Alternative Rock – Zachary Mule

THE JOURNEY AND VISION OF AUD WHITSON: A RISING ARTIST’S PATH TO MUSICAL EXPRESSION

AUD WHITSON (photo credit: TAYLER GILBERT)

Aud Whitson, a singer-songwriter whose style defies easy classification, is carving a unique path in the music world. With a mix of raw honesty and vulnerability in her work, Aud is on a journey to connect with others through her songs, tackling themes of imperfection, personal growth, and self-expression. In an exclusive interview, Aud shares insights into her musical roots, creative process, challenges, and aspirations for the future.

A PASSION SPARKED BY UNEXPECTED OPPORTUNITIES

Aud’s path to music was not a linear one. Although she was always involved with music from a young age, it wasn’t until the COVID-19 pandemic that her career in songwriting truly took off. “I wasn’t actually 100% going to become a songwriter,” she admits. Music had always been a part of her life – growing up singing in church, participating in school choirs, and even studying music in college – but it was a more casual pursuit until fate intervened.

During the pandemic, she had an opportunity to sing background vocals for an artist in need of a favor. It was here that she shared her own music, receiving the encouragement she needed to dive into songwriting more seriously. “They told me to pursue it. I started to see how that felt and if it was something I enjoyed. I don’t plan to stop anytime soon,” Aud reflects. It was through this experience that she began to embrace her craft and explore her voice as an artist.

INFLUENCES AND MUSICAL BACKGROUND

Aud’s musical background is diverse, drawing on a variety of genres and experiences that shaped her approach to songwriting. She credits her early years in church as a foundation for her love of singing, which started when she was just a toddler. “I grew up singing in church, which made me realize I loved music,” she says. Her musical journey expanded into classical music through middle and high school, where she honed her technical skills. However, it was during her college years that Aud began to realize that classical music, while something she was good at, wasn’t the form of self-expression she was seeking.

“The moment I started trying to find my own voice – what style of singing and what kind of performance felt expressive for me – that’s when I landed on being a singer-songwriter,” Aud explains. She’s not one to easily classify her own music, but describes it as a mix of “soft indie vibes” that resonate deeply with listeners.

When asked about her biggest musical influences, Aud points to Frank Ocean’s BLONDE as a transformative album. “I listened to that album every day. I had never felt so moved by any project up until that point,” she says, noting that it was the first album where she felt every song was perfectly crafted. Another significant influence came from Ed Sheeran’s debut album, which she recalls as a standout for her as a young teen and led her to explore more acoustic artists.

A UNIQUE CREATIVE PROCESS

Aud’s songwriting process is anything but formulaic. “The foundation of the songs usually happens when I’m just living my life,” she explains. Her brain is constantly engaged with concepts and themes that she revisits over time. Once she has a theme in mind, she sits down with her guitar, and the lyrics begin to flow. While the process is often quick, sometimes taking as little as 20 minutes to an hour, the development of the song can take longer as she refines the sonic details.

One of the most fascinating aspects of Aud’s approach is her willingness to break away from conventional recording methods. For her most recent project, she tracked the initial demos on her phone. “I got feedback from other musicians that my phone recordings had a vibe about them,” she explains. She would record guitar directly into her phone, then transfer it to Logic, layering vocals and refining the sound. It wasn’t until after this that she worked with producer Chase Horseman to polish the tracks in a studio. “Being able to do more of the production myself meant I could take what was in my head and copy it directly into the song,” she says.

NAVIGATING CHALLENGES AND GROWTH

Aud’s path hasn’t been without its challenges. Performance anxiety has been a significant hurdle, especially in the days leading up to shows. “For a while, performing would really eat away at me for the days leading up to the performance,” she admits. Through trial and error, she found a routine that helped her manage nerves – avoiding caffeine, alcohol, and ensuring she eats properly before stepping on stage.

Despite her initial nervousness, Aud finds a sense of control when she’s performing live. “Once I am on stage, I feel very in control. It’s a surreal feeling,” she says, describing how time seems to slow down as she commands the room. She’s learned to embrace the pressure, realizing that it often brings out her best performances.

On top of personal challenges, Aud has had to grapple with the realities of the music industry, including criticism. However, she notes that having a strong support system is crucial to navigating these challenges. “If you have the right people in your life informing you, that’s a really big privilege,” she says. Her close-knit circle helps her stay grounded and continue to grow as an artist.

FINDING IMPERFECTION AND EMBRACING THE HUMAN EXPERIENCE

One of the most powerful aspects of Aud’s music is its raw honesty. Her classical training once led her to strive for perfection, but over time, she’s learned to embrace imperfection. “I have worked through a lot of perfectionism. I used to hide behind the security of calculation,” she reflects. In her more recent work, she’s focused less on flawless execution and more on creating something that feels genuine. “This project, I want to make something with flaws that makes people feel things,” she shares.

Through this evolution, Aud has come to realize that being imperfect is part of the human experience. “I don’t have to be perfect all the time. I’m allowed to be human,” she says. This understanding has led her to create music that reflects the messiness of life – something she hopes will help others feel less alone.

LOOKING AHEAD: GROWTH AND NEW PROJECTS

Aud’s journey is only just beginning, and she’s already making plans for the future. “I’m excited to release more music in 2025, including songs that people have connected with at my shows but haven’t been released yet,” she says. She’s also working on new material for an upcoming album, with the aim of gradually increasing her production quality.

Looking further into the future, Aud hopes to release a full album. “I’m just releasing singles and EPs right now, but having a fully-formed project will be exciting,” she explains. She envisions an album that continues to evolve from her current EP, blending low-fi vibes with higher production values. Her inspiration for this direction comes from artists like Clairo, whose vintage sound combined with rich production resonates deeply with her.

BALANCING MUSIC AND LIFE

Maintaining balance in her life while pursuing her music career is no easy feat. Aud works full-time outside of music, making ends meet while continuing to nurture her passion. Despite not earning much from her streams, she remains focused on her long-term vision. “I don’t make music for money, but it is difficult. It takes time to grow,” she reflects. To manage the emotional demands of the industry, she focuses on celebrating the small wins – whether it’s a hundred listeners or a successful live performance.

Outside of music, Aud enjoys hobbies that help her disconnect from the pressures of her career. “I crochet. I like to go on walks and spend time in nature,” she shares. These activities help her maintain a sense of balance and remind her that she’s more than just a musician.

A MESSAGE OF CONNECTION AND HOPE

Above all, Aud hopes her music can serve as a source of connection for those who feel alone. “I hope that this music helps people, especially younger people who are struggling mentally and emotionally,” she says. In a time where many are feeling lost or disconnected, Aud’s music aims to offer a message of hope.

Aud Whitson is an artist to watch in the coming years. With her honesty, vulnerability, and dedication to her craft, she is well on her way to making an impact in the music industry. Keep an eye on her upcoming shows, including performances at Arts On Broadway/KCMO on February 15th and Replay Lounge on February 18th.

Aud Whitson’s story is a testament to the power of perseverance, self-expression, and the willingness to embrace imperfection. As she continues to evolve as an artist, she remains committed to creating music that resonates deeply with her audience, offering both comfort and connection in a world that often feels disconnected.

For more on Aud Whitson and her music, visit her website at audwhitson.com or follow her on Instagram.

EDITOR’S NOTE: A HOUSE THAT CAN’T GET QUIETER, Aud’s latest EP will be available to stream or download on Friday, February 7, 2025.

