Emblems announced this week that they have signed with the local label Monoblack. The indie pop trio released their most recent album, The Dark Season, back in November.
Philadelphia
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Clap Your Hands Say Yeah Providing an Intimate Sendoff at Ardmore Music Hall Jan. 30
Before their prolific frontman Alec Ounsworth does a two-month long acoustic tour of living rooms all across the country, Clap Your Hands Say Yeah will be throwing an intimate sendoff at Ardmore Music Hall tonight. They’ll be joined by TJ Kong and the Atomic Bomb, who will likely kick off their first show of 2015 by playing some new songs from their upcoming album that was recently recorded with Bill Moriarty. Also slated on the bill is indie folk-rock outfit Birdwatcher. Ardmore Music Hall, 23 E. Lancaster Ave., 8:30pm, $15-$20, 21+ – Bill McThrill
Chicago
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War Elefant
War Elephant is the orchestral noise rock duo composed of Eric Ides Georgevich and David Bearsnake Rahofy. Their sludge filled new album is called Wooly Orizon and it is filled abrasive cosmic explosions of sound.
NYC
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Album review: She’s A Keeper – Westside Royal (EP)
Westside Royal, the new musical offering from She’s A Keeper, is out now on the Internet [the music IRL is at a party on Saturday at Davey’s Uptown, $6, 10:30]. The five new songs wash over with confidence and calm. It’s a professional and creatively successful piece of work that the band has offered up for critical review by The Deli KC.
Upfront, let’s be clear: I like this album. I’d like-button this album, probably, but that’s not the point. After over a dozen streams or so I hear plenty of good stuff, great stuff, and yet—and always—there are compositional choices inevitably worth questioning. Today this will be me, tomorrow it will be someone else, ultimately it is you. There is something really nice about being critical of material that strives for and achieves a certain level of quality. We get to dig a little deeper and talk about the little things, the details. So thanks for the new stuff, guys, and allowing us to pick apart this awesome EP a little. Let’s get into it…
Album opener is “Wannabe.” Great opener. A strong sense of longing in the mood and lyrical content creates magnetism. The music is lively and progressive with great drum work and a really nice piano feature midway. The whole track blossoms and just feels good. The only part that sticks out to me as a missed opportunity is the lack of sonic interest after the piano section. It’s a transitional period in which the band hits a wall (a sequence all in unison) that serves to de-escalate the intensity of the building momentum. What it lacks is some sort of textural context, some color to complement such a straightforward approach. It’s a standard technique and is cultivated by the dynamics of a live show. For a recording it might be more effective to provide a sound to either carry the listener’s attention as an auditory focal point, or as an embellishment to the simple, homophonic texture of the band.
And, of course, once I criticize the band’s use of color I have immediate cause for praise. The second track, “Staying Up” is my favorite kind of song: refreshing, reflective, organic. From the immaculate roll of the opening chord, the music unfolds with elegant gravity. Imagine leaves falling. Jangly guitars fit snugly in a vibrant mix and are accompanied by tasteful and highly complimentary banjo picking. This is one of the most unique moments on the album; Keeper finds a place to reside comfortably and welcomes the listener to a sound of its own. The vocal work at the end is really cool and extremely well done. Because I like this track so much, I wish there was more to bite off lyrically, but I think this is a minor smudge in light of the track’s overall magnificence.
The first tidbit of attitude we get comes immediately with the onset of “I Won’t,” a cool, breezy, kinetic track lushed out quite beautifully. The egg shaker, for instance, is a breath of fresh air. The drums are built logically and done with precision. The dirty guitar would contribute more with a more vibrant tone, maybe more chord definition. But, the clean guitar work is spot-on. I love the tone and the slinky riff that carries the groove and harmony. I am looking forward to experiencing this song live. It seems honed by interaction.
On “Dead Serious” we get the most intriguing literary premise and the lyrics have more color, a wider vocabulary, and more devices. This sort of lyrical craft is a great complement to Keeper’s instantly amicable sonic stylings. We also get a cool, augmented, kinda hypnotic chord structure bringing in some welcomed harmonic struggle in the midst of the album’s overall consonance. The outro feels fresh and playful with that augmented bit making a delicate return.
“Pennsylvania” closes the EP nicely. It’s a sentimental ballad about a far off place, a far off time. My initial thought is a harsh one: Do we need more of these? The track goes down easy… maybe too easy, but again, Keeper does it well. The band stays concise and resists the urge to include a four-minute chant section that helps keep the song lean and honest. Don’t get me wrong, it’s a gorgeous melody and the style is executed with great skill, I just can’t help but wonder if the band could have been a bit more adventurous in its closing statement. I am being quite critical of a track that is, for all intents and purposes, flawless. This is food for thought. Here is a band that has a great following, great instincts and musicianship: Do we have the faith to follow them into unknown territory?
