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Album review: Cadillac Flambe – Old American Law

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(Photo by Todd Zimmer)
 
Some bands have the ability to create music that reaches into a chasm of sorrow and affliction, exposing the deepest of wounds. With its latest release Old American Law, Cadillac Flambe boasts nine heavily weighted tracks that escort the listener through calamitous musical compositions, and tragic tales told by the mesmerizing vocals of husband and wife Kris and Havilah Bruders.
 
Since its previous release, Eli’s Porch, Cadillac Flambe has had to adjust its sound. The band’s harmonica player James “Pappy” Garrett, who was an integral component to its dark Americana blues approach, died in a car accident during the making of the 2011 EP. Shrinking down to a four-piece, the band has shifted in a decidedly more rock ‘n roll direction, still retaining its rootsy nature but packing a more substantial punch.
 
Ushered in by Kris Bruders’ signature gritty blues guitar sound, “Shakin’ Baby” sets the album in motion, highlighted additionally by Michael Payne’s massive but calculated drum work and Dave Duly’s perfectly in-the-pocket bass playing. On this album, Payne and Duly add a collective rhythmic wallop unheard in previous recordings, pervading the tunes with a rock and R&B heartbeat.
 
After the first track, you’re likely in for the ride, which allows Cadillac Flambe to pull you in to its turbulent descent.
 
This emotional tailspin careens to its greatest depths in “3 Bullets,” the album’s longest and most powerful track—one split into two distinct acts. In Act I, Havilah Bruders tells the story of a desperate mother trying to feed her child, reaching out to the church, the government, and the bank, and is turned away by each. Act II arrives in the middle of the song, which slows from a steady 4/4 to a haunting 6/8 groove, as she discloses the news of her child’s death. A chilling anguish is felt as Bruders’ voice rages, a deliriousness is experienced as she transitions from a quiet whimper to a grief-stricken roar, also revealing the song’s final crux: the woman has murdered the three entities that indirectly caused her child’s death. Her soul and gospel background is most noticeable here, as she carries us through each scene and makes us feel her misery and despair, measure by measure. It’s also apparent in “Sweet Chariot,” where she takes us through a woman’s frenzied fear of impending death, into her answered prayers of serenity and light.
 
Most of the songs on Old American Law were penned by Kris Bruders, whose own vocals have a mystic, commanding, but sincere quality to them. Take “Father to Son” for instance, a narrative about a father’s beliefs and pressures onto his son. Bruders’ vocal delivery at once contains the father’s threatening tone and the son’s subsequent harsh, casual defiance. In the album’s title track, his voice characterizes the overall personality of the album. His words and the dusty Delta blues sound of his hollow-body custom magnesium guitar convey the voice of an uncompromising outlaw. Bruders’ authoritative, booming vocals—often coupled with his wife’s harmonies, sometimes impassioned, sometimes a simple adornment to his own—and the unique growl of his guitar dig into the meat of each song.
 
Plenty of bands write songs about death, family strife, social issues, and religious conviction, yet few are able to execute it as effectively as Cadillac Flambe does in Old American Law. The throttle of the rhythm section, the bedraggled, melancholy guitar tones, the dissonant piano chords, and the soulful vocals push the message of each song to the forefront. The LP, which was tracked, mixed, and mastered at Little Class Records by Keegan Smith, is the strongest manifestation of anything the band has released to date. 
 
—Michelle Bacon
 
Michelle is the editor of The Deli KC and is in bands. Believe it or not, this is the first full album review she’s written all year.
 

On Saturday, July 26, Cadillac Flambe will be performing at Czar Bar with Thunderclaps and Deco Auto. Be sure to check them out. You can also download the new album at the link.

 

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Barry Lee interviews Deli KC editor Michelle Bacon (Part 2 of 3)

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Listen in as KKFI 90.1 station manager Barry Lee and The Deli KC editor and all-around musician Michelle Bacon converse about growing up in Kansas City, playing music, and the current local music scene in a special three-part audio verite series.
 
Click below to hear part two of the series.
 
Here is the link to part 1. Stay tuned for the final installment tomorrow.
 
 

And if you’re interested in hearing any of Michelle’s bands, Bandcamp links are below. You might as well listen to her do something she does much better than speaking.

