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Akkilles wins The Deli KC’s 2013 Emerging Artist Award!

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Congrats to Akkilles, our WINNER of The Deli KC’s 2013 Emerging Artist Poll!
 
Akkilles is the project of songwriter David Bennett, who began by writing folk-inspired demos with his acoustic guitar. He is the sole musician on his debut EP, Demo Treasure, which is available at Bandcamp. But this isn’t your regular sleepy coffeehouse acoustic hour—not by a long shot. Bennett takes risks with his music, many of which are fully realized in his debut full-length LP Something You’d Say (see our review here), released in mid-2013 through The Record Machine. Bennett enlisted an accomplished cast of musicians (Nick Pick, Rachel Pollock, Jeff Larison, Isaac Anderson, and Mike Crawford) to carry out his compositions, influenced by folk but swathed in a snug blanket of ambient, chill indie pop. It’s music that anyone can listen to, whether it’s a listener who becomes unconsciously bathed in its warmth or one who gets swept away by its depth and texture.
 
The result is that Akkilles has won over KC audiences with its easygoing summer pop sound, tinged with subtle hints of psychedelia. Bennett, who sometimes performs with the full five-piece band or sometimes a stripped-down version, has the ingenuity to transform songs that began as minimalistic bedroom tapes into dynamically dominant indie pop arrangements that seem to catch the attention of anyone in earshot.
 
Akkilles performs next at Czar Bar on Thursday, February 20, with Rae Fitzgerald and Cleemann. Don’t miss it!
 
 
–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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Katy Guillen & the Girls Runner Up in The Deli KC’s 2013 Best Emerging Artist Poll

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(Photo by Todd Zimmer)
 
Congrats to Katy Guillen & the Girls, The Deli KC’s second-place pick for 2013 Emerging Artist!
 
Though they’ve been a band for only a little over a year, Katy Guillen & the Girls have gained a strong and dedicated following in Kansas City and beyond. Guillen—whose blues/roots/rock/flamenco guitar skills far exceed that of most—has assembled a precise, expert rhythm section of Claire Adams on bass and Stephanie Williams on drums (see our 2012 interview with Williams) to set her songs in motion.
 
The trio recently took fourth place at the International Blues Challenge in Memphis with its unique, daring interpretation of blues rock.
 
KG & the Girls released …and then there were three in summer 2013 (see our review here) and a single for “Earth Angel” early this year. If you want to find out more about them, we did a Q&A with them shortly after the album was released.
 
 
The group will be playing at Knuckleheads on Wednesday, February 26, with The Latenight Callers and John Velghe & the Prodigal Sons. 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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Not A Planet Runner Up in The Deli KC’s 2013 Best Emerging Artist

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Congrats to Not A Planet, The Deli KC’s #3 pick for 2013 Emerging Artist!
 
Not A Planet has garnered well-deserved attention with its unmistakably catchy pop sound, complete with pleasant vocal harmonies and a garage rock edge. Frontman Nathan Corsi’s vocals are passionate, theatrical, and soulful all at once, weaving together the trio’s cohesive, sincere indie rock approach. Corsi, along with bassist William Sturges and drummer Liam Sumnicht (see our 2013 interview with Sumnicht), command each stage they play with exuberance, finesse, and finely crafted songs.
 
In mid-2013, Not A Planet released its debut LP concept album, The Few, The Proud, The Strange (see our review). The trio has opened up for big names like ZZ Ward, Flogging Molly, and Maps and Atlases, and returns on tour this month to introduce more audiences to its infectious, energetic sound.

 
 

Not A Planet will be heading out on tour this month, but you can catch them when they return for their first KC show of the year at The Riot Room on Friday, February 28, with Me Like Bees and The Electric Lungs. 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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Album review: The Sluts – Virile

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Why am I sitting in my office at 6 a.m. listening to a band named The Sluts? Perhaps it’s insomnia; it could be that it’s tough to sleep through a dream about the Three Stooges playing badminton with Presidents Taft, Reagan, and Taylor. Maybe it was my damned barking dog. But mostly, the band’s name drew me from my bed at this ungodly hour, and to the music. What self-respecting rock fan could possibly avoid a band named The Sluts? It should draw you like a magnet to a pile of metal shavings and rusty razor blades, It is unavoidable. Did I mention this two-piece from Lawrence is named The Sluts? The Sluts, I say! The Sluts!!!
 