TALKING HEADS: TALKING HEADS 77

(RHINO RECORDS/SIRE RECORDS; 2024 box set reissue)

Not many New Wave bands of the ‘70s and ‘80s have the sterling reputation and dedicated fan base of Talking Heads. There are reasons for that. The quartet – lead singer and guitarist David Byrne, ace rhythm section Chris Frantz on drums and wife Tina Weymouth on bass, and multi-instrumentalist (often keyboard player) Jerry Harrison – had uncommonly good instincts, just the right amount of quirky unpredictability in their music, and the good fortune to do their most significant collaborations with other master artists (Brian Eno and filmmaker Jonathan Demme among them). I can’t think of another band from their era whose first five albums are all brilliant, fresh and still intoxicating to listen to, and sealed their reputation by making what is likely the greatest concert film of all time (STOP MAKING SENSE, which Demme directed), a giddily thrilling piece of work that was recently reissued to universal acclaim. Many bemoan the fact that the group called it quits in the late ‘80s due to Byrne’s restlessness and desire to go it alone, but this ensured that they would never become a watered-down or compromised musical entity, and that the reverence for their eight studio albums and two superb live albums would endure. T Heads fans are DEVOTED, and only some inter-band sniping here and there about perfectly understandable differences, caused some to scratch their heads in dismay.

TALKING HEADS (JERRY HARRISON, CHRIS FRANTZ, TINA WEYMOUTH, DAVID BYRNE) (photo copyright: MICK ROCK ESTATE)

While the Heads have been anthologized a few different times, a proper box set reissue of their first album TTALKING HEADS 77 is a welcome and wondrous release. The four-disc set comes with a handsome book that features essays by each member about the early days and the circumstances behind the recording of this album, with Tina Weymouth’s lengthy piece being particularly detailed and illuminating. The original album has been remastered beautifully… the innovative arrangements on stunning songs like “New Feeling,” “Tentative Decisions,” the utterly peerless “No Compassion” (one of my personal favorite songs of their early period) and the completely original “First Week, Last Week… Carefree” sparkle with clarity and musical pizzazz. You can marvel all over again at Weymouth’s distinctive bass, the disciplined arrangements and, of course, David Byrne’s undeniable attention-getting vocals and lyrics. The guy was and remains a stunningly original creative visionary. And yes, it’s fun to imagine those early CBGB’s attendees getting to hear “Psycho Killer” in its infancy, though it sounds fa-fa-fa-fa better here.

TALKING HEADS Live at CBGB’s, 3 March 1977 (JERRY HARRISON, CHRIS FRANTZ, DAVID BYRNE, TINA WEYMOUTH) (photo credit: EBET ROBERTS/GETTY IMAGES)

But speaking of the famed Bowery venue where the Heads and other legendary artists got their start, there’s an entire disc here that captures the group’s final appearance at the club. It sounds marvelous, actually… not tinny or inferior in any way. Byrne energetically shouts out the name of most of the songs in his inimitable manner (“The name of this song is ‘Don’t Worry About the Government!’”) and yells “Thank you!” to the excited crowd afterwards. You can definitely feel the vibe of the tiny but historic locale. And the highlights are many from this performance: I particularly dug such numbers as “Take Me to the River,” the rare “A Clean Break,” “Thank You For Sending Me an Angel,” “Pulled Up” and “Stay Hungry.” The band were totally ON IT here, probably very well-rehearsed knowing this was for a radio broadcast. A third disc in this set is a welcome collection of rarities and alternate takes, including “Sugar On My Tongue,” “Love (Goes To) Building On Fire” (their first single), “I Wish You Wouldn’t Say That” and two alternate takes of “Psycho Killer” among other cool cuts. And the obligatory but still great 5.1 surround mix for Blu-Ray rounds things out.

TALKING HEADS (DAVID BYRNE, JERRY HARRISON, CHRIS FRANTZ, TINA WEYMOUTH on THE TONIGHT SHOW STARRING JIMMY FALLON, 13 June 2024) (photo credit: ROSALIND O’CONNOR/NBC via GETTY IMAGES)

Everything from the bright red cover and strikingly minimal green typeface, to the essays and diverse photos in the book, to the still intoxicating musicality of this powerhouse band, is memorable and more than worth your attention. As much as I played this album when it first came out, I must say that diving into this reissue was revelatory all over again, thoroughly capturing the emergence of one of the greatest and most original quartets of all time. Rumor has it there may be a box like this to come for each of their classic albums. Talking Heads are one of the few entities that deserve that kind of comprehensive approach.

DO THE ARCHITECTURAL WATUSI DVD/Blu-Ray Music Reviews | Kevin Renick | November 25, 2024 | Alternative Rock Bonus Material Box Set Brian Eno CBGB's Chris Frantz David Byrne Demo Recordings DVD/Blu-Ray Jerry Harrison Jonathan Demme Live Recording Music New Wave Music Punk Rock Reissue Rock and Roll Rock and Roll Hall of Fame STOP MAKING SENSE Talking Heads Tina Weymouth

NILUFER YANYA/ANGELICA GARCIA/LUTALO

(13 October, 2024; THE BOTTLENECK, Lawrence KS)

Sunday nights are supposed to be boring, right? A time to relax and re-energize for the coming work (or school) week. This particular Sunday night was anything but as Lawrence, Kansas became a melting pot of musical talent, featuring three compelling acts – Lutalo, Angelica Garcia, and headliner Nilüfer Yanya. Each brought a distinct sound and energy to the stage, making the night an unforgettable experience for the packed venue.

LUTALO (LILY SEABIRD, LUTALO JONES, MICAH RUBIN) (photo credit: KASEY LEHMKUHL)

Kicking off the evening was Vermont-based artist Lutalo Jones, an alternative singer whose music blended slow, moody rock with indie Blues. Lutalo was joined by Micah Rubin on drums and Lily Seabird on bass, creating a rich yet intimate sound. His set moved through a variety of vibes, with each song offering something different – ranging from introspective lyrics to more upbeat rhythms.

LUTALO (LUTALO JONES) (photo credit: KASEY LEHMKUHL)

Though Lutalo’s performance felt understated at first, it quickly gained momentum. His emotionally raw vocals connected deeply with the audience, who responded more and more as the set progressed. When a guitar string broke during the final song, Lutalo didn’t miss a beat, continuing the performance with the grace and professionalism of a seasoned artist. The diverse textures in his music showcased his versatility, leaving the audience with an appreciation for his evolving sound.

ANGELICA GARCIA (ANGELICA GARCIA, VAL SEPULVEDA) (photo credit: KASEY LEHMKUHL)

Angelica Garcia, from Los Angeles, brought an entirely different energy to the stage. With only Val Sepulveda on drums backing her up, Garcia’s voice took center stage, blending elements of Latin Punk and bilingual alternative electronic Pop. Her powerful, well-regulated vocals filled the room, captivating the crowd. Garcia’s vocal range is impressive, effortlessly moving from deep, rich tones to high, piercing notes – an indication of her natural talent and technical skill.

ANGELICA GARCIA (VAL SEPULVEDA, ANGELICA GARCIA) (photo credit: KASEY LEHMKUHL)

Garcia engaged the audience from start to finish, her bilingual lyrics resonating with many in the crowd. She described her second-to-last song, “Hey, Paloma,” as “cute” and invited the audience to join in, creating an interactive, fun moment. The final song was a fusion of electronic beats, drums, and her signature Spanish vocals, leaving a lasting impression. With only vocals and drums, Garcia proved that she didn’t need a full band to captivate the crowd – her voice and presence were more than enough. As her set concluded, a large portion of the audience immediately headed to her merch booth, eager to purchase her CDs and support her growing career. It’s clear that Angelica Garcia is an artist who knows how to leave a mark on her audience, and her upward trajectory seems inevitable.

