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KC Psychfest: Day One Wrap-Up

Nestled within the confines of the Strawberry Hill neighborhood in Kansas City, KS, the FOKL Center flourishes in a space marked with little more than the four letters which make its namesake. Formerly the Tienda Latina market, the large display windows that face the street at its corner perch give a view of the precarious intersection at 7th and Central, a crossing which I found out that night is the antithesis of pedestrian friendly. Inside the building, the floors remain tiled with the featureless squares of vinyl that once provided footing for those acquiring their weekly groceries. These days, the floors support the traipsing, dancing, and stomping influenced by frequent art installations and live music performances.

The idea of a music festival in its basest form is daunting to all parties involved. The bands are kept on a tight schedule of loading and unloading heavy amps and road cases filled with who knows how many pedals, wires and gear, perpetually waiting for their brief moment to give what crowd there is little more than a sampling of their work, then tirelessly haul that same equipment back out to their van. The venue and those volunteering to keep things on track are constantly kept on their feet by unexpected malfunctions throughout the course of the night, and deserve commending for keeping their sanity intact through it all. Lastly, the audience themselves are inundated with a variety of musical choices, asking themselves if they should see band A, B, or sometimes C, D, or E.

The first ever Kansas City Psychfest made a good choice in staggering the musical acts so that while one is playing on the ground level, a band is setting up in a second performing area in the basement. In theory, when the first band finishes, the second band begins playing minutes later, providing an almost seamless night of music. There really is no better way to have a dozen artists play in the same building in one evening, but when put in practice the difficult task is given of deciding whose set you should break from to take a piss, get some fresh air, or grab a bite to eat.

The evening of music was kicked off at 7:00 with Thee Devotion performing upstairs. The local five-piece with an affinity for fuzzed-out ’60s and ’70s funk (with a nod toward The Sonics), white pants, frilled shirts, and platforms just released a new record and played some of it that evening. Davin Watne spent half the set with a pastel-colored guitar around his shoulder, and the other half peacocking around his performing area, all while giving a surprisingly on-point falsetto, wherein the stories were about ladies, sexiness, and other things one would expect from the kind of music they play. Such a performance was ultimately lost on a small, motionless crowd that wasn’t yet prepared for that kind of energy.

The duo that followed contrasted as much with the previous act as the dark basement from which the sounds emitted did with the luminosity of the light sculpture in the room above. Delaney Moore and Sterling Holman performed a set of improvisational drone as Twofaced, each settled adjacent from each other in the corner of the room. Ropes of intertwining red and blue light lay at their feet, providing the only other glimmer in the room barring the projector immersing the corner in fragmented images and video displays. The forms dancing on the walls were not so much influenced by the sounds coming from Holman’s guitar and Moore’s table of gadgets, but the aimless movements created a haphazard kinship with the wandering intonation they produced. The project has recorded together, but at this time none of it has been made public.

Upstairs, Brandon Knocke stood alone behind a case piled high with keyed instruments, eyes ceaselessly darting from one piece to another while everything above his waist instinctively bobbed in rhythm with the synth-heavy electronic music he creates as Discoverer. The tracks Knocke displayed began as sharp, bare-boned beats with a few sequencer knob turns, then were gradually piled upon until the initial raw beat was only an undercurrent to often soaring panoramas of groove conscious streaks that gnawed at a vintage aesthetic. Discoverer’s last output was 2010’s Build a Base, but a brand new album is expected to be released later this year. Knocke can also be seen and heard as one half of Parts of Speech, whose approach to ’80s centric synth pop is strewn with sleazy fuzz and overdubs.

Among the three musicians that make up the Jorge Arana Trio exists decades of experience in crafting fast-paced compositions with erratic time signatures. As a founding member of Pixel Panda, Arana is no stranger to the precision required in constant time changes, though with the Trio he is able to venture into avant-garde jazz experimentation. Most songs may feature a calculated mashing of keys or a meticulously plucked guitar, backed with bass and drums played with accuracy just as severe. Violinist Chaski Zapata joined mid-set to further accentuate the sheer veracity one can achieve through adherence to training. Final side note: it’s a bit odd that Jorge would play immediately after Discoverer, as Trio drummer Josh Enyart played with Knocke in the band Latin, which also contained Evan from Minden, and John from Sundiver, but I digress.

It was around 9:00 when my body reminded me I was going on over eight hours with nothing but an afternoon espresso as fuel, recently ingested beer trying to start a cage match in my stomach notwithstanding. As I mentioned above, the single downfall of nonstop live music is making the decision to skip out on a band to nourish oneself. By no fault of their own, Restless Breed ended up being that band, though had my hands not been shaking I undoubtedly would have enjoyed their set. In the few minutes for which I was able to stick around, I was enthralled by a trio versed in the kind of traditional psychedelic rock made popular by Vangelis years before his “Chariots of Fire” days. Under layers of woozy, synthesized programming by Tom Romero was a straightforward style displaying a fundamental example of exemplary songwriting.

