Kid, You'll Move Mountains

They have only been together for a few months, but the newly formed Indie band, "Kid, You'll Move Mountains" is trying to make its mark on the Midwest music scene. I caught their show on WMSE(.org) on August 1st. They are the first to admit that they've only been together since April and have only played seven shows, but I've got to tell you, it shows.

Who is the band?
Corey Wills, formerly of the regional "Inspector Owl."
Jim Hanke, moving on after the amicable break up of "Twin Star."
Nina Jones, a classically trained pianist.
Andrew Lanthrum, bassist; formerly of "Troubled Hubble."
Nate, Lanthrum, drummer; formerly of "Troubled Hubble."
Obviously Nate and Andrew are also formerly of Mrs. Lanthrum. (Yes, I said, "Your Mom!")

The world is about yin and yang, positive and negative, karmic balance...so let's focus on the positive first.

Obviously, Nate and Andrew have a connection. The rhythm section is the base, heart and soul of any band. The Lanthrum brothers have the universe in balance, bass and drum working flawlessly off each other. There wasn't a song in the set where the pulse didn't hit, hiss, pop, hop, and stop my heart. Nina was the perfect counterpoint. Her keyboards bounced in, flowed out, and sang a sweet siren's song. The weaver's art has much to learn from her exceptional performance. I wanted to dance. I wanted to dance so badly.

Then karma kicked in. I heard the vocals and it kicked me in the head. Deflated, I just fell. Jim tries and tries and tries too hard. I lost focus on the words, totally distracted and it left me wanting. My feet failed me and the lord of the dance did not appear. So I tried to turn my brain on instead to the lyrics and just found myself wanting, wanting some vocals that matched the energy of the rest of the sound. I waited for the next song, in hope that my desire would be fulfilled. "Shoulder & Legs," only brought a cramp to my dancing legs. Though Nina's counterpoint keyboard had me worked to a frenzy, her vocal counterpoint couldn't match the expectations that her keyboard promised. Jim's attempts to match Nina's key, only made the cramp more painful.

Imagine my relief when they started playing "Old Trust in[on?] Young Youth." This was classic Nate. No beat missed. Great lead-in and perfect pace throughout the piece. I was wishing so hard that the prelude was the redemption of the first two songs of the set. I was weighed and measured and left wanting. As soon as Corey began over-playing his guitar, I lost interest.

Maybe this band will gel with some more gigs. Maybe friends can be in a band and still remain friends. Maybe enemies make good band mates when paired with the right producer. I'm so sorry guys. I'm not feeling the love, the synergy, the gel. Until Jim and Nina can agree on a key; until Corey can become a little less zealous on his strings; until they realize that it's about making the rhythm, counterpoint, vocals, and lyrics matching the mood, they will not capture the pulse, the brain, or the soul of the audience. But good song writing helps. There was not one song in the set that made me want more. Not one lyric that set off the spark in my brain. Honestly, I tried, but was left wanting.

If the universe will balance itself out and if, as mentioned in the interlude-interview, you really are going to be in the same venue with MC Chris, my opinions may be mitigated.

Here's hoping for the gel, but putting none in my hair.