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Lawrence Field Day Fest bridges KC and Lawrence music communities

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(pictured above: Oils / all photos and videos by Michelle Bacon)
 
Spanning over three evenings with 28 acts, the third annual Lawrence Field Day Fest proved to be a large success. From Thursday through Saturday nights, some of KC and Lawrence’s most notable acts converged upon the town and brought with them a score of talent and style.
 
 
For this reviewer, LFDF kicked off on Friday evening at Jackpot Music Hall in the middle of Katy Guillen & the Girls’ explosive set. The KC trio had the full attention of a trickling-in crowd, most of whom had never seen them before and all of whom raved over them after. Once you experience one of Katy Guillen’s searing guitar solos—impelled by her tenacious rhythm section—you’re never really the same again.
 
 
Immediately following KG&G was Destroy Nate Allen. As the duo began to do a sound check while walking about the room, I realized that this would probably be nothing like what had preceded it or what would follow at any point during the fest. The husband/wife team of Nate and Tessa Allen has a delightfully unusual punk folk style, characterized and enhanced by an unconventional, interactive live show.
 
The rest of the weekend was a somewhat similar story, where festivalgoers—myself included—were getting to experience bands for the very first time. The lineup dropped a portion of the KC music scene in a setting they aren’t as saturated in, allowing an initial exposure to many Lawrence music fans. In that same vein, the KC faction was also able to see performers who don’t travel east very often.

“Last year, I was burdening myself with the task of finding national acts because I thought that would help the draw,” says festival organizer Cameron Hawk. “I was worrying about stuff like that, and I think it made me forget that not only do we have a huge crop of amazing bands around here, but they are bands people care about. We are so lucky to have that.” So this year, Hawk took the approach of building a solid lineup from both sides of the state line, and was able to draw in fans from the two music communities and parts in between.
 
 
Other highlights included Major Games’ highly anticipated set on Friday at The Bottleneck. Emerging from a nearly two-year live show hiatus, the trio played its upcoming album in its entirety and presented an even bigger, fresher, more passionate sound than before. Following them was Loose Park, a pure rock ‘n roll band who manages to somehow become even more electrifying and fun with each passing performance.
 
 
The Sluts closed down The Jackpot on Friday night to an enthused, riotous audience. The duo of Ryan Wise and Kristoffer Dover has a steady following in both KC and Lawrence, and was able to prove exactly why with Friday’s performance. They have a stripped-down, DIY garage rock/punk sensibility, with just enough hooks to grab almost anyone who could possibly be entertained by the thought of live music. Wise’s newly added vocal effects also brought more depth and grunge to their songs.
 
 
Saturday night marked Pale Hearts’ final performance, as frontman Rob Gillaspie (also currently doubling as Lux Interior in The Cramps’ tribute band Stay Sick) prepares to move to KC. The always enigmatic performer led his band through its dark, poppy, ‘80s-influenced catalog. We hope to see more music come out of Gillaspie, perhaps in future collaborations with KC artists.
 
 
 
At Jackpot, CS Luxem entertained and captivated a new audience, showcasing Christopher Luxem’s talented songwriting both as a solo act and realized as a full band. Meanwhile—and with the help of Jar Jar Binks—Josh Berwanger and his band got the Bottleneck crowd on its feet.
 
 
Like other frontmen I was able to catch on that stage (Gillaspie, Matthew Dunehoo of Loose Park), Berwanger can capture an audience and keep it engaged—a feat many lead vocalists haven’t quite figured out yet. His obvious charm, coupled with the group’s grooving power pop anthems, warmed the audience up for Cowboy Indian Bear.
 
 
Cowboy recently announced that it would take a hiatus after LFDF, resulting in a lengthy, heartfelt, double-encore show. The band played several songs off its acclaimed 2013 album Live Old, Die Young, and delivered a touching but fervent performance—one of the most dynamic, gargantuan performances I have personally witnessed from them.
 
 
And closing down LFDF was Stiff Middle Fingers, who wins the award for Most Spirited Audience of the fest. In true form, frontman Travis Arey riled up the crowd, inciting friendly mosh pits and audience members storming the stage.
 
 
The exuberant crowd chanted and shouted right along with Arey, also showing its gratitude for guitarist/fest curator Hawk. The group’s straight-up don’t-give-a-fuck punk style was the perfect environment to congregate in for LFDF’s swan song. The KC and Lawrence music communities let loose together, shouting “I ain’t no goddamn son of a bitch” as SMF busted out a Misfits cover, and locked in sweaty embraces to celebrate a job well done.
 
