Kevin Morby Harlem River Woodsist Records 2013

Kevin Morby Harlem River Woodsist Records 2013 CAT #WOODSIST071

This is Morby's debut LP as a solo artist. Years spent with his other bands primaraly in New York brought about 8 tracks which Morby has said were influenced by the Big Apple, thus the title Harlem River.

Like New York City, Morby's debut is a big undertaking. It's easy to get around, but to get to everything is nearly impossible. Morby employs a Dylan-esque thin-mercury sound and there is are great moments, tons of highlights, and things you just don't expect. But, also like New York, there's a lot of messy bits and plenty of construction all around. He's finding his direction and building things up. The highlights of the LP make it a fantastic and outweigh Morby's sometimes lofty ambitions that weren't completely fleshed out.

Harlem River

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/

Bloodbirds Psych Surgery Private 2013

Bloodbirds Psych Surgery Private 2013 CAT# BB001

I'm not hip and if I was, I'd probably have seen this band a dozen times and have a lot more to say. Instead, I have my lame-ass story of finally tracking down a copy of this LP.

Years ago I was at Zebedees (before it moved and became something else), I asked the owner if he was into anything local and he grabbed his last copy of this Bloodbirds' release and said, "These guys played the KC Psych Fest and blew everyone away." It did look cool, but the S/T Berwanger LP was sitting there as well and I weighed my options and thought Berwanger's release is going to disappear before this small KC psych band is.

Man, was I wrong. That was literally the only time I saw a copy of it. I did search for it, I was interested seeing if the gloating reviews from Zebedees were true. I just never saw it around town. The band did a limited run of the LPs, something to the number of 500 and I guess everyone is hanging onto theirs. Eventually, the LP showed up on Discogs from a guy in North Carolina and I grabbed it, just glad the band's popularity is still within KC because it was reasonably priced.

It's a solid LP. Psych rock isn't a bad term, garage rock would fit as well. They obviously have classic rock influences, but don't have the classic rock studios their heroes had. The Bloodbirds are three piece and to fill out their sound, guitarist Mike Tuley layers guitars throughout the recordings. It's a lot of guitar. His classic rock hooks and indie-rock production make it feel like an early Dinosaur Jr. LP. It's a solid LP and I can get why it's nowhere to be found currently.

Psychic Surgery

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

Pedaljets What's IN Between Electric Moth Records 2013

Pedaljets What's IN Between Electric Moth Records 2013 CAT#EMR002

The Pedaljets were part of the college scene back in the mid to late 80's.  Formed in Lawrence, they released some well received Husker Du-ish albums in the late 80s.  Toured with the SST crowd and played shows with just about everybody cool in those days.  They were better players than most the hardcore scene and a little more accepting of taking a step towards popularity than say Husker Du (but, never willing to go full sell-out like the Replacements) and that combination actually got them on MTV for a brief period.

Despite possible big time success, the band unraveled and broke up.  One member went full time with The Wilders, another to Grither, and despite the possible big time, they were done.

23 years later, they released a single and this full length.  Paul Malinowski of Shiner fame got in the studio with the band and helped produce this for group's own label.  The band isn't as crunchy and loud as they were back in the day, but fuck if they're aren't some great pop songs here.  Honestly, they try to get tough and loud on about half the tunes, but I'm far more into the subdued stuff.  I'm not talking Communion style subdued Pedaljets either, for the most part that stuff was still loud and angry, I'm talking ballad style Pedaljets.  The life experience, acknowledgement of country music, and the fact they have no one to impress at this point suit them well.  This LP could and should have been a total disaster, instead, it's pleasant surprise that's worth picking up.  (You can get it super cheap right now at Mills Records and apparently free on the band's website, but that's got to be an error or an odd way of saying it's sold out).

Terra Nova
Tangled Up

Berwanger T.K. Webb Split 7" Creme Tangerine 2013

Berwanger T.K. Webb Split 7" Creme Tangerine 2013 CAT# CTR-003

Nifty release on hot pink vinyl.  This was put out by a small label, Creme Tangerine, in 2013.  As far as 7"s go, solid packaging, the pink vinyl is cool, the label contrasts nicely, the artwork and printing are attractive, but simple.  Also, Josh Berwanger was behind most of the artwork and design, so pretty DIY accept the actual label part.

From my understanding, it was Josh Berwanger's first output as a solo artist.  You can tell since it's drenched in a sound reminiscent of his work with the Anniversary.  Bit of a dance rock groove with synth effects all over the place.  It's got a good hook and the Anniversary-ness to is welcome in relation to the Only Ones. He's not doing this sound anymore, if you've heard Berwanger's newest stuff, dude is obsessed with power pop sounds.  He's doing an upcoming release for Sid Sowder and Too Much Rock which is due out in early June.  That release promises to be full on 1978 style.

