Jorge Arana Trio & Ambulants Split 7" Bridal Horse Records 2013

Jorge Arana Trio & Ambulants Split 7" Bridal Horse Records 2013 NO CAT #

Picked this up as it had Paul Malinowski's name on it, he did the mastering. Figured it'd may have that 90's Kansas City post-hardcore sound with his name being on it. In addition to Malinowski's name on the sleeve, the packaging is well done, almost too well done. Really thick cardboard 7" sleeve, that may keep things too tight as the record was pretty scuffed coming out, but it plays and everything looks great.

Jorge Arana Trio, for this release isn't really a trio as it's credited on the back to another player or two. Their one featured song, "Dagger", is a dark, moody, instrumental post-rock experiment with a violin playing way too much of a role. The intro makes it sound a lot like an obscure emo band called Sweep the Leg, Johnny, but the aggression tones down quickly and the band flirts around with jazz structures.

Ambulants provide the b-side with two songs, "Washed Ashore" and "Dweller". These tracks definitely borrow from 90's KC bands like Boy's Life and Shiner. Very choppy start and stop dynamics, but slow moving. To the point you think the mastering was off if wasn't for the vocalist's falsetto coming out on top so clear.

Overall, solid 7" and well worth the $5 it'll put someone back.

https://ambulants.bandcamp.com/

Appleseed Cast Peregrine Graveface 2006/2016

Appleseed Cast Peregrine Graveface 2006/2016 CAT# GRAVE115

Record Store Day happened again and it was lamer than the year before. Despite that, there was a couple of prominent local releases, this reissue of Appleseed Cast's Peregrine album and a live recording of current KC darlings, Madison Ward and Mama Bear. I picked this up. Nothing against Madison Ward & Mama Bear, it's just that group is too available. I have to wait until the band's releases are impossible to find before I show interest. That said, I probably need to pick up a Madison Ward release at some point.

Moving on, Peregrine was released by the Militia Group in 2006. It does have a vinyl pressing, but seeing how the label stopped releasing stuff in 2012, like many of Appleseed Cast's LPs it's become hard to find. Graveface, Appleseed Cast's home since 2013, has the other Militia Group LP Sagarmatha in print and available. For whatever reason, unlike Sagarmatha, Peregrine got the limited release. 2000 copies were pressed, some of which are a colored variant for Record Store Day, others are Graveface Record Club hand-poured vinyl variants, there was a Kickstarter version, and there is standard black vinyl available through Graveface mailorder.

Aside from all that nonsense, it's a good album and was the band's sixth release. It sounds a little more humble than their ambitious Low Level Owl albums, but the experimentation does run rampant throughout the LP, it's just not as obvious. There's a lot of groove and hooks throughout Peregrine and the band doesn't waste their time with beeps and glitches getting to those moments. It also serves as a concept album as it attempts to tell the story of a child, her name being Peregrine, who is murdered by her father and comes back to haunt him for it.

Appleseed Cast Peregrine

Namelessnumberheadman Wires Reply St. Ives 2007

Namelessnumberheadman Wires Reply St. Ives 2007 CAT# SAINT20

Namelessnumberheadman were Okie's that relocated to KC, because, you know, Oklahoma. The band's debut came out on Kansas City's no defunct Urinine label in 2002. Due to Urinine's relative obscurity, there debut is usually cited as 2003's Your Voice Repeating, released on Kansas City's the Record Machine as a CD only release. Your Voice Repeating was meet with rave reviews due to the post-modern mess of sounds, big Flaming Lips-esque drums, acoustic guitars and a constant barrage of electronic sounds.

However, by the time of this release in 2007, the band's sound was no longer as original as it was in 2003. A swarm of Postal Service type bands were employing playful electronics throughout their releases. Despite other bands catching up to Namelessnumberheadman, it doesn't change the fact that this is a great LP.

The songs have these huge drums, they're brought out front surrounded by all these bedroom electronic sounds and the small voices the band sings in. It doesn't rock or anything, but the drums give the tracks a lot of soul. The band experiments more than others that were exploring the same sound, so repeated listens are necessary. These are complicated pop tracks with a lot of layers. Also rad, the vinyl edition of the release has a hand painted cover, which has been done before, but that type of thing never gets old.

