The Minnesota-based Finnish-American instrumental folk duo Kaivama - performing at the River Music Experience on March 10 - has been around for less than two years, and multi-instrumentalist Jonathan Rundman acknowledges that "the whole band has kind of happened in reverse. We got a gig before we existed as a group. So we had to form the band in order to play the gig."

And its self-titled debut album came out less than a year after the group's genesis - before it had even toured.

Rundman attributes this to demand. The Finnish-American population, he said in a phone interview last month, is small but active, and that audience frankly doesn't have many options when it comes to traditional music from its ancestral home."It's a niche," he said. "We're some of the only choices they have as far as that goes.

"But apart from the demographics, I think it's because Nordic music is really beautiful. I don't say that because we're such a great band; I say that because ... it's just beautiful music. ... It's just undeniably gorgeous music. ... The raw material is wonderful."

He's right, but also too modest. With roughly the same number of traditional tunes and originals, Kaivama is expertly poised between the old and new - aged melodies adorned by modern flourishes. A warm, jaunty keyboard, for example, matches Sara Pajunen's coolly nimble fiddle on opening track "Schottische 150."

Erik Hall. Photo by David Sampson.

Less than a minute into In Tall Buildings' 2010 self-titled debut is a moment that hints at Erik Hall's cut-and-paste method. New vocal lines burst abruptly from beneath the previous ones, as if overeagerly jumping their cue. But the music is so carefully constructed that it's obvious this was a choice rather than a mistake, and the effect in an otherwise patient and gentle song is the understanding of a clear vision behind the music.

The album was crafted over four years, Hall said in a phone interview this week promoting his February 15 performance at Rozz-Tox. "I didn't push it at all," he said. "I didn't work on it unless something came to me, unless I had an idea that I knew I wanted to apply to the music that I was already working on. So it was very gradual."

While the album's gestation period was long by music-industry standards, Hall's composing and recording approaches were particularly unusual. He started out with a backbone - a chord progression or rhythmic pattern - and recorded it for the final product. "That's it," he said. "It's not like a demo. ... Sometimes I have to sit and live with that for a good while before I figure out where the vocals are going to come from, what the song is going to be about, and what else sonically it needs." He added with a laugh: "That can take anywhere from a week to a year."

Wet Hair.For Wet Hair singer and keyboardist Shawn Reed, being experimental is the only thing he can do. "Unless it's weird and challenging, I'm just bored with it," he said in a phone interview this week. "It just doesn't feel important to me."

The surprise of last year's In Vogue Spirit was that the Iowa City band produced a batch of songs that was - for it - downright poppy.

That might seem like a contradiction unless you're familiar with Wet Hair's previous work, or the output of Reed's and bandmate Ryan Garbes' previous noise-rock outfit Raccoo-oo-oon. Pitchfork.com wrote that "in both Raccoo-oo-oon and Wet Hair, Garbes and Reed have been uncompromising in their pursuit of the outer limits. ... That hasn't changed. But with In Vogue Spirit, Garbes and Reed have delivered a more consistent, considered record. Space is still the place, but they've found shortcuts to getting there."

State public-employee pension systems are grossly underfunded in general and are financial time bombs for most states. According to the 2010 paper "Are State Public Pensions Sustainable?", 31 state pension systems will run out of money by 2030 at current benefit and funding levels. (Illinois topped the list, going broke in 2018; Iowa is in better shape than most states, with an estimated expiration date of 2035.)

What's happening in cities across Iowa with police and firefighter pensions, though, shows the flip side - the short-term budget pain that accompanies a well-funded system when investments perform poorly.

In Davenport, the cost of police and firefighter pensions will increase from roughly $3.3 million in Fiscal Year 2010 to $5.5 million next fiscal year and an estimated $6.6 million in Fiscal Year 2014, according to city Budget Director Alan Guard. Over the four-year period ending in 2014, Guard said, the cumulative additional cost is $7.75 million.

In Bettendorf, the cost of police and fire pensions increased from roughly $747,000 in Fiscal Year 2010 to $1.22 million next fiscal year and an expected $1.36 million in Fiscal Year 2014, according to City Administrator Decker Ploehn. Over the four-year period ending in 2014, the cumulative additional cost is $1.62 million.

Deleted Scenes. Photo by Laura Rotondo.

When the quartet Deleted Scenes recorded its second album, Young People's Church of the Air, the atmosphere was "intense and pressurized," resulting in a "doomed energy," singer/guitarist/co-songwriter Dan Scheuerman has said.

In an interview this week promoting his band's February 3 performance at Rozz-Tox, Scheuerman elaborated on those intriguing phrases. To start, the recording period was more compressed than for the band's debut, he said: "We wanted the record to have a moment. Instead of being recorded over a year, it was recorded over more like three months. In that sense, it's more identifiable as one piece of work."

