#garrett t. capps

[musiconspotify]

Garrett T. Capps - Life Is Strange (2025) … Capps-Core music …

[weflyonthewall]

Garrett T. Capps - Vera, Groningen, november 2023

Ricoh GRIIIx

[allaboutherock2011]

AUSTIN PSYCH FEST Announces 2025 Lineup: Dinosaur Jr, Kim Gordon, Explosions in the Sky, Darkside, Yo La Tengo & More

Austin Psych Fest 2025 brings another slate of indie rock icons, experimental rock and tripped-out sounds – from shoegaze to psychedelic rock and cumbia – to the big South Austin backyard at The Far Out Lounge. The event has always taken an expansive interpretation of psychedelia, exploring the outer edges of the musical spectrum that continue to be informed and inspired by 1960s sonic…

[noloveforned]

tonight i'm on wlur from 8pm until midnight with the last 'regular' no love for ned of the year. hopefully next week will be a holiday show and we'll wrap up december with a 'best of 2003' show. if you're doing something fabulous with your friday night then you can always stream last week's show on mixcloud whenever you'd like!

no love for ned on wlur – december 8th, 2023 from 8-10pm

artist // track // album // label leyna noel // cling peaches // the honest voluptuary // (self-released) feeling figures // across the line // migration magic // perennial / k sundae painters // hollow way // sundae painters // leather jacket the lewers // postcards for terrorists // 518a // lulu's sonic disc club heavy meddo featuring garrett t. capps // she's about a mover // she's about a mover 7" // ebb people mover // not // not digital single // little lunch the belair lip bombs // i think i like you // songs to do your laundry to ep // (self-released) virvon varvon // voices // voices cassette // girlsville erik nervous // innanet // immaturity // feel it dick move // i am enough // wet // 1:12 horn // all my breathing // horn cassette // melted ice cream palberta // trick ya // bye bye berta // wharf cat elkhorn featuring eva sheppard and katie degentesh // star power // lagniappe sessions // (self-released) monocot // aunt marsh // leave to cool // astral editions bonnie 'prince' billy // keeping secrets will destroy you // keeping secrets will destroy you digital single // drag city icy demons // manny's // fight back! // cloud byard lancaster // it's not up to us // it's not up to us // superior viaduct tani tabbal quartet // reach forward // intentional // mahakala music the southern university jazz ensemble // music came // goes to africa with love // now again sam gendel and marcella cytrynowicz // ij // audiobook // psychic hotline akai solo // black flash // verticality/singularity // break all mike featuring liv.e and venna // u think maybe? // burning desire // 10k teleclere // steal your love // affection/defection // tidal waves j.j. fad // supersonic // supersonic // ruthless beyoncé // my house // my house digital single // parkwood entertainment holland // futaki horns // green text // teenbeat nnamdï // wouldn't it be nice // fader and friends volume one compilation // fader pop filter // indulged in myself // cono // bobo integral non la // homes // homes digital single // mint lightheaded // patti girl // good good great! cassette // slumberland sullen eyes // getting there // hardwood floors and a hand to hold // sunday soft covers // the real housewives of porpoise spit // soft serve // little lunch

[gemspsychrockout]

Austin Psych Fest 2025

April 25-27, 2025 at The Far Out Lounge, Austin TX

Federale

Black Mountain

Garrett T Capps & Nasa Country

Holy Wave

What a great weekend!

[bluestownmusic]

Op Tour Met Bintangs, Jesse Malin en Garrett T Capps

  Tour Agenda – Op Tour Met Bintangs, Jesse Malin en Garrett T Capps   Tourdata: Bintangs: Okt. 17, 2021 Haarlem (NL) Patronaat Nov. 07, 2021 Laren, Gld (NL) Bullrock Festival Nov. 13, 2021 Monster (NL) Blues aan Zee Festival Nov. 21, 2021 Uden (NL) De Pul Nov. 27, 2021 Frieschepalen (NL) Ma Kelly’s Dec. 19, 2021 Amsterdam (NL) Q-Factory Jan. 22, 2022 Hoorn (NL) Manifesto Bintangs uit Beverwijk…

