Chronophage on Their Salty-Sweet, Self-Titled Third LP

The bright red tomato on Chronophage's self-titled record is totally compelling, but placeless. The high-contrast fundamental fruit matches the music – splashing down between the romantic, brash iconography of Seventies power-pop and dark, structural quirks of Eighties post-punk. After two past records incubated locally, the band's latest sticks a rare alloy of genuinely inviting alternative.

The 10-song Chronophage emerges this Friday – the group's first on Post Present Medium, started by Dean Allen Spunt of No Age, and Paris label Bruit Direct Disques. The record, packed with poetic lyrics fit for medieval scrolls, came together at Austin's Wire Recording last June. The quartet worked with producer Craig Ross, known for studio collaboration with Texas giants like Patty Griffin and Daniel Johnston.

The connection of offbeat melodic purveyors was made by Chronophage drummer Adam Jones, also of Deep Time and recent touring with Juan Wauters. The Chronicle emailed over quick inquiries for the rest of the group: bassist Sarah Beames and guitarist Parker Allen, who share salty-sweet vocal cascades, and keyboardist Casey Allen.

The remaining Austin-based Chronophager, Allen also participates in sonic projects Heaven (Googleable by latest EP Starless Midnight) and Flower City – with debut songs on the way via homegrown label Esos Malditos Punks. The burgeoning producer recently worked with caustic garage troupe Hotmom, and hopes to record more Austin acts.

Austin Chronicle: What was the recording experience like?

Sarah Beames: Super pro … mildly intimidating for me! There was a lot of mutual excitement in the room. [Engineer Stuart Sullivan] and Craig were both very guiding, letting us do our thing too. Craig worked with us quite a bit at his home studio as well.

Parker Allen: [It] always feels like a privilege to be in a proper studio, cuz we usually record at home or with friends. However, I think we were there [for] three days, and two out of the three we didn't eat for some reason??? Sort of a basic mistake, like, we got the no drinking or drugs in the studio thing fine, but no eating?

AC: The album balances dejected/apocalyptic feelings with passion/hopefulness. How do you approach writing about present realities?

PA: Personally, I tend to spend a lot of mental time in a place where I am in love and the world is ending. The world ending is funny, because it's a real thing that's also fictionalized and mythologized so much. It gets hard to tell dreams from reality, but everyone's world ends with death. I don't believe in any special significance in the persistence of matter or survival of the consciousness after death, [but] I do believe in the existence and supernatural abilities of love.

AC: Since last LP Th'pig'kiss'd, a few of you have moved?

PA: I moved to New York [for] the Sonic Arts MFA program at Brooklyn College … and playing in bands up here and going to shows and just drinking lots of wine and cookin' food and listening to records.

SB: I'm living in South Florida and working towards a degree in nursing. I've been frequenting a venue in [Miami], Center for Subtropical Affairs, and was delighted when Leya played there a couple months back. I swim a lot in the ocean and miss band practice!

AC: Casey, what inspired your keyboard parts? I like the more delicate moments like "Spirit Armor."

Casey Allen: Definitely the Cure. Having a sound that weaves in and out with the guitar is something we've always strived for, and with this record we've finally been able to see that through, with the keyboards supporting the other aspects of the band [to] provide a more atmospheric and full sound.