Post-rock, instrumental, experimental, prog-rock, from Wichita, KS
The first thing I noticed about Singularity was the extraordinary musicianship. Standing In The Color has been around for six years now, and you can hear every bit of the time they’ve spent fine tuning their sound in this record. Songs build by setting up patterns, adding layers of complex nuances when a sudden small change in rhythm will lead to a whole new dimension of sound. The recording is extraordinarily precise, the drumming is heavy but crystalline, the bass is a massive constant driving tone, and the guitar runs frantically through a cascade of sounds throughout the ten tracks.
Listening to the album feels like traveling through space in a fully realized ship. Every detail has been considered and polished; honed until every note is perfectly placed.
Tempos remain driving and singularly focused throughout the record. There is a destination leading from front to back, and nothing turns the ship off course. The title reveals it all. It’s a straight dive out of the earth and into the heart of a black hole. Ten tracks of the path leading to the moment when the universe compresses in on itself and time stops.
Listen to the single ’25’, and catch them Saturday at Barleycorn’s for the cd release show.
Genre: Psychedelic / Blues / Rock / Progressive / Experimental
City: Wichita, Ks
Stand Out Track(s): Dooms A Daisy / Dagger Doom And Doubt
Something that impresses me about this band is how well they work together. Nothing seems to overpower the rest of the band. Each instrument is busy in its own way but its never too much. There is something I’ve noticed with bands, there is always the conflict of ego. For example: the bass is too loud/busy and takes away from the guitar, or the guitar is constantly trying to overpower the singer etc., but i don’t hear any of that at all. Yet they all seem to add their own voice. I find myself engulfed and completely lost inside the music. There is so much going on, without being too much.
Their opening track “Dooms A Daisy” has a very Tool-esq vibe to it, but also completely different. The percussion is fantastic. Tasty fills, but not to symbol-y. The verse features mostly drums and bass, but there is a shaker as well – a small but perfect touch. In Daggers Doom And Doubt there is a small chime and harmonica (it might be a guitar effect) that is so subtle, but done so perfectly, but then the whole band sustains for a brief moment with such a vibrant and full sound. Bliss. Additional tambourine in certain areas.
Often times i feel blues can be too repetitive, but this is such a uniquely different spin with a psychedelic sound and Progressive outline, with countless percussion subtleties; it never gets too heavy or fast. They keep a tempo that makes it easy to listen to, but “get-into-it” enough that the songs builds and climaxes.
The artwork is also extremely well done. makes me think of Cowboy Beebop or Trigun (anime) i can listen to the whole album and visualize the artwork telling me a story, like directing a music video in your head.
by Matthew Clagg BUMMER
Bummer of Kansas City is a twenty foot tall enclosure of sonic dissonance that you couldn’t get out of if you wanted to, but you don’t want to. Mike Gustafson’s chunky-as-possible bass cuts a rhythm into a snarling and whining guitar noise played by Matt Perrin who shreds as though his life depends on it. Sam Hutchinson pounds out sharp and deep and blistering beats, the kind of drumming that makes you think of the caves in the middle of an endless night, and it drives everything forward at a pace that doesn’t let you pause to realize just how heavy this shit is, then everything lets up and your mind briefly understands that there is a diffrence between silence and noise before the next heavy, shredding, pulsing beat begins. Bummer will blast your heart in half while you stand nodding and smiling from ear to ear.
VIDEO CREDIT ALEC JAHN
Ahh, Fairness. Fairness is the type of band that literally does get better every single time you see them. It can be hard to get the band itself to admit that, but that just makes me think that the more time I personally hear it and the more entrenched in their sway between lush melodies and aggressive sharp rhythms the more joy my mind gets from it. Jesse McConnell plays radiant, arching post rock washes of sound. Wichita’s rhythm section, Alec Jahn and Weston Townsley, keep their custom of impossibly good, deep cutting, staccato rhythms that keep the sound tight and the pace exhilarating. Frank Bravo’s guitar phases between needly tapping, tremolo surfing, and oceanic waves of color and texture. Put simply, this band fully rips and you should see them as soon as possible.
Doug Lynn’s solo loop pedal super project Filius Sol is a series of catchy, lovable, jammy tunes that build methodically as Doug creates looped parts that piece together to creating a full band sound from bass to shrill guitar solo, perfectly paced for his low, slow, careful vocals that show poetry and craft. Doug is a tone detective, and has carefully created songs that slowly build but quickly carry you away into his world, where everything happens at once and then just as quickly fades into chaotic noise, and then silence. Doug’s most recent set of songs clearly show a musician who is mastering his insturment, and listening deeply to the sound of the world.
Have you been to a show? Do you want to write about it? If you do, we’ll publish it. Just send it on over.