Silicone Prairie

Reviews

Silicone Prairie Vol. II LP

Ian Teeple’s one talented dude. His unconventional guitar work is largely responsible for making WARM BODIES one of the most unique hardcore acts and all-around best bands of the ’10s. NATURAL MAN BAND, his egg-punk follow-up project, stood out in a genre largely defined by its sameness, even feeling somewhat like high art compared to the other records coming out of that same scene due to Ian’s unique, freewheelin’ style of making music. His first record as SILICONE PRAIRIE, a bit of a COVID-era solo-recording extension of what he was doing with NATURAL MAN BAND, saw him expanding his sonic palette, freeing him of some of genre constraints that were potentially hemming in his earlier work. Even through its Pure Guava-esque bedroom pop tape warble, you could tell My Life on the Silicone Prairie was an intricately produced labor of love absolutely brimming with creativity. Vol. II continues this trend—he’s jettisoned more of the herky-jerky punk that he made his bones with, and has replaced it with even more intricate compositions. A track like “Mirror on the Wall” starts out as another breathy WEEN pop number until some jaunty flute melody that wouldn’t sound out of place on a SUFJAN STEVENS track gets layered in, alongside some guitar that sounds like it was pulled from a sped-up version of the ISLEY BROTHERS’ “That Lady.” It’s certainly a unique sound. Overall, the record has more of a jazzy soft rock vibe than the last record, and it reminded me at times of stuff like the SEA AND CAKE’s Oui, STEELY DAN, a new-age infomercial, and even the STEVE MILLER BAND. It’s a record that I truly do have an appreciation for, and in a lot of respects it’s infinitely bolder and more creative than most of the stuff I like. But I have to stop short of saying that I enjoyed the album, because I do not really like any of the things that I reference above (except for maybe new-age infomercials—those rule).

Silicone Prairie My Life on the Silicone Prairie LP

Keeping the Midwestern punk freak flag flying high, Kansas CIty’s SILICONE PRAIRIE arrives with a dense, hooky, high-speed genre-hopping LP mixing elements of the FEELIES, DEVO, synth pop, folk, and even glam rock. This is the work of Ian Teeple from WARM BODIES and NATURAL MAN BAND, but unlike those outfits, SILICONE PRAIRIE takes a bit more work to untangle and get into. The songs are dizzying helium bursts of energy, taking wild turns combining familiar but irreconcilable (or so I thought) genres. It’s kind of an amazing act of dexterity. It made my head hurt at first, but so did PERE UBU the first time I heard The Modern Dance. It truly is one of those records that grows on you and reveals itself after a bunch of listens. I can’t quite figure out what is and isn’t satire here, but it is nothing if not inspired. “Silicone Prairie”—the song, not the band—is hook city, but could also pass for a phased-out- sounding theme to a ’70s sitcom. The song ejects before the two-minute mark and gives way to a folky number that smacks of 4-track lo-fidelity. Then there’s my favorite, “Song for Patrick Cowley,” a tribute to the electronic music pioneer that lacks the ironic detachment of the rest of the record. “Come Away” ends the whole affair on some worn-down cassette bedroom pop. A daring and oddball collection of music. I approve.