Most of the press around Des Moines band Munk Rivers mentions their self-declared genre “yearncore.” While obviously somewhat tongue-in-cheek, it speaks to the very human emotions that weave through the lyrics of lead singer and frontperson Charlotte Judkins.
Siblings Charlotte and Tucker Judkins started performing as Munk Rivers last summer after they relocated to Des Moines from Webster City. Incidentally, the band name comes from the translation of “Des Moines” which is, “of the monks.” And, yes, they’re aware that there used to be another Des Moines band called the River Monks.
The duo released two singles in February, and then in March they added drummer Izzy Marx and bassist Max Green after seeing them perform at a house party in the Drake University neighborhood. After playing a few shows in town — including xBk, a stage at 80/35 and one in Omaha at The Blindspot — the band started working on and recording their new EP Practice Room (recorded at Girls Rock! DSM with Phil Young at Trilix Studio helping mix and master the songs).
The EP leads off with “Sacramento” which, according to an email from Tucker, was the first song Charlotte wrote when they first moved to Des Moines. Though Izzy and Max are layering a rhythm structure, the parts of the song by the early duo shine through. Charlotte’s vocals ride beautifully over the chugging bright and clean rhythm of the guitars.
Charlotte’s sweetly sung breathy soprano recalls Hope Sandoval of Mazzy Star, who carved a path decades ago for this type of laid-bare personal songwriting. Written right before a gig, “Ceramics” is a beautifully open-hearted song dedicated to Charlotte’s girlfriend: “Know that I amuse you when I can′t help looking around/Crying when the plane you’re on is freaking you out/I could be made of ceramics, honey/If it meant you′d never put me down.” The underlying music is a circular loop of guitars, bass and marching drums. The addition of layers of instruments builds to a dizzying crescendo, built on a buzzy guitar solo that runs the song out.
The secret weapon of Munk Rivers is Izzy Marx. She’s the clockwork heart beating behind the songs, oftentimes providing a simple beat like the marching rhythm in “Ceramics.” But, if you listen closer, she brings some really interesting fills and syncopation on songs like “Sacramento.” The song opens with a four-on-the-floor beat and then adds percussion-like clicks and light cymbal rides before blooming into a full kit beat with lots of great in-the-pocket embellishments and fills. The old adage applies here: show me a great band, and I’ll show you a great drummer.
The EP wraps up with the first co-write of all four members of Munk Rivers, “Tunnels Forever” and it is obvious. Each of the members fit into their slots in the mix and Max Green’s sliding bass line takes the harmony lead. The song has a trick up its sleeve in a harrowing, bombastic bridge. Charlotte sings, “I cannot change anything back/So I wait to feel loved like a well-timed attack,” then BOOM. We get powerhouse vocals that we can only assume she was holding back for this. “I can′t hold onto it/I can’t hold onto it/Look in my eyes!/Look in my eyes!” The drums crash, the guitars wail. Necessarily, it’s the last song on the EP and, honestly, I’m not sure how they would have followed that.
Practice Room is a snapshot of a brand new band, fresh off the heels of fleshing out their lineup and gaining visibility amidst a long-standing and vibrant Des Moines music scene. Watching the interviews on YouTube with the Drake Broadcasting System and Urban Plains makes it easy to get caught up in the blush of excitement from the band; lightning captured in a bottle and yearning, I suppose, for the next opportunity to bring their music to the world.
This article was originally published in Little Village’s October 2024 issue.
