Showing posts with label EP. Show all posts
Showing posts with label EP. Show all posts

Saturday, July 16, 2016

Berwanger Demonios High/Dive Records 2015

Berwanger Demonios High/Dive Records 2015 CAT# HDR016

Josh Berwanger is apparently just going with his last name now...at least according to this 6 song EP put out by High/Dive Records.

Demonios is Berwanger growing fonder of the power pop treasure trove he discovered when making his self-titled debut. These six tracks find him trying to master his own brand of the genre. In addition to late-70's skinny tie sounds, he is attempting to mix the swagger of 80's hard rock and the groove of 70's jam bands. It's a decent mix, but he can't drop the influences of his work in the Anniversary, there's still a lot of Weezer and 90's alterno-rock hiding in the corners of his songs.

As catchy as his solo debut was, you could tell it owed a lot to others. Demonios finds the songwriter finding more of himself in his new power pop hooks. He's still the goofy character with a backward baseball cap and outlandish fashion, but his version of the american teenager culture starts to grow on you, motorcycles, heartache, and suburban punks start to make a lot of sense on these tracks.

Live Radio Performance

Saturday, June 18, 2016

Rajah That's What's Com'n Rajah Records 1990


Rajah That's What's Com'n Rajah Records 1990 NO CAT#

First look at this and you see the crudely drawn KC skyline so you know it's local, then it just becomes figuring out what it is. Given Rajah's front cover photo, I initially though modern soul, here's a lady trying to show off her pipes. But, review of the backside, she's wearing a hair-net and indicates that her EP features the Strickly Deaf Posse. Turn back over to the front-side and now it seems she may be trying to evoke the B-Girl style with that hat, so it might be hip-hop.

Either way, it's got the possibility of being really bad or really good. Taking out the record you'll see it's from 1990, which is late-era vinyl and a time when modern soul was basically done, it's got to be hip-hop still stuck in the 80's. Review of the backside you'll see that Rajah states, "This album is dedicated to My Heavenly Father for whom my life will reflect his greatness." Now it could be really bad religious hip-hop or stuck in a time loop modern soul and religious. It's also obvious that Rajah failed horribly if she intended this to be an album, it's 2 songs with an instrumental version added of the title track. Without actually listening to it, things are stating to sound horrible.

That's a hair net, right?
Listening to it, it's not religious, it's a hip-hop/soul hybrid sound that was trying to gain a foothold in the late-80s and early 90's. The title track is actually titled, "Good Lov'n That's What's Com'n", which apparently couldn't fit on the front cover finds Rajah switching between rapping and singing throughout. She's speaking to her targeted man talking about how she'll be the best woman for him. Yet to be mentioned is that her name, Rajah, is almost hidden on the front and the back. To get the artist name, you have to rely on the production and producer credits as the scribble signature on the front and the label are hard to decipher. As a lame trademark, Rajah, samples a terribly obvious Middle-Eastern chord progression, the same you hear in any movie soundtrack that has a Middle Eastern scene, whether that be Disney's Aladdin or Raiders of the Lost Ark, it's that hokey snake charmer theme.

The second side features an unneeded instrumental of "Good Lov'n That's What's Com'n", although it features the rap verses. The second track, "We Don't Know How It Happend", is lover's lament sappiness. The title is kind of clever though with the misspelling of Happened being Happend. But, the track is pretty much garbage, slow moving plastic beats with Rajah crying over a break-up.

Thursday, March 3, 2016

Mike the Mic Untouchable Plus: Queen of Seduction No Label Unknown Year

Mike the Mic Untouchable Plus: Queen of Seduction No Label Unknown Year NO CAT#

If you see random hip-hop out of Kansas City for a dollar, you're going to buy it, right? I mean, KC isn't much of a hip-hop town, sure, there is a scene and we have Tech N9ne, but it's not a genre we're known for. So if you see it, you got to buy just out of curiosity.

There's nothing out there on this 12", so it's hard to know just how rare it is. A friend of mine found a perfect copy that he's trying to sell on eBay and that's about all you can find online. From the looks and the sound, it's late-80's hip-hop. It's pretty typical with Mike's constant bragging about being an "MC from KC" as well as some business about how ladies love him, etc. It's filled with insane amount of samples that if it were a commercial release, even in the late-80's wouldn't be possible, let alone something you could do today.

