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Too Much Rock Singles Series Vol 2: Rev Gusto – Still There

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Too Much Rock recently released its second volume in its 45 RPM singles series (the first was Landlocked from Schwervon! — Bandcamp link). The newest single is from garage pop band Rev Gusto, Still There, released on Record Store Day. It features the title track and a cover of Graham Parker’s “Local Girls.” “Still There” is a fuzzy jam infused with the band’s cool ‘60s California pop style. On the B-side, frontman Jerry Frederick channels Parker’s vocal work, while the band provides an excellent take on the cover.
 
Too Much Rock is the project of photographer/writer/music enthusiast Sid Sowder; the goal of the singles series is to “marry great songs with great bands all for the love of vinyl.” Each one contains an original song with a cover chosen by TMR. 500 limited edition copies are pressed and given to each band.
 
Keep up with Sowder at toomuchrock.com to find out about what shows he’s seeing, and to be updated on the next single in the mix!
 
“Still There” was recorded with Joel Nanos at Element Recording, and “Local Girls” was recorded with Pat Tomek at Largely Studios. Both songs were mastered by Nanos. The album is also available at Mills Record Company, Vinyl Renaissance, and Love Garden Sounds.
 

–Michelle Bacon 

 

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Middle of the Map Fest recap

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(Photo by Todd Zimmer)
 
Now that Middle of the Map Fest is all wrapped up, here’s a look back at the music fest a couple weeks back. We also had a blast at the forum and film portions of the fest. Here are some highlights from a few of our contributors.
 
(Photo by Todd Zimmer)

Kicking off the fest for me (and for most, as they were one of the first groups scheduled), the adorable couple took to the stage in their usual slightly off-kilter alternative garage rock fashion. I strolled in during the part of the set where guitarist Matt Roth recites beat poetry sans music while drummer Nan Turner dances of various persuasions. Though one could argue it is an odd move in the middle of a set of rock music, it ends up serving as just one more “we do what we want” layer of joy to the overall warm and fuzzy soul hug you get at a Schwervon! show. A special nod to the Riot Room sound here, as this was easily the biggest sounding Schwervon! show I have seen.
 
(Photo by Todd Zimmer)

For a band that has played a very small number of shows, Loose Park has quite a bit of buzz to them, probably due to its members currently or previously being in a slew of popular KC acts (Doris Henson, Soft Reeds, In the Pines, etc). Yet another of the pleasing number of trios I’ve seen between MOTM and SXSW this year, they lived up to the hype for me. The sound is rock and roll, borrowing as much from Neil Young as it does ‘90s alternative rock, with just enough prog-like quirkiness to keep things interesting. Vocalist/guitarist Matthew Dunehoo’s voice came across especially strong and although I was unable to stick around for their whole set, what I did hear was exciting. I’ll definitely be checking them out again.
 
(Photo by Todd Zimmer)

Unpretentious high-energy punk rock with pop sensibility and a synthesizer flair. Love these guys. I’ve had the pleasure of catching them numerous times over the past couple years and have really enjoyed watching them grow into the band they are now. They played an energetic set of tunes to an appreciative crowd that grew ten fold throughout the course of their set. Gary Numan had just let out more or less right above them, but his crowd that stumbled into Westport Saloon didn’t move on once they heard what the Lungs were putting down. Anytime a band can keep a large and growing group of people for a whole set at a festival with many things happening simultaneously is a good sign.

 
For many years, my pissed-at-the-world, play-as-loud-as-my-speakers-and-ears-can-take-it album was Something to Write Home About. Needless to say, I was pretty stoked to show up at showtime to hear the last couple minutes of the J. Roddy set, and therefore snake a spot about 15 feet back center stage when people left to get a beer. I’ve seen The Get Up Kids a few times now, but it had been a while, and not on a stage this big since Yahoo Outloud circa 2001. I was in full on fangirl mode.

They quickly shattered any doubt about what age and/or time may have done to a band with such an energetic reputation. Sure, there was a lot less jumping or running around and I don’t remember Dewees getting up on his keyboard stand even once, but whether due to the excitement of the crowd where I was standing or just refinement through time (or perhaps that I, like them, have grown older accordingly), their set came across as solid as it ever did. They blazed through mostly older material, though even they admitted that “it’s all old stuff at this point”. Someone from the crowd jokingly yelled out “emo grandfathers,” from which Pryor got a noticeable laugh and retorted appropriately.

The Get Up Kids showed the crowd why they are one of the biggest bands to come out of our neck of woods in recent memory. “Holiday” and “Action & Action” pummeled with raw angst and vigor. “I’m a Loner Dottie, A Rebel” brought the house down. The tender moments from “Valentine” reminded the crowd of the depth of their material. Even the technical difficulties that fouled up “Overdue” so much that they had to stop and resort to playing “Campfire Kansas” instead (which is probably what we wanted to hear more anyway) couldn’t put a damper on an otherwise hitch-free set.
 
