The Prairie Cartel – EP1/EP2

When Scott Lucas became the only remaining member of Local H, one couldn’t help but wonder if musical collaboration was no longer his strength. Or maybe he just smelled bad. Interestingly enough, today we find Lucas in a new kind of outfit, much less “All the Kids are Right” and much more “Fuck Yeah that Wide.” They are called the Prairie Cartel, a supergroup of ’90s rock bands out of Chicago. Hailing from delicious-sounding bands like Local H, Fig Dish, and Caviar, Scott Lucas, Blake Lucas, and Mike Willison have joined forces to form The Prairie Cartel. Fabulously industrial, this electronic trio could be likened to a glam, basement version of Nine Inch Nails.

Not so long ago, these guys were just some friends who spun at house parties in their spare time. After playing some of their own material between DJ sets to an enthusiastic reception, the group decided to ditch the laptops and return to their instrumental roots. After creating a considerable amount of mischief and mayhem in the Chicago party scene, the newly formed Prairie Cartel moved on to their next logical venue—the stage. Now opening for electronic greats like The Klaxons, The Prairie Cartel have become the next big thing out of the Windy City. Because you know you’re the next big thing when you get a song on Grand Theft Auto IV.

This dual-EP album, plainly titled EP1/EP2, begins with three takes on the same tune. “Cracktown” seems to be a thinly veiled portrait of Zion, Illinois, or ground zero for Scott Lucas and Local H. The Neon Coyote and Hey Champ remixes of “Cracktown” are notably creative, but the original track is as boring as I imagine life in Zion was. At least it helps us understand why Lucas turned to music—there was nothing else to do. “Burning Down the Other Side” is a definite improvement, with a space-age, ’80s feel that complements Lucas’s raw vocals. The Prairie Cartel’s trippy side comes through on “Lost All Track Of Time.” With lyrics like “traded day for night, black and white for sight,” the track is enhanced by the aptly named “Hallucinogenic Fog” remix.

“Fuck Yeah That Wide” is one of the standout tracks on EP1/EP2, showcasing the raucous energy of the band’s infamous house party gigs. Like one of those gruesome but enthralling traffic accidents, you want to look away but can’t. The distorted vocals and machine-like backing continue to hypnotize on “Keep Everybody Warm” and its Acid Jacks remix, drawing us into the magnificent hedonism that is The Prairie Cartel. Finally, the album includes “Homicide,” an interesting cover of “999.” Despite the obscurity of “999,” Lucas takes this track and morphs it into something raging and carnal. You want a nervous breakdown on the dance floor? You’ve come to the right EPs.

The Prairie Cartel has burst onto the national music scene with a rough but well-crafted debut album. They may never find glory, radio play, or a spot on the Billboard charts, but things are looking copasetic for this young, Chicago band. As Scott Lucas wisely put it, “I just want to be able to have enough people know about us that I can keep making enough money to keep making records. It sure beats working a real job…”

Tagged as: Chicago, Electronica, industrial

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