But the time frame was just one factor. "There was a weird vibe going on in the studio," Scheuerman said. Producer L. Skell "is hard to read. So there was a lot of silence and glowering ... . And so we'd go in a direction and not be sure what was going on. And then when things seemed dark and we weren't getting anywhere, everything would sort of snap together and ... [Skell] would come up with one or two really amazing suggestions to focus everything. There was a sense of ominousness to the proceedings, and that I think created a sense of doom. And there's also a bit of doom in the songwriting as well. ... There was a high degree of tension."

Meaningful education reform is always fraught with political peril. By definition, it challenges the status quo. There are also disparate vested interests - from teacher unions to parents to school administrators, districts, and boards. Depending on the approach, reform can be onerous on schools, teachers, or taxpayers (or all three). And, of course, children and their futures are at stake, and by extension so is the long-term health of the state itself.

So education reform is inherently difficult. Consensus education-reform is even more challenging, but that hasn't stopped the administration of Iowa Governor Terry Branstad from trying. Even with Democrats controlling the state Senate, the Republican governor is trying to get his 26-element education-reform package through the legislature this year.

The final proposal was unveiled January 6, and the draft legislation followed on January 11. It has three thrusts: "great teachers and leaders," "high expectations and fair measures," and "innovation." In broad terms, the proposal aims to: improve the quality of classroom teachers (increasing selectivity, allowing nontraditional pathways into the teaching profession, and giving school districts more flexibility in personnel decisions); evaluate student progress more consistently and add new requirements - such as third-grade reading proficiency and end-of-course exams for high-school students; and remove barriers to new educational approaches. (See sidebar.)

Jason E. Glass, the director of the Iowa Department of Education, told the River Cities' Reader last week that some education-reform efforts add too many requirements without the funding to meet them. Others increase funding without accountability. "With this proposal, we're trying to get to the right balance of pressures and supports," he said.

Metal often skates by on aggression and technical chops, and it rarely creates drama. The Quad Cities quartet Helmsplitter, on its debut Storms of Genocide - for which the band will perform a CD-release show Friday at RIBCO - nails the requisite fury and dark majesty while also capturing that elusive elevating quality.

Satellite Heart. Photo by Shannon Colgan.

If you attend a Satellite Heart show - such as January 7's at RIBCO - two of the songs you might hear are "Rock N' Troll" ("Fighting dragons / Killing marauders / Doing things that we thought that we'd never do") and "Pizza Party" ("Even Saddam Hussein like[s] pizza"). Both are irresistibly dumb; the first could be a Spinal Tap cover, and the second could have come from Flight of the Conchords.

Yet before you think that the Quad Cities-based quartet is a joke band, or a one- or two-trick pony, make sure to check out Satellite Heart's full-length studio debut, Become the New, when it's released in late January. It does include the aforementioned live-show staples, but it's also a roughly vibrant rock record filled with hooks and charm aplenty.

Twenty favorite songs from 2011 clocking in at just under 76 minutes, roughly sequenced. No apologies for the narrowness of my tastes.

Paris Suit Yourself, "Sometimes." From the flat, stuttering riff to the woodblock accents to the falsetto vocals, this one plays a bit like a parody of Queens of the Stone Age, which itself has occasionally seemed like a parody. But as I've long said about the songs of Spinal Tap: There are a lot of bands that would be proud to have made "Big Bottom" and "Stonehenge." It's such a fine line between stupid and clever, and even when you're on the wrong side, sometimes it works.

Hella, "Self Checkout." Back in 2005, I described the guitar-and-drums duo Hella as a "spastic, manic, lightning-speed instrumental racket, equal parts math rock and free jazz, calculation and improvisation ... . It's strange and arresting, and - shockingly - instantly accessible if you keep your mind and ears open." Thankfully, not much has changed. The secret of Hella generally and "Self Checkout" in particular is its violent lyricism - the feelings and wordless narrative crafted in the context of the din. As you might expect, there's anger and frustration, but joy sneaks through; you can almost feel the exuberance of creation and the rush of nailing it.

The Envy Corps. Photo by Seth Warrick.

The Envy Corps sell a T-shirt that proclaims the Iowa- and Nebraska-based band is "Radiohead for Coldplay Fans."

Vocalist and bassist Luke Pettipoole said in an interview last week that he came up with the idea with his tongue in cheek, and that he's been surprised how receptive fans have been. "People really seem to enjoy it," he said. "I don't know if they're making fun of us, or we're making fun of Coldplay, or what."

But it's possible there's no mockery involved at all. After a one-record stint on major-label imprint Vertigo (which released 2008's Dwell), the Envy Corps returned this fall with the self-released full-length It Culls You. Beyond the way Pettipoole's phrasing and frequent falsetto bring to mind Thom Yorke ("I sing the way I sing," he said), the album sounds like the child of Radiohead's Hail to the Thief - and in the best way possible. Spacious yet full, odd yet alluring, the parentage is obvious but It Culls You never feels like you're listening to a clone. If Coldplay figures in, it's in the way the Envy Corps favors accessibility over alienation.

Pages