NILUFER YANYA (photo credit: KASEY LEHMKUHL)

Headlining the evening was London-born Nilüfer Yanya, whose indie/alternative sound has been steadily gaining her a dedicated following. From the moment she stepped on stage, accompanied by a stellar band, the crowd was buzzing with anticipation. Nilüfer herself played guitar, alongside fellow guitarist Will Archer, Ellis Dupuy on drums, Beth O’Lenahan on bass and Jazzi Bobbi on saxophone, keys, and backup vocals. The chemistry between the band members was evident, their tight musical coordination enhancing the already polished performance.

NILUFER YANYA (JAZZI BOBBI, NILUFER YANYA, BETH O’LENAHAN) (photo credit: KASEY LEHMKUHL)

Nilüfer’s vocal delivery was hauntingly beautiful – her soft yet powerful voice combined with her band’s intricate sound created a mesmerizing atmosphere. Tracks from her latest album, MY METHOD ACTOR, were standouts, with “Run Away” eliciting particularly loud cheers from the audience. The live version of this hit showcased Nilüfer’s incredible vocal control, her voice soaring over the lush instrumentation.

NILUFER YANYA (NILUFER YANYA, WILL ARCHER) photo credit: KASEY LEHMKUHL)

As the show progressed, the audience moved closer to the stage, completely immersed in the performance. The mix of saxophone, layered guitar riffs, and atmospheric keys gave Nilüfer’s set a unique sound that felt both timeless and modern. Her music is difficult to categorize – at times, it recalls the soulfulness of Amy Winehouse, but with a more experimental, indie twist. The crowd swayed in unison, visibly moved by her hypnotic melodies and powerful stage presence.

NILUFER YANYA (BETH O’LENAHAN, NILUFER YANYA, WILL ARCHER) (photo credit: KASEY LEHMKUHL)

As the set came to a close, Nilüfer Yanya left the audience wanting more. With her US tour wrapping up in Los Angeles later this month, there’s no doubt that she’s on the verge of even greater success. Her sold-out vinyl and merch at previous venues, including hoodies and t-shirts, are a testament to her rising popularity. The support of her bandmates and manager Owen McAllister, who spoke fondly of their time touring across the US, only adds to the feeling that Nilüfer’s star is still on the rise.

This concert was a perfect blend of styles and genres, each artist bringing something unique to the night. The opening trio, Lutalo, set the tone with an introspective and evolving sound, while Angelica Garcia’s bilingual Punk-Pop performance, firmly supported by drummer Val Sepulveda, lit up the stage and Nilüfer Yanya closed the evening with a mesmerizing set that showed why she’s quickly becoming a major figure in the indie music scene. All three acts showcased raw talent and left a lasting impression on the Lawrence crowd. As these artists continue to tour and release new music, there’s no doubt that their names will only grow more familiar. This show was a reminder of the magic that happens when artists truly connect with their audience, and it’s safe to say Lawrence will be talking about this show for a long time.

DO THE ARCHITECTURAL WATUSI Live Music Reviews | Kasey Lehmkuhl | October 18, 2024 | Alternative Rock Angelica Garcia Beth O'Lenahan Blues Rock Ellis Dupuy Jazzi Bobbi Lawrence Kansas Lily Seabird Live Music Lutalo Lutalo Jones Micah Rubin Music Nilufer Yanya Pop Punk Pop Rock Rock and Roll The Bottleneck Val Sepulveda Will Archer

DYER SHOTS, EPISODE ONE

SOUL ASYLUM: SLOWLY BUT SHIRLEY (BLUE ELAN RECORDS; 2024)

So, apparently Soul Asylum has a new album out called SLOWLY BUT SHIRLEY, their first since 2020’s HURRY UP AND WAIT. I have never understood this band and I still don’t. It was a period of music that I just couldn’t get into. Here we are at the end of 2024 and I don’t hear anything new, just a rehashing of the same sound that they have had since “Runaway Train.” Production on this seems a bit mono, but that could be because of the way they perform their music… there is really no punch in the recording, just a bland production. If you are a fan of their music from back in the day, then I suppose you will like this but… for the life of me, I don’t know why you would. 1 out 5 stars! It’s too bad that the “Runaway Train” didn’t take this with it!

CARNAGE ASADA: HEAD ON A PLATTER (HISTORICAL RECORDS; 2024)

Carnage Asada, a band out of LA, has been making noise since 1994. They have a heavy Punk influence and is similar in sound to Rage Against the Machine. Lead by founding members David Jones on bass and George Murillo on “words” (Murillo doesn’t sing, it’s more spoken word) alongside guitarist Tony Fate. The new album, HEAD ON A PLATTER, comes right out of the gate punching with LA Punk fury! Fate is relentless with his guitar sound. I like the production on this album as it works well with the style of the band. A few of the songs are in Spanish which adds to the coolness of Carnage Asada. I will give this a solid 3 out of 5 stars! It’s a fun album from a fun band, so give it a listen.

RON KEEL: KEELWORLD (RFK MEDIA; 2024

KEELWORLD is a newly recorded compilation album consisting of songs from Ron Keel in the many variations of himself, from his first recordings with Steeler in the early 1980s to the present incarnation of the Ron Keel Band. At first listen, I had to remind myself that I was listening to a Ron Keel record and not a new Bon Jovi album; I never realized how much they sound alike! Once I finished the album, I thought to myself, “Well, it’s not too bad, but not great. I probably won’t listen to it again.” I’ve listened to it over four times now. There is something about it that gets into your soul. The album starts with a track called “Hollywood,” which is a really good Country-style song from that period of his career, so it’s a good start and, by the time we get to track number four, we are treated to a Ron Keel Band song called “Five O’clock Shadows,” a banger of a tune that is very infectious. From there, it keeps going with rocker tracks like Steeler’s “Give Me Guitars (Or Give Me Death).” Later in the album, we get a version of Black Sabbath’s “Children of the Grave” performed by Keel and Emerald Sabbath (one of his many side projects), consisting (on various tunes) of at least ten ex-members of Black Sabbath (go figure, huh?). I will say that Ron has quite a voice and handles the track very well. The album ends with the song “The Last Bottle on Earth,” a slow, heavily Country-influenced number. On my scale, I will give this album a solid 4 out of 5 stars. Give this one a HARD listen. I think you will be surprised… I sure was!

My name is Dave and I love music!

DO THE ARCHITECTURAL WATUSI Music Reviews | Dave Dyer | October 2, 2024 | Alternative Rock Carnage Asada Country Music Country Rock Emerald Sabbath Garage Rock Hard Rock Music Punk Rock Rock and Roll Ron Keel Ron Keel Band Soul Asylum Steeler

FINGERPRINTS: WHERE THE BEAT GOES ON

(BLACKBERRY WAY RECORDS; 2022)

You may not know this, but Fingerprints were a big deal… a VERY big deal. The Minneapolis five-piece formed in the mid-1970s and, after a few line-up changes, emerged as one of the first three bands signed by the soon-to-be heavily influential Twin/Tone Records (original home to such punk and post-punk bands as the Replacements, Pere Ubu, Babes In Toyland, the Jayhawks, Soul Asylum and the Mekons). Fingerprints released three seven inch records (FINGERPRINTS, DOWN and SMILES FOR SALE) between 1978 and 1979 and appeared on the legendary BIG HITS OF MID-AMERICA, VOLUME 3 compilation album. Between April, 1978’s DOWN and September’s SMILES FOR SALE, guitarist Robb Henry exited the band. His replacement, Jeff Waryan and the rest of the group – Mark Throne (vocals and saxophone), Steve Fjelstad (bass), Kevin Glynn (drums) and Mike Owens (guitar and vocals) entered Blackberry Way Studios (founded by members Owens, Glynn and Fjelstad) to record their debut full-length in 1979. The album was nearly completed when the band broke up and the project shelved. Now, more than forty years later, Owens and Blackberry Way Records have gussied up 24 tracks – including most of the tunes from the original Twin/Tone releases – and given us WHERE THE BEAT GOES ON, featuring both recorded versions of the band. To say that this collection is anything less than essential is like saying that Prince was an “okay” guitar player.

