Blackout Gorgeous
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Blackout Gorgeous

Band Rock Avant-garde


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This band has not uploaded any videos


The best kept secret in music


"Listen Here: Blackout Gorgeous"

Blackout Gorgeous
Tragic Logic (self-released)
By Jason Harper

Published: Thursday, November 17, 2005

Once upon a time, there was a Kansas City band called Invisible Sea. I saw them at Davey's — a guy and a girl singer (both looked terrified to be onstage) and a keyboard player with a big, black, curly mane of hair who was totally into it but whose instruments were inaudible. But wonders never cease in Cowtown. From Invisible Sea's receding tide has emerged Blackout Gorgeous. The band's debut, Tragic Logic, brings the same lineup (which also includes drums, bass and guitar) but a completely new and ambitiously complex sound, inspired by what must have been a nocturnal, in-studio visit from the ghost of Miles Davis. Now the band is fully in step with the atmospheric electronica of Jeremy "Nezbeat" Nesbitt, and the two singers — Erin Keller, with her disembodied, soulful siren calls, and Tim Wurtz, with his rough-around-the-edges sincerity — sound like they were born to harmonize.
This hefty, 13-track disc is a study in groove and paranoia, mostly down-tempo but heavy on the time changes, a pyramid of ear candy and melancholia. It's one of the most sonically adventurous albums to come out locally in some time.

But, provided the group's core holds together, Tragic Logic is not going to be the band's masterpiece. Blackout Gorgeous has yet to strike a balance between chilling rock ponderousness and more compelling trippy jazz cleverness, which surfaces only at moments. It will also be interesting to see whether Gorgeous has dug itself into a studio hole. Wurtz's simple, elegant guitar is always present and always cool, but the other kids in the band better grow a couple more arms and heads each to pull off these songs live. - The Pitch Weekly

"Review: Blackout Gorgeous,"

By Richard Gintowt (Contact)
Monday, October 24, 2005

Blackout Gorgeous gathers a diverse group of musical personalities from the Lawrence/KC area. Producer Nezbeat is known for his work with local lyricists including Id (with whom he forms Archetype), while bassist Chris Handley regularly gigs with a variety of jam/fusion acts (DOJO, Tanner Walle). The rest of the group includes vocalist Tim Wurtz, guitarist Ryan Wurtz, vocalist/keyboardist Erin Keller and drummer Nick Urbom.

The vibe on "Tragic Logic" is one of stark seriousness, and it requires a substantial emotional investment to listen to the entire album. The band cites cerebrally tinged influences such as Blonde Redhead, Portishead, Radiohead and Head Automatica - a tip-off that traditional pop sensibilities aren't at work here.

Keller's ethereal vocals prove to be the band's calling card, wafting around Wurtz's effect-soaked guitar riffs and the album's pairing of drum programming with live drums. The album's strength is its willingness to let each member explore their various muses - jazz, hip-hop, rock or otherwise (a couple tracks even veer towards Brazilian Tropicalia).
In a landscape cluttered by wannabe emo bands, Blackout Gorgeous is developing a singular sound that only seeks to be true to itself. That alone justifies a listen, even if it requires a little patience.


"Here and Worth Hearing: Blackout Gorgeous ‘Tragic Logic’"

Blackout Gorgeous delivers a debut album of songs made to score movies. “Tragic Logic,” a mix of bittersweet jazzy/electronica songs, is pure mood music to get you through the cloudiest days. Songs like “Prism,” “Soundtrack” and “Myself Again” make it easy to remember intense moments in torturous love stories like “Eternal Sunshine of the Spotless Mind.” Lead singers Tim Wurtz and Erin Keller romance the beats with their soft, lingering voices, creating a variety of moods. “Heir Apparent” calls for a hot bath, “State” has so many dimensions you’ll have to press repeat, and “Fill up the Room” is made for a hip-hop mash-up. — J.O. - The Kansas City Star


Debut Album: Tragic Logic. Available online at:
Blackout Gorgeous is currently working on a new EP. Streaming audio and mp3's available at:, London-based and
Blackout Gorgeous has had airplay and interviews on various college and local radio stations including Kansas City's KKFI and The University of Kansas' KJHK.


Feeling a bit camera shy


Blackout Gorgeous has been playing the Kansas City/Lawrence area for the last four years. The founding members are Ryan Wurtz (accoustic and electric guitars), Jeremy Nesbitt (Keyboards, programmed beats), Erin Keller (female vocals, melodies, keyboards), Tim Wurtz (male vocals, peddle effects and lyric writer). Recently Blackout Gorgeous has been working with Jerett Fulton (Drums, percussion, electronic percussion) of DJNOTADJ and Mixdtape Media, as well as Patrick Thomas (producer of the bands debut album) on electric bass. One of the drawing points of the band is the interplay between the male and female vocals with harmonies and the trading off of verses and melodies. The sound combines rock and melodic electronica, delving into genres all over the spectrum, while blending electronic drum sequences with live drums. On stage their presence is daunting. Erin stands a striking 6ft. tall, often contorted in vocal effort producing melodies that are often operatic and powerful . Tim's demeanor is more of a sedated britpop Morison figure, intensely stomping around stage chanting socially aware yet uplifting lyrics in his rough-around-the-edges style lyrics. "Nezbeat"s long curly black locks bob around the frame of his face as he creates the sonic-scape for Ryans mind-numbing riffs to soar over. Some of the main influences that can be heard in their music are Portishead, The Stone Roses, Stereolab, Radiohead, and Tortoise. Blackout Gorgeous has been appealing to the college radio crowd for years, constantly evolving with the sceene. From shoegazers to hip-hop heads, BG has played to them- and made their heads move. Although the diverse and prolific music sceene of the Kansas City/Lawrence area could keep these kids busy for years, their aspirations stretch a little further. Hopes for bigger distribution and longer tours have them looking for a record label that will be a good home.