They bantered about memories of Westport. 21st birthdays and an awkward bicycle ride at Buzzard Beach. The house not far away they used to live in. I never turned around to see how many people were there, but the ones around me felt like a community. We were all bouncing, we were all grooving, we were all belting the words along. It felt like a show in someone’s basement or at a small familiar haunt like the Replay. One of the most friendly mosh pits I’ve ever seen even broke out during their closing song “Ten Minutes.”
 
Perhaps I am waxing nostalgic, but this is what a rock show should be like.

This was my first TD show. Having heard good things about them, I slunk my way through the billowing crowd at The Riot Room to find a square foot to stand on that could see that stage. If MOTM and SXSW showed me anything this year, it’s that alt folk and dance pop bands had better get their fill now, because loud rock ‘n roll is making a comeback. Those Darlins are a friggin’ rock band. Loud guitars, rumbling bass, pounding drums, wailing vocals. The frontperson of this freight train? Jessi Zazu, a *maybe* 100-pound pasty white nymph, complete with a red blazer and curly auburn Annie hair. Her stage presence is an interesting mix of playful kitten meets jilted ex-lover meets psychopath, as she would often flare her eyes raptor size and stare holes through various people amongst the crowd. Their set was a great balance of musicality and showmanship.

Even as it grows into more of a beast year by year, Middle of the Map is delightfully Midwestern. Delightfully Kansas City. Delightfully ours.
 
–Zach Hodson
 
When Lauren Krum (The Grisly Hand) and David Regnier (Dead Voices) perform as a duet, with just their voices in tight harmony and his acoustic guitar, they perform under the moniker Ruddy Swain. They were part of the recordBar day party on Saturday, and you could have heard a pin drop as everyone in the place was captivated by the stripped-down performance of the lead vocalists of two of KC’s favorite alt-country bands. It occurred to me as I snapped pictures that they don’t need anything besides their voices and his guitar to hold an audience in the palm of their hand and keep them there for the entire set. No doubt, the audience would have demanded an encore if not for the tight schedule a successful festival commands.
 
Move over, Taylor Swift. 15-year-old Gracie Schram of Leawood doesn’t need a bad relationship or a horrendous breakup to write a good song. I’ve had the hook-lines from “Yellow Shoes” and “We Are the Change” running through my head since her set at the recordBar, and I’m not humming “God Save the Queen” to get rid of them. She’s a complete package: a gifted songwriter, a talented guitar player, and a superb vocalist, all combined with stage presence. Kansas City music aficionados will sniff haughtily some day when tickets to see her are going for $150 a throw that we remember her mom driving her to gigs and seeing her for five bucks at local coffee houses. Fortunately for us, we don’t just get to bear witness as she matures and grows, we get to call her one of our own.
 
–Tammy Booth
 
(Photo by Jaime Russell)
 
The latest incarnation of Joshua Allen’s rock outfit kicked off The Deli’s showcase at Riot Room on MOTM’s first evening. As promised, the four-piece delivered a bombastic, psychedelic sound to the early audience. Allen’s crunching, whirling guitars joined forces with Eddie Moore’s otherworldly keyboard noises, the anarchy of which was kept in check by the bass and drum groove of EvanJohn McIntosh and Mark Lomas. The band’s chaotic, high-energy set was devoured by a hungry crowd, eager for more, ready for a sensational music-filled weekend.
 
(Photo by Todd Zimmer)
 
The first time I saw Molly Gene, I was just beginning as a musician, still daunted by the complexity of my instruments, my lack of style, my own timidness. After I saw her perform, I probably should have quit right then, knowing that I would probably never possess that same ability, or charm, or grit.
 
Years later, she’s featured at Westport Saloon’s showcase. Still with all of the same elements as before, somehow enhanced. It’s not just her fancy-looking (and sounding) foot-controlled drum kit—complete with kick, snare, a cymbal, and who knows what else—but more of a toughness in her songwriting and sensuality in her stage presence. Her brand of garage rock heavily steeped in Delta blues created the precise mood for the evening.
 
 
There’s something both soothing and jarring when you hear Jorge Arana, Jason Nash, and Josh Enyart share a stage together. They conjure up these wickedly rich, complicated rhythms and melodies that almost make you uneasy. It’s like when you sneaked out of your parents’ house as a teenager to smoke cigarettes with your friends or make out with your crush—an innocent enough gesture, coupled with the exhilarating rush of rebellion and intensity. And every time the trio takes the stage, it seems like the perfect setting, whether it’s in a dingy basement or in this case—The Riot Room patio.
 
Among the highlights of the entire fest was the trio’s performance with special guest Steve Tulipana, whose mere presence on stage sent an invigorating shock wave through the already euphoric audience. The always-captivating Tulipana sang, spoke, and screamed like a shaman, keeping the masses transfixed and clinging to his every word.
 
I’ve always had a special place in my heart for what I consider true, classic, soul-satisfying, face-melting guitar rock. For several years, Supernauts was one of the best sources in KC for this unadulterated, unapologetic music. Their recent performance at MOTM—one of their only performances in years—proved that they still very much have the rock chops. Jordan Smith has a higher vocal range that can weave between a cool glam song or cut through Tim Braun’s colossal, soaring guitar riffs and J.F. Whitaker’s mammoth drum work. The Elders’ Kian Byrne also filled in on bass, helping the band produce a more solid, beefier sound than in years past.
 
