PRESS - Discussions ( local version) NRG - Jul 20, 2007 - 10:24 PM Post subject: Discussions ( local version)
Posted on Wed, Jul. 18, 2007
DISCUSSIONS (Local version)
kcstar
| THE MINUS STORY
‘My Ion Truss’
(Jagjaguwar) |
Minus Story front-man Jordan Geiger’s wobbly, almost prepubescent, voice will trigger 1 million and one comparisons with other spacey groups fronted by eccentrics who sound like Neil Young. But the Lawrence band is harder-rocking and more focused than either.
The fluid rhythmic drive and delicate blending of chiming, ethereal guitars and fuzzy keyboards in “Battle of Our Lives” recalls the non-revisionist psych/prog/pop of spiritual brethren like the Apollo Sunshine.
As is apparently signaled by its stormy-skies cover, “Ion Truss” is a foggy, fuzzy album with compact rock-band rhythm tracks haunted by the distant call of cellos and guitars turned into foghorns and whalesong.
In fact, the most appropriate touchstone might be “The Wall” without Roger Waters’ rent-bones anguish: When the grim pianos and echoing guitars of “Mama Mama” fade, don’t be surprised to feel that old waiting-for-the-worms tremble.
“My Ion Tuss” is a worthy modern-psych jaunt with its own distinctive air; I’ll be enjoying its miniaturist individuality while waiting for these local-boys-made-good to tackle something on a larger scale. They’ve clearly got the ability.
| MR. MARCO’S V7
Spaceraser |
Chances are you’ve seen Mr. Marco’s name somewhere with the “jazz” tag attached to it. Be not deceived: This stuff comes from a universe where the rock avant-garde runs the streets and film composers conduct the freight trains.
The opening “Rupplemintz & Republicans,” is a blast of cockeyed, Cuisinart-thrashed surf music, and it sits happily alongside the bent Bernard Hermann-does-Latin grooves of “Gift Processional for the Princess Smidget” and the shotgun marriage of spacey free-funk and rave-up noise rock that is “Slowly Blowing the Rainbow.”
Every member of the V7 is an immensely talented musician, and it is our good luck that they never disappear in their own virtuosity. Cats on this level can play all the flashy licks the punters love without dropping a bead of sweat, but Marco Pascolini (guitar), Johnny Hamil (bass), Kent Burnham (drums) and Mike Stover (keys, steel guitar, Theremin) instead push themselves to the limits of outlandishness and invention.
Let it be clear that this is fun stuff. Everything here grooves with a vengeance, and the group’s sense of humor is both audible (dig those squelching Moog tones) and readable (check those song titles). However, this is no comedy record, and the music has a depth that distances it from some sort of Dada in-joke. “Conspiracies of Mike D,” for example, is a wholly original blend of dreamy guitar shimmer, frantic drum’n’bass rhythm, and a nearly Baroque bridge; “Mooninite Love Song” has murky, shadowy menace aplenty.
V7, you are cleared for launch.
| THE LEO PROJECT
‘The Burning: Special Edition’ |
Since its inception in 2005 and through its Club Wars victory, the Leo Project has become one of the more popular hard-rock bands in Kansas City. Ask Jim Kilroy himself or the local club owners who watch the bottom line (attendance): This is a band on the proverbial “verge.”
Much of “Burning” is a blend of modern rock, heavy rock and prog-metal — sounds we’ve heard before, whether at Ozzfest, Rockfest or on the station that sponsors it.
Once in a while Tyler Lyon screams like he’s down with Coalesce (“Dreams Along the Water”), but he can also carry a melody with soul and gusto, like singers in bands he admires (Staind).
When the band stays closer to the mainstream, and bassist Sean Hamel lays down the harmonies, you hear the crossover potential – why the ladies get their rock-loving men to come to shows (and vice versa).
This “Special Edition” is a remastered version of the first album with three bonus cuts. Two of those are acoustic makeovers that bring out the star-quality in Lyon’s voice and imply that, with some songwriting help, this could be the rare local modern-rock band that makes it big.
| OK JONES
‘Elephantoms’
(Centropolis) |
Richard Gintowt produces prickly indie-oriented pop music at the same rarified level of Wilco’s Jeff Tweedy and Pavement’s Stephen Malkmus. “I’m just an old-fashioned singer with a couple of tricks,” he offers on “Old Rules.”
Those tricks are extraordinary. “K-10,” for example, is about a lot more than just the commute between Kansas City and Lawrence. Its tricky chord changes recall Steely Dan; its lyrics plumb profound emotional depths. I may be driving the OK Jones bandwagon, but there’s plenty of room for everyone.
| TECH N9NE
‘Collabos: Misery Loves Kompany’
(Strange Music) |
The latest release by Tech N9ne, arguably the most popular musician currently working out of Kansas City, is filthy. The musical equivalent of locker room chatter, it gleefully wallows in the kind of language and vulgar attitudes that prompted recent protests from concerned groups and citizens.
Ostensibly a set of collaborations, “Collabos” contains few of the introspective insights that elevate Tech N9ne’s best work above peers’.
Yukmouth is the biggest name among the project’s guests, yet thanks to his trademark machine gun delivery, Tech N9ne outshines everyone. “Collabos” is sure to please his loyal fans, but it’s clearly among Tech N9ne’s lesser efforts.
| FEDERATION OF HORSEPOWER
‘Stay Down’
(Kafka the Dog) |
The Feds is a rock band like Olympus Mons is a volcano: When it goes off, it alters the universe. Without a whiff of pretense or a dab of cosmetic polish, it unleashes a bone-cracking pummel and convulsive vocal/guitar roar.
Yet it sustains enough groove and tune (with some harmonies!) to give listeners something to grab onto during the wild, rollicking ride.