—Michelle Bacon
 
Michelle is editor of The Deli KC. She is in bands. She is the only person in the world not watching the World Cup right now and is sorry for that.
   

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We Are Voices releases the first installment of Year

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Today marks the start of a year-long journey that quartet We Are Voices will embark on. The whole project, appropriately titled Year, will take twelve months to complete. Once every quarter, the band will release a few singles and an accompanying music video. Four shows a year, four separate releases all feeding into Year. Today, Year I was released.
 
The two tracks embody all of the classic We Are Voices elements with a new twist.  The band builds its songs with clean drums; no distortions, no tricks, just a clean and clear kit. The bass is ample, pertinent, and easy to pick out. The guitars are in perfect harmony, which creates an ethereal and dynamic tune. The vocals are effortlessly spoken yet ultimately at the front of your attention.  
 
Year I starts with “Tear Me Apart,” a classic song in the We Are Voices style, but with a hint of a twist. The chorus that chimes in several times throughout the song (as choruses tend to do) is outrageously catchy. An indie-pop hit waiting to happen. The perfect lull of the song mixed with the heavy tones of the chorus mash up perfectly throughout the four-minute duration. The accompanying music video is for the same song, layering each band member on top of the other as they chime in. Starting with guitarist Carson Land on guitar, the flickering of the video hints at the motif of a flipbook. Guitarist Lucas Larson comes in, his images super-imposed over Land’s. Joshua Greenlee breaks in on drums, followed by Eric Baldwin on the bass. The video perfectly displays the layers that We Are Voices incorporate in their music.
 
The second, and final song of Year I is called “Disappear.” This song heavily features the piano, not a stranger to We Are Voices, but a pleasant visitor. Again, this song features an outstanding chorus that adds layer over layer, in a mellow, not empowering way. The verses are rather stripped down in the beginning, at least. The song structure is one that builds on top of itself rather than repeating. Encompassing music themes hold the song together.
 
These two singles have made the two-year lull in the band’s discography worth the wait. The fact that in another three months we can experience some more new singles from We Are Voices is very exciting as well. Year II should be out by October.
 
—Steven Ervay
 

Steven is an all-around awesome guy who works tirelessly for the KC music community. 

Tear Me Apart from w e . a r e . v o i c e s on Vimeo.

 

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KC musicians collaborate for Nick Cave tribute

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Nick Cave & The Bad Seeds came to The Midland on June 18, but we in Kansas City got ready early. Sonic Spectrum’s Robert Moore curates a slew of tributes on divergent and linked bands and musicians. Sunday, June 16, was one that pulled the souls out of some of my favorite musicians in town and left them on the recordBar stage for 1 hour 36 minutes and 16 seconds. 
 
First, Shaun Hamontree, Terrence Moore, and Kristin Thompson Conkright brought beautiful harmonies, acoustic guitar, keyboards, and subtle electric guitar to the crooning side of Nick’s catalog. Shaun may have been bummed that “The Mercy Seat” didn’t work out the way he had envisioned, but I think I felt a commiserating smile on his face when Nick and the Bad Seeds came into trouble on the same Wednesday night.
 
 
 
 
 
Then Alex Alexander, Jeff Harshbarger, Ryan Shank, Steve Tulipana, Rich Wheeler, and Cody Wyoming dug electrically into a high-powered set of rarities and well-knowns. Each song was heartfelt and dynamic. Watching Steve rotate through instruments was a blast. Rich’s sax brought soothing salve to the wonderfully dissonant guitars while Cody and Steve’s sonically different vocals were right for each song. I think “The Weeping Song” may have been my favorite of their set.
 
 
 
 
 
 
 
Two things I really enjoy about these tribute series are hearing each group’s interpretations of the songs and learning what has played a part in influencing their original music. Most of the time, the groups are made up of members that are not in bands together. That kind of cross-pollination and collaboration affects the course and subtle weave of threads that make up Kansas City music.
 
 
 
—Todd Zimmer
 
If you spot a man in a kilt taking professional photos of your band, it’s probably Todd Zimmer, and your band is about to have some incredible shots. Apparently he can also write, because he wrote this article!
 

