Plowboys Listening Party for "Gravity & Willpower" at The Whig on January 7

The phrase "ragged but right" has been used countless times to describe any number of bands with more heart and spirit than skill and discipline.

But rarely has a group taken it  as much as an article of faith as Tom Hall & the Plowboys.

Although they are hardly a band lacking chops or extensive musical training, with more than six records and countless live shows under their belts, the band has worked its way through folk operas and film soundtracks, long digressions into blues, zydeco, and alt-country, and rarely have they sounded like anything has gone entirely according to plan.

Which is exactly how they like it.

Gravity & Willpower, which is album number six for this rotating cast of characters, is in many ways a distillation of so many of the precepts that Hall has led the group with. Featuring longtime members like Andrew Hoose (drum), Bill Stevens (bass), Phil Hurd (fiddle) and David Lee Michelson (guitar) alongside some members who have fallen in along the way like Chris Lawther (banjo), Bert Cutts (trumpet), and guest instrumentalist Adam Cullum (accordion and piano), the ramshackle outfit cut a dozen songs over four hours, with minimal rehearsal and forethought. The result, predictably, can be a little rough and gritty, but these are songs that lean heavily on the timeless tropes of old-timey music, with ambling and meandering solos that feel entirely of the moment -- largely because they were created and conceived that way. And while Hall may not be a perfect singer by any stretch, his grizzled baritone and spirited delivery are indomitable, driven by, as the title suggests, "gravity and willpower" more than anything else.

While the Plowboys may not be for everyone, it's hard to totally reject the obvious and infectious joy these musicians bring to their restless and ramshackle jams, and a party can never be far away when these guys are playing. What's more, over the last 14 years as a band, they've come to represent something about the wild, wacky, heartfelt, and joyous vibe of Columbia in a way I can never quite explain.

The listening party for the album is this Wednesday, January 7th, at the Whig. Come and listen, and join these fellow ne'er-do-wells for a drink. -Kyle Petersen

In Jasper Vol. 3, No. 4: Record Review - Can't Kids' Ennui Go

"On what is likely one of the more anticipated releases in her local scene in 2014, Can’t Kids leader Adam Cullum seems intent on delivering something a bit different than the group’s well-received debut Brushes Touches Tongues. While the group hasn’t exactly abandoned their self-described brand of “Southern Gothic cheerleader metal” that seemed so startlingly refreshing in 2012, there does seem to a deliberate sense of stepping back, leaving the songs a bit more open and making the lyrics a bit more pensive than that raucous effort. On a number of efforts here, including the album’s bookends “Oh Momma” and “Oh Adam” and the album’ centerpiece, the hauntingly bereft “You Don’t Plan,” the songs mostly features a pretty cello line from Amy Cuthbertson and Cullum’s quiet fingerpicking and plaintive vocals at the expense of the two members who bring much of the dynamism to the band, bassist Henry Thomas and drummer/second vocalist Jessica Oliver, who tend to only appear on the back end of these tunes. In keeping with that feel, Oliver, who used to be almost a co-leader in the group, seems to have taken more of a backseat in these sessions, sounding more like a traditional harmony singer than ever before.  Only two songs here—the rollicking pop-punk number “More Soda” and the Modest Mouse-y “Late for Lunch”—see her and the band up to their old tricks. While some fans are likely to be put off by the left turn, Ennui Go actually makes for a better listen than Brushes. The two raucous rockers break-up some of the more singer/songwriter material nicely, and the band is mostly finding a sweet spot between the two extremes, finding a buoyant pop bounce on tunes like “The Calm” and “The Twist” that feels different, but every bit as singular, as their early material. And Cullum has always been a brilliant songwriter, alternatively astutely honest and self-reflective and caustic and cackling. He still occasionally shows his love of Isaac Brock a bit too much on his sleeve, but his misanthropy never reaches his hero’s dire levels—instead, Cullum always seems to write, even when he is engaging in casual wordplay or humor, with a keen desire to figure out, however bleakly, the world around him.

