Hello there! As you can tell from the glaring vacancy between the last post and this one, I haven’t really written much in the last six months. It’s a new year, and with that I’d like to continue to entertain the
twelve three people that read this website. I haven’t really been able to make the time for writing, but that doesn’t mean I haven’t kept my ears open for great things happening in our fair city. There was such a considerable amount of good music to come out of the metro that I find it difficult to cut the selections down to a top five or ten. With that, I present you with Riot On The Plaza’s ABCs of 2012, a few dozen bands with great releases, many of which went largely unnoticed.
A is for Anakin, who released an astounding space-rock debut, instantly aligning themselves with the likes of HUM, Shiner, and Failure. The band recorded and released Random Accessed Memories before even playing their first public performance.
B is for Black On Black, a raging hardcore punk trio so humble they don’t even want to charge you for a download of Help Yourself, the LFK band’s six-track debut. Take a listen to “No Good So Far” above.
C is for CVLTS, edging themselves into the #1 spot with the internationally released Realiser, an aural oddity rife with tape loops, improvisation, and drastic mood changes. Hear “Wamego Fluff” above.
D is for Droves, who are the uncomfortable pitch blackness to the warm glow in which Soft Lighting allows the listener to bask. Bryan Cox and Michael Protzmann collaborated on an EP released last year. Listen to “Belial” above.
E is for Expo ’70, the perpetually recording project of Justin Wright. Beguiled Entropy pushes the number of his releases to the area of around fifty, and “Mark of the Rising Mantis” exemplifies what I like best about his music: a feeling of hopelessly drifting through space.
F is for Fiat, a fusion trio who blend classical, jazz, and rock together to form a very different kind of beast for the local music scene. The group released Returns over the summer, not so much an EP as a “bundle” of songs that stand on their own.
G is for Ghosty, who continue to please with well-crafted pop rooted in the ’60s and ’70s. “Joy In My Sorrow” is only one of the many stand-out tracks available on their self-titled release.
H is for High Diving Ponies, whose summer release of Suspended in Liquid received an unjustly quiet response from others in the area. The band will be releasing a split double cassette with Rooftop Vigilantes in the coming weeks.
I is for Is It Is, a band that shares with the High Diving Ponies a guitarist in James Capps, who also provides the vocals for the oblique shoegaze present on their debut, Hollyhocks.
J is for John Velghe and The Prodigal Sons, who at their fullest are comprised of nearly a dozen immensely talented musicians from the metro area. “Bloodline” is the first track on Don’t Let Me Stay to prominently feature a horn section.
K is for Katlyn Conroy, who released the three track sampling of Savannah > Jacksonville during the summer under her performing moniker of La Guerre. Listen to closing track “Lights Go Out” above.
L is for Lazy, an ever-evolving and always entertaining group of Kansas Citians who set fire to any semblance of their former selves with the release of Obsession, nine songs of filthy sounding lo-fi punk.
M is for Minden, who left us all in the dust by moving to Portland on the eve of releasing their debut full-length, Exotic Cakes. It was written and recorded here in KC, so as far as I’m concerned this little glam pop gem still deserves inclusion.
N is for No Class, who released their sophomore LP on Canada’s Deranged Records over the summer. Keine Klasse II piles more anger on the band’s already wholesale pissed off hardcore punk.
O is for Osiris-1, the name under which glitchy hip-hop producer Rick Mauna releases many of his recordings. This untitled album was recorded with inspiration from his then still in utero child.
P is for Power and Light, a Euro-inspired synth pop collaboration between Nathan Readey and Ghosty’s Andrew Connor from which I hope to hear much more than a three song EP in 2013.
Q is for The Quivers, an unabashedly retro rock band that draws from the early days of rock ‘n’ roll, pop, and motown. The track above is from the band’s debut EP.
R is for The Roseline, the ongoing project of Colin Halliburton and one of the best alt-country acts the metro has seen since Buffalo Saints dissolved. Vast As Sky is the third and likely most expansive album the band has released to date.
