KatsüK

There’s a reason Fort Worth singer-songwriter Daniel Katsük took almost four years to release the follow-up to his band KatsüK’s 2008 debut album, Out of the Wind. Actually, there are a whole bunch of reasons: money (or lack thereof), sudden fatherhood, other musical projects, and a changing lineup of available studios. Happily, the long wait was worth it. Zero Point is a 15-track collection of world music-inflected tunes that are tiny in sonic detail but grand in theme and instrumentation. Katsük himself went through so many personal and artistic changes in the time he worked on the album, he wound up making significant revisions to his compositions near the end of the recording process.

“I ended up rewriting the lyrics to nearly every song,” he said. “I felt like there wasn’t much hope in the lyrical content. I didn’t want to just vomit my woes all over people. A good song, like a good movie or book, has the hero coming back from his journey with the prize, the reward of what he learned along the way. That’s a very Joseph Campbell-ish idea. I wanted to go through the fire and then bring that turnaround back into the music.”

The rewards of Zero Point, which features the contributions of 19 different musicians besides guitarist-flutist-singer Katsük and guitarist-producer Jeff Dahlgren, are intensely catchy melodies, lush and intricate studio effects that never sound gimmicky or gratuitous, and a general outlook of spiritual generosity during tough times. The album’s meditative tunes run the gamut from gentle melancholy folk (the opener “Us”) to cheeky funk-informed kiss-off tunes (“Au Revoir”) to an eight-minute acoustic-psychedelic workout with shimmering layers of multi-tracked choruses (“Space Child”). Zero Point is one of those rare sprawling, ambitious collections that you want to listen to from beginning to end.

After Out of the Wind came out, Katsük started writing and recording a ska-funk project with members of Fort Worth rockers Sally Majestic. Then he shelved that to begin work with Dahlgren on what would become Zero Point. A little later on, his then-girlfriend became pregnant with Lotus, their child, and Daniel found himself frankly terrified at the daunting prospect of fatherhood. (Once he saw his tiny daughter’s smile, he said, the joy of this new life he’d helped create vanquished the fears of not being a good enough parent.) Through all the drama and emotional chaos, though, he never felt like he lost the creative thread of the album, which is remarkable in itself: Zero Point was recorded in at least four different studios across North Texas. As with all of his musical projects, he established a basic standard in his mind of what he wanted the songs to sound like before he ever sat down in front of a studio mic.

Katsük loves concept albums like Pink Floyd’s The Wall, and in his mind, Zero Point is about how exploring the shadow side of your personality is a big part of taking responsibility for your life. In his mind, the centerpiece of the album is the tune “Re-emergence,” which is his version of a traditional Hopi Indian song that he’s heard many times in purification lodges over the years. The tune is about how death –– the shedding of a person’s body as they leave “the womb of the planet” –– is merely another kind of birth. In the studio, he and Dahlgren used digitally manipulated effects to bring Katsük’s baby directly into the music.

“We recorded the heartbeat of my daughter while she was in the womb,” he said. “We ended up turning it into a beat. When I was recording the flute part for the song, she was about six months old. She was playing on the floor [in the studio] behind me, and she let out this big yell. We were also able to capture that [and include it in the song]. It was like a bird screeching. It was beautiful.”

Now that Zero Point has been out for about six months, Katsük is itching to move on to new material. While he’s finishing up that ska-funk project and recording a solo acoustic album, his band KatsüK is preparing to release an album of previously unreleased tracks, Zero Point Two, and then record an entirely new collection of songs. The Grotto show this Friday will be the band’s first live performance of 2013, and the singer-songwriter wants to incorporate some new, previously unheard tunes into the set.

“I love to take big operatic songs and bring them down so they’re just as impactful when three or four people play them,” he said. “We wrote a ton of material in a rush [after Zero Point]. We wanted to hold off on playing it for a while. Now we’re ready to surprise people with it.” - Fort Worth Weekly

There’s a reason Fort Worth singer-songwriter Daniel Katsük took almost four years to release the follow-up to his band KatsüK’s 2008 debut album, Out of the Wind. Actually, there are a whole bunch of reasons: money (or lack thereof), sudden fatherhood, other musical projects, and a changing lineup of available studios. Happily, the long wait was worth it. Zero Point is a 15-track collection of world music-inflected tunes that are tiny in sonic detail but grand in theme and instrumentation. Katsük himself went through so many personal and artistic changes in the time he worked on the album, he wound up making significant revisions to his compositions near the end of the recording process.

