NYC

Album review: Temp Tats – Ions

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Temp Tats describe themselves as “somewhat spastic R&B.” I don’t think a better description of this sound could possibly be put into words. Their debut release, Ions, was released on December 14. In my own words, this album is confusing, poetic, psychedelic R&B. As soon as you get into the groove of any given track, it spins you around leaving you to wonder how you got there. You just sit and groove and try to find the root of the song you were just so into. WHOA. WHAT JUST HAPPENED?
 
The opening track to Ions is “Laser Lites.” Luke Waye’s sweet and smooth spirals are our anchor as we swoon over Eric Schuman’s vocals. “In the most perfect worst way” is the lyric that takes us out of the track over Chris Paul’s psychedelic guitar. Chris nails this sound, not overpowering. It sucks you in and leaves you tipsy. This track, while very good and currently stuck in my head, is not indicative of Ions.
 
The most interesting track, in my humble fan’s opinion, is “Cinnamon Spices.” This track was recorded by the locally famed Jorge Arana. If there is a genre for this sound, he might be the king of it. The track opens gently: Joel Schuman tickles the keys, you prepare for some sweet R&B. Luke layers cymbals underneath. Chris drops out and gives Eric some space for his smooth stylings. Eric takes you away with one poetic, run-on, beatnik sentences that you completely agree with. About halfway through the track, closing the second verse, something happens that changes everything. Wait for it, “no. NO. NO. AAAAAAHHHHHHHH!!!!” Eric lets out a metal wail. What? And that introduces the second half of this track that just turns into a guitar and keyboard explosion. It left me dazed, wobbly, and out of control.
 
My favorite track on Ions is “Slackjaw.” Let me be honest here, because it’s sexy and it makes me feel things. The fusion of every rule they break is so good. I’m exhausted listening to Luke. This track is nothing without his intensity. Joel’s keys seem to be placed just perfectly, they mellow out the magic chaos Luke and Chris are creating. The part that makes me feel things, Eric’s tenor and his lyrics on this track. His I-don’t-care, but-my-heart-is-broken, but “I am counting down the days until the next jailbreak” confidence. Gets me.
 
Fun Fact about Temp Tats: two of the members—Luke Waye and Eric Schuman—were the founding fathers of a little band called Ambulants. Self-described as grunge/jazz, they shared a few shows and a split 7” with the Jorge Arana Trio. That sound still resonates a bit, breaking rules and leaving me a little shaky, but in a much better way. Well done. I cannot wait to catch this party live. I’ll double up on my Ritalin dose when I get home.
 
 
—Jess Barrett
Haver of sweet dance moves and stealer of t-shirts.
 

Your next chance to see Temp Tats will be this Saturday at Davey’s Uptown. They’ll be playing with a host of other KC groups in support of Bernie Sanders. The BERNing Man KC rally starts at 4 pm, with $10 suggested donation going toward Sanders’ campaign fund. Facebook event page. 

NYC

A Q&A with Under The Big Oak Tree

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Under the Big Oak Tree has all the makings of a solid bluegrass/folk collective, from dulcet vocal harmonies to mandolin flourishes and a foundational upright bass line. The trio’s latest album Local Honey—released early this year on Mudstomp Records—showcases these elements in a vibrant, lush sonic atmosphere. Find out more about the group in our Q&A with songwriter Simon Fink.
 
The Deli: Down and dirty: 1 sentence to describe your music.
 
Simon Fink: Rustic melodies; warm, tremulous singing; lyrics that tilt toward the literary: Gillian Welch, Dolly Parton, and Leonard Cohen walk in to a bar—or onto a front porch, maybe… 
 
The Deli: Give me some background info on Under the Big Oak Tree.
 
Simon: About 4 years ago, I answered a Craigslist ad from a guitar player who wanted to start a bluegrass band for his daughter, who he said was learning to sing and and play guitar. From the sound of it, I pictured a guy with a 15-year-old daughter who wanted to be Taylor Swift. They turned out to be two of the nicest and most generous people I’ve ever met (Kristin Hamilton and Rocky Cathcart, who moved to Texas). As I got to know Kristin’s approach to singing, her voice became a great inspiration for new songs and arrangements. We added Doug Ward on bass pretty much immediately, who fit right in to what we were doing and helped expand on it.
 
The Deli: What inspires your music and songwriting? What is your songwriting process? Does one person write everything or is it collaborative? 
 
Simon: I write most of the songs, and Doug contributes too. A lot of my inspiration comes from thinking about the sound and dramatic potential of the group—the voices and instruments. For me it’s all about the meaningful interaction between words and music that, in turn, creates something greater—the alchemy of songwriting. Though I don’t purposely avoid it, I don’t generally write from autobiography. Lyrics, for me, are an heightened kind of language. A lot of my reference points are in (written) poetry, and you can see the names of certain poets who served as inspiration in some of the song titles on the new album.
 
The Deli: What have been your greatest accomplishments as a band?
 
Simon: I think both of our albums are pretty darn good, and I’m proud of them. We still have a lot more to explore.
 
The Deli:Tell us about your newest album, Local Honey. What can listeners expect? What future plans do you have for getting your music out there? 
 
Simon: Expect a genuine singing voice embedded in sweet, rootsy acousticness. People tend to instantly recognize a kind of welcoming wholesomeness in our music. I hope they hear that, and I hope they hear some of the richer, more challenging layers to the songs and ideas as well.
 
We’re based in St. Joe, but we hope to get the word out and play more in KC and Lawrence.
 
The Deli: What does supporting local music mean to you?
 
