mrfuriousrecords.com – DARKER DIMENSIONS crossover event happening now!

  • 5*C with The Bravery Wednesday Night in KC and Project Update

    Late-breaking news, guys; Five Star Crush will be opening for The Bravery this Wednesday night in Kansas City at the Power & Light District – a FREE SHOW, and we’ll probably play our set around 8 pm.
    In other news we heard from Nate (Bike) this week.  A Bike song is featured in the film “Out On The Dance Floor,” which was edited by our friend Mike Laan.  Congratulations, Nate!  He also mentioned he’s working on music again, and I’m mega-looking-forward to hearing it.
    Projects:

    I played drums with The Sleepover last weekend at the Slowdown in Omaha, and we had a riot.  I hope it’s not the last time I get to rock with Cory, Jamie, and Sarah.   We’re talking about how to get their record made, and what role I might be able to play in that.
    “There is Something and not nothing” – No news.  Matt and I need to track the remaining drums (4 songs, I think) and then I need to edit drums and mix/master.  Artwork for the CafePress version is almost done and looking great.

    “Songs of -h” – Thanks to everyone who gave a gift to St. Peter’s 2008 house-building mission trip and received “Songs of -h.”  I still have about 25 copies available; feel free to contact me in the comments.  I will send all future gifts to our partner organization in Tijuana, AMOR, to help them continue serving local families.  Photos of the trip are here.

    Fifty Bears in a Fight continues steadily, but slower than we’d like.  Tim is in Lincoln working on recording the second draft of vocals for the first batch of eight songs.  In KC Matt, Drew, and I have four new jams ready to demo and two or three more that just need a bit of polishing, plus a ton of ideas.  We practiced together for the first time in nearly a month this week, and it was hard to believe how easily we found our groove and started tearing stuff up.  When we get this Fight off the ground, we’re going to melt faces.

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  • The Flaming Lips at Wakarusa, Lawrence KS, 6 June 2008

    Sorry for the late post – I’ve been preparing to go to Tijuana with five close friends and a bunch more to build a house for a family there with the partnership of Amor. -h

    Jill and I tiptoed away from our post at the Friends of the Kaw River beer tent just in time to see the Lips on the main stage at Wakarusa Friday night, resolving a chord of mine that had hung suspended for nine years.
    The winter of 99-00 after “The Soft Bulletin” had come out, Wayne Coyne & Co. toured through Lincoln NE. Advertising for the Knickerbocker’s show wasn’t consistent; some posts listed the admissible ages as 18 & over, some as 21 & over. Charles and I called the club and it sounded like we, as 18-year-old seniors in high school, would be able to get in. We drove through a light snow and arrived at the door with only hoodies for warmth (the club was notoriously hot inside) and were told that we couldn’t get tickets yet, but to hang around in case some were made available. In retrospect I’m sure the club was near a sellout at the 21-and-over level and didn’t want to sell tickets to kids who couldn’t buy drinks if they didn’t need to. We froze in the doorway for an hour; Wayne walked out, and back in; and after pleading our case one more time it became obvious we weren’t going to see The Flaming Lips that night.

    Weather last Friday couldn’t have been more different than it was for Charles’ and my attempt. The Kansas City spring humidity (!) lifted, a breeze circled the crowd, and it was gloriously perfect to be outside with a bunch of young hippies.

    Following a spot-on space rock introduction the Lips meandered through cuts from their past three records including “Free Radicals,” “Yoshimi Battles the Pink Robots Pt. 1,” “Race For The Prize,” “The Yeah Yeah Yeah Song,” and “The W.A.N.D.” We sang along enthusiastically, but not with abandon; we maintained appropriate Midwestern reserve. Between songs Wayne gushed about the greatness of Wakarusa, the importance of love, the political significance of the ritual of rock music, and his vision of a day when the Ceremonial Bugle is only needed at Flaming Lips shows, not funerals.

    Somewhere in the middle of that long moment I realized that my heart makes a theological response to The Flaming Lips.

