Garrett T. Capps

Steve Miller Band. Jamiroquai. Kacey Musgraves. They’ve all written songs called “Space Cowboy”. And considering the continued popularity of those tunes, it’s safe to say that “space cowboy” is no longer a derogatory term for a shameless stoner. No, it’s something musicians want to wear on their sleeve. Which brings us to Garrett T. Capps &amp; NASA Country.   Garrett T. Capps has been going strong since 2016 and only recently enlisted NASA Country as his backing band. And although “Houston” might’ve been the historic first word transmitted back to Earth from the moon, NASA Country has no plans of relocating their musical mission control center from San Antonio. These unapologetic psychonauts are set to launch their mind-bending style of cosmic country on October 21st with their group debut, People Are Beautiful. This eight-track constellation bridges the brightest bits of retro-synth, jangly two-step, swamp blues, and NASA Country’s beloved “krautrock fiesta” sound. In true celestial fashion, People Are Beautiful‘s two lead singles are the LP’s bookends, the album opener and closer, like the meeting of Elder Bowman and Starchild at the climax of 2001: A Space Odyssey. No shame in starting at the end, right? So lift off with People Are Beautiful‘s title track in T-minus 5…4…3…2…

Steve Miller Band. Jamiroquai. Kacey Musgraves. They’ve all written songs called “Space Cowboy”. And considering the continued popularity of those tunes, it’s safe to say that “space cowboy” is no longer a derogatory term for a shameless stoner. No, it’s something musicians want to wear on their sleeve. Which brings us to <a href="https://garretttcapps.com/" rel="nofollow" target="_blank">Garrett T. Capps &amp; NASA Country</a>. Garrett T. Capps has been going strong since 2016 and only recently enlisted NASA Country as his backing band. And although <a href="https://www.youtube.com/watch?v=ZL9IRKoFv_4" rel="nofollow" target="_blank">“Houston” might’ve been the historic first word transmitted back to Earth from the moon</a>, NASA Country has no plans of relocating their musical mission control center from San Antonio. These unapologetic psychonauts are set to launch their mind-bending style of cosmic country on October 21st with their group debut, People Are Beautiful. This eight-track constellation bridges the brightest bits of retro-synth, jangly two-step, swamp blues, and NASA Country’s beloved “krautrock fiesta” sound. In true celestial fashion, People Are Beautiful‘s two lead singles are the LP’s bookends, the album opener and closer, like the meeting of Elder Bowman and Starchild at the climax of 2001: A Space Odyssey. No shame in starting at the end, right? So lift off with People Are Beautiful‘s <a href="https://www.youtube.com/watch?v=FKh5o4NVnAk" rel="nofollow" target="_blank">title track</a> in T-minus 5…4…3…2…

Garrett T. Capps & NASA Country: “People Are Beautiful”

There’s no doubt; Denver’s got a splendid music scene. Yet despite an artist multiplicity that gives Austin a run for its money, it’s rare to come across an act that captures several sounds of the city simultaneously. So if you want a calculated combo of post-hardcore guitar, jazz-injected percussion, and turbulent pride-of-punk bass riffs, sign up for shadow work.   This capricious art/math-rock trio first crawled out of the woodwork on last May’s debut album Robben Island and have since gone on to share a handful of singles, including two in 2022 alone. The latest one, “Warm Tones”, (mixed and mastered by Snoop Dogg/Lil Baby/Trey Songz producer John Scott) sets the stage for a Southeastern U.S. tour at the end of the month. shadow work has stops planned for Birmingham, Nashville, and Atlanta, so if you’re the type to hold onto Texas’ high temps as long as possible, consider working their whirlwind “Warm Tones” (with its daring dynamics, melancholy chord changes, and jaw-dropping instrumentation) into your upcoming Fall playlist. Either way, keep on the lookout for a national tour and a new record from shadow work within the next year.