The music on the band’s release Virile is rock ‘n roll, plain and simple. Finally, the tide may be changing, shifting back toward guitars and volume. Is electronic music finally ready to shoot itself in the head, to make room for the glory that is rock ‘n roll? It sure as fuck sounds like it. “Flip the Tape Over,” the album’s opener, blasts out of the gate like a fire-breathing dinosaur from a time when music was released on tapes before it was cool and ironic to release new music on cassettes. It is a strange collision of Mudhoney-like power and a Bruce Springsteen story; a song that, on paper, must’ve been a mess but on tape is incredible, firing on all cylinders.
 
It is clear The Sluts (Kristoffer Dover and Ryan Wise) worship at the altar of grunge. There are flashes of the movement and her greatest acts are slathered all over Virile: Tad, The Fastbacks, The Fluid, Nirvana (especially on “My Hour,” a track reminiscent of “Return of the Rat,” a Wipers’ tune later covered with love by Nirvana), Green River, The Gits, a pre-fame Soundgarden, The U-Men, they are all here. However, do not get me wrong, there is something else, something lurking below the slime. The Sluts are not simply a band regurgitating their influences. They are a band acknowledging what came before and deconstructing it. Isn’t that what rock ‘n roll should do? What it’s meant for? Worshipping your heroes while simultaneously blowing them up into a billion pieces? The Sluts do that in spades.
 
“I Want You To Die” is a stomp that reminds me of Joan Jett’s “Do You Want To Touch Me?” except instead of talking about sex, it’s “it’s not like I hate you girl / I just want you to die.” Obviously this guy has issues. “Loose” is a power-driven ass shaker, “Misdemeanor” opens “Hey Mom and Dad / I got picked up last night” then rips into garage punk at its finest.
 
The dark “Friends” has a Tad Doyle licked guitar pushing a song about a guy whose friends have all quit smoking, quit drinking; it’s about the fears of growing up and growing old. Again, it is The Sluts tapping a vein and drinking deep of the rock n roll monster. Moreover “Victim,” the closer, is a turn-it-up middle finger to all those who were never there to save us from ourselves.
 
There must be something in the water in Lawrence. Over the last couple of years, great rock bands have been popping up left and right. The Sluts, Black on Black, Mr. and the Mrs., Stiff Middle Fingers—all of these bands have pushed aside the banjo wielding masses, let their freak flags fly and insist that rock ‘n roll will not be allowed to die a slow, boring amplifier free death.
 

The Sluts’ Virile is a work that was made by and for people who love rock n roll. Goddamn, I’m so happy I couldn’t sleep this morning.

–Danny R. Phillips

Danny R. Phillips has been reporting on music of all types and covering the St. Joseph music scene for well over a decade. He is a regular contributor to the nationally circulated BLURT Magazine and his work has appeared in The Pitch, The Omaha Reader, Missouri Life, The Regular Joe, Skyscraper Magazine, Popshifter, Hybrid Magazine, the websites Vocals on Top and Tuning Fork TV, Perfect Sound Forever, The Fader, and many others

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Me Like Bees wins The Deli’s 2013 Best of KC Year End Readers’ Poll

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Congrats to the winner of The Deli KC’s 2013 Readers’ Poll, Me Like Bees!

Me Like Bees has been making waves in the Midwest for a few years now, and has more recently found success by taking home the award for the Ernie Ball Battle of the Bands competition, earning them a coveted spot on Warped Tour, a three-song EP produced by Goldfinger’s John Feldmann, and a lot of other fine swag. The four-piece Joplin group’s strongly developed indie rock sound draws comparisons to bands like The White Stripes and Modest Mouse, but Me Like Bees has cultivated its own melodic, quirky, upbeat style to stand on a national stage.
 
You can catch our Readers’ Poll champion in Kansas City next on Friday, February 28. Me Like Bees will be at The Riot Room with Not A Planet and The Electric Lungs. Until then, they’ll be playing a few dates in St. Louis, Columbia, and Joplin. Check out melikebees.com for more info.
 
 
Me Like Bees is:
Pete Burton – guitar, vocals
Nick Bynum – bass, vocals
Luke Sheafer – vocals, guitar,
Timothy Cote – drums, synths, vocals

  
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Album review: Sundiver – The Pull

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Spaced-out arrangements. Chunky, muddy guitar riffs. Down-tuned vocal harmonies. Echoes of the alt-rock greatness of the mid ‘90s. Any one of these features would be enough for me to give an album a listen; putting them all together is pretty irresistible. Kansas City rockers Sundiver have successfully merged this quartet of genre-defining factors, presenting them to the music-listening world in their debut full-length effort The Pull, recorded and engineered by Neal Brown at Harrisonic Studios and released in December of 2013.
 
