Breezy, ethereal vocals. Light as a feather instrumentals, a warm and inviting soundscape. All of these factors are involved in VanWyck‘s newest full-length release, out today. The project, titled Molten Rock, is comprised of twelve impossibly beautiful tracks, inspired — in part, at least — undoubtedly by the folk of yesteryear. A slow, steady pace is established with first track “Supermarket Line”, and continues into “Lead Me On”, while “Rock Carver” brings with it more assertive instrumentals and a raspier take on the vocals.
“Make of Me” slows everything down to a crawl, gorgeous and sprawling in its soundscape. It is here that we take pause, to realize how important it is to note the comparisons to Leonard Cohen and Nathalie Merchant that VanWyck’s debut album drew, and to notice the way the music has evolved in the space and time since that album was released in 2018. As we roll into “Carolina’s Anatomy”, we feel an attraction to a new love the way this song seems to convey.
Have you ever been this close to feeling no remorse
and being where you want to be
“High School Gym Wall” is even more delicate than its predecessors, something we never would have guessed by its title. Haunting in a way that impresses, it perfectly introduces “Be It to the End”, which brings with it a darker, more theatric atmosphere. “Breakfast Room Revelation” is layered, a ballad of sorts that holds as one of our favorites from this collection.
“The Boatman Calls” and “Like an Ambush” are both solidly beautiful tracks, leading into “The Rock Steady Creeper” which is also impossibly relaxing in its disposition, despite the title. VanWyck expertly rounds out the album with twelfth and final track, the title track, which has the sonic feel of witnessing molten rock cascade down a landscape. The lyrics are descriptive, painting an intense picture, comparisons we all have the capacity to feel.
This album, if nothing else, urges you to feel. Whether by its intense and relatable lyrical content, or its lavish soundscapes. Experience it in full below, and let us know how you feel on Facebook!
I sometimes think back to how often I made my family listen to the Do You Feel and Hello, Good Friend albums on repeat during my teen years. I was angsty, and it made for good road trip music. And over the years, I’ve been nostalgic for those albums as The Rocket Summer has continue to release ace albums that inspire human connection on several unique levels. I was so happy to head out and support Bryce Avary during The Rocket Summer’s stop in Kansas City to play The Riot Room on October 8th.
I ended the most beautiful autumn evening belting out songs I sang twelve, thirteen years ago. Songs that made me feel like I was invincible, like I had to leave Kansas City to find myself. Like Kansas City had ever been a small town in any way. And here, I found myself singing this song in the same city, the city I have chosen to reside in during my adult years, the city that has brought me so much abundance and revelations about myself. Sure, I spent my time on both coasts, but I value this city. So I might not agree with the exact sentiment of the song, but the sense of adventure it invokes is a tale as old as time.
Between crowd pleasers like “Break It Out”, “Hold On”, “Do You Feel”, “So Much Love”, “Tell Me Something Good”, and more, Avary sprinkled his newer tracks, all of which boast the same, smart writing, intense percussion, and incredible amounts of emotion. “Morning Light”, “Shatter Us”, and “Wannalife” brought out some of Avary’s most recent art, an album we have been swimming in since August. Bryce Avary’s voice is all the instrument you need. Witness that in any number of his songs, his robust vocal ability truly captivating any audience, large or small. But his is some of the most elevated lyrical writing I have ever heard, and he consistently impresses with unique and vibrant instrumentals.
Throughout the extended set — Avary stayed for a proper encore, stretching his performance past the official curfew and reveling in the way the crowd had made him feel that evening — the energy and events that inspired each specific song were so ridiculously palpable. A night like this, surrounded by an intimate crowd in a small venue in the heart of America, that’s the kind of night that lives on. His music impacted my life majorly, and I’d be a fool to think I was the only one.
All at once natural, manmade, and the product of a dream: With Fuwa Fuwa Music, Miki Moondrops guides listeners through an ethereal world that hums, glitters, and bleeds with vivid watercolors. The allure of Fuwa Fuwa Music lies in its fantastical nature – this album breezily transports listeners to an enchanted forest that is part organic, part machine, and always breathtaking.
The second studio release from Miki Moondrops, the finely layered production of Fuwa Fuwa Musicbubbles over with enthusiasm and curiosity. The group is comprised of Miki Masuda Jarvis, on bass and vocals, and David Lord on guitar, synths, and glockenspiel (for this record, they are joined by William Erickson on drums and Ben Snook on electronic percussion). The work as a whole is peppered with clicks, whistles, and cartoonish bounciness that serve as markers for the passing of time, as they weave in and out of earshot, brightly punctuating spells of haziness. Airy synths paint a permanent sunset as the backdrop for hearty drums, psychedelic guitar loops, and unrolling spools of abstract lyricism. While each track carries an individual theme all its own, the zeitgeist provided by Fuwa FuwaMusic is consistently sunny – even through spasms of chaos or harsher distortion.
Listening to Fuwa Fuwa Music feels brand new and yet somehow deeply instinctual.For example, characterizing features of track “Bumblebee House” include the faint buzzing of honeybees alongside a fuzzy distortion, reminiscent of the stuttering twitch of insects’ wings. On “Ants”, Miki Moondrops shrinks us down to microscopic size and into a glittery, glitching realm that could only thrive hidden beneath the earth. Rapid, perforating melodies from vocals and guitar plucking alike read like an ancient language, paired with more “known” elements of electronica. “Dragonfly Wings” is another play at perspective: listening to it inspires contemplation of whether we are watching a dragonfly as it flickers and jerks in and out of the sonic frame; or if we are the creature itself, ascending ceremonially before lilting back down to earth, settling like fog.
Woven snippets of found sound and electronically produced noise are essential to Fuwa Fuwa Music. At times, these elements drive the song’s direction, like on “Orange to Pink, Mushroom to Turtle”; while at other points, they flit in and out of the mix and of frontal attention, providing space to appreciate Jarvis’s drifty vocals humming with reverb – see “When You See the Eyebrow, You Will See the Gnome”. At the top of opening track “Shells”, at least three psychedelic guitar loops and reverses take the stage, weaving through each other and the Jarvis’s vocal melody like ribbons in the wind.
The last two tracks from Fuwa Fuwa Music serve more as mood suggestions than as landscapes. In just a fleeting 1 minute 19 seconds, “Glassy Eyes” wisps the faint chirping of birds and gentle harmonies knit together by the melody of a lullaby. Final track “It Is Glowing” feels more anthemic than illustrative or inviting. Its undulating electronic percussion, ensnared by subtle guitar strokes, provides a groove that satisfies Miki Moondrops’ quota for psychedelic rock.
Richard X. Heyman is no newbie to the music scene. His first single “Vacation” was released in 1980 and, since then, his journey has found him producing genre-bending ear worms that simply work. His years of service to the industry at large, his musical talents, and his ability to captivate a person with witty banter have all made it so he is an undeniable leader. We touched on his new album Pop Circles, and are happy to have found time to sit down with him and discuss some of the finer things in life. Like working with your significant other. And cats.
There is a trend among musicians to invite guest musicians to record with them on their albums, why is it appealing to you to invite Julia and Chris to help you with some tracks on Pop Circles?
I really wanted to have real strings on the songs that had orchestration. Julia Kent is a neighbor of ours and she is a sensational cellist. She agreed to come over to our home studio (i.e., our bedroom) and lay down the cello parts. We overdubbed her several times to create a cello section. Chris Jenkins is one of the associate deans at Oberlin College, Nancy’s alma mater. We worked with him in the past and he happened to be in New York City, so he stopped by with his viola. In the end, the two of them were overdubbed as much as 17 times. It’s amazing what you can accomplish in your bedroom these days.
You are very much a one man band artist, this of course shows your immense versatility as an artist. What are the advantages and disadvantages of approach when making music/an album?
The advantage is obviously the autonomy. You can work more in the mode of a painter or a novelist. I like having that freedom to rely on my instincts and to keep moving forward through the process. On the downside, I know other musicians will have different insights and ideas that might take the music in a direction I would not have thought of. I do have Nancy there. She is a fine musician and has great ears. So between the two of us, there is a collaborative work ethic.