 
Kicking off the main stage on Saturday afternoon—the final day of the fest—was another KC trio that has proven to be more than the sum of its parts. Fascinated by frontman Nathan Corsi’s striking voice and the band’s unmistakable overall appeal, the day’s early spectators had no choice but to move their feet. Augmented by a rhythm section (Liam Sumnicht and Bill Sturges) that provides just enough countermelody to heighten the band’s sound, Corsi ripped through the set flawlessly, keeping listeners lingering around the main stage to see if anything else could top that performance.
 
What happens when you allow a zany group of people dressed as comic heroes on acid to jump on a stage? If you have ever had the chance to see Peelander-Z, you already know the answer: several things, actually. You’ll probably get the urge to dance. You’ll probably belly laugh at least twice. You’ll definitely chant something having to do with a Rubik’s cube or guys named Mike. You may even end up on stage, playing a guitar or bowling. If you have any sort of capacity to enjoy things, you will have more fun than you’ve had at a concert… possibly ever.
 
Not only does this Japanese (from NYC) band know how to keep a crowd engaged better than most bands, but Peelander-Z can play a great set, which they proved on the Ernie Biggs stage. With plenty of punk influence along with a whole lot of quirkiness, you’d be a fool if you didn’t have a smile on your face by the end of the show.
 
Spirit is the Spirit was the finale of my time at the music fest, as I was too exhausted to possibly see anything else. But for me, it was an ideal ending. The recordBar was filled almost to capacity with people winding down from a stellar music weekend, and Spirit is the Spirit provided an outstanding soundtrack for the conclusion. The band, made up of five excellent composers/musicians, has a consistent rock sound blended with psychedelic touches, folk qualities, and atmospheric layers.
 
Special thanks to everyone who dropped by The Deli’s showcase at The Riot Room patio on the first evening of the fest, and especially to all the bands who played: Various Blonde, Is Paris Burning, Rooms Without Windows, Middle Twin, Loose Park, and Spinstyles.
 
–Michelle Bacon 
 
 
 
 

 

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Album review: Middle Twin – City of Gold EP

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Middle Twin calls its music peculiar art pop. Perhaps peculiar is in the eye of the beholder, because their new EP, City of Gold, is some of the most accessible local music I’ve heard lately. 
 
Well, sure, they’re kind of unusual. In the guitar-dominated world of local music, City of Gold consists of seven keyboard-driven pop songs, propelled by live drums and electronic percussion. Sure, in their live shows, Joel Martin plays a small percussion pad with one hand and a keyboard with the other. And, oddly enough, vocalist Demi Renault has training as an opera singer and has never really played in a band before. But to me, the peculiar thing about Middle Twin is what a polished, professional EP it has produced in its short time as a band. 
 
Middle Twin includes two former members of the late lamented Quiet Corral, guitarist Eric Davis and drummer Isaac Flynn. The latter recorded City of Gold in his home studio. A third ex-Quiet Corral member, Jim Barnes, helped with production and mixed the project. The group is rounded out by Jonny Fitzgerald on bass and vocals, who also sings with another Lawrence band, Paper Buffalo.
 
The guitar generally stays in a supportive role rather than dominating the multiple keyboard lines in Middle Twin’s music. Rather than sounding noodly or nerdy, though, there’s lots of ear candy here. The EP is a treat on headphones, with swirling stereo effects and interesting percussion samples galore. Somehow there is an organic quality to all these electronics, the arrangements carefully orchestrated to form an expansive, lush environment in which to place Renault’s expressive vocals. 
 
It may be an encouraging sign of the times that Middle Twin was able to produce such a professional product on a shoestring budget. As Davis said in an email, "We were really just trying to make everything sound unique… We don’t have thousands of dollars worth of analogue synthesizers, so making electronic music that doesn’t sound cheap is a very big challenge." 
 
The most encouraging thing may be a sense that Middle Twin is just getting started. I have a feeling we haven’t heard the last of them, and that’s a very good thing.
 
 
 
Middle Twin will be opening for Fitz & the Tantrums next Friday, May 3, at KC Live in Power & Light. If you’re in Lawrence, you can catch the band on Thursday, May 8, at Jackpot Music Hall for I Heart Local Music’s Stop Day Eve Party with Psychic Heat and Forrester. Facebook event page.
 
—Pat Tomek
 

Pat plays drums in The Rainmakers, Howard Iceberg & the Titanics, and Deco Auto, and records bands at Largely Studios. 

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Album review: Something & the Whatevers – We Sold Our Souls For Wicked Lulz

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I have two very early memories of music that shaped me into the sonic appreciator I am today.

