Gunther Murphy's, Chicago, 1.20.2006
w/ Kris Racer, The Grey Skies Are Sleeping, Sovanski
1. Intro
2. I Can't Wait
3. Crusades & Silhouettes
4. Amber Glow
5. ISA
6. Specific Instance

Pinoisepop 9 @ Bindlestiff Studio, San Francisco, 8.22.05
w/ The Stars Misplaced, David Wong, Brian Miu, Kris Racer, Drive Til Morning, Face On Straight

The Hideout, Chicago, 8.12.05
w/ Volcano!, The Ebb and Flow

AIR (Asians in Rock) Tour @ University of Illinois at Chicago, 4.25.05
w/ Sanawon, Kris Racer
1. Intro
2. I Can't Wait
3. The End
4. Specific Instance

AIR (Asians in Rock) Tour @ Central Michigan University, 4.11.05
w/ Sanawon, Emm Gryner, Kris Racer

Darkroom, Chicago, 4.10.05 (+ Jienan)
w/ The Illustrators

Subterranean, Chicago, 3.17.05 (+ Jienan)
w/ Joel Walter, Maria Photopulos, Enemy Sun

Empty Bottle, Chicago, 11.29.04 (+ Jienan)
w/ Volcano!, Maria Photopulos, Enemy Sun

Empty Bottle, Chicago, 10.25.04
w/ The Handshake, Volcano!, Maria Photopulos

The Tower, Cleveland, 10.24.04
w/ Tora! Tora! Torrance!, Bullet Train to Vegas, The Handshake, Maria Photopulos

Bernie's Distillery, Columbus, 10.23.04
w/ The Handshake, Maria Photopulos

Chicago Asian American Jazz Festival @ Hothouse, Chicago, 10.15.04
Actually, Soundsystem feat. Joel Walter, Maria Photopulos, XYZR_KX, Jienan

CHOP 3 @ Abbey Pub, Chicago, 9.3.04 (+ Jienan)
w/ Chiyoko, Sanawon, Jeff Chan Trio

Andyman's Treehouse, Columbus, 8.21.04
w/ Captain Exploder, Red Dahlia

1205 N Milwaukee, Chicago, 7.12.04
Actual8 Soundsystem feat. Actually Records and Audio8 Recordings

1205 N Milwaukee, Chicago, 3.6.04
w/ The Handshake, Joel Walter, Maria Photopulos

Cafe Bourbon Street, Columbus, 2.21.04
w/ The Handshake, Joel Walter, Jienan, Captain Exploder, Maria Photopulos

Remote Lounge, New York City, 10.4.03
w/ Joel Walter, The Red Wheelbarrow, Serpent Feline, Jeff Chan, Manilo, video by miserychick

Blemish @ Women in the Director's Chair, Chicago, 9.18.03
w/ Jienan, Joel Walter, Serpent Feline, video by miserychick

Endlessism @ Chopin Theater, Chicago, 5.28.03
w/ Warren Lapham, Joel Walter, The Red Wheelbarrow, Serpent Feline, video by miserychick

REVIEWS

Inanomie Op. 221

Imageyenation.com, 11/24/06
I have writers block. I don't know exactly why but it's friggin' annoying. I've been listening to this album all day and I can't come up with a single line to describe how I feel about it. That's right world. I have feelings and I'm gonna let 'em shine! Damn my soul must be opaque cause nothings there people...nothing! Well at least I found this description on his labels website. Let's start here and see where it takes us.

[label description excised]

Sorry...but for some reason I couldn't introduce 'XYZR_KX' any better than his label. Alright...let's try this again. I gotta say right off the bat here that this album, although fairly unconventional in format, is really hot. The composition of the tracks is much more different than most of the music I'm listening to lately. Each track on 'Inanomie OP. 221' is about 10 minutes long and packs a lot of varying approaches to songwriting. I can't say for sure if every type of genre is explored but it sure does sound like it. The album, to me, listens like a musical collage. What's most interesting to me about the songs is how within each track are what could potentially be many individual songs. But they're arranged in such a way as to blend into one another almost seamlessly. Even when the music quiets to a deafening silence, there is still a progressive linear quality to the track that captivates me.