WIRES REPLY

David Bowie and the Pat Metheny Group This Is Not America Single EMI 1985

David Bowie and the Pat Metheny Group This Is Not America Single EMI 1985 CAT# 8251

Further proof that Pat Metheny's skills are not to be scoffed at. He collaborated with one of the most admired pop-stars of all time, David Bowie. Metheny did soundtrack work for the 1985 John Schlesinger film, The Falcon and the Snowman. I don't have the album, yet, but I do have this single featuring David Bowie on vocals.

The song is cool, it's got Bowie's signature vocals and Metheny noodling around on guitars and synths. When I finally got around to this release, I had grandiose plans to discuss how cool Kansas City can be. Here's this jazz guitarist from Lee's Summit with enough clout to get the most stylish rock star of a generation (lifetime) to work with him. Then Bowie died, and now I just want to talk about how much I love David Bowie.

I've always been really attached to music, it's something that always brought a smile to my face, it's always helped me through tough times and helped make the good times better. My earliest memories are of me sitting in the back seat of the family station wagon and notifying my parents whenever a Beatles track came on the radio. I was proud of being right, at least they always told me I was. As I got older, the love for music just became stronger, I started to notice that sometimes (often) my enthusiasm for it wasn't the same as everyone else's. To this day, my closest friends are those who share the same enthusiasm for music.

Somewhere around 3rd or 4th Grade, I think my mom started to realize I was seeking out things that were different. Challenging myself to seek out music that wasn't on the radio, the deep cuts. I started digging through my parent's LP collection trying to find something new for me to get into. My mom pulled out a beat up copy (all my parents' albums were beat up) of David Bowie's The Rise and Fall of Ziggy Stardust and pointed out the backside liner note which stated, "TO BE PLAYED AT MAXIMUM VOLUME."

So I did. That album opened me up. Before it, the strangest tracks I was digging on were "I Am the Walrus" by the Beatles or Doors albums. Here's this album that tells a story about an interstellar rock star, an androgynous one, and the music isn't backwards, but it's from another planet when compared to the Appetite For Destruction cassette I was fond of. It opened things up for me. I had to seek out more albums like this. I bought Rykodisc reissues of Bowie's catalog. Then it was finding more of the glam rock Bowie championed in the 70's. And that sent me down the path I'm at today....this rabbit hole of continually seeking out another album, seeking out another genre or style. That's how Bowie opened me up, I mean the guy touched almost every genre throughout his catalog, how could it not.

For a long time, there was a full-fledged Bowie obsession. While it's cooled down since high school and college, I'm still very much a fan of his music. In college, I wrote a paper about Bowie's androgynous Ziggy character and how, in a way, it made gay cool. Of course, I embellished the point for the purpose of my paper (the professor pointed this out, not me), but what is important about the story is that it made gay acceptable for me. Obviously, in 4th grade, I wan't comprehending what Ziggy was about. Ziggy, to 4th grade me was asexual, which was odd, but I wasn't old enough to understand sexuality.

As a young adult reading about it, it became a bit more clear. Bowie's sexuality was up in the air, probably bisexual, but pretty clear, not a straight laced heterosexual. And, I want to be careful here, because I've never had it in me to hate, but as a heterosexual teenager, the idea of homosexuality is well, queer, for lack of a better term. Even my aunt is gay, I knew that before Bowie, but I just kind of choose to ignore it to avoid confusion. At that age, it's easier to question things that are different from you rather than accept them. And sometimes, you just don't bother to come to terms with it. But, here is this guy, this hero of mine, who was different than me, who was gay. I had to accept that. So, beyond the music, I credit Bowie for making me a better person.

Rest in peace David Bowie and thank you.

This Is Not America

Cowboy Indian Bear/It's True Foolish B/W The Bridge The Record Machine 2010

Cowboy Indian Bear/It's True Foolish B/W The Bridge The Record Machine 2010 CAT# TRM 019

I used to have all these really great split 7"s back in the day. Loved them. It was such an economical way to get something from a band you liked and possibly get into a band you've never heard. Or, you'd get a couple songs from two of your favorite bands on the same 7". They were special, many times it'd be the only way to grab a certain song, or you'd get a preview of an album track prior the full length release (and it would often be an alternate version).

It's not the same anymore for the split 7" EP. With the vinyl resurgence, they still try to push these out in front of everyone, but too often a 7" isn't cheap. $7 to $10 for two songs you can download on Bandcamp for a $1 doesn't make a whole lot of sense. It made sense when you got something special for less than $5, but anymore, 7"s cost too much. Which is a shame, because more people would probably end up with good ones like this if they weren't such a cost prohibitive format.

