Performed February 2, 2016 at Snake Tank in Kansas City, Missouri


The members of SODA performing in the red light of the Snake Tank

SODA is a trio of Floridians based in Gainsville who entreat their audiences to a slack yet coarse mixture of punk rock. Steeped as it is in intermittently abrasive and/or catchy mid-tempo tunes, I would hesitate to call their music gravy-esque. However, that tinge of swampiness may come from some deeply engrained and still thriving southern love of country music. For us Midwest folk (or maybe just me) it can be easy to forget Florida is a part of “The South”, it seems so much like it’s own sovereign nation (re: Texas). Dare I invoke the perennial name of the Florida Man?

Despite their roots, each member appears to have been successful at dressing appropriately for the season. In their hardy little Subaru station wagon they rode the coattails of the recent, massive snowstorm up the east coast, playing to audience members who had not had the luxury of being able to leave their homes for a few days. Trekking towards their turnaround point in Tulsa, they landed in KC on day 12 of a nearly 3 week tour. Their 15 minute set at the underground Snake Tank prompted the cry for an encore, and, with minimal heckling, they obliged.

All this fuss and meteorological daring is in support of their newest vinyl EP, Without A Head, released January 15th on Parquet Courts‘ label Dull Tools, and engineered by Jonathan Nuñez of Torche. Though SODA singer and guitarist Arlington Garrett III may be old buds with Parquet Courts’ front man Andrew Savage, this small bit of nepotism does not tarnish what is, in fact, a very good EP. SODA‘s only lineup consists of Garrett alongside the bass and vocals of Lara Lookabaugh and the drums of Meredith Kite.

SODA was supported by the now-crucial-KC-punk outfit Phantom Head and Warm Bodies, who played their first gig for the occasion. I can’t wait to see the next one.


Listen to SODA’s set now with the embed below (20:29)

Or listen to SODA‘s set later, with tracks titled and separated, by clicking the mediafire link below

Setlist for SODA

1. New Trash

2. Janie Juicehead (2:30)

3. Blonde On Blonde (4:30)

4. Parking Lot (8:37)

5. Know How (11:20)

6. Chasin’ Tail (13:20)

7. “One More Song” (17:12)

8. Plucking Hairs [Encore] (18:04)

Click the link below to hear more music by SODA

Click the link below to buy SODA’s newest EP, Without A Head, from Dull Tools

Editor’s note:

Long time friends Lara and Meredith also sometimes run a podcast together called Female Trouble, that podcast can be heard below 

Thanks to the crew of Snake Tank, all the members of SODA, Phantom Head, and Warm Bodies for making this show possible. Thanks to SODA again for giving me the permission to publish this post. Thanks to everyone that came and bought merchandise and paid door cover, you keep the dream alive. If you weren’t able to make it or didn’t have the scratch to buy anything at the show visit Dull Tools‘ bandcamp site and pick up SODA‘s new EP, Without A Head. If you like this blog then kindly share it, subscribe to it, leave some comments, and keep reading. You can also like and follow the facebook page,, for more bonus material. Cheers!


As a cultural presence David Bowie was and is pervasive. We’ve watched the movies, we’ve heard the songs. These occasions were at times auspicious and orchestrated, but many, and I think more importantly, were mundane and coincidental. The movies were on tv, the songs were on the radio.

Such commonplace experience proves Bowie has claimed his place in our society. He and his work are popularly and almost unquestioningly accepted. He could have been written off as a freak-show, a sexual deviant or much worse. But he wasn’t. The truth is we wanted a show, we love a show, and production may have been Bowie’s one true constant.

We needed a freak, an alien from another planet to blow our minds. We needed our culture to more broadly accept sexual and gender diversity. We needed to be shown that we can be everything and not simply one thing. We needed a reminder that art and vision is more valuable than the bottom line and convention.

