Artist Profile: Kurupi
Kurupi, the Latin punk-rap artist from Northern California, has spent years chasing an intersection between genres that feel almost innate to his creative drive, melding the aggression and capabilities of emotional expression of two separate genres into a cohesive, instrumentation-driven sound.
As a child, Kurupi gained an appreciation of music from his father, who is a guitarist and was majorly into the West Coast grunge scene as a teenager. While, as a result of the natural reversion kids have to their parents’ music, Kurupi initially shied away from that genre as a whole, he discovered his own love for music, funnily enough, through hearing a System of a Down song while playing guitar hero.
From there, Kurupi picked up the guitar, pursuing an obsession with blown-out riffs and chugging rhythms through the early days of his journey into music.
As he entered high school, he aimed to start a band that would allow him to pursue this sound in a group setting, and, over time, he found a group of friends that had similar tastes in music. Although he was not the vocalist for the group, he was the primary songwriter, and, as he honed his craft more and more, his unique sound developed.
“In the first version of [Kurupi], I wasn't doing anything vocally. I was writing all the songs, but we had a singer. I would just write the songs and bring the lyrics. It ended up being a thing where he wasn't coming from rap at all, and he would just be like, ‘It feels like you're trying to make me rap. What you're writing is weird to sing’.”
As Kurupi eventually stripped down to a solo act and its originator moved down to Los Angeles, it began to find its form.
His album that was released last year, No Esperes, represents both his initial wanderings into and the fullest representations of this sound, encapsulating the mix of emotions he felt as he moved out on his own and began to handle a turbulent world as an adult.
He wrote most of the songs on that album around 2020, but years of polishing left the record in a place to truly be an introduction to Kurupi’s unique emotional potency.
“I don't necessarily see myself as that aggressive. The lyrics aren't necessarily as super aggressive as they are just like, screaming into the void and processing death. But I would say there was something special in… just trying to get them down and living in an apartment where I couldn't really be loud and living in a new town and working graveyard shifts that was definitely like an outlet to push those feelings out.”
However, his next project, 2025 EP “¡fruta!”, came from happier circumstances. After moving to L.A. with childhood friend and producer Cudimitsu, they would hold sessions with other rappers and musicians in the L.A scene accompanied by cookouts at their house, and from that positive energy came a collection of tracks that express a sense of joy and celebration in daily life: something that Kurupi feels his community needs given current socio-political circumstances.
His upcoming project, Voyager 20XX, is still largely under wraps, but it will take a more conceptual, sci-fi driven route in correlation with a video game that Kurupi is in the process of developing.
Yet, no matter what direction he takes next, Kurupi’s genre-blended sound will continue to develop, and, as he continues to push the envelope of his niche, he will be one to watch in the West Coast rap scene.
Although youbet began as the bedroom-pop project of singer-songwriter Nick Llobet, the project was never simply just a creative outlet. As Llobet transitioned from his early days of obsession with technical guitar mastery and turned his attention towards building a fuller sonic world, he had a hazy vision of a layered, otherworldly songwriting approach— one that ultimately manifested in the experimentally-inclined indie folk of youbet and, with the addition of bassist Micah Prussack to the project, reached its culmination.
When Hillsboro’s frontman, Vancouver native Nima Walker, first began making electronic instrumentals in his bedroom as a teenager, he never imagined he would have the inclination to lead a rock band, let alone find the confidence and community that the activity required. But over a decade later, Hillsboro has found its fullest expression under the winsome eye of Walker’s earnest songwriting, and with the release of their new album A Party in Your Name, this artistic impulse has worked its way to the forefront of a distortion-heavy, garage-rock-oriented backdrop.
When guitarist and songwriter Jack Shields got the call that he was being invited to join Richy Mitch & The Coal Miners, he knew that his life, in many ways, had changed forever. In a sense, he had accomplished the goal he had first set out to achieve as a teenager— to live and work full-time as a musician. But beyond the tours and the recording, Jack’s new gig has yielded one central benefit. He’s gotten to devote his attention to his solo venture, Jack Shields & The Mojave Rush, and with the release of his newest album Avalanche Hour, he’s continued to carve out the distinct, ragged sound that has become all his own over the past few years.
For Ellen Froese, the Saskatchewan-born singer-songwriter, the release of her 2026 project Solitary Songs, a collection of 11 tracks recorded in an open studio setting with a group of friends in 2024, represents more than a return from the four-year break she took from the music industry. The project is a testament not only to the new artistic balance she’s found, but to a mode of living and a freedom of expression she’s carved out as she’s slowly come into her own as a songwriter.
Jason Balla, currently of indie-rock outfit Dehd and formerly of NE-HI and Earring, has been a fixture of the Chicago rock scene for almost as long as he can trace back his musical consciousness. But with the release of his second solo record as Accessory, entitled Dust, he’s at his most intrepid, carving out spaces informed, but not wholly defined by, his roots in noise rock and his long-held passion for “weirdo” music.