The sound is decidedly Motor City gutbucket rock, but it has some AC/DC (“Sin Wagon”) up its sleeve, too; and “Dog,” its idea of a “ballad,” is sweet and grimy, like something killed and grilled by Aerosmith and Ted Nugent.
Gregg Todt is the singer, and he squalls like a few other “Killa City” screamers, including Ernie Locke and R.J. Mattes. He has a bruising rhythm section and a lead guitarist who can play whatever role is needed, sniper or rocket launcher.
So here’s a proposal — our music scene’s version of an UFC throwdown: Put the Federation, the Architects and the Last of the V8s in the same room and see who brings down the first load-bearing wall.
| FOURTH OF JULY
‘On the Plains’
(Range Life) |
Here’s a band that has found a rewarding spot between indie rock and pop. Brendan Hangauer’s songs feature many traits of sunny, playful pop: sing-along melodies, airy harmonies (mostly from Adrianne Verhoeven, formerly of the Anniversary), lyrics about girls, love and broken hearts.
They crackle and bounce (“Can’t Sleep”), they swing and sway (“The Faint”), they spring and spin (“Long Gone”). They aren’t dance songs, but you can jump and weave to most of them if you want, usually without noticing the modest tricks and clever techniques that Hangauer employs to sustain the indie-rock flair (and earn his “Pitchfork” stripes).
“Plains” is immediately friendly; but it also reveals subtler traits the more you listen to it. Resemblances? I hear some Pavement and Bright Eyes, for starters; and in the lyrics, I hear flashes of Rhett Miller’s witty way of dealing with romance and its punishments and rewards. One of my favorite albums of 2007.
| D/WILL
‘Just Add Water’ |
D/Will is foremost a DJ and a beatmaker with an ear for old-school melodies and rump-shaking rhythms. But he’s a capable MC, too. This 18-track mix-tape samples and remixes several of Hall of Fame rappers and singers (Jay Z with Pharrell, Q-Tip, MJB ).
The tracks that sparkle brightest and flow best, however, are those that feature local stars, like Ces Cru and Soul Servers (“Say What”) and D/Will himself, with friends like Reach and Approach (“KC Dreaming”). If the words don’t grab you, the beats and melodies will.
Listeners be warned. Oprah, the Rev. Al Sharpton and a certain sportswriter in this town would damn some of the lyrics and skits here. However, they are delivered not for the sake of shock but in the service of a greater mission: as pieces of a larger portrait of hip-hop and how it uses comedy, satire and commentary to analyze our diverse culture.
| GOODNIGHT DAYLIGHT
‘Wolves’ |
“Wolves” has a familiar ring to it and for good reason. The front man is Jason Magierowski, who played bass in Paw; the rest of this four-man crew spent time in other local bands, like Turquoise Sol and Chad Rex’s Victorsands. Thus the familiar sound, which draws its traits from several wells: heavy rock (from metal to grunge), punk and alt-country.
If you can imagine a blend of Husker Du/Sugar, Drag the River and Paw (and some of its contemporaries), you can imagine what Goodnight Daylight sounds like: heavy, hard, sweet and dark all at once.
| IZMORE
‘Vital’ |
Some purists are ready to write hip-hop off as dead. Not Les Izmore. On his album’s title track, he comes out hard and demands that the culture live: “You better not die on me hip-hop / It ain’t your time to leave / Plus I got a couple of tricks up my sleeve.” Those tricks include straying away from stupid, lowest common denominator lyricism and party beats. This album, soulful and socially conscious, is thick on content. His in-your-face delivery is the star of this show.
It’s commanding, particularly on “Middle of the Map,” a hometown anthem that isn’t just about pride. It’s also about waking up, taking the culture back and being better people. If more emcees take a page out of this book, hip-hop will be golden again.
| THE ACB’s
‘The ACB’s’ |
The ACB’s write punchy, summery pop tunes that signify goals more satisfying and longer-lasting than a three-minute radio-ready sugar high. Influences and resemblances? The Zombies, Material Issue and too much in between to mention (including Def Leppard, Foo Fighters and Elvis Costello).
High points: “My Movies” and “Warning,” which, come to think of it, is a sweet, three-minute blast of melody and groove that is more than ready for radio.
| CASEY TODD
‘Do You Know’ |
The shimmering pop of this five-song EP raises the bar for all musicians trading in sugary pop. Casey Todd’s music is slight and sweet by design. Even so, it’s hard not to swoon over his confections. The immaculately crafted “Fine for Now” sounds for all the world like a smash hit. Similarly, “Wreckage and the Noise” is disarmingly brilliant.
| ALBINO FLY
‘The Divine Sophia’ |
Any of the five tracks on “The Divine Sophia” could fit into heavy rotation on our local heavy rock station. It has all the fiery crunch, melodic inspiration and sonic luster of the current stars.
And that’s also the catch — Albino Fly has so fully absorbed the dynamics of today’s heavy rock and metal that it lacks a distinct voice. With just a small dash of inspiration, however, this band could become a national contender.
| THE GARRETT NORDSTROM SITUATION
‘Blue Flag, Black Heart’ |
The frontman has a voice that sounds like Neil Young/Wayne Coyne, but in a slightly lower register and with more upper-body strength. He writes melodic songs that recall R.E.M. in various stages (the title track’s melody faintly recalls “The One I Love”), Lloyd Cole, both with and without the Commotions, and other bands we used to call “alternative.”
The twist: the two ladies who deliver vocal support and the large cast of friends and peers (including Chad Rex) who lay down sax, keys, lap steel and piano. No new ground was broken in the making of this record, and no genres were split and spliced. But the results are as solid and appealing as they are familiar. The situation: nice sound, good record.