“I ended up rewriting the lyrics to nearly every song,” he said. “I felt like there wasn’t much hope in the lyrical content. I didn’t want to just vomit my woes all over people. A good song, like a good movie or book, has the hero coming back from his journey with the prize, the reward of what he learned along the way. That’s a very Joseph Campbell-ish idea. I wanted to go through the fire and then bring that turnaround back into the music.”

The rewards of Zero Point, which features the contributions of 19 different musicians besides guitarist-flutist-singer Katsük and guitarist-producer Jeff Dahlgren, are intensely catchy melodies, lush and intricate studio effects that never sound gimmicky or gratuitous, and a general outlook of spiritual generosity during tough times. The album’s meditative tunes run the gamut from gentle melancholy folk (the opener “Us”) to cheeky funk-informed kiss-off tunes (“Au Revoir”) to an eight-minute acoustic-psychedelic workout with shimmering layers of multi-tracked choruses (“Space Child”). Zero Point is one of those rare sprawling, ambitious collections that you want to listen to from beginning to end.

After Out of the Wind came out, Katsük started writing and recording a ska-funk project with members of Fort Worth rockers Sally Majestic. Then he shelved that to begin work with Dahlgren on what would become Zero Point. A little later on, his then-girlfriend became pregnant with Lotus, their child, and Daniel found himself frankly terrified at the daunting prospect of fatherhood. (Once he saw his tiny daughter’s smile, he said, the joy of this new life he’d helped create vanquished the fears of not being a good enough parent.) Through all the drama and emotional chaos, though, he never felt like he lost the creative thread of the album, which is remarkable in itself: Zero Point was recorded in at least four different studios across North Texas. As with all of his musical projects, he established a basic standard in his mind of what he wanted the songs to sound like before he ever sat down in front of a studio mic.

Katsük loves concept albums like Pink Floyd’s The Wall, and in his mind, Zero Point is about how exploring the shadow side of your personality is a big part of taking responsibility for your life. In his mind, the centerpiece of the album is the tune “Re-emergence,” which is his version of a traditional Hopi Indian song that he’s heard many times in purification lodges over the years. The tune is about how death –– the shedding of a person’s body as they leave “the womb of the planet” –– is merely another kind of birth. In the studio, he and Dahlgren used digitally manipulated effects to bring Katsük’s baby directly into the music.

“We recorded the heartbeat of my daughter while she was in the womb,” he said. “We ended up turning it into a beat. When I was recording the flute part for the song, she was about six months old. She was playing on the floor [in the studio] behind me, and she let out this big yell. We were also able to capture that [and include it in the song]. It was like a bird screeching. It was beautiful.”

Now that Zero Point has been out for about six months, Katsük is itching to move on to new material. While he’s finishing up that ska-funk project and recording a solo acoustic album, his band KatsüK is preparing to release an album of previously unreleased tracks, Zero Point Two, and then record an entirely new collection of songs. The Grotto show this Friday will be the band’s first live performance of 2013, and the singer-songwriter wants to incorporate some new, previously unheard tunes into the set.

“I love to take big operatic songs and bring them down so they’re just as impactful when three or four people play them,” he said. “We wrote a ton of material in a rush [after Zero Point]. We wanted to hold off on playing it for a while. Now we’re ready to surprise people with it.” - Fort Worth Weekly