There’s no doubt; Denver’s got a splendid music scene. Yet despite an artist multiplicity that gives Austin a run for its money, it’s rare to come across an act that captures several sounds of the city simultaneously. So if you want a calculated combo of post-hardcore guitar, jazz-injected percussion, and turbulent pride-of-punk bass riffs, sign up for <a href="https://www.instagram.com/shadow_work_official/" rel="nofollow" target="_blank">shadow work</a>. This capricious art/math-rock trio first crawled out of the woodwork on last May’s debut album Robben Island and have since gone on to share a handful of singles, including two in 2022 alone. The latest one, “Warm Tones”, (mixed and mastered by Snoop Dogg/Lil Baby/Trey Songz producer John Scott) sets the stage for a Southeastern U.S. tour at the end of the month. shadow work has <a href="https://linktr.ee/shadowworkofficial?fbclid=IwAR3YrbypIM2mjFFbLNsAyKoi8zCIYqKcfWh6AXI01r8bNuUm5fmqN3mPh5A" rel="nofollow" target="_blank">stops planned for Birmingham, Nashville, and Atlanta</a>, so if you’re the type to hold onto Texas’ high temps as long as possible, consider working their whirlwind “Warm Tones” (with its daring dynamics, melancholy chord changes, and jaw-dropping instrumentation) into your upcoming Fall playlist. Either way, keep on the lookout for a national tour and a new record from shadow work within the next year.

Shadow Work: “Warm Tones”

Nick Wallisch

Nick Wallisch and his ever-growing cache of instruments have been a staple of the Live Music Capital for nearly a quarter century now, complete with crushing performances on drums, bass, piano, ukulele, and even penny whistle. That’s not to say Wallisch doesn’t play guitar as well (of course he does) but throughout recent memory he’s relegated lead six-string duties to his dear friend Ed Martinez A.K.A. “El Champion”.Last year Martinez linked up with Wallisch and his father to record an instrumental LP, and quickly stole the show. The Wallisches agreed that Martinez’ guitar talents were going to be front and center but by the time they were putting the finishing touches on the full-length, El Champion passed away. As a result, The Legend of El Champion (which dropped at the top of the month) has been translated into a loving thirteen-song tribute that tears right into the mysticism of its eponymous subject with a truly wonderful guitar solo on the album opener and title track.

<a href="https://www.nickwallisch.com/" rel="nofollow" target="_blank">Nick Wallisch</a> and his ever-growing cache of instruments have been a staple of the Live Music Capital for nearly a quarter century now, complete with crushing performances on drums, bass, piano, ukulele, and even penny whistle. That’s not to say Wallisch doesn’t play guitar as well (of course he does) but throughout recent memory he’s relegated lead six-string duties to his dear friend Ed Martinez A.K.A. “El Champion”. Last year Martinez linked up with Wallisch and his father to record an instrumental LP, and quickly stole the show. The Wallisches agreed that Martinez’ guitar talents were going to be front and center but by the time they were putting the finishing touches on the full-length, El Champion passed away. As a result, The Legend of El Champion (which dropped at the top of the month) has been translated into a loving thirteen-song tribute that tears right into the mysticism of its eponymous subject with a truly wonderful guitar solo on the album opener and title track.

Nick Wallisch: “The Legend of El Champion”

Freedy Johnston

Connoisseurs of Americana (or “Americonnoisseurs” as I like to call them) can probably recognize the music of Freedy Johnston within a few notes. Back in the early ’90s Johnston became somewhat of a legend thanks to an unfettered dedication to his craft and a consistent, high quality output of tunes. As a matter of fact, Rolling Stone named Johnston “Songwriter of the Year” in 1994 and within the next couple years he was a staple of film soundtracks (both major and indie). Right around SXSW 2009 Freedy Johnston linked up with KUTX favorite Jon Dee Graham and Susan Cowsill to record At Least We Have Each Other as The Hobart Brothers and Lil’ Sis Hobart. But although he’s found a footing here in Austin, Freedy Johnston’s been noticeably absent since his last solo release, 2015’s self-produced Neon Repairman.   This morning, after seven long years in the shadows, Freedy Johnston is finally back with his latest LP, Back on the Road to You. Cowsill returns as a collaborator on BotRtY along with The Bangles’ Susanna Hoffs, Aimee Mann, and one of the tightest backing bands you can imagine. It paves a path parallel to folk greats like Joni Mitchell, Neil Young, Jackson Browne, and The Byrds all while keeping course on the great Americana highway. Needless to say, after three decades of doing his thing, Freedy Johnston’s still got it, as heard on the road trip-ready folk-country-rocker “The Power of Love”.