Every part of Bowie’s life’s work was orchestrated, even down to his death. Hiding his illness from the public, Bowie crafted his swan song “★,” accompanied by a video for the single Lazarus, which supports a stage production of the same name (a sort of sequel to a role in an early film in which he starred, The Man Who Fell To Earth). He wrapped it all up just two days before his passing.

That was the last show.

The image above is a promotional photo of the young David Jones while he was performing in his first group, The Konrads. It feels right to use an image from the beginning of his career to cap the ending. Bowie’s career is so often sited for its transformative properties, and what better way to highlight an after than with a before? What form does he take now?

Ashes to ashes.


Performed January 3, 2016 at Front/Space in Kansas City, Missouri

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Today Adam Werven, otherwise known as Larry Wish, celebrates his 27th birthday. I like to imagine him in his Minneapolis apartment, bundled up in a rainbow afghan, eagerly awaiting a special birthday hotdish. In reality he’s writing grants and preparing for a standup comedy show, but three days prior he performed his last show of a two and a half week tour at Kansas City’s cozy (small) storefront arts venue, Front/Space. This gig marked Larry Wish‘s first appearance in Kansas City. He was supported by tourmate and friend Ray Jackson, or The Grow Fangs.

Both Werven and Jackson performed solo to a full house (that translates to about 35 or 40 bodies given the size of the space). The Grow Fangs followed the jangle-pop dance hall of supporting, local openers Toad Tartare with about 25 short, cheeky, high-energy punk rock tunes. He played on a guitar shaped like a shark through a borrowed amplifier and delivered screaming vocals that were equally impressive and amusing.

Larry Wish also had a minimal setup which strung an auxiliary cable from the PA to his boombox which contained the night’s set burned onto a CD. Wish was very animated. He mounted cinder blocks, wore them as shoes and meandered futilely about the performance area. He played air guitar, air drums, air saxophone, air everything while gesticulating wildly.

Wish‘s music utilizes pop, prog and compositional influences, features programmed or live drums and plenty of direct input and digital overdubbing. He sings, or rather, belts his vocals within a rich baritone register. The outcomes are both epic and whimsical, sincere yet playful. With proclamations like, “I just forget myself sometimes,” it’s hard to resist the notion that Werven is showing vulnerability.

For every few tracks of original material performed there was a karaoke cover of another. Typically these were slowed down versions of nineties grunge hits such as Nirvana‘s “In Bloom” or Pearl Jams‘ “Even Flow,” a combination of Werven’s 90’s adolescence and more recent love of Vaporwave. One such selection, however, was a cover of Donna Summer’s disco classic I Feel Love.” This latter song, as well as several others from the set, is taken from Wish‘s newest recording Born Outside My Window, released last October by Orange Milk Records.

Also represented by Orange Milk Records is Kansas City resident Scammers, or Phil Diamond. Diamond was billed to play with Larry Wish and The Grow Fangs, but cancelled late due to a sudden dental emergency. It would have been the first time the labelmates had met in person.

While his newest recording is a worthy listen, Werven is prolific. His bandcamp page holds over 50 recordings from over half a dozen projects dating back to 2007. While the lion’s share of these offerings fall under the Larry Wish moniker, many others are attributed to OcturbomangoSleeves and Used Condo (which has a cassette coming out by the end of the week on the Suite 309 label).

The recordings also vary greatly in approach. One recording titled TACE BEEL: TACE THE BEEL consists of empty, yet titled, tracks.”I did half the work, now the listener needs to do the other half and come up with the music.” said Werven in interview, comically suggesting that titling is half the job in song writing.

Some recordings are wholly digital creations while others are more traditional studio recordings. Throughout these works Werven’s primary concerned rests with creating something that feels right or appropriate for the recording rather than emulate a style or enter a particular school of thought.

