5 minute long tour vlogs are gonna be dripped up on the tube as we finish editing them.

» THE FIRST ONE IS HERE «

Enjoy <3

P.S. New music soon bbs! We’ve been hard at work.

What’s up now?

• We’re on Subvert. Basically Bandcamp, but structured like a co-op. We’ll be releasing everything early over there.

• Fly Forever / Opulence Machine is a double single OUT TODAY on all the other streaming platforms. STREAM HERE

And because why not? — here are the last three records I bought:

1. Now You Exist by The Field. I was so excited to wake up one day and learn there was a new album by The Field. I listened to it four times in a row. No one does loops like The Field. It’s like soft techno, like getting your head scratched by a long-fingernailed lover, like the looping shadows you see when you drive a lit interstate at night.

2. No You by No You. Post-shoegaze / post-punk / post-motorik stuff going on here, which have been big nodes of inspiration lately (you can expect a twinge of post-punk in upcoming Capyac, I’ll tell you that much!). Not on Bandcamp (yet) but you can email the record label VP Texi and they’ll mail you a copy personally.

3. in filth your mystery is kingdom / far smile peasant in yellow music by Dagmar Zuniga. Soft tape-deck singer-songwriter stuff that sounds like it came into your waking life from another time as a friendly (but still haunting) ghost. I’m not convinced Dagmar is from this timeline, instead trawling some misty path parallel to our own.

That’s all for today! Big love from Orcas Island. Stay tuned for Berlin dates this summer :)

I’ve been busy, so this one’s short.

May 15-16 • Austin, TX • Two nights at the legendary Hole in the Wall • tickets night one • tickets night two

May 28 • Malibu, CA (with Reggie Watts) • tickets

May 30 • San Diego, CA • Soda Bar • tickets

Also gonna plug the merch! We still got Sobbing Ecstasy sweaters and vinyl records, as well as a few older items.

The biggest news is that I have a new studio in Berlin at Funkhaus. I’m working on Capyac material out of here, but also producing, recording, mixing other projects. Let’s work <3

Our new song RYE BREAD is out with a real wonder of a music video, featuring Lando Chill and a small mouse cobbler.

» CHECK IT HERE «

BONUS: I’ve revamped the Capyac website, and now it has a growing archive. I’ll be adding more entries as I filter through all of the digital debris we’ve accumulated over our career. Here’s a nice example — a bunch of photos and some video from our 2022 “Cowboi Summer” show in Austin.

Also, Sobbing Ecstasy LP & sweaters are in stock here.

Good morning internet.

This seems as good a spot as any to share what’s been interesting to my ears lately.

When I’m not listening to NTS or digging for club tracks (the rave mix is here), these are the albums I’m listening to all the way through:

• C.A.R. — Dance at Oscar’s (2025). We saw this band play at Houghton Fest in 2024 and 2025. Charismatic, dark, spacious electronic pop.

• Ndagga Rhythm Force — Khadim (2025). Senegalese drumming and vocals meets dub techno. Another Houghton booking that blew me away.

• Maria Tariaeva — Conservatory of Flowers (2020). Textural Buchla ambient. When I was back home in Berlin last month, this was on the record player nearly every day.

• Bill Evans & Jim Hall — Undercurrent (1962). Famous for a reason. This is perhaps my favorite Bill Evans record??

• Juana Molina — DOGA (2025). A friend sent me Segundo a while ago and I was entranced for months. This new album is hitting even harder than that one, my favorite from her so far.

• Yellow Magic Orchestra — Technodon (1993). Definitely different from earlier synth-pop YMO — a little darker and more experimental.

• Sopa de Pedra - ao longe já se ouvia (2017). A cappella Portuguese folk music, gorgeous.

• Lee (asano+ryuhei) — A lady chilled on the sofa (2012). Rediscovered this the other day scrolling through the mp3 library. Lovely stuff from the golden age of SoundCloud lofi hip-hop.

• Barker — Stochastic Drift (2025). Wide and bright ambient / left-field techno record, for daydreaming while you stare out the airplane window. Hit a lot of “best of 2025” lists.

• Onuki Taeko — Sunshower (1977). Nothing too contemplative here. City pop arrangements with abrupt turns to Return to Forever-style fusion. Some good crunchy harmonies on this record to keep it from being overly easy-breezy (but it’s still extremely easy-breezy). Blasting this while I wheel around the 110 to Lincoln Heights on my way to Eric’s studio at the Snail Farm.

