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Lara went out to see Minnesota-loving KaiserCartel (Courtney Kaiser and Benjamin Cartel) on May 9, 2009, at the Cedar Cultural Center.
I’m almost certain KaiserCartel (or sometime spelled as Kaiser Cartel) is no more. However, Benjamin Cartel, continues performing as himself in 2014. The last time I heard from him was via his second solo album Flickering Light in 2018.
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NOTE: This event was organized by Minnesota music blog, Culture Bully. They have photos of the show here.
KaiserCartel - Courtney Kaiser and Benjamin Cartel’s history reads like a perfect twee memoir: both are elementary school teachers, both play a handful of instruments (guitar, drums, xylophone, accordion-thing-that-I-am-unable-to-identify, whistling), both dress like gothic country ball guests, both are obviously in love (with each other). It’s almost too darling to digest. If this were an episode of Sesame Street, I would say “Tonight’s concert is brought to you by the letter ‘A’ for ADORABLE.”
I’m getting nauseous with whimsy glee just writing this out.
Saturday’s show at the Cedar was a generation-fest of sorts. The ambience was chill and the crowd was soft, pleasant, malleable…like a delicious loaf of Wonder Bread (ifyouknowwhatI’msaying*). Hip, art school wannabes mingled with real-life senior citizens, sweatshirted couples were seated next to teenagers and their parents; the average age was probably mid-20s to early 30s, but the maturity level was at least a decade wiser. Maybe it was the style of music—a less frenetic brand of folk-pop, tame for children and the elderly—or it could’ve been the venue (the Cedar’s layout is seating room only), or even that the musicians appeared unassuming and also currently clean. Whatever the reason, KaiserCartel’s gentle-cum-hand clap cheer suited the Cedar’s intimate space.
Being only minimally in the know, I wasn’t familiar with KaiserCartel’s interesting use of multiple instruments. The duo may be primarily guitar and percussion, but if their musical bag of tricks is any indication, I’m 99% certain that the goal is amusement as much as it is creative conception (on one song Kaiser pulled out a comically small xylophone and proceeded to play it with an electric drink frother). Besides being adorable, Kaiser’s vocal chops call to mind the iconic female folk singers of past (a less warbled Joan Baez or Judy Collins), by way of “adult contemporary” mellow rockers Cowboy Junkies—the same rich confidence steeped in pop melodies. To be honest, it’s a tad strange hearing a Brooklyn band that doesn’t harness the brash fury of cynical youth and is, instead, somewhat old-timey in their adorations. Live, standout tracks included “Okay” (a semi-sweet duet that touches on imperfect love), “Season Song” (whistling! In key!), and “Shira,” the latter performed acoustic, stripped down, and amongst the audience (complete with the kind of uncomfortable eye contact that unearths years of repressed campfire memories).
As Vu mentioned in his review of March Forth, KaiserCartel loooove Minnesota. They opened for local indie looker/Trekkie/Jeremy Messersmith, who has a beard, a guitar, an Andy, and a fondness for Minneapolis—“Franklin Ave.,” “Light Rail” (yes, we have a light rail; it only has three destinations). More about Messersmith later. Promise.
KaiserCartel is on tour. Check their Myspace or website for information. Their debut LP, March Forth, released in June of last year, is available for purchase through their website or iTunes/Amazon/various e-consumerist hubs.
* Although the Cedar boasts an eclectic mixing of genres, like Irish folk and world beats, the clientele generally veers due White.
I’m almost certain KaiserCartel (or sometime spelled as Kaiser Cartel) is no more. However, Benjamin Cartel, continues performing as himself in 2014. The last time I heard from him was via his second solo album Flickering Light in 2018.
>>>
NOTE: This event was organized by Minnesota music blog, Culture Bully. They have photos of the show here.
KaiserCartel - Courtney Kaiser and Benjamin Cartel’s history reads like a perfect twee memoir: both are elementary school teachers, both play a handful of instruments (guitar, drums, xylophone, accordion-thing-that-I-am-unable-to-identify, whistling), both dress like gothic country ball guests, both are obviously in love (with each other). It’s almost too darling to digest. If this were an episode of Sesame Street, I would say “Tonight’s concert is brought to you by the letter ‘A’ for ADORABLE.”
I’m getting nauseous with whimsy glee just writing this out.
Saturday’s show at the Cedar was a generation-fest of sorts. The ambience was chill and the crowd was soft, pleasant, malleable…like a delicious loaf of Wonder Bread (ifyouknowwhatI’msaying*). Hip, art school wannabes mingled with real-life senior citizens, sweatshirted couples were seated next to teenagers and their parents; the average age was probably mid-20s to early 30s, but the maturity level was at least a decade wiser. Maybe it was the style of music—a less frenetic brand of folk-pop, tame for children and the elderly—or it could’ve been the venue (the Cedar’s layout is seating room only), or even that the musicians appeared unassuming and also currently clean. Whatever the reason, KaiserCartel’s gentle-cum-hand clap cheer suited the Cedar’s intimate space.
Being only minimally in the know, I wasn’t familiar with KaiserCartel’s interesting use of multiple instruments. The duo may be primarily guitar and percussion, but if their musical bag of tricks is any indication, I’m 99% certain that the goal is amusement as much as it is creative conception (on one song Kaiser pulled out a comically small xylophone and proceeded to play it with an electric drink frother). Besides being adorable, Kaiser’s vocal chops call to mind the iconic female folk singers of past (a less warbled Joan Baez or Judy Collins), by way of “adult contemporary” mellow rockers Cowboy Junkies—the same rich confidence steeped in pop melodies. To be honest, it’s a tad strange hearing a Brooklyn band that doesn’t harness the brash fury of cynical youth and is, instead, somewhat old-timey in their adorations. Live, standout tracks included “Okay” (a semi-sweet duet that touches on imperfect love), “Season Song” (whistling! In key!), and “Shira,” the latter performed acoustic, stripped down, and amongst the audience (complete with the kind of uncomfortable eye contact that unearths years of repressed campfire memories).
As Vu mentioned in his review of March Forth, KaiserCartel loooove Minnesota. They opened for local indie looker/Trekkie/Jeremy Messersmith, who has a beard, a guitar, an Andy, and a fondness for Minneapolis—“Franklin Ave.,” “Light Rail” (yes, we have a light rail; it only has three destinations). More about Messersmith later. Promise.
KaiserCartel is on tour. Check their Myspace or website for information. Their debut LP, March Forth, released in June of last year, is available for purchase through their website or iTunes/Amazon/various e-consumerist hubs.
* Although the Cedar boasts an eclectic mixing of genres, like Irish folk and world beats, the clientele generally veers due White.
KaiserCartel at Cedar Cultural, Minneapolis (09 May 2009)
photo by Jon Behm
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