Here’s a link to recordBar’s live feed recording of the tribute show. You can check out the rest of Todd’s photos, both from the tribute show and the Bad Seeds show, check out his Flickr page at this link. 

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Album review: Folkicide – The Meaningless Glare of Broken Human Beings

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A back-and-forth between snare and minor acoustic chords chime in on the first track, “Meaningless Glare.” High-pitched, wailing, whining guitar feedback and plucking carry the song into the first verse and remain present throughout the song. Haunting harmonies of low-toned voices begin to speak to you, preaching the meaning behind people’s run-down existence. A very fitting introduction song to what is in store for the remainder of the album.

 
Kansas City’s premier despair-core outfit, Folkicide, is back at it again with his latest full-length. The Meaningless Glare of Broken Human Beings is thirteen tracks of what you have always wanted Folkicide to sound like. With this release, it is clear to tell and easy to say that Folkicide has found his voice.
 
Recorded over several of the warmer months of 2013 at Merriam Shoals Studio, Folkicide pulled out all the stops for this album: featuring guest appearances from some of KC’s finest, extra instrumentation on many songs, clean and clear guitars, and even some catchy tunes that will find their way through your brain and keep his mantras on repeat. Sticking to his roots, Folkicide infuses folk music with a heaping portion of attack on the establishment. Just take a look at the song titles and you’ll know what I mean: “Divine Violence,” “Melodic Screams,” and “Taste A Hate Like Mine” are all superb examples.
 
As mentioned, Folkicide has enlisted the help of his friends to bring this album to life. Marco Pascolini lent his guitar to track five, which also features Mikal Shapiro’s voice. The extra intricacies lend themselves useful in this track, and Shapiro’s voice just improves the song that much more. What good is a song titled “An Imaginary Rant From An Imaginary Girl” without striking female harmonies? Violins, a choir, organs, and trombones are among some of the other extra instrumentation dealt in by guest musicians.
 
If there were a lead single off of Meaningless Glare, it would have to be “Little Nihilist,” the eighth track on the album. Those charming minor chords that are a must-have in most every Folkicide song blend with clean and riffy electric guitar noises. Folkicide soon breaks in with a baritone voice shadowing his own. A strange bridge quickly ensues. Weird horns, chanted “ho-hum” vocals, layered acoustic jams, and vocals melodies bring up the backbone.
 
The Meaningless Glare of Broken Human Beings is arguably the best work Folkicide has put out to date. A perfect example of what he is and what you believe he stands for, which is a hazy topic. Thirteen tracks of melancholy and pessimism may not be everyone’s cup of tea, but these specific thirteen tracks are majorly accessible.
 
—Steven Ervay
 
Steven is an all-around awesome dude who works tirelessly for the KC music community.
 
Get a taste of Folkicide’s despair-core style on Monday, July 7 at East Wing, and Wednesday, July 9 at Davey’s Uptown for the Acoustic Mayhem series. 
 
 
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Q&A with Sneaky Creeps’ Andrew Erdrich

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(Photo by Brittany Ficken) 
 
The self-proclaimed no coast grunge-punk trio making up Sneaky Creeps released their sophomore album Negative Space in the spring, recorded/produced at Element Recording with Joel Nanos. Andrew Erdrich (guitar/vocals) and Max Crutcher (drums/vocals) combine forces in delivering gritty, riff-heavy melodies that pair perfectly with the band’s more or less signature yell/talk vocal dynamic, while Isaac Ahloe (bass) holds it down heavy with aggressive yet crisp bass lines.

The first track "Living Beneath," a little under two minutes long, sets off like a firework leading you emphatically into a slower paced, rhythmic anthem "Antisocial," with a catchy, self-titled hook. "D.M.T.N.Y." and "Skeleton Key" really stand out later on, personally piquing my curiosity on the band’s live delivery of these particular tracks.

Guitar and vocalist Andrew Erdrich happily obliged to answer some questions earlier this week about the band’s latest album and tonight’s show.

The Deli: You released Negative Space on 4/20. Is the album just available digitally right now or will there be records for sale?
 
Erdrich: The album is available as an obsolete cassette or CD [and also for sale at sneakycreeps.bandcamp.com].

The Deli: How long did the recording process take you?
 
Erdrich: The recording took about 6 days spread over 2 months.

