Big Bill are an Austin-based punk/art-rock band with a taste for the eclectic. The project was founded by brothers Eric and Cody Braden, and over the last decade has transformed to a new lineup with Eric as the sole remaining original member. Their latest album, Strawberry Seed, displays the full spectrum the band has to offer – there’s plenty of weird effects to satisfy the art-rock craving, there’s a running thread of post-punk throughout the 14 tracks, and these songs are all put through that regional Austin-twang filter which really gives it a one-of-a-kind sound. At their live shows, Big Bill offer a one-of-a-kind experience with overall high energy while wearing coordinated outfits.
Perusing the music videos of Big Bill, you’ll find yourself with a grab bag of the unexpected. For example, the quirky and trippy animated music videos for “Society Man” and “Humanoids.” And this 800% slowed down version of “Clean Feeling” converts the goofy upbeat song to a full ambient soundbath. “Picture” gives you the feeling you’re being watched for most of the video. It really represents what Big Bill are all about; not taking yourself too seriously and having the most fun you can with your music.
Eric Braden of the band was kind enough to answer some questions about the ever-evolving project, the new album, and some insights on what it’s like being an artist in Austin, TX.
Big Bill has been a band for nearly 10 years now, how has the project morphed over time?
Well in terms of personnel, we’ve had every position change several times except for lead singer (me). And after my brother Cody left the band in 2020, I became the last original member. But aside from the lineup, I think the music has grown more ambitious, more mature, more layered and interesting. From raw punk to something slightly more eclectic and ponderous, I think.
How did the current lineup iteration come about?
Like I mentioned, my brother Cody played guitar in this band since its inception, until a couple years ago when he moved away. At that point, Alex Riegelman moved from bass to guitar. Alan Lauer moved from drums to bass, and we recruited Jeff Olson (formerly of White Denim) to be our drummer. So it all kind of worked out nicely.
How long have you been based in Austin?
Since our first show way back in 2012.
What are some of your favorite parts about the Austin music scene?
Well its salient feature is that it is unbelievably massive and sprawling. So I sometimes feel like there are too many great shows and artists to keep track of, in all genres. But what I love about that is that the more you talk to people and get to know them, the more interconnected it all becomes. You can live here and start four different bands and easily find separate people to join each of those bands, if you just start going to shows and talking to people.
Let’s talk about the latest album, Strawberry Seed. How did this one come about and anything about this one that is different from the previous albums?
This was the first one without my brother, so it was interesting. Most of the songs originated as demos that I made at home, working at my own achingly slow pace. A few of the songs originated from jams or from me and Alex getting together to purposefully just write songs. I think the latter tended to be the ones that sound like people who know us expect us to sound — more “punk” and rock-and-roll. Some of the ones that came from my demos have more of a Lou Reed meets Elliott Smith vibe, like “That’s The Dance” and “Crinkle the Wrapper.” It’s definitely our most ambitious, and probably best album yet.
Do you have a personal favorite track from the album? Any story behind it?
I think “People Talk on the Phone” is one of my favorites because it’s the one song that Cody wrote. It originated on an ancient demo of his that I found, and I convinced the guys in the band to make it into a song for the record. In fact, Cody’s original demo is in the recording — you can hear it come in right when the title lyrics come in — “People taaaaalk on the phooooone…” and then my voice joins him and the whole band kicks back in a few moments later.
I also am proud of “Crinkle the Wrapper” because that actually is just my demo, plus some overdubbed bass and drums. I never re-did my vocals on that one from the demo, so that’s kind of fun. And “Beautiful Angels of the City” is kind of great too. It made my mom cry, so that’s a win.
Your last album, Public Freakout Compilation, was made with five different producers who each worked on two songs from the album. What was your production approach like this time for Strawberry Seed?
This one was much more in the hands of our drummer Jeff Olson, who has a home studio that we used. I think we did end up with five producers on this record, haha, but it wasn’t on purpose. We had several one-off opportunities to work with some great folks and it all tied together.
Radiotrails is all about music discovery and highlighting lesser-known artists. Who are some artists that you think our readers should check out?
Lots of great artists in Austin right now. People should go listen to Being Dead, The Infinites, Font, The Pinky Rings, KindKeith, Chucky Blk, Pataphysics, The Stacks, Grandmaster, Superfónicos, Variety, Sailor Poon, Pleasure Venom… I could go on but that’s enough for people to go chase down I think!
I saw Grandmaster at South By earlier this year, they were quite and experience and so much fun. Being Austin-based I’m sure you have lots of South By stories. Do you have any favorite experiences that stand out?
We’ve definitely had a lot of fun SXSW experiences. I’d say the best thing, consistently, is just playing way too many shows within the span of a week. It’s like being on tour but without the driving. Very fun! One indelible memory was this time the legendary rapper Bushwick Bill (R.I.P.) got up on stage with us at Hotel Vegas and then invited us to his studio, where we hung out with him all night. I’ll certainly never forget that!
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