Paul Cary makes raggedy, broken music. His guitar sounds are dirty, distorted and low-fi. Drummer Johnathan Crawford sounds like he’s banging on a briefcase. Cary’s nasal voice puts the mixer in the red, surrounding every accented syllable with a cloud […]
Paul Cary’s last album Ghost Of A Man was a go-for-broke alley brawl of a record: It was sparsely arranged, emphasizing Cary’s voice and guitar. His newest album, Coyote, adds a full band that includes Russ Calderwood’s bass and Adam Penly’s greasy, distorted Farfisa filling much of the aural space left open on Ghost. […]
Iowa City has been pretty quiet over the past few weeks. That tends to be the case when a big chunk of the population migrates to Chicagoland (or wherever), and another chunk goes into hibernation. We all must accept the […]
The second night of the Firecracker 500 was way less suffocating in terms of heat and the crowd, which made it significantly easier to get into the serious ear-pounding musical delights pouring from the speakers. I was able to make it to the Blue Moose for a few bands, wishing I had the energy and ability to stay for the whole damn shebang. For those of you who have been present for the entire festival, you have my respect. There has been a lot going on upstairs at the Moose, and all of it has been smooth as silk. The musicians, organizers and Blue Moose employees deserve a pat on the back for quick set changes, great sound and ice cold beverages all around. […]
Paul Cary’s nasal squall of a voice–familiar to fans of his former Iowa City band The Horrors–is irresistibly rough. And on Ghost Of A Man, the vintage microphones and elderly spring reverbs turn his voice into something that exists out of time. It’s as though he was the guy who got thrown out of Sun Studios in the ‘50s for smoking up in the bathroom.