The flip side features a home recording from T.K. Webb entitled, "Fuck the Police."  I think the song uses the phrase once and I'm not a huge fan of using a title that borrows from N.W.A., but whatever.  It's a a decent rural, folk-blues jam.  Homemade style, so it's still rough around the edges.

Nifty Label, Super-Indie, Creme Tangerine

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?

Shy Boys S/T High/Dive Records 2013

Shy Boys S/T High/Dive Records 2013 CAT# HDR004

An online friend of mine asked if I had heard of this band and if I had the LP.  I'd heard all the local praises about the band and knew I wanted to pick up this album, but it's only been out a few weeks since it even came out-I hadn't got around to it.  She then mentioned how the band got a good review on Pitchfork.  Wait, what?  A tiny band from KC got a "good" review on Pitchfork?  Well, that being the case, I ran out as soon as I could to pick this up.

Of course, I read the Pitchfork review and sure enough, a 7.1.  Considering Pitchfork doesn't even like music anymore, a 7.1 is phenomenal.  Pitchfork goes on to praise the band's amateurishness and lo-fi pop aesthetic, which is fairly accurate.  But, after reading it, you'd think Beat Happening, to which the Shy Boys have long since surpassed in musical ability.  It also compares the band's bedroom pop to that of the Beach Boys, again, pretty accurate, it's clear the band has an affinity for Pet Sounds and even later-era Beach Boys like Holland or Surf's Up.  However, there's also a clear pysch element that is probably more closely related to more recent bands like Neutral Milk Hotel or even Deerhunter, but, if that's your gateway to the Beach Boys, no harm done.

The Shy Boys are a Kansas City three-piece made up of brothers Collin Raush and Kyle Raush, they are rounded out by Konnor Ervin.  Their brand of lo-fi pop has been putting out their name out in KC for the last couple of years.  There's an appearance on a comp, thought there was a 7"?, maybe a CD or something, and they played The Middle of the Map Fest.  They've certainly perked the ears of the right people as all the KC hipsters are shouting the band's praises.  And for good reason, the hipsters and Pitchfork are right, the album is solid.

The whole LP is 10 songs at 45 RPM (what's with the KC bands getting into fidelity?) totaling a little over 20 minutes, so it's short.  It's twee and unpretentious.  Well put together pop songs with no frills.  I mentioned Deerhunter earlier because the entire album could be mistaken for an intro to one of their songs before the "rock" starts.  Unlike Deerhunter, the Shy Boys do not "rock."  They wander between pop hooks and jangly guitar lines.  Again, it's not as off kilter or as amateur as someone like Beat Happening, but there's a childlike quality to it, it's naive.  But, with the harmonies, falsetto vocals, and use of space there's a lot more to this band.  The band labels themselves "landlocked surf music", but I'm dubbing it stripped down shoegazer, which isn't a thing, but it should be.

Live Shy Boys
This f'n Pitchfork review I keep talking about

Various Artists Eccentric Soul The Forte Label Numero Group 2013

Various Artists Eccentric Soul The Forte Label Numero Group 2013 Cat # 047

This is my favorite release of 2013.  The archivist label, Numero Group, has collected 28 tracks from the Kansas City soul label Forte and threw them onto a two LP set.  It's complete with an amazing and well researched booklet.

Kansas City has it's rich tradition for jazz and blues.  We even have claim to some nice indie-rock.  But as far as soul music, we never developed a famous sound.  The Forte label attempted to capture some of Kansas City's talent in terms of soul music.  Most the performers featured here were around town doing Motown style revues.  But, when the artist got the chance to do their own thing in a local studio on  a regional label, there are some amazing moments.

Now-a-days, these records are nearly impossible to locate.  They likely enjoyed forms of regional success and sold decent, the label stayed active from the mid-60's into the 70's, but the 45's seem to only be available on-line for high prices.  Collectors started gravitating to rare soul side in the 80's.  People wanted regional and unheard sides, the label's output is now blanketed into the term "Northern Soul," which is a reference to all night dance raves taking place in England, but today just means rare soul.

The most popular of these Forte artists is Kansas City, KS' Marva Whitney.  The collection features two selections from Forte output.  She sustained a fairly successful career after leaving Kansas City.  After Forte, she cut some sides for the famed Federal label.  Then, she was featured as a member of the James Brown touring show and recorded for King.  Her King singles and one studio LP are revered by funk collectors as the some of the dirtiest and raw funk recorded by a female.  In the 80's she found herself recording for number of other labels never catching on in one spot.  Her tracks on this collection are representative of her work, she belts out a song like no other, it's like you're being yelled at, and while the talent around her isn't anywhere near the level she had with King, her tunes here are still stunners.

