Photos by Ashley Bradley
Text by Meagan Dupre
Firstly, my sincerest apologies go out to the lads of Worthless Animals for missing their set (luckily Ashley didn’t miss out). I fell victim to the Austin parking lords, who obviously had untimely plans for me that could only deem me a worthless animal in regards to my punctuality, and I accept whichever punishment you fine boys see fit.
Following my defeat, I was invited into the venue by the amusingly clever sound check of the energetic threesome that is Borzoi. Taking the stage with an established domicile-like vibe, I felt most obliged to bear witness to the unified sound they create. Opening the set with “The Swamp Thing,” my body felt compelled into motion by the dirty melodic riffs at my initial introduction into Borzoi’s “punk garage shit scum” world. The trio, Zach Wood (guitar/vocals), Taylor Browne (bass/vocals), and Rhys Woodruff (drums/vocals) exude tremendous promise and bring to the stage a distributed talent among their garage-punk catalogue packed full of songs that are sure to get you feeling all angsty and shit. Breaks for adjustments made no difference in their capability to keep the audience involved. Casual words leaked out fluidly spilling down our throats and into our lungs, keeping us chained to the stage with their absorbing presence because in that moment we all needed it to breathe. Involving us in song interpretations, minor digs at each other displaying personal quirks and recognizable affection in accordance to a near flawlessly executed set, are every reason why Borzoi can be considered trailblazers for the path that every young punk group should aim to be traveling down. Cheers, boys!
Upon first reception it became evident that self-proclaimed “Hobocore/Cowpunk,” Leche, was going to give the crowd a good smack on the ass with their dynamic sound and erratic dance moves. Accompanied by the lead singer’s swanky harmonica solos and unprecedented lyricism, Leche took the scene from garage punk suburbia to a head banging nomad’s land within seconds. Every song’s end was a queue to shit talk about their current political standings and social issues by way of the country boy sickos’ assembly, whose muddled mixtures wreak battle cries for the pissed off relatable generation, apparently. Just before ending their havoc-wreaking set, they graced us with their version of a Woody Guthrie song. A visionary, whose ideas are obviously integrated into at least one single vertebrae of the backbone in this group’s decaying, yet bureaucratic heart.
Hard to imagine they were debuting nameless, still to be recorded songs, Super Thief took the stage like the seasoned veterans to which they should be referred. The setting was nowhere near considerable in size for the magnitude of the commanding production by the Austin-natives. Paralleling rock patriarchy, Super Thief takes a page right out of ’80s hardcore with their louder, harder, faster prototype and hollering vocals dredged right up from the pit of their disavowed stomachs. Recent additions to the Dillo Milk compilation, “Dull” and “Parasite” are two of the newer tracks played by Super Thief leaving no room for even the most inconsiderable amount of doubt. Unadulterated greatness is all that can be expected from four of the most cultivated musicians of my generation, that I have so far been able to bear witness. Although mostly unheard, the set appeared entirely well received by all who spectated. Super Thief has undoubtedly become a badass beacon of unified intolerant hope in our disinterest to the conventional music that comes out of Austin, to which I believe they are entirely appropriate.
Thank you to the bands for allowing me to attend their show and summarize my opinions of their performances! I am new to Austin and the music scene here, but I am very excited to be a part of the Ovrld team, and look forward to seeing, meeting, and hearing everything you guys are doing! – Meagan Dupre