After grabbing some questionable street tacos from a little place down the road and nearly getting hit by a car (full disclosure: it was my fault) I walked back into the basement with but a single thought in my mind. I hate smoke machines. Better yet… I abhor them, I loathe them, I unequivocally revile their very existence. As much as I wanted to stay in the room while Yam played, I got pushed out by a rapidly forming sinus headache and watched from afar. It was already proven earlier in the evening, but one need not encompass all things psychedelic in order to be welcomed into the fold of artists calling the venue home over the next few nights. While the trio displayed an unmistakable talent with composition synchronicity, an assumption of Will Christie’s influences would better lie on someone else, though their roots are assuredly planted in rhythmic eccentricity.

At the risk of sounding as though I’m giving one of the evening’s bands a bad review, Box the Compass played an overall adequate set of unmemorable rock needlessly pushing an expansion of time and space neither remarkable nor necessary. I understand that may sound overly critical, but had this band’s position been switched with Thee Devotion, the floor would have been a mess of drunken bohemians shaking their asses instead of a littered few with barely a head nodding along anywhere in the room. I only have this single, short set by which to judge the quartet, but the addition of vocals did not save them from the doom of sounding like anything more than a culture hungry band in any number of rock bars across the city. Furthermore, I can find no online presence of the group to seek out the possibility of giving them the second chance they deserve.

Following a trip down the wooden stairs to the basement, I encountered something very surprising. It wasn’t what I was hearing, though David Williams’ Sounding the Deep is wholly transcendental. I was taken aback by what I was not hearing. The exhaustive chatter of audience members during a subdued performance was nowhere to be found. In a cobweb-ridden basement with leaking pipes and spray painted walls I had found respite, and a near metaphysical experience with music that relied as much on the concrete walls for amplification as it did the delicately drifting hands that wrought the sounds from a guitar. The atmosphere was made further cerebral with padded drumsticks at times tapping a snare and gong, and an upright bass being slowly grazed with the bow of a man who looked as though he could crush me with his bare hands.

One of the many highlights of the evening was the fantastic Monta At Odds. Delaney and Dedric Moore have nurtured the project for the better part of a decade and continually expand their sonic horizons by adding or removing elements of jazz, funk, soul, dub, and an audible penchant for combing through endless boxes of long forgotten records. Depending on how the light catches them, they could be paying tribute in their own way to Ennio Morricone, or forging their own path through expansive creations that twist and turn through moods like a stereophonic bipolar. I’m unfortunately not familiar with the extent of their discography, but every note of their performance was a thrill, and I look forward to my next chance of seeing them.

Brock Potucek was nowhere to be found, so a planned performance from South Bitch Diet was replaced by the only half hour in the evening without any kind of music. In his absence, the next band to perform was Lawrence performance art weirdos Metatone. The group is headed up by J Ashley Miller, a local artist and contributing member of the prolific SSION, as well as Pewep in the Formats, and are just as quirky as anything else he has been involved in. Behind the elevated pitch of Miller’s voice and the syncopated plucking of his guitar was a group of musicians (including Mark Smeltzer playing a homemade, one-stringed fiddle) making the experience uniquely odd, and entirely undefinable in the placement of their sound. Metatone was equal parts indie pop, calypso, and folk, the result of which had the floor visibly bowing with each jump of the crowd in reaction to their animated set.

After spending the time that South Bitch Diet would have been playing making programming changes on a variety of sequencers, CVLTS began a droning set that was effectively cut short due to bass amp troubles. During their appearance, Josh Thomas remained kneeling on the rug that covered the corner of the basement, adjusting ambient tape loops and knobs to further heighten the intensity of the sound scape. Using his guitar through a floor full of pedals, Thomas provided a despondent tension that worked in opposition to the sensations released from the tapes. Nearby, Gaurav Bashyakarla had pushed two benches together to form a makeshift stand for his equipment, eliciting a piercing buzz through the air that idly glided until the eventual amplifier issues began the countdown to the piece finishing. I sat on the ground in front of Thomas, and once the sounds faded into a close, he looked up and shrugged, saying “That’s it.”

The final band to perform that night was the esteemed Mr. Marco’s V7, a group whose talent and vitality have made the band (and members) mainstays in the KC music scene for longer than I care to count. Marco Pascolini’s contributions to local music (Expassionates) are vast, but so are bassist Johnny Hamil’s (Pamper the Madman), and drummer Kent Burnham (many jazz, zydeco and rock bands), but all are outshined by the force of nature that is Mike Stover (Cher UK). Throughout the set, Stover would trade back and forth among a theremin, a mandolin, and a lap steel guitar as necessary, but the first two were the most prevalent. V7 is another band that defies definition, and anything you could label them as wouldn’t do justice to the extent that their sound reaches, though there were a few mentions of Captain Beefheart during their set. I was fighting sleep by the time they closed the night at nearly 2:00, but I’m very thankful I stuck it out to see the impossibly fast “Sweet 5,” followed by a bossa nova set closer.

Huge thanks to Leah O’Connor for stepping in and taking some amazing pictures. Check out the rest of her shots from the evening here.

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About Greg

The purpose of Riot on the Plaza is simply to get some names out there that may have otherwise been overlooked, both from today and from years past. This blog is just a place where I can nerd out about bands I enjoy, and I hope you enjoy it as well.

Discussion

2 thoughts on “KC Psychfest: Day One Wrap-Up

  1. excellent review of the night. thanks for sticking it out

    Posted by Dedric | May 23, 2012, 10:17 AM
  2. What other bands sound like Box the Compass?

    Posted by Zac | May 23, 2012, 1:28 PM

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