Connoisseurs of Americana (or “Americonnoisseurs” as I like to call them) can probably recognize the music of <a href="http://www.freedyjohnston.com/" rel="nofollow" target="_blank">Freedy Johnston</a> within a few notes. Back in the early ’90s Johnston became somewhat of a legend thanks to an unfettered dedication to his craft and a consistent, high quality output of tunes. As a matter of fact, Rolling Stone named Johnston “Songwriter of the Year” in 1994 and within the next couple years he was a staple of film soundtracks (both major and indie). Right around SXSW 2009 Freedy Johnston linked up with KUTX favorite Jon Dee Graham and Susan Cowsill to record At Least We Have Each Other as The Hobart Brothers and Lil’ Sis Hobart. But although he’s found a footing here in Austin, Freedy Johnston’s been noticeably absent since his last solo release, 2015’s self-produced Neon Repairman. This morning, after seven long years in the shadows, Freedy Johnston is finally back with his latest LP, Back on the Road to You. Cowsill returns as a collaborator on BotRtY along with The Bangles’ Susanna Hoffs, Aimee Mann, and one of the tightest backing bands you can imagine. It paves a path parallel to folk greats like Joni Mitchell, Neil Young, Jackson Browne, and The Byrds all while keeping course on the great Americana highway. Needless to say, after three decades of doing his thing, Freedy Johnston’s still got it, as heard on the road trip-ready folk-country-rocker “The Power of Love”.

Freedy Johnston: “The Power of Love”

Austin’s R&amp;B scene…it’s out there; you just gotta know where to look. Now, we’ve kept a close watch on Mélat, Anastasia Hera &amp; The Heroes, and Daniel Fears…but another Texas native has you’ll want to keep on your R&amp;B radar is Azurah Vibez. There’s a chance you recognize the name from a feature we did a couple years back on Brighton Beach’s DVMA/Dama Nilz, but much more likely you’ve seen her name on bills opening for Justin Timberlake, P-Funk, Stevie Wonder, and Black Puma’s Jaron Marshall. In the pre-pandemic days, Azurah also curated the Soapbox Sessions Open Mic series alongside her Musical Director/House Band Leader D-Madness. And yet, in the eyes of the public, her immaculate set of pipes have yet to appear within Azurah Vibez’ azimuth. However, this past year, that all changed.   At the tail end of February, Azurah Vibez dropped her debut studio single, the reggae-R&amp;B foot-rocker “Lover’s Paradise”, following it up with her sophomore “Headbanger” in mid-August. Once again produced by D-Madness, “Headbanger” immediately begs comparison to Dangerously In Love-era Beyoncé and’ll leave you eager for AZ’s first full-length (due out next year). With D-Madness’ MIDI flutes, live drums, and sensational six-string skills, Azurah Vibez received an ideal backdrop to go all out on “Headbanger”. And as tantalizing as “Headbanger” is on its own, it’s nothing compared to the song’s visual counterpart, which voraciously gyrates its way into the ever-growing collection of greatest twerk videos (from Megan Thee Stallion, Nicki Minaj, Lizzo, and more).

Austin’s R&amp;B scene…it’s out there; you just gotta know where to look. Now, we’ve kept a close watch on Mélat, Anastasia Hera &amp; The Heroes, and Daniel Fears…but another Texas native has you’ll want to keep on your R&amp;B radar is <a href="https://www.instagram.com/iamazurah/?hl=en" rel="nofollow" target="_blank">Azurah Vibez</a>. There’s a chance you recognize the name from a feature <a href="https://kutx.org/song-of-the-day/dama-nilz-all-i-feat-azurah-vibez-prod-datboycraig/" rel="nofollow" target="_blank">we did a couple years back on Brighton Beach’s DVMA/Dama Nilz</a>, but much more likely you’ve seen her name on bills opening for Justin Timberlake, P-Funk, Stevie Wonder, and Black Puma’s Jaron Marshall. In the pre-pandemic days, Azurah also curated the <a href="https://www.facebook.com/Soapbox-Sessions-Open-Mic-267377980665110/?ref=py_c&amp;__xts__=H-R" rel="nofollow" target="_blank">Soapbox Sessions Open Mic series</a> alongside her Musical Director/House Band Leader D-Madness. And yet, in the eyes of the public, her immaculate set of pipes have yet to appear within Azurah Vibez’ azimuth. However, this past year, that all changed. At the tail end of February, Azurah Vibez dropped her debut studio single, the reggae-R&amp;B foot-rocker “Lover’s Paradise”, following it up with her sophomore “Headbanger” in mid-August. Once again produced by D-Madness, “Headbanger” immediately begs comparison to Dangerously In Love-era Beyoncé and’ll leave you eager for AZ’s first full-length (due out next year). With D-Madness’ MIDI flutes, live drums, and sensational six-string skills, Azurah Vibez received an ideal backdrop to go all out on “Headbanger”. And as tantalizing as “Headbanger” is on its own, it’s nothing compared to the <a href="https://www.youtube.com/watch?v=kOvCPPDVu0k" rel="nofollow" target="_blank">song’s visual counterpart</a>, which voraciously gyrates its way into the ever-growing collection of greatest twerk videos (from Megan Thee Stallion, Nicki Minaj, Lizzo, and more).