[mrmusikita]

#RecomendacionMusical: Nickel & Dimin' - James Matthew VII, Augie Meyers, DADDY LONG LEGS, Garrett T. Capps https://ift.tt/3jBntVA

[bolachasgratis]

The TakeRoot 2019 review

Garrett T. Capps. Photo by Knelis / TakeRoot 

It’s midnight in Groningen. It’s the end of an abnormally warm November saturday and it should also have been the end of an eight hour marathon of roots and americana across six rooms in the De Oosterpoort complex. But Garrett T. Capps and his NASA Country have different ideas. Suddenly, a “curfew” seems like a malleable concept as fellow Texans Robert Ellis and James Steinle join the band on stage for a sprawling and ecstatic “Born in San Antone” and a version of the classic “She’s About a Mover”, penned by San Antonio’s very own Doug Sahm. Capps seems comfortable as the frontman to a 21st century version of the mighty Texas Tornados, powered by a strong rhythm section and an unusual synth that takes his brand of Americana to another dimension. I’ve been calling it krautcountry after seeing them in Paradiso’s small room in the same evening as Faust and Camera, and you should too.

The legs of young and old seem to have forgotten they spent the last eight hours standing and rushing to the next stage with little or no time to rest and nobody can stand still. Believe me when I say “young and old” – the audience here is clearly older than your average “indie” festival, embarrassing not only boomers across the continent who think they’re too old to leave the house after dinner time, but also Gen X-ers and millennials who gave up on live music and the having of fun as soon as they got kids to feed. Anyway. Find me someone who was in the room and didn’t leave the festival with a smile on their face and I’ll try to cheer them up in 2020. Maybe they missed on the amazing frietjes topped with stoofvlees we had earlier that evening?

Orville Peck. Photo by Knelis / TakeRoot

Just before that closing show, AA Bondy played the most exquisite show of the evening in the small, scorching hot basement of De Oosterpoort. There were zero guitars on stage. It was just a man, his sunglasses, his synth, colorful stage lights, video projections and some of the best songs of 2019. I had watched his show in Amsterdam the night before, so I knew Bondy’s beautiful updated version of his own “Oh the Vampyre”, close to the end of the set, would be one of the highlights of his set, so I had to be there for that. A few hours earlier, outside that very same stage, people were queuing for what seemed like half an hour in order to not miss a second of Orville Peck’s show. In 45 minutes that sounded like 25, the masked Pink Cowboy (my personal favorite Halloween costume of 2019, from what I’ve seen on Instagram) and his cowboy-hat wearing five piece band went through most of Peck’s debut and only album so far, Pony, with a single break for a cover of the Parsons/Harris duet Ooh Las Vegas alongside FRIGS’ Bria Salmena, who’s part of Peck’s touring band. 

Erin Rae. Photo by Knelis / TakeRoot

Earlier at the Binnenzaal, both Erin Rae and Caroline Spence debuted some new songs. The high points of Rae’s set, though, were the beautiful “Minolta” from 2015′s Soon Enough and the brilliant “Wild Blue Wind” off last year’s breakthrough Putting On Airs. Likewise, Spence’s infectious “Who’s Gonna Make My Mistakes” off the brand new Mint Condition was the first big highlight of a festival that, for one more year, was able to put up the “sold out” sign – and I learned it the hard way as I tried to get in the already packed room. This is no ordinary festival, and the artists know it, too. It was common for them to give a shout out to some of their friends who were also playing, and most seemed excited with the idea of playing a festival where artists would rather be amongst the public seeing other shows than to get wasted backstage. Rae was having the time of her life seeing Drive-By Truckers, and, just like any other festival goer, had to manage her time to be able to catch a bit of AA Bondy’s show. After all, we’re all the same, we just happen to not be as gifted with words as they are.