S is for Soft Lighting, the ’80s-influenced synth project of Bryan Cox. Slow Motion Silhouettes took me by complete surprise, and on multiple occasions it could be heard blaring from my car’s stereo while I was driving around at night. It’s that kind of record, I guess.
T is for Thee Water MoccaSins, a local supergroup of sorts, who self-released their towering debut From the Rivers of Missouri and the Banks of Fear and currently only get around to playing shows when Billy Smith is back in town from his current home of NYC.
U is for UMBERTO, Matt Hill’s monstrous creation that made a return to form last year with the release of Night Has a Thousand Screams, a score which was made to coincide with a 1982 horror film.
V is for Vital Forms, whose breadth of sound on their demo EP ranges from dark electronic beats with complementary vocals, to the chunky riffed dream pop you can hear in the track above.
W is for The What Gives, who will appear on this list regardless of their not being an active band in over a decade. Futureman Records dug up some unreleased sessions from the Lawrence lo-fi indie rock/pop group and finally let it be heard by the public.
And in lieu of an X, Y, or Z, I will post a list of honorable mentions:
Capybara‘s Dave Drusky, Coke Weed X‘s self-titled debut, Discoverer‘s Tunnels, Dry Bonnet‘s Seeds EP, Gemini Revolution‘s self-titled effort, Jorge Arana Trio‘s Mapache, Levon Realms‘ Other Time Period, Loss Leader‘s First Assembly, Mouthbreathers‘ Die Alone single, Prevrat‘s Intelligent Discontent, Radar Defender‘s Satellites and Airports, Sundiver‘s Vicious EP, and Surroundher‘s triple CD debut.
I hope you take the time to check out the bands above, they all deserve a listen. What are a few I’m looking forward to in the year ahead?
New ones from The ACB’s, The Dead Girls, and Fourth of July, and the debuts of Bloodbirds, The Conquerors, Radkey, and Shy Boys.
The third and final night of the second annual Middle Of The Map Festival was coming to a close. I had no choice but to make it the most ambitious day possible. I flew solo most of the day, which gave me ample time to venue-hop and catch both local favorites and make some very surprising new discoveries. Just a short twelve hours after Mission of Burma ended their closing set at RecordBar, I was right back at the strip mall venue, sliding into a booth to drink overpriced mimosas during The Record Machine’s daytime label showcase.
If necessary, Minden could have forced an early sunrise with radiant indie-pop that is simultaneously glamorous and affably disheveled. Singer Casey Burge sashayed around stage in metallic spandex, and when I spotted two girls in the audience dressed in kind, I expected some audience participation during the band’s opulence advocating “Gold Standard,” but no– they were but ordinary hipsters. I had a bit of a realization during Minden’s set. The band is well on their way to greatness, and even have a potential for “household name” status. It’s just such a damned shame that they hit their ceiling in KC, and feel they must move away to Portland to prosper as musicians.
Next up for the day show was Katlyn Conroy’s newest project La Guerre (though she was formerly billed under her own name). Conroy on her own has an undeniably saccharine voice, and when those pipes are laid over the blithely uncomplicated rhythm of her own keyboard and a backing band, creates a wholesome naïvety that holds the key to the fluttering, electronic-based twee in which she prevails. Conroy also performed at the festival with Cowboy Indian Bear, a great Lawrence-based group that is only further enhanced by her contributions.
Maybe I had a little mimosa buzz by the time Akkilles gathered their arsenal of members to begin playing folksy, acoustic guitar led arias, but I wasn’t much of an audience of David Bennett’s when they began. The multi-layered pop was admirable, but I chose to bid my adieu to the RecordBar and head over to the day show happening at Riot Room, where Cherokee Rock Rifle were tearing up the patio stage. Frontman Dutch Humphrey is obnoxious, offensive, and sings abhorrent lyrics while holding his rifle-turned-mic stand out to the crowd with little subtlety as to it being a phallic symbol. The crowd loved it, and so did I. Dutch Humphrey supplies an unquestionable arrogance that makes a frontman worth watching, and the southern-fried rock n’ roll delivered by the rest of the band with respectably day-drunk precision imprints the groove on your skull for hours afterward.