Azurah Vibez: “Headbanger” (prod. D-Madness)

Wes Denzel

Astrology. It’s a one-of-a-kind litmus test in casual conversation; either people will scoff at you for believing that gobbledegook or chastise you for not knowing your ascendant. But if there’s one demographic who seems to get a unanimous pass, it’s lyricists. From Deep Purple’s “Maybe I’m a Leo” to Des’ree’s “What’s Your Sign?” and Nirvana’s “Heart Shaped Box” to The Supremes’ “No Matter What Sign You Are”, perusing the daily horoscope appears to do pretty well. And as you can tell from that grocery list of greats, genre constraints have no place in the world of celestial phenomena. Which brings us to hip-hop/R&amp;B renaissance man Wes Denzel.To say this San Antonio vocalist/producer is a beast on the mic and a scholar in his rhyme book…well that’s just a criminal understatement. I mean, he’s opened for both Kendrick Lamar and Schoolboy Q. As a matter of fact, we even named Wes Denzel our February 2021 Artist of the Month surrounding his LP I Was Almost Happy. And with the recent release of his fifth single of 2022, the elements seem to be aligning in Denzel’s favor. The latest track pays tribute to Tyrese’s 2002 baby-maker “Signs of Love Makin'” with a steaming, astrologically-sprawling piece of funk-soul sensuality, “Zodiac Killer”.

Astrology. It’s a one-of-a-kind litmus test in casual conversation; either people will scoff at you for believing that gobbledegook or chastise you for not knowing your ascendant. But if there’s one demographic who seems to get a unanimous pass, it’s lyricists. From Deep Purple’s “Maybe I’m a Leo” to Des’ree’s “What’s Your Sign?” and Nirvana’s “Heart Shaped Box” to The Supremes’ “No Matter What Sign You Are”, perusing the daily horoscope appears to do pretty well. And as you can tell from that grocery list of greats, genre constraints have no place in the world of celestial phenomena. Which brings us to hip-hop/R&amp;B renaissance man <a href="https://wesdenzel.com/" rel="nofollow" target="_blank">Wes Denzel</a>. To say this San Antonio vocalist/producer is a beast on the mic and a scholar in his rhyme book…well that’s just a criminal understatement. I mean, he’s opened for both Kendrick Lamar and Schoolboy Q. As a matter of fact, we even named Wes Denzel our <a href="https://kutx.org/artist-of-the-month/wes-denzel/" rel="nofollow" target="_blank">February 2021 Artist of the Month</a> surrounding his LP I Was Almost Happy. And with the recent release of his fifth single of 2022, the elements seem to be aligning in Denzel’s favor. The latest track pays tribute to Tyrese’s 2002 baby-maker “Signs of Love Makin'” with a steaming, astrologically-sprawling piece of funk-soul sensuality, “Zodiac Killer”.