    It takes incredible love to make pop music out of:

    Do you realize that you have the most beautiful face?
    We’re floating in space?
    That happiness makes you cry?
    That everyone you know someday will die?

    And instead of saying all of your goodbyes let them know
    You realize that life goes fast
    It’s hard to make the good things last
    You realize the sun doesn’t go down
    It’s just an illusion caused by the world spinning round

    Or:

    If you could blow up the world with the flick of a switch
    Would you do it?
    If you could make everybody poor just so you could be rich
    Would you do it?
    If you could watch everybody work while you just lay on your back
    Would you do it?
    If you could take all the love without giving any back
    Would you do it?
    And so we cannot know ourselves or what we’d really do…

    With all your power
    With all your power
    With all your power
    What would you do?

    The lyrics don’t even come close to capturing what happens when this love is chanted over freakishly fuzzed-out guitars and intergalactic synthesizers while aliens and construction workers dance and Wayne fires streamers and confetti into the crowd with a shotgun-like launcher device.  It’s transcendent.  It’s egoless.  It’s a pause from everything in life that separates us from ourselves, from each other, and from Infinity.

    It’s fun!  It’s beautiful.

    It’s no wonder I bring my theological lens to bear on it, but I don’t mistake my point of view for what is actually happening.  Weird as they might seem on the surface I love The Flaming Lips for their music, their questions, and their sheer courage to have a concrete vision of where this world could go when it would be much cooler and more indie to snark, posture, criticize, and remain aloof and uncommitted to anything anybody might disagree with.

    See them if you ever have the chance.  They’ll show you what they’ve found at the depth of things, and you may not walk away the same.  -h

    Catch me on drums next Friday night June 20 with The Sleepover in Omaha, NE at The Slowdown.

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  • Bands of -h

    I’ve had cause over the past couple weeks to attempt explaining my various bands, projects, and recordings to an audience that’s been mostly out of the loop since howie&scott’s signs.comets. We determined quickly that a flowchart of sorts was needed, and it was interesting enough to put together that I thought you guys might dig it too.

    PRIMER: Bands of -h

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  • They Might Be Giants at the Beaumont Club, 23 May 2008

    Any conversation about They Might Be Giants starts for me with a memory of seeing them with Tim, Rebecca, JT, and Bluebird of Friendliness knows who else six or seven years ago at the old Royal Grove in Lincoln, NE.
    It was a strip club.

    Not during TMBG, though!  The venue regularly held rock shows, then clear everybody out after the music and switch over.

    It was the James K. Polk tour, complete with light show, confetti, bunting and Polk banners.  The Band of Dans killed.  Linnell gave me a masters class in surliness, while Flansburgh rocked. out. on. the Telecaster, lifting it high for anything remotely resembling a big riff, roaming the stage with his wireless mic and stand, and tearing into his background vocals with an enthusiasm usually reserved for the showiest of show choir members.

    Happily, not too much has changed.

    Jill, Doug, and I were thoroughly rocked by the Giants’ set Friday night.

    Kudos to the Beaumont for starting yet another show on time; this is becoming quite the habit over there.  And the sound was solid, with the exception that Flansburgh’s vocals were a little buried.

    TMBG’s current incarnation is a stripped-down, loose outfit that reminds me of nothing so much as early Elvis Costello.  Their set spanned their entire career, including the expected highlights from “Flood” and a few selections from their recent children’s albums (“Seven”).  Flansburgh joked (At least I think he was joking) that the band doesn’t rehearse for their children’s gigs (they had one Saturday) except for onstage at their adult shows.

    Given my history with the band, hearing the phrase “adult shows” from the stage was extra-special.

    TMBG gave us a few surprises, including a masterful acoustic guitar introduction to “Istanbul,” a noisy, deconstructed interlude in the middle of “Particle Man,” Flansburgh introducing the members of the band…  twice…  and a pleasantly ramshackle version of “Fingertips.”

