CAPYAC is a surreal dance act with as much Berlin/Detroit/French electronic influences as jazz, funk and the swirl of modern genres mixed in. Started in Austin, TX with a consortium of collaborators, the founding duo is now based in Los Angeles, CA regularly featuring guest vocalists, dance troupes, and fish mongers to elate and enlighten.
Their debut single “Speedracer” set the stage for an avant-garde aesthetic alongside chill Rhodes piano, slowed nudisco beats and funky guitars. With “Headlunge”, “Fis” and “Who is Donny Flamingo?” multi track releases, we saw the musical partners P. Sugz and Potion dabbling in minimal techno, spy-movie theme songs, trap jazz and every genre amidst the kicks and snares. With regular contributions from saxophonist Papa Mongoose, MC Rudi Devino, vocalists, nay jesters Oolaf & Bean and percussionist/daredevil The Hollywood Jingle, their live shows are infamously full of antics you’ll only see at a CAPYAC show -be it freshly griddled pancakes tossed from the ACL Fest stage, wild musical and theatrical improvisations at Capitol Hill Block Party, Twilight at the Pier and Euphoria Fest or puppeteering across California’s finest stages.
Appearing alongside CLASSIXX, Washed Out, Holy Ghost, Tennyson and more; since 2016 they have performed 250+ shows across the US, MX and throughout Europe to much acclaim and confused smiles.
Modern music declassifiers, CAPYAC are steadily releasing singles as we watch them real-time stretch and explore the far reaches of (most simply put) “electronic dance music” but more aptly described as “good music to dance to.”
A 21-year old Los Angeles native, Holander embraces the city's darkness and bright lights. She takes it all in from a distance to create a unique headspace with kinetic electro-pop hooks and introspective lyrics, capturing the social dissonance of our flashy, viral lifestyles.
She grew up playing music with her sister, picking up piano, then guitar. After playing with various bands in LA and attending USC, the singer-songwriter developed her solo electro-pop sound, taking inspiration from the melancholy synth-driven sounds of Lorde, Halsey, and The 1975.
The Deli Magazine praises her “slinky, widescreen hooks” with “brazenly glossy production,” and the Huffington Post called her melodies “cogent, vivacious and attractive, with lyrics that avoid the mundane banalities associated with most electro-pop tunes.”
Holander tells captivating stories through her music, often embodying idiosyncratic characters to reflect the experiences of her generation..
Trouble In The Streets
Hailing from Austin, TX and playing their very own unique style dubbed as "Electro Tribe", Trouble in The Streets has quickly moved up the local and vibrant musical culture surrounding them. Mixing a blend of influences from World, to Hip-Hop, Electronic, and R&B, Trouble in The Streets continues to leave a big musical impression everywhere they play. Most recently they have played with George Clinton and the Parliament Funkadelic, Grammy Award Winners Rebirth Brass Band, Beto Martinez of the Grammy Award Winning project Grupo Fantasma, along with many notable artists across the nation.
Pearl Earl is the rock and roll brain child of songwriter and multi-instrumentalist Ariel Hartley, joined by the forces of drummer Bailey Chapman, bassist Stefanie Lazcano, and keyboardist / percussionist Chelsey Danielle. Hartley began composing songs in her bedroom in 2012 and later founded the band after a jam session with Chapman and Lazcano in summer 2014. Pearl Earl began performing as a three piece, with Danielle being the latest addition in 2017.
After releasing “Karaoke Superstar” in mid 2015, P.E. gained attention from the Dallas/Fort Worth music scene and went on their first national tour. Their debut EP and self titled LP landed them many Dallas Observer Music Awards nominations and several Denton Arts and Music awards. Their self-titled album was recorded at Elmwood Studio in Oakcliff with Alex Bhore and Brack Cantrell, and was released on vinyl by Dreamy Life records in the summer of 2017. Pearl Earl plans to release new material in 2019, and will be going on a fourth national tour.
“Clearly caught in the crackle of ’70s airwaves, the band is mashing their memories with a deft hand and a feminine snarl. With a slightly less buoyant approach, Pearl Earl are finding their way along the same inflamed tributary that carries kindred spirits Savoy Motel. They embody the ten-foot tall ideals of glam, as evidenced in the gloss that shines on the album’s surface, and they pin it well to their flip of the radio dial. At heart the band’s eponymous LP is as punk as any of their myriad homegrown stagemates, but where others go to the well for the simple quench of sweat, Pearl Earl go for the rainbow ripple off the water in the sun. Having fun with the form, they explode punk into shards of psychedelic debris, each looking to streak the sky with its own glittered flare.”—Raven Sings The Blues
“Pearl Earl are like if Pentangle were a villainous cartoon rock band in an old episode of Josie & the Pussycats. The songs on their debut are cartoon-colored and full of knotty guitar work, weird, witchy vocals and sharp melodic left-turns. Just when you think you’ve got them pinned down, they change shape: “Captain Howdy” opens as a blank-eyed, spell-book incantation before heaving suddenly into a proggy chorus; “Cosmic Queen” is roller-disco glam-rock in which Ariel Hartley tries out about 17 different vocal approaches, from Satanic sneer to punk-rock hiccup; and “Star in the Sky” dabbles in deranged sci-fi psychedelia before dishing out an avalanche of 400-ton Black Sabbath riffs. Everything is heavily distorted and utterly deranged (the last half of “Star in the Sky” sounds like a tripped-out take on the Fat Albert theme, except with a flute). Pearl Earl is a weird, indescribable, genre-gobbling record, a black-light Magic Eye poster that keeps revealing new images the longer you stare at it.” —J. Edward Keyes, Bandcamp Daily
SPARKLY OUTER-SPACE ART POP GALAXY!