Simon: I’m not a huge fan of that phrase because it makes it sound like one more grim duty (“Eat your vegetables.”), when, in fact, participating in music—especially “locally”—is essentially joyous and enlivening. There was a well-known ethno-musicologist in the ‘70s who found that worldwide and across cultures, people’s peak life experiences tended to have one thing in common: music. I’m always heartened by the people, especially non-musicians, who feel like they get something out of our shows and recordings.
 
I do worry that many people don’t seem have a place in their life to really listen anymore. When I read profiles of great contemporary thinkers and doers, their response to, “What are you listening to?” is so often a podcast or audio book. The status of music kind of peaked with the Romantics. In the 19th century, it was considered the greatest and most vital of all art forms. Now, music for its own sake (apart from film, TV, commercials, etc.) no longer seems to fit into our lives so well—and yet that’s exactly why it’s still so essential.
 
The music industry is a mess at the moment. But every community needs dedicated, local musicians. Individual fans can help by pitching in to ad hoc crowdfunding campaigns, etc., but it’s hard to imagine a local scene of quality and consequence really being sustained that way.
 
The Deli: Who are your favorite local musicians right now? Non-local?
 
Non-local: Matt Blake, Josienne Clarke & Ben Walker, Birds of Chicago (just heard at Folk Alliance)
 
The Deli: What is your ultimate fantasy concert bill to play on?
 
Simon: Opening for Bob Dylan. Accompanied by the Orpheus Chamber Orchestra. On a tour of great American National Parks. Sunrise and sunset shows. Staging by Julie Taymor. Cloud-scape by Vik Muniz. Free admission and snacks. And bourbon.
 
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
 
Simon: Bob Dylan, Johnny Cash, Robert Johnson, Lou Reed: some of my favorite American songwriters.
 
The Deli: What other goals do you have for 2016 and beyond?
 
Simon: Record some live videos of the band; start a sponsored concert series; collaborate with local musicians on a project of new songs about St. Joe, MO; facilitate a collaboration between the KC folk and classical scenes; get an intern; get our music out to as many people as will listen and win you over as a UBOT fan. Yes, YOU, dear reader. 
 
The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?
 
Simon: I have tried to write paradise
Do not move
Let the wind speak
that is paradise
-Ezra Pound
(mic drop…)
 
 
 
You’re in luck—Under the Big Oak Tree will be playing this weekend in Lawrence. Catch them at The Bottleneck on Saturday night with Kelly Hunt and Kansas City Hustle. Music starts at 9:00 pm. Facebook event page.
 
 
 

—Michelle Bacon 

NYC

Album review: Fullbloods – Mild West

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Fullbloods are back.
 
After their 2013 streaming-only release, Making Face, the band, fronted by Ross Brown (The Empty Spaces, solo work) seemed to go quiet. Until recently, that is. Rocketing out of retirement, Fullbloods brings us Mild West, an eleven-track, forty-minute album chock full of melodic Midwestern surf-rock via High Dive Records. This album marks a departure from their old sound, that funky yet smooth indie music. This album is much more experimental, adding more depth, new sounds, and creative hooks, Mild West is a new Fullbloods.
 
Noodling their way into the first track, Money, Fullbloods fully embody that previously mentioned Midwestern surf rock. The kind of music that you expect to hear exuding from a garage on a 70-degree day in April. It’s punchy, it’s soulful, it’s ironically braggadocious, as much of the album turns out to be.
 
This is the sort of album that you roll your windows down for. It harkens daydreams of cool air and bright sunlight. The riffing of the guitars pushes your car along the boulevard as the light drumming stirs up your imagination. Quirky, inconsistent keys pop in and out, offering a whole new ingredient to the song’s recipe. Sometimes the keys make the songs feel futuristic, such as in “Neverminded.” And yet, at other times, the keys take on an almost extraterrestrial voice, like in “Kind of Gentlemen” and “Anima Mundi.”
 
The album doesn’t truly slow down until the seventh track, “Caught A Feeling.” This song’s haunting harmonies are found throughout the track. The next ‘ballad’ won’t be found until the outro of the album, the final track, “Air Conditioner.”
 
Altogether, Mild West offers up exactly what listeners expect from KC-based High Dive Records. An album that mixes perfectly on a playlist with Shy Boys, The ACB’s, Rev Gusto, and Empty Moon. The album carries a light-hearted vibe with self-deprecating lyrics. Clever and honest songwriting lends itself well to the feel of the album. Mild West is Fullbloods’ best album to date.
 
 
 
—Steven Ervay
Steven lives the agency life by day, and hustles music by night at The Record Machine. If he’s not going to your show, he’s probably playing frisbee with his dog or elbow deep in some chicken wings.
 

Fullbloods celebrated the release of Mild West in KC over the weekend, and are starting a tour tonight in Minneapolis, Madison, Chicago, and Des Moines. They’ll be back in KC on St. Patrick’s Day at The Riot Room. 

NYC

Kansas City Best of 2015 Readers’ Poll Results! Missouri Loves Company, Sara Morgan, and Yes You Are

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The results for our 2015 Emerging Artist of the Year Readers’ Poll are in! We’d like to thank everyone who voted in support of their favorite artists, and a hardy congrats to everyone who made the poll this year!
 
 
 
1. Our 2015 Readers’ Poll winner, Missouri Loves Company (pictured above) brings together six musicians who produce a larger-than-life amalgamation of sound. The band takes a slightly off-kilter approach to its music, accenting dark pop melodies with atypical rock instrumentation (viola, trombone, glockenspiel) and a variety of musical influences. Led by vocals from Margot Gibson—who can dazzle with the style of a twisted lounge singer or an impassioned rock ‘n roll growl—the group showcases jangly jazzy guitar work and blues-inspired grooves that have the potential for broad appeal.
 