I don’t know what –– if anything –– this means, but two of the first few musicians I met when I moved here, lo, these 10 years ago, are not only still writing, recording, and performing but are also now putting out new albums. Even cooler, both artists –– Kevin Aldridge and Daniel Katsük –– are celebrating their albums’ releases on the same weekend in August. Back when I met Aldridge, he was fronting a rocking band called Brasco (’member them?!); Katsük was a member of Spoonfed Tribe, about to start his own project, A-Hummin’ Acoustical Acupuncture, whose Monday night residency at the dearly departed Wreck Room quickly became the place to be in Fort Worth on Monday nights. Aldridge stuck with the solo thing for years, forming his current outfit, Kevin Aldridge & The Appraisers, only a few months ago. Katsük rode Triple-A for a few years before decamping for the wilds of Colorado, where he lived for a while before returning home a couple of years ago and starting over. Of course, most of yesteryear’s most popular bands and artists –– Collin Herring, Flickerstick, John Price, Mermaid Purse, Doosu –– have either broken up or moved away. But looking back on those days, I can easily see the obvious fact that both Aldridge and Katsük would stop making music only when they weren’t breathing and would make music nowhere else but here, their home. Zero Point, the new album from Katsük’s musical vehicle, KatsüK (note the two capital “K”s), is incredible, a real opus, and hard to categorize, going from acoustic reverie to crunching guitars and beats sometimes within the same song. Featuring contributions from more than a dozen killer musos, including monster bassist Matt Skates and members of Sally Majestic, Zero Point –– with its shades of jangly R.E.M. Americana, syrupy Zeppelinesque stomp, and Blind Melon hyper-melodicism –– is a strong candidate for album of the year. Similarly, Aldridge’s album, The Viper Sessions, also features backing by some badasses –– guitarist Scott Davis and drummer Kenny Smith, who make their livings backing Austin-based Americana superstar Hayes Carll –– but is contemplative, subtle, and moody where Zero Point is bombastic and dramatic. Aldridge will host a listening party 6-8 p.m. Monday, Aug. 6, on the Near South Side at The Usual (1408 W. Magnolia Av., 817-810-0114). Copies of the disc and merch will be available for sale, and Aldridge will probably play a few tunes solo acoustic. Admission is free. Aldridge’s CD release party will be in the West 7th corridor with Fort Worth ’60s-throwback rockers The Apache 5 on Friday, Aug. 10, at Magnolia Motor Lounge (3005 Morton St., 817-332-3344). Cover is $8. Two classic-rock-oriented Fort Worth outfits, the venerable Goodwin and Neptune Locals, will help KatsüK celebrate the release of Zero Point on the Near South Side at The Where House (2510 Hemphill St., 817-913-7777) on Saturday, Aug. 11. Cover is $10, and the first 50 people will get a free copy of the album. - FWWeekly

I don’t know what –– if anything –– this means, but two of the first few musicians I met when I moved here, lo, these 10 years ago, are not only still writing, recording, and performing but are also now putting out new albums. Even cooler, both artists –– Kevin Aldridge and Daniel Katsük –– are celebrating their albums’ releases on the same weekend in August. Back when I met Aldridge, he was fronting a rocking band called Brasco (’member them?!); Katsük was a member of Spoonfed Tribe, about to start his own project, A-Hummin’ Acoustical Acupuncture, whose Monday night residency at the dearly departed Wreck Room quickly became the place to be in Fort Worth on Monday nights. Aldridge stuck with the solo thing for years, forming his current outfit, Kevin Aldridge & The Appraisers, only a few months ago. Katsük rode Triple-A for a few years before decamping for the wilds of Colorado, where he lived for a while before returning home a couple of years ago and starting over. Of course, most of yesteryear’s most popular bands and artists –– Collin Herring, Flickerstick, John Price, Mermaid Purse, Doosu –– have either broken up or moved away. But looking back on those days, I can easily see the obvious fact that both Aldridge and Katsük would stop making music only when they weren’t breathing and would make music nowhere else but here, their home. Zero Point, the new album from Katsük’s musical vehicle, KatsüK (note the two capital “K”s), is incredible, a real opus, and hard to categorize, going from acoustic reverie to crunching guitars and beats sometimes within the same song. Featuring contributions from more than a dozen killer musos, including monster bassist Matt Skates and members of Sally Majestic, Zero Point –– with its shades of jangly R.E.M. Americana, syrupy Zeppelinesque stomp, and Blind Melon hyper-melodicism –– is a strong candidate for album of the year. Similarly, Aldridge’s album, The Viper Sessions, also features backing by some badasses –– guitarist Scott Davis and drummer Kenny Smith, who make their livings backing Austin-based Americana superstar Hayes Carll –– but is contemplative, subtle, and moody where Zero Point is bombastic and dramatic. Aldridge will host a listening party 6-8 p.m. Monday, Aug. 6, on the Near South Side at The Usual (1408 W. Magnolia Av., 817-810-0114). Copies of the disc and merch will be available for sale, and Aldridge will probably play a few tunes solo acoustic. Admission is free. Aldridge’s CD release party will be in the West 7th corridor with Fort Worth ’60s-throwback rockers The Apache 5 on Friday, Aug. 10, at Magnolia Motor Lounge (3005 Morton St., 817-332-3344). Cover is $8. Two classic-rock-oriented Fort Worth outfits, the venerable Goodwin and Neptune Locals, will help KatsüK celebrate the release of Zero Point on the Near South Side at The Where House (2510 Hemphill St., 817-913-7777) on Saturday, Aug. 11. Cover is $10, and the first 50 people will get a free copy of the album. - FWWeekly

Katsuk
Skeleton Key (Self-released)
By Kelly Dearmore Thursday, Mar 25 2010

The latest project from Fort Worth's Katsuk, Skeleton Key, is an unusually ambitious EP that funnels a diverse collection of sounds through an acoustic filter, effectively purifying each of the offering's seven songs. The earnest lyrics that frontman and band namesake Daniel Katsuk delivers, with an often-times Oberst-style warble, strive for substantial meaning and a purposeful spirituality.