The genesis of Sundiver occurred in early 2011 as guitarist/vocalist John Agee and bassist/vocalist Bobby Bayer started preliminary work on the general band concept. After the addition of Nick Organ on drums and Joseph Wells on guitar and keyboards, the fully-formed foursome released the EP Vicious in the spring of 2012. Upon the following release of The Pull, a brief tour took them to the west and southwest US. At press time, Sundiver’s focus is on that big annual music festival in Austin that gets a bit snippy sometimes when its four-letter acronym is used.
 
The album opens with “Lover’s Comfort,” which starts out as the closest thing you’ll get to a space waltz before the chorus settles in on the steady, driving sound that will power the rest of the record. Its pace is unhurried, its voice is mid-range, but its focus is clear. Sundiver is going to take you on a trip that is beyond earthly borders over the course of The Pull’s 43-minute lifespan, and there is no reason to rush or hurry. The destination will be there, so let’s enjoy the journey. Soaring guitar lines bring an added rush of energy to the song’s second half, which generates the momentum that will keep things rolling throughout the album.
 
The descriptor of space rock is often used in a mostly light and airy musical tone, but this album is relentless, hard-driving, and filled with gigantic arena-sized riffs that could easily fill any venue they play. No track epitomizes that more than the title tune, an eight-minute exercise in sublime intensity. Bayer’s bass threatens to dig a trench in the floor and drag the listener down into the mud and mire, with the twin guitar battalion of Agee and Wells and the thunderous drumming of Organ making this must-listen material for anyone yearning to put on the flannel and the Doc Martens once again.
 
Three of the nine tracks are mini-instrumental breaks that offer a chance to pause, take a breath, and prepare for the next segment. I’m sure there are stories behind their titles (“EV,” “F=G[(m1m2)/(r^2)],” and “C8H11NO2”), but you’ll have to ask the boys in the band. Given the nature of the band’s sound, it wouldn’t be surprising if the second one was a formula for rocket fuel and the third the name of a distant galaxy that serves as Sundiver’s muse for its intergalactic melodies. Perhaps there’s a connection with Area 51 buried within the lyrics? Instructions on the art of creating crop circles? Hmmm…
 
When I listen to the record, a variety of bands stand out as potential influences, directly or indirectly: Hum, My Bloody Valentine, Shiner, early Tool, and—for me, anyway, as I am an unabashed fan of this band—King’s X. The comparison to the latter is especially evident in the album’s closer, “Relevant.” The vocal style, the churning bass, the powerful-yet-melodic percussion… if imitation is indeed the sincerest form of flattery, then Ty Tabor, dUg Pinnick, and Jerry Gaskill should be feeling exceptionally honored.
 
It was the English poet Robert Browning who wrote in 1855: “A man’s reach should exceed his grasp, or what’s a heaven for?” Sundiver has chosen to extend its reach beyond the surly bonds of Earth and grasp at sounds fit for the stars. The Pull illustrates their success within their first LP…
 
…and it seems that, in this case, the sky may not be the limit after all.
 
Your next chance to see Sundiver will be Saturday, March 1 at Czar, with special guests In Aeona and A Light Within. Show starts at 8 p.m. Ticket link.
 
 
Michael Byars 
 
Michael likes Mexican coke, smooth jazz, Aero bars, and noses that are not bloody. We hear he has a big birthday party coming up. Gasp! 
 

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Song premiere: “Earth Angel” by Katy Guillen and the Girls

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We are happy to premiere the latest track from Katy Guillen & the Girls, “Earth Angel.”
 
 
The trio releases the song right before descending upon Memphis to represent Kansas City in the International Blues Challenge next week. The KC kickoff show is this Saturday, January 18, at BB’s Lawnside BBQ. KG & the Girls will play the IBC as well as a few dates in Nashville and New Orleans over the next week.
 
“Earth Angel” is a ballad that successfully packs in every element that gives KG & the Girls its signature style, which is rooted in the blues but draws from rock and jazz influences. It begins with Guillen’s masterful guitar work and carefully weaves in her compelling vocals with  the always-on-point rhythm section of Claire Adams and Stephanie Williams. Though the track clocks in at nearly eight minutes, it gradually accelerates along with a balance of delicacy and force that gives it a satisfying sense of brevity and completeness.
 
The song was recorded, mixed, and mastered by Duane Trower at Weights & Measures Soundlab.
 