With a short running time and a quieter, humbler approach, it would be too easily to think this is a sophomore slump. I would argue, instead, that not only is it a stronger and more cohesive effort, it is also exactly the kind of record Can’t Kids needed to make to grow and mature as a band." – Kyle Petersen

For more record review, click through the image below:

Album Review: Can't Kids - Brushes Touches Tongues

Full disclosure: I’ve always sort of been a fan boy of Can’t Kids co-founder Adam Cullum. From his heart-on-sleeve solo recordings in Falling off a Building to his multi-instrumental prowess and role as the energetic center of the literary-folk/pop group Magnetic Flowers, I’ve always considered him one of the scene’s finest assets. Whether you love or hate what he is doing on stage, it’s hard to deny the passion and instrumental power of his performances. And now, we have Can’t Kids.

The band was born as a duo, with Cullum and Jessica Oliver bashing out poppy tunes at deafening levels in the house they shared. The two frequently shared vocals and seem to (at least initially) take turns playing drums or guitar. White Stripes comparisons quickly followed, which is something the two found puzzling when I talked to Cullum back in July. At first I shared their confusion, but the more I’ve listened to this debut, though, I think there might be some logic behind the linkage, and it gets to the heart of what makes both groups tick.

We tend to think of The White Stripes as this primal blues-based monster, with the high octane riffs of songs like “Seven Nation Army” or “Fell in Love with a Girl” being exemplars of their muscular ferociousness. But this is also a group who made the largely marimba-based Get Behind Me Satan and featured such twee pop ballads as “We’re Going to be Friends” and “I Want to be the Boy to Warm Your Mother’s Heart.” These odd contradictions—of Son House and Burt Bacharach, The Sex Pistols and Belle & Sebastian—are actually what seem to capture the group the best.

Similarly with Can’t Kids, the initial reaction always seems to come from their loudest, most heavy-edged moments. The group’s sound seems frequently inspired by the pounding and propulsive electric guitars of 90s indie rockers like Modest Mouse or Pavement, with pounding drums and meandering, electric guitar riffs that often seem nearly unhinged. Correspondingly, there are maniacal shouts and misanthropic observations that also mark the best of Modest Mouse: see Oliver’s inflamed howl of “I wanna see this city burn/I wanna be Sheeeer-man!” on “Stab/Grab”  or  Cullum’s snarling, irony-tinged pronouncement that “If I had a nickel for every person that I hate/I could buy a fancy rifle and blow us all away” on “Dimes,” a line that’s a pretty direct rip from MM’s “Cowboy Dan.” They also, albeit less frequently, employ the sardonic non-sequesters of Pavement’s Stephen Malkmus (“Stab/Grab” is probably the best example).

But the group is also pulling from another set of less fearsome indie rock traditions—the literary grandiose-ness of something like “Ghost Killah” seems more Neutral Milk Hotel or Decemberists than anything else, and the frequent borrowing of commercial hooks (“maybe it’s Maybelline,” “line in shambles?/Try Campbell’s!”) or pointedly high-octane pop song structures (“It’s Yrs” or “Happy Hippie Songs”) seem to create similar sorts of contradictions that allowed The White Stripes to thrive.

The two members that Oliver and Cullum chose to add to the group emphasizes this odd dichotomy. (Formerly?) hardcore bassist Henry Thomas was brought into the fold to add a pummeling low end which frequently adds to the menace and mania of the sound, while cellist Amy Cuthbertson brings an obvious beauty and chamber-pop vibe to the proceedings. Of course, in a fitting irony, often times Thomas’ bass line propels a poppy tune like “It’s Yrs” and Cuthbertson provides a strong sense of foreboding with her dark string parts. So, either way, a sense of difference and discontinuity seems to be emphasized.

Still, for all that comparison does in fleshing out the conceptual appeal of the band, what really sells it is the obvious chemistry between Oliver and Cullum. The sense of friendship and community apparent from much of the lyrics, from inside jokes and a shared past to a sense of honesty and love among true partners, is evident from even a cursory experience with these tunes. In addition, their shared vocals, equal parts hooky melodies and shouted glee, have an infectious power that is one of the best illustrations of a band enjoying making music so much that you have no choice but to like it too.

If you can’t tell, this record gets two pretty damn big thumbs up from Jasper!

Can't Kids - Brushes Touches Tongues is available at Fork & Spoon records, here.