Tell us more about your collection of vintage instruments, which is your favourite and why you like to use them when recording?
I have two vintage drum sets – a Ludwig and a Rogers, both from the early 60’s. Fortunately, the studio where I recorded the drums (Eastside Sound) had a vintage Rogers kit, so I used that for “Pop Circles.” I have a late 70’s Fender Telecaster and a 1967 Rickenbacker 360 12-string. There are two more Ricks – a ’65 375 and ’66 335, a ’62 Hot Rod Strat reissue, a contemporary PRS Starla, a Martin Shenandoah acoustic, a Dan Electro baritone and a few other assorted instruments. We use a Dan Electro longhorn reissue bass and a Hofner single cutaway hollow body vintage bass.
You are a part of the Doughboys and the song “Why Can’t She See Me?” got voted one of the coolest songs of all time, how did that feel?
Pretty darn good.
by nancy leigh
You included five of your own versions of Doughboys tracks on Pop Circles, why did you personally choose to revisit these tracks and how do the Doughboys feel about this?
I just wanted to see how those songs would sound from the songwriter’s perspective. I don’t really know how the other Doughboys feel about them.
Herman’s Hermit’s were are an amazing band, though I may not have personally been about when they came to prominence I have heard them and adore them. How did Heyman, Hoosier and Herman happen and what did the vocals Peter Noone bring to that EP that no other artist could bring?
Peter Noone and I were on Cypress/A&M Records in the late 80’s and we got to know each other. He was interested in recording some of my songs. Unfortunately, the song he wanted to do was slated to be my next single, but eventually we got together here in New York and did that EP. Peter has an ethereal tone in his voice and an incredible range, from low baritone to high tenor. His high notes have an angelic quality and his low end has a fullness that is very appealing.
You’ve worked with a lot of your musical heroes, whom did you feel most humbled working with and what was the experience like working with them?
Each experience is different. Link Wray had the greatest guitar tone. The only way to explain it was it sounded dirty and clean at the same time. And Brian Wilson – what can you say? It’s so overwhelming, all the beautiful music that he created. Playing with Mary Weiss of the Shangri-Las was a total gas. She is rock’n’roll personified and a truly nice person, very cool singer and performer.
On Pop Circles your wife Nancy plays bass for you, what other musical talents does Nancy have?
Along with being a fabulous bass player, Nancy plays guitar and keyboards. She also sings harmony as well as engineering the recordings.
And did the cats help in any way with the music of Pop Circles as a whole? 😊
Their presence is felt in every note. They loved the viola and cello, though I didn’t have the heart to tell them what the strings were made from.
I love the Heymanuscripts, do you plan to write more?
Thanks. I’m glad you enjoyed the book. Haven’t thought about another one, but who knows?
Thank you so much for giving Imperfect Fifth this interview, is there anything you would like to add?
I would love for people to hear the new album. It’s available on www.richardxheyman.com, and I welcome their comments about “Pop Circles.” Thanks very much!
Songwriter and composer Gaby Alter released his latest EP under the moniker Yes Gabriel on Friday, April 19th. His career thus far has included creating music for a variety of placement opportunities, namely Off Broadway musicals, independent films, PBS, NPR, and even Disney. With this new work comes some pretty incredible lyricism, and stunning influence peeks through as well. Read on for more in our interview with Alter.
You have a lot of musical experience, what part of your musical past brings you the fondest memories?
