The Appleseed Cast Albums (8)
What The Critics Say
After 2006's Peregrine, the Appleseed Cast's rhythm section underwent several lineup changes, and since Sagarmatha's liner notes include members both old and new, it's safe to assume that the album was likely recorded at different periods along the way. Originally intended as an EP, it sounds something like an inversion of its more song-oriented predecessor: While Peregrine only contained several instrumental numbers, here the band switches emphasis, expanding on those instrumentals by crafting an entire album of slow-building, glacial post-rock. It's a shame to see them retreat from that melodically rich, hook-laden former terrain, where they so deftly balanced the best part of their emo roots with the new ambitions they had been cultivating over several albums, but the epic music of Sagarmatha nevertheless maintains a consistently engaging, moody atmosphere -- dreamy, powerfully bleak, and drenched in reverb. Things get off to a weighty start with the first three tracks, all of which feature a similar interplay between evocatively subdued passages and colossally roaring summits, where buried vocals enter late into the fray, if at all, and the steadfast drumbeat is the ever-present guiding light. Some of the finest moments on Sagarmatha are admittedly the ones most reminiscent of Peregrine. The geographic yearning on "The Summer Before," a relatively concise song which forefronts the vocals a bit more, turns the word "Arizona" into a beautifully simple refrain, and it feeds quite agreeably into the sweet little acoustic track that follows. "South Col" exhibits real spirit too, displaying a positively cathartic sense of mystery -- out of tune pianos and all. On Sagarmatha, the Appleseed Cast's music is distant, the few vocals indiscernible yet undeniably expressive, and the feeling of drifting malaise inescapable, which all adds up to an alluring, if at times overly heavy, development in the band's ever-changing trajectory. ~ Ben Peterson, All Music Guide
What The Critics Say
The Appleseed Cast has a sound that you might have a hard time categorizing until you hear someone use the phrase "Midwest post-rock." Then it becomes obvious that that's exactly what they sound like, even if the term itself is really kind of baffling. You have to hear it to understand: the Appleseed Cast's sound is often noisy, but is never just noise; they experiment with weird and unusual production approaches, but you wouldn't call them avant-garde. Nestled within the sometimes dense clouds of guitar noise are genuinely attractive hooks, and their songs often contain puzzling but highly effective contradictions. Note, for example, "Here We Are (Family in the Hallways)," which is one of the album's finest tracks and sounds both chaotically hooky and energetically heartbroken. Nothing can really prepare you for the sonically bizarre "Mountain Halo," but then, the Robert Smith vocal inflections on "February" are every bit as surprising. The instrumental tracks are all very interesting, but with the exception of the excellent "An Orange and a Blue," none is as engaging as the songs, and the one that ends the program takes things out with more of a whimper than a bang. Recommended overall. ~ Rick Anderson, All Music Guide
'Two Conversations'
Release Date 7/22/2003
Tracks 10
Label Tiger Style
See Album Tracklist and Review
What The Critics Say
Appleseed Cast's first full-length collection of new material since the stylistic shift of the Low Level Owl albums (and its first for the N.Y.C. indie Tiger Style) finds the Lawrence, KS-based quintet tightening the screws on its newfound experimentalism a little bit, and jettisoning whatever stocks of emo-ness were still bouncing around in the hold after its re-emergence as "America's Radiohead." While that tag is pretty ridiculous (why does America need its own Radiohead when the real Radiohead is doing just fine?), there is some similarity in the way Appleseed Cast lets its songs unfold slowly, cascade violently, or do both concurrently. Two Conversations actually aligns the group more with 21st century indie rockers like Grandaddy or the New Year -- the entire album is full of those satisfying moments when a hesitant guitar line, meandering organ, and snatches of vocals suddenly unite and break through the clouds into a sweeping melody or crashing, drum-led crescendo. "Hello Dearest Love" begins Two Conversations with such a moment; "Fight Song," arriving halfway through, sets up its second half. Slowcore nods its head throughout the record, defining the loping, lilting pace of "How Life Can Turn" and "A Dream for Us." Christopher Crisci's vaguely psychedelic vocals fit well into the swirling wake of the synths, piano, and plinking guitars guiding "Hanging Marionette," which tempers its dizzier qualities with an upbeat tempo change and more conventional power chordage. "Innocent Vigilant Ordinary" becomes the only tangible link to Appleseed Cast's dormant emo stylings, but its plaintive lyrics ("I want you to know that I'll always love you/And always be your friend"), while fitting of that doe-eyed genre, are delivered in a way that brings to mind the Cure before it does some kingfisher of emo. Appleseed Cast made a sharp, ambitious turn with Low Level Owl work. The confident Two Conversations reveals that the stylistic road it's on now is where it's meant to be. ~ Johnny Loftus, All Music Guide
What The Critics Say
The songs on Lost Songs were recorded by Appleseed Cast in 1998 at a time when the indie/emo band was in an uncertain place. They were in between drummers, and soon after these nine tracks were laid down they found a new drummer and decided to set aside the songs aside and start over. Four years later the group decided to finish these "lost" songs and laid down vocals and some overdubs in May of 2002. Fans of Appleseed Cast will be very happy that the band didn't leave the vault sealed, as these are some fine recordings. "E to W" starts the record off in epic fashion with a wide-screen sound full of ringing guitars and wailing vocals. The rest of the record is not as grand, but it is a step above most run-of-the-mill emo bands plying their trade these days. Dramatic, emotional, and sonically imaginative, Lost Songs is a very solid indie rock record. Other highlights include the near-instrumental "Take," a pretty ballad with some very understated piano and heavily reverbed vocals; the alternately storming and soothing "State N W/K"; and the experimental fuzz ballad "Beach Gray." The whole record has a slightly experimental feel, probably due to the upheaval within the band. It sounds like they are working toward some heavy changes. Casual fans of Appleseed Cast may find this disc less than essential; devotees will find it positively necessary. Fans of guitar-driven indie rock may want to check it out as well. ~ Tim Sendra, All Music Guide