Fast forward a few hours, and the evening shows are kicking off in succession all across Westport. Maps For Travelers opened up the Riot Room (inside, this time) and the crowd was already teeming with people excited for the bands to come. Most importantly, the band performing that very moment should not be ignored. The four guys on stage played until the sweat rolling down in their eyes blinded them, and then played even more. The influences of the band are a bit curious, but their live show is executed with the ferocity of a young(er) Hot Water Music and gives plenty of nods to the various projects of Walter Schreifels and Jonah Matranga in the process.
I saw The Casket Lottery perform in the exact same venue, almost to the exact day one year prior for last year’s festival. But the last time I really watched the band was just a few months shy of ten years ago, when I was completely infatuated with them in my youth and they were still touring on their Survival is For Cowards album. The Casket Lottery was a trio of Nathan Ellis, Stacy Hilt, and Nathan “Junior” Richardson back then, but these days (as in, on their forthcoming album) they have expanded to a five-piece that includes Brent Windler (Sons of Great Dane, Anakin) on second guitar, and Nick Siegel on keyboard. “Nostalgia” was without a doubt the word on the lips of all those in attendance, as the group cranked through old and new material alike as if they never missed out on those six or so years of not being an active band, and only aroused the appetite for things on the horizon in a comeback done so, so right.
Although Reflector released a split 7-inch with The Casket Lottery in 1999, the record only served as a crossroads for the two, as TCL had a sole EP at that point, and Reflector was on the eve of issuing their last recordings as a band. Performing only their second reunion in the last decade, guitarist Jared Scholz was joined by Harry Anderson on bass and Jacob Cardwell on drums to rehash old songs that while musically on point in their arithmetic, lacked the familiar near-squawk of Scholz, replaced instead with a softer crooning while exhibiting songs from Where Has All the Melody Gone? As noted by Scholz early on in the set, the last time they shared a stage with both The Casket Lottery and following act The Appleseed Cast was 14 years ago, at a Halloween party.
At this point, Riot Room was quickly filling in with those awaiting venue headliners Coalesce and Fucked Up. I chose to forgo the lingering stench of beard sweat, and ran over to Firefly to catch Fourth of July play to a modestly sized audience. The brothers Hangauer (Brendan and Patrick) provided the guitar and bass, while the brothers Costello (Brendan and Brian) furnished an additional guitar and the drums necessary to fuel Brendan Hangauer’s creative outlet. The crowd was small, but the number of mouths in the audience that knew every word to every song (even those yet to be released) were far greater than any other band at the festival thus far. The quartet sounded impeccable, and their jaunty pop clattering off the lavish furniture of the speakeasy was not entirely disjointed from the scenery.
I dipped out of Firefly a bit early to catch my second wind with an espresso (after the day show, it was a wonder I was still standing), and passing the vast swaths of festival goers lined up outside the Beaumont and Riot Room only further affirmed my decision to head down into the chambered depths of the Union to catch the remainder of The Devil‘s set. The Lawrence quartet of Mike Teeter, Natale Collar, and Sara McManus is led by Taylor Triano, and pummeled out a filthy, stoner rock answer to the question “what would Janis Joplin sound like today?” — part performance art-punk, part unforgiving noise rock.
The Oklahoma by way of Lawrence band Mansion wreaked a towering ruination of doom metal upon the audience with a face-liquefying decibel surely outlawed across much of the country. Almost entirely instrumental, the songs were time-traversing expansions of momentum with a metronomic backbone rhythm the only thing keeping the audience from devolving into throat-tearing creatures straight from the pages of a Lovecraft novel. Whether they played one forty-minute song or ten four-minute incantations, I have no idea, but their opus could soundtrack the apocalypse.
While others were drinking the kool-aid of festival hype bands, Cleveland’s mr. Gnome were creating a fan for life in what amounted to little more than a dreary cavity carved into the basement of an old Midtown building. Through the entirety of the weekend, I watched bands that varied from pretty good to great, to even some old standby favorites, but this duo pushed sound from their speakers fit for an orchestra of musicians, and seemingly with little effort. Nicole Barille’s technique was a spastic array of hummingbird-paced guitar strumming culminating in a medley of genres and influences, and drummer/pianist Sam Meister’s work behind the kit was so robot-esque in its accuracy it’s a wonder he didn’t exhaust himself halfway through the set. I’m kicking myself not for watching them, but for even considering the possibility.