Sure, I had a lot more music exposure than that, but two moments have always specifically stuck out to me as influential. One is being forced to go into another room and shut my ears whenever Weird Al’s “Nature Trail to Hell” would come on. I can’t remember whether it was because it scared me or I was still young enough that hell in that context was a bad word, but whenever “Theme from Rocky VIII: the Rye or the Kaiser” finished up, it was exile time for me. The other is rug burning the crap out of my ass falling down a flight of stairs from spastically dancing to TMBG’s “Birdhouse in Your Soul”. Regardless of how awkward those two events may sound (and my fictional therapist might agree with you), like any well-adjusted human, I find asylum in the memories of the music that molded me as a child. Less than thirty seconds into We Sold Our Souls for Wicked Lulz, the new album from Lawrence’s three-and-a-half-piece robot nerd rock outfit Something and the Whatevers, I am taken to that happy place.

 
Listen, hipsters. If you are the kind of person that judges someone solely by the inches of beard they wear, regularly wears overalls but is not a farmer, thinks you “totally get” where Vonnegut or Bukowski were coming from, or proudly proclaim you were the first person to ever discover Arcade Fire or the National, you are going to hate this record. And for that (and probably many other things), you are stupid.
 
This is a deliciously odd collection of engaging and humorous songs. Definitely more R-rated than the previously mentioned Yankovic or band of Johns, it tows a very interesting line of profoundness and absurdity. At times the songs coo with frivolous innocence a la Jonathan Coulton, other times they skank their way across a thesaurus of adult themes and curse words like a Green Jelly b-side.
 
Any number of joke bands come to mind across the twelve tracks (Bowling for Soup, The Bloodhound Gang, Tenacious D, etc), but in contrast there seems to be a wrinkle of irony that thematically creeps out of the funny farm. Whether breaking down every popular song ever written in the album opener “We’re Not Even Trying” or still trying to figure out what this whole life thing is about in the Dropkick Murphy’s-sounding emo cutter anthem “Slacker Blues,” S&tW manage to remain ridiculous and poignant throughout, exhibiting great balance of style and substance. “Note to Self” is a Devo-meets-System of a Down tryst, with synths that practically scream 1983 repeatedly mashed against trigger-happy double bass drum and scream-sung vocals.
 
This album gives hope to rock ‘n roll misfits like myself. To anyone that has spent too much time watching Megaman speed runs on Youtube, to anyone who knows who Stan Freberg and Tom Lehrer are, to anyone that still remembers how to calculate THACO, to anyone that is upset that Google Translate does not offer a Klingon option, to anyone that spent many a morning at school in a daze due to staying up until 2 am the night before listening to the Dr. Demento show. Nerds unite, in the form a solid and thoroughly entertaining forty minutes of music.
 
Make sure you catch Something & the Whatevers at Davey’s Uptown on Saturday night, April 26, with The Lusty Flowers, The House of Gray, Mr. and the Mrs., and 88er. $6, 21+. 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 and Drew Black & Dirty Electric, as well as contributing to various other Kansas City-based music, comedy, and art projects.
 

 

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Album review: Bottle Breakers – Weigh Anchor EP

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 I’ve said it several times in various mediums recently, but it bears repeating again. The new music I have been able to witness in the first three months of 2014 is really warming my friggin’ rock ‘n roll heart.

 
Loud guitars are returning. Fast, snarling distorted vocals are making a comeback. The tight assed, stolen-straight-from-disco hi-hat shuffle beat is being obliterated back to the grave by the return of huge, thunderous drums. I really think (and hope) we are on the verge of rock n roll revival of popular music.
 
Bottle Breakers is just another example of this. With their recent release of the Weigh Anchor EP, the new Kansas City-based trio showcases four pulverizing tracks of ass-bashing blues punk.
 
Demanding that you “say a prayer for lady luck and turn the god damned volume up,” “Broken Boulevard” kicks the EP off with the perfect punk rock sneer and attitude. “Sailor’s Grave” is the kind of swung punk anthem that will get a whole bar full of misfits throwing their fists and PBR cans up into the stale smoky air repeatedly with vigor. “Slam Radio” hits a bit chunkier and fiercer, with a definite sonic nod to the punk rock forefathers of NYC circa 1979. The deceptive first twenty five seconds of “Drink, Motherfucker” lead you to believe you’re going to be able to take a breath, only to slam you once again with a fierce dose of blow-your-Mohawk-back punk rock.
 
If their live show lives up to the energy of these four songs, Bottle Breakers are going to be an attraction not to pass up. They’ve got a few local and regional shows already on their calendar. Better make sure you grab your flask, some gauze, and be prepared to be sore for the next week or so.
 
 

 

Be sure to catch Bottle Breakers this weekend, especially if you haven’t seen them yet. They’ll be playing tomorrow night, April 25, at Vandals in the back of Black & Gold Tavern, with Jorge Arana Trio, Black On Black, and Nuthatch-47. 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 and Drew Black & Dirty Electric, as well as contributing to various other Kansas City-based music, comedy, and art projects.

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Album review: The MGDs – The MGDs

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The MGDs hit the music scene in 2013 and have already secured regular rounds at venues such as The Kill Devil Club and The Phoenix. There’s no mistaking that these guys are true players, joining so many great bands in this city in offering up musical excellence. Elements of funk, soul, jazz and a splash of angsty rock are the sonic ingredients for this six-piece powerhouse.

