Brooklyn’s Fletcher C. Johnson is technically one man and a band all at the same time;  Fletcher C. Johnson is both the name of a trio and the lead singer of said trio. In their/his newest music video for “Messin’ Up My Mind,” cardboard aliens plus ticked off beehived back up singers make for a hilariously DIY experience. This mega catchy retro-tinged rock single was originally released in April as the A-side of the band’s 7".  If you aren’t listening for the infectious tunes, be sure to watch for the healthy dose of absurd, pizza-throwing humor — not surprising at all from a band that describes their sound as, "A guy making trumpet noises with his mouth.” – Corinne Bagish 

Last week, Brooklyn-based trio Apollo Run welcomed their new album, “Here Be Dragons, Vol. III”, a full-length follow up to their two EP’s, “Here Be Dragons Vol. I” and “Vol. II.” Accompanying this release was a new video for track, “The Inevitable Small Rebellions” which not only fans but CMJ were very excited to share. The festival’s website premiered the video to introduce the record and to highlight Apollo Run as an official CMJ artist. Featuring the band on cardboard instruments and children in animal-themed face paint, the song sets the stage for a theatrical video based loosely on George Orwell’s “Animal Farm.” The album’s opening track also represents Apollo Run’s affinity for creating layered compositions rather than one-dimensional songs, and “HBD, Vol.III” is no exception. The band is gearing up for a fall tour and will be playing Union Hall on October 10 and CMJ on October 17 at Bowery Electric. – Meijin Bruttomesso

(Design and illustration by Ryan Comiskey)

With a generous helping of diverse musical ranges and genres, Midwest Music Foundation‘s Midwestern Audio Vol. 1 is undoubtedly The Deli KC’s October CD of the month. Including 41 tracks from some of Kansas City’s most talented musical acts, there’s something for any musical fan.

The double CD compilation was assembled by Brenton Cook. It ebbs and flows between catchy pop beats and psychedelic freeform sounds, and then between metal and gentle folk tunes. The album bursts out of the gate with "Coming On" from Antennas Up. The band’s smile-inducing, warm harmonies gear the listener up for what’s to follow. Everyday/Everynight transitions in smoothly with "Body Electric," a more ambient, darker sound, but containing the same exuberance as the lead-off track. By track three, the listener is sucked in. Though "Fanclub" is tinged with a dark mood, it’s an intensely danceable song that gives us a sampling of the characteristic style of Molly Picture Club.

And this is how smoothly the compilation rolls through. Each song flows into the other, even if it transitions from a straight hip-hop jam like Reach‘s "Move" to Be/Non‘s beatastic mindfuck "Yoko’s Alright." One of the most brilliant parts of this compilation is the gems that can be found throughout. Some of Kansas City’s most well-known bands like The Hearts of Darkness and The Latenight Callers are featured alongside newer acts like Schwervon!, relatively unknown bands like Eyelit, and established local legends like Howard Iceberg. Each track stands on its own feet but collectively breathes the spirit of Kansas City music today.

Les Izmore‘s rhythmic flow in "Debt on Me" delivers just as strongly as Marco Pascolini’s squealing guitar in "Sparkin Your Mama Sweet 2," and also in "King of the Soapbox Derby." The album comes to a twisting downturn in Cowboy Indian Bear‘s "The Hunter and the Hunted," and briefly exhales at "Six Foot Dreams." And that’s just disc one.

If unprepared, "Diablo Diablo" will blow the listener away with John Bersuch’s tribal drum beats. The second disc gives no warning that it will relentlessly but pleasantly bash you with infectious pop hits from The ACB’s and The Empty Spaces into fiercer, bolder rock from The Beautiful Bodies, finally toppling you over with Terra Peal‘s brazen, unbridled screams in "Blue Light." Then another short breath into Lauren Krum and Jimmy Fitzner’s serene country vocal melodies, and the album takes a rootsier direction, which builds up to crotch-kicking screams from The Atlantic and double-bass tremors from Hammerlord. Yet again, it manages to cool itself off into an assuaging denouement.

First, it winds its way back into a hypnotizing tone from Expo ’70 and Umberto and levels off with entrancing but accessible offerings from Akkilles and Katlyn Conroy’s project La Guerre. In the last moments of the compilation, we get a prolific, sincere delivery from Abigail Henderson. There seems to be no more fitting of a choice to end this album than with the intimate sounds of Tiny Horse in "Ride." The honesty of this final track makes it an astounding culmination of songs from a bill of fine acts. The emotions gleaned from Henderson’s words and Chris Meck’s complementary guitar melodies speak the strongest volumes of any track present. And with that heartstring-tugging grasp, it lets go.

–Michelle Bacon

Share this story on Facebook