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In the wake of the University of Kentucky basketball team's humiliating defeat at the hands of Gardner-Webb last night, I thought this was an aptly named band to feature...
At first I thought, like MOKB, Kentucky Nightmare had some kind of an identity/location crisis. The band is actually based in Bloomington, Indiana, so I didn't know if they were saying they were a nightmare for Kentucky or, like, nightmare badasses representing Kentucky - even though they're based in Bloomington. Sadly after a little research, I found the name derives from a 2001 Space Ghost Coast-to-Coast episode - which, in the end, left me feeling sad and alone again.
I'm over it now, and after listening to their music repeated times, all I care is that they make some superbly melodic indie rock. The band is prepping to release their new album, Take Her Favor, at the end of this month. Stay tuned!
- My Old Kentucky Blog
Kentucky Nightmare, “Take Her Favor”
“Take Her Favor” really showcases how much Kentucky Nightmare has grown over the past year from a loose pop-rock outfit into a fully developed rock band. The songs stand on their own, relying on intricate chord progression and tight vocal and guitar harmonies instead of readymade pop hooks. The strength of the album is the way in which all involved resist the urge to step over each other and create a sort of controlled chaos. “Moving Pictures” opens with a subtle walking bass line providing the path for a three-part harmony that slowly builds into the song’s coda in which Fowler’s drums and Moore’s fuzzed-out solo hold on for dear life as Woodruff’s and Jensen’s voices float over the chaos.
The album stumbles somewhat in its quieter moments, particularly the acoustic harmonizing of opener “See You Dance” and the first half of “Lyin’ and Cryin’” which meanders a bit too long before opening itself up. Kentucky Nightmare works best with a sense of urgency behind the beat and vocals and these pauses are slow patches in an otherwise stellar album.
They perhaps serve as a prelude to the yearning of “Equinox Song” and the album’s final track, “Challenger Song,” which allows Moore to cut loose and unleash a hellacious solo worthy of his southern rock upbringing. The album ultimately succeeds in providing a balance between the rougher edges of the members’ southern and garage rock influences pervasive throughout and the composed harmonies of their adopted Midwestern home.
Doin’ it up like The Source: 4.5 mics - Bloomington Herald-Times Scene
It seems like the public has been waiting for an official full-length release from Kentucky Nightmare, and Take Her Favor is everything that was expected, and then some.
The album opens with the track “See You Dance,” containing their distinguishable sound with an added touch of piano. In comparison to their prior work, it’s easy to tell—right from the beginning—that they have not only tightened their sound, but that some beneficial changes are being made as well. The third track, although it does not fit within the Kentucky Nightmare sound realm, easily is one of the best on the record. Somewhat harder and with a bit more technical guitar work, “Ways of the Gods” ties the album’s sound together.
As the CD progresses, the band throws the listener some older favorites such as “Caroline & I”; an instant love for anyone who’s been to their live shows. The next entitled “Moving Pictures” is just that—a beautiful picture being painted in your mind with a minute long introduction and wonderfully plucked guitar. Its repetitive vocals lead into a catchy vamp and chorus which could very well become another fan favorite.
Two cuts later, Kentucky Nightmare throws the listener a bit of a curve ball with “Money (A Lot).” Consisting mainly of loud, distorted guitars and inaudible vocals, this song seems to split the album in half. It is a psychedelic island within a body of folk rock that doesn’t quite fit with the rest of the record.
Overall, Kentucky Nightmare has created an unbelievable first full-length album—something for Bloomington to embrace.
For more information about Kentucky Nightmare visit http://www.myspace.com/kentuckynightmare, or http://www.kentuckynightmare.net/.
- Cultureweek
Discography
There's Vampires in Them Hills! (LP, 2005), Take Her Favour (LP, 2007). Some tracks are being played by the radio in various parts of the nation (even all over the nation on satellite radio), but who knows which one? Probably "Caroline & I."
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Bio
It happened in lovely Bloomington, Indiana. Summer of 2003. One "Simon P. Moore" had a line on a show in August, and the idea of starting a band called "Kentucky Nightmare" had already been cultivated in his mind by a friend's reference to a Space Ghost Coast-to-Coast episode. He had been writing songs for almost ten years, and was eager to front a band. He joined forces with friends Ben C. Fowler (drums) and Evan L. Farrell (bass and vocals).
Kentucky Nightmare began playing like a good power trio usually ought to: dynamic, classic, and powerful songs with Evan's dancing bass lines and Ben's furious drumming.
The band started playing bigger and bigger shows in Bloomington, with great bands like the M's, Mock Orange, Manishevitz, and Asobi Seksu. Gray clouds were on the horizon, though. Evan, being the sparkling, effervescent fountain of joy and brilliance that he was, was snatched up by Sub-Pop's Rogue Wave for a tour in the winter of 2003/2004, and successively asked to join the band. With what little time they had with Evan between tours, the band optimistically began to self-produce their debut release, *There's Vampires in Them Hills! (2004)* Evan and Ben transformed into a stampede of horses. Simon laced a joint of J. Mascis with some Cream-era Eric Clapton and shredded. But Evan soon was far too busy to continue working with the band.
Simon began writing songs that required two guitar parts, so in addition to recruiting Karen R. Jensen to take the reigns on bass and vocals, he duplicitously coerced David J. Woodruff into playing guitar and singing, as well as acting as art director.
The new Kentucky Nightmare meditated together in the spring of 2005, mixed their blood in a crucible, bicycled to Nashville, Indiana to buy belt buckles and knick-knacks, came back, set the blood on fire, and waited to see what would happen. The results were unanimously satisfactory. The band was rocking more melodic, clever, and crafty songs. The three-part harmonies rose to meed the clouds and taunt them with their cuteness. If this wasn't the internet, one might say they were almost sounding like a really good band. Things, as they say, gelled.
This unit got much more serious--mastering their sound, practicing diligently, playing on the road, playing more shows in town, challenging themselves. They were included on the 2007 Live from Bloomington CD. They placed third in a highly contested Bloomington Battle of the Bands. In the spring of 2007, they began work at Russian Recording in Nashville, Indiana. They heard that Mike Bridavsky could help them produce another album there. They heard right. After excruciatingly enjoyable sessions at Russian, Kentucky Nightmare are ready to release their second effort, *Take Her Favour*, to the world. They are currently playing out as much as possible, rubbing their hands together excitedly, taking deep breaths, and feeling all the beauty as they send out demos, rehearse, write, play, and live out the strange dream that is Kentucky Nightmare.
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