Tonight at Emo's, local indie wunderkinds Corto Maltese will perform alongside Death is not a Joyride, Frank Smith, Southern Drama and Kevin A. from Mothfight for a free show celebrating the launch of Soundcheck Magazine's new Web site. We've long been discussing our excitement for Corto Maltese and their potential here in Austin, and 2008 will finally help us satiate some of our desire: they're in the studio, working on a full-length, and it looks like we'll finally get to hear a larger body of work than the demo.

That demo, by the way, has been a gold piece for the band for over a year, and has worked harder for them (with more success) than any three song, digital-only purchase in recent history (well, at least in Austin). "Providence," the nimbly-administered epic that has earned the band more than their fair share of Arcade Fire comparisons, is the likely linchpin, its soaring vocals, Steve Howe inspired guitar and incremental payoffs leave listeners wanting more. Thanks to these three wonderful tunes, and undoubtedly bolstered by a great live set, the band has gathered a healthy dose of press and a regular crowd at their shows. Recently featured on Andy Langer's "Next Big Thing", Austin Soundcheck and Austin Monthly, Corto Maltese find themselves on the cusp of outright success ... now if we can just wrap this recording session.

We had a chance to catch up with Ben Maddox, Corto Maltese's guitarist and vocalist, and asked about how the recording process was coming. They're working at Big Orange Studios, a place well-known to many Austin bands and lately, a haven for out of town folks like Daytrotter Sessions, Dr. Dog, Malajube, Sondre Lerche and the Mountain Goats. Corto Maltese's effortless combination of both '70s mod rock and '00s indie pop are a perfect ideological fit for the studio, which offers both analog tape recording and Pro Tools capabilities. "We're by no means analog purists, but when you hear a kick drum smashed against the first track of 2" tape, it's pretty moving," Maddox said. As far as their method in the studio, it's clear that they are working very hard to put ducks in a row before settling in to hit record. "Tracking to tape has its own set of demands. You can't save infinite takes like in Pro Tools, so you've got to come in with solid ideas and say little prayers you made up in the car before every take."

As a successful live act, it's doubly hard to get into a recording session and start thinking about things. The energy of the performance has to be distilled to its most essential parts, and often times, bands head towards (for better or worse) either a watered-down version of what usually works for them live, or a frenzied stab at making their recorded work project that live grit. Most of the time either direction is harder in practice than it is in theory. For Corto Maltese, the decision was easy. When asked how much the live set influenced their recording and production techniques, Maddox said, "Not very much -- recording is a private excitement. Playing live, you hope to convince a mass of drunk people to share and enjoy that weird, fevered idea you had in the middle of the night."

So far, those feverish ideas have worked pretty well for them, and the climate in Austin's music scene right now is no doubt helpful. Word of mouth, downtown's undeniable variety and support of local acts and the band's own dedication to this old-school version of self-promotion and hard work have all played a part in their success so far. Three of four members are native Texans, and they're keenly attuned to Texas' charms and inspirational tendencies. "Driving home through the wastes of West Texas is always an inspiration. It will force a song from your heart lest you die of loneliness and despair." They're at peace with the music community here, and Maddox remains neutral when asked about the perceived flux and disarray amidst noise ordinance issues, promoter battles and typical local drama. "Since we're all from small Texas towns, Austin is our birthright -- a shining blue oasis who assumes at her shores the tyranny of our upbringing into a greater moral truth. Seriously."

Sounds like he's thought about that one.