After months of ambiguity, MS MR have finally begun playing live, giving only a slight glimpse into the world of the mysterious duo. Comprised of a woman and man (the MS half may or may not be named Liz), MS MR has released a demo album and a single with accompanying music videos, but that’s about it. Following the example of another rather successful NYC boy/girls duo, Cults, they don’t divulge their identities, they don’t show their faces on press photos, and they certainly don’t grant interview (at least for now). But, really… do we care about all this stuff? No we don’t, all we care about is their music, and the single “Hurricane” has a lot of things to say: a tremendously enjoyable blue soul-pop gem, the song is built around MS’ beautiful melody – the lady has a voice to kill for, with a peculiar mixture of sweetness and severity. In the background, a light and ambient trip-hoppy electronic arrangement work some magic against pounding mid tempo electronic drums. The band is also likely to be originally from the UK, which is possibly where their dream and drone sound originates. They may not be eager to expose their inner workings, but MS MR do have a musical focus to back their secretive attitude. See them at Santos Party House tomorrow June 27 before they leave for a July west coast tour. – Devon Antonetti

Some eight months ago, Grassfight was another new indie band emerging onto the cluttered scene of a broad ‘post-punk’ heritage. Offering a certainly promising debut with “Icon, an EP”, the currently NYC based trio was still facing a tough fight ahead: to break through the endless cast of half-hearted shoegazers and other Joy Division-bred acts around. Mission accomplished?

Yes, sir. As we welcome the first single off their upcoming EP “Icon N.2”, time to give credit where credit due. Effective for one, “Look Homeward, Heathen” blends the ominousness of New Wave revivers like Interpol with the fever of earlier Strokes classics in a tight, most delightfully unhinging cocktail of binary Krautrock-infused drumbeats and string fuzz, the whole led along with an angst-fuelled speed rush by Nathan Forster’s hyper-distorted lead tenor. Progressively, a glacial wall of sound rises from the depths of shivering basslines and tingling guitar riffs, growing denser as the track heads towards its peak in an effusion of minor tones. Upbeat, catchy, and as moreish as a preview should be, “Look Homeward, Heathen” sets the tone for an exciting record to come; sadly though, we’ve got a month to wait until it is released (on July 24th!). – Tracy Mamoun

(Pictured above: The New Riddim)

Ska made a welcome comeback at Davey’s Friday night.

From the looks of the almost-packed house, you’d have thought it never went away. Unfortunately, I missed openers The Uncouth, but arrived just as Kansas City ska group The New Riddim took the stage. The band was promoting the release of its debut CD, Kidnapped, and the mood was celebratory. The band tore through its rocksteady set with a well-rehearsed yet loose vibe. The New Riddim doesn’t play the ska-punk of the ’90s (Less Than Jake, Reel Big Fish), but rather an older, more soulful, less frantic style that owes as much to Jamaica as it does the Motown era of the late ’60s. Caribbean rhythms meet multipart harmonies in The New Riddim’s crossover tribute to this oft-misunderstood genre. Fans of The Slackers and Hepcat would enjoy a set by this homegrown outfit.

The band attacked the crowd with selections from its new CD and was careful to pepper in slower, more reggae-sounding numbers with upbeat tracks. Though boasting multiple vocalists—the horn players give lead singer/organist Daniel Loftus a break now and then—the band broke up the set with the occasional instrumental jam.

A couple selections seemed to get overly complicated, but you could tell the act enjoys pushing the limits of a style that seems deceptively simple. And those in the crowd, many of whom were there to support their friends onstage, didn’t seem to mind. They danced (a few even skanked!) to the bitter end and cried for more, but The New Riddim knows to quit while it’s ahead. I was impressed that the band didn’t go for one more; the temptation to do so must have been intense. Well done, fellas! They set up the house perfectly for headliners Deal’s Gone Bad.

This Chicago act’s annual shows at Davey’s are always a dance party, and this was no exception. I was impressed that most in the crowd made their way back in as soon as the band hit the stage. Similar to The New Riddim, Deal’s Gone Bad takes its cues from classic Jamaican ska via Motown, but the group takes the “stax of wax” idea to a whole new level. Rather than vamping on instrumental ska jams, Deal’s Gone Bad sticks to a 7-inch ethos. Its songs are road tested and efficient. You get a helluva bang from each tune, and usually in about three minutes. We barely had time to catch our breath as the band blasted through its set.