The Deli: Is this your sophomore album?
 
Erdrich: We consider this our first full-length, but that’s debatable.

The Deli: Who’s writing the music? Everyone or someone specifically?
 
Erdrich: Max and I write the music and Isaac writes the vast majority of his bass lines. Max and I collaborate on lyrics.

The Deli: Where do your inspirations for song writing/sound/content come from?
 
Erdrich: I tend to write more directly and Max tends to be a bit more poetic. The content usually reflects our lives: frustrations, sleeping (or lack thereof), questions of technology, social economy, and values. We stay away from melodrama and emphasize ennui.

The Deli: Tell us about the show tonight at The Middle East.
 
Erdrich: We’re playing with a band called Bad History Month. Max found them online and sought them out to play a show. They’re from Massachusetts, touring with another band from Indiana named Dust From 1000 Years.
 
The Deli: What are your upcoming tour plans?
 
Erdrich: Tour plans for October and we have tapes and CDs for sale at Mills Record Company, Zebedee’s and Vinyl Renaissance.
 
Erdrich also adds that the band plans to hit the road in October.
 
—Leslie Kinsman
 
Leslie Kinsman is a freelance writer and blogger, most recently contributing for The Pitch. A founding member of the music venue FOKL Center, Kinsman also runs her own blog wunderhub, where she features local fashion, music and art pieces. Keep your eye out for wunderhub Radio, a weekly collaborated playlist released for free by Rory Cameron of The Conquerors.
 
 
 

Be sure to catch Sneaky Creeps live at The Middle East tonight (59th and Spruce), show starts at 8 pm. Facebook event page. Also, you can pick up a copy of Negative Space at Mills Record Company, Zebedee’s, and Vinyl Renaissance. 

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Album review: Attic Light – Different Shades of Black

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Meticulously crafted with an ear towards commercial rock radio appeal, Attic Light throws down a heavy gauntlet of ‘90s-style alternative rock with its debut album, Different Shades of Black. The music tows a fine line between reminiscent and anachronistic, featuring just enough charm to not seem entirely dated. Like rock ‘n roll hero jigsaw puzzles mod-podged and hung on the wall in the living room, these six carefully welded arrangements channel hard rock acts from many generations, tipping the cap to Black Sabbath and Deep Purple just as much as their angsty little nephews Buckcherry and Chevelle.
 
“Demigod/Holiday” kicks off the album with a very garage-tinged Sex Bob-Omb distorted bass riff, quickly turning more towards Crash & the Boys and then promptly into Collective Soul. “Help Me Darlin’” is a skanky swamp groove, the kind of tune that should be accompanied by a brassy and costumed funeral procession down the sticky streets of New Orleans. “Spotlight,” with a sound akin to Alice in Chains or any Candlebox song not named “Far Behind,” will surely make all the Overland Park soccer moms throw up the horns with fervor.
 
When allowed to breathe and wander instrumentally, the songs develop an increased dynamic punch. The jammed out bridge/outro of “Market” is some of the more interesting work amongst the six tracks, bringing some sass and emotion to an otherwise heavily regimented soundscape. Whereas at times these songs may lack raw emotion and grit, they make up for it in clarity, precision, and sanitation of sound. The bass work of Patrick Rippeto and lead guitar of Mike Pittman particularly stand out, both knowing when best to flex their musicianship and when to lay back in the trenches.
 
Attic Light is finishing up a swift nine-appearance Midwest summer concert series with a KC album release show at Davey’s Uptown tomorrow, June 27 at 8 pm. If you’ve finally gotten over your Rockfest hangover, go check ‘em out, with Uncountable Kings, Fake Fancy, and Electric Third Rail. Facebook event page.
 
–Zach Hodson
 

Zach Hodson is a monster. He once stole a grilled cheese sandwich from a 4-year-old girl at her birthday party. He will only juggle if you pay him. I hear he punched Slimer right in his fat, green face. He knows the secrets to free energy, but refuses to release them until Saved by the Bell: Fortysomethings begins production. He is also in Dolls on Fire, Drew Black & Dirty Electric, and Riot Riot Riot, as well as contributing to various other Kansas City-based music, comedy, and art projects. 