Finally, here’s my dilemma with the piece and the EP in general: while the band packs a little too much sugar in their recipe sometimes, the music ultimatelyleaves a good taste in my mouth. It also leaves me with an undeniable sense of peace and closure. Which, damn it all if that’s not the point.
Overall, it’s obvious that She’s A Keeper is a group of talented musicians who know how to make a solid recording. Due credit must also be given to engineer/producer Joel Nanos at Element Recording, where the project came to life… which is just down the street from what I can only assume is our mutually local liquor store of which the title may have been adopted (my hunch).
Check out She’s A Keeper online and join us on Saturday, January 31, to see them LIVE at Davey’s Uptown with Organized Crimes. Facebook event page.
—Jerad Tomasino
Jerad is a musician and human being local to KCMO since 2005. He studied Music Composition at the Conservatory at UMKC, is a founding member of Golden Sound Records, The Crossroads Summer Block Party, and has been active as a writer/player/producer for bands, including his own Everyday/Everynight (KCMO) and Nifty250 (Omaha).
NYC
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Album review: Hembree – New Oasis (EP)
Music—writing songs that resonate with people, observing snapshots in time, and reconciling emotions in one’s head—can be cathartic and somewhat serious business. Out of a conversation with Hembree singer/guitarist/songwriter Isaac Flynn, you get very little of that. The guy is just really nice. He says early in the conversation that they “want to make fun music.” New Oasis, Hembree’s eagerly awaited debut EP, does just that. In spades.
From the ashes of Lawrence/KC group Quiet Corral rose Hembree. This quintet—the remainder of the QC members after vocalist/guitarist Jesse Roberts departed—took stock of its situation and instead of going their separate ways, they seized—as Flynn tells it, the “opportunity to create something totally different.” Take a liberal dose of supremely fresh Americana and add to it a couple scoops of vintage keyboards and beats and you’re beginning to get the idea.
New Oasis is, from front to back, a journey of gritty and honest vocals, dreamy and ethereal harmonies, beautifully constructed guitar layers, a near perfect rhythm section, and killer keyboards that provide a yin to the roots rock yang. The lyrics come from the heart as well; all drawn from, as Flynn asserts, “my life experience and those close to me.” He fills pages, his mobile phone memo app, and has even inundated the memory in his car’s onboard voice memo storage with lyrics he sings aloud to remember tune ideas that randomly pop into his head.
“It’s like an ‘80s band decided to become an Americana band but forgot to tell the keyboard player,” he explains. Well said.
The feel of New Oasis is poppy but real. Many of Hembree’s musical influences such as Tom Petty, Hall & Oates, and Tears For Fears can be heard, but with a definite modern freshness. Hembree has taken these filters and molded them into a remarkably cohesive sound that literally anyone could listen to and find a slice that inspires them and leaves them wanting more.
The opener, “Whistler,” is a longing introduction that sucks you in with an Alan Parsons-ish vibe and is followed by the hopeful title track, which seems to spell out the bright outlook of this group that—in spite of their losses—sees only promise for the future. “Subtle Step” is a downright infectious number (I’ve had it in my head for literally days) that would be perfectly placed on the soundtrack for Real Genius or Weird Science. “October” is that perfect, lovely mixture of the Americana/synth compound: Equal parts Tom Petty, a wide-open Midwestern twang, and OMD. “Walk Alone” is a modern and somewhat lonely song that belies its outwardly upbeat meter. The hooky and interplaying vocals, dynamics, and immaculate guitar riffs make this one as strong as any cut from the record. “Six Years” closes it out with greater guitar fuzz and an earnest entreat: Meet me on the other side / Where there’s time to learn this life.
New Oasis has focus, it has balance, and it has integrity. My only complaint about the record is that it’s too short. As to Hembree’s goal of making “fun music”? Check that one off the bucket list, guys.
Hembree is:
Jim Barnes: Drums, vocals
Garrett Childers: Guitar, vocals
Eric Davis: keys
Isaac Flynn: Guitar, vocals
Matt Green: Bass
—Jeff Stalnaker
Jeff Stalnaker plays in a local band and can open a beer bottle with his wedding ring.
Hembree will be celebrating the release of New Oasis in Lawrence this Saturday, January 31, at the Granada Theater. It’s an all ages, free show sponsored by KJHK, with special guests Paper Buffalo, Ebony Tusks, and The Phantastics. Facebook event page.
Philadelphia
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Debut Blood Sound LP Available for Streaming & Download
We’ve been waiting for this release. Check out and download the debut full-length album Nightclub from Blood Sound below! This is music to dance your depression away alone in your room in an 80’s teen movie. The band is made up of Chris Jordan (vocals, drum machine, synths), Tristan McKeever (bass, synths), and Vincent Tkac (guitar, synths), and you can catch them live on Thursday, February 5 at North Star Bar.