At first, "She Looks Disruptive" is a hauntingly glitchy song with vocals that remind me an awful lot of 'Elliott Smith' and they style in which he sung (which I guess would be his own). The foundation of this track features a solid dance beat with layers upon layers of ambient melodies that fade in and out in order to enhance the sporadic introduction of parts featuring acoustic instruments. The outcome of such thoughtful composition really makes all instruments special whether or not they repeat in a pattern or are present for one measure, or if they're digital or analog. Although most of the individual track components progress with an up-tempo beat the overall pace of the track moves rather slow and leisurely. In the end it ends up being an alluring way to enhance the layering and overall ambience of the tracks components.

"Crusades and Silhouettes" starts off by introducing a light, almost floating melody and field recordings to place the listener in a particular scene or state of mind. From there the song seems to channel 'The One AM Radio' and presents a beautiful upbeat melody with acoustic guitar. Right away, I was drawn to the simplicity of the track. A lot can be said about the simple presentation of a voice and guitar especially when it follows a segment of music that really works to calm the brain and focus on what the ear is hearing. Simply put, the lyrical content is really honest. "You're out of town, away on a crusade. I won't admit how much I miss our days. But I'm dying to know. But I'm dying to know." In my opinion, lyrics don't necessarily need to read as existential poetry in order to express a complex feeling. The verse above is alone, point and case. The song transitions into a rich crunching of instruments that resembles an ominous symphonic experience, which eventually fades and leads the track out.

"Lose Your Voice" begins as a boisterous proclamation full of crashing percussion and whining brass. Then the exclamation quickly stops as if it is taking a deep breath then starts again as a highly syncopated and energetic introduction to what will become a great anthem-like track. Short-lived mandolins accented with piercing cymbals dance on the ear drums but are then quickly consumed with a sweep of decay leading the song into a trancelike mashing of squarepusher-esque break-beats and computerized melodies. The magic of this track is definitely when the beat cuts out, pushing the melody to center stage but then returns as a hot breakdown which ultimately leads the music out. The final moments of "Lose Your Voice" features a conversation between, I think, 3 people. It's an unexpected but interesting end to the album. I could have been just as happy with the way the music ended alone though.

Definitely worth a good listen, preferably with headphones, while alone, in the dark, on your bed (horizontally). - Add-Mmm

Illinois Entertainer, June 2006
Although the melodies at times meander, XYZR_KX (Jon Monteverde, performing under a pseudonymous acronym for "scissor kicks") somehow manages to keep Inanomie OP.221 engaging. The three-movement suite ambles through the lo-fi reverie of "She Looks Disruptive" and semi-ambient noodling of "Crusades And Silhouettes," concluding with the jazz and electronic dance-infused "Lose Your Voices." All in all, it's 26 minutes of satisfying experimentation. - Jeff Berkwits

Giant Robot, Issue #40
One-man band Jon Monteverde includes a cast of contributors in his latest indie-electronica opus, which ranges in sound from metal-machine free jazz to Star Wars droids talking to ambient sounds off the street to what might be acoustic Tropicalia. It's hard to pin down Monteverde into any genre, but the one constant is his vocals. When he chooses to sing, he shows the same delicacy as Ben Gibbard and the same soul as Tae Won Yu. Then he dissolves back into weird instrumentals, leaving you wondering what the hell just happened. Enigmatic yet pleasing. - Martin Wong