Hit me back and let me know what you’re listening tooooo <3

See you soon Los Angeles! (get yer tix)

For those of you whose record collections still feature a gaping, Sobbing Ecstasy-sized hole, may we seduce you to our store?

Aaaand we’ve still got this sick sweatshirt — brand yourself with Capyac’s emotive phrasing today.

» Go on and get it <3 «

Also — our records have finally shipped to our distributor. We believe they will be shipping to all you buyers by Friday. Thank you for your undying patience.

If you haven’t got one yet, they’re for sale on Bandcamp. Limited pressing of 300!

The reason I’m writing you is: our album SOBBING ECSTASY is finally out!

Get it on Bandcamp, or everywhere else.

There are so many lovely tracks on this one that we didn’t release as singles. I’d like to highlight ((( strange pressure ))), a rare Capyac 12/8 groove featuring previous collaborator Ciceley Fullylove, as well as new collaborator Harry Terrell. There’s Grief is an ~ opening, a beautiful poem that Def Sound (who has their own fantastic newsletter) wrote over an ambient track. And I can’t forget to mention The Credits, where international man of mystery Reggie Watts reads the names of everyone involved in the album over an 1980s-style sports theme that I wrote on the Prophet during a heated game of billiards out at a ranch in West Texas.

There’s some nice BTS on this ig post.

Go listen to it all! It’s gorgeous! And then buy the vinyl record!

Also — come to our Austin release party on November 22 at Empire Garage! TIX HERE

Love you, more soon!

I don’t want to say too much about this song, other than it’s one of my favorites from the album, and the one that most encapsulates the idea of “sobbing ecstasy” for me. The song is about loss, and it’s a banger. Cry on the dance floor with us.

And perhaps I should explain the title. I’m not exactly sure when or where it started, but somehow “angel eye contact” became the name Obie and I gave the sunbeams that burst through clouds to illuminate the ground or the sea or the hills. Despite the benevolent reputation of angels, I think making eye contact with one is actually quite dangerous — you would lose your mind looking at something so beyond human comprehension — which is why they’re always looking elsewhere, observing you only in their peripheral vision.

Give it a listen wherever you get your music. May I suggest Bandcamp?

Written & produced by all of us.
Vocals by Obie.
Guitar by Eric.
Synths & drums by me.

Percussion by Adam Pawel Dziewaltowski-Gintowt.
Voice recording from a video sent to us by Isabella Scannone.
Music video (coming soon) by Ursula.
Cover art by Obie (using a still from the music video).

» WATCH THE VIDEO «

» Bandcamp | Everywhere Else «

The song is about love at the end of the world, which has already happened, is currently happening, and will only continue to happen. (Apocalypse is the natural state of post-industrial society, at least until we achieve some kind of Star Trek-like post-scarcity, but I don’t count on that happening this century.)

We filmed the video in Berlin with the help of an incredible group of people we met while loitering in a Polish palace for 2 weeks. Stars, each and every one of them! The director Ronen had the idea to do an homage to They Live, and drafted up a treatment that was a nice concise critique of capitalism. We were on board but told him there weren’t nearly enough slugs in the treatment, so we took his draft and threw a slug-shaped wrench in the whole plan. I’m not sure if the social commentary is quite as strong as in the original, but at least now there’s slugs. No one can come crying to us about the lack of slugs. Finally, this time no one will be in the comments saying, “Where are all the slugs you promised us?”

» WATCH THE VIDEO «

The other major major major announcement is that we have an album coming out. Our first in four years.

» PRE-ORDER SOBBING ECSTASY «

There will be a vinyl pressing, but we are only doing 200-300 of them, so get one while you can!

LAST THING: If you’re in Berlin this weekend, we’re playing ~ live improvised house music ~ with Reggie Watts at Heideglühen on Sunday from 18:30-20:15, sharing the bill with Chaos in the CBD, Dr Banana, Mood II Swing, Gene on Earth, and other legends. It’s going to be an excellent party, and our last show in Europe for the season — come through.

<3
~ Capyac

» LISTEN TO THE SONG «

On the heels of our extremely successful viral yam jazz psy-op, we present to you: “Keep Me Close Pt. II,” a little time capsule of the summer of 2023, featuring the voices and percussions of several friends from the Berlin jam scene — Sara Cabré on vocals, Adam Pawel on percussion and voice memo ("Cheers from Neukölln!"), and Julian Wieder on drums.

