Distant Ties CD Review

October, 2011

We All Have To Grow Up… Kinda
By: Billy Kirland

I talked to an established Hollywood screenwriter about a month ago. He looked me in the eyes and said, "If there's one piece of advice I could give you, kid, don't try and write a coming of age story. They're a dime a dozen. Everyone has one and thinks his is more special than the other guy's."

Ouch. I had to scratch through at least half the ideas I have in my tattered and frayed notebook. When you are 22, most, if not all, of your ideas for stories have something to do with growing up. It seems natural to want to describe your own coming of age.

Sometimes an attempt to describe a strong feeling or transformation in your life falls short in one artistic medium. One medium that always seems to hit the right chord on this subject--all pun intended--is music.

We all have to grow up at some point. 24*13's new Distant Ties album is a true testament to how far the musical quartet has come. It seems like a long time ago when Josh McGowan, Jack McKee and Kevin Kirland first recorded The Way EP in a downtown Chicago studio. Erin Egan, the newest band member, is allowed to come into her own during this album, especially in songs like
"So Many Ways." Her harmonies with McGowan are fresh, crisp, and at times, bone-chilling.

Woody Harrelson once described a grown-up as "a child with layers on." In this new album, 24*13 manages to keep the same adolescent energy that they've always had. Now, however, they are able to channel that energy into an adult sound. That's apparent in the album's first track, "Revolution of Mine." McGowan has always been a thoughtful, talented lyricist. He has now
become an expert delegator too. Revolutions aren't won alone. The band's front man makes some space for Egan and she fills it brilliantly. Sign me up for the revolution. I love the new sound.

At 22, life can go “So Many Ways." This nice, upbeat song reminds older audiences what life felt like when it seemed like everything and anything was an option. It helps those of us still in McGowan's position put words to our feelings. You've got to love the way the piano is used here. This song has a BoDeans' carefree energy.

McKee, the drummer, sets a nice walking tempo in "Purple Winter Sky." Over the years, McKee has always looked like he was having the most fun out of anyone in 24*13. He channels Keith Moon's affable naivety. In this song, McKee shows us how attuned and committed he is to the band's new sound. The song is an ode to times where taking a walk seems like the only way to properly reflect on the past couple of years. Pop in your headphones, take a walk and I challenge you to tell me you don't feel better listening to this tune.

Not to be outdone, Kirland reminds us he wants in on the action in "Won't Miss This Train." It's almost like he flipped his bass, plopped it on the ground and decided to play it standing up, jazz-style. His bass line feels like someone kicking against the train tracks, proclaiming that he won't miss the train for the life of him. Kirland helps draw the line in the proverbial sand. McGowan has always written good blues melodies. "Train" is a blues and jazz transfusion. It's a perfect mix of piano, blues guitar, bass, and subtle percussion.

"The Seafarer" is a modern, updated version of one of the band's old favorites, "The Wordsmith." With respect to "Revolution of Mine," I would have to say this song has the best lyrics on the album. It's one of those melancholy songs wrapped in a catchy chorus. The song talks about when we run out of chances in life. We take to the metaphorical sea for reprieve, for hope of some relief because "the water sees [us] like nobody else can." The ocean "it never forgets" our sins, but greets us as an honest old friend. This song is sure to be a standout hit on the album.

For all life's trials and tribulations, 24*13 reminds us "Life is a Party" to close out Distant Ties. We forget how fun our best times are when we are going through our worst. Things may change as we graduate high school, then college, then get a full-time job or strike out looking for other jobs. But at the end of the day, a grown up is a child with layers on.

In Distant Ties, 24*13 shows us kids can grow up and sound damn good doing it. Egan proves to be the missing link in this power quartet. Her voice lays out so many ways for our minds to wander. McGowan is on top of his song-writing abilities. He can still shred the guitar when need be too. McKee pounds the drums not only with authority, but with clarity. Kirland kicks the bass along the train tracks and seamlessly gets us from sound track to track.