Either way, this is a great 7" put out by the Record Machine, The Cowboy Indian Bear track, "Foolish" doesn't feature female vocals like many of their songs, but makes up for it with an opening that could be confused for something by the Sea & Cake. It's True is a band from Omaha, NE, their track fits right in with the whimsical Record Machine sound, but unfortunatly, it doesn't appear the band is active any longer and didn't put out much in the way of releases.

The Trelese/Namelessnumberheadman Split 7" Rumblefish/Urinine/Pabst Brewing Co. 2003

The Trelese/Namelessnumberheadman Split 7" Rumblefish/Urinine/Pabst Brewing Co. 2003 NO CAT#

So, this is a really amazing piece of KC indie rock history that was created a few years after I parted ways with a very active local music scene to focus on the very indie-rock college music scene. But, before I go into what this is, I'd like to discuss how I came upon it as it explains part of the sickness I have for records.

I was visiting my brand new niece a few days after she was born at my sister's house. Babies are great, but my sister and bother-in-law have records (the coolest of which I gave them). After the whole, "Did you see the baby?" bit, I gravitated towards the records and was quickly told many of them weren't really theirs. A friend, who apparently moved, was storing them at my sister's house and they weren't really sure if he was ever coming back for them.

Now, I'm not the kind of jerk who was just going to start looking through some other dude's records thinking I can take them. But, I was going to look at them, very closely and intently, with a purpose of picking out what my sister needed to play/keep for herself. I started sorting through the records with laser focus, the kind not even a newborn could distract. On top of a small pile of 7"s, I saw this PBR cover. Looking closer, it's a hand-made outer-sleeve from a 12 pack. I've never seen it before let alone in my sister's small 7" collection (most of which, I gave her)...so what the hell was this? I flip to the back and see in large font, 'Pabst Blue Ribbon Kansas City.' Whoa. Look further and see the band Trelese and that the songs are written by no other than my old pal Jared Scholz of Reflector. The other band, Namelessnumberheadman is a KC transplant from Oklahoma. Finally, I see that Sid of Too Much Rock was a part of the release under his past label, Urinine Records. I'm literally starting to sweat, what the hell is this and why is it here?

My new niece, because baby's are way cuter than records

Seeing all this, I pulled out all stops, I was taking this record home. First, in my mind I started justifying it. My sister and brother-in-law don't even know what or who this is, they don't need it. And the dude who dropped his records off, he isn't coming back, right? He won't even notice this is gone if he does. Then I started vocalizing things to my brother-in-law, explaining that I needed the record because I used to know Jared Scholz and things like this are important to me. I wouldn't ask to take to it home if it wasn't. Eventually, they just said, "Yeah, whatever, take it, we know where it is."

So, I kind of feel good at that point. The record will be safe with me, where it belongs. I'll document it, I'll cherish it, and I'll archive it. I'm the right person for this record. Then when leaving with my wife, things went South... She's was all, "What is wrong with you?!" "Why did you take that record?!" "It isn't yours?!" Of course, my wife doesn't realize that if I didn't take this home, I may never see another copy. And, every single time I visted my sister in the future, seeing this record would slowly kill me. It would progressively get worse and worse every time I had to look at it until one day I just stole it. Running to my car with a 7" record shoved down my pants feeling guilty and setting a buffer in which I'd visit my sister again. My wife doesn't get that part, but, she was probably right. Total dickmove on my part. And no matter how cool this record is, it's not as cool and great as my new niece.

As for the actual record, I'm mad at my myself for being so unaware in 2003. To justify my theft of the record to my brother-in-law I actually said I wasn't cool in 2003 as if saying so would make him realize that if I was cool in 2003, I'd own this, so somehow, by that logic, he shouldn't feel bad about letting me have it. However, I was actually 'too cool' in 2003 for records like this. At that time I was busy being a mover and shaker at KJHK, probably deeply into ambient Eno music or minimalist 80's synth, not local KC obscurities.

I never was around the scene in 2003 to know Jared tried something new after Reflector broke up. Per the 7", there was a planned full length entitled "Working Toward 2203," which reviewing the interwebs, apparently never saw an actual release. The Trelese, at least based on these two songs, were a toned down Reflector. Less start-stop dynamics and angular paths and more melody in it's place. It's promising and makes me want to go seek out Jared at the Church he preaches at to ask if the rest of the album exists.

