Fis — Fresh EP from CAPYAC

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(Photo from CAPYAC’s Bandcamp site) 

In 2014, someone needed music for a guacamole pool party. It was out of this need that electro-funk dance duo CAPYAC was born. Formed by Delwin Campbell and Eric Peana, CAPYAC’s self-dubbed “balloonwave” sound fits right in with the nu-disco genre, incorporating elements of soul, funk, and utter surreality. The Austin-based group is known in their local music scene for over-the-top performances focused on getting people to move. Last year, they released their debut album Headlunge. Popular single “Speedracer” was the highlight, featuring dreamy-sounding vocals over a groovy beat.   

This year, CAPYAC has already dropped a new EP. Titled Fis, the project consists of four mostly instrumental tracks, incorporating the same funk and electronic influences as Headlunge. My verdict? Meh. While an admirable extension of CAPYAC’s take on French house, Fis did not leave me feeling nearly as impressed as I had hoped to be. The EP began with the 9-minute “No”. It’s decently funky and smooth, but it began to feel repetitive about halfway through. “Bubblegum” fared a little better, introducing energetic female vocals as a contrast to the mellower sounds of “No”. Fis found redemption in its fourth and final song. “Comfort Zone” fades in with CAPYAC’s usual electronic beats before throwing in a sweet (and slightly erratic) saxophone solo. It was a nice surprise, providing a glimpse of the eccentricity I would imagine CAPYAC to embrace in their shows. 

All of the above being said, don’t let my words deter you from supporting this band. Their live performances seem like a blast, and I wholeheartedly recommend that you listen to “Speedracer”.   

More from CAPYAC: Instagram / SoundCloud / Facebook 

Emily Tasaka 

Check out more music and news from Rainy Dawg Radio @ RainyDawg.org!

Concert Review: Madeon and his Pixel Empire

“Would you like to hear some of the new music I’ve been working on?”

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It’s not his first time touring the States, and it probably won’t be his last, either. Meet Madeon, the stage name for 21-year-old electronic prodigy Hugo Leclerq. Having made a name for himself in the past year following the release of his chart-topping album, Adventure, scoring production credits with Lady Gaga, and performing at enormous festivals like Coachella, Leclerq didn’t wait long before starting off another coveted tour around the United States. After stopping by Seattle for not one, but two performances last year in September, Madeon chose this time to play at Foundation for a small DJ set gig before kicking off his big Pixel Empire Tour down in Portland, Oregon following the MLK weekend.

That didn’t stop me from following him there anyway.

Madeon, of course, wasn’t alone. Joining him on his tour this time was Skylar Spence, the stage name for a certain Ryan DeRobertis. The vaporwave artist, formerly known as Saint Pepsi, has also made a name for himself over the years. It quickly became clear why Skylar Spence was Madeon’s opening act: DeRobertis’ nu-disco synth sounds match well with Leclerq’s own style of house music, since both are very pop-driven. Skylar Spence, it seemed, was to be the appetizer to Madeon’s prepared main course.

But half an hour after DeRobertis had left the stage to applause and cheers, the star of the show was still nowhere to be seen. Just as the impatient whispers of the crowd had begun to grow into a muffled roar, however, three large screens flickered on to display an iconic diamond amid a crowd of cheers.

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To have the crowd wait in suspense for such a dramatic entrance reveals Leclerq’s talent as both musician and entertainer who doesn’t fail to deliver as the artist Madeon. Standing center stage and an outline of the Adventure diamond logo flashing vivid scenery behind him, the set began with “Isometric”, the intro from Adventure that immediately had fans – including myself – jumping up and down in anticipation. The rest of the night was filled with jumping, since Adventure is mainly glitch-hop, pop, and disco-inspired; even slower-paced songs, like “La Lune” or “Innocence”, possess a strong, dance-driven beat. The energy in the room somehow stayed alive and never slowed, due in part to Madeon’s own enthusiasm as he danced to the melody or hopped in time with the manic rhythm of his own tracks.

Props must be given to Madeon not just for his passion, but for his ability to mix such an incredible set. Crowd favorites like “Pay No Mind”, “OK”, and “Nonsense” blended consecutively one after another to the point where their transitions seemed near non-existent. Giving recognition to older tracks like “Pop Culture” and “Shuriken” from his earlier days, the set celebrated Madeon’s growth overall as an artist, and nothing impounded this theme of his Pixel Empire tour more than when he introduced live exclusives like “Albatros” and the newly produced “Together”.

An encore, being inevitable, led to an eclectic, upbeat medley of his set that ended the concert with an electrifying finish. On the drive back to Seattle, Adventure ended up being blasted on repeat, and for good reason. When you stop by the Pacific Northwest again, Hugo, I’ll be waiting.

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Wendy Kang



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I’m talkin bout French house

Annnddddddd we’re back. I’m sorry for such a long sabbatical but I was just researching music.
And being lazy.
So who wants to talk about French deep house?

Gonna be honest, I’m SO NOT an expert on house music, but because deep house has elements of soul and 1980s jazz-funk and this specific musician uses a lot of piano and saxophone, I’m going to say that I somewhat know what I’m talking about.

Should we meet Klingande

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A French duo composed of musicians Cédric Steinmyller and Edgar Catry, these guys don’t give the vibe of what you think of when you think of house music: electronic, boring, repetitive. They dig honest sound, and true jazz, funk, and soul. With three solid singles out, deubting in in 2013, these guys are beautiful in their sound.

There are house beats, but there are also funky basslines, eclectic vocal samples, excellent percussion and hypnotic, just straight-jamming grooves of saxophone solos that distinguish Klingande’s sound.

The two boys themselves label their music as “melodic sound,” and for sure they have this vibe of sunny beaches and the strange juxtaposition of classy, classy saxophone jazz and more modern dance pop.

I mean, take a listen to “Jubel.” You’ve got these straight up dope saxophone melodies (thank you fantastic Mr. Snake Davis) running throughout the entire track of lovely Lucie Decarne’s vocals. Reaching number one on the charts in Austria, Belgium, the Czech Republic, Germany, Italy, Luxembourg, Poland, Portugal, Slovakia and Switzerland, this track also hit #3 on the UK Singles chart.

We start out slow with bongo-drums and light layering of keys, yeah? Then a bassline melody, still good, right? Then a build up to the vocals, and you’re like, “Hmm, pretty good.” But then we hit the sax, and you’ve got to just stop and smile.

And then look at his first single ever released, “Punga.” The vocals are phenomenal combined with the saxophone layered on piano. And to be honest, the sax on this track is better than the sax on Jubel, but the standard of excellence here is just so high that either way, any of Klingande’s tracks are going to exceed any of our expectation for musical innovation.

If you like Avicii, if you like Bakermat, if you like saxophone, if you like grooves, please. Do yourself a favor. Check out his Soundcloud here, trust me, he’s worth your time.

And sweet deal because if you fall in love enough, go and check out his show at The Crocodile on May 20th.
You can bet I’m gonna be there.

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Ariana Rivera