From their debut self-titled full-length release, it’s clear that The MGDs are playing to win. The sonic spectrum of the ten-track album takes you back to bands such as Earth, Wind, and Fire and the Average White Band. The incredibly singable and memorable horn lines are right on par with local greats like The Hearts of Darkness and Diverse, not to mention the John Scofield-esque guitar lines, phat bass tone setting the groove, and the fun, gritty vocals.

All the tracks are worth the money and the time but a few jumped out as strongest. “Hey Lady” displays incredible piano work that leads up to a spectacular piano and sax solo rounding out to an incredible fadeout over the main riff. “Spicy Jane” highlights the vocals with a great distorted effect that compliments the mood of the tune. “QT” stands out as their absolute best track: the bass intro lays down a groove you can’t stop moving to, and the guitar lines are the most prominent, with riffs that fit perfectly within the horn lines in the chorus. If you only have a few minutes to spare, start with “QT”: it’s the epitome of everything this band does well.

Now for the nitty-gritty: the biggest opportunity for growth this band has is in its vocals. There are a few shaky lead lines and harmonies, but it seems to be only a matter of time before the vocals catch up, simply because of the sheer amount of overall talent this band displays.
Personally, I can’t wait to see their live show, and you should join me. At the very least you should run out and get this CD.
 
–Miguel Caraballo
 
 
Check out The MGDs tonight at The Riot Room. They’re playing the 8th annual 420 Fest and will be taking the indoor stage around 6:30 pm. Facebook event page. They also play at The Phoenix every fourth Friday, and will be there next Friday, April 25.

 

 

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Album review: My Brothers & Sisters – Violet Music: Volume I

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My Brothers & Sisters is the brainchild and passion project of Jamie Searle. Since deciding to leave his former band—It’s Over—to increase his knowledge of music, Jamie has been studying and working to compose, perform, and record Violet Music: Volume I.

 
My Brother & Sisters is a large band reminiscent of the soul revues of the 1960s. Weighing in at a staggering 15 members, the band presses right into the listener with a force embodying Phil Spector’s wall of sound. Violet Music: Vol I lifts off with “Fall Winter Spring & Summer.” Insistent horns and punching guitar pull the listener in immediately. Try not to move. I dare you. Pay no mind to the lyrics seriously challenging you to follow your passion; you will dance whether you mean to or not.
 
From the frenetic pace of the opening track, the sparer “If Once”opens with just Searle’s voice. Soon the band joins in and fills out the song that focuses on a person’s search to balance priorities in life. “How to Move, What to Wear” departs from the established mood, floating in sultry and straightforward. It has a very Sade “By Your Side” vibe.
 
Keening strings welcome persistent percussion as Searle’s voice takes on an almost Jack White sensibility in “In My Sights.” “I’ll Be Leaving with You,” with its delicate string arrangement, beckons you to listen as Searle’s voice—subdued and intimate—like he’s singing to you alone in a crowded room trying to convince you to take him home. The smooth edges of “You Should Have Known” slide in and out of focus. Searle offers a cautionary tale poured in the calmest of voices served up with an I-told-you-so chaser. “Pillow Bella” has a Bollywood feel with the harmonies and pulsating rhythm of a Technicolor dance number. “The Devil & I” is that track you want to play when you get in the car after a long day—complex and mellow. I can see you now, windows down, singing along, “try to relax.”
 
My Brothers & Sisters sends us on our way with “In You I Find.”Sparing, compared to the rest of the album, this track seems lonely, like it is sitting on a fire escape in the rain, a love song fighting with the notion of all that has happened to the lovers before. This is a get-up-and-move record. Whether it is a slow dance or something to shake to depends onto which track you drop the needle.

My Brothers & Sisters are releasing Violet Music: Volume I tomorrow night, April 12, at The Mission Theatre. The show is all ages and features DJ Joc Max. Doors open at 7:30 p.m. Facebook event page. Also, 10% of the proceeds from Violet Music will be graciously donated to Midwest Music Foundation.
 
—Angela Lupton
 
Angela is Executive Director of Midwest Music Foundation.
 
 
 

 

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Album review: The Quivers – Hot Young Mess

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(Photo by Lindsy Dugan)
 
You have to admire a band that starts an album off with a song that most bands would end theirs with. A gospel-shoutin’ barn burner of a song called "Come Take My Hand" kicks off The Quivers’ second long-player. This is definitely a band that has confidence in their material. The obvious question after you hear this song is: “How can they top this?" Luckily for us all, they do.
 