Namelessnumberheadman was active up until 2011, maybe they still are, but not to the same extent. The members were native Okie's who moved to KC. They took keyboards and other bits of electronica and combined them with acoustic guitars to generate a significant buzz during their existence. The songs are representative of the band, albeit a very early version. They became well reviewed by Pitchfork and were featured on NPR Music. It sounds very Death Cab for Cutie-esque, but the band was smarter than that, very intelligent with unexpected electronic sounds and acoustic guitars.

Namelessnumberheadman on NPR

Kathlyn Conroy Jessica and Nathan Reusch Wedding Flexi-disc May 24th, 2014

Kathlyn Conroy Jessica and Nathan Reusch Wedding Flexi-disc May 24th, 2014 NO CAT#

While I should probably discuss Cowboy, Indian, Bear before I jump into this, it's great and I due to the hassle of playing a flexidisc, I'm jumping in on this.

Kathlyn Conroy is a member of Cowboy, Indian, Bear and fronts her solo-project, La Guerra. Both of which are great, however, La Guerra isn't on vinyl, just CD. Nathan Reusch is an old friend and founder of The Record Machine . His label threw out a 5 LP bundle at a site called, Sound Supply and I wanted in on it, but had a couple of the featured records. I asked Nathan if rather than sending me dupes he could throw a few 45s I didn't have, and he threw this at me.

It was done as a party favor for his wedding. Kathlyn Conroy does an amazing rendition of the Christian hymn, "Come Thou Fount of Every Blessing". It was penned in 1757 and typically centered around a folk backdrop. Conroy throws atmospheric keyboard sounds and her echoed distant voice on top, it's beautiful. The second track, Daniel Johnston's "True Love Will Find You in the End" has been covered many times. Most of the covers help to showcase what a remarkable songwriter Johnston is, Conroy's is no different. She drops a single guitar line, more atmospheric synth sounds and her distant voice, it's very clever.

Appleseed Cast Mare Vitalis Graveface/Deep Elm 2015

Appleseed Cast Mare Vitalis Graveface/Deep Elm 2015 CAT# GRAVE032

Been on the hunt for this for a long time. There’s an original, then a reissue, both put out in limited pressing and both of which typically cost near the $100 mark. They’re available, I just don’t want to front that kind of change.

Initially, I was pretty stoked to hear about this Graveface 20 year anniversary repress, then it turns out they only put out 150 on black vinyl and an additional 150 on some goofy splatter vinyl. Second, it was like the thing was never on sale. I tried going to the Graveface website on the supposed release date and it was nowhere to be found. I believe it was sold out through pre-order and Graveface subscriptions. Next thing I knew, it’s on the internets for $75. Luckily, I was able to grab one without being to ripped-off, I was willing to spend the $50 someone asked for the copy I know have.

Fortunately, I got straight black vinyl, because splatter, colored or picture discs don’t really excite me like they do some people. In fact, they kind of piss me off. There’s people that spend upwards of $100 on a single album to own all variants? Why? What good does it do anyone to have 5 copies of the same album regardless of what it looks like?

Anyway, I’m glad to have a single copy of this LP. The second track, “Fishing the Sky” is the best thing the band ever did. I’d pay $50 for just that song. However, the whole album is 10 steps ahead of their debut, The End of Ring Wars.

For one, the band added Kansas Native, Josh Baruth, a.k.a. “Cobra”, on drums. His work took the band to another level. He’s a surgeon back on the set. He practically own the album. I’d give him all the credit for the LP, but the band’s songs were also improved.

The tracks put together are still heavy on the emo-side, paying homage to Sunny Day Real Estate and the band’s personal favorite, Mineral. However, there’s experimentation going on, noodling, and feedback throughout. The band was nearing their sound. But, they almost perfected the emo-version of themselves here. No one would have been upset if they decided to stay.

Fishing the Sky

The Life and Times Lost Bees Slimstyle 2014

The Life and Times Lost Bees Slimstyle 2014 CAT# thin0080

I don't do year end of lists. First, because I'm sure there's something I'd miss and second, because I can't afford enough new records to make an accurate judgement to begin with. Regardless, this is one of my favorites out of the few things I did pick up from this year. It's Shiner-esque power, ultra-mathy beats, and focused sound is spot-on throughout this LP. When you think it gets a bit too Radiohead-y and pretentious, the band just crashes down on drums and guitar, when you think it's going to get to 90's for you, they drop in enough electronics to keep it interesting.