The Delines’ Amy Boone. Photo by Knelis / TakeRoot

On the bigger room of the complex, the only disappointing moment of the festival, as Josh Ritter took the stage without a backing band. Sure, it was great to hear acoustic versions of classics like “Wolves” or “Henrietta, Indiana”, but make sure you bring a full band next time, pal. Meanwhile, in an absurdly packed and sweaty basement, Tyler Ramsey and his band were playing a few selections from his past albums, but focusing on his latest For the Morning; in an also packed, half-seated Kleine Zaal, The Delines, were presenting The Imperial alongside a few new songs whose names sound like they’re out of a concept album about going up on a hotel elevator (“Eight Floors Up”, “A Room in the Tenth Floor”). They’re self-described as a “retro country band”, and that’s exactly what you get from their live show. “Retro” as in “you’re transported to a smokeless smoky room in some other time”, not as some sort of nostalgic pastiche of influences that makes you cringe. If you’re familiar with Vlautin’s songwriting with Richmond Fontaine you’ll notice the same lyrical themes of beaten-up common folk trying to make it in a world that wasn’t exactly made for them. Boone’s voice projects those stories into a half-empty room of a provincial bar somewhere in the western United States, and you’re sitting there wishing there was a friendly person on the other side of the bar pouring you another whiskey. (Shout out to the kind and very knowledgeable barkeeper at Café de Koffer, where yours truly went to get a nightcap after the mandatory midnight döner, and ended up sitting at the bar sharing some beautiful Cantillon until 4am.)

Robert Ellis. Photo by Knelis / TakeRoot

But no matter how good a festival is, if this guy is playing, the highlight is bound to be the same every single time, even though plenty of his best songs were left out of the set. Robert Ellis. One of our favorite songwriters of the past decade keeps reinventing himself. This time around he presents himself as the Texas Piano Man, the title of his stellar latest record. He guides us through the piano-driven album (“Fucking Crazy”, “When You’re Away”, “Passive Aggressive”, the sad-as-fuck “Father”, or the closer “Nobody Smokes Anymore”) with a few stops to pick up a guitar, playing two absolute classics: “Happy Birthday” (yes, that one) and “What a Wonderful World” (also, yes, that one) and his own “Elephant”. But the most surprising number from the covers department had to be either the George Strait classic “Amarillo by Morning” (originally written by Terry Stafford and Paul Fraser), or Ellis’ assumption that people in the audience wouldn’t know who Strait is. It’s the Netherlands, dude. The best place in Europe for open minded music enthusiasts who don’t think country music is for people who marry their cousins. And, year after year, TakeRoot is still the closest to a Disneyland for people who wish they owned a nudie suit we can get on this side of the ocean.

TakeRoot will be back next Saturday, 7 November 2020 at SPOT/De Oosterpoort, Groningen, The Netherlands.

[mxyreviews]

Garrett T. Capps // In The Shadows (Again)

"I could tell you what I feel / Or I could sing a song on top of someone's stage". So beginnt der erste Song des neusten Albums der Bandcamp-Country-Lichtgestalt Garrett T. Capps: "Born Into A Ballroom". Überhaupt scheinen Tanzen, Sich-Verlieren, Rückzug und Wiederfindung auf diesem Album allgegenwärtig zu sein. So heißt es auf "Interstate 35 Waltz": "We were waltzing in Dallas when it all disappeared / Found work in Waco and there goes five years". Capps hat einen beeindruckend scharfen Blick für diese Unschärfen eines Lebens, für Momente von Selbstauslöschung und Neuentstehung. Das Leben im Ballsaal stellt sich immer wieder die Frage nach seinem Zweck – was tun, wohin gehen?

In den zehn hier versammelten Songs trifft man immer wieder auf Permutationen dieser Prinzipien: Wandernde, Verlorene, Sucher. Dies scheint auch Capps' Anspruch an das neue Album zu sein, in dem er sich als "flight director" seines Projekts "NASA Country" versteht. Die Durchmischung von den verschiedenen disparaten Stilrichtungen, die er bisher auf seinen vier veröffentlichten Alben erkundet hat, triumphiert hier: am vorläufigen Höhepunkt einer Karriere, die bisher stets versuchte, den Sprung von Folk und Country zu Punk, Kraut- und Artrock zu schaffen.