While convincing, Katsuk's noble venture into the realm of tribal rhythms and his espousing of various global influences do tend to cause a bit of trans-Atlantic whiplash in the span of this EP. To more fully comprehend what Katsuk is attempting to provide, imagine what Guster might offer from a musical perspective after watching a National Geographic Channel special detailing the cultural arts of the Ottoman Empire from their bus—while perusing a Bob Marley biography during the commercials—on a tour with Ray LaMontagne.

By simply taking a look at Skeleton Key's album art and even Katsuk's Web site, it's clear that Katsuk is posturing to create an image for himself as something more than a dreadlocked, suburban, 20-something with a tattered copy of Entering the Stream tucked safely into his Baja hoodie poncho. And, for the most part, Katsuk rises above such clichés that often claim the soul-patches of college-aged open-mic barnstormers possessing similar visions of a higher plane.
- Dallas Observer

Daniel Katsük has perfected his vocal presence as a guru seemingly influenced equally by Yusef Islam and Jamiroquai's Jay Kay and more than capable of navigating listeners through his arrangements of strings, percussion, keys, and all manner of shimmering world-music effects. - FW Weekly

Katsuk
Skeleton Key (Self-released)
By Kelly Dearmore Thursday, Mar 25 2010

The latest project from Fort Worth's Katsuk, Skeleton Key, is an unusually ambitious EP that funnels a diverse collection of sounds through an acoustic filter, effectively purifying each of the offering's seven songs. The earnest lyrics that frontman and band namesake Daniel Katsuk delivers, with an often-times Oberst-style warble, strive for substantial meaning and a purposeful spirituality.


While convincing, Katsuk's noble venture into the realm of tribal rhythms and his espousing of various global influences do tend to cause a bit of trans-Atlantic whiplash in the span of this EP. To more fully comprehend what Katsuk is attempting to provide, imagine what Guster might offer from a musical perspective after watching a National Geographic Channel special detailing the cultural arts of the Ottoman Empire from their bus—while perusing a Bob Marley biography during the commercials—on a tour with Ray LaMontagne.

By simply taking a look at Skeleton Key's album art and even Katsuk's Web site, it's clear that Katsuk is posturing to create an image for himself as something more than a dreadlocked, suburban, 20-something with a tattered copy of Entering the Stream tucked safely into his Baja hoodie poncho. And, for the most part, Katsuk rises above such clichés that often claim the soul-patches of college-aged open-mic barnstormers possessing similar visions of a higher plane.
- Dallas Observer

“Everybody pretty much knows what goes down at a KatsüK show — heavy, tribal percussion mingles with glorious, mellifluous melodies that come from some mythical place where Middle Eastern chants and rock choruses coexist peacefully.” –Ft. Worth Weekly-
- Ft. Worth Weekly

“Everybody pretty much knows what goes down at a KatsüK show — heavy, tribal percussion mingles with glorious, mellifluous melodies that come from some mythical place where Middle Eastern chants and rock choruses coexist peacefully.” –Ft. Worth Weekly-
- Ft. Worth Weekly

“Weaving together an impressively thick sonic tapestry, I was really blown away by KatsüK, and their massive Middle Eastern sound. Fans of Dead Can Dance and acoustic Led Zeppelin should check them out.” -Harder Beat Magazine-
- Harder Beat

“Weaving together an impressively thick sonic tapestry, I was really blown away by KatsüK, and their massive Middle Eastern sound. Fans of Dead Can Dance and acoustic Led Zeppelin should check them out.” -Harder Beat Magazine-
- Harder Beat

Formed by Daniel KatsüK (Spoonfed Tribe) and based out of Ft. Worth TX, KatsüK formerly known as A-hummin’ Acoustical Acupuncture (AAA) has toured nationally and internationally playing such festivals as High Sierra, Bob Marley, Lollapalooza, Dreamtime Festival and many many more. - Pegasus News

The five-hour extravaganza celebrating Dylan's 66 birthday played like Dylan's career: An acoustic rise to fame followed abruptly by an electric downward spiral to the early hours of the next millenium that left people wondering when it was all going to end. So pity if you went to the bathroom during the first forty minutes of the show -- it was like missing Freewheelin' Bob Dylan all together.

