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Carey – frequent collaborator of Bon Iver, Sufjan Stevens, Mason Jennings and acclaimed solo artist in his own right – to helm his next album, the two like-minded artists having first met as Carey supported a handful of dates on American Football’s 2014 reunion tour.\u003c\/p\u003e\n \u003cp\u003eWhere Owen’s prior outings were almost entirely performed by Kinsella on his own, Carey brought in some of the Badger State’s finest players to add new flesh to his bare-boned songcraft. Kinsella, as usual, is up front on guitar, vocals, bass, drums, and bells, accompanied by Carey (keyboards, vocals, drums, bells) and such WI musicians as Zach Hanson, who also served as engineer on the record, violist Michael Noyce, pedal steel guitarist\/keyboard player Ben Lester, horns player Andy Hofer, and bassist Jeremy Botcher, all of whom share credits including Bon Iver, S. Carey, and The Tallest Man On Earth. Together the combo crafts an expansive but still grounded backdrop for Kinsella’s candid confessionals.\u003c\/p\u003e\n \u003cp\u003eKinsella has made more than a fair share of records – “I sure have,” he says – so the remarkable fact that this is his first album in a 15-year span releasing music as Owen recorded outside of Chicago and his own circle must have had significant impact.\u003c\/p\u003e\n \u003cp\u003e“I joined my brother’s band in seventh grade,” he says, “and then kept playing in my brother’s bands for the next fifteen, twenty years. Even American Football, that was with an old high school buddy so it was still very comfortable. Taking me out of my comfort zone definitely led to something different.”\u003c\/p\u003e\n \u003cp\u003eLeaving his scene behind offered an array of new possibilities but also opened up a very different emotional response. 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Songs like “A Burning Soul” – a scathing looks at how his dad’s alcoholism has affected his own young family – and the closing “Lost” are haunting and poignant, alighting upon such common themes as love and loss, rebirth and redemption.\u003c\/p\u003e\n \u003cp\u003e“It’s dark on the surface but those are real feelings,” Kinsella says. “For a while I was pretty self conscious about my songwriting. There are Internet memes about how sad I am. I just feel there are enough love songs playing at grocery stores – I can write about darker stuff.”\u003c\/p\u003e\n \u003cp\u003eAn intimate singer\/songwriter album recorded under contemporary circumstances, \u003cem\u003eThe King of Whys\u003c\/em\u003e utilizes progressive techniques, song structures, and time signatures, but Owen’s introspective humanity is timeless. 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You're still coming out of the haze of 2017. Maybe your New Year's Eve got a little crazy, maybe it got a little dark. You're not sure if you're going to actually get out of bed before noon, but you roll over and check your phone, just in case anything terrible has happened while you were sleeping.\u003c\/p\u003e\u003cp\u003eWait.\u003c\/p\u003e\u003cp\u003eWhat?\u003c\/p\u003e\u003cp\u003eCall your best friend. There's a new \u003cstrong\u003eJeff Rosenstock\u003c\/strong\u003e record.\u003c\/p\u003e\u003cp\u003eIn certain circles, this is a pretty fucking sick way to start a new year. And for the rest of us, it's still quite a gift. Because there's this crazy, un-crushable thing about Jeff: He makes you want to believe in something again.\u003c\/p\u003e\u003cp\u003eJeff Rosenstock wrote \u003ci\u003ePOST-\u003c\/i\u003e in a double-wide trailer in the Catskill Mountain town of East Durham, the snow-covered hills surrounding him like a landscape of blank pages. 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