The second group of Oklahomans to climb behind the guard rails that create the makeshift stage at the Union, Broncho played a set covering most of their debut album Can’t Get Past the Lips. The band left the room a sweltering mess of sticky bodies after laying out a sound akin to The Stooges, The Exploding Hearts, and leagues of other punk bands with era-defining attitudes from the ’70s, ’80s and today. Frontman Ryan Lindsey can also be seen as part of Starlight Mints, and joined the defunct OK band Cheyenne after their album was released by The Record Machine, whose owner Nathan Reusch curated the entire festival.
Phantom Family Halo brought their traditional stoner psych in from Brooklyn, and played an ultimately forgettable set that was doomed from the start, crammed between two of the better bands of the night. The band took a backseat to most of the room’s conversations at the time, and with every other venue having already closed their night out by that time, it was inevitable that the crowds would gather and the overflow would begin to gradually fill the room. Which it did, for a short while.
Acid Mothers Temple began at 2:00 in the morning. Had they started at their planned start time of 1:30, they may have gotten an extended set, but due to city regulations, the sound was cut off after only 40 minutes, so that the place could be vacant by 3. In the short time the Japanese psych saints played, I stood on top of someone’s road case (sorry) that was tucked away in a cement support pillar’s corner, and closed my eyes for most of the set. Not because I was tired, but because the band’s free-form space prog was a sensorial trip for the mind and body, and removing one of the senses was the only way to heighten that of one that was more important at that time.
I spoke with the band’s road manager/translator after the place had been cleared out, and he confessed that although the prints available for the tour stated it was to be the last tour, the reality was it is only their last tour of 2012. Well played.
The final tally for the weekend concluded with 25 bands having been watched, seven venues attended, a boundless number of beers resting in my belly, and a revolting number of sleep hours lost. Don’t know about you, but I can’t wait to see what’s in store for year three.
This review was written for Lost in Reviews.
Maybe it was the drink specials, or maybe it was the end of the work week. It could have been because four-piece The ACB’s recently had a Daytrotter session go live, even though it was recorded on a stop in Chicago last summer. Just as well, it could have been that both The ACB’s and opener Fourth of July are something of local darlings to corporate alternative trash station 96.5 The Buzz when they are allowed the weekly two-hour respite from playing Jane’s Addiction and Muse to air up-and-comers in the local music scene. Regardless of the reason, I’ve never witnessed The Brick get as packed as it was the night that two of the area’s best acts took the same Kansas City stage to display material both new and old.
Brendan Hangauer’s Fourth of July began their set at about 10:35, stripped down to a four-piece, free of the horns and keys that frequent their recordings and live shows. Joining him on stage was his brother Patrick on bass, and another set of siblings in Brendan and Brian Costello on lead guitar and drums, respectively. At its peak, the band’s lineup has grown to six people, with additional contributors, and in the early days the project was started as an outlet for Brendan alone. The band played a 40-minute set, during which songs that are normally meandering and melodic in their recorded direction were given a different focus, taking on a faster-paced jangle pop vibe which perfectly synced into the evening and the energy of the crowd.
There was a noticeable lack of Katlyn Conroy and Adrienne Verhoeven on stage, both of whom provided an additional charm on the songs to which they contributed on the band’s most recent full-length, Before Our Hearts Explode! Songs that were played in their absence received a commendable fill-in from members present, while others (“Bad Dreams (Are Only Dreams)”) were omitted from the set entirely. The band’s time on stage was spent frequently shifting between songs from the most recent record (the hyper-catchy “Self Sabotage”) and the first full-length, Fourth of July on the Plains (“Purple Heart”), but always kept a fool-proof musical theme combination: drinking and girls. Furthermore, new songs were played from a record (produced by Chris Crisci) that is expected to drop in 2012, and the band is adamant it will be their best yet.