The band is offering up the track as a free download for one week, so head over to their Bandcamp and get your download.
 
Also, head over to BB’s this Saturday at 9:00 p.m. to see them before they leave for Memphis. AJ Gaither will be opening up the show and joining the band on a few tunes. Facebook event page.
 
Michelle Bacon
 
Michelle is the editor-in-chief of The Deli Magazine—Kansas City. She plays drums in Drew Black & Dirty Electric and bass in Dolls on Fire and The Philistines. She thinks gingers are dumb.
 

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Album review: Dead Voices – Dead Voices (EP)

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(Photo by Todd Zimmer)
 
“Trust of a Fool” is one of the more straightforward efforts presented on Dead Voices’ self-titled debut EP. It would make for the perfect soundtrack for an episode where The Monkees dress up in cowboy hats and wreak hilarious havoc at a dude ranch run by some old crusty geezer named Cooter.
 
The EP is at the apex of its success when the band follows a looser devotion to the “twang rock” formula and allows the instrumentation to ebb and flow accordingly. “Dream Notes” is the prime example of this. With a beautifully constructed forty seconds of instrumental introduction, several well-placed beat changes, and a genuinely doting vocal performance, this song features some the strongest moments on the EP. Symphonic and long-winded in all the right ways, it comes across like Bob Dylan fronting some of the more introspective numbers of the Rolling Stones’ catalog.
 
“Rain or Shine” features the band letting its jam band flag shine a bit. “Whore’s Lament” returns to more straightforward country, picking and grinning its way across the land of tumbleweeds and minor. “Virginia Avenue” brings to mind the crackling audition of a shiny new Bell radio on the shelf of a stuffy electronics store in the mid ‘60s, the sounds of the service bell from the gas station across the street competing with the Buddy Holly-tinged shuffle composition.
 
At first listen as Dead Voices chugged along towards its conclusion, a thought kept crossing my mind: “Man, these guys would pair great with The Grisly Hand.” Much to my surprise—and enjoyment—Lauren Krum makes a wonderful guest appearance on the final track, “Pardoning.” Much as she does for The Grisly Hand, her vocals harmonize seamlessly with David Regnier’s to immense effect, elevating the otherwise square-shooting effort into something more dynamic and special. (Editor’s note: Matt Richey and Mike Stover are both members of Dead Voices as well as The Grisly Hand)
 
 
You can catch Dead Voices at recordBar tomorrow night, January 19, with Hadacol and Eric. The show starts at 10 p.m. 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: Shy Boys – Shy Boys

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Shy Boys continue to bridge the gap between the basement and the stage with the release of their debut, self-titled LP. With efficiency and restrained flourish the boys have spun off 10 pop yarns, many of which are apt to linger long past their modest 24-minute duration. While the bulk of the earworms are front-loaded the album doesn’t flag nor does it deviate in its trajectory. The consistency of this record demonstrates that the Shy Boys know their strengths and are not ashamed to stick with them.
 
Such reliability is probably why Shy Boys, composed of the brothers Collin and Kyle Rausch and friend Konnor Ervin, have enjoyed a recent burst in popularity. In short order they’ve managed to endear themselves to a variety of local bands and fans, the label High Dive Records, and assorted music journalism outlets. It’s no wonder they recently won The Pitch award for Best Band Everyone Can Agree On. They’re appeal is almost egalitarian. Of course it doesn’t hurt to be backed by Solid Gold, the same talent agency that promotes the likes of Dirty Beaches, The Dodos, and The Sea And Cake.
 
Call it playing it safe, but what Shy Boys lack in boundary-pushing they make up for in general likeability. This record can easily play in the background, comfortably command the car stereo, or be the gentle panacea for your private boi slash gurl bedroom troubles; odds are the record will fit most settings without much abrasion. That’s the idea. Kudos given.
 
Much of the album’s warm roughness is owed to its simple and straightforward nature as well as the inherent qualities found by recording live to tape. For this engineering feat the nod is given to Mike Nolte of Westend Recording, a studio known for their dedicated use of the medium. Sure, the reverb is cranked and the vocals can be muddied into ambiguity, but those cool, moody hooks are enough to keep the record spinning on repeat.
 
 
The Shy Boys KC record release show is set for this Friday, January 17, at Harling’s, 10:00 p.m. The gang will be backed by local players Metatone and Knot Lazy. While the record will officially be released to stores on January 21, you can pick one up a few days early at the show. Facebook event page. They’ll also be playing in Lawrence on Saturday, January 18 at 8th Street Taproom.
 