FINGERPRINTS, circa 1978 (Kevin Glynn, Steve Fjelstad, Robb Henry, Mike Owens, Mark Throne) (publicity photo)

“Don’t Wanna Talk” kicks things off in a very ‘80s lo-fi Minneapolis Rock and Roll fashion. Fjelstad’s rumbling bass and Glynn’s unexpected and decidedly heavy drum sound underpins a simple but incredibly catchy guitar part that leads to some very nice interplay between Owens, Waryan and Throne’s sax. And, so, we’re off to a great start. Next up is one of seven tracks to feature Robb Henry, “(Now I Wanna Be a) Space Girl,” the lead track to the first Fingerprints 7” record released on Twin/Tone. It’s really hard to describe the beauty of the song without making a couple of oxymoronic observations: First, there’s a very non-guitary guitar running throughout; second, the sound is very post-punk before punk was pre-anything else; finally, the guys were in and out in an economically Ramones-tight fashion (less than three minutes). “Prisoners” features some nice backing vocals to bolster the enigmatic vocals of songwriter Mike Owens and a little piano-noodling from guest Harvey Ginsberg. There’s an actual guitar solo (and a right tasty one it is, too) which I’m going to attribute to Jeff Waryan, although Owens could more than hold his own in that department. The overall sound of this one is a bit of envelope pushing, ala the Replacements or Husker Du. “Boogada Bigadus (Big Reggie’s Theme)” is a little slice of meaningless surf music that is absolutely fraught with meaning. The instrumental again offers some wicked guitar and a Throne sax part that fades in and out of the mix and, all of this in a mere 2:10! Link Wray or Dick Dale woulda been proud… heck, maybe they were! The title track to the group’s final Twin/Tone 7”, “Smiles For Sale” features a more out-front screaming sax along with another cool guitar riff that punctuates one of the weirdest vocal performances ever (from Mark Throne or any other presumably human entity). At this point, everything is starting to take on a certain random simplicity and odd sameness in its brilliance… just like most of the great punk records of the era. Owens adds piano to his instrumental repertoire to the next track, as a simple, jangly guitar riff and massive drums punctuate “Illusions of Love,” a bizarre little ditty that forms an odd one-two punch with the like-minded “A Place In My Heart.” This one’s an oddly sentimental song that could be about jealousy, murder, an unhealthy obsession or a late night booty call… maybe all of the above. Throne’s vocals take on an eerie, otherworldly quality that is not unappealing. “Kind Affection,” featuring a cool Jeff Waryan vocal (he also wrote the thing) is one of the catchiest tunes in the first third of this collection and another in a series of the band’s odd take on love and its many shades. Once again, there are some great guitar parts that caress the listener’s ears while Kevin Glynn’s drumming threatens the sanctity of said listener’s eardrums. What’s more Rock and Roll than that, right?

FINGERPRINTS, circa 1978 (Kevin Glynn, Robb Henry, Mike Owens, Steve Fjelstad, Mark Throne) (publicity photo)

All manic drums, frenzied guitars and unhinged vocals (plus Mark making an appearance on the piano), “Uptown” might be a retelling of a secret liaison, a secret life or a tragic death. This band seems to have excelled at open-ended, ambiguous lyrical narratives. I like that! They were also good at delivering a memorable riff, a simple but effective backbeat, completely upbeat melody and vocal delivery for a rather maudlin subject. Such is the case with “Down,” an absolutely hummable tune that bores into your earholes and takes up residence in that little corner of your brain that – for better or worse – continually hits replay on the last catchy tune you heard. This one first made an appearance on the Twin/Tone double album BIG HITS OF MID-AMERICA, VOLUME 3. “Whose Side Are You On” offers a jackhammer guitar and drum sound, more great interplay between guitar and sax, a rumbling bass and an actual solo from Waryan, who wrote and sings the piece . Even a seemingly pedestrian song like “Hey Johnny” has something unique and unexpected to offer. In this case, more inventive six-string work (thanks to Mike Owens and Robb Henry) with an actual dual lead part that turns into a trio with the addition of Throne’s sax mimicking the twin guitars. Apparently giving the creators of SEINFELD the seed of an idea, “Nothing To Say” has a great riff, a great melody, and minimal lyrics (which fit the title perfectly). Just for kicks, Mike adds some organ to the mix. And all in a concise little package at just over 1:20. This song about nothing was originally released on SMILES FOR SALE. “Shake ‘n’ Roll” may be the truest punk song of the collection, with a snotty guitar solo courtesy of Owens and an indiscriminate use of the splash cymbal. Simply stated, it is pure fun for pure punks. A meaty psuedo-metal guitar intro leads into a moody “Young Love,” the oldest track here, predating Robb Henry’s coming. With another dose of ambiguity, the track could be about a stalker or a child molester or… Donny Osmond. Whatever the subject matter, the tune is creepy beyond belief! Mark Throne’s vocals sound particularly sinister over the grinding rhythm guitar (by Throne himself), Owens’ wah-wah laced leads and monstrous drums. It’s one of the longest tracks here, clocking in at nearly three-and-a-half minutes. A kind of Middle Eastern vibe is elicited from guest sax players Lynn Seacord and Peter Napoleon Barbeau and the tablas of Gary Waryan on “We Can’t Get In.” That rumbling bass and those forceful drums propel the swirling, mid-tempo number along at a Speed Metal pace. Dichotomous? Indeed. But, then, that’s what these Fingerprints were so good at!

FINGERPRINTS, circa 1978 (Robb Henry, Steve Fjelstad, Mark Throne, Kevin Glynn, Mike Owens) (publicity photo

