Post-Hardcore Journals - Entry 2 - What Happens When Chicago Jazz Disrupts the Trajectory of a Genre? Abilene, Radio Flyer, Sweep the Leg Johnny, and Check Engine... Duh!

So it’s been a long time since there’s been an update here at art/into/pop.  February was my digital vacation month, but I’m back and have great plans for some future postings. February was a meaningful month musically speaking.  I picked up some great vinyl I plan on sharing on the site in the upcoming weeks and saw some great shows - including performances by two indie rocker legends: the-one-and-onlys Thurston Moore and Stephen Malkmus. Thurston was great in a I’m-50-but-still-rock-like-a-sardonic-hipster kind of way, and Malkmus was.... eh... well, let’s just say I heard the Jicks were having a pretty sloppy-good time backstage before going on...

Post-Hardcore's Master of Ceremonies: Ian Mackaye - There's really no reason for this pic considering I haven't dared touch upon the behemoth DC scene on the blog... I just like the pic....

F. Erskine

I want to continue my focus on the essentials of Post-Hardcore - the last such posting being on the New York rockers, Helmet and Quicksand.  This time I want to shift focus to another equally significant musical cityscape - the midwest’s windy city. Chicago post-hardcore had a distinctly jazzy take on the genre, which is no surprise I guess.  Take, for example, the shortlived project, Abilene - a band started by a Chicago non-native, Alex Dunham of Hoover and Crownhate Ruin fame. He formed the band in Chicago sometime in the late 90s and was quickly joined by former Hoover bandmate, Fred Erskine, who played trumpet for the group.  There was an earlier posting on their previous, DC-based band where I claimed Hoover to be one of the all-time best Post-Hardcore acts; their sole full length, The Lurid Traversal of Route 7 (1994 Discord Records), is an absolute essential for Rock collections - up there with the best moments of early-90s Fugazi.  

Abilene is amazing as well - one of my personal favorite listens right now, and it’s the jazziest addition to both Dunham’s and Erskine’s impressively vast discographies.  I’ve only tracked down one full length by the band, so I’m a little ignorant of the entirety of their catalogue.  They released the album, Two Guns, Twin Arrows (54-40 Or Fight! Records), in 2002, and it’s an album that will leave listeners demanding more.  Here’s the second track, “Blanc Fixe”:

That’s definitely jazzier than even June of 44!  The album showcases Erskine’s trumpet playing more than any other previous project, and that’s due to the open, experimental nature of the band’s song structures - there’s more space for soloing and developing melodies.  It’s really great material. Check out the song, “Fellini”:

Ah, there’s the post-hardcore roots!  The song’s still jazzy and improvisatory, however. “Fellini” is probably more accurately representative of the album’s avenue of sound - although their sonic roadmap does lead to auditory ventures far removed from the typically expected, DC-influenced conventions of 90s post-rock.  Abilene concludes the album with a mellower jam entitled, “Solidarity”:

I really really recommend this one! If you like the sounds of previous posts such as Hoover, June of 44, Rockets Red Glare, Sharks Keep Moving, or Half Visconte, check this out!!

Abilene's Two Guns, Twin Arrows

Now sometime before Abilene’s run, Dunham formed another short-lived, Post-Hardcore project with some Chicago cohorts called Radio Flyer.  The group released one full-length in 1997 called In Their Strange White Armor (Polyvinyl Records); it too was mellower and jazzier than typical 90s post-hardcore - although its jazz overtones remain more subtle than that of the later Abilene...  Here’s the song, “Ice Cream Cheater,” from their sole album:

It’s a solid album by an unfortunately short-lived project; definitely check them out:

Radio Flyer's In Their Strange White Armor (.rar file)

Sweep the Leg Johnny live

Now I mention Radio Flyer briefly - mainly to note that Dunham collaborated with another Chicago rocker, Kevin J. Frank (from Sky Corvair, Traluma, etc.).  More recently, Mr. Frank has played with guitarist, Chris Daly, in the post-hardcore project, Haymarket Riot - another solid, Chicago-based band that’s worth a listen.  The group, however, does not display as much jazz-infused influence, which contradicts my original thesis, and instead of adjusting my claim, I’ll opt to suppress the facts - like any good politician or pundit would do - and spend no time showcasing their music.  My purpose is to make a connection to my next band of focus - a group started by the same Chris Daly in Chicago sometime in 1996.  The guitarist met saxophonist, Steve Sostak, and they started the experimental, Post-Hardcore project, Sweep the Leg Johnny.

Man, I used to think Johnny was such a badass! I bet Daly and Sostak did too.  Someone should remake Karate Kid from his perspective - about an average teen keepin' it cool as the resident karate kick-ass in a California town until the nerdy, unbecoming kid from out of town shows up to cramp his style - now that's a movie I want to see....