 
Andrew Erdrich
 
Andy Erdrich is a Kansas City resident who occasionally writes for The Deli KC branch. The rest of the time Andy plays guitar and sings in the band Sneaky Creeps, manages the bootleg blog BigUrges.com, co-directs Bread! KC, works as a part-time butcher, etc. He’s pretty approachable and responsive so feel free to email him at andrewerdrich@gmail.com or follow @andrewerdrich on Instagram and Twitter.
 

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KC Open Submission Results for The Deli Magazine’s Year End Poll, 2013

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Thanks to everyone who submitted for our open submissions, as well as helped spread the word and give bands a chance to have their music heard by critics around the country. After tallying the votes for the Open Submissions stage of our KC Year End Poll, it’s time to release the results. Please note that no editor was allowed to vote for bands in their own scene.
 
Acts advancing to our Readers/Fans Poll with a ranking above 6.5:
1. Clairaudients – 7.5
1. Me Like Bees – 7.5
3. Dsoedean – 7.3
4. Wolf, the Rabbit – 7.2
5. Not A Planet – 7
9. The Dead Girls – 6.5
9. Kurt Vee – 6.5
 
Honorable Mentions (ranked above 6.0):
Dinsdale – 6.25
 
Total submissions from KC: 26
 
WHAT’S NEXT: These results end the first phase of the poll. In the next few days we’ll unveil the artists nominated by our local jurors, and we’ll let our readers and writers influence the poll with their vote.
 
Thanks to all of the acts who submitted to us. Keep creating, keep supporting, and stay tuned for your chance to vote!
 
The Deli KC Staff
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Album review: Lennon Bone – Call It A Custom (EP)

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Awhile back I spoke of the redeeming values of the EP during my review of the latest Katy Guillen and the Girls release (see that review here). I mentioned that one of two ways that the short-form album works best is to give a newer artist a chance to get their music out more quickly than waiting to have enough material for a full-length album. The second benefit of the EP, in my mind, is to let established artists work on their craft by experimenting with new material or a new sound, and in the process exploring their own capabilities.
 
Enter Lennon Bone, the drummer and co-vocalist for Ha Ha Tonka (a quick side note: if you haven’t already done so, add Ha Ha Tonka’s new album Lessons to your music collection as soon as possible). Bone, founder of Sharp County Records, released his first solo effort, Lost/Accolades, in late 2011—an eight-track album that was more like two EPs of vastly diverse inspiration joined together. It was his debut as a solo artist, giving him a chance to see where he could take his music on his own, and the results were very well received. Now he offers another four-track mini-album, Call It A Custom, which not only reveals Bone as having more confidence to express his voice and individuality, but also shows a conscious effort to establish himself as a man of his own style and not one to lean on the success of his collaborations with his bandmates. Bone looks upon his solo work as a way to express the musical side of him that he doesn’t have the opportunity to follow through with Ha Ha Tonka, but he readily admits that his band probably does influence him in a subliminal way.
 
He certainly fills the shoes of one-man band quite nicely; the credits prove that Bone isn’t content to just sit behind a drum kit, as he provides vocals, guitars, bass, trumpet, keys, and computer wizardry as well as percussion duties. The result is a sound that’s gentle, warm, sleepy, and unhurried—making Call It A Custom an easier-than-easy listen. From the retro-Casio sound lending a sterile comfort to the opening track, “They All Seem To Know” to the reservedly-bouncy “Sinking Feelings” to the sublime slither and Tom Petty-esque feel of “Leave It To Us” to the atmospheric stop-and-go of the title track, Bone covers quite a bit of territory in fifteen short minutes. It’s a journey that he seemingly enjoys taking… and one that may be more of a reality at an undetermined point. When asked if he would like to eventually take his own music on the road, Bone said that it’s a possibility but many factors would have to be weighed before making that jump—putting a band together, booking shows while working around Ha Ha Tonka’s schedule, and most important of all, being a doting father to his baby daughter Brada.
 
Whether a full-fledged tour ever happens, it’s clear that Lennon Bone is a gifted musician and songwriter in his own right. With the wonderfully-presented Call It A Custom furthering his overall musical output, both as a band member and an individual artist, it appears that one could look at his career thus far…
 

 

…and call it a good one.
 