A circular rhythm and repeating guitar lines drive “You Have To Push Them Over,” an instrumental from SMILES FOR SALE. There’s a lot going on here, with a slide guitar diving in before a nifty piano solo (compliments of the returning Harvey Ginsberg); a great kind of frantic guitar solo from Mike makes an appearance, joined by the return of the piano and the saxes of Barbeau and Seacord throwing down a few forceful notes just before the number ends. Robb Henry is back again for “Wasted On You.” This one has sort of an early U2 vibe with a very un-Edge like solo. All-in-all, it sounds very ominous… in the best possible way – I mean, “I was waiting for the world to die.” How much more ominous can you get? Mike Kearney adds some atmospheric sax, as well. “Must Be Me” has a nice, pedestrian chuga-chuga guitar riff that’s double timed by a steady, racing bass groove and imaginative lead guitar and another solid solo from Owens. Waryan’s vocals are nice and gritty and, all the while, Ginsberg’s piano hammers away just below the surface What a great little dose of power pop! Speaking of which, “Burn Those Bridges” is a very Who-sian piece in both depth and scope, with Townshendesque guitars (by Owens and Henry) and a lyrical bent to match. This is a solid effort from all involved, if a little weak on the backing vocals. Glynn’s drumwork on “Will You Be the One” features some absolutely massive fills (in fact, the drum parts are almost all heavy, muscular fills!). It’s one of the few songs to feature a sustained Mark Throne sax solo, who also delivers what may be is best vocal performance here, evoking Bowie. And, I shouldn’t have to mention it this far into a review, but the guitars are once again absolutely fantastic! “Made In the Shade” pumps the brakes, slowing down the tempo, which makes the Bowie comparison even more evident. Steve and Kevin find a nice pocket that allows the guitars (Robb and Mike, finishing off this set together), keys and voice to shine on what is a really nice tune. There’s an oddly pleasing little sax part that comes out of the woodwork toward the end of the four minute plus (!) track from the band’s debut EP. Next is “Back On the Street,” another four minute rocker. While I like the shorter, punkier stuff, I find myself wondering where those songs could have gone if they would have been fleshed out and extended like these two. This one offers a cool riff and a couple of really great guitar solos, the last one being somewhat diminished… lost in an overly long fade. The final track, “Half Past Zero,” almost seems like an afterthought or a simple work in progress. Another possibility is that it’s a demo that never really sparked anything creatively past the repeating riff. I know the guys have been playing around a bit lately and I certainly wouldn’t mind hearing a more fleshed-out version with vocals and solos and such.

FINGERPRINTS, circa 1979 (Mark Throne, Steve Fjelstad, Kevin Glynn, Jeff Waryan, Mike Owens) (publicity photo)

So, there you have it… what is, I believe, the entire recorded output of one of the most influential bands that you’ve never heard of. Fingerprints were there at the cusp of that great Minneapolis Rock scene of the early ‘80s but, unfortunately, didn’t stick around to grab some of the spotlight that shone so brightly on other groups like the Replacements, Soul Asylum or Husker Du. Ah, what could have been! WHERE THE BEAT GOES ON is available on CD and digitally here or at your favorite music dispensary.

DO THE ARCHITECTURAL WATUSI Music Reviews | Darren Tracy | May 20, 2022 | Alternative Rock Blackberry Way Records Blackberry Way Studios Compilation Fingerprints Garage Rock Gary Waryan Hard Rock Harvey Ginsberg Jeff Waryan Kevin Glynn Lynn Seacord Mark Throne Michael Owens Mike Kearney Minneapolis Music New Wave Music Peter Napoleon Barbeau Pop Music Pop Rock Post-Punk Music Power Pop Punk Rock Robb Henry Rock and Roll Steve Fjelstad Twin/Tone Records

PRETENDERS: HATE FOR SALE

(BMG MUSIC GROUP; 2020)

When I heard that there was new music coming from Chrissie Hynde and Pretenders, I must admit I was pretty happy! HATE FOR SALE was released this past July, their first album of new music since 2016’s ALONE. There are a couple of new faces in the band’s studio make-up (a couple have been part of the group’s live line-up for quite awhile): James Walbourne on guitar and keyboards, Nick Wilkinson on bass, Stephen Street on keyboards and percussion, plus the studio return of original drummer Martin Chambers, who hadn’t recorded with the band since LOOSE SCREW in 2002. Of course, the linchpin, the main star, band architect and leader, Chrissie Hynde, sounds incredible; her songwriting, guitar work and readily recognizable harmonica blasts are feisty and ready to rock. Her voice, it almost goes without saying, is wonderful.

HATE FOR SALE isn’t very long… just a little over 30 minutes, but you certainly get your money’s worth with every song. Those songs flow well as the band moves flawlessly from one to another. Though I really do like all ten tracks here, I think my favorites are “Turf Accountant Daddy” and “Didn’t Want To Be This Lonely,” which just rock with reckless abandon. There’s an interesting kinda Reggae thing called “Lightning Man” which moves directly into “Turf Accountant Daddy” that manages to mix things up a bit. The record ends with a nice little tune, a beautiful piano ballad called “Crying In Public,” an emotional side that we rarely see from Chrissie.

PRETENDERS (James Walbourne, Nick Wilkinson, Martin Chambers, Chrissie Hynde) (uncredited photo)

Martin Chambers sounds great throughout and I’m so glad he’s back, but this is obviously Chrissie’s album and she makes the most of it. She’s been in the business for over five decades and I have certainly enjoyed her work. Having lost track of what Ms Hynde and her band had been up to in recent years, I was curious when I heard they had new music out. I was totally happy and surprised when I finally got to hear it. I’ve seen the group in concert a couple of times, once right after their debut album came out in the States, opening for the Who and once on a package tour with ZZ Top and Stray Cats. Both good shows (though they were nearly “Who’d” off the stage during the first one!) and I’ve always liked their music, but this new one, HATE FOR SALE, has become one of my favorites of this year. Stephen Street did an excellent job producing and mixing, giving the music a very clean sound. The entire record hits you right in the gut… in the best way possible! Pretenders were scheduled to tour with Journey earlier this year but, like countless others, those plans were put on hold due to the pandemic. So, even though we didn’t get live Pretenders this year, we did get an absolutely incredible record from them. For that and for decades of musical brilliance, I say, “Thank you, Chrissie Hynde!”

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Bill Winer | December 28, 2020 | Alternative Rock Blues Rock Chrissie Hynde Classic Rock Hard Rock James Walbourne Martin Chambers Music Nick Wilkinson Pop Rock Pretenders Punk Rock Rock and Roll Stephen Street Streaming Video

THE APRIL FOOLS: THIRD; MICHAEL OWENS: THE RIGHT KIND OF CRAZY

(BLACKBERRY WAY RECORDS; 2019)

In the past, whenever I got bogged down with too many records to listen to and review, I would lump a lot of like-minded releases (straight-ahead rock, Jazz, Country, compilations,,, whatever) together, giving each a nice little paragraph (or more, depending on how many I had to write about… I remember doing something like fourteen Punk records in the course of one review) about each. I still do that occasionally, when it makes sense to do so; this one is a no-brainer: Michael Owens produced both releases, Fools Brian Drake and Terri Owens do some backing vocals on THE RIGHT KIND OF CRAZY, both records were released by Michael’s Blackberry Way Records on the same day. It really wasn’t my intention to review them together, but the final piece seemed to fall into place when the Owens record showed up at my door in the same package as THIRD. The die, as the saying goes, was cast.

THE APRIL FOOLS (Scott Hreha, Brad McLemore, Terri Owens, Brian Drake, Ben Kaplan) (photo credit: ERIN DRAKE)

The April Fools’ third release (thus the name of the record) features a retooled band, having lost guitarist Clay Williams, whom, I assume, has gone on to greener pastures. Williams was replaced by two musicians, guitarists Brad McLemore and the aforementioned Terri Owens. The result made the original quartet’s tight sound even tighter as a quintet. This is borne out on the opening track, “Bell of Stone,” a sort of updated psychedelic Americana. Vocalist Brian Drake has a rather world-weary rasp that is immediately the crowning glory of this song and album, somewhere between Bob Seger and a young Levon Helm. The guitars (by McLemore, Owens and Drake) seem to shimmer and there’s an undeniable sting and bite to the solo. Ben Kaplan offers up some solid drumming and an insistent, melodic bass line by Scott Hreha gives the whole thing a certain buoyancy that is not unappealing. “Long Shadows” is a tune that reminds me of both the Band (musically) and the Dead (vocally). It’s a slow ballady sort of thing that highlights the group’s four part harmonies. The piece borders on overstaying its welcome, but seems to end at just the right moment. Graham Gouldman’s (by way of the Hollies) “Bus Stop” is a shimmering piece of Pop history that gets a fairly faithful retelling here. The guitars may be a bit more urgent and Terri Owens’ mandolin adds a new flavor, weaving in and out of the mix, just under Drake’s pleasantly gruff delivery. For some reason, the First Edition’s “Just Dropped In (To See What Condition My Condition Was In)” comes to mind listening to “Shaky Ground.” Could be the wah-wah guitar and utterly haze-inducing solo; maybe it’s the swirling vocals that are brilliantly scattershot, alternately overlapping each other, then complimenting the rest with a great harmony part. Owens is a lady that certainly knows how to write a great ‘60s acid burn of a tune! “If I Can’t Make Her Happy” is sort of a throwback to those star-crossed tragic lover songs from the late ‘50s, all gussied up with a new millenial sheen, and highlighted by some really pretty guitar work and backing vocals.

The Fools put a nice gloss on Dylan’s classic “My Back Pages.” This version features finely understated vocals and a Byrdsian approach to the instrumentation that has always worked so well on the Zim’s music. There’s more of the brilliant guitar solos that we’ve come to expect from this band, with the rhythm section highlighting their ample abilities with a great Hreha bass line and a solid backbeat and fills from Kaplan on drums. Terri Owens takes on the vocal duties for “You Make My Heart Beat Too Fast,” a slow-burning rocker written by Julie Anne Miller (originally recorded for the BUDDY AND JULIE MILLER album in 2001 by, well… Buddy and Julie Miller). The track features killer guitar throughout, as another awesome solo rides the cut into the fade. “Summer Sun (Redux)” has a slightly psychedelic Blues groove, a distinct highlight of this remake from the Fools’ first album. I know I’m sounding like a broken record by this time but… again, great guitar, both straight and effects-laden. Scott’s rumbling bass, Ben’s spot-on drumming and an idling organ part from guest Glenn Manske (of which we’ll hear more later) add to the lazy feel of the song, the musical equivalence of the lethargic feeling brought on by the summer sun. Closing out the record is “15 Minutes.” It’s a Country-flavored tune that features a brilliant bass part that could very easily have appeared on an album by the Jam or Elvis (the important one, not the dead fat guy). With a dobro and Terri’s mandolin filtering through the swampy miasma of the instrumentation, the drums offer a lot to enjoy just under the current. The backing vocals are a nice counter to Brian’s gruff voice. As an introduction to what’s happening in the Minneapolis music scene today, you can definitely do worse than the April Fools’ THIRD.

MICHAEL OWENS (photo credit: LARRY HUTCHINSON)

Cementing the connection between the Minneapolis of the Replacements, Prince and Husker Du is producer/recording studio owner/record company owner/songwriter/multi-instrumentalist (and probably another string of slash marks that I’m missing) Michael Owens. Owens’ latest record, THE RIGHT KIND OF CRAZY, is fourteen tracks (and one bonus cut from a reunited Fingerprints, Michael’s late ‘70s band) that is as varied as the scene that spawned that first major wave of the “Minneapolis sound,” as well as Michael’s own Blackberry Way Studio and the record company that shares that name. The first track, “Comic Book Creep,” features some awesome boogie with a little bit of woogie thrown in for good measure. Owens has a pleasing, better than average voice; there’s some very nice guitar leads and solo from guest artist Curtiss A and Owens himself and excellent piano from Glenn Manske, who plays a major role on this record. “A Song For You” switches gears from a rockin’ Blues to a slow, tragic type of girl group sort of song that features strong backing vocals (as such songs require) from Robert Langhorst and Terri Owens. Also on display is an echoey, reverb-drenched solo and another strong piano part from Glenn. Sounding very much like vintage Monkees, “60 Cycle Rumble” sees Michael delivering an over-the-top vocal performance that reminds me of a younger, still-alive Wolfman Jack. Manske’s organ and outstanding guitar work from Owens make the Pre-Fab Four comparison even more relevant. As the name implies, “Used Blues” is a slow Blues that falls somewhere between Stevie Ray and Michael Buble on the Blues authenticity scale. Owens former Fingerprints bandmate, Robb Henry, offers up some solid lead work and a soulful solo. “Without Sin” sounds a little like “Minnesota boy does the Eagles” during the intro.Thankfully, it morphs into another slow-burn number with a strong Bill Grenke bassline. I kept waiting for a child’s voice to say “Mommy, where’s Daddy?” during the breaks leading into the guitar solos and, of course, anything that elicits memories of the Coopers ranks very high on my list. However, the cut, at more than seven minutes, does tend to drag on; thankfully, though, it doesn’t overstay its welcome by much. Up next is “Old Man Joad,” a kind of jangly Byrds-cum-Tom-Petty thing, only without the jangle. Continuing a nice little theme here, the number features some nifty lead and backing vocals, more solid bass from Grenke and a killer guitar melody throughout. In a different time, this one coulda been a hit at AOR, Adult Contemporary or Country radio. Unfortunately, as radio has become ever more genre-centric, it’s unlikely that today’s programmers could figure out what to do with such a great song! “Chase the Rain” is yet another slow tune with some nice guitar. Grenke continues to impress on bass as does Manske with some more great organ work. I guess the title comes from the sounds of falling rain at the beginning and end of the track.

“Falling” is not a cover of the Tom Petty song; this one has more of an Alternative Celtic feel to it (if that makes any kind of sense). The Celtic vibe is enhanced with Manske adding strings and flutes to his solid piano playing, while Kevin Glynn (another refugee from Fingerprints) adds a little added thump to Owens’ programmed drums with some live tom toms. The vocals blend into the hazy mist of the musical backdrop, leaving the listener with a gooey warm feeling somewhere around the heart. A short little ditty called “Over the Moon” follows. With a jaunty, bouncy feel, it’s simply a fun love song, evoking the feeling the name conjures in one’s mind. Gifted with one of the best song titles ever, “Just Got Over Being Hungover,” has a melody that puts me in mind of Billy Swan’s “I Can Help.” The cut is loaded with an abundance of honky-tonk piano, organ accents and lots of guitars doing guitary things. “You Can’t Get In” is a frantic little piece of Swamp Punk, with Glynn offering some percussive help while a weird Replacements vibe permeates the whole 1:48. Some cool backwards guitar and massive riffage courtesy of Robb Henry informs “High Price Shoes,” a Beatlesy piece of Pop fluff. Not surprisingly, the piece features more heavy lifting from Glenn on organ and Bill on bass. All of the above makes this one a current album favorite. “Hole In Your Pocket” is another tune that sounds vaguely familiar (Minnesota’s favorite sons, Bob Dylan meets Prince maybe?), with a tinkling piano coda and a vocal mostly buried in the mix to good effect. The sing-songy partially spoken lead vocals definitely gives rise to Dylan comparisons. The lyrical coda, “I know there’s magic out there,” isn’t indicative of this song, but… if the lyrics fit, right? There’s a slight echo on the vocals on “The Last Thing,” adding a bit of a dreamy feel to another strong offering.Again, the cut features strong organ, bass and guitar leads and solo; the backing vocals are nice, as well, with Brian Drake joining Robert Langhorst and Terri Owens for this one. A bonus track, “14 South 5th Street Blues,” features four fifths of Fingerprints (bassist Steve Fjelstad was missing from the recording/performance with Michael taking over those duties). The song, featured in the documentary, JAY’S LONGHORN, is an ode to the late ‘70s/early ‘80s Minneapolis scene’s venue of choice, the title derived from the address of the legendary club. Besides Owens on bass and guitar, the other featured Fingerprints are lead vocalist Mark Throne, the previously introduced Robb Henry on lead guitar and Kevin Glynn moving to an ancillary percussionist role due to Owens’ very organic-sounding drum programming. The quartet are augmented by former Figures guitarist Jeff Waryan on slide, Chris Osgood of the Suicide Commandos on additional lead guitar, the legendary Curtiss A on harmonica and the by-now ubiquitous Glenn Marske on piano. The rollicking paean to past triumphs is a fitting close to solid release from a man who should be a household name outside of the relatively small Minneapolis region.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Darren Tracy | November 12, 2019 | Alternative Rock Americana Ben Kaplan Bill Grenke Blues Rock Brad McLemore Brian Drake Chris Osgood Classic Rock Country Rock Curtiss A Fingerprints Garage Rock Glenn Manske JAY'S LONGHORN Jeff Waryan Kevin Glynn Mark Throne Michael Owens Minneapolis Music New Wave Music Pop Music Psychedelic Rock Robb Henry Robert Langhorst Rock and Roll Roots Rock Scott Hreha Streaming Video Terri Owens The April Fools