Valentin Prince’s winding musical journey, which began as a child listening to his father sing Bob Dylan songs as he walked through the halls of their house outside of Boston and came to fruition in the small, passionate scene of Harrisonburg, Virginia, has left him with an endless array of imprints and fascinations— one that has been expressed in various forms in each of his unique solo releases.
When Violet Beller and Anakeesta Ironwood first met at the University of Miami, they knew immediately that they would click as friends. Their similar musical and creative affinities ensured it. But what they didn’t know was the coiling twists and turns that their original sapling of an idea would take on, incorporating member after member from their scene until rug, as a sprawling, seven-piece indie band, came to find its complete form.
When Northampton-based composer and producer Dan Langa set out to create a live version of his COVID-era concert After Nothing Comes, enlisting a number of collaborators to re-interpret and re-record the work in a live setting, he had very little idea what would ultimately come of it. Fugue State and its first full release— a collage-oriented, experimental version of the original chamber composition— came about unintentionally, as a gradual crystallization of Langa’s artistic intentions as he worked on the project.
NYC-based guitarist and singer-songwriter Eli Frank has found creative release through Bummer Camp, his solo endeavour turned full-band project, in the years since the dissolution of his DIY punk venture Top Nachos. But now, as the release of the newest Bummer Camp record Fake My Death indicates a turn in a more pop-leaning direction, it’s become evident that Frank is operating at a level of artistic freedom that has, at times throughout his career, been difficult to keep near the forefront of his creative atmosphere.
For founder and frontman Ed Moreno, SoCal-based indie and garage-rock band The High Curbs has served as a sort of journal for his musical inspirations and creative leanings since its formation in 2013. At the time, Moreno was in high school, but over the decade-plus The High Curbs have been in action, he has watched himself grow from an energetic, rock-loving teenager to a more mature artist, coming to love the artistic process itself to the same extent he’s always been impassioned by the actual act of performing his music.
she’s green has come a long way from their roots scrapping together demos in their shared house in Minneapolis, but their unique brand of “moss rock”, a folk and indie-inspired, dreamy shoegaze blend, has managed to maintain its centrality to their image and their artistic output in the meantime. With the upcoming release of their third project swallowtail, however, they have reached a new level of creative polish and cohesion— one that is imminently recognizable in the nooks and crannies, the infinite and collapsing spaces, they fill with their withering sonic atmosphere.
Although Dirt Buyer originated as simply another foray in the playful experimentations of founders Joe Sutkowski and Ruben Radlauer, it quickly took on a life of its own, serving as an outlet for the constant musical energy and slowcore-tinged riffs the pair exuded. But for Sutkowski particularly, the band (and the release of Dirt Buyer III) have become a sort of baseline— one that, as he exits a long-standing battle with addiction, represents a goal of a comfortable and intimate creative space to return to.
From the time he was first immersed in his brother’s rotation of southern hip-hop, NY-born producer and rapper Radicule. knew that, in some shape or form, he wanted to be involved in the direct thematic delivery and pure artistry those rappers exhibited. In the years since, his style has taken massive leaps and turns, but he and his central creative intention have remained intact.
Iguana Death Cult came to life as the garage-punk passion project of four teenage friends, and it has seen its fair share of transformations over the roughly 12 years since its inception. But their newest record, Guns Out, represents more than just a sonic evolution for the Rotterdam-based band. After two of the band’s original members made the difficult decision to move on from the project, Guns Out is a triumphant and searing continuation of the psychedelic and funk-rooted influences that defined their earliest efforts.
best dressed ghost, the garage and surf-inspired punk band from New Jersey, has taken a leap of artistic confidence in the release of its second record, Let’s Go Home, in March. When tracing the creative threads through the trails of their first record, however, a singular characteristic of the band’s work becomes clear— all four members possess a special sort of creative unison, elevated by the sheer charisma and energy that percolates not only through frontwoman Stef Leo’s personality-laden vocals but also through the band’s relentless willingness to adapt to the diverse vibrancies that each track demands.
Ovven, the solo project of Dallas Ugly guitarist and touring virtuoso Owen Burton, came to life in February with the release of Gnawing At The Cord, Burton’s debut solo album. But the foundations of Ovven’s sound, which differ starkly from the softer Americana that composes much of his body of work, trace back to his childhood in Chicago— they are, in a word, utterly natural to Burton’s sonic vocabulary.
Sunsick Daisy, the Adelaide-based, shoegaze and dream-pop influenced rock band, was originally formed from the teenage creative yearnings of its founding members, Kane Gabell and Sarah Grainger. But it has since blossomed into an energetic and surprisingly free affair– one that is capable of achieving the rare balancing act between a continuously evolving sound and a central sonic imprint and identity.
Every time ladybug, the Massachusetts-based dream-pop and shoegaze-tinged indie artist takes up her improvisational songwriting process, it is the years of musical intrigue and the yearning for creative expression that truly flows forth through her words— a flood of suppressed emotions and untapped creative maturation that is abundantly evident not only in each of her hypnotic and varied singles but also across her collaborations, including the 2025 EP “live from the smoke room”.