 
 
2. In 2015, Sara Morgan won over the hearts of new fans with expressive songwriting inspired by classic country and imbued with a modern accessibility. Since moving back to Kansas City a little under 2 years ago, Morgan has excelled in incorporating a style all her own in her songwriting, and has teamed up with skilled musicians (including guitarist Carl Butler and drummer Duncan Burnett) to back her.
 
 
 
3. Yes You Are has amassed a steady, loyal fan base by creating authoritative, preeminent pop music with a stage show that matches in intensity and vigor. The band is deliberate in its approach, merging infectious dance pop with meaningful spiritual undertones. In 2015, the band had the opportunity to astound audiences across the country by supporting Neon Trees on the first half of their summer tour.
 
 
 
4. Modern Day Fitzgerald describe themselves as “gentlemen who perform music with proper etiquette.” On the trio’s upcoming EP Gorgeous Killing, this sophisticated pop sound breaks through, with a hip-hop flair. Songwriter/frontman Mica-Elgin Vi pours emotion and charm into the band’s personality, with a jazzy rhythmic foundation from Zach Tyler and Steven Callahan. The EP will be released this Friday night at The Buffalo Room.
 
 
 
Again, congrats to everyone who was included! Our nominees went out of their way to promote the poll, and they certainly deserve your attention.
 
If you want to take a look at the results organized by genre, check them out here:
POP – POST ROCK – PUNK/METAL – ROOTS – ROCK
 
Thanks to everyone who shared and voted. Keep an eye out for the winner of our overall poll, compiled by the winners of this Readers’ Poll and votes from local music experts.
 

–The Deli KC Staff 

NYC

Victor and Penny Harness “Electricity”

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(Photos by Chandra Ramey)
 
The Kansas City Jazz Duo Creates a New Spin From Classic Chemistry
 
Can music based on vintage tastes and ideals create something new? According to Victor & Penny, something as simple as a hook, a dress, or the right recording engineer creates a viable chance. When they planned to bring a specific genre of music into the Kansas City mainstream, they made sure it was based in craft, personality, and style. Against all odds it works and chances are, you’ll love it.
 
You have most likely seen or heard their brand of ragtime jazz around town at several venues as diverse as recordBar, Hotel Phillips, Kauffman Center, and The Green Lady Lounge. Sometimes they play as a duo, sometimes they incorporate a full outfit known as The Loose Change Orchestra with trombone, upright bass, and clarinet.
 
Who are Victor & Penny?
In a word, they are “unique.” They create songs out of a time that harbors authentic musicianship and charm, yet the act telegraphs progressive idealism through virtuosity, fashion and playfulness. They find a joyous sound out of some of the darkest musical standards of the classic jazz age, as if blowing soap bubbles through a flophouse opium pipe. But it’s not all fun and games. The duo creates music based in an era of serious songwriting skills. Watching them create tunes on stage prompts you to applaud time and time again before the song comes to a close because it’s something made with love, humor, and blood.
 
“The way we present ourselves is vital to the way the audience perceives us,” says singer and ukulele player Penny (known locally as Erin McGrane). “We want to show respect for our audience by looking sharp. That also helps to set the stage and mood for our show.”
 
Victor (known around Kansas City as Jeff Freling) continues the thought. “The music and the presentation go hand-in-hand. As we continue to refine and expand our stage presence, we present a more sophisticated show.”
 
Sophisticated is a good description for this musical favorite about town. When you walk into a Victor & Penny showcase, the duo ushers you through classic jazz standards with the energy and vigor of a revival-era tent pastor, as they are unabashed converts to the art form. It’s based in an honest love for the intricacies of the style.
 
“We offer the audience more than just a concert,” McGrane says. “We offer stories and a chance to get to know us as people, which is another way to connect to the audience and enrich the experience.“
 
Which is true: they’re 100-percent show business, but their connection is real and based in the classic ideals of traveling theater. They parry corny jokes, natural chemistry, and undeniable musicianship out of quick scenarios in clubs, media appearances, and even impromptu videos in their car. Their semi-formal attire contrasts with the easygoing attitude on stage as they sway and jump between old standards and new treasures.
 
So it begs the question; in a town so focused on indie rock and stylized blues, how would they make an impact by focusing on early jazz standards? It’s all about the lure of the common experience. McGrane says, ”In college, I got into 1930s vocal music from groups like the Boswell Sisters and the Mills Brothers. Jeff was listening to a lot of early guitarists like Django Reinhardt and Charlie Christian when we reconnected, and we found a common pool of tunes that we loved.”
 
 
Recording Electricity
Victor & Penny recorded a new album titled Electricity in August of 2015 and the finished product will soon be available here. They made the journey to Nashville’s Sputnik Sound to create it with producer Mitch Dane, who made his cake working up alt-country gold with acts as varied as Woody Pines and Jack White. Even though the producer’s tastes were outside Victor & Penny’s specific genre, the moment they met with Mitch, they knew it was a special match due to his musical taste for the eclectic side of early Americana and his impressive collection of classic recording gear in his inspiring studio.
 
Did the experience live up to expectations? According to Freling, yes. After speaking with Dane, they immediately hit it off and the day-to-day labors allowed the trio to create something truly special.
 
“Working in Nashville was a great experience and we had the opportunity to partner with a producer to help us rearrange some older tunes and bring a fresh perspective to our music,” Freling says.
 