Wes Denzel: “Zodiac Killer”

From the surrealist theatrics of Oingo Boingo and Devo to the esoteric lyricism of Hunky Dory, it seems that not taking yourself seriously can give you a big leg up in the world of art rock. And as with the escapism given to us by those ’70s and ’80s greats, modern day art rockers like Austin’s The Best Around cross the wires between absurdist, non-sequitur humor and biting social commentary. In Spring 2020, Ten years after his indie punk outfit Safeword tapped out, singer-songwriter Camron Rushin created The Best Around along with multi-instrumentalists Todd Pruner (of English Teeth and Kodachrome) and Jon Merz (of Montopolis, My Jerusalem, and Soul Track Mind). They began exchanging stems of new songs and building up arrangements remotely, one instrument at a time, in accordance with pandemic-mandated social distancing. That patience (cue Karate Kid training montage music) lends itself to the work ethic of The Best Around, whose uncouth goofiness may cause cursory critiques to overlook the trio’s underlying discipline.   With Cobrai Kai making its fifth season premiere this Friday and Karate Kid culture back in the zeitgeist, The Best Around are making the most of this moment of Kairos with a new studio single. It’s part of The Best Around’s upcoming debut full-length, which was mixed and mastered by Erik Wofford at Cacophony Recorders here in Austin and is set for release sometime in the next several months. This latest one is a testament to the fact that there’ll never be a demand shortage for breakup songs, and there’ll always be another, more irreverent way to bid farewell to a former fling. Layered with LFO synth flairs, Fastball-style group vocals, bluesy guitar, and mid-’90s Beck-esque production techniques, “Kissing Your Ass” (and its soon-to-be-shared music video) is a perfect funk-rock complement to pop breakup bangers like “thank u, next”.

From the surrealist theatrics of Oingo Boingo and Devo to the esoteric lyricism of Hunky Dory, it seems that not taking yourself seriously can give you a big leg up in the world of art rock. And as with the escapism given to us by those ’70s and ’80s greats, modern day art rockers like Austin’s <a href="https://www.the-best-around.com/" rel="nofollow" target="_blank">The Best Around</a> cross the wires between absurdist, non-sequitur humor and biting social commentary. In Spring 2020, Ten years after his indie punk outfit Safeword tapped out, singer-songwriter Camron Rushin created The Best Around along with multi-instrumentalists Todd Pruner (of English Teeth and Kodachrome) and Jon Merz (of Montopolis, My Jerusalem, and Soul Track Mind). They began exchanging stems of new songs and building up arrangements remotely, one instrument at a time, in accordance with pandemic-mandated social distancing. That patience (cue Karate Kid training montage music) lends itself to the work ethic of The Best Around, whose uncouth goofiness may cause cursory critiques to overlook the trio’s underlying discipline. With Cobrai Kai making its fifth season premiere this Friday and Karate Kid culture back in the zeitgeist, The Best Around are making the most of this moment of Kairos with a new studio single. It’s part of The Best Around’s upcoming debut full-length, which was mixed and mastered by Erik Wofford at Cacophony Recorders here in Austin and is set for release sometime in the next several months. This latest one is a testament to the fact that there’ll never be a demand shortage for breakup songs, and there’ll always be another, more irreverent way to bid farewell to a former fling. Layered with LFO synth flairs, Fastball-style group vocals, bluesy guitar, and mid-’90s Beck-esque production techniques, “Kissing Your Ass” (and its soon-to-be-shared music video) is a perfect funk-rock complement to pop breakup bangers like “thank u, next”.

The Best Around: “Kissing Your Ass”

Like the Jan Brady of national holidays, Labor Day is an oft-overlooked middle child between the Fourth of July and Thanksgiving. So, quick bit of “birthday” trivia; although it’s American-manufactured, some historians believe Labor Day may have been inspired by Toronto’s worker-centric parades held in 1882. Which means we ought to recognize our neighbors to the North and celebrate with some continental solidarity. However, if you got screwed out of the long weekend for whatever reason, you can find a instant escape with The Beaches.   Their namesake canonically pays tribute to a shared neighborhood, but it also evokes the quartet’s willingness to bury college plans in the sand and fully invest themselves in their music. Nowadays, in light of more than 50 million stream on Spotify alone, three JUNO Awards, and fanship from Elton John, it’s damn near impossible to cast doubt on that decade-old decision. Lately, however, inspired by the likes of Austin’s own Dayglow, The Beaches have seemed to heed changing tides and begun testing deeper waters of indie pop after years in the rock sandbar. This questionable shift comes right after the full-length merge of The Beaches last two EPs and a U.S. tour kicking off next month, but as we’ve learned before, it’s best to trust The Beaches’ intuition. Considering the pulsing, Phoenix-esque, indie pop masterpiece “Orpheus” that just came out? Give ’em all the resources in the world for them to do whatever the hell they want.