    If you’ve ever been a fan of the band, or think you might become one, catch them on tour.  They don’t disappoint. -h

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  • Songs of -h Desktops

    “Songs of -h” is still available; mail your cash or check gift to

    St. Peter’s United Church of Christ

    Mexico Trip 2008

    700 E. 110th St.

    Kansas City, MO 64131

    and we’ll use it to build a house in Tijuana this June for a family that needs one. In the meantime, check out these desktops!

    SongsofhWallpaper1280.jpg

    800×600 1024×768 1280×1024

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  • Catastrophe Chili

    • 5 cans of beans (I use 3 black / 2 red kidney.  You could also use chick peas, etc., and/or the equivalent volume of dried beans prepared according to their instructions)
    • 3 cans of diced tomatoes (Or the equivalent of fresh tomatoes… I’m guessing 12-15 romas, roughly chopped)
    • 3 granny smith apples, grated (in a food processor or on a cheese grater)
    • 2 medium to large onions, whatever type you like
    • 1 small can of chipotle peppers en adobo, blended/processed
    • 1 head of garlic, peeled and crushed (or less/more, to taste) (Lately I’ve been smashing each clove with the back of a knife, removing the skin, and just throwing it in whole.  When it’s crushed well like that, the flavor will penetrate the whole dish, and it’s OK and not overwhelming to eat the whole clove.  Or, you can chop them up.)
    • Optional:
      • chopped celery (optional, but recommended. 0-5 ribs, depending on how much you want to cut the heat of the chipotles), grated carrots, more hot peppers, bell peppers, barley or bulgur wheat, TVP or other veg protein… use your imagination!

    In a BAP (Big Ass Pot), brown the onions and garlic (and celery/extra peppers, if you’re doing that) in olive oil.  When you get some good browning happening, make a hot spot at the bottom of the pot (push the onions aside, maybe add a pad of butter) and add the apples (and carrots, if you’re doing those) for just a couple minutes.  Make a hot spot again (no oil/butter needed) and add the blended/processed chipotles, just to let them bloom for a minute.  Add the tomatoes, give them a few minutes to bloom/reduce (especially if using fresh tomatoes), then add the beans.  Simmer for as long as you like, add any final spices you like (cumin seed, Mexican oregano, hot sauce, salt if needed).

    I add a shake or two of salt at every step, so by the end, you shouldn’t need much, if any, additional salt.

    You can serve it with crackers, popcorn, rice, crusty bread, veggies & dip, etc.  Garnish options: sharp cheddar, cilantro, fine-chopped onion, green onion…

    A bold dose of cinnamon in a bowl of this chili will take it in a completely different direction.

    * Updated 29 Oct 2012

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  • NEW! Furious Instance

    I just posted The Sleepover’s “Built For It,” from their obnoxiously long-titled EP, below as our twelfth “Furious Instance.”  We should do more of those, it’s a good idea; a home for all the stuff that doesn’t have a home on a proper release.

    (The streaming version is also up-to-date)  -h

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  • The Sleepover Profiled in GroundZero

    Cory, Tucci, Brock, and Sarah’s band The Sleepover was profiled in this weekend’s GroundZero entertainment section of the Lincoln Journal-Star.

    Way to go, kids!

    “I think it (The Sleepover) kind of sits in between Shacker and Robot. We have songs that are more driven and aggressive and then we have other songs that are really mellow and just really beautiful,” Tucci said. “I think we have a nice, full sound compared to some of the other bands that Cory and I have been in, where it’s been kind of lopsided sometimes.”

    The Sleepover’s sound is a little bit pop and definitely rock, but there’s something about it that blends the two together in an obvious way, but not so obvious that you can give it a name.

    “I like to be a little bit edgy. Not Prince edgy, but you know what I mean,” Kibler said.

    They play Sunday night at Box Awesome, 815 “O” St., Lincoln NE, 18+, $5.

    MFR will post their song “Built For It’ to Furious Instance… soon.