How did Victor & Penny begin?
According to them, it all came together in Chicago.
 
“Jeff and I met during college years when our rock bands played together in the local KC scene,” says McGrane.
 
Freling adds, “We reconnected in Chicago a few years ago. Erin was working up there as a commercial actress and I had been playing strings on stage with Blue Man Group for many years. We hadn’t seen each other in almost 15 years.”
 
 
Playing the Circuit
This kind of authentic atmosphere means the world to this turn-of-the-century jazz duo because they rely on a certain balance of classic and contemporary to create their singular stage presence. They work hard to create a personable and accessible feel that draws both new and schooled fans of jazz history into their realm.
 
“The tunes that we’re drawn to are endlessly fun to sing and to improvise over musically,” says McGrane. “For example, the melody on ‘Lazy River’ by Hoagy Carmichael is instantly recognizable and much trickier to sing and play than it sounds. It’s just beautiful. ”
 
Freling finishes the thought. “We love to do what we call sonic archaeology and dig for lesser-known songs from the early part of the last century. Our original material combines all of our personal influences to create a modern sound with a vintage vibe.”
 
So yes, it’s true. A partnership born from a shared love of musical history proves something new can come from it all. The unique voice Victor & Penny creates gives music lovers in Kansas City an opportunity to participate in a true love of the artform. Experience their brand of musical joy at the Folk Alliance International Conference from Wednesday through Sunday. Check out their schedule here.
 
 
 
 
 
 
–Andrew Schiller
Andrew Schiller has been playing music and writing features for a couple of decades. To earn gear and beer money, sometimes he wakes up and travels to an office of some sort inhabited by your garden-variety marketing types.
 

 

NYC

Words of Love Gives Back to the Local Music Community

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On Saturday, a collection of Kansas City acts will take the stage at Coda for the first Words of Love benefit concert for Midwest Music Foundation. The show was organized by Joelle St. Pierre, who volunteers for the nonprofit music organization. Read our Q&A with her and find out more about the show.
 
The Deli: Give us a brief overview of what Words of Love is all about.
 
Joelle St. Pierre: Words of Love is a collection of artists that include Wyatt West with Tom Hall, Bryan Hicks, AJ Young, Amanda Fish, Nicki Scruggs, Eems, Sean McDonnell, Thomas Freight Train Walker, Max Berry, and more for a musical tribute to the many faces of love. The musicians will play in different groupings as a full band and as duets, smaller ensembles, etc.
 
The Deli: How did this show come about?
 
St. Pierre: The concept began almost a year ago when Matthew Stevens donated to the KKFI band auction for Wyatt West to play an event and had always wanted this to be a benefit for MMF. Matthew has received funds from MMF to cover rent for a local musician who was injured. I began as coordinator and contacted Wyatt, who put together the musicians, theme, date, venue, and logo. Wyatt is a top-notch singer songwriter with 2 new CDs out in 2015 and is associated with the musicians that have volunteered their time for our fundraiser.
 
The Deli: How did you get involved with MMF and volunteering in the music community?
 
St. Pierre: I began 3 years ago after a dear friend turned me on to Diana Ennis’s KKFI Tasty Brew show and have volunteered for all fundraisers at the studio and many in our local area. My MMF volunteering began with Crossroads Music Fest and I can’t get enough!
 
The Deli: What kind of influence do you think MMF has on musicians and the local music community?
 
St. Pierre: MMF brings together a collection of local musicians to support one another, which is vital for the continued success of musicians as well as local venues and MidCoast Takeover. This particular fundraiser began with a music fan who wanted to recognize MMF for their efforts to help him and the musician. The impact of MMF is widely felt, as it takes very little to become homeless and destitute when injured or ill. MMF creates a feeling of relief, a shelter from the storm and perhaps, even greater, a recognition of the importance of live and recorded music and the venues in which the music is made.
 
The Words of Love show begins at 9:00 pm with a suggested donation of $10. Facebook event page. If you’d like to get involved with Midwest Music Foundation, visit midwestmusicfound.org.
 

—Michelle Bacon 

NYC

Album review: Mat Shoare – Mirror Music no. 1

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As the title suggests, Mat Shoare’s latest release, Mirror Music no. 1, is about reflection. “The songs are all linked to my last full-length Right as Rain, and draw on the same themes: abandonment, bitterness, and repressed anger,” he states. While Shoare’s description may sound like a recipe for a suicidal symphony, most of the music on the four-song EP is surprisingly upbeat and even approaching optimistic. This may be because Shoare says he is closing the book on this period of songwriting, and has plenty of new, less miserable topics to begin sharing.
 
The EP opens with “I-Yi-Yi,” a mellow yet poppy tune with a solid groove. I-yi-yi is a clever play on aye-yi-yi, the outdated term used to express sadness, hopelessness, anger, or frustration (you may have heard your grandmother say this when you were a kid). The song deals with frustration over things not going as planned, yet the realization that the circumstances could be worse. It’s about waiting and yearning, yet understanding the need for patience. It’s a commentary on life as most of us know it. “It’s not going better, but it’s not going worse / It’s not going good, but it’s not going bad.” Through reflection, Shoare decides to make the best of things, ending the song singing “I-yi-yi-yi-yi-yi-yi-yi” in a cheery, so-be-it kind of way. We could all stand to look at life like this.
 