Falls Off the Curb, Chump Style

Pop Culture Press, 1/10/06
Normally I ignore the promo blurbs found on an artist's web site, but I want to take this one head on. "XYZR_KX (pronounced 'Scissor Kicks') is Jon Monteverde, Chicago-based Chinese-Filipino indie-rock/electro-pop wunderkind. From his start as the drummer for the dissonant rockers What Now My Love, he has shown a remarkably mature musicality inherent in his work. With his XYZR_KX project, Monteverde redefines the boundaries of the traditional pop song by simultaneously incorporating hushed vocals, serrated guitars, and chaotic beats." Translation: "Jon (by using his street-tag stylee band name) has been making music that no one wants to bother to call him on. We weren't sure what to say about his C64-style beats, poorly recorded vocals and excessively emotional delivery so we figured 'mature musicality' would deflect criticism. We've managed to put critics on their heels by declaring his 'passion' and 'vulnerability' so stick to the indie party line and give this guy a big bear hug, will ya?" Well, I refuse to play that game. This is weak. This is high school party-weak. This is 'needs physical therapy to build up some muscle mass after weeks of bed rest weak.' OK, maybe it isn't THAT weak but it ain't strong. (The ten-minute strum and beat box opus "Road" isn't terrible.) Seriously, the only difference between this CD and the guys who play the open mic nights at your local pub is a sequencer and some extra studio chops. At least the guy at open mic night has less to drag offstage when everyone starts yelling at him. Don't worry; he'll still get the sensitive girls who are dying to sleep with him so they'll be on his next album. Ah, what do I know, I'm a married guy in his 30's. I have no idea what it takes to get laid these days. - Boon Sheridan

Giant Robot, Issue #38
Jon Monteverde's musical project is pronounced "scissor kicks" but has nothing to do with New Order's "England," Ricky Martin's "Cup of Life," or soccer anthems of any kind. His music is more like fuzzed-out singing-songwriting with a little bit of shoegaze and maybe even some Prince or The The mixed in. The intensity ranges from indie electro-guitar to full-on rock, but there's always some vulnerability, whether it's the quavering vocals or lo-fi-yet-powerful production. I wonder if this guy needs a group to play live or if he's a one-man band, street-performer style? - Martin Wong

Meat Is Murder, 7/30/05
“Full” disclosure: XYZR_KX is better known to me as Jon Monteverde, friend and musical partner/collaborator extraordinaire. The only other musician who appears on this album is my friend Pete Micek.

“Objective” opinion: Falls off the Curb, Chump Style. is a hard record to pigeonhole, because it merges several different musical styles without resorting to genre hopping. I think that the best compliment i can pay XYZR_KX on this CD is that, like many of my favorite albums it sounds like the realization of a personal musical vision more than an exercise within a particular tradition or school of music.

Which isn’t to say that Falls off the Curb invents a new genre outright. It’s more that it sounds like XYZR_KX is doing his own thing here, confidently and successfully. So what is his thing? The main elements are electronic sounds and freedom, a songwriterly sense of composition, and an early 90s indie rock feel for hazy distorted guitars.

I really like the way that these elements come together. Check out “LUV,” which features an extended introduction with cool crunchy beats and pretty synth tones. This instrumental part goes through several interesting developments and then merges seamlessly into the sound of an acoustic guitar that introduces a ballady vocal section, only to head back to a satisfying electro resolution.

In addition to the synthesis of directions on Falls off the Curb, the other striking characteristic is the vulnerability of the vocals. The singing is sincere, but not melodramatic, admirably able to emote without stage setting and grand gestures. The lack of affect does much for the honesty of the music and singing.

I guess this is the part of the reivew where i have to offer some criticism to maintain my credibility. Well, i suppose that the mix could have been a little crazier in a few parts. "I've Said this Before" has a good rocking beat and a really cool sheets-of-fuzz guitar sound, but i wish that the guitars or the vocals were a little higher to fill up the mix. There's also room for a little more craziness in general on the disc, but maybe i only say that because i've gotten a preview of some wilder XYZR_KX material still in the pipeline, and there's nothing wrong with laid back music.

