Brownout, Berlin Sessions: After Public Enemy and Black Sabbath cover albums, ATX guitar heathens low-ride woozy Latino funk-n-soul, both vocally (Spanish transport “Nain”) and instrumentally (KUTX hit “The Zealot”).

Tia Carrera, Tried & True: Taking acid constitutes the ultimate summer improv, so Jason Morales’ other-plane desert shred leads the longtime exploratory comet across scorched time and space (“Taos”).

El Tule, “Mil Mascaras” b/w “Acid”: Wax pressing of luchador mythology and an impromptu jam of Ray Barretto from shit-hot local rockeros rewinds to Seventies Monterrey, Mexico.

Amplified Heat, “In a Forest of Love,” “It’s Hard”: Li’l ol’ local mezcal trio Jim, Gian, and Chris Ortiz batter and fry Texan blues both contemporarily sludge-kissed (“Forest”) and Sixties hooky-n-rude (“Hard”).

Texicana Mamas, “Esperanza”: San Antonio natives Tish Hinojosa, Stephanie Urbina Jones, and Patricia Vonne tease forthcoming debut LP with a flourishing border melodrama and lyric video. Olé!

Ayo Tamz, “Rompelo,” “Omhoog”: Popping minimalist space-hop sex twerks, Spanish-language ATX femcee propositions casually, conversationally on two new bump-n-grinds alongside Mexican MC Ivan Dola and producer Djacobz, respectively.

JU4N, “Loops for MIDI Pt. 1”: Vintage hardware meets modern software in the watery, cleansing, insistent piano plink of Holodeck Records’ trending local composer Juan Cisneros.

Como Las Movies, “No Soy de Ti”: Encoring a “Shoegaze Cumbia” for NPR, this B-side to 2019 7-inch “YPQSP” balances a weightless grit atop a cover of salsa king Ralfi Pagan.

Stephanie Bergara, KUTX Storytime Presents: The Legend of the Bluebonnet: Selena obsessive behind local tribute phenom Bidi Bidi Banda melts hearts reading Comanche origin story of Texas state flower by recently deceased author/illustrator Tomie DePaola.

Gina Chavez, La Que Manda: EP (formerly LP) follow-up to 2014 smash Up.rooted leads with spacious electro seduction “Ella,” positioning the LGBTQIA icon as Austin’s Rosalía.



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San Francisco native Raoul Hernandez crossed the border into Texas on July 2, 1992, and began writing about music for the Chronicle that fall, debuting with an album review of Keith Richards’ Main Offender. By virtue of local show previews – first “Recommendeds,” now calendar picks – his writing’s appeared in almost every issue since 1993.