Jim Dalton from the the Railbenders laid down "It Ain't Me Babe," with Angie Stevens filling the role of Joan Baez. And the AAA's Daniel Katsuk played a killer version of "Blowin in the Wind" that did justice to the original by mixing it up, not just feeding the crowd a photocopy of a photocopy. - The Westword - Denver

Daniel Katsük finally seems to be getting back into the swing of Fort Worth things. Couple-a years ago, the psych-folk singer-songwriter decamped for verdant Colorado, then came back, then started a band that soon fell apart, and then, well, he got back on track. Katsük is recording an EP at Sound Lab in Irving. At his side is veteran muso Jeff Dahlgren, who played in the legendary L.A. punk band Wasted Youth (one member went on to Velvet Revolver, another to Queens of the Stone Age) and also played guitar in international chanteuse Mylène Farmer's backing band.
Katsuk

Daniel Katsuk.
A friend was responsible for the introduction. Dahlgren also is producing the still-untitled record. Tentative release date is late summer or early fall, and by the first of the year, Katsük hopes to release a double album. "Things have been moving in such a powerful way it is refreshing," he said. "It is really nice to work with someone so professional yet genuine, as he is on a similar spiritual path. ... It has been helpful and inspiring." Catch Katsük solo at Chadra Mezza & Grill (1622 Park Place Ave. on the South Side, 817-926-3992) Friday and Saturday from 6:30 to 11 p.m. Visit www.myspace.com/katsuk. ... You also can catch KatsüK, the full band, on Sun., June 28, as part of the 12th Annual Fort Worth Weekly Music Awards Festival. Three dozen bands, including Telegraph Canyon, The Orbans, Josh Weathers + the True Endeavors, Dove Hunter, Sam Anderson and the Thrift Store Troubadours, Chatterton, Whiskey Folk Ramblers, Rivercrest Yacht Club, Stephen Pointer Band, Maren Morris, Pablo and the Hemphill 7, and many more, are already slated to play. You'll be able to catch them at one of six downtown clubs: 8.0 Restaurant & Bar, Bent Lounge, Flying Saucer Draught Emporium, Embargo, Paddy Reds Irish Pub, and Scat Jazz Lounge. The event is free. Mark your calendars. ... - FW Weekly

Daniel Katsük finally seems to be getting back into the swing of Fort Worth things. Couple-a years ago, the psych-folk singer-songwriter decamped for verdant Colorado, then came back, then started a band that soon fell apart, and then, well, he got back on track. Katsük is recording an EP at Sound Lab in Irving. At his side is veteran muso Jeff Dahlgren, who played in the legendary L.A. punk band Wasted Youth (one member went on to Velvet Revolver, another to Queens of the Stone Age) and also played guitar in international chanteuse Mylène Farmer's backing band.
Katsuk

Daniel Katsuk.
A friend was responsible for the introduction. Dahlgren also is producing the still-untitled record. Tentative release date is late summer or early fall, and by the first of the year, Katsük hopes to release a double album. "Things have been moving in such a powerful way it is refreshing," he said. "It is really nice to work with someone so professional yet genuine, as he is on a similar spiritual path. ... It has been helpful and inspiring." Catch Katsük solo at Chadra Mezza & Grill (1622 Park Place Ave. on the South Side, 817-926-3992) Friday and Saturday from 6:30 to 11 p.m. Visit www.myspace.com/katsuk. ... You also can catch KatsüK, the full band, on Sun., June 28, as part of the 12th Annual Fort Worth Weekly Music Awards Festival. Three dozen bands, including Telegraph Canyon, The Orbans, Josh Weathers + the True Endeavors, Dove Hunter, Sam Anderson and the Thrift Store Troubadours, Chatterton, Whiskey Folk Ramblers, Rivercrest Yacht Club, Stephen Pointer Band, Maren Morris, Pablo and the Hemphill 7, and many more, are already slated to play. You'll be able to catch them at one of six downtown clubs: 8.0 Restaurant & Bar, Bent Lounge, Flying Saucer Draught Emporium, Embargo, Paddy Reds Irish Pub, and Scat Jazz Lounge. The event is free. Mark your calendars. ... - FW Weekly