Unfortunately, I think this album is going relatively unnoticed. Sure, the band appears to have the zine-famous thing down. The reviews are decent and there's always a mention of Allen Epley's Shiner work. But, I don't think it's going to be given the chance to set the world ablaze.

Truthfully, this band is now too old to be cool. Seriously, Shiner was like 20 years ago. It's like the Police in 1978 trying to fool everyone into thinking they were punk. The kids looked at them and said they were too good at their instruments to fit in. That's just as true with The Life and Times, they're too good to fit in. They're too proficient, they're too talented, and they got way too many cool tricks to be fitting in with the young, indie-rock crowd. The kids can't keep up with this, it's got dad skills (you know, the way your dad can beat you in 'HORSE' on a basketball court).

And that's probably just fine. Leave this for the Shiner fans and anybody with an open-mind. They're the ones that deserve it.

Ice Cream Eyes

The Life and Times No One Loves You Like I Do Hawthorne Street Records 2012

The Life and Times No One Loves You Like I Do Hawthorne Street Records 2012 HSR 035

Another LP by the Life and Times which was initially released as a CD, then released on vinyl. This one, the same year as the initial CD which was done by Slimstyle Records.  Coincidentally, the band released it's newest album, Lost Bees, on CD with Slimstyle Records which was later released on vinyl in the same fashion (I haven't picked it up yet, but it's good from the bits I've heard).

Anyway, No One Loves You Like I Do, is a great album. It sounds a bit more in line with the band members post-hardcore roots than the prior, it's like a really slow moving Shiner album. It's heavy on the slowness and building of songs...in fact, the whole album, every track, builds into the next, there's no dead air, just the next song. It's got it's math aspects, very technical throughout. Kids will call it shoegaze, but to me, that's still a British thing so I prefer the term post-rock.

It's one downfall is the track titles are pretentious. Songs are titled Days 1 through 12, but in different order. Who does The Life and Times think they are?  Emerson, Lake, and Palmer? Captin Beyond? It comes off super prog-rock. And, I'm sure there's a "meaning" to it and if I tried hard enough, I might be able to explain...it's probably about a girl. All is forgiven though as the songs and the kick ass and more than make up for the secret meaning behind song titles (drums are the highlight).

Day Eleven (LIVE)

Appleseed Cast Illumination Ritual Graveface Records 2013

Appleseed Cast Illumination Ritual Graveface Records 2013 CAT# GRAVE090

The 7th LP by the Appleseed Cast and I believe the first to be without founding member, Aaron Pillar.  I'm not sure why Pillar parted ways, but it ultimately leaves singer and guitarist, Chris Crisci, to be the only founding member left in the band.

The music doesn't suffer at all.  It's one of the band's most inspired LPs.  Based in long, transitional, instrumentals that focus energy into a boiling point.  When Crisci starts singing, the tune is almost over, but every time, it's worth the wait to get there.  It's certainly something you have to enjoy in full, there's no single stand out track, nothing you can skip to for a quick fix...well, except maybe the plastic-funk found at the beginning of side 2 on "Branches on the Arrow Peak Revelation," but other than that, it's an album experience.

There's a bunch of stuff about science, numbers, and nature on the back cover.  Illumination Ritual is either some metaphysical explanation of the world or just some New Age philosophy...I don't know, get's pretentious, but I'm sure somebody "gets it" and it makes the album even more epic for them.  I'm more into the sounds, don't need some guy's take on scientific mysticism to enjoy the music.

Branches on the Arrow Peak Revelation

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

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.

The Appleseed Cast Two Conversations Tiger Style/Graveface 2003

The Appleseed Cast Two Conversations Tiger Style/Graveface 2003 CAT# GRAVE035

If you can come up with an original Tiger Style issue of this release, it's still worth a pretty penny.  However, to save money, this is fine.  The Graveface reissue series has done an amazing job with the Cast.  The album is the first the band did after leaving the notrious Deep Elm label and at the time, was highly anticipated following the buzz of the Low Level Owl albums.