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  • Songs of -h

    MFR024-300-SongsofhCDcircle.jpg“Songs of -h” is a limited edition CD compilation of howie’s best music, selected with the help of MFR listeners. There are 100 copies, and this release will not be distributed digitally.

    The compilation features three exclusive tracks:

    • A new acoustic recording of “Major & Minor,” made especially for “Songs of -h”
    • “Stop Walking (live),” an unreleased cut from howie&scott’s “Summer’s End” sessions
    • “Set You Ablaze” from Lone Prairie Records’ “Killers in the Nebraska Territory” compilation, never before available on Mr. Furious Records

    In addition to the following tracks, “Songs of -h” comes in a handmade oragami case and includes two pages of liner notes from howie. All copies are hand-numbered and signed.

    The material comes from howie’s MFR output including releases by Sally Ride, echoes, and howie&scott.

    Contact howie via private message on this site if you need anything.  Replies can take several days; I apologize in advance.

    Thanks for your support. -h

    (more…)
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  • Project Update

    1. Songs of -h.  Tim and Jill are helping print & fold the oragami cases and liner notes today.  Make sure to come by 700 E 110th St. next Saturday, April 19, between 10 AM and 4 PM to hear howie&scott rocking out!
    2. I’ve finished vocals for 8 out of 10 “There is Something and not nothing” vocals!!!111  Matt has come over twice to work on drum parts, we have ideas for what he wants to do on most of the songs.  Closer and closer – I’m super-pumped to get this record OUT.
    3. No 5*C action yet, but we have a plan.  I’m anxious to hear what Joel’s been up to.
    4. Fifty Bears haven’t practiced in a while due to schedule-y stuff…  but Tim in Lincoln (of Rent Money Big fame) has recorded vocal ideas over all of our nine demo’d jams, and his stuff is sounding rad.  We’re going to have him down to KC soon to jam with us and talk about the logistics of living three hours apart.  If it’s possible, it’s easier with the vocalist being separate and being able to work back and forth with me in ProTools.
    5. -h
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  • howie&scott SHOW – APRIL 19, KC

    On my way home from evening activities last night, ScoMo called.  His blues band is playing at Blayney’s here in Kansas City April 18 and 19.  Did I want to hang out on Saturday (19)?

    YES.  And it just so happens that I am playing an acoustic show that afternoon.

    howie&scott at the KCSPUCC Craft Fair

    10 AM – 4 PM (MAP), Saturday, April 19

    Kansas City, MO, US

    We’ll be playing off and on throughout the afternoon, tightrope-walking with no net.  We will play songs Scott has never played before.  We’ll play songs you’ve never heard before.  We’ll (attempt to!) play old stuff.  It will be fun.  If you’re around at 4, we can go have dinner together and hang out.  If you need a place to stay, I can probably help with that.
    This will also be the release of “Songs of -h,” AKA the “howie comp.”  “Songs of -h” has fourteen of my best songs released on Mr. Furious Records, including several of your choices (the acoustic “Open Columns,” “New Slow Sea,” and “The Picture Song”).  It also includes three exclusive tracks: “Stop Walking (live)” from the h&s Summer’s End sessions, “Set You Ablaze” from Lone Prairie Records’ “Killers in the Nebraska Territory” murder ballad compilation, and a brand-new acoustic recording of “Major & Minor.”

    The disc will be packaged in a handmade origami case, and come with two pages of liner notes with stories and background information I’ve never shared before about each song.  I’m limiting the release to 100 copies, hand-numbered and signed.

    I suggest that folks make a $20-40 gift to help send two high-school-age friends of mine to Tijuana, Mexico in June, where we will build a simple but strong house for a family that doesn’t have one.  100% of your gift will go to the trip fund.  The trip cost, including construction materials and AMOR Ministries’ ground support team, is about $1100 per person.
    “Songs of -h” will not be available digitally via Mr. Furious Records, and this will be the only opportunity to pick up the acoustic “Major & Minor” and the liner notes…  ever!

