. It sounds like Hole In the Wall.

Their latest single “Sidewinder” is both a perfect metaphor for that illustration and a perfect lead-in to their upcoming Ghosts EP. Like the album, “Sidewinder” is about disconnect and things slipping away…or side-slithering away. Lamenting the loss of the “Piscies Queen,” we’re right alongside Taine as he grapples with what went wrong, his current state, and the leaden question of what to do with those feelings and where to go next.

“Sidewinder” is out now. The Ghosts EP is out in November. You can see Russell Taine, Jr. Thursday, September 4th at Hole In the Wall with Small Engine Fire.

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Andrew Chasen. With the Disciples of Creation, he takes you to church. With A Giant Dog, he takes you church. Sweet Spirit makes you want to dance the night away, and Tear Dungeon drags you to the basement, ties you to the St. Andrew’s Cross, and says flogging and bastinado are for the faint of heart. But that’s what you paid for, isn’ it? You even pre-selected “emerald green silk” on the rope menu.

Tear Dungeon is truly to be seen. Between the uniform of all-white street clothes paired with leather gimp masks and the perpetual question, “what will hit me first? The music or the blood?” the magnitude and spectacle of the group speaks for itself. It’s just an added bonus that their thrash-punk sound hits just as hard.

Tear Dungeon stopped by Studio 1A to initiate our audience with a couple of old fan favorites and their new song “Kill for Health,” an unreleased track from their upcoming album on Austin’s TODO records (deets TBA).

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Jack Greenwood’s new single is dance music for sad lads. On “Four Walls,” a song about feeling trapped, the Austin-by-way-of-Wisconsin singer and producer presents a fantastical escape, evoking the moodier side of the 80s synth. The opposing dichotomy works well here; what begins with sunny textures and a fun, melodic bass spirals into a manic descent right alongside Greenwood’s lyrics. But the spiraling is still a groove machine, taking the mania to its brink before its dizzying, synthy fizzling out. Yes, it will have you dancing with tears in your eyes.

Jack Greenwood performs with Clarence James at Stubb’s Indoors this Saturday and Antone’s Sunday, August 17th, with Clarence James and Chief Cleopatra.

The Who Told You EP is out in October.

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Bay Area singer-songwriter Mae Powell‘s debut album on Karma Chief Records, Making Room for the Light, serves up a West-coast brand of vintage, pastel-colored, jazz-meets-indie-pop beauty akin to Atlanta’s Faye Webster. Her latest single “Contact High” has origins in conversations with Powell’s elderly neighbor about a song with the spirit of being high socially, but not outrightly about weed. A soundtrack to the get-together. Jazzy, groovy, and effortless, Powell does this faithfully, taking a step back in time to the days of sunken living rooms and flitting about in kaftans while you sip from that new exotic tiki drink that’s been all the rave.

“Contact High” is out now. Making Room for the Light is out August 15th.

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Despite having a name that sounds like it belongs to a member of the Cramps, Austin’s Celestine Gravely‘s brand of rock is more attuned to the likes of Patti Smith and PJ Harvey, balancing the sounds of those eras and the power of their vocals with her own stamp of songwriting. You’ve got it all here: raw vocals that go from lilt to loaded, powerful guitar riffs, and lots of fun tempo changes to keep you on your toes.

“Kill the Heather” pulls together all of Gravely’s inspirations, employing lots of starts and stops, mood changes, and the perfect touch of Riot Girrrl attitude.

Celestine Gravely plays tonight with her full trio at Valhalla with Flounce, Shared Walls, and Bad Acid.

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