Personally, I find the release a bit more focused than the sprawling Low Level Owl LPs.  My only real complaint is it's a very slow-moving album.  Whereas the previous album had bursts of emo-ness thrown in to keep you off balance, Two Conversations steadies the pace.  This album certainly shed the emo tag, Chris Crisci's vocals are strained here and there, but he isn't crying like a baby anymore.  And the band, fucking brilliant, can't throw them in a punk-teen scene any longer, they're too good to emo.  The album finds the band with confidence, like they know who they are.  It also finds the band aligning themselves further with post-rock movement, building songs rather than writing them.

Overall, it's a fantastic mood album.  That is, you have to be in a certain mood to enjoy it.  If you want something immediate that you can sing and dance to; this is not your answer.  But, the deeper you get involved with it, the more rewarding it becomes.  The chilling loniliness that you hear on side one with songs like "Hanging Marionette" and "Fight Song".  And, if you make it through, you get rewarded here and there with the energy of "Innocent Vigilant Ordinary" and the slowcore beauty of "How Life Can Turn" and "A Dream For Us," on the flip.

Innocent Vigilant Ordinary

Soft Reeds Blank City The Record Machine 2013

Soft Reeds Blank City The Record Machine 2013 CAT# TRM044

Is Kansas City and the surrounding area becoming a "post-rock" scene?  A bunch of Eno obsessed hipsters in a game of one up-man-ship?  It's starting to seem that way...all these bands kick it pretty mellow and wave around the Bowie/Eno flag.  Not as cool as our emo/post-hardcore days, or Lawrence's surprisingly fertile 80's punk scene, but better than nothing.

If you go by reviews, the Soft Reeds are leading the way and Blank City is the reason why.  The albums has shades of Eno produced Talking Heads and a lot of disco funk thrown on top (by the way, "disco" is no longer a bad word, get over it).  Sounds fancy and all, but goodnight, everybody sounds like Eno now-a-days.  It's all becoming a bit too trendy.  Sharp angular guitars, layers of keyboards, and a dance-able backbeat, it's formulaic and obvious.  It's to the point that the dance-rock is in the realm of fashion rock, I mean, there's only so many ways you can wear a collared shirt and there's only so many ways to show Eno devotion.

The Soft Reeds consist of some Chicago natives, an Autin, TX native, and two Kansas Citians that have called KC their home.  They've played South by Southwest, done the Middle of the Map and have gained notable pub in town.  They are great musicians, there is no denying that by this album...it's not easy to be an Eno obsessed hipster-takes skills.

The hang up is that this is being done, by lots of people and dates back to the 70's.  At this point, it sounds like a sound the band is trying to emulate rather than a product of organic creativity.  The hard dance beats are cool, the choppy guitars are cool, it just sounds forced.

Funky Friends Breath, OK?

Abuela True Colors 7" Canvas Club 2014

Abuela True Colors Canvas Club 2014 CAT #ATT7-541076

So, I tried to touch on this while discussing the White Flight LP.  Abuela is Justin Roelfs, formly of the Anniversary and the creative force behind White Flight along with Evan Mast of Ratatat (a.k.a E. Vax).  Roelfs is now going by the "White Wizard."  Their song, "Sapa," has already been featured in a Lexus commercial, and along with the two songs here are available for download.

The two songs featured here are "True Colors" and "Honeybeez."  Right now, it's just kind of a teaser.  Both songs are interesting melting pots of post-modern sounds.  Neither is the stream of consciousness brilliant that the White Flight album was, but they're promising.  It's a bit more focused and a bit more sound friendly.  They have their tangents, but everything is kept in line.

If you search out the group on YouTube, you're going to see that a major focus will be placed on visuals and video.  Similar to what the Flaming Lips do now, but to a larger extent.  The two went to Peru I believe and shot an extensive amount of film.  It's all very ambitious, I just hope the music follows suit.

TRUE COLORS

Sea And Cake The Fawn Thrill Jockey 1997

Sea And Cake The Fawn Thrill Jockey 1997 CAT #THRILL039

Yeah, these dudes formed in Chicago.  And yes, no one is going to give Kansas City much cred for this band.  But hey, they have roots here.  I promise.