“One of My Songs,” the second track, is probably the most listener-friendly. It is about breaking up with a girl, and is both a jab at the woman (or women) as well as possibly a bit of self-deprecation from Shoare. “Now you’re just a girl in one of my songs / Please sing along if you’ve heard this one before.” As with “I-Yi-Yi,” this potentially blue topic is in no way a ballad. Instead it is almost a doo-wop song, complete with Beatles-esque background vocals and a clap track. Shoare shows off his musical talents by playing all of the instruments on the recording. “All About You” is similarly upbeat, yet with a totally different sound. It starts with a drumbeat that could be mistaken for Stevie Wonder’s “Superstition,” and is layered with jazz chords and a driving bass.
 
The only gloomy song is the fourth and final cut, “Real Woman.” Truly lo-fi, it is simply Shoare playing an acoustic guitar while crooning about a relationship lost. Sticking with the theme of the record, he reflects and realizes his mistakes—and what traits constitute a good (or bad) companion. “If I had known how much you would hurt me / I would have been with a real woman.” Despite being barely over a minute long, “Real Woman” is a perfect goodbye. It touches on remorse, but focuses on the resolve to move on to better things.
 
Like life, Mirror Music no. 1 isn’t perfect, but perhaps Shoare and his band (Evan Ashby on guitar, Ross Brown on bass, and Ryan Carr on drums) intended it that way. There is a constant yin-yang, showing how opposites can be complementary. It’s dark and light, sad and happy, and ultimately gives listeners something that is strangely inspiring, given the subject matter. It’s an ending to one place in Shoare’s life, and a peek at happier things to come.
 
—Brad Scott
Brad loves music, Boulevard beer, and his family. Not necessarily in that order.
 
 

Shoare will be touring in support of the album starting tonight in Columbia at Café Berlin. Facebook event page. You can also check out his website for other upcoming dates at matshoare.com.   

NYC

Album review: My Oh My – Wouldn’t Have It Any Other Way

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There’s something special about a band made up of eight talented musicians who can speak together with one unique voice. Kansas City’s My Oh My is led by vocalist and guitarist A.M. Merker, and a couple months ago he and the band put out their second album, Wouldn’t Have It Any Other Way. While the band’s 2014 release, Your Heart Not Mine, seemed to ask questions about the unpredictability of life, the 6 tracks released in December provide some of the answers. The album is incredibly reflective—nearly every song references “old times,” “what might have been,” or “yesterday” in some form or another. But the band makes a point to emphasize acceptance and appreciation for the past instead of regret. Imagine a wise monk writing profound lyrics for an Americana band—you’ll end up with lines like “a life worth living is a life eventually forgotten / and that’s okay with me” and “I believe the time we get is all that matters / It’s good enough for little old me too / better be good enough for little old you.” Combined with full-bodied folk rock, Wouldn’t Have it Any Other Way is a rare blend of confidence and humility. It’s a country music kind of straight-talk for rock and roll fans.
 
The album’s title track features a strong driving chorus that shakes the listener awake. Merker’s vocals recall the wild times of youth and offer a happy approval of the craziness of his current life—after all, there’s no crazy like being crazy in love. Backup vocals provided by Sarah Dolt, Stephanie Gaume, and Melissa Geffert add a special flavor to many of the songs, complete with old-timey “oos,” “ahhs,” and echoes. One of the female vocalists sings lead during the bridge in “Thief” with a voice that wouldn’t sound out of place on Broadway. My one complaint—we don’t get enough of her! Her powerful voice complements Merker’s smooth one, and it’s a treat to listen to them as a team.
 
A personal favorite is the third track, “Parade,” which progresses from a mid-tempo ballad to an upbeat breakdown delivered by Grant Buell on keyboard and Stephan Berry on guitar. If any listener hadn’t been convinced yet, “Parade” is proof that My Oh My are experts at their craft; the song is beautifully arranged and features a splendid melody. And when it’s time to close the curtain, the band sticks to sweet simplicity. Wouldn’t Have it Any Other Way closes with the only acoustic song on the album, “That’s Alright By Me.” It’s a gentle conclusion to an album of grand rock and roll, but it feels right.
 
 
—Mary Kennedy
Mary is a lifelong Bostonian learning her way around Kansas City. She can often be found in an art museum, checking out local music, or taking a nap.
 

My Oh My’s next appearance in KC will be this Saturday at The Brick, with Pocket Vinyl (CT) and 40 Watt Dreams. Facebook event page. 

NYC

Artist of the Month: New Baboons

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Congratulations to New Baboons, our first Artist of the Month for the new year! Take the sounds of foundational rock bands and add in a few groovy washes of ‘60s psychedelia and you have New Baboons, an up-and-coming contender in KC’s rock ‘n roll scene. Read our Q&A with a few of the members, and check out their music.
 
The Deli: Down and dirty: 1 sentence to describe your music.
 
Elliott Seymour: We play rock and roll with melodies, hooks, and choruses. 
 
Adam Scheffler: New Baboons are a supple pillow of influence dragging over 60 years of crumpled rock ‘n roll bedding.
 
Tom Livesay: I guess I would describe our band as sounding more like rock from the late ‘60s to the early ‘90s than it does to anything since then.
 
The Deli: Give me some background info on New Baboons. How did the band come to be? Also, you used to be called Vidal Baboon. Why the name change?
 
Elliott: We all work together. One day Adam and I got together to run through some old songs we had each written. We just asked Tom and Josh if they were interested and we spent a few days just playing for hours. It fit really nicely together, so we just kept trying songs that Tom, Adam, and I had written over the years. Shockingly, very few people seemed to get the Vidal Baboon reference, so Josh suggested New Baboons as an easy switch. It has a rather evolutionary sound to it, I think. I was outvoted on my choice: The Pelican’s Briefs…
 
Adam: We’ve been together for about 2 years, ever since we all talked about playing music together at Half Price Books where we all work. We changed our name because Vidal Baboon is a bad name for a band.
 