'Low Level Owl, Vol. 2'
Release Date 10/23/2001
Tracks 12
Label Deep Elm
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What The Critics Say
The second installment of Appleseed Cast's Low Level Owl project is just as highly experimental -- and surprisingly successful -- as its companion. Like volume one, it is sequenced like one long track, its individual pieces woven together with samples, found sounds, and tape effects. Volume two contains more instrumental material than its predecessor, which adds to its symphonic qualities; at these moments, the band is reminiscent of Mogwai, building layers of billowing guitars and repetitive motifs to create a hypnotic effect. Other times, there's a druggy drone rock quality to volume two that recalls Spiritualized or My Bloody Valentine. Overall, the Low Level Owl project is ambitious, sprawling, and maybe long-winded, but is loaded with enough beautiful moments and adventurous recording ideas to make it remarkable. ~ Andy Hinds, All Music Guide
'Low Level Owl, Vol. 1'
Release Date 8/21/2001
Tracks 14
Label Deep Elm
See Album Tracklist and Review
What The Critics Say
If one stands back from the mayhem of life around them and will honestly realize what has been done on volume one of Low Level Owl, they will be floored. Here is a band who has, for the most part, orchestrated a symphonic masterpiece and glides effortlessly from one track into another. Odd for the average indie rock fan? Perhaps. Unapproachable? Hardly. Ambience and environment are the keys here. Through a number of experiments and hard work, the band has made a piece that is truly larger than what many people may be able to appreciate. A few drawbacks of the album, however, are to be noted. While the drumming is nothing short of superb, much of the guitar work seems trivial and uncreative. It almost borders on the needlessly repetitive, which leads to another point: It seems as though many of these tracks are almost used as filler. Three minutes of drums played backward is interesting for about the first 30 seconds. After that, it's kind of pointless unless it's integrated into some sort of song. Therefore, out of the 14 tracks, one can see that quite a few of these might possibly be tossed, although the final piece, "View of a Burning City," is hypnotically hallucinating in its drone. Regardless of the few drawbacks, the more this is played, the more there is to find to enjoy. The setting and time put into such a work shows how the whole is easily a sum of its parts. This is definitely not an album to be picked apart song by song. In fact, it seems a shame that both volumes weren't released at the same time. While it might take a while for a listener to realize the full implications of what Appleseed Cast has done here, at the least it's no worse than Mare Vitalis, which was a quality album. At its best, Appleseed Cast might be America's closest answer to Radiohead. ~ Kurt Morris, All Music Guide
What The Critics Say
Like an anthem to the reasons there is even a genre called "emo," Mare Vitalis is a record of pure feeling for people who think a lot, heavy on flow, flowing on heavy. Flow from the equally dreamy and dreary sparseness of long, edgy buildups, emphasized by carefully articulated drumming and unassuming swirls of clean guitar, and erupting into melodic bursts of power and explanation. Christopher Crisci's straining, honest vocals come alive after heart-wrenching musical peaks and valleys symbolized through crescendo and decrescendo as well as masterful use of intensity and lull. The atmosphere is kept on constant edge, and the untraditional rhythmic creations of drummer Josh Baruth make Appleseed's cast signatory. Even more emphatically "head" music than their debut full-length, The End of the Ring Wars, this record illustrates the ability of adults to make music both nurtured and impressive while simultaneously capturing the zeitgeist of hardcore rebellion. Recorded by Ed Rose in the spacious Red House Recording Studio in Eudora, KS, the high-ceilings and big-rock sound notable to his production legacy cater well to this recording, allowing the band's depth and mass to breath and take up every available inch of space. The end result is a captured work of dark beauty, a challenge to fully grasp, but a great starting point in their developing catalog. ~ Nicholas Gordon, All Music Guide
'The End of the Ring Wars'
Release Date 8/11/1998
Tracks 27
Label Deep Elm
See Album Tracklist and Review
What The Critics Say
Although the late '90s saw a surge in bands labeled emo, it seems that the Lawrence, KS, foursome Appleseed Cast somehow broke through the stereotypes and made a name for itself. Sure, the sound on the debut album The End of the Ring Wars may be similar to such flag-bearers of the movement as Mineral or Sunny Day Real Estate, but something that Appleseed Cast does is worthy of a closer listen. What Appleseed Cast does, the band does well. The group is capable of weaving a mournful story on this 11-song disc about a lost love and the quest to get her back; the vocals by singer Christopher Crisci may come off as similar to Sunny Day Real Estate's Jeremy Enigk, and there may be times when one may desire to write Appleseed Cast off, but that is when the drumming starts to become amazing, the stairstep melodies begin to plead their case, and the occasional saxophone solo appears. The tempo picks up on one track, slacks off the next, and returns to something tragic after that. The pattern continues to alter and change and, before the listener is aware, The End of the Ring Wars is finished -- and what has just occurred is a conglomeration of all the things the emo style has become known for. While there is a proliferation of independent bands attempting to make their marks in an oversaturated market, Appleseed Cast has since challenged the style to come to a new level, and The End of the Ring Wars displays the foundation for that argument. ~ Kurt Morris, All Music Guide