The Sea and Cake was brought about as project Sam Prekop and Eric Claridge after the band Shrimp Boat broke up.  Together, they recruited Tortoise drummer, John McEntire, as well as former Coctail and multi-instrumentalist, Archer Prewitt.  None of these folks are from Kansas City.  However, Sam Prekop attended the Kansas City Art Institute as did Archer Prewitt.  Prewitt played in numerous local bands, including the Coctails prior to that band relocating to Chicago.  Prekop, not known to play in KC bands and he hasn't really come back here, but he did have this to say in a September 24th, 2012 issue of Pitch Weekly on the formation of the Sea & Cake:

"Archer and I had met in Kansas City. We weren't really friends-- more like acquaintances. Somehow I decided he would be the right person to recruit. I had no idea we were going to become a band at that time-- I thought we'd just try it and see what happens."

So there you go, 2/4 of this band kind of, sort of met up in Kansas City.  Albeit years before the band's formation, they met first in KC.  Making Kansas City the beginning of all things cool in Chicago, IL.  (I sound like Milwaukee now, don't I?)  And, I know, Prekop moved around a lot, but his roots are clearly in Chicago, but, I'm pretty proud of Kansas City for introducing the two.

If you haven't heard the Sea & Cake, you're missing out.  Truly one of the first post-rock bands, they effortlessly blend jazz, soul, pop and electronic.  However, they are not like the bands now being labeled post-rock such as Sigur Ros, Mogwai, or Godspeed You Black Emperor, they're much more bubbly and pop-oriented.  But, the ambiance and electronic influence are prevalent and marks them as heavily influential in the current scene.

All the band's music is worth exploring.  This album is representative of the early half of their career and is just as good as any.  It's heavy on the electronics and cited as the first Sea and Cake album to do so, there is drum machines and synths, but they don't stray far from their previous work.  The newer stuff they have done is also incredible.  Whereas the first few albums tended to have similar weight and feel, in the 2000's the band explored different song writing techniques and  instrumentation.  Some albums came out very electronic, some much more experimental, yet there's even some guitar heavy stuff.  All undeniably the Sea and Cake, but not as immediately recognizable as their work in the 90's.

Civilise
Sporting Life

The Appleseed Cast Low Level Owl: Volumes I+II Deep Elm Records and Big School Records 3XLP Color Vinyl (Gold)

The Appleseed Cast Low Level Owl: Volumes I+II Deep Elm Records and Big School Records 3XLP Color Vinyl (Gold) 2013 CAT # BSR-007

People love these albums.  I mean, they put this reissue out in 2013 and they are freaking gone, already bringing in high dollar on eBay.

Personally, I prefer Mare Vitalis.  I'm likely in the minority there.  I just thought that album had more energy than these (keep in mind, these originally came out as two separate albums).  Plus, Mare Vitalis had "Fishing the Sky" which is the greatest thing the band ever recorded.  I'm just overwhelmed by the response to these albums, I've read that after this album, The Cast became America's answer to Radiohead, and I've read people gush over the experimentation with post-rock sounds.

I remember getting the CDs from Aaron Pillar for free after having to beg him.  Then, after he reluctantly handed them over, I felt bad because the albums can be challenging to get through, I barely listened to them.  There's a lot of space, a lot of experimentation, and it takes a while to soak these in.  At the time, I wasn't in the mood for that.  Further, it just proves, that this has nothing to do with Radiohead, we're not even going to jump into that idea because it's absurd.

However, I would like to address the post-rock experimentation.  The band dicks around a lot on these LPS.  On the liners, they state it's because they have a lot of ideas.  I think the truth is, they needed/wanted to get out of their contract with Deep Elm as soon as possible.  These albums were the answer; two sprawling releases that coincide with each other.  And in between the songs, there's not just segues, there's more songs of looped guitars and drum tracks filled with ambiance and atmosphere.  That part of the LP is what set the emo kids off.  Probably because they never heard Brian Eno, but I guess it was all new to their ears.  If they were familiar with it, they called it Godspeed You Black Emporer-esque, but again, they never heard Eno.  The experimentation is just looped tracks for the most part, some drumming building up and Pillar's guitar slowly adding depth.  It's decent, just not memorable.

In between the segues, there is some incredible songs though.  Had this been just one LP, it's easily 5 star material.  The droning sounds do bleed into the actual songs, but that what makes the songs great, not the albums.  However, by the fan base embracing the Low Level albums and the critical praise, it did send Appleseed Cast in a whole new direction.  The work that followed perfected the sounds found here.  The time since these LPS have been released took them out of Emo scene and firmly entrenched them in the post rock scene.  And, despite being Kansans by choice only, they are currently Kansas' most important band touring and putting out new music.

On Reflection
Steps & Numbers