The Deli: What inspires your music and songwriting? What is your songwriting process? Does one person write everything or is it collaborative? 
 
Elliott: Tom, Adam, and I write our songs individually. We then present them to the band and we all just bang them out. I am usually inspired by whatever music I happen to be obsessing over at the moment. I’ll just hear a progression or part of a melody or just catch a mood. I’ll just play something over and over until it starts to take shape. I’ll work with it until it finally sounds like a complete song. I usually come up with the lyrics as I’m going. I kind of dread writing lyrics.
 
Adam: Either Elliott, Tom, or myself write a song on our own, then we kind of come together and flesh out the parts. Then we play it to josh (ze drummer) who comes at it from a structural point of view, and then we flesh out tempos, mood changes, and vocal parts.
 
The Deli: What have been your greatest accomplishments as a band?
 
Elliott: I think recording an album in my basement on a little 8-track was pretty cool. It certainly isn’t perfect, but it has a sound that lends itself well to the type of songs we chose to record. They are all pretty melodic and classically structured, so I think the songs speak for themselves. I’m pretty happy that we were able to play recordBar a few times before it closed. That place was the coolest and I think we’re all pretty sad to see it go. 
 
Adam: Winning this here Deli KC thing and being able to play this long with everybody working at the same place.
 
The Deli:Tell us about your debut LP. What can listeners expect? What future plans do you have for getting your music out there? 
 
Elliott: Our first album, New Baboons, is pretty representative of our collective influences—mainly rock and roll from the ‘50s and ‘60s, with a little ‘90s sensibility thrown in there. People tend to hear Velvet Underground and ‘60s psych or garage. I hear some Elephant 6 sounds, especially in Tom’s songs. We are going to record about 11 new songs at Temple Sounds recording studio sometime in the next month, so I think our next album will have a much different sound. The songs will still be the strength of what we do, but our production value should go up a few notches. 
 
Adam: The first album is a collection of songs everyone had lying around, and then once we connected, we added new songs to the mix. Also, Paige Newcomer played keys on all that and she added a lot to the sound of that album. Expect well-formed rock n roll songs that people call “quite good.”
 
Tom: I think our first album has lots of variety, partly due to the 3 songwriters. I hear VU, Television, and Rolling Stones influences, plus some garage band psychedelia, disco, and Motown. Sometimes there’s some newer-sounding stuff mixed in there too.
 
The Deli: What does supporting local music mean to you?
 
Elliott: It’s about a sense of friendship and community to me. We share venues and audiences and often hang out in the same places, you know, it’s really cool. I use Bandcamp and Soundcloud to keep up with local bands, as well as patronizing local record stores and going to shows. Being part of something like that is really cool. I think only the most hipster of hipsters could be cynical about it. 
 
Adam: Going to shows, buying things made locally, connected with other musicians through social media or one’s physical form.
 
The Deli: Who are your favorite local musicians right now? Non-local?
 
Elliott: Locally speaking, I love Thunderclaps. Those guys are friends and we’ve played a lot of shows together. I love rock and roll bands that are saturated in their influences. It just sounds so classic and pure. I’m also impressed with what I’ve heard from The Conquerors. They make songs with the ‘60s sensibility of singles, when singles still meant something. We’ve really enjoyed playing with SquidsKC—they are pros, and Dan Jones is a great songwriter. As far as non-local, I’m lately into rockabilly like Johnny Burnette, Eddie Cochran and Stray Cats. Also digging Dion and Buddy Holly. 
 
Adam: I enjoy Phantom Head quite a bit and Thunderclaps has been one of our bad-boi backbones. Non-local I’d say U.S. Girls’ new album Half Free had tickled me lately.
 
Tom: My favorite bands are The Beatles, The Rolling Stones, and The Kinks, but I’ve been inspired by Pavement, Cheap Trick, and The Pixies on certain songs. I don’t get out enough to know what local bands I like other than SquidsKC.
 
The Deli: What is your ultimate fantasy concert bill to play on?
 
Elliott: I’d love to play with The Velvet Underground and The Kinks. Brian Wilson would play piano instrumentals between sets and David Bowie would do some miming. 
 
Adam: Uh… I guess opening up for 10cc and Frank Ocean with Scott Walker closing it all up. Shit ya.
 
Tom: My fantasy bill would be opening for The Kinks and McCartney/Starr.
 
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
 
Elliott: Lennon/Macca (one hybrid face), Lou Reed, Brian Wilson and David Bowie. The Beatles are my favorite band and their influence is incalculable. Paul’s bass lines and the way they used the studio and Ringo’s fills and George’s melodies and John being John, It’s all so brilliant.
Lou Reed and The Velvet Underground for the massive grooves that they were capable of—Sister Ray is still untouched in that regard. Brian for giving us such beautiful sounds and David Bowie for being the one-of-a-kind musical icon that he was and will always be. All of his characters and mythologies are so much of what got me interested in rock and roll to begin with. He is endlessly fascinating. 
 
Adam: Lou Reed, ‘nuff said. Damo Suzuki from CAN. 1960s-era P.P. Arnold because I could listen to her voice all day. I guess last it would be Charles Mingus because I wanted to round this out nicely with some of my faves.
 
Tom: I would probably have Lennon, McCartney, Ray Davies, Jagger, and Richards. I know that’s one too many.
 
The Deli: What other goals do you have for 2016 and beyond?
 