Werven and Jackson’s tour carried them as far as Gainesville, Florida, and spanned two major holidays; Christmas and New Year’s. When asked why they decided to tour through the holiday season, when many people are indisposed spending time with family and friends, Werven stated it was more convenient because he had winter break from school. Unfortunately this also meant that neither Jackson or Werven’s bands could tour with them. Undaunted, the pair took the opportunity to visit friends and celebrated their holidays on the road.

Their final payout at the Front/Space gig was decent, more than enough to cover their six-plus-hour drive back to Minneapolis the next day. When I asked Werven if their income had been good during the entirety of the tour, he said it had been, but that he also wasn’t too concerned. Before they embarked he had taken out a small student loan to cover expenses, a technique he’s used in the past to make recordings and put out physical releases. I feel that anecdote epitomizes the attitude of many do it yourself musicians today, that is, cheerful and reckless.

Happy Birthday Adam. Cheers to you and recklessness.



Listen to Larry Wish’s set now with the embed below

Or listen to Larry Wish‘s set later, with tracks titled and separated, by clicking the mediafire link below


Setlist for Larry Wish

1. Yeah, Soon the Birds Will Wake Me Up Somewhere in the Vaseline [Used Condo]; intro

2. On One More Condition (:30)

3. Even Flow [Pearl Jam]; interlude (5:05)

4. Ubduction Redundant (5:27)

5. In Bloom [Nirvana]; interlude (10:49)

6. Unsound/Touched (11:20)

7. I Feel Love [Summer, Moroder, Bellotte] (14:08)

8. Man In the Box [Alice In Chains]; interlude (17:08)

9. Your Face [Maureen McElheron] (17:46)

10. Up-to-Me Books (20:08)

11. Been Caught Stealing [Jane’s Addiction]; outro


Click the link below to hear more music by Larry Wish


Click the link below to hear more music from Orange Milk


Click the link below to listen to The Grow Fangs


Click the link below for more events from Front/Space

Thanks to Adam Werven, Ray Jackson, Madeline Gallucci, Kendall Harbin, and Ian Teeple for making this show possible. Thanks to everyone that came and bought merchandise and paid door cover, you keep the dream alive. If you weren’t able to make it you can show your support by visiting Larry’s Bandcamp and buying something for goodness sakes. If you like this blog then kindly share it, subscribe to it, leave some comments, and keep reading. You can also like and follow the facebook page,, for more bonus material. Cheers!

Performed February 13, 2014 at FOKL in Kansas City, Kansas

Front man Kevin Boyer with his worn axe, and drummer in mid beat; Photo by Brock Hildebrandt

Front man Kevin Boyer with his worn axe and drummer Beren Elkine in mid beat repping the Wipers; Photo by Brock Hildebrandt

The ever caustic yet catchy Tyvek played their first Kansas City venue since forming in Detroit way back in 2004. Over the years their ever changing lineup has featured as many as five members at once. However, for their appearance at FOKLTyvek performed as a three piece, arguably their point of irreducible complexity. Front-man and founder Kevin Boyer was joined by drummer Beren Elkine (Eat Skull, The Intelligence), and a bassist simply referred to as “Scott.”

Despite having never played KC, this isn’t Tyvek’s first visit to the area. They played Scion’s garage-rock fest in Lawrence a few years back, and have since returned to LFK to perform again. Typically a show such as this would default to Lawrence, but it seems FOKL‘s formula of budget friendly, all ages, BYOB events has been attracting more and more national mid-sized acts.

The crowd was sizable for a Thursday, but there was still plenty of room inside FOKL to find a private, dark corner. Tyvek’s 14 song set included tracks off all of their full lengths and spanned over 45 minutes. Some of their songs were by the book (such as Air Conditioner) while others were extended versions, maybe with another song mashed into the end (i.e. Returns running into Little Richard). One song, Underwater, featured a guitar rig malfunction caused by a stage climbing fan. Boyer, without missing a word, kept singing and managed to fix his dilemma in time for the solo. The end product is a good example of Tyvek’s adaptability. They took adversity and made it into something listenable. It’s most likely this sort of attitude that has allowed them to persist for over a decade with no signs of slowing down.



