Josh Ostrander played in obscurities Laguardia and Eastern Conference Champions, and produced like-minded acts for 15 years before going solo as Mondo Cozmo. The Philadelphian deftly mixes pop hooks, indie sincerity, and studio trickery in ways both organic and calculated. Sampled voices contribute textural familiarity, electro beats enhance simple rock grooves, and Ostrander’s thin rasp oozes conviction. “Thunder” and “Automatic” make quick impressions, but “Shine” brings it all home with an easily digestible anthem. As a title, Plastic Soul begs for trouble, but Mondo Cozmo turns its contradiction to virtue. (1pm, Barton Springs stage)

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This article appears in October 6 • 2017.

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Michael Toland started writing about music in 1988 on the Gulf Coast, moved to Austin in early 1991, and has inflicted bylines upon the corporeal and digital pages of Pop Culture Press, The Big Takeover, Blurt, Amplifier, Austin.citysearch, the Austin American Statesman, Goldmine, Sleazegrinder, Rock & Roll Globe, High Bias, FHT Music Notes, and, since 2011, The Austin Chronicle.