Elliott: My goals are to have more band practices (always!) and play some different venues than we have. I want to get our second album out and listen to more music than I did in 2015. I think a split 7" with the Thunderclaps would be great. 
 
Adam: Goals and rock n roll have nothing to do with each other. Just make music.
 
Tom: My hope is to get more shows, record a second album that’s better than the first, and just keep getting better.
 
The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?
 
Elliott: Buy a lot of David Bowie records and listen to them.
 
Adam: Please learn from the world’s wealth of point of views and catch yourself when you’re selfish, treat others better than you’d treat yourself, listen to New Baboons, listen to Frumpy Congo Love that’s me, and stop being cool or trying cuz you’re fucking everything up.
 
New Baboons are:
Elliott Seymour – guitar, vocals
Adam Scheffler – guitar, vocals
Tom Livesay – bass, vocals
Josh Klipsch – drums
 
Your next chance to see New Baboons live will be at Josey Records on February 26 with Braggers and The Red-Headed League. Check them out!
 
 

—Michelle Bacon 

NYC

Westend Recording Studios Presents Amplify KC Vol. 1

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(Photo by Todd Zimmer)
 
“Heavier punk or metal is aggressive and comes from a need to tap into that primitive feeling inside of you,” says Justin Mantooth. Mantooth is the house engineer at Westend Recording Studios, a state-of-the-art recording facility tucked into the West Plaza area of town. Westend boasts professional recordings from some of KC’s most well-known rock lineage, from Shiner to Frogpond to Season To Risk, and current groups like Shy Boys, Radkey, and Making Movies. On Monday, the studio released a compilation called Amplify KC Volume 1, featuring some of the city’s heaviest acts.
 
Eleven forceful tracks make up the album, ranging from noise rock to punk to metal to hardcore, skillfully recorded, produced, and mixed by Mantooth and mastered by Mike Nolte (Eureka Mastering). Read our Q&A with Mantooth and get it as a free download here.
 
The Deli: One of the goals of this compilation was to highlight heavy-minded artists. Why do you think these artists tend to be overlooked? 
 
Mantooth: It’s not for everyone. It’s less approachable than your electro-pop hipster thing might be to a casual listener. 
 
The Deli: This compilation also showcases the production quality from Westend. Tell us more about the facility.
 
Mantooth: Westend owner Mike Miller has built a professional environment that has a vibe of a time before streaming and MP3s. A time when it was more about the music and not YouTube views. We try to push for "real"-sounding records rather than slick overly produced ones. I take full advantage of new digital tools, don’t get me wrong, but my goal isn’t to quantize performances into robotic perfection. One thing that may set us apart from other studios is that we still use analog tape often, something that isn’t really happening in most studios today. 
 
The Deli: How did you select these particular artists? Highlight a few of them.
 
Mantooth: We put the word out that we wanted to do this compilation and had bands submit to take part. From there I chose the bands I thought I could make a solid production with in a day’s worth of studio time. That wasn’t easy to narrow down! I wish I could have recorded 20 bands, but you know it’s a lot of work. I’ll just highlight the first 3 tracks on the comp because I enjoy everyone on there. 
 
Hyborian: These guys can play and write very slick songs yet keep it heavy. The mix of smooth vocals over raging guitars and big drums is just excellent. 
 
Walking Oceans: Just listen to their entire track. It is a rollercoaster ride of badassery. Instrumental music that doesn’t leave you wondering when the vocal section is going to start. Really good band. 
 
Bluehealer: These dudes are young and they play like it. With no fear at all. They throw down. Taking somewhat simple chords and ideas and just thrashing them hard. They remind me of some of my favorite bands and I enjoyed getting that sound for them. 
 
The Deli: What can we in the KC music scene do to support bands in the hardcore/metal/punk/heavy rock scene? What should bands do to get their name out there? 
 
Mantooth: That’s a good question. The biggest thing is go out and see bands live. Buy their merch. We live in a time when there are a million reasons to just stay home. We don’t have the same attendance at shows that was the norm 15 to 20 years ago. I think one good idea is having more diverse lineups at local shows. We don’t need to see 5 similar metal bands at 1 show. I played a show on NYE with Jorge Arana Trio, Sharp Weapons, Sundiver, and Bummer. All very different, but it went really well. People like to hear diversity and sometimes bills are stacked with too much of the same. And usually half of the lineup is terrible just to keep the genres the same. 
 
The Deli: Name a few must-see KC bands that people may not know about. It doesn’t have to be limited to bands on this compilation; perhaps even some that didn’t make the cut.
 
Mantooth: All of these bands are bands I want people to know about. Bummer is a must see. They always bring the beef. Hammerlord didn’t work out as far as being on the compilation, but they are great. 
 
Check out Amplify KC Vol. 1 on Bandcamp!
 
–Michelle Bacon
 

 

NYC

Show review: The Band That Fell To Earth at Uptown Theater, 1.31.16

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David Bowie is a god of artistry, performance, and music. We are all created in his ever-changing image. Cool in our uncoolness, beautiful awkward outcasts, only appreciated and understood in our circles of the same. May it be Bowie as a distorted, sexy, sci-fi, glam-rock angel, or toying with the absurdity of gender and sexuality and what belongs to it, or Bowie as a poetic confrontational storyteller, or merely the voice of a collective us who seeks guidance and shelter from the normal; David Bowie changed the world.
 