Editor’s notes:

I am proud to say Kevin Boyer is planning on releasing Big Urges’ recording of Tyvek’s set as a “live at fokl” cassette! This sort of occasion is business as usual for the prolific musician, but a new precedent for the blog! Updates to come, as new information surfaces.


Listen to Tyveks set now with the embed below (45:30)

Listen to Tyvek’s set later, with tracks already separated, by clicking the mediafire link below


Set List for Tyvek

1. Scaling

2. Stop Start (4:43)

3. City of a Dream (6:13)

4. Say Yeah–>Midwest Basements (7:24)

5. Air Conditioner (13:01)

6. Mary Ellen Claims (16:30)

7. Underwater (19:27)

8. Underwater To (22:07)

9. Returns–>Little Richard (28:03)

10. Give It Up (36:38)

11. Future Junk (40:54)

12. Sea Walls (43:00)


For More Tyvek Click the Links Below:




For More Photos by Brock Hildebrandt Please Visit:

F Stops and K Holes


Thank you to the members of Tyvek for allowing their performance to be recorded, and a double-thanks to them for their interest in issuing its release as a cassette! will update when the tape drops. Until then, show your support for Tyvek by trucking over to their website and buying something. If you like this blog then kindly share it, subscribe to it, leave some comments, and keep reading. You can also like and follow the facebook page,, for more bonus material!

Performed January 8, 2014 at Art Closet Studios, Kansas City, Missouri

All Blood Ringmaster Jonathan Brokaw; Photo By Brock Hildebrandt

All Blood Ringmaster Jonathan Brokaw; Photo By Brock Hildebrandt

Art Closet Studios is the awkward niche carved out of the backside of Open Fire Pizza. It earns points as a centrally located all ages venue (features that are ever in demand), but for the most part the space is bare bones. There’s a basic-but-adequate PA system, the door man was hand-picked from the crowd, and there’s a total absence of any sort of climate control. Around the room space is occupied by in-process artist works encircling a concrete pad. The performance area is marked by a helter skelter backdrop of mixed media that leaves one questioning whether it is in fact a finished stage setting or a neglected project made into an ersatz substitute.

Alongside such trappings typical of a house venue comes the baggage of a more legal public event space; it’s an alcohol and drug free zone, door money is split a dozen ways, and they close down early. In practice, the venue stayed open as long as necessary and the localized prohibition was largely a facade. Many attendees fearlessly or carelessly drank openly. Maybe the restaurant couldn’t divert one of their employees to chaperone for the evening? Furthermore, despite the math-magical purgatory that is payout, touring band Idaho Green did alright.

All Blood played in the middle of a packed billing that showcased two other local bands alongside two touring acts. Initially a solo project created and nurtured by KC native Jonathan Brokaw (aka JB), All Blood has expanded to four members. These extra hands and voices belong to familiar faces. Zach Campbell on drums also plays for Mouthbreathers, Justin Baird on keys and guitar has spent time in Whyte Bitch as well as The Conquerors, and Zach Turner on bass has played in Folkicide and worked solo as Puffs Or Plumes.

While on his own JB has written, produced, and released numerous recordings including last year’s highly favorable Someone Else’s Ocean, but with the new troops the All Blood live experience has noticeably expanded. Shows are bigger and louder, the songs are catchier, and JB seems more coherent and sober. During instances where other members would spearhead vocal duties, such as Zach Campbell taking the lead on Hippie Drugs, All Blood seemed less like JB’s brainchild and more like a collective effort. This is a good thing and the fact that the entire band continues to perform together indicates they are self aware of this improvement.

As long as bands like All Blood continue to perform at Art Closet minors and underagers will keep showing up,  but before you decide to attend a show keep in mind the music and arcade far outclass the art and the pizza.


Listen to All Blood’s set now with the embed below (25:39)

Listen to All Bloods set later, tracks currently uncut, with the mediafire download below

Set List for All Blood

1. Now I Am The Devil

2. Hippie Drugs (3:37)

3. Object Destroyer (6:30)

4. Action/Reaction (9:04)

5. Feral castle (11:25)

6. She’s In The Air (12:48)

7. Sweet Ass Dank (16:50)

8. Triumph Of Your Cool (19:18)

9. Queen Twerp (22:24)

10. Casino (25:07)

For more All Blood click the link below

These recordings were posted with permission of the performers so throw em’ a bone and support them by going to their shows and buying their music. If you like my poor recordings of them, then throw ME a bone and subscribe, share, like, and tell your mom, sister, brother, dad, and friends. Thank you.

Performed December 14, 2013 at Harling’s in Kansas City, Missouri

Bummer 12/14/13

Bummer; Underage overdrive. Photo by Andrew Erdrich

Finding a few minors amidst the crowd at Harling’s is to be expected. The bar does hold a certain reputation, but perhaps that’s all changing. The doorman is now checking ID’s and taking money, the main hookup Derrick has moved on to be a butcher’s apprentice, the bubbling paint on the ceiling is seemingly repaired, and there’s a new “talent up-charge” for drinks on show nights. Yet last Saturday I stood witness to Bummer, a three piece fresh outta high school, pummeling an audience mostly ten years their senior. Maybe Harling’s hasn’t changed that much.

This was the first time I had actually listened to Bummer and frankly I was impressed. Sure, they may be a reboot of dissonant hard rock from the 90’s, but they’re still young, they can evolve. Besides, some people (like yours truly) still like that sort of thing. I also admire the way they shamelessly lay their influences out in the open by covering The Jesus Lizard’s “Seasick,” or running through a few measures of Nirvana’s “Heart-Shaped Box.” They clearly acknowledge their lineage. These guys are no slouches either; Bummers show at Harling’s followed an earlier show at The Dollhouse. Let’s hope college doesn’t break up the band.


Listen to Bummers set now with the embed below (21:50)

Listen to Bummer’s set later, with tracks already separated, by clicking the mediafire link below

Set List for Bummer

1. Infinite Witches

2. Good News (2:00)

3. Estocata (4:26)

4. Dude Baby (9:01)

5. Dorm Water (12:42)

6. Seasick [The Jesus Lizard] (16:37)

7. Sports (19:42)

For More Bummer Click the Link Below

Thanks to the young men of Bummer for allowing me to record their set. They are scarce on physical media, but you can still support them by going to their shows, liking their facebook page, or forking over some cash for digital downloads on their bandcamp site. Thanks to you readers for staying with me. This will most likely be the last post until the new year as I am away on holiday. As always, your shares, subscribes, comments, likes, and continued readership are always appreciated. Have a great holiday!

Performed November 23, 2013 at FOKL in Kansas City, Kansas

Another night at FOKL. It’s cold inside and out, but the turnout is decent. Most people are hanging out in the foyer recently turned smoking lobby, or milling about the show floor waiting for the change over. The show was billed as a fundraiser for Kansas City’s independent theater the Tivoli. “GO DIGITAL OR GO DARK…SAVE THE TIVOLI,” exclaims the hand bill. While I doubt the amount of money raised could be anything but marginal, it remains a kind gesture from one community minded organization to another.

On the flip side, music-for-the-cause doesn’t seem to fit the HŮMΔN ŦRΔFFIC aesthetic. Their new industrial, ALL CAPS, cyber goth doesn’t exactly scream charity, yet there they are. If the gamble was to find an electronic band that had a draw, then it may have paid off. HŮMΔN ŦRΔFFIC has managed to endear themselves to the morbidly inclined of Kansas City while entering into the normal rotation of the local underground. Their sets are aggressive, dark, and loud. Vocals are buried beneath a digital din, while audio collages recorded onto cassette segue one song into another. Their FOKL showing didn’t deviate from this formula.