Austin
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Magic Nanna and Spanking with Glitter (and Beats)
Magic Nanna sounds like a character out of The Mighty Boosh, but is in fact an Austin beat music project by musician Joshua Shafer. This is some of the more playful beat stuff coming out of ATX right now, and it seems like Magic Nanna is more ’bout the bright sounds and funky electronic fun than many of his darker and more moody contemporaries in the scene. I get visions of technofairies dancing about in an LED-strewn forest when I hear Magic Nanna tracks like the excessively well-named "glitter spank" below. Given that one of Shafer’s other projects is called Wizrds Only and the Magic Nanna Facebook calls his music "electronic voodoooooo," I also get the feeling that the man wouldn’t find my enchantment-tinged description too surprising to hear. That being said, the playful electronic whines and bloops and samples in these tracks are fully rooted in hip-hop production, especially in the drums, of which Magic Nanna has an exceedingly diverse pallette he plays with. Joshua is a figure associated with many of the other major beat-scene players in Austin, like Exploded Drawing and Sole Glow Collective, and you can find not only the track below, but also a pretty impressively lengthy database of other Magic Nanna tracks and links to Joshua’s other projects (and that of his talented friends) at his Soundcloud, where he posts often.
Toronto
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OFF THE FLOOR FEST KICKS OFF TONIGHT
OFF THE
Pet Sun
The Flu
Christian Punk Band
Dirty Frigs
NYC
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The “sometimes heavyish Post-Something” of Laughing Fingers
Brooklyn Laughing Fingers‘ bandcamp profile includes the following tags: "rock," "cassette," "death rehearsal," "post-something" and "sometimes heavyish." This represents a wonderful example of how creative types and search engine optimization are not exactly made for each other. But who cares, really, if the post-something duo can produce, in 2014 alone, three intense and beautiful EPs full of sometimes heavyish (but often mellowish) rock that blends roots influences with ambient, slacker rock, and sparse psychedelia. Released as cassettes (we assume) their records are so tight these guys must be rehearsing them to death (hence, they like to jokingly refer to their weekly group meeting as "death rehearsal"). Well, I guess those tags made sense after all… so now you know that next time you feel like listening to "something heavyish" or "post-something" all you have to do is Google it!
Check out "Crutches," streaming below, the opening track from their latest double EP, appropriately titled "Two EPs," and if you like it, check out the rest of their repertoire here – you’ll find lots of good songs.
New England
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Mincemeet or Tenspeed’s new EP “Waiting on Surfing Bird”
Providence producer David Harms has emerged from the local scene with some fuzzy, disjointed, and over all freaky dance music on his new release “Waiting for Surfin Bird.” Along with occasional touring partner and label mate Unicorn Hard-On, the scene is putting out some great Experiemental dance music that rejected tired build-up-drop-breaktown formula of mainstream EDM. Instead, Mincemeat or Tenspeed relies on ear-tearing rhythmic noise, and minimalistic trancelike repetition slowly evolving throughout the track. Mosh-worthy and spaced out at the same time, Something for the whole freaky family! Brooklyn-based Decoherence Records released “Waiting for Surfin Bird” in October of last year, which was an obscenely good month for New England bands. Some of the tracks can be heard here.
-Paul Jordan Talbot
NYC
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ROM’s new video for “Micro”
ROM has released a new video for "Micro," a track off their crooning, sizzling post-punk beauty soda christ. "Micro" is a fuzz-fueled simmer reminicent of The Jesus and Mary Chain with a little romantic twee a la The Pastels. The video shows the band in B+W trying to look serious in a picturesque graveyard, but they’re such happy handsome fellows that they can’t help but smile, and decide instead to go bowling, and play with puppies, before ending their day at the local pub, sharing drinks with other great local musicians, including members of Black Checker and BRNDA. I <3 DC.
You can catch ROM tomorrow night at Comet Ping Pong, where they will be part of the lineup for the Get Lucid! show to raise funds for Say No To Food Waste. Bleached Bones and Galvanize fill the bill at Comet Ping Pong, tomorrow, Friday, January 30th, at 10pm. $12. All Ages. –Natan Press
New England
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Grundlefunk Wins The Deli Readers’ Best of 2014 Poll
Cramming an 8 piece band on stage can be a challenge at times, but it’s fitting for Grundlefunk’s wild party-like-it’s-1975 sound. Radically syncopated hornlines pull us from phrase to phrase and with Marshal Dominguez’s deep pocket drumming, these guys have no issue getting a crowd to move around. With an effortlessly strong alto voice, Nicole D’Elisa provides an engaging front to group while still showing off her rhythmic proficiency and funky sensitivity. For those into improvised music, Grundlefunk’s solos are always loaded with spicy ideas bouncing from player to player. These guys (and a gal) fly around their instruments, with no sign of tiring soon. They’ll be playing tomorrow night at Radio Bean in their hometown Burlington, VT. Check out their tour schedule here.