In my late teens and twenties, my friends and I put on a string of rock musicals in a small theatre space under a pizza parlour in Berkeley, California. We would write shows about aliens and zombies and superheroes and perform them while people upstairs ordered pizza and played video games. I got to hear songs I wrote sung by some really talented people, and the audiences–a lot of whom were our parents and friends from high school and their friends–loved the shows. That’s really when I started to write songs more seriously. Your latest EP was recorded in a friends front rooms, why did you never go into the studio? Actually it was recorded mostly in my own living room–and full disclosure, I did go to a studio one day to track a string quartet. But to answer the gist of your question, I started out thinking I was making demos that I would later re-record in a studio. At some point, I realized there was an intimacy to the songs which I was capturing with my home recordings, so I felt I didn’t need that extra step. A lot of that came down to what needed to be recorded: most of the songs are built around acoustic guitar and piano parts, which home recording captures pretty well. Drums would have required a studio because they are too complicated to record on your own, but luckily, there were no real drum parts on the album, just loops. Also, recording at home allowed me to avoid making choices under the pressure of time and money. You had no pre-determined path for the album, it just formed. What does this approach bring to the album in your mind? Stephen King says not to outline a story ahead of time, but instead to excavate it like a fossil. That way you get something that’s the most truthful and interesting, because you discover the story as you write it. So hopefully my putting one foot in front of the other, rather than having a road mapped out first, helps the listener feel like these songs have an organic cohesion with each other and within themselves. What elements of musicals lay within your debut EP? When writing lyrics for a musical, I often use specific details. They make the character singing the lyrics seem like a specific person instead of a generic one. I use those kinds of details in my songs on this album. On “Fall Asleep”, for instance: “Do you still have my shirt/the one with faded letters that didn’t quite fit?/You used to wear it when we went to bed and I’d watch you fall asleep in it.” The listener can picture those specific, visual, intimate details of a relationship, and then hopefully it becomes more real for them.
There are other kinds of story telling I use in the lyrics which I use in musical writing. Like in “Dear To Me”, where the song starts with the beginning of a relationship and ends with what happens afterwards, describing moments and details throughout. It’s a story with a clear beginning, middle and end. Musicals songs often have journeys within them, where a character goes from one place to another emotionally, physically or both. Similarly, these songs trace a journey from falling in love to losing love, often within each song.
That said, these songs don’t sound like my theatre songs musically. The arrangements and mood are quieter, more internal. They’re meant to be listened to on headphones or in your car rather than in a theatre. There are a lot of details in your lyrics, why put so much details into your lyrics when so many artists keep lyrics simple? I think I answered that in my last response, so I won’t repeat myself. 🙂 To you why do the elements of folk, electronica and chamber pop work well for you? The organic sounds of folk and the artificial sounds of electronica sounds go well together because they offer a strong and satisfying contrast. Electronica adds surprise to folk, and can limit the sentimentality or conventionality of a purely acoustic folk sound. I’m drawn to those types of sounds and to artists that combine them–Sufjan Stevens, for instance, is a big influence. And chamber pop – adding orchestral instruments to a pop-style song – is obviously nothing new. The Beach Boys and Beatles did it back in the 60s. I love how much richness orchestral instruments bring to an arrangement. They’re real and alive and have a lot of emotional power.
In your mind what would be the perfect place and time to listen to your new EP? Driving in the evening when the sky is orange, or late at night. I think the subway, or an airplane would work equally well. Of all the songs on your debut EP as Yes Gabriel, which song is the most you and why? I love all my children equally. 🙂 But seriously, this is a hard one to answer. I think they are all very much aspects of me, or who I was when I was wrestling with the things I sing about on the album: longing for someone, trying to understand what love meant when a relationship is over. What do you feel has been the definitive milestones in your career as Yes Gabriel? I sent the EP to a friend of mine before it was released, and he literally woke me up at 3 am calling from the west coast to tell me how much he thought it worked. I can’t imagine a better response to the album than that. It let me know that it was really landing emotionally. What makes Friday a good day to release your EP? Why was April 19th a good time? I waited too long for certain windows, like late or early in the year, and then I heard March is a bad month to release unless you’re playing SXSW. Also, it’s a dark-hued, internal album, more appropriate to colder weather, so any later in the year and it would seem a little out of place. Thank you so much for giving Imperfect Fifth this interview, is there anything you would like to add? Just a small plug for Bandcamp, where you can find my album. They are very fair to artists and support the discovery of new music. Thanks very much for interviewing me!
Amy Darling is here, and she is making it quite obvious that she is NOT messing around. For the artist’s debut music video, she takes her incredible persona and rocket launches it at the music industry, utilizing psychedelic effects and bright colors to grab your attention. Once the melody grabs onto you, hold on for dear life because this act is re-defining what it’s like to be a femme fatale.