The new release Hot Young Mess is a blast of early rock and roll that never lets up from the first track to the last. This band knows the fundamental rules of real rock and roll: hit ’em hard, make it fast, and move on to the next song. Nothing on this album is over 4 minutes long; most songs clock in between two and three minutes. If a rock and roll song takes more than three minutes, it’s overstayed its welcome. Other than a cover of "Little Red Book" with Love’s arrangement, all the songs on this record are composed by the band. 
Vocalist/bassist Terra Skaggs is a force of nature. Her voice is reminiscent of Lavern Baker’s as she romps through "Love Me Or Leave It," for instance, or she can rip it up like Little Richard on "(Come On) Let’s Maybe." You can tell by listening to this album that the band is road-tested and has hit its stride. The rhythm section of Skaggs on bass and Bernie Dugan on drums is locked in. Guitarist Abe Haddad has learned to play within the rhythm like all good rock and roll guitarists, and when it’s time for him to step out as on the title track, he shows he’s got chops to spare (note: Desmond Poirier has taken over on guitar since the album was recorded). To my ears, keyboardist Todd Grantham is the anchor of the band. Whether it’s a gospel organ sound on "Come Take My Hand," the wonderful cheesy Farfisa sound on "Guaranteed," or the rockin’ piano on "It Ain’t You, Hon" (on which he would make the ghost of the Big Bopper smile with his lead vocal), his keyboard work is the foundation of the band’s sound. 
 
This album is one of the best pure rock and roll albums to ever come out of KC. Hearing the intensity of this album, one can only imagine how much more intense they are live. You can find out this Saturday at the Brick when they debut this record in concert at their cd release party. Bring your saddle shoes and get ready to dance. That’s what real rock and roll does—it makes you move your feet and rocks your soul, and The Quivers deliver. 
 

 
Join The Quivers as they celebrate the release of Hot Young Mess at The Brick tomorrow, April 12, with special guests The Bad Ideas and Schwervon!. Facebook event page.
 
—Barry Lee

Barry is the host of KKFI 90.1 FM’s Signal To Noise, which broadcasts on Sundays from 8 to 10 p.m.

 

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Q&A with FanAddict CEO Joe Lieberman

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Joe Lieberman is the founder and CEO of FanAddict: a new mobile app that allows music lovers to easily find, track, and share their favorite live events locally or nationwide. Here, Lieberman discusses FanAddict’s birth and future. This interview took place at his KC home.
 
The Deli: Why is it important for fans to follow bands they love?
 
Lieberman: It’s a natural inclination of people who really love music and to want to see their favorite bands live. That was one of my biggest passions as a kid. I remember reading the album covers from back to back…studying up on the band members…keeping track of my ticket stubs. I built a scrapbook of all my memorabilia. I felt that the tracking and the scrapbook could be combined. That’s the genesis of FanAddict.
 
The Deli: What’s your sales pitch for FanAddict?
 
Lieberman: Track your favorite bands and relive your memories. You can only say one message at a time. Because if you say too much you’re saying nothing.
 
The Deli: How has living in KC affected FanAddict?
 
Lieberman: There’s a very strong entrepreneurial in spirit KC and a community ecosystem that revolves around small business development. It’s very nurturing. It was easy to find other professionals who had skill sets that I could use collaboratively.
 
The Deli: How do you think FanAddict will change the live music industry as a whole?
 
Lieberman: We hope to change the way that artists engage directly with their fans. Even using Spotify or Pandora you’re really just listening to the music. It’s distant. We’re trying to create an environment where you feel connected using your own notes, photographs, and band twitter feeds.
 
The Deli: You’re involved with two other Kansas City companies.
 
Lieberman: Yes. ManGoDo Productions is a fun shell for some creative things I do. At The Capitus Group, I do business consulting to help small business owners through growth transitions.
 
The Deli: How do you divide your time between projects?
 
Lieberman: Everything ebbs and flows. Currently FanAddict is working on version two development. I’ve got a bunch of people who are busy with that. So I have more time to focus on business consulting. But over the last year I did ramp up my involvement in FanAddict as needed.
 
The Deli: How do bands sign up?
 
Lieberman: Right now we are working on phase two, which allows bands to directly use FanAddict to manage their tour, events listings, and social media feeds.
 
The Deli: What lessons have you learned about launching a venture?
 
Lieberman: Foremost, you have to build an awesome product no matter what you do. It has to meet the needs of a key group of people. If you don’t do that; give up. You have to be careful about the robustness of your first product set.
 
The Deli: You had a contest for bands to submit videos for a chance to win a FanAddict traveling band van (the winner was Not A Planet).
 
Lieberman: We wanted to see if we could get bands to market FanAddict in a way that we couldn’t get exposure otherwise. It worked. It was a month long contest; In a few weeks we got over 4000 Facebook likes.
 
The Deli: Who are your favorite bands?
 
Lieberman: Currently Arcade Fire, of Monsters and Men, and The Doves. My favorite older bands are The Smiths, Morrissey, and Death Cab for Cutie. One of my favorite locals is Cowboy Indian Bear. They have these really nice lush harmonies.
 
The Deli: How do users find you in the AppStore?
 
Lieberman: We use a multi faceted marketing program including lots of organizations who want to promote us, the bands themselves, and PR agencies. Within the store, we use Search Optimization to find people who are searching words about our product. 
 
The Deli: Bands can’t make money anymore by just selling music.
 
Lieberman: It’s the truth. It’s a sad state of affairs for the people developing the content that gets marketed by others. I think the bands that make it are quickly learning it takes a whole environment of cultivating fans. FanAddict helps with that.
 
The Deli: What’s the next big trend for bands making money?
 
Lieberman: It will continue to be fan access, like how big artists sell backstage passes. But I think smaller bands are going to get more and more creative marketing different ways to connect with their fans.
 