The ACB’s began their set at 11:40. Last time I encountered the quartet in a live music setting, they all were dressed in drag (complete with smeared lipstick) for the Ultimate Fakebook-hosted Halloween show at the Bottleneck last October. I’m sure they were all very thankful to be able to play without worrying about getting a stocking run, and lord knows those heels can be a pain in the ass. The set has not changed drastically since then, with much of it focusing on their lauded sophomore album Stona Rosa, though they threw in debut album opener “You Did It Once” to appease the crowd. There is no reasonable explanation as to how singer/guitarist Konnor Ervin can hit the falsetto notes he does, but that single feat instantly sets the band apart from most others in the area, not to mention the group’s inclination toward hit-makers of former times.
My single complaint about the set is the speed with which the band plays “My Face.” It is arguably the best song on Stona, and is likely one of my favorite locally-released tracks in recent years, and deserves the same patience when played live that it was given in the studio. That said, I still must praise the harmonization and vocal trade-offs that take place during the chorus and that the pace is kept steady, if not sped up a beat or two. Besides playing staples from the newest album such as “Italian Girls” and “I Wonder,” the band played some more recent efforts like “Feel Winter,” a song which also appeared on the previously mentioned Daytrotter session. There was also a brief 30 seconds where they played Dave Matthews Band’s “Crash Into Me,” and we are all better off for that not having lasted longer than it did, even if their tongues were placed firmly in cheeks at the time.
Nerd talk: While Brendan Hangauer has almost exclusively kept his songwriting under the Fourth of July moniker, the same can hardly be said for the rest of the band. As mentioned above, the newest album has voice contributions from both Adrienne Verhoeven and Cowboy Indian Bear‘s Katlyn Conroy. Conroy probably would have been in attendance had it not been for a prior engagement at The Bottleneck with her newest band La Guerre. Patrick Hangauer has not only collaborated with Verhoeven on her post-Anniversary project Dri (who have a surprising lack of crossover thrash songs), but also plays all instruments under his electronic alter-ego 1,000,000 Light Years. On that note, former FoJ guitarist Steve Swyers can be seen these days remixing and skewing others’ tracks under his Say My Name alias.
Patrick and Brendan’s brother Kelly still contributes to the band at times they require horns, keys, or additional vocal harmonies. Kelly has also worked with the Costello brothers in Save the Whales, an experimental Lawrence group whose permanent lineup is about as murky as Fourth of July’s; and White Flight, former Anniversary frontman (and ex-FoJ drummer) Justin Roelofs’ love letter to the extraterrestrial plane of existence for which he yearns. It should also be noted that Lawrence label Range Life Records has released output from most of the bands that you see listed in this section of the story thus far. If your mind has not yet melted, there is also former lead guitarist Andrew Connor, who miraculously juggles his time between Ghosty, Power and Light, and The ACB’s.
By comparison, the direct family tree of The ACB’s may not be quite as complex, but there is still some interesting blood lines that tie in with Kansas City music. About a year ago, Konnor Ervin formed a Belle & Sebastian and late ’60s psych-influenced pop band called The I’ms with Kyle Rausch and his brother Collin. One listen to the debut ACB’s album and one can instantly and correctly presume they were influenced by Cheap Trick. The sounds were not unfounded, as both Kyle and Collin were previously a part of rock/powerpop band The Abracadabras, which paid tribute to the ’70s powerhouse bands like T Rex, though to speak in more recent terms, both the Abras and the ACB’s could be compared at least in part to the sounds of Supergrass. Alternately, Kyle and Collin’s cousin Kasey Rausch has been a well-respected musician in the local bluegrass and Americana music scene for well over a decade.
