Sing Magnolia Plus 13 More
Two of three principle players in this story, Sahlgren and Gregor, met toiling in the bins of the last good vinyl record retail establishment in Kalamazoo. Joining forces, they kicked around the midwest blowing minds and amplifiers in various musical endeavors, and a great many adventures unfolded in that time but, alas, their paths soon forked. Jaded, heartbroken, and destitiute, they parted ways to explore more esoteric paths. Some five years were spent randomly pursuing knowledge and life experience in the varied realms of country and folk music, noise pollution, elven mysticysm, outsider art, and deviant (political) intercourse. This produced a myriad of unique insights and experiences that left both of them more lost than ever before, unfulfilled and morally bankrupt. During Sahlgren's many travels and travails he met a strange little man named Chris Kolo who'd been playing drums and guitar in a grande variety of punk and cover outfits for beer, coin and enchiladas over the years. They were brought together to round out a synth-punk band that was obviously destined to fail from the get go. This band imploded around a bizarre yet entirely predictable love-quad-rangle, a bottle of home-made absinthe, a set of cymbals, and a complete collection of original Star Wars bubble-gum cards from the late '70s (really awesome). For six long months a quiet, grey calm settled over the Great Kalamazoo Valley, broken only by whispers in winter cigarette sessions and wistful lamentations for a defunct and fondly remembered drinking establishment. Michigan, in the early months of the year, often carries an oppresive air of blight with it's wind. Boredom and restlessness and a hunger for sentiments almost forgotten come to the fore. It was because of this malaise that Gregor called Sahlgren, Sahlgren called Kolo, and Kolo got drunk with Gregor. Reinvigorated, the three united to pursue a mutual love of loud guitars, cranked up tube amplifiers and good lyrics. They are The Rural Electrification Act: endowed with the spirit of early '80s American punk and indie-rock, the pop glory of the '60s British invasion, and a deep reverence for early country and hillbilly songwriting. They persevere and thrive in an American Midwest populated by stoned-out jam bands, poseur punks, and rap-metal acts that seem more interested in how they look than producing quality music. The boys in the R.E.A. know that life is too short to put on airs and write bad songs. These guys care. These guys rock.