The Deli: Do you play music?
 
Lieberman: I don’t anymore, but I learned to as an adult. I took guitar lessons and started a band with a friend. We created our own music, played live, and cut a CD. But I couldn’t fit it all in, so I “put that to bed”. I then learned how to edit music, and now I have FanAddict.
 
The Deli: It’s a mystery to many users how apps actually make money.
 
Lieberman: It’s a mystery to me too [laughs[. Very little apps make money by selling themselves directly. We have affiliate revenues which make money off of song downloads, ticket commissions, and advertising.
 
The Deli: Do you have any new products on the horizon?
 
Lieberman: No, but I’ve had lots of ideas come and go over time. This is the biggest one I have jumped at. The experience has been incredible. I’ve been exposed to all sorts of great people I wouldn’t have met otherwise.
 
The Deli: How do you think FanAddict would have changed your experience as a young music listener?
 
Lieberman: It was what I was looking for. I needed it. I would have been clued in and probably obsessed with it [laughs].
 
–Hannah Copeland
 
Hannah Copeland is a UMKC business student and self proclaimed "Fun Engineer". She books concerts for local bands every month, is working on an e-commerce music merchandise start-up, and is a lyricist and singer for her electronic band, Hunter Gatherer. She cannot wait to graduate next spring and work in radio broadcasting, music promotions, or bartending in South America. You can contact her at HeyHannahCopeland@gmail.com.

  

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Album review: Westerners – Westerners (EP)

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(Photo by Scott Stormann)

Westerners, a Lawrence-based indie-rock quartet, has been playing a seemingly overflowing swarm of shows in recent months. Having had the pleasure of catching a couple of those performances, I was pleased to stumble across their new EP on a recent Bandcamp stroll. With yet another strong production job from Joel Nanos at Element Recording, the band has managed to capture its raw live energy, tight arrangements, and dynamic range quite effectively in this four-song sampler.
 
The EP’s opener “Ugly Girls in Pretty Shoes” (which coincidentally is one of the best song titles I’ve seen in awhile) is a nice fiery shot out of the gate. This Nada Surf-meets-Me Like Bees slice of garage rock bounces from jazzy strains to feathers of prog rock, all brought home nicely by a strong and poppy singalong chorus.

“Tetris” sees the band move more in a psychedelic or jam direction. Easily comparable to a more meandering version of The ACBs or the older, less-dancey Soft Reeds material, this song features the best vocal work of the EP. The more tender moments are carried perfectly by Floyd-esque “ooooo”s that transform the listener to a serene place. Extra points for the tasteful and effective use of hand claps.
 
“Broken Bells” shows a bit of a Midwestern side of Westerners. The proggy, tight rhythm section featured previously is replaced by a content shuffle beat and walking bass lines. The chorus explodes a bit into a chuggling, folk-punk experience, proving even the “slow” songs can have some nuts.

My favorite song of the EP, “Dog Days,” closes things out with a powerful, body-moving Zeppelin-style groove. A little more riff-driven than the other tracks, the guitarist really shines here with a dynamic and careful use of effects. Typically I shy away from a band’s more jam-esque material, but this song seems to be the perfect harder rock culmination for this batch of songs.


I would imagine Westerners are coming to a bar or town near you. As stated previously, they keep a pretty busy schedule about the Midwest. Go over to their Bandcamp and throw them a few bucks for this EP (currently selling for $3 or more). Gas aint cheap and Westerners have some good sounds to spread about.

 

 

You can catch Westerners next at Art Closet Studios on Friday, April 11, with The Decatures, Hardi Har Har, Vela, and Monzie Leo and The Big Sky. This is an all-ages show, $4. 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 and Drew Black & Dirty Electric, as well as contributing to various other Kansas City-based music, comedy, and art projects.

 

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Center of the City Fest starts Friday

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Another important music fest is taking place in Kansas City this weekend that provides a punk alternative to what’s happening a few blocks south. This weekend will mark the third annual Center of the City Fest, at Vandals (in back of Black & Gold Tavern). The fest focuses on the KC punk rock community, and is jam-packed with a stellar lineup.

This year’s COTC fest will feature bands on indoor and outdoor stages (Friday and Saturday). Tickets are just $7 for one day, $21 for all three days. Drink specials will be available at Black & Gold. Facebook event page. 