NO VALENTINE: KNOCK KNOCK

(SELF-RELEASED EP; 2019)

The should-be-signed-immediately New York trio, No Valentine, live by the old Punk credo of “Loud, Fast Rules!” Their latest release, an EP called KNOCK KNOCK, features five songs clocking in at an impressive thirteen minutes. The group is fronted by songwriting force, guitar-slinger and powerhouse vocalist Cindy Pack; Pack is quite ably supported by the rhythm section of Laura Sativa (who has played bass with legendary punks Sylvain Sylvain and Jayne County) and versatile sticksman Mike Linn.

NO VALENTINE (Cindy Pack, Mike Linn, Laura Sativa) (uncredited photo)

Things are off to an ominous start with “Down Down,” a tune so dense that you could caulk an entire house with the riffs alone. Guitar, bass and drums all meld together in a thick soup of awesomeness, while Cindy relays a spiraling mental anguish, climaxing with this final verse: “Sometime I feel like a walking train wreck/An epidemic, a viral agent/A bad narcotic/A hopeless neurotic/But mostly, I just feel psychotic.” Even the backing vocals sound somehow wounded. “Barnyard Apocalypse” sounds brighter, a rollicking type of Rock ‘n’ Roll, kinda like Unknown Hinson or Reverend Horton Heat on a bender. Still, the lyrics belie the jaunty feel of the music, with such poetic gems as, “Hallelujah, motherfuckers/Pass the mashed potatoes.” Ms Pack is apparently on a mission to prove that she is the manifest destiny queen of snotty punk music; she gets my vote! Yeah, I know that with a monarchy, you ascend to the throne (or take it in a most brutal fashion); she still has my full support. Sounding very much like a shorter version of “Halo of Flies,” the classic Alice Cooper track, “You’re Sick” grinds, grooves and hisses along ‘til the charging beast simply comes to a sudden end, as if felled by a shot from a master huntsman. The number – undoubtedly my favorite here – is the longest on the EP, coming in at an economical 3:52, besting its predecessor by a full second.

“Lemon Pie” features a spry bassline, some nimble drumming and a wickedly fuzzed-out guitar delivering a decidedly whacked approximation of a classic Country tune. If you listen closely, you can even hear Cindy’s sly vocal twang, offered, as usual, with her tongue firmly implanted in her cheek. It’s probably the most upbeat song you’re ever gonna hear from No Valentine but, it in no way sounds out of place nestled amongst the harder, punkier fare on display with KNOCK KNOCK. “Detour” is a meaty slice of early ‘70s proto-punk heaviness, sort of a bookend of dismay and misery with the opener, “Down Down.” Still looking for answers on a trip to nowhere, Pack intones her dilemma with lines like, “Ran out of gas/Ran out of oil/Can’t pay the tax/Can’t pay the toll/And now I’m stuck in the slow lane of life/And I can’t get over.” All I can say is, “And who hasn’t been there?” All in all, KNOCK KNOCK is one of the best indie releases I’ve had the pleasure of listening to in quite some time. I just wish there was more to it! Full-length, anyone? Until then, KNOCK KNOCK and No Valentine’s three previous EPs can be acquired through the group’s website or Bandcamp page.

DO THE ARCHITECTURAL WATUSI Music Reviews | Darren Tracy | August 27, 2019 | Alternative Rock Bandcamp Blues Rock Cindy Pack EP Garage Rock Hard Rock Laura Sativa Mike Linn Music No Valentine Post-Punk Music Punk Rock Rock and Roll Roots Rock Self-Released Southern Rock

KRISTEEN YOUNG: LIVE AT THE WITCH’S TIT

(SELF-RELEASED; 2017)

Holy crap, where did THIS thing come from? I’ve heard some Kristeen Young stuff before and thought it was unusual and compelling, but this record… whoa, mama! It’s full-on ass-kicking weirdness of the kind I used to revel in at the turn of the millennium. Young has been compared to Kate Bush before (her tendency to favor the higher registers, her unconventional delivery), but she also reminds me of a couple of Scandinavian singers such as Sofia Hardig and an artist whose name escapes me. Point is, there is a focused, melodious quality to Ms Young’s voice that you hear at times, but she is making the case here for high-stakes sonic melodrama. Young is a wild thing, untamed and sometimes scary. She takes a risk in virtually every song, and it’s breathtaking. You don’t hear stuff like this very often. And despite that title, this is NOT a live album. It’s Young’s eighth studio album and, although Tony Visconti is listed as co-producer and he has worked with Young for many years, this album was largely recorded just after David Bowie’s death; Kristeen has said Tony was not around that much. Bowie’s passing and the release of BLACKSTAR affected his availability during the sessions. Guitars growl, the bass lumbers around not necessarily keeping it linear, and Young herself stalks these soundscapes like an utterly fearless musical predator. It’s really quite glorious.

In “You Might Be Ted, But I’m Sylvia,” a title that invites discourse, Young carefully balances some emotive, disciplined singing with a series of loud, boisterous piano octaves. At the one-minute mark, a ferocious sound emerges that sounds at first like it could be an attacking animal, but no, it’s an ominous synth sound distorted to resemble a primitive electric guitar, that bites instead. It’ll take a piece right outta ya if you aren’t prepared. “There’s a chance he might disappear,” the singer tells us, before intoning the song’s title, powerfully, preceded and followed by a hypnotically dissonant piano interval banged over and over, taking you prisoner. You CANNOT remain indifferent to the sound slicing into your ears here. You’ll either find it enthralling, as I did, or you’ll run away with your tail between your legs. “Why Am I a Feelmate” turns up the electronica, and takes things into territory occupied by the Knife (I’d be real surprised if Young was not familiar with Karin Dreijer). The vocal is spooky, partially distorted, and the music seems to celebrate chaos. And yet, Young’s control over this boundary-bashing sound is remarkable. I honestly feel rather inadequate to describe it. It’s thoroughly modern and thoroughly uninterested in anything but its own path. You can follow, yes, but you better stay a few steps behind, or something vicious may chomp into you. “These Are the Things I’m Not the Most” (another fascinating title) reminds me of what might happen if the Residents tried rapping for a bit, except the musical wilderness Young is wandering through here might freak out even the Residents. Yes, I just said that. This is really, truly strange rock music by any normal standard. But it DOES rock, and it does move and it does pulse. And it clubs you over the head sometimes, and it contemplates the universe sometimes, and it steps back with its arms crossed and simply stares at you sometimes. Often, in fact. And you don’t want to look away, cause that would make you a wimp. And you will be, some of you. This will put hairs on your chest, honestly. Or send you crying to Mommy.

