Treble Zine Exclusive Premiere of “Call It In” By Sean Morales

Premiere: Sean Morales shares some distorted psych-pop on “Call It In”

By: Jeff Terich

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On Friday, January 12, Austin singer/songwriter Sean Morales will release his debut, Call It In, via Super Secret Records. The album features appearances by members of Young Mothers, OBN IIIs, Knife in the Water and was recorded by Stuart Sikes (White Stripes, Loretta Lynn, Cat Power). Today, Treble is premiering the title track from the album, “Call It In,” which is a bit darker and noisier than the upbeat, jangly “Video Life,” which they previously shared. It’s a buzzing, acid-fried track that recalls the likes of Deerhunter, The Flaming Lips and Liars, with some lo-fi garage aesthetics as well. It’s a trip through one super-weird rabbit hole for sure.

Sean Morales Call It In tracklist:

1. Video Life
2. Call It In
3. Bring Me Home
4. Whispertime
5. Problems
6. Slummertime
7. We’ve Been Apart
8. Party 1

Austin Chronicle Exclusive Premiere of “Refugee” From Terminal Mind

Lost & Found: Terminal Mind

Thirty-seven years after breakup, debut LP hits

BY KEVIN CURTIN, 11:20AM, MON. JAN. 8, 2018

The anthem on Terminal Mind’s sole release, a self-issued 7-inch stamped with the universal “no” symbol that routinely fetches over $100 on eBay, spun a nihilistic punk declaration: “I Wanna Die Young.”

Vintage Terminal Mind (Photo by Ken Hoge)

Instead, the short-lived Austin band (1978-1981) has aged to a vintage in which there’s now demand for a long overdue retrospective. Friday, homegrown reissue specialists Sonic Surgery Records unveil the bluntly-titled Recordings, a remastered collection of the band’s four-song EP, quality live cuts, and previously unheard demos.

Grayscale art-rock with punk desperation channeled through instrumental and songwriting legitimacy, the triad of bassist/vocalist Steve Marsh with twins Doug Murray and Greg Murray on guitar and drums, respectively (they later added synth player Jack Crow), remains an act locals still celebrate despite a short lifespan and being under-recorded. Historically, Terminal Mind’s music hasn’t been easy to come by – save for those who’ve nabbed copies of the rare EP or Live at Raul’s compilation – so Recordings is a worthy dive into a crucial and obscure sliver of the cap city catalog.

The melodic “Refugee,” from the original EP, demonstrates Marsh’s penchant for meaningful rock songwriting. The chorus spells it out:

“Refugee, that’s the way the real world treats you.
Did you think such a person could exist?
In a war, there are winners and there are losers.
I’m in between.”

Before Recordings drops Friday, give “Refugee” a spin here.”

Spill Magazine Premiere New Sean Morales Track

SPILL MUSIC PREMIERE: SEAN MORALES – “VIDEO LIFE”

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SEAN MORALES – “VIDEO LIFE”

A Spill Exclusive Music Premiere

“Video Life” is a 1979 single by songwriter/producer Chris Spedding, reworked by Sean Morales for his solo debut. Morales also currently plays in James Arthur’s Manhunt.

Sean Morales is a family man from Austin by way Norfolk, VA. He began writing the songs for Call it In while living alone in Houston, then started shaping the songs with wife and drummer, Erica Barton, after moving back to Austin. Sean then reached out to Jonathan Horne, a brilliant Jazz-bent guitarist known for his work with Young Mothers, Ichi Ni San Shi, and Knest and other heavy friends from the Austin rock’n’roll underground like Orville Neely from OBN IIIs, Brian Schmitz from the Golden Boys, and James Arthur from the band Sean regularly plays bass in, the blistering psych damaged James Arthur’s Manhunt, to bring whatever they had on them at the time; be it laughter, Clubtails, or scorching guitar. The recording was expertly helmed by Stuart Sikes who’s recorded cornerstone works by The White Stripes, Cat Power, and Loretta Lynn.

Call It In is an occasion to celebrate the ease of life. It’s an inviting debut that calls you over for a sundown evening of bourbon on the porch and unfolds into unexpected conversational turns. There is an alien familiarity in this record that resembles a solo night drive through blabber and smoke to arrive at a familiar room to find that Alex Chilton, Wreckless Eric, and the members of Amon Duul are already in the house, waiting for Junior Kimbrough to play. It’s something that could have conceivably happened at some point, but it’s still a dream.

Sean made his first record with more mission than vision, by that we mean that this record is a comfort to those of us who think about records almost as friends we like to catch up with. Call It In will tell you the lowdown and take you to some unexpected places.

Call It In will be available on LP, CD and download on January 12th, 2018 via Super Secret Records.

Artist Quote

“You never really hear much about Chris Spedding as a songwriter. I’ve been a fan of the RAK/Mickie Most records for a long time and hoped to turn people on with this song.”

Sean Morales
Call It In
(Super Secret Records)
Release Date: January 12, 2018

Call It In Track Listing

01. Video Life
02. Call It In
03. Bring Me Home
04. Whispertime
05. Problems
06. Slummertime
07. We’ve Been Apart
08. Party 1

**Pre-Order Call It In Via Super Secret Records HERE**

* Receive the track “Video Life” when you pre-order the album.