 
–Michael Byars 

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The Deli KC’s Best of 2013

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(Photo above of The Grisly Hand, by Todd Zimmer)
 
Some of us here at The Deli KC (and a few other local music experts) have compiled our best of 2013 local lists. Here are a few of our picks…
 
Michelle Bacon, The Deli KC editor-in-chief
 
Top 10 albums of 2013
Ha Ha TonkaLessons
The Grisly HandCountry Singles
Tiny HorseDarkly Sparkly
The Latenight CallersSongs For Stolen Moments
Not A PlanetThe Few, The Proud, The Strange
ClairaudientsI’m A Loudmouth, You’re A Puppet
The Silver MaggiesMy Pale Horse
The Dead GirlsFade In/Fade Out
Freight Train Rabbit KillerFreight Train Rabbit Killer
Katy Guillen & the Girls…And Then There Were Three
 
 
Zach Hodson, The Deli KC contributor
 
Top 13 of 2013
The Grisly Hand – Country Singles
The Electric LungsSimplified and Civilized
Tiny Horse – Darkly Sparkly
The ACBsLittle Leaves
The Dead Girls – Fade In/Fade Out
Not a Planet – The Few, The Proud, The Strange
Mime GameDo Your Work
The Latenight Callers – Songs for Stolen Moments
The JinxedThe Loon
Erik VoeksFinulu
More Like GeorgiaMove On
The Octopuss MenMusic to Make Her Change Her Mind
 
Honorable mentions
BloodbirdsPsychic Surgery
SundiverThe Pull
Slum PartyFlood
Msg CtrlRolling Like a Stone
La GuerreViolent
Vi Tran BandAmerican Heroine
Man BearPower Slop
Crossed WiresCrossed Wires
 
 
Barry Lee, The Deli KC contributor / Signal To Noise on KKFI 90.1 FM
 
2013 list of homegrown specialties
Tiny Horse – “Ride” from Darkly Sparkly
The Dead Girls – “Love You To" / Signal To Noise’s Tribute To The Beatles at Knuckleheads, June 1
Cowboy Indian Bear – “Let It Down” from Live Old, Die Young
Ricky Dean Sinatra – “Werewolf” / Reunion show at Jazzhaus, July 20
Scott Hrabko – “Blue, Period” from Gone Places
Lonnie Fisher – “Ghosts Driving in My Van” from Ghosts and Dreams
Erik Voeks – “Hester A. Fish” from Finulu
The Quivers – “He Had It Coming” from Gots To Have It!
Betse Ellis – “Straight To Hell” / Wednesday MidDay Medley’s (KKFI) 500th show, November 20
Radkey – “Out Here in My Head” from Cat & Mouse
 
 
Danny R. Phillips, Deli KC contributor
 
Best album: Many Moods of DadThe Consequence of Trying
Best EP: Black on BlackGet On With It
Best song: Scruffy & the Janitors – “Shake It Off”
 
Other best albums
Pale HeartsHollowtown
Bloodbirds – Psychic Surgery
Missouri HomegrownYou Asked For It
Red KateWhen the Troubles Come
The PedaljetsWhat’s in Between
Stiff Middle FingersAt the Scene of the Crime
DsoedeanContinue to Move
The Grisly Hand – Country Singles
 
Best shows
Bob Mould / The Pedaljets at The Bottleneck, August 16
Lawrence Field Day Fest at The Bottleneck, July 11-13
Cupcake / Scruffy & the Janitors / Universe Contest at The Rendezvous (St. Joseph), March 22
 
 
 
 
Top 10 albums of 2013
The Grisly Hand Country Singles
Tech N9neSomething Else
Mark LowreyTangos for 18th Street
The ArchitectsBorder Wars: Episode I
Eddie Moore and the Outer CircleThe Freedom of Expression
AlaturkaYalniz
Reggie BDNA
Cowboy Indian Bear – Live Old, Die Young
Dutch NewmanSchorre’s Son
AkkillesSomething You’d Say
 
 
Steven Tulipana, co–owner of recordBar / miniBar
 
Favorite recordBar moments of 2013
Kishi Bashi / Plume Giant, February 17
Sonic Spectrum’s Tribute to Lou Reed and The Velvet Underground, May 26
Bob Log III, July 23
Richard Buckner, October 30
Jon Spencer Blues Explosion / Kid Congo, October 7
Found A Job performs The Talking Heads’ Stop Making Sense, November 29

 
Thanks for all your support this year! We look forward to hearing more excellent music in 2014.

Also, don’t forget to visit www.voteformmf.com! We have tonight and tomorrow to vote for Midwest Music Foundation, so cast your vote now!
  
The Deli KC staff
 

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