Like Metatone, HŮMΔN ŦRΔFFIC occupies a niche more or less unclaimed by other KC bands. This could help them to stand out, but it could also typecast them. I understand the need for an aesthetic. It helps contextualize the music, create an environment, and even align the band to certain musical trends. It’s part of the whole package. In many ways HŮMΔN ŦRΔFFIC‘s image is complete and cohesive, from their clothes, song titles, and even their band name. Again, the risk is that this image could become a limiting factor which would relegate HŮMΔN ŦRΔFFIC into the category of novelty. Time will tell.


Listen to HŮMΔN ŦRΔFFICs set now with the embed below (27:58)

Listen to HŮMΔN ŦRΔFFIC’s set later, with tracks already separated, by clicking the mediafire link below



2. TURBO SLUT (5:01)


4. BLOOD ORPHAN (14:43)

5.  FVTVREPVNK (19:15)

6. GOTH RAVE (24:15)

For More HŮMΔN ŦRΔFFIC Click the Link Below

Although this recording was initially made without permission, the crew of HŮMΔN ŦRΔFFIC has since graciously sanctioned it. Show your support for their music by visiting their various web pages and liking their facebook page. If you think this blog is worth chattering about then kindly share it, subscribe to it, leave some comments, and keep reading. You can also like and follow the facebook page (located at for more bonus material and update notifications!

Performed November 1, 2013 at FOKL in Kansas City, Kansas

Mike Donovan is best known as the front man of the recently defunct Sic Alps. Their final release, a single titled She’s On Top, came out a little more than six months ago in May. Wasting no time, Donovan dropped his first solo LP Wot in October on Drag City, and is currently on the road in support of the release.

Show time at FOKL began a little behind schedule as result of some late load in’s and the implementation of a common practice called “Waiting-for-more-people-to-show-up” (which they rarely do). It was just shy of midnight by the time Donovan took the stage and the crowd was thin. That’s hard luck in my opinion. A place like FOKL should be bustling at midnight on a Friday, but unfortunately the show was booked directly following Halloween. It’s likely most of the people who would attend such a show instead hit up any number of the midtown, spillover costume parties.

Mike Donovan’s set was modest, not just in terms of length, but in terms of sonic abrasion. The singer/songwriter aesthetic is a departure from many of Sic Alps’ more noisy recordings. At another glance though, Donovan’s current offerings aren’t too far from where he left off with Sic Alps. Don’t call it more of the same, call it a continuation.


Listen to Mike Donovans set now with the embed below (31:09)

Listen to Mike Donovan’s set later, with tracks already separated, by clicking the mediafire link below

Set List for Mike Donovan

1. Do Do Ya?

2. MP3 Farm

3. R. Reg

4. The Kid

5. New Fieldhand Bop

6. Sic Ballad

7. Bloom

8. Untitled

For More Mike Donovan Click the Link Below

This recording was made with the permission of Mike Donovan. If you like his music then you should show your support by visiting his website and picking up his new LP Wot. If you like this blog then kindly share it, subscribe to it, leave some comments, and keep reading. You can also like and follow the facebook page (located at for more bonus material!

Performed October 29, 2013 at Plush in Saint Louis, Missouri

Mosquito Bandito

Mosquito Bandito, drunk again, at Plush’s upstairs lounge. Photo by Andrew Erdrich

To some, John Larson, the one man bandito known as Mosquito Bandito, is a legend. He’s toured extensively in various bands and as a solo performer; lived in cities across the country; built a rock n’ roll oasis (The Middle East) by rehabbing downtrodden homes in the east side of Kansas City; and shown unbelievable innovation in his pursuit of being cheap as possible. This spawn of Michigan has also spent much of his life fulfilling the dreams of a five-year-old; owning numerous motorcycles, shooting guns in his basement, having free and open access to a four-player Blitz Arcade Machine, and stocking his very own Pepsi brand soda dispenser with yard beer. To me, however, Johnny is not just an entertaining and talented musician, but a good friend. There are few people I would rather be crammed next to in a St. Louis bound, mid-sized SUV.

