|See more Witch Jail|
|See more Witch Jail|
Back on Jan 20th (Yea, yea I know.), the Musicians for Active Justice held a fundraiser at the Record Bar for local non-profit KC for Refugees. The event featured a number of great local rock bands including: Emmaline Twist, Hipshot Killer and (the)medicine theory. We made it out in time to catch sets from Hipshot Killer and Emmaline Twist. Check it out below:
|More Emmaline Twist Here|
|More Hipshot Killer Here|
Here are some images from the Hipshot Killer and Electric Lungs show over at Davey’s a couple weeks back. If I recall, the Lungs were shooting a video that night around the bar featuring a guy in a heart costume and another with a giant afro. There might have been drinking involved.
|The Electric Lungs|
Here’s a few shots from the Electric Lungs set a couple of weeks back at miniBar:
See more music events and news on KC Live Music Blog!
Back on the first Friday of December, a lineup feature some of the loudest and heaviest rock and punk bands in the area stormed the Record Bar. Featuring Kansas City staples the Architects, Big Iron and the Racketees, it was loud and fast from the beginning to the end.
|Click for more Racketees images|
|Click for more Big Iron images|
Friday night at Vandals, the former Black and Gold Tavern under new ownership, the New Riddim, had a release gig for their 2nd album “Second Sight”. Opening for New Riddim were local punk rockers the Uncouth.
This week, in addition to pics, we’ve got video and audio tracks from the show. Hopefully, this will be a regular feature on the blog.
|Click to see more of the Uncouth|
|Click for more New Riddim|
Have you ever found yourself moving closer to a speaker, desperately hoping to make out the soft-spoken words of a song? It can be an incredibly frustrating experience, particularly if you’re right in front of it and the words still seem to float right past your ears. You may be able to hear what’s going on, but you’re not able to actually listen.
“Nov. 18 1994” by Kansas-based folk/punk/experimental act Whale’s Sink possesses that same frustrating feeling. The tenderly strummed acoustic guitar and whispered vocals seem to be competing to see who is more polite. Even with its loudest chord, the guitar wouldn’t cause a ripple on a pond and the vocals couldn’t wake the lightest sleeping baby. From the moment you press play, you get the feeling you hit the mute button instead.
Granted, a mute button may be the way to go if you can actually parse the lyrics of the fragile track. With a mordantly matter-of-fact tone the song seems to recount the joyous birth of a boy, followed quickly by his death. Through the first several listens I became more and more agitated as the involuntary eulogy “This is his end, he cannot live, this is him, he is slowing, impact of today,” was mumbled. “What the hell is wrong with you?” I quite plainly asked. Far worse than taking the wrong stand on something is to back out altogether, which “Nov. 18 1994” nimbly does. But somewhere hidden in the quiet playing and downpour of tears is a superb explanation for the avoidance. Some things in life leave you so wounded that the only way to survive is to withdraw completely.
(“Nov. 18 1994” is from Whale’s Sink latest album This Kind of Primal Laughter which you can get now through their Bandcamp.)