For what it is, it's fun. The first side features a radio mix and a party mix of "Untouchable." The party mix drops a lot of Mike's rap in favor of turntable scratches and studio effects. The flip side features a radio mix and long mix of a slow jam called, "Queen of Seduction." The track is a weird amateur mix of LL Cool J "I Need Love" and Late 80's to early 90's Slow Jamz. It'll make you think this may have been released in the 90's, but who knows. Either way, the attempt at the soul/hip-hop hybrid is kind of entertaining if you're into all things amateur.

Sound clip my friend trying to sell a copy made...


Tuesday, March 1, 2016

The Leatherwoods Happy Ain't Comin Home B/W Something Ain't Right Bus Stop Label 1992

The Leatherwoods Happy Ain't Comin Home B/W Something Ain't Right Bus Stop Label 1992 CAT# BUS015

This 7" was released 4 years after the initial Todd Newman and the Leatherwoods 7". The main track, "Happy Ain't Comin Home" is featured on the CD release, Topeka Oratorio, which was released at the same year.

It's a marked improvement over the Leatherwoods initial release. It's stripped down version of Todd Newman's vision and if Tim O'Reagan wasn't contributing to the duo, this would be called singer-songwriter. For the better, the power-pop moves are stripped away. It may be by choice, but also probably in large part to the fact the Leatherwoods were just a duo. It's a better sound for Newman and also showcases the reason O'Reagan is now a member of the Jayhawks.

The duo had officially left Topeka and Lawrence, KS behind at this point for Minneapolis, MN. The CD Topeka Oratorio, is found on Minnesota blogs as a genuine nugget of the town's sound (a lot of that because it features legendary Replacements frontman, Paul Westerberg, playing under the name, Pablo Louserama). The 7" is worth seeking out. Of note, the same label that released Jon Harrison's The What Gives.

As stated, O'Reagan keeps busy in the highly recommended and acclaimed band, The Jayhawks. Todd Newman remains constant with music. He's released a grip of CDs since this, some of which were recorded back home in Kansas with Ed Rose.

Full 7", The Leatherwoods

Monday, February 22, 2016

Todd Newman and the Leatherwoods To Win You Back Reverb 1988

Todd Newman and the Leatherwoods To Win You Back B/W Downside of an Eightball Reverb 1988 CAT# REV701

I've been hearing legends concerning Todd Newman since hosting a power-pop show on KJHK. His songs were a must have per Lawrence power-pop enthusiasts.

So, up until finding this one, the hype has been building in my mind. Legendary Lawrence, KS power-pop, so good you can't find his 7"s anywhere. Then I got it and I'm like, meh, this is pedestrian.

Not to say it isn't good, it's enjoyable. "To Win You Back" has a great harmony on the chorus, but the rest could have been a Romantics song buried away on a second side of one of their albums and people might point it out as a highlight. The amount of swearing on the B-side, "Downside of an Eightball" is impressive. All the curse words paired with a power-pop balled is kind of humorous, but I'm not sure Todd Newman was trying to be funny.

Interesting bit about the band, formed in Lawrence, presumably as Jayhawks attending school (the 7" even thanks KJHK). The drummer of the Leatherwoods was Tim O'Reagan, who would move off to Minnesota and join the influential alt-country band, The Jayhawks, Coincidentally, Newman lives in the land of 1000 Lakes as well.

FULL 7"

Saturday, January 30, 2016

Wilmas Songs About Girls Leftover Records 1989

Wilmas Songs About Girls Leftover Records 1989 NO CAT

I try to listen to this impartially, but I can't. This was a band formed by Jon Harrison of Lawrence, KS, who I came to know shopping at Love Garden records. He's this insanely tall guy and insanely nice. He sold me some of my favorite records based on his tastes. Let's Active, 3 O' Clock, The Nerves, I could go on and on with all the power pop this guy threw at me, his taste is impeccable.

Listening to his early EP, it's so Jon Harrison. It's power-pop, REM jangle, and a bit of punk. It's like talking with records with the guy.

It was obviously issued by the band as something to peddle as they were playing shows in and around Lawrence, KS. They pressed up a double 7" release, which is odd. Could have done two 7" releases, or combined it all into a 10" or 12" EP, but the uniqueness of a double 7" EP is kind of fun, there's 5 songs in all.

The songs are all strong and it's a shame no one is seeking this out. Maybe it's a bit too pleasant, had the band created a tougher sound collectors might take more notice. But, there's a ton of heartbreak, jangly guitars and good harmonies, it's everything you'd want from 80's indie, maybe a bit late in the game by 1989, but that's relative, and a solid collection of tunes. Further, the title, Songs About Girls, is probably the most accurate title ever as it applies to approximately 50% of all music ever released.