The collection does showcase what could be termed a Kansas City soul style.  However, lots of obscure, regional soul sounds just as raw as what's featured here.  It's not as clean and crisp (and well, as white) as what Motown was doing.  It's not as earthy and blues oriented as what Stax was doing.  It's not as funky as James Brown, but tries awful hard to be.  The main purpose is to get people out to the dance floor, so it's up-tempo, sock-to-me style soul.  Shouters and screamers that would make you think of Sam & Dave or Dyke and the Blazers.  During the 70's the label did allow for more experimentation, Olathe, KS' Everyday People Life reach into prog-rock realms while trying to conjure a Sly & Family Stone feel.  There's also some Willie Mitchell/Al Green style slickness attempted, some of great, some of it only decent. Overall a highly recommended release filled with obscure, but amazing Kansas City musicians.

Marva Whitney Daddy Don't Know About Sugar Bears
The Fantasticks-Cry Night and Day

Lazy Obsession Moniker Records 2013

Lazy Obsession Moniker Records 2013 (CD released previous year) CAT #MNKK-015

Yeah, first, I'm not hip anymore and can't keep up with the new sounds in KC and Lawrence.  However, there's a guy I bumped into on the internet via Instagram that is.  He runs the blog Riot on the Plaza , doesn't write in it much anymore, but he should, he's far more up to date on newer artists than me.  You'd think I'd have met the guy locally at shows and such, but again, I'm not hip, my belly is getting fat, and my kids tire me out.  Check out his site and tell him to write more, there's a ton of stuff coming out lately and I need a good filter.

So, Lazy is cool.  KC finally has a No Wave band.  Well, I wouldn't go that far, but I'll say No Wave without the jazz influences.  They switch between guy and girl vocals and you definitely hear a Brian Eno infliction in singer Brock Potuck's delivery.  The band is also chaotic and jumpy, taking a heavy bottom and sending squalling guitars and vocals over the top.  Those two aspects lead me to the No Wave comparison.  But, I'm a pretentious old hipster and hear Sonic Youth in everything new, so take that for what's it worth.  The band is also very much on the punk rock side of things.  I can't really pigeonhole them to that genre either, though.  Too smart.  Although, they certainly have a lo-fi aesthetic and charm.

Overall, there are several great tunes here.  It plays fast at 45 RPM on 12" wax, so props for looking out for the audiophiles out there.  Based on the new locals I'm picking up here and there, part of me wishes I still had the energy to get out there to clubs and check things out more often.

Party City
Childhood Wonder (seriously, sounds like Eno singing early Poster Children, anybody with me on that?)

Radkey Spirals B/W N.I.G.G.A. (Not Okay) 7" Replay 2013

Radkey Spirals B/W N.I.G.G.A. (Not Okay) 7" Replay Records 2013 CAT # 007

I'm desperately trying to find things to dislike about this group.  I can't.  It's really fucking good.  Further, this 7" is put out by a bar, so can't hate on that either.

The song "Spirals" is fast, loud, it's even snotty and has a pubescent attitude.  The flip side has been discussed already.  Plus, the artwork is rad.

I don't get it, but I don't really have to, they're good.  They have a new 12" out that I haven't picked up yet.  Maybe, the kids trip up there, but I doubt it.  I still don't get all these indie releases from a band that books tours overseas.  Granted, it's fairly easy to self release now-a-days and major labels are clearly a thing of the past.  Just makes you think someone is behind this band doing the big moves and priming this band to explode nationally.

SPIRALS

Travis Millard Occumm Pucky Vol. 1 Lost Broadcast Records 2013

Travis Millard Occumm Pucky Vol. 1 Lost Broadcast Records 2013 CAT# LB00107

I think at this point, it's safe to say that Travis Millard is the coolest artist from Olathe, Kansas, ever.  In fact, I think it's safe to say Travis Millard is the coolest Olathe, Kansas native, ever.  He's a well established artist.  He does his Fudge Factory Comics, he's done of album covers (Get Up Kids, Dinosaur Jr., and others), his artwork appears on skateboards, and he's done cartoons-something of his appears on Sanjay & Craig on Nickelodeon which my kids and I love.  Finally, he's a legitimate artist supporting himself through artwork, that's tough to do and rad.