Friday
7:00     The Big Iron (inside)
7:30     Plug Uglies (outside)
8:00     5 Star Disaster (inside)
8:30     Stinkbomb (St. Louis) (outside)
9:00     Four Arm Shiver (inside)
9:30     Bombs Over Broadway (outside)
10:00   The Haddonfields (St. Louis) (inside)
10:30   Documentary (outside)
11:00   American Dischord (inside)
11:30   Smash the State (outside)
12:00   The Shidiots (Omaha) (inside)
12:45   The Uncouth (inside)
 
Saturday
7:00     Deco Auto (inside)
7:30     Dead Ven (outside)
8:00     The Itch (Joplin) (inside)
8:30     Donner Diaries (outside)
9:00     Scene of Irony (St. Louis) (inside)
9:30     KC Thieves (outside)
10:00   Molotov Latte (Springfield) (inside)
10:30   Red Kate (outside)
11:00   Bottle Breakers (inside)
11:30   Hipshot Killer (outside)
12:00   The Bad Ideas (inside)
12:45   Iron Guts Kelly (inside)
 
Sunday
6:45     Black on Black
7:30     The Biff Tannens
8:15     The Hemorrhoids
9:00     The Protesters
10:30   The Rackatees
11:15   Bummer
12:00   The Death Scene
12:45   Ghetto Blaster (San Diego)
 

–Michelle Bacon
 
Michelle Bacon is editor of The Deli KC and plays bass in The Philistines and Dolls on Fire, and drums in Drew Black & Dirty Electric.
 
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Artists on Trial: Various Blonde

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We will be highlighting some of the artists playing The Deli KC’s showcase for Middle of the Map Fest next Thursday, April 3 on the Seen Merch Stage at The Riot Room patio. Today’s Artist on Trial is Various Blonde.
  

Joshua Allen is the songwriter and frontman of Various Blonde, a project he’s been involved with for several years, that has a dark, dynamic rock sound. Allen tells us a bit more about the band’s current lineup and what they have going on.
 
The Deli: Down and dirty: 1 sentence to describe your music. What is it?
 
Allen: Bombastic, psychedelic, soul, rock.
 
The Deli: Give us some background on the band.
 
Allen: This particular lineup is all new. Middle of the Map will be the sixth show with myself, vox, guitar, sound fx, Evanjohn McIntosh (Sons of Great Dane), Eddie Moore (The Outer Circle), and Mark Lomas.
 
The Deli: What would you say your biggest accomplishments been as a band?
 
Allen: Since the bands original conception we’ve opened up for some of our favorite indie acts from Russian Circles to Dead Meadow. We’ve also had the pleasure of being a part of the Midcoast Takeover in Austin and have the pleasure of participating in this year’s Middle of The Map Fest.
 
The Deli: What do you have coming up?
 
Allen: Well, actually I spent this last year working on the upcoming Various Blonde release Summer High, produced by Ikey Owens (keyboardist for The Mars Volta, Jack White, and Kelis) and am planning to release it this summer. It’s literally the hardest I’ve ever worked on anything so I’m really excited to share it with everyone.
 
The Deli: Who are you most looking forward to seeing at Middle of the Map this year?
 
Allen: I dunno, I think it would be fun to see Har Mar again. I haven’t seen him in like 10 years. He puts on a fun show and always has tons of energy. It would be fun to see them again and it would be cool to catch DEL and Shabazz Palaces too! But honestly there’s so much talent involved there’s too many to list. I’m definitely gonna try and see my boys in Jorge Arana Trio and the young powerhouse trio that is Bummer, because they slay!
 
The Deli: What does supporting local music mean to you?
 
Allen: I think it means something to the effect of trying to be as active in the scene as possible rain or shine, not making excuses for why you can’t do this or that (ie, pay, staying up past 10), giving as many honest listens as possible and getting behind anyone you think has potential. Personally, if I’m not at work I want to go to a show!
 
The Deli: Who are your favorite local musicians right now?
 
Allen: I hate using the word "favorite" but if I must, I will choose based on bands that sound like music I listen to in my spare time. The Conquerors, Bummer, and Jorge Arana Trio are all right up my alley.
 
The Deli: Who are your favorite not-so-local musicians right now?
 
Allen: Temples, Warpaint, The Range, SUUNS, Crystal Antlers, Rubedo, and AAN have all had recent albums I really fancy. Then there are also some things I won’t mention, but you can see I listen to if I forget to hit private session on Spotify. 😉
 
The Deli: What is your ultimate fantasy concert bill to play on?
 
Allen: Queens of the Stone Age, The Mars Volta, and Various Blonde at Red Rocks 2015!
 
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there? 
 
Allen: Miles Davis, James Brown, Jimi Hendrix, and Prince. They all brought it and they all changed the face of music inside and outside their respective genres.
 
The Deli: What other goals does Various Blonde have for 2014, and beyond?
 
Allen: Tour regionally for the upcoming record and figure out what were doing in 2015.
 
The Deli: Where can we find you on the web?
 
 
The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?
 
Allen: Various Blonde Kicks off Ink’s Middle of the Map Fest at Riot Room Thursday April 3 at 7:00. Come out and check out some new tunes, the new lineup, and then stay for more great bands. Cheers!
 
Various Blonde is:
Joshua Allen – vocals, guitar, sound fx
Evanjohn McIntosh – bass
Eddie Moore – keys
Mark Lomas – drums
 
 
Don’t forget to check out Various Blonde at The Deli KC’s showcase at Middle of the Map Fest next Thursday, April 3. They will take the Seen Merch stage on The Riot Room patio at 7:00 p.m. Facebook event page.
 
 
 
–Michelle Bacon
 
Michelle Bacon is editor of The Deli KC and plays bass in The Philistines and Dolls on Fire, and drums in Drew Black & Dirty Electric.
 

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