Broken Prism Studios

This report aims to provide a comprehensive overview of the band “Brazos.” It is important to note from the outset that the name “Brazos” is associated with several distinct musical entities. While this report will address all notable instances, the primary focus will be on the indie rock/folk band known as Brazos, primarily recognized for the work of singer-songwriter Martin Crane. This emphasis is due to the extensive information available regarding this particular group. Alongside this band, this report will also explore the Spanish rock and roll band “Los Brazos” and the western swing ensemble “Brazos Valley Boys,” delving into their respective histories, musical styles, and significant contributions. By examining each of these bands, this report seeks to offer a thorough understanding of the diverse musical landscape occupied by the name “Brazos.”

The indie rock/folk band Brazos first emerged from Austin, Texas, as the solo recording project of Martin McNulty Crane around late 2007.¹ During this initial phase, Crane independently released two EPs in the same year: “Feeding Frenzy” and “A City Just as Tall”.¹ These early recordings, created in a bedroom setting and issued on independent labels, established the foundation for the band’s sound and Crane’s songwriting. The DIY approach of these releases reflects a common ethos within the indie music scene, where artists often begin by self-producing and distributing their work.

As the project gained momentum, Crane transitioned Brazos into a live band in Austin, enlisting the talents of guitarist Nathan Stein, bassist Paul Price, and drummer Andy Beaudoin.² This collaborative phase saw the band garner positive attention for their unique blend, described as a “crunchy rock take on folk”.² They became an active part of the local Austin music scene, performing numerous shows throughout 2008.² Austin, known for its thriving and diverse music community, provided a fertile ground for the band to hone their sound and build a local following.

A significant milestone arrived in November 2009 with the self-release of their debut full-length album, “Phosphorescent Blues”.¹ This album proved to be a pivotal moment, earning the band widespread positive reviews.¹ The critical acclaim elevated their profile considerably, leading to opportunities to support more established indie bands on tour and embark on national tours of their own.¹ This period of touring and increased exposure marked a significant step in the band’s evolution from a local Austin act to a nationally recognized presence.

Following the intense demands of touring, Martin Crane made the decision to relocate to Brooklyn, New York.¹ This move to a major hub of indie music proved to be a catalyst for the next phase of the band’s journey. In Brooklyn, Brazos signed with the highly regarded indie label Dead Oceans.¹ This partnership brought about a new iteration of the band, featuring Spencer Zahn on bass and Ian Chang on drums.¹ Notably, Spencer Zahn also contributes his musical talents to the band Empress Of ¹, highlighting the interconnectedness and collaborative nature of the Brooklyn indie music scene.

Under this new lineup and label, Brazos released their second album, “Saltwater,” in May 2013, achieving international distribution through Dead Oceans.¹ Years later, in 2022, their third album, “Grab Hold of What Floats,” was released under the label Sudden Records.¹ Beyond his musical endeavors, Martin Crane also works part-time as an art handler in Brooklyn, a role that involves “hanging famous paintings in Park Ave apartments”.¹² This detail offers a glimpse into Crane’s life outside of music and suggests a potential influence on his artistic perspective, perhaps informing the visual and textural elements of his songwriting.

While Martin Crane remains the central figure and creative force behind Brazos ¹, the contributions of his collaborators have been integral to the band’s sound. In the Brooklyn era, Spencer Zahn on bass and Ian Chang on drums have formed a consistent and significant partnership with Crane.¹ Their continued involvement suggests a strong musical rapport and a shared vision for the band’s direction. During the earlier Austin period, the lineup included Nathan Stein on guitar, Paul Price on bass, and Andy Beaudoin on drums.² Notably, Paul Price later established himself as the lead singer of the band Good Field ⁸, demonstrating the continued musical pursuits of those who were part of Brazos’ formative years.