For your convenience (and mine) I’ve bullet pointed some highlights from our trip:

• The sound guy never really decided just exactly what he wanted that kick drum to sound like, enjoy!

• Beer ticket exchange was confusing and often disappointing, but Johnny managed to drink too much whiskey anyway

• Most of the money made that night was blown on crave cases of jalapeño and cheese sliders from White Castle

Sneaky Creeps was the only act that was not a one-man-band

• Isaac, once again, managed to find someone to bum him a cigarette

• The car ride home smelled bad


Listen to Mosquito Banditos set now with the embed below (17:57)

Listen to Mosquito Bandito’s set later, with tracks already separated, by clicking the mediafire link below

Set List for Mosquito Bandito

1. Alcohol

2. Pillow Fight/Satan (1:57)

3. Paint In a Bag (4:51)

4. Martin Luther King [Touchers] (7:24)

5. Art School (9:47)

6. Baby Teeth (11:34)

7. She Said [Hasil Adkins] (11:54)

For More Mosquito Bandito Click the Link Below

This recording was made and posted with permission of your friend and mine, John Larson. If you like his tunes then next time you see him playing buy him a drink or maybe one of his many dust collecting seven inches. If you like this blog then kindly share it, subscribe to it, leave some comments, and keep reading. Also, a facebook page for Big Urges is up at, so click it for more bonus material and like the page to help spread the word!

Performed October 8, 2013 at FOKL in Kansas City, Kansas

IS/IS in Low Light on a Tuesday Night, Photo By Andrew Erdrich

IS/IS in Low Light on a Tuesday Night, Photo By Andrew Erdrich

If Mondays are bad, it’s because they’re followed by Tuesdays. Monday is the initial, shocking submergence into a freezing pond that is the work week, serving to numb your senses until you reach the weekend shore. Tuesday, however, is worse than that. It is droll, incessant, and does not bring cause for celebration such as Wednesday or “Hump Day,” but resignation that the grind will persist four days more. Tuesday is so insidious that Monday has become the scapegoat for the true evil that is acquiescence.

IS/IS was the weekend manifest on a Tuesday.

This washed out, femme powered, three piece consists of Sarah Rose (guitar and vocals), Sarah Nienaber (bass), and Ronnie Lee (drums). Okay, so Ronnie is a dude. Does that hurt the image? The coven may be broken but the band held together, and they seem to be doing alright. Their stop in Kansas City was the end of a first leg of shows following a recording session in the southwest. I’m guessing many of these new, as yet to be released tracks, were played during their set because I’ve had the damnedest time identifying them. From here they’re headed back home to Minneapolis for a show and brief respite before another two months or so of national touring. I predict they’ll be around for at least another big tour, and judging by the helluva-Tuesday-night-turn-out on the 8th, I assume they’ll be returning to Kansas City as well. Bravo all.


Listen to IS/ISs set now with the embed below (32:13)

Listen to IS/IS’s set later, with tracks already separated, by clicking the mediafire link below

Set List for IS/IS

1. Unknown 1

2. Unknown 2 (2:35)

3. Unknown 3 (6:05)

4. Shine Down (9:13)

5. Unknown 4 (13:22)

6. Gleam (16:55)

7. Unknown 5 (21:05)

8. Unknown 6 (24:52)

9. Hunter (28:43)

For More IS/IS Click the Link Below

This recording was made and posted with permission of the very amiable members of IS/IS. If you like their music then you should show your support by visiting their website and buying some wares so maybe they can afford gas on their cross-country tour. If you like this blog then kindly share it, subscribe to it, leave some comments, and keep reading. Also, a facebook page for Big Urges has been recently created find it here at, so click it for more bonus material and like the page to help spread the word!

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