Coming of age stories might be a dime a dozen. But a good coming of age album is well, ageless. Distant Ties is a great one.

What others are saying about 24*13

Me and 24*13—A band that gets rock n’ roll

Alright, let’s turn down the music for a second. It’s time to set the score straight. I’ve let the charade continue for over three years now. I’ve sat back quietly as a certain band has transformed from a couple of dudes strumming guitars and banging drums to a rock powerhouse under the guidance of manager Jim “Moose” Mckee. I never spoke out when the band played at graduation parties, Edgebrook Fest, then Edison Park Fest. Now that they’ve played at a great rock venue like the Irish American Heritage Center on Chicago’s north side, I can’t keep my thoughts to myself any longer.

It was I, William Edward Kirland, who started 24*13. That’s right, the success of the band is directly related to Santa bringing me an electric guitar many years ago. Granted, I strummed the guitar hopelessly and put it down within a month, but it was during that same time that Josh McGowan—songwriter, singer, and lead guitarist for 24*13—started to learn how to pluck the guitar chords just right. You see, it was my suggestion that Josh and I start a band. I may have not followed up on my end of the deal, but I’d say Josh is doing okay.

I realize I may sound desperate, selfish and foolish, but I must take some credit in the success of this band before it’s too late. 24*13 is going somewhere and I’d like a free ticket to ride on the coattails of their success.  As I mentioned above, Josh and I got guitars at the same time. So, in a way, his tremendous ability to write songs and lead a band could be traced back to me. The band’s bassist is my brother Kevin. His steady hand and uncanny ability to set the beat for each track is phenomenal. I’d have to say it’s also a result of being my brother, so bang—another way I influence the band. Speaking of bangs, Jack McKee—the drummer who channels Keith Moon in each and every drum tap—is practically my cousin. I love my cousins, so naturally I love Jack. That’s three positive influences I have on 24*13 so far. Finally, the trio became a quartet recently with addition of vocalist and piano player, Erin Egan. Erin’s voice puts Janice Joplin’s to shame in my opinion. It’s also my opinion that since Erin is my sister’s best friend, I somehow am responsible for her joining the band too.

Now that my ridiculous argument as to why I should be given some of the credit for the success of 24*13 has come to an end, let me delve into why I think this group of musically gifted young adults is on track to stardom. They’ve got talent, damn it! The band gels together as well as the Chicago Bulls did in the 1990s. Josh is Pete Townshend reincarnated. The kid knows how to write songs that capture the sweet and sour nature of love—and he knows how to get us to sing along. He plays a mean lead guitar with just the right amount of spunk.  Spunk might be a good word to describe new vocalist and piano player, Erin. The only female in the band brings it to the stage every night. She’s got one of those voices that make you stop and think, “God, if only I can sing like her.” She belts out tunes with a rare combination of grace and power.
 
Josh and Erin are a powerful twosome at the front of the stage each and every performance. But let’s not forget the younger kids in the background. I call them kids, but they’re only a couple years younger than Josh and I. Jack McKee—as  I mentioned before—has something Keith Moonish about him. However, he is able to display the cool of The Rolling Stones’ Charlie Watts during slow songs and the enthusiasm of The Foo Fighters’ Dave Grohl when 24*13 rocks out. You get the feeling that if Jack were only given a wooden spoon and a bunch of pots and pans he’d figure out a way to make it work. I always knew my brother, Kevin, would find a way to make it work playing bass. The kid started out on guitar and switched over to bass and it’s producing good results. Kevin provides that powerful, yet controlled boom for the band to layer the rest of its sounds on top. He’s what I like to call the “Final Ingredient” in the delicious recipe that is 24*13.