As I wrote a few weeks back, Lawrence quartet Rooftop Vigilantes are giving being an active band another go. As a result of this news, I know a few out there expressed confusion and were never even aware that the band had ceased to be. You can’t be blamed. For anyone paying attention, it only seemed as though Rooftop was temporarily placed on the back burner while co-frontman Zach Campbell jump-started the incoming national popularity of his newest band Mouthbreathers by recording a new 7 inch for In the Red Records (which was just released recently, check back in for a review). I want to preface this piece with some honesty: Rooftop Vigilantes are likely one of my top three favorite bands in the area right now. While I am here attempting to compose myself with a modicum of journalistic integrity, let’s just be honest that the announcement of this album (recorded in 2009) finally being released is like finding out I have two birthdays. Or to put it in terms relative to the band in question, like there is a case of my favorite beer hiding in the back of the fridge that I forgot was there. Yes, I just compared four living, breathing people to a case of beer. Good beer, though.
The opening notes of Real Pony Glue immediately showcase the band’s new directions in recording. The vocals are much more clear, at times even harmonized, and the four show a noticeable restrain on their instruments, further elevating the pop sensibility coming to the forefront in the band’s follow-up to the nationally well-received Carrot Atlas, last year’s four track cassette Who Stole My Zoo? The band’s core stylistic tendencies remain. Most songs on RPG clock in at under two-and-a-half minutes, many of the titles don’t really make a lick of sense but are likely in-jokes with their friends, and the organ is mercifully given a bit more distinction than in the back catalog. The inherently expected pop melody of the release does not deter, and is without doubt going to serve as a launchpad for the band’s decision to self-release all of their foreseeable recordings. The new album features much less in the way of the raw, string-breaking garage fury that was much more present in their earlier days, but this listener is quite content with the alternate result.
Keeping with the pop theme I have been running with throughout this review, one of the stand-out tracks on the album is “Love is Out to Get Me,” the longest on the album but still running at under three minutes, reining in the close before one final blast. It should be noted that while RV are more than able to create music that would sound great listened to with a tin can and string, the album was given an additional boost at the hands of lauded indie producer J. Robbins (Jawbox, Burning Airlines). Real Pony Glue is nowhere near a daunting listen, and in fact it probably goes by way too damn quick. The band packed 17 tracks into just over 30 minutes, and it only helps to whet the appetite of the listener to their recordings to come. Local readers, you can purchase a physical copy at the band’s release show at the Replay Lounge tomorrow (09/29) with Suzannah Johannes and Fourth of July. Everyone else can purchase the album from their bandcamp page or Lovely Sea Records (where you can still find their 2010 cassette release) on October 4th.
Click here to download “Hacking Up a Lungfish” from Rooftop Vigilantes’ Real Pony Glue.
As stated earlier this afternoon on the band’s Facebook page, Rooftop Vigilantes have decided to get back together and continue melting Lawrence’s collective face off with their blistering garage pop. The details of why the band originally parted ways is pretty muddy, but multi-instrumentalist Zach Campbell has been busy with his newest band Mouthbreathers for the last few months. Their new 7 inch can be expected out on In the Red Records any day, now. Campbell has also kept himself from getting idle by starting up his own one-man bedroom garage pop band (not terribly far away from Rooftop, though more stripped down) under the name Trailer Blazed. Those songs can be heard on his bandcamp page here.
It appears as though the original break was caused at least in part by frustration at not finding a label to release their long-awaited follow-up to 2009’s Carrot Atlas (WoodenMan Records), still tentatively titled Real Pony Glue. The band also released a well-received four song cassette called Who Stole My Zoo? (Lovely Sea Records) in early summer 2010. Rooftop Vigilantes have made multiple treks around the country, in turn garnering quite a bit of a name for themselves, even getting coverage as a Stereogum Band to Watch in June of 2008. A series of events (or luck) also caused them to be the only local band to perform at last October’s Scion Garage Fest, held around the downtown Lawrence area. Witnesses of their set saw them perform a very different take on The Replacements’ “Can’t Hardly Wait,” with a keyboard in place of the iconic lead-in guitar hook.
In addition to the band’s plans to self-release their new album, they have already announced their intentions to release not only an EP (dubbed the Party Animal EP), but a third LP as well. These new songs could be heard at live shows before the band decided to, in their words, “wet the bed.” If you missed out on any of those then not to fear, because the band will be making their comeback at the Replay Lounge in Lawrence on September 29th, with local favorites Fourth of July.