Black Calvin Shooter HC 1995

Black Calvin Shooter HC 1995 CAT #HC007

If you just got the first song, "Savior", out of this EP, it'd be money well spent. Listening to it now, it recalls the best aspects of grunge, but is an absolute bruiser. A sludgefest, so much so you think you're spinning at the wrong speed.

This EP was released in 1995 on Craig Comstock's own HC label. It's a solid collection of tracks, and speeds up a bit by the third track, "Lemon," which stands as another highlight filled with noise rock reminiscent of the Jesus Lizard with a bit more melody, but insane out of control guitars.

All around, it's just a great EP, just bruising and relentless. You have to be in a certain mood to really enjoy it, but if you're angry or want to punch things, this can fit the bill nicely.

Friday, January 15, 2016

Queen Bey Comin' Thru Beystring Productions 1987

Queen Bey Comin' Thru Beystring Productions 1987 CAT# CAP122

Beyonce ain't got nothing on Kansas City, we had the original Queen Bey. Nice, right?

Queen Bey was a Kansas City blues and jazz singer active in a Kansas City scene that was popping out local LPs and compilations throughout the 80s. She's now in Los Angeles apparently or was, either way, it appears she still performing. This specific recording was recorded in Los Angeles and credited to Beystring Productions in Overland Park, KS. It can be assumed that Beystring was the Queen's own private label.

During her time in KC, she is reported to have started singing at an early age in the 1950's. Her bio indicates she started to become a significant member of the local jazz and blues scene in the 80's and is officially recognized as an Ambassador of Jazz for Kansas City. In addition to her singing career, she's also been featured as an actor in television, screen and on Broadway. So, a pretty substantial career.

This 5 song EP is a throwback sound, the backside notes it was recorded live with no mixing, editing or overdubs on a two tracks, so no plastic, canned garbage to be found here. It was recorded digitally, which was still fairly new in the 80s, so the sound is very sharp and loud, maybe too much, but that's a minor issue. It's an enjoyable set of songs with a throwback style. It certainly doesn't sound as if its a product of the 80's. However, someone could mistake for a 70's lounge act very easily if they weren't paying much attention. However, the arrangements done by Joe Cartwright and Greg Eicher (both Kansas City area guys) sound authentic to a time when jazz was king. Overall, it's a solid set of tunes.

Queen Bey Live, 2011 in KC

Sunday, January 10, 2016

Marilyn Maye with The Tony DiPardo Orchesta The Chiefs are on a Warpath B/W We're Number One Chief 1970


Marilyn Maye with The Tony DiPardo Orchesta The Chiefs are on a Warpath B/W We're Number One Chief 1970 CAT# ZTSC 142955

CHIEFS! How about KC right now in terms of sports? Baseball locked up, soccer always good, and the Chiefs win their first playoff game since the days of Martyball with Joe Montana as the QB. Nice.

This is a Marilyn Maye novelty 7" recorded with the official Chiefs band, the Tony DiPrado Orchestra, to help celebrate their 1969 Super Bowl win over the Minnesota Viking. A completely Kansas City record through and through.
If Marilyn Maye didn't sign your records, you weren't worth a shit

The well known song, "The Chiefs are on a Warpath," isn't something that would be recorded today and probably shouldn't have been done in 1970, but people weren't as aware back then. I wouldn't call the record racist, but the use of Native American cliches is certainly insensitive by today's standards. Nevertheless, it's a pleasant novelty track about the Kansas City team that won it all. And, it's still pretty fun to listen to, especially after an 11 game winning streak.

The flip side is enjoyable, but generic, "We're Number One!". Obviously, it talks about the Chiefs being number one, it's also got the clever line, "We come from Kansas City and we haven't any pity, when we wreck they are permanently wrecked." If we win the Super Bowl, it's this song, all day.

Chiefs are on a Warpath

Sunday, August 23, 2015

Giants Chair Hot Boy Caulfied Records 1993

Giants Chair Hot Boy Caulfied Records 1993 NO CAT#

This, in the history of obscure KC related 45s, is up there at the top of the list. At the time of it's release in 1993, Giants Chair was still holding fort in Green Bay, Wisconsin. They hadn't come down to the Kansas City Art Institute and weren't well, art-damaged yet. This 7" is just some kids trying to make a record.