KRISTEEN YOUNG (photo credit: TONY VISCONTI)

In “I Love You SOOOO Much,” Young sings “I have always been so alone… everything I say/No one can translate,” probably the album’s most self-revealing lyric. The relatively restrained keyboard and pretty-ish vocal really WANT to walk through the door that says “NORMAL,” but they end up entering the room next door, which is labeled “ACCESSIBLE BUT OFF-KILTER.” Young is just too much of an original spirit, after doing this thing for quite a few years, to settle for anything predictable. An early Eno-evoking guitar solo sees the track out the back door, and suddenly the tune ends. Lordy. “Catland” begins with a child’s voice wanting to coax a sound out of a “kitty cat,” but you just KNOW that kind of cuteness will be short-lived. It is. The song quickly turns into a crazed rocker with tempo and chord changes that the likes of Zappa might have admired. There is no attempt to please the audience here at all, unless you are, like me, in the audience that adores flat-out weird music. The word “challenging” was meant for discs like this. And it goes on and on: “Monkey On My Breast,” “I Know You Are a Coward” (you ARE, by the way, if this record overwhelms you), the short and sarcastic ghostly mini-song that calls itself “Everything About You is Always More Important Than Anything About Me,” which is pretty much the full lyric, uncharacteristically. “Come to the Party” offers another insistent piano track before rubbing your face in all sorts of other sounds. Young seems to be issuing an important psychic missive here, but you may or may not receive it. You are probably already whimpering in the back room by now. But she closes with “Different,” certainly the most obvious adjective that timid listeners will apply to this record. There is real melancholy at work in this song, and as this wildly original artist sings “But I’m different” repeatedly, it’s actually a bit touching. I have no idea in the world how audiences have responded to Kristeen Young in the past, and the fact that she is from Saint Louis has me beaming with pride right now. This record is absolutely fucking KILLER. Except for the newest Low album, there isn’t an album that has made a stronger impression on me this year. It’s insane, it’s fresh, it’s completely unpredictable, it’s weird as hell, and apparently proud to be so. Kristeen, I think I’d be afraid to talk to you in person, but allow me to say, totally sincerely, THANK you. Thanks for kicking every kind of ass in the world and showing that yes, a female singer/songwriter can beat most men when it comes to breaking the well-established rules of the game, and not have to apologize in the slightest. I’m in awe of this record. No, it wasn’t recorded live, but my God, does this thing have an unstoppable LIFE force flowing all through it.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Kevin Renick | June 26, 2019 | Alternative Rock Avant-Garde Music Electronic Music Experimental Music Glam Rock Gothic Music Kristeen Young Music Noise Rock Progressive Rock Rock and Roll Saint Louis Streaming Video Theatrical Rock Tony Visconti

DANIELSON: SNAP OUTTAVIT

(JOYFUL NOISE RECORDINGS; 2018)

Love ’em or hate ’em, Danielson, as they have been called for a while (used to be Danielson Famile), have given the pop world one of the most aggressively original and impossible to ignore musical styles ever conceived. That’s not easy to do, and it has something to do with Daniel Smith’s remarkable falsetto voice (he doesn’t use it ALL the time, but it’s there in abundance on the early albums), the crazily off-kilter arrangements and the blend of sweet sonics (the female members of the troop have light, soothing voices which contrast effectively with Smith’s style) with lyrical wildness. It’s no longer a big deal to talk of Smith’s sincere brand of Christianity; there is literally nothing about that which should influence your response to the music anymore. Smith is after bigger game anyway; he has the instincts of an impassioned art rocker, and the razor-sharp focus of your favorite classic rock singer/songwriter. I have been a fan of Smith’s creation since his family’s masterpiece of a second album, TELL ANOTHER JOKE AT THE OL’ CHOPPING BLOCK. I delighted in hearing the extreme reactions of friends here and there upon encountering this highly original sound. While often challenging and a bit abrasive, I could handle anything Master Smith and company could throw at me. Therefore, it’s a bit odd to report that SNAP OUTTAVIT, a recent five-song Danielson EP, is… accessible. Sorta commercial. Easygoing. There isn’t a single track that would make anyone I know gripe, “Take that off, please!” It’s still original, of course.

The title track features, well, the title, chanted over and over by Smith while his wife Elin and sisters Rachel and Megan sing a contrasting ethereal chorus. It’s kind of strange but definitely not unlistenable. And that weird “chorus,” if you can call it that, stops here and there for a fairly normal verse or two, that sounds like, well, a singer/songwriter with something to say. Whatever that might be. “Dry Goods Dry Power” was released previously on a limited-issue vinyl EP; it’s a catchy, “normal” sounding rocker with a propulsive two-chord structure overall. Sure, there’s an eccentric middle section that has some of Smith’s patented falsetto, but not that much. It certainly is not weird compared to, say “Good News For the Pus Pickers” or “Cutest Li’l Dragon.” By the time you reach “Pendulum Mania” on this disc, you’re sort of WANTING the weirdness, if you’re a dedicated Danielson fan… and this tune mostly delivers. The girls keep singing “Swinging back and forth/Swinging back and forth now,” while Smith goes on about some convoluted topic that moves in a nice non-linear fashion, thematically. This is an imaginative song, and I have no idea what it’s about, but it’s Danielson. I like it!

DANIELSON (David Smith, Elin Smith, Rachel Galloway, Andrew Smith, Daniel Smith, Megan Slaboda) (publicity photo)

Then we get to “On Purpose,” the first song to break the five-minute mark. Here, Smith does a thing he does so well and that I used to dream about doing in a studio myself: chanting a commonly used phrase over and over, in this case, “What do you know?” It’s eminently listenable, beginning with subtle marimba and a surging background sound before that repeat phrase kicks in. Yeah! Best song here, methinks. The structural ambition of Smith’s songs is really a thing to behold, and this’un shows it quite nicely. But again, it’s not abrasive. It won’t drive anyone from the room. In fact, I can imagine some favorable “Hey, what are you playing right now?” type responses. “Who Hears Twell Van Dunder” is the kind of bizarro Danielson title that every album features examples of: What you get here is spoken voices saying things like “So happy to see you” and “Been thinking of you” and tingly marimba notes, before a childlike melody kicks in. I’m betting the children’s voices belong to Danielson offspring, and that everyone had a good time recording this gently ruminative little number. This is family music, all right. But not the family you know down the street. It’s the very talented, very original Danielson family, Mister. They play music. They sing combinations of things you’ve never heard before. They are passionate, driven and in love with life. And even if this modest little disc doesn’t truly blaze new trails, it’s a nice little reminder that one of the most original acts in pop is still out there, doing their thing. It’ll do fine until and if, Smith feels like launching another wacky full-length into the sonic universe. If you’ve never given Danielson a chance before, well, this might be a good time to “snap outtavit.”

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Kevin Renick | June 24, 2019 | Acoustic Music Alternative Rock Avant-Garde Music Christian Rock Daniel Smith Danielson Elin Smith Experimental Music Folk Music Gospel Music Megan Slaboda Music Noise Rock Post-Punk Music Progressive Folk Rock Progressive Jazz Rock Rachel Galloway Rock and Roll Streaming Video Theatrical Rock

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