Here are some photos from our hot and sweaty show, from the same month as those sessions, at the lost but not forgotten legendary punk venue Loophole (where Adam joined us on percussion):

photos by world famous concert photographer Less Distress

This lineup — us + Adam Pawel — reunites ce soir for a special 90-minute improvised house set at the best club in Berlin for house music: Heideglühen.

—

some music that is inspiring me today:

• Admas - Sons of Ethiopia

• This 1970 video of Kraftwerk

• Masayoshi Takanaka’s model train slide guitar

• Wah Wah Watson, Paul Jackson, James Levi, Bennie Maupin & Herbie Hancock - Hang Up Your Hang Ups

• DJ Krush - Meiso

have a lovely weekend my friends <3

Before “Sexy in my Bodyyy” was a hit online, it was a hit on our tour with Rubblebucket, where we played it at every show and folks were coming up to us afterwards asking where they could listen to it.

It was different every time, but this version, recorded in Baltimore back in April, is one of my favorites. I take an extended synth solo, we drop the tempo, and come back in with the hot dog.

LISTEN TO IT → SOUNDCLOUD or MP3 on Dropbox

Also check out the original music video if you haven’t yet!

Paid subscribers: you’ll see below this paragraph a link to download the entire Baltimore show, featuring our sloppy 182bpm punk cover of Jimmy Buffet’s classic “Margaritaville,” as well as a few other shows from the tour with Rubblebucket.

Read more

» MUSIC VIDEO ON YOUTUBE «

» SONG ON BANDCAMP «

We played this tune at every show on tour and it never got old. Fans asked us afterwards, What is that hot dog song? and we told them it was coming out on May 16th, on one occasion passing out lemons with the date written on to make sure people didn’t forget. And now here we are, and it is out, and we have a beautiful music video for it as well, shot on 16mm and featuring our sculptural friends and their vibrant collections of tattoos.

Obie on lead vocals
Chair on guitar and some of the better synth riffs
Delwin on keys & drums
Max Hirtz-Wolf on bass
Jenny Matveinen with a choice backing vocal line

Here’s an interview we did about the song (on Instagram) if you are looking to read more words about it.

NEXT WEEK: A nearly six minute long live version of the song for the paid subscribers, and a bunch of BTS from the music video.

Wishing body euphoria to all y’all this Friday <3

Our tour ended on April 25 in Chicago, but only now have I gathered the energy to write — I’m back in Berlin and I’ve put my studio back together to get ready for a summer of production (new Capyac, multiple side projects, whatever comes). My brain had been in a fog for days from exhaustion, jet lag, and caffeine withdrawals (the coffee intake got out of control on tour; had to cleanse).

Obie and Eric are in New York City and Los Angeles respectively at the moment. But we reunite next week to continue our tradition of writing a bunch of music during the long and beautiful days of the Berlin summer. We may play a show or two as well, let’s see ;)

Anyway, tour. Tour was intense, as tours tend to be! Hundreds of hours in the Toyota Tacoma. 10,000 miles on the road. My body sure was in rough shape afterwards, but our souls were full to the brim, overflowing. We saw so many friends and family members in every corner of the country. Everyone’s scattered all about these days, and we’re lucky enough to have a good excuse to go see them all.

Another highlight for me tends to be the folks that come up after the show and explain to us how we allowed them to feel a new emotion, or move their body in a new way, or feel a new kind of comfort in themselves, or open up new pathways to creativity. In one notable case, a teenager told us that our concert was the “first time [she] had ever danced” or heard electronic music.

This actually might the driving force behind this whole project?? With how much good music there is already (I’m drowning in it, every day), I’m often thinking, “why even bother to make more?” So, it is always nice to see this music’s real effects on people, hear testaments to its power and usefulness and beauty. If I weren’t convinced I was changing lives, at least a little bit, I’d have to find some other way to spend this short time on Earth. But for now, this is meaningful. As silly as it is.

Because silliness is important. It’s a matter of life or death, actually.

This is what I’ve been listening to lately:

• Djrum — Under Tangled Silence. He bridges IDM, classical, and jazz in such an elegant way. Obsessed.

• Men I Trust — Equus Asinus. A nice vibe all the way through.

• Yetsuby — 4EVA. Really adventurous production, somewhere between ambient and hyperpop. I look forward to every Yetsuby release, and this one did not disappoint.

• Roberta Flack — Feel Like Makin’ Love. We’ve all heard the single, of course, but this album is gold all the way through and I slept on it for way too long.

• Charles Mingus — Mingus Plays Piano. Skip the Andre 3000 piano album and listen to this instead.

• Will Sprott — Natural Internet. Obie & Eric found this album while I was taking a nap in the backseat of the truck during tour and I woke up to “Riding a Slug” and it was just the most lovely thing.

I could keep going forever, but alas, it’s getting late here and I should really go to bed.

Love you all! NEW MUSIC FRIDAY WE’RE SO EXCITED AAHHHH <3<3<3<3

When I heard that Reggie Watts had begun orbiting our friend circles in Los Angeles, I knew it was only a matter of time until we ran into each other.

What I didn’t expect is that we’d become very good friends, travel together, tour together, and make a bunch of music together.

I’m sitting on hours and hours of demos with Reggie, y’all. It’s overwhelming. We’re making music together faster than we can edit it into releases, and waaaay faster than our label would ever allow us to release it.

For now, we have this 5-tracker. Much more to come :)

Mixed & mastered by Louis McGuire. Cover by Ellen Foster Price.

Y’all, it feels so good to be putting out music again!

» Listen on Bandcamp «

Lastly I’m going to plug my own newsletter, Good Bugs, which is more of a personal blog than any kind of promotional outlet. I’m moving off social media but I still enjoy writing and sharing pictures, so that’ll be happening over there.

Love you all bye bye! 🐛🐛🐛🐛

We’ve got another one with Reggie Watts out this weekend, my dear friends, a 90s house influenced pop track with that organ bass we all know and love. Give it a spin: streaming / Bandcamp.

Or, if you prefer the audiovisual experience: Eric put together an exceedingly wholesome compilation of friends walking away from the viewer (comments are wide open for interpretations on that symbolism). Check it on YouTube.

One of the major themes of 2024 for us was friendship — an omnidirectional expansion of the community, little pockets of it flourishing in a few places around the world. Berlin. PNW. London. Texas. NYC. LA. New Mexico. Old Mexico. Cairo. Etc etc. You can see it in Eric’s video, you can see it in Kat’s polaroids that accompany each of these releases with Reggie. That’s been the vibe lately.

I can’t speak for everyone, but personally, I was always worried that I would get to my thirties and my friendships would shrink, either in strength or in number. I had spent my teens and twenties watching folks settle down, form family units, and kind of drop out of the greater community a little bit — It’s certainly what the movies, TV, and news were showing me, and I didn’t know many (any?) folks that operated differently. Luckily, I have experienced the exact opposite — more and stronger bonds, continually weaving. Loom life. Gonna need those blankets one day.

Anyway. Reggie’s been a big part of the 2024 friendship expansion pack, and making music or merriment with him feels as natural as if we’ve known each other for years. What initially seemed like a chance collaboration now feels like the beginning of intertwining careers; I have no doubt we’ll have many more stories to tell together as the river of time winds on.

Listen to the track. Full EP out next month y’all.

LAST THING: If you’re a paid subscriber, you’ll see below this paragraph an outtake from our sessions this past summer with Reggie — this will never see a proper release, but it’s secretly my favorite thing we made in those sessions and gets stuck in my head all the time.

Read more

First, some individual campaigns that were sent to us when we reached out to our community:

• Zorthian Ranch

• Williams Family

• Wallace Family

• Help My Aunts Rebuild

• Charlie Britz

• Help Terry Rebuild

• Help Ari’s Parents

• Natalie Stone

• Suzanne, Milo, and Buck Down

Here’s a list of fundraisers compiled by some friends associated with Zorthian Ranch, which burned down and displaced twenty people.

Here's a list of fundraisers for Black & Latino families in Altadena, a historically Black & Latino area.

Here’s a big mutual aid index of indices and resources and individual GoFundMe campaigns.

Here’s an index of musicians’ fundraisers.

Here’s an IG post from Jazz is Dead with resources to forward to anyone you know affected by the fires.

Lastly, here’s a list of companies providing free products. Is this sketchy disaster capitalism? Maybe! But I’d say get that free shit if you can.

That is all for now! Love you, more music is on the way :)

<3 Capyac

So. Eric and I wrote this song years ago. 2019? 2018? I don’t remember. We performed it twice at house parties in LA. Everyone who was there would agree. Christmas is a Day. Indeed, and emphatically, it’s a day of the week.

One day in 2022, in a rare Christmas mania, I produced the track in my studio in Berlin and sent my demo to Eric in LA, who recorded a guitar solo, and Jeff Olson in Austin, who recorded the drums. They both sent back perfect takes. Obie did some backing vocals and gave me the courage I needed to land the second key change and hit the highest note in my range. I mixed it and got it mastered. It was our first proper foray into stadium rock ballads and Christmas music, and y’all, I think we nailed it. Sleigh bells. Wind chimes. DX7. Key changes. Backing choir. BIG guitar solo. What more could you want?

I wanted to release it in 2022, but I refused to do so without a music video.

So we recorded a one-take iPhone video at a friend’s house, but it just wasn’t good enough. The song deserved a higher budget production.

Until we get that budget and record that video, the song will remain unreleased. But that’s where this newsletter comes in — here, we can release these gems to the folks that are down to pay for it.

Releasing our music to a paid subscriber audience does two things:

1. Most importantly, it makes sure our riskiest music, the kind of stuff that would really confuse the masses, only goes to the fans who get us. If you’re paying top dollar for unreleased Capyac music, you probably know us well enough to not be surprised that we have a stadium rock Christmas banger we’ve been sitting on, fully mastered, for two years. If we sent this to the Spotify algorithm, our casual fans (and our label) just wouldn’t understand. Y’all do.

2. It allows us to release music faster than the music industry will let us, which is about once every 4-6 weeks. Y’all, we have like 100 unreleased tracks in our Dropbox, and it’s a crime that they’re going unheard.

Below this paragraph is the 🕯️paywall🕯️, and if you pay us a lil money, you’ll get a free download of our unreleased Christmas song, and we’ll get to survive in this predatory music industry a little longer. We’ll continue to drop unreleased tracks to the paid subscribers once a month. :)

Read more

Reply to this email, and we’ll listen to your track and tell you what we think!

Love forever,
Capyac

Read more

If you don’t care for stories and would like to jump straight to the music, here it is on Bandcamp. If you prefer to rent your music, it’s also everywhere else.

We also made a music video » watch it here «

Anyway. Here’s the timeline —

We met Reggie Watts at Gold Line in Los Angeles on my birthday in 2023. We went to someone’s house afterwards and had a little jam. The bond was formed. Numbers exchanged.

The next time we hung out with Reggie was on his birthday, a few months later. He was in Berlin for a few weeks and we hung out nearly every day, jamming, recording, going dancing, doing the Berlin thing.

In May 2024, we got together at Eric’s Snail Farm attic studio in LA and recorded a few hours of improv. A few days later we did some vocal overdubs at Harry Terrel’s studio. We re-arranged those tracks into a little EP and spent the summer somewhat reproducing them. It was the fastest we’d ever worked.

In August, Obie and I joined him and his partner Kat at Houghton Music Festival in Norfolk, England, and hatched the plan to tour together in the UK. He spent some more time in Berlin after that, and we played a few shows together, just him and I. The chemistry deepened.

Last week, on Dec 2, we all flew into England and played a show with him in Bristol, having never rehearsed together. We hadn’t even had a rehearsal ourselves. The show went alright. By Friday, we were warmed up and much tighter, and the flow at Hootananny in Brixton was excellent. If you were there, you almost certainly remember the improvised soft rock hit, “(It’s a) Love Situation.” The funny thing about making up the entire show is that none of the songs we’ve actually recorded with Reggie have ever been performed live.

The music video for Dreamwalking (here) also came about very spontaneously last week. We arrived to London with 3 of our traveling party feeling a bit under the weather, so instead of going out, we hung out in front of the TV, with Reggie’s phone connected to the TV via AirPlay. He discovered that with the camera app pointed at itself on the TV, we were able to create trippy analog-style video feedback effects that would vary depending on the framerate, lighting, and angle. We spent over an hour playing around in front of the TV learning its tricks, and filmed the music video via screen recordings.

(Photos by Kat McCollough)

More news

• We’re sharing our unreleased Christmas ballad “Christmas is a Day” to paid subscribers on Dec 20. We’ll be sharing unreleased stuff, drafts, edits, etc. to paid subscribers every month.

• We’re going on tour in the US with Rubblebucket in March & April. Dates here.

• If you’re in Berlin, we’re playing Heideglühen with Reggie TOMORROW (Saturday) at 18:30. Come thru, say hi.

Much to come in 2025!

See you there. :)