The songs featured here, "Commoncold" and "Weed Roses" aren't as filled with left turns and all the indie-rock tendencies bands draw themselves into. It's not better or worse for it, it's just a little more simple than what they'd go onto to do later. It's still aggressive, still has start-stop dynamics, but it's a clearer where they were taking you on the tunes. Also, on a side note, Giant's Chair was never an "emo" band, they came before it, but man, this sounds super-emo, especially "Weed Roses."

Hot Boy 7"


Monday, May 25, 2015

Butterglory Wait For Me Merge 1995

Butterglory Wait For Me Merge 1995 CAT# mrg084

This is both early Merge Records and early Butterglory. It's almost hard to believe that given Merge's current roster with the likes of Arcade Fire, that Butterglory would be on the label if they came out today. The release itself is number 84 on Merge's catalog. It's so simple and a far way away from the label's current glossy looks. The sleeve is just a folded over piece of paper that's screen pressed. The two 7"s included though, they were pressed on virgin vinyl, which in 1995, might have been the only option considering record plants were becoming fewer and fewer, but, let's just call it the early-era of Merge quality.

This release lists Visalia, California as home to Butterglory, so it pre-dates their dominance on the Lawrence Lo-Fi scene (which, never really existed, but you know). The formula was still the same back then for the band. Matt Suggs and Debbie Vander Wall cutting out some clever lo-fi pop tunes with some help from whoever was willing. They sound a lot like Pavement without the unexpected blasts of guitar and feedback. There are other elements, Debbie's plaintive vocals give the tunes a Moe Tucker Velvets feel. And Suggs is a witty songwriter, just at this time, pretty enamored by the lo-fi scene. All four songs are worth owning, even if you're not a completest, the EP is worth picking up if you happen upon it.

And, maybe Merge would still take a chance on Matt and Debbie's lazy brand of pop music. The label has certainly supported Matt Suggs throughout his career. They've also championed their back catalog recently so maybe a Butterglory retrospective is in order soon. (Would also be sweet to have that White Whale LP and Suggs' solo efforts on vinyl).

STUCK

Shyboys Life is Peachy B/W Follow the Leader High Dive Records 2014

Shyboys 45 EP High/Dive Records 2014 CAT# HDR005

If I had the energy to continually get up and flip sides, I would wear this 45 out. More lo-fi, Beach Boys influenced pop from Kansas City's Shyboys.

"Life is Peachy" on side A is perfect. It may be lifted or have some borrowed chord progressions, but soaked in all this honesty and lo-fidelity, it doesn't really matter. Things are fast, the drums sound trashy, and the guitars twang. But, those sun-drenched whispered vocals and harmonies, that's the sweet spot. Just makes you want to play it again and again.

The B-Side, "Follow the Leader", isn't on the same level as "Life is Peachy," but it's a solid tune. Slow and drenched in the same type of thing that makes the A-Side great. It's just a bit too long for it's own good, but the length gives it a super-lazy Sunday vibe which is kinda nice.

Life Is Peachy

Dogs? Self-Titled Dogs? Records 1985

Dogs? Self-Titled Dogs? Records  1985 CAT# SRK 15117

This is pretty lame. 5 dudes with fancy hair and glamour shots doing some pomp-rock. Giving it a nod towards new-wave or power-pop would be generous. It's produced well and the sound quality is fantastic for a private LP, the songs are just boring and swamped in 80's trends. The fact that it's only 5 songs is the best part as you don't have to suffer through much.

As a band, they all seem pretty capable. Most of the members did other things around town. Stan Hartman the drummer is notable for being in Parlor Frogs who appeared on a Fresh Sounds Live in Lawrence comp. The link below indicates the singer, Jerry Sumner, was in the marginally cool band Clocks. But, what this appears to be is a bunch of fairly talented locals putting together a cash-in attempt. Super slick production, the handsome photos on the backside, the roller rink panty-dropper tunes... I imagine they put this together with hopes of signing onto a major, doesn't look like it worked, but good on the Dogs? for trying.

Substitute

Wednesday, May 13, 2015

Dactyls S/T 7" Blanket Records 2008

Dactyls S/T 7" Blanket Records 2008 NO CAT#

Dig this 7", a lot. The Dactyls are/were a Lawrence band formed in 2001. They sound like mid-90's North Carolina. Just crunchy, guitar driven indie rock, recorded as best they could, probably in a basement. At the time of the release of this 7", the band was still pretty active doing shows in Lawrence and KC. Even did a tour releasing a split 7" for the road. However, I don't think they're around anymore.