Like the <a href="https://en.wikipedia.org/wiki/List_of_The_Brady_Bunch_characters#Jan_Brady" rel="nofollow" target="_blank">Jan Brady</a> of national holidays, Labor Day is an oft-overlooked middle child between the Fourth of July and Thanksgiving. So, quick bit of “birthday” trivia; although it’s American-manufactured, some <a href="https://en.wikipedia.org/wiki/Labor_Day#Origin" rel="nofollow" target="_blank">historians believe Labor Day may have been inspired by Toronto’s worker-centric parades held in 1882</a>. Which means we ought to recognize our neighbors to the North and celebrate with some continental solidarity. However, if you got screwed out of the long weekend for whatever reason, you can find a instant escape with <a href="https://www.thebeachesband.com/" rel="nofollow" target="_blank">The Beaches</a>. Their namesake canonically pays tribute to a shared neighborhood, but it also evokes the quartet’s willingness to bury college plans in the sand and fully invest themselves in their music. Nowadays, in light of more than 50 million stream on Spotify alone, three JUNO Awards, and fanship from Elton John, it’s damn near impossible to cast doubt on that decade-old decision. Lately, however, inspired by the likes of Austin’s own <a href="https://kutx.org/sessions-interviews/studio1a/dayglow-1-21-20/" rel="nofollow" target="_blank">Dayglow</a>, The Beaches have seemed to heed changing tides and begun testing deeper waters of indie pop after years in the rock sandbar. This questionable shift comes right after the full-length merge of The Beaches last two EPs and a <a href="https://www.thebeachesband.com/#tour" rel="nofollow" target="_blank">U.S. tour kicking off next month</a>, but as we’ve learned before, it’s best to trust The Beaches’ intuition. Considering the pulsing, Phoenix-esque, indie pop masterpiece “<a href="https://music.thebeachesband.com/orpheus" rel="nofollow" target="_blank">Orpheus</a>” that just came out? Give ’em all the resources in the world for them to do whatever the hell they want.

The Beaches: “Orpheus”

John Lennon. Kate Bush. Nels Cline. They’ve all dabbled in what mainstream listeners consider to be “dark arts” (the avant-garde genre)…but only after becoming pop stars. And well after his mid-2010s tenure with Tokyo indie-folk-rock sensation Mori Wa Ikiteiru, guitarist-songwriter Takuro Okada has begun ascending into their ranks. Ever since he went solo, Okada, (ever equipped with his fully-loaded pedal board and vintage amplifier), has reconsidered what defines “pop” music other than commercial radio and stream numbers. Hell, he even took it a step further and dove down a discourse of what “music” is.   In that “post-modern pop” spirit, Takuro Okada shared his sophomore full-length Betsu No Jikan this past week. A far cry from his indie-rock roots, Betsu No Jikan guides you on a reflective six-song journey through first-rate improv jazz, mind-melting ambient soundscapes, exotic instrumentation, and an exciting touch of experimentalism. With the exception of the album opener (which covers Coltrane’s classic “A Love Supreme”) the record effortlessly lays landmark motifs based around natural landscapes, such as the sifting, cinematic late-A-Side opus,”Sand”.

John Lennon. Kate Bush. Nels Cline. They’ve all dabbled in what mainstream listeners consider to be “dark arts” (the avant-garde genre)…but only after becoming pop stars. And well after his mid-2010s tenure with Tokyo indie-folk-rock sensation Mori Wa Ikiteiru, guitarist-songwriter Takuro Okada has begun ascending into their ranks. Ever since he went solo, Okada, (ever equipped with his fully-loaded pedal board and vintage amplifier), has reconsidered what defines “pop” music other than commercial radio and stream numbers. Hell, he even took it a step further and dove down a discourse of what “music” is. In that “post-modern pop” spirit, Takuro Okada shared his sophomore full-length <a href="https://ssm.lnk.to/BNJ_to" rel="nofollow" target="_blank">Betsu No Jikan</a> this past week. A far cry from his indie-rock roots, Betsu No Jikan guides you on a reflective six-song journey through first-rate improv jazz, mind-melting ambient soundscapes, exotic instrumentation, and an exciting touch of experimentalism. With the exception of the album opener (which covers Coltrane’s classic “A Love Supreme”) the record effortlessly lays landmark motifs based around natural landscapes, such as the sifting, cinematic late-A-Side opus,”Sand”.