On Sunday night, Bowie fans all over the metro came to pay tribute to our god. Upwards of 850 people showed up at the Uptown Theater, some with painted faces and all ready to do their part. This show was originally booked for Knuckleheads Saloon but moved when the demand became too great for it to handle. Our local musicians leading us in praise, calling themselves The Band That Fell To Earth, played more than 2 hours of Bowie—25 songs. And still left us wanting more. Always more Bowie.
 
Michelle Bacon, editor and writer for our very own Deli along with 90.9 The Bridge and Ink, on her cooler days plays bass for The Philistines and drums for Chris Meck and The Guilty Birds. She handpicked this very talented group of her friends and peers and coordinated a masterpiece of a tribute. Ultimately presented by The Deli KC, this performance was all created from the depths of her Bowie fandom. Kansas City thanks you, Michelle.
 
Michelle with her shiny hair, tight red pants, and perfectly played funky bass lines, wasn’t the only star onstage that night. Stephanie Williams was the other half of the rhythm section; she and her beautiful bangs play drums in Katy Guillen & the Girls. Kyle Dahlquist, of The Hardship Letters and Amy Farrand and the Like, took care of the synth and keys. Alex Alexander of Drop a Grand and SquidsKC melted faces with his lead guitar. Rich Wheeler, who plays with The People’s Liberation Big Band and Son Venezuela, was the brass section. Betse Ellis and Clarke Wyatt of the folk duo Betse & Clarke were the string section. Andrea Tudhope, Lauren Krum (The Grisly Hand, Ruddy Swain), and Rachel Christia (Hearts of Darkness) were personality and backup vocals. The main vocals were handled by Nathan Corsi of Not a Planet, Michael Tipton of Kodascope, and Steve Tulipana of Roman Numerals.
 
Besides the talent, the key to this tribute was the huge video screen behind the band (provided by XO Blackwater). It played clips of videos and live performances that went along perfectly with the set list all night. It gave us a needed tool to fully reminisce. It allowed us to compare dance moves between Bowie and whoever was taking on the vocals at the moment, which was a very fun element. The screen started the show with the “Lazarus” video—it sobered the crowd right up and we all remembered that we were in mourning.
 
The Band That Fell To Earth started their first set with “Let’s Dance.” The seats cleared and I became fully aware of what a special night this was going to be. Steve Tulipana carried the brunt of the lead vocals. I have been lucky enough to catch him in a couple of tribute projects, one being a Joy Division tribute. He became Ian Curtis that night and blessed us with the transformation into David Bowie on Sunday night. Steve brings icons back to life, just for one day. His moves, his vocals, and emphasis were captivating. He was David Bowie and the crowd loved it.
 
“Heroes” has been such a covered and loved track for so long. I’ve heard it recorded and covered live so many times. But something felt different about it on Sunday. This anthem, professing love and proclaiming individuality and how truly heroic these things are, is who David Bowie was. It is an anthem to me. It means so much. And Rich’s horn during this song was everything. Bless him and his contribution to this project.
 
Popular favorites “China Girl,” “Young Americans,” and “Modern Love” turned the crowd into a dance party. Old and young dancing and singing every lyric wildly at each other. But the real shock was the last song of the first set, where Nathan Corsi captivated the crowd with his vocal interpretation of “Life on Mars.” No one around me spoke. Some had tears in their eyes. Dressed in suspenders with his beautiful brunette mane, Nate was not Bowie. He was a fan. He was paying tribute. His voice represented how we all felt. He left his crowd blown away. We all needed an intermission to gather ourselves.
 
We came back from intermission with “Fame” and the stripper moves came pouring out. Michelle and Kyle became Nine Inch Nails on “I’m Afraid of Americans” and I cannot stress enough how spot-freaking-on this was. During “Suffragette City,” the screen above showed clips from Labyrinth and everyone took notice.
 
“Sound and Vision,” which is one of my personal favorite tracks, was done justice by Kyle on the keys. He was a vision (see what I did there?). “Space Oddity,” was taken on by Nate and Andrea. Andrea was center stage and ready to do her part to pay homage with Nate to her left. I felt nervous as these vocals felt like maybe they would be a stretch for anyone to take on. I was so wrong. They, along with the string and horn section, took us to church and made us all believers. It was one of many “WOW” moments of the show. But, not to be outdone, “Moonage Daydream” produced its own stars. Alex seemed to have been taken over by some sort of rock guitarist demon and Clarke broke his bow. Now THAT is rock ‘n roll.
 
The Band That Fell To Earth played an encore of “Rock n Roll Suicide” and “Under Pressure.” Michelle began the last song of the night with that bass line we all know so well. We prepared ourselves for the grand finale. The backup vocalists danced. All performers of the night graced the stage. David and Freddie took over the screen and we all celebrated, together.
 
David, thank you. Thank you for the music. Thank you for the courage. Thank you for instilling the belief that we are all ok as we are, no matter what that might be. Thank you for changing us and the world. RIP.
 
—Jess Barrett
Haver of sweet dance moves and stealer of t-shirts
 

 

NYC

BANDS: WE NEED YOUR MUSIC!

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Starting February 4, 2016, The Deli KC will be appearing the first Thursday of every month on Under the Radar with John Todd on KKFI 90.1 FM. A HUGE thanks to John for allowing us to take over part of his radio show once a month.
 
In addition, we’ll be taking the music submitted and posting it as podcasts to The Deli KC’s Soundcloud page. These will be available to the general public for streaming and free download.
So … WE NEED YOUR MUSIC. New or old, we don’t care. Send MP3s to thedelikcpodcast@gmail.com. Whereas we will be playing selections of what is submitted on KKFI, ALL submissions will be included on the podcasts.
 

–The Deli KC Staff