Enjoy the video below, and be sure to drop some love on Amy’s social media in support of her debut release!
Brooklyn-based power-punk collective Turkuaz – comprised of Dave Brandwein, Taylor Shell, Craig Brodhead, Michelangelo Carubba, Greg Sanderson, Joshua Schwartz, Chris Brouwers, Sammi Garett, and Shira Elias – doesn’t have much time on their hands nowadays, especially with the upcoming release of their 9-track stunner Life In The City. From the first energetic chords of the title track in first position, through the funky underbelly of “The One And Lonely”, all the way through the end of groovy mid tempo dance track “Fight The Fire” in slot 9, Turkuaz dazzles with their impressive musicianship and flare for inventive and fun lyrical content. Don’t just trust us, get your listen to the new album when it drops on Friday! But until then, check out our exclusive interview with the act below.
Based on your new album that talks about the highs and lows of life, what did each of you do to achieve happiness in your own life?
Wow! What a first question! I don’t know if I can definitely say that any or all of us have “achieved” happiness, though we do we quite enjoy a life of making and playing music for people. I think the best you can do is try to do what makes you happy, and put a lot of care and love into it. If you do that, I believe it tends to come back to you in more ways than one. But as discussed on the album, finding happiness in a fast-paced life, surrounded by an often scary world with seemingly diminishing hope sometimes can be very difficult.
That struggle is a lot of what the album is about, but we’ve set it to an energetic and upbeat musical soundtrack to keep it fun and in line with Turkuaz music, which we always want to be uplifting in nature. The lyrics vs. music juxtaposition on the album could perhaps describe an approach to staying happy in life. Even when things seem to be going wrong, an underlying love and appreciation for life can lessen the blow and keep you moving forward. When bad things happen, which they will, a negative attitude will tend to worsen them, but if the underlying soundtrack in your life is that of love and positivity it will make the bad times not so bad, and the good times even better. This more easily said than done of course, but I think can be a helpful guide.
How did the band as a whole, come up with the unique rock/R&B sound?
With 9 band members all with their own musical backgrounds and influences, we’re naturally drawing from an eclectic pool. I think many of us first grew up in bands playing rock music of the 60’s and 70’s, and as we got older we melded that with a style leaning more into funk and R&B. But with an awareness of everything from punk to jazz, we try to remain open minded as far as not limiting where we can go with our writing and playing. Rather than being something we came up with, it’s really something that’s evolved over a long period of time.
While creating new music, who are some of your biggest influences (whether it be actors, musicians, or just important people in your life)?
In the exact moment of creating or writing it, it’s hard to single out an influence that inspires you specifically. Similar to the last question, I do feel like it’s an evolution over time and it’s the culmination of creativity pulling from a wide swath of influences. In addition to some of our collective favorites (Sly and the Family Stone, Talking Heads, Zapp and Roger, Peter Gabriel, Phil Collins, Prince, The Beatles, Rolling Stones, Led Zeppelin, James Brown – I could go on forever) we also influence one another through our musical process, and we derive a lot of inspiration from family, friends and musical peers in our lives, as you alluded to in the question.
When writing new music, what sort of songwriting process do you go through? Is it an easy process, or is it difficult to get the whole band on track?
It generally will start with a demo from either myself or a couple other band members. The demo will usually just involve a groove with some changes of some sort. From that point I’ll usually write over it, and more recently that process has opened up to some more collaboration with other members too. For our recent song “If I Ever Fall Asleep,” I made an instrumental demo and Josh wrote most of the song over it. For “Lady Lovely,” Craig sampled a rehearsal recording we had of some of us (Josh, Taylor, Michelangelo) jamming, and then made a groove and song form out of it, which I then wrote lyrics over, and completed with Sammi and Shira. So it really can come together in any number of ways.
After a demo has vocals put on it, we’ll all start to just play the song as a group, which involves a lot of people making each instrument or vocal part their own and putting their own spin on it. That’s where the most collaboration comes in, in the arrangement process. There are occasional disagreements or divergences of opinions, but all in all for a large group like this of strong personalities, we tend to have a really good time doing it and it’s an enjoyable process from beginning to end.