Das Capps diesen Sprung hier so mühelos schafft, ist das Ergebnis eines langwierigen Prozesses der Selbstfindung, unter dem man den Albumtitel vielleicht als programmatisch lesen kann. Denn das Titelstück "In The Shadows (Again)" erschien bereits 2016 auf der EP "Inc.". Damals mutete das Stück jedoch noch als stilistischer Ausreißer an. Im Gewand einer Trauermelodie erinnerte es entfernt an moderne Goth-Revival Bands wie Have A Nice Life. Hier entdeckt man es als Teil einer geschlossenen klanglichen Einheit wieder, deren Souveränität und Beiläufigkeit bewundernswert ist. Das hat Capps mit Will Oldham gemein, diesem anderen Nomaden der Alt-Country Szene, der das verheerende Titelstück seines 98er Albums "I See A Darkness" vierzehn Jahre später mühelos umkehrte. Immer wieder fransen die zunächst so unkomplizierten Countrystücke aus. Die Lead-Gitarre trägt ein Echo in das Stück, umgeben von den Klang- und Rauschsphären von Justin Boyd. Der Tablettenabhängige urbane Cowboy aus "Go Home" sieht beinahe das Licht, nachdem er aus dem Delirium wieder erwacht, dann springt das Stück zurück in den jubilanten Chorus. Alles setzt sich wieder. "I wanna go home /  Back to where I'm from".

Vielleicht ist es dieser Unstetigkeit geschuldet, dass Rastlosigkeit und Stagnation, Bewegung und Stillstand hier immer wieder thematisiert werden. Capps' Songs handeln beinahe ausschließlich von der Bewegung an einen neuen Horizont der Möglichkeit, und den damit verbundenen Hoffnungen und Zweifeln. Die Kernstücke des Albums "Here Right Now" und "Trouble's Calling", die jeweils mit kurzen Song-Skizzen eingeleitet werden, vertiefen diese Zwiespälte noch. In "Here Right Now" findet Capps die momentartige Offenbarung in der Flucht nach vorne ("And there is something in the horizon / There is a beauty in the horizon / But wherever we're going took us here right now"), die sich dann jedoch ("Trouble's Calling") in eine existenzielle Angst verkehrt, die den Genres, denen Capps sich bedient, allesamt innewohnt: "With the distant wonder / Beyond the present time / Our catalyst relapses / And sips some wine / And while it soothes the tension / In his worried mind / Didn't know what was waiting on the other side".

Diese Ambivalenz ist es, die dafür sorgt, dass Capps Licht und Schatten so nahe beieinander verordnet. Seine Figuren bewegen sich fließend zwischen Ekstase und Delirium. Immer wieder verschwindet die Sonne hinter dem Horizont um erneut aufzutauchen. Am Ende steht nicht mehr die Frage, was zu tun ist. Für Capps ist die Antwort offenkundig klar. Die Frage ist – war vielleicht schon immer - ob es gelingt, wie es gelingen kann. "Trouble's calling / Through the darkness and night / Trouble's calling / Can you harness the light?". BUY THE ALBUM

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[bestfrozentreats2]

"Texas music is known for its sense of place, whether it’s Western swing, guitar-powered electric blues, or Dirty South hip-hop. But at least one Texas city, and one specific part of that city, can claim a sound all its own: the Westside Sound of San Antonio.

The Westside Sound refers to a specific place and time, beginning in the 1950s, when Mexican American teenagers in San Antonio first heard rock’n’roll. Budding musicians from across the city formed bands playing music that incorporated rhythm and blues, often with a heavy horn section, and influences of swing, conjunto, and country. Sometimes referred to as “Chicano Soul,” the music drew on the early rock’n’rollers from New Orleans like Fats Domino and emphasized slow-dance standards known as “bellyrubbers.”

But unlike scenes in other places, the Westside Sound never completely went away. Its popularity persists thanks to veteran San Antonio musicians and fans championing their city’s native sound. You can hear the influence of the Westside Sound in songs like “Hey Baby Kep Pa So,” by enduring San Antonio keyboardist Augie Meyers, and in the music of younger musicians such as Los Texmaniacs, Garrett T. Capps, Mitch Webb and the Swindles, Adrian Quesada, and Jonny Benavidez..."

