Source Material

The Locals Bin:

"Chapter 1: In Betweenin'" – AUSTN.

Submitted

Bend-born, L.A.-based Austin Brown is building up his arrival. The 16-year-old just has that "thing" about him. Like how when Justin Bieber was a mere pop-baby, most people knew he would blow up. Brown could find himself on a similar horizon. His video for "In Betweenin'," the new EP's opener, already has over 1 million views itself. It's a summertime pop-anthem about being all in with your crush—one that I can already hear being blasted by teens with the windows down.

Don't sleep on AUSTN, because one day he might become Bend's biggest pop star.

National Beats:
Father of The Bride – Vampire Weekend

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It has been six years since Vampire Weekend released its last album – "Modern Vampires of the City." So, when tracks started trickling out from the band's upcoming double album, the mouths of the music world collectively started watering.

"Father of the Bride" is bright, airy and a perfect project for the heart of summer. It's so far one of the better albums of 2019 and will probably stay in that range by year's end. You can take your pick of what's best from the 18 tracks: Enjoy the brilliance of "Harmony Hall," have way too much fun with "Bambina" or get mellowed out with "2021" and "How Long?" Trust me, you've got options.

National Beats:
Young Enough - Charly Bliss

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The new Charly Bliss record is '80s and early 2000s rock all kind of bundled together in one angsty package. The way the band uses pop influence under its punk roots is a glorious victory. The opener, "Blown to Bits," is a killer track. The echoing synths backing the sort-of "disinterested in whatever you have to say" vocal delivery by Eva Hendricks is a match made in heaven. With "Young Enough," Charly Bliss has fully avoided the sophomore slump.

National Beats:
IGOR – Tyler, The Creator

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If 2017's Grammy-nominated "Flower Boy" was the official tipping point for Tyler to fall into stride with his true vision – then "IGOR" is like if he stepped onto a cloud and ascended into the sky during the middle of sunset. At least, that's how it sounds. With soulful, video game-like production, Tyler once again shows he's one of the best when it comes to making beats and curating a song to its full potential. There are still plenty of rap aspects to "IGOR," but this album really shows Tyler stepping away from that more than ever, taking bigger stabs at poppy, funk-style R&B jams. From the dreamy six-minute bender on "GONE, GONE / THANK YOU" to the yearnful pleading on "EARFQUAKE," it's clear Tyler has seriously become one groovy dude.

Five for The Rotation: