San Antonio music

Garrett T. Capps & NASA Country: “Ouray”

Between Elon Musk centering his SpaceX escapades in the Lone Star State and wearing a ten-gallon hat backwards…the dude is trying way too hard to be a “space cowboy”. But for those of us who’ve spent enough time here in Texas, at least those who’ve made acquaintances with a few certified cosmic countrymen, we know that’s bogus. Because from what we’ve witnessed, you don’t need an aeronautics degree nor be the world’s richest man to make a name for yourself as an intergalactic vaquero.

Case in point: Garrett T. Capps & NASA Country. For the better part of the past decade, the namesake chief commander of this San Antonio coalition’s shown an impressive flexibility across the nexus of Tex-Mex, but with NASA Country, it ain’t the “cosmic Americana” sound that so many city-slickin’ hipsters relish in; instead it’s what NASA Country calls “cowboy kraut” – a bit of that bold kraut rock mixed in with high octane southern rocket fuel with thrust support from far out grooves and homegrown folk.

The latest update from GTC mission control? Everyone is Everyone, out October 4th (appropriately on Spaceflight Records). Here we thought we’d heard the full “Shadows Trilogy” saga when People Are Beautiful dropped last September, but turns out the “prequel” has just been waiting for the pod bay doors to rotate and open. On Everyone is Everyone, Garrett T. Capps and NASA Country hurdles past any lingering star child infancy and climbs through the synth-acoustic constellations to new heights with the most adventurous route of “cowboy kraut” we’ve heard to date. And while Everyone is Everyone‘s lead single doesn’t formally launch until this Friday, most of us (particularly that poor pair of astronauts stuck in orbit right now) would kill for some of that Colorado climate right about now (maybe save for the hot springs). So if your dogs are already barking this early in the week, take a load off with “Ouray” – because at just over five minutes it makes for one hell of a smoke break soundtrack, whether you’re on a tour pit stop, taking a much-needed respite from work, baying at the moon, strumming a six-string, or gazing into a loved one’s eyes. Not much more needs to be said about this one other than “awoooooo”.

Saint Mary’s Street: “Down in the Storm”

Would you check out a Manhattan theatre troupe called “Broadway”? What about a local DJ named “Dirty Sixth”? Or a NOLA band who goes by “Bourbon Street”? While all those hypothetical examples may actually exist, today we’re keeping it south of Travis County with something in the same vein, albeit much more tasteful and mature.

So let’s make our way to Saint Mary’s Street – a project powered by up-and-coming singer-guitarist-songwriter Jake Roberts. Based on Roberts’ moniker, (which refers to a midtown entertainment mecca just a stone’s throw away from Austin), fellow Central Texans have probably already put two and two together that Saint Mary’s Street is from San Antonio. But don’t let any prior experiences on the Strip trip you up when it comes to initial expectations from Saint Mary’s Street, since the on-streaming iteration of SMS is barely two months old.

That’s right; between late May’s impressive introductory single “Already Yours” and the debut album from Saint Mary’s Street (States and Countryside, out September 4th), yesterday Roberts rolled out his sophomore offering (complete with a demo version and B-side counterpart) “Down in the Storm”. Less a literal testament to testy weather and more an emotionally raw response to racial tensions and gun violence, “Down in the Storm” not only showcases Roberts’ intrinsic vocal-and-instrumental talent but his knack for take-it-or-leave it lyrics – which you’ll surely appreciate whether you’re driving out of Greenville, stuck in office, or chilling at home for its sincere pondering of the state of the nation.

Tone Royal: “Alone” (feat. Daddy NAT)

When rappers claim to be “the best on the mic”, they’re talking about verbal skills, not their technical prowess with any specific equipment. Clearly that’s the case, since you’ll see those same people spend a whole set cupping the SM58 ’cause it turns out their mic technique actually sucks.

But in terms of intimate familiarity with spoken vocal performance, be it in the studio tracking voice overs, in the stadium making announcements, or onstage ripping up a show, few Central Texas figures rack up to the orator that is Ray Villarreal, better known as Tone Royal. Because between his home recording, sports work, and hip-hop side hustle there’s no such thing as an off-season for Tone. A slayer of sibilance and preventer of plosives, the San Antonio native also happens to have wealth in the ways of lyrical wordplay, as we’ve heard intermittently over the past decade.

On last Friday’s “Alone”, Tone Royal finds himself in good company with forlorn ’80s synths and a ’90s boom bap shuffle, not to mention Austin’s Daddy NAT gracing the hook with some sultry refrains. All in all, “Alone” would sound right at home in between Notorious B.I.G.’s “Juicy” and 2Pac’s “Only God Can Judge Me” thanks to those retro qualities, and yeah…Tone’s undying affinity for putting himself in front of the mic and unleashing the rhymes.

Tone Royal: “Nick at Nite”

If you’ve attended your fair share of hip-hop shows, this has happened to you at least once. You discover a new rapper, fall in love with their music, and seize an opportunity to see them live. But right after they take the stage, they inexplicably start cupping the mic, distorting their once-intelligible lyrics into gobbledygook. It can really put a damper on things, even when they’re clearly giving it their all. So when you watch a seasoned emcee prove their worth as a “mic controller” in what could’ve quickly become a garbled cacophony, it’s refreshing as hell.

Considering Ray Villareal’s various public-facing side hustles – as an esteemed stadium sports announcer (for NCAA, UT, and beyond), frequent Double Toasted Bites podcast contributor, or as an outspoken pal determined to buy a round of Buds for the whole bar – it makes sense that Tone Royal treats microphones with a lot of technical understanding and respect. Tomorrow night, the San Antonio-raised, Austin-based vocalist assumes the headlining throne for Empire Control Room’s all-ages “Slow Roasted” 4/20 showcase, preceded by openers MCs Unknown, Shrt_lyf, Daddy Nat, and ZC3, all alongside DJ Buck Rodgers.

This morning Tone Royal sparked up the anticipation with his first single since last August’s “I Hate You”. While the straight-laced often associate 3AM with the witching hour, lonely partakers of the herbal persuasion can relate to the red-eyed reflections and retro re-runs that reside shortly before the day’s first 4:20. Somewhere between a modern torch song and a blunt-rolling bop, “Nick at Nite“ picks up where Passion Pit and Timmy Trumpet left off with a fresh interpolation of Mary O’Hara’s “Óró Mo Bháidín” baking under hazy sax in the background. Tone Royal’s trademark laid back swagger (on both the studio and live version of “Nick at Nite”) has us begging for a full-band full-length follow-up to 2018’s Late some time in the near future, but until then, we’re just fine with putting the remote in the freezer and letting the dial collect dust.

Grrrl Toy: “Bite!”

The way some people talk about solo singer-songwriters…seems like there’s a lot of complicated discourse around the whole “one-person act” aspect. We sometimes idolize (and frankly fetishize) unescorted performances by the likes of Norah Jones or Billie Eilish, but honestly, even with those examples I respect the hell out of a songwriter who recognizes the potential of a full-group.

Among those? San Antonio singer-guitarist Rhyma Castillo. Following lineages of Led Zeppelin, Janis Joplin, Joan Jett, PJ Harvey, and even Tina Turner, Castillo launched her classic-rock-meets-grunge project Grrrl Toy as a solo endeavor back in July. But despite the caliber of Castillo’s standalone talents, the potential to expand was just too good to pass up. Now, mere months later, Grrrl Toy records and performs as a fizzing feminist five-piece, and dang do those additional four players make a difference for the final product.

Following their first two singles, the quintet’s been working on their debut EP Merry Lane for release next Summer. And today Grrrl Toy’s graciously given us an early listen to what’s sure to be one of Merry Lane‘s finest incisors. At just over four minutes, “Bite!” is a slow burn that starts off real sweet, real soft. But between crunching guitar, sharp percussion fills, and a half-time bridge just before a big Blackhearts-style vocal-driven finish, you won’t want “Bite!” to release its grip, even after breaking the skin.

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

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 & 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…