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

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

Cowboy Indian Bear Live Old, Die Young The Record Machine 2013

Cowboy Indian Bear Live Old, Die Young The Record Machine 2013 CAT# TRM 045

The Lawrence based Cowboy Indian Bear recently disbanded in 2014, which is a shame. The band could do a lot with a small budget and a lot of talent, listening to them is like listening to a lo-fi Coldplay, but cooler, with much better songs.

The band certainly doesn't "rock", which is fine, because they find enough soul to keep you interested. Putting on this LP, you're greeted with the atmospheric "Waiting," which is loaded with sounds, and makes you feel like you just got home. It's an inventing opener and a perfect introduction to the albums well thought out soundscapes and experiments in post-modernism.

You look at the cover of 'Live Old, Die Young' and see four Lawrence, KS hipsters and you're going to make obvious assumptions, some of which may be right, but there's so much more going on here. The obvious assumption is the current Eno/Radiohead/post-rock fascinations hip with all the kids. But, what's unexpected is this slick, well-produced 80's modern-soul vibe you can get from the record. Partially due to the soulful vocals, but there's a dance element hidden among all the noodling on guitars, electronic experimentation, and layered harmonies. It keeps it more interesting than other bands of the same ilk.

And again, the album feels like home. It's effortless and comfortable.

Let it Down 

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)

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

White Flight S/T Range Life/Black And Green Records 2006

White Flight S/T Range Life/Black And Green Records 2006 CAT #BG003

This has easily become one of my favorite local releases over the past few years.  It's Justin Roelofs, post-Anniversary, just putting his ideas out there and creating somewhat of a spectacle of himself.  For this LP and project, he's no longer Justin Roelofs, he is White Flight or the White Wizard.  He also reportedly found all his inspiration on a visit to South America, never doing drugs, but soaking in some serious spirituality.

He's a smart dude and has always been off center (or at least he wants you to think he is).  I remember when he was in the Anniversary hanging around Lawrence.  They were a tight-knit band and were always seen together.  Once they headlined KU's Day on the Hill, which is a outdoor, parking lot concert.  I was in attendance with my sister and the Anniversary was hanging out in front of us pre-show.  Somehow, they got on the topic of Neutral Milk Hotel's In An Aeroplane Over the Sea album.  One of the Anniversary guys, I want to say the drummer stated something to the effect of he never understood the album or didn't really like it.  Roelofs blew up.  He started asking, "Do you know what it's about?"  And before anyone could answer he started telling them it was based on the Diary of Anne Frank (it isn't, but it's a rumor).  He continued though, for like 10 minutes, red in the face that his band mate didn't agree that the album is genius.  So, despite that some of the White Flight thing seems theatrical, there is plenty of evidence that points to Roelofs' eccentricity.

Another thing about Roelofs, up until this album, he has always seemed somewhat disingenuous.  He's very adept at writing in a current scene's sound.  His early high school career was based around a pop-punk sound.  As discussed previously, he had success writing in that genre.  Then, he formed the Anniversary and was drawn into the sound of Weezer and the Rentals.  When, stoner rock became a thing, he and the Anniversary changed tune again.  All good tunes and worth listening to, but not really his own thing.

That changes White Flight album, at least to a certain extent.  This is a mash-up of everything he's heard, everything he could want to copy, everything he could think of.  He just throws it all out there.  Had this come out pre-Animal Collective, people would call it genius.  Instead, it gets lumped in as more post-modern indie-rock.  And, truth be told, I'm fairly certain some Animal Collective did come across Roelofs' lap prior to putting this together.  But, fuck, it's a great album.

Upon first listen, it is a bit much to take in and can sound sloppy and unfocused.  After a few times though, the hip hop influences just start to blend with all the chopped up electronics, samples, and guitars.  Lyrically, he's a kid from Overland Park, KS, and doesn't have much to say, he talks about cats, spirits and there's a lot of scratch vocal "la, la, la, la-ing" going on.  It's okay though, because the groove is there.

The amount of visuals out there for the album is pretty incredible.  He's got YouTube of himself dispelling drug rumors to his mom (is that needed?) and he gave himself a Jesus makeover in all his glossy videos.  Again, he's an eccentric dude, but after several videos, it all seems a bit over the top and concocted.  I'll take it though, the album is brilliant.

Apparently, White Flight is now done.  The White Wizard (again, that Roelofs) is working with Evan 'E. Vax' Mast of Ratatat (also worked with Jay Z) and they are dubbing themselves Abuela.  Both E. Vax and White Wizard went to South America to shoot video for all the visuals that are going to go along with the music.  The song, "Sapa," has already been featured in a Lexus commercial and there is a video up for it.  The first 7" featuring the song is apparently available currently.

Deathhands
Now

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

Ad Astra Arkestra S/T The Record Machine 2011

Ad Astra Arkestra S/T EP The Record Machine 2011 CAT # TRM-036

So, I bought this album recently (had to, it's limited to only 300 copies, I was getting worried) and no where on the record does it say play at 45 RPM.  I put it on at 33 1/3 and was pretty sure I had just dropped acid and my face was melting.  It was fucking intense, then the vocals kicked in and I realized my error.  But seriously, someone should sample some of these tunes in 33 1/3 for some dope beats.

The band was formed from idea that was Lawrence's Ad Astra Per Aspera and members of the "Arkestra" play around town in numerous other bands.  It's a cool idea, with all the members and a ton of percussion, but it does get a bit pretentious.  A group of white hipsters calling themselves an "Arkestra"?  Sun Ra should probably get off his space ship and punch the band in the face a few times.

