Boy's Life/Giants Chair Worn Thin B/W Ever Present Split EP HitIt! Recordings 1995

Boy's Life/Giants Chair Worn Thin B/W Ever Present Split EP HitIt! Recordings 1995 CAT#HIT-09

This 7" is so Kansas City...well, except Giants Chair had Wisconsin roots before attending KCAI and HitIt! Recordings was based out of Chicago...but, other than that, you can't get more Kansas City than this.

The bands were both torch carriers for the early, post-hardcore emo sound coming out of Kansas City in the 1990s. Boy's Life took their out of tune guitars and Dischord-esque style a bit more national because ultimately, they were on a better label than Giants Chair. The song "Worn Thin," is a perfect example of the band, strained vocals over the top of so much guitar.

Giants Chair stayed a bit more hidden than Boy's Life nationally, but their sound was equally as influential. The track "Ever Present," displays the band's attacking style. Everything up front, all at once before they take a step back and dismantle the song before bringing it all back together again. It's high energy and stands well on it's own in the context of this single.

Equally as Kansas City about this 7" is the sleeves were done at Hammer Press. The simple, elegant design make it worth every bit of $3 you probably had to pay when it was first released and the $20 you'd have to pay today.

Split 7"

Boys Life/Christie Front Drive Split 10" Crank! 1995

Boys Life/Christie Front Drive Split 10" Crank! 1995 CAT# CRC005

Another KC Crank! release, this one featuring emo sweethearts, Christie Front Drive, who are from Denver...and great, but makes little or no sense to discuss their tunes here.

The B-Side to this EP features early works by Kansas City's Boys Life.  Both Christie Front Drive and Boys Life went to Omaha for the tracks to be recorded and were produced by AJ and Mike Moogis.  Midwestern emo scene in it's early days as the Moogis brothers would go onto to do things with their hometown label, Saddle Creek, namely, Cursive and Bright Eyes.  Boys Life would set influence, Christie Front Drive's work would go onto to help define the scene (see the song "Valentine" on this EP).

This early stuff by Boys Life is a bit more melodic than the stuff they'd later do on their full length.  Still chaotic, just not as outright DC as the debut became.  "Sight Unseen" is incredible.  The song "Homecoming" shows the band noodling around with out of tune guitars and time shifts, it's not perfected here like it would be later and it loses the listener in the end.  "Two Wheeled Train" is a bit slow and spends too much time figuring out what it should do.  The band's ideas are here, they just needed Mark Trombino to focus them on their best attributes which he was able to do on the debut LP.

Another KC tidbit, the sleeve is screen printed and designed as a fold able jacket.  It was done by Hammer Press in Kansas City, which was a former college roommate of the guys from Giants Chair.

Sight Unseen

Giant's Chair Red And Clear Caulfield 1995

Giant's Chair Red And Clear Caulfield 1995 CAT # 15

This came out in 1995 and at the time, the group was best described as post-Hardcore.  Similar to other Kansas City bands such as Shiner, Season To Risk, and Molly McGuire, but with a high art value.  By the time the band called it quits, they had become a fairly influential and highly regarded as Emo pioneers.

I think the "emo" tag is mostly due to association with the Nebraska label Caulfield that released most the band's catalog.  Caulfield put out Denver band, Christie Front Drive, who were favorites within that scene.  At that time, indie labels were still thought of as a brand.  For example, you'd buy the Christie Front Drive CD, LP, or 7" and you'd get a small catalog of the labels other releases.  Each album would have a short blurb about how great it was and at some point, you couldn't resist, you started buying other stuff the label put out.  See Sub Pop and Dischord, those labels were brands and worked it to great success.  Caulfield was the same way on an even smaller scale and Kansas City's Giant's Chair was one of the first acts the label put out.

Ultimately, Christie Front Drive with their mumbled lyrics and 3 minute intros were very much an emo band.  Giant's Chair, not so much.  However, due to their popularity within the scene, many later bands began grabbing ideas from them.

Either way, they're a pretty phenomenal band and still sound amazing today.  I believe I'm correct when I say they formed as students at the Kansas City Art Institute.  Very much in the Quicksand realm of post-Hardcore, start stop dynamics, lots of guitar, sing to scream choruses.  They do throw in the high art value by concentrating on dynamics rather than volume.  Like Boys Life, they also loved to drop out of tune for effect.  I always loved how their songs would hang on an idea, like a choppy guitar riff for 30 seconds to a minute, before charging on into a totally different direction.  "Kick the Can" has always been one of my faves on the album and represents the group well and provides insight as to why everyone considers them "Emo".  "Full on Flat White" does as well and since I couldn't find "Kick the Can" on YouTube, it's linked below.

Full On Flat White

Boys Life S/T Crank! A Record Company 1995

Boy Life S/T Crank! A Record Company 1995 CAT #CRC004

First, the mid-90's was an amazing time for KC & Lawrence's music scenes and it was an amazing time for indie rock.  However, it was an awful time for vinyl.  If a band was on a "true" indie in the 90's that was other than say, Matador, they were lucky if the album was mastered for vinyl.  Rather, and likely to save money, the CD master was slapped onto vinyl in effort to be cost effective and still give the indie-rockers what they wanted at shows.  Crank! was no exception, this pressing suffers problems and I remember the CD version sounding much more crisp.  Just saying.

Moving onto the album, in highschool, this was as cool as a Fugazi record.  I mean these guys were relentless.  Out of tune guitars blazing, their early days were frenzied attacks on song structure.  And, they were in or near my hometown, that was exciting.

The band was picked up by the Crank! label after founder, Jeff Matlow, put out the first Vitreous Humor 7".  Matlow was familiar with the local scene after signing the Manhattan band, Truck Stop Love, to the Scotti Brothers label as an A&R guy.  When Scotti Brothers refused to sign Vitreous Humor on the account that they already had a band from Kansas, Matlow quit and decided to go it alone.  Along the way, he picked up some other locals.  He signed Boys Life and another Kansas City band, Uncrush.  His label brought a ton of  attention to the area.  And, when Crank! released Mineral's Power of Failing, suddenly, Viterous Humor and Boys Life became associated with the developing emo scene.

The record isn't emo.  It's post-hardcore.  Similar to Jawbreaker, Quicksand, and Fugazi.  It was recorded by Mark Trombino from Drive Like Jehu and it shows.  Trombino didn't let the band hold back, it goes from a restrained whisper to an all out assault.  The LP does suffer a bit of same-ness, in that, after a while, you get it, they're going to whisper, scream, guitar feedback, end.  It's a bit formulaic.  However, the out of tune guitars and occasional out of key yelps keep it interesting.  Second, working with Trombino allowed the band to explore their genre and develop as a band.  The song 'Temporary' which was first recorded for a split 7" with Vitrous Humor (previously discussed) is slowed down here, showing the band was focused on sound and texture and not just old punk rock tricks.  And sure, they borrow from Drive Like Jehu, but this is Kansas City, we had no fucking clue who that band was until we heard this.

Golf Hill Drive
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