Like Abilene, Sweep the Leg Johnny was jazzier than their coastal contemporaries.  Unlike Abilene, they were more mathy and more frantic as well- often rocking at a faster, poppier pace.  The band consistently and frequently released records until 2002 - mostly on Southern Records.  Their first full length with Southern was released in 1999 and was entitled, Tomorrow We Will Run Faster.  Listen to the magnum opus track, “Rest Stop”:

That song demonstrates well their full range of sound, for Sweep the Leg Johnny could explore the slower, mellower spaces as well.  They were rowdy and frantic, however.  For instance, here’s the most popular track, “Bloodlines,” from their next full length with Southern Records, Sto Cazzo (2000):

Their finest, most mature recording was their last album, Going Down Swingin’ (2002 Southern Records).  Much of the album’s material was re-recorded songs from previous releases; “Rest Stop,” for example, was recorded again for the final Lp. One of the newly recorded songs was the track, “Only in a Rerun”:

That song features some of my favorite moments of Sostak’s sax work (check it out around 2min. 20sec. onwards.... awesome!!!)  Another favorite is the re-recorded gem, “Blizzard of ’99”:

That song’s on the mellower side as well for Sweep the Leg Johnny.... The band broke up sometime in 2002, but Steve Sostak teamed up with Chris Daly to continue their work in the short-lived project called Check Engine.  The band released only one self-titled album on Sickroom (Lp) and Southern Records (Cd).  I could find no samples of the band’s work on youtube or bandcamp, but if you like the more developed material by Sweep the Leg Johnny, then you NEED to hear this album; it’s must for sure.

Sweep's Tomorrow We Will Run Faster

Sweep's Sto Cazzo

Sweep's Going Down Swingin' (.rar file)

Check Engine's self-titled album

What do you get when mixing Louisville Math Rock with DC Post-hardcore? Answer: Jeff Mueller’s & Fred Erskine’s June of 44

RODAN

So our story begins in Louisville, Ky circa 1992.  Jeff Mueller & Jason Noble (along with Tara Jane O’Neil and Kevin Coultas) formed the influential math rock group, Rodan.  The band, along with acts such as Crain and Slint, defined the Louisville Math/Post Rock scene.  Although Rodan’s career was short (they broke up in 95), the members went on to form other significant acts of indie & post rock music (Retsin, Rachel’s, The Sonora Pine, and others that will be mentioned below). In 1993, the band recorded their only full length, Rusty (1994 Quarterstick Records); the album’s name was inspired by their producer’s nickname, Bob “Rusty” Weston (of Shellac & Volcano Suns fame).  They recorded a demo and some 7”s, and they did a John Peel session in 1995.  Their sound, like many Math Rock acts, ranges from quiet & minimal to loud, chaotic, and dissonant.  The vocals vary as well from spoken word & haunting melodies to screams & wails of rage. At times the rhythms are calm and subtle, while at other moments, the rhythms explode into angular, frantic beats.  A band like Rodan makes clear that Math Rock, Hardcore, and Post Rock all have common roots as musical genres.  Here’s the epic track, “The Everyday World of Bodies,” off their full-length, Rusty:

That’s some lovely Mathcore dissonance. Now here’s a shorter number, “Shiner,” a song that clearly demonstrates their more “hardcore” influences:

Now take a listen to the last track, “Tooth-Fairy Retribution Manifesto,” a song that anticipates the ever so popular phenomenon of Post-Rock:

As stated before, the dynamic Louisville band unfortunately broke up in 1995, but the members went on to form acts of equal importance.  In fact, Mueller went on to form the legendary Math Rock group June of 44, but first, our story returns to 1992 to the legendary hardcore scene of Washington DC.

http://www.mediafire.com/?gnoy4lzndwm

HOOVER & the CROWNHATE RUIN

Around the same time Mueller and others were forming Rodan, Fred Erskine teamed up with Alexander Dunham, Christopher Farrall and Joseph McRedmond for the post-hardcore act Hoover.  Like similar acts of the region, they recorded their (first & technically only) full length The Lurid Traversal of Route 7 (1994) on the formative label Dischord Records.  Dischord/Fugazi fans know what to expect here; in fact, any Dischord enthusiast is probably already well aware of this record.  I cannot stress how great an album this is! Some people argue that this an Emo record; I definitely agree with the insight that Emo was born out of the vibrant Post-Hardcore scenes of cities like DC, Chicago, and San Diego, but this is closer to Hardcore than Emo Rock to me. Check out the opening track off their full length, “Distant”:

Somewhere on the internet, I read the statement that this might be the best DC post-hardcore band that does not include Ian McKaye. One could make the case; the record is better than much of the later Fugazi catalogue, for sure.  Here’s another track, “Electrolux,”  that perhaps demonstrates elements of mathy post-rock (like the sounds of Rodan...):