    IF YOU DON’T EXPECT TO SEE ME IN PERSON during April or May, leave a comment on this post with your email address.  I will get in touch with you, let you know how you can make your gift toward the Mexico trip, and get a copy in the mail for you.

    I am mega-excited about this.  I haven’t had my work printed on CDs since “signs.comets,” more than four years ago.  It’s a special project that came about in a sublime way for a great cause.  Thanks for your gifts of friendship, input, songwriting (Cory & Joel!), time, origami (Tim!), listening, and money.

    Full tracklist:

    Songs of -h

    1. Snow is a Bear

    2. J. Cougar Mellensong

    3. Coast & Plains

    4. New Slow Sea

    5. What U Do 2 Me

    6. Open Columns (acoustic)

    7. Tired Chords (live)

    8. Stop Walking (live)

    9. Major & Minor (acoustic)

    10. Set You Ablaze

    11. Back in the Fire

    12. The Picture Song

    13. America Votes 2032

    14. The Last Song

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  • Mike Doughty's Band at the Beaumont Club, 26 March 08

    Jill and I walked into the Beaumont to the strains of lumberjacks playing free jazz.

    (No joke.)

    The exercise was probably another case of Mike Doughty’s band opening for itself (his drummer and bassist are also in official tour openers The Panderers). We hung out in the back and read The Bridge’s interview with The Elders from the pamphlet handed to us at the door.

    The Panderers are the first act signed to Doughty’s micro-label Snack Bar, which makes a lot of sense. Like Mike they play repetitive harmonic progressions with quirky vocal rhythms. Unlike Mike, they are more bluesy / rock and roll, and they are not entirely awesome.

    Jill commented that the crowd was pretty diverse, and not at all dominated by hipsters. Mike’s post-Soul Coughing music doesn’t seem to be that cool; too AAA for the tastemakers. I don’t imagine that liking MD adds an ounce of indie cred in the Pfork circles.

    After snagging the next-to-last Boulevard Wheats in the house (they didn’t have any Lunar), we moved to a perfect spot on the floor and skittishly prepared for haughty melodies and golden deliciousness.

    We would be satisfied.

    From the opening beat and hits of “I Just Want The Girl In The Blue Dress To Keep On Dancing,” Mike and the band shuffled old and new songs together with banter, broken sustain pedals, songs written by four-year-olds, fake last songs, and listening to people yell requests until someone called for the next song on the setlist. The sound was clear and warm, and had good grip. “Apparently, transcendence looks a little like going to a rock concert,” Jill said.

    Mike played the cool, confident professional to his band’s looser, more DIY vibe; there was a halo of giddy guilt glowing over Pete, John, and Scrap, like they’d snuck into a higher-profile gig than they thought they deserved and were getting away with it. The subtle partition had the effect of turning Mike into a sort of subversive crooner, infiltrating a world of NPR-approved indie pop with deconstructed tunes, freely associative poems, and a band that seemed almost punk in this context.

    I loved it. Thanks for a great night of music, Mike & band.

    This morning (Thursday, as I write) I woke up with “Long Black American Car” in my head. Those are the best shows; the ones that are still echoing through you the morning after.

    “Aimless sister, you’re surrounded
    Angel-faced and I’m astounded

    “Easy, cowboy, what’s the rush now?
    She may cleave me like a snowplow
    How sweet you are, how sweet you are

    “In your long, black American car
    And you know just where to find me
    If I don’t know who you are
    You will remind me

    “You will remind me”

    Mike’s lyrical fractured-ness is perfect. It’s pretty impossible to hear straight-up love, or story, or issue, or party songs in this day and age of ironic distance and history-worship/vandalization; rather than succumbing to skepticism as an end in itself, he comes at his subjects sideways, in zigs and zags, and takes me somewhere I need to go by a route that I can fully dig with integrity.
    \\\\

    The KC Star’s review here | Mike Doughty’s band live from this tour (March 18) here

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