Takuro Okada: “Sand”

When California comes to mind, it’s easy to imagine three hundred and sixty sunny days a year. But between earthquakes, floods, mudslides, wildfires, and other natural disasters (we’ll even throw in this global pandemic for posterity)…it’s not just a coastal breeze over there. Whatever the weather, Cali can always rely on some really cool cross-cultural sounds; think about the psychedelia of Haight-Ashbury, surf rock, ’70s Chicano soul, Latin-introduced tropicalia, or the unique jazz style of West Coast swing.   If you’re looking for a contemporary combination of all those genres that collides like tectonic plates and never phones in a half-baked pastiche, check out Killer Kaya. This Santa Barbara five-piece has already opened for the likes of Shuggie Otis, Cat Power, and even Nuggets legends The Strawberry Alarm Clock. Killer Kaya’s first two albums 29 Lives (2017) and Persimmon Perspective (2018) both leaned on a commanding horn section, but once their 2020 tour got cancelled amidst COVID, the band stripped themselves of brass and broached a fresh approach.   It’s been two years…but Killer Kaya is finally back. Their already-rich psych-rock sound is now complemented by an incorporation of synths as well as the addition of die-hard, adrenaline-drenched drummer Justin Kass. These changes’ll come into play on Killer Kaya’s upcoming LP Tunnel at the End of the Light (out October 7th) as heard on one of Tunnel‘s most exciting singles, “Seasons of Unrest”. Like the effects-heavy, falsetto-fueled wrath of an angry God, “Seasons of Unrest” paints a dramatic picture of existential dread over California climate patterns in an operatic prog-rock original that lands somewhere between Santana, Mars Volta, and The Doors.

When California comes to mind, it’s easy to imagine three hundred and sixty sunny days a year. But between earthquakes, floods, mudslides, wildfires, and other natural disasters (we’ll even throw in this global pandemic for posterity)…it’s not just a coastal breeze over there. Whatever the weather, Cali can always rely on some really cool cross-cultural sounds; think about the psychedelia of Haight-Ashbury, surf rock, ’70s Chicano soul, Latin-introduced tropicalia, or the unique jazz style of West Coast swing. If you’re looking for a contemporary combination of all those genres that collides like tectonic plates and never phones in a half-baked pastiche, check out <a href="http://killerkaya.squarespace.com/" rel="nofollow" target="_blank">Killer Kaya</a>. This Santa Barbara five-piece has already opened for the likes of Shuggie Otis, Cat Power, and even Nuggets legends The Strawberry Alarm Clock. Killer Kaya’s first two albums 29 Lives (2017) and Persimmon Perspective (2018) both leaned on a commanding horn section, but once their 2020 tour got cancelled amidst COVID, the band stripped themselves of brass and broached a fresh approach. It’s been two years…but Killer Kaya is finally back. Their already-rich psych-rock sound is now complemented by an incorporation of synths as well as the addition of die-hard, adrenaline-drenched drummer Justin Kass. These changes’ll come into play on Killer Kaya’s upcoming LP Tunnel at the End of the Light (out October 7th) as heard on one of Tunnel‘s most exciting singles, “Seasons of Unrest”. Like the effects-heavy, falsetto-fueled wrath of an angry God, “Seasons of Unrest” paints a dramatic picture of existential dread over California climate patterns in an operatic prog-rock original that lands somewhere between Santana, Mars Volta, and The Doors.

Killer Kaya: “Seasons of Unrest”

The KUTX team looks high and low for songs and artists that should be on your radar.

After reading the complaints about too many promos, we cut them by more than half. If you hear one at all, it’ll be at the beginning of a song only. KUTX is a public radio station so we do have to find ways to make what we do (play awesome music and support those artists) possible. Thanks for listening and supporting the Austin Music Experience. Enjoy the tunes!

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