 

 

 

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Album review: Rooms Without Windows – Poncho (EP)

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(Photo by Todd Zimmer)
 
Five tracks of solid riffs, bold lyrics, and dancey jams; the five-piece indie rock band Rooms Without Windows, really brings a sense of pseudo-80’s, modern Kansas City, alternative rock to your ears with their most recent release, Poncho. With every track comes a different vibe, all under an umbrella that incorporates dreamy instrumentals and smoky vocal work.
 
The one thing that is consistent with this quintet—and what sets them apart from any other band in their genre—is the vocal work. Elsa Rae lends her voice to the group and it is like a breath of fresh air for the Lawrence and Kansas City scene. It’s airy, it’s sensual, it carries a haunting tone, and it inarguably raises the band to the next level.
 
Another facet of Rooms Without Windows is that there is only one guitar player on the roster. Many bands in scene strive for a layered guitar sound, but not Rooms Without Windows. They pass on the second guitar and instead add keys. The keys add ethereal and spacey tones that deepen the songs without over-stimulating the brain. The keys create an easy-to-digest, still complex song.
 
Rooms Without Windows comes in and hits the listener hard with “More for Me.” Guitars call and the band responds at the introduction to this song. Jaunty drums chime in and drive the song into a realm of jangly guitars and atmospheric music. “Get On The Ground” offers up some of those pseudo-‘80s tunes I mentioned earlier; something you can’t really help but tap your finger to and wiggle to in your seat. “LSDiety” brings the clean bass riffs to the front row by constructing not just a song, but a dream sequence.
 
Each song from the Poncho EP hides a different treasure. Be it hidden in the lyrics, the instrumentals, the metaphor, and so on. Rooms Without Windows is definitely carving its own way in the local scene. With fresh sounds and outrageous uniqueness, the quintet is sure to evolve and grow in an exciting capacity.
 
—Steven Ervay
 

Steven is an all-around awesome dude who works tirelessly for the KC music community.

Join Rooms Without Windows and a host of other KC/Lawrence bands at Lawrence Field Day Fest, tomorrow, June 27, at Jackpot Music Hall, 11 pm. The festival begins tonight (free!) and runs through Saturday. Tickets are $12 for Friday and Saturday. Facebook event page.

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Album review: John Velghe & the Prodigal Sons – Organ Donor Blues

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(Photos by J. Winn and Todd Zimmer)
 
The beautiful thing about art is that each person’s perception is valid. The artist certainly had a message he or she was trying to convey to us. We might even get that message, but it is colored, tarnished, and brightened by our own experiences. The relationship between musician and listener is the exchange of these experiences and perceptions and, boy, do John Velghe and the Prodigal Sons have some experiences to offer to us with Organ Donor Blues.
 
The first single, “Beaten By Pretenders,” has received heavy play on 90.9 The Bridge and features Alejandro Escovedo. Mike Alexander’s vaulting guitar weaves through Velghe and Escovedo’s vocals. There is a pleading in Escovedo’s voice that belies the “Oh, oh, oh,” of the chorus. “They can bring the wolf, but we don’t have to let them in”; a sad song in a happy key.
 
“You made some mistakes in your own hometown,” Velghe peels out the opening lines of “Don’t Understand Your Hometown” following insistent horns played by Hermon Mehari, Mike Walker, and Sam Hughes. Listeners, at least the fallible among us, are immediately connected.
 
The hits keep coming. Each song on this record reaches right into you and delicately and incessantly demands your attention. And you happily give it. Matt Anderson’s resolute beat and Chris Wagner’s bass line welcome you to “Gold Guitar.” Growling guitars press right into your sternum as Velghe laments the position of the modern musician: “It’s like the songs, never made a sound.” After I shared this song with Jon Dee Graham, whom Velghe mentions by name in it, Graham commented, “Can I get these lyrics engraved on my headstone?”
 
“Set It Fire” sounds like what I imagine the Beach Boys would have put out if they were an Americana band. Tight harmonies and a melody that will have you bobbing along without intending to, Kirsten Paludan and Velghe’s voices twist around each other and join together to make this a track you return to over and over.
 
There are records we meet and immediately become part of our lives. We listen to them through our forever. This is one of those records.
 
—Angela Lupton
 
 
 

Organ Donor Blues will be officially released on Tuesday, June 24, but is now available at Bandcamp on pre-order and for digital download. Stay tuned for info on the band’s upcoming shows.   

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