I’ve heard a lot of people say that the golden age of rock n’ roll is long gone. I beg to differ. Rock is alive and well because it’s in the careful hands of bands like 24*13. Josh, Erin, Jack, and Kevin get what rock is about. It’s not about how big your tour bus or tour plane is, it’s not about celebrity, it’s not even always about the money. Rock is about the music. 24*13 might not be the most famous band around—not yet—but bands like them are the very essence of rock. They create beautifully compelling tunes that we can relate to and feel.

24*13 has a unique sound that’s hard to describe. They can do cover songs—and good ones at that. Their original songs have a new truth to them that I have not heard from any other band. Ask any of the fans that have been to their recent shows and they’ll tell you the band gets better with each and every performance. The rock n’ roll quartet understands the importance of improving over time and they delight in feedback from their awesome audiences. The support they receive on a daily basis from enthusiastic manager Moose McKee doesn’t hurt.

I used to sing “Sweet Home Chicago” with the band at the end of their performances. It’s bittersweet that I don’t get to do that anymore—the band has Erin now and I’d rather listen to her sing. When I set that guitar down a while ago is when I made the choice not to be on stage. I don’t regret my decision because I feel privileged every time I get to see 24*13 play. I told the band’s manager that I’d be happy to be the band’s very own William Miller—the young writer who tours with the fictional band “Stillwater” in Almost Famous—if they ever decide to hit the road.

If the gods of rock n’ roll have any sense of justice, they’ll see to it that 24*13 does tour one day. The world deserves 24*13 and vice versa. I just hope one day I can be remembered as a kid who helped start one of the more influential bands in my generation.

Billy “the Bone” Kirland

If they keep on the same path, 24*13 has the potential to play Madison Square Garden and be on the cover of Rolling Stone.  I’ve had the pleasure of enjoying this band from the beginning.  They started out as one of many high school garage/basement bands.  I've seen them progress from just a drummer (whom I have a particular fondness for) and a bass player, to a cohesive band with a lead guitarist that writes great songs and a recently added new talent in Erin Egan.  This band, like all the great ones, is equally at home with power and subtly.  Their original songs really rock and the songs they choose to cover are always surprising.  This band just keeps getting better and better.  Come see 24*13 and you’ll be guaranteed have your world rocked!!!

Maureen D

When I pull out the battered notebook and review my notes on this band, it becomes apparent that even from their very first show, 24*13 was already transmitting something extraordinary. The dappled sunshine of a forest preserve picnic grove seemed an unlikely setting for this level of potent yet intimate performance, but that’s 24*13: every show conveys the kind of intensity that makes you feel like you’re the only one there as everything falls away but the music and the performers, and yet at the same time you know you have plugged into a band, a community of appreciative listeners, and a spontaneous energy that comes through ever more clearly as the band gains polish and develops more layers of insight, sound, and power. The crowds are growing as the band extends its talents, and for good reason: Josh McGowan pens lyrics that reopen one’s eyes to the world, and his voice can heal a cynic’s heart and send it soaring on currents of hope and belief -- currents borne out by his ringing guitar work, steadied by Kevin Kirland’s bass, and propelled ever forward by Jack McKee’s percussion. With a new CD about to join The Way and Tempted Fate, 24*13 is poised to make the next leap forward, and it promises to be quite a ride. 24*13 puts on a terrific live show, and their recordings reward repeated listening. Catch this band however and whenever you can.

Heather Ingraham

When wearing my 24*13 t-shirt, I receive several questions from poor souls who have not yet experienced the band, my favorite being, “what kind of music do they play?” What’s the word that describes the chills that run down your spine when you hear the intro to Life’s a Party? The word that describes being part of the interlocked swaying crowd for an encore of Jet’s Move On? The word that describes your heart rate rising with the increasing tempo of The Way’s bridge? The word that describes every person's voice being perfectly synced to every word of the Wordsmith? Josh’s lyrics? Kevin’s signature 360? Jack’s pre-show nerves disappearing with every beat of the drum? One word cannot define the indescribable which we have loved since the first show. Long live rock. Long live 24*13.

The number one fan,
Danny Badovinac