He's an Olathe South graduate, which is also the high school Alma Mater of 3/5 of the Get Up Kids and myself.  He was a few years ahead of me and we were part of a Junior High system, so we were never in the same building, I can't consider him anything other than an acquaintance.  Second, I wasn't an "art" kid.  Always wanted to be, always loved looking at it, just couldn't do it myself.  Friends and I always admired him from a far--he's a legend in Olathe.  He played in a band, made incredible drawings and if you ever talked to him he was always incredibly nice.  When I got to college at KU and worked for KJHK, he did stuff for the station all the time.  T-Shirt art, this incredible show poster that I can't for the life of me find, so again, the nicest guy ever and he did that stuff at no charge to the station if memory serves.

This 7" release represents the stuff he did in college.  They are entertaining little demos he did in around Lawrence, KS with various bands/friends.  5 songs on a 45 RPM record, so some of the tunes are really just ideas.  Also, it features some pretty well known players.  Most notably, Kori Gardner of Mates of State plays guitar on the song "All Your Friends", but it also features Josh Cobra Baruth on "Little Home" and "Crush", who played drums for Appleseed Cast.  Every tune is incredibly raw.  But, like his artwork, the music is very imaginative.  I get a Syd Barrett feel from some of it, out of key pop songs, very clever and picturesque rhymes, but not acid damaged, just the cleverness and guitar effects.  There's also a good amount of Northwest influence on the tracks, kind of K Records, Built to Spill-ish, which could be more due to the demo style recordings than it is Travis Millard.  The song "Little Home" is a legitimate gem, raw, but would be worth polishing up and redoing.  "Crush" is decent, it gets a bit too adventurous and seems to forget it's a pop song.

Overall, I'm stoked this exists and even more stoked it's only Vol. 1.  Is Vol. 2 going to be more college-era demos?  Maybe the high school stuff he did, which I was pretty sure as a Junior High-er was the coolest thing I'd ever heard from someone in my hometown.  Maybe some brand new stuff?  Should be solid no matter what.

http://lostbroadcastrecords.com/

Radkey Cat & Mouse EP Wreckroom 2013

Radkey Cat & Mouse EP Wreckroom 2013 NO CAT#

So, here's a group of under-the-age of 20 brothers from St. Joseph, Missouri playing American style punk.  Oh, and they're African American.  So, black teenage brothers from the heartland playing punk rock, nationally, needless to say, there's a lot of hype around them.  They've toured, been featured in the Village Voice, have a limited 12" release, yet there bio states they just recently learned to play music?  I don't know, man.  There's a lot to go over with this band.

For one, it's pretty apparent someone is setting this band up to be the next big thing.  You don't have limited, self-released, import only, 12" EP come out with out someone footing the bill.  You also don't have such an amazing back story without taking a few liberties.  Three brothers from St. Joesph who magically picked up instruments and almost instantaneously put out a record?  On word of mouth alone they book tours in Europe? And seriously, they have a "look."  The middle brother and bassist looks like the lead singer of Thin Lizzy.  I mean, it's an obvious modeled look.  I've been to St. Joesph and that isn't a look the teenagers are sporting.  And if the band is so "brand" new, where did they score the sweet gear?

So yeah, I have my reservations about the band's riveting back story.  I think there's a lot of fabrication.  However, I don't think it's a bad thing, I mean, it's pretty clear, they are going to be the next "big" thing.  And, the first BIG release is going to be something incredible.  I just think whoever is putting out that release is behind the scenes feeding the hype machine.  These songs are just too good to believe all that.

On Cat & Mouse, the band plays straight ahead early American punk.  You'll read a lot of comparisons to Danzig-esque vocals and the Misifits and those comparisons aren't far off.  Not quite as hardcore as the Misfits, but close.  Dark and menacing with the aggression and energy of early Black Flag, the brothers pummel through 5 teen rockers.  And it's well produced, dual tracked vocals, flashes of keyboards, guitar solos, it's old school punk with pop flashes.  They do find some polictical or teenage angst as well, the song 'N.I.G.G.A. (Not Okay)' is exactly what you think it's about.  And, the fact that it's from teenagers makes it even better.

But seiously, the whole just started playing charade is bullshit.  I'm guessing the brothers have been playing together in the basement for some time.  Long enough to know how to bash out clever punk tunes, but not old enough to hide their musicality.  I'm going out and stating the debut full length is going to be leaps and bounds beyond the screamers here.  It'll probably be brilliant, too.  But, this EP will always be a good punk throwback; a reference point.  Think of the jump the band At The Drive-In made from their basement punk debut to In/Casiono/Out.  The Strokes from musical obscurity to starting a genre of fashion punk.  Or, the Refused's Euro-Hardcore to the blistering neo-Punk of the Shape of Punk to Come.  It's going to be something epic and big.

N.I.G.G.A. (Not Okay)
Already on Later w/ Jools Holland, really?

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