Artist Links

Sean Morales Premieres “Video Life” At Big Takeover Magazine

Song Premiere: “Video Life” by Sean Morales

28 December 2017

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by Big Takeover Exclusives

Sean Morales; Photo Credit: Super Secret Records

Austin musician Sean Morales’ debut solo album, Call It In, is a wild 8-song collection that’s all over the map musically: power pop, proto-punk, garbled Krautrock, indie rock, Fat Possum blues, and more. And, “Video Life” the song The Big Takeover shares with you today, is an outstanding piece of that puzzle. “Video Life” is a 1979 single by songwriter/producer Chris Spedding, reworked by Morales and guests to stunning effect. Morales also currently plays in James Arthur’s Manhunt.

Sean Morales is a family man from Austin by way Norfolk, VA. He began writing the songs for Call It In while living alone in Houston, then started shaping the songs with wife and drummer, Erica Barton, after moving back to Austin.

Morales then reached out to Jonathan Horne, a brilliant jazz-bent guitarist known for his work with Young Mothers, Ichi Ni San Shi, and Knest, and other heavy friends from the Austin rock’n‘roll underground like Orville Neely from OBN IIIs, Brian Schmitz from the Golden Boys, and James Arthur from the band Morales regularly plays bass in, the blistering psych-damaged James Arthur’s Manhunt, to bring whatever they had on them at the time; be it laughter, Clubtails, or scorching guitar. The recording was expertly helmed by Stuart Sikes who’s recorded cornerstone works by The White Stripes, Cat Power, and Loretta Lynn.

Call It In is an occasion to celebrate the ease of life. It’s an inviting debut that calls you over for a sundown evening of bourbon on the porch and unfolds into unexpected conversational turns. There is an alien familiarity in this record that resembles a solo night drive through blabber and smoke to arrive at a familiar room to find that Alex Chilton, Wreckless Eric, and the members of Amon Duul are already in the house, waiting for Junior Kimbrough to play. It’s something that could have conceivably happened at some point, but it’s still a dream.

Morales made his first record with more mission than vision, in that this record is a comfort to those of us who think about records almost as friends we like to catch up with. Call It Inwill tell you the lowdown and take you to some unexpected places.

Call It In will be available on LP, CD and download on January 12th, 2018 via Super Secret Records.

Sean Morales at Super Secret Records
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Ink 19 Review of Adam Ostrar’s ‘Brawls In The Briar’

Adam Ostrar

In Music Reviews
December 27, 2017

Adam Ostrar

Brawls In The Briar

Super Secret Records

Ok, bear with me here, because this might get confusing. Adam Ostrar – nee Adam Busch when he headed up bands such as The Curious Digit and Manishevitz – has a made a record that at first glance looks like a folk release. From the title Brawls in the Briar, to the rustic, wood-grained cover and the delightful hand-drawn images of dogs, ghosts and a tea service on the liner notes, you might think this was a strum-strum record of fireside singalongs.

Well, until you played it, that is. The opening cut, “Enemy” establishes the mood of the record with a low-key, Lou Reed-ish guitar pattern atop an insistent piano figure that lets Ostrar’s somewhat unsettling vocals to pull you along. The entire record never raises above a whisper, and becomes ever more ominous as it goes. Imagine putting the original line-up of the Velvet Underground in a cabin along with Young Marble Giants and making them share an amp. (Told ya it might get confusing). Now, at times Ostrar unleashes some Frippish guitar histrionics, but they are masterfully subdued. The record reminds at points of English art rock, such as Roy Harper on Bullinamingvase or perhaps more sedate Julian Cope, and the record ends with a cover of Eno’s “Cindy Tells Me” from his 1973 masterwork Here Come The Warm Jets.

Brawls in the Briar isn’t what you’d expect at first glance, but as someone wise once told me, you can’t judge a book by looking at the cover. This is a stunning work of low-key drama and mystery, full of hidden places and surprising touches. I can’t wait to hear more from Adam Ostrar – or whatever he goes by the next time out, because this music is damn near flawless.

supersecretrecords.com

James Mann

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Alt Dialogue Exclusive Stream of Little Mazarn Debut

Exclusive: Little Mazarn album stream

Posted by altdialogue in News

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Little Mazarn, the stage name for Lindsey Verrill, gets her name from what she calls “an unromantic river” in Arkansas. Playing banjo on three original songs, a traditional murder ballad (“Rain And Snow”) and an English sea song, Little Mazarn, in her lilting warble, sings “about precious things, boring things, nature and the garbage that is humanity” (her words). A dreamy pop that would have fit in nicely with the slowcore of the late 90s and early 00s, the album also has unmistakeable connections to older forms & genres like country, gospel and Appalachian folk.

Verrill is joined on the album by live accompanist Jeff Johnston on saw, vocals and harmonium, as well as several guests contributing strings and vocals throughout. Recorded and Mixed by David Boyle at ChurchHouse Studios in east Austin.

Little Mazarn will be available on LP and download on December 15th, 2017 via Self Sabotage Records, a division of Super Secret Records. Pre-orders are available HERE.

LITTLE MAZARN LIVE:

12/15 Austin, TX @ Central Presbyterian Church – Album release show