I hear connections to Rodan in the above track, and like Louisville Math rockers, Hoover had split up by 1995.  They recorded some 7"s in addition to their album, and they later reunited to record an unfinished self-titled record in 1997 (Slowdime Records).  Around when Fred Erskine joined Jeff Mueller to form June of 44, he and other Hoover members formed an even shorter-lived Post-Hardcore project, The Crownhate Ruin, in late 1994.  They recorded some 7”s (including one with Boston’s Karate on Art Monk Construction in 1995) and eventually released a single full length album, Until the Eagle Grins (1996 Dischord Records).  Here’s the opening track, “Ride Your Ride”:

The music is very similar to the previous project, but it’s no Hoover if you ask me.  The group quickly disbanded, and it was at this time that Rodan’s Mueller connected with Fred Erskine to develop the band June of 44. 

H: http://www.mediafire.com/?wmtzvozgdnj

CR:  http://www.mediafire.com/?9n8ddmysz0d

CR/K split: http://www.mediafire.com/?hyycw1mzxdw

Erskine and Mueller were joined by Sean Meadows (of Lungfish, yes, I said Lungfish...) and Doug Scharin (of HiM and Rex) in 1994 to form what one might deem a “supergroup.”  June of 44 were a Math Rock collective that toured and recorded consistently until 2000. Although they are commonly labeled a Math Rock group, their music includes elements of Emo, Post-Hardcore, Post-Rock, and dub-style Jazz, so their albums tend to be more accessible than the heavier projects that preceded them.  Their first album, Engine Takes to the Water (1995 Quarterstick Records), remains close in sound to Mueller’s and Erskine’s previous projects; here’s the 2nd track “June Miller” (as in Henry Miller’s 2nd wife; I believe she has something to do with group’s decision to be named June of 44):

One can definitely hear the influences of Louisville bands like Rodan and Slint as well as the styles of DC Post-Hardcore.  The following year they released Tropics and Meridians (Quarterstick Records), and they immediately began to develop their sound in multiple, experimental directions.  Bob Weston (of Shellac) reunited with Mueller and began working with the group as well. Their 3rd release, however, Four Great Points (1998 Quarterstick Records), represents the band’s development from sophomore sounds to more mature writing & composition.  It’s mellower, less angular, and more expansive in its range of styles.  To me, late June of 44 sounds more like modern Post Rock music than say 90s Mathcore.  Check out the opening track, “Of Information and Belief” from their 3rd full length:

Although mellower, their music has an edge for sure.  June of 44 released their final studio album Anahata in 1999 on Quarterstick, once again recorded by Bob Weston.  The album pursues similar experimental paths of Four Great Points; I highly recommend it as well.  Before the group broke up in 2000, they did record one last record, a live In the Fish Tank studio session.  Oddly enough, June of 44’s In the Fish Tank 6 (1999 Konkurrent Records) is one of my favorite records to listen to..... Maybe that’s due to the fact that I’ve been nerding out on cheesy Post Rock for the last couple years.  Check out the song, “Henry’s Revenge”:

The last track recalls Post-Rock groups like Tortoise, Mogwai, etc.; it would have been interesting to see where June of 44 would have gone musically in the 21s century.  I personally think the closest answer to that question can be found in the recordings of Jeff Mueller’s latest project, Shipping News.

ETttW:  http://www.mediafire.com/?mqwoocmqr15

FGP:   http://www.mediafire.com/?immna4l5l2hmsix

ITFT:  http://www.mediafire.com/?m6mvs58u07c1aa4

SHIPPING NEWS

The group formed in the late 90s when Mueller reunited with Rodan’s Jason Noble. Like Rodan & June of 44, the group has been called Math Rock, Post-Hardcore, as well as Post-Rock, but like June of 44, the maturity of their sound becomes clear because they obviously don’t rely on the conventions of any of those genres.  Their compositions are very diverse and original.  Shipping News has released several albums over the years (most on Quarterstick Records).  Personally, I love their 2nd studio album, Very Soon and In Pleasant Company (2001); the track “Actual Blood” is my favorite Shipping News song:

That’s a beautiful song, but it’s not an accurate portrait of Shipping News’s wide range of sound. I highly recommend all of Shipping News’s releases, particularly their 4th album, Flies the Fields (2005 Quarterstick Records).  The tempo of their music isn’t always so slow; they can pick it up and rock as well.  Definitely support their live performances.

This post could keep going, but I will end it here.  I will return later to Louisville to post more gems from the city’s legendary music scene (such as Squirrel Bait, Slint, Crain, etc...).  For now, take care and enjoy!