“LUV” is emblematic of the album’s tendencies towards gentle ballads, epic instrumentals, and hard rockin’. Given the diversity of mood, Falls off the Curb feels like it always has a surprise waiting, and evolves nicely over the course of its eight songs, coming to a reflective close on “Symphoniphics.” This song contains one of my favorite moments on the album, a lonely voice singing, “we’re lost out here in the stars.” An appropriate closing to an album that takes you at least as far. - Chris Sherman

Shredding Paper, July 2005
This album is a tale of two musical entities: one that fancies itself an electronic pop artist with songs that approach the level of accessibility that has made the Postal Service so popular; and a softer side, one fascinated with Trembling Blue Stars/Field Mice-style whistful folk pop. Neither identity is anything amazing, but it's probably worth checking out if the descriptors match up with your tastes; I've certainly heard much, much worse. Oh yeah, and the name apparently translates to "scissor kicks," but I'm not exactly sure how. Jake

Altar Magazine, 4/17/05
Don't be fooled by the jumbled letters. This is not just another punk rock band making skateboarding references in their album title. XYZR_KX (pronounced "Scissor Kicks") is a whole new way of looking at the world of music. The mystery behind XYZR_KX is actually Jon Monteverde, a guy with a vision to transform traditional pop music into his own unique brand of erratic guitars, wispy vocals, and experimental electronics. Others have compared XYZR_KX to the like of My Bloody Valentine, Boards of Canada, Autechre, and Aphex Twin- not bad for someone's first full album. These comparisons beg the question, where do you go from here? Monteverde hasn't backed himself into a corner just yet. With this layered and cacophonous mixture, he's got plenty of room to grow. Full of passion and youth, Falls Off the Curb Chump Style should be put into heavy rotation on college radio stations nationwide. - Stella Leigh

The Cincinnati Group, 2/6/05
This could be seen as a shameless plug since the founder of this record label (or the LabelHead, as he likes to refer to himself, when speaking of himself in the third-person) is a childhood friend of my fiancee, but really, I like the music I've heard from them so far and I think that the idea of starting your own label, for real, is pretty damn cool.

So, with that preface, I nevertheless urge you to check out Actually, Records (yes, the name of the label is as painfully self-aware as you're thinking it is, but that's part of the charm) and particularly their first full-length release, Falls Off the Curb, Chump Style, by the band XYZR_KX (check out the MP3 on that page). It's a solid album, with acoustic, guitar-driven folk-rock interspersed with some nice beats and atmospherics. It's an interesting piece, and I can't wait to get a chance to catch one of the shows that Actually, Records puts on occasionally in Chicago. Attempts thusfar to get them to Cincinnati have, unfortunately, been unavailing. - Michael

Illinois Entertainer, January 2005
Best of Around Hear 2004
Listening to Jon Monteverde, who is XYZR_KX, feels like stumbling across an unreleased My Bloody Valentine B-side or a lost Boards of Canada cassette. There's a timeless simplicity to the heart-tugging indie pop Falls Off The Curb, Chump Style, which is spiked with flourishes of electronic beats and wistful melodies. Essential lo-fi bliss for anyone sick of cloying emo lyrics and cut-up juxtaposition. (Contact: www.actuallyrecords.com) - Joseph Niemczyk

Splendid Magazine, 1/14/2005
If you've been following the latest round of genre hybridization, Xyzr_Kx (it's pronounced "scissor kicks") won't take you by surprise. Jon Monteverde, the man behind this tongue-twisting string of consonants and vowel-alternates, favors a smooth, lo-fi musical blend: give opener "Specific Nature" a quick spin and you'll hear earnest acoustic indie-folk, overdriven power-pop drums 'n' riffs, shoegazer-style blurriness and a relentless woodblock foundation beat that sounds like it was recorded from several rooms away. But don't finalize those expectations just yet; "LUV" delivers a spot-on Aphex Twin/µ-ziq drill 'n' bass blast that downshifts into an ultra-intimate acoustic guitar tune at the song's halfway mark, then transitions back again a minute or two later. The cut's unassuming middle section seems almost unreal, and the fact that the two elements don't mix at all makes the experience feel more like signal drift than a proper stylistic juxtaposition.