What are you goals, or what do you want to see happen by the end of this year?
I think it can sometimes be counterproductive to get too fixated on one really specific goal, because it can side track you from looking at the big picture and being ready for other opportunities that may present themselves. Some things come up in a way that differs from the narrative you pictured unfolding, and it’s important to be able to adapt and react throughout that process. All that said, of course we set goals week to week, month to month, etc. — but on an annual or big picture basis, I think the goal is to keep making music that we love and tour the world playing it. Speaking of which, more international touring would be really cool. Let’s go with that!
How does it feel knowing that you have a growing fan base and people who relate to your music all around the world?
It feels really amazing, and it makes any and all discouraging moments and frustration we face not only tolerable, but well worth it, knowing that what we do brings people joy and increases the quality of their life in some way. If making music is a purely selfish act for someone, I don’t believe they’ll have staying power as a musician, because that path leads to a bad place, and the second something throws you off, you’ll be done and no sacrifice will be worth it. Doing it for the sake of spreading joy to others makes it a more honorable endeavor and creates a longer lasting motivation in my experience. It’s the greatest honor we have in what we do.
In the future, what is your dream venue to perform at?
We’ve had the privilege of crossing a few of these off the list already (Red Rocks, The Fillmore, to name just a couple). We’ve even gotten to play at MSG, though it was during a Knicks game… As New Yorkers we certainly hope to do a Turkuaz show there one day. That would be a very big deal. We’d also really love to play at The Gorge Amphitheater!
Who in your musical career helped you to get the place you are at now?
That’s a difficult answer to pin down. Of course we owe so much to the managers, booking agents and promoters who believed in us before (and after) we were better known, and have helped to get us to where we are. We also have an important group of people on the road with us who do a lot off the stage. There are too many people to mention without leaving someone out and we owe so much of what we have to people behind the scenes. But I think ultimately the fans who support us are the ones who decide our fate at the end of the day, and they are the ones who sustain what we do. Not to mention that this band has 9 really dedicated musicians who have sacrificed endless amounts of time and energy into this project, long before anyone knew who we were. There is a still a lot of work to be done, so I don’t feel that we’ve “arrived” so to speak in any way. But it’s important to find people that you like working with throughout the process, because the process at the end of the day is the experience that you live. Results can be gratifying, but ultimately you’re gonna always want more, and day to day, you want to do what you love with people that you love. That dynamic is what I believe will create a sustainable and enjoyable career in music that’s poised for growth.
How did you all meet each other?
Most of us were friends up at Berklee in Boston during college. We moved down to New York after school and over the next several years, we played shows in clubs around the Northeast and our lineup solidified into the 9 people we are today. We’re all really good friends and act a lot more like a family, which I think is a key ingredient in our ability to spend nearly all of our time making music together.
What do you do in your free time that helps contribute to the songwriting process?
I’m sad to say I don’t personally have a ton of free time these days. If I’m not on the road, I’m in the studio working on Turkuaz, or producing other bands. That can actually become a real difficulty for writing songs, because you have to let some inspiration come in in order to have something to put out. For the first time in the last few years I’ve had to specifically dedicate days for writing material, but of course inspiration doesn’t always like to come on schedule. Luckily, I think my mind is always looking for patterns, catch phrases or fun ideas, and often I’ll wake up in the morning with a musical idea buzzing around. So much of it comes from that intangible place, and I look back after an album is done and I can’t specifically remember where any of it came from. I really like that mystery being part of it, and continually feeling like there’s some creative energy pouring through that isn’t coming from me, but I’m more of a vehicle for it to deliver itself. Some days or even years I feel more of that happening than others, but I think that’s when the best work comes through.
It’s back. More than 20,000 music and camping lovers from 41 states and 3 countries are expected for the fourth annual Hinterland Music Festival in St. Charles, Iowa, on Friday, August 3 and Saturday, August 4.