The music of Brazos has been categorized across a spectrum of indie genres, reflecting the nuanced and evolving nature of their sound. These classifications include indie rock, indie folk ¹, alternative/indie rock, indie pop, and alternative pop/rock ², as well as descriptions like jazzy, folky alternative rock.² Initially, their sound in Austin was characterized as a “crunchy rock take on folk”.² As the band progressed, particularly after the move to Brooklyn, their style incorporated a blend of raw energy and dance rhythms intertwined with the subtleties of jazz and folk.¹² Elements of “ambient pop” also became apparent in their later work.¹⁴

The creative output of Brazos has been shaped by a diverse range of influences, both musical and literary. Their history of opening for bands such as Grizzly Bear, Vampire Weekend, The National, Iron & Wine, Wye Oak, and Bowerbirds ¹ suggests a kinship with these artists within the indie landscape. For their debut album, “Phosphorescent Blues,” Martin Crane specifically cited minimalist pianist Simeon Ten Holt, Cass McCombs, Fela Kuti, and Hercules and Love Affair as key influences.⁵ Furthermore, the poetry of Adrienne Rich served as a direct inspiration, most notably for the song “The Observer”.⁵ In the creation of their second album, “Saltwater,” Crane drew from the concept of “transcendent groove music,” encompassing the sounds of Pharaoh Sanders, Can, Harmonia, and again, Fela Kuti.¹² He also mentioned an interest in the vibrant rhythms of New Orleans bounce music.¹² Critics have also drawn comparisons to various artists to help contextualize Brazos’ sound, including Neutral Milk Hotel ¹⁶, The Walkmen, James Mercer of The Shins, Deerhunter ¹³, The Shins themselves ²⁰, Lou Reed ²², David Byrne and Talking Heads ³³, the American Analog Set ²⁰, and even The Police, specifically their “Outlandos d’Amour” era, in reference to “Saltwater”.²¹

The discography of Brazos (the indie rock/folk band) includes the following releases:

Title	Release Date	Label	Format
Feeding Frenzy	2007	Independent	EP
A City Just as Tall	2007	Autobus	EP
Phosphorescent Blues	2009	Independent	Album
Saltwater	May 2013	Dead Oceans	Album
Rituals	2022		Single
Folded Wings Folded	2022		Single
The Shining	2022		Single
Grab Hold of What Floats	2022	Sudden Records	Album

“Phosphorescent Blues,” their debut album, marked a significant moment in their career, earning them considerable attention within the indie music scene.¹ “Saltwater,” their first release on the renowned Dead Oceans label, signified a new chapter for the band, coinciding with Martin Crane’s move to Brooklyn and exploring themes of isolation and introspection.¹²

“Phosphorescent Blues” was met with generally positive reviews from critics. The Austin Chronicle hailed it as a “local triumph,” noting its sophistication and drawing comparisons to the evocative grandeur of Grizzly Bear and the sparse chill of Radiohead.¹⁹ Space City Rock described the album as accessible, enjoyable, and possessing a friendly, unpretentious quality that evokes a positive feeling in the listener.¹⁷ Customer reviews on platforms like Amazon also reflected a favorable reception to the album.³⁵

Their second album, “Saltwater,” garnered a Metascore of 77, indicating generally favorable reviews.²⁸ The Line of Best Fit praised the album for its combination of indie-pop hooks with more experimental, explorative musical elements, ultimately deeming it a refreshing and effortless listen.²⁰ Consequence of Sound noted the album’s ambient pop sensibilities and its potential, though they found the first half to be somewhat homogeneous.¹⁴ The Austin Chronicle was particularly enthusiastic, declaring “Saltwater” to be the most refreshing indie-pop LP since Sufjan Stevens’ “Illinois,” highlighting its depth and balance.²¹ In contrast, Pitchfork offered a more measured assessment, acknowledging the album’s pleasantness but suggesting that the band’s earlier, more raw sound might have been more compelling.²⁷ Beyond critical acclaim, Brazos’ history of opening for prominent indie bands like Grizzly Bear, Vampire Weekend, and The National ¹ underscores their standing and recognition within the indie music community, signifying respect from their peers and an alignment with established artists in the genre.