[musiconspotify]

Garrett T. Capps & NASA Country People Are Beautiful (2022) … Kraut-country …

[weflyonthewall]

Garrett T. Capps - Oosterpoort, Groningen, june 2022

Fuji X-E2s with Fujinon 27mm f/2.8

[walleyfilms]

The official video for “All Right, All Night", the title track off of Garrett T. Capps' latest album, released 8/30 on Shotgun House Records. Directed by Walley Films.

[noloveforned]

no love for ned is on wlur tonight from 8pm until midnight. tune in for the new show at 8pm followed by a rebroadcast of last week's show at 10pm. you can also catch up with last week's show at your convenience below!

no love for ned on wlur – january 20th, 2023 from 8-10pm

artist // track // album // label the happy thoughts // half day // the happy thoughts // hozac dippers // mazing // looking for a sphere cassette // tenth court bettie serveert // get the bird // kid's alright ep // matador equal parts // a crisis // equal parts ep // tiny town the breeders // son of three // title tk // 4ad lenola // track this // the swerving corpse // tappersize sex hands // hairdo // pleh // faux discx jen trynin // go ahead // gun shy, trigger happy // warner bros. syndrome 81 // avenir // prisons imaginaires // destructure the casual dots // descending // sanguine truth // ixor stix personal trainer // rug busters // big love blanket // the industry bonny doon // crooked creek // let there be music // anti 2 square y? // lovebomb // the secret degree // emotional response garrett t. capps and nasa country // happen anytime // people are beautiful // spaceflight elephant micah // coming down for you // (bandcamp mp3) // (unreleased) tujiko noriko // cosmic ray // crépuscule i and ii // editions mego björk featuring ísadóra bjarkardóttir barney // her mother's house // fossora // one little independent steve reid // odyssey sweet // odyssey of the oblong square // soul jazz benji b, raven bush, theon cross, nubya garcia, tom herbert, shabaka hutchings, nikolaj torp larsen, dave okumu, nick ramm, dan see, tom skinner and martin terefe // miles chases new voodoo in the church (single edit) // london brew // concord jazz angel bat dawid featuring terence etc. // re-birthday // (bandcamp mp3) // nkonsonkonson publishing james brandon lewis trio featuring anthony pirog and nicholas ryan gant // bittersweet // no filter // bns sessions roy ayers ubiquity // he's a superstar // he's coming // polydor mckinley dixon featuring angélica garcia // sun, i rise // beloved! paradise! jazz!? // city slang b. cool-aid featuring liv.e, butcher brown, jimetta rose, v.c.r and maurice ii // cnt go back (tell me) // leather boulevard // lex stan ipcus // bust the way i flip it // foliage // (self-released) theo croker featuring ego ella may and d’leau // theo says // by the way ep // masterworks cécile mclorin salvant // wuthering heights (kassa overall remix) // wuthering heights (kassa overall remix) digital single // nonesuch billy nomates // saboteur forcefield // cacti // invada apollo ghosts // gave up the dream // gave up the dream digital single // you've changed julian never // high school // pious fiction // mt.st.mtn. dylan mondegreen // sister // sister digital single // (self-released) ivy // sleeping late // apartment life (expanded) // bar/none

[mediamonarchy]

#MorningMonarchy: May 6, 2020

#MorningMonarchy MP3: #May6 w/#FoodWorldOrder + #ThisDayInHistory & @Garrett_T_Capps // Plus more great cover art by @CitizensGateway!

https://mediamonarchy.com/wp-content/uploads/2020/05/20200506_MorningMonarchy.mp3 Download MP3

Pointless shutdowns, one world kitchen and murder hornets + this day in history w/Four minute mile and our song of the day by Garrett T. Capps on your Morning Monarchy for May 6, 2020.

Notes/Links:

World risks famines of ‘biblical proportions’ from pandemic, says UN https://twitter.com/shartstorm8d8/stat…

[klangspot]

Added to Indiespendable Rocks! on Spotify: "Baby Please" by Garrett T. Capps http://ift.tt/2m5GhjI