Circa 2014, millennials decided that dressing like hippies, and sticking “festival pins” on their Pretty Lights hats was a right of passage to an abstract way of life. Alternative, eastern ideas were “in,” and since then, have faced commercialization by a reckless generation of candy kids. In a society where everyone is wrecking themselves trying to be different, only those who remain undivided from their true mantra, will find inner prosperity. Austin’s synth/pop duo CAPYAC, is creating a global empire based on their own progressive abstract that seeks to–quite literally–move the world.
The twosome, Delwin Campbell and Eric Peana, took to the streets of Austin a year and a half ago with ambition to get people dancing–no matter how outlandish they may appear. Their shows weren’t, and still aren’t, a hub for “coolness;” rather, they pose as an artistic sanctuary for movement and togetherness.
CAPYAC has since gained a near cult following of various artists and intellectuals–all forward thinking. Critically acclaimed music and arts magazine FADER, debuted their eerily erotic music video of their single “Speedracer” crafted by an Austin based creative studio, Helmut. The FADER premiere was a monumental achievement not only for CAPYAC, but for Austin’s local music scene as a whole. After nearly two years of creation and ambition, on June 1, CAPYAC will release their first full length album, Headlunge. The album is available now for pre-order on Kickstarter, and a single from the album– “Talk About” can be streamed right now for free on their Soundcloud.
The inauguration of the album yields overwhelming excitement for CAPYAC fans and the Austin arts community. The duo has revolutionized dance music, with the use of an ebb and flow approach and a production that reflects their absurd aesthetic. Often times, CAPYAC events are a hedonist gathering for costume wearing, bubble blowing, hula-hooping strangers to release their demons to the sound of bass and synth.
This past Friday (May 27) at Vulcan Gas Company, CAPYAC held an album release party that was overflown with oddities and intoxication. The duo was backed by supporting artists playing bongos, chimes and brass–inviting an extra dimension to their already far-out reverberation. That night, Vulcan transformed into a mecca for the CAPYAC empire: lines out the door all evening, sparkly costumes, fur vests, adults of all ages and backgrounds intent on boogieing. CAPYAC merchandise was everywhere, like clothing from their new fashion line, coffee mugs, CD’s and free promotional posters for guests. Not to mention the quirky guest sign-in sheet that requested all attendees names, email and favorite sex position.
CAPYAC appointed two mesmerizing openers, SMILE and Trax Rebo to appropriately electrify the stage prior to their commencement. SMILE is a seven man jam band made of Jake Miles, Nathan Wilkins, Taylor Turner, Zeje Jarmon, Mary Bryce, Annie Long and Walter long. The outfit it stitched by an elegant, possessive sound with broad intellectual breadth. Their melodies were an instrumental introduction to inner peace–mellow, calm yet intentionally moving. SMILE’s fan following appears… humble in it’s numbers, yet they passionately continue to make mindful dance music with style and power.
The proceeding opener, Trax Rebo is a live DJ duo with the faces of Cody Wilson and Ray Levinson-Fort that bring back dark techno. Their sound is not necessarily about smooth transitions, or capitalizing on any particular, already adorned genre. The sound was sharp, experimental and often times, wicked.
The combination of such heady openers, SMILE and Trax Rebo, set the Vulcan stage impeccably for the commencement of the celebration of an empire.
This “commencement,” frequently mentioned, is one of sweat persistence and champagne–a commencement of a three hour set before their three month Austin hiatus begins, while they explore their European opportunities. As they played their final show in Austin prior to their expedition, there was a sense of triumph that radiated throughout the bar between the bands, the guests, and even Vulcan security.
CAPYAC was joined by additional vocals and back up artists playing bongos, chimes and brass. CAPYAC strayed from their original performance as they executed covers of Daft Punk’s “Around The World” and Michael Jackson’s “Thriller.” There were confusing, stirring questions about how many vegetables the crowd indulged in that day: “How many of you out there ate your beets today,” CAPYAC shouted, as the crowd unnaturally, yet natively responded with enthusiasm. They threw back drinks, danced in sweat, and played all of their original tracks to a crowd that did could not stop contributing to their energy. The Headlunge release party was a CAPYAC marathon–covers, singles, and tangents that yielded so. Much. Movement. It was a domination of damn good art, a bewitching tale of new, revolutionary music that incubates in the garages and studios of our Austin streets.
CAPYAC stands firmly as a testament to local collaboration and support, as everything they touch becomes art. CAPYAC, very naturally, has created an unbiased energy that challenges the vapid obsession with being cool and instead, encourages an embrace of one’s innate abstract.
(Feature photo courtesy of On Vinyl’s Alli Lindsey.).