Grammy Award-winning country music and roots rock singer-songwriter Sturgill Simpson and South Carolina-based indie-rock band Band of Horses will headline the festival at Avenue of the Saints Amphitheater, just 30 miles south of Des Moines.
The 2018 event also features Scottish synth-pop band CHVRCHES, Denver folk artist Nathaniel Rateliff & the Night Sweats, classic Southern rockers Blackberry Smoke and up-and-coming country star Margo Price. R&B musician Anderson East, independent Melbourne busker turned singer-songwriter Tash Sultana, the energetic, piano-driven roots rock of J Roddy Walston and The Business, country singers Tyler Childers and Joshua Hedley will also perform. Completing the lineup are Iowa acts The Nadas, celebrating their 25th anniversary, and R&B synth gaze group Ancient Posse.
Hinterland enhances the unique atmosphere of Iowa’s beautiful rural landscape with music, camping and activities ranging from children’s crafts to after-hours campfire performances.
Gates open Friday at 3 pm and the music starts at 5:15 pm.On Saturday, gates open at 11 am and music starts at 11:45 am. Tickets run from $49 to $65, depending on the day and whether you get them in advance or day of. Two-day tickets run $95 to $110. Tent camping is available for $25 to $35 per person, and RV camping spots may still be available. Campers get exclusive access to watch more performers at the Campfire Stage both nights after the headliners.
There are more than a few reasons to partake in Lawrence Field Day Festival this coming weekend. Now in its seventh installment, the 3-day annual event in Lawrence, Kansas continues to feature great live music from dozens of bands at a very affordable ticket price. The festival runs Thursday through Saturday.
Started by Cameron Hawk and Quinton Cheney in 2012, LFDF was envisioned as a live music showcase for Lawrence residents while University of Kansas was on summer break. Of course, students are welcome at LFDF, but the environment on Mass Avenue is different, in a good way, when there are about twenty-thousand fewer people clogging up the joint.
And, fewer students is the first reason you should attend. If you’ve had prior experiences in downtown Lawrence in which it took you five minutes to drive one block, or you’ve ended up parking 4 streets over, or you’ve had your shoes puked on by a drunken frat boy celebrating his 21st, then you really need to come to LFDF. You will finally be able to devote your attention to music.
Another perfect reason to attend is the cost. It sounds almost unbelievable, but you can get a wristband with 3-day access to five venues and sixty bands for only $15. So far this summer, I’ve heard of no festival offering so much music for such a low price. And the great music is the other best reason to attend.
Lawrence Field Day Fest has featured several genres of music, but there is an undeniable focus on rock, and secondarily on hip-hop. Although Lawrence and Kansas City are well-represented, this year’s fest is pulling in talent from Denver, St. Louis, Minneapolis, and other cities. Let’s do a look and listen on some of this year’s bands.
Truck Stop Love will make a visit from the past. The early-90s rockers are back after a 25-year hiatus and a couple of personnel changes. Known for their county fuzz rock, the Manhattan, KS band hits the Bottleneck for the Black Site Records Showcase on Saturday at 11 pm.
If you missed Bruiser Queen when they played the Riot Room in Kansas City back in March, you’ll have an opportunity to take in some good indie garage pop from the St. Louis two-piece. Just show up at Jackpot Music Hall at 9:15 pm on Friday.
The Ghoulies want to show you punk rock with a bluesy, garage feel. Adding an organ to the mix only amps up the excitement for this Denver band that’s been busy touring all summer. See them at the Replay Lounge on Saturday at 11:45 pm.
The Bottleneck has been involved in LFDF since the inception, and will have about 20 acts during the Fest. Don’t miss metal rockers Hyborian of Kansas City at 12:15 am Friday night. Bringing a mystical and sci-fi vibe to metal, Hyborian built their own studio in the West Bottoms.
The immutable laws of physics will prevent you from seeing the complete sets of all 60+ bands at LFDF, but some of the other acts that I’ll make a point to see this weekend are The Uncouth, Westerners, Momma’s Boy, Headlight Rivals, The Sluts, The Goodbye Sort, Vigil and Thieves, and Stiff Middle Fingers.