The 7" is a pretty homespun package. But, the sleeve is hand numbered indicating the band only pressed 300 copies. The sleeve has screen pressed artwork and the vinyl is quality, don't know the gram weight on a 7", but if it was a 12", it'd be 180 gram vinyl. Also cool, the band provided a CDR of the tunes to you know, listen to in your car or on a CD Walkmen.

The tunes are great. Again, very much a product of the North Carolina in the 90's. But, that's a scene that should still exist. Apparently, Dan Benson formerly of Vitreous Humor once sat behind the drums for these guys, which, yeah, considering what Vitreous Humor sounded like, he fits in perfectly. However, he's not featured on this release.

Bandcamp Page, new stuff up until 2012, except the album was recorded in 2010

Thursday, May 7, 2015

The Uncouth! KC United B/W Gudbuy T' Jane Too Much Rock 2015

The Uncouth! KC United B/W Gudbuy T' Jane Too Much Rock 2015 CAT# TMR-SS-04

I was stalking the Too Much Rock for a considerable amount of time trying to get more info on the next release, because it's one thing I actually like. Totally punk rock, dude just makes records for a band to do whatever with. After a while, I gave up, thinking the idea of basically giving away 7"s isn't a sound business plan and Too Much Rock had gave up after 3 releases.

I stole this pic from the band's Facebook page...jerkmove.
An updated review to follow once I have the release.
But, just when I go to sleep on it, Sid Sowder woke me up to advise about release #4. The featured band is the Uncouth! who've been playing their working class Oi! around town for the last few years. They look pretty mean; like soccer hooligans. They play pretty mean, too. The band's own cut is titled "KC United," which you know, is another unity song, this one calling for KC's punks and skins (the working class skins and not the neo-Nazi variety). The flip side is a cover of "Gudbuy T'Jane" by Slade. It's not as pretty as Slade, though. However, listening to it knocks out a front teeth and they kept the hooks, y'know, cause punks like chanting a chorus.

I've been listening to the tracks and it's good, but I haven't got my hands on the vinyl. It's street date is set for May 15th and a release party will be held at Mills Records. 500 are pressed and ready, 100 will be random colors, the other 400 standard black.

                                                                         ***UPDATED***

Got my own copy of this from Too Much Rock and glad to have it. Much better fidelity than the internet stream I was enjoying last week. It appears most of the colored variants are being sold at Teenage Heart Distro, but again, release party as far as I know is set for May 15th, 2015 at Mills Records.

I'm really digging the cover of Slade's "Gudbye T'Jane," the "KC United" track is fine (a little obvious, again, every punk scene needs a Unity song), but I love that this band has the chops to do some guitar solos, yet manage to keep things punk rock. You can tell by the photo, these aren't kids kicking around in boots, these guys won't get carded for the cigarettes they're smoking.

The Uncouth! on Facebook

The Get Up Kids Woodson B/W Second Place Doghouse 1997

The Get Up Kids Woodson B/W Second Place Doghouse CAT #DOG-045

The fans now refer to this early release as 'All Stars' or the 'Woodson EP', however I believe it's just a self-titled 7". The artwork appears on a CD EP that also featured two extra tracks that are found on the 'Love Teller' 7".

On CD is the way the tunes first came to me. I had the early 7", but was in my senior year of high school when this was released. This was a big deal, the band's first release for a record label that wasn't their own. Friends of the band had been waiting forever for the real-deal. I remember the day it came out, I was working at Schnucks on Murlen in Olathe, Kansas, as an after school job. My friend Donald busted into the backroom with it screaming at me, "It's here! I got your copy!"

As soon as we could, Donald and I ran out to a car to put it in the CD player. It was so fucking great... There wasn't any pre-conceived notions of what emo should sound like, what the Get Up Kids were or should be, there was no expectations other than we wanted to hear what our friends had done.

It didn't disappoint. And I still won't take my blinders off for it. It's still fucking great. I could listen to it everyday for the rest of my life. It's that good.

Second Place

Monday, April 13, 2015

Revolvers She's Out Of Your Life Locket Love 1996

Revolvers She's Out Of Your Life Locket Love 1997 CAT# 001

When the SST band, the Descendants, started singing about girls, I don't think they could have predicted the pile of turd pop-punk bands that would take their formula to the Vans Warped Tour and radio by the 1990s. And despite those bands nods to the repetitiveness and speed of the Ramones, they almost all sucked and whined about high school too much despite the fact they were clearly out of it and had dropped out of college by the time their first album was released.