The band dubs itself "Astra Beat" or "Drum Punk" (again, more pretentiousness) which means post-modern centered around percussion.  They use tribal rhythms and scream a lot.  They are some really good moments when the beat is steady and they place a nifty riff over the top.  Some good dance moments.  Then there are some borderline hippie moments, which I didn't need, but I get it and I figured it was going to happen just based on the cover.  Besides, one of those boder-line hippie moments, "Apostle's Fossils," is the highlight of the album.

Ophelia's Blues

BE/NON Moi Ou Toi B/W Not Tonight Curve Groove 2011

BE/NON Moi Ou Toi B/W Not Tonight Curve Groove 2011 CAT # CG-001

I'm not a huge BE/NON fan, but both things I have came to me brand new and incredibly cheap.  This was put out by a recently out of business record store in Gladstone, MO called Earwaxx Records and More. It was a solid store, I loved it.  The owner was generally behind the shelf and gave great deals on trade.  He also put out VG - stuff and sold it to you at a super fair price.  I love getting nice, playable, copies of stuff and paying less because the cover has some issues.

Anyway, from what I understand, the owner of Earwaxx purchased a large collection of LPS for $6000.00.  He immediatly sold some high end items off and recouped his investment plus.  Opened Earwaxx and gave great deals, apparently made a good business out of it, and even attempted a record label.  For whatever reason, he closed shop.  I asked in the last days, he really didn't say anything other than it was a solid money maker for him, he just had other problems that needed to be dealt with.

His label only released 100 of these.  This is copy 64 out of 100 and it's on gold wax, I'm assuming all the rest were gold as well.  It's more of Brodie Rush's experimental psych rock.  The first side, 'Mon Ou Toi,' is a bit of a drag.  Repetitive synth rock with tribal beats.  Reminds me of the first Fun Boy Three album (who people don't give a chance due to it's 80's looks), but a little angrier.  That, or it sounds surprisingly like Rex Manning's chorus to 'Say No More Mon Amour!' from the movie Empire Records, which isn't anything you want to sound like...maybe it's just the similarity in phrasing, but seriously, I really hear that.

However, 'Not Tonight' is fucking brilliant.  Newbies are going to hear the Elephant 6 collective in it, but it's heavily rooted in 60's psych complete with a chiming 12 string guitar.  Great sounds, it's centered around a simple drum loop and the band just keeps adding to it.  Vocal effects come in, more stuff added.  It's really a great track.  Makes up for 'Moi Ou Toi' by leaps and bounds.

BE/NON Live at Earwaxx-Not Tonight

BE/NON A Mountain of Yeses Unipegadong Records 2009

BE/NON A Mountain of Yeses Unipegadong Records CAT #DONG-0001 2009

I don't have any hipster douchebag stories about this band, despite that the BE/NON moniker was kicking it in the KC scene back when I was a hipster douchbag.  It's not really a band, it's the brainchild of Kansas Citian Brodie Rush.  Since 1996 Brodie Rush has been releasing under this name with a host of musicians and friends appearing on the recordings.

I remember the band vaguely in their early days and thinking they sure tried awful hard to have edge.  The sound they were shooting for in the beginning was a bit out of range.  However, after picking this LP up awhile back, Brodie has definitely found out what works for him.

A Mountian of Yeses carries some heady tunes.  A bit early 70's prog clashed in with 80's post punk and synth pop.  It's ambitious and a challenging listen.  Everytime I listen to it, I honestly can't help but thinking that Muse should sound more like this.  I fucking hate Muse and I think it's because they take the prog/art rock form and experimentation and try to dumb it down for soccer moms, all while singing about total nonsense like "Blackholes and Revalations."  BE/NON seem to understand that they don't have to dumb down their shtick for other to enjoy it.  In fact, what's appealing about the LP is that you sense that Brodie Rush made this for himself.  He had it in his mind and got it out there, there was never a concern of impressing others or making fans, he just had some tunes in his head that he needed to get out there.  Also, TRUST ME, the whole Muse thing is just what I think when I listen to this LP.  BE/NON has nothing to do with that shit band.


Live Tune from the Album Release Party 

The Regrets New Directions Results Beat Boasts 1997

The Regrets New Directions Results Beat Boasts Crank! A Record Company 1997 CAT #80206

The Regrets were 3/4 of Vitreous Humor and put out this one album.  Which is a shame, because I think Danny Pound was onto something when he came up with this Talking Heads meets organic boogie rock hybrid.

Vitreous Humor was a teenage reaction to indie-rock.  It was a group of kids discovering a genre for the first time, in their case the 90's scene from North Carolina and some Fugazi thrown in for good measure.  The Regrets were an adult reaction to the discovery of groups like R.E.M. and the Talking Heads.  It's also a nod to things not having to be loud and angry to be good.  Further, soul and dance music can work for everybody.

New Directions is post-modern.  It's a collection of influences stirred into the pot with Danny Pound free-forming lyrics over a loose beat.  His rants go from juvenile ("Play with yourself until you thought you might faint") to absurd streams of conscious.

It was recorded by Bob Weston and you get the sense that he just the guys bang out tunes.  It very easily could have sounded slick and polished, like the band Cake.  Instead, its loose and jittery.  Everything left in the mix.  Great album.

Reunion Gig
Inflated Passions