Interviews with Martin Crane provide valuable insights into the band’s creative process and evolution. Crane explained that he chose the name “Brazos,” the Spanish word for “Arms,” after a vivid and somewhat unsettling dream. His intention was for the name to be somewhat ambiguous, allowing listeners to create their own meaning and associations.⁵ Reflecting on their debut album, “Phosphorescent Blues,” Crane described its sonic atmosphere as akin to a “summer camp music,” aiming for a feeling that was “quiet, serene, and contemplative”.⁵ This offers a glimpse into the intended mood and aesthetic of their early work.

Crane’s decision to move to New York was driven by a sense of creative stagnation in Austin and a desire for new experiences.⁴ This relocation significantly influenced the themes explored in “Saltwater,” with Crane delving into concepts of isolation, solitude, and the sea, drawing inspiration from the literary works of Herman Melville.¹² He characterized “Saltwater” as an album fundamentally concerned with “learning how to be alone,” describing it as a “spiritual odyssey into deep solitude”.¹² This perspective reveals the album’s introspective and emotionally resonant core. The recording process for “Saltwater” involved laying down the basic tracks live with Spencer Zahn and Ian Chang before layering additional instrumentation, highlighting their collaborative approach to music creation.¹² Interestingly, Crane also mentioned developing an appreciation for New Orleans bounce music during his time in Austin ¹², showcasing the diverse range of musical styles that may have subtly informed his work. Beyond Brazos, Crane has also explored more pop-oriented sounds with his solo project, “Physical Therapy,” which still features contributions from his Brazos bandmates, indicating ongoing collaboration in different musical contexts.²⁵ Following the release of “Saltwater,” Crane hinted at new material in the works ²⁴, suggesting the band’s continued creative activity.

Los Brazos, a power trio hailing from the outskirts of Bilbao, Spain, presents a distinct musical entity sharing a similar name.³⁶ Formed in 2011 from a series of chance jam sessions, the band quickly solidified into a project with a clear musical vision.³⁶ The name “Los Brazos” itself is a tribute to the Gov’t Mule song “Broke down on the Brazos,” reflecting their affinity for southern rock influences.³⁶ The band comprises Guillermo Gutierrez “William” on vocals and guitar, José Miguel “Txemi” Gándara on bass guitar, and Alberto “Koki” Chamorro on drums and chorus.³⁶ Their sound is rooted in classic rock, particularly American rock, which has garnered them a surprising following among American college students studying abroad in Bilbao.³⁶

Los Brazos are renowned for their energetic live performances, feeling most at home on the stages of rock bars, though they have also played at well-known clubs and festivals and opened for major bands in Spain.³⁶ Their debut album, “Delay, 10 Classic Tracks,” released in December 2012, was a tribute to their blues and rock influences, featuring covers ranging from Big Joe Williams to Tom Petty and the Heartbreakers.³⁶ This was followed by “Welcome to Los Brazos,” featuring nine original songs that elevated their music and led to performances in new venues and countries.³⁶ In September 2015, they released their third album, “GAS,” after signing with the Spanish label Rock Estatal Records. This album achieved notable commercial success, reaching number two in sales in Spain within a week and receiving airplay across the country.³⁶ In 2018, they released “LIVE 2015-2017,” a live album capturing the energy of their “GAS Tour” across Spain.³⁶ More recently, in 2021, they released the single “Let Me Go” for a charity soundtrack, and their new album, “Universal,” was released in March 2022.³⁶ Los Brazos can be contacted for bookings and other inquiries via the provided contact information.³⁶ Their official website offers further details about the band and their music.³⁶

The Brazos Valley Boys represent another distinct musical entity, primarily known as a western swing band with a long and rich history dating back to around 1946 in Waco, Texas.³⁸ The band’s prominence grew significantly when Billy Gray and country music hall of famer Hank Thompson joined forces in the late 1940s, creating one of the most celebrated western swing bands in the country.³⁹ Over the decades, the Brazos Valley Boys have featured numerous world-class musicians from diverse musical backgrounds, including blues, country, western swing, jazz, and big-band swing.³⁹ Even during Hank Thompson’s final recording sessions, his wisdom and guidance continued to shape the band’s direction.³⁹