However, despite the MXPXs and NOFXs all around, a solid form of the genre existed all over in teenage garages. Kansas City's Revolvers were that type of band. Despite their obvious moves, when it's recorded in someone's house and done by kids still in their teenage years, it's some of the most honest music out there. The obvious sing-along chorus' carry weight and meaning. The repetitive guitar lines are exhilarating. The songs about teenage heartbreak make you want to cry. And most importantly, the tunes meant something to everyone of their friends and fans attending the shows in shit places like Gee Coffee and someone's basement. The kids were living the experiences with the band. This band meant something to a lot of kids. So despite it's obvious flaws, it's great music and it's a shame this record is almost all but forgotten.

Revolvers Live
Riot on the Plaza Write Up

Tuesday, October 7, 2014

The Life And Times The Magician Hawthorne Street Records 2008

The Life And Times The Magician Hawthorne Street Records 2006 CAT# HSR026

This 5 song EP was initially released in 2006 on CD and later released by Hawthorne Street Records in 2008 in this vinyl version.  The band is centered around Allen Epley of Shiner fame, but also features Christ Metcalf on drums who was a part of the same KC post-hardcore scene as Epley.  To round out the three piece, Eric Abert plays bass in the three piece.

To compare the EP to Shiner is obvious, it has certain elements and the obvious player.  The math-i-ness is prevalent, still very challenging and complicated music.  The strained out vocals are there.  The bursts of distorted guitar are there as well.  However, it's much more subdued than Epley's work in Shiner.  It's not as loud and angry, it draws out post-rock soundscapes similar to what Appleseed Cast transformed themselves into after being emo for several years.  There's also a prevalent need to call it shoegazer, but I wouldn't say Epley was diving deep into the British 90's scene, probably just channeling his love for the same bands that influenced the likes of My Bloody Valentine.  However, shoegazer can serve as a valid reference point.

Most importantly, it's really good.  Begging the question, why is this band hanging out in relative obscurity?  The Life and Times recently released a new album and yet, little to no fanfare surrounding it.  Isn't even being done up for a vinyl release.  Granted, I don't keep to up to date with new music that much, however, I have an affinity for the post-rock scene and everybody is all hoped up about the new Whirr LP (it is pretty good), yet, very few of those people even know this band exists.

Hush

Thursday, September 25, 2014

Coalesce Salt And Passage Second Nature 2007

Coalesce Salt And Passage Second Nature 2007 CAT# SN069

Just two brutal tracks from Kansas City's finest.  Both tracks just punch you in the face and get all math-y simultaneously.  By this time in the band's history, they were comfortable to explore things on a more sonic level.  Rather than just kick your teeth in, the band and long-time producer Ed Rose, were playing around with sounds and harmonies.  Buried vocal tracks, cleaning up the insane guitar lines that spill across the band's tracks, and getting super technical behind the drums.

For a simple 7" release, Dan Askew's Second Nature label pulled out all stops on the packaging.  Most the vinyl came in color variants.  It's sleeved in 7" size gatefold.  And the print on the sleeve is well-designed and thought out.  Amazing product.

Salt and Passage EP

Sunday, August 24, 2014

Be/Non S/T 7" Turnbuckle 1997

Be/Non S/T 7" Turnbuckle 1997 TB-006

If I'm not mistaken I think this was BE/NON's first legitimate release.  Think they did something small locally, but this was the first backed release.  New York's put out this 7" along with two CD's from Lawrence's BE/NON all before the new millennium.

This early presentation of the band certainly presents a group in tune with Kansas City and Lawrence scene that surrounded them.  There's plenty to compare to the likes of Boy's Life and Shiner.  However, that's likely just to being around town.  The band's real focus was the noise rock coming from the likes of Sonic Youth and Jesus Lizard.  This is a loud and noisy 7".  There's also a clear nod to prog-rock sounds of the 70's, but the only the deep cuts, this is evidenced by the band's absurd song titles.  The 7" features 3 tracks, the impressive "Microsurgical Vasectomy Reversal," the 20 second or so, "Stripping Gears," and the attempt to be spacey and epic within their noisy confines, "Cllaw Use in the Autumn Years of the Twentieth Century."

Either way, solid local 7".  The early CDs aren't half bad if you're into digital.