"Waltz (For Ankong)" heads into more familiar territory -- it's a languid slowcore sprawl with smears of IDM-derived production, shifting into a more powerful, drum-driven electro-pop hybrid late in the game for a sort of low-budget, over-modulated New Order effect -- and "I've Said This Before" sticks determinedly to a single style, pushing a blustery storm front of fuzzed-out guitars ahead of its streamlined dreampop denouement. And so it goes for the remaining four songs: Monteverde dabbles in quietly earnest folk-pop, narcoleptic electronica, and various points between.

It's a satisfying, relaxing sound, but tellingly, the album's most interesting bits are also the most aggressive: the jaw-dropping power behind "LUV"'s initial percussive ramp-up, the bristling Dykehouse riffs that enliven "Specific Instance", the shimmering melodic haze that settles over the ten-minute "Road". When Falls Off the Curb, Chump Style (great title, by the way) slows down, as it does on "Symphoniques" and "I Can't Wait", Monteverde's singing gets our full attention -- which it probably shouldn't. He's neither entirely on-key nor endearingly off it, and the generally high quality of his composition and production magnifies this fault. Our advice: Monteverde should hook up with a female vocalist as distinctive as his fascinatingly bipolar compositions -- perhaps Bardo Pond's Isobel Sollenberger, or The Eames Era's Ashlin Phillips -- the better to dispel the inevitable, inaccurate Postal Service comparisons. - George Zahora

Grooves Magazine, Issue #16
Chicago-based Jon Monteverde's first full-length as XYZR_KX is a brief, but dramatic 30-minuteaffair, putting Together a strange, dense collage of folktronica, elements of electro-clash, angst-filled teen-pop vocals, and guitar based drone. More passion than purity, more brash than composed, the sound has a definite impatience to it. "Specific Instance" puts together a well-crafted and nervous set of oversaturated electric guitar and drum-kit atop lyrics of self-doubt and sadness, while "LUV" is probably the catchiest track and one that listeners will come back to. Sharp and bouncy, it explodes out of the speakers for the first few minutes, drops back to a soft bit of acoustic guitar and digitally processed singing, and returns to the original melody. "Site Observation" is another funky little number, with subdued keyboard work that is reminiscent of the more sensual side of Mike Paradinas' pre-jungle works. The love ballads "Waltz (for Angkong)"and "I've Said It Before" introduce a definite Manitoba feel to the disc, setting reversed samples and poppy vocals against a tighter electro arrangement. Even without vocals, the Manitoba flavor of "Road" is fairly evident, a 10-minute Epic of guitar-laden ambience that sounds like it belongs in a film somewhere. Hopping from one disparate musical style to another can make a listener dizzy. Still, XYZR_KX manages to keep an impressive narrative going throughout the disc, one of youthful exuberance, innocence, and vulnerability. The material as agreeable as the listener wants it to be. - Alex Reynolds

Can You Feel It? , 11/19/04
Combinations of Letters and Underscores
XYZR_KX - "Luv" Not sure why, but I have always reveled in lovely odd experimental music. Maybe because this genre helps influence and change the current overused trends and whatnot, but then again becoming "mainstream" with experimental music can be a downfall for some artists. XYZR_KX makes a wonderful mesh of beautiful ballads, experimental tones and guitar riffs, with amusing powerful drum machines, thus creating one of the more amazing experimental rock albums in recent memory, if not, the most amazing. "Luv" is the most prominent example of what I just described, beginning with an almost IDM flavored song and somehow manages to merge into a gentle acoustic love ballad near the latter half of the song with a glitchy background to keep you on your toes. Please be on the lookout for Jon Monteverde with music just as odd as his other monikker: XYZR_KX. - dj Mattiepoo