Currently, the Brazos Valley Boys are led by Morey Sullivan, who began working with Hank Thompson in 1979 and served as his bandleader for most of the time until Thompson’s passing in 2007.³⁹ Thompson entrusted the band’s legacy to Sullivan, recognizing his dedication and musical talent.³⁹ Sullivan emphasizes that the Brazos Valley Boys are not merely a Hank Thompson tribute band but continue to forge their own path while honoring the traditions of country and western music.³⁹ He aims to bring new and younger fans to their music, ensuring the band’s relevance for future generations.³⁹ The Brazos Valley Boys have received numerous awards and recognitions throughout their illustrious career.³⁹ These include being named “#1 Western Swing Band in America” for 14 consecutive years by Billboard Magazine, the distinction of having the first live country music album recorded in Las Vegas with Hank Thompson, the Hall of Fame Band Award in 2004, their first live recordings at the Texas State Fair and Cheyenne’s Frontier Days Rodeo, breaking attendance records at Lincoln Center in New York City, a special performance at Carnegie Hall in New York, and their 75th Anniversary.³⁹ Morey Sullivan himself has been inducted into various western swing halls of fame and the Kansas Music Hall of Fame.³⁹ The band’s website provides further information about their history, members, tour dates, and music.³⁸

Beyond these three primary musical entities, the name “Brazos” appears in various other contexts, often with a strong connection to the state of Texas. Several educational institutions bear the name, including the Brazos Independent School District, Brazos Band Boosters, Brazos High School Band (which has achieved recognition in UIL competitions ⁴²), Brazos Middle School Band, Brazosport ISD (and their band programs ⁴⁵), and Brazoswood High School.⁴⁵ Community events also utilize the name, such as the Brazos Nights concert series in Waco ⁴⁸ and Drums Along the Brazos.⁵⁰ Geographically, “Brazos” refers to Brazos County, Texas, Brazos Bend State Park, the unincorporated community of Brazos, Texas, and most notably, the Brazos River, which is mentioned in various contexts, including its musical inspiration for the Brazos West cowboy quartet.⁴⁰ Other musical mentions include Brazos West itself, a cowboy quartet ⁴⁰, and the traditional prison work song “Ain’t No More Cane on This Brazos”.⁵⁶ Commercially, the name appears on products like the Hunter Brazos Outdoor Ceiling Fan and services such as Brazosnet (internet and phone provider) and the Brazos – Proper Texas Kitchen restaurant.⁵⁸ Finally, “Brazos” is also associated with Brazos Press (a publishing imprint), Brazos (an AMD processor), the Battle of the Brazos (an athletic rivalry), and Martin McNulty Crane (in a disambiguation context).⁶³ The prevalence of the name “Brazos” in Texas, across schools, the county, the river, and even a concert series, underscores its significant geographical and cultural roots within the state. This strong regional association likely contributes to why multiple musical groups with ties to Texas have adopted this moniker, suggesting a sense of local pride or identity connected to the name.

In conclusion, the name “Brazos” resonates across a diverse spectrum of the music world. The indie rock/folk band, primarily the vision of Martin Crane, has carved a unique path from its origins in Austin to its current base in Brooklyn, characterized by genre-bending sounds and critically acclaimed albums. In Spain, “Los Brazos” delivers authentic rock and roll with a clear nod to American influences, earning recognition in their home country. Meanwhile, the “Brazos Valley Boys” stand as a testament to the enduring legacy of western swing, boasting a rich history and numerous accolades. While these bands share a name, their musical styles and journeys are distinct, highlighting the richness and variety within the global music landscape. Each group has contributed its own unique sounds and stories, further enriching the tapestry of music associated with the name “Brazos.”

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