Deal’s Gone Bad’s last full length was 2007’s The Ramblers, but it hasn’t tired of playing fan favorites from that LP. The crowd sang along, and sometimes failed miserably, which resulted in a hilarious scolding from lead vocalist Todd Hembrook. The highlight of the set was the rocksteady take on Otis Redding’s “These Arms of Mine” from last year’s vinyl single. The group’s homage plays genuine rather than clever, and ripped the hearts out of the crowd, which hung on Hembrook’s every shredded word.

The band finished its set, then returned for a short three-song encore and said good night to the sweaty, dance-weary revelers. The audience probably could have gone on, but like The New Riddim, Deal’s Gone Bad is a group of professionals. Always leave ’em wanting more.

–Steven M. Garcia

One of the most underappreciated items on the list of why Kansas City music is so outstanding is its diversity of genres. Kansas City duo Victor & Penny is among those unique bands with their antique pop sound, which includes ukulele, guitar, and old-timey microphones.

Although Victor & Penny are on a lengthy tour all over the country, we were lucky to have them back in Kansas City at Nica’s 320 after a drive-in from a Chicago show. The duo of Jeff Freling and Erin McGrane shared their songs to a full audience, including the 101-year-old “Some Of These Days."

Although Victor & Penny are regular staples in this reviewer’s music collection, there’s nothing like a live show with these guys. After the lovely Danielle Ate The Sandwich made her hilarious mark on the stage, Victor & Penny appeared with the talented Rick Willoughby on bass to melt the ice cubes in the drinks of all audience members. McGrane’s quick wit and amazing antique pop fashion rounded out the duo’s humble command of the stage. And as a special treat for the Nica’s crowd, local musician Barclay Martin stood in on the trumpet sound – sans trumpet – and wowed us for a song.

Victor & Penny are on tour, currently heading through Arizona and will hit the rest of the east coast before returning to Kansas City. The duo’s next performance in KC is at Harry’s Country Club on Saturday, July 28 with Phantoms of the Opry. 

Here’s a video they made called "Way Back Home":

–Hillary Watts

In the intimate video for Frances Cone‘s latest track ‘Come Back,’ it’s hard to say whether she’s finding or losing love. If there’s one thing I’m already sure of after watching the video, directed by Sundance cinematographer Hillary Spera, it’s that Cone has a singular ability to co-exist in several world simultaneously. Her moods shift quickly here between homely intimacy and moody emotion almost at once. Even while pleading for the lover to come back, it’s somewhat unclear if Cone’s missing her boy… if her boy is missing her… if her little girl is missing her mom… no matter. These and other questions should have a chance to be addressed when her new record drops (produced by the great Dan Molad who was behind Lucius’ last effort) later this summer.

See the Brooklyn singer-songwriter’s many moods when she performs at The Studio on July 21st with Ron Pope. – Mike Levine

Baroque pop band Tomten debuted their most recent LP, Wednesday’s Children, last week. It is their second record, the first being 2010’s self-released Tomten.

By and large the group cultivates a musical aura that does not depend upon contemporary indie music tropes. Their sound is clearly and unabashedly linked to the sonic influences of 1960’s and ’70’s pop music – think The Kinks or Big Star for just a start.

Organist, guitarist and lead singer Brian Noyeswatkins steers the ethereal ship through patient, emotive songs that do not waste a single note. Bassist/vocalist Lena Simon, lead guitarist/vocalist Gregg Belisle-Chi, and drummer Jake Brady join him in forging a unique set of delicate but confident tracks on Wednesday’s Children.

The eponymous song "Wednesday’s Children" is an elegant anthem which feels like a folk song that fell out of a dream. This is a consistent characteristic in their sound: each song conjures its own private universe which the listener is sweetly invited into. "So So So" is a great example of a track that puts Lena’s voice on full display; Jake’s subtleties on the set and Gregg’s reverb-laden guitar parts are critical additions.

Wednesday’s Children is available on vinyl and compact disc via Flat Field Records in local record stores and online.

– Cameron LaFlam

 Watch Tomten perform "So So So" below: