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.
For two excruciatingly long years I have waited for new music from Lawrence fuzz-pop group Radar Defender. It was some time in 2010 when their Sleep Dreaming Mammal EP completely took me by surprise, and now the trio of Scott Burr, Austin Snell and Tyler Snell (all of whom previously played together in Aqua-Symphonics) are on the eve of releasing one of my most anticipated albums of the year in a matter of weeks.
The first single from the new full-length Satellites and Airports is “Animal,” an unsurprisingly buoyant song that channels less Kim Deal and more Matt Suggs in the lo-fi heydays of Butterglory. Check out the stream below.
Hello, and welcome to the fourth installation of a column I’ve been ignoring on this site. The music download round-up is a series of posts chronicling area bands and artists offering direct music downloads either for free or for a small fee (no more than $5). Releases included will typically be those that have been available for more than a few months, or albums from artists that are buzz-worthy but aren’t yet ready for their own dedicated post. This post, like the last, has no real recurring theme, but I recommend checking out every one of them.
Radar Defender – Sleep Dreaming Mammal (2010) – This EP took me completely by surprise the first time I listened to it, and it still gets frequent play to this day. The seven songs therein are filled with groove-heavy bass lines and poppy guitar hooks laid against a keyboard backdrop, and contain much of the same time capsule quality as many of the greatest hits from The Rentals, The Amps, and The Breeders. The EP just had its second birthday recently, so for the love of local music I really hope we can all expect something new on the way from Scott Burr, Tyler Snell, and company. Follow the link for a pay what you want download.
Lite Loins – Country House (2012) – If Radar Defender is Scott Burr and Tyler Snell’s commemoration to the laid-back tunes of a mid ’90s Kim Deal, then Lite Loins would be Thadd Lewis, Dane Carlson and Cal Santos’ exaltation of Steve Albini’s work in Shellac from the same era. The mix is purposely filthy and at times warps like a water-logged cassette, but the six tracks could just have easily been pulled from the long-neglected shelves of Sub Pop or Touch & Go when their output was still respectable. This EP can be found along with another one for free at the link to the band’s homepage. Both were mixed and released posthumously.
Grizzly J Berry – Tour Demo 4.20 (2011) – I have mixed feelings about this one. The songs are well recorded, and display some pretty decent technical guitar work akin to something in the Kinsella bloodline (American Football, Cap’n Jazz, many others). At the same time, the sound present on this recording has been a little played out now that it’s been successfully muddled down by bands like Maps & Atlases. The EP thankfully stays away from the beating of a dead horse and keeps things from getting too predictable by adding in a Mars Volta-style prog element. Free download from this defunct band at the link.
Major Games – EP1 (2011) – On the topic of weirdo prog, I present to you one of my favorite debuts from last year. I’d be remiss if I posted this EP without mentioning the great Lawrence acts from which these men came. Bassist Jeremy Sidener played in early ’90s band Zoom, guitarist Doug McKinney played in the equally revered Panel Donor (which was later joined by Sidener on guitar), and drummer Steve Squire played guitar in Everest with McKinney. The EP is textured with a reasonable measure of pedal work, and at times ventures into pure noise before coming back to a structured sound. Get it for $2.50 at the link. Worth every cent.
Power and Light – EP (2012) – It’s no secret that I adore the works of Andrew Connor. If you’ve read this blog before, you may have seen me refer to his songwriting style as a “Midas touch,” and I still stand by that statement. Between working with Ghosty (who are on the eve of releasing a new album) or playing with The ACB’s, Connor found time to collaborate with local producer Nathan Readey, and the end result is three tracks of woozy, synth-filled Euro pop that instantly became a city-wide sensation. I’m not here to tell you what’s hip and underground, my only purpose is to show you what is good. Free download at the link.